1910s Art
18
to
210
1,127
1,095
727
363
1,210
869
34
1,031
361
399
198
181
Overall Height
to
Overall Width
to
450
299
138
132
41
14
11
5
2
2
1,378
689
562
424
387
353
203
139
133
128
115
113
101
94
91
89
79
77
61
60
7,640
19,095
147,629
245,156
1,817
2,226
4,588
6,390
5,620
14,194
18,346
22,560
16,066
13,356
5,263
102
47
34
24
22
802
555
514
330
326
Period: 1910s
L'eglise de Villeneuve sur Bellot, Seine-et-Marn
Located in San Francisco, CA
Artist: August Lepere – French (1849-1918)
Title: L'eglise de Villeneuve sur Bellot, Seine-et-Marn
Year: 1915
Publisher: Edmond Sagot (blindstamp, lower ...
Category
Realist 1910s Art
Materials
Etching
"IN THE LAND OF THE SPANISH OAK " TEXAS HILL COUNTRY DATED 1910
Located in San Antonio, TX
Julian Onderdonk
(1882 - 1922)
San Antonio Artist
Image Size: 20 x 30
Frame Size: 29 x 39
Medium: Oil
Dated 1910
"In The Land Of The Spanish Oak"
Spectacular larger scene by Julian...
Category
Impressionist 1910s Art
Materials
Oil
Vintage Photo portrait by Studio Seambart & Andrè - Paris 1910s
Located in Roma, IT
Vintage photo portrait of an elegant woman by Studio Seambart & Andrè - Paris 1910s.
Category
1910s Art
Materials
Photographic Paper
Original Antique Poster Nice Reine De La Cote D'Azur French Riviera Travel Sport
By Pierre Comba
Located in London, GB
Original antique travel advertising poster for Nice Reine de la Cote D'Azur Fetes Sports Tourisme / Queen of the French Riviera Holidays Sports Tourism featuring scenic artwork by Pi...
Category
1910s Art
Materials
Paper
Visit to the Bazaar - 1916 British watercolour on silk by Sheringham
Located in London, GB
GEORGE SHERINGHAM
(1884-1937)
Visit to the Bazaar
Signed; inscribed with title on a label on the backboard
Watercolour and gold paint on silk
15 by 38 cm., 6 by 15 in.
(frame size 34 by 56 cm., 13 ½ by 22 in.)
Exhibited:
London, Leicester Galleries, Exhibition of Works by George Sheringham, 1916, no.17.
Sheringham was born in London and studied at the Slade under Henry Tonks and later in Venice, Brussels, Berlin and Paris where he held his first one-man exhibition in 1905. On his return to London he initially supported himself with poster designs and teaching. His first exhibition of fan designs was held at the Ryder Gallery in 1909 followed by another in the following year. With enthusiastic reviews in Studio he had launched his career as a decorative designer, theatrical designer and illustrator. He illustrated books by Max Beerbohm and Cyrus MacMillan. In 1921 he collaborated with his brother Hugh on a book about fishing, The Book of the Fly Rod. He wrote Drawing in Pen and Pencil (1922), with James Laver, Design in the Theatre (1927) and with Rupert Mason and R Boyd Morrison he edited Robes of Thespis, Costume Designs by Modern Artists (1928). As a decorator, Sheringham designed the music room at 40 Devonshire House...
Category
Realist 1910s Art
Materials
Watercolor
Banchetto d’Amore - Original Etching by A. Martini - 1917
Located in Roma, IT
Banchetto d’Amore is an original etching and aquatint, realized by Alberto Martini in 1917, signed in the plate, 2nd state on 3, edition 25 copies in 1945 .
Included a frame.
In v...
Category
1910s Art
Materials
Etching, Drypoint
Sur la Grève - Original Lithograph by L. von Hoffmann - 1910 ca.
Located in Roma, IT
Sur la Grève is a red lithograph realized by the German artist Ludwig von Hofmann. It was published in the Gazette des Beaux Arts in 1910 (cfr.n. 1910.12 of the catalog Sanchez Seydo...
Category
1910s Art
Materials
Lithograph
Spring (Fruling) (also known as Street in Frankfort)
By Max Beckmann
Located in New York, NY
Max Beckmann, Spring (Fruling) (also known as Street in Frankfort), etching and drypoint, 1918, signed lower right. Reference: Hofmaier 133IIb, from the edition of 60 on laid paper; ...
