Frank Duffield

British Mid 20th Century Impressionist Painting Village And Canal Scene

Mid 20th Century

Frank Duffield (British, 1908-1982) original watercolour painting on board, unframed size: 16 x 19.75 inches condition: overall very good, minor wear to the edges as is normal for a...

Frank Duffield (British, 1908-1982) original watercolour painting on board, unframed size: 16 x 19.75 inches condition: overall very good, minor wear to the edges as is normal for a...

Frank Duffield (British, 1908-1982) original gouache painting on artist paper, unframed size: 12 x 15 inches condition: overall very good, minor wear to the edges as is normal for an unframed work, minor staining from age/ light to the surface provenance: from a large private collection of this artists work in the UK. The artist: Born in Warwick in 1901, Duffield came to Bristol at the age of 23 as an artist at the studio of Mardon Son and Hall. He worked as an illustrator producing designs for cigarette cards, remaining with the company for 37 years until his retirement. He was elected an Artist Member of the Bristol Savages...

Frank Duffield (British, 1908-1982) signed original gouache painting on board, unframed size: 14 x 17 inches condition: overall very good, minor wear to the edges as is normal for an unframed work, minor staining from age/ light to the surface provenance: from a large private collection of this artists work in the UK. The artist: Born in Warwick in 1901, Duffield came to Bristol at the age of 23 as an artist at the studio of Mardon Son and Hall. He worked as an illustrator producing designs for cigarette cards, remaining with the company for 37 years until his retirement. He was elected an Artist Member of the Bristol Savages...

French Impressionist watercolour on paper view of a colourful village, spanning a river and mountain landscape by Henri Clamen. The painting is unsigned but was acquired from the art...

This artwork titled "Village by a Road" c 1940 is a watercolor on paper by noted artist Donald Jeffries Bear 1905-1952. It is signed in pencil at the lower right corner by the artist. The artwork size is 10.65 x 14.5 inches, framed size is 17 x 21 inches. Framed in original frame. The artwork is in good condition, paper is toned by time, the four extreme corners are slightly discolored by hanging tape. The frame is also in good condition with minor dents, the linen is slightly discolored by time. The item is over all in good condition. About the artist. Donald Jeffries Bear, the Santa Barbara Museum of Art's founding director from 1940 to 1952, was born on this day, February 5, 1905, in Terre Haute, Indiana. He previously served as the Director of the Denver Art Museum (1935-1940), regional advisor for the Federal Art Project (1935-38), and as principal of the World's Fair in New York (1938-39). While director of the SBMA, Bear served as president of the Western Association of Art Directors from 1943 to 1946. He was also an art critic and, last but not least, an artist. Bear was well travelled, spoke numerous foreign languages, and as a Renaissance man, he was a singular match for another local polymath, Wright S. Ludington. In addition to his duties as director, Bear was also the curator and was responsible for producing over 600 exhibitions during his tenure. The exhibitions were as remarkable for their quality as well as their quantity, including SBMA's inaugural exhibition, Painting Today and Yesterday in the United States (June 5―September 1, 1941), which featured pieces from George Bellows, Mary Cassatt, Robert Harnett, Childe Hassam, Robert Henri, Winslow Homer, Edward Hopper, Yasuo Kuniyoshi, Georgia O'Keefe, and numerous others. Perhaps most remarkably, the SBMA displayed two of the most influential paintings of the 20th century, Pablo Picasso’s Guernica (1937) and Marcel Duchamp’s revolutionary Nude Descending a Staircase, No. 2 (1912) as part of the “Free France” exhibition in 1942. He was also responsible for producing numerous solo artist exhibitions, many of which were the first of their careers, including: William Dole, Clarence Hinkle...

One of several prominent women associated with the artistic life of Cincinnati at the turn of the century, Annie G. Sykes was recognized for her colorful, Impressionist-inspired watercolors. Throughout her long and successful career, she explored a variety of themes ranging from landscapes, flowers and the figure to the picturesque scenery of New England, Europe and Bermuda. Sykes was born Annie Sullings Gooding in Brookline, Massachusetts. Her father, Josiah Gooding, was a silversmith and engraver, and her mother, Ann, was a gifted needle-worker. Stimulated by the example of her parents, Sykes developed an interest in art during her childhood, honing her skills as a draftsman in art classes at school by drawing flowers, trees and other natural forms. She initiated her formal studies at the Lowell Institute in Boston in 1875, attending drawing classes there until 1878, when she enrolled at the school of the Museum of Fine Arts. Sykes is believed to have studied at the museum school until her marriage to Gerritt Sykes in 1882. Following her nuptials, Sykes and her husband moved to Cincinnati, at that time a flourishing cultural center dubbed the "Queen City of the West." While Gerritt and a friend established the Franklin School for boys, Sykes continued to follow her artistic inclinations. Desirous of refining her skills, she enrolled at the Cincinnati Art Academy in 1884. Throughout the next ten years, she continued her training under such noted American painters as Frank Duveneck and Thomas Satterwhite Noble. Although she occasionally worked in oil, watercolor became Sykes' favorite medium of expression. Despite the birth of two children--Milly in 1885 and Anne in 1888--Sykes successfully balanced the demands of home and family with her professional aspirations. She began contributing to the annual exhibitions of the Boston Art Club in 1890 and the New York Watercolor Club the following year. In 1892, she became a charter member of the Woman's Art Club of Cincinnati, where she would exhibit regularly until 1923. In 1895, Sykes had her first solo show at the Traxel & Maas Gallery in Cincinnati, exhibiting a group of her watercolors. Local critics praised her fresh, vibrant colors and her spontaneous technique, and in a review in the Cincinnati Enquirer she was identified as representing "the new school of impressionism." Sykes's longstanding relationship with the Cincinnati Art Museum began that same year, when she first participated in that institution's annual shows. Indeed, between 1895 and 1926, she would exhibit there on forty-two occasions. Sykes also had a show (with Emma Mendenhall) at the Cinncinati Art Museum in 1908, and a three-person exhibition (with Emma Mendenhall and Dixie Selden) two years later. Sykes's work was also featured in the annual watercolor shows at the Art Institute of Chicago, the Philadelphia Water Color Club and the Ohio Water Color Society. Her numerous professional affiliations included the National Association of Women Painters and Sculptors in New York and the Cincinnati Museum Association. Her standing among her peers was such that she was often invited to serve juries of selection, along with such eminent painters as Duveneck, Noble, Maurice Prendergast and Edward Redfield. Prior to 1900, Sykes' was active in and around Boston, Cincinnati, and in Nonquitt, Massachusetts, where her family had a summer home. After the turn of the century, she spent many summers in Cape Porpoise...

Signed to the lower right. Presented in a gilt frame with a cotton slip. Inscribed with title verso. On board.