1930s Figurative Prints
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Period: 1930s
'Abstract Boats' — 1930s American Modernism, WPA
By Leon Bibel
Located in Myrtle Beach, SC
Leon Bibel, 'Abstract Boats', color serigraph, 1938, edition 12. Signed, dated, and numbered ' /12' in pencil. A fine, painterly impression, with fresh colors, on buff wove paper; t...
Category
American Modern 1930s Figurative Prints
Materials
Screen
Sunday Morning
Located in Wilton Manors, FL
Sunday Morning. Title: Sunday Morning
Artist: Dox Thrash (American, Griffin, Georgia 1893–1965 Philadelphia, Pennsylvania)
Printer: Sam J. Brown (1901-1994).
Date: ca. 1939.
Medium: Drypoint
Dimensions: sheet: 12 5/8 x 10 5/8 in. (32 x 27 cm)
plate: 8 7/8 x 7 7/8 in. (22.5 x 20 cm)
This is the most heavily inked, atmospheric example known to exist. Unique, unsigned example from the collection of artist Samuel J. Brown.
Dox Thrash (1893–1965) was an African-American artist who was famed as a skilled draftsman, master printmaker, and painter and as the co-inventor of the Carborundum printmaking process.[1] The subject of his artwork was African American life. He served as a printmaker with the W.P.A. at the Fine Print Workshop of Philadelphia. The artist spent much of his career living and working in Philadelphia, Pennsylvania.[1]
Early life
Dox Thrash was born on March 22, 1893, in Griffin, Georgia.[2] He was the second of four children in his family. Thrash left home at the age of fifteen in search of work up north. He was part of the Great Migration (African American) looking for industrial work in the North.
The first job that Thrash got was working with a circus and a Vaudeville act. In 1911, at the age of 18, he moved to Chicago, Illinois.[3] He got a job as an elevator operator during the day, and used this source of income to attend school.[3] In 1914 he attended the School of the Art Institute of Chicago.[1]
In 1917, the United States declared war on Germany and entered World War I. In September 1917, at the age of twenty-four, Thrash enlisted in the army.[3] He was placed in the 365th Infantry Regiment, 183rd Brigade, 92nd Division, also known as the Buffalo Soldiers.[1] During combat, Thrash suffered shell shock and a gas attack, but was not permanently injured.
Career as an artist
Front cover of Dox Thrash: An African American Master Printmaker Rediscovered, by John Ittmann.
After having served in the war, Thrash qualified as a war veteran and enrolled in the Art Institute of Chicago with the support of federal funding.[3] After finishing his education, he traveled intermittently from Georgia to Chicago, Boston, New York, and finally Philadelphia, working odd jobs - experiences that provided him with subject matter to later paint. Settling in Philadelphia by 1925, he took a job working as a janitor. In his free time, he continued his art career and used his talent to create emblems, such as the one for the North Philadelphia Businessmen's Association, and posters in exhibitions and festivals, including the 2nd Annual National Negro Music Festival and the Tra Club of Philadelphia.[1] This gained him local recognition and opened doors for new artistic endeavors. By 1929, Thrash was attending nightly classes within these clubs, namely with Earl Horter of the Graphic Sketch Club, now known as the Samuel S. Fleisher Art Memorial.[3]
In 1937 Thrash joined the government-sponsored Works Progress Administration (WPA)'s Federal Art Project.[4] Through the WPA, Thrash began working at the Fine Print Workshop of Philadelphia.[5] At the Fine Print Workshop of Philadelphia, Thrash, along with Michael J. Gallagher and Hugh Mesibov, began experimenting and co-inventing the process of carborundum mezzotint, a printmaking technique.[1] Carborundum printmaking uses a carbon-based abrasive to burnish copper plates creating an image that can produce a print in tones ranging from pale gray to deep black. The method is similar to the more difficult and complicated mezzotint process developed in the 17th century. He used this as his primary medium for much of his career and created his greatest works with it. One of his first pieces employing this nascent technique was his anonymous self-portrait entitled Mr. X.
