1940s Art

Story illustration for “Abbé Doret’s Secret” by Manuel Komroff for Cosmopolitan, published February 1942. The full caption reads: “As the gardener passed he lifted his cap twice ‘Do...

Constantin Kluge was a Russian-born French painter best known for his naturalistic scenes of Paris and French countryside. Kluge was born to a wealthy military family on January 29, ...

Emile Albert Gruppe Birches Along The Road Signed:. l.r. Emile A. Gruppe; also signed and titled on stretcher Oil On Canvas Dimensions: 30 by 25 inches Framed 34.5 by 29.5 inches Another signature Massachusetts or Vermont birth painting...

Original 1940 Saturday Evening Post Newsstand Poster, "Singing Happy Birthday on the Telephone" by Emery Clarke, archival linen-backed in excellent condition with NO restoration. Rea...

This original painting is hand signed by the artist "Scheiber H" in the lower left corner, and dated "1940" below the signature. Exhibited: Hugo Scheiber - Bela Kadar, Galerie Le Mi...

Lithograph on vélin d’Arches paper. Signed in pencil and unnumbered, as issued. Good condition. Notes: From the folio, Jacques Villon, Huit Lithographies Originales, 1962. Published ...

Medium: lithograph (after the drawing). Printed in France in 1943 for the rare art revue "Hommage" and published in a limited edition of 1000 on Montgolfier Annonay laid paper. Size:...

Medium: lithograph (after the original Edouard Vuillard lithograph). Printed on Renage wove paper in 1948 by the atelier Mourlot and published in an edition of 2500. Size: 12 3/8 x 9...

Frederic ZELLER (1912-2003) Tree in Winter, 1948 Indian ink and wash on paper Signed “Fred Zeller-K.” and dated “1948” lower left 35 x 45 cm Provenance: artist's family Frame : 45 x...

Signed lower right, 'L. Grandgerard' for Lucien Henri Grandgerard (French, 1880-1970) and painted circa 1945. Framed dimensions: 17.75 H x 1.75 D x 22 W inches Born in Nancy, Lucien...

LUIGI RIST (1888 – 1959) TWO BUNCHES OF GRAPES c. 1942 (Williams 12) Color woodcut, 1943. Signed in ink, lower right. Titled, numbered 97/100 and dated in pencil, lower left margin....

As this is a calendar for 1940, the prints were no doubt made in 1939. All images are wood engravings by members of the Chicago Society of Artists. The outside measurements are 8 1...

