1920s Art

Beautiful colorist Alf Sundstrom oil on canvas painting of moonlight over a Stolphärbre in Sweden 1923. Wilhelm Alfons (Alf) Maria Sundström was born April 16, 1888 in Nansta, Gävle...

This watercolour is hand signed and dated in pencil by the artist "Heckel 22" [1922] in the lower left image. It is also hand titled in pencil “Grauer Tag” [Grey Day] in the lower l...

This commanding industrial photograph dates from 1928, a pivotal year in the early career of Margaret Bourke-White, and belongs to the definitive body of work that established her as...

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.

One and Many is an original woodcut print realized by Mino Maccari (1929). The artwork is in good conditions on a yellowed paper. Hand-signed by the artist on the lower right corne...

Mary Elizabeth Price Dahlias and Lustre, circa 1925 Signed within a cartouche lower right, titled verso Oil and gold leaf on Masonite Oval 16 1/4 x 22 inches Provenance The artist F...

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...

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...

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

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...

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...

Raoul Dufy, French (1877 - 1953) - Le Boeuf Sur Le Toit, Year: 1920, Medium: Lithograph on wove paper, signed in the plate, Image Size: 11.5 x 9 inches, Size: 12.75 x 9.75 in. (32....

This original drypoint is hand signed in pencil by the artist “Kandinsky” at the lower right margin. It is also monogrammed and dated in the plate “VK 22” at the lower left image. It...

Firmado por el artista en la parte inferior Estado de conservación bueno Se presenta bien enmarcada la obra Medidas obra: 60 cm altura x 20 cm ancho. Medidas marco: 76 cm altura ...

Otto Schubert Pen & Ink Fairy Tale is an original pen & ink sketch 1927 from one of the artist's illustrations for a fairy tale. There is a father and mother fox talking to two younger versions of themselves. They are all dressed in human clothes at the door of their house with smoke coming out of the chimney. Next to the house is a tree with a mountain in the background and another house in the distance. There is gardening equipment here and there. In the foreground we see sketches of a rabbit in different poses with some writing in German below the middle image.The artis'ts pencil signature is bottom right. A rare opportunity to own an original signed sketch by this artist. There is a wrinkle in the bottom right side otherwise normal wear and in fair condition. Karl Max Otto Schubert ( 1892-1970 ) was a rising star in Dresden when the city was considered the cultural center of Germany. In 1919 he founded the Dresdner Sezession Gruppe together with Oskar Kokoschka, Otto Dix, Conrad Felixmüller and others. Schubert was known for his portfolio of war lithographs...

Signed and dated post impressionist watercolor on paper seascape by French painter Jean Dufy. This colourful piece depicts sail boats at the port of Le Havre in France - a commercial...

This exquisite circa 1920 original exhibition poster, Le Cortège de la Côte d’Azur, is a remarkable work by Auguste Roubille (1872–1955), a celebrated French illustrator and poster a...

Herbert Haseltine Sudbourne Premier: Suffolk Punch Stallion, 1927 Signed left side: © HASELTINE / MCMXXVII Bronze, dark brown patina, parcel gilding ...

Scottish artist John Maclauchlan Milne, RSA, (1885-1957) is a contemporary of Scottish Colourists Peploe, Fergusson, Cadell and Hunter. Like the...

Original vintage Cognac Pellisson poster by Leonetto Cappiello of figure carrying Pellison Pere & Co. Cognac barrel printed by Vercasson. Raised Maxmi...

Wintertime Forest Landscape is an original oil painting by Belgian artist Louis Clesse (1889–1961), dating to circa 1920. Signed at the lower right, this early 20th-century woodland ...

Rene Charles Edmond HIS 1877 - 1960 Signed antique oil painting. Canvas Size: 18 x 22" (46 x 56cm) Outside Frame Size: 24 x 28" (60 x 70cm) Provenance: This was owned by the highly ...

Signed oil on canvas riverscape circa 1920 by French post impressionist painter Robert Antoine Pinchon. This very fine large example depicts a view the River Seine near to Rouen in n...

Artist: Vincent Manago, French (1880 - 1936) Title: Two Fishermen Year: 1926 Medium: Oil on Board, signed l.l. Size: 29 x 36 inches (73.66 x 91.44 cm) Frame Size: 33 x 40.5 inches

The 1930 green edition of the Paris-France bearer bond carries with it the weight of transition. Issued just after the Wall Street Crash of 1929, this certificate offered a lower int...

