1920s Paintings

American artist Henry R Rittenberg painted this lovely 1920's Art Deco portrait oil painting. The painting is a standing half length portrait of a lady in a black coat with a white f...

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...

Painting measures 10 ½" x 16" and framed 20 ½" x 26" x 4"

Les Baigneuses by Paulémile Pissarro (1884-1972) Oil on canvas 89 x 118 cm (35 x 46 ¹/₂ inches) Signed and dated lower right, Paulémile - Pissarro. 1928. This work is accompanied by...

Step back in time to the roaring 1920s, a period of innovation, artistic rebellion, and cultural transformation. This painting invites you to own a piece of this vibrant era with a r...

Manuel Isidor Valle Micolau (1874-1959) - Spanish landscape - Oil on board Oil mesures 18x11 cm. Frame measures 28x22 cm. Photographer and artist from Lleida trained at the "Círculo...

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...

A superb pastoral oil painting by British listed artist Frederick George Swaish and painted in 1923. He was a noted British artist of the inter war period and a regular exhibitor at ...

Landscape with Trees Watercolor on paper, 1929 Signed in pencil lower right corner Obviously influenced by the Cezanne works in the collection of his patron Alfred C. Barnes of Phila...

This charming British portrait oil painting is by noted artist Allan Douglas Davidson. Painted circa 1920, the painting is an endearing bedtime scene of a mother and young son embracing as she gets his pyjamas on ready for bed. Stood on the bed he is the ideal height to kiss his mother, whilst teddy is already tucked in bed, waiting to be joined. The blond hair of the child and auburn hair of his mother both gleam in the light as they embrace. A really sweet painting and an excellent example of Davidson's skill as an artist. Signed lower left. Provenance. Essex estate. Condition. Oil on canvas 32 inches by 26 inches unframed and in good condition. Frame. Housed in a complementary frame, 40 inches by 34 inches framed and in good condition. Allan Douglas Davidson, R.B.A., R.O.I., R.M.S. (1873-1932) was an English painter who predominantly worked in oils and specialized in portraits, interiors and female nudes. Allan Davidson was born in London on 14 May 1873. His father was the historical painter Thomas Davidson. Allan studied art at the Royal Academy Schools in London, where he won a medal and the Armitage Prize, he also studied at the Académie Julian in Paris. He was elected to the Royal Institute of Oil Painters in 1921 and was also a member of the Langham...

Essay: We are pleased to present a magnificent painting by the talented Swedish artist, Alfred Ekstam (1878-1935). This breathtaking landscape features a view over a lake, believed to be Lake Mangen, near Ekstam's hometown. In the foreground, a lush green field extends to the lake, which shimmers in hues of purple, blue, and white, reminiscent of Claude Monet's impressionistic technique of painting water. It is a sight to behold. The sky, filled with clouds, is also mirrored in the water, adding depth and dimension to the scene. In the distance, green mountains loom, completing this picturesque vista. Alfred Ekstam was born in Mangskog in 1878, originally with the surname Johansson. He began his career as a painter's apprentice to a local master painter. After a few years, he moved to Stockholm to attend the Technical School, where his ambition to become an artist was ignited. However, finding it difficult to make a living as an artist, he returned to Värmland. Ekstam was a skilled craftsman and was discovered by Elis Eriksson at the Eriksson brothers' furniture workshop, where he was employed as a decorative painter. He also came into contact with notable artists such as Gustaf Fjæstad, Fritz Lindström, and Bror Lindh...

5-3506 Hand carved sailing diorama wood and oil paint. Signed on verso Esposito 1920 Set in a new wood frame

Louis PASTOUR (1876-1948) Cannes 1928 A delightful painting of a coastal landscape depicting fishing boats and figures on a beach near Cannes by the French post impressionist artis...

This attractive portrait features the five-masted schooner ELINOR H. at full sail in an active sea. The ship has crisp lines and a sharp sense of detail, likely because it was painte...

