Early 1900s Art

Antique European framed seascape oil painting . Oil on canvas. Signed. Framed. Measuring: 16 by 13 inches overall, and 14 by 11 painting alone. Excellent condition, ready to hang and...

Note: Due to the size, weight, and value of this piece, we require shipping through 1stDibs, for its cost effectiveness, full insurance coverage, and reliable handling. While standar...

Signed "Schiele Egon 08" This work was reviewed by will be Jane Kallir, Kallir Research Institute, New York on August 19, 2021 and has confirmed its authorship. The work will be inc...

This sunset landscape by Hans Agersnap presents a quiet and ccontemplative view of the Danish countryside at the close of day. The composition is dominated by undulating hills, bathe...

Small Bronze Of A Lady Opening A Box Artist signed a small bronze with a carved ivory face 4wx2dx2.75h The sculptor Peter Tereszczuk was born in 1875 in the Ukrainian city Wybudow. H...

The Kiss, no. 1 from the fifth installment of Das Werk Gustav Klimts Undoubtedly Klimt’s best known and most reproduced images, this printed version of The Kiss is the only one with which Klimt was directly involved. Unveiled at Vienna’s Kunstschau 1908, and saved for the fifth and final delivery of Das Werk, The Kiss marks a triumph in Klimt’s career and represents a culmination of many themes in his oeuvre up to that point. After all of the controversy surrounding the State’s prior rejection of the University murals commissioned from Klimt, the Ministry of Education reversed their policy toward the artist with a show of wholehearted support by purchasing for the Osterreichische Galerie BelvedereThe Kiss while it still hung in the Kunstschau exhibit. Considered in relation to the eight multicolored collotypes which preceded its print debut in the Das Werk portfolio, The Kiss literally embraces all which came before it. The golden seaweed dangling in tresses from the lovers’ feet harkens back to Water Snakes I and II. The bed of flowers evokes the settings Klimt created in both The Golden Knight and The Sunflower. In fact, this image sprung out of a particularly happy summer spent in the company of Klimt’s lover, Emilie Floge...

Claude Renoir, la Tete Baisee (Claude Renoir, Head Lowered) Lithograph, 1904 Edition 1,000, this one of 950 on wove paper with the stamp signature (there were also 50 impressions pri...

This superb British Impressionist Edwardian military portrait oil painting is by noted artist Walter Ernest Webster. Painted circa 1910 it is a seated generous half length portrait, ...

Katabexine is a superb early advertising poster by Leonetto Cappiello, created during the formative years of his career, when he was already beginning to transform the visual languag...

Le Chapeau Epingle or La fille de Berthe Morisot et sa Cousine (1e planche) Etching with drypoint, 1904 Signed in the plate (see photo) This is the first etched version of "Pinning the Hat" Depicts Julie Manet and her cousin Jeanne. Exceptional impression printed with burr and selective inking with plate tone. Very rare. Published in 1910 in the first edition of Druet, "Manet annd the French Impressionists" A lifetime impression, printed prior to 1912. The etching comes with the original Herman Wunderlich & Co. (Kennedy Galleries label), which dates this impression to 1912 when Wunderlich changes names to Kennedy Galleries. Very rare image in an early lifetime impression. Printed with plate tone With pencil inscription stating first printing in French (see photo) Condition: very good No issue as seen from the front Soft horizontal creases visible from reverse Provenance: Kennedy Galleries, NY Reference: Stella 4, prior to Druet edition Delteil 4, published state Pierre-Auguste Renoir was a famous French painter whose paintings are some of the most popular, well-recognized, and frequently reproduced images in the history of art. His work presents a vision of a forgotten world, full of sparkling color and light. He once said: “Why shouldn’t art be pretty? There are enough unpleasant things in the world.” Born at Limoges on February 25, 1841, Renoir died at Cagnes-sur-Mer on December 17, 1919. When he was 13, Renoir entered a Paris porcelain painter’s workshop as an apprentice and developed a fine brush technique and facility with color. At 21, he attended courses at the École des Beaux-Arts and subsequently at Glyre’s. He made friends with Cezanne, Pissarro, Sisley, Monet, Bazille, and Diaz. In 1873, the artists Durand Ruel, Caillebotte, and Duret took an interest in his work. Renoir was involved in “The Society of Painters, Engravers and Sculptors,” which was founded in 1874, and witnessed the birth of Impressionism. From there, Renoir was immersed and able to spend time with his fellow artists of the day. He did not take up original printmaking until he was 50 years old, first with two small soft-ground etchings after his painting, “The Rustic Ball,” followed by an etching of Venus for the frontispiece of Mallarme’s Pages. Most of his engravings were done after his own pictures. In 1892, he did his first lithograph – a portrait of his son Pierre. In 1894, he met Ambroise Vollard, who played an important part in the production of Renoir’s and Cezanne’s lithographs...

