1910s Drawings and Watercolor Paintings

Giolitti allo specchio is an original drawing in China ink, watercolor and white lead on creamy cardboard realized by Gabriele Galantara (1865-1937). In good conditions. This artw...

Studies of Figures is an original drawing in pencil and china ink on creamy cardboard realized by Gabriele Galantara (1865-1937), in 1915. In good conditions. Not signed. Gabriel...

Medium: Charcoal on Board Signature: Signed "W.B. King" Lower Right The Negotiation. Likely a story illustration for The Saturday Evening Post, circa 1915.

Four Kings is an original color drawing on paper realized around 1910s, by the Italian satiric illustrator, Gabriele Galantara (Montelupone, Italy, 1867 - R...

Image dimensions: 16,5x8,5 cm. The Discussion is an original artwork realized by Rivalta, in 1914. The state of preservation is good, except for some small holes on the back. Hand-...

Red Ballboy or Studies for "Tennis Tournament" Crayon on paper, c. 1920 Unsigned Condition: three vertical folds created by the artist to transport the drawing from the tennis match ...

Sketch for a Nude is an original artwork realized by Jean Dreyfus-Stern in the 1920s. Pencil and red pencil on paper. Hand-signed in pencil by the artist on the lower right margi...

Deux Baigneuses is an original artwork realized by Michel Simonidy in the first years of the XX Century. Pencil on paper. Passepartout included (cm 26.5 x 19). Mint conditions. V...

Standing Nude with Japanese Lanterns Ink drawing on wove paper, mounted on wove paper support, c. 1916 Signed with the estate stamp B Provenance: Estate of the Artist ...

Isadora Duncan Graphite with grey wash on paper mounted to cardstock Signed and dated in pencil lower right (see photo) Provenance: Charlotte Bergman, f...

This is a fine detailed and superbly executed Edwardian drawing by Estella Canziani which dates to circa 1911. Executed by one of the leading artists of the day it is a very strikin...

Signed lower left, 'Hans Blum' (German, 1858-1942) and painted circa 1911. Provenance: Exhibited, 'Jubiläums- Ausstellung der Münchener Künstler-Genossenschaft', München 1911 ('Anniv...

