Early 20th Century Prints and Multiples

The Passing Gondola. c. 1926. Etching. Edition 80, #18. Hardie/Carter 230. 8 1/2 x 10 1/2 (sheet 11 1/4 x 13). Illustrated: Fine Prints of the Year, 1927. Printed on antique wove pap...

The 1928 poster designed by Jean Carlu for Pépa Bonafé is a striking example of early 20th-century French graphic design, showcasing Carlu’s distinctive a...

Medium: original etching. This work was printed in 1901 and published by the Revue de l'Art ancien et moderne as an undiscovered Goya etching, but it is now understood to have been e...

This magnificent original lithographic poster from the Belle Époque era promotes the high-speed postal and passenger service operated jointly by the Compagnie Générale Transatlantiqu...

An impression printed by the artist Etching on antique cream laid paper, 1 7/8 x 3 1/8 inches (49 x 79 mm), full margins. Signed, dated, and titled in pencil, lower margin. From the...

A spectacular early 20th-century French poster promoting the sensational vaudeville or circus act “Tumilet – La Toupie Humaine” (The Human Spinning Top). This brilliantly colored lit...

This striking 1929 original advertising poster for Anis Suix, illustrated by French artist Jean Hée, embodies the bold and playful spirit of early 20th-century commercial art. The ph...

Guardians of the Spire (Amiens Cathedral Number 2). 1921. Etching. Fletcher 102. 6 3/4 x 9 7/8 (sheet 8 7/8 x 13 3/4). Gargoyle Series #4. Edition 75. Illustrated: Dorothy Noyes Arms...

Etching realized by Fritz Gilsi in 1923. Signed in the plate. Very good condition.

Medium: etching and drypoint (after the painting). This beautiful piece was etched by Emile Lequeux after Renoir, and published in Paris in 1904 by Gazette des Beaux-Arts; and is ref...

A nostalgic image of a bucolic farmyard and thatched cottage, hearkening to a bygone era. c 1920. Etching with drypoint on laid watercolor paper with deckle edges, and an indiscerni...

Etching realized in 1923. Hand signed in pencil, unreadable. Very good condition.

Your Country's Call. Isn't this Worth Fighting For? Enlist Now. Original WW1 poster, archival linen-backed vintage military poster. Linen-backed and ...

Back to the Land “Farming” by Ludovic-Rodo Pissarro (1878-1952) Colour wood engraving 19.3 x 10.5 cm (7 ⁵/₈ x 4 ¹/₈ inches) Initialed and titled in the plate and numbered, 4th state ...

Medium: pochoir (after the painting). Published in Paris in 1929 by Editions des Chroniques du Jour in an edition of 500. Image size: 6 1/4 x 8 1/2 inches (162 x 214 mm). With full o...

Etching realized in the early 20th Century. Hand signed, unreadable. Very good condition.

'Sculptured Drum, Temple of Artemis, Ephesus' Photogravure from a collection of photogravures depicting Greek and Roman marbles and bronzes in the British museum. Plate number above...

Robert Delaunay, French (1885 - 1941) - Saint-Severin, Year: 1926, Medium: Lithograph on Japon, Size: 11.25 x 8.75 in. (28.58 x 22.23 cm), Description: From the collection of the l...

Erotic scene is an original Héliogravure artwork on ivory-colored paper, realized by Micheal Von Zichy in 1911. Printed in only 300 copies, Leipzig; Privatdruck, from the Catalogue ...

Medium: original etching and drypoint. The English translation of the German title is "The Hug". Published in Leipzig, Germany by Zeitschrift fur bildende Kunst in 1915. The plate me...

Medium: original woodcut. Printed in Germany in 1917 for Die Aktion; this impression is from the deluxe edition of 100 on Bütten laid paper. Catalogue reference: Schapire 202. Image ...

Posies for the Ladies by Ludovic-Rodo Pissarro (1878-1952) Lithograph 25.5 x 22.5 cm (10 x 8 ⅞ inches) ​Stamped with initials lower right and numbered lower left 6 Executed circa 19...

