Art by Medium: Canvas

Jim's of Lambertville Fine Art Gallery is proud to present this piece by Burgoyne Diller (1906 – 1965). Born in New York City in 1906, Burgoyne Diller began drawing when he was stri...

The Amazon Benjamin Benno, American (1901–1980) Date: 1938 Oil and montage on canvas, signed and dated lower left Size: 31.75 x 26.13 in. (80.65 x 66.36 cm) Frame Size: 33.5 x 27.5 i...

Date: 1934 Medium: Oil on Canvas Dimensions: 24.75" x 16" Signature: Initialed Lower Left Cover Illustration for American Boy Magazine, May 1934 Includes copy of magazine

An original oil painting by Benjamin Benno, American (1901 - 1980). By the early 1930s he had established a reputation as a member of the international avant-garde and exhibited wit...

Alexander Kreisel (1901-1952) Montmarte, Early 20th century (c. 1920-1950) Oil on canvas 30 x 40 in. Signed lower right: Inscribed verso: Montmarte At the end of the 19th century, the agrarian village of Montmarte had been annexed into Paris' ever-growing city limits, and it became a hub for artists and their dealers, cabarets, and even brothels. Vincent Van Gogh lived in this area with his brother, an important moment in his artistic development. Here, Kreisel depicts a nude, white model being depicted by a Black female artist...

Oil on canvas backed onto wooden board of a worker with a scythe returning home from a day of labor. In a picturesque Swiss village. The painting is attributed to the hand of Karl Adolph Weber, the Swiss artist. Signed “K. Weber” lower right. Circa 1935. The painting is a contemporary wood frame in a mahogany finish. Overall framed measurements are 19 by 15.25 inches. Provenance: A Sarasota, Florida collector. Karl Adolph Weber was a Swiss artist born in 1899 and died in 1978 known for his rural landscapes and figurative paintings of Switzerland...

An oil painting by artist Benjamin Benno depicting the main characters from the novel “Don Quixote” in a cubist style. Don Quixote and Sancho Panza...

M Leonard Untitled, c. 1930 Oil on board 14 3/4 x 21 in. Framed: 21 1/8 x 27 1/2 in. Signed lower right: M Leonard

Italian artist Renzo Gori (1911 - 1998) designed this oil on canvas painting which features an animated urban street scene in France. The artist's signature is in the bottom right corner. Contemporary framed in an elegant black wood textured pattern frame with gilded garland. Measurements: With frame: 20.25 in. high (51.5 cm) x 27 in. wide (68.5 cm). Opening view: 14.38 in. high (36.5 cm) x 21 in. wide (53.5 cm). About: Renzo Gori is an Italian painter from Florence of the 20th Century (1911 - 1998). In the thirties, he stayed in Paris with the Florentine painter Dario Mecatti...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE L'Île aux Oiseaux by Paulémile Pissarro (1884-1972) Oil on canvas 61 x 47.6 cm (24 x ...

Bumpei Usui Shanties in the Bronx, 1933 Signed lower right Oil on canvas 14 x 20 inches Provenance: The artist's estate Salander O'Reilly Galleries, New Y...

Harbor Scene With Sailboats Seascape Signed lower left, canvas 20x20, about 1930-40. Emile Albert Gruppé was born 1896 in Rochester, New York. He lived the early years of his life in...

THE LONG ROAD Size: 52 x 60cm (including frame) Oil on Canvas A wonderfully executed sombre oil painting depicting two figures walking down a long open road, dated 1938. The canvas...

Antique American impressionist seascape signed oil painting. Oil on canvas. Signed. Framed. Image size, 15L x 12H.

Juan Gil y Gil (1900-1984) - Landscape with Spanish village - Oil on canvas Oil measures 38x46 cm. Frameless. Painter. He began his artistic training ...

THEODORE CHARLES BASIL HITCHCOCK Mid Century or slightly earlier scene of men working on a pathway in a French Town. He was a painter and teacher who studied at Hornsey School of Art, after attending London University, his teachers being Adrian Hill and John Charles Moody...

Bumpei Usui Backyard, Staten Island, 1933 Signed lower right Oil on canvas 20 x 24 inches Provenance: The artist's estate Salander O'Reilly Galleries, New...

