1910s Paintings

Sidney Pike 1858 - 1923 London landscape painter and one of the first Christmas card illustrators. Settled in Hastings and represented in many south coast Museums. Signed and dated ...

Signature: Signed Lower Right Medium: Oil on Canvas This illustration was a Saturday Evening Post cover, September 13, 1913.

Rocky Inlet (France) Oil on canvas, relined, c. 1915 Signed: K A Buehr, lower right (see photo) Created during the artist's time in Giverny and Normandy Exhibited at Robert Henry Adams Fine Art, 1994, the first exhibitiion at the North Franklin Street Gallery. Provenance: Gift of the artist to his wife, Mary Hess Buehr The artist's niece, daughter of Will Hess David Saltzman Robert Henry Adams Gallery Condition: Craquelure to the paint surface (normal with aging of 100 years) Relined Canvas size: 11 1/8 x 14 1/4 inches Frame size: 16 x 19 inches “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...

Inlet and windmill, a watercolor painting by William Walker Alexander (Canadian, 1870-1948). Presented a giltwood frame. Signed "W.W Alexander" lower right. Inner mat has minor wear ...

Beautiful early 20th century impressionist painting of St. Mark's Basilica, by an unknown artist (American, 20th Century), 19...

Here for your consideration is a comical take on the position of maitre d’. Unsigned. Framed in a new African mahogany frame. Overall measurements are 25.5 by 17.5 inches. Oil pain...

Early 20th Century Original Autumnal Landscape of Old Water Mill in Oil on Linen Wonderful antique landscape of water mill during autumn season. Smoke billowing from the mill adds t...

An early twentieth-century, American School oil study of a two-masted, clinker-built schooner undergoing repair in dry dock. Unsigned and painted circa 1925.

Initialed lower right 'A.H.'; signed verso, "Alfred Helberger", inscribed "Gertrúd" and dated 1914. Bearing the original 1962 exhibition label from the Senator fur Folksbildung, Ber...

Como pueden apreciar, la obra va firmada en la parte inferior y fechada del año 1917 Se presenta enmarcada la obra (el marco presenta alguna leve falta) El estado de la obra es act...

Mother's portrait. 1917, oil on canvas, 60x50 cm With certificate of authenticity Romans Suta Born on April 28, 1896 in the vicinity of Cesis (Latvia), died on July 14, 1944 in T...

Mary Bradish Titcomb Village Green Signed lower left Oil on canvas 24 x 20 inches A native of Windham, New Hampshire, upon graduation from high school, Titcomb studied at the Massachusetts Normal Art School, before accepting a position as a drawing teacher in the public schools of Brockton, Massachusetts, where she remained for fourteen years before resigning, in 1889, to study painting at the School of the Museum of Fine Arts, Boston. Her instructors there included Edmund Charles Tarbell, Philip Leslie Hale, and Frank Weston Benson. In the 1890s she went to Paris to study with Jules Joseph Lefebvre and to travel. She then returned to Boston, taking studio space at the Harcourt Studios, where all three of her teachers kept space. In 1895 she became a member of the Copley Society and began exhibiting locally; from 1904 to 1927 she showed work in 29 exhibits at the Pennsylvania Academy of the Fine Arts. She began signing her name as "M. Bradish Titcomb" in 1905 to avoid prejudice against her gender. The same year saw her making a sketching trip to the artists' colony at Old Lyme, Connecticut, a center for the American Impressionists; this trip seems to have cemented her interest in the style. In 1915, Titcomb's Portrait of Geraldine J. – the mother of actress Jane Russell – was shown at the Corcoran Gallery of Art and purchased by President Woodrow Wilson; another portrait, of Frank P. Sibley, was reproduced in the Boston Globe. During this period her work was shown in a traveling exhibition with that of Cecilia Beaux, Lydia Field Emmet, Jean MacLane...

