Early 1900s Art

Antique American impressionist flower garden painting. Watercolor and gouache on board. Signed. Framed.

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...

Medium: Oil on Board Signature: Signed Middle Left Cover of Saturday Evening Post magazine (Easter edition), April 1905. This is one of Leyendecker's first Easter covers for the Sa...

This compelling early 20th-century portrait depicts a young woman shown in three-quarter profile, her gaze cast slightly downward in a moment of quiet introspection. Rendered in oil ...

Medium: original lithograph. Published in Paris in 1904 by Revue de l'art ancien et moderne. This impression was printed on china paper, and mounted along the top edge by the publish...

"Inundation" after Carl Fredrik Kiörrboe - Dogs During a Flood Oil on linen painting of a family of dogs in a flood by an unknown artist, unsigned, after an engraving of the painting...

Glasgow: Regality Club, 1894. Etching on cream laid paper with a poppy watermark, 4 1/2 x 5 7/8 inches (115 x 148 mm) full margins. Notations in the margins recto, well outside of image area. Scattered very minor light brown foxing in the right-side sheet quadant, virtually invisible on recto. [Rinder 191]. The son of a clergyman, Sir David Young Cameron was born in Glasgow in 1865. After a brief and unhappy dalliance in the fields of business and law, Cameron began attending the prestigious Glasgow School of the Arts in 1881, and later the Edinburgh School of the Arts. At first associated with the Glasgow Boys (John Lavery, Joseph Crawhall...

Robert Azensky Fine Art is pleased to offer original 1909 sketch study of oil painting "Homesteader Colorado Mountain" painting by Frank Tenney Johnson. It's always special to see the evolution of a painting through the plein air sketches ("studies") by the artist prior to its painting. Frank Tenney Johnson traveled throughout the Colorado Rockies sketching and painting western landscapes and native American and cowboy figurative art. Medium: Charcoal on paper Signature: Lower left corner Date: "1909" below signature Condition: Tonal aging and minor edge wear consistent with age and use. See images. Presented in black painted wood frame Mat size: 14"H x 11"W Paper size: 9"H x 6"W Image size (visible with mat): 8"H x 5.25"W Frank Tenney Johnson was born in Coucil Bluffs, Iowa, in 1874 not far from the Overland Trail. During his childhood, he saw the steady stream of people heading west in all forms of horse-drawn conveyance. This early exposure to the American West was critical in leading Johnson towards the Western landscape as an inspiration for his work. The resulting body of work is a moody and romantic depiction of a long-gone America, rendered in a style that has become practically a genre all its own. At the age of ten, Johnson moved from Iowa to Milwaukee, WI. There, he took an apprenticeship with F.W. Heinie, a prominent panoramic painter. After a year with Heinie, Johnson apprenticed for Richard Lorenz, a painter and former Texas Ranger who specialized in depictions of horses and western scenes. It was probably during his time with Lorenz that Johnson decided to focus on western subjects himself. He also started illustrating for regional papers and publications, in order to save money for further training. Further training, as with many of the artists who populated New Mexico in the early twentieth century, took place at the Art Students League in New York, where Robert Henri, William Merritt Chase, John Twachtman, Kenneth Hayes Miller and F. Louis Mora were in the process of teaching perhaps the last great batch of pre-modernists. Though highly stimulated by the training, Johnson was only able to stay for five months, after which he returned to Milwaukee to work and save money in an effort to return to New York. He was able to do so after a time and, upon returning, established an important professional relationship with Emerson Hough, the editor of "Field & Stream" magazine. At Hough's urging (and on Hough's dime), Johnson traveled to Hayden, Colorado, where he tagged along with a group of cowpunchers in order to sketch their way of life. Though primarily an artist, Johnson also wrote accounts of his time in Colorado for "Field & Stream." After Colorado came Cheyenne, Wyoming, where Johnson attended a "Frontier Days" celebration; after Wyoming, Johnson traveled to New Mexico, where he observed the Navajos and their threatened way of life. This trip changed Johnson from an academic artist with an appreciation for the west to a truly western artist. Of particular interest to him, in stark contrast to other western artists of the time like Frederic Remington and C.M. Russell, were the more quotidian scenes of the West. Specifically, Johnson focused upon scenes featuring horses, especially at night. Johnson painted a great number of pieces that featured horses tied up outside of saloons, inns or trading posts for the night, the moonlit night punctuated by the warm glow from the lamps inside. In this, he can be considered a pioneer, as his night pieces still serve as the archetype for such work in western art. Johnson became quite successful through his work for "Field & Stream." He was chosen to illustrate books by the prominent writer Zane Grey, and his gallery shows sold briskly. In fact, one particular show, at the Grand Central Art Galleries at the Biltmore Hotel in New York, sold out opening night. In fact, one man had bought out the entire show: Amon Carter. Having achieved financial security and comfort, Johnson followed his good friend Clyde Forsythe to Alhambra, CA, where the two established residency and shared a studio. California treated Johnson well. He and Forsythe founded the gallery at the Los Angeles Biltmore...