Medium: Oil on Canvas Signature: Initialed Lower Left Cover Illustration for American Boy Magazine, May 1934. Includes copy of the magazine.

Signed, titled and dated impressionist landscape oil on canvas by French painter Henri Duhem. The work depicts a barge moored on the side of the river with two men on the path on the riverbank. The sun is setting creating the most beautiful shades of pink and yellow in the sky which is reflecting in the water below. Signature: Signed lower right and titled and dated 1933 verso Dimensions: Unframed: 15"x18" This painting is not currently framed but a suitable frame can be sourced if required Provenance: Exhibited at the Salon des Tuileries - 1933 Private French collection Descendant of an old Flemish family, Henri Duhem was born in Douai on April 7, 1860. He worked as a lawyer at the Bar of the Court of Douai from 1883, he practiced at the same time his passion for drawing and watercolor. In 1887, he enrolled in Henri Harpignies' drawing course in Paris and, at the same time, befriended the painter Émile Breton...

In artist's hand painted frame. signed and dated. Genre: Modern Subject: Landscape Medium: Oil Surface: Canvas Country: United States Dimensions w/Frame: 23" x 30.25" The imagery of Maurice Kish (1895-1987), whether factories or carousels, reliably subverts expectations. His vision hovers just around the unraveling edge of things, where what is solid and clear becomes ambiguous. He is fascinated, often delighted, by the falling apart. This unexpected, fresh perspective results in oddly affecting pictures of a now long-gone New York. Born Moishe in a town called Dvinsk, Russia (what is now Daugavpils, Latvia), Kish came with his family to New York when he was in his teens. The family settled in Brownsville, and for the rest of Kish’s life Brooklyn remained his home, though he moved from one neighborhood to another. He was close to his parents, who recognized his talent and supported his desire to become an artist. Kish attended the National Academy of Design as well as Cooper Union. His fellow students included many other immigrants and children of immigrants who were particularly receptive to the Modernism coming from Europe. As his career progressed, Kish himself applied different strains of Modernism to different purposes. For him, the story was held above all else. For years, Kish used the skills he acquired in art school to earn his living at a Manhattan glass...

An original oil on canvas of a cubist still life by Benjamin Benno, American (1901 - 1980). By the early 1930s he had established a reputation as a member of the international avant-...

Antique American modernist signed portrait oil painting by Sidney Gross (1921 - 1969). Oil on canvas. Signed.

Rare and interesting original drawing. Charcoal and penicl on paper. Signed. Framed. Image size, 15L x 13H.

William Meyerowitz (1887 - 1981) Oil painting on canvas Depicting a still life scene with fruit bowl, bananas, flowers and quilt. Post Impressionist oil painting. Hand signed low...

Albert Rafols Cullerés (1892-1986) - Woman with scarf - Oil on canvas Oil measures 46x38 cm. Frameless. Catalan painter formed the Llotja with ...

Antique American signed modernist artist studio oil painting. Oil on board. Signed. Framed. Image size, 18L x 24H.

"Untitled Abstract" is a 30 x 22 inches, oil on canvas painting by American modernist and surrealist, female artist Peter Miller. The work is painted in a vibrant color palette and estate stamped #202163 on verso. The painting has been conserved and inspected by conservation specialist, Gratz Gallery & Conservation Studio, Inc. Exhibition history: Forgotten Woman of American Modernism, Gratz Gallery & Conservation Studio, Doylestown, Pennsylvania, 2022. Provenance: Estate of the Artist; Private Collection, Saugerties, New York; Gratz Gallery & Conservation Studio, Doylestown, Pennsylvania. Image: Peter Miller in Her Studio Julien Levy Gallery...

