Impressionist Art

A painting by Frederick Carl Frieseke. "Afternoon at the Beach" is a large scale, oil on canvas painting of a beach scene, depicting beach goers...

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...

Julian Onderdonk "Summer Evening S. W. Texas" Texas Hill Country (1882 - 1922) San Antonio Artist Image Size: 9 x 12 Frame Size: 15 x 18 Medium: Oil on panel Dated 1909 "Summer Evening S. W. Texas" "A Texas Painter Worked Under the Radar in New York," By Eve M. Kahn, March 6, 2014, The New York Times Onderdonk, a San Antonio native who died of an intestinal ailment in 1922, at 40, is best known for painting swaths of Texas bluebonnets. Those canvases can bring more than $500,000 each, while his New York scenes usually end up in the five-figure range. Onderdonk’s parents were painters in San Antonio, and in 1901, when he was a teenager, they sent him to New York for training. Through 1909, he lived in various Manhattan apartments and Staten Island houses. He then returned to Texas, but continued to spend months at a time in New York. In 1902 he had married a Manhattan teenage neighbor, Gertrude Shipman. While she focused on raising their daughter, Adrienne, and worrying about their strained finances, “he created more than 600 works of art, often producing a painting or two a day,” Eyewitnesses recorded his prolific pace in New York, but Onderdonk works bearing those dates rarely turn up. The puzzling gap in his productivity is explained in family correspondence that the Bakers uncovered: The artist admits that he was signing pieces with pseudonyms. He mostly used Chas. Turner and Chase Turner and occasionally resorted to Elbert H. Turner and Roberto Vasquez. Julian Onderdonk was the son of the important Texas landscapist, Robert Onderdonk. He was the father's pupil at age 16. Sponsored by a Texas patron, he studied at the Art Students League in New York when he was 19, the pupil of Kenyon Cox, Frank DuMond, and Robert Henri. He also studied with William Merritt Chase on Long Island. In 1902, having lost his Texas patron because he married, he asked $18 for 12 paintings at a Fifth Avenue dealer in New...

signed lower right

Jim’s of Lambertville Fine Art Gallery is proud to present this piece by Martha Walter (1875 - 1976). Born in Philadelphia in 1875, Martha Walter attended Girls’ High School followe...

A large, spectacular, absolutely splendid painting by noted French painter Georges Clairin, which appeared for auction at Christie's in 2004 (see photo...

Signed lower right. Complemented by a hand carved and gilt frame. Exhibited at the National Academy of Design, 1928

Jim’s of Lambertville is proud to offer this artwork. Signed lower left. Complemented by a hand carved and gilt frame. Illustrated in "Edward Redfield: Just Values and Fine Seeing" by Constance Kimmerle and the Pennsylvania Academy of the Fine Arts's Exhibition of Paintings by Edward Redfield (April 17 to May 16, 1909) brochure 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...

Signed Lower Right Cyprien-Eugène Boulet (1877 - 1927)

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...

the most important American Impressionists of his age. While many of his contemporaries focused on the landscape, Frieseke gained his inspiration from the figural, and in particular the theme of femininity. His works capture female figures engaging in traditionally feminine roles — strolling in the garden or posed in a domestic interior. At the Mirror...

'Agay, le château et le Sémaphore'. Oil on canvas. +/- 1922 Signed lower right Measurements : 60 x 73 cm. This painting will be recorded in the second volume of the Catalogue Raisonn...