1910s Interior Paintings

This intriguing British Edwardian figurative interior oil painting is by noted artist Arthur Croft Mitchell. It is entitled Two Worlds verso and dated as c1910. The composition of th...

Very finely painted late 19th or early 20th century portrait painting. Oil on canvas. In excellent original condition. Handsomely framed in a giltwood molding. Excellent conditio...

Ida Sedgwick Proper At the Claremont (View of the Hudson River and Palisades) circa 1912 Signed lower right Oil on canvas 45 1/4 x 57 1/2 inches Exhibited New York, Heterodoxy, Malv...

Still Life with Apples is an exquisite still-life painting that captures a quiet moment of abundance and peace. On a humble wooden table lies a cluster of ripe apples, their rosy and...

Antique American school impressionist still life oil painting. Oil on canvas. Framed. Measuring 23 by 27 inches overall and 20 by 24 painting alone. In excellent original condition....

Signed lower left, 'Alf. Broge' for Carl Harald Alfred Broge (Danish, 1870-1955) and dated '1918'. Frame dimensions: 38.75 H x 1.25 D x 32.5 W inches (98.5 H x 3.25 D x 82.5 W cen...

This early 20th-century oil painting by English artist John Falconar Slater (1857-1937) depicts a rustic cottage interior with an elderly lady reading. Slater was an accomplished, Ro...

This charming Edwardian Scottish full length portrait oil painting is by noted Scottish portrait artist George Fiddes Watt. Painted circa 1910, the sitter is Muriel Sutherland, daugh...

Oil on board realized by Emile François Rouseau in 1910. Hand signed, dated and dedicated by the author. Includes a coeval gilded wooden frame.

Industrial Mid-20th Century WPA Modern Men Working American Scene Social Realism George Pearse Ennis (American, 1884-1936) "Forging a Gun Tube #1...

Saint Mark's Basilica Venice Oil Painting Signed, lower left dated, titled verso. Romanesque Bizantine Basilica. canvas 35"x45" framed 46.5 x56.5. Frank LeB...

This superb Scottish Edwardian Impressionist interior oil painting is by noted Scottish female artist Annie Rose Laing. Painted circa 1910, the composition is the interior of a room...

Edmond Malassis was pupil of Gustave Moreau, and became a watercolourist. Malassis worked primarily in the first half of the 20th century. He has been Exhibited in many museums Here...

A very good large antique oil on canvas painting by the celebrated Spanish artist Maximo Juderias Caballero (1867-1951), Paris 1910. The painting depicting an interior scene of 17th ...

Signed lower right 'Jais' for Jais Nielsen (Danish, 1885-1961) and dated 1913. A lyrical, early twentieth-century still-life of pink dog-roses shown loosely arranged in a cobalt bl...

Signed still life oil on canvas circa 1910 by French impressionist painter Maximilien Luce. The piece depicts a vase filled with red poppies. Signature: Signed lower right Dimensio...

