American Realist Art

"The Fisherman's Catch" is a signed (in pencil lower right and in plate lower left) etching by James Fagan. It depicts a fisherman walking on a beach in black and white. It is signed...

Duane Bryers, American (1911 - 2012) - Back Of The River, Year: 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP, Image Size: 17 x 22 in., Size: 21 in. ...

This artwork titled "String of Pearls" 1988 is an original color serigraph by noted American artist Robert (Bob) Peak, 1927-1992. It is hand signed an...

A contact strip depicting British-born American actress Elizabeth Taylor (1932 - 2011) at an airfield, (possibly Croydon Airport, London) with her third husband, American producer Mi...

untitled vintage etching of face reminiscent of mid-century modern esthetic image 23.5" x 18" Artists proof printed on 100% cotton rag monochromatic Panoramic

Chris Forrest, American (1946 - ) - Green Winged Teal, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP XL, Image Size: 22 x 18 inches, Size: 29 i...

Mel Hunter, American (1927 - 2004) - Snowy Owl Year: 1975 Medium: Lithograph, signed and dedicated in pencil Size: 22 x 30 in. (55.88 x 76.2 cm)

Lorna Patrick, American - Courtyard Garden, Year: 1981, Medium: Screenprint, signed and numbered in pencil, Edition: 295, Size: 31 x 42 in. (78.74 x 106.68 cm), Description: L...

Noel Daggett, American (1925 - 2005) - Last of the Strays, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: AP 40, Image Size: 20 x 26 inches, Size: 22.5 ...

This early 1960s portrait photograph, captured by society photographer Slim Aarons, features cricketers on the pitch, Belfast, 1962. This is an estate stamped and hand numbered edit...

This mid-1950s portrait photograph, captured by society photographer Slim Aarons, features a New York debutante having her headpiece pinned. This is an estate stamped and hand numbe...

Chris Forrest, American (1946 - ) - Snow Geese Landing, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP XL, Image Size: 23 x 18 inches, Size: 29 ...

John McNulty, Irish/American (1949 - ) - Sailing I, Year: circa 1981, Medium: Lithograph, signed and numbered in pencil, Edition: 650, Image Size: 12 ...

Chris Forrest, American (1946 - ) - Canada Geese Family, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 40, Image Size: 17 x 22 inches, Siz...

Keresan Dancers Etching & drypoint, 1962 Signed lower right (see photo) Inscribed lower left: "Artist's Proof Keresan Dancers" Depicts Keresan speaking peoples at Sam Felipe Pueblo Contemporary Puebloans are customarily described as belonging to either the eastern or the western division. The eastern Pueblo villages are in New Mexico along the Rio Grande and comprise groups who speak Tanoan and Keresan languages. Tanoan languages such as Tewa are distantly related to Uto-Aztecan, but Keresan has no known affinities. The western Pueblo villages include the Hopi villages of northern Arizona and the Zuni, Acoma, and Laguna villages, all in western New Mexico. Born Alice Glasier in Oakland, CA, Kloss grew up amid the worldly bustle of the San Francisco Bay Area. She attended the University of California at Berkeley, graduating with honors in art in 1924. She discovered her talents in intaglio printmaking during a senior-year course in figurative drawing. The professor, Perham Nahl, held up a print from Kloss’ first plate, still damp from the printing process, and announced that she was destined to become a printmaker. In 1925, Gene married Phillips Kloss, a poet and composer who became her creative partner for life. The match was uncanny, for in her own way Gene, too, was a poet and a composer. Like poetry, her artworks capture a moment in time; like music, her compositions sing with aesthetic harmony. Although she was largely self-taught, Kloss was a printmaking virtuoso. On their honeymoon the Klosses traveled east from California, camping along the way. They spent two week is Taos Canyon – with a portable printing press cemented to a rock near their campsite – where Gene learned to appreciate the wealth of artistic subject matter in New Mexico. The landscape, the cultures, and the immense sky left an indelible impression on the couple, who returned every summer until they made Taos their permanent home 20 years later. Throughout her life, Kloss etched more than 625 copper plates, producing editions ranging from five to 250 prints. She pulled every print in every edition herself, manually cranking the wheel of her geared Sturges press until she finally purchased a motorized one when she was in her 70s. Believing that subject matter dictated technique, she employed etching, drypoint, aquatint, mezzotint, roulette, softground, and a variety of experimental approaches, often combining several techniques on the same plate. She also produced both oil and watercolor paintings. Kloss’ artworks are filled with drama. Her prints employ striking contrasts of darkness and light, and her subjects are often illuminated by mysterious light sources. Though she was a devout realist, there is also a devout abstraction on Kloss’ work that adds an almost mythical quality. For six decades Kloss documented the cultures of the region-from images of daily life to those of rarely seen ceremonies. She and her husband shared a profound respect for the land and people, which made them welcome among the Native American and Hispanic communities. Kloss never owned a camera but relied instead on observation and recollection. Her works provide an inside look at the cultures she depicted yet at the same time communicate the awe and freshness of an outsider’s perspective. Although Kloss is best known for her images of Native American and Penitente scenes, she found artistic inspiration wherever she was. During the early years of their marriage, when she and Phil returned to the Bay Area each winter to care for their aging families, she created images of the California coast. And when the Klosses moved to southwestern Colorado in 1965, she etched the mining towns and mountainous landscapes around her. In 1970 the Klosses returned to Taos and built a house north of town. Though her artwork continued to grow in popularity, she remained faithful to Taos’ Gallery A, where she insisted that owner Mary Sanchez keep the prices of her work reasonable regardless of its market value. Kloss continued to etch until 1985, when declining health made printmaking too difficult. From her first exhibition at San Francisco’s exclusive Gump’s in 1937 to her 1972 election to full membership in the National Academy of Design, Kloss experienced a selective fame. She received numerous awards, and though she is not as well known as members of the Taos Society of Artists...

