1920s Prints and Multiples

Erotic Scene is a beautiful lithograph on ivory-colored paper, realized in the 1920s by Albert Marquet (Bordeaux, 1875 - Paris,1947). Monogrammed on the plate on the lower margin. ...

This exquisite lithograph and pochoir after Fernand Leger (1881–1955), titled Elements mecaniques (Mechanical Elements), from the album L'Art Cubiste, Theories et Realisations, Etude...

Medium: original lithograph. Executed by Vertes in 1927 for "Collette la Vagabonde", this impression is printed on wove paper. The full sheet measures 12 x 9 inches (305 x 228 mm). N...

Fille Nue from Le Reincarnations du Pere Ubu Georges Rouault, French (1871–1958) Date: 1928 Aquatint on Arches, signed in the plate Image Size: 10.5 x 6.5 inches Size: 17 x 12.5 in. ...

"Cuenca - The Cliff Dwellers" Antique Etching of the Casas Colgadas Detailed architectural etching by Ernest David Roth (American b. 1879 d. 1964.) The etching depicts the famous Ca...

Beautiful etching by John Marin (1870-1953) created 1921. Title: Downtown, The El (From the New Republic Set) Medium: Etching Size: 6 7/8 x 8 5/8. Sheet: 10 3/4 x 14. Mat: 16 x 17 3...

This is from the original first edition 1923 printing. there was a much later edition done after these originals. These are individually hand signed in pencil by artist as issued. This listing is for the one print. the other documentation is included here for provenance and is not included in this listing. The various images inspired by the Jewish Mysticism and rabbis and mystics of jerusalem and Kabbalah is holy, dramatic and optimistic Rubin succeeded to evoke the spirit of life in Israel in those early days. They are done in a modern art style influenced by German Expressionism, particularly, Ernst Barlach, Ernst Ludwig Kirchner, and Franz Marc, as introduced to Israel by Jakob Steinhardt, Hermann Struck and Joseph Budko. Reuven Rubin 1893 -1974 was a Romanian-born Israeli painter and Israel's first ambassador to Romania. Rubin Zelicovich (later Reuven Rubin) was born in Galati to a poor Romanian Jewish Hasidic family. He was the eighth of 13 children. In 1912, he left for Ottoman-ruled Palestine to study art at Bezalel Academy of Art and Design in Jerusalem. Finding himself at odds with the artistic views of the Academy's teachers, he left for Paris, France, in 1913 to pursue his studies at the École Nationale Supérieure des Beaux-Arts. He was of the well known Jewish artists in Paris along with Marc Chagall and Chaim Soutine, At the outbreak of World War I, he was returned to Romania, where he spent the war years. In 1921, he traveled to the United States with his friend and fellow artist, Arthur Kolnik. In New York City, the two met artist Alfred Stieglitz, who was instrumental in organizing their first American show at the Anderson Gallery. Following the exhibition, in 1922, they both returned to Europe. In 1923, Rubin emigrated to Mandate Palestine. Rubin met his wife, Esther, in 1928, aboard a passenger ship to Palestine on his return from a show in New York. She was a Bronx girl who had won a trip to Palestine in a Young Judaea competition. He died in 1974. Part of the early generation of artists in Israel, Joseph Zaritsky, Arieh Lubin, Reuven Rubin, Sionah Tagger, Pinchas Litvinovsky, Mordecai Ardon, Yitzhak Katz, and Baruch Agadati; These painters depicted the country’s landscapes in the 1920s rebelled against the Bezalel school of Boris Schatz. They sought current styles in Europe that would help portray their own country’s landscape, in keeping with the spirit of the time. Rubin’s Cezannesque landscapes from the 1920s were defined by both a modern and a naive style, portraying the landscape and inhabitants of Israel in a sensitive fashion. His landscape paintings in particular paid special detail to a spiritual, translucent light. His early work bore the influences of Futurism, Vorticism, Cubism and Surrealism. In Palestine, he became one of the founders of the new Eretz-Yisrael style. Recurring themes in his work were the bible, the prophet, the biblical landscape, folklore and folk art, people, including Yemenite, Hasidic Jews and Arabs. Many of his paintings are sun-bathed depictions of Jerusalem and the Galilee. Rubin might have been influenced by the work of Henri Rousseau whose naice style combined with Eastern nuances, as well as with the neo-Byzantine art to which Rubin had been exposed in his native Romania. In accordance with his integrative style, he signed his works with his first name in Hebrew and his surname in Roman letters. In 1924, he was the first artist to hold a solo exhibition at the Tower of David, in Jerusalem (later exhibited in Tel Aviv at Gymnasia Herzliya). That year he was elected chairman of the Association of Painters and Sculptors of Palestine. From the 1930s onwards, Rubin designed backdrops for Habima Theater, the Ohel Theater and other theaters. His biography, published in 1969, is titled My Life - My Art. He died in Tel Aviv in October 1974, after having bequeathed his home on 14 Bialik Street and a core collection of his paintings to the city of Tel Aviv. The Rubin Museum opened in 1983. The director and curator of the museum is his daughter-in-law, Carmela Rubin. Rubin's paintings are now increasingly sought after. At a Sotheby's auction in New York in 2007, his work accounted for six of the ten top lots. Along with Yaacov Agam and Menashe Kadishman he is among Israel's best known artists internationally. Education 1912 Bezalel Academy of Arts and Design, Jerusalem 1913-14 École des Beaux Arts, Paris and Académie Colarossi, Paris Select Group Exhibitions Eged - Palestine Painters Group Eged - Palestine Painters Group, Allenby Street, Tel Aviv 1929 Artists: Chana Orloff, Abraham Melnikoff, Rubin, Reuven Nahum Gutman, Sionah Tagger,Arieh Allweil, Jewish Artists Association, Levant Fair, Tel Aviv, 1929 Artists: Ludwig Blum,Eliyahu Sigad, Shmuel Ovadyahu, Itzhak Frenel Frenkel,Ozer Shabat, Menahem Shemi...

