Early 20th Century Prints and Multiples

Enchanted Doorway, Venezia (La Porta della Carta, Venezia '29). 1930. Etching. Fletcher catalog 227 state ii. 12 3/8 x 6 9/16 (sheet 15 13/16 x 9 15/16). Edition 148 in this state (...

This 1918 original poster by Suzanne Ferrand, titled "Réservez le Vin pour Nos Poilus" ("Reserve the Wine for Our Soldiers"), is a powerful piece of World War I propaganda, emphasizi...

Christ is an original print realized by Jacques Beltrand in 1928. Cromolithograph. Good conditions except for being aged and some rips on the lower margin and a cutaway on the top l...

Seated figure is an original modern artwork realized by Henri Matisse in 1929. Etching on Chine appliquè on Arches Velin paper. Original title: Figure assise, le bras droit appuye ...

Alméry Lobel-Riche In the cabaret Handsigned original engraving Signature printed in the plate Numbered /12 On parchment 31 x 22.5 cm (c. 12.2 x 8.9 inches) Excellent condition

Leonetto Cappiello's 1912 original poster, "Agua de Vilajuiga," is a timeless gem in the world of vintage advertising. This iconic artwork not only promotes a ...

Ecce Homo Plate X Woodcut, 1921 Signed, titled, and dated in pencil by the artist (see photos) Edition: One of two known impressions This image wwas unknown to the catloger Ingrid Rose in 1984 when she published the catalog raisonne of Drewes prints. Done while Drewes was studying at the Bauhaus. Reference: Ingrid Rose, Werner Drewes: A Catalogue Raisonne of His Prints (Munich: Verlag Kunstgalerie Esslingen, 1984), 33, one of two known impressions. Provenance: Gift of the artist to one of his Bauhaus professors. Held in East Germany until the opening of the wall Jorg Maas Kunsthandel, Berlin Other image from the suite of Ecce Homo images are available. Extremely early, rare Bauhaus works. n 1921 Drewes went to the Bauhaus in Weimar, where, after completing the compulsory preliminary course with Johannes Itten, he continued to study with Paul Klee, Oskar Schlemmer and Georg Muche and initially went to the wall painting workshop. He then traveled extensively through Europe, North America and Asia. After returning to Germany in 1927, he went back to the Bauhaus, this time to his new location in Dessau, where he studied in the classes of László Moholy-Nagy and Wassily Kandinsky. He was one of the first artists to introduce the groundbreaking concepts of the Bauhaus School in the United States through his painting, printmaking, and teaching. Werner Drewes (1899–1985) was a painter, printmaker, and art teacher. Considered to be one of the founding fathers of American abstraction, he was one of the first artists to introduce concepts of the Bauhaus school within the United States. His mature style encompassed both nonobjective and figurative work and the emotional content of this work was consistently more expressive than formal. Drewes was as highly regarded for his printmaking as for his painting. In his role as teacher as well as artist he was largely responsible for bringing the Bauhaus aesthetic to America. Early life and education Drewes was born in 1899 to Georg Drewes, a Lutheran pastor, and Martha Schaefer Drewes. The family lived in the village of Canig within Lower Lusatia, Germany. From age eight to eighteen he attended the Saldria Gymnasium, a boarding school in Brandenburg an der Havel. There, he showed talent both for painting and woodblock printing. Graduating from Saldria in 1917, he was drafted by the German army and served in France from then until the close of the war. About this period of his life he is reported to have said that the horrors of life at the front were only made tolerable by his sketchbook, a copy of Goethe's Faust and a volume of Nietzsche. For a decade following the close of the war he studied, made paintings and prints, and traveled widely. His friend, Herwarth Walden, helped shape his appreciation for expressionist literature and art. Walden produced the quarterly magazine, Der Sturm and ran a gallery of contemporary art, Galerie Der Sturm, from which, in 1919, Drewes purchased an expressionist painting by William Wauer titled Blutrausch (Bloodlust). In the same year he made the acquaintance of Heinrich Vogeler and participated in Vogeler's socialist utopian artists' commune, Barkenhoff, at Worpswede, Lower Saxony. In 1919 Drewes also enrolled at the Königlich Technischen Hochschule Charlottenburg to study architecture and the following year he studied the same subject at the Technischen Hochschule Stuttgart. Preferring art over architecture, he then enrolled in Stuttgart's school of applied arts (Kunstgewerbeschule) where he studied life drawing and learned to work with colored glass. At this time he joined a group of artists and architects associated with the newly formed Merz Akademie, a college of design, art, and media in Stuttgart. In 1921 his friendship with a French artist, Sébastien Laurent, led him to begin studies in Weimar at Bauhaus, then a new school which taught an integrated approach to the fine and applied arts. His instructors were Johannes Itten and Lyonel Feininger, whose paintings were expressionist and abstract, and Paul Klee, who taught bookbinding, stained glass, and murals. While at Bauhaus Drewes produced a portfolio of ten woodblock prints entitled "Ecce Homo." In 1923 and 1924 he studied art during travels throughout Italy, Spain, the United States, and Central America and in 1926 he traveled to San Francisco, Japan, and Korea, thence taking the Trans-Siberian railway to Manchuria, Moscow, and Warsaw. He later said the El Grecos he saw proved to be most influential in his work. While traveling, he exhibited: (1) etchings in Madrid (1923) and Montevideo (1924), oils and etchings in Buenos Aires and St. Louis (1925), and (3) etchings in San Francisco (1926). He paid his way by the sales these exhibits produced and by taking commissions to paint portraits. While in San Francisco he set up a shop from which he sold prints he had made in Spain and South America. After his return to Germany in 1927 he resumed study at Bauhaus, which had been forced to relocate in Dessau, Saxony-Anhalt. His instructors at that time were László Moholy-Nagy (metal work), Wassily Kandinsky, and (painting), and Lyonel Feininger (prints). At this time he also worked and exhibited in Frankfurt. With the rise of Nazism abstract artists found it increasingly difficult to sell their work and, in 1930, Drewes, finding the political pressure unbearable, emigrated to the United States. There, despite the world economic crisis, Drewes was able to earn a living as a professional artist. Mature style After Drewes moved to New York, Kandinsky, who was both friend and mentor, continued to exert a strong influence over his style. Later in life he said he had a hard time getting away from Kandinsky's influence as he developed his own style. In time he was able to bring a more emotional approach to his work and to base it, more than Kandinsky did, on natural forms. In 1930 Drewes had a solo exhibition at the 135th Street Branch of the New York Public Library and a two-person show at the S.P.R. Penthouse Gallery...

