American Modern Prints and Multiples

A contemporary photograph of a MODONNA "LIKE A VIRGIN" cassette tape. This is s the first release in the much anticipated series "The Music" by pop Artists Destro These iconic tapes ...

Offset lithograph poster featuring Mark Rothko’s No. 37, a powerful example of his signature exploration of color, form, and emotional depth. The artwork is framed in a black wood fr...

Silkscreen poster featuring Helen Frankenthaler’s Sesame, showcasing her expressive use of color and fluid form that helped define postwar American abstraction. The artwork is presen...

"Newman" is an acrylic photomosaic artwork by Destro. The first release in a series mosaic works called "Icons". Destro has created large prints which are made up of many hundreds o...

"TRIPLE ELVIS BY ANDY WARHOL" is a photomosaic artwork by Destro. Destro has created large prints which are made up of many hundreds of smaller images. Archival photographic paper ...

Offset lithograph poster featuring Mark Rothko’s Untitled (1950), exemplifying the artist’s iconic color field style and emotive abstraction. The piece is framed in a black wood fram...

Poster advertising the National Gallery of Art, Washington, featuring Mark Rothko’s Blue, Green and Brown. Presented in a refined black wood frame with a 3/4-inch front profile and a...

Poster advertising the National Gallery of Art, Washington, featuring Mark Rothko’s Pink, Black, Orange (1953). This iconic work showcases Rothko's signature use of color and depth, ...

"The VHS" by pop Artist Destro. We all remember those iconic nights at the video store. Pop artist DESTRO once again encapsulates one of our favorite past times in a fine art con...

Jean-Michel Basquiat (1960-1988) Crowned T-Rex, 1997 Lithograph Printed signature in the plate On paper 76 x 56 cm (c. 29.9 x 22 in) Published by Galerie Enrico Navarra Authentica...

This exquisite halftone print after Alfred Stieglitz (1864–1946), titled Hands, Dorothy Norman, originates from the 1947 folio Stieglitz Memorial Portfolio, 1864–1946. Published by T...

Jean-Michel Basquiat (1960-1988) Welcoming Jeers, 1997 Lithograph Printed signature in the plate On Arches vellum 76 x 56 cm (c. 29.9 x 22 in) Published by Galerie Enrico Navarra ...

"Brando" is a photomosaic artwork by Destro. Exhibition Poster from series "The ICONS" The first release in a series mosaic works called "Icons". Destro has created large prints w...

Original Moulin Rouge - Striking small-format vintage poster by Rene Gruau. Archival linen-backed and in excellent condition, ready to frame. Bright, vibrant colors. Grade A. Celebrate the electric allure of Parisian nightlife with this authentic René Gruau poster made for the Moulin Rouge. In flowing ribbons of red and a bold splash of inky black, Gruau captures the can-can's motion in a memorable silhouette. Elegant, striking, and unmistakably Paris, this piece makes a perfect addition to any collection of fashion, advertising, or mid-century graphic art. The legendary Moulin Rouge poster...

Elwood Warren Bartlett is a Wisconsin native who also worked in Indiana. Largely self taught as a printmaker, Bartlett worked in a style that once identified as his, immediately t...

Thomas Hart Benton (American, 1889 - 1975) was a painter, muralist, and printmaker whose sinuous, rhythmic style came to define the Regionalist movement. His paintings and lithograph...

1926. Etching in sepia ink on Japon paper, 9 5/8 x 11 1/2 inches (245 x 292 mm), full margins with the lower margin slightly notched. Signed, titled and dated in pencil in the lower ...

Original 1964 Los Angeles, California vintage travel poster. Professionally archivally linen-backed in mint condition. This is one of four ...

Night Shadows. 1921. Etching. Levin 82. 7 x 8 3/8 (sheet 10 x 13 7 1/16).s Series: Six American Etchings: The New Republic Portfolio, 1924. Edition approximately 500-600. Illustrate...

Dale Nichols, 'Partners', lithograph, edition 250, 1950. Signed in pencil. A fine, richly-inked impression, on cream wove paper; the full sheet with margins (7/8 to 1 5/8 inches); tw...

R2D2 from the original Kenner release of the Star Wars toys in May of 1977 This is pre release is the first release in the much anticipated series "The Toys" "They encapsulate an era...