Ernest Fiene Along the Kanahawa River, West Virginia, 1936 Signed lower right Oil on canvas 26 x 36 inches Fiene made a series of paintings, drawings and lithographs which are based on his travels through Pennsylvania and West Virginia during the winter of 1935-36. The industrial areas of Pennsylvania and West Virginia are represented in numerous oils, among which are some of his most well-known. Fiene wrote of the trip, "The increasing snow and atmospheric conditions [in the Kanawha River valley} enhanced this mountainous coal mining country with a majestic beauty." Winter on the River is Fiene's only American Artists Group print and there were only two lithographs produced from the West Virginia trip. The American Artists Group (AAG), under the direction of Carl Zigrosser, who was then working at New York's famed Weyhe Gallery, published ninety-three prints by over fifty artists in 1936 and 1937. Zigrosser's goal was to popularize contemporary American art through original prints offered at the low price of $2.75. The project was also a means to provide income for impoverished artists during the Depression. The prints were featured in many of the leading print exhibitions and publications of the period. The lithograph produced from this image is now in the collection of the Amon Carter Museum, Baltimore Museum of Art, Cleveland Museum of Art, Philadelphia Museum of Art, Pensacola Museum of Art, San Francisco Fine Arts Museum, Syracuse Museum, Yale University Art Museum. Ernest Fiene was born in Elberfeld, Germany in 1894. As a teenager, Fiene immigrated to the United States in 1912. He studied art at the National Academy of Design in New York City from 1914 to 1918, taking day classes with Thomas Maynard and evening classes with Leon Kroll. Fiene continued his studies at the Beaux-Arts Institute of Design in New York from 1916 to 1918, adding classes in printmaking at the Art Students League in 1923. Fiene began his career as an artist in 1919 with his first exhibition of watercolors at the MacDowell Club arranged by his mentor Robert Henri. In 1923 the Whitney Studio Club mounted a large exhibition of his works. The following year he had an exhibition at the New Gallery in New York, which completely sold out all fifty-two works, including paintings, watercolors, drawings, and etchings. With the proceeds of sales from the New Gallery exhibition, Ernest Fiene and his younger brother Paul, a sculptor, built studios in Woodstock, New York in 1925. In the early Twenties Ernest Fiene painted mostly landscapes of Woodstock and both the Ramapo and Hudson River Valleys. The first monograph from the Younger Artists Series was published on Fiene in 1922. Published in Woodstock, the series went on to include Alexander Brook, Peggy Bacon, and Yasuo Kuniyoshi. The book reproduced 1 illustration in color and another 27 reproductions in black and white. Around 1925 Fiene became fascinated with the intensity, excitement, and opportunities for color harmonies New York City offered as a subject. His paintings shifted to urban and industrial themes with architecture, industry, and transportation becoming his subjects. By 1926 Fiene had attracted the dealer Frank K.M. Rehn, who gave him a one-man exhibition that year, which travelled to the Boston Arts Club. C.W. Kraushaar Galleries gave Fiene a one-man exhibition of urban, landscape, portrait, and still life paintings in 1927. Julianna Force, the director of the Whitney Studio Club and first director of the Whitney Museum of American Art, included two of Fiene’s paintings in a fall exhibition in 1928. The Whitney Studio Club showed Fiene’s paintings in a two-man exhibition with Glenn O. Coleman that year and acquired three of Fiene’s paintings. Also in 1928 Fiene became affiliated with Edith Halpert’s Downtown Gallery where he had an exhibition of 20 lithographs in the spring. Fiene sold his house in Woodstock in 1928 to spend more of his time in New York City. With so many successful exhibitions, Fiene returned to Paris in 1928-29 where he rented Jules Pascin's studio and studied at the Académie de la Grande Chaumière. In France, Fiene painted both landscape and urban subjects developed from ideas influenced by Cubist geometry and the use of flat areas of broad color. Upon returning to New York in 1930, Fiene used this new approach to continue to paint New York skyscraper and waterfront subjects, as well as to begin a series of paintings on changing old New York based on the excavations for Radio City Music Hall and the construction of the Empire State Building. Frank K.M. Rehn Galleries exhibited this series, titled “Changing Old New York,” in 1931. Fiene also has solo exhibitions at Rehn Galleries in 1930 and 1932. Fiene’s oil paintings are exhibited at the Chicago Arts Club in 1930 as well. Fiene was included in the Museum of Modern Art’s exhibition Painting and Sculpture by Living Americans in December of 1931. Visiting New York, Henri Matisse saw the exhibition and called Fiene’s Razing Buildings, West 49th Street the finest painting he had seen in New York. Fiene had two mural studies from his Mechanical Progress series exhibited at the Museum of Modern Art’s exhibition Murals by American Painters and Photographers in 1932. Fiene sent View from my Window which depicts Fiene working on a lithograph stone while looking out his window to the newly completed Empire State Building to the Carnegie International in 1931. In 1932 Fiene participated in the first Biennial of American Painting at the Whitney Museum and his prints were included in exhibitions at the Downtown Gallery and the Wehye Gallery. In the same year, Fiene was awarded a Guggenheim fellowship to further study mural painting in Florence, Italy. On his return from Italy in 1933 Fiene re-engaged himself in New York City life and won several public and private mural projects. Fiene resumed his active exhibition schedule, participating in two group exhibitions at the Whitney Museum and a one-man exhibition of recent paintings at the Downtown Gallery in January 1934. In 1933 he purchased a farm in Southbury, Connecticut, which added Connecticut scenes to his landscape subjects. This was also the year Fiene began to spend summers on Monhegan Island, Maine, where he painted seascapes, harbor scenes, and still lifes. Fiene’s landscape paintings attracted numerous commissions as part of the American Scene movement. Through the fall and winter of 1935-36, Fiene took an extended sketching trip through the urban, industrial, and farming areas of Pennsylvania and West Virginia. Most of the twenty-four Pennsylvania urban and rural paintings from this trip were featured in an exhibition held at the First National Bank in Pittsburgh in October of 1937 by the Pittsburgh Commission for Industrial Expansion. Fiene said of these works that he formed rhythm, opportunity for space and color, and integrity in the Pennsylvania mill and furnace paintings. Fiene received the silver medal for one of the Pittsburgh paintings...

