1940s Art

"Barbisio (Dog & Hat)" is an offset color lithograph poster by Giovanni Mingozzi, this example coming from the original printing of the poster. It features a white dog surrounded by ...

Signed lower left, 'Willard Cox' (American, 1902-1974) and painted circa 1935. Board dimensions: 18.75 x 12.5 inches. An elegant, Art Deco period figural watercolor showing a young ...

"Dan Mask Ivory Coast" is a mask sculpted out of wood with hair and mud. Slit eyes and an opened mouth with a heart shaped face. 6" x 9" x 2" Da...

"Fashionable Boulevard Montmartre" is an original lithograph poster by Pierre Laurent Brenot. This piece depicts four figures in fashionable costumes in a variety of dynamic poses. T...

Phillips de Pury Collection of Alain Dominique Perrin Printed 1985, One from an edition of 21 dye transfer prints Signed Irving Penn Verso Literature: Szarkowki, Irving Penn Irving...

Signed lower left, 'F. Laval' for Fernand Laval (French, 1886-1966) and dated 1948. Born in Dordogne, Fernand Laval arrived in Paris at the age of 26 to study art and, during the e...

George Platt Lynes 1948 Photograph #5 of George Balanchine Ballet ‘Orpheus’. George Platt Lynes rare original vintage 1948 gelatin silver photograph (dated by the NY City Public Library) of nude dancers Francisco Moncion and Nicholas Magallanes in George Balanchine's iconic mid-20th Century ballet 'Orpheus'. Stamped on verso in dark blue ink at upper center, "GEORGE PLATT LYNES/145 EAST 52 STREET NEW YORK”. Photo shoot took place in NYC. Costumes and Set by ISAMU NAGUCHI. Photo is 7 5/8 x 9 1/4 inches, soft satin finish in excellent condition. This photograph is from Francisco Moncion's original collection given to him by George Platt Lyons. It is one of 14 different poses in the 'Orpheus' series. 8 different photographs are remaining for sale and are available on request. All are original Platt Lyons gelatin silver prints original to Moncion's collection and are stamped by the photographer. Photographs from this celebrated series are in the permanent collections of the Metropolitan Museum of Art (NYC), Museum of Modern Art (MOMA, NYC), the NYC Public Library, and many university art archives. George Platt Lynes (1907–1955), was a gregarious American portrait, dance, fashion, and male nude photographer whose career spanned the late 1920s through the early 1950s. From age eighteen, Lynes entered the cosmopolitan world of the American expatriate community in Paris when he became acquainted with the salon of Gertrude Stein and Alice B. Toklas. He began photographing authors like Stein, Jean Cocteau, André Gide, and Colette and soon established himself as one of the premier fashion photographers in the Condé Nast stable, documenting the ballet companies of George Balanchine/Lincoln Kirstein, and pursuing a private obsession with seductive images of young male nudes rarely published in his lifetime. Orpheus represents a major 20th Century artistic collaboration between composer Igor Stravinsky, choreographer George Ballanchine, and artist/designer Isamu Naguchi. Orpheus is a thirty-minute neoclassical ballet composed by Igor Stravinsky in collaboration with choreographer George Balanchine in Hollywood, California in 1947. The work was commissioned by Ballet Society, later renamed New York City Ballet, which Balanchine founded with Lincoln Kirstein. Sets and costumes were created by Isamu Noguchi. Noguchi’s lyre harp from the production became the symbol of the New York City Ballet. Francisco Moncion (July 6, 1918 – April 1, 1995) was a charter member of the New York City Ballet. Over the course of his forty year career, choreographers George Balanchine, and Jerome Robbins in the New York City Ballet created 22 major roles for Moncion including the Dark Angel...

Figurative Cubist Surrealist Abstraction Mid 20th Century American Modern Large O. Louis Guglielmi (1906 - 1956) OBSESSIVE THEME 44 x 33 inches Oil on canvas Signed and dated '48 lo...

It's 1945. What artists were making totally abstract, non-objective paintings like this? Work characterized by organic forms and flattened picture planes, with solid bold colors dr...

Signed in ink on recto; Signed, titled and dated in pencil on verso Gelatin Silver Print Image 11 x 14", Paper 12 x 16", Mat 16x20"

Italian painting from the first half of the 20th century. Framework oil on board depicting a wooded landscape with a character of good pictorial quality. Modern frame in carved and g...

Date: 1940s Medium: Oil on Canvas Dimensions: 33.00" x 37.00", Framed 42.00" x 38.00" Signature: Signed Presumably Advertising for Maxwell House Coffee ...

