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Related Lots

(110 lots returned)

Scope: Upcoming Auctions

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RUDI FELD (1896-1994). DIE GEFAHR DES BOLSCHEWISMUS. 1919. 36x27 inches, 93x68 cm.

Lot 8: RUDI FELD (1896-1994). DIE GEFAHR DES BOLSCHEWISMUS. 1919. 36x27 inches, 93x68 cm.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $1,200 - $1,800

Description: RUDI FELD (1896-1994) DIE GEFAHR DES BOLSCHEWISMUS. 1919. 36 3/4x27 inches, 93 1/4x68 1/2 cm. Condition B+: restored losses, repaired tears, creases and overpainting in margins and image and along vertical and horizontal folds. "Political life in the [post World War I German] republic was haunted by the fear of communism that posters of the antibolshevik leagues and volunteer corps had helped propagate" (Paret p. 122). "The specter of communism in the form of death is one of the old motifs of anti-socialist propaganda. Since the Russian October Revolution, it often carries "Asian" traits -- in this case, the yellow color of the cranium and the curved dagger between his teeth. Gallows and graves in the background show that socialism equals death" (Politische Plakate p. 50). Rudi Feld became the head of advertising for UFA films in the 1930s and went on to work in Hollywood. Zeman p. 106, Paret 177, Plakat-Kunst p. 86, Modern Poster 71, Politische Plakate p. 50.

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HEINZ FUCHS (1886-1961). ARBEITER HUNGER TOD NAHT. 1919. 29x40 inches, 74x103 cm.

Lot 9: HEINZ FUCHS (1886-1961). ARBEITER HUNGER TOD NAHT. 1919. 29x40 inches, 74x103 cm.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $1,200 - $1,800

Description: HEINZ FUCHS (1886-1961) ARBEITER HUNGER TOD NAHT. 1919. 29 1/4x40 1/2 inches, 74 1/4x103 cm. Condition B: visible overpainting along vertical and horizontal folds; restored losses in margins; repaired tears and restoration in margins and image; faded overall. Fuchs worked for most of his life in his native Berlin. In addition to studies at the Berlin Akademie under Lovis Corinth, he also studied at the Wiemar Art School. After World War I, he joined the November Group, whose artistic members advocated for a social revolution, a greater role for artists in the new German Republic and unification between art and the populace. Between 1918 and 1919, the November Group also worked with the "Publicity Office of the German Republic" (Werbedienst der Deutschen Republik), a governmental branch aimed at restoring civility and order to society in the trauma following the end of the War. Fuchs designed two posters for the cause in his "distinctive graphic style in which expressionist vocabularies of violent color and distorted form united with dynamic yet legible text exhorting workers to support the new Republic" (www.moma.org). War Posters 168, Verfuhrungen 57, Modern Poster 74, Kunst 147, Plakat-Kunst p. 88, Word & Image p. 50, Politsche Plakate p. 47, The Poster 141, Interationale Plakate 323.

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GUSTAV KLUTSIS (1895-1938). SPARTAKIADA. Postcard. 1928. 5x4 inches, 14x10 cm. Izvestiya, Moscow.

Lot 14: GUSTAV KLUTSIS (1895-1938). SPARTAKIADA. Postcard. 1928. 5x4 inches, 14x10 cm. Izvestiya, Moscow.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $1,000 - $1,500

Description: GUSTAV KLUTSIS (1895-1938) SPARTAKIADA. Postcard. 1928. 5 3/4x4 inches, 14 1/2x10 1/4 cm. Izvestiya, Moscow. Condition B+: minor staining along left edge; corners rubbed; skinning and minor rubbing on verso. Klutsis designed nine postcards to promote the Spartakiada, a national sports competition which began on August 12, the day of the closing ceremony of the Olympics in Amsterdam in which Russia did not compete. "For the Bolsheviks, sporting success and physical perfection demonstrated the triumph of the Revolution, the efficacy of Socialism and the achievements of the Soviet state. The Spartakiada, therefore, had considerable propaganda potential, and, as a committed Communist and Constructivist, Klutsis orchestrated his photomontages to maximise this. While seeking to capture the dynamism of sporting activities and reveal the beauty of the physical gestures involved, he was also concerned to bring out the fundamental connection between sport and Communist ideology" (vam.co.uk). Klutsis pl. 45.

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NATALIA SERGEEVNA PINUS (1901-1986). [FOR ORGANIZATIONAL AND ECONOMIC STRENGTHENING OF KOLKHOZES.] 1932. 35x22 inches, 90x57 cm.

Lot 22: NATALIA SERGEEVNA PINUS (1901-1986). [FOR ORGANIZATIONAL AND ECONOMIC STRENGTHENING OF KOLKHOZES.] 1932. 35x22 inches, 90x57 cm.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $1,500 - $2,000

Description: NATALIA SERGEEVNA PINUS (1901-1986) [FOR ORGANIZATIONAL AND ECONOMIC STRENGTHENING OF KOLKHOZES.] 1932. 35 3/4x22 3/4 inches, 90 3/4x57 3/4 cm. Condition B+ / B: tears, repaired tears and staining at edges; creases and abrasions along vertical and horizontal folds and in margins and image; pencil notations in image. This is the sixth poster in the series described in lot 20. The quaotation along the bottom, from Stalin, reads, "with Lenin's banner we won in the battles for October Revolution. With Lenin's banner we achieved the decisive successes in the struggle for the victory of socialist construction. With the same banner we will win in the proletariat revolution all over the world." Kolkhozes were collective farms.

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VLADIMIR VASIL'EVICH LEBEDEV (1891-1967). [WHAT BRINGETH FORTH THE MORROW?] TASS WINDOW NO. 606. 1942. 61x33 inches, 155x85 cm.

