1930s Still-life Paintings

Original work by the Spanish master Joaquin MIR. Perfect state Included frame. MIR TRINXET, Joaquin (Barcelona, 1873-1940). Joaquín Mir studied at the School of Fine Arts of San Jordi of Barcelona and the workshop of the painter Luis Graner. His style was also influenced by the School of Olot, hometown of his father. In 1893 forms the "Colla del Safra" along with artists like Isidro Nonell, Ricard Canals Ramón Pichot or, in the last years of the century is related to the artistic atmosphere of "Els Quatre Gats". He completed his training in 1895, the year he spent one season in Madrid copying works of Velázquez. In these years he attended the Exhibition of Fine Arts in Barcelona, in its editions of 1894, 1896 and 1898. Winning a second medal in the Exhibition of Madrid in 1899, the same year he moved to the capital with the aim of opositar a scholarship in Rome. By not get it, go with Santiago Rusiñol in Mallorca, on a journey that will mean a definitive turning point in his career. Mir is dazzled by the Majorcan countryside, in particular by Sa Calobra, which earned him an inexhaustible source of inspiration. In 1901 solo exhibition at the Sala Parés of Barcelona the Majorcan fruit of this first stage, and gets back second medal in the National Exhibition. After a period of illness that forced him to move to Reus, in 1907 he obtained the first medal at the International Exhibition of Fine Arts in Barcelona. Already established as a leading figure in the Catalan scene, acquires definitive national recognition in 1917 when he was awarded the National Prize of Fine Arts. Four years later he married and settled permanently in Vilanova i la Geltru. His successes happen, and in 1929 obtained first medal at the International Exhibition in Barcelona. The next year he won the medal of honor of the National Exhibition of Madrid, award pursuing since 1922. While it was a mainly indigenous painter, made personal and group exhibitions in Washington, Paris, Pittsburgh, New York, Philadelphia, Amsterdam, Buenos Aires and Venice. Mir is now considered the most prominent representative of the Spanish post-impressionist landscape. His work is preserved in the National Museum of Catalan Art...

This charming and exuberant posy of peonies immediately made me think of similar works by Marcel Dyf - but it is actually a work by the ultimate master of art deco, Jules Leleu (1883...

This charming British still life floral oil painting is by Herbert Davis Richter. Painted circa 1930 it is a vibrant and interesting arrangement of fuchsia and geraniums in a vase ne...

This vibrant French Art Deco floral oil painting is by noted French artist Jacques Emile Blanche. Painted circa 1930, the palette is of wonderful tones of yellow and orange with spla...

This lovely Art Deco British Post-Impressionist floral oil painting is by noted and much exhibited female flower artist Theresa Norah Copnall. She studied at the Slade School amongst...

This superb floral still life oil painting is by Scottish artist David Alison. Painted circa 1930 it is an arrangement of pink roses in a glass vase on a table. The darker background...

This lovely British still life floral oil painting is by noted artist Alice Mary Burton. Painted circa 1935 it is floral arrangement of red roses in a vase. A lovely Art Deco floral ...

This appealing original oil on canvas painting is by British artist Paul Earee. Painted in a Post Cubist manner circa 1930, this floral still life depicts a vase of flowers on a tabl...

This superb Vibrant British Post Impressionist floral oil painting is by noted artist Gerald Spencer Pryse. Painted circa 1930 the composition is a mass of sweet pea flowers in shade...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Still Life with Violin by Ismael de la Serna (1898-1968) Oil on canvas 81 x 65 cm (31 ⁷/₈ x 25 ⁵/₈ inches) Signed...

This superb, large, vibrant Post Impressionist floral oil painting is by noted British artist Gerald Spencer Pryse. Painted circa 1930 it is a painting of tall pink hollyhocks and br...

Mystery American Artist Untitled, 1930 Oil on canvas 29 1/2 x 23 3/4 in. Framed: 34 1/2 x 28 3/4 x 1 1/2 in. Signed and dated lower left

A vibrant Precisionist still-life painting of a jug & a plate by artist Harold Haydon, dating from 1932. Harold Emerson Haydon was born in Fort William, Ontario, Canada in 1909. H...

A vibrant Precisionist still-life painting of a pitcher and squash by artist Harold Haydon, dating from ca. 1931. Harold Emerson Haydon was born in Fort William, Ontario, Canada in ...

Ture Ander (1881-1959) Sweden Floral Symphony, 1936 oil on board signed and dated Ture Ander 36 board dimensions 24,41 x 18,90 inches (62 x 48 cm) frame 29,13 x 24,02 inches (74 x ...