This superb portrait oil painting is by noted Russian Jewish artist Jacob Kramer. The sitter is a friend of the artist, George Hopkinson, proud Yorkshireman and textile businessman w...

Signed lower left "Vigny" for Sylvain Vigny (French, 1903-1970) and painted, circa 1935, on artists board prepared by Maison Franco, 19 Rue Pastorelli, Nice. Born in Vienna, Sylvain...

Girl with glasses. About 1920-30. Double portrait. Spalmach Gino (Rome, 1900 - 1966). Painted on two sides: on one side the young woman with glasses is represented, in charcoal/penci...

Hans Hofmann Hiddensee, Herbst (Autumn), 1927 Signed with initials and dated lower left; titled on the reverse Oil on paper 18 x 22 inches Provenance: John Adams Fine Art, London Pr...

A stunning portrait oil painting of Violet Ann Gilbert which was painted by James Peter Quinn in 1929 and was exhibited at The Paris Salon of that year. A beautiful portrait of a young woman from the nineteen twenties. In excellent condition and framed in the original period frame. This is a fine painting by a noted listed artist and a great example of an early 20th century portrait painting. Signed lower left. Provenance. Exhibited at the Paris Salon 1929, labels verso. Condition. Oil on canvas in excellent condition, image size 40 inches by 30 inches. Housed in its original gallery frame, framed size is 47 by 37 inches. Excellent condition. James Peter Quinn (1869-1951) was born on 4 December 1869 at 60 Bourke Street, Melbourne, third son of John Quinn, restaurant-keeper born in Antigua, West Indies, and his English wife Ann, née Long. Little is known of Quinn's childhood and early education; both parents died when he was young. His guardians apprenticed him to an engraver, but he undertook part-time studies at the school of design, National Gallery of Victoria, under Frederick McCubbin in 1887-89, and at the school of painting under George Folingsby and Bernard Hall in 1890-93. Awarded several student prizes, he won the gallery's travelling scholarship in 1893. Quinn went to London in 1894 but quickly left for Paris where he studied at the Académie Julian, at the Académie des Beaux-Arts under Jean Paul Laurens, and with Colarossi and Delécluse. He returned to London about 1902 and married fellow art-student Blanche Louise Guernier there on 29 September. By 1904 he had exhibited with the Royal Academy of Arts and went on to establish a reputation as a highly successful portrait painter. His finest and most sensitive work was produced before 1910. His family were the subjects of many paintings, including 'Mère et Fils', awarded an honourable mention at the Old Salon, Paris, in 1912. He also painted many self-portraits. His many commissioned works included portraits of Joseph Chamberlain, the Duchess of York and, later, the Duke of Windsor. In 1918-19 he was an official war artist with the Australian Imperial Force in France, and exhibited war paintings at the Grafton Galleries, London. In 1919, with George Coates, he was an official artist to the Canadian War Records. He was a council-member of the London Portrait Society, and a member of the Royal Society of Portrait Painters and the Royal Institute of Oil Painters, exhibiting regularly with them and the Royal Academy, and in Paris with the Old and New salons. Quinn's sudden return to Australia in December 1935, alone, followed the death of his gifted artist-son René. He held exhibitions at the Fine Art Society's Gallery, Melbourne, in 1936 and the Royal South Australian Society of Arts Gallery the next year. Quinn ostensibly returned as an acclaimed artist, was invited to rejoin the Victorian Artists' Society he had joined first in 1888, and was its president (but for one year) in 1937-50. Yet a coolness existed. Though he had little in common with the modernist painters of the period, his commitment to a tolerant brotherhood of artists found no allies among the aggressively conservative old guard. In 1937 he clashed publicly with (Sir) Robert Menzies who in opening a V.A.S. exhibition denigrated modern art. In spite of the affection felt for him by many artists and students, Quinn was somewhat isolated. He continued to exhibit, winning the Crouch prize, Ballarat Fine Art Gallery, in 1941. In the mid-1940s he taught briefly at the National Gallery school. A lover of good food, wine and conversation, Quinn delighted in mixing with all classes. Frequenting the haunts of journalists, writers and the more Bohemian fringe, he was easily recognizable with his bow tie, grey curly hair and cigarette dangling from the corner of his mouth. Survived by one son, he died of cancer on 18 February 1951 at Prahran and was buried in St Kilda cemetery. His war portraits are held by the Australian War...

