1930s Art

This intimate oil painting presents a stylized winter landscape rendered in soft pastel tones. Snow-covered trees stand in tranquil silence along the banks of a frozen river, their forms reflected faintly in the ice. In the foreground, a small wooden boat lies moored at the river’s edge, contributing to the scene’s serene, contemplative mood. Percy’s delicate handling of light and color – a pale sunlit sky against subtle blues and violets of snow imbues the work with a poetic calm. The atmosphere and decorative simplification of the composition are strongly reminiscent of Gustaf Fjaestad’s celebrated Nordic winter scenes, capturing what contemporaries described as the silent, majestic beauty of Swedish winters with an almost mystical tranquility. In its quiet harmony and refined palette, the painting echoes Fjaestad’s approach to portraying winter “ruled by a pure and quiet spirit,” while remaining distinctly Percy’s own vision of nature’s repose. Arthur Percy was a Swedish painter and designer whose artistic development bridged academic training and modernist influences. He studied at the Konstnärsförbundets (Artists’ Association) school in Stockholm under prominent artists Richard Bergh and Eugène Jansson...

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...

Medium: original etching. Executed by John Sloan to illustrate the Somerset Maugham classic "Of Human Bondage" and published in 1938 in a limited edition of 1500 by the Yale Universi...

Medium: pochoir (after the gouache). This pochoir illustrates a scene from Oscar Wilde's "Salomé". It was printed in 1938 at the atelier Saudé of Paris and published by The Limited E...

Kawase Hasui, 'Chihan no Ame, Matsue' (Lakeside Shower, Matsue), color woodblock print, 1932. A fine, atmospheric impression, with fresh colors; the full sheet, from a postwar editio...

A beautiful 1930's impressionist oil on canvas depicting flowers and roses in a vase, by Belgian artist Jozef Tysmans. The work is in very good original condition and signed lower r...

Oil on isorel panel by Charles PICART LE DOUX (1881-1959), France, 1949. Model on green background. With frame: 97.5x76.5 cm - 38.4x30.1 inches ; without frame: 81x60cm - 31.9x23.6 i...

Thomas Owings Sheckell (1883 - 1943) was active/lived in New York. Thomas Sheckell is known for Trees, landscape, snow scenes, coastal view and industrial scene painting...

Floral Still Life Ben-Zion (Ukraine, 1897-1987) Circa 1930's Oil on Canvas, signed l.r. 17 3/4 x 12 5/8 One of the founding artists of Abstract Expressionism, hailing from Ukraine,...

Antique American impressionist sunset landscape oil painting by Louis Saphier (1875/77 - 1954). Oil on canvas. Framed. Signed. Measuring: 30 by 43 inches overall, and 24 by 36 pai...

This is a well done self portrait of the listed American artist Bernard Stafford Good. Painted in 1937, it is a fine example of American illustration art produced by the Brandywine School of Southeastern Pennsylvania and Delaware of the period. It also relates to Norman Rockwell and his illustrative style of the early twentieth century. The portrait is oil on c...

4066 Art Deco Lady in blue pastel painting Set in a white frame

5154 Antique Italian oil painting of a reclining nude woman Framed Image size 24x36"

ABOUT Beautiful and impressive Art Deco statue of a dancing woman with cymbals. Circa 1935. Original title "Danseuse Aux Cymbales". Signed “Fayral” on base which is the pseudonym of...

Antique American abstract expressionist painting. Oil on canvas. Framed. Signed. Measuring: 37 by 43 inches overall, and 36 by 42 painting alone. In excellent original condition. ...

* No US duty or taxes to pay on this item * This beautiful 1930's Italian impressionist oil on canvas by Luigi De Luca depicts fishermen on the Bay of Naples at sunset, with Capri b...

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...

Kawase Hasui, 'Zentsuji Temple in the Rain' from the seres 'Collected Views of Japan II', color woodblock print, 1937. Signed Hasui in black ink, with the artist’s red seal Kawase, ...

