1910s Paintings

Alexander John Drysdale (1870-1934) New Orleans Louisiana / New York Artist Size: 20 x 30 Frame: 26 x 36 Medium: Oil Wash? Watercolor? Dated: 1917 "Misty Bayou" Housed in the original magnificent frame. Alexander John Drysdale (1870-1934) New Orleans Louisiana / New York Artist Alexander John (A.J.) Drysdale was an early 20th century Louisiana artist who specialized in landscapes using the technique of oil wash, that gave his works a characteristic of a hazy look. Drysdale made use of this technique by diluting the oil paint with kerosene and applying it with cotton balls. Alexander John Drysdale, born in Marietta, Georgia on March 2, 1870, came to New Orleans at the age of fifteen with his parents. His father, Reverend Alexander J. Drysdale, became the rector of Christ Church Cathedral. Alex received private tutoring from a Professor Mehado and art lessons from Ida Hackell at the Southern Art Union. Later in New Orleans (1887) he studied art under Paul Poincy (1833-1909). The exact date of Drysdale's arrival in New York is unknown, but he enrolled in the Art Students League where he received instruction from Charles C. Curran and Frank Vincent DuMond. Apparently, he remained in New York for about five years and did not go to Europe for further study. After some time, Drysdale began specializing in landscapes, executed in a tonalist manner. Back in New Orleans, Drysdale was inspired by local subjects, especially swamp or bayou areas and other desolate wetlands. Over a period of many years Drysdale's landscapes evolved to a unique stylistic maturity. In 1909 he received a gold medal from the New Orleans Art Association. It is easy to see the influence of two artists that he admired: Corot and Inness. Working equally well in oil and watercolor (he also did scenes in charcoal), Drysdale usually divided his scene into halves or thirds, typically, a foreground consisting of tall swamp grasses achieved with broad vertical strokes; a middle ground consisting of a backdrop row of trees at the horizon line executed with staccato, jabbing strokes resulting in textural contrast; and a background devoted totally to a tonalist-like moisture-laden sky often hazy with no clouds or only a slight indication of them. This formulaic compositional format rendered with an economy of technique resulted in imagery with repetitious forms and shapes diffused in a nebulous space. In this regard, Drysdale's works are impressionistic; he also tended to use the violets and blues of the impressionist palette. Yet he lacked a specific interest in color and light. Although his expression of the Louisiana scenery is very personal, even mystical, the artist appears to have been very limited in subject matter. One of his last works was a mural for the Shushan (New York) Airport administration building, and shortly before his death he was employed as an artist by the Civil Works Administration. Drysdale was a member of the Arts and Crafts Club of New Orleans, and his work was in the permanent collection of the Delgado Museum for many years. The artist worked at his studio at 320 Exchange Place in the picturesque Vieux Carré until his death at the age of sixty-three. Stewart (in Painting in the South, 1983), describes how Drysdale was a shrewd businessman. He would solicit new homeowners who might need a canvas to decorate a wall, or a cotton broker who recently made the headlines. Drysdale died in New Orleans, on February 9, 1934. Sources: Louisiana Artists from the Collection of Dr. and Mrs. James W. Nelson. Baton Rouge, LA: Louisiana State University, 1968; Wiesendanger, Martin and Margaret Wiesendanger, Nineteenth Century Louisiana Painters and Paintings from the Collection of W. E. Groves. New Orleans: W. E. Groves Gallery, 1971, pp. 44-45; Painting in the South: 1584-1980, Exh. cat. Richmond, VA: Virginia Museum, 1983, pp. 106-107, 114, 276; Chambers, Bruce W., Art and Artists of the South: The Robert P. Coggins Collection of American Paintings. Exh. cat. Rochester, NY: Memorial Art Gallery of the University of Rochester, 1984, p. 88; Zellman, Michael David, 300 Years of American Art. Seacacus, NJ: Wellfleet Press, 1987, p. 634; Gerdts, William H., Art across America: Two Centuries of Regional Painting, 1710-1920. New York: Abbeville Press, 1990, vol. 2, pp. 110-111. Submitted by Richard H. Love and Michael Preston Worley, Ph.D. Biography from The Johnson Collection ALEXANDER JOHN DRYSDALE (1870–1934) Born in Marietta, Georgia, Alexander John Drysdale was the only son of an ordained Episcopal priest whose ministry required frequent moves to parishes in Georgia, Alabama, and Tennessee. In 1883, he accepted the call to become dean of Christ Church Cathedral, New Orleans, and was later elected a bishop. Alexander, thirteen years old when the family settled in New Orleans, began his art studies under the instruction of Ida C. Haskell, a California-born artist who was on the faculty of the recently established Southern Art Union. The local academy had been founded by several leading artists, including Andres Molinary, William Henry Buck...