Pencil signed original limited edition woodcut woodblock print great depression era. from the 1930s. Abramovitz, Albert 1879-1963 Born in Riga, Latvia, Abramovitz studied art at th...

John McNulty, Irish/American (1949 - ) - Sailing 3, Medium: Lithograph, signed and numbered in pencil, Edition: 615/650, Size: 8 x 12 in. (20.32 x 30.4...

Senator John F. Kennedy (1917 - 1963), Shirley Rogan Ellis and Betty LoSavio at Montego Bay Airport, Jamaica. Slim Aarons Kennedy And Friends Black and White Photography Slim Aarons...

Larry #5 2016 Charcoal on paper 22 x 10.5 inches Jessica Keiser currently resides in New Haven, Connecticut. Keiser's style is Naturalistic, concerned with the intimacy of the cre...

Lorna Patrick, American - Kiva, Medium: Screenprint, Signed and Numbered in Pencil, Edition: CXXIII/CLXV, Image Size: 35 x 24 inches, Size: 42 x 34 in. (106.68 x 86.36 cm), Fra...

John McNulty, Irish/American (1949 - ) - Horizon I, Year: 1984, Medium: Etching with Aquatint, signed and titled in pencil, Edition: 200, Size: 19 x 22 in. (48.26 x 55.88 cm)

Beautiful mid-century landscape watercolor with a tall, stately tree in the foreground, its many forking branches depicted with exceptional detail, and a verdant background of rollin...

This artwork titled "Day's End" 1988 is an oil painting on canvas by American artist Donald A. Peters, 1921-2002. It is signed and dated at the lower right corner by the artist. The canvas size is 16 x 20 inches, framed size is 22 x 26 inches. Framed in original wooden grey/brown frame, with grey fabric liner. It is in excellent condition. About the artist: Since his birth in Indianapolis, Indiana on May 19, 1921, Don Peters has continually expressed his multifaceted talents. While serving in the US Marine Corps. at the age of 19, Don received his first international recognition from combat sketches made between 1942 and 1945. Exhibited in the National Galleries of London and throughout the US. These sketches earned Don a scholarship from the National Newspaperman's Association, metaphysics, spiritual space, romantic realism and miniaturism. His preference for the rapidly drying medium of acrylic allows Don to achieve drama in his color placement. He began his career in Hollywood in 1953, where he worked with Walt Disney, M.G.M., Paramount, Twentieth Century Fox, Warner Brow., Columbia and Filmation. In 1964, Don won the Venice Film Festival award for his screenplay, "The Soldier." Also, in 1966, Don received the Academy Award Nomination for the original screenplay and story "Naked Prey". 1971 Don was a background Artists on the film Journey Back to OZ aka Return to OZ. Animated Musical Fantasy. Don Peters' Mean Machine design Peters later helped design the 1968-69 Hanna-Barbera cartoon series Wacky Races for Iwao Takamoto and Jerry Eisenberg, as Eisenberg recalled: "Iwao designed Penelope Pitstop and her car... And then there was some guy named Don Peters, who Iwao knew from his days at Disney, he was a designer. And he got Don to do some freelance help, and he designed that car that Dick Dastardly had, it looked like a Captain Nemo-type car, you know, like a submarine. Peters then worked on animated series Hot...