Category
Expressionist 1910s Art
Materials
Drypoint, Etching
Tristram and Ysoli, Düsseldorf state-theatre, Expressionist stage lithograph
Located in Chicago, IL
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...
Category
Expressionist 1910s Art
Materials
Lithograph
“Female Bather”
Located in Southampton, NY
Here is a fine example of the artistry of the American artist, Norwood Hodge MacGilvery. Oil on canvas board. Signed lower right. Circa 1915. Condition is very good. Framed in a ...
Category
Post-Impressionist 1910s Art
Materials
Oil, Canvas
War Bulletin - Vintage Photlithograph on Cardboard - 1918
Located in Roma, IT
War Bulletin is an vintage photolithograph on cardboard realized by Anonymous Artist of the 20th Century as War Bulletin of the 1st World War.
The state of preservation of the art...
Category
1910s Art
Materials
Photogravure
The Abolishing of Death, Cosmopolitan commission, 1919
Located in Fort Washington, PA
Signature: Signed Lower Right: F X Leyendecker
Medium: Oil on Board
Sight Size 18.75" x 24.75;" Framed 33.75" x 39.75"
RELATED LITERATURE:
B. King, "T...
Category
1910s Art
Materials
Board, Oil
Turn of the Century California Riverbend Landscape
By Alice L. Meussdorffer
Located in Soquel, CA
Beautiful turn-of-the-century landscape of a path along a river bend by Alice L. Meussdorffer, a pupil of William Keith, (American, 1871-1949). Presented in a wooden frame. Signed "Alice Meussdorffer" and dated "1900" lower right. Image size, 17"H x 20.75"W. Wood frame; 19"H x 23"L x 1.5"D.
Born in San Francisco, CA on Sept. 5, 1871. Alice was the daughter of John C. Meussdorffer who made the finest hats on the West Coast during the 19th century.
A pupil of William Keith, she was most active as a painter at the turn of the century. During the latter part of her life she gained fame as a florist. Her prize-winning dahlia bulbs were shipped all over the world. She was also an ardent hiker and member of the Sierra Club. One of her dahlias was named "Kaweah" after the river in the Kings Canyon...
Category
Impressionist 1910s Art
Materials
Canvas, Oil
L’Allumage Moderne.
Located in London, GB
GAMY and MONTAUT, Ernest.
L’Allumage Moderne. Magneto Lavalette Eisemann.
[Paris: Mabileau & Co., c. 1910].
Hand-coloured pochoir print. Framed and glazed, overall size: 93.6cm x ...
Category
Art Deco 1910s Art
Materials
Screen, Stencil
Tropical Vegetation - Original Pencil and Watercolor - 1917
Located in Roma, IT
Mediterranean Vegetation is an original watercolored pencil drawing on ivory-colored paper, realized by Anonymous French Artist of the early 20th Century.
In very good conditions.
...
Category
Modern 1910s Art
Materials
Pencil, Watercolor
Fisherman and Family on Boat
Located in Miami, FL
Walt Lauderback like Dean Cornwell represents the pinnacle of the Golden Age of American Illustration. Based on the signature, this watercolor of a family with dog on boat appears ...
Category
Post-Impressionist 1910s Art
Materials
Watercolor
Original Antique Poster Aber Herr Herzog Love Affairs Of Marshal De Richelieu
Located in London, GB
Original antique advertising poster for an erotica book - Aber Herr Herzog! Liebesabenteuer des Marschalls von Richelieu Herausgegeben von Friedrich Wencker Mit 12 Illustrationen von Christophe Morawe & Scheffelt Verlag Hier Vorratig! / But Lord Herzog! The love affairs of Marshal de Richelieu Edited by Friedrich Wencker With 12 illustrations by Christophe Morawe & Scheffelt publishers Available here! - featuring a man in period clothing and a wig forcefully embracing a lady in a blue and pink dress...
Category
1910s Art
Materials
Paper
'The White Bonnet', Paris, Royal Academy of Fine Arts, Copenhagen Art Museum
By Henrik Schouboe
Located in Santa Cruz, CA
Initialed lower left, 'H.S.' for Henrik Schouboe (Danish, 1876-1949) and painted circa 1915.
Henrik Schouboe first studied at the Copenhagen's Royal Academy of Fine Arts from 1894-1901 and, from 1903-1910, in Italy and Paris. He was awarded numerous stipends and scholarships including the Larssen (1902-3) and the Akademie Scholarship in 1908. In 1906, he had exhibited for the first time at the Charlottenborg where his submitted entry was purchased by the leading Danish painter of the time, Kristian Zahrtmann, for his personal collection.
