Leon Bibel Prints and Multiples

Etching on cream wove paper. 6 5/16 x 3 3/4 inches (159 x 94 mm), full margin. Signed in pencil lower center margin, from the edition of 111. A well inked impression with a minor cre...

Kenny Scharf Ratfinkbonerthunk : Surrealist Rat, 1990 Original Giclee Print Handsigned in pencil On Arches vellum 56 x 76 cm (c. 22 x 30 in) Published by Editions Vermorel in 1990 ...

Keith Haring Headstand Original vintage exhibition Poster printed in Screenprint On thick paper 90 x 60 cm (c. 36 x 24 in) INFORMATION: Official screenprint poster for the Haring e...

Original vintage travel advertising poster for the FRENCH RIVIERA FRENCH NATIONAL RAILROADS SNCF (French National Railways) - the French Riviera. (Cote D'Azur, known as the French Riviera) The image features people looking out towards a marina full of sailing boats. Colorful artwork by the French painter Jules Cavailles (1901-1977). Printed by Perceval, Paris in 1953. Mid-Century Modern. Grade A- This is the English version of the poster compared to the design created for Cote d'Azur. The English version is much rarer (both are rare today). The poster gives the impression of a naive painting at this Mediterranean beach and seaport. Step into a world of timeless elegance and sunlit dreams with this exquisite French Riviera Vintage...

Ranchos Church Screen print, Late 1940's Signed lower right (see photo) Titled lower left (see photo) Edition: Unknown This image depicts the famous church San Francisco de Asis Mission Church in Ranchos de Taos. It was built between 1772 and 1816. It was importailized in American Art History by Georgia O'Keefe and Ansel Adams. Condition: Excellent Image size: 5 x 7 inches Sheet size: 6 x 8 3/8 inches Anna Barry (1970-2001) “In 1944, after several prior trips to the area during which they had become friends with several of the Taos Founders, Ira and his wife, the artist Anna Barry moved to Taos, New Mexico. They would reside in the area on and off until 1955. Like many others, Moskowitz was entranced by New Mexico's light, landscapes, and cultures. By the time Ira arrived there, the region had already attracted Georgia O'Keeffe, Robert Henri, and Leon Gaspard; the Southwest was starting to be recognized as an art center. Moskowitz and his wife became acquainted with Oscar Berninghaus, Andrew Dasburg, Ernest Blumenschein, and Mabel Dodge Lujan, among others. Ira wrote of that time that "Our house was always open and we had scarcely a single meal without visitors dropping in." "Anna Barry was an artist/printmaker. She married Ira Moskowitz (from a long line of Polish rabbinical leaders) in New York in 1938. They soon visited Taos and Santa Fe in New Mexico, returning there for extended periods until in 1944 they moved there permanently—staying until 1949 when they returned to New York. Her work in New Mexico depicts mostly the pueblos and their people, capturing ritual ceremonial dances in colorful serigraph prints and other artworks. She and Ira (also an artist) worked closely together during their New Mexico sojourns. The pueblos seemed their favored subjects there. She signed her New Mexico work as, "Anna Barry." Her prints are colorful and often detailed. The only ones I have seen (6 in all) were 5"x7" in size. Anna probably lived longest in New York, but perhaps was also in both Europe and Israel for extended periods. (See the AskART Ira Moskowitz biography.)" Courtesy of Fred McCraw Anna Barry (née Anna Barshefsky), painter, printmaker and teacher, was born to Russian émigrés Max and Ida Goldberg Barshefsky on 20 May 1909 in Philadelphia, Pennsylvania. In the 1930 U.S. Federal Census her family name is changed to Barish and they are listed as living in Bronx, New York. It is not yet known where she had formal art training but she was listed as a teacher on the 1940 U.S. Census. She married artist Ira Moskowitz on 13 November 1938 and they began frequenting New Mexico. They befriended such luminaries as Mabel Dodge Lujan, Georgia O’Keeffe, Oscar Berninghaus, and many others who had become attracted to the unique landscape. Barry and Moskowitz moved to Taos, New Mexico in 1944 and remained until 1949 when they returned to New York. One can’t help but wonder if Anna Barry studied with serigrapher/painter Louie Ewing...