Original, Italian, Vini di Lusso lithograph vintage poster for fine wines. The Italian Society for Superior Wine. The image of a satyr (or Bacchus) getting ready to eat a group ...

The Gothic Spirit (also called A Gargoyle, A Gothic Spirit). 1922. Etching and stipple. Fletcher 120. 11 5/8 x 7 (sheet 15 1/4 x 11 1/4). Gargoyle Series #8. Edition 130. Illustrated...

Beautiful original poster by Roger Broders for the PLM railroads and the village of Cornillon. Roger Broders is one of the most prolific poster artists of the 1930s: his work is inse...

A ca. 1920s moody, Modernist lithograph by notable artist Boris Israelevich Anisfeld, depicting figures and buildings. Artwork size: 11 3/4" x 9". Archivally matted to 16" x 14". ...

The Speech is an original modern artwork realized by Ferdinand Bac (1859 - 1952) in 1922. Original Lithograph on ivory paper. Excellent conditions. The Speech is an excellent Lib...

Boris Lovet-Lorski, Untitled (Profile of an African Woman), lithograph, edition 250, 1929. Signed and numbered 15 in pencil. Number 15 of Volume 2, a series of 10 lithographs publish...

Erotic Scene is a beautiful lithograph on ivory-colored paper, realized in the 1920s by Albert Marquet (Bordeaux, 1875 - Paris,1947). Monogrammed on the plate on the lower margin. ...

Nude is a modern artwork realized by Andrè Derain in Early 20th century. Lithograph on simili-Japan paper. Realized for "Les Travaux et les Jeux" by Vincent Muselli. Published by J...

