1910s Art

Ausgedient (“Obsolete”) is an original artwork realized by Ferdinand Andri in 1917. Lithograph in black over yellow plate on paper. Published in 1917 as part of a Jahresmappe (Annual...

Krieg ("War") is an original artwork realized by Hans Trudel in 1915. The monogram of the artist appears on the lower right margin. The xilograph is part of a portfolio including fiv...

Jean-Emile Laboureur (1877-1943), Une Marmite, engraving, 1916, signed in pencil lower left; titled, dated and inscribed “epreuve de 1er etat” bottom margin edge [with the initial an...

William Strang (1859-1921), Le Bourg de Batz, etching and drypoint on copper, 1913, signed in pencil lower right [also signed and dated in the plate]. Refere...

Figures in the Landscape is an original artwork realized by Jules Adrian Flour in 1916. Original etching on paper. The artwork is glued on cardboard. Hand-signed in pencil by the ar...

Kino Plasticon. Ca 1920s. Budapest. Color lithograph The Hungarian artist and illustrator Geza Farago worked in Budapest as a cartoonist, theatrical costume designer and poster ar...

Original Magazine. Florence, (Printers: Tip. A. Vallecchi), Jan 1913-May 1915, 4°, (h. I: 350x250 mm: aa, II-III 370x270mm) 16 pp. per issue (8 in y. III) numbered progressively by year. Complete collection (unbound) of the 69 issues of the famous fortnightly review (weekly in 1915) edited by Papini and Soffici. Lacerba was an Italian literary review (fortnightly at first, then weekly) started by Giovanni Papini and Ardengo Soffici in 1913 In Florence. The title is taken from a 14th Century poem, Lacerba, by Cecco d’Ascoli, as well as the line, “Quinonsicantaal mondodellerane” (“Here we don’t sing to the world of frogs”), used as a slogan printed below the masthead. Many of the most famous futurists contributed to thereview,so that it became the principal vehicle for futurist ideas and graphics between 1913 and 1914. “The intensity of its presence, its luck and the range of its coverage, its polemical tone as well as the richness and scattershot breadth of its subject matter, its language and themes, and its articles and pictures, place it among Europe’s leading avant-garde publications alongside France’s Les Soirées de Paris, Germany’s Der Sturm and Blaue Reiter almanac...

Siccard-Redl, Josef. Fruhling, Ca 1910. Color wood engraving, Signed and titled in pencil by the artist. Little is known of this artist other than he worked in Vienna during the ...

Hand signed. Edition of 30 prints.Original Prints. Passepartout included: 37 x 52.5 cm Image Dimensions : 15 x 19.5 cm This artwork is shipped from Italy. Under existing legislation...

Beautiful poster after Louis Mangin for the Alcyon cycles. Alcyon is a French company of construction of bicycles, motorcycles and cars created in 1903, boulevard Bourdon in Neuilly-...

Roger de la Fresnaye (French, 1885-1925) Dessin pour un Costume (Bal Poiret à St. Cloud), circa 1913 pencil and watercolor on paper laid down to card inscribed with title on card (ve...

Medium: Pen and Ink on Paper Signature: Unsigned Titled in pencil and inscribed "Blue print-Rush-/March" beneath the composition, identified in a printed label affixed to the frame ...

Three engines sit in a wasted landscape described in a palate of warms grays, browns and ochers in broad quickly applied brush strokes. Quick and confident brush strokes describe th...

Max Blondat (1872 - 1925) Mael Figure 1915 Terracotta 30 x 21 x 14 cm Signed and dated on the neck on the left: Max Blondat 1915

Marguerite Zorach, 1887-1968 The Card Game, 1912 Ink on paper 9 ¼ x 12 inches Signed and inscribed (on verso): Marguerite Zorach Playing Cards/Calif./1912.” ZoraM-02

In his oil painting, “Gloucester,” Guy C. Wiggins paints a large sailing ship docked at the edge of harbor, its three masts reaching up towards a morose gray sky.

