Early 1900s Prints and Multiples

Plate #5 from Gustav Klimt's 1907 "Dialogues of the Courtesans" portfolio, consisting of 15 collotypes on cream japon paper. The drawings in this folio are said to be studies for Kli...

Danaë, no. 2 from the fourth installment of Das Werk Gustav Klimts Danae originates from Greek mythology. She is the daughter of the King of Argos. Because a...

Mademoiselle Sablon, MUSCIAL ACTRESS Lithograph, 1907 Unsigned Provenance: estate of the artist Reference: Belleroche No. K383 Albert Belleroche Log of lithographs...

Alphonse Mucha's name shines like that of a visionary artist who left an indelible mark on the aesthetics of the early 20th century. The year 1902 saw the publication of "Documents d...

Claude Renoir, la Tete Baisee (Claude Renoir, Head Lowered) Lithograph, 1904 Edition 1,000, this one of 950 on wove paper with the stamp signature (there were also 50 impressions pri...

Mädchen am Fenster. 1906-08. Color lithograph printed on smooth card stock. Full margins. , signed by the artist in pencil, on the recto. Published by the Wiener Werkstätte, Vienna, with the printed postcard text on verso. Among Kokoschka's earliest prints were a series of 14 postcards, the current work and the following lot that he produced for the Wiener Werkstätte. Wingler/Welz 4. Oskar Kokoschka was an Austrian artist, poet and playwright best known for his intense expressionistic portraits...

Marie Joseph Georges Goursat, better known as SEM, was a versatile French illustrator, affichiste, and caricaturist born on November 22, 1863, in Périgueux, and passing away on Novem...

Around 1900, a beautifully crafted poster was designed by the renowned French illustrator Chéri Hérouard, promoting A. Bichot & Cie, a respected wine house in Beaune, Burgundy. Titled Vins de Bourgogne et de Bordeaux, the poster embodies the artistic and commercial spirit of the Belle Époque, capturing both the elegance of wine culture and the artisanal craftsmanship of French poster art during this vibrant period. The image is a lively and colorful depiction, filled with charm and historical references. At the heart of the poster, an older man dressed in traditional medieval garb sits comfortably on a wooden chair, enjoying a glass of wine poured by a playful court jester. The jester, adorned in vibrant reds and greens, contrasts sharply with the older man’s more somber and scholarly appearance. This contrast suggests a blend of wit and wisdom, reflecting the dynamic character of French wine and the cultural tradition of savoring both pleasure and knowledge. The design is not only visually engaging but also rich in symbolic elements. Scattered books and scrolls at the older man’s feet hint at knowledge and history, invoking the deep tradition of winemaking in Burgundy and Bordeaux. The careful balance between the whimsical jester and the contemplative elder evokes both pleasure and reverence, mirroring the way fine wine was (and still is) celebrated and respected in French culture. The grapevine motif framing the scene enhances the connection to wine, grounding the image in its subject matter. Hérouard’s skill in illustration is evident in the intricate details of the figures and objects. From the curling vine leaves to the worn pages of the books, every element has been carefully rendered. The color palette, dominated by earthy tones with splashes of vibrant reds and greens, conveys the warmth and richness of the wine-producing regions of Bourgogne and Bordeaux, further reinforcing the poster's celebratory tone. To the right of the image, the elegant typography reads A. Bichot & Cie, proudly announcing that the wine house was founded in 1831 in Beaune, one of the centers of Burgundy’s prestigious wine industry. The mention of Grands Vins des Hospices de Beaune further emphasizes the poster’s focus on promoting the finest wines from this historic region. The combination of stylized fonts and classic imagery positions A. Bichot as a trusted name in the wine world, blending tradition with sophistication. Chéri Hérouard, the artist behind this work, was one of France’s most accomplished illustrators of the early 20th century. He is best known for his long career as an illustrator for La Vie Parisienne, a popular French magazine that featured sophisticated and often provocative illustrations. Hérouard’s versatility as an artist allowed him to move seamlessly between erotic art, magazine illustration, and more commercial commissions like this one. His ability to imbue his work with both elegance and a touch of humor made him a beloved figure in the art world of his time. Born in 1881 as Chéri-Louis-Marie-Aime Haumé, Hérouard took on his mother’s maiden name after the death of his father. He began his artistic career in the early 1900s, quickly gaining recognition for his distinctive style. Though most of his work was published in magazines, Hérouard also created posters, advertisements, and book illustrations. His work often combined lush, decorative elements with finely detailed figures, making him a perfect fit for projects that required both artistry and commercial appeal, such as this A. Bichot & Cie poster. The Vins de Bourgogne et de Bordeaux poster...

