Early 20th Century Paintings

Original advertisement for the Treo Girdle Company, published in the October 1923 issue of McCall’s Magazine, page 93, and likely in other publications as well. This original adver...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) signed bottom right watercolour on paper, unframed painting: 5.5 x 8 inches FREE SHIPPING The work is signed...

Number 382 in the Schoonover raisonné. Signed and dated 1909. Beautifully reframed in custom 23 karat gold leaf frame.

Carl Rudolph Krafft Winter Landscape with Stream Signed lower right and with thumbprint Oil on canvas 25 x 30 inches Carl Rudolph Krafft was born in 1884 in Reading, Ohio, and his ...

Artwork on canvas board Gilded wood frame 47 x 37 x 3 cm

Victor Mytteis (1874-1936) Hungarian Country Landscape with Figures c.1902 Charming oil painting titled "A brook w/ a bench" Original oil on canvas by listed Hungarian artist Victo...

A beautiful, colourful British 1920's exhibited oil on canvas portrait painting by Francis Dodd RA and with extensive provenance. The work depicts the Feminist and famous artist Susa...

Le Jardin French School, typical of the Ecole de Paris movement circa 1930's period signed oil painting on board, unframed painting: 15 x 12 inches condition: very good provenance: p...

This rare and historic Orientalist painting, La Petite Dieu, translated as “Little God”, by renowned Armenian-American artist Hovsep Pushman. First exhibited March 27 – April 7, 192...

Firmado en la parte inferior y fechado del año 1907 Se presenta enmarcada la obra (el marco tiene alguna ligera faltas de policromía) El estado de la obra es bueno aunque ha tenido...

La obra va firmada en la parte inferior Se presenta enmarcada la obra con un bello marco de la época de la obra en madera dorara (el marco presenta alguna leve falta) El estado de ...

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 This captivating work depicts a rural landscape, rich in d...

Oil Painting by C. Erhardt "A Scandinavian Landscape" 1900 -1914 Good quality landscape from the beginning of the 20th century. Oil on canvas. Signed Dimensions unframed: height 21"...

A wonderful landscape reminiscent of the great American artist Camille Carrot done. The details are masterfully done with beautiful brush work and wonderfully rich and lush color pal...

Titled on verso panel Signed lower left corner Measures Painting 17 x 22 inches Framed 21.125 x 26.75 inches William H. Kinnicutt (1865–1934) was an American artist known for his ...

Paul Aubin (1890 - 1914) View of Martigues, South of France 1913 Oil on canvas 33,5 x 58,5 cm Signed and dated on lower right

Antique American ashcan school New York City oil painting by Robert Hallowell (1886 - 1939). Oil on board, circa 1929. Signed. Displayed in a period giltwood frame. Image, 30"L x 25"H.

A beautiful pointillist oil painting dated 1900 and signed Ford. Housed in a very unique and oddly complementary frame this work stands out in a crowd.

Octave Cartel (Belgian, 1884 - 1944) - Still life of strawberries. 27 x 37 cm without frame, 41 x 50 cm with frame. Antique oil painting on cardboard, ...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) set of 2 watercolour on paper, unframed top painting : 5 x 7.75 inches, signed bottom right bottom painting: 5...

This lovely Art Deco portrait oil painting is by noted British artist James P Barraclough. Painted circa 1923 it is a seated portrait of a young woman holding a book on her lap. She is wearing a blue satin dress with lace cuffs and collar and is gazing warmly at the artist and viewer. The illumination on her features is superb. A lovely Art Deco period oil portrait...

Here for your consideration is a light filled oil on canvas painting by the American artist, David Clark. The meandering path, apple blossoms. the first ...

Charles MALFROY French 1862 - 1918 Canvas size: 24 x 36" (60 x 90cm) Outside Frame Size: 32 x 44" (82 x 112cm) Inscribed on the reverse Charles Malfroy was born on May 22nd 1862 i...

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...

Le Pont Neuf by Rene Ligeron (French 1880-1946) signed lower left watercolour painting on paper, framed framed size: 6 x 7.75 inches Delightful French Impressionist painting capturi...

