1930s Prints and Multiples

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...

James McBey. 1931. Drypoint. 8 7/8 x 5 7/8 (sheet 11 1/2 x 9 ). An extremely rich impression with drypoint burr, printed by the artist on cream wove paper. Signed in the plate lower ...

Medium: lithograph and pochoir. Catalogue reference: Dupin 1310, Benhoura 396. This lithograph was printed in 1938 at the atelier Mourlot and published in Paris by Teriade for the ar...

Etching and drypoint on laid paper, 1934. With Picasso's ink stamped signature lower right, and numbered 29/50 in pencil lower left. Image 12.25 x 8.75 inches, full sheet 19.5 x 13...

Trio Color aquatint, 1938 Edition 250 printed on Montval wove paper with Maillol watermark From: Les Fleurs de Mal III (12 color aquatints) Published by Ambrose Vollard, 1940, Paris ...

This exquisite lithograph by Andre Derain (1880–1954), titled Au Jardin d'Allah (In the Garden of Allah), from Verve, Revue Artistique et Litteraire, Vol. I, No. 4, originates from t...

Artist: Henri Matisse Title: Teeny Portfolio: Other Portfolios Medium: Linocut Date: 1938 Edition: Unnumbered Frame Size: 19" x 16 1/4" Sheet Size: 12 1/4” x 9 1/2” Image Size: 11 7/...

Henri Matisse, French (1869 - 1954) - Calypso from James Joyce's Ulysses, Year: 1935, Medium: Softground Etching on Arches, Edition: 1500, Image Size: 10.75 x 8.25 inches, Size: 16....

Adriaan Lubbers New York City, The El at Chatham Square, 1930 Original lithograph Handsigned in pencil Numbered / 100 On Rives vellum 28 x 22.5 cm (c. 11 x 9 in) Very good condition

“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...

Paul Landacre, 'Hill', wood engraving, 1936, edition 60 (only 54 printed); only 2 impressions printed in a second edition of 150. Signed, titled, and numbered '49/60' in pencil. Wien...

Jacques and Pierre Bellenger designed this original vintage poster in 1936. This clever image shows that Bourin Quinquina is the perfect versatile bev...

This striking Art Deco lithograph, created by renowned French artist Georges Dola in 1934, celebrates Franz Lehár's famous operetta Le Comte de Luxembourg (The Count of Luxembourg). ...

Rockwell Kent, 'Mountain Climber', wood engraving, 1933, edition 250, Burne Jones 93. Signed in pencil. A brilliant, black impression, on cream, wove Japan paper; the full sheet with margins (2 9/16 to 3 5/8 inches); slight skinning at the top sheet edge verso, where previously hinged; otherwise, in excellent condition. Archivally matted to museum standards, unframed. Image size 7 7/8 x 5 7/8 inches (200 x 149 mm); sheet size 14 x 11 1/8 inches (356 x 283 mm). Printed by Pynson Printers, New York. Distributed by The Print Club of Cleveland, Publication No. 11, 1933. Literature: 'Rockwellkentiana,' Harcourt, Brace and Company, New York, 1933. '101 of The World’s Greatest Books', edited by Spencer Armstrong, 1950. Impressions of this work are held in the following museum collections: Akron Art Institute, Burne Jones Collection, IL; Cincinnati Art Museum; Cleveland Museum of Art; Columbus Gallery of Fine Arts; Crystal Bridges Museum of American Art; Davis Museum at Wellesley College; Fine Art Museums of San Francisco; H. M. de Young Museum; Hermitage Museum; Kent Collection, NY; Library of Congress; Memorial Art Gallery, University of Rochester; Metropolitan Museum of Art; New York Public Library; Philadelphia Museum of Art; Princeton University Library; Smithsonian American Art Museum, Spector Collection, NY; SUNY, Plattsburg. ABOUT THE ARTIST Rockwell Kent (1882-1971), though best known as a painter, graphic artist, and illustrator, pursued many careers throughout his life, including architect, carpenter, explorer, writer, dairy farmer, and political activist. Born in Tarrytown, New York, Kent was interested in art from a young age. These ambitions were encouraged by his aunt Jo Holgate, an accomplished ceramicist. Jo came to live with the family after Kent’s father passed away in 1887 and took him to Europe as a teenager, undoubtedly kindling his interest in exploring the world. Kent attended the Horace Mann School in New York City, where he excelled at mechanical drawing. His family’s financial circumstances prevented him from pursuing a career in the fine arts; however, after graduating from Horace Mann in 1900, Kent decided to study architecture at Columbia University. Before matriculating at Columbia, Kent spent the first of three consecutive summers studying painting at William Merritt Chase’s art school in Shinnecock Hills, Long Island. There he found a community of mentors and fellow students who encouraged him to pursue his interest in art. At the end of Kent’s third summer at Shinnecock, Chase offered him a full scholarship to the New York School of Art, where he was a teacher. Kent began taking night classes at the art school in addition to his architecture studies but soon left Columbia to study painting full-time. In addition to Chase, Kent took classes with Robert Henri and Kenneth Hayes Miller, where his classmates included the artists George Bellows and Edward Hopper. Kent spent the summer of 1903 assisting the eccentric painter Abbott Handerson Thayer at his studio in Dublin, New Hampshire—a position he secured through the recommendation of his Aunt Jo. Thayer’s naturalist lifestyle and almost mystical appreciation for natural phenomena greatly influenced Kent; he returned to Dublin for many years to visit Thayer and his family. Thayer gave the young artist time to pursue his work, and that summer Kent painted several views of the New Hampshire landscape, including Mount Monadnock. In 1905 Kent moved from New York to Monhegan Island in Maine, home to a summer art colony, where he continued to find inspiration in nature. Kent soon found success exhibiting and selling his paintings in New York, and in 1907, he was given his first solo show at Claussen Galleries. The following year he married his first wife, Kathleen Whiting (Thayer’s niece), with whom he had five children. The couple divorced in 1924, and Kent married Frances Lee the following year. They divorced after 15 years of marriage, and the artist married Sally Johnstone. For the next several decades, Kent lived a peripatetic lifestyle, settling in several locations in Connecticut, Maine, and New York. During this time he took several extended voyages to remote, often ice-filled, corners of the globe, including Newfoundland, Alaska, Tierra del Fuego, and Greenland, to which he made three separate trips. For Kent, exploration and artistic production were twinned endeavors, and his travels to these rugged, elemental locations inspired his visual art and his writings. He developed a stark, realist landscape style in his paintings and drawings that revealed both nature’s harshness and its sublimity. Kent’s human figures, which appear sparingly in his work, often allude to the mythic themes of isolation, individualism, heroism, and the quest for self-connection. Important exhibitions of works from these travels include the Knoedler Gallery’s shows in 1919 and 1920, featuring Kent’s Alaska drawings...

