1920s Prints and Multiples

Wood engraving on vergé d'Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Les Petites Fleurs de St. François, 1928. Published b...

Ecce Homo Plate X Woodcut, 1921 Signed, titled, and dated in pencil by the artist (see photos) Edition: One of two known impressions This image wwas unknown to the catloger Ingrid Rose in 1984 when she published the catalog raisonne of Drewes prints. Done while Drewes was studying at the Bauhaus. Reference: Ingrid Rose, Werner Drewes: A Catalogue Raisonne of His Prints (Munich: Verlag Kunstgalerie Esslingen, 1984), 33, one of two known impressions. Provenance: Gift of the artist to one of his Bauhaus professors. Held in East Germany until the opening of the wall Jorg Maas Kunsthandel, Berlin Other image from the suite of Ecce Homo images are available. Extremely early, rare Bauhaus works. n 1921 Drewes went to the Bauhaus in Weimar, where, after completing the compulsory preliminary course with Johannes Itten, he continued to study with Paul Klee, Oskar Schlemmer and Georg Muche and initially went to the wall painting workshop. He then traveled extensively through Europe, North America and Asia. After returning to Germany in 1927, he went back to the Bauhaus, this time to his new location in Dessau, where he studied in the classes of László Moholy-Nagy and Wassily Kandinsky. He was one of the first artists to introduce the groundbreaking concepts of the Bauhaus School in the United States through his painting, printmaking, and teaching. Werner Drewes (1899–1985) was a painter, printmaker, and art teacher. Considered to be one of the founding fathers of American abstraction, he was one of the first artists to introduce concepts of the Bauhaus school within the United States. His mature style encompassed both nonobjective and figurative work and the emotional content of this work was consistently more expressive than formal. Drewes was as highly regarded for his printmaking as for his painting. In his role as teacher as well as artist he was largely responsible for bringing the Bauhaus aesthetic to America. Early life and education Drewes was born in 1899 to Georg Drewes, a Lutheran pastor, and Martha Schaefer Drewes. The family lived in the village of Canig within Lower Lusatia, Germany. From age eight to eighteen he attended the Saldria Gymnasium, a boarding school in Brandenburg an der Havel. There, he showed talent both for painting and woodblock printing. Graduating from Saldria in 1917, he was drafted by the German army and served in France from then until the close of the war. About this period of his life he is reported to have said that the horrors of life at the front were only made tolerable by his sketchbook, a copy of Goethe's Faust and a volume of Nietzsche. For a decade following the close of the war he studied, made paintings and prints, and traveled widely. His friend, Herwarth Walden, helped shape his appreciation for expressionist literature and art. Walden produced the quarterly magazine, Der Sturm and ran a gallery of contemporary art, Galerie Der Sturm, from which, in 1919, Drewes purchased an expressionist painting by William Wauer titled Blutrausch (Bloodlust). In the same year he made the acquaintance of Heinrich Vogeler and participated in Vogeler's socialist utopian artists' commune, Barkenhoff, at Worpswede, Lower Saxony. In 1919 Drewes also enrolled at the Königlich Technischen Hochschule Charlottenburg to study architecture and the following year he studied the same subject at the Technischen Hochschule Stuttgart. Preferring art over architecture, he then enrolled in Stuttgart's school of applied arts (Kunstgewerbeschule) where he studied life drawing and learned to work with colored glass. At this time he joined a group of artists and architects associated with the newly formed Merz Akademie, a college of design, art, and media in Stuttgart. In 1921 his friendship with a French artist, Sébastien Laurent, led him to begin studies in Weimar at Bauhaus, then a new school which taught an integrated approach to the fine and applied arts. His instructors were Johannes Itten and Lyonel Feininger, whose paintings were expressionist and abstract, and Paul Klee, who taught bookbinding, stained glass, and murals. While at Bauhaus Drewes produced a portfolio of ten woodblock prints entitled "Ecce Homo." In 1923 and 1924 he studied art during travels throughout Italy, Spain, the United States, and Central America and in 1926 he traveled to San Francisco, Japan, and Korea, thence taking the Trans-Siberian railway to Manchuria, Moscow, and Warsaw. He later said the El Grecos he saw proved to be most influential in his work. While traveling, he exhibited: (1) etchings in Madrid (1923) and Montevideo (1924), oils and etchings in Buenos Aires and St. Louis (1925), and (3) etchings in San Francisco (1926). He paid his way by the sales these exhibits produced and by taking commissions to paint portraits. While in San Francisco he set up a shop from which he sold prints he had made in Spain and South America. After his return to Germany in 1927 he resumed study at Bauhaus, which had been forced to relocate in Dessau, Saxony-Anhalt. His instructors at that time were László Moholy-Nagy (metal work), Wassily Kandinsky, and (painting), and Lyonel Feininger (prints). At this time he also worked and exhibited in Frankfurt. With the rise of Nazism abstract artists found it increasingly difficult to sell their work and, in 1930, Drewes, finding the political pressure unbearable, emigrated to the United States. There, despite the world economic crisis, Drewes was able to earn a living as a professional artist. Mature style After Drewes moved to New York, Kandinsky, who was both friend and mentor, continued to exert a strong influence over his style. Later in life he said he had a hard time getting away from Kandinsky's influence as he developed his own style. In time he was able to bring a more emotional approach to his work and to base it, more than Kandinsky did, on natural forms. In 1930 Drewes had a solo exhibition at the 135th Street Branch of the New York Public Library and a two-person show at the S.P.R. Penthouse Gallery...

