1910s Art

'Hypnos or Sleep' Photogravure from a collection of photogravures depicting Greek and Roman marbles and bronzes in the British museum. 250mm by 180mm (platemark) 300mm by 235mm (s...

Georges Antoine Rochegrosse (1859-1938) Study for "Le Cocher" carbon pencil on thin paper 14.5 x 13 cm In good condition Framed : 36.7 x 31 cm Provenance: Estate of the artist and...

Lilla Cabot Perry (1848–1933) After Sunrise on Cloudy Day, 1918 Oil on board, 12 × 15 inches Inscribed on verso: “From Edith Window Hancock” Signed Painted in 1918, After Sunrise on...

Humphris is a highly acclaimed American sculptor and created a large body of work of Western subject matter, particularly of the American Indian so rare to get a soldier. He did liv...

Manierre Dawson Upper Street, 1912 Oil on board 10 x 15 inches Provenance: The artist Estate of the artist Private Collection (gift of Lillian Dawson, widow of the artist) Hollis Ta...

A wonderful impressionist painting of palm trees in Cuba, by Canadian-American artist William Henry Clapp. Clapp was born in Canada, and moved with his family to Oakland, California ...

Rittersporn und Fingerhut (Larkspur and Foxglove) Color woodcut, printed on wove paper with mica flecks, 1916 Signed lower right (see photo) Inscribed lower left (see photo) Reference: Merx 276 Condition: good-very good One spot of staining on the far left edge of the composition (see photo) Color very fresh and vibrant Full sheet as issued Image size: 19 x 13 3/8 inches Carl Thiemann...

Signed in Cyrillic "F. Zakharov" (lower right) and signed again and inscribed "Fedor Zakharov/Football" (on reverse) Oil on card laid down on panel Undoubtedly, football, or socc...

Building New York Watercolor on paper, c. 1915 Signed by the artist lower right (see photo) Partial watermark: "MADE IN ENGLAND... LINEN FIBER" Excellent, COLORS FRESH AND VIBRANT Br...

Loge de Theatre (Preliminary study for a painting) Graphite on paper Signed in pencil lower left Annotated with color notations by the artist (see photo) A early Parisian theme work ...

Signed Lower Right by Artist This piece was created as an illustration for John Fleming Wilson’s short story Somewhere at Sea, published in the May 1917 issue of Redbook Magazine. The story tells of a group of businessmen in charge of a line of shipping vessels...

Walt Kuhn (1877-1949), Strong Girl, drypoint, 1916 [signed in pencil by Kenneth Hays Miller and inscribed “Zinc sheet E printed by Howard Moore Park 1928”). In very good condition, printed on a cream wove paper, 7 1/2 x 5 1/4, the sheet 11 1/8 x 8 1/2 inches. Provenance: ex Collection: The Metropolitan Museum of New York, with their stamp verso. ex Coll: Jonathan Greenberg, New York City A very good impression of this rare early Kuhn print. This is listed as number 48 in the Kennedy Galleries Walt Kuhn Checklist, made for an exhibit of his prints in 1967; it is cited as a print where no more than 6 impressions are known to exist. Kuhn was of course intimately familiar with circuses and carnivals...

Alphonse Mucha (Czech, 1860-1939) Original Lithograph 1913 - Very Large - "Zdenka Cerny" The Greatest Bohemian Violincellist Prague, Czechoslovak Color lithograph Signed and dated "...

Gustav VERMEHREN (Copenhagen 1863 – Copenhagen 1931) Rest Oil on canvas H. 72 cm; W. 79 cm Signed lower right and dated 1911 (twice) Exhibition: 1963, F...

Nestor Portron is a French liqueur brand, known particularly for its high-quality fruit liqueurs and spirits. In the image we see a historical figure of a wealthy man savoring his bo...