With this new technique, the three gained increasing recognition as they published more and more graphics within newspapers and featured more and more pieces within exhibitions. Their works often featured subtle commentaries about social and economic exploitation regarding the contemporary politics of the Great Depression and the Second World War. By 1940, Thrash, Gallagher, and Mesibov all began to gain attention in local circles for their carborundum prints, although the role that each artist played in the development of the process was left unclear.[6]
In 1960, Thrash participated in a show at the Pyramid Club, a social organization of Black professional men that held an annual art exhibit starting in 1941. Others on hand were Howard N. Watson, Benjamin Britt, Robert Jefferson and Samuel J. Brown Jr.
Thrash spent the later years of his life mentoring young African American artists. He died on April 19, 1965, in Philadelphia, Pennsylvania.[2] He was posthumously honored almost 40 years later in 2001 with a major retrospective, titled Dox Thrash: An African-American Master Printmaker Rediscovered, at the Philadelphia Museum of Art.[7]
Thrash's work was included in the 2015 exhibition We Speak: Black Artists in Philadelphia, 1920s-1970s at the Woodmere Art Museum.[8]
Relation to Alain Locke and the New Negro Movement
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Alain LeRoy Locke (1885-1954) was an intellectual, professor and author who espoused that African Americans, specifically artists, to capture the personality, lives, and essence of their people in The New Negro. He explained “The Negro physiognomy must be freshly and objectively conceived on its own patterns if it is ever to be seriously and importantly interpreted. Art must discover and reveal the beauty which prejudice and caricature have overlaid.”[9] What Locke is expressing here is not only the call for black artists to overcome racial prejudices via positive artistic representations of blacks, but that the actual African American individual like Thrash portrayed the lives of fellow blacks, and had the power to propagate this idea of the New Negro, as Locke explains, “There is the possibility that the sensitive artistic mind of the American Negro, stimulated by a cultural pride and interest, will receive…a profound and galvanizing influence.”[10]
In his shadowy carborundum mezzotint Cabin Days, Thrash depicts a southern black family on the porch of their shack-like home in a rural landscape. The man, woman, and child, clutched tenderly to the female figure's breast, create an intimate scene highlighted by the bright cleanliness of the laundry hanging behind them. Placed in front of the drying laundry, they are framed by one aspect of the hard work accomplished during the day. Close to one another, staring collectively outward at the Southern landscape, they, and their laudable priorities of cleanliness and family, are made the bright focal point in the poor, unstable atmosphere. Such inner warmth is seemingly incompatible with the family's crooked and disheveled surroundings, and their fuzzy appearance with a lack of facial detail makes the scene into a general archetype for rural southern blacks living conditions and qualities. Thrash was referencing an experience common to thousands of black families in rural occupations at the turn of the 20th century, often forced into slavery-like tenant farming as their only means of livelihood in the racist South. The “uneven clapboards, leaning porch, broken shutter, and uprooted fence” are rife with instability, much like the post-slavery economic and social systems of the South, making it clear that for African Americans, “the house is not the home; rather, the figures on the porch represent family unity and continuity”.[10] In this way, Thrash is able to not only champion the positive qualities of blacks in the family setting but underscore this with a symbolic look at their disadvantaged situation, making it all the more impressive that they persevere. Thrash symbolically depicted harsh realities for the African American at this transitional point in history while conferring a sensitive rendering of their humanity, akin to any other race, despite its utter denial by American society.
