1930s Paintings

This superb British nude portrait oil painting is attributed to the circle of Harold Knight. Painted circa 1930, it is a seated study of a nude woman in soft focus, arms raised to on...

David Marcus Robinson 1918-1999, was an Irish painter and sculptor who worked in an elementary and archaic manner. He was known as Markey Robinson, bor...

Signed upper right, 'V. Isbrand' for Victor Isbrand (Danish, 1897-1989) and painted circa 1935. Framed dimensions: 24 H x 1.5 D x 28.5 W inches. A vibrant Post-Impressionist still...

1930s Zeppelin Over San Francisco Landscape Bright and evocative 1938 painting of burning Zeppelin by Ethel Grace Arpin Harlo Lynn (American 1881-1960). This was original painting w...

A 1936 Modernist landscape painting with figures by important Chicago artist (William) Davenport Griffen. His paintings tend to be rare. Image size: 18" x 20". Framed size: 22" x 24". (William) Davenport Griffen was born in 1894 in Millbrook, NY. He graduated from Iowa State College in Ames, IA in 1918 with a B.S. in Civil Engineering; however, Griffen’s true love was painting. In 1919, he enrolled in the Chicago Academy of Fine Arts and subsequently studied at the Art Institute of Chicago from 1923-1928. In 1926, he was awarded the American Travel Scholarship and began painting in Provincetown, MA. In 1928, he was awarded the John Quincy Adams Scholarship and spent six months painting in Paris, France. Griffen also painted in the U.S. Virgin Islands for 11 months between 1930-1931. Griffen had one-man exhibitions of his Virgin Islands paintings...

The Banks of the Lake by Marc Guillard (French b.1896) signed oil on board, framed Framed: 22 x 28 inches Board: 21 x 27 inches Inscribed Verso Provenance: Private collection, Loire ...

Jim’s of Lambertville Fine Art Gallery is proud to present this piece by Walter Emerson Baum (1884 - 1956). Born in Sellersville, Pennsylvania, Walter Baum was one of the only membe...

This 1932 oil on board landscape painting titled Pueblo Near Santa Fe, New Mexico is a striking example of the artistry of Eliot Candee Clark (1883-1980), a prominent Denver artist. ...

CELSO LAGAR Spanish, 1891 - 1966 PAVILLON DE CIRQUE signed "Lagar" (lower right) oil on canvas 15 x 18 inches (38 x 46 cm.) framed: 21-1/2 x 24-1/2 inches (54 x 62 cm.) NOTE: THIS W...

Signed and dated oil on board figures in landscape by French post impressionist painter Gustave Cariot. The piece is set in Wiesbaden, Germany depicts a breathtaking view of the Rive...

'Bouquet of Flowers with Vanitas', wax crayon on paper, by French artist, Louis Latapie (circa 1930s). A vanitas painting contains collections of objects symbolic of the inevitabilit...

1930s French Impressionist Barbizon School oil on panel view of a wooded landscape with autumn colours by Georges Guerin (1910-1984). The painting is signed top right to the back of ...

Jim's of Lambertville Fine Art Gallery is proud to present this piece by Richard Wedderspoon (1889 - 1976). Richard Wedderspoon was an important member of the New Hope Art Colony as both an Impressionist and Modernist painter. Wedderspoon was not only a respected painter, but also a teacher who spent summers at his Bucks County home and the school year at Syracuse University where he was Professor of painting. He was born in Red Bank, New Jersey and first studied art at the Carnegie Institute in Pittsburgh. He continued his studies at the Corcoran School of Art in Washington, and at age twenty four, he enrolled at the Pennsylvania Academy of the Fine Arts studying with Henry McCarter and Daniel Garber. While there his roommates were Charles Garner and Lloyd Ney. Wedderspoon began friendships with fellow artists, Charles Hargens, Clarence Johnson and Stanley Reckless...

Work on canvas

Portrait of a Seated Woman Oil on canvas, c. 1930 Unsigned Provenance: estate of the Artist by Descent to the Heirs Signed in oil with the artist’s initials “PH...

