1910s Art

Original: I summon you to the comradeship, Woodrow Wilson vintage poster from 1918, issued by the Red Cross. The poster has been archivally mounted on...

The original poster by J. Basté in 1918, promoting the 4th national loan for the Banque Industrielle de Chine, stands as a testament to the financial mobilization efforts during Worl...

Original poster: United Behind The Service Star ; Great vibrant colors. Linen backed. All the various support organizations that backed up the soldiers and war relief during World War One. A-, B+ condition. Paper tear from the bottom about 10" professionally laid down. No paper loss. A large blue star appears over the flags, and below the image reads "United Behind the Service Star". The poster features American soldiers carrying the flags of seven major service organizations: the YMCA, the National Catholic War Council, the Jewish Welfare Board, the Salvation Army, War Camp Community Service, the American Library Association, and the YWCA. These organizations were instrumental in providing various forms of support, such as food, medical care, and morale-boosting services, both to soldiers and civilians. If you have ever looked to have a 'supreme' version of this great war poster...

CLAUDE ALLIN SHEPPERSON, ARA, ARWS (1867-1921) Petrushka – Scene from the Ballets Russes Signed l.l.: Shepperson Watercolour over traces of pencil on paper Framed 30.5 by 45.5 cm., 12 by 18 in. (frame size 52.5 by 66 cm., 20 ¾ by 26 in.) Provenance: Richard C Davis...

Original WW1 poster: "Your Country Needs You! Join the Navy Now!" Original poster printed by the U.S. Food Administration during World War One. Archi...

Linen backed original of the official event spectacles of Paris, promoting Moulin Rouge, Salome, Musee Grevin, Sarah-Rita, Madame Butterfly, Carmen, La Vie de Boheme. Orignial in ex...

Wonderful German genre painting of 17th century tavern scene in style of Franz Hals by Karl Josef Muller (German, 1864-1942) dated 1918. Signed and dated lower left corner "Karl Muller - Hamburg 1918". Condition: Good; professionally restored: Canvas restreched on new stretcher bars; five repairs made to small tears in canvas (see image); cleaned and re-varnished with UV-resistant varnish. Unframed. Image size: 39.5"H x 55"W. We have the original frame which needs some extensive repair to the gesso. Happy to include the frame with the painting as is. Karl Müller was born in Hamburg-Altstadt in 1865. His wealthy Jewish parents Abraham Müller (1832-1896), citizen of the Hanseatic city since 1869, and Henriette "Jette", b. Burchard (born 1832 Neubuckow / Mecklenburg), had a cigar factory at Spielbudenplatz 5 in St.Pauli. When Karl Müller was ten years old, next to factory and warehouse, now at Speersort 11 (Altstadt), there was also a branch in Altona-Ottensen with the address Am Felde 68. The family lived at the time at Pferdemarkt 13 (Old Town). After attending the Jewish Foundation School at the Zeughausmarkt, Karl Müller completed a three-year lithography apprenticeship. From 1886 to 1888, he studied at the Royal Saxon School of Applied Arts in Dresden with the history and decoration painter Donadini, then with Professor Hanke of the Prussian Academy of Arts in Berlin. Karl Müller's painting style was conventional-realistic and did not follow modern trends. In 1891, the oil paintings "Preparation for the Service", "In the guardroom", tattoo", "gymnastics lesson", "covert patrol” and "return from the field service exercise”, whose main motive almost always soldiers formed.In 1893, he painted the" invasion of the 76er " as a horizontal format in black and white, the painting was acquired by the Museum of Hamburg History in 1930. The disposition of Karl Müller could be classified as "kaisertreu" and "national" (Maike Bruhns) at this time - not by chance he acted with his Nicknamed "Soldatenmüller", he successfully participated in exhibitions in Berlin and Hamburg before the turn of the century. Even at this time, the frequent change of residence is striking: 1893 Papendamm 25 (Rotherbaum), 1896 Bundesstraße 9 (Rotherbaum). In 1898 he was in the Hamburg address book as a "genre and portrait painter" with the residential address 1. average 43 (Rotherbaum) out. At the age of 38, Karl married in 1903 in the Hanseatic city of the Jewish Louise Hauer (born 12.2.1872 in Hamburg), called "Lieschen". Before her marriage, she lived with her mother at Grindelberg 78. Her father, Martin Hauer (1836-1897), also born in Hamburg and was a citizen of the city since 1862, owned a factory for soap and perfume. In 1904 and 1911, the two daughters Karla and Lotte were born. 1904, the family lived at this time in the Bogenstraße 20, Karl Müller commissioned a portrait of the emigrated hamburger Henry Jones opening the same lodge in the Hartungstraße 9-11. Already at this time he might have been a member of the Hamburg Artists Association of 1832. Starting from 1908 further change of dwellings on the basis of the telephone books are comprehensible: nearly yearly the family moved and moved thereby from the Grindel quarter over Hoheluft east to Harvestehude and Winterhude. Around 1912 she moved into an apartment in Sierichstraße 156. Here, the landlord Schröder provided the artist with an area of ​​around 45 square meters as a studio on the dry floor. But the building police criticized this use and after some disputes, the painter had to move once again with family and studio. The official telephone directory recorded as an address from 1914 to 1918 Klosterallee 20 (Harvestehude). Friedrich Jansa described Karl Müller's changed motif choice in his artist's glossary in 1912: "In recent years he has been watercolouring a lot in the Hamburg area and now mainly takes his motifs from Hamburg harbor...

