1940s Art

Fight is a vintage offset print realized after a 1940 drawing by Renato Guttuso. The picture is in very good conditions, no signature. Image Dimensions: 28.3x22.2 cm. Renato Guttu...

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 ...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie I, var. 13 (Series I, Variation 13), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Th...

Ricard Opisso i Sala – “Soldiers Flirting in the Park” – Oil on Canvas, 75 × 101 cm (29.5 × 39.7 in) Artist: Ricard Opisso i Sala (1880–1966) Title: Soldiers Flirting in the Park Te...

American Impressionist of figures on the beach on Tuck's Point which is a famous location in Massachusetts. A top 1 % by Martha Walter .. Housed in a gold leaf custom frame

Work on paper

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Work on canvas

A Native American scene entitled, The Day's Catch, shows a man fishing the river from his canoe with a net. Though mostly tonal, the sky and distant landscape pop with blue blue-gr...

Lithograph on vélin papier pur chiffon paper. Paper Size: 10 x 7.375 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Les chants de Maldoror, illustrat...

This is a World War II drawing of the Missouri artist Joe Jones (1909-1963) by the New York artist Edward Laning (1906-1981). A typed note reads “Drawn in th...

Lithograph and stencil on vélin Foreign Affairs paper mounted on Foreign Affairs museum board, as issued . Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, ...

In the golden age of air travel, Air France soared to new heights as a symbol of elegance and adventure. The airline's promotional efforts were often complemented by captivating trav...

Paris: A Wartime Study of Figures Relaxing in Springtime by Henri Miloch (1898-1979) Unsigned watercolour, graphite and gouache painting on artist's paper, unframed Sheet: 12.25 x 9...

Landscape with Trees is an original artwork realized by Georges Henri Tribout in 1935 in Marac. Pencil Drawing, hand signed on the lower margin left and dated "Marac 1935" on the lef...

This exquisite etching by Marie Laurencin (1883–1956), titled Jeune abandonée (Abandoned Young Woman), from the album Antares, eaux-fortes originales de Marie Laurencin (Antares, Ori...

This impressive British 1940's portrait oil painting is by noted artist Arthur Royce Bradbury. Painted in 1949 it is a half-length portrait of a young Scottish girl in a mountainous ...

Stephen DENISON 1909 - 1965 Canvas Size: 20 x 24" (50 x 60cm) Outside Frame size: 27 x 31" (69 x 79cm) Signed and dated 1948 A wonderful example of Modern British art. This Englis...

This striking original poster, dating from the 1940s, was created to support the French Forces of the Interior (F.F.I.), the armed resistance movement that played a crucial role in t...

Original mid-century modern abstract oil on canvas painting by the well known Russian/American artist Nahum Tschacbasov. Signed lower right and dated 1945. Condition is very good. P...

Original 1940 Ladies’ Home Journal newsstand vintage poster. Archival linen-back and ready to frame. Grade A- condition. This exceptional large-format newsstand poster was create...

Story illustration for “Marriage is a Private Affair” by Judith Kelly, published in the Ladies’ Home Journal, March 1941, page 13. Featuring a young bride and groom embracing as a ma...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie Z, var. 3 (Series Z, Variation 3), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Them...

This work is one of the lithographs for the magazine "L'Immagine", 1950. Editions consist in 50 copies numbered from 1 to 30 and from I to XX, and some artist's test. (P.A.) Publishe...

Lithograph and stencil on vélin Foreign Affairs paper mounted on Foreign Affairs museum board, as issued . Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, ...

Na Kumuwaiwai Hohonu, Underwater Spirt - Hawaiian Symbolist Figurative Hawaiian symbolist nocturnal figurative of glowing whispy figure underwater with mountains and red coral garden by Marguerite Louis Blasingame (American; 1906-1947), circa 1940-45. Marguerite and her husband Frank Blasingame...

untitled (Maine Autumn Landscape across the narrows from Mt. Desert) Watercolor, 1945-1955 Signed by the artist lower left in pencil (see photo) Provenance: Estate of the artist Cond...

Impressive early American modernist abstract oil painting by Louis Wolchonok (1898 - 1973). Framed. Oil on board. Signed. Image size, 24H by 18L.

Original vintage movie poster: Doughboys in Ireland, the 1943 Lew Landers romantic musical ("The singing star of Jack Benny and Fred Allen radio programs!"...

This painting is part of our exhibition America Coast to Coast: Artists of the 1940s. Blue Lake, c. 1940s, oil on masonite, signed lower right, 20 x 36 inches, label and inscriptio...

Beautiful 1940's impressionist landscape by Elmer Stanhope (1907-1956) Titled "Monterey Bay" Oil on canvas The canvas measures 24" x 30", while the frame measures 30" x 36"

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie B, var. 5 (Series B, Variation 5), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Them...

