1930s Art

Lady is an orignal modern artwork realized by Antonio Feltrinelli in the 1930s. Mixed colored oil painting on canvas. Not signed. Antonio Feltri...

Dancers Georges Rouault, French (1871–1958) Date: 1936 Woodcut, initialed in the stone Size: 3 x 2 in. (7.62 x 5.08 cm) Frame Size: 9.5 x 8.25 inches

A Fine 1930s, Modern Academic Anatomical Figure Study Drawing of a Nude Male Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well executed early 193...

This rare and stunning photograph that shines on many important galleries and museums is for sale. It has been framed by the owner but is now available loose. Hand printed by artist...

Robert Doisneau 1912-1994 L' aéroplane de Papa, 1934 Signed in ink on recto; Titled and dated in ink on verso Gelatin silver print Image 9-1/2 x 12", Paper 12 x 6", Mat 16 x 20

Maurice UTRILLO Paris : Winter Day at Montmartre Original gouache painting Signed bottom right 40 x 32 cm at view (c. 16 x 13") Painted c. 1934-36 Presented in a golden wood frame ...

A Fine, Modern 1930s Academic Anatomical Figure Study of a Standing Male Model (Legs, Backside and Feet) by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). This is a double s...

Mokuchu URUSHIBARA The Cat, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 27 x 39 cm (c. 10,6 x 15,3 in) INFORMATION : Engraving published by Moku...

This candle light oil painting signed “Emil Lindgren, Leksand 1930” depicts a young Dalecarlia (dalkulla, (a woman from Dalarna)) standing in an interior, dressed in the folk costume...

French Art Deco, oil on canvas, society female portrait by Dembinkski (probably Anton J.) Signed, dated and located (Paris) bottom left. In later wood and gilt frame. A charming and...

A Quiet, Picturesque 1930s American Scene Country Landscape Painting of a Wisconsin or Michigan Farm in Late Autumn by Famed Chicago Modern Artist, Francis Chapin (Am. 1899-1965). A...

Ex Libris Mantero Sempre Sitis is an original etching realized by Michel Fingesten in 1930s.  It includes a white cardboard passpartout.  Limited Edition of 50..  Hand signed and ...

Mural Study for "History of Water" American Scene Modernism Social Realism WPA Thomas Hart Benton (American, 1889-1975) "Water Story" (Study for The History of Water) Tempera and o...

Vintage American school impressionist oil painting. Oil on board. Framed. Provenance from a Sag Harbor, NY collection. Measuring: 13 by 16 inches overall. Handsomely framed in a gil...

Signed post impressionist oil on canvas figures in landscape by Armenian painter Charles Garabed Atamian. The work depicts three young girls with buckets and spades in their hands playing in the sand on a golden beach. The piece is beautifully coloured. Signature: Signed lower left Dimensions: Framed: 23"x29" Unframed: 16"x22" Provenance: Private collection - Luxembourg Garabed Charles Atamian...

"Colombe à l'Arc-en-Ciel" after the 1952 oil on canvas painting of Pablo Picasso is a limited-edition (Edition 1000) offset color print on 250g Rives-Bütten Paper, done by the Succes...

JOHANNES SCHIEFER – UNTITLED [VUE SUR LA BAIE DES ANGES] Oil on Canvas ⚜ Signed Lower Left ⚜ Custom Conservation Frame A RADIANT MEDITERRANEAN VIEW BY POST-IMPRESSIONIST JOHANNES SC...

'The Bather', oil on board, by Charles Kvapil (1934). The world of art has for centuries depicted bathers in one form or another. Kvapil's wonderfully allur...

Downtown New York, c. 1930s, oil on canvas, signed lower right, 10 x 12 inches; label verso reads: "Harry Dix / Title Downtown New York / Medium Oil" Harry Dix was a 20th-century p...

Adriaan Lubbers New York City, The El at Chatham Square, 1930 Original lithograph Handsigned in pencil Numbered / 100 On Rives vellum 28 x 22.5 cm (c. 11 x 9 in) Very good condition

Lucien Neuquelman, French (1909 - 1988) - Spring Walk, Year: 1938, Medium: Oil on Canvas, signed and dated lower right, Size: 13 x 9.5 in. (33.02 x 24.13 cm), Frame Size: 20.5 x ...