Chris Forrest, American (1946 - ) - Canada Geese in Flight, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP XL, Image Size: 18 x 24 inches, Size: ...

Lorna Patrick, American - Gray Gate, Year: 1980, Medium: Screenprint, signed and numbered in pencil, Edition: CLXV, Image Size: 24 x 36 inches, Size: 32 x 42 in. (81.28 x 106....

Tractor, Central Texas Ranchland (near Fayetteville), 16x20, oil on panel The artist is a regional landscape painter working in oils and pastels whose subject matter varies from the mountains and desert of west Texas to the wetlands along the Texas coast, with a strong focus on Texas forests and trees. and to the Rocky Mountains The artist is in corporate and private collections around the world. Garrett Middaugh is a regional landscape painter working in oils and pastels whose subject matter varies from the mountains and desert of west Texas to the wetlands along the Texas coast, with a strong focus on Texas forests and trees. His palette is muted, stark, embracing the neutral colors of everyday experience. Avoiding the romantic, his landscapes are often painted at high noon or in the dead of winter. He paints in a fluid hyper realist style and feels most influenced by other landscape artists such as Neil Welliver and Rackstraw Downes. He sees landscape painting as a form of meditation, projecting outward, while solving equations and mapping the scene, realizing accuracy of objects and relationships, of light, color, textures, distances. "Landscape painting is for me a means of projecting outward, of meditating, examining the here and now of place. The process often feels similar to the satisfaction of solving math equations, intuitively realizing accuracy of objects and relationships, of light, color, textures, distances. For the most part I paint Texas. For several years I devoted a significant amount of time to painting its forests -- the complexity of forest alleviated my sense and the nearness and density of growth was comforting. I have also ventured into west Texas and Big Bend, and occasionally have attempted to capture the mesmerizing serenity of central Texas farm and ranchland." Garrett Middaugh Also shown is a new Texas tractor painting...

Artist: Phyllis Plattner– American (1940-2022) Title: Plums #6 Year: 1987 Medium: Oil pastel Size: 26.5 x 43.5 inches Framed size: 30 x 47 inches Sign...

Duane Bryers, American (1911 - 2012) - Horseshoe Cafe, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP, Size: 21 in. x 28 in. (53.34 cm x 71.12 cm...

Mel Hunter, American (1927 - 2004) - Ancient Elm , Year: circa 1980, Medium: Lithograph, signed, titled and numbered in pencil, Edition: 96/350, Image Size: 22.5 x 30 inches, Siz...

This mid-1950s portrait photograph, captured by society photographer Slim Aarons, features a young woman modelling an outfit for a Saks Fifth Avenue catalog shoot. This is an estate...

Chris Forrest, American (1946 - ) - Bob White Quails II, Year: Circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP XL, Image Size: 22 x 18 inches, Siz...

Mel Hunter, American (1927 - 2004) - US Open Golf Tournament, Year: 1977, Medium: Lithograph, signed and numbered in pencil, Edition: 600, Size: 19 x 22 in. (48.26 x 55.88 cm)

A marvelous and affecting depiction of "Elsa" the artist's wife at the kitchen table with an object not yet decided in her hand. It could be a coffee cup, a glass or a letter that t...

Chris Forrest, American (1946 - ) - Wood Ducks, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, Image Size: 23 x 18 inches, Size: 29 in. x 23 in. (7...

Mel Hunter, American (1927 - 2004) - Thoroughbred, Year: 1974, Medium: Lithograph, signed and numbered in pencil, Edition: 500, Size: 22 in. x 29.5 in. (55.88 cm x 74.93 cm), Des...

This late 1940s portrait photograph, captured by society photographer Slim Aarons, features actress Joan Fontaine (1917 - 2003) and co-star Joseph Cotten (1905 - 1994) receive direct...

This mid-1950s portrait photograph, captured by society photographer Slim Aarons, features American model Jean Patchett wearing an outfit by Saks Fifth Avenue, circa 1955. Patchett w...

Mel Hunter, American (1927 - 2004) - Saddlebred, Year: 1974, Medium: Lithograph, signed and numbered in pencil, Edition: 64/500, Size: 22 x 29.5 in. (55.88 x 74.93 cm), Descripti...