"Les Artistes du Cirque" is an original painting in ink, watercolor, and gouache on paper by leading Fauvist artist Kees Van Dongen, signed in the lower right. In the piece, two circus performers stand against against a wall. On the left, a pale woman in a blue leotard with red flowers on the shoulder stands with her arms crossed, looking out at the viewer. The painter fills in her tights with delicate white brushstrokes, lending them an almost iridescent appearance. Her strawberry blond hair is piled on top of her hair according to the fashion of the period. On the right, an African man stands in a vivid orange toga, looking somewhere off to the left. His feet are clad in bright white shoes...

Signed oil on board landscape circa 1904 by French Post Impressionist painter Maximilien Luce. The work depicts a view of Mereville, a former commune in the Essonne department in Île...

A very beautiful antique Art Nouveau bronzed Carrara marble sculpture bust of a young maiden circa 1900, by Gustave Van Vaerenbergh (1871-1927). The sculpture portrays a beautiful young maiden made from Cararra marble, she is wearing a laurel wreath in her hair. She wears a bronzed bodice with leaf decoration in relief and is raised on a varigated grey & white socle base. The sculpture is signed to the rear " G. V. Vaerenbergh" and numbered "1173", the bust is in excellent condition. Gustave Van Vaerenbergh attended classes at the Academy of Fine Arts in Ghent, Belgium from 1888 to 1890. Like many artists from a modest background (he was the son of a shoemaker) , Gustave Van Vaerenbergh went to work in companies where he could use his artistic talent and education for commercial purposes. In 1901 he moved to Saint-Josse-ten-Noode , and a year later to Schaerbeek where he would live for the rest of his life. He went to work there as a " mouleur en plâtre " (modeller or maker of matrices for plaster statues) at the company A. Carli Frères in the L'Olivierstraat in Schaerbeek, a company that produced commercial statues. This successful company, which was active from the beginning to the middle of the twentieth century , initially had about 20 employees and at its peak about 100 employees. The statues were distributed worldwide. Antonio Carli, a sculptor, was the founder of the Atelier A. Carli Frères, together with family members. They came from Bagni di Lucca...

Charming turn-of-20th Century interior painting that takes the viewer back to simpler times with grandmother, grandfather, mother sewing and a young girl playing with her greyhound a...

This superb large British Edwardian exhibited portrait oil painting is by noted artist George Spencer Watson. It was painted in 1909 and exhibite...

Medium: original etching. Printed in 1900 and published in Leipzig, Germany for Zeitschrift für Bildende Kunst. This impression is printed on cream wove paper, and the image size is ...

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...

Medium: original etching. Published in Vienna by Gesellschaft für Vervielfältigende Kunst in 1903. The plate measures 4 1/2 x 7 inches (115 x 178 mm). A fine, dark impression printed...

Armand Guillaumin (1841 - 1927) Paysage de la Creuse Pastel sur papier - passe-partout crème et cadre doré Signé en bas à gauche 45 x 58 cm (avec le cadre : 66,5 x 79,5 cm) Ce pays...

Severin Nilson (1846–1918) Sweden Children in a Flower Meadow signed lower right Severin Nilson oil on board laid on panel unframed 25 × 18 cm (9.8 × 7.1 in) framed 32.5 × 26.5 cm ...

