1920s Art

Jean Cocteau ( 1889 - 1963 ) " Centurion " . " Unic work dadaist " circa 1928 . certifié par Madame Annie Guédras en décembre 2004 . ( certificat joint en photo )

*PLEASE NOTE UK BUYERS WILL ONLY PAY 5% VAT ON THIS PURCHASE. Once an order is placed we will arrange the VAT of 20% to be reduced to 5% L'homme au chapeau melon (1887-1985) Lithogr...

Artist: Jean-Jacques Berne-Bellecour, French (1874 - 1939) Title: Untitled - Snowy River Landscape Year: circa 1920 Medium: Oil on Canvas, signed l.l. Size: 21.5 in. x 29 in. (54.61 ...

In this luminous Belle Époque scene, Manuel Robbe turns his refined eye to Place Blanche, one of Paris's most animated quarters, located at the foot of Montmartre and famed for its p...

A Striking 1920s Art Deco Modern Portrait of a Young Woman by Notable Chicago Artist, Walter Burt Adams (Am. 1903-1990). A well executed, early student work depicting a stylish youn...

We are proud to present an exquisite drawing by the renowned artist Christian Berg (1893-1976), executed around the 1920s. This captivating artwork port...

The present work was reproduced as an illustration for Bruce Barton's story "The Boy Who Established a Nation," published in the February 1929 issue of Good Housekeeping. Part of an ...

Self Portrait Marie Laurencin, French (1885–1956) Date: 1920 Lithograph, signed in pencil lower left Image Size: 8 x 5 inches Size: 13 x 9.75 in. (33.02 x 24.77 cm)

Signed with printed title on the front of the print. Very early parmelian print by Ansel Adams.

Maurice De LAMBERT Art Deco : The Harvest, 1927 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of the editor 'Imagier de la Gravure sur Bois...

California Tile Mural Salvador Hernandez-Ch Circa 1920s California Tile Maker Image Size: Approx 36 x 96 3 feet tall and 8 feet across. very heavy 400 lbs or more. Medium: Tile & Wro...

Portrait of Ludwig Van Beethoven is an artwork realized in 1920 ca. by Max Wulff. Black and white lithograph. Not signed.

Archipelago coastal landscape at Pataholm, Kalmarsund. Color crayon on paper, signed, dated and with dedication “Till Melcher Fagerlund från Oscar Hullgren, Pataholm, 30.6.-25.” (19...

Original Annual Roll Call vintage poster. Archival linen backed. Original fold marks touched up during linen backing. With the red cross ship sailing on the horizon in this image; the two lost survivors floating on wooden planks out at sea can now be rescued. Saved by the Red Cross. Possibly a different outlook during wartime on the "Loose Lips Sink Ships" Very little information is documented about this artist, E. Seaver. Linen-backed, post-World War 1 Red Cross poster...

Step into the enchanting world of vintage poster art, where Robert Falcucci's 1929 masterpiece for Veuve Amiot Grands Vins Mousseux captures a moment of shared elegance and romance. This poster not only celebrates the allure of sparkling wine but also showcases the artistic finesse of its creator, Robert Falcucci. Robert Falcucci, a celebrated French poster artist, was renowned for his ability to infuse his creations with sophistication and timeless charm. His artwork often celebrated life's pleasures, and the 1929 poster...

This superb Scottish Impressionist landscape oil painting is by noted artist George Houston. The location is the River Ayr in spring and it was painted circa 1920. The choppy river i...

Algerian women in an interior. Oil on panel. Signed. This work will be recorded in the catalogue raisonné of the work of the artist currently in preparation. Jules Van Biesbroeck...

Lithograph on vélin pur fil des Papeteries du Marais, realized by Cocteau in 1929. Belongs to the suite "25 Dessins d'Un Dormeur", published by H. L. Mermod, Lausanne. Edition of 2...

Derby Spectator A spectator looking through binoculars at the Derby horse races, Epsom, Surrey, June 1923. (Photo by Hulton / Getty Archive) Silver gelatin fibre print 20 x 24" p...

Le Liseur is a prototype reproduction realized after Odilon Redon. They belong to the suite "Odilon Redon Peintre, Dessinateur et Graveur", published by Henri Felury in 1923. Titl...

Darling gouache and pencil sketch of a feminine stage costume complete with matching bonnet for a Paris theater by Willie & Co., circa 1930. Original artwork on paper displayed on a...

