Early 20th Century Portrait Paintings

"Portrait of a Lady" by Leon Launay (French 1890-1956) charcoal portrait drawing on paper, unframed stamped verso painting: 18.5 x 12 inches Condition report: The painting is in go...

Peru, colonial style, Early 20th century Oil on canvas, 47,5 x 38 cm (wooden frame) Provenance: Italian private collection.

framed sight size 10 x 13.5 inches painting, framed to 15 x 19. Impressionistic Realistic portrait of an older rabbi visiting the marketplace. Children playing. Here the artist conve...

To Female Portraits is an original modern artwork realized in the early 20th Century by the Italian artist Mino Maccari (Siena, 1898 - Rome, 1989). Original painting. Tempera on pap...

A charming portrait of a beautiful blue-eyed girl in a pink dress holding flowers in her hand. It's based on Renaissance portraits where the subject is pushed to the foreground and i...

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...

Artist/ School: French School, first half of 20th century Title: Impressionist portrait of an elderly gent. Medium: oil painting on canvas, unframed Size: painting: 25.5 x 21.25...

This warm portrait looks like it could have been painted by Corot. Francis Luis Mora paints in that tradition. It's a small painting that invites the viewer to look closer. The art...

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...

Work on paper Ed: 24/100

Spanish Souvenir- mantilla, peineta, by Francis Luis Mora is a painting of beautiful Spanish women in traditional dress with their entourage. It's is a museum-quality work. In fact, ...

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...

Framed 26 x 13 image 20 x 6.5 inches. YITSKHOK LIKHTENSHTEYN (ISAAC LICHTENSTEIN) (1888-1981) (Icchok, Izrael) was born in Lodz, Poland. Initially he was studying at Yehuda Pen school in Witebsk. In the same school where young Marc Chagall started to paint his shtetl Jews, Jewish neighbourhoods and personages. As many young Jewish children who decided painting to be their passion Isaac moved to Paris where he was one of the co-founders of Machmadim - a group of Jewish artists (mostly émigré from Eastern Europe) who dedicated their art to traditional Jewish themes. Later Isaac Lichtenstein studied with Boris Schatz and painted at Bezalel, Jerusalem. Until age seven he was raised in Warsaw; later, when his father received a position with Poznański, he lived with his parents in Lodz. There he studied in a state public school. He demonstrated talent for painting while still quite young, and in 1906 he began to attend the Cracow art academy, before going on to study painting in Rome, Florence, and Munich. In 1908 he entered the Bezalel Art School in Jerusalem. In 1910 he returned to Cracow, lived for a short time in Munich, 1911 in Paris, 1912-1913 again in the land of Israel, and in 1914 he returned to Paris, that very year setting off for the United States. He lived in New York during WWI, where he became part of Jewish literary and artistic circles, and contributed as a graphic artist to a variety of Jewish publications, among them: M. Basin’s Antologye (Anthology), the collection Velt ayn, velt oys (World in, world out), and designed frontispieces, little vignettes, and letters for Yiddish-language books. In 1916 he also began to write and published articles on the plastic arts in: Tsukunft (Future) in New York; the collection Shriften (Writings), vol. 6; Onheyb (Beginning), edited by Z. Vaynper; Morgn-zhurnal (Morning journal); Der amerikaner (The American); Forverts (Forward); and Di tsayt (The times). He did journalistic work also for M. F. Seidman’s correspondence bureau in New York. In 1918 he departed with the Jewish Legion for Israel. In 1920 he came to London, was demobilized there, and was a contributor to the journal Renesans (Renaissance), edited by Leo Kenig, and to the daily newspaper Di tsayt, edited by Morris Meyer. In 1924 he returned to Poland, exhibited his drawings in Warsaw, Lodz, Vilna, and other cities, gave speeches on art (general and Jewish), and published work in: Haynt (Today), Moment (Moment), Folkstsaytung (People’s newspaper), and Literarishe bleter (Literary leaves)—in Warsaw; Unzer lebn (Our life) in Grodno; Voliner lebn (Volhynia life); Nayer folksblat (New people’s newspaper) in Lodz; and elsewhere. He also published impressions from his travels and memoirs of the Jewish Legion in Haynt. He was part of the loose association of émigré artists known collectively as the École de Paris, the majority (among them Marc Chagall, Isaac Dobrinksy, Henri Epstein...

