Early 1900s Art

Signed lower left, 'George H Harrington' (American, 1833-1911) and painted circa 1900. Born in Springfield, Massachusetts, George Harrington is recognized for his turn-of-the-centur...

Portrait of a Man with a Hat holding a Pipe French School, signed and dated 1903 oil on canvas, unframed canvas: 21.75 x 18 inches provenance: private collection, France condition: s...

Provenance The Artist; Charles Prendergast (acquired from the above in 1924); Mrs. Charles Prendergast (thence by descent from theabove in 1948); Kraushaar Galleries, New York; Mr...

Alphonse MUCHA (1860-1939) "Flowers" Variante 2 Rare original lithograph Each flower, carnation, iris, lily and rose, is signed at the lower part of the plate "Mucha". This lithogra...

Anna Boberg (Stockholm 1864–1935 Stockholm) "Boats under the Snow" - Fishing boats at anchor in Lofoten Fishing boats at anchor in Lofoten Signed “A. Boberg” oil on canvas unframed 40 x 60 cm (15.7 x 23.6 in) framed 49 x 68 cm (19.3 x 26.8 in) the original frame is included. Provenance: A Swedish private collection, we sell it in kommission for a client. Exhibited La Decima Esposizione a Venezia, 1912 (10th International Art Exhibition of the City of Venice). Catalogue by Ugo Ojetti, 1912, no. 312, Barche sotto la Neve (Boats under the Snow). (Possibly) included in the travelling exhibition Contemporary Scandinavian Art, shown in New York, Buffalo, Toledo, Chicago and Boston, 1912–1913. Listed as no. 4, After the Day’s Work, on p. 55. The exhibition featured seven works by Anna Boberg. Essay: The Venice exhibition of 1912, today known as the Biennale, included six works by Boberg, nos. 311–316. Four of these were illustrated in the catalogue (311, 313, 314 and 316). Between late 1912 and 1913, the American-Scandinavian Society organised a major travelling exhibition that was shown in several American museums. Among the 176 works presented, Boberg was the only woman artist. Her Swedish colleagues included Gustaf Fjaestad, Otto Hesselbom, Gunnar Hallström, Bruno Liljefors, Carl Larsson, Anders Zorn and Carl Milles. It is quite possible that the present painting was part of her contribution. Boberg had already achieved an international reputation by this time. Her Arctic paintings...

Interesante oleo sobre tela del prestigioso artista catalán modest urgell inglada (Barcelona, 1839 - 1919) Representando un paisaje crepuscular Como pueden apreciar, la obra va fir...

Signed and dated impressionist landscape oil on canvas by French painter Jean Baptiste Armand Guillaumin. This simply stunning piece de...

Gorgeous turn of the 20th Century Mount Shasta landscape by Anna Carver Bingham (American, 1849 - 1924), 1901. Several deer gather around calm waters that...

A wonderful view of the heartbreakingly beautiful Fontainebleau/Barbizon region, which was home to some of the greatest painters of the 19th and early 20th Century. The particular spot presented here is the river Loing at Montigny-sur-Loing, where Cezanne and Sisley loved to paint. The village is just a short walk away from Grez-sur-Loing, where John Singer Sargent, Francis Brooks Chadwick, Robert Vonnoh, Edward Simmons...

Antique American impressionist landscape painting by Edna Thurber (1887 - 1981). Oil on canvas, circa 1915. Signed. Displayed in a period impressionist ...

Medium: original etching. This impression on laid paper was printed in 1909 and published in Paris for the Revue de l'art ancien et moderne. Plate size: 9 1/2 x 6 3/8 inches (241 x 1...

Note: Due to the size, weight, and value of this piece, we require shipping through 1stDibs, for its cost effectiveness, full insurance coverage, and reliable handling. While standar...

This lovely Scottish Impressionist landscape oil painting is by noted artist David Fulton RWS. Painted circa 1900 it is a pastoral landscape depicting a shepherd and his flock in a l...

