1920s Art

Work on canvas

Marcel Gromaire, French (1892 - 1971) - Vers un Monde Volage II, Year: 1926, Medium: Suit of 10 Etchings on thin laid paper with gilt edges, Edition: 270, Image Size: 6.75 x 5.5 inc...

Medium: Oil on Board Signature: Signed Lower Center Sight Size 30.00 x 24.00;" Framed 40.00 x 33.50" The Elks Magazine Cover, June 1925

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...

Etching on vélin d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Published by Éditions Marcel Seheur, Paris; printed by Atelier d'art Paul Haasen, Paris, Septembe...

Work on paper

Glenn O. Coleman, 'Hurdy Gurdy Ballet', lithograph 1928, edition 50. Signed, dated, and numbered '14/50' in pencil. Titled in the bottom left margin, in an...

Hand Monogrammed. Edition of 50 pieces. Provenance: Galleria Prandi. Very good condition.

Architecture and Art Photo - Last Supper by Tintoretto is a black and white vintage photo, realized in the 1920s. It belongs to masterpiece of art and architecture album meticulously...

Medium: original woodcut. Printed in Germany in 1922 for the rare Ganymed portfolio of "Das vierte Jahrbuch der Marees Gesellschaft", published in Munich by Marees-Gesellschaft, R. ...

William Robinson Leigh, 'Foul Rope (Left)', etching, c. 1920, edition unknown but small. Signed in pencil and signed in the plate, lower left. A superb, richly-inked impression, in dark brown ink, on buff wove Umbria paper, the full sheet with margins (1 1/2 to 2 3/4 inches); slight toning at the sheet edges, otherwise in excellent condition. Very scarce. Archivally matted to museum standards, unframed. Image size 14 7/8 x 11 15/16 inches (378 x 303 mm); sheet size 20 3/8 x 15 3/8 inches (518 x 391 mm). ABOUT THE ARTIST Born near Falling Waters, West Virginia, on a plantation a year after the Civil War and raised in Baltimore, William Robinson Leigh (1866 - 1955) became one of the foremost painters of the American West. His career spanning some seventy-five years, Leigh created some of the most iconic depictions of the Western landscape, with admirers referring to him as ‘The Sagebrush Rembrandt.’ The son of impoverished Southern aristocrats, Leigh received his first art training at age 14 from Hugh Newell at the Maryland Institute, where he was regarded as the best student in his class. From 1883 to 1895, he studied in Europe, mainly at the Royal Academy in Munich with Ludwig Loefftz. From 1891 to 1896, he painted six cycloramas or murals in the round, a giant German panorama. In 1896, Leigh began working as a magazine illustrator for Scribner's and Collier's Weekly Magazine in New York City. He also painted portraits, landscapes, and genre scenes. Leigh's trips to the Southwest began in 1906 when he agreed to paint the Grand Canyon with William Simpson, Santa Fe Railway advertising manager, in exchange for free transportation West. In 1907, he completed his Grand Canyon painting, which led to more commissions and an extensive painting trip through Arizona and New Mexico. These travels inspired him to paint western subjects for the next 50 years, and his primary interests were the Hopi and Navajo Indians. In 1910, he traveled to Wyoming, where he painted in Yellowstone Park and created sketches, many of which he later converted into large canvases such as ‘Lower Falls of the Yellowstone’ (1915) and ‘Grand Canyon of the Yellowstone’ (1911). In 1926, he traveled to Africa at the invitation of Carl Akeley for the American Museum of Natural History, and from this experience, wrote and illustrated 'Frontiers of Enchantment: An Artist's Adventures in Africa'. In 1933, he wrote and illustrated 'The Western Pony'. His adventures were chronicled in several popular magazines, including Life, the Saturday Evening Post, and Colliers. For many years, Grand Central Art Galleries at the Biltmore Hotel handled his work exclusively in New York. In 1953, Leigh was elected an associate member of the National Academy of Design and became a full Academician in 1955. In March 1999, the Historical Center of Cody, Wyoming, held an exhibition of his field sketches and finished works depicting his experiences near Cody early in the century. Between 1910 and 1921, when he often painted in the Carter Mountain vicinity, these years were considered pivotal to his artistic development and devotion to the Western landscape. Leigh's work is held in many museum collections of American Western art...

