Oil Paintings

Abstract, oil on canvas. Subtle hues. Framed in natural wood. 2 inch deep. About the Artist: Nella was born, raised and educated in Italy in a family with a long heritage o...

Medium: Oil on Canvas Signature: Signed Lower Right Contact for exact dimensions.

Beer Belongs advertisement. The illustrations of Douglas Crockwell were often simply signed “Douglass” to avoid confusion with the signature of Norman Rockwell, particularly since their work was being published on the covers of The Saturday Evening Post during the same period. Necessary too, because Crockwell also worked very realistically, and like Rockwell, was particularly good with children. Their backgrounds, however, were entirely different. Crockwell was born in Chicago, Ohio, and took his degree in Science at Washington University, followed by study at the Academy of Fine Arts in Chicago and the St. Louis School of Fine Arts. He received his first commission for a cover for The Saturday Evening Post in 1933, and this was followed by many more, as well as work for other periodicals and a long list of national advertisers. During the ‘thirties, he also completed Post Office murals in Vermont, New York State and Mississippi, and began to work on experimental animated films. The films, and inventing a “pan-stereo” viewing...

"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...

Walkowitz creates a powerful composition with the tightly cropped nude figure pushed up-close to the viewer and occupying half of the picture plane. Smaller figures lead the eye back...

Jim’s of Lambertville is proud to offer this artwork. Signed and dated lower right. Complemented by a hand carved and gilt frame. Illustrated in "Alexander Farnham: Brought to Lig...

A California native, Peter Lodato began making work in the late 1960s as part of the West Coast-specific Light and Space movement. Aligned with the concerns of his contemporaries, Lo...

Signed lower left. Walter Beach Humphrey specialized in painting magazine covers and he eventually did work for almost all of them, beginning with small-circulation p...

Multiple Black Outline Bunnies, Blue

ADDISON THOMAS MILLAR American, 1850-1913 The Sword Merchant Signed Addison T Millar Oil on board 10 in x 8 in Framed: 18 in x 10 in

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...

Montgomery Clift and Admirers

Medium: Oil on Board Signature: Signed Lower Right Sight Size 15.00" x 13.00;" Framed 18.00" x 15.00" This painting was originally published on the Fleetwood First Day Cover for the U.S. 37c Flag Folding Fan...

Medium: Oil on Canvas

Medium: Oil on Canvas Dimensions: 29" x 20" Signature: Initialed Lower Left American Artist (20th Century)

An abstract acrylic on canvas painting by Luc Bernard. This abstract painting is executed in a soft rose background with lines of green, red and blue abstract shapes in the foregroun...

Medium: Oil on Canvas Signature: Signed Front of Canvas and Pencilled on Back Stretcher Possibly original magazine illustration for the Saturday Evening Post.

You meet the Spanish artist Alexandro Santana and you think, cripes, can he be for real? So handsome, so flamboyant, so seductive, so amusing -- you’re not sure whether it’s intentional or inadvertent. And then you discover he is the son of a notorious Dominican admiral, that the tyrannical dictator Trujillo was best man at his parents’ wedding, that his mother was a fabled high-society beauty, that he grew up on battleships and estancias before going, inevitably, to Brown. Even more surprisingly, Santana stayed in Providence for graduate studies at the Rhode Island School of Design, where he received his degree in architecture, soon plying his trade in Manhattan and his adopted city of Savannah, where he eventually set up his own firm. Astonishingly, in this era of CAD, he draws every detail entirely by hand. Considering his tweeds, his bow ties, his drawl and debonair dress, it is perhaps not surprising to learn that Santana’s architectural taste is strongly neo-classical, inspired by the vernacular Palladianism of antebellum Georgia, with of course a touch of the Postmodern. Santana’s detailed and decorous architectural plans for his clients are complemented by drawings created for solely for himself -- exotic imaginary cityscapes and urban fantasias, like the dreams of Sir John Soane channeled through Aldo Rossi or John Hejduk...

The Menthol Mood, 2009, Nancy Lamb, Oil on canvas, 48 x 85" Nancy Lamb (American, born 1956), sculptor and painter. Formally trained at Texas Christian Un...

In her “Balcony” series paintings, Lucía Rodríguez Pérez uses an same architectural mindset by constructing images of pillars and the surrounding sky by skillfully manipulating color to create the illusion of natural light. While architects and artists cannot manipulate natural light, she masterfully blends colors in her palette to create a complex yet subtle gradient that evokes the feeling of a sunset or sunrise. Each “Balcony” painting...

