Early 1900s Prints and Multiples

Original Saxoleine Petrole de Surete, artist Jules Cheret. Linen-backed turn-of-the-century original stone lithograph poster advertising Saxoleine, a lamp oil. The glow from this l...

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...

Sorel's original poster for the Grande Quinzaine de Paris à Port Aviation in 1909 is a visual testimony to an era of fascination with aviation and the growing importance of aeronauti...

Medium: original etching. Catalogue reference: Sanchez and Seydoux 1903-11. This delightful etching was published in Paris in 1903 by Gazette des Beaux-Arts. The plate measures 8 5/8...

MAXIMILLIAN KURZWEIL (Austrian 1867-1916) DER POLSTER / THE CUSHION, 1903. Color woodcut printed on laid japon paper, affixed as usual to a support sheet from its upper sheet edge...

Once again a masterpiece of unparalleled beauty, created around 1900 by Alphonse Mucha 🇨🇿 (1860-1939). He is considered the "king" of the poster printed in color. A true symbolic...

"En Auto" is an original color lithograph by Singils. The artist signed the piece in stone and wrote the title in the lower left. The edition number, also written lower left, is 46/5...

Medium: original soft ground etching. Catalogue reference: Delteil 12. Executed in 1906, this is a lifetime impression published in 1909 in Berlin by Cassirer for "Kunst und Kunstler...

"La Plage de la Panne" is an original etching by James Ensor. The artist signed the piece in plate in the lower right and signed, titled, and dated it below t...

Medium: original etching. Published in Berlin by Bruno Cassirer in 1904 for Kunst und Kunstler. The plate measures 5 1/2 x 7 1/4 inches (140 x 185 mm). Not signed.

"Les Bucoliques X" is an original black and white lithograph signed in stone by the artist Henri Fantin-Latour. It depicts two figures spending free time in bucolic nature. This prin...

Original Vintage Poster by the Austrian artist Ferdinand Ludwig Graf, a member of the Hagenbund. This Viennese artist association moved as soon a...

Original antique advertising poster for Liqueur Menthe Pastille E. Giffard distillateur Angers featuring an Art Nouveau style illustration of an elegant lady in a fashionable green d...

Medium: original lithograph. This Emil Orlik lithograph is also known as "On the Victoria Embankment, London". This impression on wove paper was printed in 1900 and published in Lond...

Medium: original etching and drypoint. Catalogue reference: Delteil 86. This impression on wove paper was printed in 1909 and published in Paris by Henri Floury. Plate size: 5 3/4 x ...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. William Nicholson (1872-1949) Bodleian Library, University of Oxford Signed and numbered 110, published by Stafford Gallery with blind stamp Lithograph 28 x 34.5cm Probably best known through his graphic works, as a book designer and illustrator, Nicholson was greatly encouraged in his landscapes by Whistler from about 1900. In 1902-03 he produced a series of watercolour, chalk and pen drawings of Oxford which were published in 1905 by the Stafford Gallery as two portfolios of lithographs, with descriptions by Arthur Waugh – father of Evelyn Waugh...

Beautiful, original poster, emblematic of advertising art created by Austrian artist Alfred Roller. Roller was a versatile artist at the turn of the 20th century, known for his talen...

Medium: lithograph (after the pastel). The lithography was executed by Whistler's friend and fellow artist Thomas Way, and published in London by The Studio in 1905 for a rare deluxe...

Medium: offset lithograph (after the watercolor). Published in London by The Studio in 1905 for a rare deluxe portfolio. Printed on smooth wove paper, the image measures 7 3/4 x 5 1/...

Medium: offset lithograph (after the painting). Published in London by The Studio in 1905 for a rare deluxe portfolio. Printed on smooth wove paper, the image measures 4 1/4 x 8 inch...

Medium: offset lithograph (after the painting). Published in London by The Studio in 1905 for a rare deluxe portfolio. Printed on smooth wove paper, the image measures 4 1/2 x 8 inch...

Medium: original etching. Catalogue reference: Beraldi 14. This impression on chine colle paper was published by the Gazette des Beaux-Arts in 1903. Plate size: 2 1/2 x 2 1/8 inches (63 x 55 mm...