This exquisite lithograph after Kathe Kollwitz (1867–1945), titled Tod greift nach den Kindern (Death Seizes the Children), from the folio Kathe Kollwitz, Ten Lithographs, originates from the 1941 edition published by Henry C. Kleemann, New York, and Curt Valentin, New York; printed by Duenewald Printing Corporation, New York. The composition reflects Kollwitz’s profound engagement with themes of mortality, vulnerability, and human suffering, rendered with stark emotional intensity and a powerful graphic economy that underscores her enduring social message. Executed as a lithograph on velin paper, this work measures 19 x 16 inches (48.26 x 40.64 cm), overall; 15.5 x 13 inches (39.37 x 33.02 cm), image. Unsigned and unnumbered as issued. Artwork Details: Artist: After Kathe Kollwitz (1867–1945) Title: Tod greift nach den Kindern (Death Seizes the Children), from Kathe Kollwitz, Ten Lithographs Medium: Lithograph on velin paper Dimensions: 19 x 16 inches (48.26 x 40.64 cm), overall; 15.5 x 13 inches (39.37 x 33.02 cm), image Inscription: Unsigned and unnumbered as issued Date: 1941 Publisher: Henry C. Kleemann, New York, and Curt Valentin, New York Printer: Duenewald Printing Corporation, New York Condition: Well preserved, consistent with age and medium Provenance: From the folio Kathe Kollwitz, Ten Lithographs, 1941 About the Publication: Kathe Kollwitz, Ten Lithographs, published in New York in 1941 by Henry C. Kleemann in collaboration with Curt Valentin, represents an important early American presentation of Kollwitz’s graphic work at a time when her reputation was expanding internationally. Issued during the turbulence of the Second World War and following the suppression of her work in Germany under the Nazi regime, the folio played a crucial role in introducing her imagery to a broader audience outside Europe. The publication gathers a selection of her most powerful lithographic compositions, emphasizing her mastery of tonal contrast, expressive line, and psychological depth. Produced with careful attention to print quality by Duenewald Printing Corporation, the edition reflects the continued transmission of European modernist printmaking traditions into the American context, serving both as a document of artistic excellence and as a vehicle for the preservation and dissemination of Kollwitz’s humanistic vision. About the Artist: Kathe Kollwitz (1867–1945) was a German draughtsman, printmaker, and sculptor whose profoundly moving imagery, exceptional technical mastery, and unwavering social conscience established her as one of the most important and influential artists of the twentieth century, widely recognized as a master of modern printmaking and one of the most powerful visual chroniclers of human suffering, war, and social injustice. Born in Konigsberg, East Prussia, into a progressive and intellectually engaged family, Kollwitz was encouraged from an early age to pursue art and developed a deep awareness of social inequality that would shape her entire career, studying in Berlin and Munich at a time when women were largely excluded from formal academies while mastering drawing and graphic techniques with extraordinary discipline. Her breakthrough came with the monumental graphic cycle A Weavers’ Revolt (1893–1897), followed by The Peasants’ War (1901–1908), works that combined complex narrative structure with extraordinary technical command in etching, aquatint, and lithography, establishing her reputation as one of Europe’s leading graphic artists. Throughout her career, Kollwitz remained committed to portraying the lives of workers, mothers, and victims of poverty and conflict with unflinching honesty, creating compositions defined by bold, sculptural line, dense shadow, and unparalleled psychological depth that conveyed grief, resilience, and dignity. Working during a period transformed by the radical innovations of Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Kollwitz maintained a resolutely figurative and human-centered approach, aligning more closely with German Expressionism and artists such as Ernst Barlach, Max Liebermann, and Edvard Munch, whose emotional intensity and symbolic treatment of the human figure profoundly shaped her artistic language. Her later work, particularly the woodcut cycle War (1922–1923), stands among the most powerful anti-war statements in the history of art, reflecting both personal tragedy, including the death of her son in World War I, and a universal condemnation of violence and loss. In addition to her prints, Kollwitz created deeply moving sculptures that extended her exploration of grief and maternal protection into three dimensions, reinforcing her status as a multidisciplinary artist of exceptional range. She achieved significant recognition during her lifetime, becoming the first woman elected to the Prussian Academy of Arts, though her work was later condemned by the Nazi regime as degenerate, leading to her forced resignation and the removal of her works from public collections, yet her reputation expanded internationally after World War II and she is now regarded as a central figure in modern art. Her influence has been profound and far-reaching, shaping later artists including Francis Bacon, Anselm Kiefer, Leon Golub, Kiki Smith, and numerous contemporary figurative and socially engaged artists who continue to explore themes of trauma, memory, and human vulnerability. Today her works are held in major museum collections worldwide, including the Kathe Kollwitz Museum in Berlin, the Museum of Modern Art in New York, the British Museum in London, and the Art Institute of Chicago, and remain highly sought after by collectors for their emotional intensity and historical significance. The highest auction record for a work by Kathe Kollwitz is held by her sculpture Mutter mit totem Sohn (Mother with Dead Son), which achieved approximately 1.2 million EUR at auction, confirming her enduring importance. Kathe Kollwitz Tod greift nach den Kindern 1941 lithograph German Expressionism social realism print.