Artist: Dale Chihuly (1941) Title: Composition, Float Series Year: 2017 Medium: Silkscreen and acrylic on Waterford paper Edition: 18/110 Size: 37 x 25 inches Inscription: Signed and...

Taos Pueblo Screen print, late 1940's Signed in pencil lower right (see photo) Titled in pencil lower left (see photo) Edition: Unknown Clasic depiction of Ranchos de Taos, the oldest continually inhabited city in North America. Condition: Excellent Image size: 5 x 6 3/4 inches Sheet size: 6 1/4 x 7 5/16 inches Anna Barry (1970-2001) “In 1944, after several prior trips to the area during which they had become friends with several of the Taos Founders, Ira and his wife, the artist Anna Barry moved to Taos, New Mexico. They would reside in the area on and off until 1955. Like many others, Moskowitz was entranced by New Mexico's light, landscapes, and cultures. By the time Ira arrived there, the region had already attracted Georgia O'Keeffe, Robert Henri, and Leon Gaspard; the Southwest was starting to be recognized as an art center. Moskowitz and his wife became acquainted with Oscar Berninghaus, Andrew Dasburg, Ernest Blumenschein, and Mabel Dodge Lujan, among others. Ira wrote of that time that "Our house was always open and we had scarcely a single meal without visitors dropping in." "Anna Barry was an artist/printmaker. She married Ira Moskowitz (from a long line of Polish rabbinical leaders) in New York in 1938. They soon visited Taos and Santa Fe in New Mexico, returning there for extended periods until in 1944 they moved there permanently—staying until 1949 when they returned to New York. Her work in New Mexico depicts mostly the pueblos and their people, capturing ritual ceremonial dances in colorful serigraph prints and other artworks. She and Ira (also an artist) worked closely together during their New Mexico sojourns. The pueblos seemed their favored subjects there. She signed her New Mexico work as, "Anna Barry." Her prints are colorful and often detailed. The only ones I have seen (6 in all) were 5"x7" in size. Anna probably lived longest in New York, but perhaps was also in both Europe and Israel for extended periods. (See the AskART Ira Moskowitz biography.)" Courtesy of Fred McCraw "Anna Barry (née Anna Barshefsky), painter, printmaker and teacher, was born to Russian émigrés Max and Ida Goldberg Barshefsky on 20 May 1909 in Philadelphia, Pennsylvania. In the 1930 U.S. Federal Census her family name is changed to Barish and they are listed as living in Bronx, New York. It is not yet known where she had formal art training but she was listed as a teacher on the 1940 U.S. Census. She married artist Ira Moskowitz on 13 November 1938 and they began frequenting New Mexico. They befriended such luminaries as Mabel Dodge Lujan, Georgia O’Keeffe, Oscar Berninghaus, and many others who had become attracted to the unique landscape. Barry and Moskowitz moved to Taos, New Mexico in 1944 and remained until 1949 when they returned to New York. One can’t help but wonder if Anna Barry studied with serigrapher/painter Louie Ewing...

