Early 1900s Prints and Multiples

Bucolique Moderne Color woodcut, 1901 Edition of 550 impressions on Holland paper (as here) and an edition of 200 impressions printed on Japan paper signed in pencil by the artist. References And Exhibitions: Published in Di Gesellschaft fur vervielfältigende Kunst à Vienne Reference: Lotz Brissonneau 271 v/V Illustrated: Musee D'Orsay, Auguste Lepere ou lerenouveau de bois grave, No. 20 Vital, Auguste Lepere 1849-1918, No. 171. Illustrated: Musee de le Vendee, no. 171 (see photo) Musee D'Orsay, Auguste Lepere ou lerenouveau de bois grave, No. 20 Vital, Auguste Lepere 1849-1918, No. 171. Auguste Louis Lepère...

Woman with Dove is an original zincography on paper realized after M. Sichel in 1905. This Specially Zincography representing a woman with dove. The t...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under each of the 50 prints is a gold signet intaglio...

Giovanni Frangipani is a beautiful colored lithographed original manifesto on cardboard, realized around the first years of the XX century by the Italian artist Giuseppe Palanti. Pr...

Image Dimensions : 22 x 16 cm. Hand signed. Passepartout included : 49 x 34 cm Edgar Chahine was a French painter, engraver and illustrator.

Beautiful poster after Henri Gervex for the railways of Orleans and more precisely the communes of Alvignac and Miers in the Lot and the line from Paris to Toulouse by Capdenac and t...

In the world of art and design, the work of J. Thorn Prikker (1868-1932) stands as a testament to the enduring beauty of aesthetic craftsmanship. In 1903, Prikker's original poster f...

Image dimensions: 11,7 x 15,3 cm. Hand signed in pencil. Note lower left "2em état". Artist's proof, II state. Original etching. Catalogue Salomon n. 116.

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

Etching, 1908. Image Dimensions: 30 x 17 cm Hand signed and signed on plate. Provenance: Galleria Prandi 26/10/1976. Jean-Émile Laboureur was a French painter, illustrator and engra...

"Military" is a beautiful print in the etching technique, realized by Anselmo Bucci (1887-1955). In very good conditions except for aged margins. Anselmo Bucci (1887-1955): Italian...

Woman is an original zincography on paper realized by F. Reifs after G. Stadelmann , in 1905. This Specially Zincography representing a woman's Portrait. The title of the work "Carm...

Woman's Portrait is an original zincography on paper realized by Jan Van Beers, in 1905. This Specially Zincography representing a woman's Portrait. The title of the work "Graziella...

Circolo dell'Arcadia portrayed with the italian pet Trilussa is a vintage albumen print applied on cardboard, realized between 1900 and 1902. This big-size photographic print comes ...

Deville's original poster for Chemins de fer d'Orléans, showcasing Le Mont-Dore in Auvergne with the captivating Cascade de Queureuilh and the grandeur of the thermal establishment, ...

Rue Eginhard Lester George Hornby, American (1882–1956) Date: 1908 Etching on laid paper, signed in pencil Image Size: 7.25 x 5.5 inches Size: 8.75 x 6.5 in. (22.23 x 16.51 cm)

"Portrait" is an original print in etching on paper, realized by an Artist of XX Century. The state of preservation of the artwork is very good. Sheet dimension: 25.5 x 16.6 cm. ...

G. Mantelet's Circa 1900 poster for the Chemins de fer d'Orléans et du Midi, titled "Les Grottes de Lacave - Gares de Souillac et de Rocamadour (Lot)," invites viewers on a subterran...

F. Hugo d'Alesi's artistic legacy is profound, particularly in the late 19th century, where he crafted numerous tourist posters for railway companies. His oeuvre extended beyond rail...

Image dimensions: 13 x 9 cm. Portrait is an original etching by Arthur Edmond Guillez (1865-1916) realized in 1908, which is the portrait of Rene Boulet, hand-signed and dated on ...

Water Snakes I, no. 9 from the first installment of Das Werk Gustav Klimts Known by various names, Women Friends, Girlfriends, Water Snakes I and what Kli...

La Chemise Enlevée is an original artwork realized by the French artist Benjamin Damman in 1909. The artwork is an original etching after an important artwork by Fragonard. Proof of...