Max Kuehne (1880 - 1968) Train Station, circa 1910 Watercolor on paper 8 1/4 x 10 1/4 inches Signed lower right Provenance: Private Collection, Illinois Max Kuehne was born in Halle, Germany on November 7, 1880. During his adolescence the family immigrated to America and settled in Flushing, New York. As a young man, Max was active in rowing events, bicycle racing, swimming and sailing. After experimenting with various occupations, Kuehne decided to study art, which led him to William Merritt Chase's famous school in New York; he was trained by Chase himself, then by Kenneth Hayes Miller. Chase was at the peak of his career, and his portraits were especially in demand. Kuehne would have profited from Chase's invaluable lessons in technique, as well as his inspirational personality. Miller, only four years older than Kuehne, was another of the many artists to benefit from Chase's teachings. Even though Miller still would have been under the spell of Chase upon Kuehne's arrival, he was already experimenting with an aestheticism that went beyond Chase's realism and virtuosity of the brush. Later Miller developed a style dependent upon volumetric figures that recall Italian Renaissance prototypes. Kuehne moved from Miller to Robert Henri in 1909. Rockwell Kent, who also studied under Chase, Miller, and Henri, expressed what he felt were their respective contributions: "As Chase had taught us to use our eyes, and Henri to enlist our hearts, Miller called on us to use our heads." (Rockwell Kent, It's Me O Lord: The Autobiography of Rockwell Kent. New York: Dodd, Mead and Co., 1955, p. 83). Henri prompted Kuehne to search out the unvarnished realities of urban living; a notable portion of Henri's stylistic formula was incorporated into his work. Having received such a thorough foundation in art, Kuehne spent a year in Europe's major art museums to study techniques of the old masters. His son Richard named Ernest Lawson as one of Max Kuehne's European traveling companions. In 1911 Kuehne moved to New York where he maintained a studio and painted everyday scenes around him, using the rather Manet-like, dark palette of Henri. A trip to Gloucester during the following summer engendered a brighter palette. In the words of Gallatin (1924, p. 60), during that summer Kuehne "executed some of his most successful pictures, paintings full of sunlight . . . revealing the fact that he was becoming a colorist of considerable distinction." Kuehne was away in England the year of the Armory Show (1913), where he worked on powerful, painterly seascapes on the rocky shores of Cornwall. Possibly inspired by Henri - who had discovered Madrid in 1900 then took classes there in 1906, 1908 and 1912 - Kuehne visited Spain in 1914; in all, he would spend three years there, maintaining a studio in Granada. He developed his own impressionism and a greater simplicity while in Spain, under the influence of the brilliant Mediterranean light. George Bellows convinced Kuehne to spend the summer of 1919 in Rockport, Maine (near Camden). The influence of Bellows was more than casual; he would have intensified Kuehne's commitment to paint life "in the raw" around him. After another brief trip to Spain in 1920, Kuehne went to the other Rockport (Cape Ann, Massachusetts) where he was accepted as a member of the vigorous art colony, spearheaded by Aldro T. Hibbard. Rockport's picturesque ambiance fulfilled the needs of an artist-sailor: as a writer in the Gloucester Daily Times explained, "Max Kuehne came to Rockport to paint, but he stayed to sail." The 1920s was a boom decade for Cape Ann, as it was for the rest of the nation. Kuehne's studio in Rockport was formerly occupied by Jonas Lie. Kuehne spent the summer of 1923 in Paris, where in July, André Breton started a brawl as the curtain went up on a play by his rival Tristan Tzara; the event signified the demise of the Dada movement. Kuehne could not relate to this avant-garde art but was apparently influenced by more traditional painters — the Fauves, Nabis, and painters such as Bonnard. Gallatin perceived a looser handling and more brilliant color in the pictures Kuehne brought back to the States in the fall. In 1926, Kuehne won the First Honorable Mention at the Carnegie Institute, and he re-exhibited there, for example, in 1937 (Before the Wind). Besides painting, Kuehne did sculpture, decorative screens, and furniture work with carved and gilded molding. In addition, he designed and carved his own frames, and John Taylor Adams encouraged Kuehne to execute etchings. Through his talents in all these media he was able to survive the Depression, and during the 1940s and 1950s these activities almost eclipsed his easel painting. In later years, Kuehne's landscapes and still-lifes show the influence of Cézanne and Bonnard, and his style changed radically. Max Kuehne died in 1968. He exhibited his work at the National Academy of Design, the Art Institute of Chicago, the Carnegie Institute in Pittsburgh, the Memorial Art Gallery of the University of Rochester, and in various New York City galleries. Kuehne's works are in the following public collections: the Detroit Institute of Arts (Marine Headland), the Whitney Museum (Diamond Hill...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Reginald Hallward (1858 - 1948) Stained glass window design for St Etheldreda'...

Work on paper Golden wooden frame with glass pane 58 x 72 x 3.5 cm

Loge de Theatre (Preliminary study for a painting) Graphite on paper Signed in pencil lower left Annotated with color notations by the artist (see photo) A early Parisian theme work ...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Leslie Carr (1891 - 1969) "Large Atlantic" 1440 Great Northern Railway...

Eye catching watercolor of bright flowering vines covering a towering column along the serene Riviera, circa 1920. Original one-of-a-kind artwork on paper displayed on a white mat ...

Exquisite and highly skilled watercolor of an elaborate Italian courtyard accented with radiant foliage and flowers by Flaromia, circa 1920. Signed lower left. Original one-of-a-ki...

