1940s Still-life Paintings

Signed lower right, 'V. Isbrand' for Victor Isbrand (Danish, 1897-1989) and painted circa 1945. A dramatic, Post-Impressionist still-life showing a group of items including a flute...

In this work we find the image of the Buddha and several pomegranates, symbolizing fertility. The choice of combining objects and materials of different nature becomes an unmistakab...

Work on cardboard Golden wooden frame 54 x 44.5 x 3.5 cm

Signed upper left, 'V. Isbrand' for Victor Isbrand (Danish, 1897-1989) and painted circa 1945. A vibrant Post-Impressionist still-life showing a view of a farmhouse interior with a...

Work on cardboard Molded frame in gilded wood 41 x 49 x 4 cm

Antique American modernist cocktail still life oil painting. Oil on canvas. Framed. Signed. Image size, 30L x 24H.

Jean Young (1914-1995), British, Rhododendrons, oil on canvas, signed and dated L/R

Work on canvas Golden wooden frame 62 x 76 x 5.5 cm

Antique American modernist signed still life oil painting. Oil on board. Signed. Framed. Image size, 21L x 18H.

Signed lower left and verso--C Griffin. American there are a couple of possibilities. A very finished still life.

Genre: Impressionist Subject: Still Life Medium: Oil Surface: Canvas Dimensions: 15.25" x 24" Frederick B. Serger (given name Frederick Bedrick Sinaberger) was born in 1889 to a family of Jewish manufacturers in the village of Ivancice near Brno Moravia, a province of Czechoslovakia. Showing artistic talent at a young age, he attended art schools in Brno, Vienna, and Munich. During World War I, Serger joined the Austrian Army and served in the Balkans. Once his service ended, he traveled to Paris where he resumed his art training and eagerly joined the Ecole de Paris (School of Paris) artists’ movement. During this period, he was greatly influenced by the Impressionist, Post-Impressionist, and Expressionist movements. While living in Paris, he met and married Helen Spitzer. Serger and his young wife moved from Paris to Scoczow, a city on the Polish-Czech border. They remained in Scoczow for 12 years and he continued to work as an artist, exhibiting in museums in Cracow and Warsaw. He also showed at the Paris Salon de Tuilleries and the Salon d’Automne with exhibitions protesting the French Academy’s Salon system. A high point in Serger’s career was an exhibition at the famed Bernheim-Jeune in Paris. The Bernheim-Jeune was known for displaying the artwork of premier artists such as Pablo Picasso and Paul Cezanne. Finally, in 1937, the City of Paris Museum purchased one of his paintings to be part of their collection. During the onset of World War II, the Sergers moved several times, possibly in reaction to widespread Anti-Semitism during this period. They lived briefly in England, Panama, Guatemala, and Mexico. Finally, in 1941, they established permanent residence in Manhattan, New York. Serger set up a studio along 57th Street in Manhattan. Once again, he began painting prolifically and exhibiting his artwork in such prestigious galleries as Schoneman, Van Diemen-Lilienfeld and John Heller...

Work on canvas Beige wooden frame 44 x 57 x 5 cm

Work on canvas Golden wooden frame 56 x 49.5 x 3 cm

Work on canvas Golden wooden frame 62.5 x 72 x 4 cm

"Leaves" is a 30 x 24 inches, oil on canvas painting by American modernist and surrealist, female artist Peter Miller. The work is signed and titled on verso, and painted in a vibran...

Work on cardboard Brown wooden frame 55 x 47.5 x 4.5 cm

Antique American modernist abstract still life oil painting. Oil on board. No signature found. Framed. Image size, 9L x 12H.

Beautiful still life oil on canvas circa 1940 by French post impressionist painter Jacques Martin-Ferrieres. The work depicts a table covered with a blue and gold striped cloth. Rest...

'Chrysanthemums' is a mid-century painting, oil on canvas, with impasto deep layers of thick paint, creating color and texture. The petals literally leap from the surface in a way that is difficult to capture in photos. The impasto technique gives this work tremendous depth and a particular vibrance that makes it stand out and be noticed! Influenced by Matisse and Scottish Colourists, Donald Bain (1904-1979), painted 'Chrysanthemums' in post-impressionist brilliant, cheerful color, in stark contrast with the bleak years of World War II. It is a triumph of joyful expression. Bain exhibited at the Royal Academy and the Royal Scottish Academy. His work appears in the Scottish National Galleries, Hunterian Art Gallery, Glasgow Museums, City Art Centre in Edinburgh, Perth, Paisley and elsewhere. Born in Renfrewshire, Bain attended Moffat Academy and soon after travelled to Paris in the 1920s where he was influenced by Matisse and later Cezanne, then returned to Glasgow in 1940. He studied art in the Glasgow School of Art where he met artists from the Glasgow Boys artist group, and the Scottish Colourists. Donald Bain, joined with Scottish Colourist Fergusson and together co-founded the 'New Scottish Group' a group of artists in and around Glasgow with shared views of the world and experience in the art of the Continent. Chrysanthemums dates to 1944, soon after forming the new movement of Scottish artists and their first exhibition in 1942. After WW II, Bain returned to France then moved back to Glasgow in 1948. He worked as a printmaker, theatre scenery...

