1930s Prints and Multiples

Lalibela is an original etching on paper realized by Lino Bianchi Barriviera in 1949. Hand-signed in pencil. Image Dimensions: 35.5 x 49.5 cm. Nu...

Paul Kelpe, Untitled (Abstract Composition), lithograph, 1937, edition unknown but small. Signed and dated in pencil. A fine, richly-inked impression, with all the nuanced texture an...

Madame Carmencita, Plate 9 From: Cirque de l'etoile filante (Circus of the Shooting Star), 1934-1936 (published 1938) Signed with the artist's initials and dated, lower right of plat...

Pochoir print, Plate 15, from Relais by Edouard Benedictus. Printed by J. Saudé. Paris, Éditions Vincent, Fréal et Cie, 1930. Framed in a red-stained handmade wood frame with UV f...

Lyonel Feininger, 'Church with House and Tree (Kirche mit Haus und Baum)', woodcut, 1936, one of a small but unknown number of letterhead proofs; Prasse W290 V. Inscribed 'J. F. note paper', in pencil, in the artist’s hand; with the Feininger estate stamp and catalog no. 'W 859' in pencil. Annotated 'W.290 V state 3609' in pencil, in the bottom right sheet corner. A fine impression, on cream, laid letterhead stock; hinge remains on the left and right top sheet edges, verso, in excellent condition. Very scarce. Image size 2 3/8 x 2 3/4 inches; sheet size 10 x 7 5/16 inches. Archivally sleeved, unmatted. Exhibited: 'Lyonel Feininer, Woodcuts Used As Letterheads'; Associated American Artists; Feb 4 - March 2, 1974; NY, NY. ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public. Still, he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

Suzanne VALADON (1865-1938) Young Woman and Old Woman, 1932 Original etching Signed in pencil On BFK Rives vellum 47 x 37 cm (c. 18.5 x 14.5 in) INFORMATION : Printed in 1932, this...

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...

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...

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...

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, ...

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...

Medium: original etching. This impression on Canson et Montgolfier wove paper was printed in 1937 in an edition of 500 for the "Paris 1937" portfolio. Printed at the atelier of Jean-...

This striking political caricature from around 1930 is a powerful piece of propaganda illustrating the perceived submission of the French Radical-Socialist Party to the Socialist Par...

This exquisite lithograph and pochoir with hand coloring by Jean Cocteau (1889–1963), titled Sans titre (Untitled), from the album Le Livre blanc (The White Book), precede dun fronti...

Covarrubias, Miguel. LINDY HOP. Lithograph, 1936. AAG edition (usually about 200), with their label preserved and attached to the back of the mat. Unsigned a...

'Bassets Griffons de Bretagne et de Vendee'. French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. F...

Lithograph realized by Edouard Chimot in 1932. Belongs to the suite "Le Chat", in which the author classifies and represents pubic hairstyles that become progressively more surreal....

