Early 1900s Portrait Paintings

Etienne-Prosper BERNE-BELLECOUR Boulogne-sur-mer, 1838 - Paris, 1910 Oil on canvas 46 x 33 cm (55 x 43 cm with the frame) Signed lower right "To his friend doctor Daymard / E. Berne-Bellecour / 1903" Painting exhibited at Salon des Artistes Français of 1904 (number 136. “Portrait of Mr. Major Daymard”) Very good condition ( only a few and small repaints) As an academic painter, Berne-Bellecour worked for illustrated newspapers after failing at the Prix de Rome in 1859. In 1870, he enlisted in the Frankish Corps of Tirailleurs de la Seine and is decorated with the Military Medal. This will decide his career. Companion of Édouard Detaille and Alphonse de Neuville, he painted battle pictures and portraits of soldiers that made him very well known as a specialist military painter. "The Tirailleurs of the Seine in the battle field...

Tuareg Rider in the Desert, 1908 Paul Jouve (1878-1973) Oil on panel, signed lower right. 27 ½ × 24 inches (21 ¾ × 17 1/2 frame) inches Paul Jouve’s work has been celebrated and col...

Work on canvas Plaster and gilded wood frame 114 x 95.4 x 10 cm

"Portrait de Sylvie Lacombe" is a Post-Impressionist painting by Théo van Rysselberghe. The portrait is signed with monogram and dedication, upper right, "pour ma petite amie Sylvie ...

Portrait of a Lady, c. 1900 Oil on canvas 36 x 28 1/2 in. Framed: 37 3/4 x 30 1/2 in.

Antique Dog Portrait of a Bulldog "Big Ben in Garden" Arthur Wardle (England, 1864-1949) Pastel on paper Circa 1900 13 x 9 inches Though he made his reputation with large-scale oils, Wardle is now remembered for his pastels, Christopher Wood...

Scandinavian School, early twentieth century. Inscribed, verso, on stretcher bar, 'Anna Ancher' with indistinct inscription and painted circa 1910. A psychologically-penetrating portrait of a young woman shown in profile, wearing a gold earring and a polychrome silk headscarf...

In this interior illustration for "When the Heart Beats Young" by J.W. Riley, pioneering female illustrator Ethel Franklin Betts creates an intimate statement of mother and child in an embrace. The composition is abstract with patterns that suggest the influence of Asian art—initialed lower right. Work is framed under glass - Oil on board Ethel Franklin Betts Bains (September 6, 1877 – October 9, 1959) was an American illustrator primarily of children's books during the golden age of American illustration in the late 19th and early 20th centuries. Betts first gained work illustrating magazines, including St. Nicholas Magazine, McClure's, and Collier's. Beginning in 1904, she was commissioned to illustrate several books, including James Whitcomb Riley's The Raggedy Man, While the Heart Beats Young, and Frances Hodgson Burnett's A Little Princess...

EDMUND VAN SOMEREN (British 1875-1963) Le Ruban Noir Signed l.r.: E L van Someren; signed, inscribed and dated on the reverse: “Le Ruban Noir”/ E L van Someren 1903 Oil on canvas F...

Georges MANZANA-PISSARRO (1871-1961) Jeune femme à l'ombre d'un arbre Circa : 1903 Oil on canvas mounted on cardboard Format of the work: 27 x 36 cm Stamp of the artist on the back...

Elegant figures drinking a toast by Hans August Lassen (1857-1938) Danish oil on canvas, framed and signed dated 1909 canvas: 21.75" x 39.75", (55 x 101cm) plus the frame condition...

Herman Hyneman (1849-1907) Sunday Morning, 1907 Oil on board 15 3/4 x 11 1/2 in. Framed: 21 1/3 x 17 1/2 in. Signed lower right: Copyright 1907 by H.N. Hyneman Inscribed verso: Sunday Morning by H.N. Hyneman The following is from Peter Jung who credits "a friend named Jeff Gold on Long Island." Herman N. Hyneman (1849 - 1907) was born in 1849 to one of the most prominent Jewish families in Philadelphia. Unlike most Jewish families of the time, his embraced and encouraged his artistic talent. In 1874, Hyneman followed his first cousin Moses Ezekiel, National Academy member, to Europe to study. They first went to Germany and then to France where Hyneman began eight years of study with Leon Bonnat, the French Master. In Paris, the twenty-five year old Hyneman resided in a studio building at 75 Boulevard Clichy, with expatriates Frederic Arthur Bridgeman, Charles Sprague Pearce, Milne Ramsey, and Edwin Blashfield. Hyneman was clearly exposed to the works of these more experienced artists, as well as that of Walter Gay. In 1879, one of Hyneman's genre paintings, entitled "Desdemona", was accepted into the Paris Salon. That painting received favorable reviews both in Europe, and later in Philadlephia where it was exhibited alongside the works of other Philadelphia Artists exhibiting at the Salon that included Thomas Eakins, Pearce, Edward May...