A beautiful c.1930 English post-impressionist / pointillist oil on canvas depicting two young men at a table. The work is superbly executed with a wonderf...

Antique American modernist interior scene with two monkeys. Oil on canvas. No signature found. Framed. Image size, 39H x 26L.

Morris Kantor, American, 1896-1974 Seaside View, 1930 Hand signed M. Kantor and dated 1930 lower right Oil on canvas 22 1/4 x 19 1/4 inches 24 1/2 x 21 (frame) Morris Kantor (Belarusian: Морыс Кантор) (1896-1974) was a Russian Empire-born American painter based in the New York City area. This is a beautiful boat scene with a river or lake probably on Long Island. Born in Minsk on April 15, 1896, Kantor was brought to the United States in 1906 at age 10, in order to join his father who had previously relocated to the states. He made his home in West Nyack, New York for much of his life, and died there in 1974. He produced a prolific and diverse body of work, much of it in the form of paintings, which is distinguished by its stylistic variety over his long career. Perhaps his most widely recognized work is the iconic painting "Baseball At Night", which depicts an early night baseball game played under artificial electric light. Although he is best known for his paintings executed in a realistic manner, over the course of his life he also spent time working in styles such as Cubism and Futurism, (influenced by the Art Deco movement) and produced a number of abstract or non-figural works. A famous cubist, Futurist, painting of his "Orchestra" brought over 500,000$ at Christie's auction house in 2018. Kantor found employment in the Garment District upon his arrival in New York City, and was not able to begin formal art studies until 1916, when he began courses at the now-defunct Independent School of Art. He studied landscape painting with Homer Boss (1882-1956). In 1928, after returning to New York City from a year in Paris, Kantor developed a style in which he combined Realism with Fantasy, often taking the streets of New York as his subject matter. He did some moody Surrealist Nude paintings and fantasy scenes. In the 1940's he turned towards figural studies. Later in his career, Kantor himself was an instructor at the Cooper Union and also at the Art Students League of New York in the 1940s, and taught many pupils who later became famous artists in their own right, such as Knox Martin, Robert Rauschenberg, Sigmund Abeles and Susan Weil...

Artist/ School: French Impressionist School, circa 1930's, indistinctly signed lower right corner Title: Still life of roses in a vase (yellow, pink, reds) Medium: oil on canvas, u...

MEDIUM: ​Original Production Cel on Printed Background IMAGE SIZE: 12 Field PRODUCTION: Looney Tunes SKU: IFA2799 ABOUT THE IMAGE: Looney Tunes is a series of animated short films ...

