1930s Art

This painting is part of our exhibition America Coast to Coast: Artists of the 1930s Refreshment and Intermission, tempera on board, 11 x 19 inches, c. 1930/40s, signed lower middle, exhibited at Groom's one person show at Closson’s Gallery, Cincinnati, OH, March, 1943 (see The Cincinnati Enquirer, March 7, 1943, section 3, p. 4); provenance includes a private Ohio collection; presented in a period gold painted frame About the Painting Refreshment and Intermission is part of a series of paintings of Amish subjects Grooms started in 1938 based on his travels in Pennsylvania. These tempera works reflect the Regionalist impulse to paint local scenes far away from big cities. Focusing on both people and landscape, Grooms' compositions tell the stories of the uniquely American experience of the Amish. “Grooms paints the Amish people with as much understanding of type and appreciation of the plastic quality as any artist who has approached this challenging subject," noted the art critic for The Cincinnati Inquirer when reviewing Grooms' solo exhibition at Closson' Gallery, "In his current show, ‘Refreshment and Intermission,’ is a case in point. Here the absorbed concentration of people eating is described without an ounce of sentimentality. He has made the most of the interest between groups and of the conversations, both humorous and serious. The work has the quaint simplicity of a Lord’s Supper...

Consigned to the gallery, Pasadena, California; By descent to a private collector, Encino, California; Acquired in 1997 by a private collector, Palo Alto and Oceanside, California; From Joan Irvine Smith Fine Arts, Inc., Laguna Beach, California. Signed "A. Espoy" on lower left Description In California Lupines and Poppies, Angel De Service Espoy captures the vibrant splendor of California’s springtime wildflowers with lyrical brushwork and atmospheric sensitivity. A hillside awash in blooming blue lupines and golden poppies slopes gently toward a distant view of rolling hills beneath a soft, clouded sky. Espoy’s confident handling of color and texture brings the landscape to life, evoking the fleeting beauty of the state’s native flora and the delicate transitions of light across the land. This intimate composition reflects the artist’s deep affection for California’s rural countryside and his enduring legacy as a painter of its most poetic vistas. Based on the painting’s style, subject matter, and scale, California Lupines and Poppies was most likely created between 1925 and 1940—a period when Espoy was actively painting California’s coastal and inland landscapes, particularly in the Monterey Peninsula and Carmel Highlands regions. The composition, with its gently rolling hills, distant haze, and vivid display of native wildflowers, closely aligns with Espoy’s known plein air works of the Central Coast. The loose yet confident brushwork, naturalistic light, and spontaneous floral groupings all support the likelihood that this piece was painted en plein air. Espoy often created small-format oils like this one outdoors as finished works in their own right or as preparatory studies for larger studio paintings. His style blends Realism and Impressionism, drawing upon the influences of his training under Joaquín Sorolla (1863–1923) and the French Barbizon School, resulting in works that balance truthful representation with a painterly, light-filled immediacy. Historical Significance Born in Spain and trained in Barcelona, Angel Espoy immigrated to the United States in the early 20th century, eventually settling in California, where he became known for his floral landscapes, maritime scenes, and depictions of the Pacific coastline. Espoy’s lupine and poppy paintings are among his most beloved subjects, reflecting the natural beauty of the state and the influence of California Impressionism. In the 1920s–1930s, Espoy’s work gained popularity among collectors who sought colorful, uplifting views of the West, particularly during the Depression era. His florals not only document California’s seasonal splendor but also contribute to the legacy of artists who elevated regional wildflowers to a fine art subject—following in the tradition of Granville Redmond, William Wendt, and Guy Rose. Today, Espoy’s flower-filled landscapes remain a favorite among collectors of early California art...

Work on canvas

Stanley William Hayter Big Horse (Black & Moorhead 46), 1932 Engraving & Drypoint on antique white Canson Vidalon laid paper affixed to original matting Hand signed, numbered 8/30 an...

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...

Nude Woman is a modern artwork realized by Antonio Feltrinelli in 1930s. Mixed colored oil painting on canvas Antonio Feltrinelli (Milan, 1887 – Gargnano, 1942) He was born in Mila...

