Paintings

A. E. Halliwell (1905-1987) Xmas Gifts Airbrush and pen 50 x 32 cm c.1930 Stamped signature Provenance: Family of the artist A.E. Halliwell (1905–1986) was a British artist, illu...

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

A. E. Halliwell (1905-1987) Presents for George, Mary & Gladys Gouache and collage 46 x 33 cm c.1930 Provenance: Family of the artist A.E. Halliwell (1905–1986) was a British artist...

Judy and Rita on Porch at Afton, c. 1936, oil on canvas, 24 x 36 inches, title inscribed on tacking margin; “Judy” and “Rita” inscribed verso, NB: purchased together with The New Roa...

This painting is part of our exhibition Charles Goeller: A Wistful Loneliness. Oil on canvas, 30 x 25 inches, Signed lower right, Signed verso on stret...

Everett Warner On the Wharf Signed lower left Oil on panel 15 x 20 inches Provenance Cooley Gallery, Old Lyme, Connecticut Everett Warner was born in the small Iowa town of Vinton...

Wilson Irvine French Landscape, circa 1908 Signed lower right Oil on canvas 29 x 36 inches A prolific Impressionist with a penchant for atmospheric scenes, Illinois native Wilson I...

Paul Sample Hippo Signed lower right Oil on canvas 16 x 20 inches Provenance Chidsey Collection Private Collection (acquired from the above in 1980) Sample's attempt to impose a T...

Lying Woman is an original modern artwork realized by the artist Nino Bertoletti beetween 1930 and 1940. Mixed colored oil on canvas. Hand signed by the artist on the lower margin Nino Bertoletti (Rome, October 26...

William Manners R.B.A. 1860 - 1930 A South Yorkshire landscape painter, regular exhibitor at the Royal Society of British Artists where he was a member as well as at the Academy. Si...

Medium: Oil on Board Signature: Signed Lower Right Sight Size 30.00" x 27.00", Framed 38.00" x 35.00" Saturday Evening Post Cover, May 16, 1931 From the Estate of Charles Martignett...

Medium: Oil on Canvas Signature: Signed Upper Left Story illustration for “The Stars Look Down” by A.J. Cronin, illustrated by Cornwell and W. Smithson Broadhead...

Jim’s of Lambertville is proud to offer this artwork by: Walter Emerson Baum (1884 - 1956) Born in Sellersville, Pennsylvania, Walter Baum was one of the only members of the New Ho...

This charming ex Christie's Victorian Orientalist oil painting is by noted French exhibited artist Lucien Laurent Gsell. The painting dates to around 1900 and portrays a beautiful yo...

Mid Century Island in the San Francisco Bay Landscape by Alexander Nepote Lovely late 1930's Impressionist watercolor of a Bay Area island by listed California artist Alexander Nepo...

Story illustration for “Appearance and Reality” by W. Somerset Maugham, published in Cosmopolitan, November 1934, pages 22-23. Described as "A masterfully witty story of manners and...

Work on canvas Illegible signature

Oil on canvas sold with frame Total size with frame 58x67 cm Signed N. Busnelli, artist unknown from the gallery Dated 1935

Miriam Story Hurford was a prolific and major American female illustrator in the 1930s to the 1950s. Her work was for cover art for women's magazines and home magazines and religious magazines. This work depicts t the wise men being guided by the star of Bethleham to the birth of the Christ child for a Christmas magazine...

Oil on canvas, signed lower left Circa 1930 Image size: 41 x 34 inches (104 x 86 cm) Framed

The image features a political discussion. Published to accompany the poem “The Day of Reckoning” in Drawings by A. B. Frost (New York: Duffield & Co.), 1904. Subsequently released ...

This gouache, tempera and watercolour painting is signed and dated by the artist "HMP’31" [Hermann Max Pechstein 1932] in the lower right image. It was painted in 1932 and depicts th...

This painting by Bernhard Oscarsson (1894-1977) is a captivating visual narrative of Stockholm's serene beauty. Oscarsson, a student of Caleb Althin's painting school and the Royal S...

