Early 1900s Figurative Prints

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

Danaë, no. 2 from the fourth installment of Das Werk Gustav Klimts Danae originates from Greek mythology. She is the daughter of the King of Argos. Because a...

Young Woman is an original lithograph artwork, realized in 1903 by Charles Lucien Léandre (1862–1934). Signed on plate on the lower left and dated. Th...

Donald Shaw MacLaughlan's small, even 'miniaturist' etching, 'A Tuscan Farm,' features an idyllic view of a scene he would have encountered on his European...

Etching and aquatint realized in 1909. Belongs to the series "Amor und Psyche. Opus V". Very good condition.

Water Snakes I, no. 9 from the first installment of Das Werk Gustav Klimts Known by various names, Women Friends, Girlfriends, Water Snakes I and what Kli...

Image dimensions: 20.2 x 15.3 cm. The Old Horse is a superb original etching (on copper matrix) on paper, signed on plate by the Italian Macchiaioli master...

Mucha, Alfons Maria 1860 - 1939 Lefevre-Utile - Sarah Bernhardt Lithograph 1903 Dimensions: 27.5 x 20 in. (70 x 51 cm) Framed: 28 x 35.5 Inches Printe...

Image dimensions: 26x18.2 cm. S. Petrus is a beautiful colored lithograph on cardboard, realized by the Polish illustrator Franz Laskoff and printed aro...

Landscape is an original etching artwork realized in the 1904 ca. by Italian artist Francesco Vitalini. Hand-signed on the lower right in pencil. The State of preservation is very ...

This listing is for 3 collotypes: "Medicine", "Jurisprudence", and "Philosophy", pictured, from the Das Werk portfolio by Gustav Klimt and k.k. Hof-und Staatsdruckerei, published by H.O. Miethke. Gustav Klimt created glyphs, unique to each of these pieces, specifically for this portfolio. Further information below: About the portfolio: DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under each of the 50 prints is a gold signet intaglio printed on the cream paper each of which Klimt designed for the publication as unique and relating to its corresponding image; H.O. Miethke, Editor-Publisher; k.k. Hof-und Staatsdruckerei, Printer; printed in a limited edition of 300 numbered plus several presentation copies; Vienna, 1908-1914. The idea of collaboration in the arts is anything but new; however it has so often been viewed and assessed as somehow devaluing the intrinsic worth of art. It’s as if it was a dirty secret to be hidden away. More so even than the eroticism explored by Klimt, which divided public opinion, the artistic avant-garde began to boldly flaunt artistic collaboration beginning in the 19th century- which gained steam in the first part of the 20th century- to become a driving vehicle of contemporary artistic creation. Viewed in this context, the folios of collotype prints published by H.O. Miethke in Vienna between 1908-1914 known as Das Werk Gustav Klimts, are important art documents worthy of as much consideration for their bold stand they take on established ways of thinking about artistic collaboration as they are for their breathtakingly striking images. 1908 is indeed a watershed moment in the history of art. To coincide with the 60th anniversary of the reign of Emperor Franz Joseph I, Kunstschau opened in Vienna in May of that year. It was there that Klimt delivered the inaugural speech. Speaking about the avant-garde group’s unifying philosophy of Gesamtkunstwerk, or the synthesis of the arts, Klimt shared his belief that the ideal means to bring artists and an audience together was via “work on major art projects.” It was at Kunstschau 1908 that Klimt first exhibited his most iconic painting, The Kiss, as well as The Sunflower, Water Snakes I and II and Danae. It was at Kunstschau 1908 that Das Werk Gustav Klimts was first available for purchase. Thanks to Galerie Miethke’s organization, Kunstschau 1908 was possible. Miethke’s pioneering art...

Claude Renoir, la Tete Baisee (Claude Renoir, Head Lowered) Lithograph, 1904 Edition 1,000, this one of 950 on wove paper with the stamp signature (there were also 50 impressions pri...

Image dimensions: 16.5x10 cm Signed on plate by the artist. Bibliography: A.Baboni, L’Ottocento: le incisioni di Giovanni Fattori, Museo Civico “Giovanni Fattori”, Livorno 2001, p. 7...

Georges MEUNIER Starlight Soap, 1900 Original Lithograph Printed signature in the plate On vellum Size 39 x 29 cm (c. 15.3 x 11.4") INFORMATION : Plate ...

Cecil Charles Windsor Aldin, was a British artist and illustrator best known for his paintings and sketches of animals, sports, and rural life. Aldin executed village scenes and rura...

Black and white print of an upper class women in a carriage. There are other figures in the back riding in a carriage as well. Edition 17 of 58. Painting is signed by the artist and ...

