1930s Figurative Prints

Otto Kuhler, 'Cargo Carriers', etching and drypoint, c. 1932, edition 10, Kennedy 44. Signed in pencil. A superb, atmospheric impression with rich burr and selectively wiped overall plate tone, in dark brown ink, on Arches cream laid paper; wide margins (2 to 2 3/4 inches), in very good condition. Printed by the artist. Original Kennedy Galleries mat and label. Scarce. "On my trips up and down N.Y. harbor on the Weehawken Ferry, the late evening sun playing on the side of the big liners has always intrigued me... The liner shown I believe to be the Vaterland of the North German Lloyd...

Etching from the portfolio "Les Métamorphoses d'Ovide"publised by Skira in Lausanne, in 1930. On Arches paper. Printed by Louis Fort, Paris. Catalogue Bloch Vol. I n. 108. Edition of...

Etching on vélin Canson et Montgolfier paper. Unsigned and unnumbered, as issued. Good condition. Published by L'Imprimerie Daragnès, Paris; printed by Jean Gabriel Daragnès, Paris, ...

Linocut on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, XXe Siècle, vol. n°4, 1938. Published and printed under the direction...

"Minotaure Endormi Contemplé Par Une Femme" (1933) is a striking and emotionally charged work by Pablo Picasso, capturing the artist’s complex engagement with mythology, surrealism, ...

Lou Barlow (Louis Breslow), 'Tenant Farmers', color wood engraving, 1936, edition 25. Signed, titled, and numbered '15/25' in pencil. A superb, richly-inked impression, with fresh c...

After Gustav Klimt, Max Eisler #17, Aus dem Stoclet-Fries: Die Umarmung; multi-color collotype after the cartoon for the 1910-1911 mosaic frieze on the east wall of the dining hall o...

Jacques La Grange, 'The Yankee', color woodcut, edition 500, 1934. Signed and numbered '25/500' in pencil. A fine impression, with fresh colors, on cream wove paper, with margins (1 1/8 to 1 1/4 inches), in excellent condition. A work from La Grange’s celebrated series of woodcuts 'Drama and Color in the America's Cup Races'. Image size 10 x 10 11/16 inches (254 x 271 mm); sheet size 12 1/4 x 13 1/4 inches (311 x 337 mm). Archivally matted to museum standards, unframed. When the artist created this print in 1934, the 'Yankee' was one of the most promising yachts eligible for the America's Cup but ultimately 'Rainbow' was chosen to defend against England's 'Endeavor' in that year's race. The 'Endeavor' was built for Thomas Sopwith who used his aviation design expertise to ensure the yacht was the most advanced of its day with a steel hull and mast. She was launched in 1934 and won many races in her first season but the Cup challenge was blighted by a strike of Sopwith's professional crew prior to departing for America. Forced to rely mainly on keen amateurs, who lacked the necessary experience, the campaign failed. 'Rainbow' won the series 4–2. This was one of the most contentious of the America's Cup battles and prompted the headline "Britannia rules the waves and America waives the rules." ABOUT THE ARTIST Jacques La Grange was born in Clanwilliam (near Cape Town) in South Africa in 1895. He studied at London University and later immigrated to the United States. La Grange established himself as a painter, illustrator, and printmaker specializing in nautical subjects. He and his wife, Helen La Grange, published 'Drama and Color in the America's Cup Races' in 1934 and 'Clipper Ships of America and Great Britain 1833-1869', in 1936. Both were deluxe hardcover limited edition volumes with signed original color woodblock prints. La Grange had solo exhibitions at the Buchanan Gallery in 1929; the Babcock Gallery and the 56th Street Gallery, New York, in 1930; and at the Nicholas Roerich...

Edgar DEGAS (after) Whorehouse Scene : A Shy Client Original etching and aquatint On Rives vellum 25 x 32 cm (c. 10 x 13 inch) In the early 1920s, Ambroise Vollard (the great art se...