This exquisite etching by Marc Chagall (1887–1985), titled Le pere de Tchitchikov l'eduque (The Father of Chichikov Educates Him), originates from the celebrated folio Nicolas Gogol,...

This exquisite etching by Marc Chagall (1887–1985), titled Madame Korobotchka (Mrs. Korobotchka), originates from the celebrated folio Nicolas Gogol, Les Ames mortes, Eaux-fortes ori...

This exquisite etching by Marc Chagall (1887–1985), titled Sobakevitch, originates from the celebrated folio Nicolas Gogol, Les Ames mortes, Eaux-fortes originales de Marc Chagall (N...

From the Series “Métamorphoses”, one of the most important graphic works of the founder of the “Metafisica” Movement. Original colour etching numbered and signed by the artist, reali...

This exquisite etching by Marc Chagall (1887–1985), titled La chambre de Pliushkin (Pliushkin’s Room), originates from the celebrated folio Nicolas Gogol, Les Ames mortes, Eaux-forte...

A fine impression, on cream wove paper, with full margins (5/8 to 1 3/8 inches), in excellent condition. Edition 20. Signed and dated in pencil. Annotated 'Bolton Brown...

Etching with extensive hand coloring in watercolor on white wove paper, 13 3/4 x 10 3/4 inches (347 x 271 mm); sheet 24 x 17 inches (608 x 430 mm), full margins. In good condition wi...

Medium: pochoir (after the drawing in sanguine). Printed in 1923 in an edition of 150 on Arches paper at the atelier Jacomet and published in Paris by Bernheim-Jeune for the rare "Re...

Medium: pochoir (after the watercolor). Printed in 1917 and published in Munich in an edition of 110 by Franz Hanfstaengl for the rare "Stella Peregrina" portfolio. Image size: 4 1/2 x 4 3/4 inches (115 x 120 mm...

Medium: original lithograph. Catalogue reference: Cailler 135. This is an interpretation by Maurice Denis of one of Paul Cezannes's still life compositions, printed in 1914 and publi...

A rich and tonal image of an icon of Manhattan architecture. Etching with drypoint, 11 7/8 x 7 3/8 inches (300 x 186 mm), full margins. Edition of 100. Signed in pencil, lower right...

Drypoint etching in brownish black ink on J. Whatman watermarked cream laid paper. 7x12 1/4 inches (177 x 312 mm), full margins. Signed and numbered 36/75 in pencil, lower margin. In...

Woodcut print realized by Hermann Paul in 1923. Not signed, as issued. Very good condition.

Medium: etching. A rich impression printed on laid paper in 1914 by Porcabeuf and published by Henri Floury for the catalogue raisonne "Alexandre Lunois, peintre, graveur et lithogra...

This artwork titled "Fleet Street, London" c.1925 is a color etching by Austrian artist Luigi Kasimir 1881-1962. It is hand signed in pencil by the artist estate at the lower center. The plate mark (image) size is 20.5 x 15 inches, framed size is 34 x 28 inches. Custom framed in the wooden original brown and gold distressed style frame, with light beige fabric matting and gold color fillet. It is in excellent condition, the frame have very small minor restorations, practically invisible. About the artist. Luigi Kasimir was born in 1881 at Pettau, today Ptuj, Slovenia, then a part of the Austro-Hungarian monarchy. He inherited his talent from his ancestors; his grandfather was a painter and a poet, and his father an officer in the Habsburg army, who later became a professional painter. Kasimir attended the Vienna Academy of Art where he studied under Wilhelm Unger, who introduced him to the technique of the coloured etching, and also to his future wife, the artist Tanna Hoernes...

A lithograph by George Bellows. “The Tournament (Tennis at Newport)” is a realistic lithograph on paper in black and white by American Realist artist, George Bellows. Bellows' depictions of sporting / leisure scenes are unique and valuable. This artwork is edition 56/63 with framed dimensions of 26 x 29 x 1 1/4 inches and has been in the same private collection for almost four decades. The artwork is signed in pencil, lower right, "G. Bellows.” Provenance: Catherine E Burns...

Etching realized by Antoine Dezarrois in 1900, after P. Baudry. Proof on Japan paper, not signed as issued. Very good condition.