Acquired by a private collector, Palo Alto, San Carlos and Oceanside, California, from Bingham Gallery in the Fairmont Hotel, San Jose, California; By descent to a private collector,...

Howard Cook, 'Soaring New York', aquatint, soft-ground etching, roulette, 1931-32, edition 25, Duffy 165. Signed, dated, and annotated 'imp' in pencil. A superb, richly-inked, atmosp...

John Teyral (American, 1912-1999) Marrakech, 1937 Watercolor on paper Signed, dated and titled upper right 12 x 14 inches 19 x 21.5 inches, framed John Teyral was one of Cleveland'...

The intimacy of fixing someone’s tie is a wonderful motif for this poster for the Gourdant shop in Vienne, France. The store specialized in hosiery, lingerie, and underpinnings which...

Oil on artist board painting by the American artist, Winfield Scott Clime. Signed lower left. Titled verso. Partial Lyme Association exhibition label verso. In good condition. Frame...

A Fine 1930s, Modern Academic Anatomical Figure Study Drawing of a Standing Male Nude Model (Shoulder and Arm) by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exception...

A Finely Drawn 1930s, Modern Academic Figure Study Drawing of a Standing Male Nude Model (Torso) by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well exec...

Date: 1932 Medium: Oil on Board Dimensions: 23.00" x 18.63" Framed Dimensions: 33.00" x 28.63" Signature: inscribed MP Jr. No. 76. / Painted by Maxfield Parrish / Maxfield Parrish I...

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...

Jane Peterson Cattleya Orchids, circa 1940s Signed lower right Oil on canvas 32 x 32 inches Provenance Estate of the artist Artist’s estate sale, Ipswich, Massachusetts, 1960s Priva...

Heron Bihoreau - Black Crowned Night Heron French chromolithograph, published in 1931. Printed title lower right of sheet. Plate number top right. From a French series of illustrati...

Stoops in Snow. 1930. Drypoint and sandpaper ground. McCarron catalog 89.state ii. 9 x 14 7/8 (sheet 13 1/4 x 18 7/16 ). Edition 115 recorded impressio...

Charles Turzak, 'The Workers (No. 2)', woodcut, edition 50, c. 1935. Signed and numbered 2/50 in pencil. A fine, richly-inked impression, on cream wove Japan paper, with full margin...

"Paper Making" WPA Industrial Mid-Century American Scene Social Realism Workers Douglas Crockwell (1904-1968) "Paper Making" 19 x 39 inches Oil on board, c. 1936 Signed verso Framed: 28 x 47 Provenance: Estate of the Artist BIO Spencer Douglass Crockwell was born into a comfortable middle class household on April 29, 1904 in Columbus, Ohio. His father, Charles Roland Crockwell, was a mining engineer; his mother, Cora, was the daughter of an Iowa attorney. He became a commercial artist and experimental filmmaker who spent a good part of his career creating illustrations and advertisements for the Saturday Evening Post. In 1907 the Crockwell family moved to St. Louis, Missouri, where he graduated from high school and then attended from Washington University. Initially he studied engineering, but soon switched to business. While still an undergraduate, Crockwell took courses at the St. Louis School of Fine Arts and quickly realized that he wanted to be an artist. After graduating from Washington University in 1926, Crockwell continued to study at the St. Louis School of Fine Arts until 1929. The following year he relocated to Chicago and continued his studies at the American Academy of Art. In 1930 and 1931 he studied in Europe on a Traveling Fellowship. In 1932 Douglass Crockwell moved to Glens Falls, New York, which was to be his home for the remainder of his life. The following year he married Margaret Braman. They had three children, a son Douglass and two daughters, Johanna and Margaret. During the depression he created murals and posters for the Works Progress Administration including Post Office murals in White River junction, Vermont; Endicott, New York; and Macon, Mississippi. In 1934 he painted Paper Workers, Finch Pruyn & Co. (the leading Glens Falls, New York company) for the WPA. In the 1930s Crockwell developed an interest in experimental animated films that occupied him for the rest of his life. In 1936 and 1937, he collaborated with David Smith, a sculptor, to create surrealist films. Because of his interest in experimental films, his output of paintings was limited to just twenty to forty illustrations a year during this time. Crockwell painted his first of many Saturday Evening Post cover in 1933. He also worked for Life, Look, and Esquire, and numerous national advertisers including Friskies dog food, Welch’s Grape Juice, Republic Steel...