Panther sniffing by Georges GUYOT (1885-1972) Rare sculpture in bronze with a nuanced dark brown patina Signed on the base " Guyot " Cast by " Susse Frères Editeurs Paris " (with the foundry mark) France circa 1935 height 33,5 cm length 49 cm depth 12 cm Biography : Georges Lucien Guyot (1885-1973) known as Georges Guyot was a French animal artist. From an early age, he showed artistic abilities, but the modest conditions of his parents did not allow him to study art. He was doing his apprenticeship with a woodcarver. Guyot then excelled at copying works of the fifteenth, sixteenth and seventeenth centuries, but soon he showed a special attraction for nature. This attraction led him to the Jardin des Plantes in Paris where he could study wild animals and translated his observations into sculpture and painting. As a famous figure of Montmartre, he was the host of the Bateau-Lavoir from the time of Cubism. In 1931, Georges Guyot joined the group of "The Twelve", created by François Pompon and Jane Poupelet, gathering sculptors like Marcel Lémar, Paul Jouve, André Margat, Jean-Claude de Saint-Marceaux, Georges Hilbert, or even the painter Adrienne Jouclard...

Ansel Adams and Ed Towler by Wilson D. Ellis (American, 20th Century). Titled "Ansel and Ed Towler 1936" on verso and signed "Wilson D Ellis" with date 7/16/35 under mat. Silver Brom...

Spring Night, Greenwich Village. 1930. Drypoint and sand ground. McCarron 85. 10 x 12 3/8 (sheet 13 1/4 x 15 5/8)). Edition 92. A rich, tonal impress...

Henri Matisse, French (1869 - 1954) - Calypso from James Joyce's Ulysses, Year: 1935, Medium: Softground Etching on Arches, Edition: 1500, Image Size: 10.75 x 8.25 inches, Size: 16....

6th Avenue El at 8th St NYC Cityscape American Scene Social Realism Mid-Century Max Arthur Cohn (1903-1998) 6th Avenue El at 8th Street 13 x 18 inches Watercolor on paper, c. 1930 ...

Signed lower right, 'Eleida Ashcraft' for Eleida Bosler Ashcraft (American, 1875-1940) and dated 1931/2. Framed dimensions: 23.5 H x 2.5 D x 25.25 H inches Displayed in a carved 22kt...

" Sunlit Mountains" Majestic Mount Jefferson And Mount Hood Oregon 1930s A well executed oil on linen of two mountain peaks by California and Illinois artist Andrew Dobos (American/...

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

Russell T. Limbach, 'Untitled (Modernist Nude)', etching and aquatint, no known edition, c. 1930. Signed in pencil. A fine impression, on cream wove paper, with full margins (1 7/8 to 2 3/4 inches), in excellent condition. Image size 8 15/16 x 5 15/16 inches; sheet size 13 3/8 x 10 1/4 inches. Extremely rare. Matted to museum standards, unframed. Probably created when Limbach was in Paris (1928-1934), where he was exposed to modernist printmaking explorations at Stanley William Hayter’s 'Atelier 17'. ABOUT THE ARTIST Born in Massillon, Ohio, Russell Limbach...

Medium: original etching. This impression on Canson et Montgolfier wove paper was printed in 1937 in an edition of 500 for the "Paris 1937" portfolio. Printed at the atelier of Jean-...

Medium: original etching. This impression on Canson et Montgolfier wove paper was printed in 1937 in an edition of 500 for the "Paris 1937" portfolio. Printed at the atelier of Jean-...

Mokuchu URUSHIBARA White-billed Pie, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 32 x 26.5 cm (c. 12.59 x 10.23 in) INFORMATION : Engraving pub...

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

La pointe sèche etching on vélin de Rives filigrané à notre nom paper. Paper size: 9.5 x 7.5 inches; image size: 6.5 x 4.5 inches. Inscription: unsigned and unnumbered, as issued. No...

Medium: original linoleum cut. Printed in 1938 for the art revue XXe Siecle (issue number 4). Size: 12 1/2 x 9 3/4 inches (317 x 248 mm). Not signed. Condition: there are pinholes i...

"1st Class Travel" by Fox Photos September 1934: Mrs C Wylds behind the wheel with her pet pig at Terling in Essex. Unframed Paper Size: 16" x 20'' (inches) Printed 2022 Silver Ge...

