Early 20th Century Figurative Drawings and Watercolors

Chiesa di S. Giovanni A. Maderno is an Artwork realized by the Italian Artist Aurelio Mistruzzi in 1905. Pencil Drawing on paper. Good conditions. Aurelio Mistruzzi (1880-1960) st...

Leaf is an Artwork realized by the Italian Artist Aurelio Mistruzzi in 1905. Pencil Drawing on paper . Good conditions. Aurelio Mistruzzi (1880-1960) studied at the Udine Art Scho...

Jonquils is an Artwork realized by the Italian Artist Aurelio Mistruzzi in 1905. Pencil Drawing on paper . Good conditions. Aurelio Mistruzzi (1880-1960) studied at the Udine Art ...

Leaves is an Artwork realized by the Italian Artist Aurelio Mistruzzi in 1905. Pencil Drawing on paper.  Good conditions. Aurelio Mistruzzi (1880-1960) studied at the Udine Art Sc...

Laurel (Lauro)  is an Artwork realized by the Italian Artist Aurelio Mistruzzi in 1905. Pencil Drawing on paper, titled "Lauro" and stamp "P.M.F. Tiziano" on the left corner  . Goo...

Decorative motif  is an Artwork realized by the Italian Artist Aurelio Mistruzzi in 1905. Pencil Drawing on paper. Good conditions. Aurelio Mistruzzi (1880-1960) studied at the Ud...

Decorative motif  is an Artwork realized by the Italian Artist Aurelio Mistruzzi in 1905. Pencil Drawing on paper. Good conditions. Aurelio Mistruzzi (1880-1960) studied at the Ud...

Decorative Composition is an Artwork realized by the Italian Artist Aurelio Mistruzzi in 1905. Pencil Drawing on paper. Good conditions. Aurelio Mistruzzi (1880-1960) studied at t...

Gustave Poetzsch (1870-1950) Small Village in Switzerland Original charcoals drawing Stamp of the Estate auction sale on the back on linen vellum 31 x 24 cm (c. 12 x 10 in) Very g...