This artwork titled "Left Bank Cafe, Paris" 1987 is an original color serigraph by noted American artist LeRoy Neiman, 1921-2012. It is hand signed and numbered H.C 166/175 in pencil by the artist. The image size is 26 x 38 inches, sheet size is 32.25 x 44 inches. With the blind stamp of the printer Styria Studio at the lower left corner margin. It is in excellent condition, two small pieces of hanging tape remain on the back. About the artist: Mr. Neiman's kinetic, quickly executed paintings and drawings, many of them published in Playboy, offered his fans gaudily colored visual reports on heavyweight boxing matches, Super Bowl games and Olympic contests, as well as social panoramas like the horse races at Deauville, France, and the Cannes Film Festival. Quite consciously, he cast himself in the mold of French Impressionists like Toulouse-Lautrec, Renoir and Degas, chroniclers of public life who found rich social material at racetracks, dance halls and cafes. Mr. Neiman often painted or sketched on live television. With the camera recording his progress at the sketchpad or easel, he interpreted the drama of Olympic Games and Super Bowls for an audience of millions. When Bobby Fischer and Boris Spassky faced off in Reykjavik, Iceland, to decide the world chess championship, Mr. Neiman was there, sketching. He was on hand to capture Federico Fellini directing "8 ½" and the Kirov Ballet performing in the Soviet Union. In popularity, Mr. Neiman rivaled American favorites like Norman Rockwell, Grandma Moses and Andrew Wyeth. A prolific one-man industry, he generated hundreds of paintings, drawings, watercolors, limited-edition serigraph prints and coffee-table books yearly, earning gross annual revenue in the tens of millions of dollars. Although he exhibited constantly and his work was included in the collections of dozens of museums around the world, critical respect eluded him. Mainstream art critics either ignored him completely or, if forced to consider his work, dismissed it with contempt as garish and superficial — magazine illustration with pretensions. Mr. Neiman professed not to care. Maybe the critics are right," he told American Artist magazine in 1995. "But what am I supposed to do about it — stop painting, change my work completely? I go back into the studio, and there I am at the easel again. I enjoy what I'm doing and feel good working. Other thoughts are just crowded out." His image suggested an artist well beyond the reach of criticism. A dandy and bon vivant, he cut an arresting figure with his luxuriant ear-to-ear mustache, white suits, flashy hats and Cuban cigars. "He quite intentionally invented himself as a flamboyant artist not unlike Salvador Dalí, in much the same way that I became Mr. Playboy in the late '50s," Hugh Hefner told Cigar Aficionado magazine in 1995. LeRoy Runquist was born on June 8, 1921, in St. Paul. His father, a railroad worker, deserted the family when LeRoy was quite young, and the boy took the surname of his stepfather. He showed a flair for art at an early age. While attending a local Roman Catholic school, he impressed schoolmates by drawing ink tattoos on their arms during recess. As a teenager, he earned money doing illustrations for local grocery stores. "I'd sketch a turkey, a cow, a fish, with the prices," he told Cigar Aficionado. "And then I had the good sense to draw the guy who owned the store. This gave me tremendous power as a kid." After being drafted into the Army in 1942, he served as a cook in the European theater but in his spare time painted risqué murals on the walls of kitchens and mess halls. The Army's Special Services Division, recognizing his talent, put him to work painting stage sets for Red Cross shows when he was stationed in Germany after the war. On leaving the military, he studied briefly at the St. Paul School of Art (now the Minnesota Museum of American Art) before enrolling in the School of the Art Institute of Chicago, where, after four years of study, he taught figure drawing and fashion illustration throughout the 1950s. When the janitor of the apartment building next door to his threw out half-empty cans of enamel house paint, Mr. Neiman found his métier. Experimenting with the new medium, he embraced a rapid style of applying paint to canvas imposed by the free-flowing quality of the house paint. While doing freelance fashion illustration for the Carson Pirie Scott department store in Chicago in the early 1950s, he became friendly with Mr. Hefner, a copywriter there who was on the verge of publishing the first issue of a men's magazine. In 1954, after five issues of Playboy had appeared, Mr. Neiman ran into Mr. Hefner and invited him to his apartment to see his paintings of boxers, strip clubs and restaurants. Mr. Hefner, impressed, showed the work to Playboy's art director, Art Paul, who commissioned an illustration for "Black Country," a story by Charles Beaumont about a jazz musician. Thus began a relationship that endured for more than half a century and established Mr. Neiman's reputation. In 1955, when Mr. Hefner decided that the party-jokes page needed visual interest, Mr. Neiman came up with the Femlin, a curvaceous brunette who cavorted across the page in thigh-high stockings, high-heeled shoes, opera gloves and nothing else. She appeared in every issue of the magazine thereafter. Three years later, Mr. Neiman devised a running feature, "Man at His Leisure." For the next 15 years, he went on assignment to glamour spots around the world, sending back visual reports on subjects as varied as the races at Royal Ascot, the dining room of the Tour d'Argent in Paris, the nude beaches of the Dalmatian coast, the running of the bulls at Pamplona and Carnaby Street in swinging London. He later produced more than 100 paintings and 2 murals for 18 of the Playboy clubs that opened around the world. "Playboy made the good life a reality for me and made it the subject matter of my paintings — not affluence and luxury as such, but joie de vivre itself," Mr. Neiman told V.I.P. magazine in 1962. Working in the same copywriting department at Carson Pirie Scott as Mr. Hefner was Janet Byrne, a student at the Art Institute. She and Mr. Neiman married in 1957. She survives him. A prolific artist, he generated dozens of paintings each year that routinely commanded five-figure prices. When Christie's auctioned off the Playboy archives in 2003, his 1969 painting Man at His Leisure: Le Mans sold for $107,550. Sales of the signed, limited-edition print versions of his paintings, published in editions of 250 to 500, became a lucrative business in itself after Knoedler Publishing, a wholesale operation, was created in 1975 to publish and distribute his serigraphs, etchings, books and posters. Mr. Neiman's most famous images came from the world of sports. His long association with the Olympics began with the Winter Games in Squaw Valley in 1960, and he went on to cover the games, on live television, in Munich in 1972, Montreal in 1976, Lake Placid in 1980, and Sarajevo and Los Angeles in 1984, using watercolor, ink or felt-tip marker to produce images with the dispatch of a courtroom sketch artist. At the 1978 and 1979 Super Bowls, he used a computerized electronic pen to portray the action for CBS. Although he was best known for scenes filled with people and incident, he also painted many portraits. Athletes predominated, with Muhammad Ali and Joe Namath among his more famous subjects, but he also painted Leonard Bernstein, the ballet dancer Suzanne Farrell...

