1920s Art

Anton Schutz, 'Cleveland Public Square', etching, edition not stated, 1927. Signed in pencil. Signed and dated in the plate, lower left. Annotated 'Cleveland Public Square S489', in another hand, in the bottom right margin. A fine, richly-inked impression, in brown/black ink, with skillfully-controlled plate tone, on cream wove Japan paper; the full sheet with margins (1 5/8 to 3 inches), in excellent condition. Archivally sleeved, unmatted. Image size 11 7/8 x 8 7/8 inches; sheet size 17 1/4 x 12 1/8 inches. ABOUT THIS IMAGE 'Public Square' is the two-block (formerly four-block) central plaza of downtown Cleveland, Ohio. Based on an 18th-century New England model, it was part of the original 1796 town plan overseen by Moses Cleveland and remains today as an integral part of the city's center. The 10-acre (4.0 ha) square is centered on the former intersection of Superior Avenue and Ontario Street.[2] Cleveland's three tallest buildings, Key Tower, 200 Public Square, and the Terminal Tower, face the square. Public Square was part of the Connecticut Land Company's original plan for the city, overseen by Moses Cleveland in the 1790s. The square is signature of the layout for early New England towns, which Cleveland was modeled after. While it initially served as a common pasture for settlers' animals, less than a century later in 1879 Public Square became the first street in the world to be lit with electric street lights—arc lamps designed by Cleveland native Charles F. Brush. The square was added to the National Register of Historic Places on December 18, 1975. Public Square is often the site of political rallies and civic functions, including a free annual Independence Day concert by the Cleveland Orchestra...

Original vintage travel poster for Le Mont Revard Grand Hotel PLM 1550m d'Altitude issued by the PLM Paris Lyon Mediterranee railway featuring a stunning design by the notable French...

This is an Art Deco original illustration drawing, hand-painted with ink and gouache on paper, designed by French artist Edouard Halouze. The artwork features two stylish female mode...

Signed Lower Right by Artist July 1927 Cover of Good Housekeeping

TANGUY, Yves. Dormir, Dormir, dans les Pierres. By Benjamin Peret. Illustrated with three full-page plates printed recto only, and 10 vignette head- and tail-pieces after drawings ...

Signed figures in landscape oil on canvas circa 1920 by French post impressionist painter Lucien Adrion. The painting depicts people going about their daily lives on the streets of P...

Original antique travel advertising poster for the Compagnie Franco Roumaine de Navigation Aerienne / French Romanian Company for Air Transport featuring great artwork of a plane fly...

Massachusetts-born Fred Nagler studied at the Art Students League from 1914 to 1917, with George Bridgeman and Robert Henri, and eventually became a member of the Board of Control. ...

'Design for Fan', Signed Cecil Beaton at age 19, (1904-1980) & dated 1923, Pastel Gouache on parchment paper Art Sz: 8 7/8"H x 11 7/8"W Frame Sz: 15 1/4"H x 18 1/4"W

Stunning woman nude pencil study by Russian painter G. Debotoiyche (20th Century). The representation is very modernistic, with only a few lines drawn to render the whole movement an...

The etching (Road to Calvary) is signed in pencil. It's in an usually spare drawing style but one that Nagler did use occasionally. Here it emphasizes the meagerness of the scene. T...

Untitled Graphite on paper, 1930 Signed and dated upper right (see photo) Exhibited: Francis Nauman, Leon Kelly: Draftsman Extraordinaire, New York, April 4 - May 23, 2014. (label) C...

Serene depiction of Loch Na Keal, Iona, Scotland by William Mervyn Glass, Royal Scottish Academy and Scottish Academy of Artists (PSSA,SSA) (Scott...

LIFE Magazine cover, December 15, 1921 "Coles Phillips embodies innovative American periodical and advertising design between 1911 and 1927, a period considered a Golden Age of illu...

The etching (Crucifixion) is signed and titled in pencil. Signed 'Fred' and possibly dated '27' in the image at lower left. It's in an usually spare drawing style but one that Nagl...

Theatrical portrait of a lady in costume c1920s Image Sz: 7 1/2"H x 4"W Frame Sz: 15 1/4"H x 11 1/4"W

Charles Gesmar French Poster Artist and Costume Designer Costume design in the form of a Rose for the entertainer Mistinguette. Perhaps for her production at the in Moulin Rouge i...