Antique American impressionist oil painting of Venice, Italy by Wilfrid Gabriel De Glehn (1870 - 1951). Oil on board, circa 1900....

Medium: original etching. Printed in 1904 at the Chardon Wittmann atelier and published in Paris by the Revue de l'art ancien et moderne. Plate size: 9 x 6 5/8 inches (230 x 168 mm)....

Musee Grevin Avant La Lettre (Before Text), created in 1900, is one of the best known images by the great French artist, Jules Chéret. The poster advertises a show performance at the...

Medium: Oil on Board Signature: Signed Middle Left Cover of Saturday Evening Post magazine (Easter edition), April 1905. This is one of Leyendecker's first Easter covers for the Sa...

Signed watercolour on paper landscape by American post impressionist painter Maurice Brazil Prendergast. The work depicts children playing on the beach in Saint Malo, France as boats sail in the blue sea and white clouds role through the sky overhead. This work has remained in the Prendergast family for 3 generations and depicts a rare view of Saint-Malo executed during Prendergast's visit to the french coastal town in 1907 Signature: Signed lower left Dimensions: Framed: 21"x22" Unframed: 13'x14" Proveance: The collection of Charles Prendergast (1863-1948) The collection of Eugénie Prendergast-Van Kemmel (1895-1994) -wife and inheritor of the estate of Charles Prendergast The collection of Henri Van Kemmel (Lille, 1903-1963) - cousin of Eugenie Prendergast
- Madame Henri Van Kemmel Maurice Prendergast came with his family to Boston in 1861. Working in a textile store, Maurice Prendergast was at first self-taught in painting, making souvenir cards and shop signs. He went to Britain in 1886, then to Paris in 1891 and registered at the Académie Julian with Jean-Paul Laurens, Benjamin-Constant, and Charles Blanc as teachers, working also with Gustave Courtois at the Académie Colarossi. More importantly he saw the Impressionists’ paintings and the Nabis at the Galerie Durand-Ruel. He returned to the United States in 1895, settling in Winchester (Massachusetts) and went frequently to New York. In 1898 he again went to Europe where he stayed until 1900, visiting Paris, Florence, Siena, Rome, Capri, and Venice, where he spent six months. Between 1907 and the beginning of World War I he went again four times to Europe but never returned there after the war. In New York where he finally settled, with William Glackens, Robert Henri, and John Sloan among others, Prendergast was one of the members ofThe Eight, gathered by Robert Henri to counter the pervading academicism. The group exhibited in 1908 at the Macbeth Galleries and took part in the Armory Show of 1913. After that Prendergast did not exhibit again with the group. In 1914 he left Boston definitively for New York. Prendergast was in his thirties before he began to devote himself to painting. In his late beginnings he painted in the open air as the Impressionists did, mainly in watercolours with clear brushstrokes and an elegant virtuosity recalling his then admiration for James Whistler and Claude Monet. Between 1892 and 1905 he carried out two hundred monotypes, a technique of which he was the undisputed master in America at that time and which expressed the influence of Japanisme. During his stays in France he painted views of Paris, but also Brittany and Normandy. In this period, in 1896, he was chosen to illustrate My Lady Nicotine by Matthew Barrie. During his third stay in Europe, from 1898 to 1900, he painted in Paris, at Saint-Malo, and mainly in Venice, where, influenced by Vittore Carpaccio he introduced brightly coloured banners into his animated compositions. In oils he painted slowly, touching up his paintings by superimposed brushstrokes, sometimes over several years. He chose to use the divided stroke in an early period, a technique which had similarities with Post-Impressionism. After his travels in Europe and his discovery of Paul Cézanne, he evolved in the direction of the neo-Impressionism of Georges Seurat, placing little dots of colours with a knife, then of the Nabis and even later Fauvism, painting large brushed surfaces in bright colours. After 1899, his Ponte della Paglia in Venice freed itself from strict divisionism, adopting the dense composition in vertically superimposed planes of the Nabis. Like the members of the group of eight, he took his subjects from