Griesbach & Martucci

Original "July 4th in Old New York" Bicentennial vintage poster 1976

1976

Original vintage poster: "Map of the United States as Californians See It". 1947, artist: Oren Arnold. Size: 16.5" x 20.5", R. H. MOEBUS COMPANY This poster is not linen-backed. This poster is in very good fine condition, ready to frame. A humorous satirical pictorial map from 1947 with the golden sun on the upper left, gives a detailed depiction of California, its relative size to the rest of the United States, showing Florida as "Death Valley", the rest of the United States as "Unexplored" 'Unimportant anyway, not in California". The image has your Mexican singer; bikini-clad bathers and others set in the image. Shows rivers, lakes, harbors, landmarks, parks, recreational activities, and local people. This map shows Los Angeles’ city...

Original American Airlines St. Thomas / St. Croix vintage trave poster. Archival linen backed in very good condition, ready to frame. Later edition o...

Original LAKE TAHOE, RENO, LAS VEGAS - Get your HOLIDAY FOR TWO here vintage travel poster. Archival linen backed in very fine condition, ready to frame. This is a fun vintage travel poster from c. 1970’s that highlights the fun and interesting places and attractions to see and visit in Nevada. Many of the casinos shown in the poster have been replaced with newer and larger venues. A great game...

Original Italian Air Service Lines Aeriennes Italiennes Original travel poster; linen backed. Printed in Italy. Printed: 1951. Artist: F. Romoli. Ali Airlines Operated from ...

Original poster: THE WORLD OF HOLLAND AMERICAN CRUISES. Artistic: David Klein. Rare original unbacked vintage original David Klein poster printed on heavier paper stock with a glossy UV protective finish. What's not to love about this poster? Here are a few things going on in this original cruise line poster. Some champagne with lobster, Rockefeller Center statue, Mosco, Athena Parthenon, a Japanese woman in a kimono, Christ on the hill in Brazil, the large head of an elephant in India, a zebra, African headdress...

Original. “OUR AMERICA, #3 USING MOTION PICTURES FOR SOCIAL VALUE.” vintage poster. Presented by the Coca-Cola Bottling Company. This poster displays the benefits of American Motion Picture making on society as a whole and is number three in the series of Our America, Motion Pictures. From leisure, as in entertainment, to the practical, like legal documentation and recording important events, are displayed in this poster. These benefits are shown in eight small windows along either side of a large ninth window, which is all brought into harmony by the use of green tones, and that the windows are set upon a mint green background. Presenting Facts of History. Our America Motion Pictures # 3. Using Motion Pictures for Social Values. 1. Using cartoons for amusement. 2. Reporting an important event. 3. Making biography dramatic. 4. Reporting athletic events. 5. Dramatizing a famous book. 6. Showing places of natural beauty. Y. Using motion pictures in legal cases. 8. Making pictures true to facts. We Can All Do Our Part! In 1943, during World War II, Coca-Cola created the “Our America” series of vintage motion picture posters...

Waiting from the Kent Bicentennial Portfolio Will Barnet, American (1911–2012) Date: 1975 Offset Lithograph (unsigned as issued) Image Size: 11.25 x 11 inches Size: 17 x 14 in. (43.1...

