Missouri - Figurative Prints

Brittany Noriega Magnolia III (Matted) Laser transfer print on handmade paper Year: 2020 Size: 10x8in Signed by hand COA provided Ref.: 924802-1657 T...

Brittany Noriega Magnolia II on Pink (Matted) Laser transfer print on handmade paper Year: 2021 Size: 10x8in Signed by hand COA provided Ref.: 924802-...

Canyon Road, Santa Fe By. William Howard Shuster (American, 1893-1969) Signed Lower Right Edition of 100 Lower Center Titled Lower Left Unframed: 4" x 4.75" Framed: 15.75" x 15.25" A realist and early modernist painter, graphic artist, illustrator, and sculptor, Will Shuster became known primarily for his work in New Mexico where in 1920, he settled in Santa Fe, having been encouraged to come there by John Sloan. He had studied electrical engineering at the Drexel Institute in Philadelphia and later was a student of Sloan's in Santa Fe in both etching and painting. He was in World War I, where he suffered a gas attack. On his return, he studied with J William Server in Philadelphia but was advised to go West for his health. In Santa Fe in 1921, he became one of the founding members of Los Cinco Pintores...

Louise Marler You Are My Type Colorized Archival Pigment Print 2022 Size: 16x16in Edition: 25 Signed and numbered by hand Stamped COA provided Ref.: 924802-1411 Louise Marler’s photo-based Mixed Media art, is iconic visual vocabulary. Au-thentic style has led to exhibits, art collections and events which integrate his-tory, education, and entertainment. Raised in a family that collected, sold and repaired typewriters. These and other analog, vintage machines are part of her personal history and led naturally to becoming part of the subject matter of her visual expression. Louise Marleris inspired by Americana and also influenced by pop art and technology. “I developed my unique art style in a Santa Monica Airport (former mechanic) hanger turned art studio. I currently live and work in St. Louis where antique row meets the most progressive art culture, as well as Joshua Tree, California, where I created the first Type Inn.” Louise Marler’s work is featured in the documentary film, “The Typewriter in the 21st Century,” and TV shows including “Two and a Half Men,” “Curb Your Enthusiasm,” “The Mentalist,” “Criminal Minds,” “Jane the Virgin,” “Dear White People,” “Lucifer,” “Arrested Development,” “Love Victor, and “A Black Lady Sketch.” typewriter queen, la marler, typewriter art, typewriter artist, Typewriter, Typewriters midcentury, modern art, typewriter life, typewriter community, typewriter collection...

Brittany Noriega Anemone I Laser Transfer on Handmade Paper Year: 2021 Size: 9 x 6 inches Edition: 10 Signed by hand COA provided Ref.: 924802-1046 Tags: floral, print, drawing, pap...

Banksy (after) Visit Historic Palestine Color Offset Lithograph on fine paper Year: 2018 Dry Stamp, Embossed Logo in the lower Left Corner Siz...

Bareback Act, Old Hippodrome By Gifford Beal (1879-1956) Signed Lower Right Unframed: 6.5" x 9.5" Framed: 17.5" x 20" Gifford Beal, painter, etcher, muralist, and teacher, was born in New York City in 1879. The son of landscape painter William Reynolds Beal, Gifford Beal began studying at William Merritt Chase's Shinnecock School of Art (the first established school of plein air painting in America) at the age of thirteen, when he accompanied his older brother, Reynolds, to summer classes. He remained a pupil of Chase's for ten years also studying with him in New York City at the artist's private studio in the Tenth Street Studio Building. Later at his father's behest, he attended Princeton University from 1896 to 1900 while still continuing his lessons with Chase. Upon graduation from Princeton he took classes at the Art Students' League, studying with impressionist landscape painter Henry Ward Ranger and Boston academic painter Frank Vincent DuMond. He ended up as President of the Art Students League for fourteen years, "a distinction unsurpassed by any other artist." His student days were spent entirely in this country. "Given the opportunity to visit Paris en route to England in 1908, he chose to avoid it" he stated, "I didn't trust myself with the delightful life in ParisIt all sounded so fascinating and easy and loose." His subjects were predominately American, and it has been said stylistically "his art is completely American." Gifford achieved early recognition in the New York Art World. He became an associate member of the National Academy of Design in 1908 and was elected to full status of academician in 1914. He was known for garden parties, circuses, landscapes, streets, coasts, flowers and marines. This diversity in subject matter created "no typical or characteristic style to his work." Beal's style was highly influenced by Chase and Childe Hassam, a long time friend of the Beal family who used to travel "about the countryside with Beal in a car sketching...