Sadness is an etching realized by Albert Besnard in 1909. Etching ex. 6/30. Slab dimension cm. 15 x 9,5. paper cm. 25 x 18. Pencil signature and date in the lower right part, date in the left part. Good conditions. Paul Albert Besnard (Parigi 1849 - 1934)born in Paris, was the son of an artist; his father, Louis Adolphe, was a painter and his mother, Louise Pauline Vaillant, was an esteemed miniaturist, a pupil of Lizinska de Mirbel. Besnard first studied drawing and painting with Jean-François Brémond and at 17 entered the École des Beaux-Arts, where he was taught by Alexandre Cabanel. In 1874 he won the Prix de Rome with the canvas "Death of Timofane, tyrant of Corinth", and during his stay at Villa Medici he had the opportunity to meet Franz Liszt and his pupil André Worsmer, whose portrait he painted in 1877. his stay in Italy and, in 1879he married the sculptor Charlotte Dubray, daughter of the sculptor Gabriel-Vital Dubray, with whom he moved to England for three years, until 1884, exhibiting at the Royal Academy of Arts in London. At the Paris Salon of 1886 his "Portrait of Madame Roger Jourdain...

This listing is for a single print, pictured, from the Das Werk portfolio by Gustav Klimt and k.k. Hof-und Staatsdruckerei, published by H.O. Miethke. Gu...

Plate #6 from Gustav Klimt's 1907 "Dialogues of the Courtesans" portfolio, consisting of 15 collotypes on cream japon paper. The drawings in this folio are said to be studies for Klimt's well-known Water Serpents paintings...

ALPHONSE MUCHA (1860 – 1939) Flirt Biscuits Rennert/Weill 72 Lithograph in colors c. 1900 Signed in stone, lower right margin Image: 24” x 11”, Paper: 25 ¼” x 11 ¾” F...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

La Toilette Drypoint, 1908 Signed and numbered in pencil by the artist (see photos) Edition: 65 this state (35/65) Published by Gustave Pellet (1859-1919),...

'Le Pecheur' is an excelletn example of the aquatints of Manuel Robbe, a French artists working during the turn of the 20th century. The image draws upon th...

Avril (April) Color aquatint and etching, c. 1906 Signed in pencil lower right Edition: c. 100 Excellent impression, fresh colors Reference: Merrill Chase Volume 1, No. 9 Condition: ...

L'Aieule (The Grandmother) Etching and aquatint printed in colors, 1904 Signed with the red stamp of the publisher, Gustave Pellet, Lugt 1193 and numbered (see photo) Edition: 100 (81/100) Reference: Arwas 202 iv/IV IFF 98 Condition: Excellent, the sheet aged as usual Image size: 14 1/4 x 18 5/8" Sheet size: 16 15/16 x 24 1/4" Louis Auguste Mathieu Legrand (29 September 1863 – 1951) was a French artist, known especially for his aquatint engravings, which were sometimes erotic. He was awarded the Légion d'honneur for his work in 1906. Life Legrand was born in the city of Dijon in the east of France. He worked as a bank clerk before deciding to study art part-time at Dijon's Ecole des Beaux-Arts. He won the Devosge prize at the school in 1883.[2] In 1884 Legrand studied engraving under the Belgian printmaker Félicien Rops. Legrand's artworks include etchings, graphic art and paintings. His paintings featured Parisian social life. Many were of prostitutes, dancers and bar scenes, which featured a sense of eroticism. According to the Hope Gallery, "Louis Legrand is simply one of France's finest early twentieth century masters of etching." His black and white etchings especially provide a sense of decadence; they have been compared to those of Henri de Toulouse-Lautrec, though his drawings of the Moulin Rouge, the can-can dance and the young women of Montmartre preceded Toulouse-Lautrec's paintings of similar scenes. He made over three hundred prints of the night life of Paris. They demonstrate "his remarkable powers of observation and are executed with great skill, delicacy, and an ironic sense of humor that pervades them all." Two of his satirical artworks caused him to be tried for obscenity. The first, "Prostitution" was a symbolic drawing which depicted a naked girl being grasped by a dark monster which had the face of an old woman and claws on its hands; the second, "Naturalism", showed the French novelist Émile Zola minutely studying the thighs of a woman with a magnifying glass. Defended by his friend the lawyer Eugène Rodrigues-Henriques (1853–1928), he was found not guilty in the lower court, but was convicted in the appeal court and then given a short prison sentence for refusing to pay his fine. Legrand was made famous by his colour illustrations for Gil Blas magazine's coverage of the can-can, with text by Rodrigues (who wrote under the pseudonym Erastene Ramiro). It was a tremendous success, with the exceptional quantity of 60,000 copies of the magazine being printed and instantly sold out in 1891. In 1892, at the instigation of the publishing house Dentu, Legrand made a set of etchings of his Gil Blas illustrations. The etchings were published in a book, Le Cours de Danse Fin de Siecle (The End of the Century Dance Classes). Legrand took a holiday in Brittany, which inspired him to engrave a set of fourteen lithographs of simple country life called Au Cap de la Chevre (On Goat Promontory). It was published by Gustave Pellet who became a close friend of Legrand's. Pellet eventually published a total of 300 etchings by Legrand, who was his first artist; he also published Toulouse-Lautrec and Félicien Rops among others. He did not only work in graphics; he exhibited paintings at the Paris salon of the Société Nationale des Beaux-Arts starting in 1902. In 1906 he was made a chevalier of the Légion d'honneur. Legrand died in obscurity in 1951. A retrospective exhibition was held at the Félicien Rops museum in Namur, Belgium in 2006 to celebrate his graphic art. The art collector Victor Arwas published a catalogue raisonné for the occasion. Books illustrated de Maupassant, Guy: Cinq Contes Parisiens, 1905. Poe, Edgar Alan: Quinze Histoires d'Edgar Poe...

