1910s Art

Photographic portrait with autograph signature and date 1912 of Wilhelm of Sweden, Prince of Sweden and Norway, and son of Gustav V. Marked by the photographer “Atelier Jaeger/Stock...

The New Year's Cake is an original modern artwork realized after Kitagawa Utamaro (1753 –1806) and printed around 1910. Original Bijinga reprint (double page book). From the famou...

Impressionist pastel on board by French painter Jean Baptiste Armand Guillaumin. The piece depicts a view of landscape with trees to th...

English early 20th century, Impressionist river landscape with fisherman. Ernest Charles Walbourn was born on 16 February 1872 at Dalston, Middlesex. The second of five children, he...

Oil on canvas laid down on fiberboard by the American artist, Albert Lorey Groll. Signed lower left and in pencil lower right. Signed verso as well. Condition is good. Circa 1910. Sa...

Signed in pencil, from the edition of 20 to 25 that accompanied Max Jacob's 'Le Phanérogame' in December 1918. With wide margins (the version issued with the...

BOMBERG, David. Russian Ballet. With 6 original color lithographs by David Bomberg. London; Hendersons. [The Bomb Shop] 1919. 8 3/8 x 10 1⁄2 Inches, 8 ...

Lesser Ury (1861-1931) Auf dem Kanal 1912 pastel on board 49.2 x 34.9 cm signed and dated 'L.Ury.1912.' (lower left) Price: $25,000 USD Provenance: Sale: Christie's London, 30 June 2000, lot 42 Collection of Simone and Jean Tiroche (acquired at the above sale) Thence by descent Sale: Christie's London, 19 June 2013, lot 199 Private collection, UK (acquired from the above sale) Notes: Dr Sibylle Gross has confirmed the authenticity of this work. Lesser Ury, a German-Jewish Impressionist...

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...

Printed, signed late 90's by George Tice.

Image dimensions: 16 x 24 cm. Hand signed. Edition of 100 prints on Hollande paper. From the collection: “Croquis du Front Italien”, published in Paris by D'Alignan editions. Anselm...

Edition of 50 Signed and dated lower right

Edition of 200 Signed, dated and numbered

Drypoint on off-white laid paper Edition of 75 Signed & dated in pencil

Signed and dated lower left Titled lower right Provenance: Gifted by the Artist to Martin Doyle Gifted to Mrs Darlington Thence by descent

Signed & dated lower right. Dedicated in pencil to 'Sir Michael Sadler' upper left. From the edition of 25

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...

Antique impressionist cherry blossom tree landscape painting. Oil on board, circa 1914. Signed lower right illegibly. Displayed in a wood frame. Image size, 18"L x 21.5"H.

Medium: Oil on Board Signature: Signed Lower Right 19.875" x 14.00" Each Panel 1 of a 4 Part Illustration used as a promotional poster Poster for The Red Cross—Watching...

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...

Boxers August Sander (1876 – 1964) 1929/1991 photograph, gelatin silver print Gelatin silver print, printed l991 Edition #2 of 12 10 1/4 x 6 5/8 Signed ...

Suzanne VALADON Grandmother and Nude Louise Original engraving (drypoint) Handsigned in pencil (and also printed signiture in the plate) On BFK Rives vellum 47 x 37 cm (c. 18.5 x 14...

Signed lower left, 'Vantore' for Erik Mogens Christian Vantore (Danish, 1895-1977) and dated 1914. A lyrical early twentieth-century, Post-Impressionist landscape showing a panorami...

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 "Mother and Child in the Gardenl" 1919 Gouache on Paper Initialed Lower Right Framed Size: approx 19 x 10 3/4 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 "Three Girlsl" c. 1919 Gouache on Paper Initialed Lower Left Framed Size: approx 19 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...

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...

Oil on canvas painting by the American artist William Reuben Clark Wood. Signed lower left and dated 1913. The painting is it’s original wood, gesso and gold leaf frame 33.5 by 39.5 inches. WILLIAM REUBEN CLARK WOOD American, 1875–1915 A noted scenic landscape painterOil pastel on paper by the American artist Leon Dolice. Signed lower right. Condition is excellent. The painting appears from my research to be the Banker’s Trust building completed in 1917 in New York City. The building still stands today with landmark status. In original Art Deco frame. Overall 18.75 by 14 inches. Condition of frame is very good to excellent. W.R.C. Wood - as he signed his name - was born in Washington, D. C. in 1875. He was a pupil of Samuel E. Whiteman (1860 - 1922), an earlier Baltimore artist...

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...

Medium: Oil on Panel Sight Size 31.00" x 21.25", Framed 36.00" x 22.00" Signature: Signed Lower Left Maxfield Parrish began his career at age 25 as an illustrator, painting magazin...

Muirhead Bone (1876-1953), Rainy Night in Rome, drypoint, 1913,signed in pencil lower right and inscribed “Trial Proof” lower left margin. Reference: Dodgson 299, first state (of 10), a total of 125 impressions were printed in all 10 states. In very good condition, with margins (deckle edges bottom and right irregularly trimmed, the slightest toning), 12 x 8 7/8 inches, the sheet 15 3/4 x 11 inches. Provenance: Kennedy Galleries, New York (with their stock number a11101). A fine rich impression, printed with a brownish/black ink, with substantial burr and carefully wiped plate tone lightening the center of the composition, printed on a cream wove paper. A trial proof aside from the 48 impressions in this state. As described by Dodgson, the ground at the bottom right is blank to a height of 10 mm in this state, but the foreground of the composition is in fact darkened with plate tone. Rainy Night in Rome is one of Bone’s great iconic images. It shows the church San Girolamo...

Medium: Oil on Canvas Dimensions: 28.00" x 21.00;" Framed 36.00" x 29.00" Signature: Signed Lower Right Saturday Evening Post Cover, June 29, 1918 Exhibitions: It's a Man's World,...

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...

Black and White Woodcut. Published in 1909 in an edition of 100 to be used as a card member for the group of artists "Neu Kunstler-Vereingun Munchen". The impression is complete in ...

Edward Emerson Simmons was a key member of the group known as The Ten American Painters (or more commonly “The Ten”), an important association of artists who came together in 1897. T...

KANDINSKY, Wassily. Allerheiligen- All Saints Day. Original three-color woodcut (red, yellow ochre, blue – with olive green). 1911. Signed with the monogram...

LABOURER, Jean Emile. Le Gramophone. Woodcut on cream laid paper, 1918-21. full margins. Signed and numbered 41/45 in pencil, lower margin. A very goo...

Signed lower right