Early 20th Century Paintings

ARTIST: Edgar Spier Cameron (1862-1944) American / Canadian TITLE: "French Farm Landscape" MEDIUM: oil on board SIZE: 70cm x 50cm inclusive of frame CONDITION: very good NOTES: B...

A whimsical oil painting depicting a Parisian cafe scene in Paris, France, by Luigi Cagliani. As an Italian Impressionist artist, Cagliani produced most of his works in the first hal...

➡️ Landscape Forest Path with Figures Anonym school of Barbizon⬅️ ⏩It is signed Colet⏪ ⭐Medium:⭐ Oil on canvas ⭐Technique: ⭐Impasto painting with expressive brushwork. ⭐Size:⭐2...

Portrait of a Gentleman in Riding Dress by Paul Knight (exh. 1883–1904) oil on canvas, framed (*read important notes at the end of this listing) Signed lower right Approximately 83 ...

Moonlit Eruption of Mount Vesuvius Over the Bay of Naples Continental School (Early 20th Century) Medium: oil on board, unframed. Board: 11 × 20 inches. Provenance: private collectio...

Early 20th-Century French Portrait of a Seated Woman in a Black Coat & Wide-Brimmed Hat by Louis Pierre Amiel, signed in the lower right and in a vintage gilt frame. A refined early...

A truly captivating/stunning early 20th century French coastal landscape by Raymond Wintz (French 1884–1956), renowned for his luminous depictions of Brittany and the French coastlin...

Carl Johansson (1863–1944) Sweden Northern Swedish Landscape, c. 1920 signed lower right Carl Johansson oil on panel unframed 28.5 × 43.5 cm (11.2 × 17.1 in) framed 38.5 × 54 cm (1...

Early 20th Century Expressionist Landscape – “Le pique-nique” A vibrant landscape executed in the expressive style of early 20th-century Expressionism. Bold, confident brushstrokes ...

Swedish Winter Landscape at Sunset signed Olof Farm, Oil on canvas. Original brown stained frame with carved gilded floral ornamentation. This winter landscape depicts a gently rolli...

Oil on canvas, unsigned. This evocative oil painting depicts a solitary sailing boat crossing calm waters toward a small, tree-covered island beneath an expansive, overcast sky. In the foreground, partially concealed among the dark rocks and vegetation, a nude figure bends toward the water beside a vivid red and white drapery, introducing an intimate and enigmatic presence into the landscape. The composition is distinguished by its restrained palette of blue-grey, deep green and earthy tones. Against these subdued colors, the pale sail and softly modelled flesh of the figure create delicate points of light, while the red drapery provides a striking chromatic accent. Loose, expressive brushwork allows the forms of the water, foliage and distant island to dissolve gently into the surrounding atmosphere. With its emphasis on mood, color and the fleeting effects of light rather than precise topographical detail, the work reflects the influence of Post-Impressionist and early Modernist landscape painting. A poetic and contemplative composition combining the traditional themes of the seascape and the nude. post impressionist seascape, bather painting, nude by the sea, female nude painting, nude figure landscape, coastal landscape painting, sailboat painting, sailing boat painting, island landscape, early 20th century painting, European seascape, modernist seascape, post impressionist landscape, maritime painting, coastal oil painting, atmospheric seascape, figurative landscape, bather by the sea, seaside bather painting, nude in landscape, European nude painting, rocky coast painting...

➡️ French River landscape 1904⬅️ ⏩It is signed C Marau~~ny⏪ ⭐Medium:⭐ Oil on canvas ⭐Technique: ⭐Impasto painting with expressive brushwork. ⭐Size:⭐46.3x55cm / 18.2x21.7 inch w...

Hilding Werner (1880–1944) Sweden Landscape with Cloud Formations inscribed and authenticated by the artist on the reverse: “Anstående målning (utkast) är utförd av Hilding Werner”...

A beautiful large late 19th or early 20th century oil on canvas depicting a beach landscape with yachts on the sea beyond, by William Langley. A similar work by the artist depicting ...

A finely painted profile portrait of a Miniature Pinscher by Richardis Sörvik, executed during the early 20th century. Oil on panel. The present painting depicts a black and brown Mi...