Artist: Manuel Robbe (French, 1872-1936) Title: "Le Bouquet de Violettes (The Bouquet of Violets)" *Signed by Robbe in pencil lower right Year: 1903 Medium: Original Hand-Colored Etc...

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 ...

Moto-Fuite Color lithograph, c. 1902 Signed in the stone lower right (see photo) Published by Edmund Sagot (1857-1917), Paris Printed by Atelier Chaix, Paris Large edition with titl...

Can Can is a beautiful etching on paper, realized around 1905 by Luigi Bonazza (1877-1965). Signed in pencil on the lower left margin. Inscription in pencil in Italian on the lower ...

Portrait de Paul Gauguin Woodcut, c. 1900 Initialed in pencil lower right Numbered in pencil lower left Edition: 100 (34/100) Annotated verso: “epreuve sur japon” Condition: Excellent Image size: 6 3/4 x 4 3/4 inches Sheet size: 11 x 8 5/8 inches Note: Born in New York, Monfreid studied in France at the Academy Julian. He was a friend of Gauiguin, Verlaine and Maillol. He formed a noted collection of works by Gauguin. In 1924, Monfreid published the manuscript for Paul Gauguin’s Noa Noa with 24 woodcuts inspired by Gauguin...

Original Vintage Poster by the Austrian artist Ferdinand Ludwig Graf, a member of the Hagenbund. This Viennese artist association moved as soon a...

Moto-Flirt Color lithograph, c. 1902 Signed in the stone lower right (see photo) Published by Edmund Sagot (1857-1917), Paris Printed by Atelier Chaix, Paris Large edition with title...

Monte Carlo is a precious colored lithograph, printed by G. Ricordi and C. Milano, Milan, between 1895 and 1914, in occasion of "Tir aux pigeons Concours". A very beautiful vintage a...

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...

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 ...

L'Angellus Etching, engraving and acquatint on Arches paper, 1902 Signed lower right by the artist (see photo) This is a first state impression printed in a brown/black ink, one of ...

Image dimensions: 27.4x20 cm. Sunlight Sapone is an amazing colored lithograph on cardboard, realized by the Italian artist and one of the fathers of the modern Italian poster art, Leopoldo Metlicovitz (Trieste, 1868 - Ponte Lambro, 1944). Printed by Officine Ricordi, Milan in 19o0, the advertising manifesto for "Sunlight Sapone" ( Sunlight Soap) representing two women washing their clothes, is inspired by the Art Nouveau graphics taste. Indeed Metlicovitz, through the Ricordi, realized much advertising posters and manifestoes for many emerging companies such as Pirelli, Ettore Moretti, Magazzini Mele in Naples, relied with his talented pencil. The atmosphere is that of the Liberty, where the sensuality of the female body appears flat and emptied and turns into a mere twisted black contoruring graphic line. The colors are enameled, the languid glances, the fixed smiles, veined by an almost imperceptible underground decadence that is a prelude to the First World War. This is a wonderful vintage advertising poster, with the inscriptions printed on lower margin, under the image: "L. Metlicovitz / Off. G. Ricordi and C. Milano / 100 x 200. In excellent conditions. This modern original poster shows the vintage Art Nouveau taste and the Metlicovitz's full mastery of the artistic medium, has the dignity of an object of art to collect and could be a colorful and fashionable piece for your sophisticated home furniture. Leopoldo Metlicovitz (Trieste, 1868 - Ponte Lambro, 1944) The Italian painter, illustrator, theatrical and advertising scenographer is considered one of the precursors of Futurism and, together with Leonetto Cappiello, Adolf Hohenstein, Giovanni Maria Mataloni and Marcello Dudovich, one of the fathers of modern Italian poster art. He began his artistic career at the age of fourteen working as an apprentice in a typography in Udine, where he learned the technique of lithography. Here he is noticed by Giulio Ricordi, owner of the namesake Officine Grafiche, who invites him to Milan to work as a lithographer. In 1892, after collaborating with Tensi, a photographic product company, he returned to Ricordi as technical director. At the same time, he entered the theatrical environment and began his career as a set designer and costume designer at La Scala. The Mele di Napoli tailoring company entrusted him with the task of advertising his clothes and in 1906, on the occasion of the great Universal Exposition in Milan, he won the competition for the fair poster, establishing himself also as a poster artist and then collaborating with several magazines as an illustrator. For Ricordi he takes care of the illustrations of calendars, opera librettos, postcards. Other famous images created by him are those for the poster of the film Cabiria, a blockbuster of the silent film scripted by Gabriele D'Annunzio, and the trademark that is still used today by the Brothers Branca Distilleries, producers of Fernet Branca...