The Original Coppertone Italian suntan lotion vintage poster is in small format. It is backed with archival linen and is in Grade A condition. It is ready to frame. Step Back in Time, One Tan at a Time! Elevate your space with a piece of pop culture history! This original Coppertone vintage...

IVER ROSE (1899-1972) BREAD LINE ca. 1935 Lithograph, signed, titled and no. 22/85 in pencil. Image 15” x 17 3/8. Large margins, sheet 18 x 22”. Generally good condition. Some slig...

Julio LE PARC (1928-) Diffraction (Transformation), 1988 Original lithograph, airbrush and stencil Signed in ink Numbered / 100 copies On black wove paper, 56 x 38 cm (c. 22 x 15 in...

Original “Never So Few” vintage linen-backed movie poster, NSS 59/348. Very clean and bright, with original theater-issued fold marks touched up. Grade A-. Ready to frame. Nev...

Edward Landon 'River View, color serigraph, 1942, edition 50, Ryan 159. Signed in pencil in the image, lower right. Titled, dated, and annotated '9 COLORS – 50 PRINTS' in the screen,...

A contemporary photograph of a NOTORIOUS B.I.G. "LIFE AFTER DEATH" cassette tape. This is s the first release in the much anticipated series "The Music" by pop Artists Destro These ...

Original Stan Galli "Pacific Northwest" United Air Lines Vintage Poster – Stunning Mid-Century Travel Art. Archival linen backed in excellent condition, ready to frame. Grade A. ...

David HOCKNEY Pool Diver, 1972 Original lithograph Signature printed in the plate On paper 101 x 64 cm (c. 40 x 26 inch) Made for the Olympic Games in Munich, 1972 REFERENCES : Bri...

Gustave Baumann, 'Taos Placita', color woodcut, 1947, edition 125. Baumann 132. Signed, titled, and numbered '20-125' in pencil; with the artist’s Hand-in-Heart chop. A superb, richly-inked impression, with fresh colors, on fibrous oatmeal wove paper; the full sheet with margins (2 to 3 1/8 inches); slight rippling at the left sheet edge, in excellent condition. Matted to museum standards, unframed. Image size 9 5/8 x 11 1/4 inches (244 x 286 mm); sheet size 13 1/4 x 17 inches (337 x 432 mm). Collections: Harwood Museum of Art, New Mexico Museum of Art, Phoenix Art Museum, Scottsdale Art Museum, Wichita Art Museum. ABOUT THE ARTIST Gustave Baumann (1881-1971) was a renowned printmaker and a leading figure of the American color woodcut revival whose exquisite craftsmanship and vibrant imagery captured the essence of the Southwest. "A brilliant printmaker, Baumann brought to the medium a full mastery of the craft of woodworking that he acquired from his father, a German cabinetmaker. This craftsmanship was coupled with a strong artistic training that resulted in the handsome objects we see in the exhibition today. After discovering New Mexico in 1918, Baumann began to explore in his woodblock prints of this period the light. color, and architectural forms of that landscape. His prints of this period are among the most beautiful and poetic images of the American West." —Lewis I. Sharp, Director, Denver Art Museum Baumann, the son of a craftsman, immigrated to the United States from Germany with his family when he was ten, settling in Chicago. From 1897 to 1904, he studied in the evenings at the Art Institute of Chicago, working in a commercial printmaking shop during the day. In 1905, he returned to Germany to attend the Kunstwerbe Schule in Munich, where he decided on a career in printmaking. He returned to Chicago in 1906 and worked for a few years as a graphic designer of labels. Baumann made his first prints in 1909 and exhibited them at the Art Institute of Chicago the following year. In 1910, he moved to the artists’ colony in Nashville, Indiana, where he explored the creative and commercial possibilities of a career as a printmaker. In 1915, he exhibited his color woodcuts at the Panama-Pacific International Exposition in San Francisco, winning the gold medal. Among Baumann’s ongoing commercial activities was his work for the Packard Motor Car Company from 1914 to 1920 where he produced designs, illustrations, and color woodcuts until 1923. In 1919, Baumann’s printmaking work dominated the important exhibition of American color woodcuts at the Detroit Institute of Arts. Twenty-six of his prints were included, far more than the works of any other artist. A set of his blocks, a preparatory drawing, and seven progressive proofs complemented the exhibition. That same year, Baumann worked in New York and, over the summer, in Provincetown, Massachusetts. His airy images of Cape Cod employed soft, pastel colors and occasionally showed the influence of the white-line woodcut technique. Many of his Chicago artist friends had traveled to the southwest, and Baumann became intrigued by their paintings, souvenirs, and stories of an exotic place named Taos, New Mexico. In the summer of 1918, he spent the summer in Taos sketching and painting before visiting Santa Fe. Paul Walter, the director of the Museum of New Mexico, offered him a studio in the museum's basement. Inspired by the rugged beauty of the Southwest—the vibrant colors and dramatic landscapes of the region became a central theme in his work, influencing his artistic style and subject matter for the remainder of his career. Later in the decade, he traveled to the West Coast and made prints of California landscape. Baumann's prints became synonymous with the Southwest, capturing the spirit of its place in America's identity with a unique sense of authenticity and reverence. His iconic images of desert vistas, pueblo villages, and indigenous cultures served as visual tributes to the region's rich cultural heritage, earning him a dedicated following among collectors and curators alike. A true craftsman and artist, Baumann completed every step of the printmaking process himself, cutting each block, mixing the inks, and printing every impression on the handmade paper he selected. His dedication to true craftsmanship and his commitment to preserving the integrity of his artistic vision earned him widespread acclaim and recognition within the art world. About the vibrant colors he produced, Baumann stated, “A knowledge of color needs to be acquired since they don’t all behave the same way when ground or mixed...careful chemistry goes into the making of colors, with meticulous testing for permanence. While complicated formulae evolve new colors, those derived from Earth and metal bases are still the most reliable.” In the 1930s, Baumann became interested in puppet theater. He designed and carved his own marionettes and established a little traveling company. From 1943 to 1945, the artist carved an altarpiece for the Episcopal Church of the Holy Faith in Santa Fe. In 1952, a retrospective exhibition of his prints was mounted at the New Mexico Museum of Fine Arts. Throughout his prolific career, Baumann executed nearly four hundred color woodcuts. Baumann’s woodcuts...