Nordic lake at dusk, oil on canvas. Probably painted by a Swedish artist in the early twentieth century. This tranquil lakeside landscape captures the quiet atmosphere of dusk as the...

A very beautiful 1930's impressionist oil on board depicting the beach at Trinité-sur-Mer in Brittany, France by the important Dutch painter Willem van Hasselt. The work is inscribe...

Summer Landscape with Red Farmhouse and Lake, ca. 1900. This idyllic summer landscape signed by Elias Erdtman (1862-1945) depicts a gently rolling countryside under a bright blue sky...

A large, sweeping Michigan summer vista by the accomplished American painter, Ida Josephine Burgess (1855-1934). Burgess gives us a high vantage point over a lush hill pasture descen...

This beautiful original oil painting by Finn Wennervald captures the tranquil beauty of a flowering lakeside village nestled beneath majestic mountains. Painted with expressive palet...

Coastal summer landscape with red cottage in the Swedish archipelago. Signed and dated "Erik Abrahamsson Storvik Aug 1900", oil on canvas. A coastal landscape depicting a traditional...

A rare early lithograph by Jean‑Gabriel Domergue (1889–1962), titled Nuit blanche (Sleepless Night) and dated 21 March 1915. This atmospheric nighttime scene shows two elegant figure...

Lord Byron Standing on the Shore British School, circa 1919 Oil on panel, framed inscirbed/ signed? lower left and indistinctly dated Frame: 7 × 8 inches Panel: 6 × 7 inches Provenan...

An exceptional impressionistic depiction of an afternoon along the Seine, in Paris by Jules René Hervé on a fall day with Books sellers and artists lining the wall, as the busy activ...

Helmer Osslund (1866–1938) Sweden Northern Swedish Landscape signed lower right Helmer Osslund oil on greaseproof paper laid down on panel unframed 17 × 33.5 cm (6.7 × 13.2 in) fra...

This expansive floral composition is built around a dense gathering of blossoms arranged in a low, dark vessel and spread across a shallow tabletop. Cream, blush, coral, blue, yellow...

Sunlit Highland Loch with Mountains Beyond at Sunset, Scottish Landscape "Glencoe" by Joel B. Owen (British, early 20th century) signed and dated 1925 Oil on canvas, framed Framed: 2...

➡️ Landscape Forest Path with Figures Anonym school of Barbizon⬅️ ⏩It is signed Colet⏪ ⭐Medium:⭐ Oil on canvas ⭐Technique: ⭐Impasto painting with expressive brushwork. ⭐Size:⭐2...

'On the Coe, Glencoe' Sunset Scottish Highlands Landscape by F. E. Jamieson (1895-1950) signed oil on canvas, framed framed: 20 x 28 inches canvas: 16 x 24 inches provenance: private...

➡️ French school Riverside Landscape with Reeds oil paintingl⬅️ ⏩It is unsigned, anonymous⏪ ⭐Medium:⭐ Oil on canvas ⭐Technique: ⭐Impasto painting with expressive brushwork. ⭐Si...

Charles Allen Winter: 1869-1942. Very well listed American artist with Auction results over $114,000. He mostly painted in the Gloucester Massachusetts and St. Louis Missouri area. T...

Firmado por el artista en la parte inferior El estado de la obra es bueno Se presenta sin enmarcar la pintura Medidas obra: 131 cm altura x 97 cm ancho ::::::::::::::::::::::::::...

Bancel La Farge, American, 1865–1938 Moonlit River Landscape American Tonalist School Oil on wooden panel, circa 1910 Signed lower right Presented in a period giltwood frame This de...

Cubist Figurative French School, early 20th century circle of Georges Braque (French 1882-1963) oil on canvas, unframed canvas: 42 x 35 inches Provenance: private collection, Paris C...

Cubist Figurative French School, early 20th century circle of Georges Braque (French 1882-1963) oil on canvas, unframed canvas: 45 x 35 inches Provenance: private collection, Paris C...

Pastel toned coastal seaside landscape oil on canvas painting by French Impressionist artist Henry Moret. The work features a pair of figures walking along the water's edge as clouds...

