Early 1900s Paintings

Antique American impressionist flower landscape oil painting by Edward S Annison. Oil on board, circa 1910. Signed. Image size, 9L x 12H. Housed i...

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

IN THE WOOD - Italian oil on board framed painting, Italy, xx sec, Raffaele Tafuri. External measurement cm.66x59 Raffaele Tafuri (1857-1929) was an I...

This stunning British American Impressionist portrait oil on canvas painting is by Sir James Jebusa Shannon circa 1905. The painting is of the artist and his wife Florence and daught...

Work on canvas Plaster and gilded wood frame 114 x 95.4 x 10 cm

Scandinavian School, early twentieth century. Inscribed, verso, on stretcher bar, 'Anna Ancher' with indistinct inscription and painted circa 1910. A psychologically-penetrating portrait of a young woman shown in profile, wearing a gold earring and a polychrome silk headscarf...

EDMUND VAN SOMEREN (British 1875-1963) Le Ruban Noir Signed l.r.: E L van Someren; signed, inscribed and dated on the reverse: “Le Ruban Noir”/ E L van Someren 1903 Oil on canvas F...

Alfred Bergström (1869 - 1930) was a prominent Swedish artist and professor at the Academy of Fine Arts in Stockholm. He honed his artistic skills thr...

Dewhurst painted several paintings of the park surrounding the palace of Versailles. In this example, the dramatic foliage of the trees and avenue of summer blooms lead the eye to a ...

A Bit of New England Oil on canvas,, 1908 Signed lower left corner: L. O. Griffith Condition: Excellent Canvas size: 26 x 38 inches Frame size: 33 3/8 x 45 1/4 inches Note: origi...

2 oil on canvas paintings. in good condition, frames not guaranteed for condition but one with separation between gilded inset and black frame

Antique painting a of a dog "Red Terrier" Possibly Dutch School Oil on wood panel, circa 1910 Initialed lower left 7 1/2 x 7 (12 x 11 1/2 frame) inches  A charming and thoughtfully...

Norwegian Coast and Village circa 1900 Cliff village overlooks the Norwegian coastline, signed but illegible; with an auction sticker and label which is signed. Image 12.5"H x 17"W ...

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 American impressionist seascape painting by Theodore Victor Carl Valenkamph (1868 - 1924). Oil on canvas, circa 1900. Signed....

Work on canvas

Work on canvas

Portrait of a man. Oil painting on canvas, signed and located "Roubaix, 1906". In this portrait, all attention is focused on the face, which is intrusively and self-consciously looking ahead. Except for the white collar and pocket handkerchief...

Arthur H. Rigg (1859 -1915) A Scottish Landscape Oil on Canvas Signed Size: 146cm x 110cm framed. Arthur Herbert Rigg was born and lived in Bradfo...

This still life of Plums is a top notch example of 19th century still life painting! Beautiful quality and striking but also spare and honest in nature which is what typified Americ...

This is a monumental Art Nouveau painting, one of a series he did on commission. Valère-Bernard, François Marius Valère-Bernard French , He was born on 1 August 1860, in Marseilles, France. He died 8...

Sepulchre is an Original Gouache on Paper realized by Alfred Pichon (1877-1918) in 1904. The artwork is in good condition. Hand-signed and dated on the lower right corner.

Antique American impressionist landscape oil painting of Minneapolis, Minnesota. Oil on canvas, circa 1900. Signed in monogram. Framed. Image size, 17"L x 12"H.

Bretonne sous un Arbre by LUDOVIC-RODO PISSARRO (1878 - 1952) Oil on board 33 x 41 cm (13 x 16 ⅛ inches) Signed and dated lower right, Ludovic Rodo 1903 Provenance Private Collecti...

John Dalziel Kenworthy portrait of a gentleman . Fine, large and imposing oil on canvas housed in a gilt frame. The sitter is unidentified, he has an aristocratic and characterful lo...

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

French Academic Study of a Hand Circa 1900 Oil on Cardboard 13 3/8 x 8 3/8 (19 1/8 x 14 1/8 frame) inches Signed lower left "M. Granet" A very finely...

Here for your consideration is an intriguing portrait of a young harem girl in costume by the German artist, Konrad Filip. Signed by the artist top right, Munich. Condition is very ...

