Marc Miller Original Signed Archival Photographic Print

Signed Photographic Print of the Washington Monument in Scaffolding a project designed by Architect Michael Graves. Signed on Verso Colin Winterbottom, Titled: Washington Monument wi...

Lithograph on wove paper. Signed on the plate lower right margin. L'Estampe Moderne's blind stamp on the bottom right corner.

Made for the Orphelins d'Auteuil, sole legatees of the work of Marie Laurencin 123/250 on Arches Vellum Paper

RARE French 17th-18th Century Enhanced Siege of Graves Mapping Engraving BY William III, also widely known as William of Orange, The Siege of Grave in Dutch Brabant started by Monsie...

Leonardo Nierman signed original Painting. This is an excellent example of the type of work that Nierman is known for. Acrylic on Masonite, signed lower left, inscribed to verso and...

Stunning Signed, Lowell Nesbitt Paper Collage and Hand Painting, 1981 Lowell Blair Nesbitt (October 4, 1933 - July 8, 1993) was an American painter, draughtsman, printmaker, and sculptor. He served as the official artist for the NASA Apollo 9, and Apollo 13 space missions; in 1976 the United States Navy commissioned him to paint a mural in the administration building on Treasure Island spanning 26 feet x 251 feet, then the largest mural in the United States; and in 1980 the United States Postal Service honored Lowell Nesbitt by issuing four postage stamps depicting his paintings. In 1958 the Baltimore Museum of Art hosted the first solo museum exhibit that Nesbitt was to have in his lengthy career, but it was in 1964 with his debut at the Corcoran Gallery of Art (Museum) in Washington, D.C. that Nesbitt received greater recognition. The array of botanical works most likely would not have been created had it had not been for the beckoning of fellow artist Robert Indiana, who, in 1962, after viewing some of Lowell Nesbitt's abstract paintings drawings and prints, suggested that he attempt to make a conversion from the abstraction which Nesbitt’s career had been focused on pre-1962, to the style of realism. Museum and government collections Lowell Nesbitt’s artwork is owned by hundreds of public collections worldwide. Those collections include, American Embassy art program; The Art Institute of Chicago, Illinois; David Geffen Hall, Lincoln Center, New York, New York; Baltimore Museum of Art, Maryland; Butler Institute of American Art, Youngstown, Ohio; Castle Gandolfo, Rome, Collection of the Vatican Museums; Cleveland Museum of Art, Ohio; Corcoran Gallery of Art, Washington, D.C. (transferred to the National Gallery of Art, Washington D.C.); Dallas Museum of Art, Dallas, Texas; Detroit Institute of Arts, Detroit, Michigan; Ulrich Museum, Wichita State University, Kansas; United States Environmental Protection Agency, Washington, D.C.; Federal Reserve Bank, Baltimore, Maryland; Federal Reserve Bank of Richmond, Virginia; Harvard Art Museums, Harvard University, Cambridge, Mass; Modern Art Museum of Fort Worth, Texas; Goucher College, Baltimore, Maryland; High Museum of Art, Atlanta, Georgia; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.; Hunt Institute for Botanical Documentation, Canegie-Mellon University, Pittsburgh, Pennsylvania; International Monetary Fund, Washington, D.C.; Israel Museum, Jerusalem; John and Mable Ringling Museum of Art, Sarasota, Florida; Museum of Contemporary Art San Diego, La Jolla, California; Library of Congress, Washington, D.C.; Orlando Museum of Art, Florida; Massachusetts Institute of Technology, Boston; Memorial Art Gallery, University of Rochester, New York; Miami-Dade Public Library System, Miami, Florida; Milwaukee Art Museum, Wisconsin; Morris Museum of Art, Morristown, New Jersey; Museum of Modern Art, New York; National Aeronautics and Space Administration, Washington, D.C.; National Gallery of Art, Washington D.C.; American Art Museum, The Smithsonian Institution, Washington, D.C.; Te Papa, Wellington, New Zealand; New York City Center, New York; Oberlin College, Ohio; Oklahoma City Museum of Art, Tulsa; Parrish Art Museum, Southampton, New York; Ludwig Forum für Internationale Kunst, Germany; Philadelphia Museum of Art, Pennsylvania; The Phillips Collection, Washington, D.C.; Centre national des arts plastiques, Paris, France; Renwick Gallery, Smithsonian Institution, Washington D.C.; Saginaw Art Museum, Saginaw, Michigan; San Antonio Museum of Art, Texas; SEB Group, Goteborg, Sweden; Temple University, Philadelphia, Pennsylvania; Thyssen-Bornemisza Museum; Tucson Museum of Art, Arizona; Twelfth Naval District, Treasure Island Museum, San Francisco, CA; United States Department of the Interior, Washington, D.C.; University of Maryland, College Park, Maryland; University of North Texas, Denton, Texas; University of Virginia, Charlottesville; Washington and Lee University, Lexington, Virginia; Worcester Art Museum, Worcester, Massachusetts; and Yale University Art Gallery, Yale University, New Haven, CT.[10] Nesbitt was often classified as a Photorealist artist, though he fought inclusion with this group of artists throughout his career. Nesbitt established himself as an artist who could employ both diversity of technique and subject matter while creating paintings, drawings and prints using studio interiors, articles of clothing, piles of shoes, x-ray figures (Nesbitt was the first highly recognized artist to use this subject matter since the artists of the New Zealand region unknowingly painted "x-ray style" figures at the early portion of the last millennium), caverns, ruins, landscapes, flowers, groupings of fruits and vegetables, and electronic components (he is credited for being the first artist to use computer parts as subject matter for his artwork). He also used his pet dogs in addition to birds, reptiles, various mammals and the Neoclassical facades of SoHo's 19th century cast-iron buildings and several of Manhattan's major bridges, in addition to a number of series in which he incorporated numerous Victorian staircases...