View of Bou°_Sada. Oil sketch on cardboard. Signed and titled on the back. This work will be recorded in the catalogue raisonné of the work of the artist currently in preparation. J...

A superb oil on canvas Post Impressionist work by British artist Forrest Hewit. This vibrant work depicts an external café scene under trees, with a dozen figures seated or standing at tables. It dates to circa 1930. One can feel the summer heat in this colourful piece. One of the most popular resort towns on the Italian Riviera, little Portofino has just over 500 permanent residents. But that all changes on summer days when the sun is shining, and the yachting set drops anchor in the harbour to wander about. Boutiques, art galleries, cafes and restaurants line the tiny streets. Signed lower right. Provenance. New English Art Club exhibition label verso. RBA label verso. Condition. Oil on canvas, 30 inches by 20 inches unframed and in excellent gallery condition. Housed in a fine frame, 35 inches by 25 inches framed. Good condition. Forrest Hewit (1870-1956) was a very unusual character amongst his fellow artists. Whereas many of his contemporaries turned away from commerce or the professions to become painters, he was very successful in following both paths. Towards the end of the 19th century Manchester was one of the foremost centres of the cotton trade in which Hewit established a career in which he rose to the top and became a prominent member of important institutions and various committees. Alongside this illustrious career ran an equally successful life as an artist. Considering the above, it is no surprise to find that in this field he also became a prominent figure as an Honorary Vice-President of the Manchester Academy of Fine Arts. His paintings are extremely rare as the majority of his output was purchased for permanent collections worldwide. He exhibited widely at the Royal Academy from the outset of his career; the Paris Salon; the New English Art Club; the Royal Hibernian Academy in 1940 and extensively at leading venues throughout England. When he retired from commercial life he had the opportunity to increase his output, which allowed him to stage a series of one-man exhibitions at the New Burlington Gallery in 1936; the Grosvenor Gallery in 1937; the Manchester Academy in 1938; the Goupil Gallery in 1939; Salford, his birthplace, in 1943 and Royal Society of Painters in Water Colours in 1948. He first studied under Thomas Cantrell Dugdale who was probably responsible for his interest in French painting. He also studied under Walter Richard Sickert...

Original Painting. Colliers Magazine Cover Published 1933 Wedding Illustration Antonio Petruccelli (1907 - 1994) The Wedding Colliers published, June 17, 1933 17 1/4 X 11 1/2 inches (sight) Framed 23 1/4 X 17 1/2 inches Gouache on board Signed lower right BIOGRAPHY: Antonio Petruccelli (1907-1994) began his career as a textile designer. He became a freelance illustrator in 1932 after winning several House Beautiful cover illustration contests. In addition to 24 Fortune magazine covers, four New Yorker covers, several for House Beautiful, Collier’s, and other magazines he did numerous illustrations for Life magazine from the 1930s – 60s. ‘Tony was Mr. Versatility for Fortune. He could do anything, from charts and diagrams to maps, illustrations, covers, and caricatures,’ said Francis Brennan, the former art director for Fortune. Over the course of his career, Antonio won several important design awards, designing a U.S. Postage Stamp Commemorating the Steel Industry and designing the Bicentennial Medal...

Red Barn Near Foothills - Landscape in Oil on Canvas A beautiful pastoral scene of a red barn near the foothills by Nellie M. Hodgson (American, 20th Century). A barn is nestled in ...

Artist: Raphael Soyer, American (1899 - 1987) Title: City Street Year: circa 1930 Medium: Oil on Board, signed verso Size: 20 in. x 13.75 in. (50.8 cm x 34.93 cm) Frame Size: 26 x 20...

"Summer Pier Fishing" American Scene Social Realism WPA Mid-20th Century Modern Syd J. Browne (1907-1991) "Summer Pier Fishing" 22 x 30 inches Oil on canvas. c. 1930s Signed lower r...

French gouache painting, circa 1930. This abstract piece stands out for its bright hues and sharp, interconnected geometric shapes. Original one-of-a-...