Antique American modernist landscape painting. Monogrammed. "E" lower right. Framed. Image size, 12L x 9.5H.

Trees at Bloom, 1939, oil on canvas, 32 x 24 inches, signed lower right About the Painting Trees at Bloom was painted when Clarence Holbrook Carter lived in Pittsburgh and served as an instructor in the Department of Painting and Design at the Carnegie Institute of Technology (now Carnegie-Mellon University), a position he held from 1938 through 1944. It depicts a thick forest at the base of distance hills just outside the city. During his tenure in Pittsburgh, Carter was deeply influenced by not only the industrial might of the steel mills and iron forges of the city, but also the beauty of the surrounding landscape. As Frank Anderson Trapp noted in his book on the artist, for Carter “the terrain itself had its own special vitality, with its craggy, wooded hills threaded with ravine and watercourses . . . . the signs of industrial blight that were unalleviated in some parts of the country were there relieved by the geological variety of the parent landscape, and by the irrepressible presence of its natural growth, which softened the whole.” Trapp continues, “in his scenes of rural situations, Carter had a special gift for rendering those elements convincingly.” With the profusion of flowering trees which diffuse the light and the red cardinals darting from one branch to another, Trees at Bloom portrays the “irrepressible presence of nature” that Trapp describes. About the Artist Together with Charles Burchfield, Clarence Holbrook Carter was Ohio’s premiere American Scene painter and later an innovative magic realist. The son of a no-nonsense public-school administrator, Carter was born in 1904 outside of Portsmouth, Ohio, a small town in the heart of the Ohio River...

Original work by the Spanish master Joaquin MIR. Perfect state Included frame. MIR TRINXET, Joaquin (Barcelona, 1873-1940). Joaquín Mir studied at the School of Fine Arts of San Jordi of Barcelona and the workshop of the painter Luis Graner. His style was also influenced by the School of Olot, hometown of his father. In 1893 forms the "Colla del Safra" along with artists like Isidro Nonell, Ricard Canals Ramón Pichot or, in the last years of the century is related to the artistic atmosphere of "Els Quatre Gats". He completed his training in 1895, the year he spent one season in Madrid copying works of Velázquez. In these years he attended the Exhibition of Fine Arts in Barcelona, in its editions of 1894, 1896 and 1898. Winning a second medal in the Exhibition of Madrid in 1899, the same year he moved to the capital with the aim of opositar a scholarship in Rome. By not get it, go with Santiago Rusiñol in Mallorca, on a journey that will mean a definitive turning point in his career. Mir is dazzled by the Majorcan countryside, in particular by Sa Calobra, which earned him an inexhaustible source of inspiration. In 1901 solo exhibition at the Sala Parés of Barcelona the Majorcan fruit of this first stage, and gets back second medal in the National Exhibition. After a period of illness that forced him to move to Reus, in 1907 he obtained the first medal at the International Exhibition of Fine Arts in Barcelona. Already established as a leading figure in the Catalan scene, acquires definitive national recognition in 1917 when he was awarded the National Prize of Fine Arts. Four years later he married and settled permanently in Vilanova i la Geltru. His successes happen, and in 1929 obtained first medal at the International Exhibition in Barcelona. The next year he won the medal of honor of the National Exhibition of Madrid, award pursuing since 1922. While it was a mainly indigenous painter, made personal and group exhibitions in Washington, Paris, Pittsburgh, New York, Philadelphia, Amsterdam, Buenos Aires and Venice. Mir is now considered the most prominent representative of the Spanish post-impressionist landscape. His work is preserved in the National Museum of Catalan Art...

Antique American modernist abstract pastel and watercolor painting. Signed illegibly. Framed. Image size, 14L x 18H.

Sailboats, Ocean, France , grey, blue, azure,landscape France Henry Maurice CAHOURS (Paris, 1889 – Vence, 1974) He was born in Paris but spent his childhood and adolescence in Amie...