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...

Work on canvas

Jim’s of Lambertville is proud to offer this artwork by: William Langson Lathrop (1859 - 1938) Deemed the “Father of the New Hope Art Colony”, William Langson Lathrop was born in Warren, Illinois. He was largely self-taught, having only studied briefly with William Merritt Chase in 1887 at the Art Students League. Lathrop first moved east in the early 1880s and took a job at the Photo-engraving Company in New York City. While there, he befriended fellow employee, Henry B. Snell. The two men became lifelong friends and ultimately, both would be considered central figures among the New Hope Art Colony. Lathrop’s early years as an artist were ones of continuing struggles. His efforts to break through in the New York art scene seemed futile, so he scraped enough money together and traveled to Europe with Henry Snell in 1888. There he met and married an English girl, Annie Burt. Upon returning to New York, he tried his hand at etching, making tools from old saw blades...

**PLEASE NOTE: EACH PAINTING INCLUDING THE FRAME MEASURES 17 INCHES X 20 INCHES** Godfrey Douglas Giles British, (1857-1941) Wild Boar & her Young in a Landscape & Pursuit of a Wild...

Charles Henry Miller (American, 1842-1922) The Road and The Ridge, c. late 1800s-early 1900s Oil on canvas 24 x 32 in. Signed lower left: Cha. H. Miller Inscribed verso: "The Road and The Ridge" Charles Henry Miller was a noted artist and painter of landscapes from Long Island, New York. The American poet Bayard Taylor called him, "The artistic discoverer of the little continent of Long Island." Miller was educated at Mount Washington Collegiate Institute, and graduated in medicine at the New York Homeopathic Institute in 1864. Before his graduation, he had occasionally painted pictures, and in 1860 he exhibited The Challenge Accepted at the National Academy of Design, in New York City. He lived in Queens at the summer estate, Queenslawn, originally purchased by his parents. He went abroad in 1864 and again in 1867, and was a pupil in the Bavarian Royal Academy at Munich under the instruction of Adolf Lier...

Late 19th Century Tonalist Rocky Mountain High Camp Landscape Wonderful 19th Century tonalist painting of Flat Top Mountain in the Rocky Mountains by unknown artist (American, late ...

A charming turn of the Century portrait of the an Italian woman wearing a yellow head scarf and peals. Signed to the lower right. Presented in a gilt frame. On canvas.

Here for your consideration is a wonderful oil on canvas painting by the well known French artist, Albert Regagnon. Titled verso, “Bord de L’’Eau” (The Riverside) Signed and dated lower left, 1906. Condition is excellent. Original period frame in fine condition. Mild wear consistent with age. Overall framed measurements are 20.5 by 24 inches. Provenance: Joseph M. de Gimme Gallery, Grosse Point, Michigan. (label verso) Albert Regagnon, French (1874-1961) Regagnon received many honors for his body of painting during his long and productive career, and exhibited regularly at the Paris Salons. Regagnons’ fascination for the Barbizon painters...

