1920s Prints and Multiples

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...

Classic c1920s advert sheet for the "Dozi", the perfect-fitting, knitted, hunting shirt made by A.J. Izod, Ltd., 49, Conduit Street, London with his & her's equestrian models painted by Frank Scott...

Anton Schutz, 'Cleveland Public Square', etching, edition not stated, 1927. Signed in pencil. Signed and dated in the plate, lower left. Annotated 'Cleveland Public Square S489', in another hand, in the bottom right margin. A fine, richly-inked impression, in brown/black ink, with skillfully-controlled plate tone, on cream wove Japan paper; the full sheet with margins (1 5/8 to 3 inches), in excellent condition. Archivally sleeved, unmatted. Image size 11 7/8 x 8 7/8 inches; sheet size 17 1/4 x 12 1/8 inches. ABOUT THIS IMAGE 'Public Square' is the two-block (formerly four-block) central plaza of downtown Cleveland, Ohio. Based on an 18th-century New England model, it was part of the original 1796 town plan overseen by Moses Cleveland and remains today as an integral part of the city's center. The 10-acre (4.0 ha) square is centered on the former intersection of Superior Avenue and Ontario Street.[2] Cleveland's three tallest buildings, Key Tower, 200 Public Square, and the Terminal Tower, face the square. Public Square was part of the Connecticut Land Company's original plan for the city, overseen by Moses Cleveland in the 1790s. The square is signature of the layout for early New England towns, which Cleveland was modeled after. While it initially served as a common pasture for settlers' animals, less than a century later in 1879 Public Square became the first street in the world to be lit with electric street lights—arc lamps designed by Cleveland native Charles F. Brush. The square was added to the National Register of Historic Places on December 18, 1975. Public Square is often the site of political rallies and civic functions, including a free annual Independence Day concert by the Cleveland Orchestra...

Au Japon Pochoir (Stencil Print), 1925 Signed by the artist in pencil lower right (see photo) Signed in the image lower left (see photo) Stamped verso: Made in France Note: The artist won a gold medal in Paris in 1925 for his porchoirs Condition: excellent Image size: 11 1/2 x 13 inches Sheet size: 20 x 25 3/4 inches The artist is Italian, Vittorio Accornero de Testa, working in Paris. The image combines Art Deco and Japonism, two of the most famous styles of the period of the 1920's. Condition: Excellent, never matted or framed Victor Max Ninon (Vittorio Accornero de Testa, Italian, 1896-1982) Biography Vittorio Accornero de Testa was born in Casale Monferrato in 1896. He completed his first studies at the "Leardi" institute, but was forced to interrupt them due to the war events of the First World War . At 19 he was second lieutenant of the Alpine troops and in 1916 he took one of the first pilot's licenses. During the war he knows the bitterness of shooting down in air combat (for which he is decorated), but also the good fortune to stay alive, albeit with a disability. His art blossomed in the postwar period, first signing his works simply Ninon and then, probably at the suggestion of a French publisher, under the pseudonym of "Victor Max Ninon" (Victor and Max indicate strength and masculinity, Ninon boyhood) .In 1919 and 1924 he made illustrations for theGiornalino della Domenica , also together with his first wife Edina Altara , for Ardita and La Lettura . In 1923 he won the cover competition organized by the magazine El Hogar of Buenos Aires and in 1925 with his pochoirs he imposed himself in Paris at the international exhibition of modern decorative and industrial arts , obtaining a gold medal. In the same year he made two covers for the US magazine The Smart Set . In the 1920s he made numerous series of art deco style postcards for the Milanese publishing house Degami . On June 4, 1929, aGenoa embarks on the Conte Grande together with his wife Edina Altara , for New York . The two stayed in the American metropolis for a few months: in this period Accornero worked on the creation of theatrical sets and created some covers for Country Life magazine . Accornero gets awards and prizes, but the great economic crisis of the time and the nostalgia for Italy convince the two to return to their homeland, where they resume their activity as illustrators. In 1934 Accornero moved to Milan, separated amicably from his wife and continued to dedicate himself to the illustration of children's books, abandoning the pseudonym Victor Max Ninon. It illustrates about 60 books, from the fables of Andersen , Perrault and Grimm , to the tales of Poe , as well as the famous Pinocchio and Cuore published by Mondadori, Mursia, Hoepli, Martello. Several books illustrated by Accornero have been published in French, Spanish, German and English. In addition to the periodicals already mentioned, he collaborates on the first edition of the Encyclopedia of Boys , Mondadori, and with the Italian magazines Lidel , Il Secolo XX, The Italian Illustration , Fantasies of Italy , The Woman , Cordelia , For You Lady , Grace , Metropolis , La Domenica del Corriere , The Corriere dei Piccoli . In 1936 enters the world of cinema, creating sets and costumes for Wedding Vagabonde of Guido Brignone and The White Squadron of Augustus Genina . From 1935 to 1950 he also devoted himself to the theater, taking care of sets and costumes for numerous operettas, ballets and performances at the Scala in Milan and for the Milanese theaters Manzoni, Lirico and Olympia. Stages Marcello di Giordano, Nina pazza d'amore by Paisiello, I cantori di Nurimberga by Wagner, La Bohème by Puccini and other works. For this activity he is also cited in the Theater encyclopedia. In the 1940s and 1950s he wrote and illustrated six books for children for Mondadori: Tomaso (1944), Giacomino (1949), Tomaso Cacciatore (1950), Zio Stefano (1950), In Campagna che delizia! (1953), Tomaso, dear Tomaso (1955). His illustrations of Perrault's Tales published in those years by Hoepli are famous. His art in the fifties evolves towards hyperrealism . There are many personal exhibitions in Italy and abroad, including those at the Gallerie Gussoni (1959) and Bolzani (1963 and 1966) in Milan and Walcheturm (1962) in Zurich. Eminent critics praise his work, from Orio Vergani to Enrico Piceni, from Reto Roedel to De Chirico himself. On the Domenica del Corriere , the journalist, writer and painter Dino Buzzati...

