1920s Abstract Prints

Monument im Fruchtland (Monument in the Fertile Country) 1929. after Paul Klee, 1879 – 1940 Original work : Pastel, 47.5 × 34.8cm. Bern, Zentrum Paul Klee. (Photograph via Archiv...

CLAUDE FLIGHT (1881 -1955) SWING BOATS 1921 (Coppel CF5) Color linocut, signed & no. 23/50, 8 5/8 x 11”. Sheet 10 x 13” on thin paper tipped to bla...

Jacques Villon (1875-1963) 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 P...

Etching and aquatint on Arches paper realized in 1912. Signature and inscription in pencil (tiré à 50). Rare specimen of the first edition, followed by a second one of 200 in 1955. ...

Henri Laurens: 1885-1954. Well listed French artist with Auction records in the millions of dollars and over $8000 for a print. This rare print came in a small edition of Which I bel...

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...

A very good impression of this scarce color etching and drypoint. Fourth state (of 4). Signed and numbered 54/100 in pencil, lower margin.

This original drypoint is hand signed in pencil by the artist “Kandinsky” at the lower right margin. It is also monogrammed and dated in the plate “VK 22” at the lower left image. It...

Created in 1929, this original French poster-map is entitled Les Vignobles des Grands Bourgognes – Côte de Nuits. Produced for Établissements Nicolas and printed by Dufrenoy in Paris, it presents a detailed survey of the northern section of Burgundy’s celebrated Côte-d’Or vineyards. The poster was issued during an important period in French wine history. Predating the introduction of the Appellation d’Origine Contrôlée system in 1935, it illustrates how precisely the geography of Burgundy’s vineyards was already understood and communicated. Such maps allowed wine merchants and enthusiasts to appreciate the close relationship between individual villages, vineyard parcels and the surrounding landscape. Its elongated panoramic format follows the narrow ribbon of vineyards extending toward Dijon. The map identifies renowned wine-producing villages including Nuits-Saint-Georges, Vosne-Romanée, Vougeot, Chambolle-Musigny, Morey-Saint-Denis, Gevrey-Chambertin, Fixin and Marsannay. Roads, settlements, wooded slopes and cultivated parcels are rendered with meticulous cartographic detail, while the soft pink shading clearly defines the principal vineyard areas. Établissements Nicolas, founded in Paris in 1822, became one of France’s best-known wine merchants. The company was particularly admired for its sophisticated advertising, commissioning posters, catalogues and educational maps that combined practical information with elegant graphic design. In this composition, the emphasis is placed on geographical precision and the prestige of the Côte de Nuits. With its unusual horizontal proportions and remarkable level of detail, this original 1929 poster...

Fernand Léger, French (1881 -1955) - Broom, Year: 1922, Medium: Woodcut, Image Size: 11.5 x 8.5 inches, Size: 12.5 x 9 in. (31.75 x 22.86 cm), Frame Size: 18 x 15 inches, Descri...

Created in 1929 for Établissements Nicolas, this original French poster-map is entitled Les Vignobles des Grands Bourgognes – Côte de Beaune. Printed by Dufrenoy in Paris, it offers a remarkably detailed survey of one of Burgundy’s most celebrated wine-growing regions. The map dates from an important period in the history of French wine. Produced several years before the introduction of the Appellation d’Origine Contrôlée system in 1935, it records how Burgundy’s vineyards and their geographical identities were presented during the interwar years. Maps of this kind helped wine merchants and enthusiasts understand the close relationship between individual villages, slopes and cultivated parcels. Its unusually elongated horizontal format follows the natural line of the Côte de Beaune. The composition extends from Chagny and Santenay through Chassagne-Montrachet, Puligny-Montrachet, Meursault, Volnay, Pommard and Beaune, continuing toward Aloxe-Corton, Pernand-Vergelesses and the beginning of the Côte de Nuits. Roads, villages and vineyard plots are rendered with precise cartographic linework, while muted ochre and red areas distinguish the principal wine-growing zones. Établissements Nicolas, founded in Paris in 1822, played an important role in the development of modern French wine retailing. The company was also known for its sophisticated visual communication, commissioning posters, catalogues and maps that combined practical information with strong decorative appeal. Here, the restrained palette and meticulous typography place the emphasis firmly on the geography and heritage of Burgundy. With its panoramic proportions and exceptional level of detail, this original 1929 poster...