This gorgeous British still life oil painting is by much exhibited artist Frank Potter. Painted circa 1940 is is an arrangement of marigolds and a vari...

Clarence Holbrook Carter (American, 1904-2000) Hospitalities Long Past, 1941 Oil on canvas Signed and dated lower right 37 x 27 inches "Looking into store front windows has always i...

Antique American modernist signed still life oil painting. Oil on canvasboard. Signed. Framed. Image size, 9L x 13H.

"Tewa Vessels" is a 18 x 24 inches, oil on canvas painting of Native American pottery, painted by American modernist and surrealist, female artist Peter Miller. The work is painted i...

Oil on cardboard by Pierre GIRIEUD (1876-1948), France, 1941. "VASE OF FLOWERS - MARIGOLDS". With frame: 56x48 cm - 22x18.9 inches ; without frame: 46x38cm - 18.1x15 inches. 8F format. Signed "Girieud" and dated "1941" (see photos). Excellent condition ! Gild wood and faux-lizard frame (old but not period). Pierre Girieud was born in 1876 at no 14 rue de Marseille in Paris, to Jeanne Rosalie Bernard and Joseph Gustave Girieud, civil engineer. He spent his early youth in the Alpes de Haute-Provence, a region where his family was born, before settling in Montmartre in 1900 where he practiced painting as an autodidact while attending Picasso, Villon, Marquet, Puy, Manguin and Camoin . A great admirer of Gauguin whom he discovered in 1901 through his friend Durrio, a ceramist and silversmith who worked alongside the artist, Girieud painted according to the Nabis precepts: he refused the traditional perspective in favor of large flat areas; he surrounds the stylized shapes in black to bring out their quintessence; he uses unnatural colors to increase the decorative effect. He completes the extreme stripping of his works with an exacerbated symbolism. A personal interpretation appears despite everything because it translates the sensations thanks to the play of color and composition. He introduces his own primitivism through naive images, stained glass windows and hieratic figures. Throughout its development, it will keep a rule dear to Gauguin: solidly structure the painting by drawing. Girieud cannot realize his dream of joining Gauguin in the islands and must be satisfied with a pilgrimage to Brittany. On the occasion of the Gauguin retrospective in 1906, he painted the Master in a composition inspired by the Last Supper in which Gauguin shared a meal with his disciples: Homage to Gauguin. After exhibiting with Maillol in 1901, he began the following year at the Salon des Indépendants in Paris and very early on played an important role among artists in revolt against official art and Impressionism, perceived as a dead end. He thus adhered to Fauvism and participated in the historic Salon d'Automne in 1905, where he exhibited five paintings in room No. VII of qualified Fauve artists. He also shows his works at the Berthe Weil gallery along with Metzinger, Fornerod and Friesz. In Russia, he participates in the Salon de la Toison d'Or. Friend of Kandinsky from 1904, Girieud was the first French to adhere to the expressionist principles of the NKV when it was founded in 1909. He then served as a link between Parisian and German artists and contributed to catalogs and exhibitions until 1911. Adept of Primitives and Fauves, nourished by the vigorous oppositions inherent in his native Provence, invests himself in this painting with excessive contrasts, unusual color relationships dominated by the abundance of black, simplifications of ever more acute forms. He therefore found himself in this movement of artistic revolt which was then developing in Germany and which would be called Expressionism. Munich with the NKVM and the Blaue Reiter, Dusseldorf with the Sonderbund, Berlin with Die Brücke and the Neue Secession, are the centers of dissemination of their theories. He is the Frenchman who exhibited the most paintings with this movement, which earned him the presence of eight works during the retrospective organized by the Lembachhaus in 1999. The artists of the NKV will recognize in him the purity of the line close to the naivety associated with a pure emotion characteristic of the expressionism. Girieud is also associated with the wind of freedom that accompanies the creation of the Blaue Reiter's Almanac, which features one of his works destroyed during the last world war. He will not exhibit with this group because his contribution will arrive too late but will be by their side most of the time including at the Der Sturm gallery where Walden, after having exhibited the French Expressionists (including Girieud), will claim for the Germans the term expressionist . The German artistic world holds him in high esteem as shown by the number of his paintings purchased by Koehler, Erbslöh, Kanolt, and Kandinsky as well as the exchange proposed by Marc. He owes his first solo exhibition in 1907 to Daniel Kahnweiler and in 1910-1911, Franz Marc had him exhibited at the Tannhauser gallery in Munich. Girieud settled in Marseille in 1911 and, returning to classicism during the First World War, he devoted himself to decorative works, especially frescoes, opera sets and illustrations. He died in 1948. Louis Vauxcelles reports in the Excelsior newspaper of May 29, 1919: “While Flandrin, Marquet, Dufrénoy, Puy, Laprade, Manguin, Friesz were becoming famous, Matisse illustrious, Pierre Girieud, their comrade, their equal, remained isolated. We were not fair to Girieud, and here I am doing my mea culpa of criticism. Except Gasquet and Charles Morice, who understood this artist, no one went to look for him in his retirement. We were too seduced by Bonnard's delights, and the Fauves' fireworks surprised us. Close to them, but in silence, a cultivated, meditative being, enamored of Sienese and Gauguin, aimed not at the effect, but at the cadence, preferred the orderly composition to the piece of bravery. It was Girieud. " Exhibitions . the Salon des refusés whose statutes Girieud drafted in 1901 under the name of "Bilange" with the help of Fabien Launay and which became the Salon d'Automne . the College of modern aesthetics, a collective of creators - via La Revue naturiste -, created in the fall of 1900, with among others the artists Émile Dezaunay, Durio, Girieud, Henri Delepouve (1869-1956), Charles Huard, Manolo Hugué, Frantz Jourdain, Fabien Launay, Alphée E. Iker, Maillol, Raoul de Mathan, Charles Milcendeau, Tony Minartz, Ricardo Florès . the New Trends Group with Girieud joined in 1903 and where he met Vassili Kandinsky in 1904 . the “free Medici villa...

