1920s Art
Period: 1920s
Color: Gray
Collier's Weekly Magazine Cover
Located in Fort Washington, PA
Signed Lower Left by Artist
Collier's Weekly magazine cover, April 23, 1921
Category
1920s Art
Materials
Gouache, Watercolor
Brooklyn Waterfront
Located in Fairlawn, OH
Brooklyn Waterfront
Lithograph, 1931
Signed, titled, and dated in pencil by the artist
Edition: Undetermined (very small), plus artist's proofs
Printed by Meister Schulz, Berlin
Provenance:
Estate of the artist
Virginia Dehn, the artist's widow
Dehn Quests
Bibliography:
Lumsdaine and O'Sullivan 152
Illustrated: Adams, The Sensuous Life of Adolf Dehn, Fig. 9.14, page 213 (This impression)
Adolf Dehn, American Watercolorist and Printmaker, 1895-1968
Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art.
In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art.
If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques.
Early Years, 1895-1922
For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs. In many ways Dehn’s later artistic achievement was clearly a reaction against the grinding rural poverty of his childhood.
After graduating from high school in 1914 at the age of 19—an age not unusual in farming communities at the time, where school attendance was often irregular—Dehn attended the Minneapolis School of Art from 1914 to 1917, whose character followed strongly reflected that of its director, Munich-trained Robert Kohler, an artistic conservative but a social radical. There Dehn joined a group of students who went on to nationally significant careers, including Wanda Gag (later author of best-selling children’s books); John Flanagan (a sculptor notable for his use of direct carving) Harry Gottlieb (a notable social realist and member of the Woodstock Art Colony), Elizabeth Olds (a printmaker and administrator for the WPA), Arnold Blanch (landscape, still-life and figure painter, and member of the Woodstock group), Lucille Lunquist, later Lucille Blanch (also a gifted painter and founder of the Woodstock art colony), and Johan Egilrud (who stayed in Minneapolis and became a journalist and poet).
Adolf became particularly close to Wanda Gag (1893-1946), with whom he established an intense but platonic relationship. Two years older than he, Gag was the daughter of a Bohemian artist and decorator, Anton Gag, who had died in 1908. After her husband died, Wanda’s mother, Lizzi Gag, became a helpless invalid, so Wanda was entrusted with the task of raising and financially supporting her six younger siblings. This endowed her with toughness and an independent streak, but nonetheless, when she met Dehn, Wanda was Victorian and conventional in her artistic taste and social values. Dehn was more socially radical, and introduced her to radical ideas about politics and free love, as well as to socialist publications such as The Masses and The Appeal to Reason.
Never very interested in oil painting, in Minneapolis Dehn focused on caricature and illustration--often of a humorous or politically radical character. In 1917 both Dehn and Wanda won scholarships to attend the Art Students League, and consequently, in the fall of that year both moved to New York. Dehn’s art education, however, ended in the summer of 1918, shortly after the United States entered World War I, when he was drafted to serve in the U. S. Army. Unwilling to fight, he applied for status as a conscientious objector, but was first imprisoned, then segregated in semi-imprisonment with other Pacifists, until the war ended. The abuse he suffered at this time may well explain his later withdrawal from taking political stands or making art of an overtly political nature. After his release from the army, Dehn returned to New York where he fell under the spell of the radical cartoonist Boardman Robinson and produced his first lithographs. He also finally consummated his sexual relationship with Wanda Gag.
The Years in Europe: 1922-1929
In September of 1921, however, he abruptly departed for Europe, arriving in Paris and then moving on to Vienna. There in the winter of 1922 he fell in love with a Russian dancer, Mura Zipperovitch, ending his seven-year relationship with Wanda Gag. He and Mura were married in 1926. It was also in Vienna that he produced his first notable artistic work.
Influenced by European artists such as Jules Pascin and Georg Grosz, Dehn began producing drawings of people in cafes, streets, and parks, which while mostly executed in his studio, were based on spontaneous life studies and have an expressive, sometimes almost childishly wandering quality of line. The mixture of sophistication and naiveté in these drawings was new to American audiences, as was the raciness of their subject matter, which often featured pleasure-seekers, prostitutes or scenes of sexual dalliance, presented with a strong element of caricature. Some of these drawings contain an element of social criticism, reminiscent of that found in the work of George Grosz, although Dehn’s work tended to focus on humorous commentary rather than savagely attacking his subjects or making a partisan political statement. Many Americans, including some who had originally been supporters of Dehn such as Boardman Robinson, were shocked by these European drawings, although George Grocz (who became a friend of the artist in this period) admired them, and recognized that Dehn could also bring a new vision to America subject matter. As he told Dehn: “You will do things in America which haven’t been done, which need to be done, which only you can do—as far at least as I know America.”
A key factor in Dehn’s artistic evolution at this time was his association with Scofield Thayer, the publisher of the most notable modernist art and poetry magazine...
