American Modern Art
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Style: American Modern
Period: 1930s
"Manhattan Bridge" NYC American Scene Modernism Watercolor WPA Urban Realism
Located in New York, NY
Reginald Marsh "Manhattan Bridge" NYC American Scene Modernism Watercolor WPA Urban Realism, 20 x 14 inches. Watercolor and pencil on paper, 1938. Signed...
Category
1930s American Modern Art
Materials
Paper, Watercolor, Pencil
Colorado Mountain Summer Landscape, 1930s Framed Modernist Oil Painting
Located in Denver, CO
Vintage Modernist WPA era painting by Arnold Blanch (1896-1968) of a Colorado Landscape, likely near Colorado Springs, Colorado, with green fields, red rocks and mountains in the background under a moody sky. Dominant colors include, green, yellow, red/brown, gray, white and blue.
Painting is clean and in good vintage condition - please contact us for a detailed condition report.
About the Artist:
Arnold Blanch was an illustrator, printmaker, teacher and painter. He was primarily known for his landscape, genre, figurative, realist, and surrealist paintings. Born in Manterville, Minnesota, he was encouraged to study art by his mother, an amateur artist. He began studying at the Minneapolis Art Institute in 1914. In 1916, he received a scholarship to study in New York at the Art Students League. In New York, he studied under Robert Henri, Francis Luis Mora, Boardman Robinson, John Sloan, and Kenneth Hayes Miller.
In 1919, Blanch arrived in Woodstock, New York to study at the Art Students League summer school. He married his fellow student Lucile Lundquist, and they settled in Woodstock in 1922 after traveling to France for a year. Blanch remained in Woodstock for more than forty years, until his death. He was an important figure in the Woodstock Artists Association, as he devoted much of his time to maintaining financial and moral support for the Association.
Throughout his life, Blanch had more than sixty solo and group exhibits. He was awarded the Guggenheim Foundation Fellowship in 1940. In 1962, he had a retrospective at the Krasner Gallery in New York. Blanch's artistic style changed frequently throughout his career. After the 1930's, Blanch's palette became lighter and his subjects became less serious. In the 1930s, after he and his first wife separated, Blanch became romantically involved with artist Doris Lee, and both were influenced by each other's artistic styles for the next thirty years. Blanch was also influenced by the Abstract Expressionists; however, he primarily remained a figurative painter. His last artistic style consisted of shallow pictoral space and tightly arranged structures. ©David Cook Galleries...
Category
1930s American Modern Art
Materials
Canvas, Oil
Reginald Wilson, Horses
Located in New York, NY
Although this work is titled Horses. It nice to think it could be (Horses in a Field in Woodstock, NY), but it was printed by Will Barnet at the Art Students League, about 1938, and Wilson, who visited Woodstock with Arnold Blanche...
Category
1930s American Modern Art
Materials
Lithograph
Nude Woman in Chair
Located in Fairlawn, OH
Nude Woman in Chair
Watercolor, gouache, ink, and pencil on heavy paper, c. 1930-35
Signed with the artist's Estate stamp lower right (see photo)
Note: ...
Category
1930s American Modern Art
Materials
Watercolor
George Constant, When We Were Very Young
Located in New York, NY
The Greek-American artist George Constant is known for his modernist approach to traditional subject matter. This portrait of a young woman holding a book titled "When We Were Very Young...
Category
1930s American Modern Art
Materials
Drypoint
Wire Haired Girl and Cat
Located in Fairlawn, OH
Wire Haired Girl and Cat
Pen and ink with watercolor, c. 1930
Signed with the Estate stamp "B"
Provenance: Estate of the Artist
By d...
Category
1930s American Modern Art
Materials
Watercolor
Chicago, Michigan Avenue n°2 - Original etching, c. 1931
Located in Paris, FR
Donald Shaw MacLaughlan
Chicago : Michigan Avenue n°1, c. 1931
Original etching
Printed signature in the plate
On vellum 38 x 50 cm (c. 15 x 20 in)
V...
Category
1930s American Modern Art
Materials
Etching
William P. Hicks, Circus
Located in New York, NY
William P. Hicks has drawn everything about the circus that will fit in the plate. The main figure is an aerial act with a woman balancing on rope held by a figure on the floor. Ther...
Category
1930s American Modern Art
Materials
Etching
Indian with Bow in Fox Costume, 1930s Modernist Print by Hilaire Hiler
Located in Denver, CO
'Indian with Bow in Fox Costume' is a vintage 1934 WPA era modernist color serigraph/silkscreen print by New Mexico artist, Hilaire Hiler (1898-1966) depicting a Native American figure with stylized feather headdress and Bow in black and red with white. Pencil signed by the artist in the lower right margin. Presented in a custom frame with all archival materials and UV protectant glass, outer dimensions measure 17 ½ x 15 x 1 ½ inches. Image size is 10 x 7 inches (sight).
