1920s Landscape Prints

"Venise" is an original etching and chine colle by Edgar Chahine. This is an artist's proof, the third state of the etching, and the artist signed the piece in pencil lower right. Th...

Not signed. Very good conditions.

Jean-Emile Laboureur (1877-1943), Les Deux Chaumieres, 1927-28, etching and engraving, signed in pencil lower left and numbered lower right. Laboureur 356, second state (of 4). One o...

Reginald Marsh (1898-1954), Loco-Erie Watering, 1929, etching, signed in pencil lower right, and numbered (16) lower left. Reference: Sasowsky 85, fourth state (of 4). On Whatman pap...

Reginald Marsh (1898-1954), Tank Car Rail, 1929, etching, signed lower right and numbered 15 lower left margin [also signed and dated in the plate]. Reference: Sasowsky 86, fifth sta...

"Combloux (Golfing)" is an original lithograph poster by Pierre Commarmond. Combloux is a resort in France where people can surround themselves with nature, leisure, and sport. The artist signed the lithograph stone...

Maurice de Vlaminck - Original Handsigned Etching Title: L'Oise à Cergy Reference: Catalogue raisonné Walterskirchen, n°110. Original etching, hand-signed in pencil by the artist ; ...

Jean-Emile Laboureur (1877-1943), L’Auberge du Bord de L’Eau (Petite Planche), engraving, 1924, signed in pencil lower left, numbered lower right ((41/60), and titled in pencil by th...

Charles Martin - The Eiffel Tower - Original Lithograph Dimensions : 13 x 10". Paper : Rives vellum. Edition : 225 copies. 1927 From Tableaux d...

Meyerowitz, William. N.Y. STEEL AND IRON. Drypoint, 1928. Edition of 40. Ttiled, numbered "2/40" and signed in pencil. 12 x 9 7/8 inches (plate), 13 1/2 x 11 inches (sheet). Inexcell...

Charles Martin - The Eiffel Tower - Original Lithograph Dimensions : 13 x 10". Paper : Rives vellum. Edition : 225 copies. 1927 From Tableaux de Paris, Emile-Paul Freres, Pari...

Jean-Emile Laboureur (1877-1943), Le 14-Juillet au Village, engraving and roulette, 1925, signed in pencil lower left and numbered lower right (30/100) [also initialed and dated in t...

Frederick Garrison Hall (1879-1946), Beach and Willows, etching, c. 1920, signed in pencil by the artist (?) and annotated "by HPH". Reference: Elton Waylon Hall: Frederick Garrison ...

Adolphe-Marie Beaufrere (1876-1960), Aux Approches de Madrid (also Aux Abords de la Ville), drypoint, 1927, signed and numbered (14/55), from the edition of 55, with the blindstamp of Sagot, publisher (Lugt 2254). Reference: Morane 27-19. In good condition, on very thin cream Japan paper, 6 1/2 x 9, the sheet 8 3/8 x 11 1/4 inches, archival matting. A fine impression, with the drypoint burr extremely rich and effective (due in part to the use of a Japan paper, which tends to diffuse the ink surrounding the drypoint lines). Beaufrere was born at Quimperle, in Brittany, and though he traveled widely he re-connected with this area throughout his life. As a teenager he decided that he wanted to become an artist and he traveled to Paris where, shortly after his arrival, he encountered the eminent Gustave Moreau, who took him on as a student. Moreau encouraged him to study old master prints, especially the prints of Rembrandt and Durer, which were available in the Cabinet des Estampes in Paris – this was to be critical in his development. Beaufrere began printmaking in about 1904, with some woodcuts, but soon got into etching and engraving. Curiously, one of his colleague/teachers at the time was the Canadian etcher Donald Shaw MacLaughlan. He began showing his prints, with some success, but after his marriage in 1905, and with the urging of his new wife, moved out of Paris and back to Brittany. This move had a mixed effect on his career – contacts with other artists became fewer, but he did maintain gallery relationships, and the French countryside and it’s inhabitants would provide a continuing source of inspiration. During the Great War Beaufrere served in the infantry, and had few opportunities to make art. But he did study a volume of Rembrandt’s prints...

Jean-Emile Laboureur (1877-1943), Le Promenade au Phare, engraving, 1925, signed in pencil lower left and numbered lower right (24/70) [with the initial in the plate lower left]. Ref...

Arms, John Taylor. BEAVER HOUSE (AU NORD). Fletcher 88. Etching, 1920. And Artist's Proof, printed by Fredrick Reynolds. Signed and dated in pencil by Arms, lower right, and incscri...

Pierre Bonnard - The Street - Original Lithograph Dimensions : 13 x 10". Paper : Rives vellum. Edition : 225 copies. 1927 From Tableaux de Paris, Emile-Paul Freres, Paris CHARLES...

"Font-Romeu (Tennis/Golfing Retreat)" is an original color lithograph poster by the designer Vincent Guerra. He signed the design in the lower left. This poster depicts a woman relaxing under a tree...

