Early 1900s Art

Moto-Fuite Color lithograph, c. 1902 Signed in the stone lower right (see photo) Published by Edmund Sagot (1857-1917), Paris Printed by Atelier Chaix, Paris Large edition with titl...

Emile TRONCY Sétif (Algeria), 1859 - Marseille, Bouches-du-Rhône, 1943 Oil on canvas Around 1910 Signed lower left “E. Troncy” 42 x 33 cm (58 x 50 cm with the frame) Stamp of the mer...

English butterfly chromolithograph, circa 1900. Plate number top right. From an English series of illustrations of butterflies and moths. Butterflies / moths are numbered and there i...

English moth chromolithograph, circa 1900. Plate number top right. From an English series of illustrations of butterflies and moths. Butterflies / moths are numbered and there is an ...

Alphonse Mucha's name shines like that of a visionary artist who left an indelible mark on the aesthetics of the early 20th century. The year 1902 saw the publication of "Documents d...

Original collotype created from Gustav Klimt’s Impressionist Fruit Trees landscape, painted in 1901. Published and edited by Verlag H.O. Miethke and printed by k.k. Hof- und Staatsdruckerei, Vienna, in an edition of 300. Between 1908 and 1914, H.O. Miethke published Das Werk Gustav Klimts...

Image dimensions: 25x18.2 cm. La Strage degli Innocenti is a beautiful colored lithograph, realized by the Polish illustrator Franz Laskoff and printed ...

Image dimensions: 26x18.2 cm. Noël de Pierrot is a beautiful colored lithograph on cardboard, realized by the Polish illustrator Franz Laskoff and print...

A very refined and delicate oil on canvas by Fernando García Camoyano depicting an elaborate bouquet of flowers, including large white and pink peonies, as well as other smaller flo...

Portrait of Jesus is an original artwork realized by Max Théron in the first years of the 20th Century. Woodcut print on paper. Hand-signed in penc...

Vintage Poster is a beautiful colored lithograph on cardboard, realized by the Italian artist Leopoldo Metlicovitz (Trieste, 1868 - Ponte Lambro, 1944) and printed around 1900 by G. Ricordi and C. Milano, Milan. Monogrammed on plate on the left at the center. A wonderful and fashionable vintage Art Nouveau advertising poster of the Neapolitan tailoring company "Mele" in excellent condition except for three visible abrasions of the paper on the right margin do not affect the image. This Modern and colorful poster shows the Metlicovitz's full mastery of the artistic medium, has the dignity of an object of art to collect and could be a sophisticated piece of your home furniture. Leopoldo Metlicovitz (Trieste, 1868 - Ponte Lambro, 1944) The Italian painter, illustrator, theatrical and advertising scenographer is considered one of the precursors of Futurism and, together with Leonetto Cappiello, Adolf Hohenstein, Giovanni Maria Mataloni and Marcello Dudovich, one of the fathers of modern Italian poster art. He began his artistic career at the age of fourteen working as an apprentice in a typography in Udine, where he learned the technique of lithography. Here he is noticed by Giulio Ricordi, owner of the namesake Officine Grafiche, who invites him to Milan to work as a lithographer. In 1892, after collaborating with Tensi, a photographic product company, he returned to Ricordi as technical director. At the same time, he entered the theatrical environment and began his career as a set designer and costume designer at La Scala. The Mele di Napoli tailoring company entrusted him with the task of advertising his clothes and in 1906, on the occasion of the great Universal Exposition in Milan, he won the competition for the fair poster, establishing himself also as a poster artist and then collaborating with several magazines as an illustrator. For Ricordi he takes care of the illustrations of calendars, opera librettos, postcards. Other famous images created by him are those for the poster of the film Cabiria, a blockbuster of the silent film scripted by Gabriele D'Annunzio, and the trademark that is still used today by the Brothers Branca Distilleries, producers of Fernet Branca...

Pallas Athene, no. 9 from the third installment of Das Werk Gustav Klimts The Klimt-led Vienna Secession which rebelled against the Academic State-run e...