RF ART Corona 3D-construction Year: 2021 Signed and numbered by hand Edition: 10 Size: 33.1 × 23.4 on 33.7 × 24.0 inches COA provided *Lead Time may vary bet...

RF ART Consume 3D-construction Year: 2021 Signed and numbered by hand Edition: 50 Size: 23.4 × 16.5 on 23.8 × 16.9 inches COA provided Rf Art is a Street Art...

Helicopters, Mountains, People (from The Valley Suite) by Keith Haring (1958-1990) Without Frame: 10" x 8.75" With Frame: 18.25" x 17.25" Signed and Dated Lower Right Edition 31/80 Lower Left "The Valley" is a group of etchings...

Figure and Fish (from The Valley Suite), 1989 by Keith Haring (1958-1990) Without Frame: 10" x 8.75" With Frame: 18.25" x 17.25" Signed and Dated Lower Right Edition 31/80 Lower Left "The Valley" is a group of etchings...

Signed Lower Right Numbered 61/200 Sight Size: 27.5 x 21.5 Framed Size: 31.5 x 24.5 Andre Masson was born in Balagne, France on January 4,1896. He was an engraver, sculptor, stage d...

Signed Lower Right Numbered Lower Left 166/200 Framed Size: 33 x 25 inches Andre Masson was born in Balagne, France on January 4, 1896. He was an engraver, sculptor, stage designer...

"Seascape" (Foot) 1967 Screenprinted Vacuum-Formed Plexiglass In Colors Scratch-Signed, Dated and Numbered 92/101 14 1/4 x 12 15/16 x 3/4 in (36.1 x 32.9 x 2 cm). Known for his Pop-...

