Early 20th Century Paintings

The Madonna Della Sedia commonly known as the Madonna of the chair is a painting by an Italian artist Raphael dating back to 1513 -1514. It is currently hou...

20th Century Original Oil Painting by Austrian artist VW Wolf. "Family of the artist". Painted in 20th century, it is known to have been collected by European Elite

Oil on paper, abstract composition approx. 1920s. Signed illegible. In good condition. Measures: 28 x 24 cm (visible size).

The Madonna Della Sedia commonly known as the Madonna of the chair is a painting by an Italian artist Raphael dating back to 1513 -1514. It is currently hou...

Antique Oil Painting With Four Saints, Germany ca. 1920s A great antique painting depicting the saints St. Elisabeth, St. Gregorius, St. Nikolaus and St. Barbara. Handpainted with e...

Frank Vincent DuMond painting. Bucolic setting of a woman in a pastoral scene by a river. She is seated reading and dressed in an Edwardian, early 20th century clothing. Signed lower left. "To My Friend Mr.Kempshall, Frank V. DuMond". Frank Vincent DuMond was one of the most influential teacher-painters in 20th century America. He was an illustrator and American Impressionist painter of portraits and landscapes, and a prominent teacher who instructed thousands of art students throughout a career spanning over fifty years. In a teaching career spanning more than fifty years, DuMond taught thousands of artists at the art students league. His students included Norman Rockwell, Georgia O'Keeffe, John Marin, Frank J. Reilly,Charles Webster Hawthorne,Frank Herbert Mason,Ogden Pleissner, Kenneth Hayes Miller, Louis Bouché, Eugene Speicher,Helen Winslow...

American Folk Art Pyrography At Its Finest This is an original and beautiful 23 inch by 19.25 inch hand-painted and hand incised work of art on board of ...

refined Indian brush painting of a nobleman riding on a horse, intricate detail, ink, color and gold gilt on paper, Conservation framed

Art Deco Watercolour Framed Art Work of a Catholic Nun Dated and Signed G Hastain 1927 with G Staples of Croydon label to rear Artist address Kilmartin Avenue, Streatham, London

A great angelic oil painting depicting an angel sheltering a sleeping child from a snake. Oil painting on canvas with vigorous pastel colors. Framed wit...

Sizeable and decorative wall plates depicting wildlife in the mountains. These are not your average, transfer printed wall plaques or plates. These sizeable plates each come with a ...

This painting is dated on the stretcher frame 1940 and the large over sized dog is a pointer or know as a bird dog. The birds are quail. This painting is amazing and very well done. ...

An unusual sample board advertising William Mitchell’s Lettering Pens containing numerous nibs and pens in its original oak wooden frame, and Circa 1920 in date. Inscribed “William Mitchell’s Lettering Pens made in England, British Pens...

Presenting a unique set of early 20c hand painted medium sized ceiling or wall panels by Nena Claiborne. Art Nouveau/Deco Era hand-painted ceiling or w...

A very beautiful early 20th century landscape oil on board painting of the countryside in South West France. Expertly executed by Ernest Azema with bold brushwork and wonderful color...

Large Belgian painting dated 1920. Oil on canvas framework, on the first canvas, depicting a portrait of a lady (Maria Erminia Segers 1855-1924) of excellent pictorial quality. Large...

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...

A naturalistic oil painting depicting joseph, maria and the holy child in the barn of bethlehem. Oil painting on canvas with vigorous pastell colors. Framed with antique decorative g...

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'.

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'.

A beautiful original framed abstract cityscape or landscape watercolor painting Signed by Italian artist Giovanni Geleng (1871-1942) Measures: 12"W x 20"H. Very good original vint...

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...

Vintage Oil Painting Victorian River Landscape A lovely vintage oil painting depicting a Victorian riverside landscape with boats on the river an...

Presenting a unique set of early 20C hand painted large sized ceiling or wall panels by Nena Claiborne. Art Nouveau/Deco Era hand-painted ceiling or wa...

A rather interesting and comical pen and ink on paper drawing of "Jack the giant killer", housed in a period stained pine frame. Early part of the 20th century in age, American in ...

