1910s Art

Magnificent French watercolor of a crystal blue waterfall spilling out from a rocky crevice by artist J. Aucante-Roy, circa 1920. Signed lower right. Original artwork on paper disp...

Eye catching watercolor of bright flowering vines covering a towering column along the serene Riviera, circa 1920. Original one-of-a-kind artwork on paper displayed on a white mat ...

"Long Live The King" by Hulton Archive 21st June 1911: Workmen putting up decorations at the Royal Exchange to celebrate the Coronation of King George ...

The Duomo, Florence Watercolor, 1914 Signed and dated lower center edge (see photo) Florence Cathedral, formally the Cattedrale di Santa Maria del Fiore, is the cathedral of Florence, Italy. It was begun in 1296 in the Gothic style to a design of Arnolfo di Cambio and was structurally completed by 1436, with the dome engineered by Filippo Brunelleschi. Condition: Excellent Image size: 16 3/4 x 14 1/2 inches Frame size: 24 1/4 x 22 inches Donald Shaw MacLaughlan was born in Charlottetown, Prince Edward Island, Canada on November 9, 1876. His family moved to Boston, Massachusetts in 1890 where he began to experiment with different art media; watercolor, oil painting and finally, etching – with a few attempts at lithography. He spent much of his early years at the Boston Public Library studying the work of printmakers, from Durer and Rembrandt to the 18th century English, French and Italian masters. Like many American artists of the time MacLaughlan traveled to Europe to study in Paris, enrolling in the Ecole des Beaux Arts and studied further with Jean Leon Gerome and Jean Paul Laurens. In 1899 he began producing etchings, which became his major interest until his death in 1938. He became acquainted with James NcNeill Whistler (1834-1903) and other artists who created etchings and spent time studying the etchings of Rembrandt van Rijn (1606-1669) and other old masters in the collection of the Bibliothèque Nationale. Both Rembrandt and Whistler would have major influences on his art. In 1900 he created a set of 25 etched views of Paris and in 1901 exhibited two etchings in the Salon de la Société Nationale des Beaux-Arts. He returned to the U.S. in 1903, then went back to Paris the following year. He traveled extensively in Europe, visiting England, Switzerland, Italy and Spain as well as various locales in France. His etched views of Venice were well-known. MacLaughlan exhibited views of Paris, Rouen, Normandy and Italy in 1906 in a solo show at the American Art Association Galleries in Paris. He also displayed his work in the 1906 exhibitions of the Société Nationale des Beaux-Arts and the Société des Peintres-Graveurs Français. MacLaughlan even instructed other expatriate Canadian artists then living in Paris, most notably Clarence...

Frederick-Auguste Cazals (1865-1941) After Andre Lambert (Swiss, 1864-1967) Potrait of Paul Verlaine Etching, 1913 Signed and inscribed in the plate (see photo) Inscribed in the pla...

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...

Original poster: Shoot Ships to Germany. At this Shipyard are being built ships to carry to our men "Over There" -- Food, Clothing, and the Munitions of War. Without these ships ou...

Etching and drypoint on paper. From the collection "Croquis du front Italien" - Album II.  Hand signed and numbered. Edition of 100. Very good condition.    

Etching and drypoint on paper. Hand signed and numbered. From the collection: "Croquis du front Italien" - Album II.  One of 100 units (45/100).    

Etching and drypoint on paper. Hand signed and numbered in pencil. From the collection "Croquis du front Italien" - Album III. One of 100units (37/100).    

Etching on paper. Hand signed and numbered in pencil. From the collection: "Croquis du front Italien" - Album II.  One of 100 units (45/100).  

Etching on paper. Hand signed and numbered in pencil. From the collection: "Croquis du front Italien" Album II. One of 100 units (45/100).  

Etching on paper Hand signed and numbered. From the collection: "Croquis du front Italien" Album I (62\100). Very good condition.

Scene from the Western Front. French lithograph signed and dated in pencil below the image. Louis Abel-Truchet was a French painter, etcher and lithographer who studied art in Pa...

