1910s Art

Oil painting on canvas, framed in a rich gilt frame decorated with acanthus leaf motifs. The work depicts an elegantly dressed female figure, portrayed in profile in a lush formal ga...

A signed and dated oil on canvas by British artist Robert Watson (1865–1916), depicting a shepherd tending his flock along a mountain path in the Scottish Highlands. The composition ...

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...

Oil Painting Pair by Robert Watson "Highland cattle and Sheep in the Glen" A Cheshire painter of Highland cattle and sheep represented in the Harris museum Preston. Both oil on canv...

Antique impressionist landscape oil painting. Oil on canvas. Framed. Signed. In excellent original condition. Handsomely framed in a giltwood molding. Excellent condition, ready...

Signed lower left, 'L. Simon' for Lucien Simon (French, 1861-1945) and painted circa 1919. Partially titled, verso, on old label. Provenance: Austin Hills estate, San Francisco. Pre...

Irving Ramsey Wiles (1861-1948) Still Life with Flowers, c. 1915 Oil on canvas 14 x 12 inches (35.6 x 30.5 cm) Signed upper right: Irving R. Wiles Provenance Thomas Colville Fine Ar...

Title page numbered: 263/450. Includes handmade, gold-leaf frame.

Sorting the Catch John C Gray (Scottish, 1880-1951) oil on canvas, framed signed and dated 1914 framed: 18 x 22 inches canvas: 13 x 16 inches provenance: private collection, Scotland...

This superb Portrait oil painting is by noted Italian born artist Pilade Bertieri. Painted circa 1910, Bertieri had a London address in 1908 and exhibited five pictures at the Royal ...

'Choiseul-Gouffier Apollo' Photogravure from a collection of photogravures depicting Greek and Roman marbles and bronzes in the British museum. Plate number above top right corner o...

Lilian Westcott Hale Portrait of a Lady (Study for Harriet Blake), circa 1910 Oil on canvas 40 1/4 x 30 1/4 inches Provenance Mystic Fine Arts, July 2, 1998, Lot 69 Private Collecti...

Spectacular example of Warren Sheppard's work, from what most consider his best period. Sunset (possibly, sunrise) executed with strong orange/red palette, and rock formations, maki...

Tiffany Studios "Vine Border" Desk Lamp, circa 1905 with a "Chinese" base, leaded glass, patinated bronze shade impressed "Tiffany Studios, New York, 1420" base impressed "Tiffany St...

Stunning plein air California landscape of Natividad (part of unincorporated Monterey Country) in late afternoon by James Everett Stuart (American, 1852-1941), 1917. Signed, dated an...

Signed fauvist oil on canvas still life by French post impressionist painter Louis Valtat. The work depicts a green vase filled with roses in different shades of pink set against a y...

Signed lower right 'Jais' for Jais Nielsen (Danish, 1885-1961), dated 1911 and titled 'Bretagne' (Brittany). Additionally titled on partial exhibition label verso, 'Piga fra Bretagne...

Venetian Canal, c. 1910-11 Tempera on board Signed lower right 24 x 30 inches 30 x 36 inches, framed Frank Nelson Wilcox (October 3, 1887 – April 17, ...

The European Macabre Dance N.5 is a hand-colored lithograph, from the Series "La Danza Macabra Europea" illustrated by Alberto Martini (Oderzo, 1876 – Milan, 1954) in 1915. Signed ...

Antique art deco silver tea service by Laurits Berth(1857-1917). Consists of: teapot (h.19cmxl.27cmxw.14cm;volume 1.5 l), milk jug(h.10cmxl.15cmxw.9cm), sugar bowl(h.14cmxl.18cmxw.12...

Oscar Bluemner SoHo Canal, From Hill, January 30, 1919, 1919 Signed, Titled, Dated, and Monogrammed lower left Graphite on Paper 4 1/4 x 6 inches Provenance The artist Estate of the...

The White Cloud, Salem, A Classic Watercolor from his Magic Year, 1917 Modern Charles Burchfield (1893-1967) The White Cloud, Salem, 1917 21 1/2 x 17 12 inches Watercolor on paper S...

Tiffany Studios "Vine Border" Table Lamp, circa 1910 leaded glass, patinated bronze, shade impressed "Tiffany Studios, New York, 1488" base impressed "Tiffany Studios, New York, 533"...

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 ...

Early Tonalist Landscape -- California Coastal Live Oaks William Schneider 1915 Beautiful early 20th Century tonalist landscape of California by New York artist William G. Schneider...

Erik Tryggelin (1878–1962) Sweden Cloud Study, Egypt, 1914 signed and dated lower left Erik Tryggelin, Den 5 maj 1914 watercolour on paper unframed 15.5 × 24 cm (6.1 × 9.4 in) fram...

1910 Master Wood Engraving after Rembrandt with Cap, Signed Beautifully rendered print after Rembrandt by master engraver Timothy Cole (British/American b. 1852 d. 1931.) Rembrandt ...

This luminous oil painting by William Gislander captures a tranquil evening scene in the coastal wetlands of Falsterbo, southern Sweden. A group of geese gathers at the edge of a mea...

A beautiful Boston School painting, Twilight Meadow by Nathaniel Leander Berry. Oil on artist board, signed lower right. 8" x 10" sight, 12" x 14" framed. Nathaniel Leander Berry (...