This work is part of our exhibition - America Coast to Coast: Artists of the 1940s Untitled (Cubist Portrait), 1945, oil on masonite, signed and dated lower middle, 20 x 16 inches, remnant of exhibition label verso, perhaps exhibited at Murry's solo exhibition at the Los Angeles's Screen Cartoonists' Gallery, July , 1945, presented in its original frame Jerre Murry was a California modernist painter. Born in Columbia, Missouri, Murry studied at the Detroit Academy of Art and worked as an artist for the Detroit News and Detroit Free Press. Murry traveled to the Bahamas, where he was inspired to paint modernist scenes of island life and people. By the early 1930s, Murry had relocated to Los Angeles, where he caught the attention of Synchromist painter Stanton Macdonald Wright, State Supervisor for the Federal Art Project (FAP) in Southern California. MacDonald Wright enrolled Murry into the FAP. Murry’s Gauguin-influenced painting Sun Image was exhibited together with other FAP artists at the Los Angeles County Museum of Art in 1936, and Murry was also included in the FAP exhibit at the Paris Exposition in 1937. Stendahl Galleries in Los Angeles, the Chamber of Commerce Gallery in Santa Barbara, and at the Los Angeles County Museum of Art also showed Murry’s work during the 1930s. Murry created a murals for Los Angeles Water & Power Company, the Boise, Idaho Post Office, and Glendale Junior College. In 1939, Murry's work was exhibited at the Golden Gate International Exposition and the New York World's Fair. He also was included in the All California Exhibition at the Los Angeles County Museum of art that same year. He went on to exhibit in Los Angeles at the Foundation of Western Art's Trends in Southern California Art shows in 1940 and 1941, at Raymond and Raymond Gallery in Hollywood and USC’s Elizabeth Holmes...

#5-2758a Circa 1940's oil seascape on wood plaque,signed lower right by J.Niannino

Signed lower right, 'Jay Risling' (American, 1896-1993) and dated 1941. A psychologically penetrating study of a contented, golden-eyed ginger cat shown relaxing beside a Chinese lacquer chest...

Barbara Shermund (1899-1978). Society Satirical Cartoon, ca. 1940s. Gouache on heavy illustration paper, image measures 17 x 14 inches; 23 x 20 inches in matting. Signed lower left. Very good condition but matting panel should be replaced. 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...

Signed upper left, 'O. Foss' for Olivier Foss (French, 1920-2002) and painted circa 1945. Born in Hanover, Germany, Olivier Foss first studied art in Berlin and, subsequently, in Pa...

A lively and detailed mid-1940's vintage boardwalk scene of Santa Cruz, California by California artist Cassard (20th Century), 1944. This figurative...

Lithograph on vélin d'Arches paper, archivally mounted on a larger vélin d'Arches support sheet, as issued Paper Size: 11 x 8 inches, image; 16 x 12.5 inches, overall. Inscription: S...

Signed lower right 'Muff' for Orla Muff (Danish, 1903-1984) and painted circa 1940. Orla Muff received his first formal art instruction at the Copenhagen Technical School from 1917-...

Vintage Spanish lithographic print Measuring 19 x 23 inches overall and 14.5 x 18.5 image alone. In excellent original condition, ready to hang and enjoy.

Initialed lower right, 'A.E.M' for Anna Elisabeth Munch (Danish, 1876-1960) and painted circa 1940. This notable Danish Modernist first studied with Karl Jensen (1889) and C. N. Overgaard (1891–1892). She later traveled and studied in Italy and, subsequently, at the Académie Julian under Jean Paul Laurens and Benjamin Constant. After her return to Denmark, Munch became a student of the Impressionist Julius Paulsen (1895-1897) and made her début at the 1898 Charlottenborg Spring Exhibition. Munch became the first Danish woman to receive commissions for large devotional altarpieces and her early subjects were often derived from Nordic and Christian mythology. These themes were also explored in the large fresco commissions she completed after studying fresco with Joakim Skovgaard (1909-10). Munch continued her studies in both France and Italy and also traveled extensively to Sweden and Norway. Together with the writer Sophie Breum, Munch built a house on the island of Funen at the artist's colony of Kerteminde. Munch illustrated several of Breum's books and, through her, was introduced to the women's movement. She furthered her art studies with Fritz Syberg...

Raoul Dufy - French Campagne - Original Etching Dimensions: 13 x 10". Edition of 200 1940 Edition Les Bibliophiles du Palais, Paris Unsigned and unumbered as issued

This is a rare, original Post-war illustration drawing, hand-painted with gouache on Arches Velin paper by French artist C. Villars (France, 20th Century). The poster project feature...

Joan Miró "Femmes et Oiseaux devant la Lune" Original pochoir stencil print in five colors Reference: Dupin 50. Printed in 1947 in an edition of 1500 by Meriden Gravure and publish...