Wonderful German genre painting of 17th century tavern scene in style of Franz Hals by Karl Josef Muller (German, 1864-1942) dated 1918. Signed and dated lower left corner "Karl Muller - Hamburg 1918". Condition: Good; professionally restored: Canvas restreched on new stretcher bars; five repairs made to small tears in canvas (see image); cleaned and re-varnished with UV-resistant varnish. Unframed. Image size: 39.5"H x 55"W. We have the original frame which needs some extensive repair to the gesso. Happy to include the frame with the painting as is. Karl Müller was born in Hamburg-Altstadt in 1865. His wealthy Jewish parents Abraham Müller (1832-1896), citizen of the Hanseatic city since 1869, and Henriette "Jette", b. Burchard (born 1832 Neubuckow / Mecklenburg), had a cigar factory at Spielbudenplatz 5 in St.Pauli. When Karl Müller was ten years old, next to factory and warehouse, now at Speersort 11 (Altstadt), there was also a branch in Altona-Ottensen with the address Am Felde 68. The family lived at the time at Pferdemarkt 13 (Old Town). After attending the Jewish Foundation School at the Zeughausmarkt, Karl Müller completed a three-year lithography apprenticeship. From 1886 to 1888, he studied at the Royal Saxon School of Applied Arts in Dresden with the history and decoration painter Donadini, then with Professor Hanke of the Prussian Academy of Arts in Berlin. Karl Müller's painting style was conventional-realistic and did not follow modern trends. In 1891, the oil paintings "Preparation for the Service", "In the guardroom", tattoo", "gymnastics lesson", "covert patrol” and "return from the field service exercise”, whose main motive almost always soldiers formed.In 1893, he painted the" invasion of the 76er " as a horizontal format in black and white, the painting was acquired by the Museum of Hamburg History in 1930. The disposition of Karl Müller could be classified as "kaisertreu" and "national" (Maike Bruhns) at this time - not by chance he acted with his Nicknamed "Soldatenmüller", he successfully participated in exhibitions in Berlin and Hamburg before the turn of the century. Even at this time, the frequent change of residence is striking: 1893 Papendamm 25 (Rotherbaum), 1896 Bundesstraße 9 (Rotherbaum). In 1898 he was in the Hamburg address book as a "genre and portrait painter" with the residential address 1. average 43 (Rotherbaum) out. At the age of 38, Karl married in 1903 in the Hanseatic city of the Jewish Louise Hauer (born 12.2.1872 in Hamburg), called "Lieschen". Before her marriage, she lived with her mother at Grindelberg 78. Her father, Martin Hauer (1836-1897), also born in Hamburg and was a citizen of the city since 1862, owned a factory for soap and perfume. In 1904 and 1911, the two daughters Karla and Lotte were born. 1904, the family lived at this time in the Bogenstraße 20, Karl Müller commissioned a portrait of the emigrated hamburger Henry Jones opening the same lodge in the Hartungstraße 9-11. Already at this time he might have been a member of the Hamburg Artists Association of 1832. Starting from 1908 further change of dwellings on the basis of the telephone books are comprehensible: nearly yearly the family moved and moved thereby from the Grindel quarter over Hoheluft east to Harvestehude and Winterhude. Around 1912 she moved into an apartment in Sierichstraße 156. Here, the landlord Schröder provided the artist with an area of ​​around 45 square meters as a studio on the dry floor. But the building police criticized this use and after some disputes, the painter had to move once again with family and studio. The official telephone directory recorded as an address from 1914 to 1918 Klosterallee 20 (Harvestehude). Friedrich Jansa described Karl Müller's changed motif choice in his artist's glossary in 1912: "In recent years he has been watercolouring a lot in the Hamburg area and now mainly takes his motifs from Hamburg harbor...

Signed with monogram, lower left, 'AN' for Albert Naur (Danish, 1889-1973) and dated 1919. Albert Naur first studied Philosophy and Law in Copenhagen (1908-1911) while painting in a...

"Interior with Chair and Vanity" circa 1918 Ricardo Gomez-Gimeno (Spain/France 1892-1954) Oil on cardboard Signed 17 1/4 x 14 1/4 (22 1/2 x 19 1/2 f...

Story illustration for "The Valley of the Giants," by Peter B. Kyne, published in The Red Book Magazine, June 1918, vol. 31, issue 2, pages 30-39 Kyne's tale was first serialized in...

