1910s Art

"St. Nicolas du Chardonnet" Etching in Ink on Paper Delicate and detailed etching by Katherine Kimball (American, 1866-1949). The Catholic church of St. Nicolas du Chardonnet is shown nestled in the streets of Paris. With clever use of line weight and clarity, the building is highlighted and cleanly stands out against the background and surroundings. Stamp with coat of arms on verso. Artist's info written on verso. Presented in a new black mat with foamcore backing. Mat size: 16"H x 12"W Paper size: 10.75"H x 6.75"W Katherine Kimball (American, 1866-1949) was born in Fitzwilliam, New Hampshire. She studied at the National Academy of Design in New York and exhibited in the San Francisco Panama-Pacific Exhibition of 1915. Listed in “Who Was Who in American Art, 1564-1975”; “North American Women Artists...

-In light of new tariffs, we’ve applied a 20% discount off the market price of this piece to support our collectors in facing potential added costs. At the gallery, we work closely with our artists to take this positive and proactive step, helping collectors across the pond continue building their collections with confidence. This antique Japanese Tobacco Box...

Figures is a drawing in pencil and pastel on paper realized by Anonymous Artist of the 20th Century. In good condition, except for small folding. The artwork represents three figur...

Banquet of love is a modern artwork realized by Alberto Martini in 1917. Etching and drypoint. Second state of three.  Signed on plate Printed in 1945 in 25 specimen. Alberto Mar...

Fabulous gouache on paper for the Comedie de Française. This painting depicts Pierrot, the servant, and Columbine, who was the love interest of Harlequin. It is signed G. Barbier a...

Georges Antoine Rochegrosse (1859-1938) A zither player carbon pencil on thin paper 8.5 x 3.3 cm In good condition Framed : 35 x 24 cm Provenance: Estate of the artist and by Inher...

Sunbathing Etching and color aquatint on watermarked Umbria Italy paper, c. 1915 Signed by the artist in pencil lower right (see photo) Annotated: "No. 6" in pencil lower left (see photo) An early color print by the artist Condition: Excellent Plate size: 11-3/4 x 15-7-8" (30 x 40.3 cm.) Frame size: 21 x 26 1/8 x 1 inches Provenance: Estate of the artist By decent Louis Oscar Griffith (1875-1956) Born in Greencastle, Indiana, Griffith grew up in Dallas, Texas where Texas artist and teacher Charles Franklin Reaugh recognized young “Griff’s” artistic talent. At age 18, Griffith moved to St. Louis where he attended the St. Louis School of Fine Arts. In 1895, he moved to Chicago where he worked making color prints for the firm Barnes and Crosby. He attended the Art Institute of Chicago and during a brief stay in New York, the National Academy of Design. A successful commercial artist with a studio in the Chicago Loop...