Artist: Henri Le Sidaner (French, 1862-1939) Title: "La Balustrade (The Railing)" Portfolio: Gazette des Beaux-Arts *Issued unsigned, though signed by Sidaner in the plate (printed s...

Original poster: Haddon Hall. Original theater vintage poster, archival linen backed. Printed in the United Kingdom. Vintage theater poster...

This superb Scottish Edwardian Impressionist interior oil painting is by noted Scottish female artist Annie Rose Laing. Painted circa 1910, the composition is the interior of a room...

Date: 1917 Medium: Oil on Board Dimensions: 32.00" x 21.00" Signature: Signed Lower Right Story illustration: Group of people gathered around seated old woman. “Isn't it quite as i...

A fine & large antique oil painting on canvas by Raimond Louis Lecourt (1882-1946), the cliffs at the Atlantic Ocean, Etretat, Normandy, France, circa 1910. Lecourt was the quintessential painter of scenes of Normandy France, this is a large and very fine example of his work. The painting depicts the Falaise d' Amont located near Etretat, Normandy, the Falaises (cliffs) are on the Atlantic coast and are a very impressive formation of flint cliffs with huge naturally created archways. The painting is beautifully rendered and in some areas the artist has employed impasto technique (thickly applied paint) to provide texture to the ocean & cliffs, in the foreground of the cliffs is a flock of herring gulls circling overhead. The painting is signed "Lecourt" lower right with a dedication, the painting is housed in the original sponge decorated gesso frame, also created by the artist. Condition is excellent, this charming painting is ready to hang on your wall. The artist was born in Le Havre, and studied at the National School of Fine Arts and the Regional School of Fine Arts of Rouen, he studied under Charles Lhuillier and Léon Bonnat. He received the Croix de Guerre 1914-1918 Military medal during WW1. Lecourt studied at the Le Havre School of Fine Arts under the direction of Charles Lhuillier , then with Léon Bonnat at the Paris School of Fine Arts . He then lived in Fontaine-la-Mallet , where he painted in the Normandy region, which was his favorite subject. In 1899, Lecourt obtained the honorary prize for the upper course with the city's silver medal. A municipal scholarship which allowed him to enter the Paris School of Fine Arts in the studio of the painter Léon Bonnat . There he found his comrades from Le Havre who had preceded him there: Othon Friesz , Raoul Dufy , the brothers René and Henri de Saint-Delis . He debuted at the Salon of French Artists in 1901 with his painting Le Herseur . He completed his studies in the studio of Luc-Olivier Merson and it was around this time that he got into the habit of spending his holidays in Fontaine-la-Mallet with his comrade Othon Friesz . He settled there permanently in 1907, after a trip to Brittany from where he brought back numerous sketches and portraits. During the First World War , he was mobilized on August 1, 1914 in the same regiment and behaved like a hero, decorated with the Croix de Guerre and the Military Medal . During an engagement at Courcy - Brimont , September 14, he was injured by a gunshot to the right forearm. He continued to draw with his left hand then, after a long rehabilitation, he regained the use of his right hand. He became a member of the Society of French Artists, also exhibited at the Salon des Indépendants, and made regular submissions to the Salons. Many paintings by him appear in museums & galleries in Denmark , Germany, the United States, Japan, and in England where the "Dogs of the Duchess of Manchester" painting was exhibited and won Lecourt great acclaim. After the outbreak of World War II, Lecourt takes the German Occupation of France very badly. After General Philippe Petains's handshake with Hitler in Montoire-sur-le-Loir, he returned his military medal to the Chancellery, accompanied by this comment: "We have no need for decorations in a country which no longer has the sense of honor" During this period, he resided with Charles Toussaint, a Le Havre broker and companion from the 74th infantry regiment, at the Frescinet manor, a property which would disappear under the bombings of the September 11, 1944. At this time, he painted mainly on wood, as canvases were rare and expensive at this time. In the winter of 1943-1944, he was hit by a military truck which skidded on the ice, during the fighting for the liberation of the port of Le Havre, the village of Fontaine-la-Mallet, where he lived, was raised to the ground under heavy bombing. His house, his studio, his notes and sketches were destroyed. However he went back to work with courage, but something had broken inside him. The following winter, he caught a cold and contracted pneumonia which took him away in eight days, unable to be properly treated following the refusal of an American army colonel, to give to civilians penicillin that only the Americans had at the time. His friends mourned him and others said that he was a gifted painter of Cauchoise (Normandy) painting, and who knew so well how to render plough horses, Normandy cows...

