Early 20th Century Paintings

Originaire du Havre, Maurice Courant est un artiste spécialisé dans les marines. Comme son cousin Lucien Gros, il étudie dans l’atelier d’Ernest Meissonnier et s’installe au Clos de ...

A delightful oil study of a path winding through a woodland landscape. The artist captures the first signs of autumn and the leaves start to fall from the trees. Signed and dated to ...

Artist/Designer; Manufacturer: Chaim Gross (American, 1902-1991) Marking(s); notes: signed; 1928 Materials: pencil and watercolor on paper Dimensions (H, W, D): 9"h, 6.5"w; 17"h, 13"...

A charming oil study of figures in a horse drawn carriage on a tree-lined street. The artist paints in an impressionist manner capturing the light in the scene through expressive, br...

Artist/ School: Leon Hatot (French 1883-1953) Title: Impressionist oil painting Medium: signed oil painting on thick paper, stuck on board unframed. dated 1939 Size: signed paint...

To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you want. Ethel Louise Rawlins (1880 - 1940) A Garden Below the South Downs...

The artwork is signed on the lower right. Ivar Albertovitch Puni, known as Jean Pougny, was born in Kuokkala (now Finland, then in the administrative district of St. Petersburg) in...

This lovely Edwardian oil painting is by French artist William Albert Ablett. Dated 1901, the brush work and use of light are superb. Ablett has perfectly captured the movement and f...

signed "Hugh H. Breckenridge" at lower left

Signed lower right. A prominent landscape and marine painter, Jules Eugène Pages spent most of his career in France where he was a well-known Impressionist painter, but he mainta...

Signed lower right "H.V. Mook" (Dutch, born 1905) and painted circa 1925. A delicate, early-20th-century Impressionist oil landscape showing a pastel view of sand dunes sprinkled wi...

Evocative portrait of Scottish gentleman by David Nicholas Ingles Ingres ARHA (Associate member) (Scottish, 1888-1933), circa 1920. Signed lower rig...

Gerald Leslie Brockhurst 1890 – 1978 Portrait of Marguerite Folin Oil on panel, signed lower right Image size: 18 x 14 inches (45.7 x 34.3 cm) Original frame The sitter for this po...

This superb British Impressionist portrait oil painting is by noted female artist Florence Kate Upton. Born in America to English parents, Upton visited Britain with her family aged 20 and remained here to further her art career. Although a children's book illustrator, Upton was first a painter and exhibited at the Paris Salon and the Royal Academy. This lovely portrait, painted circa 1900, is a half length profile view of a lady in a black dress with gold front panel. A vibrant peacock blue shawl is across her arm and the background is a rich plum coloured drape. She has a black and silver choker...

Alexander Bower (1875 - 1952) Portland Harbor, Maine, 1910 Oil on canvas 27 x 33 inches Signed and dated lower right An American Impressionist, Alexande Bower was born in New York, studied at The Pennsylvania Academy of Fine Art, and was living with his wife in Cliff Island, Maine by 1914. Despite his urban upbringing, the coast and the sea fascinated Bower. A large portion of his paintings are seascapes, particularly scenes depicting the coast of Cape Elizabeth...

Antique American modernist interior painting by Cecil Crosley ("Spike") Bell (1906 - 1970). Oil on canvas, circa 1935. Signed. Displayed in a period giltwood frame. Image, 30"L ...

This lovely oil painting is by noted 19th century born Wolverhampton artist Joseph Vickers De Ville. The Wolverhampton gallery is home to many of his works, some of which are usually...

A substantial, early twentieth-century oil showing two children, wearing period summer dress and posed beside a well, with a view beyond across lush green lawns...

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...

Antique impressionist painting of Castillo De Los Tres Reyes Del Morro in Cuba. Oil on canvas, circa 1908. Signed. Displayed in a period giltwood frame. Image, 18"L x 12"H, overa...

Marcel Brunery French, (1893-1982) A Good Hand Oil on panel, signed Image size: 18.75 inches x 23.5 inches Size including frame: 26.75 inches x 31.5 inches Provenance: Frost & Reed ...