Category
American Modern 1920s Art
Materials
Lithograph
Plate with Ram (Untitled)
Located in Los Angeles, CA
(Note: This work is part of our exhibition Connected by Creativity: WPA Era Works from the Collection of Leata and Edward Beatty Rowan)
Glazed and incised ceramic, 8 ½ inches diamet...
Category
American Modern 1920s Art
Materials
Ceramic
Kevin B. O'Callahan, (Exotic Temple)
Located in New York, NY
This (Exotic Temple) is monogrammed in the plate at the lower right.
A Rochester, New York native, Kevin O'Callahan studied at the Carnegie Institute and worked on the WPA. He is k...
Category
Aesthetic Movement 1920s Art
Materials
Intaglio
The Irish Fair
Located in Fairlawn, OH
Irish Fair
Lithograph, 1923
Signed and numbered in pencil by the artist (see photo)
Titled "Irish Fair" by the artist in pencil
Edition: 84
Housed in an archival frame with acid free...
Category
Ashcan School 1920s Art
Materials
Lithograph
Lyon International Autumn Fair, 1927, Silver Gelatin Black and White Photography
Located in Atlanta, GA
A unique original silver gelatin black and white photography. The International Autumn Fair in Lyon, France, March 19, 1927.
Still a lot of people at the entrance of The Internation...
Category
Art Deco 1920s Art
Materials
Silver Gelatin
Untitled
Located in Miami, FL
This speckled and sparkling glass vase is an exemplary piece of the Art Nouveau period of France and was created by legendary glass-smith Charles Schneider. This vase makes an excell...
Category
Art Nouveau 1920s Art
Materials
Glass
French Lady in Waiting Female Portrait
Located in Douglas Manor, NY
4070 French oil painting Lady in Waiting by Alfreda Klebe
Category
1920s Art
Materials
Oil
La Verre Francais
Located in Miami, FL
Le Verre Francais
Charder Collection.
Signed "Charder" on one of the sides of the vase and "Le Verre Francais" on the base.
Similar works are published in the book "Charles Schneider...
Category
Art Deco 1920s Art
Materials
Glass
untitled (polo player on horseback)
Located in Fairlawn, OH
untitled (polo player on horseback)
Chalk on tan paper, c. 1920
Unsigned
Provenance: Gift of the artist
William McGill (Keller's student)
Image size: 4 3/8 x 5 ...
Category
American Impressionist 1920s Art
Materials
Chalk
Flea Market in Paris, 1927, Silver Gelatin Black and White Photography
Located in Atlanta, GA
A unique original silver gelatin black and white photograph. On April 12, 1927, the iconic "Foire a la Ferraille" a very well-known outdoor flea market in Paris.
Features:
Original s...
Category
Art Deco 1920s Art
Materials
Silver Gelatin
"Les Musiciens", 20th Century Oil on Canvas by Spanish Artist Celso Lagar
By Celso Lagar
Located in Madrid, ES
CELSO LAGAR
Spanish, 1891 - 1966
LES MUSICIENS
signed "Lagar" (lower right)
signed again, located & dated "Lagar / Paris 1928" (on the reverse)
oil on canvas
23-3/4 x 28-3/4 inches ...
Category
Fauvist 1920s Art
Materials
Canvas, Oil
Claude-Levy Cast Iron Sculpture of Flora, Dated 1925
Located in New York, NY
Claude-Lévy, 1895 – 1942
Alice Nikitina in the role of Flora, from the Dukelsky/Braque production of the ballet Zephyr & Flore at the Ballets Russes, 1925
Cast Stone
Signed and dated: Claude-Levy 1925 on rear face of self-base.
The present sculpture is as rare as it is delightful. Mademoiselle Claude-Levy, as the
catalogues of the period list her, was one of the truly original talents of the Art Deco period. Painter, architect, decorator, and sculptor, she was a friend of the Parisian, Modernist sculptors, Chana Orloff, Henri Laurens and the Martel brothers, to whom her work was often compared. The ingenuity of her models brought her great critical acclaim, but she seems to have stopped producing in the early 1930s. Her output, although fine, is rare. Claude-Levy’s gentle Cubism might be better described as Purism in sculpture. It is characterized by simplified surfaces, rounded (as opposed to angular) forms, and smooth, lustrous surfaces. The Purist movement included the painters Léger, Ozenfant and Le Corbusier in its ranks.
Claude-Lévy, along with other artists of the avant- garde living in the Gallic capital (Czaky, Zadkine, Archipenko, Lipchitz, Lambert Rucki Miklos, Nadelman, Vörös, Orloff) helped to develop a collective twentieth century figurative sculptural idiom that exploited the daring and rich possibilities of geometric abstraction.
The present work is Claude-Lévy’s Commedia dell’Arte figures inspired by the Stravinsky/Picasso Ballet...
Category
1920s Art
Materials
Cast Stone
Oil on Board Painting Titled "Above the Bay", by Renwick Taylor, 1925
Located in New York, NY
Renwick Taylor
Above the Bay, 1925
Oil on board
Signed (Lower right and verso): RENWICK TAYLOR
Category
1920s Art
Materials
Oil, Board
Paris, Decorative Art Exhibition 1925, Mallet Stevens Concrete Tree Photography
Located in Atlanta, GA
A unique original silver gelatin black and white photograph by Press Agency, Paris 1925.
