Description: This color lithograph is one of the earliest known works by Hermann-Paul. Its style owes much to Latrec and the artists around him.

Description: This color lithograph depicts the nightmares 1890s travel. After nearly two decades of economic expansion, more Parisians were able to travel than ever before. The result was long lines and large crowds.

Description: Color lithograph, 9-3/4 x 13-7/8 (248 mm x 352 mm) Edition of 100 each signed by the artist

Description: This black and white lithograph features a young couple as they embark by train for a honeymoon.

Description: A rare early black and white wood cut. The most recent copy at auction sold for almost $2000.00

Description: Color lithograph on vellum. The work features a stenographers pool of identically dressed young ladies.

Description: A 25-1/2 x 19-1/2 advertising poster in Gouache which is a thick, opaque watercolor paint. (From the October 23, 2000 auction in Chartres)

Description: Hermann-Paul was a familiar face in left-wing circles during the 1890s. His work appeared in anarchist weeklies and left-of-center newspapers. Here we find a promotional poster for a novel by anarchist Sebastien Faure. It is characterized by bold a bold red set against yellow and black. The composition draws the eye nicely to the text. circa 1898

Description: Color lithograph of Wilbur Wright behind the controls of a Wright Model A Flyer. In 1908, the Brothers signed a contract with a French company and flew demonstration runs in Le Havre.

Description: Hermann-Paul was fifty when the German army launched its 1914 invasion of France. Its route to Paris was through neutral Belgium. News of German atrocities spread like wild fire. Most tales were exaggerated in order to produce sympathy for the neutral nation. In 1915, Hermann-Paul released a series of prints that depicted the early stages of the war. The medium was wood as metal was now prized as an implement of death. The series was ironically titled, The Four Seasons of Culture. The well executed series helped cement Hermann-Paul's reputation as a graphic artist but it drew criticism from the political left.