1910s Drawings and Watercolor Paintings

An early work by Charles Burchfield, likely a project for an illustration. A Landscape in pastel colors with a white tree and the text Love and xxx.

Medium: Watercolor on Paper Signature: Signed Lower Left Cover illustration for Life magazine's January 10, 1918 issue, with the caption, "Souvenirs for...

Laleham Road, Ashford by Ludovic-Rodo Pissarro (1878-1952) Ink on paper 25.6 x 20 cm (10 ¹/₈ x 7 ⁷/₈ inches) Inscribed and dated lower right, Ashford 30 dec 1917 This work is accomp...

Published for the serialized Penrod and Sam stories in Cosmopolitan Magazine between 1910 and 1918 Signed Upper Left by the Artist

Medium: Charcoal on Board, Framed Under Glass Signature: Signed and Dated on the Back Sight Size 30.50" x 20.50," Framed 35.50" x 26.50" Great condition, bad glare from glass in thi...

A Study of Human Head and Tiger by Orovida Pissarro (1893-1968) Pencil on paper 25.5 x 20 cm (10 x 7⁷/₈ inches) Executed circa 1917 Artist biography: Orovida Camille Pissarro, Lucie...

Back from India by Ludovic-Rodo Pissarro (1878-1952) Watercolour and ink on paper 21.5 x 18 cm (8 ¹/₂ x 7 ¹/₈ inches) Initialled and titled lower left Executed circa 1918 Provenance...

Anton Faistauer ( 1887-1930) Female Nude standing 1913 Black chalk on paper Signed upper right and dated 1913, Sheet: 18.9 X 13 Inches (48x33cm) framed: 26.5 X 20.75 Provenance: Re...

ARTUR MARKOWICZ 1872-1934 Podgórze (Poland) 1872-1934 Cracow (Polish) Title: Sketchbook II, 1915 Technique: A Sketchbook with 149 Pencil and Colour Pencil Drawings on Paper with Stamp Size: 16.5 x 20.5 cm. / 6.5 x 8.1 in. Additional Information: This is an original sketchbook...

Landscape with Gate by Orovida Pissarro (1893-1968) Pencil on paper 25.7 x 20.4 cm (10 ¹/₈ x 8 inches) Executed circa 1917 Artist biography: Orovida Camille Pissarro, Lucien and Esther Pissarro’s only child, was the first woman in the Pissarro family as well as the first of her generation to become an artist. Born in Epping, England in 1893, she lived and worked predominantly in London where she became a prominent member of several British arts clubs and societies. She first learned to paint in the Impressionist style of her father, but after a brief period of formal study with Walter Sickert in 1913 she renounced formal art schooling. Throughout her career, Orovida always remained outside of any mainstream British art movements. Much to Lucien's disappointment she soon turned away from naturalistic painting and developed her own unusual style combining elements of Japanese, Chinese, Persian and Indian art. Her rejection of Impressionism, which for the Pissarro family had become a way of life, together with the simultaneous decision to drop her famous last name and simply use Orovida as a ‘nom de peintre’, reflected a deep desire for independence and distance from the weight of the family legacy. Orovida's most distinctive and notable works were produced from the period of 1919 to 1939 using her own homemade egg tempera applied in thin, delicate washes to silk, linen or paper and sometimes embellished with brocade borders. These elegant and richly decorative works generally depict Eastern, Asian and African subjects, such as Mongolian horse...

Une Femme Turque by Georges Manzana Pissarro (1871-1961) Charcoal on paper 47 x 30.5 cm (18 ¹/₂ x 12 inches) Signed lower left, manzana Executed circa 1910 This work is accompanied ...

ABEL PANN 1883-1963 Latvia 1883-1963 Jerusalem (Russian/Lithuanian /Israeli) Title: Soldiers in World War I, 1913 Technique: Original Signed Pastel Draw...

Medium: Pastel on Paper Signature: Signed and Dated Lower Left

Medium: Charcoal Drawing Signature: Signed Lower Right Framed 40.00" x 32.00" Bad glare in photos taken. Piece is in perfect condition. Please let me know if you would like to see a...

Signed Lower Left Likely an illustration for a Gerlach Barklow Yard Long Calendar, circa 1915

Medium: Watercolor and Gouache on Board Signature: Signed Lower Right "Skating", American Art Works calendar image, 1917. Original illustration art.

