Impressionist Portrait Paintings

This is an antique oil painting on board by Estelle Huntington Huggins (1867-1963) depicting a gentleman with a mustache wearing a large blue stone ring...

Arthur Roy Mitchell (1889 - 1977) Picture Size: 30 x 24" (76 x 61cm) Outside Frame Size: 39 x 33" (99 x 84cm) Free Shipping Worldwide Arthur Roy Mitchell (December 18, 1889– November 1977) was an American artist and historian who was born on his father's homestead west of Trinidad in Las Animas County in southern Colorado. Usually known as "Mitch," Mitchell in 1907 began work as a ranch hand in New Mexico. Soon, he was sketching scenes of cowboy and western life and drawing political cartoons for newspapers. After United States Army service in World War I, he travelled to New York City, where he studied at Grand Central School of Art under Harvey Dunn. By 1940, he had created more than 160 cover...

Antique American impressionist seascape signed oil painting. Oil on canvas. Signed. Framed. Image size, 30L x 38H.

Guy Pene Du Bois (1884 - 1958) Head, 1934 Oil on canvas 15 3/4 x 11 1/2 inches Signed and dated upper right Provenance: The artist's estate Graham Gallery, New York Private Collection, New York (acquired from the above circa 1985) Pène du Bois descended from French immigrants who settled in Louisiana in 1738 and was raised in a Creole household. He was born in 1984 in Brooklyn, NY and first studied with William Merritt Chase at the New York School of Art and later continued his training with Robert Henri. Pène du Bois was greatly impressed with Henri's credo that "real life" was subject matter for art and throughout his life a realist philosophy informed his art as well as his parallel career, art criticism. In 1905, Pène du Bois made his first visit to Paris where he painted scenes of fashionable people in cafes rendered in the dark tonalities and impasto associated with the Ashcan School. By 1920, he had achieved his mature style, which was characterized by stylized, rounded, almost sculptural figures painted with invisible brushstrokes. The subjects of his paintings were often members of society whom he gently satirized. In 1924, Pène du Bois and his wife, Floy, left for France where they would remain until 1930. Returning to America showcases pictures the artist produced after this very productive period abroad. After five years of living in France, Pène du Bois was able to observe American life with fresh eyes. His work becomes more psychologically intense and less satirical. In Girl at Table a slender, blond is shown gazing at a small statue that she holds at arm's distance. The meaning is elusive, but a powerful sense of longing is evoked. Similarly, paintings such as Dramatic Moment and Jane are taut with unresolved dialogue. Both pictures depict mysterious interiors in which a lone woman anxiously awaits the denouement of a suspenseful scene. Other pictures, for example, Chess Tables, Washington Square and Bar, New Orleans, recall Pene du Bois's Ashcan origins in their depiction of urban entertainment. During this period, landscape becomes an important subject for Pène du Bois. Girl Sketching...

Antique American school portrait painting. Oil on canvas, circa 1938. Signed. Image size 23L x 18H. Housed in a period modern frame (the frame has losses).

Outstanding mid-20th-century portrait of a Jazz Musician. Harold Wilfred Yates, was born at West Ham, London on 26 June 1916, son of Wilfred David Yates (7 August 1890-1 April 1958), an amateur artist who worked as a cartoonist for the trade press, and his wife Elizabeth née Biggs (7 March 1890-3 September 1959), who married at West Ham in 1915. Harold studied for 18 months at Portsmouth School of Art 1930-1931 after which he joined a commercial studio as a figure painter but became disillusioned with the disciplines and began to paint abstract works in his spare time. He exhibited with the Artists International Association and the London Gallery...

'Young Man with Cigarette', gouache on paper, by René Seyssaud (circa 1930s). Although this young cigarette-smoking man looks as though he’s just swagger...

'Landscape: One in Nature', oil on board, by René Seyssaud (circa 1930s). Painterly with energetic colours, this work by Seyssaud is both visually and te...

Compelling 1930's portrait of young woman by Mary L. James (American, late 19th-20th Century), 1930. Signed and dated lower right corner. Condition: Good; professionally cleaned and ...