Antique American school signed New York City street scene oil painting. Oil on canvas, circa 1920. Signed. Image size, 18L x 24H. Housed in a period modern frame.

Stunning signed and dated modernist oil on canvas by Argentinian painter Alfredo Guttero. The work depicts a portrait of a young Argentinian woman. It is beautifully and the brush strokes make it almost pointillist like. This work has come from the collection of the esteemed Jewish art collector Gaston Prosper Levy and was gifted top him by the painter. Prosper Levy held one of the most important collections of modern French art - many of the works were taken by the Nazis from his home in France in 1940. This work has been assessed by the Art Loss Register and is not recorded on their database. Signature: Signed, dedicated and dated 1918 upper right Dimensions: Framed: 29"x24.5 Unframed: 26"x21.5" Provenance: Original exhibition number to frame The collection of Gaston Prosper Levy Alfredo Nicolás Guttero was born in Buenos Aires on May 26, 1882. He studies music as a child and from an early age he shows his drawing abilities. He starts a law career which he quits two years later to start painting full time. Ernesto de la Cárcova and Martín Malharro encourage him towards this change and, in 1904 he gets a scholarship to travel to France to further his work. His scholarship only lasted a year, but with his family’s help and his work related to decorative art, he manages to stay in Paris until 1917, where he studies under Maurice Denis. He moves to Spain, and towards 1917, he studies in Madrid and La Coruña. Then he moves to Segovia in 1918. In this occasion he takes parts in a collective exhibition of Argentine painters and sculptors, together with artists such as Fray Guillermo Butler and Pablo Curatella Manes, among others. After his passing through Germany, Austria and Italy, in 1925 he settles in Genova where he holds an exhibition of his entire artistic production to date. After 23 years in Europe, on September 26, 1927, Guttero arrives in Buenos Aires, and on October 20, he holds an exhibit at Asociación Amigos del Arte. That same year, the Comisión Nacional de Bellas Artes acquires for the Museo Nacional his piece: Mujeres indolentes (Indolent women). A week later he takes part in the Feria del Boliche de Arte invited by Leonardo Estarico and Atalaya. Upon his return from Genova, he continues his investigation and development of the pictorial techniques denominated by him as “cooked plaster”, a technical procedure based on a paste of plaster with pigments mixed in with glue that the artist generally applied mounted on wooden supports. As of this moment, Guttero starts in Buenos Aies an intensive array of exhibits and other activities which make a big impact on the local cultural scene, apart from continuing with his personal art production. Between 1927 and 1932, the year of his sudden death, Alfredo Guttero takes part, among other projects, in the “3ª Exposición Comunal de Artes Aplicadas e Industriales 1927- 1928”, where he is awarded the Grand Prize in the Sección Pintura Decorativa; and the “X Salón de Otoño de Rosario” (1928) where he gets the Gold Medal for the Figure category; he presents works in the exhibits organized by Ateneo Popular de la Boca (1928); “XVIII Salón Nacional“ (1929) and is awarded the Second Municipal Prize for his work Playa (Beach). In 1929, he organizes the “Nuevo Salón” in Buenos Aires, Rosario and La Plata. He presents his work at the “XIX Salón Nacional de Bellas Artes” where he gets the First Prize in painting with his work Feria (Street market); in September of that same year he inaugurates his fourth individual exhibition at Amigos del Arte and participates in the selection of paintings which will appear in post cards that this institution would print eventually. In 1930 he is named artistic advisor of the Asociación Wagneriana and director of its Plastic Arts Section. That same year he organizes the “Salón de Pintores Modernos. Primer Grupo” in Buenos Aires; exhibits at Amigos del Arte, at the “Salón de Pintores y Escultores Modernos” and at show rooms in Rosario and Santa Fe. In January, 1931 he takes part in the “First Baltimore Pan-American Exhibition of Contemporary Paintings” and is awarded the Museum of Art Award with his piece Anunciación (Announcement), which he later donates to the Museo Nacional de Bellas Artes de Buenos Aires. That same year he organizes exhibits of Miguel Carlos Victorica and Demetrio Urruchúa in Amigos del Arte and, in May, Guttero presents his work at the Salón Centenario de Montevideo, “Primer Grupo Argentino de Pintores Modernos”. In June he directs together with Falcini, courses on Plastic Art and works on stage scenery for the Colón Theater. Also in 1931, he organizes the “Salón de Pintores Modernos” in Amigos del Arte and takes part at the Salón Nacional, being awarded the Eduardo Sívori Prize. On April 15, 1932 they open together with Pedro Domínguez Neira, Raquel Forner and Alfredo Bigatti the Cursos Libres de Arte Plástico (Free plastic art courses). That same year Guttero is awarded the First Municipal Prize for his work Oda (Ode). In November, he is invited to take part in the “Salón de Arte del Cincuentenario de La Plata” and, on December 1, he dies in Buenos Aires at the age of 50. The following year, between October and November, the Dirección Nacional de Bellas Artes organizes...