Fresson print, inscribed ‘LAG 17033’ (verso), 29cm x 23cm (on view), 37cm x 30.5cm (sheet size), (48cm x 41cm framed). The photograph is framed to the line and crop indicated by the photographer on the print, behind museum quality UV non-reflective glass. (A Fresson print is a type of photographic printing, created in 1899, that has been passed down in the family for four generations. Still to this day, the Fresson family keeps some elements of the process a secret but make sure it stays alive. Located in the outskirts of Paris, their workshop is the only one in the world to produce such prints.) Albin-Guillot studied drawing and painting before becoming interested in photography. In 1925, she went on to have the first one-person exhibition at the Paris Autumn Salon. She also served as president of the French Societe des Artistes Photographes and in June 1928, was included in the first independent Salon of Photography in Paris. Published in 1932, she took a series of male nudes taken for Henry de Motherlant’s La Deesse Cypris. The strongly cropped images in which the male nudes fill the entire frame accompany the author’s text about sensuality. In 1933, she collaborated with the poet Paul Valery...

Marcel DYF 1899 - 1985 This piece has been confirmed by Claudine Dyf This work is registered in the Marcel Dyf Archive under N° ID 5158 Picture Size: 29 x 36" (72 x 92cm) Outside F...

Jean Dominique Van Caulert, (1897-1979), although most often associated with his celebrity portraits and works for the theater, he was also a true symbolist in the tradition of the B...

Pyrenean bear sitting by Georges GUYOT (1885-1972) Sculpture in bronze with a nuanced black patina Signed " Guyot " on the base Cast by Martin Canal, without founder mark France circa 1935 Height 18,4 cm Width 17 cm Depth 18 cm Biography : Georges Lucien Guyot (1885-1973) known as Georges Guyot was a French animal artist. From an early age, he showed artistic abilities, but the modest conditions of his parents did not allow him to study art. He was doing his apprenticeship with a woodcarver. Guyot then excelled at copying works of the fifteenth, sixteenth and seventeenth centuries, but soon he showed a special attraction for nature. This attraction led him to the Jardin des Plantes in Paris where he could study wild animals and translated his observations into sculpture and painting. As a famous figure of Montmartre, he was the host of the Bateau-Lavoir from the time of Cubism. In 1931, Georges Guyot joined the group of "The Twelve", created by François Pompon and Jane Poupelet, gathering sculptors like Marcel Lémar, Paul Jouve, André Margat, Jean-Claude de Saint-Marceaux, Georges Hilbert, or even the painter Adrienne Jouclard...

Frog is a drawing in pencil realized in the early 1930s by Emmanuel Gondouin, (Versailles, 1883 - Parigi, 1934) The artwork is depicted through strong strokes. Emmanuel Gondouin is a French Cubist...

James Goodwin McManus High Noon, circa 1935 Signed lower right Oil on canvas 25 x 30 inches Provenance Private Collection Ric Serrenho, North Granby, Connecticut (acquired from the above in 2004) James McManus...

MARGUERITE KIRMSE (English/American 1885-1954) THREE’S A CROWD, c 1930 Etching, signed and titled in pencil. Plate 6 3/8 x 9 ¾ inches. Full sheet with edges on all sides. Sheet 10 5/8 x 13 5/8 inches. In good condition, save for old tape on sheet edges verso, showing through to recto. A hint of a mat line below the signature Kirmse is considered to be one of the most important etchers of Dogs. Sheet with even white tone - photos show oblique shadows From Wikipedia: Marguerite first trained as a harpist at the Royal Academy of Music but spent much of her spare time drawing animals. She went to the United States in 1910 on holiday with friends but stayed there.[4] She was not successful in advancing her musical career and focused her attention increasingly on her animal drawing, which she developed by frequent sketching trips to the Bronx Zoo.[5] In 1921 she started producing etchings of dogs...

Peek-A-Boo Beatles (1937) - Silver Gelatin Print (Photo by R. McPhedran/Express/Getty Images) 14th June 1965: The British rock group The Beatles stand in a window at Twickenham Fil...