Through softer tempera washes like A New Day, he literally and figuratively paints a picture of a black family transitioning from the South to the North during the Great Migration, making a hopeful, daring leap to attempt to be equal members of the society that has historically oppressed them. On the left side of the canvas lie muddled farm houses and plow handles, embodiments of their rural life of tedious hard labor behind them, fading to gray. Their hopeful gazes “…convey the optimism of the scores of African Americans who left the countryside to pursue better job opportunities, health care, and education in urban centers”.[6] The stance of the figures, with their chins raised in a dignified gesture towards cityscape ahead suggest a confidence and ambitiousness in their collective futures in this new northern industrial terrain. Even the child, clutched securely in the arm of the mother figure against her breast is not only serenely grinning, but calm enough to appear to gently doze, confident in that the journey ahead will result positively, poses no threat. The exposed arm of the woman is notable as well, being unusually thick and muscular, along with the general proportions of the kneeling father, who position on the ground appears not pleading but rather in a slightly exhausted, but upright gratefulness for the promise ahead. Thrash makes it clear that this family has traveled a long way, but is not depleted; rather they are strong and preparing for further hard work and hopeful success ahead. They are the quintessence of the New Negro, in that they are not only journeying forward to seize previously unobtainable opportunities that will enhance their lives, but the manner with which they hold themselves provokes a certain level of warranted respect for their humanity, from the viewer.
In fact it was the strength of his fellow African Americans that Thrash often emphasized, amongst other positive characteristics in the face of adversity in personal portraits. Through his carborundum print Life, he depicts a neatly dressed black girl reading...
Category
American Realist 1930s Figurative Prints
Materials
Etching
Framed print of May 1, 1937, "Vogue" magazine cover by Carl Erickson
Located in Boca Raton, FL
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.
Category
Other Art Style 1930s Figurative Prints
Materials
Color
Sailing Boat - Etching - 1932
Located in Roma, IT
Etching.
Hand signed as L. de Mattia.
Good condition.
Category
Modern 1930s Figurative Prints
Materials
Etching
Framed print of May 15, 1934, "Vogue" magazine cover by Alix Zeilinger
Located in Boca Raton, FL
Framed print of May 15, 1934, "Vogue" magazine cover by Alix Zeilinger for the Summer Travel issue depicting a woman in a yellow hat and black and yellow stripes looking at a butterf...
Category
Other Art Style 1930s Figurative Prints
Materials
Color
Framed print of November 10, 1930, "Vogue" magazine cover by Carl Erickson
Located in Boca Raton, FL
Framed print of November 10, 1930, "Vogue" magazine cover by Carl Oscar August Erickson depicting a woman resting her chin in her black-gloved hand.
Category
Other Art Style 1930s Figurative Prints
Materials
Color
Eurybia and Eros
Located in Fairlawn, OH
Eurybia and Eros
Etching, 1932
Printed on BFK Rives paper
Unsigned (as issued by Vollard)
Published by Ambrose Vollard, Paris
From the suite of 16 illustrations for Hesiod's Theogony...
Category
French School 1930s Figurative Prints
Materials
Etching
"Schwartzer Fleck" original woodcut
Located in Henderson, NV
Medium: original woodcut. Catalogue reference Roethel 145. Printed in Paris in 1938 for the art revue XXe Siecle (issue number 3). Image size: 7 x 8 1/2 inches (170 x 218 mm). Sheet ...
Category
Expressionist 1930s Figurative Prints
Materials
Woodcut
Les Mans d'Arlequin - Pochoir by Gino Severini - 1930
Located in Roma, IT
Les Amans d'Arlequin is an artwork realized by Gino Severini in 1930.
Pochoir from the Suite "Fleurs et Masques".
Very good condition.
Signed in plate on the lower right.
Ref. Ca...
Category
Futurist 1930s Figurative Prints
Materials
Stencil, Paper
1936 Lithograph Interregnum, Cigar, Kid w Toy Gun, Small Edition Weimar Germany
By George Grosz
Located in Surfside, FL
Hand lithography on BFK Rives French hand moulded paper Style: German New Objectivity (Neue Sachlichkeit)
According to the frontis these were produced by Hand Lithography. According...
Category
Modern 1930s Figurative Prints
Materials
Lithograph
1936 Lithograph Interregnum Street Riot Protest Small Edition Weimar Germany
By George Grosz
Located in Surfside, FL
Hand lithography on BFK Rives French hand moulded paper Style: German New Objectivity (Neue Sachlichkeit)
According to the frontis these were produced by Hand Lithography. According...