Portrait Of A Bride, circa 1900 circle of George CLAUSEN (1852-1944) Circa 1900 Impressionist portrait of a young bride with a French landscape b...

Frank Bramley RA (British, 1857 – 1915) Portrait of an elegant lady Signed and dated ‘FRANK BRAMLEY / 11’ Oil on canvas 21 x 15.1/2 in. (53.4 x 37.2 cm.)

"Funchal, le Port (Port of Funchal, Portugal)" Raymond Thibesart (France, 1874-1968) Pastel on paper 12 x 9 (18 3/4 x 15 5/8 frame) inches Stamp of studio on reserve INV Nbr. 821RT...

There is no one alive that can paint and draw like Dean Cornwell. How can that be? They do not train artist the way they did. He was Normal Rockwell's ...

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...

'Landscape with Two Bathers', oil on panel, by Guillaume Dulac (circa 1920s). Dulac's oils and drawings manifest an elegant classicism with an immediately identifiable style. It is these qualities which are so attractive both aesthetically and in the context as an investment in fine art. Our gallery holds virtually the entire remaining collection of Guillaume Dulac's sketches and memorabilia with impeccable provenance. In this acquisition of a Dulac oil painting, one finds a depiction of two women, one of them in the nude, seated on the edge of a bathing pool. The other is peacefully seated on a comfortable boulder stone...

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...

Realist oval portrait of a young lady wearing a thin headband and a white garment. Unsigned. Prepared by Theodore Kelley (comes with another similar piece signed "Theo Kelley" at the...

Signed 'ORPEN' (upper left) Sitter is bathed in warm window light that creates subtle patter of light and shadow in the background. Artists depicts Mr. Glass in a beige and brown ...

"Pierrot and the Butterfly" is an early 20th century Impressionist oil portrait. The painting is indistinctly signed lower right and m...

Artist/ School: French School, signed and dated 1911 Title: A Belle Maman, New York Medium: signed oil painting on canvas, framed. framed: 27.5 x 18.5 inches canvas: 25.75 x 16.7...

Hedwig Mechle - Grossmann (Germann, * 3rd of December 1857, Görlitz - † 1st of October, 1928 Ödenburg) Die Kleine Rosenverkäuferin - The Little Rose Seller • Oil on carse canvas, ca. 100 x 75 cm • Frame, 107 x 81 cm • Signed and dated 1920 upper right This large painting will make everybody stop, look, smile and want to buy a lovely rose from that charming girl. Take your time and have a look at the details … the stopper of the water ceramic bottle, her piece of bread, the torn and frayed clothing and more. Worldwide shipping is complimentary - There are no additional charges for handling & delivery. Hedwig Mechle-Grossmann is well known and appreciated for her expressive genre scenes depicting children. Born in Görlitz, she worked in Berlin and moved on to Ödenburg, where she died. Important examples of her work are held in the Ödenburg Landesmuseum. A few words on condition: The painting has received slight sympathetic restoration - The partially frayed edges have been professionally relined with a narrow strip of new canvas for strength and then the canvas has been re-stretched on to the original stretcher, with the arms of the stretcher covering most of the newly attached strips of canvas. One of the arms of the stretcher has suffered slight worm damage in the past. That short section has been treated, stabilized and the restorer covered the unsightly area with a strip of the same canvas, which was used to reline the edges. The frame seems to be original (certainly early 20thC) - the corners have been re-glued, small areas have been retouched and minor sections of the molding are missing. New small woodblocks...

