1940s Wall Decorations

A fantastic gouache and ink drawing on paper, mounted on board by Vaclav Vytlacil, ca' 1945. Highly reflective of the style of the period, with influences of African art and NY Abstr...

Boldly painted in vivid hues of red, deep pink, yellow and shades of blue, this abstract painting is attributed to Gino Severini, Italy's leading Modernist painter, who executed work...

Original vintage World War Two propaganda poster - Train to be a nurse... a distinguished career - featuring an illustration by Clixby Watson (Charles Clixby Watson; 1906-1964) depic...

Antique Red Deer Trophy on Carved Plaque, Germany 1940s A vintage abnorm roe deer (Capreolus capreolus) trophy with unequal antlers from the Black Forest mounted on a carved plaque....

Teeming with allegory and symbolism, this large and elaborate study by Eugene Savage for a major mural to be executed in mosaic was painted for the new Queens Supreme Courthouse -- a...

Original vintage Soviet sport poster promoting football as a national sport featuring a football match with players from each team running to kick the ball during a match in front of...

Vilhelm Lundstrøm Still life, 1942. Unsigned. Woodcut. Visible size 24.5×32.5 cm. Published by the Danish art magazine Klingen, 1942. Vilhelm Lundstrøm was a danish artist, born in...

Rare original vintage World War Two period advertising poster - Ah! Bisto For War Workers Meals - featuring a smiling man wearing a brown jacket with a red tie and flat cap, rubbing ...

Original vintage winter travel and ski poster for Sun Valley Idaho in the United States of America featuring a great design depicting a photo of a fashionably dressed lady in a white...

Aaron Sopher, Ink Wash, Untitled, (Subject is a Man in stride.) Exact date unknown. Fading to matte, denting and chipping to older wood picture frame. Will ship as you see it in th...

Aaron Sopher, Ink Wash, Untitled, (Subject is a Woman in headress.) Exact date unknown. Chipping and denting to old frame. Will ship as you see it in this frame. Frame W 12.5 x H ...

French Faience rustic oyster plate Moustiers style, circa 1940. Painting of birds and flowers.

Vintage Framed Pen Drawn Cartoon by "Ole Olsen" from comedians "Olsen & Johnson". $ This original pen-drawn cartoon depicts a crowd in front of a man on a ...

Original vintage poster - Life in Britain To-Day A Typical Department Store - published by the Central Office of Information featuring a fascinating detailed illustration by the Engl...

Original vintage World War Two home front propaganda poster - We want You with us! There's a place for everyone locally or somewhere in England Get into War Work this week - featurin...

Large Chamois Trophy on Carved Plaque, Austria 1948 A antique chamois (Rupicapra rupicapra) trophy mounted on a wooden carved plaque which features acorns, oak leaves and a handwrit...

Original US lobby card for the 1945 Thriller was directed by Alfred Hitchcock, and stars Ingrid Bergman, Gregory Peck, Michael Chekhov and Leo G. Carroll. Dr. Edwardes (played by Gr...

Mid-century French Faience oyster plate signed Quimper.

Original vintage World War Two American Airlines poster, It Takes 2 To Make A Fight For Victory, American Airlines AA, We are American. Image...

Original British film poster for the 1947 Ealing Studios comedy. This poster was designed by the English painter, illustrator and graphic designer Edward Bawden (1903-1989) This fil...

Original vintage Soviet work motivation poster - Labour is a matter of honour and glory in our country / Труд является в нашей стране делом чести и славы! - featuring industrial artw...

Original vintage World War Two home front poster - "She sails at midnight..." He Talked ... This Happened Careless Talk Costs Lives - featuring photo images of two men drinking beer ...

3-398 Handwoven tapestry set in a giltwood frame.

Original 1946 US Lobby card number 8, for Frank Capra's Christmas masterpiece. Frank Capra's classic Christmas fantasy film, starring James Stewart and Donna Reed, is one of the mos...

Original vintage American World War Two poster - Free Labor Will Win - featuring a great design depicting a photograph by Anton Bruehl (1900-1982) of a proud welder standing in front...

Original vintage post-World War Two map poster for Yorkshire East Riding featuring a colourful design by Ernest Costain Clegg (1876-1954) of the county in north east England with ill...

Original vintage Soviet World War Two propaganda poster - Comrade! Remember that a well-prepared and warmly dressed fighter will strike the enemy even str...

Set of Six Vintage Chamois Trophies on Wooden Plaques, Germany ca. 1940s A set of six vintage chamois (Rupicapra rupicapra) trophies mounted on wooden plaques. The trophies were sho...