Artist: Eileen Alice Soper (English, 1905-1990) Title: "The New Pupil" *Signed by Soper in pencil lower right Year: 1925 Medium: Original Etching on unbranded white wove paper Limited edition: Unknown Printer: Likely printed by Eva Soper, London, UK Publisher: H C Dickens, London, UK Reference: "The Catalogue Raisonne of Prints and Etchings of George and Eileen Soper" - Beetles No. 93, page 121, 141, 157 Sheet size: 11" x 9" Image size: 6" x 3.5" Condition: Never framed, has been professionally stored away for decades. In mint condition Notes: H C Dickens chop mark/blind stamp lower left. The Art Institute of Chicago has an example of this work within their permanent collection. Biography: Eileen Alice Soper (26 March 1905 – 18 March 1990) was an English etcher and illustrator of children's and wildlife books. She produced a series of etchings, mainly of children playing, and illustrated books for other writers, notably for Enid Blyton and Elizabeth Gould. She also wrote and illustrated her own children's book. Some of her illustrations of children and animals were used in a china series for children by Paragon China...

This vintage travel poster, Route des Alpes, was created by renowned French illustrator René Péan to promote the scenic beauty of the French Alps and the legendary Paris-Lyon-Méditer...

Signed on plate. From the portfolio “Le Bonheur du Jour” by George Barbier. Etching and Pochoir. Passepartout included : 49 x 34 cm

Jesus and the Disciples is an Original woodcut print realized by François Bouchot in 1922. The artwork is in good condition and included a brown cardboard passpartout (36.5x27.5 cm). No signature. François Bouchot (1800-1842), peintre et graveur, est né à Paris en 1800. Il étudia la gravure sous la direction de Richomme, puis devint élève de Regnault, puis de Lethière, et obtint le grand prix...

Etching on vélin d'Annonay, des frères Montgolfier paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the volume, Dix filles dans un pré. Ballet imaginaire. Avec quatre gravures à l'eau-forte de Marie Laurencin, 1926. Published by Au Sans Pareil, Paris; printed by Lacourière, Paris, 1926. Excerpted from the volume (translated from French), 20 copies on tank vellin, with a double sequence of engravings, including one in first condition. These copies, reserved for Friends of the Unparalleled and printed in their name, are numbered from 1 to 20; 35 examples; 60 copies on Holland Van...

In this 1923 travel poster by Léon Constant Duval, the medieval village of Beynac-et-Cazenac cascades down a limestone cliff along the banks of the Dordogne River, crowned by the imp...

