1920s Prints and Multiples

Medium: collotype (after the painting). Printed in 1926 at the Leon Marotte atelier and published in an edition of 1000 by Editions des Quatre Chemins. Image size: 8 x 5 1/2 inches (...

Gaspar Camps, a talented Spanish poster artist and graphic designer, was known for his modernist approach to advertising. He emerged as one of the leading figures in the world of pos...

Lithograph and stencil on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, L'Art Cubiste, Théories et Réalisations, Etude Critique...

HAROLD L. DOOLITTLE (1883 – 1974) CALIFORNIA VISTA, 1923 Aquatint signed and titled in pencil. 8 7/8 x 6 7/8 inches. Sheet 11 x 14 inches. Good condi...

Stone lithograph in custom frame by artist Gail Potocki. Artist insignia in lower right corner.

Gaspar Camps, a prominent Spanish poster artist, became a leading figure in the world of graphic design during the early 20th century. His works are a perfect reflection of the evolv...

Lithograph on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Van Dongen, 1925. Published by Henri Floury, Paris; printed by Pierre Dumont, Pa...

Medium: collotype (after the painting). Printed in 1926 at the Leon Marotte atelier and published in an edition of 1000 by Editions des Quatre Chemins. Image size: 7 1/2 x 6 inches (...

Original collotype lithograph of Gustav Kilmt’s Seated woman with shawl, published in the 1922 Handzeichnungen portfolio by Thyrsos Verlag, Leipzig and Vienna, in an edition of 375. This artwork is presented in archival rag mat and arrives accompanied by a certificate of authenticity. Klimt’s mastery of depth is most evident in the gentleness of his linework. Without the aid of shadow or the subtlety of values, the gestures of line allow the viewer a sense of a three-dimensional person or object. The meticulous lithographic process used to create Klimt’s Handzeichnungen portfolio ensures exceptionally crisp markings bearing a strong resemblance to the original sketches. This series showcases the quintessence behind Klimt’s signature visual style. This artwork arrives accompanied by a certificate of authenticity. Century Guild has curated collections of Gustav Klimt’s printed...

Original Italian poster: Impermeabili Moretti by Leopoldo Meticovitz. Archival linen-backed original Italian vintage poster IMPERMEABILI MORETTI. This pre-art deco poster is in v...

Henri LE SIDANER (1862-1939) The Pink Tablecloth, 1928 Original drypoint etching Signed in the plate On vellum, 28 x 20.5 cm Very good condition, minor flaws at the edges of the page

Lithograph and stencil on vélin Hollande van Gelder paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Fernand Léger, 1928. Published and printed by Éd...

Les Pavots Noirs is a phototype reproduction realized after Odilon Redon. They belong to the suite "Odilon Redon Peintre, Dessinateur et Graveur", published by Henri Felury in 1923...

Lithograph and stencil on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, L'Art Cubiste, Théories et Réalisations, Etude Critique...

Boris Lovet-Lorski, Untitled (Nude with Horse), lithograph, edition 250, 1929. Signed and numbered 10 in pencil. Number 10 of Volume 1, a series of 10 ...

