1910s Drawings and Watercolor Paintings

An original watercolor on paper by American modernist Charles E. Burchfield, created in 1916. This work comes in an archival frame presentation and has been authenticated by the Bur...

Building New York Watercolor on paper, c. 1915 Signed by the artist lower right (see photo) Partial watermark: "MADE IN ENGLAND... LINEN FIBER" Excellent, COLORS FRESH AND VIBRANT Br...

"La sentinelle de Thérèse" (The Sentinel of Therese), two soldiers discussing, bears a handwritten note at the bottom "if you feel like sneezing, you will go under the window of the ...

Part of the ring-wall of the Taj Mahal, Agra, India, 1914 Signed with initials and dated bottom right Black chalk on paper, 45.5 x 53 cm Literature: Ernst Braches en J.F. Heijbro...

Waves 1913 Inscribed in ink and pencil, recto; Extensive notes in pencil, verso Watercolor and graphite on cream wove paper 3.5 x 5.5 inches This work is offered by ClampArt in N...

Frosch Serenade is an original drawing in watercolour and pencil on paper, realized by Ludwig Von Hofmann . Framed. In very good conditions. The artwork represents a nude woman-bu...

"Backyards" Early 20th Century Watercolor Fauvism Social Realism American Scene Note: We have three similar in style works from 1911 available now on 1stDibs. All are framed identic...

The Blue Street - Monochrome Rural Town Landscape in Colored Pencil on Paper Delicate drawing of a rural street by Alle Wijtze "Charles" de Somer (Dutch, 1869-1919). One of the arti...

Art Sz: 15 1/8"H x 10 1/4"W Frame Sz: 16"H x 11"W Godfrey Herbert Brennan (1875-1948) was a British artist w/ Arthur Ackermann & Son Gallery label affixed to verso *craquelure co...

Executed in 1911, this ink and crayon drawing by Oscar Lycke captures the quiet clarity of early summer in northern Sweden. A hillside meadow, dotted with loosely gathered hay, unfol...

ink on paper signed OSC. LYCKE unframed 24 x 34 cm (9.4 x 13.4 in) framed 33.5 x 43.5 cm (13.2 x 17.1 in) Provenance: Acquired directly from Katarina Gunnarsson, who inherited the ...

This exquisitely detailed drawing by Swedish artist Oscar Lycke captures a rustic settlement nestled in the golden highlands of northern Sweden, most likely depicting the traditional...

The priest is an original ink and watercolor drawing realized by Gabriele Galantara in the Early 20th Century. The status of preservation Good. The artwork is depicted skillfully t...

Work on paper Golden wooden frame with glass pane 58 x 72 x 3.5 cm

Georges Antoine Rochegrosse (1859-1938) A zither player carbon pencil on thin paper 8.5 x 3.3 cm In good condition Framed : 35 x 24 cm Provenance: Estate of the artist and by Inher...

Preliminary Drawing for the color aquatint "New Orlaens, Street Gossip" Signed by the artist in pencil lower left Graphite on tracing paper, 1916-1917 An impr...

Rousselet, French School early 20th century Portrait of an officier, 1915 Wax crayon on paper signed "E Rousselet" and dated 1915 lower right 51.5 x 31.5 cm In quite good condition, ...

Georges Antoine Rochegrosse (1859-1938) A zither player carbon pencil on thin paper 8.5 x 3.3 cm In good condition Framed : 35 x 24 cm Provenance: Estate of the artist and by Inher...

Genre: German Expressionist Subject: Woman, Cuban Scene Medium: watercolor paint, ink or pencil Surface: Paper This is hand signed lower right. There is an inscription at bottom e...

Satiric Scene For l’asino is an original drawing in pencil and pen realized in 1910 ca. by Gabriele Galantara. The state of preservation of the artwork is good. The artwork with a ...

Studies for a Female Standing Nude is an original artwork realized by the french artist Ginsbourg in 1918. Original red pencil and pencil on paper. Hand-...