This vintage silver gelatin print is signed in pencil on the front of the mount, with image number "6" in the lower left corner. Portfolio Two stamp with print #6 and set #A in red c...

Medium: Oil on Canvas Signature: Signed Lower Left This work was featured on the cover of The Saturday Evening Post, June 11, 1949 The Post described the cover as follows: "Having found the setting he wanted for his circus-theme cover painting - on the Brotherton farm near Westport, Connecticut- Stevan Dohanos began rigging up a beam for the farm boy...

Artwork sold with frame (43 x 56.5 x 3.5 cm) Baldo Guberti was an Italian painter, engraver, and illustrator born in Ravenna in 1907 and died in Camaiore in 1974. His work is known ...

Signed lower center, 'by Buk' for Eduard Buk Ulreich (American, 1889-1966), dedicated lower center, 'for Ruth' and painted circa 1945. Additionally signed and titled verso 'Navajo Fa...

Marbles Championship 1948 - Slim Aarons Estate Stamped A group of boys competing in a marble championship in Central Park, New York City, 1948 20 x 24" inches / 51 x 61 cm paper si...

Raoul Dufy - Champs Français - Original Etching Dimensions: 13 x 10". Edition of 200 1940 Edition Les Bibliophiles du Palais, Paris Unsigned and unumbered as issued

Medium: pochoir (after the watercolor). Printed in 1944 at the Rene Kieffer atelier and published by Rombaldi in an edition of 300 for the rare "La Varende" portfolio. Size: 15 1/2 x...

Flapper Fanny - Female Cartoonist of the Golden Age Sylvia Sneidman was originally a fashion illustrator, but assumed the helm of the famous jazz-age panel cartoon "Flapper Fanny Sa...

A charming portrait of a Black woman with stylized hairstyle of the period - Midtown Galleries label on verso, Unframed Signed and date...

Lithograph on vélin d'Arches paper, archivally mounted on a larger vélin d'Arches support sheet, as issued Paper Size: 11 x 8 inches, image; 16 x 12.5 inches, overall. Inscription: S...

Signed & dated 1940 lower left. Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the S...

5016 Antique American Southwest oil painting depicting Indian artifacts.Set in a custom wood frame Image size 15.5x19.5" Signed David Clark

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 ...

Original cover illustration for The American Weekly, published November 27, 1949. Depicting a scene from “The Winter's Tale,” this illustration is from Pogany’s “Beauties of Shakespeare” cover series for the magazine. Signed lower right. William Andrew (Willy) Pogany was a native of Hungary and his first studies in Budapest and Paris were in engineering. Success in caricaturing led him to pursue and art career, first in London and then in America. His influences were the Oriental artists and illuminated books, and much of his career was devoted to book illustration. Among his many successes were The Rubaiyat, The Kasidah, The Children’s Book of Northern Myths, The Witch’s Kitchen, The Frenzied Prince, Sonnets from the Portuguese...

Dorothy Rivo Lakeside Picnic, c. 1940s–50s Watercolor on paper Framed dimensions: 30 in. H × 24 in. W Presented in a contemporary gold frame with archival mat Brimming with light an...

Josef Albers Astatic (Danilowitz 116), 1944 Woodcut on Japanese nacre kozo paper Signed in pencil and dated 44 (lower right) Titled Astatic and numbered 5/35 (lo...

This stunning French polished brass frame is perfect for paintings, drawings, lithographs, mirrors, or any creative decoration. The piece was expertly crafted in France circa 1940. T...

'La Toilette' Jais Nielsen, 1949. Paris Exposition, Salon d’Automne, Fauve, Cubism, Section d'Or ----- Signed lower right 'Jais' for Jais Nielsen (Danish, 1885-1961), inscribed 'Ven...

A charming and stylized depiction of a day at the Central Park Zoo. with World War Two uniformed visitors front and center. Sea lions put on a show in front of a packed audience. The...

Jordi Freixas Cortés (1917-1984) - Banyoles - Oil on canvas Oil measures 46x65 cm. Frameless. Jordi Freixas Cortés (1917-1984) Jordi Freixas Cortés is a Catalan painter with a colo...

A vibrant summer landscape of a Vermont river by artist Harold Haydon in a gold-toned frame. Artwork size: 20" x 25". Framed size: 21 1/2" x 26 1/2". Estate stamped on reverse....

WILLIAM DIDIER - POUGET French, 1864 - 1959 BRUYÈRES EN FLEURS signed and dated “Didier-Pouget / 1949” (lower right) inscribed, located and signed ““Le Malin dans la vallée du Lot.”...

A rare eglomisé work by Léon Masson (1911–1987). The piece was crafted in France circa 1940. This captivating mirrored glass panel painting, masterfully executed in the eglomisé tech...

