1910s Art

Selbstmörder is an original drypoint, realized by Magnus Zeller in 1919, signed and inscribed, Included a frame. In very good conditions. The artwork is representing a desperate m...

'Oriental Head Dress (Persia)' Photogravure after Donald Macbeth (1865-1943). Donald Macbeth was a commercial photographer who seems to have held a quasi-official position at the B...

'Westmacott Boy' Photogravure from a collection of photogravures depicting Greek and Roman marbles and bronzes in the British museum. Plate number above top right corner of the imag...

Image dimensions: 11,5x17,8 cm. Under the Snow is an original artwork realized by Anselmo Bucci in 1913. The state of preservation is very good, except for some small stains on the...

Image dimensions: 16,5x8,5 cm. The Discussion is an original artwork realized by Rivalta, in 1914. The state of preservation is good, except for some small holes on the back. Hand-...

Signed on plate. Numbered. Edition of 60 prints in Roman Numerals. Very good conditions. Image Dimensions : 21 x 12.5 cm

Sketch for a Nude is an original artwork realized by Jean Dreyfus-Stern in the 1920s. Pencil and red pencil on paper. Hand-signed in pencil by the artist on the lower right margi...

Hand signed and dated lower right "Arturo Noci 1912". In excellent conditions. Includes wooden frame: 63x78 cm.

Group of Men is an original lithograph on cream-colored paper, signed by the Italian artist, painter, and printmaker Anselmo Bucci, Hand-signed and dated on the lower margin of artwo...

Image dimensions: 6 x 8 cm. Hand signed. Edition of 100 prints on Hollande paper. From the collection: “Croquis du Front Italien” , published in Paris by D'Alignan editions. Anselmo...

Image dimensions: 9.5 x 13.5 cm. Hand signed. Edition of 100 prints on Hollande paper. From the collection: “Croquis du Front Italien” , published in Paris by D'Alignan editions. An...

Image dimensions: 10 x 9.5 cm. Hand signed. Edition of 100 prints on Hollande paper. From the collection: “Croquis du Front Italien” , published in Paris by D'Alignan editions. Anse...

Image dimensions: 12.5 x 8.5 cm. Hand signed. Edition of 100 prints on Hollande paper. From the collection: “Croquis du Front Italien”, published in Paris by D'Alignan editions. Ans...

Image dimensions: 11.5 x 14 cm. Hand signed. Edition of 100 prints on Hollande paper. From the collection: “Croquis du Front Italien” , published in Paris by D'Alignan editions. Ans...

Image dimensions: 8.5 x 12 cm. Hand signed. Edition of 100 prints on Hollande paper. From the collection: Croquis du Front Italien, published in Paris by D'Alignan editions. Anselmo...

Image dimensions: 6 x 5 cm. Hand signed. Edition of 100 prints on Hollande paper. From the collection: “Croquis du Front Italien” , published in Paris by D'Alignan editions. Anselm...

Oli Sasso is a colored lithographed original manifesto on cardboard, realized around 1914 by the Italian artist Plinio Nomellini. This modern artwork is signed on plate on higher left margin and has the inscriptions printed on lower margin in the image "Chiedere Catalogo e Campioni ai Sigg. Sasso Oneglia e Figli", under the image: "P. Nomellini/ Off. G. Ricordi and C. Milano / 140 x 200". From the Ricordi Portfolio...

A very good, dark and evenly-printed impression of this scarce lithograph on cream laid paper. From the edition of approximately 50.

Medium: original etching. Printed in 1913 and published in Paris by the Revue de l'art ancien et moderne. Plate size: 4 3/8 x 5 5/8 inches (112 x 143 mm). A rich, dark impression on ...