'The Agony in the Garden' by Jais Nielsen, 1938. Paris, Salon d’Automne, Section d'Or, Gethsemane ----- Signed lower left, 'Jais' for Johannes Knud Ove Jais-Nielsen (Danish, 1885-19...

Large signed and framed vintage still life oil painting on canvas of apples and fruit. This attractive painting, idea for a kitchen hails from the 1930's and would go well in eith...

Woodcut on vélin paper. Paper Size: 9.65 x 12.4 inches. Inscription: Signed in the block and unnumbered, as issued. Catalogue raisonné references: Kandinsky, Wassily, and Hans Konrad...

Marc Chagall (1887-1985) - Cirque Lithograph from 1967. The edition of 250 on Arches paper. Dimensions of work: 42 x 32.5 cm. Publisher: Tériade, Paris. Reference: Mourlot 487, ...

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

Oil on Canvas by B. Robert, France, circa 1930. This exquisite oil painting by B. Robert, created in France around 1930, captures the serene beauty of a young nude woman reclining. T...

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

Beautiful original drawing by American artist, Albert Sway (b.1913). Portrait of a young woman, ca. 1935. Ink on paper, measuring 8.5 x 11 inches. Signed lower right. Unframed...

Beautiful antique 1932 needlepoint map of Midwestern states. Framed measurement: 23 x 36 inches.

'The Garden in Summer' by Olga Alexandrovna. Tsar Nicholas II, Queen Elizabeth II, Russian Imperial ---- Signed lower right, 'Olga' for Her Imperial Highness, Olga Alexandrovna, Gr...

Edouard Benedictus, 'Poppy' from the portfolio 'Relais', plate 14, color pochoir, 1930. Signed in the matrix, in the center bottom margin. A superb, richly-inked impression, with fresh, vibrant colors, including metallic gold and silver inks, on heavy, cream wove paper; the full sheet with margins (1 3/8 inches), in excellent condition. Published by Éditions Vincent, Fréal et Cie, Paris. The pochoir production is by Jean Saudé, the French printmaker known for his mastery of the technique and the author of the first how-to book on the pochoir process. Matted to museum standards, unframed. Image size 14 3/8 x 11 inches (365 x 279 mm); sheet size 17 1/4 x 13 7/8 inches (438 x 352 mm). Impressions of this work are held in the following museum collections: Cooper-Hewitt National Design Museum Library (Smithsonian), Metropolitan Museum of Art, Minneapolis Institute of Art, New York Public Library, Toledo Museum of Art, Victoria and Albert Museum (London), Virginia Museum of Fine Arts. ABOUT THIS WORK The Pochoir process is a refined stencil-based technique employed to create multiples or to add color to prints produced in other mediums. Characterized by its crisp lines and rich color, the print-making process was most popular from the late 19th century through the 1930s, with its center of activity in Paris. The pochoir process began with the analysis of an image’s composition, including color tones and densities. The numerous stencils (made of aluminum, copper, or zinc) necessary to create a complete image were then designed and hand-cut by the 'découpeur.' The 'coloristes' applied watercolor or gouache pigments through the stencils, skillfully employing a variety of different brushes and methods of paint application to achieve the desired depth of color and textural and tonal nuance. The pochoir process, by virtue of its handcrafted methodology, resulted in the finished work producing the effect of an original painting, and in fact, each print was unique. ABOUT THE ARTIST Edouard Benedictus (1878 -1930), artist, designer, composer, and chemist, was born and died in Paris. A highly-regarded designer and art critic of the Art Nouveau era, Benedictus gained renown as a colorist and creator of Art Deco-inspired geometric and floral motifs. His work had a significant influence on international fashions in clothing, home furnishings, graphic design, and decorative objects of the period, earning him commissions from leading European design firms. In 1925 he was invited to represent Art Deco textile design...

Vintage American impressionist farm landscape oil painting by Stephen Voorhies (Born 1898). Oil on canvas. Framed. Measuring: 27 by 31 inches overall, and 20 by 24 painting alone. I...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Verve: Revue Art...