Marc Chagall "Le Christ a l'Horloge, Paris" (Christ in the Clock) 1957 (M. 196) Color Lithograph on Arches Wove Paper Signed in Pencil "Marc Chagall" Lower Right Initialed "H.C." (Hors Commerce) Lower Left, aside from numbered edition of 90 *Floated in Gold Frame with Linen Matting, UV Plexiglass Sheet Size: 18 3/4 x 14 3/4 inches (47.5 cm x 38 cm) Image Size: 9 3/4 x 8 1/2 inches Framed Size: 28.5 x 24.25 inches Marc Chagall was a man of keen intelligence, a shrewd observer of the contemporary scene, with a great sympathy for human suffering. He was born on July 7, 1887 in Vitebsk, Russia; his original name was Moishe Shagal (Segal), but when he became a foremost member of the Ecole de Paris, he adopted French citizenship and the French spelling of his name. Vitebsk was a good-sized Russian town of over 60,000, not a shtetl. His father supported a wife and eight children as a worker in a herring-pickling plant. Sheltered by the Jewish commandment against graven images, the young Chagall never saw so much as a drawing until, one day, he watched a schoolmate copying a magazine illustration. He was ridiculed for his astonishment, but he began copying and improvising from magazines. Both Chagall's parents reluctantly agreed to let him study with Yehuda Pen, a Jewish artist in Vitebsk. Later, in 1906, they allowed their son to study in St. Petersburg, where he was exposed to Russian Iconography and folk art. At that time, Jews could leave the Pale only for business and employment and were required to carry a permit. Chagall, who was in St. Petersburg without a permit, was imprisoned briefly. His first wife, Bella Rosenfeld, was a product of a rich cultivated and intellectual group of Jews in Vitebsk. Chagall was made commissar for the arts for the area, charged with directing its cultural life and establishing an art school. Russian folklore, peasant life and landscapes persisted in his work all his life. In 1910 a rich patron, a lawyer named Vinaver, staked him to a crucial trip to Paris, where young artists were revolutionizing art. He also sent him a handsome allowance of 125 francs (in those days about $24) each month. Chagall rejected cubism, fauvism and futurism, but remained in Paris. He found a studio near Montparnasse in a famous twelve-sided wooden structure divided into wedge-shaped rooms. Chaim Soutine, a fellow Russian Jew, and Modigliani lived on the same floor. To Chagall's astonishment, he found himself heralded as one of the fathers of surrealism. In 1923, a delegation of Max Ernst, Paul Eluard and Gala (later Salvador Dali's wife) actually knelt before Chagall, begging him to join their ranks. He refused. To understand Chagall's work, it is necessary to know that he was born a Hasidic Jew, heir to mysticism and a world of the spirit, steeped in Jewish lore and reared in the Yiddish language. The Hasidim had a special feeling for animals, which they tried not to overburden. In the mysterious world of Kabbala and fantastic ancient legends of Chagall's youth, the imaginary was as important as the real. His extraordinary use of color also grew out of his dream world; he did not use color realistically, but for emotional effect and to serve the needs of his design. Most of his favorite themes, though superficially light and trivial, mask dark and somber thoughts. The circus he views as a mirror of life; the crucifixion as a tragic theme, used as a parallel to the historic Jewish condition, but he is perhaps best known for the rapturous lovers he painted all his life. His love of music is a theme that runs through his paintings. After a brief period in Berlin, Chagall, Bella and their young daughter, Ida, moved to Paris and in 1937 they assumed French citizenship. When France fell, Chagall accepted an invitation from the Museum of Modern Art to immigrate to the United States. He was arrested and imprisoned in Marseilles for a short time, but was still able to immigrate with his family. The Nazi onslaught caught Chagall in Vichy, France, preoccupied with his work. He was loath to leave; his friend Varian Fry rescued him from a police roundup of Jews in Marseille, and packed him, his family and 3500 lbs. of his art works on board a transatlantic ship. The day before he arrived in New York City, June 23, 1941, the Nazis attacked Russia. The United States provided a wartime haven and a climate of liberty for Chagall. In America he spent the war years designing large backdrops for the Ballet. Bella died suddenly in the United States of a viral infection in September 1944 while summering in upstate New York. He rushed her to a hospital in the Adirondacks, where, hampered by his fragmentary English, they were turned away with the excuse that the hour was too late. The next day she died. He waited for three years after the war before returning to France. With him went a slender married English girl, Virginia Haggard MacNeil; Chagall fell in love with her and they had a son, David. After seven years she ran off with an indigent photographer. It was an immense blow to Chagall's ego, but soon after, he met Valentine Brodsky, a Russian divorcee designing millinery in London (he called her Fava). She cared for him during the days of his immense fame and glory. They returned to France, to a home and studio in rustic Vence. Chagall loved the country and every day walked through the orchards, terraces, etc. before he went to work. Chagall died on March 28, 1985 in the south of France. His heirs negotiated an arrangement with the French state allowing them to pay most of their inheritance taxes in works of art. The heirs owed about $30 million to the French government; roughly $23 million of that amount was deemed payable in artworks. Chagall's daughter, Ida and his widow approved the arrangement. Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Sources: Hannah Grad Goodman in Homage to Chagall in Hadassah Magazine, June 1985 Jack Kroll in Newsweek, April 8, 1985 Andrea Jolles in National Jewish Monthly Magazine, May 1985 Michael Gibson...