The Matador. 1911. Drypoint. Hardie 109. 6 7/8 x 10 7/8 (sheet 7 7/8 x 12). Edition 15. A few scattered foxing marks and slight mat line; otherwise fine o...

This New York scene was painted as a study for a larger painting (also offered for sale). This study is unique in that it shows Riverside Drive in the winter. It was painted durin...

The 1918 original poster by Adolphe Willette, created for the Banque de l'Union Parisienne, is a compelling piece of wartime propaganda, urging citizens to contribute to the fourth national loan (4e Emprunt National). This poster, titled Pour que la France soit victorieuse comme à Valmy! (So that France may be victorious like at Valmy!), is a poignant call to action, blending historical reference with patriotic fervor to inspire public support during the final year of World War I. Adolphe Willette, a prominent French painter, illustrator, and political cartoonist, was known for his evocative and often satirical works. During the war, artists like Willette played a crucial role in shaping public sentiment and encouraging national unity through their art. This particular poster exemplifies his ability to harness the power of visual storytelling to evoke a sense of duty and pride in the French populace. The poster references the Battle of Valmy...

Signed fauvist oil on canvas landscape by French painter Louis Valtat. The work depicts the floral gardens in front of the Orangery at the Chateau de Versailles. Signature: Signed l...

This original 1917 lithographic poster by Alphonse Grebel was created to promote the Foire de Paris, held from May 1st to 15th during the final years of World War I. Far beyond a sim...

Original WW1 poster: Keep It Coming: "We Must Not Only Feed Our Soldiers at the Front but Millions of Women & Children Behind Our Lines" ...Waste Nothing. United States Food Administration. General John J. Pershing. The W. F. Powers Co. Litho N.Y. Linen backed. Good condition. Original WW1 lithograph ready to frame. The upper left outside boarder was repaired during the linen backing keeping this poster from being a 100 year old perfect condition vintage poster. This image created by the artist George Illion features a line of trucks with the word food on the side traveling to delivery needed supplies to our troupes and allies. One lone soldier is shown directing the truck traffic to keep moving. The trucks are done in an Army green since many computer monitors display different color tones. The “Keep” and “Coming” are done in a pumpkin orange lettering. This is an original World War 1 poster...

Lithograph on vélin des papeteries Lafúma paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Le manuscrit trouvé dans un chapeau, orné de dessins a la ...

The 1917 original poster by Abel Faivre, titled “3e Emprunt de la Défense Nationale – Crédit Lyonnais – Liberté”, is a striking example of World War I propaganda, blending art with p...