Lot 32: VLADIMIR VASIL'EVICH LEBEDEV (1891-1967). [WHAT BRINGETH FORTH THE MORROW?] TASS WINDOW NO. 606. 1942. 61x33 inches, 155x85 cm.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $1,500 - $2,000

Description: VLADIMIR VASIL'EVICH LEBEDEV (1891-1967) [WHAT BRINGETH FORTH THE MORROW?] TASS WINDOW NO. 606. 1942. 61 1/4x33 1/2 inches, 155 1/2x85 cm. Condition B+ / B: tears along sharp vertical and horizontal folds and at edges; creases and abrasions in margins and image; text banners affixed to top and bottom. Four-sheets attached. Paper. A Tass Window referring to "Operation Torch," and the Anglo-American expeditionary attack in North Africa "to expel the Axis powers from the region. The operation directly impacted the future of Mussolini, permanently thwarting his imperialist ambitions . . . [here] an apelike Mussolini, fleeing on all fours, moves over the scorched and burning Italian peninsula from south to north. Across the Mediterranean looms the coast of North Africa, above which appear, like locusts, ominous squadrons of fighter planes . . . the layering of colors in a variety of ways . . . demonstrate Lebedev's ability to achieve an overall painterly unity that belies the actual execution with stencils" (Windows on the War pps. 227-8). The title comes from Pushkin's Eugene Onegin. Windows on the War p. 227.

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SERGE GLADKY (1900-1930). JEAN BORLIN. 1929. 47x31 inches, 119x80 cm.

Lot 45: SERGE GLADKY (1900-1930). JEAN BORLIN. 1929. 47x31 inches, 119x80 cm.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $3,000 - $4,000

Description: SERGE GLADKY (1900-1930) JEAN BORLIN. 1929. 47x31 1/2 inches, 119 1/2x80 cm. Condition A-: light time-staining at edges; creases in margins and image; losses, punch holes and minor tears along right edge. Paper. Serge Gladky's primary legacy to the art world is several stunning pochoir portfolios that he designed in the mid-1920s, specifically Nouvelles Compositions Decoratives, which is filled with abstract decorative designs accomplished in his vibrant cubist style. Based on imagery from the natural world and executed using geometric forms and bright colors, it is a tour de force of Art Deco ornamentation. After Jean Borlin stopped dancing with the Ballet Suedois in 1925, he continued performing on his own. This poster is for one of his last shows in Paris, Cercle Eternel. He died in New York in 1930. This is Gladky's only known poster. A version exists with text announcing the program, which included sets by Paul Colin, Gladky, Ferdinand Leger and Francis Picabia. The image often appears with these extra large margins trimmed off. Theaterplakate 160 (var).

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ALEXEY BRODOVITCH (1898-1971). BAL BANAL. 1924. 22x26 inches, 56x66 cm.

Lot 47: ALEXEY BRODOVITCH (1898-1971). BAL BANAL. 1924. 22x26 inches, 56x66 cm.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $10,000 - $15,000

Description: ALEXEY BRODOVITCH (1898-1971) BAL BANAL. 1924. 22x26 1/4 inches, 56x66 3/4 cm. Condition A-: soft creases and minor tears at edges; rippling in image. Hand-colored with watercolor. Paper. Brodovitch was a key figure in the development of 20th century graphic design. Born in Russia, he emigrated to Paris where he first distinguished himself as a graphic designer, working for a host of prestigious clients such as Aux Trois Quartiers, Arts et Metiers Graphiques, Cahiers d'Art and the restaurant Prunier. His designs won him five awards at the 1925 Art Deco exhibition. In the early 1930s, he moved to New York, where he eventually became the art director for Harper's Bazaar, during which time he hired A.M. Cassandre (as well as other top European designers like Man Ray and Herbert Bayer) to design covers for the magazine. He was also responsible for nurturing and developing young American talents such as Richard Avedon. This extremely rare poster is Brodovitch's first published work, the result of winning a poster design competition to advertise a ball for Russian emigres in Paris. The image is reflective of the Parisian art movements of the period, swinging between Cubism and the newborn Surrealism. Andy Grundberg cleverly analyzes it as "suggestive of both the influences on him and of his own future directions. The graphics, light to dark inversion of its mask shape, type and background not only suggest the positive negative process of photography but also symbolically represents the process of masking; one trades one's identity for another, contrary one" (Brodovitch p. 24).

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FRANCIS BERNARD (1900-1979). ICI / BLACKERISATION DECKERISATION / BLACK & DECKER. 1930. 62x47 inches, 158x119cm. Paul Martial, Paris.

Lot 62: FRANCIS BERNARD (1900-1979). ICI / BLACKERISATION DECKERISATION / BLACK & DECKER. 1930. 62x47 inches, 158x119cm. Paul Martial, Paris.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $1,000 - $1,500

Description: FRANCIS BERNARD (1900-1979) ICI / BLACKERISATION DECKERISATION / BLACK & DECKER. 1930. 62 1/2x47 inches, 158 3/4x119 1/2cm. Paul Martial, Paris. Condition A- / B+: minor creases, abrasions and restoration in margins and image. Francis Bernard was a member of the U.A.M. (Union des Artistes Modernes) along with A.M. Cassandre, Jean Carlu, Charles Loupot and Paul Colin. Although he is the least known of the five, he was, in fact, the pioneer of photomontage in France, as well as the first of the group to work as a full-time art director for the printer, Paul Martial. This is the French version. rare/span. Encyclopedie de l'Affiche p. 87.

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RICHARD ARBIB (1917-1995). INTERNATIONAL MOTOR SPORTS SHOW. 1952. 22x14 inches, 56x35 cm, E.J. Warner Poster Corp., New York City.

Lot 77: RICHARD ARBIB (1917-1995). INTERNATIONAL MOTOR SPORTS SHOW. 1952. 22x14 inches, 56x35 cm, E.J. Warner Poster Corp., New York City.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $800 - $1,200

Description: RICHARD ARBIB (1917-1995) INTERNATIONAL MOTOR SPORTS SHOW. 1952. 22x14 inches, 56x35 1/2 cm, E.J. Warner Poster Corp., New York City. Condition B+: tear at bottom edge into text; creases and abrasions in margins and image; discoloration along left margin; tabs affixed to verso. Printed on card. Arbib was an industrial designer with a flair for the modern and futuristic. He is perhaps best known for his 1956 design and implementation of the Astra-Gnome "Time and Space Car," which was featured on the cover of Newsweek on September 3rd of that year. He designed several posters and program covers for this prestigious motor show in Manhattan (this image with slight variations, for example, was also used for the show program cover. An issue which also contains an article Arbib wrote). The Grand Central Palace closed in 1953. a rare and wonderful example of american midcentury modernism/span.

