1910s Art

China ink drawing realized by Gabriele Galantara in the 1910s. Not signed. Very good condition.

A rare original signed Art Deco gouache on paper by Erte (Romain de Tirtoff) . This stunning theatrical costume design is signed Erte at the lower right. The piece is 20 by 18 fram...

Albert Lorey Groll, 'Storm Clouds (Arizona)', graphite on paper, c. 1914. Signed in pencil, in the image, lower left. A fine spontaneous rendering on heavy buff, wove paper, with margins (1 1/2 to 2 inches); slight toning at the sheet edges, in good condition. With a pen and ink landscape drawing, verso. Image size 7 5/8 x 10 inches; sheet size 10 3/4 x 13 5/8 inches. Matted to museum standards, unframed. Provenance: Ex. collection Kennedy Galleries, New York. ABOUT THE ARTIST Albert Lorey Groll (1866-1910) was born in New York in 1866, the son of a pharmacist immigrant from Darmstadt, Germany. During his early years, he traveled to Europe to study at the Royal Academy of Fine Arts in Munich under Nicholas Gysis and Ludwig von Löfftz. He further pursued his studies in London and at the Royal Academy of Fine Arts in Antwerp, Belgium. Groll returned to New York in 1895 and moved from figure to landscape painting while expanding his interests to printmaking. In 1904 Groll made the first of several trips to the American Southwest, traveling to Arizona with ethnographer Stewart Culin of the Brooklyn Museum. Later he went to New Mexico with his friend, the artist and illustrator William Robinson Leigh (see our 1stDibs listing no. LU53239015112 ). He focused on impressionistic scenes of Native American lands. The Laguna Pueblo people admired Groll's paintings, honoring him with the name "Chief Bald Head Eagle Eye." Groll kept a studio in the Gainsborough Studios in Manhattan and won several awards for his work in Arizona and New York, including the Salmagundi Club Shaw Prize in 1904 and a gold medal at the Pennsylvania Academy of Fine Arts in 1906. He was also awarded the George Inness gold medal from the National Academy of Design in 1912 for his painting of Lake Louise in the Canadian Rockies. In 1910 he was elected into the National Academy of Design and, in 1919, an associate member of the Taos Society...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extolling his artistic merits during his lifetime to showing something of a feigned disdain- more reflective of the world political order than a true change of heart for Hodler’s work. After years of Hodler being all but a footnote in the annals of art history and generally ignored, finally, the pendulum has righted itself once again. Recent retrospective exhibitions in Europe and the United States have indicated not only a joyful rediscovery of Hodler’s art but a firm conviction that his work and world view hold particular relevance today. DAS WERK FERDINAND HODLERS is not only a collection of printed work reflecting the best of all of his painted work created up to 1914 just before the outbreak of World War I, the portfolio itself is an encapsulation of Hodler’s ethos, Parallelisme. Hodler developed his philosophy of Parallelisme as a unifying approach to art which strips away detail in search of harmony. By means of abstraction, symmetry and repetition, Hodler sought ways to depict Nature’s essence and her fundamental, universal order. He believed these universal laws governing the natural, observable world extend to the spiritual realm. Symbolist in nature with Romantic undertones, his works are equally portraits of these universal concepts and feelings governing all life as they are a visual portrait in the formal sense. Whether his subject is a solitary tree, a moment in battle, mortal fear, despair, the awe inspired by a vast mountain range, a tender moment or even the collective conviction in a belief, Hodler unveils this guiding principle of Parallelisme. Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come. The Munich-based publisher of the portfolio, R. Piper & Co., Verlag, plays a crucial role in this story. Publishing on a wide range of subjects from philosophy and world religion to music, literature and the visual arts; the publisher’s breadth of inquiry within any one genre was equal in scope. Their marketing strategy to publish multiple works on Hodler offers great insight as to what a hot commodity Hodler was at that time. R.Piper & Co.’s Almanach, which they published in 1914 in commemoration of their first ten years in business, clearly illustrates the rapid succession- strategically calculated for achieving the deepest and broadest impact - in which they released three works on Hodler to hit the market by the close of 1914. DAS WERK FERDINAND HODLERS was their premier publication. It preceded C.A. Loosli’s Die Zeichnungen Ferdinand Hodlers, a print portfolio after 50 drawings by Hodler which was released in Autumn of 1914 at the mid-level price-point of 75-150 Marks; and a third less expensive collection of prints after original works by Hodler, which had not been included in either of the first two portfolios, was released at the end of that year entitled Ferdinand Hodler by Dr. Ewald Bender. The title and timing of DAS WERK FERDINAND HODLERS' debut leaves little doubt as to the connection it has with another avant-garde portfolio of art prints, Das Werk Gustav Klimts, released in 5 installments from 1908 -1914 by Galerie Miethke in Vienna. Hodler, himself, was involved in Klimt’s ground-breaking project. As the owner of Klimt’s 1901 painting, “Judith with the Head of Holifernes” which appears as the ninth collotype print in the second installment of Das Werk Gustav Klimts, Hodler was obliged to grant access of the painting to the art printers in Vienna for them to create the collotype sometime before 1908. Hodler had been previously invited in 1904 to take part in what would be the last exhibition of the Vienna Secession before Klimt and others associated with Galerie Miethke broke away. In an interview that same year, Hodler indicated that he respected and was impressed by Klimt. Hodler’s esteem for Klimt went beyond the art itself; he emulated Klimt’s method aimed at increasing his market reach and appeal to a wider audience by creating a print portfolio of his painted work. By 1914, Hodler and his publisher had the benefit of hindsight to learn from Klimt’s Das Werk publication. Responding to the sluggish sales of Klimt’s expensive endeavor, Hodler’s publisher devised the same diversified 1-2-3 strategy for selling Hodler’s Das Werk portfolio as they did with regards to all three works on Hodler they published that year. For their premium tier of DAS WERKS FERDINAND HODLERS, R. Piper & Co. issued an exclusive Museum quality edition of 15 examples on which Hodler signed each page. At a cost of 600 Marks, this was generally on par with Klimt’s asking price of 600 Kronen for his Das Werk portfolio. A middle-tiered Preferred edition of 30, costing somewhat less and with Hodler’s signature only on the Title Page, was also available. The General edition, targeting the largest audience with its much more affordable price of 150 Marks, is distinguishable by its smaller size. Rather than use the subscription format Miethke had chosen for Klimt’s portfolios which proved to have had its challenges, R. Piper & Co. employed a different strategy. In addition to instantly gratifying the buyer with all 40 of the prints comprising DAS WERK FERDINAND HODLERS and the choice among three price points, they advertised in German journals a fourth possibility of ordering single prints from them directly. These printed images are easily discernible from the three complete folio editions. The paper size of the single purchased images is of the larger format like the Museum and Preferred editions, measuring 65 h x 50 w cm; however, the paper itself is the same copper print paper used in the General edition and then mounted on poster board. The publishing house positioned itself to be a direct retailer of Hodler’s art. They astutely recognized the potential for profitability and the importance, therefore, of having proprietary control over his graphic works. R. Piper & Co. owned the exclusive printing rights to Hodler’s best work found in their three publications dating from 1914. That same year, a competing publication out of Weimar entitled Ferdinand Hodler: Ein Deutungsversuch von Hans...