NORMAN AULT 1880 – 1950 ANIGHT MY SHALLOP Pencil & watercolour, signed & dated 1913 Image size: 10 ¼ x 7 ½ inches (26 x 19 cm) This watercolour was used as an an illustration in Mar...

ALEXEJ VON JAWLENSKY 1864-1941 Torzhok 1864 - 1941 Wiesbaden (Russian/German) Title: Seated nude with Face in Profile Sitzender Akt mit Gesicht im Profil, 1912 Technique: Signed Pencil Drawing on Wove Paper Paper size: 50 x 40 cm. / 19.7 x 15.7 in. Additional Information: This drawing is signed in pencil by the artist “A v Jawlensky” at the lower right image. It is dated in pencil “1912”, at the lower left image. Provenance: Galerie Rosenbach, Hanover Sotheby's London, 28 June 1978. Lot 176. Jacqueline Kohler-Krotoschin, Zurich Beurret & Bailly, Basel, 20 June 2018. Lot 107. Exhibited: “Zwischen Tradition und Moderne”. Galerie Rosenbach, Hanover. 1975. Recorded as no. 222, cat. 14 (Illustrated). Literature: 1. Weiler,C. (1970) Alexej Jawlensky...

Walt Lauderback like Dean Cornwell represents the pinnacle of the Golden Age of American Illustration. Based on the signature, this watercolor of a family with dog on boat appears ...

Date: 1914 Medium: Watercolor and Ink on Paper Dimensions: 23.50" x 17.50" Signature: Signed and Dated Lower Right “She trades for a sling shot and uses it...

Date: 1907-1910 Medium: Pastel on Board Dimensions: 22.00" x 28.00" Signature: Signed Lower Right Stuart Travis did many early Vogue magazine covers. Signed with an address on ...

CONRAD FELIXMÜLLER 1897 - 1977 Dresden 1897 - 1977 Berlin (German) Title: Two Men Zwei Männer, 1919 Technique: Monogrammed India Ink Drawing on thin JW Zanders Laid Paper Paper ...

Signed Lower Left

Signed Lower Left "Mr. Bingle." Frontispiece illustration for "Mr. Bingle" by George Barr McCutcheon (New York: Dodd, Mead and Co., 1915.)

Medium: Charcoal on Board Signature: Signed Lower Right

Kellogs advertisement with ad sheet included. Advertisement of a little girl with a bowl of Kellogg's Toasted Corn Flakes cereal. Benjamin Sayre Cory Kilv...

ARTUR MARKOWICZ 1872-1934 Podgórze (Poland) 1872-1934 Cracow (Polish) Title: Sketchbook I, 1915 Technique: A Sketchbooks with 154 Pencil and Colour Pencil Drawings on Paper with Stamp Size: 16.5 x 20.5 cm. / 6.5 x 8.1 in. Additional Information: This is an original sketchbook...

Signature: Initialed Center "Birth and Death of Industry," by Albert W. Atwood and illustrated by Guernsey Moore for the Saturday Evening Post, September 15, 1919.

Illustration to accompany the article “Adventures in Growing Older: Being the Last of a Series of Adventures in Living” by Helen Ring Robinson for Life magazine, published 1915. Hele...

LASZLO BARO MEDNYANSZKY 1852-1919 Beckó, Slovakia 1852-1919 Vienna (Hungarian) Title: Cityscape, 1912 Technique: Original Hand Signed and Dated Pencil Drawing on Paper s...

Signature: Signed Lower Right Cover Illustration for Elias Tobenkin's 'Witte Arrives'. The story of a family of Jewish immigrants, especially of the youngest, Emil, who works his wa...

Jim’s of Lambertville is proud to offer this artwork by: Gershon Benjamin (1899-1985) An American Modernist of portraits, landscapes, still lives, and the urban scene, Gershon Benj...

Jim’s of Lambertville is proud to offer this artwork. Signed and dated lower right. Hayley Lever (1876-1958) Hayley Lever's exceptional career path took him from the shores of ...

Jeune Femme de Dos au Zèbre by Georges Manzana Pissarro (1871 - 1961) Charcoal on paper 66 x 49 cm (26 x 19 ¼ inches) Signed lower right, Manzana Executed circa 1915 This work is ac...

