Early 20th Century Prints and Multiples

View of Ripa Grande is a vintage offset print realized in the early 20th Century by Giuseppe Vasi. Signed and titled on plate lower margin. Good conditions. Giuseppe Vasi (Corle...

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...

Maurice DENIS (1870 - 1943) Nude Model Dancing, 1918 Original lithograph with charcoal enhancement Unsigned On light vellum 48 x 35 cm (c. 19 x 14 inch) INFORMATION : Edited by Lou...

HENRIETTA SHORE (1880 -1963) WATER LILY c. 1928 Lithograph, signed and titled in pencil and with the pencil cypher of printer Lynton Kistler (K). Image 7 x 6 1/8, full margins, shee...

Les Soirs d'Opium is a woodcut print print on paper, realized after Jean Paul Sauget for Maurice Magre's Les Soirs d'Opium. Published in 1921. Good conditions.

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. ...

Louis SOULAS (1905-1954) Roman Church near Bordeaux, 1928 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 e...

Maurice DENIS (1870 - 1943) Study of Women, 1918 Original lithograph enhanced in pastel Unsigned On light cream tinted vellum 30.5 x 48 cm (c. 12 x 18.89 inch) INFORMATION : Edited...

Medium: etching. Etched by Favier after Corot. Printed in Paris by Chardon Wittmann on cream wove paper and published in 1911 by the Revue de l'art ancien ...

'Calonectris Leucomelas (White-Fronted Shearwater)' Limited edition lithograph with original hand colouring by Henrik Gronvold. From Mathews 'The Birds of Norfolk and Lord Howe Isla...

Original British vintage poster: Historic Carlisle - Gateway to Scotland. Artist: Maurice Greiffenhagen. Horizontal size 39" x 48.75". Archival linen-backed original stone lithograph; ready to frame. In very good to excellent condition. Original, 1925 horizontal travel by train stone lithograph. Historic Carlisle ~ 800 years of Civic Independence. See Britain by train. British Railways. Published by British Railways (London Midland Region) LM 16657. Probably the most famous British railway poster of the 1920s. The LMS commissioned designs from 16 leading Royal Academicians in 1924, of which this was by far the most popular. A British Royal seal...

Maurice DENIS (1870 - 1943) Young Woman Dressing Before Going to Prom, 1918 Original lithograph enhanced in pastel Unsigned On light cream tinted vellum 49 x 31,5 cm (c. 19,2 x 12,4...

Lithograph, stencil on vélin paper. Paper size: 11.42 x 9.05 inches. Inscription: signed in the plate and unnumbered, as issued. Notes: from the folio, Propos d'un intoxiqué, Aquarel...

Das Grausen is a lithograph realized after a work by Alfred Kubin in 1903, Hand-signed and titled, plate from Faksimiledrucke nach Kunstblättern, edition H. Von Weber. Included a...

The European Macabre Dance N.1 is an hand-colored lithograph, from the Series "La Danza Macabra Europea" illustrated by Alberto Martini (Oderzo, 1876 – Milan, 1954) in 1915. Signed...

Etching and drypoint on cream laid Van Gelder Zonen watermarked paper, 8 7/8 x 6 1/2 inches (220 x 164 mm), full margins. Signed, titled, and inscribed "ed. 100" in pencil, lower mar...

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

Lithograph on paper, edited in 1920. Limited edition of 100 copies Signed and dated in pencil in the lower right corner, countersigned and backdated on the plate. Very good condition...

Lithograph on paper, edited in 1920. Limited edition of 100 copies Signed and dated in pencil in the lower right corner, countersigned and backdated on the plate. Very good condition...

Lithograph on paper, edited in 1920. Limited edition of 100 copies Signed and dated in pencil in the lower right corner, countersigned and backdated on the plate. Very good condition...

Lithograph on paper, edited in 1920. Limited edition of 100 copies Signed and dated in pencil in the lower right corner, countersigned and backdated on the plate. Very good condition...

Lithograph on paper, edited in 1920. Limited edition of 100 copies Signed and dated in pencil in the lower right corner, countersigned and backdated on the plate. Very good condition...

Lithograph on paper, edited in 1920. Limited edition of 100 copies Signed and dated in pencil in the lower right corner, countersigned and backdated on the plate. Very good condition...

Lithograph on paper, edited in 1920. Limited edition of 100 copies Signed and dated in pencil in the lower right corner, countersigned and backdated on the plate. Very good condition...

Image dimensions: 16.5x10 cm Signed on plate by the artist. Bibliography: A.Baboni, L’Ottocento: le incisioni di Giovanni Fattori, Museo Civico “Giovanni Fattori”, Livorno 2001, p. 7...