En Espagne Pochoir (silk screen) printed in colors Signed by the artist in pencil lower right The artist won a gold medal in Paris in 1925 for his pochoirs Condition: Excellent Image size: 11-1/2 x 13" Sheet size: 19 1/2 x 24 3/4"; The artist won a gold medal in Paris in 1925 for his porchoirs The artist is Italian, Vittorio Accornero de Testa, working in Paris. The image combines Art Deco and Japonism, two of the most famous styles of the period of the 1920's. Biography Vittorio Accornero de Testa was born in Casale Monferrato in 1896. He completed his first studies at the "Leardi" institute, but was forced to interrupt them due to the war events of the First World War . At 19 he was second lieutenant of the Alpine troops and in 1916 he took one of the first pilot's licenses. During the war he knows the bitterness of shooting down in air combat (for which he is decorated), but also the good fortune to stay alive, albeit with a disability. His art blossomed in the postwar period, first signing his works simply Ninon and then, probably at the suggestion of a French publisher, under the pseudonym of "Victor Max Ninon" (Victor and Max indicate strength and masculinity, Ninon boyhood) .In 1919 and 1924 he made illustrations for theGiornalino della Domenica , also together with his first wife Edina Altara , for Ardita and La Lettura . In 1923 he won the cover competition organized by the magazine El Hogar of Buenos Aires and in 1925 with his pochoirs he imposed himself in Paris at the international exhibition of modern decorative and industrial arts , obtaining a gold medal. In the same year he made two covers for the US magazine The Smart Set . In the 1920s he made numerous series of art deco style postcards for the Milanese publishing house Degami . On June 4, 1929, aGenoa embarks on the Conte Grande together with his wife Edina Altara , for New York . The two stayed in the American metropolis for a few months: in this period Accornero worked on the creation of theatrical sets and created some covers for Country Life magazine . Accornero gets awards and prizes, but the great economic crisis of the time and the nostalgia for Italy convince the two to return to their homeland, where they resume their activity as illustrators. In 1934 Accornero moved to Milan, separated amicably from his wife and continued to dedicate himself to the illustration of children's books, abandoning the pseudonym Victor Max Ninon. It illustrates about 60 books, from the fables of Andersen , Perrault and Grimm , to the tales of Poe , as well as the famous Pinocchio and Cuore published by Mondadori, Mursia, Hoepli, Martello. Several books illustrated by Accornero have been published in French, Spanish, German and English. In addition to the periodicals already mentioned, he collaborates on the first edition of the Encyclopedia of Boys , Mondadori, and with the Italian magazines Lidel , Il Secolo XX, The Italian Illustration , Fantasies of Italy , The Woman , Cordelia , For You Lady , Grace , Metropolis , La Domenica del Corriere , The Corriere dei Piccoli . In 1936 enters the world of cinema, creating sets and costumes for Wedding Vagabonde of Guido Brignone and The White Squadron of Augustus Genina . From 1935 to 1950 he also devoted himself to the theater, taking care of sets and costumes for numerous operettas, ballets and performances at the Scala in Milan and for the Milanese theaters Manzoni, Lirico and Olympia. Stages Marcello di Giordano, Nina pazza d'amore by Paisiello, I cantori di Nurimberga by Wagner, La Bohème by Puccini and other works. For this activity he is also cited in the Theater encyclopedia. In the 1940s and 1950s he wrote and illustrated six books for children for Mondadori: Tomaso (1944), Giacomino (1949), Tomaso Cacciatore (1950), Zio Stefano (1950), In Campagna che delizia! (1953), Tomaso, dear Tomaso (1955). His illustrations of Perrault's Tales published in those years by Hoepli are famous. His art in the fifties evolves towards hyperrealism . There are many personal exhibitions in Italy and abroad, including those at the Gallerie Gussoni (1959) and Bolzani (1963 and 1966) in Milan and Walcheturm (1962) in Zurich. Eminent critics praise his work, from Orio Vergani to Enrico Piceni, from Reto Roedel to De Chirico himself. On the Domenica del Corriere , the journalist, writer and painter Dino Buzzati...

