1940s Art

This candid photograph of Albert Einstein was shot by Paula Wright. Albert Einstein was born in Germany in 1879 and won the Nobel Prize in Physics in 1921. This listing is for a lim...

Pablo PICASSO Carmen, The Thoughtful Woman, 1949 Original burin engraving (Atelier Lacourière, Paris) Unsigned On Montval wove paper 33 x 26 cm (12.9 x 10.2 in) REFERENCES : - Cat...

A charming, vibrant, early Mexican city street scene by famed Chicago Modern artist Francis Chapin (Am. 1899-1965). Depicting a quiet, picturesque view of the rooftops and cathedral...

Pablo PICASSO Carmen, Woman's Portrait, 1949 Original burin engraving (Atelier Lacourière, Paris) Unsigned On Montval wove paper 33 x 26 cm (12.9 x 10.2 in) REFERENCES : - Catalog...

ANGELO TESTA (1921 - 1984) Untitled, ca. 1940's. Watercolor on paper; Sight: 23 1/2" x 17.5"; Matting size: 22 x 18 inches. Minor loss and staining of paper sheet. Unframed. Un...

Pablo PICASSO Carmen, The Small Moon, 1949 Original burin engraving (Atelier Lacourière, Paris) Unsigned On Montval wove paper 33 x 26 cm (12.9 x 10.2 in) REFERENCES : - Catalog ra...

Gordon Ham (20th century) New England Winter, ca. 1940. Oil on unstretched canvas panel, 14 x 17 inches. Measuring 17 x 20 inches framed. Signed lower right. Vertical cracking ...

Pablo PICASSO Carmen, Woman in Profile, 1949 Original aquatint engraving (Atelier Lacourière, Paris) Unsigned Dated in the plate On Arches vellum 49 x 35 cm (c. 19.2 x 13.7 in) REF...

Medium: collotype (after the Miro lithograph). Printed in 1947 in an edition of 1500 by Meriden Gravure and published by Curt Valentin for "The Prints of Joan Miro" portfolio. Size: ...

A charming and atmospheric winter nocturne by Chester Bratten, titled "Hinsdale Sub-Zero," this oil on canvas captures a quiet, snowy evening scene in downtown Hinsdale, Illinois. A ...

Albert Heckman Cubist Landscape Oil on canvas 16 x 20 inches Albert Heckman was born in Meadville, Western Pennsylvania, 1893. He went to New York City to try his hand at the art w...

Pablo PICASSO Carmen, The Moon Woman, 1949 Original burin engraving (Atelier Lacourière, Paris) Unsigned On Montval wove paper 33 x 26 cm (12.9 x 10.2 in) REFERENCES : - Catalog r...

Rare 1940s Original Vintage Gelatin Silver Photograph by DOUGLAS JULEFF - also known as DOUG OF DETROIT - of bodybuilder and Mr. America contender MIKE DUBEL. Dubel competed in the 1...

A beautiful large signed and dated 1943 English impressionsit oil on board depicting horses in a landscape at sunset, by William Ongley Miller. Excellent quality and condition atmos...

Pablo PICASSO Carmen, The Sleeping Woman, 1949 Original burin engraving (Atelier Lacourière, Paris) Unsigned On Montval wove paper 33 x 26 cm (12.9 x 10.2 in) REFERENCES : - Catal...

Medium: collotype (after the Miro lithograph). Printed in 1947 in an edition of 1500 by Meriden Gravure and published by Curt Valentin for "The Prints of Joan Miro" portfolio. Size: ...

Antique American impressionist signed coastal seascape oil painting. Oil on canvasboard. Framed. Signed. Measuring: 14 by 18 inches overall, and 12 by 16 painting alone. In excelle...

Medium: original lithograph. Printed in 1947 at the Mourlot atelier in an edition of 950 on Rives wove paper for "Pierre a feu / Les miroirs profonds" and published in Paris by Maegh...

Pablo PICASSO Carmen, The Sleeping Woman, 1949 Original burin engraving (Atelier Lacourière, Paris) Unsigned On Montval wove paper 33 x 26 cm (12.9 x 10.2 in) REFERENCES : - Catal...