Specializing in New York City's vibrant urban landscapes and surrounding harbors, George Herbert Macrum (1878–1970) captured the essence of the city’s architectural grandeur and dyna...

An attractive impressionistic painting by British artist Joseph Longhurst (1874-1922), depicting rising water levels in a quiet countryside location. The river in this scene looks ready to flood with the next spell of heavy rain...

A fine figural oil painting of a cat in the window with a waterfront view, possibly of Gloucester, by American artist Mabel Greer (1880-1972). Greer was born in Wellfleet, Massachus...

A charming oil on board of a lake set beneath the rocky mountains in the distance. The work has been well presented in a gilt mount and detailed gilt frame. Unsigned. On board.

Oil on canvas, signed lower left. A luminous sunset or sunrise winter scene from Scandinavia. Edvard Axel Rosenberg (Swedish School, 1858-1934) In many ways Edward Rosenberg...

Signed and dated symbolist figure in landscape oil on board by French painter Alphonse Osbert. The piece depicts a blonde woman in a full length purple...

A charming impressionist study of a quiet village street. The artist uses a muted colour palette to capture the lonely street after sunset. Unsigned. Pre...

Alfred Arthur Brunel de Neuville, French (1879 - 1907) "Panier de Peches" Oil on canvas. Signed lower right side.

Signed lower right Sight size 10 x 14 inches Overall size with blue mat and walnut and gold liner frame 17.5 x 21.5 inches. Circa 1910

Admiring the Ancient Ruins by Etienne Auguste Krier ( 1875 - 1953) oil on board, framed framed: 10.5 x 7.5 inches board: 8 x 6 inches Provenance: private collection, Paris Condition...

This watercolor is part of our exhibition America Coast to Coast: Artists of the 1930s Circus Wagons, 1927, watercolor on paper, signed and dated lower left, 10 x19 ¾ inches (sight), provenance includes Stary-Sheets Art Gallery (Gualala, CA); J. Ralph & Louis Stone Foundation; presented in a newer metal frame behind glazing About the Painting Millard Sheets was only twenty years old and in his third year of studies at the Chouinard Art Institute when he painted Circus Wagons. Despite his youth, Sheets was already an accomplished artist who had publicly exhibited his work and won prestigious prizes. Within several years, he would have his first solo exhibition at one of Los Angeles’ premiere galleries and become a painting instructor at his alma mater. In Circus Wagons we already see Sheets deft handling of the watercolor medium and his interest in the California Scene. In this case, Sheets captures a back lot view of a traveling circus, a subject he sometimes returned to, including in a color screen print in the collection of the National Gallery. Sheets made a career by painting what he knew and observed firsthand. This approach allowed Sheets to capture with authenticity the details of each narrative. Even with a narrowly limited palette and an economy of brushstrokes, Sheets effectively depicts the southern California scene with its strong and mysterious shadows, as well as the workers and circus animals. Seen through the hindsight of his six-decade long career, Circus Wagons offers a fascinating insight into the early development of California Scene painting which would by the mid-1930s become the best recognized style on the West Coast. About the Artist Millard Sheets was the dean of California watercolorists. His list of accomplishments is so extensive that his entry in Who was Who in American Art is over forty lines. Born in Pomona, California, Sheets became a painter at an early age, winning a prize at the Los Angeles County Fair in 1918. By the mid to late-1920s, Sheets became a regular at art exhibitions in the western part of the United States, winning several additional prizes before he reached the age of twenty-five. Sheets studied at the prestigious Chouinard Art Institute from 1925 through 1929 with Frank Tolles Chamberlin and Clarence Hinkle and had his first solo show with Los Angeles’ Dalzell Hatfield Gallery in 1929. During the 1930s, Sheets was invited to exhibit at almost every major American Museum and in many ways, his work came to represent the California watercolor school...

Harry Brooker British, (1848-1940) The Model Aeroplane Oil on canvas, signed & indistinctly dated Image size: 13.5 inches x 17.5 inches Size including...