Harry Pennell ARCA Picture Size: 24 x 40" (61 x 102cm) Outside Frame Size 31 x 47" (79 x 120cm) Signed oil painting on canvas Exhibition Period 1900 – 1930 Harry Pennell (1879-193...

Original Oil Southern California Landscape C. 1930s -- The Eucalyptus Grove Vibrant, painterly Southern California landscape of iconic Eucalyptus trees by Andrew Boardo Lund (1877 ...

In the golden age of Belle Époque Paris, the world of art and satire converged with a vibrant energy, encapsulating the spirit of the era. Among the luminaries who illuminated this p...

Erhard & Söhne, 19th Century Art Nouveau Jugendstil Casque with Inlaid Brass Rose Design, c. 1904 6 x 9 x 6 inches The company Erhard & sons was established by Carl Gottlieb Erhard ...

Hailey Lever 'Storm Clouds Over Douarnenez, Brittany, France', watercolor, 1904. Signed 'HL' in pencil, lower left. Titled and dated in pencil, on the original mat backing. A fine sp...

This impressive circa 1900 original poster by L. Vignères promotes the celebrated French manufacturer Gladiator, a company known at the turn of the 20th century for producing bicycles, motorcycles, and early automobiles. The poster reflects the optimism and technological enthusiasm of the Belle Époque, when personal mobility and mechanical innovation captured the public imagination. The striking central image shows a rider astride a rearing horse balanced atop a globe — a powerful allegory suggesting speed, strength, and global ambition. This symbolic imagery connects traditional horsepower with modern mechanical power, effectively positioning Gladiator as a leader in the transition from horse-drawn transport to motorized travel. Stylistically, the poster combines late 19th-century academic illustration with emerging advertising dynamism. The bold typography, dramatic composition, and vivid color contrasts make the image immediately eye-catching, typical of early commercial posters designed for urban display. Today, this poster stands as both a historical document of early automotive culture and a compelling example of Belle Époque advertising art, illustrating how industry, modernity, and artistic creativity converged at the dawn of the motor age. Original Poster Advertisement - Transportation - Automobile - France Horse Printed by Courbet...

Amazing and rare early American impressionist street scene oil painting by Reynolds Beal (1866/67 - 1951). Framed in a period giltwood Whistler impressionist frame. Oil on canvas....

Elegant Victorian original oil portrait of Mrs. Rogerson by John Charlton Robert Azensky Fine Art is pleased to offer this fine example of Victorian portraiture of Mrs. Frances Mary...

Signed fauvist oil on canvas laid on board landscape by French post impressionist painter Robert Antoine Pinchon. This piece depicts a garden in bloom in summer. Signature: Signed l...

French sculptor Georges Colin depicts Icarus in an idealized pose, featuring a handsome, fit, semi-nude male with an acutely delineated musculature. Mod...

This still life of Plums is a top notch example of 19th century still life painting! Beautiful quality and striking but also spare and honest in nature which is what typified Americ...

L'Assiette au Beurre is a Comic Magazine published in August 1905, reproducing drawings by Bernard Étienne Hubert Naudin . Signed, numbered and dated on the margins.

Judith I, no. 9 from the second installment of Das Werk Gustav Klimts Much like his treatment of the Classical personage, Danae, from Greek mythology, Klimt’s depiction of Judith takes an Old Testament character, a heroine who avenges the death of her husband by killing an Assyrian king, and firmly positions her in his present-day Vienna. His multicolored collotype rips the canvas from its gilded frame which directly references the subject with its title: “Judith und Holofernes”. Now in print form, Judith, holding the severed head of a male in murky shadow, is the ultimate Viennese femme fatale. Her likeness is unmistakably similar to a former lover of Klimt’s and famous Viennese soprano, Anna von Mildenburg. Though his allusion to ancient Assyria is apt, Klimt literally lifted the gold patterned background’s design motif from a relief detail from Sennacherib’s Palace displayed in a London museum. His context then is contemporary. In a sensual and sexually powerful tour de force, Klimt’s Judith...

