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1920s Abstract Prints

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Period: 1920s
'Descente de Croix' (Descent from the Cross) — 1920s French Cubism
Located in Myrtle Beach, SC
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...
Category

Cubist 1920s Abstract Prints

Materials

Stencil

Night Shadows
Located in New York, NY
A superb, richly-inked impression of this iconic etching. Edition of approximately 500. Signed in pencil by Hopper, lower right. Published by The New Republic, New York. Catalogue ...
Category

Realist 1920s Abstract Prints

Materials

Etching

Ecce Homo VII
Located in Fairlawn, OH
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, Germ...
Category

Expressionist 1920s Abstract Prints

Materials

Woodcut

Great Berlin Art Exhibition 3 Part Space Construction
Located in London, GB
A historic Constructivist screenprint in a museum-grade frame. Screenprint made by Peter László Péri in 1923 for the Great Berlin Art Exhibition. It...
Category

Constructivist 1920s Abstract Prints

Materials

Screen

NANIGOS - CUBA, 1927
Located in Portland, ME
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 ...
Category

1920s Abstract Prints

Materials

Woodcut

Henri Laurens “Tete de Femme a L’eventail’
Located in San Francisco, CA
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 believe was only 30. This is number 22 which it is pencil marked and also pencil signed by the artist. The print itself measures seven and three-quarter inches high by 5 3/8 inches wide. The paper measures approximately 12 inches high by 9 3/4 inches wide. It is housed in a fabulous vintage hand carved Munn frame...
Category

Cubist 1920s Abstract Prints

Materials

Etching

Spatial Balance, Serigraphy, Futurism, Futur-Balla
Located in Milano, IT
Spatial Equilibrium, 1925-26 is Balla's experimentation with space and movement dating from 1925-26, done on limited-run, very high-quality silkscreen prints. Edizione postuma pubbli...
Category

Futurist 1920s Abstract Prints

Materials

Screen

"Woman at the Seaside -La Garconne Series, " a Color Pochoir
Located in Milwaukee, WI
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...
Category

Art Deco 1920s Abstract Prints

Materials

Other Medium

Le Cheval
Located in Fairlawn, OH
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...
Category

Cubist 1920s Abstract Prints

Materials

Etching

Les Archéologues IV
Located in Roma, IT
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...
Category

Surrealist 1920s Abstract Prints

Materials

Lithograph

The Guitar Player 1920s woodcut by Edward Burra Modern British Art
Located in London, GB
To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you ...
Category

Abstract 1920s Abstract Prints

Materials

Woodcut

L'Éventail rose
Located in New York, NY
A very good impression of this scarce color etching and drypoint. Fourth state (of 4). Signed and numbered 54/100 in pencil, lower margin.
Category

Cubist 1920s Abstract Prints

Materials

Color, Drypoint, Etching

The Man in Love, from: Masters Portfolio - Signed Lithograph - Bauhaus
Located in London, GB
PAUL KLEE 1879-1940 Münchenbuchsee 1879 - 1940 Muralto (German) Title: The Man in Love, from: Masters Portfolio of the Staatliches Bauhaus Der Verliebte: Meistermappe des Staatlichen Bauhauses, 1923 Technique: Original Hand Signed Lithograph in Colours on Wove Paper Paper size: 34.2 x 27 cm. / 13.5 x 10.6 in. Image size: 27.7 x 19 cm. / 10.9 x 7.5 in. Additional Information: This original lithograph in colours is hand signed in pencil by the artist "Klee" at the lower right margin. Our impression is from the final state of this lithograph which was printed in a limited edition of 100 impressions by Staatliches Bauhaus, Weimar. It was published by Bauhaus Verlag. Munich and Weimar. Other impressions of this work can be found in the collections of the Zentrum Paul Klee, Bern, the Museum of Modern Art, New York, San Francisco Museum of Modern Art, California, and Centre Pompidou, Paris. Note: This composition is one of eight subjects which comprise the ‘Meistermappe des Staatlichen Bauhauses’ [The Masters Portfolio of the Bauhaus]. The contributors to the portfolio were Paul Klee, Wasily Kandinsky, László Moholy-Nagy, Lothar Schreyer...
Category