The paper in some of these photos looks overly textured due to the sharpness of the high-res digital camera. In person, with the human eye, the paper looks reasonably smooth with out blemishes. For this fashion illustration, Georges Lepape paints a stunning abstract pattern for the subject dress that is repeated in her hair. The work represents an early use of metallic paint, with silver metallic in the dress and bronze metallic in the blouse. Lepape's highly detailed drawing becomes more evident the closer you look. It's quite amazing how deftly he rendered facial feature on such a small scale. "Eva" 1918 Gouache, watercolor, and ink on paper Signed and dated, lower right: '1918' Inscribed, verso: "Costume for L'enfantement du mort, (miracle en pourpre, et or.). Devised by Marcel L'Herbier and performed at the Théatre Edouard VII and the Comédie des Champs-Elysées, 1919" Provenance: Ex-collection Lucien...

Color woodcut on Japan paper. Signed, numbered 1/30 and inscribed by the artist.

La Poursuite by Orovida Pissarro (1893-1968) Etching with aquatint 17.2 x 12.5 cm (6 ³/₄ x 4 ⁷/₈ inches) Signed and dated lower right Orovida 1917 Inscribed lower left Final State Trial proof no. 1 Artist biography Orovida Camille Pissarro, Lucien and Esther Pissarro’s only child, was the first woman in the Pissarro family as well as the first of her generation to become an artist. Born in Epping, England in 1893, she lived and worked predominantly in London where she became a prominent member of several British arts clubs and societies. She first learned to paint in the Impressionist style of her father, but after a brief period of formal study with Walter Sickert in 1913 she renounced formal art schooling. Throughout her career, Orovida always remained outside of any mainstream British art movements. Much to Lucien's disappointment she soon turned away from naturalistic painting and developed her own unusual style combining elements of Japanese, Chinese, Persian and Indian art. Her rejection of Impressionism, which for the Pissarro family had become a way of life, together with the simultaneous decision to drop her famous last name and simply use Orovida as a ‘nom de peintre’, reflected a deep desire for independence and distance from the weight of the family legacy. Orovida's most distinctive and notable works were produced from the period of 1919 to 1939 using her own homemade egg tempera applied in thin, delicate washes to silk, linen or paper and sometimes embellished with brocade borders. These elegant and richly decorative works generally depict Eastern, Asian and African subjects, such as Mongolian horse...

"Female Nude in a Studio" circa 1910. 19 X 13 1/2 inches, oil on wood panel. Etched signature lower right. Well listed Hungarian artist. Spent his student years under the guidance o...

Berkes, Antal ( 1874-1938) Antal Berkes was a Hungarian painter, born in Budapest, Hungary. He lived in Paris for some time and produced cityscapes there as well as similar str...

Approximate Date: 1915 Medium: Pen and Ink on Board Signature: Signed Lower Left Dimensions: 22.00" x 20.00" Story Illustration- Life Magazine ca. ...

This period lithograph of the S.S. IMPERATOR includes its original period frame with plaque. There are a few nicks on the tin but the condition is overall excellent. SS IMPERATOR was a German ocean liner built for the Hamburg America Line. At the time of her completion in June 1913, she was the largest passenger ship in the world by gross tonnage, surpassing the new White Star liner OLYMPIC. IMPERATOR was the first of three successively larger Hamburg American liners that included SS Vaterland (later the United States Liner LEVIATHAN) and SS Bismarck (purchased and renamed MAJESTIC for the White Star Line transatlantic passenger service). IMPERATOR ran a transatlantic route for 14 months, until the outbreak of World War I, after which she remained in port in Hamburg. After the war, she was briefly commissioned into the United States Navy as USS IMPERATOR and employed as a troop transport, returning American troops from Europe. Following her service with the U.S. Navy, IMPERATOR was handed over to Britain's Cunard Line as part of war reparations, due to the loss of the RMS LUSITANIA...

A very good impression of this color drypoint and aquatint. Third state (of 3). Edition of 150. Signed and inscribed "No. 25" in pencil, lower right.

Laleham Road, Ashford by Ludovic-Rodo Pissarro (1878-1952) Ink on paper 25.6 x 20 cm (10 ¹/₈ x 7 ⁷/₈ inches) Inscribed and dated lower right, Ashford 30 dec 1917 This work is accomp...

Academic study in profile of a high bow sitter on gray paper with white highlights. Signed lower right and dated faintly 1916 Edith Emerson (July 27, 1888 – November 21, 1981) was a...