Amy Londoner Musical Conductor, 1922 Signed and dated lower right Pastel on paper Sight 18 x 23 inches Amy Londoner (April 12, 1875 – 1951) was an American painter who exhibited at the 1913 Armory Show. One of the first students of the Henri School of Art in 1909. Prior to the Armory Show of 1913, Amy Londoner and her classmates studied with "Ashcan" painter Robert Henri at the Henri School of Art in New York, N.Y. One notable oil painting, 'The Vase', was painted by both Henri and Londoner. Londoner was born in Lexington, Missouri on April 12, 1875. Her parents were Moses and Rebecca Londoner, who moved to Leadville, Colorado, by 1880. In 1899, Amy took responsibility for her father who had come to Los Angeles from Leadville and had mental issues. By 1900, Amy was living with her parents and sister, Blanche, in the vicinity of Leadville, Denver, Colorado. While little was written about her early life, Denver City directories indicated that nineteenth-century members of the family were merchants, with family ties to New York, N.Y. The family had a male servant. Londoner traveled with her mother to England in 1907 then shortly later, both returned to New York in 1909. Londoner was 34 years old at the time, and, according to standards of the day, should have married and raised a family long before. Instead, she enrolled as one of the first students at the Henri School of Art in 1909. At the Henri School, Londoner established friendships with Carl Sprinchorn (1887-1971), a young Swedish immigrant, and Edith Reynolds (1883-1964), daughter of wealthy industrialist family from Wilkes-Barre, PA. Londoner's correspondence, which often included references to Blanche, listed the sisters' primary address as the Hotel Endicott at 81st Street and Columbus Avenue, NYC. Other correspondence also reached Londoner in the city via Mrs. Theodore Bernstein at 252 West 74th Street; 102 West 73rd Street; and the Independent School of Art at 1947 Broadway. In 1911, Londoner vacationed at the Hotel Trexler in Atlantic City, NJ. As indicated by an undated photograph, Londoner also spent time with Edith Reynolds and Robert Henri at 'The Pines', the Reynolds family estate in Bear Creek, PA. Through her connections with the Henri School, Londoner entered progressive social and professional circles. Henri's admonition, phrased in the vocabulary of his historical time period, that one must become a "man" first and an artist second, attracted both male and female students to classes where development of unique personal styles, tailored to convey individual insights and experiences, was prized above the mastery of standardized, technical skill. Far from being dilettantes, women students at the Henri School were daring individuals willing to challenge tradition. As noted by former student Helen Appleton Read, "it was a mark of defiance,to join the radical Henri group." As Henri offered educational alternatives for women artists, he initiated exhibition opportunities for them as well. Troubled by the exclusion of work by younger artists from annual exhibitions at the National Academy of Design, Henri was instrumental in organizing the no-jury, no-prize Exhibition of Independent Artists in 1910. About half of the 103 artists included in the exhibition were or had been Henri students, while twenty of the twenty-six women exhibiting had studied with Henri. Among the exhibition's 631 pieces, nine were by Amy Londoner, including the notorious 'Lady with a Headache'. Similarly, fourteen of Henri's women students exhibited in the groundbreaking Armory Show of 1913, forming about eight percent of the American exhibitors and one-third of American women exhibitors. Of the nine documented works submitted by Londoner, five were rejected, while four pastels of Atlantic City beach scenes, including 'The Beach Umbrellas' now in the Remington Collection, were displayed. Following Henri's example, Londoner served as an art instructor for younger students at the Modern School, whose only requirement was to genuinely draw what they pleased. The work of dancer Isadora Duncan, another artist devoted to the ideals of a liberal education, was also lauded by the Modern School. Henri, who long admired Duncan and invited members of her troupe to model for his classes, wrote an appreciation of her for the Modern School journal in 1915. She was also the subject of Londoner's pastel Isadora Duncan and the Children: Praise Ye the Lord with Dance. In 1914, Londoner traveled to France to spend summer abroad, living at 99 rue Notre Dames des Champs, Paris, France. As the tenets of European modernism spread throughout the United States, Londoner showed regularly at venues which a new generation of artists considered increasingly passe, including the annual Society of Independent Artists' exhibitions between 1918 and 1934, and the Salons of America exhibition in 1922. Londoner also exhibited at the Morton Gallery, Opportunity Gallery, Leonard Clayton Gallery and Brownell-Lambertson Galleries in NYC. Her painting of a 'Blond Girl' was one of two works included in the College Art Associations Traveling Exhibition of 1929, which toured colleges across the country to broad acclaim. Londoner later in life suffered from illnesses then suffered a stroke which resulted in medical bills significantly mounting over the years that her old friends from the Henri School, including Carl Sprinchorn, Florence Dreyfous, Florence Barley, and Josephine Nivison Hopper, scrambled to raise funds and find suitable long-term care facilities for Londoner. Londoner later joined Reynolds in Bear Creek, PA. Always known for her keen wit, Londoner retained her humor and concern for her works even during her illness, noting that "if anything happens to the Endicott, I guess they will just throw them out." Sprinchorn and Reynolds, however, did not allow this to happen. In 1960, Londoner's paintings 'Amsterdam Avenue at 74th Street' and 'The Builders' were loaned by Reynolds to a show commemorating the Fiftieth Anniversary of the Exhibition of Independent Artists in 1910, presented at the Delaware Art Center, Wilmington, DE. In the late 80's, Francis William Remington, 'Bill Remington', of Bear Creek Village PA, along with his neighbor and artist Frances Anstett Brennan, both had profound admiration for Amy Londoner's art work and accomplishments as a woman who played a significant role in the Ashcan movement. Remington acquired a significant number of Londoner's artwork along with Frances Anstett Brenan that later was part of an exhibition of Londoner's artwork in April 15 of 2007, at the Hope Horn...