This superb Art Deco British portrait oil painting is by noted Scottish artist David Cowan Dobson, better known as Cowan Dobson. Painted in 1931, it is a portrait of a striking darkh...

Cahiers d'art, Surrealist Composition 1 Pochoir, 1934 Unsigned as issued in Cahier's edition Published in Cahier's d'art, 1934 Unsigned Edition of 1200 There was also a pencil signed...

A Finely Drawn, 1930s Modern Figure Study of a Seated Male Nude Model by Notable Chicago Modern Artist, Harold Haydon (Am. 1909-1994). An early charcoal drawing by Haydon (a compos...

Painted by George Carr Drinkwater, this vibrant oil on canvas depicts the actress of stage and screen Cecily Byrne as Mary Stuart. Painted circa 1930 it is a stunning evocative portrait of an actress who was famous throughout the 1930’s. A fine portrait of a long forgotten film star. Cecily Byrne (1889-1975) was an actress, known for Loyalties, Henry IV and Brown Sugar...

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

Emile Albert Gruppe was a very well known Cape Ann, Massachusetts painter who founded his own Gruppe Summer School in 1942. He was born in Rochester, NY in 1896 and studied at the A...

Taos Pueblo, New Mexico (square hole) Gelatin silver print, 1933, printed 1953 A lifetime printing by Brett Weston, supervised by his father Edward Edition of 5 or 6 examples Provena...

Beautiful 1931 painting by American artist, Giovanni Martino (1908-1997). Oil on canvas measures 25 x 30 inches. Measures 35 x 39 inches framed. The scene depicts what is definitively the Rockport, Mass. fishing pier. Excellent condition with a few very minor areas of paint flaking. The darker areas in the sky is a result of unpainted areas. The canvas is sized with glue but not primed white: observable areas of natural linen color results. Signed wet into wet and dated lower left. No restoration or overpaint. Giovanni Martino, National Academy of Design* member, was born on May 1, 1908 in Philadelphia PA where all seven brothers and one sister, Filomina, Frank, Antonio, Albert, Ernest, Giovanni, Edmond, and William became painters. They were under the tutelage of their eldest brother, Frank, who in the late 1920s, founded the first commercial art* studio, Martino Studios, at 27 South 18th Street. Besides studying with his two eldest brothers, Giovanni also studied with Albert Jean Adolph at La France Institute, The Pennsylvania Academy of the Fine Arts*, The Graphic Sketch Club, and Spring Garden Institute in Philadelphia. In his mid teens he accompanied his two eldest brothers to New Hope searching for subjects to paint. In the 1930s, he also started to paint in Manayunk, a hilly mill town along the Schuylkill River...

F. Luis Mora (American, 1874-1940) Native American, c. 1930s Ceramic Stamped on bottom, Cowan Pottery 9 x 7 x 5 inches Francis Luis Mora was one of the better-known American artists...

Thomas Hart Benton, 'Goin' Home', lithograph, 1937, edition 250, Fath 14. Signed in pencil. Signed in the stone, lower right. A fine, richly-inked impression, on off-white, wove pape...

After Gustav Klimt, Max Eisler #30, Brautzug; multi-color collotype after unfinished 1917/18 painting in oil on canvas. Painted in the last months of Klimt’s life, The Bride was one...

Painted by Anne Margrethe Grosell (Danish, 1909- 1999), circa 1935, and stamped, verso, with certification of authenticity. Unsigned. An accomplished Post-Impressionist self-portra...

This 1937 original poster by the celebrated French graphic designer Paul Colin was created to promote the Exposition Internationale des Arts et Techniques dans la Vie Moderne, a majo...