International Decorative Arts Exhibition in Paris, October 1925, The Collector Pavilion. On t...
Category
Art Deco 1920s Art
Materials
Silver Gelatin
Oil on Board Painting Titled "Moon Over Bay" by Renwick Taylor, circa 1920
Located in New York, NY
Moon Over Bay, ca. 1920
Oil on board
8 x 10 inches
Category
1920s Art
Materials
Oil, Board
Oil on Board Painting Titled "Delaware River", by Renwick Taylor, Dated 1924
Located in New York, NY
Delaware River, 1924
Oil on board
12 x 16
Signed (lower left): RENWICK TAYLOR
Inscribed (verso): From Original Sketch Painted at Eddy Farm, Delaware River Sept 1924
Category
1920s Art
Materials
Oil, Board
Oil on Board Painting Titled "Tent City", circa 1920
Located in New York, NY
Tent City, ca. 1920
Oil on board
16 x 20 inches
Signed (lower right and verso): RENWICK TAYLOR
Category
1920s Art
Materials
Oil, Board
View of 1927 Autumn Fair in Lyon, Silver Gelatin Black and White Photography
Located in Atlanta, GA
A unique original silver gelatin black and white photography. The International Autumn Fair in Lyon, France, March 19, 1927.
Aerial view of the International Autumn Fair in Lyon, Ma...
Category
Art Deco 1920s Art
Materials
Silver Gelatin
Oil on Board Painting Titled "The Bay", by Renwick Taylor, circa 1920
Located in New York, NY
The Bay, ca. 1920
Oil on art board
12 x 15
Signed (verso): Renwick Taylor
Category
1920s Art
Materials
Oil, Board
Restaurant Fillioux in Lyon, 1927, Silver Gelatin Black and White Photography
Located in Atlanta, GA
A unique original silver gelatin black and white photograph. The Restaurant "A La Mere Fillioux," in Lyon, France, March 1927.
A view of the facade of the famous Fillioux Restaurant...
Category
Art Deco 1920s Art
Materials
Silver Gelatin
Original Antique Cruise Travel Poster North Via Szczecin Stettin Scandinavia Art
Located in London, GB
Original antique cruise travel poster - North Via Szczecin Travel to Scandinavia on modern passenger liners / Nach Dem Norden Uber Stettin Reisen Sie nach Skandinavien mit den modern...
Category
Art Deco 1920s Art
Materials
Paper
Lyon, France the Rhone River 1927 - Silver Gelatin Black and White Photography
Located in Atlanta, GA
A unique original silver gelatin black and white photograph. View of a bridge over the Rhone River in Lyon, France, March 1927.
The view of the Pont de l'Université in Lyon, France,...
Category
Art Deco 1920s Art
Materials
Silver Gelatin
Portrait Of Violin Player By Neville Stephen Lytton, Of Claude Tryon
Located in York, GB
A Portrait of Claude Tryon (d.1949),holding a violin .This is a painting of the artists son in law
Oil on canvas in gilt frame . Early 20th century
size of painting...
Category
Realist 1920s Art
Materials
Oil
Pratincole Antique Print
Located in Sydney, NSW
Chromolithograph of a Snow Bunting
Image Size 10.5cm x 17 cm
Category
Academic 1920s Art
Materials
Lithograph
Cows by Woodland Pond, Toledo, Ohio, Early 20th Century Cleveland School
By Frank Wilcox
Located in Beachwood, OH
Frank Nelson Wilcox (American, 1887-1964)
Cows by Woodland Pond, Toledo, Ohio, c. 1920
Watercolor and graphite on board
Signed lower right
22 x 30 inches
Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters," though some sources give this appellation to Henry Keller or Frederick Gottwald. Wilcox was born on October 3, 1887 to Frank Nelson Wilcox, Sr. and Jessie Fremont Snow Wilcox at 61 Linwood Street in Cleveland, Ohio. His father, a prominent lawyer, died at home in 1904 shortly before Wilcox' 17th birthday. His brother, lawyer and publisher Owen N. Wilcox, was president of the Gates Legal Publishing Company or The Gates Press. His sister Ruth Wilcox was a respected librarian.
In 1906 Wilcox enrolled from the Cleveland School of Art under the tutelage of Henry Keller, Louis Rorimer, and Frederick Gottwald. He also attended Keller's Berlin Heights summer school from 1909. After graduating in 1910, Wilcox traveled and studied in Europe, sometimes dropping by Académie Colarossi in the evening to sketch the model or the other students at their easels, where he was influenced by French impressionism. Wilcox was influenced by Keller's innovative watercolor techniques, and from 1910 to 1916 they experimented together with impressionism and post-impressionism. Wilcox soon developed his own signature style in the American Scene or Regionalist tradition of the early 20th century. He joined the Cleveland School of Art faculty in 1913. Among his students were Lawrence Edwin Blazey, Carl Gaertner, Paul Travis, and Charles E. Burchfield. Around this time Wilcox became associated with Cowan Pottery.
