1930s Landscape Prints

Héliogravure, collotype vélin paper. Paper Size: 18.86 x 17.91 inches; image size: 11.81 x 11.97 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the f...

James Penney was widely known for his New Yorker covers as well as his paintings and prints. This lithograph of male laborers, Street Pavers, remi...

Héliogravure, collotype, metallic inks on vélin paper. Paper Size: 18.86 x 17.91 inches; image size: 11.06 x 12.17 inches. Inscription: Signed in the plate and unnumbered, as issued....

Etching on vélin de Rives BFK paper. Paper Size: 11.5 x 9 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Lysistrata, 1934. Published by The Limited E...

Héliogravure, collotype, metallic inks on vélin paper. Paper Size: 18.86 x 17.91 inches; image size: 12.48 x 9.69 inches. Inscription: Signed in the plate and unnumbered, as issued. ...

Lithograph and stencil on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, La Leçon d'amour dans un parc, 1933. Published by Éditions...

Les Blés (Wheat Field) Raoul Dufy, French (1877–1953) Date: 1933 Lithograph on Arches, signed and numbered in pencil Edition of 27/200 Size: 16 x 20.5 in. (40.64 x 52.07 cm)

Refinery Scene Lithgrah, c. 1930 Signed in pencil lower right. (see photo) Edition c. 14 Two impressions in the artist's estate. The other impression I sold to Dave and Reba Willia...

Héliogravure, collotype, metallic inks on vélin paper. Paper Size: 18.86 x 17.91 inches; image size: 11.65 x 11.81 inches. Inscription: Signed in the plate and unnumbered, as issued....

Héliogravure, collotype, metallic inks on vélin paper. Paper Size: 18.86 x 17.91 inches; image size: 12.56 x 9.17 inches. Inscription: Signed in the plate and unnumbered, as issued. ...

Héliogravure, collotype, metallic inks on vélin paper. Paper Size: 18.86 x 17.91 inches; image size: 12.24 x 7.6 inches. Inscription: Signed in the plate and unnumbered, as issued. N...

Arms, John Taylor (American 1887-1953). SHADOWS OF VENICE - IL PONTE DI RIALTO, VENEZIA. Etching, 1930. Edition of 140 + 14 Artist's Proofs. 10 x 12 inches (Plate), 11 3/8 x 157/8 in...

Lithograph in colors on vélin de Rives BFK à la forme paper. Paper Size: 9.84 x 11.81 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Alice...

untitled (Fishing Boats, Normandy) Soft Ground Etching, 1930 Signed and dated in pencil by the artist Sealed by the artist Annotated "Paris" Possibly a view of a fishing port in Norm...

Linen-backed original 1939 James Montgomery Flagg vintage poster: You're in Trust; we must protect it from fire. "If we would have forests--we must prevent fires: Maryland Stat...

“My eyes were made to erase all that is ugly”. -Raoul Dufy Raoul Dufy’s depictions for an instant charmer of a "medical book" illustrates the myriad benefits of wine, while being sp...

This piece is an original linoleum block print created and printed by George Raab. The lower margin is titled and signed by the artist in graphite. The lower left has the title. The ...

7.25 x 12.25 inches (sheet), 5 x 11.88 inches (block) Framed 12.63 x 19.50 in Linoleum block print on laid paper

9.75 x 12.63 inches (sheet), 9 x 11.88 inches (block) Framed 20 x 17.25 in linoleum block print on laid paper

Original Authorized Map of the Second BYRD Antarctic Expedition vintage poster map. Printed in 1934 by G.F. Corp. Artist: George Annand. Authentic 1934 Print: This is the genuin...

After Gustav Klimt, Max Eisler #9, Haus Im Garten; aka Forester’s House in Weissenbach II; multi-color collotype after 1914 painting in oil on canvas. GUSTAV KLIMT EINE NACHLESE (GU...

Martin Lewis (1881-1962), Tree, Manhattan, drypoint, 1930, signed in pencil lower right [also signed in the plate lower left]. Reference: McCarron 87, only state; 91 recorded impress...

Tittle, Walter. MANHATTAN MINARETS. Drypoint, 1931. Titled, lower left and signed, lower right. Edition of 75. 14 1/2 x 8 7/8 inches (plate), 17 3/4 x 11 1/8 inches (sheet). In excel...

“My eyes were made to erase all that is ugly”. -Raoul Dufy Raoul Dufy’s depictions for an instant charmer of a "medical book" illustrates the myriad benefits of wine, while being sp...

Lithograph on vélin des Papeteries du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Verve: Revue Artistique et Littéraire, Vo...