In the frame: approx 17" x 12: inscribed and dated 1903. Oil on paper.

At a certain size, painting a small painting with precise and meticulous detail becomes an art in itself. So is the case of "Three Children" by English Childen's book illustrator Amy Millicent Sowerby...

Early 20th Century Likeness of Jack London Wonderful portrait of a gentleman with a striking likeness to Jack London by Robert Alexander Graham (American, ...

Work on canvas without frame Painter born in Geneva in 1868. Died in 1965.

'The Feather Boa,' a large oil painting of Miss Crofton by Herbert Sidney British, 1901 Frame: height 193cm, width 115cm, depth 6cm Canvas: height 143, width 77cm, depth 3cm By the ...

A large portrait of Vivien Chartres, by Vittorio Matteo Corcos, Italian/British, 1907 Frame: height 175cm, width 95cm, depth 5cm Canvas: height ...

Antique painting a of a dog "Red Terrier" Possibly Dutch School Oil on wood panel, circa 1910 Initialed lower left 7 1/2 x 7 (12 x 11 1/2 frame) inches  A charming and thoughtfully...

The Belle Epoque Lady French School, signed and dated 1907 oil painting on canvas: 24 x 19.5 inches antique original gilt frame: 29 x 24 inches condition:...

This charming and distinguished looking couple still survive in the radiance of their youth captured for all time by the Plymouth portraitist W. Andresen. Although we know little about the artist, his skill is evident in the fine quality of these images. Captain Evelyn R. le Marchant, commander of his Britannic majesty's battleship `Nile', posed for this portrait in Plymouth, England in January 1906. His vessel, one of the earliest battleships to operate without sails, is shown anchored in the background. The following month his lovely wife Edith posed for her portrait. These two fine images show an interesting balance with the man of the sea in his element and his shoreside wife surrounded by her garden. Both paintings are very well done in watercolor with added body color, pencil, and charcoal. Their condition is outstanding and both are mounted in their original period frames with antique glass. Sight Size: 41 Inches x 29¾ Inches each. Each painting signed LR: W. Andresen, Plymouth Vallejo Gallery features the finest in marine and maritime antiques...

GUIDI Giuseppe (1881-1931) Divertimento in the Music Salon Oil on canvas signed low right Old frame gilded with leaves Dim canvas : 70 X 100 cm Dim frame :...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Portrait of a Woman by Ludovic-Rodo Pissarro (1878-1952) Oil on canvas 55 x 46 cm (21 ⁵/₈ x 18 ¹/₈ inches) Signed...

Portrait of a man. Oil painting on canvas, signed and located "Roubaix, 1906". In this portrait, all attention is focused on the face, which is intrusively and self-consciously looking ahead. Except for the white collar and pocket handkerchief...

Work on canvas sold with frame. Total size with frame 43x54 cm

Portrait of a young woman in a white blouse in the style of William Merritt Chase. ( American Impressionism). This work was most likely painted from life and is wonderfully painted a...

Giovanni BOLDINI (Ferrara 1842 - Paris 1931) Nude from behind, presumed portrait of Lina Cavalieri (1874-1944) Paper graphite, H. 280 mm; L. 255 mm. Signed lower right, dated 1901 P...

"Les Artistes du Cirque" is an original painting in ink, watercolor, and gouache on paper by leading Fauvist artist Kees Van Dongen, signed in the lower right. In the piece, two circus performers stand against against a wall. On the left, a pale woman in a blue leotard with red flowers on the shoulder stands with her arms crossed, looking out at the viewer. The painter fills in her tights with delicate white brushstrokes, lending them an almost iridescent appearance. Her strawberry blond hair is piled on top of her hair according to the fashion of the period. On the right, an African man stands in a vivid orange toga, looking somewhere off to the left. His feet are clad in bright white shoes...

John Dalziel Kenworthy portrait of a gentleman . Fine, large and imposing oil on canvas housed in a gilt frame. The sitter is unidentified, he has an aristocratic and characterful lo...

