1910s Art

York Road by Ludovic-Rodo Pissarro (1878-1952) Wood engraving 13.2 x 9 cm (5 ¹/₄ x 3 ¹/₂ inches) Initialed and titled in the plate, signed lower right, Ludovic Rodo and numbered lowe...

Landscape with Gate by Orovida Pissarro (1893-1968) Pencil on paper 25.7 x 20.4 cm (10 ¹/₈ x 8 inches) Executed circa 1917 Artist biography: Orovida Camille Pissarro, Lucien and Esther Pissarro’s only child, was the first woman in the Pissarro family as well as the first of her generation to become an artist. Born in Epping, England in 1893, she lived and worked predominantly in London where she became a prominent member of several British arts clubs and societies. She first learned to paint in the Impressionist style of her father, but after a brief period of formal study with Walter Sickert in 1913 she renounced formal art schooling. Throughout her career, Orovida always remained outside of any mainstream British art movements. Much to Lucien's disappointment she soon turned away from naturalistic painting and developed her own unusual style combining elements of Japanese, Chinese, Persian and Indian art. Her rejection of Impressionism, which for the Pissarro family had become a way of life, together with the simultaneous decision to drop her famous last name and simply use Orovida as a ‘nom de peintre’, reflected a deep desire for independence and distance from the weight of the family legacy. Orovida's most distinctive and notable works were produced from the period of 1919 to 1939 using her own homemade egg tempera applied in thin, delicate washes to silk, linen or paper and sometimes embellished with brocade borders. These elegant and richly decorative works generally depict Eastern, Asian and African subjects, such as Mongolian horse...

Art Sz: 8 1/2"H x 12"W c1917 Hy (Henry) Fournier was a French artist and illustrator known for his works spanning the 19th and 20th centuries, with much of his active period occurr...

SOLD UNFRAMED Rotten Row (Hyde Park) by Ludovic-Rodo Pissarro (1878-1952) Wood engraving 13.5 x 12.5 cm (5 ¼ x 4 ⅞ inches) Initialed and titled in the plate Executed circa 1917 Artist biography Ludovic-Rodolphe Pissarro, born in Paris in 1878, was Camille Pissarro’s fourth son. Encouraged by his father...

SOLD UNFRAMED Holiday by Ludovic-Rodo Pissarro (1878-1952) Wood engraving 15.2 x 11.5 cm (6 x 4 ½ inches) Initialed and titled in the plate Signed lower right, Ludovic Rodo and nu...

Fleet Street by Ludovic-Rodo Pissarro (1878-1952) Wood engraving 11.2 x 11.2 cm (4 ³/₈ x 4 ³/₈ inches) Initialled, titled and dated on the plate Signed lo...

Reception by Ludovic-Rodo Pissarro (1878-1952) Wood engraving 14 x 11.5 cm (5 ¹/₂ x 4 ¹/₂ inches) Initialed and titled in the plate Signed lower right, L...

Classic hand-drawn c1910s framed postcards in pen & ink by R Weniger from England addressed to (the philanthropist) Seymour H Knox of Buffalo, NY Image Sz: 14 1/2"H x 11 3/4"W Fram...

Framed set of 6 pen & ink hand-drawn by R. Weniger postcards from England/ France & Italy addressed to the philanthropist Seymour H. Knox of Buffalo, NY Art: 12"H x 11 1/2"W Frame:...

Set of 4 hand-drawn by R. Weniger pen & ink c1910s postcards from Paris addressed to the philanthropist Seymour H. Knox of Buffalo, NY. Art Sz: 11 3/4"H x 7 3/4"W Frame Sz: 16 1...

Classic c1910s watercolour depicting a dapper huntsman on horseback surveying the landscape Art Sz: 13 1/2"H x 9 1/2"W Frame Sz: 19 1/4"H x 15 1/4"W

Polo Player Charging Art Sz:11"H x 8"W Frame Sz: 14 3/4"H x 11 3/4"W

Rare color framed photo c1914 depicting a polo match in Lakewood, NJ Photo Sz: 3"H x 5"W Frame Sz: 8 1/4"H x 9 1/2"W

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...

Original pen & ink c1920s sketch of a classic gentlemen's private club interior scene, perhaps the Players Club to which this artist himself was a member,...

Signed Lower Left by Artist “‘Georgy Porgy’ said he, ‘You can just bet your small life, I will — And there’s my hand on it, old chap’” Magazine cover: : “The Money Moon”, author: Je...

Signed "A. B. Frost" Lower Right by Artist "Jes tak' yo coat off, end dem collars end cuffs, end go out in de yard end cut de grass." Illustration for "As Long as You's Single Dere'...

Signed Lower Left by Artist

Medium: Charcoal on Board Signature: Signed Lower Right

Medium: Pastel on Board Signature: Signed Lower Right Sunday Magazine The Sun Cover, October 4, 1914.