Medium: original etching. Printed in 1925 at the Franz Hanfstaengl atelier for the Ganymed portfolio "Das funfte Jahrbuch der Marees Gesellschaft" and published in Munich by Marees-G...

Medium: pochoir (after the painting). Published in Paris in 1929 by Editions des Chroniques du Jour in an edition of 500. Image size: 6 1/2 x 8 1/2 inches (163 x 214 mm). With full o...

Amedeo MODIGLIANI (1884-1920) (after) The acrobat Lithograph from a drawing of the artist On Arches vellum 48 x 36 cm (c. 19 x 14,2 in) Limited to 300 ex...

Le Jongleur (The Minstrel). 1930. Etching and aquatint printed in colours. Chapon/Rouault 199 d. 12 1/4 x 8 1/2 (sheet 17 1/4 x 13 1/8). Series: Cirque plate 2. Edition 270. Initial...

In this vibrant and spirited 1925 original advertising poster, French illustrator Henry Lemonnier captures the essence of brand identity through bold design, striking color, and a me...

Original World War 1 vintage poster: U. S. MARINES TEUFEL HUNDEN, a unique piece of history and artistry. Archival linen backed in A- condition, ready to frame. No paper loss. ...

New York: The Society of Iconophiles, 1908. The complete portfolio containing 12 photogravures after monotypes printed on O.W. handmade paper. Each image measuring approximately 8 1/4 x 6 inches (208 x 151 mm), with full margins. Each with the Society of Iconophiles blind stamp in the lower left margin. In very good condition with no visible defects. Printed by John Andrew & Son, Boston. Presented in the original greenish-gray paper wrapper with the contents page. Edition of 100. Subjects are: 1. Van Cortland Manor House 2. Oyster Market on West Street 3. St. John's Chapel, Varick Street 4. Fraunces Tavern 5. Houses at Battery Park...

B.J.O. Nordfeldt, 'Broad Street (Wall Street)', etching, edition not stated, c. 1915. Signed in pencil. A superb impression, with rich burr, selectively wiped plate tone, and inky plate edges, on cream wove paper; the full sheet with margins (3/4 to 1 1/4 inches), in excellent condition. Printed by the artist. Matted to museum standards, unframed. Impressions of this work are in the permanent collections of the Fine Arts Museums of San Francisco, Princeton University, Smithsonian American Art Museum. A view looking down Broad Street past the New York Stock Exchange Building on the right with the columned Federal Hall...

Medium: original lithograph. This is one of the Berlin Scenes executed by Rudolf Grossmann during the years before World War I and published in Germany by Bruno Cassirer from 1911-14...

Artist: Otto Dix (German, 1891-1969) Title: "Dame mit Reiher (Woman with a Tuft of Heron Feathers)" Portfolio: Die Schaffenden, Vol. 5, No. 1 *Signed and dated by Dix in pencil lower...

Otto Kuhler, 'The Furnace', drypoint, edition 26, 1924, Kennedy 5. Signed and annotated 'Drypoint. Ltd Ed. Del. et imp.' in pencil. Titled in pencil, in the bottom center sheet edge....

Pochoir Colored Plate for Journal Des Dames et Des Modes. Engraved by H. Reidel on wove paper. 15 x 19.5". 1914 Pochoir is a process where the plate is first stenciled and then ha...

This exquisite lithograph and pochoir after Fernand Leger (1881–1955), titled Peinture murale (Mural Painting), from the album Fernand Leger (Fernand Leger), originates from the 1928...

Medium: original etching. This impression in sepia on watermarked laid paper was printed in 1907 and published in Paris for the Revue de l'art ancien et moderne. Plate size: 6 1/8 x ...

