Early 1900s Prints and Multiples

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 ...

The first of Poiret's two deluxe fashion albums featuring 10 full page (2 fold-out) pochoir illustrations by Paul Iribe. Poiret's syles indicate the new freedom in women's fashions ...

Medium: original etching. Catalogue reference: Guerin 27 and Harris 31. This charming etching is one of several compositions executed by Edouard Manet on the subject of a boy and his...

Artist: Maurice Eliot (French, 1862-1945) Title: "Parisienne" Portfolio: Revue de l'Art Ancien & Moderne *Issued unsigned, though signed by Eliot in the plate (printed signature) low...

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

"Les Emigrants" is an original roller engraving by Auguste Brouet. The artist signed the piece lower right and wrote the edition number (30/50) lower left. This engraving depicts a f...

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...

Medium: original lithograph. This impression on chine-colle paper was printed in 1900 and published in Paris by the Revue de l'Art ancien et moderne. Image size: 7 1/2 x 5 1/2 inches...

Medium: original etching and drypoint. This impression on wove paper was printed in 1904 and published in Paris by the Revue de l'Art ancien et moderne. Plate size: 6 5/8 x 4 3/4 inc...

Villon, Jacques. LES PETITS HALEURS. GP 176. Etching and Aquatint, 1907. Edition of 50 on Arches laid paper, signed and numbered in pencil, 5 3/4 x 7 3/4 inch...

Sem, (George Goursart). Ouverture de la Chasse ua Bois de Boulogne.. Ca 1900. Signed in the stone. Slight center vertical fold, otherwise in very good condition. Signed in the sto...

Kurzweil, Maximilian. Der Polster, 1903. Color woodcut on japon. Included as an insert in Pan. Unsigned. Framed.11 1/4 x 10 1/4. 1 Ref: Hofstatter, p. 241; Pabst, p. 154. Maximillian Kurzweil was the co-founder of the Vienna Secession in 1897 and editor and illustrator of the influential Secessionist magazine Ver Sacrum...

JOSEPH PENNELL (1857- 1926) LUDGATE HILL, 1906 (Wuerth 418) Etching 10 ½ x 8 ¼ inches on full sheet 11 3/8 x 9 7/8 inches. with irregular deckle edges. Good condition. Wuerth’s assu...

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

Medium: original etching. This impression on laid paper was printed in 1901 for Gustave Geffroy's "La Vie Artistique". Image size: 4 1/4 x 3 inches (110 x 75 mm). Signed in the plate...

Antar, artist: Georges Redon. Size: 49 x 90. Year: 1905. Archival linen backed in very good condition; ready to frame. Original linen backed stone lithograph: GEORGES REDON (1869-1943) BOULOGNE S. MER. 1905. 41 3/4x29 1/2 inches, 55 1/4x75 cm. While on the surface this appears as an innocent enough image promoting travel to one of France's premier beach resorts, it is, in fact, also one of the most suggestive Belle Epoque posters. Despite the staid Victorian style of swimwear in red, the relationship between the woman and the waves is hard to ignore. Like all great posters, once it has the viewer's attention it also advertises many of the other pleasures and attractions available in Boulogne. Listing off a few of the wonderful things that you can do in Boulogne is magnificent theatre, casinos, golf, horse races, pigeon shooting...

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

Les Boulevards Color llthograph on china paper, 1900 Signed In graphite, below image, right: P. Bonnard A proof outside of the edition of 100 for Das Ma...

A hand-colored caricature entitled the "Gaekwar of Baroda" (Prince of India), from Vanity Fair, Plate 23 , published July 3, 1901. Sayajirao Gaekwad III (1863-1939) was the Maharaja ...

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. Printed in Paris in 1902 for the special Felix Vallotton issue of L'Assiette au Beurre on the theme of Crimes et Chatiments (Crime and Punnishment). Size...

