Early 20th Century Paintings

The category antique paintings, Landscape paintings with Under Woods with Snow, proposed here is oil painting on canvas, of the early 20th century. This is an antique painting, from...

Classic Italian romance oil painting signed Castiglione, circa 1940s-1950s The painting depicts a young man romancing a young woman with his...

David Hewitt (1878-1939), a listed British artist. “In the Pass of Aberglaslyn – facing south” (Wales) Oil on board. In excellent condition. Dimensi...

A very special small profile portrait of a lady in a blue dress. Very well executed in the manner of Walter Sickert. Indistinctly signed to the fronr left side with pencil writing on...

Farmyard Scene with Chickens, Medium: Oil on canvas, Signed: L.J. Cruise, 1911, Criuise (1861-1945), Berks County, Pennsylvania Dimensions: Frame: 35 inches high x 55 31/2 inches wide; sight: 29 inches high x 48 3/4 inches wide This oil painting by Bucks County artist Louis J. Cruise depicts a farmyard scene. A chicken emerges from a farm building, with eight other chickens and a cockerel below. All of the birds are either standing or pecking on the straw pile, as are three other small birds. To the back right of the painting is a wood fence, beyond which is a grass field and woods. The painting is framed in a wide gilt frame. Cruise was a prolific artist who painted a variety of subjects, including landscapes, still lifes, and portraits. He was a member of the Bucks County Academy of Fine Arts and the Philadelphia Sketch...

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This rare and unique artwork by Danish artist Folmer Bonnén is a striking example of his impressionistic yet expressive style. Painted in 1922, it depicts a seated woman in an elegan...

Flowers in a Vase Oil on Canvas. Delicate and elegant little painting. Flowers in orange and red tones in a vase. Painted freely and naive, but ...

French painting from the first half of the 20th century. Artwork oil on canvas depicting pleasant countryside view with village and sea in the background in impressionist style. Pain...

Painted a year after the International Exhibition of Modern Decorative and Industrial Arts (Exposition Internationale des Arts Décoratifs et Industriels Modernes) debuted in Paris, i...

A fine French oil painting on canvas featuring a still life of a vase of flowers in a Montparnasse frame. The Montparnasse frame takes its name from the Parisian district where it w...

Period Italian Signed Grand Tour Watercolor Beautiful watercolour depicting the ancient Roman colony Timgad Signed, dated and located in the l...

Antique Original Oil on Canvas Painting A wonderfully energetic depiction of an Eastern battle scene, probably depicting the medieval Crusades including knights on horseback, pikem...

Stunning example of a view of St. Paul's Cathedral in London complete with its original good gilt frame. Circa 1940s. Cast in very fine relief, in our opinion this panel is made of...

Émile Godchaux 1900’ French Coastal Scene Beached Boat and Figures Oil on Canvas Big Size Artist: Émile Godchaux (1860–1938) Title: French Coastal Scene – Beached Boats and Figures ...

Oil on gesso canvas by Louis Francois Cabanes (1867-1947) depicts a massive wall of a vaulted palace room decorated with painted ceiling with huge figurative bronze and marble sculpture in the neoclassical style. Signed in lower right, Louis CABANES élève de M. J.P. Laurens (student of mister...) beneath and what appears to be a partial date (year) beneath in box. Stretcher measures approximately 26 by 37.5 inches and the period frame, 32 by 44 inches. Cabanes was a respected illustrator and painter of figures, genre scenes, history and Orientalism. He studied at the Ecoles de Beaux Arts of Toulouse and Paris under Jean Paul Laurens...

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...

