Paintings

Elliot Seabrooke was well travelled and very much a follower of Cezanne initially and then later much interested in the pointillism of Seurat. Seabrooke studied at the Slade under t...

Anthony Thieme, Netherlands (1888-1954). Titled: 'Mackerel Fleet' oil on canvas, Circa 1930 Signed lower right A, Thieme and on verso Anthony Thieme / 1803B Mackerel Fleet. Mounted ...

Oil on oak panel Image size: 25 1/2 x 19 inches (37.5 x 27 inches) 18th Century Auricular gilt frame Provenance New York private collection This portrait of the King Edward VI dep...

The Trading Port Italian artist, circa 1720's period circle of Michele Marieschi (Italian 1696-1744) oil on canvas, unframed canvas: 21 x 30 inches provenance: private collection, UK...

Swans Startled by Dog Flemish Old Master, 18th century oil on bevelled wood panel, framed framed: 14.5 x 17 inches panel: 10 x 13 inches provenance: private collection, UK condition:...

Original "cassetta" frame in carved and gilded wood. Expertise by Prof. Giancarlo Sestieri.

Signed and dated "Vytlacil 32" lower right Provenance: Estate of the artist #1584; Martin Diamond Fine Art Exhibitions: 1990 Graham Gallery, NYC (label verso) About this artist: B...

Paolo Paoletti (Padua, 1671 - Udine, 1735) Still life with fruits on a shelf Oil on canvas, 53.5 x 81 cm Expert opinion Dr. Gianluca Bocchi The still life under consideration can...

Aaron Bohrod, 1907-1992 Barbecue Stand, circa 1935 Gouache on board Signed Lower left: “Aaron Bohrod” Inscribed and signed on verso Bohrod-1 Provenance: Private estate, Rhode Island...

The Prayer, 19th Century after JOSHUA REYNOLDS (1723-1792) Large 18th Century English School portrait of a girl at prayer, oll on canvas attributed to Joshua Reynolds, Excellent qu...

Portrait Of A Spanish Marquess, 18th Century attributed to Louis-Michel VAN LOO (1707-1771) Large 18th European portrait of a Spanish Marquees / Noble at a bureaux signing a docum...

Westminster From The South, 18th Century by Joseph FARINGTON (1747-1821) similar to $45,000 Fine large 18th Century London view of Westminster fr...

Oil on canvas Image size: 10 3/4 x 7 3/4 inches (27.25 x 19.5cm) Handmade William Kent frame This quickly created oil sketch is a study for a larger work, its purpose being to aid the artist and give the client a visual representation of the final piece. The subject is a young gentleman in a colourful pink and white outfit. He also wears a powdered wig and bears a decorative sword...

SPANISH SCHOOL 18th CENTURY STILL LIFE WITH WALNUTS, MELON, GRAPES AND ORANGE unsigned oil on canvas 15-3/4 x 21 inches (40 x 53 cm.) framed: 24-1/2 x 28-3/4 inches (62 x 72.5 cm.) ...

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

This interesting grisaille […] of a high standard of quality and in an excellent state of conservation, represents an interesting derivation with slight variations from an engraving,...

Attributed to Gainsborough Dupont (1754 - 1797, British) Portrait of Owen Ormsby, bust-length, in a brown coat, with slightly later inscription identifying the sitter oil on canvas 2...

Medium: Oil on Board Signature: Signed Lower Right Maclean's Magazine Cover, September 15th, 1930

Portrait Of A Rooster With Adorned Feathers, 18th Century Circle of John Nost SARTORIUS (1759-1830) Large 18th century English study of a rooster in a farmyard, oil on canvas. Supe...

Beautifully rendered in Krolls signature academic style. Unframed - Signed lower right, unframed

Jim’s of Lambertville is proud to offer this artwork by: Bror Julius Olsson “B.J.O.” Nordfeldt (1878 – 1955) Bror Julius Olsson was born in Tullstrop, Sweden in 1878. He immigrated to the United States in 1891, later adopting his mother’s maiden name of Nordfeldt. Beginning his art studies at the Art Institute of Chicago where he was chosen to assist fellow artist, Albert Herter, with a large mural project for the McCormick Harvester Company. In 1900, he was sent to Paris by McCormick to help set up the completed mural at the Paris Exposition. While there, he studied briefly at the Academie Julian before traveling to England to study woodblock printmaking under F. Morley Fletcher. Returning to Chicago in 1903, Nordfeldt would spend the next ten years painting mainly figurative works in an academic style similar to that of the Old Masters. By the mid-teens he had developed a bold dramatic modernist style and divided his time between New York and Provincetown, Massachusetts. There, he invented the “Provincetown Print...