This striking Art Deco lithograph poster, entitled "Pianos Daude," was created by the talented French artist Andre Daude around 1926. The poster is...

Original WW1 poster: Keep It Coming: "We Must Not Only Feed Our Soldiers at the Front but Millions of Women & Children Behind Our Lines" ...Waste Nothing. United States Food Administration. General John J. Pershing. The W. F. Powers Co. Litho N.Y. Linen backed. Good condition. Original WW1 lithograph ready to frame. The upper left outside boarder was repaired during the linen backing keeping this poster from being a 100 year old perfect condition vintage poster. This image created by the artist George Illion features a line of trucks with the word food on the side traveling to delivery needed supplies to our troupes and allies. One lone soldier is shown directing the truck traffic to keep moving. The trucks are done in an Army green since many computer monitors display different color tones. The “Keep” and “Coming” are done in a pumpkin orange lettering. This is an original World War 1 poster...

This beautiful poster by Marcello Nizzoli features a black background, with a bright red Campari bottle and glass in the center of the poster. The desig...

Decorative Motifs - Greek Styles is a print on ivory-colored paper realized after Andrea Alessio in the early 20th Century. Signed on the plate on t...

Medium: original etching. Catalogue reference: Delteil 23. This is a lifetime impression published in 1910 for the rare first edition of "Manet & the French Impressionists" by Theodo...

Veiled Woman is an original modern artwork realized by Ferdinand Bac (1859 - 1952) in 1922. Signed and dated on plate on the lower left corner: F. Bac 19...

Nudes is an Original Etching realized in Early 20th Century by Raphael Drouart (1884-1972). The artwork is in good condition. Hand-signed. Numbered. Edition,18/25. Maurice Raphaë...

The exhilarating feeling of speed is felt in this thrilling design for Renault cars by Pierre de Bas. It is one of the rarer car posters created during this ...

