Paintings

Jim's of Lambertville Fine Art Gallery is proud to present this piece by Clarence Raymond Johnson (1894 - 1981). Clarence Johnson was an important New Hope School Impressionist painter who was active from 1917 until 1935. Born in Ohio, Johnson began his studies at the Columbus Art School. He then came to the Pennsylvania Academy of the Fine Arts where he studied under Daniel Garber, Emil Carlsen, and Cecilia Beaux...

Gabrielle Rainer Istvanffy was a Hungarian painter of animal paintings. Her chosen subjects were mostly dogs and cats and mostly white and off-white breeds. This piece is a very pretty and cute painting...

The following two paintings are being offered as a pair. Only one is signed the other is not. Both early New Mexico Paintings with beautiful heavy i...

A Beautiful 1920s autumn themed painting, featuring pumpkins, haystacks & a farmer by notable artist Joseph Tomanek. The painting bears its original frame. Image size: 25" x 30". ...

Oil on canvas. Condition is very good. Signed lower left. Inscribed Paris and dated 1904. Overall with gold leaf over wood frame frame 28 1/2 x 34 1/2 inches. There is a second f...

BELA KADAR 1877-1956 Budapest 1877-1956 (Hungarian) Title: Village Horse and Rider, circa 1920s Technique: Hand Signed Gouache on Thin Wove Paper Paper size: 50 x 70 cm. / 19.7 x...

(Note: This work is part of our exhibition Connected by Creativity: WPA Era Works from the Collection of Leata and Edward Beatty Rowan) Oil on panel, 14 ½ x 18 inches unframed, 22 x 25 ½ inches framed, inscribed “painted by David McCosh Property of Edward b. Rowan” and numbered “8” verso Exhibited: The First Exhibit of the Iowa Artist...

Landscape with figures in a cottage signed by W.Greaves oil on canvas, framed dated 1909 framed: 10 x 19 inches canvas: 9 x 18 inches provenance: private collection, UK condition: ve...

The Belle Epoque Lady French School, signed and dated 1907 oil painting on canvas: 24 x 19.5 inches antique original gilt frame: 29 x 24 inches condition:...

Antique impressionsit oil painting of a cityscape. Oil on canvas, circa 1925. Signed. Displayed in a period frame. Image, 18"L x 22"H.

🟢☀️Still Life Red Converse shoes☀️🟢 Converse Chuck Taylor All Stars as an iconic imagery from Pop Culture. ⭐Technique⭐: oils, acrylics and ink on old book pages, mounted on a woo...

Oil on canvas by Laure Stella BRUNI, France, 1926. Landscape of Drome. with frame: 109x90x8 cm - 42.9x35.4x3.15 inches ; without frame: 92x73 cm - 36.2x28.75 inches. 30F format. Sign...

SALVADOR SÁNCHEZ BARBUDO Spanish, 1857 - 1917 THE CARDINAL'S VISIT signed, located and dated "Barbudo / ROMA 1902" (lower right) oil on canvas 22 x 33-2/3 inches (55.5 x 85.5 cm.) framed: 36-1/2 x 48-1/4 inches (92.5 x 122.5 cm.) PROVENANCE Private Collection, Munich LITERATURE Visita con el cardenal combines the two most salient characteristics of Sánchez-Barbudo's work: the search for novelty of theme and narrative content, and the use of minutely detailed brushwork and luminosity. Sánchez-Barbudo specialised in elaborate 'costume pictures', delighting the viewer with impressive details finely rendered with dazzling technical virtuosity. Here, Sánchez-Barbudo depicts a well-to-do bourgeois family receiving a cardinal in their home. The interior, sumptuously furnished in the rococo style, along with the rich costumes and fabrics, are beautifully observed. Yet beyond the high technique lavished upon the composition, the treatment is comic and full of character and suffused with a gently satirising anti-clericalism. The cardinal, far from getting the attention he expects, is, literally, sidelined, his expression and body language showing his pique. There is no doubt that contemporary collectors and spectators took pleasure in the sight of noble self-respecting figureheads of the church being brought back down to earth. The comedy was appealing, and the message suited the prevailing political mood of an increasingly secular middle-class buying public. Salvador Sánchez Barbudo was born on March 14, 1857 in Jerez de la Frontera (Cádiz). He was one of the most important Spanish artists of the "casacón" genre, who followed the Fortuny tradition in Rome. During his childhood he was under the protection of the Marquis del Castillo and in 1875 he moved to Seville where he attended the School of Fine Arts, becoming a disciple of José Villegas...