John Sloan (1871-1951) etching created 1916. Edition: 100 Titled: “McSorley’s Back Room” Plate size: 5 1/4" H x 7 " W Sheet size: 7 1/2" H x 10 3/8" W In excellent condition, unframe...

A fine antique seascape oil painting on panel by the celebrated marine artist, Frederick Judd Waugh (1861-1940), depicting the Atlantic of the coast of Maine, circa 1910. The painting is finely executed with bold and decisive brush strokes with crisp edges, one can almost hear the roar of the ocean as the surf crashes upon the rocks. The painting is signed lower right "Waugh" and is housed in the original carved & gilded frame. Condition is very good indeed, this fine seascape by one of America's most acclaimed late 19th early 20th century marine artists is ready to grace your wall. The painting will be accompanied with a certicificate of authenticity & provenance. Frederick Judd Waugh was an American artist, primarily known as a marine artist. During World War I, he designed ship camouflage for the U.S. Navy, under the direction of Everett L. Warner. Waugh was the son of a well-known Philadelphia portrait painter, Samuel Waugh. He studied at the Pennsylvania Academy of Fine Arts with Thomas Eakins, and at the Académie Julian in Paris with Adolphe-William Bouguereau. After leaving Paris, he moved to England, residing on the island of Sark in the English Channel, where he made his living as a seascape painter. In 1898 he was recorded as living in Heath and Reach, Bedfordshire. In 1908, Waugh returned to the U.S., settling in Montclair Heights, New Jersey. He had no studio until art collector William T. Evans (a railroad financier and President of the dry goods firm, Mills Gibbs Corporation) offered him one in exchange for one painting a year. In later years, he lived on Bailey Island, Maine, and in Provincetown, Massachusetts. Waugh’s marinescapes were highly acclaimed, garnering him the Popular Prize at the Carnegie International Exhibition for five years in a row, a feat accomplished by no other artist. In 1914, he was a judge of the art exhibit on Monhegan Island, Maine during the 1914 Ter-Centenary celebration of the Voyage of Captain John Smith. In addition to his marinescapes, Waugh sometimes published work in periodicals, such as The Green Sheaf, to which he contributed at least one illustration. He also produced paintings and sketches on legendary and mythological themes; see, for instance, his 1921 sketch “Levitation in Dream No. 3”, and his c. 1912 painting “The Knight of the Holy Grail”. In 1918, Waugh was recommended to serve as a camouflage artist (or camoufleur) for the U.S. Navy, as a member of the Design Section of its marine camouflage unit. That section was located in Washington, D.C., and was headed by American painter Everett L. Warner. According to a biography of Waugh, “Many large ships, including the Leviathan, were painted according to his designs. Though the enterprise was of course a team effort in which no man played a solo part, he had every reason to be proud of his record. Only one ship with his system of camouflage was lost during the war”. Waugh was known to produce literary work, publishing a short poem in Pamela Colman Smith’s short-lived periodical The Green Sheaf; a fairy tale in The English Illustrated Magazine; and, in 1916, the book The Clan of Munes...

Watercolor on paper laid on board: An exceptional watercolor in terms of quality and presentation. During this earlier period of Day's career he exhibited extensively and was inspir...

6 plates from the Lobel- Riche books, Les Bars depicting pre- war Paris fashions in the bars and nightclubs.

Medium: etching (after Millet, by an unknown artist). This impression on laid paper was printed circa 1918. Plate size: 6 3/8 x 4 3/4 inches (163 x 120 mm). Sheet size: 14 x 10 1/4 i...

Ce très joli bronze est signé "René Paris" et porte le cachet de fondeur Thiébaut Frères (Fumière et Cie Successeurs. Il fut offert à François Sales en 1914, à l’occasion du concours...

Tiffany Studios Vase with applied decoration, ca. 1910 Hand-blown favrile glass 5 x 6 in

William George Robb Figures Beside a Woodland Lake Oil on canvas Circa 1900 Signed and inscribed on the reverse Presented in a new Whistler-style frame A wonderfully atmospheri...

