Early 1900s Paintings

Antique modernist landscape painting. Oil on canvas. Housed in a period frame. Image size, 17.5L x 13.75H. Signed.

Number 382 in the Schoonover raisonné. Signed and dated 1909. Beautifully reframed in custom 23 karat gold leaf frame.

Artist: Santinetti, Italian (XIXth-XXth) Title: Sailboats in Venice Year: 1900 Medium: Oil on Canvas, signed Size: 14 in. x 30 in. (35.56 cm x 76.2 cm) Frame: 26.5 x 36 inches

This wonderful atmospheric Scottish Impressionist landscape oil painting is by much noted and exhibited Scottish artist William Stewart MacGeorge. Painted circa 1900 the view is of K...

Painted by the noted British Impressionist Philip Wilson Steer, this fine oil portrait depicts a young woman and was painted circa 1900. Educated at South Kensington Schools and Acad...

The turn of the 20th century, known as the Belle Époque, was a period of cultural and artistic flourishing in Europe, particularly in France. Among the many artists who captured the ...

FREDERICK CAYLEY ROBINSON, ARA, RWS (1862-1927) A Summer Evening Signed l.r.: CAYLEY-ROBINSON; inscribed on the reverse: A Summer Evening/Exhibited at Leicester Galleries Oil on paper 16.5 by 18.5 cm., 6 ½ by 7 ¼ in. (frame size 38.5 by 40 cm., 15 ¼ by 15 ¾ in.) Exhibited: London, Leicester Galleries, Small Paintings and Sketches by the Late F. Cayley Robinson, ARA, RWS, December 1929 Born in Brentford-on-Thames, the son of a stockbroker, Robinson began his artistic training at the St John’s Wood...

A fine and important French oil painting of Napoleon & his army, by the French-American artist Raymond Desvarreux (1876-1963), the painting signed & dated 1906. The painting depicts Napoleon seated in his carriage examining battle plans...

Vladimir Glushenkov (1948-2009) (May 21, 1948, Riga - December 26, 2009, Riga) - painter, graphic artist, poet, translator. Vladimir Glushkenkov was born in family with Russian-Poli...

This lovely British Edwardian Impressionist portrait oil painting is by female artist Sybil Maude. Painted circa 1905 the painting is a charming seated portrait of a young Cornish gi...

Walter Shirlaw 1838-1909, was a Scottish born American painter who lived in America from the age of two years old. Shirlaw studied in Munich where he befriended American painters Fra...

Antique French Impressionist oil painting on panel by Paul Louis Poseler (XIX-XX), circa 1900. The painting depicts a scene o...

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...

Many of you clicking on this watercolor are probably doing so because you know of Ellsworth Woodward, who with his brother William Woodward around the turn of the 20th century sparke...

Antique American impressionist oil painting of a fall landscape. Oil on canvas, circa 1900. Apparently unsigned. Displayed in a period giltwood frame. Image size, 50"L x 30"H, ov...

Wonderful watercolor depicting a plant/flower. These were used at a Belgium University to teach the students about botany. Dating from the early 20th century. They are watercolor on ...

A cabinet-sized oil on panel showing a lively view of Venice with figures in gondolas on the Bacino San Marco and with the Basilica of Santa Maria della Salute rising in the backgrou...

Robertson K. Mygatt (American, 1862-1919) Uplands Oil on panel, 5 1/4 x 6 5/8 inches FRAMED: 9 x 10 1/2 inches (approx.) Exhibition label on verso: "Salamagundi Club/Thumb-box Exhibi...

Wonderful early 20th-century oil on canvas depicting a view of the Scottish highlands known as the Trossachs. Sidney Yates Johnson was an active painter during the late Victorian pe...

Let's gain a higher perspective!

Signed lower right "H.V. Mook" (Dutch, born 1905) and painted circa 1925. A delicate, early-20th-century Impressionist oil landscape showing a pastel view of sand dunes sprinkled wi...

Looks like we might be moving - so All paintings/artwork are on sale at DRAMATICALLY LOW PRICES - Move them out! Our loss is your savings!... ***** Our last day on 1stdibs is Apri...

Oil Painting by Charles Walter Oswald "Evening in the Glen" Born1850, flourished in 1900. A Liverpool painter of the Highland cattle and working ...

