1920s Art

Boris Lovet-Lorski, Untitled (Nude Dancer in Modernist Stage-setting), lithograph, edition 250, 1929. Signed and numbered 20 in pencil. Number 20 of Volume ...

Singing Rooster by Georges Manzana Pissarro (1871 - 1961) Colour crayon and pencil on paper 22 x 16 cm (8 ⅝ x 6 ¼ inches) SOLD UNFRAMED This work is accompanied by a certificate of...

Lemon, Frank. Flights: Unforgettable Exploits of the Air. This plate: With one beat of his wing, Charles Lindbergh goes to Paris! 1927. Wright Aeron...

Royal Insurance Building of Canada. (Royal Globe Insurance Company Building) 1927. Drypoint. 12 x 6 1/2 (sheet 17 1/2 x 10 1/2). A rich impression with selective plate tone printed in black/brown ink on cream wove paper. Signed in pencil. Housed in a 20 x 16-inch archival mat, suitable for framing. Rosenberg's first published print of 1927 was a drypoint of the Royal Insurance Building of Canada in New York. From his personal journal, we know that it was executed on January 18th in London and that 108 proofs were printed on 'modern' paper and signed. The alternate name of the building is the Royal Globe Insurance Company Building. It is located in the financial district of Manhattan, 150 William Street to Gold...

A painting by Joseph Kleitsch. "Mission Cloisters, San Juan Capistrano" is an oil on canvas painting executed in feathery strokes primarily of oran...

JOSEPH PENNELL (1857 - 1926) NEW FISH MARKET - (NEW YORK) 1921 (W 797) Etching, Signed in pencil, edition probably 50. 9 7/8 x 6 7/8 inches. Full sheet, ...

Sir Frank Short, R.A., P.R.E. 1857-1945. The Shadowed Valley. 1927. Mezzotint. Hardie 128. 14 3/8 x 19 3/8 (sheet 19 x 24). A rich, glowing impression p...

French painting entitled "La Salle de Bains de Madame." Stamped "J. Vermont" on verso. Custom framed in a hand-made, cherry stained, oak wood frame. Imag...

Enchanted Doorway, Venezia (La Porta della Carta, Venezia '29). 1930. Etching. Fletcher catalog 227 state ii. 12 3/8 x 6 9/16 (sheet 15 13/16 x 9 15/16). Edition 148 in this state (...

Medium: Oil on Canvas Signature: Signed Lower Right LITERATURE: C.D.B. Bryan, Mort Walker and the Art of Illustration, Architectural Digest, July 1988, p. 64, illustrated.

Emma and Marjorie on a Sofa Lithograph printed on chine paper, 1921 Signed by the artist lower right (see photo) Signed by the printer Bolton Brown lower left (see photo) Edition: 44...

South Spring Wind - Voice of Persephone Sanguine on paper heightened with white gouache over the entire sheet Signed lower left An important work on paper by the artist with extensive exhibition history (see labels). The artist used the theme of Persephone in paintings, drawings and prints. Condition: Excellent Image/Sheet size: 17 1/2 x 13 5/8 inches Housed in an 8 ply rag mat Provenance: Mildred Davies (the artist's widow) Feragil Gallery, New York (label) Montrsoe Gallery, New York (label) FAR Gallery, New York (label) Biography Arthur B. Davies’s mystical, mysterious paintings hearken back to 19th-century romanticism, even while Davies aligned himself with American artists advancing the most radical ideals of their day. Davies was born on September 26, 1862, in Utica, New York, the son of English and Welsh parents who had immigrated to the United States in 1856. He first took art lessons as a teenager from a local landscape painter, Dwight Williams...

The Red Dress Watercolor on paper, mounted on board by the artist, 1926 Signed and dated, 1926 lower left (see photo) Condition: Mounted on support board by...

ROBERT PHILIPPI (Austrian 1877-1959) KNEELING NUDE. c. 1923 (Chrastek, Widder 2019, p. 162, N° 461) (in Rifkind Collection, LACMA: From a portfolio of 1...