Original collotype lithograph of Gustav Kilmt’s Woman in dress, published in the 1922 Handzeichnungen portfolio by Thyrsos Verlag, Leipzig and Vienna, i...

Seibutsu (Still Life) A Vase and Apples Color woodcut, 1925 Signed on the mount (support sheet) From: Dojin zasshi, Hanga Magazine, Volume 8, No. 8 Condition: Excellent Image/Sheet ...

Oil on canvas, signed lower right. Jean Bouchaud (1891 in Saint Herblain near Nantes – 1977 in Nantes) was a French painter. He was fascinated by travel since his childhood seeing s...

An early twentieth-century, American Impressionist School oil landscape showing a sunlit view of a woman standing on a country road lined with eucalyptus trees. The work of an anonym...

7th Avenue Canyon Etching, 1927 Signed and titled in pencil by the artist (see photo) Depicts what was then referred to s the Garment Disctrict in New York City. References And Exhib...

Still Life with Tromp L'Oeil Graphite and watercolor on a book page. Signed in ink by the artist lower right corner (see photo) Provenance: Estate of the artist (Estate No. 00916 verso) Ray Sommer (the artist's son) Joseph M. Erdelac (No. 18 JME verso) Book page verso is an illustration of a Durer woodcut...

Sketch for a theatrical Costume is a modern artwork realized after Sergei Eisenstein in 1921. Mixed colored phototype print. Includes frame: 44.5 x 33.5 cm Fair conditions due to ...

Consequences is an ink and watercolor drawing on ivory-colored paper, in the 1920s realized by Luigi Bompard (1879-1953). Hand-signed in pen on the lower margin. In good condition...

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...

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)

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...

Landscape is an original pouchoir artwork realized in 1920 by Leonardo Brunelleschi. The State of preservation is very good. The artwork represents the scenery of a road trip by ca...

EDMUND DULAC (1882-1953) The Sleeping Princess – A Costume Design for the Ballet “The Sleeping Princess” Watercolour over traces of pencil Framed 26 by 18.5 cm., 10 ¼ by 7 ¼ in. (...

Couple Embracing Sumi ink drawing, c. 1928 Signed lower right: Shinsui (early variant signature) Most probably an illustration for one of the four volum...

This superb vibrant Oriental Post Impressionist oil painting is by noted British artist Gerald Spencer Pryse. It was painted circa 1925 when Pryse first visited Morocco. He was so en...

A very good impression of this scarce color etching and drypoint. Fourth state (of 4). Signed and numbered 54/100 in pencil, lower margin.

Original advertisement for Kuppenheimer Clothing, featuring a jockey on a race horse and a well-dressed gentleman in a suit This illustration for Kuppenheimer Clothes appeared in various advertisements and promotional materials in 1926 and 1927, such as the cover of a race-themed Kuppenheimer advertising booklet, as well as the interior page of the Kuppenheimer Spring & Summer 1926 brochure, where the associated caption states: “This double-breasted, with slender hips and broad Curvette shoulders, will be quite the thing with stylish young fellows this spring – especially in the new shades of Ambertone and Silvertone.” A wood-engraving of the image was completed by Jacob Sander for use in newspapers in 1926. Engravings like this were often created to eliminate the difficulties associated with half-tone production on the poor quality newspaper stock. The present work showcases the artist’s ability to capture an idealized vision of male beauty. The rich colors and textures of the fabrics applied with Leyendecker’s signature painterly technique further enhance the appeal of the clothing the picture advertises. In the early spring of 1926, in preparation for upcoming Kuppenheimer advertising projects, J.C. Leyendecker visited the Aqueduct Racetrack horse racing facility in Queens, New York. He was directed to the legendary trainer ‘Dick’ (Herbert John Thompson), who was training the horse named Bubbling Over, who would become the model or the horse pictured...

Leonetto Cappiello produced yet another stunning poster in 1922 for Veuve Amiot Champagne. It was noted as the “sparkling wine of kings,” hence Cappiello's choice of a royal central ...

A Buffalo, New York native, Kevin O'Callahan studied at the Carnegie Institute and worked on the WPA. He is known for his Arts and Crafts period woodcuts and his later industrial sce...

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...

William James Glackens 1870-1938 American Southern France Stamped by artist's estate “W.G. by E.G.” (en verso) Oil on canvas board William James Glackens was one of the most impo...

