Early 1900s Prints and Multiples

Beautiful poster by Abel Truchet for the Moulin Rouge dancers. Painter, draughtsman and poster artist, Louis Abel-Truchet (1857-1918) is, along wi...

Medium: original etching. Published in Vienna by Gesellschaft für Vervielfältigende Kunst in 1903. The plate measures 4 1/2 x 7 inches (115 x 178 mm). A fine, dark impression printed...

The Ermine Scarf Lithograph, 1905 Signed in pencil Belleroche and initialed A.B. lower right Edition: 30 Reference: Belleroche K447 Albert Belleroche log of llithographs, AB164 Condition: Excellent Image size: 6 5/16 x 5 1/4 inches Frame size: 18 3/4 x 17 inches Provenance: Estate of the Artist Richard Reed...

Vintage Poster is a beautiful colored lithograph on cardboard, realized by the Italian artist Leopoldo Metlicovitz (Trieste, 1868 - Ponte Lambro, 1944) and printed around 1900 by G. Ricordi and C. Milano, Milan. Monogrammed on plate on the left at the center. A wonderful and fashionable vintage Art Nouveau advertising poster of the Neapolitan tailoring company "Mele" in excellent condition except for three visible abrasions of the paper on the right margin do not affect the image. This Modern and colorful poster shows the Metlicovitz's full mastery of the artistic medium, has the dignity of an object of art to collect and could be a sophisticated piece of your 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 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...

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...

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...

This listing is for a single print, pictured, from the Das Werk portfolio by Gustav Klimt and k.k. Hof-und Staatsdruckerei, published by H.O. Miethke. Gu...

The Gate of Hundred Sorrows Etching, 1900 Signed in the plate lower right (see photo) From: A Series of Thirty Etchings by William Strang, Illustrating Subjects from the Writings of...

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 ...

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 ...

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 ...

Donald Shaw MacLaughlan's small, even 'miniaturist' etching, 'A Tuscan Farm,' features an idyllic view of a scene he would have encountered on his European...

The engraving "The Pink Of Condition" by George Wright was published in London in 1909. It depicts the beginning of a British fox hunting scene. The ...

Original aquatint etching of working river barges on the Seine in Paris, France. A horse drawn cart is seen loading or unloading product. Circa 1900. Si...

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...

This absolute showstopper by Gaspar Camps is an early example of photo-offset printing, here referred to as "photo-lithographie." The printing technique involved transferring an inke...

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 ...

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 ...

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 printed on the cream paper each of which Klimt designed for the publication as unique and relating to its corresponding image; H.O. Miethke, Editor-Publisher; k.k. Hof-und Staatsdruckerei, Printer; printed in a limited edition of 300 numbered plus several presentation copies; Vienna, 1908-1914. The idea of collaboration in the arts is anything but new; however it has so often been viewed and assessed as somehow devaluing the intrinsic worth of art. It’s as if it was a dirty secret to be hidden away. More so even than the eroticism explored by Klimt, which divided public opinion, the artistic avant-garde began to boldly flaunt artistic collaboration beginning in the 19th century- which gained steam in the first part of the 20th century- to become a driving vehicle of contemporary artistic creation. Viewed in this context, the folios of collotype prints published by H.O. Miethke in Vienna between 1908-1914 known as Das Werk Gustav Klimts, are important art documents worthy of as much consideration for their bold stand they take on established ways of thinking about artistic collaboration as they are for their breathtakingly striking images. 1908 is indeed a watershed moment in the history of art. To coincide with the 60th anniversary of the reign of Emperor Franz Joseph I, Kunstschau opened in Vienna in May of that year. It was there that Klimt delivered the inaugural speech. Speaking about the avant-garde group’s unifying philosophy of Gesamtkunstwerk, or the synthesis of the arts, Klimt shared his belief that the ideal means to bring artists and an audience together was via “work on major art projects.” It was at Kunstschau 1908 that Klimt first exhibited his most iconic painting, The Kiss, as well as The Sunflower, Water Snakes I and II and Danae. It was at Kunstschau 1908 that Das Werk Gustav Klimts was first available for purchase. Thanks to Galerie Miethke’s organization, Kunstschau 1908 was possible. Miethke’s pioneering art...

Lithographic poster for Paul Bruno’s cycling and polo advertisement, Internationaler Sport Club München. This work was published in 1902 by Fritz Maison, Mu...