'The Feather Boa,' a large oil painting of Miss Crofton by Herbert Sidney British, 1901 Frame: height 193cm, width 115cm, depth 6cm Canvas: height 143, width 77cm, depth 3cm By the British artist Herbert Sidney, (1858-1923), this remarkable full length portrait also titled 'The Feather Boa,' depicts Miss Alice...

Signed and dated oil on canvas riverscape by French impressionist painter Charles-Victor Guilloux. The work depicts a view of the houses of the commune Heblay-sur-Seine lining the ba...

Antique American impressionist landscape oil painting by Edward S Annison. Oil on board, circa 1910. Signed. Image size, 8L x 12H. Housed in a per...

Antique landscape oil painting with a blazing sunset. Oil on canvas-board, circa 1900. Displayed in a period giltwood frame. Image, 17.5"L x 11.5"H.

Jim’s of Lambertville is proud to offer this artwork by: Martha Walter (1875-1976) Born in Philadelphia in 1875, Martha Walter attended Girls’ High School followed by the Pennsylva...

JULES-ALEXIS MUENIER (French, 1863–1942) Landscape Oil on canvas, 25 1/2 x 21 1/4 inches FRAMED: 34 1/2 x 30 (approx.) Signed and dated at lower right: “J. A. MUENIER/1908” Provena...

EDUARDO LEÓN GARRIDO Spanish, 1856- 1949 PLACE CLICHY signed "E. L Garrido" (lower right) oil on canvas 24-1/8 x 19-3/4 inches (61 x 50 cm.) framed: 33-1/4 x 28-7/8 inches (84 x 73 cm.) PROVENANCE Private Spanish Collector Fresh and bright view of Clichy Square, Paris, where Leon Garrido offers us his most impressionistic and innovative technique. The work has a pyramidal composition, from where monument to "Mariscal Moncey" on an 8 meter high pedestal and decorated with bas-reliefs that dominates the entire square. The florist occupies a central place, from which distinguished figures appear around her. Its delicate and smooth chromaticism in gray and pearly dark almost black and a touch of red. Eduardo León Garrido (Madrid, 1856 - Caen, 1949) was a Spanish painter. He began his training at the Higher School of Painting in Madrid and as a disciple in Vicente Palmaroli...

In original gold leaf pierced frame Signed and dated lower left 1902 Sight size 6 x 8 in

A neoclassical oil painting on canvas by British artist Henry John Sylvester Stannard. The scene depicts a woman cleaning a bucket outside her house while a dog nestled in a dog house watches on. The painting is signed by the artist as “Sylvester Stannard”. The Cottage Garden...

Like his mentor the great American Impressionist William Merritt Chase, Charles Webster Hawthorne was equally admired in his own day as both a talented painter and a highly influential instructor. Hawthorne first studied with Chase at his Shinnecock Summer School of Art, which was specifically dedicated to open-air landscape painting. Not only did Hawthorne quickly absorb all the principles of Chase’s instruction, but he also became determined to found his own school based on the same model. In 1899 Hawthorne discovered the small fishing village of Provincetown on the furthermost tip of Cape Cod, and after purchasing a large house on Miller Hill, he opened the Cape Cod School of Art, which proved to be an immediate success. While Hawthorne’s own approach as a teacher owed much to Chase, he developed a distinctly unique painting style and teaching method that defies easy categorization. He was greatly impressed with the work of Franz Hals, which he was exposed to during his trip to Holland in the summer of 1898. Hawthorne was particularly struck by Hals’ Regentesses of the Old Men’s Almhouse, and from this work he absorbed a deep appreciation for the power of human expression and an economy of technique. Hawthorne applied these lessons to his own realistic portraits of Provincetown fishermen and their families; these works have a somber, almost melancholy quality to them, and they reveal a sense of the vulnerability of the human condition. Stylistically, Hawthorne maintained a life-long commitment to the importance of color. “Beauty in art,” he said, “is the delicious notes of color one against the other.” Of equal importance to him was capturing the effects of light. He told his students: “Everything in painting is a matter of silhouettes. Hold light against shadow, not light against light.” He developed a particular technique of layering glazes and texturing the surface of his paintings, which heightens the relationship between the colors and creates a light effect that seems to emanate from within the painting. These stylistic techniques in combination with his straightforward compositions of one or more figures shown at close range create the hallmarks of Hawthorne’s best paintings. Hawthorne and his wife Ethel’s 1905-1907 trip to Italy did not result in a drastic impact on his artistic style. Nonetheless, it proved to be a transformative and enlightening voyage. The extensive trip was financed by collectors who paid in advance for a painting to be produced abroad. On the trip, Hawthorne explored the work of old masters and was struck particularly by the paintings of Titian, which to Hawthorne, demonstrated the master’s true adoration for the act of painting itself through his handling of paint and color. Where Titian’s paintings...