A fine oil on canvas by Harold Harvey which depicts a portrait of Francis Elliot Voyle. It was painted in 1916. It is a super oil painting of a seated gentleman with a top hat and cane. Great brushwork. Signed and dated lower left. Provenance. Cornish collection. Condition. Oil on canvas, 24 inches by 18 inches unframed and in good condition. Housed in an ebonised frame 30 by 24 inches framed. In good condition. Harold Harvey (1874–1941) was a Newlyn School painter who painted scenes of working class Cornish fishermen, farmers and miners and Cornish landscapes. He was born in Penzance and trained at the Penzance School of Arts under Norman Garstin and the Académie Julian in Paris (1894–1896). Harold Charles Francis Harvey was born to Mary Bellringer Harvey and Francis McFarland Harvey on 20 May 1874 in Penzance. His father was a bank clerk. During his youth, he was home schooled. From 1894 to 1896, he studied art at the Academie Julian in Paris under Norman Garstin. In 1896, he studied at both the Académie Delecluse and the Academie Colarossi. Prior to 1911, Harvey lived in Penzance. In 1911, Harvey married fellow artist Gertrude Bodinnar. They first met when Gertrude posed for Harvey. She discovered that she had artistic talent and became an artist in her own right in a wide range of visual and textile arts. The married couple lived in Newlyn at Maen Cottage. Friends of the Harveys included Laura Knight, Harold Knight, Annie Walke, and Father Bernard Walke of St Hilary Church. Late in his life, he converted to Catholicism. He died in Newlyn on 19 May 1941 and was buried in Penzance at the St Clare Cemetery. Gertrude lived in their cottage until 1960 when she moved into a St Just nursing home. She died six years later. After completing his schooling in Paris, Harvey returned to Penzance and began working with Norman Garstin. His works included landscapes and life settings of his native Cornwall, religious themes and interiors. He used oil and watercolour paints.From 1909 to 1913, he was an Associate of the Royal Cambrian Academy of Art, Conwy and, in 1910, he was a member of the South Wales Art Society. From about 1910 and into the early 1930s, he was a member of the Newlyn Society of Artists, particularly with artists from the Lamorna valley...

Charming Brittany Harbor Marine Scene with figures and sailboats Oil on canvas laid down on board

Very finely painted in muted pastel colors is an original oil on canvas board painting by the American artist, Norwood Hodge MacGilvery. Signed lower right. Titled verso along with ...

Artist: Ben Benn, Russian/American (1884 - 1983) Title: People in the Woods Year: 1917 Medium: Oil on Canvas, signed l.r. Size: 31 x 22 in. (78.74 x 55.88 cm) Frame Size: 39 x 30 i...

Initialed lower right 'K.I.' for Kraesten Iversen (Danish, 1886 - 1955) and painted circa 1915. Born in Copenhagen in 1886, Kraesten Iversen first studied with Hendrik Gronvold at ...

This lovely portrait oil painting is by Scottish exhibited artist Allan Newton Sutherland. It was painted in 1914 and is a seated portrait of a young Scottish girl with auburn hair a...

Artist: Ernest Beaumont Title: Early Spring Year: circa 1910 Medium: Oil on Canvas, signed l.l., signed and dedicated verso "For Frances" Size: 15 x 18 in...

This impressive late 19th century portrait oil painting is by British artist James Edward Barclay. The sitter is a Major in the Royal Marines, William Wynch George Back Willis who wa...

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...

Beautiful turn-of-the-century landscape of a path along a river bend by Alice L. Meussdorffer, a pupil of William Keith, (American, 1871-1949). Presented in a wooden frame. Signed "Alice Meussdorffer" and dated "1900" lower right. Image size, 17"H x 20.75"W. Wood frame; 19"H x 23"L x 1.5"D. Born in San Francisco, CA on Sept. 5, 1871. Alice was the daughter of John C. Meussdorffer who made the finest hats on the West Coast during the 19th century. A pupil of William Keith, she was most active as a painter at the turn of the century. During the latter part of her life she gained fame as a florist. Her prize-winning dahlia bulbs were shipped all over the world. She was also an ardent hiker and member of the Sierra Club. One of her dahlias was named "Kaweah" after the river in the Kings Canyon...

Provenance Consigned to the gallery by private collectors Description In Jean Mannheim’s "Pathway to the Church" a lone figure walks up a narrow dirt path through a field lined with...

