Early 20th Century Wall Decorations

Composition by Mikael Pasternak, 1920. Gouache on Paper, 62 x 51 cm. Mikael Pasternak (born 1905 in Riga, died 1967 in Virum) came around 1920 at a very young age to the Academy of ...

Composition by Knud Kyhn, 1917 Watercolour on paper. Sheet size 30×38 cm, signed and framed. Knud Kyhn (1880 - 1969) was a Danish painter, illustrator and ceramic sculptor who is es...

Composition by Knud Kyhn, 1915 Watercolour on paper. Sheet size 30×38 cm, signed and framed. Knud Kyhn (1880 - 1969) was a Danish painter, illustrator and ceramic sculptor who is es...

Robert Storm Petersen, Danish 1882-1949 Framed watercolor painting: 'Woman with exposed breast'. Watercolor on paper. Framed in a contemporary wood-carved Montparnasse frame that com...

Original Aquatint by Warren Soned, titled "Calcification". Hand signed in pencil, numbered 7/25 and dated '48. A fine an intriguing piece of art in the Cubism style. This work of...

A beautiful still life oil painting, made by the Belgian artists John Michaux. It is a colorful scene with strawberries and cherries in a blue and white ceramic bowl and a champagne bottle, against the background of a house interior. Oil on canvas in a nice wooden frame, which is original and from the same period. John Michaux is quite a well known Belgian artist, he has his own wiki page. Dimensions frame: 67 x 72 cm Dimensions canvas: 55 x 59 cm Free shipping worldwide About John Michaux, from 'Belgian Artist from the 19th and 20th Century by Paul Piron' MICHAUX, John (Antwerp, 1876 - Brussels, 1956) Painter. Educated at the Higher Institute in Antwerp and student of Frans Hens...

Victor Isbrand (Danish, 1897-1989) Javanese market, oil on canvas. Frame size (cm):60 x 79 x 5 Artwork size: 52 x 70 Signed V. Isbrand in the lower right corner and on the flip size...

An authentic, antique, Belgian oil painting on stretched canvas. It is signed by the artist, O. Waterloos, and dated 1917 in the lower left corner (see photo). It depicts a lovely, o...

Rudolf Quittner (1872-1910), "Vue nocturne de la Seine" ("Seine by night"), oil painting, ca. 1905 Impressionist Rudolf Quittner, born in 1872, was an Austrian landscape and genre p...

Eugène de Sala, 1899-1989 Experience the charm of Montmartre with this painting created by Eugène de Sala during his stay in Paris. This unique artwork is painted with oil colors on...

Joan Miro (1893-1983, Catalan) print titled, " Woman With A Mirror" Lithograph. Abstract style has vivid colors of red, blue, black, green and white. Framed in gold frame with off-wh...

Stanton MacDonald-Wright (American, 1890-1973) Still Life canvas: 16 by 20 inches frame: 19 ¾ by 23 ¾ inches

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 striking large scale pair of bookmatched breccia marble wall decor panels. These natural cuts of marble are detailed with unique veins and markings throughout that make for spectac...

Wonderful early 20th century American School oil painting of an interior view of an artist painting in her studio. The condition of the canvas and paint are excellent. Nicely framed,...

Original lithograph in excellent condition by Louis Lozowick (1892-1973). Pencil signed lower right. Edition size lower left. No. 24 in the Raisonne by Janet Flint. Edition of 20. ...

This vintge limited edition concert poster was done by Coop of the United States in approximately 1990 in a modern cartoon style. The poster is likely done by silkscreen on paper and...

Ebba Carstensen, Danish 1885-1967 Cubist style painting of studio set-up, Denmark, c. 1920. Oil painting on canvas, framed in pine wood fr...

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

Important watercolor painting of Orientalist subject representing market scene in Tangier by the great English artist George Charles Haité Signed lower left and inscribed on the back...

A very colorful, early 20th century original oil painting on canvas board. Sourced in France, this modernist artwork is signed by the artist and colo...

1920's oil painting on board of landscape. Landscape oil painting on board with a liner and gilt wooden frame.

Ludovico Gignoux " Market in Paris " Oil painting on canvas signed very good condition early 20th century without frame. Measures : 60 cm x 4...

Very rare painting oil on canvas by the artist William Langley Title “View of Menton Cap Martin” It depicts a beautiful view of the French Riviera, in particular Cap Martin-Menton O...

Eugène de Sala, 1899 - 1987. Charcoal drawing on paper, portrait of his wife 1920s. Eugène de Sala's an avant-garde painter from the 1920s are considere...

Large and beautiful cubist oil painting by Danish female artist Ebba Carstensen. Figure composition, c. 1915–25. Indistinctly signed. Oil on canv...

Monumental Harley Francis abstract male nudes oil painting on canvas Offered for sale is a monumental abstract oil painting by Harley Frances ( 1940...

This stylish ink wash on paper is of the Provincetown Massachusetts "Old Highland Light" lighthouse, and is by the American artist Paul Resika. Note: Over...

Note: This is a decorative reproduction of the same year Helmut Newton set of two pieces Sie Kommen (Dressed)’ & ‘Sie Kommen (Naked) Both printed in Silver Gelatin and mounted on ...