Théière et Citron by GEORGES BRAQUE (1882 - 1963) Oil on panel 22.5 x 25 cm (8 ⅞ x 9 ⅞ inches) Signed lower left, G. Braque Executed in 1947 Provenance Perls Galleries, New York Fu...

This superb Post Impressionist floral oil painting is by noted successful Russian born female artist Nadia Benois. Benois came to England and settled in London in 1920 having married into the Ustinov family. Painted in 1946, this lovely painting is a mixed floral arrangement of tulips and other flowers in a yellow jug on a cloth on a table. The red of the flowers stands out boldly against the green background. There is superb heavy impasto and great brushwork. This is a fantastic example of Benois' work and is housed in a ornate complementary frame. A lovely Post Impressionist 1940's floral oil painting by a sought after female artist. Signed and dated lower right. Provenance. With Arthur Tooth, London, remnant of his exhibition label on the stretcher. Condition. Oil on canvas, 27 inches by 20 inches and in good condition. Frame. Housed in an ornate frame, 34 inches by 27 inches and in good condition. Nadezhda Leontievna Ustinova, née Benois, (1896-1975) better known as Nadia Benois, was a Russian painter of still life and landscape, and stage designer. Her father, named Leonti (Louis) Benois, was the owner of the famous Leonardo Da Vinci's painting 'Madonna Benois'; he was of Russian, French and Italian ancestry, and was an architect, who built several landmarks in St. Petersburg. Her mother had Ethiopian Royal ancestry. The large family of Benois lived in a grand mansion near the Imperial Mariinsky Opera House in St. Petersburg, that was built by her architect grandfather Nikolai Benois. She studied under Jacovleff, Choukhaieff and her uncle Alexandre Benois and at St Petersburg Academy of Fine Arts. In 1916 she married Jona Freiherr von Ustinov, nick named 'Klop'. of Russian, Polish Jewish, German and Ethiopian descent. and settled in England with her family in 1920. Her husband Jona Ustinov worked as a press officer at the German Embassy in London in the 1930s and was a reporter for a German news agency. In 1935, two years after Adolf Hitler came to power in Germany, Jona von Ustinov began working for the British intelligence service MI5 and became a British citizen, thus avoiding internment during the war. The statutory notice of his application for citizenship was published in a Welsh newspaper so as not to alert the Germans. He was the controller of Wolfgang Gans zu Putlitz, an MI5 spy in the German embassy in London who furnished information on Hitler’s intentions before the Second World War. (Peter Wright...