"Houseboats in Moon Light", a rare early 20th century tonalist nocturnal harbor landscape scene at Greenbrae Boardwalk, San Rafael, California by Charles Rollo Peters (American, 1862-1928), 1912. Inscribed "Charles Rollo Peters Greenbrae, 1912" in the lower left corner. Presented in an antique giltwood frame. Image size: 19.5"H x 25.25"W Auction record high for this noted Nocturnal and Tonalist artist is $58,000. Rare works like this one range $30,000-$35,000. (Note: the photos showing the inscribed signature have been adjusted to show contrast and the artists inscribed signature in other photos enhanced by acrylic over inscription in the oil paint for visibility). Although not noted on verso, the title is taken from two others done the same year at Greenbrae Boardwalk near San Rafael, California. Charles Rollo Peters (American, 1862-1928), called "The Poet of Night", is best known for his Tonalist landscapes, especially nocturnes, with much of his subject matter being scenes around his home in Monterey, California. James McNeill Whistler, who promoted the Tonalist aesthetic in Europe, was a major influence on his painting, and "is reported to have said that Peters was the only artist other than himself who could paint nocturnes." (Gerdts) As Peters matured, his life became increasingly tumultuous, but the one stable part of his existence was his painting. He continued to pour his emotions into his work, creating lonely, mysterious nocturnes with a palette of deep blues and blacks. The scenes were invariably dotted with a speck of light emanating from the moon or a lighted window. His landscapes usually displayed a more prominent sky view and often included a winding path or road trailing off in the distance. Peters was born in San Francisco in 1862 to a wealthy family, and in San Francisco attended Bates Private School for Boys and the City College, where his talent for sketching and painting became obvious and was encouraged. After graduation from the College, he spent time as a commercial artist, but this pursuit did not hold his interest. In the mid 1880s, he began to study privately with Jules Tavernier and also attended classes with Virgil Williams and Christian Jorgensen at the California School of Design. During this period, he painted Bay-Area scenery. In 1886, he began a four-year period of study and travel in Europe, enrolling in Paris at the Ecole des Beaux-Arts and the Academie Julian. His teachers were Jean-Leon Gerome and Fernand Cormon. In San Francisco, where he returned in 1890, he met and married Kathleen Mary Murphy, and the couple immediately departed for an extended trip to England and France. Peters painted the countryside and produced numerous landscape paintings, especially moonlit views of Brittany and Paris---his first nocturnes, encouraged by the aesthetic of Whistler, whose influence was pervasive in England and France. Upon his return to California about 1895, Peters held a large show in San Francisco and was able to sell many of his works. Soon after, he and his family relocated to Monterey, California where Peters became interested in California adobe ruins and missions as subjects for his paintings. Night paintings with rich blues highlighted by moon light became his signature work. Like most Tonalists, he painted in his studio. It was written of him that Monterey residents often saw him "wandering about in the semi-darkness, taking down notes here and there, studying the different phases of light, and creating a vivid mental picture of the scene he wished to paint." (Lowrey 158) In 1899, he made a tour with his collection of paintings through Chicago, Maine, Long Island, and New York City where he held a solo exhibition at the Union Club and received very favorable publicity. One reviewer of the Union Club work wrote: "The artist has studied the atmospheric effect of the night to good purpose, and in the representation of the silvery gray of moonlight he has arrived at singular proficiency." Peters returned to Monterey in 1900, and purchased thirty acres of land where he built an estate. He exhibited in the annual exhibitions of the San Francisco Art Association and the Bohemian Club. Along with William Keith, Xavier...

William Anderson Coffin (1855 - 1925) Springtime Landscape, circa 1910 Oil on canvas 30 x 24 inches Signed lower right Landscape and figure painter William Anderson Coffin was born...

'Improvisation 7' second ed. woodcut from 'Klänge' is a woodcut print created by Wassily Kandinsky. The present woodcut print comes from the second edition of 'Klänge (Sounds),' a book of original graphics and poetry by Wassily Kandinsky. The title of the album and of this print, 'Improvisation,' demonstrated Kandinsky's interest in music and how abstract musical forms could be translated into images on a two-dimensional surface. This particular composition is difficult to read, but through the abstraction, one can make out various figures and a landscape beyond. Originally carved and printed in 1911, this second edition print was done ca. 1938. It is a woodcut in black ink on woven paper. Signed with encircled 'K' in the block, lower right (from the book, signed in ink, ed. 117/300) Image Size: 7 1/2" x 5 inches Frame Size: 22 1/4" x 18 3/4" Ref. Roethel 124 Artist Bio: The Museum of Modern Art described 'Klänge (Sounds)' as follows: Vasily Kandinsky's self-described "musical album," Klänge (Sounds), consists of thirty-eight prose-poems he wrote between 1909 and 1911 and fifty-six woodcuts he began in 1907. In the woodcuts Kandinsky veiled his subject matter, creating increasingly indecipherable images (though the horse and rider, his symbol for overcoming objective representation, runs through as a leitmotif). This process proved crucial for the development of abstraction in his art. Kandinsky said his choice of media sprang from an "inner necessity" for expression: the woodcuts were not merely illustrative, nor were the poems purely verbal descriptions. Kandinsky sought a synthesis of the arts, in which meaning was created through the interaction of, and space between, text and image, sound and meaning, mark and blank space. The experimental typography shows his interest in the physical aspects of the book. Klänge is one of three major publications by Kandinsky that appeared shortly before World War I, alongside Über die Geistige in der Kunst (Concerning the Spiritual in Art) and the Blaue Reiter almanac...