Achille Mauzan created this vintage poster in 1924 to advertise the Bertozzi brand of cheeses. Three judges with expressive faces lean over the cheese, giving us a sense of the fragr...

A man raises his hand to his chin, his neck tilted and face turned to look at a dilapidated farmhouse, barely held together by planks of wood and exposed to the elements. Behind him ...

Medium: original etching. This impression on Canson et Montgolfier wove paper was printed in 1937 in an edition of 500 for the "Paris 1937" portfolio. Printed at the atelier of Jean-...

FRANCES H. GEARHART (1869 – 1958) FISH MARKET 1930 Color block print, Signed and titled in pencil. Image 11 x 9 inches. Full sheet with deckle edges 14 3/...

After Gustav Klimt, Max Eisler #10, Ausschnitt aus dem Bilde “Medizin”; multi-color collotype detail from Medicine, one of the faculty paintings for the Uni...

untitled (Shoeing the Mule, Charleston, South Carolina) Etching, c. 1930 Signed by the artist in pencil lower right (see photo) Condition: Excellent Image/plate size: 8 x 10 inches S...

Charles Turzak, 'North Bank of the Chicago River', color woodcut, c. 1935, edition 50. Signed and titled in pencil. A fine, richly-inked impression, with...

artist: Adrien Barrere (1877-1931) title: Passing the Bar medium: Lithograph paper size: 19.75 x 25.50 image size: 18 x 24.25 French caricaturist...

Etching on wove Arches paper. Hand signed and numbered in ink. Edition of 125 prints. Published by Editions Albert Skira, Paris, in 1930. Very good condition. Catalogue Bloch no. 132.

Gorgeous still life lithograph of a a vibrant purple Iris made in the 1930's by artist unknown in the style of Georgia O'Keeffe.

After Gustav Klimt, Max Eisler #1, Die Freundinnen II; multi-color collotype after 1916/17 painting in oil on canvas which was destroyed by fire in May 1945 at Immendorf Castle Lower Austria. Eisler’s choice to begin his 1931 portfolio of works by Klimt with Girlfriends II was both bold and prescient. Just 14 years later, the painting was tragically destroyed in a fire. With such a loss, this rare and exquisite image is all the more valuable by virtue of having been made in color. In works from his late period, Klimt continued his fascination with exploring female dynamics and their various forms of love. Girlfriends II is a fine example of how space, color and ornament play a noticeable role in the evolution of his symbolic language. Wide swaths of space in the background as well as the two female forms create the structure. Klimt’s strong brushstrokes show a painterly quality and a new move toward abstraction which feels very far away from his earlier work. Nor should Klimt’s economy of line be overlooked. His draughtsmanship is what infuses the female bodies with movement, emotion and a profundity of life. Both women confront the viewer’s gaze unselfconsciously, as if they are modern-day Viennese women stepping out of a Klimtesque ukiyo-e print. Characteristic of this late period, Klimt uses ornament...