Schouboe continued to exhibit both domestically and internationally for over thirty years and was the recipient of a variety of prizes, medals and juried awards including the purchase of his 1908 Charlottenborg entry, 'Young Couple in a Landscape', by the State Museum of Art for inclusion in the Danish national collection. Schouboe's work is held in the permanent collections of numerous museums including Copenhagen, Aabenraa, Maribo and the Aalborg Art Museums. We are pleased to offer a delicate and psychologically penetrating portrait of this beautiful and determined girl on the cusp of womanhood.
Reference:
Thieme-Becker Allgemeines Lexikon der Bildenden Künstler von der Antike bis zu Gengenwart, Ulrich Thieme and Felix Becker, Deutscher Taschenbuch Verlag 1992, Vol. 30, p. 269; E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Jacques Busse, 1999 Nouvelle Édition, Gründ 1911, Vol. 12, p. 520; Weilbach, Dansk Kunstnerleksikon, the Castle and Cultural Agency, Copenhagen; Dansk Kunst (Charlottenborg), 1927: Taf. 27, 1928: Taf. 38, 1929: Taf. 46; S. Michaëlis i: Art VII, 1905-06; Vilh. Wanscher i: Kunstbl. 1909-10, 71f; Harald Giersing...
Category
Post-Impressionist 1910s Art
Materials
Canvas, Oil
"Night" Copper Plate Heliogravure
Located in Chicago, IL
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...
Category
Symbolist 1910s Art
Materials
Paper
Original Antique Poster Prince Heinrich Flug 1913 Flight Race Early Aviation Art
Located in London, GB
Rare original antique poster for the Prinz Heinrich Flug 10.-17. Mai 1913 / Prince Heinrich Flight Race 10-17 May 1913 featuring a great design by Ernst Reiss (1884-1962) showing a pilot in aviation...
Category
1910s Art
Materials
Paper
Invitation with Sketch - Original Drawing - Early 20th Century
Located in Roma, IT
Invitation with sketch is an original invitation of the early 20th Century with an original sketch in china ink on it.
Good condition except for dor the bein fold on the middle and ...
Category
1910s Art
Materials
Paper, Ink
Untitled
Located in Fort Washington, PA
Medium: Charcoal Drawing
Signature: Signed Lower Right
Framed 40.00" x 32.00"
Bad glare in photos taken. Piece is in perfect condition. Please let me know if you would like to see a...
Category
1910s Art
Materials
Charcoal
Kriegsnotspende für Leipzig - Etching by Bruno Héroux - 1916
By Bruno Héroux
Located in Roma, IT
Kriegsnotspende für Leipzig is an amazing black and white etching on paper, realized in 1909 by the German painter, Bruno Héroux (Leipzig, 1868-1944). Sig...
Category
Symbolist 1910s Art
Materials
Lithograph
Saturday Evening Post Cover, October 11, 1913
Located in Fort Washington, PA
Medium: Oil on Canvas
Signature: Signed Lower Right
Saturday Evening Post Cover, October 11, 1913
Category
1910s Art
Materials
Oil, Canvas
R. Layni, Zeichnungen folio, "Russian Soldier" Collotype plate VII
Located in Chicago, IL
Egon Schiele (1890 – 1918), AUSTRIA
“ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE
Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his masterful draftsmanship and precocious insight into the human condition. Part of the first wave of Austrian Modernism, he was swept away by the Viennese fascination with the tension between Life and Death (known in the works of Freud and his later interpreters as Eros and Thanatos). Life, identified with attraction, love, sexuality, and reproduction, and Death, represented by distortion, disease, repulsion, and hysteria, often appeared in the same composition, thereby suggesting the frightening life cycle of the human mind and body.
Young throughout his career, Schiele universalized his childhood traumas, thriving libido, insecurities, fears, and longings. His contorted line, jarring contrasts, and flat areas of color, demonstrate an early alliance with Expressionist philosophy and artists who were relentlessly frustrated by conventionality in all its forms. Schiele’s work embodied man’s disorientation and confusion in a seemingly absurd world, a world plagued by disease and war. It continues to be astonishingly relevant today, not just because it helped define Modernism but also because it revealed the dark and immutable aspects of the human condition.
Zeichnungen is a fine art print portfolio published by Verlag der Buchhandlung Richard Lanyi, Vienna, 1917, printed by Max Jaffe...
Category
Vienna Secession 1910s Art
Materials
Paper
Portrait of a Seated Woman
Located in Miami, FL
Charming portait with Modernest colors.
