1930s Mixed Media

Edward Winter (American, 1908-1976) Helen of Troy, 1938 Enamel Signed and dated lower right 43 x 18 inches 44.5 x 19.5 inches, framed Exhibited: Cleveland Museum of Art, May Show 19...

Couple is an original drawing in mixed media realized in 1940 ca. by an unknown artist of the XX century. Sheet dimension: 33.5 x 39 cm. In very good conditions with small tearing ...

La obra va firmada por el artista en la parte superior Se presenta tal cual se observa en las fotografias El estado de la obra se puede ver, es aceptable Medidas de la obra: 44 x ...

Musicians is an original drawing in mixed media on paper, realized in 1930 ca. by Willem van Hasselt (Dutch, 1882–1963). The state of preservation ...

Shell and Leaves (Untitled), c. 1930s, mixed media on illustration board, signed lower right, 10 1/4 x 13 1/2 inches Edloe Risling was a California artist who created etchings and b...

To see more stained glass designs, scroll down to "More from this Seller" and below it click on "See all from this Seller." William Nicholson (1872 - 1949) Mells Window Photographi...

Fabulously fun, mixed media painting, probably done during the WPA period. Mostly oil with a little bit of collage of the music notes. It is painted on cardboard or very thick paper....

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...

Charles Green Shaw Montage (Gaming), circa 1935 18th Century print, playing cards 15 x 10 inches Charles Green Shaw, born into a wealthy New York family, began painting when he was...

Abstract Cubist Construction Collage Mid 20th Century American Modernism Cubism Vaclav Vytacil (1892 - 1984) Abstract Construction #2 Caesin on board collage 11 x 13 1/2 th inches S...

Three High-Fashion figures adorned in flowing gowns are lined up in a row, facing the viewer. They have an Avant-garde complex design reminiscent of Gustav Klimt. The work is constru...

Medium: Mixed Media on Board Signature: Signed Lower Center "Dancing the minuet before a camera and the hundred people behind it isn't the same as just dancing because you like the ...

Signed "James Montgomery Flagg" Lower Right by Artist "'I've found a woman to sew on buttons,' he said politely. 'Have I?' he inquired of Nancy. 'Big Boy, you have.'" Illustration ...

Pioneering female abstract artist Elsie Driggs paints stylized abstract organic forms in a warm palette of orange browns and tope. She merges abstraction with some figuration. A structured face composed of lines and tone emerges from an orange background. It's 1939, and even though Driggs is not well known, she is preceding many of the marquee names of abstraction by a decade. Although under the radar, this is a major work and is titled on the back stretcher is " Egyptian Gothic." It features the artist's inventiveness with her fine pencil lines incorporated in flat washes of color and collage elements. Signed lower right and inscribed on frame verso with title, artist and the date of 1939. Provenance, Christie's, Freemans. Framed under glass.. Elsie Driggs (1898 – July 12, 1992 in New York City) was an American painter known for her contributions to Precisionism, America's one indigenous modern-art movement before Abstract Expressionism, and for her later floral and figurative watercolors, pastels, and oils. She was the only female participant in the Precisionist movement, which in the 1920s and 1930s took a Cubist-inspired approach to painting the skyscrapers and factories that had come to define the new American landscape. Her works are in the collection of the Whitney Museum of American Art, the Houston Museum of the Fine Arts, the Fine Arts Museums of San Francisco, the James A. Michener Art Museum in Pennsylvania, and the Columbus Museum of Art, among others. She was married to the American abstract artist Lee Gatch. Career Born in Hartford, Connecticut, Driggs grew up in New Rochelle, a suburb of New York City, in a family that was supportive of her artistic interests. After a summer spent painting with her sister in New Mexico in her late teens, she felt she had found her life's calling. At twenty, she enrolled in classes at the Art Students League of New York, where she studied under George Luks and Maurice Sterne, both of whom were charismatic, inspirational figures in her early life. She also attended the evening criticism classes held at the home of painter John Sloan. Driggs spent fourteen months in Europe from late 1922 to early 1924, drawing and studying Italian art. There she met Leo Stein, first in Paris and later in Florence, who became an important intellectual influence, and who urged her to study Cézanne. He also introduced her to the works of Piero della Francesca, the Renaissance artist for whom she felt throughout her life the greatest admiration.[1] Driggs eventually settled in New York City, where she found representation with the progressive Charles Daniel Gallery.[2] (Advised that the old-fashioned and misogynistic Daniel would be unlikely to take on a woman artist, she signed the works she left for his consideration simply "Driggs" and waited to meet him in person until he had expressed his eagerness to include her in his gallery.)[3] In sympathy with those artists Daniel represented who were part of the burgeoning Precisionist movement, such as Charles Demuth, Charles Sheeler, George Ault, Niles Spencer, and Preston Dickinson, she too painted "the modern landscape of factories, bridges, and skyscrapers with geometric precision and almost abstract spareness."Impressionism and academic or Ashcan realism represented the past, in Driggs' view, and she intended to be resolutely modern. She was an attractive and engaging woman, but her demeanor belied a strong ambition and a clear sense of what it would take to make her mark in the New York art world. Driggs was part of the pre-eminent first group of Precisionist painters, including Demuth and Sheeler, who exhibited at the Daniel Gallery in the 1920s. Although a later group of Precisionist painters, including Louis Lozowick, Ralston Crawford and others, came on the American Art scene during the 1930s, Driggs felt that the style came to an end with the 1929 stock market crash.[5] In 1926 she painted her most famous work, Pittsburgh, a dark and brooding picture now in the permanent collection of the Whitney Museum of American Art, which depicts the gargantuan smokestacks of the Jones & Laughlin steel mills in Pittsburgh. Its focus is an overpowering mass of black and gray smokestacks, thick piping, and crisscrossing wires with only clouds of smoke to relieve the severity of the image, yet it was an image in which she found an ironic beauty. She called the picture "my El Greco" and expressed surprise that viewers in later years interpreted the painting as a work of social criticism. Like the other Precisionists (e.g., Demuth, Charles Sheeler, Louis Lozowick, Stefan Hirsch), she was concerned with applying modernist techniques to renderings of the new industrial and urban landscape, not in commenting on potential dangers the overly mechanized modern world of 1920s America might present. If anything, Precisionism, like Futurism, was a celebration of man-made energy and technology. One year later, she painted Blast Furnaces, in a similar vein. As noted above, Piero della Francesca's mural depicting "The Story of the True Cross" in Arezzo, with its tubular, static and frozen forms was the major influence on Driggs' "Pittsburgh" (it may have been the major influence for "Blast Furnaces" as well).[7] After Pittsburgh, Driggs' most acclaimed work was probably Queensborough Bridge...