the daily life of ordinary people, in scenes in the parks or on the beaches of New England, picnics or sometimes circuses. Nevertheless the happy vision that he had of the world separated him strongly from the evolution that led his companions to paint the most miserable and populous milieus, which gave them the name of The Ashcan School. His compositions are arranged in surfaces superimposed vertically, without depth; while the Impressionists and Post-Impressionists were influenced by the layout of Japanese prints, Prendergast was inspired more by Persian miniatures. The decorative elements and the build-up of characters in crowds are placed frontally, like garlands on a tapestry, particularly as he seeks a texture effect, covered entirely by the subject without any empty spaces. His attraction to colours caused him to research all the motifs that he introduced into these compositions: umbrellas, parasols, balloons, draperies. In 1911–1912, he experimented with pastel and treated new subjects, nudes and still-lifes. After 1913, in sympathy with the Symbolists, he put nude figures and everyday characters side by side in the same composition. In his last years, and above all in the watercolours, he discarded the divided stroke and applied larger brushstrokes, similar to the technique of Henri Matisse. Fidelity to the leisurely settings and elegant grooming of the period gave his works, apart from their artistic value, a charming sociological aspect. Singular, almost marginal in his time, his paintings stand out by the density of their composition, in form and colouring, characterised by the accumulation of detail, minutiae of scenery, the serried ranks of people that animate them, the chromatic polyphony of elegance, umbrellas, parasols, and flags. He is a complete painter, particularly generous, who would never be happy to provide only samples of his art. Following Whistler and Mary Cassatt, Maurice Prendergast is one of the most interesting and original Post-Impressionist American painters, and perhaps marks exactly the boundary between the 19th and the 20th centuries. He was considered to be an ‘old master’ from 1920 on, and his works appeared in very many exhibitions of modern American painting. He had his first solo exhibition in 1897 at the Chase Gallery of Boston, where his works were noticed by Madame Montgomery Sears, who made a collection, taking the advice of Mary Cassatt. In 1915 six paintings and watercolours exhibited at the Carroll Gallery of New York established his success and drew the great collectors to him, among whom were Albert Barnes and John Quinn. Group Exhibitions 1974, Ten Americans, Andrew Crispo Gallery, New York 1976, Art of Impulse and Color, University of Maryland Art Gallery, College Park (Maryland) 1982, American Impressionists, Smithsonian Institution, Washington, DC (also presented at the Musée du Petit Palais, Paris) 1999, Town and Country: American Artists, 1870–1920 (Ville et campagne: les artistes américains, 1870–1920), Musée d’Art Américain, Giverny 2002, Japonisme in America: Works on Paper, 1880–1930 (Le Japonisme en Amérique: œuvres sur papier, 1880–1930), Musée d’Art Américain/Terra Foundation for the Arts, Giverny 2007, American Impressionists: Painters of Light and the Modern Landscape, Phillips Collection, Washington, DC 2008, Coming of Age: American Art 1850–1950, Paintings from the Addison Gallery of American Art, Massachusetts, Dulwich Picture Gallery, London 2008, Portrait of a Lady: Paintings and Photographs of American Women in France 1870–1915, Musée des Beaux-Arts, Bordeaux Solo Exhibitions 1934, Maurice Prendergast Memorial Exhibition, Whitney Museum of American Art, New York 1938, Retrospective Exhibition of the Work of Maurice and Charles Prendergast, Addison Gallery of American Art, Andover, MA 1960, Maurice Prendergast, 1859–1924, Museum of Fine Arts, Boston 1990, Art Institute of Chicago 2009, Prendergast in Italy, Peggy Guggenheim Collection, Venice Museum and Gallery Holdings Andover, MA (Addison Gal. of American Art): At the Shore, St. Malo No. 1 and 2 (c. 1907, watercolour and graphite on wove paper, 2 works); Along the Cove (1910–1913, oil on canvas); seven sketches of Paris (1893, oil on wood) Chicago (AI): In the Park (1918–1919) Chicago (Terra Foundation for American Art Collection): Festa del redentore (c. 1899, monotype); The Opera Cloak...