Le Journaliste is an original chromolithograph, realized between 1901-1902. This artwork is from L'Assiette au Beurre an illustrated French weekly satirical periodical illustrated b...

Beautiful art nouveau style poster by Lewis Baumer illustrating the seasons of fall and winter. Lewis Christopher Edward Baumer is best known as an Engli...

Portrait is a splendid lithograph realized by the French painter and engraver M. Ernest Laurent from one of his own works exhibited at the Salon in 1901. On the lower left, below the image, “Gazette des Beaux-Arts” is printed; on the lower right “Imp. D’Art A. Clot, Paris”; on the lower center “Portrait/ Lithographie de M. Ernest Laurent d’apres son tableau / (Societé des Artistes français – Salon de 1901)”. The conditions of the work are excellent. The paper presents an irregular cut on the left margin, and the print is not perfectly centered on the piece of paper. M. Ernest Laurent was an exponent of Neo-Impressionism and Divisionism, pupil of Ernest Hébert...

Original title: "Springende Mädchen". Beautiful brown burnt sienna colored lithograph, wide margins, on China paper. "Ludwig von Hofmann, Springende Madchen" printed in green ink in...

Max Clarenbach (1880 Neuss - Cologne 1952), Evening. Etching, 18 x 41 cm (platemark), 33.5 x 57 cm (frame), inscribed "Abend" in pencil at lower left, signed and dated "M. Clarenbach. 28.III.[19]09". Framed and mounted under glass. - Somewhat browned and slightly foxed. About the artwork The horizontally elongated etching depicts the panoramic view of a small town as seen from the other side of the river. There are gabled houses on the left and a mighty church spire on the right. The bourgeois houses and the large religious building indicate the urban character. These buildings are rendered in dark tones to emphasise the lighter row of houses in the centre of the picture, closer to the water. The chiaroscuro contrast creates two parallel planes that open up a space for the imagination of what the city could be. The imagination is stimulated by the almost entirely dark, barely recognisable buildings, while the arm of the river leading into the city further stimulates the imagination. However, as the silhouette of the city as a whole is reflected in the water, the parallel planes are perceived as a band of houses that stretches across the entire horizontality of the etching and seems to continue beyond the borders of the picture. The reflection has almost the same intensity as the houses themselves, so that the band of buildings merges with their reflection to form the dominant formal unit of the picture. Only the parallel horizontal hatching creates the convincing impression of seeing water, demonstrating Max Clarenbach's mastery of the etching needle. The water is completely motionless, the reflection unclouded by the slightest movement of the waves, creating a symmetry within the formal unity of the cityscape and its reflection that goes beyond the motif of a mere cityscape. A pictorial order is established that integrates everything in the picture and has a metaphysical character as a structure of order that transcends the individual things. This pictorial order is not only relevant in the pictorial world, but the picture itself reveals the order of the reality it depicts. Revealing the metaphysical order of reality in the structures of its visibility is what drives Clarenbach as an artist and motivates him to return to the same circle of motifs. The symmetry described is at the same time inherent an asymmetry that is a reflection on art: While the real cityscape is cut off at the top of the picture, two chimneys and above all the church tower are not visible, the reflection illustrates reality in its entirety. The reflection occupies a much larger space in the picture than reality itself. Since antiquity, art has been understood primarily as a reflection of reality, but here Clarenbach makes it clear that art is not a mere appearance, which can at best be a reflection of reality, but that art has the potential to reveal reality itself. The revealed structure of order is by no means purely formalistic; it appears at the same time as the mood of the landscape. The picture is filled with an almost sacred silence. Nothing in the picture evokes a sound, and there is complete stillness. There are no people in Clarenbach's landscape paintings to bring action into the picture. Not even we ourselves are assigned a viewing position in the picture, so that we do not become thematic subjects of action. Clarenbach also refrains from depicting technical achievements. The absence of man and technology creates an atmosphere of timelessness. Even if the specific date proves that Clarenbach is depicting something that happened before his eyes, without the date we would not be able to say which decade, or even which century, we are in. The motionless stillness, then, does not result in time being frozen in the picture, but rather in a timeless eternity that is nevertheless, as the title "Abend" (evening), added by Clarenbach himself, makes clear, a phenomenon of transition. The landscape of the stalls is about to be completely plunged into darkness, the buildings behind it only faintly discernible. The slightly darkened state of the sheet is in keeping with this transitional quality, which also lends the scene a sepia quality that underlines its timelessness. And yet the depiction is tied to a very specific time. Clarenbach dates the picture to the evening of 28 March 1909, which does not refer to the making of the etching, but to the capture of the landscape's essence in the landscape itself. If the real landscape is thus in a state of transition, and therefore something ephemeral, art reveals its true nature in that reality, subject to the flow of phenomena, is transferred to an eternal moment, subject to a supra-temporal structure of order - revealed by art. Despite this supratemporality, the picture also shows the harbingers of night as the coming darkening of the world, which gives the picture a deeply melancholy quality, enhanced by the browning of the leaf. It is the philosophical content and the lyrical-melancholic effect of the graphic that give it its enchanting power. Once we are immersed in the image, it literally takes a jerk to disengage from it. This etching, so characteristic of Max Clarenbach's art, is - not least because of its dimensions - a major work in his graphic oeuvre. About the artist Born into poverty and orphaned at an early age, the artistically gifted young Max Clarenbach was discovered by Andreas Achenbach and admitted to the Düsseldorf Art Academy at the age of 13. "Completely penniless, I worked for an uncle in a cardboard factory in the evenings to pay for my studies.” - Max Clarenbach At the academy he studied under Arthur Kampf, among others, and in 1897 was accepted into Eugen Dücker...