Algerian women in an interior. Oil on panel. Signed. This work will be recorded in the catalogue raisonné of the work of the artist currently in preparation. Jules Van Biesbroeck...

Signed and dated lower left by Artist

Karl Stohner (1894 Mannheim - 1957 Paris), Ballerina in the dressing room, 1924. Pastel on painting cardboard, 65 x 45 cm, 77,5 x 59,5 (frame), signed lower left "Stohner" and dated "[19]24". Behind glass in gold stucco frame of the time. - Painting cardboard slightly warped, in the lower area minimally stained, frame with age patina and traces of abrasion. - The Naturalness of Artificiality - We see a ballerina putting on her right ballet shoe while the left one is still lying on the floor in front of her. It is precisely the casualness of the scene that gives it its intimacy: the blonde young woman is completely absorbed in the activity of getting ready for the dance, oblivious to us, while we are positioned right in front of her in the dressing room, inaccessible to the audience, watching her dress. Even though she does not yet perform a dance step, there is a graceful elegance in the action shown that seems quite natural in contrast to the rehearsed art form of dance. The young woman is not presenting herself to an audience in a perfectly formed movement, but is performing an everyday action, unaware that she is being watched. Concentrated, almost devotional, she pulls the ballet slipper over the verses, not noticing that one of the straps of the tutu has slipped off her shoulder, reinforcing the erotic moment of the scene. Inspired by Edgar Degas, Karl Stohner has painted the scene in strong pastel tones. The dominant blues and turquoises give the scene a magical, mysterious quality and, like the pink of the stockings and ballet slippers, are borrowed from Degas's dancers. Degas's colors, however, are cooler tempered, which is particularly evident in the light impasto applied incarnate. This is where the vividness of Auguste Renoir comes into play, making the dancer seem entirely flesh and blood. Karl Stohner, who has studied the pastels of Degas and Renoir intensively, combines the two artists here to create his own pictorial language. He has laid out the background in broad layers of strokes, ranging in color from white to turquoise to dark blue. The result is a dynamic, pattern-like structure that contrasts with the woman's calm, inward-looking posture. The fund anticipates the dynamics of the choreography of the dance for which the ballerina is preparing. At the same time, the broad pastel line in the background is an adequate means of painting to depict the soft, flowing elegance of the dancer. About the artist Against the wishes of his wealthy parents, Karl Stohner decided to become a painter. His talent was discovered by the director of the Mannheim Art Gallery, Fritz Wichert, who supported him from then on, including financing study trips to Paris. There he discovered the art of Degas, Cézanne and Renoir, which inspired his work. GERMAN VERSION Karl Stohner (1894 Mannheim - 1957 Paris), Ballerina im Ankleideraum, 1924. Pastell auf Malkarton, 65 x 45 cm, 77,5 x 59,5 (Rahmen), unten links mit „Stohner“ signiert und auf „[19]24“ datiert. Hinter Glas im Goldstuckrahmen der Zeit. - Malkarton leicht verzogen, im unteren Bereich minimal fleckig, Rahmen mit Alterspatina und Abriebspuren - Die Natürlichkeit der Kunstform - Wir sehen eine Ballerina, die sich den rechten Ballettschuh anzieht, während der linke noch vor ihr auf dem Boden liegt. Gerade aus der Beiläufigkeit der Szenerie speist sich ihre Intimität: Die blonde...