Dick Beer (b. London 1893 - d. Stockholm 1938) Portrait of Dr Mens III, 1918-1919 oil on board 70 x 50 cm stamp signed painted c. 1918-1919 Provenance: Within the family Beer until today Dick Beer (1893-1938) Dick Beer was born in London in 1893. His father, John Beer (1853-1906), was a Swedish painter from Stockholm who had a career mainly as a watercolour painter with motifs of horses from racetracks and fox hunts from the countryside. Barely fifteen years old, Dick Beer became an orphan and came to Sweden in 1907. Already in 1908-1909, he started at Althin's painting school in Stockholm. And later, at the Royal Academy of Arts from 1910-1912. His teachers were, among others, Gustaf Cederström, Oscar Björk and Alfred Bergström...

Original United States Food Administration vintage poster. This is what GOD gives us United States Food Administration. Artist A. Hendee. This is what GOD gives us What are you giving so that others may live? Eat less --wheat --meat --fats --sugar Send more to Europe or they will Stave. A bounty of freshly harvested food is shown in the image. One of the more beautiful posters produced by the United States Food Administration for the war effort. World War 1 posters...

Preliminary Study for the painting Rose and Gold, 1913 Graphite on paper, 1913 Signed in pencil lower left (see photo) Titlted "Lizzy Young" in pencil upper left (see photo) Lizzy was a modle that Paxton depicts numerous times. The painting that this drawing is related to, is illustrated in Lee & Krause, William McGregor Paxton, 1869-1941, Plate 32, text on page 132. The painting was formerly in the collection of Victor Spark and the Honorable Paul Buchanan. It is currently in a Texas Collection. Provenance: Private Collection, Florida William McGregor Paxton (June 22, 1869 – 1941) was an American painter and instructor who embraced the Boston School paradigm and was a co-founder of The Guild of Boston Artists. He taught briefly while a student at Cowles Art School, where he met his wife Elizabeth Okie Paxton, and at the Museum of Fine Arts School in Boston. Paxton is known for his portraits, including those of two presidents—Grover Cleveland and Calvin Coolidge—and interior scenes with women, including his wife. His works are in many museums in the United States. Early life He was born on June 22, 1869, in Baltimore to James and Rose Doherty Paxton. William's father moved the Paxton family and established a catering business in Newton Corner, Massachusetts, in the mid-1870s. Education Paxton attended Cowles Art School on a scholarship he attained at the age of 18. He studied with Dennis Miller Bunker...

Picturesque French watercolor of a windmill in tranquil cool hues, circa 1920. Original artwork on paper displayed on a white mat with a gold bord...

Original U.S. Post WWI United War Work Campaign “New York Will Give One Day’s Pay” Fundraising vintage poster. Linen backed in fine to mint condition, ready to frame. This is an...

For Every Fighter a Woman Worker. Original vintage poster. Linen Lined. Very good condition. Artist: Ernest Hamlin Baker. Size: 28" x 42". Year: 1918 Linen backed trimme...

The circa 1910 poster by French artist Hugo d'Alési, promoting Paray-le-Monial on the Chemins de Fer de Paris Lyon Méditerranée (PLM) railway line, is a beautiful example of early 20...

Signed on mount Inscribed 'Christmas Greetings to members of the Academy of Osiris from Bro. Alvin & Sr. Edith, 1956' Photogravure, mounted on card 10 1/4 x 7 3/4 inches

This exquisite still life, painted in 1911, showcases Emma Ekwall’s mastery in capturing the vibrant textures and colors of fruit. The composition features apples and grapes arranged...

Medium: original etching and drypoint. Catalogue reference: Sanchez and Seydoux 1913-10. Printed in 1913 and published in Paris by Gazette des Beaux-Arts. Plate size: 8 3/4 x 6 1/8 i...

Léon Bompard (French, early 20th Century) Harbour Scene with Fishermen, Boats and Fish Market Oil on canvas, circa 1900–1920 This charming harbour composition by the French painter L...

