1940s Figurative Prints

Lithograph on vélin supérieur paper. Unsigned and unnumbered, as issued. Good condition. Published by Maeght, éditeur, Paris; printed by Mourlot Frères, Paris, January 17, 1947. Note...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Livre du cœur d'Amour épris...

A group of 14 Blackfeet Indians prints created by the artist Winold Reiss. The Great Northern Railway printed and released these prints in c. 1940. This is for the entire group...

Pablo PICASSO Cubist Still Life with a Glass, 1944 Original engraving (printed on letterpress) Printed signature in the plate On heavy paper 32 x 24 cm (c. 12 x 10 in) REFERENCES...

Ian Hugo, 'Together', from the portfolio 'Ten Engravings'. engraving, 1946, edition 50. Signed, dated, titled, and numbered '22/50' in pencil. A fine impression, with delicate overall plate tone, on cream wove paper, the full sheet with wide margins (2 7/8 to 5 1/2 inches), in excellent condition. With the blind stamp 'madeleine-claude jobrack EDITIONS', in the bottom right margin. Matted to museum standards, unframed. Image size 5 7/8 x 4 7/8 inches (149 x 124 mm); sheet size 15 x 11 1/8 inches (381 x 283 mm). Collection: Indianapolis Museum of Art. Ian Hugo originally created "Ten Engravings" in 1945 and the portfolio included a foreword by his partner and collaborator, Anais Nin. In 1978, Hugo republished the portfolio with Madeleine-Claude Jobrack, an American master printmaker who studied under Stanley William Hayter at Atelier 17, Paris, and with Johnny Friedlaender. When Jobrack returned to the States she managed the Robert Blackburn Printmaking Studio in New York before opening her own printing studio, Madeleine-Claude Jobrak Editions. “The sign of the true artist is one who creates a complete universe, invents new plants, new animals, new figures to transfer to us a new vision of the universe in which dream and reality fuse. Ian Hugo's plants have eyes, the birds have the delicacy of dragonflies, their feathers have the shape of fans. Humor is apparent in every gesture. He uses a fine spider web to give a feeling of flight, speed, lightness. The body of a woman reveals the structure of a leaf, a plant. Wings are moving in a world unified by mythological themes. This is an animated world, humorous and levitating, elusive and decorative, which by its unique forms and shapes gives us the sensation of a rebirth, a liberation from the usual, the familiar, a visit to a new planet.” —Anais Nin, from the forward to the portfolio ‘Ten Engravings’ ABOUT THE ARTIST Ian Hugo was born Hugh Parker Guiler in Boston, Massachusetts, on February 15, 1898. His childhood was spent in Puerto Rico—a "tropical paradise," the memory of which stayed with him and surfaced in both his engravings and his films. He attended school in Scotland and graduated from Columbia University where he studied economics and literature. Hugo was working with the National City Bank when he met and married author Anais Nin in 1923. The couple moved to Paris the following year, where Nin's diary and Guiler's artistic aspirations flowered. Guiler feared his business associates would not understand his interests in art and music, let alone those of his wife, so he began a second, creative life as Ian Hugo. Ian and Anais moved to New York in 1939. The following year he took up engraving and etching, working at Stanley William Hayter’s experimental printmaking workshop Atelier 17, established at the New School for Social Research. Hugo began producing surreal images often used to illustrate Nin's books. For Nin, his unwavering love and financial support were indispensable—Hugo was the "fixed center, core... my home, my refuge" (Sept. 16, 1937, Nearer the Moon, The Unexpurgated Diary of Anais Nin, 1937-!939). Fictionalized portraits of Higo and Nin appear in Philip Kaufman's 1990 film drama of a literary love triangle, Henry & June. Inspired by comments that viewers saw motion in his engravings, Hugo took up filmmaking. He asked the avant-garde filmmaker Sasha Hammid for instruction but was told, "Use the camera yourself, make your own mistakes, make your own style." Hugo embarked on an exploration of the film medium as a vehicle to delve into his dreams, his unconscious, and his memories. Without a specific plan, He would collect resonant images, then reorder or superimpose them, seeking a sense of self-connection through the poetic juxtapositions he created. These intuitive explorations resembled the mystical evocations of his engravings, which he described in 1946 as "hieroglyphs of a language in which our unconscious is trying to convey important, urgent messages." In the underwater world of his film ‘Bells of Atlantis,’ the light originates from the world above the surface; it is otherworldly, out of place, yet essential. In ‘Jazz of Lights,’ the street lights of Times Square become in Nin's words, "an ephemeral flow of sensations." This flow that she also calls "phantasmagorical" had a crucial impact on Stan Brakhage, who said that without Jazz of Lights (1954), "there would have been no Anticipation of the Night" his autobiographical film which ushered in a new era of experimental modernist filmmaking. Hugo lived the last two decades of his life in a New York apartment high above street level. In the evenings, surrounded by an electrically illuminated man...

