1930s Abstract Prints

Colour stencil with dense gouache inks on wove paper. Unsigned and unnumbered with printed title-heading designed by Delaunay, upper left, as issued. Good Condition; never framed or ...

Colour stencil with dense gouache inks on wove paper. Unsigned and unnumbered with printed title-heading designed by Delaunay, upper left, as issued. Good Condition; never framed or ...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, XXe Siècle, vol. n°5-6, 1939. Published and printed under the dire...

Colour stencil with dense gouache inks on wove paper. Unsigned and unnumbered with printed title-heading designed by Delaunay, upper left, as issued. Good Condition; never framed or ...

Colour stencil with dense gouache inks on wove paper. Unsigned and unnumbered with printed title-heading designed by Delaunay, upper left, as issued. Good Condition; never framed or ...

Colour stencil with dense gouache inks on wove paper. Unsigned and unnumbered with printed title-heading designed by Delaunay, upper left, as issued. Good Condition; never framed or matted. Reference: Delaunay, Sonia. Sonia Delaunay Patterns and Designs in Full Color. Dover Publications, Inc., 1989, page 1. Callu, Florence, et al. Sonia et Robert Delaunay: BibliothèQue Nationale, [Paris, 15 déCembre 1977-29 Janvier 1978]. Bibliothèque nationale, 1977, illustration number 456. Notes: From the folio, Compositions, couleurs, idées: Sonia Delaunay, 1930. Compositions conceived and created 1926-28 and issued as an album of separate loose sheets. Published and printed by Éditions d'Art, Charles Moreau, Éditeur, Paris, 1930. Excerpted from the volume, Sonia Delaunay Patterns and Designs in Full Color, Sonia Delaunay: Ses Peintures, Ses Objets, Ses Tissus Simultanés, Ses Modes (pp. 1-20), was published by Librairie des Arts Décoratifs, Paris [1925]). In addition to the plates by Delaunay, it contained poems by Joseph Delteil, Blaise Cendrars, Tristan Tzara and Philippe Soupault. In a preface, the painter and writer Andre Lhote makes the point that, with a few exceptions, the designs use no florals or other identifiable motif, the representation of nature being replaced by an interplay of abstract elements in a pure state, Forms are organized according to an casily perceived thythm. (The Delaunays frequently thought of their art in musical terms.) In this treatment, according to Lhote, everyday objects offer the artist the greatest challenge. In fact, Sonia Delaunay devoted her talents to all sorts of designs, from furniture and pottery to bookbindings and clothing. Her fashions were much in demand, not so much for originality of silhouette or construction as for inventive-ness of patterning and use of fabric. Lhote says of these designs: "In an epoch when fashion sometimes so indiscrectly unveils the form, it is necessary that the bit of fabric used to cover it be decorated in the most abstract manner, so that the eye is for an instant attracted by the figures different from those born in intimacy." (Translation by H. C. Perleberg:) Compositions, Couleurs, Idées (pp. 21-60) was published by Editions d'Art Charles Moreau, Paris [1930]. The plates reveal Sonia Delaunay's further explorations with abstraction, playing color against color and form against form. SONIA DELAUNAY (1885-1979) was a French artist born to Jewish parents, who spent most of her working life in Paris. She was born in the Russian Empire, now Ukraine, and was formally trained in Russia and Germany, before moving to France...

Colour stencil with dense gouache inks on wove paper. Unsigned and unnumbered with printed title-heading designed by Delaunay, upper left, as issued. Good Condition; never framed or ...

Etching and engraving on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: Extracted from the volume, XXe Siècle, vol. n° 5-6, 1939. Published and ...

Lithograph on vélin du Marais paper. Inscription: Signed in the plate. Good condition. Notes: From the volume, Verve: Revue Artistique et Littéraire, Vol. I, N° 3, December 1938. Pri...

Lithograph on Van Gelder Zonen Bütten paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Der Mensch ist kein Haustier, 1937. Published by...