Original “Séduction Master Automatique” Vintage Poster – Designed by A. Molusson. Translation: “Radio as if you were at home... with the Séduction ‘master’ automatic car radio.” Arch...

Irish Setters in the Field is an original etching by Leon Danchin showing two adult Irish Setters in a field pointing to the right.This etching is printed on Arches paper, pencil si...

Henri Matisse, French (1869 - 1954) - La Cite Notre Dame. Year: 1937, Medium: Etching, Size: 13.75 x 10.5 in. (34.93 x 26.67 cm), Reference: D 249, Description: From the collection o...

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

untitled (Returning Home with Supplies) Signed in pencil by the artist lower right (see photo) Signed by his printer, Otto Felsing lower left ((see photo) Annotated in pencil: "In kupfer geschnitten von einen Lapplander" Printed by Otto Felsing, one of Germany's master printers of the era One of several engravings Hagemann made based upon actual drawings given to him by Laplanders. Gustav Hagemann was born on February 17, 1891, in Engelnstedt, Salzgitter, Germany. Hagemann attended high school in Wolfenbüttel and studied at the art school, in Kassel, Germany. After graduating as an art teacher, he became a trainee teacher in Torgau in Saxony. He fought in the First World War between 1914-1918. After the war he studied art from 1920...

This delightful circa 1930 original travel poster by British painter and illustrator Leonard Richmond captures the untamed beauty and sunlit charm of North Cornwall’s coastline, as p...

La pointe sèche etching on vélin de Rives filigrané à notre nom paper. Paper size: 9.5 x 7.5 inches; image size: 6.5 x 4.5 inches. Inscription: unsigned and unnumbered, as issued. No...

This image was created in 1931 by the talented French artist, Henri Le Monnier (1893 - 1978) for the company that produced bottled water under the name Source Verdier. It is an elega...

Albert Potter, 'Modern Music' also Twilight Melodies', linocut, c. 1935, from the posthumous edition of 20, printed in 1977, authorized by the artist’s widow. Estate authenticated in...

Howard Cook, 'Financial District', lithograph, 1931, edition 75, Duffy 155. A fine, richly-inked impression, on cream wove paper, the full sheet with wide margins (2 3/4 to 5 5/8 inches), in excellent condition. Image size 13 5/16 x 10 3/8 inches (338 x 264 mm); sheet size 23 x 16 inches (584 x 406 mm). Matted to museum standards, unframed. Literature: 'American Master Prints from the Betty and Douglas Duffy Collection', the Trust for Museum Exhibitions, Washington, D.C., 1987. Collections: Crystal Bridges Museum of American Art, Library of Congress, Metropolitan Museum of Art, Philadelphia Museum of Art, Smithsonian American Art Museum. ABOUT THE ARTIST Howard Norton Cook (1901-1980) was one of the best-known of the second generation of artists who moved to Taos. A native of Massachusetts, he studied at the Art Students League in New York City and at the Woodstock Art Colony. Beginning his association with Taos in 1926, he became a resident of the community in the 1930s. During his career, he received two Guggenheim Fellowships and was elected an Academician in the National Academy of Design. He earned a national reputation as a painter, muralist, and printmaker. Cook’s work in the print mediums received acclaim early in his career with one-person exhibitions at the Denver Art Museum (1927) and the Museum of New Mexico (1928). He received numerous honors and awards over the years, including selection in best-of-the-year exhibitions sponsored by the American Institute of Graphics Arts, the Brooklyn Museum, the Society of American Etchers, and the Philadelphia Print Club. His first Guggenheim Fellowship took him to Taxco, Mexico in 1932 and 1933; his second in the following year enabled him to travel through the American South and Southwest. Cook painted murals for the Public Works of Art Project in 1933 and the Treasury Departments Art Program in 1935. The latter project, completed in Pittsburgh, received a Gold Medal from the Architectural League of New York. One of his most acclaimed commissions was a mural in the San Antonio Post Office in 1937. He and Barbara Latham settled in Talpa, south of Taos, in 1938 and remained there for over three decades. Cook volunteered in World War II as an Artist War Correspondent for the US Navy, where he was deployed in the Pacific. In 1943 he was appointed Leader of a War Art Unit...