Yunkers, Adja (American, born Latvia, 1900-1983). NANIGOS - CUBA, 1927. Miller 1. Color Woodcut. Edition of 250 published in Sweden in 1942 in the magazine Creation (Miller notes an ...

Hindenlang, Charles [Karl]. Gewerbemuseum, Basel/Licht Reklame. 1928. Color lithograph. Printed by Wasserman, Basel. 35 1/5 x 50 1/4." Hiddenlang was known primarily as a muralist with interests in painting, glassware, ceramics, stage and graphic design. Born in Basel and educated at the city's Gewerbeschule. The Kunsthalle Basel dedicated to him in 1965 along with Dick and Karl Otto...

A superb, richly-inked impression of this early, very scarce lithograph. Signed and dated in pencil, lower right. Inscribed "Babcock #10877" and "Hartley Estate #492" in pencil lowe...

This original etching is hand signed in pencil by the artist "Jacques Villon", at the lower right margin. It is also signed and dated in the plate in the lower right composition “Jac...

Landsape Klee, Paul 1879–1940. Landschaft bei Pilamb, 1934,23 (K 3). From Original : Aquarell und Feder über Bleistift auf Papier, auf Karton, 63,6/64 × 48,2 cm. Düsseldorf, Kuns...

Albert Gleizes, 'Descente de Croix', color pochoir, 1928, edition c. 50. Signed and dated in pencil. A fine, painterly impression, with fresh colors, on heavy, cream wove paper; the full sheet with margins (3 to 4 inches), in very good condition. The publisher's ink stamp 'EDITIONS MOLY-SABATA' beneath the image, lower left. Matted to museum standards, unframed. Image size 12 x 14 inches (305 x 356 mm); sheet size 18 x 22 inches (457 x 559 mm). ABOUT THE IMAGE After the 1927 painting 'Descente de Croix', one of three religious-themed works that Gleizes developed as preliminaries for murals at the church at Serrières, France, the project was terminated at its final phase, and Gleizes commissioned master printer Robert Pouyaud to create prints of the paintings, closely overseeing the production. ABOUT THE MEDIUM Pochoir is a refined stencil-based technique employed to create multiples or to add color to prints produced in other mediums. Characterized by its crisp lines and rich color, the print-making process was most popular from the late 19th century through the 1930s, with its center of activity in Paris. The pochoir process began with the analysis of an image’s composition, including color tones and densities. The numerous stencils (made of aluminum, copper, or zinc) necessary to create a complete image were then designed and hand-cut by the 'découpeur.' The 'coloristes' applied watercolor or gouache pigments through the stencils, skillfully employing a variety of different brushes and methods of paint application to achieve the desired depth of color and textural and tonal nuance. The pochoir process, by its handcrafted methodology, resulted in the finished work producing the effect of an original painting, and in fact, each print was unique. ABOUT THE ARTIST Albert Gleizes (1881-1953), born in Paris, France, was a pioneering figure in the development of abstract art and one of the leading proponents of Cubism. His contributions to the art world extended beyond his paintings; he was also a prolific writer and theoretician, advocating for a new approach to art that emphasized the geometric abstraction of form and a departure from representational traditions. Gleizes initially studied painting at the Académie Julian and the École des Beaux-Arts in Paris, where he was exposed to the academic conventions of the time. However, his artistic vision was profoundly influenced by encounters with avant-garde movements, including Fauvism and the work of Paul Cézanne. These influences led Gleizes to experiment with form and color, gradually moving away from traditional representation toward a more abstract and geometric style. After completing his secondary schooling, Gleizes spent four years in the French army and then began pursuing a career as a painter, primarily doing landscapes. Initially influenced by the Impressionists, he was only twenty-one years of age when his work titled ‘La Seine à Asnières’ was exhibited at the Société Nationale des Beaux-Arts in 1902. The following year, he was part of the first Salon d'Automne and soon came under the influence of Fernand Léger, Robert Delaunay, Jean Metzinger, and Henri Le Fauconnier. In 1907, Gleizes and some of his friends pursued the idea of creating a self-supporting community of artists that would allow them to develop their art free of any commercial concerns. For nearly a year, Gleizes  , with other painters, poets, musicians, and writers, lived at a large house in Créteil, but a lack of funds forced them to give up their facility in early 1908, and Gleizes moved temporarily into La Ruche, the artist commune in the Montparnasse Quarter of Paris. In the early 1910s, Gleizes became associated with the Cubist movement, which was spearheaded by artists such as Pablo Picasso and Georges Braque...