Bretonne à la Vache by Georges Manzana Pissarro (1871-1961) Oil on panel 54 x 65 (21 ¹/₄ x 25 ⁵/₈ inches) Signed and dated lower left, Manzana 1929 Pissarro Inscribed lower left, Pon...

Artist/ School: European School, circa 1920's-1930's period, indistinctly signed lower left corner. Title: Portrait of a young Gentleman, with a beard. The work is largely Fauvist i...

French water painter Work on paper Gilded wooden frame 42,5 x 34 x 1,5 cm

Study of Hands with Cigarette French, early 20th century Oil on canvas on wood panel Unsigned 6 1/2 x 9 (10 1/8 x 12 3/8 inches) A very interesting and competently executed study ...

Medium: Oil Painting Signature: Signed Lower Right Collier's Magazine Cover, February 7 1914

Louise H. "Louie" Burrell (née Luker 1873 – 1971) was an English-born artist who also lived in Canada and the United States. The daughter of William and Ada Luker, both artists, Bur...

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...

John William Godward 1861-1922 British A Pompeian Lady Signed and dated "J.W. Godward 1904" (lower right, partially covered by frame) Oil on canvas One of the last and greatest Victorian neoclassical painters, John William Godward is celebrated for his flawlessly executed images of graceful women posed in idealized ancient settings. In this work, entitled A Pompeian Lady, a classical beauty is caught idling in a moment of quiet, solitary reflection. Godward's elegant subjects are depicted with a degree of technical mastery that remains unsurpassed, and the work's dramatic palette, luxurious fabrics and classical vision are all characteristics of his unique take on the neoclassical style. Godward was unmatched in terms of his technical skill and attention to detail. A master of contrasting textures, he paints a diaphanous gown draping against the model’s smooth, milky white skin, which sits against the painstakingly rendered individual hairs of a tiger’s pel. Scintillating color permeates the canvas as well, energizing the otherwise static scene. Each element is given careful attention, and the overall effect is one of both immaculate technique and sensual tactility. Along with his contemporary and mentor, Sir Lawrence Alma-Tadema, Godward set the tone for the Victorian neoclassicist movement. He built his career upon creating images of idealized feminine beauty infused with a Greco-Roman-inspired style. Though greatly influenced by Alma-Tadema, Godward distinguished himself through his predilection for the solitary female figure. His fame rose dramatically in the first few years of the 20th century, when the present work was completed, due to the burgeoning strength of the British Empire and the Victorian society’s preoccupation with ancient Rome. To many of the newly affluent, Roman society was, as Iain Gale writes, “a flawless mirror of their own immaculate world.” The sensuality and mystery of Godward’s maidens, combined with his impressive antique backdrops...

Istvan Szasz "Fortune Teller" Original Oil Painting c.1930 Original oil on canvas. Dimensions 20" wide x 23.25" high The frame measures 26" wide x 29.5"...

Richard Jerzy (1943-2001) was a known artist in the Detroit, Michigan area. His most infamous works are watercolors and oils depicting of people or still-lifes. This untitled piece,...

Incredibly realistic and charming early 20th century oval portrait of a young child. Oil on board signed and dated top left. Cannot make out signature. Date looks to be 1915. Wonderful frame looks to be original to the painting. It measures 25 3/4 inches high by 21 3/4 wide. One of the finest child portraits...