ROBERTSON 20th Oil on canvas 60 x 73 cm (69 x 82 cm with frame) Signed and dated lower left "RBTSN / 1909" Very good condition Beautiful black frame with black edging This symbolist...

Signed lower left, 'G. Giardiello' for Giuseppe Giardiello (Italian, 1877-1920) and painted circa 1900. A skilled late 19th century Italian landscape painter, little is known about ...

Léon Schulman Gaspard (Vitebsk, Belarus, 1882 – Taos, New Mexico, 1964) The Musicians 1909 Oil on panel 21.5 × 27 cm Signed, dated and located “Léon Schulman 1909 Paris” lower ri...

For sale is a captivating painting by the Swedish artist, Rikard Lindström (1882-1943). Depicting a picturesque water canal, with charming houses lini...

R. STONE Oil on Panel 19th Century Both signed bottom left Painting Size: 6 x 12" (15 x 30cm) Outside Frame Size: 13 x 19" (32 x 47cm) Exhibited 1906 – 1909 Worked at the turn of ...

William Merrit Chase American, 1849-1916 Fruit and Porcelain Signed "Wm M Chase." l.l., identified on labels from the Corcoran Gallery of Art, B...

Signed by artist lower left. The Century Illustrated Monthly Magazine Cover

JOSEPH ARTHUR PALLISER SEVERN (1842-1931) Sun Effect - above Waldney Scar, Coniston Signed and dated l.l.: Arthur Severn/1906; signed and inscribed with title and the artist’s addr...

Landscape With A River And Trees Artist signed and dated 1904 lower right, canvas 16x26 inches. Painting previously relined and restored, antique frame. Eugéne REGAGNON (1875-1957) ...

Jim’s of Lambertville is proud to offer this artwork by: 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...

Plate #12 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 Klimt's well-known Water Serpents paintings...

This lovely Scottish Impressionist landscape oil painting is by noted artist David Fulton RWS. Painted circa 1900 it is a pastoral landscape depicting a shepherd and his flock in a l...

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...

Medium: original etching. This work was printed in 1901 and published by the Revue de l'Art ancien et moderne as an undiscovered Goya etching, but it is now understood to have been e...

Up for sale is an antique original oil painting on canvas after Federico Mazzotta (Italian, 1839 - 1897) titled "Stealing a Taste". This painting depicts a warm domestic scene, ...

Medium: original etching. Printed in 1906 at the Alfred Porcabeuf atelier and published in Paris by Gazette des Beaux-Arts. Image size: 6 1/2 x 5 7/8 inches (165 x 149 mm). Signed in...

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...

Drypoint on gewöhnlichem aber holzfreiem vélin paper. Unsigned and unnumbered, as issued. Good Condition. Notes: From the album, Verzeichnis Des graphischen Werks Edvard Munchs Bis 1...

Citation : Si l'oeil ne contemple pas, l'oeil ne verra pas Animal - Closeup portrait of a cat Technique: oil, acrylic, and ink on old book pages on wooden fram...

