Early 20th Century Drawings and Watercolor Paintings

Medium: Charcoal on Paper Dimensions: 20.00" x 24.50" Signature: Signed Lower Left

Temple of Isis Philae (verso) Dpouoble sided watercolor, 1902 Signed on front lower left: "Henry Bacon" and dated 1902 Note: The Temple of Isis is located on the Island of Philae at ...

eon Kroll Original Graphite Portrait of a Young Man c.1940 Outstanding portrait by listed American artist Leon Kroll Graphite on paper Dimensions 12" wide x 18" high The vintage ...

French School circa 1900 Studies of characters, four drawings in a same frame Pencil on paper Sizes of the drawings (from left to right and from top to bottom) A couple at a table ...

Black chalk heightened with white chalk on blue paper, 19cm x 15cm, (32cm x 27cm framed). First exhibiting at the Royal Academy in 1904, Philpot was elected as an Academician in 1923. Like many artists of his generation, he enjoyed a comfortable income from portraiture, which enabled him to paint less commercially successful and perhaps more personal subjects. His interest in the male nude and portraits of...

A charming watercolour landscape by artist F. Vincent, depicting a church by the riverside. Signed and dated to the lower right. Presented in a elaborate shabby chic cream frame, with decorative...

An initialed, Turn-of-the-century pencil drawing of a seated woman by listed, multi talented French artist, Louis Valtat (1869-1952). Titled on the reverse Élégante Assise (Seated El...

ZIG [Louis Gaudin]. La Mariee. Costume design for the entertainer Mistinguette for her production at the Moulin Rouge in Paris. Watercolor, Signed Zig. Ca 19...

Art Sz: 12 3/4"H x 21 1/2"W Frame Sz: 18 3/4"H x 27 3/4"W Henry William Standing (British,1894 -1931)

Anonymous King's College Cambridge with the River Cam and Bridge to foreground 51x63.5cm Watercolour c. 1920s A fine, and large, view of King's College. The...

Costume for Aida is a painting in tempera and watercolor on brownish paper realized in 1920 ca. by an Anonymous Italian artist of the early 20th Century. In very good condition. Th...

A delightful pastel study depicting the adoration of the shepherds at the birth of Jesus christ. Unsigned. Titled and dated verso. Well presented in a white frame and arched mount. O...

Rudolf SCHLICHTER (1890-1955) Seated man ; head studies India ink on paper Signed "R. Schlichter" at the bottom right 59 x 46 cm Missing at the top l...

Henry Ottmann (1877-1927) Bust-length portrait of a woman signed lower right pastel on paper 53 x 43 cm Framed 74 x 64 cm This bust portrait of a woman shows us another aspect o...

Young Lady in Profile (Dorothy Gibson) Graphite on paper, c. 1915 Signed lower right (see photo). The sitter for this drawing, along with a huge number of Harrison Fisher’s works, i...

Signed in pencil lower right recto Provenance: Elizabeth Carroll Shearer (1924-2014), Chesterland, Ohio, former President and Trustee of the Print Club of Cleveland which is an affiliate of the Cleveland Museum of Art. Her collectors mark of initials and a Sealyham Terrier...

Medium: Pencil, Charcoal and Orange Wash on Paper Signature: Signed "O'Neill" Upper Left Sight Size 24.00" x 19.50", Framed 35.00" x 29.00" Illustration for the poem "Baby's First Christmas" by Margaret G. Hayes, published in Harper's Bazar, December 1910. ​​​​​​​The artwork is also reproduced within Walt Reed's The Illustrator in America, 1860-2000 (Society of Illustrators, 2001) on page 154. Exhibited: Brandywine River...

Ancient City is a drawing realized in the Early 20th Century by an unknown french master. Pencil on paper. In good conditions. The artwork is represented through deft strokes mast...

Water Bearers in the Desert is an artwork realized by Edouard Dufeu (1836-1900) during early 20th century. Good condition. Pencil and ink technique. Edouard Dufeu coming from a fa...

