101 results for ""richard nixon""

PORTRAIT STYLE KERCHIEF FROM THE 1952 PRESIDENTIAL CAMPAIGN OF REPUBLICAN IKE EISENHOWER, FORMER SUPREME COMMANDER OF ALLIED FORCES IN EUROPE DURING WWII (NATO) Printed cotton kerch...

This is a true collectible! The regular edition of only 100 is hand signed and numbered by Larry Rivers; but the present work is ALSO hand signed and inscribed by George McGovern- a ...

Black and white matte photography on paper by well-known Polish artist Czeslaw Czaplinski. The artwork is minimalistic with composition in which flo...

Horses Leaving the Barn Watercolor on paper, 1940 Signed and dated lower left corner (see photo) Condition: Excellent Image: 14 1/2 x 21” Frame: 25” x 31” Provenance; Associated American Artists, New York (see photo of label) Mamdouha and Elmer Holmes Bobst Displayed in an original wormy chestnut frame with OP3 Acrylic. Most probably from the AAA Dehn watercolor exhibition of 1940. Vintage original framing chosen by the artist. Note: Elmer Holmes Bobst (1884–1978) was an American businessman and philanthropist who worked in the pharmaceutical industry. His wife, Mamdouha, was also well known philanthropist. Bobst was born in Lititz, Pennsylvania. He aspired to become a doctor, but instead, he taught himself pharmacology. After his wife Ethel composed his interview letter, he became manager and treasurer of the Hoffman-LaRoche Chemical Works by 1920. When Bobst retired from the company in 1944, he was one of the nation's highest paid corporate executives. In 1945 he took charge of the ailing William Warner Company (later Warner–Lambert) and he remained board chairman until his retirement. Bobst had close connections to President Dwight Eisenhower, but was also a close friend of President Richard Nixon. Note: In 1940, the year of this watercolor, Dehn and Elizabeth Timmerman visited Waterville, MN on their way to Colorado Sprint, Colorado where Dehn was to teach lithography and watercolor. This watercolor is obviously a view of the area around Waterville. Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs...

Monochromatic black matte photography on paper by well-known Polish artist Czeslaw Czaplinski. The artwork is minimalistic with composition in which...

Christer Sjögren (1926-2008) for Lindshammar, Sweden. A pair of decagon shaped ruby red tall glass vases, the 1960s. A stunning and very unusual ...

Last Book of Life. (Photos from a dinner of Richard Nixon’s with Chou En Lai’s various views of Chinese chopsticks) Photograph etchings Printed on Stonehedge black paper Hand signe...

Richard Nixon, with his hands in the air waving his iconic "V" for victory, is shown here on the campaign trail during the 1968 presidential election. The photograph was taken on Chicago's famed LaSalle Street with the Board of Trade in the background. Art Shay The Nixons on LaSalle Street, 1968 archival pigment print 22h x 17w in 55.88h x 43.18w cm “Art Shay’s photography shakes you up, sets you down gently, pats you on the head and then kicks you in the ass.” Roger Ebert “[Shay’s work] ranks with some of the greats of the 20th century.” Ellen and Richard Sandor, Renowned photo collectors “I’ve admired Art Shay’s work for almost forty years, and he keeps getting better. He can do anything with a camera, but what he mostly does is capture real moments and transform them into visual poetry. His work continues to be an inspiration to me.” William Friedkin, Director of French Connection “Art Shay is one of our finest photographers. His work over the past fifty years has artfully captured the beauty, humor, and pathos of America.” Studs Terkel “Art Shay is one of the best photojournalists I know. I’ve been a fan of his work since the early 1950s - before the launch of playboy magazine.” Hugh Hefner “Algren, Terkel, Royko, they gave us a voice. Art Shay gave us a face.” Tony Fitzpatrick, Chicago Artist “Art Shay is America’s Cartier-Bresson.” Thomas Dyja, author of The Third Coast “Chicago’s Art Shay in many ways is to American photography what Nelson Algren...

A vintage Chinese porcelain snuff bottle, hand painted with a beauty in a courtyard setting on each side, and signed “癸丑年” （"Gui Chou Nian" or 1973 according to the Chinese cyclical ...

18k Vulcain Alarm Watch Circa 1950's From The Inventors of The Alarm Complication for Wristwatches. While Your Friends and Enemies Wake to an Annoying Bleep or Bloop You Wake to the "Golden Voice" of Vulcain The Vulcain watch...

The modernist Emerald and Diamond 18 Karat Yellow Gold Cocktail Ring belonging to the legendary Grammy Winning Mexican American Singer, Vikki Carr. Indulge in a piece of American Mu...

