Early 20th Century Figurative Prints

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...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extolling his artistic merits during his lifetime to showing something of a feigned disdain- more reflective of the world political order than a true change of heart for Hodler’s work. After years of Hodler being all but a footnote in the annals of art history and generally ignored, finally, the pendulum has righted itself once again. Recent retrospective exhibitions in Europe and the United States have indicated not only a joyful rediscovery of Hodler’s art but a firm conviction that his work and world view hold particular relevance today. DAS WERK FERDINAND HODLERS is not only a collection of printed work reflecting the best of all of his painted work created up to 1914 just before the outbreak of World War I, the portfolio itself is an encapsulation of Hodler’s ethos, Parallelisme. Hodler developed his philosophy of Parallelisme as a unifying approach to art which strips away detail in search of harmony. By means of abstraction, symmetry and repetition, Hodler sought ways to depict Nature’s essence and her fundamental, universal order. He believed these universal laws governing the natural, observable world extend to the spiritual realm. Symbolist in nature with Romantic undertones, his works are equally portraits of these universal concepts and feelings governing all life as they are a visual portrait in the formal sense. Whether his subject is a solitary tree, a moment in battle, mortal fear, despair, the awe inspired by a vast mountain range, a tender moment or even the collective conviction in a belief, Hodler unveils this guiding principle of Parallelisme. Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come. The Munich-based publisher of the portfolio, R. Piper & Co., Verlag, plays a crucial role in this story. Publishing on a wide range of subjects from philosophy and world religion to music, literature and the visual arts; the publisher’s breadth of inquiry within any one genre was equal in scope. Their marketing strategy to publish multiple works on Hodler offers great insight as to what a hot commodity Hodler was at that time. R.Piper & Co.’s Almanach, which they published in 1914 in commemoration of their first ten years in business, clearly illustrates the rapid succession- strategically calculated for achieving the deepest and broadest impact - in which they released three works on Hodler to hit the market by the close of 1914. DAS WERK FERDINAND HODLERS was their premier publication. It preceded C.A. Loosli’s Die Zeichnungen Ferdinand Hodlers, a print portfolio after 50 drawings by Hodler which was released in Autumn of 1914 at the mid-level price-point of 75-150 Marks; and a third less expensive collection of prints after original works by Hodler, which had not been included in either of the first two portfolios, was released at the end of that year entitled Ferdinand Hodler by Dr. Ewald Bender. The title and timing of DAS WERK FERDINAND HODLERS' debut leaves little doubt as to the connection it has with another avant-garde portfolio of art prints, Das Werk Gustav Klimts, released in 5 installments from 1908 -1914 by Galerie Miethke in Vienna. Hodler, himself, was involved in Klimt’s ground-breaking project. As the owner of Klimt’s 1901 painting, “Judith with the Head of Holifernes” which appears as the ninth collotype print in the second installment of Das Werk Gustav Klimts, Hodler was obliged to grant access of the painting to the art printers in Vienna for them to create the collotype sometime before 1908. Hodler had been previously invited in 1904 to take part in what would be the last exhibition of the Vienna Secession before Klimt and others associated with Galerie Miethke broke away. In an interview that same year, Hodler indicated that he respected and was impressed by Klimt. Hodler’s esteem for Klimt went beyond the art itself; he emulated Klimt’s method aimed at increasing his market reach and appeal to a wider audience by creating a print portfolio of his painted work. By 1914, Hodler and his publisher had the benefit of hindsight to learn from Klimt’s Das Werk publication. Responding to the sluggish sales of Klimt’s expensive endeavor, Hodler’s publisher devised the same diversified 1-2-3 strategy for selling Hodler’s Das Werk portfolio as they did with regards to all three works on Hodler they published that year. For their premium tier of DAS WERKS FERDINAND HODLERS, R. Piper & Co. issued an exclusive Museum quality edition of 15 examples on which Hodler signed each page. At a cost of 600 Marks, this was generally on par with Klimt’s asking price of 600 Kronen for his Das Werk portfolio. A middle-tiered Preferred edition of 30, costing somewhat less and with Hodler’s signature only on the Title Page, was also available. The General edition, targeting the largest audience with its much more affordable price of 150 Marks, is distinguishable by its smaller size. Rather than use the subscription format Miethke had chosen for Klimt’s portfolios which proved to have had its challenges, R. Piper & Co. employed a different strategy. In addition to instantly gratifying the buyer with all 40 of the prints comprising DAS WERK FERDINAND HODLERS and the choice among three price points, they advertised in German journals a fourth possibility of ordering single prints from them directly. These printed images are easily discernible from the three complete folio editions. The paper size of the single purchased images is of the larger format like the Museum and Preferred editions, measuring 65 h x 50 w cm; however, the paper itself is the same copper print paper used in the General edition and then mounted on poster board. The publishing house positioned itself to be a direct retailer of Hodler’s art. They astutely recognized the potential for profitability and the importance, therefore, of having proprietary control over his graphic works. R. Piper & Co. owned the exclusive printing rights to Hodler’s best work found in their three publications dating from 1914. That same year, a competing publication out of Weimar entitled Ferdinand Hodler: Ein Deutungsversuch von Hans...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino poster...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extol...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

