Litho by Joseph Hirsch, Drink, c.1964
Lithograph: 12.5" x 10.5"
Frame: 18.75" x 15"

(From Wiki:) Joseph Hirsch (1910 - 1981) was an American painter, illustrator, muralist and teacher. Social commentary was the backbone of Hirsch's art, especially works depicting civic corruption and racial injustice.His works are in the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, the Smithsonian American Art Museum, and many other museums.

In the late 1930s, Hirsch worked in Philadelphia as an artist in the easel painting division of the Works Project Administration. He painted murals for the Amalgamated Clothing Workers of America Office Building at 2113-27 South Street; for the Family Court Building at 1801 Vine Street; and for the Benjamin Franklin High School at Broad & Green Streets (now demolished).

During World War II, his image of a smiling and waving soldier shipping out, Till We Meet Again (1942), was the most popular War Bond poster. In 1942-1943, he was embedded as an artist/war correspondent with naval airmen in Florida, then with the U.S. Navy Medical Corps in the South Pacific. In 1944, he was embedded with the U.S. Army Medical Corps in North Africa and Italy. Some of his most powerful war paintings depict wounded soldiers being removed from the battlefield.

Hirsch exhibited regularly in the annual exhibitions of the Pennsylvania Academy of the Fine Arts and the National Academy of Design. He exhibited seventeen canvases in a 1942 Museum of Modern Art exhibition—Americans 1942: 18 Artists from 9 States (MoMA, January 21 to March 8, 1942), and exhibited in eleven other MoMA exhibitions. One of Hirsch's war paintings was included in the Artists for Victory exhibition, that began at the Corcoran Gallery of Art in late 1944, and toured the country.

PAFA awarded Hirsch the 1934 Walter Lippincott Prize (best figure painting exhibited by an American artist) for Masseur Tom, a life-size full-length portrait of an imposing Turkish masseur. Masseur Tom also won him the 1934 Third Hallgarten Prize (best figure painting exhibited by an American artist under age 30) from NAD. The public voted Two Men (1937) the best contemporary American painting exhibited at the 1939 New York World's Fair. A depiction of a black man and a white man having an amicable disagreement, Two Men is in the permanent collection of MoMA. The Library of Congress twice awarded him the Joseph Pennell Purchase Prize for lithography: 1944 for Lunch Hour, and 1945 for The Confidence. The Art Institute of Chicago awarded him the 1951 Blair Prize for Nine Men. The Metropolitan Museum of Art held its first annual exhibition in 1951, and awarded him Fourth Prize for Nine Men, the only non-abstract painting among the winners. The Childe Hassam Purchase Fund of the American Academy of Arts and Letters purchased four of his paintings, beginning with The Burden in 1955. The Crucifixion won him the Butler Institute of American Art's 1964 purchase prize, and the painting remains BIAA's permanent collection. NAD awarded him the Altman Prize (best figure painting exhibited by an American artist) three times: 1959 for The Book, 1966 for [work], and 1978 for Tuba. The Carnegie Museum of Art awarded him the 1947 Carnegie Second Prize for The Iceman, and the 1968 Carnegie Prize for [work].

Hirsch was runner-up for the 1935 Rome Prize. He received two Guggenheim Fellowships (1942 & 1943), and two Fulbright Fellowships (1949 & 1950). He was elected an Associate member of the National Academy of Design in 1954, and a full Academician in 1958. He was elected to the National Institute of Arts and Letters in 1967. He was a member (and later a trustee) of the Century Association.

Discoloration of paper. Glass does not fit perfectly into frame.