Early 20th Century Figurative Prints

The bird is a woodcut print realized by an unknown artist in the early 20th Century. Very Good conditions. the artwork is depicted through confident strokes.

By John Sloan American Realist From the early 20th century Ashcan School which focused on capturing day to day life in New York City during that period. Image size: 5.75" x 4.25" Et...

Karl Michel, 'Der Gartner' (The Gardener), woodcut, c. 1925. Signed, titled, and numbered '15/50' in pencil. Signed in the block, lower left and right. A fine, richly-inked impression on buff wove paper, with full margins (1 1/2 to 2 3/4 inches), in excellent condition. Matted to museum standards, unframed. Scarce. Image size 5 1/4 x 3 7/8 inches (133 x 98 mm); sheet size 10 x 7 3/4 inches (254 x 198 mm). ABOUT THE ARTIST Karl Michel (1889-1984) was a noted graphic designer and expressionist printmaker during Germany's pre-Nazi Weimar Republic (1919 - 1933). Michel’s work was the subject of a feature article in the influential German graphic design magazine 'Das Plakat...

Artist: Chen Quian. [Advertisement for B.S Insurance Co.] 1912 Color lithograph, Rare. Very early Chinese advertising poster at the end of the Qu...

Massachusetts-born Fred Nagler studied at the Art Students League from 1914 to 1917, with George Bridgeman and Robert Henri, and eventually became a member of the Board of Control. ...

Watanabe Shozaburo, 1936. Woodblock in colors on handmade mulberry paper, Koban 182 x 120 mm, full margins. With the Shôtei artist seal in red ink, upper right. Signed "Shotei" and titled in English on the matrix in graphite. With the "Made in Japan" export stamp and the Watanabe catalog number stamp 179, both in blue ink, on the bottom sheet edge, verso, as issued. Adhered to a card stock matrix with deckle edges, as issued. A beautiful pre-war impression of this serene and peaceful scene, good gradient inking and luminosity in the lantern. Printed by hand with cherrywood blocks. *Marc Kahn, Shotei catalog S10; Watanabe 179 Born in Tokyo in 1871, Hiroaki Takahashi...

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...

Bernard Kretzschmar (1889-1972), Auction, etching, drypoint, and burnished aquatint, 1921, signed and dated (’20) in pencil lower right [also initialed in the plate lower left] Refe...

The etching (Sheep under a Tree) is signed in pencil and annotated (in lower margin) '3rd State, 4 proofs, JN imp.' in pencil. It's in an usually spare drawing style but one that Na...

Etching and drypoint on cream wove paper, 10 3/4 x 7 1/2 inches (270 x 190 mm), full margins. Signed, inscribed and titled in pencil, lower margin. Some small, scattered light spots...

A Modernist lithograph by Modernist Boris Israelevich Anisfeld, depicting figures and buildings. Boris Israelevich Anisfeld was born in Bieltsy, Russia in 1878. In 1911, Diaghilev,...

Curves by Orovida Pissarro (1893 - 1968) Etching, trial proof no. 54 20.2 x 15 cm (8 x 5 ⅞ inches) Signed and dated lower right, Orovida 1919 Inscribed lower left Trial proof no. 54 ...

This original etching with drypoint is hand signed in pencil by the artist "Marc Chagall" at the lower right corner. It is also hand numbered in pencil from the edition of 100, at t...

Noon Hour. 1935. Etching. Teller 18. 6 7/8 x 4 7/8 (sheet 11 3/8 x 8 1/2). Edition 250 published by Associated American Artists in 1946 (were a few earlier impressions from a propose...