Signed oil on canvas landscape by Belgian post impressionist painter Modest Huys. This stunning piece depicts a view of The Great Park in Oudenaarde, Belgium. Couples can be seen enjoying the park through gaps in the tall trees. A wonderful piece in the artist's unique style. Signature: Signed lower right and inscribed verso Dimensions: Framed: 28.5"x35" Unframed: 21.5"x28" Provenance: Exhibited : The Royal Scottish Academy under the section for "Distinguished Foreigners" in 1914 (original acceptance letter verso) Modest Huys (25 October 1874, in Zulte – 30 January 1932, in Zulte) was a Flemish impressionist and luminist painter, who is regarded as one of the greatest Belgian painters of the 20th century. From a young age, Modest Huys worked in his father's painting and decorating business and later studied at the "Gentse Nijverheidschool" (Ghent Industrial School). In 1891 or 1892, he came into contact with Emile Claus, who encouraged his artistic inclinations. In 1900, he enrolled at the Royal Academy of Fine Arts where his teachers were Eugène Joors and Frans Van Leemputten but he never completed his studies. It was about this time that he became lifelong friends with the author Stijn Streuvels. In 1902, he debuted at the Sint-Lucasgilde in Kortrijk and began to exhibit more widely. He spent time in Meetjesland, painting landscapes. From 1905, he participated in the exhibitions of Vie et Lumière...

Lithograph on vélin des papeteries Lafúma paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Le manuscrit trouvé dans un chapeau, orné de dessins a la ...

Title page numbered: 263/450

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

The Old Days - Historical Photo  is a black and white vintage photo, realized in 1913.  It belongs to historical album including historical moment, royal families, and political eve...

Jean-Emile Laboureur (1877-1943), Portrait, 1917, engraving, signed in pencil lower left and numbered lower right (28/40). Reference: S. Laboureur 170, third state (of 3), from the e...

The Picador Incites the Bull. 1911. Drypoint. Hardie 104. 6 1/4 x 9 7/8 (sheet 8 1/4 x 11 7/8). Edition 30, #5. Slight mat line, 1 hinge stain in the lower margin, well outside the i...

Jane Peterson Street In Paris (Eglise St. Julien), circa 1910 Signed lower right; artist's labels on the reverse Oil on canvas 24 x 18 inches Exhibited New York, Lincoln Glenn Galle...

Pennsylvania Station NY (1910) Silver Gelatin Fibre Print - Oversized (Photo by Alamy) Main Waiting Room, Pennsylvania Station, New York City,...

An exceptional impressionist beachside scene with figures and powerful clouds by American artist Augustus B. Koopman (1869-1914). Koopman was born in Charlotte, North Carolina, initially studied at the Pennsylvania Academy of Fine arts, and going on to live a large portion of his short life in Paris, studying at the Academie Julian and the Ecole des Beaux Arts, painting many of his marine and figure paintings on the coast at Etaples, near Belgium. Among his teachers were William Bouguereau, Benjamin Constant, and Tony Robert-Fleury. He was well known for his genre, maritime, landscape, figure, and portrait paintings. His drypoints and etchings can be found in both the Congressional and New York Public Libraries, and his painting “Vision of the Grand Canyon” is displayed in the Santa Fe Railway...

This circa 1915 French wartime propaganda poster is a striking example of World War I-era rationing efforts, emphasizing collective sacrifice and equitable distribution. Designed under the direction of the Comité de Prévoyance et d’Économies, this poster encouraged the French population to ration essential goods, particularly sugar, during the war. At the heart of the artwork is a symbolic sugar loaf, partially cut by a saber, visually reinforcing the message of dividing resources fairly. The text reads: "Avec la carte, nous en aurons peu – mais nous en aurons tous." ("With the ration card, we will have little – but we will all have some.") This message aimed to instill a sense of national solidarity and compliance with rationing policies. The lower inscription, "Casse aujourd’hui ton sucre en deux pour en avoir demain?" ("Break your sugar in half today to have some tomorrow?"), serves as a direct appeal to personal responsibility in wartime resource management. The bold yet simple color scheme (blue, red, black, and beige) gives the poster a striking visual identity, making it both an effective propaganda piece and a historically significant artifact. This rare wartime poster is a powerful reminder of civilian resilience and the role of public cooperation in wartime economies. Due to its historical importance and striking design, it remains highly collectible, particularly among WWI memorabilia...