Sir Nathaniel Dance-Holland (1750-1811) was an English portrait painter and one of the founding members of the Royal Academy in 1768. Justly celebrated in his lifetime he won several...

Medium: Oil on Canvas Signature: Signed Twice and Dated Lower Left: Harvey / Dunn 1932 Harvey Dunn's Dawn, Dawn, Dawn is a truly exceptional illustration that captures a key moment of American History. In the present work, Dunn skillfully depicts colonial soldiers...

Date: 1932 Medium: Oil on Canvas Dimensions: 18.00" x 20.00" Signature: Signed Lower Right A New Year's themed cover painting by Leslie Thrasher for the January 9, 1932 edition of L...

Vittore Ghislandi, called Fra Galgario Provenance: Robert L. and Bertina Suida Manning, New York, ca. 1966-1996 Private Collection, USA Exhibited: “Eighteenth Century European Pai...

Medium: Oil on Canvas Signature: Signed Lower Right Revere F. Wistehuff was one of the central group of cover artists in the New Rochelle Art Colony in the 1920's, '30s, '40s which ...

Gershon Benjamin (1899-1985) An American Modernist of portraits, landscapes, still lives, and the urban scene, Gershon Benjamin sustained an active career for over seven decades. D...

Medium: Oil on Canvas Signature: Signed Lower Right Cover Illustration for ''Motor'' Magazine, February 1931 Depicting a Duryea Automobile Driving by a Blacksmith Shop

Thomas Smith of Derby Matlock High-Torr Landscape Oil on canvas 27 x 34.5 inches unframed 34 x 41.5 inches including frame Thomas Smith of Derby (died 12 September 1767) was an Engl...

Daniel Content painted in the grand tradition of the Golden Age of Illustration, in the style of Dean Cornwell, N.C. Wyeth, J.C Leyendecker ...

Jim’s of Lambertville is proud to offer this artwork by: Arthur B. Carles (1882-1952) Born in Philadelphia, Pennsylvania, Arthur Carles was a painter whose work went through phases...

Medium: Oil on Canvas Signature: Signed Lower Left

Signed and Dated Lower Left The Saturday Evening Post cover, May 23, 1936

Medium: Oil on Canvas Signature: Signed Lower Center August 8, 1931 Saturday Evening Post Cover

Medium: Oil on Canvas Signature: Signed Lower Left Possibly illustrated for Glamour of Fashion Magazine

This illustration appeared in Herman Melville's novel, Moby Dick, John C Winston, 1931. Signed & Dated Lower Center

Medium: Oil on Board Dimensions: 27.00" x 21.50" Signature: Signed Lower Right Date: 1930s Probable magazine cover, 1930-1935.

Date: 1930 Medium: Oil on Canvasboard Dimensions: 27.00" x 21.00" Signature: Signed Lower Right Cover for Turf and Sport Digest, probably late 1930s

Medium: Oil Painting Signature: Signed Lower Left

Medium: Watercolor & Acrylic on Board Signature: Signed May 20, 1939 Saturday Evening Post Cover John LaGatta - Women on a Rainy Day Painting Original Art (c. 1940). LaGatta's work...

Date: 1931 Medium: Oil on Canvas Dimensions: 20.00" x 16.00" Signature: Signed Lower Right Liberty Magazine Cover, October 17, 1931

Signature: Signed Lower Left: Monte / Crews Cover of The Saturday Evening Post, January 11th, 1936

Date: May 31, 1934 Medium: Oil on Canvas Dimensions: 22.00" x 20.00" Signature: Signed Lower Right Cover of Rotarian Magazine, September 1934.

Medium: Oil on Canvas Laid on Panel Signature: Signed and Dated Lower Left: Chris. A. MacLellan - 34 Sight Size 30.00" x 24.80", Framed 37.00" x 32.00" The Saturday Evening Post cov...