Untitled (Reclining nude, face down) Lithograph, 1944 Signed and dated lower right in pencil Image size: 8 13/16 x 11 7/8 inches Sheet Size: 11 1/8 x 18 3/4 inches Condition: Aging ...

Snow Geese (Wyoming) Drypoint, c. 1947 Signed in pencil lower right (see photo) Title in pencil lower left (see photo) Note: This image is reprodcued in a Photogravure for Ducks Unlimited in 1947. This is the first original drypoint version. Condition: Excellent Image/Plate size: 8 3/8 x 6 7/8 inches Reference: Archives West #101 Kleiber 134 Hans Kleiber (1887-1967) Hans Norbert Kleiber, painter, etcher, illustrator, and naturalist, was born in Cologne, Germany on August 24, 1887. He emigrated from Germany to the United States in 1900, settling in Massachusetts before moving to Wyoming. Kleiber first worked in lumber camps before working for the United States Forest Service from 1906 until 1924. One of his duties as a ranger was to monitor the logging camps in the Bighorn Mountains. Kleiber was primarily self-taught as an artist and it was in the 1920s that he began devoting himself to art. It appears that he first began to work in watercolor and oil but was producing etchings and drypoints as early as 1924. He traversed the mountains of Wyoming, Montana, and Idaho, and his subjects are drawn from the pristine landscapes and wildlife. Kleiber's first exhibition of his etchings was mounted in 1928 at Goodspeed's Book Shop in Boston. His etching, Crossing the Platte, was included in the 1939 New York World's Fair exhibition, American Art Today. There was an exhibition of fifty of his etchings at the National Museum in 1944, and an exhibition of his watercolors was mounted at the Grand Central Galleries in New York in 1950. Kleiber was a member of the Society of American Etchers and the California Society of Printmakers. He received a silver medal in 1931 from the Printmakers Society of California for his print, Leaving the High Country...

Mario Grenville made this print for the publishing program of Associated American Artists. It was issued in 1945 making it a calm antidote to the ending of World War II, although it ...

A group of people at the Embassy Club in London during World War II 1941. (Photo Bert Hardy) A beautiful Limited Edition (ed size 300) silver gelatin fibre darkroom print made ...

125th Street, Harlem, NY 1946/1986 Signed, titled, and dated in black ink, recto Gelatin silver print 18.5 x 14.75 inches, image

ITZHAK SANKOWSKY "MODERNIST FACE" WOOD, SIGNED ROMANIAN-AMERICAN, C.1940 24.5 INCHES Itzhak Sankowsky was born in 1908 in Romania. He lived and was active in Philadelphia, Penn...

An amazing and impressive quality still life! Ernest Albert was a true Connecticut landscape artist, devoted to depicting the different seasons in an Impressionist manner. Albert was...

Untitled (Collapsed Shacks), c. 1940s, oil on canvas, signed lower left, 20 ½ x 26 ½ inches, presented in a period frame This work is part of our exhibition America Coast to Coast: ...

Provenance Acquired by American Legacy Fine Arts from a Los Angeles collector who acquired the painting directly from the Timkov Family in Russia. UNFRAMED: 6.75" x 9.88" FRAMED: 12...

Antique American modernist landscape oil painting. Oil on canvas, circa 1940. Signed illegibly lower left. Image size, 36L x 24H. Housed in a period modern frame.

Mallard Drakes (Louisiana Honkers) Drypoint, c. 1940 Signed in pencil lower right (see photo) Titled in pencil lower left (see photo) Note: A famous image by Kleiber. It is was made in a hand colored version which commands a large premium. Condition: Excellent Image/Plate size: 9 7/8 x 7 7/8 inches Hans Kleiber (1887-1967) Hans Norbert Kleiber, painter, etcher, illustrator, and naturalist, was born in Cologne, Germany on August 24, 1887. He emigrated from Germany to the United States in 1900, settling in Massachusetts before moving to Wyoming. Kleiber first worked in lumber camps before working for the United States Forest Service from 1906 until 1924. One of his duties as a ranger was to monitor the logging camps in the Bighorn Mountains. Kleiber was primarily self-taught as an artist and it was in the 1920s that he began devoting himself to art. It appears that he first began to work in watercolor and oil but was producing etchings and drypoints as early as 1924. He traversed the mountains of Wyoming, Montana, and Idaho, and his subjects are drawn from the pristine landscapes and wildlife. Kleiber's first exhibition of his etchings was mounted in 1928 at Goodspeed's Book Shop in Boston. His etching, Crossing the Platte, was included in the 1939 New York World's Fair exhibition, American Art Today. There was an exhibition of fifty of his etchings at the National Museum in 1944, and an exhibition of his watercolors was mounted at the Grand Central Galleries in New York in 1950. Kleiber was a member of the Society of American Etchers and the California Society of Printmakers. He received a silver medal in 1931 from the Printmakers Society of California for his print, Leaving the High Country...