Produced in 1925, this original illustrated panoramic document presents the Mont Blanc massif as seen from Le Brévent, one of the finest viewpoints overlooking the Chamonix Valley. C...

Created in 1928 by Jeanne Thil for the Compagnie Générale Transatlantique, this original French travel poster promoted maritime travel to Algeria, Tunisia and Morocco. It was printed...

Lyonel Feininger, 'Da-Da I' also titled by the artist 'Der Abgott' (The Idol), woodcut, 1918, a proof impression. Prasse W91. Signed in pencil and annotated '1876', the artist’s inv...

Lyonel Feininger, 'Masken (Masks)' also 'Carnival Masks', woodcut, 1920, proofs only. Prasse W193. Signed and titled in pencil. Annotated '1973', the artist’s inventory number. A fin...

This original French Kodak advertising poster was created circa 1920 by illustrator René Lelong. Printed in color lithography by Hachard & Cie. in Paris, this example is an affic...

Original Russian-language cinema poster dating from the 1920s and created to promote the silent film presented under the Cyrillic title “Жертва деспотизма,” translated into English a...

CYRIL POWER (1874 - 1951) THE TUBE STAIRCASE, 1929 (Coypel CEP 11) Linocut, a likely unique proof impression of the key block in reverse, suggesting a counterproof. Unsigned. 17 ½” x 10”, sheet 20 x 14 ¾”. On a sheet of brown wove paper similar to newsprint. A few repaired tears in the margins. Provenance: Redfern Gallery, 2014 with label and inventory no. Redfern Gallery has represented the Grosvenor School...

Baumberger, Otto. PKZ 1923, Color lithograph, On Linen 50 1/2 x 35 1/2” Baumberger was one of the most prolific Swiss poster artists, with well over 200 designs to his credit. Beginning in 1917, he regularly worked for PKZ. This poster is not only the best he produced for the company but is also an icon in poster history. The tweed coat is rendered in near-photographic perfection to the point where you can practically feel the fabric. Baumberger took a totally new approach to advertising by ingeniously incorporating the poster's text into the image in the form of the label in the coat. With this poster Baumberger cemented his role as master of the "Object Poster," (a title he earned four years earlier with a classic image of a top hat), and began the trend of "New Objectivity" within the Swiss school of Graphic Design. A sensation from the day it was issued, this image remains compelling and proves to be one of the finest of the PKZ posters...

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Created in 1920, this original poster by Orth was printed in colour lithography to promote subscriptions to the French Treasury’s National Loan through the Banco di Roma. The poster directs investors to the bank’s Paris branch at 15 rue de Choiseul, where subscriptions were accepted without charge until 20 March. The campaign was launched during the difficult period of recovery that followed the First World War. National loans encouraged private citizens to place their savings at the service of the country, helping France address its financial obligations and reconstruction needs. By participating in the campaign, the Italian Banco di Roma presented itself as an active supporter of French recovery and Franco-Italian economic cooperation. The composition combines French financial advertising with imagery inspired by ancient Rome. An allegorical female figure wearing a classical gown and crested helmet stands...

Created around 1920, this original French poster by Jean Droit was printed in colour lithography by Gallais in Paris. It promotes the Emprunt National—the National Loan—and encourage...

This striking Art Deco lithograph poster, entitled "Pianos Daude," was created by the talented French artist Andre Daude around 1926. The poster is...

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Hand Signed. Edition of 100 prints. From the series “Les Fables de La Fontaine”.