Albert Gleizes, 'Descente de Croix', color pochoir, 1928, edition c. 50. Signed and dated in pencil. A fine, painterly impression, with fresh colors, on heavy, cream wove paper; the full sheet with margins (3 to 4 inches), in very good condition. The publisher's ink stamp 'EDITIONS MOLY-SABATA' beneath the image, lower left. Matted to museum standards, unframed. Image size 12 x 14 inches (305 x 356 mm); sheet size 18 x 22 inches (457 x 559 mm). ABOUT THE IMAGE After the 1927 painting 'Descente de Croix', one of three religious-themed works that Gleizes developed as preliminaries for murals at the church at Serrières, France, the project was terminated at its final phase, and Gleizes commissioned master printer Robert Pouyaud to create prints of the paintings, closely overseeing the production. ABOUT THE MEDIUM Pochoir is a refined stencil-based technique employed to create multiples or to add color to prints produced in other mediums. Characterized by its crisp lines and rich color, the print-making process was most popular from the late 19th century through the 1930s, with its center of activity in Paris. The pochoir process began with the analysis of an image’s composition, including color tones and densities. The numerous stencils (made of aluminum, copper, or zinc) necessary to create a complete image were then designed and hand-cut by the 'découpeur.' The 'coloristes' applied watercolor or gouache pigments through the stencils, skillfully employing a variety of different brushes and methods of paint application to achieve the desired depth of color and textural and tonal nuance. The pochoir process, by its handcrafted methodology, resulted in the finished work producing the effect of an original painting, and in fact, each print was unique. ABOUT THE ARTIST Albert Gleizes (1881-1953), born in Paris, France, was a pioneering figure in the development of abstract art and one of the leading proponents of Cubism. His contributions to the art world extended beyond his paintings; he was also a prolific writer and theoretician, advocating for a new approach to art that emphasized the geometric abstraction of form and a departure from representational traditions. Gleizes initially studied painting at the Académie Julian and the École des Beaux-Arts in Paris, where he was exposed to the academic conventions of the time. However, his artistic vision was profoundly influenced by encounters with avant-garde movements, including Fauvism and the work of Paul Cézanne. These influences led Gleizes to experiment with form and color, gradually moving away from traditional representation toward a more abstract and geometric style. After completing his secondary schooling, Gleizes spent four years in the French army and then began pursuing a career as a painter, primarily doing landscapes. Initially influenced by the Impressionists, he was only twenty-one years of age when his work titled ‘La Seine à Asnières’ was exhibited at the Société Nationale des Beaux-Arts in 1902. The following year, he was part of the first Salon d'Automne and soon came under the influence of Fernand Léger, Robert Delaunay, Jean Metzinger, and Henri Le Fauconnier. In 1907, Gleizes and some of his friends pursued the idea of creating a self-supporting community of artists that would allow them to develop their art free of any commercial concerns. For nearly a year, Gleizes  , with other painters, poets, musicians, and writers, lived at a large house in Créteil, but a lack of funds forced them to give up their facility in early 1908, and Gleizes moved temporarily into La Ruche, the artist commune in the Montparnasse Quarter of Paris. In the early 1910s, Gleizes became associated with the Cubist movement, which was spearheaded by artists such as Pablo Picasso and Georges Braque...

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...

Nude of Woman is an Original Lithograph realized by Louise Hervieu (1878-1954). The artwork is in good condition on a brown paper, included a white cardboard passpartout (35x50 cm)....

Kathe Kollwitz, German (1867 - 1945) - Kinder halten Essensschusseln (Children holding Food Bowls), Year: 1923, Medium: Lithograph, Image Size: 16 x 11 inches, Frame Size: 25.2...

MARC CHAGALL (1887 – 1985) MATERNITE, 1926. Motherhood I: Honte / Disgrace (Kornfeld 65, Cramer 5, Sorlier, p. 20-21 Etching, Frontispiece from Maternite Au Sans Pareil, Paris, 1926. Marcel Arland, illustrated by Marc Chagall with five original etchings this being one of the five. Image size: 5 5/8 x 4 1/8. 1130 unsigned impressions on various papers. The story begins with a young woman being shunned by the whole village because she had given birth to a child and left its dead body...

Image dimensions. 30x40.5 cm Hand signed. Edition of 10 prints and one artist's proof. This is a rare and beautiful lithograph belonging the serie "Metamorphosis: Suite de Six Lithog...

Medium: original etching and drypoint. Catalogue reference: Sanchez and Seydoux 1904-12. Printed in Paris and published in 1904 by Gazette des Beaux Arts. Plate size: 7 5/8 x 5 3/4 i...