1930s Art

Jane Peterson Cattleya Orchids, circa 1940s Signed lower right Oil on canvas 32 x 32 inches Provenance Estate of the artist Artist’s estate sale, Ipswich, Massachusetts, 1960s Priva...

A Fine 1930s, Modern Academic Anatomical Figure Study Drawing of a Standing Male Nude Model (Shoulder and Arm) by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exception...

Lithograph and stencil on vélin d’Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, La Leçon d'amour dans un parc, 1933. Published by Éditions...

Original oil on canvas folk art painting by the well known Mexican artist, Agapito Labios. Signed lower right. Circa 1935. Condition is very good. ...

This image was created in 1931 by the talented French artist, Henri Le Monnier (1893 - 1978) for the company that produced bottled water under the name Source Verdier. It is an elega...

Our Gallery acquired the estate of a Northern California artist, Thelma Terrell. Terrell lived in Oakland and was an illustrator and professional graphic artist. "In The Park...

Marc Chagall (1887-1985) - Cirque Lithograph from 1967. The edition of 250 on Arches paper. Dimensions of work: 42 x 32.5 cm. Publisher: Tériade, Paris. Reference: Mourlot 487, ...

Eric Gill, 'Naked Girl in Spray, Head Thrown Back to Left, Four Leaves' and 'Naked Girl in Spray, Head Upright, Hands Over Head', wood engraving, 1930, edit...

Simka Simkhovitch (Russian/American 1893 - 1949) This came with a small grouping from the artist's family, some were hand signed some were not. These were studies for larger paintin...

"Animal Friends" by Fox Photos 15th July 1931: Two women in bathing suits share a snack with a couple of sea lions during a display in Paris. Unframed Pape...

This superb British 1930's modern art tempera painting is by noted interwar artist Blair Hughes-Stanton. Painted in 1936 it is part of the myth se...

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

La pointe sèche etching on vélin de Rives filigrané à notre nom paper. Paper size: 9.5 x 7.5 inches; image size: 6.5 x 4.5 inches. Inscription: unsigned and unnumbered, as issued. No...

'Corsican Chestnut Trees', oil on canvas, by Charles Kvapil (1933). The artist, Kvapil, has many artworks which depict scenes in nature such as this one....

Cowboys Horses Cattle WPA American Scene Social Realism Mid 20th Century Modern Jo Cain (1904 – 2003) Cowboy 33 3/4 x 36 inches Oil on paper, c. 1930s Signed...

This striking oil on canvas painting is by Irish artist Gladys Nolan and was painted circa 1930. This Post Impressionist view is of Istanbul, Turkey with the spires of the iconic Blu...

Very well executed original pastel on archival paper of New York City at night with beacon by the well known American artist, Leon Dolice. Signed lower right. Circa 1930. Condition is excellent. Beautifully gallery framed with stained mahogany wood frame. Under glass. Overall framed measurements are 21 by 30 inches. Birham Wood Galleries, East Hampton, New York provenance. Exhibited artwork. See photo gallery labels verso. Leon Dolice was born in Vienna, Austria on August 14, 1892, the son of a machinest/welder. He went on to study art in Europe and viewing the works of the Masters. Dolice immigrated to the United States in 1920, finding a retreat in the European Bohemianism of Greenwich Village, he picked the streets of this landmark neighborhood as his first subjects. Concentrating on etching and with the encouragement of new found friends and artists such as George Luks and Herb Roth, he soon ventured out and devoted all his time to chronicling the architecture, back streets, dock scenes and other nostalgia that was fast disappearing from the face of Manhattan, mainly in copperplate etchings. A favorite subject for him was the Third Avenue El near one of his New York City studios on Third Avenue. He won accolades for his work, and although he traveled the East Coast recording landmarks in other cities including Washington DC, Baltimore, Chicago and Philadelphia, he always returned to his new home Manhattan. A decline in popular favor for etchings led him to put aside his plates in the late 1930s and devote some ten years to pastels, linocuts and painting. His subject matter was almost exclusively New York City street scenes, but figurative works, country scenes, and even experiments with Abstract Expressionism at the height of its new found favor in the 1940s punctuated his career. In 1953, after learning of the forthcoming demise of the Third Avenue El, in the shadow of which he had maintained his studio for over a decade, he once again took to his plates and press and created a final series of Third Avenue and or other New York City landmarks that were then threatened with extinction. His work brings to light aspects of nostalgic New York that survives today only in small part, whether in architecture or in spirit. Dolice's works are in a number of notable museums and private collections, including the Museum of the City of New York; The New York Public Library Print Collection; The New York Historical Society; Georgetown University Lauinger Library; The Print Club of Philadelphia and others. In the past few years, his work has been exhibited at Hofstra Museum, Long Island, NY; with the Montauk...