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

Signature: Initialed Lower Right Originally published in Saturday Evening Post December 20th, 1919 issue. Repeated in April 17th, 1920 issue of Saturday Evening Post as an insert de...

Signature: Initialed Lower Center "How Shall Europe Be Set On Her Feet," by Frederick S. Bigelow and illustrated by Guernsey Moore for the Saturday Evening Post, August 9th, 1919.

Signature: Initialed Center "Birth and Death of Industry," by Albert W. Atwood and illustrated by Guernsey Moore for the Saturday Evening Post, September 15, 1919.

Signature: Signed Lower Right Illustration, 1917

Signed Lower Left Illustration for part eleven of "The Flying Fish" by Arthur Somers Roche, Collier's, August 19, 1918.

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...

Medium: Charcoal on Board Signature: Signed Upper Left by the Artist Contact for exact dimensions. Published for the serialized Penrod and Sam stories in Cosmopolitan Magazine betw...

Published for the serialized Penrod and Sam stories in Cosmopolitan Magazine between 1910 and 1918 Signed Upper Left by the Artist

Signed and Dated Upper Right An Open Doorway With the American Y.M.C.A". Inscribed upper right "A mon ami Hall Aout 1918 JF Bouchor". Titled verso.

Date: 1914 Medium: Watercolor and Ink on Paper Dimensions: 23.50" x 17.50" Signature: Signed and Dated Lower Right “She trades for a sling shot and uses it...

Date: 1914 Medium: Oil on Canvas Dimensions: 27.00" x 18.00" Signature: Signed Lower Left lllustration depicting a church scene. Signed lower left. Illustrative notes on back. Canva...

Date: 1915 Medium: Oil on Canvas Dimensions: 40.00" x 28.00" Cream of Wheat ad

Date: 1910 Medium: Charcoal on Board Dimensions: 25.00" x 35.50" Signature: Signed Lower Right John Newton Howitt (1885-1958), a graduate of ...

Kellogs advertisement with ad sheet included. Advertisement of a little girl with a bowl of Kellogg's Toasted Corn Flakes cereal. Benjamin Sayre Cory Kilv...

Medium: Watercolor, Gouache and Ink on Paper Signature: Signed Lower Right Magazine Advertisement Young woman in blue and black lace dress holding and looking at flowers.

Medium: Gouache on Paper Signature: Unsigned Dimensions: Diameter is 12.50" Illustration, image of red-haired woman in black dress holding a violet feather.

CONRAD FELIXMÜLLER 1897 - 1977 Dresden 1897 - 1977 Berlin (German) Title: Two Men Zwei Männer, 1919 Technique: Monogrammed India Ink Drawing on thin JW Zanders Laid Paper Paper ...

ARTUR MARKOWICZ 1872-1934 Podgórze (Poland) 1872-1934 Cracow (Polish) Title: Sketchbook II, 1915 Technique: A Sketchbook with 149 Pencil and Colour Pencil Drawings on Paper with Stamp Size: 16.5 x 20.5 cm. / 6.5 x 8.1 in. Additional Information: This is an original sketchbook...

LASZLO BARO MEDNYANSZKY 1852-1919 Beckó, Slovakia 1852-1919 Vienna (Hungarian) Title: Rooftops, circa 1912 Technique: Original Hand Signed Pencil Drawing on Paper size: 2...

Signed and titled oil on panel figures in landscape by American painter Anne Estelle Rice. This beautiful and colourful piece depicts groups of elegantly dressed people enjoying tea ...

Bílé rytmy na černém II Frantisek Kupka, Czech (1871–1957) Date: 1912 Woodcut on handmade rice paper, signed in the plate and stamp signed Image Size: 10 x 16 inches Size: 15 x 22.75...

"The Girl - A Study for the Slav Epic" is an authentic original work by the celebrated Art Nouveau icon, Alphonse Mucha. Dating back to 1911, this oil on linen is a profound piece of...

Mobilized in 1914, like many of his Cubist friends, Albert Gleizes was sent to a barracks in Toul, Lorraine, near the front line. Supported by a military doctor, Major Lambert, of wh...

A rare and captivating masterpiece by legendary American illustrator and painter N. C. Wyeth, *The Opium Smoker* embodies the dramatic storytelling, emoti...

Roger de la Fresnaye (1885-1925) Nature morte à l’oeuf 1910 oil on board mounted on panel 66.2 x 50.9 cm signed and dated ‘R de la Fresnaye.10’ (upper right) Price: $157,500 USD (in...

Medium: Mixed Media on Paperboard Signature: Signed Lower Right This mixed media art by Jesssie Willcox Smith, entitled “Pease-Porridge Hot, Pease-Porridge Cold,” was executed in 19...

