1930s Art

MEDIUM: Original Storyboard Drawing PRODUCTION: Mother Goose Goes to Hollywood, 1938 IMAGE SIZE: 7" x 9" FRAMING: Double Aperture -Framing included in Pricing SKU: CCV1385 ABOUT THE IMAGE: In this scene we see The Pieman (Oliver Hardy) is busy tending a large stack of his pies on a wagon. Laurel refuses an offered pie, but picks one from the middle of the stack, which alarms Hardy, fearing the stack will collapse. Nothing happens, however and a reassured Hardy tries to do the same. When the stack collapses and one of the pies lands on his head, he looks angrily at Laurel. Laurel swallows his pie in one piece and then snickers at Hardy. Hardy throws one of his pies at Laurel, who ducks his head inside his shirt, and the pie lands in the face of Katharine Hepburn. This piece comes with a Certificate of Authenticity! ABOUT THE MEDIUM: Original Production Storyboard Drawings are one-of-a-kind pieces of art that were used in the creation of an animated film or television show. They are a sequence of drawings, typically with some directions and dialogue, representing the shots planned for a movie or television production. ABOUT THE FILM: Mother Goose Goes Hollywood is a 1938 animated short film produced by Walt Disney Productions and distributed by RKO Radio Pictures.[1] The short was released on December 23, 1938.[2] The film parodies several Mother Goose nursery rhymes using caricatures of popular Hollywood film stars of the 1930s. The film was directed by Wilfred Jackson and was the third-to-last Silly Symphony...

Original poster of A. Moluggon for the railways of the East and the Champagne region. The Compagnie des chemins de fer de l'Est, sometimes called Compagnie de l'Est or l'Est, was a ...

Original poster of R. Devignes for the SNCF and the city of Troyes, its medieval streets, its old historical monuments. Troyes is a city of the region Grand Est, in the North-East o...

Original “A La Gloire de la Marine A Voiles” vintage French poster. Printed by Mourlot in Paris, France. Edition des Musees Nationaux. ‘To the Glory of the Sailing Navy.' Archival linen backed in good condition, ready to frame. This poster is part of the Paris, Orangerie Museum collection. This is a tribute to the French Navy. The image of a wooden sailing ship at sea. A cloud of smoke...

Charcoal drawing of nude woman posing in front of draping by French artist P. Balet, 1937. Note finesse of facial components and faint modernism traits. Signed and dated lower right....

A unique original silver gelatin black and white photograph by Press Agency Trampus. In Paris, the Carrousel Bridge circa 1930. Construction started at The Carrousel Bridge in Paris ...

The Amazon Benjamin Benno, American (1901–1980) Date: 1938 Oil and montage on canvas, signed and dated lower left Size: 31.75 x 26.13 in. (80.65 x 66.36 cm) Frame Size: 33.5 x 27.5 i...

AUGUSTE BOUVARD 1882-1956 Pseudo : Mard ALDINE View of Venice with characters Oil on canvas signed low right "Aldine" Framed by Gault (Paris Fbg St-Honoré) Dim canvas : 50 X 65 cm D...

Landscape is an Original woodcut print realized by A. Jacquol in January 1934. The beautiful artwork is in good condition included a green cardboard (25x32.7 cm). Monogrammed on th...

Work on paper Black wooden frame with glass pane 53 x 35 x 1.5 cm

Signed lower left, 'A. C. Wiboltt' for Aage Christian (Jack) Wiboltt (Danish-American, 1894-1952) and created circa 1925. A substantial, early twentieth-century, figural pastel showing a young woman wearing traditional gypsy costume and playing her flute beside a deep azure lake dotted with water-lilies...

MEDIUM: Limited Edition Cel SIZE: 24.5" x 15.5" EDITION SIZE: 500 SKU: WB1152 ABOUT THE IMAGE: This is a limited edition cel issued in 2000 that was created exclusively for the Warner Brothers Studio Store Gallery. The image began with an original drawing by artist Kirk Mueller, of the irrepressible Wile E. Coyote and the rather surprised Road Runner, in a rare moment of ironic joy for the Wile E Coyote. ABOUT THE MEDIUM: A master ink line of this drawing was made by Laurie Dindis, which was then silk screened onto an acetate sheet (or “cel”), along with the Warner Bros. seal of authenticity. Each cel was expertly hand painted on the reverse side, with a delicate “dry-brush” technique on the face of the cel to capture the blur of the Road Runner’s legs. A photograph of the Harley-Davidson FXSTD Softail Deuce motorcycle was combined with artist Hector Martinez’ custom painted cartoon desert background. This composite background image was reproduced utilizing a fine art lithograph...