A brilliant example of California Impressionist painting, this view of the East Bay hills shimmering in pink, purple, jade and periw...

Oil painting on a plywood panel, depicting a mountain view with houses and figures in the foreground. The pictorial drafting is characterised by a very textured painting composed almost of 'tesserae' of colour, identifying the artist Pavan...

Important watercolor painting representing a beautiful landscape with sailboats in front of a rocky coastline Dimensions without frame cm 5...

Oil painting on panel by the artist P. Fragiacomo, around the 1910s. The work entitled 'Sail' depicts a small sailboat in the middle of a sea with a figure on board from behind, a t...

Eight NYC, New York porcelain over metal enamel street signs. Double sided. Priced individually.

Artwork Sitft Klosterneuburg painted by Max Kahrer 1919 Classical Modernism oil on canvas signed Max Kahrer studied at the Vienna Akademy of fina arts un...

Eugène de Sala 1899-1989. 6 pencil and ink drawings mounted in passe-partout in a black painted carved Montparnasse frame. Signed de Sala, Paris 1922 ....

Copenhagen Harbor by the Danish artist Otto Olsen on an original gilt frame, view of the storage buildings across the canal detailed in brownstone with red ...

William Scharff 1886-1959. Study of garden. Oil on canvas. c. 1912. Signed W.S. dimensions with out frame: 44 x 52. Niels William Scharff was a Danish painter who was one of th...

Artwork "Au in Klosterneuburg (paradies)" painted by Max Kahrer 1919 Classical Modernism oil on wood signed Max Kahrer studied at the Vienna Akademy of ...

A wonderful, attractive, and striking image of the New York City skyline and towering classic buildings by German artist Anton Schutz. Schutz was commissioned by The New York Times ...

American dry point engraved landscape etching Italian House on Hill Side, Alfred H. Hutty, Early 20th century

Early 20th Century Oil on Canvas of an Italian girl in a mountain landscape painted by Carl Forup, a pupil of Henri Matisse. Circa 1930.

An unusual photograph, circa 1910-1920 where the letters Lake George are made of cutout photographs. Original frame-really a unique object with character and timeless character. Lak...

Ludovico Gignoux " In the Square " oil painting on canvas signed very good condition early 20th century without frame.

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...

Pictorialist photograph of a young woman. Silver print in the original oak frame. Inscribed on reverse R.S. Paddock, Early 20th century. Pictorialism is the name given to an intern...

Olga Rozanova "Abstract Geometrics" watercolor on paper (Russian, 1886-1918) Rozanova was born on June 22, 1886, in the small town of Melenki near Vladimir, Russia. After finishing at the Vladimir Women’s Gymnasium in 1904, she studied painting in Moscow. Dissatisfied with the “wretched system of instruction” at the state-run Stroganov Academy of Arts and Industry, she transferred to Konstantin Yuon’s private school, where she met Liubov Popova...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. 20th-century constructivist mixed technique Russian painting...

Julius Schyl 1893-1977, Sweden. Small painting of a woman, "EVA". Oil paint on Masonite. 1930-1940.  

Erik Hoppe, 1897-1968. Winter landscape with houses. Oil on Masonite. Signed EH. 1931. Measures: Small painting Without frame 17 x 29 cm. With frame 23 x 36 cm. Danish painter who is remembered for his paintings from the Copenhagen area, especially those with young ladies in the park at Valby. Hoppe also mastered the effects of light and colour. His earlier work is typified by greens and dull shades but later he produced compositions benefitting from bright sunlight. His style reflects the peculiarly Danish form of modernism, initially based on the sombre everyday-realism of around 1930.[1] Affinities with the work of Edvard Weie and Harald Giersing...

A rare and mesmerizing early 20th Chinese Dong minority dress constructed by laying thousands of thin bamboo strips across a cotton ground, lacquering the entire textile with dark in...

Beautiful drawing by the important American 'Fauve'. Item will be shipped rolled in a 6" sono tube.

Saburosuke Okada (b. Japan 1869, d. 1939). Watercolor on paper. Landscape with a tree, circa 1920. Visible dimensions: 29 × 22 cm. The frame measures: 2.5 cm. In very good conditi...

Modernist portrait painting titled 'Portrait of a Lady', attributed to Hungarian modernist painter Hugo Scheiber (1873 - 1950). The piece ...

Attributed to Leon Kroll oil on wood board painting of a Connecticut scene. The small but well done painting is representative of work done by Kroll. The painting depicting a Connect...

Modernist landscape painting of a woman reading in the sunshine, attributed to Hungarian modernist painter Hugo Scheiber (1873 - 1950). Th...

A fine drawing in ink and watercolor on paper of the modernist dancer Isadora Duncan by Abraham Walkowitz. Walkowitz (1878-1965) had an intimate artistic relationship with Duncan....

Jacques Villon cubist painting, multimedia watercolor gouache (Chinese white) sepia ink - from a Palm Beach collection. Frame size: 14 3/4 wide x 17 3/4 high x 1 deep Image size:...