Early 20th Century Wall Decorations

Hans Zatzka, Austrian (1859-1945) A Fine Oil on Canvas "Portrait of Haunz Javorasky Als Knabe Dressed as a Sailor" within a carved gildwood frame. The charming portrait depicts a sea...

An absolutely gorgeous Louis XIV style Brass Ormolu Mounted and Framed wool Handvoven Tapestry. Tapestry depicts an music room / orchestra scene with a young lady / organ or piano pl...

The stained glass features a woman in a flowing dress, which suggests a design influenced by the Art Nouveau movement, popular from the late 19th century through the early 20th centu...

A wonderfully hand-carved wooden panel with floral motifs from the Indonesian island of Madura, off the coast of eastern Java. This decorative panel once adorned a traditional Madura...

A set of unique antique tiles, with a beautiful Art Deco pattern, Hemiksem circa 1920, Belgium. In a warm red/brown color. The dimensions per tile are 5,9" (15 cm)× 5.9" (15 cm). The dimensions of the border tiles...

Set of four Japanese reverse paintings.

This framed antique painting is being attributed to the well known Canadian artist Frank Leonard Brooks, and dates to approximately 1920 and done ...

Decorate a powder room or a lady's bathroom with this elegant vintage wall plaque. Crafted in Limoges, France circa 1930 and oval in shape, the exquisite wall decor by Camille Faure ...

Antique Indian Agra Oriental rug, size 11'9" H x 9'0" W. An antique Indian Agra Oriental Rug, size 11'9" H x 9'0" W, in Room size, circa 1910. This fine floral wool rug features a f...

Snaffles WW I Naval print "Gentlemen Unafraid". A coloured Snaffles lithograph entitled "Gentlemen Unafraid" showing sailors in the bow of a boat "Bedelia...

Original vintage bike advertising poster for Omega Cycles featuring scenic artwork by Dorfi (Albert Dorfinant; 1881-1976) depicting a man smoking a pipe a...

This lithography “La Féérie des Heures - La Brume” (The Enchantment of Hours - The Mist ) is signed by Henri Rivière has a red stamp at the bottom right. The work is authentic and ol...

Presented is a carved wooden figural bust wall hanging of Thomas Jefferson, circa early 20th century. This is an incredibly well-detailed carved depiction of young Jefferson. The bus...

Original antique poster - Our Ocean Empire with her boundless homes For ever broadening England Tennyson - featuring a great design in shades of blue depicting a tall ship at the top...

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...

Handcrafted and rare Arts & Crafts wall cabinet with working lock and key. A beautifully handcrafted Arts & Crafts oak wall cabinet, dating from the early 20th century, originally d...

Impressive Large scale landscape oil painting with trees. The sweeping view from the grass in the foreground to a number of trees in full leaf set against a slightly cloudy blue grey...

Two portraits of Japanese man and women in traditional costume painted on silk, circa 1920, in their original frames. Details show the exquisite tradit...

Pierre Gaston Rigaud Oil on Canvas Painting "Arbres" Trees French School Antique . “Arbres” by Pierre Gaston Rigaud. French School Dated 1925. Oil on Canvas. Rigaud was a student of ...

Vintage Snaffles WWI Military Print, The Canadian. A good Snaffles WWI military print 'The Canadian', the main center colour-piece hand coloured lithograph is mounted onto the printe...

Original antique World War One propaganda poster: Everyone Should Do His Bit – Enlist Now featuring an image of young boy in uniform enrolling in the army as the drummer boy, his rig...

Presenting a fabulous original Art Deco Fortune Magazine Cover, December 1938. The cover of Fortune Magazine for December 1938, fram...

Beautiful antique painting depicting a Malinois (Belgian Sheppard dog) with her puppies. The painting is very atmospheric, with beautiful l...

A pair of antique 20th century medieval shields. Made from tin, this splendid pair would make for highly decorative new wall hangings in a home, or perhaps castle. Dating back to 190...

Rare early original antique advertising poster for a French car manufacturer Georges Irat (1921-1953) featuring a stylised Art Deco design depicting a Class...

Abnorm White Tailed Deer Trophy Mount on Wooden Plaque ca. 1900s A large abnorme white tailed deer (Odocoileus virginianus) trophy on a wooden plaque with black finish. The trophy w...