The Ferry Boat by Alfred Stieglitz is a photogravure on tissue. The photograph depicts a ferry boat on the water with a crowd of people on the lower level o...

Still Life by Ludovic-Rodo Pissarro (1878-1952) Wood engraving 14.5 x 10.8 cm (5 ³/₄ x 4 ¹/₄ inches) Initialed LR in the plate Exhibition Fort Lauderdale, Museum of Art, Camille Pis...

Charcoal on paper, signed and dated (lower right), 33cm x 24cm, (66cm x 56cm framed). The work is framed behind UV glass and stepped gilded frame. Bortnyik was a painter and graphi...

Reinhold Max Eichler Mutzschen 1872 - 1947 Munich At the Blue Curtain Oil on wood Signed lower left Size: 110 x 81 cm Frame: 127 x 99 cm Good condition (see photos) Provenance: Kunsthaus Brakls Munich 1925, Galerie Commeter Hamburg Rare large-format, museum-quality painting by the Munich artists' group "Scholle" Viewing and collection by appointment are welcome. Authenticity will be confirmed in writing. Reinhold Max Eichler was born in 1872 in Hubertusburg, Mutzschen, Saxony, the son of a farmer. He initially studied at the Dresden Academy of Fine Arts from 1889 to 1893. He then transferred to the Academy of Fine Arts in Munich to study under Paul Hoecker. In 1896, he became a contributor to the magazines Jugend and Simplicissimus, for which he produced illustrations, and in 1899, he joined the artists' association Die Scholle. From 1903 onward, he worked exclusively for Jugend. Members of Die Scholle included, besides Eichler, Gustav Bechler, Hansl Bock, Ludwig Bock, Edward Cucuel, Erich Erler (Samaden), Fritz Erler, Max Feldbauer, Walter Georgi, Adolf Höfer, Adolf Münzer...

An outstanding example of the new-impressionist work of Rodolphe Wytsman . This large canvas depicts a tranquil summer day on the Meuse river near the town of Dave. Wytsman painted a number of landscapes in this area between 1910 and 1911 at the height of his artistic career. The use of colour and neo-impressionist execution are testament to his position as one of the finest Belgian painters of this period alongside Van Rysselberghe, Claus, Montigny and Georges Morren...

Jeune Orientale Assise by Georges Manzana Pissarro (1871-1961) Charcoal on paper 63 x 50 cm (24 ³/₄ x 19 ³/₄ inches) Signed lower right, manzana Executed circa 1915 This work is acc...

L’Orientale à la Mandoline by GEORGES MANZANA PISSARRO (1871-1961) Mixed media with gold on paper 31.5 x 41.5 cm (12 ⅜ x 16 ⅜ inches) Signed lower right, Manzana Executed in 1910 T...

Jim’s of Lambertville is proud to present this piece by Herbert Pullinger (1878 - 1961). Herbert Pullinger was born and raised in Philadelphia where he would spend his entire life....

Date: 1919 Medium: Charcoal on Board Dimensions: 24.00" x 30.00" Signature: Signed Lower Right Story illustration, image of a young woman confiding in elderly religious man.

DELAHOGUE Eugène Jules (1867-c1930) " Landscape of the Valley" Oil on canvas signed low right Frame gilded with leaves Dim canvas : 91 X 150 cm Dim frame : 110 X 172 cm DELAHOGUE Eu...

This original woodcut is hand signed in pencil "Lyonel Feininger" at the lower left margin. It is also inscribed with the work number by the artist “1815” in the lower centre of the...

Anton Jonsson Genberg, born 20 June 1862 in Östersund, died 8 January 1939 in Saltsjö-Storängen in Stockholm County, was a Swedish painter. Genberg painted naturalistically with the ...

This original drypoint is hand signed and dated in pencil by the artist "Emil Nolde" at the lower right margin. It is one of at least 18 impressions printed on Van Gelder Zonen pape...

This original etching and drypoint is hand signed in pencil by the artist "L. Ury" at the lower left margin. It is also hand numbered in pencil from the edition of 150, at the lower ...