Category
Modern 1930s Figurative Prints
Materials
Lithograph
Le Tronc de l'arbre - Etching by Paul Emile Colin - 1935
Located in Roma, IT
Le Tronc de l'arbre is an artwok realized in 1935, by the French Artist Paul Emile Colin .
Black and white etching on paper. Hand Signed on the right corner. Limited edition of 35, ...
Category
Modern 1930s Figurative Prints
Materials
Etching
Some Monograms - Lithograph by George Auriol - 1930s
Located in Roma, IT
Some Monograms is an artwok realized in early-20th century, by the French Artist George Auriol (1863-1935) .
Lithograph on paper. Signed in plate on the left margin. The artist depi...
Category
Modern 1930s Figurative Prints
Materials
Lithograph
Ex Libris - Attilii Vicentini - woodcut by Luigi Angelini - 1930s
Located in Roma, IT
Ex Libris - Attilii Vicentini is an Artwork realized in 1930 s. by the Italian Architect Luigi Angelini(1884-1969)
Woodcut print on ivory paper. Hand Signed on the right corner and...
Category
Modern 1930s Figurative Prints
Materials
Woodcut
The Wild Boars - Etching by Xavier de Poret - 1934
Located in Roma, IT
The Wild Boars is a B./W. etching on paper realized on 1934 by the French artist Xavier de Poret.
Hand Signed on the left and dated on the right corner.
Category
Modern 1930s Figurative Prints
Materials
Etching
Ex Libris - A. Formenti - woodcut by Fabio Mauroner - 1937
Located in Roma, IT
Ex Libris -A. Formenti is an Artwork realized in 1937, by the Italian Artist Fabio Mauroner (1884-1947)
Etching print on ivory paper. Hand Signed on t...
Category
Modern 1930s Figurative Prints
Materials
Woodcut
Walter DuBois Richards, The Lobster Float
Located in New York, NY
Ohio-born Walter DuBois Richards (1907-2006) was educated at the Cleveland School of Art. He re-located to New York around 1933 where he had a successful career as a commercial artis...
Category
American Modern 1930s Figurative Prints
Materials
Woodcut
1936 Lithograph Interregnum Portfolio Butcher Shop Small Edition Weimar Germany
By George Grosz
Located in Surfside, FL
Hand lithography on BFK Rives French hand moulded paper Style: German New Objectivity (Neue Sachlichkeit)
According to the frontis these were produced by Hand Lithography. According...
Category
Modern 1930s Figurative Prints
Materials
Lithograph
PHOEBE PASSES MY GATE
Located in Portland, ME
Hutty, Alfred. PHOEBE PASSES MY GATE.
Drypoint, c. 1931. Edition size c.75.
8 1/8 x 7 1/4 inches (plate), 10 1/4 x 8 3/4 inches (sheet).
Printed on laid paper. In excellent condit...
Category
American Realist 1930s Figurative Prints
Materials
Drypoint
'The Aquarium' — WPA Era 1930s Graphic Modernism
Located in Myrtle Beach, SC
Fritz Eichenberg, 'The Aquarium', wood engraving, 1933, edition 200. Signed and titled in pencil. Initialed in the block, lower right. A superb, richly-inked impression, on pale yel...
Category
American Modern 1930s Figurative Prints
Materials
Woodcut
1936 Lithograph Interregnum Portfolio Windblown Man Small Edition Weimar Germany
By George Grosz
Located in Surfside, FL
Hand lithography on BFK Rives French hand moulded paper Style: German New Objectivity (Neue Sachlichkeit)
According to the frontis these were produced by Hand Lithography. According...
Category
Modern 1930s Figurative Prints
Materials
Lithograph
1936 Lithograph Interregnum portfolio Artist Studio small edition Weimar Germany
By George Grosz
Located in Surfside, FL
Hand lithography on BFK Rives French hand moulded paper Style: German New Objectivity (Neue Sachlichkeit)
According to the frontis these were produced by Hand Lithography. According...