This painting is part of our exhibition America Coast to Coast: Artists of the 1930s Goldmine, Central City, Colorado, oil on canvas, 36 x 28 inches, c. 1936, signed lower right, ex collection of Platt Fine Art, Chicago, Illinois (label verso). About the Painting Joseph Meert’s painting, Goldmine, Central City, Colorado, depicts the short-lived resurrection of a once prominent city just outside Denver. Central City was founded in 1859 soon after John Gregory struck gold in the area. As word spread, thousands of miners converged into “Gregory’s Gulch” and its surroundings became known as the “richest square mile on earth.” Mining production quickly increased resulting in Central City to becoming Colorado’s largest city in the early 1860s. Despite some technical difficulties transitioning to lode mining and the rise of competition from Leadville, Central City remained an economic boom town through the turn of the century. But, with every boom, there is a bust. World War I marked the end of Central City’s prominence as ore production ground to a halt and by 1925, the town’s population shrank to only 400 people. The desperation of the Great Depression and a nearly 100% increase in the price of gold lured labor and capital back to Central City. Meert painted in Colorado during the mid-1930s, a time when he created his most desirable works. It is during this period of renaissance that Meert captures one of Central City's outlying dirt streets bordered by 19th century wooden houses from the town's heyday and the more recently installed electric lines leading to a distant gold mine. A lone figure trudges up the hill, a mother with a baby in her arms, putting us in mind of the rebirth of the town itself. Meert had solo exhibitions at the Colorado Springs Fine Arts Center in 1936 and the Denver Art Museum. Although it is not known whether Goldmine, Central City was included in either of these exhibitions, it seems likely. Moreover, the painting is closely related to Meert’s painting, The Old Road, which was painted in 1936 and exhibited at the Corcoran Gallery of Art in Washington, DC and at the Dallas Museum of Art. About the Artist Joseph Meert was a well-regarded painter and muralist, who initially made a name for himself in the American Scene and later as an abstract expressionist. Although initially successful, Meert struggled financially and with mental illness later in life. He was born in Brussels, Belgium, but moved with his family to Kansas City, Missouri. As a child, a chance encounter at the Union Pacific Railyard changed his life. Meert happened upon a worker repainting and stenciling a design on a railroad car. Meert later recalled that this experience introduced him to the idea of being a painter. Without support from his father, Meert obtained a working scholarship to the Kansas City Art Institute. After four years at the Kansas City Art Institute, Meert studied seven years at the Art Students League and in Europe and Los Angeles. At the Art Students League, Meert fell under the spell of Thomas Hart Benton and Stanton MacDonald-Wright. In 1931, he befriended Jackson Pollock. By 1934, Meert was part of the Public Works of Art Project when he met his wife, Margaret Mullin...

Original oil on canvas folk art painting by the well known Mexican artist, Agapito Labios. Signed lower right. Circa 1935. Condition is very good. ...

Early oil on canvas painting by the well known American artist, Nahum Tschacbasov done in the “Social Realism” period of the artist’s career. Signed lower left. Original artist inventory label on stretcher verso dates the painting to 1937. Condition of the painting is very good. The painting is housed in a contemporary version of a House of Heydenryk frame that measures overall 14.25 by 27.25 inches. Provenance: Estate of the artist Nahum Tschacbasov. Nahum Tschacbasov Biography : Russian-American artist Nahum Tschacbasov (1899-1984) is known for his cubo-surrealistic works which feature a strong psychological element. Some of his work bears a resemblance to work of another Russian-American artist--David Burliuk. He was somewhat of a late starter, moving to Paris in 1932 to study under Adolph Gottlieb, Marcel Gromaire and Fernand Leger. He had his first exhibition in Paris in 1934. He then returned to the US where he joined Rothko and Gottlieb at the Galery Seccession. He was one of the co-founders of The Ten, a group of social conscious abstract painters which included Rothko, Gottlieb, Joseph Solman and Ilya Bolotowsky, among others. In 1944, he began to work at Stanley Hayter's Atelier 17, a center for surrealistic ideas. Between 1936 and 1943, he had five one-man exhibitions at the ACA Galleries and participated in five group shows. He also exhibited at the Whitney, the Pennsylvania Academy of Fine Arts, the Knox Albright Museum, the Chicago Institute of Fine Art and Corcoran, among others. His work can be found in the permanent collections of the Met, the Whitney, the Brooklyn Museum and the Jewish Museum. Tschacbasov has been the subject of two recent retrospective at Fletcher Gallery, Woodstock, NY and Arthur...

