Early 20th Century Wall Decorations

Striking large plaster 3-D wall sculpture of a neoclassical style head, perhaps of Apollo or other God with handsome chiseled physiognamy.  

On offer is a Japanese summer kimono woven from indigo blue linen with ivory color fine stripes patterns with apparently darker weft additions. The elega...

Original antique book advertising poster for a Parisian detective story Through the Wall by Cleveland Moffett published by D Appleton & Co featuring a great illustration of a moustac...

ABOUT B.N. Films, 1937. French poster, linen-backed. This poster is for the French release of the movie. Poster illustrator Jacques Bonneaud perfectly captures the mystery and eccen...

This is an original coal drawing by Danish artist H. P. Carlsen from 1922. Hans Peter Carlsen (1855-1950) was a painter from Funen who attended the Royal Academy of Fine arts with f...

Antique Edward S. Curtis Native American Print ‘Cree Camp At Lac Les Isles” Signed C1926 (26" x 20 1/8" x 1/4"). This is an antique photogravure...

Landscape scenery oil on canvas post-impressionist painting by artist J. Jacobsen. This image depicts a rural landscape with a stream or small river flanked by naked trees. The sce...

This rare and striking woodcut print by Robert Pajer-Gartegen, an Austrian artist, depicts a nude male figure in a slender wood boat, using a long pole to mo...

Moon and bamboo in ink on gold paper with red and black lacquered negoro frame. (Meiji period) Calligraphy reads: Beauty in ink painting with standing woods and branches, like in par...

Oil on canvas, painting by Georges Picard, spring, early 20th century, Art Nouveau period. Painting, oil on canvas by Georges Picard representing an interpretation of spring, early ...

It is finely embroidered in silk on a cotton background. It is lucky to have the tassels intact.

A well-carved, early 20th century antique Italian marble plaque of the elegant St. Helena, after a sandstone relief by 15th century Italian sculptor, Desiderio da Settignano (1429-14...

Montague Dawson: A Moonlight Scrap. This dramatic watercolour on paper shows a WWI R-class destroyer escorting a battleship through a night-time encounter in choppy seas. The moon ha...

Beautifully cast and patinated, this set of three Art Deco appliqués or sconces may have been used to decorate a door or building element, or been hu...

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...

Antique educational female anatomy chart, the endocrine interrelations. The endocrine glands. Copyright 1945, by Rudolf Schick, New York City, U.S.A. Me...

Original vintage aviation advertising poster featuring cartoon style artwork depicting The Good Old Times Past / The Fugitive Present / The Radiant Future of air travel...

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.

Original antique World War One war bonds poster - For her! Buy War Savings Certificates £1 for 15'6 in 5 years You can get your money back any time - featuring an illustration of an elegant lady in a fashionable long black dress with flowers on her and a fur shawl around her shoulders, holding a paper in her gloved hand next to a soldier in uniform with his arm around her and a dog looking up at the happy couple, the text in bold red and black lettering in the background. Artwork by the notable British political...

An antique French Handwoven needlepoint tapestry or runner featuring a French geometrical patchwork design with a multi-colored background and border, accented with shades of olive, ivory and crimson colors. The elegant tapestry runner...

Antique hand carved architectural panel from Toraja. This carving symbolizes the protection of the home and fertility. Originally used as an exterior panel. This antique carving w...

Painting is in its original frame and there it is signed but very hard to distinguish as seen in the photo.

Original vintage travel poster issued by the Underground Electric Railway Company Ltd.: Overcome the difficulty of the journey travel by underground. Stunning black and white design by Frederick Charles Herrick (1887-1970) of a muscular man fighting and slaying the Nemean lion under the title - Hercules - depicting the first of the Twelve Labors of Hercules from Greek mythology - with the stylized text below. The London Electric Railway (LER; 1910-1933) operated three lines on the London Underground until it was merged into the London Passenger Transport Board. Printed by Sanders and Phillips Co...

Meaningful and perfect size, religious work of art. We find it refreshing to see Christ in this original 1913 oil painting as the spiritual master that he was (in a ceremonial act) ...

Antique Framed 'Dejeuner' (Lunch) Restaurant Menu, France, 1901. First Class menu from the restaurant aboard the ship Compagnie Messageries Maritime, Port Marseille. This line sailed...

A white, vintage Art Deco French wall, bas relief of a female head made of hand crafted plaster, in good condition. Signed on the lower left. Not recommended for exterior use. Minor ...

Early 20th century painting of hunting dog in landscape in gold gilt frame signed and dated in lower left corner: "Katrina Elizabeth… (last n...

Ancient hand carved architectural panel from Toraja. The carving symbolizes both the protection of the home and courage. Originally used as...

Rare and spectacular bat dance mask from Mexico. Crafted in the late 19th to early 20th century, with later retouches to the polychromy. This type of mask is made of hammered copper ...