A painting of Versailles by important Post-Impressionist painter Henri Le Sidaner, titled "Statue, Sans Tête, Versailles". Painting includes certificate signed by Yann Farinaux-LeSi...

A painting of Versailles by important Post-Impressionist painter Henri Le Sidaner, titled "Le Pavillion de Musique sous la neige (a Versailles Trianon)". Painting accompanied with a...

Very finely painted winter impressionist landscape by Allen Dean Cochran (1888 - 1971). Oil on canvas. Housed in a spectacular, period, gold giltwood frame. Signed.

Julian Onderdonk (1882 - 1922) San Antonio Artist Image Size: 6 x 9 Frame Size: 10.75 x 13.75 Medium: Oil Dated 1910 "A Glowing Sky" SW Texas Julian Onderdonk (1882 - 1922) Known as...

Emil Hermann (1871 - 1966) Austria, Ohio, Wichita Falls (Texas) Artist Image Size: 47.5 x 36 Frame Size: 54.5 x 44 Medium: Oil Dated 1918 "Sam Houston" Emil Hermann (1871 - 1966) Emil Hermann (Am.1871-1966) Emil Hermann was born in Vienna of French and Austrian parents. His father was an engineer who did not consider art a proper profession for a young man. But so obvious was Hermann's talent, that his father let him enter the Royal Academy in Vienna. He went on to study at the National Art Institute at Budapest and the Rembrandt Art Institute in Amsterdam. In 1889, Hermann came to the United States to study at the Pennsylvania Academy of Fine Arts at the age of nineteen. Hermann was the organizer and first president of the Ohio Brush and Pencil Club and president of the Dayton, Ohio Art Club. As a result of his work in the latter city, a two-million-dollar art center was later founded there. After enrolling in the Academy, he opened his first studio in Philadelphia. In 1890, he received his citizenship papers. His first break came when a Dayton art dealer invited Hermann to hold a one-man art show. From this show, he obtained a position as a muralist with the great Schachne Studios. Soon, he became one of the best-known portrait artists in the area, drawing the leading citizens of Dayton to his studio. The upcoming artist was such a success that, soon, he was traveling throughout the country to execute portrait commissions and hold exhibitions. On one such trip, he was in Tulsa. After viewing his exhibition, a group of Missouri attorneys, some of whom were living in Oklahoma, commissioned Hermann to paint a portrait of General John H. Pershing from an only existing photograph that had been made in France. This work, when completed, was presented to the Missouri Historical Society in St. Louis, and he was later commissioned to duplicate the portrait for the city of Loclede, Missouri, the birthplace of General Pershing. At a suggestion from his Tulsa friends, Hermann opened an exhibit on the balcony of the Freer Furniture Company, at Ninth and Scott in Wichita Falls, in 1919, in the midst of the great Burkburnett oil boom. Mr. and Mrs. J.A. Kemp commissioned him to do a portrait, which now hangs in the Kemp Public Library. As a result of this show his fame spread and he was soon flooded with offers from all parts of the southwest. The Fort Worth citizens club gave him a commission to do a portrait of Teddy Roosevelt...

Jim's of Lambertville Fine Art Gallery is proud to present this piece by John Fulton Folinsbee (1892 - 1972). One of the finest painters to embark upon the New Hope Art Colony, John...