This original etching with drypoint is hand signed in pencil by the artist "Marc Chagall" at the lower right margin. It is also hand numbered in pencil from the edition of 110, at t...

KATHE KOLLWITZ (German 1867 -1945) STADTISCHES OBDACH (Urban Shelter) 1926 (Knesebeck 226, Klipstein 219.bB), Lithograph from the unsigned edition for the annual edition of the Kuns...

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 masterful...

Composition of Animals is a lithograph realized after Odilon Redon. They belong to the suite "Odilon Redon Peintre, Dessinateur et Graveur", published by Henri Felury in 1923. Goo...

(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...

The painter, graphic artist, production and set designer, Josef Fenneker, is one of the most important representatives of artistic film posters of the 1910s and 1920s. He was commissioned primarily by Berlin’s Marmorhaus cinema, which was located on Kurfürstendamm and known for its first releases, as well as by Berlin film production...

L'Enfant Et Le Maître Décole (The Child and the School Teacher Etching with hand coloring by Chagall, 1927-1930 Signed in the plate lower right (see photo) From La Fontaine Les Fable...

Colour pochoir by E.H. Raskin From the folio Fantaisies Oceanographiques Published in Paris 1926 Art Sz: 14"H x 10"W Frame Sz: 18"H...

Medium: color woodcut (engraved by Alfred Prunaire after the Manet painting). This impression was printed on thin japon paper and published by Paul Cassirer in 1923. Size: 7 3/4 x 10...