Signed upper right: Addams

Medium: Oil Board Dimensions: 40.00" x 25.50" Signature: Signed Lower Left Frank G. Slaughter 'Sword and Scalpel" Book Cover

Signed with initials upper left

Signed lower right: J Malzahn

Signed on verso: JMalzahn

Medium: Oil on Board Dimensions: 10.00" x 8.00" Signature: Signed Upper Left A still life image of wine and fruit (pitcher and fruit). There are two pictures.

Medium: Oil on Canvas Dimensions: 30.00" x 40.00" Signature: Signed Lower Left Image of young girl seated in chair reading a book.

oil on wood

Medium: Oil on Canvas Signature: Unsigned Sight Size 24.00" x 16.50;" Framed 31.75" x 24.75" "Universal Peace" by Hamilton Holt, August 1911. Cosmopolitan Magazine...

Contemporary impressionist. New

Always fascinated by the uncertainty of human perception, and the duplicitous nature of vision, which can be both revealing and deceitful, Lodato creates paintings that delve into th...

It’s 1963. I’ve quit my teaching job ($4,000 a year) at Fresno High to try working full time as a commercial artist. Got a new home (Trend Homes by Spano, $12,000). Decide my birthday party needs a bottle of red wine (about a half gallon of Gallo Chianti, the kind in a husk basket because I think it will look good with my books on their plank and cinderblock book case. I drive a couple blocks to Jackson Jones Liquor on the corner of Shields and West, park an old gray Chevy sedan I’ve named Moby, walk in, head straight for the wine display...

Georges Georoy Belgium, 1906–1983 Still Life aux Legumes et Poisson Oil on canvas 23 ¾ in. by 28 ¾ in. W/frame 31 ¾ in. by 36 ¾ in. Signed lower right In a period Heydenryk frame ...

Medium: Oil on Canvas Dimensions: 24.00" x 60.00" Signature: Signed Lower Left

"Jesus y Los Pescadores" by Alvar Sunol is an original oil on canvas painting and measures 59 x 59 inches. This painting incorporates Alvar's favorites drawing inspiration of mixing ...

American, b.1956 Scott Duce is an international artist working in New York. Duce’s work is included in many corporate, museum, and private collections. Notable collections include ...

American, b. 1948 My paintings are intuitive responses to the myriad forces that shape my life—emotions that translate into color, visual memories of forms and color relationships f...

Signed and dated (on verso): Diana Horowitz 2011

Frank Usher De Voll American, 1873-1941 East River, New York Winter (From Brooklyn Bridge) Oil on canvas 32 by 36 in. w/frame 41 by 45 in. Signe...

Harold Landaker (1892-1966) "April Showers" Charming Parisian scene with carousel & Eiffel Tower Oil on Massimo, 20 x 24 unframed

Oil on canvas

Signed lower right: J Malzahn

Donatella Violi was born in Ovada (AL), moved to Milan and subsequently to Reggio Emilia. As she was taking lessons at the Institute of Science, she wa...

A figurative abstract oil on canvas by contemporary artist Krisjanis Kaktins-Gorsline. "Dustr" is executed in deep pastel blues, rust, yellow, brown, peach and black and depicts an a...

The whaling ship, Essex, in calm seas. On the reverse, the artist writes that—for wind-powered sailing ships—a day with no wind was feared almost as a sto...

Alatza paints dynamic and energetic portraits of people, tongue-in-cheek scenes and vibrant still lifes. With forms contorted in a full-tilt, floor-to-ceiling, wall-to-wall assault,...

I believe a painting (story) must have an initial dramatic impact and at second glance should include tantalizing nuances of drawing (plotting) and gestures (conflict) to stay alive....

