1910s Art

'Young Woman with a Violin' by Mogens Vantore. Paris, Cubism, Royal Danish Academy, Charlottenborg ---- Signed center left, 'M. Vantore' for Erik Mogens Christian Vantore (Danish, 1...

Amedeo MODIGLIANI (1884-1920) (after) Vlaminck smoking a pipe Lithograph from a drawing of the artist Signed in the plate On Arches vellum 48 x 36 cm (c. 19 x 14,2 in) Limited to 30...

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...

Signed impressionist gouache on paper figures in landscape circa 1910 by French painter Eugene Galien-Laloue. The piece depicts a street scene at the Quai de la Tournelle...

Work on canvas

Crafted in 1915 by the talented artist Francisque Poulbot, the original poster for the Emprunt de la Défense Nationale stands as a poignant symbol of patriotism and solidarity during...

Annot Jacobi Berlin 1894 - 1981 Munich Still Life Oil on canvas Signed lower right Size: 65 x 50 cm Frame: 73 x 58 cm Good original condition, minor pai...

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 ...

Alfred Ekstam, a renowned artist from Mangskog, Sweden, is known for his exquisite landscape paintings. We are excited to present this painting by Ekstam, which is extra special because it is painted on both sides, offering two beautiful landscapes in one, with a reversible frame that can be turned over without having to take it down from the wall. On one side, you will be mesmerized by a stunning Art Nouveau landscape with a purple tone, featuring a mountain in the background, a lake, and trees in the foreground with shades of yellow, red, and green. On the other side, you will see a winter landscape with five red houses, likely to be Ekstam's own farm in Knaggen. The winter scene showcases sun rays shining down on the houses...

Original WW1 poster. Put Fighting Blood in Your Business. Here’s his record! Does he get a Job? Arthur Woods, Assistant to the Secretary of...

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

This superb atmospheric British Edwardian portrait oil painting is by noted Scottish artist Howard Somerville. Painted in 1911 it is a half length portrait of Miss Blanche Stuchbury,...

Artist: Karl Schmidt-Rottluff (German, 1884-1976) Title: "Zwei Frauen (Two Women)" Portfolio: Das Spiel Christa vom Schmerz der Schönheit des Weibes (The Play Christa from the Pain of the Beauty of the Woman) *Issued unsigned Year: 1918 Medium: Original Woodcut on cream wove paper Limited edition: Unknown Printer: Fritz Voigt, Berlin, Germany Publisher: Verlag Die Aktion, Berlin, Germany Overall size with attached page: 8.5" x 10.63" Sheet size: 8.5" x 5.38" Image size: 6.5" x 3.63" Reference: Schapire No. 222, page 45; Jentsch No. 35. Rifkind No. 2563; Lang No. 300; Reed No. 118 Condition: Toning to sheet (as normal). A few tiny pinholes in right margin. In very good condition Very rare Notes: Provenance: private collection - Oxnard, CA. Comes from a complete originally bound 48 page folio with 9 original woodcuts by Schmidt-Rottluff. Text by Alfred Brust. Presently attached to its accompanying page. The cover and title pages in pictures are not included, only for reference/provenance. There is an example of this work in the permanent collection of the Brücke Museum, Berlin, Germany. Biography: Karl Schmidt-Rottluff (born December 1, 1884, Rottluff, near Chemnitz, Germany—died August 9, 1976, West Berlin [now Berlin]), German painter and printmaker who was noted for his Expressionist landscapes and nudes. In 1905 Schmidt-Rottluff began to study architecture in Dresden, Germany, where he and his friend Erich Heckel met Ernst Ludwig Kirchner and Fritz Bleyl...

Jim's of Lambertville Fine Art Gallery is proud to present this piece by John Fulton Folinsbee (1892 - 1972). One of the finest painters to embark upon the New Hope Art Colony, John...

Artist: Augustus Edwin John (Welsh, 1878-1961) Title: "Portrait of a Lady" *Signed by John lower right Circa: 1910 Medium: Original red and black Chalk Drawing on wove paper Framing:...

Attributed to Hortense Mattice Gordon (Canadian, 1886-1961) and painted circa 1925. Unsigned. The attribution is based on the similar style, composition and subject matter of McGill ...

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

Saint Mark's Basilica Venice Oil Painting Signed, lower left dated, titled verso. Romanesque Bizantine Basilica. canvas 35"x45" framed 46.5 x56.5. Frank LeB...

