Lovely mid-century design screen-printed by hand on linen by Robert Darr Wert, depicting a holiday fireside scene with gingerbread man, ornaments, cookie cutters, red bows and a small tree in vibrant mid-century colors. The print is part of a Christmas line of textile screened prints reflecting Wert’s modernist and naive folk style, often evocative of Scandinavian or Pennsylvania Dutch motifs. Printed in 1957 on pure linen with unfinished edges and with a printed signature “Wert” in lower right margin. Includes original folded card that reads “Robert Darr Wert Country Prints by Hand on Pure Linen”. In excellent condition. Purchased from the artist in 1957 or 1958..

Robert Darr Wert (1915-1966) was a print maker and textile designer whose style has been described as folk art with a modern twist. Born in Ohio and a graduate of the Cleveland School of Arts, he served in WWII and operated his business from his 150-acre farm in Gill, MA.

Measures approximately 7″ w x 9″ h.

Original beatrice baxter ruyl (1879-1961) ‘hingham massachusetts’ woodcut
this is just a great original piece. I have had a few works by beatrice baxter ruyl in the past. I had her pictorial map of hingham and I also had an original painting of the town of hingham as well back about a decade ago. Her work is really great and also quite scarce. For those not familiar with the artist, I have included her biography below. I have been trying to do some research on this print and been unable to find another example. I did watch a movie on youtube about an exhibition of the artist’s work at the hingham historical society and I thought I saw one hanging on the wall. It makes sense that they would have one but other than that, not sure if you are going to find another example. This is a stunning woodcut of some of the buildings and homes of hingham. Stunning large woodcut on paper measuring 11 x 15 inches. Signed within the print lower right. Print is in stunning as printed condition. Paper even shows some minor rippling so it is not laid down. Archival double matte and a wonderful burl veneer frame that is complimentary and ready to hang. Really a stunning presentation of this scarce and important woodcut. Frame measures 18 x 22 1/2 inches.

For those not familiar with the artist her biography from askart reads: “Beatrice Baxter Ruyl (Mrs. Louis Herman Ruyl) 1879-1961. She was a student of The Museum of Fine Arts Boston and later studied in Paris under Colarossi and Edward Stretcher. She illustrated for several books including Little Indian Maidens at Work & Play (1909) and Zodiac Birthday Book (1910); she also worked as an illustrator for The Boston Herald. She and her artist husband, Louis Ruyl, had a home in Hingham, Massachusetts and summered in Ogunquit, Maine where she was a member of the Ogunquit Art Association. She painted several ‘birds eye view’ town watercolors of Hingham and of Ogunquit. Gertrude Kasebier and Fred Holland Day were noted photographers and friends of the Ruyls and photographed her, a striking woman, and her baby Ruth in the early 1900’s. ”

Original robert cottingham (b 1935) ‘star’ lithograph pre production sample printed by fox graphic editions
this is just a great original piece. This is one of those pieces that I bought because I was able to know the provenance on it and was actually pretty excited about it. I purchased this print (and some others) from the granddaughter of herbert a fox, the owner of fox graphics editions. When fox shut down his printing shop, there were prints that went to the family. This print comes from that collection. This is an original lithograph by robert cottingham done in 1985 as they were developing the final print to run in the edition of 100. You can find the signed and numbered edition for sale for thousands of dollars out there and examples in museums like the smithsonian. This is a wonderful example of one of the artist’s most famous images. Image measures 15 1/2 x 15 1/2 on complete original sheet measuring 23 7/8 x 22 1/2 inches. The image itself is in nearly perfect condition. As you can see along the left edge of the image, the printing stone didnt print as dark as it was supposed to. The rest of the image looks to be perfect. A few small minor rubs within the image but nothing bad. Obviously it is not signed or numbered. There is the original fox blindstamp lower left in the margin. The margins show some issues and stains but nothing that wouldnt be covered with an archival matte and frame. Along the top margin you can still see the spots where the paper was held in place for the printing. Really this is a wonderful cool example of the artist’s print as he is developing the final product. Matted and framed it would be a stunning addition to any collection. Print is stored in a tube and will be shipped that way.