Artist: Joan Miro, Spanish (1893 - 1983) Title: Femme pour XXe Siecle Year: 1938 Medium: Linocut, signed in the plate Edition: 1200 Size: 13 x 10 in. (33.02 x 25.4 cm) Frame: 21.5 x ...

Medium: gelatin silver print (photogram). Printed in 1931 and published in Paris for the journal Arts et Metiers Graphiques. A photogram was an experimental technique conceived by Ma...

This work will be exhibited at Art on Paper NYC, September 4–7, 2025. – Marc Chagall (1887-1985) - Printemps Lithograph from 1938. Dimensions of work: 35 x 26 cm Publisher: Téri...

Original Lourdes, Chemins de Fer Vintage French Poster. Artist: Hervé Baille – Linen-Backed, ready to frame. Condition B+ Beautifully preserved and professionally linen-backed fo...

"The Boat" Hand Signed Drypoint Print Maritime drypoint print by Jeannette Maxfield Lewis (American. b 1894 d. 1982.) A boat is docked in a harbor, its sails are lowered over the c...

Artist: Jean Helion Title: Untitled Portfolio: XXe Siecle No. 4 Medium: Linocut Date: 1938 Edition: Unnumbered Frame Size: 19 3/4" x 16 3/4" Sheet Size: 12 5/8" x 9 5/8" Signature: U...

Marc Chagall (1887-1958) Bible : Joshua and the stone of Sichem (Josué et la pierre de Sichem), 1939 Original etching Printed signature in the plate On Montval vellum, 44 x 33.5 cm ...

Jacques Camus The Palm Tree under the Sun, 1933 Original lithograph and stencil Unsigned On paper 39 x 29 cm (c. 15.3 x 11.4 inch) INFORMATION : This lithograph is part of the "Idé...

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

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

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...

This exquisite woodcut by Wassily Kandinsky (1866–1944), titled Motiv aus Improvisation 25 (Motif from Improvisation 25), from the album XXe siecle, Chroniques du jour, 13 rue Valett...

This magnificent original 1933 Italian travel poster promotes Trento, issued by ENIT (Ente Nazionale Italiano per il Turismo) to celebrate this Alpine city’s cultural heritage and stunning natural beauty. The poster features an elegant and detailed illustration of the Monumento a Dante, the imposing statue of Dante Alighieri inaugurated in 1896, framed by a lush landscaped park and set against the dramatic backdrop of the Dolomite foothills. The harmonious composition bathes Trento in the gentle warm light of a late afternoon, with pastel pink clouds illuminating the scene and a palette of bright florals and deep green conifers guiding the viewer’s gaze toward the monument. Printed by the renowned Chappuis printing house in Bologna, the poster is marked with the ENIT emblem at lower left, signifying its official purpose to promote Italy’s regional cities and historic sites. The stylised border and typographic simplicity evoke the Art Deco aesthetic popular in Italian graphic design during the 1930s, combining classical elegance with modern clarity. Trento, historically a meeting point of Italian and Germanic cultures, was in the interwar period developing its tourism identity as the “Gateway to the Dolomites.” This poster captures that strategy, celebrating both the city’s urban sophistication and its natural surroundings. Today, ENIT posters...

East River View of N.Y. Etching, 1934 Signed, dated and titled in pencil by the artist From a very small edition. Brilliant impression Condition: Excellent Image/Plate size: 5-1/8 x...

A handsome 1930s Rockwell Kent lithograph on paper, titled "Canterbury Tales". Nicely matted and framed in a gold-toned frame. Image size: ...

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...

Joan Miro (1893-1983) - Litografía original III Lithograph from 1972. Dimensions of work: 32 x 24.5 cm. Dimensions in frame: 52 x42 cm. Publisher: Maeght Éditeur, Paris. Printed ...

An American Depression-Era subject of African-American men playing craps by Irving Guyer.. (Craps is a game of chance that required neither skill nor strategy. The object is to predi...

Original linen-backed NORWICH CASTLE vintage travel poster, printed in England in 1935 by artist C. W. Hobbis and published by Page Brothers (Norwich) Ltd. It features a city center ...

Medium: original linoleum cut. This linocut by Italian Futurist Gino Severini was printed in 1939 for the art revue XXe Siecle and published in Paris by San Lazzaro. Size: 12 1/2 x 9...

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...

After Gustav Klimt, Max Eisler #12, Aus dem Stoclet-Fries: Erwartung; multi-color collotype after the cartoon for the 1910-1911 mosaic frieze on the west wa...

Ecurueil (Squirrel) French chromolithograph, published in 1931. Printed title lower right of sheet. Plate number top right. From a French series of illu...

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

Original 1933 French Poster — Touring Club de France “Concours de Photographie et de Cinématographie” — Art Deco — Linen Backed Vintage Advertising Grade a- condition with minor r...