Oil Painting by Josiah Clinton Jones "In the Conway Valley"

Incredible and rare early American impressionist cityscape painting by Alice Y. Hirsh (1888 - 1935). Oil on canvas, lain to board. Framed. Signed. Image size, 8L x 10H.

Antique American watercolor painting, Bucolic Farm scene by Frank F. English (1854 - 1922), Bucks County, Pennsylvania, Circa 1910. A very attractive painting by the celebrated Pennsylvania artist Frank F. English, the location is in Point Pleasant, Bucks County, Pennsylvania. The painting depicts a scene of blue skies with two farmers tossing hay with pitchforks & two horses harnessed to a hay wagon, with barns to the background. The painting signed lower right " Frank F. English", condition is excellent and is ready to hang on your wall. Frank F. English was born in Louisville Kentucky in 1854. In the early 1880s, he studied for five years in the evening classes of the Pennsylvania Academy of the Fine Arts. His instructors included Thomas Eakins, James P. Kelly and Thomas Anshutz. However, English's reputation primarily rests with his outstanding facility as a watercolorist; most of his known paintings are executed in this medium. English's propensity for its use coincides, appropriately enough, with the watercolor's growing popularity among other American painters. The American Water Color Society brought the medium special prominence by the late 1860s, and acceptance on the level of oil painting in 1876. That same year, the society was invited to display its works at the Philadelphia Centennial Exposition. Its members exhibited 116 watercolors, and their public exposure was enormous. It is safe to assume that during the 159-day Centennial, Frank English was among the nearly 10 million exposition attendees, surpassing attendance records at all preceding world's fairs. At age twenty-two, English, traveled to Philadelphia to see works by the Society's notables such as Samuel Colman, R. Swain Gifford, Louis Comfort Tiffany, Albert Fitch...

Stunning pointillist landscape oil on panel by French neo-impressionist painter Achille Lauge. The work depicts a path leading to the small village of Belveze du Razes in the South of France on a bright spring day. To the left are white blossom trees in bloom and the houses of the village can be seen in the distance. Signature: Signed and dated 1909 lower left Dimensions: Framed: 28"x36" Unframed: 21"x29" Provenance: We kindly thank Mme. Nicole Tamburini for allowing us to state that the work is included in the Catalogue Raisonne of the artist which she is currently preparing. A certificate of authenticity from Mme. Tamburini is available upon request. Achille Laugé...

The Port of San Tropez Oil on canvas, c. 1920 Signed lower right corner (see photo) Condition: Excellent, professionally cleaned Image/Canvas size: 25 3/4 x 32 inches Frame size: 30...

Signed by Artist Lower Right Maxwell House Coffee

This illustration was created for the Hills Brothers Coffee company in 1929 and was used on promotional products as well as coffee cans in the ye...

Signed by Artist in Lower Right The Saturday Evening Post, April 14, 1928, cover illustration Literature: Arthur Leighton Guptill, Norman Rockwell, Illustrator, New York, 1970, p....

Walter Launt Palmer is best known as “the painter of the American Winter.” In Bars of Light, the cool areas of shade haphazardly crisscross and then blanket the warm sunlight on the ...