Federico Castellon, 'Body and Soul', 1938, lithograph, edition 30, Freundlich 3. Signed in pencil. Signed in the stone, lower left. A fine, richly-inked, atmospheric impression on cr...

Ian Hugo, 'Encircled', engraving, 1946, edition 50. Signed, dated, titled, and numbered '5/50' in pencil. With the blind stamp 'madeleine-claude jobrack EDIT...

Lithograph on vélin papier pur chiffon paper. Paper Size: 10 x 7.375 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Les chants de Maldoror, illustrat...

Woodcut print realized by Escher in 1948. Hand signed in pencil and annotated in pencil lower right "eigen druck". Monogrammed and dated in the plate "MCE/X-'48 upper right. One o...

Héliogravure on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, De la couleur,...

Lithograph and stencil on vélin pur fil paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, La Varende, Rodin, 1944. Published by Éditions ...

Lithograph on vélin pur fil paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Henri Matisse, Dessins, Thèmes et Variations, 19...

Hand Signed. Printed in black ink, and part of a limited edition thought to be of 400 specimen. Image Dimensions : 51 x 20 cm  Reference: Bool n. 352 Locher 146.  Very good conditio...

Original Santa Fe The Chief Way vintage railroad travel poster. Archival linen backed in very fine condition, ready to frame. Most of the Santa Fe Railway posters feature American Indians, but this poster features the big boss, The Chief! The poster has about a 1" white border around the entire image, the linen backing is not counted in the poster's measurement. Several of the trains were named "Chief" which includes the San Francisco Chief, Texan Chief, Kansas City Chief...

Original “The 3rd Man”, 1949, linen-backed vintage one-sheet movie poster "The 3rd Man". NSS: # 49/452. Excellent condition with restored original fold m...

Lithograph and stencil on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Cahiers d'Art N°24, 1949. Published and printed by Éditions des Cahi...

DAVID ALFARO SIQUEIROS (1896 1974) GUARDIAN OF THE PEACE c. 1945 Lithograph from an unknown edition size. Signed and dated in pencil and annotated E / E (Edition Especial). Image 11...

Medium: Lithograph and stencil on vélin paper Year: 1945 Paper Size: 13 x 17 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Degas, Ten Balle...

Original poster: Save Freedom of Worship (S) Artist: Normal Rockwell. Archival linen backed. Original fold marks touched up at the time of b...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Catalogue raisonné reference: Matisse, ...

Lithograph on vélin paper. Paper size: 9.25 x 12.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur,...

Lithograph in five colors on vélin supérieur paper. Unsigned and unnumbered, as issued. Good condition. Published by Maeght, éditeur, Paris; printed by Mourlot Frères, Paris, January...

Behold the original lithographic Petty Pin-up, a unique vertical-format piece. The see-through bathing suit she wears seems to make her glow, especially with her red hair peeking fro...

Anteater is an original artwork realized by the french artist Jean Lurçat (1892 Bruyeres - 1966 St.-Paul-de-Vence) Lithograph print, mid-20th century. Very good conditions. Je...

Marie LAURENCIN Rider and dancer, 1949 Color etching Printed signature in the plate On Arches vellum 38 x 28 cm (c. 15 x 11in) INFORMATION : Created by Laurencin and engraved by Lo...

Zincograph on Vélin Bouffant paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Non Vouloir, 1942. Published by Éditions Jeanne Bucher, Paris; printed...