Ecce Homo VII Woodcut, 1921 Signed, titled, and dated in pencil by the artist One of only three known impressions Created while the artist was studying at the Bauhaus in Weimar, Germany. Extreme rarity-One of three know impressions Note: In 1921 Drewes went to the Bauhaus in Weimar, where, after completing the compulsory preliminary course with Johannes Itten, he continued to study with Paul Klee, Oskar Schlemmer and Georg Muche and initially went to the wall painting workshop. He then traveled extensively through Europe, North America and Asia. After returning to Germany in 1927, he went back to the Bauhaus, this time to his new location in Dessau, where he studied in the classes of László Moholy-Nagy and Wassily Kandinsky. He was one of the first artists to introduce the groundbreaking concepts of the Bauhaus School in the United States through his painting, printmaking, and teaching. Condition: Excellent Missing small voids in the upper margin from removal of the original hinges. Image size: 9 7/8 x 8 3/16 inches Reference: Rose 30 Provenance: From the estate of Drewes's teacher at the Bauhaus. During the post WW2 the professor lived in East Germany. WERNER DREWES 1899-1985 Werner Drewes initially studied architecture before enrolling, in 1921-22, at the Bauhaus in Weimar under Klee, Kandinsky, Itten and Feininger. For four years - 1923 to 1927 - he travelled the world with his bride, before completing his Bauhaus training in Dessau in 1929. He immigrated to the United States in 1930, documenting that move to New York through series of woodcuts. In 1936/37 he was an active founder of the American Abstract Artists and participated in the Federal Arts Project in New York before moving on to a teaching career at Washington University in St. Louis. As an artist for over sixty five years, he employed various media from drawing and watercolor, through woodcut and etching, to painting and collage. Translating an early interest in subjective cubistic forms, his work evolved into nonobjective abstraction. He was creative until the day of his death. Courtesy: Toby C. Moss Werner Drewes (1899–1985) was a painter, printmaker, and art teacher. Considered to be one of the founding fathers of American abstraction, he was one of the first artists to introduce concepts of the Bauhaus school within the United States. His mature style encompassed both nonobjective and figurative work and the emotional content of this work was consistently more expressive than formal. Drewes was as highly regarded for his printmaking as for his painting. In his role as teacher as well as artist he was largely responsible for bringing the Bauhaus aesthetic to America. Early life and education Drewes was born in 1899 to Georg Drewes, a Lutheran pastor, and Martha Schaefer Drewes. The family lived in the village of Canig within Lower Lusatia, Germany. From age eight to eighteen he attended the Saldria Gymnasium, a boarding school in Brandenburg an der Havel. There, he showed talent both for painting and woodblock printing. Graduating from Saldria in 1917, he was drafted by the German army and served in France from then until the close of the war. About this period of his life he is reported to have said that the horrors of life at the front were only made tolerable by his sketchbook, a copy of Goethe's Faust and a volume of Nietzsche. For a decade following the close of the war he studied, made paintings and prints, and traveled widely. His friend, Herwarth Walden, helped shape his appreciation for expressionist literature and art. Walden produced the quarterly magazine, Der Sturm and ran a gallery of contemporary art, Galerie Der Sturm, from which, in 1919, Drewes purchased an expressionist painting by William Wauer titled Blutrausch (Bloodlust). In the same year he made the acquaintance of Heinrich Vogeler and participated in Vogeler's socialist utopian artists' commune, Barkenhoff, at Worpswede, Lower Saxony. In 1919 Drewes also enrolled at the Königlich Technischen Hochschule Charlottenburg to study architecture and the following year he studied the same subject at the Technischen Hochschule Stuttgart. Preferring art over architecture, he then enrolled in Stuttgart's school of applied arts (Kunstgewerbeschule) where he studied life drawing and learned to work with colored glass. At this time he joined a group of artists and architects associated with the newly formed Merz Akademie, a college of design, art, and media in Stuttgart. In 1921 his friendship with a French artist, Sébastien Laurent, led him to begin studies in Weimar at Bauhaus, then a new school which taught an integrated approach to the fine and applied arts. His instructors were Johannes Itten and Lyonel Feininger, whose paintings were expressionist and abstract, and Paul Klee, who taught bookbinding, stained glass, and murals. While at Bauhaus Drewes produced a portfolio of ten woodblock prints entitled "Ecce Homo." In 1923 and 1924 he studied art during travels throughout Italy, Spain, the United States, and Central America and in 1926 he traveled to San Francisco, Japan, and Korea, thence taking the Trans-Siberian railway to Manchuria, Moscow, and Warsaw. He later said the El Grecos he saw proved to be most influential in his work. While traveling, he exhibited: (1) etchings in Madrid (1923) and Montevideo (1924), oils and etchings in Buenos Aires and St. Louis (1925), and (3) etchings in San Francisco (1926). He paid his way by the sales these exhibits produced and by taking commissions to paint portraits. While in San Francisco he set up a shop from which he sold prints he had made in Spain and South America. After his return to Germany in 1927 he resumed study at Bauhaus, which had been forced to relocate in Dessau, Saxony-Anhalt. His instructors at that time were László Moholy-Nagy (metal work), Wassily Kandinsky, and (painting), and Lyonel Feininger (prints). At this time he also worked and exhibited in Frankfurt. With the rise of Nazism abstract artists found it increasingly difficult to sell their work and, in 1930, Drewes, finding the political pressure unbearable, emigrated to the United States. There, despite the world economic crisis, Drewes was able to earn a living as a professional artist. Mature style After Drewes moved to New York, Kandinsky, who was both friend and mentor, continued to exert a strong influence over his style. Later in life he said he had a hard time getting away from Kandinsky's influence as he developed his own style. In time he was able to bring a more emotional approach to his work and to base it, more than Kandinsky did, on natural forms. In 1930 Drewes had a solo exhibition at the 135th Street Branch of the New York Public Library and a two-person show at the S.P.R. Penthouse Gallery...