Medium: original color etching. Catalogue reference: Kraemer 23. Executed in 1906, this impression on cream laid paper is from the rare 1906 first edition of "Histoire des Peintres I...

Medium: original etching. Published in Paris in 1906 for the Revue de l'art ancien et moderne. This is a magnificently rich, dark impression on laid paper. Sheet size: 11 1/2 x 8 inc...

Hedley Fitton (British, c. 1857-1929) John Knox's House, c. 1900 Etching 17 x 12 3/4 in. Framed: 25 x 20 1/2 in. Signed in the plate by Hedley Fitton Sig...

Libro de Miguel Angel Dieguez is a Modern Artwork realized in 1903, by the Spanish Artist Joaquín Diéguez y Díaz. Coloured woodcut on paper. Hand signed on the back The work is g...

Medium: original lithograph. Printed in Paris in 1902 for the special Felix Vallotton issue of L'Assiette au Beurre on the theme of Crimes et Chatiments (Crime and Punnishment). Size...

Moto-Flirt Color lithograph, c. 1902 Signed in the stone lower right (see photo) Published by Edmund Sagot (1857-1917), Paris Printed by Atelier Chaix, Paris Large edition with title and text Part of a series of two humorous auto related images depicting Brass Era French automobiles. Titled center lower margin (see photo) Lower left in margin: "Imp. CHAIX, Paris" (see photo) Lower right in margin: "Ed. Sagot, Editeur: (see photo) Condition: Excellent Never matted or framed Colors fresh and unfaded Image size: 19 5/8 x 13 inches Sheet size: 27 x 18 1/4 inches Provenance: Edmund Sagot (1857-1917), publisher Sagot Heirs Georges Meunier (1869-1934) Meunier was born in Saint-Cloud, France in 1869. He moved to Paris as a young man and studied at the National School of Fine Arts; there, he was a student of artist Joseph-Robert Fleury. Following this training, Meunier attended The School for the Decorative Arts where he was trained in both classical and modern design, these skills would later influence his poster graphics. Subsequent to his education, Meunier's posters were exhibited in salons throughout Paris, giving his work notoriety. George Meunier was a prolific artist at the turn-of-the-century influenced greatly by Cheret, the founder of the advertising poster movement. Meunier succeeded Cheret at the Chaix printing house as principal artist and director. He worked as a poster artist for only a short time, making a career change to a book illustrator, which he pursued until the end of his life. Publisher: Edmund Sagot Courtesy of French Wikipedia Edmond-Honoré Sagot , born in 1857 and died on April 6 , 1917, is a bookseller , art dealer , publisher of prints and original posters . In 1881 he founded the house “Ed. Sagot” in Paris. This establishment still exists under the name “ Sagot - Le Garrec ” and is one of the oldest art galleries still in operation. Edmond Sagot is the first contemporary art dealer...

Original antique newspaper advertising poster - The Weekly Telegraph On The Road - featuring an illustration of a smiling man in a long white coat, ...

Original antique travel poster for the Western and Brighton Railway Paris to London via Rouen Dieppe and Newhaven daily departures from Gare St Lazare / Chemins de Fer de l'Ouest et ...

Medium: original etching. This impression on laid paper was printed in 1907 and published in Paris by the Revue de l'Art ancien et moderne. Plate size: 6 1/4 x 9 1/2 inches (160 x 24...

Mythological Composition is an Original Etching realized by Fernand Cormon (1854-1924) in 1902. Good condition, included a cardboard passpartout (45x63 cm). Hand signed by the artist on the lower right corner. Printed by M. Albert Hornung. Fernand Cormon (24 December 1845 – 20 March 1924) was a French painter born in Paris. He became a pupil of Alexandre Cabanel, Eugène Fromentin...

Artist: Henri Patrice Dillon (French, 1850-1909) Title: "Pluviose (Rainfall)" Portfolio: Revue de l'Art Ancien et Moderne *Signed by Dillon in the...

Water Snakes II, no. 9 from the fourth installment of Das Werk Gustav Klimts The last painting Klimt exhibited with the Secession before resigning, Water ...

Ex Libris - Joseph Plana Dorca is a Modern Artwork realized in 1904, by the Spanish Author Joseph Plana Dorca. Ex Libris. B/W woodcut on ivory paper. The work is glued on card...