'Le Jardin du Luxembourg', oil on canvas, by Marie de Nivouliès de Pierrefort (circa 1910). Parisians are not equivocal about their park preferences. Some clearly favour the Tuileries, while others stand firmly with feet planted in the Jardin du Luxembourg. Perhaps this is analogous to residents' strongly-held preferences for either the Café Deux Magots or the Café de Flore, just down the Boulevard Saint-Germain. Back to the gardens though, I have always been captivated by the Luxembourg Gardens. It's the lawns, tree-lined promenades, tennis courts, flowerbeds, model sailboats on its octagonal Grand Bassin, as well as the picturesque Medici Fountain...

Rocky Inlet (France) Oil on canvas, relined, c. 1915 Signed: K A Buehr, lower right (see photo) Created during the artist's time in Giverny and Normandy Exhibited at Robert Henry Adams Fine Art, 1994, the first exhibitiion at the North Franklin Street Gallery. Provenance: Gift of the artist to his wife, Mary Hess Buehr The artist's niece, daughter of Will Hess David Saltzman Robert Henry Adams Gallery Condition: Craquelure to the paint surface (normal with aging of 100 years) Relined Canvas size: 11 1/8 x 14 1/4 inches Frame size: 16 x 19 inches “Karl Albert Buehr (1866–1952) was a painter born in Germany. Buehr was born in Feuerbach - near Stuttgart. He was the son of Frederick Buehr and Henrietta Doh (Dohna?). He moved to Chicago with his parents and siblings in the 1880s. In Chicago, young Karl worked at various jobs until he was employed by a lithograph company near the Art Institute of Chicago. Introduced to art at work, Karl paid regular visits to the Art Institute, where he found part-time employment, enabling him to enroll in night classes. Later, working at the Institute as a night watchman, he had a unique opportunity to study the masters and actually posted sketchings that blended in favorably with student's work. Having studied under John H. Vanderpoel, Buehr graduated with honors, while his work aroused such admiration that he was offered a teaching post there, which he maintained for many years thereafter. He graduated from the Art Inst. of Chicago and served in the IL Cav in the Spanish–American War. Mary Hess became Karl's wife—she was a student of his and an accomplished artist in her own right. In 1922, he was elected into the National Academy of Design as an Associate member. Art Studies in Europe In 1904, Buehr received a bronze medal at the St. Louis Universal Exposition, then, in 1905, Buehr and his family moved to France, thanks to a wealthy Chicago patron, and they spent the following year in Taormina, Sicily, where the artist painted local subjects, executing both genre subjects and landscapes as well as time in Venice. Buehr spent at least some time in Paris, where he worked with Raphaël Collin at the Académie Julian. Giverny and American Impressionism Prior to this time, Buehr had developed a quasi-impressionistic style, but after 1909, when he began spending summers near Monet in Giverny, his work became decidedly characteristic of that plein-air style but he began focusing on female subjects posed out-of-doors. He remained for some time in Giverny, and here he became well-acquainted with other well known expatriate America impressionists such as Richard Miller, Theodore Earl Butler, Frederick Frieseke, and Lawton Parker. It seems likely that Buehr met Monet, since his own daughter Kathleen and Monet’s granddaughter, Lili Butler, were playmates, according to George Buehr, the painter’s son. His other daughter Lydia died before adulthood due to diabetes. He returned to Chicago at the onset of World War I and taught at The Art Inst for many years. One of his noted pupils at the Art Institute was Archibald Motley...

"Maria Van Rysselberghe au coin du feu" is a portrait painting by Post-Impressionist Théo van Rysselberghe. The portrait is signed lower right, "Atelier Van Rysselberghe". The framed...

Beautiful early 20th century impressionist painting of St. Mark's Basilica, by an unknown artist (American, 20th Century), 19...

Jim’s of Lambertville Fine Art Gallery is proud to offer this piece by Martha Walter (1875 - 1976). Born in Philadelphia in 1875, Martha Walter attended Girls’ High School followed by the Pennsylvania Academy of the Fine Arts. It was at the Academy that Walter’s artistic talent was discovered. An admiring instructor by the name of William Merritt Chase took young Martha under his wing, giving her both inspiration and direction. She additionally enrolled with Chase at his summer school in Shinnecock, Long Island and in 1903, was awarded the Cresson Traveling Scholarship by the Pennsylvania Academy. This sent Martha Walter on travels to France, Italy, Spain, and Holland, where she attended the Grand Chaumiere and the Academie Julian in Paris. Afterwards, she established a studio on the Rue De Bagneaux in France with several other American women artists...