Harry Leslie Hoffman (1871 - 1964) The Artist's Wife (Beatrice Pope) at the Loom, circa 1915 Oil on canvas 30 x 32 inches Housed in a period Newcomb-Macklin frame Provenance: Estate of the artist Private Collection, Massachusetts This painting depicts the artist's wife at the loom, producing textile versions of Hoffman's underwater paintings. The screen shown behind Bea is an underwater scene also painted by Hoffman. The study of this painting is held in the collection of the Wolfsonian Museum in Florida. Harry Leslie Hoffman was born in Cressona, a small community in Pennsylvania's Schuylkill Valley. His mother was an amateur artist who encouraged her son to pursue a career in the arts. In 1893, Hoffman entered the School of Art at Yale University and studied with John Ferguson Weir, the son of Robert Walter Weir. After graduation in 1897, Hoffman moved to New York to continue his studies at the Art Students League. He also traveled to Paris and took classes at the Académie Julien. In the summer of 1902, Hoffman attended the Lyme Summer School of Art, in the town of Old Lyme on the Connecticut coast. The school was headed by Frank Vincent Dumond and was located in a boarding house owned by Florence Griswold. The school eventually grew into an artists' colony and a center for American Impressionism. When Hoffman first arrived as a student, he was not permitted to stay in the house which was designated for the professional artists only. However, his outgoing personality soon won him many friends at the colony. In 1905, Hoffman settled in Old Lyme and worked as a full member of the artist colony. He was particularly influenced by Willard Leroy Metcalf, an Impressionist also working in Old Lyme. Fellow artists later fondly recalled Hoffman's antics at the Griswold house, which included playing the flute and banjo, tap-dancing, singing humorous songs, and performing magic tricks. In 1910 Hoffman...

Vaclav Vytlacil Woman Reading in an Interior, circa 1915 Signed lower right Oil on canvas 16 x 20 inches As a child, Vytlacil had taken art classes at the Art Institute of Chicago....

Signed still life oil on canvas circa 1910 by French post impressionist painter Jacques Martin-Ferrieres. The work depicts a black ceramic jar with w...

This superb exhibited Scottish interior oil painting with excellent provenance is by noted artist Patrick William Adam. Painted in 1915 it was exhibited that year at the Royal Scottish Academy and entitled the Drawing Room, 27 Drumsheugh Gardens which is in the Haymarket area of Edinburgh. It was lent for exhibition by its owner, J R Findlay who was Sir John Richie Findlay (1866-1930) 1st Baronet and Chairman of the National Galleries of Scotland and for a long time Chairman of the Edinburgh College of Art. He was also an original member of the Royal Fine Art Commission for Scotland. The painting is of a magnificent drawing room with a table with white flowers, possibly narcissi on in the middle. To the left is a glass cabinet with ornaments and to the right are several paintings on the wall in beautiful gilt frames, caught in the light. although the walls are quite dark, the section of wall below the dado rail is light yellow as are the coving and ceiling, really lightening the painting. There are numerous other ornaments and vases in the room and we can just see the edge of a much larger painting to the left. The detail and brushwork are superb as is the depiction of glancing. This is an excellent example of Adam's work with very good exhibition and ownership provenance and a really beautiful Scottish interior oil painting. Signed lower right and dated 1915. Provenance. Exhibited at the Royal Scottish Academy in 1915 no. 281 entitled The Drawing Room, 27 Drumsheugh Gardens (Haymarket Edinburgh) Lent by J R Findlay esq. P Findlay written on strecher verso. Written on stretcher verso that the painting was hung in the drawing room, right of fire. Doig, Wilson and Wheatley Edinburgh framers label verso. Remnants of another label verso. 1353 inscribed in chalk on stretcher verso. Condition. Oil on canvas, 35 inches by 25 inches and in good condition. Frame. Housed in the original ornate gilt frame, 43 inches by 33 inches, in good condition. Patrick William Adam RSA (1852-1929) - born in Edinburgh 12 October 1852 to Patrick Adam, a writer, and Louisa Roberts, Patrick William Adam exhibited an early talent for art. He began classes at the RSA in 1874 and studied under William McTaggart and GP Chalmers. Some of his work of that period is in the East Lothian collection: the then curriculum involved intensive study of ‘Old Masters’ – and the production of copies in the Masters’ styles. Adam won the Stuart prize for Life Drawing in 1877, by which time he had already been exhibiting at the RSA for several years He travelled to Rome, Venice and Russia and produced work in several media – watercolour, pastel and (principally) oil; subjects varied from landscapes through portraits to still life but his genre paintings and interiors were reckoned his best work. Much of this was (recognisably) produced from his studio at Ardilea, North Berwick, where he settled in 1908. In 1912 he became a founder member of the Society of Eight, a group of friends who exhibited for many years at the New Gallery in Shandwick Place, Edinburgh. Others in the original group were David Alison, FCB Cadell...