In 1916 Wilcox married fellow artist Florence Bard, and they spent most of their honeymoon painting in Berlin Heights with Keller. They had one daughter, Mary. In 1918 he joined the Cleveland Society of Artists, a conservative counter to the Bohemian Kokoon Arts Club, and would later serve as its president. He also began teaching night school at the John Huntington Polytechnic Institute at this time, and taught briefly at Baldwin-Wallace College.
Wilcox wrote and illustrated Ohio Indian Trails in 1933, which was favorably reviewed by the New York Times in 1934. This book was edited and reprinted in 1970 by William A. McGill. McGill also edited and reprinted Wilcox' Canals of the Old Northwest in 1969. Wilcox also wrote, illustrated, and published Weather Wisdom in 1949, a limited edition (50 copies) of twenty-four serigraphs (silk screen prints) accompanied by commentary "based upon familiar weather observations commonly made by people living in the country."
Wilcox displayed over 250 works at Cleveland's annual May Show. He received numerous awards, including the Penton Medal for as The Omnibus, Paris (1920), Fish Tug on Lake Erie (1921), Blacksmith Shop (1922), and The Gravel Pit (1922). Other paintings include The Trailing Fog (1929), Under the Big Top (1930), and Ohio Landscape...
Category
American Modern 1920s Art
Materials
Watercolor, Graphite
Original Woodcut & Printed Colors of Edinburgh Castle, Emile Antoine Verpilleux
Located in New York, NY
Emile Antoine Verpilleux, 1888-1964
Edinburgh Castle, 1913
Original woodcut, printed in colors
14 ½ x 18 inches
signed and dated 'E. Verpilleux 1913', in pencil
Category
1920s Art
Materials
Woodcut
Royal Academy Series-6, Pencil on Paper, Modern Artist Atul Bose "In Stock"
Located in Kolkata, West Bengal
Atul Bose - Royal Academy Series-6
Pencil on Paper, 15 x 11.2 inches (Unframed Size)
1924-26 (Delivered Unframed in as is condition)
Atul Bose was a master artist whose creative journey spanned several decades and left an indelible mark on the Indian art scene. He was born in 1898 in a small village in Bengal and showed an early aptitude for art. Despite facing financial difficulties, he pursued his passion and enrolled in the Government School of Art in Calcutta.
Bose's early works were influenced by the Bengal School of Art, which was a movement that sought to revive traditional Indian art forms. However, over time, Bose developed his own unique style that blended elements of Indian art with European modernism. He was particularly influenced by the works of artists like Paul Cezanne and Georges Braque.
Bose spent two years, 1924-6, at the Royal Academy. He was heavily influenced there by the post-impressionist Walter Sickert. He refused an invitation to help decorate the pavilion at the British Empire Exhibition in 1924 with Mukul Dey...
Category
Modern 1920s Art
Materials
Ink, Pencil, Conté, Paper, Pen
Royal Academy Series-4, Conte on Paper, Modern Artist Atul Bose "In Stock"
Located in Kolkata, West Bengal
Atul Bose - Royal Academy Series-4
Conte on Paper, 15 x 11.2 inches (Unframed Size)
1924-26 (Delivered Unframed in as is condition)
Atul Bose was a master artist whose creative journey spanned several decades and left an indelible mark on the Indian art scene. He was born in 1898 in a small village in Bengal and showed an early aptitude for art. Despite facing financial difficulties, he pursued his passion and enrolled in the Government School of Art in Calcutta.
Bose's early works were influenced by the Bengal School of Art, which was a movement that sought to revive traditional Indian art forms. However, over time, Bose developed his own unique style that blended elements of Indian art with European modernism. He was particularly influenced by the works of artists like Paul Cezanne and Georges Braque.
Bose spent two years, 1924-6, at the Royal Academy. He was heavily influenced there by the post-impressionist Walter Sickert. He refused an invitation to help decorate the pavilion at the British Empire Exhibition in 1924 with Mukul Dey...
Category
Modern 1920s Art
Materials
Ink, Conté, Paper, Pen
Royal Academy Series-4, Conte on Paper, Modern Artist Atul Bose "In Stock"
Located in Kolkata, West Bengal
Atul Bose - Royal Academy Series-4
Conte on Paper, 15 x 11.2 inches (Unframed Size)
1924-26 (Delivered Unframed in as is condition)
Atul Bose was a master artist whose creative journey spanned several decades and left an indelible mark on the Indian art scene. He was born in 1898 in a small village in Bengal and showed an early aptitude for art. Despite facing financial difficulties, he pursued his passion and enrolled in the Government School of Art in Calcutta.
Bose's early works were influenced by the Bengal School of Art, which was a movement that sought to revive traditional Indian art forms. However, over time, Bose developed his own unique style that blended elements of Indian art with European modernism. He was particularly influenced by the works of artists like Paul Cezanne and Georges Braque.