Outstanding gouache painting by the British painter Clement Lambert (1855-1925). The work depicts a scene of leisure and recreation, very typical of the early 20th century. In this ...

Provenance The Artist; Charles Prendergast (acquired from the above in 1924); Mrs. Charles Prendergast (thence by descent from theabove in 1948); Kraushaar Galleries, New York; Mr...

The classic hard luck, independent kid, maybe 8 or 10 years old here, selling the day’s papers out on the grubby streets of early 1900s New York City. He’s paused in a quiet spot, ap...

Simon Ludwig Ditlev Simonsen Canvas Size: 21 x 16" (52.5 x 40cm) Outside Frame Size: 31 x 26" (77.5 x 65cm) 1841-1928 Free Shipping An excellent example of his work in fantastic c...

Beautiful art nouveau style poster by Lewis Baumer illustrating the seasons of fall and winter. Lewis Christopher Edward Baumer is best known as an Engli...

Plate #15 from Gustav Klimt's 1907 "Dialogues of the Courtesans" portfolio, consisting of 15 collotypes on cream japon paper. The drawings in this folio are said to be studies for Kl...

Jim’s of Lambertville is proud to offer this artwork by: Martha Walter (1875-1976) Born in Philadelphia in 1875, Martha Walter attended Girls’ High School followed by the Pennsylva...

Signed and dated oil on canvas landscape by Flemish post impressionist painter Bernardus Henricus Klene. The work depicts a view of a path leading to a village on a summer's day. The...

Medium: original etching. Executed in 1873, this is a portrait of the impressionist artist Armand Guillaumin. This is a fine impression with plate tone printed on cream laid paper fr...

Maximilien Luce (French, 1858-1941) Pencil and charcoal drawing of a shop with goods along the coast line of northern France. A cat can be seen looking at a man far off at the entran...

Artist: Louis LeGrand (French, 1863-1951) Title: "La Loge (The Lodge)" Portfolio: Gazette des Beaux-Arts *Issued unsigned, though signed by LeGrand in the plate (printed signature) l...

Henry Mosler Woman Resting Beneath a Tree, circa 1900 Signed upper right: Henry Mosler Oil on canvas 12 1/2 x 10 inches Mosler was born in Tropplowitz, Silesia, Prussia (present-da...

Oil Painting by Lorenzo Headley "Sheep grazing under Apple Blossom" Birmingham painter of local landscapes and Jewellery maker associated with the Bromsgrove Guild of Arts and crafts...

Lithograph from Carlos Schwabe’s series of hand-colored Symbolist fantasy illustrations for Catulle Mendès’ Hésperus, published in 1904 by Société de pr...

Pont du Chemin de Fer à Moret by Georges Manzana Pissarro (1871-1961) Oil on canvas 54.5 x 65.2 cm (21 ¹/₂ x 25 ⁵/₈ inches) Signed lower right, manzana. Titled and date on the stret...

This superb Scottish Edwardian Impressionist exhibited figurative landscape oil painting is by noted artist William Steward MacGeorge. It was painted in 1901 and exhibited at the Roy...

Signed and dated impressionist oil on board landscape by Neapolitan painter Ulisse Caputo. The work depicts a view of Pont des Arts bridge in Paris, France at sunrise in winter. The ...