Original vintage World War Two propaganda poster - Your Help Will Bring Victory - featuring artwork by Alfred John Nunney (1897-1966) depicting dock workers unloading goods from a la...

Original US film poster for the 1944 Film Noir To Have and Have Not. This film starred Humphrey Bogart and Lauren Bacall and was directed by Howard Hawks. This piece is conservation ...

Original vintage winter sports poster for the Swiss alpine resort of Kandersteg Schweiz Suisse Switzerland located in the Bernese Oberlan...

Original vintage post World War Two poster celebrating the first anniversary of the Allied liberation of the Dodecanese islands from the occupying Na...

Perhaps the most remarkable of all the crystal paintings made by Milton Bond in the 1940s, this depiction of beautiful nude figures, male and female, forming a symmetrical circle aro...

A beautiful oil on board by Arnold Turtle.

A pair of decorative Gould bird prints from Lambert Products, 1940s. The prints are framed in vintage faux bamboo frames with neutral tones. sight: 5 by 7 inches frame: 8 ¾ by...

More peaceful than a feng shui fountain, this post-impressionist oil on canvas shows a stunningly normal scene from the Swedish forest. Stands of linden trees, fir and aspen frame a ...

Original vintage post-World War Two map poster for Northumberland in north east England featuring a colourful design by Ernest Costain Clegg (1876-1954) of the ceremonial county with...

Original vintage World War Two recruitment poster - Women of Wales! Join Him in the Army From the six counties of North Wales 5,000 Women for the ATS and 5,000 Women for Munitions ne...

Original vintage World War Two anti-Soviet German Nazi political propaganda poster depicting a smiling lady against a blue background with the text in Russ...

Original French film poster for the classic Walt Disney production. The artwork was designed by great French poster artist Alexis (dates unknown) and was unique to the French poster....

Original vintage World War Two propaganda poster - A British submarine torpedoed two large Japanese supply ships in the Malacca Straits / Smash Japanese Aggression! - featuring a dyn...

This drawing is a highly important and rare window into a relationship that impacted the larger world of Abstract Expressionism in New York just a few years after it was made in 1949...

Original vintage Soviet propaganda poster - Let us glorify our homeland, comrades, with work! / ????????? ???? ??????, ????????, ??????! - featuring an illustration of a young blond ...

Original vintage World War Two poster: Civil Defence, Women wanted for Evacuation Service, offer your services to your local council or any branch of Women's Voluntary Services. Imag...

A very interesting and unusual Cornwall Iron Banks Original Oil Painting by artist J. Earle Pfoutz. The painting is produced on canvas and comes complete wit...