Medium: original lithograph. This impression was printed in 1902 and published in Paris by the Revue de l'Art ancien et moderne. Image size: 9 3/4 x 7 inches (245 x 178 mm). This wor...

Artist: Anders Zorn (Swedish, 1860-1920) Title: "Dance at Gopsmor" *Signed by Zorn in pencil lower right. It is also signed and dated in the plate (printed signature) lower left Year: 1906 (second state of two) Medium: Original Etching on cream Van Gelder Zonen laid paper Limited edition: approx. 50 impressions Printer: the artist Zorn himself, Mora, Sweden Publisher: the artist Zorn himself, Mora, Sweden Reference: Asplund No. 197; Hjert & Hjert No. 205; Loys Delteil No. 192 Framing: Recently framed in a gold ornate moulding and fabric matting from Holland. All archival Framed size: 22.75" x 18.25" Sheet size (irregular margins): 16.5" x 11" Image size: 11.88" x 7.75" Condition: A strong impression in very good condition Very rare Notes: Provenance: private collection - Chicago, IL; acquired from Rothschild & Company, Chicago, IL in the early 1900's. Fleur-de-lis shield with text underneath (Van Gelder Zonen) watermark in center of sheet. "Towards the end of the nineteenth century and at the beginning of the twentieth century, Anders Zorn became increasingly interested in the history and ancient traditions of his native town Mora and its wider cultural territories which at the time, as a result of industrialisation and urbanisation, were begining to disappear. In 1904, Anders Zorn purchased an ancient farmhouse which he moved to the parish of Gopsmor, situated by the river Dal, North-West of Mora. The simple ritualistic lifestyle of its people, with whom he felt affinity, and Gopsmor's geographical isolation, became for Zorn, a place of refuge for the cosmopolitan artist". - Christie's, London, UK Biography: Anders Leonard Zorn...

Medium: original etching. Printed in 1902 and published in Paris by Gazette des Beaux Arts. Image size: 5 3/4 x 8 1/4 inches (145 x 210 mm). Signed in the plate, not hand-signed.

Exceptional French Loterie Nationale poster to raise funds for the Association des artistes dramatiques, depicting an allegorical figure (possibly Drama) holding the winged wheel of ...

Original antique northern Ireland travel poster - Hotels Bundoran Rostrevor County Donegal & County Down Ireland - features two picturesque views depicting holiday makers enjoying the sandy beach at the seaside with beach huts and walks along the cliffs in front the grand hotels and hills in the background, the title with the Great Northern Railway Ireland...

Beautiful poster by Mario Pezilla for the 1908 International Electrical Exhibition. Energy - Railways - Bouches-du-Rhône Railway P.L.M Fast Trains Robaudy Cannes

Signed lower right, 'Arthur B. Davies' for Arthur Bowen Davies (American, 1862-1928) and created circa 1915. An early twentieth-century sugar-lift aquatint showing Zeus in the guise of a swan, reclining and cradling Lida in his wings while King Tyndareus ponders the mutability of human circumstance. Born in Utica, New York, Arthur Davies attended the Chicago Academy of Design from 1879 to 1882. He furthered his studies at the Chicago Art Institute, before moving to New York City in 1885 where he studied at the Art Students League and Gotham Art Students League. In 1893, he made the first of many trips to Europe, visiting Holland, Paris, and London. He became an arch-exponent of Modernism and the central organizing figure of 1913's watershed Armory Show. Davies developed a style that combined visionary Symbolism with elements of Tonalism and Cubism. Who Was Who in American Art describes him as an “…important but enigmatic Modernist whose work was poetic, mysterious, and visionary”. Davies was the recipient of many gold medals and prizes and juried awards and his work is held in the permanent collections of museums nationwide, including New York’s Museum of Modern Art, the Art Institute of Chicago, the Baltimore Museum of Art and the Los Angeles County Museum of Art, among others. Photo of Arthur B Davies circa 1907 in New York City by Gertrude Käsebier courtesy of Library of Congress Prints and Photographs Division Washington, D.C. Reference: Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Peter Hastings Falk, Sound View Press 1999, Vol. 1, p. 835; Artists in California 1786-1940, Third Edition, Edan Milton Hughes: Crocker Art Museum, Sheridan Books 2002, Vol. 1, p. 280; Thieme-Becker Allgemeines Lexikon der Bildenden Künstler von der Antike bis zu Gengenwart, Ulrich Thieme and Felix Becker, Deutscher Taschenbuch Verlag 1992, Vol. 7/8, p. 470; E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Jacques Busse, 1999 Nouvelle Édition, Gründ 1911, Vol. 4, p. 293; Davenport’s Art Reference and Price Guide 2009/10 Edition, LTB Gordonsart, Inc. 2008, p. 672; et al. Additional biographical information follows, written by Catherine Southwick and Robert Torchia from the National Gallery of Art Online Editions: Arthur B. Davies’s mystical, mysterious paintings hearken back to 19th-century romanticism, even while Davies aligned himself with American artists advancing the most radical ideals of their day. Davies was born on September 26, 1862, in Utica, New York, the son of English and Welsh parents who had immigrated to the United States in 1856. He first took art lessons as a teenager from a local landscape painter, Dwight Williams...