William Anderson Coffin (1855 - 1925) Springtime Landscape, circa 1910 Oil on canvas 30 x 24 inches Signed lower right Landscape and figure painter William Anderson Coffin was born...

Emil Oelieden (1875-1934) 'A Town in Flanders' ‍ Oil on canvas 50 x 40 cm Signed lower left

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extolling his artistic merits during his lifetime to showing something of a feigned disdain- more reflective of the world political order than a true change of heart for Hodler’s work. After years of Hodler being all but a footnote in the annals of art history and generally ignored, finally, the pendulum has righted itself once again. Recent retrospective exhibitions in Europe and the United States have indicated not only a joyful rediscovery of Hodler’s art but a firm conviction that his work and world view hold particular relevance today. DAS WERK FERDINAND HODLERS is not only a collection of printed work reflecting the best of all of his painted work created up to 1914 just before the outbreak of World War I, the portfolio itself is an encapsulation of Hodler’s ethos, Parallelisme. Hodler developed his philosophy of Parallelisme as a unifying approach to art which strips away detail in search of harmony. By means of abstraction, symmetry and repetition, Hodler sought ways to depict Nature’s essence and her fundamental, universal order. He believed these universal laws governing the natural, observable world extend to the spiritual realm. Symbolist in nature with Romantic undertones, his works are equally portraits of these universal concepts and feelings governing all life as they are a visual portrait in the formal sense. Whether his subject is a solitary tree, a moment in battle, mortal fear, despair, the awe inspired by a vast mountain range, a tender moment or even the collective conviction in a belief, Hodler unveils this guiding principle of Parallelisme. Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come. The Munich-based publisher of the portfolio, R. Piper & Co., Verlag, plays a crucial role in this story. Publishing on a wide range of subjects from philosophy and world religion to music, literature and the visual arts; the publisher’s breadth of inquiry within any one genre was equal in scope. Their marketing strategy to publish multiple works on Hodler offers great insight as to what a hot commodity Hodler was at that time. R.Piper & Co.’s Almanach, which they published in 1914 in commemoration of their first ten years in business, clearly illustrates the rapid succession- strategically calculated for achieving the deepest and broadest impact - in which they released three works on Hodler to hit the market by the close of 1914. DAS WERK FERDINAND HODLERS was their premier publication. It preceded C.A. Loosli’s Die Zeichnungen Ferdinand Hodlers, a print portfolio after 50 drawings by Hodler which was released in Autumn of 1914 at the mid-level price-point of 75-150 Marks; and a third less expensive collection of prints after original works by Hodler, which had not been included in either of the first two portfolios, was released at the end of that year entitled Ferdinand Hodler by Dr. Ewald Bender. The title and timing of DAS WERK FERDINAND HODLERS' debut leaves little doubt as to the connection it has with another avant-garde portfolio of art prints, Das Werk Gustav Klimts, released in 5 installments from 1908 -1914 by Galerie Miethke in Vienna. Hodler, himself, was involved in Klimt’s ground-breaking project. As the owner of Klimt’s 1901 painting, “Judith with the Head of Holifernes” which appears as the ninth collotype print in the second installment of Das Werk Gustav Klimts, Hodler was obliged to grant access of the painting to the art printers in Vienna for them to create the collotype sometime before 1908. Hodler had been previously invited in 1904 to take part in what would be the last exhibition of the Vienna Secession before Klimt and others associated with Galerie Miethke broke away. In an interview that same year, Hodler indicated that he respected and was impressed by Klimt. Hodler’s esteem for Klimt went beyond the art itself; he