Alexander Bower (1875 - 1952) Portland Harbor, Maine, 1910 Oil on canvas 27 x 33 inches Signed and dated lower right An American Impressionist, Alexande Bower was born in New York, studied at The Pennsylvania Academy of Fine Art, and was living with his wife in Cliff Island, Maine by 1914. Despite his urban upbringing, the coast and the sea fascinated Bower. A large portion of his paintings are seascapes, particularly scenes depicting the coast of Cape Elizabeth...

Raoul Dufy, French (1877 - 1953) - The Serpent, Year: c. 1911, Medium: Woodcut on laid paper, Image Size: 8 x 7.5 inches, Size: 11.25 x 8.75 in. (28.58 x 22.23 cm), Description: Fr...

Amedeo MODIGLIANI (1884-1920) (after) The acrobat Lithograph from a drawing of the artist On Arches vellum 48 x 36 cm (c. 19 x 14,2 in) Limited to 300 ex...

This stunning British Impressionist landscape oil painting is by noted British artist Joseph Vickers de Ville. It is entitled Clair de Lune verso and dated 1916-1919. Clair de Lune, ...

George Ames Aldrich (American, 1872-1941) Country Cottage on a River: Another superbly painted oil on canvas cottage painting be Aldrich showing a mas...

Elisée MACLET (1881-1962) Normandy : The Old Roman Church, c. 1915 Original oil on panel Signed bottom left On board 50 x 65 cm (c. 20 x 26 in) Presented in a golden frame, 69 x 8...

Signed, titled and dated oil on canvas figures in landscape by Belgian post impressionist painter Modest Huys. This stunning piece depicts of workers harvesting a field on a late sum...

ELMO THE MIGHTY, original 1919 lobby card, not signed. Protected in a 16" x 20" acid-free presentation mat suitable for framing. This lobby card is over 100 years old. Original,...

Here for your consideration is an outstanding oil on canvas painting by Max Silbert. Signed lower right. Circa 1915. Recently professionally cleaned with no restorations. The fra...

Woman on a Patio Pastel on paper, c. 1915 Unsigned Provenance: Gift of the artist to his wife, Mary Hess Buehr By decent to the artist's niece, daughter of Will Hess David Saltzman Robert Henry Adams Fine Art Thomas French Fine Art Ronald C. Sloter, Columbus, Ohio Columbus College of Art and Design (de-accessed) Exhibited at Robert Henry Adams Fine Art, 1994, the first exhibition at the North Franklin Street Gallery. One of the early Chicago artists to adopt Impressionism, Karl Buehr became a figure and landscape painter. As a figure painter, his specialty became "gorgeously colored images of young women on porches overlooking brilliant summertime gardens." (Kennedy 98) His later work often showed a female figure with serious expression engaging the viewer with a direct stare. In his landscapes, he was noted for his strong coloration. In a December 1896 student exhibition at the Art Institute, a reviewer for the "Chicago Times Herald" described Buehr's landscapes as "blithe and joyous" with "country roads brilliant in sunlight . . . fields rich in summer verdure, under soft skies painted in a high, musical key." (Gerdts 68) Buehr was born as one of seven sons to a prosperous German family who immigrated to America and settled in Chicago in 1869. He was first exposed to his signature style of Impressionism in 1888 when he enrolled in night classes at the Art Institute while working in the shipping department of a lithographic firm near the Institute. He remained a student there until 1897 and was recognized in a "Chicago Times Herald" editorial of June 13, 1897 as one of the Institute's most outstanding pupils. The next year, his art career was temporarily put on hold when he briefly enlisted with the U.S. Army in the Spanish American War. In 1899, he resumed his art studies, this time with Frank Duveneck. He exhibited a painting at the Paris Salon of 1900. In 1905, thanks to a wealthy Chicago patron, Buehr and his family moved to France. They spent the following year in Taormina, Sicily, and spent time in Venice as well. In Paris, Buehr studied at the Academy Julian with Raphael Collin for two years. Then he went to England, enrolling in the London Art School but had returned to Paris by 1908. During this time, he began painting at Giverny, the home of Impressionist leader Claude Monet (1840-1926, and by 1912, Buehr was listing that village as his home address. One of his good friends and associates at Giverny was Frederick Frieseke. One of Buehr's paintings from that time, "News from Home", was exhibited in 1913 at the French Salon in Paris and at the annual exhibit of the Chicago Art Institute. It shows a woman in floral dress sitting on a porch with a background with potted flowers and lush greenery background. Of his painting done at Giverny, Buehr wrote in 1912 to William Macbeth of Macbeth Galleries in New York: "My figures painted in and around Giverny are costumed and in appropriate out door settings." (Gerdts 68) In 1914, he returned to the United States and took a teaching position in Chicago at the Art Institute, which he held for the remainder of his life. He was married to Mary Hess, a painter of miniatures and decorative works. In 1928-29, he was a guest artist at Stanford University. Courtesy, AskArt “Karl Albert Buehr (1866–1952) was a painter born in Germany. Buehr was born in Feuerbach - near Stuttgart. He was the son of Frederick Buehr and Henrietta Doh (Dohna?). He moved to Chicago with his parents and siblings in the 1880s. In Chicago, young Karl worked at various jobs until he was employed by a lithograph company near the Art Institute of Chicago. Introduced to art at work, Karl paid regular visits to the Art Institute, where he found part-time employment, enabling him to enroll in night classes. Later, working at the Institute as a night watchman, he had a unique opportunity to study the masters and actually posted sketchings that blended in favorably with student's work. Having studied under John H. Vanderpoel, Buehr graduated with honors, while his work aroused such admiration that he was offered a teaching post there, which he maintained for many years thereafter. He graduated from the Art Inst. of Chicago and served in the IL Cav in the Spanish–American War. Mary Hess became Karl's wife—she was a student of his and an accomplished artist in her own right. In 1922, he was elected into the National Academy of Design as an Associate member. Art Studies in Europe In 1904, Buehr received a bronze medal at the St. Louis Universal Exposition, then, in 1905, Buehr and his family moved to France, thanks to a wealthy Chicago patron, and they spent the following year in Taormina, Sicily, where the artist painted local subjects, executing both genre subjects and landscapes as well as time in Venice. Buehr spent at least some time in Paris, where he worked with Raphaël Collin at the Académie Julian. Giverny and American Impressionism Prior to this time, Buehr had developed a quasi-impressionistic style, but after 1909, when he began spending summers near Monet in Giverny, his work became decidedly characteristic of that plein-air style but he began focusing on female subjects posed out-of-doors. He remained for some time in Giverny, and here he became well-acquainted with other well known expatriate America impressionists such as Richard Miller, Theodore Earl Butler, Frederick Frieseke, and Lawton Parker. It seems likely that Buehr met Monet, since his own daughter Kathleen and Monet’s granddaughter, Lili Butler, were playmates, according to George Buehr, the painter’s son. His other daughter Lydia died before adulthood due to diabetes. He returned to Chicago at the onset of World War I and taught at The Art Inst for many years. One of his noted pupils at the Art Institute was Archibald Motley...