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...

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...

This beautiful and impressive Royal Academy exhibited British Impressionist landscape oil painting is by noted artist Frederick Gordon Crosby. It was painted and exhibited in 1921 an...

Work on canvas Molded frame in plaster and gilded wood 81 x 94 x 6 cm Geneva landscape painted on the back of the canvas

A stunning portrait of Mr John Gilbert. This original oil on canvas was painted by James Peter Quinn in 1929 and was exhibited at The Paris Salon of that year. A fine portrait, it is in excellent condition and framed in the original period frame. This is a fine painting by a noted Australian listed artist. Signed right. Provenance. Exhibited at the Paris salon 1929. Condition. Oil on canvas in very good condition, image size 40 inches by 30 inches. Housed in its original gallery frame, 47 by 37 inches framed. Excellent condition. James Peter Quinn (1869-1951) was born on 4 December 1869 at 60 Bourke Street, Melbourne. He was the third son of John Quinn, restaurant-keeper born in Antigua, West Indies, and his English wife Ann, née Long. Little is known of Quinn's childhood and early education; both parents died when he was young. His guardians apprenticed him to an engraver, but he undertook part-time studies at the school of design, National Gallery of Victoria, under Frederick McCubbin in 1887-89, and at the school of painting under George Folingsby and Bernard Hall in 1890-93. Awarded several student prizes, he won the gallery's travelling scholarship in 1893. Quinn went to London in 1894 but quickly left for Paris where he studied at the Académie Julian, at the Académie des Beaux-Arts under Jean Paul Laurens, and with Colarossi and Delécluse. He returned to London about 1902 and married fellow art-student Blanche Louise Guernier there on 29 September. By 1904 he had exhibited with the Royal Academy of Arts and went on to establish a reputation as a highly successful portrait painter. His finest and most sensitive work was produced before 1910. His family were the subjects of many paintings, including 'Mère et Fils', awarded an honourable mention at the Old Salon, Paris, in 1912. He also painted many self-portraits. His many commissioned works included portraits of Joseph Chamberlain, the Duchess of York and, later, the Duke of Windsor. In 1918-19 he was an official war artist with the Australian Imperial Force in France, and exhibited war paintings at the Grafton Galleries, London. In 1919, with George Coates he was an official artist to the Canadian War Records. He was a council-member of the London Portrait Society, and a member of the Royal Society of Portrait Painters and the Royal Institute of Oil Painters, exhibiting regularly with them and the Royal Academy, and in Paris with the Old and New salons. Quinn's sudden return to Australia in December 1935, alone, followed the death of his gifted artist-son René. He held exhibitions at the Fine Art Society's Gallery, Melbourne, in 1936 and the Royal South Australian Society of Arts Gallery next year. Quinn ostensibly returned as an acclaimed artist, was invited to rejoin the Victorian Artists' Society he had joined first in 1888, and was its president (but for one year) in 1937-50. Yet a coolness existed. Though he had little in common with the modernist painters of the period, his commitment to a tolerant brotherhood of artists found no allies among the aggressively conservative old guard. In 1937 he clashed publicly with (Sir) Robert Menzies who in opening a V.A.S. exhibition denigrated modern art. In spite of the affection felt for him by many artists and students, Quinn was somewhat isolated. He continued to exhibit, winning the Crouch prize, Ballarat Fine Art Gallery, in 1941. In the mid-1940s he taught briefly at the National Gallery school. A lover of good food, wine and conversation, Quinn delighted in mixing with all classes. Frequenting the haunts of journalists, writers and the more Bohemian fringe, he was easily recognizable with his bow tie, grey curly hair and cigarette dangling from the corner of his mouth. Survived by one son, he died of cancer on 18 February 1951 at Prahran and was buried in St Kilda cemetery. His war portraits are held by the Australian War...