Medium: original woodcut. This impression on thin wove paper was printed in 1902 and published by Gazette des Beaux Arts. Image size: 8 1/8 x 5 1/2 inches (207 x 140 mm). Signed in t...

Love and Death (after George Frederic Watts, R.A., H.R.C.A. 1817 - 1904). 1900. Mezzotint. Hardie 71 between i and ii. 24 1/2 x 12 (sheet 27 1/4 x 13 3/ 8). Edition 350 in state one. London, Published May 1st 1900 by Robert Dunthorne ,5 Vigo Street, London W. Rubbing and discoloration from a previous mat in the margins, well outside the image. A rich proof printed on Japon paper. Signed in pencil by Watts and by Short. Housed in an archival folder ------------------------------------------------------------------------------------------------------- Winged Love...

Ariane Henri Fantin-Latour, French (1836–1904) Date: 1901 Lithograph Image Size: 6.25 x 4.75 inches Size: 10.75 x 7 in. (27.31 x 17.78 cm)

Medium: original etching. Printed in 1900 and published in Leipzig, Germany for Zeitschrift für Bildende Kunst. This impression is printed on cream wove paper, and the plate size is ...

Medium: original etching and aquatint in bistre. This impression on watermarked laid paper was printed in 1905 and published in Paris for the Revue de l'art ancien et moderne. Plate ...

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...

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...

Medium: original etching. This impression on wove paper was printed in 1908 and published in Paris for the Revue de l'art ancien et moderne. Plate size: 5 3/4 x 8 1/2 inches (143 x 2...

This original etching is hand signed in pencil by the artist "G Braque" at the lower right margin. It is also hand numbered in pencil from the edition of 25, at the lower left margin...

Medium: original etching. Catalogue reference: Tabanelli 199. This impression on laid paper was printed in 1906 and published by Gazette des Beaux Arts. Plate size: 4 x 8 1/2 inches ...

30 plates of floral designs from the Jugendstil period

Original collotype created from Gustav Klimt’s Malcesine on Lake Garda, 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...

Medium: original etching. This impression on laid paper was printed in 1907 and published in Paris by the Revue de l'Art ancien et moderne. Plate size: 6 1/4 x 9 1/2 inches (160 x 24...

Medium: original etching and drypoint. Catalogue reference: Delteil 86. This impression on wove paper was printed in 1909 and published in Paris by Henri Floury. Plate size: 5 3/4 x ...

Medium: original etching and aquatint with drypoint. Also known as "Les amis du Saltimbanque". Catalogue reference Bourcard/Goodfriend 76. Printed in 1902 and published by the Revue ...

Original drawing, pencil on paper. A wonderful sketch for the frieze for Parliament Hall in Montecitorio Palace, in Rome. Good conditions except for a diffused foxing, including a w...

Original Alphonse Mucha decorative panel. Linen backed in very good condition A-/B+ condition. This lovely poster looks just like an oil painting. It is a rare design by Alphonse ...

Antar, artist: Leonetto Cappiello. Size: 25 x 20. Year: 1907. Archival linen backed in very good condition; ready to frame. Original linen backed stone lithograph: Original vintage ...

Cecil Charles Windsor Aldin, was a British artist and illustrator best known for his paintings and sketches of animals, sports, and rural life. Aldin executed village scenes and rura...

David Dellepiane, born in Genoa in 1866, arrived in France at the age of 9 and entered the École des Beaux-Arts in Marseille in 1880. He lived in Paris in 1890, at a time when modernstyle was becoming popular with Mucha's posters. He worked in the capital under the direction of Jules Chéret who trained him in lithographic art. It is Jean Bardou who creates around 1845 the brand of cigarette paper "J.B", which quickly became "JOB". His son, Joseph Bardou, also created a cigarette paper workshop in 1849, with the brands Papier Bardou and Riz Bardou, and the signature "JH Bardou". In the 1870s, part of the production was sent to Egypt, which is why one of the paper brands was given the name of the Nile, registered on May 13, 1887. This product was launched by advertisements with images of sphinxes, pyramids, palm trees and the famous elephant which was redesigned by the poster artist Leonetto Cappiello in 1912. This poster shows Napoleon on horseback, with a battalion of soldiers. Tobacco - Military - Advertisement Napoleon in Egypt - Rolling paper...