D. Legg. General/The North Downs, Ca 1921 Color lithograph. Designed posters for London Transport 1929. No Biography available.: London Transport Museum Collectiom

Chas Laborde - Paris - Capucine's Boulevard - Original Etching Dimensions : 13 x 10". Paper : Rives vellum. Edition : 225 copies. 1927 From Tableaux de Paris, Emile-Paul Freres, Paris Chas LABORDE Charles Laborde was born in Buenos Aires on August 8, 1886. He was the youngest of the five sons of Adolphe-Sylvestre Laborde-Pinou, a Basque-Bearne millionaire who had made a fortune selling spirits to the Indians and luxury goods imported from France to wealthy Argentines. The family returned to France when Charles was six months old. His mother died when he was two. He spent his childhood at their family château d’Escout outside Oloron-Sainte-Marie in the Pyrenees. His brothers went to a boarding-school, his father was often in Paris on business, and little Charles was left to his devices. Though it was a lonely childhood, he was a darling of his generous and magnanimous father. Charles got his early drawing skills from a village artist and found support in his brother Jean-Felix. Charles frequently accompanied his father visiting artisans and helped him choose de luxe objects to be sold in Argentine. He first attended the Rollin college in Paris, then a lyceum in Pau, where he lived with full board and lodging after his father’s death in 1901. From childhood Charles wanted to be an artist and tried several pseudonyms for himself: Ch. Laborde, Carlos Laborde,Carlos Edrobal and Carl Lab. He started wearing a velvet suit and a large hat. At 17, the timid shortsighted teenager wearing big glasses was expelled from college for smoking and drinking alcohol and went to Paris into the custody of his elder brother Jean-Felix, who carried on his father’s business. Charles enrolled in the prestigious l’Académie Julian, studying under Henri Royer and Marcel Baschet. Simultaneously he was a pupil of William Bouguereau and Luc-Olivier Merson at l’École des Beaux-Arts. The latter was famous for being the designer of the 50 and 100 franc banknotes, and he believed that he was teaching a “little Daumier”. In England, where he went every year from 1905 to 1914 with the family of his friend Cooper, a classmate at l’Académie Julian, he found not only his pseudonym Chas (short for Charley), but also the land of his dreams. Peculiarities of London and its inhabitants were reflected in drawings of William Hogarth and Thomas Rowlandson, whose album The Microcosm of London (1808) prompted Charles to make his London Streets Scenes (1928). Owing to those trips Charles took a liking to the atmosphere of England and its reserved and terse humor. In 1905 the château d’Escout and the Buenos Aires Commercial Fund were sold. After coming into inheritance, Laborde became financially independent and obtained an atelier in Montmartre at 11 bis Rue des Saules. His neighbors were de la Butte, Francis Carco and Pierre Mac Orlan, who sympathized with the easy-going young man with a positive attitude to life. His friend Pierre Falke...

Classic polo scene drawn on stone featuring six ponies on the field drawn on stone & signed by Edward King (LL) Print Sz: 10 3/4"H x 18 1/2"W Frame Sz: 18"H x 25 3/8"W

Jean-Emile Laboureur (1877-1943), Le Chemin de la Foret, etching and engraving, 1926, signed in pencil lower left and inscribed epreuve d’artiste lower right. Reference: Laboureur 32...

Jean-Emile Laboureur (1877-1943) etching and engraving Paysage au Buttes-Chaumont (2nd Planche), 1920-21, signed and numbered ( 38/55) in pencil. Reference: Sylvain Laboureur 205. In very good condition with wide margins (remains of old hinging on margin verso, some showing through not near image). On white wove paper, 7 7/8 x 9 1/4, the sheet 10 x 13 1/2 inches, archival matting. A fine, fresh and clear impression of this important cubist-influenced scene. Jean-Emile Laboureur was born in Nantes in 1877. He traveled to Paris in 1895 intending to study law at the Sorbonne, but found himself drawn to the nearby famed Academie Julian, and although he never officially matriculated there, he became immersed in the Parisian art scene. Laboureur then traveled widely, staying for periods in the US and London, and studying classic art and printmaking in Italy and Germany. Although he had moved back to Paris by 1910, a time when analytical cubism was emerging in the work of Picasso and Braque, he continued working in an abstract, modernist mode, waiting until about 1913 or shortly thereafter to invent a cubist idiom all his own. Cubism remained an important theme for Laboureur, a theme he varied, sometimes using it as a strong design or compositional component, sometimes only as a subtle background element. In Paysage aux Buttes...

Born in Germantown, Pennsylvania, Earl Horter was a self-taught artist who began his career working in New York City as a draftsman at an advertising agenc...

DANIEL GARBER "Harmonville, Pennsylvania" c. 1925 Etching printed in black ink on wove paper. 7 7/8 x 11 3/4 inches, full margins. Signed, titled and inscribed "DG imp" in pencil, ...

Quarter of Nine, Saturday's Children. 1929. Drypoint. McCarron 78. 9 3/4 x 12 3/4 (sheet 12 7/8 x 17 7/8). Illustrated: American Etchers: Martin Lewis. Edition 107. A fine impression...