This image is from an exclusive edition published by Stone + Press in 1994 in an edition of 100. This impression is #98. It brings to mind the Robert Frost poem, Stopping by Woods on a Snowy Evening. The woods are lovely, dark and deep, But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep. Mary Teichman...

Bernard CATHELIN Nude with Bouquet of Flowers Original stone lithograph Signed in pencil Numbered / 75 ex With dedication to the painter Guy Bardone On Arches vellum 39 x 31 cm (c. 16 x 12 in) REFERENCES : Catalog raisonne Cathelin lithographs...

The Artist's Christmas homage to the attack on the twin towers with reindeer atop the buildings. Carol Wax originally trained to be a classical musician at the Manhattan School of Music but fell in love with printmaking. Soon after she began engraving mezzotints she was asked by the renowned print dealer Sylvan Cole to exhibit at Associated American Artists Gallery, launching her career as a professional artist/printmaker. With the publication of her book, The Mezzotint: History and Technique, published by Abrams, 1990 and 1996, Carol added author and teacher to her credits. In the ensuing years she has expanded her repertoire of mediums beyond printmaking into other works on paper and painting. In compositions reflecting an appreciation for antiquated machinery and vintage textiles, Wax creates imagery that, in her own words, “… speaks to an inner life perceived in inanimate objects.” She uses stylization and imagination to reinvent subjects, transforming an ordinary typewriter into a monumental icon...

Alexandre Calder (1898 - 1976) Tribute to the Victims, 1967 Lithograph on offset background (Arte atelier) Printed signature in the plate On paper 75 x 44.5 cm (c. 29.5 x 17.3 inch) Original vintage poster INFORMATION: Published by Maeght on the occasion of the artist's exhibition "Pour le Viet Nam...

Fly Fishing, Saranac Lake. 1889. Etching, aquatint and burnishing. Goodrich 104. 14 1/4 x 20 5/8; sheet 18 1/2 x 24 1/2. Edition unknown but quite possibl...

