1910s Art

Signed lower right 'Jais' for Jais Nielsen (Danish, 1885-1961) and dated 1913. An early twentieth-century, oil still-life of pink dog-roses shown loosely arranged in a cobalt blue glass vase, set beside two Breton tin-glazed earthenware plates, resting on an azure-turquoise tablecloth and contrasted against a coral-ochre background. An elegant, early work by this foundational Danish Modernist. Born in Denmark, Jais Nielsen initially studied at Kunstnernes Frie Studieskoler under Kristian Zahrtmann and exhibited for the first time at the 1907 Autumn Salon at the Charlottenborg Palace. Nielsen participated in the early and groundbreaking, “Group of Thirteen" Modernist show, where his focus on dynamic figural painting and his bold use of color set him dramatically apart from his contemporaries. From 1907-11, Nielsen's use of 'primitive' Fauve colors would continue to reinforce his break with traditional Danish painting. During this period, he made study excursions to important art centres, including, in 1909, to Berlin. In 1911, he moved to Paris where he settled in the Latin Quarter near the Musée Cluny. His first formal Paris exhibition was at the Salon d’Automne of 1912. During this first Paris period, Nielsen attended meetings of the Section d’Or at the studio of Jacques Villon and, as a result, began to incorporate subtle, yet distinct, Cubist elements into his work.   With the outbreak of World War One, Nielsen returned to Copenhagen, taking with him both his increasing compositional sophistication and a thorough understanding of the principles of Modernism. During this period, ports, dance and circus life became subjects of interest and he painted many canvases in the style of Analytic Cubism, of which he became the earliest and, arguably, the finest Danish exponent. From 1915 onwards, Nielsen also created Cubist sculptures and, from 1922-28, was employed as a sculptor by the Royal Copenhagen porcelain factory. Here, he produced a series of ceramic sculptures on Biblical themes which included the Good Samaritan and several versions of Jacob Wrestling with the Angel...

Drawn in 1914 by Picasso, this fine piece of work is a recognizable mark of his unique style. "VISAGE D'HOMME VERS LA GAUCHE", 1914 is pencil on paper, created in Avignon. Claude Pic...

Very finely painted in muted pastel colors is an original oil on canvas board painting by the American artist, Norwood Hodge MacGilvery. Signed lower right. Titled verso along with ...

Medium: Oil on Canvas Signature: Signed Lower Right "A Successful Man," by Ella Wheeler Wilcox, from book Poems of Optimism (1919).

War Bulletin is an vintage photolithograph on cardboard realized by Anonymous Artist of the 20th Century as War Bulletin of the 1st World War. The state of preservation of the art...

Mele is a rare colored lithograph, printed by G. Ricordi and C. Milano, Milan, between 1895 and 1914. An advertising poster of the famous Napolitan tailoring society "Mele", in very...

This is an original certificate of honorable discharge from the Saratoga New York Fire Department. It is signed by the Village President and dated 1911...

Jim’s of Lambertville is proud to offer this artwork. Signed and dated lower right. Complemented by a hand carved and gilt frame. Illustrated in "New Hope for American Art" by Jam...

"Military" 1917s is a beautiful print in etching technique, realized by Anselmo Bucci (1887-1955). Hand signed. Numbered 61/100 of prints on the lower left. On the lower left corner...

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...

Signature: Signed Lower Right: F X Leyendecker Medium: Oil on Board Sight Size 18.75" x 24.75;" Framed 33.75" x 39.75" RELATED LITERATURE: B. King, "T...

Chestnut Seller is an original modern artwork realized in the second half of the 19th Century by the French artist Henri de Rachy. Original Etching and Drypoint on paper. Hand-sig...

Lyonel Feininger, “Kreuzende Segelschiffe 2 (Cruising Sailing Ships 2)” 1919, Woodcut. Prasse W175. Edition 275 unsigned for portfolio Die tunlte Jahresgabe des Kreises graphischer ...

Signed Lower Right otes: F. R. Gruger was one of the most admired artists of the Golden Age of American Illustration. His pictures appeared in almost every major national magazine, but he is best remembered for his long association with The Saturday Evening Post. He was the original illustrator of the serializations of Harry Leon Wilson's Ruggles of Red Gap (1915), Booth Tarkington's Seventeen (1916) and Edna Ferber's Show Boat (1926). Other writers whose work he illustrated during his long career include Bret Harte, Owen Wister, Walter D. Edmunds, P. G. Wodehouse, W. Somerset Maugham, Aldous Huxley, John Galsworthy, Agatha Christie, Ring Lardner, Theodore Dreiser...

