1930s Art

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

Long Beach WPA Mid 20th Century American Scene Social Realism Modernism Ashcan Daniel Ralph Celantano (1902-1980) "Long Beach" 8 x 10 inches Oil on artist board Signed lower left:...

Original vintage ski travel poster - Alsace and Lorraine Railways Winter Sports in the Vosges The Munster Walley and The Hohneck - featuring...

Georges Braque (1882-1963) Hesiod's theogony : Gaia & Ouranos Original etching, 1932 Hand signed in pencil Numbered /50 copies On Hollande vellum size 49 x 38.5 cm (c. 19 x 15 in) P...

Original vintage travel poster for the Cote d'Azur ete Bandol hiver Le pays du soleil et des fleurs / French Riviera summer winter The land of sun and fl...

Female artist Louise Lue Osborne paints a classic composition with an interaction of two women and a child soaked in golden late light. The figural gro...

Circa 1930 original poster for James Hopps & Son's "Il Marsala Classico" stands as a stunning visual masterpiece that transports us back in time to an era of elegance and tradition. ...

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...

Joan MIRO (1893-1983) Summer : Surrealist Figures with the Moon, 1938 Lithograph in colors Printed signature in the plate Printed in Mourlot workshop and published by Teriade for "V...

Georges Braque (1882-1963) Hesiod's theogony : Pegasus Original etching, 1932 Hand signed in pencil Numbered /50 copies On Hollande vellum size 49 x 38.5 cm (c. 19 x 15 in) Publishe...

Original vintage travel advertising poster for the World Fair event held in New York at Flushing Meadows-Corona Park from 30 April 1939 to 31 October 1940. Great Art Deco design by J...

Nason, Thomas. ON THE ISLAND. BPL 213. Wood engraving, 1937. Inscribed "Ed. 80" and signed and dated in pencil. 5 3/8 x 10 inches (image), 10 1/4 x 13 1/2 inches (sheet). In excellen...

Mary Elizabeth Price Byzantine Fountain, circa 1930 Signed "M. Elizabeth Price" lower left, inscribed "M. Elizabeth Price 140 West 57th St. Byzantine Fountain" on stretcher verso Oil on canvas 24 3/16 x 30 5/16 inches Provenance: Private Collection, Southampton, New York Mary Elizabeth Price was born in 1877 in West Virginia, and at an early age she moved with her Quaker family back to the familial farm in Solebury (Bucks County) Pennsylvania. There she received her education at the Philadelphia School of Industrial Arts and later at the Pennsylvania Academy of the Fine Arts. During her long and active career, Price achieved notable exhibition history including exhibitions at the Corcoran Biennial, National Academy of Design, and in 1927 she won the Carnegie Prize for the best oil painting...

In the world of vintage poster art, Jean-Gabriel Domergue's 1932 original poster for Suzanne Brindejont Offenbach, printed by the esteemed Atelier Gaillard in Paris, is a work of end...

Seated Nude is an artwork realized by Antonio Feltrinelli, in 1930s.  Oil on canvas, 108 x 75 cm. Provenance: Galleria Pesaro, Milan. Good conditions! The nudes and portraits w...

Project home supervisor with ribbons won at Phillips Co. Fair, Lakeview Coop. Assn., Arkansas December 1938/printed later Stamped “Reproduced from the Collection of the Library of C...

Georges Braque (1882-1963) Hesiod's theogony : the divinity and the dove Original etching, 1932 Hand signed in pencil Numbered /50 copies On Hollande vellum size 49 x 38.5 cm (c. 19...