Born in Rome, Italy, Emanuel Romano became a painter, illustrator, muralist and teacher in New York City where from 1944 to 1945 he taught at the City College of New York. One of his...

Brigitte Bardot wearing glamorous white dress, reflections in mirror. Brigitte Bardot is a French former actress, singer, and model as well as an animal rights activist. Famous for ...

Clarence Holbrook Carter (American, 1904-2000) Venus, 1940 Signed Clarence H. Carter and dated 40. (ur) Oil on canvas 40 x 27 inches 48 x 35 inches, framed Canvas is slightly warped...

Three Skunks of WWII c. 1940s Carved and painted wood Unsigned 8 x 10 in. h. each These skunks are depicted as Adolf Hitler, Benito Mussolini, and Hideki Tojo. Condition: There ...

Lithograph on vélin supérieur paper. Unsigned and unnumbered, as issued. Good condition. Published by Maeght, éditeur, Paris; printed by Mourlot Frères, Paris, January 17, 1947. Note...

Medium: collotype (after the Miro lithograph). Printed in 1947 in an edition of 1500 by Meriden Gravure and published by Curt Valentin for "The Prints of Joan Miro" portfolio. Size: ...

Medium: collotype (after the Miro lithograph). Printed in 1947 in an edition of 1500 by Meriden Gravure and published by Curt Valentin for "The Prints of Joan Miro" portfolio. Size: ...

Medium: collotype (after the Miro lithograph). Printed in 1947 in an edition of 1500 by Meriden Gravure and published by Curt Valentin for "The Prints of Joan Miro" portfolio. Size: ...

Medium: collotype (after the Miro lithograph). Printed in 1947 in an edition of 1500 by Meriden Gravure and published by Curt Valentin for "The Prints of Joan Miro" portfolio. Size: ...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Livre du cœur d'Amour épris...

Antique American abstract cubist street scene oil painting. Oil on board. Framed. Signed. Measuring: 31 by 42 inches overall, and 25 by 36 painting alone. In excellent original con...

Title of the Artwork: Hunting Still Life Artist: Josep Serrasanta (1916-1998) Technique: Oil on canvas Dimensions: 39.37 x 31.89 in Date: 1949 Artistic Movement: Romantic Realism wit...

Antique Danish modernist abstract cubist oil painting by Eugène Sala (1899 - 1987). Oil on canvas. Signed. Framed. Measuring: 19 by 13 inches overall. In excellent original conditi...

Antique American modernist abstract cubist oil painting. Oil on board. Signed. Framed. Measuring: 18 by 14 inches overall. In excellent original condition. Handsomely framed in a ...

This late work by Venny Soldan-Brofeldt, likely painted in the final years of her life, depicts two flowering Tallört plants (Monotropa hypopitys)—a delicate and unusual forest plant...

Medium: pochoir (after the drawing). A soft and delicate impression, printed in Paris in 1948 and published in an edition of 1200 by Braun et Cie. Size: 6 1/2 x 4 1/2 inches (164 x 1...

Antique French cafe scene landscape oil painting. Oil on canvas. Signed. Framed. Measuring: 29 by 41 inches overall, and 24 by 36 painting alone.. In excellent original condition. H...

This striking 1949 oil on board by Christine Opolus exemplifies post-war American cubism with its flattened forms, interlocking planes, and richly modernist palette. Signed and dated...

Fishing Schooners and Sailboats at a dock, "Fischerschoner und Segelboote an einem Dock" by Rudolph Guba (German/American, 1884-1950) Impasto work which depicts several sailing vesse...

A group of 14 Blackfeet Indians prints created by the artist Winold Reiss. The Great Northern Railway printed and released these prints in c. 1940. This is for the entire group...

Antique American modernist abstract cubist oil painting. Oil on board. Signed. Framed. Measuring: 28 by 18 inches overall. In excellent original condition. Handsomely framed in a ...

Antique American modernist interior still life oil painting. Oil on canvas. Framed. In excellent original condition. Handsomely framed in a modernt wood molding. Excellent cond...

