1950s Art

Antique American modernist abstract landscape oil painting. Oil on canvas. Framed. No signature found.

Fishing Boats (1952) Limited Estate Stamped (Photo By Slim Aarons) Fishing nets and boats on the shore Mexico, 1952. Additional Information: Unframed Paper Size: 40x40'' Pri...

Henri Matisse (1869-1954) - Fleurs de Neige Lithograph from 1958. Dimensions of work: 35.5 x 26.4 cm Plate signed. Publisher: Tériade, Paris. First, original edition. The work ...

Vintage American impressionist sunset landscape oil painting. Oil on board. Framed. Measuring: 8 by 10 inches overall, and 5 by 7 painting alone.. Handsomely framed in wide giltwood...

A captivating Mid-Century watercolor of an old Chicago house (with a female figure standing in the window) by Chicago artist George Yelich. The watercolor bears its original frame. ...

This vibrant colourful Scottish Post Impressionist oil painting is by noted Slade School artist and former Director of the Glasgow School of Art Sir Harry Jefferson Barnes. Painted i...

George Gách (American, 1909-1996) The Old Tree in Glenwood Landing, 1957 Oil on canvas 23 x 27 in. Framed: 26 x 29 1/2 in. Singed lower right: Gách 1957 Provenance: Garden City Galleries, Garden City, NY Includes brochure. Born in Hungary, George Gách, the son of sculptor Stephen Gách (1880-1962), was noted for sculpture, impressionist painting and teaching. His subjects included animals, people, florals, nudes, cowboys, sports and scenes of Long Island, Bermuda, Mexico, Florida and upstate New York. Among his sculpture subjects are portrait busts of prime ministers, governors, corporate presidents and soccer stars. He served as a commercial pilot from 1939 to 1952. and in 1944, was shot down and given up as dead. He was also in prisoner of war camps twice during World War II and then in 1947, was almost imprisoned by the communists in Hungary. Gách graduated form the Academy of Fine Arts in Budapest in 1939, and then immigrated to the United States. He located his studio in Roslyn Heights Long Island, and at one point set a goal...

Marilyn Monroe, New York City, USA, 1956 1956/2023 Signature stamp, verso Archival pigment print 6 x 6 inches, sheet 3.75 x 5.5 inches, image This work is offered by CLAMP in New...

Henri Matisse (1869-1954) - Lierre Lithograph from 1958. Dimensions of work: 35.5 x 26.4 cm Plate signed. Publisher: Tériade, Paris. First, original edition. The work is in Exc...

Impressive early American impressionist view of New York City oil painting by Johann Berthelsen (1883 - 1972). Framed. Oil on canvas. Signed. Image size, 12H by 16L.

Medium: lithograph (after Renoir). One of the most famous Renoir lithographs, this is a portrait of Julie Manet and her cousin Jeanne (Julie Manet wa...

Medium: lithograph (after the poster). Printed in Paris in 1950 by Mourlot Freres, this lithograph faithfully reproduces the original Toulouse-Lautrec poster in a smaller-size format...

Galerie Louise Leiris, Paris, 1957. Original exhibition poster Picasso – Peintures 1955–56, designed entirely by Pablo Picasso for his show at Galerie Louise Leiris. Executed as a co...

American model Jean Patchett photographed in Paris wearing a Jean Dessès evening gown. American Vogue magazine April 1, 1950. Paris Drama, 1950 C print Estate stamped and numbered e...

A small, colorful Modernist landscape painting by Harold Haydon, depicting "Western View from Sun Deck on Ajax Mt., Aspen, Colo.", dated 1955. Image siz...