Frank Nelson Wilcox (American, 1887–1964) Red Cliffs and Hogan, Arizona, 1937 Watercolor on paper Signed and dated lower right 14.5 x 19 inches 18.5 x 24 inches framed Frank Nelso...

Nicely painted American impressionist oil painting by Richard W. Baldwin (1920 - 2012). Oil on canvas. Framed. Signed.

Oil on plywood realized in 1930s. Painted on both sides, recto and verso. Good condition.

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...

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

In this sentimental work from 1939, Benton expresses his admiration for the rural lifestyle of the Midwest. He highlights the connection between man and the land by depicting two fig...

Signed lower right, 'Podryski' for Misha Podryski, also spelled Podrisky, (Russian-American, 1903-1989), titled, 'Paris' and dated 1934. Displayed in a substantial, silver-gilt, swept frame. Framed dimensions: 31.75 H x 2 D x 38.75 W inches A substantial oil landscape showing a view of a barge moored to the bank of the Seine with a view beyond to an arched, stone bridge beneath a luminous evening sky. Born in Estonia, this Russian-American painter first attended Moscow University before moving to France where he continued his education at the American Conservatory in Paris, the School of Fine Arts at Fontainebleau and, later, in Italy. This educational path explains the polished salon portrait manner seen in his Paris canvases from the period and in his later New York portrait...

La pointe sèche etching on vélin de Rives filigrané à notre nom paper. Paper size: 9.5 x 7.5 inches; image size: 6.5 x 4.5 inches. Inscription: unsigned and unnumbered, as issued. No...

This is a classic New-Deal image: claustrophobic sweatshop with a row of hunched tailors. The windows and lamps offer light at least. But there is a major difference between this and...

Artist: Joaquín Asensio Mariné (Barcelona, 1890 – 1961) Title: Catalan Farmhouse with Garden and Bare Trees Medium: Oil on panel Dimensions (unframed): 38 × 46 cm (14.96 × 18.11 in) Dimensions (framed): 52 × 60 cm (20.47 × 23.62 in) Signature: Signed lower left Period: Mid-20th Century Condition: Very good condition. Stable pictorial layer with well-preserved original impasto and no visible losses. Frame condition: Period gilt wooden frame with minor wear consistent with age. Presented: Sold with its current frame. Original oil painting by Catalan artist Joaquín Asensio Mariné, depicting a traditional Catalan farmhouse surrounded by a vegetable garden and winter trees. The composition is built with energetic, textured brushwork and visible impasto, giving the surface strong material presence and movement. The artist employs a rich Mediterranean palette of ochres, greens and blue-grey tones, capturing the rustic architecture and intimate atmosphere of rural Catalonia. Asensio Mariné constructs the scene with expressive confidence, balancing structural solidity in the buildings with freer gestural treatment in the vegetation and sky. The thick paint application enhances the tactile quality of the work, making it visually dynamic and highly decorative. Mid-century Catalan rural landscapes remain particularly appreciated by collectors for their authenticity, regional character and timeless Mediterranean appeal. An attractive and characterful example of 20th-century Spanish landscape painting. Joaquín Asensio Mariné (Barcelona, 1890 – 1961) was a Catalan painter known for his Mediterranean landscapes, rural architecture and traditional countryside scenes. Active in Barcelona during the first half of the 20th century, he exhibited in galleries such as Sala Rovira and Galería Jaimes. His work sits between traditional realism and a restrained impressionist language, characterized by textured brushwork and a luminous Mediterranean palette. His rural compositions share affinities with the broader tradition of Spanish landscape painting associated with artists such as Joaquín Sorolla, Eliseu Meifrèn and the Catalan post-impressionist school, while maintaining a distinctly regional character. Today his works are appreciated by collectors of mid-century Spanish and Mediterranean painting for their authenticity, decorative strength and connection to Catalan artistic heritage. Mid Century Painting Mediterranean Landscape Catalan Landscape Spanish Landscape Painting Rustic Farmhouse Art...

'The Church of Saint-Nicolas du Chardonnet, Paris', gouache on art paper by Lucien Génin (circa 1930s). In Paris' 5th Arrondissement the site in which Saint-Nicolas du Chardonnet is ...