Medium: Oil on Canvas Study for the November 22, 1930 cover illustration of The Saturday Evening Post.

Medium: Oil and Pencil on Canvas Laid Down on Board Study for the December 23rd, 1939 issue The Saturday Evening Post.

Medium: Oil on Canvas Sight Size 12.00" x 10.00", Framed 20.00" x 18.00" Signature: Signed Lower Left June 1933 Cappers Farmer Magazine Cover.

"The Great Man Comes to Take His Oath" Life Magazine Spread, July 4th, 1960, This epic narrative depicts the celebration of George Washington's inauguration, en route to Federal Hall...

Half Length Portrait of Mr. Robertson Sir. Henry Raeburn ( Scottish 1756 - 1823 ) Half Length Portrait of Mr. Robertson 29x 24 Purchased, J Leger & Son,...

Medium: Oil on Board Signature: Unsigned Edmund F. Ward estate stamp on verso

Simka Simkhovitch (Russian/American 1893 - 1949) This came with a small grouping from the artist's family, some were hand signed some were not. These were studies for larger paintings. This is a miniature watercolor and gouache vibrant, colorful bouquet of flowers in a vase. Simka Simkhovitch (Симха Файбусович Симхович) (aka Simka Faibusovich Simkhovich) (Novozybkov, Russia May 21, 1885 O.S./June 2, 1885 N.S.—Greenwich, Connecticut February 25, 1949) was a Ukrainian-Russian Jewish artist and immigrant to the United States. He painted theater scenery in his early career and then had several showings in galleries in New York City. Winning Works Progress Administration (WPA) commissions in the 1930s, he completed murals for the post offices in Jackson, Mississippi and Beaufort, North Carolina. His works are in the permanent collections of the Dallas Museum of Art, the National Museum of American Art and the Whitney Museum of American Art. Born outside Kyiv (Petrograd Ukraine) into a Jewish family who owned a small department store. During a severe case of measles when he was seven, Simcha Simchovitch sketched the views outside his window and decided to become an artist, over his father's objections. Beginning in 1905, he studied at the Grekov Odessa Art School and upon completion of his studies in 1911 received a recommendation to be admitted to the Imperial Academy of Arts. Though he enrolled to begin classes in architecture, painting, and sculpture at the Imperial Academy, he was dropped from the school roster in December because of the quota on the number of Jewish students and drafted into the army. Simchovitch served as a private in the 175th Infantry Regiment Baturyn [ru] until his demobilization in 1912. Re-enrolling in the Imperial Academy, he audited classes. Simka Simkhovitch exhibited paintings and sculptures in 1918 as part of an exhibition of Jewish artists and in 1919 placed 1st in the competition "The Great Russian Revolution" with a painting called "Russian Revolution" which was hung in the State Museum of Revolution. In 1922, Simkha Simkhovitch exhibited at the International Book Fair in Florence (Italian: Fiera Internazionale del Libro di Firenze). In 1924, Simkhovitch came to the United States to make illustrations for Soviet textbooks and decided to immigrate instead. Initially he supported himself by doing commercial art and a few portrait commissions. In 1927, he was hired to paint a screen for a scene in the play "The Command to Love" by Fritz Gottwald and Rudolph Lothar which was playing at the Longacre Theatre on Broadway. Art dealers began clamoring for the screen and Simkhovitch began a career as a screen painter for the theater. Catching the attention of the screenwriter, Ernest Pascal, he worked as an illustrator for Pascal, who then introduced him to gallery owner, Marie Sterner. Simkhovitch's works appeared at the Marie Sterner Gallery beginning with a 1927 exhibit and were repeated the following year. Simkhovitch had an exhibit in 1929 at Sterner's on circus paintings. In 1931, he held a showing of works at the Helen Hackett Gallery, in New York City and later that same year he was one of the featured artists of a special exhibit in San Francisco at the California Palace of the Legion of Honor in Lincoln Park. The exhibit was coordinated by Marie Sterner and included four watercolors, including one titled "Nudes". He is of the generation of Russian Soviet artists such as Isaac Pailes, Serge Charchoune, Marc Chagall, Chana Orloff, Isaac Ilyich Levitan, and Ossip Zadkine. In 1936, Simkhovitch was selected to complete the mural for the WPA Post office project in Jackson, Mississippi. The mural was hung in the post office and courthouse in 1938 depicted a plantation theme. Painted on the wall behind the judge’s bench, “Pursuits of Life in Mississippi”, a depiction of black workers engaged in manual labor amid scenes of white professionals and socialites, was eventually covered over in later years during renovations due to its stereotypical African American imagery. Simka painted what he thought was typical of Jackson. His impression of pre-civil rights Mississippi was evidently Greek Revival column houses, weeping willow trees, working class families, and the oppression of African Americans. He painted African American men picking cotton, while a white man took account of the harvest and a white judge advised a white family, calling it Pursuits of Life in Mississippi. Though clearly endorsed by the government and initially generally well-received, the mural soon raised concerns with locals as the climate toward racial segregation began to change. The main concern was whether depictions that show African Americans in subjugated societal roles should be featured in a courtroom. The following year, his painting "Holiday" won praise at an exhibition in Lincoln, Nebraska. In 1940, Simkhovitch's second WPA post office project was completed when four murals, "The Cape Lookout Lighthouse and the Orville W. Mail Boat", "The Wreck of the Crissie Wright", "Sand Ponies" and "Canada Geese" were installed in Beaufort, North Carolina. The works were commissioned in 1938 and did not generate the controversy that the Jackson mural had. The main mural is "The Wreck of the Crissie Wright" and depicts a shipwreck which had occurred in Beaufort in 1866. "The Cape Lookout Lighthouse and the Orville W. Mail Boat" depicted the lighthouse built in 1859 and the mail boat that was running mail during the time which Simkhovitch was there. The boat ran mail for the area until 1957. "Sand Ponies" shows the wild horses common to the North Carolina barrier islands and "Canada Geese" showed the importance of hunting and fishing in the area. All four murals were restored in the 1990s by Elisabeth Speight, daughter of two other WPA muralists, Francis Speight...