Finely painted antique American school oil painting. Oil on canvas. Framed. Measuring 29 by 38 inches overall and 23 by 32 painting alone. Unsigned. Painted in a striking Ashcan s...

Antique American impressionist landscape painting by Edna Thurber (1887 - 1981). Oil on canvas, circa 1915. Signed. Displayed in a period impressionist ...

Antique American impressionist coastal painting by Clarence Braley (1854 - 1927). Oil on canvas, circa 1900. Signed. Displayed in a period modernist ...

Albert Paul Guilmet (1879-1922) Portrait of a man, signed upper left charcoal on paper 26.5 x 33,8 cm Framed : 43.5 x 52 cm Little is known about Abert Paul Guilmet, apart from th...

William Arthur Breakspeare RBA RBSA 1856-1914, was an English portrait and genre subjects painter. William's father was a still life painter who worked within the flower painting a...

Signed lower right, 'T. Ivester Lloyd' for Thomas Ivestor Lloyd (English, born 1873) and painted circa 1900. This Liverpool-born artist spent most of his life in and around Sheringt...

3882 Antique equestrian with seated rider oil painting on wood panel

Auguste-Joseph Delécluse (Roubaix 1855 - Paris 1928) Portrait of the artist's son, Eugène Delécluse Oil on canvas H. 98 cm; W. 116 cm Signed lower right 1903 Exhibition: 1903, Salon...

Consigned to the gallery, Pasadena, California; By descent to a private collector, Encino, California; Acquired in 1998 by a private collector, San Carlos, Palo Alto, and Oceanside, California; From William A. Karges Fine Art, Carmel, California Signed "Jesse Arms Botke" on lower right Description This charming watercolor captures a sweeping view of Bodega Bay, California, rendered with the refined draftsmanship and decorative sensibility for which Jessie Arms Botke is renowned. While best known for her gilded avian compositions, Botke’s landscapes are comparatively rare and reveal a more personal side of her artistic vision. Here, the viewer peers over the distinctive red turret of a Victorian home toward the curving estuary, where land meets sea beneath a soft blue sky. Delicate washes and crisp detailing convey the texture of the shoreline, the undulating water, and the surrounding structures, evoking the calm yet lively spirit of a coastal fishing village in the early 20th century. The warm terracotta tones of the foreground architecture contrast beautifully with the cool blues of the water and the distant hills, creating a balanced, harmonious scene. Although no journal entry or record confirms a specific trip to Bodega Bay, Botke may have painted this work, circa 1906, during the period when she was offered a round-trip passage from the Atchison, Topeka & Santa Fe Railway to travel from Chicago to Arizona and California in exchange for paintings depicting scenes of the West. The style and vantage point suggest direct observation, making it likely that she visited the town and painted the scene en plein air. With its architectural detail, vibrant palette, and compositional harmony, this work stands as a significant example of Botke’s lesser seen yet highly collectible works on paper. Jessie Arms Botke is recognized as one of the most important women artists in the early California art...

Edmond Suau (1871-1929) Une Académie, Standing man, oil on canvas signed lower left 88 x 70 cm In quite good condition, some damages - small lacks of painting - in the lower part, ...