Japanese Artisans - Japanese Woodblock Print J Japanese woodblock depicting six women, all wearing vibrant kimonos, working on crafts by Tosa Mitsuoki (Japanese, 1617-1691). Japanese,c. 1600. Handcraft depiction (dye works).Section from a painted screen with presentations of handcraft.Kita-in, Saitama. Stamped lower left. Presented in a white mat and giltwood frame. Frame: 19"H x 14"W Mat: 18.25"H x 13.25"W Image: 14.5"H x 9.5"W Tosa Mitsuoki was a Japanese painter, reinvigorating the Yamato style of classical Japanese painting. Yamato-e originated from interest in reproducing early Tang dynasty paintings, and was later reinvented and further refined to fit Japanese cultural perceptions in the late Heian period. Yamato, sometimes referred to as wa or kazu had become synonymous with the Tosa-ha by the Muromachi period as a way for Japanese artist to distinguish their works from those of mainland Chinese paintings, kara-e. Yamato-e incorporated various visual and literary techniques for establishing narrative. Works were not always accompanied with text and may rely on heavily on period specific visual motifs, icons, and symbols to relay a story or theme. Tosa style by the time of Mitsuoki focused heavily on depicting themes of plants and nature, famous places, meisho, the four seasons, shik, bird-and-flower, kacho. Many of these popular symbols and icons from mimicking Chinese practices, treating the original Chinese masterwork as a sort of prototype to improve upon. Popular formats for Mitsuoki's pictures were wall scrolls kakemono, or handscrolls that would be read from right to left with the accompanied story, sliding doors fusuma and folding screen panels byobu that featured up to six panels. Mitsuoki's style incorporated the depth and calligraphy techniques of ink wash brushwork similar to Song dynasty and Yuan dynasty Chinese court paintings...

The annual Furriers Ball in Paris was advertised by such Art Deco luminaries as Charles Gesmar, Maurice Milliere and the unknown Asta Tigri who designed both this poster and the imag...

HERBERT GURSCHNER (Austrian / English (1901-1975) VILLAGE SCENE / TOWN FESTIVAL ca.1924 Color woodcut 4 ¾ x 5 3/8” Signed in pencil. Good strong colors. On thin paper. Faint darkeni...

Image dimensions: 19.5 x 24.5 cm. Black and white etching on paper, realized by the Italian artist Giovanni Korompay in 1928. Titled, numbered, and monogrammed in pencil on the lo...

Edward PELLENS Red Bouquet of Flowers, 1929 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of the editor 'Imagier...

Anton Schutz, 'Heart of San Francisco', etching, c. 1927, edition not stated. Signed in pencil. A superb, richly-inked impression, on cream wove paper; the full sheet with margins (2...

Medium: original lithograph. Printed in 1920 on a light brown tinted wove paper for the German Expressionist art revue Das Kunstblatt, published in Berlin by Verlag Gustav Kiepenheue...

A 1920s, Art Deco etching & aquatint of Lake Shore Drive -- Chicago, by notable print maker S. Chester Danforth. Image size: 8 1/4" x 10 1/4". Archivally matted to 14" x 16". Mandel Brothers...

Signed 1926 Armin Carl Hansen Etching and Drypoint of Central Coast California Valley Farm Wonderful etching and drypoint of Valley Farm signed and titled by Armin Carl Hansen (Amer...

Louis Icart, French (1888 - 1950) - Hydrangeas, Year: 1929, Medium: Color Etching, Signed in Pencil, Image Size: 16 x 20 inches, Frame Size: 24.5 x 28.5 inches, Reference: Figur...

Medium: pochoir (after the painting). Published in Paris in 1929 by Editions des Chroniques du Jour in an edition of 500. Image size: 8 3/8 x 6 inches (214 x 150 mm). With full origi...

Medium: collotype (after the painting). Printed in 1926 at the Leon Marotte atelier and published in an edition of 1000 by Editions des Quatre Chemins. Image size: 4 3/4 x 7 1/2 inch...

Cyrus Le Roy Baldridge, 'Peking '25', woodblock print, published 1926. Signed, titled, dated, and annotated 'No 124' in pencil. A fine impression, with fresh, undiminished colors; the full sheet, in excellent condition. Watanabe 6 mm seal, lower right, indicating an impression printed between 1945 and 1957. Archivally sleeved, unmatted. Image size 9 5/8 x 14 5/16 inches; sheet size 10 7/16 x 15 3/8 inches. ABOUT THE IMAGE A 'paifang', also known as a 'pailou', is a traditional style of Chinese architectural arch or gateway structure. It has been theorized that the paifang gate architecture was influenced by Buddhist torana temple gates. Paifang are designed with traditional Chinese architectural motifs including multi-tiered roofs, prominent supporting posts, and gracefully arched openings. This is an unusual ukiyo-e or 'floating world' woodcut published by Watanabe Shozaburo, Tokyo, in that the subject is of an early 20th-century scene in Peking, China. ABOUT THE ARTIST Cyrus Leroy Baldridge...