Concarneau (Quatorze Juillet), 1911 Oil on canvas, 40 x 50 inches (101.6 x 127 cm) Framed dimensions: 44 1/2 x 54 inches Signed and dated lower right: Hayley Lever / 1911. Provenanc...

Olive Rush Washington Square, 1913 Signed lower right Oil on canvas 32 x 24 inches Exhibited Indianapolis, John Herron Art Institute, circa 1914. Art Institute of Chicago, 1914. Literature The Fairmount News, Fairmount, Indiana, November 26, 1914, p. 4. Olive Rush studied at Earlham College, the art school associated with the Corcoran Gallery of Art and at the Art Students League before becoming an illustrator in New York. She was well known for her portraits and paintings of children and women, many of which were featured in magazines such as Woman's Home Companion and St. Nicholas. In 1904 she moved to Wilmington, Delaware, to study with Howard Pyle, and she stayed until 1910. She spent the next year in Europe studying British and French painters, and finished her art education at the Boston Museum School in 1912. In 1913 Rush returned to Europe with her friend, the watercolorist Alice Schille...

Elegant figures in a spring garden with mother and child. Colors are pure and fresh. Has everything that one would want in a D'espagnat . A top 2 % work by this artist .. Signed ...

Medium: original woodcut. Printed in 1920 for the Deutsche Graphiker der Gegenwart portfolio, and published in Leipzig by Klinkhardt & Biermann in an edition of 500. Catalogue refere...

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"...

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...

Original World War 1 vintage poster: Food Will Wn the War. Arhival linen backed. PRINTER: Rusling Wood Litho., New York Bright and in good condition. There is some marks down the left side of the poster, possible ink from when the poster was printed. This poster calls on immigrants to do their part in the war effort. It depicts recent immigrants standing near a sailing ship with the Statue of Liberty and a rainbow stretched across the New York City skyline in the background. The text reads: You came here seeking Freedom. You must now help preserve it. Wheat is needed by the allies. Waste nothing. The generosity and compassion of the American people and the great agricultural resources of the North American continent would be called upon... Twenty million Americans signed pledges of membership in the Food Administration...

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 effectiv...

Signed fauvist oil on canvas landscape circa 1910 by French painter Louis Valtat. This stunning piece depicts a view of Bagatelle Park in the north of France in summer when all of th...

Stunning sunset scene in an original period frame by George Renouard (1885 - 1954). Oil on board, circa 1910. Unsigned. mage size, 10"L x 8"H,...

Georges CONRAD (1874-1936) Elegant Woman Seen in Cafe de la Paix (Paris) Original pencil and color pencils drawing Signed with the stamp of atelier On paper 26.5 x 20 cm (c. 10,4 x ...

This vibrant and atmospheric Venetian scene by Luigi Lanza captures the timeless allure of Venice’s Grand Canal. Lanza, celebrated for his ability to render the play of light on wate...

Dejeuner sur l'Herbe Lithograph, c. 1914 Edition: c. 100 Unsigned as issued by Vollard References And Exhibitions: Commissioned from Cezanne by Ambrose Vollard in the late 1890s Prin...

"Le Port de Marseille" Eugène Galien Laloue (French, 1854-1941) Gouache and watercolor on paper, original carved and gilded frame. 12 3/8 x 7 3/4 (14 1/2 x 9 5/8 frame) inches Signe...

L'Asino, Art Magazine, Year 24, no. 29, 1915, is an original colorful illustrated Italian magazine with a satiric political scene. Published on Sunday 18 Luglio 1915, in 4 pages, do...

Original magazine cover illustration for the June 17, 1916 issue of The Saturday Evening Post. The image features a celebratory procession including an elephant, monkeys, clowns, a...

This lovely Scottish Edwardian oval portrait oil painting is by noted artist George Harcourt. Painted circa 1910 it is a three-quarter length standing portrait of a young girl facing...

Signed figurative oil on original canvas by French realist painter Victor Gabriel Gilbert. The work shows a flower seller filling a young girl's basket with cherries while a little b...

Ferdinand Burgdorff (American, 1881-1975) Pantheum Moonlight, 1916 Oil on canvas Signed and dated lower right 16 x 24 inches 21.5 x 29.5 inches, framed Born in Cleveland, Ohio, Ferd...

A finely tuned oval drawing by the Finnish artist Ester Helenius depicting a young woman in profile seated on a chair. The room is suggested only by a diffuse background. Signed and ...

Signed post impressionist figures in landscape oil on panel circa 1910 by French painter Eugene Henri Alexandre Chigot. The work depicts a mother and child outside a thatched cottage beside a pond. In the centre of the painting is an apple tree in blossom - beautifully painted in pinks, blues and greens. Signature: Signed lower right Dimensions: Framed: 19"x22.5" Unframed: 12.5"x16" Provenance: Private French collection A pupil of his father Alphonse Chigot, Eugène Chigot...