Antonio Vidal Rolland (Barcelona, 1889 - 1970 Catalan painter. Disciple of José Ruiz Blasco father of Picasso a Lonja and Aleix Clapés. He started out...

Clarence Holbrook Carter (American, 1904-2000) Still Life with Apples, 1940 Oil on canvas Signed and dated upper right 18 x 24 inches Clarence Holbrook Carter achieved a level of national artistic success that was nearly unprecedented among Cleveland School artists of his day, with representation by major New York dealers...

"Ceremonial objects" is a 20 x 24 inches, oil on canvas painting by American modernist and surrealist, female artist Peter Miller. The work is painted in a vibrant color palette. The...

Antique American modernist still life painting. Oil on canvas, circa 1950. Housed in a period frame. Image size, 31L x 23H.

Signed still life oil on canvas circa 1940 by French post impressionist painter Jacques Martin-Ferrieres. The work depicts a white, ceramic bowl filled with brightly coloured flowers...

Oil on canvas dating from 1946 by Jean-René Chatelain. Beautiful canvas of a neo-realism soothed. Measurements : with frame: 81x72x7.5 cm - 31.9x28.3x3 inches, without frame: 68x58 c...

"Orange Abstract" is a 23 x 27 inches, oil on canvas painting by American modernist and surrealist, female artist Peter Miller. The work is painted in a vibrant, predominantly red co...

Vintage American modernist abstract still life oil painting. Oil on board, circa 1950. Housed in a vintage frame. Image size, 22L x 13H. Signed.

A fine early 20th Century oil still life showing a bunch of carnations strewn across the corner of a stone plinth. The artist has signed and dated to the lower right corner. The pain...

Kenneth Marcus Hugh [Cleveland, OH] Beautiful still-life of autumn harvest, with corn, apples, pears and peppers. 1943 Signed & Dated Lower-Right Oil...

Vintage modernist still life painting. Oil on canvas. Image size, 18L x 24H.

Work on canvas Golden wooden frame 57 x 74 x 3 cm Paul GAGARIN (1885-c.1980), Pavel Konstantinovich GAGARIN. Russian painter, emigrated to France in 1921 then worked in Brazil where...

Vintage modernist abstract still life painting by R. John Foster (1908 - 1989). Oil on board, circa 1950. Housed in a period frame. Image size, 24L x 20H.

Work on wood Golden wooden frame 41 x 57 x 3.5 cm

Vintage modernist abstract hat shop painting. Oil on canvas, circa 1950. Housed in a period frame. Image size, 32L x 26H.

Work on canvas

Signed lower right, 'Jay Risling' (American, 1896-1993) and dated 1941. A psychologically penetrating study of a contented, golden-eyed ginger cat shown...

To see our other Modern British Art, and our other Peter Collins works, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message...

Vintage modernist still life painting by Virginia Tillou (1906 - 1995). Oil canvas. Housed in a period Heydenryk frame. Image size, 12L x 18H. ...

Antique American school modernist portrait oil painting. Oil on canvas. Signed. Framed. Image size, 20L x 18H.

Georges Dayez (French, 1907-1991) "Still Life with Onion" Oil on canvas, 18 1/2" X 22" Signed and dated lower left: "Dayez 48" Inscribed on canvas back: "Dayez" Label: "From the Gal...

Vintage modernist still life painting. Oil on canvas. Housed in a period frame. Image size, 14L x 8H. Signed.