Lon Megargee 1883-1960 "The Sheepherder" Wood block print Signed in plate, lower right Image size: 10 x 10 inches Frame size 22 x 22 inches Creator of Stetson's hat logo "Last Drop from his Hat" Lon Megargee 1883 - 1960 At age 13, Lon Megargee came to Phoenix in 1896 following the death of his father in Philadelphia. For several years he resided with relatives while working at an uncle’s dairy farm and at odd jobs. He returned to Philadelphia in 1898 – 1899 in order to attend drawing classes at the Pennsylvania Academy of the Fine Arts. Back in Phoenix in 1899, he decided at the age of 16 to try to make his living as a cowboy. Lon moved to the cow country of Wickenburg, Arizona where he was hired by Tex Singleton’s Bull Ranch. He later joined the Three Bar R. . . and after a few years, was offered a job by Billy Cook of the T.T. Ranch near New River. By 1906, Megargee had learned his trade well enough to be made foreman of Cook’s outfit. Never shy about taking risks, Lon soon left Cook to try his own hand at ranching. He partnered with a cowpuncher buddy, Tom Cavness, to start the El Rancho Cinco Uno at New River. Unfortunately, the young partners could not foresee a three-year drought that would parch Arizona, costing them their stock and then their hard-earned ranch. Breaking with his romantic vision of cowboy life, Megargee finally turned to art full time. He again enrolled at the Pennsylvania Academy of Art and then the Los Angeles School of Art and Design during 1909 – 1910. The now well-trained student took his first trip to paint “en plein air” (outdoors) to the land of Hopi and Navajo peoples in northern Arizona. After entering paintings from this trip in the annual Territorial Fair at Phoenix, in 1911, he surprisingly sold his first oil painting to a major enterprise – the Santa Fe Railroad . . . Lon received $50 for “Navajos Watching the Santa Fe Train.” He soon sold the SFRR ten paintings over the next two years. For forty years the railroad was his most important client, purchasing its last painting from him in 1953. In a major stroke of good fortune during his early plein-air period, Megargee had the opportunity to paint with premier artist, William R. Leigh (1866 – 1955). Leigh furnished needed tutoring and counseling, and his bright, impressionistic palette served to enhance the junior artist’s sense of color and paint application. In a remarkable display of unabashed confidence and personable salesmanship, Lon Megargee, at age 30, forever linked his name with Arizona art history. Despite the possibility of competition from better known and more senior artists, he persuaded Governor George Hunt and the Legislature in 1913 to approve 15 large, historic and iconic murals for the State Capitol Building in Phoenix. After completing the murals in 1914, he was paid the then princely sum of roughly $4000. His Arizona statehood commission would launch Lon to considerable prominence at a very early point in his art career. Following a few years of art schooling in Los Angeles, and several stints as an art director with movie studios, including Paramount, Megargee turned in part to cover illustrations for popular Western story magazines in the 1920s. In the 1920s, as well, Lon began making black and white prints of Western types and of genre scenes from woodblocks. These prints he generally signed and sold singly. In 1933, he published a limited edition, signed and hard-cover book (about 250 copies and today rare)containing a group of 28 woodblock images. Titled “The Cowboy Builds a Loop,” the prints are noteworthy for strong design, excellent draftsmanship, humanistic and narrative content, and quality. Subjects include Southwest Indians and cowboys, Hispanic men and women, cattle, horses, burros, pioneers, trappers, sheepherders, horse traders, squaw men and ranch polo players. Megargee had a very advanced design sense for simplicity and boldness which he demonstrated in how he used line and form. His strengths included outstanding gestural (action) art and strong figurative work. He was superb in design, originality and drawing, as a study of his prints in the Hays collection reveals. In 1944, he published a second group of Western prints under the same title as the first. Reduced to 16 images from the original 28 subjects, and slightly smaller, Lon produced these prints in brown ink on a heavy, cream-colored stock. He designed a sturdy cardboard folio to hold each set. For the remainder of his life, Lon had success selling these portfolios to museum stores, art fairs and shows, and to the few galleries then selling Western art. Drawing on real working and life experiences, Lon Megargee had a comprehensive knowledge, understanding and sensitivity for Southwestern subject matter. Noted American modernist, Lew Davis...