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)...

Early 20th century Dutch oil portrait of a young mother and child by David Bautz (Dutch, 1884-1955). A fine oil portrait, circa 1920s. A young mother breast feeding...

Oil Painting, Dutch School (20th Century) Oil on Board. A coastal scene with boat, windmill and figure, initialed at the lower right. The signature, illegible, framed in a beautiful...

Presenting a fabulous original Art Deco Fortune magazine cover October 1936. The cover of Fortune Magazine for October 1936, framed ...

A impressive collection of 25 Parisian framed chromolithograph plates of "New models of wood and marble", by Eugène Berthelon The pictures also have there original folio and informa...

This calendar advertisement poster for White Horse cigarettes was produced by Hu Boxiang, a famous commercial advertising artist in Shanghai during the 1920s-1930s. Framed in a highly ornate floral border, a fashionable woman poses while gathering plum blossoms, emblems of winter and eternal beauty. Dressed in a traditional qipao but with Western hairstyle and accessories, the woman reflects the rising influence of Western advertising and the Art Deco movement during the economic boom of early 20th century Shanghai. Beneath this scene is a calendar for the year 1936, surrounded by packs of prominent cigarette brands...

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 ...

Louis Icart (1888-1950). Young woman picking grapes. Number 232. Ca 1920. Etching on paper in a beautiful hand-carved Art Nouveau frame. Signed with pencil. In very good conditio...

Questa splendida coppia di dipinti a olio "Paesaggio" si basa formalmente su un naturalismo che insegue una verosomiglianza nella rappresentazione della realta',anche attraverso un pittoricismo che abbozza la forma con una pittura veloce,carica di vibrazioni luminose e cromatiche.A livello compositivo le due tele sono in linea con un elegante gusto Jugendstil,con una composizione che predilige forme esili e sfrutta le forme vegetali per comporre prezioso intreccio decorativo.L'autrice di questa coppia di paesaggi presenta una notevole tecnica di formazione accademica,che si esplica in un'alta ricerca di resa naturalistica.L'artista mostra anche di essere un rappresentante dell'ambito Art Nouveau di inizio XX secolo ,in una composizione dal disegno complesso e che riporta anche qualche ispirazione di gusto esotico,soprattutto dall'arte giapponese...

One of the great masterworks of Herbert von Reyl-Hanish and clearly inspired by Renaissance portraits which show a dignified personage with an idyllic landscape behind, this portrait of a young, blond youth in traditional lederhosen is striking and powerful. The intense, open gaze of the young man, and his fresh, ruddy countenance, contrast dramatically with the jagged peaks and cool colors of the sky and mountains behind him. Reyl-Hanisch is sometimes described as a Magic Realist...

Fruit still life on board signed Timmons. Attributed to William Federick Timmons(1915-1985) . Rich colors of blue, red and pink make up this fruit still life composition. The composition consists of fruit in a pedestal bowl and the detailed drapes in the background. Custom framed. This item can parcel ship for $45. William Frederick Timmins was born May 23, 1915 in Chicago, Illinois. His father, Harry L. Timmins (1887-1963), was a celebrated magazine illustrator and co-owner with Frank H. Young (1888-1964) of a successful Chicago advertising agency called Young & Timmins Advertising Illustration Studios. In 1923 Timmins and Young co-founded the American Academy of Art in Chicago. His father's impressive career brought the family a prosperous and privileged lifestyle, which included pleasure trips to Paris and London. In 1934 he began to commute by Metro North train to New York City, where he studied at the Art Students League on West 57th Street. He also took classes at the National Academy of Design on Fifth Avenue near 89th Street. In 1935 he began to study at the Grand Central School of Art, located on the sky-lit top floor of Grand Central Station Terminal. This was the same station he used for his daily commute. In 1935 he began to sell pen and ink story illustrations as well as painted covers to NYC publishers of pulp magazines. During the second half of the 1930s his work appeared in Western Story, Dime Sports, Clues Detective Stories, Thrilling Western, and All Aces Magazine. He and his wife moved to a home on Spectacle Lane in Wilton, CT. This area of Connecticut had become a popular artist community. He socialized with several artist neighbors, such as Benjamin Kimberly Prins (1902-1980), Tom Lovell (1909-1997), Richard Lyon (1913-2002), Al Parker (1906-1985), Rolf Klep (1904-1981), R. G. Harris (1911-2007). During the 1940s his cover illustrations appeared on pulp magazines, such as The Shadow, Clues Detective Stories, Wild West Weekly, and Astounding Science Fiction. All these were published by Street & Smith. In 1944 the family moved to Darien, CT. At first the artist worked in a rented studio in nearby Norwalk, CT, but after a while he converted a vacant family room into an art studio and worked at home. After the war he drew story illustrations for Family Circle and Liberty Magazine. In 1948 his father, Harry L. Timmins, and his brother, Harry L. Timmins, Jr., moved to California to open a lithography business in Hollywood. During the 1950s he illustrated several books for children that were published by Rand McNally, such as Cowboys, Davy Crockett...