Provenance: Christie's
Mercedes Matter, daughter of the artist, Salander-O'Reilly Galleries, New York. Private Collection. Sale: Skinner, Inc...
Category
American Modern 1910s Art
Materials
Oil
The Politician, Saturday Evening Post Cover, 1916
Located in Fort Washington, PA
Medium: Oil on Canvas
Signature: Signed Lower Right
Cover of The Saturday Evening Post, November 4, 1916
Literature: The Saturday Evening Post, November 4, 1916, illustrated on the ...
Category
1910s Art
Materials
Canvas, Oil
"Baraques" ( near Deal, England) Pastel cm. 24 x 32 1910
Located in Torino, IT
landscape, fishing, England, 1910,pastel,green,blue
Edouard CHAPPEL (Anversa, 1859 – Cagnes-sur-Mer, 1946)
MUSEI
BELGIO
Anversa Musée Royal des Beaux-Arts
FRANCIA
Paris Musée d...
Category
Impressionist 1910s Art
Materials
Pastel
Original Antique French Poster, "Journee", Charles D. Fouqueray, Lithograph
Located in Dallas, TX
"Journee des Regions Liberees!" artist: Charles D. Fouqueray. Size: 45 x 30. Year: 1919. Archival linen backed in great condition; ready to frame.
Original linen backed stone lithograph:
Charles D. Fouqueray
Journee des Regions Liberees!
De La Vasselais Paris Vire (Calvados) Imp. circa 1919 Canvas poster / Vintage Poster on Linnen
Featured is a French poster from award-winning artist Charles Fouqueray, produced for World War I. The image is the majority with title separate and positions across the top in red outlined black text. The text reads "Day of the liberated regions.... think of the destroyed homes". Set against a background of devastated buildings in flames, stands a family group: the father embraces his daughter while the mother hold a younger naked child...
Category
Art Nouveau 1910s Art
Materials
Lithograph
"La Triennale: Exposition d'Art Francais, " Lithograph by Theophile Steinlen
Located in Long Island City, NY
Artist: Théophile Alexandre Steinlen, Swiss (1859-1923)
Title: La Triennale: Exposition d'Art Francais
Year: 1916
Medium: Lithograph, signed in the plate
Image Size: 56 x 48 inches
F...
Category
Impressionist 1910s Art
Materials
Lithograph
Art Nouveau French Cameo Glass 'Convolvulus Vase' by Emile Gallé, Nancy - 32 cm
By Emile Gallé
Located in Paris, FR
Emile GALLE
Tall Cameo Glass Vase with Convolvulus ornaments
Crafted in Nancy (Lorraine) c. 1915
Bearing Galle signature with a star in cameo (the s...
Category
Art Nouveau 1910s Art
Materials
Glass
"Lake Michigan Bathers, " Pencil, Reverse, & Photo signed by Francesco Spicuzza
Located in Milwaukee, WI
"Lake Michigan Bathers" is an original pencil sketch by Francesco Spicuzza. The artist signed the piece in the lower right. On the reverse is a silver gelatin photo print...
Category
1910s Art
Materials
Black and White, Silver Gelatin, Carbon Pencil
"A Successful Man" by Ella Wheeler Wilcox, 1919
Located in Fort Washington, PA
Medium: Oil on Canvas
Signature: Signed Lower Right
"A Successful Man," by Ella Wheeler Wilcox, from book Poems of Optimism (1919).
Category
1910s Art
Materials
Oil, Canvas
The Mediator, 1913
Located in Fort Washington, PA
Medium: Oil on Canvas
Signature: Unsigned
R. Norton, The Mediator, New York, 1913, cover illustration.
Douglas Duer (1887-1964) was a member of New York's Society of Illustrators w...
Category
1910s Art
Materials
Oil, Canvas
Soldier, Life Magazine Cover
Located in Fort Washington, PA
Medium: Watercolor on Paper
Signature: Signed Lower Left
Cover illustration for Life magazine's January 10, 1918 issue, with the caption, "Souvenirs for...
Category
1910s Art
Materials
Watercolor, Paper
"Cherry Tree in Bloom" Copper Plate Heliogravure
Located in Chicago, IL
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...