Henry Ottmann (1877-1927) A Still life with a lamp signed lower right pastel on paper 30 x 38 cm Framed 45 x 53 cm We knew that Henry Ottmann was a great pastelist, and he demons...

French school early 20th century  View of the Grosbois castle and a portrait study. Black ink, black ink wash and watercolor on paper Signed lower right (indistinct, see photo) 27 x ...

To see our other Architectural Drawings, Stained Glass designs and 20th Century British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller." ...

This pencil drawing by the German artist Ernst Ludwig Kirchner is stamped at the lower left corner, verso with the artist's estate stamp (Lugt 1570b) and inscribed in black ink “B Dr...

An original charcoal drawing of a football player in his uniform circa 1910. This work is initialed what appears to be "e.w." with the phrase "1/2 hr" written below. We have not be...

Artist: John Arthur Dees (English, 1876-1959) Title: "In Cambridgeshire" *Signed by Dees lower right Circa: 1915 Medium: Original Watercolor on paper Framing: Recently beautifully fr...

landscape, fishing, England, 1910,pastel,green,blue Edouard CHAPPEL (Anversa, 1859 – Cagnes-sur-Mer, 1946) MUSEI BELGIO Anversa Musée Royal des Beaux-Arts FRANCIA Paris Musée d...

This mixed media on paper portrait, signed Morerod and dated 1919, reflects the refined artistic sensibility characteristic of the early 20th century, bridging academic draftsmanship...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Reginald Hallward (1858 - 1948) Ilford War Memorial design Pencil on paper 15 ...

Answering the Door Early 20th Century w/c Fauvism Social Realism American Scene Note: We have three similar in style works from 1911 available now on 1stDibs. All are framed identi...

CHARLES SIMS, RA, RWS, RSW (1873-1928) Drapery Study for the Royal Academy Arts & Crafts Mural Pencil, squared for transfer Unframed, in conservation mount 17.5 by 24 cm., 7 by 9 ...

Antoine Calbet presents his works, mainly portraits and genre scenes, at the Salons of the Société des artistes français from 1881 until 1940, as well as at the international exhibit...

Antoine Calbet presents his works, mainly portraits and genre scenes, at the Salons of the Société des artistes français from 1881 until 1940, as well as at the international exhibit...

Eugene Higgins In Foreign Parts, circa 1913 Signed lower right Watercolor on paper Sight 17 x 13 inches Born William Victor Higgins in 1884 to a Shelbyville, Indiana farm family where the only art Victor was aware of as a child was his father's love of flowers. "He loved their forms and their colors, and he tended his garden as a painter might work a canvas." At the age of nine, Victor met a young artist who traveled the Indiana countryside painting advertisements on the sides of barns. He purchased paints and brushes so the young Higgins could practice his own artwork on the inside of his father's barn. He also taught Victor about art museums and especially about the new Chicago Art Institute. This information never left the young artist, and he saved his allowance until his father allowed him at the age of fifteen to attend Chicago Art Institute. He worked a variety of jobs to finance his studies both there and at the Academy of Fine Arts. Victor Higgins traveled to New York in 1908, where he met Robert Henri, who became a significant influence by depicting every-day scenes and stressing the importance of the spirit and sense of place as important factors in painting. Higgins was also greatly affected by the New York Armory Modernism Show of Marsden Hartley in 1913. While Victor Higgins was in Chicago he met former mayor and avid collector Carter H. Harrison who was to prove instrumental in the growth of Higgins career for several years. Harrison agreed to support Higgins for four years to go to Paris and Munich and paint and study in the great museums in Europe. While at the Academie de la Grande Chaumier in Paris (1910-1914) he met Walter Ufer, who was another Chicago artist being sponsored by Carter Harrison. This meeting was not only a life-long friendship, but the beginning of a great change in the way Higgins looked at "American" art. He decided that America needed it's own authentic style rather than the 19th Century classic style he was taught in Europe. Very soon after returning to Chicago in 1914, Harrison sent him and Walter Ufer on a painting trip to Taos, New Mexico for a year in exchange for paintings. Higgins made other similar agreements and was able to support himself with his painting. This trip was a life-changing experience and introduced Higgins to the authentic America he had been looking for. In 1914 Taos was an isolated village about twelve hours from Santa Fe on an impossible dirt road. But the colorful life of the pueblo people and the natural beauty drew a collection of artists who became the Taos art colony, from which the Taos Society of Artists was founded in 1915. Victor Higgins became a permanent resident within a year of his arrival and a member of the society in 1917, exhibiting with Jane Peterson in 1925 and with Wayman Adams and Janet Scudder in 1927. The members would travel around the country introducing the Southwest scenes with great success. He remained a member until the Society's dissolution in 1927. Higgins was the youngest member of the group of seven. Other members were Joseph Henry Sharp, Bert Phillips...

