1920s Interior Prints

Ultra-rare original HEARST'S INTERNATIONAL 1922 cover by Alphonse Mucha. Professional acid-free linen backed and ready to frame. It is protected in a 16" x 20" acid-free mat for pr...

'La Noria' is a New Mexican landscape with a well, Adobe House, Trees and Sky, vintage 1929 original signed etching on paper by Will Shuster. Presented in ...

Vintage cabaret theatre Poster jules-Alexandre Grün (25 May 1868 – 15 February 1938) was a French post-impressionist painter, poster artist, and illustrator. Grun's best known pain...

Permanent Collection of the Metropolitan Museum and the Museum of Modern Art, National Gallery of Art, Chicago Art Institute and the Brooklyn Museum. Hart lived for a time with artis...

Image dimensions: 11.7 x 8.7 cm. In a Cafè (Lille) is a black and white etching on cream-colored etching, realized by Marcel Gromaire. Monogrammed on plate on higher right corner. ...

Louis Conrad Rosenberg, 'Mosque of the Sultan Bayazid, Constantinople', etching, 1927. Signed in pencil. Initialed and dated in the plate, lower left. A fine, richly-inked impression...

Le Poète Assassiné is a very fresh illustration pour "Le Poète Assassinè", 1926, realized by Raoul Dufy (Le Havre, 1877- Folcalquier, 1953). This is an original black and white lith...

Permanent Collection of the Metropolitan Museum and the Museum of Modern Art, National Gallery of Art, Chicago Art Institute and the Brooklyn Museum. Hart lived for a time with artis...

Mabel Dwight depicts tourists in the crypt at Chartres Cathedral. This image, dominated by the shadows cast by the worshipers, was issued in an edition of 40. Reference: Robinson an...

Rouen is a city in France, northwest of Paris. This interior scene of its famous cathedral depicts the view down the main aisle. It is #130 in the Giardina catalogue raisonne and is in the collection of the Smithsonian American Art Museum and the Fine Arts Museum of San Francisco. It is referenced in "Kerr Eby, The Complete Prints" by Bernadette Passi, published by M Hausberg, New York 1997. Kerr Eby was born in 1890 in Tokyo, Japan, the son of Methodist missionaries from Canada. He grew up studying art, which his parents encouraged, as his mother came from a family of prominent artists. As a boy he worked as a printer’s apprentice in a newspaper office which may have encouraged his interest in printing as an artistic medium. After graduating from high school in 1907, Eby moved to New York City to study art, first at the Pratt Institute, and later at the Art Students League. During this period he formed a number of influential friendships with major artists such as John Henry Twachtman and Childe Hassam and joined a summer artists’ colony founded by them at Cos Cob, Connecticut When the U.S. entered World War I in 1917, Eby, too, became involved. After unsuccessful efforts to obtain a commission as an artist, he enlisted and ultimately was assigned to the 40th Engineers, Artillery Brigade, Camouflage Division, which was sent to the war front where the Division helped to protect the troops. Eby saw much battle action, especially in northeastern France, including at Belleau Wood and Meuse-Argonne, and in 1918, he participated in the battles of Château-Thierry and Saint-Mihiel, which were instrumental in preventing the Germans from advancing on Paris. In addition to his work as a camoufleur, he also made drawings of the images he witnessed on the battlefield. In 1936, concerned about the unstable world situation that would soon lead to World War II, Eby published his book "War" (Yale University Press, New Haven) which illustrated 28 prints and drawings he had made during his experience in World War I and which included an essay outlining his abhorrence of war and his opinion of its futility and barbarity. Although he was himself too old to serve during the Second World War, he served as a correspondent in the Pacific in the combat artist program developed by Abbott Laboratories (which was instrumental in the development of plasma and hired artists to depict its use in the war). Eby again drew images of soldiers, and in November 1943, he went ashore with the U.S. invading force in Tarawa, one of the most brutal battles in the history of the Marines. He again witnessed much death and, again, recorded his experience in numerous prints and drawings. His friend John Taylor Arms, in a moving tribute to Eby written shortly after his death in 1946, felt that Eby, like the soldiers whose deaths he recorded, had also given his life for the cause, because Eby had contracted a tropical disease while living with the troops for three weeks in a foxhole in the jungles of Bougainville, a condition from which he never recovered and which contributed to his early death. In creating anti-war works, Eby joined a long line of artists stretching back into antiquity. Of these, Goya’s etchings...

This etching and aquatint by John Taylor Arms and created in 1920. It was printed in an edition of 100. This impression is inscribed "Artist Proof" - meaning it is outside of the edition. It is signed in pencil and inscribed "printed by Frederick Reynolds." The paper size is 12 1/2 x 9 1/2" and Image size 6 3/4 x 5" (17.1 x 12.7 cm). John Taylor Arms (1887-1953) was born in Washington, D.C., on April 19, 1887. In 1905 he began his higher education as a law student...

George "Pop" Hart created this lithograph (edition of 50) depicting theatre goers observing from a box in the French Opera House in New Orleans. In the 1800s, New Orleans reigned as ...