20th Century Paintings

Architectural oil painting on canvas of Heydon Hall executed in a rustic naive style with contrived aging and presented in a maple frame. Signed Dan Dunton.

"The Artists Model" French School, circa 1920's Charcoal drawing on paper, unframed. Paper: 24.5 x 17.5 inches. Condition report: The painting is in good and sound condition.

An original watercolor painting by San Ildefonso (Pueblo) Native American artist, Jose Roybal (1922-1978) depicting the Pueblo Harvest Dance. Presented in ...

A delightful vintage Hungarian oil on canvas painting depicting a mustachioed gentleman in traditional dress, clutching a pipe and wearing a dark alpine hat adorned with a red blosso...

Artforms: An Introduction to the Visual Arts Duane and Sarah Preble Softcover Book. 5th Edition 1994. Publisher: Harpercollins College Div, 1994. For Art Appreciation, Art for Non...

Circa 1950.We offer this original exvoto. Votive paintings in Mexico go by several names in Spanish such as “ex voto,” “retablo” or “lámina,” which refer to their purpose, place oft...

Gouache painting showing snowing the English built Cargo Steamer S.S. Thornaby. The ship was built by Ropner Shipbuilding at Stockton on tees in 1889. She hit a mine and sank in 1916...

Aurelio Arteta Errasti (2 December 1879, Bilbao - 10 November 1940, Mexico City) was a Basque painter who worked in several styles; including Symbolism, Cubism and Social Realism. ...

Italian school ,early 20th century Hand-painted oil on canvas depicting gentleman with oval wooden frame worked with gold leaf.

Oil on canvas in wooden frame. Signed on front and back. From December 1984.

Albert Chubac, Composition, Mixed-media on paper, Stamped, circa 1960, France. Measures: Height 67 cm, width 50 cm, depth 3 cm. Albert Chubac was born in Geneva in 1920. After stu...

Beautiful Swedish Folk Art (commonly known in swedish as bonad) made 1790-1820s. Part of a bigger painting. Likely made by Johannes Nilsson at Sunnerboskolan, Småland. Local painters were often inspired by decorations in churches, where they learned and trained their crafts. The painting on linen is upholstered as a pillow. The main motif depicts a holy woman serving wine dressed...

Portrait sketch original drawing by Jean-Paul LE VERRIER (1922-1996) studio stamped pencil drawing on paper, unframed Double sided 10.5 x 8.25 inches provenance: private coll...

Italian modern erotic Japanese manga painting by Gianni S99, 1990s Acrylic painting on board with an erotic theme, representing iconic characters from J...

Series of 5 abstract expressionist painting each on a Masonite board. These paintings were purchased from an estate in Westchester NY, they date from the 1960s or 1970s they are well...

Pair of M.E. Fager Reverse Mirror Paintings – Signed, 1950s American Design A rare and captivating pair of reverse mirror paintings by renowne...

A small American Classical framed painting of a stagecoach. This piece is framed in a deep wooden frame, with gilt gold around the edges and brown and black on the inside and outside...

A large oil painting on ply board by French artist Roland Gautier. A surreal figurative observation of the female form facing a male body in the foreground. Colourful and bold with a...

A truly gorgeous, quite large and decorative, engaging South Indian Asian (India) Pichwai and/or gouache painting in a heavy two-sided acrylic frame featuring an evening Maharaja roy...

Artist: Elisabeth Hahn (German 1924-2021), Elisabeth Hahn was born in Dortmund, Germany, where she began her artistic studies. In 1953, she moved to Paris. She continued her studie...

Albert Chubac, Composition Gouache, Signed lower right, circa 1980, France. Measures: Height 15 cm, width 15 cm, depth 3 cm (without frame). Albert Chubac was born in Geneva in 19...

English Country (20th Century) painted and carved wall plaque of golf sign.

Signed Velpha 1920/30's era oil on linen depicting a Lilly in a vase with abstract backdrop in multi colors with geometric design attributed to the deco era. Lovely still life found ...

Whimsical outsider, Folk Art oil painting by William R. Straly, excellent use of color. Texture and space.

Oil painting framed in a gilded wooden frame with the motif of a cabin out in a mountain landscape. Signed by P. Svarter from the 1970s Dimensions: L:50cm W:60cm

Great Italian painting from the mid-20th century. Framework oil on canvas depicting countryside landscape with farmyard animals of good pictorial quality. Painting of great measure a...

