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Vintage American Modernist Fruit Still Life Framed Cubist Oil Painting

1960

A striking oil on canvas still life rendered in a late Cubist idiom, this 1968 composition by V. Melo presents a disciplined yet expressive tabletop scene. The spatial relationships ...

Anita Johnson Untitled (Still Life with Pitcher and Basket of Fruit), c. 1950s Oil on canvas Framed dimensions: 30 in. H × 27 in. W Original vintage frame in silver gilt In Still Li...

Antique American modernist still life painting. Oil on canvas, circa 1950. Housed in a period frame. Image size, 31L x 23H.

Antique American modernist flower still life painting. Oil on canvas. Signed. In excellent original condition. Handsomely framed in a period silver leaf molding. Excellent condi...

Vintage original oil on board still life painting features a large open basket, filled with fruits, on a free-flowing draped white tablecloth. Mostly monochromatic, tone-on-tone bac...

A wonderful still life study of fruit on a table with various coloured glassware. Well presented in a gilt effect frame. Signed. On canvas on stretc...

Up for sale is a vintage original oil painting on canvas depicting Still Life Composition with fruits, and a blue vase. Overall an impressive-looking medium-sized painting that wil...

Fruit still life on board signed Timmons. Attributed to William Federick Timmons(1915-1985) . Rich colors of blue, red and pink make up this fruit still life composition. The composition consists of fruit in a pedestal bowl and the detailed drapes in the background. Custom framed. This item can parcel ship for $45. William Frederick Timmins was born May 23, 1915 in Chicago, Illinois. His father, Harry L. Timmins (1887-1963), was a celebrated magazine illustrator and co-owner with Frank H. Young (1888-1964) of a successful Chicago advertising agency called Young & Timmins Advertising Illustration Studios. In 1923 Timmins and Young co-founded the American Academy of Art in Chicago. His father's impressive career brought the family a prosperous and privileged lifestyle, which included pleasure trips to Paris and London. In 1934 he began to commute by Metro North train to New York City, where he studied at the Art Students League on West 57th Street. He also took classes at the National Academy of Design on Fifth Avenue near 89th Street. In 1935 he began to study at the Grand Central School of Art, located on the sky-lit top floor of Grand Central Station Terminal. This was the same station he used for his daily commute. In 1935 he began to sell pen and ink story illustrations as well as painted covers to NYC publishers of pulp magazines. During the second half of the 1930s his work appeared in Western Story, Dime Sports, Clues Detective Stories, Thrilling Western, and All Aces Magazine. He and his wife moved to a home on Spectacle Lane in Wilton, CT. This area of Connecticut had become a popular artist community. He socialized with several artist neighbors, such as Benjamin Kimberly Prins (1902-1980), Tom Lovell (1909-1997), Richard Lyon (1913-2002), Al Parker (1906-1985), Rolf Klep (1904-1981), R. G. Harris (1911-2007). During the 1940s his cover illustrations appeared on pulp magazines, such as The Shadow, Clues Detective Stories, Wild West Weekly, and Astounding Science Fiction. All these were published by Street & Smith. In 1944 the family moved to Darien, CT. At first the artist worked in a rented studio in nearby Norwalk, CT, but after a while he converted a vacant family room into an art studio and worked at home. After the war he drew story illustrations for Family Circle and Liberty Magazine. In 1948 his father, Harry L. Timmins, and his brother, Harry L. Timmins, Jr., moved to California to open a lithography business in Hollywood. During the 1950s he illustrated several books for children that were published by Rand McNally, such as Cowboys, Davy Crockett...