'Germania' Photogravure from a collection of photogravures depicting Greek and Roman marbles and bronzes in the British museum. Plate number above top right corner of the image. 2...

Boston: Frederick J. Quinby Company, 1904. Etching on cream wove paper, 5 3/8 x 4 1/4 inches (135 x 107 mm), signed in the plate, lower right. Third state (of 3), from the novel The ...

Maximilien VOX (1894-1974) Vanity : Death, my old Captain , 1921 Original woodcut Handsigned in pencil Numbered /125 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp o...

'Phoebetria Fusca (Sooty Albartross)' Limited edition lithograph with original hand colouring by Henrik Gronvold. From Mathews 'The Birds of Norfolk and Lord Howe...

Maurice BUSSET (1879-1936) Peasants in Front of a Castle, 1928 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 ...

Prize winning 1923 Dry Point Etching of Santo Domingo by George "Pop" Hart. Wonderful early 20th century modern etching of the Santo Domingo, capital of Dominican Republic by Georg...

Etching on antique handmade laid paper, 9 5/8 x 4 1/4 inches (246 x 109 mm), full margins. Signed and dated (1928) in pencil, lower margin. Printed by Frederick Reynolds. In very goo...

Signed in pencil below the image by the artist. Blind stamps of etching societies lower left just under the image. Frederick Farrell was a Scottish etcher specializing in architectu...

MAX PECHSTEIN (1881 -1955) DER SCHATTEN II 1918 (Knupp 79, Fecher 143 I/ii) Rich drypoint, signed and annotated, FIRST STATE. Image: 8 1/4 x 6 inches on japan paper; 15 x 11 1/4 i...

Etching on antique cream laid paper with a partial watermark, 9 5/8 x 4 1/4 inches (246 x 109 mm); full margins. Signed and dated "1928" in pencil, lower margin. Inscribed "Street in Porto Maurizio...

Original World War 1 vintage poster: Save Your Child from Autocracy and Poverty. Buy War Savings Stamps. W.S S. (Small Format). This poster for War Savings Stamps features a small blond child wearing nothing but shoes and socks. He is clutching the arm of the Statue of Liberty. The poster was designed by Minneapolis born Herbert Paus. His most noted work is found in the famed advertising campaigns for Victor Records...

'The Century Atlas. Manitoba, British Columbia and the Northwest Territories, Canada, North America.' Original antique map, 1903. Central fold as issued. Map name and number printe...

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...

Born in Paris, France in 1871, Georges Rouault’s early apprenticeship under a stained glass maker had a strong influence on his mature painting style. Rouault attended Ecole des Art...

'Kraft und Mut' (Courage and Strength) German wood-engraving, 1903. 320mm by 230mm (image) 280mm by 410mm (sheet)

Etching on cream wove paper, 6 x 4 inches (153 x 102 mm), full margins. Signed in pencil, lower margin. From the edition of 150, printed by Frederick Reynolds. [Fletcher 163] This ...

This artwork titled "Klosterneuburg, Austria" c.1950 is a color etching by Austrian artist Luigi Kasimir 1881-1962. It is hand signed by the artist's estate in pencil at the lower center. The plate mark (image) size is 7.75 x 5.85 inches, framed is 18.15 x 15.15 inches. It is framed in a wooden antique silver frame. It is in very good condition. 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.[1] He died in 1962 in Grinzing, a suburb of Vienna.Kasimir was among the first to develop the technique of the coloured etching. Before this, prints were usually hand-coloured with the colour being applied in a casual, haphazard manner. Kasimir would first create a sketch usually in pastel, he then transferred the design on as many as four to six plates, printing one after the other and applying the colour on the plate, all done by hand. Kasimir is mainly famous for his etchings, but he also produced some oil painting, as well as some pastels. One of his favourite genres was the landscape, or veduta. He demonstrated a predisposition street scenes, and tourist landmarks. He depicted places from all over Europe, mainly Italy, Austria, and Germany. He also travelled to the United States to do a series of etchings of famous sights ranging from urban landmarks such as New York City skyscrapers, to natural wonders like Yosemite Valley. Luigi Kasimir’s etchings...

This exquisite lithograph and pochoir after Fernand Leger (1881–1955), titled Instruments de musique (Musical Instruments), from the album Fernand Leger (Fernand Leger), originates f...

Hardie/Carter 244. 8 1/16 x 6 3/8 (sheet 10 1/4 x 8 1/4). Edition 80, #52. Illustrated: Guichard, British Etchers, 1850-1940; ; Eric Denker, Reflections & Undercurrents: Ernest Roth ...

Boris Lovet-Lorski, 'Untitled (Profile of a Black Woman)', lithograph, edition 250, 1929. Signed and numbered 14 in pencil. Number 14 of Volume 2, a series of 10 lithographs publishe...

