1930s Prints and Multiples

RGRFineArts is pleased to offer this WPA Era lithograph by Carl Pickhardt. Sight dimensions are 18 x 11.5 in and the image measures 11.5 x 9 in. Signed and titled in pencil.

RGRFINEARTS is pleased to offer this fine lithograph of a couple on the beach appropriately titled Sun Bathers" from and editoon of 30 prints. Signed and numbered below the image.

RGRFINEARTS is pleased to offer this rare boxing themed screen print bt Carl Pickhardt. On green paper. Signed and numbered at lower right within the image as as customary with scree...

Excellent condition and matted with archival materials. An excellent addition to any New York or WPA collection.

Leon Bibel, 'Food Not Cannon', etching, 1937, edition 12 (an early state, probably unique). Signed in pencil. A fine impression, on cream wove paper, with full margins (7/8 to 2 1/8 ...

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...

Original vintage travel poster for the Cote d'Azur ete Bandol hiver Le pays du soleil et des fleurs / French Riviera summer winter The land of sun and fl...

Original vintage cruise ship travel poster - Canadian Pacific Empress of Australia Europe Canada USA - featuring a night time seascape by Al...

Original vintage cruise travel poster advertising Plymouth New York issued by Compagnie Generale Transatlantique French Line CGT. Elegant Art Deco design featuring an ocean liner shi...

Original vintage travel poster for the Royal Town of Sutton Coldfield Sutton Park featuring stunning artwork by Michael Reilly (b.1898) depicting a couple enjoying a walk on a hill past trees in the park with a calm reflective lake and fields in the distance, the stylised title text and information below - Over 2500 acres of open space Gorse Heather Woods Moorland Lakes Boating fishing bathing & golf - with the distances indicated on the side. Dating back to the 9th century Sutton...

Original vintage London Transport poster - the Museums Kensington - featuring detailed artwork by Fred Taylor (1875-1963) depicting an aerial map view of the V&A Victoria and Albert ...

Original vintage travel advertising poster issued by the Japan Travel Bureau - Autumn in Nikko - featuring two ladies wearing traditional kimono dresses with a bridge over a river vi...

Original vintage train travel poster for Bourgogne / Burgundy issued by the National Society of French Railways SNCF Societe Nationale Des Chemins De Fer Francais featuring artwork b...

Original vintage Africa travel poster for Zimbabwe Southern Rhodesia featuring a stunning scenic view by William George Bevington (1881-1953) depicting rocks and the ruins of the anc...

Original vintage travel poster for Brescia issued by the Italian Tourism Board ENIT featuring a flock of birds flying around the stone tower of the histori...

Original vintage LMS London Midland & Scottish railway poster for the Lake District featuring scenic artwork depicting a peaceful view of a sailing boat on Derwentwater with the tree...

Original vintage French Railways travel poster - Tous les Sports d'Hiver SNCF Cure d'air et des repos aux portes de Grenoble St Nizier du Moucherotte Isere Balcoon des Alpes Francais...

Original vintage LMS travel poster for Edinburgh featuring a great illustration of a piper of the Black Watch Royal Regiment of Scotland in military tartan uniform playing the bagpip...

Marie LAURENCIN Woman with Necklace, 1930 Original stone lithograph On Arches vellum 28 x 22 cm (c. 11 x 9 inch) REFERENCES : Catalog raisonn Mar...

Original vintage LMS train travel poster - North Wales for Holidays cheap tickets and illustrated folder from the London Midland & Scottish Railway - featuring the text below a sceni...

Original vintage sport poster for the Dolder Eisbahn Zurich ice skating rink open daily from 9-22:30 featuring a great design by the Swiss artist Franco Barberis (1905-1992) depictin...

Original vintage sport poster - Germany 1936 IV Olympic Winter Games Garmisch Partenkirchen 6-16 February - featuring dynamic artwork by Ludwig Hohlwein (1874-1949) depicting a skier wearing a bib with the Olympic rings symbol on it, holding his skis on the left with his right arm in the air celebrating his victory in front of snowy mountain peaks visible in the background, the text below in red and white letters and information at the bottom - For particulars apply to the Organising Committee of the IVth Olympic Winter Games 1936 Garmisch-Partenkirchen Bavaria. Published by the Reichsbahn Centrale for the German Travel Agents...

Jean Cocteau White Book - Autobiography about Cocteau's discovery of his homosexuality. The book was first published anonymously and created a scandal. Original Handcolored Lithograp...

'Bassets D'Artois a Jambes Torses'. French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. From a Fre...

Pat Keely (d. 1970) The Royal Navy 75x51cm Original lithographic poster 1939 Printed for HMSO by Vincent Brooks, Day & Son Ltd, London If your age is f...

Original poster Airline Company - Map - Tourism West - Northern - Orient - Midi In 1937, Lucien Boucher, a renowned French illustrator, unveiled his masterpiece, the "Planisphère ...

