American Paintings

Portrait of a horse oil on canvas by William Van Zandt. Measures: 15 1/2" by 17 3/4" overall size image size 9 1/4" by 12" tall. It has been lightly professionally cleaned. Frame has minor wear and loss. William Garrett Van Zandt was born 1857 and died in 1942, having lived his entire life in the Albany, New York area. He was the son of Thomas Kirby Van Zandt (1814-1886), a more well-known painter of the horses of wealthy New Yorkers, including Leland Stanford...

Historically significant group of three watercolors on paper depicting Escambia Bay Florida as it was before development. Signed by noted American artist Joy Postle...

An impressionist painting of a horse race by a founding member of the New Hope Group of painters, Morgan Colt. Colt was a member of the gun m...

Hamilton Hamilton (American, 1847-1928) A large and impressive oil on canvas "Othello and Desdemona" after the William Shakespeare's play "Othe...

A wonderful painting by famous illustrator and artist Walter De Maris, 1877-1947, of two turn of the century businessmen in a beautifully illuminated o...

KIYOSHI SHIMIZU (1900-1969 Japan / United States) - Untitled ('Day & Night') - Rare antique pair of Japanese themed watercolor paintings on paper - both paintings featuring a lone figure set against a water filled landscape, both male figures fishing - unframed - one painting signed K. SHIMIZU lower left - United States - circa 1925. Fair antique condition - toning to the backs and front edges of both paintings - no loss - no restoration - old adhesive tape to the edges of both paintings - signs of age and use. Site view (each) - 4 1/4" (11 cm.) wide x 9" (23 cm.) high. Paper size/dimensions (each) - small - 4 3/4" (11.5 cm.) wide x 10 7/8" (30 cm.) high. KIYOSHI SHIMIZU was the brother of painter TOSHI SHIMIZU. Kiyoshi is...

Lofty mixed media painting on brown paper of a parrot executed in classic Art Deco style with a bold stroke using watercolor and gouache. Signed by not...

Watercolor on paper, signed in the lower right. Listed measurements are for the full frame size. Percival Leonard Rosseau (1859–1937) Percival Leonard Rosseau was born in Louisiana. He led a peripatetic life as cattle driver, cowboy, and commodities broker before going abroad...

Large tonalist style landscape painting by American artist Bruce Crane in original frame. Arts and Crafts period. Signed lower right, original paper label on back reads 'Late Autumn Brandywine Valley...

Gertrude Fiske (1879-1961) The Jade Bracelet, 1910 Signed LL Measures: 17"x21" Oil on Canvas.   Exhibited Robert Schoelkopf Gallery, 1968/1969...

Extremely tall early 20th Century stage prop background scene oil pigment canvas painting of an old printing press. Unsigned. Some wear and water damage. Th...

Peaches in Basket. American oil of peaches spilling out of woven cornucopia basket in gilt wood Barbizon frame. United States, circa early 1900’s. Dime...

1861-1944 Nicolas Briganti oil on canvas. European Scene Active in New Bedford, Massachusetts between 1893 and 1897, Nicholas Briganti painted l...

Beautiful, period 1920's winter scene oil painting in original frame. Exhibit label verso "Salmagundi Club" and framers label from New York...

20th Century American painted side show circus banner of a man in the form of a seal titled "Sealo" (signed FRED JOHNSON, O HENRY TENT & AWNING, Chicago).  

Oil on canvas signed in the lower right. Born in Nevada in September 1874, Hall was a resident of San Francisco by 1889. She studied at the Mark Hopkins...

Framed oil on canvas "Still Life" - peaches and pot. Unsigned, early 20th century. Silver gilt frame.  

Antique American oil on canvas painting by George Arthur Hays, Rural Pasture in Rhode Island, Dated 1910.

Joseph Stella "Flower Study". Crayon and pencil on paper. Signed lower left. Image 6 7/8” x 4 /34”. Framed 12 1/2” x 10”. Gallery label Beadleston Gallery N.Y. N.Y.

This large scale piece by Purvis Young was acquired from an estate in Miami, Florida and has been professionally framed using archival materials. Title: "Redemption" Perhaps e...

Dimensions: Height: 24” (61cm) Width: 20” (50.8cm) Frame width: 3.25” (8.12 cm) About: This very elegant painting is a part of the famous ‘Cantonese’ series of mainly female portraits, painter by David Anthony Tauszky...

Original oil painting illustration, boy with kittens, 1920-30 by C. A. Rose, an illustrator and cartoonist for the saturday evening post. Measures: Framed 34 high, 28 wide, the sight...

Oil on board with interesting study on reverse side.

A wonderful pastoral and mountainous landscape of Mount Beacon, Beacon, NY from Fishkill. Signed and dated lower right, E.F. Peal (Pehl?), 1917. Inscribed...

This romantic pencil pastel rendering of Lesser bird-of-paradise was created in 1936, by the American artist Allen L. Person. The gilt gold frame compliments the golden tones of ...

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...

(1926 - 2000) oil on board; 14" x 22". A western and wildlife artist and illustrator, Tom Beecham has created work for major publishing companies including Reader's Digest, Bantam Books, National Geographic, Outdoor Life, Field and Stream...

Attributed to George Denholm Armour image 11 x 14 watercolor & gouache Text on back of painting says: Meadowbrook Polo Club US Open Championship 19...