In this image, Howard Thomas presents the viewer with a domestic interior. The image is dominated by the figure of a black woman, resting her arm on an ironing board. To the right, the tool of her task dangles a chord above a checker tiled floor. Beyond, though a window, neighboring homes fill the landscape. The careful line-work of the linocut adds a sense of expressionism to the scene, but the image nonetheless falls into the Social Realism that captivated most American artists during the Great Depression. This print was published in 1936 as part of the Wisconsin Artists' Calendar for the year 1937, which included 52 original, hand-made prints – one for each week of the year. 6 x 5 inches, image 10 x 7.13 inches, sheet 12.37 x 12.43 inches, frame Entitled "Monday in Wick Haven" lower left (covered by matting) Inscribed "Linoleum Cut" lower center (covered by matting) Artist name "Howard Thomas" lower right (covered by matting) Framed to conservation standards using 100 percent rag matting and museum glass, all housed in a silver gilded moulding. Quaker-born in Ohio, Thomas trained in the Midwest at Ohio State University and the Chicago Art Institute. He taught in the Art Department of the Milwaukee State Teachers College (now University of Wisconsin-Milwaukee) where he became good friends with Carl Holty, Edward Boerner, Robert von Neumann...

This vintage 1930s black and white lithograph by Arnold Ronnebeck (1885-1947), a prominent Colorado artist from the WPA era, beautifully captures the Grand Lake...

Héliogravure, collotype, metallic inks on vélin paper. Paper Size: 18.86 x 17.91 inches; image size: 11.89 x 12.01 inches. Inscription: Signed in the plate and unnumbered, as issued....

Héliogravure, collotype vélin paper. Paper Size: 18.86 x 17.91 inches; image size: 10.75 x 12.13 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the f...

Original poster: TREKKERS HIER UW ADRES!. Size: 21" x 31.5". Professional acid-free archival linen backing; ready to frame. The basic translation is 'hikers, here is your address...

Jan Charles Vondrous, 'Piazzetta, Venice', color etching, 1930. Signed, dated, and titled in pencil. Signed and dated in the plate, lower right. A fine impression, on cream, laid pap...

"Country Church" is an original linoleum print by Elsa E. Ulbricht. A front facing view of a country church is proudly replicated within this print. Image:7" x 5" Framed: 15.25" x 13.25" Painter, Teacher When she directed The Milwaukee Handicraft Project, Elsa Ulbricht...

Lithograph and stencil on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, La Leçon d'amour dans un parc, 1933. Published by Éditions...

"Conquering The Wilderness" - Lewis and Clark Expedition Original Etching Original 1932 black and white etching titled "Conquering The Wilderness" by Robert Hogg Nisbet (American, ...

Lithograph and stencil on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, La Leçon d'amour dans un parc, 1933. Published by Éditions...

Lithograph in colors on vélin de Rives BFK à la forme paper. Paper Size: 9.84 x 11.81 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Alice...

Martin Lewis (1881-1962, Shadows, Garage at Night, drypoint, 1928, signed in pencil lower right [also signed in the plate lower right]. Reference: McCarron 69, only state, from the t...

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 on vélin de Rives BFK paper. Paper Size: 11.5 x 9 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Lysistrata, 1934. Published by The Limited E...

Jean-Emile Laboureur (1877-1943), Dimanche en Bretagne, etching, 1939, signed in pencil lower left and inscribed “ep d’artite” lower right. Reference: Laboureur 543, second state (of...

If ever there was an image that fit the description of 'Ashcan,' Harry Rein's Competition, made for the NYC WPA, is clearly it! Some impressions have the WPA sstamp, including the o...

Lithograph and stencil on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, La Leçon d'amour dans un parc, 1933. Published by Éditions...

Woodcut print from the Series "Der vreeselijke avonturen vas Scholastica" (The Terrible Adventures of Scholastica). Edition of 300, published by A. J. van Dishoeck. Unsigned, ass i...

Jean-Emile Laboureur (1877-1943), Maisons au Bord de la Mer, etching, 1936, numbered bottom right (26/66) and inscribed in the bottom margin by Suzanne Laboureur (see below). Referen...

Lithograph and stencil on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, La Leçon d'amour dans un parc, 1933. Published by Éditions...

"Road to Cripple Creek, Colo." is an original woodcut print by Gerhardt H. Bakker. Lines full of expression and shape make up every bit of this print, fr...

Lithograph on China hand-made paper by Alexander Kanoldt ( 1881-1939 ), Germany, 1937. Proof copy. Signed and dated lower right: Kanoldt L / 1937. Inscribed lower left: Bergwelt / W...

"Flood Waters" is an original wood engraving by Harold Wescott, It features a tree in the center, with its roots wrapping languidly over a form. High waters rise up from the back. I...

Lithograph and stencil on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, La Leçon d'amour dans un parc, 1933. Published by Éditions...

This original, signed lithograph titled Prospector's Cabin, created circa 1937 by renowned American Modernist artist Archie Musick, is a striking example of WPA-era art. The black-an...