Landscape with Trees  by Alfred Henry Maurer, New York School, Gouache on Paper, Circa 1915. A dynamic Modernist rendering of trees and a wall in a landscape setting in hues of green, violet, sienna and yellow. Signed in pencil in the lower left corner “A / H Maurer”. The image measures 20-3/4 inches x 17 inches. Simple wood frame and glazing measuring 21-3/4 inches x 18  inches. Condition: Slight yellowing of the paper and other minor signs of age otherwise excellent condition. Provenance: Private Collection, New York Biography from The Phillips Collection of American Art: ALFRED HENRY MAURER (1868–1932) One of the first American painters to reflect the influence of European modernism in his painting. Born in New York, Maurer studied in 1884 at the National Academy of Design, New York, where he became recognized as an accomplished painter of portraits inspired by those of James A. M. Whistler and American impressionist William Merritt Chase. From 1897–1914 Maurer lived in Paris where he became acquainted with fellow Americans Arthur Dove and Gertrude and Leo Stein. It was in the Stein’s salon, a well-known meeting place for Americans and modern French artists...

A small oil on canvas of a street scene by Albert Harold Palmer, 1911-1985. Artist and teacher, born in Northamptonshire, who studied art part-time, then full-time at Grimsby School...

Worn, weathered original painting of a lovely woman with a hand to her head. Quite stunningly evocative in nature and presentation; signed lower right. Canvas wrapped around steel fr...

LÉON RICHET
 French, 1847-1907

 Sunset Gold: Barbizon Oil on canvas signed Léon Richet lower right Item # 407SPJ10A A highly atmospheric example of Richet's work, it edges on T...

Antique American oil on canvas winter landscape in original patinated gold frame. Signed lower right liiegibly.

Laszlo Neogrady was born in Budapest, Hungary in 1896. He was the son of the artist Antal Neogrady and he studied painting at the Hungarian Academy of F...

Pre-owned goods are exempt from import duties for U.S. customers. Therefore, no import tariffs will be applicable to your purchase. Eugène-Louis Gillot (1868-1925), a listed French...

Thai artist. Watercolor on paper. Phu Khao Thong / Temple of the holy mount. Early 20th century. In very good condition. Signed. The paper measures: 46 x 34 cm. The frame measure...

Two framed panels by Yamamoto Shunkyo depicting a carp (koi) leaping from a river. Ink and gold leaf on paper. Instinctively brushed in a freehand s...

Tavik Frantisek Simon (1877-1942). Scene from the Seine, Paris. Colored etching. Dimensions: 38 x 32 cm. (60 x 54) cm.

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...

An American School Folk Art pastel painting on paper depicting a portrait of an Afro American boy. Signed by the artist, F. L. Turner, lower right. Framed. Circa: the first half of t...

Bela Kadar Cubist Painting, Cubist Figures Painting by Bela Kadar Béla Kádár (1877–1956) – Cubist Composition of Three Figures, Signed and Dated 1936 A striking and dynamic work by...

A fine French oil painting on canvas of a harbor scene, featuring a view of a sailboat and a picturesque town, signed M. Barle in bottom left facing corner, mounted in a rectangular painted wooden frame. Maurice Barle...

Deftly painted, oil on canvas picture of a young man in three-quarter profile. Held in a hand carved, period frame. Signed "Ackerman" on the lower right and labeled again via an insc...

Pastel on canvas, signed lower right, measuring 38" x 48.25" including the frame. Pierre Carrier-Belleuse His first studies were with his father, the sculptor Albert-Ernest Carri...

A late 19th early 20th century Berlin K.P.M. Porcelain Plaque titled "Der Eremit" (The Hermit) After the painting by Salomon Koninck (Dutch, 1609-1659)...

A fine golf painting, "A View of Rye Harbour - Rye from the 3rd Tee" oil on canvas. Signed and dated Charles M. Orchardson, 1904. The artist was the...

A captivating and intriguing early 20th century Southern American folk art panel, found in Mississippi, depicting a figure with what appears to be African tribal headgear, and wearing a white collared shirt with black suit jacket. The line work and attention to detail is extraordinary and mysterious, with the artist choosing to incorporate a natural knot in the board to form the mouth of the figure, and the left half of the drawing showing shading, but seemingly left unfinished. The frame is not terribly old, and is constructed from splatter-painted boards...

Charming oil on canvas depicting a scene with puttis frolicking in a garden setting. The painting needs slight restoration as depicted in photos. The painting has a beautiful giltwoo...