Gustave Baumann, 'Taos Placita', color woodcut, 1947, edition 125. Baumann 132. Signed, titled, and numbered '20-125' in pencil; with the artist’s Hand-in-Heart chop. A superb, richly-inked impression, with fresh colors, on fibrous oatmeal wove paper; the full sheet with margins (2 to 3 1/8 inches); slight rippling at the left sheet edge, in excellent condition. Matted to museum standards, unframed. Image size 9 5/8 x 11 1/4 inches (244 x 286 mm); sheet size 13 1/4 x 17 inches (337 x 432 mm). Collections: Harwood Museum of Art, New Mexico Museum of Art, Phoenix Art Museum, Scottsdale Art Museum, Wichita Art Museum. ABOUT THE ARTIST Gustave Baumann (1881-1971) was a renowned printmaker and a leading figure of the American color woodcut revival whose exquisite craftsmanship and vibrant imagery captured the essence of the Southwest. "A brilliant printmaker, Baumann brought to the medium a full mastery of the craft of woodworking that he acquired from his father, a German cabinetmaker. This craftsmanship was coupled with a strong artistic training that resulted in the handsome objects we see in the exhibition today. After discovering New Mexico in 1918, Baumann began to explore in his woodblock prints of this period the light. color, and architectural forms of that landscape. His prints of this period are among the most beautiful and poetic images of the American West." —Lewis I. Sharp, Director, Denver Art Museum Baumann, the son of a craftsman, immigrated to the United States from Germany with his family when he was ten, settling in Chicago. From 1897 to 1904, he studied in the evenings at the Art Institute of Chicago, working in a commercial printmaking shop during the day. In 1905, he returned to Germany to attend the Kunstwerbe Schule in Munich, where he decided on a career in printmaking. He returned to Chicago in 1906 and worked for a few years as a graphic designer of labels. Baumann made his first prints in 1909 and exhibited them at the Art Institute of Chicago the following year. In 1910, he moved to the artists’ colony in Nashville, Indiana, where he explored the creative and commercial possibilities of a career as a printmaker. In 1915, he exhibited his color woodcuts at the Panama-Pacific International Exposition in San Francisco, winning the gold medal. Among Baumann’s ongoing commercial activities was his work for the Packard Motor Car Company from 1914 to 1920 where he produced designs, illustrations, and color woodcuts until 1923. In 1919, Baumann’s printmaking work dominated the important exhibition of American color woodcuts at the Detroit Institute of Arts. Twenty-six of his prints were included, far more than the works of any other artist. A set of his blocks, a preparatory drawing, and seven progressive proofs complemented the exhibition. That same year, Baumann worked in New York and, over the summer, in Provincetown, Massachusetts. His airy images of Cape Cod employed soft, pastel colors and occasionally showed the influence of the white-line woodcut technique. Many of his Chicago artist friends had traveled to the southwest, and Baumann became intrigued by their paintings, souvenirs, and stories of an exotic place named Taos, New Mexico. In the summer of 1918, he spent the summer in Taos sketching and painting before visiting Santa Fe. Paul Walter, the director of the Museum of New Mexico, offered him a studio in the museum's basement. Inspired by the rugged beauty of the Southwest—the vibrant colors and dramatic landscapes of the region became a central theme in his work, influencing his artistic style and subject matter for the remainder of his career. Later in the decade, he traveled to the West Coast and made prints of California landscape. Baumann's prints became synonymous with the Southwest, capturing the spirit of its place in America's identity with a unique sense of authenticity and reverence. His iconic images of desert vistas, pueblo villages, and indigenous cultures served as visual tributes to the region's rich cultural heritage, earning him a dedicated following among collectors and curators alike. A true craftsman and artist, Baumann completed every step of the printmaking process himself, cutting each block, mixing the inks, and printing every impression on the handmade paper he selected. His dedication to true craftsmanship and his commitment to preserving the integrity of his artistic vision earned him widespread acclaim and recognition within the art world. About the vibrant colors he produced, Baumann stated, “A knowledge of color needs to be acquired since they don’t all behave the same way when ground or mixed...careful chemistry goes into the making of colors, with meticulous testing for permanence. While complicated formulae evolve new colors, those derived from Earth and metal bases are still the most reliable.” In the 1930s, Baumann became interested in puppet theater. He designed and carved his own marionettes and established a little traveling company. From 1943 to 1945, the artist carved an altarpiece for the Episcopal Church of the Holy Faith in Santa Fe. In 1952, a retrospective exhibition of his prints was mounted at the New Mexico Museum of Fine Arts. Throughout his prolific career, Baumann executed nearly four hundred color woodcuts. Baumann’s woodcuts...