A superb impression of this extremely scarce etching and aquatint. First state (of 2), before the darkened background. Edition of approximately only 11. Signed in pencil. This etch...

Exhibited for the first time in 1928 at Galerie Bernhiem-Jeune, Paris, this work was published by Bernheim-Jeune and printed under the direction of Villon. Assuming a pose resembling...

The etching (Road to Calvary) is signed in pencil. It's in an usually spare drawing style but one that Nagler did use occasionally. Here it emphasizes the meagerness of the scene. T...

William Anderson Sherwood (American, 1875-1951) New York Stock Exchange, Early 20th century Etching and aquatint Sight: 16 1/4 x 13 in. Frame...

A member of New York's 14th Street School, Isabel Bishop is best known for her graphic art and urban subject matter. Born in Cincinnati, Ohio, she arrived in New York in 1918 at age ...

This artwork titled "Munich, Der Halte Hof" 1910 is a color etching by Austrian artist Luigi Kasimir 1881-1962. It is hand signed in pencil by the artist at the lower right corner. T...

This artwork titled "London, Holborn House" 1920 is an etching by Austrian artist Luigi Kasimir 1881-1962. It is hand signed in pencil by the artist at the lower right corner. The i...

Etching on antique cream laid paper with a partial watermark, 9 5/8 x 4 1/4 inches (246 x 109 mm); full margins. Signed and dated "1928" in pencil, lower margin. Inscribed "Street in Porto Maurizio...

"Yanagibashi in Snow" is an original color woodcut by Utagawa Kunisada. This woodblock print depicts a woman walking in the snow near the Motoyanagi canal, which was located in Tokyo...

The Carrying of the Cross 1926 Original wood engraving 12.0 x 12.5cm (Image) Arthur Eric Rowton Gill, (22 February 1882 – 17 November 1940) was an English sculptor, letter cutter, ...

Original Allons chez Lampsin – Grellet vintage poster. Linen-backed original turn-of-the-century poster. This couple points out where to go to select their new peddle sewing machi...

Color letterpress poster advertising the Sunday World, the Sunday publication of the New York World, published by Joseph Pulitzer. The series of col...

Medium: original color woodcut. Catalogue reference JH 771. Published in 1919 for Genius. Image size: 9 1/2 x 7 inches (240 x 178mm), on wove paper with full margins. This print is f...

Original “Mercurey Kina” vintage lithographic poster. Linen backed in B condition but ready to frame. Artist: Paul Mohr. Printer: Edia Paris. Signatur...

The etching (Crucifixion) is signed and titled in pencil. Signed 'Fred' and possibly dated '27' in the image at lower left. It's in an usually spare drawing style but one that Nagl...

Original American Red Cross vintage poster. Linen backed and ready to frame. The Red Cross nurse warming thousands, feeding thousands, hea...

This (Exotic Temple) is monogrammed in the plate at the lower right. A Rochester, New York native, Kevin O'Callahan studied at the Carnegie Institute and worked on the WPA. He is k...

Gerald Leslie Brockhurst (1890-1978) The Ideal Head (Portrait of Fabian) • Probably a Lithograph, sheet ca. 58 x 44 cm (v. thick paper/thin card) • Plate size ca. 41 x 31 cm • Imag...

The Book is a woodcut realized by an unknown artist in the early 20th Century. Very Good conditions. The artwork is depicted through confident strokes.

Asa Cheffetz Ramshackle Barn (de-accessioned from the Denver Art Museum), ca. 1929 Wood-engraving Pencil signed, numbered 27/100 and titled by the artist on the front 13 × 10 1/4 inches Unframed - affixed to matting De-accessioned from the collection of the Denver Art Museum Asa Chaffetz, "the engraver's engraver" This is the original numbered wood engraving from 1929; not a later re-print This print was honorable mention in the International Exhibition of prints, Art Institute of Chicago, 1929 Exhibited: New England engraved: The prints of Asa Cheffetz: An Exhibition of his wood engraving & an exploration of his life as an artist. Springfield, MA: Museum of Fine Arts, 1984 (A different example) Asa Cheffetz Biography: Born in Buffalo, New York, Cheffetz studied at the School Of The Museum Of Fine Arts in Boston under Philip Leslie Hale...