A Finely Drawn 1930s Figure Study of a Young Male Nude Model (Shoulder, Arm & Torso) by Notable Chicago Modern Artist, Harold Haydon (Am. 1909-1994). An early charcoal drawing ...

Oil on wooden panel realized by Francesco Settimj in 1930s. Good condition.

A Fine, Modern 1930s Academic Anatomical Figure Study Drawing by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). A well executed, early 1930s charcoal study of crossed legs a...

A Fine 1930s Modern Academic Figure Study Drawing, Seated Male Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well executed early 1930s charco...

Hazel Guggenheim King-Farlow McKinley (American, London, New Orleans, 1903-1995), "Paris Rooftops" c. 1930 Oil paint on wood panel Attributed, dated and titled verso (I am not sure in whose hand not signed by the artist herself). Dimensions H.- 18 in., W.- 15 in., Framed- H.- 26 1/2 in., W.- 23 in. Provenance: From an estate New Orleans, Louisiana. Hazel Guggenheim King-Farlow McKinley (born Barbara Hazel Guggenheim; April 30, 1903 – June 10, 1995) was an American painter, art collector, and art benefactor. Hazel Guggenheim was born in New York City to Benjamin Guggenheim and Fleurette (Seligman) Guggenheim. The marriage united two wealthy German-Jewish families. Born into the well-known Guggenheim family, a niece of Solomon Guggenheim who founded the Guggenheim Museum, she grew up in New York, alongside her sisters Benita Guggenheim and Marguerite Peggy Guggenheim who would become the influential gallery proprietor, art collector, museum founder, and midwife to the Abstract Expressionism art movement. Her father Benjamin gave up much of his financial interest in the family's mining business to start his own business in Paris. With his business failing, in 1912 he set out to return to the United States in time for McKinley's ninth birthday on the Titanic. Following the shipwreck, he drowned aged 46; his body was not recovered. McKinley inherited $450,000. She later inherited money on the deaths of her mother, and of her older sister, Benita, who died in childbirth. The loss of her father haunted McKinley for the rest of her life, and in 1969 she recorded "In Memoriam, Titanic Lifeboat Blues." McKinley began painting as a teenager and was a prolific artist throughout her life. When she fled New York for Paris at age 19 she studied at the Sorbonne and became part of 1920's bohemian Paris, France, where she was taught by key modernism artists of the time. Her primary mediums were ink, water color, tempera, and crayon. Some of her work is hand signed and some is not. In 1928 her sister Peggy moved to London and mar­ried the British writer John Holmes. In 1931, McKinley married the Englishman Denys King-Farlow. They settled in Sussex, UK, and had two children, John King-Farlow, who became a philosopher and poet, and Barbara Benita King-Farlow, who became an artist in her own right. In 1938 Peggy opened Guggenheim Jeune, a London gallery of mod­ern art, starring Wassily Kandinsky, Henry Moore, Salvador dali, Constantin Brancusi, Max Ernst, Pablo Pic­asso and Jean Miro with whom they socialized. Whilst living in the south of England with Denys King-Farlow in the 1930s, McKinley was influenced by a group of avant-garde artists, and had her first solo exhibition in London in April 1937 at the Coolings Gallery. She received instruction from British artists Rowland Suddaby, Raymond Coxon, and Edna Ginesi, becoming associated with the London Group and the Euston Road School. She painted primarily in watercolor. Her work included still-life, portraits, townscapes and landscapes. Although her first work was done in a "slightly plain palette," her later work in the 1930s brightened, sometimes falling within the realm of fauvism. "Under the influence of the Surrealist artists, Hazel's paintings after the 1930's became freer, though her work was far more whimsical and humorous than many artists more closely associated with the surrealism movement." In 1939 McKinley fled Europe due to the impending war and returned to the US, living mostly in California. She took brief art lessons from her sister Peggy's one-time husband Max Ernst and much later attended several summer schools taught by muralist and renowned teacher Xavier Gonzalez. In her life in the United States and abroad, McKinley met many prominent artists of the Paris, London, and New York art scenes including