This sculpture is part of our exhibition America Coast to Coast: Artists of the 1930s Music (attributed), brass and wire construction, c. 1936, 28 x 14 x 5 inches; perhaps exhibited at Hollywood Riviera Gallery, 1936 (third prize); provenance includes Estate of Jon Spencer Helfen (Los Angeles, CA About the Sculpture In 1935, Philip Paval bought a box of metal in a “blind auction.” Paval, a painter, sculptor, and jeweler, had hoped the box contained silver. To his dismay, it was brass. Seeing an opportunity, Paval started to make sculptures from the brass sheets. His subjects included Cinema, Hollywood, Radio, Dance, Aviation and Music. The works were well-received with the Hollywood crowd and critically acclaimed. Actor and comedian, Ben Bard, purchased four of them for his theater, and novelist and screenwriter, Vicki Baum ordered four more for her drawing room. Movie director King Vidor also purchased them. Los Angeles Times art critic, Arthur Millier, described Paval’s “contraptions” as “ingenious, decorative, different.” Paval exhibited these works for several years in the late 1930s, including at the American Artists’ Congress Gallery in Los Angeles in an exhibition called Formalism and Abstraction in 1938 and at a solo show at Stendahl Galleries in 1939. The appeal of these works must have been irresistible, as a 1936 Los Angeles Times article noted, “Two feet of brass art has been stolen from the Hollywood Riviera Galleries. The work is an abstraction. It portrays the spirit of music and rested on the grand piano in the main hall. The work of Philip Paval, it won third prize in the current gallery exhibition at the gallery.” One can only wonder whether this is the “contraption” which was pilfered from the gallery nearly one hundred years ago. Given the description of the work, its subject matter and size, it seems likely. About the Artist Philip Paval was a sculptor, painter, and jeweler. Born in Denmark, Paval was apprenticed to a silversmith and studied art in Denmark. He immigrated to the US in 1919 and first worked as a merchant seaman in New York. The following year, Paval settled in Los Angeles where he later opened his own jewelry shop featuring works he designed and produced. Paval became a favorite in the entertainment world, making a good living selling silver...

Classic b&w c1938 photo of four Culver Academy crew team members Photo Sz: 14 1/2"H x 9"W Frame Sz: 20"H x 14'W

Original vintage travel poster - Bombay See India - featuring a great design showing men riding on an ox cart, people walking on the busy street and a horse drawn carriage in front o...

Mlle. Jeanne at the Window, No. II Charcoal on paper, 1933 Signed and dated lower right (see photo) Illustrated: Gustafson, Zimmerli Museum, 1988, "Benjamin Benno: A Retrospective Ex...

Original vintage cruise travel poster advertising Cunard The Connecting Link Europe America featuring a great design depicting a Cunard Line ocean liner...

