Noel Daggett Prints and Multiples

Artist: Will Barnet, American (1911 - 2012) Title: Meditation and Minou Year: 1980 Medium: Lithograph and Serigraph on BFK Rives, signed and numbered in pencil Edition: 40/150

This artwork titled "Pintail" c.1990 is a color lithograph by noted Wild life American artist Christopher Forrest, b.1946. It is hand signed, titled and numbered 86/300 in pencil by the artist. The image size is 17.5 x 22.85 inches, framed size is 27.35 x 32.5 inches. Custom framed in a oak frame, with light brown matting. It is in excellent condition About the artist: Born in Trenton, New Jersey, 1946 Interested in art from the age of 7, Christopher Forrest still speaks fondly of a set of colored pencils presented to him then by his parents; At 11, he won his first award for painting and started exhibiting in galleries. Along with his interest in art grew a keen attraction for the outdoors and the wildlife which thrived there. After considering schooling in art, Chris chose to study civil engineering. Upon graduation from Virginia Polytechnic Institute, Chris began a career as a commissioned officer in the United States Army Corps of Engineers. The Army provided Chris the opportunity to observe wildlife from the swamps of Florida to the lakes of Quebec, in addition to Europe and Viet Nam. In 1973, the Army sent Chris to graduate school at North Carolina State University, at this time Chris started to paint wildlife. Chris resigned from the Army in 1978 and took a position as an artist with Evergreen Publishing Co. He has produced more than thirty original graphic editions for Evergreen. His original graphics are handled by some 350 galleries in North America. He is currently General Manager at Evergreen. His work and articles about his work have appeared in numerous wildlife and art publications. Chris strongly believes in wildlife conservation and is a member of many conservationist organizations. His donated prints have raised a great deal of money for Ducks Unlimited, Newjersey, Audubon and Ward Foundations. In 1980 he realized one of his major professional goals. He was elected to membership in the Society of Animal Artists. "Creating a painting or graphic is an exciting adventure and challenge for me. Starting with the observation of the animal in the wilderness, I then approach the painting with the attitude that it will be my finest work." COLLECTIONS National Academy of Science, Washington, D.C. New Jersey State Museum, Trenton, N.J. Ferrum College, Ferrum, Va. Franklin Mint, Franklin Center, Pa. Parsons, Brinkerhoff, Quade & Douglas, consulting Engineers, N.Y.C. Fine Art Corporation of America, N.Y.C. Central Carolina Bank, Raleigh, N.C. Ward Foundation Museum, Salisbury, Md. New Jersey Audubon Society, Rancocas, N.J. I.B.M., Louisville, Ky. American World Airways (Pan Am), Miami, Fla. Baush & Lomb, Rochester, N.Y. Thermos, Norwich, Conn. Metro-Goldwyn Mayer, Ca. Ford Motor Co., Atlanta, Ga. Chemical Bank, N.Y.C. City Bank, N.Y.C. ONE-MAN SHOWS N.J. State Museum, Trenton, N.J. 1979 Palette Gallery, Cary, N.C., 1973,-74,-77,-78,-79 Lambertville House, Lambertvi lie, N.J., 1975-76 Triangle Art, Trenton, N.J., 1975 INVITATIONAL SHOWS Triangle Art Christmas Show, 1975 Golden Door Gallery Wildlife Show, New Hope, Pa., 1976 Ward Foundation Wildlife Art & Carving Exhibition, Salisbury and Ocean City, Md., 1976,-78,-79 Easton Waterfowl Art...

Original WW1 poster. Put Fighting Blood in Your Business. Here’s his record! Does he get a Job? Arthur Woods, Assistant to the Secretary of...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of water, forests, and skies. These triptychs are large pieces that feature lush blues, making them an impressive addition to any beautifully designed space. Each triptych is printed by hand and carefully crafted to capture the unique essence of these natural environments, with a focus on the interplay of light and shadows, and the subtle nuances of tone and texture. The beach and ocean scenes depict the dynamic beauty of waves crashing against the shore, with the cyanotype process lending a dreamy, ethereal quality to the images. Similarly, the forest and wood scenes...

Original vintage poster: The U.S. Marines Want You. This military vintage poster is archival linen-backed and in fine condition, ready to frame. There is no date, artist, or printer'...

Original poster: Rembember Your First Thrill of Ameridan Liberty YOUR DUTY Buy United States Government Bonds 2nd Liberty Loan of 1917. Linen backed and ready to frame. Poste...

"Erycinids" is an original color lithograph by Louis Prang. It depicts colorful butterflies around a variety of flowers. 5" x 8" art 16 1/2" x 19" framed Louis Prang was an American printer, lithographer, and publisher. He is sometimes known as the father of the American Christmas card. He created L. Prang and Company in 1860 and became successful and known for their Civil War maps...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of w...

The Jewish Welfare Board. Original World 1 vintage poster, excellent condition; archival linen backed and ready to frame. Printer: Alco-Gravure, Inc., N. Y. Civilians: When we...