Antoine Calbet presents his works, mainly portraits and genre scenes, at the Salons of the Société des artistes français from 1881 until 1940, as well as at the international exhibit...

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...

Original WW1 poster: "Your Country Needs You! Join the Navy Now!" Original poster printed by the U.S. Food Administration during World War One. Archi...

Frank Nelson Wilcox (American, 1887-1964) Frosty Dawn, Upstate New York, c. 1916 Watercolor and gouache on board Signed lower right 21 x 30 inches Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters". In 1906 Wilcox enrolled from the Cleveland School of Art...

Georges CONRAD (1874-1936) Study of woman in bathing suit Original India ink and color pencil drawing Signed with the stamp of atelier On paper 26.5 x 20 cm (c. 10.4 x 7.8 in) Ver...

This early 20th-century oil painting by Dutch artist Jelle Troelstra (1891-1979) depicts a seated woman wearing a floral top and dark grey dress. With eyes closed and hands held upo...

The erotic scene is an original Héliogravure artwork on ivory-colored paper, realized by Micheal Von Zichy in 1911. Printed in only 300 copies, Leipzig; Privatdruck, from the Catalo...

The first fairy tale is a lovely and colored china ink drawing watercolored signed Cheval and dated 1911. Good conditions, on a brown paper. Hand-signed by the artist on the lower ...

Maps is a work realized by Kate Kollwitz, 1910 ca. Portfolio, two-page cover sheet with text and 13 insert sheets with mounted heliogravures based on drawings by Käthe Kollwitz, ed...

Raoul Dufy, French (1877 - 1953) - The Serpent, Year: c. 1911, Medium: Woodcut on laid paper, Image Size: 8 x 7.5 inches, Size: 11.25 x 8.75 in. (28.58 x 22.23 cm), Description: Fr...

"Jokwe Maternity, Angola" is a wood sculpture from Africa created circa 1910. The figure kneels on the ground holding a baby in her arms. Her eyes are closed and she is wearing a com...

Work on cardboard Beige wooden frame 48 x 40.5 x 3.8 cm

"Female Nude in a Studio" circa 1910. 19 X 13 1/2 inches, oil on wood panel. Etched signature lower right. Well listed Hungarian artist. Spent his student years under the guidance o...

Signed lower right, 'A. W. Kerr' for Alexander Kerr (Australian, 1875-1950) and painted circa 1920. Inscribed on original frame, 'Menam River, Bangkok, ...

Title page numbered: 263/450

The European Macabre Dance n.25 is a hand-colored lithograph, from the Series "La Danza Macabra Europea" illustrated by Alberto Martini (Oderzo, 1876 – Milan, 1954) in 1915. Origina...

Le vieux pont, Brantôme, Dordogne by Paulémile Pissarro (1884-1972) Oil on canvas 54 x 65 cm (21 ¹/₄ x 25 ⁵/₈ inches) Signed and titled lower left, Paulémile- Pissarro. 1918. An ext...

After Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his mas...

Illustrated: "Walt Kuhn, Painter, His Life and Work, by Phillip Rhys Adams, page 67, plate 27, Courtesy of Kennedy Galleries-Kuhn Estate (see photo) Kuhn’s sculptures were collected...

Piccola pittura a olio ,luminoso paesaggio della Bretagna francese, molto luminoso,splendida cornice

Doesn't this scene just make you want to be there, in this cottage in the country? I liked this painting enough that I actually put some money into it with a restorer to get it into ...

Signed oil on canvas landscape circa 1910 by French post impressionist painter Raymond Thibesart. The piece depicts a view of a small rural village deep in winter. The roof tops and ...

Waves 1913 Inscribed in ink and pencil, recto; Extensive notes in pencil, verso Watercolor and graphite on cream wove paper 3.5 x 5.5 inches This work is offered by ClampArt in N...