Bose spent two years, 1924-6, at the Royal Academy. He was heavily influenced there by the post-impressionist Walter Sickert. He refused an invitation to help decorate the pavilion at the British Empire Exhibition in 1924 with Mukul Dey...
Category
Modern 1920s Art
Materials
Ink, Conté, Paper, Pen
Royal Academy Series-7, Conte on Paper, Modern Artist Atul Bose "In Stock"
Located in Kolkata, West Bengal
Atul Bose - Royal Academy Series-6
Pencil on Paper, 15 x 11.2 inches (Unframed Size)
1924-26 (Delivered Unframed in as is condition)
Atul Bose was a master artist whose creative journey spanned several decades and left an indelible mark on the Indian art scene. He was born in 1898 in a small village in Bengal and showed an early aptitude for art. Despite facing financial difficulties, he pursued his passion and enrolled in the Government School of Art in Calcutta.
Bose's early works were influenced by the Bengal School of Art, which was a movement that sought to revive traditional Indian art forms. However, over time, Bose developed his own unique style that blended elements of Indian art with European modernism. He was particularly influenced by the works of artists like Paul Cezanne and Georges Braque.
Bose spent two years, 1924-6, at the Royal Academy. He was heavily influenced there by the post-impressionist Walter Sickert. He refused an invitation to help decorate the pavilion at the British Empire Exhibition in 1924 with Mukul Dey...
Category
Modern 1920s Art
Materials
Conté, Paper, Ink, Pen, Pencil
Wettersteinkamm - The blue of the mountains -
Located in Berlin, DE
Adalbert Holzer (1881 Munich - 1966 Munich). Wettersteinkamm. Watercolour, 29 x 34.5 cm (visible size), 37.5 x 43 cm (frame), signed and dated at lower right 'ADALBERT HOLZER [19]23'.
Framed behind glass. Frame shows signs of wear.
- The blue of the mountains -
About the artwork
The Wetterstein ridge is revealed to the viewer from a gentle, snow-covered hill. In contrast to conventional depictions of mountains, the painting is composed entirely of shades of blue, which condense into the blue-grey of the rock or fade into the white of the snow. As a complementary colour to the blue, Holzer virtuously activates the ochre ground. The uniform yet exciting polarity of the colours emphasises the massive majesty of the mountains and at the same time underlines the special character of the Wetterstein ridge. Holzer transferred the translucency of glass painting, in which he was originally trained, to watercolour and developed a pictorial language related to the art of Ferdinand Hodler, which earned him the nickname 'Master of Blue' and led to the appreciation of his watercolours in particular.
About the artist
After an apprenticeship as a stained glass painter at the Kunstgewerbeschule, Adalbert Holzer studied at the Munich Art Academy under Carl von Marr...
Category
Realist 1920s Art
Materials
Watercolor
Stevedores, Ohio River, Early 20th Century Cleveland School Artist
By Frank Wilcox
Located in Beachwood, OH
Frank Nelson Wilcox (American, 1887-1964)
Stevedores, Ohio River, c. 1920
Watercolor on paper
Signed lower right
21.5 x 29. 5 inches
"The trip Otto Ege and I made from Pittsburgh to Marietta by riverboat and then by train to Mammoth Cave, was the next high spot in my artistic explorations. We saw something of the Old Southern river life on the way - the roustabouts, the showboat and river town life at Point Pleasant, and then to the sombre tonal mysteries of the Cave. These sights added much to my pictorial vocabulary..." - Frank Wilcox
Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School...
Category
American Modern 1920s Art
Materials
Watercolor
French school 1920s Brittany Brittons Village fair Pont-Aven Cornouaille
Located in PARIS, FR
J. BREYNAT (XXth century)
Oil on cardboard
20 x 30 cm (28 x 38 cm with the frame)
Signed and dated lower left "J. Breynat / 1921"
Beautiful carved wooden frame from the 19th century
...
Category
Realist 1920s Art
Materials
Oil
Swiss chalets (1927) - Oil on canvas 35x46 cm
Located in Geneva, CH
Work signed Jeannet, artist unknown from the gallery. Dated 1927
Sold with frame, total size with frame is 44x56 cm
Category
Modern 1920s Art
Materials
Oil
POMERAT French pastel 1920s 20th Expressionnist A cabaret in Marseille 1920
Located in PARIS, FR
Georges Pomerat Le Pouzin (Ardèche), 1870 - Arles, 1948 Pastel Signed lower right "G. Pomerat" 53 x 49 cm (65 x 60 cm with frame) Excellent condition
This is an interresting interi...
Category
Expressionist 1920s Art
Materials
Pastel
Subway Construction in Paris, 1928, Silver Gelatin Black and White Photography
Located in Atlanta, GA
A unique original silver gelatin black and white photography, Paris, The subway construction in Place de la Bastille, Paris, November 1928.
Features:
Original Silver Gelatin Print Ph...
