1920s Art

Signed oil on original canvas landscape by French post impressionist painter Albert Charles Lebourg. The work depicts a view of rural Rouen, a city on the River Seine in northwestern...

Leonard Tsuguharu FOUJITA Cat, 1927 Original woodcut Handsigned with ink Numbered /160 Bears the blind stamp of the editor (Lugt 1140a) On Vellum 32.5 x 25.5 cm (c. 13 x 10 inch) R...

Initialed upper right 'A.B.' for Axel Bentzen (Danish, 1893-1952) painted circa 1925. Axel Bentzen studied art as a child and, by the age of 14, was copying Old Master paintings at ...

Plate 22 from "Inspirations" by Andre Durenceau. New York: Perleberg, 1928. Original hand-colored pochoir process print.

Honoré BROUTELLE (1866-1929) Mythology : Grape Harvest with Faun and Centaur, 1921 Original woodcut Handsigned in pencil Numbered /125 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears...

CYRIL POWER (1874 - 1951) THE TUBE STAIRCASE, 1929 (Coypel CEP 11) Linocut, a likely unique proof impression of the key block in reverse, suggesting a counterproof. Unsigned. 17 ½” x 10”, sheet 20 x 14 ¾”. On a sheet of brown wove paper similar to newsprint. A few repaired tears in the margins. Provenance: Redfern Gallery, 2014 with label and inventory no. Redfern Gallery has represented the Grosvenor School...

Signed pointillist landscape oil on canvas circa 1920 by French neo-impressionist painter Jeanne Selmersheim-Desgrange. The piece depicts a view of a French port, with boats dotted a...

Very well executed original gouache on archival paper by the Italian artist, Maria Ada Gianni. Signed lower left. Condition is excellent. Circa 192...

'Landscape with Two Bathers', oil on panel, by Guillaume Dulac (circa 1920s). Dulac's oils and drawings manifest an elegant classicism with an immediately identifiable style. It is these qualities which are so attractive both aesthetically and in the context as an investment in fine art. Our gallery holds virtually the entire remaining collection of Guillaume Dulac's sketches and memorabilia with impeccable provenance. In this acquisition of a Dulac oil painting, one finds a depiction of two women, one of them in the nude, seated on the edge of a bathing pool. The other is peacefully seated on a comfortable boulder stone...

Frank Nelson Wilcox (American, 1887-1964) Headland & Rocks, White Island, Maine, c. 1923 Watercolor on paper Signed lower left 15 x 19.5 inches Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters," though some sources give this appellation to Henry Keller or Frederick Gottwald. Wilcox was born on October 3, 1887 to Frank Nelson Wilcox, Sr. and Jessie Fremont Snow Wilcox at 61 Linwood Street in Cleveland, Ohio. His father, a prominent lawyer, died at home in 1904 shortly before Wilcox' 17th birthday. His brother, lawyer and publisher Owen N. Wilcox, was president of the Gates Legal Publishing Company or The Gates Press. His sister Ruth Wilcox...

Plate number 6, Etrille, Ebalia, Portune, from "Étude de la Mer" by Mathurin Meheut. Heliochrome print. Paris, Éditions Albert Levy, 1924.

Painting Oil On Canvas, a Reclining Nude by Legendre French school of the 20th century Beautiful and large oil on canvas, French school from the 1920's representing a naked young rec...

Original Ingen Rast, Ingen Ro, a Swedish vintage silent movie poster from 1920. Translated, it means No Rest, No Peace. However, the American titl...

DRAWING OF A NACKED MAN ON LADDER - - by Gennaro Luciano, 1920, with ebony frame. Cm.65x48

Léa Lafugie (1890–1972) was a painter who traveled extensively across Asia. She was renowned for her portraits. She studied at the School of Decorative Arts, followed by the École de...

Art print on heavy paper After the original from 1922 In great condition

This advertising poster from the 1930s melds the meticulous detail of traditional Chinese painting with the craft of color lithography. These advertisements, influenced by the Art De...

A stunning study for a 1920s Kuppenheimer clothing advertisement featuring a fashionably-dressed couple kneeling in an embrace before a pair of ...

Beautiful signed oil on board landscape circa 1920 by sought after post impressionist painter Victor Charreton. The piece depicts a figure walking through green rolling fields with h...

Robert Duflos was an exceptionally precocious painter whose work primarily consisted of highly accomplished pastels and nudes. His artistic production is concentrated within a single...

A strong modernist oil painting depicted in 1927 by Russian-American painter Ben Benn. With a highly recognizable modern style, fast brush stroke and expressive use of color, shape, ...

William Lester Stevens Rockport Signed lower right Oil on canvas 20 x 24 inches Born on June 15, 1888, in Rockport, Massachusetts, Stevens displayed his artistic abilities from a y...