Pastel on paper The German-born American Abstractionist Carl Robert Holty became known for his biomorphic abstract forms as well as his geometric abstractions that he painted with a ...

This charming picture, which has been signed and dated: H. Pickering pinxt 1752 is a type favoured by the highly successful artist Henry Pickering. Pickering’s painting life, from 1...

Full Bloom Oil on canvass, 28 x 21 1/2 inches Signed lower right: Robert Hallowell Provenance: Estate of the artist Marbella Gallery, New York Illustrated in Ma...

Presented by Titan Fine Art, this elegant and beautiful portrait depicts Abigail Hay, Lady Dupplin, Countess of Kinnoull; it is an excellent example of English portraiture from the f...

Lucien-Victor Guirand de Scevola (1871-1950) A Bouquet of anemones Pastel on paper Signed upper left 44.5 x 36.5 cm Framed : 53.5 x 45.5 cm Lucien Victor Guirand de Scévola was ...

Style of Francesco Guardi (1712-1793) Venetian Canal Scenes, a pair -San Giorgio Maggiore from the Bacino di San Marco -Santa Maria della Salute from the Grand Canal Oils on canvas: 13 X 18 ¼ in. Frame: 18 ½ x 23 ½ in. Late 18th / early 19th century. Francesco Guardi was an Italian painter of veduta, nobleman, and a member of the Venetian School. He was born in Venice in 1712, the son of a minor painter, Domenico Guardi, and went on to become, after Canaletto, the main painter of views of Venice in the mid-18th century. His early figurative paintings were carried out in association with his brother, Gian Antonio, but in about 1760 Guardi turned to view painting, recording both the architecture of the city and the celebrations of its inhabitants in interior and exterior scenes. These works brought him great success. The earliest of these show the influence of Canaletto, but he gradually adopted a looser style characterized by spirited brush-strokes and freely imagined architecture. Gallery notes: This fabulous pair of Venetian scenes are a work by a highly talented but unknown artist painting...

WPA Landscape American Scene Social Realism Mid 20th Century Modern Farm Rural James McCracken (1875 – 1967) WPA Landscape 28 x 36 inches Oil on canvas, c. 1930s Signed lower right ...