Robert Lepper (1906-1991) . Cubist composition, 1931. Cut copper, brass and steel sheeting tacked to masonite panel. Panel measures 14.5 x 24 inches. Total framed measurement 20 x 29...

Signed "James Montgomery Flagg" Lower Right by Artist "Mr. Corroway was wearing a broad smile. He slapped Dave jovially on the shoulder and said: 'No hard feelings, I hope, about o...

This French marquetry picture, circa 1930-40, offers a stunning depiction of pastoral life in the Alps, with a herdsman, sheep, and a church nestled in a serene mountain landscape. T...

Title: Bullfighting Scene Artist: Roberto Domingo Technique: Gouache on paper Dimensions: 7 x 10 in (14 x 17.3 in with frame) Period: 1930s Style: Spanish Impressionism with Post-Impressionist influence Condition: Framed in a classic wooden frame Theme: Bullfighting scene Description of the Artwork "Bullfighting Scene" by Roberto Domingo is a vibrant and dynamic depiction of a typical moment in a bullring. The composition captures the drama and intensity of the moment, with a mounted picador on a striking white horse as the centerpiece, flanked by a matador and assistants preparing for the spectacle. The artwork radiates energy through swift and loose brushstrokes, imbuing the scene with movement and vitality. Domingo’s style emphasizes visual synthesis, focusing on color and form rather than meticulous detail to convey the atmosphere of the bullfighting arena. Warm tones dominate, with vibrant yellows and reds contrasting against the grays and whites of the horse and costumes, creating a captivating chromatic interplay. The classic frame adds sobriety and balance to the piece, further highlighting the expressive power of the gouache. Biography of the Artist Roberto Domingo Fallola (1883-1956), born in Paris, was a renowned painter and illustrator of Spanish descent. The son of the celebrated bullfighting painter Vicente Domingo, he inherited a passion for bullfights and became one of the leading exponents of bullfighting art...

This stunning French marquetry picture from circa 1930-40, depicting a serene Swiss lake and castle, is a masterclass in the intricate art of wood inlay. The warm, natural tones of v...

Abstraction (Untitled), c. 1930s, mixed media on board, signed lower right, 8 ¼ x 7 inches (image), 15 x 10 inches (board), Literature: Achieving Recognition, American Fine Art Magaz...