Wayman Adams The Courtship, circa 1920 Signed upper right; titled on the reverse Oil on board 16 x 12 inches Adams was born on a farm in rural Indiana near Muncie. His father, a horse farmer and amateur artist, encouraged the younger Adams’ interest in art. At age twenty-one, Adams moved to Indianapolis to attend the John Herron Art Institute. There, he began to paint portraits. He took two trips to Europe, the first in 1910 when he traveled to Italy with William Merritt Chase. Two years later, he accompanied Robert Henri to Spain where he met fellow artist Margaret Boroughs, whom he married six years later. In 1914, Adams painted a series of portraits for the city hospital in Indianapolis. He was to paint children whose families had been in the United States for generations and also children of immigrants to represent the various nationalities of which the city was composed. It was considered to be one of the most ambitious public art projects in Indiana’s history. Originally, twenty-four portraits were to be done; while some are now missing, they were all initially installed in the pediatric ward of the hospital. After painting a portrait of author...

Marine painter Warren W. Sheppard was born in Greenwich, New Jersey, to a ship captain father who instilled in his son a love and respect for the sea. He studied privately with Mauritz F. H. De Haas and took courses in drawing at Cooper Union in New York City. He traveled along the Mediterranean coast in 1879, sketching the ports of Naples, Gibraltar, Genoa and Messina. Sheppard’s foreign tours continued between 1888 and 1893, with stays in Paris and Venice, where he captured the architecture and busy canals of the Floating City. This fondness for travel also translated to his home country. He sailed along the East Coast from New Jersey to Maine in search of subjects and was an expert navigator, eventually writing the book Practical Navigation. Yacht design became a second career for Sheppard and he participated in a number of sailing competitions himself, most notably winning the New York-to-Bermuda race twice while skipper of the Tamerlane. Sheppard exhibited at the Denver Exposition, Chicago Exposition...

Lionel Birch was a landscape and animal painter from the turn of the 19th to 20th century. He traveled throughout Europe painting and for a while lived in Florence Italy. Most of his...

*PLEASE NOTE UK BUYERS WILL ONLY PAY 5% VAT ON THIS PURCHASE. once an order is placed we will arrange the VAT of 20% to be reduced to 5% Petite maison au bord de l'eau by Auguste H...

Fauvist oil on board landscape circa 1905 by British painter Robert Polhill Bevan. The piece depicts a view of farm in Sussex. The red-roofed farmhouses are nestled between lush gree...

Robert Charles Watson (British, 1857-1923) Beautifully executed highlands landscape w/cattle Oil on canvas mounted on Masonite Signed and dated lower right; 1900 Painting: 7 3/4"...

Impressive early American modernist portrait oil painting. Nicely framed. Oil on canvas. . Image size, 30H by 25L.

This superb British Edwardian Impressionist portrait oil painting is by noted portrait artist James Jebusa Shannon. Painted circa 1906, oil on panel and part of a family collection, it is a half length portrait of a blond lady in lace which is depicted with bold, free brushwork. This is a stunning Edwardian portrait by a much sought after artist, housed in a superb period gilded oak frame. Provenance. Family collection. Condition. Large oil on panel, 30 inches by 20 inches unframed and in fine gallery condition. Housed in a stunning gilded oak frame of the period, 40 inches by 30 inches framed and in good condition. Sir James Jebusa Shannon RA (1862–1923) was an Anglo-American artist. Shannon was born in Auburn, New York...

Spring Scattering Stars is a 1927 Neoclassical painting by American artist Edwin Blashfield. It depicts a nude female allegory of spring on a w...

Important and rare American modernist Samoan Island landscape oil painting by Louis Michel Eilshemius (1864 - 1941). Oil on board. Signed. Framed. Measuring 12 by 14 inches overall a...

Oil on canvas glued to board. Oil measures 25x40 cm. Frameless. Illegible signature.

Walpi Hopi Village, Arizona First Mesa Landscape by Marion Kavanaugh Wachtel. Significant southwestern painting of Hopi at Walpi Mesa in Arizona...

Herbert Rothgaengel was a well known German artist who paunted female nude The painting we have for sale is a wonderful 1920’s example by the artist house in a Newcomb Macklin frame...