A very interesting and unusual Lancaster Covered Bridge Original Oil Painting by artist J. Earle Pfoutz. The painting is produced on artist board and comes complete with what appears to be an original artist decorated/painted frame. The painting is signed on the front by the artist and is dated 1936 on the rear. Overall frame Size approximately 28″ wide x 2″ deep x 22″ high J. Earle Pfoutz had a long and distinguished career as a self trained artist. More can be learned about him from reading this article produced by Gary Hawbaker at askART Earle Pfoutz Born: 1891 – Lancaster, Pennsylvania Died: 1957 Known for: Landscape, figure, still life painting An image of J Earle Pfoutz Biography from the Archives of askART J. Earle Pfoutz (John Earle Pfoutz) – (Oct 23, 1891-Nov 9, 1957) “A seventh generation descendant of a Swiss family which arrived in America early in the 17th Century, J. Earle Pfoutz was born in Lancaster, PA, son of John Bachman and Susan Allison Pfoutz. He painted houses for a living and pictures for a life. A self-taught artist, described as a primitive, he was distinctive for his vivid imagination and bold color application. He painted hundreds of Lancaster County scenes. Pfoutz traveled through the hills near his home and along the Susquehanna River in search of scenes. He began painting with a brush when he was fourteen, but added a palette knife after suffering an eye injury. He completed eighth grade in the Lancaster Public Schools and there his formal education ended. However, the Department of Public Instruction of the State of Pennsylvania thought so highly of his work as an artist that officials certified him as an art instructor and he taught for a year in the York (PA) public schools. He also was an art instructor under the program for disabled veterans, sponsored by the Veterans Administration, when he gave private instruction to veterans in their homes. In 1947, J. Earle Pfoutz finally earned national recognition as an artist. His painting, Opalescent October, was chosen by the Museum of Art of Dayton Ohio, to travel all over the country for a year with its Group Exhibition. Described as a “very colorful, calm scene, iridescent in color, sweeping in design,” the painting started on its journey around the country early in 1948. In an interview with the Sunday News (Lancaster, PA – Nov 2, 1947), Pfoutz stated that he didn’t know whether he was a “primitive” or an “impressionist.” No master taught him, no school channeled his style. “Sometimes I didn’t eat, but I always managed to paint,” he recalled. Many of his hundreds of canvases -most of them not sold, but given away to friends – found their way to other parts of the country. “I never remember the day when I did not love color,” Pfoutz said. “I was about 12 years old when I saw my first palette – a string of different colored paint paddles that graced the stores of that day. As a boy I had two great desires. One was to be able to eat all the strawberry jam I could, and the other to possess a string of those beautiful paint paddles. Well, I’ve got my fill of jelly, but I’ve never yet got my fill of beautiful colors.” In 1950, Pfoutz’s one man show of paintings made front page headlines in the Lancaster Intelligencer Journal: “Most of the twenty oil paintings on exhibition are landscapes, although there are several interesting figure studies. Colors again, as in all Pfoutziana are rich and full-bodied, but for the most part not as startlingly as in some of the earlier work. Most of the paintings were done during the past year, and also reveal the painter’s characteristic heavy impasto technique, in which the rich swirls of paint carry their own message. Among the figures, The Banjo Picker, and The Magician, are the most provocative. Both are character studies; the first being of a tramp musician whose drab clothing is set-off by a luminous aqua blue background. Modern in feeling and treatment is The Magician, a clown-faced wizard whose spinning ball in the air suggests the fourth dimension – space. The use of the primary colors in this picture serves to emphasize the theme effectively. A large colorful landscape, Opalescent October, depicting rolling hills against a late afternoon sky is new to Lancastrians, as it has just returned from Dayton, Ohio, where it hung in the Dayton Art Institute. Another landscape with soft dreamy colors is Fantasie D’Autumne, and one of the loveliest pictures in the show. Pennsylvania Dutch Country is another with eye appeal, and was one of the works which was hung in the Old Customs House in Philadelphia during Pennsylvania Week, and before that in a collection of Pfoutz work in the same place. In deep contrast to the sunny skies and brilliant foliage of many of the pictures, is the somewhat morbid Worry, in which the center of interest is a tremendous rat. This, the painter explains, was symbolic of 1948 in China, which was ‘The Year of The Rat’ in the Chinese calendar. Background