The Chairis a vintage lithograph realized after Raoul Dufy in 1920. Good conditions. Edition of 110. Not signed and not numbered, as issued. The artwork is depicted through confid...

Rocamadour is a historic village built dramatically into the cliffs above the Alzou Canyon in the Lot region of southwestern France. This vibrant poster presents a sweeping view of t...

L'Ecuyere is a beautiful original lithograph realized by Georges Rouault in 1920. Hand-signed and numbered by the artist in pencil. Edition of 25 prints. 5th ad final state of a s...

Artist: Henri Matisse (French, 1869-1954) Title: "Figure Endormie dans un Intérieur (Interior with Sleeping Figure)" *Signed and numbered by Matisse in...

Homeland figures from Ecce Homo is an original offset and lithograph, realized by George Grosz in 1922. The artwork is the plate n. 47 from the portfolio Ecce Homo published betwee...

Marie LAURENCIN Selfportrait with a Baby Dog (1928) Stone Lithograph Printed in Atelier Mourlot Plates signed On China paper 42 x 31 cm (c. 17 x 12") Excellent condition

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...

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...

Medium: original lithograph. Printed in 1920 on smooth wove paper for the Deutsche Graphiker der Gegenwart portfolio, and published in Leipzig by Klinkhardt & Biermann in an edition ...

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...

Bullfight Lithograph, 1928 Signed and dated in pencil lower right (see photo) Numbered lower left (see photo) Edition: 41 (22/41) Reference: Davis L37 Printed chine applique on wove ...

Illustration from the series "Les Fleurs du Mal" is an etching print realized after Odilon Redon and published by Henri Felury in 1923. Monogrammed on the plate. Good conditions, w...

Original "Forbidden Paradise" vintage silent movie window card. Production from the play "The Czarina" by Lajos Biro and Menyhert Lengyel. This poster has been archivally paper backed and is in excellent condition. This movie window card was printed as a stone lithograph. Pola Negri was born Apolonia Chalupiec in 1897. She adopted the pseudonym "Pola Negri," after the Italian poetess, Ada Negri. The Ernst Lubitsch-Pola Negri combination was very successful and the roles that Pola played were earthy, exotic, strong women. One of her films, 'Madame DuBarry...

La Roulette in the Casino, from Monte Carlo from -Album n.15 – Planche n.12 is an original vintage reprint from the 1920 color lithograph by French c...

This pochoir belongs to the portfolio 'Le Bonheur du Jour', by George Barbier. A very fine work of one of the most important and famous european illustrators of Art Deco, whose infl...

Amicalement is a hand-colored etching and drypoint, signed by Chas Laborde on the lower right margin. Hand-titled on the lower left margin. This original print is hand-colored with t...

Seibutsu (Still Life) A Vase and Apples Color woodcut, 1925 Signed on the mount (support sheet) From: Dojin zasshi, Hanga Magazine, Volume 8, No. 8 Condition: Excellent Image/Sheet ...

Lithograph and stencil on vélin paper. Paper Size: 12.2 x 15 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Douze aquarelles de Auguste Ro...

Couple from Ecce Homo is an original offset and lithograph realized by George Grosz. The artwork is the plate n. 57 from the porfolio Ecce Homo published between 1922/1923,edition o...

Marie LAURENCIN Three Girls Playing Music (1928) Stone Lithograph Printed in Atelier Mourlot Printed signature in the plate On China paper 31 x 42 cm (c...

This original vintage poster was created in 1920 by renowned poster artist, Leonetto Cappiello. It is printed in a small format with English text using stone lithography for counter ...

Original collotype lithograph of Gustav Kilmt’s Female semi-nude on bedding, 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...

Hand signed and numbered.This lithograph is from the portfolio “Metamorphosis”. Reference: A. Ciranna, Giorgio de Chirico. Catalogo delle opere grafiche, Milan-Rome, p. 32, n.12 V...

Demetrios Galanis Still Life with a Pipe and a Pichet, 1926 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...

Signed lower right, 'Lavernia' for Angelina Lavernia (Spanish, b. 1925) with number and limitation, '5/375', inscribed lower left; blind stamped 'CG' for Collector's Guild lower left...

