1910s Art

An impressionistic archipelago landscape at dusk, Oil on canvas, signed A. Fahlcrantz and dated 1919. The present painting depicts a seascape from the shoreline at dusk, with distant...

Landscape with Mountains (color) by Eugen von Kahler, (1882 - 1911) Date: circa 1910 Medium: Watercolor on Paper, signed in pencil Size: 9 in. x 10 in. (22.86 cm x 25.4 cm)

After Amaldus Nielsen (1838–1932) Norway Evening at Fredrikstad, 1918 signed indistinctly, possibly “Hj. U…”, and dated “18” lower right oil on board unframed 42 × 55 cm (16.5 × 21.7 in) framed 53 × 65 cm (20.9 × 25.6 in) Comparative work: Amaldus Nielsen, Aften ved Fredrikstad (Evening at Fredrikstad), 1909, oil on canvas, present location unknown. Condition report: Very good condition with bright and clear colors. Ready to hang. Please contact the gallery for a detailed condition report. Essay: This atmospheric evening seascape was painted in 1918 by an as yet unidentified artist and closely follows Amaldus Nielsen’s Aften ved Fredrikstad of 1909. The relationship between the two compositions is unmistakable. In both, a sailing boat occupies the central waters beneath an expansive and dramatically clouded sky, while a narrow strip of intense evening light separates sea from horizon. Smaller vessels recede into the distance, establishing both scale and a sense of stillness across the broad surface of the water. The present painting is nevertheless not a mechanical copy. The unidentified artist has altered several details and developed the scene through a more concentrated and chromatically intense palette. The central vessel is brought into sharper prominence, its sails forming a strong silhouette against the illuminated horizon. Deep blues dominate the foreground water and the upper sky, while streaks of orange, ochre and pale turquoise register the last light of sunset. The sky occupies approximately two thirds of the composition and becomes almost a subject in itself. Heavy clouds gather above the tranquil water, their dark masses opening intermittently to reveal passages of luminous blue and warm reflected light. The model for the composition was created by Amaldus Nielsen, one of the most important Norwegian painters of the coast during the nineteenth and early twentieth centuries. Born at Halse near Mandal in 1838, Nielsen studied in Copenhagen before continuing his training with Hans Gude at the Düsseldorf Academy. Gude’s emphasis on close observation of landscape remained fundamental to Nielsen, but he gradually moved away from the constructed romantic landscape towards an increasingly direct study of nature. Nielsen became especially associated with the coastlines of southern and western Norway and has often been described as one of Norway’s earliest naturalist landscape painters. From the 1860s onward he frequently completed paintings outdoors before the motif, an unusually direct working method in Norwegian art of the period. Light, weather and changing atmospheric conditions became central to his practice. The same location might be returned to repeatedly under different conditions of morning, evening, mist or changing weather. Fredrikstad and its surrounding archipelago formed part of this geography. Nielsen is documented working at Arisholmen near Fredrikstad as early as 1884, and surviving paintings demonstrate his continued interest in the coastal landscape of Østfold. By the time he painted Aften ved Fredrikstad in 1909, the theme of boats at rest or moving quietly across evening water had become deeply embedded within his art. The 1909 painting...

Firmado por el artista en la parte inferior y fechado del año 1915 El estado de la obra es bueno Se presenta enmarcada la obra (como pueden ver, el marco presenta algunas faltas de...

John Singer Sargent (American, 1856-1925) Cashmere, 1912 Lithograph Sight: 24 x 16 3/4 in. Framed: 22 1/2 x 30 x 1 2/3 in. Hand signed by artist lower left *Note some glare on mat fr...

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

"Interior with Chair and Vanity" circa 1918 Ricardo Gomez-Gimeno (Spain/France 1892-1954) Oil on cardboard Signed 17 1/4 x 14 1/4 (22 1/2 x 19 1/2 frame) This painting and its mat...

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

Alméry Lobel-Riche (1877-1950) Portait of a gentleman signed lower right pencil on paper Circa 1910 6.3 x 3.9 in (16 x 9.8 cm) framed 11.2 x 8.7 in (28.5 x 22 cm) Condition: good A...

