Illustration Board Interior Paintings

Mid-Century Floral Still Life with Yellow and White Irises Gorgeous mid-century floral still life of a bouquet of Irises painted in 1959, by Pacific Grove and Santa Cruz, Californi...

This beautiful view of a Florentine courtyard was painted by A. Marrani, an artist who, in the late 19th Century, painted many views of the Tuscan city. The cortile (‘courtyard’) sho...

A stunning oil on canvas in the purest art deco style by French born Jean Hanau. It depicts a harlequin-in a tight chequered body suit. Athletically built, ...

Woman reading after Henri Matisse by Claire Ragueneau Impressionist seated woman reading a book after Henri Matisse by San Francisco artist Claire Ragueneau (American, 1901-1971). Cl...

Interior courtyard scene by Mary Scott (American, late 19th/early 20th C). Two large stone columns support an arch, framing the composition. Between the columns, some of the courtyard can be seen, including a tree and the edges of a grassy area. Across the courtyard, there is a small desk and chair...

Signed lower left 'Nura' for Nura Woodson Ulreich (American, 1899–1950). Additionally signed, verso, dated March 1928 with artist's New York City address and titled, 'When Guest Stay...

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...

Mid Century Floral Still-Life in Oil on Canvas-Wrapped Illustration Board Classic mid century floral still-life with impasto in warm, autumn colors by Frances Christensen American, ...

Mid Century Modern Portrait of Woman in Green Dress Original Oil Painting Evocative mid century modern portrait of woman in green dress by California artist Genevieve Rogers (America...

Skillfully executed courtyard scene by H. von der Planitz (german, 19th-20th cent ). Several trees cast dramatic shadows on the dirt floor of a courtyard, next to a colonnade that fr...

Medium: Gouache on Board Dimensions: 30.00" x 22.00" Signature: Signed Lower Right

This charming and exuberant posy of peonies immediately made me think of similar works by Marcel Dyf - but it is actually a work by the ultimate master of art deco...