An original oil on canvas of a cubist still life by Benjamin Benno, American (1901 - 1980). By the early 1930s he had established a reputation as a member of the international avant-...

Original vintage travel poster issued by the PLM Paris Lyon Mediterranee railway for Moulay Idriss The Holy City Of Djebel Zerhoun featuring a colourful ...

An original silver gelatin black and white photograph by Wide World Photos, Paris. A street view of Boulevard Montmartre in Paris, circa 1930. Features: Original Silver Gelatin Print Photograph Unframed. Press Photograph. Press Agency: Wide World Photos - The New York Times S.A. in Paris. Photographer: Anonymous. Title: busy street view of Boulevard Montmartre in Paris, circa 1930. Provenance: Private collection. Image Size: 6.54 in. high (16.6 cm) x 6.65 in. wide (11.8 cm) - Archivally matted in a 17 x 13 mat. The ink stamp at the back read: "Wide World Photos - The New York Times S.A. - 106 rue Réaumur, 100 - Paris - Tel: GUT 65-46 or 65-47 - Adr. Télég: TIMWIT-PARIS". A caption was probably glued to the back but has been removed. We will ship this piece in a mat (17 x 13 in.) that fits a standard-sized frame. About: Le Petit Casino, at 12 Boulevard Montmartre, is a show restaurant built in 1893 on the former site of the Oriental Bazaar and the Séraphin Theater. It closed its doors in 1948. On the left side of the photograph, you can see the front of La Maxeville brasserie-restaurant. La Grande Maxéville was founded in 1901. The architect Joachim Richard (1869-1960) designed the new Grande Maxéville. His son-in-law, Georges Roehrich, designed an establishment in a pure "Art Deco" style. Imagine the rooms covered with engraved mirrors, one story high - including the ceiling and we'll get a little idea of ​​what this superb restaurant was like. Elves were dancing in swarms, on the blinds, on the walls, and on the ceiling. They symbolized the Parisian party and the joy of living and brought an undeniable touch of fantasy to this place. The "Grands Boulevards" at that time were still flourishing. Luxury shops were spreading out there. A nighttime activity allowed the restaurants to fill up very often. The theaters, including that of the variety show located on the opposite sidewalk, attracted a share of the clientele. During the day, people would come and sip a drink while listening to the orchestra. Many famous artists performed as "guest stars" at La Maxéville. The Grands Boulevards and mainly the Boulevard Montmartre have always been one of the centers of Paris, which exert the most attraction with tourists, Provincials, and Parisians. It is indeed the central artery of the capital. Many varied shops, cafes, restaurants, and shows throng the famous Boulevard. As soon as night falls, one by one, the signs light up, the facades light...

Alexander Kreisel (1901-1952) Montmarte, Early 20th century (c. 1920-1950) Oil on canvas 30 x 40 in. Signed lower right: Inscribed verso: Montmarte At the end of the 19th century, the agrarian village of Montmarte had been annexed into Paris' ever-growing city limits, and it became a hub for artists and their dealers, cabarets, and even brothels. Vincent Van Gogh lived in this area with his brother, an important moment in his artistic development. Here, Kreisel depicts a nude, white model being depicted by a Black female artist...

Original vintage train travel poster for the Isle of Sheppey & Sheerness on Sea on the bracing East Kent Coast only 50 miles from London featuring great artwork depicting a man on st...

Work on canvas

Henri Burkhard, Born in New York in 1892, began his studies at the Art Students league in New York and then pursued international studies at the Académie Julian, Acadêmie Colarissi, and Académie de la Grande Chaumière, Pariss. Once the artist returned to New York, he began to exhibit frequently frequently at the Whitney Museum of American Art in 1926-36; the Corcoran Gallery, Art Institute of Chicago, and the Pennsylvania Academy of Fine Arts in the 1930's. Works by the artist have been handled and sold over the last hundred years at major American auction houses and dealers, such as Heritage...

Work on wood Green wooden frame 63.5 x 49 x 3 cm

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE L'Île aux Oiseaux by Paulémile Pissarro (1884-1972) Oil on canvas 61 x 47.6 cm (24 x ...