A small, exquisite, Precisionist painting of a yellow rose by New York artist Harry Lane. Lane's work can be found in the collections of the Met...

"January 1939" is a 18.25 x 23.25 inches, oil on canvas painting by American modernist and southwestern, female artist Peter Miller. The painting is signed, titled, and estate stamped #202053 on verso. The painting has been conserved and inspected by conservation specialist, Gratz Gallery & Conservation Studio, Inc. Exhibition history: Peter Miller, Forgotten Woman of American Modernism, Gratz Gallery & Conservation Studio, Doylestown, Pennsylvania, 2022. Provenance: Estate of the Artist; Private Collection, Saugerties, New York; Gratz Gallery & Conservation Studio, Doylestown, Pennsylvania. Image: Peter Miller in Her Studio Julien Levy Gallery Records, Philadelphia Museum of Art, Library and Archives In the summer of 2021, "Peter Miller, Forgotten Woman of American Modernism", a fully illustrated, comprehensive, and first ever published monograph on the artist was released, with a text written by art historian Francis M. Naumann, preface by publisher Paul Gratz, and an essay by artist Bill Richards...

French school floral painting by Sylvia Gardette signed in the lower left corner and dated 1936. This painting is on a stretched canvas in its original frame. The canvas is texture...

This lovely Art Deco British Post Impressionist floral oil painting is by noted and much exhibited female flower artist Theresa Norah Copnall. She studied at the Slade School amongst...

This beautiful British Art Deco floral oil painting is by noted Cornish artist Philip Rashleigh, who used the name Frank for exhibition purposes. The Rashleighs were an old and disti...

This superb Scottish floral still life oil painting is by noted Glasgow artist John Burns Robertson. Painted in 1931 it is a stunning arrangement of blue and white irises mixed with ...

Jacob Epstein produced a number of watercolours of flowers during the 1930's until the outbreak in 1939. This particular picture is very well balanced and is one of the best presente...

(Note: This work is part of our exhibition Connected by Creativity: WPA Era Works from the Collection of Leata and Edward Beatty Rowan) Oil on canvas, 24 ½ x 19 ½ inches unframed, 3...

Original frame which measures 43" x 22" x 1.5" Signed lower right "B. W. Smith" Signed, titled and listing original price verso in pencil on label 'Beatrice Wose Smith/"Reflections ...

Original Painting Published Fortune Mag Cover 1935 Jewels Jewelry Illustration Antonio Petruccelli (1907 – 1994) Fortune cover published, Decembe...

Work on canvas Golden and brown wooden frame 59 x 50 x 5 cm

An example of the artist's prismatic style, which he developed in the 1930s.

Japan Issue Fortune Magazine Cover Proposal Japanese Mid-Century Illustration Antonio Petruccelli (1907 - 1994) JAPAN ISSUE Fortune cover proposal, c. 1936 14 1/4 x 12 inches (sig...

Early 20th Century Summer Floral Still Life - Zinnias, Delphiniums, Corn Flowers Substantial and gorgeous early 20th Century still life of summer flowers in cream bowl with Zinnia, Delphiniums, and Corn Flowers with pink candle by Volney...

The Provencal Lane French School, circa 1930's oil painting on board, unframed 10.5 x 13.5 inches Double sided oil painting, both of the French countryside, one side is overlooking ...

Vases de Fleurs by Joannes Chaleye (French 1878-1960) signed oil painting on board, unframed board: 15 x 22 inches provenance: exhibition label verso condition: overall very good

Work on canvas Light brown wooden frame 61 x 52 x 4 cm

Beautiful colored flowers oil on canvas painting by Moise Kisling Provenance: Wally F Galleries (New York). Sale: Sotheby's New York, May 1996. Private Collection. Accompanied by ...

Work on canvas Beige wooden frame 47 x 39 x 2.5 cm "Study for the lodge".

Work on canvas Light brown wooden frame 61 x 51.5 x 3.5 cm

Maurice Asselin (1882-1947) Le Masque blanc (The White Mask) Signed lower right, Oil on canvas 35 x 27 cm In good condition In its vintage frame : 51 x 43.5 cm The white mask is ...

Oil on canvas by Charles PICART LE DOUX (1881-1959), France, 1934. Bouquet of Wild Flowers. Artwork typical of the manner of Charles Picart Le Doux. However, the robust and contrasti...