Pochoir. Signed on plate. One of the beautiful illustrations realized by Paul Iribe for "Les Robes de Paul Poiret" in 1908.

Spielende Kinder is a black and white lithograph on ivory-colored tessue paper applied on paper, realized in 1905 by the German artist, Franz Skarbina. Signed and dated on plate on lower right margin. From the portfolio “Deutscher Kunstverein zu Berlin “ published by Vereinsgabe, Berlin, in 1904-1905 and composed by a frontispiece, a index, and eleven etchings by Karl Koepping, Leopold Graf Kalckreuth, Hans Herrmann, Max Slevogt, Ludwig Hofmann, Reinhold Lepsius, Fritz Klimsch, max klinger, Heinrich Reifferscheid, Arthur Kampf, in addition to this plate. This beautiful original print representing some children playing in nature- as the title suggests, demonstrating a very wide gradient of greys and blacks, is titled in blue ink on lower left margin and on lower right has the inscription in ble ink “D.K.V.”. In excellent condition, this wonderful modern original print could be a joyful piece for your home collection. Franz Skarbina (Berlin, 1849 - 1910) The German impressionist artist and etcher studied at the Prussian Academy of Arts and after he spent two years as a tutor to the daughters of Count Friedrich von Perponcher-Sedlnitzky, during which time he travelled to Dresden, Vienna, Venice, Munich, Nuremberg and Merano. But when he did a study trip to the Netherlands, Belgium and France, here he was influenced by the Impressionism. He began an academic career as a teacher, until 1893 when he resigned his teaching position due to disagreements with the Academy's Director, Anton von Werner...

Medium: original etching. Also called "Etude de nu". Printed in 1907 and published in Paris by the Revue de l'art ancien et moderne. Plate size: 7 1/4 x 5 1/2 inches (183 x 138 mm). ...

Medium: original etching. Printed in 1900 and published in Leipzig, Germany for Zeitschrift für Bildende Kunst. This impression is printed on cream wove paper. Plate size: 7 1/2 x 11...

Medium: original etching. Published in Berlin by Bruno Cassirer in 1904 for Kunst und Kunstler. The plate measures 5 1/2 x 7 1/4 inches (140 x 185 mm). Not signed.

The Virgins, no. 2 from the fifth installment of Das Werk Gustav Klimts The Virgins speaks to a new chapter of Klimt’s artistic development. That it was sel...

Harry McCormick, American (1942 - ) - Paloma. Year: circa 1990, Medium: Serigraph, signed and numbered in pencil, Edition: 250, Size: 26 in. x 40 in. (66.04 cm x 101.6 cm)

Cette lithographie en forme d’éventail représente une jeune élégante de la Belle Époque, accoudée à une petite table devant un livre entrouvert et un bouquet de fleurs. Elle semble p...