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

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

‘La Couronne de Marguerite’ by Édouard-Louis-Lucien Cabane (1857-1942). The painting – which depicts a young French beauty wearing a crown of daisies – is signed by the artist and ...

This intimate interior by Henrik Nordenberg demonstrates the artist's remarkable ability to transform an ordinary domestic setting into a scene of quiet beauty and contemplation. Exe...

Coal Pockets and Viaduct, New York (Viaduct at 130th Street, NYC) Etching & Drypoint, 1911 Unsigned Provenance: Estate of the Artist New York Financial Institut...

Oscar Lycke (1877–1927) Sweden Aprilkväll (April Evening), 1911 signed lower left Osc. Lycke signed, titled and dated on the reverse oil on panel unframed 40 × 53 cm (15.7 × 20.9 i...

This luminous painting by Oscar Lycke captures a tranquil sunset scene deep within a Nordic forest. The warm, golden light of the setting sun filters through the dense spruce trees, ...

Executed in 1911, just three years after Margherita Kronberg graduated from the Royal Academy of Fine Arts, this early drawing portrays the artist’s younger brother, Staffan, dressed...

This luminous landscape painting by Oscar Lycke captures the rolling hills and deep forests of northern Sweden, likely from the Sundsvall region. The foreground is dominated by lush ...

Shipping on the Grand Canal, Venice signed & dated 1910 oil on canvas, unframed canvas: 13 x 18 inches provenance: private collection, Europe condition: basic good condition though w...

Anna Mihailovna Zherebtsova - Jerebtsoff (Russia, 1885 - Russia, 1939) L’Asphyxie 1910 Oil on canvas 145.5 x 103 cm (181 x 139 cm) Signature Signed with a monogram in the lower ...

Medium: original woodcut. This impression on wove paper was printed in 1919 for Das Kestnerbuch, an important collection of original prints published during the height of the German ...

Clara Deike (American, 1881-1965) The Fountain, Milan, Ohio, 1915 Watercolor on paper Signed and dated lower right 18 x 22 inches 23.5 x 28 inches, framed A graduate of the Clevelan...

Ella Boocock Hoedt Harbor Scene Oil on board 14 5/8 x 15 3/4 inches Ella Boocock Hoedt was born in Philadelphia in 1889. She was a graduate of the Pennsylvania Academy of Fine Art ...

"After the Storm" is the title of this oil painting on canvas by the Swedish artist Hjalmar Berghcrantz (1889–1961). Signed and dated 1917. The artwork depicts a rugged landscape whe...

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

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

Karl Albert Buehr (1866-1952) Giverny Landscape Oil on board, c. 1910 Unsigned Condition: Excellent Image size: 5 7/8 x 7 1/8 inches Frame: 11-1/2 x 12-3/4 x 1-1/2" Provenance: Estat...

Original watercolor and gouache on paper of a busy street scene in India done in 1912 by the American artist, William Henry Drake. Copyrighted signed and dated 1912 lower left. Condition is good. Recently professionally matted. Unframed. Overall matte size is 12 by 16 inches. Provenance: A Long Island, New York estate. William Henry Drake Born: 1856 New York Died: 1926 Los Angeles Nationality: American Education: Académie Julian, Art Students League of New York Known for: Painting, illustration Awards: National Academy Biography: Drake studied at the Académie Julian in Paris, with Jean-Joseph Benjamin-Constant and Henri Lucien Doucet. Back from Europe, he studied at the Cincinnati School of Design, and would often go to the zoo, where he could draw the animals. He was then employed by the Museum of Natural History. He continued to study at the Art Students League of New York. In 1878 he worked as a freelance pen-and-ink artist for such periodicals as Century or Harper’s with animal studies...

Signed lower right, 'R. Caspar' for Reinhard Caspar (German, 1873-1946) and painted circa 1915. Born in Berlin, Reinhard Caspar studied at the Academies in Berlin and Kalrsruhe befo...

Original Beat Back the Hun with Liberty Bonds vintage military poster.. Artist F. Strothmann. Original World War 1 antique vintage poster; archival linen backed and ready to fram...