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

Rittersporn und Fingerhut (Larkspur and Foxglove) Color woodcut, printed on wove paper with mica flecks, 1916 Signed lower right (see photo) Inscribed lower left (see photo) Reference: Merx 276 Condition: good-very good One spot of staining on the far left edge of the composition (see photo) Color very fresh and vibrant Full sheet as issued Image size: 19 x 13 3/8 inches Carl Thiemann...

Todros Geller (1889 – 1949) was a Jewish American artist and teacher best known as a master printmaker and a leading artist among Chicago’s art community.Geller was born in Vinnytsia, the Russian Empire (now Ukraine) in 1889.[2] He studied art in Odessa and continued his studies after moving to Montreal in 1906 where he immigrated to Canada. He married and moved to Chicago in 1918, where he studied at the School of the Art Institute of Chicago until 1923. Geller produced paintings, woodcuts, woodcarvings, and etchings. His work focused on Jewish tradition, often including moralistic themes and social commentary, shtetl, ghetto life, and the intersection of Jewish tradition with modern-day Chicago. He regarded art as a tool for social reform and he spent a large part of his career teaching art. His work was commissioned for stained glass windows, bookplates, community centers and Yiddish and English books. He was regarded as a leader in the field of synagogue and religious art. He designed stained glass window for synagogues in Omaha, Fort Worth, Dayton, Stamford, and Chicago Heights. Over the course of his career he illustrated more than 40 books. In addition to conducting classes in his studio, Geller was head of art at the Jewish People’s Institute (JPI), supervisor of art for the Board of Jewish Education and director of art for the College of Jewish Studies (which became the Spertus Institute for Jewish Learning and Leadership) and taught at Hull House. Many prominent Chicago artists studied drawing and painting under Geller. Geller was a source of inspiration to Aaron Bohrod and Mitchell Siporin...

Etching realized by Fritz Schwimbeck in 1918. Edition of 125 realized in Munich on mulberry paper. Hand signed in pencil.

Original WW1 poster. Put Fighting Blood in Your Business. Here’s his record! Does he get a Job? Arthur Woods, Assistant to the Secretary of...

Noémie (Marguérite). 1926. Etching. Fletcher catalog 57 state vi 7 1/8 x 4 3/16 (sheet 10 15/16 x 8 7/16). Edition 111 in this state (total 132 impressions). A fine impression print...

Etching realized by Fritz Schwimbeck in 1918. Edition of 125 realized in Munich on mulberry paper. Hand signed in pencil.

Etching realized by Fritz Schwimbeck in 1918. Edition of 125 realized in Munich on mulberry paper. Hand signed in pencil.

Lithograph on vélin Lafuma paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Dessins de Henri-Matisse, 1925. Published by Édi...

The Dancer (Anaïs). 1925. Etching. Fletcher catalog 52 state viii. 9 3/4 x 6 1/16 (Sheet 14 1/4 x 10 1/2). Edition 107. An extremely rich proof printed on cream 'MADE IN ENGLAND' ...

In a number of posters, Cappiello gave the advertised product life by conjuring up a personality for it. He found a way either to breathe life into a commodity by adding arms, legs o...

Jean-Jacques Waltz (1873 - 1951), également connu sous le nom d'Oncle Hansi, ou simplement "Hansi" ("petit Jean") était un artiste français d'origine alsacienne. Il était un fervent...

Profil de Lumière is a phototype reproduction realized after Odilon Redon. They belong to the suite "Odilon Redon Peintre, Dessinateur et Graveur", published by Henri Felury in 192...

Title page numbered: 263/450

Decorative Motifs of the Italian Renaissance is a vintage chromolithograph realized by an anonymous artist in the early 20th Century. Good conditions. The artwork represents Decora...

Really a wood engraving rather than a woodcut, Henry R. Diamond's Whaler is majestic. It is signed and titled in pencil.

The European Macabre Dance N.8 is a hand-colored lithograph, from the Series "La Danza Macabra Europea" illustrated by Alberto Martini (Oderzo, 1876 – Milan, 1954) in 1915. Signed ...

Musee Grevin Avant La Lettre (Before Text), created in 1900, is one of the best known images by the great French artist, Jules Chéret. The poster advertises a show performance at the...