Robert Rauschenberg "Untitled" 1973 Medium: Screenprint and collage in colors Printed and Published by Styria Studios, New York and with their blindstamp Signed and Numbered 71/100 Images Size: approx. 28 x 20 inches Framed Size: approx. 34 x 26 inches Born with the name Milton Rauschenberg in Port Arthur, Texas, Robert Rauschenberg became one of the major artists of his generation and is credited along with Jasper Johns of breaking the stronghold of Abstract Expressionism*. Rauschenberg was known for assemblage*, conceptualist methods, printmaking, and willingness to experiment with non-artistic materials--all innovations that anticipated later movements such as Pop Art*, Conceptualism*, and Minimalism*. In May, 1999, ARTNews magazine featured him as one of the top twenty-five influential western artists, stating: "His irreverent notions of what an artwork could be gained him the status of an enfant terrible. . .Rauschenberg pushed the viewer to accept the unexpected." He has said that he believes painting should relate to both life and art and that he wants is artwork to be the intermediary between the two. He received much formal art education beginning with the Kansas City Art Institute in 1947 and 1948. He studied briefly in Paris at the Academie Julian*, and from 1948 to 1949 was at Black Mountain College* in North Carolina with Josef and Anni Albers. This period was followed by several years attendance at the Art Students League* in New York City with Morris Kantor and Vaclav Vytlacil. In 1951, he exhibited all white and black paintings incorporating viewer participation through the shadows they cast on the works. At Black Mountain College, he had met composer, John Cage, and dancer- choreographer, Merce Cunningham, for whom he worked in his company as a designer, manager, and performer. Frequently he scoured the area in which they were performing for 'unusual' objects such as tires, old radios...

Elizabeth Catlett “Man” 1975 (The Print Club of Cleveland Publication Number 83, 2005) Woodcut and Color Linocut Printed in 2003 at JK Fine Art Editions Co., Union City, New Jersey Signed and Dated By The Artist Lower Right Titled Lower Left Ed. of 250 Image Size: approx 18 x 12 inches Elizabeth Catlett (1915-2012) is regarded as one of the most important women artists and African American artists of our time. She believed art could affect social change and that she should be an agent for that change: “I have always wanted my art to service black people—to reflect us, to relate to us, to stimulate us, to make us aware of our potential.” As an artist and an activist, Catlett highlighted the dignity and courage of motherhood, poverty, and the working class, returning again and again to the subject she understood best—African American women. The work below, entitled, “Man”, is "carved from a block of wood, chiseled like a relief. Catlett, a sculptor as well as a printmaker, carves figures out of wood, and so is extremely familiar with this material. For ‘Man’ she exploits the grain of the wood, allowing to to describe the texture of the skin and form vertical striations, almost scarring the image. Below this intense, three-dimensional visage parades seven boys, printed repetitively from a single linoleum block in a “rainbow roll” that changes from gold to brown. This row of brightly colored figures with bare feet, flat like a string of paper dolls, raise their arms toward the powerful depiction of the troubled man above.” Biography: Elizabeth Catlett (1915-2012) Known for abstract sculpture in bronze and marble as well as prints and paintings, particularly depicting the female figure, Elizabeth Catlett is unique for distilling African American, Native American, and Mexican art in her work. She is "considered by many to be the greatest American black sculptor". . .(Rubinstein 320) Catlett was born in Washington D.C. and later became a Mexican citizen, residing in Cuernavaca Morelos, Mexico. She spent the last 35 years of her life in Mexico. Her father, a math teacher at Tuskegee Institute in Alabama, died before she was born, but the family, including her working mother, lived in the relatively commodious home of his family in DC. Catlett received a Bachelor of Arts degree from Howard University, where there was much discussion about whether or not black artists should depict their own heritage or embrace European modernism. She earned a Master of Fine Arts degree in 1940 from the University of Iowa, where she had gone to study with Grant Wood, Regionalist* painter. His teaching dictum was "paint what you know best," and this advice set her on the path of dealing with her own background. She credits Wood with excellent teaching and deep concern for his students, but she had a problem during that time of taking classes from him because black students were not allowed housing in the University's dormitories. Following graduation in 1940, she became Chair of the Art Department at Dillard University in New Orleans. There she successfully lobbied for life classes with nude models, and gained museum admission to black students at a local museum that to that point, had banned their entrance. That same year, her painting Mother and Child, depicting African-American figures won her much recognition. From 1944 to 1946, she taught at the George Washington Carver School, an alternative community school in Harlem that provided instruction for working men and women of the city. From her experiences with these people, she did a series of paintings, prints, and sculptures with the theme "I Am a Negro Woman." In 1946, she received a Rosenwald Fellowship*, and she and her artist husband, Charles White, traveled to Mexico where she became interested in the Mexican working classes. In 1947, she settled permanently in Mexico where she, divorced from White, married artist Francisco Mora...