Work on canvas Gray wooden frame 70 x 81 x 5 cm

Asa Cheffetz Ramshackle Barn (de-accessioned from the Denver Art Museum), ca. 1929 Wood-engraving Pencil signed, numbered 27/100 and titled by the artist on the front 13 × 10 1/4 inches Unframed - affixed to matting De-accessioned from the collection of the Denver Art Museum Asa Chaffetz, "the engraver's engraver" This is the original numbered wood engraving from 1929; not a later re-print This print was honorable mention in the International Exhibition of prints, Art Institute of Chicago, 1929 Exhibited: New England engraved: The prints of Asa Cheffetz: An Exhibition of his wood engraving & an exploration of his life as an artist. Springfield, MA: Museum of Fine Arts, 1984 (A different example) Asa Cheffetz Biography: Born in Buffalo, New York, Cheffetz studied at the School Of The Museum Of Fine Arts in Boston under Philip Leslie Hale...

Lithograph and stencil on vélin Hollande van Gelder paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Fernand Léger, 1928. Published and printed by Éd...

Deux Femmes Dans L'Herbe Lithograph, 1926 Monogramed in pencil, "M" by the artist lower right (see photo) Numbered in pencil lower left; (65/125) (see photo) Edition: 125, plus 10 p...

Portrait is an original pencil, pastel and watercolor drawing on creamy cardboard, realized in 1927 by Maurice Lourday (1860-1934). Titled on the lower. In very good conditions, ex...

Fine lithograph on ivory colored China paper. Signature on plate on the lower right margin. Beautiful artwork representing a bucolic scene.Excellent conditions, including cardboard p...

Medium: pochoir (after the painting). Published in Paris in 1929 by Editions des Chroniques du Jour in an edition of 500. Image size: 6 1/4 x 8 1/2 inches (162 x 214 mm). With full o...

Georges ROUAULT (1871-1958) Circus, 1927 Original etching Signed in the plate Limited to 225 copies (Not numbered) On BFK Rives vellum 33 x 25 cm (c. 12.9 x 9.8 in) Excellent condi...

Lithograph on vélin pur fil des Papeteries du Marais, realized by Cocteau in 1929. Belongs to the suite "25 Dessins d'Un Dormeur", published by H. L. Mermod, Lausanne. Edition of 2...

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...

Lithograph, stencil on vélin paper. Paper size: 11.42 x 9.05 inches. Inscription: signed in the plate and unnumbered, as issued. Notes: from the folio, Propos d'un intoxiqué, Aquarel...

Lithograph, stencil on vélin paper. Paper size: 11.42 x 9.05 inches. Inscription: signed in the plate and unnumbered, as issued. Notes: from the folio, Propos d'un intoxiqué, Aquarel...

Lithograph, stencil on vélin paper. Paper size: 11.42 x 9.05 inches. Inscription: signed in the plate and unnumbered, as issued. Notes: from the folio, Propos d'un intoxiqué, Aquarel...

CONSTANTIN KOUSNETSOFF [Kouznetsoff, Kuznecov, Kuznetsov] Zoliono 1863-1936 Paris (Russian) Title: Champs au Bretagne Technique: Original Signed Oil Painting on canvas size: 83 x ...

Lithograph, stencil on vélin paper. Paper size: 11.42 x 9.05 inches. Inscription: signed in the plate and unnumbered, as issued. Notes: from the folio, Propos d'un intoxiqué, Aquarel...

Lithograph, stencil on vélin paper. Paper size: 11.42 x 9.05 inches. Inscription: signed in the plate and unnumbered, as issued. Notes: from the folio, Propos d'un intoxiqué, Aquarel...

