1940s Prints and Multiples

Medium: original etching. Printed in 1946 at the atelier Lacouriere on BFK Rives paper and published in a limited edition of 300 for the "Alternance" portfolio (a collective art and ...

Thomas Robertson, 'Composition #4,' color serigraph, edition 47, c. 1940. Signed, titled, and annotated 'Ed/47' in pencil. A superb, painterly impression, with fresh colors, on buff wove paper, the full sheet with margins (1 to 2 inches), in excellent condition. Matted to museum standards, unframed. Image size: 10 9/16 x 8 1/2 inches (268 x 216 mm); sheet size 13 x 12 1/2 inches (330 x 318 mm). An impression of this work is represented in the collection of the National Gallery of Art. ABOUT THE ARTIST Born in Little Rock, Arkansas, Thomas Arthur Robertson (1911-1976) was the son of an attorney. Although his father, a co-owner of the Arkansas Law School, insisted that his son study there, after graduating, Robertson enrolled at the Adrian Brewer...

Medium: Lithograph and stencil on vélin d’Arches Johannot paper Year: 1948 Paper Size: 15 x 10.75 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Seize ...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Verve: Revue Artistique et ...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Verve: Revue Artistique et ...

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Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Verve: Revue Artistique et ...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Verve: Revue Artistique et ...

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...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Verve: Revue Artistique et ...

Aquatint on BFK Rives paper, Edition of 25 Paper size: 56 x 38 cms (22 x 15 ins) Image size: 34.8 x 27.7 cms (13 3/4 x 10 7/8 ins)

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Verve: Revue Artistique et ...

Medium: heliogravure (after the etching from Goya's Tauromaquia series). Printed in 1947 in a limited edition of 500 on Guarro laid paper, and published in Barcelona by Ediciones Ome...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Verve: Revue Artistique et ...

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...

Medium: original lithograph. Printed in Paris by Mourlot and published by Pierre à Feu and Maeght Editeur for the Marcel Duchamp / André Breton project Surréalisme en 1947. Issued in...

Etching, Engraving, 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 ...

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...

A color, stone lithograph titled 'Edward' by Nura Woodson Ulreich (American, 1899–1950) stamped verso with certification of authenticity. A crisp and fresh image from 'Nura's Childre...

Medium: Lithograph on grand vélin Renage paper Year: 1948 Paper Size: 12.375 x 9.5 inches; image size: 11.81 x 9.05 inches Inscription: Unsigned and unnumbered, as issued Notes: From...

Lithograph on vélin d'Arches paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Divertissement, 1943. Published by Tériade, éditeur, Édit...

Medium: Lithograph on vélin Hamilton Kilmory paper Year: 1947 Paper Size: 9.5 x 12.5 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Rembrandt, Drawings...

Medium: collotype (after the Miro lithograph). Printed in 1947 in an edition of 1500 by Meriden Gravure and published by Curt Valentin for "The Prints of Joan Miro" portfolio. Size: ...

Charles Banks Wilson, 'Old Injun', lithograph, 1948, edition 250, Hunt 39. Signed in pencil. A fine, richly-inked impression, on off-white wove paper, with full margins (1 3/4 to 2 inches), in excellent condition. Published by Associated American Artists. Impressions of this work are in the permanent collections of the following institutions: Ackland Art Museum, Georgetown University...

Hotel de Sous Charles Forget, French (1886–1960) Date: 1949 Etching, signed and dated in the plate, and signed and numbered in pencil Edition of AP Image Size: 11.25 x 7.5 inches Siz...

Pleasure is a beautiful black and white linocut on ivory-colored paper, realized in 1945 by Mino Maccari. Hand-signed "Jean Barbe" and numbered in pencil on lower margin. Edition of...

Lithograph on vélin pur fil paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Henri Matisse, Dessins, Thèmes et Variations, 19...

Roberto Matta, Chilean (1911 -2002) - Les Manifestes du Surrealisme Diptych, Year: 1946, Medium: Two Etchings, titled in the plate, Edition: 58, Image Size: 5.5 x 4 inches, Size:...

Autumn Campion for Betty Campion Joan Miro, Spanish (1893–1983) Date: 1947 Etching and Aquatint on laid paper, signed in the plate Image Size: 3 x 6 inches Size: 15.25 x 10 in. (38.7...