An excellent, richly-inked impression of this print with full margins. It is one of 10 numbered artist's proofs, aside from the edition of 50. Signed, inscribed "Epr. d'artiste" and ...

New York: c 1920. Etching with aquatint printed in brownish black ink on cream wove paper, 8 3/4 x 12 inches (220 x 304 mm), full margins. Signed and titled in pencil in the lower ma...

Original London Midland and Scottish Railway (LMS) vintage Art Deco railway poster from 1925. The artist is Raymond Virac. Archival linen-backed and in excellent condition, ready to ...

ANONYMOUS (20th century) Café Collas, Pearls of the Indies, 1927 Original lithograph poster (La Semeuse workshop) On paper, 113 x 74 cm (c. 45 x 30 in) INFORMATION: Beautiful vinta...

A handsome woodcut on paper of the University of Chicago Chapel by artist Siegfried Weng. A perfect gift for your U of C grad! Arwork size: 9 3/4" x 7 1/2". Archivally matted to...

This exquisite lithograph and pochoir after Pablo Picasso (1881–1973), titled Femme Assise dans un Fauteuil (Seated Woman in an Armchair), from the album, Picasso, Oeuvres 1920-1926, 1926, originates from the 1926 edition published and printed by Editions des Cahiers d'Art, Paris, under the direction of Christian Zervos, Editeur, Paris, December 10, 1926. Femme Assise dans un Fauteuil (Seated Woman in an Armchair) captures Picasso’s evolving exploration of form, movement, and emotion during the mid-1920s—a pivotal period in which he redefined the relationship between classical representation and modern abstraction. With its bold contouring, stylized anatomy, and rhythmic color balance, the composition embodies the harmony between structural precision and sensual fluidity that characterized Picasso’s work in this era. Executed as a lithograph and pochoir on velin paper, this work measures 11 x 8.75 inches. Signed in the plate and unnumbered as issued. The edition exemplifies the refined craftsmanship of Editions des Cahiers d'Art and the technical excellence of Parisian printmaking in the interwar period. Artwork Details: Artist: After Pablo Picasso (1881–1973) Title: Femme Assise dans un Fauteuil (Seated Woman in an Armchair), from the album, Picasso, Oeuvres 1920-1926, 1926 Medium: Lithograph and pochoir on velin paper Dimensions: 11 x 8.75 inches (27.94 x 22.23 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1926 Publisher: Editions des Cahiers d'Art, Paris, under the direction of Christian Zervos, Editeur, Paris Printer: Ducros & Colas, Paris Catalogue raisonne references: Cramer, Patrick. Pablo Picasso, The Illustrated Books: Catalogue Raisonne. Patrick Cramer, 1983, illustration 15; Bloch, Georges. Pablo Picasso: Catalogue of the Printed Graphic Work 1904–1967. Kornfeld & Klipstein, 1968, illustration 56 Condition: Well preserved, consistent with age and medium Provenance: From the album, Picasso, Oeuvres 1920-1926, published and printed by Editions des Cahiers d'Art, Paris, under the direction of Christian Zervos, Editeur, Paris, 1926 Notes: Excerpted from the album (translated from French), This volume was completed to be printed by the Ducros & Colas printing house, 7, rue Croulebarbe in Paris, for the Editions des Cahiers d'Art, on December 10th MCMXXVI, DCC numbered examples, VI on Japon Imperial with an etching by Picasso, numbered from I to VI, L examples on paper by papier de Hollande, Van Gelder, with an etching by Picasso, numbered from VII to LVI, DCXL examples on velin, numbered from LVII to DCC, plus II examples intended for legal deposit. About the Publication: The album Picasso, Oeuvres 1920-1926 was issued in 1926 by Editions des Cahiers d'Art under the direction of Christian Zervos, one of the most influential editors, critics, and publishers of 20th-century modernism. Conceived as both a visual and intellectual tribute to Pablo Picasso’s mastery during a crucial transitional period, the volume presents a series of lithographs and pochoirs that chronicle his stylistic evolution from synthetic Cubism toward a renewed engagement with the human figure. Published in conjunction with the legendary Cahiers d'Art journal, the edition reflects Zervos’s vision of uniting scholarship, craftsmanship, and artistic authenticity in the modern book arts. Each composition was executed by the master printers Ducros & Colas and colored using the pochoir technique, faithfully translating the tonal subtleties and compositional balance of Picasso’s original drawings and gouaches. Completed on December 10, 1926, the edition comprised DCC examples—VI on Japon Imperial, L on Hollande Van Gelder, and DCXL on velin paper, plus II copies reserved for legal deposit—each numbered and printed to exacting standards. The volume stands as one of the earliest major Cahiers d'Art collaborations with Picasso, preceding the monumental Catalogue Raisonne des Oeuvres de Picasso that Zervos would later dedicate his life to producing. Today, Picasso, Oeuvres 1920-1926 remains a cornerstone of interwar art publishing, representing the confluence of avant-garde innovation, technical excellence, and intellectual rigor that defined the Parisian art world of the 1920s. About the Artist: Pablo Picasso (1881–1973) was a Spanish painter, sculptor, printmaker, and ceramicist whose extraordinary vision revolutionized modern art and defined the visual language of the 20th century. A child prodigy from Malaga, Spain, Picasso's career spanned more than seven decades and encompassed an astonishing range of styles and innovations—from the melancholic Blue and romantic Rose periods to his pioneering invention of Cubism with Georges Braque, which shattered conventional notions of perspective and form. Influenced by the bold expressiveness of El Greco, the structure of Cezanne, and the vitality of African and Iberian sculpture, Picasso became a central figure of the Paris avant-garde, working in creative dialogue with contemporaries such as Henri Matisse, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray. His insatiable experimentation extended across painting, drawing, printmaking, ceramics, and sculpture, forever expanding the boundaries of artistic expression. A master of reinvention, Picasso profoundly shaped generations of artists who followed—from Andy Warhol, Roy Lichtenstein, David Hockney, and Jean-Michel Basquiat to Jeff Koons and Banksy—cementing his status as a timeless cultural icon whose works remain among the most sought after worldwide. His landmark painting Les Femmes d'Alger (Version O) achieved a record-breaking sale of 179,365,000 USD at Christie's, New York, on May 11, 2015, affirming Picasso's enduring legacy as one of the most influential and valuable artists in history. Pablo Picasso Femme Assise dans un Fauteuil (Seated Woman in an Armchair), Picasso Oeuvres 1920-1926, Picasso Zervos Cahiers d'Art, Picasso pochoir...