Antique Horse Painting "Sysonby"-Equestrian Painting Edward Herbert Miner (American, 1882-1941) Depicting the champion thoroughbred horse Sysonby (1902-1906) Oil on canvas, signed "E H Miner 1905" 24 x 32 inches Ex. Collection of Mr. & Mrs. Walter M Jeffords, a prominent Philadelphia lawyer and racehorse owner, at Sotheby's NY, 2004. Sysonby (1902–1906) was an American Thoroughbred racehorse. He won every start easily, except one, at distances from one mile to two and a quarter miles. His superiority as a two and three-year-old was unchallenged during his short career of 15 race starts. Sysonby was regarded by many experts as the best horse to have raced in the United States between the Civil War and World War I. His sole loss in 15 starts came after he was doped by his groom as a bribe; even then, it took another member of the Hall of Fame, Artful, to beat him Foaled in Kentucky, Sysonby was a bay son of the 1885 Epsom Derby winner, Melton, out of the English mare Optime by Orme (by the undefeated Ormonde). The mating of Melton and Optime was arranged by Marcus Daly, who was involved with the Anaconda Copper Mine. Daly died before Optime, stabled in England, foaled. His stock, including the still pregnant Optime, was brought to New York to be auctioned. James R. Keene purchased Optime for $6,600, sending her to his Castleton Stud in Kentucky, which he rarely visited. Apparently Optime's foal, observed in his paddock, was anything but inspiring. Considered unattractive and small, as well as slow, young Sysonby was to be sent back to England for sale. But Keene's trainer, the well-regarded James G. Rowe, Sr., had seen Sysonby in action during some early trials. When it was time for the yearlings to be sent away, Rowe, a leading trainer who had once been a leading jockey (guiding Harry Bassett to his Saratoga Cup win amongst many other successes), covered Sysonby in blankets, convincing Keene he was too ill to make the long ocean journey. In the care of Rowe, Sysonby won everything Rowe entered him in by sizable margins, with the exception of the Futurity Stakes (USA), where he came in an unaccountable third, beaten by the filly Tradition and the filly Artful. Artful ranked 94th in the top 100 U.S. Thoroughbred champions of the 20th century by Blood-Horse magazine). Rowe saw Sysonby's groom exhibiting a large sum of money, and the groom admitted he'd been bribed to drug Sysonby before the race. If not drugged, nothing beat Sysonby. The turf writer Neil Newman ranked Sysonby as one of the three best colts he'd ever seen. The other two were Colin (also trained by Rowe) and Man o' War. Sysonby was the top money earner of 1905. Average winning margin was 4 ¼ lengths. Was ahead at every point of every race, except at the quarter call in the Brighton Junior Stakes, and in the stretch of the Futurity. Sysonby was inducted into the National Museum of Racing and Hall of Fame in Saratoga Springs, New York, in 1956. In the list of the top 100 U.S. Thoroughbred champions of the 20th Century by Blood-Horse magazine, he ranks 30th. Eighteen years after Sysonby's death, a December 11, 1924 Daily Racing Form article looking back on his racing career, called Sysonby "One of Greatest Race Horses in History of the American Turf". James Rowe, Sr. was also inducted posthumously into the Hall of Fame as a trainer. Provenance: Walter Morrison Jeffords Sr. (August 8, 1883 – September 28, 1960) was a successful Investment banker and owner/breeder of Thoroughbred racehorses who, in partnership with his wife's uncle, Samuel Riddle, purchased and operated Faraway Farm near Lexington Kentucky where they stood Man o' War. Jeffords is one of only five people to be named an Exemplar of Racing by the National Museum of Racing and Hall of Fame. His former estate is now Ridley Creek...

An auction at Drouot's in Paris. Oil on canvas. Signed lower right. Around 1900-1910. René François Xavier Prinet (31 December 1861, Vitry-le-François – 26 January 1946, Bourbonne-l...

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 ...

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...

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...

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-...

Medium: Oil on Board Signature: Signed Upper Right Illustration for "Da Strit Pianna" by Wallace Irwin, Collier's Magazine April 25th, 1905

Signed, "A Rackham" lower right Sotheby's New York - The work has recently been elegantly framed with a high end frame and archivalled matted and looks wonderful in person. Arth...

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 ...

Wonderful 19th Century tonalist painting of Flat Top Mountain in the Rocky Mountains by unknown artist (American, late 19th-20th Century). Unsigned. Unframed. Size: 16"H x 24"W. T...

Carl Carlsen Danish, 1855-1917 Figures in the Forest Oil on canvas Signed and dated ‘Carl Carlsen 1900’ lower right 24 ½ by 30 ½ in. w/frame 31 by 36 i...