Original Poster Jean Carlu (1900–1997) was a French graphic designer who specialised in posters. He was a member of a family of architects; his brother Jacques Carlu...

Cognac Pellison is a French liquor poster created in the 1920's by the legendary artist, Leonetto Cappiello (1875-1942). It is a typically whimsical Ca...

Barcarolle. 1926. Etching. Carter 233. 14 7/8 x 8 3/8 (sheet 17 1/4 x 10 1/4). Edition 80, #xxv. Print Collector's Quarterly 24 (1938): 428; Eric Denker, Reflections & Undercurrents: Ernest Roth...

Lithograph on Arches Velin paper, Edition of 50 Paper size: 65 x 50.5 cms (25 1/2 x 19 7/8 ins) Image size: 54.3 x 45 cms (21 3/8 x 17 3/4 ins)

Couple is an original offset lithograph, realized by George Grosz. The artwork is the plate n. 78 from the porfolio Ecce Homo published between 1922/1923,edition of Der Malik-Verlag...

Coquette Pochoir (silk screen) printed in colors, c. 1923-1925 Signed by the artist in pencil lower right; numbered in ink on the image, (see photo) Edition: 250 (100/250) in pencil in image (see photo) Image size: 10-1/2 x 12-3/4" The artist won a gold medal in Paris in 1925 for his porchoirs Victor Max Ninon (Vittorio Accornero de Testa, Italian, 1896-1982) Biography Vittorio Accornero de Testa was born in Casale Monferrato in 1896. He completed his first studies at the "Leardi" institute, but was forced to interrupt them due to the war events of the First World War . At 19 he was second lieutenant of the Alpine troops and in 1916 he took one of the first pilot's licenses. During the war he knows the bitterness of shooting down in air combat (for which he is decorated), but also the good fortune to stay alive, albeit with a disability. His art blossomed in the postwar period, first signing his works simply Ninon and then, probably at the suggestion of a French publisher, under the pseudonym of "Victor Max Ninon" (Victor and Max indicate strength and masculinity, Ninon boyhood) .In 1919 and 1924 he made illustrations for theGiornalino della Domenica , also together with his first wife Edina Altara , for Ardita and La Lettura . In 1923 he won the cover competition organized by the magazine El Hogar of Buenos Aires and in 1925 with his pochoirs he imposed himself in Paris at the international exhibition of modern decorative and industrial arts , obtaining a gold medal. In the same year he made two covers for the US magazine The Smart Set . In the 1920s he made numerous series of art deco style postcards for the Milanese publishing house Degami . On June 4, 1929, aGenoa embarks on the Conte Grande together with his wife Edina Altara , for New York . The two stayed in the American metropolis for a few months: in this period Accornero worked on the creation of theatrical sets and created some covers for Country Life magazine . Accornero gets awards and prizes, but the great economic crisis of the time and the nostalgia for Italy convince the two to return to their homeland, where they resume their activity as illustrators. In 1934 Accornero moved to Milan, separated amicably from his wife and continued to dedicate himself to the illustration of children's books, abandoning the pseudonym Victor Max Ninon. It illustrates about 60 books, from the fables of Andersen , Perrault and Grimm , to the tales of Poe , as well as the famous Pinocchio and Cuore published by Mondadori, Mursia, Hoepli, Martello. Several books illustrated by Accornero have been published in French, Spanish, German and English. In addition to the periodicals already mentioned, he collaborates on the first edition of the Encyclopedia of Boys , Mondadori, and with the Italian magazines Lidel , Il Secolo XX, The Italian Illustration , Fantasies of Italy , The Woman , Cordelia , For You Lady , Grace , Metropolis , La Domenica del Corriere , The Corriere dei Piccoli . In 1936 enters the world of cinema, creating sets and costumes for Wedding Vagabonde of Guido Brignone and The White Squadron of Augustus Genina . From 1935 to 1950 he also devoted himself to the theater, taking care of sets and costumes for numerous operettas, ballets and performances at the Scala in Milan and for the Milanese theaters Manzoni, Lirico and Olympia. Stages Marcello di Giordano, Nina pazza d'amore by Paisiello, I cantori di Nurimberga by Wagner, La Bohème by Puccini and other works. For this activity he is also cited in the Theater encyclopedia. In the 1940s and 1950s he wrote and illustrated six books for children for Mondadori: Tomaso (1944), Giacomino (1949), Tomaso Cacciatore (1950), Zio Stefano (1950), In Campagna che delizia! (1953), Tomaso, dear Tomaso (1955). His illustrations of Perrault's Tales published in those years by Hoepli are famous. His art in the fifties evolves towards hyperrealism . There are many personal exhibitions in Italy and abroad, including those at the Gallerie Gussoni (1959) and Bolzani (1963 and 1966) in Milan and Walcheturm (1962) in Zurich. Eminent critics praise his work, from Orio Vergani to Enrico Piceni, from Reto Roedel to De Chirico himself. On the Domenica del Corriere , the journalist, writer and painter Dino Buzzati...