Chris Forrest, American (1946 - ) - Snow Owl, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP XL, Image Size: 22 x 18 inches, Size: 23 in. x 29 i...

Chris Forrest, American (1946 - ) - Wood Duck, Year: circa 1979, Medium: Lithograph, Signed and numbered in pencil, Edition: 300, AP 40, Size: 29 in....

John Taylor Arms was known for making such finely drawn etchings that commercial tools were not good enough: He regularly used sewing needles with corks ...

Chris Forrest, American (1946 - ) - Deer Mouse, Year: circa 1979, Medium: Lithograph, Signed and numbered in pencil, Edition: 300, AP XL, Image Size: 14 x 23 inches, Size: 23 in...

Mel Hunter, American (1927 - 2004) - Curious Visitor, Year: 1994, Medium: Lithograph, signed and numbered in pencil, Edition: 950, Size: 19 x 26 in. (48.26 x 66.04 cm), Descripti...

Mel Hunter, American (1927 - 2004) - Quarter Horse, Year: 1974, Medium: Lithograph, signed and numbered in pencil, Edition: 500, Size: 22 in. x 29.5 in. (55.88 cm x 74.93 cm), De...

Artist: Jochen Labriola, American Title: Red Lilies Year: circa 1975 Medium: Lithograph, signed and dedicated l.r. Size: 34 x 25 in. (86.36 x 63.5 cm)

'Blue Barn' 2004 by American artist, Ted Larsen. Pastel on paper, 28.75 x 41 in. (paper) 42 x 53.5 in. (frame). This pastel work on paper features a forest o...

Simon’s automotive illustrations have been featured in Road & Track, Sports Car International, Automobile, Thoroughbred and Classic Cars, Classic and Sportscar, and Vintage Motorsport magazines. Favorite projects document automotive racing history, and he has designed over 60 original automotive racing posters for such clients as UNOCAL, Michelin, BF Goodrich, SVRA’s Bahama Vintage Grand Prix, and a series of Monterey Auction posters. Simon designed and illustrated the cover of the Indianapolis 500...

Hugo Anton Fisher: 1854-1916. Well listed American artist, mostly associated with California and New York. He has auction results over $38,000. This fabulous watercolor with a setter...

Artist: Max Ferguson, American (1959 - ) Title: Coney Island - Self-Portrait Medium: Etching with Aquatint, signed and numbered in pencil Edition: 100 Image Size: 14.5 x 18.5 inches ...

This artwork "Racoon" c.1990 is an offset lithograph by noted animals wildlife artist Jacquie Marie Vaux. It is hand signed and numbered 230/750 in ...

A jetty juts out from the rocky shoreline at the Hotel Il Pellicano in Porto Ercole, Tuscany, August 1973. Slim Aarons 'Il Pellicano Beach, Porto Ecole' Il Pellicano, Porto Ercole, Tuscany, Italy Chromogenic Lambda print Printed Later Slim Aarons Estate Edition Complimentary dealer shipping to your framer, worldwide. Stamped and hand numbered by the Slim Aarons Estate. Certificate of Authenticity included. 60 x 40 inches $3950 40 x 30 inches $3350 30 x 20 inches $3000 Complimentary dealer shipping to your framer, worldwide. Over the course of a career lasting half a century, Slim Aarons (1916-2006) portrayed high society, aristocracy, authors, artists, business icons, the celebrated and their milieu. In doing so, he captured a golden age of wealth, privilege, beauty and leisure that occurred alongside—but quite separate from—the cultural and political backdrop of the second half of the Twentieth Century. Photograph is unframed Slide show includes a close-up of the Slim Aarons estate's stamp. Collector will get the next number in the edition * We are pleased to offer the entire archive of the Slim Aarons Estate, offering the official Slim Aarons Estate Edition (only offered in this edition of 150). * Undercurrent Projects, New York, is proud to represent Aarons' full collection of negatives and transparencies. Housed at Getty Images Hulton Archive in London, The Slim Aarons Estate has released the limited Estate edition as a Lambda print, which is a modern c-type prints. They have chosen Lambda prints for their sharpness, clarity, colour saturation and quality, compared to archival inkjet prints. Lambda printing gives true continuous tone. Internal: Slim Aarons, Porto Ercole, Italy, Il Pelicano, Vintage Glamour, 70s...