Spider Chrysanthemums. c.1900. White ground Japanese stencil on mulberry paper treated with persimmon juice and smoked. Silk thread insertion reinforcement. 11 7/8 x 14 1/4 (sheet 16...

Medium: original etching. A rather atmospheric view of London's Thames River and a good impression on thin laid paper, published in Paris in 1909 for the Revue de l'art ancien et mod...

Medium: original lithograph. This impression on chine-colle paper was printed in 1900 and published in Paris by the Revue de l'Art ancien et moderne. Image size: 7 1/2 x 5 1/2 inches...

Bloques (Road Block) Color lithograph, 1905 Signed and numbered in pencil lower right; signed and dated in the stone lower right (see photo) Edition: 100, first edition (33/100) Published by Edmund Sagot, Paris Printed by Atelier Chaix, Paris Deluxe edition with artist's signature and penciled edition, as well as Sagot blindstamp There is an unlimited edition with title and publisher, printer text below the image. (state ii/II) Condition: Excellent, never matted or framed Image size: 13 x 19 5/8 inches Sheet size: 18 x 24 3/4 inches Provenance: Edmund Sagot (1857-1917) publisher Sagot Heirs Georges Meunier (1869-1934) Meunier was born in Saint-Cloud, France in 1869. He moved to Paris as a young man and studied at the National School of Fine Arts; there, he was a student of artist Joseph-Robert Fleury. Following this training, Meunier attended The School for the Decorative Arts where he was trained in both classical and modern design, these skills would later influence his poster graphics. Subsequent to his education, Meunier's posters were exhibited in salons throughout Paris, giving his work notoriety. George Meunier was a prolific artist at the turn-of-the-century influenced greatly by Cheret, the founder of the advertising poster movement. Meunier succeeded Cheret at the Chaix printing house as principal artist and director. He worked as a poster artist for only a short time, making a career change to a book illustrator, which he pursued until the end of his life. Regarding the publisher Edmund Sagot (1857-1917) Edmond-Honoré Sagot , born in 1857 and died on April 6 , 1917, is a bookseller , art dealer , publisher of prints and original posters . In 1881 he founded the house “Ed. Sagot” in Paris. This establishment still exists under the name “ Sagot - Le Garrec ” and is one of the oldest art galleries still in operation. Edmond Sagot is the first contemporary art dealer...

Medium: lithograph (after the pastel). The lithography was executed by Whistler's friend and fellow artist Thomas Way, and published in London by The Studio in 1905 for a rare deluxe...

Medium: original lithograph. This impression was printed in 1901 and published in Paris by the Revue de l'Art ancien et moderne. Image size: 7 5/8 x 5 1/8 inches (195 x 130 mm). Sign...

Image dimensions: 17.7 x 13.5 cm. One Thousand and One Night - the Harem is an amazing black and white héliogravure on paper, realized in 1906 by the Aus...

