Stuart Davis Prints and Multiples

Original Spokane (Washington), The Colorful Capital of the Inland Empire vintage travel fun map. Printed in 1971, this seldom if ever found original map is archival linen backed an...

Louis Lozowick, 'Mural Study: Lower Manhattan', lithograph, edition 10 or fewer, 1936. Flint 135. Signed and dated in pencil. Signed in the stone, lower right. A fine, richly-inked...

Howard Cook, 'Financial District', lithograph, 1931, edition 75, Duffy 155. A fine, richly-inked impression, on cream wove paper, the full sheet with wide margins (2 3/4 to 5 5/8 inches), in excellent condition. Image size 13 5/16 x 10 3/8 inches (338 x 264 mm); sheet size 23 x 16 inches (584 x 406 mm). Matted to museum standards, unframed. Literature: 'American Master Prints from the Betty and Douglas Duffy Collection', the Trust for Museum Exhibitions, Washington, D.C., 1987. Collections: Crystal Bridges Museum of American Art, Library of Congress, Metropolitan Museum of Art, Philadelphia Museum of Art, Smithsonian American Art Museum. ABOUT THE ARTIST Howard Norton Cook (1901-1980) was one of the best-known of the second generation of artists who moved to Taos. A native of Massachusetts, he studied at the Art Students League in New York City and at the Woodstock Art Colony. Beginning his association with Taos in 1926, he became a resident of the community in the 1930s. During his career, he received two Guggenheim Fellowships and was elected an Academician in the National Academy of Design. He earned a national reputation as a painter, muralist, and printmaker. Cook’s work in the print mediums received acclaim early in his career with one-person exhibitions at the Denver Art Museum (1927) and the Museum of New Mexico (1928). He received numerous honors and awards over the years, including selection in best-of-the-year exhibitions sponsored by the American Institute of Graphics Arts, the Brooklyn Museum, the Society of American Etchers, and the Philadelphia Print Club. His first Guggenheim Fellowship took him to Taxco, Mexico in 1932 and 1933; his second in the following year enabled him to travel through the American South and Southwest. Cook painted murals for the Public Works of Art Project in 1933 and the Treasury Departments Art Program in 1935. The latter project, completed in Pittsburgh, received a Gold Medal from the Architectural League of New York. One of his most acclaimed commissions was a mural in the San Antonio Post Office in 1937. He and Barbara Latham settled in Talpa, south of Taos, in 1938 and remained there for over three decades. Cook volunteered in World War II as an Artist War Correspondent for the US Navy, where he was deployed in the Pacific. In 1943 he was appointed Leader of a War Art Unit...

A 1933 lithograph on cream wove paper 14 x 18 inches (354 x 452mm), full margins. Signed, titled, and numbered 17/33 in pencil, lower margin. Minor mat tone around the perimeter of t...

A bucolic late 19th century image of upper Manhattan. New York: 1898. Lithograph on tissue-thin Japon paper with a deckle edge, 14 1/8 x 10 inches (357 x 252 mm), the full sheet. Tit...

The first edition to wear. The striking orange roughfiber work is brought to life by printing on high-quality satin silk and can be admired or worn....

44.5 x 29.25 ins (113 x 74.3 cms) Edition of 108 Signature:Signed "R. Motherwell" in pencil lower left Inscriptions:Numbered in pencil lower left; some impressions have artist's chop mark lower left Publisher:The Juilliard School...

Central Park Lithograph, 1955 Signed in pencil lower right (see photo) Published by Associated American Artists, NYC Edition: 250 Illustrated: AAA Cat. 1955-03, 1958-01 Reference: L....

A historic 1937 WPA-era lithograph by American modernist Archie Musick titled Prospector’s Cabin, depicting a rugged frontier scene centered on an isolated mining cabin set deep within a dense mountain landscape. The composition captures the stark atmosphere of the early American West, where weathered architecture, towering trees, and dramatic terrain create a sense of isolation, endurance, and narrative tension. Executed in black-and-white lithography, the work demonstrates Musick’s precise control of line, shadow, and spatial depth. The scene is built through layered tonal contrasts, with dense forestry framing the central cabin and a foreground that subtly reinforces the harshness and quiet stillness of frontier life. The overall effect is both documentary and symbolic, reflecting WPA-era interest in regional storytelling and American labor history. This American modernist print introduces texture, narrative depth, and architectural grounding into a space. It works particularly well in curated, neutral, or gallery-style interiors where monochrome works provide structure and visual weight without overwhelming color. Created in 1937 as part of the WPA-era printmaking movement, this original signed lithograph by Colorado artist Archie Musick reflects his broader involvement in New Deal art programs and American Regionalism, where depictions of frontier life were elevated into modernist visual language. Very good vintage condition with light toning consistent with age; a museum-quality WPA lithograph...

Louis Lozowick, 'Angry Skies (Andante Cantabile)', lithograph, 1935; edition 10, AAA 250; Flint 123. Signed in pencil. Signed in the stone, lower left. A fine, richly-inked impressio...

Howard Cook (1901-1980), Financial District, lithograph, 1931, signed and dated in pencil lower right and numbered 75 lower left. Reference: Duffy 155, from the stated edition of 75....

"Sexual Spring-like Winter" is a large painterly work, created with layers of pink and resin by the art and film world's favorite enfant terrible, Julian Schnabel. The artist and dir...