Universal bank is an original modern artwrok realized by Antonio Feltrinelli in the 1930s. Mixed colored oil painting on canvas. The artwork depi...

Jim's of Lambertville Fine Art Gallery is proud to present this piece by Richard Wedderspoon (1889 - 1976). Richard Wedderspoon was an important member of the New Hope Art Colony as both an Impressionist and Modernist painter. Wedderspoon was not only a respected painter, but also a teacher who spent summers at his Bucks County home and the school year at Syracuse University where he was Professor of painting. He was born in Red Bank, New Jersey and first studied art at the Carnegie Institute in Pittsburgh. He continued his studies at the Corcoran School of Art in Washington, and at age twenty four, he enrolled at the Pennsylvania Academy of the Fine Arts studying with Henry McCarter and Daniel Garber. While there his roommates were Charles Garner and Lloyd Ney. Wedderspoon began friendships with fellow artists, Charles Hargens, Clarence Johnson and Stanley Reckless...

Clara Deike (American, 1881-1964) My Studio Stove, 1936 Oil on canvas Signed and dated lower right, titled verso 23.5 x 19.5 inches 29.75 x 25.5 inches, f...

A. E. Halliwell (1905-1987) The Jewel that is London Airbrush and gouache 26 x 33 cm c.1930 Signed to reverse Provenance: Family of the artist A.E. Halliwell (1905–1986) was a Brit...

Signed lower right

Date: 1938 Medium: Oil on Paperboard Sight Size 20.25" x 13.875", Framed to 27.50" x 21.00" Signature: Signed Lower Right with Initials: N/R 'Philip found himself involved in a humi...

Presenting an original oil on canvas by Belgian artist Karel VonBelle. "Fleurs", is an original oil on canvas, signed, dated 1935, beautifully framed.

Beautiful nude female portrait boudoir scene by Cynthia Kleinmeyer. Watercolor on paper measures 8 x 12 inches. Framed measurement: 12 x 16 inches. Signed and dated 1932 by artist...

Allegory is an original artwork realized by the Italian artist Antonio Feltrinelli in the 1930s. Original oil on plywood. Beautiful and represent...

Edouard Dumoulin (1898 - 1973) The Blessed Oil on canvas 130 x 81 cm (132 x 83 cm with frame)

CELSO LAGAR Spanish, 1891 - 1966 FAIRGOERS IN FRONT OF ROULOTTES signed "Lagar" (lower right) oil on canvas 18-1/4 x 15 inches (46 x 38 cm.) framed: 29-1/4 x 26 inches (74 x 66 cm.) PROVENANCE Private French Collector Celso Lagar Arroyo (Ciudad Rodrigo, 1891 - Seville, 1966) was an expressionist Spanish painter of the first generation of the School of Paris, where he lived most of his life. He was influenced by avant-gardes of all kinds, such as cubism and fovism. He painted mainly landscapes and still lifes...

"Shattered" WPA Mid 20th Century Modernism American Scene Surrealism Figurative Estate stamp on the stretcher, verso. Provenance: Estate of the artist. 20 x 24 inches. BIO Leon Bibel continued painting through 1941 and resumed work in both painting and especially wood sculpture by 1960. He worked until his very last day in 1995. His last series of large wood sculptures were modeled on spice boxes, which were miniature buildings...

Old House at Capistrano, Laguna Beach Figurative Landscape by California Pioneer Artist Daisy A. Newell Kearns Substantial and historic mid-1930's period...

Oil on canvas by Suzanne Blanche KAEHRLING, representing two girls on the beach. The painting comes with its frame. Suzanne Blanche KAEHRLING, painter from Alsace, lived and worked ...

Up for sale here is a really impressive early 1900's oil painting by William Clarke Rice, Jr. (1875 - 1928). A great nocturnal view housed in a period giltwood frame. Image size, 2...

Mercédès LEGRAND (1893-1945) Portrait of a young woman ; assumed to be the artist's daughter, circa 1935 Oil on panel (carton bouilli) Signed lower left 36 x 29 cm Born in Spain in ...