Category
Modern 1930s Figurative Prints
Materials
Lithograph
'The Steps' — WPA Era 1930s Graphic Modernism
Located in Myrtle Beach, SC
Fritz Eichenberg, 'The Steps', wood engraving, 1933, edition 200. Signed, titled, and annotated 'Ed. 200' in pencil. Initialed in the block, lower right. A superb, richly-inked impr...
Category
American Modern 1930s Figurative Prints
Materials
Woodcut
Ex-Libris - Johnny Køhler - Woodcut by Herbert Ott - 1959
Located in Roma, IT
Ex-Libris - Johnny Køhler is an Artwork realized in 1959, by the Artist Herbert Ott, from Germany.
Woodcut on paper. Hand Signed and dated on the right...
Category
Modern 1930s Figurative Prints
Materials
Woodcut
Fuwa, Kabuki Actor
By Masamitsu Ota
Located in Fairlawn, OH
From: “Kabuki Jahachi-Ban” (Eighteen Kabuki Plays) by the Ichikawa Family
Publisher: Gekiga Kanko Kai
Carver: Okura Hanbei
Printer: Shinmi Yohei
Signed: with the artist’s signatu...
Category
Other Art Style 1930s Figurative Prints
Materials
Woodcut
Art Deco original 'La Panna' vintage beach resort poster 1932
Located in Spokane, WA
Beautiful art deco original vintage poster La Panne from 1932. A chromolithograph with the addition of silver ink makes this original Belgium beach poster...
Category
Art Deco 1930s Figurative Prints
Materials
Lithograph
Ex-Libris - W.E. Daignault - Lithograph by Valentin Le Campion - 1930s
Located in Roma, IT
Ex-Libris - W.E. Daignault is an Artwork realized in 1930 s. by the Artist Valentin Le Campion.
Lithograph on paper.
The work is glued on ivory cardboard. Total dimensions: 13 x ...
Category
Modern 1930s Figurative Prints
Materials
Lithograph
Ex-Libris - Leo Winkeler - Etching by Jocelyn Mercier - 1930s
Located in Roma, IT
Ex-Libris - Leo Winkeler is an Artwork realized in 1930 s., by Artist Jocelyn Mercier
Etching on paper. Hand Signed and dated on the right margin.
The work is glued on ivory cardbo...
Category
Modern 1930s Figurative Prints
Materials
Etching
Ex-Libris - Elizabeth Watson Diamond - Woodcut by Valentin Le Campion - 1930s
Located in Roma, IT
Ex-Libris - Elizabeth Watson Diamond is an Artwork realized in 1930 s. by the Artist Valentin Le Campion
Screenprint on paper. Hand Signed on back.
The work is glued on ivory car...
Category
Modern 1930s Figurative Prints
Materials
Woodcut
Femme Nue se Couronnant de Fleurs - Etching by Pablo Picasso - 1930
Located in Roma, IT
Etching on Montval with watermark "Vollard"
Hand Signed in pencil.
One of 260 proofs
Ref. Catalogue Bloch n.135; Baer 195 B.d.;
Belongs to the "Suite Vollard". Édition Ambroise V...
Category
Cubist 1930s Figurative Prints
Materials
Paper, Etching
Ex-Libris - Luigi Servolini - Woodcut by Luigi Servolini - 1930s
Located in Roma, IT
Ex-Libris - Luigi Servolini is an Artwork realized in 1930 by the Italian Artist Luigi Servolini (Livorno, 10 marzo 1906 – Livorno, 21 settembre 1981)
Woodcut colored print on ivory...
Category
Contemporary 1930s Figurative Prints
Materials
Woodcut
Sculpteur, Modèle Accroupi et Tête Sculptée - Etching by Pablo Picasso - 1933
Located in Roma, IT
Sheet dimensions: 70x50 cm.
Hand Signed. Not Numbered. Edition of 250 pieces.
Belongs to the series "Suite Vollard", probably the most popular and appreciated graphic suite by Picass...