Jim’s of Lambertville is proud to offer this artwork. Signed lower left. Complemented by a hand carved and gilt frame. Illustrated in "Edward Redfield: Just Values and Fine Seeing" by Constance Kimmerle and the Pennsylvania Academy of the Fine Arts's Exhibition of Paintings by Edward Redfield (April 17 to May 16, 1909) brochure Edward Willis Redfield (1869 - 1965) Edward W. Redfield was born in Bridgeville, Delaware, moving to Philadelphia as a young child. Determined to be an artist from an early age, he studied at the Spring Garden Institute and the Franklin Institute before entering the Pennsylvania Academy from 1887 to 1889, where he studied under Thomas Anshutz, James Kelly, and Thomas Hovenden. Along with his friend and fellow artist, Robert Henri, he traveled abroad in 1889 and studied at the Academie Julian in Paris under William Bouguereau and Tony Robert-Fleury. While in France, Redfield met Elise Deligant, the daughter of an innkeeper, and married in London in 1893. Upon his return to the United States, Redfield and his wife settled in Glenside, Pennsylvania. He remained there until 1898, at which time he moved his family to Center Bridge, a town several miles north of New Hope along the Delaware River. Redfield painted prolifically in the 1890s but it was not until the beginning of the twentieth century that he would develop the bold impressionist style that defined his career. As Redfield’s international reputation spread, many young artists gravitated to New Hope as he was a great inspiration and an iconic role model. Edward Redfield remained in Center Bridge throughout his long life, fathering his six children there. Around 1905 and 1906, Redfield’s style was coming into its own, employing thick vigorous brush strokes tightly woven and layered with a multitude of colors. These large plein-air canvases define the essence of Pennsylvania Impressionism. By 1907, Redfield had perfected his craft and, from this point forward, was creating some of his finest work. Redfield would once again return to France where he painted a small but important body of work between 1907 and 1908. While there, he received an Honorable Mention from the Paris Salon for one of these canvases. In 1910 he was awarded a Gold Medal at the prestigious Buenos Aires Exposition and at the Panama-Pacific Exposition of 1915 in San Francisco, an entire gallery was dedicated for twenty-one of his paintings. Since Redfield painted for Exhibition with the intent to win medals, his best effort often went into his larger paintings. Although he also painted many fine smaller pictures, virtually all of his works were of major award-winning canvas sizes of 38x50 or 50x56 inches. If one were to assign a period of Redfield’s work that was representative of his “best period”, it would have to be from 1907 to 1925. Although he was capable of creating masterpieces though the late 1940s, his style fully matured by 1907 and most work from then through the early twenties was of consistently high quality. In the later 1920s and through the 1930s and 1940s, he was like most other great artists, creating some paintings that were superb examples and others that were of more ordinary quality. Redfield earned an international reputation at a young age, known for accurately recording nature with his canvases and painting virtually all of his work outdoors; Redfield was one of a rare breed. He was regarded as the pioneer of impressionist winter landscape painting in America, having few if any equals. Redfield spent summers in Maine, first at Boothbay Harbor and beginning in the 1920s, on Monhegan Island. There he painted colorful marine and coastal scenes as well as the island’s landscape and fishing shacks. He remained active painting and making Windsor style furniture...

English butterfly chromolithograph, circa 1900. Plate number top right. From an English series of illustrations of butterflies and moths. Butterflies / moths are numbered and there i...

English butterfly chromolithograph, circa 1900. Plate number top right. From an English series of illustrations of butterflies and moths. Butterflies / moths are numbered and there i...

BERKES, ANTAL (1874-1938) Well listed Hungarian artist. Active: Paris, Budapest, Munich, Vienna. Berkes studied at The Academy of Fine Arts between 1889 and 1894 in Budapest, Hungar...

Plate #5 from Gustav Klimt's 1907 "Dialogues of the Courtesans" portfolio, consisting of 15 collotypes on cream japon paper. The drawings in this folio are said to be studies for Kli...

A fine impressionist scene of a family playing under the trees near a stone wall by American artist Will Howe Foote (1874-1965). Foote was born and raised in Grand Rapids, Michigan w...

This lively Belle Époque poster by Leonetto Cappiello (1875–1942) was created to advertise Absinthe Gempp Pernod of Lunel. A radiant red-haired woman in a flowing blue dress lifts a ...

This magnificent turn-of-the-century lithographic poster by Henri Toussaint is a celebration of France’s historic western regions—Normandy, Brittany, and the Île de Jersey—promoted b...

Carl Wilhelm Hugo Schnars-Alquist Hamburg 1855 - 1939 Sailing ships off the coast Oil on canvas (doubled) Signed lower right Size: 50.5 x 92 cm Frame: 63 x 105 cm Authenticity guaran...

Georg Macco Aachen 1863 - 1933 Genoa Oriental Landscape Oil on canvas Signed lower right Size: 28 x 46 cm Frame: 37 x 55 cm Original condition (see photos) Viewing and collection ...

