Early 20th Century Paintings

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...

A pair of original oil paintings on canvas depicting a handsome young aristocratic couple of the Directoire, early Empire period. They are each pictured from the waist up, she holdin...

Francesco Guardi Venice Oil Painting – Venetian Art in the Manner of Guardi Exquisite 19th-Century Venetian Oil Painting Experience the timeless elegance of Venetian art with this r...

A charming oil painting on canvas depicting a French village on a hill with a castle atop the hill. Framed in a good quality gilt and black lacquered wood frame.

Pair of circa 1920's Italian still life paintings. Measurements: Height: 50.25" Width: 26.25" Depth: 1.5"

This captivating floral still life oil on canvas painting features a vibrant bouquet of orange-red, yellow, and pink flowers, elegantly arranged in a rich brown vase. The vivid colo...

Still life with flowers in a vase, oil on canvas, signed Manuela Bonati encased in carved frame. Dimensions Height 28 Inches Width 24 Inches Depth 2 Inches.

Bohemian woman Budapest, Hungary 1925 by Bertha De Hellebranth. Fabulous period painting brings to life the bohemian intelligentsia of Europe in the 1920's. I believe the painting is...

A Large Continental Oil on Canvas "The Prohibited Reading " after Karel Ooms (Belgium, 1845-1900). This beautiful executed painting depicts a historical scene of an old man and a young woman who are huddled over a bible. The pair is gazing in apparent concern or alarm, over the old man's shoulder, towards something outside of the picture. The scene is likely set in the 16th or 17th century when Protestants were prosecuted, amongst others, for reading the bible in the vernacular, a practice prohibited by the Catholic Church at the time. Signed (l/r) A. Ribas 15-12-913. Within a giltwood carved frame. circa: Probably Belgium, 1913. Karel Ooms was born in Dessel on January 27, 1845 as the youngest son of a large peasant family. At school his extraordinary talent for drawing was discovered. When he was twelve his hometown provided financial support which allowed him to study at the Antwerp Academy of fine Arts. One of his teachers at the Academy was Nicaise de Keyser, one of the key figures in the Belgian Romantic-historical school of painting and a painter of mainly history paintings and portraits. After graduating from the Academy 1865 Karel Ooms was welcomed with pomp in his home town Dessel. He painted two altarpieces for the local church Saint Nicolas, to express his gratitude to his city. Karel Ooms settled as an independent artist in Antwerp around 1871. He quickly established a reputation as a portrait painter. In addition, he received commissions for religious paintings and history paintings. He gained particular recognition with two large paintings...

Sensitively painted with a rich but subdued palette and dramatic lighting, this large painting of a male youth leaning on a long pole was made by Sigvard Mo...

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...

Alfred Schmidt (1876 ????- 1956) – Portrait of the concert singer Caroline Naase Oil on canvas circa 1920 60 x 47 cm – without frame 78 x 65 cm – frame included Signed center right: Alf Schmidt. Alfred Schmidt 1876 Dresden – 1956 Graefelfing An impressionist at the Chiemsee The painterly mood content, which the artist Alfred Schmidt captured in countless variations on the canvas, occupies such an eminent and substantial position that it is inextricably linked to his oeuvre. “[…] Female creatures walking in the shimmering air […]”(1), who find their pleasure in the warm, golden tones of summer and the grey-silver shimmering water surface of the lake, correspond to the characteristic motif of the native of Dresden. One is inevitably reminded of the impressionist Christian Landenberger (1862-1927), to whom Schmidt was a friend and who painted canvas on canvas at Lake Ammersee, but “[…] softer, sweeter and more narrative, because he [Schmidt] often expands on that Nature and the human body come together to create a small, genre-like idyll”(2). His art is a commitment to plein air painting. He openly displays his impressionistic impetus. The originally anecdotal aspects of his painting, which he had experienced at the Karlsruhe Academy from 1886 to 1893, he gradually put aside both through the one-year study visit to Paris and Brittany in 1889 and through the influence of Landenberger and Swabian landscape painting. From this point onwards, artistic development is hardly noticeable. He had found his individual style and stuck to it. At the end of 1899, Schmidt came to the Swabian capital from Karlsruhe in the entourage of Leopold Graf von Kalckreuth (1855-1922), who was appointed to the Stuttgart Academy with Carlos Grethe (1864-1913) and Robert Poetzelberger...

Celebrate the elegance of equestrian tradition with this refined vintage Regency-style painting on board, depicting a poised jockey atop a noble racehorse against a serene countryside backdrop. The piece captures the proud stance and disciplined grace of both rider and steed, executed with fine detailing and naturalistic colorwork. Framed in a sleek black and gold-trim frame with a wide cream mat, this artwork exudes classic sophistication—ideal for a library, den, study, or any collector’s space. Measuring 22.5” W x 0.75” D x 18.75” H, the painting is in great vintage condition with light, age-appropriate wear to the mat and frame. Mounted on board and protected under glass, it is ready to hang and enrich interiors styled in Regency, traditional, or English country décor...