Expedited and International shipping is available - please contact us for a quote.
About the Artist:
Hilaire Hiler was born in St. Paul, Minnesota, and was raised in Providence, Rhode Island. Hiler took art classes as a child at the Rhode Island School of Design. When he was older, Hiler studied at the Pennsylvania Academy of the Fine Arts, the Pennsylvania School of Industrial Art, Wharton School of Finance and Commerce, and William Server's studio. He also studied at the University of Pennsylvania, the University of Denver, Golden State University, and National College in Ontario, Canada. He continued on to France, studying at the University of Paris in 1919. Hiler lived in Paris from 1919-1934, supporting himself as a jazz musician and a piano player for The Jockey Club.
Hiler moved back to America in 1934, settling in San Francisco. He was commissioned by the Works Progress Administration (WPA) to paint murals in the Aquatic Park...
Category
1930s American Modern Art
Materials
Screen
'Variation 30, Vol. II' — from the series '1 to 40 Variations'
Located in Myrtle Beach, SC
Katherine S. Dreier, 'Variation 30, Vol. II' from '1 to 40 Variations', lithograph with pochoir and hand-coloring, 1934, edition 65. Stenciled signature and date, lower right. Annota...
Category
1930s American Modern Art
Materials
Lithograph
Grand Lake, Yacht Races, Colorado Mountain Lake, 1930s Black White Print
Located in Denver, CO
Grand Lake, Colorado, Yacht Races, vintage 1930s modernist, WPA era black and white lithograph by Colorado artist, Arnold Ronnebeck (1885-1947). Lake with ...
Category
1930s American Modern Art
Materials
Lithograph
Harlem Laundry
Located in Lawrence, NY
Oil on board.
Notable as a Federal Arts Project artist during the Great Depression of the 1930s, Jules Halfant was part of the mural and easel division of the New York Works Progress Administration (WPA). While in the WPA, he worked alongside such well-known artists as Jackson Pollock, Mark Rothko, Milton Avery and Stuart Davis.
Halfant studied at the National Academy of Design from 1924-1927. He participated in New York exhibitions at the ACA Gallery in 1935, and the Artists' Gallery in 1938. He also exhibited with "The New York Group" at ACA Gallery in '38 with Jacob Kainen, Herb Kruckman, Alice Neel, Louis Nisonoff, Herman Rose, Max Schnitzler...
Category
1930s American Modern Art
Materials
Oil
Alexander Calder Circus Reproduction Lithograph After a Drawing
Located in Surfside, FL
(after) Alexander Calder
"Calder's Circus" offset lithograph on wove paper after drawings by the artist
Published by Art in America and Perls gallery in 1964 (from drawings done in the 1930's)
these range slightly in size but they are all about 13 X 17 inches (with minor variations in size as issued.) These have never been framed. The outer folio is not included just the one lithograph.
James Sweeny from the introduction “The fame of Calder’s circus spread quickly between the years 1927 and 1930. All the Paris art world came to know it. It brought him his first great personal success. But what was more important, the circus also provided the first steps in Calder’s development as an original sculptor”
Clive Gray...
Category
1930s American Modern Art
Materials
Lithograph
1936 Benson B Moore 'Southbound Geese'
Located in Brooklyn, NY
Paper Size: 13 x 10 inches ( 33.02 x 25.4 cm )
Image Size: 6 x 7 inches ( 15.24 x 17.78 cm )
Framed: No
Condition: A: Mint
Additional Details: This image is a reproduction of an etching by the artist Benson Bond Moore (American, 1882-1974). Moore was a landscape and animal-portrait painter, and etcher, born in Washington DC. He became a noted painter of scenes of nature, and his style early in his career showed the Barbizon School influence but later became more Impressionist and less Tonalist. His snow scenes were especially popular.
Moore belonged to more than forty arts organizations. He was a founding member of The Miniature Painters, Sculptors and Gravers Society of Washington D.C., which held its inaugural exhibition in 1931 at the Corcoran. He had many one-man shows, notably in 1928 at the Corcoran Gallery with his etchings, drypoints, and lithographs.
Already in childhood he sketched animals...
Category
1930s American Modern Art
Materials
Offset
'Variation 8, Vol. I' — from the series '1 to 40 Variations'
Located in Myrtle Beach, SC
Katherine S. Dreier, 'Variation 8, Vol. 1' from '1 to 40 Variations', lithograph with pochoir and hand-coloring, 1934, edition 65. Stenciled signature and date, lower right. Annotate...