NYC Cityscape American Scene WPA Modern Realism Mid 20th Century Architectural Ernest Fiene (1894-1965) Cityscape 36 x 30 inches Oil on canvas Signed and dated 1930. lower right Provenance Estate of the artist. ACA Galleries, New York Exhibited New York, Frank Rehn Gallery, Changing Old New York, 1931. New York, ACA Galleries, Ernest Fiene: Art of the City, 1925-1955, May 2-23, 1981, n.p., no. 5. BIO Ernest Fiene was born in Elberfeld, Germany in 1894. As a teenager, Fiene immigrated to the United States in 1912. He studied art at the National Academy of Design in New York City from 1914 to 1918, taking day classes with Thomas Maynard and evening classes with Leon Kroll. Fiene continued his studies at the Beaux-Arts Institute of Design in New York from 1916 to 1918, adding classes in printmaking at the Art Students League in 1923. Fiene began his career as an artist in 1919 with his first exhibition of watercolors at the MacDowell Club arranged by his mentor Robert Henri. In 1923 the Whitney Studio Club mounted a large exhibition of his works. The following year he had an exhibition at the New Gallery in New York, which completely sold out all fifty-two works, including paintings, watercolors, drawings, and etchings. With the proceeds of sales from the New Gallery exhibition, Ernest Fiene and his younger brother Paul, a sculptor, built studios in Woodstock, New York in 1925. In the early Twenties Ernest Fiene painted mostly landscapes of Woodstock and both the Ramapo and Hudson River Valleys. The first monograph from the Younger Artists Series was published on Fiene in 1922. Published in Woodstock, the series went on to include Alexander Brook, Peggy Bacon, and Yasuo Kuniyoshi. The book reproduced 1 illustration in color and another 27 reproductions in black and white. Around 1925 Fiene became fascinated with the intensity, excitement, and opportunities for color harmonies New York City offered as a subject. His paintings shifted to urban and industrial themes with architecture, industry, and transportation becoming his subjects. By 1926 Fiene had attracted the dealer Frank K.M. Rehn, who gave him a one-man exhibition that year, which travelled to the Boston Arts Club. C.W. Kraushaar Galleries gave Fiene a one-man exhibition of urban, landscape, portrait, and still life paintings in 1927. Julianna Force, the director of the Whitney Studio Club and first director of the Whitney Museum of American Art, included two of Fiene’s paintings in a fall exhibition in 1928. The Whitney Studio Club showed Fiene’s paintings in a two-man exhibition with Glenn O. Coleman that year and acquired three of Fiene’s paintings. Also in 1928 Fiene became affiliated with Edith Halpert’s Downtown Gallery where he had an exhibition of 20 lithographs in the spring. Fiene sold his house in Woodstock in 1928 to spend more of his time in New York City. With so many successful exhibitions, Fiene returned to Paris in 1928-29 where he rented Jules Pascin's studio and studied at the Académie de la Grande Chaumière. In France, Fiene painted both landscape and urban subjects developed from ideas influenced by Cubist geometry and the use of flat areas of broad color. Upon returning to New York in 1930, Fiene used this new approach to continue to paint New York skyscraper and waterfront subjects, as well as to begin a series of paintings on changing old New York based on the excavations for Radio City Music Hall and the construction of the Empire State Building. Frank K.M. Rehn Galleries exhibited this series, titled “Changing Old New York,” in 1931. Fiene also has solo exhibitions at Rehn Galleries in 1930 and 1932. Fiene’s oil paintings are exhibited at the Chicago Arts Club in 1930 as well. Fiene was included in the Museum of Modern Art’s exhibition Painting and Sculpture by Living Americans in December of 1931. Visiting New York, Henri Matisse saw the exhibition and called Fiene’s Razing Buildings, West 49th Street the finest painting he had seen in New York. Fiene had two mural studies from his Mechanical Progress series exhibited at the Museum of Modern Art’s exhibition Murals by American Painters and Photographers in 1932. Fiene sent View from my Window which depicts Fiene working on a lithograph stone while looking out his window to the newly completed Empire State Building to the Carnegie International in 1931. In 1932 Fiene participated in the first Biennial of American Painting at the Whitney Museum and his prints were included in exhibitions at the Downtown Gallery and the Wehye Gallery. In the same year, Fiene was awarded a Guggenheim fellowship to further study mural painting in Florence, Italy. On his return from Italy in 1933 Fiene re-engaged himself in New York City life and won several public and private mural projects. Fiene resumed his active exhibition schedule, participating in two group exhibitions at the Whitney Museum and a one-man exhibition of recent paintings at the Downtown Gallery in January 1934. In 1933 he purchased a farm in Southbury, Connecticut, which added Connecticut scenes to his landscape subjects. This was also the year Fiene began to spend summers on Monhegan Island, Maine, where he painted seascapes, harbor scenes, and still lifes. Fiene’s landscape paintings attracted numerous commissions as part of the American Scene movement. Through the fall and winter of 1935-36, Fiene took an extended sketching trip through the urban, industrial, and farming areas of Pennsylvania and West Virginia. Most of the twenty-four Pennsylvania urban and rural paintings...

Canvas measures 24" x 30" and framed 30" x 36" x 3" About this artist: Anni Baldaugh was the daughter of Anthonius Hendricus Schade van Westrum. With a father who was a naval officer, the van Westrum family spent significant amounts of time in the Dutch East Indies. After returning to Europe, Baldaugh studied art with various teachers in Vienna, Munich and Paris. She and her husband ended up living in Los Angeles, though they suffered financial losses during World War I. While in Los Angeles, Baldaugh joined the California Watercolor Club, the California Society of Miniature Painters, the Bookplate Association International, the Laguna Beach Art Association, and the San Diego Fine Arts Society. She also became a member of the Connecticut Academy of Fine Arts. During the Great Depression...