Victor Mikhail Arnautoff (1896 - 1979) Motion (Mile Rocks Lighthouse), San Francisco, 1939 Oil and tempera on board 60 x 40 inches Signed lower left Provenance: The artist California School of Fine Arts (CFSA) John & Lynne Bolen Fine Arts, Huntington Beach, California Exhibited: New York, World's Fair, Exhibition of Contemporary American Art, 1939. San Francisco Museum of Art, 1962. Literature: American Art from the New York World's Fair 1939, Poughkeepsie, 1987, no. 11, p. 41, illustrated. Robert W. Cherny, Victor Arnautoff and the Politics of Art, Urbana, Illinois, 2017. The lighthouse in the distance is the Mile Rocks Lighthouse in San Francisco Bay, built in 1906 after many shipwrecks made the lighthouse necessary. In 1962 the lighthouse was reduced in size to make room for a helipad. Arnautoff was the son of a Russian Orthodox priest. He showed a talent for art from an early age and hoped to study art after graduating from the gymnasium in Mariupol. With the outbreak of World War I, he enrolled in the Yelizavetgrad Cavalry School. He went on to hold military leadership positions in the army of Nicholas II and the White Siberian army. With the defeat of the Whites in Siberia, he crossed into northeastern China and surrendered his weapons. Arnautoff remained in China for five years. He again tried to pursue art, but was impoverished and took a position training the cavalry of the warlord Zhang Zuolin. He met and married Lydia Blonsky and they had two sons, Michael and Vasily. In November 1925 Arnautoff went to San Francisco on a student visa to study at the California School of Fine Arts. There he studied sculpture with Edgar Walter and painting with several instructors. His wife and children joined him, and they all continued to Mexico in 1929, where, on Ralph Stackpole...

Paul Salomonsen (active 1960s) Y Chair (1964) Lithographic poster (2014) 99 x 61 cm The poster features Hans J Wegner's famous 'Y chair', also known a...

Monochromatic black matte photography on paper by well-known Polish artist Czeslaw Czaplinski. The artwork is minimalistic with composition in which...

Last Book of Life. (Photos from a dinner of Richard Nixon’s with Chou En Lai’s various views of Chinese chopsticks) Photograph etchings Printed on Stonehedge black paper Hand signe...

Last Book of Life. (Photos from a dinner of Richard Nixon’s with Chou En Lai’s various views of Chinese chopsticks) Photograph etchings Printed on Stonehedge black paper Hand signe...

'Martin Luther King, Jr., 1965' by American photographer, Lawrence Schiller. Digital pigment, EP 16/35. Image: 12 x 19 in. / Paper: 16 x 20 in. This color photograph features Martin Luther King, Jr. at one of his legendary rallies. Lawrence Schiller is an award-winning photographer, film director, and bestselling author. As a photographer, Schiller photographed important and notorious figures in American history including Marilyn Monroe, Lee Harvey...

The “Smile, Things Could Be Worse” caricature poster by Joe Petagno from 1970 offers a humorous yet biting critique of President Richard Nixon. The visual imagery of Nixon sitting on...

'Barbara Streisand, 1969' by American photographer, Lawrence Schiller. Digital pigment, Ed. 10/35. Image: 13.75 x 19 in. / Paper: 16 x 20 in. This bl...

'Marilyn Monroe, 1962' by American photographer, Lawrence Schiller. Digital pigment, Ed. 12/35. Image: 17.25 x 12 in. / Paper: 20 x 15.25 in. From the set of the film 'Something's Got to Give', this colored photograph features Marilyn Monroe standing by a pool putting on her bathrobe. In 1962, Schiller received an assignment from Paris Match...

Nixon on TV by Bill Owens presents a living room scene. An image of Richard Nixon is frozen mid speech on the television screen. A framed print of Vase with Twelve Sunflowers by Vinc...

'Marilyn Monroe, 1962' by American photographer, Lawrence Schiller. Archival digital pigment, Ed. 9/25. Image: 13.25 x 19 in. / Paper: 16 x 20 in. From the set of the film 'Something...

'Barbara Streisand, 1969' by American photographer, Lawrence Schiller. Digital pigment, Ed. 9/35. Image: 13 x 19 in. / Paper: 16 x 20 in. This black ...

Watercolor depicting Irving 'Swifty' Lazar (1907-1993), the Hollywood empresario after whom the beloved Manhattan UES/ Lex Ave 'waspy enclave' restaurant was named c1963 Art Sz: 14...

Original pastel drawing c1962 of Hollywood empresario, Swifty Lazar (1907-1993) after whom the beloved, waspy enclave 'Swifty's Restaurant (1999-2015) on Lexington Ave in NYC was nam...

Last Book of Life. Richard Nixon’s view of Chou En Lai’s chopsticks Photograph etchings Printed on Stonehedge black paper Hand signed, and numbered, by Levine in red pencil along t...

Deborah Kass’ Vote Hillary, 2016 wryly updated Andy Warhol’s 1972 print of Richard Nixon. Under Warhol’s sinister green faced image, the artist wrote “Vote ...

Boundless whimsical creativity defines this Time Magazine Cover proposal. In 1970, famed illustrator/artist Robert Grossman visualized a cover story i...