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A. POMBO (DATES UNKNOWN) & J.L. DALES (DATES UNKNOWN). VI SALON DEL AUTOMOVIL. 1928. 45x29 inches, 116x75 cm. [Monetevideo, Uruguay.]

Lot 82: A. POMBO (DATES UNKNOWN) & J.L. DALES (DATES UNKNOWN). VI SALON DEL AUTOMOVIL. 1928. 45x29 inches, 116x75 cm. [Monetevideo, Uruguay.]

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $4,000 - $6,000

Description: A. POMBO (DATES UNKNOWN) & J.L. DALES (DATES UNKNOWN) VI SALON DEL AUTOMOVIL. 1928. 45 3/4x29 3/4 inches, 116x75 1/2 cm. [Monetevideo, Uruguay.] Condition B+ / B: restored loss in upper left corner; repaired tears, creases, abrasions and restoration in margins and image; restored losses at edges. The Automobile Club of Uruguay (Centro Automovilista del Uruguay) was founded in 1918. Very little is known of the automobile shows they organized beginning in 1923. The organization's website does not even refer to these events. Uruguay is not known for its graphic tradition, yet there are a small handful of exquisite posters for sporting events and carnivals in the Latin American country that deserve special attention. This poster, with its captivating color scheme, almost abstract, futurist imagery and creative typography, is a wonderful and rare/span example of South American Art Deco graphic design. The Hotel Parque in Montevideo still stands and serves as the seat of Parliament. In addition to producing this exceptional poster, 1928 was a banner year for Uruguay, as its Olympic soccer team won the gold medal at the Amsterdam Olympic Games. Crouse p. 66.

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ALDA SASSI (1929- ). AUSTRALIA / LLOYD TRIESTINO. 1963. 27x19 inches, 70x48 cm. Giacometti, Verona.

Lot 88: ALDA SASSI (1929- ). AUSTRALIA / LLOYD TRIESTINO. 1963. 27x19 inches, 70x48 cm. Giacometti, Verona.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $500 - $750

Description: ALDA SASSI (1929- ) AUSTRALIA / LLOYD TRIESTINO. 1963. 27 1/2x19 1/8 inches, 70x48 1/2 cm. Giacometti, Verona. Condition B+ / B: restoration along vertical and horizontal folds; wrinkles and creases at edges; restored pin holes in corners. Sassi designed around a dozen posters, primarily for different Italian shipping companies in the post-war period, including The American Export Line, The Italian Line and the Societa di Navigazione. This image is one of the least common of her works and also one of the most abstract, with the unusual geometric formation in the sky above the Galileo Galilei.

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SAM HYDE HARRIS (1889-1977). SOUTHERN PACIFIC'S NEW DAYLIGHT. 1937. 23x16 inches, 58x40 cm.

Lot 98: SAM HYDE HARRIS (1889-1977). SOUTHERN PACIFIC'S NEW DAYLIGHT. 1937. 23x16 inches, 58x40 cm.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $3,000 - $4,000

Description: SAM HYDE HARRIS (1889-1977) SOUTHERN PACIFIC'S NEW DAYLIGHT. 1937. 23x16 inches, 58 1/2x40 1/2 cm. Condition B+: repaired tears, creases and restoration in margins and image; repaired pin holes in corners. Harris was born in England and moved to Los Angeles when he was 15. His career began as a commercial artist, painting notices on sides of buildings, creating signs and billboards, designing posters and typography and more. In 1920, he was hired by the Atchison, Topeka, and Santa Fe Railway Company to design posters. He also worked for the Southern Pacific. "The major portion of the advertising appeared in brochures, magazines and newspapers, but local advertisements were in the form of billboards and hand-painted posters that appeared in department stores, banks, displays in windows and bulletin boards in ticket offices and lobbies" (Harris p. 18). In the 1930s, "streamlined trains were among the most striking, visible and accessible examples of Modernism" in America (Zega p. 104). "The streamliner was perfectly suited to the poster medium; its smooth airflow profile offered the prospect of a respite from America's stylistic preoccupation with realism" (ibid). This scarce/span poster is an excellent example of American modernist design. Zega 141, Harris p. 103, Affiche Art Deco p. 86.

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JOSEPH BINDER (1898-1972). NEW YORK WORLD'S FAIR / THE WORLD OF TOMORROW. 1939. 30x19 inches, 76x50 cm. Grinnell Litho. Co., Inc., New

Lot 130: JOSEPH BINDER (1898-1972). NEW YORK WORLD'S FAIR / THE WORLD OF TOMORROW. 1939. 30x19 inches, 76x50 cm. Grinnell Litho. Co., Inc., New

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $2,000 - $3,000

Description: JOSEPH BINDER (1898-1972) NEW YORK WORLD'S FAIR / THE WORLD OF TOMORROW. 1939. 30 1/4x19 3/4 inches, 76 3/4x50 cm. Grinnell Litho. Co., Inc., New York. Condition A / A-: light discoloration in image; minor restoration at edges. A strong Art Deco and Modernist design for the New York World's Fair featuring "a visual epitomization" of the Trylon and Perisphere rising over a train, ship and the silhouette of New York City (World of Tomorrow p. 218). This design was awarded first prize in the poster competition for the fair in 1938. Joseph Binder studied at the Vienna School of Applied Arts under the great Secessionist, Alfred Roller. He emigrated to America in the mid-1930s, where he continued his work as a graphic designer, creating campaigns for United Airlines and the American Red Cross. He designed covers for Fortune and Graphis magazines, and in 1948, was appointed Art Director and Designer for the U.S. Navy. World of Tomorrow p. 219, Weill 427, Resnick 31, The Poster 304, Affiche Art Deco p. 116, Crouse p. 108.

