1920s Figurative Paintings

Boris Deutsch (American Lithuanian Russian, 1892-1978) "The Flute Player," 1947 Oil paint on canvas, Hand signed and dated upper left, Provenance: gallery label (Pasadena Art Museu...

Gorgeous early 19th Century Native American figurative landscape of women at well in Tucson, Arizona by William Constable Adams (American, 1846 - 1931),...

Beautiful oil on wooden panel realized by Piero Marussig between 1928 and 1930. Very good conditions. Published in the general catalogue of the Artist...

Still Life with Glass and Porcelain is an artwork realized by Paul Walter Erhardt (1872-1959). Oil on canvas, signed upper right. 60 x 75 cm, f...

In Evening Mood, View Over Graneberg (original Swedish title Aftonstämning, Graneberg, Uppland), painted in 1924, Olof Thunman presents an afternoon scene in the countryside outside ...

Signed, titled and dated oil on canvas figures in landscape by post-impressionist painter Jules Le Ray. The piece depicts two women on a top of a cliff overlooking the port of La Mor...

Study of a young man with his golf clubs by listed artist Margaret Neilson Armstrong (American, 1867-1944). Image, 14"H x 20"W. Displayed in vintage mat. S...

Early 20th Century oil painting of men having a conversation on the San Francisco, California pier with boats in the distance by Gus Johnson (American, 19th century), 1928. Signed on the lower right. Unframed. Image size, 23"H x 32"L. Johnson was a regular outdoor painter on the California coastal regions during the 1920s-50s. He enjoyed painting scenes on San Francisco Bay near Sausalito and Marin California.

Ball. 1920's, oil on canvas, 65x92 cm Provenance: Romans Suta daughter Tatjana Suta (1923-2004) Artwork not signed Romans Suta Born on April 28, 1896 in the vicinity of Cesis (Lat...

Nura Woodson Ulreich (American 1899-1950) Were I a Great Lady, 1927 Oil on board Signed lower left, inscribed and dated verso 11.25 in. h. X 9.75 in. w., board 17.75 in. h. X 16 in. ...

Signed figures in riverscape oil on canvas by French Barbizon painter Leon Augustin Lhermitte. The piece depicts a rural landscape with washerwomen in traditional Breton clothing was...

This rare and historic Orientalist painting, La Petite Dieu, translated as “Little God”, by renowned Armenian-American artist Hovsep Pushman. First exhibited March 27 – April 7, 192...

Signed illegibly lower left. Oil on paper. 10 x 8.

La obra va firmada por el artista en la parte inferior y fechada del año 1922 Se presenta sin enmarcar la pintura El estado de la obra es bueno Medidas obra: 94 x 79 cm. ::::::::...

This beautiful, large British figurative landscape oil painting is by noted Slade School artist Franklin White. Painted circa 1920, the composition is of a large number of villagers ...

Signed figures in landscape oil on canvas circa 1920 by British post impressionist painter William Lee Hankey. The piece depicts sail boats in La Rochelle, a seaport in the Bay of Bi...

The Prince Of Wales By Alfred Munnings. A rare and signed Sir Alfred Munnings coloured offset lithograph of H.R.H The Prince Of Wales, sat astride his chestnut hunter, Forest Witch....

Oil on canvas, signed lower left Henri-Léopold Lévy (23 September 1840, Nancy - 29 December 1904, Paris) was a French painter of Jewish ancestry, known pr...

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...

Signed by Artist in Lower Right The Saturday Evening Post, April 14, 1928, cover illustration Literature: Arthur Leighton Guptill, Norman Rockwell, Illustrator, New York, 1970, p....

The present work was reproduced as an illustration for Bruce Barton's story "The Boy Who Established a Nation," published in the February 1929 issue of Good Housekeeping. Part of an ...

Complex Art Nouveau patterns intertwined with gracefull figures define this work by American Artist and illustrator, teacher and lecturer Mildred Bailey Carpenter. Signed in cartouc...

Jean DESPUJOLS (Salles 1886 – Shreveport 1965) Portrait of a Henri Martin, mayor of Saint Médard en Jalles (Gironde) Oil on canvas H. 75 cm; L. 60 cm Signed lower right around 1920/2...

In the tradition of Modigliani, Maurer's depictions of women are expressive and lively. America had very few modernists who painted in this manner but Maurer is famous for exactly t...

➡️Vivid Antique scene Landscape⬅️ ⏩It is signed J Ch Millet.⏪ Jean Charles Millet (1892-1944) How did Jean-Charles Millet, the grandson of the celebrated painter, become a master ...

