1940s Landscape Prints

Etching on vélin du Lana Papiers Spéciaux pure rag paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Du Cubisme, 1947. Published by Compagnie Français...

Figurative landscape capturing dock workers' afternoon break by John Theodore Edward Stoll (b. Germany; 1889, d. California; 1974). Signed "John Stoll" lower right. Titled "Drowsy Bu...

Etching on Rives BFK paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Alternance, 1946. Published by Le Gerbier, Paris; printed by atelier Quesnevill...

Engraving and Zincograph on vélin Lafuma-Navarre paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, La Chèvre-Feuille, 1943. Published b...

Lithograph and stencil on vélin Foreign Affairs paper mounted on Foreign Affairs museum board, as issued . Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Édouard Manet, Letters with Aquarelles, 1944. Published by Pantheon Books, New York; rendered and printed by Raymond and...

Lithograph and stencil on vélin Foreign Affairs paper mounted on Foreign Affairs museum board, as issued . Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, ...

Lithograph on vélin d’Arches paper, mounted on vélin d’Arches backing sheet, as issued. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Corres...

Drypoint on vélin du Lana Papiers Spéciaux pure rag paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Du Cubisme, 1947. Published by Compagnie Françai...

Ethiopian Churches is a modern artwork realized by Lino Bianchi Barriviera in 1948. Black and white etching. Signed and dated on plate. Plate n.59 (as reported in the higher margi...

Original OUR AMERICA TRANSPORTATION #4, horizontal vintage WWII time frame Transportation creates new wonders. Professional acid-free archival linen backed mint condition. This #4 for Transportation has two variations produced by Coca-Cola to feature the future of modern air travel. This is a rare variation of the Coca-Cola Our America transportation series. This poster #4 for transportation is the only Coca-Cola Our America poster that had two different versions. This poster is in excellent condition. The initially issued fold narks were flattened, and the touch-up work is exceptionally well done. So well done, you would have to look to find them! As mint as this poster can be! A futuristic plane design is shown as "transportation creates new wonders' as the double-decker plane with lower and upper passenger loading. You can stop and drop off passengers directly at the plane from your car! You can arrive by boat or water taxi or by using the new suspended freeways. The scene has semi-delivery trucks driving directly to the loading bays. The airplane engines...

Admiring the Original "Le Puy En - Velay" Vintage Poster The exquisite vintage poster for the old city of Le Puy En - Velay has inspired many art aficionados. ...

Original SPAIN; vintage European antique travel poster. Size: 24.5" 38.25". Year: 1943. Artist: Delpy. Archival linen-backed vintage lithograph, ready to frame. Print...

Lithograph on vélin d’Arches paper, mounted on vélin d’Arches backing sheet, as issued. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Corres...

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...

Lithograph and stencil on vélin Foreign Affairs paper mounted on Foreign Affairs museum board, as issued . Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, ...

Lithograph and stencil on vélin Foreign Affairs paper mounted on Foreign Affairs museum board, as issued . Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, ...

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...

Original Avenge December 7th vintage poster. Linen backed; excellent condition. Artist: Bernard Perlin. Office of War Information, Washington, D.C., U.S. Government Printing Office: 1942-O-491978 Dramatic original World War II poster depicting a sailor with his fist raised, standing above a scene of an exploding battleship, with the words “Avenge December 7” in red across the middle of the poster. The striking image on OWI “Poster No. 15,” memorializing the events of December 7, 1941, was created by artist Bernard Perlin. U. S. Government Printing Office. Year: 1942 As a Life Magazine war art correspondent living in Europe during the 1940s and 1950s, Perlin continued to document social change uniquely. An American painter primarily known for creating many American posters during WWII and for magic realism...

Lithograph and stencil on vélin Foreign Affairs paper mounted on Foreign Affairs museum board, as issued . Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Édouard Manet, Letters with Aquarelles, 1944. Published by Pantheon Books, New York; rendered and printed by Raymond and...