Jim's of Lambertville Fine Art Gallery is proud to present this piece by John Fulton Folinsbee (1892 - 1972). One of the finest painters to embark upon the New Hope Art Colony, John...

Antique original historical modernist landscape oil painting by Lee Roland Warthen (1893 - 1949) . Oil on canvas, circa 1912. Signed and titled on verso. Image size, 18L x 14H. H...

Jim’s of Lambertville is proud to offer this artwork by: Robert Spencer (1879 - 1931) One of the rarest and most important artists among the New Hope School, Robert Spencer was bo...

Turn of 20th Century American Impressionist Chicago Landscape -- Frost Bound Luminous turn of the century American Impressionism landscape of Chicago in winter titled "Frost Bound" by Henning Ryder (Swedish/American, 1869-1939), circa 1900. Signed lower right corner. Exhibited in the 1915 Panama Pacific...

signed lower right

Robert Jenkins Onderdonk (1852 - 1917) San Antonio Artist Toluca, Mexico painting. Mexican Street Scene Image Size: 11 x 8 Frame Size: 15 x 12 Medium: Oil "Toluca, Mexico" Circa 1912 This piece was painted in 1912 when Robert & his wife went to visit his son who was working in Mexico City at that time. Robert Onderdonk is considered the "Dean" of Texas Painters. Robert Jenkins Onderdonk (1852 - 1917) Robert Jenkins Onderdonk is noted for his landscape and portrait paintings and also for his fine art teaching. Onderdonk was born in Catonsville, Maryland in 1852. He was the father of Robert Julian Onderdonk and Eleanor Rogers Onderdonk, also distinguished Texas artists. He received an academic education at the College of St. James, Catonsville, followed by studies at the National Academy of Design in 1872 under the instruction of Lemuel Everett Wilmarth. In 1875, Onderdonk attended Art Students League of New York and received instruction from Walter Shirlaw, James Carroll Beckwith and William Merritt Chase. Onderdonk moved to San Antonio, Texas in 1878 where he made a living teaching and selling his paintings. In 1889 he moved to Dallas, where he painted several portraits for the Huburt Portrait Company, followed by employment with the Art Students League of Dallas. In 1896, Onderdonk returned to San Antonio, Texas where he continued to paint until his death in 1917. Onderdonk was a member of the Allied Artists of America; Salmagundi Club, New York, and the San Antonio Art League. Exhibitions included the Annual Exhibition of the State Fair of Texas, Dallas; Dallas Art Association; Louisiana Purchase Exposition, St. Louis; Annual Texas Artists Exhibition, Fort Worth; Annual Exhibition, National Academy of Design, New York, and the San Antonio Art League. Source: John and Deborah Powers, "Texas Painters, Sculptors, and Graphic Artists" Robert Jenkins Onderdonk was born at St. Timothy's Hall, Catonsville Maryland, in 1852. He had a very thorough academic education and was always sketching family members, classmates and landscapes on the back of his school books. This sketching ethic was a process he subscribed to his entire life, always carrying a sketch book with him where ever he went, like a camera of today. Deciding to make art his profession, Robert moved to New York. He was not only a part of the academic beginnings of American art while studying in New York at the renowned National Academy of Design in 1870, but also one of the first student members, under the instruction of Lemuel Everett Wilmarth, at the Arts Students League. At the League, Robert also studied and honed his craft with other teachers including Walter Shirlaw, William Merritt Chase and James Carroll Beckwith. Some of his classmates included: George Inness, Jr., Frederick Stuart Church, John Henry Twachtman and a Texan from San Antonio named Edward Grenet. Robert was lured to Texas in 1879 by his childhood friend and rancher, William Negely and by stories he read in the tabloids of the day that touted Texas as the "Promised Land." Robert found the light, people and atmosphere of San Antonio agreeable and quickly settled in. He soon met a fellow Texas artist, Emily Gould, whom he married in 1881. They lived with her parents in a house called "Bella Vista" throughout their lives. The house was two miles north of town, had a wonderful view of the city and still stands today. Here Robert lived and taught art classes, painted portrait commissions, landscapes, still lifes and supported his family. Some of his students, who later became well-known Texas artists, were Mary Bonner, Seymour Thomas, Edward D. Eisenlohr, and Rolla Taylor. Robert worked hard and encouraged his students to do their best. Robert was part of and organized several of the first art clubs in Texas, further helping to