Rousselet, French School early 20th century Portrait of an officier, 1915 Wax crayon on paper signed "E Rousselet" and dated 1915 lower right 51.5 x 31.5 cm In quite good condition, ...

Collection of girl portrait studies that are signed and dated by the artist. The papers are not framed. The dimensions are of the larger work, the small...

To see our other views of Oxford and Cambridge , particularly suitable for wedding and graduation presents, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the view you want. R.H.B Trinity College...

Henri Edmond Cross Woman with an umbrella, ca. 1910 Pencil on paper 5 1/10 × 3 9/10 in l 13 × 10 cm Frame included - 9 x 7 in l 23 x 18 cm Stamped 'HEC' lower left Condition: Excell...

Amy Londoner Beach at Atlantic City, circa 1922 Signed lower right Pastel on paper Sight 23 x 18 inches Amy Londoner (April 12, 1875 – 1951) was an American painter who exhibited at the 1913 Armory Show. One of the first students of the Henri School of Art in 1909. Prior to the Armory Show of 1913, Amy Londoner and her classmates studied with "Ashcan" painter Robert Henri at the Henri School of Art in New York, N.Y. One notable oil painting, 'The Vase', was painted by both Henri and Londoner. Londoner was born in Lexington, Missouri on April 12, 1875. Her parents were Moses and Rebecca Londoner, who moved to Leadville, Colorado, by 1880. In 1899, Amy took responsibility for her father who had come to Los Angeles from Leadville and had mental issues. By 1900, Amy was living with her parents and sister, Blanche, in the vicinity of Leadville, Denver, Colorado. While little was written about her early life, Denver City directories indicated that nineteenth-century members of the family were merchants, with family ties to New York, N.Y. The family had a male servant. Londoner traveled with her mother to England in 1907 then shortly later, both returned to New York in 1909. Londoner was 34 years old at the time, and, according to standards of the day, should have married and raised a family long before. Instead, she enrolled as one of the first students at the Henri School of Art in 1909. At the Henri School, Londoner established friendships with Carl Sprinchorn (1887-1971), a young Swedish immigrant, and Edith Reynolds (1883-1964), daughter of wealthy industrialist family from Wilkes-Barre, PA. Londoner's correspondence, which often included references to Blanche, listed the sisters' primary address as the Hotel Endicott at 81st Street and Columbus Avenue, NYC. Other correspondence also reached Londoner in the city via Mrs. Theodore Bernstein at 252 West 74th Street; 102 West 73rd Street; and the Independent School of Art at 1947 Broadway. In 1911, Londoner vacationed at the Hotel Trexler in Atlantic City, NJ. As indicated by an undated photograph, Londoner also spent time with Edith Reynolds and Robert Henri at 'The Pines', the Reynolds family estate in Bear Creek, PA. Through her connections with the Henri School, Londoner entered progressive social and professional circles. Henri's admonition, phrased in the vocabulary of his historical time period, that one must become a "man" first and an artist second, attracted both male and female students to classes where development of unique personal styles, tailored to convey individual insights and experiences, was prized above the mastery of standardized, technical skill. Far from being dilettantes, women students at the Henri School were daring individuals willing to challenge tradition. As noted by former student Helen Appleton Read, "it was a mark of defiance,to join the radical Henri group." As Henri offered educational alternatives for women artists, he initiated exhibition opportunities for them as well. Troubled by the exclusion of work by younger artists from annual exhibitions at the National Academy of Design, Henri was