Original magazine advertisement for ‘Cream of Wheat’ hot cereal, published 1914. From the archives of Nabisco, and Kraft Foods; nº 226. Artwork Dimensions: 28" x 22" Framed Dimens...

Medium: Watercolor and Gouache on Paper Mounted to Canvas Signature: Signed "Howard Chandler Christy" and Dated Lower Left Published in the 1914 U.S. Naval Academy yearbook, "The Lucky Bag...

Signed Lower Left

- Gouache on paper. - Circa 1910-1920. Dimensions H: 49 cm W: 49 cm/H: 19.29 in; W: 19.29 in (unframed) H: 71 cm W: 71 cm/H: 27.95 in W: 27.95 in (framed)

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Paysage à Chippenfield by Ludovic-Rodo Pissarro (1878-1952) Watercolour and ink on paper 23 x 33 cm (9 x 13 inche...

Original c1917 Milton Bradley 'Game of Steeple Chase' Image Sz: 13 7/8"H x 7 3/4"W Frame Sz: 18"H x 12"W w/ custom two-sided red chrome frame

La Roche Posay by Ludovic-Rodo Pissarro (1878-1952) Watercolour and pencil on paper 26 x 36.5 cm (10 ¹/₄ x 14 ³/₈ inches) Signed and titled lower left Executed circa 1910 This work ...

Original story illustration for the book The Strange Cases of Mason Brant by Nevil Monroe (Philadelphia and London: Lippincott, 1916), illustrated page 173. The full caption reads: “I turned and looked back. A hansom cab...

ALBERT RUTHERSTON, RWS (1881-1953) Page for the Emperor – Costume Design for Androcles and the Lion Variously inscribed: “Androcles”/No.28/ Two Pages for The Emperor/ Mr Alfree/Mr Bugh/King Watercolour, pen and ink and gold paint Framed 25 by 19 cm., 9 ¾ by 7 ½ in. (frame size 43 by 36 cm., 17 by 14 ¼ in.) Provenance: By descent in the family of the artist. Exhibited: London, Sally Hunter Fine Art, Albert Rutherston – Drawings, Theatre Designs & other Treasures, 2016, no.75. The present work is a costume design for a page in Androcles and the Lion, a play in two acts by George Bernard. Rutherston designed the set and costumes for the 1913 premier production performed at St James’s Theatre, London and produced by Harley Granville-Barker. Born Albert Daniel Rothenstein, he was the youngest of the six children of Moritz and Bertha Rothenstein, German-Jewish immigrants who had settled in Bradford, Yorkshire in the 1860s. He and his siblings proved to be a hugely talented and artistic family, his elder brother became Sir William Rotherstein (1872-1945), the artist and director of the Royal College of Art; two of his other siblings, Charles Rutherston and Emily Hesslein, both accumulated major modern British and French art collections and his nephew Sir John Rothenstein was direct of the Tate Gallery. He was educated at Bradford Grammar School before moving to London in 1898 to study at the Slade School of Art where he became close friends with Augustus John and William Orpen. He met Walter Sickert during a painting holiday in France in 1900 and by introducing Sickert to Spencer Gove became instrumental in the beginning of the Camden Town Group. He was one of Sickert’s most frequent companions and was one of the original members of the Fitzroy Street Group. Rutherston had a sociable and attractive personality, he frequently travelled abroad with other artists including Max Beerbohm, Spencer Gore, Walter Russell and Edna Clarke Hall...

ARTHUR SEGAL 1875-1944 Jassy, Rumania 1875-1944 London (Romanian) Title: Still Life and Fruits, 1911 Technique: Original Signed Oil Painting on cardboard size: 61 x 86 cm ...

Illustration of a carefree young woman in striped pinafore, photographing the outdoors with her Kodak Premo camera, circa 1912. In 1893, at the Chicago World's Fair, George Eastman introduced the "Kodak Girl" as the icon of the new Kodak camera...

Jules Cheret (May 31, 1836 - September 23, 1932) was a French painter and lithographer who became a master of poster art. Often called the father of the modern poster. This piece is ...

SOLD UNFRAMED Fear by Orovida Pissarro (1893 - 1968) Etching 26 x 19.5 cm (10 ¼ x 7 ⅝ inches) Signed and dated lower right, Orovida 1917 State 2, trial proof no.2 Provenance Priva...