Edward Dufner is one of America's finest American Impressionists. This is an exceptional work by him. The technique is exquisite with the brushwork being refined and sophisticated,...

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...

Kollwitz, Kathe. TOD UND FRAU (DEATH AND WOMAN). Knesebeck 107, State VII; Klipstein 103. Line etching, drypoint, sandpaper, soft ground with imprint of granulated tone paper and Zie...

This striking British Edwardian religious oil painting is by noted artist Francis 'Frank' Owen Salisbury or Frank O'Salisbury as he is largely known. Painted in 1911 it is a figurative landscape of soldiers on the battlefield. The two central characters, the 'Christian Soldiers' from the early crusades have halos and ride through the chaos on white horses. Shafts on light with angels illuminate them and also a crucifix. A very powerful Edwardian religious oil painting and an excellent example of O'Salisbury's work. painted in oil and illuminated in gold leaf. Signed and dated with monogram lower right 1911. Provenance. From Castle of Park, Aberdeenshire. A version of this painting was exhibited at the Royal Academy London in 1911 entitled the Passing of War. Condition. Oil on canvas, 36 inches by 24 inches unframed and in good condition. Frame. Housed a complementary frame, 44 inches by 32 inches framed and in good condition. Francis ("Frank") Owen Salisbury (18 December 1874 – 31 August 1962) was an English artist who specialised in portraits, large canvases of historical and ceremonial events, stained glass and book illustration. In his heyday he made a fortune on both sides of the Atlantic and was known as "Britain’s Painter Laureate". His art was steadfastly conservative and he was a vitriolic critic of Modern Art – particularly of his contemporaries Picasso, Chagall and Mondrian. His father, Henry Salisbury, described himself as a "plumber, decorator and ironmonger" (his mother was Susan Hawes), yet his son Frank would become one of the greatest society artists of his generation. One of 11 children, Salisbury was such a delicate child that he was educated at home, in the main by his student teacher sister, Emilie. He had only a few weeks formal schooling and began work by repairing bicycles at his father’s Cycle Depot in Harpenden. Uncertain as to his ability to find and maintain a job, the family determined that he be apprenticed, at the age of 15, to Henry James Salisbury, his eldest brother, who managed a major stained glass company in Alma Road, St Albans. He rapidly acquired all the practical skills of a stained glass artist and exhibited exceptional skills in the painterly detail that was applied to glass before its final firing. This led to his brother sponsoring him to attend Heatherley’s School of Art three days a week to further a career in painting. He then won a scholarship to the Royal Academy Schools which he attended for five years and where he won two silver medals and two scholarships, including the Landseer scholarship which funded his to travel to Italy in 1896. In due course he would have seventy exhibits accepted for the annual Royal Academy Summer Exhibitions, from 1899 until 1943, though he was never offered membership, which reportedly disappointed him very much. In 1901 he married Alice Maude (d. 1951), daughter of C. Colmer Greenwood, with whom he had several children, including twin daughters Monica and Sylvia. His first Royal Academy exhibit was a portrait of Alice and he often painted pictures of their children. It is for portraiture that he is best known. His speed in producing portraits stemmed from his painting his own twin daughters every morning for an hour and his career began with child portraiture and his painting the Hertfordshire gentry and members of the Harpenden Methodist Church. He had a studio at his home, Sarum Chase. A providential meeting with Lord Wakefield, founder of Castrol Oils and a Methodist philanthropist, saw his introduction to society portraiture. Salisbury’s being selected to paint the Boy Cornwell in the Battle of Jutland then brought him to the notice of Royalty. Lord Wakefield then arranged for him to paint President Woodrow Wilson whilst he was in London, but Wilson departed for Paris and the opportunity was lost. It was to be John W. Davis, American Ambassador to London, who encouraged Salisbury to go to the USA; Davis had met Salisbury at art receptions and had admired his child portraits. Twenty-five members of the Royal House of Windsor sat for Salisbury and he was the first artist to paint HM Queen Elizabeth II. In 1919 he painted a mural for the Royal Exchange, London National Peace Thanksgiving Service on the steps of St Paul’s Cathedral, 6th July 1919. He painted Winston Churchill on more occasions than any other artist; the two iconic images of Churchill – The Siren Suit and Blood, Sweat and Tears are both Salisbury images. Mayoral regalia was a ready made requisite for the Salisbury style with Councillor Sam Ryder (of Ryder Cup fame) as Mayor of St Albans being the most famous of his civic images. Other significant portraits include those of Richard Burton, Andrew Carnegie (posthumous), Sir Alan Cobham, Sir Robert Ludwig Mond, Maria Montessori...