Graphite on paper, signed and dated Image size: 18 x 12 1/2 inches (46 x 32 cm) Mounted and framed The sitter for this portrait, Alfred Hardiman, was an English sculptor. Hardiman and Lyon were friends and met when they both attended the British School at Rome in the early 1920s. Hardiman won a London County Council Scholarship to the Royal College of Art in 1912, and three years later joined the Royal Academy School. After a period as an engineer's draughtsman in the Royal Flying Corps during the First World War, Hardiman resumed his studies and in 1920 was awarded the British Prix de Rome scholarship, spending two years at the British School at Rome. There he developed his style, a blend of naturalism and classicism influenced by Roman and Etruscan art and early fifth century Greek sculpture. Hardiman's best-known (but also most controversial) work is the Earl Haig Memorial on Whitehall in London. More universally admired are the heraldic lions flanking the main entrance to the City Hall, Norwich, a work which fully epitomises his style. He was appointed consultant sculptor to the building, having worked with one of the architects, Stephen Rowland Pierce, on the Haig Memorial. Hardiman also carved three large stone figures for the outside of the council chamber, and worked with other sculptors on the project including James Woodford and Eric Aumonier. Hardiman was elected Associate of the Royal Academy in 1936 and a full Academician in 1944. He became a fellow of the Royal Society of British Sculptors in 1938 and the following year received their silver medal for his statue of Haig. In 1946 he won a gold medal for his bronze fountain figure for the New Council House, College Green, Bristol, which however was never erected. In 1918 he married Violet, daughter of Herbert Clifton White, of London, and had two daughters. He died at Stoke Poges on 17th April 1949. Robert Lyon...

A unique original silver gelatin black and white photograph. The rue du Faubourg du Temple, view of one of the busiest streets in Paris, in 1926. Features: Original Silver Gelatin Pr...

Watercolor by Louis BERTHOMME SAINT-ANDRE, France, ca.1925. The nap. With frame: 75x60.5 cm - 29.5x23.8 inches, without frame, just the watercolor: 53x39 cm - 20.9x15.35 inches. Signed lower left "Berthomme St André" (see photo). Louis Berthommé Saint-André is a figurative painter, fresco painter, decorator, illustrator, engraver, ceramist and French lithographer born in 1905. He comes from rural and commercial France: his father ran a wine and grocery business. In his youth, Louis Berthommé Saint-André was injured by a kick, which left him with a stiff leg, preventing him from driving, among other things. The family left Oise to settle in Saintes, where the artist studied at La Recouvrance. He entered as a student architect with Georges Naud, responsible for the historical monuments of Charente then, in 1921, he entered the School of Fine Arts in Paris. Louis Berthommé Saint-André is one of the great representatives of French figurative painting in the 20th century. He was trained at the School of Fine Arts by two very old masters who died during his training: Fernand Cormon (1845-1924) and Jean-Paul Laurens (1838-1921). He retains from their training the taste for well-learnt techniques, but from his first works, he is part of modernity. His constructions show decomposed forms inspired by Cézanne, while maintaining a keen sense of rigour. He never strayed from realism, but his very colourful, sometimes incisive palette and his freedom in representation gave his painting a bite and an acidity that placed Louis Berthommé Saint-André among the great talents of his time. Silver medal at the Salon of French Artists where he exhibited from 1924 to 1929, he won the Abd-el-Tif Prise in 1925 and was then the youngest resident of the villa in Algiers. Friend of Jean Launois, in addition to his recognised portraits, he painted Algiers and the Kasbah. His studies of women recall those of Eugène Delacroix, but if his luminous inspiration is due to the Algerian sun, his touch is more Cézanne than purely orientalist. He left Algeria in 1928, to return there in 1931. Before the war, Berthommé Saint-André exhibited regularly in all the major Salons: from 1928 at the Salon d'Automne, at the Salon des Beaux-Arts (1934 to 1936) at the Salon des Tuileries since 1935. His inspiration is close to surrealism . During the Occupation, he became very "fauve", in reaction to the darkness of the war. He joined the Resistance, and collaborated with Vaincre (Resistance newspaper). After the war, he developed a style close to poetic reality (Brianchon, Legueult, Oudot, Terechkovitch, Cavaillès. Caillard, Limouse, and Planson), without however ever being part of the group so called. He is present at the Salon Comparaison, at the Salon of painters Witnesses of our time, is president of the Salon of drawing and water-based painting. He has exhibited solo internationally, in Europe, the USA and Japan in particular. In 1977, he received just before his death, the grand prise of Painters Witnesses of their Time. He died on October 1, 1977 in Paris. Bibliography - Michel Droit. Berthommé Saint-André. Éditions de la revue moderne, 1981 Wall frescoes Entrance to the Direction, National School of Fine Arts, Paris Lycée Charlemagne, Paris, Notre-Dame and the banks of the Seine, 1952 Staircase of the Staff of Poitiers Personal exhibitions Villa Abd-el-Tif, Alger, 1922 Galerie Armand Drouant, Paris, 1928 Galerie Marcel Bernheim...

