1930s Art

Oil on canvas Signed (lower right) 75cm × 75cm (93cm × 95cm framed) An influential figurative painter of the 20th century. From 1928 to 1948, he exhibited his work regularly at the ...

Silver gelatin print, printed circa 1950 9 1/2 x 7 3/4 inches

Inscribed with titled and numbered on publisher's label affixed to reverse Silver gelatin print mounted to board, printed 1973 11 3/4 x 9 1/2 inches From a portfolio of 10 silver gel...

Inscribed with titled and numbered on publisher's label affixed to reverse Silver gelatin print mounted to board, printed 1973 11 3/4 x 9 1/2 inches From a portfolio of 10 silver gel...

Inscribed with titled and numbered on publisher's label affixed to reverse Silver gelatin print mounted to board, printed 1973 11 3/4 x 9 1/2 inches From a portfolio of 10 silver gel...

Inscribed with titled and numbered on publisher's label affixed to reverse Silver gelatin print mounted to board, printed 1973 11 3/4 x 9 1/2 inches From a portfolio of 10 silver gel...

Inscribed with titled and numbered on publisher's label affixed to reverse Silver gelatin print mounted to board, printed 1973 11 3/4 x 9 1/2 inches From a portfolio of 10 silver gel...

Inscribed with titled and numbered on publisher's label affixed to reverse Silver gelatin print mounted to board, printed 1973 11 3/4 x 9 1/2 inches From a portfolio of 10 silver gel...

This etching comes from the Vollard Suite, created in 1933. This highly sought after series is the most significant edition of prints made by Pablo Picasso. It was commissioned by A...

Signed divisionist landscape oil on panel by French post impressionist painter Henri le Sidaner. This stunning piece depicts high rise buildings of New York at nighttime. Lights illuminate the windows in an otherwise dark scene. A steam boat sails along the river. Signature: Signed lower left Dimensions: Framed: 24.5"x20" Unframed: 16"x11.5" Provenance: Louis Le Sidaner collection Etienne Le Sidaner collection Private collection, France Exhibitions : Paris, Musée Galliera, "Rétrospective Henri Le Sidaner", April 1948 Brussels, Galerie de l'Art Belge, "Rétrospective Henri Le Sidaner", April-May 1951 Literature: This work is accompanied by a photo certificate of authenticity from Yann Farinaux Le Sidaner This work will be included in the forthcoming supplement to the catalogue raisonne currently under preparation by Yann Farinaux Le Sidaner This work is the only recorded painting...

A rare etching, extensively hand-coloured in red ink by the artist, 1934, on wide margin Montval laid paper, signed, inscribed ‘For Lacourière’ and numbered 16/15 in the same red ink, 46 x 35.2 cm. (18.1 x 13.8 in). Brigitte Baer states that Picasso signed and numbered...

Ink on paper, signed and dated '34 lower left Image size: 9 3/4 x 15 inches (24.75 x 24.5 cm) Mounted and framed A unique drawing, this work is typical of Brodzky's early nudes with its economy in the use of the line and the seemingly relaxed, informal pose of the model. The spontaneous feel of many of Brodsky's drawings does in a way indicate that the works, such as the present drawing, are purely sketches and studies. In fact, Brodsky was known for making perhaps twenty or thirty drawings at a sitting and of those he preserved perhaps only a handful, only those that 'pass his rigorous censorship sum up qualities resulting from the perfect collaboration of hand and eye and sensibility' (Forty Drawings by Horace Brodsky, by James Laver, 1935, p.15). Laver continued to write that 'Brodsky preferred a pose that showed the body from an unexpected angle, daringly foreshortened or with the weight of the various parts freed from the monotony of the standing pose. He liked to see his models from above, the limbs relaxed, and.... he made many of his drawings from a step-ladder drawn up close to the platform on which the model is lying'. Horace Brodsky Horace Ascher Brodzky (30 January 1885 – 11 February 1969) was an Australian-born artist and writer most of whose work was created in London and New York. His work included paintings, drawings and linocuts, of which he was an early pioneer. An associate in his early career of many leading artists working in Britain of his period, including Henri Gaudier-Brzeska, Mark Gertler, and members of the Vorticism movement, he ended his life relatively neglected. Brodzky was born in Kew, Melbourne in 1885 to the Australian journalist Maurice Brodzky (a Jewish immigrant to Australia from Poland), and his wife Flora, née Leon. In his youth he assisted his father in the production of the magazine Table Talk. Brodzky studied initially at the National Gallery School in Melbourne. In 1904 his father was bankrupted after exposing corruption, and Horace moved with his family to San Francisco. In 1908, Brodzky went to London where he studied during 1911 at the City and Guilds South London Technical Art School. He became an acquaintance and follower of Walter Sickert. Amongst his friends was Henri Gaudier-Brzeska who created in 1913 a portrait bust of Brodzky (now in the Tate Gallery, London), and whose biography he wrote in 1933. Brodzky is said to have been so engrossed in talk when he visited Gaudier-Brzeska's studio in the King's Road, that he missed the last bus to Herne Hill where he lived. Brodzky travelled to Italy with the poet John Gould Fletcher and this led to his first London exhibition, "Paintings and Sketches of Italian and Sicilian Scenes" (c. 1911), of which one painting was selected for the 1912 Venice Biennale. He was in fact the first Australian to be exhibited at the Biennale. In 1914 his work was exhibited along with that of other Jewish artists, including Mark Gertler and David Bomberg, in the Whitechapel Gallery. Brodzky became a member of The London Group. During this period he was a pioneer of the technique of linocut, in which medium he has been said to have "excelled". His early oils reveal the influence of both Gertler and Bomberg. Among his works of this period are portraits of Jacob Epstein and Jacob Kramer. In 1915 Brodzky moved to New York, with an introduction to the art patron John Quinn. There he worked as a poster artist and an arts journalist, and in 1917 helped Quinn organize a New York exhibition of Vorticist artists. In 1919 he married Bertha Greenfield; they were to have three sons. In 1920 Egmont Arens...

Talullah Bankhead, 1930 - Cecil Beaton (Portrait Photography) Inscribed with the dedication 'to Edwina from Tallulah, London 1930' Signed on front of mount Silver gelatin print moun...

From Tristan Tzara's 'L'Arbre des voyageurs'. Signed and dated in pencil, a large paper proof. Inscribed 'Pour Henriette, en toute amitié'. Printed on wove paper and published by E...

Lithograph. From the 'Barcelona Series'. Signed and dated in pencil, numbered from the edition of 5. Printed in 1944 on Torras Juvinya paper. Publ...

The Daisy Bar, Montmatre, Paris - Andre Kertesz (Black and White Photography) Stamped with photographer's estate ink stamp on reverse Silver gelatin print, printed c. 1980 10 x 8 inc...

Fashion Picture, Paris, 1930s - Cecil Beaton (Portrait Photography) Inscribed with title in unknown hand on reverse of mount. Silver gelatin print, printed before 1945, mounted on bo...

Louise, Comtesse Palfy, circa 1938 - Cecil Beaton (Portrait Photography) Inscribed 'Beaton Cavalcade: 31' and 'Comtesse Palfy (Louise de Vilmorin - ...

VILMOS ABA-NOVAK (ABA-NOVÁK) 1894-1941 1882 - Budapest - 1941 (Hungarian) Title: At the Market, ca. 1939 Technique: Original Signed Tempera on Board...