EDVARD MUNCH (1863 – 1944) GARDEN IN SNOW, II 1913 (WO 467: Sch. 418) Woodcut, 13 ½” x 16 7/8” signed in pencil. Generally very good condition. Irregular sheet of simili-japan ...

Drawn in 1912 by Picasso, this fine piece of work is a recognizable mark of his unique style. "Homme dans un interiéur jouant de la guitare", 1912 is on cream laid paper, with abstra...

The Terra Nova Held Up in the Pack, 13 December 1910 (I) Stamped with Scott Polar Research Institute blind stamp and numbered on reverse Platinum Print Available in two sizes: 14 ...

Beautiful Broken Ice, Reflections and the Terra Nova, 7 January 1911 Stamped with Scott Polar Research Institute blind stamp and numbered on reverse Platinum print Available in two...

Familie Eichelhardt - August Sander (Black and White Photography) Photographer's label affixed to mount Silver gelatin print, printed c. 1913 11 x 8 1/2 ...

Gelatin silver print (Edition of 12) Signed by the photographer's grandson, Gerd Sander, with print date and edition number in ink, verso August sander archive stamp in ink, verso K...

Gisella Loeffler "The Necklace and the Pot" c. 1919 Gouache on Paper Initialed Lower Left Framed Size: approx 15 x 15 inches In a village filled with colorful characters, few Taos artists were as colorful as Gisella Loeffler [1900-1977]. From her handmade Austrian clothing and hand-painted furniture to whimsical paintings and letters written in multicolored crayon, joyful color defined the artist, who early on chose to use simply Gisella as her professional name and was known as such to everyone in Taos. 

In spite of her fame there—the Taos News once labeled her a Taos legend—Gisella is rarely included in scholarly discussions of the Taos Art Colony. This oversight is likely due to the naive quality of her work, in which children or childlike adults inhabit a simple, brightly colored world filled with happiness. The macabre, the sad, the tortured, the offensive—all have no place in Gisella’s paintings. Her naive style of work looks very different from that of the better-known early Taos artists. Yet both Gisella’s artwork and her interesting life command attention. Born in Austria, Gisella came to the United States with her family in 1908, settling in St. Louis, MO. After studying art at Washington University in St. Louis, she became a prominent member of the local art community, joining the St. Louis Art Guild as well as the Boston Society of Arts and Crafts. In addition to creating posters for the St. Louis Post Dispatch, Gisella won prizes from the Artists Guild of the Author’s League of America in 1919 and 1920 and from the Kansas City Art Institute in 1923. She also began working in textiles, including batik, to which she would return later in her career.  In the early 1920s Gisella married writer and music critic Edgar Lacher. A difficult character, Lacher may have chafed under Gisella’s success, for the couple divorced in the 1930s. Having seen a local exhibition of paintings by Taos artists Oscar Berninghaus (who was from St. Louis) and Ernest Blumenschein, Gisella felt drawn to Taos, which reminded her of the villages of her native Austria. In 1933 the single mother with two daughters, Undine and Aithra, moved to Taos, where she lived off and on for the rest of her life. She traveled frequently, spending extended periods in Mexico, South America, and California, but always returned to New Mexico. Gisella initially applied an Austro-Hungarian folk-art style to the Indian and Hispanic subjects that she found in New Mexico. In her early work she covered her surfaces with decorative floral and faunal motifs, and her images were flat with no attempt at rendering traditional one-point perspective. Eventually, though, Gisella developed her own style, often using children or childlike figures as subjects. Still, the influence of her native country’s folk art remained evident in her New Mexican, Mexican, and South American images. In 1938 Gisella moved briefly to Los Griegos, north of Albuquerque, to be closer to medical facilities for her eldest daughter, who was suffering from rheumatic fever. Two years later, she moved to California to participate in the war effort, painting camouflage and decals on airplanes for Lockheed. In California, Gisella broadened her range of artistic pursuits. She taught art privately, created illustrations for Scripts Magazine, and did interior design for private homes. She also designed greeting cards, a practice she continued after her return to New Mexico, where she created a series of Christmas cards.  Gisella began illustrating children’s books in 1941 when she collaborated on Franzi and Gizi with author Margery Bianco. Eventually she wrote and illustrated her own book, El Ekeko, in 1964. She also designed ceramics—her Happy Time Dinnerware, marketed by Poppy Trail...

Gisella Loeffler "Going for a Stroll" c. 1919 Gouache on Paper Initialed Framed Size: approx 17 x 13 inches In a village filled with colorful characters, few Taos artists were as colorful as Gisella Loeffler [1900-1977]. From her handmade Austrian clothing and hand-painted furniture to whimsical paintings and letters written in multicolored crayon, joyful color defined the artist, who early on chose to use simply Gisella as her professional name and was known as such to everyone in Taos. 