This exquisite lithograph and pochoir with hand coloring by Jean Cocteau (1889–1963), titled Sans titre (Untitled), from the album Le Livre blanc (The White Book), precede dun frontispice et accompagne de 17 dessins de Jean Cocteau (preceded by a frontispiece and accompanied by 17 drawings by Jean Cocteau), originates from the 1930 edition published by Editions du Signe, Paris, printed by Maitres-Imprimeurs, Ducros et Colas, Paris, and hand colored by M.B. Armington (a probable pseudonym of Jean Cocteau), May 10, 1930. The work reflects Cocteaus mastery of linear elegance and psychological nuance, distilling intimacy, vulnerability, and symbolic clarity into a composition that occupies a pivotal place in early twentieth-century modernism and queer cultural history. Executed as a lithograph and pochoir with hand coloring on velin d'Arches paper, this work measures 11.81 x 9.06 inches. Unsigned and unnumbered, as issued. The edition exemplifies the refined craftsmanship of Ducros and Colas, Maitres-Imprimeurs, and the exceptional hand-coloring attributed to Cocteau himself. ARTWORK DETAILS Artist: After Jean Cocteau (1889–1963) Title: Sans titre (Untitled), from the album Le Livre blanc (The White Book), precede dun frontispice et accompagne de 17 dessins de Jean Cocteau (preceded by a frontispiece and accompanied by 17 drawings by Jean Cocteau) Year: 1930 Medium: Lithograph and pochoir with hand coloring on velin d'Arches paper Size: 11.81 x 9.06 inches Inscription: Unsigned and unnumbered, as issued Publisher: Editions du Signe, Paris Printer: Maitres-Imprimeurs, Ducros et Colas, Paris Catalogue Raisonne References: Bezit, Emmanuel. Dictionnaire Critique et Documentaire des Peintres, Sculpteurs, Dessinateurs et Graveurs. Gründ, 1976, vol. 3, p. 744. Carteret, Leon. Le Tresor du Bibliophile: Livres Illustres Modernes, 1875–1945. Editions Carteret, 1958, vol. 5, p. 51. van der Veen, H. In Liefde Verzameld: Homoseksualiteit en de Nederlandse Literatuur. De Buitenkant, 1992, no. 136. Monod, Luc. Manuel de Lamateur de Livres Illustres Modernes: 1875–1975. Ides & Calendes, 1992, no. 2912. Condition: Well preserved, consistent with age and medium Provenance: From the album Le Livre blanc, published by Editions du Signe, Paris; printed by Ducros et Colas, Paris; hand colored by M.B. Armington (a probable pseudonym of Jean Cocteau), May 10, 1930 NOTES Excerpted from the album (translated from French), This album, whose plates have been entirely colored by hand by M.B. Armington, an artist-painter, was completed to print on May 10, 1930, by Ducros and Colas, Maitres-Imprimeurs in Paris. The draw has been limited to: XVIII examples on japon nacre, each containing one of the XVIII original drawings and a suite on Hollande, numbered from I to XVIII; VI examples, H.C., marked from A to F; XVIII examples on japon imperial, numbered from XIX to XXXVI; VI examples, H.C., marked from G to L; CCCLXXX examples on velin d'Arches, numbered from XXXVII to CDXVI; XXII examples, H.C., marked from A to V. ABOUT THE PUBLICATION Le Livre blanc (The White Book), published in 1930 by Editions du Signe with plates printed by Ducros et Colas and hand colored by the enigmatic M.B. Armington (likely Cocteau himself), occupies a singular and foundational place in the history of LGBTQ...

Beautiful WPA era NYC street scene by American artist, Albert Sway (b.1913). Jiggers on Broadway, ca. 1935. Lithograph on paper, image measures 9 x 13 inches. Full sheet measuring 11...

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...

Original poster: Pulitura Pavimenti, Italian stone lithograph; size: 39" x 55"; archival linen backed in excellent condition; really fun poster. ready to frame. There is slight foxing on the outer edges of the poster; otherwise, it is in very fine condition. Original Italian Pulitura Pavimenti Vetri - Ambient poster. This linen-backed original features four men who look almost like intimate twins with large push brooms. The bright yellow background with red accents sets off the black work clothes. It is a very fun and rare mint-condition original. Lavori, Riordimo, Abbonamenti, Milano These vintage posters served as advertisements and decorative pieces, capturing the essence of the time period and providing insight into its design aesthetics and cultural values. This antique Italian poster...

Mily POSSOZ (1888-1967) Sewing Girl , 1930 Original etching Handsigned in pencil by the artist Numbered / 50 copies Blind stamp of the editor Marcel Guiot (Paris) On vellum 67 x 47 ...

Date: 1931 Medium: Color Lithograph on Paper Dimensions: 14.50" x 16.50" Signature: Signed Lower Right

Anonymous, UK 1939 Keep Calm and Carry On Ministry of Information Lithographic poster 75 x 50 cm Very rare - we have traced copies in the Imper...

Woodcut print from the Series "Der vreeselijke avonturen vas Scholastica" (The Terrible Adventures of Scholastica). Edition of 300, published by A. J. van Dishoeck. Unsigned, ass i...