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 masterful draftsmanship and precocious insight into the human condition. Part of the first wave of Austrian Modernism, he was swept away by the Viennese fascination with the tension between Life and Death (known in the works of Freud and his later interpreters as Eros and Thanatos). Life, identified with attraction, love, sexuality, and reproduction, and Death, represented by distortion, disease, repulsion, and hysteria, often appeared in the same composition, thereby suggesting the frightening life cycle of the human mind and body. Young throughout his career, Schiele universalized his childhood traumas, thriving libido, insecurities, fears, and longings. His contorted line, jarring contrasts, and flat areas of color, demonstrate an early alliance with Expressionist philosophy and artists who were relentlessly frustrated by conventionality in all its forms. Schiele’s work embodied man’s disorientation and confusion in a seemingly absurd world, a world plagued by disease and war. It continues to be astonishingly relevant today, not just because it helped define Modernism but also because it revealed the dark and immutable aspects of the human condition. Zeichnungen is a fine art print portfolio published by Verlag der Buchhandlung Richard Lanyi, Vienna, 1917, printed by Max Jaffe...

Original antique advertising poster for Le Coup De La Semelle Michelin / The Power of the Michelin Sole featuring a great illustration by the French cartoonist Marius Rossillon...

Kriegsnotspende für Leipzig is an amazing black and white etching on paper, realized in 1909 by the German painter, Bruno Héroux (Leipzig, 1868-1944). Sig...

Signature: Signed and Dated Lower Left: W.E. Hill 12

Jim’s of Lambertville is proud to offer this artwork by: Robert Spencer (1879 - 1931) One of the rarest and most important artists among the New Hope School, Robert Spencer was bor...

The Castle Berg (1910-13) (photo by Herbert Ponting) Scott’s Last Expedition, the ‘Terra Nova’ at the Icefoot Ross Island British Antarctic Expedition So...

Beautiful turn-of-the-century landscape of a path along a river bend by Alice L. Meussdorffer, a pupil of William Keith, (American, 1871-1949). Presented in a wooden frame. Signed "Alice Meussdorffer" and dated "1900" lower right. Image size, 17"H x 20.75"W. Wood frame; 19"H x 23"L x 1.5"D. Born in San Francisco, CA on Sept. 5, 1871. Alice was the daughter of John C. Meussdorffer who made the finest hats on the West Coast during the 19th century. A pupil of William Keith, she was most active as a painter at the turn of the century. During the latter part of her life she gained fame as a florist. Her prize-winning dahlia bulbs were shipped all over the world. She was also an ardent hiker and member of the Sierra Club. One of her dahlias was named "Kaweah" after the river in the Kings Canyon...

The Terra Nova In McMurdo Sound (1910-13) (photo by Herbert Ponting) Scott’s Last Expedition, the ‘Terra Nova’ at the Icefoot Ross Island British Antarctic Expedition South Pole ...

The British Antarctic Expedition (1910-13) (photo by Herbert Ponting) Scott’s Last Expedition, the ‘Terra Nova’ at the Icefoot Ross Island British Antarctic Expedition South Pole ...

Original antique advertising poster for The Golden Book of Sports / Das Goldene Buch Des Sports by the notable German graphic artist Ludwig Hohlwein (1874-...

Dog Team Resting (1910-13) (photo by Herbert Ponting) Scott’s Last Expedition, the ‘Terra Nova’ at the Icefoot Ross Island British Antarctic Expedition South Pole Herbert George Ponting (1870-1935), 1910-13 Victoria and Albert Museum, London Additional information : Paper Size 30×40" Archival Pigment Print Printed later NOTE OTHER SIZES OF THIS IMAGE AVAILABLE 10 x 12" inches 12 x 16" 20 x 16" 20 x 24" FRAMING AVAILABLE ON REQUEST Ice Boat...

A Hole in the Water is an original drawing in pen on cardboard realized in 1910 ca. by Gabriele Galantara (1865-1937). In good conditions. The original drawing represents the satir...