emulated Klimt’s method aimed at increasing his market reach and appeal to a wider audience by creating a print portfolio of his painted work. By 1914, Hodler and his publisher had the benefit of hindsight to learn from Klimt’s Das Werk publication. Responding to the sluggish sales of Klimt’s expensive endeavor, Hodler’s publisher devised the same diversified 1-2-3 strategy for selling Hodler’s Das Werk portfolio as they did with regards to all three works on Hodler they published that year. For their premium tier of DAS WERKS FERDINAND HODLERS, R. Piper & Co. issued an exclusive Museum quality edition of 15 examples on which Hodler signed each page. At a cost of 600 Marks, this was generally on par with Klimt’s asking price of 600 Kronen for his Das Werk portfolio. A middle-tiered Preferred edition of 30, costing somewhat less and with Hodler’s signature only on the Title Page, was also available. The General edition, targeting the largest audience with its much more affordable price of 150 Marks, is distinguishable by its smaller size. Rather than use the subscription format Miethke had chosen for Klimt’s portfolios which proved to have had its challenges, R. Piper & Co. employed a different strategy. In addition to instantly gratifying the buyer with all 40 of the prints comprising DAS WERK FERDINAND HODLERS and the choice among three price points, they advertised in German journals a fourth possibility of ordering single prints from them directly. These printed images are easily discernible from the three complete folio editions. The paper size of the single purchased images is of the larger format like the Museum and Preferred editions, measuring 65 h x 50 w cm; however, the paper itself is the same copper print paper used in the General edition and then mounted on poster board. The publishing house positioned itself to be a direct retailer of Hodler’s art. They astutely recognized the potential for profitability and the importance, therefore, of having proprietary control over his graphic works. R. Piper & Co. owned the exclusive printing rights to Hodler’s best work found in their three publications dating from 1914. That same year, a competing publication out of Weimar entitled Ferdinand Hodler: Ein Deutungsversuch von Hans Muhlestein appeared. Its author, a young scholar, expressed his frustration with the limited availability of printable work by Hodler. In his Author’s Note on page 19, dated Easter, 1914, Muhlestein confirms that the publisher of Hodler’s three works from that same year owned the exclusive reproductive rights to Hodler’s printed original work. He goes further to explain that even after offering to pay to use certain of those images in his book, the publisher refused. Clearly, a lot of jockeying for position in what was perceived as a hot market was occurring in 1914. Instead, their timing couldn’t have been more ill-fated, and what began with such high hopes suddenly found a much different market amid a hostile climate. The onset of WWI directly impacted sales. Many, including Ferdinand Hodler, publicly protested the September invasion by Germany of France in which the Reims Cathedral, re-built in the 13th century, was shelled, destroying priceless stained glass and statuary and burning off the iron roof and badly damaging its wooden interior. Thomas Gaehtgens, Director of the Getty Research Institute describes how the bombing of Reims Cathedral triggered blindingly powerful and deeply-felt ultra-nationalistic responses: “The event profoundly shocked French intellectuals, who for the most part had an intense admiration for German literature, music and art. By relying on press accounts and abstracting from the visual propagandistic content, they were unable to interpret the siege of Reims without turning away from German culture in disgust. Similarly, the German intelligentsia and bourgeoisie were also shocked to find themselves described as vandals and barbarians. Ninety-three writers, scientists, university professors, and artists signed a protest, directed against the French insults, that defended the actions of the German army.” In similar fashion, a