Corralled Horse is a rare WPA-era modernist etching by acclaimed American artist Ethel Magafan, created in the 1940s. This artist’s proof depicts a lone dark horse within a wooden co...

Artist: Andy Warhol (1928-1987) Title: Jacqueline Kennedy (Jackie II) Year: 1966 Medium: Silkscreen in colors on wove paper Size: 24 x 30 inches Condition: Excellent Inscription: Sig...

This artwork titled "Baden Baden, Casino" 1988 is an original color serigraph by noted American artist LeRoy Neiman, 1921-2012. It is hand signed and numbered 261/375 in pencil by the artist. The image size is 36 x 42 inches, sheet size is 42 x 48 inches. With the blind stamp of the printer Styria Studio at the lower left corner margin. It is in excellent condition, three small pieces of hanging tape remain on the back. About the artist: Mr. Neiman's kinetic, quickly executed paintings and drawings, many of them published in Playboy, offered his fans gaudily colored visual reports on heavyweight boxing matches, Super Bowl games and Olympic contests, as well as social panoramas like the horse races at Deauville, France, and the Cannes Film Festival. Quite consciously, he cast himself in the mold of French Impressionists like Toulouse-Lautrec, Renoir and Degas, chroniclers of public life who found rich social material at racetracks, dance halls and cafes. Mr. Neiman often painted or sketched on live television. With the camera recording his progress at the sketchpad or easel, he interpreted the drama of Olympic Games and Super Bowls for an audience of millions. When Bobby Fischer and Boris Spassky faced off in Reykjavik, Iceland, to decide the world chess championship, Mr. Neiman was there, sketching. He was on hand to capture Federico Fellini directing "8 ½" and the Kirov Ballet performing in the Soviet Union. In popularity, Mr. Neiman rivaled American favorites like Norman Rockwell, Grandma Moses and Andrew Wyeth. A prolific one-man industry, he generated hundreds of paintings, drawings, watercolors, limited-edition serigraph prints and coffee-table books yearly, earning gross annual revenue in the tens of millions of dollars. Although he exhibited constantly and his work was included in the collections of dozens of museums around the world, critical respect eluded him. Mainstream art critics either ignored him completely or, if forced to consider his work, dismissed it with contempt as garish and superficial — magazine illustration with pretensions. Mr. Neiman professed not to care. Maybe the critics are right," he told American Artist magazine in 1995. "But what am I supposed to do about it — stop painting, change my work completely? I go back into the studio, and there I am at the easel again. I enjoy what I'm doing and feel good working. Other thoughts are just crowded out." His image suggested an artist well beyond the reach of criticism. A dandy and bon vivant, he cut an arresting figure with his luxuriant ear-to-ear mustache, white suits, flashy hats and Cuban cigars. "He quite intentionally invented himself as a flamboyant artist not unlike Salvador Dalí, in much the same way that I became Mr. Playboy in the late '50s," Hugh Hefner told Cigar Aficionado magazine in 1995. LeRoy Runquist was born on June 8, 1921, in St. Paul. His father, a railroad worker, deserted the family when LeRoy was quite young, and the boy took the surname of his stepfather. He showed a flair for art at an early age. While attending a local Roman Catholic school, he impressed schoolmates by drawing ink tattoos on their arms during recess. As a teenager, he earned money doing illustrations for local grocery stores. "I'd sketch a turkey, a cow, a fish, with the prices," he told Cigar Aficionado. "And then I had the good sense to draw the guy who owned the store. This gave me tremendous power as a kid." After being drafted into the Army in 1942, he served as a cook in the European theater but in his spare time painted risqué murals on the walls of kitchens and mess halls. The Army's Special Services Division, recognizing his talent, put