Artist Edward Cucuel and his wife Clara Lotte von Marcard spent their first two decades together in Germany, mostly in a villa on Lake Ammersee in Holzhausen near Munich. It is the works created in this period, mainly outdoor scenes of young women in fashionable attire of the day, that are most collected and appreciated among his works. It’s easy to see why- they capture an elegance and sense of calm and easy leisure- of long days in gardens or by the water.  This is one of those captured moments with a well-dressed woman watching the sailing yacht...

This painting is part of our exhibition American Coast to Coast: Artists of the 1930s Subway Construction, c. 1928, oil on board, 19 x 15 ¾ inches, signed upper left, artist and title verso; exhibited: 1) 12th Annual Exhibition of the Society of Independent Artists, The Waldorf Astoria, New York NY, from March 9 to April 1, 1928, no. 864 (original price $250) (see Death Prevailing Theme of Artists in Weird Exhibits, The Gazette (Montreal, Quebec, Canada), March 8, 1928); 2) Boston Tercentenary Exhibition Fine Arts and Crafts Exhibition, Horticultural Hall, Boston MA, July, 1930, no. 108 (honorable mention - noted verso); 3) 38th Annual Exhibition of American Art, Cincinnati Art Museum, Cincinnati, OH, June, 1931 (see Alexander, Mary, The Week in Art Circles, The Cincinnati Enquirer, June 7, 1931); and 4) National Art Week Exhibition [Group Show], Montross Gallery, New York, New York, December, 1940 (see Devree, Howard, Brief Comment on Some Recently Opened Exhibitions in the Galleries, The New York Times, December 1, 1940) About the Painting Ernest Stock’s Subway Construction depicts the excavation of New York’s 8th Avenue line, which was the first completed section of the city-operated Independent Subway System (IND). The groundbreaking ceremony was in 1925, but the line did not open until 1932, placing Stock’s painting in the middle of the construction effort. The 8th Avenue line was primarily constructed using the “cut and cover” method in which the streets above the line were dug up, infrastructure was built from the surface level down, the resulting holes were filled, and the streets reconstructed. While many artists of the 1920s were fascinated with the upward thrust of New York’s exploding skyline as architects and developers sought to erect ever higher buildings, Stock turned his attention to the engineering marvels which were taking place below ground. In Subway Construction, Stock depicts workers removing the earth beneath the street and building scaffolding and other support structures to allow concrete to be poured. Light and shadow fall across the x-shaped grid pattern formed by the wooden beams and planks. It is no surprise that critics reviewing the painting commented on Stock’s use of an “interesting pattern” to form a painting that is “clever and well designed.” About the Artist Ernest Richard Stock was an award-winning painter, print maker, muralist, and commercial artist. He was born in Bristol, England and was educated at the prestigious Bristol Grammar School. During World War I, Stock joined the British Royal Air Flying Corps in Canada and served in France as a pilot where he was wounded. After the war, he immigrated to the United States and joined the firm of Mack, Jenny, and Tyler, where he further honed his architectural and decorative painting skills. During the 1920s, Stock often traveled back and forth between the US and Europe. He was twice married, including to the American author, Katherine Anne Porter. Starting in the mid-1920s, Stock began to exhibit his artwork professionally, including at London’s Beaux Arts Gallery, the Society of Independent Artists, the Salons of America, the Cincinnati Art Museum, the Whitney Studio and various locations in the Northeast. Critics often praised the strong design sensibility in Stock’s paintings. Stock was a commercial illustrator for a handful of published books and during World War II, he worked in the Stratford Connecticut...

DANIEL HERNÁNDEZ Peruvian, 1856 - 1932 FAR AWAY THOUGHTS signed "Daniel Hernandez" (lower right) oil on canvas 27-1/2 x 19-1/4 inches (70 x 49 cm.) framed: 39-3/8 x 31-1/8 inches (100 x 79 cm.) Daniel Hernández Morillo...