Category
1930s American Modern Art
Materials
Lithograph
Head of a Young Woman with Blond Hair
Located in Fairlawn, OH
Head of a Young Woman with Blond Hair
Watercolor on paper mounted on rag paper support, c. 1930
Signed with the Estate Stamp B
Provenance: Estate of the Artist
...
Category
1930s American Modern Art
Materials
Watercolor
Alexander Calder Circus Reproduction Lithograph After a Drawing
Located in Surfside, FL
(after) Alexander Calder
"Calder's Circus" offset lithograph on wove paper after drawings by the artist
Published by Art in America and Perls gallery in 1964 (from drawings done in the 1930's)
these range slightly in size but they are all about 13 X 17 inches (with minor variations in size as issued.) These have never been framed. The outer folio is not included just the one lithograph.
James Sweeny from the introduction “The fame of Calder’s circus spread quickly between the years 1927 and 1930. All the Paris art world came to know it. It brought him his first great personal success. But what was more important, the circus also provided the first steps in Calder’s development as an original sculptor”
Clive Gray...
Category
1930s American Modern Art
Materials
Lithograph
Girl in Profile
Located in Fairlawn, OH
Girl in Profile
Lithographic crayon and watercolor on thin wove paper, c. 1930
Signed twice in pencil (see photos)
Provenance: Estate of the Artist
Edward Somme...
Category
1930s American Modern Art
Materials
Watercolor
1939 George Raab 'Portal in Weimar'
By George Raab
Located in Brooklyn, NY
Paper Size: 9.25 x 9 inches ( 23.495 x 22.86 cm )
Image Size: 8 x 6 inches ( 20.32 x 15.24 cm )
Framed: No
Condition: A: Mint
Additional Details: This piece derives from the 19...
Category
1930s American Modern Art
Materials
Woodcut
Stevan Dohanos, Backyard
Located in New York, NY
Stevan Dohanos was an accomplished draftsman who work was widely known through the Saturday Evening Post. This print 'Backyard,' however, leaves aside the illustrative magazine work ...
Category
1930s American Modern Art
Materials
Woodcut
Mural Studies, Palace of Fine Arts San Francisco WPA American Modernism 1930s
By Frank Van Sloun
Located in New York, NY
Mural Studies, Palace of Fine Arts San Francisco WPA American Modernism 1930s. 9 x 12 inches. Tempera on paper, c. 1936. Authenticated and signed ...
Category
1930s American Modern Art
Materials
Paper, Egg Tempera
Untitled
By Charles William Smith
Located in Fairlawn, OH
Untitled
Color woodcut, 1939
Unsigned as issued
Signed and dedicated by the artist on the justification page (see photo)
From:
Abstractions By Charles Smith
Forward by Carl O. Schnie...
Category
1930s American Modern Art
Materials
Woodcut
Henry Spanner, Beer
Located in New York, NY
This is among the very few prints known by Spanner. It's the epitome of joie de vivre. It is signed, numbered, and annotated 'Hand print,' in pencil. The numbering indicates an edit...
Category
1930s American Modern Art
Materials
Woodcut
Harold E. Keeler, Water Fall
Located in New York, NY
Harold E. Keeler worked in Hollywood as a set designer. That seems especially important here because the Water Fall looks a little as though it could be a woodland stage set -- to me...
Category
1930s American Modern Art
Materials
Linocut
Landscape with buildings and trees
By Leon Kelly
Located in Fairlawn, OH
Landscape with buildings and trees
Watercolor on paper, c. 1930's
Signed in pencil lower right (see photo)
Provenance: Estate of the artist
Condition: Excellent
Sheet size: 9 3/8 x 1...
Category
1930s American Modern Art
Materials
Watercolor
Alexander Calder Circus Reproduction Lithograph of a Drawing
Located in Surfside, FL
(after) Alexander Calder
"Calder's Circus" offset lithograph on wove paper a reproduction lithograph after the drawings by the artist
Published by Art in America and Perls gallery in 1964 (from drawings done in the 1930's)
these range slightly in size but they are all about 13 X 17 inches (with minor variations in size as issued.) These have never been framed. The outer folio is not included just the one lithograph.
James Sweeny from the introduction “The fame of Calder’s circus spread quickly between the years 1927 and 1930. All the Paris art world came to know it. It brought him his first great personal success. But what was more important, the circus also provided the first steps in Calder’s development as an original sculptor”
Clive Gray...
Category
1930s American Modern Art
Materials
Lithograph
"The Knockout" Boxing Sports American Watercolor WPA Mid-Century Modern 30s/40s
By Robert Riggs
Located in New York, NY
"The Knockout" Boxing Sports American Watercolor WPA Mid-Century Modern 30s/40s.