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 ...

Wonderful English 1930's Still life of Tulips and other red flowers in a vase. The 1930s was a period of great artistic experimentation, and many artists were exploring new techniq...

"In triptych form, the mythical Dubo, Dubon, Dubonnet is in a way the ancestor of the animated gif! A simple, poetic visual narrative wrapped in a humorous tone. A silhouette darkens as the Dubo, Dubon, Dubonnet sequence progresses. Some say that it's these gestures and features that have given rise to our image of the aperitif. Cheers, Cassandra! Today, the Evin law would forbid this type of alcohol promotion, but that hasn't stopped this poster from becoming a cult image, taken up and quoted by every generation of graphic designers. Dubonnet is a brand of vermouth flavored mainly with cinchona, available in red and white. It was created by French chemist Joseph Dubonnet. It was in Paris, near the future site of the Garnier opera house, that Joseph Dubonnet developed his cinchona wine in 1846. To combat malaria, he developed this bitter-tasting medicine, which he masked with a strong-tasting decoction of herbs and spices. Soldiers in the Foreign Legion...

'Piazza di Spagna, Roma' oil on canvas, by Yves Brayer (1933). At the bottom of the Spanish Steps, is one of the most famous squares in Rome. It owes ...

Impressive early American modernist urban backyard scene. Framed. Oil on board. Signed. Image size, 18H by 24L.

MOISSON (harvest) Loterie Nationale original 1939 lithograph Artwork by Edgar Derouet (1910-2001) and Charles Lesacq (1909-1940). size 15" x 23", year 1939. Archival linen backed i...

This vibrant Art Deco poster, created to promote the operetta La Veuve Joyeuse (The Merry Widow), is a striking example of 1930s graphic design and French theatrical advertising, cre...

This work of art depicts a majestic mountain scene, strikingly capturing the essence of nature in all its splendor. The imposing, majestic mountains dominate the center of the compos...

Antique American modernist oil painting portrait. Oil on canvas board. Signed verso. Framed. Measuring 22 by 26 inches overall and 16 by 20 painting alone.

RÖTIG Georges-frédéric (1873-1961) Lion and Lioness On The Hunt Oil on canvas signed and dated 1933 lower right. The canvas is mounted in a frame called "Berain style” inherited fro...

David Feinstein's Negro District, Brooklyn, a lithograph of 1936-39, is a marvel. It's a construction of every detail the artist could think of to show the nature of the locale: The ...

Antique American impressionist seascape oil painting. Oil on canvas. Framed. Signed. Measuring: 26 by 30 inches overall, and 20 by 24 painting alone. In excellent original conditio...

Poster produced by the OFALAC, (the Algerian Office of Economic and Tourist Action of the General Government of Algeria), around the years 1955, in order to make the promotion of the...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...

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

A girl and her dog This was possibly used as an advertisement. It is in a great illustrator style. 22 x 18. framed. 19.5 x 15.5 canvas. Lawrence Wilbur (1897 - 1960) was active/l...