Rare truly. Summer camp play backdrop depicting an abstract interpretation of the Rocky Mountain range. Condition is very good, this was found rolled up in a garage likely in place f...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) signed bottom right watercolor on paper, unframed Painting: 8 x 5.5 inches Delightful early 20th centu...

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'.

Wooden pad with trefoil patterns used to decorate fabrics. India, early 20th century.

A very fine original antique English botanical watercolour painting depicting this beautiful depiction of a flower/ plant. The work came to us from a private collection in Surrey, En...

Three Hand-Painted Panels of Chinese Warriors. The paintings feature Chinese warriors in full costume of the era in vivid colors of red, green, yellow, and orange on a beige backgro...

A very fine original antique English botanical watercolour painting depicting this beautiful depiction of a flower/ plant. The work came to us from a private collection in Surrey, En...

A vintage Boho original oil painting on board. A chic composition of a male nude in beautiful shades of green. Framed in a brilliant gilt wood frame. Acquired from a Palm Beach estate.

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) signed bottom right watercolor on paper, unframed Painting: 6 x 9.25 inches Delightful early 20th cent...

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. ...

"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.

"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 cen...

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'.

Antique Englishpainted wood firescreen flower basket dummy board During the 18th and 19th centuries, dummy board fire screens were highly fashionable, esp...

A very fine original antique English botanical watercolour painting depicting this beautiful depiction of a flower/ plant. The work came to us from a private collection in Surrey, En...

Fab pair of poker work panels of Tigers, turn of the century in age circa 1910 A simple process of mark making, using a hot poker to scorch a wooden surface. It would appear Edward ...

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...

"Flowers" by Marie-Amelie Chautard-Carreau (French, 19th/20th century) signed bottom right watercolor on paper, unframed Painting: 9.25 x 14 inches Delightful early 20th cen...

A fine French oil painting on canvas of a Mediterranean harbour scene, featuring a view of sailboats and a picturesque town in an Impressionist style, signed in bottom right facing c...

A very fine original antique English botanical watercolour painting depicting this beautiful depiction of a flower/ plant. The work came to us from a private collection in Surrey, En...

Framed and Glazed Watercolour signed Albert Procter A Large Watercolour painting signed Albert Procter, a late 19th century piece. A Sea/Beach scene with boats, horse, fisher folk i...

19th Century Oil Painting, signed W.VDijk, Village from the Water The painting is in an elaborate Gilt Frame, the painting is in good condition no repairs, a little chipping to th...

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...

Artist/ School: Leon Hatot (French 1883-1953), signed lower corner Title: Impressionist oil painting Medium: oil painting on thick paper, unframed. Size: painting: 13 x 19....

A very fine original antique English botanical watercolour painting depicting this beautiful depiction of a flower/ plant. The work came to us from a private collection in Surrey, En...

"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 painti...

Green Fields English School, early 1900's Original watercolor painting on artists paper, unframed Overall paper size: 8 x 11.25 inches From a large private collection of Engl...

"The Circus Horse" by Fernand Audet (French, Tarascon 1923- Mulhouse 2016) oil painting on canvas, unframed painting: 13 x 8.5 inches Condition re...

A very fine original antique English botanical watercolour painting depicting this beautiful depiction of a flower/ plant. The work came to us from a private collection in Surrey, En...

A very fine original antique English botanical watercolour painting depicting this beautiful depiction of a flower/ plant. The work came to us from a private collection in Surrey, En...

Charming period Arts and Crafts watercolor landscape in original gilt wood frame. The frame is reminiscent of the classic work of Newcomb Macklin, and Foster Brothers, both the fra...

A very fine original antique English botanical watercolour painting depicting this beautiful depiction of a flower/ plant. The work came to us from a private collection in Surrey, En...

Crop Meadow English School, early 1900's Original watercolor painting on artists paper, unframed Overall paper size: 8 x 11.25 inches From a large private collection of Engli...

A very fine original antique English botanical watercolor painting depicting this beautiful depiction of a flower/ plant. The work came to us from a private collection in Surrey, Eng...

A really fabulous pair of Folk Art collages by a Sophie Louise Munns (signed on the original backing paper). Full length portraits in interior sett...

We are delighted to offer for sale this lovely pair of Antique Chinese Ancestral Portraits on the original paper with lovely glazed...