Category
Art Deco 1920s Art
Materials
Silver Gelatin
Farm Horse Drunking
Located in Fairlawn, OH
Farm Horse Drunking
Charcoal and pastel on artist's board, c. 1920
Signed lower right in pencil (see photo)
Titled in ink lower center, as are all the illustration for At the Farm (s...
Category
English School 1920s Art
Materials
Chalk
Paris, Decorative Art Exhibition 1925, Barge on the Seine, B and W Photography
Located in Atlanta, GA
A unique original silver gelatin black and white photography.
The International Decorative Arts Exhibition in Paris, October 1925. On the Seine River, The Department Store "Belle Jar...
Category
Art Deco 1920s Art
Materials
Silver Gelatin
Early 20th Century Study of Jean Leon Gerome Ferris' Lion -- The Two Majesties
Located in Soquel, CA
Wonderful early 20th Century study of Jean Leon Gerome Ferris's 1885 Lion and Sun landscape "The Two Majesties." Unsigned. Condition: One tear professiona...
Category
Impressionist 1920s Art
Materials
Linen, Oil
The Hunting Prince by Orovida Pissarro - Etching
Located in London, GB
The Hunting Prince by Orovida Pissarro (1893 - 1968)
Etching
15 x 20 cm (5 ⅞ x 7 ⅞ inches)
Signed and dated lower right Orovida 1926
Inscribed lower left Trial proof no.14 and titled lower middle
Provenance: Private collection, Europe
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...
Category
1920s Art
Materials
Etching
Circa 1920 Originale poster by Charles Tichon - the Hotel de l'abbaye in Lourdes
Located in PARIS, FR
Beautiful poster by Charles Tichon for the Hotel de l'abbaye in Lourdes. Lourdes is a city in southwestern France, at the foot of the Pyrenees. It is known for its Sanctuaries of Our Lady of Lourdes...
Category
1920s Art
Materials
Linen, Paper, Lithograph
Rudolf v. Rittner as Florian Geyer - Last man standing -
Located in Berlin, DE
Lovis Corinth (1858 Tapiau - 1925 Zandvoort), Rudolf von Rittner as Florian Geyer, 1924 (Müller 854), drypoint signed in pencil. 20.4 × 14.2 (plate size), 37.7 × 30.6 cm (sheet size). Published by Karl Nierendorf, Berlin. Framed in a passepartout.
- Strong, precise impression. Frame a little bit rubbed and with two small damages.
About the artwork
The knight is a leitmotif in Lovis Corinth's work, culminating in his Self-Portrait in Armour of 1914. Of all the paintings on this theme, Corinth most often depicted Florian Geyer. Descended from a Franconian noble family, he fought for the freedom of the peasants during the peasant wars of the Reformation, first diplomatically and then militarily, leading the legendary Schwarzen Haufen (Black Troops). The name derives from the black uniforms with which Geyer dressed the peasants willing to fight.
During the Napoleonic occupation, the freedom fighter Florian Geyer was sung about by the Romantics, and the free corps Die Schwarze Schaar, founded in 1813 by Major von Lützow, succeeded the Schwarzer Haufen. It was against this historical background that Gerhard Hauptmann wrote the revolutionary drama Florian Geyer, which premiered at the Deutsches Theater in Berlin in 1896. While the actor Rudolf Rittner, who would later appear in Fritz Lang's films, initially played the role of Schäferhans, he took over the leading role in the new production at Berlin's Lessing Theatre in 1904, again directed by Emil Lessing, which established his fame as an actor. Hauptmann himself praised the acting. He wrote to Hugo von Hofmannsthal: "It went quite well with Florian Geyer. In any case, I had the great pleasure of seeing the play again in an admirable performance". And Lovis Corinth was so taken with Rittner's performance that he painted an oil portrait of him in the role of Florian Geyer in 1906.
After two further graphic versions in 1915 and 1920/21, Corinth returned to the painting a year before his death and almost twenty years after the oil painting to create this graphic version in 1924. Even the inscription in the picture was taken over. This proves all the more the importance of the knight and freedom fighter for Corinth's self-image.
The oil painting, in particular, proclaims the single-minded determination to fight to the last for the values defended, manifested in the oil painting by the tattered flag held out to the enemy. There is a parallel with Rainer Maria Rilke's 1899 story The Cornet, in which the protagonist goes down with the flag that he first saved at the risk of his life.
Consequently, the portrait is also a self-portrait, and the knight's armour is not an academic costume or an ironic refraction, but an expression of Corinth's self-image, which also includes his self-representation as an artist. The Secession poster...
Category
Expressionist 1920s Art
Materials
Etching
Paris, Decorative Art Exhibition 1925, The Russian Pavilion, B and W Photography
Located in Atlanta, GA
A unique original silver gelatin black and white photography.
The International Decorative Arts Exhibition in Paris, October 1925. The front entrance of the Russian Pavilion.
Feature...