Samuel Chamberlain, 'Manhattan Old and New', drypoint, 1929, edition 100, Chamberlain and Kingsland 81. Signed, titled, and numbered '81/100' in pencil. Titled and annotated '30.00' in pencil, in the artist's hand, bottom margin. Matted to museum standards, unframed. A superb, finely-detailed impression, with selectively wiped plate tone, on heavy Rives cream wove paper; full margins (1 1/2 to 2 1/4 inches), in excellent condition. The subject of the print is the lower Manhattan cityscape just before the Depression. Image size 8 3/4 x 6 13/16 inches (222 x 173 mm); sheet size 12 3/4 x 10 inches (324 x 254 mm). Impressions of this work are held in the collections of the National Gallery of Art and the Zimmerli Art Museum. ABOUT THE ARTIST 'There is something about the atmospheric vibrancy of an etching which imparts a peculiar and irresistible life to architectural drawing...A copper plate offers receptive ground to the meticulously detailed drawing which so often appeals to the architect'. —Samuel Chamberlain, from the Catalogue Raisonné of his prints. Samuel V. Chamberlain (1896 - 1975), printmaker, photographer, author, and teacher, was born in Iowa. His family moved to Aberdeen, Washington in 1901, and in 1913, Chamberlain enrolled in the University of Washington in Seattle, where he studied architecture under Carl Gould. By 1915, he was enrolled in the School of Architecture of the Massachusetts Institute of Technology in Boston. With the United States' involvement in the First World War, Chamberlain sailed to France, where he volunteered in the American Field Service. In 1918, he was transferred to the United States Army to complete his tour of duty. After the war, he returned to Boston and resumed his architectural studies, which he eventually discontinued, working for a few years as a commercial artist. Chamberlain received the American Field Service Scholarship in 1923, which he used to travel to Spain, North Africa, and Italy. In 1924 he was living in Paris, where he studied lithography with Gaston Dorfinant and etching and drypoint with Edouard Léon, publishing his first etching the following year. In 1927, he studied drypoint with Malcolm Osborne...

Medium: original etching and drypoint. Signed in pencil by Felix Meseck and printed in Germany in 1922 for the very rare "Die zweite Ganymed-Mappe" portfolio of "Das vierte Jahrbuch ...

Hermant's “moralistic tale” is interpreted and illuminated by Brunelleschi's radically modern designs, which are found throughout the volume, both as 12 full-page plates and smaller ...

A superb, richly-inked impression of this extremely scarce, early etching and drypoint. With burr throughout and crisp plate edges. First state (of 2). Edition of 100. Signed in penc...

Colourful pochoir No.20. by E.H Raskin Published 1926 by F Dumas Editeur, Paris Image Sz: 13 3/4"H x 9 1/4"W Frame Sz: 18"H x 14"W

Advert signage for the Parisien restaurant Le Pie La Fameuse Rotisserie Normande 8, Ave Victor Emmanuel III Champs Elysees c1920s Print Sz: 8 1/8"H x 11 1/8"W Frame Sz: 18"H x 15"W

c1920s Parisien advert sheet promoting Boissier Confiseur Chocolats De Toutes Especes Print Sz: 10 3/4"H x 6 3/4"W Frame Sz: 18"H x 14"W

Classic 'Saratoga Steeple-Chase' framed c1920s board game Manufactured by J.H. Singer New York together w/ a verso 44 slot racetrack Board Sz: 7 3/4"H x 13 3/4"W Frame Sz: 14"H x ...

Medium: original linoleum cut. Executed in 1920 for Das Kunstblatt, published in Berlin by Verlag Gustav Kiepenheuer. The total sheet measures 10 3/4 x 8 3/4 inches (275 x 210mm); th...

Spatial Equilibrium, 1925-26 is Balla's experimentation with space and movement dating from 1925-26, done on limited-run, very high-quality silkscreen prints. Edizione postuma pubbli...

Modern art deco promotional poster by artist and illustrator Leonetto Cappiello. The work features a man using Nitrolian paint to paint a set of stairs as a woman walks down. The pa...

Medium: pochoir (after the gouache). Printed in Paris in 1929 at the atelier of Daniel Jacomet for L'Art Cubiste. Image size: 5 1/4 x 8 1/8 inches (132 x 205 mm). A text inscription ...