PEDRO J. LEMOS (American, 1882-1954) FOOTBALL STATUE THROUGH THE TREES - UC BERKELEY 1921 - THE ORIGINAL YEARBOOK PASTEL Pastel drawing on colored paper 12 5/8 x 9 5/8 inches. Full signature in pastel, Pedro J Lemos. In good condition. A few bits of old tape at the corners, verso. THE 1921 UC BERKELEY YEARBOOK CONTAINED SEVERAL LEMOS PASTEL REPRODUCTIONS. Pedro de Lemos was an important proponent of the Arts and Crafts Movement. He produced some of the finest color woodcuts of the period as well as fine pastels, paintings and architecture. He was also an instructor and director of the Stanford University Art Department, From Wikipedia: Pedro Joseph de Lemos (25 May 1882 – 5 December 1954) was an American painter, printmaker, architect, illustrator, writer, lecturer, museum director and art educator in the San Francisco Bay Area. Prior to about 1930 he used the simpler name Pedro Lemos or Pedro J. Lemos; between 1931 and 1933 he changed the family name to de Lemos, believing that he was related to the Count de Lemos (1576–1622), patron of Miguel de Cervantes. Much of his work was influenced by traditional Japanese woodblock printing and the Arts and Crafts Movement. He became prominent in the field of art education, and he designed several unusual buildings in Palo Alto and Carmel-by-the-Sea, California..... In 1911 he began teaching decorative design at the San Francisco Institute of Art.[8] In late 1912 he was one of the founders the California Society of Etchers, and the following year he started offering the Institute's first classes in printmaking. Some of his students, such as William S. Rice and John W. Winkler (1894-1979), went on to achieve significant fame as printmakers. He helped organize the California print...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) set of 2 watercolour on paper, unframed left painting : 5.75 x 5 inches, signed bottom left right painting: 5....

Rudolf Schlichter (1890-1955) Man Pencil on paper Signed "R. Schlichter" on the lower right Study of a man leaning forward on the back 59 x 44 cm Sma...

Lofty pair of Anglo Indian watercolors on paper of a man and a woman riding elephants in fancy saddles or howdahs. Presented under glass in a mahogany frame.

'Waiting for Supper' Wire Fox terrier puppies English School, indistinctly signed with monogram dated 1936 watercolour painting on artist paper, framed Glass covering framed: 13.5 x ...

A fine and delicate watercolour painting by John Wilson Hepple (1886-1939), depicting a rocky river scene with mountains in the distance. Signed and date...

A fine early 20th century watercolour depicting inquisitive cattle grazing by the river. The pastoral landscape looks luscious and green, situated behind a long manor farm...

landscape, fishing, England, 1910,pastel,green,blue Edouard CHAPPEL (Anversa, 1859 – Cagnes-sur-Mer, 1946) MUSEI BELGIO Anversa Musée Royal des Beaux-Arts FRANCIA Paris Musée d...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) set of 3 watercolour on paper, unframed Left: 8.25 x 5.5 inches, signed lower right Top Right: 3.5 x 5.25 inch...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Reginald Hallward (1858 - 1948) Design for a church wall painting (1904) Penci...

Provenance The artist; Collection of Henry Dubin, Philadelphia until 2018 Exhibitions Avery Galleries, Bryn Mawr, Pennsylvania, Living Color Modern Life: Hugh Henry Breckenridge and...

Alfred Arthur Brunel de Neuville, French (1879 - 1907) "Panier de Peches" Oil on canvas. Signed lower right side.

Watercolor by British artist Noel Leaver (1889-1951). Beautiful Orientalist subject in excellent condition - framed. Measures: 11" H x 15" W. Frame: 19 3/4...

MELA MUTER 1876-1967 (Maria Melania Muter) Warsaw 1876 - 1967 Paris (Polish) Title: Port in Saint Tropez, 1920 Technique: Signed Watercolour and Ink on Thick Textured Card Size: ...

Twentieth Century Landscape with Nude - Cecilia in the grounds of a Villa at Lake Orta in Italy. Original Signed Watercolour of one of his most favourite Models. I have long since ...

French School, dated 1907 Portrait of a Young Girl with a White Headscarf Charcoal on laid paper with watermark "CF" in a shield with caduceus (Canson Frères) 45 × 35 cm Signed and d...

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...

"Nymph in the Forest" watercolor on paper signed Gaston La Touche. Gaston de La Touche (1854-1913), also known as Gaston La Touche, was a French painter, engraver, illustrator and s...

A fantastic original painting on paper by an unknown but highly talented artist. This work is signed lower right what appears to be Chappell, although the exact artist has not been ...

A delicate early 20th-century watercolour study of a monastery by Anton Abraham van Anrooy (1870-1949). The artist captures the serene beauty of the sun-drenched courtyard, with its ...

Early Twentieth Century Impressionist Pastel Drawing of a Landscape depicting a Canal, Landscape and Buildings at Leydon Holland. A wonderful Oil pastel drawing by the artist Terr...