Pellew, Claughton (British, 1890-1966). THE RETURN. Ashmolean 17. Wood engraving, 1925. Edition of 25. Initialed in the block, and titled, signed, dated and...

Guardians of the Spire (Amiens Cathedral Number 2). 1921. Etching. Fletcher 102. 6 3/4 x 9 7/8 (sheet 8 7/8 x 13 3/4). Gargoyle Series #4. Edition 75. Illustrated: Dorothy Noyes Arms...

Plate number 11,Calmar (Loligo vulgaris) from "Étude de la Mer" by Mathurin Meheut. Heliochrome print. Paris, Éditions Albert Levy, 1924.

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 a...

Henri Matisse Nu renversé près d'une table Louis XV 1929 Lithograph on Arches Velin paper, Edition of 50 Paper size: 66 x 50 cms (26 x 19 7/8 ins) Image size: 55.9 x 46 cms (22 x 18...

Ponte Vecchio Florence Oil on canvas, 1927 Signed and dated lower right corner Titled upper left NOTE: this offering is UNFRAMED Condition: Excellent Conservation by Monica Radecki, ...

'Manhattan Bridge', etching, c. 1920, proofs only. Signed in ink in the image, lower right. A fine, rich impression, in warm black ink, on cream wove ...

Untitled Cubist Abstraction Signed and dated lower right Watercolor, charcoal and gouache on paper, 1922 Provenance: Estate of the Artist Schroeder, Romero & Sh...

Pair of watercolors on translucent laid paper. Likely English, circa 1920. Displayed in cream archival mats. The sheet size of each watercolor is 14 1/2 x 11 inches.

Vierge aux sept glaives (The Virgin pierced by seven swords) (Sorrowful Mother) Aquatint, drypoint, roulette and burnishing over heliogravure, 1926 Unsigned as issued From: Miserere (Have Mercy), 58 plates Plate 53 Depicts the Mater dolorosa, The Virgin Mary sorrowing for the death of Jesus Christ Aquatint, drypoint, roulette and burnishing over heliogravure 1922-1927 Edition: 425 on Arches vellum with the Ambrose Vollard watermark 25 Hors commerce portfolios All published impression are unsigned, as issued Signed and numbered only on the colophon Published by Societe d’Editions l’Etoile Filante, Paris, 1948 Printer: Jacquemin, Paris, 1922-1927 Reference: Chapon & Rouault 106 c/c Condition: Excellent Plate/Image size: 23 x 16 1/4 inches Frame size: 34 x 29 inches Rouault’s Miserere...

George Josimovich, 'Commuters', linocut, 1922-23, edition 20. Signed, dated '22, titled, and annotated '9/20' in pencil. Initialed in the block 'G.J....

Carolyn (Arms raised to her head) Graphite on laid paper Unsigned Provenance: Estate of the artist by descent to his Grandson Depicts the artist's wife Carolyn. Most probably created in Nashville, Indiana Related to the painting entitled "Maiden" in the Haan Museum, Lafayette, IN (see photo) Condition: Excellent Archival framing with TruVue Conservation Clear glass Image size: 10 3/4 x 8 1/2 inches Frame size: 18 7/8 x 16 inches Louis Oscar Griffith (1875-1956) Born in Greencastle, Indiana, Griffith grew up in Dallas, Texas where Texas artist and teacher Charles Franklin Reaugh recognized young “Griff’s” artistic talent. At age 18, Griffith moved to St. Louis where he attended the St. Louis School of Fine Arts. In 1895, he moved to Chicago where he worked making color prints for the firm Barnes and Crosby. He attended the Art Institute of Chicago and during a brief stay in New York, the National Academy of Design. A successful commercial artist with a studio in the Chicago Loop, Griffith was a member and president of the Chicago Palette and Chisel Club. He made his first trip to Brown County...

Plate number 8, Moules sur schistes de Duon, from "Étude de la Mer" by Mathurin Meheut. Heliochrome print. Paris, Éditions Albert Levy, 1924.

Schutz, Anton (1894-1977). 543 Hub of the World. Published in New York, 1927. Original etching. Signed in pencil. Sheet size: 19 x 13 5/8 in. Plate size: 13 7/8 x 10 5/8 in.