Study of Utagawa Hiroshige's "View of Hara-Juku" 53 Stations of the Tokaido Road Hand painted study of Utagawa Hiroshige's "View of Hara-Juku", (by unknown artist), from "53 Station...

Nu (Standing Female Nude) Red chalk on wove paper, c. 1925 Signed lower right: C Despaiu (see photo) Sheet size (folded format): 12 1/8 x 8 5/16 inches Condition: Very good Sheet fol...

Original poster: The Sesquicentennial International Exposition Philadelphia. June First to December First, 1926. "The Voice of the Liberty Bell." Original vintage poster, line...

Le Cheval Etching, 1921 Signed in pencil lower left Edition: Signed edition of 50 (as here) Unsigned edition is 400 for the book Du Cubisme Printer: R. Girard et Cie Pr...

Brookdale, New Jersey Graphite on paper, 1922 Signed with the artist's initials l.l., and dated 1922 (see photo) Annotated "Brookdale" front and back of she...

Henri PAILLER (Poitiers 1876 - Triel-sur-Seine 1954) Snow in Triel sur Seine Oil on canvas H. 54 cm; L. 73 cm Signed lower left Provenance: Private collection, Vienne A native of Poitiers in Vienne, Henri Pailler shows serious drawing skills. Noticed by Edmond Petitjean, the young man was sent to Paris to complete his training at the Beaux-Arts under the aegis of the great Léon Bonnat. First of all accustomed to a style and a very academic palette, the young painter quickly branched off from this classical art which he hardly liked. From the beginning of the century he moved towards Impressionism which he deployed within the Crozant school thanks to his meeting with Armand Guillaumin who took him to paint on the motif in 1901. Residing in Poitiers until the At the dawn of the great conflict of 1914, Pailler sent to the Salon many landscapes of the Creuse where the liveliness of colors was more and more felt. It is precisely following the meeting with Dufy and Marquet that a fawn side appears in his compositions, but after a few years he instinctively returns to his love for impressionism by keeping a generous amount of hues on his palette. On his return from the war, Henri Pailler joined Roubaix where he was appointed workshop professor at the School of Industrial Arts. On his retirement he will settle on the banks of the Seine in Triel-sur-Seine, of which he will realize many views with the talent and the colors so appreciated by this painter considered to be one of the greats of Crozant. Throughout his career, Pailler will travel through France and regularly in Périgord, from which he will bring back many works by Bourdeilles mainly but also Brantôme. From the 1920s, the painter will present views of Triel-sur-Seine in the Yvelines in various salons. This town, whose church with its distinctive silhouette will be the playground for Pailler's easel until his death. Our painting undoubtedly made in the 1920s is a striking winter image...

Frederick Waugh was a prolific seascape artist who generated 2,500 paintings of the sea and shore. Although it was never published, he penned a ten chapter book on marine painting. S...

Incredible early 20th century woodcut of an African American Jazz scene. It is tiled Jazz and dated 1929. It is also signed or monogrammed ...

Nudes Women is a Pencil and Pastel Drawing realized by Mino Maccari (1924-1989) in 1925 ca. Hand-signed on the lower. Good condition with folding and aged margins. Mino Maccari ...