Marius de Zayas was born in Veracruz, Mexico and emigrated to New York with his family in 1907. He joined the art staff of the New York Evening World newspaper and quickly became kno...

Johannes Friedrich Heinrich Hänsch (1875-1945), Red blooming war landscape with dead soldier, 1918. Watercolor and gouache on paper, 15 x 24.5 cm (image), 27 x 37 cm (sheet size / frame), monogrammed and dated "19JH18" at lower left. - Paper slightly darkened About the artwork Despite the relatively small format, the watercolor with an internal frame depicts a panoramic view of a flat landscape stretching to the horizon. As far as the eye can see, the poppies bloom in flaming red. The flowers are not rendered individually, however, creating an almost cohesive red surface. The bright red is interspersed with vegetal green. A complementary contrast that creates an intense color effect. In this color contrast, a white area breaks through from the middle ground, widening towards the foreground and surrounding a brown hole. Next to it, in blue, is the actual protagonist of the painting, the first thing that catches the eye: a dead soldier. Next to him is his helmet, revealing the empty interior. The brown, hollow shape corresponds to the hole in the ground. A shell funnel is surrounded by bright ash, which, like the inverted helmet, becomes a sign of death. The soldier's arms point to the funnel, while the empty helmet paraphrases the calotte of the skull and, like the funnel, thematizes the empty darkness of death. The soldier's body, however, is intact and not - as in Otto Dix's triptych "The War" - a dismembered corpse. Instead, Johannes Hänsch activates the landscape, especially the color, to illustrate a blooming landscape of death that extends from the shell funnel in the foreground to the rising column of smoke on the horizon. If the soldier's body is intact, the tangle of barbed wire emblematically placed over the empty helmet also appears tattered. On the right side of the picture, the barbed wire even seems to stretch its arms to the sky in horror. Against the background of this allegory, the content of the bright red also becomes clear: the landscape is drenched in blood, literally a sea of blood, and the single unknown soldier stands pars pro toto for all those who died on the battlefield. Dying in war is not dying in community, but in solitude. In order to emphasize the isolation in death, Johannes Hänsch has set the blue of the soldier in the axis given by his body in the middle ground of the picture into the red sea. A master of landscape painting, Hänsch succeeds in creating a natural-looking landscape allegory that illustrates the horror and death of war, without depicting the brutality of war itself. This singular 'war memorial' of the unknown soldier is the opposite of heroization and yet the dignity of the deceased soldier is preserved through the integrity of his body. About the artist As the son of the sculptor Adolf Haensch, the young Johannes received his first artistic training in his father's Berlin studio. However, he eventually decided to become a painter, and in 1897 he entered the Berlin Academy of Arts. He initially studied under Paul Vorgang and Eugen Bracht, and was particularly influenced by Bracht's increasingly colourful landscape painting. In 1901 he moved to the class of Friedrich Kallmorgen, with whom he spent several weeks on excursions into nature. In 1905 he became a master pupil of Albert Hertel, who taught him watercolour painting. From 1903 to 1933 he exhibited annually at the Great Berlin Art Exhibition, the exhibitions of the Berlin Artists' Association and the Munich Glaspalast. In 1905 he was awarded the Carl Blechen...

Untitled (Woman by the Windows) Unsigned. Pastel on board, c. 1915 Created while the artist was in Giverny, France Provenance: Gift of the artist to his wife, Mary Hess Buehr by Desc...

This beautiful early 20th-century fan design by American-English artist Cyrus Cuneo ROI (1879-1916) depicts a couple with cherubs in an ornamental garden. Cuneo was an accomplished p...

Original Magazine Illustration for a magazine like Harper's, Vanity Fair, Life, Look, and Judge Shinn was an American realist painter and member of the Ashcan School. He also exhibited with the short-lived group known as "The Eight," Work is framed in an attractive gilt frame Morris Weiss collection...