A Very 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...

Signed oil on board portrait circa 1930 by French post impressionist painter Jean Gabriel Domergue. The work depicts a red-haired lady in an elegant blue dress and matching fascinato...

Nicholas Panesis, 'Negro', 1934, color lithograph, edition 18. Signed, dated, titled, and numbered 8/28 in pencil. Initialed in the stone, lower right. A fine impression, with fresh colors, on buff wove paper, with margins (1 1/8 to 2 3/8 inches). Minor glue staining at the extreme sheet edges verso, where previously taped (not visible recto), otherwise in excellent condition. Matted to museum standards, unframed. Image size 10 5/8 x 8 1/2 inches; (270 x 216 mm); sheet size 14 13/16 x 10 15/16 inches (376 x 278 mm). Created for the California Works Progress Administration, Federal Art Project (WPA). Scarce. Impressions of this work are held in the public collections of La Salle University Art Museum (Philadelphia), U.S. General Services Administration, and Weisman Art Museum (University of Minnesota). ABOUT THE ARTIST Born in Massachusetts, Nicholas Panesis (1913-1967) studied art at Syracuse University, NY, and went on to teach ceramics at Alfred University, NY. Panesis moved to San Francisco in the early 1930s shortly before settling in Los Angeles, where he worked for different animation studios...

Here for your consideration is a very well executed oil pastel on archival paper by the well known French artist, Marcel Vertes. Signed lower right. Condition is excellent. Circa 1...

'Portrait of the Nephew of the Artist', oil on canvas, by René Seyssaud (circa 1930s). Known for his use of vivid colours in his landscapes and depictions of workers in their fields,...

Barbara Shermund (1899-1978). Fancy Department Store Satirical Cartoon, ca. 1930's. Ink, watercolor and gouache on heavy illustration paper, panel measures 19 x 15 inches. Signed lower right. Very good condition. Unframed. Provenance: Ethel Maud Mott Herman, artist (1883-1984), West Orange NJ. For two decades, she drew almost 600 cartoons for The New Yorker with female characters that commented on life with wit, intelligence and irony. In the mid-1920s, Harold Ross, the founder of a new magazine called The New Yorker, was looking for cartoonists who could create sardonic, highbrow illustrations accompanied by witty captions that would function as social critiques. He found that talent in Barbara Shermund. For about two decades, until the 1940s, Shermund helped Ross and his first art editor, Rea Irvin, realize their vision by contributing almost 600 cartoons and sassy captions with a fresh, feminist voice. Her cartoons commented on life with wit, intelligence and irony, using female characters who critiqued the patriarchy and celebrated speakeasies, cafes, spunky women and leisure. They spoke directly to flapper women of the era who defied convention with a new sense of political, social and economic independence. “Shermund’s women spoke their minds about sex, marriage and society; smoked cigarettes and drank; and poked fun at everything in an era when it was not common to see young women doing so,” Caitlin A. McGurk wrote in 2020 for the Art Students League. In one Shermund cartoon, published in The New Yorker in 1928, two forlorn women sit and chat on couches. “Yeah,” one says, “I guess the best thing to do is to just get married and forget about love.” “While for many, the idea of a New Yorker cartoon conjures a highbrow, dry non sequitur — often more alienating than familiar — Shermund’s cartoons are the antithesis,” wrote McGurk, who is an associate curator and assistant professor at Ohio State University’s Billy Ireland Cartoon Library & Museum. “They are about human nature, relationships, youth and age.” (McGurk is writing a book about Shermund. And yet by the 1940s and ’50s, as America’s postwar focus shifted to domestic life, Shermund’s feminist voice and cool critique of society fell out of vogue. Her last cartoon appeared in The New Yorker in 1944, and much of her life and career after that remains unclear. No major newspaper wrote about her death in 1978 — The New York Times was on strike then, along with The Daily News and The New York Post — and her ashes sat in a New Jersey funeral home...

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...