Les Ames mortes (by N. Gogol) is a very rare suite of etchings realized by Marc Chagall (1887-1985). Complete set of 96 etchings hors-texte and 11 etched vignettes en-texte for the ...

Artist: Pablo Picasso Title: Square Head of a Man (Plate XXXI) Portfolio: Carmen Medium: Etching on Montval wove paper Year: 1949 Edition: 32/289 Frame Size: 21" x 18" Sheet Size: 13...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Catalogue raisonné reference: Matisse, ...

This listing is for the one Silkscreen serigraph piece listed here. Mexico City, 1945. First edition. plate signed, limited edition of 1000, these serigraph plates depict various types of traditional and folk art indigenous clothing...

Bull is an original artwork realized by the french artist Jean Lurçat (1892 Bruyeres - 1966 St.-Paul-de-Vence) Lithograph print, mid-20th century. Very good conditions. Jean L...

Genre: Brazilian Art Deco, African Diaspora Bahian Carnival Subject: Abstract Medium: Print Surface: Paper Country: Brazil Dimensions of overall paper are listed. This is from a series of work he did in the 1940's, we sold one called Ritmo Negro, they are about Afro-Brazilian jazz, dance and music. Odetto Guersoni was born in the city of Jaboticabal, State of São Paulo, in 1924. From 1936 to 1941 he attended the Liceu de Artes de Ofícios in São Paulo, beginning his artistic career in 1945, when he exhibited paintings in the Hall of the Plastic Artists Union . Two years later he was part of the collective group of 19, alongside Aldemir, Charoux, Otavio Araújo, Grassmann, Maria Leontina and several other artists that time would make famous. He then practiced a figurative painting of accentuated Expressionist lauds, characterized by deformation and coloring, raw and Satirical- as, moreover, so many of his fellow exhibitors at the time. As a French government scholar, Odette Guerzoni went to Paris in 1947 and the following year took part in the Peintres et Graveurs Etrangers and Art Libre exhibitions. Student of engraving by Renê Cottet, gradually transformed this expressive medium into his favorite, to the detriment of painting, which he practically abandoned soon after. In 1947, he participated in the 19 Painters exhibition at the Prestes Maia Gallery together with Lothar Charoux, Maria Leontina,Grassmann, Aldemir Martins, Luiz Sacilotto and hiró. Guersoni was awarded a scholarship by the French government, and traveled to Paris, where he began work in engraving. Back in Brazil, in 1951, he founded the Art Workshop, in São Paulo. In 1954, he returned to Europe for a year, financed by the International Labor Organization (ILO). In Geneva, he studied engraving with René Cottet (1902 - 1992) and worked in Stanley william Hayter's studio, Atelier 17, in Paris (1901 - 1988). From 1956 to 1957, he became director of the Union of Plastic Artists of São Paulo. From 1960, he attended, as a trainee, some art schools in the United States and Japan such as The New York School of Printing and Osaka University. In 1971, also in Japan, he attended the workshop of I. Jokuriti. Two years later, he was voted Best Recorder of the Year by the Paulista Association of Art Critics - APCA. He took part in a special room at the Ibero-American Biennial in Montevideo in 1983. The Pinacoteca do Estado de São Paulo - Pesp presents a retrospective of his work in 1994. Odetto Guersoni explores the wide spectrum of possibilities of the engraving. In addition to using techniques such as metal etching, lithograph, serigraph, linocut and, especially, woodcut he developed, in the 1950s, the philigraphy, in which the forms he developed gained points of embroidery made by Bonadei (1906 - 1974) . And, in the 1960s, the plastigraphy, in which he makes engravings on pasty surfaces, obtained from gypsum or other soft material. In the 1970s, technical investigations were associated with pictographic, ideographic, archaic symbol searches, Brazilian cave paintings and plant forms. The drawings are reduced to stylized, geometric shapes and transformed into abstract graphic elements. The artist works with few matrices, which, organized in rectangles, squares or circles, become modules to be combined. Guersoni juxtaposes them, adds, changes colors, and thereby composes colorful mandalas and structural geometries. Based on concise compositions, it produces color vibrations through optical illusions. In many of his woodcut works of the 1980s he uses smooth wood, knives, saws, gouges, punches, avoiding the natural textures of wood. In printing, it leaves the vibrant color and employs dosed inks with colorless masses, obtaining transparencies by superpositions. New journeys of study and specialization in engraving techniques took him in 1954 to Switzerland, 1960 to the United States, and in 1966 to Germany and Austria. Today, after having performed more than 40 individuals including 16 abroad and having participated in more than 50 collectives in several countries, Guersoni is considered one of the most notable Brazilian engravers. Conquered awards in several shows. CHRONOLOGY Individual exhibitions 1946 - Sao Paulo SP - 10th Salon of the Artists' Union, at the Prestes Maia Gallery 1947 - São Paulo SP - 19 Painters, at the Prestes Maia Gallery 1948 - Paris France - Peintres et Graveurs Etrangers at the École des Beaux-Arts 1949 - São Paulo SP - 13th Salon of the Artists' Union, at the Prestes Maia Gallery 1951 - São Paulo SP - 1st Paulista Salon of Modern Art, at Prestes Maia Gallery - silver medal 1953 - São Paulo SP - 2nd International Biennial of São Paulo, at MAM / SP 1954 - São Paulo SP - 3rd Paulista Salon of Modern Art, in the Prestes Maia Gallery 1955 - Rio de Janeiro RJ - 4th National Salon of Modern Art 1955 - Salvador BA - 5th Baiano Salon of Fine Arts, in Belvedere da Sé - honorable mention 1962 - São Paulo SP - Leirner Prize for Contemporary Art at the Folha Art Gallery - 1st printing award 1963 - Curitiba PR - 20th Salão Paranaense de Belas Artes, at the Public Library of Paraná 1963 - Rio de Janeiro RJ - Individual, no MAM / RJ 1968 - Bradford England - First International Print Biennale 1970 - São Paulo SP - Antonio Henrique Amaral, Odetto Guersoni, Tomie Ohtake, Pedro Tort and Gerda Brentani, in the Alberto Bonfiglioli Gallery 1971 - São Paulo SP - 11th International Biennial of São Paulo, at the Biennial Foundation - acquisition award 1973 - Punta del Este Uruguay - 1st Engraving Meeting of the Prata Basin Countries - International Prize 1977 - São Paulo SP - The Groups: the 40's, at the Lasar Segall Museum 1982 - São Paulo SP - Ismenia Coaracy, Odetto Guersoni and Alice Brill...

