Early 1900s Prints and Multiples

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...

This is an original poster by John Hassall titled “The Celestials,” created circa early 1900s for David Allen & Sons, Harrow, London. It features two Chinese figures performing a str...

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"Le Repos (Rest)" is an original etching by Victor Roux-Champion. It features a nude woman lounging on a couch. The artist signed the piece lower left and wrote the edition number, 2...

Original color lithograph with hand-coloring and additional pochoir process coloring. By acclaimed automobile artist Ernest Montaut of an 1895 race. Published in "10 Ans de Courses,"...

Original color lithograph with hand-coloring and additional pochoir process coloring. By acclaimed automobile artist Ernest Montaut of an 1895 race. Published in "10 Ans de Courses,"...

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...

Chromolithographed illustration of a pair of Ballet Slippers, printed with gold and silver inks. [Published by David Douglas, Edinburgh, 1900]. Plate...

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

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...

Each country that approached the ideology of Art Nouveau clearly had their own unique contribution to the movement. The popularity of French Art Nouveau became globally recognized and produced in large numbers. While we recognize the rarity and extraordinary work of Italian Art Nouveau, or Stile Liberty, as it was known in that country, very little of this art survived and in very small quantities. What’s impossibly rare Scandinavian Art Nouveau...

"La Plage de la Panne" is an original etching by James Ensor. The artist signed the piece in plate in the lower right and signed, titled, and dated it below t...

Jean-Emile Laboureur (1877-1947), Coin de Rue Dans Soho, woodcut, 1909, signed in pencil lower left and numbered (15/15) [also initials in the plate]. Reference: Sylvain Laboureur 64...

McManus, Blanche. THE ADVENTURES OF CAPTAIN HORN. Color lithograph poster, 1901. Monogram in the plate. 16 1/4 x 12 inches, framed to 23 x 18 1/2 inches. In very good condition with ...

Berenice Color woodcut, 1900-1910 Signed with the artist's red ink stamp (see photo) Edition: 50 (46/50) Signed with the artist's red ink initials stamp, Lugt 1771, Sup. Condition: E...

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 Clarendon Building, Oxford Signed, published by Stafford Gallery, with their blindstamp Lithograph 32x26cm 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...

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...

Artist: Eugène Marie Louis Chiquet (French, 1863-1942) Title: "Melle Brongniart, Baronne Pichon (Miss Brongniart, Baroness Pichon)" Portfolio: Gazette des Beaux-Arts Year: 1901 Mediu...

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...

Heureux age! (Happy Age!) Etching and aquatint. c, 1900 Signed lower right in pencil Edition; 50 (14/50) Published by Edmund Sagot, Paris Sagot blindstamp, Lugt 2254, lower right Con...

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...

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...

Anders Zorn (1860-1920), At the Piano, etching, 1900, signed in pencil lower right. Reference: Asplund 160, Hjert and Hjert 108, second state (of 2), from th...

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...

Knaresborough (after a watercolor by Peter De Wint, 1784-1849). c. 1904. Mezzotint. Hardie catalog 80 state ii. 7 7/16 x 11 3/8 (sheet 13 3/8 x 18). A very rich impression, printed o...

LADIES DRESS SHOES. Plate XI. The charming color lithograph is from the collection of “Ladies’ Dress Shoes of the Nineteenth Century” was assembled by...

Sz: 15 1/2"H x 10 5/8"W Daniel Aloysius Maher (October 29, 1881 – November 9, 1916) was an American Hall of Fame jockey who also became a Champion jockey i...

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...

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)

Harry McCormick, American (1942 - ) - La Cabana. Year: circa 1990, Medium: Screenprint, signed and numbered in pencil, Edition: 250, Size: 26 in. x 35 in. (66.04 cm x 88.9 cm)

Bloques (Road Block) Color lithograph, 1905 Signed and numbered in pencil lower right; signed and dated in the stone lower right (see photo) Edition: 100, first edition (33/100) Publ...

Pennell, Joseph. BROADWAY TOWERS. Lithograph, 1904 Wuerth 151. Number 3 of a set of 12 images published by The Iconophiles Society in an edition of 100. 11 1/8 x 6 1/8 inches (image)...

This complete set of fifty etchings, aquatints and drypoints are each hand signed by the artist "Edgar Chahine" at the lower left margins. The folio was printed by A. Routy, Paris and published by Sagot, Paris in 1906. The justification page is additionally hand signed in ink by the artist “Edgar Chahine” and the paper type is handwritten “Hollande”. The impression is numbered in ink from the edition of 75 on the justification page. Each of the 50 plates are hand numbered in pencil to reflect their sequence and refers to the titles on the justification page. Note: In 1906 the Fiancé of Chahine Mary Jacobsen died and the artist lost all love for life. His friend and publisher Sagot send him to Venice, Umbria and Toscana for distraction. Edgard Chahine returned with a sensitive group of etchings from the Italian countryside. Literature: "Edgar Chahine: Catalogue de l'Oeuvre Grave", by M.R. Tabanelli, Published by IL Mercante de Stampe editeur, Milano, 1977. Reference: Tabanelli 180-229. Condition: Very good condition. The etchings, aquatints and drypoints in very good condition and printing with burr. The support pages and justification page with foxing staining. The folio cover...