Gabrielle MILLIOUD-MELAY (1875-1931) Peonies and Cherries Oil on canvas signed low right Old frame Dim canvas : 54 X 73 cm Dim frame : 76 X 95 cm French painter 19th century Lyon S...

Signed and dated '1910' lower right

Charles Allan Cooke (British, early 20th century) Military Motor Ambulance Station, World War I, ca. 1916–1918 Oil on canvas, signed and inscribed on reverse In this powerful and ra...

JOSÉ VILLEGAS CORDERO Spanish, 1844 - 1921 THE BARBER OF SEVILLE signed & dated "J. Villegas. / Junio 1913." (lower left) oil on canvas 19-3/8 x 28-3/4 inches (49 x 73 cm.) framed: 27-1/2 x 36-3/4 inches (69.5 x 93 cm.) PROVENANCE Private Collector, Seville, Spain José Villegas Cordero (Seville, August 26, 1844-Madrid, November 9, 1921) was a Spanish painter. He directed the Prado Museum between 1901 and 1918. He was the brother of the painter Ricardo Villegas Cordero. He began his apprenticeship very young with José María Romero, with whom he remained for two years until entering the School of Fine Arts in Seville, where he was under the tutelage of Eduardo Cano. In 1860, when he was only 16 years old, he sold his work Little Philosophy for 2,000 reais at the Seville Exhibition. In 1867 he traveled to Madrid, where he entered Federico Madrazo's studio. There he established friendship with painters Eduardo Rosales and Fortuny. He went regularly to the Prado where he copied Velázquez, from whom he acquired spontaneity and the use of color for his technique. Finally, and out of admiration for Fortuny's orientalist painting, he returned to Seville and organized an excursion to Morocco. At the end of 1868 he decided to travel to Rome accompanied by the painters Rafael Peralta and Luis Jiménez Aranda...

While the painting may be signed on the lower right side "Sorolla" it is not by the famed artist Joaquín Sorolla y Bastida. It is most likel...

John White Alexander Tired, circa 1910 Inscribed on the reverse: Mrs Lee Bauer, _____, Inscribed on the reverse: "Tired" Watercolor on paper 16 1/2 x 13 inches John White Alexander...

Signed lower right, 'Ludvig Jacobsen' (Danish, 1890-1957) and dated 1926. An exceptional early twentieth-century figural work by this notable Danish modernist and follower of Wattea...

This superb British figurative interior oil painting is by noted Newlyn school artist Harold Harvey. Painted circa 1912 the composition is a Cornish family, bathed in golden light, s...

Wonderful modern floral still life oil painting of ranunculus in white vase and mustard weed on table by acclaimed artist and art critic Walter Pach (American, 1883-1958), 1911. Pach...

Work on cardboard Golden wooden frame 79 x 59 x 2.5 cm

An fine period watercolor, dated 1910, an illustration by Charles Edmund Brock (English, 1870-1938). This, from a semi-autobiographical novel written by William Makepeace Thackeray, "Pendennis", in full "The History of Pendennis: His Fortunes and Misfortunes, His Friends and His Greatest Enemy." The novel was published in monthly installments from 1848 to 1850 and published in book form in two volumes in 1849–50. Below this image is a quote from "Pendennis," Chapter VI, "Captain Costigan leaves Pendennis & Miss Fotheringay at the great window looking out into the Deans Garden". Signed lower left. Displayed in a rustic giltwood frame. Image, 8.5"H x 6.25"W. Charles Edmund Brock was a widely published English painter, line artist and book illustrator, who signed most of his work C. E. Brock. He received his first book commission at the age of 20. He became very successful, and illustrated books for authors such as Jonathan Swift, William Thackeray, Jane Austen, Charles Dickens, and George Eliot. Brock also contributed pieces to several magazines such as The Quiver, The Strand, and Pearsons...