San Antonio . Oil on canvas by Spanish artist Chico Montilla. Measurements: (H) 65 x (W) 81 x 2 (D) cm. Framed 85 x 101 x 5 cm. San Antonio, another expressionist view of the countr...

Per Fischer (1877–1974) Sweden Moonlight Beyond the Kerosene Lamps in the Railway Compartment, 1907 oil on canvas laid on panel painted 1907 unframed: 29.5 × 28 cm (11.6 × 11 in) f...

Joseph Fleischmann, 'Whaling' (Hartingers Wandtafeln: Zoologie T. XXXII), monumental vintage color lithograph, 1900. Signed in the matrix, lower right. A superb, beautifully nuanced impression, on cream wove paper, the full sheet with margins (1 1/2 to 2 3/16 inches), in very good condition. The full sheet, unmounted and unmatted—shipped carefully rolled and protected. Sheet size 28 x 38 1/2 inches (711 x 978 mm). Rendering by A. Berger after Joseph Fleischmann. Published in "Hartinger's Wandtafeln Zoologie" (Hartinger's Zoological Wall Charts) by "Verlag von Carl Gerold's Sohn, Wien" (Published by Carl Gerold's Son, Vienna), 1900. This Artic whaling scene depicts a Greenland whale in the foreground pursued by whalers. A whaling ship is seen in the background and at right, another whale among icebergs with seagulls overhead. The composition is exceptionally accomplished. Rather than depicting the whale as a specimen, Fleischmann presents it as a monumental living creature within its Arctic environment. The distant sailing ship and whaleboats establish scale, while the drifting pack ice, seabirds, and subdued northern light create an atmospheric narrative. The image succeeds equally as a work of natural history and as a decorative maritime print. ABOUT THE ARTIST Josef Fleischmann was an Austrian painter, illustrator, and lithographic designer active in Vienna during the late nineteenth and early twentieth centuries. Working at a time when Vienna stood among Europe's foremost centers of chromolithographic printing, he became known for producing richly detailed natural history illustrations that combined scientific accuracy with exceptional artistic craftsmanship. Fleischmann worked for the distinguished Viennese publisher Carl Gerold's Sohn, contributing illustrations to the celebrated educational series Hartinger's Wandtafeln, a collection of zoological and botanical wall charts produced for schools, universities, and scientific institutions throughout the Austro-Hungarian Empire. Printed by the renowned lithographic establishment of Albert Berger...

A beautiful and evocative oil painting on wood by the great Italian artist who lived between the late nineteenth and early twentieth centuries. It depicts with rare effectiveness a...

Signed oil on paper laid on panel seascape c.1907 by French post impressionist painter Achille-Emile Othon Friesz. The piece is a study of a view of a boat in a quay at Normandy, Fra...

Antique opera view oil painting. Oil on board. Unsigned. Framed. Measuring: 18 by 22 inches overall, and 14 by 18 painting alone. Excellent condition, ready to hang and enjoy.

An exceptional Corinthian capital with smooth leaves in granite, foregoing the intricate carving of the classical acanthus in favor of a much more geometric, clean, and stylized fini...

Adam Lehr (American, 1853-1924) Still Life with Apples and Green Vase, 1902 Oil on canvas Signed and dated lower right 12 x 18 inches 15 x 21 inches, framed Known primarily as a sti...

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...

Medium: original etching and drypoint. This work by Rodolphe Piguet (sometimes spelled Piquet) was printed in 1904 and published in Paris by the Revue de l'art ancien et moderne. Pla...

Boats in Moonlight (1904) is a watercolor on paper measuring 25.5 × 55 cm (10 × 21.7 in). It depicts a Swedish coastal scene under a luminous moonlit sky., Along the quiet shoreline,...

Original vintage travel poster: METZ (France), artist: Alfred Pellon, signed A. Pellon. Size 34.75" x 36". Year: c 1906. Stone lithograph. ...

A fine and important French oil painting of Napoleon & his army, by the French-American artist Raymond Desvarreux (1876-1963), the painting signed & dated 1906. The painting depicts Napoleon seated in his carriage examining battle plans...