Original. YMCA for Your Boy. Acid-free original vintage poster in excellent condition with archival linen backing, ready to frame. Certificate o...

Interior scene from a study or collectors room signed and dated with monogram "HNH 1912", Hans Nikolaj Hansen (1853-1923) presenting a quiet yet intellectually charged space. In the foreground stands a writing desk furnished with an inkwell and a book, objects that suggest reflection, scholarship, and artistic contemplation. Beyond the desk, set against a deep red wall, rises a large neoclassical sculpture whose pale surface contrasts with the warmth of the interior. The composition balances intimacy with monumentality: the scholar’s table before us, the silent authority of antiquity behind. Executed in oil on canvas, the painting reveals Hansen’s characteristic sensitivity to historical atmosphere. Hans Nikolaj Hansen was a Danish painter and Illustrator, born in 1853, the son of wine merchant C.J.A. Hansen and Sophie. After graduating in 1872 from Borgerdydskolen on Christianshavn, he followed his early artistic inclination and enrolled at the Royal Danish Academy of Fine Arts in Copenhagen, completing his studies in 1877. He debuted the following year with the historical painting "Uden for Sigbrits Port", before travelling to Paris where he continued his education under the influential French painter Léon Bonnat. The Parisian training left a lasting imprint on his painterly discipline and compositional clarity. He also stayed in Rome for a time where he painted numerous historical and genre works. His art is distinguished by originality, narrative imagination, and a keen sense for historical character. Hansen achieved his greatest recognition as an illustrator and graphic artist. His illustrations for Gaffelen by Johan Herman Wessel...