This is from the original first edition 1923 printing. there was a much later edition done after these originals. These are individually hand signed in pencil by artist as issued. This listing is for the one print. the other documentation is included here for provenance and is not included in this listing. The various images inspired by the Jewish Mysticism and rabbis and mystics of jerusalem and Kabbalah is holy, dramatic and optimistic Rubin succeeded to evoke the spirit of life in Israel in those early days. They are done in a modern art style influenced by German Expressionism, particularly, Ernst Barlach, Ernst Ludwig Kirchner, and Franz Marc, as introduced to Israel by Jakob Steinhardt, Hermann Struck and Joseph Budko. Reuven Rubin 1893 -1974 was a Romanian-born Israeli painter and Israel's first ambassador to Romania. Rubin Zelicovich (later Reuven Rubin) was born in Galati to a poor Romanian Jewish Hasidic family. He was the eighth of 13 children. In 1912, he left for Ottoman-ruled Palestine to study art at Bezalel Academy of Art and Design in Jerusalem. Finding himself at odds with the artistic views of the Academy's teachers, he left for Paris, France, in 1913 to pursue his studies at the École Nationale Supérieure des Beaux-Arts. He was of the well known Jewish artists in Paris along with Marc Chagall and Chaim Soutine, At the outbreak of World War I, he was returned to Romania, where he spent the war years. In 1921, he traveled to the United States with his friend and fellow artist, Arthur Kolnik. In New York City, the two met artist Alfred Stieglitz, who was instrumental in organizing their first American show at the Anderson Gallery. Following the exhibition, in 1922, they both returned to Europe. In 1923, Rubin emigrated to Mandate Palestine. Rubin met his wife, Esther, in 1928, aboard a passenger ship to Palestine on his return from a show in New York. She was a Bronx girl who had won a trip to Palestine in a Young Judaea competition. He died in 1974. Part of the early generation of artists in Israel, Joseph Zaritsky, Arieh Lubin, Reuven Rubin, Sionah Tagger, Pinchas Litvinovsky, Mordecai Ardon, Yitzhak Katz, and Baruch Agadati; These painters depicted the country’s landscapes in the 1920s rebelled against the Bezalel school of Boris Schatz. They sought current styles in Europe that would help portray their own country’s landscape, in keeping with the spirit of the time. Rubin’s Cezannesque landscapes from the 1920s were defined by both a modern and a naive style, portraying the landscape and inhabitants of Israel in a sensitive fashion. His landscape paintings in particular paid special detail to a spiritual, translucent light. His early work bore the influences of Futurism, Vorticism, Cubism and Surrealism. In Palestine, he became one of the founders of the new Eretz-Yisrael style. Recurring themes in his work were the bible, the prophet, the biblical landscape, folklore and folk art, people, including Yemenite, Hasidic Jews and Arabs. Many of his paintings are sun-bathed depictions of Jerusalem and the Galilee. Rubin might have been influenced by the work of Henri Rousseau whose naice style combined with Eastern nuances, as well as with the neo-Byzantine art to which Rubin had been exposed in his native Romania. In accordance with his integrative style, he signed his works with his first name in Hebrew and his surname in Roman letters. In 1924, he was the first artist to hold a solo exhibition at the Tower of David, in Jerusalem (later exhibited in Tel Aviv at Gymnasia Herzliya). That year he was elected chairman of the Association of Painters and Sculptors of Palestine. From the 1930s onwards, Rubin designed backdrops for Habima Theater, the Ohel Theater and other theaters. His biography, published in 1969, is titled My Life - My Art. He died in Tel Aviv in October 1974, after having bequeathed his home on 14 Bialik Street and a core collection of his paintings to the city of Tel Aviv. The Rubin Museum opened in 1983. The director and curator of the museum is his daughter-in-law, Carmela Rubin. Rubin's paintings are now increasingly sought after. At a Sotheby's auction in New York in 2007, his work accounted for six of the ten top lots. Along with Yaacov Agam and Menashe Kadishman he is among Israel's best known artists internationally. Education 1912 Bezalel Academy of Arts and Design, Jerusalem 1913-14 École des Beaux Arts, Paris and Académie Colarossi, Paris Select Group Exhibitions Eged - Palestine Painters Group Eged - Palestine Painters Group, Allenby Street, Tel Aviv 1929 Artists: Chana Orloff, Abraham Melnikoff, Rubin, Reuven Nahum Gutman, Sionah Tagger,Arieh Allweil, Jewish Artists Association, Levant Fair, Tel Aviv, 1929 Artists: Ludwig Blum,Eliyahu Sigad, Shmuel Ovadyahu, Itzhak Frenel Frenkel,Ozer Shabat, Menahem Shemi...