René-Xavier Prinet French, 1861-1946 La Plage de Cabourg Oil on canvas 18 by 31 in, w/ frame 25 ¼ by 38 ¾ in Signed lower right Coming from a family of notable Franche-Comté (Prinet notaries from Luxeuil-les-Bains), René-Xavier Prinet is the son of Henry Prinet (born in 1824), imperial prosecutor in Vitry -the-François, and the brother of Gaston Prinet, diplomat. Appointed to Paris, Henry Prinet lives with his family on rue Bonaparte just a stone's throw from the Ecole des Beaux - Arts, to which René - Xavier seemed destined. His father, an amateur painter (a Madonna with Child is kept in the church of Suaucourt, Haute-Saone), is willing that his son acquires an artistic training and he makes him receive the advice of the painter Louis Charles Timbal, strong employee for decorations of the churches of Paris. By his maternal grandmother, René-Xavier Prinet is related to the painters of the Court Hubert Drouais (1699-1767) and François-Hubert Drouais (1727-1775). Around 1880, he began his education as a painter by being admitted into the studio of the painter Jean-Léon Gérôme. He stayed with the master until 1885. He then became associated with the Frankish painters Georges and Lucien Griveau, Antonio de La Gandara, classmates at the Beaux-Arts, Louis-Auguste Giradot, Felix Desgranges and Jules-Alexis Muenier. At the same time, he studies at the Julian Academy. His picture Jesus Child is his first painting accepted at the Salon of French Artists in 1885. He exhibited at this Salon until 1889. At that time he became associated with a group of young painters called the Black Band : Lucien Simon, André Dauchez, René Ménard and Charles Cottet. He became a professor at the Beaux-Arts in Paris, where he created and directed the first workshop for women artists. In 1891, he received an order from the State for the decoration of the Palace of the Legion of Honor: The Four Seasons. His sketches are accepted. The same year, he exhibited in Paris at the Durand-Ruel gallery with Albert Besnard , Jules-Alexis Muenier and Henri Fantin-Latour. One of his most famous works, The Kreutzer Sonata, is exhibited in 1901 at the exhibition "Contemporary French Art" in Stuttgart where it is sold to the Prince Regent of Bavaria . The year 1904 sees the creation, with Lucien Simon and Antoine Bourdelle , of the workshops of the Académie de la Grande Chaumière. In 1909, he illustrated Rene Boylesve's Young Girl. In 1913, he was named secretary of the National Society of Fine Arts. He travels to the United States as a jury member at the Carnegie Institute exhibition in Pittsburgh. His paintings The Cavaliers and Interior dining room are presented on this occasion. He frequented the Sundays of Besnard, rue Guillaume-Tell. Prinet painted the reception of Albert Besnard at the Academy of Fine Arts in 1912. In 1916, he painted the painter Felix Desgranges in his family room in Luxeuil with the Australian artist Bessie Davidson...

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 ...

Venetian Canal, c. 1910-11 Tempera on board Signed lower right 24 x 30 inches 30 x 36 inches, framed Frank Nelson Wilcox (October 3, 1887 – April 17, ...

This lovely Scottish Edwardian portrait oil painting is by noted artist William Alexander Cuthbertson. It was painted in 1909 before Cuthbertson left Scotland on a travel scholarship...

Colin Campbell Cooper is perhaps best known for his marvelous urban depictions of New York and Philadelphia, which encapsulate the vibrant modernity of these street scenes and skyscr...

Antique American impressionist landscape oil painting by Charles Gordon Harris (1891 - 1963). Oil on board, circa 1920. Signed. Displayed in a period giltwood frame. Image, 11"L x...

Dawson Dawson-Watson "On the Hopi Reservation" Has two different old gallery labels on the verso from Santa Fe Galleries. (1864-1939) San Antonio Artis...

Laurent Lucien GSELL Picture Size: 19.5 x 24" (48.75 x 60cm) Outside Frame Size : 26.5 x 31 (66.25 x 77.5cm) Free Shipping This is a wonderful example of Gsell's impressionist work...

Returning from the General Store William Henry Dethlef Koerner (German, American, 1878-1938) Oil on Panel Signed Lower Right 24 x 30 inches 27 x 33 inches with frame William Henry D...

Lionel Birch was a landscape and animal painter from the turn of the 19th to 20th century. He traveled throughout Europe painting and for a while lived in Florence Italy. Most of his...

Arbre à l'Automne à Saint Paul Raymond Thibesart (France, 1874-1968) Circa 1920's Pastel on paper, signed lower left 12 x 9 inches Raymond Thibesart was born into an affluent famil...

A Cloudy Day, English Impressionist River Landscape with figure and cottage, circa 1922. Alexander Fuller Maitland painted coastal subjects and marines. Exhibited thirteen works, in...

Antique American impressionist oil painting by Felicie Waldo Howell (1897 - 1968). Oil on board, circa 1928. Signed. Displayed in a period giltwood frame. Image, 12"L x 6"H.

Oil Painting by Charles Walter Oswald "Evening in the Glen" Born1850, flourished in 1900. A Liverpool painter of the Highland cattle and working ...