Original cover for The Saturday Evening Post, published March 30, 1929. J.C. Leyendecker's holiday covers, particularly his iconic New Year's baby, were instrumental in driving The...

Poster. Measures 39.5 x 30.5 inches and is Unframed. Good/Fair Condition (i.e. white borders have been cropped).

Very well executed original gouache on archival paper of a group of figures on an overlook viewing the Bay of Naples by the Italian artist, Maria Ada Gianni...

A 1920s caricature of Irish politician George Russell by artist Isa M. Macnie. Inscription on drawing reads: "For Richard Madden, George Russell "AE". Image size: 8 7/8" x 6 7/8"...

A gentle, quiet, lovely portrait of motherhood painted by British artist Arthur Bradbury in 1927, a distinguished painter who over the years exhibited 14 works at the Royal Academy. ...

John Marin (1870-1953), Downtown, The El, etching, 1921, signed in pencil lower left (also signed and dated in the plate). Reference: Zigrosser 134, only state. Published initially by Alfred Stieglitz and then included as part of the Folio of American Etchings by the magazine The New Republic in 1924, in an edition of unknown size but probably above 500. In very good condition, the full sheet, on Van Gelder wove paper, 6 3/4 x 8 3/4, the sheet 11 x 13 3/4 inches. Provenance: Hirschl and Adler Galleries, Inc., New York, New York. A fine bright impression. Initially the New Republic Set, sometimes known as Six American Etchings, contained Marin’s Brooklyn Bridge No. 6 (Swaying) (Zigrosser 112). But after a small number of sets were completed, Downtown the El was substituted for Zigrosser 112 (and so the number of Downtown The Els in the set would have been a bit fewer than the others in the set). Zigrosser, who apparently had not seen a complete set at the time he created the catalogue raisonne, conjectured that the substitution might have been because the original plate was damaged. But since the printer, Peter Platt, was the most renowned artist’s printer of his time, and worked alone, it is unlikely that he would have damaged the plate; a more likely possibility is that he switched to a print that was more comparable in size to the others in the set (The Brooklyn Bridge print...

Vase known as "Tragi-comic" by Gabriel ARGY-ROUSSEAU (1885-1953) A pyriform flaring neck vase made in cameo glass (pâte de verre), ornated with a frieze of Ancient theater tragic an...

Rivière Saulaie à Lyons-la-Forêt, Eure by Paulémile Pissarro (1884-1972) Oil on canvas 60 x 73 cm (23 ⁵/₈ x 28 ³/₄ inches) Signed lower left, Paulémile - Pissarro. Signed and titled...

Wonderful early 20th Century study of Jean Leon Gerome Ferris's 1885 Lion and Sun landscape "The Two Majesties." Unsigned. Condition: One tear professiona...

London Thames View is a modern artwork realized by Herbert John Finn (1860-1942). Mixed colored ink, pastel and watercolor on paper. Includes gileded frame Hand signed and dated o...

Fine Group of Sculptures in Bronze after Jean de Boulogne (Giambologna) The torturously twisting Rape of the Sabine Women is one of the finest and most technically difficult sculpt...

Artist: Man Ray (American born, 1890 - 1976) Title: SURREAL DISTORTED HOUSE REFLECTION Date Of Negative: 1920 Type Of Print: Authentic Vintage Sheet Fed Photogravure/Heliogravure. Da...

Artist Edward Cucuel and his wife Clara Lotte von Marcard spent their first two decades together in Germany, mostly in a villa on Lake Ammersee in Holzhausen near Munich. It is the works created in this period, mainly outdoor scenes of young women in fashionable attire of the day, that are most collected and appreciated among his works. It’s easy to see why- they capture an elegance and sense of calm and easy leisure- of long days in gardens or by the water.  This is one of those captured moments with a well-dressed woman watching the sailing yacht...

Micao Kono was born in Japan, moving to work in Paris in the 1920's. His style, a mixture of Japanese watercolor and figurative Art Deco. He often mixed egg tempera into his oils to ...