Signed lower right, 'Fred. Ballard Williams' for Frederick Ballard Williams (American, 1871-1956) and dated 1906. An early twentieth-century oil showing two young women in classical robes, one standing holding a polished silver mirror while her companion braids her hair with flowers, all beneath a canopy of foliage with a distant view beyond towards a body of blue water. Frederick Ballard Williams first artistic training took place artistic training took place at the Cooper Union in New York and he subsequently worked for a time in the drafting room of John Williams. He later studied at the New York Institute of Artists with John Ward Stimson, before enrolling in the life class of the National Academy of Art where he studied under Charles Yardley Turner and Edgar Melville Ward. Williams made two trips to Europe, first in 1904 and again in 1908. During his first trip, he visited France, staying with Henry Golden Dearth...

A beautiful, colourful Impressionistic portrait of an Edwardian lady by Arthur Hacker RA which dates to circa 1905. A rare and fine oil on panel in excellent condition. A real quality British Impressionist painting in a gilded oak frame of the period. Signed lower left. Provenance. Sotheby’s London. Condition. Oil on panel. Image size 14 inches by 10 inches. In excellent condition. Housed in a gilded oak frame gallery frame, 25 by 19 inches framed. Excellent condition. Arthur Hacker RA (25 September 1858 - 12 November 1919) was an English classicist painter born in London. Hacker was the son of Edward Hacker (1813–1905), a line engraver specialising in animal and sporting prints (who was also for many years the official Registrar of Births, Marriages and Deaths for Kentish Town in the St Pancras registration district, north London). In his art he was most known for painting religious scenes and portraits, and his art was also influenced by his extensive travels in Spain and North Africa. He studied at the Royal Academy between 1867 and 1880, and at the Atelier Bonnat in Paris. He was twice exhibited at the Royal Academy, in 1878 and 1910, and was elected an Academician in 1910. In 1894 he was the subject of a bust by Edward Onslow Ford...

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 ...

Signed lower right Sight size 10 x 14 inches Overall size with blue mat and walnut and gold liner frame 17.5 x 21.5 inches. Circa 1910

Wonderful figures in night landscape oil on canvas circa 1904 by French impressionist painter and illustrator Andre Devambez. The piece depicts demonstr...

Large oil painting of chrysanthemums by one of the most well-known 19th-century French flower painters. Signed and dated lower right

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...

ERTE (Romain de Tirtoff) 1892-1990 St. Petersburg 1892-1990 (Russian/French) Title: Final - La Gamme Technique: Original Hand Signed Gouache on paper size: 31.4 x 15.4 cm / 12.4...

A fine tonalist landscape by American artist J. Francis Murphy (1853-1921). Murphy was born in Oswego, New York, he moved to Chicago in 1868, where his father was employed in the shipping industry. In Chicago, Murphy began working as a scene painter in a local theatre and was quickly promoted to lead his co-workers. Largely self-taught, his only training consisted of a few classes at the Chicago Academy of Design. There he became friends with Emil Carlsen and Theodore Robinson, and in 1873, Academy members elected him an Associate; a few weeks later, he became an Academician. His work was first exhibited at the National Academy of Design in 1876, where he was inducted eleven years later.He won numerous prizes, medals and honors for his landscape paintings, which are said to rank with those of George Inness, Alexander Wyant, and Homer Martin. Although his world was a limited one, his landscapes captured the forms of nature and the subtle nuances of the scene. Murphy was referred to as the "American Corot" because of his similarity to the painting style of Camille Corot (1796-1875), one of the original Barbizon...

Signed divisionist landscape oil on canvas by Belgian post impressionist painter Modest Huys. This stunning piece depicts workers on the bank of a river loading flax onto barges. Signature: Signed lower right Dimensions: Framed: 23"x27" Unframed: 15"x19" Provenance: Private collection - Belgium Modest Huys (25 October 1874, in Zulte – 30 January 1932, in Zulte) was a Flemish impressionist and luminist painter, who is regarded as one of the greatest Belgian painters of the 20th century. From a young age, Modest Huys worked in his father's painting and decorating business and later studied at the "Gentse Nijverheidschool" (Ghent Industrial School). In 1891 or 1892, he came into contact with Emile Claus, who encouraged his artistic inclinations. In 1900, he enrolled at the Royal Academy of Fine Arts where his teachers were Eugène Joors and Frans Van Leemputten but he never completed his studies. It was about this time that he became lifelong friends with the author Stijn Streuvels. In 1902, he debuted at the Sint-Lucasgilde in Kortrijk and began to exhibit more widely. He spent time in Meetjesland, painting landscapes. From 1905, he participated in the exhibitions of Vie et Lumière...

