1930s Drawings and Watercolor Paintings

Artist: Harry George Theaker (English, 1873-1954) Title: "Moors, Yorkshire, UK" *No signature found Circa: 1935 Medium: Original Watercolor on watercolor paper Sheet size: 9.75" x 13.75" Condition: In excellent condition Notes: Provenance: private collection - Corsham, UK. "GAC" and "H.G. Theaker" pencil inscribed upper left and center on verso. Biography: Born January-March 1873 in Wolstanton, Staffordshire. He was the son of George Theaker (1835-1902, born in Sheffield, Yorkshire), headmaster (principal) of the School of Art in Burslem from 1869-94 and designer for pottery. His younger brother, Charles Edmund (1875-1903) was an apprentice designer modeller and then a teacher at the Wedgwood Institute in Burslem around 1900. Harry George was an apprentice pottery decorator and then a teacher. He settled in London c.1900-05 and was in charge of design at the Polytechnic in Regent Street from about 1906 onwards, where he also taught courses in 'modelling from design'. Theaker remained at the Polytechnic and is listed in prospectuses as headmaster (principal) between 1931-2 and 1937-38. Theaker was also a successful illustrator, particularly of children's books. His first known published works date from about 1911, and most of his illustrations date from the 1920s and 1930s. Amongst the books he illustrated are 'The Ingoldsby Legends' by Sir Thomas Ingoldsby, London, 1911; 'Children's Stories from 'The Arabian Nights', by Rose Yeatman Woolf, 1914 (and later editions); 'The Adventures of Don Quixote', c.1920 and 1929; 'Gulliver's Travels', 1928; 'The Water Babies', 1930; 'Grimm's Fairy Tales', 1930; 'Stories of King Arthur', 1925 and 'Long, long ago: stories from the classics' both retold by Blanche Winder, the latter probably in the 1930s (see National Art Library catalogue...

'The Church of Saint-Nicolas du Chardonnet, Paris', gouache on art paper by Lucien Génin (circa 1930s). In Paris' 5th Arrondissement the site in which Saint-Nicolas du Chardonnet is ...

6th Avenue El at 8th St NYC Cityscape American Scene Social Realism Mid-Century Max Arthur Cohn (1903-1998) 6th Avenue El at 8th Street 13 x 18 inches Watercolor on paper, c. 1930 ...

'The Olive Tree Behind the Stone Wall', ink on art paper, by Pierre Dionisi (circa 1930s). Sepia-toned, original drawing in a compelling style depicts a...

Reginald Marsh "Manhattan Bridge" NYC American Scene Modernism Watercolor WPA Urban Realism, 20 x 14 inches. Watercolor and pencil on paper, 1938. Signed...

A ca. 1935 tonal, watercolor of a steel mill by artist Harold Haydon. Artwork size: 8 3/4" x 11 3/4". Archivally matted to 14" x 18". Provenance: Estate of the artist. Harold E...

"Sculpture Model" Abstract American Drawing Modernism Mid 20th Century Cubism Charles Biederman (American, 1906-2004) Sculpture Model Ink and gouache on Arches paper Sight: 18 x 1...

Original Painting New Yorker Mag Cover proposal. Army Wedding American Scene WPA Antonio Petruccelli (1907 – 1994) Army Wedding New Yorker cover proposal, c. 1939 11 1/2 X 8 inches ...

Important Russian-French Impressionist Gouache & Watercolor painting by Pyotr Alexandrovich Nilus (Пётр Александрович Нилус in French Pierre Nilouss (1869– 1943), signed & dated 1926...

Work on Paper by Isaac Charles Goetz

Andre Dunoyer de Segonzac (French, 1884-1974) Pen & Ink "Chickens" c.1930's Original pen and ink by listed French artist Andre Dunoyer de Segonzac. A mother hen with her babies. A ...

A ca. 1935 tonal, watercolor of a steel mill by artist Harold Haydon. Artwork size: 8 3/4" x 11 3/4". Archivally matted to 14" x 18". Provenance: Estate of the artist. Harold E...

