1940s Prints and Multiples

Artist: Henri Matisse Medium: lithograph Portfolio: Untitled from Les Lettres Portugaises Year: 1946 Edition: 250 Framed Size: 16 3/4" x 14 1/2" Reference: Duthuit 15 Signed: Unsigned

This impression (after the original woodcut) was printed on japon paper in 1943 in an edition of 250, and is one of Gauguin's beautiful Tahiti compositions. Image size: 6 1/4 x 12 in...

Henri Matisse (After), French (1869-1954) Icare (Icarus) Portfolio: Jazz Year: Of Original: 1947 Year Printed: 1983 Medium: Lithograph Image Size: 14.75 x 9.75 inches Size: 15.25 x ...

Pablo Picasso (1881-1973) - Minotaur Lithograph from 1946. Dimensions of work: 32,8 x 48 cm Publisher: Pantheon. The work is in Excellent condition. Fast and secure shipment.

This poster done for the Nitrolian paint company is one of the most iconic and endearing posters created by the great artist Leonetto Cappiello. In this image we see that the paint d...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 8.75 x 6.375 inches Inscription: Unsigned and unnumbered, as issued Notes: From th...

This original 1943 World War II poster, designed by Sloan Roberts, was part of the U.S. government’s War Bonds campaign, encouraging American citizens to financially support the war effort. During WWII, War Bonds were a crucial means of raising funds for military operations, and posters like this played a significant role in mobilizing patriotic sentiment across the nation. Roberts’ artwork for this poster is a striking example of wartime propaganda, using bold imagery and compelling text to inspire action. The composition typically features heroic figures—soldiers, civilians, or symbolic American icons—set against a powerful backdrop, reinforcing themes of duty, sacrifice, and national unity. The typography is strong and direct, emphasizing the message: "Buy War Bonds", a rallying cry repeated across numerous government-issued posters during the war. As a wartime artist, Sloan Roberts was known for his ability to evoke emotion and urgency through dynamic compositions and dramatic lighting. His work exemplifies the graphic design style of the era, which combined realistic illustration with bold, patriotic color schemes—often featuring reds, whites, and blues to reinforce national pride. These original 1943 posters were distributed widely across public spaces, factories, schools, and military recruitment centers, serving as a visual reminder of the home front’s responsibility in the war effort. Today, Sloan Roberts’ War Bonds poster is a highly collectible piece of WWII history, valued for its artistic, historical, and patriotic significance. This poster remains an iconic representation of American resilience and unity, making it a prized addition for collectors of vintage military propaganda, WWII memorabilia...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 6.42 x 7.25 inches Inscription: Unsigned and unnumbered, as issued Notes: From the...

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...

A fine impression with good margins published by Associated American Artists.

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size 6.24 x 4.75 inches Inscription: Unsigned and unnumbered, as issued Notes: From the ...

Medium: Engraving on vélin du Marais paper Year: 1948 Paper Size: 12.25 x 9.125 inches; image size: 9 x 6 inches Inscription: Unsigned and unnumbered, as issued Notes: From the volum...

Medium: Lithograph and stencil on vélin paper Year: 1945 Paper Size: 13 x 17 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Degas, Ten Ballet Sketches,...

Lithograph on vélin de Lana a la forme paper. Inscription: signed in pencil and unnumbered, as issued. Good condition. Notes: From the folio, Jules Romains, de l'academie Française, ...

This listing is for the one Silkscreen serigraph piece listed here. Mexico City, 1945. First edition. plate signed, limited edition of 1000, these serigraph plates depict various types of traditional and folk art indigenous clothing...

Medium: pochoir (after the lithograph). Printed in New York by Esther Gentle and published in 1947 for a portfolio issued by the Museum of Modern Art in an edition of 2000. The image...

In 1940, Charles de Gaulle's iconic "Appel du 18 Juin 1940" poster emerged as a symbol of unwavering resolve and hope during one of the darkest chapters in French history. This post...

Medium: Lithograph and stencil on vélin paper Year: 1945 Paper Size: 13 x 17 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Degas, Ten Balle...

Bold print of "Death Takes the Children" by Kathe Kollwitz (German, 1867-1945). This piece is one of the Lithographic reproductions of the original lithographs, plate 9 from a series...

Artist: Pablo Picasso Title: Monogram "J" with Landscape (Plate XI) Portfolio: Carmen Medium: Etching on Montval wove paper Year: 1949 Edition: 289 Sheet Size: 13" x 10 3/16" Signed:...

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 ...

"White Calf" is an original lithograph print by Thomas Hart benton. It features the image of a man milking a cow while her calf lays down in front. Benton's breathtaking way of rende...

Original Vultee "Vengeance" World War II, 1942, vintage spotter airplane poster. Original linen-backed U. S. Naval Aviation Training Division, Nov.,...

