Paint Paintings

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Born in Adelaide, Australia, Hayley Lever was known for his town-shore landscapes and still-life painting in a style that combined impressionism with vivid colors and strong lines of...

Jim’s of Lambertville is proud to offer this artwork. Signed lower left. Complemented by a hand carved and gilt frame. Illustrated in "Edward Redfield: Just Values and Fine Seeing" by Constance Kimmerle and the Pennsylvania Academy of the Fine Arts's Exhibition of Paintings by Edward Redfield (April 17 to May 16, 1909) brochure 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...

Date: 1908 Medium: Gouache on Three Illustration Boards Dimensions: 2.50" x 32.50"; Two at 12.50" x 9.75", Overall 12" x 53" Signature: Each Signed or Monogrammed Large group of cup...

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...

Artist: Santinetti, Italian (XIXth-XXth) Title: Sailboats in Venice Year: 1900 Medium: Oil on Canvas, signed Size: 14 in. x 30 in. (35.56 cm x 76.2 cm) Frame: 26.5 x 36 inches

Medium: Watercolor on Paper Laid to Board Signature: Signed and dated 'Harrison Fisher/ 1904' bottom right All Aboard the Ship 'Tabasco' Young fashionable w...

Approximate Date: 1902 Medium: Charcoal, Watercolor and Oil on Illustration Board Signature: Signed Lower Right Sight Size 23.50" x 15.50", Framed 31.50" x 23.00" Bed-Time, published...

Medium: Charcoal, Chalk and Gold Paint on Mid-Toned Paper Signature: Signed Lower Left Dimensions: 19.00" x 37.00" Henry VIII licensing Bible translation; Woman refusing to recant.“The Answer to Tyndal’s Prayer” and “The Martyrdom of Anne Askew” Preliminary study for mural: The Governor’s Reception Room, Pennsylvania State Capitol Building. Literature (related to the finished work): The Century magazine, June 1905; “The Holy Experiment” by Violet Oakley Carter: “The Red Rose Girls...

Titled lower right, 'Gorges of the Tarn' and painted circa 1905. American Master's Gallery label, verso, with artist's name, 'A. B. Davies' for Arthur Bowen Davies (American, 1862-1928). Formerly with Christie's Auction House. A delicate watercolor and wash landscape showing a view of the Gorges of the river Tarn in Languedoc-Roussillon. Born in Utica, New York, Arthur Davies attended the Chicago Academy of Design from 1879 to 1882. He furthered his studies at the Chicago Art Institute, before moving to New York City in 1885 where he studied at the Art Students League and Gotham Art Students League. In 1893, he made the first of many trips to Europe, visiting Holland, Paris, and London. He was an arch-exponent of Modernism and the central organizing figure of 1913's watershed Armory Show. Davies developed a style that combined visionary Symbolism with elements of Tonalism and Cubism. Who Was Who in American Art describes him as an “…important but enigmatic Modernist whose work was poetic, mysterious, and visionary”. Davies was the recipient of many gold medals and prizes and juried awards and his work is held in the permanent collections of museums nationwide, including New York’s Museum of Modern Art, the Art Institute of Chicago, the Baltimore Museum of Art and the Los Angeles County Museum of Art, among others. Reference: Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Peter Hastings Falk, Sound View Press 1999, Vol. 1, p. 835; Artists in California 1786-1940, Third Edition, Edan Milton Hughes: Crocker Art Museum, Sheridan Books 2002, Vol. 1, p. 280; Thieme-Becker Allgemeines Lexikon der Bildenden Künstler von der Antike bis zu Gengenwart, Ulrich Thieme and Felix Becker, Deutscher Taschenbuch Verlag 1992, Vol. 7/8, p. 470; E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Jacques Busse, 1999 Nouvelle Édition, Gründ 1911, Vol. 4, p. 293; Davenport’s Art Reference and Price Guide 2009/10 Edition, LTB Gordonsart, Inc. 2008, p. 672; et al. Additional biographical information follows, written by Catherine Southwick and Robert Torchia from the National Gallery of Art Online Editions: Arthur B. Davies’s mystical, mysterious paintings hearken back to 19th-century romanticism, even while Davies aligned himself with American artists advancing the most radical ideals of their day. Davies was born on September 26, 1862, in Utica, New York, the son of English and Welsh parents who had immigrated to the United States in 1856. He first took art lessons as a teenager from a local landscape painter, Dwight Williams...

