Early 1900s Art

Original antique drink advertising poster for the historic Chateau Mouton Rothschild wine estate in the Medoc region of Bordeaux featuring a coat of ...

Original antique advertising poster for Michelin tyres featuring a great illustration showing the trademark Bibendum character - the iconic Michelin Man figure made from tyres - smoking a cigar and riding a bicycle at speed along a country road with a sign on his back reading: Le meilleur le moins cher / The best the cheapest. Artwork by the French cartoonist Marius Rossillon...

Original antique advertising poster for the Fabrique Nationale D'Armes De Guerre-Herstal Paris 1900 Liege 1905 Grands Prix / Herstal Natio...

Original antique advertising poster for Litografia Carreras Lithography in the flowing Art Nouveau style of Mucha featuring a stunning image of an elegant lady holding a white lily f...

Wonderful head portrait of a St.Bernard or Hound dog. Edward Aistrop was a painter of dog portraits who worked in the latter part of the 19th century. He was amongst a band of arti...

Figure Study Red conte crayon on a steciled wallpaper sample, c. 1909 Unsigned Condition: Slightly light struck Image: 9 x 10 1/4" (22.86 x 26.04cm) Fra...

A wonderful pastel on board by French Nabis painter Edouard Vuillard depicting an interior scene with a yellow lamp amongst several other trinkets on a table and paintings and a cupboard on the wall behind. This piece is a study for the portrait of Madame Adrien Benard. Signature: Signed lower right and dated 1924 Dimensions: Framed: 15.5"x118" Unframed: 9.5"x12" Provenance: With thanks to Mathias Chivot who kindly confirmed the authenticity of this work. This work is catalogued in the archives of Roussel-Vuillard. Édouard Vuillard attended the Lycée Condorcet in Paris, where he made friends with Maurice Denis, Lugné-Poe, and Ker-Xavier Roussel, later his brother-in-law. He studied in Maillart’s studio; for six weeks came under the tutelage of Jean-Léon Gérôme at the École des Beaux-Arts in Paris; and later under William Bouguereau and Robert at the Académie Julian, where he became closely linked with the Nabis group (from the Hebrew word for ‘prophet’). He met Marcel Proust in 1902. From 1908, he taught at the Académie Ranson. In 1937, he was elected member of the Institute. At first, Vuillard painted small subjects, disciplined and proficient, qualities for which the prestigious École Française was famous. His earliest still-lifes (1888) are astonishing in their decisiveness and subtlety. His empathy for the object had already compelled him to soften its appearance; the object, which, by virtue of its bright or glossy presence, remained the nonego and the ‘thing represented’ for so many others. ‘Intimacy’ developed immediately between the painter and this modest environment; inhabiting it every day enabled him to celebrate its splendour, and it was to remain his favourite environment. But he was already alternating between small portraits and still-lifes, which gained recognition because of their natural qualities and dignity of tone: a rare combination in a beginner. About 1890, influenced indirectly by Paul Gauguin, all the certainties which the self-styled Nabis painters had contented themselves with suddenly collapsed. Everything was called into question again: both the linear layout of the picture and its colour scheme; the choice of subject and its material aspect; its manufacture and its purpose. Vuillard’s paintings at that time show surprising, bold innovations and an arbitrary power, which one would expect 15 or 20 years later at the height of the Fauvist period. The preoccupation with an internal geometry set them apart from earlier studies. From then on, the paintings were based on forms, lines, and colours. Vuillard made concessions. He produced a portrait or interior with its furniture and its wallpapers, in which the family inhabiting it, evolves. Treated with flat areas of colour and solid shades of ochres, reds, blues, and saffron yellow, without modulation, they seem to prefigure certain paintings by Henri Matisse and Roger de La Fresnaye. In 1891, Vuillard painted an Elegant Lady, a silhouette seen from the back; a long vertical shape starting from the hair decorated with brown feathers; there is a kind of pink cloak, the tight and never-ending black skirt, erect in front of a half-open, bright orange door in a green wall, from where the light of another vertical shape emerges, which is bright yellow, and is reflected in red on the parquet at the feet of the elegant lady. This painting meets his concerns about the actual moment of creating ‘harmonies corresponding to our feeling’, and by virtue of its almost geometric structure, its drawing entirely free of detail, its light effects and colour harmonies, very much prefigures aspects of the future Abstraction movement and is oddly reminiscent of the final period of Nicolas de Staël. All too often, Vuillard is only admired in his role as the harmonist, the serene contemplator who combines an exquisite sense of nuance, rhythms, and values with the most acute observation. These singular investigations, these three-dimensional meditations including a table, a folding metal cot...

Original antique travel poster for Norway The Land of the Midnight Sun featuring great artwork by Othar Holmboe (1868-1928) depicting a traditional wooden Norwegian Stavkirke church ...

La figlia di Iorio is a rare colored lithograph, printed by G. Ricordi and C. Milano, Milan in 1906 in occasion of the theater play La Figlia di Iorio, text by Gabriele D'Annunzio and music by Alberto Franchetti. A very beautiful vintage advertising poster, in excellent conditions, except for a minor rip on the right margin at the bottom. This defect does not touch the image. This original poster representing a woman dressed in red in a golden wheat field has the dignity of an object of art, carrying the signature on plate on the lower right margin of Adolfo de Karolis...

Image dimensions: 26x18.2 cm. Costina's Coffee is a beautiful colored lithograph on cardboard, realized by the Polish illustrator Franz Laskoff and prin...

Berthon, Paul. QUEEN WILHELMINA. Color lithograph, 1901. Signed in the stone. The large format version of Berthon's famous image of Queen Wilhemina. 1...

Original antique rowing poster by Olivier Pichat (1825-1912) featuring a coxed pair rowing race in a scenic setting with the two coxes in the foreground ...