'Riders at Sundown', aquatint and drypoint, edition 75, 1953, Kloss 451. Signed, titled, and annotated 'Artist's Proof' in pencil. A superb, richly-inked, atmospheric impression, in ...

Original “Coppertone” Colore di Rame vintage Italian poster. Colore de Rame translates into the color of copper. Abbronzatevi! (suntan) Non bruciatevi! (don’t burn) Archival linen-backed in fine condition, ready to frame. This original Coppertone poster is in A condition. The background in the poster is a brighter yellow; after all, it is a sunny day, and you need suntan lotion! Coppertone is an American suntan cream. Interestingly, the American poster of this famous little girl and dog...

Original Swiss poster: Apollo Stumpen Cigars. Johannes Handschin created this Swiss poster. Swiss size of 35" x 49". Professional acid-free archival linen backed, ready to frame. The colors are vibrant and intense. Great colors. Rare original Swiss (Switzerland) vintage poster. This is the rarer large format, the rarest version of the poster. The small format is 20 x 27, about 1/2 the size. There is a flaw in the lower section of the man’s covering, the lower left of his chin. Shown in images. Switzerland was known for some of the better printing of their posters and the use of more expensive inks, thus richer colors in the posters that survive today. This art deco-style cigar poster...

This artwork titled "Baden Baden, Casino" 1988 is an original color serigraph by noted American artist LeRoy Neiman, 1921-2012. It is hand signed and numbered 261/375 in pencil by the artist. The image size is 36 x 42 inches, sheet size is 42 x 48 inches. With the blind stamp of the printer Styria Studio at the lower left corner margin. It is in excellent condition, three small pieces of hanging tape remain on the back. About the artist: Mr. Neiman's kinetic, quickly executed paintings and drawings, many of them published in Playboy, offered his fans gaudily colored visual reports on heavyweight boxing matches, Super Bowl games and Olympic contests, as well as social panoramas like the horse races at Deauville, France, and the Cannes Film Festival. Quite consciously, he cast himself in the mold of French Impressionists like Toulouse-Lautrec, Renoir and Degas, chroniclers of public life who found rich social material at racetracks, dance halls and cafes. Mr. Neiman often painted or sketched on live television. With the camera recording his progress at the sketchpad or easel, he interpreted the drama of Olympic Games and Super Bowls for an audience of millions. When Bobby Fischer and Boris Spassky faced off in Reykjavik, Iceland, to decide the world chess championship, Mr. Neiman was there, sketching. He was on hand to capture Federico Fellini directing "8 ½" and the Kirov Ballet performing in the Soviet Union. In popularity, Mr. Neiman rivaled American favorites like Norman Rockwell, Grandma Moses and Andrew Wyeth. A prolific one-man industry, he generated hundreds of paintings, drawings, watercolors, limited-edition serigraph prints and coffee-table books yearly, earning gross annual revenue in the tens of millions of dollars. Although he exhibited constantly and his work was included in the collections of dozens of museums around the world, critical respect eluded him. Mainstream art critics either ignored him completely or, if forced to consider his work, dismissed it with contempt as garish and superficial — magazine illustration with pretensions. Mr. Neiman professed not to care. Maybe the critics are right," he told American Artist magazine in 1995. "But what am I supposed to do about it — stop painting, change my work completely? I go back into the studio, and there I am at the easel again. I enjoy what I'm doing and feel good working. Other thoughts are just crowded out." His image suggested an artist well beyond the reach of criticism. A dandy and bon vivant, he cut an arresting figure with his luxuriant ear-to-ear mustache, white suits, flashy hats and Cuban cigars. "He quite intentionally invented himself as a flamboyant artist not unlike Salvador Dalí, in much the same way that I became Mr. Playboy in the late '50s," Hugh Hefner told Cigar Aficionado magazine in 1995. LeRoy Runquist was born on June 8, 1921, in St. Paul. His father, a railroad worker, deserted the family when LeRoy was quite young, and the boy took the surname of his stepfather. He showed a flair for art at an early age. While attending a local Roman Catholic school, he impressed schoolmates by drawing ink tattoos on their arms during recess. As a teenager, he earned money doing illustrations for local grocery stores. "I'd sketch a turkey, a cow, a