Date: 1909 Medium: Oil on Canvas Dimensions: 26.00" x 22.00" Signature: Signed Lower Right PRICE ON REQUEST- The Saturday Evening Post Magazine Cover, December 10, 1909

Signed upper right Private Collection Luks was famous for painting people from impoverished slum areas. The work was most likely painted from life and portrays a youth haphazardly dressed. Luks describes the subject in quick rapid-fire brush...

Image of workers loading barrels in a train yard. Signed Lower Left. Arthur Burdett Frost was our best illustrator of rural America. He usually treated his characters with humor, and in his drawings there was a directness and honesty which showed his sympathetic understanding of his subjects. His sound draughtsmanship was combined with an intimate knowledge of nature. The details in his pictures are always very specific, as though drawn on the spot, and so artfully chosen and placed as to carry out the picture’s idea in a natural and entirely convincing manner. He may be best remembered now, however, for his charming illustrations for the Uncle Remus...

signed "A. Lepère" at lower left

Date: 1909 Medium: Oil on Board Dimensions: 30" x 20" Signature: Signed Lower Right Image of an elderly man in a gun shop. John Newton Howitt (1885-1958), a graduate of the ...

Approximate Date: Apr 23, 1903 Medium: Gouache on Board Signature: Signed Lower Right Dimensions: 22.50" x 15.50"

Signed lower right. A prominent landscape and marine painter, Jules Eugène Pages spent most of his career in France where he was a well-known Impressionist painter, but he mainta...

Medium: Mixed Media on Board Signature: Unsigned Date: 1900 Dimensions: 30.00" x 14.00"

Medium: Watercolor on Paper Laid to Board Signature: Signed Lower Left Saturday Evening Post Cover, June 20, 1908 Edward Penfield produced some of America’s finest posters. His clean style and large silhouetted shapes resulted from much careful preliminary refinement and elimination of detail. Horses and coaches were a favorite subject with him, as typified with his picture of the colonial Post Road. A notable series of his illustrations were contained in his book, Holland Sketches...

Signed lower right Sight size 10 x 14 inches Overall size with blue mat and walnut and gold liner frame 17.5 x 21.5 inches. Circa 1910

Antique American impressionist flower landscape oil painting by Edward S Annison. Oil on board, circa 1910. Signed. Image size, 9L x 12H. Housed i...

This early 20th-century oil painting by Danish artist Niels Frederik Schiøttz-Jensen (1855-1941) depicts a picturesque view of Lønstrup Beach, Jutland. From our viewpoint atop the c...

Antique French landscape by French artist, Henri Rovel (1849-1926) signed in the lower left and dated 1900 in its original gilt frame. This is an atmospheric Barbizon oil on canvas ...

Amazing late Victorian English mahogany bedroom screen set with six horse/polo pony portraits. George Paice was an English painter of horse,...

Signed lower right, 'Find' for Ludvig Find (Danish, 1869-1945) and painted circa 1900. Ludvig Find first attended Copenhagen's School of Fine Arts and Kroyer's school (1888) before studying with Zahrtmann (1900). In Florence and Venice, (1893-4), Find made a close study of the works of the Renaissance masters, particularly those of Piero della Francesca. In the 1890s, while visiting Brittany, Find was first introduced into the circle of Paul Gauguin and Paul Serusier and became influenced by the modernist ideas of the Nabis and the Pont Aven . His extended trips to Paris (1902, 1904), deepened his exposure to Modernism and the influence of artists such as Vuillard, Bonnard and Renoir becomes noticeable. Back in Denmark, this exposure to the ferment of new ideas had a renewing effect and his solo exhibition of 1906 drew critical appreciation. He was thus one of the Danish artists who, at the earliest point in the new century, forged a connection with contemporary French art...