Will Barnet "The Dream" 2002 Color Lithograph on Somerset Velvet White Paper Signed and Titled Ed. 250 Will Barnet, Visionary Artist, Dies at 101 By KEN JOH...

After Norman Rockwell Reproduction print of "Barbershop Quartet" 1936 Lithograph Signed in Pencil Lower Right Numbered Lower Left 182/200 This i...

Norman Rockwell "Charwomen in Theater" 1946 Lithograph Signed in Pencil Lower Right Numbered Lower Left 160/200 Site Size: approx 26 x 20 inches Framed Size: approx. 34.5 x 28.5 inc...

Artist : Agent X Title : Nihyaku Mediums : Digital Print Date : 2019 Dimensions : 30 x 30 in. Agent X is an emerging artist who creates experimental multimedia collages and painti...

John William Hill (1812-1879) "Boston" 1857 Hand-Colored Engraving Site Size: 29 x 41 inches Framed Size: 39 x 52 inches Born in London, England, John William Hill came to America with his family at age 7. His father, John Hill, was a well-known landscape painter, engraver, and aquatintist. John William had a career of two phases, a city topographer-engraver and then, the leading pre-Rafaelite school painter in this country. Employed by the New York Geological Survey and then by Smith Brothers...

Rockwell Kent "Hail and Farewell" 1930 Wood Engraving on Paper Signed in Pencil Lower Right Sheet Size: 14 3/8 x 11 1/4 in. Image Size: 8 x 5 1/2 in. Framed Size: 17.5 x 13.5 in. Growing up in a genteel family in New York City, Rockwell Kent was a member of the rugged realist school of landscape painters as well as a popular illustrator and printmaker. His 1930 illustrations for Moby Dick are among his most lasting achievements. He was the first American artist to have work exhibited in the Soviet Union, a reflection of his Communist Party sympathies, which earned him the Lenin Peace Prize in 1967. This espousal of radical politics caused his career to suffer badly in the '50s because his leftist views caused him disdain among many Americans. However, his work, reflecting both realism and modernism, has earned increasing attention from American art historians. His subject matter is wide-ranging including scenes of Maine's Monhegan Island, the Adirondack Mountains, book illustrations, and commercial art renderings for companies including General Electric, Rolls Royce, and Westinghouse. Although his first love was painting, in addition to illustration, he also did fabric, ceramic, and jewelry designs, and spent time as a dairy farmer, carpenter, home builder, and lobster fisherman...

Wolfgang Petrick "Frauen" From Portfolio "Portrait #13 - Wolfgang Petrick " with Karin Szekessy Year: 1971 Medium: Color Lithograph Edition: 100 Size: 26.4 x 20.1 in. Publisher: Die...

Wolfgang Petrick "Hausfrauen" From Portfolio "Portrait #13 - Wolfgang Petrick " with Karin Szekessy Year: 1971 Medium: Color Lithograph Edition: 100 Size: 26.4 x 20.1 in. Publisher:...