Amy Londoner Beach at Atlantic City, circa 1922 Signed lower right Pastel on paper Sight 23 x 18 inches Amy Londoner (April 12, 1875 – 1951) was an American painter who exhibited at the 1913 Armory Show. One of the first students of the Henri School of Art in 1909. Prior to the Armory Show of 1913, Amy Londoner and her classmates studied with "Ashcan" painter Robert Henri at the Henri School of Art in New York, N.Y. One notable oil painting, 'The Vase', was painted by both Henri and Londoner. Londoner was born in Lexington, Missouri on April 12, 1875. Her parents were Moses and Rebecca Londoner, who moved to Leadville, Colorado, by 1880. In 1899, Amy took responsibility for her father who had come to Los Angeles from Leadville and had mental issues. By 1900, Amy was living with her parents and sister, Blanche, in the vicinity of Leadville, Denver, Colorado. While little was written about her early life, Denver City directories indicated that nineteenth-century members of the family were merchants, with family ties to New York, N.Y. The family had a male servant. Londoner traveled with her mother to England in 1907 then shortly later, both returned to New York in 1909. Londoner was 34 years old at the time, and, according to standards of the day, should have married and raised a family long before. Instead, she enrolled as one of the first students at the Henri School of Art in 1909. At the Henri School, Londoner established friendships with Carl Sprinchorn (1887-1971), a young Swedish immigrant, and Edith Reynolds (1883-1964), daughter of wealthy industrialist family from Wilkes-Barre, PA. Londoner's correspondence, which often included references to Blanche, listed the sisters' primary address as the Hotel Endicott at 81st Street and Columbus Avenue, NYC. Other correspondence also reached Londoner in the city via Mrs. Theodore Bernstein at 252 West 74th Street; 102 West 73rd Street; and the Independent School of Art at 1947 Broadway. In 1911, Londoner vacationed at the Hotel Trexler in Atlantic City, NJ. As indicated by an undated photograph, Londoner also spent time with Edith Reynolds and Robert Henri at 'The Pines', the Reynolds family estate in Bear Creek, PA. Through her connections with the Henri School, Londoner entered progressive social and professional circles. Henri's admonition, phrased in the vocabulary of his historical time period, that one must become a "man" first and an artist second, attracted both male and female students to classes where development of unique personal styles, tailored to convey individual insights and experiences, was prized above the mastery of standardized, technical skill. Far from being dilettantes, women students at the Henri School were daring individuals willing to challenge tradition. As noted by former student Helen Appleton Read, "it was a mark of defiance,to join the radical Henri group." As Henri offered educational alternatives for women artists, he initiated exhibition opportunities for them as well. Troubled by the exclusion of work by younger artists from annual exhibitions at the National Academy of Design, Henri was instrumental in organizing the no-jury, no-prize Exhibition of Independent Artists in 1910. About half of the 103 artists included in the exhibition were or had been Henri students, while twenty of the twenty-six women exhibiting had studied with Henri. Among the exhibition's 631 pieces, nine were by Amy Londoner, including the notorious 'Lady with a Headache'. Similarly, fourteen of Henri's women students exhibited in the groundbreaking Armory Show of 1913, forming about eight percent of the American exhibitors and one-third of American women exhibitors. Of the nine documented works submitted by Londoner, five were rejected, while four pastels of Atlantic City beach scenes, including 'The Beach Umbrellas' now in the Remington Collection, were displayed. Following Henri's example, Londoner served as an art instructor for younger students at the Modern School, whose only requirement was to genuinely draw what they pleased. The work of dancer Isadora Duncan, another artist devoted to the ideals of a liberal education, was also lauded by the Modern School. Henri, who long admired Duncan and invited members of her troupe to model for his classes, wrote an appreciation of her for the Modern School journal in 1915. She was also the subject of Londoner's pastel Isadora Duncan and the Children: Praise Ye the Lord with Dance. In 1914, Londoner traveled to France to spend summer abroad, living at 99 rue Notre Dames des Champs, Paris, France. As the tenets of European modernism spread throughout the United States, Londoner showed regularly at venues which a new generation of artists considered increasingly passe, including the annual Society of Independent Artists' exhibitions between 1918 and 1934, and the Salons of America exhibition in 1922. Londoner also exhibited at the Morton Gallery, Opportunity Gallery, Leonard Clayton Gallery and Brownell-Lambertson Galleries in NYC. Her painting of a 'Blond Girl' was one of two works included in the College Art Associations Traveling Exhibition of 1929, which toured colleges across the country to broad acclaim. Londoner later in life suffered from illnesses then suffered a stroke which resulted in medical bills significantly mounting over the years that her old friends from the Henri School, including Carl Sprinchorn, Florence Dreyfous, Florence Barley, and Josephine Nivison Hopper, scrambled to raise funds and find suitable long-term care facilities for Londoner. Londoner later joined Reynolds in Bear Creek, PA. Always known for her keen wit, Londoner retained her humor and concern for her works even during her illness, noting that "if anything happens to the Endicott, I guess they will just throw them out." Sprinchorn and Reynolds, however, did not allow this to happen. In 1960, Londoner's paintings 'Amsterdam Avenue at 74th Street' and 'The Builders' were loaned by Reynolds to a show commemorating the Fiftieth Anniversary of the Exhibition of Independent Artists in 1910, presented at the Delaware Art Center, Wilmington, DE. In the late 80's, Francis William Remington, 'Bill Remington', of Bear Creek Village PA, along with his neighbor and artist Frances Anstett Brennan, both had profound admiration for Amy Londoner's art work and accomplishments as a woman who played a significant role in the Ashcan movement. Remington acquired a significant number of Londoner's artwork along with Frances Anstett Brenan that later was part of an exhibition of Londoner's artwork in April 15 of 2007, at the Hope Horn...