Woodcut on vélin Utopian paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Gauguin, A portfolio of 12 color woodblocks, Paul Gauguin, French, 1848-19...

Original World War II poster: NEXT!. 6th War Loan. Original World War 2 government issued poster. Linen backed with original fold marks restored. T...

Lithograph and stencil on vélin Foreign Affairs paper mounted on Foreign Affairs museum board, as issued . Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Édouard Manet, Letters with Aquarelles, 1944. Published by Pantheon Books, New York; rendered and printed by Raymond and...

Lithograph on vélin d’Arches paper. Signed in pencil and unnumbered, as issued. Good condition. Notes: From the folio, Jacques Villon, Huit Lithographies Originales, 1962. Published ...

Lithograph and stencil on vélin Foreign Affairs paper mounted on Foreign Affairs museum board, as issued . Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, ...

Woodcut on vélin Utopian paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Gauguin, A portfolio of 12 color woodblocks, Paul Gauguin, French, 1848-1903 from the collection of the Museum Of Fine Arts, Boston, 1946. Rendered by Albert Carman (1899-1949); published the Museum Of Fine Arts, Boston and The Studio Publications, Inc., New York and London; printed by Holme Press Inc., New York, in an edition of MMMD. Excerpted from the folio, Paul Gauguin and Emil Bernard at Pont-Aven, Brittany, in 1888, each made a bas-relief, wooden panel to decorate a piece of furniture for a friend. In order to keep a record of their designs, a few inked impressions were made on paper. The illustration at left is a reproduction of a print which is possibly one of the above mentioned. It is further possible that this experiment later gave Gauguin the idea of making woodcuts. Just as his work in painting expressed a revolt against the overemphasis on factual representation of the nineteenth century in favor of decorative pattern and color, so also his woodcuts leaned strongly to the same side of the balance. Ten of the cuts reproduced (all excepting Soyez Amoureuses and Changement de Residence), which constitute the whole of his best known series, were made at Pont-Aven beginning in the fall of 1894, after Gauguin's return from his first trip to Tahiti and after he broke his ankle. They were at first roughly cut with a common carpenter's gouge, and the flat surfaces sandpapered and engraved with a sharp in-strument, perhaps an engraver's burin. A few trial proofs were printed in black ink only. Then the hollows were deepened with a woodcutter's gouge and highlights were added. An edition of thirty to fifty impressions of each subject, with the addition of color blocks (one, two or three), was made by Louis Roy...

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 ...

Engraving and Zincograph on vélin Lafuma-Navarre paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, La Chèvre-Feuille, 1943. Published b...

Printed in 1943, by the U.S. Government Printing Office for the U.S. Department of Agriculture Forest Service. The poster features the beloved Disney characters, Bambi (deer), Thumper (rabbit), and Flower (skunk) in wide-eyed shock leaning towards fear. With the slogan "Please, Mister, don't be careless" the poster is designed to tug at the heartstrings of the viewer and make them consider what actions they could take in their own lives to prevent forest fires. Poster: 20" x 14 1/4" Frame: 30" x 22 1/2" Framed to conservation standards with a 100% cotton fiber matboard border and UV clear glass that filters 99% of UV Rays. UV Rays can be especially damaging and cause fading to the inks used in poster making. All of these features are housed in a contemporary natural wood frame. Smokey Bear...

Lithograph and stencil on vélin Foreign Affairs paper mounted on Foreign Affairs museum board, as issued . Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, ...

Aquatint, Etching on vélin du Lana Papiers Spéciaux pure rag paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Du Cubisme, 1947. Published by Compagni...

Lithograph and stencil on vélin Foreign Affairs paper mounted on Foreign Affairs museum board, as issued . Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Édouard Manet, Letters with Aquarelles, 1944. Published by Pantheon Books, New York; rendered and printed by Raymond and...

Lithograph on vélin du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Verve: Revue Artistique et Littéraire, Vol. IV, N° 13, November 1945...

Lithograph on vélin d’Arches paper. Signed in pencil and unnumbered, as issued. Good condition. Notes: From the folio, Jacques Villon, Huit Lithographies Originales, 1962. Published ...