Known for his paintings of prize-fighting and circus-genre scenes and lithography of gigantic size c...
Category
1930s American Modern Art
Materials
Paper, Watercolor
'Sea And Sky' — 1930s Modernism
Located in Myrtle Beach, SC
A brilliant, black impression, on cream wove Japan; the full sheet with margins (2 to 2 1/2 inches), in excellent condition. Edition 150. Signed in pencil. Matted to museum standards...
Category
1930s American Modern Art
Materials
Woodcut
Alexander Calder Circus Reproduction Lithograph After a Drawing
Located in Surfside, FL
(after) Alexander Calder
"Calder's Circus" offset lithograph on wove paper after drawings by the artist
Published by Art in America and Perls gallery in 1964 (from drawings done in the 1930's)
these range slightly in size but they are all about 13 X 17 inches (with minor variations in size as issued.) These have never been framed. The outer folio is not included just the one lithograph.
James Sweeny from the introduction “The fame of Calder’s circus spread quickly between the years 1927 and 1930. All the Paris art world came to know it. It brought him his first great personal success. But what was more important, the circus also provided the first steps in Calder’s development as an original sculptor”
Clive Gray...
Category
1930s American Modern Art
Materials
Lithograph
Yacht Races, Grand Lake, Colorado, 1933, Sailboats, Black & White lithograph
Located in Denver, CO
Yacht Races, Grand Lake, Colorado, vintage 1933 original signed lithograph by Arnold Ronnebeck (1885-1947). Numbered 23 in an edition of 25 prints. Black and white coastal, marine subject. Presented in an archival mat, outer dimensions measure 20 x 16 ⅛ inches. Image size measures 13 ¾ x 9 ⅛ inches (sight). Custom framing services are available.
Print is clean and in very good vintage condition - please contact us for a detailed condition report.
Provenance: Estate of Arnold Ronnebeck
About the Artist:
Modernist sculptor, lithographer and museum administrator, Rönnebeck was a noted member of European and American avant-garde circles in the early twentieth century before settling in Denver, Colorado, in 1926.
After studying architecture at the Royal Art School in Berlin for two years beginning in 1905, he moved to Paris in 1908 to study sculpture with Aristide Maillol and Émile-Antoine Bourdelle. While there he met and befriended American modernist painter, Marsden Hartley, of whom he sculpted a bronze head that was exhibited at the Salon d’Automne in Paris in 1912 and the following year at Hartley’s solo show of paintings at Alfred Stieglitz’s Gallery 291 in New York. A frequent guest of Gertrude Stein’s Saturday "evenings" in Paris, she described Rönnebeck as "charming and always invited to dinner," along with Pablo Picasso, Mabel Dodge (Luhan) and Charles Demuth.
After the outbreak of World War I in 1914, Rönnebeck returned to Germany where he served as an officer in the German Imperial Army on the front lines. Twice wounded, including in the Battle of Marne in France, Kaiser Wilhelm II awarded him the Iron Cross. During the war Hartley fell in love with Rönnebeck’s cousin, Lieutenant Karl von Freyburg, who was killed in combat. As a tribute to Freyburg, Hartley created Portrait of a German Officer (1914) now in the Metropolitan Museum of Art in New York.
After the war Rönnebeck traveled in Italy with German writer, Max Sidow, and German poet, Theodor Daubler, doing a series of drawings of Positano and the Amalfi Coast that formed the basis for his lithographs on the subject. The death of his finacée, the young American opera singer Alice Miriam in 1922 and his own family’s increasing financial problems in post-World War I Germany led him to immigrate to the United States in 1923. After living briefly with Miriam’s family in Washington, DC, he moved to New York where he became part of the avant-garde circle around Alfred Stieglitz. His essay, "Through the Eyes of a European Sculptor," appeared in the catalog for the Anderson Gallery exhibition, "Alfred Stieglitz Presents Seven Americans: 159 Paintings, Photographs & Things, Recent & Never Publicly Shown, by Arthur G. Dove, Marsden Hartley, John Marin, Charles Demuth, Paul Strand, Georgia O’Keeffe, Alfred Stieglitz."
In New York Rönnebeck began producing Precisionist-style lithographs of the city’s urban landscapes which he termed "living cubism." Some of them were reproduced in Vanity Fair magazine. Through Stieglitz he met Erhard Weyhe head of the Weyhe Gallery who, with its director Carl Zigrosser, arranged Rönnebeck’s first solo American exhibition in May 1925 at the gallery in New York. Comprising some sixty works – prints, drawings and sculpture – the show subsequently traveled on a thirteen-month tour of major American cities. Until the end of his life, the gallery represented him, along with other American artists Adolf Dehn, Wanda Gag, Rockwell Kent, J.J. Lankes, Louis Lozowick, Reginald Marsh and John Sloan.