Karl Albert Beuhr (1866-1952) Giverny Landscape Oil on relined canvas, c. 1912 Signed lower right: K A Buehr Condition: Canvas relined for support Image size: 13 1/4 x 15 3/8 inches Frame size: 19 5/8 x 21 7/8 inches Provenance: Gift of the artist to his wife, Mary Hess Beuhr The artist's niece, daughter of Will Hess Buehr David Saltzman Robert Henry Adams Thomas French Fine Art Mr. and Mrs. Thomas Horner, Canton, Ohio Exhibited: Canton Museum of Art, Impressionism: An American View, 1983, label on verso Karl Albert Buehr at Robert Henry Adams Fine Art, Chicago Exhibition dates The exhibition was held in 1994 at Robert Henry Adams Fine Art, 715 North Franklin Street, Chicago. Surviving provenance records describe it as the gallery’s first exhibition at its North Franklin Street location. Works documented as included include Woman on a Patio, Rocky Inlet (France), and apparently other paintings and studies acquired through David Saltzman from the family of Buehr’s wife, Mary Hess Buehr. The 1994 Karl Albert Buehr exhibition at Robert Henry Adams Fine Art represented an important act of historical recovery. Although Buehr enjoyed considerable recognition during his lifetime—as an exhibiting painter, prizewinner, and influential teacher at the School of the Art Institute of Chicago—his reputation had become less visible in the decades following his death. By bringing together paintings and works on paper that had descended through the artist’s family, the Adams exhibition helped restore Buehr to his proper position among the leading exponents of American Impressionism and the most important Chicago-trained painters working in France before the First World War. Giverny was crucial to Buehr’s mature development. American painters had been drawn to the Norman village since the late 1880s, attracted both by Monet’s presence and by the region’s gardens, river valleys, cultivated fields, and distinctive northern light. Buehr did not simply imitate Monet. His figure compositions remained grounded in the academic training he received in Chicago and Paris, but he enlivened that structure with broken brushwork, heightened complementary color, and an increasingly luminous palette. His characteristic compositions place elegantly dressed young women on terraces, beside windows, or within flowering gardens. These figures are neither conventional society portraits nor anonymous decorative accessories. They occupy a carefully balanced space between individual presence and pictorial harmony. Faces and gestures are often quietly observed, while dresses, parasols, flowers, foliage, and shifting sunlight become vehicles for color. Lavender shadows, rose and coral fabrics, emerald foliage, and brilliant passages of yellow or blue transform the garden into a chromatic environment surrounding the sitter. Works associated with the Adams exhibition illuminate the breadth of Buehr’s French production. The pastel Woman on a Patio, circa 1915, demonstrates his ability to translate Impressionist color into the immediacy of a dry medium. Pastel allowed him to place one hue directly beside another without losing intensity. The resulting surface possesses a soft atmospheric unity while retaining the energy of individual strokes. The work’s history—gifted by Buehr to Mary Hess Buehr and subsequently descending through her family—also gives it a particularly intimate character. Rocky Inlet (France) presents another aspect of Buehr’s practice. In place of the cultivated garden and poised female figure, the artist confronts a rugged coastal landscape. Yet his essential concern remains light acting upon color. Rock, water, and vegetation are constructed through abbreviated touches rather than continuous modeling. The small scale suggests direct observation, possibly an outdoor study made during Buehr’s travels in Normandy. Its provenance likewise begins with Mary Hess Buehr and passes through the family before reaching David Saltzman and Robert Henry Adams Fine Art. This family provenance was central to the significance of the 1994 exhibition. The works had not merely circulated anonymously through the market; many retained a direct association with the artist’s household. Such a group could include informal studies, experimental compositions, and personal gifts that Buehr elected to keep rather than send to public exhibitions. Together they offered a more private and exploratory view of his career. Karl Albert Buehr (1866–1952): France and the Giverny Years Karl Albert Buehr—whose surname is sometimes misspelled “Beuhr”—was a German-born American painter and influential teacher associated with the second generation of American Impressionists working at Giverny. Although his artistic identity was rooted in Chicago, the years he spent in France transformed his palette, subject matter, and approach to painting. Born on February 14, 1866, in Feuerbach, near Stuttgart, Buehr immigrated with his family to Chicago, probably in 1881. After working briefly for a commercial lithographer, he enrolled at the School of the Art Institute of Chicago in 1888. He studied with John H. Vanderpoel and graduated with honors in 1894, after which the school invited him to teach. He also served in the Illinois cavalry during the Spanish-American War and married Mary Guion Hess, one of his students and an accomplished artist in her own right. Early study in Europe Buehr’s European education unfolded in several stages. Around 1900 he settled in Paris and studied at the Académie Julian, principally under the French painter Raphaël Collin. Collin was known for idealized female figures placed in luminous outdoor settings, a combination of academic draftsmanship and Impressionist light that anticipated Buehr’s mature work. Buehr reportedly received a gold medal at the Académie in 1901. His early European paintings included portraits, landscapes, and scenes of rural labor. Visits to Holland exposed him to the restrained tonalism of the Hague School, while his travels in Italy—particularly Taormina, Sicily, during 1906 and 1907—encouraged a brighter response to Mediterranean sunlight. He also studied in London, where his contacts with Frank Brangwyn and the decorative currents of British painting strengthened his interest in broad design, rhythmic composition, and large arrangements of figures. A decisive factor in this extended European residence was the patronage of Chicago philanthropist Lydia Coonley Ward. From approximately 1906 until 1913, Ward provided Buehr with a monthly stipend, enabling the artist, his wife, and their children to remain abroad and pursue their work without the immediate pressures of the American market. Buehr at Giverny Buehr entered the Anglo-American artistic community at Giverny around 1909, probably through his friendship with Henry Salem Hubbell, another American figure painter supported by Lydia Coonley Ward. From approximately 1909 through 1912, Buehr generally spent winters in Paris and the warmer months at Giverny. In 1912 and the summer of 1913, the family reportedly lived at Sainte-Geneviève-lès-Gasny, close to Giverny. By this date Giverny was no longer merely the village in which Claude Monet lived. It had become an international artists’ colony, particularly attractive to American painters who admired Impressionist color but wished to retain firm drawing and carefully organized figure compositions. Buehr’s associates included Frederick Carl Frieseke, Richard Edward Miller, Guy Rose, Lawton Parker, Louis Ritman, Edmund Greacen, Karl Anderson, and Theodore Earl Butler. Buehr was especially close to the circle of Frieseke and Miller. These artists specialized in decorative paintings of fashionably dressed women reading, sewing, taking tea, or resting in sunlit gardens. Their figures were surrounded by flowers, patterned fabrics, parasols, and flickering passages of colored light. Buehr adopted this repertoire, but his paintings usually retained a stronger structural organization and a more assertive contrast between complementary colors. During his first months at Giverny, Buehr worked on a large decorative panel of dancing figures. The composition received an honorable mention at the Paris Salon of 1910, an important professional recognition. That summer, however, he increasingly turned toward intimate garden scenes and outdoor figure studies. The influence of Richard Miller can be detected in the decorative arrangement of the figures, while Frieseke’s example encouraged Buehr s use of brilliant sunlight, patterned surfaces, and saturated hues. Relationship with Claude Monet Claude Monet was Buehr’s artistic hero, but the extent of their personal relationship should not be overstated. Buehr’s children played with the children of Theodore Butler, Monet’s son-in-law, and they visited the Monet household. Buehr’s daughter Kathleen later recalled that Monet was gracious to the children. Nevertheless, the best available scholarship suggests that no close personal association between Buehr and Monet has been documented. Monet’s importance to Buehr was therefore primarily artistic. At Giverny, Buehr learned to regard colored light as a central subject rather than merely a means of describing objects. Shadows became violet, blue, or green; white dresses reflected the surrounding garden; and faces and arms were modeled through small strokes of warm and cool color. The enclosed garden also became a kind of outdoor studio in which human figures, flowers, fabrics, and sunlight could be orchestrated into a unified decorative design. The Giverny style Buehr became best known for paintings of young women seated or standing in gardens, often accompanied by colorful parasols. Works such as Springtime in Giverny, Under the Parasol, and related pictures of women reading or conversing exemplify his mature style. Although inspired by French Impressionism, these paintings are not spontaneous transcriptions of fleeting visual experience in the strict Monet tradition. They are carefully staged figure compositions. Buehr himself explained that the outdoor figure painter should concentrate upon the ensemble—grouping, arrangement, and color—rather than laboriously describing every feature. This principle helps distinguish his Giverny paintings...