A very attractive American Impressionist watercolor & gouache painting, "The Spanish Peaks" Colorado mountain landscape scene, by Charles Partridge Adams (1858-1942), circa 1900. Thi...

Bulldog In A Landscape J White (British 19th/20th Century) oil on canvas, framed signed and dated 1908 framed: 32 x 25 inches canvas: 27 x 20 inches provenance: private collection, S...

Around 1900, a beautifully crafted poster was designed by the renowned French illustrator Chéri Hérouard, promoting A. Bichot & Cie, a respected wine house in Beaune, Burgundy. Titled Vins de Bourgogne et de Bordeaux, the poster embodies the artistic and commercial spirit of the Belle Époque, capturing both the elegance of wine culture and the artisanal craftsmanship of French poster art during this vibrant period. The image is a lively and colorful depiction, filled with charm and historical references. At the heart of the poster, an older man dressed in traditional medieval garb sits comfortably on a wooden chair, enjoying a glass of wine poured by a playful court jester. The jester, adorned in vibrant reds and greens, contrasts sharply with the older man’s more somber and scholarly appearance. This contrast suggests a blend of wit and wisdom, reflecting the dynamic character of French wine and the cultural tradition of savoring both pleasure and knowledge. The design is not only visually engaging but also rich in symbolic elements. Scattered books and scrolls at the older man’s feet hint at knowledge and history, invoking the deep tradition of winemaking in Burgundy and Bordeaux. The careful balance between the whimsical jester and the contemplative elder evokes both pleasure and reverence, mirroring the way fine wine was (and still is) celebrated and respected in French culture. The grapevine motif framing the scene enhances the connection to wine, grounding the image in its subject matter. Hérouard’s skill in illustration is evident in the intricate details of the figures and objects. From the curling vine leaves to the worn pages of the books, every element has been carefully rendered. The color palette, dominated by earthy tones with splashes of vibrant reds and greens, conveys the warmth and richness of the wine-producing regions of Bourgogne and Bordeaux, further reinforcing the poster's celebratory tone. To the right of the image, the elegant typography reads A. Bichot & Cie, proudly announcing that the wine house was founded in 1831 in Beaune, one of the centers of Burgundy’s prestigious wine industry. The mention of Grands Vins des Hospices de Beaune further emphasizes the poster’s focus on promoting the finest wines from this historic region. The combination of stylized fonts and classic imagery positions A. Bichot as a trusted name in the wine world, blending tradition with sophistication. Chéri Hérouard, the artist behind this work, was one of France’s most accomplished illustrators of the early 20th century. He is best known for his long career as an illustrator for La Vie Parisienne, a popular French magazine that featured sophisticated and often provocative illustrations. Hérouard’s versatility as an artist allowed him to move seamlessly between erotic art, magazine illustration, and more commercial commissions like this one. His ability to imbue his work with both elegance and a touch of humor made him a beloved figure in the art world of his time. Born in 1881 as Chéri-Louis-Marie-Aime Haumé, Hérouard took on his mother’s maiden name after the death of his father. He began his artistic career in the early 1900s, quickly gaining recognition for his distinctive style. Though most of his work was published in magazines, Hérouard also created posters, advertisements, and book illustrations. His work often combined lush, decorative elements with finely detailed figures, making him a perfect fit for projects that required both artistry and commercial appeal, such as this A. Bichot & Cie poster. The Vins de Bourgogne et de Bordeaux poster...

Signed divisionist style still life oil on canvas by Swiss neo-impressionist painter Beatrice Duval. The work depicts a vase of flowers painted predominantly in yellows and greens an...