Colour stencil with dense gouache inks on wove paper. Unsigned and unnumbered with printed title-heading designed by Delaunay, upper left, as issued. Good Condition; never framed or matted. Reference: Delaunay, Sonia. Sonia Delaunay Patterns and Designs in Full Color. Dover Publications, Inc., 1989, page 1. Callu, Florence, et al. Sonia et Robert Delaunay: BibliothèQue Nationale, [Paris, 15 déCembre 1977-29 Janvier 1978]. Bibliothèque nationale, 1977, illustration number 456. Notes: From the folio, Compositions, couleurs, idées: Sonia Delaunay, 1930. Compositions conceived and created 1926-28 and issued as an album of separate loose sheets. Published and printed by Éditions d'Art, Charles Moreau, Éditeur, Paris, 1930. Excerpted from the volume, Sonia Delaunay Patterns and Designs in Full Color, Sonia Delaunay: Ses Peintures, Ses Objets, Ses Tissus Simultanés, Ses Modes (pp. 1-20), was published by Librairie des Arts Décoratifs, Paris [1925]). In addition to the plates by Delaunay, it contained poems by Joseph Delteil, Blaise Cendrars, Tristan Tzara and Philippe Soupault. In a preface, the painter and writer Andre Lhote makes the point that, with a few exceptions, the designs use no florals or other identifiable motif, the representation of nature being replaced by an interplay of abstract elements in a pure state, Forms are organized according to an casily perceived thythm. (The Delaunays frequently thought of their art in musical terms.) In this treatment, according to Lhote, everyday objects offer the artist the greatest challenge. In fact, Sonia Delaunay devoted her talents to all sorts of designs, from furniture and pottery to bookbindings and clothing. Her fashions were much in demand, not so much for originality of silhouette or construction as for inventive-ness of patterning and use of fabric. Lhote says of these designs: "In an epoch when fashion sometimes so indiscrectly unveils the form, it is necessary that the bit of fabric used to cover it be decorated in the most abstract manner, so that the eye is for an instant attracted by the figures different from those born in intimacy." (Translation by H. C. Perleberg:) Compositions, Couleurs, Idées (pp. 21-60) was published by Editions d'Art Charles Moreau, Paris [1930]. The plates reveal Sonia Delaunay's further explorations with abstraction, playing color against color and form against form. SONIA DELAUNAY (1885-1979) was a French artist born to Jewish parents, who spent most of her working life in Paris. She was born in the Russian Empire, now Ukraine, and was formally trained in Russia and Germany, before moving to France...

Lithograph on Van Gelder Zonen Bütten paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Der Mensch ist kein Haustier, 1937. Published by...

This is a modernist view of a New York City park. It's interesting because we're given so much detail and yet it's drawing style also keep things hidden. Really I think it's about Cu...

Burin etching and engraving on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, XXe Siècle, vol. n° 5-6, 1939. Published and prin...

Signed in pencil, lower right, 'Jacques Villon' (French, 1875-1963) and with number and limitation, '19/150', lower left. Additionally signed in plate, lower left, 'Jacques Villon', ...

Colour stencil with dense gouache inks on wove paper. Unsigned and unnumbered with printed title-heading designed by Delaunay, upper left, as issued. Good Condition; never framed or ...

Lithograph on vélin du Marais paper. Inscription: Signed in the plate. Good condition. Notes: From the volume, Verve: Revue Artistique et Littéraire, Vol. I, N° 1, December 1937. Pri...

Colour stencil with dense gouache inks on wove paper. Unsigned and unnumbered with printed title-heading designed by Delaunay, upper left, as issued. Good Condition; never framed or ...

Colour stencil with dense gouache inks on wove paper. Unsigned and unnumbered with printed title-heading designed by Delaunay, upper left, as issued. Good Condition; never framed or ...

Colour stencil with dense gouache inks on wove paper. Unsigned and unnumbered with printed title-heading designed by Delaunay, upper left, as issued. Good Condition; never framed or ...

Colour stencil with dense gouache inks on wove paper. Unsigned and unnumbered with printed title-heading designed by Delaunay, upper left, as issued. Good Condition; never framed or ...

Portrait of D’Annunzio is an original artwork realized by Mino Maccari. Hand signed in pencil on the lower right margin. Passpartout included 49.5 x 35 cm. Good conditions except for...

This print was made for the American Abstract Artists Portfolio, 1937. All the images were lithographs made on zinc plates. Usually they were signed or initialed in the image -- on t...

This print was made for the American Abstract Artists Portfolio, 1937. All the images were lithographs made on zinc plates. Usually they were signed or initialed in the image -- on t...

Milivoj Uzelac (1897-1977) title Le Water Polo medium original Pochoir from Les Joies du Sport published by Maurice and Jacques Goddet 1932 paper size 16.50 x 12.13 image size 12 x 9 condition very good 'Le Water Polo' shows four figures swimming in a circle under water with balls in their outstretched arms and the water god Poseidon in the middle of the circle. The god is presented completely in blue. Le Water Polo is from Les Joies du Sport” a collection of 45 original pochoir illustrations by Milivoj Uzelac a Croatian artist ( 1897 – 1977) born in Mostar now Bosnia Hercegovina. Published in Paris as a limited edition of 750 for a book by Maurice and Jacque Goddet for the 1932 Olympics...

Composition is an Original Lithograph realized by Jean-Pierre Jouffroy in 1963. Good condition on a yellowed paper. Signed, titled and dated by the a...

Nu is an original etching realized by Jean Fautrier in 1937. Hand signed in pencil on lower right margin, Artist's proof. Excellent conditions. Elegant laying female figure realized...