A 1930 graphite on pencil drawing of Surrealist still life of an egg beater by notable artist Jan Matulka. Image size: 8 1/2" x 11". Archivally matted to...

Etching on vélin Canson et Montgolfier paper. Unsigned and unnumbered, as issued. Good condition. Published by L'Imprimerie Daragnès, Paris; printed by Jean Gabriel Daragnès, Paris, ...

This exquisite linocut by Henri Matisse (1869–1954), titled Teeny, from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Lazzaro, Sommaire du no. 4,...

Oil on artist board painting of the historic city of Toledo by the Australian artist, Robert Camm. Signed lower left and titled and dated verso, 1931. Th...

A woman artist, in the 1930's traveling to North Africa and around the globe! Martha Walter's training with William Merritt Chase is evident in the saturated colors and plein-air sub...

"Steel Factory" Cuban Mid 20th Century Modern Drawing WPA Latin Art Industrial Ink on paper. 12 x 19 inches. Pogolotti lived in Paris in the 1930s. The drawing here comes from the collection of his Parisian ophthalmologist, Dr. Prokopenko . Unfortunately, the artist lost his eyesight in 1938. Marcelo Pogolotti (1902–1988) was a Cuban painter...

A Judaica painting with Hebrew Calligraphy by noted Chicago Modernist. Alexander Raymond Katz (his Hungarian first name, Sandor, was anglicized to Alexander) was born in Kassa, Hunga...

This exquisite lithograph by Joan Miro (1893–1983), titled L'air (The Air), from Verve, Revue Artistique et Litteraire, Vol. I, No. 3, originates from the 1938 issue published by Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris, and printed by Mourlot Freres, Paris, 1938. This lyrical and atmospheric composition embodies Miro's fascination with the invisible rhythms of nature and the poetry of movement. L'air captures the ethereal and weightless essence of the natural world through his fluid linework and organic forms, evoking a sense of freedom and transformation. The work reflects Miro's deep belief in the interconnectedness of all living things and his pursuit of an art that transcends material boundaries to reach the spiritual realm. Created during one of the artist's most innovative periods, this piece demonstrates the harmony between abstraction and imagination that defines his unique visual language. Executed as a lithograph on velin du Marais paper, this work measures 14 x 10.5 inches. Signed in the plate and unnumbered as issued. The edition exemplifies the superb craftsmanship of the Mourlot Freres atelier, renowned for its collaborations with the leading modernists of the 20th century. Artwork Details: Artist: Joan Miro (1893–1983) Title: L'air (The Air), from Verve, Revue Artistique et Litteraire, Vol. I, No. 3, 1938 Medium: Lithograph on velin du Marais paper Dimensions: 14 x 10.5 inches Inscription: Signed in the plate and unnumbered as issued Date: 1938 Publisher: Editions de la revue Verve, Paris, under the direction of Teriade, Editeur, Paris Printer: Mourlot Freres, Paris Catalogue raisonne references: Dupin, Jacques, et al. Miro Graveur. D. Lelong, 1984, illustration 1310. Miro, Joan, et al. Joan Miro: Lithographs. Leon Amiel, 1972, illustration 6. Condition: Well preserved, consistent with age and medium Provenance: From Verve, Revue Artistique et Litteraire, Vol. I, No. 3, published by Editions de la revue Verve, Paris, 1938 About the Publication: Verve, Revue Artistique et Litteraire was one of the most influential art periodicals of the 20th century, founded in Paris in 1937 by the visionary Greek-born publisher Teriade (Stratis Eleftheriades). Conceived as a synthesis of art and literature, Verve brought together the greatest modern artists and writers of its time—Henri Matisse, Pablo Picasso, Marc Chagall, Georges Braque, Joan Miro, Fernand Leger, and others—alongside poets and philosophers such as Paul Eluard, Albert Camus, and Jean-Paul Sartre. Each issue was a work of art in itself, luxuriously printed by master lithographers such as Mourlot Freres and produced in collaboration with leading typographers and designers. Verve became a platform for avant-garde creativity, publishing original lithographs and essays that reflected the evolving spirit of modernism. Matisse collaborated closely with Teriade from the magazine's inception, producing some of its most iconic issues, including those devoted to his paper cut-outs. The final Verve issue of 1958, which featured La Tristesse du Roi and the Nu Bleu series, stands as a testament to Matisse's enduring genius and to the publication's legacy as the definitive meeting of art, poetry, and printing craftsmanship in 20th-century France. About the Artist: Joan Miro (1893–1983) was a Catalan painter, sculptor, printmaker, and ceramicist whose visionary imagination and lyrical abstraction made him one of the most influential and beloved artists of the 20th century. Born in Barcelona, Miro drew inspiration from Catalan folk art, Romanesque frescoes, and the luminous landscapes of Mont-roig del Camp, developing a deep connection to nature that infused his work with vitality and symbolism. After formal training at the Escola d'Art in Barcelona, he absorbed the lessons of Post-Impressionism and Cubism before moving to Paris in the early 1920s, where he became a leading figure in the Surrealist movement. There, Miro forged a personal visual language of biomorphic shapes, floating symbols, and radiant color harmonies that reflected both spontaneity and spiritual depth. In creative dialogue with peers such as Alexander Calder, Alberto Giacometti, Salvador Dali, Wassily Kandinsky, Marcel Duchamp, and Man Ray, he helped revolutionize modern art by dissolving the boundaries between abstraction and dream imagery. Miro's inventive approach extended far beyond painting, embracing sculpture, ceramics, and monumental public commissions that redefined how art could interact with space and emotion. His expressive freedom and gestural abstraction profoundly influenced later artists including Jackson Pollock, Mark Rothko, Alexander Calder, Jean Dubuffet, Antoni Tapies, and Joan Mitchell, inspiring generations who sought to merge instinct, color, and imagination. Today, Miro's work remains a cornerstone of modernism, prized by collectors and celebrated in major museums worldwide. His highest auction record was achieved by Peinture (Etoile Bleue) (1927), which sold for £23,561,250 (approximately $37 million) at Sotheby's, London, on June 19, 2012. Joan Miro L'air, Miro Verve...