Santa Fe Art. Ellis, Simone. Published by Crescent Books., New York., 1993. Large hardcover book. Illustrated in black, white and color. Important refer...

Our very large portrait of Jean Bonnardel (1899-1952), Countess Madeleine de Montgomery, by Federico Armando Beltran Masses (1885-1949) measures 77 3/8 ...

Mel Smilow, 1988, an assemblage of cut foam blocks in an array of modern abstract image of shapes, covered in a white acrylic. Trimmed in a thin contrasting pine. Signed. Mel Smilow, the famed mid century furniture designer...

Beautiful continuous line drawing by Jean Negulesco - Oscar award winning Hollywood director. Multiple Colors available. Newly framed in oak

"Interior Scene" by Geneviève Zondervan (French 1922-2013) oil painting on board board: 9 x 10.5 inches Superb mid-century oil painting on board by the French artist, Geneviève Zon...

A tall portrait painting of a woman with a flower in her hair. This piece was painted by the late Oklahoma artist Clair Seglem and is well known for his ...

Vibrant sea. English school, early 1900's. Original watercolor painting on artists paper, unframed. Overall paper size: 7.75 x 11 inches. From a large private collection of E...

Bold geometric abstract board found in Texas. We have a collection of these boards from an anonymous artist. Painted on recycled cupboard doors, table tops, stool tops and bread boar...

Coastal Summer landscape by Bernard Labbe (French mid 20th century) original watercolor and gouache on paper size: 13.5 x 10.5 inches unsigned, stamped verso condition: very good and...

French Landscape by Bernard Labbe (French mid 20th century), stamped verso original oil painting mounted on artist paper overall size: 19.75 x 25.5 inches condition: very good and re...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) set of 2 watercolour on paper, unframed top painting : 6 x 4.5 inches, signed bottom right bottom painting: 5 ...

A fantastic and extraordinary artwork with historical and artistic importance. Mural titled "Linger Longer Bar" signed and dated by artist P. Comstock on bottom right. Depicting a multitude of well known cartoon characters of the era including Mickey and Minnie, Popeye and Olive Oyl, Little Orphan Annie and a virtual Who’s Who of early 20th Century Cartoon...

"The Portrait" by Geneviève Zondervan (French 1922-2013) Pencil / charcoal on thick paper, unframed. Double sided. Paper size: 24.5 x 18.75 inches. Beautifully decorative, m...