Der Todseher is an original modern rare book written by Ernst Adolf Willkomm (Herwigsdorf, 1810 - Zittau, 1886) and illustrated by Alfred Leopold Isidor Kubin (Leitmeritz, 1877 – Zwickledt, 1959) in 1910. Original Edition. Published by Barsdorf, Berlin. 30 numbered copies of deluxe issue. Format: in 8°. The book includes 284 pages with six full page drawings. Mint conditions. Alfred Leopold Isidor Kubin (Leitmeritz, 1877 – Zwickledt, 1959) in 1910. He was an Austrian printmaker, illustrator, and occasional writer. Kubin is considered an important representative of Symbolism and Expressionism. Kubin is considered an important representative of Symbolism and Expressionism and is noted for dark, spectral, symbolic fantasies, often assembled into thematic series of drawings. Like Oskar Kokoschka and Albert Paris Gütersloh, Kubin had both artistic and literary talent. He illustrated the works of Edgar Allan Poe, E. T. A. Hoffmann, and Fyodor Dostoevsky, among others. Kubin also illustrated the German fantasy magazine Der Orchideengarten. Ernst Adolf Willkomm (Herwigsdorf, 1810 - Zittau, 1886). Willkomm was a German writer. Willkomm has published time-critical novels, travel sketches and short stories. With the title of his novel Die Europamüden in 1838 he took up a key word that had been coined by Heine in 1828 and with which an important aspect of thinking in the Vormärz was recorded. In the years 1845/46 Willkomm undertook a trip to Italy, whose experiences he processed in 1847 in the travel sketches Italian...

Das Grosse Tier II is an original etching and drypoint, realized by Richard Müller in 1919, signed on the plate, numbered 60/74 and signed in pencil l...

Title page numbered: 263/450

Sketches for female nudes is an original artwork realized by Jean Dreyfus-Stern in 1916. Pencil of paper. Hand-signed in pencil by the artist on the lower margin. Dated in pencil...

Study of an old woman - Plate 25 is the last collotype from “ Gustav Klimt : Fünfundzwanzig Handzeichnungen” , a limited-edition collection of 25 monochrome and two-color collotype...

Manierre Dawson Upper Street, 1912 Oil on board 10 x 15 inches Provenance: The artist Estate of the artist Private Collection (gift of Lillian Dawson, widow of the artist) Hollis Ta...

In this poster, we see an orange peel transform into a beautiful woman who offers the viewer a taste of Amer Picon. It is interesting to note that the image...

'The Sacramento River, Rio Vista', California, Bohemian Club, White House, SFSD Signed lower left, 'J. E. Stuart' for James Everett Stuart (American, 1852-1941) ), dated 'Jan. 31, 19...

Karl Feiertag (c.1874-1944) was an Austrian painter. He studied painting at the Academy of Fine Arts Vienna with Franz Rumpler, Kasimir Pochwalski, and J...

A beautiful oil on original canvas circa 1910 by French post impressionist painter Georges D'Espagnat. The work depicats a nude woman in a yellow shawl standing by a blue vase filled with pink, red and white flowers. Signature: Signed lower right Dimensions: Framed: 28"x20" Unframed: 21"x13" Provenance: Doyle New York - May 2003 From the beginning of his career, it was a constant concern of Georges d'Espagnet to assert his originality. His studies at the École des Arts Décoratifs, Paris, did not last very long, for he wanted immediate independence and decided to follow courses in the private academies of Montparnasse. In about 1900, he became acquainted with Maurice Denis, Bonnard and Vuillard, and his collaboration with Denis led to a renewal of religious art in France. In 1903, d'Espagnet was one of the founders of the Salon d'Automne, and was appointed professor in charge of studios at the École des Beaux-Arts, Paris, in 1934. He illustrated a number of books: Rémy de Gourmont's Evil Prayers ( Oraisons mauvaises) (1896), The Saints of Paradise ( Les Saintes du paradis) (1898), Simone (1907), Sistine ( Sixtine) (1922); Alphonse Daudet's The Immortal ( L'Immortel) (1930); André Gide's The Pastoral Symphony ( La Symphonie pastorale); Francis Jammes' Clearings in the Sky ( Chairières dans le ciel) (1948). D'Espagnet belongs to the group of artists who made the Courrier Français so successful. The drawings of his which are published in it are strongly expressive and some bear comparison with the designs of the great Renaissance masters. He also contributed to L'Image. He often placed cheerful nudes in a landscape, reminding us that, though he moved away from the Fauves, he retained their freedom of colour and arabesque. He painted many portraits, including those of Albert André, André Barbier, Victor Boucher, Déodat de Séverac, Albert Marque...