Harry Shokler used serigraphy to great advantage in this landscape. It's colorful and detailed. It is signed in the image at the lower left. When printmakers began making serigraphs...

This is a portrait of Picasso's Housekeeper, Inès Sassier and her child. It is a large lithograph, signed by Picasso. Impressions from this lithograph edition are included in the following Public Collections : MOMA New York Kunstmuseum Picasso, Munster Museu de Picasso Barcelona...

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: ...

James Houston McConnell, 'Sister Kate', color serigraph, 1947, edition 24. Signed, dated, titled, and numbered '24' in pencil. Annotated '10.00 - 19 colors - 24 copies - #24' in pencil. A fine impression, with vibrant, fresh colors, on heavy tan wove paper, with full margins (11/16 to 1 1/2 inches). Tack holes in the four margin corners, well away from the image, otherwise in excellent condition. Matted to museum standards, unframed. Scarce. Another of McConnell's mid-century modernist, jazz-inspired serigraphs, 'Combo', is featured in the British Museum's 2008 publication (and traveling exhibition) 'The American Scene: Prints from Hopper to Pollock'. ABOUT THE IMAGE "I Wish I Could Shimmy Like My Sister Kate", often simply "Sister Kate", is an up-tempo jazz dance song, written by Armand J. Piron and published in 1922. The lyrics of the song are narrated in the first person by Kate's sister, who sings about Kate's impressive dancing skill and her wish to be able to emulate it. She laments that she's not quite "up to date", but believes that dancing like "Sister Kate" will rectify this, and she will be able to impress "all the boys in the neighborhood" like her sister. Over the years this song has been performed and recorded by many artists, including Frances Faye and Rusty Warren, a 1959 version by Shel Silverstein...

Monsieur Loyal Henri Matisse (After) French (1869–1954) Portfolio: Jazz Date: Of Original: 1947 Year Printed: 1983 Lithograph Size: 15.25 x 11.75 in. (38.74 x 29.85 cm) Frame Size...

Medium: Lithograph and stencil on vélin paper Year: 1945 Paper Size: 13 x 17 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Degas, Ten Balle...

Original linen-backed “Plaza de Toros de Toledo" bullfighting poster for 20 August 1942. Grandiosa Corrida de Toros. Six bulls from the famou...

Yves BRAYER Rape of the Sabine Women Original etching Printed signature in the plate On Arches vellum 30 x 25 cm (c. 12 x 10 inch) Printed in Haase...

Stone and Press Gallery is excited to offer several works in celebration of the LGBTQ community. This elegant etching titled the gilded youth is of the second wife of the artist ...

Original American Airlines - California, Arizona, Texas, New Mexico by McKnight Kauffer, 1948 vintage poster. Archival linen backed in Grade A, Excellent condition. No paper loss and no restoration. Kauffer’s signature artistry is on full display with a bold and minimalist design. The striking depiction of a Western figure adorned with a cowboy hat and scarf emphasizes California, Arizona, Texas, and New Mexico—the sun-drenched landscapes and destinations of the era's most adventurous travelers. The clean typography and bold color contrasts evoke modernism and nostalgia, making the piece a perfect centerpiece for collectors of aviation history, vintage travel memorabilia, or timeless graphic art. Designed by E. McKnight Kauffer, a renowned artist known for his bold use of color and striking designs, this poster is a masterpiece that resonates with the charm of a bygone era. This original piece from 1948 tells a story about American Airlines and reflects the excitement of post-war travel and the booming airline industry. This rare, authentic poster...

A Rare and important collaboration by four of the leading artists of pre- and post-WWII French artists. Arp et al, Jean. JEAN ARP - SONIA DELAUNAY - ALBERTO MAGNELLI - SOPHIE TAEUBER...

Medium: lithograph (after the painting). Published by Louis Carré in 1948 for "L'Art Glorieux" in an edition of 1800. Printed in Paris by Mourlot Frères. Image size: 6 x 7 3/4 inches...

Artist: Pablo Picasso Title: Oval Head with Dividing Line (Plate XXIX) Portfolio: Carmen Medium: Etching on Montval wove paper Year: 1949 Edition: 289 Frame Size: 21" x 18" Sheet Siz...

Original 1940 Loterie Nationale Vintage Poster. Tranche de l”Historie de France. Linen-backed in very good condition – excellent, ready to frame. The team of Eddgard Derouet and C...

Artist: Pablo Picasso Title: Monogram "J" with Design (Plate VII) Portfolio: Carmen Medium: Etching on Montval wove paper Date: 1949 Edition: 289 Sheet Size: 13" x 10 3/16" Signed: N...