Ship at Sea RICHARD HESKETH (1867-1919) oil on canvas, framed signed and dated 1902 framed: 24 x 32 inches canvas: 20 x 28 inches provenance: The painting is in very good and prese...

English butterfly chromolithograph, circa 1900. Plate number top right. From an English series of illustrations of butterflies and moths. Butterflies / moths are numbered and there i...

"Composition with Blue Gentians and Chrysanthemums" Jean Fournet (French 1878-?) Oil on canvas on wood panel 13 1/2 x 11 1/2 frame size Signed front and back While little is known ...

Set of three lithographs enhanced with gouache by Maurice Dufrène. Three original plans of "Interieur Moderne d'une Famille Française" by Maurice Dufrene in 1906. These three plans ...

"Confidences" James Abbott McNeill Whistler Conversation with a Fellow Artist "Confidences" James Abbott McNeill Whistler Conversation with a Fellow Artist A Drypoint etching on Wove...

Plate #7 from Gustav Klimt's 1907 "Dialogues of the Courtesans" portfolio, consisting of 15 collotypes on cream japon paper. The drawings in this folio are said to be studies for Klimt's well-known Water Serpents paintings...

B.J.O. NORDFELDT (Swedish/American 1878 – 1955) (WINDMILL AND WORKERS). c.1900. Color pastel on colored paper, unsigned. 22 ¼ x 15”. Sheet: 24 ½ x 18 ¼”. In 1900 Nordfeldt studied ...

Up for sale is an antique original oil painting on canvas depicting a seascape - Figures in a sailboat in the open water. Signed in a lower-left corner H. Wacker, DF. DF - "Duesse...

Citation : Si l'oeil ne contemple pas, l'oeil ne verra pas Animal - Closeup portrait of a cat Technique: oil, acrylic, and ink on old book pages on wooden fram...

Jim’s of Lambertville Fine Art Gallery is proud to present this piece by Daniel Garber (1880 - 1958). One of the two most important and, so far, the most valuable of the New Hope Sc...

Sportsmen. 1908. Etching and drypoint. Exsteens 271.i/ii. 11 1/4 x 5 3/4 (sheet 17 3/8 x 12 1/4). Series: Les Bars. From the first state edition of 30 proofs with the remarque sketch...

The classic hard luck, independent kid, maybe 8 or 10 years old here, selling the day’s papers out on the grubby streets of early 1900s New York City. He’s paused in a quiet spot, ap...

Complete set of Stations of the Cross oil paintings by Völkel German, 1909 Canvas: Height 80cm, width 82cm Frame: Height 134cm, width 111c...

Rikard Lindström (1882–1942) Silent Interior oil on canvas mounted on board signed lower right framed: 50 x 58 cm (19.69 x 22.83 inches) unframed: 39 x 47 cm (visible image) (15.35...

Delicate and detailed floral still life by Alfred Broge (Danish, 1870-1955). Three white anemones and one pink poppy, all with stems and leaves, sit against a medium grey background...

Artist: Stephen Enoch Hogley, British (1842 - 1927) Title: Watering Hole Year: circa 1900 Medium: Oil on Canvas, signed l.r. Size: 20 in. x 30 in. (50.8 ...

Gorgeous late 19th-century snowscape titled "After the Snow," by artist Constantin Alexandrovitch Westchiloff (1877-1945) Signed on the bottom right corner and titled on edge (the color differences in the signature letters are original to the painting prior to cleaning, and have not been modified or augmented). Unframed. Image size: 14.25"H x 20.25"W Westchiloff is an American-Russian artist. He was born in Russia in 1877, and studied at the Academy of Fine Arts in St. Petersburg; as an artist, he traveled extensively in Europe and in the USA. He finally settled in New England, where he died in 1945. He is probably best-known for seascapes (particularly of the New England coastline) but was also well regarded for his landscapes, portraits and figures, and genre subjects. His work, especially after his travels in Europe and then in America, is closest to Impressionist in style. His favored medium was oil, which was well suited to his confident and strong technique. This, in turn, imbued his paintings of the rugged landscapes and seascapes of New England...