'La Rivière de Morlaix' by Raoul André Ulmann. Pair of Fine French Impressionist Oils, Musée d'Orsay, Luxembourg Museum. Sold as a pair. --- Raoul André Ulmann (French, 1867-1941) ...

This charcoal drawing from 1910 is an unusually powerful example of David Cronholm’s ability to transform a forest motif into something at once precise, immersive and deeply atmosphe...

Inscribed indistinctly verso, 'Painted by H. Herneisen' (?) and dated 1916. Displayed in a period, polished walnut, swept frame. Framed dimensions: 26 H x 2 D x 39.75 W inches Paint...

Original 1917 J.C. Leyendecker "America Calls – Enlist in the Navy" WWI Recruitment Authentic vintage poster. Archival linen-backed and ready to frame. Reference: Rawls p. 74, Theofi...

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

Original oil on canvas painting of a nocturnal bonfire with several figures, a moored boat and a glowing moon. The artist signature is lower right “J. Hammerstad”. Condition is exc...

'Rivière de Mon Paix' by Raoul André Ulmann. Pair of Fine French Impressionist Oils, Musée d'Orsay, Luxembourg Museum. Sold as a pair. --- Raoul André Ulmann (French, 1867-1941) E...

'Hypnos or Sleep' Photogravure from a collection of photogravures depicting Greek and Roman marbles and bronzes in the British museum. 250mm by 180mm (platemark) 300mm by 235mm (s...