Medium: original lithograph. Printed in 1910 in sanguine ink and published in Paris for Gazette des Beaux-Arts. Image size: 5 3/4 x 4 3/4 inches (146 x 122 mm). Not signed.

Medium: engraving (after the painting). Engraved by French artist Henri Bérengier (1881-1943) after the Manet painting. Printed in 1910 on watermarked BFK Rives paper and published i...

Studies for the Female Figure is an original artwork realized by the french artist Ginsbourg in 1918. Original red pencil on paper. Hand-signed and dated in pencil on the lower ri...

Drypoint and aquatint (brown ink) on cream paper. Signed "Rehn" in pencil on the lower right margin. Titled and numbered in pencil on the lower left margin. Edition of 25 prints. Fr...

A superb landscape oil painting on canvas by Sir James Lawton Wingate, President of The Royal Scottish Academy. This painting shows a windswept Scottish landscape and a "glimpse of t...

Desert is a beautiful black and white xylograph on ivory colored paper, by the French landscapist Marcel Gaillard (1886 -1947). This original print, representing an oriental buildin...

Egon Tschirch's original poster entitled "Englands Absicht: Geschlossen Wegen Mangel an Arbeit" is a work that reveals the artist's talent for combining visual aesthetics with politi...

One of 40 copies on Hollande Van Gelder in 8° format including a second portrait of the author out of text. Rigid binding lightly wore on angles. Internal papers in perfect conditions. Edition: Paris, Au Sans Pareil Circulation: 50 copies of which 10 on Japon ancient and 40 on Hollande Van Gelder, plus 1050 on velin d' alfa Format: In-4° Pages: 52 Artist: Amedeo Modigliani, Blaise Cendrars

Medium: original lithograph. Printed in 1914 on chine-colle paper by E. Duchatel and published in Paris by Gazette des Beaux-Arts. The catalogue reference is Sanchez and Seydoux 1914...

Medium: original lithograph. This impression on wove paper was printed in 1919 for Das Kestnerbuch, an important collection of original prints published during the height of the Germ...

Circle of Life Lithograph on tan paper, c. 1910's Signed in pencil lower right; signed in the plate lower right (see photo) Annotated "No. 50" in pencil lower left (see photo) ...

Medium: original lithograph. This is one of the scenes of the Berlin art world executed by Rudolf Grossmann. Printed in 1919 at the Wolf & Sohn atelier for the Ganymed portfolio (vol...

Medium: original lithograph. This is one of the scenes of the Berlin art world executed by Rudolf Grossmann. Printed in 1919 at the Wolf & Sohn atelier for the Ganymed portfolio (vol...

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...

Isadora Duncan Graphite with grey wash on paper mounted to cardstock Signed and dated in pencil lower right (see photo) Provenance: Charlotte Bergman, f...

Frantisek Kupka, Czech (1871 - 1957) - Sons de Cloches. Year: 1912, Medium: Etching on Richard de Bas, stamp signed and signed in the plate, Image Size: 11 x 8.75 inches, Size: 20 x ...

Standing Female Nude Oil on canvas, c. 1910 Signed lower left corner (see photo) Condition: Excellent Housed in a 22K Gold Leaf Frame Canvas size: 24 x 18 1/8 inche...

Answering the Door Early 20th Century w/c Fauvism Social Realism American Scene Note: We have three similar in style works from 1911 available now on 1stDibs. All are framed identi...

This pencil drawing by the German artist Ernst Ludwig Kirchner is stamped at the lower left corner, verso with the artist's estate stamp (Lugt 1570b) and inscribed in black ink “B Dr...

Original poster of aeronautics. It is an event that took place in the United Kingdom in 1920, it is the 6th International Aeronautical Exhibition. Aviation - United Kingdom We are ...

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...

Raoul Dufy, French (1877 - 1953) - Crows in Field, Year: 1912, Medium: Woodcut on laid paper, signed in pencil, Image Size: 1.5 x 3.5 inches, Size: 7.25 x 5.5 in. (18.42 x 13.97 cm...

Photogravure #12 (from "Camera Work" #XL) 11 x 7.5 inches, sheet 9.5 x 6 inches, plate This artwork is offered by ClampArt, located in New York City.

Messrs Stearn The 69th Boat Race at Hammersmith, 1912 Albumen print 16 x 21 cm This photograph depicts Oxford and Cambridge neck and neck at Hammersmith in the 1912 Oxford-Cambridg...