fish, with the prices," he told Cigar Aficionado. "And then I had the good sense to draw the guy who owned the store. This gave me tremendous power as a kid." After being drafted into the Army in 1942, he served as a cook in the European theater but in his spare time painted risqué murals on the walls of kitchens and mess halls. The Army's Special Services Division, recognizing his talent, put him to work painting stage sets for Red Cross shows when he was stationed in Germany after the war. On leaving the military, he studied briefly at the St. Paul School of Art (now the Minnesota Museum of American Art) before enrolling in the School of the Art Institute of Chicago, where, after four years of study, he taught figure drawing and fashion illustration throughout the 1950s. When the janitor of the apartment building next door to his threw out half-empty cans of enamel house paint, Mr. Neiman found his métier. Experimenting with the new medium, he embraced a rapid style of applying paint to canvas imposed by the free-flowing quality of the house paint. While doing freelance fashion illustration for the Carson Pirie Scott department store in Chicago in the early 1950s, he became friendly with Mr. Hefner, a copywriter there who was on the verge of publishing the first issue of a men's magazine. In 1954, after five issues of Playboy had appeared, Mr. Neiman ran into Mr. Hefner and invited him to his apartment to see his paintings of boxers, strip clubs and restaurants. Mr. Hefner, impressed, showed the work to Playboy's art director, Art Paul, who commissioned an illustration for "Black Country," a story by Charles Beaumont about a jazz musician. Thus began a relationship that endured for more than half a century and established Mr. Neiman's reputation. In 1955, when Mr. Hefner decided that the party-jokes page needed visual interest, Mr. Neiman came up with the Femlin, a curvaceous brunette who cavorted across the page in thigh-high stockings, high-heeled shoes, opera gloves and nothing else. She appeared in every issue of the magazine thereafter. Three years later, Mr. Neiman devised a running feature, "Man at His Leisure." For the next 15 years, he went on assignment to glamour spots around the world, sending back visual reports on subjects as varied as the races at Royal Ascot, the dining room of the Tour d'Argent in Paris, the nude beaches of the Dalmatian coast, the running of the bulls at Pamplona and Carnaby Street in swinging London. He later produced more than 100 paintings and 2 murals for 18 of the Playboy clubs that opened around the world. "Playboy made the good life a reality for me and made it the subject matter of my paintings — not affluence and luxury as such, but joie de vivre itself," Mr. Neiman told V.I.P. magazine in 1962. Working in the same copywriting department at Carson Pirie Scott as Mr. Hefner was Janet Byrne, a student at the Art Institute. She and Mr. Neiman married in 1957. She survives him. A prolific artist, he generated dozens of paintings each year that routinely commanded five-figure prices. When Christie's auctioned off the Playboy archives in 2003, his 1969 painting Man at His Leisure: Le Mans sold for $107,550. Sales of the signed, limited-edition print versions of his paintings, published in editions of 250 to 500, became a lucrative business in itself after Knoedler Publishing, a wholesale operation, was created in 1975 to publish and distribute his serigraphs, etchings, books and posters. Mr. Neiman's most famous images came from the world of sports. His long association with the Olympics began with the Winter Games in Squaw Valley in 1960, and he went on to cover the games, on live television, in Munich in 1972, Montreal in 1976, Lake Placid in 1980, and Sarajevo and Los Angeles in 1984, using watercolor, ink or felt-tip marker to produce images with the dispatch of a courtroom sketch artist. At the 1978 and 1979 Super Bowls, he used a computerized electronic pen to portray the action for CBS. Although he was best known for scenes filled with people and incident, he also painted many portraits. Athletes predominated, with Muhammad Ali and Joe Namath among his more famous subjects, but he also painted Leonard Bernstein, the ballet dancer Suzanne Farrell...

Original movie poster, Linen-backed original Indiana Jones and the Temple of Doom pre-release. "Coming May 23rd, 1984. Indiana Jones and the Temple of Doom, the 1984 Steven Spielberg treasure-hunting action-adventure fantasy sequel ("If adventure has a name... It must be Indiana Jones."; "Trust him." Starring: Harrison Ford, Kate Capshaw, Jonathan Ke Quan, Amrish Puri, Roshan Seth, Philip Stone...