Jackson Pollock. McKinley continued to paint, and ran a small gallery of her own in the late 1950s and early 1960s in West Cornwall, Connecticut. One show at her gallery featured the works of British and Irish painters including Rowland Suddaby, Frank Beteson, Tom Nisbett, and Patrick Swift. McKinley showed two of her own works in the same exhibit, a watercolor painted at Positano, Italy and one painted at the Tuileries, Paris. Another featured work was a surrealistic water color portrait of McKinley by London artist Mervyn Peake. McKinley exhibited her work both in Europe and the United States throughout her long career, mostly at smaller venues. An incomplete listing of her exhibits and museum acquisitions of her work include: Berkshire Museum, the Galerie Raymond Duncan in Paris, Stendahl Galleries, the Jake Zeitlin Gallery, the Montgomery Museum of Fine Art, the Artists' Own Gallery in London, the Manchester City Art Gallery, and Santa Fe Art Museum. McKinley's work was only once included in a show by her sister Peggy. In 1943 McKinley was selected to exhibit a painting in Peggy's infamous show Exhibition by 31 Women in her New York gallery Art of This Century. The exhibition was radical at the time for being one of the first all-woman exhibitions, as well as showing only abstract or Surrealist works. The Exhibition by 31 Women was conceived by Peggy Guggenheim in collaboration with Marcel Duchamp, who is usually credited with suggesting the idea. The participating artists were selected by a jury that included André Breton, Max Ernst Duchamp, and Guggenheim. Advice was sought from Alfred H. Barr Jr., first director of the Museum of Modern Art in New York, who provided Guggenheim with five names, of which three were included in the exhibition, Suzy Frelinghuysen, Irene Rice Pereira, and Esphyr Slobodkina. Those already known to Guggenheim through their partners included Xenia Cage, wife of the composer John Cage, Frida Kahlo, wife of Diego Rivera, who was noted for his frescoes, Sophie Taeuber-Arp, wife of the sculptor, Hans Jean Arp, and Jacqueline Lamba, ex-wife of the surrealist André Breton. Guggenheim’s sister, Hazel Guggenheim McKinley and her daughter, Pegeen Vail Guggenheim exhibited. Also in the exhibition was the burlesque dancer, Gypsy Rose Lee, another friend of Guggenheim, who was possibly included more to help publicise the event than for her artistic skills. Other artists were friends of Guggenheim or of Max Ernst. One, Dorothea Tanning, was Ernst's lover, leading Guggenheim to say: "I realized that I should have only had thirty women in the show". Only one artist is known to have refused the invitation to submit works, Georgia O'Keeffe, who reportedly responded that she wished to be identified as a painter, and not singled out because of her gender. In the late 1950s, McKinley moved back to Europe for a while, before returning to the United States in 1969. She lived in New Orleans until her death in 1995. On her death, her only living son, John King-Farlow, wrote a poem in his mother's honor, entitled "Eulogy For My Mother (Hazel Guggenheim McKinley, Artist)." A short obituary distributed by the Associated Press noted she was a member of the illustrious New York Guggenheim family, that she was determined to make a name for herself as an artist, that her art works were shown in museums in the United States and Europe, and were in the collections of such celebrities as Greer Garson, Benny Goodman, and Jason Robards. In 1998 after her death, one of her paintings was exhibited in Peggy Guggenheim's Venice home museum the Palazzo Venier dei Leoni. Guggenheim’s work in various media and her connections to influential artists and collectors provide glimpses into the complex tapestry of the art world in the first half of the 20th century. In her later life she settled in New Orleans, where she continued painting, exhibiting, and studying art into her eighties at Newcomb College, New Orleans. She was part of a regional art scene that included Ida Kohlmeyer, George Rodrigue, Noel Rockmore and Hunt Slonem. Towards the end of her life while confined to bed, her last works were colored pen drawings and sketches. McKinley collected major contemporary artworks and she donated many of these works to public institutions. She donated over 15 works to Wakefield Art Gallery, UK, in the 1930s, and in 1938 presented the painting Cossacks...