André Eugène Costilhes (1865-1940) Portrait of a young woman pencil on paper 30.5 x 20 cm In quite good condition Traces of folding in the upper left-hand corner. Lower right corn...

Wonderful figures in night landscape oil on canvas circa 1904 by French impressionist painter and illustrator Andre Devambez. The piece depicts demonstr...

Standing Woman in Profile Pen and ink drawing, c. 1900 Unsigned Estate authentication verso by Frances Frieseke Kilmer (Mrs. Kenton Kilmer, 1914-1998) (see photo) Condition: Excellen...

Original collotype created from a detail of Gustav Klimt’s Beethoven Frieze. Published and edited by Verlag H.O. Miethke and printed by k.k. Hof- und Staatsdruckerei, Vienna, in an e...

Anders Zorn (1860-1920), At the Piano, etching, 1900, signed in pencil lower right. Reference: Asplund 160, Hjert and Hjert 108, second state (of 2), from th...

Signed and dated oil on board landscape by French post impressionist painter Paul Madeline. This beautiful work depicts a view of the picturesque port of Doelan in Britanny, France. ...

L'Angellus Etching, engraving and acquatint on Arches paper, 1902 Signed lower right by the artist (see photo) This is a first state impression printed in a brown/black ink, one of ...

Frederick Vezin (1859 Torresdale Philadelphia - 1933 Düsseldorf), Autumn Landscape in the Sunlight, oil on canvas, mounted on cardboard, 32 x 41 cm (inside measurement), 44 x 51 cm (frame), signed and dates lower right "F. Vezin. [19]05". - Cardboard slightly curved, small inconspicuous retouch at the centre of the upper edge of the picture. About the artwork Although the painting appears to be a sketch, Frederick Vezin considered it to be a finished work of art, as evidenced by his signature on the lower right. And it is precisely this sketchy quality that leads to an understanding of the painting, which was certainly created in the landscape itself: the natural phenomena were to be depicted artistically at the moment of their observation. This is not done by meticulously sketching nature, but - and here Vezin follows the teaching of French Impressionism - by illustrating nature in its visual fullness. The artist's eye is, as it were, immersed in the visuality of nature, which is made visible by his hand. The painting is therefore not a reflection of the landscape, but its artistic intensification. This intensification also includes the fact that the foreground of the painting - corresponding to the field of vision - eludes a detail-oriented close-up view. Instead, the spatula-like application of paint, the vertical structure of which corresponds to the structure of the floral growth, has the effect of making nature tangible in its colourful substance. At the same time, the foreground, which remains indeterminate in its concrete objectivity, creates an atmospheric space that connects with the actual protagonist of the picture, the group of trees, which flares up in shades of red and brown. Here, too, the leaves are more speckled than clearly outlined. It is precisely this 'sketchiness' that opens up a visual experience that makes the landscape accessible in its visual fullness, thus revealing its essence. In addition to this abundance, the landscape is presented as a structure of order in that the composition of the picture makes the composition of the landscape visible. For example, the group of trees forms a distinct dark green shadow, which is repeated in the shadows cast by the trees behind it. A patterned diagonal axis is created in the picture, which is composed in this way by the landscape itself. Strictly speaking, this is a cultivated landscape: a fence at the bottom and a low stone wall at the top, running from left to right, are two elements that also have a strong compositional effect. And on the top of the hill, a stone house is embedded in the landscape as the brightest surface in the picture. Nature and culture here form a harmonious synthesis, giving the painting an Arcadian touch. In order to give the landscape as much space as possible, the horizon line is raised, but the design of the sky is also crucial. The clouds, combined with the shapes of the trees, create a bright blue sky. To the European eye, such a sky is reminiscent of a summer landscape. Accordingly, within the seasonal cycle, the blue sky is reserved for summer, and French Impressionism is also primarily an ode to summer. In Vezin's painting, however, the brilliant blue sky stands above an autumnal landscape, some of the trees even defoliated. It can therefore be assumed that the painting was made not in Europe but in the United States, and that it illustrates the proverbial Indian summer, making Frederick Vezin a pioneer of American landscape painting. About the artist Frederick Vezin was the son of a French immigrant to the United States and a German-born mother. This predestined him to promote artistic exchange between the old and new worlds. Having spent part of his schooling in Germany, in 1876, at the age of 20, he enrolled at the Düsseldorf Academy of Art, where he studied with Peter Janssen the Elder, Eduard von Gebhardt and Wilhelm Sohn, among others. He graduated in 1883, settled in Munich and returned to Düsseldorf in 1895, where he lived until his death in 1933. A native of the United States, he travelled to the country frequently and became a popular portrait and society painter. His artistic talent, however, was most evident in his landscape paintings. Trained in French Impressionism, he developed a virtuoso use of colour and a free brushwork that remained tied to the landscape motif, opening up the landscape itself in a new way. Frederick Vezin turned his attention primarily to the landscape of his homeland, becoming a pioneer of modern American landscape...