A charming oil painting, depicting a rural scene with a church and figures nearby. Signed and dated to the lower left-hand corner. Presented in a gilt-effect slip and in an ornate, g...

Signed and dated oil on canvas pointillist landscape by Canadian painter Caroline Armington. The piece depicts a view of the Pont Neuf bridge over t...

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 WORK IS CURRENTLY ON LOAN TO THE MUSEUM OF MODERN ART IN LE HAVRE AND IS BEING EXHIBITED IN THEIR ELECTRIC NIGHTS EXHIBITION 2020 A stunning oil on original canvas by Achile-Emile Othon Friesz depicting a night time view of the Pont Neuf bridge over the Seine, Paris. The painting shows deep blues and reds - richer than those of traditional impressionist paintings - and shows the transition into Fauvism. Signed and dated 1903 lower right. Framed dimensions are 24.5 inches high by 20 inches wide. Achille Friesz was the son of a family of sailors from Le Havre. From 1885 he often spent time in Marseilles visiting his maternal uncles. As a child he dreamed of going to sea, but from the age of 12 he developed a passion for art, and after secondary school he attended the École des Beaux-Arts in Le Havre. There, from 1896 to 1898, he studied under Charles-Marie Lhullier who had been a friend of Jongkind and whom, like Dufy and Braque, he remembered fondly throughout his life. Lhullier introduced his students to the work of Chardin, Corot, Géricault and Delacroix. After receiving a bursary from the local authorities in 1898, he went to Paris and, while his friends Matisse, Rouault and Marquet studied under Gustave Moreau, enrolled at the École des Beaux-Arts at the studio of Léon Bonnat, where he was joined by Dufy. However, he scarcely attended the studio, preferring to go to the Louvre and make copies of the works of Clouet, Veronese, Rubens, Claude Lorraine and Delacroix. He did his military service in Paris in 1902 but continued with his art. Around this time he met Camille Pissarro and sought his advice. As a young man he began to make frequent trips away, not necessarily travelling very far, but looking for subjects for his work, usually landscapes. Among the places he visited were the Creuse region around 1903, Antwerp in 1905, returning there with Braque in 1906, and La Ciotat, Cassis and L'Estaque in 1906-1907, again in the company of Braque. In Paris he frequently moved lodgings until 1914. He moved in with Henri Matisse at the Couvent des Oiseaux from 1905-1910, that is to say at the period when Fauvism was at its height. In 1908 he returned to his native Normandy to reimmerse himself in his early environment; he would return to the region throughout his life. He made a trip to Munich with Dufy in 1909, and visited Portugal in 1911-1912 and Belgium in 1912. In 1914 he was called up and assigned to technical services, not being demobilised until March 1919, although he did manage to maintain a certain independence. From 1914 until his death he lived in Paris at 73 Rue Notre-Dame-des-Champs, where he occupied Bouguereau's old studio. He made frequent trips to Cap-Brun near Toulon where, in 1923, he acquired a property called Les Jarres, as well as making numerous visits to Normandy and Le Havre. In 1925 he received the highest commendation at the Carnegie Prize in Pittsburgh for Portrait of the Decorative Artist Paul Paquereau. Also in 1925, at the same time as Matisse, he was made a Chevalier of the Légion d'Honneur, rising to in Officier in 1933 and Commandeur in 1937. He was also made Commander of the Swedish order of Vasa in 1934. Throughout his life, Friesz was a teacher: from 1913 at the Académie Moderne; from 1929 at the Académie Scandinave; and from 1941 until his death at the Académie de la Grande-Chaumière. Alongside his activity as a painter, he illustrated several works of literature, including: in 1920 Le Pacte de l'Écolier Juan by Jules Tellier; in 1924 Échelles de Soie by Jean Pédron; in 1926 Le Jardin sur l'Oronte by Maurice Barrès; in 1926 En Suivant la Seine by Gustave Coquiot; in 1929 Rouen by André Maurois; in 1931 The Song of Songs; in 1934 Poésies by Pierre de Ronsard; in 1945 Le Bouquet de la Mariée by Gabriel-Joseph Gros; in 1947 Paul et Virginie by Bernardin de St-Pierre; in 1949 Le Livre de Job by Pierre Poussard; in 1949 Petronius's Satyricon, and in 1949 a collection of 12 unpublished lithographs for Le Désert de l'Amour by François Mauriac. He also designed several pieces of decorative art: from 1906 to 1909 ceramics executed by Metthey among others; a façade for a private house in Le Havre; a china service for two for the Le Havre writer J.