5154 Antique Italian oil painting of a reclining nude woman Framed Image size 24x36"

An atmospheric tonalist landscape oil on canvas, capturing the soft haze of late summer over a meandering river valley. In the foreground, traditional bound haystacks punctuate a slo...

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...

French chromolithograph, published in 1931. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of birds. 195mm by 265mm (sheet)

Daniel Ralph Celentano, Untitled (Strike Breakers) pencil, c. 1934. Signed, lower right. A fine, social-realist drawing, on cream wove paper, with margins (1 1/2 to 2 1/2 inches), in...

Laura M. GREENWOOD (1897-1951). Portrait of Woman in Winter Coat Oil on canvas, 18 x 24.5 inches. Signed lower left. Excellent condition. Would beneifit from a cleaning. Origina...

Antique French impressionist portrait landscape oil painting. Oil on canvas, lain to board. Signed. Framed. Measuring: 12 by 15 inches overall, and 6 by 9 painting alone.. In excell...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Verve: Revue Art...

Leon Bibel, 'Unemployed Marchers', 2-color lithograph, c. 1938, edition 25. Signed, titled, and numbered '2/25' in pencil. A fine, richly-inked impression on off-white, wove paper, w...

Barbara Shermund (1899-1978). Showgirls Cartoon for Life Magazine, 1934. Ink, watercolor and gouache on heavy illustration paper, matting window measures 16.5 x 13 inches; sheet measures 19 x 15 inches; Matting panel measures 20 x 23 inches. Signed lower right. Very good condition with discoloration and toning in margins. Unframed. Provenance: Ethel Maud Mott Herman, artist (1883-1984), West Orange NJ. For two decades, she drew almost 600 cartoons for The New Yorker with female characters that commented on life with wit, intelligence and irony. In the mid-1920s, Harold Ross, the founder of a new magazine called The New Yorker, was looking for cartoonists who could create sardonic, highbrow illustrations accompanied by witty captions that would function as social critiques. He found that talent in Barbara Shermund. For about two decades, until the 1940s, Shermund helped Ross and his first art editor, Rea Irvin, realize their vision by contributing almost 600 cartoons and sassy captions with a fresh, feminist voice. Her cartoons commented on life with wit, intelligence and irony, using female characters who critiqued the patriarchy and celebrated speakeasies, cafes, spunky women and leisure. They spoke directly to flapper women of the era who defied convention with a new sense of political, social and economic independence. “Shermund’s women spoke their minds about sex, marriage and society; smoked cigarettes and drank; and poked fun at everything in an era when it was not common to see young women doing so,” Caitlin A. McGurk wrote in 2020 for the Art Students League. In one Shermund cartoon, published in The New Yorker in 1928, two forlorn women sit and chat on couches. “Yeah,” one says, “I guess the best thing to do is to just get married and forget about love.” “While for many, the idea of a New Yorker cartoon conjures a highbrow, dry non sequitur — often more alienating than familiar — Shermund’s cartoons are the antithesis,” wrote McGurk, who is an associate curator and assistant professor at Ohio State University’s Billy Ireland Cartoon Library & Museum. “They are about human nature, relationships, youth and age.” (McGurk is writing a book about Shermund. And yet by the 1940s and ’50s, as America’s postwar focus shifted to domestic life, Shermund’s feminist voice and cool critique of society fell out of vogue. Her last cartoon appeared in The New Yorker in 1944, and much of her life and career after that remains unclear. No major newspaper wrote about her death in 1978 — The New York Times was on strike then, along with The Daily News and The New York Post — and her ashes sat in a New Jersey funeral home...

"Cheetah Who Shops" by B C Parade American silent film actress Phyllis Gordon (1889 - 1964) window-shopping in Earls Court, London with her four-yea...

This Leonard Pytlak lithograph is a mid-twentieth century image. Pytlak was such a skilled draftsman that he was a confident lithographer, as well as woodcut and serigraph maker. Her...