This is from the original first edition 1923 printing. there was a much later edition done after these originals. These are individually hand signed in pencil by artist as issued. This listing is for the one print. the other documentation is included here for provenance and is not included in this listing. The various images inspired by the Jewish Mysticism and rabbis and mystics of jerusalem and Kabbalah is holy, dramatic and optimistic Rubin succeeded to evoke the spirit of life in Israel in those early days. They are done in a modern art style influenced by German Expressionism, particularly, Ernst Barlach, Ernst Ludwig Kirchner, and Franz Marc, as introduced to Israel by Jakob Steinhardt, Hermann Struck and Joseph Budko. Reuven Rubin 1893 -1974 was a Romanian-born Israeli painter and Israel's first ambassador to Romania. Rubin Zelicovich (later Reuven Rubin) was born in Galati to a poor Romanian Jewish Hasidic family. He was the eighth of 13 children. In 1912, he left for Ottoman-ruled Palestine to study art at Bezalel Academy of Art and Design in Jerusalem. Finding himself at odds with the artistic views of the Academy's teachers, he left for Paris, France, in 1913 to pursue his studies at the École Nationale Supérieure des Beaux-Arts. He was of the well known Jewish artists in Paris along with Marc Chagall and Chaim Soutine, At the outbreak of World War I, he was returned to Romania, where he spent the war years. In 1921, he traveled to the United States with his friend and fellow artist, Arthur Kolnik. In New York City, the two met artist Alfred Stieglitz, who was instrumental in organizing their first American show at the Anderson Gallery. Following the exhibition, in 1922, they both returned to Europe. In 1923, Rubin emigrated to Mandate Palestine. Rubin met his wife, Esther, in 1928, aboard a passenger ship to Palestine on his return from a show in New York. She was a Bronx girl who had won a trip to Palestine in a Young Judaea competition. He died in 1974. Part of the early generation of artists in Israel, Joseph Zaritsky, Arieh Lubin, Reuven Rubin, Sionah Tagger, Pinchas Litvinovsky, Mordecai Ardon, Yitzhak Katz, and Baruch Agadati; These painters depicted the country’s landscapes in the 1920s rebelled against the Bezalel school of Boris Schatz. They sought current styles in Europe that would help portray their own country’s landscape, in keeping with the spirit of the time. Rubin’s Cezannesque landscapes from the 1920s were defined by both a modern and a naive style, portraying the landscape and inhabitants of Israel in a sensitive fashion. His landscape paintings in particular paid special detail to a spiritual, translucent light. His early work bore the influences of Futurism, Vorticism, Cubism and Surrealism. In Palestine, he became one of the founders of the new Eretz-Yisrael style. Recurring themes in his work were the bible, the prophet, the biblical landscape, folklore and folk art, people, including Yemenite, Hasidic Jews and Arabs. Many of his paintings are sun-bathed depictions of Jerusalem and the Galilee. Rubin might have been influenced by the work of Henri Rousseau whose naice style combined with Eastern nuances, as well as with the neo-Byzantine art to which Rubin had been exposed in his native Romania. In accordance with his integrative style, he signed his works with his first name in Hebrew and his surname in Roman letters. In 1924, he was the first artist to hold a solo exhibition at the Tower of David, in Jerusalem (later exhibited in Tel Aviv at Gymnasia Herzliya). That year he was elected chairman of the Association of Painters and Sculptors of Palestine. From the 1930s onwards, Rubin designed backdrops for Habima Theater, the Ohel Theater and other theaters. His biography, published in 1969, is titled My Life - My Art. He died in Tel Aviv in October 1974, after having bequeathed his home on 14 Bialik Street and a core collection of his paintings to the city of Tel Aviv. The Rubin Museum opened in 1983. The director and curator of the museum is his daughter-in-law, Carmela Rubin. Rubin's paintings are now increasingly sought after. At a Sotheby's auction in New York in 2007, his work accounted for six of the ten top lots. Along with Yaacov Agam and Menashe Kadishman he is among Israel's best known artists internationally. Education 1912 Bezalel Academy of Arts and Design, Jerusalem 1913-14 École des Beaux Arts, Paris and Académie Colarossi, Paris Select Group Exhibitions Eged - Palestine Painters Group Eged - Palestine Painters Group, Allenby Street, Tel Aviv 1929 Artists: Chana Orloff, Abraham Melnikoff, Rubin, Reuven Nahum Gutman, Sionah Tagger,Arieh Allweil, Jewish Artists Association, Levant Fair, Tel Aviv, 1929 Artists: Ludwig Blum,Eliyahu Sigad, Shmuel Ovadyahu, Itzhak Frenel Frenkel,Ozer Shabat, Menahem Shemi, First Exhibition of ''Hever Omanim'' First Exhibition of ''Hever Omanim'' Steimatzky Gallery, Jerusalem 1936 Artists: Gutman, Nachum Holzman, Shimshon Mokady, Moshe Sima, Miron Rubin, Reuven Steinhardt, Jakob Ben Zvi, Zeev Ziffer, Moshe Allweil, Arieh Group Exhibition Group Exhibition Katz Art Gallery, Tel Aviv 1939 Artists: Avni, Aharon Holzman, Shimshon Gliksberg, Haim Gutman, Nachum Ovadyahu, Shmuel Shorr, Zvi Schwartz, Chaya Streichman, Yehezkel Tagger, Sionah Rubin, Reuven A Collection of Works by Artists of the Land of Israel A Collection of Works by Artists of the Land of Israel The Bezalel National Museum, Jerusalem 1940 Artists: Shemi, Menahem Rubin, Reuven Avni, Aharon Mokady, Moshe Jonas, Ludwig Steinhardt, Jakob Ticho, Anna Krakauer, Leopold Gutman, Nachum Budko, Joseph Ardon, Mordecai Sima, Miron Castel, Moshe Pann, Abel Struck, Hermann Gur Arie, Meir Ben Zvi, Zeev Litvinovsky, Pinchas Artists in Israel for the Defense, Tel Aviv Museum of Art, Helena Rubinstein Pavilion, Tel Aviv 1967 Artists: Avraham Binder, Motke Blum, (Mordechai) Samuel Bak, Yosl Bergner, Nahum Gilboa, Jean David, Marcel Janco, Lea Nikel, Jacob Pins, Esther Peretz...