Artist: Pablo Picasso Title: Sculpteur et Modele debout Year: 1933 Medium: Original etching Edition: hand signed in pencil from an edition of 250 on small margins Size: Frame: 27 x 2...

Lithograph and stencil with hand coloring on vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Livre blanc, précédé d'u...

Lithograph and stencil with hand coloring on vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Livre blanc, précédé d'u...

After Gustav Klimt, Max Eisler #22, Bildnis Baronin Bachofen-Echt; multi-color collotype after 1914-1916 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GUSTAV KLIMT AN AFTERMATH), a portfolio of 30 collotypes prints, 15 are multi-color and 15 are monochrome, on chine colle paper laid down on heavy cream-wove paper with deckled edges; Max Eisler, Editor-Publisher; Osterreichischer Staatsdruckerei (Austrian State Printing Office), Printer; in a limited edition of 500 numbered examples of which: 200 were printed in German, 150 were printed in French and 150 were printed in English; Vienna, 1931. 2018 marks the 100th anniversary of Gustav Klimt’s death. It is a fitting time to reflect upon the enduring legacy and deep impact of his art. Recognizing this need for posterity with uncanny foresight, the publication of Gustav Klimt: An Aftermath (Eine Nachlese) provides a rare collection of work after Klimt which has proven to be an indispensable tool for Klimt scholarship as well as a source for pure visual delight. Approximately 25 percent of the original works featured in the Aftermath portfolio have since been lost. Of those 30, six were destroyed by fire on 8 May 1945. On that fateful final day of WWII, the retreating Feldherrnhalle, a tank division of the German Army, set fire to the Schloss Immendorf which was a 16th century castle in Lower Austria used between 1942-1945 to store objects of art. All three of Klimt’s Faculty Paintings: Philosophy, Medicine and Jurisprudence (1900-1907), originally created for the University of Vienna, were on premises at that time. Also among the inventory of Klimt paintings in storage there was art which had been confiscated by the Nazis. One of the most significant confiscated collections was the Lederer collection which featured many works by Gustav Klimt such as Girlfriends II and Garden Path with Chickens...

Woodcut print realized by Escher for the series "Emblemata", and published in 1931. On Hollande van Gelder paper. Edition of 300. Unsigned, as issued. Excellent condition, matted....

Palazzo dell'Angelo 1931 Etching and drypoint on cream-colored, handmade laid paper with deckle edges, 7 1/4 x 6 3/4 inches (185 x 171 mm), edition of 100, full margins. Signed, dated and numbered "Ed. 100" in pencil, lower margin, second state (of three). Printed by Henry Carling, New York. Extremely minor mat tone and some inky residue in the top right corner, all unobtrusive and well outside of image area. An exquisite impression of this intricate image, with astonishing detail, and all the fine lines printing clearly. The image represents the first print which Arms printed on his own handmade paper. Framed handsomely with archival materials and museum grade glass in a wood gilt frame with a flower and garland motif. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 180; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 116. [Fletcher 233] Born in 1887 in Washington DC, John Taylor Arms studied at Princeton University, and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I, Arms served as an officer in the United States Navy, and it was during this time that he turned his focus to printmaking, having published his first etching in 1919. His first subjects were the Brooklyn Bridge, near the Navy Yard, and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on Gothic cathedrals and churches he visited in France and Italy. He used what was available to him, namely sewing needles and a magnifying glass, to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war, Arms enjoyed a successful career as a graphic artist, created a series of etchings of American cities, and published Handbook of Print Making and Print Makers (Macmillan, 1934). He served as President of the Society of American Graphic Artists, and in 1933, was made a full member of the National Academy of Design. In its most modern incarnation, Palazzo dell'Angelo was constructed in or around 1570. The building, which has a rich and storied history, was erected upon the ruins of an earlier structure which predates the Gothic period. Some remnants of the earliest features of the residence were most certainly still visible when Arms visited, as they are today. Having a background in architecture, there's no question that Arms was moved by the beauty, history and ingenuity represented in the physical structure. One thing specifically gives away Arms's passion for the architecture, and that is the fact that he focused on the building's Moorish entranceway, balustrade, and two mullioned windows, and not on the curious Gothic era bas-relief of an angel nestled into the facade of the building, after which the structure is named. The sculpture itself doesn't appear in Arms's composition at all, despite the fact that it is the feature of the building that is most famous in its folklore. Arms instead focuses on the oldest portion of the architecture, even documenting some of the remnants of a fresco, and a funerary stele for the freedman Tito Mestrio Logismo, and his wife Mestria Sperata (visible above the water level, to the left of the door, behind the gondola), which was first described in 1436. Among the many notable bits of history regarding the Palazzo, it has been documented that Tintoretto painted frescos of battle scenes on the facade of the building. The paintings have been lost to time and the elements, but not entirely to history. The empty frame...