Veteran Cypress at Carmel California by Hugh Moran 1936 Pastel painting of the Veteran Cypress at Carmel, California 1936 by Portrait and landscape artist Hugh Moran (American 19th-20th C.) A Califronia artist whom in 1949 was commissioned to paint Herbert Hoovers...

Framed Cuban Artist/Caricaturist Conrado Walter Massaguer presents Hollywood star Adolphe Menjou in a satirical dual portrait. In the foreground, the subject is seen in a dapper top hat, tux, fashionable cigarette and boutonnière, and is shown as being the epitome of being stylishly debonair. To make a larger point about this subject, Massaguer paints a cast shadow of Menjou as a burning red devil who studies his alter ego from above. Keeping with the artist's sarcasm, we see the good and bad in one image. Works by Massaguer are rare and this work is in keeping with his signature style. This work was most likely done on assignment for Life Magazine, Cosmopolitan, The New Yorker or Vanity Fair. Signed upper right. Inscribe lower right. Titled on verso. Unframed, Slight bend to board; toning to board; scattered faint foxing; pin point abrasions to margins, not affecting image. 19-1/2 x 15-1/8 inches board size. Conrado Walter Massaguer y Diaz was a Cuban artist, political satirist, and magazine publisher. He is considered a student of the Art Nouveau. He was the first caricaturist in the world to broadcast his art on television.He was first caricaturist to exhibit on Fifth Avenue. He was the first caricaturist in the world to exhibit his caricatures on wood. He, and his brother Oscar, were the first magazine publishers in the world to use photolithographic printing. Self portrait of Conrado Walter Massaguer, depicted on a carrousel ride, with the devil over his left shoulder and an angel over his right. (1945) He created the magazine Social with his brother Oscar to showcase Cuban artistic talent. The duo later created the magazine Carteles, which became for a period the most popular magazine in Cuba, which was purchased by Miguel Ángel Quevedo in 1953. In his life, he met and drew caricatures of Franklin D. Roosevelt, Walt Disney, Albert Einstein, the King of Spain, and many others.[ In sum total, he was the author of more than 28 thousand caricatures and drawings.Ernest Hemingway once had to refrain himself from punching Massaguer in the face after the artist drew an unflattering caricature of him. The dictator Gerardo Machado, however, did not punch Massaguer for his own unflattering caricature - he had the artist deported. He was one of the most internationally renowned Cuban artists of his day, and his art is still regularly featured in galleries across the Western Hemisphere and Europe. Early life Massaguer was born on October 18, 1889, in Cárdenas, Cuba.[In 1892, his family moved to Havana. When the Cuban War of Independence broke out, Massaguer's family escaped the country. From 1896 to 1908, he lived in Mérida, Mexico. However, during this time, his parents enrolled him in the New York Military Academy, where he stayed during school years. In 1905, after graduating the military academy, he briefly attended the San Fernando school in Havana, where he was tutored by Ricardo de la Torriente and Leopoldo Romañach. In 1906, less than a year later, he returned to the family home in Mexico. Career as artist Early career While living in Yucatán, Mexico, Massaguer published his first caricatures in local newspapers and magazines. These included La Campana, La Arcadia, and the Diario Yucateco. In 1908, he moved back to Havana. After returning to the island in 1908, Massaguer began mingling with Havana's aristocratic circles, forming close friendships with some of the city's most powerful and influential men, as well as winning the favor of many women who were quickly charmed by him. Massaguer, largely self-taught, honed his style using the avant-garde techniques he studied from the European and American magazines that were widely available in Cuba at the time. Cover of the immensely popular Cuban magazine El Figaro, drawn by Massaguer in 1909. This cover depicts two bumbling, incompetent American tourists to the island. He started drawing for El Fígaro, and was featured prominently on the cover in 1909. After two years of refining his craft, Havana announced a poster contest aimed at attracting North American tourists to stay in the city during the winter months. Notable figures like Leopoldo Romañach, Armando Menocal, Rodríguez Morey, Jaime Valls, and others also entered the competition. The jury was particularly impressed by the modern execution and creative solution of one piece, signed by Massaguer, who was relatively unknown at the time. The jury deliberations caused a great controversy.