This stunning, large British Edwardian Newlyn School interior portrait oil painting is by much noted and exhibited artist Walter Langley. Originally from Birmingham, Langley and his family moved to St Ives in 1881. He was one of the first artists to settle and painted the local fishermen and their families. Painted in 1906 and entitled The Evening of Life, the painting is a full length seated portrait of an elderly lady in a cottage interior. She is sat by a table on which she has a bible, jug of flowers and her sewing equipment. Across her lap she has a large patchwork quilt to mend but is lost in thought. In fact the same sitter and quilt can be seen in Memories, also painted in 1906 and in the Ferens Art Gallery, Hull. Memories includes more of the cottage interior but the sitter's head is bowed towards her hands. The Evening of Life is more vibrant and the sitters face is much more visible as are the lovely colours of the quilt. The painting has fantastic detail, great brushwork and the Newlyn school palette of colours. The provenance is excellent, having been kept in the same family ownership so fresh to market. The painting appeared in the artist's catalogue Raisonne and was also in 1997 biography by Langely's grandson, Roger Langley, entitled Walter Langley: Pioneer of the Newlyn Art Colony. This a superb example of Langley's work, a good size and composition and a pleasure to gaze upon. Signed lower left and dated (19)06. Provenance. : Ford, 1906 (£63). Long in the previous family ownership and sold by the executors of the estate. Thomas Wood and Sons label verso. Literature: Langley (R) - Walter Langley Pioneer of the Newlyn Art Colony 1997, catalogue raisonne p.170 (under 1906). Condition. Oil on canvas, 40 inches by 30 inches unframed, in good condition and unlined canvas. Frame. Housed in a gilt frame 47 inches by 37 inches and in good condition. Walter Langley (8 June 1852 – 21 March 1922) was an English painter and founder of the Newlyn School of plein air artists. He was born in Birmingham and his father was a journeyman tailor. At 15 he was apprenticed to a lithographer. At 21 he won a scholarship to South Kensington and he studied designing there for two years. The sometimes highly ornate work is mainly in gold and silver and in a Renaissance style. He returned to Birmingham but took up painting full-time, and in 1881 was elected an Associate of the Royal Birmingham Society of Artists. In the same year he was offered £500 for a year's work by a Mr Thrupp (a Birmingham photographer). With this money he and his family moved to Newlyn where he was one of the first artists to settle and began recording the life of the fishing community. Politically left wing for his era, he was noted for his social realist portrayals of working class figures, particularly fishermen and their families. He was a supporter of Charles Bradlaugh, a radical socialist politician. His own working-class background enabled him to identify with the villagers and the hardships they endured, many of his paintings reflect this sympathy with the working-class fisher-folk amongst whom he lived. One of the best known works is the watercolour For Men Must Work and Women Must Weep (1883; Birmingham Museum and Art Gallery) based on Charles Kingsley's poem The Three Fishers (1851). Another is Between The Tides (1901; Warrington Museum & Art Gallery). Although one of the first to settle in the Newlyn artists' colony Newlyn School, Langley initially benefited little from its growing fame, partly because of his working-class origins and partly because until 1892 he painted largely in watercolour rather than the more prestigious medium of oils. His early training in lithography gives his paintings a detail and texture that show his technical skills. In 1884, Langley was elected a member of the RBSA and continued to exhibit widely throughout the UK and abroad. Later in his career his reputation grew. One of Langley's paintings was singled out as "a beautiful and true work of art" by Leo Tolstoy in his book What is Art?, while in 1895 Langley was invited by the Uffizi to contribute a self-portrait to hang alongside those of Raphael, Rubens and Rembrandt in their collection of portraits of great artists. Today his work is considered "vital to the image of the Newlyn School" and "alongside Stanhope Forbes ... the most consistent in style and substantial in output". Exhibited: Royal Society of Artist Birmingham 57, Dudley Gallery 4, Dowdeswell Gallery 17...

Signed lower right, “Ch. Henrida” for Charles Henrida (French, 1854-1924) and painted circa 1900. Unframed and displayed in a beveled, ivory mat with gilt inner slip. Matted dimens...

Sir Francis Dicksee (English, 1853-1928) Untitled (Portrait of a Woman), c. 1900 Oil on canvas; period frame Sight: 13 1/4 in. Framed: 21 1/8 x 21 1/8 x 3 3/8 in. Frank Dicksee was a member of a noted artistic family, his father, brother, and sister Margaret were all well-known painters, and the family lived in the Bloomsbury area of London. He was initially trained by his father, before entering the Royal Academy schools in 1870. Amongst the visiting lecturers who trained him, were the famous senior academicians Leighton [1830-1896] and Millais [1829-1896]. Dicksee was a star student, earning many distinctions and medals. Like many other artists of the day his early career was largely spent in book illustration, as well as some stained glass window design. He started exhibiting at the RA in the mid 1870s, and also exhibited at the Grosvenor Gallery, though his real base was always the Academy. Dicksee made his reputation with Harmony, exhibited at the Academy in 1877, and bought by the Chantry Bequest. Frank Dicksee was elected ARA in 1881, and became a full RA ten years later. Many of his pictures were of dramatic historical and legendary scenes. He also was a noted painter of elegant, highly-finished portraits of fashionable women, which of course helped to bring him material success. Many of these portraits are so beautiful, it is really difficult to disapprove of them - happy was the fashionable lady whose portrait was painted by Dicksee! He also painted landscapes. Dicksee lived in St John's Wood, and remained a bachelor. He was, of course, one of the nineteenth century artists who outlived his time, and was, to his credit, very unhappy with developments in the early twentieth century. Rather surprisingly, Dicksee was elected President of the Royal Academy in 1924, fulfilling the role with panache and tact. Physically he was a tall, good-looking, patrician figure, with a charming easy-going manner. Like his predecessor but one Edward Poynter...