Original collotype created from Gustav Klimt’s Schloss Kammer on Lake Attersee II (Das Werk Gustav Klimts), originally painted in 1909. Publishe...

English moth chromolithograph, circa 1900. Plate number top right. From an English series of illustrations of butterflies and moths. Butterflies / moths are numbered and there is an ...

Plate #13 from Gustav Klimt's 1907 "Dialogues of the Courtesans" portfolio, consisting of 15 collotypes on cream japon paper. The drawings in this folio are said to be studies for Klimt's well-known Water Serpents paintings...

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...

Crafted around the turn of the 20th century, the original poster advertising "The Ivanoff Troupe of Russian Singers & Dancers" at The Palace Theatre of Varieties evokes a captivating...

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 ...

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...

Dentol is a rare colored lithograph, printed by G. Ricordi and C. Milano, Milan in 1906 in occasion of the "La Figlia di Iorio" theatrical spectacle, text by Gabriele D'Annunzio and music by Alberto Franchetti. A very beautiful vintage and advertising poster, in excellent condition except for a minor rip on the right margin at the bottom. This defect does not affect the image. This original poster representing a woman red dressed in a golden wheat field, has the dignity of an object of art, carries the signature on plate on the lower right margin of Adolfo de Karolis...

Classic Vanity Fair Supplement by Spy aka Sir Leslie Ward colour print of the yachtsman, "Fyvie" aka Lord Leith of Fyvie Alexander John Forbes-Leith, 1...

Medium: original etching. Published in Paris in 1906 for the Revue de l'art ancien et moderne. This is a magnificently rich, dark impression on laid paper. Sheet size: 11 1/2 x 8 inc...

Lithograph from Carlos Schwabe’s series of hand-colored Symbolist fantasy illustrations for Catulle Mendès’ Hésperus, published in 1904 by Société de pr...

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...

Miss Taylor Drypoint, c. 1900 Signed in pencil lower left (see photo) Small edition, about 10 Very rich impression, full of burr Condition: Excellent Image size: 21-1/4 x 13-1/4" She...

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 ...

Young Woman is an original lithograph artwork, realized in 1903 by Charles Lucien Léandre (1862–1934). Signed on plate on the lower left and dated. Th...

Le Paradis et la Péri is a wonderful black and white lithograph on China paper applied, realized in 1901 by the French artist Henri Fantin-Latour (Grenoble, 1836- Buré 1906). From Robert Schumann...

Beautiful art nouveau style poster by Lewis Baumer illustrating the seasons of Spring and Summer Lewis Christopher Edward Baumer is best known as an Engl...

The 1906 original poster by Mouren Henry for the "Cie Intle des Wagons-Lits et des grands express européens - Engadine Express" is a beautiful example of early 20th-century travel ad...