This superb British Edwardian Impressionist portrait oil painting is by noted portrait artist James Jebusa Shannon. Painted circa 1906, oil on panel and part of a family collection, it is a half length portrait of a blond lady in lace which is depicted with bold, free brushwork. This is a stunning Edwardian portrait by a much sought after artist, housed in a superb period gilded oak frame. Provenance. Family collection. Condition. Large oil on panel, 30 inches by 20 inches unframed and in fine gallery condition. Housed in a stunning gilded oak frame of the period, 40 inches by 30 inches framed and in good condition. Sir James Jebusa Shannon RA (1862–1923) was an Anglo-American artist. Shannon was born in Auburn, New York...

THIS WORK IS CURRENTLY ON LOAN TO THE MUSEUM OF MODERN ART IN LE HAVRE AND IS BEING EXHIBITED IN THEIR ELECTRIC NIGHTS EXHIBITION 2020 A stunning oil on original canvas by Achile-Emile Othon Friesz depicting a night time view of the Pont Neuf bridge over the Seine, Paris. The painting shows deep blues and reds - richer than those of traditional impressionist paintings - and shows the transition into Fauvism. Signed and dated 1903 lower right. Framed dimensions are 24.5 inches high by 20 inches wide. Achille Friesz was the son of a family of sailors from Le Havre. From 1885 he often spent time in Marseilles visiting his maternal uncles. As a child he dreamed of going to sea, but from the age of 12 he developed a passion for art, and after secondary school he attended the École des Beaux-Arts in Le Havre. There, from 1896 to 1898, he studied under Charles-Marie Lhullier who had been a friend of Jongkind and whom, like Dufy and Braque, he remembered fondly throughout his life. Lhullier introduced his students to the work of Chardin, Corot, Géricault and Delacroix. After receiving a bursary from the local authorities in 1898, he went to Paris and, while his friends Matisse, Rouault and Marquet studied under Gustave Moreau, enrolled at the École des Beaux-Arts at the studio of Léon Bonnat, where he was joined by Dufy. However, he scarcely attended the studio, preferring to go to the Louvre and make copies of the works of Clouet, Veronese, Rubens, Claude Lorraine and Delacroix. He did his military service in Paris in 1902 but continued with his art. Around this time he met Camille Pissarro and sought his advice. As a young man he began to make frequent trips away, not necessarily travelling very far, but looking for subjects for his work, usually landscapes. Among the places he visited were the Creuse region around 1903, Antwerp in 1905, returning there with Braque in 1906, and La Ciotat, Cassis and L'Estaque in 1906-1907, again in the company of Braque. In Paris he frequently moved lodgings until 1914. He moved in with Henri Matisse at the Couvent des Oiseaux from 1905-1910, that is to say at the period when Fauvism was at its height. In 1908 he returned to his native Normandy to reimmerse himself in his early environment; he would return to the region throughout his life. He made a trip to Munich with Dufy in 1909, and visited Portugal in 1911-1912 and Belgium in 1912. In 1914 he was called up and assigned to technical services, not being demobilised until March 1919, although he did manage to maintain a certain independence. From 1914 until his death he lived in Paris at 73 Rue Notre-Dame-des-Champs, where he occupied Bouguereau's old studio. He made frequent trips to Cap-Brun near Toulon where, in 1923, he acquired a property called Les Jarres, as well as making numerous visits to Normandy and Le Havre. In 1925 he received the highest commendation at the Carnegie Prize in Pittsburgh for Portrait of the Decorative Artist Paul Paquereau. Also in 1925, at the same time as Matisse, he was made a Chevalier of the Légion d'Honneur, rising to in Officier in 1933 and Commandeur in 1937. He was also made Commander of the Swedish order of Vasa in 1934. Throughout his life, Friesz was a teacher: from 1913 at the Académie Moderne; from 1929 at the Académie Scandinave; and from 1941 until his death at the Académie de la Grande-Chaumière. Alongside his activity as a painter, he illustrated several works of literature, including: in 1920 Le Pacte de l'Écolier Juan by Jules Tellier; in 1924 Échelles de Soie by Jean Pédron; in 1926 Le Jardin sur l'Oronte by Maurice Barrès; in 1926 En Suivant la Seine by Gustave Coquiot; in 1929 Rouen by André Maurois; in 1931 The Song of Songs; in 1934 Poésies by Pierre de Ronsard; in 1945 Le Bouquet de la Mariée by Gabriel-Joseph Gros; in 1947 Paul et Virginie by Bernardin de St-Pierre; in 1949 Le Livre de Job by Pierre Poussard; in 1949 Petronius's Satyricon, and in 1949 a collection of 12 unpublished lithographs for Le Désert de l'Amour by François Mauriac. He also designed several pieces of decorative art: from 1906 to 1909 ceramics executed by Metthey among others; a façade for a private house in Le Havre; a china service for two for the Le Havre writer J.