flurry of open letters published in German newspapers and journals as well as telegrams and postcards sent directly to Hodler following his outcry in support of Reims reflected the collectively critical reaction to Hodler’s position. Loosli documents that among the list of telegrams Hodler received was one from none other than his publisher in Germany, R.Piper & Co. Allegiances were questioned. The market for Hodler in Germany immediately softened. Matters worsened for the publisher beyond the German backlash to Hodler and his loss of appeal in the home market; with the war in full swing until 1918, there was little chance a German publisher would have much interest coming from outside of Germany and Austria. Following the war and Hodler’s death in 1918, the economy in Germany continued to spiral out and just 5 years later, hyper-inflation had rendered its currency worthless vis-a-vis its value in the pre-war years. Like the economy, Hodler’s reputation was slow to find currency in these difficult times. Even many French art fans had turned sour on Hodler as they considered his long-standing relationship in German and Austrian art circles. Thus, the portfolio’s rarity in Hodler’s lifetime and, consequently, the availability of these printed images from DAS WERK FERDINAND HODLERS since his death has been scarce. In many ways, Hodler and his portfolios were casualties of war. Thwarted from their intended purpose of reaching a wide audience and show-casing Parallelisme, Hodler’s unique approach to art, this important, undated work has been both elusive and shrouded in mystery. Perhaps DAS WERK FERDINAND HODLERS was left undated as a means of affirming the timelessness of Hodler’s art. Digging back into the past, Hodler’s contemporaries, like R. Piper, C.A. Loosli and Hans Muhlestein, indeed provide the keys to unequivocally clarify what has largely been mired in obscurity. Just after Hodler’s death, the May, 1918 issue of the Burlington Review ran a small column which opined hope for better access to R.Piper & Co.’s DAS WERK FERDINAND HODLERS; 100 years later, it is finally possible. Hodler’s voice rings out through these printed works. Once more, his modern approach to depicting portraits, landscapes and grand scale scenes of Swiss history speak to us of what is universal. Engaging with any one of these images is the chance to connect to Hodler’s vision and his world view- weltanschauung in German, vision du monde in French- however one expresses these concepts through language, its message embedded in his work is the same: “We differ from one another, but we are like each other even more. What unifies us is greater and more powerful than what divides us.” Today, Hodler’s art couldn’t be more timely. FERDINAND HODLER (SWISS, 1853-1918) explored Parallelisme through figurative poses evocative of music, dance and ritual. His images of sex, night, desertion and death as well as his many landscapes exploring the universal longing for harmony with Nature are unique and important works embodying a Symbolist paradigm. Truly a Modern Master, Hodler’s influence can be felt in the work of Gustav Klimt and Kolomon Moser and subsequent Expressionist artists such as Egon Schiele. He was born into an impoverished family in Bern, Switzerland in 1853. His entire family succumbed to tuberculosis, and he was orphaned by the age of 13, the only surviving child among his 13 siblings. In the absence of family, the influence and guidance which his art instructors provided Hodler was foundational and profound. Hodler began formal studies in 1872 at the Geneva School of Design. Under Barthelemy Menn, Hodler was drawn to the ordered beauty of Euclidian geometry and Durer’s fundamentals of human proportion that proved to be guiding principles informing his art throughout his life. By the 1880s, Hodler began to enjoy some recognition for his work which put him on a new path towards stability. Remaining in Geneva, he became assistant to the well-known muralist, Edouard Castres. Following his first solo show in 1885, Hodler’s work took on a Symbolist quality. He frequently associated with a group of Swiss Symbolist...