To see our other views of Public Schools, Oxford and Cambridge, 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 find the view you want. A J Meyer (British, fl 1900-1930) Dulwich College Etching 22x30cm Sadly little is known of Meyer, an accomplished artist and particularly producer of etchings. He was one of many artists to join the craze for etchings started by Whistler and that died out after the 1929 Wall Street...

Etching and drypoint on paper. From the collection "Croquis du front Italien" - Album I.  Hand signed and numbered. Edition of 100. Very good condition.    

Etching and drypoint on paper. From the collection "Croquis du front Italien" - Album IV.  Hand signed and numbered. Edition of 100. Very good condition.      

Etching and drypoint on paper. From the collection "Croquis du front Italien" - Album II.  Hand signed and numbered. Edition of 100. Very good condition.      

Etching and drypoint on paper. From the collection "Croquis du front Italien" - Album III.  Hand signed and numbered. Edition of 100. Very good condition.      

Etching and drypoint on paper. From the collection "Croquis du front Italien" - Album IV.  Hand signed and numbered. Edition of 100. Very good condition.      

Etching and drypoint on paper. From the collection "Croquis du front Italien" - Album IV.  Hand signed and numbered. Edition of 100. Very good condition.      

Etching and drypoint on paper. From the collection "Croquis du front Italien" - Album IV.  Hand signed and numbered. Edition of 100. Very good condition.    

Etching and drypoint on paper. From the collection "Croquis du front Italien" - Album I.  Hand signed and numbered. Edition of 100. Very good condition.    

Etching and drypoint on paper. From the collection "Croquis du front Italien" - Album I.  Hand signed and numbered. Edition of 100. Very good condition.  

Etching and drypoint on paper. From the collection "Croquis du front Italien" - Album IV.  Hand signed and numbered. Edition of 100. Very good condition.  

Etching and drypoint on paper. From the collection "Croquis du front Italien" - Album IV.  Hand signed and numbered. Edition of 100. Very good condition.  

Etching and drypoint on paper. From the collection "Croquis du front Italien" - Album III.  Hand signed and numbered. Edition of 100. Very good condition.  

Etching and drypoint on paper. From the collection "Croquis du front Italien" - Album IV.  Hand signed and numbered. Edition of 100. Very good condition.    

Etching and drypoint on paper. From the collection "Croquis du front Italien" - Album IV.  Hand signed and numbered. Edition of 100. Very good condition.    

Etching and drypoint on paper. From the collection "Croquis du front Italien" - Album IV.  Hand signed and numbered. Edition of 100. Very good condition.    

Etching and drypoint on paper. From the collection "Croquis du front Italien" - Album III.  Hand signed and numbered. Edition of 100. Very good condition.    

Etching and drypoint on paper. From the collection "Croquis du front Italien" - Album III.  Hand signed and numbered. Edition of 100. Very good condition.    

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

"Matinee a l'Odeon" is an original etching by Maurice Asselin. The artist signed and titled the print below the image. This piece is edition 13/30 and depicts three figures watching ...

Artist: Ernest Beaumont Title: Early Spring Year: circa 1910 Medium: Oil on Canvas, signed l.l., signed and dedicated verso "For Frances" Size: 15 x 18 in...

Camille Boiry (French, 1871–1938) Returning to the Village at Dusk Signed low right Oil on canvas Gold leaf carved original frame French Post-Impressionist landscape

Etching and drypoint on paper. From the collection "Croquis du front Italien" - Album I. Edition of 100. Very good condition.

Original “Drafted Men” W. S.S. 5 Dollars vintage poster. World War 1. Linen backed and restored. This poster is rare and doesn’t appear in the Library of ...

"Reclining Man" Ashcan Early 20th Century American Scene Social Realism Gay Nude Isadore Konti (1862 - 1938) "Reclining Man" 7 1/2 w x 4 1/2 d x 7 high inch...

Unique earthenware bowl featuring a pair of golden Egyptian sphinxes and stylized purple flowers in an incised pattern, with an iridescent glaze of rich green, blue, and purple hues....

Jean-François Raffaëlli (1850-1924), La Fumee du Bateau, color etching and drypoint, 1911, signed and numbered in pencil lower right. Reference: Delteil 98. In very good condition, ...