Lithograph, stencil on vélin paper. Paper size: 11.42 x 9.05 inches. Inscription: signed in the plate and unnumbered, as issued. Notes: from the folio, Propos d'un intoxiqué, Aquarel...

Lithograph, stencil on vélin paper. Paper size: 11.42 x 9.05 inches. Inscription: signed in the plate and unnumbered, as issued. Notes: from the folio, Propos d'un intoxiqué, Aquarel...

Lithograph, stencil on vélin paper. Paper size: 11.42 x 9.05 inches. Inscription: signed in the plate and unnumbered, as issued. Notes: from the folio, Propos d'un intoxiqué, Aquarel...

Lithograph, stencil on vélin paper. Paper size: 11.42 x 9.05 inches. Inscription: signed in the plate and unnumbered, as issued. Notes: from the folio, Propos d'un intoxiqué, Aquarel...

Lithograph, stencil on vélin paper. Paper size: 11.42 x 9.05 inches. Inscription: signed in the plate and unnumbered, as issued. Notes: from the folio, Propos d'un intoxiqué, Aquarel...

Lithograph and stencil on papier vélin des Manufactures d'Arches paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the volume, Les Biches, 1924. Published by Édi...

Venice is an original pouchoir artwork realized in 1920 by Leonardo Brunelleschi. The State of preservation is very good. The artwork represents the scenery in Venice next to the c...

Erotic Scene is a beautiful lithograph on ivory-colored paper, realized in the 1920s by Albert Marquet (Bordeaux, 1875 - Paris,1947). Monogrammed on the plate on the lower margin. ...

Original Bains de Mer de la Manche vintage poster. Artist Georges Meunier. Archival linen backed in good condition, ready to frame. Printer: Chaix ...

Initialed upper right 'A.B.' for Axel Bentzen (Danish, 1893-1952) painted circa 1925. Axel Bentzen studied art as a child and, by the age of 14, was copying Old Master paintings at Copenhagen's National Museum of Art. He traveled to Italy in 1919 and, from 1923-1939, spent every second year there or in Paris, painting and furthering his understanding of the principles of Modernism. Bentzen was the recipient of numerous scholarships including the prestigious Hielmstierne-Rosencrone scholarship which he was awarded twice (1925, 1927) and the Copenhagen Akademie scholarship which he received three times (1927, 1929, 1931). He exhibited internationally with success including, from 1922, at the Charlottenborg as well as at prominent salons in Paris, Berlin, Venice, Budapest, Riga and Belgrade. The artist is listed in all relevant art reference works including both Benezit's Dictionary of Artists and Thieme-Becker's Kunstlexikon (Vollmer Supplement). We are pleased to offer this dramatic and psychologically penetrating oil study of a young man dating to circa 1925. Reference: E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Jacques Busse, 1999 Nouvelle Édition, Gründ 1911, Vol. 2, p. 122; Vollmer Allgemeines Lexikon der Bildenden Künstler des 20. Jarhhunderts, Hans Vollmer, Deutscher Taschenbuch Verlag 1992, Vol. 1, p. 173; et al. Scholarships: Hielmstierne-Rosencrone 1925, 1927; Raben-Levetzau 1926; Bielke 1926; Carlson's Pr. 1926; Akkadian. 1927, 1929, 1931; Oluf Hartmann 1928, 1930; Eckersberg Med. 1930; Kaufmann 1930; March 1931; Zach. Jacobsen 1932, 1936. Exhibitions: KE 1922-26; Charles. Spring 1925; The free Exhibition 1927-38 (inc. from 1930); Association of painters, Helsinki, 1928; Funen Spring Exhibition. 1930, 1938; Tour exhibition 1930-36; Newer Painting, Germany 1932; in Venice 1934, 1954; as exhibited in Budapest, Riga, Bucharest and Belgrade 1936-37; Nerd Mässhallen, Gothenburg 1939; Grønningen 1939-47, 1952 (commemorative issue), 1953, (commemorative issue), 1955, 1965; Icelandic, Swedish art, Mässhallen, Gothenburg 1941; Ny Carlsbergfondet Jubilee Charlottenborg and others 1952; That then buying convention, Fr. 1952 (commemorative issue); The Freeman's Memorial Exhibition, Kunstforen, Kbh 1966; Easter 1974, Skive Museum 1974; Modern art owned by Vejle, Vejle Kunstmuseum 1977; Inside, outside, Mouse at Koldinghus 1981. Solo exhibitions: Anton Hansen, Copenhagen 1917; The free Exhibition building, 1921; Kunstforen, Copenhagen 1937; Jugelsalan, Aarhus 1946-47, 1950; Storstrøm's Kunstmuseum 1953 (commemorative issue); Open Mouse, 1972. Artworks: Egyptian Woman on Balcony (1920); Self-Portrait (1925, Stat. Museum for Art); The Hospital Garden (1925); The Dreamer (1925, Storstrøm Art Museum); The Blind (1925, Carlsons Pr for 3 last names); Marsk Stig's daughters (1926, Nordjyll Kunstmuseum); Young Italian woman on a chair...