Charcoal and pastel on paper 49.5 x 63.5 cm (19 ⅜ x 25 inches) Signed lower left, Manzana Executed circa 1920 This work is accompanied by a certificate of authenticity issued by L...

Female Nude Study Graphite and crayon on wove paper, c. 1928 Signed with the Estate stamp "B" (see photo) Provenance: Estate of the Artist Edward Sommer (his so...

Son avocat, en phrases creuses, clame sa totale inconscience (His lawyer, in hollow phrases, proclaims his total indiffference) Aquatint, drypoint, roulette and burnishing over heliogravure, 1922 Unsigned (as issued) From: Miserere (Have Mercy), 58 plates Plate 19 Aquatint, drypoint, roulette and burnishing over heliogravure 1922-1927 Edition: 425 on Arches vellum with the Ambrose Vollard watermark 25 Hors commerce portfolios All published impression are unsigned, as issued Signed and numbered only on the colophon Published by Societe d’Editions l’Etoile Filante, Paris, 1948 Printer: Jacquemin, Paris, 1922-1927 Reference: Chapon & Rouault 72 c/c Condition: excellent Image/Plate size: 21 1/16 x 15 7/8 Rouault’s Miserere...

Béla Czóbel was born in Budapest, Hungary where his artistic pursuits began. He eventually moved to Paris and was immersed in the Fauve art movement. He exhibited in the important ...

Signed in pencil Edition: 75 Gargoyle Series No. 7 This impression probably printed by David Strang, 1937-38 Sheet: 9 1/4 x 11 1/4" Reference: William Dolan Fletcher, John Tay...

Lemon, Frank. Flights: Unforgettable Exploits of the Air. This plate: With one beat of his wing, Charles Lindbergh goes to Paris! 1927. Wright Aeronautical Corporation, 1928. Origi...

Boris Lovet-Lorski, 'Untitled (Nude Dancer)', lithograph, edition 250, 1929. Signed and numbered 12 in pencil. Number 12 of Volume 2, a series of 10 lithogr...

Loin du sourire de Reims (Far from the Smile of Rheims) Aquatint, drypoint, roulette and burnishing over heliogravure, 1922 Signed with the initials in the plate and dated (see photo) From: Miserere (Have Mercy), 58 plates Plate 51 Aquatint, drypoint, roulette and burnishing over heliogravure 1922-1927 Edition: 425 on Arches vellum with the Ambrose Vollard watermark 25 Hors commerce portfolios All published impression are unsigned, as issued Signed and numbered only on the colophon Published by Societe d’Editions l’Etoile Filante, Paris, 1948 Printer: Jacquemin, Paris, 1922-1927 Reference: Chapon & Rouault 104 Wofsy 158 Rouault’s Miserere...

The Black Silk Dress. 1927. Etching. Fletcher catalog 58 state .ix (published state). 8 3/4 x 6 1/4 (sheet 14 1/2 x 9 1/8). Edition 76 in this state; total 111 proofs). Exhibited at...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE The Rider by Béla Kádár (1877-1956) Charcoal on paper 16.9 x 24.2 cm (6 ⁵/₈ x 9 ¹/₂ inches) Executed circa 1920s Provenance Mr and Mrs Imre Deák, after 1928 Artist biography The Hungarian artist Béla Kádár was born in Budapest in 1877 to a working-class Jewish family. Following his father’s death, he was forced to start working from an early age after only six years to primary schooling and was apprenticed as an iron-turner. In 1902, Kádár attended the Academy of Fine Arts in Budapest. After leaving the Academy, he worked at a mural painting company. Only when he visited Berlin and Paris and being exposed to the avant-garde art of the time, did Kádár direct his attention to painting once again. In 1910, the artist won the Kohner prize, and the same year he was awarded his first solo exhibition at the Hungarian National Gallery. By 1918, Kádár moved to Western Europe. Today he is one of the most famous members of the early twentieth-century Hungarian avant-garde. Over the course of his time living in Berlin, Kádár’s style changed. His expressionistic, graphic works were gradually replaced by paintings that were more romantic and delicate in nature. Incorporating and often synthesising stylistic elements of Cubism, Futurism, Constructivism, Neo-Primitivism and German Expressionism, Kádár’s decorative and metaphysical subject matter was often based upon traditional Hungarian folklore, and his subject-matter became increasingly narrative. His paintings in this period often feature surrealistic dream-like imagery, reminiscent of compositions by Marc Chagall. Despite his variety of subjects, ranging from abstracted figures and landscapes to interiors and objects, his paintings are typically rendered in a bright, jewel-toned palette and feature a fractured approach to rendering space. In 1923 in Berlin, Kádár was invited by Herwath Walden to exhibit at the highly influential Galerie Der Sturm...