Amy Londoner Musical Conductor, 1922 Signed and dated lower right Pastel on paper Sight 18 x 23 inches Amy Londoner (April 12, 1875 – 1951) was an American painter who exhibited at the 1913 Armory Show. One of the first students of the Henri School of Art in 1909. Prior to the Armory Show of 1913, Amy Londoner and her classmates studied with "Ashcan" painter Robert Henri at the Henri School of Art in New York, N.Y. One notable oil painting, 'The Vase', was painted by both Henri and Londoner. Londoner was born in Lexington, Missouri on April 12, 1875. Her parents were Moses and Rebecca Londoner, who moved to Leadville, Colorado, by 1880. In 1899, Amy took responsibility for her father who had come to Los Angeles from Leadville and had mental issues. By 1900, Amy was living with her parents and sister, Blanche, in the vicinity of Leadville, Denver, Colorado. While little was written about her early life, Denver City directories indicated that nineteenth-century members of the family were merchants, with family ties to New York, N.Y. The family had a male servant. Londoner traveled with her mother to England in 1907 then shortly later, both returned to New York in 1909. Londoner was 34 years old at the time, and, according to standards of the day, should have married and raised a family long before. Instead, she enrolled as one of the first students at the Henri School of Art in 1909. At the Henri School, Londoner established friendships with Carl Sprinchorn (1887-1971), a young Swedish immigrant, and Edith Reynolds (1883-1964), daughter of wealthy industrialist family from Wilkes-Barre, PA. Londoner's correspondence, which often included references to Blanche, listed the sisters' primary address as the Hotel Endicott at 81st Street and Columbus Avenue, NYC. Other correspondence also reached Londoner in the city via Mrs. Theodore Bernstein at 252 West 74th Street; 102 West 73rd Street; and the Independent School of Art at 1947 Broadway. In 1911, Londoner vacationed at the Hotel Trexler in Atlantic City, NJ. As indicated by an undated photograph, Londoner also spent time with Edith Reynolds and Robert Henri at 'The Pines', the Reynolds family estate in Bear Creek, PA. Through her connections with the Henri School, Londoner entered progressive social and professional circles. Henri's admonition, phrased in the vocabulary of his historical time period, that one must become a "man" first and an artist second, attracted both male and female students to classes where development of unique personal styles, tailored to convey individual insights and experiences, was prized above the mastery of standardized, technical skill. Far from being dilettantes, women students at the Henri School were daring individuals willing to challenge tradition. As noted by former student Helen Appleton Read, "it was a mark of defiance,to join the radical Henri group." As Henri offered educational alternatives for women artists, he initiated exhibition opportunities for them as well. Troubled by the exclusion of work by younger artists from annual exhibitions at the National Academy of Design, Henri was instrumental in organizing the no-jury, no-prize Exhibition of Independent Artists in 1910. About half of the 103 artists included in the exhibition were or had been Henri students, while twenty of the twenty-six women exhibiting had studied with Henri. Among the exhibition's 631 pieces, nine were by Amy Londoner, including the notorious 'Lady with a Headache'. Similarly, fourteen of Henri's women students exhibited in the groundbreaking Armory Show of 1913, forming about eight percent of the American exhibitors and one-third of American women exhibitors. Of the nine documented works submitted by Londoner, five were rejected, while four pastels of Atlantic City beach scenes, including 'The Beach Umbrellas' now in the Remington Collection, were displayed. Following Henri's example, Londoner served as an art instructor for younger students at the Modern School, whose only requirement was to genuinely draw what they pleased. The work of dancer Isadora Duncan, another artist devoted to the ideals of a liberal education, was also lauded by the Modern School. Henri, who long admired Duncan and invited members of her troupe to model for his classes, wrote an appreciation of her for the Modern School journal in 1915. She was also the subject of Londoner's pastel Isadora Duncan and the Children: Praise Ye the Lord with Dance. In 1914, Londoner traveled to France to spend summer abroad, living at 99 rue Notre Dames des Champs, Paris, France. As the tenets of European modernism spread throughout the United States, Londoner showed regularly at venues which a new generation of artists considered increasingly passe, including the annual Society of Independent Artists' exhibitions between 1918 and 1934, and the Salons of America exhibition in 1922. Londoner also exhibited at the Morton Gallery, Opportunity Gallery, Leonard Clayton Gallery and Brownell-Lambertson Galleries in NYC. Her painting of a 'Blond Girl' was one of two works included in the College Art Associations Traveling Exhibition of 1929, which toured colleges across the country to broad acclaim. Londoner later in life suffered from illnesses then suffered a stroke which resulted in medical bills significantly mounting over the years that her old friends from the Henri School, including Carl Sprinchorn, Florence Dreyfous, Florence Barley, and Josephine Nivison Hopper, scrambled to raise funds and find suitable long-term care facilities for Londoner. Londoner later joined Reynolds in Bear Creek, PA. Always known for her keen wit, Londoner retained her humor and concern for her works even during her illness, noting that "if anything happens to the Endicott, I guess they will just throw them out." Sprinchorn and Reynolds, however, did not allow this to happen. In 1960, Londoner's paintings 'Amsterdam Avenue at 74th Street' and 'The Builders' were loaned by Reynolds to a show commemorating the Fiftieth Anniversary of the Exhibition of Independent Artists in 1910, presented at the Delaware Art Center, Wilmington, DE. In the late 80's, Francis William Remington, 'Bill Remington', of Bear Creek Village PA, along with his neighbor and artist Frances Anstett Brennan, both had profound admiration for Amy Londoner's art work and accomplishments as a woman who played a significant role in the Ashcan movement. Remington acquired a significant number of Londoner's artwork along with Frances Anstett Brenan that later was part of an exhibition of Londoner's artwork in April 15 of 2007, at the Hope Horn...

Georges CONRAD (1874-1936) Two divine women Original pencil and color pencil drawing Signed with the stamp of atelier On paper 26.5 x 20 cm (c. 10,4 x 7.8 in) Very good condition, ...

Georges CONRAD (1874-1936) Secretary in the Subway Original pencil and color pencils drawing Signed with the stamp of atelier On paper 26.5 x 20 cm (c. 10,4 x 7.8 in) Good conditio...

Arnold Rönnebeck, 1885 – 1947 I’m a Little Blackbird..., c. 1924 Graphite on paper Estate stamp