Elizabeth Quale O'Neill Verner "Dolly - Flower Woman" (1883 - 1979) Charleston, South Carolina Artist Image Size: 9 x 9 Frame Size: 12 x 12 Medium: Pastel on Silk Circa 1930s Elizabeth Quale O'Neill Verner (1883 - 1979) Biography Elizabeth Quale O'Neill Verner A leader in establishing Charleston, South Carolina as a dynamic cultural center, Elizabeth Verner depicted the historic city's seemingly endless supply of subject matter including lush landscape, architectural landmarks, and local people. Many of her paintings were pastel on silk. She was also proficient as an etcher and a part of the Charleston Etcher's Club whose members did etchings of Charleston's historic architecture. Their work, published in national media, brought widespread attention to the charms of the area. She worked especially hard, printing her own plates and selling prints, and during the spring seasons opened her studio to tourists and housed visitors in her home. She also served as a guide to Charleston and wrote and illustrated several books that furthered her own career as well as promoted Charleston as a visitor destination. When the mayor tried to outlaw flower vendors, she fought to retain these black women who came from outlying areas to sell their flowers and hand made baskets. She wrote: "I wanted the flower women because I painted them and I need them as models" (Magazine Antiques 11/98). These subjects appear regularly in her etchings. She was also one of the few artists of the Charleston Renaissance to work in pastel, which she pursued after being inspired by an exhibition of floral pastels by Laura Coombs Hills in Boston. From that time, Verner was persuaded that pastels were a more effective medium for conveying her flower vendors. Her former home and studio from 1938 is now The Elizabeth O'Neill Verner Museum at 79 Church Street in Charleston. South Carolina artist, Elizabeth Quale O'Neill was born December 21, 1883, at 38 Chalmers Street in Charleston, South Carolina. She was one of 11 sisters and 2 brothers. She showed an early interest in art. Starting in her teen years, she began painting cityscapes of Charleston and set up her first studio in the rear of her parents' house at 43 Legare Street. O'Neill-Verner studied at the Pennsylvania Academy (1901 to 1903) with Thomas Anchutz as a teenager. She remained in the realist school of painting as exemplified by Thomas Eakins when the art world was swept away by the international modernist movement. Her sex was no hindrance to success and she was showered with acclaim and honors. In 1907, she married E. Pettigrew Verner, together they had two children, Elizabeth Pettigrew (born 1908) and David Battle (born 1911). From 1910 to 1936, she had her second studio in the garden at 3 Atlantic Street and also shared other studio space with Alice Huger Ravenel Smith. In the early 1920's she began etching and widely exhibiting. Her husband, E. Pettigrew Verner died in 1925. She attended the London Central Arts School as an honored artist in 1930 and traveled Europe, while abroad. She married Thomas E. Myers in 1932, ceased etching in 1933 and in 1935 T.E. Myers died. Her third studio (1936) was at 85 Church Street in Charleston, South Carolina. In 1937 she traveled to Japan and produced drypoints of Japan, but by 1937 she began work as a pastelist. In 1938, she established her fourth and last studio at 38 Tradd Street, Charleston, South Carolina. During this time she traveled to the Caribbean, Mexico, Europe, the Orient and produced pastels and watercolors from her trips. In 1968 she suffered a broken back and in 1979 she died in Charleston. Her long career, which stretched from the turn of the Twentieth Century until her last large work in 1967, include all the etchings that were made between 1925 and 1932 and all the drypoints that were produced between 1932 and 1937. Elizabeth O'Neill Verner was born in Charleston, South Carolina on December 21, 1883. Her artistic gifts were encouraged and developed by her maternal grandfather, Henry Franklin Baker, who had been a student at the Pennsylvania Academy of the Fine Arts, and by Alice Ravenel Huger Smith...

No frame cm.41 x 52 Framed cm. 59 x 70

Wonderful portrait of 1930s' gentleman by unknown artist. The painting of a man has a similarity to the French Jazz guitarist Django Reinhardt. Sign...