This stunning oil painting was painted circa 1911 and is signed lower right. The painting depicts a Scottish interior- a small occasion or card table surrounded by a variety of mahog...

This superb RSA exhibited Scottish Edwardian interior oil painting is by Glasgow Boy artist Alexander Ignatius Roche. It was painted circa 1914 when Roche was living at 8 Royal Terrace, on Calton Hill, a very prestigious property in Edinburgh, now the Halcyon Hotel. The painting is a view of Roche's studio, quite possibly one of the rooms at the above address. The painting was exhibited at the Royal Scottish Academy the following year, no. 333 entitled The Studio. The painting shows Roche beneath the vast window in his studio against a red wall that meets pale floorboards. Various items and furniture are scattered about. The balance of the white window and pale floorboards with the red wall intersecting is perfect. A really lovely example of this great Glasgow Boy artist's work and a very personal piece showing his inner sanctum. Signed lower right. Provenance. Exhibited at the Royal Scottish Academy 1915 no. 333, entitled The Studio. Condition. Oil on canvas, 24 inches by 20 inches and in good condition. Frame. Housed in a gilt frame, 32 inches by 28 inches and in good condition. Alexander Ignatius Roche RSA NEAC RP (1861-1921) was a Scottish artist in the late 19th century and an important figure in the “Glasgow Boys. He was born in the Gallowgate in Glasgow, the son of a milliner, Alexander Roche. He attended St Mungo’s Academy in Bridgeton, Glasgow. He originally trained as an architect, but then changed to art, studying at the Glasgow School of Art and, from 1881, at L’Ecole des Beaux Arts in Paris. Here he studied under Gustave Boulanger and Jean-Leon Gerome. In his time here he befriended William Kennedy, John Lavery, Thomas Millie Dow and William Stott. In the early 1880s he joined a colony of Scots artists in Grez-sur-Loing south of Fontainebleau. On his return to Scotland in 1885 he joined with the Glasgow Boys working on murals for the 1888 International Exhibition. In 1888 he travelled to Capri where he befriended Fabio Fabbi and Harold Speed. In following years he visited both Venice and Florence, and married an Italian girl on the latter trip. This marriage was short-lived and they separated. As both were Catholics there seems to have never been any divorce. In 1896 he moved from Glasgow to Edinburgh and began to distance himself from the Glasgow Boys. His work drifted from largely landscape to portraits. In 1906 he remarried (possibly bigamously), to Jean Alexander, daughter of Robert Alexander. During this period they enjoyed the friendship of Joseph Crawhall...

Sophus Vermehren was born as the son of the painter Frederik Vermehren and his wife Thomasine Ludvigne Grüner. He trained as a painter for three years and learned to draw from his fa...

World War I scene Story illustration for “Will You Tell Her I’m All Right?” by Catherine Van Dyke for The Ladies Home Journal, published March 1918, illustrated page 11. The full c...

Signed lower right 'Jais' for Jais Nielsen (Danish, 1885-1961), inscribed 'Vence' and dated 1949; additionally signed, verso. An exceptional late figural work by this pioneer of Mo...

Date: 1911 Medium: Oil on Canvas Dimensions: 20.00" x 30.00" Signature: Signed Lower Right

Peter Ilsted's "Dining Room at Liselund Manor" from 1917 is not only a remarkable illustration of the Copenhagen Interior School's aesthetic but also a profound exploration of the co...

Roger de la Fresnaye (1885-1925) Nature morte à l’oeuf 1910 oil on board mounted on panel 66.2 x 50.9 cm signed and dated ‘R de la Fresnaye.10’ (upper right) Price: $157,500 USD (in...

An original oil on canvas by Hungarian artist Gertrude Klaris. Klaris worked in oils but pramrily in mixed media works on paper, much of her style is akin to her love of stained glas...