Peter Paul Portfolio "Portrait #14 - Peter Paul" with Karin Szekessy 5 x Color Lithographs on Arches 3 x Phototypes (Lichtdrucke) Year: 1973 Edition: 80 (one sheet editioned 75) Size...

Paul Wunderlich (Partial) Portfolio "Twilight" with Karin Szekessy Year: 1971 Medium: 6 (six) x Lithographs Medium: 3 (three) x Phototypes (Lichtdrucke) Edition: 125 Size: 33 x 25 in...

Artist : Jolynn Reigeluth Title : These Are My Legs Materials : Etching, collage and watercolor Date : 2015 Dimensions : 18" x 13" in. Jolynn Reigeluth is an artist and freelance Gr...

Artist : Jolynn Reigeluth Title : The Charmers Materials : Etching, collage and watercolor Date : 2017 Dimensions : 20" x 15" in. Jolynn Reigeluth is an artist and freelance Graphic...

Artist : Jolynn Reigeluth Title : Forbidden Fruit: Adam Materials : Etching, collage and watercolor Date : 2018 Dimensions : 19" x 13" in. Jolynn Reig...

Artist : Jolynn Reigeluth Title : It's for the Birds Materials : Collagraph, collage and watercolor Date : 2019 Dimensions : 13" x 18" in. Jolynn Reigeluth is an artist and freelanc...

Artist : Jolynn Reigeluth Title : Woe to You Materials : Collagraph, collage and watercolor Date : 2018 Dimensions : 15" x 12" in. Jolynn Reigeluth is an artist and freelance Graphi...

Fritz Scholder (1937-2005) "Custer's Last Fight" Lithograph Ed. 54/75 Signed and Numbered Site Size: approx 22 x 30 inches Framed Size: approx. 35 x 41.5 inches Born in Breckenridge, Minnesota, Fritz Scholder became a prominent Indian portrait, figure, and genre painter in Arizona. His father was part Indian, and Fritz Scholder chose to focus his art work on this part of his lineage and to express both an appreciation and disdain for Indian customs, traditions, and daily existence. He studied at the University of Kansas, Wisconsin State University, and with Wayne Thiebaud at Sacramento College in California. He earned an Master of Fine Arts Degree from the University of Arizona. A long-time resident of Scottsdale, Arizona, he has filled a number of artist-in-residence positions including Dartmouth College and the Oklahoma Summer Arts Institute. In his work, he frequently showed the harsh, realistic side of Indians' lives and deaths including the affects of alcohol and other dissipations, but some of his depictions are humorous such as Indians on horseback carrying umbrellas. His brush-work is generally swift, and the tone often sombre and surreal. A major influence on his work was the contemporary British artist, Francis Bacon, from whom Scholder adapted ironic distortions into his canvases. In Scottsdale, he lived in an adobe-walled oasis of palm trees and oleander, amid skulls and skeletons. In the garden, several of Mr. Scholder's sculptures feature skull-like heads. In the library, an 18th-century skull engraved with witchcraft symbols shared shelf space with books printed before 1500. And the porch had been converted into a skull room, complete with Mexican Day of the Dead...

Patrick Procktor Title: Northern Lass Year: 1970 Medium: Lithograph on Arches paper Edition: 43/65 Signed in Pencil Size: 26 x 20 inches Publication: From portfolio Europaische Graph...

Patrick Procktor Title: Northern Lass Year: 1970 Medium: Lithograph on Japanese paper Edition: XXXV/XXXV Signed in Pencil Size: 26 x 20 inches Publication: From portfolio Europaische...

Derrick Greaves Title: Vase and Falling Petal Year: 1971 Medium: Lithograph on BFK Rives Edition: 65 Signed in Pencil Size: 20 x 26 inches Publication: From portfolio Europaische Graphik VII, Ed. A, published by Ketterer Derrick Greaves is one of the most eminent British painters of the last half century. Greaves initially gained acclaim in the 1950s, when he represented Britain at the Venice Biennale along with the other 'Kitchen-Sink' painters with whom he was associated: John Bratby...