William Meyerowitz (1887 - 1981) Oil painting on canvas Depicting a still life scene with fruit bowl, bananas, flowers and quilt. Post Impressionist oil painting. Hand signed low...

Work on cardboard Golden wooden frame 53 x 48.5 x 3.5 cm

An original oil on canvas of a cubist still life by Benjamin Benno, American (1901 - 1980). By the early 1930s he had established a reputation as a member of the international avant-...

Wonderful English 1930's Still life of Tulips and other red flowers in a vase. The 1930s was a period of great artistic experimentation, and many artists were exploring new techniq...

A stunning large 1930's English Art Deco period oil on canvas depicting a bouquet of roses reflecting in an arched gilt mirror. Very unusual and strik...

Work on paper Golden wooden frame with glass pane 49 x 36 x 2 cm

Antique American signed modernist artist studio oil painting. Oil on board. Signed. Framed. Image size, 18L x 24H.

Signed lower left, 'Burliuk' for David Davidovich Burliuk (Russian, 1882-1967) and painted circa 1925. Displayed in a substantial carved and gilt-wood frame. Framed dimensions: 40 x 32 inches. A large, early twentieth-century oil still-life showing Chrysanthemums informally arranged in a Venetian glass vase and contrasted against a warm, scumbled background of olive, buff and rose. Often referred to as the 'father of Russian Futurism', David Davidovich Burliuk was influential as an artist, art critic and poet whose works were central to the Russian Avant-garde movement. He challenged- and even physically fought- convention, before the natural delights of his adopted home on Long Island helped temper his rebellious spirit. Born into a privileged class of Russian society, Burliuk first studied at the Kazan School of Fine Arts and, subsequently, at the Odessa Art School, the Royal Academy in Munich and, finally, in Paris at the Ecole des Beaux Arts. His early works were fauve-like, "violent in color and heavy with paint". It was during this formative period that he exhibited as a founding member with the 'Blue Rider' in Munich (1912) and as a founding member of 'Der Sturm'. In 1911, Burliuk was expelled from the Moscow Institute for 'breaking with artistic tradition'. With other Futurists, he undertook a public campaign with lectures, journals and films--all focused on amplifying the craziness and mechanization of modern, industrial life. With the advent of World War I, he left Russia and traveled for four years including to Siberia, Japan, and the South Seas. In 1922, with the Soviet revolution established in Russia and his artistic freedom circumscribed, he moved to America, settling on Long Island where he continued to paint and exhibit for the rest of his life. David Burliuk's subjects ranged from neo-primitive paintings to peasant life in Russia to futurist depictions of South Sea fishermen. Much of his painting in Russia vanished in the Russian Revolution. Throughout his life, Burliuk was innovative, energetic and upbeat. In the United States, he developed his "radio style", a synthesis of Symbolism, Neo-Primitivism, and Expressionism. Over the course of a long career, Burliuk was the recipient of numerous prizes, medals and juried awards. He exhibited with success internationally and his work is held in the permanent collections of museums worldwide including the Guggenheim, New York; the Museum of Modern Art, New York; the Whitney; the Metropolitan Museum of Art; the Brooklyn Museum; the Museum of Fine Arts, Boston; the Phillips Collection; the Smithsonian American Art Museum; the State Russian Museum in St. Petersburg; the Thyssen-Bornemisza in Madrid; and in Japan's National Museum of Modern Art in Kyoto. In 1967, the year of his death, David Burliuk was honored posthumously by induction into the American Academy of Arts and Letters. Reference: E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Jacques Busse, 1999 Nouvelle Édition, Gründ 1911, Vol. 3, page 25; Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Peter Hastings Falk, Sound View Press 1999, Vol. 1, page 511; Vollmer Allgemeines Lexikon der Bildenden Künstler des 20. Jarhhunderts, Hans Vollmer, Deutscher Taschenbuch Verlag 1992, Vol. 1, page 358; Mallett’s Index of Artists, Daniel Trowbridge Mallett, Peter Smith: New York 1948 Edition, R.R. Bowker Company 1935, page 61; Biographical Encyclopedia of American Painters, Sculptors & Engravers of the U.S.: Colonial to 2002, Bob Creps, Dealer’s Choice Books, Inc. 2002, Vol. 1, page 201; et al. Exhibitions: 2009 Futurism and After: David Burliuk 1882-1967, Ukrainian Museum, New York (solo) 2008 Futurism and After: David Burliuk, 1882-1967, The Winnipeg Art Gallery, Winnipeg, 2008 A Time to Gather..., The Russian State Museum, St. Petersburg (group) 2003 The Russian Avant Garde, The Minneapolis Institute of Arts 2001 Soros Center for Contemporary Art, Kiev, Russia (group) 2000 David Burliuk, 'The Father of Russian Futurism, The State Russian Museum 1974 Harbor Gallery, Cold Spring Harbor, New York (solo) 1966 Grosvenor Gallery, London, England (solo) 1966 Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania 1941–61 ACA Galleries, New York, New York (solo) 1959 Stadtische Galerie und Lenbachgalerie, Munich, Germany (solo) 1958 Pennsylvania Academy of Fine Arts, Philadelphia, PA (solo 1949 Pennsylvania Academy of Fine Arts, Philadelphia, PA (solo) 1939–1947 Corcoran Gallery, Washington, DC (solo) 1943–1946 Pennsylvania Academy of Fine Arts, Philadelphia, PA (solo) 1943-1946 Whitney Museum of American Art, New York, NY (solo) 1944 Casson Galleries, Boston, MA (solo) 1939 Soyer Galleries, New York, New York (solo) 1939 Paintings and Watercolors by David Burliuk, Henry Art Gallery, Seattle, WA (solo) The Tacoma Art Association, Tacoma, WA San Francisco Museum of Modern Art, San Francisco, CA Philip Boyer Gallery, New York, NY (solo) 1937 The Philips Collection...