This lovely Scottish Stirlingshire Impressionist landscape is by noted artist Joseph Morris Henderson. Painted circa 1910 the composition is a river landscape with the river in the foreground and cows in the fields beyond. In the distance one can see some dwellings and hills beyond those, all beneath a summers sky. The impressionistic brushwork and colouring are just lovely. This is an excellent large example of Henderson's work and of Scottish landscape art...

Clarence Montfort Gihon (1871 Philadelphia - 1929 France) Gathering Wildflowers on a Breezy Day Oil on Canvas, 39 x 32 inches, 49 ½ x 43 inches frame size Provenance: Sotheby’s 4186,...

Dick Beer (b. London 1893 - d. Stockholm 1938) The Church in Taormina, Sicily (Kyrkan i Taormina) oil on canvas canvas dimensions 54 x 47 cm signed and dated Dick Beer 1914 painted 1914 Exhibited: Varias Konstsalong, Stockholm, 1916; Millesgården – Dick Beer – Impressionist & Kubist, 2012 Provenance: Within the family Beer until today Dick Beer (1893-1938) Dick Beer was born in London in 1893. His father, John Beer (1853-1906), was a Swedish painter from Stockholm who had a career mainly as a watercolour painter with motifs of horses from racetracks and fox hunts from the countryside. Barely fifteen years old, Dick Beer became an orphan and came to Sweden in 1907. Already in 1908-1909, he started at Althin's painting school in Stockholm. And later, at the Royal Academy of Arts from 1910-1912. His teachers were, among others, Gustaf Cederström, Oscar Björk and Alfred Bergström...

This atmospheric painting by Anders Loman captures a quiet city street bathed in the subtle glow of gaslight on a winter evening.A horse-drawn carriage disappears into the distance, ...

This expansive coastal landscape by Alfred Bergström presents a luminous and windswept shoreline, where sea, sky, and land are unified through a sensitive and dynamic treatment of li...

Women Outside Breton Hotel - Chromolithograph on Paper In a pastel palette, Alson Skinner Clark (American, 1876-1949) captures the rustic beauty of a side street in a Breton village as two women converse outside of a hotel on a blue sky day. Signed “Alson Clark...

Signed, titled and dated oil on canvas landscape by Danish realist painter Peder Mork Monsted. This stunning piece depicts a beautiful view of the Sandvig Stand, the beach and coastl...

Inscribed indistinctly verso, 'Painted by H. Herneisen' (?) and dated 1916. Displayed in a period, polished walnut, swept frame. Framed dimensions: 26 H x 2 D x 39.75 W inches Paint...

Signed pointillist oil on board landscape circa 1910 by French impressionist painter Joseph Louis Francois Lepine. The painting depicts a landscape in autumn. The green leaves are tu...

Large still life with vase of red chrysanthemums, oil on canvas, French school, early 20th century, signed lower right Y. Evrard. This large oil on canvas depicts a rich bouquet o...

Make Every Minute Count For Pershing. United States Shipping Board Emergency Fleet Corporation Original 1917 World War 1 vintage poster. Artist: Adolph Treidler Original linen backed World War I vintage poster. Tonnage built in American ship yards tripled after the U.S. entered the war. Poster shows a riveter using his wrench to bolt the steel plates of the hull of a ship together. Until the 1930s, when arc welding was introduced, bolts were secured by hand. Standardization speeded production. Make every minute count for Pershing. United States Shipping Board Emergency Fleet Corporation Artist: Adolph Treidler Dimensions: 27.75 x 22 in. Published: Philadelphia Linen backed, ready to frame. Remember Rosie the Riveter...