Manuel Isidor Valle Micolau (1874-1959) - Spanish landscape - Oil on board Oil mesures 11.5x19 cm. Frame measures 22x28 cm. Photographer and artist from Lleida trained at the "Círcu...

A stunning original Art Deco oil painting on canvas by noted British artist Helen Margaret MacKenzie. It is very evocative of the 1920’s Art Deco period and depicts the artist in a ...

This early 20th-century oil painting by Belgian artist Philippe Swyncop (1878-1949) depicts a colourful street in Fontarrabie, Spain. Fontarrabie, or...

Myron Lechay Abstract Interior of Room, 1923 Signed upper right corner and dated upper left corner Oil on canvas 24 x 20 inches Provenance: Estate of the artist Spanierman Gallery, ...

5-2519a Oil on artist board displayed in a painted wood frame Image size 10x12.5"

Antique American impressionist winter landscape oil painting. Oil on canvas. No signature found. Framed. Image size, 30L x 24H.

Albert Ferdinand DUPRAT This painting is absolutely beautiful, ideal for lovers of Venice, to make a gift! Our panel is a work that excellently expresses all of his pictorial credo...

Signed & Dated Lower Right by Artist Hendryx, James B. “The Round Seven Mystery.” The American Boy, September 1922: 9. caption: The sheepman eyed him with a hostile glare. ‘Why didn’t you ride right through ’em?’ he asked. Hendryx, James B. Connie Morgan in the Cattle Country. New York: G.P. Putnam’s Sons, 1923: 96. caption: The sheepman eyed him with a hostile glare. “Why didn’t you ride right through ’em?” he asked Exhibitions: 1925 Washington; 1935 FAO Schwartz

This is an Art Deco original illustration drawing, hand-painted with ink and gouache on paper, designed by French artist Edouard Halouze. The artwork features two stylish female mode...

Antique modernist signed pointillist painting. Watercolor and gouache on paper. Signed. Framed. Rare early work!

This painting is part of our exhibition American Coast to Coast: Artists of the 1930s Subway Construction, c. 1928, oil on board, 19 x 15 ¾ inches, signed upper left, artist and title verso; exhibited: 1) 12th Annual Exhibition of the Society of Independent Artists, The Waldorf Astoria, New York NY, from March 9 to April 1, 1928, no. 864 (original price $250) (see Death Prevailing Theme of Artists in Weird Exhibits, The Gazette (Montreal, Quebec, Canada), March 8, 1928); 2) Boston Tercentenary Exhibition Fine Arts and Crafts Exhibition, Horticultural Hall, Boston MA, July, 1930, no. 108 (honorable mention - noted verso); 3) 38th Annual Exhibition of American Art, Cincinnati Art Museum, Cincinnati, OH, June, 1931 (see Alexander, Mary, The Week in Art Circles, The Cincinnati Enquirer, June 7, 1931); and 4) National Art Week Exhibition [Group Show], Montross Gallery, New York, New York, December, 1940 (see Devree, Howard, Brief Comment on Some Recently Opened Exhibitions in the Galleries, The New York Times, December 1, 1940) About the Painting Ernest Stock’s Subway Construction depicts the excavation of New York’s 8th Avenue line, which was the first completed section of the city-operated Independent Subway System (IND). The groundbreaking ceremony was in 1925, but the line did not open until 1932, placing Stock’s painting in the middle of the construction effort. The 8th Avenue line was primarily constructed using the “cut and cover” method in which the streets above the line were dug up, infrastructure was built from the surface level down, the resulting holes were filled, and the streets reconstructed. While many artists of the 1920s were fascinated with the upward thrust of New York’s exploding skyline as architects and developers sought to erect ever higher buildings, Stock turned his attention to the engineering marvels which were taking place below ground. In Subway Construction, Stock depicts workers removing the earth beneath the street and building scaffolding and other support structures to allow concrete to be poured. Light and shadow fall across the x-shaped grid pattern formed by the wooden beams and planks. It is no surprise that critics reviewing the painting commented on Stock’s use of an “interesting pattern” to form a painting that is “clever and well designed.” About the Artist Ernest Richard Stock was an award-winning painter, print maker, muralist, and commercial artist. He was born in Bristol, England and was educated at the prestigious Bristol Grammar School. During World War I, Stock joined the British Royal Air Flying Corps in Canada and served in France as a pilot where he was wounded. After the war, he immigrated to the United States and joined the firm of Mack, Jenny, and Tyler, where he further honed his architectural and decorative painting skills. During the 1920s, Stock often traveled back and forth between the US and Europe. He was twice married, including to the American author, Katherine Anne Porter. Starting in the mid-1920s, Stock began to exhibit his artwork professionally, including at London’s Beaux Arts Gallery, the Society of Independent Artists, the Salons of America, the Cincinnati Art Museum, the Whitney Studio and various locations in the Northeast. Critics often praised the strong design sensibility in Stock’s paintings. Stock was a commercial illustrator for a handful of published books and during World War II, he worked in the Stratford Connecticut...