This vintage advertising poster promotes Continental's durable "fortes toiles" (strong fabrics) tire, emphasizing its strength and suitability for heavy, fast vehicles. The design is...

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...

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...

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

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 ...

Original collotype created from Gustav Klimt’s Farm Garden With Sunflowers, painted in 1913. Published and edited by Verlag H.O. Miethke and printed by k.k. Hof- und Staatsdruckerei, Vienna, in an edition of 300. Between 1908 and 1914, H.O. Miethke published Das Werk Gustav Klimts...

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...

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 ...

Original collotype created from a detail of Gustav Klimt’s Beethoven Frieze. Published and edited by Verlag H.O. Miethke and printed by k.k. Hof- und Staatsdruckerei, Vienna, in an e...

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 ...

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 ...

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

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...

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 printed on the cream paper each of which Klimt designed for the publication as unique and relating to its corresponding image; H.O. Miethke, Editor-Publisher; k.k. Hof-und Staatsdruckerei, Printer; printed in a limited edition of 300 numbered plus several presentation copies; Vienna, 1908-1914. The idea of collaboration in the arts is anything but new; however it has so often been viewed and assessed as somehow devaluing the intrinsic worth of art. It’s as if it was a dirty secret to be hidden away. More so even than the eroticism explored by Klimt, which divided public opinion, the artistic avant-garde began to boldly flaunt artistic collaboration beginning in the 19th century- which gained steam in the first part of the 20th century- to become a driving vehicle of contemporary artistic creation. Viewed in this context, the folios of collotype prints published by H.O. Miethke in Vienna between 1908-1914 known as Das Werk Gustav Klimts, are important art documents worthy of as much consideration for their bold stand they take on established ways of thinking about artistic collaboration as they are for their breathtakingly striking images. 1908 is indeed a watershed moment in the history of art. To coincide with the 60th anniversary of the reign of Emperor Franz Joseph I, Kunstschau opened in Vienna in May of that year. It was there that Klimt delivered the inaugural speech. Speaking about the avant-garde group’s unifying philosophy of Gesamtkunstwerk, or the synthesis of the arts, Klimt shared his belief that the ideal means to bring artists and an audience together was via “work on major art projects.” It was at Kunstschau 1908 that Klimt first exhibited his most iconic painting, The Kiss, as well as The Sunflower, Water Snakes I and II and Danae. It was at Kunstschau 1908 that Das Werk Gustav Klimts was first available for purchase. Thanks to Galerie Miethke’s organization, Kunstschau 1908 was possible. Miethke’s pioneering art house had become Klimt’s exclusive art dealer and main promoter of his modernist vision. Paul Bacher and Carl Moll, a founding member with Klimt of the Vienna Secession, who all broke away during the rift in 1905, took stewardship of the gallery following the fallout with the Secession. Das Werk Gustav Klimts is a prime example of Miethke’s masterful and revolutionary approach to marketing art. Miethke’s innovative marketing strategy played to a penchant for exclusivity. The art gallery and publishing house utilized the press and art critics- such as Austria’s preeminent Art Historian, Hugo Haberfield, who became Director of the gallery in 1912- as a means of gaining publicity as well as maintaining effective public relations. Miethke used the grand exposition format to extend the art gallery’s market reach, cultivating their product’s prestige by stroking the egos of current art patrons while simultaneously creating accessibility for newcomers and others avid collectors to share a relative proximity to other wealthy and respected members of the art collecting community. Essentially, their approach paved the way for what is still the predominant means of marketing. Between 1908 and 1914, H.O. Miethke published a total of 5 installments of print folios of Klimt’s painted work, each comprising 10 prints. The series was limited in availability to 300 and purchase was arranged through subscription. Each issue was presented unbound in a gold embossed black paper folder. Included in the folio was a Title Page, a Justification page and a Table of Contents page itemizing each of the 10 printed works with details about their corresponding painted works as well as information about each work’s current owner. These folios were not comprehensive of Klimt’s work; but rather, they feature what he believed were his most important paintings from 1898-1913. Only 2 collotypes in each folio were multicolored. To punctuate the fact that Klimt, himself, was very much an active player in creating these printed works, he created square-shaped signets, unique to each collotype which were intaglio printed in gold ink at the bottom of the cream wove papers to which the chine collie papers were affixed.These signets relate thematically to their corresponding printed images and designate each of those images by their placement in the folio’s Table...

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 ...

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...

Exceptional French Loterie Nationale poster to raise funds for the Association des artistes dramatiques, depicting an allegorical figure (possibly Drama) holding the winged wheel of ...