WATELET, Charles Joseph (1867 - 1954) Portrait of a Lady with Hat Oil on oval canvas signed up right and dated 1909 Old frame gilded with leaves Dim canv...

A charming oil on panel circa 1900 by French impressionist painter Armand Francois Henrion depicting a portrait of a happy Pierrot - a French clown - wearing white ruffles and a black hat. The portrait is contrasted by an orange-red background. Signature: Signed lower right Dimensions: Framed: 9.5"x8" Unframed: 7"x5.5" Provenance: Private French collection Armand François Joseph Henrion...

Victorian 19th-century arts and crafts figure scene from a Shakespeare play Robert Anning Bell was born on 14 April 1863 and educated at University College School in London. At the age of fifteen, he was articled for two years to an architect uncle before studying at the Royal Academy Schools, the Westminster School of Art (under Fred Brown), in Paris (under Aimé Morot...

Jerusalem is an original old master artwork realized by Ludwig Viktor Krämer (1861-1949) in 1900. Oil on Canvas, Includes frame 98 x 145 cm Hand signed by the artist and dated 19...

Early 20th-century portrait in oils of shire or Clydesdale horses in a landscape. Edwin began his artistic career by studying at the Royal Academy of Art where he went on to win a Silver medal for his work at the age of 24. From this point on, his work continued to get recognized and many of his pieces were entered into exhibitions. In total, Edwin Frederick Holt...

Signed lower left, 'Hugo V.P.' for Hugo Vilfred Pedersen (Danish, 1870-1959) and painted circa 1900. An antique oil painting of an Indian gentleman wearing a saffron and coral turban...

Early 20th century French folk art oil on canvas, advertising M. Joquelet the dentist and Mme Irma the snake charmer. A wonderful piece of social history. At the turn of the century...

The story of the Belle époque in one portrait When it comes to glamour, no period in the history of art can compete with the Belle époque. A generation of highly talented artists developed new styles of portraiture that not only showed fashionable taste and elegance – but also the tensions and changes to come that lured behind the surface of this glittering age. One of them was John da Costa (1867–1931) also – involuntarily – known as “The John Singer Sargent of children’s portraits”. The time period between the Franco-Prussian war of 1871 and the outbreak of the first world war of 1914 was an unusually peaceful and prosperous one – at least on the surface. The decades leading up to the largest and most destructive war the world had ever seen were characterized by a combination of industrial boom, cosmopolitan life, the birth of modern art and literature and political movements that eventually would change society forever. In other words, it was a melting pot for many phenomenon and societal transformations that we still today are affected by, not least in the form of art. Breaking away from the more conservative academic traditions, new styles of painting of varying radicality emerged and both chocked and delighted audiences. When it comes to portraiture, names like John Singer Sargent and Anders Zorn conquered international audiences with their electrifying paintings of high society, politicians and celebrities of the era. Their erringly light brushwork created an almost dreamlike atmosphere where everything from the sheerness of dress fabrics, subtle lights of ballroom evenings and dense psychological facial expressions vibrated with the zeitgeist. Initially controversial and breaking with traditional expectations, eventually it was this kind of portraits that became the “dernier cri”, a hallmark of good taste and ultimately the very essence of the Belle époque. And it is here, in the vibrant field of portraiture, that John da Costa finds his place and artistic calling. Born in Teignmouth in southern England, a career in the arts was not an obvious choice for John da Costa. Teignmouth, however, beautifully located in the Devon landscape with its proximity to the roaring sea and picturesque fields, was a small fishing town far away from urban life and the art scene. It appears that it was rather early on that his artistic talent became evident, and after studies in Southampton and Paris he eventually established himself as a prominent painter who would soon achieve an international reputation. Interestingly, he was for a period a member of the Newlyn artist colony in Cornwall, not too far from his hometown, where the natural light inspired numerous artists to explore a new realism “En plein air”, not unlike the more famous Barbizon School in France. However, this path, although certainly an important experience, was not right for da Costa who soon searched for other artistic inspiration. Fellow artist Norman Garstin noted with grief his departure from the colony, but new adventures were on their way and they would take on the form of portraiture. It is hard for us today to understand how esteemed and culturally important the genre of portraiture was during this time. Portraits were constantly discussed and commented on, not only in their function of depicting a person but also as an artistic expression of its own, expanding the notion of what art was capable of documenting in terms of the human psyche, the mood of the time and of course the specific temperament and visions of the artist. Furthermore – and not unimportant – it was also an especially lucrative genre for a younger artist, who could more easily get an income through portraits while at the same time challenging themselves artistically. Painting portraits demanded social skills, patience to deal with customers and a real understanding of different identities, ideals, fashions and particular wishes that each sitter might have. And then, the opinions of art critics and audience was also important to consider. In other words, portraiture is far from only capturing the likeness of a person – it is a deeply psychological, artistic and entrepreneurial endeavor. John Singer Sargent is perhaps the prime example of the complexity of Belle époque portraiture; it seems that he with a few meticulous but light brushstrokes could express an entire identity and of person and an era in a portrait. Perhaps this is why his style became so admired, and why so many artists were inspired to paint in a similar manner. Da Costa was far from alone in his fascination for swift, elegant brushwork in Sargent’s manner – but he was unusual in his ability to interpret it in his own distinct way. Judging from where he received commissions, da Costa was a true cosmopolitan. He was as comfortable working in London as he was in Scotland, France and the US, where some of his most prestigious works were produced. For a number of years, he ran his own art school in Kensington in collaboration with his friend Phil Whiting from the Newlyn colony. The list of famous clients was impressive, among them we find the secretary of the treasury Andrew W...