Signed Lower Right by Artist July 1927 Cover of Good Housekeeping

Signed Lower Right by Artist Titled on the reverse: May I Have the Pleasure Good Housekeeping cover, November 1926 As Jessie Willcox Smith biographer S. Michael Schnessel has a...

A large, original portrait of Clarissa. It depicts Olive Groves as Clarissa in Lionel and Clarissa at the Lyric Theatre in Hammersmith in 1926. Given to Olive Groves in 1966 by Sir G...

Signed and titled figures in cityscape oil on canvas circa 1920 by post impressionist painter Albert Andre. This stunning and good-sized work depicts a view of the Boulevard de Clichy, a famous street in the city of Paris, France on what appears to be a sunny but cool day. Signature: Signed lower left and titled & dated on original label verso Dimensions: Framed: 29"x35" Unframed: 22"x28" Provenance: New York, Durand-Ruel, Exhibition of Paintings by Albert André, 1 February -18 February, 1921 He came to Paris in 1889 as an industrial designer. At the age of 23 he enrolled at the studio of William Bouguereau at the Académie Julian, where he met Ranson, Louis Valtat and the young poet and dramatist Henry Bataille, who at the time was training as a painter. He illustrated L'étang de Berre by Charles Maurras and Les Petites Alliées by Claude Farrère. He produced cartoons for tapestries...