'Emile's Tavern', gouache on paper (circa 1930s), by Lucien Génin. A tavern in French is called a 'guinguette'. With the rise in living standards from the 1860s along with the develo...

PS 241 Drowned in Monet Portrait of a woman with red dress. The background is the famous from Claude Monet Water lilies. ⭐Structural analysis:⭐ Such as Impressionist painting, the...

Antique Italian modernist seascape painting. Watercolor on paper. Signed. Framed. Measuring 12 by 22 inches overall and 10 by 20 painting alone.

Still Life (Untitled), c. 1935 – 1940, oil on canvas, signed lower left, magazine cover has a 1934 date, 32 x 26 inches, remnant of exhibition label verso In their essay for the gro...

Date: 1934 Medium: Gouache on Pencil on Board Dimensions: 19.25" x 19.75" Signature: Inscribed and Signed Illustrated for "The Sea Remembers" by Gordon Malherbe Hillman, American Ma...

Léon Pierre FÉLIX (Périgueux 1869 - 1940) The coast at Ploumanac'h - Bretagne Oil on canvas H. 46 cm; L. 55 cm Signed lower left, dated 1901 Provenance: Private collection, Burgundy...

Medium: Oil on Canvas Signature: Signed Lower Right Literature: Laurie Norton Moffatt, Norman Rockwell: A Definitive Catalogue, Norman Rockwell Museum...

Oil on artist board painting by the American artist, Paul Wesley. Signed lower right. Titled and signed verso. Circa 1930. Condition: excellent. Provenance: A private estate, East ...

Beautiful early 20th century figurative landscape of a woman carrying a basket of wood kindling by a rushing river, high in the Italian hills by Enrique Brocco (Italian, 20th Century...

Signed lower left, 'G. Giardiello' for Giuseppe Giardiello (Italian, 1877-1920) and painted circa 1900. A skilled late 19th century Italian landscape painter, little is known about ...

Konstantin Yegorovich Makovsky (Russian 1839 – 1915) was an influential Russian painter At the World's Fair of 1889 in Paris, he received the Large Gold Medal for his paintings Deat...