Dancer Tying Her Shoes, executed around 1916, stands as one of the most important works within Dick Beer’s oeuvre. Created during a pivotal moment in his life, shortly after the trau...

Ceasare Ricciardi 1920’s Oil on Board 12x16 inches umframed 14x18 inches with frame signed lower right good condition The painting for sale is probably one of the most beautifully ...

A Post-Impressionist oil of a wooden wharf with a large sailing boat moored and dockhands working with a view beyond towards a coastal town with wooden-frame houses, possibly Oakland...

Work on cardboard

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 ...

Working Horses is an original oil painting on canvas realized by Alessandro Lupo in 1913. Hand signed and dated lower right. Good conditions, slightly stretched canvas, slight mark...

Franz Xaver Hoch 1869 Freiburg im Breisgau – 1916 Chatas Lichtes Hoch, 1910 Oil on canvas Signed and dated lower right Dimensions: 70 x 85 cm Frame: 84.5 x 99.5 cm Several exhibit...

Signed pointillist landscape oil on panel by French neo-impressionist painter Achille Lauge. The work depicts a view of the Saint-Michel bridge which crosses the River Garonne in Tou...

Stunning signed and dated impressionist oil on canvas figure in interior by Belgian painter Leon De Smet. The work depicts a woman in an incredibly ornate room with her back to the a...

This superb British portrait oil painting is by noted artist Alfred Kinglsey Lawrence. Painted in 1919 it is a seated portrait of a young woman with a lush burgundy velvet curtain be...

Signed "Klimt". Framed dimensions 20.5h x 27.75w x 1.75d inches Note: Due to the size, weight, and/or value of this piece, we require shipping through 1stDibs, for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel services are an option, the default quote does not include packing and insurance and we do not ship uninsured. 1stDibs shipping provides a level of value, protection, and care that aligns with our commitment to safeguarding historic artworks and providing excellent client service. Thank you in advance for your cooperation. Both intensely dynamic and deeply introspective, Klimt’s works devoted to the “act of love” rank among his most intoxicating and sought-after creations. Inspired by Japanese erotic woodblock...

Louise Lenka German, Early 20th Century Sparrows Eating Cherries in a Landscape Circa 1910 Oil on wooden panel Signed on the reverse and lower left Presented in a gilt period frame ...

Exquisite engraving of the original work of the famous British painter Sir Alfred James Munnings, one of the greatest exponents of equestrian art of the twentieth century and a key f...

Jane Peterson Stone Wharf, Brittany, circa 1910 Signed lower right Oil on canvas 18 x 24 inches Provenance Private Collection, New York Born Jennie Christine in Elgin, Illinois, s...

Authentic Vintage World War I Recruitment Poster - A Rare Piece of Historical Memorabilia. Archival linen backed and ready to frame. ...

Rare Original 1912 Théâtre National de L'Opéra Paris Poster - ROMA Opera - Rochegrosse Art - Jules Massenet - Classical Theater Collectible. This poster is archival, linen-backed, ...

Signed fauvist oil on canvas landscape by French painter Louis Valtat. The work depicts a field of poppies. Signature: Signed lower right Dimensions: Framed: 22"x26" Unframed: 14"x...

A powerful and emotionally charged work by renowned American illustrator and painter Frank Schoonover, *The Flood* (1914) captures the drama, humanity, and masterful storytelling tha...

Frank Waller (American, 1842-1923) Farmstead, Long Island Oil on canvas, 13 x 21 inches FRAMED: 18 x 26 inches (approx.) Note: while this work is unsigned, it relates to a number o...

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 "Liebe" (Dear), Text in German on the plate, The drawing created unusually bold erotic subjects through deft strokes. Good conditions. Mihály Zichy...

Medium: original lithograph. Printed in 1919 for Das Kestnerbuch (a portfolio of original prints published during the height of the German Expressionist movement). Image size: 7 x 5 ...

Provenance: Collection of Solomon Shuster, Leningrad Alexandra Alexandrovna Exter Colour Dynamic, 1918 Russian avant-garde watercolor and gouache on paper Signed on the front Collect...

This lovely British Edwardian portrait oil painting is attributed to female artist Ursula Wood. Painted circa 1910 is is a half length portrait of a beautiful woman in an orange shaw...

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...

Leonetto Cappiello's original "Je ne fume que le Nil" poster, created in 1916 and printed by Vercasson in Paris, for Papier à Cigarettes Joseph Bar...

Colin Scott Provincetown Harbor Signed lower right Oil on board 15 x 20 inches

John Maclauchlan Milne (1886-1957), became a post impressionist artist in the Scottish Colourist tradition. His work has been exhibited in the Royal Scottish Academy. and in New Yor...

Medium: original soft ground etching. This is a lifetime impression printed in 1914 on laid paper and published in Berlin by Bruno Cassirer for Theodore Duret's "Die Impressionisten"...

6012 River Crossing Equestrian painting, a 1910"s black and white oil on canvas , signed lower right by Clarence Rowe 1910. Age wear Unframed

Théo van Rysselberghe (Belgian, 1862–1926), Roses on a Fence, oil on canvas, monogrammed lower right with the artist's device — a garden study by a founder of Les XX and the leading ...

Artist: Ben Benn, Russian/American (1884 - 1983) Title: People in the Woods Year: 1917 Medium: Oil on Canvas, signed l.r. Size: 31 x 22 in. (78.74 x 55.88 cm) Frame Size: 39 x 30 i...