Hungarian Artist (1894 - 1960) 'Reclining Nude', c. 1920s 19.5'h x 23.5'w, overall size is 28' x 32.5' Oil on canvas, inscribed lower right 'Somody bara...

Porte Saint-Denis Under the Snow (Porte Saint-Denis Sous la Neige) Eugène Galien Laloue (French, 1854-1941) Gouache and watercolor on paper, original carved and gilded frame. 12 ¼ x ...

Frederick Dielman (Hanover 1847 – Washington 1935) - Portrait of a woman. 57x45cm. Oil on canvas, unframed. Work signed: "Frederick Dielman". Condition report: Painting subjected...

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...

"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...

Signed oil on panel nude circa 1920 by French post impressionist painter Georges D'Espagnat. The work depicts a nude woman laying a patch of green grass on top of a hill with a view of the valley in the distance. Signature: Signed lower right Dimensions: Framed: 16"x20" Unframed: 9"x13" Provenance: A certificate of authenticity for this work is available from Mr. Jean Dominique Jacquemond upon request Private French collection From the beginning of his career, it was a constant concern of Georges d'Espagnet to assert his originality. His studies at the École des Arts Décoratifs, Paris, did not last very long, for he wanted immediate independence and decided to follow courses in the private academies of Montparnasse. In about 1900, he became acquainted with Maurice Denis, Bonnard and Vuillard, and his collaboration with Denis led to a renewal of religious art in France. In 1903, d'Espagnet was one of the founders of the Salon d'Automne, and was appointed professor in charge of studios at the École des Beaux-Arts, Paris, in 1934. He illustrated a number of books: Rémy de Gourmont's Evil Prayers ( Oraisons mauvaises) (1896), The Saints of Paradise ( Les Saintes du paradis) (1898), Simone (1907), Sistine ( Sixtine) (1922); Alphonse Daudet's The Immortal ( L'Immortel) (1930); André Gide's The Pastoral Symphony ( La Symphonie pastorale); Francis Jammes' Clearings in the Sky ( Chairières dans le ciel) (1948). D'Espagnet belongs to the group of artists who made the Courrier Français so successful. The drawings of his which are published in it are strongly expressive and some bear comparison with the designs of the great Renaissance masters. He also contributed to L'Image. He often placed cheerful nudes in a landscape, reminding us that, though he moved away from the Fauves, he retained their freedom of colour and arabesque. He painted many portraits, including those of Albert André, André Barbier, Victor Boucher, Déodat de Séverac, Albert Marque, André Marty and Albert Roussel. He also painted mural decorations, including a wall for the Palais de la Découverte (1937), the ceiling of the Victor Hugo Room in the Palais du Luxembourg (1939), a decorative panel for the Palais de Justice, Toulouse (1941) and interior decorations for private houses. His landscapes are Impressionist in inspiration, and work for a certain sobriety, an intimacy, both in their composition - one, two or three sketched figures and large open spaces - and in the choice of colours and treatment with the special hazy brushstroke that marks his style. D'Espagnet took part in a number of annual Parisian exhibitions, including the Salon des Indépendants, the Salon de la Société Nationale des Beaux-Arts, the Salon d'Automne (from 1903 to 1949, except in special circumstances), the Salon de la Libre Ésthétique, Brussels (1899, 1901), the Berlin Secessionists (1940). He also exhibited at the first Salon de la Société de la Gravure sur Bois. Among other exhibitions were 1912, A Century of French Art ( Centenaire de l'art français), St Petersburg; 1916, Kunstverein, Winterthur; 1918, 1926, Galerie M. Bertheim, Paris; 1930, Contemporary French Art...

Amy Londoner Beach at Atlantic City, circa 1922 Signed lower right Pastel on paper Sight 23 x 18 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...

Horse and Dogs in a Highland Landscape, dated 1913 by William E. POWELL (1878-1955) Large 1913 Scottish Highland scene of a horse and hounds in a landscape, oil on canvas by Will...

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...