Max Clarenbach (1880 Neuss - Cologne 1952), Evening. Etching, 18 x 41 cm (platemark), 33.5 x 57 cm (frame), inscribed "Abend" in pencil at lower left, signed and dated "M. Clarenbach. 28.III.[19]09". Framed and mounted under glass. - Somewhat browned and slightly foxed. About the artwork The horizontally elongated etching depicts the panoramic view of a small town as seen from the other side of the river. There are gabled houses on the left and a mighty church spire on the right. The bourgeois houses and the large religious building indicate the urban character. These buildings are rendered in dark tones to emphasise the lighter row of houses in the centre of the picture, closer to the water. The chiaroscuro contrast creates two parallel planes that open up a space for the imagination of what the city could be. The imagination is stimulated by the almost entirely dark, barely recognisable buildings, while the arm of the river leading into the city further stimulates the imagination. However, as the silhouette of the city as a whole is reflected in the water, the parallel planes are perceived as a band of houses that stretches across the entire horizontality of the etching and seems to continue beyond the borders of the picture. The reflection has almost the same intensity as the houses themselves, so that the band of buildings merges with their reflection to form the dominant formal unit of the picture. Only the parallel horizontal hatching creates the convincing impression of seeing water, demonstrating Max Clarenbach's mastery of the etching needle. The water is completely motionless, the reflection unclouded by the slightest movement of the waves, creating a symmetry within the formal unity of the cityscape and its reflection that goes beyond the motif of a mere cityscape. A pictorial order is established that integrates everything in the picture and has a metaphysical character as a structure of order that transcends the individual things. This pictorial order is not only relevant in the pictorial world, but the picture itself reveals the order of the reality it depicts. Revealing the metaphysical order of reality in the structures of its visibility is what drives Clarenbach as an artist and motivates him to return to the same circle of motifs. The symmetry described is at the same time inherent an asymmetry that is a reflection on art: While the real cityscape is cut off at the top of the picture, two chimneys and above all the church tower are not visible, the reflection illustrates reality in its entirety. The reflection occupies a much larger space in the picture than reality itself. Since antiquity, art has been understood primarily as a reflection of reality, but here Clarenbach makes it clear that art is not a mere appearance, which can at best be a reflection of reality, but that art has the potential to reveal reality itself. The revealed structure of order is by no means purely formalistic; it appears at the same time as the mood of the landscape. The picture is filled with an almost sacred silence. Nothing in the picture evokes a sound, and there is complete stillness. There are no people in Clarenbach's landscape paintings to bring action into the picture. Not even we ourselves are assigned a viewing position in the picture, so that we do not become thematic subjects of action. Clarenbach also refrains from depicting technical achievements. The absence of man and technology creates an atmosphere of timelessness. Even if the specific date proves that Clarenbach is depicting something that happened before his eyes, without the date we would not be able to say which decade, or even which century, we are in. The motionless stillness, then, does not result in time being frozen in the picture, but rather in a timeless eternity that is nevertheless, as the title "Abend" (evening), added by Clarenbach himself, makes clear, a phenomenon of transition. The landscape of the stalls is about to be completely plunged into darkness, the buildings behind it only faintly discernible. The slightly darkened state of the sheet is in keeping with this transitional quality, which also lends the scene a sepia quality that underlines its timelessness. And yet the depiction is tied to a very specific time. Clarenbach dates the picture to the evening of 28 March 1909, which does not refer to the making of the etching, but to the capture of the landscape's essence in the landscape itself. If the real landscape is thus in a state of transition, and therefore something ephemeral, art reveals its true nature in that reality, subject to the flow of phenomena, is transferred to an eternal moment, subject to a supra-temporal structure of order - revealed by art. Despite this supratemporality, the picture also shows the harbingers of night as the coming darkening of the world, which gives the picture a deeply melancholy quality, enhanced by the browning of the leaf. It is the philosophical content and the lyrical-melancholic effect of the graphic that give it its enchanting power. Once we are immersed in the image, it literally takes a jerk to disengage from it. This etching, so characteristic of Max Clarenbach's art, is - not least because of its dimensions - a major work in his graphic oeuvre. About the artist Born into poverty and orphaned at an early age, the artistically gifted young Max Clarenbach was discovered by Andreas Achenbach and admitted to the Düsseldorf Art Academy at the age of 13. "Completely penniless, I worked for an uncle in a cardboard factory in the evenings to pay for my studies.” - Max Clarenbach At the academy he studied under Arthur Kampf, among others, and in 1897 was accepted into Eugen Dücker...