Medium: original etching and drypoint. Signed in pencil by Felix Meseck and printed in Germany in 1922 for the very rare "Die zweite Ganymed-Mappe" portfolio of "Das vierte Jahrbuch ...

Coloured Lithograph, 1929. Dimensions: 41,2 x 31 cm. Hand signed and numbered. This lithograph is from the portfolio “Metamorphosis”. Reference: A. Ciranna, Giorgio de Chirico. C...

Robe Grise Pochoir (silk screen) printed in colors, 1923 Signed by the artist in pencil lower right (see photo) The artist won a gold medal in Paris in 1925 for his pochoirs Condition: Two spots in the upper left corner associated with the printing. Victor Max Ninon (Vittorio Accornero de Testa, Italian, 1896-1982) Biography Vittorio Accornero de Testa was born in Casale Monferrato in 1896. He completed his first studies at the "Leardi" institute, but was forced to interrupt them due to the war events of the First World War . At 19 he was second lieutenant of the Alpine troops and in 1916 he took one of the first pilot's licenses. During the war he knows the bitterness of shooting down in air combat (for which he is decorated), but also the good fortune to stay alive, albeit with a disability. His art blossomed in the postwar period, first signing his works simply Ninon and then, probably at the suggestion of a French publisher, under the pseudonym of "Victor Max Ninon" (Victor and Max indicate strength and masculinity, Ninon boyhood) .In 1919 and 1924 he made illustrations for theGiornalino della Domenica , also together with his first wife Edina Altara , for Ardita and La Lettura . In 1923 he won the cover competition organized by the magazine El Hogar of Buenos Aires and in 1925 with his pochoirs he imposed himself in Paris at the international exhibition of modern decorative and industrial arts , obtaining a gold medal. In the same year he made two covers for the US magazine The Smart Set . In the 1920s he made numerous series of art deco style postcards for the Milanese publishing house Degami . On June 4, 1929, aGenoa embarks on the Conte Grande together with his wife Edina Altara , for New York . The two stayed in the American metropolis for a few months: in this period Accornero worked on the creation of theatrical sets and created some covers for Country Life magazine . Accornero gets awards and prizes, but the great economic crisis of the time and the nostalgia for Italy convince the two to return to their homeland, where they resume their activity as illustrators. In 1934 Accornero moved to Milan, separated amicably from his wife and continued to dedicate himself to the illustration of children's books, abandoning the pseudonym Victor Max Ninon. It illustrates about 60 books, from the fables of Andersen , Perrault and Grimm , to the tales of Poe , as well as the famous Pinocchio and Cuore published by Mondadori, Mursia, Hoepli, Martello. Several books illustrated by Accornero have been published in French, Spanish, German and English. In addition to the periodicals already mentioned, he collaborates on the first edition of the Encyclopedia of Boys , Mondadori, and with the Italian magazines Lidel , Il Secolo XX, The Italian Illustration , Fantasies of Italy , The Woman , Cordelia , For You Lady , Grace , Metropolis , La Domenica del Corriere , The Corriere dei Piccoli . In 1936 enters the world of cinema, creating sets and costumes for Wedding Vagabonde of Guido Brignone and The White Squadron of Augustus Genina . From 1935 to 1950 he also devoted himself to the theater, taking care of sets and costumes for numerous operettas, ballets and performances at the Scala in Milan and for the Milanese theaters Manzoni, Lirico and Olympia. Stages Marcello di Giordano, Nina pazza d'amore by Paisiello, I cantori di Nurimberga by Wagner, La Bohème by Puccini and other works. For this activity he is also cited in the Theater encyclopedia. In the 1940s and 1950s he wrote and illustrated six books for children for Mondadori: Tomaso (1944), Giacomino (1949), Tomaso Cacciatore (1950), Zio Stefano (1950), In Campagna che delizia! (1953), Tomaso, dear Tomaso (1955). His illustrations of Perrault's Tales published in those years by Hoepli are famous. His art in the fifties evolves towards hyperrealism . There are many personal exhibitions in Italy and abroad, including those at the Gallerie Gussoni (1959) and Bolzani (1963 and 1966) in Milan and Walcheturm (1962) in Zurich. Eminent critics praise his work, from Orio Vergani to Enrico Piceni, from Reto Roedel to De Chirico himself. On the Domenica del Corriere , the journalist, writer and painter Dino...