Portrait is a Pen Drawing realized by Mino Maccari (1924-1989) in 1928. Hand-signed on the lower margin. Good condition on a little paper. Mino Maccari (Siena, 1924-Rome, June 16...

Original vintage steam ship cruise travel poster for Compagnie Generale Transatlantique (founded 1861) Cuba Mexico Estados Unidos Vapores Correos Franceses Vapores Lafayette Espagne ...

A unique original silver gelatin black and white photography. Paris, La Place De La Bastille, November 1928. Features: Original Silver Gelatin Print Photography Unframed. Press Photo...

Ontario St. Grading and Temporary Ramps Drypoint, August 1929 Signed in pencil lower right (see photo) From: The Cleveland Set (23 plates), this being No. 13 Edition: Small A brilliant example of American industrial art. A wonderful, rich impression, with lots of burr and contrasts. Louis Conrad Rosenberg 1890-1983 An American architectural etcher and engraver of the 1920's and 1930's era, Louis Conrad Rosenberg first studied at the Massachusetts Institute of Technology. He then enrolled at the Royal College of Art, London, to study etching techniques under Malcolm Osborne...

Seated Femake Nude Graphite and chalk on tan paper, c. 1920 Signed "Keller" and signed again with the artist's initials in a cypher A finished life drawing most probably exhibited at...

Basilica of Madeleine, Vezelay Etching, 1929 Signed and dated lower right (see photo) Annotated: "Third State" lower left Printed on a sheet of old book paper From: French Church Ser...

MARC CHAGALL (1887 – 1985) MATERNITE, 1926. Motherhood I: Honte / Disgrace (Kornfeld 65, Cramer 5, Sorlier, p. 20-21 Etching, Frontispiece from Maternite Au Sans Pareil, Paris, 1926. Marcel Arland, illustrated by Marc Chagall with five original etchings this being one of the five. Image size: 5 5/8 x 4 1/8. 1130 unsigned impressions on various papers. The story begins with a young woman being shunned by the whole village because she had given birth to a child and left its dead body...