Dorothea M. Litzinger Peonies, circa 1929 Signed Upper Left Oil on canvas 40 x 30 inches Provenance Private Collection, NY Estate of the above, 2024 Born in Cambria County, Penn...

Rozellia Oertle Butler (American, 1876-1948), "Market Scene, Southwest", Oil on Canvas Panel, circa 1910, signed "R. O. Butler" lower right, Newcomb-Macklin giltwood period frame. I...

This rare 1912 original poster by Fernand Schultz-Wettel promotes the historic town of Obernai, here referred to by its German name Oberehnheim, reflecting the region’s complex cultu...

This 1918 original promotional poster celebrates the visit of the Paris Symphony Orchestra to the factory of the National Cash Register Company. Created during the final months of the World War I, the poster symbolically reflects the strong alliance between France and the United States. At the top of the composition, the American and French flags are elegantly draped together, forming a decorative banner that visually emphasizes the bond between the two nations. Below, the printed text announces that the flags have been raised in honor of the orchestra’s visit, transforming the event into a moment of celebration for workers and visitors alike. The poster explains that the orchestra consisted of eighty-six distinguished musicians, many of whom were professors at the Paris Conservatory of Music. The ensemble performed under the leadership of André Messager, one of the most respected figures in French musical life at the time. Industrial companies in the early twentieth century often organized cultural events for employees, combining factory pride with international goodwill. Hosting an orchestra of such prestige would have been a remarkable occasion, particularly in 1918 when cultural exchange between Allied nations carried strong symbolic meaning. The design of the poster is simple yet dignified. Rather than relying on elaborate imagery, it uses patriotic symbolism and formal typography to convey respect for both the musicians and the historic moment. The combination of national flags, ceremonial language, and elegant layout reflects the spirit of wartime solidarity and cultural diplomacy. Today, posters like this one are rare historical artifacts that illustrate how music, industry, and international relations intersected during the early twentieth century. As a document from the closing year of World War I, the 1918 Paris Symphony Orchestra poster...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

Henry Ottmann (1877-1927) A Still life, signed lower right Oil on canvas 41 x 51 cm Framed : 53.5 x 63.5 cm Another fine example of Henry Ottmann's original art, this still life ...

Uzarski’s expressionist lithograph advertises a stage production of Tristram and Ysoli (Tristan and Isolde) at the Düsseldorf city-theatre in 1919. This example was published c. 1919...

La Maison aux Volets Verts by Manuel Robbe, French (1872–1936) Date: circa 1912 Aquatint Etching, signed in pencil Image Size: 16 x 11.5 inches Size: 24 x 17.5 in. (60.96 x 44.45 cm)

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...

Deco Woman Crayon on paper, c. 1920 Signed in ink lower left: "Wm. Sommer" (see photo) Provenance: Estate of the artist Edwin Sommer (the artist’s son) Jose...

NORMAN AULT 1880 – 1950 ANIGHT MY SHALLOP Pencil & watercolour on paer, signed & dated 1913 lower left Image size: 10 ¼ x 7 ½ inches (26 x 19 cm) Hand made giltwood frame Th...

To see our other views of London and our other architectural perspective drawings , scroll down to "More from this Seller" and below it click...

From the collection "Croquis du front Italien" - Album IV.  Edition of 100 (39/100). 

From the collection: "Croquis du front Italien" - Album III.  Edition of 100 (37/100). 

Etching on paper. Hand signed. Form the collection "Croquis du front Italien" - Album III.  Edition of 100.

Etching on paper. Hand signed in pencil. From the collection "Croquis du front Italien" - Album IV.  One of 100 units (39/100).

Etching on paper. Hand signed in pencil. From the collection "Croquis du front Italien" - Album III. One of 100 units (37/100).

Signed in pencil and annotated "imp" lower right; Dedicated lower left: "To Bob Nisbet from…" Note: Desgined by William M. Kendall of McKim, Mead and White, this classical skyscra...

From the collection "Croquis du front Italien" - Album II edition.  Edition of 100 (45/100).