[5] The prize was ultimately awarded to the Galician painter Mariano Miguel, who had recently married the daughter of Nicolás Rivero, the wealthy owner of the conservative newspaper Diario de la Marina. Although Massaguer received only an honorable mention, the fraud scandal caused such an uproar that his name quickly entered the public spotlight, and he became an overnight sensation. In 1910, he became co-owner of the advertising agency Mercurio, with Laureano Rodríguez Castells. At Mercurio, he led the Susini cigar campaign, and earned substantial wealth. Massaguer has been described as a restless man, in both mind and body.After earning enough money from his art to begin traveling, he was almost always doing so. He constantly traveled between New York City and Havana, Mexico and France, Europe and the Americas. In 1911, his reputation among the Havana socialites solidified when he organized his own first public caricature exhibit, and also the first Caricature Salon ever held in the Americas, hosted at Athenaeum of Havana (the Ateneo), and the Círculo de La Habana. Other exhibitors here included Maribona, Riverón, Portell Vilá, Valer, Botet, Barsó, García Cabrera, Carlos Fernández, Rafael Blanco, and Hamilton de Grau. "Messaguer Visits Broadway." Caricatures of theatrical and literary figures. Elsie Janis, Raymond Hitchcock, S. Jay Kaufman (columnist), Ibanez, author of The Four Horsemen, and Frances White In 1912, in the New York American Journal, he published his first Broadway drawings. From 1913 to 1918, he was an editor for Gráfico. Social Main article: Social (magazine) Cover of the magazine Social, July 7, 1923 In 1916, he created the magazine Social with his brother, Oscar H. Massaguer. Social's contributors included Guillén Carpentier, Chacón y Calvo, Enrique José Varona and others.Social has been described as Massaguer's great love in the magazine industry, and was the property that historians say he cared the most about. Social was an innovative magazine, being the first magazine in the world to use a modern printing process called photolithographic printing. Social set cultural trends, not only in the fashion of Cuba, but in art, politics, and Cuban identity.[11] Social catered to a certain aesthetic in Cuba - that of the sophisticated elite socialite - but Massaguer would also use this magazine to ridicule and jibe against that same class of society when he found their personalities worthy of his contempt. In Social, readers could find a variety of content, including short stories, avant-garde poetry, art reviews, philosophical essays, and serialized novels, as well as articles on interior design, haute couture, and fashion. Occasionally, the magazine also featured reports on sports such as motor racing, rowing, tennis, and horse riding.The cultural promotion efforts of both Massaguer and Emilio Roig de Leuchsenring are evident in the magazine. Notably, this period overlaps with their involvement in the Minorista Group, which was then at the forefront of the country's intellectual life.[5] Many contributors were devoted members of the group, leading some experts to consider Social as the cultural voice of the Minoristas. One of the features of Social magazine was its section called "Massa Girls," which was a play on his own name, and pronounced with a glottal 'g' in a similar fashion to the letter in Massaguer.[12] Massaguer drew women as independent and free-thinking, and never drew the woman celebrity as a caricature of herself, but as a free agent surrounded by caricatures.[11] However, Massaguer himself has been described as a womanizer in his personal life, and hesitant to fully embrace every facet of women's liberation. In 1916, he also established la Unión de Artes Gráficas and the advertising agency Kesevén Anuncios.[9] The art critic Bernardo González Barroa wrote: “Massaguer has solved the problem of working hard, living comfortably off what his art produces and not missing any artistic, sporting or social event. His broad, childish laugh, of a carefree individual who carries his luck hidden in a pocket, appears everywhere for the moment, disguising the pranks of pupils that lurk, mock and, finally, flash with satisfaction at finding the characteristic point after having analyzed a soul... Massaguer's personality is beginning to solidify now. He has been the best-known and most popular caricaturist for a long time, but his technique had not reached the security, the mastery of values that he presents in his latest works, which is very natural and explainable”[5] Carteles Main article: Carteles Cover of the magazine Carteles, November 29, 1931 In 1919, Massaguer and his brother created the magazine Carteles.[9] Carteles gained the widest circulation of any magazine in Latin America, and the most popular magazine in Cuba for a time, until that title was claimed by Revista Bohemia. Carteles remained in print until July 1960.This magazine showcased Cuban commerce, art, sports, and social life before the revolution. In 1924, Carteles took a more political turn, with articles criticizing Gerardo Machado's government. it became a prime example of the humor and graphic design employed by artists like Horacio Rodríguez Suria and Andrés García...

