Early 20th Century Drawings and Watercolor Paintings

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...

Woman is a drawing realized by Luis Emile Adan in 1910s-20s. Pencil on paper. Good conditions with slight foxing. The artwork is realized through deft expressive strokes.

Young boy at Loemboeng, 1918 Signed with initials and dated, bottom right Black chalk on paper, 25.7 x 10 cm Literature: W.O.J. Nieuwenkamp, Zwerftochten door Timor en Onderhoori...

Artist: John Arthur Dees (English, 1876-1959) Title: "In Cambridgeshire" *Signed by Dees lower right Circa: 1915 Medium: Original Watercolor on paper Framing: Not framed, but beautifully matted with hand decorated French matting...

Untitled Pastel on paper, 1922 Initialed and dated lower right (see photo) Exhibited: Francis Nauman, Leon Kelly: Draftsman Extraordinaire, New York, April 4 - May 23, 2014. Provenance: Estate of the Artist The Orange Chicken...

Sketch is a drawing realized by Jean Bernardin the Early-20th Century. Pencil on ivory-colored paper. Good conditions with slight foxing. The artwork is realized through deft expr...

Henri Edmond Cross Woman sitting, ca. 1910 Pencil on paper 5 1/10 × 3 9/10 in l 13 × 10 cm Frame included - 9 x 7 in l 23 x 18 cm Stamped 'HEC' lower right Condition: Excellent cond...

Set of three perspectives of the iconic Mount Fuji painted with gouache, now under glass, in bold colors with architecture, bridges, boats, people, and trees all with the same confid...

Finger of Power is a modern artwork by Gabriele Galantara (1865-1937) in the early 20th century. The artwork was realized in mixed media on paper. Good conditions and aged. Gabrie...

Carolyn (Arms raised to her head) Graphite on laid paper Unsigned Provenance: Estate of the artist by descent to his Grandson Depicts the artist's wife Carolyn. Most probably created in Nashville, Indiana Related to the painting entitled "Maiden" in the Haan Museum, Lafayette, IN (see photo) Condition: Excellent Archival framing with TruVue Conservation Clear glass Image size: 10 3/4 x 8 1/2 inches Frame size: 18 7/8 x 16 inches Louis Oscar Griffith (1875-1956) Born in Greencastle, Indiana, Griffith grew up in Dallas, Texas where Texas artist and teacher Charles Franklin Reaugh recognized young “Griff’s” artistic talent. At age 18, Griffith moved to St. Louis where he attended the St. Louis School of Fine Arts. In 1895, he moved to Chicago where he worked making color prints for the firm Barnes and Crosby. He attended the Art Institute of Chicago and during a brief stay in New York, the National Academy of Design. A successful commercial artist with a studio in the Chicago Loop, Griffith was a member and president of the Chicago Palette and Chisel Club. He made his first trip to Brown County...

Unknown Artist (Bowman) (early twentieth century) Girl with Roses Watercolor on paper, 5 x 8 inches Framed: 13 x 16 inches Signed and dated at lower right: “Bowman/.06”

Painter and etcher Sears Gallagher was born in Boston in 1869. Gallagher studied in Boston with Samuel Peter Rolt Triscott in the 1880s as well as at the Parisian Académie Julian in ...

Departure of Soldiers is a drawing realized by Paul Emile Colin in the Early 20th Century. Carbon Pencil on ivory-colored paper Hand-signed and. dated on the lower. Good condition...

Soldiers Preparation is a drawing realized by Paul Emile Colin in the Early 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions with slight fo...

Soldiers is a drawing realized by Paul Emile Colin in the Early 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions with slight foxing. The a...

Soldiers Campsite is a drawing realized by Paul Emile Colin in the Early 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions with slight foxin...

Soldiers In the Tent is a drawing realized by Paul Emile Colin in the Early 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions with slight fo...

Soldiers in the lines is a drawing realized by Paul Emile Colin in the Early 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions with slight f...

Soldiers Resting is an drawing realized by Paul Emile Colin in the 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions with slight foxing. Th...

Soldiers Paraglider is a drawing realized by Paul Emile Colin in the Early 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions with slight fox...

Soldiers in the Camp is a drawing realized by Paul Emile Colin in the Early 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions with slight fo...

Soldiers  in the Campsite is an original drawing realized by Paul Emile Colin in the Early 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions...

Soldiers is a drawing realized by  Paul Emile Colin in the Early 20th Century. Pencil on ivory colored paper Stamped on the lower. Good conditions with slight foxing. The artwork...