Bauhaus 1920s Abstract Prints

Materials

Lithograph

Café 1920s woodcut by Edward Burra Modern British Art
Located in London, GB
To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message ...
Category

Abstract 1920s Abstract Prints

Materials

Woodcut

Oceanic Flowers, 1926 - Original Lithograph
Located in Paris, FR
E.H. Raskin Oceanic Flowers, 1926 Original lithograph and stencil Printed signature in the plate On paper, 37,5 x 27,5 cm (c. 14,7 x 10,8 inch) INFORMATION : This lithograph is par...
Category

Art Deco 1920s Abstract Prints

Materials

Lithograph, Stencil

Oceanic Batik, 1926 - Original Lithograph
Located in Paris, FR
E.H. Raskin Oceanic Batik, 1926 Original lithograph and stencil Printed signature in the plate On paper, 37,5 x 27,5 cm (c. 14,7 x 10,8 inch) INFORMATION : This lithograph is part ...
Category

Art Deco 1920s Abstract Prints

Materials

Lithograph, Stencil

Grapes
Located in New York, NY
A superb, richly-inked impression of this early, very scarce lithograph. Signed and dated in pencil, lower right.
Category

American Modern 1920s Abstract Prints

Materials

Lithograph

The Punter
Located in New York, NY
A superb, richly-inked impression of this etching. Edition of 150. Signed in pencil, lower left.
Category

American Impressionist 1920s Abstract Prints

Materials

Etching

Coral Reef, 1926 - Original Lithograph
Located in Paris, FR
E.H. Raskin Coral Reef Original lithograph and stencil Printed signature in the plate On paper, 37,5 x 27,5 cm (c. 14,7 x 10,8 inch) INFORMATION : This lithograph is part of the se...
Category

Art Deco 1920s Abstract Prints

Materials

Stencil, Lithograph

South Shore - Etching by Maurice Chot Plassot - 1929
Located in Roma, IT
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, ...
Category

Modern 1920s Abstract Prints

Materials

Etching

La tonnelle rustique
Located in Paris, FR
Engraving, ca1926 Handsigned by the artist in pencil and numbered 21/22 26.00 cm. x 17.00 cm. 10.24 in. x 6.69 in. (paper) 12.00 cm. x 8.00 cm. 4.72 in. x 3.15 in. (image) LCD4844
Category

Abstract 1920s Abstract Prints

Materials

Engraving

Die Lilienweisse Stute - Lithographs by Otto Schubert - 1920
Located in Roma, IT
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...
Category

Expressionist 1920s Abstract Prints

Materials

Lithograph, Paper

Royal Insurance Building of Canada. (Royal Globe Insurance Company Building)
Located in Storrs, CT
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...
Category

American Modern 1920s Abstract Prints

Materials

Drypoint

Art Deco, The Sea : Snail Flower, 1926 - Original Lithograph
Located in Paris, FR
E.H. Raskin Snail Flower Original lithograph and stencil Printed signature in the plate On paper, 37,5 x 27,5 cm (c. 14,7 x 10,8 inch) INFORMATION : This lithograph is part of the ...
Category

Art Deco 1920s Abstract Prints

Materials

Lithograph

After Pablo Picasso - The Basket
Located in Collonge Bellerive, Geneve, CH
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...
Category

American Modern 1920s Abstract Prints

Materials

Lithograph

Wendingen - Cover Jan Sluijters . Issue No 2 of the 5th series 1923.
Located in New York, NY
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...
Category

Modern 1920s Abstract Prints

Materials

Lithograph

Serge Gladky - Art Deco Colorful Composition - Original Pochoir
By Serge Gladky
Located in Collonge Bellerive, Geneve, CH
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...
Category

Art Deco 1920s Abstract Prints

Modern Abstract Woodcut c1928 by John Tandy
Located in Long Island City, NY
John Tandy, painter and stage designer, studied at the Architectural Association before becoming a student at Leon Underwood's Brook Green school and la...
Category