Category
Symbolist 1910s Art
Materials
Paper
R. Layni, Zeichnungen folio, "Kneeling Female Semi-Nude" Collotype plate XII
Located in Chicago, IL
Egon Schiele (1890 – 1918), AUSTRIA
“ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE
Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his masterful draftsmanship and precocious insight into the human condition. Part of the first wave of Austrian Modernism, he was swept away by the Viennese fascination with the tension between Life and Death (known in the works of Freud and his later interpreters as Eros and Thanatos). Life, identified with attraction, love, sexuality, and reproduction, and Death, represented by distortion, disease, repulsion, and hysteria, often appeared in the same composition, thereby suggesting the frightening life cycle of the human mind and body.
Young throughout his career, Schiele universalized his childhood traumas, thriving libido, insecurities, fears, and longings. His contorted line, jarring contrasts, and flat areas of color, demonstrate an early alliance with Expressionist philosophy and artists who were relentlessly frustrated by conventionality in all its forms. Schiele’s work embodied man’s disorientation and confusion in a seemingly absurd world, a world plagued by disease and war. It continues to be astonishingly relevant today, not just because it helped define Modernism but also because it revealed the dark and immutable aspects of the human condition.
Zeichnungen is a fine art print portfolio published by Verlag der Buchhandlung Richard Lanyi, Vienna, 1917, printed by Max Jaffe...
Category
Vienna Secession 1910s Art
Materials
Paper
Nude of a Man - Hand Colored Lithograph by Max Lingner
By Max Lingner
Located in Roma, IT
Nude of a man is a wonderful double-colored lithograph on paper realized by the German artist, Max Lingner (Leipzig, 1988- Berlin, 1969).
Signature and date on plate on lower right...
Category
Symbolist 1910s Art
Materials
Lithograph
Arcade dans la Neige - Impressionist Watercolor, Night Landscape by Henri Duhem
By Henri Duhem
Located in Marlow, Buckinghamshire
Signed landscape watercolour on paper circa 1910 by French impressionist painter Henri Duhem. The work depicts a snow covered archway in a village on a clear winter's evening.
Sign...
Category
Impressionist 1910s Art
Materials
Paper, Watercolor
Woman's Figure - Original Pencil and Pastel by D. Ginsbourg - 1916
Located in Roma, IT
Woman's Figure is an original pencil and pastel drawing realized by D. Ginsbourg in 1916.
Hand-signed by the artist on the lower right corner of the brown paper.
Another pen and wa...
Category
Contemporary 1910s Art
Materials
Pencil, Pastel
Gate of Honour Gonville and Caius College Cambridge Philip Pimlott etching 1912
Located in London, GB
To see our other views of Oxford and Cambridge , particularly suitable for wedding and graduation presents, 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.
Philip Pimlott
Gate of Honour Gonville and Caius...
Category
Realist 1910s Art
Materials
Etching
Liberty Design Lamps by Alberto Calligaris - Ancient Photo - 1910s
Located in Roma, IT
Liberty design lamps by Alberto Calligaris is a lot of two photographic print on handmade bromide paper applied on single cardboard.
Prints realized by hand-processing methods with ...
Category
Modern 1910s Art
Materials
Photographic Paper
Sailor with Eagle and Dove, Life Magazine Cover, January 1914
Located in Fort Washington, PA
Signature: Signed Lower Right
Medium: Oil on Canvas
Cover for Life Magazine, January 1, 1914
Caption: "Which Bird?"
Category
1910s Art
Materials
Oil, Canvas
Mein Weg mit dem Weib #9 - Original Etching by W.R. Rehn
Located in Roma, IT
Drypoint and aquatint (brown ink) on cream paper.
Signed "Rehn" in pencil on the lower right margin and signed on plate "Rehnky" on the lower right margin. Titled and numbered in pe...
Category
Symbolist 1910s Art
Materials
Drypoint, Aquatint
Nature Morte Vase des Fleurs
By Joseph Bobigny
Located in Paris, FR
Very beautiful French school painting of the early 20th century representing a floral arrangement of roses and lilies in a vase.
A beautiful work réalised with delicacy and a choice...
Category
Academic 1910s Art
Materials
Canvas, Oil
“Sunshine and Water”
Located in Southampton, NY
Very finely painted in muted pastel colors is an original oil on canvas board painting by the American artist, Norwood Hodge MacGilvery. Signed lower right. Titled verso along with ...
Category
Post-Impressionist 1910s Art
Materials
Oil, Canvas
Untitled (Hudson River Landscape)
By Leon Dabo
Located in Lawrence, NY
Leon Dabo (1865-1960) enjoyed widespread acclaim in a career that stretched nearly a century. He was one of the primary students of Whistler and his work was a “virtual international...