'The Boat in Martigues', oil on canvas, by Marie de Nivouliès de Pierrefort (circa 1910). Martigues is a small port town just northwest of Marseille in the South of France. Its nickname is the Provençal Venice. Further eastward down the coast is the town of Toulon where the artist was born in 1879. Nivouliès depicts a charming sailboat tied to the small pier yet with an unfurled sail. It looks to be a wondrous day along the Mediterranean, the kind we can always dream about. The painting is over one hundred years old and is in fair condition, yet recently brought back to life by an art restoration professional. Elegantly framed, it is stabilised now for decades into the future. Signed by the artist on the lower right corner. Please enjoy the many photos accompanying the listing. Upon request, a video may be provided of the artwork. About the Artist: Although she was a direct descendant of the counts of de Pierrefort, Marie de Nivouliès de Pierrefort's (1879-1968) family was very poor. In spite of the poverty, Pierrefort attended a Catholic school run by nuns, obtaining a scholarship from the School of Fine Arts of Paris. While still a student, she attended workshops of great Impressionist masters such as Pierre Auguste Renoir (1841-1919) and Pierre Bonnard (1867-1947). In 1910 she won a travel award from the school and traveled to Tunisia where she painted several Mediterranean landscapes. In 1938 the painter moved to Rio de Janeiro, Brazil, where she painted the beautiful landscapes seen from her window. In Rio, Pierrefort had two individual exhibitions, both at the National Museum of Fine Arts, in the years 1946 and 1956. Although widowed in 1944, Pierrefort decided not to return to France until 1950. She remained there until 1959 when she definitively returned to Brazil. Her atelier in the neighbourhood of Glória was frequented by many emerging artists who learned the techniques of impressionism from her. Afterwards, Pierrefort painted for almost a decade in Brazil until she passed away in 1968 in Rio. After her death, many canvases were found in her studio but had been damaged or destroyed by humidity and by the intervention of her many cats. The painter Sergio Telles...

Antique British Steamship Etching This moody etching by Joseph Kirkpatrick (British, b. 1874 d. 1936) features a steamboat in the midst of choppy w...

Fruit trees in blossom against a pale blue spring sky, two in the foreground and others receding to the right above a green hedge, with a sandy path running through the middle distan...

Johannes Boese (1856 Ostrog - 1917 Berlin), Mutterglück, um 1910. Goldbraun patinierte Bronze auf gegossener rechteckiger Plinthe, montiert auf zweifarbigem Marmorsockel (9,5 cm Höhe...

This vibrant and atmospheric Venetian scene by Luigi Lanza captures the timeless allure of Venice’s Grand Canal. Lanza, celebrated for his ability to render the play of light on wate...

Beautiful seascape by the talented William H. Partridge. 8" x 10" oil on board , signed lower right. Housed in a carved guilded 15" x 17" frame. William Henry Partridge (1858–1938...

This sumptuous Scottish oil painting is by noted artist Robert Hope. It was most recently part of the Paisley Art Institute Collection, formerly held by the Paisley Museum and Art Ga...

Antique French impressionist signed landscape oil painting. Oil on board. Signed. Framed. Image size, 15.5L x 11.5H.

Original poster of aeronautics. It is an event that took place in the United Kingdom in 1920, it is the 6th International Aeronautical Exhibition. Aviation - United Kingdom We are ...

Rudolph Ruzicka, 'Brooklyn Bridge, N. Y.', 1915, wood engraving, edition 35. Signed and annotated 'd. Sc. imp.' (designed, engraved, printed by the artist) in pencil. Numbered 14/35 ...

A lithograph from the "Vincent Van Gogh" portfolio with text by Oskar Hagen published by Marees-Gesellschaft in Munich 1919. The portfolio consisted of 15 lithographic reproductions of drawings and watercolors. The artwork is accompanied by a copy of the colophon. Year of Original: 1888, Arles, Bouches-du-Rhône, France. Printed in Munich, 1919. Artist: Vincent van Gogh (After) Title: The Rhone River...

Wassily Kandinsky Woodcut in color on Dutch laid paper Cut from the folio Klänge, conceived 1911-1912, published in 1913 Published by R. Piper, Munich Printed by F. Bruckmann A.G., ...

Very finely painted late 19th or early 20th century portrait painting. Oil on canvas. In excellent original condition. Handsomely framed in a giltwood molding. Excellent conditio...