Porfirio Salinas (1910-1973) San Antonio Artist Image Size: 25 x 30 Frame Size: 34 x 39 Medium: Oil on Canvas Circa 1950 "Lazy Day Blues" Texas Bluebonnet Biography Porfirio Salinas (1910-1973) Porfirio Salinas was a self-taught artist who painted landscapes of Central Texas with an emphasis on the vast bluebonnet fields that grow there in the springtime. Born in 1910 in Bastrop, Texas, he attended public schools in San Antonio. He also observed works in progress by the director of the San Antonio Art School, Jose Arpa, as well as landscape painter, Robert Wood. Wood is said to have paid Salinas five dollars a picture to paint bluebonnets because "he hated to paint bluebonnets". Salinas served in the military from 1943 to 1945. Although he was assigned to Fort Sam Houston, he was allowed to live at home. At the fort, Colonel Telesphor Gottchalk assigned him to paint murals for the officer's lounge and various other projects, and Salinas continued to be able to paint during his entire conscripted period. Even before he achieved notoriety among galleries, dealers, and museums, Salinas was widely followed and appreciated by many Texans, including former President Lyndon B. Johnson, who may be considered responsible for launching Salinas popularity beyond the boundaries of Texas. In 1973, Texas capital, Austin, honored Salinas for having "done much to bring the culture of Mexico and Texas closer together with his paintings". Salinas died in April 1973 in San Antonio, Texas. From the years of the Great Depression through President Lyndon Johnson's Great Society of the 1960s, Texan Porfirio Salinas (1910-1973) remained one of the Lone Star State's most popular artists. Today, his works remain popular with Texas collectors and those who love landscapes of the beautiful "Hill Country" that lies in the center of the state. One of the first Mexican American painters to become widely recognized for his art, Salinas was a favorite of President Lyndon Johnson and his wife, Lady Bird Johnson, as well as of Sam Rayburn, the longest-serving Speaker of the House of Representatives, and Texas Governor John Connelly. In fact, President Johnson was so enamored with his Salinas paintings that the artist will forever be associated with America's first Texas-born President. Works by Porfirio Salinas is in a number of museum collections, grace the halls of the Texas State Capitol and the Governor's Mansion in Austin, and are included in virtually every major private collection of Early Texas Art. Porfirio Salinas was born on November 6, 1910, near the small town of Bastrop, Texas, about thirty miles from Austin. His father, Porfirio G. Salinas (1881-1967), and his mother, Clara G. Chavez, struggled to make a hardscrabble living as tenant farmers, but eventually were forced to give up farming. The family moved to San Antonio, where Salinas' father was able to get a job working as a laborer for the railroad, but the scenic area around Bastrop, with its pine trees and the wide expanse of the Rio Grande River, would forever remain a touchstone for the artist. For the rest of his life, Salinas and his brothers went back frequently to visit their grandmother in her little farmhouse. When in Bastrop, Porfirio painted on the banks of the Rio Grande or in the groves of pine trees. The Salinas family was close-knit, and Porfirio was the middle child of five children, so he had an older brother and sister as well as a younger brother and sister. His mother was a native of Mexico, so throughout his childhood the family made the long drive to Mexico to visit Clara Salinas' family. As a child growing up in the bi-lingual section of San Antonio, Salinas drew and painted incessantly and by the time he was ten, he was already producing work that was mature enough to sell to his schoolteachers. Many years later in an article in the New York Times he was described as a "boy whose textbooks were seldom opened and whose sketchbook was never closed." Instead of studying, the young artist spent his spare time watching artists paint in and around San Antonio. As an aspiring painter, Salinas was fortunate to grow up in the historic city, which had the most active art scene in Texas. It was his exposure to older, professional painters that encouraged the precocious young painter to leave school early in order to help his family and pursue a career as a professional artist, despite his father's inability to see art as a career with any future for his son. When Salinas was about fifteen he came to know the artist Robert W. Wood (1889-1979). He met Wood while he was employed in an art supply store and he soon began to work as an assistant to the English-born painter, who had moved from Portland to San Antonio in 1924. Although the diminutive Englishman was already an established professional artist, he did not have a great deal of formal art training and so he was then studying with the academically trained Spanish painter Jose Arpa (1858-1952) in order to augment his knowledge and give his work a more polished look. Salinas was an eager young man, and while working in Wood's downtown San Antonio studio he learned to stretch canvases, frame paintings and to sketch in larger compositions from small plein-air studies for the English artist. He began to accompany Wood and Arpa to the hills outside San Antonio, where they painted small Plein-air studies of fields of blue lupin - the state flower, the famous "Bluebonnets" of Texas - in the springtime and scenes of the gnarled Red Oaks as they changed color in the fall. He was soon assisting Wood in the tedious work of painting the tiny blue flowers that collectors wanted to see in the landscapes they purchased of central Texas. According to a 1972 newspaper story, "Legend has it that one day in the 1920s artist Robert Wood decided he could not bear to paint another bluebonnet in one of his landscapes. He hired young Porfirio Salinas to paint them in for him at five dollars a painting." Whether this story is accurate or apocryphal isn't clear, but the ambitious and independent young Salinas wasn't destined to be anyone's assistant for very long. The formative event of Porfirio Salinas' teenage years was the Texas Wildflower Competitive Exhibitions, a Roaring-Twenties dream of the eccentric oilman Edgar B. Davis (1873-1951). These competitive shows of paintings of wildflowers and Texas life were mounted in San Antonio from 1927 to 1929. Held at the newly opened Witte Museum each spring, the exhibition featured large cash prizes donated by the philanthropic Davis, which were an inducement for artists to travel from all over the United States to paint in the Hill Country of Texas. The "Davis Competitions," as they were known, helped to cement San Antonio's reputation as an art center, a legacy that remains with the "River City" today. The shows generated a great deal of excitement in the area, helping to make celebrities of the some of the artists who had already settled there and encouraging others to make San Antonio their home. Over the three years that the wildflower competitions were held, more than 300 paintings were exhibited, and many thousands of viewers saw the paintings at the Witte Museum and on tours throughout the state and in New York. Each year Davis would generously purchase the winning paintings and then donate them to the San Antonio Art League. Young Porfirio Salinas would have been able to not only watch his two mentors - Robert W. Wood and Jose Arpa - paint the works that they entered in the Davis Competitions, he would have been able to see Arpa take several of the major prizes, receiving the judge's accolades for "Verbena," "Cactus Flower" and "Picking Cotton," works that are still on view at the San Antonio Art League Museum today. Unfortunately, Davis eventually put his donations to work in other charitable endeavors, bringing to an end the wildflower events, but only after they inspired Salinas and other young painters and had helped to make wildflower paintings the most sought-after subject for traditionalist Texas collectors. In 1930, when he was only twenty, Salinas hung out a shingle and began to paint professionally, augmenting the sales of his easel paintings with what little business he could garner by painting signs for local concerns. It was a struggle for the young artist to make a living, as the effects of the Great Depression were settling in. His early works are very similar to those of Robert Wood's, both in subject matter and treatment. Salinas did small paintings of Bluebonnets for the tourists who visited San Antonio to see the famous Alamo as well as paintings of the Texas missions...