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LOUIS B. SIEGRIEST (1899-1989). INDIAN COURT / FEDERAL BUILDING. 1939. 34x24 inches, 87x61 cm. Federal Arts Project, W.P.A.

Lot 132: LOUIS B. SIEGRIEST (1899-1989). INDIAN COURT / FEDERAL BUILDING. 1939. 34x24 inches, 87x61 cm. Federal Arts Project, W.P.A.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $1,500 - $2,000

Description: LOUIS B. SIEGRIEST (1899-1989) INDIAN COURT / FEDERAL BUILDING. 1939. 34 1/2x24 1/4 inches, 87 1/2x61 1/2 cm. Federal Arts Project, W.P.A. Condition A / A-: minor abrasions and restoration in margins and image. Silkscreen. As part of the Federal Art Project sponsored by the Works Progress Administration, Louis Siegriest designed eight posters for the exhibition that honored Native American culture in the Indian Court at the Golden Gate International Exposition. For each of these posters he "selected images representing the Navaho, Pueblo, Haida, Plains, Chippewa, Seneca, Eskimo and Apache tribal nations" (WPA p. 55). WPA 79, Posters For the People p. 91.

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VARIOUS ARTISTS. [SUBWAY CAR CARDS.] Group of 25 cards. 1947. Each 5x10 inches, 14x26 cm. New York Subways Advertising Co., Inc., New Y

Lot 133: VARIOUS ARTISTS. [SUBWAY CAR CARDS.] Group of 25 cards. 1947. Each 5x10 inches, 14x26 cm. New York Subways Advertising Co., Inc., New Y

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $1,000 - $1,500

Description: VARIOUS ARTISTS [SUBWAY CAR CARDS.] Group of 25 cards. 1947. Each 5 1/2x10 1/2 inches, 14x26 3/4 cm. New York Subways Advertising Co., Inc., New York. Condition varies, generally A. In original mailing envelope. Double-sided with information on the back on each artist. These miniature car cards were used as part of a campaign to boost advertising in the New York subway system. They were sent to prospective advertisers on a weekly basis, along with miniature reproductions of the posters used in the subway advertising series themselves (not included here). Each card has the artist's bio on the back and a factoid about advertising on the subway. Their goal was to "reveal in a new light the almost unlimited possibilities of this medium." The artists include E. McKnight Kauffer, Sascha Maurer, Joseph Binder, Lucian Bernhard, Paul Rand, Erik Nitsche, Otis Shepard and others. Together, they are a superb example of mid-century American graphic design. We believe this is the complete set. International Poster Annual 1948 / 49 pps. 162-166.

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JOSEPH BINDER (1898-1972). PROUDLY YOU SERVE / NAVY. 1950. 40x28 inches, 101x71 cm.

Lot 134: JOSEPH BINDER (1898-1972). PROUDLY YOU SERVE / NAVY. 1950. 40x28 inches, 101x71 cm.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $700 - $1,000

Description: JOSEPH BINDER (1898-1972) PROUDLY YOU SERVE / NAVY. 1950. 40x28 inches, 101 1/2x71 cm. Condition B+: minor tears and losses at edges; creases and abrasions in margins and image. Paper. Among Binder's largest clients in America were the Red Cross, United Airlines, the Association of American Railroads and the United States Navy, for which he became the art director in 1948, even designing their new logo.

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DESIGNER UNKNOWN. 57 COLLAGES: KURT SCHWITTERS / SIDNEY JANIS GALLERY. 1956. 22x15 inches, 57x38 cm.

Lot 147: DESIGNER UNKNOWN. 57 COLLAGES: KURT SCHWITTERS / SIDNEY JANIS GALLERY. 1956. 22x15 inches, 57x38 cm.

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April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $800 - $1,200

Description: DESIGNER UNKNOWN 57 COLLAGES: KURT SCHWITTERS / SIDNEY JANIS GALLERY. 1956. 22 1/2x15 inches, 57x38 cm. Condition B+ / B: losses and tears at edges; horizontal fold. Paper. Sidney Janis, as a collector, patron of Modern and Contemporary art and gallery owner, was instrumental in promoting European art and artists to the American public. His scholarly, curated exhibitions covered the whole scope of 20th century art, helping to expose generations of Americans to different styles and ideas. He had two separate exhibitions of collages by Kurt Schwitters, the first in 1956, and again in 1959. This photolithographic poster, printed on an actual page from the New York Times (making each poster for the exhibition slightly different), has become rare/span. MoMA 876.1979.

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ROBERT INDIANA (1928- ). VIVA / HEMISFAIR / SAN ANTONIO. 1968. 46x30 inches, 117x76 cm. L.P.I.U., St. Louis.

Lot 182: ROBERT INDIANA (1928- ). VIVA / HEMISFAIR / SAN ANTONIO. 1968. 46x30 inches, 117x76 cm. L.P.I.U., St. Louis.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $700 - $1,000

Description: ROBERT INDIANA (1928- ) VIVA / HEMISFAIR / SAN ANTONIO. 1968. 46x30 inches, 117x76 cm. L.P.I.U., St. Louis. Condition B+: tears and creases at edges and in corners; wrinkles and creases in image. Paper. In 1968, marking the 250th anniversary of its founding, the Texas city of San Antonio was chosen as the first site of the World's Fair in the American Southwest. Robert Indiana, who became a sensation in 1964 when he designed his famous "LOVE" graphic, was commissioned to design the official fair poster. The typography, solid and saturated bold colors and geometric lines are characteristic of his trademark style. This poster was Indiana's second World's Fair commission, his first being for the 1964 World's Fair in Flushing, New York, for which he constructed a 20x20 foot illuminated metal structure that read, "EAT."

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DESIGNER UNKNOWN. THE LAST BLAST. Circa 1974. 28x42 inches, 71x108 cm. Pro Arts, Inc.