Lithograph and stencil on vélin Foreign Affairs paper mounted on Foreign Affairs museum board, as issued . Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, ...

Norma Bassett Hall (1889 - 1957) Original Serigraph, created circa 1940's. Pencil titled lower left “Sanctuario.” Pencil signed lower right. Measures 12 x 15 ½ inches. Sheet size is 14 5/8 x 17 3/4 inches. In very good condition consistent with age. The woodblock presents in a 2 ply 20 x 24 inch museum mat. Most remembered as a printmaker and one of the founding members of the Prairie Printmakers, Norma Bassett Hall was the only woman member of that group and the only one to establish a reputation exclusively with color prints. She was born in Oregon, and took her first art lessons at the School of the Portland Art Association. In 1915, she enrolled at the Art Institute of Chicago, graduating in 1918. There she met her future husband, Arthur William Hall, who was also a student there. Her interest in woodblock printmaking dated from 1922 when she was on a Cannon Beach, Oregon honeymoon trip with Arthur. The couple decided to make a pictorial visit of their trip by making block prints. Around 1926, Norma learned the Japanese woodcut print method on rice paper involving transparent watercolors from Mable Royds. Using this approach exclusively, Hall printed with as many as six or seven colors, each requiring a separate handcut woodblock. In 1942, the couple moved to Santa Fe, New Mexico where her reputation was established for her block prints of the Southwest, especially New Mexico. After a short time, the couple settled in Alcalde, New Mexico where the couple continued painting and also opened a summer art school. She began to devote a lot of time to serigraphs of local scenes and also did watercolors. The subjects of the totality of her work reflect the wide travels of the Halls and include Kansas-farm scenes, Oregon landscapes, European scenes and New Mexico pueblos.

Original lithograph: POINT BLEU RADIO. Artist: Pierre. Baudouin (1921 - 1971). Size is 31" x 47". Archival linen backed and ready to frame. Cleaned and restored rare original French antique...

Trying my best to decipher the name I get Leo Tanenbaum. Well, (Sergeant) Sgt. Leo Tanenbaum. Sorry that I haven't been able to find a mid-century artist with this name. It's such an...

Jacques Villon Surrealist Mountain, 1946 Original etching Printed signature in the plate On BFK Rives vellum, 25 x 32,5 cm (c. 9,8 x 12,7 inch) Edition limited to 300 copies (unnumb...

Lithograph on vélin du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Verve: Revue Artistique et Littéraire, Vol. II, N° 8, 19...

Medium: Lithograph and stencil on vélin paper Year: 1946 Paper Size: 18.75 x 12.625 inches Inscription: Signed in the plate and unnumbered, as issued Catalogue raisonné reference: Or...

Animals is an original artwork realized by Jean Lurçat (1892 Bruyeres - 1966 St.-Paul-de-Vence) . Lithograph print, mid-20th Century. Perfect conditions. Jean Lurçat (1892-1966) ...

Medium: Collotype and lithograph on vélin gloss finish paper (to resemble the finish of ceramic), archivally hinged on vélin paper Year: 1948 Paper Size: 11.25 x 15 inches Catalogue ...

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...