High schoolers picnic on the beach at Bonita Springs, Florida, 1955. Slim Aarons Spring Break Black and White Photography Slim Aarons Estate Edition Nu...

Marc Chagall (1887-1985) - The Anointing of Saul Etching from 1958. Edition of 100 Enhanced with watercolour by the artist. Dimensions of work: 52 x 37 cm. Hand signed. Publish...

This exquisite lithograph by Marc Chagall (1887–1985), titled Eve maudite par Dieu (Eve Cursed by God), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. VIII, No. 33–34, originates from the September 1956 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1956. This emotionally charged composition depicts the moment of divine judgment following the fall of man, capturing both the sorrow and the spiritual gravity of Eve’s curse. Through his luminous lines and expressive symbolism, Chagall transforms this ancient scene into a universal meditation on loss, forgiveness, and the eternal bond between humanity and the divine. The work exemplifies Chagall’s mastery of merging sacred narrative and human emotion, rendered with poetic tenderness and transcendent light. The piece forms part of Chagall’s celebrated series of lithographs and drawings created for Dessins Pour La Bible, a monumental project uniting art, scripture, and mysticism in one of the artist’s most important achievements. Executed as a lithograph on velin du Marais paper, this work measures 14 x 10.5 inches (35.56 x 26.67 cm). Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of the Mourlot Freres atelier, renowned for its collaborations with the greatest modern masters of the 20th century. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Eve maudite par Dieu (Eve Cursed by God), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. VIII, No. 33–34, September 1956 Medium: Lithograph on velin du Marais paper Dimensions: 14 x 10.5 inches (35.56 x 26.67 cm) Inscription: Unsigned and unnumbered as issued Date: 1956 Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Catalogue raisonne references: Cain, Julien, and Fernand Mourlot. Chagall Lithographe. Andre Sauret, Editeur, 1960, illustrations 117–46. Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne Des Livres Illustrés. P. Cramer ed., 1995, illustration 25. Condition: Well preserved, consistent with age and medium Provenance: From Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire, Vol. VIII, No. 33–34, published by Editions de la revue Verve, Paris, 1956 Notes: Excerpted from the album (translated from French), This double issue of Verve is dedicated to the full reproduction in heliogravure of the one hundred-five plates etched by Marc Chagall, between 1930 and 1955, for the illustration of the Bible. The artist composed especially for the present work, sixteen lithographs in color and twelve in black, as well as the cover and the title page. This volume was completed and printed on September 10, 1956, by the Master Printers Draeger Freres for heliogravure, and by Mourlot Freres for lithography. About the Publication: Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), published as Verve Vol. VIII, No. 33–34 in September 1956, represents one of the crowning achievements of Chagall’s lifelong dialogue with the sacred. Conceived and directed by the visionary publisher Teriade and printed by the master lithographers Mourlot Freres, the issue features thirty-four color lithographs and numerous black-and-white drawings inspired by biblical figures and stories. Chagall’s works for this edition unite text and image in a luminous meditation on divine creation, moral struggle, and spiritual renewal, imbued with his signature dreamlike symbolism and radiant color. Produced in postwar Paris, this landmark publication reaffirmed the enduring union of art and faith, establishing Dessins Pour La Bible as one of the most important illustrated works of the 20th century. About the Artist: Marc Chagall (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall’s art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style—merging elements of Cubism, Fauvism, Expressionism, and Surrealism—defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors—Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray—artists who, like Chagall, sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. The highest price ever paid for a Marc Chagall artwork is approximately $28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Eve...

