Early 20th Century Paintings

This is an original vintage oil on canvas maritime painting with a beautiful sailboat and seagulls in the early morning light. The waters are slightly uneasy and the crew members can...

This original oil on canvas encapsulates a simpler time. A white farmhouse from 19th-century England stands out against the trees and grass, framing a dirt road. The visible treads i...

This lovely oil on canvas brings spring into your home! The pink blossoms over a farm with chickens contrasts the creek and grass beautifully. In the background, the farmhouse stands...

Nicolas Issaiev (a/k/a Nikolai Alexandrovich Isaev, Russian-French, 1891-1977) was a painter, graphic artist, set designer, illustrator. In the early 1900s he studied in art scho...

Fredrick Kammeyer, Muenchen (1873 - 1941) Exact date of painting unknown. There is extensive chipping to thick paint on the frame, but the Canvas remains undamaged. Frame W 37 x H...

Alfred Arthur Brunel de Neuville (1852-1943) Still Life with Game Birds wonderful depiction of game birds handing against a grey cement wall. Male pheasant in great detail along wit...

Italian painting from the first half of the 20th century. Oil painting on canvas, first canvas, depicting tavern in eighteenth-century style with characters and horses. Very pleasant...

Original antique still life oil on canvas painting of a bouquet of red, yellow and a single white flower arranged in a blue vase. The painting is made by painter Hugo Klein (1873-193...

Danish mid century still life vintage oil on canvas painting featuring a bouquet with a red, a pink and a white flower arranged in a bright blue vase, highlighted by a dark red backg...

Hinoki (Japanese red pine) and other deciduous trees in mineral pigments on mulberry paper. Signature reads: Yosui.

Watercolors from around 1900 representing a French frigate and an English frigate.The two watercolors are signed: M.Alexander fecit. Dimensions: 79x64 cm with frame and 57x44 cm with...

Large painting oil on canvas signed by Aquila representing the wild face of the sea. Extremely dynamic sensation and on the other hand one my see few small boats in a distance away ...

An original Robert Emmett Owen painting of New England Landscape. Offering a beautiful oil on canvas painting by American Impressionist painter...

Heinrich August Emil Dohm, 1875–1940 Interior scene depicting five figures gathered around a set dinner table on Christmas Eve. A woman plays the piano in front of a lit Christmas tree. Executed in oil on canvas and presented in a gilded wooden frame. Sight size: 79 x 63 cm. Signed H. Dohm. Denmark 1901. Measurements Frame: 89 x 73 x 3,5 Sight: 79 x 63 cm About the artist: Heinrich Dohm...

This charming early 20th Century Belgian painting captures the idyllic essence of rural life. The artwork portrays a quaint village scene, where cozy cottages with thatched roofs nes...

The warrior women of the Scythians (behind the Greek ) mith of the Amazons ---------------- Very rare and amazing Deco painting, signed Yves, certainly 1923-1924: this painting makes...

Natural scene of Mandarin ducks gliding gracefully amongst the water. Mineral pigments on silk with silk brocade border and natural wood trim. Seal reads: Kei.

A beautiful antique watercolor painting, depicting sheep and chickens in a sheepfold. Beautifully painted, with good use of colors and fine details. The work is signed lower right ...

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

Condition: Original Vintage Condition, Has One Minor Hole Materials: Oil on Canvas, Wood Frame This vintage American oil painting captures a serene woodland stream bathed in soft, g...

Thomas Willis (American, 1850-1925) A yacht portrait of The Elmar out of Sheepshead Bay, circa 1910s. Oil on canvas with silk and threadwork. The owner listed as Gus Rau was kn...

Japanese Two Panel Screen: Water Fowl by River's Edge, Showa period (1926 - 1989) painting of fowl on a river bank. Very art deco in style. Painted in min...

Pair Antique Continental Framed Oil on Canvas Ship & Harbor Paintings, Circa 1920's. Signed V. Elkan

Framed Oil on Canvas, "A Day at the Beach" by Elisabeth R Fulda, NY, 1879-1968. Elisabeth (Elizabeth) Rungius Fulda was a painter, sculptor and etcher. This impressionistic painting ...

Fine quality antique oil painting by unknown artist , much admired and celebrated River landscape, with two people overlooking at the river and a bridge .interesting with Fine detai...

An enamel plaque depicting Napoleon crossing the Alps, by Camille Fauré, Limoges. French, circa 1930. Signed 'FAURÉ, Limoges France. N...

Still life Oil on canvas Hawthorns, blossoms and flowers Gold frame By Vincent Clare Signed bottom right Early 20th Century

Pleasant river landscape with trees and boat: quiet atmosphere, to be transferred home. - Signed: Vernon.- With the old frame You can also make a mirror, but with the frame You are l...

Vintage watercolor painting features a scene in New Mexico with a female figure leaning on the wall of a church. The painting is signed by the artist in lower left corner; it has its original frame with handwritten note attached to the brown paper backing - Ralph Avery...

Set of Four Hunting prints by S. Williams. No's 193,194, 195, 196. Published by S Hildesheimer & Co, London, Manchester, New York. Each picture with its own Title. 'T he Find' 'The R...