Beautiful large flower still life, painting of a colorful bouquet of roses in a blue vase with geometric patterns, painted in a classical style, signed lower left R. Blanlin, first h...

Vividly colorful and classically composed, yet loosely painted, this original still life oil on canvas painting of flowers in a vase on a table is a fine example of the work of famous, listed, deceased American Impressionist painter, Louis Ritman...

This is an antique etching by renowned Danish artist Emil Krause (1871-1945). The motive of this night-time image is an alluring moon shining behind the trees into silent waters. The...

This is an antique oil on canvas painting by Danish painter Lars Johansen (1877-1954). The motive is a small Danish holding and is kept in earthly colors. Lars Johansen was from ...

An antique Chinese watercolor painting on silk depicting a Royal Processions in Beijing in the manner of Zhou Peichun, Late Qing dynasty, active circa 1880 and 1910. Unsigned. Framed...

A beautiful oil painting, depicting a pack of hunting dogs in the field, made by the French artist Marie-Didière Calves. The style is somewhat impressionistic. Seen up close, a bit ...

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

This is a superb portrait of Christ. It is hand painted in extraordinary quality with polychrome enamel on an oval porcelain plaque after the original painting -Head of Christ...

Otto Pilny (Swiss, 1866-1936) A very fine orientalist oil on canvas "The Slave Market", depicting a desert scene with the offering of two female slaves. Signed and Dated (l/r): Otto Pilny, 1910. Canvas height: 31 1/2 inches (80 cm). Canvas width: 47 1/4 inches (120 cm). Frame height: 37 inches (94 cm). Frame width: 52 inches (132.1 cm). Previously offered at Christie's New York, 19th Century European Art, Sale 2521 on October 12, 2011, Lot 84. Latest Otto Pilny Sale: Christie's London - The Orientalist Sale including Works from the Najd Collection on 30 March 2021 - Lot 49 "Dance in the Desert" was sold for £100,800 ($138,500) There is not that much information about Otto Pilny who began his artistic education in Prague. Pilny also lived in Vienna and ended up settling in Zurich. Just like Ludwig Deutsch (1855-1935), Rudolf Ernst (1854-1932), and Carl Leopold Müller (1834-1892), Pilny was encouraged to travel abroad. During his two trips to Egypt, a favorite destination of the Austro-Hungarian school, the first one in 1889 and later en 1892, he acquired the taste of painting Orientalist scenes of Middle Eastern landscapes...

Luminous mountain scene featuring the alps region of Austria Kaisergebirge. This painting is an oil on canvas and signed in the lower left, dating to the turn of the century 1900 to...

Pair Framed Watercolor Landscape Paintings, Provence, France, 1926. Charming 'plein air' paintings of the Provencal landscape. Original fra...

Painted by one of America's great Modernist artists -- Salcia Bahnc -- in 1925, and evoking Igor Stravinksy's "Rite of Spring" ballet and the native folk costume of Poland, where the artist grew up, this large and important piece depicts 10 figures in brilliantly-hued dress, some in dance poses that suggest the choreography and costumes of Vaslav Nijinsky and Nicholas Roerich...

Early 20th Century Dog portrait of a white Poodle. Oil on Canvas and found in the original frame. Restored and recently cleaned. Italy, Circa 1915 Signed Zaparolli 1915.

Large Pichhavai Hindu Painting of Radha and Krishna with Female Gopis. Pichhwai Hindu Painting of Krishna and Radha framed under glass. Kris...

This is a pair of very stylish, oldschool original watercolor still life flower images estimated to be from the 1920s. Both pieces are signed by artist DWR in the bottom right corn...

Artist Arthur Alfred Davis (British, 1877-1905) “Into the River” 19th century sporting oil painting of dogs hunting Image size: 30”x 20” With frame: 35” x 25” Oil on canvas landsca...

This painting shows a Mediterranean coastal landscape from the French region of Provence on the Cote d'azur. The red rocks that you see in this painting are characteristic of the reg...

This is a pair of original Danish oil on canvas still life flower paintings from 1932 by artist CS. They are signed by the artist in the bottom right corner and framed in beautiful ...

A wonderfully charming large and colorful Chinese hand painted wallpaper section in a carved and shaped hardwood frame. The wallpaper dates to the first half of the 20th century or e...

20th Century decorative hand painted armorials depicting regions of Belgium. Circa 1920. Three available, priced individually.

This beautiful naturalistic painting by Niels Christiansen (1873-1960) with motive of grazing horses in the wetlands near the sea emits an atmosphere...

This early 20th-century oil on board by American artist Louis Nadler offers a vivid portrait of a chestnut horse standing alert in its stall. Characterized by its anatomical precisio...

Pair of early antique 20th century tonalist pastel landscape paintings by well known listed artist William Henry Chandler (American, 1854-1928). The paintings are of a cottage scene,...

This sophisticated view of a 1920s cocktail party -- probably taking place on the upper levels of an Art Deco tower in New York or Chicago -- was painted by Robert Patterson, one of ...