Maximilien VOX (1894-1974) Bad Romance : The Duel, 1925 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of the edi...

Jean LOMBARD (1895-1983) Paris : Rainy Day, 1925 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of the editor 'Im...

Daniel GIRARD Naval Combat : the Sailboats, 1925 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of the editor 'Im...

With 15 (8 signed) coloured original etchings and aquatints by C. E. Uphoff. Original vellum with gilt cover vignette in private linen case with gilt title on spine (stained due to m...

Eugène DELACROIX (1798-1863) Tasso in the Madhouse Engraving after a drawing Signed on the plate On vellum 38 x 50 cm INFORMATION: In 1839, Delacroix painted his famous painting "T...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extol...

Pissarro, Camille. COUPLE DE PAYSANS. D.125. Etching and aquatint on laid paper. Unsigned. From the posthumous edition of 10 printed in 1923. 4 3/4 x 3 1/8 inches, 118 x 78 mm. (plat...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extol...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

stamped on back: Le Vent d'Arles and SPADEM 1975 - Printed in France Edition sticker on back reads: No. 1815

Peter Behrens, (German 1868-1940), Deutsche Werkbund-Ausstellung, 1914, Deutsche Werkbund-Ausstellung, Kunst in Handwerk, Industrie und Handel Archit...

Artist: Karl Schmidt-Rottluff (German, 1884-1976) Title: "Männlicher Kopf an weibliche (Male Head Leaning against Female)" Portfolio: Das Spiel Christa vom Schmerz der Schönheit des Weibes (The Play Christa from the Pain of the Beauty of the Woman) *Issued unsigned Year: 1918 Medium: Original Woodcut Engraving on wove paper Limited edition: Unknown Printer: Fritz Voigt, Berlin, Germany Publisher: Verlag Die Aktion, Berlin, Germany Reference: Schapire No. 225, page 46; Jentsch No. 35. Rifkind No. 2563; Lang No. 300; Reed No. 118 Sheet size: 8.5" x 5.38" Image size: 6.25" x 3.57" Condition: Toning to sheet (as normal). In very good condition Very rare Notes: Provenance: private collection - Oxnard, CA. Comes from a complete originally bound 48 page folio with 9 original woodcut engravings by Schmidt-Rottluff. Text by Alfred Brust. The cover and title pages in pictures are not included, only for reference/provenance. There is an example of this work in the permanent collection of the Brücke Museum, Berlin, Germany. Biography: Karl Schmidt-Rottluff (born December 1, 1884, Rottluff, near Chemnitz, Germany—died...

This 1930s advertising poster for the Gold Bar Cigarettes company draws from a well known Chinese opera scene. It melds the meticulous detail of traditional Chinese painting with the craft of color lithography. These advertisements, influenced by the Art Deco movement in the west, recall the economic boom of early 20th century Shanghai, an international center of business and trade. Today, lithograph tobacco posters...

Jean Cocteau - Young Woman - Drawing Circa 1912 27 x 21 cm Unsigned With an attestation of authenticity by Annie Guédras, Jean Cocteau Writer, artist and film director Jean Cocte...

This artwork titled "Vienna Opera House" 1922 is a color etching by Austrian artist Luigi Kasimir 1881-1962. It is estate signed in pencil at the lo...