Karl Michel, 'Viel Gluck 1923 Wunscht der Graphikverlag, J.G. Holzwarth/Bad Rothenfelde', woodcut, 1922, edition 20. Signed and numbered op. 135d and 20/20 in pencil. Signed in the image, lower left. Annotated 'Vorgesdruck' [artist’s proof] in pencil. A fine, richly-inked impression, on heavy, cream Japan paper, with full margins (5/8 to 1 1/8 inches), in good condition. With the artist’s blind stamp in the top left margin. Printed by the artist. Matted to museum standards, unframed. New Year's Greeting - "1923, Good Luck Wishes from the Graphic Press, J.G. Holzwarth/Bad Rothfelde." Image size 5 x 3 1/2 inches (127 x 89 mm); sheet size 6 5/8 x 5 7/8 inches (168 x 149 mm). ABOUT THE ARTIST Karl Michel (1889-1984) was a noted graphic designer and expressionist printmaker during Germany's pre-Nazi Weimar Republic (1919-1933). Michel’s work was the subject of a feature article in the influential German graphic design magazine Das Plakat (The Poster) in 1920. An anti-war advocate, Michel created a suite of 12 wood engravings depicting his impressions of the humanitarian toll of WWII entitled ‘Humanitas’ (Humanity). The German publishing house Greifenverlag published the series in a reduced folio of unsigned prints. Michel’s graphic work is held in the permanent collections of the Auckland War Memorial Museum (New Zealand), Frederikshavn Kunstmuseum & Exlibrissamling (Denmark), Museum of Applied Arts (Budapest), The Robert Gore Rifkind Center for German Expressionist Studies at the Los Angeles County Museum of Art, and the German Expressionism...

Karl Michel, 'Mehr Sonne fur 1924. Viel Gluck Wunscht Karl Michel U. Frau', woodcut, 1924, edition 20. Signed, dated, and numbered 'op. 162' and '15/20' in pencil. Signed in the image, lower left. A fine, richly-inked impression on buff wove paper, with full margins (1 1/2 to 2 3/4 inches), in very good condition. Printed by the artist. Scarce. Matted to museum standards, unframed. New Year's Greeting – English translation: "More Sun for 1924. Good Luck Wishes from Karl Michel and his Wife." Image size 4 5/8 x 4 3/4 inches (118 x 121 mm); sheet size 7 3/4 x 10 inches (198 x 254 mm). ABOUT THE ARTIST Karl Michel (1889-1984) was a noted graphic designer and expressionist printmaker during Germany's pre-Nazi Weimar Republic (1919-1933). Michel’s work was the subject of a feature article in the influential German graphic design magazine Das Plakat...

"New Masses" Vol 1, No 1, May 1926, Actual Magazine, VG Condition Hugo Gellert New Masses Magazine. May 1926, Inaugural: Vol 1, No 1. Published by the New Masses Inc., 39 West 8th St., New York City. New Masses (1926-1948) was an American Marxist magazine launched in New York City. It was closely associated with the Communist Party USA. With the coming of the Great Depression in 1929 America became more receptive to ideas from the political Left and New Masses became highly influential in intellectual circles. The magazine has been called the principal organ of the American cultural left from 1926 onwards. It featured the work of an array of independent writers and artists. The Metropolitan Museum of Art’s recent exhibition, “Art for the Millions: American Culture and Politics in the 1930s” celebrated the American spirit during the depression era. In the exhibition several issues of "New Masses" are exhibited, but not Vol 1. No. 1. We offer that. Lithograph by Hugo Gellert on the cover and multiple illustrations in magazine. Hugo Gellert (1892-1985) was a Hungarian-American illustrator and muralist. A committed radical and member of the Communist Party of America, Gellert is considered by some art critics as among the best political work of the first half of the 20th century. The artists who works are inside Vol 1, No. 1 include: William Gropper, Adolph Dehn, Stuart Davis, Art Young, I. Klein, Boardman Robinson, Wanda Gag, Louis Lozowick, F. S. Hynd, New Masses, Otto Soclow, Hans Stengel and Arnold Ronnebeck. The writers included in this issue: Babette Deutsch, Robert Dljnn, Robinson Jeffers, William Carlos Williams, Nathan Asch, Norman Studer, M. H. Hedges, Art Shields, Karol Rembov, Hal Saunders-White, Edwin Seaver, George Sterling, Scott Nearing and Whittaker Chambers. Editors: Egmont Arens, Joseph Freeman, Hugo Gellert, Michael Gold, James Rorty, and Joan Sloan.Executive Board: Egmont Arens, Maurice Becker, Helen Black, John Dos Passos, Robert Dunn...