Eugene Higgins In Foreign Parts, circa 1913 Signed lower right Watercolor on paper Sight 17 x 13 inches Born William Victor Higgins in 1884 to a Shelbyville, Indiana farm family where the only art Victor was aware of as a child was his father's love of flowers. "He loved their forms and their colors, and he tended his garden as a painter might work a canvas." At the age of nine, Victor met a young artist who traveled the Indiana countryside painting advertisements on the sides of barns. He purchased paints and brushes so the young Higgins could practice his own artwork on the inside of his father's barn. He also taught Victor about art museums and especially about the new Chicago Art Institute. This information never left the young artist, and he saved his allowance until his father allowed him at the age of fifteen to attend Chicago Art Institute. He worked a variety of jobs to finance his studies both there and at the Academy of Fine Arts. Victor Higgins traveled to New York in 1908, where he met Robert Henri, who became a significant influence by depicting every-day scenes and stressing the importance of the spirit and sense of place as important factors in painting. Higgins was also greatly affected by the New York Armory Modernism Show of Marsden Hartley in 1913. While Victor Higgins was in Chicago he met former mayor and avid collector Carter H. Harrison who was to prove instrumental in the growth of Higgins career for several years. Harrison agreed to support Higgins for four years to go to Paris and Munich and paint and study in the great museums in Europe. While at the Academie de la Grande Chaumier in Paris (1910-1914) he met Walter Ufer, who was another Chicago artist being sponsored by Carter Harrison. This meeting was not only a life-long friendship, but the beginning of a great change in the way Higgins looked at "American" art. He decided that America needed it's own authentic style rather than the 19th Century classic style he was taught in Europe. Very soon after returning to Chicago in 1914, Harrison sent him and Walter Ufer on a painting trip to Taos, New Mexico for a year in exchange for paintings. Higgins made other similar agreements and was able to support himself with his painting. This trip was a life-changing experience and introduced Higgins to the authentic America he had been looking for. In 1914 Taos was an isolated village about twelve hours from Santa Fe on an impossible dirt road. But the colorful life of the pueblo people and the natural beauty drew a collection of artists who became the Taos art colony, from which the Taos Society of Artists was founded in 1915. Victor Higgins became a permanent resident within a year of his arrival and a member of the society in 1917, exhibiting with Jane Peterson in 1925 and with Wayman Adams and Janet Scudder in 1927. The members would travel around the country introducing the Southwest scenes with great success. He remained a member until the Society's dissolution in 1927. Higgins was the youngest member of the group of seven. Other members were Joseph Henry Sharp, Bert Phillips...

Albert Marquet Boats in Tunisia, ca. 1920 Ink on paper 7 7/10 × 5 3/10 in l 19.5 × 13.5 cm Hand-signed by the monogram lower right

This early 20th-century watercolour by British artist Henry Gillard Glindoni (1852-1913) depicts a passing encounter between two old friends. “And perhaps another game of cards?” he...

Lucien Boulier 1882-1963 Lucien Boulier was born in Verdun, France in 1882. He was a student of Jean Léon Gérôme. He exhibited at the Salon d’Automne from...

Animals' Prisoner is a modern artwork by  Gabriele Galantara (1865-1937) in the early 20th Century. The artwork is a China ink on paper. Including a Passepartout. Good conditions ...

Signed and dated by the artist in ink, lower right Annotated in ink lower left: 3. Plate 15. - Lesson 3 A very early student work. From the Artist's estate

Magic Tears is a modern artwork by  Gabriele Galantara (1865-1937) in the early 20th century. The artwork has been realized in China ink, tempera and watercolor on cardboard. Good ...

Portrait of a Man is an artwork realized by the french Artist Jacqueline Barbet (1902-1975), in 1944. Drawing Charcoal on paper. Hand-signed and numbered in pencil in Roman numerals...

Signed and dated by the artist in ink, lower right Annotated in ink lower left: Plate 19. Sec. 1. Lesson 4 Note: A very early student work by Dehn Provenance: Estate of the Artist

The Posing Nude is a drawing in pencil on ivory-colored paper realized by An anonymous artist in the early 20th century. Good conditions with some foxing. The artwork is represent...

The Posing Nude is an original Drawing in pencil on ivory-colored paper realized by An anonymous artist in the early 20th century. Good conditions with some foxing. The artwork is ...

The Posing Nude is an original Drawing in pencil on ivory-colored paper realized by an anonymous artist in the early 20th century. Good conditions with some foxing. The artwork is ...

The Posing Nude  from Back is an original Drawing in pencil on ivory-colored paper realized by an anonymous artist in the early 20th century. Good conditions with some foxing. The ...

Lovers is an ink drawing on paper realized in the early 20th Century by Louis Anquetin (1861-1932). Hand-signed on the lower. Good condition. Louis Émile Anquetin (26 January 1861...

Nude is an ink drawing on paper realized in the early 20th Century by Louis Anquetin (1861-1932). Hand-signed on the lower. Good condition. Louis Émile Anquetin (26 January 1861 –...

The Angel is an ink drawing on paper realized in the early 20th Century by Louis Anquetin (1861-1932). Hand-signed on the lower. Good condition with slight foxing. Louis Émile Anq...

The Bird e is an ink drawing on paper realized in the early 20th Century by Louis Anquetin (1861-1932). Hand-signed on the lower. Good condition with slight foxing. Louis Émile An...

Nude and Portrait is an ink drawing on paper realized in the early 20th Century by Louis Anquetin (1861-1932). Hand-signed on the lower. Good condition. Louis Émile Anquetin (26 J...