'Brume Sur La Seine (Mist On The Seine)' Raymond Thibesart (France, 1874-1968) Circa 1920s Pastel on Paper 12.6 x 9.5 (16 3/4 x 13 3/4 frame) inches Signed lower left Raymond Thibesart was born into an affluent family on May 2nd, 1874. As a small child, Thibesart’s family moved to a suburb of Paris where the very young artist found a wealth of teachers and inspiration to pull from. Thibesart showed such proclivity for drawing at an early age, and had enough talent that famed impressionist Emile Boggio began giving him lessons when he was just 11 years old. Eventually, Thibesart began formal training at the Lycee Rollin in Paris, followed by studies at L’Ecole des Beaux-Arts and the Academie Julian. While working in Symbolism, Thibesart became a student of the Impressionist and Post-Impressionist art movements of his native France and began winning numerous medals in France, including the gold medal from the Societe des Artistes Francais in 1897. Thibesart then began his studies with the famed Impressionist Henri Martin for much of his early life. From Martin, he learned the technique of “plein air" painting who as a master of the discipline. Proficiency of this technique and its aesthetic, freed up the young artist, allowing him the ability to create amazingly beautiful light and shadow splayed across his trademark subjects which frequently included the landscapes of Italy...

Le Jardin de Lagny Provenance: Arthur Tooth, London Radon Gallery, NY This beautiful evocation of a lyrical French landscape is a fine example of of Po...

Frank Luis Jirouch (American, 1878-1970) Return to the Stables, Gates Mills, Ohio, c. 1925-30 Oil on canvas board Signed lower right 14 in. h. x 16 in. w....

Signed oil on panel impressionist seascape circa 1920 by Paul Emile Lecomte. The work depicts the entrance to a busy port as the sun begins to set. The dying light is illuminating th...

Joaquin Terruella Matilla (1891-1957) - Parrot - Oil cardboard Oil measures 14x10 cm. Frame measures 25x20 cm. Joaquim Terruella Matilla (1891 - 1957) Joaquim Terruella Matilla, ne...

Wonderful early 20th century impressionist landscape of Los Altos, California prior to Silicon Valley, circa 1900, by an unknown artist (American, 19th-20th ...

This evocative winter landscape by Oscar Lycke captures the quiet poetry of northern Sweden. A frost-laden weeping birch dominates the foreground, its delicate branches shimmering in...

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...

Portrait of a Pekingese dog, oil painting on canvas by A. Schrotter 20th c. History of the Pekingese do breed : The Pekingese (also known as the Lion Dog, Peking Lion Dog, Pelchie Dog, or Peke) is an ancient breed of toy dog, originating in China. They are called Lion Dogs due to their resemblance to Chinese guardian lions (the Shih Tzu is also known as a Lion Dog in Chinese).The breed was favored by royalty of the Chinese Imperial court as both a lap dog...

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...

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...

"In Glacier Park," an original oil painting by renowned artist Nellie Augusta Knopf, captures the serene beauty of Glacier National Park in Montana. This stunning piece depicts a pea...