Auguste Rodin, French (1840 - 1917) - Jardin des Supplices Plate XXI, Year: 1902, Medium: Lithograph on Japon, signed in the plate, Image Size: 9.5 x 8.25 inches, Size: 12.75 x 9.75...

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...

Drypoint printed in dark, brownish black on cream wove paper. Signed by the artist in pencil, lower right.

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 la Corrida Color aquatint, c. 1900 Signed "Osterlind" lower right in red pencil Annotated: "No. 96" in pencil lower left Edition: about 100 Published by Sagot, Paris: their blindst...

Classic c1900 lithograph portrait by "SEM" aka Georges Gousat (1863-1934) depicting Sampieri from the folio Album Le Turf in period gilt frame from Copenha...

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...

Helen Hyde, 'The Bath', color woodblock print, edition not stated, 1905, Mason & Mason 59. Signed in pencil in the image, lower right. Numbered '96' in pencil in the image, lower left. The artist's monogram in the block, lower left, and 'Copyright, 1905, by Helen Hyde.' upper right. A superb impression with fresh colors on tissue-thin cream Japanese paper; the full sheet with margins (7/16 to 1 5/8 inches), in excellent condition. Matted to museum standards, unframed. Image size 16 1⁄4 x 10 1⁄8 in. (413 x 260 mm); sheet size: 19 1⁄4 x 11 1⁄8 in. (489 x 283 mm). Impressions of this work are held in the following collections: Achenbach Foundation for Graphic Arts, Art Institute of Chicago, Fine Arts Museums of San Francisco (De Young), Harvard Art Museums, Library of Congress, Metropolitan Museum of Art, New York Public Library, Smithsonian American Art Museum, Terra Foundation for American Art, University of Oregon Museum of Art. ABOUT THE ARTIST Helen Hyde (1868-1919) was a pioneer American artist best known for advancing Japanese woodblock printmaking in the United States and for bridging Western and Japanese artistic traditions. Hyde was born in Lima, New York, but after her father died in 1872, her family relocated to Oakland, California, where she spent much of her youth. Hyde pursued formal art education in the United States and Europe. She enrolled in the San Francisco School of Design, where she took classes from the Impressionist painter Emil Carlsen; two years later, she transferred to the Art Students League in New York, studying there with Kenyon Cox. Eager to expand her artistic repertoire, Hyde traveled to Europe, studying under Franz Skarbina in Berlin and Raphael Collin in Paris. While in Paris, she first encountered Japanese ukiyo-e prints, sparking a lifelong fascination with Japanese aesthetics. After ten years of study, Hyde returned to San Francisco, where she continued to paint and began to exhibit her work. Hyde learned to etch from her friend Josephine Hyde in about 1885. Her first plates, which she etched herself but had professionally printed, represented children. On sketching expeditions, she sought out quaint subjects for her etchings and watercolors. In 1897, Hyde made her first color etchings—inked á la poupée (applying different ink colors to a single printing plate)—which became the basis for her early reputation. She also enjoyed success as a book illustrator, and her images sometimes depicted the children of Chinatown. After her mother died in 1899, Hyde sailed to Japan, accompanied by her friend Josephine, where she would reside, with only brief interruptions, until 1914. For over three years, she studied classical Japanese ink painting with the ninth and last master of the great Kano school of painters, Kano Tomonobu. She also studied with Emil Orlik, an Austrian artist working in Tokyo. Orlik sought to renew the old ukiyo-e tradition in what became the shin hanga “new woodcut prints” art movement. She immersed herself in the study of traditional Japanese printmaking techniques, apprenticing with master printer Kanō Tomonobu. Hyde adopted Japanese tools, materials, and techniques, choosing to employ the traditional Japanese system of using craftsmen to cut the multiple blocks and execute the exacting color printing of the images she created. Her lyrical works often depicted scenes of family domesticity, particularly focusing on women and children, rendered in delicate lines and muted colors. Through her distinctive fusion of East and West, Hyde’s contributions to Western printmaking were groundbreaking. At a time when few Western women ventured to Japan, she mastered its artistic traditions and emerged as a significant figure in the international art scene. Suffering from poor health, she returned to the United States in 1914, moving to Chicago. Having found restored health and new inspiration during an extended trip to Mexico in 1911, Hyde continued to seek out warmer climates and new subject matter. During the winter of 1916, Hyde was a houseguest at Chicora Wood, the Georgetown, South Carolina, plantation illustrated by Alice Ravenel Huger Smith in Elizabeth Allston Pringle’s 1914 book A Woman Rice Planter. The Lowcountry was a revelation for Hyde. She temporarily put aside her woodcuts and began creating sketches and intaglio etchings of Southern genre scenes and African Americans at work. During her stay, Hyde encouraged Smith’s burgeoning interest in Japanese printmaking and later helped facilitate an exhibition of Smith’s prints at the Art Institute of Chicago. During World War I, Hyde designed posters for the Red Cross and produced color prints extolling the virtues of home-front diligence. In ill health, Hyde traveled to be near her sister in Pasadena a few weeks before her death on May 13, 1919. She was buried in the family plot near Oakland, California. Throughout her career, Hyde enjoyed substantial support from galleries and collectors in the States and in London. She exhibited works at the St. Louis Exposition in 1897, the Pan-American Exhibition in Buffalo in 1901, the Tokyo Exhibition for Native Art (where she won first prize for an ink drawing) in 1901, the Alaska-Yukon-Pacific Exhibition in Seattle in 1909 (received a gold medal for a print), the Newark Museum in 1913, a solo show at the Chicago Art Institute in 1916, and a memorial exhibition in 1920, Detroit Institute of Arts, Color Woodcut Exhibition in 1919, New York Public Library, American Woodblock Prints...