Simka Simkhovitch (Russian/American 1893 - 1949) signed lithograph. Pencil signed and dated "S. Simkhovitch 1933" lower center. Title "Island Beach," in pencil lower left of sheet. Numbered "44/50" in pencil lower right. (it is either Island Beach Wisconsin or New Jersey) Simka Simkhovitch (Симха Файбусович Симхович) (aka Simka Faibusovich Simkhovich) (Novozybkov, Russia May 21, 1885 O.S./June 2, 1885 N.S.—Greenwich, Connecticut February 25, 1949) was a Ukrainian-Russian Jewish artist and immigrant to the United States. He painted theater scenery in his early career and then had several showings in galleries in New York City. Winning Works Progress Administration (WPA) commissions in the 1930s, he completed murals for the post offices in Jackson, Mississippi and Beaufort, North Carolina. His works are in the permanent collections of the Dallas Museum of Art, the National Museum of American Art and the Whitney Museum of American Art. Born outside Kyiv (Petrograd Ukraine) into a Jewish family who owned a small department store. During a severe case of measles when he was seven, Simcha Simchovitch sketched the views outside his window and decided to become an artist, over his father's objections. Beginning in 1905, he studied at the Grekov Odessa Art School and upon completion of his studies in 1911 received a recommendation to be admitted to the Imperial Academy of Arts. Though he enrolled to begin classes in architecture, painting, and sculpture at the Imperial Academy, he was dropped from the school roster in December because of the quota on the number of Jewish students and drafted into the army. Simchovitch served as a private in the 175th Infantry Regiment Baturyn [ru] until his demobilization in 1912. Re-enrolling in the Imperial Academy, he audited classes. Simka Simkhovitch exhibited paintings and sculptures in 1918 as part of an exhibition of Jewish artists and in 1919 placed 1st in the competition "The Great Russian Revolution" with a painting called "Russian Revolution" which was hung in the State Museum of Revolution. In 1922, Simkha Simkhovitch exhibited at the International Book Fair in Florence (Italian: Fiera Internazionale del Libro di Firenze). In 1924, Simkhovitch came to the United States to make illustrations for Soviet textbooks and decided to immigrate instead. Initially he supported himself by doing commercial art and a few portrait commissions. In 1927, he was hired to paint a screen for a scene in the play "The Command to Love" by Fritz Gottwald and Rudolph Lothar which was playing at the Longacre Theatre on Broadway. Art dealers began clamoring for the screen and Simkhovitch began a career as a screen painter for the theater. Catching the attention of the screenwriter, Ernest Pascal, he worked as an illustrator for Pascal, who then introduced him to gallery owner, Marie Sterner. Simkhovitch's works appeared at the Marie Sterner Gallery beginning with a 1927 exhibit and were repeated the following year. Simkhovitch had an exhibit in 1929 at Sterner's on circus paintings. In 1931, he held a showing of works at the Helen Hackett Gallery, in New York City and later that same year he was one of the featured artists of a special exhibit in San Francisco at the California Palace of the Legion of Honor in Lincoln Park. The exhibit was coordinated by Marie Sterner and included four watercolors, including one titled "Nudes". He is of the generation of Russian Soviet artists such as Isaac Pailes, Serge Charchoune, Marc Chagall, Chana Orloff, Isaac Ilyich Levitan, and Ossip Zadkine. In 1936, Simkhovitch was selected to complete the mural for the WPA Post office project in Jackson, Mississippi. The mural was hung in the post office and courthouse in 1938 depicted a plantation theme. Painted on the wall behind the judge’s bench, “Pursuits of Life in Mississippi”, a depiction of black workers engaged in manual labor amid scenes of white professionals and socialites, was eventually covered over in later years during renovations due to its stereotypical African American imagery. The following year, his painting "Holiday" won praise at an exhibition in Lincoln, Nebraska. In 1940, Simkhovitch's second WPA post office project was completed when four murals, "The Cape Lookout Lighthouse and the Orville W. Mail Boat", "The Wreck of the Crissie Wright", "Sand Ponies" and "Canada Geese" were installed in Beaufort, North Carolina. The works were commissioned in 1938 and did not generate the controversy that the Jackson mural had. The main mural is "The Wreck of the Crissie Wright" and depicts a shipwreck which had occurred in Beaufort in 1866. "The Cape Lookout Lighthouse and the Orville W. Mail Boat" depicted the lighthouse built in 1859 and the mail boat that was running mail during the time which Simkhovitch was there. The boat ran mail for the area until 1957. "Sand Ponies" shows the wild horses common to the North Carolina barrier islands and "Canada Geese" showed the importance of hunting and fishing in the area. All four murals were restored in the 1990s by Elisabeth Speight, daughter of two other WPA muralists, Francis Speight...

The world was Bendiner's oyster, but here he shows us a all we need in a small corner of Paris. It's charming and safe: the 'Flic et Bonne' (gendarme and nursemaid) are together, goi...

The Place St. Andre des Arts, on the Left Bank in Paris, would have been a natural environment for Bendiner. It was the Latin Quarter, just south of the Louvre and near everything im...

World traveler that he was, Bendiner was clearly at home in Paris. He found everyone fascinating and has made this print a compendium of local characters and types. Nothing escapes h...

Howard Cook, 'Financial District', lithograph, 1931, edition 75, Duffy 155. A fine, richly-inked impression, on cream wove paper, the full sheet with wide margins (2 3/4 to 5 5/8 inches), in excellent condition. Image size 13 5/16 x 10 3/8 inches (338 x 264 mm); sheet size 23 x 16 inches (584 x 406 mm). Matted to museum standards, unframed. Literature: 'American Master Prints from the Betty and Douglas Duffy Collection', the Trust for Museum Exhibitions, Washington, D.C., 1987. Collections: Crystal Bridges Museum of American Art, Library of Congress, Metropolitan Museum of Art, Philadelphia Museum of Art, Smithsonian American Art Museum. ABOUT THE ARTIST Howard Norton Cook (1901-1980) was one of the best-known of the second generation of artists who moved to Taos. A native of Massachusetts, he studied at the Art Students League in New York City and at the Woodstock Art Colony. Beginning his association with Taos in 1926, he became a resident of the community in the 1930s. During his career, he received two Guggenheim Fellowships and was elected an Academician in the National Academy of Design. He earned a national reputation as a painter, muralist, and printmaker. Cook’s work in the print mediums received acclaim early in his career with one-person exhibitions at the Denver Art Museum (1927) and the Museum of New Mexico (1928). He received numerous honors and awards over the years, including selection in best-of-the-year exhibitions sponsored by the American Institute of Graphics Arts, the Brooklyn Museum, the Society of American Etchers, and the Philadelphia Print Club. His first Guggenheim Fellowship took him to Taxco, Mexico in 1932 and 1933; his second in the following year enabled him to travel through the American South and Southwest. Cook painted murals for the Public Works of Art Project in 1933 and the Treasury Departments Art Program in 1935. The latter project, completed in Pittsburgh, received a Gold Medal from the Architectural League of New York. One of his most acclaimed commissions was a mural in the San Antonio Post Office in 1937. He and Barbara Latham settled in Talpa, south of Taos, in 1938 and remained there for over three decades. Cook volunteered in World War II as an Artist War Correspondent for the US Navy, where he was deployed in the Pacific. In 1943 he was appointed Leader of a War Art Unit...