RCA Design Art Deco Streamline Mid Century Modern American Scene Architectural John Vassos (1898-1985) RCA 50 D Transmitter and Control Desk 12 x 19 1/2 (sight) Mixed media on boar...

Bright watercolor landscape of a sailboat drifting in a small cove ringed by red rock mountains by artist M. Balestié, circa 1930. Titled lower left and signed lower right. Original...

Edmund D. Kinzinger was the Chairman of the Art Department at Baylor University from 1935 to 1950. Previously, Kinzinger was the Director of the Hans Hofmann School of Fine Arts in Munich. Kinzinger left Germany in 1933 because he did not agree with the Nazi government. Kinzinger’s early work in Germany was influenced by Theosophy: a philosophy based on mystical insight into the nature of God. This guided Kinzinger’s art away from representation and towards abstraction. Later, Kinzinger assimilated German Expressionism, French Cubism, and Italian Futurism with his own continuing sense of the mystery of life. While his work incorporated the formal qualities of cubism, there was always a mystical moodiness just below the surface. "From EDK: The Early Years 1913-1935" by Philip Van Keuren...

Eileen Lake Crayon on paper, early1930's Initialed in pencil lower right (see photo) Titled and annotated verso "Eileen Lake, early 1930s girlfriend" Note: Eileen Hall Lake was an American poet and Adolf Dehn's girlfriend in the early 1930s. Provenance: Estate of the artist By descent 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. In many ways Dehn’s later artistic achievement was clearly a reaction against the grinding rural poverty of his childhood. After graduating from high school in 1914 at the age of 19—an age not unusual in farming communities at the time, where school attendance was often irregular—Dehn attended the Minneapolis School of Art from 1914 to 1917, whose character followed strongly reflected that of its director, Munich-trained Robert Kohler, an artistic conservative but a social radical. There Dehn joined a group of students who went on to nationally significant careers, including Wanda Gag (later author of best-selling children’s books); John Flanagan (a sculptor notable for his use of direct carving) Harry Gottlieb (a notable social realist and member of the Woodstock Art Colony), Elizabeth Olds (a printmaker and administrator for the WPA), Arnold Blanch (landscape, still-life and figure painter, and member of the Woodstock group), Lucille Lunquist, later Lucille Blanch (also a gifted painter and founder of the Woodstock art colony), and Johan Egilrud (who stayed in Minneapolis and became a journalist and poet). Adolf became particularly close to Wanda Gag (1893-1946), with whom he established an intense but platonic relationship. Two years older than he, Gag was the daughter of a Bohemian artist and decorator, Anton Gag, who had died in 1908. After her husband died, Wanda’s mother, Lizzi Gag, became a helpless invalid, so Wanda was entrusted with the task of raising and financially supporting her six younger siblings. This endowed her with toughness and an independent streak, but nonetheless, when she met Dehn, Wanda was Victorian and conventional in her artistic taste and social values. Dehn was more socially radical, and introduced her to radical ideas about politics and free love, as well as to socialist publications such as The Masses and The Appeal to Reason. Never very interested in oil painting, in Minneapolis Dehn focused on caricature and illustration--often of a humorous or politically radical character. In 1917 both Dehn and Wanda won scholarships to attend the Art Students League, and consequently, in the fall of that year both moved to New York. Dehn’s art education, however, ended in the summer of 1918, shortly after the United States entered World War I, when he was drafted to serve in the U. S. Army. Unwilling to fight, he applied for status as a conscientious objector, but was first imprisoned, then segregated in semi-imprisonment with other Pacifists, until the war ended. The abuse he suffered at this time may well explain his later withdrawal from taking political stands