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

This original 1932 travel poster by Nufer captures the timeless allure of Locarno, the sun-drenched jewel of southern Switzerland. Designed with striking Art Deco precision, the comp...

Medium: pochoir. Printed in Paris in 1932 on Velin du Marais paper at the atelier of Daniel Jacomet for the Les Joies du Sport portfolio and issued in an edition of 750. This was pub...

Some of his prints were published by the WPA. it is a wood engraving signed in pencil. From a small edition. Albert Abramovitz (1879-1963), born in Riga, Latvia, on January 24, 187...

untitled (Returning Home with Supplies) Signed in pencil by the artist lower right (see photo) Signed by his printer, Otto Felsing lower left ((see photo) Annotated in pencil: "In kupfer geschnitten von einen Lapplander" Printed by Otto Felsing, one of Germany's master printers of the era One of several engravings Hagemann made based upon actual drawings given to him by Laplanders. Gustav Hagemann was born on February 17, 1891, in Engelnstedt, Salzgitter, Germany. Hagemann attended high school in Wolfenbüttel and studied at the art school, in Kassel, Germany. After graduating as an art teacher, he became a trainee teacher in Torgau in Saxony. He fought in the First World War between 1914-1918. After the war he studied art from 1920...

Roses and vase by Bonnie Beach Ryan (American, 1901-1940). In 1933, Bonnie Beach Ryan held her first solo show of flower and still life paintings at the Dana Bartlett...