An excellent, richly-inked impression of this print with full margins. It is one of 10 numbered artist's proofs, aside from the edition of 50. Signed, inscribed "Epr. d'artiste" and ...

Brittany Landscape with Figure Etching & color aquatint, c. 1920 Signed lower right (see photo) Numbered lower left: "No. 21" (see photo) An early color etching by the artist, based ...

Marc Chagall, Russian (1887 - 1985) - Full Moon, Medium: Etching on Arches, Image Size: 7.5 x 14.25 inches, Size: 15 x 22.5 in. (38.1 x 57.15 cm), Description: From the collection ...

Monogram of the artist on plate. Edition of 150 copies. One of the 50 H.C.copies in Roman Numerals. This print is one of the illustrations realized by Odilon Redon for an important e...

Hand signed. Rare limited edition of 75 copies. Image Dimensions: 28 x 36.5 cm Good condition except for the brownishing of paper.

Original lithograph of Josef Fenneker’s German Expressionist poster design for the 1920 silent film Hass (Hate) directed by Manfred Noa. J...

Studies is an original offset and lithograph realized by George Grosz. The artwork is the plate n.10 from the portfolio Ecce Homo published between 1922/1923, edition of Der Malik-V...

Original collotype lithograph of a reclining nude drawing from Gustav Kilmt’s handzeichnungen (sketch) in 1922 by Thyrsos Verlag, Leipzig and Vienna, in an edition of 375. This artwo...

Elijah Albert Cox (1876-1955) A Pageant of London for London's Children Original poster for London Underground 102 x 127 cm Lithograph This fantastic poster illustrates London-relat...

Ange Déchu is a prototype reproduction realized after Odilon Redon. They belong to the suite "Odilon Redon Peintre, Dessinateur et Graveur", published by Henri Felury in 1923. Tit...

Walter Schnakenberg’s 1920 poster promoting the decadent (and likely debaucherous) Munich cabaret Bonbonnière & Eremitage. The costume and poster designs of Walter Schnakenberg defined ballet and cabaret during Germany’s Weimar...

Pochoir. This is one of the artworks in the portfolio 'Le Bonheur du Jour', by George Barbier. Passepartout included : 34 x 49 cm

Engagement is an original offset and lithograph realized by George Grosz. The artwork is the platen. 17 from the portfolio Ecce Homo published between 1922/1923, edition of Der Mal...

The circa 1920 color print "Bergers dans la Montagne" by the renowned French artist Henri Rivière exemplifies the artist's mastery in capturing the natural world and rural life throu...

Le Liseur is a prototype reproduction realized after Odilon Redon. They belong to the suite "Odilon Redon Peintre, Dessinateur et Graveur", published by Henri Felury in 1923. Titl...

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