or making art of an overtly political nature. After his release from the army, Dehn returned to New York where he fell under the spell of the radical cartoonist Boardman Robinson and produced his first lithographs. He also finally consummated his sexual relationship with Wanda Gag. The Years in Europe: 1922-1929 In September of 1921, however, he abruptly departed for Europe, arriving in Paris and then moving on to Vienna. There in the winter of 1922 he fell in love with a Russian dancer, Mura Zipperovitch, ending his seven-year relationship with Wanda Gag. He and Mura were married in 1926. It was also in Vienna that he produced his first notable artistic work. Influenced by European artists such as Jules Pascin and Georg Grosz, Dehn began producing drawings of people in cafes, streets, and parks, which while mostly executed in his studio, were based on spontaneous life studies and have an expressive, sometimes almost childishly wandering quality of line. The mixture of sophistication and naiveté in these drawings was new to American audiences, as was the raciness of their subject matter, which often featured pleasure-seekers, prostitutes or scenes of sexual dalliance, presented with a strong element of caricature. Some of these drawings contain an element of social criticism, reminiscent of that found in the work of George Grosz, although Dehn’s work tended to focus on humorous commentary rather than savagely attacking his subjects or making a partisan political statement. Many Americans, including some who had originally been supporters of Dehn such as Boardman Robinson, were shocked by these European drawings, although George Grocz (who became a friend of the artist in this period) admired them, and recognized that Dehn could also bring a new vision to America subject matter. As he told Dehn: “You will do things in America which haven’t been done, which need to be done, which only you can do—as far at least as I know America.” A key factor in Dehn’s artistic evolution at this time was his association with Scofield Thayer...

Untitled (Two Standing Nudes, one seated nude) Graphite on wove paper, heightened with color, c. 1930 Unsigned From a sketchbook created while the artist was working in Paris Conditi...

Fitzgerald, James (1899-1971) OLD TREE. Cat Raisonne 1223. Watercolor on paper, c. 1930. Signed, lower left. 19 x 25 1/2 inches, framed to 27 5/8 x 33 1/4 inches. Provenance: Estate ...

A captivating early 20th-century Western mountain landscape by Colorado artist Elsie Haddon Haynes (1884–1963), this original oil pastel drawing captures the charming town of Silver Plume...

To The Bathroom is a Colored lithograph realized on japan paper by Jean Cocteau (1889 -1963) in 1930 ca. French draftsman, poet, essayist, playwright, librettist, film director. ...

A Very Finely Drawn 1930s Modern Figure Study of a Young Male Nude Model (Torso, Shoulder & Arm) by Notable Chicago Modern Artist, Harold Haydon (Am. 1909-1994). An early charcoal ...

A. E. Halliwell (1905-1987) The Jewel that is London Airbrush and gouache 26 x 33 cm c.1930 Signed to reverse Provenance: Family of the artist A.E. Halliwell (1905–1986) was a Brit...

Edmund D. Kinzinger was born in 1888, in Pforzhein, Germany. In Munich he studied at the Kirr Schule and the Staatliche Akademie, and pursued graduate studies at the Academie Modern, Paris. Before serving in the German Army, Kinzinger was a master student of Adolph Holzel at the Staatcliche Akademie, Stuttgart; he returned to study under Henrich Waldschmidt after nearly five years of artillery service. Several of Kinzinger’s fellow students in Germany, such as Johannes Itten, would go on to be associated with the Bauhaus school. Coming into contact with all manner of artistic influences in Europe after World War One, Kinzinger’s work may be viewed as a “synthesis” of modernist styles. The influences of Abstract Expressionist, Cubist, and Futurist styles in Kinzinger’s work at this time are symptomatic of his contact with the likes of Hans Hofmann, Pablo Picasso, and Alexander Archipenko. About this period of Kinzinger's work, Philip Van Keuren...