General Washington Saying Farewell to His Officers in Fraunces Tavern, New York This etching, 'General Washington Saying Farewell to His Officers in Fraunces Tavern, New York', was ...

A modernist fantasy winter scene created by Werner Drewes, this print brings key aspects of the period together. His cubist-inspired woodcut technique is utilized here to bring the s...

Framed print of May 1, 1937, "Vogue" magazine cover by Carl Oscar August Erickson of a woman in a salmon-colored suit playing with a dog.

Woodcut print realized by Escher for the series "Emblemata", and published in 1931. On Hollande van Gelder paper. Edition of 300. Unsigned, as issued. Excellent condition, matted....

This Depression-era New York City subway scene says it all. The body language of all five passengers tells us where each of them is in his or her ...

Edgar DEGAS (after) Whorehouse Scene : The Drunk Prostitutes Original etching and aquatint On Rives vellum 25 x 32 cm (c. 10 x 13 inch) In the early 1920s, Ambroise Vollard (the gre...

Lithograph and stencil with hand coloring on vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Livre blanc, précédé d'u...

Lithograph and stencil with hand coloring on vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Livre blanc, précédé d'u...

JOSE CLEMENTE OROZCO (1893 – 1949) WOMEN, 1934 ( Orozco 25) Lithograph, One of 127 signed & unnumbered impressions, (total printed 255) Printer Jesus Arteaga. Image 12 1/2 x 17 inches, sheet 17 x 23 inches. Large sheet. top sheet edge with deckle edge and with some remnants of old old tape. Some slight mat burn verso., just a hint on the recto. This impression is also dedicated to Rosita Boyce by Clemente Orozco - (the Artist's Son) in 1961 From "Jose Clemente Orozco - Graphic Work" by Clemente Orozco, University of Texas Press, 2004. "The image is a detail of the Mural "Contemporary World" in the Palace of Fine Arts, Mexico City. The mural depicts "the real prostitution of power is implied by prostitutes fighting for survival. in a game of exuberance and decadence. The theme of women, especially prostitutes, has a special significance in Orozco's work, from his early watercolors to this fresco.." This print is related to Orozco's MACHINES also on 1stdibs offered by this dealer. Mexican Prints...

The Creole Dancer is a photolithograph realized in 1993 after Henri Matisse. On Milano handmade paper. Very good conditions.

François-Louis SCHMIED (1873-1941) The Alley in the night, 1938 Original Woodcut Print Signed with the stamp of the artist On Japan paper 35 x 24 cm (c. 13.8 x 9.5 inch) Very good ...

Linocut 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 direct...

Héliogravure, collotype, metallic inks on vélin paper. Paper Size: 18.86 x 17.91 inches; image size: 12.4 x 8.39 inches. Inscription: Signed in the plate and unnumbered, as issued. N...