Medium: pochoir (after the pastel). A soft and delicate impression, printed in Paris in 1948 and published in an edition of 1200 by Braun et Cie. Size: 6 1/2 x 4 1/2 inches (164 x 11...

Lithograph on vélin paper. Paper size: 9.25 x 12.25 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur,...

Benton Spruance, 'Eyes for the Night', lithograph, 1947, edition 35, Fine and Looney 260. Signed, dated, titled, and annotated 'Ed 35' in pencil. A fine impression, on heavy, cream ...

Beautiful Czech ski poster by Ladislav Horak for Velke Karlovice, Raj Lyzaru. Velké Karlovice is a municipality and village in the Vsetín district of the Zlín region in the Czech Rep...

Lithograph on vélin paper. Paper size: 12.25 x 9.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur, 1948. Publ...

Medium: lithograph (after the drawing). This impression in violet ink was printed in France in 1944 for the rare "Correspondances" portfolio, published by Teriade in a limited editio...

The original 1948 travel poster by Fontanarosa for Savoie, promoted by SNCF (French National Railway Company), offers a captivating glimpse into the allure of this picturesque region in France. With a blend of vibrant colors and evocative imagery, Fontanarosa's poster captures the essence of Savoie's scenic beauty and rich cultural heritage. The majestic snow-capped peaks of the Alps, lush green valleys, and charming alpine villages beckon travelers to embark on an unforgettable journey through this enchanting destination. As a promotional piece for SNCF, the poster not only highlights the natural splendor of Savoie but also emphasizes the convenience and accessibility of travel by rail...

Henri Michaux, Belgian (1899 - 1984) - Abstract Composition, Year: 1949, Medium: Lithograph, signed and numbered in pencil, Edition: 44/100, Image Size: 12 x 8.5 inches, Size: 1...

Original vintage poster: "You buy 'em We'll fly 'em!" Artists: J. Walter Wilkinson and his son Walter G. Wilkinson. (1917 - 1971). Linen backed with original WW2 U.S. military with original issued fold marks restored. Excellent condition. Touchup pinhole in the four corners. Excellent colors. Ready to frame. A flying ace pilot smiles and gives the thumbs up to the viewer to promote war bonds, saying, "You Buy 'Em, We'll Fly' Em" in this 1942 WWII poster by J. Walter Wilkinson and his son Walter G. Wilkinson. The artwork features a squadron of Douglas SBD Dauntless, which the US Navy used as scout planes and dive bombers. The seal at the bottom of the poster reads, "The More Bonds You Buy- The More Planes Will Fly." This poster is one in a series of six created by the award-winning father-son team for the United States Treasury Department. J. Walter Wilkinson (1892-1988) and his son Walter G. Wilkinson (1917-1971) created several posters for the United States Department of Treasury during the Second World War. J. Walter Wilkinson was an academic painter who studied in Italy and worked for advertising agencies in Philadelphia. He specialized in outdoor landscapes and created many commercial artworks for advertising campaigns, including Ivory Soap, Pabst Beer...

Lithograph on vélin a la forme des papeteries d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Repli, Gravures de Henri Matisse, 1947. Publ...

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: ...

André Masson, French (1896 -1987) - Ruine, Year: 1945, Medium: Lithograph, signed and numbered in pencil, Edition: 10/30, Image Size: 8 x 6.25 inches, Size: 14 x 11 in. (35.56 x...

'I'll Be What I Choose: Vanity of Ambition', color lithograph, 1949, edition 40, Fine and Looney 281. Signed, titled, and numbered '23/40' in pencil. Initialed in the stone, lower ri...

Lithograph on vélin paper. Paper size: 12.25 x 9.25 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Henri de Toulouse-Lautrec, Dessinateur, 1948. Publ...

The Cultivation of Dictators is an original woodcut print by Primo Zeglio in the 1940s. Good conditions. The artwork is depicted through strong strokes in a well-balanced composition.

Medium: original color woodcut. Printed in 1948 and published in New York by Wittenborn and Schultz. Size: 10 x 7 1/4 inches (253 x 186 mm). Not signed.

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 ...

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...