Misty Morning. 1928-29. Drypoint. Appleby 137. 8 5/8 x 12 (sheet 11 5/8 x 18 1/16). Edition 100, #86. A rich impression with drypoint burr. Printed with ...

Boris Lovet-Lorski, 'Untitled (Nude in Landscape)', lithograph, edition 250, 1929. Signed and numbered 5 in pencil. Number 5 of Volume 1, a series of 10 lithographs published by the ...

En bouche qui fut fraîche, goût de fiel (In the mouth that was once fresh, the taste of bitterness) Aquatint, drypoint, roulette and burnishing over heliogravure, 1922 Unsigned as issued From: Miserere (Have Mercy), 58 plates Plate 15 Aquatint, drypoint, roulette and burnishing over heliogravure 1922-1927 Edition: 425 on Arches vellum with the Ambrose Vollard watermark 25 Hors commerce portfolios All published impression are unsigned, as issued Signed and numbered only on the colophon Published by Societe d’Editions l’Etoile Filante, Paris, 1948 Printer: Jacquemin, Paris, 1922-1927 Condition: Excellent Image/Plate size: 19 7/8 x 13 7/8 inches Reference: Chapon & Rouault 68 d/d Flora and Kang cite Lamentations 3:18-23 as a possible verbal equivalent: "my soul is bereft of peace; I have forgotten what happiness is; so I say, ‘Gone is my glory, and all that I had hoped for from the Lord.’ The thought of my affliction and my homelessness is wormwood and gall! My soul continually thinks of it and is bowed down within me." Rouault’s Miserere...

Yasuo Kuniyoshi, 'Dancing', lithograph, 1928, edition 30, Davis L-29. Signed, dated, and numbered '8/30' in pencil. A superb, richly-inked impression, printed on cream chine appliqué on heavy off-white wove backing; the full sheet with wide margins (1 3/8 to 4 7/8 inches), in excellent condition. Printed by Desjobert, Paris. Scarce. Matted to museum standards, unframed. Impressions of this work are in the collections of the Museum of Modern Art, Whitney Museum of Modern Art, and Yasuo Kuniyoshi Museum (Japan). ABOUT THIS WORK The French economy boomed from 1921 until the Great Depression reached Paris in 1931. This period called 'Les années folles' or the 'Crazy Years', saw Paris reestablished as a capital of art, music, literature, and cinema. Paris in the 1920s and 1930s was the home and meeting place of some of the world's most prominent painters, sculptors, composers, dancers, poets, and writers. For those in the arts, it was, as Ernest Hemingway described it, "A moveable feast". Paris was home to an exceptional number of galleries, art dealers, and a network of wealthy patrons who offered commissions and held salons. Pablo Picasso, perhaps the most famous artist in Paris, shared renown with a remarkable group of others, including the Romanian sculptor Constantin Brâncuși, the Belgian René Magritte, the Italian Amedeo Modigliani, the Russian émigré Marc Chagall, the Catalan and Spanish artists Salvador Dalí, Joan Miró, Juan Gris, and the German surrealist...

Signed with the Estate stamp lower left. Provenance: Estate of the Artist Marbella Gallery INC. (Stock Number RWWC237)

Arch of the Pont Neuf, Paris Etching on heavy wove paper, 1923 Signed in pencil lower right (see photo) From: Brangwyn Portfolio (12 original etchings and thr...