material for the picture was furnished to Pfoutz by author Pearl Buck. Other pictures include Autumn Prelude, Miners Village, painted at Cornwall, PA; Humid Day, Saint Peters Kierch, at Middletown, PA; Lady Pfoutz, inspired by the painter’s wife; Sun Flowers, Sentimental Journey, Gyne, Luzon Woman, Old Bridge, The Cow Path. Lemures, based on Roman mythology, and Ethiopian, painted from an ebony wood carving from Kenya Province, S. Africa.” In 1953, Pfoutz was installed as President of the Lancaster County Art Association. A. Z. Kruse, New York City artist, writer and member of the faculty of the Brooklyn College and the Cartoonists and Illustrators School, Manhattan, was the guest speaker. In January of 1953, thirty-five Pfoutz oils were exhibited at the Old Custom House in Philadelphia, PA under the sponsorship of the Carl Schurz Memorial Foundation. Several Lancaster County landscapes and covered bridges were included as well as Katy, a Pennsylvania Dutch scene. Symbolic paintings included End of the Second Day, the artist’s visualization of the second coming of Christ, and Twilight, typifying the grief of mothers of all lands for sons lost in battle. In June of 1953, a Pfoutz oil made history in Lancaster. From the Lancaster New Era: “For the first in local art history, a painting has been withdrawn from an exhibition because of objections from viewers and hostesses serving at the show. The painting, Jeune Fille, a standing nude done by Pfoutz, was one of the paintings in the annual spring exhibition of the Art Association and had become the center of the controversy. Pfoutz said he took the painting down… ‘graciously but reluctantly.’ ‘From an artistic standpoint, there is nothing offensive about the painting,’ Pfoutz said. ‘This community just wants its nudes with clothes on.’ “It is most brilliant in color, and because it is so brilliant I thought it would make a nice lively spot for the show. This is the first time I’ve had to take a picture off the walls. I substituted a seascape for it.’ Pfoutz said he felt the painting brought a lot of viewers to the show because it was so controversial. It had never been exhibited before. ‘If this had been shown in a metropolitan city,’ he commented, ‘people wouldn’t have given it a second glance. But the viewpoint here is more conservative, even though I don’t think moderns would have minded.’ He said he felt the painting was neither ‘objectionable nor pornographic,’ but had complied with the wishes of fellow members of the Art Association who telephoned him to relay the protests they had received. The art controversy was the first to arise here publicly since the showing of Amish Grandmother, an oil by William Gropper which was part of the Gimbel Pennsylvania exhibit at the Griest Building several years ago. — Numerous viewers of Amish Grandmother, [a painting showing an Amish woman holding a white goose], expressed themselves quite vocally, calling it an affront to the Plain Folk. But it stayed on exhibit throughout the length of the Gimbel show. Pfoutz expressed no rancor, implying that if Gropper could take it so could he.” After his death, there were several shows of Pfoutz’ work organized by his son J. Earle, Jr. J. Earle, Jr. also saw to it that President Eisenhower would receive an oil called The Cow’s Path. The president first saw the painting in 1950 when, as president of Columbia University, he visited Lancaster to address a student assembly at Franklin and Marshall College. After his address was over, the then Gen. Eisenhower stopped at the Fackenthal Library on the campus to view an exhibition of Pfoutz’s paintings. The Cow’s Path intrigued him. For some time, as his aides fumed to get him back on his time schedule, Eisenhower and Pfoutz talked, as artist to artist. Prior to his death, Pfoutz requested that The Cow’s Path be given to the President if he wanted it. The painting was presented to Ike at the White House in November of 1959. Mrs. Eisenhower owned a Pfoutz painting titled, In the Manor. Though house painting was his livelihood, he worked for Millersville State Teachers College (now a university) for a time during World War II, and called himself “the Chimney Sweep of MSTC.” During that period he knocked out a dizzying canvas in the surrealist style (he thought it was terrible) and got into the campus newspaper when one of the students spotted it. Earle Pfoutz was not the humble, downtrodden artist, not the Douanier Rousseau type at all. As he developed his skill and style through the years, he also fashioned a resilient confidence in himself as an artist. Whether he was building his own home (he built two) or painting one for somebody else, he never lost faith in his ultimate recognition—though he was never sure he would live to see it. Whether he was working as a rigger for a hoisting company, in the Stehli Silk Mill of Lancaster, carving Cloister-style chairs, decorating old chests, cementing bricks from the old Safe...