Kerr Eby 'Hungerford Bridge, London', etching and sandpaper ground, 1929, edition 90, Giardina 144. Signed, titled, and annotated 'Ed 90' in pencil. Signed again in the bottom right sheet corner. A fine, atmospheric impression, with delicate plate tone, on cream wove paper; the full sheet with margins (1 1/2 to 1 5/8 inches), in excellent condition. Matted to museum standards, unframed. Hungerford Foot Bridge spans the River Thames in London, between Westminster Bridge and Waterloo Bridge. Eby visited Great Britain and France during 1924 and 1925. Impressions of this work are in the permanent collection of the following institutions: American Academy and Institute of Arts and Letters, Arizona State University, Boston Public Library, Davison Art Center (Wesleyan University), Herbert F, Johnson Museum of Art, Huntington Museum of Art, Hood Museum of Art (Dartmouth College), Metropolitan Museum of Art, Montgomery Museum of Fine Arts, National Museum of American Art, New York Public Library, Smithsonian Museum of American Art. ABOUT THE ARTIST Kerr Eby was born in 1890 in Tokyo, Japan, the son of Methodist missionaries from Canada. The family returned to Vancouver when Eby was only three, and he grew up studying art encouraged by his parents as his mother was from a family of prominent artists. By age twelve, he had lived in Vancouver, Kingston, Toronto and Bracebridge where he found work as a ‘printer’s devil’ on the local Bracebridge newspaper. 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. He enrolled in art classes at Pratt Institute while working for a lithographic firm earning $4.00 a week. His pay barely covered his room and drawing supplies. Within a year, starving and feeling defeated, he returned to Canada and was employed by a surveying party in Northern Ontario. Eby gradually regained his dream of becoming an artist, and in his spare time, he began to draw the surrounding wilderness landscapes. By fall he had returned to New York to attend night classes at the Art Students League while working for another lithographic firm. He spent several more summers surveying in Northern Ontario before he was able to make a living as an illustrator. During this period he formed several friendships with influential artists including John Henry Twachtman and Childe Hassam and joined a summer artists' colony founded by them at Cos Cob, Connecticut. He supported himself by working as a magazine illustrator and at the American Lithographic Company. Through diligent study and practice, Eby refined both his drawing and printmaking techniques. In 1917, when the United States entered World War I, Eby joined the U.S. Army. Failing to obtain a commission as an artist, he was assigned first to ambulance duty and later as a sergeant in the 40th Engineers in France. He spent most of WWI on the front line as a camouflager of the field artillery ‘big guns”. On his time off duty, he would sketch everything he witnessed, from the explosive big guns and men in action to the dead soldiers in the field. He sent the drawings home each week, and upon his return from the war, they became the basis for his first successful group of etchings. He continued creating his war-related prints throughout the 1920s and '30s as his work became widely exhibited Frederick Keppel, the renowned print dealer and a relative of Eby, became the exclusive agent for many of his print editions. With another global conflict beginning in the mid-1930s, Eby wanted to show the world the true face of war...

Anton Schutz, 'Notre Dame, Paris', etching, 2nd state, 1927. Signed, titled, and annotated '2nd State', in pencil. Signed and dated in the plate, lower left. A superb, richly-inked...

Lithograph realized by De Chirico in 1929, and belonging to the famous suite "Metamorphosis". Hand signed and numbered 57/100. Ref: A. Ciranna, Giorgio de Chirico. Catalogo delle o...

Original, Italian, Vini di Lusso lithograph vintage poster for fine wines. The Italian Society for Superior Wine. The image of a satyr (or Bacchus) getting ready to eat a group ...

Medium: original lithograph. Printed in 1920 and published in Germany for GENIUS: Zeitschrift fur Werdende und Alte Kunst. Image size: 7 1/2 x 9 1/4 inches (195 x 235 mm). Signed in ...

Otto Kuhler, 'George Washington Bridge' (under construction) also titled 'The Cables That Hold it All', etching, 1928, edition unknown. An uns...

Original silent movie poster: King of Caprice (translated from Russian.). Archivally linen-acked in very good condition. Images shown are of the exac...

Fifth Avenue Bridge. 1928. Drypoint. McCarron 72. 9 7/8 x 12 (sheet 12 3/4 x 15). Edition of 108 recorded impressions. A rich impression printed on cream laid paper, with full margin...

Still life is a vintage offset print, realized in 1929 reproducing the original watercolor by Giorgio Morandi. Very Good conditions.

Medium: collotype (after the painting). Printed in 1926 at the Leon Marotte atelier and published in an edition of 1000 by Editions des Quatre Chemins. Image size: 4 3/4 x 7 7/8 inch...

Paul VERA Summer : Nude with a Fan, 1922 Original woodcut Handsigned in pencil Numbered /154 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp ...

"Jeune Hindoue" is an original hand-signed and numbered lithograph realized by Henri Matisse in 1929. It belongs to an edition of 50 prints. Excellent condition. Reference : Duthuit...

"Hebdomeros" is an hand-signed colored lithograph realized by Giorgio de Chirico in 1929. This is an edition of 100 prints, and is part of the series "Metamorphosis: Suite de Six Lithographies", editions des Quatre-Chemins, 1929. Very good condition. Numbered. Edition, 88/100. Bibliography: A. Ciranna, " G. De Chirico: Catalogo dell’Opera Grafica 1921-1969 ”, Roma, edizione " La Medusa ", 1969, p. 33, n. 13. The widely renowned precursor of Surrealism was the Italian painter Giorgio de Chirico (1888-1978). De Chirico’s definitely ambiguous artworks of cityscapes are the most celebrated examples of a movement called Pittura Metafisica , or Metaphysical Painting.