Lithograph on wove paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: Executed in 1949 and issued as the frontispiece of the Picasso Lithograph...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 8.5 x 6.75 inches Inscription: Unsigned and unnumbered, as issued Notes: From the ...

Image dimensions: 23.5 x 27.5 cm. Scarabei in combattimento (Fighting Beetles) is an original artwork realized by the great Italian poet, artist, and engraver Luigi Bartolini in 19...

Lithograph on vélin paper. Paper size: 12.25 x 9.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur,...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Kathe Kollwitz, Ten Lithographs. Published by Henry C. Kleemann and...

Image dimensions: 22.5 x 34.7 cm. Uccellini imbalsamati is an original artwork realized by the Italian artist and poet Luigi Bartolini in 1943. Original etching on paper.  Signed ...

Bold lithograph titled "Bread" by Kathe Kollwitz (German, 1867-1945). This piece is one of the Lithographic reproductions of the original lithographs, plate 2 from a series of 10, pr...

THOMAS HART BENTON (1889-1975) INSTRUCTION 1940 (Fath 41) Lithograph, signed edition of 250 as published by Associated American Artists. 10 ¼” x 12 ¼”. Full margins, deckle edges....

Title: Original 1943 WWII Propaganda Poster - "Americans Will Always Fight for Liberty" - Authentic U.S. Government Issue. Archival linen-backed with the original US Government-issue...