Subjective Farm Landscape 1940 Oil on canvas, 24" x 30" 37.5" x 31" x 2" framed - frame is original to this artwork Signed recto lower right: "rosenborg 40" & arrow box cypher. Signe...

"Mother and Daughter" Expressionist Portrait in Oil on Cardstock Mid Century expressionist portrait by unknown artist Jane W. Grace (American, 20th C...

Charles Green Shaw Harvard vs. Yale, 1944 Signed and dated on the reverse Oil on canvasboard 9 x 12 inches Provenance: Harvey and Francois Rambach, New Jersey Private Collection, California Washburn Gallery, New York D. Wigmore Fine Art, New York Private Collection, New York Charles Green Shaw, born into a wealthy New York family, began painting when he was in his mid-thirties. A 1914 graduate of Yale, Shaw also completed a year of architectural studies at Columbia University. During the 1920s Shaw enjoyed a successful career as a freelance writer for The New Yorker, Smart Set and Vanity Fair, chronicling the life of the theater and café society. In addition to penning insightful articles, Shaw was a poet, novelist and journalist. In 1927 he began to take a serious interest in art and attended Thomas Hart Benton's class at the Art Students League briefly in New York. He also studied privately with George Luks, who became a good friend. Once he had dedicated himself to non-traditional painting, Shaw's writing ability made him a potent defender of abstract art. After initial study with Benton and Luks, Shaw continued his artistic education in Paris by visiting numerous museums and galleries. From 1930 to 1932 Shaw's paintings evolved from a style imitative of Cubism to one directly inspired by it, though simplified and more purely geometric. Returning to the United States in 1933, Shaw began a series of abstracted cityscapes of skyscrapers he called Manhattan Motifs which evolved into his most famous works, the shaped canvases he called Plastic Polygons. The 1930s were productive years for Shaw. He showed his paintings in numerous group exhibitions, both in New York and abroad, and was also given several one-man exhibitions. Shaw had his first one-man exhibition at the Valentine Dudensing Gallery in New York in 1934, which included 25 Manhattan Motif paintings and 8 abstract works. In the spring of 1935 Shaw was introduced to Albert Gallatin and George L.K. Morris. Gallatin was so impressed with Shaw's work, he broke a policy against solo exhibitions at his museum, the Gallery of Living Art, and offered Shaw an exhibition there. In the summer of 1935 Shaw traveled to Paris with Gallatin and Morris who provided introductions to many great painters. Shaw regularly spent time with John Ferren and Jean Hélion. The following year Gallatin organized an exhibition called Five Contemporary American Concretionists at the Reinhardt Gallery that included Shaw, Ferren, and Morris, Alexander Calder, and Charles Biederman...

Vintage American school modernist painting. Oil on canvas, circa 1940. Unsigned. Image size, 30L x 24H. Housed in a period frame.

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...

Work on wood Beige wooden frame 50 x 53 x 3.5 cm

Beautiful mid-century winter landscape of the sun rising over a forest stream covered in fresh snow by Genevieve Clibborn (American, 1892-1982). Presented in a rustic ornate, faux wood frame. Image, 12"H x 16"W. Genevieve Idell Booth Clibborn was born in Washington on January 6, 1896. She lived most of her life in Salinas, California (East of the Monterey Peninsula). She painted and exhibited widely in that area. An award-winning artist, she was primarily self-taught and was known for her tree studies. She was a member of the Santa Cruz Art League. She was also a famous evangelist who preached at revivals in the United States, Canada and Australia. Her husband was William Booth-Clibborn, grandson of the founder of the Salvation Army...

Antique American modernist mixed media sculpture painting by Duayne Hatchett (1925 - 2015) . Mixed media metal sculpture . Signed on verso.