Marc Chagall (1887-1985) Tall Nude with a Fan, 1924 Original etching On vellum 34 x 51,5 cm (c. 14 x 20 in) REFERENCE: Catalog raisonne Kornfeld #39 INFORMATION : Beautiful proof...

Ne sommes-nous pas forçats? (Are we not Slaves?) Aquatint and heliogravure on Arches laid paper watermarked "Ambroise Vollard" Signed and dated in the plate lower left (see photo) P...

Date: 1920s Medium: Gouache and Watercolor on Artist Board Dimensions: 19.00" x 13.00" Signature: Unsigned The 1920’s painting most likely is the original cover art...

Medium: original woodcut. The inscription on the banner translates to "Come Sweet Death". Signed in pencil by Richard Seewald and printed in Germany in 1922 for the very rare "Die zw...

Story illustration for “Beethoven: A New Life” by Emil Ludwig for Cosmopolitan, published December 1928, page 22. The full caption reads: “At the premiere of Beethoven’s heroic oper...

Work on canvas

Lithograph on fine vélin paper, mounted on archival mat-board, as issued. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Eugène De...

Anton Schutz, 'Heart of San Francisco', etching, c. 1927, edition not stated. Signed in pencil. A superb, richly-inked impression, on cream wove paper; the full sheet with margins (2...

Original cover for Liberty magazine, published December 11, 1926 Sandy called on Lil one evening, only to find that his suspicions were true – Mr. Hammerschlosser, the aging and wea...

The 1925 original document by Mikhail Larionov for the "Bal de la Grande Ourse" represents a fascinating intersection of Russian émigré culture and the vibrant Parisian art scene of ...

'Portrait of Jean', pencil on art paper, by French artist, Guillaume Dulac (circa 1920s). An artist known for his exquisite drawings - many are sketches for his larger oil paintings ...

EDWARD CURTIS (1868 - 1952) BEFORE THE WHTE MAN CAME - PALM CANYON, 1924 Photogravure. Printed title along with 1924 copyright line. Photogravure Suffolk Eng. Co., Cambridge Mass...

Cubist figure is a modern artwork realized by Vladimir Vasilievich Lebedev (1891-1967) in the mid-20th Century. Phototype print. Fair condition. Includes frame: 44 x 33 cm

Lithograph on vélin Lafuma paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Dessins de Henri-Matisse, 1925. Published by Édi...

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...

Original Rim and Rom (translated: (Musical Satrics) vintage Soviet poster. Original circa 1925 Russian antique poster that is linen-backed. Printed in Leningrad. Stone lithograph, horizontal format. Year: c. 1925 edition was 1000 pieces (This is the only document copy of this poster we have ever found.) Rare horizontal Soviet bloc antique stone lithograph. Note: This is an Original Soviet stone lithograph vintage Poster, not a reprint or reproduction of any kind! Original Posters are printed in limited quantities. Most are intended for display in theaters, hold their value longer, and may be considered collectors' items in the future. Due to Russia's stringent laws protecting cultural property, including art, historical documents, and other significant artifacts, old posters like this are incredibly rare and difficult to find or own. You are about to acquire a truly unique piece of history. This is an Original Lithograph Vintage Poster; it is not a reproduction. orldwide, helping them with their original vintage poster collections...