A stunning portrait oil painting of Violet Ann Gilbert which was painted by James Peter Quinn in 1929 and was exhibited at The Paris Salon of that year. A beautiful portrait of a young woman from the nineteen twenties. In excellent condition and framed in the original period frame. This is a fine painting by a noted listed artist and a great example of an early 20th century portrait painting. Signed lower left. Provenance. Exhibited at the Paris Salon 1929, labels verso. Condition. Oil on canvas in excellent condition, image size 40 inches by 30 inches. Housed in its original gallery frame, framed size is 47 by 37 inches. Excellent condition. James Peter Quinn (1869-1951) was born on 4 December 1869 at 60 Bourke Street, Melbourne, third son of John Quinn, restaurant-keeper born in Antigua, West Indies, and his English wife Ann, née Long. Little is known of Quinn's childhood and early education; both parents died when he was young. His guardians apprenticed him to an engraver, but he undertook part-time studies at the school of design, National Gallery of Victoria, under Frederick McCubbin in 1887-89, and at the school of painting under George Folingsby and Bernard Hall in 1890-93. Awarded several student prizes, he won the gallery's travelling scholarship in 1893. Quinn went to London in 1894 but quickly left for Paris where he studied at the Académie Julian, at the Académie des Beaux-Arts under Jean Paul Laurens, and with Colarossi and Delécluse. He returned to London about 1902 and married fellow art-student Blanche Louise Guernier there on 29 September. By 1904 he had exhibited with the Royal Academy of Arts and went on to establish a reputation as a highly successful portrait painter. His finest and most sensitive work was produced before 1910. His family were the subjects of many paintings, including 'Mère et Fils', awarded an honourable mention at the Old Salon, Paris, in 1912. He also painted many self-portraits. His many commissioned works included portraits of Joseph Chamberlain, the Duchess of York and, later, the Duke of Windsor. In 1918-19 he was an official war artist with the Australian Imperial Force in France, and exhibited war paintings at the Grafton Galleries, London. In 1919, with George Coates, he was an official artist to the Canadian War Records. He was a council-member of the London Portrait Society, and a member of the Royal Society of Portrait Painters and the Royal Institute of Oil Painters, exhibiting regularly with them and the Royal Academy, and in Paris with the Old and New salons. Quinn's sudden return to Australia in December 1935, alone, followed the death of his gifted artist-son René. He held exhibitions at the Fine Art Society's Gallery, Melbourne, in 1936 and the Royal South Australian Society of Arts Gallery the next year. Quinn ostensibly returned as an acclaimed artist, was invited to rejoin the Victorian Artists' Society he had joined first in 1888, and was its president (but for one year) in 1937-50. Yet a coolness existed. Though he had little in common with the modernist painters of the period, his commitment to a tolerant brotherhood of artists found no allies among the aggressively conservative old guard. In 1937 he clashed publicly with (Sir) Robert Menzies who in opening a V.A.S. exhibition denigrated modern art. In spite of the affection felt for him by many artists and students, Quinn was somewhat isolated. He continued to exhibit, winning the Crouch prize, Ballarat Fine Art Gallery, in 1941. In the mid-1940s he taught briefly at the National Gallery school. A lover of good food, wine and conversation, Quinn delighted in mixing with all classes. Frequenting the haunts of journalists, writers and the more Bohemian fringe, he was easily recognizable with his bow tie, grey curly hair and cigarette dangling from the corner of his mouth. Survived by one son, he died of cancer on 18 February 1951 at Prahran and was buried in St Kilda cemetery. His war portraits are held by the Australian War...

This striking British Edwardian portrait oil painting is by artist Shirley Slocombe. He painted it in 1901 and it is signed and dated lower right. The composition is a bust length po...

Medium: Oil on Canvas Signature: Signed Lower Left Sight Size 22.00" x 15.50", Framed 31.00" x 24.00" Success Magazine Cover, The Success Company, Ne...

You Got to be a Football Hero to Get Along with a Beautiful Girl. Masterfully composed and dynamic illustration that show a player getting punched in the jaw. During this period, there were no face...

Signed lower right, 'André Prévot-Valéri' (French, 1890-1959) and painted circa 1920. André Prévot-Valéri was the son of the landscape painter, August Pr...

Early 20th-century English oil painting with the subject taken from one of Robert Bloomfield's poems, The Farmers Boy. "E'en Sober Dobbin lifts his clumsy heel, and kicks, disdainful of the dirty wheel Edward Algernon Stuart Douglas...

Rivière Saulaie à Lyons-la-Forêt, Eure by Paulémile Pissarro (1884-1972) Oil on canvas 60 x 73 cm (23 ⁵/₈ x 28 ³/₄ inches) Signed lower left, Paulémile - Pissarro. Signed and titled...

Antique American impressionist seascape signed oil painting. Oil on canvas. Signed. Framed. Image size, 14L x 11H.