Presenting a just discovered oil painting from the earliest period, c.1932, of American artist Ron Blumberg. After completing his fine art studies art at La Grande Academie Chaumiere in Paris Ron Blumberg left for New York in 1932, where he worked for eight years as a National Academy artist and a member of the Art Students League. Virtually every painting from this early New York period has been sold, making this the rarest period of work in Ron Blumberg’s career. City Street: Fifth Avenue, is an original oil on canvas, signed, c.1932, with an image dimension of 39 x 39 inches, good original condition with two very small restorations, set in a beautiful custom white gold frame. Please contact the gallery for information, availability and pricing Ron Blumberg Born: 1908 Reading, Pennsylvania Education: National Academy of Design, New York, NY Art Students League, New York, NY, 1930 Academie de La Grande Chaumiere, Paris, France, 1930-1931 ​Museum Exhibitions Delgado Museum, New Orleans, LA 1933 Houston Museum of Art, Houston, TX 1936 Oakland Museum Oakland, CA Dallas Museum of Fine Arts, Dallas, TX 1936, 1936 Denver Museum of Fine Arts, Denver, CO 1957 Tucson Museum, Tucson, AZ 1955 San Diego Museum, San Diego, CA 1962 Los Angeles County Museum of Art, Los Angeles, CA 1958 H. d Young Memorial Museum, San Francisco, CA 1967 Erma Frye Museum, Seattle, WA 1969 ​Gallery Exhibitions ACA Gallery, New York, NY 1937 Arr USA, New York, NY 1939 MacBeth Gallery, New York, NY 1932 Landau Gallery, Los Angeles, CA 1951 Esther Robles Gallery, Los Angeles, CA 1958,1959 Cushing Gallery, Dallas, TX 1972 Jean Dichter Gallery, Denver, CO 1955 Feingarten Galleries, Los Angeles, CA 1987 Trigg Ison Fine Art...

This painting is part of our exhibition America Coast to Coast: Artists of the 1930s Quarry Workers, c. 1930s, mixed media on board, unsigned, 24 x 24 inches, possibly exhibited at...

(Note: This work is part of our exhibition Connected by Creativity: WPA Era Works from the Collection of Leata and Edward Beatty Rowan) Fresco, 20 x 16 inches unframed, 22 x 18 inch...

'The Church in Billy' (Calvados Region Normandy), oil on canvas by André Lemaître (1936). Billy is a former commune in Normandy, France. This depiction ...