The Golden Gate Lithograph on wove paper watermarked GC, 1940 Signed in pencil by the artist (see photo) Publisher: Associated American Artists Edition: 189, unnumbered The image depicts The Golden Gate Bridge which connects San Francisco and Marin County, California References And Exhibitions: Illustrated: Adams, The Sensuous Life of Adolf Dehn, Fig. 13.17, page 324 Reference: L & O 325 AAA Index 391 Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs. In many ways Dehn’s later artistic achievement was clearly a reaction against the grinding rural poverty of his childhood. After graduating from high school in 1914 at the age of 19—an age not unusual in farming communities at the time, where school attendance was often irregular—Dehn attended the Minneapolis School of Art from 1914 to 1917, whose character followed strongly reflected that of its director, Munich-trained Robert Kohler, an artistic conservative but a social radical. There Dehn joined a group of students who went on to nationally significant careers, including Wanda Gag (later author of best-selling children’s books); John Flanagan (a sculptor notable for his use of direct carving) Harry Gottlieb (a notable social realist and member of the Woodstock Art Colony), Elizabeth Olds (a printmaker and administrator for the WPA), Arnold Blanch (landscape, still-life and figure painter, and member of the Woodstock group), Lucille Lunquist, later Lucille Blanch (also a gifted painter and founder of the Woodstock art colony), and Johan Egilrud (who stayed in Minneapolis and became a journalist and poet). Adolf became particularly close to Wanda Gag (1893-1946), with whom he established an intense but platonic relationship. Two years older than he, Gag was the daughter of a Bohemian artist and decorator, Anton Gag, who had died in 1908. After her husband died, Wanda’s mother, Lizzi Gag, became a helpless invalid, so Wanda was entrusted with the task of raising and financially supporting her six younger siblings. This endowed her with toughness and an independent streak, but nonetheless, when she met Dehn, Wanda was Victorian and conventional in her artistic taste and social values. Dehn was more socially radical, and introduced her to radical ideas about politics and free love, as well as to socialist publications such as The Masses and The Appeal to Reason. Never very interested in oil painting, in Minneapolis Dehn focused on caricature and illustration--often of a humorous or politically radical character. In 1917 both Dehn and Wanda won scholarships to attend the Art Students League, and consequently, in the fall of that year both moved to New York. Dehn’s art education, however, ended in the summer of 1918, shortly after the United States entered World War I, when he was drafted to serve in the U. S. Army. Unwilling to fight, he applied for status as a conscientious objector, but was first imprisoned, then segregated in semi-imprisonment with other Pacifists, until the war ended. The abuse he suffered at this time may well explain his later withdrawal from taking political stands or making art of an overtly political nature. After his release from the army, Dehn returned to New York where he fell under the spell of the radical cartoonist Boardman Robinson and produced his first lithographs. He also finally consummated his sexual relationship with Wanda Gag. The Years in Europe: 1922-1929 In September of 1921, however, he abruptly departed for Europe, arriving in Paris and then moving on to Vienna. There in the winter of 1922 he fell in love with a Russian dancer, Mura Zipperovitch, ending his seven-year relationship with Wanda Gag. He and Mura were married in 1926. It was also in Vienna that he produced his first notable artistic work. Influenced by European artists such as Jules Pascin and Georg Grosz, Dehn began producing drawings of people in cafes, streets, and parks, which while mostly executed in his studio, were based on spontaneous life studies and have an expressive, sometimes almost childishly wandering quality of line. The mixture of sophistication and naiveté in these drawings was new to American audiences, as was the raciness of their subject matter, which often featured pleasure-seekers, prostitutes or scenes of sexual dalliance, presented with a strong element of caricature. Some of these drawings contain an element of social criticism, reminiscent of that found in the work of George Grosz, although Dehn’s work tended to focus on humorous commentary rather than savagely attacking his subjects or making a partisan political statement. Many Americans, including some who had originally been supporters of Dehn such as Boardman Robinson, were shocked by these European drawings, although George Grocz (who became a friend of the artist in this period) admired them, and recognized that Dehn could also bring a new vision to America subject matter. As he told Dehn: “You will do things in America which haven’t been done, which need to be done, which only you can do—as far at least as I know America.” A key factor in Dehn’s artistic evolution at this time was his association with Scofield Thayer...

"Landscape" is an original drawing in watercolor on cardboard, realized in 1942 by Jean Delpech (1916-1988). The state of preservation of the artwork is good with some ripping on l...

Landscape is an original lithograph realized in the 1946 by Raffaele De Grada. The State of preservation is very good with very small folding along the margi...

Signed lower right, outside of design, 'Guy Maccoy' (American, 1904-1981), dated 1942 and titled, lower left, 'Gray Landscape'. Additionally stamped, verso,...