In the summer of 1925, as the guest of Mabel Dodge Luhan, Rönnebeck first saw Taos, New Mexico, which Marsden Hartley had encouraged him to visit. It was there that he met his future wife, Louise Emerson, an easel painter and muralist. A year later they were married in New York before relocating to Denver. He served as director of the Denver Art Museum from 1926 to 1930 where he invited Marsden Hartley to lecture on Cézanne’s art in 1928. Rönnebeck fostered the development of the museum’s collection of American Indian art and the curation of modernist art exhibitions. In addition to his work at the museum, he was professor of sculpture at the University of Denver’s College of Fine and Applied Arts from 1929 to 1935, and wrote a weekly art column in the Rocky Mountain News.
His best known Denver sculptures from the late 1920s in bronze, copper, stone, wood and terra cotta include a reredos, The Epiphany, at St. Martin’s Chapel; The History of Money (six panels) at the Denver National Bank; The Ascension at the Church of Ascension; and the William V. Hodges Family Memorial at Fairmount Cemetery. At the same time he did a series of terra cotta relief panels for La Fonda Hotel in Santa Fe, New Mexico. In the 1930s his bas-relief aluminum friezes of stylized Pueblo and Hopi Indian Kachina masks...
Category
1930s American Modern Art
Materials
Lithograph
Samuel Chamberlain, The Public Gaol, Williamsburg (Virginia)
Located in New York, NY
Samuel Chamberlain was a superb draftsman and his architectural images are often very complex. This image is, by contrast, quiet and understated: serene to the point of lonely. It's ...
Category
1930s American Modern Art
Materials
Drypoint
A. Ross Pittman, Summer Home
Located in New York, NY
This print is signed and titled in pencil. A native of Tennessee and a physician, Pittman began to make prints in 1936 in Trenton, New Jersey. However, scene of his home state remain...
Category
1930s American Modern Art
Materials
Woodcut
Irving Guyer, Christmas Trees on Second Street (NYC)
By Irving Guyer
Located in New York, NY
Philadelphia-born Irving Guyer attended the Art Students League and worked in New York City before moving to California. This print is signed and titled i...
Category
1930s American Modern Art
Materials
Etching, Drypoint
Christopher Street (abstract Greenwich Village cityscape)
Located in Wilton Manors, FL
De Hirsh Margules (1899-1965). Christopher Street, 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15.5 x 20 inches. Window in matting measures 15 x 19 inches. Framed measurement: 23 x 30 inched. Bears fragment of original label affixed on verso. Incredibly vibrant and saturated color with no fading or toning of sheet.
Provenance: Babcock Galleries, NYC
Exhibited: The American Federation of Arts Traveling Exhibition.
From the facade of The Waverly at Christopher is depicted One Christopher Street, the 16-story Art Deco residential building erected in 1931. It is not a casual coincidence that the structure appears in this cityscape: 1 Christopher Street is the subject. The original intention of this project was to transform the neighborhood, bring a bit of affluence and make a bid to rival the Upper West Side. Margules, a sensitive aesthete, understood how a massive piece of architecture such as One changes a neighborhood. Sound, scale and focal points are forever altered. A pedestrian's sense of depth and distance becomes pronounced. All of these factors contribute to the intent behind this image. Tall buildings disrupt the human scale, change the skyline and carve up space. In this piece, negative space conforms to the man-made geometries. Clouds become gems fixed in settings.
De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium"
Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village.
Early Life
De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website.
At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers.
As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later.
In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno).
Artistic career
In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting.
Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe.
Jane Heap, left, with Mina Loy and Ezra Pound
During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter.
In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa.
Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that:
the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment.
Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow."
It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day.
In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel.
Upon his return to New York in 1929, Margules attended an exhibition of John Marin's paintings.
While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O'Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends."
Alfred Stieglitz
Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York.
With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting.
In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works.
In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation.
"The Baron of Greenwich Village"[edit]
Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond.
To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness."
He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller.
Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance.
The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation.
The writer and television personality Alexander King said
I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean.
King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets."
Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler.
Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...
Category
1930s American Modern Art
Materials
Watercolor, Rag Paper
Alfred Bendiner, Sweet Innocence
Located in New York, NY
No matter the seriousness of the subject, everything is always beautifully drawn on the lithographic stone by Bendiner, but in this instance the negative space is exploited amazingly...