him to work painting stage sets for Red Cross shows when he was stationed in Germany after the war. On leaving the military, he studied briefly at the St. Paul School of Art (now the Minnesota Museum of American Art) before enrolling in the School of the Art Institute of Chicago, where, after four years of study, he taught figure drawing and fashion illustration throughout the 1950s. When the janitor of the apartment building next door to his threw out half-empty cans of enamel house paint, Mr. Neiman found his métier. Experimenting with the new medium, he embraced a rapid style of applying paint to canvas imposed by the free-flowing quality of the house paint. While doing freelance fashion illustration for the Carson Pirie Scott department store in Chicago in the early 1950s, he became friendly with Mr. Hefner, a copywriter there who was on the verge of publishing the first issue of a men's magazine. In 1954, after five issues of Playboy had appeared, Mr. Neiman ran into Mr. Hefner and invited him to his apartment to see his paintings of boxers, strip clubs and restaurants. Mr. Hefner, impressed, showed the work to Playboy's art director, Art Paul, who commissioned an illustration for "Black Country," a story by Charles Beaumont about a jazz musician. Thus began a relationship that endured for more than half a century and established Mr. Neiman's reputation. In 1955, when Mr. Hefner decided that the party-jokes page needed visual interest, Mr. Neiman came up with the Femlin, a curvaceous brunette who cavorted across the page in thigh-high stockings, high-heeled shoes, opera gloves and nothing else. She appeared in every issue of the magazine thereafter. Three years later, Mr. Neiman devised a running feature, "Man at His Leisure." For the next 15 years, he went on assignment to glamour spots around the world, sending back visual reports on subjects as varied as the races at Royal Ascot, the dining room of the Tour d'Argent in Paris, the nude beaches of the Dalmatian coast, the running of the bulls at Pamplona and Carnaby Street in swinging London. He later produced more than 100 paintings and 2 murals for 18 of the Playboy clubs that opened around the world. "Playboy made the good life a reality for me and made it the subject matter of my paintings — not affluence and luxury as such, but joie de vivre itself," Mr. Neiman told V.I.P. magazine in 1962. Working in the same copywriting department at Carson Pirie Scott as Mr. Hefner was Janet Byrne, a student at the Art Institute. She and Mr. Neiman married in 1957. She survives him. A prolific artist, he generated dozens of paintings each year that routinely commanded five-figure prices. When Christie's auctioned off the Playboy archives in 2003, his 1969 painting Man at His Leisure: Le Mans sold for $107,550. Sales of the signed, limited-edition print versions of his paintings, published in editions of 250 to 500, became a lucrative business in itself after Knoedler Publishing, a wholesale operation, was created in 1975 to publish and distribute his serigraphs, etchings, books and posters. Mr. Neiman's most famous images came from the world of sports. His long association with the Olympics began with the Winter Games in Squaw Valley in 1960, and he went on to cover the games, on live television, in Munich in 1972, Montreal in 1976, Lake Placid in 1980, and Sarajevo and Los Angeles in 1984, using watercolor, ink or felt-tip marker to produce images with the dispatch of a courtroom sketch artist. At the 1978 and 1979 Super Bowls, he used a computerized electronic pen to portray the action for CBS. Although he was best known for scenes filled with people and incident, he also painted many portraits. Athletes predominated, with Muhammad Ali and Joe Namath among his more famous subjects, but he also painted Leonard Bernstein, the ballet dancer Suzanne Farrell...

MAYBEL DWIGHT (1875 - 1955) GREETINGS FROM THE HOUSE OF WEYHE, 1928 Lithograph, signed in the plate. Image 7 1/8 x 8 3/8” + printed title. Sheet 8 ¼ x 9” as issued. Xmas card iss...