Listed Hungarian artist. Active in Paris, Vienna, Budapest, Munich, and Prague. Measures: 24 x 20 inches, oil on panel. 34 x 30 inches with period frame. Signed lower right. 'The Bea...

Signature: Signed Lower Right Medium: Oil on Canvas This illustration was a Saturday Evening Post cover, September 13, 1913.

The Duomo, Florence Watercolor, 1914 Signed and dated lower center edge (see photo) Florence Cathedral, formally the Cattedrale di Santa Maria del Fiore, is the cathedral of Florence, Italy. It was begun in 1296 in the Gothic style to a design of Arnolfo di Cambio and was structurally completed by 1436, with the dome engineered by Filippo Brunelleschi. Condition: Excellent Image size: 16 3/4 x 14 1/2 inches Frame size: 24 1/4 x 22 inches Donald Shaw MacLaughlan was born in Charlottetown, Prince Edward Island, Canada on November 9, 1876. His family moved to Boston, Massachusetts in 1890 where he began to experiment with different art media; watercolor, oil painting and finally, etching – with a few attempts at lithography. He spent much of his early years at the Boston Public Library studying the work of printmakers, from Durer and Rembrandt to the 18th century English, French and Italian masters. Like many American artists of the time MacLaughlan traveled to Europe to study in Paris, enrolling in the Ecole des Beaux Arts and studied further with Jean Leon Gerome and Jean Paul Laurens. In 1899 he began producing etchings, which became his major interest until his death in 1938. He became acquainted with James NcNeill Whistler (1834-1903) and other artists who created etchings and spent time studying the etchings of Rembrandt van Rijn (1606-1669) and other old masters in the collection of the Bibliothèque Nationale. Both Rembrandt and Whistler would have major influences on his art. In 1900 he created a set of 25 etched views of Paris and in 1901 exhibited two etchings in the Salon de la Société Nationale des Beaux-Arts. He returned to the U.S. in 1903, then went back to Paris the following year. He traveled extensively in Europe, visiting England, Switzerland, Italy and Spain as well as various locales in France. His etched views of Venice were well-known. MacLaughlan exhibited views of Paris, Rouen, Normandy and Italy in 1906 in a solo show at the American Art Association Galleries in Paris. He also displayed his work in the 1906 exhibitions of the Société Nationale des Beaux-Arts and the Société des Peintres-Graveurs Français. MacLaughlan even instructed other expatriate Canadian artists then living in Paris, most notably Clarence...

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Four Balinese, 1910 Signed and dated bottom left Pencil and ink on paper, 15.6 x 23 cm In ebonized frame with white mount. Literature: W.O.J. Nieuwenkamp, Zwerftochten op Bali, Amsterdam, 1910, p. 36 WILLEM OTTO WIJNAND NIEUWENKAMP (1874-1950) Nieuwenkamp was born on July 27th 1874 in Amsterdam. His father owned sailing ships sailing to Indonesia and hearing the stories of the returning captains evoked in the young Nieuwenkamp an obsession for distant lands and adventure. After a failed attempt by his father to have his son make a career in his business, Nieuwenkamp attended the Academy for Decorative Art in Amsterdam. However, he left within one year to go his own way. He was an autodidact and a great experimenter with new techniques, particularly in the art of etching. Nieuwenkamp was a very focused man with the discipline of a scientist tempered by the sensitivity of an artist, a lust for adventure, a natural appreciation for ethnic arts and an enormous ambition to tread new paths. In 1898 he visited Indonesia for the first time and on his second visit in 1903-1904 he went on to Bali and became the first foreign artist to love Bali and the Balinese with a passion. Having secured agreements with several museums in the Netherlands to obtain Balinese art...

Fleet Street by Ludovic-Rodo Pissarro (1878-1952) Wood engraving 11.2 x 11.2 cm (4 ³/₈ x 4 ³/₈ inches) Initialled, titled and dated on the plate Signed lo...

Medium: Unknown Signature: Unsigned Sight Size 30.00" x 25.00", Framed 39.00" x 34.00" Saturday Evening Post Cover, July 12, 1919