Charles Walter Simpson. English ( b.1885 - d.1971 ). Dartmoor Ponies, Devon. Oil On Board. Signed Lower Right. Image size 20.7 inches x 28.2 inches ( 52.5cm x 71.5cm ). Frame size 29.5 inches x 37 inches (75cm x 94cm ). Available for sale; this original oil painting is by Charles Simpson and dates from the 1930s. The painting is presented and supplied in a contemporary and sympathetic wood frame (which is shown in these photographs) mounted using conservation materials and behind non-reflective Artglass AR 70™ glass. The previous ply backboard has been retained and is secured onto the new replacement backboard for posterity. This vintage painting is in very good condition, commensurate with its age. It wants for nothing and is supplied ready to hang and display. The painting is signed lower right. Previously with Harris & Sons, 70 George Street, Plymouth, Devon in July 1936. Charles Walter Simpson, known as Walter, was a leading figure in the Newlyn and St Ives art colonies in the early part of the twentieth century. He is perhaps best known in America for his horse paintings but is also widely acclaimed for his mastery of birds. It has been said that as a painter of wildfowl Simpson can have few rivals. He worked in oils, watercolors and tempera. Walter was born at Camberley on 8th May 1855. His mother was Leonora (nee Devas) and his father was Major-General Charles Rudyard Simpson of the Lincolnshire Regiment. Initially Walter was educated by a private tutor, and he later attended the Herkomer School at Bushey. As a youngster Walter was destined for a military career. However, this was prevented by a riding accident which affected both his hearing and sight. He had a considerable talent for drawing and determined to become an artist instead. Walter was initially largely self-taught, but then received guidance from family friends such as G.F. Watts and H.W.B. Davis, RA. He later studied for a short time under the renowned animal artist Lucy Kemp-Welch at Bishley, then with Sir Alfred Munnings, with whom he developed a life-long friendship, at Swainsthorpe. Munnings encouraged him to visit Cornwall, where he studied under Stanhope Forbes RA in Newlyn. Simpson’s first home in West Cornwall was Penzer House in Newlyn, where he was living in 1908. Finally, Simpson completed his studies at the Academie Julien in Paris in 1910. On his return from Paris, Simpson moved to Cornwall again and became engaged to fellow artist Ruth Alison just a couple of days after first meeting her. They were married in 1913, living first in Newlyn and then in Lamorna at “Brodriggy”. They had a daughter, Leonora, born in 1914. In 1916 Simpson and his family moved to St. Ives to set up their own School of Painting, which they ran from numbers 1 and 2 Piazza Studios. During this period Simpson dominated the St. Ives art scene. The family moved back to London in 1924 but returned to Cornwall in 1931. Altogether, they moved between West Cornwall and London eleven times. From his studio in Cornwall Simpson painted in earnest, often on a grand scale, producing wonderful large decorative canvases, specialising in wild ducks, gulls and other sea birds. He had a reputation as an outstanding animal and bird painter. Paget described Charles Simpson in 1945 as “undoubtedly the best bird painter living. He alone, of all artists past and present, can make his birds appear out of their backgrounds as one approaches them, or the light is increased as in nature…”. Simpson relished painting en plein air and Laura Knight commented, "He was so prodigal with paint, he could be traced by the color left on the bushes!". Simpson first exhibited at the Royal Academy in 1906, initially painting mainly non-sporting subjects. From then on, he was a regular contributor to the Royal Academy exhibitions. It was not until 1924, when a rodeo was held at Wembley during which he worked in the ring and produced a book call El Rodeo...

Artist: James Roy Hopkins (American, 1877-1969) Title: "Cynthia (with Cat)" *Monogram signed and dated by Hopkins lower right Year: 1937 Medium: Original Oil Painting on Canvas Framing: Recently framed in an Art Nouveau gold gesso moulding Framed size: 39.25" x 50.25" Canvas size: 34" x 45" Condition: In excellent condition. A large beautiful and well executed work. Notes: Provenance: private collection - Chicago, IL. Biography: James Roy Hopkins (1877-1969) was born in the rural farming community of Irwin, Ohio in 1877. His mother, Nettie Hopkins, painted with watercolors recreationally and encouraged her son’s artistic interests. Though he shared his mother's love of art, Hopkins initially entered Ohio State University in 1896 to study electrical engineering. However, he soon left and briefly enrolled in the Columbus School of Art before going to the Art Academy of Cincinnati where he studied with Frank Duveneck. In 1900, Hopkins moved to New York City and worked as a medical textbook illustrator. Two years later he made the pilgrimage to the art center of the western world at the time, Paris, France. While in Paris he improved his craft at the Académie Colarossi. Hopkins embraced Parisian life and socialized with and visited the studios of such great artists as Pierre...