The European Macabre Dance N.6 is a hand-colored lithograph, from the Series "La Danza Macabra Europea" illustrated by Alberto Martini (Oderzo, 1876 – Milan, 1954) in 1915. Signed ...

Le Beguin (Anaïs). 1922. Etching. Fletcher catalog 33 state iii./iv (before cancellation). 5 1/2 x 4 5/16 (sheet 11 1/2 x 8 13/16). Edition 76. Illustrated: Print Collector's Quarter...

The Dance is an original etching realized by Louis Jou in the Early 20th Century. Monogrammed on the lower. Good conditions with some foxing. Louis Jou (Gracia, 1882 - Baux, 1968), the twentieth-century etcher and wood engraver, was a prolific illustrator of a large number of books in France, authored by big names like Andre Gide...

The Liberty Bond You Buy The Liberty Bond You Buy. Archival linen backed in very good condition; ready to frame. Printer: Liberty Loan Committee Second Federal Reserve District. O...

Illustration for "Les Chanson Erotiques" by Pierre-Jean de Beranger. Image Dimensions ：15 x 13.5 cm This artwork is shipped from Italy. Under existing legislation, any artwork in It...

'Frank Wootton' Hentschel-Colourtype, 1909 Vanity Fair portrait of Frank Wootton. (1893 -1940), known as "Frank" or "Frankie", and sometimes referred to as "The Wonderboy", who wa...

Candid oder der optimismus is an original modern rare book written by Voltaire and illustrated by Max Unold (Memmingen, 1885 - Munich, 1964) in 1913. Original Edition. 800 Numbere...

'The Cavalry Division' Vanity Fair portrait of Admiral Sir Compton Edward Domvile GCB GCVO (1842-1924) who was a distinguished Royal Navy officer in the Edwardian era. 390mm by 26...

Parrish, Maxfield. THE KNAVE OF HEARTS. 1925. 14 full page and many smaller color plates. A Fine copy of Parrish's most elaborate book. A highlight among American children's books, b...

Lithograph on vélin Lafuma paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the volume, Dessins de Henri-Matisse, 1925. Published by Édi...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG BALLET UND PANTOMIME...

Kunstdruck, entstanden anläßlich Leo Castelli exhibition in New York Zustand; Darstellung im guten Zustand, leichte Randmängel

'Top of the List' Vanity Fair portrait of William Higgs (1880-1958). Higgs was a Irish jockey who was Champion Jockey on two occasions He won the 2000 Guineas on Slieve Gallion. ...

"Military" 1917s is a beautiful print in etching technique, realized by Anselmo Bucci (1887-1955). Hand signed. Numbered 61/100 of prints on the lower left. On the lower left corner...

after Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his mas...

Edmund Blampied, R.E. The Butterfly. 1928-29. Drypoint. Appleby 133. 9 5/8 x 7 7/8). Etching (sheet 15 1/4 x 10 3/16)on 100. A rich impression printed on cream-colored laid 'F.J.He...

Title page numbered: 263/450. Includes handmade, gold-leaf frame.

A charming lithograph after a pastel study John Raphael Smith. The scene depicts a child posing with a blue chair with her bonnet flung to the floor. Signed in graphite by T. Hamilto...

Lithograph and stencil on vélin Hollande van Gelder paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Fernand Léger, 1928. Published and printed by Éd...

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...

This poster for Cachou Lajaunie was designed by famous poster artist Leonetto Cappiello. This image features a woman with red hair calmly exhaling smoke from her cigarette. Set again...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG BALLET UND PANTOMIME...

Beautiful advertising poster of the 1920s by René Lelong for the brand Kodak. Kodak was founded by George Eastman and Henry A. Strong on May 23, 1892. For...

E. Lemielle's poster with the message "Souvenez-vous ! 1914 rien d'allemand!!! rien des allemands." (Remember! 1914 Nothing German !!! Nothing from the Germans) is a poignant artifac...

Walk is a lithograph realized by Raoul Dufy in 1920. Good conditions. Edition of 110. Unsigned and unnumbered as issued.

This original poster is from the three-act operetta, La Térésina, and was published in 1929. The story is from an adaptation by Mrs. Leon Uhl and Jean Marietti, with music by Oscar S...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG BALLET UND PANTOMIME...