Medium: original lithograph. This Emil Orlik lithograph is also known as "On the Victoria Embankment, London". This impression on wove paper was printed in 1900 and published in Lond...

Beautiful poster by Mario Pezilla for the 1908 International Electrical Exhibition. Energy - Railways - Bouches-du-Rhône Railway P.L.M Fast Trains Robaudy Cannes

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

A superb poster, very old, realized around the years 1900 for the brand Automoto. Automoto is a brand of motorcycles and bicycles 🚲 originating in Saint-Etienne. It was launched in 1899 by developing a copy of the De Dion...

Medium: original etching. A rather atmospheric view of London's Thames River and a good impression on thin laid paper, published in Paris in 1909 for the Revue de l'art ancien et mod...

Medium: original lithograph. This impression on thin China paper was printed in 1904 and published in Paris by the Revue de l'Art ancien et moderne. Image size: 9 7/8 x 6 3/8 inches ...

Hudson - Fulton Celebration is an original lithograph celebrating the 300 year anniversary of the discovery of the Hudson River. The image shows a portrait of Henry Hudson and a portrait of Robert Fulton...

Medium: original etching and drypoint. This work by Rodolphe Piguet (sometimes spelled Piquet) was printed in 1904 and published in Paris by the Revue de l'art ancien et moderne. Pla...

Medium: original lithograph. This impression was printed in 1904 and published in Paris by the Revue de l'Art ancien et moderne. Image size: 10 1/8 x 7 3/4 inches (257 x 198 mm). Thi...

Medium: original etching. Catalogue reference: Sanchez and Seydoux 1903-11. This delightful etching was published in Paris in 1903 by Gazette des Beaux-Arts. The plate measures 8 5/8...

Carriere, Eugene. LE FONDEUR. Lithograph, 1900. Printed by Chaix and Malherbe, Paris. Poster for the metallurgy pavilion of the Paris Exposition of 1900. 51 x 34 3/4 inches, 1307 x 8...

This circa 1900 original poster, "Planisphère de Géographie Politique et Commerciale," is a fascinating artifact of early 20th-century cartography, created by H. Bouthillier de Beaum...

Beautiful proof of state on vélin, 3rd state. Full margins. Ref. Cat. Salomon 98. Prov. Collection Henri Petiet, Paris.

Beautiful proof of state on vélin, 2nd essai. Full margins. Ref. Cat. Salomon 98. Prov. Collection Henri Petiet, Paris.

Beautiful proof of state on vélin, with notes by the author “essai” in pencil. Full margins. Ref. Cat. Salomon 98. Prov. Collection Henri Petiet, Paris.

Beautiful proof of state on vélin, 3rd state. Full margins. Ref. Cat. Salomon 98. Prov. Collection Henri Petiet, Paris.

A group of six chromolithographed illustrations of shoes, some printed with gold and silver inks. [Published: David Douglas, Edinburgh, 1900]. Plates taken from a scarce first edit...

This image is the height of Art Nouveau styling. An elegant woman is draped in velvet, feathers, and flowers. Given the naturalistic background, it could be that she was meant to rep...

To see our other views of Oxford and Cambridge, 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 view you want. William Nicholson (1872-1949) All Souls College, Oxford Signed, and numbered 98, published by Stafford Gallery with blindstamp Lithograph 35x28cm Probably best known through his graphic works, as a book designer and illustrator, Nicholson was greatly encouraged in his landscapes by Whistler from about 1900. In 1902-03 he produced a series of watercolour, chalk and pen drawings of Oxford which were published in 1905 by the Stafford Gallery as two portfolios of lithographs, with descriptions by Arthur Waugh – father of Evelyn Waugh...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper wi...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

This etching with aquatint was created by French printmaker Manuel Robbe. Robbe’s innovative techniques, along with his sense of color harmony and his choice of subjects: stylish wom...

Sloan, John. MAN, WIFE AND CHILD. Morse 135. Etching, 1905. Titled, signed, and inscribed "100 proofs," all in pencil. 5 x 7 inches (plate), 10 x 12 3/4 inches (sheet). Printed on w...