Walt Kuhn (1877-1949), Advice, etching and drypoint, 1915, signed in pencil lower right and titled lower left. In generally good condition but obviously a proof impression, with marg...

Born in Paris, France in 1883, Paul Rollon "Pola" Gauguin was the youngest of artist Paul Gauguin's (1848-1903) five legitimate children. Gauguin studied at the Royal Danish Academy of Fine Arts in 1905, and from 1906 to 1909 was an assistant to architects Hermann Baagøe Storck and Anton Rosen. He debuted as an artist at Blomqvist Kunsthandal and Kunstnerforbundet in Oslo in 1913, and exhibited in the Oslo Autumn Exhibition in 1914. Gauguin started his own artist school in Oslo which he ran until 1924. He also worked as an author and critic for Dagbladet, Tidens Tegn, Verdens Gang and Ekstrabladet. Among his books are biographies of Henrik Lund, Christian Krohg...

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...

A fine example of a very rare etching and drypoint by German Expressionist Max Beckmann, an edition of 50. Titled lower left corner in pencil: Schlafendes Madchen im Kornfield. (Mai...

Brinton, D. UNTITLED [GENTLEMAN OBSERVING BILLIARDS GAME]. Drypoint, n.d. (c. early to mid-20th Century). 8 x 6 inches (image), 11 1/2 x 8 inches (sheet). In excellent condition, wit...

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 ...

Aquating Engraving Image Size: approx. 20 1/4 x 13 3/8 Framed Size: 28 x 20.5 inches Pencil Signed Lower Right Louis Justin Laurent Icart was born in Toulouse in 1890 and died in Paris in 1950. He lived in New York City in the 1920s, where he became known for his Art-Deco color etchings of glamourous women. He was first son of Jean and Elisabeth Icart and was officially named Louis Justin Laurent Icart. The use of his initials L.I. would be sufficient in this household. Therefore, from the moment of his birth he was dubbed 'Helli'. The Icart family lived modestly in a small brick home on rue Traversière-de-la-balance, in the culturally rich Southern French city of Toulouse, which was the home of many prominent writers and artists, the most famous being Henri de Toulouse-Lautrec. Icart entered the l'Ecole Superieure de Commerce de Toulouse in order to continue his studies for a career in business, particularly banking (his father's profession). However, he soon discovered the play writings of Victor Hugo (1802-1885), which were to change the course of his life. Icart borrowed whatever books he could find by Hugo at the Toulouse library, devouring the tales, rich in both romantic imagery and the dilemmas of the human condition. It was through Icart's love of the theater that he developed a taste for all the arts, though the urge to paint was not as yet as strong for him as the urge to act. It was not until his move to Paris in 1907 that Icart would concentrate on painting, drawing and the production of countless beautiful etchings, which have served (more than the other mediums) to indelibly preserve his name in twentieth century art history. Art Deco, a term coined at the 1925 Paris Exposition des Arts Decoratifs, had taken its grip on the Paris of the 1920s. By the late 1920s Icart, working for both publications and major fashion and design studios, had become very successful, both artistically and financially. His etchings reached their height of brilliance in this era of Art Deco, and Icart had become the symbol of the epoch. Yet, although Icart has created for us a picture of Paris and New York life in the 1920s and 1930s, he worked in his own style, derived principally from the study of eighteenth-century French masters such as Jean Antoine Watteau, François Boucher and Jean Honoré Fragonard. In Icart's drawings, one sees the Impressionists Degas...

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...

Erotic scene is an original Héliogravure artwork on ivory-colored paper, realized by Micheal Von Zichy in 1911. Printed in only 300 copies, Leipzig; Privatdruck, from the Catalogue "Liebe" (Dear), Text in German on the plate, The drawing created unusually bold erotic subjects through deft strokes. Good conditions. Mihály Zichy...

Etching on paper. Hand signed lower right margin. Image size: 20 x 13 inches. Frame size approx 36 x 27 inches. Reference: Figure 331 page 156 in "Louis Icart: The complete etchin...

Artist: Ernest Joseph Laurent (French, 1859-1929) Title: "Sicile (Sicily)" Portfolio: Gazette Des Beaux-Arts *Issued unsigned, though monogram signed by Laurent in the plate (printed...