Robert Motherwell (1915-1991) Great Wall of China No. 4 1971 Acrylic and charcoal on canvas 152.4 x 101.6 cms (60 x 40 ins) RM10101 P617 This work is part of the artist's Great Wall of China series, of which there are only five paintings, all of which are in private hands. Painted on a traditionally primed canvas, it is an exploration of the tension between foreground and background. The U-shaped forms in this series of paintings are closely related to the paintings in Motherwell's Open series of which there are a greater number of paintings and drawings. Great Wall of China series refer to a Franz Kafka short story about the Chinese landmark, which certainly served as a dividing line in its time, and perhaps also to contemporaneous events involving China, such as Henry Kissinger...

Clint Eastwood, 1969 Platinum Print 16 x 20 inches Edition size: 35 Please inquire for additional sizes Lawrence Schiller is an American producer, s...

Tippi Hedren and Alfred Hitchcock, Los Angeles, 1962. Digital Chromogenic Print 16 x 20 inches AP 2/5 *Please inquire for additional sizes* Lawrence ...

Clint Eastwood, Durango, Mexico 1969 Silver Gelatin Print 16 x 20 inches Edition size: 35 Please inquire for additional sizes Lawrence Schiller is an American producer, screen...

Paul Newman on set of Cool Hand Luke, 1966 Silver Gelatin Print 16 x 20 inches Edition size: 35 Please inquire for additional sizes Lawrence Schi...

Digital Chromogenic Print mounted on Dibond 48 x 60 inches Edition size: 8 *Please inquire for additional sizes* Lawrence Schiller is an American producer, screenwriter, and phot...

Malibu, California, 1963. Chromogenic Digital Print 16 x 20 inches Edition size: 15 *Please inquire for additional sizes* Lawrence Schiller is an American producer, screenwriter...

Palm Springs, California, 1963. Digital Chromogenic Print 16 x 20 inches Edition size: 35 *Please inquire for additional sizes* Lawrence Schiller is an American producer, screen...

American actors Paul Newman and Robert Redford playing ping-pong during a break in the filming of their movie 'Butch Cassidy and the Sundance Kid'. Durango, Mexico, 1968. Silver Gel...

Muhammad Ali defeating Floyd Patterson, Las Vegas, November 1965 Available sizes: 16 x 20 inches Digital Pigment Print Edition size: 35 20 x 24 inches C print Edition size: 9 30 x 40 inches C print Edition size: 15 48 x 60 inches C print Edition size: 9 Lawrence Schiller is an American producer, screenwriter, and photographer best known for his candid photos of Marilyn Monroe. For almost 35 years, Schiller collaborated with Norman Mailer to create several films together, including Executioner's Song (1982), for which Mailer received the Pulitzer Prize. “I never considered myself a good photographer. I still don't,” he has said. “I thought of myself as a hard worker. My camera was a sponge and I had an instinct that athletes have—anticipation.” Born on December 28, 1936 in Brooklyn, NY, was raised in San Diego and attended Pepperdine College in Los Angeles. After graduating, he held photojournalist positions at Time, The Sunday Times, The Saturday Evening Post, and Newsweek. The artist later broke into the world of film by directing part of Butch Cassidy and the Sundance Kid in 1969 and Lady Sings the Blues in 1972. Over the course of his career, Schiller has captured images of several important and notorious figures in American history including Lee Harvey...

Lawrence Schiller describes this photo of Barbra from 1968 as “The Nefertiti-like profile taken in London. There she exudes a regality that true divas portray. Her neck is long, her ...

When Lawrence Schiller got the assignment from the French magazine Paris Match to photograph Marilyn Monroe on the 20th century Fox set of Something’s Got To Give, he thought nothing of it. It wasn’t to be a private, studio shoot. He wasn’t going to set up lights, create backgrounds, use a tripod. Just another assignment, he figured. Monroe by then was firmly established as a figment in the imagination of most young men. The orphan Norma Jean had recreated herself as the blonde bombshell Marilyn Monroe. She’d appeared in twenty-nine films by the time Schiller photographed her in black and white and color in May 1962. The world was unprepared for the moment when Marilyn jumped in the swimming pool in a flesh-colored bikini and came up out of the water au natural. She was all smiles and in her element: the sex goddess...

When Lawrence Schiller got the assignment from the French magazine Paris Match to photograph Marilyn Monroe on the 20th century Fox set of Something’s Got To Give, he thought nothing of it. It wasn’t to be a private, studio shoot. He wasn’t going to set up lights, create backgrounds, use a tripod. Just another assignment, he figured. Monroe by then was firmly established as a figment in the imagination of most young men. The orphan Norma Jean had recreated herself as the blonde bombshell Marilyn Monroe. She’d appeared in twenty-nine films by the time Schiller photographed her in black and white and color in May 1962. The world was unprepared for the moment when Marilyn jumped in the swimming pool in a flesh-colored bikini and came up out of the water au natural. She was all smiles and in her element: the sex goddess...