Watercolour and Chinese ink on paper, signed and dated (upper right), 10cm x 17cm (30cm x 38cm framed). George Barbier was one of the great French illustrators of the early 20th century. Born in Nantes, France on 16 October 1882, Barbier was 29 years old when he mounted his first exhibition in 1911 and was subsequently swept to the forefront of his profession with commissions to design theatre and ballet costumes...

Georges Antoine Rochegrosse (1859-1938) Studies of men, Pencil on paper 23 x 41.5 cm Signed lower right In good condition In a modern mount 41 x 52.5 cm Provenance: Estate of the...

Two young Scottish women wear smart business jackets and fashionable tartan skirts. They are depicted as discerning Art Connoisseurs evaluating a small bronze dancer. The Artist Hele...

FRANK BRANGWYN ( U.S./U.K./Belgium, 1867-1956) watercolor, gouache, and charcoal on paper, "The Scourging of St. Alban," study for the mural painted for Christ's Hospital, West Horsh...

Rousselet, French School early 20th century Portrait of an officier, 1915 Wax crayon on paper signed "E Rousselet" and dated 1915 lower right 51.5 x 31.5 cm In quite good condition, ...

Sterner, Albert (American. 1863-1946). PORTRAIT OF HAROLD STERNER. Charcoal and pastel on paper, not dated, but 1912, as the subject is stated to be aged 17. Signed, lower right. 16 1/2 x 11 1/4 inches, framed to 26 1/8 x 20 1/8 inches. In very good condition. Albert Sterner was born in England, and studied in Paris. He worked as a magazine illustrator, but is best known for his paintings and prints. Harold Sterner (American, 1895-1976). Architect, painter; New York, N.Y. Born 1895, died 1976...

Medium: Pen and Ink on Board Signature: Signed Lower Left Story Illustration- Life Magazine ca. 1915 Seated Man in dressing gown pulling on maid's apron

Cubist influence mixed with soft warm colors is on full display in this charming work. Signed twice. 6 Gallery Tags on verso Sotheby's Kennedy Galleries Barbara Mathes Gallery Sid Deutsch Gallery The Downtown Gallery University of Arizona Art...

A beautiful antique original watercolor of the Dutch landscape. I apologize for the reflections on the glass - this piece comes already framed and behind glass, in an antique wood fr...

Amy Londoner Beach at Atlantic City, circa 1922 Signed lower right Pastel on paper Sight 23 x 18 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...

An original watercolor on paper by American modernist Charles E. Burchfield, created in 1916. This work comes in an archival frame presentation and has been authenticated by the Bur...

"La sentinelle de Thérèse" (The Sentinel of Therese), two soldiers discussing, bears a handwritten note at the bottom "if you feel like sneezing, you will go under the window of the ...

Sketch for L’Asino is an original drawing in China ink, whit lead and watercolor realized by Gabriele Galantara in 06.02.1910 The state of preservation of the artwork is good on age...

Giolitti is a Modern Artwork realized by Gabriele Galantara (Montelupone, 1865 - Rome, 1937) in 1905 ca. Original pen drawing on paper. Mint conditions. Giolitti is a very inte...

"Lake Michigan Bathers" is an original pencil sketch by Francesco Spicuzza. The artist signed the piece in the lower right. On the reverse is a silver gelatin photo print...

Medium: Gouache Painting Signature: Signed Lower Right Contact for exact dimensions.

Bluemner, Oscar (American, born Germany, 1867-1938). NIGHT IN PORTLAND MAINE - ALLEY. Charcoal on paper, 1919. Signed with the artist's monogram "OFB" (Oscar Florianus Bluemner), lo...

Mother Goose is a French fairy tale and later of English nursery rhyme. In this illustration, we see an oversized Goose in a yellow bonnet elevated on a step and engaging with an attentively curious young girl and young boy. Large vases of flowers frame them. Titled in pencil center bottom: "Goosey, Goosey Gander. Where do you wander? Signed Margaret Evans Price...

Baigneuse dans un cours d'eau by Georges Manzana Pissarro (1871-1961) Gouache on paper 49.5 x 36 cm (19 ¹/₂ x 14 ¹/₈ inches) Signed lower left, manzana - Pissarro This work is accom...