Original vintage poster: The Three Musketeers. A British theater antique original poster. Museum linen backed. Grade A Condition: fine. ...

La Tresse (Anais) Etching with stipple, October 1926 Signed in pencil lower right (see photo) Signed and dated in reverrse in the plate lower left Edition: 111, published by Conaghi,...

Lake Street, c. 1920 -30s, oil on board, 12 x 9 inches, signed lower right and verso, titled verso About the Painting At the center of Oscar Daniel Soellner’s Lake Street, we see the stairway leading to an elevated railway station on what is now Chicago’s Green Line route. When its first section opened in 1893 as the second permanent elevated rapid transit line in Chicago, this route was known as the Lake Street Elevated Railroad. Chicago’s “L,” like the New York subway and rapid transit system, played an instrumental role in the development of the urban economy and the overall look and feel of the city. The formal aspects of urban railroads and the role they played in efficiently moving large number of everyday citizens across America’s growing metropolises were catnip for many American Scene painters during the first half of the 20th Century. Here, Soellner uses the techniques of the impressionists and the palette of the Ash Can School, to convincingly depict a classic Chicago scene...

Herbert Bayer Sale and Marketing Kiosk for P Cigarettes (Verkauf- und Werbekiosk, Zigarettenmarke P ), 1924 Offset Lithograph Year: 1994 Size: 33.2 × 23.2 inches Publisher: Bauhaus A...

This elegant circa 1920 poster by Constant Duval, one of the premier illustrators of early 20th-century French tourism, captures the allure and prestige of the Pavillon Royal—a seasi...

Signed and titled oil on panel figures in landscape circa 1920 by French impressionist painter Andre Devambez. The piece depicts couples and families enjoying a day at the beach at Y...

Stamped with the signature 'chAgAll' (lower left), inscribed '8 90-44 Passy.' (center left) and inscribed 'Carnot 35.40' (lower right) Pen and India ink on paper Executed circa 192...

Dick Beer (b. London 1893 - d. Stockholm 1938) Utsikt från fönster, View From a Window, 1920 oil on canvas 73 x 60.5 cm stamp signed painted 1920 Exhibi...

From the Series “Métamorphoses”, one of the most important graphic works of the founder of the “Metafisica” Movement. Original colour etching numbered and signed by the artist, reali...

Edward Steichen – Fred Astaire, 1927 – This iconic portrait of legendary entertainer Fred Astaire was taken in 1927 by Edward Steichen, one of the most influential photographers of ...

Armando Menocal Retrato de Dama, 1923 Oil on canvas 33 x 24,5 in Signed on the lower right

Signed and dated post impressionist oil on canvas interior scene by French painter Jean Dufy. This colourful piece depicts a view of the artist's studio with a view of the city of Mo...

Le Bonheur du Jour by George Barbie (Nantes, 1889 - Paris, 1932) is an original artwork realized in 1929 cover of the homonymous suite of pochoir realized b...

A lithograph by George Bellows. “Tennis (Tennis Tournament)” is a realistic lithograph on paper in black and white by American Realist, George Bellows. Bellows’ depictions of sportin...

Combining soft sunlight, shadows, and reflections, French artist G. Genin provides an impressionistic view of the Pont Royal in Paris, 1921. Located between the Quai Anatole France a...

Huile sur panneau par Peter Pàlffy, représentant des chevaux. Dimensions avec le cadre: 77x99 cm Peter Pallfy est un peintre autrichien du XX siècle que a...

This 1927 Obligation au Porteur is a financial document that represents a bearer bond issued by the department store company Paris-France, a flourishing French retail enterprise of t...

Incredible early American impressionist landscape painting by Frank De Villo Knapp (Born 1896) . Oil on cancas. Nicely framed in a period gold impressionist frame. Great impasto a...

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 ...

Camille BELTRAND (1877-1951) Peaceful Landscape in Normandy, 1924 Original woodcut Handsigned in pencil Numbered /105 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp ...

The Deserted Palace. 1928. Etching. Hardie/Carter 236. 8 1/2 x 10 (sheet 10 1/2 x 12 3/8). Edition 80, #53. A rich impression printed in bistre ink with pl...