A Post-Impressionist oil of a wooden wharf with a large sailing boat moored and dockhands working with a view beyond towards a coastal town with wooden-f...

Henri BOUCHÉ-LECLERCQ (1878-1946) Portrait of the painter Louis Degallaix (1877-1951), 1910 Oil on canvas Signed, dated “1910” and dedicated “à mon ami Degallaix” lower right 55 x 4...

Wonderful flowers and stone steps, Nantucket, a rare watercolor painting by New York and Nantucket artist Jane Brewster Reid (American, 1862-1966). Presented in a giltwood frame. Sig...

This Lovely Scottish portrait oil painting is by noted portrait artist James Bell Anderson who worked out of his studio in Glasgow. It was painted in 1919 and is signed and dated. It...

La obra va firmada por el artista en la parte inferior y fechada en Viena Se presenta enmarcada la obra con un marco del siglo xix El estado de la obra es aceptable Medidas obra: ...

To see our other views of Public Schools, Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. Nora Davison...

Iwan Albertovich Puni (also known as Jean Pougny) was a Russian avant-garde artist (Suprematism, Cubo-Futurism) who later became French. He evolved towards Lyric Primitivism, influen...

A gorgeously colored summer landscape by Important American Impressionist, Frank V Dumond. Fresh in color and elegant in the tonally complimentary French frame with silk liner. Atm...

Antique illustration of a golfer getting out of a sand trap by well listed illustrator Leslie Saalburg whose work appeared in Vanity Fair and Esquire.

Signed still life oil on canvas circa 1910 by French impressionist painter Marie Duhem. This stunning piece depicts delicate pink and yellow peonies in a vase placed on an ornate marble-topped table with a fan resting beside them and a mirror behind. Signature Signed lower left Dimensions: Unframed: 29"x20" This painting is not currently framed but a suitable frame can be sourced if required Provenance: The collection of the artist's family Marie Duhem's parents operated a lace factory, so she became familiar with the work of designers and models from an early age. She began her art studies with Adrien Demont...

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...

Golden Age of Illustration preliminary drawing with Art Nouveau influence that was most likely for a major magazine commission. Eastman captures the elegance, style, and self-confidence associated with the upper-class American woman. The work is masterfully crafted and demonstrates a deep knowledge of academic drawing skills. The female figure is depicted in a classic pose with her scarf blowing in the wind, geese at her feet, clutching a red umbrella, and isolated against a neutral background. Signed lower right. Providence: The Illustrated Gallery...

watercolour of a vase of wallflowers , still life flowers by Owen Bowen. Dated and signed lower left 1911. Size of image 48 cm by 38 cm whilst overall the s...

Fritz Burmann ( 1892-1945 ) Germany. Oil on wood, 1919. Signed and dated lower right: Fritz Burmann 1919. Framed. Height: 27.17 in ( 69 cm ), Width: 35.04 in ( 89 cm )

Medium: Hand Painted Fine Print Signature: Signed Lower Left

Antal Berkes (1874-1938) Antal Berkes (1874–1938) was a Hungarian painter, born in Budapest, Hungary. He lived in Paris for some time and produced cityscapes there as well as simi...

A charming antique oil painting from 1911 by artist William Williamson, signed and dated. A rustic road follows along a pond, leading to two cottages side by side in the distance wit...

Lovely portrait of a young Boy standing on an armchair. Oil on canvas signed Felix BRYK. Swedish School, circa 1900-1910 Portraitist and ethnologist of the early twentieth century. ...

Berkes, Antal ( 1874-1938) Antal Berkes was a Hungarian painter, born in Budapest, Hungary. He lived in Paris for some time and produced cityscapes there as well as similar str...