(after) Alexander Calder "Calder's Circus" offset lithograph on wove paper a reproduction lithograph after the drawings by the artist Published by Art in America and Perls gallery in 1964 (from drawings done in the 1930's) these range slightly in size but they are all about 13 X 17 inches (with minor variations in size as issued.) These have never been framed. The outer folio is not included just the one lithograph. James Sweeny from the introduction “The fame of Calder’s circus spread quickly between the years 1927 and 1930. All the Paris art world came to know it. It brought him his first great personal success. But what was more important, the circus also provided the first steps in Calder’s development as an original sculptor” Clive Gray wrote ”A visit to the studio of Alexander Calder led to the chance discovery of some hundred masterful circus drawings completed over thirty years ago. We publish, for the first time, a choice of sixteen from that group.” With signed introduction by Miro. These whimsical drawings, done in the style of wire sculpture, include acrobats, clowns, jugglers, trapeeze artists, an elephant, dog and lion. they are great. Alexander Calder is widely considered to be one of the most important American sculptors of the 20th century. He is best known for his colorful, whimsical abstract public sculptures and his innovative mobiles, kinetic sculptures powered by motors or air currents, which embraced chance in their aesthetic. Born into a family of accomplished artists, Calder's work first gained attention in Paris in the 1930s and was soon championed by the Museum of Modern Art in New York, resulting in a retrospective exhibition in 1943. Major retrospectives were also held at the Solomon R. Guggenheim Museum (1964) and the Museum of Contemporary Art, Chicago (1974). Calder’s work is in many permanent collections, most notably in the Whitney Museum of American Art, but also the Guggenheim Museum; the Museum of Modern Art; the National Gallery of Art, Washington, D.C.; and the Centre Georges Pompidou. He produced many large public works, including .125 (at JFK Airport, 1957), Pittsburgh (Carnegie International prize winner 1958, Pittsburgh International Airport) Spirale (UNESCO in Paris, 1958), Flamingo and Universe (both in Chicago, 1974), and Mountains and Clouds (Hart Senate Office Building, Washington, D.C., 1976). Although primarily known for his sculpture, Calder was a prodigious artist with a restless creative spirit, whose diverse practice included painting and printmaking, miniatures (such as his famous Cirque Calder), children’s book illustrations, theater set design, jewelry design, tapestry and rug works, and political posters. Calder was honored by the US Postal Service with a set of five 32-cent stamps in 1998, and received the Presidential Medal of Freedom, posthumously in 1977, after refusing to receive it from Gerald Ford one year earlier in protest of the Vietnam War. Calder moved to New York and enrolled at the Art Students League, studying briefly with Thomas Hart Benton, George Luks, Kenneth Hayes Miller, and John Sloan. While a student, he worked for the National Police Gazette where, in 1925, one of his assignments was sketching the Ringling Bros. and Barnum & Bailey Circus. Calder became fascinated with the action of the circus, a theme that would reappear in his later work. In 1926, Calder moved to Paris, enrolled in the Académie de la Grande Chaumière, and established a studio at 22 rue Daguerre in the Montparnasse Quarter. In June 1929, while traveling by boat from Paris to New York, Calder met his future wife, Louisa James (1905-1996), grandniece of author Henry James and philosopher William James. They married in 1931. While in Paris, Calder met and became friends with a number of avant-garde artists, including Fernand Léger, Jean Arp, and Marcel Duchamp. Cirque Calder (on view at the Whitney Museum of American Art at present) became popular with the Parisian avant-garde. He also invented wire sculpture, or "drawing in space," and in 1929 he had his first solo show of these sculptures in Paris at Galerie Billiet. Hi! (Two Acrobats) in the collection of the Honolulu Museum of Art is an early example of the artist's wire sculpture. The painter Jules Pascin, a friend of Calder's from the cafes of Montparnasse, wrote the preface to the catalog. A visit to Piet Mondrian's studio in 1930, where he was impressed by the environment-as-installation, "shocked" him into fully embracing abstract art, toward which he had already been tending. Dating from 1931, Calder’s sculptures of discrete movable parts powered by motors were christened “mobiles” by Marcel Duchamp, a French pun meaning both "motion" and "motive." At the same time, Calder was also experimenting with self-supporting, static, abstract sculptures, dubbed "stabiles" by Jean Arp in 1932 to differentiate them from mobiles. Public commissions increasingly came his way in the 1960s. Notable examples are .125 for JFK Airport in 1957, Spirale for UNESCO in Paris 1958 and Trois disques, commissioned for Expo 67 in Montreal, Quebec, Canada. Calder's largest sculpture at 25.7 meters high was El Sol Rojo, constructed outside the Aztec Stadium for the 1968 Summer Olympics "Cultural Olympiad" events in Mexico City. Many of his public works were commissioned by renowned architects; I.M. Pei commissioned his La Grande Voile (1966), a 25-ton, 40-foot high stabile for the Massachusetts Institute of Technology. Part of Calder's repertoire includes pivotal stage sets for more than a dozen theatrical productions, including Nucléa, Horizon, and most notably, Martha Graham’s Panorama (1935), a production of the Erik Satie symphonic drama Socrate (1936), and later, Works in Progress (1968). In addition to sculptures, Calder painted throughout his career, beginning in the early 1920s. He picked up his study of printmaking in 1925, and continued to produce illustrations for books and journals.As Calder’s professional reputation expanded in the late 1940s and 1950s, so did his production of prints. Masses of lithographs based on his gouache paintings hit the market, and deluxe editions of plays, poems, and short stories illustrated with fine art prints by Calder became available for sale. One of Calder's most celebrated and unconventional undertakings was a commission from Dallas-based Braniff International Airways to paint a full-size Douglas DC-8-62 four-engined jet as a "flying canvas." Calder created over 2,000 pieces of jewelry over the course of his career, many of them as gifts for friends and relatives. For his lifelong friend Joan Miró, he set a shard of a broken porcelain vessel in a brass ring. Peggy Guggenheim received enormous silver mobile earrings and later commissioned a hammered silver headboard...

