1940s Art

Etching, Engraving, Drypoint on vélin du Lana Papiers Spéciaux pure rag paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Du Cubisme, 1947. Published ...

Etching, Engraving on vélin du Lana Papiers Spéciaux pure rag paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Du Cubisme, 1947. Published by Compagn...

Aquatint, Engraving on vélin du Lana Papiers Spéciaux pure rag paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Du Cubisme, 1947. Published by Compag...

Drypoint on vélin du Lana Papiers Spéciaux pure rag paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Du Cubisme, 1947. Published by Compagnie Françai...

Drypoint on vélin du Lana Papiers Spéciaux pure rag paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Du Cubisme, 1947. Published by Compagnie Françai...

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: New Mexico Museum of Art, Phoenix 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...

Drypoint on vélin du Lana Papiers Spéciaux pure rag paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Du Cubisme, 1947. Published by Compagnie Françai...

Etching on vélin du Lana Papiers Spéciaux pure rag paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Du Cubisme, 1947. Published by Compagnie Français...

Collotype and Lithograph on archival gloss finish paper (to resemble the finish of ceramic), archivally hinged on wove paper. Unsigned and unnumbered, as issued. Good Condition; nev...

Etching on vélin du Lana Papiers Spéciaux pure rag paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Du Cubisme, 1947. Published by Compagnie Français...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Kathe Kollwitz, Ten Lithographs. Published by Henry C. Kleemann and...

*PLEASE NOTE UK BUYERS WILL ONLY PAY 5% VAT ON THIS PURCHASE. Le Turban by Henri Matisse (1869-1954) Pen and India ink on paper 51.5 x 39 cm (20 ¹/₄ x 15 ³/₈ inches) Signed and date...

La Chaumière et le ruisseau à Cantepie by Paulémile Pissarro (1884-1972) Oil on canvas 51 x 65 cm (20 ¹/₈ x 25 ⁵/₈ inches) Signed lower right, Paulémile- Pissarro. Signed and titled ...

Etching, Engraving on vélin du Lana Papiers Spéciaux pure rag paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Du Cubisme, 1947. Published by Compagn...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good condition; never framed or matted. Notes: From the folio, The Drawings of Henry Moore, 1946. Published by Curt Vale...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good condition; never framed or matted. Notes: From the folio, The Drawings of Henry Moore, 1946. Published by Curt Vale...

#5-2899 Antique birch trees landscape,acrylic on artist board displayed in a wood frame.Signed lower left by Mori.Image size 9.5 H x 7.5 W

Théière et Citron by Georges Braque (1882-1963) Oil on panel 22.5 x 25 cm (8 ⅞ x 9 ⅞ inches) Signed lower left, G. Braque Executed in 1947 Provenance: Perls Galleries, New York Fuji...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good condition; never framed or matted. Notes: From the folio, The Drawings of Henry Moore, 1946. Published by Curt Vale...

Collotype and Lithograph on archival gloss finish paper (to resemble the finish of ceramic), archivally hinged on wove paper. Unsigned and unnumbered, as issued. Good Condition; nev...

Collotype and Lithograph on archival gloss finish paper (to resemble the finish of ceramic), archivally hinged on wove paper. Unsigned and unnumbered, as issued. Good Condition; nev...

Collotype and Lithograph on archival gloss finish paper (to resemble the finish of ceramic), archivally hinged on wove paper. Unsigned and unnumbered, as issued. Good Condition; nev...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Picasso: Fifteen Drawings, 1946. Published by Pantheon B...

The original 1948 travel poster by Fontanarosa for Savoie, promoted by SNCF (French National Railway Company), offers a captivating glimpse into the allure of this picturesque region...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Picasso: Fifteen Drawings, 1946. Published by Pantheon B...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good condition; never framed or matted. Notes: From the folio, The Drawings of Henry Moore, 1946. Published by Curt Vale...