Emile Antoine Verpilleux, 1888-1964 St. Paul’s Cathedral: Rainy Day, 1924 Original woodcut, printed in colors 14 x 18 inches Signed in pencil

Emile Antoine Verpilleux, 1888-1964 Malines, 1922 Original woodcut, printed in colors 14 x 15 inches Signed in pencil

Emile Antoine Verpilleux, 1888-1964 York, 1920 Original woodcut, printed in colors 14 x 18 inches Signed in pencil

Beautiful poster from 1925 for the 1st Bal Païen organized for the benefit of the great mass of the École Nationale des Beaux-Arts, The masse has always existed in the studios of th...

Vintage modernist abstract village painting. Oil on board. Housed in a period frame. Image size, 24L x 12H. Signed.

Hokuto Tamamura (1893-1951), 'The Spirit of the Wine' (Shuten Dōji) - from Dai Chikamatsu Zenshu (The Complete Works of Chikamatsu)', color woodblock, 1923-26. Signed 'Hokuto'. A fin...

Mixing Western and traditional pictorial styles, this vintage ad depicts a young family on a garden stroll. A cheongsam-clad woman nods to tradition in contrast to her Western-garbed...

Amos Scorzon (Dolo 1885 – 1963), Lady with fan (1922) Tempera on paper measuring 44 x 27 cm signed and dated 1922 lower right.

Karl Michel, 'Elisabeth', woodcut, edition 20, 1923. Signed, dated, and numbered 'op.142b' and '12/20' in pencil. Signed in the block, lower left. Annotated 'Vorgesdruck' [artist’s proof] in pencil. A fine impression, on heavy fibrous Japan paper, with full margins (1 3/16 to 3 1/2 inches), in good condition. Printed by the artist, With the artist’s blindstamp in the bottom center margin. Scarce. Matted to museum standards, unframed. Image size 4 15/16 x 6 inches (131 x 152 mm); sheet size 10 x 6 inches (254 x 152 mm). ABOUT THE ARTIST Karl Michel (1889-1984) was a noted graphic designer and expressionist printmaker during Germany's pre-Nazi Weimar Republic (1919-1933). Michel’s work was the subject of a feature article in the influential German graphic design magazine Das Plakat (The Poster) in 1920. An anti-war advocate, Michel created a suite of 12 wood engravings depicting his impressions of the humanitarian toll of WWII entitled ‘Humanitas’ (Humanity). The German publishing house Greifenverlag published the series in a reduced folio of unsigned prints. Michel’s graphic work is held in the permanent collections of the Auckland War Memorial Museum (New Zealand), Frederikshavn Kunstmuseum & Exlibrissamling (Denmark), Museum of Applied Arts (Budapest), The Robert Gore Rifkind Center for German Expressionist Studies at the Los Angeles County Museum of Art, and the German Expressionism...

Original vintage Bill Jones motivational propaganda poster - Why Envy? Learn Successful Methods and Apply Them - featuring a great sport themed image show...

Magnificent poster made in 1930 to promote Vermouth, an emblematic drink of the Alps, which was commonly called, as early as 1900 in the cafés of France, "Le Chambéry": the Savoyard city then became the French capital of Vermouth. At that time, cooked wines were reputed to be fortifying, curative and preventive to eliminate factory dust. Thus, in the 19th century, many vermouth factories were created in Savoy, particularly in Chambéry. During the Roaring Twenties, the Maison Richard participated in the Art Nouveau wave of advertising posters. Famous poster artists contributed to the fame of the brands. Famous poster artists such as DOL and Edmond MAURUS worked with the Maison Richard. Alcohol - Advertising - France Voila! Richard Coeur de Lion...

Study Easter Sunday Baby

Seated Nude Match Stick ink drawing, c. 1925 Signed by the artist in pencil lower right: A. Biehle Created at the Kakoon Arts Club, Cleveland. Influenced by friend and fellow artist...

Self Portrait 1927 Original wood engraving 20.0 x 15.0 cm (Image) Arthur Eric Rowton Gill, (22 February 1882 – 17 November 1940) was an English sculptor, letter cutter, typeface d...