Jacques La Grange, 'The Yankee', color woodcut, edition 500, 1934. Signed and numbered '25/500' in pencil. A fine impression, with fresh colors, on cream wove paper, with margins (1 1/8 to 1 1/4 inches), in excellent condition. A work from La Grange’s celebrated series of woodcuts 'Drama and Color in the America's Cup Races'. Image size 10 x 10 11/16 inches (254 x 271 mm); sheet size 12 1/4 x 13 1/4 inches (311 x 337 mm). Archivally matted to museum standards, unframed. When the artist created this print in 1934, the 'Yankee' was one of the most promising yachts eligible for the America's Cup but ultimately 'Rainbow' was chosen to defend against England's 'Endeavor' in that year's race. The 'Endeavor' was built for Thomas Sopwith who used his aviation design expertise to ensure the yacht was the most advanced of its day with a steel hull and mast. She was launched in 1934 and won many races in her first season but the Cup challenge was blighted by a strike of Sopwith's professional crew prior to departing for America. Forced to rely mainly on keen amateurs, who lacked the necessary experience, the campaign failed. 'Rainbow' won the series 4–2. This was one of the most contentious of the America's Cup battles and prompted the headline "Britannia rules the waves and America waives the rules." ABOUT THE ARTIST Jacques La Grange was born in Clanwilliam (near Cape Town) in South Africa in 1895. He studied at London University and later immigrated to the United States. La Grange established himself as a painter, illustrator, and printmaker specializing in nautical subjects. He and his wife, Helen La Grange, published 'Drama and Color in the America's Cup Races' in 1934 and 'Clipper Ships of America and Great Britain 1833-1869', in 1936. Both were deluxe hardcover limited edition volumes with signed original color woodblock prints. La Grange had solo exhibitions at the Buchanan Gallery in 1929; the Babcock Gallery and the 56th Street Gallery, New York, in 1930; and at the Nicholas Roerich...

'Canard Nyroca - Canard Milouinan' (Ferruginous Duck) French chromolithograph, published in 1931. Printed title lower right of sheet. Plate number top right. From a French series o...

This lithograph is signed in pencil. Leonard Pytlak lived on the East Side of Manhattan and this image recalls the 59th Street Bridge (also known as the Queensboro Bridge and the Ed Koch Queensboro Bridge), completed in 1909. It goes from Manhattan to Queens and passes over Roosevelt Island...

According to the frontis these were produced by Hand Lithography. According to the Museum of Modern Art (MOMA NY) website "Edition:300 announced; only approx. 42 issued (including r...

This stunning circa 1930 travel poster by Maurice Toussaint captures the charm of Lannion, a historic town in Brittany, France. Commissioned by the SNCF (Société Nationale des Chemin...

ROI GEORGE PARTRIDGE (1888 - 1984) ALAMANDA. 1937-42 (White 242), Etching edition 27, Signed In pencil and in plate. 13 7/8 x 9 7/8 inches. On a cream toned paper with full margin...

Adam and Eve is a color lithograph on ivory paper, created by the Italian artist Umberto Brunelleschi (Montemurlo 1879- Paris 1949). Illustration for “Tales and Short Stories” by La...

'Canard Souchet' (Northern Shoveler) French chromolithograph, published in 1931. Printed title lower right of sheet. Plate number top right. From a French series of illustrations o...

This exquisite lithograph by Marie Laurencin (1883–1956), titled Alice et la Reine (Alice and the Queen), from the folio Les aventures d'Alice au pays des merveilles (Alice's Adventu...

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...

Crafted in 1933 by the talented artist Pierre Commarmond, the original travel poster for Cordes – Maison du Grand Fauconnier, designed for the Chemins de Fer de Paris à Orléans, stan...

Le Corbusier (1887-1965) Pride : Two Women with Rainbow Scarf , 1938 Lithograph and watercolor stencil On light vellum 21 x 27 cm (c. 8 x 11 inch) Very good condition

original limited edition woodcut woodblock print great depression era. signed in plate with his monogram and cipher mark. from the 1930s. Rare Judaic image. the Jewish Study House. ...

Ecurueil (Squirrel) French chromolithograph, published in 1931. Printed title lower right of sheet. Plate number top right. From a French series of illu...

BREKER (Arno). Postdam, publisher of Eduard Stichnote - Berlin, printing stick by Sauer et consort, see folio in sheets in a publishing box with 10 prints of nude sketches, all signe...

Etching and drypoint on japanese paper applied on cardboard.  One of 10 artist's proofs, numbered I/X, aside of the edition of 100. Hand signed and numbered. Very Good condition.

Medium: original etching. This impression on Canson et Montgolfier wove paper was printed in 1937 in an edition of 500 for the "Paris 1937" portfolio. Printed at the atelier of Jean-...

Lyonel Feininger, 'Little Locomotive (Kleine Lokomotive)', woodcut, 1936, one of a small but unknown number of letterhead proofs; Prasse W158. Annotated 'W 158' (Feininger catalogue number) and '1936' in pencil, in the bottom right sheet corner. A fine impression, on cream, laid letterhead stock; hinge remains on the left and right top sheet edges, verso, in excellent condition. Very scarce. Image size 2 1/4 x 3 5/16 inches; sheet size 10 x 7 inches. Archivally sleeved, unmatted. Exhibited: 'Lyonel Feininer, Woodcuts Used As Letterheads'; Associated American Artists; Feb 4 - March 2, 1974; New York, NY. Collections: Cleveland Museum of Art, Museum of Modern Art, Staatliche Museen zu Berlin (East Berlin KK). ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

Originally from Illinois, Ann Michalov worked in Spokane, Seattle and Portland, where she finally settled. This lithograph however really looks very like ...