In spite of her fame there—the Taos News once labeled her a Taos legend—Gisella is rarely included in scholarly discussions of the Taos Art Colony. This oversight is likely due to the naive quality of her work, in which children or childlike adults inhabit a simple, brightly colored world filled with happiness. The macabre, the sad, the tortured, the offensive—all have no place in Gisella’s paintings. Her naive style of work looks very different from that of the better-known early Taos artists. Yet both Gisella’s artwork and her interesting life command attention. Born in Austria, Gisella came to the United States with her family in 1908, settling in St. Louis, MO. After studying art at Washington University in St. Louis, she became a prominent member of the local art community, joining the St. Louis Art Guild as well as the Boston Society of Arts and Crafts. In addition to creating posters for the St. Louis Post Dispatch, Gisella won prizes from the Artists Guild of the Author’s League of America in 1919 and 1920 and from the Kansas City Art Institute in 1923. She also began working in textiles, including batik, to which she would return later in her career.  In the early 1920s Gisella married writer and music critic Edgar Lacher. A difficult character, Lacher may have chafed under Gisella’s success, for the couple divorced in the 1930s. Having seen a local exhibition of paintings by Taos artists Oscar Berninghaus (who was from St. Louis) and Ernest Blumenschein, Gisella felt drawn to Taos, which reminded her of the villages of her native Austria. In 1933 the single mother with two daughters, Undine and Aithra, moved to Taos, where she lived off and on for the rest of her life. She traveled frequently, spending extended periods in Mexico, South America, and California, but always returned to New Mexico. Gisella initially applied an Austro-Hungarian folk-art style to the Indian and Hispanic subjects that she found in New Mexico. In her early work she covered her surfaces with decorative floral and faunal motifs, and her images were flat with no attempt at rendering traditional one-point perspective. Eventually, though, Gisella developed her own style, often using children or childlike figures as subjects. Still, the influence of her native country’s folk art remained evident in her New Mexican, Mexican, and South American images. In 1938 Gisella moved briefly to Los Griegos, north of Albuquerque, to be closer to medical facilities for her eldest daughter, who was suffering from rheumatic fever. Two years later, she moved to California to participate in the war effort, painting camouflage and decals on airplanes for Lockheed. In California, Gisella broadened her range of artistic pursuits. She taught art privately, created illustrations for Scripts Magazine, and did interior design for private homes. She also designed greeting cards, a practice she continued after her return to New Mexico, where she created a series of Christmas cards.  Gisella began illustrating children’s books in 1941 when she collaborated on Franzi and Gizi with author Margery Bianco. Eventually she wrote and illustrated her own book, El Ekeko, in 1964. She also designed ceramics—her Happy Time Dinnerware, marketed by Poppy Trail...

Paul Cornoyer “Central Park Autumn” c. 1910 Oil on Canvas Framed Size: approx 29 x 35 inches Canvas Size: approx 22 x 26.5 inches Provenance: The Artist to Private Collection, St. Louis thence by Descent Conservation report: Excellent condition. On original canvas, not relined. No in-painting. Paul Cornoyer was born in 1864 in St. Louis, Missouri. He studied there at the School of Fine Arts in 1881. His first works were in a Barbizon mode, and his first exhibit was in 1887. In 1889, he went to Paris for further training, studying at the Academie Julien, and returned to St. Louis in 1894. By the early 1890s, his work was more lyrical and Tonal, and he applied this style to subjects such as cityscapes and landscapes. In 1894, he painted a mural depicting the birth of St. Louis for the Planters Hotel in that city. His activities during the next six years were not particularly profitable, however, and the whereabouts of his St. Louis paintings are scarcely known. One exception is the triptych, A View of Saint Louis, with its strong urban realism. It shows the Eads Bridge...

WADSWORTH, Edward. Scene for a Fairy Tale, ca 1918. Woodcut printed in black on cream wove paper, Signed in pencil (which is rare for a Wadsworth rarely signed his woodcuts). Ref: Colnaghi 126. [Exhibited as Untitled Abstract] Edward Wadsworth was an English artist, most famous for his close association with Vorticism. He painted, often in tempera, coastal views, abstracts, portraits and still-life. He was also an engraver on wood and copper. In the First World War he was involved in transferring dazzle camouflage...

Jean-Emile Laboureur (1877-1943), La Marchande de Violettes, etching, 1914, signed in pencil lower left and numbered (33/35) lower right [also signed and dated in the plate lower rig...

Jean-Emile Laboureur (1877-1943), Le Diner a L’Auberge, 1917-1922), engraving, signed in pencil lower left and numbered (45/55) lower right. Reference: Sylvain Laboureur 173, second ...

Driving Home in the Rain. 1914. Drypoint. Appleby 35. 7 3/8 x 10 1/8 (sheet 12 x 15 3/8). Edition 40. Illustrated: Guichard, British Etchers, 1850-1940; Print Collector's Quarterly 1...