Medium: Lithograph on vélin paper Year: 1948 Paper Size: 16.54 x 11.81 inches Inscription: Inscription: Unsigned and unnumbered, as issued Notes: From the album, Carnet de dessins de...

Hand signed and dated. Signed on plate. Artist's proof. Very good conditions. Passepartout included : 49 x 34 cm Image Dimensions : 10 x 13 cm This artwork is shipped from Italy. Un...

Medium: Collotype and lithograph on vélin gloss finish paper (to resemble the finish of ceramic), archivally hinged on vélin paper Year: 1948 Paper Size: 11.25 x 15 inches Catalogue ...

Kawase Hasui Rain at Yasuniwa (Nagano), 1946 woodcut in colours Signed on the block, sealed, titled and dated in ink Publisher: Shozaburo Watanabe, with his 6mm seal The first state ...

Medium: Lithograph and stencil on vélin paper Year: 1946 Paper Size: 17 x 13 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, TLautrec, 1946. ...

Medium: Lithograph and stencil on vélin paper Year: 1946 Paper Size: 18.75 x 12.625 inches Inscription: Signed in the plate and unnumbered, as issued Catalogue raisonné reference: Or...

"Cote Basque" is an original lithograph of the Basque region of France created by Vecoux for the Societe Nationale des Chemis de fer Francais, the French N...

"Skiing Near Holy Hill" is an original silkscreen print by Schomer Lichtner. The artist initials are lower right, and the title is along the lower edge. This print depicts people skiing near Holy Hill, Wisconsin. The artist used a muted blue, a deep and dark purple, and accents of red to create this piece. 4 7/8" x 6 7/8" art 11 7/8" x 13 7/8" frame Milwaukee artist, Schomer Lichtner passed away on May 9, 2006 at the age of 101. He continued to amaze and create with his whimsical paintings of ballerinas and cows. He and his late wife Ruth Grotenrath, both well-known Wisconsin artists, began their prolific careers as muralists for WPA projects, primarily post offices. Schomer Lichtner was well known for his whimsical cows and ballerinas, such as his "Ballerina Dancing on Cow" sculpture below. The late James Auer, art critic for the Milwaukee Journal Sentinel referred to Lichtner as the artist laureate of Milwaukee, Wisconsin. He was the official artist of the Milwaukee Ballet. Lichtner also painted murals for industry and private clients. Schomer was a printmaker and produced block prints, lithographs, and serigraph prints. His casein (paint made from dairy products) and acrylic paintings are of the rural Wisconsin landscape and farm animals. He became interested in cows when he and Ruth spent summers near Holy Hill in Washington County. According to David Gordon, director of the Milwaukee Art Museum, Schomer Lichtner had a tremendous joie de vivre, " joy of life," and expressed it in his art. Schomer Lichtner was nationally known for his whimsical paintings and sculptures of black- and white-patterned Holstein cows and elegant ballerina dancers. Lichtner also painted all sorts of combinations of beautiful women, flowers and country landscapes. James Auer, former Milwaukee Journal Sentinel art critic, said that his art eventually "exploded into expressionistic design elements with bold, flat areas of color and high energy that anticipated Pop Art." Auer went on to describe Lichtner’s work as full of "wit, vigor and virtuosity." As early as 1930, Lichtner’s work was shown at the prestigious Carnegie International Exhibition in New York and at museums throughout the Midwest. As a student, he was a protégé of another icon of 20th century American art, Gustave Moeller...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 6.625 x 7.375 inches Inscription: Unsigned and unnumbered, as issued Notes: From t...

GENE KLOSS (1903 – 1996) TAOS INDIAN JESTERS, 1944 Etching and aquatint, Signed and titled in pencil. Edition 30. Image 11” x 13 7/8”, sheet 13 ¼ x 16 ½”. In very good condition sa...

Lawrence Nelson Wilbur (1897-1988), 'The East River', drypoint, edition 65, 1946. Signed, titled, and annotated 'A. Jones Proof 1946' in pencil. Signed and dated in the plate, lower ...