A fine oil on canvas which dates to circa 1920 by noted Australian artist Frederick William Leist. It is a super portrait oil painting which depicts a beautiful young woman lost in contemplation. Almost Orientalist by design, it is a super roaring twenties painting. Full of vitality and impressionistic colour and influences of 20th century portraiture, it is a very evocative image. Signed lower right. Provenance. Collection IMI PLC. Condition. Oil on canvas. Unframed size is 30 inches by 25 inches, in excellent condition. Housed in a fine Bourlet gilt gallery frame. Framed size is 40 inches by 35 inches, in excellent condition. Frederick William (Fred) Leist (1873-1945) born Sydney. He was the eighth surviving and fifteenth child of Edward Frederick Leist, builder, and his wife Harriet Eliza, née Norris, both Londoners. Leist was educated at Crown Street Public School and, while training as a furniture designer in the workshops of David Jones Ltd, studied art at Sydney Technical College before becoming a student of the Art Society of New South Wales; under Julian Ashton's tuition he learned plein air techniques. 1898 he married Ada Sarah Roberts. Leist drew for the Bulletin in the 1890s and became staff artist on the Sydney Mail; he was also local representative for the London Graphic from 1900. According to William Moore he 'was the first to portray the Australian girl as a definite type'. Leist was an original council-member of the Society of Artists, Sydney, in 1895 and, after their merger, of the Royal Art Society of New South Wales. However in 1907 he was one of the twelve who re-established the Society of Artists. The Leists moved to England and from 1910 to 1925 he exhibited regularly at the Royal Academy of Arts. His first successful picture, 'The Mirror', a portrait of his daughter, was hung on the line at the Royal Academy in 1911 and next year at the Salon de la Société des Artistes Français. At the 1914 Royal Academy exhibition his painting of two Spanish guitar players, 'The Rivals', was acclaimed. The Review critic wrote: 'it is a composition in light and a pattern of colour, given power and meaning by restraint'. Noted for his studies of handsome women, Leist was elected to the Royal Society of British Artists and to the Chelsea Arts Club in 1913 and next year to the Royal Institute of Oil Painters; later he also exhibited with the Royal Society of Portrait Painters. During World War I, Leist worked for the War Office designing recruiting posters. Then, in September 1917, he was appointed an official war artist with the Australian Imperial Force and attached to 5th Division headquarters as an honorary lieutenant. From September to December and from June to August 1918, 'dodging shells and mustard gas', he produced about 150 small sketches, drawings and watercolours, and a portrait of Lieutenant-General Sir Talbot Hobbs. He later fulfilled commissions to paint four large battle scenes including 'Battle of Polygon Wood' and 'Capture of Mont St Quentin'. The striking colours of these battle scenes are in strong contrast to the delicacy and muted tones of his watercolours such as 'The Lacemaker'. In London, Leist consolidated his reputation: he was represented in the 1918 exhibition of Australian war...

This lovely portrait was painted circa 1920 by the noted British Impressionist portrait painter Walter Ernest Webster. This painting depicts a beautiful young woman in an Impressioni...

Signed figures in landscape oil on canvas circa 1920 by French post impressionist painter Lucien Adrion. The painting depicts people going about their daily lives on the streets of P...

Illegible signature Work on canvas Golden wooden frame 46.5 x 41.5 x 5.5 cm

This charming oil on canvas Impressionist painting is by British artist Philip Wilson Steer and has excellent provenance. The painting is circa 1920 and of a demure seated nude young...

Louis Fortuney (1878-1950), also known simply as “Fortuney”, was a French pastellist. He studied at the Ecole des Beaux Arts in Toulouse and in Paris and developed a personal style n...

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 ...

Stunning woman nude pencil study by Russian painter G. Debotoiyche (20th Century). The representation is very modernistic, with only a few lines drawn to render the whole movement an...

"Mono Hot Springs Cabins, Fresno Co - Calif" Forest Landscape in Oil on Board Serene depiction of two cabins in the Sierra Mountains by HW Dittmann (Dittman) (American, Born-1883 circa). A wooden...

Style of Arthur B. Davies Untitled (Muses), c. 1920 Reverse glass painting 19 x 24 in. Reverse glass painting is a form of art that consists of applying paint to a piece of glass t...

This oil painting is signed by the artist "A.Lhote." in the upper left corner. The work was painted in 1928. Note; The village is perhaps La Laupie. Provenance: This work is ac...

Serene depiction of Loch Na Keal, Iona, Scotland by William Mervyn Glass, Royal Scottish Academy and Scottish Academy of Artists (PSSA,SSA) (Scott...

Josef Jungwirth (Austrian, 1869-1950) Sclien, 1921 Oil on wood panel 19 x 16 1/8 in. Framed: 21 3/4 x 18 3/4 x 7/8 in. Signed, dated, and inscribed lower right: J. Jungwirth, Sclien,...

Sleeping Spaniel in the Hearth Italian Figural Dog Painting oil on Linen Exceptional painting of a sleeping Spaniel in a Hearth by Italian artist Tito Corbella (Italy, 1885-1966), we...

profile face. original pencil drawing painting André Derain (Chatou, June 10, 1880-Garches, September 8, 1954) was a French painter, illustrator and set designer, representative of ...

Signed Lower Left by Artist