Derrick Greaves Title: Vase and Falling Petal Year: 1971 Medium: Lithograph on BFK Japanese paper Edition: Edition A, XXXV/XXXV Signed in Pencil Size: 20 x 26 inches Publication: From portfolio Europaische Graphik VII, Ed. A, published by Ketterer Derrick Greaves is one of the most eminent British painters of the last half century. Greaves initially gained acclaim in the 1950s, when he represented Britain at the Venice Biennale along with the other 'Kitchen-Sink' painters with whom he was associated: John Bratby...

Ronnie Cutrone (1948-2013) "Bird's Eye View" c. 1980s Color Lithograph Ed. 222/250 Signed, Numbered and Titled Image Size: 17 x 23.5 inches Framed Size: approx. 24 x 30 inches. Ronnie Cutrone, a figurehead of the Pop and Post-Pop art scenes, was Andy Warhol's assistant at the Factory atop the Decker Building from 1972-1980, and worked closely with Roy Lichtenstein, combining stylistic elements of both. Cutrone's large-scale paintings of American cartoon icons, like Mickey Mouse, Felix the Cat, and Woody Woodpecker further reinvented kitsch and popular media in terms of fine art. Executed in fluorescent monochromatic colors with the finesse of mass-produced silkscreen and prints, Cutrone's works are the reverse of tromp-l'oeil; they use fine art media (watercolor, pastel, crayon - on high-quality paper) to celebrate, rather than hide, the artifice of their subjects. "Everything is cartoon for me", Cutrone is noted for saying, even "ancient manuscripts...

Dame Laura Knight (1877-1970) "The Circus Dressing Room" 1925 Aquatint Engraving Signed in Pencil Lower Right Image Size: approx 14 x 9 inches Framed Size: approx. 23.5 x 18.5 inche...

Gordan Hope Grant (1875-1962) "Work and Play" Lithograph Signed in Pencil Lower Right Image Size: 9 x 11.5 inches Framed Size: approx 18 x 20.5 inches Born in San Francisco, Gordon Grant is known for his etchings and paintings of marine subjects. He also painted portraits, streets, harbors, beaches and marines, and was an illustrator, whose work included pulp fiction* for Popular Detective magazine in the 1930s. Skilled with watercolor, Grant was honored many times by the American Watercolor Society*. Memberships included the Society of Illustrators*, Salmagundi Club*, Allied Artists of America*, New York Society of Painters, and American Federation of Artists*. At age 13, he was sent to Scotland for schooling, and the four-month sail around Cape Horn remained a permanent influence on his career. He studied art in Heatherly and at the Lambeth School of Art* in London, and then in 1895, he became a staff artist for the San Francisco Examiner. The next year, he took the same type of job for the New York World and covered the Boer War for Harper's Weekly. He also worked for Puck magazine...

Paul Gauguin (1848-1903) Joies de Bretagne (Kornfeld 7 B) zincograph, 1889, on simili Japon paper, from the second edition of circa 50 impressions, published by Ambroise Vollard afte...

Akio Takamori "Secret State Goddess" Monoprint, woodcut, gold paint Year: 1989 Signed by artist & dated "7/1989" *created at the Anderson Ranch Art Center Size: 39 x 21.5" Akio Takamori (1950 – January 11, 2017) was a Japanese-American ceramic sculptor and was a faculty member at the University of Washington. Akio Takamori’s evolution as an artist began as he worked with Ferguson to break free of the constraints of industrial pottery and find new ways to express himself in clay. Since those first years at the Kansas City Art Institute his work has changed greatly, but it has always been figurative, based on the human body and expressive of human emotion and sensuality. In the 1980s, Takamori worked innovatively with the vessel form and its structure, creating flat envelope shaped pots formed from slabs. Once the ceramic piece was finished, he would paint onto the surface adding details of the figures that he was representing. These figures often explored human relationships. His work in this format lasted about ten years. In the mid-1990s a visit to the European Ceramic Work Center in The Netherlands resulted in a shift from vessels back to an early interest in sculpture and the figure. Takamori created groupings of standing figural sculptures...