Beautiful tonalist landscape at sunset with a figure near a stream by the well known American artist, Charles P. Appel. Signed by the artist lower left. Circa 1905. Condition is ver...

This is truly one of the iconic images of vintage poster art. It was created in the early 1900's by the famed artist, Leonetto Cappiello. He ...

Impressive early American impressionist tropical landscape oil painting. Oil on board. Framed. Image size, 12H x 18L.

Henry Ward Ranger Seascape, circa 1905 Estate stamp lower right Oil on academy board 11 1/4 x 13 7/8 inches A key person in the establishment of the Old Lyme, Connecticut art colon...

China ink and pencil drawing on paper. Hand signed. Very good condition.

Wonderful watercolor depicting a plant/flower. These were used at a Belgium University to teach the students about botany. Dating from the early 20th century. They are watercolor on ...

Signed post impressionist landscape oil on canvas circa 1905 by French painter Eugene Henri Alexandre Chigot. The work depicts summer flowers - yellow sunflowers and pink foxgloves - blooming outside a cottage on a hilltop. The cottage is white with a red roof and green shutters. A tree branch overhangs the path beside the cottage. Signature: Signed lower right Dimensions: Framed: 38"x46" Unframed: 29"x37" Provenance: Private collection - France A pupil of his father Alphonse Chigot, Eugène Chigot enrolled at the École des Beaux-Arts in Paris in 1880, where he studied under Vayson, Cabanel and Bonnat. He exhibited at the Paris Salon from 1884-1924, and was commended by the jury of 1885, winning a third-class medal in 1887 and a second-class medal in 1890. After travelling in Spain, in 1887 he settled in Étaples in Flanders, before returning to Paris, where he became a founder of the Salon d'Automne. He was awarded bronze medals at the Paris Expositions Universelles of 1889 and 1990, and held his first solo show in Paris in 1905. He was an inspector of the museums of painting and drawing curated by the French maritime ministry, and an Officer of the Légion d'Honneur. His early works are large-scale history paintings, which he quickly relinquished in favour of landscapes, depicting scenes from his travels in southern France, Italy, the Auvergne, Vendée, Brittany and Flanders, whose light he particularly appreciated. Some of his works are reminiscent of paintings by Pissarro...

Pencil drawing on paper. Not signed. Good condition, with some diffused foxing.