Woman on a Patio Pastel on paper, c. 1915 Unsigned Provenance: Gift of the artist to his wife, Mary Hess Buehr By decent to the artist's niece, daughter of Will Hess David Saltzman Robert Henry Adams Fine Art Thomas French Fine Art Ronald C. Sloter, Columbus, Ohio Columbus College of Art and Design (de-accessed) Exhibited at Robert Henry Adams Fine Art, 1994, the first exhibition at the North Franklin Street Gallery. One of the early Chicago artists to adopt Impressionism, Karl Buehr became a figure and landscape painter. As a figure painter, his specialty became "gorgeously colored images of young women on porches overlooking brilliant summertime gardens." (Kennedy 98) His later work often showed a female figure with serious expression engaging the viewer with a direct stare. In his landscapes, he was noted for his strong coloration. In a December 1896 student exhibition at the Art Institute, a reviewer for the "Chicago Times Herald" described Buehr's landscapes as "blithe and joyous" with "country roads brilliant in sunlight . . . fields rich in summer verdure, under soft skies painted in a high, musical key." (Gerdts 68) Buehr was born as one of seven sons to a prosperous German family who immigrated to America and settled in Chicago in 1869. He was first exposed to his signature style of Impressionism in 1888 when he enrolled in night classes at the Art Institute while working in the shipping department of a lithographic firm near the Institute. He remained a student there until 1897 and was recognized in a "Chicago Times Herald" editorial of June 13, 1897 as one of the Institute's most outstanding pupils. The next year, his art career was temporarily put on hold when he briefly enlisted with the U.S. Army in the Spanish American War. In 1899, he resumed his art studies, this time with Frank Duveneck. He exhibited a painting at the Paris Salon of 1900. In 1905, thanks to a wealthy Chicago patron, Buehr and his family moved to France. They spent the following year in Taormina, Sicily, and spent time in Venice as well. In Paris, Buehr studied at the Academy Julian with Raphael Collin for two years. Then he went to England, enrolling in the London Art School but had returned to Paris by 1908. During this time, he began painting at Giverny, the home of Impressionist leader Claude Monet (1840-1926, and by 1912, Buehr was listing that village as his home address. One of his good friends and associates at Giverny was Frederick Frieseke. One of Buehr's paintings from that time, "News from Home", was exhibited in 1913 at the French Salon in Paris and at the annual exhibit of the Chicago Art Institute. It shows a woman in floral dress sitting on a porch with a background with potted flowers and lush greenery background. Of his painting done at Giverny, Buehr wrote in 1912 to William Macbeth of Macbeth Galleries in New York: "My figures painted in and around Giverny are costumed and in appropriate out door settings." (Gerdts 68) In 1914, he returned to the United States and took a teaching position in Chicago at the Art Institute, which he held for the remainder of his life. He was married to Mary Hess, a painter of miniatures and decorative works. In 1928-29, he was a guest artist at Stanford University. Courtesy, AskArt “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...

The Road is a drawing realized by Paul Emile Colin in the early 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions with slight foxing. The a...

Landscape is a drawing realized by Paul Emile Colin in the Early 20th Century. Carbon Pencil on ivory-colored paper Stamped on the lower. Good conditions with slight foxing. The ...

Painter and teacher Jesse France was born in Ohio, and lived and painted along the eastern seaboard in New York City, New Haven, CT and on Higgins Beach, Maine. After studying art at...

Gustave Poetzsch (1870-1950) Blond Hair Girl Original charcoals and pencil drawing Signed on the back With an pencil drawing of a landscape on the back (probably a study for the i...

Gustave Poetzsch (1870-1950) Young Girl with Pink Ribbon Original charcoals and pencil drawing Stamp of the Estate auction sale on the back On linen vellum 26 x 20 cm (c. 10.5 x 8 ...

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...

Gustave Poetzsch (1870-1950) Baby Boy Original charcoals and pencil drawing Stamp of the Estate auction sale on the back On grey vellum 22 x 26 cm (c. 9 x 1...

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...

Female Nude Study Graphite and crayon on wove paper, c. 1928 Signed with the Estate stamp "B" (see photo) Provenance: Estate of the Artist Edward Sommer (his so...

Gustave Poetzsch (1870-1950) Boy with Long Blond Hair, c. 1900 Original charcoals and pencil drawing Stamp of the Estate auction sale on the back On cream vellum 23.5 x 31 cm (c. 9...

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...

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

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...

Gustave Poetzsch (1870-1950) Lady Wearing a Yellow Hat Original charcoals drawing Signed bottom left on tinted linen watermarked paper 24 x 31 cm (c. 9 x ...

Gustave Poetzsch (1870-1950) Study of a Young Boy, 1903 Original sanguine charcoal drawing Signed bottom right on tinted paper 30 x 23 cm (c. 19 x 13 in) Stamp of the Estate auctio...

Gustave Poetzsch (1870-1950) Two studies of Woman Profile Original sanguine charcoal drawing Stamp of the Estate auction sale on the back on linen paper 25 x 40 cm (c. 10 x 16 in) ...

Gustave Poetzsch (1870-1950) Peaceful Woman, 1929 Original charcoals drawing Signed bottom right on tinted linen paper 43 x 31 cm (c. 17 x 12 in) Stamp of the Estate auction sale o...

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

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...

A gritty New York City street scene with period Roaring Twenties Cars and stuffed metal garbage cans is depicted by female artist Ruth Light Braun. ...

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...

Unsigned Provenance: Estate of the artist c. 1929/30 Sheet: 9 7/8 x 14 1/8" Mat: 15 1/4 x 19 3/4"

Genevive Moreau (French, fl. early Twentieth Century) Three Designs in Blue Gouache 32 x 50 cm c. 1925 Signed in pencil; from a small portfolio of well-executed designs by the artis...

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