Frederic Montenard (FRENCH , 1849-1926) "Fishing Boats in a Harbor" Fishing boats docked at port in Mediterranean town. Oil on Canvas, sign...

A large and beautiful three quarter length portrait of a partly seated lady her hat over one arm holding a bouquet of flowers, the other arm held upward holding a branch of a tree. This original oil on canvas by the British artist Laurence Koe, (1863-1913), is signed on the lower right and dated 1905. Lawrence E. Koe was a portrait painter and sculptor. He is listed as living in Brighton when he first exhibited at The Royal Academy in 1891, but by 1894 he had moved to London where he appears to have settled for the remainder of his life. Koe exhibited widely; over twenty times at The Royal Academy, but also at the R.O.I, The Royal Society of Artists in Birmingham and the Walker Art Gallery in Liverpool. Most of his exhibited works were portraits, and among his sitters were the wives of fellow artists Harold Speed RP (1872-1957) and Harold Piffard (fl. 1895-1899). In 1896 Koe exhibited “Venus and Tännhauser” at the Royal Academy, now in the permanent collection in the Brighton Museum and Art and he showed a painting of Sappho two years later. He clearly shows the influence of other artists working at the same time, notably Singer Sargent, Arthur Hacker RA (1858-1919) and Herbert James Draper...

(no image) With beautiful oxblood color lacquer frame with 19th century bronze mounts.

Condition: Original Vintage Condition Designer: Wanda S. Neumann Manufacturer: Wanda S. Neumann Materials: Oil On Canvas, Wood Frame Style: California Realism

This is an exclusive original oil on canvas painting from the early 20th century by William Henriksen (1880-1964). It is framed in a gold and silver painted wooden frame and have a b...

Friedlander painting. A lovely and decorative painting made by an Israeli artist. Signed lower right in Hebrew letters. Translated the name of the artist is Friedlander. A fauviste w...

Danish original antique oil on canvas landscape painting from 1925 by artist Rasmus Larsen (1867-1950). Rasmus Larsen was a renowned Danish painter known for his landscape motives a...

An alluring oil on canvas portrait depicting a beautiful young woman decorating her hair with a red lace. Made by Lajos Rezes Molnár (Hungarian 1896...

Found in Europe, this Early 20th Century Oil on Canvas was painted in the early 1900's. Artist signed Kate Von Muhlenstein, suggest the art has a German origin. This interior paintin...

Painting size - 9.5 x 5.5 x .25 inches frame size - 17 x 13 x 2.75 inches George Blackie Sticks (1843-1936) Landscape painter in oil and watercolor. Son of James Sticks. The most distinguished member of the Sticks family of artists. Born in Newcastle. He had early artistic training as a designer in stained glass manufactory of William Wailes. He was placed under tuition of William Bell...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved two-tone gilt wood, gilt-patinated and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. Circa: 1890-1900. Subject: Religious painting Painting diameter: 28 inches (71.1 cm) Frame height: 55 1/8 inches (140 cm) Frame width: 46 inches (116.8 cm) Frame depth: 5 1/8 inches (13 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

A beautiful Ancestor portrait of an important Chinese Matriarch. The piece is hand painted in vibrant colors and has held the test of time. The gilt wood framing is an unusual fram...

Nakamura Daizaburo Turtledoves in a Peach Tree Taisho period, circa 1920 Framed painting. Mineral pigments, ink and gofun on silk Signed: Daizaburo Dimensions (framed)...

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...

This is an original antique oil on canvas painting from 1922 signed “PW” with motive of a paved path to a house in Holbæk, west of Copenhagen, Denmark. The painting is signed by the...

French vintage painted shooting targets made of wood. This unique set from the turn of the century brings character and authenticity to a space!

Purvis Young, Saint of the Freedom Horses, c. 1980s Paint on Found Wood, 23" H x 4.5" W x 0.5" D Titled Saint of the Freedom Horses, this expressive vertical painting by Purvis You...

This is an original antique oil on canvas landscape painting from 1924 by Aage Wang with motive of cows. Aage Wang, i.e., Mark Osman Curtis (1879-1959) was a Danish painter known fo...

Executed in oil on panel, housed within a carved swept giltwood frame. Signed bottom right 'E. L. Garrido,' and old stencilled stamps to the rear. Dimensions (framed): H 79 cm by 68...

This is an original vintage oil on canvas still life painting from 1933, Denmark. It has a motive of plants and flowers elegantly arranged on a window sill. It is signed “HP” in the...

Beautifully painted in vivid tones of yellow-orange, mossy green, warm red and deep blue -- echoing the rich tones of the stained glass he employed -- this rare and gorgeous watercolor by Louis Comfort Tiffany was clearly painted to inspire and guide the design of one of his stained glass windows featuring the nasturtium flower. In the earliest years of his career in the decorative arts, Tiffany served as the primary designer for his firm, inspired by ancient Byzantine and Roman glass as well as the bounty of American flowers and trees to be found in his native Northeast. As his business grew and it was necessary for him to oversee the work of many artists and artisans, he came to rely on others to develop most designs, such as Frederick Wilson for his figural church windows and Clara Driscoll...