William Robinson Leigh, 'Foul Rope (Left)', etching, c. 1920, edition unknown but small. Signed in pencil and signed in the plate, lower left. A superb, richly-inked impression, in dark brown ink, on buff wove Umbria paper, the full sheet with margins (1 1/2 to 2 3/4 inches); slight toning at the sheet edges, otherwise in excellent condition. Very scarce. Archivally matted to museum standards, unframed. Image size 14 7/8 x 11 15/16 inches (378 x 303 mm); sheet size 20 3/8 x 15 3/8 inches (518 x 391 mm). ABOUT THE ARTIST Born near Falling Waters, West Virginia, on a plantation a year after the Civil War and raised in Baltimore, William Robinson Leigh (1866 - 1955) became one of the foremost painters of the American West. His career spanning some seventy-five years, Leigh created some of the most iconic depictions of the Western landscape, with admirers referring to him as ‘The Sagebrush Rembrandt.’ The son of impoverished Southern aristocrats, Leigh received his first art training at age 14 from Hugh Newell at the Maryland Institute, where he was regarded as the best student in his class. From 1883 to 1895, he studied in Europe, mainly at the Royal Academy in Munich with Ludwig Loefftz. From 1891 to 1896, he painted six cycloramas or murals in the round, a giant German panorama. In 1896, Leigh began working as a magazine illustrator for Scribner's and Collier's Weekly Magazine in New York City. He also painted portraits, landscapes, and genre scenes. Leigh's trips to the Southwest began in 1906 when he agreed to paint the Grand Canyon with William Simpson, Santa Fe Railway advertising manager, in exchange for free transportation West. In 1907, he completed his Grand Canyon painting, which led to more commissions and an extensive painting trip through Arizona and New Mexico. These travels inspired him to paint western subjects for the next 50 years, and his primary interests were the Hopi and Navajo Indians. In 1910, he traveled to Wyoming, where he painted in Yellowstone Park and created sketches, many of which he later converted into large canvases such as ‘Lower Falls of the Yellowstone’ (1915) and ‘Grand Canyon of the Yellowstone’ (1911). In 1926, he traveled to Africa at the invitation of Carl Akeley for the American Museum of Natural History, and from this experience, wrote and illustrated 'Frontiers of Enchantment: An Artist's Adventures in Africa'. In 1933, he wrote and illustrated 'The Western Pony'. His adventures were chronicled in several popular magazines, including Life, the Saturday Evening Post, and Colliers. For many years, Grand Central Art Galleries at the Biltmore Hotel handled his work exclusively in New York. In 1953, Leigh was elected an associate member of the National Academy of Design and became a full Academician in 1955. In March 1999, the Historical Center of Cody, Wyoming, held an exhibition of his field sketches and finished works depicting his experiences near Cody early in the century. Between 1910 and 1921, when he often painted in the Carter Mountain vicinity, these years were considered pivotal to his artistic development and devotion to the Western landscape. Leigh's work is held in many museum collections of American Western art...

Honoré BROUTELLE (1866-1929) Centaur and Unicorn, 1929 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of the edit...

Lithograph on vélin paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Van Dongen, 1925. Published by Henri Floury, Paris; printed by Pierre Dumont, Pa...

Vintage 1920's California landscape of a path through tall evergreen trees with the grand Sierra mountains in the background by listed female artist Willamean Soderberg Tufts (Americ...

Éric Bagge (1890-1978) Brown - project, circa 1928 Gouache on cardstock Signed and numbered “183bis” Dimensions : 29,7 x 21 cm Architect and interior designer Eric Bagge was born in...

A magnificent view of Stockholm, featuring a steamboat gliding slowly passing by Skeppsbron, (the bridge) with Södermalm and Katarina Church illuminated in the soft light of dusk. Th...

Rene Lalique (1860-1945) Bowl with frieze of parakeets (Perruches) Opalescent Glass Size: 4 x 10 in Literature: Patricia Bayer & Mark Waller. The Art of Rene Lalique. Illustrated on...

Signed lower left "Vigny" for Sylvain Vigny (French, 1903-1970) and painted, circa 1935, on artists board prepared by Maison Franco, 19 Rue Pastorelli, Nice. Born in Vienna, Sylvain...