Medium: collotype (after the Miro lithograph). Printed in 1947 in an edition of 1500 by Meriden Gravure and published by Curt Valentin for "The Prints of Joan Miro" portfolio. Size: ...

Lithograph on vélin pur fil paper. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From the folio, Henri Matisse, Dessins, Thèmes et Variations, 19...

Ruthven Todd Poem Andre Masson, French (1896–1987) Date: 1947 Etching and Aquatint on laid paper, signed in pencil lower right and in the plate Image Size: 8.5 x 7 inches Size: 14.75...

Ducks at Play Frank Weston Benson, American (1862–1951) Date: 1940 Etching mounted to board, signed and dated in pencil Image Size: 10 x 8 inches Size: 12 x 10 in. (30.48 x 25.4 cm)

Moon by day is a modern artwork realized by Filippo De Pisis. Black and white lithograph with a text by the same Filippo De Pisis. Good conditions except for some folds, foxings, a...

Lithograph on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Matisse, Henri, et a...

Sexual Desire is a black and white linocut on ivory-colored paper, realized in 1945 by Mino Maccari. Hand-signed with the pseudonym "Jean Barbe" and numbered in pencil on lower marg...

Original small-format Bantam Pocket Hat. Artist: Gino Boccasile. Italian Size: 9" x 13". Behind the silhouette of the man wearing his Bantam hat is another stick figures foldi...

Original, linen-backed travel by Cunard Line cruise ship R.S.S. "Caronia" horizontal poster. This original poster is ready to frame. RMS Caronia ...

Medium: pochoir (after the 1888 watercolor). Printed 1946 in a limited edition of 300 for the rare "Berthe Morisot Seize Aquarelles" portfolio, published in Paris by Quatre Chemins. ...

Medium: heliogravure (after the etching from Goya's Tauromaquia series). Printed in 1947 in a limited edition of 500 on Guarro laid paper, and published in Barcelona by Ediciones Ome...

ANDREAS PAUL WEBER (German 1893 – 1980) WE’RE OVER THR MOUNTAIN (Wir sind überm Berg) (A68, D2718) Lithograph over tinted ground, signed in pencil and in monogram in the stone. Image, 14 ½ x 19 1/4. Large full sheet with watermark and deckle edge, 24 ½ x 19 ¼. In very good condition. The A. Paul Weber Museum was inaugurated in Ratzeburg in 1973. Andreas Paul Weber died on 9 November 1980. This important German lithographer, draughtsman and painter bequeathed a comprehensive œuvre, in which critical satirical works figure prominently. THE WEBER MUSEUM HAS ADDITIONAL INFORMATION AND A BIOGRAPHY The following is a biography taken from the prominent German auction house KETTERER /KUNST: Andreas Paul Weber attended secondary modern school in Arnstadt between 1903 and 1910 before briefly attending the School for the Decorative and Applied Arts in Erfurt. In 1908 Weber joined the 'Jungwandervogel', a movement which sought to develop a new, modern lifestyle based on walking and living close to nature. At the same time Andreas Paul Weber began experimenting with lithography and worked as a commercial artist. When the first world war broke out, Weber served as a railway engineer on the Eastern Front, where he worked for the army as a draughtsman from 1916. After the war Andreas Paul Weber illustrated numerous books, including Till Eulenspiegel, Reineke Fuchs and the critical contemporary work Der Zeitgenosse by Hjalmar Kutzleb, which were Weber's first successes. In 1925 Weber founded the 'Clan-Presse' ['Clan Press'], where he and his son Christian printed...