Shortly before Walt Esslinger died a few years ago, we talked in his small yellow painted studio in Bakersfield. Sixteen years my senior, he’d been my close friend, mentor and running mate since 1960. “You still writing?” he asked. “Yes,” I answered, taking in the space’s renovations he’d recently sub-contracted. Ninety one years old, and he was thinking ahead. “Do me a favor,” he said. “Write the Andy Warhol story.” Walt was a Central Valley guy, an L.A. guy, a Las Vegas guy. A man who knew his way around. “I want you to put on record what happened back then when I bought the soup can painting.” Back then was the fall of 1962. The two of us had been exhibiting our paintings in the L.A. Art Institute’s gallery for locals only. Walt had given legendary Ad Rhinehardt a story about how he and I had been working in both Edward Kienholz’s and John Altoon’s studios (false—we’d only been visiting). One morning, the Institute’s Director, who hadn’t suspected us to be charlatans yet, introduced us to a reed thin, tow headed young man leaning against the main gallery’s wall. “Meet Andy Warhola,” he said. “Andy is from New York.” “Warhol,” the boy/man said. “Painter?” Walt asked him. “Shoe Illustrator.” The director made a snorting noise I took to mean that Warhola or Warhol’s modesty was posed. He mentioned something about Andy having a show on the La Cienega strip of galleries. We exchanged mumbles about how the art world was in flux, nothing more than that, and Walt and I moved on. If this strange cat had anything to look at, we’d see it. It was a Monday, and La Cienega’s twenty some galleries would be opening new shows and serving champagne that evening. North La Cienega Avenue, laid over a network of oil veins decades before, had become the street for the Cool School, a group of artists and gallery people trying to bring Los Angeles’s art scene to life. The galleries were small but proud. Sure, Jazz was born on the Delta and raised in New Orleans, St, Luis and Chicago, but L.A. had fifty-three jazz joints according to Chet Baker, who’d blown with the best. Why then should the West Coast be lagging behind New York in the other truly American expression, abstract art? At the Ferus Gallery that night we found Warhol’s exhibit. “Shit,” I said. Walt grinned. “You no like?” “Not exactly my can of soup,” I said, peeking into the small space, loaded now wall to wall with paintings of Campbell’s Tomato Soup. Walt stepped into the space. “How about the idea of it?” I made my way through spectators looking at once to be confused, amused, enthused and abused. When I came back to Walt he was still smiling. “Why didn’t he silk screen ‘em?” I asked. “That’s probably his next move,” Walt said. “You wanna stay?” Walt’s keen eyes cased the joint. “I see Irving Bloom over there,” he said. “Believe I’ll stick around and talk with him.” Bloom had been operating this popular gallery for some time now. “One hundred a month,” he’d told me. “It’s not like I’m getting rich.” I stood around for a bit, heard a fellow abstract expressionist I’d met tell a young lady who looked to be lost, “Okay that’s the soup. Come with me, baby, and I’ll show you the juice.” Two doors down I stopped at the Primus-Stuart Gallery. A group of people had gathered around a display of soup cans, stacked grocer’s pyramid style in the window. All Campbell’s. All Tomato. A sign leaning against the grouping stated: “Get the real thing. Thirty cents each.” That’s the way it was. Twenty-four galleries forming a gauntlet between La Cienega’s 300 block, all the way up to Barney’s Beanery at the corner of Santa Monica. Hollywood types dressed to the nines, Beats dressed for the times just gone. Champagne popping...

The first time I heard the words “abstract expressionism” I was in New York, trying to grab another day of leave before the army shipped me overseas. At that time in 1952, while brow...

Curtis Ripley’s newest abstractions are sublime musings on expression itself. Concerned with capturing those phenomena which are most difficult to describe with words, Ripley’s paint...

This painting is a well-rendered view of the Schuykill River Valley of Philadelphia. It focuses on the Manayunk neighborhood and has great detail and presence. It is very likely a ...

Late 19th century still life of a beautiful floral bouquet by Elisabeth Von Wundt (German, b-1856) . Signed " Wund"; lower left. Artist's signature on verso. Presented in a giltwood ...

Signed lower right: Chauncey F Ryder

This painting is part of our exhibition America Coast to Coast: Artists of the 1940s. Untitled (Horns and Bow), 1941, oil on board, signed and dated lower right, 15 x 20 1/x inches...

This painting is part of our exhibition America Coast to Coast: Artists of the 1940s. Blue Lake, c. 1940s, oil on masonite, signed lower right, 20 x 36 inches, label and inscriptio...

Gwen Wong's work is both painterly and allegorical, caught somewhere in the middle between the representational painter and the narrator. "I am inspired by the idea of a childhood re...

John von Wicht (American, 1888-1970) Oil on Japanese Rice Paper. Hand signed and dated in pencil lower right. Sheet Size: 21 x 29.25 in. Johannes Von Wicht was born in Holstein, ...

Warrior and his Horse Greco-Roman Theme Original oil and Clay on Canvas Rendition of an ancient warrior and his horse by a unknown but prolific painter (Africa/USA 20th C.). Possibl...