Lot 185: DESIGNER UNKNOWN. THE LAST BLAST. Circa 1974. 28x42 inches, 71x108 cm. Pro Arts, Inc.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $500 - $750

Description: DESIGNER UNKNOWN THE LAST BLAST. Circa 1974. 28 1/4x42 3/4 inches, 71 3/4x108 1/2 cm. Pro Arts, Inc. Condition B: repaired tears, restored losses, creases, abrasions and overpainting in margins and image. Seated at the table laid out to resemble Da Vinci's Last Supper, Nixon is surrounded by caricatures of members of his cabinet and administration including Martha Mitchell, national symbols, like the Statue of Liberty and Uncle Sam and even John Lennon. It is a humorous, unflattering counter-culture view of the American government.

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DESIGNER UNKNOWN. CAUTION ROLLING STONES. 1969. 22x22 inches, 56x56 cm.

Lot 189: DESIGNER UNKNOWN. CAUTION ROLLING STONES. 1969. 22x22 inches, 56x56 cm.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $800 - $1,200

Description: DESIGNER UNKNOWN CAUTION ROLLING STONES. 1969. 22 1/4x22 1/4 inches, 56 1/2x56 1/2 cm. Condition A- / B+: light soiling in image; minor creases and abrasions in margins and image; pin holes in image. Paper. The Rolling Stones American tour in 1969 ran from November 7th to the 30th, during which time they performed twenty shows. From the 8th to the 10th they were in California, performing in Los Angeles, Oakland and San Diego.

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DESIGNER UNKNOWN. NEW AMERICAN CINEMA. 1966. 22x14 inches, 56x35 cm. Murray Poster Printing Co. Inc., New York.

Lot 194: DESIGNER UNKNOWN. NEW AMERICAN CINEMA. 1966. 22x14 inches, 56x35 cm. Murray Poster Printing Co. Inc., New York.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $1,500 - $2,000

Description: DESIGNER UNKNOWN NEW AMERICAN CINEMA. 1966. 22x14 inches, 56x35 1/2 cm. Murray Poster Printing Co. Inc., New York. Condition A-: minor abrasions and scratches in image. Printed on card. Framed. The Film-Makers' Cinematheque (which is currently known as the Anthology Film Archives) was founded in 1964, the brainchild of the Lithuanian-born filmmaker Joans Mekas. The Cinematheque moved from its original home on New York's Lafayette Street to 41st street in December, 1965. Although it was at the forefront of the New American Cinema, it is probably best known as the venue in which Andy Warhol screened many of his early films: Vinyl premiered there in March 1965; The Life of Juanito Castro, that same month; Screen Test #2, on June 12; Beauty #2, on July 17; Horse, on November 22; and most prominently, Chelsea Girls, which premiered in September 1966. In February 1966, the theatre was also the site of a live performance by The Velvet Underground. a rare piece of american film history and also elusive warholiana./span

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DESIGNER UNKNOWN. ANDY WARHOL'S / MY HUSTLER. 1966. 22x14 inches, 56x35 cm. Murray Poster Printing Co. Inc., New York.

Lot 196: DESIGNER UNKNOWN. ANDY WARHOL'S / MY HUSTLER. 1966. 22x14 inches, 56x35 cm. Murray Poster Printing Co. Inc., New York.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $1,500 - $2,000

Description: DESIGNER UNKNOWN ANDY WARHOL'S / MY HUSTLER. 1966. 22x14 inches, 56x35 1/2 cm. Murray Poster Printing Co. Inc., New York. Condition A-: minor staining along bottom edge. Printed on card. Framed. Andy Warhol's film, which took on themes of homosexual obsession and aspects of gay lifestyle which were new to the canon of American film at that time, was shot over an LSD-fueled Labor Day weekend on Fire Island. It is the "story" of an older man and his "Dial a Hustler" companion at the New York City weekend destination. And although the New York Times referred to it as a "fetid beach-boy film" (July 11, 1967), the film proved to be a financial success for Warhol. The film premiered in December 1965 at the Film-Makers' Cinematheque, and this poster advertises a screening in the spring of the following year.

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ROBERT CRUMB (1943- ). MARILYN MONTREUIL. 1991. Each 68x46 inches, 173x118 cm.

Lot 199: ROBERT CRUMB (1943- ). MARILYN MONTREUIL. 1991. Each 68x46 inches, 173x118 cm.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $800 - $1,200

Description: ROBERT CRUMB (1943- ) MARILYN MONTREUIL. 1991. Each 68 1/4x46 1/2 inches, 173 1/4x118 cm. Condition A-: minor creases, tears and abrasions at edges. Hand-signed by the artist in pen. Two-sheets, unattached. Paper. Jerome Savary was a colorful, influential impresario of the French theatre whose specialty was blending genres to help broaden appeal. For the poster promoting the musical comedy he chose Robert Crumb, the great American, counter-culture and underground cartoonist who had moved to France in 1990. The large format of this poster was specifically suited for the French poster columns (Colonne Morris), and it is the only poster that Crumb designed in this size. The image was also used on the back of the album cover for the recording of the show.

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PAUL RAND (1914-1996). IBM. 1991. 36x24 inches, 91x61 cm.

Lot 204: PAUL RAND (1914-1996). IBM. 1991. 36x24 inches, 91x61 cm.

by Swann Auction Galleries

April 24, 2014, 1:30 PM EST

New York, NY, USA

Estimated Price: $3,000 - $4,000

Description: PAUL RAND (1914-1996) IBM. 1991. 36x24 inches, 91 1/2x61 cm. Condition B+: creases in image; minor abrasions at edges. Hand-signed by the artist in pencil. Paper. Rand was first employed by IBM in 1956 to redesign the company's logo. He continued consulting for the company for more than 30 years, redesigning their logo at least twice more. In 1981, to announce the in-house IBM Golden Circle award, he designed a rebus version of the logo which was initially shunned by management who "thought that it would be an invitation to in-house designers to engage in tomfoolery. They also claimed it was not IBM and failed to recognize that in one fell swoop Rand had humanized the corporation" (Rand, p. 156). It took a year for the company to actually use the design in promotion, at which point they printed it as a poster with small text at the bottom explaining the significance of each element of the rebus. It has become one of the most famous and recognizable corporate identity statements of the 20th century. In 1991 the famous poster was reissued by IBM, this time without the explanatory text at the bottom. MoMA 520.1983, Modern Poster 211, Encyclopedie de l'Affiche p. 106, Modern American Poster 100, Resnick 72 (var).