Modern 1920s Abstract Prints

Materials

Woodcut

A note on the Latin preface to Eric Gill's introduction for his Engravings, 1929
Located in Storrs, CT
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...
Category

Modern 1920s Abstract Prints

Materials

Wood, Engraving, Woodcut

Modern Abstract Woodcut c1928
Located in Long Island City, NY
John Tandy, painter and stage designer, studied at the Architectural Association before becoming a student at Leon Underwood's Brook Green school and la...
Category

Modern 1920s Abstract Prints

Materials

Woodcut

Daphne - Lithograph by F. Siméon - 1925
Located in Roma, IT
A beautiful litograph realized by Fernand Siméon in1925. The state of preservation is very good. The sheet is folded in half: on the third page a french poem. Fernand Siméon (1884...
Category

Modern 1920s Abstract Prints

Materials

Lithograph

Modern Abstract Woodcut c1928
Located in Long Island City, NY
John Tandy, painter and stage designer, studied at the Architectural Association before becoming a student at Leon Underwood's Brook Green school and la...
Category

Modern 1920s Abstract Prints

Materials

Woodcut

Modern Abstract Woodcut c1928
Located in Long Island City, NY
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 ...
Category

Modern 1920s Abstract Prints

Materials

Woodcut

Open Action.
Located in Storrs, CT
Published edition, not trial proof Open Action. 1926/1928. Etching. Giardina 124. 7 x 15 1/8 (sheet 12 3/4 x 15 1/4). Trial proof, prior to the edition of 90. A rich, tonal impressi...
Category

American Modern 1920s Abstract Prints

Materials

Etching

SWING BOATS
Located in Santa Monica, CA
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 black-b...
Category

Futurist 1920s Abstract Prints

Materials

Linocut

Les Deux Taureaux et une Grenouille - Etching by Marc Chagall
Located in Roma, IT
Hand Signed. Edition of 100 prints. From the series “Les Fables de La Fontaine”.
Category

Surrealist 1920s Abstract Prints

Materials

Etching

Modern Abstract Woodcut c1928
Located in Long Island City, NY
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 ...
Category

Modern 1920s Abstract Prints

Materials

Woodcut

TUBE STAIRCASE - Unique Trial Proof
Located in Santa Monica, CA
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...
Category

Modern 1920s Abstract Prints

Materials

Linocut

PKZ Coat
Located in New York, NY
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...
Category

Art Deco 1920s Abstract Prints

Materials

Lithograph

Le Retour du Fils Prodigue I
Located in Roma, IT
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...
Category

Surrealist 1920s Abstract Prints

Materials

Lithograph

Gewerbemuseum, Basel/Licht Reklame. 1928.
By Charles Karl Hidenlang
Located in New York, NY
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...
Category

Bauhaus 1920s Abstract Prints

Materials

Lithograph

American Cathedral (The Woolworth Building).
Located in Storrs, CT
American Cathedral (The Woolworth Building). 1921. Etching. Fletcher 107. 17 x 6 5/8 (sheet 21 1/2 x 9 1/8). Edition 75. Provenance: estate of David...
Category

American Modern 1920s Abstract Prints

Materials

Etching

Abstract Geometric Composition (abstract art, constructivism and concrete art)
Located in Kansas City, MO
Thilo Maatsch (* 1900 † 1983) Title: Abstract Geometric Composition Woodcut Year: 1925 Signed, dated Edition: unknown Size: 8.8 × 7.8 inches Thilo Fried...
Category

Abstract Expressionist 1920s Abstract Prints

Materials

Woodcut

Skyline, New York
Located in Storrs, CT
Skyline, New York. 1919. Etching and drypoint. McCarron 36. 8 7/8 x 10 3/8 (sheet 12 1/4 x 14 . 11 recorded impressions (intended edition 50. Lewis states that he destroyed 6 of the ...
Category

American Modern 1920s Abstract Prints

Materials

Drypoint, Etching

Downtown, The El
Located in New York, NY
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...
Category

Futurist 1920s Abstract Prints

Materials

Etching

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