Medium: Oil on Canvas Signature: Signed Lower Right

This original etching and aquatint is hand signed and dated in pencil by the artist "Miró 1947" at the lower right. It is also hand numbered in pencil from t...

Medium: Oil on Canvas Signature: Signed and Dated Lower Left Dimensions: Sight Size 30.50" x 34.75," Framed 36.00" x 39.50"

This piece is an original vintage photograph printed from the original negative, shot by Laszlo Willinger c. 1940's. It depicts the late movie and Broadway star, Mary Martin...

Woodcut on vélin Utopian paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Gauguin, A portfolio of 12 color woodblocks, Paul Gauguin, French, 1848-1903 from the collection of the Museum Of Fine Arts, Boston, 1946. Rendered by Albert Carman (1899-1949); published the Museum Of Fine Arts, Boston and The Studio Publications, Inc., New York and London; printed by Holme Press Inc., New York, in an edition of MMMD. Excerpted from the folio, Paul Gauguin and Emil Bernard at Pont-Aven, Brittany, in 1888, each made a bas-relief, wooden panel to decorate a piece of furniture for a friend. In order to keep a record of their designs, a few inked impressions were made on paper. The illustration at left is a reproduction of a print which is possibly one of the above mentioned. It is further possible that this experiment later gave Gauguin the idea of making woodcuts. Just as his work in painting expressed a revolt against the overemphasis on factual representation of the nineteenth century in favor of decorative pattern and color, so also his woodcuts leaned strongly to the same side of the balance. Ten of the cuts reproduced (all excepting Soyez Amoureuses and Changement de Residence), which constitute the whole of his best known series, were made at Pont-Aven beginning in the fall of 1894, after Gauguin's return from his first trip to Tahiti and after he broke his ankle. They were at first roughly cut with a common carpenter's gouge, and the flat surfaces sandpapered and engraved with a sharp in-strument, perhaps an engraver's burin. A few trial proofs were printed in black ink only. Then the hollows were deepened with a woodcutter's gouge and highlights were added. An edition of thirty to fifty impressions of each subject, with the addition of color blocks (one, two or three), was made by Louis Roy...

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...

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

A unique oil painting on canvas signed by Paul Lambert (1910–1970), a renowned French artist celebrated for his evocative portrayals of Parisian landscapes. This rare piece exemplifi...

Original oil painting on artist canvas board painting by the California artist, Fern F. Cunningham. Signed lower right. Titled in pencil on stretcher verso. Circa 1940. Condition is very good. Recently professionally cleaned. The painting is housed in its original period frame. Overall framed measurements are 14.5 by 17.5 inches. Provenance: A Sarasota, Florida collector. Fern Cunningham Stone (1889-1975). She was born in Defiance, Ohio on August 4, 1889. A painter, she specialized in impressionist still life works, landscapes, and seascapes of California. Born Fern F. Smith, she married Napoleon Arthur...

Woodcut on vélin Utopian paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Gauguin, A portfolio of 12 color woodblocks, Paul Gauguin, French, 1848-1903 from the collection of the Museum Of Fine Arts, Boston, 1946. Rendered by Albert Carman (1899-1949); published the Museum Of Fine Arts, Boston and The Studio Publications, Inc., New York and London; printed by Holme Press Inc., New York, in an edition of MMMD. Excerpted from the folio, Paul Gauguin and Emil Bernard at Pont-Aven, Brittany, in 1888, each made a bas-relief, wooden panel to decorate a piece of furniture for a friend. In order to keep a record of their designs, a few inked impressions were made on paper. The illustration at left is a reproduction of a print which is possibly one of the above mentioned. It is further possible that this experiment later gave Gauguin the idea of making woodcuts. Just as his work in painting expressed a revolt against the overemphasis on factual representation of the nineteenth century in favor of decorative pattern and color, so also his woodcuts leaned strongly to the same side of the balance. Ten of the cuts reproduced (all excepting Soyez Amoureuses and Changement de Residence), which constitute the whole of his best known series, were made at Pont-Aven beginning in the fall of 1894, after Gauguin's return from his first trip to Tahiti and after he broke his ankle. They were at first roughly cut with a common carpenter's gouge, and the flat surfaces sandpapered and engraved with a sharp in-strument, perhaps an engraver's burin. A few trial proofs were printed in black ink only. Then the hollows were deepened with a woodcutter's gouge and highlights were added. An edition of thirty to fifty impressions of each subject, with the addition of color blocks (one, two or three), was made by Louis Roy...

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

Lithograph on vélin d'Arches paper, archivally mounted on a larger vélin d'Arches support sheet, as issued Paper Size: 11 x 8 inches, image; 16 x 12.5 inches, overall. Inscription: S...