The Nude Model French School, 1930's oil on canvas 21.5 x 15 inches double sided work provenance: private collection, Paris The painting is in sound condition, some former restoratio...

A small-scale oil painting by Benjamin Benno, executed in 1934. A large boulder perches precariously on a tiled slab of earth, echoing a sense of stillness. A Rock and a Hard Place...

Antique American impressionist signed still life oil painting. Oil on board. Signed. Framed. Image size, 25L x 19H.

Dorothy Eaton Tully Lumber Mill, Orange, Massachusetts, 1935 Signed and dated lower right Oil on canvas 17 1/2 x 23 1/2 inches Dorothy Eaton was born in East Orange, New Jersey in 1893. She studied at Smith College...

Since the dawn of advertising, luxury brands have sought partnerships to increase their cache among clientele. In 1912 champagne maker Moet & Chandon was set to do so with the White Star Line and their new ships OLYMPIC and TITANIC. The match was nearly obvious due a naming coincidence. Moet had been producing dry champagne under the label White Star since 1865; and it was their flagship imprint in the U.S. for over a century. The White Star line started even earlier, in 1845. Though TITANIC’s fate would briefly interfere, the companies did associate and Moet’s White Star champagne was served aboard White Star Liners for many years and later also Cunard White Star Ships like QUEEN MARY. In this outstanding and colorful portrait, the QUEEN MARY...

Here for your consideration is a very well executed and vibrant original oil on canvas painting of bass rocks by Henry Hammond Ahl. Bass Rocks is lo...

As a pupil of William Straube, Dora Hitz, Max Pechstein and Willy Jaeckel, Edith Meyer von Kamptz achieved her own individual aesthetic designs with colourfu...

Beautiful oil on canvas painting of Alpine cottages by the German artist, Karl Schaette. Signed lower left “Schaette, Muchen”. Condition is very good. Slight crazing in the trees. Tiny repaired puncture in the sky. Circa 1930. The painting is framed in its original Newcomb Macklin gold leaf frame. Overall measurements framed are 36.5 by 36.5 inches. Provenance: A Long Island, New York estate. Carl Schaette (1884 - 1951) was active/lived in Germany. Carl Schaette is known for Landscape painting and belonged to the Munich school...

Antique American school portrait oil painting. Oil on board, circa 1930. Unsigned. Displayed in a giltwood frame. Image, 13"L x 17"H.

Following two decades of successful impressionistic landscape painting, Wilson Henry Irvine became known for a new experimental style in the 1930s. In 1930, Irvine began making prismatic paintings—landscapes and still-lifes rendered as though seen through a glass prism. The effect accentuated the play of light on the edges of objects. Irvine remained committed to this style of prismatic painting throughout the 1930s, winning the best-picture award in 1934 for a picture of a life-sized nude at the annual exhibition of the Lyme Art...

Signed lower left, 'Gregory Deane' (American, born 1938) and painted circa 1985. Framed dimensions: 15 H x 31.5 W x 1.5 D inches This contemporary California Expressionist incorpora...

American Impressionist

Post-Impressionist Triptych. Coastal town of Collioure

RICHARD GEIGER "RELAXING" OIL ON CANVAS, SIGNED HUNGARIAN, C.1930 28 X 39 INCHES FRAMED 36.5 X 46 INCHES Richard Geiger 1870-1945 Richard Geiger was born in Vienna and first studied at the Vienna Art Institute with the academic painter Christian Ludwig Von Griepenkerl and, subsequently, in Paris with Francois Flameng...

Antique American modernist still life painting. Oil and gouache on board, circa 1940. Housed in a period modernist frame. Image size, 24L x 18H.

Country Cottage at Sunrise Cottage in the morning on a winding path by an unknown American artist. Circa 1930-40. Image 18"H x 15"W Frame, 21"H x 17...

This beautiful and sophisticated large scale oil on canvas painting was realized by the esteemed American artist John Deforest Stull in 1939. The composition depicts a WPA style scen...