develop an interest in Texas art in the State and nationwide, but also giving Texas and American artists places to display their works, win awards and achieve much needed recognition. He helped organize "The Brass Mug Club," a revered group of San Antonio artists that met on Sundays to enjoy friendship and go into the Texas Hill Country and paint. Members included Julian Onderdonk (Robert's son), José Arpa, Leo Cotton, Rolla Taylor, Tom Brown and Ernst Raba. In 1912, Robert and Julian were involved in the organization of the San Antonio Art League, the first important art organization in Texas with the mission to establish a free public gallery in San Antonio with exhibitions, lectures and classes in art. Later, larger exhibitions that needed more room due to the extreme popularity of the League and its awards were held at the Witte Museum in San Antonio. While living in Dallas from 1889 to 1895, and in order to obtain commissions, Robert organized the first Dallas art school, the Dallas Arts Students League, where he was president and instructor. In 1905, Robert was chosen to select artists from New York and Texas to be represented and judged at the Dallas Fair, which later became the State Fair of Texas. In 1901, Robert was commissioned by well-known Texas historian and writer, James T. DeShields, to paint a large historic painting of the Alamo battle. He used his family, friends and fellow artists for this painting, including his son. Robert even put himself in the painting, as one of the Alamo Defenders, taking a mortal shot from the enemy and falling backwards. The painting took three years to complete. The Fall of The Alamo was first exhibited at the St. Louis Worlds Fair in 1904. Among Robert's important commissions were the illustrations he provided for feared Texas gunfighter John Wesley Hardin's autobiography, The Life of John Wesley Hardin, published in 1896. This was a courageous task by Onderdonk considering that Hardin, who had killed over forty men, was the fastest gun in the West, East, North or South. When Robert Jenkins Onderdonk died in 1917 at the age of sixty-five at his home in San Antonio, he was known as the dean of Texas artists. His contributions to Texas art and the early artists of Texas were well-known and well-respected. Written by Peter C. Rainone, as published in American Art Review, June 2008 Robert Onderdonk was educated at the College of St. James in Maryland where his father was headmaster. At 20, he studied for two years at the National Academy of Design, under Wilmarth, then at the Art Students League under Shirlaw and Beckwith. He was the private pupil of A H Warren, a tonalist painter known as "the Corot of America." In 1878, he concluded his art studies with William Merritt Chase. To earn funds for a European trip he never made, Onderdonk was persuaded to establish his studio in San Antonio in 1878. By 1881 he was married, living near Pedro Spring, and taking the mule car to his studio in the city. He always carried with him a wood panel such as the top of a cigar box so he could paint small scenes. For his studio classes he charged $3 per month. He moved to Dallas in 1889, when offered $100 a month to teach. After his father-in-law died in 1896, he returned to San Antonio where he remained except for a trip to St. Louis in 1899 to try commercial painting on tile. Not ambitious, not robust, not careful in signing his paintings, he received commissions for hundreds of portraits without being able to earn a suitable living. Even his epic "Davy...

Signed lower right. Complemented by a period frame. William L. Lathrop (1859-1938) Deemed “Father of the New Hope Art Colony”, William Langson Lathrop was born in Warren, Illinois. He was largely self-taught, having only studied briefly with William Merritt Chase in 1887, at the Art Students League. Lathrop first moved east in the early 1880s, and took a job at the Photoengraving Company in New York City. While there, he befriended a fellow employee, Henry B. Snell. The two men became lifelong friends and ultimately, both would be considered central figures among the New Hope Art Colony. Lathrop's early years as an artist were ones of continuing struggle. His efforts to break through in the New York art scene seemed futile, so he scraped enough money together to travel to Europe with Henry Snell in1888. There he met and married an English girl, Annie Burt. Upon returning to New York, he tried his hand at etching, making tools from old saw blades...

Jim’s of Lambertville Fine Art Gallery is proud to present this piece by Martha Walter (1875 - 1976). Born in Philadelphia in 1875, Martha Walter attended Girls’ High School followe...