This artwork titled "Soaking Up" c.1970 is an original lithograph on Wove paper by noted western artist Tom (Thomas) Ryan, 1922-2011. It is hand signed, titled and numbered 68/100 in pencil by the artist. The artwork (image) size is 12.25 x 17.35 inches, sheet size is 17.5 x 21.65 inches. It is in excellent condition About the artist: Tom Ryan was born Jan. 12, 1922, in Springfield, Ill., to William Martin Ryan — whose family immigrated to Illinois from Ireland in the 1880s — and Sarah Helen Behrens, whose ancestry predates the Revolutionary War. They had nine children — six boys and three girls. He began drawing before he went to school. "I was 4 years old and drawing airplanes, and an older brother was helping me," Ryan told the Reporter-Telegram in a 2002 interview at the Haley Library's going away party held in his honor. "Those were my first art lessons." He did not decide to be an artist until after his service in World War II. While in the U.S. Navy during the war, he "made quite a bit of money" drawing portraits of his shipmates and other servicemen. After being discharged in 1945, he picked up a Life magazine that carried an article about N.C. Wyeth. "I read the article, and I liked what I read, and I loved the pictures reproduced from his paintings in the article," Ryan said in 2002. "I decided then and there to be an artist." Following his graduation from the American Academy of Art, an education made possible through the GI Bill, he returned to Springfield where he married Jacqueline "Jacquie" Harvey, daughter of a local doctor. She died in 1998. The Ryans moved to New York City where he continued his studies at the Art Students League. During his second year at the Art Students League, he won a contest. His winning painting became the cover for Western writer Ernest Haycox's novel The Outlaw. "Every month after that I also received an assignment from this publisher, and they would be Western novels," Ryan said in 2002. "So that's what I did for the next six or seven years. Then I started exhibiting at the Latendorf Gallery on Madison Avenue. What I sold mainly were the book covers. They would be published and I would get paid by the publisher, and I'd take them to the gallery, and I'd get paid again." Ryan began making trips west in the late 1950s. He would stay three or four months painting, sketching and photographing scenes he'd need later. At that time, his works centered around historical events and places. "I particularly liked to do some of the trail drive things that I did, like the old longhorns," Ryan said in 2002. In the early 1960s, a work by Norman Rockwell and one by Ryan appeared in the same catalog. Rockwell, who was doing the Boy Scouts calendars for Brown and Bigelow, the premiere calendar publishing company in the United States, told the calendar company about Ryan. "The art director gave me a call and asked if I'd like to do a contemporary cowboy...

Early Speed Lithograph, 1953 Signed lower right Edition 250 Published by Associated American Artists Illustrated: AAA catalog 1953-03 Reference: AAA Index 1187 Condition: The sheet i...

This artwork titled "The Horsemen" 1935, is an original lithograph on paper by noted American artist William Gropper, 1897-1977. It is hand signed in pencil by the artist. The artwork (image) size is 9.5 x 12.75 inches, framed size is 17.5 x 20.40 inches. Published by Associated American Artists, New York, printed by George Miller. Referenced and pictured in the artist catalogue raisonne by Steinberg, page 246 and Windisch and Cole, plate #602. Custom framed in a black metal frame, with off white matting. It is in excellent condition, the frame have very minor scratches. An example of this particular artwork is held at the Metropolitan Museum of Art, New York. and at the Portland Museum, Portland. About the artist: William Gropper was born in New York City's Lower East Side in 1897. He was the first of six children to parents who earned small wages working in sweatshops. At the age of fourteen, Gropper left school to help support his family. While carrying bolts of cloth for his deliveries, Gropper began to draw on scraps of paper, sidewalks, and walls. A passerby saw some of these drawings and invited Gropper to attend a life-drawing class at the Ferrer School. He studied there for three years from 1912 to 1915, attending classes taught by Robert Henri and George Bellows. From 1915 to 1918 Gropper attended the New York School of Fine and Applied Art part-time on scholarship. Gropper also won a scholarship to the National Academy of Design, but remained as a student for only a short time; the rigid and systematic institution conflicted with Gropper's belief in the personal nature of art. At the New York School of Fine and Applied Art, Gropper earned several prizes. One of these prizes was for his cartoons, which led him to be hired by the New York Tribune in 1917 to sketch for their features. A few years later through freelance work, his cartoons and drawings appeared in other newspapers and magazines, such as The Liberator, The New Masses, The New York Post, The New Yorker and Vanity Fair. By the late 1920s Gropper was an established cartoonist and draughtsman. He sympathized with the labor movement and was a champion of peace and personal liberty. Gropper began to paint seriously, but privately, on these themes in 1921. Gropper's first exhibition of monotypes was held in 1921 at the Washington Square Book Shop in New York. At this time, he also began to do illustrations for books. Gropper took his first sketching trip in 1924 to the West with Morris Pass. By 1930 Gropper began to receive recognition as a fine artist. In 1934, he received two mural commissions from the Schenley Corporation in New York City. In 1935, he was commissioned to paint a mural for the Hotel Taft in New York City. In 1936, Gropper received several public mural commissions: one was for the Freeport, Long Island Post Office, which was completed in 1938 and followed by another mural for the Northwestern Postal Station, Detroit, Michigan. In his first gallery exhibition in 1936 at ACA Galleries, Gropper's work was so well received by critics, collectors, and artists that the following year he had two one-man exhibitions at ACA Galleries. In 1937, Gropper traveled west on a Guggenheim Fellowship and visited the Dust Bowl and the Hoover and Grand Coulee Dams, sketching studies for a series of paintings and a mural he painted for the Department of the Interior in Washington, DC. That same year he had paintings purchased by both the Metropolitan Museum of Art and the Museum of Modern Art. Gropper exhibited at the 1939 New York World's Fair, Whitney Museum of American Art (1924-55), Art Institute of Chicago (1935-49), Carnegie International (1937-50), Pennsylvania Academy of the Fine Arts (1939-48), and National Academy of Design (1945-48). He was a founder of the Artists Equity Association and member of the National Institute of Arts and Letters. From 1940 to 1945 William Gropper was preoccupied with anti-Nazi cartoons...