Lincoln Glenn Figurative Prints

Alphonse Mucha Job, 1896 Signed lower right in plate Lithograph printed in colors and metallic ink on wove paper Image 20 3/8 x 15 1/4 inches Sheet 20 1/4 x 15 1/2 inches Provenance...

Yasuo Kuniyoshi Carnival, 1949 Signed in margin lower right Lithograph on paper 15 3/4 x 9 3/4 inches 23 1/4 x 16 mat Born in Okayama, Japan, Yasuo Kuniyoshi had no intention of be...

Howard Daum Nude Woman, 1945 Signed and dated in pencil in the margin Etching on paper Plate 3 3/4 x 2 1/2 inches Sheet 4 1/4 x 3 1/4 inches The artist Ashby Gallery, New York Carl ...

Georges Braque L'Oiseau multicolore, circa 1950 Signed and numbered "30/200" in pencil Aquatint in colors on BFK Rives wove paper Image 10 1/4 x 19 1/4 inches Sheet 17 5/8 x 24 5/8 i...

Ida Ten Eyck O'Keeffe The Fish, 1935 Signed and dated in pencil lower right Monotype on paper Image 6 x 8 1/2 inches Exhibited Dallas Museum of Art, Ida O'Keeffe: Escaping Georgia's...

Martin Lewis Which Way?, 1932 Signed lower right Aquatint etching on pale blue paper Plate 10 1/4 x 15 3/4 inches Sheet 14 1/4 x 19 1/2 inches Edition of approximately 53 Provenance...

Jasper Johns Light Bulb, 1966 Signed and dated in pencil, numbered "36/45" in lower margin Lithograph on J. Whatman paper Image: 8 1/2 x 14 5/8 inches Sheet: 19 1/2 x 24 1/4 inches ...

Aaron Bohrod City Park, Winter, circa 1945 Signed in pencil lower right margin Lithograph on wove paper Image 9 1/2 x 13 1/2 inches From the edition of 250 Aaron Bohrod's work has ...

Joe Jones Fishing Village, 1949 Signed in pencil lower right margin Lithograph on wove paper Image 9 5/16 x 12 9/16 inches Sheet 12 x 15 15/16 inches From the edition of 250 The initial details of Jones' career are sparse, and this is intentional. The young artist was engaged in a process of self-reinvention, crafting a persona. When he submitted a work to the Sixteen Cities Exhibition at New York City's Museum of Modern Art in 1933, he briefly characterized himself: "Born St. Louis, 1909, self-taught. " Jones intentionally portrayed himself to the art community as an authentic working-class figure, backed by a compelling history. He was the youngest of five children in a family led by a one-armed house painter from St. Louis, a Welsh immigrant, and his German American spouse. At the age of ten, Jones found himself in a Missouri reformatory due to authorities' concerns over his graffiti activities. After completing elementary school, he traveled by freight car to California and back, even being arrested for vagrancy in Pueblo, Colorado. Returning to St. Louis, he attempted to settle down by working alongside his father. Yet, Jones felt a profound restlessness and was drawn toward a more elevated artistic pursuit in his late teenage years. He discovered a local collective of budding artists that formed St. Louis’s "Little Bohemia," sharing a studio and providing mutual support until he managed to secure his own modest workspace in a vacant garage. Jones’s initial creations comprised still lifes, landscapes, and poignant portraits of those close to him. These subjects were not only accessible but also budget-friendly, as hiring models was beyond his means. He depicted himself, his father, mother, and eventually, his wife. In December 1930, at the age of 21, Jones wed Freda Sies, a modern dancer and political activist who was four years older than him. By 1933, Jones had started gaining noteworthy local recognition through a solo exhibition at the Artists’ Guild of Saint Louis. Of the twenty-five paintings on display, one, titled River Front (private collection, previously with Hirschl and Adler Galleries), was selected to illustrate a feature article about his show in The Art Digest (February 15, 1933, p. 9). Shortly before this exhibition, a young surgeon named Dr. Robert Elman took an interest in Jones’s art, purchasing several pieces and forming a group of potential patrons committed to providing the emerging artist with a monthly stipend in exchange for art. This group was officially known as the "Co-operative Art Society," but it was informally dubbed the "Joe Jones Club. " Jones became an active participant in the St. Louis artistic scene, particularly within its bohemian segments. He embraced modernism and was a founding member of the "New Hat" movement in 1931, a playful rebellion against the conservative and traditional mainstream art establishment. The summer of 1933 marked a significant shift in Jones’s journey. Sponsored by a dedicated ally, Mrs. Elizabeth Green, Jones, along with Freda and Green, embarked on an eastward road trip. In Washington, D. C., they explored the Corcoran Gallery of Art, the Freer Gallery (part of the Smithsonian Institution), the Library of Congress, and Mount Vernon. Following this whirlwind of art and American culture, they made their way to New York, where they visited various museums and galleries, including a stop at The New School for Social Research, which featured notable contemporary murals by fellow Missourian Thomas Hart Benton and the politically active Mexican artist, José Clemente Orozco. From June through August, Jones and Freda resided in the artist colony of Provincetown, Massachusetts, later returning home via Detroit to see Diego Rivera’s Detroit Industry mural housed at the Detroit Institute of Fine Arts. While Elizabeth Green allegedly hoped that Jones would refine his artistic skills under the guidance of Charles Hawthorne or Richard Miller in Provincetown, Jones followed a different path. Rather than pursuing conservative mentors, he connected with an engaging network of leftist intellectuals, writers, and artists who dedicated their time to reading Marx and applying his theories to the American landscape. Jones's reaction to the traditional culture of New England was captured in his statement to a reporter from the St. Louis Post Dispatch: “Class consciousness . . . that’s what I got of my trip to New England. Those people [New Englanders] are like the Chinese—ancestor worshipers. They made me realize where I belong” (September 21, 1933). The stark social divisions he witnessed there prompted him to embrace his working-class identity even more fervently. Upon returning to St. Louis, he prominently identified himself as a Communist. This newfound political stance created friction with some of his local supporters. Many of his middle-class advocates withdrew their backing, likely influenced not only by Jones’s politics but also by his flamboyant and confrontational demeanor. In December 1933, Jones initiated a complimentary art class for unemployed individuals in the Old Courthouse of St. Louis, the same location where the Dred Scott case was deliberated and where slave auctions formerly took place. Concurrently, the St. Louis Art League was offering paid courses. Emphasizing the theme of social activism, with a studio adorned with Soviet artwork, Jones’s institution operated for just over a year before being removed from the courthouse by local officials. The school’s political focus and unconventional teaching practices, along with its inclusion of a significant number of African American students during a period marked by rigid racial segregation, certainly contributed to its challenges. Under Jones’s guidance, the class created a large chalk pastel mural on board, measuring 16 by 37 feet, titled Social Unrest in St. Louis. Mural painting posed no challenge for the former housepainter, who was adept at handling large wall surfaces. His first significant commission in St. Louis in late 1931 was a mural that celebrated the city’s industrial and commercial fortitude for the local radio station, KMOX. This mural, aimed at conveying optimism amid severe economic hardship, showcased St. Louis's strengths in a modernist approach. When Jones resumed mural work in late 1933, his worldview had evolved considerably. The mural produced for the school in the courthouse, conceived by Jones, featured scenes of modern St. Louis selected to highlight political messages. Jones had observed the technique of utilizing self-contained scenes to craft visual narratives in the murals he encountered in the East. More locally, this compositional strategy was commonly employed by the renowned Missouri artist...