Original antique railway travel advertising poster for trips from Paris to London in 2 hours 45 minutes - Chemins de Fer de l'Etat et de Brighton Paris (St Lazare) London (Victoria) via Dieppe et Newhaven 2h45 de traversee maritime - featuring an image of the sea crossing by steam ship on the Channel / la Manche...

A pair of antique 20th century medieval style tiles. Modelled in relief, these deeply cast 5-inch tiles display a classically dressed jousting knight on horseback in striking colourf...

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...

Original vintage motor car racing poster advertising the Armangué Trophy in Tarragona on 29 October 1922 organized by the Reial Moto Club de Cataluny...

Hand-picked by buyers at Ann-Morris Inc.

Original vintage travel advertising poster for New Mexico and Arizona Rockies land of history and mystery travel by train. Stunning Art Deco design by the brothers Kenneth and Willia...

Original French Lithographic Theatre Poster, 'Les Grandes Manoeuvres' This is an original poster which has been linen backed for preservation, the overall condition is very good. ...

Jean Baptiste Anthony, (Belgian, 1854-1930) Young lady with a bird Oil on panel, signed J. Anthony l/r. Measures: Panel height 25 1/4in. (63.5cm) b...

Original antique travel poster advertising cruise holidays to Algeria in north Africa from Marseilles France and to Dakar Bresil / Brazil and La Plata South America with the General ...

Original antique fashion advertising poster featuring an illustration by the notable artist John Hassall (1868-1948) of an elegantly dressed Victorian lady in a long white dress...

In good condition From a private collection Free international shipping Belgian Impressionist Forest Landscape Signed Early 20thC

Cast hollow bronze figural sculpture carved in relief (ca. early 20th Century Italy). No chips or losses; light patina throughout. Masterful work and appealing subject matter. Can be...

Art Deco Original Etching by Paul Jouve, depicting a Crouching Tiger. Made in France. Circa: 1930. Signature: Jouve.  

Frank Myers Boggs (1855-1926) Signed American Impressionist Landscape Oil Dimensions: 69 x 52cm, framed. Good condition From a p...

Vittorio Reggianini (1858-1938) La Romanza Preferita Signed with the artist monogrammed signature (lower right) Oil on canvas Measures: 27 x 36 in. (68 x 91cm.) Provenance: Asso...

Original antique travel poster advertising skiing and winter sports in Murau Styria Austria by the Mur Valley railway (opened 1894): Wintersportplatz Murtal-Bahn Murau. Fantastic art...

A charming antique French faience Quimper scalloped plate, circa 1920. Maker's mark on reverse. This lovely plate features a finely detailed hand painted sweet Breton couple in tradi...

A large set of unique antique tiles, with a beautiful Art Deco pattern, Hemiksem circa 1940, Belgium. The dimensions per tile are 4,7 (12 cm)× 4,7" (12 c...

Original vintage LNER train travel poster designed by one of England's leading poster artists Austin Cooper (1890-1964): The Trossachs Tour Scotland by London and North Eastern Railw...

Painting "Portrait of an Ancestor", 19th century Dimensions: Frame height 134 cm, width 112.5 cm The painting height 102 cm, width 80 cm.

A large painting by Italian artist Giuseppe Mazzei, depicts muses Melpomene and Thalia with their classic attributes. Seated Melpomene holds a dagger kn...

A large set of unique antique tiles, red brown colored with a beautiful Art Deco pattern, Societe Morialme circa 1920, Belgium The dimensions per tile are 5.9" (15 cm) x 5.9" (15 cm). Please note that the piece is for 1 piece! more pieces available. Also border tiles...

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...

Beautifully executed original oil on canvas by California artist Edward Holslag. Painted in 1915 with rich warm tones depicting a countryside landscape ...

Drawing Greek sculpture academy made in charcoal at the beginning of the 20th century, at the Spanish academy in Rome. Depicting a Greek sculpture.

Early 20th Century Lithographic Poster, 'Alcazar d'été' , c. 1910 This is an original vintage poster which is linen backed for preservation. The overall condition is very good. This...

Provenance: Consigned to the gallery by private collector. Description: Oil painting by Hanson Puthuff, created circa 1925. He is nationally famous for his lyric interpretations o...

Five original photographs from live Broadway performances at the historic Strand Theater. The Strand Theatre was originally an early movie palace locate...

Single African mask created by artist Bomber Bax. The mask dates back to the early 1900s and was subsequently processed and painted in late 2022 by the artist. The artist used spec...

Antique French educational Scientific chart, Tissu Nerveux by Denoyer-Geppert. Collection Remy & Cepede. Neurone-Cellules nerveuses-Fibres nerveuses. ...

A large unframed Japanese textile art circa late early 20th century toward the end of the Meiji period. Seamed together from four vertical sections of cotton in deep indigo color, th...