Important and historical painting titled, "Cornish Harbor With Boats" by Royal Academy of British Artists member Adolph M. Brougier (German, 1870-1926). Brougier exhibited at the 100th anniversary of the Reign of Queen Victoria Exhibition of 1911. Signed lower left corner "Brougier." Label on verso: "No 278, Adolph Brougier, RBA. Sold by Mrs. John Diehl, Daughter of the Artist." Born in Germany, Brougier studied art in France and spent his later years painting in Santa Barbara,California. Image, 15"H x 22"W. Displayed in vintage wood frame. BROUGIER, Adolph was born on September 23, 1870 in Stuttgart. Son of a German merchant whose family was of French origin. Education Stuttgart; Munich; Studied art for three years at Munich, and later spent a year in Paris, where he studied under Benjamin Constant and Bougereau. Career From there he went to Rome, where he also took up sculpture. Settling down in Munich he became a member of the Ktinster Genossenschaft and Luitpoldgruppe. Paid frequent visits to Italy, Spain, and the Tyrol. Has lived in England since 1901. Exhibits at Munich, Berlin, Salon at Paris, and Royal Academy. Figure and landscape painter. Membership Royal Society of British Artists. Clubs: Alpine, German Athenaeum. Royal Society of British Artists. Clubs: Alpine, German Athenaeum. Interests Other Interests Fishing, bicycling, and mountain climbing...

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

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

JOSÉ GARCÍA Y RAMOS Spanish, ( 1852 - 1912 ) THE END OF THE BALL signed J. García y Ramos and inscribed Sevilla (lower left) oil on canvas 26 X 31-1/2 i...

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...

Oil on canvas painting by the American artist, Charles Dormon Robinson. Signed lower left with the initials S.F. after signature. Perhaps, San Francisco. Unlined and unframed. Charles Dormon ROBINSON 1847 - 1933 Charles Dormon Robinson was born in East Monmouth, Maine on July 17, 1847. The Robinson family moved to Newport, Vermont shortly after the birth of Charles Dormon. In 1848 his father migrated to California followed by mother and child two years later. His father, Dr. David G. Robinson, was a theatrical producer and playwright who was responsible for constructing San Francisco's first theaters and the plays for their stages. The senior Robinson was a member of the Vigilance Committee...

Portrait of a Italian woman by American impressionist painter David Rosenthal (American, 1876-1949), c. 1900. Estate stamp on verso. Image, 11"H x 17.5"L. David Rosenthal was a Cincinnati artist who was known as an American Impressionist. He studied at the Art Academy of Cincinnati with Frank Duveneck, Lewis Meakin, and Joseph Henry Sharp. After finishing, Rosenthal traveled to Munich to study with G. Flad and Azbe and exhibited at the Kuenstler Verein. He won a scholarship at the Belle Arts in Rome, became a member of the Cirelo Internationale, and continued his studies at the Academy of Milan in Florence. During his extended residence in Europe, Rosenthal moved in artistic circles from Munich to Rome. Several European sketchbooks still exist from this time, and show the skillful facility fostered by his academic background. Italian and German landscape scenes figure prominently in his early oils, which are dated around 1890 and designate Italian cities and towns on the back of canvases. Some of his etchings from a later period are probably based on earlier European sketches...

Painted from life with bravura brush strokes, Luks captures the essence of the sitter. Work is unframed.

Medium: Oil on Canvas Signature: Signed Upper Left Good Housekeeping Magazine Cover, August 1905

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Date: 1909 Medium: Oil on Board Dimensions: 30" x 20" Signature: Signed Lower Right Image of an elderly man in a gun shop. John Newton Howitt (1885-1958), a graduate of the ...

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Signed upper right Private Collection Luks was famous for painting people from impoverished slum areas. The work was most likely painted from life and portrays a youth haphazardly dressed. Luks describes the subject in quick rapid-fire brush...

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...

Large, enticing and very decorative painting. Oil on canvas. Signed Imre Goth 1931. 1931. Motif of an elgant, young girl with her doll. Beautiful painting in impressionist style. ...

signed "A. Lepère" at lower left

Medium: Watercolor on Paper Laid to Board Signature: Signed Lower Left Saturday Evening Post Cover, June 20, 1908 Edward Penfield produced some of America’s finest posters. His clean style and large silhouetted shapes resulted from much careful preliminary refinement and elimination of detail. Horses and coaches were a favorite subject with him, as typified with his picture of the colonial Post Road. A notable series of his illustrations were contained in his book, Holland Sketches...

Born in Portsmouth, New Hampshire in 1866, Arthur Clifton Goodwin grew up in Chelsea, Massachusetts. A self-taught artist, Goodwin moved to Boston and began to paint at age 30, capturing the city, its streets and people with his loose impressionistic brushstroke. Although Goodwin never studied in Paris, he absorbed the Impressionistic ideal, painting en plein air and capturing the landscapes and cities he visited with quick, loose strokes, as he does in “South Street Seaport...

John George Brown "Lookey There!" 1905 Oil on Canvas Signed and Dated Lower Right Site: approx 24 x 17 inches Framed: approx 30 x 24 inches Born into a poor family in Durh...