1930s Prints and Multiples

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-...

Lithograph and stencil with hand coloring on vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Livre blanc, précédé d'u...

This original etching is hand signed by the artist "Picasso" at the lower right. It was printed in by Lacourière in a limited edition of 250 impressions and published by Ambroise Vollard, Paris. This is the 13th plate in La Suite Vollard, Picasso's most important series of etchings, and was realised in December 1934. Note: The Suite Vollard...

Framed 16.25 x 18.75 in 11.38 x 8.75 inches (sheet), 11.25 x 8.75 inches (block) Linoleum block print on laid paper.

Lithograph and stencil with hand coloring on vélin d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Le Livre blanc, précédé d'u...

Linocut on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, XXe Siècle, n°4, Christmas 1938. Published and printed under the dire...

Standing Nude is an artwork realized by Mino Maccari  (1924-1989) in the 1930s. Drypoint etching print on paper. Hand-signed by the artist. Good conditions an aged.

1931. Pencil, ink and watercolor. 9 1/4 x 15 (framed 18 1/2 x 24 1/2). Signed and dated in pencil. Housed in a silk mat and an elegant carved gold leaf frame. Twelve of the artist'...

Zebra and foal by Orovida Pissarro (1893-1968) Etching 20 x 17.3 cm (7⁷/₈ x 6³/₄ inches) Signed and dated lower right Orovida 1938 Titled lower middle and numbered 4/50 lower right ...

Original vintage travel poster Chamonix Mont-Blanc PLM French travel poster. Very good condition, archival linen backed. Ready to frame. ...

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 illustrations of sporti...

Le Corbusier's first (and largest) original lithograph in color. He created the poster on the occasion of his (first) solo exhibition. Print run was 100 ex. only – whereby the largest part was destroyed when used in the streets of Zurich, what makes it LCs most rare lithograph in color. Moreover: This exemplar is even hand-signed by LC and dated, as it was (meant to be) sold at the entrance of the Kunsthaus Zürich...

Woodcut on wove paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, XXe Siècle, n°3, July-August-September 1938. Published and printed und...

Joseph Hecht, 'Asie (Asia) from the series Atlas', engraving, 1928, edition c. 50, Tonneau-Ryckelynck & Plumart 162. Signed and annotated 'epreuve definitive' (final proof) in pencil...

Kawase Hasui Spring Rain at Gokoku-ji Temple, 1932 Woodblock Print 1st Publication: 1932 Sheet size: 39 × 26 cm Date of this edition: 1932, 1st edition Publisher: Doi Teiichi Note...

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

'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...

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-...

JOSE CLEMENTE OROZCO (Mexican, 1883-1949) MACHINES, (aka Dos cabezas y Maquinas, Dos Cabezas, Maquinas) 1935 (Orozco 26) Lithograph. Image 12 x 17 inches. Full margins, sheet 16 x 2...

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-...

'Girl and Cat', lithograph, 1935, edition 33, Fine and Looney 121. Signed, titled, dated, and numbered '5/33' in pencil. A superb, richly-inked impression...

GIORGIO MORANDI 1890-1964 Bologna 1890-1964 (Italian) Title: View of Montagnola, Bologna Veduta della montagnola di Bologna, ca. 1932 Technique: Original Hand Signed and Numbered ...

"Exposition d'Art Français" features a busy, dreamy depiction of the French countryside in a very loose style. Created by Raoul Dufy as the poster for an exhibition held in Kaunas, L...

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...

After Gustav Klimt, Max Eisler #3, Sonnenblumen; multi-color collotype after 1908 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, ...

Lithograph on vélin du Marais paper. Inscription: Unsigned and unnumbered, with additional lithography by the artist on verso, as issued. Good condition. Notes: From the volume, Verve: Revue Artistique et Littéraire, Vol. I, N° 5-6, 1939. Printed by Mourlot Freres, Paris, 1939. ANDRE DERAIN (1880-1954) had a major role in the development of two of the most significant artistic movements of the early-20th century. He, Henri Matisse, and Maurice de Vlaminck were responsible for generating works with a totally new style which would become Fauvism and his association with Pablo Picasso and Georges Braque was integral to early Cubism. Nevertheless, his contribution as the generator of the ideas behind these movements is constantly debated, and some consider his work derivative. This is due in part to the fact that, continually in search of artistic meaning and attempting to create a timeless art removed from the specificity of the modern age, he experimented with different stylistic idioms. Whichever side of the Derain debate you end up on, we can all appreciate his use of expressive vibrant color, his simplification of form, and his fascination with primitive art were constants throughout his work and played a major role in the creation and propagation of early Modern Art.

Original Travel Poster for Belgium - Cities of Art signed by artist Poleff and dated 1932. The image, framed in an archway window, features a woman wearing Byzantine / Middle Ages e...

The 1932 original poster Premier Toast Champagne is a captivating example of early 20th-century advertising that blends elegance with emotional appeal. This poster, evocative in its ...

Lyonel Feininger, 'Church with Star (Kirche mit Stern)', woodcut, 1936, one of a small but unknown number of letterhead proofs; Prasse W265. Annotated 'W 265' (Feininger catalogue number) and inventory no. '2808' in pencil, in the bottom right sheet corner. A fine impression, on cream, laid letterhead stock; hinge remains on the left and right top sheet edges, verso, in excellent condition. Very scarce. Image size 2 3/8 x 2 3/8 inches; sheet size 10 1/16 x 7 1/16 inches. Archivally sleeved, unmatted. ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

Artist: Manuel Robbe (French, 1872-1936) Title: Marins et Femmes de Pecheurs Bretons sur les Quais Year: c.1930 Medium: Etching with aquatint Paper: B.F.K Rives Image (plate mark...