Medium: original lithograph. This impression was printed in 1900 and published in Paris by the Revue de l'Art ancien et moderne. Sheet size: 11 3/8 x 8 1/4 inches (290 x 210 mm). Sig...

Max Cowper 🏴󠁧󠁢󠁳󠁣󠁴󠁿(1860-1911) was a Dundee born painter. He was employed as an illustrator for the Dundee Courier before moving to London around 1901 to join the staff of the ...

Lady with Cupids and Dwarf is a Lithograph realized in 1906 by Willette (Adolphe Léon). Hand-signed with pencil on the lower right corner. Good condition with folding and consumed ...

Moto-Fuite Color lithograph, c. 1902 Signed in the stone lower right (see photo) Published by Edmund Sagot (1857-1917), Paris Printed by Atelier Chaix, Paris Large edition with title and text Part of a series of two humorous auto related images depicting Brass Era French automibiles Provenance: Edmund Sagot (1857-1917), publisher Sagot Heirs Condition: Excellent Never matted or framed Colors fresh and unfaded Image eize: 19 5/8 x 13 inches Sheet size: 27 x 18 1/4 inches Georges Meunier (1869-1934) Meunier was born in Saint-Cloud, France in 1869. He moved to Paris as a young man and studied at the National School of Fine Arts; there, he was a student of artist Joseph-Robert Fleury. Following this training, Meunier attended The School for the Decorative Arts where he was trained in both classical and modern design, these skills would later influence his poster graphics. Subsequent to his education, Meunier's posters were exhibited in salons throughout Paris, giving his work notoriety. George Meunier was a prolific artist at the turn-of-the-century influenced greatly by Cheret, the founder of the advertising poster movement. Meunier succeeded Cheret at the Chaix printing house as principal artist and director. He worked as a poster artist for only a short time, making a career change to a book illustrator, which he pursued until the end of his life. Publisher: Edmund Sagot Courtesy of French Wikipedia Edmond-Honoré Sagot , born in 1857 and died on April 6 , 1917, is a bookseller , art dealer , publisher of prints and original posters . In 1881 he founded the house “Ed. Sagot” in Paris. This establishment still exists under the name “ Sagot - Le Garrec ” and is one of the oldest art galleries still in operation. Edmond Sagot is the first contemporary art dealer...

Original “Le Jongleur de Notre Dame” vintage opera poster. The music was by Jules Massenet. Artist: Georges Rochengrosse. Archival linen b...

Medium: original etching. This impression on laid paper was printed in 1901 for Gustave Geffroy's "La Vie Artistique". Image size: 4 1/4 x 3 inches (110 x 75 mm). Signed in the plate...

Sadness is an etching realized by Albert Besnard in 1909. Etching ex. 6/30. Slab dimension cm. 15 x 9,5. paper cm. 25 x 18. Pencil signature and date in the lower right part, date in the left part. Good conditions. Paul Albert Besnard (Parigi 1849 - 1934)born in Paris, was the son of an artist; his father, Louis Adolphe, was a painter and his mother, Louise Pauline Vaillant, was an esteemed miniaturist, a pupil of Lizinska de Mirbel. Besnard first studied drawing and painting with Jean-François Brémond and at 17 entered the École des Beaux-Arts, where he was taught by Alexandre Cabanel. In 1874 he won the Prix de Rome with the canvas "Death of Timofane, tyrant of Corinth", and during his stay at Villa Medici he had the opportunity to meet Franz Liszt and his pupil André Worsmer, whose portrait he painted in 1877. his stay in Italy and, in 1879he married the sculptor Charlotte Dubray, daughter of the sculptor Gabriel-Vital Dubray, with whom he moved to England for three years, until 1884, exhibiting at the Royal Academy of Arts in London. At the Paris Salon of 1886 his "Portrait of Madame Roger Jourdain...

Medium: original lithograph. Printed in Paris in 1902 for the special Felix Vallotton issue of L'Assiette au Beurre on the theme of Crimes et Chatiment...