Lumberjack (1939) Silver Gelatin Fibre Print - Oversized (Photo by Dorothea Lange/Alamy) An unemployed lumberjack with his wife in a migrant workers camp for the bean harvest, Marion County, Oregon, circa 1939. Additional Information: Unframed Paper Size: 30x40'' Printed Later Silver Gelatin Fibre Print NOTE OTHER SIZES OF THIS IMAGE AVAILABLE 10 x 12'' 12 x 16'' 16 x 20'' 20 x 24'' 20 x 30'' 30 x 40'' FRAMING AVAILABLE ON REQUEST ACTORS ON SET, Bette Davis, Ladies Fashion, LEADING LADIES, Black and White, Photography, BnW, Vintage, Retro, Classic, Wood Cutter...

Ernest Fiene Tugboat in New York Harbor Signed lower right Oil on canvas 24 1/2 x 34 1/2 inches Ernest Fiene was born in Elberfeld, Germany in 1894. As a teenager, Fiene immigrated...

Leon Dolice Empire State Building Signed lower right Watercolor on paper 19 x 12 inches The romantic backdrop of Vienna at the turn of the century had a life-long influence upon th...

Work on canvas

Herbe was a Dutch painter from the early 20th century. He painted landscapes and seascapes mostly in oils. His work was exhibited in London during the 1930s-50s with Mitchell’s the i...

Signed oil on canvas expressionist portrait circa 1935 by Litvak painter Mane-Katz. The piece depicts a cart filled with brightly coloured flowers of red, orange, yellow and blue blo...