The Russo-Japanese War (1904–1905) marked a pivotal moment in naval warfare, and this circa 1900 original print vividly captures the intensity of battle. Titled "Our Torpedoes Attack...

Wilson Irvine Winter Landscape Signed lower left Oil on canvas 24 x 27 inches A prolific Impressionist with a penchant for atmospheric scenes, Illinois native Wilson Irvine began h...

William Baxter Closson Trail of the Snowshoes, circa 1910 Signed lower right Oil on canvas 30 x 40 inches Provenance The Cooley Gallery, Old Lyme, Connecticut Born October 13, 184...

This haunting original 1917 lithographic poster by the renowned Swiss-French artist Théophile Steinlen was created during the final years of World War I. The stark title, "Sur la ter...

Carved folk art vase, with hand-painted bright cloisonné enamel embellishments. The form's contrasting glazes amplify its intricate carvings and mottled texture. Stamped Amphora in t...

Women Outside Breton Hotel - Chromolithograph on Paper In a pastel palette, Alson Skinner Clark (American, 1876-1949) captures the rustic beauty of a side street in a Breton village as two women converse outside of a hotel on a blue sky day. Signed “Alson Clark...

This gorgeous British Edwardian dog portrait oil painting is by noted animal artist Robert Morley. Painted circa 1910 the composition is of a black and white spaniel, sitting down, against a white wall and door way. The dog has a black face and black patches with lovely roan type speckles up its legs and body. Morley has beautifully captured the wispy softness of its fur and fluffiness on its chest. Of course the dog has those mesmerising dark brown spaniel eyes that would melt any heart. This is a simply wonderful spaniel portrait...

Pierre Auguste RENOIR Standing swimmer Drypoint 2010 On vergé ivoire paper Size 33 x 25 cm Very good condition REFERENCE : Catalog raisonné Stella 23

Printer: Oscar Consee, Kunstanstalt, Munchen Note: Due to the size, weight, and value of this piece, we require shipping through 1stDibs, for its cost effectiveness, full insurance ...

Oil on wooden panel by the Spanish artist, Thomas Campuzano y Aguirre. Seated man on a large rock with a hat with a woman with basket standing close by. Circa 1910. In very good o...

Original magazine cover illustration for the June 17, 1916 issue of The Saturday Evening Post. The image features a celebratory procession including an elephant, monkeys, clowns, a...