Henri DeGroux (1866-1930) was a Belgian Symbolist painter, sculptor and lithographer. He was known for his allegorical, religious and historical subject matter. He became an inspired...

Henri DeGroux (1866-1930) was a Belgian Symbolist painter, sculptor and lithographer. He was known for his allegorical, religious and historical subject matter. He became an inspired...

A lovely scene adeptly painted by listed American artist and illustrator Jan Nosek (1876 - 1966) who was active in the late 19th and early 20th Century. This scene created in the ea...

To see our other views of 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. The Wren Bridge, St John's College, Cambridge Engraving 35 x 24 cm Signed as a cypher lower right. A 1911 watercolour of St John's College's Wren Bridge, also known as the Kitchen Bridge. There had been a wooden bridge in this location since the early days of the medieval Hospital of St John the Evangelist. Christopher Wren...

Academic study in profile of a high bow sitter on gray paper with white highlights. Signed lower right and dated faintly 1916 Edith Emerson (July 27, 1888 – November 21, 1981) was a...

BOMBERG, David. Russian Ballet. With 6 original color lithographs by David Bomberg. London; Hendersons. [The Bomb Shop] 1919. 8 3/8 x 10 1⁄2 Inches, 8 ...

Signed figures in landscape pastel on canvas circa 1910 by French Barbizon painter Leon Augustin Lhermitte. The piece depicts a rural landscape with two women in traditional Breton c...

Louis Ridel, born February 12, 1866 in Vannes and died November 10, 1937 in Paris, is a painter, sculptor, medalist, French decorator. Louis Ridel studied at the Académie Julian then under the direction of Gustave Moreau at the Ecole des Beaux-Arts in Paris in 1889 (with Matisse, Camoin, Marquet and Rouault). He exhibited at the Salon des Artistes Français between 1893 and 1935, at the Salon des Tuileries between 1927 and 1934, the Universal Exhibition of Ghent in 1913 and the famous Georges Petit Gallery (1909-1910). The works of the artist are present in the museums of Nantes, Strasbourg, Pont-Aven but also Tokyo, Buenos Aires and Rio de Janeiro. This symbolist painter, friend of Aman-Jean, Maxence and Albert Besnard, represented essentially women of the bourgeoisie, ethereal and diaphanous or landscapes of his native region, Brittany. In 1896, he received an honorable mention from the Salon des artistes français, then a third class medal in 1898 and second class in 1900. In 1901, he was out of competition. In 1909, he was named Knight of the Legion of Honor. He receives official orders for the Senate, the Ministry of Public Works or the mayor of the 12th arrondissement of Paris. Two Women in Boat...

Ernest Laborde, French (1870 - 1935) - Au Petit Dunkerque, Year: 1913, Medium: Etching, signed and dated in the plate, Image Size: 9 x 5.5 inches, Size: 11 x 7.5 in. (27.94 x 19.05...

"Les Matelassiers (The Mattress Makers)" is an original etching by Auguste Brouet. It depicts people creating a mattress outside. The artist signed the...

Bernhard Hoetger’s 1914 Expressionist poster for the Darmstadt Artists' Colony’s (Darmstädter Künstlerkolonie) fourth and final exhibition depicts the legend of Saint George slaying ...

Sunbathing Etching and color aquatint on watermarked Umbria Italy paper, c. 1915 Signed by the artist in pencil lower right (see photo) Annotated: "No. 6" in pencil lower left (see photo) An early color print by the artist Condition: Excellent Plate size: 11-3/4 x 15-7-8" (30 x 40.3 cm.) Frame size: 21 x 26 1/8 x 1 inches Provenance: Estate of the artist By decent Louis Oscar Griffith (1875-1956) Born in Greencastle, Indiana, Griffith grew up in Dallas, Texas where Texas artist and teacher Charles Franklin Reaugh recognized young “Griff’s” artistic talent. At age 18, Griffith moved to St. Louis where he attended the St. Louis School of Fine Arts. In 1895, he moved to Chicago where he worked making color prints for the firm Barnes and Crosby. He attended the Art Institute of Chicago and during a brief stay in New York, the National Academy of Design. A successful commercial artist with a studio in the Chicago Loop...

This vintage poster advertises the Éclair brand of stove polish paste, a product in high demand during a time when almost all stoves were made out of cast iron. The winged wheel is a...

Original The Hun ~ his Mark, Blot it Out with Liberty Bonds vintage American World War One poster. Archivail linen backed in mint condition, ready to frame. The images shown are...

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...

This superb, large and vibrant Modern British figurative landscape oil painting is by noted Slade School artist Franklin White. Painted circa 1920 it was exhibited at the New England...