Kimono Fabric Design Color woodcut with pochoir embellishments on fine silver mica ground. 1936 Unsigned as usual From "Ukiyoe Kosode," a deluxe limited edition album of kimono fabri...

Not Signed. From the series "Les Fables de La Fontaine". Catalogue Sorlier No 154. This artwork is shipped from Italy. Under existing legislation, any artwork in Italy created over ...

Untitled Color woodcut, 1939 Unsigned as issued Signed and dedicated by the artist on the justification page (see photo) From: Abstractions By Charles Smith Forward by Carl O. Schnie...

Artist: Ossip Zadkine Title: Untitled Portfolio: XXe Siecle No. 4 Medium: Linocut Date: 1938 Edition: Unnumbered Frame Size: 19 3/4" x 16 3/4" Sheet Size: 12 5/8" x 9 5/8" Signature:...

Artist: Alberto Magnelli Title: Untitled Portfolio: XXe Siecle No. 4 Medium: Linocut Date: 1938 Edition: Unnumbered Frame Size: 19 3/4" x 16 3/4" Sheet Size: 12 5/8" x 9 5/8" Signatu...

A very good impression of this early woodcut. Signed, titled, dated and numbered 145/300 in pencil by Siqueiros.

Cahiers d'art, Surrealist Composition 1 Pochoir, 1934 Unsigned as issued in Cahier's edition Published in Cahier's d'art, 1934 Unsigned Edition of 1200 There was also a pencil signed...

Cyril Power (1872-1951) color linoleum cut, Monseignor St. Thomas, circa 1931, signed and titled in pencil at the lower right, apart from the edition of 60. Reference: Redfern 24. In very good condition, on buff oriental laid tissue, conservation matted, with margins, 13 7/8 x 11 1/8, the sheet 15 x 12 5/8 inches. A fine impression, with the colors fresh and vivid. Printed in four colors (yellow, red, blue and dark blue). The prints of the Grosvenor School artists were created by applying colors with successive blocks. The margins show the colors of each of these blocks (see illustration of the margin). The subject matter of this print relates to TS Eliot...

A rare and particularly contemporary-looking collection of forty pochoir-colored plates of decorative designs for fabrics and ceramics by the seminal Art Deco designer E.A. Seguy. L...

Colour stencil with dense gouache inks on wove paper. Unsigned and unnumbered with printed title-heading designed by Delaunay, upper left, as issued. Good Condition; never framed or ...

Colour stencil with dense gouache inks on wove paper. Unsigned and unnumbered with printed title-heading designed by Delaunay, upper left, as issued. Good Condition; never framed or matted. Reference: Delaunay, Sonia. Sonia Delaunay Patterns and Designs in Full Color. Dover Publications, Inc., 1989, page 1. Callu, Florence, et al. Sonia et Robert Delaunay: BibliothèQue Nationale, [Paris, 15 déCembre 1977-29 Janvier 1978]. Bibliothèque nationale, 1977, illustration number 456. Notes: From the folio, Compositions, couleurs, idées: Sonia Delaunay, 1930. Compositions conceived and created 1926-28 and issued as an album of separate loose sheets. Published and printed by Éditions d'Art, Charles Moreau, Éditeur, Paris, 1930. Excerpted from the volume, Sonia Delaunay Patterns and Designs in Full Color, Sonia Delaunay: Ses Peintures, Ses Objets, Ses Tissus Simultanés, Ses Modes (pp. 1-20), was published by Librairie des Arts Décoratifs, Paris [1925]). In addition to the plates by Delaunay, it contained poems by Joseph Delteil, Blaise Cendrars, Tristan Tzara and Philippe Soupault. In a preface, the painter and writer Andre Lhote makes the point that, with a few exceptions, the designs use no florals or other identifiable motif, the representation of nature being replaced by an interplay of abstract elements in a pure state, Forms are organized according to an casily perceived thythm. (The Delaunays frequently thought of their art in musical terms.) In this treatment, according to Lhote, everyday objects offer the artist the greatest challenge. In fact, Sonia Delaunay devoted her talents to all sorts of designs, from furniture and pottery to bookbindings and clothing. Her fashions were much in demand, not so much for originality of silhouette or construction as for inventive-ness of patterning and use of fabric. Lhote says of these designs: "In an epoch when fashion sometimes so indiscrectly unveils the form, it is necessary that the bit of fabric used to cover it be decorated in the most abstract manner, so that the eye is for an instant attracted by the figures different from those born in intimacy." (Translation by H. C. Perleberg:) Compositions, Couleurs, Idées (pp. 21-60) was published by Editions d'Art Charles Moreau, Paris [1930]. The plates reveal Sonia Delaunay's further explorations with abstraction, playing color against color and form against form. SONIA DELAUNAY (1885-1979) was a French artist born to Jewish parents, who spent most of her working life in Paris. She was born in the Russian Empire, now Ukraine, and was formally trained in Russia and Germany, before moving to France...