French North African early 20th-century Impressionist, Fishermen coming ashore with their daily catch. André Humbert was born in Paris on the 27th of November. He was a student of t...

Up for sale is an antique original oil painting on canvas after Federico Mazzotta (Italian, 1839 - 1897) titled "Stealing a Taste". This painting depicts a warm domestic scene, ...

Alphonse Mucha's name shines like that of a visionary artist who left an indelible mark on the aesthetics of the early 20th century. The year 1902 saw the publication of "Documents d...

Medium: original etching and aquatint. Executed in 1874, this impression on laid paper is presumed to be from the 1905 Strölin edition. Plate size: 9 3/8 x 6 1/4 inches (238 x 160 mm...

Sunflower, no. 10 from the third installment of Das Werk Gustav Klimts Created during his residency in Litzlberg on Attersee, where Klimt and the Floge family summered from 1900-1907, Klimt explores nature’s transcendental qualities. His single sunflower is human-like, it’s golden halo is like a ring of sun-kissed hair surrounding a bald pate. It’s known that at the same time Klimt was creating this image, he was also at work on a photo essay about the Floge sisters’ clothing from their fashion salon. Their fashion house was best known for its “reform dresses” which featured loose-fitting long robes which billowed at the arms and torso. Viewed with this in mind, it is not a hard leap to imagine the lone sunflower as a self-portrait from reverse. Klimt’s balding head crowned in a golden corona forms the apex of a pyramidal flowing gown of foliage and flowers. By orienting the anthropomorphic flower at the garden’s central foreground and adorning it with repetitive motifs of round flowers of varying sizes, Klimt’s sunflower...

William Merrit Chase American, 1849-1916 Fruit and Porcelain Signed "Wm M Chase." l.l., identified on labels from the Corcoran Gallery of Art, B...

Jim’s of Lambertville is proud to offer this artwork by: Edward Willis Redfield (1869 - 1965) Edward W. Redfield was born in Bridgeville, Delaware, moving to Philadelphia as a young child. Determined to be an artist from an early age, he studied at the Spring Garden Institute and the Franklin Institute before entering the Pennsylvania Academy from 1887 to 1889, where he studied under Thomas Anshutz, James Kelly, and Thomas Hovenden. Along with his friend and fellow artist, Robert Henri, he traveled abroad in 1889 and studied at the Academie Julian in Paris under William Bouguereau and Tony Robert-Fleury. While in France, Redfield met Elise Deligant, the daughter of an innkeeper, and married in London in 1893. Upon his return to the United States, Redfield and his wife settled in Glenside, Pennsylvania. He remained there until 1898, at which time he moved his family to Center Bridge, a town several miles north of New Hope along the Delaware River. Redfield painted prolifically in the 1890s but it was not until the beginning of the twentieth century that he would develop the bold impressionist style that defined his career. As Redfield’s international reputation spread, many young artists gravitated to New Hope as he was a great inspiration and an iconic role model. Edward Redfield remained in Center Bridge throughout his long life, fathering his six children there. Around 1905 and 1906, Redfield’s style was coming into its own, employing thick vigorous brush strokes tightly woven and layered with a multitude of colors. These large plein-air canvases define the essence of Pennsylvania Impressionism. By 1907, Redfield had perfected his craft and, from this point forward, was creating some of his finest work. Redfield would once again return to France where he painted a small but important body of work between 1907 and 1908. While there, he received an Honorable Mention from the Paris Salon for one of these canvases. In 1910 he was awarded a Gold Medal at the prestigious Buenos Aires Exposition and at the Panama-Pacific Exposition of 1915 in San Francisco, an entire gallery was dedicated for twenty-one of his paintings. Since Redfield painted for Exhibition with the intent to win medals, his best effort often went into his larger paintings. Although he also painted many fine smaller pictures, virtually all of his works were of major award-winning canvas sizes of 38x50 or 50x56 inches. If one were to assign a period of Redfield’s work that was representative of his “best period”, it would have to be from 1907 to 1925. Although he was capable of creating masterpieces though the late 1940s, his style fully matured by 1907 and most work from then through the early twenties was of consistently high quality. In the later 1920s and through the 1930s and 1940s, he was like most other great artists, creating some paintings that were superb examples and others that were of more ordinary quality. Redfield earned an international reputation at a young age, known for accurately recording nature with his canvases and painting virtually all of his work outdoors; Redfield was one of a rare breed. He was regarded as the pioneer of impressionist winter landscape painting in America, having few if any equals. Redfield spent summers in Maine, first at Boothbay Harbor and beginning in the 1920s, on Monhegan Island. There he painted colorful marine and coastal scenes as well as the island’s landscape and fishing shacks. He remained active painting and making Windsor style furniture...