Ian Hugo, 'Together', from the portfolio 'Ten Engravings'. engraving, 1946, edition 50. Signed, dated, titled, and numbered '22/50' in pencil. A fine impression, with delicate overall plate tone, on cream wove paper, the full sheet with wide margins (2 7/8 to 5 1/2 inches), in excellent condition. With the blind stamp 'madeleine-claude jobrack EDITIONS', in the bottom right margin. Matted to museum standards, unframed. Image size 5 7/8 x 4 7/8 inches (149 x 124 mm); sheet size 15 x 11 1/8 inches (381 x 283 mm). Collection: Indianapolis Museum of Art. Ian Hugo originally created "Ten Engravings" in 1945 and the portfolio included a foreword by his partner and collaborator, Anais Nin. In 1978, Hugo republished the portfolio with Madeleine-Claude Jobrack, an American master printmaker who studied under Stanley William Hayter at Atelier 17, Paris, and with Johnny Friedlaender. When Jobrack returned to the States she managed the Robert Blackburn Printmaking Studio in New York before opening her own printing studio, Madeleine-Claude Jobrak Editions. “The sign of the true artist is one who creates a complete universe, invents new plants, new animals, new figures to transfer to us a new vision of the universe in which dream and reality fuse. Ian Hugo's plants have eyes, the birds have the delicacy of dragonflies, their feathers have the shape of fans. Humor is apparent in every gesture. He uses a fine spider web to give a feeling of flight, speed, lightness. The body of a woman reveals the structure of a leaf, a plant. Wings are moving in a world unified by mythological themes. This is an animated world, humorous and levitating, elusive and decorative, which by its unique forms and shapes gives us the sensation of a rebirth, a liberation from the usual, the familiar, a visit to a new planet.” —Anais Nin, from the forward to the portfolio ‘Ten Engravings’ ABOUT THE ARTIST Ian Hugo was born Hugh Parker Guiler in Boston, Massachusetts, on February 15, 1898. His childhood was spent in Puerto Rico—a "tropical paradise," the memory of which stayed with him and surfaced in both his engravings and his films. He attended school in Scotland and graduated from Columbia University where he studied economics and literature. Hugo was working with the National City Bank when he met and married author Anais Nin in 1923. The couple moved to Paris the following year, where Nin's diary and Guiler's artistic aspirations flowered. Guiler feared his business associates would not understand his interests in art and music, let alone those of his wife, so he began a second, creative life as Ian Hugo. Ian and Anais moved to New York in 1939. The following year he took up engraving and etching, working at Stanley William Hayter’s experimental printmaking workshop Atelier 17, established at the New School for Social Research. Hugo began producing surreal images often used to illustrate Nin's books. For Nin, his unwavering love and financial support were indispensable—Hugo was the "fixed center, core... my home, my refuge" (Sept. 16, 1937, Nearer the Moon, The Unexpurgated Diary of Anais Nin, 1937-!939). Fictionalized portraits of Higo and Nin appear in Philip Kaufman's 1990 film drama of a literary love triangle, Henry & June. Inspired by comments that viewers saw motion in his engravings, Hugo took up filmmaking. He asked the avant-garde filmmaker Sasha Hammid for instruction but was told, "Use the camera yourself, make your own mistakes, make your own style." Hugo embarked on an exploration of the film medium as a vehicle to delve into his dreams, his unconscious, and his memories. Without a specific plan, He would collect resonant images, then reorder or superimpose them, seeking a sense of self-connection through the poetic juxtapositions he created. These intuitive explorations resembled the mystical evocations of his engravings, which he described in 1946 as "hieroglyphs of a language in which our unconscious is trying to convey important, urgent messages." In the underwater world of his film ‘Bells of Atlantis,’ the light originates from the world above the surface; it is otherworldly, out of place, yet essential. In ‘Jazz of Lights,’ the street lights of Times Square become in Nin's words, "an ephemeral flow of sensations." This flow that she also calls "phantasmagorical" had a crucial impact on Stan Brakhage, who said that without Jazz of Lights (1954), "there would have been no Anticipation of the Night" his autobiographical film which ushered in a new era of experimental modernist filmmaking. Hugo lived the last two decades of his life in a New York apartment high above street level. In the evenings, surrounded by an electrically illuminated man...