Signed watercolour on paper landscape by American post impressionist painter Maurice Brazil Prendergast. The work depicts children playing on the beach in Saint Malo, France as boats sail in the blue sea and white clouds role through the sky overhead. This work has remained in the Prendergast family for 3 generations and depicts a rare view of Saint-Malo executed during Prendergast's visit to the french coastal town in 1907 Signature: Signed lower left Dimensions: Framed: 21"x22" Unframed: 13'x14" Proveance: The collection of Charles Prendergast (1863-1948) The collection of Eugénie Prendergast-Van Kemmel (1895-1994) -wife and inheritor of the estate of Charles Prendergast The collection of Henri Van Kemmel (Lille, 1903-1963) - cousin of Eugenie Prendergast
- Madame Henri Van Kemmel Maurice Prendergast came with his family to Boston in 1861. Working in a textile store, Maurice Prendergast was at first self-taught in painting, making souvenir cards and shop signs. He went to Britain in 1886, then to Paris in 1891 and registered at the Académie Julian with Jean-Paul Laurens, Benjamin-Constant, and Charles Blanc as teachers, working also with Gustave Courtois at the Académie Colarossi. More importantly he saw the Impressionists’ paintings and the Nabis at the Galerie Durand-Ruel. He returned to the United States in 1895, settling in Winchester (Massachusetts) and went frequently to New York. In 1898 he again went to Europe where he stayed until 1900, visiting Paris, Florence, Siena, Rome, Capri, and Venice, where he spent six months. Between 1907 and the beginning of World War I he went again four times to Europe but never returned there after the war. In New York where he finally settled, with William Glackens, Robert Henri, and John Sloan among others, Prendergast was one of the members ofThe Eight, gathered by Robert Henri to counter the pervading academicism. The group exhibited in 1908 at the Macbeth Galleries and took part in the Armory Show of 1913. After that Prendergast did not exhibit again with the group. In 1914 he left Boston definitively for New York. Prendergast was in his thirties before he began to devote himself to painting. In his late beginnings he painted in the open air as the Impressionists did, mainly in watercolours with clear brushstrokes and an elegant virtuosity recalling his then admiration for James Whistler and Claude Monet. Between 1892 and 1905 he carried out two hundred monotypes, a technique of which he was the undisputed master in America at that time and which expressed the influence of Japanisme. During his stays in France he painted views of Paris, but also Brittany and Normandy. In this period, in 1896, he was chosen to illustrate My Lady Nicotine by Matthew Barrie. During his third stay in Europe, from 1898 to 1900, he painted in Paris, at Saint-Malo, and mainly in Venice, where, influenced by Vittore Carpaccio he introduced brightly coloured banners into his animated compositions. In oils he painted slowly, touching up his paintings by superimposed brushstrokes, sometimes over several years. He chose to use the divided stroke in an early period, a technique which had similarities with Post-Impressionism. After his travels in Europe and his discovery of Paul Cézanne, he evolved in the direction of the neo-Impressionism of Georges Seurat, placing little dots of colours with a knife, then of the Nabis and even later Fauvism, painting large brushed surfaces in bright colours. After 1899, his Ponte della Paglia in Venice freed itself from strict divisionism, adopting the dense composition in vertically superimposed planes of the Nabis. Like the members of the group of eight, he took his subjects from the daily life of ordinary people, in scenes in the parks or on the beaches of New England, picnics or sometimes circuses. Nevertheless the happy vision that he had of the world separated him strongly from the evolution that led his companions to paint the most miserable and populous milieus, which gave them the name of The Ashcan School. His compositions are arranged in surfaces superimposed vertically, without depth; while the Impressionists and Post-Impressionists were influenced by the layout of Japanese prints, Prendergast was inspired more by Persian miniatures. The decorative elements and the build-up of characters in crowds are placed frontally, like garlands on a tapestry, particularly as he seeks a texture effect, covered entirely by the subject without any empty spaces. His attraction to colours caused him to research all the motifs that he introduced into these compositions: umbrellas, parasols, balloons, draperies. In 1911–1912, he experimented with pastel and treated new subjects, nudes and still-lifes. After 1913, in sympathy with the Symbolists, he put nude figures and everyday characters side by side in the same composition. In his last years, and above all in the watercolours, he discarded the divided stroke and applied larger brushstrokes, similar to the technique of Henri Matisse. Fidelity to the leisurely settings and elegant grooming of the period gave his works, apart from their artistic value, a charming sociological aspect. Singular, almost marginal in his time, his paintings stand out by the density of their composition, in form and colouring, characterised by the accumulation of detail, minutiae of scenery, the serried ranks of people that animate them, the chromatic polyphony of elegance, umbrellas, parasols, and flags. He is a complete painter, particularly generous, who would never be happy to provide only samples of his art. Following Whistler and Mary Cassatt, Maurice Prendergast is one of the most interesting and original Post-Impressionist American painters, and perhaps marks exactly the boundary between the 19th and the 20th centuries. He was considered to be an ‘old master’ from 1920 on, and his works appeared in very many exhibitions of modern American painting. He had his first solo exhibition in 1897 at the Chase Gallery of Boston, where his works were noticed by Madame Montgomery Sears, who made a collection, taking the advice of Mary Cassatt. In 1915 six paintings and watercolours exhibited at the Carroll Gallery of New York established his success and drew the great collectors to him, among whom were Albert Barnes and John Quinn. Group Exhibitions 1974, Ten Americans, Andrew Crispo Gallery, New York 1976, Art of Impulse and Color, University of Maryland Art Gallery, College Park (Maryland) 1982, American Impressionists, Smithsonian Institution, Washington, DC (also presented at the Musée du Petit Palais, Paris) 1999, Town and Country: American Artists, 1870–1920 (Ville et campagne: les artistes américains, 1870–1920), Musée d’Art Américain, Giverny 2002, Japonisme in America: Works on Paper, 1880–1930 (Le Japonisme en Amérique: œuvres sur papier, 1880–1930), Musée d’Art Américain/Terra Foundation for the Arts, Giverny 2007, American Impressionists: Painters of Light and the Modern Landscape, Phillips Collection, Washington, DC 2008, Coming of Age: American Art 1850–1950, Paintings from the Addison Gallery of American Art, Massachusetts, Dulwich Picture Gallery, London 2008, Portrait of a Lady: Paintings and Photographs of American Women in France 1870–1915, Musée des Beaux-Arts, Bordeaux Solo Exhibitions 1934, Maurice Prendergast Memorial Exhibition, Whitney Museum of American Art, New York 1938, Retrospective Exhibition of the Work of Maurice and Charles Prendergast, Addison Gallery of American Art, Andover, MA 1960, Maurice Prendergast, 1859–1924, Museum of Fine Arts, Boston 1990, Art Institute of Chicago 2009, Prendergast in Italy, Peggy Guggenheim Collection, Venice Museum and Gallery Holdings Andover, MA (Addison Gal. of American Art): At the Shore, St. Malo No. 1 and 2 (c. 1907, watercolour and graphite on wove paper, 2 works); Along the Cove (1910–1913, oil on canvas); seven sketches of Paris (1893, oil on wood) Chicago (AI): In the Park (1918–1919) Chicago (Terra Foundation for American Art Collection): Festa del redentore (c. 1899, monotype); The Opera Cloak...