This exquisite lithograph after Kathe Kollwitz (1867–1945), titled Zwei Gefangene, Musik horend (Two Prisoners Listening to Music), from the folio Kathe Kollwitz, Ten Lithographs, originates from the 1941 edition published by Henry C. Kleemann, New York, and Curt Valentin, New York; printed by Duenewald Printing Corporation, New York. The composition reflects Kollwitz’s profound engagement with themes of confinement, empathy, and human suffering, rendered with stark emotional intensity and a powerful graphic economy that underscores her enduring social message. Executed as a lithograph on velin paper, this work measures 19 x 16 inches (48.26 x 40.64 cm), overall; 13 x 11 inches (33.02 x 27.94 cm), image. Unsigned and unnumbered as issued. Artwork Details: Artist: After Kathe Kollwitz (1867–1945) Title: Zwei Gefangene, Musik horend (Two Prisoners Listening to Music), from Kathe Kollwitz, Ten Lithographs Medium: Lithograph on velin paper Dimensions: 19 x 16 inches (48.26 x 40.64 cm), overall; 13 x 11 inches (33.02 x 27.94 cm), image Inscription: Unsigned and unnumbered as issued Date: 1941 Publisher: Henry C. Kleemann, New York, and Curt Valentin, New York Printer: Duenewald Printing Corporation, New York Condition: Well preserved, consistent with age and medium Provenance: From the folio Kathe Kollwitz, Ten Lithographs, 1941 About the Publication: Kathe Kollwitz, Ten Lithographs, published in New York in 1941 by Henry C. Kleemann in collaboration with Curt Valentin, represents an important early American presentation of Kollwitz’s graphic work at a time when her reputation was expanding internationally. Issued during the turbulence of the Second World War and following the suppression of her work in Germany under the Nazi regime, the folio played a crucial role in introducing her imagery to a broader audience outside Europe. The publication gathers a selection of her most powerful lithographic compositions, emphasizing her mastery of tonal contrast, expressive line, and psychological depth. Produced with careful attention to print quality by Duenewald Printing Corporation, the edition reflects the continued transmission of European modernist printmaking traditions into the American context, serving both as a document of artistic excellence and as a vehicle for the preservation and dissemination of Kollwitz’s humanistic vision. About the Artist: Kathe Kollwitz (1867–1945) was a German draughtsman, printmaker, and sculptor whose profoundly moving imagery, exceptional technical mastery, and unwavering social conscience established her as one of the most important and influential artists of the twentieth century, widely recognized as a master of modern printmaking and one of the most powerful visual chroniclers of human suffering, war, and social injustice. Born in Konigsberg, East Prussia, into a progressive and intellectually engaged family, Kollwitz was encouraged from an early age to pursue art and developed a deep awareness of social inequality that would shape her entire career, studying in Berlin and Munich at a time when women were largely excluded from formal academies while mastering drawing and graphic techniques with extraordinary discipline. Her breakthrough came with the monumental graphic cycle A Weavers’ Revolt (1893–1897), followed by The Peasants’ War (1901–1908), works that combined complex narrative structure with extraordinary technical command in etching, aquatint, and lithography, establishing her reputation as one of Europe’s leading graphic artists. Throughout her career, Kollwitz remained committed to portraying the lives of workers, mothers, and victims of poverty and conflict with unflinching honesty, creating compositions defined by bold, sculptural line, dense shadow, and unparalleled psychological depth that conveyed grief, resilience, and dignity. Working during a period transformed by the radical innovations of Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Kollwitz maintained a resolutely figurative and human-centered approach, aligning more closely with German Expressionism and artists such as Ernst Barlach, Max Liebermann, and Edvard Munch, whose emotional intensity and symbolic treatment of the human figure profoundly shaped her artistic language. Her later work, particularly the woodcut cycle War (1922–1923), stands among the most powerful anti-war statements in the history of art, reflecting both personal tragedy, including the death of her son in World War I, and a universal condemnation of violence and loss. In addition to her prints, Kollwitz created deeply moving sculptures that extended her exploration of grief and maternal protection into three dimensions, reinforcing her status as a multidisciplinary artist of exceptional range. She achieved significant recognition during her lifetime, becoming the first woman elected to the Prussian Academy of Arts, though her work was later condemned by the Nazi regime as degenerate, leading to her forced resignation and the removal of her works from public collections, yet her reputation expanded internationally after World War II and she is now regarded as a central figure in modern art. Her influence has been profound and far-reaching, shaping later artists including Francis Bacon, Anselm Kiefer, Leon Golub, Kiki Smith, and numerous contemporary figurative and socially engaged artists who continue to explore themes of trauma, memory, and human vulnerability. Today her works are held in major museum collections worldwide, including the Kathe Kollwitz Museum in Berlin, the Museum of Modern Art in New York, the British Museum in London, and the Art Institute of Chicago, and remain highly sought after by collectors for their emotional intensity and historical significance. The highest auction record for a work by Kathe Kollwitz is held by her sculpture Mutter mit totem Sohn (Mother with Dead Son), which achieved approximately 1.2 million EUR at auction, confirming her enduring importance. Kathe Kollwitz Zwei Gefangene Musik horend 1941 lithograph German Expressionism social realism print.

Gerrit van Sinclair Mid 20th Century American Scene WPA Regionalism Realism 40s Gerrit van Sinclair (1890 – 1955) "Railroad Crossing" 11 3/4 x 16 1/4 inches Oil on board, c. 1940s S...