Ira Moskowitz, 'Navajo Reservation Landscape', lithograph, 1945, edition c. 30. Signed and titled in pencil. Signed and dated in the stone, lower left. A fine, richly-inked impression, on cream wove paper, the full sheet with margins (1 3/8 to 2 inches), in excellent condition. Matted to museum standards, unframed. Image size 12 3/4 x 15 3/4 inches (324 x 400 mm); sheet size: 15 1/2 x 19 inches (394 x 482 mm). ABOUT THE ARTIST Ira Moskowitz was born in Galicia, Poland, in 1912, emigrating with his family to New York in 1927. He enrolled at the Art Student's League and studied there from 1928-31. In 1935, Moskowitz traveled to Paris and then lived until 1937 in what is now Israel. He returned to the United States in 1938 to marry artist Anna Barry in New York. The couple soon visited Taos and Santa Fe in New Mexico, returning for extended periods until 1944, when they moved there permanently, staying until 1949. During this especially productive New Mexico period, Moskowitz received a Guggenheim fellowship. His work was inspired by the New Mexico landscape and the state’s three cultures (American Southwest, Native American, and Mexican). He focused on Pueblo and Navajo life, producing an extensive oeuvre of authentic American Indian imagery. He and Anna also visited and sketched across the border in Old Mexico. While in the Southwest, Moskowitz flourished as a printmaker while continuing to produce oils and watercolors. Over 100 of Moskowitz’s works depicting Native American ceremonies were used to illustrate the book American Indian Ceremonial Dances by John Collier, Crown Publishers, New York, 1972. After leaving the Southwest, printmaking remained an essential medium for the artist while his focus changed to subject matter celebrating Judaic religious life and customs. These works were well received early on, and Moskowitz was content to stay with them the rest of his life. From 1963 until 1966, Moskowitz lived in Paris, returning to New York City in 1967, where he made his permanent home until he died in 2001. Shortly before his death, Zaplin-Lampert Gallery of Santa Fe staged an exhibition of the artist's works, December 2000 - January 2001. Other one-person shows included the 8th Street Playhouse, New York, 1934; Houston Museum, 1941; and the San Antonio Museum, 1941. The artist’s work was included in exhibitions at the Art Students League, Art Institute of Chicago, Philadelphia Print Club, College Art Association (promotes excellence in scholarship and teaching), and the International Exhibition of Graphic Arts (shown at MOMA, 1955). Moskowitz’s lithographs of American Indian...

Medium: lithograph, collage and stencil poster. This work consists of a lithograph mounted onto brown wove paper, with a collage of hand-cut newsprint letters and stenciled text in r...

Héliogravure on vélin des Papeteries du Marais paper. Paper Size: 14 x 10.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, De la couleur,...

Henri Matisse, French (1869 - 1954) - Florilege des Amours de Ronsard, Plate 84. Year: 1948, Medium: Lithograph on Arches, Edition: 320, Size: 10 x 11 in. (25.4 x 27.94 cm), Printer:...

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 ...

Medium: heliogravure (after the etching from Goya's Tauromaquia series). Printed in 1947 in a limited edition of 500 on Guarro laid paper, and published in Barcelona by Ediciones Ome...

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...

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 ...

Medium: Lithograph on vélin Hamilton Kilmory paper Year: 1947 Paper Size: 9.5 x 12.5 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Rembrandt, Drawings...

To see our other original vintage travel posters, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot find the poster you want. Kerry Lee (1903 - 1988) Cambridge Original vintage poster 45 x 58 cm A detailed and brightly-coloured map of Dublin...

Medium: pochoir (after the watercolor). Printed in 1944 at the Rene Kieffer atelier and published by Rombaldi in an edition of 300 for the rare "La Varende" portfolio. Size: 13 1/4 x...

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...

"Accidente" - 1943 Linocut on Paper "Accidente" from the portfolio "25 Prints of Leopoldo Méndez", depicts a figure, upside down, appearing to fall downward from a ladder. Another f...

Pablo Picasso (1881-1973) - Élégie d'Ihpetonga, Masks of Ashes, Planche I Lithograph from 1949. A copy from a limited edition of 16/64 (photocopy of the colophon is included). Onl...