Theo Van Rysselberghe Gent 1862-1926 Saint-Clair, Var Soleil couchant à Veere, 1906 Ondergaande zon te Veere Oil on canvas 60 x 73 cm. Signed and dated: lower left with monogram ‘0...

Antique American impressionist signed landscape oil painting. Oil on canvas. Signed. Framed.

Paul Cornoyer (American, 1864-1923) "Afternoon, Madison Square" (New York City) 1908 Oil on Canvas Signed/Titled Verso on Stretcher Bar Unframed: 22 x 27 inches Framed: 32.5 x 38 inches Exhibition Label Verso (Presumably Newhouse Galleries, St. Louis...

A stunning large oil on canvas circa 1900 by French painter Ferdinand Deconchy. The work depicts two seamstresses dressed in blue blouses and skirts...

Wonderful small-scale early 20th Century plein air landscape of pine trees on mountain crest. Signed and dated lower right corner "DAH 08" or "DRH 08." Condition: Good; linen relaid ...

Well painted late 19th-century Austro-Hungarian oil on canvas of two figures in a buggy, out for a ride. Both people are well dressed which makes me think they are of the upper classes and the artist was known to paint scenes of people of wealth in various compositions. Whilst little is known about the painter the style and composition of this piece are typical of some Central European painters who painted such subjects, always with great skill and detail. This is a particularly large example of one of these subjects. The artist has achieved the effect of motion very well. The painting is framed in a Vintage French frame.

Original oil on canvas painting by the Italian landscape painter, Yves Gianni. The artist has truly captured the beauty of light dappled Venice waterway. ...

Medium: Oil on Canvas Signature: Signed Lower Right

A simply beautiful French Impressionist School oil on canvas of an elegant woman wearing a white blouse and black skirt and hat seated in a chair reading. Her parasol rests against t...

Medium: Oil on Paper

Important work by one of the leading artists of the italian naturalism, influenced by Giovanni Fattori as well as the the Barbizon School in France. Provenience: Collection of the Qu...

Paul E. Harney, Jr. "Feeding Time" 1909 Oil on Wood Panel Signed and Dated Panel Size: approx 8 x 12 inches Framed Size: approx. 16 x 19 inches Paul Harney (1850-1915) Born in New ...

John George Brown "Lookey There!" 1905 Oil on Canvas Signed and Dated Lower Right Site: approx 24 x 17 inches Framed: approx 30 x 24 inches Born into a poor family in Durh...

Impressionist fall forest landscape by Catherine Watkins (1861-1947). Oil on board, circa 1910. Unsigned. Displayed in a period frame. Image size, 11"L x 8.5"H, overall...

Medium: Oil on Canvas Signature: Signed Lower Right Sight Size 28.00" x 24.00", Framed 30.00" x 27.00" Cover of Saturday Evening Post Magazine, October 31, 1908. Exhibitions: It's a Man's World, Illustration Art by and for Men: November 14-17 2012, Illustration House NYC The National Arts Club NYC Jan 6- 19 2013 Christie's New York, Illustrating America: Norman Rockwell and His Contemporaries, November 30, 2013- January, 2014 Joseph Christian Leyendecker was one of the most famous and prolific illustrators of his time and painted one less cover for The Saturday Evening Post than Norman Rockwell. He was the creator of the cherubic New Year’s Baby and the handsome Arrow Shirt Man who set the style for men’s fashion for decades. In addition to his beautiful men, women and children, Leyendecker’s covers and advertisements depicted subjects ranging from sports to war to politics. This 1908 Post cover shows a young newsboy holding pictures of William Howard Taft...

A captivating oil on canvas by popular and notable French artist Maximilien Luce depicting a beautifully painted landscape. Signed lower left. Maximilien Luce was a French Neo-Impre...