-G. Aubry; vases, dishes and plates; in 1912 four sets for La Lumière by Georges Duhamel, performed at the Odéon; in 1916 a screen for the Le Havre collector Léon Pédron; in 1918 panels for Pédron's dining room; in 1920 a mural entitled Children Dancing (Enfants Dansant); in 1920 Les Volières for the apartment of Vicomte Amédée de Flers; in 1935 Peace (La Paix), a Gobelins tapestry presented by France to the Palais des Nations in Geneva; in 1937 La Seine in collaboration with Dufy for the Palais de Chaillot, with each artist taking half of the river's course - From the Source to Paris by Friesz and From Paris to the Estuary by Dufy. The Fauves were producing Fauve paintings before they knew it: it was not until the critic Louis Vauxcelles saw their work at the Salon des Indépendants in 1905 and mockingly used the word Fauve to describe it that the term was born. It is known that Vlaminck and Derain worked together and that the École de Chatou was composed of just these two artists. Friesz was living with Matisse and after his first trip to Antwerp in 1905, he returned in 1906 with Braque. In 1906-1907 Friesz and Braque went to La Ciotat to paint and there they met up with Matisse. The paintings Friesz produced in Antwerp are Fauve inasmuch as they are painted in pure colours and are more or less free of the divisionism of the Impressionists, although the draughtsmanship is fairly standard; these works include The Port, The Escaut, The Canals, The Dock with Sailing Ships and The Red Slipway. Those of Braque the following year, in particular Terrace on the Escaut, show great similarities with those Friesz painted of the same subject. Friesz was already avoiding the hardness of pure flat tints by graduating them in thin glazes, allowing the whiteness of the canvas to penetrate the transparency, a technique that came to characterise his entire Fauve period. At La Ciotat Friesz and Braque adopted completely different Fauve styles, with Braque composing his paintings on horizontal and vertical orthogonals painted in small, regular, spaced-out touches, whereas Friesz developed his own personal rhythmical style of wide arabesques of colour in works such as The Bec-de-l'Aigle, Women Bathing and L'Estaque. Many of Friesz's Fauve works were produced in the south of France, and his Portrait of Fernand Fleuret also dates from this period. When he returned to Normandy in 1908 the period that he described as his 'return to form' began; with compromise paintings such as Entrance to the Port of Honfleur, Côte de Grâce Landscape, The 'Bains Marie-Christine' in Le Havre and the great compositions characteristic of this period - Autumn Labours, Spring, Fisherman on a Rock and Women Bathing. His draughtsmanship retains something of the rhythm of the Fauve period, his figures following the lines of the landscape and the colour remaining clear and resonant. In 1909 he painted the Cirque Médrano series: The Trapeze Artist, The Clown and The Horsewoman. In the south of France he also painted the Olive Trees series. He made a trip to Munich with Raoul Dufy resulting in Winter in Munich. This was also the year of his first trip to Italy. Boat in a Rocky Inlet of 1910 marks one of the pivotal points between a totally rhythmic drawing style of sensual curves typical of his Fauve period and a reduced palette of muted ochres, browns and blues. From 1910 onwards, the final traces of Fauvism become less and less apparent in his work. His use of colour follows the same course, towards the transcription of reality, with broken tones, ochres and browns. After his demobilisation, as well as in his studio in Paris, Friesz spent time in his house in Toulon, returned to Normandy and Le Havre and continued to make frequent, often local, forays in search of new subjects: in 1919 to Jura, producing the series Forests, Pine Trees, Road in the Snow and Invitation to Skate; in 1920 to Italy producing Piedmont Village, Florence Grape Pickers; in 1920 to Le Havre, producing The Étretat Cliffs, People Bathing at Étretat; in 1923 to his house in Toulon, producing View of Coudon, Women Bathing, Grape Harvesting, Jars; in 1924 he painted the Large Nude (which he exhibited at the Salon d'Automne the same year) and landscapes of Toulon; in 1928 he made a trip to Algiers, producing The Algiers Kasbah and its Phantoms; in 1931 to Annecy, producing Women Bathers by a Lake; in 1934-1935 to Dinan and St-Malo producing The Great Dinan Viaduct, The Dock with the Terre-Neuvas, After Bathing; in 1936 to Honfleur; in 1941-1944, remaining in Paris because of the war, he painted mainly still-lifes, including Studio Corner, Earthenware. In 1946 he returned to Honfleur; and in 1947 to La Rochelle producing The Port Tower, Tuna Boats, The Red Sail. Numerically Friesz's work is dominated by landscapes but it should be remembered that throughout his career he tackled more ambitious compositions and appeared to do so with great ease. These include Boat in a Rocky Inlet of 1910 with its frolicking women bathers, Allegory of War of 1915 executed in 24 hours, Invitation to Skate of 1919, numerous paintings of Women Bathing over several periods and much later Women beside a Pond of 1944, which clearly demonstrates his attachment to Cézanne. He exhibited at the Salon des Artistes Français from 1901 to 1903 and then at the Salon des Artistes Indépendants. From 1906 he exhibited annually at the Salon d'Automne, of which he later became a committee and jury member. In 1923 he took part in the founding of the Salon des Tuileries and became head of two of the Salon's sections. His work has been exhibited at countless group exhibitions all over the world. Among the most recent thematic exhibitions is Fauvism in Black and White. From Gauguin to Vlaminck, Fauvist Engraving and its Setting (Le Fauvisme en Noir et Blanc. De Gauguin à Vlaminck, l'Estampe des Fauves et son Environnement) at the Musée d'Art Moderne in Villeneuve d'Ascq in 2001. He also showed his work in numerous solo exhibitions in Paris: his first in 1904 at the Galerie des Collectionneurs and another the same year at the Société des Peintres du Paris Moderne...