Norman Rockwell (American, 1894-1978) Bottom of The Sixth Original painting produced 1948, authorized postumous estate print produced 2005 Seriolithograph Sight: 20 1/4 x 19 in. Fram...

A modernist fantasy winter scene created by Werner Drewes, this print brings key aspects of the period together. His cubist-inspired woodcut technique is utilized here to bring the s...

Sam FRANCIS Color explosion, 1992 Original lithograph Unsigned On Arches vellum 86.5 x 29.5 cm Numbered on the back Authenticated by Moulot blind stamp INFORMATION : Edited by Gale...

"Rocky" is an acrylic photomosaic artwork by Destro. The first release in a series mosaic works called "Icons". Destro has created large prints which are made up of many hundreds of...

A superb, dark impression of a well known scene by Arms. Etching with aquatint on watermarked handmade F.J. Head & Co. laid paper, 12 3/8 x 13 15/16 inches (315 x 354 mm), full marg...

"The Little One" - Figurative Lithograph in Ink on Paper Bold lithograph by Eugene Hawkins (American, b. 1933). A young child is kneeling, facing away ...

Bernard BUFFET New York : Statue of Liberty, 1986 Original lithograph Handsigned in pencil Justified EA (artist proof) On Arches vellum 76 x 58 cm (c. 30 x 22 inch) REFRENCES : Catalogue raisonne Bernard Buffet lithograph...

'Lot Cleaning, Los Angeles', wood engraving, edition 60, Zeitlin & Ver Brugge 69. Signed, titled and numbered '51/60' in pencil. A brilliant, black impression, on Kitakata Japan pape...

Edward Hopper's "First Row Orchestra," originally painted in 1951, captures the quiet anticipation of theatergoers seated in the front row, awaiting a performance. In 1997, Achenbach...

Title: Original 1943 WWII Propaganda Poster - "Americans Will Always Fight for Liberty" - Authentic U.S. Government Issue. Archival linen-backed with the original US Government-issue...

Etching with drypoint on cream wove paper with deckle edges, 4 3/8 x 12 3/4 inches (233 x 323 mm); sheet 9 1/2 x 15 3/4 inches (240 x 338 mm), full margins. Signed and numbered 4/75 ...

Etching on antique cream laid paper with a deckle edge, 9 1/8 x 9 3/4 inches (232 x 248 mm); sheet 12 1/8 x 12 3/4 inches (307 x 323 mm), full margins. Signed and dated in pencil in ...

A contemporary photograph of 2Pacs iconic "All eyez on me" cassette tape. This is s the first release in the much anticipated series "The Music" by pop Artists Destro These iconic ta...

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...

Rockwell Kent, 'The Bather', wood engraving, 1931, edition 120, Burne Jones 63. Signed in pencil. A brilliant, black impression, on cream, wove Japan paper; the full sheet with margins (2 1/2 to 3 1/4 inches); slight skinning at the top sheet edge, verso, otherwise in excellent condition. Archivally matted to museum standards, unframed. Image size 5 3/8 x 7 7/8 inches (137 x 200 mm); sheet size 11 1/8 x 14 1/2 inches (283 x 368 mm). Impressions of this work are held in the following public collections: Burne Jones Collection (Illinois), Chazen Museum of Art, Chegodaev Collection (Moscow), Kent Collection (New York), National Gallery of Art, Philadelphia Museum of Art; SUNY Plattsburg Art Museum, Princeton University Library, Pushkin Museum (Moscow), Smithsonian American Art Museum, Spector Collection (New York), University of Illinois. ABOUT THE ARTIST Rockwell Kent (1882-1971), though best known as a painter, graphic artist, and illustrator, pursued many careers throughout his life, including architect, carpenter, explorer, writer, dairy farmer, and political activist. Born in Tarrytown, New York, Kent was interested in art from a young age. These ambitions were encouraged by his aunt Jo Holgate, an accomplished ceramicist. Jo came to live with the family after Kent’s father passed away in 1887 and took him to Europe as a teenager, undoubtedly kindling his interest in exploring the world. Kent attended the Horace Mann School in New York City, where he excelled at mechanical drawing. His family’s financial circumstances prevented him from pursuing a career in the fine arts; however, after graduating from Horace Mann in 1900, Kent decided to study architecture at Columbia University. Before matriculating at Columbia, Kent spent the first of three consecutive summers studying painting at William Merritt Chase’s art school in Shinnecock Hills, Long Island. There he found a community of mentors and fellow students who encouraged him to pursue his interest in art. At the end of Kent’s third summer at Shinnecock, Chase offered him a full scholarship to the New York School of Art, where he was a teacher. Kent began taking night classes at the art school in addition to his architecture studies but soon left Columbia to study painting full-time. In addition to Chase, Kent took classes with Robert Henri and Kenneth Hayes Miller, where his classmates included the artists George Bellows and Edward Hopper. Kent spent the summer of 1903 assisting the eccentric painter Abbott Handerson Thayer at his studio in Dublin, New Hampshire—a position he secured through the recommendation of his Aunt Jo. Thayer’s naturalist lifestyle and almost mystical appreciation for natural phenomena greatly influenced Kent; he returned to Dublin for many years to visit Thayer and his family. Thayer gave the young artist time to pursue his work, and that summer Kent painted several views of the New Hampshire landscape, including Mount Monadnock...