Ann Brockman (1895–1943) was an American artist who achieved success as a figurative painter following a successful career as an illustrator. Born in California, she spent her childhood in the American Far West and, upon marrying the artist William C. McNulty, relocated to Manhattan at the age of 18 in 1914. She took classes at the Art Students League where her teachers included two realist artists of the Ashcan School, George Luks and John Sloan. Her career as an illustrator began in 1919 with cover art for four issues of a fiction monthly called Live Stories. She continued providing cover art and illustrations for popular magazines and books until 1930 when she transitioned from illustrator to professional artist. From that year until her death in 1943, she took part regularly in group and solo exhibitions, receiving a growing amount of critical recognition and praise. In 1939 she told an interviewer that making money as an illustrator was so easy that it "almost spoiled [her] chances of ever being an artist."[1] In reviewing a solo exhibition of her work in 1939, the artist and critic A.Z Kruse wrote: "She paints and composes with a thorough understanding of form and without the slightest hesitancy about anatomical structure. Add to this a magnificent sense of proportion, and impeccable feeling for color and an unmistakable knowledge of what it takes to balance the elements of good pictorial composition and you have a typical Ann Brockman canvas."[2] Early life and training Brockman was born in Northern California in 1895 and spent much of her youth in nearby Oregon, Washington, and Utah.[1][3] She met the artist William C. McNulty in Seattle where he was employed as an editorial cartoonist. They married in March 1914 and promptly moved to Manhattan where he worked as a freelance illustrator.[4][5] At the time of their marriage, Brockman was 18 years old.[6] Over the next few years, her career generally followed that path that her husband had previously taken. His art training had been at the Art Students League beginning in 1908; she began her training there after moving to New York in 1914.[1] After an early career as an editorial cartoonist, he freelanced as a magazine and book illustrator beginning in 1914; she began her career as a magazine and book illustrator in 1919.[7] He embarked on a teaching career in the early 1930s and not long after, she began giving art instruction.[8][9] While they both adhered to the realist tradition in art, their usual subjects were different. His prominently depicted urban cityscapes in the social realist whereas hers generally focused on rural landscapes. He was best known for his etchings and she for her oils and watercolors.[8][10] Brockman returned to the Art Students League in 1926 to take individual instruction for a month at a time from George Luks and John Sloan.[1] Despite their help, one critic said McNulty's "sympathetic encouragement and guidance" was more important to her development as a professional artist.[11] Career in art In the course of her career as illustrator, Brockman would sometimes paint portraits of celebrities before drawing them, as for example in 1923 when she painted the French actress Andrée Lafayette who had traveled to New York to play title role in a film called Trilby.[12] She would also sometimes accept commissions to make portrait paintings and in 1929 painted two Scottish terriers on one such commission.[13] During this time, she also produced landscapes. In 1924 she displayed a New England village street scene painting in the Second Annual Exhibition of Paintings, Watercolors, and Drawings in the J. Wanamaker Gallery of Modern Decorative Art.[14] Available sources show no further exhibitions until in 1930 a critic for the Boston Globe described one of her portraits as "well done" in a review of a Rockport Art Association exhibition held that summer.[15] Between 1931 and her death in 1943, Brockman participated in over thirty group exhibitions and five solos.[note 1] Her paintings appeared in shows of the artists' associations to which she belonged, including the Rockport Art Association, Salons of America, Society of Independent Artists, and National Association of Women Painters and Sculptors.[17][19]Between 1932 and 1935, her paintings appeared frequently in New York's Macbeth Gallery.[20][23][25][27] She won an award for a painting she showed at the Art Institute of Chicago in 1940.[41] In 1942, the Whitney Museum bought one of the paintings she showed in its Biennial of that year.[10] Critical praise for her work steadily increased during the decade that ended with her untimely death in 1943. In 1932, her painting called "The Camera Man" was called "a clever piece of illustration."[21] Three years later, a painting called "Small Town" gave a critic "the impression of freshness, honesty, and skill".[29] In 1938, a critic described her "Folly Cove" as "masterful" and said "Pigeon Hill Picnic" was "sustained by excellence of execution".[48] At that time, Howard Devree of the New York Times saw "evidence of gathering powers" in her work and wrote "she imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Three years later, a Times critic reported Brockman had "set herself a new high" in the watercolors she presented,[52] and another critic said the gallery where she was showing had not "for some time" shown "so outstanding a solo exhibitor as Ann Brockman."