'Eggs' Antique English natural history chromolithograph. Key to eggs below the image. Tiny numbers in the margins to identify the eggs. Sheet 19cm by 12.5cm, image 13cm by 9.5cm.

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...

Woman is an original zincography on paper realized by R. Jericke after A. Seifert, in 1905. This Specially Zincography representing a woman's Portrait. The title of the work "Gretch...

Medium: etching (etched by Jacques-Felix Schnerb after the Renoir painting). Printed in 1908 at the Alfred Porcabeuf atelier and published in Paris by Gazette des Beaux-Arts. Image s...

Charming hand-colour plate c1900 by Edward Penfield (1866-1925) Carts Series No.1. Print Sz:15 1/2"H x 22"W Frame Sz: 20"H x 26"W w/ Hermes orange mat

Medium: original etching and drypoint. Catalogue reference: Delteil 16. Printed in 1909 and published in Paris by Henri Floury. Plate size: 5 1/2 x 7 3/4 inches (142 x 197mm). Not si...

Original photo mechanical print handcolored throughout by the French artist, Lucy Garnot. Signed and titled bottom. Circa 1900. Condition is very go...

Medium: original etching and aquatint. Executed in 1874, this impression on laid paper is presumed to be from the 1905 Strölin edition. Plate size: 9 3/8 x 6 1/4 inches (238 x 160 mm...

Original collotype created from Gustav Klimt’s Impressionist Fruit Trees landscape, painted in 1901. 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...

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...

RENOIR, PIERRE AUGUSTE (1841 - 1919) Claude Renoir, tourné à gauche Claude Renoir, Turning Left Delteil 40, Stella 40 Original chalk lithograph ...