Medium: original etching and drypoint with vernis mou. Printed in 1910 and published in Paris by Gazette des Beaux-Arts. Plate size: 8 1/4 x 5 1/4 inches (220 x 135 mm). Signed in th...

Lithograph on brownish paper whose subject was realized by P.A. Renoir in 1912 ca . Signed in the plate. A later edition, in excellent condition, published in the mid-20th Century ...

"Backyards" Early 20th Century Watercolor Fauvism Social Realism American Scene Note: We have three similar in style works from 1911 available now on 1stDibs. All are framed identic...

Chinatown (New York) Graphite on paper, 1914 Signed and titled lower right (See photo) The scene is more plausibly New York’s Chinatown, possibly around Mott, Pell, or Doyers Street ...

Lucien Victor Guirand de Scevola (1871-1950) Portrait of Marie-Thérèse Piérat in Les Marionnettes, 1910 Pencil on paper, signed, dated and annotated lower ...

Signed indistinctly lower left, 'J. Wim' and painted circa 1915. Framed dimensions: 32 x 26 An English rural landscape showing a mother, accompanied by farm animals, walking down a ...

Ethel Porter Bailey was a British portrait painter active in the early twentieth century. She exhibited regularly between 1908 and 1927, including eleven works at the Royal Academy a...

Date: 1918 Medium: Oil on Canvas Board Dimensions: 27.00" x 20.00" Signature: Signed Lower Right American Art Works Calendar Image

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino...

SOLD UNFRAMED Tiger and Python by Orovida Pissarro (1893 - 1968) Etching 22.5 x 27 cm (8 ⅞ x 10 ⅝ inches) Signed, inscribed with title and dated 1917 State 1, no. 9/10 Provenance...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino poster...

WWI American Scene Ashcan Modern 20th Century Historical Realism Industrial WPA Gerrit Beneker (1882-1934) "Constant Driving Will Win the War" 30 x 40 inches Oil on canvas Signed and dated 1918 lower right In 1905, Gerrit Beneker began his art career as an illustrator. He married Flora Judd, his high school sweetheart from Grand Rapids and they moved to Brooklyn, NY. Gerrit's early passion was to create an art that would inspire and provide honor to the workingman. As such, he had no interest in painting portraits of pretty women, which were so often seen on the magazine covers of the day. Rather he wanted to seek out workingmen on the bridges, tunnels and skyscrapers of NYC, and paint them in their environments. He completed over 150 magazine covers, numerous ads including many for Ivory Soap...

Nakajima Kahô (1866-1939) Sparrows Ink on paper Signed: Kahô sha and dated: Taishô, Year of the Sheep, early spring Japan. Kyoto, early spring 1919 Maruyama School painting 31.8...

A signed and dated oil on canvas by British artist Robert Watson (1865–1916), depicting a herd of Highland cattle gathered along the shore of a loch within a mountainous Scottish lan...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

Original oil on canvas painting of a lake with large snow covered mountains bathed in warm sunset light by the Norwegian/American artist, John Hammerstad. The scene of the painting i...

Elegant figures in a spring garden with mother and child. Colors are pure and fresh. Has everything that one would want in a D'espagnat . A top 2 % work by this artist .. Signed ...

The Dining Room is an Etching realized by Georges Jeanniot in the late 19th Century. Signed in the lower. Good condition.

Antoine Calbet presents his works, mainly portraits and genre scenes, at the Salons of the Société des artistes français from 1881 until 1940, as well as at the international exhibit...

Photo Sz: 13 3/4"H x 16 3/4"W Frame Sz: 21 1/2"H x 24 1/4"W Provenance: Camp Deerlands, Whitney Park. Signed: Edwin Levick For more than thirty years Mr. Levick had been a profes...

Louis Valtat (French, 1869-1952) Fauvist Oil painting of a mother and child. A very large painting by Louis Valtat titled Mere et Enfant (Mother and C...