Original oil paint on heavy card stock of a lovely spring bouquet of pink flowers by the American impressionist artist, Bird Lefever. Signed lower left...

A beautiful signed and dated 1936 oil on canvas still life with flowers, pineapple, fruit and ceramic mug decorated with a pack of hounds, by Arthur Sleight. Excellent quality and ...

Still life of fruit (with purple glass or crystal) Hand signed lower right Dimensions: (Frame) H 24" x W 27.5", (Canvas) H 17.25" x W 21.5" William Andrew Pogany (born Vilmos András Pogány; August 24, 1882 – July 30, 1955) was a prolific Hungarian American illustrator of children's and other books. His contemporaries include C. Coles Phillips, Joseph Clement Coll, Edmund Dulac, Harvey Dunn, Stevan Dohanos, Walter Hunt Everett, Harry Rountree, Norman Rockwell, and N.C. Wyeth. He is best known for his pen and ink illustration drawings of myths and fables. A large portion of Pogany's work is described as Art Nouveau. Pogany's artistic style is heavily fairy-tale orientated and often feature motifs of mythical animals such as nymphs and pixies. He paid great attention to botanical details. He used dreamy and warm pastel scenes with watercolor, oil painting, and especially pen and ink cartoon work. Willy Pogany was born in Szeged, Austria-Hungary. He studied at Budapest Technical University and in Munich and Paris. He spent his early childhood with his brothers and sisters in a large farmhouse full of chickens, ducks, geese, dogs, pigs, and horses. When he was six, his parents took him to Budapest where he would later be sent to school. He especially liked to row and to play soccer. In his spare time, he drew pictures and painted. He enjoyed painting and drawing so much he decided to be an artist. He attended Budapest Technical School for less than a year, during this time he took art classes for six weeks. He sold his first painting to a wealthy patron for $24. He spent his early twenties attending art school and would later travel to Munich, Paris, and London before coming to the United States in 1914. When Pogany went to Paris to study and paint, he was unable to secure much attention or income, was often poor and went hungry. Willi Pogany spent two years in Paris. When he finally saved up some money from his work, he left Paris to go to London. In 1906, Arthur Rackham's Rip Van Winkle gained massive popularity, sparking a demand for artists in London. At this point Pogany was hired to provide the design For The Welsh Fairy Book by T. Fisher Unwin, including over 100 plates, illustrations, vignettes, chapter heads and tails, and initials. He also did 48 illustrations for Milly and Olly, 70 for The Adventures of a Dodo and 39 for Faust. After ten years in London, Pogany emigrated to America. Besides book illustration, pictures, mural paintings, portraits, etchings, and sculptures, Pogany became interested in theatre and designed stage settings and costumes for different shows and the Metropolitan Opera House. He eventually moved to Hollywood to serve as an art director for several film studios during the 1930s and 1940s. In London, he crafted his quartet of masterpieces: The Rime of the Ancient Mariner (1910), Tannhauser (1911), Parsifal (1912) and Lohengrin (1913).[7] Each of these was designed completely by Pogany, from the covers and endpapers to the text written in pen and ink, pencil, wash, color and tipped-on plates. Pogany worked as an art director on several Hollywood films, including Fashions of 1934 and Dames. He began his involvement in motion picture set design in 1924 and worked in film until the end of the 1930s. He was commissioned by John Ringling, Ettenger, Reiner and William Randolph Hearst's Wyntoon Estate, painted for the Barrymore family, Douglas Fairbanks Jr., Carole Lombard, Enrico Caruso, Miriam Hopkins, and many others. Pogany was awarded gold medals in Budapest and Leipzig Expo as well as the London Masonic Medal, and became a Fellow of the London Royal Society of Art. The New York Society of Architects gave him a silver medal for his mural in the August Heckscher's Children's Theatre showing Cinderella, Hansel and Gretel, and Jack in the Beanstalk. He won a gold medal in 1915 at the Panama Pacific Expo for his work The ValCares and was also awarded the Hungarian Silver Blue Medal. In 1914, Pogany's illustrations appeared on the cover of Metropolitan Magazine, Ladies Home Journal, Harper's Weekly, Hearst's Town and Country, Theatre Magazine and American Weekly.[6] In 1917 to 1921, he worked for the Metropolitan Opera designing sketches, scenery and costumes. In 1918 he illustrated a children's retelling of Homer, The Adventures of Odysseus and the Tale of Troy written by Padraic Colum. Pogany's public art appears on walls of the John and Mable Ringling Museum of Art (formerly Ringling Mansion) in Sarasota, Florida, in New York City at the El Museo del Barrio theater (1230 Fifth Avenue), P.S. 43 Jonas Bronck in Mott Haven, and the Bernard B. Jacobs Theatre (45th Street) and in The Strand Theatre...