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...

Erotic scene is an artwork realized by Toyen in 1927. Mixed colored watercolored lithograph. The artwork is an illustration from the book Pybrac written by Pierre Louÿs  (1870-1925...

Pablo Picasso Les Trois Graces, II 1922/23 This is numbered 74/100 Published by Marcel Guiot, Paris. Original etching, hand signed in pencil by Pica...

RENOIR, PIERRE AUGUSTE (1841 -1919) "Femme au cep de vigne, 4th variante" Woman by the Grape Vine, 4th variant Delteil 48, Stella 48 Original lithograph in black ink, 1904 -1905 On...

Rozanova, Olga. Transrational blog (The Queen of Hearts).1915, Moscow Red Linocut, on thin wove paper, from Zaumnaya gniga [Transrational boog] by A. ...

Original Etching by Jean-Gabriel Domergue Dimensions: 33 x 25 cm 1924 Edition of 100 This artwork is part of the famous portfolio The Afternoon of a F...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 12.64 x 5 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio...

Christian Byzantine Decorative Style is a print on ivory-colored paper realized by Andrea Alessio in the early 20th Century. Signed on the ...

KARL SCHMIDT-ROTTLUFF 1884-1976 Rottluff, Germany 1884 - 1976 Berlin (German) Title: By the Nets Bei den Netzen, 1914 Technique: Original Hand Signed Woodcut on Laid Paper Paper size: 51.2 x 62.4 cm. / 20.2 x 24.6 in. Additional Information: This original woodcut is hand signed in pencil by the artist "S. Rottluff" at the lower right margin. This is the fifth woodcut of the portfolio "Zehn Holzschnitte von Schmidt-Rottluff" [Ten Woodcuts by Schmidt-Rottluff] that was published in 1919. It was published by Graphisches Kabinett J. B. Neumann, Berlin in a limited unnumbered edition of 75 plus some proofs. The printer was Fritz Voigt...

Carriere, Eugene. Le Fondeur, Paris 1900 [Steel Worker], Color lithograph. Ref: Das Fruhe Plakat 134. 51 x 34 3/4 inches. Eugène Anatole Ca...

An original etching by the listed artist William Lionel Wyllie (1851-1931). Frigates and Gunboats attending a Heavy Cruiser. Signed in pencil below plate lines. Presented in a black ...

DuFrene, Maurice. Rayon des Soierie Ref: Opera, 17; Publisher: Imp. Chaix, Pairs. Maurice Dufrene was born in Paris in 1876. He studied at the Ecole des Arts Decoratifs, and to...

Etching with aquatint on cream wove paper, 6 11/16 x 9 15/16 inches (170 x 252 mm), full margins. Signed in pencil in the lower right margin. With significant toning and moderate mat...

Erotic scene is an original Héliogravure artwork on ivory-colored paper, realized by Micheal Von Zichy in 1911. Printed in only 300 copies, Leipzig; Privatdruck, from the Catalogue ...

Lithograph on vélin Lafuma paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Dessins de Henri-Matisse, 1925. Published by Édi...

Lithograph on vélin Lafuma paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Dessins de Henri-Matisse, 1925. Published by Édi...

Militaries in Station is an original lithograph by the Italian artist, painter, and printmaker Anselmo Bucci. Signed on the plate on the lower right. In very good conditions. The ...

Arthur B. Davies (1862-1928), Sea Maidens (or, Sunshine; Girls on the Beach), soft ground etching and aquatint, 1919, signed in pencil lower right. Reference: Czestochoski 79, second...

The Thoughtful is an original modern artwork realized by Ferdinand Bac (1859 - 1952) in 1922. Original Lithograph on ivory paper. Signed and dated on plate on the lower left corner...

Medium: original woodcut. Printed in 1920 for the Deutsche Graphiker der Gegenwart portfolio, and published in Leipzig by Klinkhardt & Biermann in an edition of 500. Catalogue refere...

'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...

Lithograph on vélin Lafuma paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Dessins de Henri-Matisse, 1925. Published by Édi...

Héliogravure on japanese paper realized by Fraz von Bayros in 1913 for Ex Libris Verlag K. Th. Senger, Munich. Mounted on passepartout. Edition of 260, hand signed in pencil by the ...