1920s Paintings

Untitled Cubist Abstraction Signed and dated lower right Watercolor, charcoal and gouache on paper, 1922 Provenance: Estate of the Artist Schroeder, Romero & Sh...

The unframed painting measures 120 x 61 cm. Romualdo Locatelli è conosciuto per i suoi ritratti che riflettono le culture e le tradizioni dei luoghi esotici che ha visitato. Born in ...

Very impressive impressionist coastal scene. Oil on canvas. Framed. No signature found.

Primitive oil on artist board coastal painting. Presented in a giltwood frame by Hendrik Jan Ten Cate (Netherlands, 1867 - 1955). Signed "Cate" bot...

A fine impressionist coastal oil painting of Provincetown, MA by American impressionist artist Henry Rya MacGinnis (1874-1962). MacGinnis was born in Indiana and began his art studies under the Hoosier artists...

Early 20th Century Carmel Mission Landscape Vibrant early 20th Century painting of Mission San Carlos Borromeo del río Carmelo, aka Carmel Mission, pr...

Beautiful colorist Alf Sundstrom oil on canvas painting of moonlight over a Stolphärbre in Sweden 1923. Wilhelm Alfons (Alf) Maria Sundström was born April 16, 1888 in Nansta, Gävle...

Delle Miller On the Upper Mississippi, circa 1926 Signed lower left Oil on canvas 26 1/8 x 29 1/8 inches By 1909, Miller was an instructor at the Kansas...

Paul GUILLAUME (1891-1934) - Famous French collector and art dealer The Glass and the Bottle, 1926 Oil on canvas on cardboard Signed lower right Dated “1926” and numbered “21” on th...

Frame: 16.5 x 13 Picture: 13.5 x 10 Picture is in good condition Frame has a lot of wear

This lovely, exhibited landscape oil painting is by British New English Art Club female artist Evelyn Cheston. It was painted circa 1920 when Cheston was resident in Devon. The view ...

Woman is an orignal modern artwork realized by Antonio Feltrinelli in 1929. Mixed colored oil painting on board Not signed. Ref. - Exhibition: Biennale of Venice 1938, - Italian...

'Sunny Afternoon, Hyères, Côte d’Azur' by Carl Stilling, 1928. French Riviera, Royal Academy of Art, Framed Oil ---- Signed lower right, "C. Stilling" for Carl Conrad...

This gem of a set design or theatre design was possibly done prior to the artist coming to the United States from Russia. Born in Kiev, this artist was talented and given the distin...

A beautiful British portrait of a Pekingese dog by George Denholm Armour. Dated to circa 1920, it is a superb Art Deco animal portrait with bold brush strokes and vibrant colour. The dog's name is, I believe, written in Japanese top right. Signed lower left. Provenance. Christie’s. Condition. Oil on canvas, image size is 27 inches by 24 inches and in good gallery condition. Housed in a gilded 1930s Art Deco frame, 35 by 32 inches framed. In excellent condition. George Denholm Armour (1864-1949) was a British painter. He was born in Waterside, Lanarkshire, Scotland on 30 January 1864. He grew up in Liverpool and went to school in Fife. He graduated from the University of St Andrews and the Edinburgh College of Art. He moved to Tangiers, Morocco to paint and buy horses. When his money ran out, he moved to London and shared a studio with Phil May. He met Joseph Crawhall...

Composition 15 is an original painting realized by Clément Kons (1879-1956). The artwork is on tempera and in very good conditions. Image Dimensions: 48...

"Le Jardin à Vaux"  Raymond Thibesart (France, 1874-1968) Pastel on paper, circa 1920s Stamp of studio on reverse: INV Nbr. 823 9 1/2 x 12 (17 1/2 x 14 framed) inches Raymond Thibes...

Armony in blue and red is an original artwork realized by Clement Nicolas Kons in 1920s. Original mixed colored tempera. The artwork is glued on ...

View of the Roman Forum is an original modern artwork realized in 1929 by Luigi Tarra (1832 - 1936). Mixed colored oil on panel. Hand signed and dated on the lower right margin. I...

Composition 14 is an original painting realized by Clément Kons (1879-1956). The artwork is on tempera and in very good conditions. Image Dimensions: 47...

The original 1923 work, entitled "Campagne Provençale" by Hermine David, is a striking painting depicting the picturesque landscape of Provence, created in gouache and oil on board. ...

A Pair of Modernist Landscapes by listed female artist Margaret Munro Stratton McLennan. Margaret was a painter working in the early 20th Century in the Syracuse area. These charmi...

Still Life with Vase of Flowers Oil on board with incised scraffito, c. 1929-1930 Unsigned by the artist Signed and inscribed verso: "Painting by my father, Aileen B. Cramer" verso, ...

An impressionistic, antique landscape painting depicting the rugged coastal beauty of Race Point Beach, Massechusets. The rocky coastline and rushing waves are rendered in luminous ...

Artist: Ben Benn, Polish/American (1884 - 1983) Title: Self-Portrait Year: circa 1920 Medium: Oil on Canvas, signed l.r. Size: 44 x 30 in. (111.76 x 76.2 cm) ...