instrumental in organizing the no-jury, no-prize Exhibition of Independent Artists in 1910. About half of the 103 artists included in the exhibition were or had been Henri students, while twenty of the twenty-six women exhibiting had studied with Henri. Among the exhibition's 631 pieces, nine were by Amy Londoner, including the notorious 'Lady with a Headache'. Similarly, fourteen of Henri's women students exhibited in the groundbreaking Armory Show of 1913, forming about eight percent of the American exhibitors and one-third of American women exhibitors. Of the nine documented works submitted by Londoner, five were rejected, while four pastels of Atlantic City beach scenes, including 'The Beach Umbrellas' now in the Remington Collection, were displayed. Following Henri's example, Londoner served as an art instructor for younger students at the Modern School, whose only requirement was to genuinely draw what they pleased. The work of dancer Isadora Duncan, another artist devoted to the ideals of a liberal education, was also lauded by the Modern School. Henri, who long admired Duncan and invited members of her troupe to model for his classes, wrote an appreciation of her for the Modern School journal in 1915. She was also the subject of Londoner's pastel Isadora Duncan and the Children: Praise Ye the Lord with Dance. In 1914, Londoner traveled to France to spend summer abroad, living at 99 rue Notre Dames des Champs, Paris, France. As the tenets of European modernism spread throughout the United States, Londoner showed regularly at venues which a new generation of artists considered increasingly passe, including the annual Society of Independent Artists' exhibitions between 1918 and 1934, and the Salons of America exhibition in 1922. Londoner also exhibited at the Morton Gallery, Opportunity Gallery, Leonard Clayton Gallery and Brownell-Lambertson Galleries in NYC. Her painting of a 'Blond Girl' was one of two works included in the College Art Associations Traveling Exhibition of 1929, which toured colleges across the country to broad acclaim. Londoner later in life suffered from illnesses then suffered a stroke which resulted in medical bills significantly mounting over the years that her old friends from the Henri School, including Carl Sprinchorn, Florence Dreyfous, Florence Barley, and Josephine Nivison Hopper, scrambled to raise funds and find suitable long-term care facilities for Londoner. Londoner later joined Reynolds in Bear Creek, PA. Always known for her keen wit, Londoner retained her humor and concern for her works even during her illness, noting that "if anything happens to the Endicott, I guess they will just throw them out." Sprinchorn and Reynolds, however, did not allow this to happen. In 1960, Londoner's paintings 'Amsterdam Avenue at 74th Street' and 'The Builders' were loaned by Reynolds to a show commemorating the Fiftieth Anniversary of the Exhibition of Independent Artists in 1910, presented at the Delaware Art Center, Wilmington, DE. In the late 80's, Francis William Remington, 'Bill Remington', of Bear Creek Village PA, along with his neighbor and artist Frances Anstett Brennan, both had profound admiration for Amy Londoner's art work and accomplishments as a woman who played a significant role in the Ashcan movement. Remington acquired a significant number of Londoner's artwork along with Frances Anstett Brenan that later was part of an exhibition of Londoner's artwork in April 15 of 2007, at the Hope Horn...

Alphonse Legros 1837-1911, was a French painter and sculptor, who lived in London from 1863 until his death in 1911. He was a teacher of etching and drawing and became Slade Professo...

Group of two drawings. "Femme assise sur une Chaise," circa 1910. Brush and ink on wove paper, 8 1/2x8 inches. With the artist's initials ink stamp, lower right recto. "Femme avec ...

