1930s Art

Woodcut print realized by Escher for the series "Emblemata", and published in 1931. On Hollande van Gelder paper. Edition of 300. Unsigned, as issued. Excellent condition, matted....

Original travel poster: Visitate l'Esposizione Coloniale A smiling dusky maiden who looks just like Josephine Baker, pushes aside a blue curtain to reveal the splendors of her nat...

Clarence Holbrook Carter (American, 1904-2000) Woman with FUCHSIA, 1935 Oil on canvas Signed and dated lower right 31.75 x 27 inches 37 x 32.25 inches, framed Untitled Still Life ver...

This gorgeous vibrant British floral oil painting is by noted Leeds artist Philip Naviasky. Painted circa 1939 the composition is a mixed floral arrangement in a doubled handled patt...

A superb, richly-inked, early impression, in warm black ink, on cream wove paper; the full sheet with wide margins (1 1/2 to 1 3/4 inches). Signed in pencil and dedicated by the art...

Medium: Oil on Canvas Signature: Signed Lower Left Possibly illustrated for Glamour of Fashion Magazine

John Opper (American, 1908-1994) Ninth Avenue El (New York City), c. 1935 Oil on canvas Signed lower left and verso 30.125 x 24 inches The Ninth Avenue El was the first elevated rai...

Impressive early American winter scene impressionist landscape painting. Oil on board. Framed. Signed. Image size, 18 by 24 inches.

Impressionist French Coastal Oil Painting On Wood Panel Andre Beronneau (French, 1886-1973), Seaside at Platin, oil on board coastal lands...

An atmospheric and magical photo by master of the lens, photographic and cinematic, that captures a tranquil corner of Hyde Park. As Suschitzky himself said ...

EDOUARD LÉON CORTÈS French, 1882 - 1969 NOTRE-DAME VIEW FROM THE QUAYS signed "EDOUARD CORTÈS." (lower right) oil on wood panel 6-1/8 x 8-3/4 inches (16 x...

Portrait of a Lady in Purple Dress against a Pink and Blue Wallpaper background French School, circa 1930's signed lower front corner oil on canvas, unframed canvas: 22 x 18 inches p...

Tyrus Wong Original set illustration from "Gone With The Wind", 1939 Signed lower right Oil on panel 6 x 8 3/4 inches Tyrus Wong’s life embodies a remarkable journey of perseverance, talent, and artistic achievement. Born in China, he immigrated to the United States at the age of nine after being separated from his mother, whom he would never see again. Reunited with his father in Sacramento, Wong later relocated to Los Angeles, where the two lived in modest circumstances within a boarding house in Chinatown. His father nurtured his artistic abilities by encouraging him to practice Chinese calligraphy and helping him secure small painting jobs in the neighborhood. Recognizing his exceptional talent, one of Wong’s teachers recommended him for a summer scholarship at the Otis Art Institute. He became the youngest recipient of the award and later earned a full scholarship, offsetting tuition costs through work performed on campus. After completing his studies in 1930, Wong supported himself through a variety of artistic jobs, including creating advertisements and working at the popular Dragon’s Den restaurant in Chinatown. During the Great Depression, he found employment through the Federal Art Project, producing paintings for government-sponsored programs. His career took a pivotal turn when he joined Walt Disney Studios. There, his atmospheric pastel studies for Bambi impressed Walt Disney and helped shape the film’s distinctive visual style. Wong’s contributions to the film’s backgrounds were instrumental to its success, earning him posthumous recognition as a Disney Legend in 2001. Following labor disputes at Disney, he left the studio before Bambi was released and continued his career at Warner Bros. and Republic Studios, creating concept art for films including Rebel Without a Cause, Around the World in 80 Days, Sands of Iwo Jima, and The Wild Bunch. He retired from the film industry in 1968. Alongside his Hollywood career, Wong remained deeply involved in Southern California’s art community. He exhibited regularly in galleries and museums and participated in artist-run initiatives such as Eleven Associated, a cooperative gallery active during the early 1950s. Best known for his watercolor paintings and ceramics, Wong developed a unique artistic language that blended traditional Chinese brush techniques with modern American aesthetics. Influenced by his teacher Stanton Macdonald-Wright, he combined expressive calligraphic brushwork with depictions of nature and movement. His artistic versatility extended beyond fine art into commercial design, where he created popular Christmas card imagery and dinnerware patterns for Winfield Pottery...