Paul-Adrien BOUROUX London Tower Bridge Viewed from the Thames Original etching with aquatint Printed signature in the plate On Japan paper 28 x 19 cm (c. 11 x 8 inch) Excellent co...

This superb exhibited Scottish interior oil painting with excellent provenance is by noted artist Patrick William Adam. Painted in 1915 it was exhibited that year at the Royal Scottish Academy and entitled the Drawing Room, 27 Drumsheugh Gardens which is in the Haymarket area of Edinburgh. It was lent for exhibition by its owner, J R Findlay who was Sir John Richie Findlay (1866-1930) 1st Baronet and Chairman of the National Galleries of Scotland and for a long time Chairman of the Edinburgh College of Art. He was also an original member of the Royal Fine Art Commission for Scotland. The painting is of a magnificent drawing room with a table with white flowers, possibly narcissi on in the middle. To the left is a glass cabinet with ornaments and to the right are several paintings on the wall in beautiful gilt frames, caught in the light. although the walls are quite dark, the section of wall below the dado rail is light yellow as are the coving and ceiling, really lightening the painting. There are numerous other ornaments and vases in the room and we can just see the edge of a much larger painting to the left. The detail and brushwork are superb as is the depiction of glancing. This is an excellent example of Adam's work with very good exhibition and ownership provenance and a really beautiful Scottish interior oil painting. Signed lower right and dated 1915. Provenance. Exhibited at the Royal Scottish Academy in 1915 no. 281 entitled The Drawing Room, 27 Drumsheugh Gardens (Haymarket Edinburgh) Lent by J R Findlay esq. P Findlay written on strecher verso. Written on stretcher verso that the painting was hung in the drawing room, right of fire. Doig, Wilson and Wheatley Edinburgh framers label verso. Remnants of another label verso. 1353 inscribed in chalk on stretcher verso. Condition. Oil on canvas, 35 inches by 25 inches and in good condition. Frame. Housed in the original ornate gilt frame, 43 inches by 33 inches, in good condition. Patrick William Adam RSA (1852-1929) - born in Edinburgh 12 October 1852 to Patrick Adam, a writer, and Louisa Roberts, Patrick William Adam exhibited an early talent for art. He began classes at the RSA in 1874 and studied under William McTaggart and GP Chalmers. Some of his work of that period is in the East Lothian collection: the then curriculum involved intensive study of ‘Old Masters’ – and the production of copies in the Masters’ styles. Adam won the Stuart prize for Life Drawing in 1877, by which time he had already been exhibiting at the RSA for several years He travelled to Rome, Venice and Russia and produced work in several media – watercolour, pastel and (principally) oil; subjects varied from landscapes through portraits to still life but his genre paintings and interiors were reckoned his best work. Much of this was (recognisably) produced from his studio at Ardilea, North Berwick, where he settled in 1908. In 1912 he became a founder member of the Society of Eight, a group of friends who exhibited for many years at the New Gallery in Shandwick Place, Edinburgh. Others in the original group were David Alison, FCB Cadell...

Doesn't this scene just make you want to be there, in this cottage in the country? I liked this painting enough that I actually put some money into it with a restorer to get it into ...

Medium: original etching. Printed in 1919 and published in Berlin by Paul Cassirer. Image size: 5 1/2 x 7 3/8 inches (138 x 186 mm). Not signed.