Ann Brockman (1895–1943) was an American artist who achieved success as a figurative painter following a successful career as an illustrator. Born in California, she spent her childhood in the American Far West and, upon marrying the artist William C. McNulty, relocated to Manhattan at the age of 18 in 1914. She took classes at the Art Students League where her teachers included two realist artists of the Ashcan School, George Luks and John Sloan. Her career as an illustrator began in 1919 with cover art for four issues of a fiction monthly called Live Stories. She continued providing cover art and illustrations for popular magazines and books until 1930 when she transitioned from illustrator to professional artist. From that year until her death in 1943, she took part regularly in group and solo exhibitions, receiving a growing amount of critical recognition and praise. In 1939 she told an interviewer that making money as an illustrator was so easy that it "almost spoiled [her] chances of ever being an artist."[1] In reviewing a solo exhibition of her work in 1939, the artist and critic A.Z Kruse wrote: "She paints and composes with a thorough understanding of form and without the slightest hesitancy about anatomical structure. Add to this a magnificent sense of proportion, and impeccable feeling for color and an unmistakable knowledge of what it takes to balance the elements of good pictorial composition and you have a typical Ann Brockman canvas."[2] Early life and training Brockman was born in Northern California in 1895 and spent much of her youth in nearby Oregon, Washington, and Utah.[1][3] She met the artist William C. McNulty in Seattle where he was employed as an editorial cartoonist. They married in March 1914 and promptly moved to Manhattan where he worked as a freelance illustrator.[4][5] At the time of their marriage, Brockman was 18 years old.[6] Over the next few years, her career generally followed that path that her husband had previously taken. His art training had been at the Art Students League beginning in 1908; she began her training there after moving to New York in 1914.[1] After an early career as an editorial cartoonist, he freelanced as a magazine and book illustrator beginning in 1914; she began her career as a magazine and book illustrator in 1919.[7] He embarked on a teaching career in the early 1930s and not long after, she began giving art instruction.[8][9] While they both adhered to the realist tradition in art, their usual subjects were different. His prominently depicted urban cityscapes in the social realist whereas hers generally focused on rural landscapes. He was best known for his etchings and she for her oils and watercolors.[8][10] Brockman returned to the Art Students League in 1926 to take individual instruction for a month at a time from George Luks and John Sloan.[1] Despite their help, one critic said McNulty's "sympathetic encouragement and guidance" was more important to her development as a professional artist.[11] Career in art In the course of her career as illustrator, Brockman would sometimes paint portraits of celebrities before drawing them, as for example in 1923 when she painted the French actress Andrée Lafayette who had traveled to New York to play title role in a film called Trilby.[12] She would also sometimes accept commissions to make portrait paintings and in 1929 painted two Scottish terriers on one such commission.[13] During this time, she also produced landscapes. In 1924 she displayed a New England village street scene painting in the Second Annual Exhibition of Paintings, Watercolors, and Drawings in the J. Wanamaker Gallery of Modern Decorative Art.[14] Available sources show no further exhibitions until in 1930 a critic for the Boston Globe described one of her portraits as "well done" in a review of a Rockport Art Association exhibition held that summer.[15] Between 1931 and her death in 1943, Brockman participated in over thirty group exhibitions and five solos.[note 1] Her paintings appeared in shows of the artists' associations to which she belonged, including the Rockport Art Association, Salons of America, Society of Independent Artists, and National Association of Women Painters and Sculptors.[17][19]Between 1932 and 1935, her paintings appeared frequently in New York's Macbeth Gallery.[20][23][25][27] She won an award for a painting she showed at the Art Institute of Chicago in 1940.[41] In 1942, the Whitney Museum bought one of the paintings she showed in its Biennial of that year.[10] Critical praise for her work steadily increased during the decade that ended with her untimely death in 1943. In 1932, her painting called "The Camera Man" was called "a clever piece of illustration."[21] Three years later, a painting called "Small Town" gave a critic "the impression of freshness, honesty, and skill".[29] In 1938, a critic described her "Folly Cove" as "masterful" and said "Pigeon Hill Picnic" was "sustained by excellence of execution".[48] At that time, Howard Devree of the New York Times saw "evidence of gathering powers" in her work and wrote "she imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Three years later, a Times critic reported Brockman had "set herself a new high" in the watercolors she presented,[52] and another critic said the gallery where she was showing had not "for some time" shown "so outstanding a solo exhibitor as Ann Brockman."