Still life painting (Violin, Flowers), Oil on canvas, by Agnes Weinrich, Signed and dated "22", Unframed: 20" x 16", Framed 27.5 x 23". Agnes Weinrich (1873-1946) was an early female, American modernist artist at a time when there was little interest in Modern Art in the USA and when few women were artists. She was a ground breaker in modern art. The painting shown is an important example of her mature phase of her work. A biography from Wiki-pedia follows: Agnes Weinrich (1873–1946) was one of the first American artists to make works of art that were modernist, abstract, and influenced by the Cubist style. She was also an energetic and effective proponent of modernist art in America, joining with like-minded others to promote experimentation as an alternative to the generally conservative art of their time. Early years[edit] Agnes Weinrich was born in 1873 on a prosperous farm in south east Iowa. Both her father and mother were German immigrants and German was the language spoken at home. Following her mother's death in 1879 she was raised by her father, Christian Weinrich. In 1894, at the age of 59, he retired from farming and moved his household, including his three youngest children—Christian Jr. (24), Agnes (21), and Lena (17), to nearby Burlington, Iowa, where Agnes attended the Burlington Collegiate Institute from which she graduated in 1897.[1][2][3] Christian took Agnes and Lena with him on a trip to Germany in 1899 to reestablish links with their German relatives. When he returned home later that year, he left the two women in Berlin with some of these relatives, and when, soon after his return, he died, they inherited sufficient wealth to live independently for the rest of their lives. Either before or during their trip to Germany Lena had decided to become a musician and while in Berlin studied piano at the Stern Conservatory. On her part, Agnes had determined to be an artist and began studies toward that end at the same time.[1][4] In 1904 the two returned from Berlin and settled for two years in Springfield, Illinois, where Lena taught piano in public schools and Agnes painted in a rented studio. At this time Lena changed her name to Helen. In 1905 they moved to Chicago where Agnes studied at the School of the Art Institute of Chicago under John Vanderpoel, Nellie Walker, and others.[1] In 1909 Agnes and Helen returned to Berlin and traveled from there to Munich, where Agnes studied briefly under Julius Exter, and on to Rome, Florence, and Venice before returning to Chicago.[5] They traveled to Europe for the third, and last, time in 1913, spending a year in Paris. There, they made friends with American artists and musicians who had gathered there around the local art scene. Throughout this period, the work Agnes produced was skillful but unoriginal—drawings, etching, and paintings in the dominant academic and impressionist styles.[1] On her return from Europe in 1914, she continued to study art, during the warm months of the year in Provincetown, Massachusetts,[1] where she was a member of the Provincetown Printers art colony in Massachusetts,[6] and during the colder ones in New York City. In Provincetown she attended classes at Charles Hawthorne's Cape Cod School of Art and in New York, the Art Students League.[1] Drawing of an old woman by Agnes Weinrich, graphite on paper, 11.5 x 7.5 inches. Hawthorne and other artists established the Provincetown Art Association in 1914 and held the first of many juried exhibitions the following year. Weinrich contributed nine pictures to this show, all of them representational and somewhat conservative in style.[1] A pencil sketch made about 1915 shows a figure, probably one of the Portuguese women of Provincetown. Weinrich was a metculous draftsperson and this drawing is typical of the work she did in the academic style between 1914 and 1920. She also produced works more akin to the Impressionist favored by Hawthorne and many of his students. When in 1917 Weinrich showed paintings in a New York women's club, the MacDowell Club, the art critic for the Brooklyn Daily Eagle said they showed a "strong note of impressionism."[7] Broken Fence by Agnes Weinrich, a white-line woodblock made on or before 1917; at left: the woodblock itself; at right: a print pulled from the woodblook. In 1916 Weinrich joined a group of printmakers which had begun using the white-line technique pioneered by Provincetown artist B.J.O. Nordfelt. She and the others in the group, including Blanche Lazzell, Ethel Mars and Edna Boies Hopkins, worked together, exchanging ideas and solving problems.[1][8] A year later Weinrich showed one of her first white-line prints at an exhibition held by the Pennsylvania Academy of Fine Arts in Philadelphia.[9] Broken Fence, in its two states—the print and the woodblock from which she made it—show Weinrich to be moving away from realistic presentation, towards a style, which, while neither abstract, nor Cubist, brings the viewer's attention to the flat surface plane of the work with its juxtaposed shapes and blocks of contrasting colors. Cows Grazing in the Dunes near Provincetown by Agnes Weinrich, white-line woodcut, 10 x 10 1/2 inches When in 1920 the informal white-line printmakers' group organized its own exhibition, Weinrich showed a dozen works, including one called Cows Grazing in the Dunes near Provincetown. This print shows greater tendency to abstraction than eitherBroken Fence or the prints made by other Provincetown artists of the time. The cows and dunes are recognizable but not presented realistically. The white lines serve to emphasize the blocks of muted colors which are the print's main pictorial elements. Weinrich uses the texture of the wood surface to call attention to the two-dimensional plane—the paper on which she made the print—in contrast with the implicit depth of foreground and background of cows, dunes, and sky. While the work is not Cubist, it has a proto-Cubist feel in a way that is similar to some of the more abstract paintings of Paul Cézanne.[10] By 1919 or 1920, while still spending winters in Manhattan and summers on Cape Cod, the sisters came to consider Provincetown their formal place of residence.[1][11][12][13] By that time they had also met the painter, Karl Knaths. Like themselves a Midwesterner of German origin who had grown up in a household where German was spoken, he settled in Provincetown in 1919. Agnes and Knaths shared artistic leanings and mutually influenced each other's increasing use of abstraction in their work.[1][14] The sisters and Knaths became close companions. In 1922 Knaths married Helen and moved into the house which the sisters had rented. He was then 31, Helen 46, and Agnes 49 years old. When, two years later, the three decided to become year-round residents of Provincetown, Agnes and Helen used a part of their inheritance to buy land and materials for constructing a house and outbuildings for the three of them to share. Knaths himself acquired disused structures nearby as sources of lumber and, having once been employed as a set building for a theater company, he was able to build their new home.