'Bassets D'Artois a Jambes Droites'. French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. From a Fr...

'Basset Bleu de Gascogne'. French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. From a French serie...

The poster "L'Empire au Service de la France - Vision Saharienne," crafted by Albert Briol in 1939 under the direction of George Letourneur, stands as a poignant representation of the colonial aspirations and identity during a crucial period. Sponsored by the youth of the French Empire and its president, Jean Daladier, the poster is a visual narrative set against a tricolor backdrop. At the forefront is a compelling portrait of a Black soldier from the French colonial troops...

Medium: original lithograph. Published in Paris in 1938 by Teriade for the second issue of the art revue Verve (Volume 1, Number 2). Andre Masson was invited to contribute an origina...

Step into the glamour of 1930s France with the enchanting poster created by René Ravo for the Loterie Nationale in 1935. Renowned for his captivating illustrations, Ravo brings to li...

'Bassets Ardennais'. French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. From a French series of i...

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...

SOLD UNFRAMED Cheetah by Orovida Pissarro (1893 - 1968) Etching, 28/50 19.2 x 24.5 cm (7 ½ x 9 ⅝ inches) Signed and dated lower right Orovida 1930 Numbered lower left 28/50 and titled lower middle Artist's Biography: Orovida Camille Pissarro...

Original vintage travel poster for Hungary / Hongrie featuring a great Art Deco illustration depicting a smiling lady in a traditional costume holding a butterfly with colourful flag...

Original vintage Polish State Railways train travel poster advertising the Krakow Festival in Poland / Pologne Fetes de Cracovie on 3-24 June 1939 featuring a colourful design depict...

Joan Miro (Spain, 1893-1983) 'Aidez L'Espagne (Aid to Spain)', 1937 Pochoir (color templates) on Paper (Cahiers d'Art magazine Nº4-5) 12.5 x 9.7 in. (31.5 x 24.5 cm.) Stain, unframed...

Original vintage drink advertising poster for Medicinal Brandy A. Perodeau Sanator featuring an image of the bottle of alcohol at the top with the label information in French and English - Medicinal X Brandy distillateurs a Cognac France approve par les docteurs medecins de France Angleterre Chine Allemagne Amerique Australie Russie &tc / distillers in Cognac France approved by doctors of France England...

Original vintage poster issued by the Empire Marketing Board EMB to encourage people to help the economy following the Great Depression in America by buying British goods - Buy Briti...

Crafted in 1933 by the talented artist Pierre Commarmond, the original travel poster for Cordes – Maison du Grand Fauconnier, designed for the Chemins de Fer de Paris à Orléans, stan...

Medium: original lithograph. Published in Paris by Teriade for Verve (Volume 1, Number 1), in 1937. Size: 14 x 10 inches (sheet). Abraham Rattner was one of four artists asked to co...

A beautiful signed and dated 1935 Art Deco woodcut depicting well dressed figures in a town. The work is superbly executed and in very good condition for age. Presented in a black an...

(After) Pablo Picasso Young boy in blue suit Lithograph and pochoir (Jacomet proceed), on vellum, c. 1930 Printed signature in the plate Size 64 x 49 cm ...

Chicago-born Golinkin studied at the Artist Students League with George Luks. After working as an illustrator for New York papers he joined the Navy in 1939 and retired as a Rear Adm...

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...

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 This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. (June 2022) (Learn how and when to remove this template message) 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...

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...

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.

Medium: original etching. Executed by John Sloan to illustrate the Somerset Maugham classic "Of Human Bondage" and published in 1938 in a limited edition of 1500 by the Yale Universi...

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.

Medium: lithograph. Printed in 1939 and published in Paris by Teriade for the art revue Verve (Volume 1, Number 4). Image size: 9 x 6 1/4 inches (230 x 155 mm). Sheet size: 14 x 10 1...

Medium: stencil print on sandpaper (after the painting). At the height of his period of creative experimentation during the 1930's, Miro executed an abstract painting on sandpaper. ...

Etching. Hand signed as L. de Mattia. Good condition.

Mily POSSOZ (1888-1967) Summer in Paris, Seine Banks, 1930 Original etching Handsigned in pencil by the artist Numbered / 45 copies Blind stamp of the editor Marcel Guiot (Paris) On...

Albert Abramovitz (1879-1963), Wuxtry! [Extra?!], linocut in colors, c. 1936, signed in pencil lower right and titled lower center [also initialed in the plate]. In very good conditi...

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 ...

Medium: original linoleum cut. Printed in 1938 for the art revue XXe Siecle (issue number 4) and and published in Paris by San Lazzaro. Sheet size: 12 1/2 x 9 5/8 inches (317 x 243 m...

1934 original poster by Pierre Fix-Masseau stands as a testament to the artistry of the era and the innovative spirit of Renault. Titled "2 Huiles Renault d'Hiver" this poster is a v...