Day at the Beach - Realistic Figurative Illustration in Gouache Original figurative illustration of people at the beach by Charles Ross Kinghan (American, 1895-1984). Several women are looking at someone's foot, as if there is a splinter being removed. Three of the women are closer, with their heads in the frame. Two of them have are standing with their backs to the viewer. Between the women, the viewer can catch glimpses of other activities on the beach. Possibly a sketch for Good Housekeeping Magazine. Signed "Charles Ross" in the lower right corner. (Charles Ross Kinghan) Acquired with other signed estate works by the artist. Presented in a new cream mat. Mat size: 16"H x 13"W Board size: 14"H x 11.75"W Charles Ross Kinghan (American, 1895-1984) was born in Anthony, KS on January 18, 1895. A teacher, he moved to Wichita as a teenager and did sign painting for the Western Sign Works. He studied at the Chicago Academy of Fine Art in 1916, the American Academy of Art in Chicago, the Audubon School of Art and the Art Institute of Chicago. He was a pupil of Carl Scheffler, J. Wellington Reynolds, and H.A. Oberteuffer. He taught at the Art Institute of Chicago and at the American Academy of Art in Chicago. He was an illustrator for McCalls, Good Housekeeping, Saturday Evening Post, Colliers, and many others, including American Artist magazine. He was author and illustrator of Rendering Techniques for Commercial Art and Advertising (1956) and of Ted Kautzky...

French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of sporti...

Work on canvas Golden molded wooden frame 76 x 66 x 7 cm

French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of sporti...

Drawing by Novello for the cartoon " The conductor" during Verdi, Wagner and the waltz " Don't love me like this". ink drawing. Handsigned in the lower ...

Vintage Silver Gelatin Print. Title, date and signature on mat margin 1980 stamp in black ink twice on mount verso

The Gentleman is an original woodcut print on ivory-colored paper realized by Paul Baudier (1881-1962) in the 1930s. On the lower right description in French. Very good conditions....

Dona Ascensione Off set lithograph, 1932/published 1950 Signed in pencil by the artist lower right (see photo) Titled in the stone, lower left From: New Mexico Artist...

Antique American school surreal composition painting. Oil on board, circa 1950. Unsigned. Image size, 8L x 12H. Housed in a period modern frame.

'Canard Souchet' (Northern Shoveler) French chromolithograph, published in 1931. Printed title lower right of sheet. Plate number top right. From a French series of illustrations o...

Artist: David Thomas Robertson (Scottish, 1879-1952) Title: "Children Playing on the Beach" *Signed by Robertson lower left, (the signature is faded) Circa: 1935 Medium: Original Wat...

Set against a deep green background of layered paint and wavy lines, Benjamin Benno’s textured composition features an array of unidentifiable figures of varying sizes and shapes. Th...

MEDIUM: ​Publicity Drawing IMAGE SIZE: 12" x 9.5" PRODUCTION: Mickey's Circus YEAR: 1936 SKU: CCV2058 ABOUT THE IMAGE: Mickey's Circus is an animated short film produced by Walt Disney Productions and released August 1, 1936. Known crew include director Ben Sharpsteen and animators Milt Kahl, Frank...

"ARAMIS" Ship is an original artwork in ink, pastel and watercolor on ivory paper realized by the French artist Jane Levy. Hand-signed on the lower right by...

Italian artist Renzo Gori (1911 - 1998) designed this oil on canvas painting which features an animated urban street scene in France. The artist's signature is in the bottom right corner. Contemporary framed in an elegant black wood textured pattern frame with gilded garland. Measurements: With frame: 20.25 in. high (51.5 cm) x 27 in. wide (68.5 cm). Opening view: 14.38 in. high (36.5 cm) x 21 in. wide (53.5 cm). About: Renzo Gori is an Italian painter from Florence of the 20th Century (1911 - 1998). In the thirties, he stayed in Paris with the Florentine painter Dario Mecatti...

Charming c1930s watercolor depicting a dapper sartorially resplendent gent strolling at a racetrack Art Sz: 13 3/8"H x 8 1/4"W Frame Sz: 17" x 11 3/4"

Original poster Alexis Kow, known as Kow, is a French designer, poster artist, illustrator and model maker. Since 1922, prestigious brands of the "automobile" sector solicit him for their visual advertising such as bugatti, peugeot, pirelli or salmson but sometimes also for the elaboration of the final silhouette of a vehicle. His style is characterized by elegant lines, a pure line, the representation of the speed by lines of leakage and the work of the contrasts between shades and reflections, as we can see it on this splendid poster for the Salmson brand. Automobile - Art Deco - Advertising The precision of the plane engine...