Edward Winter (American, 1908-1976) Helen of Troy, 1938 Enamel Signed and dated lower right 43 x 18 inches 44.5 x 19.5 inches, framed Exhibited: Cleveland Museum of Art, May Show 19...

Flooded Mall (1934) - Silver Gelatin Fibre Print (Photo by H. F. Davis/Getty Images) A man crossing a stretch of floodwater with the help of two chairs after a storm caused floodi...

An iconic image. Beams of sunlight streaming through the windows at Grand Central Station, New York City, circa 1930. (Photo by Hal Morey/Getty Images) As an authorized Getty Images...

Rendered in profile, Marie-Therese Walter is shown wearing a purple beret and a brown coat with fluffy trim. One of Pablo Picasso's famed muses, this representation of her is reminis...

Gustave Vidal. French ( b.1895 - d.1966 ). Pêcheurs Sur Les Rochers. Bord De Mer En Côte d'Azur. Oil On Panel. Signed Lower Right. Image size 12.4 inches x 15.6 inches ( 31.5cm x 39.5cm ). Frame size 22.2 inches x 26 inches ( 56.5cm x 66cm ). Available for sale, this original oil painting is by the French artist Gustave Vidal and dates from around 1935. The painting is presented and supplied in its original frame. The original cotton slip has been replaced with a sympathetic contemporary slip that is in keeping with the fresh coastal aesthetic of the painting (which is shown in these photographs). This antique painting is in a good condition. It wants for nothing and is supplied ready to hang and display. The painting is signed lower right. Gustave Vidal was a 20th century French artist, and one of the best Provencal landscapers of his generation. He worked in the Provencal and Basque regions as well as Corsica and the centre of France. He was born in Avignon in 1895, in the Provence region of France, and died in the same town in 1966. Vidal trained at the École des Beaux-Arts in Avignon. It is often reported that he studied under Pierre Grivolas, (1823-1906) who was a prominent teacher there who had encouraged plein air painting to capture light and colour directly from nature. However, Grivolas died when Vidal was only 9 or 10, so it is very unlikely that there was a direct teacher/student relationship between them in a formal apprenticeship or atelier setting. Pierre Grivolas had been a director of the École des Beaux-Arts in Avignon until his death in 1906, and found what became known as the Nouvelle école d’Avignon, promoting outdoor practice and modern landscape painting. Grivolas influenced a generation of Provençal painters directly, and his teachings persisted after his death. Vidal therefore studied in the establishment that continued his ethos and would have been influenced by Grivolas’ directorship. Vidal won numerous awards at the Beaux-Arts in Avignon and became a sociétaire (member) of the Salon des Artistes Français in Paris, an important exhibition venue for French artists of the period. He actually wrote the articles of association for this establishment. As well as exhibiting in Avignon and Paris Vidal also exhibited in Berlin and Brussels. Vidal was primarily a landscape and marine painter. His work is associated with Provencal scenes — including rural landscapes, village streets, harbours, seascapes, and views of the French Riviera and interior France. His technique combined impasto application with both palette knife and brush, reflecting influences from Impressionism and post-Impressionist colourism encountered during his career, especially in Paris. This gives his canvases a textured, lively surface and strong sense of light and atmosphere. His works typically show rich colour and balanced composition, with evocative French light. Nowadays Vidal’s paintings appear regularly in antique galleries, auctions, and online sales in Europe and beyond, though he’s not commonly featured in major public museums or standard art history encyclopaedias. Auction results indicate steady interest among collectors of regional French painting, with prices varying according to size and subject. Although not among the most famous French painters of his generation, Gustave Vidal holds a solid place within early-to-mid-20th-century Provence painting, continuing the regional tradition of light, colour, and landscape that followed Impressionism, and appealing to contemporary collectors of Provençal and southern French art...

An original 1930 Art Deco lithograph poster by French artist Maurice Dufrene. Rayon des Soieries Maurice Dufrene, (1876–1955) Date: 1930 Lithograph Size: 46 x 30 in. (116.84 x 76.2 c...

Etching on vélin de Rives BFK paper. Paper Size: 11.5 x 9 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Lysistrata, 1934. Published by The Limited E...