Category
Art Deco 1920s Art
Materials
Silver Gelatin
Bou-Saâda, Algeria - French Impressionist Oriental Antique Landscape Painting
Located in Sevenoaks, GB
A beautiful signed and dated 1922 oil on wood panel depicting Bou Saâda in Algeria, by the French Orientalist artist Paul Nicolai. The work is inscribed ''P....
Category
Impressionist 1920s Art
Materials
Wood Panel, Oil
Antique American School Signed Panoramic Sunset Landscape Framed Oil Painting
Located in Buffalo, NY
Antique American impressionist lake landscape signed oil painting. Oil on canvas. Signed. Framed. Image size, 20L x 16H.
Category
Impressionist 1920s Art
Materials
Canvas, Oil
Le Fleur Du Marécage - after Odilon Redon - 1923
By Odilon Redon
Located in Roma, IT
Le Fleur Du Marécage is a phototype reproduction realized after Odilon Redon.
They belong to the suite "Odilon Redon Peintre, Dessinateur et Graveur", published by Henri Felury in ...
Category
Symbolist 1920s Art
Materials
Photogravure
Le quai Sainte Catherine à Honfleur
Located in LE HAVRE, FR
Georges Albert CYR (1880-1964)
Le quai Sainte Catherine à Honfleur, 1924
Size: 60 x 73 cm
Signed lower right
Provenance :
- Tuffier Gallery, Les Andelys
- Private collection, Norma...
Category
French School 1920s Art
Materials
Canvas, Oil
"Mount Rockwell, Glacier National Park, Montana, " Mountain Lake Landscape View
Located in New York, NY
Charles Warren Eaton (1857 – 1937)
The Shadow of Mount Rockwell, Glacier National Park, Montana, 1921
Oil on canvas
20 x 24 inches
Signed lower right: CHAS WARREN EATON.
Provenance:
The artist
The Macbeth Gallery, New York
Private Collection
Sotheby's New York, American Art, April 14, 1989
ConocoPhillips, Houston
Simpson Galleries, Houston, Fine Art & Antiques, May 18, 2019, Lot 447
Exhibited:
New York, The Macbeth Gallery, Paintings of Glacier National Park by Charles Warren Eaton, December 13, 1921 - January 2, 1922, no. 2.
Literature:
"Two Exhibitions at Macbeth's," American Art News, New York, Vol. XX, No. 10, December 17, 1921.
A contemporary critic wrote that the paintings of Charles Warren Eaton appeal to “the dreamers who find in them the undiscovered scenes in which their fancy long has dwelt.” Eaton’s contemplative landscapes exude a spiritual quality that moves the observer into a similar frame of mind. He loved to depict the ethereal light of dawn and dusk in late autumn or winter, usually without any reference to human or animal figures or buildings. These Tonalist paintings, with their subdued palette and relatively intimate scale, marked a definite break with the fading popularity of the panoramic and romantic views of the Hudson River School painters.
Charles Warren Eaton was born in Albany, New York to a family of limited means. He began painting while working in a dry-goods store. At age 22, he enrolled at the National Academy of Design in New York City and then studied figure painting at the Art Students League. By 1886, he was successful enough to quit his day job and make a living as a landscape painter. That year, he traveled to Europe with fellow Tonalist painters Leonard Ochtman and Ben Foster. In France, Eaton visited popular artist’s spots such as Paris, Fontainebleau and Grez-sur-Loing, and fell in love with the loose brushwork and moody style of French Barbizon painting.
Returning to the United States, Eaton fell under the spell of George Inness, the foremost exponent of Barbizon style in the United States. In 1888, Eaton settled near Inness in Bloomfield, New Jersey, where Eaton lived until his death in 1937. In this period, he painted shadowy and ambiguous landscapes inspired by rural scenery in the northeastern United States. His signature theme was a cropped view of the branches, trunks, and foliage of a pine grove silhouetted against a delicately illuminated sunset or moonlit sky. He painted this vision so often between 1900 and 1910 that he picked up the sobriquet ‘‘The Pine Tree Painter.”
After 1910, Eaton responded to the popularity of Impressionism by using brighter colors and painting sunlit daytime scenes. In 1921, he was hired to paint Glacier Lake, in Glacier National Park by the Great Northern Railroad Company as part of their ‘See America First’ campaign. He produced more than 20 paintings, among the artist's last works, that now poignantly remind viewers of the vast disappearing glaciers. Eaton tended to approach this mountain scenery from an oblique vantage point; he liked to capture small episodes, showing mountaintops nearly obscured by dramatically attenuated screens of fir trees.
Eaton, like many Tonalist artists of his generation such as Henry Ward Ranger, John Francis Murphy, and Charles Melville Dewey...
Category
Tonalist 1920s Art
Materials
Canvas, Paint, Oil
Jean Launois (1898-1942) Opium smokers, Indochina, original drawing
Located in Paris, FR
Jean Launois (1898-1942)
Opium smokers, Indochina
Stamp of the artit's estate on the lower right
Black ink on paper
22.5 x 30.5 cm
Framed : 38 x 46 cm
This beautiful drawing, a fine example of Jean Launois' particular art, dates from the artist's stay in Indochina, from which he brought a group of works. An exhibition devoted to this Indochinese period of the artist's production was held at the Musée de l'Abbaye Sainte-Croix, Sables d'Olonne in 1998.