Bruce Crane Autumn Landscape Signed lower right Oil on canvas 16 x 24 inches Bruce Crane Was born in New York City, he studied with Alexander H. Wyant before attending the Art Stud...

Original WW1 vintage poster: HELP HIM WIN BY SAVING AND SERVING, W.S.S., BUY WAR SAVINGS STAMPS. Original World War 1 vintage stone lithograph. Museum archival linen backed and...

Herman Österlund (1873-1964) Sweden Ocean View from the West Coast, 1916 oil on canvas signed and dated Herman Österlund 1916 canvas dimensions 14.37 x 16.73 inches (36.5 x 42.5 cm...

This lithograph from the portfolio "Egon Schiele" is a reproduction of "Mädchen mit grünem Rock", an original artwork realized by Egon Schiele in 1910. The portfolio, that includes...

This 1917 original wartime propaganda poster, designed by Albert Besnard, was created to promote the Third National Defense Loan (3e Emprunt de la Défense Nationale) in France during World War I. As the war raged on, France needed financial support from its citizens to sustain military efforts, and posters like this played a crucial role in mobilizing the public to contribute to the war effort. The composition is rich with symbolism and emotion. At the forefront, a serene yet resolute woman, draped in blue and white, holds an innocent child while extending an olive branch—a universal sign of peace. Behind her, a winged allegorical figure of Victory, clad in dramatic red robes, brandishes a sword and urges forward action. This juxtaposition between maternal protection and military force highlights the dual message of the poster: peace can only be achieved through victory. The bold red typography reads: "SOUSCRIVEZ POUR HÂTER LA PAIX PAR LA VICTOIRE" ("Subscribe to hasten peace through victory"), emphasizing the patriotic duty of citizens to invest in war bonds as a means of securing France’s triumph and eventual peace. Created in the late phase of World War I, this poster reflects France’s determination and resilience. The use of dynamic lines, rich colors, and classical figures is characteristic of Besnard’s artistic style, blending Academic and Symbolist influences. This piece is not only a historical artifact but also a powerful example of propaganda art...

Bluemner, Oscar (American, born Germany, 1867-1938). NIGHT IN PORTLAND MAINE - ALLEY. Charcoal on paper, 1919. Signed with the artist's monogram "OFB" ...

Venetian Canal, c. 1910-11 Tempera on board Signed lower right 24 x 30 inches 30 x 36 inches, framed Frank Nelson Wilcox (October 3, 1887 – April 17, ...

Les Fleurs du Mal is an original series of 12 etching, realized by Martin Van Maele in 1917, illustrations for Charles Baudelaire’s poems, printed by La Bibliothèque des Curieux, loose leaves each of them. The artworks are illustreting of Les Fleurs du mal "The Flowers of Evil" that is well-known poetry written by Charles Baudelaire, Which first published in 1857 that was important in the symbolist and has a great impact on modernist movement of the era. In very good conditions. Maurice François...

The 1918 original poster titled Ligue Maritime Française - Les Réalités de la Guerre sur Mer was created by Léon Haffner, a renowned French artist and naval illustrator. Known for his depictions of maritime themes, Haffner produced this piece during the final year of World War I, under the commission of the Ligue Maritime Française. This poster was part of a broader campaign by the Ligue Maritime Française to raise awareness of France’s naval challenges and achievements during the war. The focus was on the harsh realities faced by the French Navy as it defended the country’s waters against the threat of German U-boats (submarines). By highlighting the significant victories of the French Navy, particularly the destruction of numerous German submarines, this work was intended to educate the public about the importance of France's maritime defense during the war. The Ligue Maritime Française played a crucial role in promoting maritime interests in France, especially during a time when naval power was critical to national security. Through this poster and similar works, the organization aimed to strengthen public support for the war effort by emphasizing the vital role of the French Navy in protecting the nation. Léon Haffner's involvement in this project underscores his reputation as an artist who could convey the significance of naval warfare through his work. His contributions helped elevate public consciousness regarding the maritime front of World War I, fostering both pride in French naval accomplishments and awareness of the ongoing risks and challenges faced by the nation at sea. The 1918 poster Les Réalités de la Guerre sur Mer is more than just a piece of wartime propaganda; it serves as a historical document, reflecting the broader efforts of France to mobilize public opinion and support for the war. It remains an important artifact from World War I, capturing a critical aspect of the conflict and Léon Haffner's role in illustrating the maritime realities of that time. Original Poster War 14-18 - Navy Maritime map...