Antique English oil on canvas portrait painting, circa 1900. A very handsome Impressionist portrait of a youthful lady in Edwardian dress. Oil on canvas, signed to the upper left "F ...

Many of you clicking on this watercolor are probably doing so because you know of Ellsworth Woodward, who with his brother William Woodward around the turn of the 20th century sparke...

Antique Boston school oil painting of a young woman by William Worcester Churchill (1858 - 1926). Label and titled verso, "Fiammetta". Oil on canvas,...

French North African early 20th-century Impressionist, Fishermen coming ashore with their daily catch. André Humbert was born in Paris on the 27th of November. He was a student of t...

Dimensions listed include the frame

Antique Horse Painting "Sysonby"-Equestrian Painting Edward Herbert Miner (American, 1882-1941) Depicting the champion thoroughbred horse Sysonby (1902-1906) Oil on canvas, signed "E H Miner 1905" 24 x 32 inches Ex. Collection of Mr. & Mrs. Walter M Jeffords, a prominent Philadelphia lawyer and racehorse owner, at Sotheby's NY, 2004. Sysonby (1902–1906) was an American Thoroughbred racehorse. He won every start easily, except one, at distances from one mile to two and a quarter miles. His superiority as a two and three-year-old was unchallenged during his short career of 15 race starts. Sysonby was regarded by many experts as the best horse to have raced in the United States between the Civil War and World War I. His sole loss in 15 starts came after he was doped by his groom as a bribe; even then, it took another member of the Hall of Fame, Artful, to beat him Foaled in Kentucky, Sysonby was a bay son of the 1885 Epsom Derby winner, Melton, out of the English mare Optime by Orme (by the undefeated Ormonde). The mating of Melton and Optime was arranged by Marcus Daly, who was involved with the Anaconda Copper Mine. Daly died before Optime, stabled in England, foaled. His stock, including the still pregnant Optime, was brought to New York to be auctioned. James R. Keene purchased Optime for $6,600, sending her to his Castleton Stud in Kentucky, which he rarely visited. Apparently Optime's foal, observed in his paddock, was anything but inspiring. Considered unattractive and small, as well as slow, young Sysonby was to be sent back to England for sale. But Keene's trainer, the well-regarded James G. Rowe, Sr., had seen Sysonby in action during some early trials. When it was time for the yearlings to be sent away, Rowe, a leading trainer who had once been a leading jockey (guiding Harry Bassett to his Saratoga Cup win amongst many other successes), covered Sysonby in blankets, convincing Keene he was too ill to make the long ocean journey. In the care of Rowe, Sysonby won everything Rowe entered him in by sizable margins, with the exception of the Futurity Stakes (USA), where he came in an unaccountable third, beaten by the filly Tradition and the filly Artful. Artful ranked 94th in the top 100 U.S. Thoroughbred champions of the 20th century by Blood-Horse magazine). Rowe saw Sysonby's groom exhibiting a large sum of money, and the groom admitted he'd been bribed to drug Sysonby before the race. If not drugged, nothing beat Sysonby. The turf writer Neil Newman ranked Sysonby as one of the three best colts he'd ever seen. The other two were Colin (also trained by Rowe) and Man o' War. Sysonby was the top money earner of 1905. Average winning margin was 4 ¼ lengths. Was ahead at every point of every race, except at the quarter call in the Brighton Junior Stakes, and in the stretch of the Futurity. Sysonby was inducted into the National Museum of Racing and Hall of Fame in Saratoga Springs, New York, in 1956. In the list of the top 100 U.S. Thoroughbred champions of the 20th Century by Blood-Horse magazine, he ranks 30th. Eighteen years after Sysonby's death, a December 11, 1924 Daily Racing Form article looking back on his racing career, called Sysonby "One of Greatest Race Horses in History of the American Turf". James Rowe, Sr. was also inducted posthumously into the Hall of Fame as a trainer. Provenance: Walter Morrison Jeffords Sr. (August 8, 1883 – September 28, 1960) was a successful Investment banker and owner/breeder of Thoroughbred racehorses who, in partnership with his wife's uncle, Samuel Riddle, purchased and operated Faraway Farm near Lexington Kentucky where they stood Man o' War. Jeffords is one of only five people to be named an Exemplar of Racing by the National Museum of Racing and Hall of Fame. His former estate is now Ridley Creek...