This colorful and vivid painting depicting Solomon's Temple in Jerusalem, with a forecourt crowded with priests and onlookers, is by Henry Soulen, one of the great masters of illustr...

Chinese School landscape ink painting on gilded silk by Yukimatsu Shunpo, signed and dated 1924. Yukimatsu Shunpo was born in Oita in 1897 and studied under Himejima Chikugai in Osak...

Villa at Napoli. Vintage twenties chalk on paper view of a villa near Naples or Amalfi coast with characteristic umbrella pines and vibrant skies in a period gilt frame; signed lower...

We are delighted to offer for sale this stunning Frederick Golden Short 1863 – 1936 oil painting which dated 1920 and signed of the Bluebell wood in New Forest This painting is o...

Royal House Antiques Royal House Antiques is delighted to offer for sale this lovely decorative vintage Chinese oil panting of a Geisha girl statue standi...

Immerse yourself in the charm of this exquisite oil painting inspired by the iconic "The Laughing Cavalier" by Frans Hals, a celebrated 17th-century Dutch masterpiece known for its v...

Italian landscape from the first half of the 20th century. Oil on canvas, first canvas, painting depicting an intriguing woodland landscape with sheep, of excellent pictorial quality...

"Fiesta andaluza", oil on tablex, Jean-Louis Paguenaud (1876-1952). Signed and dedicated ("cantatrice Dupré") in the lower right corner. Jean-Louis Paguenaud is the pseudonym of Jean...

This early 20th-century Belgian painting captures the elegance and grace of a woman dressed in the fashion of the era. The artist skillfully renders her flowing gown and poised demea...

Vertical portrait painting of a man by American artist Genie Brock. (Oklahoma, circa early 20th century) The subject is of an older gentleman with a gray head of hair and beard. He s...

FRANZ MARTINEK (Austrian 1922-2008) - Vintage Impressionist style landscape oil painting on panel - signed lower left - unti...

This painting is an oil on canvas and signed in the lower right, dating to about 1920. It does has craquelure which would be expected for an untouched painting of this age, but it d...

This early 20th-century French still-life oil painting by Boris Buchet captures a quietly vibrant arrangement of pears surrounding a rustic earthenware pitcher. Painted with graceful...

Oil on canvas by Louis Haas (1870-1923) Signed on the corner France, 20th century Frame dimensions : 70 x 56 x 4 cm Painting dimensions : 61 x 47 cm Small losses of paintin...

A lovely set of two original watercolor paintings, portraits of women. The set dates from the Art Deco period, circa 1920-1930. The paintings are framed behind glass in special origi...

Wonderful post-impressionist oil painting of a Paris street scene by a good artist, Isaac Lichtenstein. Possibly Montmartre district. Oil on canvas.Old re-lining. No title. Signed ...

"Rolling Hills" Depicting a landscape in rolling hills. - signed lower right and dated 1910 - Unframed.

Expressive Realism Oil Painting Still Life of Sunflowers. Signed E. Gotzmann (1881-1950) This is an exceptional still life painting by Emmy Gotzmann, the primary student of the German artist Max Pechstein (1881-1955). She was considered equal to or even superior to her teacher. Emmy Gotzmann, a Jewish women painter...

Mineral pigments on silk, mounted on a gold panel, in silk border. Signature and seal read: Yoho.

A monumental oil on canvas in The manner of the Old Masters showing a maiden to be deflowered. This palatial oil on canvas from the late 19th or early 20th century is simply stunning...

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

Golf Picture, Henry Callender ESQ. Framed golf mezzotint of 'Henry Callender Esq' (Captain of the society of Golfers at Blackheath) after a painting by Lemuel Francis Abbott (1760 - 1803). The colourful print signed in pencil by the engraver Will Henderson...

‘The Death of Penthesilea’ Oil Painting by André Hofer (1890 -1973) ‘Le Mort de Penthésilée’ (The Death of Penthesilea – Classical Greek Tragedy) by Frenc...

This is a pair of antique etchings by renowned Danish artist Søren Lund. The etchings have motives of a man handeling two horses on the beach with the ocean and a lonely sailboat in the background. Both pieces have quotes from the poem “Søren Kanne” by Steen Steensen Blicher (1782-1848). Søren Jørgensen Lund (1852-1933) was a Danish artist affiliated with “Fynbomalerne” amongst Johannes Larsen, Peter Hansen, Fritz Syberg and Anna Syberg...

Fantastic original oil painting of a man. Rich and moody tones dominate the composition. Signed by the artist, but I can’t make out the signature...

Emilio Álvarez Díaz (Buenos Aires 1879-Madrid 1952) "Surprised Gentleman" early 20th century oil on wood people painting, signed and set within a 19th century frame.  Dimensions: ...

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...

Oil on canvas signed F.MOLINA lower-left, located in Paris on 5 June 1925. Very beautiful, almost Fauvist atmosphere, portraying two nude women lying on a bed, a richly embroidered c...

Amalfi Coast with Vesuvius. Vintage oil on board in soft greys and blues and greens of the Bay of Naples with Vesuvius looming in the distance in vintage associated frame. Italy, fir...

An original impressionist landscape oil on canvas by listed Austrian artist Josef Krotter (b. 1894), signed lower right. Depicts a bucolic landscape with a central curving body of wa...