The British Evacuate Boston - 1932 Etching on Paper by Allen Lewis. From the portfolio "The Bicentennial Pageant of George Washington." In this piece George Washington is front and ...

"29th Salon de la Société des Artistes Décorateurs et Salon de la Lumière" depicts a Parisian city scene. Created by Raoul Dufy as the poster for the combination exhibition of works ...

'St. Mark's Church on the Bowery', aquatint with etching, edition not stated but small, 1932. Signed in pencil. Signed in the plate lower left and titled in the plate lower right. A superb, atmospheric impression, on cream wove paper, with full margins (1 1/8 to 2 inches), in excellent condition. Matted to museum standards, unframed. Image size 9 3/4 x 7 3/8 inches (248 x 187 mm); sheet size 13 1/8 x 10 inches (333 x 254 mm). Impressions of this work are held in the collections of the Princeton University Art Museum and the Five College Museums. ABOUT THE ARTIST Born in Vienna, Leon Dolice left a secure position in the family business to pursue his artistic interests. He began his art education in his teens and early twenties when he traveled through Europe to study the works of the Old Masters. He immigrated to America in 1920 and made his home in Manhattan. As a printmaker, he chose as his subjects the architecture, back streets, dock scenes, and other aspects of New York City life that were being overtaken by the modern world. In 1950, learning of the coming demolition of the Third Avenue El, Dolice created a series of Third Avenue and other New York City landmarks that were threatened with extinction. His images from that period provide a record of a New York that has passed into history. During his lifetime, Dolice exhibited throughout Europe and the United States. Retrospectives of his work include a one-man show of his graphic work at Tribeca Gallery, New York; the traveling exhibition ‘Vintage New York’ with the New Rochelle Council on the Arts; and the Hofstra Museum, Hempstead. Dolice's works are in the permanent collections of the Museum of the City of New York, the National Gallery of Art, the New York Historical Society, Georgetown University, the Philadelphia Print Club, and the New York Public Library, as well as private and corporate collections. ABOUT ST. MARKS CHURCH St. Mark's Church in-the-Bowery is a parish of the Episcopal Church located at 131 East 10th Street, at the intersection of Stuyvesant Street and Second Avenue in the East Village neighborhood of Manhattan in New York City. The property has been the site of continuous Christian worship since the mid-17th century, making it New York City's oldest site of continuous religious practice. The structure is the second-oldest church building in Manhattan. In 1651, Petrus Stuyvesant, Director General of New Netherland, purchased land for a bowery or farm from the Dutch West India Company and, by 1660, built a family chapel at the present-day site of St. Mark's Church. Stuyvesant died in 1672 and was interred in a vault under the chapel. Stuyvesant's great-grandson, Petrus "Peter" Stuyvesant, sold the chapel property to the Episcopal Church for $1 in 1793, stipulating that a new chapel be erected to serve Bowery Village, the community which had coalesced around the Stuyvesant family chapel. In 1795, the cornerstone of the present-day St. Mark's Church was laid, and the fieldstone Georgian-style church, built by the architect and mason John McComb Jr., was completed and consecrated on May 9, 1799.[4] Alexander Hamilton provided legal aid in incorporating St. Mark's Church as the first Episcopal parish independent of Trinity Church in New York City. By 1807, the church had as many as two hundred worshipers at its summer services, with 70 during the winter. While the 19th century saw St. Mark's Church grow through its many construction projects, the 20th century was marked by community service and cultural expansion. Today, the rectory houses the Neighborhood Preservation Center, the Greenwich Village Society for Historic Preservation, and the Historic Districts Council, as well as other preservation and community organizations such as the Poetry Project, the Millennium Film Workshop, and the Danspace Project. St Mark's has supported an active artistic community since the 19th century. In 1919, poet Kahlil Gibran was appointed a member of the St. Mark's Arts Committee, and the next year, the two prominent Indian statues, "Aspiration" and "Inspiration" by sculptor Solon Borglum...

Lithograph and stencil on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, La Leçon d'amour dans un parc, 1933. Published by Éditions...

An evening view of lower Manhattan rooftops, looking north towards Times Square and kleig lights in the distance. New York: 1974. Etching on white wove paper, 7 1/8 x 11 15/16 inche...

Windy Night, Stockholm. 1935. Drypoint. Dodgson 457.x. 11 7/8 x 7 5/8 (sheet 15 1/2 x 10 7/8). Edition of 80 in this state (total 93 in 10 states). Illustrated: Guichard, British Etc...

Lithograph on vélin du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition; lithograph by Miro on verso, with signature, date, and title, verso, as issued. ...

.The Passing Freight, Danbury. 1934. Drypoint and sand ground. McCarron 108. 8 7/8 x 14 7/8 (sheet 12 1/7 x 17 5/8). Edition 46 (including 6 trial proofs). A rich, tonal impression p...