Signed lower right, 'M. Bomund' for Marius Madsen Bomund (Danish, 1882-1963). Additionally inscribed, verso, 'Madsen Bomund', titled indistinctly, 'Studie fra ...' and dated 1915. M...

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...

Oscar Lycke’s Aprilafton, Delsbo (“April Evening, Delsbo”), c. 1910, is a luminous oil painting that masterfully captures the gentle transition from winter to early spring in the rur...

Signed oil on canvas figures in riverscape circa 1910 by sought after French impressionist painter Pierre Eugene Montezin. The work depicts bathers in a river on a sunny summer's day...

Work on cardboard

Jane Peterson Street In Paris (Eglise St. Julien), circa 1910 Signed lower right; artist's labels on the reverse Oil on canvas 24 x 18 inches Exhibited New York, Lincoln Glenn Galle...

Original "The Navy Put 'Em Across": Vintage WWI Recruitment Poster by Henry Reuterdahl, 1918. Linen-backed. An extraordinarily scarce and historically rich piece of American propag...

Dale Bessire Winter Landscape Signed lower right Oil on canvas 20 x 24 inches A founding member of the Brown County Art Gallery Association, Dale Bessire was a native of Indianapol...

In this luminous landscape, Oscar Lycke invites us to experience the serene vastness of Sweden’s northern interior. Likely painted in the region surrounding Liden along the Indalsälv...

Watercolor on paper laid on board: An exceptional watercolor in terms of quality and presentation. During this earlier period of Day's career he exhibited extensively and was inspir...

The Flower Garden English School, signed with initials dated 1915 oil on canvas, unframed canvas : 20 x 14 inches Provenance: private collection, England Condition: very good conditi...

"The Coward" (Woman Kissing Soldier). Original cover illustration for Life Magazine, published April 1919. Norman Rockwell’s The Coward (or, Woman Kissing Soldier) was published on...

Original vintage poster: YOU Buy a Liberty Bond. Linen Backed World War 1 bonds poster. Archival linen backed in good condition; ready to frame. Artist: C . R. Macauley created...

This charming Scottish Impressionist Edwardian summer landscape oil painting is by noted Scottish artist Sir Charles Lawton Wingate RSA. Painted circa 1910, the composition is a view...

Medium: original woodcut. Printed in Germany in 1917 for Die Aktion; this impression is from the deluxe edition of 100 on Bütten laid paper. Catalogue reference: Schapire 202. Image ...

This atmospheric antique American landscape depicts a rustic wooden covered bridge spanning a quiet river, surrounded by dense foliage and dappled summer light. Painted in oil, the c...

Original watercolor and gouache on paper of a busy street scene in India done in 1912 by the American artist, William Henry Drake. Copyrighted signed and dated 1912 lower left. Condition is good. Recently professionally matted. Unframed. Overall matte size is 12 by 16 inches. Provenance: A Long Island, New York estate. William Henry Drake Born: 1856 New York Died: 1926 Los Angeles Nationality: American Education: Académie Julian, Art Students League of New York Known for: Painting, illustration Awards: National Academy Biography: Drake studied at the Académie Julian in Paris, with Jean-Joseph Benjamin-Constant and Henri Lucien Doucet. Back from Europe, he studied at the Cincinnati School of Design, and would often go to the zoo, where he could draw the animals. He was then employed by the Museum of Natural History. He continued to study at the Art Students League of New York. In 1878 he worked as a freelance pen-and-ink artist for such periodicals as Century or Harper’s with animal studies...

Louise Lenka German, early 20th century Chicken and Chicks in a Barnyard Landscape Circa 1910 Oil on panel Signed lower right In a gilt period frame A finely painted early 20th-cen...

For Every Fighter a Woman Worker. Original vintage poster. Linen Lined. Very good condition. Artist: Ernest Hamlin Baker. Size: 28" x 42". Year: 1918 Linen backed trimme...

"The Washington Hotel” is an oil on canvas painting by California Impressionist artist, Evelyn McCormick in a bright and luminous palette. The artwork is signed, lower left, 'M. Evel...