Isadora Duncan Graphite with grey wash on paper mounted to cardstock Signed and dated in pencil lower right (see photo) Provenance: Charlotte Bergman, f...

Edward Dufner (1872 - 1957) Monhegan Island, Maine Watercolor on paper Sight 16 x 20 inches Signed lower right With a long-time career as an art teacher and painter of both 'light' and 'dark', Edward Dufner was one of the first students of the Buffalo Fine Arts Academy to earn an Albright Scholarship to study painting in New York. In Buffalo, he had exchanged odd job work for drawing lessons from architect Charles Sumner. He also earned money as an illustrator of a German-language newspaper, and in 1890 took lessons from George Bridgman at the Buffalo Fine Arts Academy. In 1893, using his scholarship, Dufner moved to Manhattan and enrolled at the Art Students League where he studied with Henry Siddons Mowbray, figure painter and muralist. He also did illustration work for Life, Harper's and Scribner's magazines. Five years later, in 1898, Dufner went to Paris where he studied at the Academy Julian with Jean-Paul Laurens and privately with James McNeill Whistler. Verification of this relationship, which has been debated by art scholars, comes from researcher Nancy Turk who located at the Smithsonian Institution two 1927 interviews given by Dufner. Turk wrote that Dufner "talks in detail about Whistler, about how he prepared his canvasas and about numerous pieces he painted. . . A great read, the interview puts to bed" the ongoing confusion about whether or not he studied with Whistler. During his time in France, Dufner summered in the south at Le Pouleu with artists Richard Emil Miller...

ARTHUR WARDLE (1864-1949) Study of a Water Hyacinth Signed Watercolour and bodycolour on linen, framed 33.5 by 23 cm., 13 ½ by 9 in. (frame size 52.5 by 43 cm., 21 ¾ by 17 in.) A...

Willem Deiperink-Langereis (American, 1889-1966) Signed: Willem Deiperink-Langereis (Lower, Right) " The Peacock and The Skunk ", c. 1915-1920 Pen and Ink with Watercolor 9 1/2" ...

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...

May Mott Smith (1879 - 1952) A Martinique Native in French Guiana, circa 1925 Watercolor on paper 24 x 20 inches Signed lower right; titled on the reverse “Martinique Native” is an ...

Early 20th Century River Landscape Watercolor Painting Beautiful river landscape. The river flows through a mountain forest setting. Watercolor dimensions 23" wide x 16" high The ...

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...

André LHOTE (1885-1962) Two couple of horses, c. 1920 Original ink and pencil drawing On paper 20 x 26 cm (c. 8 x 10.5 inch) In black wood frame 34 x 40 cm (c. 14 x 16 inch) Ms. Do...

Poupee Espagnole. Costume design for the entertainer Mistinguette for her production at the Moulin Rouge in Paris. Watercolor. Signed Zig. Ca 1928, . Framed. Provenance: Nephew of M...

Studio stamp of Gromaire, lower center Provenance: Atelier of the artist Notes: A typical Normandy beach scene, perhaps near Deauville or Trouville.

Artist: Guy Dollian (1887 - 1964) Title: L'Escalier Date: 1926 Medium: Watercolor on paper, signed and dated lower left Image Size: 18.5 x 11.5 inches Frame Size: 27 x 19.5 inches

1905 Pastel on paper mounted on canvas Signed lower left “L. Lhermitte”

Cecil Charles Windsor Aldin. English ( b.1870 - d.1935 ). Trotting Horses Harnessed To A Lightweight Four Wheel Cart Trap. Chalk On Paper. Signed Lower Right. Image size 19.3 inche...

HENRY ARTHUR PAYNE, RWS (1868-1940) Evening, Brimscombe Hill Signed and indistinctly dated l.l..: HENRY A PAYNE Watercolour Framed 20.5 by 24.5 cm.; 8 by 9 ...

Christopher ' Kit ' Wood 1901-1930, was an English painter who briefly attended Liverpool University to study architecture but pursued an artistic career. He trained at the Academy J...

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, ...

The present work exhibits a storytelling and illustration art style created before the mass communications age. It was rendered in a flat linear style by the highly talented Maginel ...

Victor Prouvé (1858-1943) Study of a buffalo Pencil on paper 32,5 x 50 cm Provenance : Marianne Prouvé-Georges (1905-1994)’s collection, artist’s daughter Sold without frame A major...

Early 20th Century French gouache and watercolour on paper of a fisherman by Louis Henri Magnat, The painting is signed bottom right and presented in a carved and gilt wood frame und...