Oil on board. Surrealist/Modernist painting with a female nude reaching into a wood burning stove, hilly landscape with barn, houses, still life with a bowl of fruit, stormy sky and a small male figure. Presented in a custom frame, outer dimensions measure 29 ¼ x 35 x ¾ inches. Image size is 24 ¼ x 30 inches. Provenance: Private Collection, Colorado About the Artist: The daughter of a classically-trained pianist mother and a concert violinist father, she had an intellectually stimulating upbringing enhanced by Christian Science values. After graduation from high school in Hannibal, Missouri, she enrolled in the College of Education at Butler University in Indianapolis, Indiana in 1919. Soon, however, she gave up the idea of becoming a teacher and entered at the John Herron Art Institute (whose collections are now part of the Indianapolis Museum of Art). The Institute’s early faculty included artists from the Hoosier Group trained at the Royal Academy in Munich, Germany, who educated artists in the realist tradition. True’s teacher and mentor, William Forsyth, gave her an excellent foundation in drawing and the technical aspects of painting and composition. When the failure of her father’s business in the early 1920s forced her to start earning a living, the Herron Institute hired her as an instructor for its art school, allowing her to support herself while she finished her studies. Following graduation from the Institute in 1925, she received a one-year scholarship to the Pennsylvania Academy of the Fine Arts in Philadelphia. Her former teacher William Forsyth wrote in his recommendation: "I can say without exaggeration that she was one of the best pupils I ever had during the twenty-five years I was a teacher at the John Herron Art School." At the Academy, she studied with Daniel Garber, an impressionist landscape painter associated with the New Hope art colony, and Hugh Breckenridge noted for his bold palette and expressionistic use of color, as well as the abstract work he started doing by 1922. She also studied briefly in the art department at Columbia University, perhaps in1928 when she produced some of her New York street scenes. From Pennsylvania, she returned to Indiana teaching for several years at Shortridge High School in Indianapolis. She also began showing her work at several area venues, including the Herron Institute, the Artists of Indiana, and the Hoosier Salon held early on in Chicago. Among the Salon’s exhibitors were Gustave Baumann, Victor Higgins, and Olive Rush, who either were Indiana natives or whose careers included connections with the state. By the 1920s all three of them had become associated with the Santa Fe and Taos art colonies. In the summer of 1928 True experienced both New Mexico communities and Southwest culture firsthand with Francis Hoar and her husband Clement Trucksess, her friends from the Herron Institute. They had relocated to Boulder in 1927 and were teaching at the University of Colorado. She recorded in her journal her initial reaction to the New Mexico landscape: "Might I preserve on canvas my thrill and deep feeling of the grand things of nature I have beheld today….There’s a wideness in God’s country that expresses peace to me." Inspired by her trip, True created a group of watercolors for her solo exhibition in 1928 at the Lieber Gallery in Indianapolis. They marked a transition from the realist style she learned at the Herron Institute to the more modernist, semi-abstract one she soon adopted. In the summer of 1929, she accepted an instructor’s position on the faculty of the Fine Arts Department at the University of Colorado (CU) in Boulder. She after that joined the Art Association of Boulder founded in 1923 by Mrs. Jean Sherwood, an art patron and club woman who relocated from Chicago to teach at the Boulder Chautauqua. Sherwood helped convince Dean Fred B...

Original vintage train travel poster for Ilfracombe On Glorious Devon's Ocean Coast by Southern Railway featuring scenic artwork by the British maritime artist Kenneth Denton Shoesmi...

The 1937 original poster for "A Venise une nuit" (One Night in Venice) directed by Christian-Jaque holds a unique place as a captivating glimpse into the golden age of cinema. This p...