This painting is part of our exhibition American Coast to Coast: Artists of the 1930s Subway Construction, c. 1928, oil on board, 19 x 15 ¾ inches, signed upper left, artist and title verso; exhibited: 1) 12th Annual Exhibition of the Society of Independent Artists, The Waldorf Astoria, New York NY, from March 9 to April 1, 1928, no. 864 (original price $250) (see Death Prevailing Theme of Artists in Weird Exhibits, The Gazette (Montreal, Quebec, Canada), March 8, 1928); 2) Boston Tercentenary Exhibition Fine Arts and Crafts Exhibition, Horticultural Hall, Boston MA, July, 1930, no. 108 (honorable mention - noted verso); 3) 38th Annual Exhibition of American Art, Cincinnati Art Museum, Cincinnati, OH, June, 1931 (see Alexander, Mary, The Week in Art Circles, The Cincinnati Enquirer, June 7, 1931); and 4) National Art Week Exhibition [Group Show], Montross Gallery, New York, New York, December, 1940 (see Devree, Howard, Brief Comment on Some Recently Opened Exhibitions in the Galleries, The New York Times, December 1, 1940) About the Painting Ernest Stock’s Subway Construction depicts the excavation of New York’s 8th Avenue line, which was the first completed section of the city-operated Independent Subway System (IND). The groundbreaking ceremony was in 1925, but the line did not open until 1932, placing Stock’s painting in the middle of the construction effort. The 8th Avenue line was primarily constructed using the “cut and cover” method in which the streets above the line were dug up, infrastructure was built from the surface level down, the resulting holes were filled, and the streets reconstructed. While many artists of the 1920s were fascinated with the upward thrust of New York’s exploding skyline as architects and developers sought to erect ever higher buildings, Stock turned his attention to the engineering marvels which were taking place below ground. In Subway Construction, Stock depicts workers removing the earth beneath the street and building scaffolding and other support structures to allow concrete to be poured. Light and shadow fall across the x-shaped grid pattern formed by the wooden beams and planks. It is no surprise that critics reviewing the painting commented on Stock’s use of an “interesting pattern” to form a painting that is “clever and well designed.” About the Artist Ernest Richard Stock was an award-winning painter, print maker, muralist, and commercial artist. He was born in Bristol, England and was educated at the prestigious Bristol Grammar School. During World War I, Stock joined the British Royal Air Flying Corps in Canada and served in France as a pilot where he was wounded. After the war, he immigrated to the United States and joined the firm of Mack, Jenny, and Tyler, where he further honed his architectural and decorative painting skills. During the 1920s, Stock often traveled back and forth between the US and Europe. He was twice married, including to the American author, Katherine Anne Porter. Starting in the mid-1920s, Stock began to exhibit his artwork professionally, including at London’s Beaux Arts Gallery, the Society of Independent Artists, the Salons of America, the Cincinnati Art Museum, the Whitney Studio and various locations in the Northeast. Critics often praised the strong design sensibility in Stock’s paintings. Stock was a commercial illustrator for a handful of published books and during World War II, he worked in the Stratford Connecticut...

David Dellepiane's 1922 masterpiece for the Exposition Nationale Coloniale in Marseille stands as a remarkable testament to a pivotal moment in histor...

An excellent example of Doragh's best work. The scene is believed to be New Castle, Delaware circa 1920. The painting has been professionally restored. The ...

This rich and vibrant Scottish still life oil painting is by noted Scottish artist Andrew Law. It was painted circa 1920 and has a Glasgow Club exhibition label verso entitling the p...

Amazing and beautiful oil on canvas signed by Francisco Planas Doria. The work reflects the characteristic approach of post-impressionism, where the author does not focus on a detai...

Anton Schutz, 'Delaware Bridge' (Delaware, New Jersey), etching, c. 1927. Signed in pencil. A superb, richly-inked impression, with skillfully wiped plate tone, on BFK Rives, cream wove paper, the full sheet with margins (1 1/2 to 2 1/8 inches), in excellent condition. Archivally matted to museum standards, unframed. Image size 11 7/8 x 8 7/8 inches (302 x 225 mm); sheet size 15 7/8 x 12 1/4 inches (403 x 311 mm). ABOUT THIS IMAGE The Benjamin Franklin Bridge, originally named the Delaware River...

A sensitively drawn and highly-detailed study for a three-panel set of stained glass windows showing the ascension of Jesus by angels and mortals. Initialed, lower right, 'EB-J', an...

Consequences is an ink and watercolor drawing on ivory-colored paper, in the 1920s realized by Luigi Bompard (1879-1953). Hand-signed in pen on the lower margin. In good condition...

Camille BELTRAND (1877-1951) Seascape : Sailboats at Belle Isle, 1929 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind st...

Very finely painted American impressionist fall landscape of Mt Denali in Alaska by Paul Lauritz (1889 - 1975). Oil on canvas. Excellent color and composition. Housed in a period...

A bright and beautiful Canadian modernist landscape. This unsigned work has a label on the reverse from a Canadian gallery and an inventory number and stamp from a collector in NYC....

"Le Jardin à Vaux"  Raymond Thibesart (France, 1874-1968) Pastel on paper, circa 1920s Stamp of studio on reverse: INV Nbr. 823 9 1/2 x 12 (17 1/2 x 14 framed) inches Raymond Thibes...

Beautiful bronze by N.Y./Connecticut artist Harriet Frishmuth (1880-1980). It depicts a graceful nude, Frishmuth’s best subject, and is titled “Cre...

'The Pont Neuf, Sunset' by Rinaldo Cuneo. Paris, Académie Colarossi, Oakland, New York Museum of Modern Art, San Francisco Museum of Modern Art ---- Signed lower right, 'Rinaldo Cun...

Original Italian poster: Impermeabili Moretti by Leopoldo Meticovitz. Archival linen-backed original Italian vintage poster IMPERMEABILI MORETTI. This pre-art deco poster is in v...

Raphaël DROUART Mythology : The Hesperides Nymphs, 1921 Original woodcut Handsigned in pencil Numbered /125 On vellum 32.5 x 25 cm (c. 12,7 x 9,5 in) Edited for the 'Imagier de la ...