The circa 1900 original poster by Demeure de Beaumont, titled "L'Affiche Belge", is an elegant and artistic advertisement promoting an upcoming publication dedicated to Belgian poste...

LADIES DRESS SHOES. Plate XII. The charming color lithograph is from “Ladies’ Dress Shoes of the Nineteenth Century” was assembled by the antiquarian/...

"Daphnis et Chloe - The Lovers" is an original lithograph by Pierre Bonnard. This lithograph is a rare proof for the illustrated edition of Daphnis et Chloe. There were two proofs, o...

Roth, Ernest (American, 1879-1964). PONTE DEL TRINITE, FLORENCE. Etching, 1908. Signed and dated in pencil, and inscribed by Roth with tthe title and date, and numbered "26", at the ...

Hornby, Lester. RAINY SUNDAY AT SAN MARCO. Falk, 308, Kennedy 32. Etching, 1908. Edition of 60. Titled and signed in the plate and signed in pencil in the margin, lower right. 5 7/8 ...

Artist: Malo-Renault (French, 1870-1938) Title: "Portrait de Fanny Charrin" Portfolio: Gazette des Beaux-Arts *Issued unsigned Year: 1909 Medium: Original Etching and Drypoint on wov...

Donald Shaw MacLaughlin (1876-1938), Doorway of the Doges, Venice, etching with plate tone, 1909, signed bottom right [also signed and dated in the plate]. Reference: Marie Bruette 1...

Jacques Villon (1875-1963), La Couseuse (The Seamstress), drypoint, 1905, signed in pencil lower right margin. Reference: Ginestet and Pouillon 147, Aub...

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...

"Coupe Gordon Bennett 1909 — Curtiss le Gagnant" is an original Lithograph with Pochoir created by Marguerite Montaut (GAMY). Gamy presents the viewer w...

Decorative ornamentation is on full display in this poster that promotes an exhibit of Dutch art at the Kaiser Wilhem Museum in Krefeld, Germany. This poster is done in the style of...

Title: Decorative Documents Author: Alfons Mucha. Publisher: Paris: Librairie Centrale des Beaux-Arts, 13 Rue Lafayette. Emile Levy publisher. Published ...

Mielatz, Charles. RESTAURANT IN CHINATOWN. Etching, 1906. Edition size not known. Signed and inscribed "imp."in pencil, and signed and dated in the plate. Printed on Japan paper with...

Cycling became very popular as it became more accessible to more of the public in the early 1900s. It became closely linked to the early women's rights movements as a symbol of their...

Jacques Villon (1875-1963), Pour le Bapteme de Madeleine, 1900, aquatint , etching, printed in soft blue ink, signed in pencil lower right and numbered 7/10. On laid paper. Reference...

Sz: 15 1/2"H x 10 5/8"W Daniel Aloysius Maher (October 29, 1881 – November 9, 1916) was an American Hall of Fame jockey who also became a Champion jockey i...

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...

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...

"Man Monkey" is an original etching by John Sloan. The artist signed the piece in the lower right. This is from an edition of 100. It depicts a man banging a drum in the middle of a ...

Villon, Jacques (1875-1963). LA PARISIENNE (TOURNEE A GAUCHE, PETITE PLANCHE). G PE93. Etching and aquatint in colors, 1904. Edition of 100 Printed on cr...

Pierre-Auguste Renoir Femme nue couchée (tournée à gauche) (Reclining Female Nude, Turned to the Left) (Delteil/Stella 15), c. 1906 Etching on vellum, second (final) state Signed in ...

Thoma, Hans. RATSELRACHEN III (JAWS OF THE RIDDLE III). Etching, 1908 (Beringer 77, second state). 10 3/8 x 9 5/8 inches (200 x 285 mm), image; 11 x 9 3/4 inches (246 x 296 mm.), plate; 18 3/4 x 15 1/4 inches (477 x 390 mm.), sheet. Monogrammed and dated in the plate, signed "Hans Thoma...

EMIL NOLDE 1867-1956 Nolde 1867 - 1956 Seebüll (German) Title: Conversation Unterhaltung, 1906 Technique: Original Hand Signed, Dated and Titled Etching in Colour on Heavy Van Gel...

Andre Derain (1880-1954), Baigneuse Nue aux Arbres (Nude Bather amidst Trees), etching and drypoint, c. 1909, signed in pencil and numbered 27/100. Reference: Adhemar 50. In very good condition, on ARCHES cream laid paper, with their watermark, with full margins, 7 x 3 3/4, the sheet 22 1/4 x 17 1/2 inches, archivally matted. A fine impression, with a subtle layering of plate tone. Derain clearly based the face in this print on the famous African Fang mask which he owned (and which influenced others who saw it in his apartment such as Picasso, e.g., in his Demoiselles d’Avignon). It is also related to a sculpture he owned, a late medieval Virgin and Child. In fact, as is argued by Jane Lee...

Jettmar was a painter and founder member of the Vienna Secession, a group of artists founded in 1897, who rejected the more traditional and conservative styles of their predecessors ...

"En Auto" is an original color lithograph by Singils. The artist signed the piece in stone and wrote the title in the lower left. The edition number, also written lower left, is 46/5...

Jacques Villon (1875-1963), La Parisienne, (tournee a gauche, petite planche), 1904, etching, roulette and aquatint, signed in pencil [also signed in pla...