[15] Weinrich was somewhat in advance of Knaths in adopting a modernist style. She had seen avant-garde art while in Paris and met American artists who had begun to appreciate it. On her return to the United States she continued to discuss new theories and techniques with artists in New York and Provincetown, some of whom she had met in Paris. This loosely-knit group influenced one another as their individual styles evolved. In addition to Blance Lazzell, already mentioned, the group included Maude Squires, William Zorach, Oliver Chaffee, and Ambrose Webster. Some of them, including Lazzell and Flora Schofield had studied with influential modernists in Paris and most had read and discussed the influential Cubist and Futurist writings of Albert Gleizes and Gino Severini.[16][17] Mature style[edit] Woman with Flowers by Agnes Weinrich, circa 1920, oil on canvas, 34 x 30 1/4 inches, exhibited at the Provincetown Art Association exhibition of 1920, made available courtesy of the Association. Two of Weinrich's paintings, both produced about 1920, mark the emergence of her mature style. The first, Woman With Flowers, is similar to one by the French artist, Jean Metzinger called Le goûter (Tea Time) (1911).[18] Red Houses by Agnes Weinrich, circa 1921, oil on canvas on board, 24.25 x 25.5 inches; exhibited "Red Houses" at Fifth Annual Exhibition of the Society of Independent Artists. Like much of Metzinger's work, Le goûter was discussed in books and journals of the time—including one called Cubism co-authored by Metzinger himself.[19] Because the group with which Weinrich associated read about and discussed avant-garde art in general and Cubism in particular, it is reasonably likely that Weinrich was familiar with Metzinger's work before she began her own. The second painting, Red Houses, bears general similarity to landscapes by Cézanne and Braque. Both paintings are Cubist in style. However, with them Weinrich did not announce an abrupt conversion to Cubism, but rather marked a turning toward greater experimentation. In her later work she would not adopt a single style or stylistic tendency, but would produce both representative pictures and ones that were entirely abstract, always showing a strong sense of the two-dimensional plane of the picture's surface. After she made these two paintings neither her subject matter nor the media she used would dramatically change. She continued to employ subjects available to her in her Provincetown studio and the surrounding area to produce still lifes, village and pastoral scenes, portraits, and abstractions in oil on canvas and board; watercolor, pastel, crayon and graphite on paper; and woodblock prints.[20] Possessing an outgoing and engaging personality and an active, vigorous approach to life, Weinrich promoted her own work while also helping Karl Knaths to develop relationships with potential patrons, gallery owners, and people responsible for organizing exhibitions. With him, she put herself in the forefront of an informal movement toward experimentation in American art. Since, because of her independent means, she was not constrained to make her living by selling art, she was free to use exhibitions and her many contacts with artists and collectors to advance appreciation and understanding of works which did not conform to the still-conservative norm of the 1920s and 1930s.[1][21][22] Early in the 1920s, critics began to take notice of her work, recognizing her departure from the realism then prevailing in galleries and exhibitions. Paintings that she showed in 1922 drew the somewhat dry characterization of "individualistic.",[23] and in 1923 her work drew praise from a critic as "abstract, but at the same time not without emotion."[24] In 1925 Weinrich became a founding member of the New York Society of Women Artists. Other Provincetown members included Blanche Lazzell, Ellen Ravenscroft, Lucy L'Engle, and Marguerite Zorach. The membership was limited to 30 painters and sculptors all of whom could participate in the group's exhibitions, each getting the same space.[23][25][26] The group provided a platform for their members to distinguish themselves from the genteel and traditionalist art that women artists were at that time expected to show[27] and, by the account of a few critics, it appears their exhibitions achieved this goal.[1][28][29][30] In 1926 Weinrich joined with Knaths and other local artists in a rebellion against the "traditional" group that had dominated the Provincetown Art Association. For the next decade, 1927 through 1937, the association would mount two separate annual exhibitions, the one conservative in orientation and the other experimental, or, as it was said, radical.[31][32] Both Weinrich and Knaths participated on the jury that selected works for the first modernist exhibition.[11] Still Life by Agnes Weinrich, circa 1926, oil on canvas, 17 x 22 inches. Permission to use granted by Christine M. McCarthy, Executive Director, Provincetown Art Association and Museum. The painting was the gift of Warren Cresswell. Weinrich's painting, Still Life, made about 1926, may have been shown in the 1927 show. Representative of some aspects of her mature style, it is modernist but does not show Cubist influence. The objects pictured are entirely recognizable, but treated abstractly. Although fore- and background are distinguishable, the objects, as colored forms, make an interesting and visually satisfying surface design. In 1930 Weinrich put together a group show for modernists at the GRD Gallery in New York. The occasion was the first time a group of Provincetown artists exhibited together in New York. For it she selected works by Knaths, Charles Demuth, Oliver Chaffee, Margarite and William Zorach, Jack Tworkov, Janice Biala, Niles Spencer, E. Ambrose Webster, and others.[1][23] Later years[edit] Weinrich turned 60 on July 16, 1933. Although she had led a full and productive life devoted to development of her own art and to the advancement of modernism in art, she did not cease to work toward both objectives. She continued to work in oil on canvas and board, pastel and crayon on paper, and woodblock printing. Her output continued to vary in subject matter and treatment. For example, Still Life with Leaves, circa 1930 (oil on canvas, 18 x 24 inches) contains panels of contrasting colors with outlining similar to Knaths's style. Movement in C Minor, circa 1932 (oil on board, 9 x 12 inches) is entirely abstract. It too relates to Knaths's work, both in treatment (again, outlined panels of contrasting colors) and in its apparent relationship to music, something in which Knaths was also interested. Fish Shacks...