Washington Assumes Command - Etching in Ink on Paper Historical engraving by Ralph Ludwig Boyer (American, 1879-1952). George Washington is shown holding a sword, with an army stand...

Edgar DEGAS (after) Whorehouse Scene : Prostitute Dressing her Hair Original etching and aquatint On Rives vellum 25 x 32 cm (c. 10 x 13 inch) In the early 1920s, Ambroise Vollard (...

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-...

Indians of North America 1936 Jo Mora Lithograph Paper size: 31 7/8 x 24 1/4 inches Image size; 30 1/4 x 22 7/8 inches These are the original lithographs from the Jo Mora Estate from Jo Mora Jr. THESE ARE NOT REPRODUCTIONS! FREE SHIPPING LOWER 48 Joseph Jacinto Mora 1876 – 1947 Mora was born in Montevideo, Uruguay, and was the son of Domingo Mora, a well-known painter and sculptor who brought his family to the United States in the mid 1890s and then became a teacher in New York at the Art Students League. Joseph and his artist brother Luis Mora (1874-1940) grew up being much influenced by the creative atmosphere of their father’s studio. In 1904, he returned to Arizona and New Mexico and lived with Hopi and Navajo tribes, learning their languages and painting depictions of their ceremonies, especially the Kachina ceremonial dances. One of the results of his Western travels was a series of humorous maps that were spoofs of the national parks and that were made into posters. In the 1930s, the maps sold for 25 cents each and were distributed through souvenir shops at the parks. He also painted a watercolor series, “Horsemen of the West” and wrote two books, “Trail Dust and Saddle Leather” and “Californios.” Joseph Mora died in Pebble Beach on October 10, 1947. Devoting his life to exploration of subjects as diverse as vaqueros, Hopi Kachina figures, the Arizona landscape, and California missions, Joseph Mora also excelled as a writer, photographer, designer, children’s book illustrator, and map maker. “Apart from the bread and butter commissions that he referred to as “pot-boilers,” Mora has left a vast legacy of fine artwork. His contributions to public sculpture and architectural decorations, which are numerous and diverse, gaze calmly at the world from buildings in Los Angeles, San Francisco, Salinas, San Jose and Portland. Mora’s dioramas and large-scale figures are permanently in Monterey and Sacramento, California and Claremore and Bartlesville, Oklahoma. His drawings, paintings and photographs are cherished in private collections and private institutions across the country and first editions of his books are highly valued. But in the final analysis, Mora’s most important works may be his cartes. In these entertaining maps, Mora combined his encyclopedic knowledge of history, his writing, drawing, and cartooning skills, his fine sense of design, and his sense of playfulness to create an art form uniquely his own. Mora’s cartes are still captivating more than fifty years after their completion, and they exemplify the popular, entertaining, direct, and informative art at which Mora excelled.” Betty Hoag McGlynn • Original works by Maynard Dixon, Lon Megargee, Ed Mell, Fritz Scholder, Bill Schenck, Bill Lesch, Luis Jimenez, Greg Singley, Dan Budnik, and other 20th century Western, WPA and Contemporary Southwestern artists. • The Fine Art Estate of Lon Megargee • Vintage rodeo...

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-...

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-...

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-...

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 ...

This full-on view of a musician and his bass (also known as an upright bass or string bass), has an air of calm befitting the lowest-pitched bowed instrum...

Henri Matisse (1869-1954) - Jeune fille Photogravure from 1937. Dimensions of work: 35 x 26 cm Publisher: Tériade, Paris. The work is in Excellent condition. Fast and secure shi...

This extraordinary BMW toy car is my memory to my father. Photography/ fine art print, limited edition of 5, signed by the author.

Woodcut print realized by Escher in 1931. It belongs to the series "Emblemata". Signed with initials in the plate lower right. Ref. F.H. Bool, J.R. Kist, J.L. Locher and F. Wierda...

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...

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-...

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-...

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-...

Lithograph on vélin du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Verve: Revue Artistique et Littéraire, Vol. I, N° 1, Dec...

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 illustrations of sporti...

Lithograph on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Dix Reproductions, 1933. Published by Editions ...

Woodcut print realized by Escher in 1931. It belongs to the series "Emblemata". Signed with initials in the plate lower center. Ref. -F.H. Bool, J.R. Kist, J.L. Locher and F. Wier...

This print was made for the American Abstract Artists Portfolio, 1937. All the images were lithographs made on zinc plates. Usually they were signed in the image -- on the plate, as ...

CARL HOECKNER (1883 – 1972) ORBITS, c. 1935 Lithograph, edition unknown but small. Image 11 3/3 \4 x 18 3/8 inches, sheet 12 3/8 x 19. In good condition aside from small margins an...

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, ...

Martin Lewis (1881-1962), Rainy Day, Queens, drypoint, 1931, signed in pencil lower right [also signed in the plate lower right]. Reference: McCarron 94, only state, from the edition...

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 illustrations of sporti...

Linocut on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, XXe Siècle, n°4, Christmas 1938. Published and printed under the dire...

Edgar DEGAS (after) Whorehouse Scene : Briefing with Madam Mother Etching and aquatint On Rives vellum 25 x 32 cm (c. 10 x 13 inch) In the early 1920s, Ambroise Vollard (the great ...