ALO (Charles Jean Hallo) Art

This vintage David Hockney poster features whimsical imagery and rich, bright color. Palm trees, boats in the ocean, a cafe, and a bodega with an elaborate iron-wrought balcony sit atop a crosshatched orange ground. In 1980, Miami hosted what the New York Times called "one of the world's more ambitious, more expensive and surely one of the riskiest arts festivals of all time." The New World Festival for the Arts ran for three weeks, from June 4...

"L'enfant et les violons" - colorful signed original lithography by Theo Tobiasse (Lithuanian, 1927 - 2012). He was born in Israel of Lithuanian parents. Signed lower right. Numbered...

Bold abstract lithograph by Fran Ciscus (American, 20th Century). Signed "Fran Ciscus". Signature, date ('81), and "P3" are written in pencil below right corner of print, along with ...

An original hand-signed lithograph by Native American artist, RC Gorman. Numbered AP 15.

Detailed and dramatic hand-colored etching by Luigi Kasimir (Austrian, 1881-1962). St. Stephen's cathedral towers above the streets of Vienna, with people going about their daily bus...

Signed and titled in pencil. Inscribed "192/285." Edition 285.

American Crow by J.J. Audubon from his Birds of America folio shows an adult male crow in a Black Walnut bush with a nest of a Ruby-Throated Hummingbird in a branch below the cr...

Thomas Hart Benton, 'Planting (Spring Plowing)', lithograph, 1939, edition 250, Fath 28. Signed in pencil. Signed in the stone, lower right. A fine, richly-inked impression, on off-white wove paper, the full sheet with margins (7/8 to 1 13/16 inches), in excellent condition. Published by Associated American Artists. Image size 9 7/8 x 12 9/16 inches (251 x 319 mm); sheet size 11 3/4 x 15 7/8 inches (298 x 403 mm). Archivally matted to museum standards, unframed. Impressions of this work are held in the following museum collections: Figge Art Museum, Metropolitan Museum of Art, Minneapolis Institute of Arts, Museum of Florida History, McNay Art Museum, Nelson-Atkins Museum of Art, North Carolina Museum of Art, and the Smithsonian American Art Museum. ABOUT THE ARTIST “Benton’s idiom was essentially political and rhetorical, the painterly equivalent of the country stump speeches that were a Benton family tradition. The artist vividly recalled accompanying his father, Maecenas E. Benton — a four-term U.S. congressman, on campaigns through rural Missouri. Young Tom Benton grew up with an instinct for constituencies that led him to assess art on the basis of its audience appeal. His own art, after the experiments with abstraction, was high-spirited entertainment designed to catch and hold an audience with a political message neatly bracketed between humor and local color.” —Elizabeth Broun “Thomas Hart Benton: A Politician in Art,” Smithsonian Studies in American Art, Spring 1987, p. 61 Born in 1889 in Neosho, Missouri, Benton spent much of his childhood and adolescence in Washington, D.C., where his lawyer father, Maecenas Eason Benton, served as a Democratic member of Congress from 1897 to 1905. Hoping to groom him for a political career, Benton’s father sent him to Western Military Academy. After nearly two years at the academy, Benton convinced his mother to support him through two years at the Art Institute of Chicago, followed by two more years at the Academie Julian in Paris. Benton returned to America in 1912 and moved to New York to pursue his artistic career. One of his first jobs was painting sets for silent movies, which were being produced in Fort Lee, New Jersey. Benton credits this experience with giving him the skills he needed to make his large-scale murals. When World War I broke out, Benton joined the Navy. Stationed in Norfolk, Virginia, he was assigned to create drawings of the camouflaged ships arriving at Norfolk Naval Station. The renderings were used to identify vessels should they be lost in battle. Benton credited being a ‘camofleur’ as having a profound impact on his career. “When I came out of the Navy after the First World War,” he said, “I made up my mind that I wasn’t going to be just a studio painter, a pattern maker in the fashion then dominating the art world–as it still does. I began to think of returning to the painting of subjects, subjects with meanings, which people, in general, might be interested in.” While developing his ‘regionalist’ vision, Benton also taught art, first at a city-supported school and then at The Art Students League (1926–1935). One of his students was a young Jackson Pollock, who looked upon Benton as a mentor and a father figure. In 1930, Benton was commissioned to paint a mural for the New School for Social Research. The ‘America Today’ mural, now on permanent exhibit at the Metropolitan Museum of Art, was followed by many more commissions as Benton’s work gained acclaim. The Regionalist Movement gained popularity during the Great Depression of the 1930s. Painters, including Benton, Grant Wood, and John Steuart Curry, rejected modernist European influences preferring to depict realistic images of small-town and rural life—reassuring images of the American heartland during a period of upheaval. Time Magazine called Benton 'the most virile of U.S. painters of the U.S. Scene,' featuring his self-portrait on the cover of a 1934 issue that included a story about 'The Birth of Regionalism.' In 1935, Benton left New York and moved back to Missouri, where he taught at the Kansas City Art Institute. Benton’s outspoken criticism of modern art, art critics, and political views alienated him from many influencers in political and art scenes. While remaining true to his beliefs, Benton continued to create murals, paintings, and prints of some of the most enduring images of American life. The dramatic and engaging qualities of Benton’s paintings and murals attracted the attention of Hollywood producers. He was hired to create illustrations and posters for films, including his famous lithographs for the film adaptation of John Steinbeck’s ‘Grapes of Wrath’ produced by Twentieth Century Fox. Benton’s work can be found at the Art Institute of Chicago, High Museum of Art, Fine Arts Museums of San Francisco, Library of Congress, McNay Art Museum, Metropolitan Museum of Art, Minneapolis Institute of Arts, Montgomery Museum of Fine Arts, National Gallery of Art, Nelson-Atkins Museum of Art, Smithsonian American Art Museum, Whitney Museum of American Art, The Truman Library and many other museums and galleries across the US. He was elected to the National Academy of Design, has illustrated many books, authored his autobiography, and is the subject of ‘Thomas Hart Benton,’ a documentary by Ken Burns.

An amusing view of an academic wagging his finger in disapproval as a young lady in a rope seat is pulled up to a college dorm window by a group of revelling students. Thomas R...

Hand-Colored Photo Lithograph Signed in Pen Lower Right Titled in Pen Lower Left Wallace Nutting (1861 - 1941) With a career of producing hand-tinted photographs of New England scenes distributed as prints, Wallace Nutting was widely known in the early 20th century when millions of copies of his work were sold. "Of the hundreds of professional photographers who were active in the pictorialist genre and competing for the tourist trade, Nutting developed what was by far the largest and most prominent operation, employing nearly 200 colorists, framers, and salesmen." (2447) He was also a craftsperson, writer and lecturer, and began his career as a Congregational minister. Retiring from the ministry in 1904, he moved from Cranston, Rhode Island to New York City for a year, then to Southbury, Connecticut from 1905 to 1912, followed by a move to Framingham, Massachusetts where he lived for the remainder of his life. Nutting also built furniture, doing reproductions of colonial pieces including chairs and cabinets. His writings included 20 books such as Old New England Pictures, Furniture of the Pilgrim...

Lithograph with foil stamping and embossing on paper. Hand signed and numbered by the artist. From the edition of 200. Artwork is in excellent condition. Certificate of authenticit...

Signed lower right, 'Georges Lambert' (French, 1919-1998), titled lower center 'Grau du Roi' and inscribed lower left 'Epreuve d'Artiste' with number and limitation 12/25. An Artist...