Lithograph and stencil with hand coloring on vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Livre blanc, précédé d'u...

This original etching is hand signed by the artist "Picasso" at the lower right. It was printed in by Lacourière in a limited edition of 250 impressions and published by Ambroise Vollard, Paris. This is the 13th plate in La Suite Vollard, Picasso's most important series of etchings, and was realised in December 1934. Note: The Suite Vollard...

Lithograph and stencil with hand coloring on vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Livre blanc, précédé d'u...

Linocut on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, XXe Siècle, n°4, Christmas 1938. Published and printed under the dire...

Standing Nude is an artwork realized by Mino Maccari  (1924-1989) in the 1930s. Drypoint etching print on paper. Hand-signed by the artist. Good conditions an aged.

Original vintage travel poster Chamonix Mont-Blanc PLM French travel poster. Very good condition, archival linen backed. Ready to frame. ...

Le Corbusier's first (and largest) original lithograph in color. He created the poster on the occasion of his (first) solo exhibition. Print run was 100 ex. only – whereby the largest part was destroyed when used in the streets of Zurich, what makes it LCs most rare lithograph in color. Moreover: This exemplar is even hand-signed by LC and dated, as it was (meant to be) sold at the entrance of the Kunsthaus Zürich...

JOSE CLEMENTE OROZCO (Mexican, 1883-1949) MACHINES, (aka Dos cabezas y Maquinas, Dos Cabezas, Maquinas) 1935 (Orozco 26) Lithograph. Image 12 x 17 inches. Full margins, sheet 16 x 2...

'Girl and Cat', lithograph, 1935, edition 33, Fine and Looney 121. Signed, titled, dated, and numbered '5/33' in pencil. A superb, richly-inked impression...

Etching on vélin Canson et Montgolfier paper. Unsigned and unnumbered, as issued. Good condition. Published by L'Imprimerie Daragnès, Paris; printed by Jean Gabriel Daragnès, Paris, ...