Signed and titled oil on canvas figures in cityscape circa 1930 by sought after French impressionist painter Edouard Cortes. The work depicts a bustling evening street sccene on the...

"Skating Waiter" by Horace Abrahams 8th January 1938: A waiter skates across the ice at St. Moritz carrying a tray of drinks for his customers. Unframed Paper Size: 60" x 40'' (in...

Building the 6th Avenue Subway NYC WPA American Scene Industrial Men Working Cecil Bell (1906-1970) Building the 6th Avenue Subway 22x 30 inches Egg Temera on board Signed and dated...

De Hirsh Margules (1899-1965). North on West Street , 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15 x 22 inches. Framed measurement: 27 x 34 inched. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium" Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village. Early Life De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website. At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers. As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later. In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno). Artistic career In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting. Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe. Jane Heap, left, with Mina Loy and Ezra Pound During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter. In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa. Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that: the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment. Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow." It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day. In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel. Upon his return to New York in 1929, Margules attended an exhibition of John Marin's paintings. While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O'Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends." Alfred Stieglitz Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York. With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting. In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works. In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation. "The Baron of Greenwich Village"[edit] Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond. To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness." He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller. Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance. The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation. The writer and television personality Alexander King said I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean. King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets." Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler. Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...

Olof Walfrid Nilsson (1868–1956) Fjäll i aftonsol (“Mountain in Evening Sun”) circa 1933 oil on canvas signed Olof W. Nilsson and dated 1933? unframed: 102 x 82 cm (40.2 x 32.3 in)...

WARRENPOINT AND THE MOUNTAINS of MOURNE, horizontal stone lithograph. Printer: J.B. Stephens. Professional acid-free archival linen-backed, ready to frame. B condition image with only minor wear on the 1/2" cream outer border and a horizontal tear that was repaired during linen backing (shown in image #7). The last document copy of this poster was sold in 2021 on 1st dibs for $4518. Rare Irish Railway (railroad) lithograph poster. Warrenpoint is a small, but beautiful town in County Down, Ireland. The hamlet itself is situated on the shores of Carlingford Lough...

Medium: pochoir. Printed in Paris in 1932 on Velin du Marais paper at the atelier of Daniel Jacomet for the Les Joies du Sport portfolio and issued in an edition of 750. This was pub...

Title: Pensive Woman Artist: Vicente Oliver (1896–1970) Technique: Oil on canvas Dimensions: 18.1 x 15.0 in (46 x 38 cm) Support: Unframed canvas Date: Mid-20th century Signatu...

Artist: (Romain De Tirtoff) Erte (Russian, 1892-1990) Title: Sylvia Year: Circa 1935 Medium: Gouache on paper Paper size: 14.5 x 10.5 inches Signature: Signed lower rig...

Lynd Ward, 'Wild Pilgrimage', No. 26, wood engraving, 1932, edition not stated but very small. Signed in pencil. A fine, black impression, with full margins (1 1/16 to 3 3/16 inches), on tissue-thin cream Japan paper, in very good condition. A scarce, artist-printed, hand-signed proof impression before the published edition. Matted to museum standards, unframed. Created by Lynd Ward for his narrative book of illustrations without words, 'Wild Pilgrimage', published by Harrison Smith...

A 1933 lithograph on cream wove paper 14 x 18 inches (354 x 452mm), full margins. Signed, titled, and numbered 17/33 in pencil, lower margin. Minor mat tone around the perimeter of t...