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JAMES A. M. WHISTLER The

Lot 246: JAMES A. M. WHISTLER The "Adam and Eve," Old Chelsea.

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $2,500 - $3,500

Description: JAMES A. M. WHISTLER The "Adam and Eve," Old Chelsea. Etching and drypoint on Japan paper, 1878. 176x303 mm; 7x12 inches, full margins. MacDonald's third state (of 3), with the artist's butterfly signature in the sky above the tower and with the drypoint shading on the hull of the second boat in from the left. Ex-collection Frederick Kappel, New York; gift to James D. Smillie, American artist (1833-1909) with pencil inscription lower left recto; Kennedy & Co., New York, with the original label. A superb, richly-inked and early impression with strong contrasts and with burr on the sails and masts of the boats at the far left and on the house façades. Kennedy 175; Glasgow 182.

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JAMES A. M. WHISTLER Thames Police.

Lot 248: JAMES A. M. WHISTLER Thames Police.

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $4,000 - $6,000

Description: JAMES A. M. WHISTLER Thames Police. Etching and drypoint on thin, cream laid Japan paper, 1859. 151x221 mm; 5 7/8x8 7/8 inches, full margins. MacDonald's fifth state (of 5). Signed with the butterfly and inscribed "imp" in pencil, lower right. Ex-collection Associated American Artists, New York, with their label on the frame back. A brilliant, richly-inked impression with all the fine lines distinct. The Marine Police, established in 1798, became the Thames Division of the Metropolitan Police in 1839. In this view, Whistler shows their brick and bay-windowed structure on the banks of the Thames at Wapping Wharf, with the skiffs and marine patrol boats pulled up on the river bank. Kennedy 44; Glasgow 53.

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JAMES D. SMILLIE (after Albert Bierstadt) The Rocky Mountains (Lander's Peak)

Lot 290: JAMES D. SMILLIE (after Albert Bierstadt) The Rocky Mountains (Lander's Peak)

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $20,000 - $30,000

Description: JAMES D. SMILLIE (after Albert Bierstadt) The Rocky Mountains (Lander's Peak). Set of 12 engravings, progressive proofs, 1865-66. Each approximately 660x920 mm; 26x36 1/4 inches (sheets), full margins. Each but one of the engravings on Chine collé on sturdy, cream wove paper. Three of the earliest proofs with incomplete shading: one of these signed by both Smillie and Bierstadt and dated "May 1865" in pencil; another signed by Smillie and dated "May 1865" in pencil, lower right; and the third signed by Smillie and dated "New York, August 10th 1865" in pencil, lower right. The third through the eighth working proofs: one impression of the third proof; two impressions of the fourth proof; two impressions of the fifth proof; one impression of the sixth proof; two impressions of the seventh proof, one of which is signed and inscribed "one of the last working proofs" in pencil, lower right; and one impression of the eighth proof, signed and inscribed "Last working proof" in pencil, lower right. Each of these proofs inscribed "3rd pf." through "8th pf." in pencil, lower right. This monumental engraving shows a Native American encampment at the foot of the Rocky Mountains where Bierstadt traveled in 1859 on a western expedition led by US Army Colonel Frederick W. Lander (1821-1862). Bierstadt created the celebrated painting (now at the Metropolitan Museum of Art, New York) on which this engraving was based four years after the expedition, following the Colonel's death during the Civil War, and named the Peak in honor of his friend The painting was widely admired, as it aptly captured the mystique and beauty of the American West. It was sold by Bierstadt for the hefty sum of $25,000 in 1865, prompting the artist to commission an engraving after the composition. It took James D. Smillie (1833-1909) three years to craft and publish the grandiloquent print. Bierstadt closely monitored the design of the engraving, checking in on its progress in New York, sometimes daily, and requesting frequent proofs from the engraver.

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JAMES D. SMILLIE Rough Sport in Yosemite.

Lot 291: JAMES D. SMILLIE Rough Sport in Yosemite.

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $3,000 - $5,000

Description: JAMES D. SMILLIE Rough Sport in Yosemite. Etching on ivory wove China paper with a group of 6 additional proofs on various papers, 1886. 252x405 mm; 10x16 inches, full margins. Signed and dated "NY 1886" in pencil, lower right. With--Additional 6 proofs of this subject: 2 on imitation Japan paper, 2 on cream wove paper (one of these in signed in pencil, lower right), one on Chine volant, signed and inscribed "J.D.S. imp.--plate destroyed" in pencil, lower margin, and a fragment impression on cream wove paper, signed and inscribed "J.D.S. imp.--Fragment" in pencil, lower margin. Very good impressions of these scarce, early western American etchings.

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EDWARD HOPPER Evening Wind.

Lot 296: EDWARD HOPPER Evening Wind.