Early 20th Century Oil on canvas titled "The Hunters" by artist Benjamin Kopman (1887-1965) in original giltwood frame. Exhibited at the Pennsylvania Academy of fine arts. Painter ...

This charming painting on board, titled The Monks’ Supper, is by renowned German artist Eduard von Grützner, celebrated for his humorous and skillful depictions of monastic life. Kno...

Oil Painting "Italian Street Scene" by Elizabeth R. Withington The Artist: Elizabeth Rupp Withington was a Rockport, Massachusetts illustrator and artist in watercolors, gouache, and oils. She was born on 6 September 1883 in Roxbury, Massachusetts to John Rupp...

Original-colorful acrylic painting on a canvas, wood floating frame. Sigh in the back. Could display in multiy variation. Actual painting size 12x12.

The category Antique Paintings Portraits of Dogs features an oil painting on canvas with three Dogs resting near a flock of sheep, early 20th century era The antique painting is sig...

This painting is an original, oil painting. Gemaine Dawis was a student of Jean-Jacques Henner, and the realisations she is known for, are like this one , the Henner subjects, with redhead women...

Charming oil on board painting depicting two Spaniels in a wooded landscape, rendered with fine detail and warmth. The composition captures a lively natural setting and is presented ...

Victor Isbrand (1897–1989) "View of Paris with Notre-Dame and the River Seine" An atmospheric oil painting by Danish artist Victor Isbrand, capturing a charming view of the River Se...

Corinna Modigliani Ritratto Di Bambina Rome 1904 Stunning Italian work painted in oil on canvas depicting an elegantly dressed little girl in a white and blue half-sleeved dress, whi...

Great Italian painting from the early 20th century. Framework oil on canvas, in first canvas, depicting an interior scene with musician of good pictorial quality. Great impact framew...

“Fra Kastrup” Signed Th. Philipsen Oil on canvas 44 × 60 cm (17.3 × 23.6 in) Provenance: Art dealer Axel Duckert (inventory no. 3369) A charming and atmospheric work by Danish arti...

Attributed to August Stephan Sedlacek (Austrian/German, 1868-1936) "The Violin Presentation" Oil on Canvas depicting an interior 18th century scene of...

This intimate and emotive painting, attributed to Teodor Axentowicz, is titled Old Age and Youth and reflects the artist’s sensitive approach to human expression and the passage of t...

Pair of antique French framed floral oil paintings. Well executed pair of antique French floral oil paintings on wood in giltwood frames, ci...

A pair of vintage framed Chinese pen & ink paintings from early 20th century with stunning detailing. The paintings have been framed with a glass front and...

A dark-green, light-lilac oil on canvas painting of a vase with pink anemones, flowers painted by Victor Charreton, in good condition. The antique F...

A decorative, moody, quality portrait. Very sought-after. All the rage in interiors right now. This antique oil painting on stretched canvas has been sourced in France. It is signed ...

Antique English Seascape with Threes Yawls, by S. Noble, circa 1920s, an oil on board seascape with three yawls sailing on a broad reach in a crisp breeze, signed S. Noble in the low...

This evocative pastel by Fred Wagner (American, 1864–1940), titled Scene in Tunis, captures a moment of quiet dignity. A solitary figure, seated in traditional North African attire, ...

Temesvári Thiesz E. - Oil on canvas - first half of the 20th century, painting size 79 x 59 cm Portrait of a Bohemian Girl playing the tambourine, Hungarian School from the 1940s. It...

'Pagliacci - The Clowns. A study in Ink. Signed Cagnoni and drawn in 1910/1920. One clown rests nonchalantly against a wall while the other is doing a rope trick. Ink on paper. In or...

Beautiful Petina on this Piece due to Aging. Professionally Framed. Signed and Dated 1914 in the Lower Corner as Shown. Vintage Condition Consistent with Age as Pictured. Dimensions...

'The Silversmiths' by Francis Petrus Paulus (1862-1933) "The Silversmiths" Signed Upper right corner Oil on Canvas 16" x 20" Silver Frame 21" x 24.5" A captivating and atmospher...