Attributed to Hortense Mattice Gordon (Canadian, 1886-1961) and painted circa 1925. Attribution based on similar style, composition and subject matter of McGill University's 'Old Country Store, Ontario' (1925) by the artist (see last image). An exceptionally fine, early twentieth-century, Post-Impressionist oil showing a view of a rustic village with cottages dramatically dappled by the shade of large trees. Hamilton artist Hortense Crompton Mattice Gordon was one of Canada’s earliest non-representational painters, embracing abstraction in the 1930s. She was also an active member of Canada's first English-speaking abstract group, Painters Eleven. A scholarship recipient, Hortense Mattice first attended the Hamilton Art School and, subsequently, moved to Chatham, Ontario. Initially focusing on porcelain painting, Mattice quickly began building a portfolio of oils and, from 1908, was exhibiting both her porcelain and landscapes at what is now the Chatham Cultural Centre (1908) and the Art Gallery of Ontario (1909). During this time, Mattice frequently traveled to the United States and, in 1915, visited the National Gallery of Art in Washington, DC, where she would have seen early works by important modernists including Picasso and Matisse. She started her teaching career in Chatham but, having received a job offer from the artist John Sloan Gordon, returned to Hamilton to teach at the Hamilton Art School in 1918. The two artists married in 1920. In 1922, Gordon and her husband took a study trip to France and, inspired by the fervent of Modernist ideas in Paris, expanded her own approaches to art, developing an increasingly soft, loose paint handling style. It was not until the 1930’s, after a few more trips to France and her discovery of Piet Mondrian’s work, that elements of abstraction began to appear in Gordon’s work. After the death of her husband in 1940, Gordon attended the Cranbrook Academy of Art and studied with Hans Hoffmann (1941-1945) whose influence and friendship pushed her to explore non-objective painting. After her training with Hofmann and in Cranbrook, Gordon began to exhibit regularly and with success in both Canada and the United States including at the Riverside Museum (New York, 1947), Creative Gallery (New York, 1952), in Ann Arbor (Michigan, 1952), Phillips Gallery (Detroit, 1952), the Flint Institute of Arts (Michigan, 1952), Mount Allison University (New Brunswick, 1952), the Galerie Agnes Lefort in Montréal and Art Gallery of Hamilton (retrospective, 1960). She was a member of the Contemporary Artists of Hamilton (honorary president in 1948), the Ontario Society of Artists, the Hamilton Women...

Galizischer Bletter is a fine black and white etching on cream-colored paper, realized by Erich Wolfsfeld ( Krojanke, 1884 - London, 1956). From the portfolio Freunde Graphischer Kunst, Leipzig, 1915. In excellent condition, with the original cream-colored cardboard passepartout included with the drystamp of the publishing house logo "III. s" at the center on lower margin. A little rip on the lower right corner of the passepartout. This modern original print representing a street homeless begging demonstrates a great human and pictorial sensibility and surely is an artwork conceived in his Roman period when this kind of subjects was frequent. Erich Wolfsfeld (Krojanke, 1884 - London, 1956). Erich Wolfsfeld learned to etch in the studio of Hans Meyer, From 1907 worked in Rome, where he met Otto Greiner...

Nu au canapé bleu y Ludovic-Rodo Pissarro (1878-1952) Oil on canvas 46 x 38 cm (18 ¹/₈ x 15 inches) Signed lower left, Ludovic Rodo Executed circa 1910 This work is accompanied by a certificate of authenticity from Lélia Pissarro. Provenance: Private collection, France Artist biography: Ludovic-Rodolphe Pissarro, born in Paris in 1878, was Camille Pissarro’s fourth son. Encouraged by his father...

Signed oil on panel circa 1910 by sought after French post impressionist painter Pierre Eugène Montezin. The piece depicts a view of Rue des Hussiers in Neuilly sur Seine, France. Bl...

Ruth Anderson Municipal Building, Manhattan, circa 1918 Oil on canvas 25 x 19 inches Ruth A. Anderson was born in Carlisle, Pennsylvania in 1891 and die...

This beautiful early 20th-century fan design by American-English artist Cyrus Cuneo ROI (1879-1916) depicts a couple with cherubs in an ornamental garden. Cuneo was an accomplished p...

Fight Between Two Boys, Saturday Evening Post cover study, 1911

Signed lower right: 'V. Qvistorff' for Victor Qvistorff (Danish, 1883-1953) and painted circa 1915. Born in Bredegaarde, Denmark, Victor Qvistorff first studied with Hans Andersen Brendekilde. Qvistorff then became a successful business-man and painted only part-time until 1931 when he dedicated himself full-time to his art. Although the author of a notable series of nude studies of his long-time model, Sally Philipsen, Qvistorff is known primarily for his marine scenes- particularly the jewel-like views of Copenhagen harbor...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 6.46 x 11.73 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the fo...

JOSÉ MONGRELL Spanish, 1870 - 1937 VALENCIAN FLOWER PICKERS signed “J. Mongrell” lower left oil on canvas 29-1/4 x 45 inches (74 x 114 cm.) framed: 42-3/...