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $80,000 - $120,000

Description: EDWARD HOPPER Evening Wind. Etching, 1921. 180x212 mm; 7x8 1/4 inches, full margins. Signed in pencil, lower right, and titled and priced ("$30") by the artist in pencil, lower left. Partial Umbria watermark. A brilliant, richly-inked impression of this extremely scarce, important etching, with very strong contrasts, with all the details distinct and with no sign of wear. According to an account by Hopper explaining his printing methods, "The best prints were done on an Italian paper called 'Umbria' and was the whitest paper I could get. The ink was an intense black that I sent for to Kimber in London, as I could not get an intense enough black here. I had heard so much of the beauty of old paper that I tried some 18th century ledger paper, but it did not give me the contrast and brilliance that I wished, and I did not use it," (Levin, Edward Hopper, The Complete Prints, New York, 1979, page 11). Hopper (1882-1967) was born in Nyack, New York, just north of New York City. After briefly studying at the Correspondence School of Illustrating (1899-1900), he attended the New School of Art from 1900 to 1906. Hopper studied painting and life drawing under Kenneth Hayes Miller, Robert Henri and William Merritt Chase alongside classmates George Bellows, Guy Pene du Bois and Rockwell Kent. At 24-years old, Hopper left for Paris, where he stayed for over a year (he returned to Europe again in 1909 and 1910). These European trips were crucial to his development as an artist, and even though he never returned to Paris, he portrayed a romanticized ideal of the place in many of his works until 1924, at which time he ceased using overt French imagery altogether. While many American artists who visited Paris during this time were most struck by the avant-garde movements of Fauvism and Cubism, Hopper paid them little attention and instead studied Degas and Manet, as well as Rembrandt and other Old Masters. Hopper never chose to characterize himself as an illustrator or printmaker, preferring to be known as a painter, but ironically he found commercial success and a livelihood through both of these downplayed endeavors. Hopper began working as an illustrator in 1905 with C. C. Phillips & Company, New York, and greatly supplemented his income through illustration work through the early 1900s. He did not find sound financial footing through sales of his paintings until after 1924, following a sold out exhibition of his work, at Rehn Gallery, New York. Hopper's first foray into printmaking came at the encouragement of then-fellow illustrator Martin Lewis, in 1915 (see lots 301-307), who instructed him on the technical aspects of the medium. Despite receiving this initial instruction on printmaking from Lewis, their styles were markedly different: Lewis employed a variety of complicated techniques to obtain his desired tonal effects, while Hopper had a much simpler approach, only ever working in etching and drypoint. (Before he began etching in 1915, Hopper produced several monotypes, a medium viewed as an intermediary step between painting and printing.) Lewis focused on printmaking throughout his artistic career, while Hopper produced approximately 70 prints over a relatively short period of time. His career as an etcher was particularly short-lived and essentially ended in 1923; in 1928 he made his final prints, two drypoints, before abandoning printmaking altogether to focus on painting. Hopper quickly mastered etching and drypoint. He had a relatively simple and steadfast preference when it came to printmaking: very black ink on very white paper; plates that were deeply bitten and clean-wiped; producing impressions that came out inky with brilliant contrasts. While creating seemingly straightforward, realist compositions, Hopper imbued his scenes with mood and emotion, aptly capturing the intangible quality of a fleeting moment. His work is characterized by a sense of stillness and isolation, which he often dramatized with the use of heavy chiaroscuro and strong, dark hatching, such as in Evening Wind, one of his most celebrated etchings. The image of a lone woman before a window appears repeatedly in his oeuvre, and is an arrangement employed by one of his greatly-admired influences, Degas. Windows crop up frequently in Hopper's work, as symbols of the contrast between quiet interior moments and the busy outside world. Psychologically, Hopper's figures are often caught in moments of contemplation or seeming boredom--scenes of stillness indicative of loneliness and weariness. Hopper's rapidly-gained proficiency as an etcher, his unique style and perspective, and the number of absolutely masterful prints that he created over his short career as a printmaker earn him a place as one of the most important American graphic artists of the 20th century. Zigrosser 9; Levin 77.

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MARTIN LEWIS Fifth Avenue Bridge.

Lot 301: MARTIN LEWIS Fifth Avenue Bridge.

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $8,000 - $12,000

Description: MARTIN LEWIS Fifth Avenue Bridge. Drypoint on cream laid paper, 1928. 253x303 mm; 9 7/8x12 inches, full margins. Edition of 108. Signed in pencil, lower right. Etruria Italy watermark. A brilliant, richly-inked and luminous impression of this important print. Australian-born Lewis (1881-1962) was one of the leading contributors to American printmaking in the first half of the twentieth century, creating approximately 150 etchings and lithographs between 1915 and 1953. While many of his contemporaries explored the ever-changing New York cityscape by meticulously capturing new and old architecture alike, Lewis' fascination centered on the cities inhabitants. Lewis approached printmaking as an art form in and of itself (rather than ancillary to painting). His print compositions were unique and he excelled at virtually every printmaking technique, using his remarkable skills to push each one to its greatest potential. Lewis strove for tonal quality above all else in his prints, going so far as to treat plates with sandpaper and other materials before etching them in order to achieve grain (see lot 305). The softness that Lewis captured when he utilized various techniques to bring out a wide spectrum of tones lends a distinctive painterly quality to his prints. Interestingly, he rarely used aquatint and mezzotint, two techniques traditionally utilized for their tonal quality. Lewis also rejected the practice of manipulating ink during the printing process (a method exposed by Whistler) and preferred to put the "work' into the plate itself. McCarron 72.

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LOUIS LOZOWICK Through Brooklyn Bridge Cables.

Lot 313: LOUIS LOZOWICK Through Brooklyn Bridge Cables.

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $4,000 - $6,000

Description: LOUIS LOZOWICK Through Brooklyn Bridge Cables. Lithograph, 1938. 244x326 mm; 9 5/8x12 3/4 inches, full margins. Edition of 250. Signed and dated in pencil, lower right. Published by Associated American Artists, New York. A superb, dark impression. Flint 158.

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SAMUEL L. MARGOLIES Men of Steel.

Lot 315: SAMUEL L. MARGOLIES Men of Steel.

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $7,000 - $10,000

Description: SAMUEL L. MARGOLIES Men of Steel. Drypoint, circa 1940. 378x295 mm; 14 7/8x11 5/8 inches, full margins. Edition of 250. Signed in pencil, lower margin. Published by Associated American Artists, New York. A brilliant, richly-inked impression with every detail distinct.

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THOMAS HART BENTON I Got a Gal on Sourwood Mountain.

Lot 316: THOMAS HART BENTON I Got a Gal on Sourwood Mountain.

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $3,000 - $5,000

Description: THOMAS HART BENTON I Got a Gal on Sourwood Mountain. Lithograph, 1938. 321x236 mm; 12 5/8x9 1/4 inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A very good impression. Fath 19.

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THOMAS HART BENTON Rainy Day

Lot 317: THOMAS HART BENTON Rainy Day

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $1,500 - $2,500

Description: THOMAS HART BENTON Rainy Day Lithograph, 1938. 225x343mm; 8 3/4x13 3/8 inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A very good impression. Fath 23.