Original " Are You 100% American? Prove it! Buy US government bonds. Third Liberty Loan" vintage poster. This poster from World War I questions whether the viewer is genuinely A...

This impressive large portrait realist oil painting is by noted Scottish artist David Cowan Dobson. One of a pair, the sitter is Mr R H Sinclair and dates to 1914. He is beautifully ...

The 1919 original poster for Homunkulus, created by Hans Neumann, is a striking example of early 20th-century film advertising, capturing the spirit of the silent film era with bold ...

Listing includes framing with UV plexiglas, free shipping and a 14 day return policy. Lizzie Nichols and Perkins, 1913 15 x 15 inch gelatin silver print Image Size: 10.75 x 11 inches Frame size: 18 x 18 x 2 inches Edition of 15 Lora Webb Nichols was born in 1883 and grew up in the small mining town of Encampment, Wyoming. At the age of 16 Lora received her first camera and from that moment and for the next few decades she produced work that is both stunning in its singular voice and revealing in the world it opens up for us. At first Nichols photographed her family, friends, and the landscape around Encampment, but when the town experienced a copper mining boom Nichols expanded her scope to become a photographer for hire shooting portraits and industrial photographs. When the boom collapsed, Nichols took the risk of opening her own business in Encampment - The Rocky Mountain Studio - which opened in 1925. The studio ran for ten years, accumulating 24,000 negatives that illustrate the lives and environment of the people living in and around the town while creating a distinctive and surprising body of work. If one was to attempt an analogy – Nichols’ pictures fit somewhere between Lartigue and Lange - joyful and generous while objectively intimate. In particular what seems to distinguish Nichols’ work is the way she sees the world from a female perspective. As Vince Aletti...

Etching and aquatint on cream paper. Signed in pencil on the lower right margin. Titled and numbered in pencil on the lower left margin. Edition of 25 prints. Plate in excellent co...

Hyacinth Color woodcut, 1917-1918 Unsigned From: Seiyo Kusabana Zufu (Illustrations of Western Plants and Flowers) 1st edition Publisher: Unsodo, Kyoto Condition: Centerfold...

Antique Rooster Portrait Prosper Alphonse Isaac (France, 1858-1924) Woodblock Print circa 1910 9 x 7 1/8 (15 1/4 x 17 frame) inches The excellent book "The Great Wave: The Influence of Japanese Woodcuts on French Prints" which was an exhibition at The Metropolitan Museum of Art in 1974, recounts the phenomenal "cult of Japan" in late nineteenth-century France and reveals through direct comparisons its particular impact on the graphic work of Manet, Degas, Cassatt, Bonnard, Vuillard, Toulouse-Lautrec, and Gauguin. This print directly relates to the discovery of Japanese art most notably through the woodblock prints which found their way to the West oftentimes as stuffing or packing materials from consumer goods that were being imported to the West at the end of the 19th century. Prosper-Alphonse Isaac was born in a well-to-do family. This gave him the means not only of leaving his native Calais to pursue a career as an artist in Paris, but also the means to acquire art. Isaac was particularly drawn to Japanese arts, which he collected avidly. Many of the objects he bought were eventually given to museums. As a printmaker Isaac started drawing seascapes in dry point, but eventually moved on to become one of only a handful of artists versed in color woodcut techniques in France. His compositions, generally small in scale, are heavily influenced by the arts of Japan. He printed small editions of these works. Aside from this artistic activity, Isaac was also an active textile decorator. "This mark, which he borrows from Hokusaï and Totoya Hokkeï...

"Oil On Canvas "nude With A Fan" Attribution Henri-camille Danger (1857-1937)" Henri-Camille Danger was a French impressionist and modern painter born in 1857. The artist died in 193...

Etching realized by Fritz Schwimbeck in 1918. Edition of 125 realized in Munich on mulberry paper. Hand signed in pencil.