Medium: original woodcut. The inscription on the banner translates to "Come Sweet Death". Printed in Germany in 1922 for the rare Ganymed portfolio of "Das vierte Jahrbuch der Marees...

Make Fast, plate 2. 1929. Etching. Laver catalog number 146; Hurst catalog number 258. Plate: 14 3/8 x 9 13/16 (sheet 17 5/8 x 11 3/4). Trial proof 2, before the edition or 75. Ill...

This exquisite lithograph and pochoir by Marie Laurencin (1883–1956), titled Sans titre (Untitled), from the album Les Biches (The Does), originates from the 1924 edition published b...

Jules CHADEL (1870-1941) Mythology : Fight with a Centaur, 1929 Original woodcut Handsigned in pencil Numbered /160 On Perrigot vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind...

Within the fascinating world of vintage poster art, Rudd's original poster for "Escargots Ménetrel Exquis! Exquis!" whisks us away to a time when gastronomic pleasures were celebrate...

Pablo Picasso "Joie Maternelle" Original Etching Stamp signed, Numbered 8/50 from the edition of 50 printed in 1961, (The first edition was printed in 1922) Published by Galerie Loui...

Lithograph on Arches Vellum Hand-signed and numbered 29 1/2h x 22w in 74.93h x 55.88w cm 5/50 HMA006 D. 442 (or D.-M. 442)

This exquisite lithograph and pochoir by Marie Laurencin (1883–1956), titled Sans titre (Untitled), from the album Les Biches (The Does), originates from the 1924 edition published b...

Medium: collotype (after the painting). Printed in 1926 at the Leon Marotte atelier and published in an edition of 1000 by Editions des Quatre Chemins. Image size: 4 3/4 x 7 7/8 inch...