Category
Cubist 1930s Figurative Prints
Materials
Etching, Paper
"Sueño y Mentira de Franco" Etching Pair, Edition 116/850, signed
Located in Austin, TX
By Pablo Picasso
Intaglio Etching pair, edition 116/850, Dated 1937
Signed and numbered in pencil
Image size 14" x 18" each
Frame Size: 25.5" X 29"
Entri...
Category
Modern 1930s Figurative Prints
Materials
Intaglio, Etching, Archival Paper
'Spiderboy' — 1930s American Realism, New York City
By James Allen
Located in Myrtle Beach, SC
James Allen, 'Spiderboy', 1937, etching, edition 40, Ryan 86. Signed in pencil. A superb, richly-inked impression, on cream laid paper, with full margins (1 1/4 to 2 7/8 inches). A s...
Category
American Realist 1930s Figurative Prints
Materials
Etching
'Madman's Drum (Plate 41)' — 1930s Graphic Modernism
By Lynd Ward
Located in Myrtle Beach, SC
Lynd Ward, 'Madman's Drum, Plate 41', wood engraving, 1930, edition small. Signed in pencil. A fine, black impression, on off-white tissue-thin Japan paper; the full sheet with margins (1 5/8 to 2 1/2 inches); a small paper blemish in the upper right margin, away from the image, otherwise in excellent condition. Scarce. Matted to museum standards, unframed.
Image size 5 1/2 x 3 3/4 inches (140 x 95 mm); sheet size 9 5/8 x 7 1/8 inches (244 x 181 mm).
From Lynd Ward’s book of illustrations without words, 'Madman’s Drum', Jonathan Cape and Harrison Smith, New York, 1930. Illustrated in 'Storyteller Without Words: The Wood Engravings of Lynd Ward', Harry Abrams, New York, 1974.
Reproduced in 'Storyteller Without Words, the Wood Engravings of Lynd Ward', Harry N. Abrams, New York, 1974.
ABOUT THE ARTIST
Lynd Ward is acknowledged as one of America’s foremost wood engravers and book illustrators of the first half of the twentieth century. His innovative use of narrative printmaking as a stand-alone storytelling vehicle was uniquely successful in reaching a broad audience. The powerful psychological intensity of his work, celebrated for its dynamic design, technical precision, and compelling dramatic content, finds resonance in the literature of Poe, Melville, and Hawthorne. Like these classic American writers, Ward was concerned with the themes of man’s inner struggles and the role of the subconscious in determining his destiny. An artist of social conscience during the Great Depression and World War II, he infused his graphic images with his unique brand of social realism, deftly portraying the problems that challenged the ideals of American society.
The son of a Methodist preacher, Lynd Ward, moved from Chicago to Massachusetts at an early age. He graduated from the Teachers College of Columbia University, New York, in 1926, where he studied illustration and graphic arts. He married May Yonge McNeer in 1936 and left for Europe for their honeymoon in Eastern Europe. After four months, they settled in Leipzig, where Ward studied at the National Academy of Graphic Arts and Bookmaking. Inspired by Belgian expressionist artist Frans Masereel's graphic novel ‘The Sun,’ and another graphic novel by the German artist Otto Nückel, ‘Destiny,’ he determined to create his own "wordless" novel. Upon his return to America, Ward completed his first book, ‘God's Man: A Novel in Woodcuts,’ published in 1929. ‘Gods’ Man’ was a great success for its author and publisher and was reprinted four times in 1930, including a British edition. This book and several which followed it, ‘Madman’s Drum,’ 1930, ‘Wild Pilgrimage...
Category
American Modern 1930s Figurative Prints
Materials
Woodcut
Anatomie de Mon Univers
By André Masson
Located in Wilton, CT
Reprint of Andre Masson's book from 1939. Printed on heavy wove paper. 30 plates of black and white drawings.
Category
Surrealist 1930s Figurative Prints
Materials
Lithograph
'The Connectors' — 1930s American Realism, New York City
By James Allen
Located in Myrtle Beach, SC
James Allen, 'The Connectors', 1934, etching, edition not stated, Ryan 66. Signed in pencil. A superb, richly-inked impression, on handmade, cream laid paper, with margins (1/2 to 1...