Four Balinese, 1910 Signed and dated bottom left Pencil and ink on paper, 15.6 x 23 cm In ebonized frame with white mount. Literature: W.O.J. Nieuwenkamp, Zwerftochten op Bali, Amsterdam, 1910, p. 36 WILLEM OTTO WIJNAND NIEUWENKAMP (1874-1950) Nieuwenkamp was born on July 27th 1874 in Amsterdam. His father owned sailing ships sailing to Indonesia and hearing the stories of the returning captains evoked in the young Nieuwenkamp an obsession for distant lands and adventure. After a failed attempt by his father to have his son make a career in his business, Nieuwenkamp attended the Academy for Decorative Art in Amsterdam. However, he left within one year to go his own way. He was an autodidact and a great experimenter with new techniques, particularly in the art of etching. Nieuwenkamp was a very focused man with the discipline of a scientist tempered by the sensitivity of an artist, a lust for adventure, a natural appreciation for ethnic arts and an enormous ambition to tread new paths. In 1898 he visited Indonesia for the first time and on his second visit in 1903-1904 he went on to Bali and became the first foreign artist to love Bali and the Balinese with a passion. Having secured agreements with several museums in the Netherlands to obtain Balinese art...

An fine period watercolor, dated 1910, an illustration by Charles Edmund Brock (English, 1870-1938). This, from a novel by William Makepeace Thackeray, "The Newcomes, Memoirs of the Most Respectable Family." The novel was published in 1855. Below this image are two characters from "The Newcomes, Chapter XI". Presented in a rustic giltwood frame. Signed "C.E. Brock" and dated "1910" lower left. Image size, 10"H x 7.5"W. Charles Edmund Brock was a widely published English painter, line artist and book illustrator, who signed most of his work C. E. Brock. He received his first book commission at the age of 20. He became very successful, and illustrated books for authors such as Jonathan Swift, William Thackeray, Jane Austen, Charles Dickens, and George Eliot. Brock also contributed pieces to several magazines such as The Quiver, The Strand, and Pearsons...

The paper in some of these photos looks overly textured due to the sharpness of the high-res digital camera. In person, with the human eye, the paper looks reasonably smooth with out blemishes. For this fashion illustration, Georges Lepape paints a stunning abstract pattern for the subject dress that is repeated in her hair. The work represents an early use of metallic paint, with silver metallic in the dress and bronze metallic in the blouse. Lepape's highly detailed drawing becomes more evident the closer you look. It's quite amazing how deftly he rendered facial feature on such a small scale. "Eva" 1918 Gouache, watercolor, and ink on paper Signed and dated, lower right: '1918' Inscribed, verso: "Costume for L'enfantement du mort, (miracle en pourpre, et or.). Devised by Marcel L'Herbier and performed at the Théatre Edouard VII and the Comédie des Champs-Elysées, 1919" Provenance: Ex-collection Lucien...

This watercolour drawing by the French artist Hermine David is signed by the artist in black ink “Hermine David” at the lower left corner. It is also titled and dated in black ink b...

SOLD UNFRAMED The Diggers in Ashford by Ludovic-Rodo Pissarro (1878-1952) Ink on paper 22.6 x 17.3 cm (8 ⅞ x 6 ¾ inches) Signed with Estate stamp lower left Inscribed and dated 191...

Le marché aux bestiaux by Paulémile Pissarro (1884-1972) Watercolour and ink on paper 23.7 x 31.2 cm (9 ³/₈ x 12 ¹/₄ inches) Signed lower right, Paul-Émile Pissarro Executed circa 19...

Odette aux seins nus by Georges Manzana Pissarro (1871 - 1961) Mixed media and gold on paper 31.5 x 42.3 cm (12 ³/₈ x 16 ⁵/₈ inches) Signed lower right, Manzana. Executed circa 1910...