Provenance: Frédérique Tison, Château de Chassy (Burgundy-Franche Comté - France) Bibliography: J. Clair, V. Monnier Balthus, catalogue raisonné of the complete works, Gallimard, Pa...

This striking seascape, painted in 1943 by Jacob Löfgren, most likely depicts a view from Sandhamn, a location he frequently captured in his works. Four years earlier, he created ano...

Medium: lithograph (after the gouache) for Georges Rouault's "Divertissement" portfolio, created by the artist for this project. Published in Paris in 1943 by Teriade in an edition o...

This exquisite heliogravure after Georges Rouault (1871–1958), titled Crepuscule (Twilight), from the album Georges Rouault, Stella Vespertina (Evening Star), originates from the 194...

Original 1947 “This Time For Keeps” vintage American movie poster. NSS: 47/486. Archival linen backed in very good condition, ready to frame. The original theater issued fold ...

Samson Schames (German-American, 1898-1967) Untitled (Chair and Blanket), 1962 Oil on paper Sight: 27 1/4 x 21 1/4 in. Framed: 33 1/4 x 27 1/4 x 1 in. Signed and dated upper right ...

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...

Samson Schames (German-American, 1898-1967) Untitled (Still Life), c. 1940s-1960s Oil on paper Sight: 26 1/2 x 20 3/4 in. Framed: 33 3/4 x 27 3/4 x 1 1/8 in. Samson Schames grew up...

Jim’s of Lambertville Fine Art Gallery is proud to offer this piece by Milton Avery (1885 – 1965). Milton Avery was a prominent Modernist painter whose work combined abstraction and...

A Transendental Abstract Mountain Landscape Painting by Famed Chicago Modern Artist, William S. Schwartz- "Impressions of the West #7". Anecdotally, Schwartz's notable "Impressions ...

This exquisite lithograph after Jean-Edouard Vuillard (1868-1940), titled Interieur a la suspension (Interior with Hanging Lamp), from L'oeuvre grave de Vuillard (The Graphic Work of...

Benton Spruance, 'Eyes for the Night', color lithograph, 1948, edition 35, Fine and Looney 261. Signed, dated, and titled, and annotated 'Ed 35' in pencil. A fine impression with fresh colors, on cream wove paper; the full sheet with margins (1 to 1 3/8 inches), in excellent condition. Printed by master lithographer Theodore Cuno. Archivally matted to museum standards, unframed. Image size 19 x 13 inches; sheet size 21 1/8 x 15 1/4 inches. Selected by the artist for his retrospective exhibition 'Benton Spruance: Lithographs...

Leo Matiz is considered one of the tenth most influential photographers of the 20th century. His work as a photojournalist led him to travel extensively around the world, meeting and...

This exquisite zincograph by Pablo Picasso (1881–1973), titled Visages (Faces), from the album Le Chevre-Feuille (The Honeysuckle), originates from the 1943 edition published by Robe...

Provenance: The artist; thence by descent to his granddaughter: Rhoda Knight Kalt; from whom acquired by: Private Collection, Pennsylvania, 1995–2025. Literature: Richard Milner, Ch...

Signed lower right: Albert W. / Hampson

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...

Original lithograph by Jean-Michel Atlan For Description of a Struggle by Franz Kafka Paris, Maeght Publisher, 1946. Dimensions: 30.5 x 24.5 Edition: 300 on vellum Mourlot JEAN-MI...

This exquisite engraving by Pablo Picasso (1881–1973), titled Sans titre (Untitled), from the folio Picasso, Carmen (Picasso, Carmen), originates from the 1949 edition published by L...

Medium: lithograph with pochoir coloring (after the 1882 watercolor). Printed in 1948 on Johannot paper for the "Seize Aquarelles et Sanguines de Renoir" portfolio and published in P...

This striking, characterful bull is a wonderful, early, and truly unique piece by the Russian/French sculptor Joseph Constant (1892-1969). Dating from the 1940s, this animal subject ...

This exquisite engraving by Pablo Picasso (1881–1973), titled Sans titre (Untitled), from the folio Picasso, Carmen (Picasso, Carmen), originates from the 1949 edition published by L...

Raphael Gleitsmann (American, 1910-1995) European Cemetery, 1948 Watercolor on paper Signed and dated lower left 20.5 x 32 inches 26.5 x 37 inches, framed Raphael Gleitsmann, born i...

This exquisite engraving by Pablo Picasso (1881–1973), titled Sans titre (Untitled), from the folio Picasso, Carmen (Picasso, Carmen), originates from the 1949 edition published by L...