Wonderfully vibrant floral still life of petunias in bowl with brass candle stick by Jennie Thatcher Crawford (American, 1890 - 1958), circa 1930. Signed lower left corner. Condition: good; missing paint professionally repaired and inpainted. Unframed. Image size: 24.25"H x 30"W. Born in St Louis, MO on Jan. 25, 1890. Crawford studied at the St Louis School of Fine Arts from 1907-20. Moved to Los Angeles, California 1921. She was active as a lecturer and demonstrator until 1958. Her specialty was floral still lifes. Jennie Crawford, a painter of floral still lifes, was born in St. Louis, Missouri and studied at the ST. Louis School of Fine Arts from 1907 to 1920. She moved to Los Angeles, California in 1921, becoming a Resident of El Monte in 1931. She was a member of Women Painters of the West and exhibited at Palos Verdes Art...

Marie Benoit-Levy (France, 20th Century). This lovely watercolor on Arches Vellum paper painting features still-life with thistles and a blue water pot, an academic design by Marie B...

Still Life is a modern artwork realized by Giordano Becciani in the Mid-20th Century. Mixed colored oil on canvas. Includes frame. The artwork is hand signed on the lower margin. ...

Work on wood Green wooden frame 63.5 x 49 x 3 cm

Mathias J. Noheimer (American 1909-1982) Still Life, ca. 1935 Oil on canvas Signed Noheimer, center right Provenance: Mitchell Brown Fine Art Inc., Scottsdale, AZ Private collection...

Antique American impressionist signed still life oil painting. Oil on board. Signed. Framed. Image size, 25L x 19H.

Still life is an original modern artwork realized by Valentino Ghiglia in the mid-20th Century. Mixed colored oil on board. Hand signed on the back. Includes frame.

Amazing quality early 20th century trompe l'oeil oil painting. Oil on canvas. No signature found. Framed. Image size, 25L x 24H.

Superb oil on canvas painting by Felix Eugene Bellenot (1892 - 1963). This vibrant and passionate composition represents the port of Ste Maxime in France within the foreground of the...