Step into the enchanting world of vintage poster art, where Robert Falcucci's 1929 masterpiece for Veuve Amiot Grands Vins Mousseux captures a moment of shared elegance and romance. This poster not only celebrates the allure of sparkling wine but also showcases the artistic finesse of its creator, Robert Falcucci. Robert Falcucci, a celebrated French poster artist, was renowned for his ability to infuse his creations with sophistication and timeless charm. His artwork often celebrated life's pleasures, and the 1929 poster...

Medium: wood engraving. Printed in 1929 and published by Douglas Cleverdon. Image size: 4 1/4 x 4 3/8 inches (110 x 112 mm). Not signed.

Woodcut print by Dagobert Pesch. Peche was instrumental in leading the Wiener Werkstätte movement. He was known for his glass, ceramic and textile design.

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: 3 x ...

Medium: pochoir (after the painting). Printed in Paris in 1929 at the atelier of Daniel Jacomet for L'Art Cubiste. Image size: 6 x 8 inches (155 x 205 mm). Sheet size: 8 x 10 5/8 inc...

Karl Michel, 'Der Gartner' (The Gardener), woodcut, c. 1925. Signed, titled, and numbered '15/50' in pencil. Signed in the block, lower left and right. A fine, richly-inked impression on buff wove paper, with full margins (1 1/2 to 2 3/4 inches), in excellent condition. Matted to museum standards, unframed. Scarce. Image size 5 1/4 x 3 7/8 inches (133 x 98 mm); sheet size 10 x 7 3/4 inches (254 x 198 mm). ABOUT THE ARTIST Karl Michel (1889-1984) was a noted graphic designer and expressionist printmaker during Germany's pre-Nazi Weimar Republic (1919 - 1933). Michel’s work was the subject of a feature article in the influential German graphic design magazine 'Das Plakat...

Henri Laurens: 1885-1954. Well listed French artist with Auction records in the millions of dollars and over $8000 for a print. This rare print came in a small edition of Which I believe was only 30. This is number 22 which it is pencil marked and also pencil signed by the artist. The print itself measures seven and three-quarter inches high by 5 3/8 inches wide. The paper measures approximately 12 inches high by 9 3/4 inches wide. It is housed in a fabulous vintage hand carved Munn frame...

Philippe Petit's 1927 Art Deco poster for Clotilde & Alexandre Sakharoff is a mesmerizing piece of visual art that captures the essence of an era known for its opulence and artistic ...

Art deco c1926 Tres Parisien fashion pochoir No. 8 w/ gouache highlights depicting two chic ladies of the day Art Sz: 10 1/2"H x 7"W Frame Sz: 13 1/4...

Original vintage advertising poster for the Salzburger Festspiele / Salzburg Festival from 26 July to 30 August 1928 under the management of Max ...

Glam art deco c1926 'Tres Parisien' fashion pochoir No.8. w/ gouache highlights depicting two chic ladies of the day Art Sz: 10 5/8"H x 6 7/8"W Fram...

In the captivating world of vintage poster art, Henri de Laurencin's 1928 original poster for "Automobiliste! Voici la Priceless-Oil, Adoptez-là!" takes us on a journey back in time to an era when automobiles were icons of modernity and adventure. This poster not only promotes a brand of motor oil but also showcases the exceptional talent of its creator, with printing by Ateliers Gaillard in Paris. Henri de Laurencin, a notable French graphic artist during the Art Deco period, was known for his ability to blend elegance with modernity in his works. His creations ranged from posters to illustrations and reflected the aesthetics of the time. The 1928 poster...