I apologize for the reflections on the glass of this exquisite Gaston Bouy pastel drawing. It's in a very nice frame in great condition, and I did not want...

Thomas Cooper Gotch 1854 – 1931 Study of Violinist for Holy Motherhood Oil on canvas, on board Image size: 28 ¾ x 21 inches 18th century frame Illustrated in "The Golden Dream, A bi...

Artist: Francesco Paolo Michetti, Italian (1851 - 1929) Title: Rosella Year: circa 1900 Medium: Oil on Canvas, Signed Size: 30 x 20 inches [76.2 x 50.8 cm] Framed: 40 x 30 inches [10...

DANNENBERG Alice (1861-NC) "Children playing at the Luxembourg garden (Paris)" Oil on canvas signed low right Gault frame gilded with gold leaves Dim canvas : 50 X 61 cm Dim frame : ...

Artist: Unknown after Gaetano Esposito Title: Painter with a Pipe Year: circa 1900 Medium: Oil on Canvas, signed illegibly verso Size: 16.5 x 13 in....

Little portrait by Arturo Noci realized in 1909 probably in US. Bronze frame Signed and dated by the artist at bottom right. Very good conditions. This artwork is shipped from Italy...

Portrait of a Italian woman by American impressionist painter David Rosenthal (American, 1876-1949), c. 1900. Estate stamp on verso. Image, 11"H x 17.5"L. David Rosenthal was a Cincinnati artist who was known as an American Impressionist. He studied at the Art Academy of Cincinnati with Frank Duveneck, Lewis Meakin, and Joseph Henry Sharp. After finishing, Rosenthal traveled to Munich to study with G. Flad and Azbe and exhibited at the Kuenstler Verein. He won a scholarship at the Belle Arts in Rome, became a member of the Cirelo Internationale, and continued his studies at the Academy of Milan in Florence. During his extended residence in Europe, Rosenthal moved in artistic circles from Munich to Rome. Several European sketchbooks still exist from this time, and show the skillful facility fostered by his academic background. Italian and German landscape scenes figure prominently in his early oils, which are dated around 1890 and designate Italian cities and towns on the back of canvases. Some of his etchings from a later period are probably based on earlier European sketches...

Painted from life with bravura brush strokes, Luks captures the essence of the sitter. Work is unframed.

Woman standing in a gown. Signed and dated lower left. Charles Allan Gilbert chose art as a career after discovering his talent while sketching during a childhood as invalid. Following training at the Art Students League, he went to Paris while his teachers were Constant and Laurens. He returned to the U.S to begin a very successful illustration career, with a special aptitude for the portrayal of beautiful young women. Their portraits were included in several gift books...

Date: 1909 Medium: Oil on Canvas Dimensions: 26.00" x 22.00" Signature: Signed Lower Right PRICE ON REQUEST- The Saturday Evening Post Magazine Cover, December 10, 1909

Signed upper right Private Collection Luks was famous for painting people from impoverished slum areas. The work was most likely painted from life and portrays a youth haphazardly dressed. Luks describes the subject in quick rapid-fire brush...

A simply beautiful French Impressionist School oil on canvas of an elegant woman wearing a white blouse and black skirt and hat seated in a chair reading. Her parasol rests against t...