Category
1930s American Modern Art
Materials
Lithograph
Interieur No. II
Located in Fairlawn, OH
Interieur No. II
Oil on canvas, 1937
Signed on verso (see photo)
nscribed on reverse:
Benno 1937
"Interieur" (No. II)
35 x 27 cm
9 rue Compagne Premiere
Paris 14e
Provenance: Estate of the artist
Ruth O...
Category
1930s American Modern Art
Materials
Canvas, Oil
North on West Street (West Side Highway NYC Cityscape)
Located in Wilton Manors, FL
De Hirsh Margules (1899-1965). North on West Street , 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15 x 22 inches. Framed measurement: 27 x 34 inched. Incredibly vibrant and saturated color with no fading or toning of sheet.
Provenance: Babcock Galleries, NYC
De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium"
Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village.
Early Life
De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website.
At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers.
As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later.
In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno).
Artistic career
In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting.
Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe.
Jane Heap, left, with Mina Loy and Ezra Pound
During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter.
In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa.
Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that:
the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment.
Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow."
It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day.
In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel.
Upon his return to New York in 1929, Margules attended an exhibition of John Marin's paintings.
While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O'Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends."
Alfred Stieglitz
Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York.
With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting.
In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works.
In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation.
"The Baron of Greenwich Village"[edit]
Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond.
To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness."
He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller.
Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance.
The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation.
The writer and television personality Alexander King said
I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean.
King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets."
Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler.
Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...
Category
1930s American Modern Art
Materials
Watercolor, Rag Paper
Estes Park (Colorado), American Modernist Watercolor Painting
By James Russell Sherman
Located in Denver, CO
Vintage view of storefronts in Estes Park, Colorado, near Rocky Mountain National Park by James Russell Sherman (1906-1989). Watercolor and ink on paper, signed by the artist in the ...
Category
1930s American Modern Art
Materials
Watercolor
Statue of Young Boy in Fountain on the Plaza
Located in New Orleans, LA
This very early original red conte drawing is signed "Jack L. Nesbitt, 4/21/34". On the back of the drawing, Nesbitt has written "Quick sketch from fountain on Plaza". Jack was a student of Thomas Hart Benton at the Kansas City Art Institute during this period. The figure on the drawing is of a nude young boy with both arms in the air. A very rare early work by this fine artist.
Jackson Lee Nesbitt, a noted printmaker and painter of the American Scene, dedicated his artistic career to the portrayal of ordinary people going about the business of their lives. A native of Oklahoma, Nesbitt created scenes from the Midwest during the 1930s and 1940s, but in the 1950s, when interest in his work diminished, he moved to Atlanta and established a second career in advertising. Thirty years later, Nesbitt sold his business and resumed his artistic career from Atlanta.
He was born in McAlester, Oklahoma, on June 16, 1913, the only child of LuCena Grant and Howard Nesbitt. The family resided in Muskogee, Oklahoma, where his father owned a commercial printing business. Jack, as Nesbitt was known, helped out in the family business until 1931, when he enrolled at the University of Oklahoma in Norman.
Two years later Nesbitt enrolled at the Kansas City Art Institute in Missouri. As a first-year student, he learned etching from John deMartelly, attended Ross Braught's painting class, and met his future wife, Elaine Thompson, who was a costume design student. Thomas Hart Benton, who joined the faculty in the fall of 1935, quickly became a close friend and mentor to the younger artist.
In 1937 the management of the Sheffield Steel Corporation contacted deMartelly concerning an etching commission. Because Nesbitt was an outstanding student, his teacher suggested him for the job. When Nesbitt arrived at the plant one afternoon, he was taken to the open-hearth furnace area, where he diligently sketched anonymous workers in that dramatic setting until five o'clock the following morning. On the strength of his sketches, he was commissioned to create a series of etchings illustrating different phases of the steel industry. The commission launched Nesbitt's career as a professional artist.
The commission with Sheffield Steel Corporation provided the financial security that enabled Jack and Elaine Nesbitt to marry on June 1, 1938. He graduated from the Kansas City Art Institute about the same time. Working as a freelance artist, Nesbitt augmented his commissioned work with genre scenes of the Midwest, and he routinely went with Benton on sketching trips to rural Arkansas.
Beginning in 1939 Nesbitt's work gained widespread recognition. Open Hearth Door, a Sheffield Steel Corporation painting, was chosen to represent Missouri in the American Art Today exhibition at the New York World's Fair. Associated American Artists selected one of his etchings, Watering Place, for an edition of 250 prints that were sold through subscription. Having a print published by the association ensured national distribution, and four more of Nesbitt's works, all of rural southern genre scenes, were later selected by the print publisher.