Irish Fair Lithograph, 1923 Signed and numbered in pencil by the artist (see photo) Titled "Irish Fair" by the artist in pencil Edition: 84 Housed in an archival frame with acid free...

A beautiful and delicate 19th century image of one of New England's most storied ports. Boston: Estes & Lauriat Editions, 1882 Etching on cream laid paper, 2 3/4 x 5 1/4 inches (68 ...

Quinquina Royal Est un vrai trésor. Original Quinquina Royal antique French liquor poster. Artist: Eugene Oge. Size: 38.75" x 55". Archiv...

Etching and drypoint on cream wove paper, 10 3/4 x 7 1/2 inches (270 x 190 mm), full margins. Signed, inscribed and titled in pencil, lower margin. In good condition with minor mat t...

Original Saxoleine Petrole de Surete, artist Jules Cheret. Linen-backed turn-of-the-century original stone lithograph poster advertising Saxoleine, a lamp oil. The glow from this l...

Portrait is a woodcut print realized by an unknown artist in the early 20th Century. Very Good conditions. the artwork is depicted through confident strokes.

Original Balsam, Aperitif au Quinaquina vintage stone lithograph printed in 1923. The great artist Jean d’Ylen created this poster after assuming the head of Vercasson after Leone...

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 ...

Medium: original woodcut. The inscription on the banner translates to "Come Sweet Death". Printed in Germany in 1922 for the rare Ganymed portfolio of "Das vierte Jahrbuch der Marees...

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 ...

Original: I summon you to the comradeship, Woodrow Wilson vintage poster from 1918, issued by the Red Cross. The poster has been archivally mounted on...

Pamela Bianco, 'Fruit Piece', lithograph, c. 1925. Signed and titled in pencil. Signed in the stone, lower left. Annotated 'No. 8' in pencil, upper right...

Portrait is a woodcut print realized by an unknown artist in the early 20th Century. Very Good conditions. the artwork is depicted through confident strokes.

Stipple point etching on tissue-thin handmade Japon paper, 7 5/8 x 5 inches (193 x 126 mm), full margins. Signed, titled, dated, inscribed and numbered 10/25 in pencil, lower margin....

Maps is a work realized by Kate Kollwitz, 1910 ca. Portfolio, two-page cover sheet with text and 13 insert sheets with mounted heliogravures based on drawings by Käthe Kollwitz, ed...

Portrait is a woodcut print realized by an unknown artist in the early 20th Century. Very Good conditions. the artwork is depicted through confident strokes.

Portrait is a woodcut print realized by an unknown artist in the early 20th Century. Very Good conditions. the artwork is depicted through confident strokes.

Portrait is a woodcut print realized by an unknown artist in the early 20th Century. Very Good conditions. the artwork is depicted through confident strokes.

Medium: original woodcut. This bold and striking Expressionist woodcut was printed in 1920 for Genius. Image size: 9 1/2 x 7 inches (240 x 180 mm). This original Rouveyre print is fr...

KATHE KOLLWITZ (1867-1945) GEFALLEN (Killed in Action) 1920 (Klipstein 153 (1st state, a of c of 2 states) Lithograph on laid paper. Image 16 ¼ x 15 ¼ inches, Large Full Sheet, 25 ½...