Anton Schutz, 'Delaware Bridge' (Delaware, New Jersey), etching, c. 1927. Signed in pencil. A superb, richly-inked impression, with skillfully wiped plate tone, on BFK Rives, cream wove paper, the full sheet with margins (1 1/2 to 2 1/8 inches), in excellent condition. Archivally matted to museum standards, unframed. Image size 11 7/8 x 8 7/8 inches (302 x 225 mm); sheet size 15 7/8 x 12 1/4 inches (403 x 311 mm). ABOUT THIS IMAGE The Benjamin Franklin Bridge, originally named the Delaware River...

Boris Lovet-Lorski, 'Untitled (Profile of a Black Woman)', lithograph, edition 250, 1929. Signed and numbered 14 in pencil. Number 14 of Volume 2, a series of 10 lithographs publishe...

Anton Schutz, 'Spirit of Buffalo', etching, edition not stated, c. 1927. Signed in pencil. Annotated 'Spirit of Buffalo 522', in another hand, in the bottom right margin. A fine, richly-inked impression, with skillfully-controlled plate tone, on cream wove Japan paper; the full sheet with margins (1 5/8 to 2 inches), in excellent condition. Matted to museum standards, unframed. Image size 8 7/8 x 11 7/8 inches; sheet size 12 1/4 x 15 7/8 inches. ABOUT THE ARTIST Etcher, painter, and architect, Anton Schutz was born in Germany in 1894. He studied at the University of Munich, earning a double degree in mechanical engineering...

Medium: original etching and drypoint. Printed in 1928 and published in Paris in a limited edition of 1100 for Abel Hermant's "Bigarrure". Plate size: 5 1/4 x 3 1/2 inches (130 x 88 ...

Henri Clement-Serveau Art Deco : Women with Doves, 1925 Original woodcut Handsigned in pencil Numbered /160 On Perrigot vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp o...

The Gothic Spirit (also called A Gargoyle, A Gothic Spirit). 1922. Etching and stipple. Fletcher 120. 11 5/8 x 7 (sheet 15 1/4 x 11 1/4). Gargoyle Series #8. Edition 130. Illustrated...

Boris Lovet-Lorski, Untitled (Portrait of an African Woman), lithograph, edition 250, 1929. Signed and numbered 13 in pencil. Number 13 of Volume 2, a series of 10 lithographs publis...

The 1928 poster designed by Jean Carlu for Pépa Bonafé is a striking example of early 20th-century French graphic design, showcasing Carlu’s distinctive a...

Expressionist lithographic poster by Theodor Paul Etbauer for J. Kosbü Optik, a German optometry practice. Etbauer elegantly merges art and advertisement with a simple, striking desi...

ROBERT PHILIPPI (Austrian 1877-1959) LIEBESPAAR (LOVERS) ca.1923 (in Rifkind Collection, LACMA: From a portfolio of 10 prints. Rifkind indicates the e...

Thomas Maitland Cleland by Rockwell Kent, American (1882–1971) Date: 1929 Lithograph, signed in pencil Image Size: 9.5 x 7 inches Size: 12 x 10 in. (30.48 x 25.4 cm)

Otto Kuhler, 'Grand Central Station', etching and drypoint, 1927, edition c. 50, Kennedy 27. Signed and titled in pencil. A superb, richly-inked impression, in brown/black ink, with ...

Lithograph and stencil on papier vélin des Manufactures d'Arches paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the volume, Les Biches, 1924. Published by Édi...

The 1923 original film poster for "Four Lives" (Четыре Жизни) is a striking example of early Soviet graphic design used to promote cinema. This poster, produced by Kino Moskva, showcases the avant-garde artistic style that was prevalent in Soviet Union during the late 1920s. The film, directed by an unknown director, is likely a dramatic narrative exploring various aspects of life, symbolized through its title. The design of the poster is dominated by a powerful figure in the foreground, depicted with strong lines and geometric shapes, reflecting the constructivist influence. The use of bold, contrasting colors like red, black, and green adds to the visual impact, drawing the viewer's attention immediately. The figure's posture and attire suggest a story of resilience and struggle, themes common in Soviet cinema of that era. In the background, the stylized depiction of another face and abstract forms contribute to the dynamic composition, hinting at the film's complex narrative and emotional depth. The typography is bold and angular, consistent with the constructivist aesthetic, emphasizing the film's title and adding to the overall dramatic effect. "Four Lives" poster is not only a promotional tool but also a piece of art that reflects the cultural and political milieu of the Soviet Union in the late 1920s. It captures the spirit of innovation and the emphasis on strong, impactful imagery that characterized Soviet propaganda and film promotion...

