Contemporary Art

Monumental hand carved wood sign from the 1930s. Made by H.H. Upham & Co. Interestingly, this company owned a huge sign manufacturing business in the ...

Les Fleurs du Mal, Georges Rouault, 1933 Lithograph by Georges Rouault, great french expressionnist painter of the french Paris School (with Modigliani, Picasso, Braque, Matisse...)...

Royal House Antiques Royal House Antiques is delighted to offer for sale this original antique French circa 1900 Opticians advertising sign with rare, decorative wall mount A good ...

Introducing "Frau in rot", a stunning vintage framed advertisement featuring the iconic 1929 Mercedes Benz. This piece of history captures the essence of luxury and sophistication th...

This Christmas Stocking was made from a late 19th or Early 20th C. Chinese rug fragments. Please note, this stocking was made from Chinese rug fragments.

Exceptional Art Nouveau hanging cupboards With fruitwood inlays Around 1910 In good condition

A striking large scale pair of bookmatched breccia marble wall decor panels. These natural cuts of marble are detailed with unique veins and markings throughout that make for spectac...

Framed ‘Landscape in Mist’ lithograph by Gustav Rudberg. Framed in White Oak. Signed and numbered 144/230.

This very rare and important study for "The Spirit of Oshkosh," a major mural in Wisconsin, was painted by Eugene Savage in 1937. Savage is best know...

Experience timeless elegance with the "Mauri" metal candy box, a treasure hailing from the vibrant streets of Barcelona in the 1920s. Crafted with meticulous artistry, this piece cap...

1930s Dutch school of art abstract painting. Signed by artist FA. Newly framed art floating on linen background. From a large collection of work.

1930s Dutch school of art abstract painting. Signed by artist STM. Newly framed art floating on linen backing. From a large collection of work.

Group of Three WPA Era Paintings, American, circa 1930s-1950s. From left to right, they are: 1) Brick mason oil painting, American, circa 1930s. It ...

1930s Dutch school of art abstract painting. Newly framed art floating on linen background. From a large collection of work.

Original signed artwork of Suzhou embroidery and its important to Chinese culture as an art form. Stunningly beautiful and traditional work in this...

1930s Dutch school of art abstract painting. Newly framed art floating on linen backing. From a large collection of work.

1930s Dutch school of art abstract painting. Signed by artist STM. Newly framed art floating on linen backing. From a large collection of work.

Discover our extraordinary 1950s organic modern sculpture, meticulously crafted from wood and in good condition, ready to enhance your space for years to come. This eye-catching piec...

Maria Lagorio, who studied under the "World of Art" members Bilibin and Lanceray, fled Russia after the revolution, and spent most of her working life in France. Her early graphic wo...

Selection of Surrealist Lithographs, by Wassily Kandinsky and Andre Masson for the limited edition 1938 portfolio Verve and printed by the famed French printer Mourlot. The one seen ...

Figurative surreal oil painting by American modernist artist Greta Carmen. This original painting is bursting with eye catching colors and details have s...

A very decorative lithograph pencil signed and numbered by Eugène Delécluse (1882 - 1972), French. About the artist: Born in Paris, studied with Cormon, Delance, E. Renard,...

Selection of Surrealist Lithographs, by Wassily Kandinsky and Andre Masson for the limited edition 1938 portfolio Verve and printed by the famed French printer Mourlot. The one seen ...

This striking American impressionist oil on canvas harbor scene entitled “Sails Up” features colorful boats and figures by well-known Dutch / American artist Anthony Thieme. Signed in lower lefthand corner. “Anthony Thieme 1888 –1954 was a landscape and marine painter and a major figure of the Rockport, MA School of American regional art. Born in Rotterdam, Thieme studied there at the Academie of Fine Arts for two years and then, briefly, at the Royal Academy, the Hague. He traveled widely in Europe, frequently finding work as a stage designer. Thieme traveled to the United States at the age of 22. He quickly found work as a stage designer at the Century Theater in New York, designing sets for the Russian...

A wonderful, attractive, and striking image of the New York City skyline and towering classic buildings by German artist Anton Schutz. Schutz was commissioned by The New York Times ...

An early contemporary still-life Gouache portrait painting of a woman. On paper, this piece depicts a seated woman reclining in a pigmented blue chair. Her hair is short and dark and she wears a red dress. This sketch was created by Helen Wagner Malta and is signed at the bottom right in black ink "Helen Wagner" before her marriage. Her later works are signed "Helen Wagner Malta". Helen Wagner Malta was born in 1912 and worked in New York City in the 1930s teaching at the Harlem Art...

Early 20th century copper and enamel shop front sign letters Hand crafted from copper and enamel these highly decorative English shop front sign letters...

Pablo Picasso (Spanish, 1881-1973) Le Chien Pablo Picasso Original etching with sugar-lift aquatint and drypoint on Vollard paper. Thi...

An early contemporary still-life Gouache portrait painting of a woman. On paper, this piece depicts a seated woman reclining in a brown rocking chair. She wears a hat, and her arms are crossed across her chest. Her legs are crossed at her ankles, and she wears a blue-green ankle-length skirt. This sketch was created by Helen Wagner Malta and is signed at the bottom right in black ink "Helen Wagner" before her marriage. Her later works are signed "Helen Wagner Malta". Helen Wagner Malta was born in 1912 and worked in New York City in the 1930s teaching at the Harlem Art...