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...

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

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...

Lithograph of Symbolist painter Carlos Schwabe’s oil painting La mort du fossoyeur (The Death of the Gravedigger), 1895, published c. 1900 in Art et déc...

In the realm of belle époque poster art, Henri Toussaint's 1907 creation for Chemins de fer de l'Est emerges as a masterpiece, inviting viewers on a visual journey to the exquisite c...

Alphonse Mucha's name shines like that of a visionary artist who left an indelible mark on the aesthetics of the early 20th century. The year 1902 saw the publication of "Documents d...

Landscape is an original etching artwork realized in the 1904 ca. by Italian artist Francesco Vitalini. Hand-signed on the lower right in pencil. The State of preservation is very ...

Image dimensions: 26x18.2 cm. S. Petrus is a beautiful colored lithograph on cardboard, realized by the Polish illustrator Franz Laskoff and printed aro...

Art nouveau style poster from the beginning of the 20th century presenting Le Bruyant Alexandre in his realistic cabaret printed by the Thill printing ho...

A framed Art Nouveau lithograph collotype poster by Alphone Mucha from 1905 representing the artist’s sketches of nudes, women and beautiful ladies in blacks and white pigments on ve...

ROBERT WALKER MACBETH (British 1848-1910) After GEORGE FREDERIC WATTS (British 1817-1904) A Greek Idyll Proof etching Signed in pencil by both the artist l.l. and engraver l.r. Framed Plate size 42 by 54 cm., 16 ½ by 21 ¼ in. (frame size 72.5 by 85 cm., 28 ½ by 33 ½ in.) After Watt’s 1894 painting...

Lelong's circa 1900 original advertising poster for "La Petite Gironde" is a historical gem that sheds light on the influential role this provincial newspaper played during its time....

Beautiful poster of the beginning of the XIXth century by Dudley Hardy : An Artist's Model - George Edwardes company Dudley Hardy (1867 - 1922) was an English painter and illustrator. His interest in illustration led him to produce posters of French graphic influence, including the Yellow Girl...

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...

Auguste Rodin, French (1840 - 1917) - Nude Woman Lying on her Stomach, Year: 1899-1905, Medium: Lithograph, signed in the plate lower left, Size: 12....

Max Cowper 🏴󠁧󠁢󠁳󠁣󠁴󠁿(1860-1911) was a Dundee born painter. He was employed as an illustrator for the Dundee Courier before moving to London around 1901 to join the staff of the ...

Original old poster of the Chemins de fer de l'Est promoting travel in Switzerland, illustrated by E. Bourgeois. Eugène Victor Bourgeois (1855 - 1909) was a French painter, illustrator and poster artist. Self-taught painter, Eugene Victor Bourgeois began at the Salon of 1874. He exhibited there in 1880, as well as at the Salon des artistes français in 1881 where he obtained a medal of honor that year, then a 3rd class medal in 18851. He won a bronze medal at the Universal Exhibition of 1889 and at the one of 1900. The Compagnie des chemins de fer de l'Est was a limited company created in 1845 under the name Compagnie du chemin de fer de Paris à Strasbourg. The name was changed in 1854 after other companies were bought out and new concessions were obtained. It was one of the six major French railroad companies nationalized on January 1, 1938 to form the Société nationale des chemins de fer français. Chemins de Fer de l'Est Switzerland, Gorges de...

Painter, draughtsman and poster artist, Louis Abel-Truchet (1857-1918) is, along with Henri de Toulouse-Lautrec, one of the most famous representatives of Parisian life at the end of...

Beautiful advertising poster of the beginning of the XXth century and of Art Nouveau style, signed P. F. Grignon. It is an advertisement for the brand A. A. Tunmer & Co and its vario...

Woodcut print realized by Paul Emile Colin in the 1907. Not signed. Very good condition.

Medium: etching (etched by Felix Bracquemond after Ingres). This impression on chine-colle paper was printed in 1903 and published in Paris by the Gazette des Beaux-Arts. The image m...

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...