Julian Onderdonk (1882 - 1922) San Antonio Artist Image Size: 20 x 30 Frame Size: 29 x 39 Medium: Oil Dated 1910 "In The Land Of The Spanish Oak" Spectacular larger scene by Julian...

Jim’s of Lambertville is proud to present this piece by Herbert Pullinger (1878 - 1961). Herbert Pullinger was born and raised in Philadelphia where he would spend his entire life....

A rare original signed Art Deco gouache on paper by Erte (Romain de Tirtoff) . This stunning theatrical costume design is signed Erte at the lower right. The piece is 20 by 18 fram...

Artist: Ben Benn, Russian/American (1884 - 1983) Title: People in the Woods Year: 1917 Medium: Oil on Canvas, signed l.r. Size: 31 x 22 in. (78.74 x 55.88 cm) Frame Size: 39 x 30 i...

Paris, Seine. 1918/19, oil on cardboard, 38x52 cm Signature located in bottom right corner Belay The certificate: M. Roland Souef at November 23, 2011 Pierre Savigny de Belay...

Jim’s of Lambertville is proud to offer this artwork. Signed lower left Illustrated "New Hope for American Art" Fred Wagner (1861 - 1940) One of the earliest of the Pennsylvania...

Elisée MACLET (1881-1962) Normandy : The Old Roman Church, c. 1915 Original oil on panel Signed bottom left On board 50 x 65 cm (c. 20 x 26 in) Presented in a golden frame, 69 x 8...

Standing Female Nude Oil on canvas, c. 1910 Signed lower left corner (see photo) Condition: Excellent Housed in a 22K Gold Leaf ...

Signed and dated oil on board landscape by French Post-Impressionist painter Victor Charreton. The piece depicts a view of Lake Chambon, near Mont-Dore - with a view of the blue moun...

Lorenzo Gignous (1862-1958) Bellagio - 1918 Lake Como Oil on canvas in gilded frame Signed and dated lower left: "L.Gignous Bellagio 1918" Size: 75x137 cm (94x156 cm including fram...

Theresa Bernstein Self Portrait, circa 1915 Signed upper right Oil on canvas 22 3/4 x 21 1/4 inches Theresa F. Bernstein was born in Philadelphia in 1895 to cultured, middle-class ...

John White Alexander Tired, circa 1910 Inscribed on the reverse: Mrs Lee Bauer, _____, Inscribed on the reverse: "Tired" Watercolor on paper 16 1/2 x 13 inches John White Alexander...

Frank Nelson Wilcox (American, 1887-1964) The Stonecutter's Evening, c. 1915 Oil on canvas Signed lower right 36 x 27.5 inches 42.25 x 34 inches, framed Frank Nelson Wilcox (October...

This is a very rare painting by Louisville, Kentucky native Goldsborough Cowan Robinson. He was born in 1887 to Charles Bonnycastle Robinson (1853-1928) and his wife Helen Blasdell ...

We are pleased to present a captivating landscape painting by the Swedish artist Helge Kemner. This remarkable piece, created in 1913, offers a serene view that likely captures Romel...

This lovely colourful British Edwardian oil painting is by noted artist Joseph Milner Kite. Painter circa 1910, the location is in Brittany where Milner Kite spent considerable time ...

Louis-Alexandre CABIÉ (Dol-de-Bretagne 1853 - Bordeaux 1939) Houses in Tayac in summer Oil on canvas H. 24 cm; L. 35 cm Signed lower left, dated 1919 Provenance: Private collection,...

This early 20th-century oil painting by French artist Charles Clair (1860-1930) depicts numerous sheep feeding in a stone barn. Hailing from the picturesque rural area of Mars-sur-A...

An outrageously beautiful and modern painting of roses by Georges Chénard-Huché. I sometimes forget just how avant-garde some of the art produced in the first decade of the 20th Cen...

Nicely painted early American impressionist view of Brooklyn and the Hudson River by Martin Petersen (1866 - 1956). Oil on board. Framed. Signed verso.

This painting, with excellent provenance, is a gorgeous British 20th century still life oil painting attributed to circle of Duncan Grant and painted circa 1915. Marion Richardson (...