Albert Potter, 'Modern Music' also Twilight Melodies', linocut, c. 1935, from the posthumous edition of 20, printed in 1977, authorized by the artist’s widow. Estate authenticated in...

Leon Bibel, 'Abstract Boats', color serigraph, 1938, edition 12. Signed, dated, and numbered ' /12' in pencil. A fine, painterly impression, with fresh colors, on buff wove paper; t...

You need this fantastic Mid-Century serigraph of Chicago's iconic Wrigley Building & Tribune Tower by artist Mark Coomer, in its original off-white panel f...

Bicentennial Indian by Fritz Scholder, Native American (1937–2005) Portfolio: Kent Bicentennial Date: 1975 Offset Lithograph (unsigned as issued) Image Size: 9.5 x 13 inches Frame Si...

James Lesesne Wells, 'Sisters', linocut, edition not stated but small, 1928. Signed, titled, and annotated 'imp' in pencil. A fine impression on off-white wove Japan paper, with wide margins (1 7/8 to 3 3/4 inches), in excellent condition. Printed by the artist. Very scarce. Matted to museum standards, unframed. Image size 8 3/16 x 6 3/4 inches (208 x 171 mm); sheet size 13 1/2 x 10 3/4 inches (343 x 273 mm). Exhibition and Literature: 'Narratives of African American Art and Identity: The David C. Driskell Collection,' The Art Gallery at the University of Maryland, extensive touring exhibition, 1998-2000. Collections: Pennsylvania Academy of the Fine Arts, Smithsonian Institution (Anacostia Community Museum). ABOUT THE ARTIST “Wells is more than an artist with a deep concern for his fellow man. He carries many of his themes a step further into an apocalyptic world, a world of revelation and shifting lights. … He works on large blocks in a bold free style. … His work has a vigor, therefore, that is not often used in the medium today.” —Jacob Kainen (painter, critic, and collector) from Richard J. Powell’s 1986 essay Phoenix Ascending: The Art of James Lesesne Wells. James Lesesne Wells was an American painter, printmaker, educator, and pioneering figure of the Harlem Renaissance, whose work established a vital connection between African heritage, modernist form, and African American cultural identity. Known for his innovative use of linoleum and woodblock printing, Wells played a key role in shaping 20th-century African American art and inspired countless students throughout his lengthy career as a teacher at Howard University. Born in Atlanta, Georgia, Wells' early exposure to the arts came through church and community, where African American cultural traditions were central. He pursued formal artistic training at Lincoln University in Pennsylvania (earning a B.A. in 1924), followed by studies at the Pennsylvania Academy of the Fine Arts and the Barnes Foundation, where he encountered European modernists as well as traditional African sculpture, which profoundly influenced his style. Wells moved to New York in the late 1920s, swiftly immersing himself in the lively artistic and intellectual scene of Harlem. There, he became associated with artists, writers, and thinkers of the Harlem Renaissance, contributing to the growth of Black cultural identity. Considered a mentor to many famed artists of the Harlem Renaissance, Wells served as director of a summer art workshop in Harlem where his assistants included Charles Alston, Jacob Lawrence, and Palmer Hayden...