Artist: Manuel Robbe (French, 1872-1936) Title: Marins et Femmes de Pecheurs Bretons sur les Quais Year: c.1930 Medium: Etching with aquatint Paper: B.F.K Rives Image (plate mark...

Lyonel Feininger, 'Church with Star (Kirche mit Stern)', woodcut, 1936, one of a small but unknown number of letterhead proofs; Prasse W265. Annotated 'W 265' (Feininger catalogue number) and inventory no. '2808' in pencil, in the bottom right sheet corner. A fine impression, on cream, laid letterhead stock; hinge remains on the left and right top sheet edges, verso, in excellent condition. Very scarce. Image size 2 3/8 x 2 3/8 inches; sheet size 10 1/16 x 7 1/16 inches. Archivally sleeved, unmatted. ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

Washington Assumes Command - Etching in Ink on Paper Historical engraving by Ralph Ludwig Boyer (American, 1879-1952). George Washington is shown holding a sword, with an army stand...

Edgar DEGAS (after) Whorehouse Scene : Prostitute Dressing her Hair Original etching and aquatint On Rives vellum 25 x 32 cm (c. 10 x 13 inch) In the early 1920s, Ambroise Vollard (...

Woodcut print realized by Escher in 1931. It belongs to the series "Emblemata". Signed with initials in the plate lower right. Ref. F.H. Bool, J.R. Kist, J.L. Locher and F. Wierda...

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Dix Reproductions, 1933. Published by Editions ...

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

Woodcut print realized by Escher in 1931. It belongs to the series "Emblemata". Signed with initials in the plate lower center. Ref. -F.H. Bool, J.R. Kist, J.L. Locher and F. Wier...

CARL HOECKNER (1883 – 1972) ORBITS, c. 1935 Lithograph, edition unknown but small. Image 11 3/3 \4 x 18 3/8 inches, sheet 12 3/8 x 19. In good condition aside from small margins an...

Etching on vélin Canson et Montgolfier paper. Unsigned and unnumbered, as issued. Good condition. Published by L'Imprimerie Daragnès, Paris; printed by Jean Gabriel Daragnès, Paris, ...

Linocut on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, XXe Siècle, n°4, Christmas 1938. Published and printed under the dire...

Edgar DEGAS (after) Whorehouse Scene : Briefing with Madam Mother Etching and aquatint On Rives vellum 25 x 32 cm (c. 10 x 13 inch) In the early 1920s, Ambroise Vollard (the great ...

BERNARD (JOSEPH) STEFFEN (1907 – 1980) PULLING CORN (FODDER HOPPER) c. 1935-45 Color serigraph signed with a full signature below the image at the lower right sheet edge . Unknown e...

Lithograph and stencil with hand coloring on vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Livre blanc, précédé d'u...

Absorbing black and white woodcut of a nude female figure in the water surrounded by sea life and small figures by French artist Colette Pettier, 1936. Signed, dated and numbered 49 ...

Young Boy is a vintage phototype print realized after a drawing by Jean Cocteau (1889 -1963) in 1930 ca., French draftsman, poet, essayist, playwright, librettist, film director. Wi...

Le Corbusier (1887-1965) Pride : Two Women with Rainbow Scarf , 1938 Lithograph and watercolor stencil On light vellum 21 x 27 cm (c. 8 x 11 inch) Very good condition

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 the plate, as this one is. As a group they explored abstraction in the 1930s, while maintaining their individual styles. The plan was to make an edition of 500 portfolios although it seems highly unlikely that this was accomplished. The Whitney Museum of American Art has a set. The dimensions, 12 x 9 1/4 inches, are for the sheet; this work signed and dated in the plate. Ray Kaiser...

Edgar DEGAS (after) Mimes des Courtisanes de Lucien: one plate On Rives vellum 25 x 32 cm (c. 10 x 13 inch) In the early 1920s, Ambroise Vollard (the great art seller, editor of Pica...