Marc Chagall (1887-1985) - Sketch for L'Âne bleu stamped with the signature 'Marc Chagall' (lower right) pastel and charcoal on paper 18 7⁄8 x 24 in. (48 x 61 cm.) Executed in 1954 ...

Vuccino And Rava 1958 - Slim Aarons Estate Edition Carla Vuccino, wearing a swimming cap, and a sunbathing Marina Rava, both wearing bikinis as they sit on the rear of a boat, on th...

Medium: lithograph (after the painting). Printed in Paris on smooth wove paper at the atelier Mourlot and published in 1954. Size: 5 1/2 x 3 1/2 inches (140 x 87 mm). Not signed. C...

Vivid and bright watercolor landscape of a village perched atop a hillside in Madagascar by French artist Stephane Magnard (1917-2010), circa 1950. Signed lower left. Stéphane Magna...

Medium: original lithograph. This lithograph is from the rare 1954 "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 1954 Spr...

Coloured lithograph on Arches paper, edited in 1952. Limited edition of 200 copies, numbered as 170/200 in lower left corner. Signed in pencil by artist in lower right corner. Paper...

LLuís Muntané Muns (Mataró 1899 - Barcelona 1987). "Joven con cesta de flores". Firmado a mano en el ángulo inferior derecho. Y placa en marco inferior. Óleo sobre lienzo. Medidas: 9...

'Breakfast At Tiffanys' Huge Oversize Limited Edition silver gelatin print Belgian-born actor Audrey Hepburn (1929 – 1993), during a shoot for the promotion of her film BREAKFAST...

Pablo Picasso (1881-1973) - La Comédie Humaine Lithograph from 1954. Dimensions of work: 35.5 x 26.5 cm Publisher: Tériade, Paris. The work is in Excellent condition. Fast and s...

Antique American impressionist southern oil painting. Oil on canvas. Framed. Label from a Florida frame shop verso.

This is an interesting portrait of a military person related to the Prinz Heinrich Kaserne complex in Germany after World War II. Apparently there were internal conflicts happening a...

Black & White Monochrome Photograph of a Female Nude by Contemporary by legendary American Photographer, Larry Colwell (1911-1972). Photo Size 9.5 x 6 inches - Signed on the rear Unmounted & Unframed Larry Colwell American, 1911-1972 Born 1911, Detroit, Michigan Died 1972, New Canaan...

'Provençal Landscape', oil on canvas, by Anna Costa (circa 1950s). This is an exceptional landscape painted by the artist in vibrant colours in an Impressio...

Andros Island (1957) Limited Estate Stamped (Photo By Slim Aarons) Marsha Gayle of Paris enjoys a deserted beach near Calabash Bay, Andros, Bahamas, 1957. Additional Informat...

Lithograph, 1957 Handsigned by the artist in pencil and numbered 2/100 Publisher : Hedwig Marbach, Berne Printer : Jean Pons, Paris Catalog : RMM 98 65.50 cm. x 50.00 cm. 25.79 in. ...

Beauty and the Beast (1959) Limited Estate Stamped (Photo By Slim Aarons) Lady Daphne Cameron (Mrs. George Cameron) on a tiger skin rug in the trophy room at socialite Laddie San...

This exquisite lithograph by Pablo Picasso (1881–1973), titled Danseuse (Dancer), from the album Le Ballet (The Ballet), originates from the 1954 edition published by Librairie Hache...

A woman reclining in a hammock hung between palm trees on the beach at the Caribe Hilton in San Juan, Puerto Rico, March 1956. Slim Aarons Caribe Hilton 1956. (printed later) C pri...

Original Molitg les Bains Vintage French Travel Poster. Santé et Beauté de la Peau. Pyrenees-Orientales. Archival linen backed in Grade A- condition, ready to frame. Slight touch...