Polo Player Charging Art Sz:11"H x 8"W Frame Sz: 14 3/4"H x 11 3/4"W

Signature: Initialed Lower Right Originally published in Saturday Evening Post December 20th, 1919 issue. Repeated in April 17th, 1920 issue of Saturday Evening Post as an insert de...

Signature: Initialed Lower Center "Writing for Print" by E. W. Howe and illustrated by Guernsey Moore for the Saturday Evening Post, December 6th, 1919.

Signature: Initialed Lower Center "How Shall Europe Be Set On Her Feet," by Frederick S. Bigelow and illustrated by Guernsey Moore for the Saturday Evening Post, August 9th, 1919.

Medium: Pen and Ink on Paper Signature: Unsigned Titled in pencil and inscribed "Blue print-Rush-/March" beneath the composition, identified in a printed label affixed to the frame ...

Medium: Watercolor on Paper Signature: Signed and Dated Lower Left

LASZLO BARO MEDNYANSZKY 1852-1919 Beckó, Slovakia 1852-1919 Vienna (Hungarian) Title: Rooftops, circa 1912 Technique: Original Hand Signed Pencil Drawing on Paper size: ...

Lesser Ury (1861-1931) Auf dem Kanal 1912 pastel on board 49.2 x 34.9 cm signed and dated 'L.Ury.1912.' (lower left) Price: $25,000 USD Provenance: Sale: Christie's London, 30 June 2000, lot 42 Collection of Simone and Jean Tiroche (acquired at the above sale) Thence by descent Sale: Christie's London, 19 June 2013, lot 199 Private collection, UK (acquired from the above sale) Notes: Dr Sibylle Gross has confirmed the authenticity of this work. Lesser Ury, a German-Jewish Impressionist...

Medium: Mixed Media on Paperboard Signature: Signed Lower Right This mixed media art by Jesssie Willcox Smith, entitled “Pease-Porridge Hot, Pease-Porridge Cold,” was executed in 19...

Drawn in 1912 by Picasso, this fine piece of work is a recognizable mark of his unique style. "Homme dans un interiéur jouant de la guitare", 1912 is on cream laid paper, with abstra...

Gisella Loeffler "Going for a Stroll" c. 1919 Gouache on Paper Initialed Framed Size: approx 17 x 13 inches In a village filled with colorful characters, few Taos artists were as colorful as Gisella Loeffler [1900-1977]. From her handmade Austrian clothing and hand-painted furniture to whimsical paintings and letters written in multicolored crayon, joyful color defined the artist, who early on chose to use simply Gisella as her professional name and was known as such to everyone in Taos. 

In spite of her fame there—the Taos News once labeled her a Taos legend—Gisella is rarely included in scholarly discussions of the Taos Art Colony. This oversight is likely due to the naive quality of her work, in which children or childlike adults inhabit a simple, brightly colored world filled with happiness. The macabre, the sad, the tortured, the offensive—all have no place in Gisella’s paintings. Her naive style of work looks very different from that of the better-known early Taos artists. Yet both Gisella’s artwork and her interesting life command attention. Born in Austria, Gisella came to the United States with her family in 1908, settling in St. Louis, MO. After studying art at Washington University in St. Louis, she became a prominent member of the local art community, joining the St. Louis Art Guild as well as the Boston Society of Arts and Crafts. In addition to creating posters for the St. Louis Post Dispatch, Gisella won prizes from the Artists Guild of the Author’s League of America in 1919 and 1920 and from the Kansas City Art Institute in 1923. She also began working in textiles, including batik, to which she would return later in her career.  In the early 1920s Gisella married writer and music critic Edgar Lacher. A difficult character, Lacher may have chafed under Gisella’s success, for the couple divorced in the 1930s. Having seen a local exhibition of paintings by Taos artists Oscar Berninghaus (who was from St. Louis) and Ernest Blumenschein, Gisella felt drawn to Taos, which reminded her of the villages of her native Austria. In 1933 the single mother with two daughters, Undine and Aithra, moved to Taos, where she lived off and on for the rest of her life. She traveled frequently, spending extended periods in Mexico, South America, and California, but always returned to New Mexico. Gisella initially applied an Austro-Hungarian folk-art style to the Indian and Hispanic subjects that she found in New Mexico. In her early work she covered her surfaces with decorative floral and faunal motifs, and her images were flat with no attempt at rendering traditional one-point perspective. Eventually, though, Gisella developed her own style, often using children or childlike figures as subjects. Still, the influence of her native country’s folk art remained evident in her New Mexican, Mexican, and South American images. In 1938 Gisella moved briefly to Los Griegos, north of Albuquerque, to be closer to medical facilities for her eldest daughter, who was suffering from rheumatic fever. Two years later, she moved to California to participate in the war effort, painting camouflage and decals on airplanes for Lockheed. In California, Gisella broadened her range of artistic pursuits. She taught art privately, created illustrations for Scripts Magazine, and did interior design for private homes. She also designed greeting cards, a practice she continued after her return to New Mexico, where she created a series of Christmas cards.  Gisella began illustrating children’s books in 1941 when she collaborated on Franzi and Gizi with author Margery Bianco. Eventually she wrote and illustrated her own book, El Ekeko, in 1964. She also designed ceramics—her Happy Time Dinnerware, marketed by Poppy Trail...