Medium: Oil on Canvas Signature: Signed Lower Right Sight Size 28.00" x 24.00;" Framed 36.00" x 31.00" Collier's Magazine Cover,Christmas Edition, December 24th 1921

Henri Matisse Odalisque à la culotte de satin rouge 1925 Lithograph on Chine paper, Edition of 50 Paper size: 28.5 x 36.5 cms (11 1/4 x 14 3/8 ins) Image size: 19 x 27 cms (7 1/2 x 1...

Two Studies of Henriette (Left: Head of the artist's wife, Right: The Artist's wife writing a letter) Watercolor and graphite on paper, 1928-1930 Signed in pencil lower right (see photo) Image/sheet size: 9 3/8 x 11 inches Condition: Excellent Colors fresh and unfaded Provenance: Estate of the artist The Orange Chicken...

SHEWRING, Walter. "A NOTE ON THE LATIN PREFACE TO ERIC GILL'S INTRODUCTION TO HIS ENGRAVINGS, 1929." San Francisco: Black Vine Press, 1964. Large folio, (388x279mm - 15 1/4 x 11 inches), 2 leaves French-folded (folded twice) to make a 4-page booklet, printed in red and black with one of Gill's initial letters from the Four Gospels. (Gill, Corey & Mackenzie, Eric Gill a bibliography 636.33) Printed by Harold Seeger & Albert Sperisen for a joint meeting of the Roxburghe-Zamorano Clubs. This is a reproduction of the original text with Gill's annotations printed in red and grey. Housed in the 15 1/2 x 11 1/2-inch envelope that accompanied the work. Walter Shewring (2906-1990) was educated at Bristol Grammar School and Corpus Christi College, Oxford, Shewring became a Catholic in 1928 and went to Ampleforth to teach classics the same year. The school's much-revered headmaster, Paul Nevill, used to tell pupils that it was "a great luxury" to be taught by such a noted classics teacher. His love of classics was not, though, confined to the classroom, and he composed much Latin and Greek prose, even publishing a volume of his .own work, Versions (Oxford .University Press). Shewring was involved, in his youth, with Eric Gill's community at Pigotts in Buckinghamshire, and through Gill, he came to know such notables as Ezra Pound, Hilaire Belloc...

Plate number 12, Hippocampe mouchete, from "Étude de la Mer" by Mathurin Meheut. Heliochrome print. Paris, Éditions Albert Levy, 1924.

Medium: Oil on Paper Laid Down to Board Signature: Signed Lower Left This is an illustration for the book by Samual McChord Crothers, The Children of Dickens, originally published in 1925. Bob Cratchit first appeared in Charles Dickens' A Christmas Carol as the victimized clerk of cold-hearted Ebenezer Scrooge. Timothy Cratchit, also known as Tiny Tim...

Christmas. 1970. Etching. Garton catalog 9 state ii. 15 1/2 x 10 3/4 (sheet 20 1/8 x 17 1/4). Edition of 50. From the Penn Print Room edition published by McDonald and Nicholson in 1...

L'Eventail (Anaïs) also called The Fan. 1921. Etching. Fletcher 22. Final state. 6 3/8 x 4 7/16 (sheet 11 1/2 x 9 1/4). Edition 76. An extremely rich, tonal impression printed on cr...

MAX BECKMANN (1884 – 1950) DER NEGER (THE NEGRO) 1921 (Glaser 171. Gallwitz 168. Hofmaier 196 II B b. Rifkind 138 6.) Drypoint, Signed in pencil from Jahrmarkt (The Annual Fair) . O...

Clark, Roland. EVENING FLIGHT. Derrydale 11. Etching and drypoint, 1929. Edition of 75. Signed in pencil. 12 x 15 inches. In excellent condition.