Rue Caulaincourt Etching and engraving, 1931 Initialed in the plate (see photo) Edition: 77 Plate 10 from "Plaches de Salut" Published by Aux Editions Jeanne Bucher, Paris Rue Caulaincourt is a street in Montmatre where Marcoussis lived from 1913 to c. 1939. The inscription translates to "You, me and this White Rabbit" Condition: Excellent Image/plate size: 8 x 9 1/2 inches Sheet size: 12 3/8 x 15 7/8 inches Louis Marcoussis, formerly Ludwik Kazimierz Wladyslaw Markus or Ludwig Casimir Ladislas Markus, (1878 or 1883, Łódź – October 22, 1941, Cusset) was a painter and engraver of Polish origin who lived in Paris for much of his life and became a French citizen. Early life After studying law briefly in Warsaw he went to the Kraków Academy of Fine Arts, where his teachers included Jan Stanislawski...

A superb impression of this very scarce drypoint. Edition of 100. Signed in pencil by Avery. Printed by Atelier 17, New York. Published by Laurel Gallery, New York. From "Laurels Por...

Paul Schuitema - 1879-1973 Tentoonstelling/Bki 1931 23 ½ x 18”. Unlined.Good condition with the exception of a small minor tear top middle poster.Good color. Rare. A pioneer in modernistic graphic design, Schuitema also worked as a photographer, filmmaker and furniture designer. After WW1, his first major client was Berkel Scales...

Bart van der Leck. transfer-print on paper, string shopping bag for Metz & Co .12 h × 5 w in The Netherlands, c. 1935. Framed 1935-1952. Fine vintage cond...

The Exchequer - Victor Vasarely - 1935 Lithography Inscribed on the back "L'échiquier - Lithog (1935)". Paper size: 40x46cm Size of the work: 33x23cm Signature at bottom right in p...

Louis Marcoussis (1883-1941), Un Reve, etching, 1930, signed in pencil lower right and inscribed “2nd etat 1/2” lower left. Plate 1 of the portfolio Aurelia. Reference: Milet 55II, second state (of 4), before the edition (of 153 in the fourth state). In good condition, on a wove paper with full margins (a small area of discoloration below the border lower left, remains of prior glue right margin edge), 7 1/4 x 5 3/8, the sheet 15 5/8 x 9 3/8 inches, archival matting. A fine impression of a rare proof, before the edition. This is one of the two proofs of the second state. After this state the plate was reduced in a third state (from 183 to 174 mm), and then steel faced for the edition. Provenance: Libreria Prandi Reggio (blindstamp lower right corner) Jean Cassou and Pierre Courthion asked Marcoussis to illustrate Aurelia, a novel by Gerard de Merval. This was the first album of their collection “Le Blanc et Le Noir,” edition chez Fourcade. Marcoussis was familiar with this novel, in which imagination and reality intermingle. In it de Merval wrote: “La Reve est une seconde vie.” (The Dream is a parallel life.) Marcoussis wrote of the print: “Il ressemblait a l’Ange de la Melancholie d’Albrecht Durer.” (It recalls the angel in Durer’s Melancholia...

Original Vintage Poster. New Shell Lubricating Oils Motor Oils 1937 Color lithograph 1937, On Linen.33 1/2" x48." Image size: 29.25 x 44.50. Fine Condition. Edward McKnight Kauffer...

Eaux-fortes Pour Alcools de Guillame Apollinaire: Nuit Rhenane," 1934. Original etching signed in pencil and inscribed `a Mola bien amicalement Marcoussis /New York le 26 Mai 1935...

"Le Pacte", Paris: Editions Forcade, 1930. In Gold Leaf Frame. Original etching printed in black ink on japon. Hand signed with artist’s monogram lower left, an impression of the f...

Jean Arp (after) - Composition - Pochoir 1958 Dimensions: 32 x 24 cm From the art revue XXe siècle Unsigned and unumbered as issued

LOUIS MARCOUSSIS (1883-1941) (Ludwik Kazimierz Wladyslaw Markus) Łódź, Poland 1878/1883 – 1941 Cusset, France (Polish/French) Title: Planches de Salut, 1931 Technique: Origi...

From Tristan Tzara's 'L'Arbre des voyageurs'. Signed and dated in pencil, a large paper proof. Inscribed 'Pour Henriette, en toute amitié'. Printed on wove paper and published by E...

City Theatre matinee- 24 April 10:45 - dance studio wuff, basel (includes notice of postponement of a ballet by Satie and Picabia and a statement of aesthetics in small type) Zurich. Letter press...

Beck, Maurice. Safety, 1931. Photomontage. 40 x 25" Waterloo And Sons, London. 2nd in the series of 4 posters commisioned to Beck by The London Underground Maurice Beck...