Aurora over a Northern Lake, signed and dated “G Claeson 1916”, oil on canvas. This evocative landscape, executed in an expressionist manner, and on the same time almost modern, cap...

A wonderful example of fairy painting which became such a popular subject for Victorians and was most notably explored by John Anster Fitzgerald and Richard Dadd. The picture is a ra...

Japanese Chin Spaniel Dog Portrait A. Eisonback (late 19th/ early 20th Century) signed and dated 1910 signed oil on canvas, framed framed: 21 x 25 inches...

Signed and titled seascape oil on canvas circa 1922 by American Realist painter George Benjamin Luks. The work depicts a view of the rocky coastline of Cape Elizabeth in Maine in the...

Dick Beer was born in London in 1893 as Richard Beer, the youngest of five sons of the Swedish painter John Beer. After the death of both parents in 1906 and 1907, he came to Sweden ...

Bulldog with a Food Bowl French, early 20th century Oil on board Illegibly signed, lower left 9 1/2 x 12 1/2 (15 x 18 frame) inches A tender and thoughtful portrayal of a seated bul...

Roy Henry Brown Trees and Rocks Mountain side image sight size 10 x 13 and 16.75 x 19.75 framed as is pictured in original frame as purchased. signed LR. A landscape mountain hill...

Karl Albert Buehr (1866-1952) Strolling in the Park Oil on canvas, relined, c. 1910 Unsigned Provenance: Gift of the Artist to his wife, Mary Hess Beuhr The artist's niece, daughter of Will Hess David Saltzman Robert Henry Adams Fine Art, Chicago, exhibited 1994 Karl Albert Buehr at Robert Henry Adams Fine Art, Chicago Exhibition dates The exhibition was held in 1994 at Robert Henry Adams Fine Art, 715 North Franklin Street, Chicago. Surviving provenance records describe it as the gallery’s first exhibition at its North Franklin Street location. Works documented as included include Woman on a Patio, Rocky Inlet (France), and apparently other paintings and studies acquired through David Saltzman from the family of Buehr’s wife, Mary Hess Buehr. The 1994 Karl Albert Buehr exhibition at Robert Henry Adams Fine Art represented an important act of historical recovery. Although Buehr enjoyed considerable recognition during his lifetime—as an exhibiting painter, prizewinner, and influential teacher at the School of the Art Institute of Chicago—his reputation had become less visible in the decades following his death. By bringing together paintings and works on paper that had descended through the artist’s family, the Adams exhibition helped restore Buehr to his proper position among the leading exponents of American Impressionism and the most important Chicago-trained painters working in France before the First World War. Giverny was crucial to Buehr’s mature development. American painters had been drawn to the Norman village since the late 1880s, attracted both by Monet’s presence and by the region’s gardens, river valleys, cultivated fields, and distinctive northern light. Buehr did not simply imitate Monet. His figure compositions remained grounded in the academic training he received in Chicago and Paris, but he enlivened that structure with broken brushwork, heightened complementary color, and an increasingly luminous palette. His characteristic compositions place elegantly dressed young women on terraces, beside windows, or within flowering gardens. These figures are neither conventional society portraits nor anonymous decorative accessories. They occupy a carefully balanced space between individual presence and pictorial harmony. Faces and gestures are often quietly observed, while dresses, parasols, flowers, foliage, and shifting sunlight become vehicles for color. Lavender shadows, rose and coral fabrics, emerald foliage, and brilliant passages of yellow or blue transform the garden into a chromatic environment surrounding the sitter. Works associated with the Adams exhibition illuminate the breadth of Buehr’s French production. The pastel Woman on a Patio, circa 1915, demonstrates his ability to translate Impressionist color into the immediacy of a dry medium. Pastel allowed him to place one hue directly beside another without losing intensity. The resulting surface possesses a soft atmospheric unity while retaining the energy of individual strokes. The work’s history—gifted by Buehr to Mary Hess Buehr and subsequently descending through her family—also gives it a particularly intimate character. Rocky Inlet (France) presents another aspect of Buehr’s practice. In place of the cultivated garden and poised female figure, the artist confronts a rugged coastal landscape. Yet his essential concern remains light acting upon color. Rock, water, and vegetation are constructed through abbreviated touches rather than continuous modeling. The small scale suggests direct observation, possibly an outdoor study made during Buehr’s travels in Normandy. Its provenance likewise begins with Mary Hess Buehr and passes through the family before reaching David Saltzman and Robert Henry Adams Fine Art. This family provenance was central to the significance of the 1994 exhibition. The works had not merely circulated anonymously through the market; many retained a direct association with the artist’s household. Such a group could include informal studies, experimental compositions, and personal gifts that Buehr elected to keep rather than send to public exhibitions. Together they offered a more private and exploratory view of his career. Condition: relined canvas and cleaned Image/Canvas size: 10 x 9 inches Frame: 16-3/4 x 15-3/4 x 1-3/4 inches Karl Albert Buehr (1866–1952): France and the Giverny Years Karl Albert Buehr—whose surname is sometimes misspelled “Beuhr”—was a