"Couple on Bench at the Beach" is an original pastel drawing on paperboard by Francesco Spicuzza. The artist signed the piece in the lower left. This drawing depicts two figures sitting on a bench in front of a body of water. The artist used mostly pastel colors for this piece. 6 7/8" x 9 7/8" art 18 1/2" x 21 3/8" frame Francesco J. Spicuzza, born in Sicily on July 23, 1883, came to America at the age of 8. He supported himself as a fruit peddler until a newspaperman gave him $4 a week to go to school. He attended classes at the Milwaukee Art Students League, where he studied under Alexander Mueller. There he learned to paint in the then-fashionable "Munich School" technique, with detailed realism in heavy browns and grayed-out hues. Spicuzza completed eight grades in four years, and then in 1911, three businessmen advanced him enough money to allow him to study in New York under artist and teacher John Carlson. It was during this time that Spicuzza changed his style of painting, developing an impressionistic use of color, form and atmospheric renditions. After a period of grinding poverty, one of Spicuzza's pictures won a major New York competition. It was the first of 60 wins, both in the U.S. and Paris. He became a fashionable painter, and many of the leading collections have his work. Spicuzza's typical works were beach scenes, still life, landscapes and portraits done in pastels, oils, ink, charcoal and watercolors. Much of his work traced the history of Milwaukee in the early 1900s. He was probably best known for his scenes of women and children splashing in the waves...

Three engines sit in a wasted landscape described in a palate of warms grays, browns and ochers in broad quickly applied brush strokes. Quick and confident brush strokes describe th...

Iwan Albertovich Puni  (also known as Jean Pougny)  was a Russian avant-garde artist (Suprematism, Cubo-Futurism) who later became French. His style evolved towards Lyric Primitivism...

Impressionist Painting of a Man in an elegant interior- Paintings of men are rare on the market . Housed in a custom gold leaf frame * The Robert Lehman Collection at the Metropol...

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...

William Dennis was a landscape painter based in Nottingham, England. Known for his impressionistic, pastoral landscape paintings, Dennis painted mostly in oil, capturing the rural sc...

Otto Dill, "Deer", 1918, oil painting, two grazing fawns. Beautiful and rare motif of the world famous artist Otto Dill. Outstanding painting and colors. Signed and dated. Dimensi...

Date: 1918 Medium: Oil on Board Dimensions: 13.00" x 14.00" Signature: Unsigned 1921 Hearst International, The Torrent. Nicknamed "The Dean of Illustrators" by his peers. A cartoonist at 18 for Louisville Herald. By 1911 he was in the Chicago Tribune's Art department while studying at the city's Art Institute. In 1915, a student of Harvey Dunn, he in turn taught artists and developed talents for a generation. Oils for Cosmopolitan, Redbook, True, American Weekly, Life, Good Housekeeping. Book art for Man from Galilee and others. Ad contracts for GM, Eastern, Pennsylvania Railroad, Paul Jones Whiskey, Aunt...

Anton Jonsson Genberg, born 20 June 1862 in Östersund, died 8 January 1939 in Saltsjö-Storängen in Stockholm County, was a Swedish painter. Genberg painted naturalistically with the ...

Little boy eating bowl of Kelloggs

"Oil On Canvas, Art Nouveau Portrait By Leon Tirode (1873-1956)" Old oil on canvas, Art Nouveau style, portrait "Autumn" painted and signed by Leon Tirode (1873-1956), French school...

An illustrator working in a painterly, narrative style as N. C. Wyeth, Howard Pyle, Dean Cornwell from the Golden Age Of Illustration. Surface quality is post impressionist with hea...

Sarah Noble Ives, artist (1864-1944). Original drawing of three Dutch children, with an ink inscription reading: “Full Page / 6 Buff / Three children sliding on the ice / upon a summer’s day” above image. Ink, watercolor, and gouache on linen/board. Illustration for Mother Goose...

Medium: Oil on Canvas Laid on Board Signature: Unsigned The Saturday Evening Post, November 16, 1912 cover Study (Thanksgiving Edition)

ARTHUR SEGAL 1875-1944 Jassy, Rumania 1875-1944 London (Romanian) Title: Still Life and Fruits, 1911 Technique: Original Signed Oil Painting on cardboard size: 61 x 86 cm ...

Signature: Signed & Dated Lower Right 'Big Flat' by Henry Oyen: Appeared in Country Genteman, January 25th, 1919.