Hauling Up The Fish Trap (1910-13) (photo by Herbert Ponting) Scott’s Last Expedition, the ‘Terra Nova’ at the Icefoot Ross Island British Antarctic Exped...

Captain Oates (1910-13) (photo by Herbert Ponting) Scott’s Last Expedition, the ‘Terra Nova’ at the Icefoot Ross Island British Antarctic Expedition South Pole Herbert George Ponting (1870-1935), 1910-13 Victoria and Albert Museum, London Additional information : Paper Size 30×40" Archival Pigment Print Printed later NOTE OTHER SIZES OF THIS IMAGE AVAILABLE 10 x 12" inches 12 x 16" 20 x 16" 20 x 24" FRAMING AVAILABLE ON REQUEST Ice Boat...

Initialed lower left, 'H.S.' for Henrik Schouboe (Danish, 1876-1949) and painted circa 1915. Henrik Schouboe first studied at the Copenhagen's Royal Academy of Fine Arts from 1894-1901 and, from 1903-1910, in Italy and Paris. He was awarded numerous stipends and scholarships including the Larssen (1902-3) and the Akademie Scholarship in 1908. In 1906, he had exhibited for the first time at the Charlottenborg where his submitted entry was purchased by the leading Danish painter of the time, Kristian Zahrtmann, for his personal collection. Schouboe continued to exhibit both domestically and internationally for over thirty years and was the recipient of a variety of prizes, medals and juried awards including the purchase of his 1908 Charlottenborg entry, 'Young Couple in a Landscape', by the State Museum of Art for inclusion in the Danish national collection. Schouboe's work is held in the permanent collections of numerous museums including Copenhagen, Aabenraa, Maribo and the Aalborg Art Museums. We are pleased to offer a delicate and psychologically penetrating portrait of this beautiful and determined girl on the cusp of womanhood. Reference: Thieme-Becker Allgemeines Lexikon der Bildenden Künstler von der Antike bis zu Gengenwart, Ulrich Thieme and Felix Becker, Deutscher Taschenbuch Verlag 1992, Vol. 30, p. 269; E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Jacques Busse, 1999 Nouvelle Édition, Gründ 1911, Vol. 12, p. 520; Weilbach, Dansk Kunstnerleksikon, the Castle and Cultural Agency, Copenhagen; Dansk Kunst (Charlottenborg), 1927: Taf. 27, 1928: Taf. 38, 1929: Taf. 46; S. Michaëlis i: Art VII, 1905-06; Vilh. Wanscher i: Kunstbl. 1909-10, 71f; Harald Giersing...

Oil on panel by Henri Duhem depicting a setting sun reflecting in a pond in a landscape. Signed lower right and dated 1912 verso. This painting is not currently framed but a suitable...

Dr. Edward Adrian Wilson (1910-13) (photo by Herbert Ponting) Scott’s Last Expedition, the ‘Terra Nova’ at the Icefoot Ross Island British Anta...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East...

Warm and pleasing watercolor portrait painting of a charming young lady with a small crown on leaves accenting her hair, 1912. Signed Laure and dated lower right. Original one-of-a-...

Emil Orlik (1870-1932), Am Gänsehäufel in Wien, 1911, soft-ground etching, signed and dated in pencil lower right. In very good condition, on firm laid paper with margins, 5 1/2 x 8...

The Castle Berg (1910-13) (photo by Herbert Ponting) Scott’s Last Expedition, the ‘Terra Nova’ at the Icefoot Ross Island British Antarctic Expedition South Pole Herbert George P...

Medium: Pastel on Paper Signature: Signed and Dated Lower Left

Medium: Hand Painted Fine Print Signature: Signed Lower Left

Dr. Edward Adrian Wilson (1910-13) (photo by Herbert Ponting) Scott’s Last Expedition, the ‘Terra Nova’ at the Icefoot Ross Island British Anta...

Medium: Oil on Board Signature: Each Upper Panel, Signed 'Maxfield Parrish/Windsor./Vermont.' (On the Reverse); Each Lower Panel, Signed 'Maxfield Parrish' (Lower Right) Each 1 of a...