- Wonderful Victorian style oil painting of a young girl - She appears to be an arists studio as the lady behind her holds a palette in her hand - She is talking to another man with ...

Modernist Abstract Oil Painting on Board by WNY Artist Kathrin Langley titled "Ancient Tomb" Albright Knox Art Gallery award winning painting.. Well ...

Original Alexander Gore oil on canvas painting. Beautiful abstract texture colors .signed by the artist.

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) signed bottom right watercolour on paper, unframed painting: 5 x 7.25 inches Delightful early 20th century Fr...

Albert Chubac, Composition, Collage and cutout gouache, Signed lower right, circa 1980, France. Measures: Height 32.5 cm, width 25.5 cm, depth 3 cm (without frame). Albert Chubac ...

Beautiful Work of Wim Heesakkers Made in The 70s This is a beautiful work by Wim Heesakkers, marked with a signature on the back. Painter/sculptor Wim Heesakkers (1950) is self-tau...

Spring Fence English school, early 1900's original watercolor painting on artists paper, unframed overall paper size: 11 x 7.75 inches Double sided From a large private colle...

Artist: Elisabeth Hahn (German 1924-2021), Elisabeth Hahn was born in Dortmund, Germany, where she began her artistic studies. In 1953, she moved to Paris. She continued her studie...

Limited edition Fecit Etching, numbered 36/200. Artwork is framed, and depicts a village in neutral tones. Art dimensions (Without frame): 20" W x 31" H.

This striking hand-painted stone by the esteemed artist Ilya Schor, created in Provincetown, Massachusetts, during the 1950s, is a remarkable example of his unique blend of abstract ...

Tuba Player by Bernard Labbe (French mid 20th century) original watercolour/ gouache painting on paper board, unframed size: 10.5 x 7.25 inches condition: very good and ready to ...

Beautiful continuous line drawings by Jean Negulesco - Oscar award winning Hollywood director. Multiple Colors available. Newly framed in oak

Jeka Kemp (Scottish,1876–1966) "No 6 Fleurs", Still Life depicting orange lilies, blue, purple and white flowers in a yellow pitcher, sitting atop a table with fabric draped in the ...

African painting stone on burlap by Adingra, 1983, France - Cote d'Ivoire. Measures: Height 61 cm, width 39 cm, depth 2 cm.

Beautiful continuous line drawings by Jean Negulesco - Oscar award winning Hollywood director. Newly framed in maple with original stamp

Wonderful original pencil drawing depicting a vintage motor car racing scene from the 1930's. The drawing is by - "K. B. White" - a British illustrator and motoring artist who was working in the 1930's. The drawing perfectly capture the glamorous spirit of vintage motoring - the noise, the crowds, the dust flying through the air - goggles, scarves - the drama of the occasion! Completely original and unique and perfect for any sporting interior themed room - or a great gift for a man cave or 'boys room'.

Charming mid century acrylic painting on canvas of a leopard with fauna and flora, executed in an enchanting naive style. Signed Paradis 82 and presented in a wood frame.

Wonderful original pencil drawing depicting a vintage motor car racing scene from the 1930's. The drawing is by - "K. B. White" - a British illustrator and motoring artist who was working in the 1930's. The drawing perfectly capture the glamorous spirit of vintage motoring - the noise, the crowds, the dust flying through the air - goggles, scarves - the drama of the occasion! Completely original and unique and perfect for any sporting interior themed room - or a great gift for a man cave or 'boys room'.

Americana Folk Outsider Art oil on canvas by African American Artist, John Jones, circa 1990s-early 2000s, USA. Signed painting depicts man pointing out his Auntie’s behind. Excelle...

Modernist Abstract Oil Painting on canvas by WNY Artist Kathrin Langley ..Well executed,, great use of color, texture . Katherine was known for her abstract and her religious artwor...