Gisella Loeffler "The Necklace and the Pot" c. 1919 Gouache on Paper Initialed Lower Left Framed Size: approx 15 x 15 inches In a village filled with colorful characters, few Taos artists were as colorful as Gisella Loeffler [1900-1977]. From her handmade Austrian clothing and hand-painted furniture to whimsical paintings and letters written in multicolored crayon, joyful color defined the artist, who early on chose to use simply Gisella as her professional name and was known as such to everyone in Taos. 

In spite of her fame there—the Taos News once labeled her a Taos legend—Gisella is rarely included in scholarly discussions of the Taos Art Colony. This oversight is likely due to the naive quality of her work, in which children or childlike adults inhabit a simple, brightly colored world filled with happiness. The macabre, the sad, the tortured, the offensive—all have no place in Gisella’s paintings. Her naive style of work looks very different from that of the better-known early Taos artists. Yet both Gisella’s artwork and her interesting life command attention. Born in Austria, Gisella came to the United States with her family in 1908, settling in St. Louis, MO. After studying art at Washington University in St. Louis, she became a prominent member of the local art community, joining the St. Louis Art Guild as well as the Boston Society of Arts and Crafts. In addition to creating posters for the St. Louis Post Dispatch, Gisella won prizes from the Artists Guild of the Author’s League of America in 1919 and 1920 and from the Kansas City Art Institute in 1923. She also began working in textiles, including batik, to which she would return later in her career.  In the early 1920s Gisella married writer and music critic Edgar Lacher. A difficult character, Lacher may have chafed under Gisella’s success, for the couple divorced in the 1930s. Having seen a local exhibition of paintings by Taos artists Oscar Berninghaus (who was from St. Louis) and Ernest Blumenschein, Gisella felt drawn to Taos, which reminded her of the villages of her native Austria. In 1933 the single mother with two daughters, Undine and Aithra, moved to Taos, where she lived off and on for the rest of her life. She traveled frequently, spending extended periods in Mexico, South America, and California, but always returned to New Mexico. Gisella initially applied an Austro-Hungarian folk-art style to the Indian and Hispanic subjects that she found in New Mexico. In her early work she covered her surfaces with decorative floral and faunal motifs, and her images were flat with no attempt at rendering traditional one-point perspective. Eventually, though, Gisella developed her own style, often using children or childlike figures as subjects. Still, the influence of her native country’s folk art remained evident in her New Mexican, Mexican, and South American images. In 1938 Gisella moved briefly to Los Griegos, north of Albuquerque, to be closer to medical facilities for her eldest daughter, who was suffering from rheumatic fever. Two years later, she moved to California to participate in the war effort, painting camouflage and decals on airplanes for Lockheed. In California, Gisella broadened her range of artistic pursuits. She taught art privately, created illustrations for Scripts Magazine, and did interior design for private homes. She also designed greeting cards, a practice she continued after her return to New Mexico, where she created a series of Christmas cards.  Gisella began illustrating children’s books in 1941 when she collaborated on Franzi and Gizi with author Margery Bianco. Eventually she wrote and illustrated her own book, El Ekeko, in 1964. She also designed ceramics—her Happy Time Dinnerware, marketed by Poppy Trail...