This striking early 20th-century poster promotes the transatlantic routes of the Cunard Line, one of the most prestigious maritime companies of its time. Advertising travel between Liverpool, New York, and Boston via Queenstown (now Cobh, Ireland), the image captures both the grandeur of ocean liners and the emotional intensity of departure in the age of steam. At the center of the composition is a colossal ocean liner, viewed from a low angle that magnifies its scale and presence. The ship’s dark hull stretches across the frame, punctuated by rows of illuminated portholes, while four towering smokestacks release clouds into the sky. This perspective transforms the vessel into a symbol of industrial power and technological achievement—an embodiment of modern progress at the dawn of the 20th century. In the foreground, a dense crowd gathers along the dock, rendered as a mass of small, indistinct figures. Their presence introduces a human dimension to the scene, evoking the emotions tied to transatlantic travel: farewells, hope, anticipation, and uncertainty. The contrast between the monumental ship and the anonymous crowd reinforces the idea of migration and movement on a grand scale. The poster’s composition is carefully structured to guide the viewer’s eye. The diagonal line of the ship’s hull creates a sense of motion, as if the liner is about to depart. The typography at the bottom—bold and clearly legible—anchors the image, emphasizing the Cunard name while listing the key destinations. This combination of visual drama and informational clarity reflects the effectiveness of early travel advertising. The color palette is rich yet restrained, dominated by deep blues, blacks, and warm industrial tones. These hues contribute to the atmospheric quality of the scene, suggesting early morning or evening light at the harbor. Subtle details, such as the reflections in the water and the architectural elements of the port, enhance the realism and immerse the viewer in the setting. During this period, transatlantic travel was not only a practical necessity but also a powerful cultural experience. Shipping lines competed to present themselves as reliable, modern, and prestigious. Posters like this one played a crucial role in shaping public perception, turning ocean liners into icons of opportunity and connection between continents. Ultimately, this Cunard Line poster...

Antique American impressionist landscape oil painting. Oil on canvas. Framed. Measuring 20 by 27 inches painting alone. In excellent original condition. Handsomely framed in a gold g...

Va firmado por el artista en la parte inferior También va titulado y fechado del año 1906 Se presenta enmarcada la obra El estado de conservación de la obra es bueno Medidas obra...

Paul Victor Mathey (1844-1929) Portraits of his son Jacques writing in a deckchair pencil on paper 15 x 20 cm The back of the sheet, which is currently hidden by the frame, bears th...

Original “Brasserie Schneider” horizontal vintage poster. Professional archival linen backed in very good to excellent condition. Art no...