A charming oil painting by noted Washington DC artist Leonard Maurer, ca' 1948. Depicting children climbing trees. Wonderful sense of color and a real m...

Whimsical scissors open and close as real scissors do, excellent rustic piece for the light at heart design. Can be mounted on a wall or just standing against a wall (as shown here).

Original vintage World War Two charity fundraising poster - American Relief for Czechoslovakia Member Agency of the National War Fund - featuring a dynamic design depicting a photogr...

A framed drawing of a dog on paper. This piece depicts the bust of a Collie in brown pencil. The piece is on brown or yellow paper and framed in the original wood frame with glass. T...

Original British front of house card used inside the foyer of the cinema. The artwork features the films scene where pinocchio takes his first steps. Walt Disney's second animated fe...

Exceptionally rare original Italian film poster for the 1947 western Pursued. This film was directed by Raoul Walsh and starred Teresa Wright and Robert Mitchum. To date no other exa...

Original US film poster for Springtime for Thomas (1946) This seven minute cartoon would have been shown before the main feature at the cinema. Tom and Jerry cartoons were extremely...

A very interesting and unusual Pfoutz Original Farm Scene Oil Painting by artist J. Earle Pfoutz. The painting is produced on artist and comes complete with what appears to be an original artist decorated/painted frame. The Pfoutz Original Farm Scene Oil Painting is signed on the front by the artist and appears to be dated 1948 on the rear. Known for his unusual subjects Pfoutz outdid himself with this effort, capturing the essence of a Lancaster County farm but with the startling twist of portraying a large turkey vulture in the foreground. Definitely unique. Overall frame Size approximately 33″ wide x 3″ deep x 26″ high J. Earle Pfoutz had a long and distinguished career as a self trained artist. More can be learned about him from reading this article produced by Gary Hawbaker at askART Earle Pfoutz Born: 1891 – Lancaster, Pennsylvania Died: 1957 Known for: Landscape, figure, still life painting An image of J Earle Pfoutz Biography from the Archives of askART J. Earle Pfoutz (John Earle Pfoutz) – (Oct 23, 1891-Nov 9, 1957) “A seventh generation descendant of a Swiss family which arrived in America early in the 17th Century, J. Earle Pfoutz was born in Lancaster, PA, son of John Bachman and Susan Allison Pfoutz. He painted houses for a living and pictures for a life. A self-taught artist, described as a primitive, he was distinctive for his vivid imagination and bold color application. He painted hundreds of Lancaster County scenes. Pfoutz traveled through the hills near his home and along the Susquehanna River in search of scenes. He began painting with a brush when he was fourteen, but added a palette knife after suffering an eye injury. He completed eighth grade in the Lancaster Public Schools and there his formal education ended. However, the Department of Public Instruction of the State of Pennsylvania thought so highly of his work as an artist that officials certified him as an art instructor and he taught for a year in the York (PA) public schools. He also was an art instructor under the program for disabled veterans, sponsored by the Veterans Administration, when he gave private instruction to veterans in their homes. In 1947, J. Earle Pfoutz finally earned national recognition as an artist. His painting, Opalescent October, was chosen by the Museum of Art of Dayton Ohio, to travel all over the country for a year with its Group Exhibition. Described as a “very colorful, calm scene, iridescent in color, sweeping in design,” the painting started on its journey around the country early in 1948. In an interview with the Sunday News (Lancaster, PA – Nov 2, 1947), Pfoutz stated that he didn’t know whether he was a “primitive” or an “impressionist.” No master taught him, no school channeled his style. “Sometimes I didn’t eat, but I always managed to paint,” he recalled. Many of his hundreds of canvases -most of them not sold, but given away to friends – found their way to other parts of the country. “I never remember the day when I did not love color,” Pfoutz said. “I was about 12 years old when I saw my first palette – a string of different colored paint paddles that graced the stores of that day. As a boy I had two great desires. One was to be able to eat all the strawberry jam I could, and the other to possess a string of those beautiful paint paddles. Well, I’ve got my fill of jelly, but I’ve never yet got my fill of beautiful colors.” In 1950, Pfoutz’s one man show of paintings made front page headlines in the Lancaster Intelligencer Journal: “Most of the twenty oil paintings on exhibition are landscapes, although there are several interesting figure studies. Colors again, as in all Pfoutziana are rich and full-bodied, but for the most part not as startlingly as in some of the earlier work. Most of the paintings were done during the past year, and also reveal the painter’s characteristic heavy impasto technique, in which the rich swirls of paint carry their own message. Among the figures, The Banjo Picker, and The Magician, are the most provocative. Both are character studies; the first being of a tramp musician whose drab clothing is set-off by a luminous aqua blue background. Modern in feeling and treatment is The Magician, a clown-faced wizard whose spinning ball in the air suggests the fourth dimension – space. The use of the primary colors in this picture serves to emphasize the theme effectively. A large colorful landscape, Opalescent October, depicting rolling hills against a late afternoon sky is new to Lancastrians, as it has just returned from Dayton, Ohio, where it hung in the Dayton Art Institute. Another landscape with soft dreamy colors is Fantasie D’Autumne, and one of the loveliest pictures in the show. Pennsylvania Dutch Country is another with eye appeal, and was one of the works which was hung in the Old Customs House in Philadelphia during Pennsylvania Week, and before that in a collection of Pfoutz work in the