Louis Wolchonok (1898 - 1973) Gondolas at the Dock, Venice, Italy, 1928 Watercolor on paper Sight 18 x 23 1/2 inches Signed and dated lower right Louis Wolchonok was an author of ar...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) set of 2 watercolour on paper, unframed left painting : 5.75 x 5 inches, signed bottom left right painting: 5....

A large early 20th Century naive, folk art, oil on canvas view of a livestock fair by Tanim. The painting is signed bottom left. A wonderful, humorous and playful view of animals an...

Nude Boy In The Forest, 19th Century inscribed to "TUKE" Early 20th Century portrait of a nude boy in a forest, oil on canvas inscribed "Tuke" to the plaque. Sunlit woodland sc...

This evocative painting depicts a figure tending to a fire in a dimly lit, rustic setting. The artist's use of warm, muted tones and loose brushstrokes creates a sense of intimacy an...

A fine, characterful late Victorian portrait of a portly gentleman with a warm smile and an impressive mustache. The artist has used fine brush work to create delicate skin tone and ...

An original antique impressionist oil painting by American artist George Renouard.

Jim’s of Lambertville is proud to offer this artwork. Signed lower right. Complemented by a hand carved and gilt frame. Illustrated in "New Hope for American Art" by James Alterman, and "Blue Chips" published by Jim's of Lambertville. M. Elizabeth Price (1877 - 1965) Mary Elizabeth Price was born in West Virginia and raised on a farm in Solebury, Pennsylvania, on the outskirts of New Hope. She studied at the Pennsylvania School of Industrial Arts and the Pennsylvania Academy of the Fine Arts under Hugh Breckenridge. Additionally, she studied in New Hope with William Lathrop. Following her art studies, Price went to New York. While there, she conducted the “Baby Art...

Cornelis Kuijpers Gorinchem 1864 – 1932 Soest Dutch Painter 'Sunset in a Winter Forest' Signature: signed lower right ‘Cornelis Kuijpers’ Medium: oil on canvas Dimensions: image si...

Medium: Oil on Canvas Signature: Signed Lower Right Magazine cover: Woman with hat boxes. Francis Xavier Leyendecker, like his older brother, Joseph, was a talented illustrator. Bo...

Medium: Oil on Canvas Signature: Signed and Dated 'N.C. Wyeth' (Lower Left) The Country Gentleman, vol. 91, no. 11, November 1, 1926, cover illu...

This Impressionist beach scene and landscape was painted by American artist Martha Walter. The 15 x 18 oil on board is framed in a 22K gold reproduction frame and is signed "Martha W...

Winter Landscape French Impressionist artist, circa 1920 circle of Gustave Loiseau (French 1865-1930) oil on canvas, unframed canvas: 18 x 24 inches Provenance: private collection, ...

"Where the pure child-face had first drifted across his bewildered vision." Illustration for "The Thief," by Constance Smedley, published in Everybody's Magazine, September, 1908, p....

A very beautiful 1930's impressionist oil on board depicting the beach at Locmariaquer in Brittany, France by the important Dutch painter Willem van Hasselt. The work has exceptiona...

Georges Paul MASURE (Active 1900s/1910s) Oil on canvas 80 x 65 cm (97 x 82cm with the frame) Signed and dated lower right "G. P. Masure / 1912" Painting exhibited at the Salon des Indépendants in 1913 (2032. « Fleurs et japoneries ») Beautiful 19th century frame Georges Paul Masure was a Parisian painter in the Montparnasse area. He exhibited at the Salon des Indépendants in the years 1900/1910. Our painting is the painting he exhibited at the Salon des Indépendants in 1913 under the number 2032 and titled "Flowers and Japaneries". It represents a still life with a bunch of flowers, a magnificent basket of oranges, a pomegranate and a Japanese sculpture with a little fisherman with a red Koi carp. 2500 years ago, when the son of Confucius was born, he received as a gift from King Shoko of Ro, a fish that was first called Koi. It represents the symbol of strength, because this fish was the only one able to go up the steam of the Yellow River. Owning a koi will long remain the prerogative of the Japanese nobility. The dominant colors in the painting are orange and red. And in Japanese Shinto...