A ca. 1938 graphite on paper, study of a classical drapery by notable Modernist artist Jan Matulka. The image is drawn on the back of a typewritten, folded sheet of stationery, from...

Dancer is a drawing in Sanguina on paper realized by Anonymous Artist of the 20th Century. In good condition, except for small folding. Sheet dimension: 31 x 17.5 The artwork repr...

MARIE PALMER-SMITH (1899-1997) Fabric Inspirations Signed and inscribed with title; bears artist’s studio stamp on the reverse Gouache on pen and ink on tinted paper Unframed in mo...

Landscape with buildings and trees Watercolor on paper, c. 1930's Signed in pencil lower right (see photo) Provenance: Estate of the artist Condition: Excellent Sheet size: 9 3/8 x 1...

Erotic Scene is an original pencil drawing realized by Maurice Vertès in the 1930s. The little drawing is in good condition with some folding on yellowed paper. On the back is the ...

Black and red chalk on paper, signed and dated (lower right), 31cm x 27cm (50cm x 45cm framed). Delmotte was a painter, draftsman, watercolourist and Belgian sculptor. A realist painter at first, he was influenced by Expressionism of the beginning of the century. An impressive list of gallery exhibitions of his work during his lifetime, either independently or as part of a group, indicate that he was a known and successful figure in art worlds of Belgium and Europe. Marcel Delmotte received numerous awards and honors throughout his career. He was named Knight of the Order of Leopold II...

Leon Dolice New York Harbor Nocturne Signed lower right Pastel on paper 12 x 19 inches The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the...

Allan Rohan Crite Animal Illustrations Signed lower left Pen and ink on paper 23 1/2 x 16 inches Brought up in Boston, Crite received his art training al the School of the Museum of Fine Arts and earned a Bachelor of Arts degree at the Harvard University Extension School in 1968. He worked for most of his life as an illustrator in the Planning Department of the Boston Naval Shipyards, retiring in 1976, but continued to paint at the same time. His work has been widely exhibited and well received in Boston, where a square is named after him. Crite's early paintings depict the daily life of Boston's African-American community, a community that was to be transformed in the following decade by urban renewal and housing projects. In his later paintings, magic-realist visions in which a black Virgin and Child ride on public transportation or float above the city streets, Crite used a bright palette rather than the more somber tones of his "neighborhood paintings...

Jean Cocteau ( 1889-1963 ) " Morceaux Choisis " est un dessin à l'encre brune et légère estompe au crayon noir , exécuté en 1932 , il représente un profil de femme . 19 x 11 cm . si...

Bridge Painter WPA American Modernism Mid 20th-Century Realism Industrial Worker. Sight size: 18 x 23 1/4 inches. Estate stamped verso. This drawing is the study for a large oil we ...

Moroccan is an original pencil and china ink drawing realized by Helen Vogt in 1930. The state of preservation is very good. Not signed. Stamp of the ...

"Lock Ness" Lake Watercolor Landscape on Paper Expansive landscape of Loch Ness by R.C. Lees (Scottish). The viewer looks out over Lock Ness, from a high vantage point. There is a l...

"Steel Factory" Cuban Mid 20th Century Modern Drawing WPA Latin Art Industrial Ink on paper. 12 x 19 inches. Pogolotti lived in Paris in the 1930s. The drawing here comes from the collection of his Parisian ophthalmologist, Dr. Prokopenko . Unfortunately, the artist lost his eyesight in 1938. Marcelo Pogolotti (1902–1988) was a Cuban painter...