[2] Shortly before her death, a critic for Art News maintained that she was "one of America's most talented women painters".[46] After she had died, a critic said Brockman's paintings "displayed real power", adding that she was "highly rated among the nation's professional artists" and was known to give "aid and encouragement, always with a smile," both artists and to her students.[10] in reviewing the memorial exhibition at the Kraushaar Galleries held in 1945, reviewers wrote about the strength and vibrancy of her personality, the quality of her painting ("every bit as good, possibly better than people had thought"),[53] called her "one of the best of our twentieth century women painters", and credited "her sense of the vividness of life" as a contributor to "the unusual breadth that is so characteristic of her work.[11] One noted that her work was "widely recognized throughout the country" and could be found in the collections of prominent museums, including the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Art Institute of Chicago.[54] Writing in the Times, Devree wrote, "even those who had followed the steady growth of this artist for more than a decade, each successive show being at once an evidence of new achievement and an augury of still better work to come, may well be surprised at the combined impact of the selected paintings in the present showing,"[55] and writing in the Brooklyn Daily Eagle, A.Z Kruse said she had made "extraorginary accomplishments", painted with "inordinate distinction" showing a "lyrical majesty," and possessed "a keen esthetic sense which did not deviate from truth."[54] Artistic style (1) Ann Brockman, undated drawing, black chalk on paper, 18 x 22 inches (2) Ann Brockman, High School Picnic, about 1935, oil on canvas, 34 1/4 x 44 1/4 inches (3) Ann Brockman, untitled landscape, about 1943, watercolor and pencil on paper, 15 1/4 x 22 1/2 inches (4) Ann Brockman, North Coast, undated watercolor, 21 1/2 x 30 inches (5) Ann Brockman, On the Beach, 1942, watercolor on paper, 16 1/2 x 20 inches (6) Ann Brockman, Lot's Wife, 1942, oil on canvas, 46 x 35 inches (7) Ann Brockman, New York Harbor, 1934, watercolor on paper, 13 1/2 x 19 1/4 inches (8) Ann Brockman, Youth, 1942, oil on board, 13 1/2 x 11 1/2 inches Brockman was a figurative painter whose main subjects were rural landscapes and small-town and coastal scenes. She worked in oils and watercolors, becoming better known for the latter late in her career. Most of her paintings were relatively small. Although she made figure pieces infrequently, the nudes and circus and Biblical scenes she painted were seen to be among her best works. In 1938, Howard Devree wrote: "Her gray-day marines and coast scenes are familiar to gallery goers and are favorites with her fellow artists. Her figure pieces have attained a sculptural quality without losing warmth or taking on stiffness. One spirited circus incident of equestriennes about to enter the big tent compares not unfavorably with many of the similar pictures by a long line of painters who have been fascinated by the theme. She imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Similarly, a critic for Art Digest wrote that year: "Fluently and virilely painted, [her] canvases suggest a close affinity between nature and humans. The artist takes her subjects out in the open where they may picnic or bathe with space and air about them. A fast tempo is felt in the compositions of restless horses and nimble entertainers busily alert for the coming performance. Miss Brockman is also interested in portraying frightened groups of people, hurrying to safety or standing half-clad in the lowering storm light."[56] Her palette ranged from vivid colors in bright sunlight to somber ones in the overcast skies of stormy weather. Of the former, one critic spoke of the rich colors and "sun-drenched rocks" of her coastal scenes and another of her "summery landscapes of coves and picnics."[11][50] Of the latter, Howard Devree said she "painted so many moody Maine coast vignettes of lowering skies and uneasy seas that artists have been heard to refer to an effect as 'an Ann Brockman day'".[57] Brockman's handling of Biblical subjects can be seen in the oil called "Lot's Wife", shown above, Image No. 6. Her watercolor called "On the Beach" and her oil portrait called "Youth" may both indicate the "sculptural quality" that Devree said was typical of her figure pieces (Image No. 8, above). An example of Brockman's bright palette in a typical summer theme is the oil painting called "High School Picnic" shown above, Image No. 2. Next to it is a painting, an untitled landscape of about 1943 whose medium, watercolor on paper, shows off the sunny palette she often used (Image No. 3). Among the darkest of her works was an untitled 1942 drawing she made in black chalk (shown above, Image No. 1). In a book called Drawings by American Artists (1947), the artist and art editor Norman Kent noted that this study influenced her painting through its use of "forms" that were "elastic" and suggested "color". He said its "massing of dark and light" created "a definite mood" that was "impressionistic" and had "the strength of a man's work".[58] Brockman's undated watercolor called "North Coast" (shown above, Image No. 4) is an example of the paintings to which Kent referred. Illustrator (9) Ann Brockman, cover, March 12, 1917, Every Week magazine (10) Illustration of an article, "The Taking of a Salient" by Henry Russell...