Original collotype created from Gustav Klimt’s Approaching Thunderstorm (The Large Poplar II), painted in 1903. Published and edited by Verlag H.O. Miethke and printed by k.k. Hof- und Staatsdruckerei, Vienna, in an edition of 300. Between 1908 and 1914, H.O. Miethke published Das Werk Gustav Klimts, a folio of collotypes representing Gustav Klimt’s most notable works leading up to 1913. Klimt’s original oil paintings were painstakingly reproduced as collotypes on a handmade, deckled-edge cream wove paper using a complex gravure process overseen by master technicians as well as the artist himself. Each image presented in the folio was assigned its own unique signet, which was designed by Klimt and struck below the image using a technique similar to letterpress. The signet corresponded to a matching signet in the justification page which detailed the piece’s size, location, and owner. Published under the artist’s direct supervision, this series allowed Klimt, who had completely divorced himself from public commissions following the outcry from his University of Vienna paintings, to more effectively present his artworks to institutions and patrons across the world. A testament to the masterful design and printmaking demonstrated by Das Werk Gustav Klimts, Emperor Franz Joseph himself purchased the first copy of the folio. Klimt’s The Swamp...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

An elegant male profile portrait dating from the early 20th century in France. This is a simple yet meticulous drawing on small-format paper depicting a male figure, elegantly dress...

Life is a Struggle (The Golden Knight), no. 10 from the second installment of Das Werk Gustav Klimts With his golden armor meticulously and faithfully rendered after examples found ...

JOAQUÍN PALLARÉS ALLUSTANTE Spanish, 1853 - 1935 PORTE SAINT - DENIS signed "J. Pallares" (lower left) oil on canvas 10-1/2 x 15-3/4 inches (26.5 x 40...

Signed and dated oil on canvas riverscape by French impressionist painter Charles-Victor Guilloux. This beautifully painter piece shows a view from the Pont Neuf looking towards the ...

"And wasn't it good for a boy to be Out to old Aunt Mary's" Charcoal and watercolor on artist illustration board, 1900 Initialed and dated lower right: H.C.C. 1900 by the artist (see...

Signed oil on canvas figures in landscape by French impressionist painter Jean-Francois Raffaelli. The work depicts two young girls with their mother in a landscape overlooking boats...

A beautiful and important French oil on canvas from around 1900 which depicts the Moulins du Pont du Vieux Marché, in Meaux, 40 km northeast of Paris. These stunning and architectur...

Stunning still life titled “Fleurs d’automne” (“Autumn Flowers”) by French artist Marthe Danard Puig. In the center, a slender, cylindrical vase filled with chrysanthemums, most of t...

PIERRE-AUGUSTE RENOIR (1841-1919) "Enfants jouant à la balle" lithograph, on laid paper with the Dambricourt Frères watermark, circa 1900, a previously unrecorded proof state before ...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper w...

Le Tasse de The (The Cup of Tea) Color aquatint and etching, c. 1906 Signed in pencil in the image (see photo) Edition: c. 100 Reference: Merrill Chase, Volume 1, No. 85 Condition: F...