For those not familiar with the artist his biography from the Guggenheim reads: “Born in 1935 in Brooklyn, Robert Cottingham is known for his paintings and prints of urban American landscapes, particularly building facades, neon signs, movie marquees, and shop fronts. After serving in the U.S. Army from 1955 through 1958, he earned a BFA at Pratt Institute, Brooklyn, in 1963. Cottingham began his professional artistic career as an art director for the advertising firm Young and Rubicam in the early 1960s. Although he is typically associated with Photorealism, Cottingham never considered himself a Photorealist, but rather a realist painter working in a long tradition of American vernacular scenes. In this respect, his work often draws parallels to a number of American painters such as Stuart Davis, Charles Demuth, Edward Hopper, and Charles Sheeler.

Cottingham’s interest in the intersections of art and commerce derive from his career as an adman and the influence of Pop art. Many of his paintings convey an interest in typography and lettering, as well as an awareness of the psychological impact of certain isolated words and letters. In his facades, techniques from advertising, namely cropping and enlarging, often produce words of enigmatic or comical resonance such as “Art,” “Ha,” or “Oh.” Cottingham’s enlarged sense of scale is reminiscent of James Rosenquist’s work, while his interest in text suggests the influence of Robert Indiana and Jasper Johns. In general, Cottingham viewed his work as continuing the legacy of Pop artists such as Andy Warhol, who also had a background in advertising.

In 1964, Cottingham relocated to Los Angeles for work. There, inspired by the drastically different environment of the West Coast metropolis, he began to commit seriously to painting. Fascinated by Hollywood’s exaggerated glitz and the downtrodden atmosphere of the downtown, Cottingham saw in Los Angeles the relics of a bygone commercial heyday and desired to capture its kitschy and uncanny atmosphere, bathed in the near perpetual sunlight of Southern California.

In 1968, Cottingham ended his advertising career in order to devote all his time to painting. In the late 1960s, he started using photography in his practice, first as an initial reference point for his process. After selecting a photograph, he translates it into black-and-white drawings by projecting the image onto gridded paper, as a means of perfecting the tonal range between light and shadow. He often creates subsequent studies on paper using color. He finalizes the process by projecting either the original slide or any of the drawings onto a canvas and organizing the composition according to a grid. Another reason for Cottingham’s rejection of the Photorealist label is that he does not view his works as mere painterly translations of photographs or reproductions of reality. He has been known to change the words in his facades to alter the meaning of the subject. His primary interest lies in the subject matter—the urban American vernacular—rather than the deployment of a photo-based technique. After spending a period of time in London from 1972 to 1976, Cottingham found the city’s signs and history too foreign and removed from his own interests, and returned to the United States to settle in rural Connecticut. During the late 1970s and 1980s, his urban cityscapes became more expansive, with more complex and broader views of storefronts, vistas, and entire neighborhoods. In the late 1980s and early 1990s, Cottingham expanded his iconography of American vernacular culture to include trains and railroad imagery. More recently, he has focused on images of vintage typewriters, a subject that first interested him in the late 1990s.

Cottingham taught at the Art Center College of Design, Los Angeles (1969–70), and the National Academy of Design, New York (1991). He was the artist in residence at Wesleyan University, Middletown, Connecticut (1987–92). His work has been included in significant group exhibitions, including Documenta, Kassel, West Germany (1972), and those at the Serpentine Gallery, London (1973); Centre national d’art contemporain, Paris (1974); Whitney Museum of American Art, New York (1978); a traveling exhibition at the National Museum of American Art (now Smithsonian American Art Museum), Washington, D.C. (1986); Samsung Museum of Modern Art, Seoul (2001); and Deutsche Guggenheim, Berlin (2009). Cottingham’s printed oeuvre was celebrated by a solo presentation at National Museum of American Art in 1998–99. The artist lives and works in western Connecticut.”