Lionne à l'affût is a wonderful etching on cream-colored laid paper, realized in 1900 by Evert Van Muyden (1853-1922). Signed and dated on plate on the lower left margin, this beaut...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

Drypoint on gewöhnlichem aber holzfreiem vélin paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the album, Verzeichnis Des graphischen Werks Edvard Munchs Bis 1...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

CAPPIELLO, LEONETTO (1875 - 1942) "Katabexine" Lithograph in color, linen-backed c. 1903 Sheet size: 54.25” x 39” Cap./GP, 252; Cap/StV, 4.22; DFP-II, 118; Schardt, pp. 174-5; PAI-V...

Water Snakes II, no. 9 from the fourth installment of Das Werk Gustav Klimts The last painting Klimt exhibited with the Secession before resigning, Water ...

Drypoint on gewöhnlichem aber holzfreiem vélin paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the album, Verzeichnis Des graphischen Werks Edvard Munchs Bis 1...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper wi...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under each of the 50 prints is a gold signet intaglio printed on the cream paper each of which Klimt designed for the publication as unique and relating to its corresponding image; H.O. Miethke, Editor-Publisher; k.k. Hof-und Staatsdruckerei, Printer; printed in a limited edition of 300 numbered plus several presentation copies; Vienna, 1908-1914. The idea of collaboration in the arts is anything but new; however it has so often been viewed and assessed as somehow devaluing the intrinsic worth of art. It’s as if it was a dirty secret to be hidden away. More so even than the eroticism explored by Klimt, which divided public opinion, the artistic avant-garde began to boldly flaunt artistic collaboration beginning in the 19th century- which gained steam in the first part of the 20th century- to become a driving vehicle of contemporary artistic creation. Viewed in this context, the folios of collotype prints published by H.O. Miethke in Vienna between 1908-1914 known as Das Werk Gustav Klimts, are important art documents worthy of as much consideration for their bold stand they take on established ways of thinking about artistic collaboration as they are for their breathtakingly striking images. 1908 is indeed a watershed moment in the history of art. To coincide with the 60th anniversary of the reign of Emperor Franz Joseph I, Kunstschau opened in Vienna in May of that year. It was there that Klimt delivered the inaugural speech. Speaking about the avant-garde group’s unifying philosophy of Gesamtkunstwerk, or the synthesis of the arts, Klimt shared his belief that the ideal means to bring artists and an audience together was via “work on major art projects.” It was at Kunstschau 1908 that Klimt first exhibited his most iconic painting, The Kiss, as well as The Sunflower, Water Snakes I and II and Danae. It was at Kunstschau 1908 that Das Werk Gustav Klimts was first available for purchase. Thanks to Galerie Miethke’s organization, Kunstschau 1908 was possible. Miethke’s pioneering art house had become Klimt’s exclusive art dealer and main promoter of his modernist vision. Paul Bacher and Carl Moll, a founding member with Klimt of the Vienna Secession, who all broke away during the rift in 1905, took stewardship of the gallery following the fallout with the Secession. Das Werk Gustav Klimts is a prime example of Miethke’s masterful and revolutionary approach to marketing art. Miethke’s innovative marketing strategy played to a penchant for exclusivity. The art gallery and publishing house utilized the press and art critics- such as Austria’s preeminent Art Historian, Hugo Haberfield, who became Director of the gallery in 1912- as a means of gaining publicity as well as maintaining effective public relations. Miethke used the grand exposition format to extend the art gallery’s market reach, cultivating their product’s prestige by stroking the egos of current art patrons while simultaneously creating accessibility for newcomers and others avid collectors to share a relative proximity to other wealthy and respected members of the art collecting community. Essentially, their approach paved the way for what is still the predominant means of marketing. Between 1908 and 1914, H.O. Miethke published a total of 5 installments of print folios of Klimt’s painted work, each comprising 10 prints. The series was limited in availability to 300 and purchase was arranged through subscription. Each issue was presented unbound in a gold embossed black paper folder. Included in the folio was a Title Page, a Justification page and a Table of Contents page itemizing each of the 10 printed works with details about their corresponding painted works as well as information about each work’s current owner. These folios were not comprehensive of Klimt’s work; but rather, they feature what he believed were his most important paintings from 1898-1913. Only 2 collotypes in each folio were multicolored. To punctuate the fact that Klimt, himself, was very much an active player in creating these printed works, he created square-shaped signets, unique to each collotype which were intaglio printed in gold ink at the bottom of the cream wove papers to which the chine collie papers were affixed.These signets relate thematically to their corresponding printed images and designate each of those images by their placement in the folio’s Table...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