Category
American Realist 1930s Figurative Prints
Materials
Etching
Isaiah's Prayer
By Marc Chagall
Located in Fairlawn, OH
Isaiah's Prayer
Etching, c. 1931-1939
Signed in the plate (see photo)
Plate No. 99
From: La Bible. L'Ancien Testament (105 plates)
Edition of 275 unsigned (there were an additional 2...
Category
French School 1930s Figurative Prints
Materials
Etching
Personnages Masqués et Femme Oiseau - Etching by Pablo Picasso - 1934
Located in Roma, IT
Hand Signed. Edition of 99 prints. Plate 24 from "La Suite Vollard".
Catalogue Bloch n.227.
Passepartout included (cm.50x70).
Prov. Private Collection, France.
Category
Cubist 1930s Figurative Prints
Materials
Etching, Paper
LINDY HOP
Located in Portland, ME
Covarrubias, Miguel. LINDY HOP. Lithograph, 1936. AAG edition (usually about 200), with their label preserved and attached to the back of the mat. Unsigned as always. 13 1/8 x 9 1/2...
Category
1930s Figurative Prints
Materials
ABS, Lithograph
Kevin B. O'Callahan, Late Spring (Rochester, NY, area?)
Located in New York, NY
'Late Spring' is in all likelihood picturing the area around O'Callahan's hometown of Rochester, NY, where he lived and spent most of his career. It is signed, titled, and dated, in...
Category
Aesthetic Movement 1930s Figurative Prints
Materials
Intaglio
Deux Femmes Nues - Etching by Pablo Picasso - 1930
Located in Roma, IT
Hand signed in ink. Edition of 125 prints.
Very good condition.
Catalogue Bloch n.132.
Category
Cubist 1930s Figurative Prints
Materials
Etching, Paper
Dors Mon Amour
Located in Irvine, CA
This is an aquatint print by French painter Georges Rouault titled "Dors mon amour" ("Sleep, My Love") (plate facing page 164) from Cirque de l'étoile filante (The Shooting Star Circ...
Category
Expressionist 1930s Figurative Prints
Materials
Aquatint
'A Morning in May' — 1930s Social Realism, New York City
Located in Myrtle Beach, SC
Reginald Marsh, 'A Morning in May', etching, 1936, edition 100 (Whitney, 1969), Sasowsky 169. Unsigned as published; numbered '89/100' in pencil. A superb, richly-inked impression, ...
Category
Ashcan School 1930s Figurative Prints
Materials
Etching
TWO GIRLS
Located in Portland, ME
Soyer, Raphael. TWO GIRLS. Cole 33.
Lithograph, 1934. A proof aside from the edition of 25,
A trial, or working proof before the edition, inscribed in penc...
Category
1930s Figurative Prints
Kevin B. O'Callahan, Butler Fish (also known at Frog Fish)
Located in New York, NY
The title appears in pencil at the left bottom margin, in another hand. The print is monogrammed in the plate at the lower right.
A Rochester native, Kevin O'Callahan studied at the...
Category
Aesthetic Movement 1930s Figurative Prints
Materials
Intaglio
The Cyclops (Ulysses, PL.205)
Located in Greenwich, CT
This etching on paper, 11.75 x 8.25" image size, is signed ‘Henri Matisse’ lower right, numbered lower left, and framed in a beautiful, custom gold-leaf frame. From the edition of 15...
Category
Modern 1930s Figurative Prints
Materials
Etching, Paper
The Circe Episode (Ulysses, PL.203)
Located in Greenwich, CT
This etching on paper, 11.75 x 8.25" image size, is signed ‘Henri Matisse’ lower right, numbered lower left, and framed in a beautiful, custom gold-leaf frame. From the edition of 15...