Work on cardboard

Dorothy Eaton Tully Lumber Mill, Orange, Massachusetts, 1935 Signed and dated lower right Oil on canvas 17 1/2 x 23 1/2 inches Dorothy Eaton was born in East Orange, New Jersey in 1893. She studied at Smith College...

Interior courtyard scene by Mary Scott (American, late 19th/early 20th C). Two large stone columns support an arch, framing the composition. Between the columns, some of the courtyard can be seen, including a tree and the edges of a grassy area. Across the courtyard, there is a small desk and chair...

Lyonel Feininger, 'Church with Star (Kirche mit Stern)', woodcut, 1936, one of a small but unknown number of letterhead proofs; Prasse W265. Annotated 'W 265' (Feininger catalogue number) and inventory no. '2808' in pencil, in the bottom right sheet corner. A fine impression, on cream, laid letterhead stock; hinge remains on the left and right top sheet edges, verso, in excellent condition. Very scarce. Image size 2 3/8 x 2 3/8 inches; sheet size 10 1/16 x 7 1/16 inches. Archivally sleeved, unmatted. 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...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Baigneuses avec cygne by Georges Manzana Pissarro (1871-1961) Oil on panel 30 x 37.5 cm (11 ³/₄ x 14 ³/₄ inches) ...

MEDIUM: ​Original Production Cel on Printed Background IMAGE SIZE: 12 Field PRODUCTION: Looney Tunes SKU: IFA2799 ABOUT THE IMAGE: Looney Tunes is a series of animated short films ...

Original vintage men's fashion advertising poster - Austin Reed Good Clothes for Town and Country - featuring a stunning image of two elegantly dre...

Original vintage advertising poster for the French National Lottery - Loterie Nationale - featuring a fun design depicting a smiling man in a suit jumping up in happiness and holding...

John William Mills (born 4 March 1933, London) is an English sculptor. He studied at Hammersmith School of Art, 1947–54, and at the Royal College of Art, 1956–60. He was a resident ...

Original vintage advertising poster - Permis de Conduire 100F Courcelles Auto Ecole 69 Boulevard Berthier / Driving licence 100 Francs Courcelles Driving School - featuring an Art De...

Presenting a just discovered oil painting from the earliest period, c.1932, of American artist Ron Blumberg. After completing his fine art studies art at La Grande Academie Chaumier...

George Rouault "Le Christ et Mammon" from The Passion Original etching with aquatint and hand coloring, initialed lower right Paper size: 19 x 15.5 inches Im...

Pencil on watermarked paper. Signed lower left. The drawing is accompanied by an authentication on photo from the Fausto Melotti Archive, with code DIS 36 015, showing the data of th...

Antique American modernist signed portrait oil painting by Sidney Gross (1921 - 1969). Oil on canvas. Signed.

Work on canvas Golden wooden frame 52 x 58.5 x 5 cm

Pierre Olivier Dubaut (1886-1968) Portrait of an artist Stamp of the artist on the lower part watercolor on paper 46.5 x 30 cm In a vintage frame : 58 x 42 cm, some damages in the ...

White stone head in the art deco style. Born in Lithuania at the end of the nineteenth century, Boris Lovet-Lorski studied art at the Imperial Academy of Art in St. Petersburg before working briefly as an architect. He immigrated to New York in 1920 and became an American citizen five years later. His sculptures epitomize the ideals of the Art Deco decades: comprised of sleek lines and smooth surfaces, the streamlined compositions reflect the new technological forms of the machine age. Despite their modernist treatment, Lovet-Lorski’s elegant, stylized figures reference both ancient and classical sources and are characterized by a universal and serene sensibility. Concentrating on figural busts, familial groups, and standing female nudes as his subject matter, the artist rendered them in a variety of media. The materials range from the traditional bronze and marble to exotic woods and unusual stones; each is carefully selected so that its surface texture and color contribute to the emotive aura of the work. Carved out of a block of limestone, Untitled (Head) depicts a female visage nearly androgynous in its idealization. The delicate features of her face, the long, straight nose, thin pursed lips and high cheekbones, are made even more diminutive by the massive bulk of the stone that serves as their backdrop. The prominent widow’s peak of her hairline and the strong arch of her brow, two of Lovet-Lorski’s most distinctive characteristics, are elongated to accentuate the linear rhythms of the composition. The layers of her hair are delineated by stepped striations reminiscent of archaic precedents, which meld into structural columns and connect the form architecturally to the stone’s mass. Unlike the majority of Lovet-Lorski’s sculptures, in which the heads of the figures are tilted to the side or downward to convey a pensive mood, the woman in Untitled (Head) looks straight ahead. Her frontal positioning gives the composition a nearly perfect symmetry, in turn endowing the work with a still, eternal sensibility. The notched surface of the surrounding limestone stands in sharp contrast to the smoothness of her skin. In the twenties, the artist tended to finish his sculptures to a highly polished degree of refinement, but in the thirties he began to experiment with contrasts of texture and the aesthetic of the fragment. In this respect, the work is vaguely evocative of Egyptian funerary sculptures, in which the figures were carved with an eye for three-dimensionality but were left intact in a larger piece of stone to give them physical durability and permanence. Embodying classical ideals of stoicism and universal beauty, the sculpture ultimately exudes a surface allure that is difficult to resist. A similar example of this approach can be seen in the 1937 sculpture Diana, which resides in the permanent collection of the Hirshhorn Museum and Sculpture Garden, Washington D.C. Carved from a piece of black Belgian marble, the work is a stylized bust of the Greek goddess Diana...