Ian Hugo, 'On Stage', from the portfolio 'Ten Engravings'. engraving, 1946, edition 50. Signed, dated, titled, and numbered '22/50' in pencil. A fine impression, with delicate overall plate tone, on cream wove paper, the full sheet with margins (3 5/8 to 4 7/8 inches), in excellent condition. With the blind stamp 'madeleine-claude jobrack EDITIONS', in the bottom right margin. Matted to museum standards, unframed. Image size 5 7/8 x 3 7/8 inches (149 x 98 mm); sheet size 15 1/8 x 11 1/8 inches (384 x 283 mm). Ian Hugo originally created "Ten Engravings" in 1945, and the portfolio included a foreword by his partner and collaborator, Anais Nin. In 1978, Hugo republished the portfolio with Madeleine-Claude Jobrack, an American master printmaker who studied under Stanley William Hayter at Atelier 17, Paris, and with Johnny Friedlaender. When Jobrack returned to the United States she managed the Robert Blackburn Printmaking Studio in New York before opening her own printing studio, Madeleine-Claude Jobrak Editions. “The sign of the true artist is one who creates a complete universe, invents new plants, new animals, new figures to transfer to us a new vision of the universe in which dream and reality fuse. Ian Hugo's plants have eyes, the birds have the delicacy of dragonflies, their feathers have the shape of fans. Humor is apparent in every gesture. He uses a fine spider web to give a feeling of flight, speed, lightness. The body of a woman reveals the structure of a leaf, a plant. Wings are moving in a world unified by mythological themes. This is an animated world, humorous and levitating, elusive and decorative, which by its unique forms and shapes gives us the sensation of a rebirth, a liberation from the usual, the familiar, a visit to a new planet.” —Anais Nin, from the forward to the portfolio ‘Ten Engravings’ ABOUT THE ARTIST Ian Hugo was born Hugh Parker Guiler in Boston, Massachusetts, on February 15, 1898. His childhood was spent in Puerto Rico—a "tropical paradise," the memory of which stayed with him and surfaced in both his engravings and his films. He attended school in Scotland and graduated from Columbia University where he studied economics and literature. Hugo was working with the National City Bank when he met and married author Anais Nin in 1923. The couple moved to Paris the following year, where Nin's diary and Guiler's artistic aspirations flowered. Guiler feared his business associates would not understand his interests in art and music, let alone those of his wife, so he began a second, creative life as Ian Hugo. Ian and Anais moved to New York in 1939. The following year he took up engraving and etching, working at Stanley William Hayter’s experimental printmaking workshop Atelier 17, established at the New School for Social Research. Hugo began producing surreal images often used to illustrate Nin's books. For Nin, his unwavering love and financial support were indispensable—Hugo was the "fixed center, core... my home, my refuge" (Sept. 16, 1937, Nearer the Moon, The Unexpurgated Diary of Anais Nin, 1937-!939). Fictionalized portraits of Higo and Nin appear in Philip Kaufman's 1990 film drama of a literary love triangle, Henry & June. Inspired by comments that viewers saw motion in his engravings, Hugo took up filmmaking. He asked the avant-garde filmmaker Sasha Hammid for instruction but was told, "Use the camera yourself, make your own mistakes, make your own style." Hugo embarked on an exploration of the film medium as a vehicle to delve into his dreams, his unconscious, and his memories. Without a specific plan, He would collect resonant images, then reorder or superimpose them, seeking a sense of self-connection through the poetic juxtapositions he created. These intuitive explorations resembled the mystical evocations of his engravings, which he described in 1946 as "hieroglyphs of a language in which our unconscious is trying to convey important, urgent messages." In the underwater world of his film ‘Bells of Atlantis,’ the light originates from the world above the surface; it is otherworldly, out of place, yet essential. In ‘Jazz of Lights,’ the street lights of Times Square become in Nin's words, "an ephemeral flow of sensations." This flow that she also calls "phantasmagorical" had a crucial impact on Stan Brakhage, who said that without Jazz of Lights (1954), "there would have been no Anticipation of the Night" his autobiographical film which ushered in a new era of experimental modernist filmmaking. Hugo lived the last two decades of his life in a New York apartment high above street level. In the evenings, surrounded by an electrically illuminated man...

Original Armagnac Ryst - de Haut Parage vintage poster. This great lithographic image features a lion holding both a shield which is a lion on a shield and a sparkling glass of Armagnac. Original old French vintage...

Jack Coggins Aircraft Insignia Original vintage poster, lithograph 60 x 45 cm Signed in image to bottom right This original vintage World War Two propaganda poster was initially ...

In America during WWII, every resource was poured into the war effort. With over 12 million Americans - 11% of the total population - serving in the armed forces, everything from food to labor was tight on the Home Front. This poster depicts those who weren't drafted - a young woman and two older men - hard at work on an airplane engine. The text encourages the viewer to pitch in however they can at home, from working in production plants to buying war bonds. The artwork includes a logo for the 6th War Loan, which is of a bomb dropping over the flag of Japan. The 6th War Loan began in November, 1944 with a goal of 16 billion dollars. The previous war bond drives raised in total 355 billion dollars, including 38 billion from individuals. Courtney Allen...

Medium: Lithograph and stencil on vélin Polifilo paper Year: 1947 Paper Size: 13.78 x 10.24 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, I...