Lynd Ward, 'Priests' from the series 'Moriae Encomium (The Praise of Folly)', mezzotint, 1943, no edition, proofs only. Signed in pencil. A superb, richly-inked impression, on cream wove paper; the full sheet with margins (1 1/4 to 2 inches) in excellent condition. Matted to museum standards, unframed. Scarce. Image size 7 3/4 x 4 3/4 inches (197 x 121 mm); sheet size 10 11/16 x 8 1/16 inches (271 x 204 mm). Created by the artist for 'Erasmus's Moriae Encomium,' or 'In Praise of Folly,' published by the Limited Editions Club, 1943. A rare, signed, proof impression apart from the Limited Editions Club publication. ABOUT THE ARTIST Lynd Ward is acknowledged as one of America’s foremost wood engravers and book illustrators of the first half of the twentieth century. His innovative use of narrative printmaking as a stand-alone storytelling vehicle was uniquely successful in reaching a broad audience. The powerful psychological intensity of his work, celebrated for its dynamic design, technical precision, and compelling dramatic content, finds resonance in the literature of Poe, Melville, and Hawthorne. Like these classic American writers, Ward was concerned with the themes of man’s inner struggles and the role of the subconscious in determining his destiny. An artist of social conscience during the Great Depression and World War II, he infused his graphic images with his unique brand of social realism, deftly portraying the problems that challenged the ideals of American society. The son of a Methodist preacher, Lynd Ward, moved from Chicago to Massachusetts at an early age. He graduated from the Teachers College of Columbia University, New York, in 1926, where he studied illustration and graphic arts. He married May Yonge McNeer in 1936 and left for Europe for their honeymoon in Eastern Europe. After four months, they settled in Leipzig, where Ward studied at the National Academy of Graphic Arts and Bookmaking. Inspired by Belgian expressionist artist Frans Masereel's graphic novel ‘The Sun,’ and another graphic novel by the German artist Otto Nückel, ‘Destiny,’ he determined to create his own "wordless" novel. Upon his return to America, Ward completed his first book, ‘God's Man: A Novel in Woodcuts,’ published in 1929. ‘Gods’ Man’ was a great success for its author and publisher and was reprinted four times in 1930, including a British edition. This book and several which followed it, ‘Madman’s Drum,’ 1930, ‘Wild Pilgrimage,’ 1932, ‘Prelude to a Million Years,’ 1933, ‘Song Without Words,' 1936, ‘Vertigo,’ 1937; and ‘Last Unfinished Wordless Novel’ (created in the 1960s and published in 2001) were comprised solely of Ward's wood engravings. Ward designed each graphic image to occupy an entire page, the sequence of which conveys the story's narrative. In 1937, Ward was named Director of the Graphic Arts Division of the Federal Art Project, a division of the Works Progress Administration (WPA). In the following years, Ward went on to illustrate more than one hundred books (some of which he wrote), including classics for the Limited Editions Club Goethe’s ‘Faust,’ Faulkner’s ‘A Green Bough,’ and Mary Shelley’s ‘Frankenstein,’ and several children’s books. He also produced single-subject wood engravings, paintings, and drawings. His print ‘Sanctuary,’ 1939, was shown at the 1939 New York World’s Fair, and ‘Clouded Over,’ 1948, received the 1948 Library of Congress Award and was included in ‘American Prize Prints of the 20th Century’ by Albert Reese. He received the National Academy of Design Print Award (1949), the New York Times Best Illustrated Award (1973), and the Regina Award (Catholic Library Association, 1975). ‘The Biggest Bear,’ a children’s book with illustrations by Ward, was the recipient of the esteemed 1952 Caldecott Medal of the American Library Association. An Honorary Fellow of the Royal Society of Painter-Etchers and Engravers, Ward was a member and board member of the National Academy of Design and the Artists’ League of America. He served several terms as president of the Society of American Graphic Artists and was a member of the American Artists Congress and the Society of Illustrators. Ward exhibited at the American Artists Congress; the National Academy of Design; the John Herron Art Institute; and the Library of Congress. He had a one-person show at Associated American Artists, NY, on the publication of his monograph 'Storyteller Without Words,' 1974; AAA mounted a memorial exhibition in 1986. The May 1976 issue of 'Bibliognost,' a book collector’s publication, was dedicated to Ward. ‘Lynd Ward, His Bookplate Designs,’ an article by Dan Burne Jones, was published in the American Society of Bookplate Collectors and Designers Yearbook, 1981/82. In 2001, sixteen years after his death, Rutgers University Libraries published ’Lynd Ward’s Last Unfinished Wordless Novel.’ The blocks were intended to be part of a novel in woodcuts, the first since Vertigo, but Ward did not live to complete the project. Master printer and book designer Barbara Henry collated and printed the twenty-six finished blocks out of the forty-four initially planned for the still unnamed narrative. In 2010 the Library of America honored Ward’s achievements with the meticulous production of a collection of Ward’s woodcut novels—the first time the Library had gone wordless. The publication replicated his original editions with a single full-size image printed on the right page of each double-page spread. In his introduction to the books, renowned cartoonist/illustrator Art...

Norman Rockwell was a well known illustrator and painter, who was best known for his many magazine covers created mainly for the Saturday Evening Post. During World War ll he created...

Issued by the United States Dept. of Information during the Second World War, this poster serves as a rallying cry for all Americans to serve their country as well as they can. It cl...

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...