Wilhelm Christens - female nude 64cm x 42cm (frame excluded) - oil on canvas applied to rigid cardboard 1920s Christens, Wilhelm (1878 Düsseldorf - 1964) He attended the Karl...

Selection of Modern Artwork, circa 1920s-1960s. Perfect to start or add to your gallery wall. All are priced at $375 each. They are: Top row, left to right, 1) Paul Cezanne etching entitled "Portrait of Painter Guillauman with William Hanging" measures 10.5" H x 8.5" W. 2) Portrait of a big eyed...

Olga Rozanova "Abstract Geometrics" watercolor on paper (Russian, 1886-1918) Rozanova was born on June 22, 1886, in the small town of Melenki near Vladimir, Russia. After finishing at the Vladimir Women’s Gymnasium in 1904, she studied painting in Moscow. Dissatisfied with the “wretched system of instruction” at the state-run Stroganov Academy of Arts and Industry, she transferred to Konstantin Yuon’s private school, where she met Liubov Popova...

William Ashton (1881-1963), Oil on canvas on board, signed lower left: Will Ashton. This work was probably painted on one of Ashtons painting trips to t...

A fine impressionist oil on canvas by the well celebrated Reynolds Beal. Dated 1928 on verso and signed. The reverse bearing the Estate Stamp and Catalog page information. The USS Utah at Rockport Mass...

A riveting impression on Japanese cream woven paper by famed Modernists wood engraver Paul Landacre. This particular work was purportedly created for the cover of the Prospectus, Pau...

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...

Extremely rare California ‘Slow Children' playing sign. Entire sign is embossed with an old-time child wearing knickerbocker trousers. From the early 1900s. Great piece of history. P...

A very rare and beautiful portrait of a Saint, a polychrome ceramic signed hand on the reverse Marc Roussel. Marc Roussel is the father in Law of François Lembo, as his son-in-law h...

Large beautiful oil on canvas of a flower setup by Ludvig Jacobsen from 1936. Great English country house style.

"Houses And River" Signed A. Huntington (English School) Oil on canvas Measures: Canvas - 60 x 110 cm (giltwood Frame - 76 x 126 cm) Private collection. Framed.

Pair of oil paintings by Francisco Rodriguez San Clemente (Spanish, 1861-1956): signed bottom right and professionally custom framed. ...

"Houses And River" Signed A. Huntington (English School) Oil on canvas Measures: Canvas - 60 x 110 cm (giltwood Frame - 76 x 126 cm) Private collection. Framed.

Suite of 26 Art Deco nude alphabet pen and ink drawings, American, circa 1930s. Perfect for an old school country club, bar, or gentleman's study. Framed in cle...

Attributed to Leon Kroll oil on wood board painting of a Connecticut scene. The small but well done painting is representative of work done by Kroll. The painting depicting a Connect...

Black and white watercolor on purple paper. Monogrammed lower right. Klein studied in Vienna, Munich and Paris finally came to USA in 1939. She taught college, where her husband Walt...

1930's Italian abstract painting. Tempura painting in a slightly weathered black vintage frame. Dominant color is red with cream, black and blue. M...

Vintage wood campgrounds sign from the 1930s. Sign was used to let people use shovels and supplies and make sure they are returned. Great rustic sign, cool piece of Americana. 2.5 fe...

This rare pochoir by Gino Severini is titled "Polichinelle au livre" which translates to "Polichinelle with a Book"and dates to the 1930s and was recentl...

French nude painting (oil on canvas) with original frame signed Maubri.

Probably Russian painting on carton, unsigned, early 20th century. We are told, it's made by a Russian artist living in Paris. Without frame. Measures: H. 46 W. 55 cm. H. 18.1 W. 2...

1930's Italian abstract tempura painting. Multiple colors include green, navy, medium blue, red and cream. Part of a collection of tempura paintings,...

Painting, Street Scene, Signed Bela Kadar, (Hungary 1877-1955), un-framed, oil on board. Bela Kadar was born in Hungary in 1877. Amongst his early interests was mural painting. Li...

Agra rugs are the most highly sought after of any 19th century Indian rugs today. Agra rugs were extremely well made heavy durable rugs and are considered the best of Indian rugs. Th...

Landscape painting by Hungarian Painter, Ofkja. Goache on cardboard. References: Modern and Contemporary Art, Fauvism, Color Theory.

Painting, oil in cardboard, signed H Scheiber (Budapest 1873- 1950). Hugo Scheiber was born in Budapest in 1873. At the age of eight, he moved with his family from Budapest to Vie...

This lovely sensual rare French Art Deco engraving from the coveted portfolio Chansons de Bilitis in the 1920s France is by the famed artist; George Barbier. It is exquisitely executed with an Egyptian Revival feel with Art Deco influences of wonderful colors and sensual subject matter. It has been recently custom museum quality reframed with a gold leaf frame with red clay under rub and silk mat. There is a gold thin inner liner frame inside of the silk mat to enhance the custom framing to a higher level. The colored part of the engraving size is 6.5" W x 7" H. There is a tan silk mat that is 3" all around with a 4" Bottom size. This Art Deco work of art is a true beauty. This is from the late 1920s. There were only 133 copies produced making this portfolio a very special and sought after achievement of pure art deco illustration...

Finely painted in gouache by J. Collazzi, who did a series of landscapes and fantasy paintings in the 1930s, this scene of two classical figures restraining a horse is classic Art De...

An extremely prolific writer, teacher and practicing artist, Arthur Zaidenberg was virtually a household name in the 1940s and 1950s, thanks to the dozens of books he wrote for a gen...