Category
Tonalist 1910s Art
Materials
Oil
The Dance - Original woodcut - Signed
By Raoul Dufy
Located in Paris, FR
Raoul DUFY
The Dance, c .1910
Original woodcut
Signed with stamp of the artist's studio
Numbered on /220
Titled in the board
50.5 x 65.4 cm (c. 19.6 x 25.5 inch)
Excellent condition
Category
Modern 1910s Art
Materials
Woodcut
Pablo Picasso 'Visage d'homme vers la gauche' Drawing' 1914
Located in Miami, FL
Drawn in 1914 by Picasso, this fine piece of work is a recognizable mark of his unique style. "VISAGE D'HOMME VERS LA GAUCHE", 1914 is pencil on paper, created in Avignon. Claude Pic...
Category
Modern 1910s Art
Materials
Paper, Pencil
Collection of Girl Portrait Studies
Located in Houston, TX
Collection of girl portrait studies that are signed and dated by the artist. The papers are not framed.
The dimensions are of the larger work, the small...
Category
Naturalistic 1910s Art
Materials
Graphite
The British Antarctic Expedition (1910-13)
Located in London, GB
The British Antarctic Expedition (1910-13)
(photo by Herbert Ponting)
Scott’s Last Expedition, the ‘Terra Nova’ at the Icefoot Ross Island
British Antarctic Expedition South Pole
...
Category
Modern 1910s Art
Materials
Black and White, Archival Pigment
People in the Woods, Oil Painting by Ben Benn
By Ben Benn
Located in Long Island City, NY
Artist: Ben Benn, Russian/American (1884 - 1983)
Title: People in the Woods
Year: 1917
Medium: Oil on Canvas, signed l.r.
Size: 31 x 22 in. (78.74 x 55.88 cm)
Frame Size: 39 x 30 i...
Category
American Impressionist 1910s Art
Materials
Oil
Original Antique Poster Hastings St Leonards William The Conqueror Travel Paris
Located in London, GB
Original antique travel poster advertising the historical South Coast towns of Hastings and St Leonards for Health Scenery & Sunshine all year round Four miles of parade & sea front - featuring a great design depicting a scenic seaside view entitled Hastings from the Castle 1911 looking over the Sussex resort town buildings from the trees on the hill towards the sandy beach with sailing boats and steamships at sea and the two piers in the distance with hills on the horizon, a coat of arms and smaller detailed image of St Leonards in the foreground showing people walking along the promenade by the flower gardens with a man on a bike cycling past a classic car and horse drawn carriage on the road in front of the houses, and a knight in armour holding a shield and sword framing the side with the description - William the Conqueror...
Category
1910s Art
Materials
Paper
Giovanni Giolitti - Original Ink Drawing by Gabriele Galantara - 1905
Located in Roma, IT
Giolitti is a Modern Artwork realized by Gabriele Galantara (Montelupone, 1865 - Rome, 1937) in 1905 ca.
Original pen drawing on paper.
Mint conditions.
Giolitti is a very inte...
Category
Modern 1910s Art
Materials
Ink
Pennsylvania Station NY (1910) Silver Gelatin Fibre Print - Oversized
Located in London, GB
Pennsylvania Station NY (1910) Silver Gelatin Fibre Print - Oversized
(Photo by Alamy)
Main Waiting Room, Pennsylvania Station,
New York City,...
Category
Modern 1910s Art
Materials
Black and White, Silver Gelatin
The Brothers Karamazov - Lithograph by E. Heckel - 1919
By Erich Heckel
Located in Roma, IT
Original title: Die Bruder Karamasov
This original lithograph is hand signed and dated in pencil on the lower right. Edition of 125 prints.
Representing a scene from Dostojewski's novel "The Brothers Karamazov...
Category
Expressionist 1910s Art
Materials
Lithograph
Original Antique Poster Piper Heidsieck Champagne Reims Wine Drink Art France
Located in London, GB
Original antique alcohol drink advertising poster for Piper-Heidsieck Champagne featuring a great design of a lady holding a large glass of champagne against a yellow background with...
Category
1910s Art
Materials
Paper
Sketches of Female Nudes - Original Pencil Drawing by J. Dreyfus-Stern
Located in Roma, IT
Sketches for female nudes is an original artwork realized by Jean Dreyfus-Stern in 1916.
Pencil of paper.
Hand-signed in pencil by the artist on the lower margin. Dated in pencil...
Category
1910s Art
Materials
Pencil, Carbon Pencil, Pastel