A black and white figure study of a standing nude male, from 1951, by artist Harold Haydon. Artwork size: 19" x 12 1/2". Archivally matted to 24" x 20". Provenance: Estate of t...

The 1956 lithography by Jean-Gabriel Domergue Ernestine est à peindre, part of the renowned La Parisienne portfolio, stands as an elegant representation of post-war French art and a ...

Leonard Baskin (1922-2000) Death of the Laureate, `1957 Wood Engraving Framed: 18 1/2 x 18 in. Signed and inscribed bottom: Death of the Laureate, Ed. 20, For Walter [Rosenblum], Leo...

Vintage American modernist landscape oil painting. Oil on canvasboard. Framed. Measuring: 13 by 16 inches overall, and 10 by 13.5 painting alone. In excellent original condition. Ha...

Etching and aquatint, 1953 Handsigned by the artist in pencil Edition : 300 ex. Publisher : Lacourière, Paris Printer : Lacourière, Paris Catalog : RMM 63 17.00 cm. x 33.00 cm. 6.6...

Medium: lithograph (after the drawing). Printed in Paris in 1951 at the atelier Dreux-Barry in an edition of 1000. Sheet size: 12 1/4 x 9 1/4 inches (310 x 235 mm). Image size: 8 3/8...

Medium: lithograph (after the drawing). Printed in Paris in 1951 at the atelier Dreux-Barry in an edition of 1000. Sheet size: 12 1/4 x 9 1/4 inches (310 x 235 mm). Signed in the pla...

This outstanding post-cubist and multicolor geometric composition, gouache, and watercolor painting was designed by French artist André Morin (20th Century). Geometric art is the use...

Lithograph on vélin d'Arches à la forme savoir paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Dans l'Atelier de Picasso, 1957. Published by Fernan...

Lithograph and stencil on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Published and printed by Bernard Klein, éditeur, Paris, February 26, 1954. Notes: ...

Pablo Picasso "Three Colour Profile" 1956 Image Size: 16.5 x 20 inches Three colour litho on transfer From the edition of 50 numbered and signed proofs Picasso Lithographs- Fernand M...

Lithograph, stencil on wove paper. Inscription: Unsigned and unnumbered. Good condition. Notes: From the folio, Douze Contemporains, 1959; published by Éditions d'Art du Lion, Paris; rendered by Daniel Jacomet, Paris; printed by l'atelier Jacomet, December 1959. Excerpted from the folio, This album finished printing in December 1959 drawn to nine hundred and seventy examples numbered from I to CMLXX and thirty non-commerce examples numbered from I to XXX, was directed by Daniel Jacomet. Typography of the union printing in paris. AMEDEO MODIGLIANI (1884–1920) was an Italian painter and sculptor of the École de Paris who worked mainly in France. He is known for portraits and nudes in a modern style characterized by a surreal elongation...

Medium: lithograph (after the woodcut). Printed in Paris in 1954 by Mourlot and published by Berggruen for a scarce catalogue. Image size: 4 3/4 x 4 inches (120 x 100mm). There is an...

Pablo Picasso (1881-1973) - La Comédie Humaine Lithograph from 1954. Dimensions of work: 35.5 x 26.5 cm Publisher: Tériade, Paris. The work is in Excellent condition. Fast and s...

Lithograph on vélin a la forme des papeteries d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Apollinaire, Henri Matisse, 1952. Published b...

Five British models eating lunch in their swimwear on a yacht on the Cote d’Azur. Original Publication: Picture Post – 7850 – The Secret Of Five Girls On A Yacht – pub. 1955 (Photo ...

Antique American modernist abstract oil painting. Oil on canvas. Framed. Image size, 30L x 24H.

American singer and actor Frank Sinatra (1915 - 1998) gestures with his hands while singing into a microphone during a recording session in a studio at Capitol Records, early 1950s. ...

This exquisite collotype after Pablo Picasso (1881–1973), titled Le belier (The Ram), originates from the rare 1957 folio 40 dessins de Picasso en marge du Buffon (Forty Drawings by ...

Artist: Bernard Buffet, French (1928 - 1999) Title: Rooster Year: 1953 Medium: Lithograph mounted on Board, signed in the plate Image Size: 15 x 10 in. (50.8 x 36.83 cm) Frame: 22 x ...

Rare vintage limited edition Stone Lithograph printed at Mourlot in Paris. this is from a signed and numbered portfolio but the individual shee...

Chrysanthemums Color woodcut, c. 1950's Signed lower right (see photo) Publisher: Uchida (see photo of red seal) Note: Chrysanthemums, a symbol of the sun, the Japanese consider the ...