This exquisite lithograph by Pierre Bonnard (1867–1947), titled Jeune Fille dans une Barque (Young Girl in a Boat), from Verve, Revue Artistique et Litteraire, Vol. II, No. 5–6, orig...

Medium: original etching. This impression on Canson et Montgolfier wove paper was printed in 1937 in an edition of 500 for the "Paris 1937" portfolio. Printed at the atelier of Jean-...

Medium: original etching. This impression on Canson et Montgolfier wove paper was printed in 1937 in an edition of 500 for the "Paris 1937" portfolio. Printed at the atelier of Jean-...

Suzanne VALADON (1865-1938) Nude Woman in the Bath, 1932 Original etching Signed in pencil On BFK Rives vellum 47 x 37 cm (c. 18.5 x 14.5 in) INFORMATION : Printed in 1932, this et...

Martin Lewis (1881-1962, Shadows, Garage at Night, drypoint, 1928, signed in pencil lower right [also signed in the plate lower right]. Reference: McCarron 69, only state, from the t...

John Copley (1875 - 1950) Birds at Evening 1932 Image: 15 x 21.2 cm Frame: 33.0 x 38.2 cm Painter and printmaker John Copley was born in Manchester in 1875. He trained at Mancheste...

Black and white original artist proof etching by the well known Russian/American artist Nahum Tschacbasov. Marked “Arist Proof” lower left in pencil. Signed by the artist lower righ...

Medium: lithograph. Medium: lithograph. Printed in 1939 by Mourlot Freres and published by Teriade for Verve (Volume 1, Number 5-6). Size: 13 3/4 x 10 1/8 inches (347 x 257 mm). Ther...

Medium: original etching. This impression on Canson et Montgolfier wove paper was printed in 1937 in an edition of 500 for the "Paris 1937" portfolio. Printed at the atelier of Jean-...

Medium: original etching. This impression on Canson et Montgolfier wove paper was printed in 1937 in an edition of 500 for the "Paris 1937" portfolio. Printed at the atelier of Jean-...

Lyonel Feininger, 'Church with House and Tree (Kirche mit Haus und Baum)', woodcut, 1936, one of a small but unknown number of letterhead proofs; Prasse W290 IV. Annotated 'PW 290 state IV / IV 3669', in pencil, in the bottom right sheet corner. With the artist's typed address and date adjacent to the letterhead image: 'Falls Village, Connecticut September 26th, 1940'. A fine impression, on buff, wove letterhead stock; several small losses, and tears, in the sheet edges (not affecting the image area); a crease in the bottom right sheet edge, otherwise in good condition. Very scarce. Image size: 2 3/8 x 2 3/4 inches; sheet size 11 x 8 5/8 inches. Archivally sleeved, unmatted. Feininger moved from Germany to New York City in 1938 and began spending his summers in Falls Village in 1940. Exhibited: 'Lyonel Feininer, Woodcuts Used As Letterheads'; Associated American Artists; Feb 4 - March 2, 1974; New York, NY. ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

'Chow and Pekinese' (Pekingnese) Cecil Aldin dog lithograph, 1935. Cecil Aldin was a British artist and illustrator best known for his paintings and sketches of animals, sports, an...

Medium: original etching. This impression on Canson et Montgolfier wove paper was printed in 1937 in an edition of 500 for the "Paris 1937" portfolio. Printed at the atelier of Jean-...

Artist: Dali, Salvador Title: Untitled 05 (Les Chants de Maldoror) Series: Les Chants de Maldoror Date: 1934 Medium: original drypoint Unframed Dimensions: 12.5" x 9.75" Framed...

(after) Alexander Calder "Calder's Circus" offset lithograph on wove paper reproduction after drawings by the artist Published by Art in America and Perls gallery in 1964 (from drawi...

Original " CYCLES FAVOR MOTOS “ linen-backed, horizontal-format vintage Art Deco poster. This original 1937 poster was printed as a stone lithograph in large and small formats. The one listed here is the smaller version. Excellent condition, 1937 original antique poster. Condition Grade A: Excellent - professionally linen-backed for durability and preservation. Ready to frame. Transport yourself to the golden age of French cycling with this stunning original 1937 Cycles Favor Motos vintage poster...