* No US duty or taxes to pay on works of art * A striking 1930's French post-impressionist oil on board portrait of a gentleman smoking a pipe by Antonin Guéton. Excellent quality...

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

This is a rare New York image by Levon West. Levon West, who also used the name Ivan Dimitri, was born on February 3, 1900 in Centerville, North Dakota....

California Landscape Painting, Signed Rowena R. Smith, Circa 1930s Beautiful California landscape painting of a path to the beach by listed Berkeley, California artist Rowena R. Smit...

A fine large oil, school of Pierre Bonnard. circa 1950's. oil on canvas 55cmx75cm The original wood and textured gesso frame 72cmx92cm Titled 'On the Window Sill'. Indistinctly sign...

Pastel on board - Saturday Evening Post Cover, Evening Gown May 21st, 1938 - Reproduced version looks better because the Saturday Evening Post Art Director retouched the plates before printing and strengthened the colors to give it more newsstand appeal - Signed and inscribed lower left. Housed in an inexpensive period frame, would benefit from a new frame. undlations to the board From Wiki : as an American illustrator and portrait painter who studied at The School of The Art Institute of Chicago and Art Students League of New York. She began her career as an illustrator and during World War I, she traveled across France entertaining military troops with Anita P...

'Sarcelle D'Hiver' (Eurasian Teal) French chromolithograph, published in 1931. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of ...

Firmado en la parte inferior Se presenta enmarcada la obra Medidas obra: 27 x 35 cm. Medidas marco: 45 x 53 cm. El estado de conservación de la pintura es bueno ::::::::::::::::...

Medium: original lithograph poster. This striking art deco piece was published in Paris in 1933 by Arts et Métiers Graphiques. Size: 11 1/2 x 8 1/4 inches (290 x 210). Signed in the ...

Medium: pochoir. Printed in Paris in 1932 on Velin du Marais paper at the atelier of Daniel Jacomet for the Les Joies du Sport portfolio and issued in an edition of 750. This was pub...

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...

Medium: pochoir. Printed in Paris in 1932 on Velin du Marais paper at the atelier of Daniel Jacomet for the Les Joies du Sport portfolio and issued in an edition of 750. This was pub...

Medium: pochoir. Printed in Paris in 1932 on Velin du Marais paper at the atelier of Daniel Jacomet for the Les Joies du Sport portfolio and issued in an edition of 750. This was pub...

Two Women and a Child on the Beach at Provincetown Unsigned. Watercolor on paper, c. 1934 A beautiful Provincetown beach scene, included in the catalogue raisonne. Please see Babcoc...

Medium: pochoir. Printed in Paris in 1932 on Velin du Marais paper at the atelier of Daniel Jacomet for the Les Joies du Sport portfolio and issued in an edition of 750. This was pub...

Keepers Of The Bell by John Whorf, American (1903–1959) Date: circa 1930 Watercolor on paper, signed lower right Size: 14 x 21 in. (35.56 x 53.34 cm) Frame Size: 20.5 x 28.5 inches

Bright, vibrant expressionist oil painting of Oregon coast and crashing surf by Lida Allen Macklin (American, 1872 - 1960), painted 1937. Signed lower r...

Hand-signed and numbered in pencil, 14/30. Engraved at Marcoussus' studio and printed by Lacouriere, Paris. Co-published by Pierre Loeb, Paris and Pierre Matisse, New York. Literatu...

This striking serigraph by Erté (Romain de Tirtoff) exemplifies the elegance and fluidity of the Art Deco style. Known for his iconic depictions of movement and couture, Erté capture...

View of Paris from an Art Deco garden looking towards Les Invalides and Sacre Coeur, oil on canvas by A Scottroy. The painting is signed and dated bottom left. The canvas is on a str...

Antique American oil painting. Oil on canvas. Measuring 18 by 22 inches.

Vintage American modernist abstract interior painting. Oil on canvas, circa 1930. No signature found. Image size, 20L x 16H. Framing available.