According to the frontis these were produced by Hand Lithography. According to the Museum of Modern Art (MOMA NY) website "Edition:300 announced; only approx. 42 issued (including regular edition of 30, deluxe edition of approx. 10, and 2 artist's proofs)" I believe these are from the deluxe edition as they are on Mould made BFK Rives French paper and the dimensions are larger than stated in the MOMA website. the sheet size here is 40X29 cm. Date 1936. Publisher:Black Sun Press, New York. Printer:George C. Miller & Son, New York. most of them are plate signed. George Grosz (July 26, 1893 – July 6, 1959) was a German artist known especially for his Satire and Caricature drawings of Berlin life in the 1920s. He was a prominent member of the Berlin Dada and New Objectivity group during the Weimar Republic before he emigrated to the United States in 1933. He studied at the Dresden Academy of Fine Arts, where his teachers were Richard Müller, Robert Sterl, and Oskar Schindler. He subsequently studied at the Berlin College of Arts and Crafts under Emil Orlik. Grosz left the Communist Party KPD in 1922 after having spent five months in Russia and meeting Lenin and Trotsky, because of his antagonism to any form of dictatorial authority. Along with Otto Dix, he is widely considered one of the most important artists of the Neue Sachlichkeit. Bitterly anti Nazi, Grosz left Germany shortly before Hitler came to power. In June 1932, he accepted an invitation to teach the summer semester at the Art Students League of New York. In October 1932, Grosz returned to Germany, but on January 12, 1933 he and his family emigrated to America. In 1946 he published his autobiography, A Little Yes and a Big No. In the 1950s he opened a private art school at his home and also worked as Artist in Residence at the Des Moines Art Center. Grosz was elected into the National Academy of Design as an Associate Academician in 1950. In 1954 he was elected to the American Academy of Arts and Letters. Grosz worked in a style influenced by Expressionism and Futurism, as well as by popular illustration, graffiti, and children's drawings.The City (1916–17) was the first of his many paintings of the modern urban scene. Other examples include the apocalyptic Explosion (1917), Metropolis (1917), and The Funeral, a 1918 painting depicting a mad funeral procession. In his drawings, usually in pen and ink which he sometimes developed further with watercolor, Grosz did much to create the image most have of Berlin and the Weimar Republic in the 1920s. Corpulent businessmen, wounded soldiers, prostitutes, sex crimes and orgies were his great subjects His draftsmanship was excellent although the works for which he is best known adopt a deliberately crude form of caricature. His oeuvre includes a few absurdist works, and also includes a number of erotic artworks. ("Ecce Homo" which saw him accused of pornography) My Drawings expressed my despair, hate and disillusionment, I drew drunkards; puking men; men with clenched fists cursing at the moon. ... I drew a man, face filled with fright, washing blood from his hands ... I drew lonely little men fleeing madly through empty streets. I drew a cross-section of tenement house: through one window could be seen a man attacking his wife; through another, two people making love; from a third hung a suicide with body covered by swarming flies. I drew soldiers without noses; war cripples with crustacean-like steel arms; two medical soldiers putting a violent infantryman into a strait-jacket made of a horse blanket ... I drew a skeleton...

To see our other hunting prints and paintings, scroll down to "More from this Seller" and below it click on "See all from this Seller" and then search. Charles "Snaffles" Johnson Payne (1884-1967) The Timber Merchant (c. 1932) Lithograph 47 x 43 cm Signed in pencil...

Sea and rocks is an original artwork realized by Gino Pira in 1937. Original mixed colored oil painting on plywood. Hand-written dedication on the back. Beautiful and representati...