Pablo Picasso "Diurnes" (Femme Assise En Pyjama De Plage II) 1962 Linocut printed in ochre and brown, 1962, on Arches paper Inscribed "Epreuve D'Artist" (Artist Proof) lower left, as...

Lithograph and silkscreen, 1978 23 x 31 inches (image and sheet) 28 x 36 framed Signed, dated and numbered ed. 300 lower left Printed by Styria Studios Figurative* artist Larry Rive...

This is a fabulous etching from the "Geography" series of etchings, created in 1992. Signed Lower Right in Pencil Numbered Lower Left 29/60 Sheet Size: 28 x 25 inches Framed Size: ...

Signed in Pencil Lower Right Ed. 500 Circulated by Twayne Publishers, New York City Image Size: 16 x 12 3/8 Framed Size: 24 1/4 x 20 1/2 inches The legendary actor actor and musici...

Color Lithograph Signed and Dated Lower Right Numbered Lower Left 22/100 Image Size: approx. 23 x 29 inches Framed Size: approx. 31 x 37.5 inches

Lithograph on Arches Paper Pencil Signed Lower Right, "Marc Chagall" Numbered Lower Left Ed. 9/40, one of 40 impressions reserved for the artist aside from the standard signed editio...

Lithograph on Arches Paper Pencil Signed Lower Right, "Marc Chagall" Numbered Lower Left Ed. 51/100 Published by CH. SORLIER SIte Size: 19 x 12.5 Framed Size: approx 27.5 x 22.5

A mezzotint by Samuel Arlent Edwards after the 1439 oil on wood painting by the Early Netherlandish master Jan van Eyck, titled, Portrait of Margaret van Eyck. The print is signed to the lower right margin. The image depicts the van Eyck’s wife, clothed in a red robe lined in squirrel fur...

"Angel" 1979 Color Lithograph Ed. 15/70 Pencil Signed and Number Image: Approx. 25 x 20 Framed Size: 34 1/2 x 28 1/4

Publisher's Print Image Size: approx 24 x 30 inches Framed Size: approx 31 x 37 inches Known for his Civil War genre paintings, Mort Kunstler studied art at Brooklyn College, U.C.L.A., and Pratt Institute in Brooklyn. He became a successful illustrator in New York and received assignments including numerous book and magazine publishers. He was affiliated with the National Geographic Magazine, and through their assignments of historical subject matter, learned the value of accuracy by working with historians. He also did illustrations for The Saturday Evening Post, Newsweek, and Argosy. In the early 1970s, his work began attracting the attention of collectors. His first paintings were primarily Western subject matter, and from 1977 he has had nine one-man shows at the Hammer Gallery in New York City. In 1982, he had a commission from CBS to do a painting for the television mini series "Blue and Gray," and this activity directed his attention to the Civil War. A painting, The High Water Mark, was very correct in its details and was unveiled on July 2, 1988 at the Gettysburg National Military Park in celebration of the anniversary of the battle. He has also completed an official U.S. postal stamp commemorating the Buffalo Soldiers...

Aquating Engraving Image Size: Approx 19 x 15.5 Framed Size: Approx. 28.5 x 24.5 William Albert Ablett (1877 - 1937) Although born to English parents, William Ablett lived in Par...

Marino Marini "ll Teatro delle Maschere" 1973 Lithograph Signed and Numbered Ed. 25 Sheet Size: approx 27.5 x 39 inches Framed Size: approx 35 x 47 inches Marino Marini (February 27...