Delicate and detailed floral still life by Alfred Broge (Danish, 1870-1955). Three white anemones and one pink poppy, all with stems and leaves, sit against a medium grey background...

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...

'Eggs' Antique English natural history chromolithograph. Key to eggs below the image. Tiny numbers in the margins to identify the eggs. Sheet 19cm by 12.5cm, image 13cm by 9.5cm.

B. J. O. NORDFELDT (1878 - 1955) THE WAVE, MOONRISE, 1906 (Donovan 19) Woodcut printed in colors. Signed and dated faintly in sky upper left. Image 9 ¼ x 11 1/8”, sheet 9 5/8 x 11 ...

Portrait of J. Knowles inscribed and dated to label verso oil on canvas, framed in hand painted elaborate frame framed: 25 x 22 inches canvas: 22 x 1...

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...

Mt. Tamalpais and Stream in the Spring circa 1900 Stream above Lake Bon Tempe with Mt. Tamalpais in the background. A warm spring day in Northern California and the Bay Area. Excell...

Themistokles von Eckenbrecher (1842 Athens - 1921 Goslar), Norwegian pine grove, 1901. Watercolor on blue-green paper, 30 x 22 cm. Signed, dated and inscribed in his own hand "TvE. Fagermes [i.e. Fagermes]. 26.6.[19]01." - Slight crease throughout at left margin, otherwise in good condition. About the artwork Themistokles von Eckenbrecher often traveled to Norway to study the nature that fascinated him there. On June 26, 1901, near the southern Norwegian town of Fagernes, in the summer evening sun, he saw a small pine grove, which he immediately captured in a watercolor. He exposed the trees growing on a small hill in front of the background, so that the pines completely define the picture and combine to form a tense motif. The tension comes from the contrast of form and color. The trunks, growing upward, form a vertical structure that is horizontally penetrated by the spreading branches and the pine needles, which are rendered as a plane. This structural tension is further intensified by the color contrast between the brown-reddish iridescent trunks and branches and the green-toned needlework. Themistokles von Eckenbrecher, however, does not use the observed natural scene as an inspiring model for a dance of color and form that detaches itself from the motif and thus treads the path of abstracting modernism. Its inner vitality is to be brought to light and made aesthetically accessible through the work of art. It is precisely in order to depict the inner vitality of nature that von Eckenbrecher chooses the technique of watercolor, in which the individual details, such as the needles, are not meticulously worked out, but rather a flowing movement is created that unites the contrasts. The trees seem to have formed the twisted trunks out of their own inner strength as they grew, creatingthose tense lineations that the artist has put into the picture. The inner strength continues in the branches and twigs, culminating in the upward growth of the needles. At the same time, the trunks, illuminated by the setting sun, seem to glow from within, adding an almost dramatic dimension to the growing movement. Through the artwork, nature itself is revealed as art. In order to make nature visible as art in the work, von Eckenbrecher exposes the group of trees so that they are bounded from the outside by an all-encompassing contour line and merge into an areal unity that enters into a figure-ground relationship with the blue-greenish watercolor paper. The figure-ground relationship emphasizes the ornamental quality of the natural work of art, which further enforces the artwork character of the group of trees. With the presentation of Themistokles von Eckenbrecher's artistic idea and its realization, it has become clear that the present watercolor is not a study of nature in the sense of a visual note by the artist, which might then be integrated into a larger work context, but a completely independent work of art. This is why von Eckenbrecher signed the watercolor. In addition, it is marked with a place and a date, which confirms that this work of nature presented itself to him in exactly this way at this place at this time. At the same time, the date and place make it clear that the natural work of art has been transferred into the sphere of art and thus removed from the time of the place of nature. About the artist Themistocles' parents instilled a life of travel in their son, who is said to have spoken eleven languages. His father, who was interested in ancient and oriental culture, was a doctor and had married Francesca Magdalena Danelon, an Italian, daughter of the British consul in Trieste. During a stay in Athens - Gustav von Eckenbrecher was a friend of Heinrich von Schliemann and is said to have given him crucial clues as to the location of Troy - Themistokles saw the light of day in 1842. After an interlude in Berlin, where Themistokles was educated at the English-American School, the journey began again. From 1850 to 1857 the family lived in Constantinople, after which the father opened a practice in Potsdam, where Themistokles, who wanted to become a painter, was taught by the court painter Carl Gustav Wegener. In 1861 the von Eckenbrechers left Potsdam and settled in Düsseldorf. There Themistokles received two years of private tuition from Oswald Aschenbach, who greatly admired the talented young artist. After his artistic training, he undertook extensive travels, often accompanied by Prince Peter zu Sayn-Wittgenstein, which took him to northern and eastern Europe, but above all to the Middle East and even to South America. The paintings that resulted from these journeys established his artistic reputation and led to his participation in large panoramas such as the 118 x 15 metre Entry of the Mecca Caravan into Cairo, painted for the City of Hamburg in 1882. 1882 was also the start of a total of 21 study trips to Scandinavia, most of them to Norway, and the unique Norwegian landscape with its rugged fjords became a central motif in his work. Along with Anders Askevold and Adelsteen Normann...