same place. In deep contrast to the sunny skies and brilliant foliage of many of the pictures, is the somewhat morbid Worry, in which the center of interest is a tremendous rat. This, the painter explains, was symbolic of 1948 in China, which was ‘The Year of The Rat’ in the Chinese calendar. Background material for the picture was furnished to Pfoutz by author Pearl Buck. Other pictures include Autumn Prelude, Miners Village, painted at Cornwall, PA; Humid Day, Saint Peters Kierch, at Middletown, PA; Lady Pfoutz, inspired by the painter’s wife; Sun Flowers, Sentimental Journey, Gyne, Luzon Woman, Old Bridge, The Cow Path. Lemures, based on Roman mythology, and Ethiopian, painted from an ebony wood carving from Kenya Province, S. Africa.” In 1953, Pfoutz was installed as President of the Lancaster County Art Association. A. Z. Kruse, New York City artist, writer and member of the faculty of the Brooklyn College and the Cartoonists and Illustrators School, Manhattan, was the guest speaker. In January of 1953, thirty-five Pfoutz oils were exhibited at the Old Custom House in Philadelphia, PA under the sponsorship of the Carl Schurz Memorial Foundation. Several Lancaster County landscapes and covered bridges were included as well as Katy, a Pennsylvania Dutch scene. Symbolic paintings included End of the Second Day, the artist’s visualization of the second coming of Christ, and Twilight, typifying the grief of mothers of all lands for sons lost in battle. In June of 1953, a Pfoutz oil made history in Lancaster. From the Lancaster New Era: “For the first in local art history, a painting has been withdrawn from an exhibition because of objections from viewers and hostesses serving at the show. The painting, Jeune Fille, a standing nude done by Pfoutz, was one of the paintings in the annual spring exhibition of the Art Association and had become the center of the controversy. Pfoutz said he took the painting down… ‘graciously but reluctantly.’ ‘From an artistic standpoint, there is nothing offensive about the painting,’ Pfoutz said. ‘This community just wants its nudes with clothes on.’ “It is most brilliant in color, and because it is so brilliant I thought it would make a nice lively spot for the show. This is the first time I’ve had to take a picture off the walls. I substituted a seascape for it.’ Pfoutz said he felt the painting brought a lot of viewers to the show because it was so controversial. It had never been exhibited before. ‘If this had been shown in a metropolitan city,’ he commented, ‘people wouldn’t have given it a second glance. But the viewpoint here is more conservative, even though I don’t think moderns would have minded.’ He said he felt the painting was neither ‘objectionable nor pornographic,’ but had complied with the wishes of fellow members of the Art Association who telephoned him to relay the protests they had received. The art controversy was the first to arise here publicly since the showing of Amish Grandmother, an oil by William Gropper which was part of the Gimbel Pennsylvania exhibit at the Griest Building several years ago. — Numerous viewers of Amish Grandmother, [a painting showing an Amish woman holding a white goose], expressed themselves quite vocally, calling it an affront to the Plain Folk. But it stayed on exhibit throughout the length of the Gimbel show. Pfoutz expressed no rancor, implying that if Gropper could take it so could he.” After his death, there were several shows of Pfoutz’ work organized by his son J. Earle, Jr. J. Earle, Jr. also saw to it that President Eisenhower would receive an oil called The Cow’s Path. The president first saw the painting in 1950 when, as president of Columbia University, he visited Lancaster to address a student assembly at Franklin and Marshall College. After his address was over, the then Gen. Eisenhower stopped at the Fackenthal Library on the campus to view an exhibition of Pfoutz’s paintings. The Cow’s Path intrigued him. For some time, as his aides fumed to get him back on his time schedule, Eisenhower and Pfoutz talked, as artist to artist. Prior to his death, Pfoutz requested that The Cow’s Path be given to the President if he wanted it. The painting was presented to Ike at the White House in November of 1959. Mrs. Eisenhower owned a Pfoutz painting titled, In the Manor. Though house painting was his livelihood, he worked for Millersville State Teachers College (now a university) for a time during World War II, and called himself “the Chimney Sweep of MSTC.” During that period he knocked out a dizzying canvas in the surrealist style (he thought it was terrible) and got into the campus newspaper when one of the students spotted it. Earle Pfoutz was not the humble, downtrodden artist, not the Douanier Rousseau type at all. As he developed his skill and style through the years, he also fashioned a resilient confidence in himself as an artist. Whether he was building his own home (he built two) or painting one for somebody else, he never lost faith in his ultimate recognition—though he was never sure he would live to see it. Whether he was working as a rigger for a hoisting company, in the Stehli Silk Mill of Lancaster, carving Cloister-style chairs, decorating old chests, cementing bricks from the old Safe...

Depisis style midcentury oil panting vase rose flowers signed T.Rossi 1940s classic frame. Elegant and refined as a picture of Depisis.

Original vintage World War Two fundraising poster - Please Help American Relief for Italy Inc. Member Agency National War Fund - featuring a photograph of a man carrying a child and ...

"Who done it?", Original Spanish Film Poster, 1944 Original Spanish cinema poster of the film "Who done it?" in Spain called "Crimen a Medianoche"....

Original vintage World War Two poster - The Attack Begins in the Factory - featuring a dramatic battle scene showing explosions and Royal Navy ships at sea in the distance and soldie...

Original vintage World War Two recruitment poster - Come On, Pal ... Enlist! - featuring a great design by Henry Eveleigh (1909-1999) of a smiling Canadian soldier wearing a military...

French brown Majolica oyster plate signed Luneville circa 1940.