Kunsttöpferei Kandern (1897-1927), Bulbous vase with clay-colored gradient glaze on a black-blue ground, between 1914 and 1927. Terracotta, marked 'KTK' on the underside and identifi...

Albert Liedbeck (1881 - 1955) Sweden Landscape With Blue Mountains oil on canvas canvas dimensions 22.04 x 30.70 inches (56 x 78 cm) frame 24.40 x 31.67 inches (62 x 83 cm) signed ...

Honoré BROUTELLE (1866-1929) Mythology : Grape Harvest with Faun and Centaur, 1921 Original woodcut Handsigned in pencil Numbered /125 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears...

L'Ecuyere is a beautiful original lithograph realized by Georges Rouault in 1920. Hand-signed and numbered by the artist in pencil. Edition of 25 prints. 5th ad final state of a s...

An original circa 1920 oil on canvas by American artist Albert Byron Olson (1885–1940), “The Shining Angel of Remembrance.” This evocative early 20th-century painting depicts a coupl...

Antique American impressionist oil painting by Felicie Waldo Howell (1897 - 1968). Oil on board, circa 1928. Signed. Displayed in a period giltwood frame. Image, 12"L x 6"H.

Still Life is a lithograph realized by Raoul Dufy in 1920. Good conditions. Edition of 110. The artwork is depicted through confident strokes in a well-balanced composition.

Nicely painted European cityscape painting. Framed. Oil on board. Image size, 20H by 16L.

⭐Apple Starwars ⭐ This painting is a striking representation of an apple, blending realism with expressive abstract elements. ⏩Subject & Composition⏪ The painting features a single...

Medium: Watercolor, Ink and Appliqués on Board Signature: Signed Lower Right Sight Size 16.00" x 12.00", Framed 26.00" x 22.00" Glorifying The American Girl...

Finely painted American impressionist seascape painting. Oil on board. Signed. Framed. Measuring 14 by 20 inches.

Early 1920s Spanish Village Landscape Oil Painting Mediterranean Plein Air Artist: Manuel Isidor Valle Micolau (1874–1959) Title: Spanish village landscape Date: c.1925 Medium: Oil on cardboard Dimensions: 11.5 × 19 cm (4.53 × 7.49 in) Frame dimensions: 22 × 28 cm (8.66 × 11.02 in) Signature: Signed lower left Condition: Good vintage condition Frame: Included Charming early 20th-century Mediterranean village landscape painted around 1925 by Spanish artist Manuel Isidor Valle Micolau. This small yet atmospheric plein-air composition captures the luminous architecture and open spatial rhythm typical of Catalan and Spanish townscapes of the period. The warm ochre building at left anchors the composition while the distant white houses and terracotta roofs dissolve softly into a quiet horizon under a pale sky. Executed with a fresh and direct brushstroke typical of outdoor painting practice, the work preserves the immediacy and spontaneity of early modern Iberian landscape tradition. The palette balances sandy earth tones with soft greys and Mediterranean light blues, creating a refined decorative presence despite its intimate scale. Works of this type were often painted on location and function today as authentic visual fragments of pre-industrial Spain, highly appreciated by collectors seeking original European atmosphere rather than studio reinterpretations. A refined and elegant example of early 20th-century Spanish plein-air painting. Manuel Isidor Valle Micolau (1874–1959) was a Spanish painter and photographer trained at the Círculo de Bellas Artes in Madrid and later active in Vic, Catalonia. His work reflects the transition between late academic landscape tradition and early modern plein-air practice in Spain, focusing on architecture, village environments, and atmospheric studies of Mediterranean light. Today his paintings are appreciated for their documentary sensitivity and their connection to the development of early 20th-century Catalan landscape painting. This work relates to the Mediterranean plein-air tradition associated with: Joaquín Sorolla Santiago Rusiñol Modest Urgell Eliseu Meifrèn and early Catalan landscape painters working between Impressionism and Post-Impressionism. Original early 20th-century Spanish plein-air paintings of this intimacy and authenticity are increasingly difficult to source. Spanish landscape painting Mediterranean village painting Catalan landscape painting plein air oil painting 1920s Spanish painting European townscape small antique oil painting...

Work on canvas

This lovely portrait was painted circa 1920 by the noted British Impressionist portrait painter Walter Ernest Webster. This painting depicts a beautiful young woman in an Impressioni...

An authentic 1919 Peugeot Bicycles French stone lithograph, depicting a refined cyclist with his bicycle in a serene park setting, rendered in a classic early 20th-century illustrati...

Sterndale Bennett Honor 1886-1975 Watercolour artist, born in Watford, she married into the famous family noted for its composers and for its military members. As an army wife she s...

Mabel E. Johnston Untitled, c. 1920s Watercolor and pencil on paper Sight: 18 x 12 1/2 in. Framed: 39 x 21 1/4 x 1/2 in. Signed lower right: Mabel E. Johnston The first tidbit I fou...