Cover for Ecce Homo is an artwork realized by George Grosz in 1923. Lithograph and Offset. 25x25 cm, no frame. Good condtions. Reference: Wieland Herzfelde (introduction), Der Malik-Verlag, 1916-1947, exhib. cat. Deutsche Akademie der Künste Berlin, Berlin (Ost) 1966, cat. no. 59; Lothar Lang, George-Grosz-Bibliographie, in: Marginalien, Zeitschrfit für Buchkunst und Bibliophilie, 30th issue, July 1968, p. 1ff, no. 38; Rosamunde Neugebauer, Georges Grosz, Macht und Ohnmacht satirischer Kunst. Die Graphikfolgen "Gott mit uns...

Karl Michel, 'Viel Gluck 1923 Wunscht Karl Michel', etching, 1923, edition not stated but small. Signed, dated, and numbered 'op. 136' in pencil. Signed in the image, lower right. A...

Karl Michel, 'Venus, Ex Libris - Hanns U. Herta Heeren', woodcut, 1923, edition not stated but small. Signed, dated, and numbered 'op.154' in pencil. Signed in the block, lower left. A fine impression, on cream Japan paper, with full margins (15/16 to 2 11/16 inches), in good condition. Printed by the artist. Matted to museum standards (unframed). . Translation: Venus Ex Libris for Hanns and Herta Heeren. Image size 5 15/16 x 4 inches (156 x 102 mm); sheet size 9 5/8 x 6 inches (245 x 152 mm). ABOUT THE ARTIST Karl Michel (1889-1984) was a noted graphic designer and expressionist printmaker during Germany's pre-Nazi Weimar Republic (1919-1933). Michel’s work was the subject of a feature article in the influential German graphic design magazine Das Plakat (The Poster) in 1920. An anti-war advocate, Michel created a suite of 12 wood engravings depicting his impressions of the humanitarian toll of WWII entitled ‘Humanitas’ (Humanity). The German publishing house Greifenverlag published the series in a reduced folio of unsigned prints. Michel’s graphic work is held in the permanent collections of the Auckland War Memorial Museum (New Zealand), Frederikshavn Kunstmuseum & Exlibrissamling (Denmark), Museum of Applied Arts (Budapest), The Robert Gore Rifkind Center for German Expressionist Studies at the Los Angeles County Museum of Art, and the German Expressionism...

Mary Pickford and Douglas Fairbanks at Walpi First Mesa Hopi Village 1920 Photograph Original Sepia toned Silver gelatin photographic print by Charles Roshe (British, 1885-1974). Provenance: Mary Pickford, Elizabeth (Bess) Huggins. Image 10.75"H x 13.75"W He was Mary Pickford's favorite cinematographer and a personal friend, shooting all of the films in which she starred from 1918 to 1927, before they had a falling out during production of Coquette (1929). He was the first cinematographer to receive an Academy Award, along with Karl Struss, for Sunrise: A Song of Two Humans (1927), and won again for The Yearling (1946), with Leonard Smith and Arthur Arling. He was also nominated four times. Walpi, pueblo (village), Navajo county, northeastern Arizona, U.S., on the edge of a high mesa in the Hopi Indian Reservation. It comprises a group of angular stone houses of two to three stories crowded on a narrow tip of the steep-walled mesa at an elevation of 6,225 feet (1,897 metres). The original pueblo (founded c. 1700) was on a lower part of the mesa, but following the Pueblo Rebellion, the inhabitants moved to the top as a defensive measure against Spanish retaliation. Walpi is known for an antelope ceremony and for snake dances, held during odd years in August and generally closed to non-Hopi spectators. Shitchumovi (Sichomivi) pueblo is adjacent and Hano is nearby. Pickford was the first Canadian to win an Oscar. She was also the second to win best actress and the first for a role in a film with sound. She was one of the founding members of the Academy of Motion Picture Arts and Sciences. In 1919 Pickford took the lead in organizing the United Artists Corporation with Griffith, Charlie Chaplin, and Douglas Fairbanks. In 1920, after the dissolution of her first marriage (1911–19) to actor Owen Moore, she married Fairbanks (divorced 1936). Pickford’s popularity continued unabated in Pollyanna (1920), Little Lord...

From the Series “Métamorphoses”, one of the most important graphic works of the founder of the “Metafisica” Movement. Original colour etching numbered and signed by the artist, reali...

The Acrobats is an original modern artwork realized by Carlo Carrà in 1922. Lithograph on paper. Hand signed and dated on the lower margin. Titled on th...