Pen and ink, ink wash and pencil on paper, signed and dated (lower right), 38cm x 29cm (65cm x 55cm framed). This penetrating and wonderfully executed self-portrait, is all the mor...

This Illustration Boudoir style Illustration by Female Illustrator Suzanne Meunier was done on an assignment for a French Postcard. It's a very early ...

Study for the cover of the November 15, 1912 issue of Vogue magazine A figural work depicting lovers figures, the recumbent male costumed as a masked Harlequin clown, the female sea...

Medium: Watercolor and Gouache with Graphite on Paper Mounted Signature: Signed Lower Right "I Should Worry." Cover illustration for Judge magazine, pu...

Watercolour, signed and dated '1912' bottom right Image size: 21 x 14 inches (53.25 x 35.5 cm) Original frame Exhibitions The Fine Arts Society Ernest Arthur Rowe Rowe was a watercolourist specialising in garden scenes. He spent his career responding to the Victorian love of formal gardens with his meticulous paintings of the grounds of the country’s finest historic houses. Ernest Arthur Rowe was born in West Ham, which was then in Essex. He trained first as a lithographer and, in 1884, began studying at the Royal Institute of Painters in Water Colours where he won a President’s Medal in 1885. Initially, Rowe painted landscapes in general, but by the 1890s he was specialising in gardens. During that decade, he joined the London Sketch...

Original Drawing, 1915. Dimensions: 22.5 x 16.1 cm Hand Signed. Certificate of authenticity on photograph by Massimo Carrà (8/05/2002). Figure in un interno is a drawing by Carlo C...

Building New York Watercolor on paper, c. 1915 Signed by the artist lower right (see photo) Partial watermark: "MADE IN ENGLAND... LINEN FIBER" Excellent, COLORS FRESH AND VIBRANT Br...

This evocative pastel painting by Victor Jernbergh, dated 1917, captures the serene and enchanting scene of a river at dusk. The central composition is dominated by a lone pine tree ...

German Artist Adolf Uzarski (1885 - 1970) designed this stunning charcoal drawing lithograph print on paper, depicting two riders in a wild dance or fight. This drawing is part of five lithographs set to illustrate scenes from the 14th Century Tutinama, a Persian series of 52 stories, also known as "Tales of the Parrot." Tales of adventures told by a parrot, night after night, for 52 successive nights, are moralizing tales to persuade its owner not to commit adultery misconduct with a lover in her husband's absence. Hand-written signature on bottom right corner: "Uzarski - 19". The lithograph is ornate with a contemporary wood frame and an acrylic glass protection. Measurements: With frame: 24.75 in wide (63 cm) x 29.75 in high (75.5 cm) Opening view: 16.94 in wide (43 cm) x 22.50 in high (57 cm). We have a set of five different pieces from the same artist. If you are interested in purchasing multiples to form a cluster, kindly inquire. Examine the ambiance image with two artworks. Biography: Adolf Uzarski (1885 - 1970) was a German writer, artist, and illustrator associated with the "New Objectivity Movement." He was born in Ruhrort bei Duisburg (1885) and studied at the Cologne School of Architecture before enrolling in 1906 at the Düsseldorf School of Arts and Crafts. Before World War I, he exhibited in Berlin and Hagen and became a successful commercial artist. While directing the advertising department of the Tietz department store in 1916–17, he produced the portfolio of lithographs, Totentanz (Danse Macabre - Dance of Death). Beginning in 1919, he exhibited with "Das Junge Rheinland" (Young Rhineland), of which he was a founding member. This stylistically diverse group, which included Arthur Kaufmann...

William Zorach, Lithuanian (1887 - 1966) - Woodlands (Double-sided), Year: 1913, Medium: Watercolor on Paper, signed and dated in pencil, with Graphite Drawing on verso, Size: 8.5 ...

An original rare bookplate drawing by Charles Burchfield featuring his most famous motifs of sunflowers.

Medium: Charcoal on Board Signature: Signed "W.B. King" Lower Right The Negotiation. Likely a story illustration for The Saturday Evening Post, circa 1915.