"Going to the Festival" WPA Ashcan 20th Century American Scene Modern Realism Daniel Celentano (1902 - 1980) "Going to the Festival," 14 1/2 x 10 1/2. Watercolor on paper, c. 1930s....

Bricklayers House Beautiful Cover Proposal American Scene Modern WPA 1930s Industrial Workers Antonio Petruccelli (1907 - 1994) Brick Layers House Beautiful cover proposal, c. 1939 ...

Frog is a drawing in pencil realized in the early 1930s by Emmanuel Gondouin, (Versailles, 1883 - Parigi, 1934) The artwork is depicted through strong strokes. Emmanuel Gondouin is a French Cubist...

Half-Limousine coachwork design for an Austro-Daimler. Gouache and watercolour heightened with gum-arabic on very dark green card, annotated in pale ink with body type below, numbere...

Duel is a Pencil Drawing realized by Mino Maccari  (1924-1989) in 1935. Monogrammed on the lower margin. Good condition on a yellowed paper. Mino Maccari (Siena, 1924-Rome, June 1...

Nude of Dancing Nymph is an original drawing in black and color pencil on ivory paper, made by Nan Borazzo (1905 -?), An artist active during the 20th ce...

The iconic subject matter from Botke's oeuvre often features birds, particularly white peacocks, geese, egrets, and cockatoos. Women artists are on fire and very much in demand today...

A 1930s graphite on pencil drawing of Surrealist still life of an egg beater by notable artist Jan Matulka. Artwork size: 8 1/2". x 11". Matted size: 14...

Fighter Boxing Woodstock American Scene WPA Era Mid 20th Century Social John Ruggles (1907-1991) Sight: 17 1/2 x 13 1/3 inches. Framed: 22 x 18 inches...

Drawing, 1938. Signed and dated with the artist cypher. Paper size 7 9/16 x 6 1/4" (19.3 x 15.8 cm). Werner Drewes (1899-1985), painter, printmaker, educator and lecturer, wa...

A Very Finely Drawn 1930s Figure Study of a Young Male Nude Model (Torso Study) by Notable Chicago Modern Artist, Harold Haydon (Am. 1909-1994). An early charcoal drawing by Haydon...

A Charming, Vintage 1930s Charcoal Drawing of a Saxophone Player, Jazz Musician, by Notable Chicago Modern Artist, Harold Haydon (Am. 1909-1994). A striking and lively figure study ...

A Fine 1930s, Art Deco Modern Academic Figure Study Drawing of a Seated Male Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well executed earl...

Pen drawing on paper realized by Mino Maccari in 1932. Not signed.. Published on "Il Selvaggio", n.12, p.83, 1932. Very good condition.

A ca. 1935 tonal, watercolor of a steel mill by artist Harold Haydon. Artwork size: 8 3/4" x 11 3/4". Archivally matted to 14" x 18". Provenance: Estate of the artist. Harold E...

A fine large charcoal and pencil drawing by British listed artist James Stroudley. Executed in 1931, it is a stunning example of a 1930s Art Deco portrait. Very strong and bold, it d...

A Fine 1930s Modern Academic Figure Study Drawing, Seated Male Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well executed early 1930s charco...

he Expectation is an Artwork  realized by  the Russian Artist  Angelina Beloff. Drawing on paper.  The artist wants to define a well-balanced composi...

Place de la Bastille is a really joyful original drawing on paper, realized around the first decades of XX century by the French artist Eliane Diverly (1914 - 2012). Titled and date...

Interior Scene with Figures Ink and watercolor on paper, c. 1930's Signed with the Estate stamp lower center Condition: Loss upper right corner; two small tears lower margin ...

Study on a Mouse is a Drawing in pencil realized by Augusto Monari in 1935. Good conditions. The artwork is depicted through confident strokes in a well-balanced composition.

Estate stamped, lower left, 'Wm. A. Gaw' for William Alexander Gaw (American, 1891-1973) and painted circa 1935. William Alexander Gaw was born ...