Captain Oates (1910-13) (photo by Herbert Ponting) Scott’s Last Expedition, the ‘Terra Nova’ at the Icefoot Ross Island British Antarctic Expedition South Pole Herbert George Ponting (1870-1935), 1910-13 Victoria and Albert Museum, London Additional information : Paper Size 30×40" Archival Pigment Print Printed later Singed in Plate NOTE OTHER SIZES OF THIS IMAGE AVAILABLE 10 x 12" inches 12 x 16" 20 x 16" 20 x 24" FRAMING AVAILABLE ON REQUEST Ice Boat...

The Terra Nova In McMurdo Sound (1910-13) (photo by Herbert Ponting) Scott’s Last Expedition, the ‘Terra Nova’ at the Icefoot Ross Island British Antarct...

The Terra Nova (1910-13) (photo by Herbert Ponting) Scott’s Last Expedition, the ‘Terra Nova’ at the Icefoot Ross Island British Antarctic Expedition South Pole Herbert George Po...

The Terra Nova (1910-13) (photo by Herbert Ponting) Scott’s Last Expedition, the ‘Terra Nova’ at the Icefoot Ross Island British Antarctic Expedition Sou...

Entering The Ice Pack (1910-13) (photo by Herbert Ponting) Scott’s Last Expedition, the ‘Terra Nova’ at the Icefoot Ross Island British Antarctic Expedition South Pole Herbert Ge...

Signed and dated in pencil verso Titled "Joseph Pennell" recto Annotated verso: Adolph a Dehn Oct. 5 1915 Tonight I saw a duplicate of Whistler -- "Joseph Pennell." Bu...

Ice Cavern (1910-13) (photo by Herbert Ponting) Scott’s Last Expedition, the ‘Terra Nova’ at the Icefoot Ross Island British Antarctic Expedition South Pole Herbert George Pontin...

Medium: Oil on Canvas Signature: Unsigned This is a study for the very large Howard Pyle mural now in the historic County Courthouse in Hudson County, New Jersey. It was commissione...

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...

Lieutenant Henry Robertson Bowers (1910-13) (photo by Herbert Ponting) Scott’s Last Expedition, the ‘Terra Nova’ at the Icefoot Ross Island British Antarctic Expedition South Pole...

Captain Scott Writing (1910-13) (photo by Herbert Ponting) Scott’s Last Expedition, the ‘Terra Nova’ at the Icefoot Ross Island British Antarctic Expe...

Signed with the artist's initials E.S.G.E. (lower right) Exhibited: Philadelphia, Pennsylvania, Pennsylvania Academy of the Fine Arts, Thirteenth Annual Philadelphia Water Color Ex...