About the artist :
Of Vendée origin, Jean Launois very quickly showed a sure talent for drawing and was encouraged in this by his parents. He trained with his fellow Vendeans Charles Milcendeau and Auguste Lepère and then entered the Académie Jullian in Paris.
Enrolled in the First World War in 1916, he continued to draw at the front, and produced numerous portraits of soldiers...
Category
Post-Impressionist 1920s Art
Materials
Ink
The dunes on the Belgian coast
Located in Genève, GE
Work on paper
Gray wooden frame with glass pane
33 x 47.5 x 2 cm
Category
1920s Art
Materials
Watercolor
View of a bridge in Lyon, France 1927 Silver Gelatin Black and White Photography
Located in Atlanta, GA
A unique original silver gelatin black and white photograph. View of a bridge in Lyon, France, March 1927.
This view of the Pont de l'Université in Lyon, France, was taken from the ...
Category
Art Deco 1920s Art
Materials
Silver Gelatin
Venice
Located in Genève, GE
Work on canvas
Molded frame in wood and gilded plaster
68 x 59 x 7 cm
Category
American Modern 1920s Art
Materials
Oil
Landscape by the lake
Located in Genève, GE
Work on canvas
Category
1920s Art
Materials
Oil
Jacques Lipchitz - Prometheus, Original Gouache Painting
Located in Saint Augustine, FL
Lipchitz’s reputation for being a painterly Cubist sculptor is understood through his semi-abstract paintings like “Prometheus”. His use of monochrome gouache to create distorted figures from the negative spaces is distinctive.
Jacques Lipchitz was a celebrated Lithuanian-born French sculptor best known for his Cubist works...
Category
Cubist 1920s Art
Materials
Gouache
San Diego Harbor at Night - Nocturnal Coastal Scene with US Navy Ships
Located in Soquel, CA
Serene nocturnal seascape by George Fotherly Hargitt (American/Scottish, 1837-1926). The San Diego harbor stretches out in front of the viewer, depicted from a vantage point above th...
Category
American Impressionist 1920s Art
Materials
Watercolor, Laid Paper, Gouache
Chatter by Orovida Pissarro - Etching
Located in London, GB
Chatter by Orovida Pissarro (1893-1968)
Etching
26 x 19 cm (10 ¹/₄ x 7 ¹/₂ inches)
Signed and dated lower right Orovida 1927
Inscribed lower left Trial proof no. 18/25 and titled lower middle
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...
Category
Post-Impressionist 1920s Art
Materials
Etching
"Moonlit River Scene", Early 20th Century Oil on Canvas by Luis Graner y Arrufi
By Luis Graner Y Arrufi
Located in Madrid, ES
LUIS GRANER Y ARRUFI
Spanish, 1863 - 1929
MOONLIT RIVER SCENE
signed and dated "L. Graner, 1925" (lower right)
Oil on canvas
20-1/8 X 30 inches (51X 76 cm.)
framed: 25-3/4 X 35-3/4 inches (65 X 90.5 cm.)
PROVENANCE
NEAL AUCTION COMPANY, New Orleans, LA, USA
Private Collection, Barcelona
Graner paints this work, Moonlit on the river, during his stay in the United States in the last stage of his artistic life, from 1910 to 1928, in full stage of maturity.
This artwork reflects the constant search of the artist for the effects of light in his work. This persistent concern for light remains throughout his artistic life, which he learned in his Parisian stage under the influence of the painter Frances Platour.
The silver light of the moon and the small lights at distance, which are tiny foci of artificial light, reflecting the river water, forming a chromatic range of greens, ocher and pearly that give a certain mystery to the composition, creating a modern approach to the landscape, by placing the two large trees at the edge of the river in the foreground
Luís Graner y Arrufí, Spanish (1863–1929) was a Catalan painter in the Realistic style.
He was born in Barcelona, and studied at the Escola de la Llotja from 1883, with Antoni Caba (color/composition) and Benet Mercadé (drawing).
During his final year at school, he received a grant to study in Madrid, where he copied and learned from the Old Masters at the Museo del Prado. After that, supported by a fellowship, he moved to Paris and became a member of the Academie des Beaux-Arts. Later, he returned to Barcelona, but continued to travel to cities throughout Europe, including Berlin, Munich and Düsseldorf.
Influenced by Richard Wagner's concept of "Gesamtkunstwerk" (Total Work of Art), he was motivated to create his own total art experience and organized the "Sala Mercè" (Mercy Hall) in Barcelona's Rambla District. The project involved contributors from every artistic discipline, including the new field of cinematography. The room was decorated by Antoni Gaudí. Other participants included Adrià Gual, Santiago Rusiñol, Ramon Casas...
Category
Realist 1920s Art
Materials
Canvas, Oil