French oil painting on canvas "Musical Connoisseurs" by Marcel Brunery 19Th Title: Musical Connoisseurs Dimensions canvas : 50 cm x 60 cm Dimensions frame: 78 cm x 88 cm Artist: Mar...

Hard earthenware vase, matte white with blue-gray accents made to evoke ice and winter. The 1900 EDDA series from Amphora was named after two medieval Icelandic poems of Norse mythology...

Medium: offset lithograph (after the painting). Published in London by The Studio in 1905 for a rare deluxe portfolio. Printed on smooth wove paper, the image measures 4 1/2 x 8 inch...

Estate stamped, lower right, 'Arthur B. Davies' for Arthur Bowen Davies (American, 1862-1928) inscribed, 'Per NMD' and created circa 1900. Born in Utica, New York, Arthur Davies att...

Important and rare American modernist Samoan Island landscape oil painting by Louis Michel Eilshemius (1864 - 1941). Oil on board. Signed. Framed. Measuring 12 by 14 inches overall a...

Original aquatint engraving of working river barges on the Seine in Paris, France. A horse drawn cart is seen loading or unloading product. Circa 1900. ...

This circa 1900 original advertising poster by Mourgue was created to promote the pioneering automobiles of De Dion-Bouton, one of the most influential names in the early history of ...

Illegible signature Work on cardboard Golden wooden frame 49 x 44 x 4 cm

Animal Frieze me Portrait - Closeup of cat Technique: oil, acrylic, and ink on canvas F30 92x73cm ■■ 36,2x28,7 inch 》》R E A D Y -- T O -- H A N G《《 ❶ → Original signed work. Cer...

Early 20th-century English oil painting with the subject taken from one of Robert Bloomfield's poems, The Farmers Boy. "E'en Sober Dobbin lifts his clumsy heel, and kicks, disdainful of the dirty wheel Edward Algernon Stuart Douglas...

Edward Richie Butler Sacramento 1855 - 1916 Lüderitz Nightscape, Circa 1907 Oil on canvas monogrammed lower right Size: 55 x 40 cm Frame: 64 x 50 cm Original condition, a few s...

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...