NYC Cityscape American Scene WPA Modern Realism Mid 20th Century Architectural Ernest Fiene (1894-1965) Cityscape 36 x 30 inches Oil on canvas Signed and dated 1930. lower right Provenance Estate of the artist. ACA Galleries, New York Exhibited New York, Frank Rehn Gallery, Changing Old New York, 1931. New York, ACA Galleries, Ernest Fiene: Art of the City, 1925-1955, May 2-23, 1981, n.p., no. 5. BIO Ernest Fiene was born in Elberfeld, Germany in 1894. As a teenager, Fiene immigrated to the United States in 1912. He studied art at the National Academy of Design in New York City from 1914 to 1918, taking day classes with Thomas Maynard and evening classes with Leon Kroll. Fiene continued his studies at the Beaux-Arts Institute of Design in New York from 1916 to 1918, adding classes in printmaking at the Art Students League in 1923. Fiene began his career as an artist in 1919 with his first exhibition of watercolors at the MacDowell Club arranged by his mentor Robert Henri. In 1923 the Whitney Studio Club mounted a large exhibition of his works. The following year he had an exhibition at the New Gallery in New York, which completely sold out all fifty-two works, including paintings, watercolors, drawings, and etchings. With the proceeds of sales from the New Gallery exhibition, Ernest Fiene and his younger brother Paul, a sculptor, built studios in Woodstock, New York in 1925. In the early Twenties Ernest Fiene painted mostly landscapes of Woodstock and both the Ramapo and Hudson River Valleys. The first monograph from the Younger Artists Series was published on Fiene in 1922. Published in Woodstock, the series went on to include Alexander Brook, Peggy Bacon, and Yasuo Kuniyoshi. The book reproduced 1 illustration in color and another 27 reproductions in black and white. Around 1925 Fiene became fascinated with the intensity, excitement, and opportunities for color harmonies New York City offered as a subject. His paintings shifted to urban and industrial themes with architecture, industry, and transportation becoming his subjects. By 1926 Fiene had attracted the dealer Frank K.M. Rehn, who gave him a one-man exhibition that year, which travelled to the Boston Arts Club. C.W. Kraushaar Galleries gave Fiene a one-man exhibition of urban, landscape, portrait, and still life paintings in 1927. Julianna Force, the director of the Whitney Studio Club and first director of the Whitney Museum of American Art, included two of Fiene’s paintings in a fall exhibition in 1928. The Whitney Studio Club showed Fiene’s paintings in a two-man exhibition with Glenn O. Coleman that year and acquired three of Fiene’s paintings. Also in 1928 Fiene became affiliated with Edith Halpert’s Downtown Gallery where he had an exhibition of 20 lithographs in the spring. Fiene sold his house in Woodstock in 1928 to spend more of his time in New York City. With so many successful exhibitions, Fiene returned to Paris in 1928-29 where he rented Jules Pascin's studio and studied at the Académie de la Grande Chaumière. In France, Fiene painted both landscape and urban subjects developed from ideas influenced by Cubist geometry and the use of flat areas of broad color. Upon returning to New York in 1930, Fiene used this new approach to continue to paint New York skyscraper and waterfront subjects, as well as to begin a series of paintings on changing old New York based on the excavations for Radio City Music Hall and the construction of the Empire State Building. Frank K.M. Rehn Galleries exhibited this series, titled “Changing Old New York,” in 1931. Fiene also has solo exhibitions at Rehn Galleries in 1930 and 1932. Fiene’s oil paintings are exhibited at the Chicago Arts Club in 1930 as well. Fiene was included in the Museum of Modern Art’s exhibition Painting and Sculpture by Living Americans in December of 1931. Visiting New York, Henri Matisse saw the exhibition and called Fiene’s Razing Buildings, West 49th Street the finest painting he had seen in New York. Fiene had two mural studies from his Mechanical Progress series exhibited at the Museum of Modern Art’s exhibition Murals by American Painters and Photographers in 1932. Fiene sent View from my Window which depicts Fiene working on a lithograph stone while looking out his window to the newly completed Empire State Building to the Carnegie International in 1931. In 1932 Fiene participated in the first Biennial of American Painting at the Whitney Museum and his prints were included in exhibitions at the Downtown Gallery and the Wehye Gallery. In the same year, Fiene was awarded a Guggenheim fellowship to further study mural painting in Florence, Italy. On his return from Italy in 1933 Fiene re-engaged himself in New York City life and won several public and private mural projects. Fiene resumed his active exhibition schedule, participating in two group exhibitions at the Whitney Museum and a one-man exhibition of recent paintings at the Downtown Gallery in January 1934. In 1933 he purchased a farm in Southbury, Connecticut, which added Connecticut scenes to his landscape subjects. This was also the year Fiene began to spend summers on Monhegan Island, Maine, where he painted seascapes, harbor scenes, and still lifes. Fiene’s landscape paintings attracted numerous commissions as part of the American Scene movement. Through the fall and winter of 1935-36, Fiene took an extended sketching trip through the urban, industrial, and farming areas of Pennsylvania and West Virginia. Most of the twenty-four Pennsylvania urban and rural paintings...

Medium: pochoir. Printed in Paris in 1932 on Velin du Marais paper at the atelier of Daniel Jacomet for the Les Joies du Sport portfolio and issued in an edition of 750. This was pub...

Signed lower right 'K. Buzzell Benepe' and dated 1936. A psychologically penetrating character study by this early California woman artist. Benepe captures the essential sensitivity...

Lucien Neuquelman, French (1909 - 1988) - Bouquet, Year: circa 1938, Medium: Oil on Canvas laid on board, signed lower left, Size: 14 x 9 in. (35.56 x 22.86 cm), Frame Size: 17.5...

An early, 1940, oil on canvas by American artist Ron Blumberg. Blumberg was classically trained at La Grande Academie Chaumiere in Paris, 1932, before moving to New York where he bec...

Marion Kramer spectacular 1930s old town Depicting, vintage truck, Coca-Cola sign, regionalist painting Oil on canvas 32.5 x 42 framed, 27 x 35.5 unframed

Medium: lithograph. Printed in 1939 and published in Paris by Teriade for the art revue Verve (Volume 1, Number 4). The image measures 8 1/4 x 4 3/4 inches (210 x 122 mm); the full s...