Lithograph on vélin pur fil paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Henri Matisse, Dessins, Thèmes et Variations, 19...

A Charming 1940s Watercolor of Mexico with Cathedral and Rooftops by Noted Chicago Artist, Rudolph T. Pen. Most likely completed during the artist's trip to Mexico in 1944 after rec...

Medium: heliogravure (after the etching from Goya's Tauromaquia series). Printed in 1947 in a limited edition of 500 on Guarro laid paper, and published in Barcelona by Ediciones Ome...

Vintage French fashion poster, original lithograph, by Jean Choiselat, (1947). Take a step back to the 1940s to immerse yourself in the surprising work ...

3722 Japanese Woodblock on paper set in a vintage wood frame Image size 9x10.5"

3423 English writer portrait, oil on board displayed in a gilt -wood frame, signed by Welsh.Image size 10 H x 8 W

A charming, vibrant, early Mexican city street scene by famed Chicago Modern artist Francis Chapin (Am. 1899-1965). Titled "Old Church, San Miguel de Allende (Spanish Plaza)", the p...

Blackpool Railings (1951) - Silver Gelatin Fibre Print (Photo by Bert Hardy / Getty Images Archive London) Two women chatting on the railings in B...

This capture features Billie Holiday at Downbeat, New York, N.Y., circa June 1946 Billie Holiday was an American jazz singer with a career spanning nearly thirty years. Nicknamed "L...

4034 Antique Impressionist oil on artist board Set in a vintage carved wood frame image size 11.5x9.5"

Medium: collotype (after the Miro lithograph). Printed in 1947 in an edition of 1500 by Meriden Gravure and published by Curt Valentin for "The Prints of Joan Miro" portfolio. Size: ...

A beautiful 1940's French oil on board by Rosette Chicotot depicting figures in a North African town, possibly Marrakech. The work is signed lower left and presented in a silvered f...

Ian Hugo, 'Encircled', engraving, 1946, edition 50. Signed, dated, titled, and numbered '5/50' in pencil. With the blind stamp 'madeleine-claude jobrack EDIT...

Leonard Nowak, 'Hairdresser', conté crayon and India ink, c. 1940s. Signed in ink, lower left. Original cartoon drawing, on textured, off-white wove draw...

Medium: pochoir (after the painting). A soft and delicate impression, printed in Paris in 1948 and published in an edition of 1200 by Braun et Cie. Size: 6 1/2 x 4 1/2 inches (164 x ...

Antique French impressionist Paris street scene signed oil painting. Oil on canvas. Framed. Signed. In excellent original condition. Handsomely framed in a gold giltwood impression...

The magnificent printed works of the Yorkshire artist, Percival Gaskell have only been fully rediscovered in recent years. Percival Gaskell rose to prominence whilst working together with Sir Frank Short in the engraving school at the Royal College of Art in London during the first two decades of the 20th century. A true painter-printmaker, Percival Gaskell developed a sensitivity to atmospheric tone which is displayed in an air of timeless beauty throughout his printed works. (sheet 24 x 20 1/2). A fine impression with tone printed in warm brown/black ink on chine appliqué mounted on white wove paper, and a backing board. Signed in pencil. Superb signed proof impression printed in warm-brownish-black ink. One of Gaskell's best large scale mezzotints. The speed with which William the Conqueror committed to the creation of a castle at Chepstow is testament to its strategic importance. There is no evidence for a settlement there of any size before the Norman invasion of Wales, although it is possible that the castle site itself may have previously been a prehistoric or early...