[2] Shortly before her death, a critic for Art News maintained that she was "one of America's most talented women painters".[46] After she had died, a critic said Brockman's paintings "displayed real power", adding that she was "highly rated among the nation's professional artists" and was known to give "aid and encouragement, always with a smile," both artists and to her students.[10] in reviewing the memorial exhibition at the Kraushaar Galleries held in 1945, reviewers wrote about the strength and vibrancy of her personality, the quality of her painting ("every bit as good, possibly better than people had thought"),[53] called her "one of the best of our twentieth century women painters", and credited "her sense of the vividness of life" as a contributor to "the unusual breadth that is so characteristic of her work.[11] One noted that her work was "widely recognized throughout the country" and could be found in the collections of prominent museums, including the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Art Institute of Chicago.[54] Writing in the Times, Devree wrote, "even those who had followed the steady growth of this artist for more than a decade, each successive show being at once an evidence of new achievement and an augury of still better work to come, may well be surprised at the combined impact of the selected paintings in the present showing,"[55] and writing in the Brooklyn Daily Eagle, A.Z Kruse said she had made "extraorginary accomplishments", painted with "inordinate distinction" showing a "lyrical majesty," and possessed "a keen esthetic sense which did not deviate from truth."[54] Artistic style (1) Ann Brockman, undated drawing, black chalk on paper, 18 x 22 inches (2) Ann Brockman, High School Picnic, about 1935, oil on canvas, 34 1/4 x 44 1/4 inches (3) Ann Brockman, untitled landscape, about 1943, watercolor and pencil on paper, 15 1/4 x 22 1/2 inches (4) Ann Brockman, North Coast, undated watercolor, 21 1/2 x 30 inches (5) Ann Brockman, On the Beach, 1942, watercolor on paper, 16 1/2 x 20 inches (6) Ann Brockman, Lot's Wife, 1942, oil on canvas, 46 x 35 inches (7) Ann Brockman, New York Harbor, 1934, watercolor on paper, 13 1/2 x 19 1/4 inches (8) Ann Brockman, Youth, 1942, oil on board, 13 1/2 x 11 1/2 inches Brockman was a figurative painter whose main subjects were rural landscapes and small-town and coastal scenes. She worked in oils and watercolors, becoming better known for the latter late in her career. Most of her paintings were relatively small. Although she made figure pieces infrequently, the nudes and circus and Biblical scenes she painted were seen to be among her best works. In 1938, Howard Devree wrote: "Her gray-day marines and coast scenes are familiar to gallery goers and are favorites with her fellow artists. Her figure pieces have attained a sculptural quality without losing warmth or taking on stiffness. One spirited circus incident of equestriennes about to enter the big tent compares not unfavorably with many of the similar pictures by a long line of painters who have been fascinated by the theme. She imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Similarly, a critic for Art Digest wrote that year: "Fluently and virilely painted, [her] canvases suggest a close affinity between nature and humans. The artist takes her subjects out in the open where they may picnic or bathe with space and air about them. A fast tempo is felt in the compositions of restless horses and nimble entertainers busily alert for the coming performance. Miss Brockman is also interested in portraying frightened groups of people, hurrying to safety or standing half-clad in the lowering storm light."[56] Her palette ranged from vivid colors in bright sunlight to somber ones in the overcast skies of stormy weather. Of the former, one critic spoke of the rich colors and "sun-drenched rocks" of her coastal scenes and another of her "summery landscapes of coves and picnics."[11][50] Of the latter, Howard Devree said she "painted so many moody Maine coast vignettes of lowering skies and uneasy seas that artists have been heard to refer to an effect as 'an Ann Brockman day'".[57] Brockman's handling of Biblical subjects can be seen in the oil called "Lot's Wife", shown above, Image No. 6. Her watercolor called "On the Beach" and her oil portrait called "Youth" may both indicate the "sculptural quality" that Devree said was typical of her figure pieces (Image No. 8, above). An example of Brockman's bright palette in a typical summer theme is the oil painting called "High School Picnic" shown above, Image No. 2. Next to it is a painting, an untitled landscape of about 1943 whose medium, watercolor on paper, shows off the sunny palette she often used (Image No. 3). Among the darkest of her works was an untitled 1942 drawing she made in black chalk (shown above, Image No. 1). In a book called Drawings by American Artists (1947), the artist and art editor Norman Kent noted that this study influenced her painting through its use of "forms" that were "elastic" and suggested "color". He said its "massing of dark and light" created "a definite mood" that was "impressionistic" and had "the strength of a man's work".[58] Brockman's undated watercolor called "North Coast" (shown above, Image No. 4) is an example of the paintings to which Kent referred. Illustrator (9) Ann Brockman, cover, March 12, 1917, Every Week magazine (10) Illustration of an article, "The Taking of a Salient" by Henry Russell...