ROBERT WALKER MACBETH (British 1848-1910) After GEORGE FREDERIC WATTS (British 1817-1904) A Greek Idyll Proof etching Signed in pencil by both the artist l.l. and engraver l.r. Framed Plate size 42 by 54 cm., 16 ½ by 21 ¼ in. (frame size 72.5 by 85 cm., 28 ½ by 33 ½ in.) After Watt’s 1894 painting...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

This etching with aquatint was created by French printmaker Manuel Robbe. Robbe’s innovative techniques, along with his sense of color harmony and his choice of subjects: stylish wom...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

La composition de cette lithographie représente 3 roses vues en gros plan sur un fond de paysage bucolique, mêlant un parterre de fleurs blanches et, au second plan, quelques silhoue...

Jacques Villon, American (1875-1963), Sous la Tente, Sur la Plage, Bionville, circa 1905. Ginestet Pouillon 137. Trial proof in color outside of the edition of 50. With blindstamp in...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper w...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under each of the 50 prints is a gold signet intaglio...

Villon, Jacques. CAKE WALK DES PETITES FILLES. GP.102, second state of four. Drypoint and aquatint in colors, 1904. Edition of only 10 (there was an edition of 30 in state 4, with th...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

Artist: Maurice Eliot (French, 1862-1945) Title: "Parisienne" Portfolio: Revue de l'Art Ancien & Moderne *Issued unsigned, though signed by Eliot in the plate (printed signature) low...

The first of Poiret's two deluxe fashion albums featuring 10 full page (2 fold-out) pochoir illustrations by Paul Iribe. Poiret's syles indicate the new freedom in women's fashions ...

"Les Emigrants" is an original roller engraving by Auguste Brouet. The artist signed the piece lower right and wrote the edition number (30/50) lower left. This engraving depicts a f...

Alfons Mucha DOCUMENTS DECORATIFS Six color lithographs, 1902, on wove paper, printed by F. Champenois, Paris, published by the Librarie Cen...

Villon, Jacques. LES PETITS HALEURS. GP 176. Etching and Aquatint, 1907. Edition of 50 on Arches laid paper, signed and numbered in pencil, 5 3/4 x 7 3/4 inch...

Sem, (George Goursart). Ouverture de la Chasse ua Bois de Boulogne.. Ca 1900. Signed in the stone. Slight center vertical fold, otherwise in very good condition. Signed in the sto...

Kurzweil, Maximilian. Der Polster, 1903. Color woodcut on japon. Included as an insert in Pan. Unsigned. Framed.11 1/4 x 10 1/4. 1 Ref: Hofstatter, p. 241; Pabst, p. 154. Maximillian Kurzweil was the co-founder of the Vienna Secession in 1897 and editor and illustrator of the influential Secessionist magazine Ver Sacrum...

Giovanni Frangipani is a beautiful colored lithographed original manifesto on cardboard, realized around the first years of the XX century by the Italian artist Giuseppe Palanti. Pr...

A framed Art Nouveau lithograph collotype poster by Alphone Mucha from 1905 representing the artist’s sketches of nudes, women and beautiful ladies in blues and white pigments on vel...

A framed Art Nouveau lithograph collotype poster by Alphone Mucha from 1905 representing the artist’s sketches of nudes, women and beautiful ladies in blues and white pigments on vel...