This 1927 etching by Frank W. Benson is entitled Winter Wildfowling. Printed in an edition of 150 this impression is signed in pencil, lower left. The image size 11 7/8 x 9 7/8" (30 x 24.8 cm) and sheet size 15 1/16 x 12 5/8" (38.3 x 32 cm). FRANK W. BENSON (1862-1951) Frank Weston Benson, well known for his American impressionist paintings, also produced an incredible body of prints - etchings, drypoints, and a few lithographs. Born and raised on the North Shore of Massachusetts, Benson, a natural outdoorsman, grew up sailing, fishing, and hunting. From a young age, he was fascinated with drawing and birding – this keen interest continued throughout his life. His first art instruction was with Otto Grundman at the Museum of Fine Arts in Boston, and then in 1883 in Paris at the Academie Julian where he studied the rigorous ‘ecole des beaux arts’ approach to drawing and painting for two years. During the early 1880’s Seymour Haden visited Boston giving a series of lectures on etching. This introduction to the European etching...

Jim’s of Lambertville is proud to offer this artwork. Signed lower left. Complemented by a hand carved and gilt frame. M. Elizabeth Price (1877 - 1965) Mary Elizabeth Price was born in West Virginia and raised on a farm in Solebury, Pennsylvania, on the outskirts of New Hope. She studied at the Pennsylvania School of Industrial Arts and the Pennsylvania Academy of the Fine Arts under Hugh Breckenridge. Additionally, she studied in New Hope with William Lathrop. Following her art studies, Price went to New York. While there, she conducted the “Baby Art...

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 ...

A Buffalo, New York native, Kevin O'Callahan studied at the Carnegie Institute and worked on the WPA. He is known for his Arts and Crafts period woodcuts and his later industrial sce...

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...

Artist: Vincent Manago, French (1880 - 1936) Title: Moroccan Battle Scene Year: circa 1920 Medium: Oil on Canvas, signed l.l. Size: 26 in. x 36 in. (66.04 cm x 91.44 cm) Frame Size:...

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...

A richly atmospheric early–mid 20th century oil landscape by Raphael Lillywhite depicting the Colorado Rocky Mountains in full autumn color. The composition captures a sweeping Weste...

Marc Chagall, Russian (1887 - 1985) - Full Moon, Medium: Etching on Arches, Image Size: 7.5 x 14.25 inches, Size: 15 x 22.5 in. (38.1 x 57.15 cm), Description: From the collection ...

"Sidewalk Club of the Motherlode" a Lithobrome photograh by Sigismund Blumann (American, 1872-1956). Signed "Sigismund Blumann" lower right. Titled "Sidewalk Club of the Motherlode" on verso. Image size, 11.25"H x 13.25"W. Between 1923 and 1932, his pictures were accepted at photographic salons in Amsterdam, Toronto, Rochester, Seattle, and Los Angeles. In 1927, a one-person exhibition of his bromoil prints traveled to camera clubs in Chicago, Akron, Cincinnati, and New York. In addition to bromoil, a process that yields pointillistic images, Blumann utilized such unusual processes as kallitype (Vandyke brown), lithobrome, and pastelograph (the latter two probably his own inventions) to create original photographs using chemical processes he invented. Sigismund Blumann (1872–1956) (figure 1) was a prominent tastemaker in Californian photography during the 1920s and 1930s. Based in the San Francisco Bay Area for his entire career, he edited magazines, wrote books, and made creative photographs. From 1924 to 1933 Blumann edited Camera Craft, the leading West Coast photographic monthly. Subsequently he established his own periodical, Photo Art Monthly, which he published until 1940. In these two magazines — for over fifteen years — Blumann found a large audience of mainstream pictorial photographers. In addition, he wrote five instructional books on photography...

Untitled (Pastel #1), c. 1920-30 Pastel on paper, 9 x 14 inches (22.9 x 35.6 cm) Framed dimensions: 17 1/4 x 21 3/4 inches Estate stamp on verso Provenance The artist; Estate of the...

Original drawing by Jean Cocteau . 1920 . Framed . certified by Expert Mr Martin ".comité Jean Cocteau " . encre de chine sur la page du livre " Escales " 30,7 cm x 20 cm . vintage...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell o...

Art print on heavy paper After the original from 1922 In great condition