Romare Bearden Landscape Prints

HEARTLAND is an original hand drawn, limited edition lithograph by Peter Sculthorpe (b.1948 Ontario, Canada) printed using hand lithography techniques on archival Arches paper, 100% ...

Emilio Grau Sala Original Handsigned Lithograph Dimensions: 76 x 54 cm Edition: HC XXI/XXX HandSigned and Numbered Ecole de Paris au seuil de la mutation des Arts Sentiers Editions ...

BUCK RUN BRIDGE is an original, hand drawn, limited edition lithograph(not a photo reproduction or digital print) by Peter Sculthorpe(b.1948 Ontario, Canada) printed in 1990 at JK Fine Art Editions Co. NYC, using hand lithography techniques on archival Arches paper, 100% acid free. Buck Run Bridge depicts a finely detailed drawing of a historic covered bridge in Chester County, Pennsylvania. BUCK RUN BRIDGE is an elongated horizontal composition, image measures 11.5 in. H x 36.75 in. W; a very appealing scenic Pennsylvania winter landscape with subtle details exhibiting fine line drawing and watercolor-like washes blending to form a wintry blue sky. The landscape captivating the viewer's eye with its delicate branches on bare trees, stone walls, split rail...

This artwork titled "America! America" is a color lithograph after noted American artist James Fetherolf, 1925-1994. It is hand signed at the lower rig...

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...

Thomas Hart Benton, 'Goin' Home', lithograph, 1937, edition 250, Fath 14. Signed in pencil. Signed in the stone, lower right. A fine, richly-inked impression, on off-white, wove paper, with margins, in excellent condition. Published by Associated American Artists. Archivally matted to museum standards, unframed. Image size 9 7/16 x 11 7/8 inches; sheet size 10 3/4 x 13 5/16 inches. Impressions of this work are held in the following museum collections: Figge Art Museum, Georgetown University Art Collection, Indianapolis Museum of Art, Library of Congress, Metropolitan Museum of Art, and the Nelson-Atkins Museum of Art. 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. Born in 1889 in Neosho, Missouri, Thomas Hart Benton spent much of his childhood and adolescence in Washington, D.C., where his father, Maecenas Eason Benton, served as a Democratic member of Congress from 1897 to 1905. Hoping to prepare Benton for a political career, his father sent him to Western Military Academy. After nearly two years at the academy, Benton persuaded his mother to support him in attending the Art Institute of Chicago for two years, followed by two additional years at the Académie Julian in Paris. In 1912, Benton returned to America and moved to New York to pursue his artistic career. One of his first jobs involved painting sets for silent films, which were being produced in Fort Lee, New Jersey. Benton credits this experience with equipping him with the skills necessary to create 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 camouflaged ships arriving at Norfolk Naval Station. These renderings were used to identify vessels that might be lost in battle. Benton later remarked that being a "camofleur" profoundly impacted 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 later at The Art Students League from 1926 to 1935. One of his students was a young Jackson Pollock, who regarded Benton as both a mentor and father figure. In 1930, Benton was commissioned to paint a mural for the New School for Social Research. The "America Today" mural, now permanently exhibited at the Metropolitan Museum of Art, led to many more commissions as Benton’s work gained wide recognition. The Regionalist Movement became popular during the Great Depression of the 1930s. Painters such as Benton, Grant Wood, and John Steuart Curry rejected modernist European influences, choosing instead to depict realistic images of small-town and rural life—comforting representations of the American heartland during a period of upheaval. Time Magazine referred to Benton as "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 titled "The Birth of Regionalism." In 1935, Benton left New York and returned to Missouri, where he taught at the Kansas City Art Institute. His outspoken criticism of modern art, art critics, and political views alienated him from many influential figures in both political and art circles. Nonetheless, Benton remained true to his beliefs, continuing to create murals, paintings, and prints that captured enduring images of American life. The dramatic and engaging characteristics of Benton’s artwork drawn the attention of Hollywood producers, leading him to create illustrations and posters for films, including his famous lithographs for the film adaptation of John Steinbeck’s "The Grapes of Wrath," produced by Twentieth Century Fox. During the 1930s, The Limited Editions Club of New York asked Benton to illustrate special editions of three of Mark Twain’s books...

Original American Airlines - California, Arizona, Texas, New Mexico by McKnight Kauffer, 1948 vintage poster. Archival linen backed in Grade A, Excellent condition. No paper loss and no restoration. Kauffer’s signature artistry is on full display with a bold and minimalist design. The striking depiction of a Western figure adorned with a cowboy hat and scarf emphasizes California, Arizona, Texas, and New Mexico—the sun-drenched landscapes and destinations of the era's most adventurous travelers. The clean typography and bold color contrasts evoke modernism and nostalgia, making the piece a perfect centerpiece for collectors of aviation history, vintage travel memorabilia, or timeless graphic art. Designed by E. McKnight Kauffer, a renowned artist known for his bold use of color and striking designs, this poster is a masterpiece that resonates with the charm of a bygone era. This original piece from 1948 tells a story about American Airlines and reflects the excitement of post-war travel and the booming airline industry. This rare, authentic poster...

This is a framed 19th century color lithograph entitled "Mothu et Doria" created by Theophile Alexandre Steinlen and published between 1896 and 1899 in Paris, France by Jules Cheret in his famous series of miniature colored stone lithographs of popular Belle Epoch posters...

LITTLEWOODS is an original hand drawn, limited edition lithograph by Peter Sculthorpe (b.1948 Ontario, Canada) printed using hand lithography techniques on archival Arches paper, 100...

"The Putting Green" - Figurative Landscape 20th century lithograph copy (restrike) of an original painting by British artist Douglas Adams (English, 185...

Nocturne is an original limited edition lithograph by the African American artist Hughie Lee-Smith printed using hand lithography techniques on archival Arches paper, 100% acid free. Nocturne is a mysterious, surreal stage-like theatrical scene featuring a dramatic deep midnight blue night sky with two young black women each wearing pink clothing...

Landscape is a beautiful original lithograph on cardboard, realized by the Italian artist Giovanni Omiccioli (Rome, 1901-1975) in 1971. Signed and dated in pencil, on the lower margin. In very good conditions, except for some minor holes on edges, the colors are incredibly bright. Numbered on the lower left margin, 88/90 prints. Giovanni Omiccioli was an Italian painter belonging to the modern movement of the Scuola romana with a dynamic paintwork representing soccer games and sports scenes. Having joined the Scuola Romana movement, in 1928, Omiccioli collaborated especially with Mario Mafai...