Simka Simkhovitch (Russian/American 1893 - 1949) This came with a small grouping from the artist's family, some were hand signed some were not. These were studies for larger paintings. This is a miniature watercolor and gouache vibrant, colorful bouquet of flowers in a vase. Simka Simkhovitch (Симха Файбусович Симхович) (aka Simka Faibusovich Simkhovich) (Novozybkov, Russia May 21, 1885 O.S./June 2, 1885 N.S.—Greenwich, Connecticut February 25, 1949) was a Ukrainian-Russian Jewish artist and immigrant to the United States. He painted theater scenery in his early career and then had several showings in galleries in New York City. Winning Works Progress Administration (WPA) commissions in the 1930s, he completed murals for the post offices in Jackson, Mississippi and Beaufort, North Carolina. His works are in the permanent collections of the Dallas Museum of Art, the National Museum of American Art and the Whitney Museum of American Art. Born outside Kyiv (Petrograd Ukraine) into a Jewish family who owned a small department store. During a severe case of measles when he was seven, Simcha Simchovitch sketched the views outside his window and decided to become an artist, over his father's objections. Beginning in 1905, he studied at the Grekov Odessa Art School and upon completion of his studies in 1911 received a recommendation to be admitted to the Imperial Academy of Arts. Though he enrolled to begin classes in architecture, painting, and sculpture at the Imperial Academy, he was dropped from the school roster in December because of the quota on the number of Jewish students and drafted into the army. Simchovitch served as a private in the 175th Infantry Regiment Baturyn [ru] until his demobilization in 1912. Re-enrolling in the Imperial Academy, he audited classes. Simka Simkhovitch exhibited paintings and sculptures in 1918 as part of an exhibition of Jewish artists and in 1919 placed 1st in the competition "The Great Russian Revolution" with a painting called "Russian Revolution" which was hung in the State Museum of Revolution. In 1922, Simkha Simkhovitch exhibited at the International Book Fair in Florence (Italian: Fiera Internazionale del Libro di Firenze). In 1924, Simkhovitch came to the United States to make illustrations for Soviet textbooks and decided to immigrate instead. Initially he supported himself by doing commercial art and a few portrait commissions. In 1927, he was hired to paint a screen for a scene in the play "The Command to Love" by Fritz Gottwald and Rudolph Lothar which was playing at the Longacre Theatre on Broadway. Art dealers began clamoring for the screen and Simkhovitch began a career as a screen painter for the theater. Catching the attention of the screenwriter, Ernest Pascal, he worked as an illustrator for Pascal, who then introduced him to gallery owner, Marie Sterner. Simkhovitch's works appeared at the Marie Sterner Gallery beginning with a 1927 exhibit and were repeated the following year. Simkhovitch had an exhibit in 1929 at Sterner's on circus paintings. In 1931, he held a showing of works at the Helen Hackett Gallery, in New York City and later that same year he was one of the featured artists of a special exhibit in San Francisco at the California Palace of the Legion of Honor in Lincoln Park. The exhibit was coordinated by Marie Sterner and included four watercolors, including one titled "Nudes". He is of the generation of Russian Soviet artists such as Isaac Pailes, Serge Charchoune, Marc Chagall, Chana Orloff, Isaac Ilyich Levitan, and Ossip Zadkine. In 1936, Simkhovitch was selected to complete the mural for the WPA Post office project in Jackson, Mississippi. The mural was hung in the post office and courthouse in 1938 depicted a plantation theme. Painted on the wall behind the judge’s bench, “Pursuits of Life in Mississippi”, a depiction of black workers engaged in manual labor amid scenes of white professionals and socialites, was eventually covered over in later years during renovations due to its stereotypical African American imagery. Simka painted what he thought was typical of Jackson. His impression of pre-civil rights Mississippi was evidently Greek Revival column houses, weeping willow trees, working class families, and the oppression of African Americans. He painted African American men picking cotton, while a white man took account of the harvest and a white judge advised a white family, calling it Pursuits of Life in Mississippi. Though clearly endorsed by the government and initially generally well-received, the mural soon raised concerns with locals as the climate toward racial segregation began to change. The main concern was whether depictions that show African Americans in subjugated societal roles should be featured in a courtroom. The following year, his painting "Holiday" won praise at an exhibition in Lincoln, Nebraska. In 1940, Simkhovitch's second WPA post office project was completed when four murals, "The Cape Lookout Lighthouse and the Orville W. Mail Boat", "The Wreck of the Crissie Wright", "Sand Ponies" and "Canada Geese" were installed in Beaufort, North Carolina. The works were commissioned in 1938 and did not generate the controversy that the Jackson mural had. The main mural is "The Wreck of the Crissie Wright" and depicts a shipwreck which had occurred in Beaufort in 1866. "The Cape Lookout Lighthouse and the Orville W. Mail Boat" depicted the lighthouse built in 1859 and the mail boat that was running mail during the time which Simkhovitch was there. The boat ran mail for the area until 1957. "Sand Ponies" shows the wild horses common to the North Carolina barrier islands and "Canada Geese" showed the importance of hunting and fishing in the area. All four murals were restored in the 1990s by Elisabeth Speight, daughter of two other WPA muralists, Francis Speight...