Lyonel Feininger, 'Church with House and Tree (Kirche mit Haus und Baum)', woodcut, 1936, one of a small but unknown number of letterhead proofs; Prasse W290 IV. Annotated 'PW 290 state IV / IV 3669', in pencil, in the bottom right sheet corner. With the artist's typed address and date adjacent to the letterhead image: 'Falls Village, Connecticut September 26th, 1940'. A fine impression, on buff, wove letterhead stock; several small losses, and tears, in the sheet edges (not affecting the image area); a crease in the bottom right sheet edge, otherwise in good condition. Very scarce. Image size: 2 3/8 x 2 3/4 inches; sheet size 11 x 8 5/8 inches. Archivally sleeved, unmatted. Feininger moved from Germany to New York City in 1938 and began spending his summers in Falls Village in 1940. Exhibited: 'Lyonel Feininer, Woodcuts Used As Letterheads'; Associated American Artists; Feb 4 - March 2, 1974; New York, NY. ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

Benton Murdoch Spruance (1904-1967). Harps Once Played, 1935. Edition of 30. Lithograph on wove paper, plate measures 10.75 x 14 inches. Sheet measures 13 x 18 inches. Signed in p...

'Boats on a Pond', oil on canvas, by Charles Kvapil (circa 1930s). This tranquil artwork depicts people fishing from their small boats. The motionless pond is surrounded by lush foliage with some homes as backdrop. The painting is spattered with light. With hardly any air moving in the scene, the still water plays...

Very interesting and finely painted oil on board. Framed. Measuring: 37 by 27 inches overall, and 21 by 11.75 painting alone. Unsigned. Excellent condition, ready to hang and enjoy.

Roses and vase by Bonnie Beach Ryan (American, 1901-1940). In 1933, Bonnie Beach Ryan held her first solo show of flower and still life paintings at the Dana Bartlett...

EDOUARD LÉON CORTÈS French, 1882 - 1969 PARIS EVENING signed "EDOUARD CORTÈS" (lower right) oil on canvas 25-3/4 x 36-1/4 inches (65 x 91.5 cm.) framed: 31-3/4 x 42-1/2 inches (80.5 x 108 cm.) This work is accompanied by a certificate of authenticity issued by "Comité Édouard CORTÈS" PROVENANCE Private Collection, France Edouard Léon Cortès (1882–1969) was a French post-impressionist artist of French and Spanish ancestry. He is known as "Le Poète Parisien de la Peinture" or "the Parisian Poet of Painting...

'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 ...

This original 1934 travel poster, created by Swiss artist Bernhard Reber, was commissioned to promote tourism to Berne, the capital of Switzerland. Issued by the Swiss National Touri...

Raphael Soyer Hampton Bays Signed lower right Oil on canvas 8 1/2 x 10 inches Raphael Soyer was a painter, draughtsman, and printmaker who believed that "if art is to survive, it m...

“My eyes were made to erase all that is ugly”. -Raoul Dufy Raoul Dufy’s depictions for an instant charmer of a "medical book" illustrates the myriad benefits of wine, while being sp...

Walter Sinz (American, 1881-1966) Zinnia, c. 1930 Plaster Signed on base 9 x 8 x 4 inches Walter A. Sinz was an American sculptor born in Cleveland, Ohio on July 13, 1881. Sinz’s fa...

This painting is part of our exhibition America Coast to Coast: Artists of the 1930s Quarry Workers, c. 1930s, mixed media on board, unsigned, 24 x 24 inches, possibly exhibited at...

This French Impressionist oil painting, Versailles, by Édouard Bernaud (fl. 1890–1981), depicts the celebrated French royal setting through atmospheric light, refined brushwork, and ...

This original circa 1930 French advertising poster by Charles Siclis and Henri Pedezert promotes Chez Aletti, the celebrated Montmartre restaurant and dance venue located at 26 Rue F...