Tonalist landscape oil painting by Robert Cairns Dobson, American oil painting on academy board. In a well matched original frame. Signed and monogrammed lower left, early 20th centu...

A 1920s floral still life impressionist oil painting on canvas on board by important New Orleans artist Alberta Kinsey (b. 1875–1952). Densely arranged berry-hued bouquet with white clusters and yellow accents explodes out of a silver pitcher. Arrangement accompanied by a small cobalt blue vase to the side, and set upon a salmon and white floral tablecloth...

A large scale dramatic oil painting of a full bodied female nude - signed bottom right - Hovener 1931 - set in an old robins egg blue painted and gilded wood frame w/ mat & under gla...

Watercolor on paper of a majestic view of the mountains signed Harold Broadfield Warren. He is a well listed landscape artist who lived from 1859 to 1934. He was born in Manchester, ...

Two separate watercolor views of the California Rancho structure "Casa de Estudillo" by Willet S. Foster, painted in 1931. This compound also has been referred to as the inspiration ...

Vintage Hudson Valley New York Oil Painting in Newcomb Macklin Frame Romantic and moody autumn landscape painting, oil on canvas signed by Tru...

A framed pencil/charcoal drawing of a figure by Robert Henri (1865-1929). The work depicts an old man dons a cape and a hat and holds an umbrella, and is likely a study by the artist...

(1869-1927). Oil on canvas; 19" x 29". Used as a calendar print in the 1920’s. Robert was a Philadelphia artist who produced more than 1000 works of art. From 1900 until his death, m...

Beautifully painted in fresh, lovely colors on silk, this depiction of nymph and satyr, clothed in gauzy costumes like a scene from a Ballets Russes production, was painted by Stephe...

Artist: Ivan Grigorewitch Olinsky (Russian-American, 1878 1962) Subject: Still life w/ Chinese porcelain figurine & fruits Period: 1920’s...

Full of energy and elegance, this genre scene of African Americans eating and chatting in a 1920s lunchroom -- dressed to the nines in furs, fashionable hats...

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...

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 pair of Art Deco painting of industrial scenes. Both signed J. Hollister. Measures: Sight 12" W x 13.5" H Framed 13.5" W x 15" H x 1.25" D.

Antique grand banks dory fishermen seascape by Joseph A. Woods, circa 1910, an impressionist oil on panel seascape with two fishermen in dory in the foreground hauling back on their ...

American oil on board portrait of horse landscape in the original gold gilt floral frame. Signed James Weiland, (1872-1968) New York, Early 20th cent...

Early 20th century American School Western Landscape A fine illuminated Western landscape. Original oil on board. Dimensions 8.5" wide x...

Owens, John Joseph (American/West Virginia 1887-1931), Model Portrait Study, signed and dated 1909, charcoal on laid paper and pen and ink, about 21 x 17 inches. Provenance: artist's...

Duncan Smith 1877-1934. Lived worked in New York. Illustrator, Mural Painter, Teacher. 35 1/2 by 26 1/2" overall size. Canvas size 30 by 21". It appears t...

Portrait of the Whaleship Charles W. Morgan, by James Cree (1867 – 1951), artist active in the New Bedford area from 1910 to about 1932, a watercolor of the iconic American whaleship under sail. The MORGAN is the most famous Yankee whale ship, and the only surviving 19th Century whaleship from the age of sail...

These are a set of 12 Lenox orchid plates from the 1920s. Each one is hand painted with a different orchid by W. H. Morley, who is a famous Lenox artist who specialized in painting f...

Antique Victorian pastel on paper of a fine quality still life with game by American Artist, William Henry Chandler (1854-1928). Chandler was a ...

A gouache painting of an elegant flapper, executed in vivid red and green hues, by Jane E. Messick for the Christmas, 1926 issue of the "Echo" magazine published by the prestigious Shortridge High School in Indianapolis, Indiana. Befitting the holiday theme, this figure is depicted with holly leaves for hair -- closely fitting her head like a 1920's bathing cap -- with a stained glass rose...

1930s pointillism style still life painting depicting pottery vessels. Original gold leaf, museum quality frame. Deep, rich color palette. Laura Mills was a tennis pro in the 1920s i...

You will not be disappointed in this wonderfully hand painted piece by the world reknown William Morley. Retaining its original Gilded Age frame and in very nice condition. A waterco...

George Watson Barratt 1884-1962 was a prominent New York illustrator in the first half of the 20th century. This painting is of an artist, his easel and ...

Nude bathers, fine early 20th century impressionist painting by David Humphrey (American 1872-1950.) Pastel on paper. Humphre...

Painted as a glorious, color-drenched frieze, this piece by the celebrated Chicago artist, Carl Hoeckner, depicts a half-nude Cleopatra being carried on her litter by Nubian servants...

19th Century Playful Kittens, Oil on Board Painting, Framed A large and impressive oil painting signed and dates of a group of kittens some playing while waiting their turn to eat. An early beautiful oil on board painting of kittens...

(1860 - 1939). Oil on canvas; 22 1/2" x 33 1/2". Ex. Joseph Edward trust, San Francisco, CA. Painter, muralist, photographer, Gremke grew up in San Francisco and began art studies at the School of Design under Raymond Yelland. He specialized in watercolors and oil of the Sierra Nevada and highly detailed floral still life. He also painted murals in the stations of the Santa Fe and Southern Pacific...