This superb RSA exhibited Scottish Edwardian interior oil painting is by Glasgow Boy artist Alexander Ignatius Roche. It was painted circa 1914 when Roche was living at 8 Royal Terrace, on Calton Hill, a very prestigious property in Edinburgh, now the Halcyon Hotel. The painting is a view of Roche's studio, quite possibly one of the rooms at the above address. The painting was exhibited at the Royal Scottish Academy the following year, no. 333 entitled The Studio. The painting shows Roche beneath the vast window in his studio against a red wall that meets pale floorboards. Various items and furniture are scattered about. The balance of the white window and pale floorboards with the red wall intersecting is perfect. A really lovely example of this great Glasgow Boy artist's work and a very personal piece showing his inner sanctum. Signed lower right. Provenance. Exhibited at the Royal Scottish Academy 1915 no. 333, entitled The Studio. Condition. Oil on canvas, 24 inches by 20 inches and in good condition. Frame. Housed in a gilt frame, 32 inches by 28 inches and in good condition. Alexander Ignatius Roche RSA NEAC RP (1861-1921) was a Scottish artist in the late 19th century and an important figure in the “Glasgow Boys. He was born in the Gallowgate in Glasgow, the son of a milliner, Alexander Roche. He attended St Mungo’s Academy in Bridgeton, Glasgow. He originally trained as an architect, but then changed to art, studying at the Glasgow School of Art and, from 1881, at L’Ecole des Beaux Arts in Paris. Here he studied under Gustave Boulanger and Jean-Leon Gerome. In his time here he befriended William Kennedy, John Lavery, Thomas Millie Dow and William Stott. In the early 1880s he joined a colony of Scots artists in Grez-sur-Loing south of Fontainebleau. On his return to Scotland in 1885 he joined with the Glasgow Boys working on murals for the 1888 International Exhibition. In 1888 he travelled to Capri where he befriended Fabio Fabbi and Harold Speed. In following years he visited both Venice and Florence, and married an Italian girl on the latter trip. This marriage was short-lived and they separated. As both were Catholics there seems to have never been any divorce. In 1896 he moved from Glasgow to Edinburgh and began to distance himself from the Glasgow Boys. His work drifted from largely landscape to portraits. In 1906 he remarried (possibly bigamously), to Jean Alexander, daughter of Robert Alexander. During this period they enjoyed the friendship of Joseph Crawhall...

Study of Lucie (Ralph) Belin seated in an interior Graphite on paper, 1915 Signed with the estate stamp, Lugt 909b, the stamp faded from blue to brown (see photo) Provenance: Neffe-D...

Franz Iffland (1862 Tempelhof - 1935 Berlin), Javelin thrower, after 1910. Olive-black patinated bronze with cast plinth mounted on a white-veined black marble base (7 cm high). Tota...

Alfred Banner was an English landscape and figure painter. He often worked in a late Victorian style, with his compositions being young children enjoyi...

Dramatic and moody Monterey Peninsula Coast seascape by Henry "Harry" Macartney (Irish/American 1867-1957). circa 1905, captures the rugged beauty of California’s central coast in this seascape, depicting turbulent Pacific swells surging against the weathered rock formations of the Monterey Peninsula. Deep olive-green waters break into luminous white foam, creating a striking contrast with the dark, imposing cliffs rising along the shoreline. A muted palette of earthy browns, slate greens, and atmospheric golds conveys the shifting coastal light beneath an overcast sky, while seabirds gliding above the rocks lend a sense of scale and movement. The painting reflects Macartney’s sensitivity to the tonal harmonies and dramatic natural forms of the California coast, presenting the landscape as both elemental and contemplative. Medium: Oil on stretched linen Signed lower left corner "H. Macartney" Date: Circa 1905 Condition: Good Presented in vintage gold-toned wood frame Canvas size: 20"H x 30"W Framed size: 26.25"H x 36.25"W Born in Armagh, Ireland on September 15, 1867, "Harry" Macartney immigrated to northern California about 1890 and studied at the School of Design. While a resident of San Francisco, he made painting forays into Marin County, Monterey, and the northern coast. His paintings reflect the tonal qualities of those by his contemporaries Gottardo Piazzoni and Xavier Martinez...

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