This superb vibrant Oriental Post Impressionist oil painting is by noted British artist Gerald Spencer Pryse. It was painted circa 1925 when Pryse first visited Morocco. He was so en...

The S.S. San Jose shown making way in medium water. This early refrigerated freighter, built in 1904, was designed to transport bananas between the Caribbean and the American mainlan...

Work on canvas

Henry John Yeend King (1855-1924) was a landscape and rustic genre painter. He began his artistic career by working for three years in glass works. King went on to study painting under William Bromley in London, and also with Bonnat and Cormon in Paris. He exhibited from 1874 to 1924 at The Royal Academy and The New Watercolour Society. He was elected to the Royal Society of British Artists in 1879, the Royal Institute in 1886, later becoming Vice President. He was also a member of the Royal Institute of Oil Painters. In 1898 his picture 'Milking Time' was purchased by the Tate Gallery in London. Yeend King was a fine late-Victorian oil painter...

Godfrey Douglas Giles (1857-1941) British, Oil on canvas. A fine equine portrait of St Windeline & Woolwinder. Signed 'G. D. Giles' and dated (1904) lower right. Inscribed in pencil ...

Edvard Axel Rosenberg (Swedish School, 1858-1934) In many ways Edvard Rosenberg was the archetypal Swedish painte...

Allen Dean Cochran’s Nude Woman Sitting by Stream is a captivating exploration of serenity and nature, rendered in vibrant hues of green and blue. The painting features a nude woman ...

Signed lower right, 'Ludvig Jacobsen' (Danish, 1890-1957) and painted circa 1925. Ludvig Jacobsen first studied at Copenhagen's Technical School, working initially as a book-illustr...

A fine still life oil painting with flowers in vases by American artist Everett Lloyd Bryant (1864-1945). Bryant was raised in Galion, Ohio, and s...