Summer in La Baule VI Sun Bathing Summer Scene: Women enjoying sunbathing in La Baule VI Technique: oil, acrylic, and ink on old book pages on wooden frame 30x30cm ■■ 11,8x11,8 inc...

Dietz Edzard German, 1893-1963 Au Circus Oil on canvas 22 by 31 in. W/frame 32 by 41 in. Signed lower right Dietz Edzard was born in Bremen in 1893 Germany. He traveled extensive...

Jim's of Lambertville is proud to offer this artwork by Hayley Lever (1875 – 1958) Born in Adelaide, Australia in 1875, Richard Hayley Lever was best known for his paintings that sy...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Les arbres by Paulémile Pissarro (1884 - 1972) Oil on canvas 60 x 72 cm (23 ⁵/₈ x 28 ³/₈ inches) Signed and dated...

Oil on canvas applied on cardboard realized by Francesco Settimj in 1933. Hand signed and dated lower right. Good condition except for some very inor losses on edges.

Here we have a very interesting cubist female nude by Cecil Vincent Donovan (1896-1987). He was a New York artist whose works are hard To find. Painting is almost painted like the Avant-garde painter Paul Cezzane. Image depicts an early Cubist/Modernist Post-impressionist period of a female nude by a window sill and a black crow...

An extraordinary example of Mexican devotional folk art, this 1934 oil and ink painting on tin—known as an Ex Voto—depicts a miraculous healing following a life-threatening fall from...

Elisee Maclet (1881-1962) Very well listed French artist. Studied in Paris, was influence by many famous French artists of the beginning of the 20th century. “Paris. L'lle Saint L...

Jim’s of Lambertville is proud to offer this artwork. Pastel portrait of artist's granddaughter. Complemented by original signed Harer frame. Illustra...

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....

Signature: Signed & Dated Lower Left:

la obra va firmada en la parte inferior "roman ribera" esta obra és de aproximadamente ultimo tercio del siglo xix el estado de la obra es bueno la obra se presenta enmarcada con ...

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...

Jim’s of Lambertville Fine Art Gallery is proud to present this piece by John Fulton Folinsbee (1892 - 1972). One of the finest painters to embark upon the New Hope Art Colony, John...

Oil on paper by Edouard Goerg (1893-1969), France, 1937-1938. Two young Spanish girls. Measurements : with frame: 61.3x51.8 cm - 24.1x20.4 inches, view: 39x28.6 cm - 15.4x11.25 inche...

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...

Firmado por el autor en la parte trasera y fechado del año 1938 El estado de la obra es aceptable Se presenta sin enmarcar la pintura Medidas obra: 50 cm de altura x 61 cm. altura...

Firmado por el artista en la parte trasera y fechado del año 1901 Se presenta enmarcada la obra con un marco de la época de la obra (algunas faltas visibles en la enmarcación) Medi...

Family scene. Oil sketch on cardboard. This work will be recorded in the catalogue raisonné of the work of the artist currently in preparation. Jules Van Biesbroeck was the son of Jules Evariste van Biesbroeck, a painter of Ghent, but was born in Italy, in Portici, near Naples, while his parents were staying there. (In the 19th century many artists made educational trips to Italy). It was a long visit: the child was two years old by the time the family returned to Ghent.[1] After a short period of practice with his father, van Biesbroeck was enrolled in the Academy of Fine Arts in Ghent. His first painting, "The Shepherd" (French: Le pâtre), was sold at the Triennale in Ghent. In 1888, when he was only 15 years old, he made his debut at the "Salon des Champs-Elysées" in Paris with his monumental work "The Launch of the Argo" (French: Le lancement...

C. Pelgen early 20th century fruit still life painting, 1906 Oil on canvas in Frame. 18 x 26 unframed, 22.75 x 30.5 framed

Hippolyte-Camille Delpy, (French, 1842-1910). A wooded river landscape with moonlit lake at Dusk. Shades of lavender and pink make for a beautiful sunset. Oil on panel. Measures: 16...

Jim’s of Lambertville is proud to offer this artwork by: Gershon Benjamin (1899 - 1985) An American Modernist of portraits, landscapes, still lives, and the urban scene, Gershon ...

Oil Painting Pair by Henry Schouten "A Vase of Flowers" 1857 -1927 Using his psuedonym 'Jos Klaus' which he used for his flower paintings Belgian painter who studied under Alfred Ven...