1920s Art

Quarter of Nine, Saturday's Children. 1929. Drypoint. McCarron 78. 9 3/4 x 12 3/4 (sheet 12 7/8 x 17 7/8). Illustrated: American Etchers: Martin Lewis. Edition 107. A fine impression...

Titled with artist's reference number and signed in pencil by Cole Weston with Edward Weston's facsimile signature on back of mount. Printed later by Cole Weston from the original negative. Edward Weston, (1886 - 1958) Edward Weston was an American photographer, and co-founder of Group f/64. Most of his work was done using an 8 by 10 inch view camera. In 1902, he received his first camera for his sixteenth birthday, a Kodak Bull's-Eye #2, and began taking photographs in parks in Chicago and at his aunt's farm. The young Weston met with quick success, and his photographs were already being exhibited at the Chicago Art Institute merely a year later, in 1903. Weston worked mainly with nudes, still life - his shells and vegetable studies were especially important - and landscape subjects. After a few exhibitions of his works in New York, he went on to found Group f/64 in 1932 with fellow photographers Ansel Adams, Willard van Dyke...

Baba and Nancy Beaton, circa 1926 - Cecil Beaton (Portrait Photography) Silver gelatin print, printed circa 1926, mounted on board 9 1/2 x 7 1/2 inches Cecil Beaton (1904-1980) had ...

Walt Kuhn (1877-1949), [Nude on Chaise], c. 1920, etching, signed in pencil lower margin. In very good condition, no sign of prior framing, with margins (slight discoloration in margins), the full sheet on yellow/cream laid paper, 6 x 7 3/4, the sheet 9 3/8 x 11 1/4 inches, archival mounting. A fine impression, printed with a light veil of plate tone. Walt Kuhn was born in Brooklyn, and after a period of study art in Europe, he returned to the US to work as a cartoonist, illustrator, and developing artist. Aware of the great surge of modernist artistic activity in Europe, he joined with others to encourage Arthur B. Davies to get behind the idea of bringing a great European modernist art...

Medium: Oil on Canvas Sight Size 18.00" x 14.00", Framed 25.00" x 21.00" Signature: Signed Lower Right Cover of Life Magazine, November 8, 1924 Good Scouts, Girl Scouts...

Reginald Marsh (1898-1954), Loco-Erie Watering, 1929, etching, signed in pencil lower right, and numbered (16) lower left. Reference: Sasowsky 85, fourth state (of 4). On Whatman pap...

Titled with artist's reference number and signed in pencil by Cole Weston with Edward Weston's facsimile signature on back of mount. Printed by Cole Weston from the original negative.

McCarron 74. 11 7/8 x 9 7/8 (sheet 17 1/8 x 13 3/4). Edition of 111. Illustrated: American Etchers: Martin Lewis. A brilliant, luminous impression with rich, velvety burr, printed on cream laid paper. Signed in pencil. Price upon request. Housed in an archival mat and a 25 x 21-inch black wood frame. According to McCarron, page 136, "The popularity of Relics when first issued is clear; the entire edition sold in just a few months, a spectacular achievement for a printmaker of the time." The location depicted in Relics is the intersection of Charles Street and West Fourth Street in Greenwich Village, a few blocks from Lewis's house on Bedford Street. During Lewis' lifetime, Relics was his most popular print, and the entire edition was sold. Relics and Glow of the City...

Cyril Power (1872-1951) color linoleum cut, The Carcase, circa 1929, signed and titled in pencil, from the edition of only several (Redfern 9). In good condition, with pinholes at lo...

John Marin (1870-1953), Downtown, The El, etching, 1921, signed in pencil lower left (also signed and dated in the plate). Reference: Zigrosser 134, only state. Published initially by Alfred Stieglitz and then included as part of the Folio of American Etchings by the magazine The New Republic in 1924, in an edition of unknown size but probably above 500. In very good condition, the full sheet, on Van Gelder wove paper, 6 3/4 x 8 3/4, the sheet 11 x 13 3/4 inches. Provenance: Hirschl and Adler Galleries, Inc., New York, New York. A fine bright impression. Initially the New Republic Set, sometimes known as Six American Etchings, contained Marin’s Brooklyn Bridge No. 6 (Swaying) (Zigrosser 112). But after a small number of sets were completed, Downtown the El was substituted for Zigrosser 112 (and so the number of Downtown The Els in the set would have been a bit fewer than the others in the set). Zigrosser, who apparently had not seen a complete set at the time he created the catalogue raisonne, conjectured that the substitution might have been because the original plate was damaged. But since the printer, Peter Platt, was the most renowned artist’s printer of his time, and worked alone, it is unlikely that he would have damaged the plate; a more likely possibility is that he switched to a print that was more comparable in size to the others in the set (The Brooklyn Bridge print...

Edition 40. Image: 5 3/16 x 5 (sheet 6 1/2 x 6 1/4). A rich impression printed on cream laid paper. Signed, dated, titled and annotated in pencil. Housed in an archival mat, suitabl...

Medium: Oil on Canvas Sight Size 53.00" x 136.00", Framed 66.00" x 149.00" Signature: Signed Lower Left Interwoven Stocking Company Advertisement Reproduced on gift boxes, Advertisement appeared in Saturday Evening Post, December 8, 1928, pg.2 The long lost NC Wyeth...

India ink, pencil, watercolour and collage on paper. Inscribed lower right in signet: "Febr. E.B. 1923"

Provenance: The Artist and thence by descent

This photograph belonged to Greta Garbo, and was likely the “first print” made by the photographer given directly to Garbo personally.

This photograph belonged to Greta Garbo, and was likely the “first print” made by the photographer given directly to Garbo personally.

This photograph belonged to Greta Garbo, and was likely the “first print” made by the photographer given directly to Garbo personally.

This photograph belonged to Greta Garbo, and was likely the “first print” made by the photographer given directly to Garbo personally.

This photograph belonged to Greta Garbo, and was likely the “first print” made by the photographer given directly to Garbo personally.

This photograph belonged to Greta Garbo, and was likely the “first print” made by the photographer given directly to Garbo personally.

In his autobiography, A Life in Photography, Steichen gave a vivid recount of this sitting: 'When Garbo came in to pose for the Vanity Fair photograph, I asked her to sit on the c...

In his autobiography, A Life in Photography, Steichen gave a vivid recount of this sitting: 'When Garbo came in to pose for the Vanity Fair photograph, I asked her to sit on the c...

Clarence Sinclair Bull was one of the great masters of the Hollywood portrait. As head of the stills department at MGM for over thirty years, he helped to pioneer the art and craft o...

Titled with artist's reference number and signed in pencil by Cole Weston with Edward Weston's facsimile signature on back of mount. Printed later by Edward's son, Cole Weston.