This exquisite engraving by Pablo Picasso (1881–1973), titled Sans titre (Untitled), from the folio Picasso, Carmen (Picasso, Carmen), originates from the 1949 edition published by L...

This exquisite engraving by Pablo Picasso (1881–1973), titled Sans titre (Untitled), from the folio Picasso, Carmen (Picasso, Carmen), originates from the 1949 edition published by L...

This exquisite engraving by Pablo Picasso (1881–1973), titled Sans titre (Untitled), from the folio Picasso, Carmen (Picasso, Carmen), originates from the 1949 edition published by L...

A Finely Drawn, Modern 1940s Figure Study (Standing Young Female Model) by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well e...

This Gil Elvgren gouache painting on board was probably intended to be used as an ad for beer. The husband is returning from work with a bouquet of flowers behind his back, while his wife is waiting at the door with a bottle of beer for her husband. This painting was probably done in the late 1940's. The model in this image has the typical Elvgren look, which is very similar to Elvgren's models that he used for his pin up calendar...

Medium: lithograph (after the original Edouard Vuillard lithograph). Printed on Renage wove paper in 1948 by the atelier Mourlot and published in an edition of 2500. The image size i...

Medium: lithograph (after the original Edouard Vuillard lithograph). Printed on Renage wove paper in 1948 by the atelier Mourlot and published in an edition of 2500. Size: 12 3/8 x 9...

French female illustrator Geneviève Thomas renders a highly stylized fashion illustration set against a seamless red background, The model is wearin...

This detailed 1942 map comes from the Atlas de la France Vinicole, a celebrated work by Louis Larmat, dedicated to documenting the geography of France’s great wine regions. The sheet...

JOHN TAYLOR ARMS (1887 – 1953) LIGHT AND SHADE TAXCO, 1946 (F. 394: (#2 from the Mexican series.) Etching and aquatint signed and dated in pencil. Image 10 ½ x 13 5/8, sheet 14 1/...

Caption: "He proposed this morning right after the alarm clock went off." From the Estate of Charles Martignette Signed lower center unframed

Foreground of a Lion is a beautiful charcoal original drawing on paper, realized by the German artist Wilhelm Lorenz, best know as Willi Lorenz (German, 1901–1981), in 1940s. This wonderful study for a foreground of profile of a lion is accompanied by two rapid sketches of the silhouette and of the muzzle of the feline, is realized with incredible draftsmanship and realism. This modern artwork, in excellent conditions except for the usual stain of the charcoal, is a really perfect decor for your home able to give your furniture a touch of wildness and exotism. Wilhelm (Willi) Lorenz (German, 1901–1981) Wilhelm Lorenz that signed Willi Lorenz, was a German painter specialized in paintings of animals typically hunted as game. His highly detailed oil paintings evoke the texture and movement of animals like boars, foxes, bisons or lions depicted in their natural habitats and attitudes. His artworks...

Two men conversing with a stern look on their faces, while a woman is sitting against the pine tree. Signed Lower Right "I guessed this town wasn't goi...

This exquisite lithograph after Jean-Edouard Vuillard (1868-1940), titled Galerie au Gymnase (Gallery at the Gymnase), from L'oeuvre grave de Vuillard (The Graphic Work of Vuillard),...

This exquisite lithograph after Jean-Edouard Vuillard (1868-1940), titled La cuisiniere (The Cook), from L'oeuvre grave de Vuillard (The Graphic Work of Vuillard), originates from th...

Oil on masonite painting by the well known Russian/American artist, Nahum Tschacbasov. Signed lower right and dated 1946. In good condition. The painting is framed in a contemporary...

A recent Kuhn Circus Performer sold for $312,000 at Bonhams, NY Bert Lahr shined in the role of The Cowardly Lion in the Wizard of OZ. Here he is depict...

Signed lower right, 'A. Sottosanti' for Angelo Anthony Sottosanti (American, 1917-2004); additionally signed, verso, titled, 'Pedro of Tehuan Tepee, Mexico' and painted circa 1940. ...

Agony, Motif is a contemporary artwork realized by Arshile Gorky in 1946. Ink, pen and wax crayon on paper. Incudes frame: 41.5 x 38.5 Good conditions (little tears and shading of...

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Deer battle France, bronze, marble, h 29.5 x 66.5 x 18 cm base size 64x20 cm