Woman on a Patio Pastel on paper, c. 1915 Unsigned Provenance: Gift of the artist to his wife, Mary Hess Buehr By decent to the artist's niece, daughter of Will Hess David Saltzman Robert Henry Adams Fine Art Thomas French Fine Art Ronald C. Sloter, Columbus, Ohio Columbus College of Art and Design (de-accessed) Exhibited at Robert Henry Adams Fine Art, 1994, the first exhibition at the North Franklin Street Gallery. One of the early Chicago artists to adopt Impressionism, Karl Buehr became a figure and landscape painter. As a figure painter, his specialty became "gorgeously colored images of young women on porches overlooking brilliant summertime gardens." (Kennedy 98) His later work often showed a female figure with serious expression engaging the viewer with a direct stare. In his landscapes, he was noted for his strong coloration. In a December 1896 student exhibition at the Art Institute, a reviewer for the "Chicago Times Herald" described Buehr's landscapes as "blithe and joyous" with "country roads brilliant in sunlight . . . fields rich in summer verdure, under soft skies painted in a high, musical key." (Gerdts 68) Buehr was born as one of seven sons to a prosperous German family who immigrated to America and settled in Chicago in 1869. He was first exposed to his signature style of Impressionism in 1888 when he enrolled in night classes at the Art Institute while working in the shipping department of a lithographic firm near the Institute. He remained a student there until 1897 and was recognized in a "Chicago Times Herald" editorial of June 13, 1897 as one of the Institute's most outstanding pupils. The next year, his art career was temporarily put on hold when he briefly enlisted with the U.S. Army in the Spanish American War. In 1899, he resumed his art studies, this time with Frank Duveneck. He exhibited a painting at the Paris Salon of 1900. In 1905, thanks to a wealthy Chicago patron, Buehr and his family moved to France. They spent the following year in Taormina, Sicily, and spent time in Venice as well. In Paris, Buehr studied at the Academy Julian with Raphael Collin for two years. Then he went to England, enrolling in the London Art School but had returned to Paris by 1908. During this time, he began painting at Giverny, the home of Impressionist leader Claude Monet (1840-1926, and by 1912, Buehr was listing that village as his home address. One of his good friends and associates at Giverny was Frederick Frieseke. One of Buehr's paintings from that time, "News from Home", was exhibited in 1913 at the French Salon in Paris and at the annual exhibit of the Chicago Art Institute. It shows a woman in floral dress sitting on a porch with a background with potted flowers and lush greenery background. Of his painting done at Giverny, Buehr wrote in 1912 to William Macbeth of Macbeth Galleries in New York: "My figures painted in and around Giverny are costumed and in appropriate out door settings." (Gerdts 68) In 1914, he returned to the United States and took a teaching position in Chicago at the Art Institute, which he held for the remainder of his life. He was married to Mary Hess, a painter of miniatures and decorative works. In 1928-29, he was a guest artist at Stanford University. Courtesy, AskArt “Karl Albert Buehr (1866–1952) was a painter born in Germany. Buehr was born in Feuerbach - near Stuttgart. He was the son of Frederick Buehr and Henrietta Doh (Dohna?). He moved to Chicago with his parents and siblings in the 1880s. In Chicago, young Karl worked at various jobs until he was employed by a lithograph company near the Art Institute of Chicago. Introduced to art at work, Karl paid regular visits to the Art Institute, where he found part-time employment, enabling him to enroll in night classes. Later, working at the Institute as a night watchman, he had a unique opportunity to study the masters and actually posted sketchings that blended in favorably with student's work. Having studied under John H. Vanderpoel, Buehr graduated with honors, while his work aroused such admiration that he was offered a teaching post there, which he maintained for many years thereafter. He graduated from the Art Inst. of Chicago and served in the IL Cav in the Spanish–American War. Mary Hess became Karl's wife—she was a student of his and an accomplished artist in her own right. In 1922, he was elected into the National Academy of Design as an Associate member. Art Studies in Europe In 1904, Buehr received a bronze medal at the St. Louis Universal Exposition, then, in 1905, Buehr and his family moved to France, thanks to a wealthy Chicago patron, and they spent the following year in Taormina, Sicily, where the artist painted local subjects, executing both genre subjects and landscapes as well as time in Venice. Buehr spent at least some time in Paris, where he worked with Raphaël Collin at the Académie Julian. Giverny and American Impressionism Prior to this time, Buehr had developed a quasi-impressionistic style, but after 1909, when he began spending summers near Monet in Giverny, his work became decidedly characteristic of that plein-air style but he began focusing on female subjects posed out-of-doors. He remained for some time in Giverny, and here he became well-acquainted with other well known expatriate America impressionists such as Richard Miller, Theodore Earl Butler, Frederick Frieseke, and Lawton Parker. It seems likely that Buehr met Monet, since his own daughter Kathleen and Monet’s granddaughter, Lili Butler, were playmates, according to George Buehr, the painter’s son. His other daughter Lydia died before adulthood due to diabetes. He returned to Chicago at the onset of World War I and taught at The Art Inst for many years. One of his noted pupils at the Art Institute was Archibald Motley...

Drypoint and aquatint (brown ink) on cream paper. Signed "Rehn" in pencil on the lower right margin. Titled and numbered in pencil on the lower left margin. Edition of 25 prints. Fr...

Ausgedient (“Obsolete”) is an original artwork realized by Ferdinand Andri in 1917. Lithograph in black over yellow plate on paper. Published in 1917 as part of a Jahresmappe (Annual...

Medium: Pastel, Gouache, and Black Crayon on Paperboard Sight Size 22.88" x 17.50", Framed 31.75" x 26.50" Signature: Signed EVERETT SHINN and Dated Vanity Fair Cover...

Captain Robert Falcon Scott (1910-13) (photo by Herbert Ponting) Scott’s Last Expedition, the ‘Terra Nova’ at the Icefoot Ross Island British Antarctic Expedition South Pole Herb...

Drypoint and aquatint (brown ink) on cream paper. Signed "Rehn" in pencil on the lower right margin. Titled and numbered in pencil on the lower left margin. Edition of 25 prints. Fr...