German-born American painter and influential teacher associated with the second generation of American Impressionists working at Giverny. Although his artistic identity was rooted in Chicago, the years he spent in France transformed his palette, subject matter, and approach to painting. Born on February 14, 1866, in Feuerbach, near Stuttgart, Buehr immigrated with his family to Chicago, probably in 1881. After working briefly for a commercial lithographer, he enrolled at the School of the Art Institute of Chicago in 1888. He studied with John H. Vanderpoel and graduated with honors in 1894, after which the school invited him to teach. He also served in the Illinois cavalry during the Spanish-American War and married Mary Guion Hess, one of his students and an accomplished artist in her own right. Early study in Europe Buehr’s European education unfolded in several stages. Around 1900 he settled in Paris and studied at the Académie Julian, principally under the French painter Raphaël Collin. Collin was known for idealized female figures placed in luminous outdoor settings, a combination of academic draftsmanship and Impressionist light that anticipated Buehr’s mature work. Buehr reportedly received a gold medal at the Académie in 1901. His early European paintings included portraits, landscapes, and scenes of rural labor. Visits to Holland exposed him to the restrained tonalism of the Hague School, while his travels in Italy—particularly Taormina, Sicily, during 1906 and 1907—encouraged a brighter response to Mediterranean sunlight. He also studied in London, where his contacts with Frank Brangwyn and the decorative currents of British painting strengthened his interest in broad design, rhythmic composition, and large arrangements of figures. A decisive factor in this extended European residence was the patronage of Chicago philanthropist Lydia Coonley Ward. From approximately 1906 until 1913, Ward provided Buehr with a monthly stipend, enabling the artist, his wife, and their children to remain abroad and pursue their work without the immediate pressures of the American market. Buehr at Giverny Buehr entered the Anglo-American artistic community at Giverny around 1909, probably through his friendship with Henry Salem Hubbell, another American figure painter supported by Lydia Coonley Ward. From approximately 1909 through 1912, Buehr generally spent winters in Paris and the warmer months at Giverny. In 1912 and the summer of 1913, the family reportedly lived at Sainte-Geneviève-lès-Gasny, close to Giverny. By this date Giverny was no longer merely the village in which Claude Monet lived. It had become an international artists’ colony, particularly attractive to American painters who admired Impressionist color but wished to retain firm drawing and carefully organized figure compositions. Buehr’s associates included Frederick Carl Frieseke, Richard Edward Miller, Guy Rose, Lawton Parker, Louis Ritman, Edmund Greacen, Karl Anderson, and Theodore Earl Butler. Buehr was especially close to the circle of Frieseke and Miller. These artists specialized in decorative paintings of fashionably dressed women reading, sewing, taking tea, or resting in sunlit gardens. Their figures were surrounded by flowers, patterned fabrics, parasols, and flickering passages of colored light. Buehr adopted this repertoire, but his paintings usually retained a stronger structural organization and a more assertive contrast between complementary colors. During his first months at Giverny, Buehr worked on a large decorative panel of dancing figures. The composition received an honorable mention at the Paris Salon of 1910, an important professional recognition. That summer, however, he increasingly turned toward intimate garden scenes and outdoor figure studies. The influence of Richard Miller can be detected in the decorative arrangement of the figures, while Frieseke’s example encouraged Buehr s use of brilliant sunlight, patterned surfaces, and saturated hues. Relationship with Claude Monet Claude Monet was Buehr’s artistic hero, but the extent of their personal relationship should not be overstated. Buehr’s children played with the children of Theodore Butler, Monet’s son-in-law, and they visited the Monet household. Buehr’s daughter Kathleen later recalled that Monet was gracious to the children. Nevertheless, the best available scholarship suggests that no close personal association between Buehr and Monet has been documented. Monet’s importance to Buehr was therefore primarily artistic. At Giverny, Buehr learned to regard colored light as a central subject rather than merely a means of describing objects. Shadows became violet, blue, or green; white dresses reflected the surrounding garden; and faces and arms were modeled through small strokes of warm and cool color. The enclosed garden also became a kind of outdoor studio in which human figures, flowers, fabrics, and sunlight could be orchestrated into a unified decorative design. The Giverny style Buehr became best known for paintings of young women seated or standing in gardens, often accompanied by colorful parasols. Works such as Springtime in Giverny, Under the Parasol, and related pictures of women reading or conversing exemplify his mature style. Although inspired by French Impressionism, these paintings are not spontaneous transcriptions of fleeting visual experience in the strict Monet tradition. They are carefully staged figure compositions. Buehr himself explained that the outdoor figure painter should concentrate upon the ensemble—grouping, arrangement, and color—rather than laboriously describing every feature. This principle helps distinguish his Giverny paintings...