Eugene Higgins In Foreign Parts, circa 1913 Signed lower right Watercolor on paper Sight 17 x 13 inches Born William Victor Higgins in 1884 to a Shelbyville, Indiana farm family where the only art Victor was aware of as a child was his father's love of flowers. "He loved their forms and their colors, and he tended his garden as a painter might work a canvas." At the age of nine, Victor met a young artist who traveled the Indiana countryside painting advertisements on the sides of barns. He purchased paints and brushes so the young Higgins could practice his own artwork on the inside of his father's barn. He also taught Victor about art museums and especially about the new Chicago Art Institute. This information never left the young artist, and he saved his allowance until his father allowed him at the age of fifteen to attend Chicago Art Institute. He worked a variety of jobs to finance his studies both there and at the Academy of Fine Arts. Victor Higgins traveled to New York in 1908, where he met Robert Henri, who became a significant influence by depicting every-day scenes and stressing the importance of the spirit and sense of place as important factors in painting. Higgins was also greatly affected by the New York Armory Modernism Show of Marsden Hartley in 1913. While Victor Higgins was in Chicago he met former mayor and avid collector Carter H. Harrison who was to prove instrumental in the growth of Higgins career for several years. Harrison agreed to support Higgins for four years to go to Paris and Munich and paint and study in the great museums in Europe. While at the Academie de la Grande Chaumier in Paris (1910-1914) he met Walter Ufer, who was another Chicago artist being sponsored by Carter Harrison. This meeting was not only a life-long friendship, but the beginning of a great change in the way Higgins looked at "American" art. He decided that America needed it's own authentic style rather than the 19th Century classic style he was taught in Europe. Very soon after returning to Chicago in 1914, Harrison sent him and Walter Ufer on a painting trip to Taos, New Mexico for a year in exchange for paintings. Higgins made other similar agreements and was able to support himself with his painting. This trip was a life-changing experience and introduced Higgins to the authentic America he had been looking for. In 1914 Taos was an isolated village about twelve hours from Santa Fe on an impossible dirt road. But the colorful life of the pueblo people and the natural beauty drew a collection of artists who became the Taos art colony, from which the Taos Society of Artists was founded in 1915. Victor Higgins became a permanent resident within a year of his arrival and a member of the society in 1917, exhibiting with Jane Peterson in 1925 and with Wayman Adams and Janet Scudder in 1927. The members would travel around the country introducing the Southwest scenes with great success. He remained a member until the Society's dissolution in 1927. Higgins was the youngest member of the group of seven. Other members were Joseph Henry Sharp, Bert Phillips...

To see our other original vintage propaganda posters, scroll down to "More from this Seller" and below it click on "See all from this seller" - or send us a message if you cannot fin...

Austrian Soldiers is a modern artwork by Gabriele Galantara (1865-1937) in 1916. The artwork was realized in China ink and watercolor on cardboard. ...

Outstanding sculpture depicting a panther in an attacking position, standing on a rock. The sculpture has a beautiful patina. It displays excellent muscular proportions. Made from ...

Ex Libris For Giorgio Balbi, realized by Giulio Cesari, 1912.  Woodcut, sheet 11 x 8 cm. It includes passepartout, 30 x 24 cm. Name of the engraver bottom right, Giulio Cesari. Go...

Jim’s of Lambertville is proud to offer this artwork. Signed lower left Illustrated "New Hope for American Art" Fred Wagner (1861 - 1940) One of the earliest of the Pennsylvania...

Clarence Montfort Gihon (1871 Philadelphia - 1929 France) Gathering Wildflowers on a Breezy Day Oil on Canvas, 39 x 32 inches, 49 ½ x 43 inches frame size Provenance: Sotheby’s 4186,...

Abel Warshawsky (American, 1883-1962) Fishing Boat Reflections, France, c. 1915 Oil on canvas Signed lower left 21 x 18 inches 27.5 x 24.5 inches, framed Impressionist painter A.G...

signed lower right

Georges d'Espagnat French, 1870 - 1950 Les Vendanges Signed gdE (lower left)  Oil on canvas 67 by 43 in. W/frame 71 by 47 in. Born at Melun on 14th August 1870, Georges d’Espagnat...

Date: 1912 Medium: Oil on Canvas Sight Size 18.50" x 12.50", Framed 27.50" x 21.50" Signature: Signed Lower Left July 1912 Woman's Home Companion Magazine Cover

Initialed lower left, 'J. E. S.' for James Everett Stuart (American, 1852-1941) ), dated 'Sep. 22, 1911' and with the artist's chronology number '1681'. (Please see last image for hi...

Joan Fuster Bonnin – Mallorcan Landscape with Sheep, circa 1915 – Oil on Canvas – 60 × 73 cm Oil on canvas. Signed lower right. Artwork: 60 × 73 cm (23.6 × 28.7 in.). Framed: 84 × 97...