Flowers in a white pitcher oil on canvas, signed, circa 1927. canvas 19 3/4 x 15 1/4 framed 25 3/4 x 21 1/4 Second still life painting available as shown on photo. Theresa Ferber Bernstein-Meyerowitz (March 1, 1890 – February 13, 2002) was a Polish-born American artist, painter, and writer. The only child of European immigrants Isidore and Anne (Ferber) Bernstein, Theresa was born in Krakow on March 1, 1890. She graduated from the Philadelphia School of Design for Women...

The extensive work of Vilma Eckl covers a period of more than seventy years. Her incomparable artistic talent and her essential contribution to the history of art can be seen in her ...

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

Antique illustration painting. Gouache and watercolor on board, circa 1920. Signed. Image size, 12L x 11H. Housed in a period frame.

Joseph Stella (1877 - 1946) Tree, Trunk, and Roots, Bronx, New York, circa 1924 Oil on canvas 12 x 16 inches inscribed in another hand Joseph Stella/Estate and bears Joseph Stella Estate stamp (on the reverse) Provenance: The Estate of the Artist Rabin & Kreuger, New Jersey Parke Bernet Galleries, New York, March 14, 1968, Lot 147 ACA Galleries, New York Thence by descent Stella was born June 13, 1877 at Muro Lucano, Italy, a mountain village not far from Naples. He became painter laureate of Muro Lucano when he was in his teens with a representation of the local saint in the village church. Stella immigrated to America in 1896 and studied medicine and pharmacology, but upon the advice of artist friend Carlo de Fornaro, who recognized his undeveloped talent, he enrolled at the Art Students League in 1897. Stella objected to the rule forbidding the painting of flowers, an indication of his lifelong devotion to flower painting. He also studied under William Merritt Chase in the New York School of Art and at Shinnecock Hills, Long Island in 1901-1902, displaying the bravura brushwork and dark Impressionist influence of Chase. Stella liked to paint the raw street life of immigrant society, rendering this element more emotionally than the city realists, the Aschcan School headed by Robert Henri. Stella went through a progression of styles--from realism to abstraction--mixing media and painting simultaneously in different manners, reviving styles and subjects years later. The "Survey" sent Stella to illustrate the mining disaster of 1907 in Monongah, West Virginia, and in 1908 commissioned him to execute drawings of the Pittsburgh industrial scene. Steel and electricity became a major experience in shaping his responses to the modern world, and Stella succeeded in portraying the pathos of the steelworkers and the Pittsburgh landscape. Stella went abroad in 1909 at the age of thirty-two, lonely for his native land. He returned to Italy, traveling to Venice, Florence and Rome. He took up the glazing technique of the old Venetian masters to get warmth, transparency, and depth of color. One of Stella's paintings was shown in the International Exhibition in Rome in 1910 and was acquired by the city of Rome. The influence of the French Modernists awakened his dormant individuality. His friendship with Antonio Mancini, a Futurist, also played a role in his new style. At the urging of Walter Pach...

Geometry Game is an original artwork realized by Clement Nicolas Kons in 1920s. Original mixed colored tempera. Good conditions except for yellowing of paper due to the time. Th...

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...

Composition in black is an artwork realized by Clement Nicolas Kons in 1920s. Original mixed colored tempera. Good conditions except for some so...

Composition 22 is an original painting realized by Clément Kons (1879-1956). The artwork is on tempera, in very good conditions and mounted on a cardboard (42x52). Image Dimension...

Blue Circle is an artwork realized by Clement Nicolas Kons in 1920s. Original mixed colored tempera. Good conditions except for yellowing of p...

Huile sur panneau par Peter Pàlffy, représentant des chevaux. Dimensions avec le cadre: 77x99 cm Peter Pallfy est un peintre autrichien du XX siècle que a...

Portrait of a calm resting baby by a Japanese/American San Jose, California artist circa 1920's in the style of Mary DeNeale Morgan (Carmel, 1868 -...

This gorgeous and vibrant early twentieth century British landscape oil painting is by Margaret Maitland Howard. Painted circa 1920 the landscape is of a rocky out crop or escarpment...

Artist: Ben Benn, Polish/American (1884 - 1983) Title: 23rd and 2nd Ave, New York City Year: 1924 Medium: Oil on board, signed l.r. Size: 14 x 11.5 in. (35.56 x 29.21 cm) Frame Size:...

Still Life American Scene Social Realism 20th Century Woodstock Modern Dudensing Konrad Cramer (1888 – 1963) "Black Glass Bowl and Napkin" 16 ½ x 14 inches Oil on Board Singed lower...

Oil on panel. Contemporary frame. Measures with frame: 82.7 x 102.5 cm. Very good conditions.

Oil on board, in excellent conditions. Beautiful cityscape of Rome from Pincio Hill, realized by Amedeo Bocchi in 1920 ca. Includes vintage wooden gilded frame 46x74 cm. A Certificate of authenticity will be released by the Gallery. Amedeo Bocchi (Parma, 1883 – Rome, 1976) At the age of 12, Amedeo Bocchi is enrolled at the Regio Istituto di Belle Arti in Parma. After graduating in 1901 with the highest grades, he attends the School of Nude Art in Rome where he will spend the rest of his life. In 1910 Bocchi is accepted, for the first time, with two paintings, to the Venice Biennial where he is able to admire the great solo exhibition by Gustav Klimt. In 1911, at the grand Exposition in Rome for the fiftieth anniversary of the Italian Unification...