"Pictures Of Noh" - 1922 Original Japanese Woodblock Print Original Japanese woodblock print by Tsukioka Kogyo (Japanese, 1869-1927...

Plate number 6, Etrille, Ebalia, Portune, from "Étude de la Mer" by Mathurin Meheut. Heliochrome print. Paris, Éditions Albert Levy, 1924.

Enchanted Doorway, Venezia (La Porta della Carta, Venezia '29). 1930. Etching. Fletcher catalog 227 state ii. 12 3/8 x 6 9/16 (sheet 15 13/16 x 9 15/16). Edition 148 in this state (...

Published anonymously c. 1920, Vienna, in an edition of 100, after the original watercolor and pencil on paper, titled in the plate at the top: “DIE TRAUM/BESCHAUTE” and signed and d...

Landlord is an original vintage offset and lithograph print realized by George Grosz. The artwork is plate n.29 from the portfolio Ecce Homo published between 1922/1923, edition of ...

Boris Lovet-Lorski, Untitled (Nike), lithograph, edition 250, 1929. Signed and numbered 1 in pencil. Number 1 of Volume 1, a series of 10 lithographs in each of 2 portfolios, publish...

Jo Mora's 1928 "Carte" of San Diego, Very Rare Pictorial Map Size: 28 x 22.5 in (71.12 x 57.15 cm) Every good condition for it's age Originally came folded in envelope for mailing....

Medium: collotype (after the painting). Printed in 1926 at the Leon Marotte atelier and published in an edition of 1000 by Editions des Quatre Chemins. Image size: 8 x 5 inches (200 ...

Artist: Pierre Bonnard, French (1867 - 1947) Title: La Toilette Assise Year: 1925 Medium: Lithograph, signed 'PB' in the plate, signed 'P. Bonnard' lower right and numbered lower lef...

Medium: original etching. Printed in 1926 on Montgolfier wove paper in an edition of 1260 for "Le The du Capitaine Sogoub" and published in Paris by Au Sans Pareil. The artist's name...

FRANCES H. GEARHART (1869 – 1958) GAILLARDIAS c. 1928 Color block print. Signed in pencil. Edition unknown but small. 7 ¼” x 5 ¾”. Gearhart did very few pure flower prints but wa...

Lithograph and stencil on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, L'Art Cubiste, Théories et Réalisations, Etude Critique...

Etching and aquatint on hand made F.J. Head & Co watermarked cream laid paper, full margins. Signed and dated in pencil, lower right margin. From the edition of 160 (from a total of ...

Boris Lovet-Lorski, Untitled (Nude Dancer in Modernist Stage-setting), lithograph, edition 250, 1929. Signed and numbered 20 in pencil. Number 20 of Volume ...

Frederick K. Detwiller, 'The Sixth Avenue Spur, New York City', lithograph, 1924, edition 20. Signed, dated, titled, and annotated 'Lith 20' in pencil. Inscribed 'To my Friend Herbert L. Jones' in pencil. Signed and dated, in the stone, lower right; initialed and dated '1927' in the stone, lower left. A fine, richly-inked impression, on cream wove paper, with margins (7/8 to 1 1/4 inches); slight toning in the top left sheet edge, otherwise in good condition. Scarce. Image size 20 1/2 x 14 inches (521 x 356 mm); sheet size 22 1/2 x 16 inches (572 x 406 mm). Archivally matted to museum standards, unframed. ABOUT THE IMAGE The Sixth Avenue El was constructed in the late 1870s by the Gilbert Elevated Railway and reorganized as the Metropolitan Elevated Railway. By 1878, it was running from Rector Street to 58th Street. Soon after that, it was taken over by the Manhattan Railway Company, with three other Manhattan elevated train lines. The company built a connection, the ‘spur’ by which it turned west on 53rd Street to merge with the 9th Avenue El—paralleling the present-day route of the 6th Avenue subway. The Sixth Avenue El served the “Ladies Mile” shops (including the Siegel-Cooper emporium, whose building now houses Bed...

Boris Lovet-Lorski, 'Untitled (Nude in Landscape)', lithograph, edition 250, 1929. Signed and numbered 5 in pencil. Number 5 of Volume 1, a series of 10 lithographs published by the ...