This is just a great original piece. This is one of those etchings I have debated getting nicely framed up and hanging in my home. But like everything else, I only have so much wall space so I decided to offer it out to the ebay community. This is really one of my favorite works by sloan. A wonderful view of a couple looking into a jewelry window with other people hustling and bustling behind them. A wonderful crisp dark impression with the image measuring 5 3/4 x 3 3/4 inches on original sheet measuring 7 x 4 1/2 inches. Signed and dated within the plate lower right. There is some light toning to the image as well as the top and bottom margins. Margins offset with a smaller right margin. Unframed.

Original 1974 lowell nesbitt (1933-1993) ‘tulip’ signed limited edition etching

this is just a great original piece. I have had a few lowell nesbitt prints over the last few years. Some of his flower prints are really my favorites. For those not familiar with the artist, I have included his biography below. A wonderful large etching – abstracted view of a tulip. Image measures 21 1/2 x 16 1/2 inches. Really incredible rich impression. Signed, dated and numbered ‘ap #6’ in pencil beneath the image. You can see some very minor creasing within the image in different spots. Nothing too bad but it is there. Print is archival double matted and framed in a complimentary silver frame that is ready to hang. Frame measures 31 1/2 x 26 inches.

For those not familiar with the artist his biography from a dealer that sells the artist’s work reads: “Lowell Blair Nesbitt, painter, printmaker, draughtsman, and sculptor, was born in Baltimore, Maryland on 4 October 1933. He studied at Tyler School of Art at Temple University in Philadelphia and at the Royal Academy of Arts in London. Nesbitt worked in abstraction until Robert Indiana suggested in the early 1960s that he explore realism in his paintings. As subjects for his work he favored studio interiors, articles of clothing, piles of shoes, his Rottweiler, the Neo-Classical facades of 19th century cast iron buildings, and Manhattan’s bridges. He was also famous for his enormous paintings and prints of roses, lilies, irises, and other flowers. In 1980, the United States Post Office issued four stamps depicting Nesbitt’s large floral paintings. He was also the official artist for NASA’s space flights Apollo 9 and Apollo 13.

His first solo exhibition was mounted at the Baltimore Museum of Art in 1958 and during his lifetime he had more than 130 solo exhibitions of his work at various galleries, museums, and universities, including the Corcoran Gallery of Art, Kent State University, the McNay Art Museum, the Butler Institute of American Art, the Burpee Art Museum, and the Tyler Gallery at Temple University. His works are represented in many corporate collections and public collections holding his work include but are not limited to the Art Institute of Chicago, the Baltimore Museum of Art, the Butler Museum of American Art, the Corcoran Gallery of Art, the Dallas Museum of Art, the Fogg Art Museum, the High Museum of Art, the Hirshhorn Museum and Sculpture Garden, the Library of Congress, the Massachusetts Institute of Technology, the Museum of Modern Art New York, the Philadelphia Museum of Art, the Phillips Collection, the Smithsonian Museum of American Art, the Worcester Art Museum, and the Yale University Art Gallery. In 1976, Nesbitt purchased property located at 389 West 12th Street in New York. The building, once a police stable, was completely renovated into a studio and living space, complete with an indoor swimming pool and atrium, and a rooftop entertainment area. After his death, “The Old Stable,” as he referred to his house and studio, was purchased by fashion designer, Diane von Furstenberg. Lowell Nesbitt died in Manhattan on 8 July 1993.”

original pair of art nouveau roger chapelet (1903-1995) farming fernand nathan lithographs
this is just a great original piece. I was lucky enough to pick up an incredible collection of early 20th century european graphic arts and posters. I love these works and find them to be quite rare. In fact the ones I am offering are some of the only examples that I have been able to find of the print. This is one of those examples. This is an incredible print by important french artist roger chapelet and even more importantly, printed by fernand nathan. This is an incredibly scarce pair. In fact, I have not found another example of these prints. Lithographs on paper measuring 14 1/2 x 38 inches. Excellent original color. Signed within the image lower right with publication information lower left in the margin. The horse example is in outstanding condition. Really vibrant with just a few very minor edge tears and chips. Nothing bad at all. The cows example shows some bigger margin tears as well as the upper right corner showing some loss. All still in the margins but there. There is some faint discoloration stripe along the center left edge that just extends into the image. Really nothing too bad. Matte and framed these would be really incredible.