-G. Aubry; vases, dishes and plates; in 1912 four sets for La Lumière by Georges Duhamel, performed at the Odéon; in 1916 a screen for the Le Havre collector Léon Pédron; in 1918 panels for Pédron's dining room; in 1920 a mural entitled Children Dancing (Enfants Dansant); in 1920 Les Volières for the apartment of Vicomte Amédée de Flers; in 1935 Peace (La Paix), a Gobelins tapestry presented by France to the Palais des Nations in Geneva; in 1937 La Seine in collaboration with Dufy for the Palais de Chaillot, with each artist taking half of the river's course - From the Source to Paris by Friesz and From Paris to the Estuary by Dufy. The Fauves were producing Fauve paintings before they knew it: it was not until the critic Louis Vauxcelles saw their work at the Salon des Indépendants in 1905 and mockingly used the word Fauve to describe it that the term was born. It is known that Vlaminck and Derain worked together and that the École de Chatou was composed of just these two artists. Friesz was living with Matisse and after his first trip to Antwerp in 1905, he returned in 1906 with Braque. In 1906-1907 Friesz and Braque went to La Ciotat to paint and there they met up with Matisse. The paintings Friesz produced in Antwerp are Fauve inasmuch as they are painted in pure colours and are more or less free of the divisionism of the Impressionists, although the draughtsmanship is fairly standard; these works include The Port, The Escaut, The Canals, The Dock with Sailing Ships and The Red Slipway. Those of Braque the following year, in particular Terrace on the Escaut, show great similarities with those Friesz painted of the same subject. Friesz was already avoiding the hardness of pure flat tints by graduating them in thin glazes, allowing the whiteness of the canvas to penetrate the transparency, a technique that came to characterise his entire Fauve period. At La Ciotat Friesz and Braque adopted completely different Fauve styles, with Braque composing his paintings on horizontal and vertical orthogonals painted in small, regular, spaced-out touches, whereas Friesz developed his own personal rhythmical style of wide arabesques of colour in works such as The Bec-de-l'Aigle, Women Bathing and L'Estaque. Many of Friesz's Fauve works were produced in the south of France, and his Portrait of Fernand Fleuret also dates from this period. When he returned to Normandy in 1908 the period that he described as his 'return to form' began; with compromise paintings such as Entrance to the Port of Honfleur, Côte de Grâce Landscape, The 'Bains Marie-Christine' in Le Havre and the great compositions characteristic of this period - Autumn Labours, Spring, Fisherman on a Rock and Women Bathing. His draughtsmanship retains something of the rhythm of the Fauve period, his figures following the lines of the landscape and the colour remaining clear and resonant. In 1909 he painted the Cirque Médrano series: The Trapeze Artist, The Clown and The Horsewoman. In the south of France he also painted the Olive Trees series. He made a trip to Munich with Raoul Dufy resulting in Winter in Munich. This was also the year of his first trip to Italy. Boat in a Rocky Inlet of 1910 marks one of the pivotal points between a totally rhythmic drawing style of sensual curves typical of his Fauve period and a reduced palette of muted ochres, browns and blues. From 1910 onwards, the final traces of Fauvism become less and less apparent in his work. His use of colour follows the same course, towards the transcription of reality, with broken tones, ochres and browns. After his demobilisation, as well as in his studio in Paris, Friesz spent time in his house in Toulon, returned to Normandy and Le Havre and continued to make frequent, often local, forays in search of new subjects: in 1919 to Jura, producing the series Forests, Pine Trees, Road in the Snow and Invitation to Skate; in 1920 to Italy producing Piedmont Village, Florence Grape Pickers; in 1920 to Le Havre, producing The Étretat Cliffs, People Bathing at Étretat; in 1923 to his house in Toulon, producing View of Coudon, Women Bathing, Grape Harvesting, Jars; in 1924 he painted the Large Nude (which he exhibited at the Salon d'Automne the same year) and landscapes of Toulon; in 1928 he made a trip to Algiers, producing The Algiers Kasbah and its Phantoms; in 1931 to Annecy, producing Women Bathers by a Lake; in 1934-1935 to Dinan and St-Malo producing The Great Dinan Viaduct, The Dock with the Terre-Neuvas, After Bathing; in 1936 to Honfleur; in 1941-1944, remaining in Paris because of the war, he painted mainly still-lifes, including Studio Corner, Earthenware. In 1946 he returned to Honfleur; and in 1947 to La Rochelle producing The Port Tower, Tuna Boats, The Red Sail. Numerically Friesz's work is dominated by landscapes but it should be remembered that throughout his career he tackled more ambitious compositions and appeared to do so with great ease. These include Boat in a Rocky Inlet of 1910 with its frolicking women bathers, Allegory of War of 1915 executed in 24 hours, Invitation to Skate of 1919, numerous paintings of Women Bathing over several periods and much later Women beside a Pond of 1944, which clearly demonstrates his attachment to Cézanne. He exhibited at the Salon des Artistes Français from 1901 to 1903 and then at the Salon des Artistes Indépendants. From 1906 he exhibited annually at the Salon d'Automne, of which he later became a committee and jury member. In 1923 he took part in the founding of the Salon des Tuileries and became head of two of the Salon's sections. His work has been exhibited at countless group exhibitions all over the world. Among the most recent thematic exhibitions is Fauvism in Black and White. From Gauguin to Vlaminck, Fauvist Engraving and its Setting (Le Fauvisme en Noir et Blanc. De Gauguin à Vlaminck, l'Estampe des Fauves et son Environnement) at the Musée d'Art Moderne in Villeneuve d'Ascq in 2001. He also showed his work in numerous solo exhibitions in Paris: his first in 1904 at the Galerie des Collectionneurs and another the same year at the Société des Peintres du Paris Moderne...