This Ekamka Fetish sculpture was carved from wood by an unknown Nigerian artist. It depicts a figure holding a mask. The figure has two symbolic horns protruding from his head and he sits on a thin...

'Old Brick Kiln, Henry, Illinois' by Frank Coburn, 1918. Impressionist, Bowers, Laguna Beach, Pasadena Art Institute, Art Institute of Chicago ----- Signed lower right, 'F. Coburn' ...

Pensatori is an original drawing in mixed media on creamy cardboard realized by Gabriele Galantara (1865-1937). In good conditions. This is an original drawing representing two me...

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

Kollwitz, Kathe. TOD UND FRAU (DEATH AND WOMAN). Knesebeck 107, State VII; Klipstein 103. Line etching, drypoint, sandpaper, soft ground with imprint of granulated tone paper and Zie...

Der Kopf is an original Rare Book llustrated by the Expressionist German artist Ernst Barlach (1870- 1938) and written by Reinhold von Walter (St. Petersburg, 1882 - Ravensburg, 196...

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...

Signed pointillist oil on board landscape circa 1910 by French impressionist painter Joseph Louis Francois Lepine. The painting depicts a landscape in autumn. The green leaves are tu...

Title page numbered: 263/450

La obra va firmada por el artista en la parte inferior y fechada en Viena Se presenta enmarcada la obra con un marco del siglo xix El estado de la obra es aceptable Medidas obra: ...

Sketched Portrait is a vintage, beautiful, and rare collotype from “Gustav Klimt: Fünfundzwanzig Handzeichnungen”, a limited-edition collection of 25 monochrome and two-color collotypes after drawings by Gustav Klimt. Published by Gilhofer and Ranschburg, Vienna, July 1919, just one year after Klimt...

Early 20th-century French School Portrait of Daniel Schlumberger at age 34 Pastel H. 99.5 cm; W. 63.5 cm Title and dated lower right. Unsigned 1913 The Schlumberger family, of Prote...

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...

Story illustration for “A Lady in Distress” by George Randolph Chester and Lillian Chester for Hearst’s magazine, published August 1917, page 121. The full caption reads: “As Linn...

Edward Dufner is one of America's finest American Impressionists. This is an exceptional work by him. The technique is exquisite with the brushwork being refined and sophisticated,...

A gorgeously colored summer landscape by Important American Impressionist, Frank V Dumond. Fresh in color and elegant in the tonally complimentary French frame with silk liner. Atm...

Jacques MARTIN (Villeurbanne 1844 - Lyon 1919) Woman in Blue with Mandolin, circa 1915 Oil on canvas 73 × 59 cm Workshop sale stamp on the reverse. Unsigned Provenance • Workshop...

A very large 24" (61cm) Franz Xavier Bergmann (1861-1936) cold painted bronze group statue, signed, Austria, circa 1910. The bronze in the Orientalist manner & depicts a young slave ...

The 1911 original poster for La Bicyclette - Le Globe is a remarkable testament to the early 20th-century cycling culture and the rise of competitive sports marketing. Created to promote the Le Globe bicycle brand, this poster emphasizes its association with significant cycling achievements, including victories in prestigious races like the Tour de France 1910 and 1911 and the grueling Paris-Brest-Paris 1911. Cycling was rapidly gaining popularity in Europe during this era, not only as a mode of transportation but as a competitive sport that captured the imagination of the public. The poster highlights Le Globe bicycles’ durability and superior design, attributing their performance to technological advancements such as the Eadie freewheel, Hans Renold chain, and Bowden brakes. These innovations are prominently mentioned as key factors behind the brand's success in overcoming the rigors of demanding races. Victories by riders using Le Globe bicycles are proudly celebrated in the poster, with detailed references to stage wins in the Tour de France and the extraordinary records set during the Paris-Brest-Paris race. The detailed text serves as both a chronicle of accomplishments and an endorsement of the brand’s reliability and superiority. The typographic design, typical of early 20th-century posters, conveys authority and credibility while catering to an audience eager for both sporting news and technical innovation. This promotional piece stands as an enduring relic of an era when cycling was not just a sport but a symbol of progress and industrial ingenuity. Today, the La Bicyclette - Le Globe poster...

Otto Friedrich Carl Lendecke Lemberg 1886 - 1918 Vienna Ich werde beobachtet! I am being watched!, 1918 Watercolor and pencil on paper / cardboard Signed and dated lower left, tit...

Signed figurative oil on original canvas by French realist painter Victor Gabriel Gilbert. The work shows a flower seller filling a young girl's basket with cherries while a little b...