Category
Modern 1930s Figurative Prints
Materials
Etching, Paper
Pablo Ruiz Picasso Spanish signed limited edition original art print etching
Located in Miami, FL
Pablo Ruiz Picasso (Spain, 1881-1973)
'Sueño y mentira de Franco I', 1937
aquatint, etching on paper
15.2 x 22.4 in. (38.5 x 56.7 cm.)
Editio...
Category
Cubist 1930s Figurative Prints
Materials
Paper, Etching, Aquatint
The Calypso Episode (Ulysses, PL.201)
Located in Greenwich, CT
This etching on paper, 11.75 x 8.25", is signed ‘Henri Matisse’ lower right, numbered lower left, and framed in a beautiful, custom gold-leaf frame. From the edition of 150, numbered...
Category
Modern 1930s Figurative Prints
Materials
Etching, Paper
'Locomotives Watering' — 1930s Social Realism
Located in Myrtle Beach, SC
Reginald Marsh, 'Erie R.R. Locos Watering (Locomotives Watering)', etching, 1934, edition 100 (Whitney, 1969), Sasowsky 155. Unsigned as published; numbered '68/100' in pencil. A su...
Category
Ashcan School 1930s Figurative Prints
Materials
Etching
Hesiod Theogony - Artemis - Original Etching Hand Signed Numbered /50
Located in Paris, FR
Georges Braque (1882-1963)
Hesiod's theogony : Artémis
Original etching, 1932
Hand signed in pencil
Numbered /50 copies
On Hollande vellum size 49 x 38.5 cm (c. 19 x 15 in)
Publishe...
Category
Modern 1930s Figurative Prints
Materials
Etching
Hesiod Theogony - Gaia & Ouranos - Original Etching Hand Signed Numbered /50
Located in Paris, FR
Georges Braque (1882-1963)
Hesiod's theogony : Gaia & Ouranos
Original etching, 1932
Hand signed in pencil
Numbered /50 copies
On Hollande vellum size 49 x 38.5 cm (c. 19 x 15 in)
P...
Category
Modern 1930s Figurative Prints
Materials
Etching
Hesiod Theogony - Pegasus - Original Etching Hand Signed Numbered /50
Located in Paris, FR
Georges Braque (1882-1963)
Hesiod's theogony : Pegasus
Original etching, 1932
Hand signed in pencil
Numbered /50 copies
On Hollande vellum size 49 x 38.5 cm (c. 19 x 15 in)
Publishe...
Category
Modern 1930s Figurative Prints
Materials
Etching
Summer : Surrealist Figures with the Moon - Lithograph, Plate Signed #MOURLOT
By Joan Miró
Located in Paris, FR
Joan MIRO (1893-1983)
Summer : Surrealist Figures with the Moon, 1938
Lithograph in colors
Printed signature in the plate
Printed in Mourlot workshop and published by Teriade for "V...
Category
Modern 1930s Figurative Prints
Materials
Lithograph
Hesiod Theogony - The Divinity and Dove - Original Etching Hand Signed Num /50
Located in Paris, FR
Georges Braque (1882-1963)
Hesiod's theogony : the divinity and the dove
Original etching, 1932
Hand signed in pencil
Numbered /50 copies
On Hollande vellum size 49 x 38.5 cm (c. 19...
Category
Modern 1930s Figurative Prints
Materials
Etching
Ex Libris - Woodcut by Michel Fingesten - 1930s
Located in Roma, IT
Ex Libris is a colored woodcut print created by Michel Fingesten.
Hand Signed on the upper margin.
Good conditions.
Michel Fingesten (1884 - 1943) was a Czech painter and engrav...
Category
Symbolist 1930s Figurative Prints
Materials
Woodcut
Ex Libris - Istvan Traurig - Etching by Michel Fingesten - 1930s
Located in Roma, IT
Ex Libris - Istvan Traurig is a Woodcut print created by Michel Fingesten.
Signed on plate on back. The work is glued on cardboard.
Total dimensions: cm 32x24
Good conditions.
...
Category
Symbolist 1930s Figurative Prints
Materials
Etching
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