Early silver gelatin photographic print of the sailing yacht Venessa sailing in the Solent, flying the white ensign of the Royal Yacht Squadron, by Kirk ...

"The Vanishing Race" is perhaps the most iconic and sought-after photographic print by renowned American artist Edward S. Curtis who was famed for h...

Print from "Le Monde des Echecs" Serie No. 1. by Edition L'Echiquier, 1933. V. Halberstadt and M. Duchamp photomontage by Man Ray. Portfolio of famous chess players and chess book...

Early silver gelatin Photographic print the Steam yacht Cressida at anchor in the Solent, By Kirk and Sons Cowes. Embossed crown stamp by Appointment, to the right hand side. William Umpleby Kirk (Kirk and Sons) A photographer of the late Victorian era. Born in Hull and grew up nearby where, in the early 1870s, he set up his first photographic studio. His early work has survived and are collected. In 1881 Kirk movies to Cowes, Isle of Wight. Cowes at the time was the centre of yachting internationally. A sport of royalty and the rich and privileged. At Cowes boats and yachts were raced, bought, sold and of course shown off. Kirk photographed the boats and their owners. He specialised in Marine photography, in portraiture e.g a copy of Kirk’s photograph of The Marquis of Ormonde is held in the British National Archives at Kew. He also photographed groups at house parties, tutor groups and sports teams of Naval Cadets at Osborne Naval College. His photographs of the sumptuous interiors of large yachts remain to record that era. Kirk’s reputation grew when he photographed Queen Victoria’s yacht, HMY Alberta at a speed of 10 knots entering Cowes Harbour; this is said to be one of the first British photographs of a vessel in motion. (citation needed) and to have earned him the Royal Warrant to Queen Victoria. Photographs by Kirk of the yachts Bona and Ailsa, for example, were sold by auction at Christie’s, New York. Exhibitions: Lapada 2018 A collection of Kirk’s work is held by the Isle of Wight County Council and is reviewed by Ian Dear. An extensive, but as yet uncatalogued collection of Kirk’s original 8' x 10' glass plates is held by the Gallery, Classic Boat...

No.148 of the collection of plates published by Kleynenberg & Co. Each plate includes a title and number. This plate is titled ‘Tabak. Gekap...

No. 41 of the collection of plates published by Kleynenberg & Co. Each plate includes a title and number. This plate is titled ‘Riet-Transpo...