THE ARCHITECT'S ORIGINAL PROPOSAL FOR KING'S COLLEGE HOSPITAL William Alfred Pite (1860-1949) King`s College Hospital, Denmark Hill general bird`s-eye view (1913) Initialled H.M.F.,...

Sketch is a China Ink and watercolor Drawing realized by Henry Gabriel Ibels in 1919. Good condition on a yellowed paper. Hand-signed, dated on the lower right corner. Henri-Gabri...

Woman is a drawing realized by Luis Emile Adan in 1910s-20s. Pencil on paper. Good conditions with slight foxing. The artwork is realized through deft expressive strokes.

George Grosz (German, 1893-1959), "In der Loge" [In the Lodge], Pen and Ink on Paper, circa 1913, signed in pencil "Grosz" and titled lower lower left, Achim Moeller, Ltd. label to v...

Paysage Normand, Port en Bessin by Ludovic-Rodo Pissarro (1878-1952) Watercolour and ink on paper 23.5 x 30 cm (9 ¹/₄ x 11 ³/₄ inches) Signed and dated lower right, Ludovic Rodo 1914...

"Lake Michigan Bathers" is an original pencil sketch by Francesco Spicuzza. The artist signed the piece in the lower right. On the reverse is a silver gelatin photo print...

Magic Tears is a modern artwork by  Gabriele Galantara (1865-1937) in the early 20th century. The artwork has been realized in China ink, tempera and watercolor on cardboard. Good ...

Gigantic Birds is a modern artwork by Gabriele Galantara (1865-1937) in the early 20th century. The artwork has been realized in Ink, Tempera, Watercolor, and White Lead on paper. ...

Henri Edmond Cross Woman sitting, ca. 1910 Pencil on paper 5 1/10 × 3 9/10 in l 13 × 10 cm Frame included - 9 x 7 in l 23 x 18 cm Stamped 'HEC' lower right Condition: Excellent cond...

Austrian Soldiers is a modern artwork by Gabriele Galantara (1865-1937) in 1916. The artwork was realized in China ink and watercolor on cardboard. ...

Idyllic early 20th century seascape of small boats on the shore by Melvena M. Wade, pioneer California watercolor artist (Canadian/America...

Back from India by Ludovic-Rodo Pissarro (1878-1952) Watercolour and ink on paper 21.5 x 18 cm (8 ¹/₂ x 7 ¹/₈ inches) Initialled and titled lower left Executed circa 1918 Provenance...

Sketch is an Original China Ink Drawing realized by Henry Gabriel Ibels in 1915. Good condition on a yellowed paper. Hand-signed, dated on the lower right corner. Henri-Gabriel Ib...

Country House is an ink and watercolor drawing realized by Jean Chapin in the mid-20th century. Signature stamp on the lower left margin. Good conditions. Jean Chapin is a Fren...

The Old Man is an original drawing in pencil realized in 1913 by Bernard Bécan (1890-1943), applied on a White Passepartout. Hand-Signed and dated on th...

L'oeuf est cuit is an original satiric artwork realized by the illustrator Leka. Ink and watercolor. Hand-signed on the lower left by Leka. Titled on the lower right. Dated 1914-19...

Le plus bel oeuf de Pâques is an original satiric artwork realized by the illustrator Leka . Ink and watercolor. Hand-signed on the lower right by Leka.Titled on the lower center. ...

The priest is an original drawing in China ink realized by Gabriele Galantara in the 1910s. The status of preservation Good. The artwork is depicted skill...

The study of sportive figures is an original drawing in pencil on creamy paper realized by an anonymous artist in the 1910s Good condition. The artwork rep...

Sketch for L’Asino is an original drawing in China ink, whit lead and watercolor realized by Gabriele Galantara in 06.02.1910 The state of preservation of the artwork is good on age...