'Reposing Nude and Tree', pencil on art paper, by French artist, Guillaume Dulac (circa 1920s). An artist known for his exquisite drawings - many are sketches for his larger oil pain...

A unique original silver gelatin black and white photography. A view of Paris with Notre Dame Cathedral, June 1927. Features: Original Silver Gelatin Print Photography Unframed. Pres...

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...

The 1923 original poster by Roger Broders for the Services Automobiles de la route du Jura promoting Salins-les-Bains et le Fort St André is an exquisite example of early 20th-century travel poster design. Commissioned by the P.L.M. (Paris-Lyon-Méditerranée) railway company, this artwork perfectly reflects the charm of the Jura region while showcasing Broders' mastery of composition, color, and visual storytelling. Roger Broders, one of the most celebrated travel poster artists of the Art Deco era, was renowned for his ability to capture the essence of a destination with elegance and clarity. His posters played a pivotal role in promoting tourism across France during the golden age of travel, often highlighting scenic routes, idyllic landscapes, and picturesque towns. In this particular work, Broders portrays the serene beauty of the Jura region with his characteristic style: clean lines, harmonious compositions, and a rich yet restrained color palette. The poster invites travelers to explore the famous Salins-les-Bains, a historic spa town celebrated for its saltwater springs, and the iconic Fort Saint-André, a stunning hilltop fortress offering panoramic views of the surrounding countryside. The artwork vividly conveys the natural splendor of the Jura, with rolling hills, lush greenery, and soft, sunlit skies. The carefully composed scene features winding roads, inviting travelers to journey through the tranquil region aboard the “Services Automobiles”—a service that complemented the P.L.M. railway network by connecting train passengers to remote and scenic destinations by road. Broders’ attention to detail is unmistakable. His use of warm earth tones and subtle shading creates a sense of depth and atmosphere, drawing the viewer into the landscape. The elegantly stylized typography adds to the poster’s charm, seamlessly integrating the text into the composition without distracting from the artwork itself. This poster is not only a masterpiece of travel advertising but also a reflection of the growing trend of leisure travel in the early 20th century. As rail travel flourished, companies like P.L.M. recognized the need to promote lesser-known but stunning destinations to affluent tourists seeking adventure, relaxation, and scenic beauty. Broders' work became an essential tool in this effort, helping to define the visual language of travel posters for decades to come. The 1923 Services Automobiles poster...

Girl with glasses. About 1920-30. Double portrait. Spalmach Gino (Rome, 1900 - 1966). Painted on two sides: on one side the young woman with glasses is represented, in charcoal/penci...

Lithograph and stencil on papier vélin des Manufactures d'Arches paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the volume, Les Biches, 1924. Published by Édi...

Frank Nelson Wilcox (American, 1887-1964) Fog over North Beach, Percé Rock, Gaspé, Canada, c. 1929 Watercolor on paper Signed lower left 13.75 x 20 inches Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters," though some sources give this appellation to Henry Keller or Frederick Gottwald. Wilcox was born on October 3, 1887 to Frank Nelson Wilcox, Sr. and Jessie Fremont Snow Wilcox at 61 Linwood Street in Cleveland, Ohio. His father, a prominent lawyer, died at home in 1904 shortly before Wilcox' 17th birthday. His brother, lawyer and publisher Owen N. Wilcox, was president of the Gates Legal Publishing Company or The Gates Press. His sister Ruth Wilcox was a respected librarian. In 1906 Wilcox enrolled from the Cleveland School of Art under the tutelage of Henry Keller, Louis Rorimer...