Erotic Scene is a beautiful lithograph on ivory-colored paper, realized in the 1920s by Albert Marquet (Bordeaux, 1875 - Paris,1947). Monogrammed on the plate on the lower margin. ...

Medium: pochoir (after the watercolor). Printed in 1927 and published in Paris by Albert Morance for "L'Art d'Aujourd'hui", and now very scarce. The publisher's provenance inscriptio...

Medium: pochoir (after the gouache). Published in Paris in 1928 by Teriade for Editions Cahiers d'Art in an edition of 800. This impression was printed on Velin de Torpes paper. Imag...

This exquisite lithograph and pochoir by Marie Laurencin (1883–1956), titled Sans titre (Untitled), from the album Les Biches (The Does), originates from the 1924 edition published b...

Medium: collotype (after the painting). Printed in 1926 at the Leon Marotte atelier and published in an edition of 1000 by Editions des Quatre Chemins. Image size: 8 x 5 inches (200 ...

Detailed and dramatic hand-colored etching by Luigi Kasimir (Austrian, 1881-1962). St. Stephen's cathedral towers above the streets of Vienna, with people going about their daily bus...

Anton Schutz, 'White House', etching, edition not stated, c. 1928. Signed in pencil. A fine, richly-inked impression, with skillfully-controlled plate tone, on cream wove Japan paper; the full sheet with margins (1 to 2 1/8 inches), in excellent condition. Matted to museum standards, unframed. Image size 8 7/8 x 11 7/8 inches; sheet size 11 1/4 x 15 3/8 inches. ABOUT THE ARTIST Etcher, painter, and architect Anton Schutz was born in Germany in 1894. He studied at the University of Munich, earning a double degree in mechanical engineering...

Plate 22 from "Inspirations" by Andre Durenceau. New York: Perleberg, 1928. Original hand-colored pochoir process print.

Original poster: The Sesquicentennial International Exposition Philadelphia. June First to December First, 1926. "The Voice of the Liberty Bell." Original vintage poster, line...

Medium: original woodcut. Printed in 1920 for the Deutsche Graphiker der Gegenwart portfolio, and published in Leipzig by Klinkhardt & Biermann in an edition of 500. Image size: 6 1/...

Barcarolle. 1926. Etching. Carter 233. 14 7/8 x 8 3/8 (sheet 17 1/4 x 10 1/4). Edition 80, #xxv. Print Collector's Quarterly 24 (1938): 428; Eric Denker, Reflections & Undercurrents: Ernest Roth...

David Dellepiane's 1922 masterpiece for the Exposition Nationale Coloniale in Marseille stands as a remarkable testament to a pivotal moment in histor...

Original 1922 collotype lithograph of a reclining nude figure, created from Gustav Kilmt’s handzeichnungen (sketch). Published by Thyrsos Verlag, Leipzig and Vienna, in an edition of 375. Klimt’s mastery of depth is most evident in the gentleness of his linework. Without the aid of shadow or the subtlety of values, the gestures of line allow the viewer a sense of a three-dimensional person or object. The meticulous lithographic process used to create Klimt’s Handzeichnungen portfolio ensures exceptionally crisp markings bearing a strong resemblance to the original sketches. This series showcases the quintessence behind Klimt’s signature visual style. This artwork arrives accompanied by a certificate of authenticity. Century Guild has curated collections of Gustav Klimt’s printed...

Henri LE SIDANER (1862-1939) The Pink Tablecloth, 1928 Original drypoint etching Signed in the plate On vellum, 28 x 20.5 cm Very good condition, minor flaws at the edges of the page

Shadows on the Ramp. 1927. Drypoint and sand ground. McCarron 64. 9 x 10 1/2 (sheet 12 3/8 x 14). Edition 75 recorded impressions. A rich, tonal impression with drypoint burr, printe...

(A charming lady chatting with a lady perfect in every possible way) Signed in the plate. No pencil signed impressions are existent. Edition: 368 (including 50 imps on japan) includi...

Drypoint etching, 1919-1920 on laid paper, printed later, 1961 #3 From the edition of 50 Signature Stamp Picasso, lower right and numbered, lower left plate: 6 by 3 7/8 in (151 by...