Medium: original etching. Printed in 1913 and published in Paris by the Revue de l'art ancien et moderne. Plate size: 4 3/8 x 5 5/8 inches (112 x 143 mm). A rich, dark impression on ...

Etching on watermarked antique handmade FJ Head paper, 9 1/2 x 14 3/4 inches (240 x 373 mm); sheet 14 x 18 1/4 inches (355 x 463 mm), full margins. Signed and dated in pencil, lower margin. Edition of 97. A magnificent, silvery impression with extremely minor (almost invisible) mat tone. [Fletcher 177] [Illustrated: Page 160, Arms, Dorothy Noyes, "Hilltowns and Cities of Northern Italy"]. The Boat Builders Yard in San Trovaso is a historic 17th-century gondola repair and building yard in Venice, Italy. It's one of the few remaining such workshops in Venice, where skilled artisans traditionally craft and maintain the iconic black gondolas used...

Medium: original lithograph. This is one of the scenes of the Berlin art world executed by Rudolf Grossmann. Printed in 1919 at the Wolf & Sohn atelier for the Ganymed portfolio (vol...

Maurice Quentin DE LA TOUR (1704-1788) Portrait of Mademoiselle Fel Heliogravure after a pastel by the artist Engraved by J. Chauvet Printed signature in the plate On vellum, 50 x 3...

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 "Liebe" (Dear), Text in German on the plate, The drawing created unusually bold erotic subjects through deft strokes. Good conditions. Mihály Zichy...

Etching on cream wove paper, 5 3/8 x 4 1/4 inches (135 x 107 mm), signed in the plate, lower right. Third state (of 3), from the novel The Flower Girl, vol. 2. by Paul de Kock. In go...

Medium: original etching. This impression on laid paper was printed in 1920 and published in Paris by Gazette des Beaux-Arts. Plate size: 6 3/8 x 5 3/4 inches (163 x 147 mm). Signed ...

The Workshop (Stirling). 1905. Etching and drypoint. Rinder 369 state .ii/iv.Image: 8 3/16 x 12 (sheet 8 5/16 x 12). No published edition. A rich impression with drypoint burr printe...

"Landscape" is an original xilograph on ivory-colored paper, realized by Angelo Rossini. The state of preservation of the artwork is very good. The signature of the Artist, on the ...

'262. Helvella pityophila 263. Helvella crispa 264. Helvella elastica' Antique French mushroom / fungi chromolithograph. From "Atlas des champignons de France, Suisse et Belgique,"...

This exquisite lithograph after Henri Matisse (1869–1954), titled Crayon (Crayon), from the album Dessins de Henri-Matisse (Drawings by Henri Matisse), originates from the 1925 editi...

Etching in black ink on cream laid Japon paper, 9 1/16 × 7 1/16 inches (229 x 178 mm), full margins. With an ink stamp from the collection of E.A. Scollin, M.D., Springfield, IL, an...

Etching on wove Japon paper, 8 5/8 x 9 1/4 inches (219 x 235 mm), wide margins. Signed, titled, and numbered 6/75 in pencil, lower margin, and with the Dietrich & Cie éditeurs blinds...