Josef Frank Froula (American, 1887-1939) Signed: Josef Froula, (lower, right) " Autumn Glow ", circa 1920 (on label attached to stretcher verso) Oil on canvas 12 1/8" x 15 1/8" ...

Woodland Walk by George Willis-Pryce (1866-1949) signed oil on board, framed framed: 13 x 19 inches board: 10.5 x 6 inches Provenance: private collection, UK Condition: the frame has...

"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 frame) This painting and its mat...

George Wright, British, 1860–1942Over the FenceFox-Hunting SceneOil on canvas, circa 1910Signed lower rightPresented in a burr walnut frame with gilt inner slip This spirited early ...

French Art Deco Fauvist portrait, oil on paper laid on canvas by Auguste Chabaud. The painting is signed bottom right and carries an atelier label, with date, to the rear of the canv...

3919a Antique German oil painting river crossing in a gilt wood frame Image size 12x12"

Robert Falcucci (1900–1989) Bouquet A delightful Impressionist-style depiction of a bouquet of flowers, painted with vibrant colours and great confidence by Robert Falcucci. His flo...

An Early 20th Century elegant portrait oil painting by Gordon Stevenson depicting a pensive young woman seated in a serene, indoor setting wearing a l...

A portrait of a young lady in a feathered hat, mixed media on canvas. Signed and dated B. Kronstrand -07. This refined half-length portrait depicts an elegantly dressed young woman w...

* No US duty or taxes to pay on this item * A very beautiful signed and dated 1900 impressionist oil on board depicting a sunset on the coast, by Danish artist Holger Lübbers...

Light Through the Trees (Lumière à Travers l'Arbre) Raymond Thibesart (France, 1874-1968) Pastel on paper, circa 1920s Signed l.l. 12.5 x 9.5 (13/4 x 16 3/4 framed) inches Raymond...

A French Impressionist oil on canvas view of a river in parkland by the noted French artist Albert Uriet. The painting is signed and dated bottom right and is presented in a fine car...

August Frederick Biehle American, 1885–1979 Landscape in West Virginia, 1922 Gouache, litho crayon and graphite on paper Signed lower right 19 x 17.5 inches 29.5 x 23.5 inches, frame...

Early 20th Century oil on board French fauvist landscape by Paul Guillaume. The painting is signed bottom left, Guillaume Paul, and presented in a patinated wood frame. This colourf...

A captivating Belle Époque character study attributed to the French painter Tony Tollet (1857–1953), depicting a young woman seated in quiet contemplation. Rather than presenting hi...

Madras School C 1910 Acrylic on board 11.5" x 8" Address on verso This painting dating to the early 20th century, c 1910, shows a young woman, possibly from Madras (see info on reverse), The colours follow the conventions of a genre of art called Company School painting...