1920s Mixed Media

Emmanuel Cocard. Fairy Tale Scene Of A Knight With A Young Woman On Horseback. Fairy tale scene of a knight abducting a young woman on horseback. Behind them, we see dark silhouett...

BERTHA LUM (American 1879-1954) GARDEN DOOR, 1929 (Gravalos and Pulin 93) Raised line embossed and hand colored print. Signed in pencil within the image. 14 3/8 x 8 7/8 inched. Be...

Classic Leon Kroll nude figure painting in mixed media (charcoal and paint) on paper. Nicely framed in great condition. Painting itself is 10.5 inches by 17.5 inches; with frame it...

The most sought-after design for Newcomb Pottery, depicting mossy oaks, on a large and fine example designed by Anna Francis Simpson in 1921. If you'r...

VIEW OF THE BRONX Watercolor American Modern Modernism NYC 20th Century Drawing. Jan Matulka (1890 – 1972) "View of the Bronx," 15 x 20 inches. Watercolor on paper, c. 1920s. Signed lower Right. In 1907, he came to the Bronx, New York where he had a poverty-ridden childhood with a mother who tried to raise a family by herself. From 1908 to 1917, he studied at the National Academy of Design, and in 1917, received the first Pulitzer Traveling Scholarship with which he traveled and painted in the Southwest and Florida. His work from this period showed a turning towards a more abstract style, replacing his earlier realism. In 1919, he first went to Paris and then returned in 1927 on a scholarship from the National Academy. In Paris, he was exposed to Cubism, and his painting after that seemed always to carry that influence. He had his first one-man exhibit in New York City in 1925, and by 1930, he and Davis were experimenting with their version of Cubism. Concurrently for New Masses, a communist magazine, he did satiric illustrations expressing his sympathy for the working classes, and from 1929 to 1931, he taught at the Art Students League where he inspired emerging modernists such as David Smith, Dorothy Dehner, and I Rice...

Medium: Mixed Media on Board Signature: Signed Lower Right Sight Size 22.00" x 16.00", Framed 32.00" x 26.00" Cover of Good Housekeeping Magazine, October 1929 Jessie Wilcox Smith...

“Robertha, Nassau, N. P. [New Providence]” is an oil and pencil drawing on paper from circa 1928. The paper size is 7 1/4 x 11 1/8" (18.5 x 28.4 cm). This piece is signed and title...

Jankel Adler (1895-1949) Cat and grapes 1927 mixed media on panel 46.3 x 33 cm signed ‘adler’ (upper left) Price: $16,000 USD + 5% import VAT (within Europe) Provenance: E. Rosenf...

A classic example of the world-famous Newcomb Pottery from New Orleans, designed by Henrietta Bailey in 1925 and thrown by Joseph Meyer. Doesn't get mu...

Wilhelm Hunt Diederich 'Hungarian Dancing Horse', gouache and India ink on graph paper, c. 1920. Signed 'WHD' in pencil on the support sheet, lower righ...

"Riveting the Post" WPA Modernism Provincetown Early 20th Century Industrial Art Gerrit Beneker (American 1882 – 1934) "Riveting the Post," 10 3/4 x 8 3/4 inches - image, 11 ¼ x 9 ¼ - sheet. c. 1920s. Mixed media on heavy stock paper. Signed lower left. Signed on the verso: Gerrit A Beneker 61 Poplar Street Brooklyn NY phone 2214 Main. Gerrit Albertus Beneker, born 1882 in Grand Rapids, MI. died in 1934 in Truro, MA. He studied with John Vanderpoel, Frederick Richardson, F. V. DuMond, Henry Reuterdahl...

Russian Constructivist 1920s abstract modern watercolor modernist non-objective. Vladimir Vasilievich Lebedev was active/lived in Russian Federation. He is known for figure, portrait and cubist paintings. He became famous for his exceptional illustrations of the poems of the prominent poet and translator Samuil Marshak, such as Circus, Ice Cream, Tale About a Foolish Mouse, Moustached and Striped, Book of Many Colours, Twelve Months and Luggage. As a young boy, Lebedev started to paint postcards that were sold in a shop in Saint Petersburg. At the age of nineteen, he held his first exhibit at the Academy of Fine Arts. In 1913, he began work as a cartoonist for several satirical journals, including the famed "Satirikon" (Сатирикон). At this time he was already a prolific illustrator for the children's magazines "Jackdaw" (Галчонок), "Blue Journal" (Синий Журнал), "Everyone's Journal" (Журнал для всех), and "Argus" (Аргус). He illustrated the children's book "The Lion and the Bull" in 1917. From 1920-1922, Lebedev worked for The Russian Telegraph Agency (ROSTA) and The Department of Agitation" (Agitprop) designing propaganda posters. By the 1920s, Lebedev had friendly relations with many distinguished persons of his time, such as Tatlin, Ivan Puni, Kazimir Malevich, Vladimir Mayakovsky and the literary critic Nikolay Punin. In 1915 he married the sculptor Sarra Lebedeva. In the 1920s, Lebedev had earned the title of "King of the Children's Book." A pioneer in the field of children's illustration, he would later say on the influence of his works "I still consider to have positively influenced the creation of a new Soviet book for children, and, what is more important, this book acquired a character of its own"[3] Nikolai Punin, who wrote the first monograph on Lebedev, cited Lebedev as one of the most important illustrators of the era: "After his brilliant experiments with "Circus" and "Ice Cream" and a number of other children's books executed by him, bookstores burst into color with numerous imitations of his examples, and book illustrations in the receding cultural tradition—all the 'World of Art' illustrations—paled in comparison, and, in terms of form, began to seem impotent, overly concerned with aesthetics, and unexpressive." In 1930s-1940s he created numerous portraits of his friends, professional models and sportsmen. He always was fond of playing sports himself. From the end of the 1930s he started to use stronger colours and thicker layers of paint, creating effects reminiscent of the works of Renoir. As was the case with many artists and writers working under Stalinism, Lebedev ran afoul of official censorship. The book Inside the Rainbow - Russian Children...