Over the next decade Nesbitt's work was exhibited in California, Colorado, Illinois, Missouri, New York, and Oklahoma. He was awarded the Eames Prize by the Society of American Etchers in 1946, and his work was included in the book American Prize Prints of the Twentieth Century, by Albert Reese. Major corporations with operations in the Midwest, including Brown and Bigelow, Butler Manufacturing Company, Humble Oil and Refining Company, Omaha Steel Works, Pratt and Whitney...
Category
1930s American Modern Art
Materials
Conté
Rare Polish American 1930s Oil Painting Painting WPA Russian Babushka Jewish Art
By Abram Tromka
Located in Surfside, FL
Abram Tromka was born May 1, 1896 in Poland. At the age of seven he immigrated with his family to the United States, settling in New York City. It was on the boat coming to New York where Tromka first became interested in art. Fascinated by a woman who was painting, he decided that he wanted to become an artist. Upon arrival at immigration headquarters, Tromka’s family adopted the surname “Phillips,” which he kept until 1930. Hence the artist’s early works bear the signature — ‘Phillips.’
Having a rough childhood, Tromka left home at 15 and spent the remainder of his teenage years living at the Henry Street...
Category
1930s American Modern Art
Materials
Oil, Board
Werner Drewes, 125th Street at Broadway, NYC
Located in New York, NY
Werner Drewes brought his modernist vision to this subject but created, in my opinion, a great work of the Etching Revival.
The reference is Rose 183. It...
Category
1930s American Modern Art
Materials
Drypoint
"Industrial Cityscape, Chicago" WPA Modernism Mid-Century Cityscape 20th Century
By Aaron Bohrod
Located in New York, NY
Midwestern Chicago artist Aaron Bohrod painted in 1931 this modernist industrial cityscape during the WPA of the 20th Century.
Aaron Bohrod (American 1907 – 1992), Industrial Citysc...
Category
1930s American Modern Art
Materials
Oil, Board
'Verdi' — 1930s American Modernism - Italian Opera Composer
Located in Myrtle Beach, SC
Paul Landacre, 'Verdi', wood engraving, 1936, edition 60, (only 14 printed), Wien 188. Signed, titled, and numbered '10/60' in pencil. A fine impression, on cream, laid Japan paper, ...
Category
1930s American Modern Art
Materials
Woodcut
'Lot Cleaning, Los Angeles' — 1930s Modernism
Located in Myrtle Beach, SC
'Lot Cleaning, Los Angeles', wood engraving, edition 60, Zeitlin & Ver Brugge 69. Signed, titled and numbered '51/60' in pencil. A brilliant, black impression, on Kitakata Japan pape...
Category
1930s American Modern Art
Materials
Woodcut
Abe Ajay, Peggy
By Abe Ajay
Located in New York, NY
Abraham Ajay (also known as Abe Ajay or even 'Ajay') was from a Syrian Pennsylvanian family who came to New York City. He attended the Art Students League and...
Category
1930s American Modern Art
Materials
Lithograph
1939 Bernice E. Jamieson 'Deserted'
Located in Brooklyn, NY
Paper Size: 9.25 x 9 inches ( 23.495 x 22.86 cm )
Image Size: 5 x 4 inches ( 12.7 x 10.16 cm )
Framed: No
Condition: A: Mint
Additional Details: This piece derives from the 1939 AMERICAN BLOCK PRINT CALENDAR published by Gutenberg Publishing Co., Chicago. American Block Print Calendar. Bernice Jamieson studied at RISD and went through a very thorough education in art and art craft. She taught art and art craft at RISD Her works are featured in many permanent collections. It is very significant for her work that every drawing and every block print shows an excellent design and forms the picture into a harmonious pattern. The tradition of these space filling patterns are going way back to the art of Iran; exersized in the early Christian art...
Category
1930s American Modern Art
Materials
Woodcut
Mural Study 1933 Depression Era Mid-Century WPA Modern American Scene Drawing
By Michael Loew
Located in New York, NY
Mural Study 1933 Depression Era Mid-Century WPA Modern American Scene Drawing.
Study to Scale Mural Sketch for “Evolution of Textile Production” East. All,...
Category
1930s American Modern Art
Materials
Board, Egg Tempera
New York City, The El at Chatham Square - Original lithograph , Handsigned / 100
Located in Paris, FR
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
Category
1930s American Modern Art
Materials
Lithograph
Bertram Goodman, New York State Supreme Court Building, New York City
Located in New York, NY
An amazingly precise lithographic view of the New York State Supreme Court Building at 60 Centre Street, Foley Square, New York City. Goodman shows us eight of the ten columns of thi...