This is just a great original piece. I was lucky enough to pick up an incredible collection of early 20th century european graphic arts and posters. I love this work and find them to be getting rarer and rarer. In fact the ones I am offering are some of the only examples that I have been able to find of the print. This is one of those examples. This is an incredible print by important french poster artist georges meunier. For those not familiar with the artist, I have included his biography below. This is an incredibly scarce print. In fact, I have not found another example of this print. The image itself was used in a poster for french car maker automobiles ader in 1903. I believe this predates its use for the poster as my guess is that after the poster was created, then the image became only for them. This is an outstanding view of old v new. As one of the dealers who sold this poster described it, “this delightful work is a classic example: a comic confrontation between old and new, animal and auto, on a one-lane bridge to the 20th century. Note the donkey, who’s licking the headlamp with love—the perfect touch.”.

Lithograph measures 13 x 20 inches. Excellent original color. Signed within the image lower right. There are a few small spots within the image but otherwise an outstanding example as it was published. To make this one even better is that it is in its original tobacco oak frame that is very complimentary to the print. No glass. This whole piece is so original that it even has the single piece of original wood backing. Just a great original presentation. Frame measures 18 1/2 x 25 1/2 inches.

For those not familiar with the artist his biography from a gallery that sells his work reads: “Meunier, a beaux Arts-trained painter and decorative artist, also designed 56 known posters that are much in the manner of Cheret, not surprising since he worked at the master’s Chaix printing plant, started in 1894″ (Rennert)”

Original pair of german art nouveau children playing games lithograph posters signed mf
this is just a great original piece. I was lucky enough to pick up an incredible collection of early 20th century european graphic arts and posters. I love these works and find them to be quite rare. In fact the ones I am offering are some of the only examples that I have been able to find of the print. This is one of those examples. This is an incredible pair of works done in germany. Both have printed in germany stamps on the back. They are both signed within the images with the initials mf. I have been unable to figure out who did these as I have not even been able to find another example. Original lithographs on paper measuring 10 x 24 inches. Outstanding as printed condition. Really stunning examples of these scarce prints. A few minor edge tears and bumps and some minor handling crease but nothing really bad at all. Unframed. Matted and framed these would be an incredible addition to any collection or look incredible hanging in a child’s room.

Original c1845-1848 john james audubon (1785-1851) ‘pseudostoma talpoides, rich – mole shaped pouched rat, natural size’ bowen edition large imperial folio lithograph plate from john james audubon and john bachman’s (1790-1875) the viviparous quadrupeds of north america.
This is just a great original piece. I have been buying more and more audubon and john gould original prints lately as I am finding they are coming back into favor. I have been selling more to younger people lately then I ever did. This is one of four original audubon imperial folio prints I recently acquired. This is an incredible view of the large rat. Imperial folio size with the sheet measuring 21 3/4 x 27 3/4 inches. Strong original color and image. Some consistent toning to the sheet. Very minor spots within the margins and within the image. Print is archival double matted and framed in a complimentary wood frame. Frame measures 27 1/2 x 33 1/2 inches.

Original 1837 fitz hugh lane ‘view in boston harbour, respectfully dedicated to the tiger boat club, by their obdt servt thos moore.” Lithograph
this is just a great original piece. This might be one of the finest and rarest early american lithographs I have ever owned. Truthfully, I have done a lot of research on this print and it is one of the more scarce early american views by one of the more important early american artists. The best information I have found about the print is from one of the definitive books on the artist as well as the cape ann museum. I have included their information below. This is an incredible lithographed view of boston centered on the state house dome with various marine vessels thronging the foreground harbor. “Jwhatman/turkey mill” watermarked wove paper, sheet measures 17 1/2 x 23 inches which includes wide margins. The image itself is fantastic with good crisp contrast. As you can see there is some obvious matte stains and repairs to the margins. There are also some tear repairs in the image. They are really not very visible from the front but rather you can see where the repairs were done on the back. Print is not laid down. Unframed.