Step into the enchanting world of vintage poster art, where the circa 1930 original poster of Renault Conduite Intérieure Souple 6CV takes us on a journey through time to an era of a...

Rare original trio of drawings by Paul Desmond Brown (1893-1958) depicting: Virginia Gold Cup 1931/ Llangollen Farms 1932/ & National Horse Show 1932 Art Sz: 27 1/2"H x 11 1/2"W Fr...

Original vintage travel poster for Villard de Lans Children's Paradise / Le Paradis Des Enfants featuring a stunning Art Deco design by the notable French artist Roger Broders (1883-...

The Carriage is a drawing realized by Alberto Ziveri in 1930s Ink and Watercolor on paper. Hand-signed. In good condition with slight foxing. The artwork is represented through d...

EDOUARD LÉON CORTÈS French, 1882 - 1969 PLACE DE LA RÉPUBLIQUE signed "EDOUARD CORTÈS." (lower right) oil on canvas 25-3/4 x 36-1/4 inches (65 x 91.5 cm.) framed: 33-1/2 x 44-1/4 inc...

Le Corbusier (1887-1965) Three Nudes, 1938 Original lithograph Signature printed in the plate Dated in the plate On light vellum 21 x 27 cm (c. 8 x 11 inch) Very good condition, pa...

The Portrait is a drawing realized by Alberto Ziveri in 1938 Ink and Watercolor on paper. Hand-signed. In good condition with slight foxing. The artwork is represented through de...

Very rare proof-plate by Paul Desmond Brown of the 'New Jersey Hunt Cup - Far Hills' from the Derrydale Press book, 'Gentlemen Up' published 1930 Art Sz: 13 3/4"H x 7 3/4"W Frame S...

Three Cocker Spaniels is an original color etching by well known French sports artist Leon Danchin. The three Spaniels are in waiting mode with two lying down and one sitting ...

Classic b&w c1938 photo of four Culver Academy crew team members Photo Sz: 14 1/2"H x 9"W Frame Sz: 20"H x 14'W

Initialed Upper Right by Artist

This superb British Interior Camden Town School portrait oil painting is by Slade School artist Geoffrey Hamilton Rhoades. Painted in 1932, the sitter is the artist's aunt. The composition is a seated half portrait of Rhoades aunt, sat at a table with bookshelves, paintings and ornaments behind her as she looks at a paper. It is a sympathetic portrait suggesting his fondness for his aunt and an excellent example of a Slade School portrait interior. Signed and dated RHOADES 32 lower right. Provenance. Alfred Stiles and Sons label verso. Also signed on stretcher. Condition. Oil on canvas, 18 inches by 14 inches and in good condition. Frame. Housed in a complementary frame, 25 inches by 21 inches and in good condition. Geoffrey Hamilton Rhoades (1898-1980). Rhoades attended Dulwich College where his education included drawing from classical casts. After Dulwich he spent two years at Clapham Art School under L C Nightingale. He served in the Marines from 1917 to 1919. Rhoades then studied at Slade School between 1919 and 1924 under Tonks. he socialised with fellow artists Albert Houthueson, Percy Horton, Charles Mahoney and James Laver. Rhoades then spent two years at Christopher Turnor's country house painting family portraits, some murals, landscapes and making many drawings. In 1928 Rhoades taught at the Working Man’s College in Crowndale Road, London. In 1929 Geoffrey followed Percy Horton as the art master at Bishop’s Stortford College, remaining in this post for fifteen years. He was a friend and coleague to Walter Strachan. In 1934 Rhoades married Joan Jenner and they lived in London and had a son, Peter who also became an artist. In 1935 the Tate (Britain) bought his “Winter Afternoon, Chalk Farm” landscape. After the onset of the Second World War blitz, they moved house to Stebbing in Essex. They lived near to Great Bardfield where the very prestigious artists’ group including Edward Bawden, Eric Ravilious, Michael Rothenstein and a number of other distinguished artists had collected away from London. Rhoades and his wife were intimate members of this creative community throughout the course of the war. Their final move was to Seven Stars, Cuddington on the Buckinghamshire and Oxfordshire border to be nearer to Oxford. Percy Horton was appointed Ruskin Master of Drawing at the Ruskin School, University of Oxford and Joan became his secretary. Horton employed Geoffrey as a tutor at the School and this began a very long relationship with the Ruskin, which was then housed in the Ashmolean Museum, and Oxford for both of them. Joan was a secretary to Percy Horton, then Richard Naish and in 1974 Philip Morsberger...