Figurative landscape of Wood Fairies kissing in a forest by Carl F. Ruhnau (German, c.1876-1940). Signed “C. Ruhnau” in the bottom right corner. Signed and ...

'Arcadia,' a very large Neoclassical Arts & Crafts painting by Thomas Eyre Macklin and William Irving British, 1911, Oil-on-canvas Frame: height 185cm, width 366cm, depth 3cm Canvas: height 182cm, width 364cm Depicting an idyllic scene of a band of women dancing, singing and playing musical instruments, this wonderful and exceptionally large Neoclassical painting...

John White Alexander Tired, circa 1910 Inscribed on the reverse: Mrs Lee Bauer, _____, Inscribed on the reverse: "Tired" Watercolor on paper 16 1/2 x 13 inches John White Alexander...

Art Sz: 15 1/8"H x 10 1/4"W Frame Sz: 16"H x 11"W Godfrey Herbert Brennan (1875-1948) was a British artist w/ Arthur Ackermann & Son Gallery label affixed to verso *craquelure co...

The European Macabre Dance n.25 is a hand-colored lithograph, from the Series "La Danza Macabra Europea" illustrated by Alberto Martini (Oderzo, 1876 – Milan, 1954) in 1915. Origina...

Signed and dated post impressionist figurative oil on canvas by French painter Ferdinand du Puigaudeau. This beautiful and large work depicts dozens of churchgoers in traditional Bre...

Medium: mezzotint. Catalogue reference: Hardie 95. Executed in 1913 by Sir Frank Short after J. M. W. Turner and signed in pencil by Sir Frank Short. Printed on chine-collé paper in ...

Erotic scene is an original Héliogravure artwork on ivory-colored paper, realized by Micheal Von Zichy in 1911. Printed in only 300 copies, Leipzig; Privatdruck, from the Catalogue ...

Jim’s of Lambertville Fine Art Gallery is proud to present this piece by Martha Walter (1875 - 1976). Born in Philadelphia in 1875, Martha Walter attended Girls’ High School followe...

"Backyards" Early 20th Century Watercolor Fauvism Social Realism American Scene Note: We have three similar in style works from 1911 available now on 1stDibs. All are framed identic...

Sonia Delaunay (1885-1979) limited edition Etching and Aquatint on Arches laid paper (with watermark). Signed in pencil by artist in lower right corner and numbered as 116/125 lower ...

Gorgeous early 20th Century American Impressionist landscape of Connecticut red house by George M. Bruestle (American, 1871 - 1939), November 1914. Signed lower left and on verso. Dated on verso. Presented in gilt-toned wood frame. Image size: 8"H x 10"W. George Matthew Bruestle is an American Realist/Impressionist painter known for his intimate landscapes. Born and raised in New York City, Bruestle studied at the Art Students' League of New York in 1886 at the young age of fifteen and later in Paris. That same year, Bruestle visited Essex, CT and eventually purchased a second home in Hadlyme, Old Lyme as the Art Colony formed. Bruestle's main studio was in New York City. Inspired by Jean-Baptiste-Camille Corot [1796-1875] and other French landscape painters, Bruestle's style was a mix of Early Realism and Early Impressionist techniques. He was an adept draftsman and his paintings favored earlier European examples but, later took on a brighter Impressionist palette and brushy quality of the Old Lyme Art...

Erotic scene is an original Héliogravure artwork on ivory-colored paper, realized by Micheal Von Zichy in 1911. Printed in only 300 copies, Leipzig; Privatdruck, from the Catalogue ...

Rittersporn und Fingerhut (Larkspur and Foxglove) Color woodcut, printed on wove paper with mica flecks, 1916 Signed lower right (see photo) Inscribed lower left (see photo) Reference: Merx 276 Condition: good-very good One spot of staining on the far left edge of the composition (see photo) Color very fresh and vibrant Full sheet as issued Image size: 19 x 13 3/8 inches Carl Thiemann...

Ivan Summers: 1889-1964. Well listed and important American impressionist. He has had auction results as high as $6,670. He studied at the St. Louis Scho...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 14.69 x 12.8 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the fo...