Ozer Shabat 1978-1901 Ozer Shabbat was an Israeli painter, a resident of Haifa. Belonged to the Palestine Expressionist group of the late 1920s and early 1930s. Shabbat was born in Wolbrom, Poland. At the end of the First World War he went to Holland for agricultural training in the framework of the HeChalutz movement, prior to his immigration to Palestine. In 1920 he immigrated to Eretz Israel and joined the Hulda group. Later he joined the Merhavia group and there he began painting. Because of his desire to study drawing, he left the group and moved to Jerusalem. In 1921, he wrote articles in the newspaper "HaSadeh" on the subject of agriculture and Dutch cheese. Ozer Shabath won the first prize in a competition for the design of the Dutch Consulate's Garden in Jerusalem, enabling him to travel to Paris in 1923 to study painting. Until 1925 he studied painting at the Grande Chaumiere Academy in Paris. This year he returned to Eretz Israel and settled in Haifa, where he lived until his death. In 1928 he participated for the first time in an exhibition of Eretz Israel artists at the Tower of David. Since then he has participated in all the general exhibitions of Israeli artists. In 1934, together with painters Menachem Shemi, Avraham Mohar, Zvi Meirovitch and others, he founded the Haifa Artists' Group. In 1935-36 he toured Europe and visited Italy, France and England. During his visit, he maintained contacts with artists from the Jewish school of Paris. He has exhibited in several solo exhibitions, represented Israel in exhibitions in Europe and participated in international exhibitions in New York, Johannesburg and Zurich. In 1958 he represented Israel in the Venice Biennale. In 1960, Shabat, together with Elchanan Halpern he represented the Israeli Painters Association at the International Congress of Plastic Arts held in Vienna, Austria . In the 40s and 50s he focused on landscape pictures. However, despite the focus on the Israeli landscape, the approach is universal in the framework of the post-Impressionist painting school. In the 1960s, his approach changed and he turned more to abstraction. The abstract direction gradually evolved. The point of departure of the abstract approach is the architectural landscape, but this view loses its real character and becomes only imaginary: the buildings lose their real character and turn into exclusive geometric areas that are usually set against a dark background. Over time, architecture captured the lion's share of his paintings. Cities like Safed, Jaffa and Jerusalem are the subject of many pictures. He taught painting and art at the schools of the kibbutzim in Ramat Yochanan and Kfar Yehoshua, in high schools in Haifa and in the IDF and Gordon seminars. His paintings were purchased and are in the permanent collection of the Bezalel National Museum (now the Israel Museum), Haifa Museum of Art, Haifa Maritime Museum, Acre Municipal Museum. Select Solo exhibitions 1936 - Nadler Gallery, Haifa. 1943 - The Tel Aviv Museum of Art. 1952 - Artists House, Haifa. 1953 - Bezalel House, Jerusalem. 1955 - Gallery in Geneva, Switzerland. 1955 - The Writers' Club, Haifa. 1959 - Artists House, Haifa. 1960 - Museum of Modern Art, Haifa. 1962 - Museum of Modern Art, Haifa. 1963 - Gallery 220, Tel Aviv. 1968 - The Municipal Museum of Beit Emanuel, Ramat Gan. 1979 - Memorial exhibition marking the first anniversary...

"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...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie F, var. 5 (Series F, Variation 5), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Them...

Bert Geer Phillips (1868-1956) Original Oil On Board In good condition Measures 22x17 International buyers most cover shipping cost

"Femme de Tiznit Portant L'Amendil" translated to "Woman of Tiznit Wearing the Amendil" is plate number 47 in Jean Besancenot's stunning portraits and ...

This exquisite lithograph after Henri Matisse (1869–1954), titled Serie D, var. 8 (Series D, Variation 8), from the album Henri Matisse, Dessins, Themes et Variations (Drawings, Them...

Woodcut on vélin Utopian paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Gauguin, A portfolio of 12 color woodblocks, Paul Gauguin, French, 1848-1903 from the collection of the Museum Of Fine Arts, Boston, 1946. Rendered by Albert Carman (1899-1949); published the Museum Of Fine Arts, Boston and The Studio Publications, Inc., New York and London; printed by Holme Press Inc., New York, in an edition of MMMD. Excerpted from the folio, Paul Gauguin and Emil Bernard at Pont-Aven, Brittany, in 1888, each made a bas-relief, wooden panel to decorate a piece of furniture for a friend. In order to keep a record of their designs, a few inked impressions were made on paper. The illustration at left is a reproduction of a print which is possibly one of the above mentioned. It is further possible that this experiment later gave Gauguin the idea of making woodcuts. Just as his work in painting expressed a revolt against the overemphasis on factual representation of the nineteenth century in favor of decorative pattern and color, so also his woodcuts leaned strongly to the same side of the balance. Ten of the cuts reproduced (all excepting Soyez Amoureuses and Changement de Residence), which constitute the whole of his best known series, were made at Pont-Aven beginning in the fall of 1894, after Gauguin's return from his first trip to Tahiti and after he broke his ankle. They were at first roughly cut with a common carpenter's gouge, and the flat surfaces sandpapered and engraved with a sharp in-strument, perhaps an engraver's burin. A few trial proofs were printed in black ink only. Then the hollows were deepened with a woodcutter's gouge and highlights were added. An edition of thirty to fifty impressions of each subject, with the addition of color blocks (one, two or three), was made by Louis Roy...

Woodcut on vélin Utopian paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the folio, Gauguin, A portfolio of 12 color woodblocks, Paul Gauguin, French, 1848-19...

FRANCISCO BORES Spanish, 1898 - 1972 LA TABLE GRISE signed and dated "Borès 48" (lower right) oil on canvas, laid on wood panel 23-5/8 x 32 inches (60 x 81 cm.) framed: 32-1/3 x 40 i...