This impression of "Here They Come !" is from the fourth state of eight. There are six known impressions of the fourth state. Edition 150 (final state). It is signed in pencil in the lower left and inscribed "D-1". The image size 13 7/8 x 11 3/4" (34.6 x 28.8 cm) and sheet size 16 3/4 x 14 5/8" (42.8 x 37.1 cm). FRANK W. BENSON (1862-1951) Frank Weston Benson, well known for his American impressionist paintings, also produced an incredible body of prints - etchings, drypoints, and a few lithographs. Born and raised on the North Shore of Massachusetts, Benson, a natural outdoorsman, grew up sailing, fishing, and hunting. From a young age, he was fascinated with drawing and birding – this keen interest continued throughout his life. His first art instruction was with Otto Grundman at the Museum of Fine Arts in Boston, and then in 1883 in Paris at the Academie Julian where he studied the rigorous ‘ecole des beaux arts’ approach to drawing and painting for two years. During the early 1880’s Seymour Haden visited Boston giving a series of lectures on etching. This introduction to the European etching...

Kerr Eby 'Hungerford Bridge, London', etching and sandpaper ground, 1929, edition 90, Giardina 144. Signed, titled, and annotated 'Ed 90' in pencil. Signed again in the bottom right sheet corner. A fine, atmospheric impression, with delicate plate tone, on cream wove paper; the full sheet with margins (1 1/2 to 1 5/8 inches), in excellent condition. Matted to museum standards, unframed. Hungerford Foot Bridge spans the River Thames in London, between Westminster Bridge and Waterloo Bridge. Eby visited Great Britain and France during 1924 and 1925. Impressions of this work are in the permanent collection of the following institutions: American Academy and Institute of Arts and Letters, Arizona State University, Boston Public Library, Davison Art Center (Wesleyan University), Herbert F, Johnson Museum of Art, Huntington Museum of Art, Hood Museum of Art (Dartmouth College), Metropolitan Museum of Art, Montgomery Museum of Fine Arts, National Museum of American Art, New York Public Library, Smithsonian Museum of American Art. ABOUT THE ARTIST Kerr Eby was born in 1890 in Tokyo, Japan, the son of Methodist missionaries from Canada. The family returned to Vancouver when Eby was only three, and he grew up studying art encouraged by his parents as his mother was from a family of prominent artists. By age twelve, he had lived in Vancouver, Kingston, Toronto and Bracebridge where he found work as a ‘printer’s devil’ on the local Bracebridge newspaper. After graduating from high school in 1907, Eby moved to New York City to study art, first at the Pratt Institute, and later at the Art Students League. He enrolled in art classes at Pratt Institute while working for a lithographic firm earning $4.00 a week. His pay barely covered his room and drawing supplies. Within a year, starving and feeling defeated, he returned to Canada and was employed by a surveying party in Northern Ontario. Eby gradually regained his dream of becoming an artist, and in his spare time, he began to draw the surrounding wilderness landscapes. By fall he had returned to New York to attend night classes at the Art Students League while working for another lithographic firm. He spent several more summers surveying in Northern Ontario before he was able to make a living as an illustrator. During this period he formed several friendships with influential artists including John Henry Twachtman and Childe Hassam and joined a summer artists' colony founded by them at Cos Cob, Connecticut. He supported himself by working as a magazine illustrator and at the American Lithographic Company. Through diligent study and practice, Eby refined both his drawing and printmaking techniques. In 1917, when the United States entered World War I, Eby joined the U.S. Army. Failing to obtain a commission as an artist, he was assigned first to ambulance duty and later as a sergeant in the 40th Engineers in France. He spent most of WWI on the front line as a camouflager of the field artillery ‘big guns”. On his time off duty, he would sketch everything he witnessed, from the explosive big guns and men in action to the dead soldiers in the field. He sent the drawings home each week, and upon his return from the war, they became the basis for his first successful group of etchings. He continued creating his war-related prints throughout the 1920s and '30s as his work became widely exhibited Frederick Keppel, the renowned print dealer and a relative of Eby, became the exclusive agent for many of his print editions. With another global conflict beginning in the mid-1930s, Eby wanted to show the world the true face of war...

Otto Kuhler, 'George Washington Bridge' (under construction) also titled 'The Cables That Hold it All', etching, 1928, edition unknown. An uns...

Two early 20th-century Vienna Secessionist, male nude cornice drawings. Graphite on pale blue/grey wove drawing paper, spot glued by the artist to ...