Collotype and Lithograph on archival gloss finish paper (to resemble the finish of ceramic), archivally hinged on wove paper. Unsigned and unnumbered, as issued. Good Condition; nev...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good condition; never framed or matted. Notes: From the folio, The Drawings of Henry Moore, 1946. Published by Curt Vale...

Collotype and Lithograph on archival gloss finish paper (to resemble the finish of ceramic), archivally hinged on wove paper. Unsigned and unnumbered, as issued. Good Condition; nev...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good condition; never framed or matted. Notes: From the folio, The Drawings of Henry Moore, 1946. Published by Curt Vale...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good condition; never framed or matted. Notes: From the folio, The Drawings of Henry Moore, 1946. Published by Curt Vale...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good condition; never framed or matted. Notes: From the folio, The Drawings of Henry Moore, 1946. Published by Curt Vale...

Collotype and Lithograph on archival gloss finish paper (to resemble the finish of ceramic), archivally hinged on wove paper. Unsigned and unnumbered, as issued. Good Condition; nev...

Collotype and Lithograph on archival gloss finish paper (to resemble the finish of ceramic), archivally hinged on wove paper. Unsigned and unnumbered, as issued. Good Condition; nev...

The original 1949 travel poster by Henry De Waroquier for Bourgogne, sponsored by SNCF (French National Railway Company), invites viewers to embark on a captivating journey through t...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good condition; never framed or matted. Notes: From the folio, The Drawings of Henry Moore, 1946. Published by Curt Vale...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Picasso: Fifteen Drawings, 1946. Published by Pantheon B...

3937 Antique oil painting on artist board set in a period gilt frame Image size 17.5x23.5"

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good condition; never framed or matted. Notes: From the folio, The Drawings of Henry Moore, 1946. Published by Curt Vale...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good condition; never framed or matted. Notes: From the folio, The Drawings of Henry Moore, 1946. Published by Curt Vale...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good condition; never framed or matted. Notes: From the folio, The Drawings of Henry Moore, 1946. Published by Curt Vale...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Picasso: Fifteen Drawings, 1946. Published by Pantheon B...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good condition; never framed or matted. Notes: From the folio, The Drawings of Henry Moore, 1946. Published by Curt Vale...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good condition; never framed or matted. Notes: From the folio, The Drawings of Henry Moore, 1946. Published by Curt Vale...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Picasso: Fifteen Drawings, 1946. Published by Pantheon B...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Picasso: Fifteen Drawings, 1946. Published by Pantheon B...

Collotype and Lithograph on archival gloss finish paper (to resemble the finish of ceramic), archivally hinged on wove paper. Unsigned and unnumbered, as issued. Good Condition; nev...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Picasso: Fifteen Drawings, 1946. Published by Pantheon B...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good condition; never framed or matted. Notes: From the folio, The Drawings of Henry Moore, 1946. Published by Curt Vale...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Picasso: Fifteen Drawings, 1946. Published by Pantheon B...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good condition; never framed or matted. Notes: From the folio, The Drawings of Henry Moore, 1946. Published by Curt Vale...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good condition; never framed or matted. Notes: From the folio, The Drawings of Henry Moore, 1946. Published by Curt Vale...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Picasso: Fifteen Drawings, 1946. Published by Pantheon B...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good condition; never framed or matted. Notes: From the folio, The Drawings of Henry Moore, 1946. Published by Curt Vale...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good condition; never framed or matted. Notes: From the folio, The Drawings of Henry Moore, 1946. Published by Curt Vale...

The Law, lithograph by Joseph Hirsch published by Associated American Artists in 1948 with the Certificate of Authenticity This impression never framed and in the original mat.

Collotype and Lithograph on archival gloss finish paper (to resemble the finish of ceramic), archivally hinged on wove paper. Unsigned and unnumbered, as issued. Good Condition; nev...

Collotype and Lithograph on archival gloss finish paper (to resemble the finish of ceramic), archivally hinged on wove paper. Unsigned and unnumbered, as issued. Good Condition; nev...