Image dimensions: 17.4 x 23.5 cm. Le marocchine (Maurina e sua sorella) is an original artwork realized by Luigi Bartolini in 1944. Original etching and China ink on paper. Titled, dated and signed on plate on the lower central: "Maurina 1944 14 giugno L. Bartolini". Titled, dated, numbered and hand-signed in pencil at the bottom: "Le marocchine 1944 Es. 9/30 Luigi Bartolini". Excellent conditions. Other titles of the work: Maurina; Maurina e sua sorella; Le marocchine (Ragazze da marocchini). The work is also present in the book Arthur Rimbaud, Une saison en enfer - De Luigi, Rome, 1943. Luigi Bartolini Cupramontana (Ancona), 1892 – Rome 1963 An accomplished Twentieth Century Italian engraver, painter, writer, art critic and engraver. He spent his early years living in Rome, Siena, and Florence and was professionally formed through university courses in art and medicine, museums, and the Academy Belle Arti. He begins to study art in 1912 with a special preference for Goya, Rembrandt, and Fattori. His success as an engraver arrives in 1924 with his exhibitions at Bragaglia’s House of Art and Casa Palazzi di Roma (70 etchings). In 1925 he participates in the II Roman Biennial and then in the Venice Biennial from 1928 to 1936. He is considered, along with Morandi, the greatest Italian engraver. His expositive work continues with intensity in the post-war period with one-man exhibitions in both Italy and abroad. His last one-man exhibition takes place at the XXXI Venice Biennial and at the National Chalcography in Rome in 1962. Bartolini lives through his era in complete liberty, dedicating himself to painting, to art criticism, to literature and teaching. This intellectual and artistic autonomy is well reflected in his engravings and it is exactly because of this characteristic of intellectual autonomy that he has never really belonged to the Scuola Romana although he was very attached to it because he frequented the Roman environment and it’s artists who he would often exhibit with. His literary production is gathered the volumes Polemiche (1940), Credo d’artista (1945), Il Fallimento della Pittura (1948) and Poesie 1911-1963(1964). As a critic, he collaborates with numerous magazines such as “Il Selvaggio”, “Quadrivio”, “La Tribuna”, “L’Ambrosiano” etc. After the war, “Bicycle Thieves...

Lithograph on vélin paper. Paper size: 12.25 x 9.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur, 1948. Publ...

Lithograph on vélin paper. Paper size: 12.25 x 9.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur, 1948. Publ...

The Singing Of The Cart is an artwork realized after the Italian artist  Renato Guttuso  (Bagheria, 1911 – Rome, 1987) in 1947. Phototype print..  Good condition. Italian title on...

Medium: Lithograph and stencil on vélin paper Year: 1945 Paper Size: 17 x 13 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Degas, Ten Balle...

Medium: Lithograph and stencil on vélin paper Year: 1945 Paper Size: 17 x 13 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Degas, Ten Balle...

Medium: Lithograph and stencil on vélin paper Year: 1945 Paper Size: 13 x 17 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Degas, Ten Balle...

Lithograph on vélin paper. Paper size: 12.25 x 9.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur,...

Lithograph on vélin paper. Paper size: 9.25 x 12.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur,...

Lithograph on vélin paper. Paper size: 9.25 x 12.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur, 1948. Publ...

'Tropical Wash Day', aquatint, edition 100, 1946. Signed in pencil. Signed and dated in the plate, lower left. A superb, richly-inked impression, on heavy cream wove paper, with full...

Bold print of "Death Takes the Children" by Kathe Kollwitz (German, 1867-1945). This piece is one of the Lithographic reproductions of the original lithographs, plate 9 from a series...

Lithograph on vélin de Lana a la forme paper. Inscription: signed in pencil and unnumbered, as issued. Good condition. Notes: From the folio, Jules Romains, de l'academie Française, ...

Packard, Emmy Lou (American, 1914 - 1998). WOMAN DRAWING. Color Woodcut, not dated. Edition size not known. Signed in pencil. 18 1/16" x 14 1/8" inches (...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size 8.5 x 6.375 inches Inscription: Unsigned and unnumbered, as issued Notes: From the ...

Lithograph on vélin paper. Paper size: 12.25 x 9.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur, 1948. Publ...

Lithograph on vélin papier pur chiffon paper. Paper Size: 10 x 7.375 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Les chants de Maldoror, illustrat...

Lithograph on vélin paper. Paper size: 12.25 x 9.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur,...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 6.25 x 4.75 inches Inscription: Unsigned and unnumbered, as issued Notes: From the...