A fine and detailed Art Deco pencil, black, red and white chalk portrait of a young woman by Hubert Williams. The work dates to circa 1930 and is very skilful in its execution. A bea...

Original vintage sport poster - Werde mitglied im Deutschen Luftsport-Verband Flugtag in Bietigheim am Ostermontag auf dem Reitturnierplatz Segelflug das fundament der Deutschen luft...

Ex Libris - Istvan Traurig is a Woodcut print created by Michel Fingesten. Signed on plate on back. The work is glued on cardboard. Total dimensions: cm 32x24 Good conditions. ...

Step into the enchanting world of vintage poster art, where Henry Lemonnier's 1937 masterpiece, "Demandez un Camembert Georges Bisson" (Ask for a Camemb...

Portrait is a drawing realized by Alberto Ziveri in the 1930s. Ink and Watercolor on paper. Hand-signed. In good conditions with foxing. The artwork is represented through deft s...

This charming British still life floral oil painting is by Herbert Davis Richter. Painted circa 1930 it is a vibrant and interesting arrangement of fuchsia and geraniums in a vase ne...

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...

"At Home Abroad" 1935 Broadway Play NY Times Published Illustration 20th Century Al Hirschfeld (1903 - 2003) At Home Abroad 9 1/2 x 17 inches (sight) Ink on board Signed upper right...

This striking oil on canvas painting is by Irish artist Gladys Nolan and was painted circa 1930. This Post Impressionist view is of Istanbul, Turkey with the spires of the iconic Blu...

Lower margin contains inked directive initialed by Rackham and numerous pencil indications as well as a rough thumbnail sketch of the end papers. A fascinating look into Rackham's ...

Antique American impressionist portrait oil painting. Oil on canvas. Framed. No signature found.

Resting Man is a drawing realized by Alberto Ziveri in 1930s Ink and Watercolor on paper. Hand-signed. In good conditions. The artwork is represented through deft strokes master...

Prayer is a drawing realized by Alberto Ziveri in 1947 Ink and Watercolor on paper. Hand-signed. In good conditions. The artwork is represented through deft strokes masterly. A...

Ex Libris is a colored woodcut print created by Michel Fingesten. Hand Signed on the upper margin. Good conditions. Michel Fingesten (1884 - 1943) was a Czech painter and engrav...

Plate Proof, 'Wissahickon' by Paul Desmond Brown from the Derrydale Press book, 'Gentlemen Up' published 1930 Art Sz: 13 3/4"H x 7 3/4"W Frame Sz: 19 1/4"H x 13 1/4"W

Original vintage train travel poster for Guernsey Sunshine Island featuring colourful artwork by Walter E. Spradbery (1889-1969) depicting a people enjoying a day relaxing and sunbat...

Plate Proof for 'My Lady's Manor' by Paul Desmond Brown from The Derrydale Press book, 'Gentlemen Up' published 1930 Art Sz: 13 3/4"H x 7 3/4"W Frame Sz:19 1/4"H x 13 1/4"W

A vibrant Precisionist still-life painting of a jug & a plate by artist Harold Haydon, dating from 1932. Harold Emerson Haydon was born in Fort William, Ontario, Canada in 1909. H...

The Reading Girl is a drawing realized by Alberto Ziveri in 1939 Charcoal and watercolor on paper. Hand-signed. In good condition with slight foxing. The artwork is represented ...