French School Around 1900 The French Cancan, rework with variations of a composition by Pablo Picasso Oil on cardboard 32 x 26 cm unframed Damaged and cut corners (lower left), good...

Antique American impressionist coastal painting by Clarence Braley (1854 - 1927). Oil on canvas, circa 1900. Signed. Displayed in a period modernist ...

Artist: Unknown after Gaetano Esposito Title: Painter with a Pipe Year: circa 1900 Medium: Oil on Canvas, signed illegibly verso Size: 16.5 x 13 in....

EMIL ORLÍK 1870-1932 Prague 1870 – 1932 Berlin (Czech) Title: Hokai-bushi, 1900 Technique: Original Hand Signed Watercolour on Wove Paper Paper size: 20 x 19.3 cm. / 7.9 x 7.6 in....

Wilhelm von Gegerfelt Swedish, 1844-1920 Moonlight Over the Promenade Oil on canvas 27 by 45 in. W/frame 39 by 57 in. Signed lower right Wilh...

Oil Painting by J Laslelles "A Scene in Epping Forest" flourished 1895 -1920 London painter of atmospheric landscapes in his soft impressionistic style. Oil on canvas. Signed title o...

Original cover for Good Housekeeping, published August 1906 A young woman in pink sitting in a rowboat

MODEST URGELL Spanish, 1839 - 1919 CATALONIA LANDSCAPE signed “Urgell” (lower left) oil on canvas 27-1/4 x 51-1/4 in. (69 x 130 cm.) framed: 31-1/4 x 55-...

Antique American school winter impressionist landscape oil painting. Oil on board. Nicely framed. Signed. Image size, 16L x 12H.

Jean-Baptiste Robie (1821 Brussels - 1910 ibid.). Still life with meadow flowers. Oil on wood, 24.5 x 18.5 cm (inside measurement), 37 x 31 cm (frame), signed and dated (difficult to...

Artist: Stephen Enoch Hogley, British (1842 - 1927) Title: Mountain Landscape Year: circa 1900 Medium: Oil on Canvas, signed verso Size: 16 x 26 in...

Signed by artist lower left. The Century Illustrated Monthly Magazine Cover

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