Category
1930s American Modern Art
Materials
Lithograph
1936 Benson B Moore 'Frozen Streams'
Located in Brooklyn, NY
Paper Size: 10 x 13 inches ( 25.4 x 33.02 cm )
Image Size: 7 x 8.75 inches ( 17.78 x 22.225 cm )
Framed: No
Condition: A: Mint
Additional Details: This image is a reproduction of an etching by the artist Benson Bond Moore (American, 1882-1974). Moore was a landscape and animal-portrait painter, and etcher, born in Washington DC. He became a noted painter of scenes of nature, and his style early in his career showed the Barbizon School influence but later became more Impressionist and less Tonalist. His snow scenes were especially popular.
Moore belonged to more than forty arts organizations. He was a founding member of The Miniature Painters, Sculptors and Gravers Society of Washington D.C., which held its inaugural exhibition in 1931 at the Corcoran. He had many one-man shows, notably in 1928 at the Corcoran Gallery with his etchings, drypoints, and lithographs.
Already in childhood he sketched animals...
Category
1930s American Modern Art
Materials
Offset
THE SUNFLOWER
Located in Santa Monica, CA
ANDERS ALDRIN (Swedish /American 1889 – 1970)
THE SUNFLOWER ca. 1935 (Newark Museum 9)
Color woodcut, edition c. 150. Signed, unnumbered, but dedicat...
Category
1930s American Modern Art
Materials
Woodcut
1938 Charles E. Pont 'Heave up!'
By Charles Ernest Pont
Located in Brooklyn, NY
Paper Size: 9.25 x 9 inches ( 23.495 x 22.86 cm )
Image Size: 5 x 6.75 inches ( 12.7 x 17.145 cm )
Framed: No
Condition: A: Mint
Additional Details: Part of AMERICAN BLOCK PRIN...
Category
1930s American Modern Art
Materials
Woodcut
1938 Gladys M. Wilkins 'Cigarettes?'
Located in Brooklyn, NY
Paper Size: 9.25 x 9 inches ( 23.495 x 22.86 cm )
Image Size: 4 x 5.5 inches ( 10.16 x 13.97 cm )
Framed: No
Condition: A: Mint
Additional Details: Part of AMERICAN BLOCK PRINT...
Category
1930s American Modern Art
Materials
Woodcut
Philip Evergood American Modernism WPA Social Realism Modern Still Life Interior
Located in New York, NY
Interior with Man at Table American Modernism WPA Social Realism Modern Painting
Philip Evergood (1901 - 1973) Untitled (Interior with Man at ...
Category
1930s American Modern Art
Materials
Panel, Oil
1939 Howard Thomas 'Indian Pony'
Located in Brooklyn, NY
Paper Size: 9.25 x 9 inches ( 23.495 x 22.86 cm )
Image Size: 4 x 5 inches ( 10.16 x 12.7 cm )
Framed: No
Condition: A: Mint
Additional Details: This piece derives from the 193...
Category
1930s American Modern Art
Materials
Woodcut
1939 Evelynne Messager 'Washday in Moret'
Located in Brooklyn, NY
Paper Size: 9.25 x 9 inches ( 23.495 x 22.86 cm )
Image Size: 8 x 6 inches ( 20.32 x 15.24 cm )
Framed: No
Condition: A: Mint
Additional Details: This piece derives from the 19...
Category
1930s American Modern Art
Materials
Woodcut
From the Ponte Vecchio
Located in Storrs, CT
From the Ponte Vecchio, Florence. 1925. Etching and aquatint. Fletcher catalog 159. state ii. Image: 11 1/8 x 15 1/4 (sheet 13 3/8 x 18 1/4). Edition 160 in this state (total edition...
Category
1930s American Modern Art
Materials
Etching, Aquatint
1938 Grover Page 'The First Sit Down Strike'
By Grover Page
Located in Brooklyn, NY
Paper Size: 9.25 x 9 inches ( 23.495 x 22.86 cm )
Image Size: 7 x 5.5 inches ( 17.78 x 13.97 cm )
Framed: No
Condition: A: Mint
Additional Details: Part of AMERICAN BLOCK PRINT...
Category
1930s American Modern Art
Materials
Woodcut
American Modern art for sale on 1stDibs.
Find a wide variety of authentic American Modern art available for sale on 1stDibs. Works in this style were very popular during the 21st Century and Contemporary, but contemporary artists have continued to produce works inspired by this movement. If you’re looking to add art created in this style to introduce contrast in an otherwise neutral space in your home, the works available on 1stDibs include elements of blue, orange, purple, red and other colors. Many Pop art paintings were created by popular artists on 1stDibs, including Slim Aarons, Destro, Howard Schatz, and John Taylor Arms. Frequently made by artists working with Paint, and Oil Paint and other materials, all of these pieces for sale are unique and have attracted attention over the years. Not every interior allows for large American Modern art, so small editions measuring 0.25 inches across are also available.