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THOMAS HART BENTON Night Firing.

Lot 318: THOMAS HART BENTON Night Firing.

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $2,000 - $3,000

Description: THOMAS HART BENTON Night Firing. Lithograph, 1943. 221x331 mm; 8 3/4x13 inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York, with the original label. A very good, dark impression. With--Gateside Conversation, lithograph, 1946. 251x355 mm; 9 7/8x14 inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. Two punctures in the sky, one upper center the other center right edge. Fath 57 and 69.

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THOMAS HART BENTON Planting.

Lot 319: THOMAS HART BENTON Planting.

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $2,500 - $3,500

Description: THOMAS HART BENTON Planting. Lithograph, 1939. 255x320 mm; 10x12 1/2 inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A very good, dark impression. Fath 28.

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THOMAS HART BENTON Cradling Wheat.

Lot 320: THOMAS HART BENTON Cradling Wheat.

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $3,000 - $5,000

Description: THOMAS HART BENTON Cradling Wheat. Lithograph, 1939. 250x306 mm; 9 3/4x12 inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A very good impression. Fath 27.

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THOMAS HART BENTON Edge of Town.

Lot 321: THOMAS HART BENTON Edge of Town.

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $3,000 - $5,000

Description: THOMAS HART BENTON Edge of Town. Lithograph, 1938. 227x276 mm; 9x11 inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A superb, well-inked impression. Fath 22.

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THOMAS HART BENTON The Boy.

Lot 322: THOMAS HART BENTON The Boy.

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $2,000 - $3,000

Description: THOMAS HART BENTON The Boy. Lithograph, 1948. 242x350 mm; 9 1/2x13 3/4 inches, wide margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A very good, well-inked impression with strong contrasts. Fath 72.

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THOMAS HART BENTON Letter From Overseas.

Lot 323: THOMAS HART BENTON Letter From Overseas.

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $2,500 - $3,500

Description: THOMAS HART BENTON Letter From Overseas. Lithograph, 1943. 245x331 mm; 9 5/8x13 inches, 1-inch margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York, with the original label. A superb, dark impression. Fath 59.

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THOMAS HART BENTON Instruction.

Lot 324: THOMAS HART BENTON Instruction.

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $2,000 - $3,000

Description: THOMAS HART BENTON Instruction. Lithograph, 1940. 265x315 mm; 10 3/8x12 3/8 inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A superb, strong impression. Fath 41.

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THOMAS HART BENTON Shallow Creek.

Lot 325: THOMAS HART BENTON Shallow Creek.

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $3,000 - $5,000

Description: THOMAS HART BENTON Shallow Creek. Lithograph, 1939. 362x238 mm; 14 1/4x9 3/8 inches, wide margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A superb, richly-inked impression. Fath 32.

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THOMAS HART BENTON Morning Train.

Lot 326: THOMAS HART BENTON Morning Train.

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $3,000 - $5,000

Description: THOMAS HART BENTON Morning Train. Lithograph, 1943. 238x348 mm; 9 3/8x13 1/2 inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A superb, dark impression. Fath 58.

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THOMAS HART BENTON Wreck of the Ol' 97.

Lot 327: THOMAS HART BENTON Wreck of the Ol' 97.

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $10,000 - $15,000

Description: THOMAS HART BENTON Wreck of the Ol' 97. Lithograph, 1944. 263x382 mm; 10 3/8x15 1/8 inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A brilliant, dark impression with strong contrasts. The "Ol' 97," a Southern Railway locomotive, officially known as the Fast Mail, was en route from Monroe, Virginia, to Spencer, North Carolina, when it derailed at Stillhouse Trestle near Danville, Virginia, in September of 1903. Fath 63.

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THOMAS HART BENTON The Race.

Lot 328: THOMAS HART BENTON The Race.

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $12,000 - $18,000

Description: THOMAS HART BENTON The Race. Lithograph, 1942. 225x337 mm; 8 7/8x13 1/4 inches, wide margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A superb, richly-inked impression of this very important lithograph. Based on the same-title oil painting, now in a private collection. Benton shows a lone horse racing a steam engine across a barren midwestern prarie. The telephone pole and line are the only other sign of human presence in this bygone scene. Fath 56.

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THOMAS HART BENTON Spring Tryout.

Lot 329: THOMAS HART BENTON Spring Tryout.

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $4,000 - $6,000

Description: THOMAS HART BENTON Spring Tryout. Lithograph, 1943. 239x350 mm; 9 3/8x13 3/4 inches, wide margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A very good, well-inked impression. Fath 61.

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THOMAS HART BENTON Running Horses.

Lot 330: THOMAS HART BENTON Running Horses.

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $7,000 - $10,000

Description: THOMAS HART BENTON Running Horses. Lithograph, 1955. 316x421 mm; 12 1/2x16 5/8 inches, full margins. Edition of 100. Signed in pencil, lower right. Published by Associated American Artists, New York. A superb, dark and richly-inked impression of this very scarce lithograph. Fath 78.

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GRANT WOOD The Planting Group.

Lot 333: GRANT WOOD The Planting Group.

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $4,000 - $6,000

Description: GRANT WOOD The Planting Group. Lithograph, 1937. 215x278 mm; 8 1/2x11 inches, full margins. Edition of 250. Signed and dated in pencil, lower right. Published by Associated American Artists, New York. A very good impression. Cole 1.

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Starting bid: $3,000 (0 bids)

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GRANT WOOD January.

Lot 334: GRANT WOOD January.

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $4,000 - $6,000

Description: GRANT WOOD January. Lithograph, 1936. 230x303 mm; 9 1/8x12 inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A very good impression. Cole 3.

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Starting bid: $3,000 (0 bids)

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GRANT WOOD March.

Lot 335: GRANT WOOD March.

by Swann Auction Galleries

April 29, 2014, 10:30 AM EST

New York, NY, USA

Estimated Price: $5,000 - $8,000

Description: GRANT WOOD March. Lithograph, 1939. 228x302 mm; 9x12 inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A superb impression. Cole 14.

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Starting bid: $3,600 (0 bids)

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