Frank Weston Benson Winter Wildfowling, 1927 Signed lower left Etching on paper Image 8 1/2 x 7 inches Born in Salem, Massachusetts, a descendant of a long line of sea captains, Benson first studied art at Boston’s Museum School where he became editor of the student magazine. In 1883, Benson enrolled at the Académie Julian in Paris where artists such as Bouguereau, Lefebvre, Constant, Doucet and Boulanger taught students from all over Europe and America. It was Boulanger who gave Benson his highest commendation. “Young man,” he said, “Your career is in your hands . . . you will do very well.” Benson’s parents gave him a present of one thousand dollars a twenty-first birthday and told him to return home when it ran out. The money lasted long enough to provide Benson with two years of schooling in Paris, a summer at the seaside village of Concarneau in Brittany and travel in England. Upon returning to America, Benson opened a studio on Salem’s Chestnut Street and began painting portraits of family and friends. An oil of his wife, Ellen Perry Peirson, dressed in her wedding gown is representative of this period. It demonstrates not only the academic techniques he learned at the Academie Julian but also his own growing emphasis on the effects of light. And yet, despite all the technical mastery displayed in the work, the painting exudes the warmth that existed between model and artist. More than a likeness, it is a study in serenity. Perhaps it was of a work such as this that Benson was thinking when he said, “The more a painter knows about his subject, the more he studies and understands it, the more the true nature of it is perceived by whoever looks at it, even though it is extremely subtle and not easy to see or understand. A painter must search deeply into the aspects of a subject, must know and understand it thoroughly before he can represent it well.” Following a brief stint as an instructor at the Portland, Maine, Society of Art, Benson was appointed as instructor of antique drawing at the Museum School in Boston in the spring of l889. Benson’s long association with the school was particularly fruitful. Under the leadership of Edmund Tarbell and Benson the Museum School became a national and internationally recognized institution. The students won numerous prizes, enrollment tripled, a new school building was erected and visiting delegations from other schools sought the secret of their success. Benson cherished his role as teacher and was held in high esteem by his students, many of whom called him “Cher Maitre.” Reminiscing about his long career with the school Benson once said, “I may have taught many students, but it was I who learned the most.” In 1890, Benson won the Hallgarten Prize at the National Academy in New York. It was the first of a long series of awards, that earning for him the sobriquet “America’s Most Medalled Painter.” In the early years of his career, Benson’s studio works were mostly portraits or paintings of figures set in richly appointed interiors. Young women in white stretch their hands out towards the glow of an unseen fire; girls converse on an antique settee in a room full of objets d’arts; his first daughter, Eleanor, poses with her cat. Works of this sort, together with a steady influx of portrait commissions, earned Benson both renown and financial rewards, yet it was in his outdoor works that gave Benson his greatest pleasure. In the latter half of the 1890s, Benson summered in Newcastle, on New Hampshire’s short stretch of seacoast. It was here, in 1899, that Benson made his first foray into impressionism with Children in the Woods and The Sisters, the latter a sun-dappled study of his two youngest daughters, Sylvia and Elisabeth. This painting was one of the first works that Benson hung at an exhibition with nine friends. The resignation of these ten illustrious artists rocked the American art establishment but, the catalogue for their first exhibition was titled, simply, “Ten American Painters.” When, in 1898, the three Bostonians and seven New Yorkers began to exhibit their best work in exquisitely arranged small shows, the group (dubbed by newspapers, “The Ten” ) quickly became known as the American Impressionists, a bow to the style of their French predecessors. The Ten’s annual shows soon became an eagerly awaited part of the annual exhibition calendar and were always well reviewed. Held annually in New York City, the group’s yearly exhibitions usually traveled to Boston and were occasionally seen in other cities. Benson’s association with other members of the group such as Childe Hassam, Thomas Dewing, William Merrit Chase and J. Alden Weir, only reinforced his growing emphasis on the tenets of Impressionism. As he later said to his daughter Eleanor, “I follow the light, where it comes from, where it goes.” The principles of Impressionism began to dominate Benson’s work by 1901, the year that the Bensons first summered on the island of North Haven in Maine’s Penobscot Bay. His summer home “Wooster Farm,” which they rented and finally bought in 1906, became the setting for some of Benson’s best known work and there, it seemed, he found endless inspiration. Benson’s sparkling plein-air paintings of his children–Eleanor, George, Elisabeth and Sylvia–capture the very essence of summer and have been widely reproduced: In The Hilltop, George and Eleanor watch the sailboat races from the headland near their house. As a boy, Benson dreamed of being an ornithological illustrator. In mid-life, he returned to the wildfowl and sporting subjects that had remained his lifelong passion. Using etching and lithography, watercolor, oil and wash, Benson portrayed the birds observed since childhood and captured scenes of his hunting and fishing expeditions. Together with his two brothers-in-law, Benson bought a small hunting retreat on a hill overlooking Cape Cod’s Nauset Marsh. Here, in the late 1890s, he began experimenting with black and white wash drawings. These paintings became so popular that Benson was not able to keep up with the demand. He turned to an art publishing company to have several made into it intaglio prints; twelve wash drawings are known to have been reproduced in this manner. At least two of them were given as gifts to associate members of the Boston Guild of artists, of which Benson was a founding member. Benson was also an avid fisherman and his salmon fishing expeditions to Canada’s Gaspé Peninsula where one of the high points of his summer. There, in 1921, he began the first in a series of watercolors that would eventually over 500 works. Benson’s watercolors conveyed the joy and beauty of a sportsman’s life whether in a painting of a hunter setting out decoys, a flock of ducks coming in for a landing or a grouse flushed from cover. The critics favorably compared Benson’s watercolors to those of Homer. “The love of the almost primitive wilderness which appears in many of Homer’s landscapes and the swift, sure touch with which he suggests rather than describes–these also characterize Benson’s work,” one critic wrote. “The solitude of the northern woods is very much like Homer’s.” Like the wash drawings before them, Benson’s watercolors proved...

This is a self portrait of a young woman who is the wife of the artist. Francisco Souto was born in Venezuela, and received a BFA from Herron School of Art and a MFA from The Ohio ...