Signed lower right, 'V. Rorup' for Viggo Julius Rorup (Danish, 1903-1971) and dated 1941. Displayed in a cream, and parcel-gilt, carved wood frame. Frame dimensions: 30.5 x 26.75 x 2.5 inches. Viggo Rorup was still a student at the Royal Danish Academy when he made his 1928 debut at the Charlottenborg Palace. Following his graduation in 1930, he moved to Odsherred, where he continued his studies under Karl Bovin. Together, they founded the avant-garde group, The Corner, which first introduced the principles of European Modernism to Danish painting. Rorup traveled and studied widely, including to Italy, Austria, Spain, and, most importantly, to France, where his exposure to the work of both the Impressionists and the Post-Impressionists was influential in the development of his later work. As Rorup continued to paint in the south of France, his palette grew lighter and brighter and the earlier, more defined, contours of his forms became subsumed into scintillating nuances of light. We are pleased to offer this lyrical and elegant still-life from the artist's late period. Exhibitions: KE 1928-29, 1933-38; Corner Harvest 1939-41; Corner 1942- 71, 1981; Liljevalchs, Sth. 1946; Union Frcia 1947; Nordic Arts Association. 1947; Wild Wheat, Kunstindustrimus. 1948; New Carlsberg Foundation, Charlottenborg Palace, 1952; Cromisterne 1952;Kalundborg 1952; Da. contemporary art, Charlottenborg Palace 1956, 1958; Danish Institute Contemporary Art, Freedom Hall, Sønderborg 1961; Ostseeländer, Rostock 1961-62, 1969; Artists in Odsherred, 1977; Copenhagen 1978; Danish. landscapes, Norwegian Art Museum. 1981; Danish Cultural Institute, The Artists House, Ukraine 1986. Separate Exhibitions: Binger Gallery Copenhagen. 1938; Art Unite., Copenhagen. 1964 (retrosp.); Haagen-Müller Kunsthdl., Copenhagen. 1966; Farumgaard, Farum 1971 (Artist Retrospective); Odsherred painter Retrospective, Odsherreds Museum, 1983; Norwegian Art Museum. 1985; Odsherreds Art Museum. 1993; et al. Reference: Weilbach, Dansk Kunstnerleksikon, the Castle and Cultural Agency, Copenhagen; Pol. 1.4.1957; 03/08/1983; 05/17/1985; Holbæk County Venstrebl. 28/06/1958; Ulf Hoffmann in: Cat. Corner, 1959; News 15/11/1964; Gunnar Jespersen: The abstract, 1967, 107; Berl. Time. 17/01/1971; Inger Hjorth Nielsen: Cat. Corner, 1971-72; January Garff in: Corner Book...

"Two Bottles" American Scene Realism Mid 20th Century Female Artist WPA 1940's Helen Clark Oldfield "Two Bottles," 1943. Signed “Helen Oldfield” lower right. Oil on canvas board, 18 x 14 inches. Provenance: Estate of the Artist. Helen Clark Oldfield was born in Santa Rosa. Her father, James E. Clark, invested in local hops farms. He was a director of the first Santa Rosa Bank. Oldfield lived at 547 Mendocino Avenue, in one of the finest custom-built homes in town. She was the oldest child of the family. They spent summers in their beach cabin at Jenner-by-the-Sea. She was a good student and graduated from DeWitt Montgomery High in Santa Rosa with college standard grades. Unfortunately, this idyllic situation tumbled down suddenly. due to a fraud scandal at the Bank, her father forfeited most of his assets in order to make good on his client's losses. At the time when her high school friends were going east to college, Oldfield followed her family to a new life of farming. She found this life frustrating as there was little time for her interests after conclusion of her daily duties. Here she developed her natural gift for sophisticated needle work. At the time she also took a correspondence course in industrial design and became an expert tailor. Her family was not happy with the farming arrangement. They decided to move to Oakland. In 1921 they purchased a home at 318...

Still Life with Vase of Flowers is an original modern artwork realized in 1946 by Artur Murle. A mixed colored oil on canvas. Includes a wooden frame. Hand signed and dated by the...

Wonderful still life of the red Flanders Field Poppy by Heide van Doren (Germany, 20th Century), circa 1940. Signed lower right "Heidi van Doren". Presented in carved gilt-toned fram...

Vintage American modernist still life oil painting. Oil on canvas, circa 1940. Unsigned. Framed. Image size, 24"L x 20"H.

Vintage American modernist still life painting. Oil on canvas, circa 1950. No signature found. Framed. Image size, 21"L x 13"H.

Vintage American modernist cubist abstract painting. Watercolor gouache and pastel on board. Unsigned. Framed. Image size, 11"L x 11"H.

Antique impressionist still life painting by Irene ( I. Stry) Stry (1899/1904 - 1963). Oil on board, circa 1940. Signed. Image size, 24L x 20H.

FRANCISCO BORES Spanish, 1898 - 1972 STILL LIFE OF FRUITS signed "Borès 45´" (lower right) oil on cardboard 15-3/4 x 19-3/4 (40 x 50 cm.) framed: 18-1/4 x 22-1/8 inches (46 x 56 cm.) PROVENANCE Private French Collector Francisco Bores López (Madrid, May 5, 1898 - Paris, May 10, 1972) was a Spanish painter of the so-called New School of Paris. His artistic training originated both in the Cecilio Pla painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz or Joaquín Peinado...

Signed lower right, 'V. Isbrand' for Victor Isbrand (Danish, 1897-1989) and painted circa 1945. Precocious as a child, Victor Isbrand painted professionally from a young age and was...