EDWARD HAGEDORN (AMERICAN 1902 – 1982) SURREAL LANDSCAPE 1931 mixed media on paper, Graphite, ink and watercolor. Unsigned. Dtaed 2/26/31, in ink lower left margin. Image 13 3/4 x 16 1/2 inches. On a large sheet 20 x 25 inches. Provenance: Hagedorn estate, Around the mid 1980's The Hagedorn estate was dispersed in Berkeley by a local dealer. This drawing was part of a group of Hagedorn works on paper that I acquired from that dispersal. Much of the balance was later acquired the Struart Denenberg Fine Art. Denenberg published a very fine book on the artist's work. EDWARD HAGEDORN: CALIFORNIA MODERNIST, RESTLESSNESS AND RESTRAINT Hardcover – January 1, 2009 Subsequently Hagedorn's works on paper have been acquired by many museums and some accompanying exhibitions. ALL OF THE COMMENTS BELOW ARE FROM THE FOLLOWING EXHIBITION EDWARD HAGEDORN (1902-1982) American Modernist A New Traveling Exhibition “VOLCANOS, WRECKS, RIOTS, & NUDES”, EDWARD HAGEDORN (1902-1982) premiere at the Danforth Museum. Framingham, MA, in March 2016. The exhibition includes 75 works of art in various mediums and is accompanied by the first monograph devoted to the artist’s work with essays by leading curators, critics, and art historians. Edward Hagedorn was a true Modernist who created a trove of powerful works on paper--drawings, watercolors, oils, and original graphics that reveal the hand of a master draftsman and the mind of an astute political observer. He rejected the general trend in early 20th century California of local landscapes and coastal views, becoming virtually the single voice of Expressionism. He conveyed the darkness and upheaval that gripped the country in the depression years between the two World Wars, 1925- 1935, more forcefully than any of his contemporaries, influenced by German art of the time, engaging in modernist styles of Expressionism and Surrealism. Hagedorn’s skeletons are ferocious yet somehow endearing; printed in deep black ink on off-white paper, they march across Lilliputian landscapes of grim disorder and destruction. Comets and volcanoes explode in fauvist colors, their other-worldly fluorescent temperas framed in black, while nude female figures, executed in exquisitely refined pen and ink, or graphite line drawings, are as economical in their means as Matisse, and can be compared with the neo-classical drawings of Picasso. Among his most lyrical works of the 1920s is a series of rhythmically abstracted watercolor and ink views of Golden Gate Park, evoking the sensual demi-geometries of Balthus, Derain , and early Mondrian. American Modernist Edward Hagedorn (1902-1982) was born in San Francisco of German descent; his mother (née Kafka) died in childbirth, and he was legally adopted and raised by his grandmother and aunt. After attendance at the San Francisco School of Fine Arts in the early 1920s, by age 22 he had a studio in the famed "100" block of Montgomery Street ("the Monkey Block,") then a haven for bohemians. In 1926, a year of tremendous importance in California artists' embrace of modern art, the Oakland Art Gallery, with the guidance and inspiration of their European representative Emmy (Galka) Scheyer, was the first museum in the United States to show the art of the "Blue Four," among the leading artists of International Modernism--Paul Klee, Lyonel Feininger, Alexei Jawlensky...

This French marquetry picture, circa 1930-40, offers a stunning blend of architectural beauty and serene simplicity, showcasing the remarkable craftsmanship that defines the Art Deco...

This French marquetry picture, circa 1930-40, is a remarkable piece that exemplifies the mastery of wood inlay artistry from the Art Deco period. The scene is a harmonious blend of n...

This exquisite French Art Deco marquetry picture from circa 1930-40 is a stunning example of craftsmanship from one of the most iconic design periods. Crafted with precision, this pi...

Max Bucaille ( 1906 -1996 ) . French artist . Surrealist collage realized in 1938-1939 . 10 x 16 cm image 16 x 23 cm feuille 39 x 45 cm vintage liege ...

The proposed work is a paper piece by artist Franz Lenhart, preserved in excellent condition, measuring 62 x 69 cm. Considered one of the leading figures in Italian advertising poster...

The Tobacco Package is an original bonding realized by Juan Gris (d'après M. Beaufuret) in 1933. Good condition on a watermarked paper by the Editor Bucher-Becker. No signed. On th...

This original pen and ink drawing on paper, titled “Woman and Window,” is a rare and captivating example of Erté’s (Romain de Tirtoff’s) early work, showcasing his signature elegance...

Story illustration for “Spotlight” by Clarence Budington Kelland for The Saturday Evening Post, published August 15, 1936. The full caption reads: “‘My point,’ he said, ‘is that ...

Romans Suta Born on April 28, 1896 in the vicinity of Cesis (Latvia), died on July 14, 1944 in Tbilisi (Georgia), rehabilitated posthumously. Painter, graphic artist, decorative and stage designer, art critic and theoretician. Studied at the J. Madernieks' Art Studio (1913), Riga City Art School (1913-1915), and Penza Art School (1915 -1917). A prominent figure and active protagonist of modernist trends in Latvian art. Travels to Berlin and Paris, where he made the acquaintance of A. Ozanfant, Le Corbusier, and others. The influences of Cubism and Constructivism. A member of the Riga Artists' Group (1920-1924) and the Riga Graphic Artists' Society. Painter of still lifes and figural compositions. After the first experiments in Modernism, he turned to a more realistic manner of representation. The initiator and developer of a national constructive style, especially in interior design; the founder of Baltars creative workshop for porcelain painting (1924-1928); a designer and painter at Kuznetsov...