5000 Antique Chinese Reverse painting on glass et in a period frame with brass hanger

Medium: Oil on Canvas Dimensions: 28.00" x 21.00" Signature: Unsigned Literature: The Saturday Evening Post, June 14, 1923, illustrated as Kuppenheimer Clothing Company advertisementLaurence S. Cutler and Judy Goffman Cutler, J.C. Leyendecker: American Imagist, New York, 2008, p. 91, illustrated in color p. 92 Notes: The Kuppenheimer Clothing Company used this painting as an advertisment for its men's clothing. The advertisement printed...

ATTRIBUTED TO LAUREANO BARRAU Spanish, 1863 - 1957 UNDER THE PARASOL unsigned oil on canvas 35-1/2 x 26 inches (90 x 66 cm.) framed: 44-1/4 x 35-1/2 in...

Stunning and alluring painting showing Sampson succumbing to the wiles of the sensual temptress Delilah. Done in a manner that is reminiscent of the murals of the WPA, the art deco p...

Signed and dated post impressionist figure in landscape watercolour on paper by French painter Jean Dufy. The work depicts a view of a grand house behind a wall with a large gated en...

Literature: Bazetoux, Henri Lebasque Catalogue Raisonne (Neuilly, 2008), vol. 1, p. 223 (no. 820) (illus)

Oil on canvas, signed lower right. Jean Bouchaud (1891 in Saint Herblain near Nantes – 1977 in Nantes) was a French painter. He was fascinated by travel since his childhood seeing s...

Original on Gouache on paper. Hand signed on front; signed, titled, dated with dedication on verso by Erte. Stamped "Composition originale". Frame size 29 x 24.5 inches. Artwork s...

There is no one alive that can paint and draw like Dean Cornwell. How can that be? They do not train artist the way they did. Dean Cornwell in his day was as famous as Normal Rockwell...

4084 A vintage Japanese male dancer Painting on silk set in a red mat and displayed in a gilt wood frame under glass.

Signed and dated oil on canvas seascape by French post impressionist painter Achille-Emile Othon Friesz. The piece depicts a view of Le Havre, a port city in Normandy, France, locate...

Signed by artist lower right The Saturday Evening Post cover, July 29, 1922 This commission for The Saturday Evening Post is a brill...

Large signed landscape oil on canvas circa 1920 by sought after French post impressionist painter Victor Charreton, who was known as the painter of colours. The work depicts a woman walking through a snowy village in winter. The piece is beautifully coloured. Signature: Signed lower right Dimensions: Framed: 33"x38" Unframed: 24"x29" Provenance: Private collection - Portugal Ader - Paris Charreton was a landscape artist in the Lyons tradition with a love of sensual impasto. In his works he seeks to capture fleeting, momentary effects, like those achieved by the Impressionists: effects at different times of day and in different seasons, such as dusk and snow. As a young man he painted the environs of Bourgoin. Skilled in capturing minute changes in the weather, he was also adept at capturing the spirit of new places. Beside his native Dauphiné and his adopted Auvergne, he was also charmed by the landscapes of the Île-de-France and Paris - Montmartre, the Jardin du Luxembourg and the Parc Montsouris...

Early 20th Century Painting of a Hungarian Winter Wonderland Forest River Snow Scene. Art measures 23.5 x 19.5 inches Frame measures 30 x 26 inches Laszlo Neogrady was a Hungarian painter best known for his naturalistic depictions of rustic landscape scenes, often featuring peasants and snow-covered forests. Neogrady notably made extensive use of impasto paint and atmospheric colours, achieving a sense of pictorial depth and light in his work. Born in 1896 in Budapest, Hungary as the son of painter Antal Neogrady, he went on to study at the Hungarian Academy of Fine Arts under the celebrated portrait artist Ede Ballo. Today, Neogrady’s works are found in the collections of the Iowa State...

Isabella Howland Portrait of a Woman, Paris, 1925 Oil on canvas laid on board 19 1/2 x 16 1/2 inches Provenance: Hammer Galleries, New York Private C...

Signed oil on canvas landscape by American impressionist painter William Samuel Horton. The piece depicts a nighttime view of Pontarlier, a commune in eastern France near the Swiss b...

Illustration by Grattan Condon for the February 8, 1930 Saturday Evening Post story entitled "Wide-Open Throttle" by A.W. Somerville, which appeared on page 56. The tension between ...

The present decorative frieze, signed by the Malagasy painter Georges Razanamaniraka, is organized around the central figure of an enigmatic and hypnotic dancer. The quasi-symmetrica...

Lithograph printed on tan wove newsprint-type paper. Signed in pencil and in the stone. 15 3/4 x 12 3/4". Sheet Size: Image Size 8 1/4 x 6 3/4". Rudolf Bauer (1889-1953) executed hi...