Gorgeous early 20th Century still life with classic autumnal fruit persimmons and a brown jug by A. Thompson (American 19th/20th Century), circa 1900. Signe...

Medium: original etching. This impression on laid paper was printed in 1909 and published in Paris for the Revue de l'art ancien et moderne. Plate size: 9 1/2 x 6 3/8 inches (241 x 1...

Antique Bronze Dog Portrait of a Cavalier King Charles "Thigley" French School (possibly Franck Burty Haviland) Lost wax bronze casting Circa 1910 5 7/8 x 9 x 3 1/4 A sophisticated bronze casting of a Cavalier King Charles spaniel made in lost wax casting (cire perdue) from the beginning of the 20th century by Valsuani Foundry. This an unusual bronze approached in its aesthetic that’s reminiscent of the work of great animal sculptors of the second half of the 19th century except in this presentation which is more avant-garde for the time with a much looser, more impressionistic execution. The patina is a superb bronze color, brown and slightly greenish, going in places towards a more antique green. The attitude of the dog is extremely well and sensitively rendered with the placement of material unlike the renderings of a bronze by Barye...

ERNEST NORMAND (1857-1923) St Lunaire, Brittany Signed, inscribed and dated l.l.: Ernest Normand/St Lunaire 1902 Oil on canvas Framed 26 by 49 cm., 10 ¼ by 19 ¼ in. (frame size 38 by 61 cm., 15 by 24 in.) Ernest Normand was born in London and studied at the Royal Academy Schools. He is best known as a painter of history and orientalist paintings and portrait commission. In 1884 he married the painter and writer Henrietta Rae. They lived in Holland Park and were part of that area’s artistic group which included Leighton, Millais, Prinsep and Watts. In the 1890s they travelled of Paris to study at the Academie Julian with Jules Joseph Lefebvre and Jean-Joseph Benjamin-Constant. He exhibited at the Royal Academy and works by him are in the collections of Glasgow Museum...

A beautiful early 1900's French Symbolist oil on board depicting two classical figures and a goat in a wooded landscape. Striking and excellent quality work by an accomplished artis...

Story illustration for the book In the Closed Room by Frances Hodgson Burnett, published by McClure, Phillips & Co., New York, 1904. The published caption reads: "I'm going to play ...

Erhard & Söhne, 19th Century Art Nouveau Jugendstil Casque with Inlaid Brass Rose Design, c. 1904 6 x 9 x 6 inches The company Erhard & sons was established by Carl Gottlieb Erhard ...

Mt. Tamalpais and Stream in the Spring circa 1900 Stream above Lake Bon Tempe with Mt. Tamalpais in the background. A warm spring day in Northern California and the Bay Area. Excelle...

This lovely British Edwardian portrait oil painting is by noted Liverpool artist Robert Edward Morrison. Born on the Isle of Man, Morrison moved to Liv...