Paul Sample The Slope Near the Bridge, 1950 Signed in pencil lower left Lithograph on wove paper Image 8 15/16 x 12 15/16 inches Sheet 11 5/16 x 15 1/16 inches From the edition of 25...

Lawrence Beall Smith Windy Hill, 1948 Signed in pencil lower right margin Lithograph on wove paper Image 10 3/8 x 13 1/16 inches Sheet 11 15/16 x 16 inches From the edition of 250 ...

Paul Resika Untitled Signed lower right Etching on wove paper 10 1/2 x 6 inches Paul Resika (born 1928, New York, New York) is primarily recognized for his artwork featuring the di...

Utagawa Hiroshige Dawn Inside the Yoshiwara, circa 1857 Woodblock print 11 x 7 inches Utagawa Hiroshige is recognized as a master of the ukiyo-e woodblock printing tradition, havin...

Walt Kuhn Kuhn Family Holiday Card Lithograph on paper 6 1/4 x 3 3/4 inches Walter Kuhn was born on October 27, 1877 in Brooklyn, NY. His father, Francis Kuhn, was the owner of a s...

Walt Kuhn Kuhn Family Holiday Card Lithograph on paper 5 1/2 x 4 inches Walter Kuhn was born on October 27, 1877 in Brooklyn, NY. His father, Francis Kuhn, was the owner of a ship ...

Richard Estes Roma (from Urban Landscapes III), 1981 Signed and numbered "33/250" in pencil, lower margin Color screenprint on white wove paper 14 x 20 inches Edition 33/250 Richar...

Judy Chicago Birth Tear/Tear, 1985 Signed, dated, and numbered in margin Serigraph on Stonehenge Natural White Image 25 x 35 inches Sheet 30 x 40 inches Judy Chicago’s “Birth Tear/T...

Currier & Ives Newport Beach Hand-colored lithograph Sheet 10 x 13 1/4 inches After undertaking apprenticeships in Boston and Philadelphia, Currier set up a print publishing compan...

George Bellows Business-Men's Class, Y.M.C.A, 1916 Signed, numbered "No. 41" and titled lower margin Lithograph on wove paper 11 1/2 x 17 1/8 inches Edition of 64 Provenance: Hirschl & Adler Galleries, New York Private Collection, Ohio Literature: Mason, 20. After his arrival from Columbus, Ohio in 1904, Bellows lived at the West Side YMCA. It was there that he met Eugene Speicher, another aspiring young artist who was to become his lifelong friend. Always interested in the anatomy of the human body, Bellows often satirized the various types who, while leading a sedentary life, feel compelled to devote a portion of their daily routine to physical self-improvement. Throughout his brief but illustrious career, George Wesley Bellows created striking scenes that documented ordinary American life in all its beauty and banality. Considered an American Realist, the artist eschewed embellishment, finding inspiration in the gritty boroughs of New York City, the rocky coastline of Maine, and, later, in his friends and family. Bellows garnered early recognition for his arresting portrayals of illegal prizefighting, dramatic works executed in dark tonal palettes that underscore the brutality of the violent sport. Bellows’ elderly Methodist parents hoped their son might pursue the ministry, a calling the extroverted athlete never received. The Columbus native competed on the baseball team at Ohio State University and also served as an illustrator for the college yearbook. In the fall of 1904—just months shy of his expected graduation—Bellows defied his father’s wishes and boarded a train to New York City in hopes of becoming a magazine illustrator like his idols Howard Chandler Christy and Charles Dana Gibson. Before leaving, he reportedly turned down an offer to play professional baseball with the Cincinnati Reds...

Pablo Picasso (1881 - 1973) La Danse Barbare (from La Suite des Saltimbanques), 1905, printed 1913 Etching on Van Gelder Zonen wove paper Sheet 13 x 20 inches From the edition of 250...