ERWIN BINDEWALD (1897-1950) Two men playing draughts, a girl with the red book standing behind them Signed and dated E. Bindewald d.j., 27 Oil on canvas, 140.5 x 90.5 cm In black and gilt gesso frame. Note: Bindewald was born in Charlottenburg. He moved to Berlin in 1914 where he studied till 1924 at the Berliner Kunst Akademie. Bindewald travelled in Europe, but mainly stayed in Germany and certainly never was in China. This painting was made in Europe, presumably in the China Town of Berlin. Bindewald received several commisions in Germany from factory owners who wanted their factories painted inside, usually with workers, as well as outside. In the present painting the sitter on the right seems to be a man with a Manchurian background, wearing the brown coat reserved for the highest aristocracy in China. In China the black sleeve-ends completely cover the hands, indicating that the high aristocracy does not have to do any manuel labour. This man clearly is not a factory worker but he possibly is the (co)- owner of the factory in the background and as such might need his hands to do at least some writing. The man on the left in the modern Western suit...

Fauvist signed oil on canvas riverscape circa 1920 by French post impressionist painter Robert Antoine Pinchon. The work depicts a view of the R...

Die Arbeit von Albert Bertalan war ein Spontankauf aufgrund der offensichtlichen Qualität der Arbeit, noch bevor ich etwas über den Künstler recherchieren konnte. Das Label „Ecole de...

This superb vibrant Orientalist Post Impressionist oil painting is by noted British artist Gerald Spencer Pryse. It was painted about 1925 when Pryse was visiting Morocco and Norther...

Lombard Landscape is a modern artork realized by Gigi Comolli in 1928. Mixed colored oil on canvas. Includes frame: 110 x 127.5 cm Hand signed and date...

B. Zickler Msrienbad (Marienbad?), c. 1920s Oil on wood panel 13 1/4 x 10 1/4 in. Framed: 17 x 14 x 1 in. This painting was likely executed by a German artist, who is only known to ...

A fine Egyptian archaelogical oil painting by American artist Joseph Lindon Smith (1863-1950). Smith was born in Pawtucket, Rhode Island and after attending Brown University and MIT,...

Rendered with an alla prima paint application and quick gestural brushstrokes, "Tender Family Portrait - Mother and Child" reflects Margery Ryerson's deep knowledge of academic training. Reyerson studied with Robert Henri at The Art Students League. This painting is aesthetically pleasing and communicates a sense of maternal tenderness from a female artist. Margery Ryerson did a book on her former teacher. Henri's philosophical and practical musings were collected by former pupil Margery Ryerson and published as The Art Spirit (1923), a book that remained in print for several decades. Signed. Lower Left Margery Austen Ryerson (September 15, 1886 - 1989) was an American artist, painter, etcher, lithographer and watercolorist.Her work is included in the collections of the Smithsonian American Art Museum Biography Ryerson earned her Bachelor's of Fine Arts in English from Vassar College in Poughkeepsie, New York, after attending private schools in Morristown. She went on to study under Charles Hawthorne at the Cape Cod School of Art in Provincetown, Massachusetts, and with Robert Henri at the Art Students League in New York. During the years 1920 through 1940 Ryerson taught in New York settlement houses. There she got the privilege to paint and draw the children in their care. The subjects of these paintings were often the children of the underclass and immigrants. Her artistic technique and subjects gained universal recognition and appealed to many people. Miss Ryerson is most known for her portraits...

Self-portrait by Edouard Dumoulin (1898 - 1973) 1928 Oil on canvas 48 x 37 cm (54 x 42 cm with frame 18.9 x 14.57 in (21.26 x 16.54 in with frame) Signed and dated lower left Online...

Signed lower left 'Nura' for Nura Woodson Ulreich (American, 1899–1950). Additionally signed, verso, dated March 1928 with artist's New York City address and titled, 'When Guest Stay...

Original cover for Liberty magazine, published June 22, 1929. Sandy, away on a business trip, calls Lil to check in. The two discuss bills and talk about how much they miss each oth...

A model standing in a studio putting on, or taking off, her clothing.

F. Luis Mora was the first Hispanic member of the National Academy of Design. Spanish Souvenir- mantilla, peineta, by Francis Luis Mora is a painting of beautiful Spanish women in...

Signature: Signed Lower Left Medium: Oil on Canvas Saturday Evening Post Cover, September 18, 1920 - Leyendecker addressed the theme of American patriotism in several ways. His famous Fourth of July covers asserted the import of American independence through stock characters: George Washington, Uncle Sam, the Statue of Liberty, colonial Freedom Fighters, and modern-day soldiers. In addition, his World War I and World War II covers depicted soldiers proudly defending their country. Leyendecker also profiled U.S. presidents and historical figures - George Washington, Robert E. Lee, William Howard Taft...

Kiddie Kar exemplifies the integration of the primitive aesthetic and the depiction of family in William’s work. The primitive aspect of this particular painting is apparent in its d...

Original cover for Good Housekeeping, published October 1922. The Young Scholar, reproduced on the cover of the October 1922 issue of Good Housekeeping, demonstrates Jessie Willcox ...