Original vintage political propaganda poster - I hear they want more - Baldwin (With Apologies to Bovril Ltd.). Design by the notable artist John Gilroy (John Thomas Young Gilroy; 1898-1985) in the style of the Bovril posters...

Original “Mercurey Kina” vintage lithographic poster. Linen backed in B condition but ready to frame. Artist: Paul Mohr. Printer: Edia Paris. Signatur...

Medium: serigraph. Printed in 1928 and published in Paris by Arts et Métiers Graphiques. Sheet size: 12 1/4 x 9 1/4 inches (310 x 235 mm). Not signed. Condition: there is a vertica...

"Yanagibashi in Snow" is an original color woodcut by Utagawa Kunisada. This woodblock print depicts a woman walking in the snow near the Motoyanagi canal, which was located in Tokyo...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE SOLD UNFRAMED The Dancers by Orovida Pissarro (1893 - 1968) Etching 19 x 24 cm (7 ¹/₂ x 9 ¹/₂ inches) Signed an...

Leonetto Cappiello, a pioneering figure in the world of poster art, left an indelible mark on advertising through his innovative and captivating designs. Among his exceptional creati...

Medium: original lithograph. Printed on laid paper by Anstalt Eigner in 1925 for the Ganymed portfolio "Das funfte Jahrbuch der Marees Gesellschaft" and published in Munich by Marees...

Medium: pochoir (after the watercolor). Printed in Germany in 1922 for the Ganymed portfolio "Das vierte Jahrbuch der Marees Gesellschaft" and published in Munich by Marees-Gesellsch...

Original vintage travel poster for Le Mont Revard Grand Hotel PLM 1550m d'Altitude issued by the PLM Paris Lyon Mediterranee railway featuring a stunning design by the notable French...

Exhibited for the first time in 1928 at Galerie Bernhiem-Jeune, Paris, this work was published by Bernheim-Jeune and printed under the direction of Villon. Assuming a pose resembling...

Le Masque de la Mort Rouge is a phototype reproduction realized after Odilon Redon. They belong to the suite "Odilon Redon Peintre, Dessinateur et Graveur", published by Henri Felu...

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...

Parisien Chez Larue restaurant 3, Pl de le Madeleine b&w c1920s advert sheet featuring three male diners wooing a lady at table by Pierre Fali donne de l'esprit Image Sz: 9 3/8"H x ...

Hans Kaumann (German, 20th Century) Hamburg Harbor, c. 1920 Etching 12 x 16 in. This historic print depicting Hamburg Harbor offers a look into the past, presenting a c. 1920s view ...

Original antique travel advertising poster for the Compagnie Franco Roumaine de Navigation Aerienne / French Romanian Company for Air Transport featuring great artwork of a plane fly...

Medium: pochoir (after the watercolor). Printed in Germany in 1922 for the Ganymed portfolio "Das vierte Jahrbuch der Marees Gesellschaft" and published in Munich by Marees-Gesellsch...

Louis Lozowick, 'Tanks #1', lithograph, 1929, edition 50, Flint 39. Signed, titled, and numbered '11/50' in pencil. Signed with the artist's monogram in the stone, lower left. A superb, richly-inked impression, on cream wove paper, the full sheet with margins (3/4 to 1 7/8 inches), in excellent condition. Matted to museum standards. Image size 13 15/16 x 8 1/16 inches (355 x 204 mm), sheet size 15 3/4 x 11 1/4 inches (400 x 286 mm). Exhibited: 'The American Scene: Prints from Hopper to Pollock', Stephen Coppel, The British Museum, 2008. Literature: 'Prints and Their Creators, A World History', Carl Zigrosser, Crown Publishers Inc, 1974; 'American Lithographers...