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 ...

In the golden age of Belle Époque Paris, the world of art and satire converged with a vibrant energy, encapsulating the spirit of the era. Among the luminaries who illuminated this p...

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 ...

Water Snakes II, no. 9 from the fourth installment of Das Werk Gustav Klimts The last painting Klimt exhibited with the Secession before resigning, Water ...

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...

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 w...

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 ...

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 ...

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 ...

Beautiful poster of Cezard for the colonial exhibition of 1906. This exhibition took place in Paris at the Grand Palais des Champs Élysées. The colonial exhibitions try to answer thi...

Medium: offset lithograph (after the painting). Published in London by The Studio in 1905 for a rare deluxe portfolio. Printed on smooth wove paper, the image measures 4 1/4 x 8 inch...

Signed lower right, 'Arthur B. Davies' for Arthur Bowen Davies (American, 1862-1928) and created circa 1915. An early twentieth-century sugar-lift aquatint showing Zeus in the guise of a swan, reclining and cradling Lida in his wings while King Tyndareus ponders the mutability of human circumstance. Born in Utica, New York, Arthur Davies attended the Chicago Academy of Design from 1879 to 1882. He furthered his studies at the Chicago Art Institute, before moving to New York City in 1885 where he studied at the Art Students League and Gotham Art Students League. In 1893, he made the first of many trips to Europe, visiting Holland, Paris, and London. He became an arch-exponent of Modernism and the central organizing figure of 1913's watershed Armory Show. Davies developed a style that combined visionary Symbolism with elements of Tonalism and Cubism. Who Was Who in American Art describes him as an “…important but enigmatic Modernist whose work was poetic, mysterious, and visionary”. Davies was the recipient of many gold medals and prizes and juried awards and his work is held in the permanent collections of museums nationwide, including New York’s Museum of Modern Art, the Art Institute of Chicago, the Baltimore Museum of Art and the Los Angeles County Museum of Art, among others. Photo of Arthur B Davies circa 1907 in New York City by Gertrude Käsebier courtesy of Library of Congress Prints and Photographs Division Washington, D.C. Reference: Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Peter Hastings Falk, Sound View Press 1999, Vol. 1, p. 835; Artists in California 1786-1940, Third Edition, Edan Milton Hughes: Crocker Art Museum, Sheridan Books 2002, Vol. 1, p. 280; Thieme-Becker Allgemeines Lexikon der Bildenden Künstler von der Antike bis zu Gengenwart, Ulrich Thieme and Felix Becker, Deutscher Taschenbuch Verlag 1992, Vol. 7/8, p. 470; E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Jacques Busse, 1999 Nouvelle Édition, Gründ 1911, Vol. 4, p. 293; Davenport’s Art Reference and Price Guide 2009/10 Edition, LTB Gordonsart, Inc. 2008, p. 672; et al. Additional biographical information follows, written by Catherine Southwick and Robert Torchia from the National Gallery of Art Online Editions: Arthur B. Davies’s mystical, mysterious paintings hearken back to 19th-century romanticism, even while Davies aligned himself with American artists advancing the most radical ideals of their day. Davies was born on September 26, 1862, in Utica, New York, the son of English and Welsh parents who had immigrated to the United States in 1856. He first took art lessons as a teenager from a local landscape painter, Dwight Williams...

This striking and provocative 1908 poster, titled Le Crime National, is a dramatic response to one of the most contentious political upheavals in French h...

Jacques Villon (1875-1963) etching, aquatint, and drypoint, Minne Playing with a Cat (Minne Jouant avec un Chat),1907, signed in pencil and numbered (12/30)(Ginestet and Pouillon 192...

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...

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 ...

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

Medium: original etching. Catalogue reference: Tabanelli 220. This impression on watermarked laid paper was printed in 1906 and published by Gazette des Beaux Arts. Plate size: 8 5/8...

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...

Medium: lithograph (in smaller size after the original lithograph). This edition was published in Germany by Cassirer ca. 1903, and is now rare. Printed on smooth cream wove paper. I...

Medium: original etching. This impression on laid paper was printed in 1909 and published in Paris for the Revue de l'art ancien et moderne. Plate size: 9 1/2 x 6 3/8 inches (241 x 1...

Portrait de femme en buste, de profil a gauche, un tres large ruban noir du cou, Mme Marthe Letellier Drypoint, 1900-1901 Signed in pencil lower left (see photo) Titled in pencil low...