Circa 1890-1920. This Neoclassical, Judaic, Egyptian revival, Orientalist Mizrach sign, was produced in British Mandate Palestine by the chromolithograph process at the beginning of the 20th century. It pictures vignettes of holy places. with a hand written memorial. It was for the Tzedakah charity fund for the century-old institutions in Jerusalem: The great "Torah Center Etz Chaim"; a Free Kitchen for poor children and orphans; the famous Bikur Cholim Hospital with its dispensaries and clinics and the only Home for Incurable Invalids in Eretz Israel. They also worked with Arthur Szyk and Alfred Salzmann.. The A.L. Monsohn Lithographic Press (Monzon Press, Monson Press, דפוס אבן א"ל מאנזאהן, דפוס מונזון) was established in Jerusalem in 1892 by Abraham-Leib (or Avrom-Leyb) Monsohn II (Jerusalem, c.1871-1930) and his brother Moshe-Mordechai (Meyshe-Mordkhe). Sponsored by members of the Hamburger family, the brothers had been sent to Frankfurt, Germany in 1890 to study lithography. Upon returning to Jerusalem in 1892 with a hand press, they established the A.L. Monsohn Lithographic Press in the Old City of Jerusalem. According to the Information Center for Israeli Art A.L. Monsohn "created complex decorations for documents and oriental calendars that combined the tradition of Jewish art with modern printing techniques such as photographic lithography, raised printing and gilding." The founders of the Monsohn press produced Jewish-themed color postcards, greeting cards, Jewish National Fund stamps, and maps documenting the evolution of the Jewish settlement in Eretz Israel in the nineteenth-twentieth centuries; religious material such as decorative plaques for synagogues, portraits of Old Yishuv rabbis such as Shmuel Salant, Mizrah posters indicating the direction of prayer for synagogues, memorial posters, and posters for Sukkot booths; color frontispieces for books such as Pentateuch volumes and the early song collections of Abraham Zvi Idelsohn (e.g., Shire Zion, Jerusalem 1908); artistic wedding invitations; and labels, packaging and advertisements for the pioneering entrepreneurs of Eretz Israel. The texts appearing in the Monsohn products were in several languages: Hebrew, Arabic, Yiddish, English, German (e.g., a c1920 trilingual Hebrew-English-Arabic "Malaria Danger" broadside warning the public of mosquitoes spreading malaria). Many of the brilliantly colored postcards and maps can be seen online as can the artistic invitations to his children's weddings which Monsohn published in the Jerusalem Hebrew press. For years, the Monsohn (later, Monson/Monzon) Press was considered the best and most innovative in the country—pioneering in such techniques as gold-embossing and offset printing, among others. Early items for tourists included collections of Flowers of the Holy Land (c. 1910–1918)—pressed local flowers accompanied by scenes from the Eretz Israel countryside and relevant verses from the Bible, edited by Jsac Chagise (or Itzhak Haggis), an immigrant from Vitebsk, and bound in carved olive wood boards. Shortly after World War I Monsohn (now spelled מונזון) used zincography to produce the prints included in the Hebrew Gannenu educational booklets for young children illustrated by Ze'ev Raban of the Bezalel Academy of Art and Design and printed in Jerusalem by Hayim Refael Hakohen (vol. 1, 1919; vols. 2–3, 1920). In 1934 Monsohn moved into the new, western part of Jerusalem, in a shop with four presses and 30 workers, including Abraham-Leib's sons, David, Yosef, Moshe and Shimon, and his daughter Raytse's husband, Abraham Barmacz. The concern did business with all sectors of the city's population, including Arabs, for whom they printed in Arabic. Among their clients were members of the Ginio, Havilio, and Elite families, and Shemen, Dubek, and other renowned national brands, manufacturing products such as wine, candies, oil, and cigarettes. They also printed movie and travel posters, and government posters, postcards and documents, hotel luggage labels...

A beautiful and delicate 19th century image of late autumn in New England. Boston: Estes & Lauriat Editons, 1888. Etching on cream laid paper, 6 x 11 inches (150 x 278 mm), full ma...

This color pochoir from the La Garconne Series was done in 1925 on Arches paper No. 738/750 depicting a couple sitting at a cafe. Pochoir or stencil has been used to print limited ed...