Composition 16 is an original painting realized by Clément Kons (1879-1956). The artwork is on tempera and in very good conditions. Image Dimensions: 32...

Composition 9 is a painting realized by Clément Kons (1879-1956). The artwork is on tempera and in very good conditions. Image Dimensions: 43.5x31 cm. ...

Genevieve, F, Samsel (1898-1991), 1920's - 1930's illustration Oil, painting of a village street scene with horse and wagon in church 24 x 30 unframed, 28.5 x 34.5 framed. Painti...

"Oil Painting On Canvas Dated 1921, Military Portrait By Paul Leroy" Paul Alexandre A. LEROY (1860-1942), French school. Description: Very beautiful oil painting on canvas, represent...

Couple of paintings depincting a Berber man and woman by the spanish artist ANGLADA PINTO Luis. The man is painted on panel and the woman on canvas. Both same size. Not framed. A bea...

Classic colour equestrian print by Sir Alfred J Munnings (1878-1959) pencil signed (LR) titled, Gypsy Caravan published by Frost & Reed c1927 w/ French mat and ebony/ gilt frame Chromolithograph Sir Alfred Munnings...

Perhaps a study or a preliminary work for for "L'ombre d'une jeune fille en fleur", Lot 46 - Christie's, New York (February 14, 2007) Private Collection, Miami Gouache and pencil...

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

Élisabeth Fuss-Amoré (1879-1959) Colette, 1920s Oil on canvas Artwork: 15 3/4 x 15 3/4 in. 40 x 40 cm Framed: 21 2/3 x 21 2/3 l 55 x 55 cm Signed upper left Élisabeth Fuss‐Amoré, b...

Ponte Vecchio Florence Oil on canvas, 1927 Signed and dated lower right corner Titled upper left NOTE: this offering is UNFRAMED Condition: Excellent Conservation by Monica Radecki, ...

Henri Pfeiffer joined the Bauhaus at the age of 17, where he became a student of Paul Klee. He created numerous abstract works with a renewed vision of color use and perception. From...

Oil on canvas, signed lower left. Carlos Abascal est un peintre orientaliste et illustrateur espagnol né à Madrid en 1878. Il a peint à l’huile et à l’aquarelle des scènes de genre...

Work on canvas

“The Gun-Runners” by Edwin Cole, published in The Youth’s Companion, May 6, 1926, pg. 343. Western illustration Literature: Schoonover, Smith & Dean 1450 Artwork Dimensions: 17.5...

Oil on board. Signed in oil, lower left recto, and inscribed "no. 20" in watercolor verso. With the "Douane Centrale" ink stamp verso. Provenance: Private collection, Chicago.

Oil On Canvas, portrait of a musketeer French school 20th century Horace Colmaire studied with Albert Roze in Amiens before joining the workshops of Léon Bonnat, Jules Adler and Ray...

This original 1924 oil painting by acclaimed Colorado modernist John E. Thompson captures the architectural grandeur of High Bridge, New York City’s oldest standing bridge, as it spans the Harlem River. A powerful blend of realism and early modernist style, the composition highlights the bridge’s elegant arches and structural detail, all rendered in richly textured oil on canvas. Thompson’s masterful brushwork and use of color breathe life into the urban landscape, creating a dynamic visual tribute to one of NYC’s most iconic 19th-century engineering feats. The painting is signed and dated in the lower right corner, adding historical authenticity and collector appeal. It is housed in a custom vintage frame, complementing the period and enhancing its timeless aesthetic. This rare depiction of early 20th-century New York City is an important work for collectors of vintage American art, urban landscapes, and historical landmarks. It bridges two artistic worlds—urban realism and the advent of modernism—making it a standout piece in any serious collection. About the Artist: John E. Thompson – Pioneer of Colorado Modernism John Edward Thompson (1876–1945) is widely regarded as the "Dean of Colorado Artists", known for his pivotal role in introducing European modernist techniques to the American West. Born in Buffalo, Thompson studied at the Art Students League of Buffalo and later in New York City, before immersing himself in Europe’s avant-garde movements, particularly influenced by Paul Cézanne. In 1914, Thompson settled in Denver, where he would become a transformative force in the local art scene. His teachings and leadership helped lay the foundation for Colorado’s modern art movement, and he later served as a faculty member at both the University of Denver and the Santa Fe Art School, alongside contemporaries like Andrew Dasburg, B.J.O. Nordfeldt, and Walter Ufer. Thompson also mentored key figures such as Józef Bakoś and Walter Mruk, who would go on to co-found Los Cinco Pintores...

Jim's of Lambertville Fine Art Gallery is proud to present this piece by John Fulton Folinsbee (1892 - 1972). One of the finest painters to embark upon the New Hope Art Colony, John...