Presenting a fabulous original Art Deco Fortune Magazine Cover, February 1938. The cover of Fortune Magazine for February 1938, framed and matted. This is an original cover, no...

Louis Picard (1861-1940), a well-listed French artist. Oil on canvas. Composition with a beautiful young nude woman reclining in a forest scenery. Approximately from the 1920s. Sign...

1920s Antique Moroccan Wall Bracket Inlaid with Shell inlay Moorish Wall Shelf. Handcrafted wall sconce with intricate hand-carved wood designs and inlaid shell hanging wall shelf. T...

French Chasse Inspired Towel and Soap Rack Just the thing for the smallest room in the house, made in aluminium and embossed with a French Hunting Dog scene The rack fits on the wa...

Antique Rare Ceremonial Shoulder Cloth (Kain Nyulam), South Sumatra This fully embellished and intricately embroidered shoulder cloth (kain nyulam) is a rare and unique example of t...

Portrait of a child with a hypnotic gaze. The signature of the work's author is not legible, but to assess its value, one need only stare.

English orientalist school; late 19th - early 20th century. "Slave market". Oil on canvas. Presents stamps on the back. Measurements: 26,5 x 36 cm; 27 x 37 cm (frame). The orien...

Great image of the sun Unframed. Chromo-lithograph Published, C.1900 The measurement is the paper size of the print Free shipping.

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...

Original vintage motor sport poster for the II Gran Premio de Motocicletas y Sidecars y IV Gran Premio de Autociclos del Reial Moto Club de Catalunya (RMCC...

Great and superb oil on canvas by Krupka Ferenc.     

Lithograph by Henri Rivière Parisian Landscapes - Le Pont des Saints-Pères et Le Louvre This lithograph “Parisian Landscapes - The Pont des Saints-Pères and the Louvre” is signed H...

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...

This artwork titled "Diamond Jubilee" by Adrian Jones, printed and published in London in 1901 by C.E. Clifford & Co., located at 21 Haymarket. Diamond Jubilee (1897 – 10 July 1923...

Framed Village Landscape with Houses, 1920's France. A beautiful Parisian painting on canvas depicting a peaceful village landscape with a row of houses on a street featuring a scene...

ABOUT A set of four blue prints for a residence in San Mateo Park, San Mateo, California. Sold as a set only. CREATOR Herbert O. Alden, San Francisco, CA. DATE OF MANUFACT...

This coat and hat hanger was made around 1910 in the former Austria-Hungary. It is made of stained oak wood. It has several chrome holders, one storage shel...

Antique oriental ceramic tiles, hand painted under glaze, with flowers and birds: one with an inscription. Idea: walled each one on a door. ref. nr. 1644 and 1645.

A rare pair of original hand cut silhouettes by the Hungarian-American deco sculpture Wilhelm Hunt Diederich, circa 1925. In period frames (unexamined out of frames), titles annotated in pencil on the circular cut mattes- "The Mad Russian" and "Death in the Afternoon". The black paper silhouettes...

Japanese Six Panel Screen: Winter Scene of Pine, Plum, and Bamboo Under Crescent Moon. Pine, plum and bamboo are known as the three friends of winter, because they all thrive and bl...

Maker's mark: Christian Wagner, Rein, Kupfer, made in Germany with brass hanging rings.