NARAZAKI EISHO (1864-1936), 'Asakusa Kannon-do no naido' (Interior of the Kannon Temple at Asakusa), color woodblock print, 1932. Signed Eisho lower right, with the artist’s red seal beneath. A fine impression with fresh colors; the full sheet with slight overall age toning, a drying tack...

Dan Super "SAM HOUSTON" (1873-1953) Houston Artist Image Size: 3 3/4 inches tall Medium: Carved Horn of Sam Houston to celebrate the Texas Centennial. Texas Centennial 1936 "Sam Houston Pin Cushion Holder" Biography Dan Super (1873-1953) Dan E. Super, Jr. (1873 – 1953) Dan Super had the eye of a sculptor, envisioning and then creating hundreds of objects from the elongated form of a Texas Longhorn’s tusk. At the age of six, Dan Super carved his first drawing into a piece of the horn of a Texas Longhorn. Over the next 56 years, he made utilitarian pieces like pencil cups, pin cushions, and backscratchers, realistic replicas of animals and birds, and imaginative carvings of elegant nudes. While these carvings resemble the traditional art of scrimshaw, carvings from whale bone, we’ve not been able to identify another carver who used the Texas Longhorn as his material. “My work is done with an ordinary pocketknife, hacksaw file and rasp,” Super wrote in 1937. He used the horn in every way conceivable; whole, allowing the shape to define the object he was making, flattened to make mosaic or inlay work. He incised and pierced it and carved in the round. His own hands polished the horn to a sheen. Daniel Super, Jr. was born in Houston on August 22, 1873. His father owned stock years, D. Super and Brothers Co., providing the young Super with ready access to his raw material. Throughout his life, he worked in the businesses key to the identity and success of young, booming Houston, cattle, oil, real estate and rail. In 1896 he married Lula, and took over the family business, expanding it to include a grocery. He closed the company in 1912 and got into the oil business...

A beautiful large 1930's French post-impressionist oil on canvas nude portrait of a lady in the artist's studio, by Bertrand Py. Excellent quality and very good condition portrait ...

NYC Park Scene American Scene Social Realism WPA Woman Artist Ashcan Realism Isabel Bishop (American, 1902-1988) "NYC Park Scene" Pencil on paper Sight: 5 x 7-1/8 inches Signed l...

This exquisite lithograph by Wassily Kandinsky (1866–1944), titled Comets, from Verve, Revue Artistique et Litteraire, Vol. I, No. 2, originates from t...

"Nude "odalisque Aux Pantins" Belgian Modern School By Georges Brasseur 1930" Georges BRASSEUR was an artist born in Belgium in 1880 and died in 1950. His works went up for sale at p...

Medium: original linoleum cut. Printed in 1938 for the art revue XXe Siecle (issue number 4) and and published in Paris by San Lazzaro. Sheet size: 12 1/2 x 9 5/8 inches (317 x 243 m...

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...

A quintessential American Scene landscape painted by the Chicago Modernist, William Schwartz. Workers in tilled fields surrounding a farmstead under dramatic skies. Painted in 1935...

This gorgeous Scottish Impressionist floral oil painting is by noted Scottish artist William Somerville Shanks. Painted in 1937 the composition is of a bunch of pink, white and red ...

A beautiful 1930s Carlton Ware Art Deco Garden pattern vase of shouldered ovoid form, decorated with iconic art deco shapes on a green, blue, yellow and beige background , pattern no...

This rare and visually arresting original poster was created in 1932 by the Swiss graphic artist Gerold, capturing the streamlined elegance and mechanical power of the legendary Buga...

This piece is a photolithograph from the original negative by Laszlo Willinger, original shot in 1937 and printed at a later date. It depicts English actress, Vivien Leigh...

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

The pastel portrait of Stella Samuel, very likely a starlet from the thirties, created in the style of Charles Sheldon, emanates timeless elegance. With a delicate interplay of color...

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 ...

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. Very scarce. 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). 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...

Impressive early American modernist carnival scene oil painting. Framed. Oil on board. Image size, 14H by 18L.

Wayman Elbridge Adams (1883-1959). From a Balcony, New Orleans, French Quarter, ca.1930. Oil on masonite panel, 12 x 16 inches; 17.5 x 21.5 inches framed. Excellent condition. ...