Arab women working. Black and white pastel on thick grey paper. Monogrammed. Provenance : granddaughter of the artist. This work will be recorded in the catalogue raisonné of the work of the artist currently in preparation. Jules Van Biesbroeck...

A magnificent carved and gilded wood panel by Karoly Fulop. Fulop was a Hungarian born artist that lived his life in France, New York, and California. He studied art in Budapest, Mu...

This deceptively simple study of a downward view of a crab by modernist master Marsden Hartley is as much a well-observed document of a crab as it is a marvelous abstraction. Hartley...

Charles Green Shaw Pleasure and Recreation, circa 1935 18th Century print, playing cards 15 x 10 inches Charles Green Shaw, born into a wealthy New York family, began painting when...

Abstract American Modernism Mid-Century WPA Era Drawing Woodstock 20th Century, Sight size is 16 x 12 inches. Konrad Cramer (1888-1963) Abstract Mixed media on paper 17 x 12 inches ...

Nude is an original painting in charcoal, tempera and watercolor on ivory-colored paper realized in 1930 ca, by Anonymous Artist of the early 20th Century. Hand-signed, illegible. ...

MODERNIST DRAWING New Hope Mid-Century WPA Abstract Non-Objective Jazz Modern. Signed with a "Ramstonev" stamp lower right. RAMSTONEV Cooperative Art Project (1937-1939). In the late 1930s, Charles Ramsey became close friends with Charles Evans and Louis Stone. He persuaded them to join him teaching his New Hope summer classes in non-objective painting. Soon, a history-making collaboration began. In 1937, meeting in Evans' studio at the rear of Cryer's Hardware store on Main Street in New Hope, a decision was made to establish the Co-Operative Painting Project. They were intrigued by the cooperative ad-lib process by which jazz musicians created their music. Believing this to be the quintessential American contribution to music, they theorized that a similar result might be obtainable with art, a "visual jam session." This particlarly fascinated Ramsey, who was a jazz buff and had a large collection of jazz records. The objective was to jointly collaborate in the creation of a painting as well as applying collective criticism during its creation. By creating forward movement by general consent, they believed they could produce a higher level of beauty. By consensus it was decided that subject matter would be non-objective. Up to eight people would participate and stop when the painting "felt" finished by common agreement. These co-operative works were done in several different mediums- the majority in pastel, but some in watercolor, gouache, graphite or cut paper collage. On occasion, the group would create a series, as opposed to a single work, created in steps by three or four artists. One of the occasional participants was famed New Hope poet, Stanley Kunitz. These series could range in number from four to sixteen paintings in each. The first of a series would be very basic and the last a fully finished work. In the scope of importance among the New Hope Modernist...

In diesem Katalog soll es auch ein paar Entdeckungen geben, denn sie sind der Antrieb für alle Kunstaficionados und somit auch für mich als Galerist. Diese wunderbar reduzierte Arbei...

Conditions: Very good Conditions. Framed under glass 1960's Complementary shipping worlwide by DHL, FEDEX. Returning customers : 25% OFF listed price on all Belfort SAS catalogue. ...

A portrait of two cats is deftly assembled by trailblazing modernist Hilla Rebay. The work is signed and titled lower left. 'Muschi et Antonio v. Rebay - Rome'. Titled to verso ‘Musc...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Brownbridge (flourished 1930s - 1940s) For Fireside Comfort, High Beam Gas Fire...

Frederick Gore C.B.E. R.A. 1913-2009, was an English painter born into a family where his father was a successful and famous painter, Spencer Gore 1878-1914. Frederick Gore was stud...

Signature: Signed, dated 1938 and inscribed Italy lower right. Thistles, 1938 Pastel on paper 25 3/4 × 18 3/4 in Work is framed Christie's, New York Very strong in person. Gallery st...

Sz: 18"H x 26"W

Hildegard Anna Augusta Elisabeth Freiin Rebay von Ehrenwiesen, known as Baroness Hilla von Rebay or simply Hilla Rebay was the co-founder of the Museum...

Signed Lower Left Illustrated in October 23, 1938 Issue of "This Week Magazine" Page 3

Date: 1933 Medium: Mixed Media on Board Dimensions: 18.50" x 25.50" Signature: Signed Lower Left Shows Poe seated at a desk in the offices of The Evening Mirror (early publishe...

The Artist captures a "caught moment" of cloths blowing in the wind. It's being witnessed by an inquisitive bird, while be ducklings and a cute kitty cat accompany her. Signed lower...