Lovers is an ink and pencil drawing on paper realized in the early 20th Century by Louis Anquetin (1861-1932). Hand-signed on the lower. Good condition. Louis Émile Anquetin (26 J...

Signed by the artist in ink lower right Preliminary sketch in reverse for the 1928 lithograph "Cornucopia," part of Dehn's Paris Lithographs portfolio An unsigned sketch of tw...

Figure is a drawing realized n the early 20th Century and attributed to Augusto Monari. Good conditions but aged. The artwork is depicted through soft strokes and perfect hatchings.

Portrait of Christ is an artwork realized in the early 20th century and attributed to Augusto Monari. Pencil drawing on ivory-colored paper, gl...

Nudes is an artwork realized in the early 20th century and attributed to Augusto Monari. Pencil drawing on ivory-colored paper. Not signed. This artwork represents two nude women...

Portrait is an original drawing in pen realized in the Early 20th Century and attributed to Augusto Monari. Good conditions. The artwork is depicted by perfect hatching with stron...

Stage Actors is an original pen and pencil drawing realized in the early 20th century and attributed to Augusto Monari. Good condition, no signature. Little drawing on a yellowed p...

Springtime is an Ink and Watercolor realized by Pierre Georges Jeanniot in 1905, for the magazine "Rire". Good condition on a yllowed paper. Stamp signed on the lower riht corner. ...

Pair of classical drawings representing Apollo de Belvedere And Creugante . Classical mythologic subjects. Timeless decoration for your interior . Black pencil on paper . Signe...

Cityscape is a pencilDrawing realized by Mino Maccari (1924-1989) in 1927. Hand signed and dated on the lower margin. Good condition on a yellowed paper. Mino Maccari (Siena, 1924...

Portrait is a Drawing in pencil realized by Augusto Monari in the Early-20th Century. Hand-signed on the lower. Good conditions, including a creamy-c...

Peasant is a Drawing in pencil realized by Augusto Monari in the Early-20th Century. Hand-signed on the lower. Good conditions, including an ivory-co...

Portrait is a Drawing in pencil realized by Augusto Monari in the Early-20th Century. Hand-signed on the lower. Good conditions, including a creamy-co...

Portrait is a Drawing in pastel realized by Augusto Monari in the Early-20th Century. Hand-signed on the lower. Good conditions, including a creamy-co...

Woman is a Drawing in pencil realized by Augusto Monari in the Early-20th Century. Hand-signed on the lower. Good conditions, including a creamy-colo...

Peasant is a Drawing in pencil realized by Augusto Monari in the Early-20th Century. Hand-signed on the lower. Good conditions, including a ivory-colored Passepartout. The artwor...

Portrait is a Drawing in pencil realized by Augusto Monari in the Early-20th Century. Hand-signed on the lower. Good conditions, including a creamy-colored Passepartout. The artw...

Portraits is a Drawing in pencil realized by Augusto Monari in the Early-20th Century. Hand-signed on the lower. Good conditions, including a creamy-colored Passepartout. The art...

The Baby is a Drawing in pencil, watercolor, and white lead realized by Augusto Monari in the Early-20th Century. Hand-signed on the lower. Good conditions, including a ...

Nude is a Drawing in pencil realized by Augusto Monari in the Early-20th Century. Good conditions, including a creamy-colored Passepartout. The artwork is depicted through confiden...

Portrait is a pencil drawing realized by Augusto Monari in the Early-20th Century. Good conditions. The artwork is depicted through confident strokes ...

Portrait is a Drawing in pencil realized by Augusto Monari in the Early-20th Century. Good conditions. The artwork is depicted through confident stro...

Landscape is a pen cil drawing realized by Augusto Monari in the Early-20th Century. Signed lower right. Good conditions. The artwork is depicted th...

The Pope is a modern artwork realized by Bruno Angoletta for "L'Asino" Magazine, and there published. Ref. Pioggerella Elettorale 1909 Asino XVIII n. 8 21/02/1909. Hand-signed in ...

The Woman is an artwork realized by Gabriele Galantara in 1905 Century. Drawing in tempera, ink, and watercolor. Monogrammed RL. The status of preservation is good, aged. Gabriel...

Profile of Woman is a Charcoal drawing on paper realized by an unkown artist in the early 20th Century. Hand-signed on the lower, illegible. Good conditions with some foxing.

Marsh, Reginald. ACROBATS. Ink, gouache, and pastel on paper, 1922. Signed, lower right. c. 18 1/2 x 14 1/2 inches; framed to 28 x 23 1/2 x 1 1/4 inches. In excellent condition.