Noel Daggett Figurative Prints

Original vintage poster: The U.S. Marines Want You. This military vintage poster is archival linen-backed and in fine condition, ready to frame. There is no date, artist, or printer'...

The Jewish Welfare Board. Original World 1 vintage poster, very good condition; archival linen-backed and ready to frame. Printer: Alco-Gravure, Inc., N. Y. There is a tiny ch...

Nicholas Panesis, 'Negro', 1934, color lithograph, edition 18. Signed, dated, titled, and numbered 8/28 in pencil. Initialed in the stone, lower right. A fine impression, with fresh colors, on buff wove paper, with margins (1 1/8 to 2 3/8 inches). Minor glue staining at the extreme sheet edges verso, where previously taped (not visible recto), otherwise in excellent condition. Very scarce. Matted to museum standards, unframed. Image size 10 5/8 x 8 1/2 inches; (270 x 216 mm); sheet size 14 13/16 x 10 15/16 inches (376 x 278 mm). Created for the California Works Progress Administration, Federal Art Project (WPA). Impressions of this work are held in the public collections of La Salle University Art Museum (Philadelphia), U.S. General Services Administration, and Weisman Art Museum (University of Minnesota). ABOUT THE ARTIST Born in Massachusetts, Nicholas Panesis (1913-1967) studied art at Syracuse University, NY, and went on to teach ceramics at Alfred University, NY. Panesis moved to San Francisco in the early 1930s shortly before settling in Los Angeles, where he worked for different animation studios...

This artwork titled "When Predators Meet" 1988 is an offset lithograph by renown Western artist Gary Carter, born 1938. It is hand signed and numbered 817/...

This artwork "Three Dancers" 1980 is an original color lithograph on Arches paper by noted American artist Alan Feltus, b.1943. It is hand signed and numbered 32/60 in pencil by the artist. With the blind stamp of the publisher, Editions Press, San Francisco. The image size is 18.5 x 24.5 inches, sheet size is 22.5 x 30 inches, framed size is 33.5 x 39.75 inches. Custom framed in a wooden silver frame, with off white matting and silver color spacer. It is in excellent condition About the artist: Alan Feltus was born in Washington, D.C. in 1943 and grew up in Manhattan. He studied for one year at the Tyler School of Fine Arts in Philadelphia, and then Cooper Union in New York (B.F.A. 1966), and Yale University (M.F.A. 1968). He has received many awards for his work that include the Rome Prize Fellowship, a National Endowment for the Arts Individual Grant in Painting, a Louis Comfort Tiffany Foundation Grant in Painting, two Pollock Krasner Foundation Grants in Painting, the Augustus Saint-Gaudens Award from Cooper Union, and the Raymond P...

This artwork titled "When the Land was His" 1985, is a color offset lithograph by renown western artist Arnold Friberg, 1913-2010. It is hand signed and...

This artwork titled "Maroon Lake, Colorado" 1945 is an original lithograph on paper by noted American artist Adolf Arthur Dehn, 1895-1968. It is hand signed, dated, titled, numbered ...

Artist: Earnie Barnes (1938-2009) Title: Destination Unknown Year: 1979 Medium: Lithograph on archival paper Size: 25 x 19.5 inches Edition: 120/300, plus proofs Condition: Good Insc...

James Allen, 'Pipe and Brawn,' 1937, lithograph, edition 40. Signed and annotated 'Ed/40' in pencil. A superb, richly inked impression on cream wove paper, the full sheet with margin...

"Arab Children" is an original lithograph by Fletcher Martin. The artist signed the piece lower right. This piece features two young children--a boy and a girl--with downcast eyes in draped fabric clothes in an interior. 12" x 8" art 22" x 18" frame Fletcher Martin was an American painter, illustrator, muralist and educator. He is best known for his images of soldier life during World War II and his sometimes brutal images of boxing and other sports. His artistic skills were largely self-taught. He worked as a printer in Los Angeles in the late 1920s, and as an assistant to Mexican muralist David Alfaro Siqueiros in the early 1930s. He taught at local art schools such as Otis Art Institute. He won commissions to paint murals for the New Deal's Section of Painting and Sculpture, including Mail Transportation (1938), painted for the San Pedro Federal Building and Post Office in Los Angeles. Under the WPA he painted a mural study for the Kellogg, Idaho post office titled Mine Rescue (1939). Local industrialists objected that it depicted the dangers of mining, while officials of the Mine & Smelt Workers Union praised it. The industrialists prevailed and Martin painted an uncontroversial mural, Discovery (1941), depicting the prospector who founded the town. The rejected mural study is now in the Smithsonian American Art Museum. Perhaps his most ambitious mural, also done under the WPA, was painted for North Hollywood High School in Los Angeles. Legends of Fernandino and Gabrileno Indians (1937) depicts overlapping scenes of Native American life and ritual, and the world being carried on the backs of giants. As an artist-correspondent for Life Magazine during World War II, he made hundreds of sketches of U.S. soldier life. Fourteen of his paintings from the North African campaign were published in the December 27, 1943 issue of Life, and brought him national recognition. Among these was Boy Picking Flowers...

This artwork "two Native American Girls" c. 1990 is a color offset lithograph by noted artists Popo and Ruby Lee, b.1940. It is Hand signed and numbered 501/750 in pencil by the arti...

George Biddle (1885-1973), Coffee Huskers, 1928, lithograph, signed, titled and numbered [also inscribed ’43/Biddle/1928 in the plate]. Reference: Pennigar 77, Trotter 43. From the edition of 100, on Rives cream wove paper, with the Rives watermark. In excellent condition, probably never framed or matted, the full sheet, 13 1/4 x 9 3/4, the sheet 16 x 11 1/2 inches, archival mounting (mylar non-attached hinging between acid free boards glassine cover). A fine black impression. Biddle wrote of this lithograph, in 1943: “After scraping the tusche away…I worked back with a pensil (sic) and again with diamond. This all adds to the richness of texture and color.” This work produces a very sophisticated lithographic look, akin in some ways to drypoint work in etching. After Groton, Harvard College and Harvard Law (and several breakdowns) Biddle concluded that a conventional career in law was not for him; he decided on art, went to Paris, worked with Mary Cassatt and familiarized himself with modernist currents in art (as well as more traditional European art). After serving in WWI, and the dissolution of his marriage, he became interested in working outside of the European tradition (although his travels continued to include Europe, and he spent a period working under the influence of Jules Pascin in Paris in the mid-‘20’s). Coffee Huskers, like many of the Mexican and Haitian prints...