Signed post impressionist landscape oil on panel by popular French painter Georges D'Espagnat. The piece depicts the beach at Belle Ile, an island off the coast of Brittany in France, at sunset. An exceptional early painting by D'Espagnat which shows the precursor influence of Fauvism which was to dominate his paintings in the following few years. Signature: Signed lower right Dimensions: Framed: 23"x26" Unframed: 15"x18" Provenance: Private French collection A certificate of authenticity from Mr. Jean-Dominique Jacquemond is available upon request. This work will be included in the catalogue raisonne of Georges D'Espagnat under preparation by Mr. Jacquemond From the beginning of his career, it was a constant concern of Georges d'Espagnet to assert his originality. His studies at the École des Arts Décoratifs, Paris, did not last very long, for he wanted immediate independence and decided to follow courses in the private academies of Montparnasse. In about 1900, he became acquainted with Maurice Denis, Bonnard and Vuillard, and his collaboration with Denis led to a renewal of religious art in France. In 1903, d'Espagnet was one of the founders of the Salon d'Automne, and was appointed professor in charge of studios at the École des Beaux-Arts, Paris, in 1934. He illustrated a number of books: Rémy de Gourmont's Evil Prayers ( Oraisons mauvaises) (1896), The Saints of Paradise ( Les Saintes du paradis) (1898), Simone (1907), Sistine ( Sixtine) (1922); Alphonse Daudet's The Immortal ( L'Immortel) (1930); André Gide's The Pastoral Symphony ( La Symphonie pastorale); Francis Jammes' Clearings in the Sky ( Chairières dans le ciel) (1948). D'Espagnet belongs to the group of artists who made the Courrier Français so successful. The drawings of his which are published in it are strongly expressive and some bear comparison with the designs of the great Renaissance masters. He also contributed to L'Image. He often placed cheerful nudes in a landscape, reminding us that, though he moved away from the Fauves, he retained their freedom of colour and arabesque. He painted many portraits, including those of Albert André, André Barbier, Victor Boucher, Déodat de Séverac, Albert Marque, André Marty and Albert Roussel. He also painted mural decorations, including a wall for the Palais de la Découverte (1937), the ceiling of the Victor Hugo Room in the Palais du Luxembourg (1939), a decorative panel for the Palais de Justice, Toulouse (1941) and interior decorations for private houses. His landscapes are Impressionist in inspiration, and work for a certain sobriety, an intimacy, both in their composition - one, two or three sketched figures and large open spaces - and in the choice of colours and treatment with the special hazy brushstroke that marks his style. D'Espagnet took part in a number of annual Parisian exhibitions, including the Salon des Indépendants, the Salon de la Société Nationale des Beaux-Arts, the Salon d'Automne (from 1903 to 1949, except in special circumstances), the Salon de la Libre Ésthétique, Brussels (1899, 1901), the Berlin Secessionists (1940). He also exhibited at the first Salon de la Société de la Gravure sur Bois. Among other exhibitions were 1912, A Century of French Art ( Centenaire de l'art français), St Petersburg; 1916, Kunstverein, Winterthur; 1918, 1926, Galerie M. Bertheim, Paris; 1930, Contemporary French Art...

Oil on canvas by Jules Gouillet (1826-1907), France, 1907. Architectural and Floral Composition. This exceptional oil on canvas by Jules Gouillet, a renowned French artist born in Ve...

JOAQUÍN PALLARÉS ALLUSTANTE Spanish, 1853 - 1935 PORTE SAINT - DENIS signed "J. Pallares" (lower left) oil on canvas 10-1/2 x 15-3/4 inches (26.5 x 40...

China ink drawing, tempera and white lead on paper realized by Gabriele Galantara in the early 20th Century. Hand signed lower left. Good condition, with some minor signs of time.

Signed divisionist style oil on canvas still life circa 1909 by French impressionist painter Achille Laugé. This stunning piece depicts a vase of flowers placed on table. The bouquet...