Beautiful early 19th Century oil painting of Lake Tahoe with Indian encampment on far side of lake by John Englehart (AKA as John Englehardt), (American, 1867-1915). A peaceful lake at dawn reflects snow-capped mountains in background with redwoods and dirt road to lake. At far side of lake, an Indian encampment shows the wisps of a campfire. Signed "Delane" lower right (see further notes below) Many, perhaps all, of these are renderings of scenes in the Lake Tahoe area. Englehart worked under a number of pseudonyms and used variant spellings including Delane, J. Engelhardt, J. Englehardt, J. Englehart, J. Engelhart, C.N. Doughty, C.C. Foucks, C.L. Willis, J.L. Monahan, W.L. Willis, WM. J. Schon, J. Lang, J. Gran, J. Grant, J. Cole, J. Enright, J. Hart, Enblhart, Ed Shroder, C. Williams, Joseph John Engelhart...

William Lee-Hankey, R.E., R.W.S., R.O.I. 1869-1952. Chartres Cathedral. Oil on canvas. 27 x 25. Signed, lower left. Price on the strecther, verso: $1000000. Provenance: Woodrugg Brot...

Signed and dated oil on board riverscape by sought after French post impressionist painter Jacques Martin-Ferrieres. This beautiful pointillist piece, painted in predominantly blue a...

Signed figures in cityscape oil on canvas circa 1910 by Russian-born post impressionist painter Elie Anatole Pavil. The piece, painted in a predominantly blue and yellow tones, depic...

*PLEASE NOTE UK BUYERS WILL ONLY PAY 5% VAT ON THIS PURCHASE. Le port de Sanary by Moïse Kisling (1891-1953) Oil on canvas 60 x 73 cm (23 ⁵/₈ x 28 ³/₄ inches) Signed lower right, Ki...

Work on canvas Beige wooden frame 63 x 85.5 x 6.5 cm

Work on wood sold with frame Total size with frame 33x39 cm Signed Guillaume G. ROGER is an artist born in 1867 and died in 1943. His works have been sold at public auction 120 ti...

‘La Couronne de Marguerite’ by Édouard-Louis-Lucien Cabane (1857-1942). The painting – which depicts a young French beauty wearing a crown of daisies – is signed by the artist and ...

Is there anything more cute than a dog yawning? Especially a gorgeous little Dachshund? I think not. Painted in 1915 and signed G A C, this super little painting is a profile view of a seated conker brown Dachshund. He is caught in the middle of a great big yawn, eyes blissfully closed, ready for a nap on someone's lap. The light from the right is highlighting the dog's head, ear, pink tongue and fore legs, beautifully accentuating its features and anatomy. The palette and brushwork are superb. The background fades downwards from dark to light, making the dog stand out perfectly. This is a superb 1915 oil painting of a lovely little yawning dachshund needing its forever home and perfect for all the dog lovers out there. Signed with initials lower right G.A.C 1915. Provenance. Barnwell Manor, Northamptonshire, Windsor House Antiques...

This superb British exhibited portrait oil painting is by noted artist George Spencer Watson. The influence of Lord Frederick Leighton and the It...

Garden in Autumn, Fishpond by Lucien Pissarro (1863-1944) Oil on canvas 65 x 53.4 cm (25 ⁵/₈ x 21 inches) Signed with the artist's monogram and dated 1915 lower left Provenance: Est...

Signed and titled oil on canvas riverscape by sought after French impressionist painter Pierre Eugene Montezin. The work depicts a view of a river in autumn. The trees that line the ...

Robertson K. Mygatt (American, 1862-1919) Misty Landscape Oil on panel, 7 7/8 x 9 7/8 inches Framed: 14 x 16 inches (approx.) Signed and dated at lower left: "Robertson K. Mygatt 19...

This superb British portrait oil painting is by noted artist George Spencer Watson and is dateable to 1913. The sitter is Lillian Gardiner ( Mrs ...

Condition craquelure on the surface; soiling on the surface, and two scuffs on the surface, one in the center, the other on upper the right side Measures 22x28

Work on canvas

Early American impressionist landscape painting. Framed. Possibly signed verso. Oil on board.