Serge Gladky - Art Deco Colorful Composition Original Pochoir Circa 1925 33 x 26 cm So what is a "pochoir?" In its most basic sense, it is a stencil. By the 1920’s and 1930’s, th...

With the printed signature of Picassp and date, as issued Based on an original composition of 1920, printed in 1946 Picture Dimensions: 21 x 31 cm. Sheet Dimensions: 31 x 41 cm Prin...

WENDINGEN - Number 2 of the 5th series 1923 dedicated to posters of Dutch artists author Jac.Jongert Color Lithograph after a drawing by Jan Sluijters. Dutch text cover designed by Jan Sluijters In good condition with minor wear. JAN SLUYTERS. Posters by Dutch Artists. Published March 1923. Introduction by Jac. Jongert, twenty-seven illustrations after designs by Roland Holst...

Lithograph realized by Abel Pann in 1920 ca. Hand signed lower right. Good condition except for a big repaired rip in the top right.

John Marin (1870-1953), Downtown, The El, etching, 1921, signed in pencil lower left (also signed and dated in the plate). Reference: Zigrosser 134, only state. Published initially by Alfred Stieglitz and then included as part of the Folio of American Etchings by the magazine The New Republic in 1924, in an edition of unknown size but probably above 500. In very good condition, the full sheet, on Van Gelder wove paper, 6 3/4 x 8 3/4, the sheet 11 x 13 3/4 inches. Provenance: Hirschl and Adler Galleries, Inc., New York, New York. A fine bright impression. Initially the New Republic Set, sometimes known as Six American Etchings, contained Marin’s Brooklyn Bridge No. 6 (Swaying) (Zigrosser 112). But after a small number of sets were completed, Downtown the El was substituted for Zigrosser 112 (and so the number of Downtown The Els in the set would have been a bit fewer than the others in the set). Zigrosser, who apparently had not seen a complete set at the time he created the catalogue raisonne, conjectured that the substitution might have been because the original plate was damaged. But since the printer, Peter Platt, was the most renowned artist’s printer of his time, and worked alone, it is unlikely that he would have damaged the plate; a more likely possibility is that he switched to a print that was more comparable in size to the others in the set (The Brooklyn Bridge print...

Kees van Dongen (b. 1877, Delfshaven – d. 1968 Monte Carlo) He is considered a Fauvist, but his style is still nevertheless closely related to the German Expressionists. He is appr...