'The Church of Saint-Nicolas du Chardonnet, Paris', gouache on art paper by Lucien Génin (circa 1930s). In Paris' 5th Arrondissement the site in which Saint-Nicolas du Chardonnet is ...

Medium: Oil on Canvas Signature: Signed Lower Right Contact for exact dimensions. Cover of Pictorial Review Magazine, December 1932. The woman in the illustration was modeled by th...

Walton Leader (1877-1966) Austin Artist Image Size: 28 x 36 Frame Size: 34 x 41 Medium: Oil on Canvas 1930s Onion Creek Austin Texas Biography ...

Giacomo Balla (Turin 1871 - Rome 1958), Knight at Campagnano (1935) Oil painting on pressed cardboard 46 x 64 cm signed Balla lower right, on the back are the following inscriptions...

The Old Tree French Post-Impressionist artist, circa 1930's oil painting on board, unframed painting: 13.75 x 10.5 inches provenance: private collection, France condition: basic good...

Nicely painted American impressionist oil painting by Richard W. Baldwin (1920 - 2012). Oil on canvas. Framed. Signed.

Impressive early American modernist large flower still life oil painting. Framed. Oil on board. Image size, 35H by 23L.

Feminine Figure is a modern artwork realized by Roberto Melli in 1930s. Mixed colored oil painting. Includes vintage frame (fair conditions) : 42 x 2 x...

Gorgeous painterly landscape oil painting of waves crashing against the rocky shore near a cave by California artist Leslie Bruner Wulff (American, 1890-1968). Signed "Leslie Wulff" ...

Spring landscape, green, 19th century Edgardo CORBELLI (Turin, 1918 - 1989) From the traditional composition of the 1930s, the painting of Corbelli leads to technical and expressive...

Portrait of Woman is an original artwork realized by the Italian artist Antonio Feltrinelli in the 1930s. Original oil on plywood. Beautiful and representative artwork of a female...

This charming British 1930's Post Impressionist portrait oil painting of a ballerina is by noted female artist Cathleen Sabine Mann. Ballerinas are a popular subject matter in art, conveying great poise, movement and elegance and of course made popular by Degas. A similar composition featuring the same ballerina, but holding a black cat, is held in the Glasgow Museums Resource Centre. In our lovely painting from 1935, the dark haired ballerina is at rest, perched on the edge of an armchair, her pink tutu...

Work on paper Green wooden frame and gold border with glass 43 x 51 x 2 cm

This charming Post-Impressionist Art Deco oil painting is by noted British prolific Royal Academy exhibitor and Royal Academician William Dring. It is possible that our painting was exhibited in 1954, No. 207 and entitled Summer rather than Summer Frolic. The painting is a garden scene of 4 girls enjoying the sun and one is dancing in the nude. Signed and dated William Dring 1931 lower right. Provenance. Bonhams, Modern Pictures and Illustrations, 11 November 2008, Lot 99. Condition. Oil on canvas, image size 24 inches by 20 inches and in good condition. Frame. Housed in a complementary frame, 30 inches by 26 inches framed and in good condition. William Dring RA (1904-1990) - a painter, draughtsman and teacher, he was born Dennis William Dring, but was known colloquially as John. He was the brother of the artist James Dring, he married the painter Grace Elizabeth Rothwell...

'The Olive Tree Behind the Stone Wall', ink on art paper, by Pierre Dionisi (circa 1930s). Sepia-toned, original drawing in a compelling style depicts a...