ERWIN BINDEWALD (1897-1950) Two men playing draughts, a girl with the red book standing behind them Signed and dated E. Bindewald d.j., 27 Oil on canvas, 140.5 x 90.5 cm In black and gilt gesso frame. Note: Bindewald was born in Charlottenburg. He moved to Berlin in 1914 where he studied till 1924 at the Berliner Kunst Akademie. Bindewald travelled in Europe, but mainly stayed in Germany and certainly never was in China. This painting was made in Europe, presumably in the China Town of Berlin. Bindewald received several commisions in Germany from factory owners who wanted their factories painted inside, usually with workers, as well as outside. In the present painting the sitter on the right seems to be a man with a Manchurian background, wearing the brown coat reserved for the highest aristocracy in China. In China the black sleeve-ends completely cover the hands, indicating that the high aristocracy does not have to do any manuel labour. This man clearly is not a factory worker but he possibly is the (co)- owner of the factory in the background and as such might need his hands to do at least some writing. The man on the left in the modern Western suit...

A charming relic of a bygone era, this rare oil is the work of the inimitable American illustrator, Norman Rockwell. The iconic artist’s ability to render the details and nuances of ...

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...

Magazine Story Illustration most likely for Cosmopolitan or Woman's Home Companion. Caption: "'I will not heed these old ones,' said the maid. 'Let us flee together somewhere and ...

The Gray Kimono, 1901, by William Merritt Chase (1849-1916) Oil on canvas 20 x 16 inches unframed (50.8 x 40.64 cm) 28 x 24 1/16 inches framed (71.12 x 61.11875 cm) Paper (Alice Wil...

Carol Aus: 1878-1934 Listed artist born in Norway and lived in Chicago. She studied in Paris at Julien Academy. She painted 7 covers for the Saturday Evening Post. She was also we...

the most important American Impressionists of his age. While many of his contemporaries focused on the landscape, Frieseke gained his inspiration from the figural, and in particular the theme of femininity. His works capture female figures engaging in traditionally feminine roles — strolling in the garden or posed in a domestic interior. At the Mirror...

Young Girl with her Pet Dog By Hans Fieldler, German, 1933 Oil painting on board, framed Signed and dated '33' (1933) on the top left corner Painting size: 18 x 15 inches Endearing impressionist oil painting of a little German girl...

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 original historical modernist landscape oil painting by Lee Roland Warthen (1893 - 1949) . Oil on canvas, circa 1912. Signed and titled on verso. Image size, 18L x 14H. H...

This intimate portrait was composed by the Bulgarian-born French Expressionist painter Jules Pascin. Known as the "Prince of Montparnasse," Pascin made a name for himself throughout ...

Large scale French society portrait from the 1920's featuring a lady in a 'flapper' dress before a castle and it's garden by Georges Gaudy. Signed bottom left and dated, 1925. The painting is by repute of La Comtesse de Blacas, in front of her home Château d'Ussé. Ussé was the subject of a French railroad poster issued by the Chemin de Fer de Paris à Orléans in the 1920s which may have been designed by Gaudy and this may be where the commission for this painting came about. Presented in very fine custom carved wood, gilt Florentine frame. The early 1900's were the zenith of 20th century society portraiture by the likes of Philip de László...

This is an almost lifesize portrait of a charming blond holding a basket of freshly picked flowers. The girl set against a verdant landscape with blue sky and cumulus clouds. The subject is the friend of the artist's daughter. 78 x 42in. framed. This joyful image of youth looks better in person due to its impressive size and clearly will be a statement piece in any home. Francis Luis Mora ( ( Uruguayan / American, 1874-1940) Studied under Edmund Charles Tarbell...

Medium: Oil on Canvas Dimensions: 54.00" x 38.00" Signature: Signed Lower Right

M. Moshall "The Young King" Original Oil Painting Early 20th C. Original oil on panel Dimensions 8" wide x 9" high The frame measures 12" wide x 14" high Signed lower right The ...

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...

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 ...

Portrait Of A Wheaten Terrier, early 20th Century English School - signed Large early 20th Century portrait of a Wheaten Terrier, oil on canvas sign...

Dimensions listed include the frame

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