Léon Frédéric (1856-1940) The Dunes and the Sea, signed at the lower right Oil on canvas transfered on woodpanel 30 x 40 cm Framed : 42 x 53 cm in good condition, Léon Frédéric always presented his oil landscapes on canvas transferred onto mahogany panels like this one. This seascape and dunes by Léon Frédéric is part of a series of landscapes inspired by the shores of Heyst, near the Belgian coastal resort of Knokke. Although he found much inspiration in the rolling landscapes of the Ardennes, particularly in the area of Nafraiture, at the other end of the country, the North Sea offered him a completely different motif and an opportunity to explore another source of inspiration. His style may seem lighter in some ways, but the same energy is evident in the way he depicts the vegetation in the foreground, for example, with the dunes reminiscent of the hills and valleys he loved. Similarly, his approach to composition is characteristic of his art, with a very high horizon line that seems to raise the viewer's gaze. Finally, this work exudes a great serenity that invites contemplation. Léon Frédéric was born on 26 August 1856 in Brussels and died on 25 January 1940 in Schaerbeek. The son of a prosperous jeweller, Léon Frédéric was apprenticed to the painter-decorator Charle-Albert in 1871, and attended evening classes at the Brussels Academy. In 1874, he worked in the private studio of Jean-François Portaels. The following year, he joined forces with a group of young painters to rent a studio where they could study live models. From 1876 to 1878, he prepared for the Prix de Rome, which he failed, but his father offered him a year's travel to Italy. From 1878 to 1879, he made his debut with the artistic group l'Essor, which brought together proponents of realism. In 1883, he was hailed as a promising painter with his painting Les Marchands de craie, a triptych combining modernism with the genius of the primitive masters, and in the 1890s he became one of the most popular painters in Belgium, cited alongside Constantin Meunier and Eugène Laermans. On 24 April 1929, King Albert I awarded Léon Frédéric - at the same time as James Ensor - the title of Baron. In 1882, he discovered the work of the French naturalist painter Jules Bastien Lepage...

A colorful, vibrant 1930s winter scene painting Saugatuck, Michigan by famed Chicago Modern artist, Francis Chapin (Am. 1899-1965). Depicting the Old Fish House on the left, with a ...

Beautiful original gouache of a busy Seine River scene with advertising boats and a figure along the shore with the city of Paris in the background. Signed lower left. Condition is...

A dynamic and highly detailed 1932 oil painting by Allan C. Sawyer, this work captures an exhilarating regatta with a fleet of classic sailboats cutting through wind-whipped waves. P...

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

The Endeavour. c.1935. Pencil and watercolor on watercolor board. 14 3/8 x 20 7/8. Signed in pencil, lower right; titled in pencil, verso. Housed in a subtle 23 1/2 x 36-inch light ...

A striking 1930's French post-impressionist oil on board portrait of a gentleman smoking a pipe by Antonin Guéton. Excellent quality and condition post-impressionist portrait. Sign...

Charles Sutton, “April Afternoon,” Oil on Board, Framed Landscape Painting Warmly toned impressionist oil painting by Charles Sutton, titled April Afternoon. The work captures a tra...

Times Square by Night (1953) - Oversized (Photo by H. Armstrong Roberts/Alamy) 1930, Golfer teeing off circa Additional Information: Unframed Paper Size: 40x60'' Printed Later NOTE OTHER SIZES OF THIS IMAGE AVAILABLE 10 x 12'' 12 x 16'' 16 x 20'' 20 x 24'' 20 x 30'' 30 x 40'' 40 x 60'' FRAMING AVAILABLE ON REQUEST About the Artist: H. Armstrong ROBERTS (1883-1947) is an artist born in 1883 The oldest auction result ever registered on the website for an artwork by this artist is a photography sold in 2012. ACTORS ON SET, Bette Davis, Ladies Fashion...

Kawase Hasui, 'Rain at Shinagawa, Ryoshimachi' from the series 'Selection of Views of the Tokaido', woodblock print, 1931. A very fine, atmospheric impression, with fresh colors; the...