Die Lilienweisse Stute is an book written by Carl Hauptmann (Obersalzbrunn, 1858 - Schreiberhau, 1921) and illustrated by Otto Schubert (born January 29, 1892 in Dresden - June 12, 1...

South shore is an original etching by Maurice Chot Plassot (1929). Hand- signed by the artist on the lower right corner and the title on the left corner. In very good contitions, ...

John Tandy, painter and stage designer, studied at the Architectural Association before becoming a student at Leon Underwood's Brook Green school and la...

John Tandy, painter and stage designer, studied at the Architectural Association before becoming a student at Leon Underwood's Brook Green school and la...

John Tandy, painter and stage designer, studied at the Architectural Association before becoming a student at Leon Underwood's Brook Green school and later studying at the Grosvenor ...

John Tandy, painter and stage designer, studied at the Architectural Association before becoming a student at Leon Underwood's Brook Green school and later studying at the Grosvenor ...

This linocut in black ink is hand signed in pencil by the artist ‘Moholy-Nagy’ in the lower right margin. It was hand printed by the artist in 1922. Note: Another dedicated impressi...

This exquisite etching by Marc Chagall (1887–1985), titled La troika au soir (The Troika at Evening), originates from the celebrated folio Nicolas Gogol, Les Ames mortes, Eaux-fortes...

This exquisite etching by Marc Chagall (1887–1985), titled Tchitchikov douanier (Tchitchikov the Customs Officer), originates from the celebrated folio Nicolas Gogol, Les Ames mortes...

This exquisite etching by Marc Chagall (1887–1985), titled A la tresorerie, le nouveau chef (At the Treasury, the New Chief), originates from the celebrated folio Nicolas Gogol, Les ...

This exquisite etching by Marc Chagall (1887–1985), titled A l'eglise (At the Church), originates from the celebrated folio Nicolas Gogol, Les Ames mortes, Eaux-fortes originales de ...

This exquisite etching by Marc Chagall (1887–1985), titled Tchitchikov couchait au bureau (Tchitchikov Slept at the Office), originates from the celebrated folio Nicolas Gogol, Les A...

This exquisite etching by Marc Chagall (1887–1985), titled La naissance de Tchitchikov (The Birth of Tchitchikov), originates from the celebrated folio Nicolas Gogol, Les Ames mortes...

This exquisite etching by Marc Chagall (1887–1985), titled Le pere de Tchitchikov lui donne une correction (The Father of Tchitchikov Gives Him a Spanking), originates from the celeb...

This exquisite etching by Marc Chagall (1887–1985), titled L'enterrement du procureur (The Funeral of the Prosecutor), originates from the celebrated folio Nicolas Gogol, Les Ames mo...

This exquisite etching by Marc Chagall (1887–1985), titled Le suisse ne laisse pas entrer Tchitchikov (The Swiss Guard Does Not Let Tchitchikov Enter), originates from the celebrated...

This exquisite etching by Marc Chagall (1887–1985), titled Tchitchikov se rase (Tchitchikov Shaves Himself), originates from the celebrated folio Nicolas Gogol, Les Ames mortes, Eaux...

This exquisite etching by Marc Chagall (1887–1985), titled Manilov et Tchitchikov sur le seuil de la porte (Manilov and Tchitchikov on the Threshold of the Door), originates from the...

This exquisite etching by Marc Chagall (1887–1985), titled Mal de dents (Toothache), originates from the celebrated folio Nicolas Gogol, Les Ames mortes, Eaux-fortes originales de Ma...

This exquisite etching by Marc Chagall (1887–1985), titled Le procureur en mourut (The Prosecutor Died of It), originates from the celebrated folio Nicolas Gogol, Les Ames mortes, Ea...

This exquisite etching by Marc Chagall (1887–1985), titled Kopeikine ou Napoleon (Kopeikine or Napoleon), originates from the celebrated folio Nicolas Gogol, Les Ames mortes, Eaux-fo...

This exquisite etching by Marc Chagall (1887–1985), titled Le conciliabule des fonctionnaires (The Conclave of the Officials), originates from the celebrated folio Nicolas Gogol, Les...