American Impressionist Paintings

Jim’s of Lambertville is proud to offer this artwork by: Charles Hargens (1893 - 1997) Carversville, Bucks County, Pennsylvania artist and illustrator Charles was born in Hot Springs, South Dakota. As a young boy he loved to draw cowboys, Indians and ranch buildings. By age ten, he was “a commercial success” selling drawings of neighbors’ barns and houses for $25. When he grew older, his parents consented to enroll him at the Pennsylvania Academy (1913-20) where he studied with Daniel Garber, Hugh Breckenridge, Henry McCarter, and William Merritt Chase. At Garber’s invitation, Hargens occasionally came to visit his Lumberville studio to paint with him. A lifelong friendship resulted. In 1915, the Pennsylvania Academy awarded Hargens its Cresson Traveling Scholarship and he went to Paris to study at the Academie Julian and the Academie Colarossi. Hargens was a fellow of the Pennsylvania Academy and a member of the Society of Illustrators, the National Cowboy Hall of Fame and the Philadelphia Sketch Club. He exhibited at the Art Institute of Chicago (1923 awards) and at the Pennsylvania Academy of Fine Arts (1915 prize, 1917 prize, 1918 award). By the early 1920s, he began to produce illustrations for book jackets, books, magazines and advertisements. His career took off and soon his illustrations of cowboys, Indians, Western life, Revolutionary War action and boy scout themes appeared in, or adorned the covers of The Saturday Evening Post, Collier’s, Liberty, McCall’s, Boy’s Life and Gentlemen’s Quarterly. His work also appeared on billboards and advertisements for Stetson hats and Coca-cola. It was conditioned by Hargens that all of his original art was returned to him after being published. His entire body work remained in his studio until his death in 1997; this is largely the reason his paintings have not yet commanded the high prices of his contemporary Saturday Evening Post illustrators (i.e. Rockwell, Leyendecker and N.C. Wyeth). At first he and his wife worked from their studio in Philadelphia. In 1940, they purchased a property at the intersection of Aquetong and Sawmill roads in Carversville. They commuted to Philadelphia regularly and stayed in South Dakota every summer. Eventually, he set up a studio next to his Carversville home. After moving to Carversville, Hargens began a lifelong friendship with George Sotter. Hargens’ Carversville home was the subject of many of George Sotter’s paintings long before and during the time Hargens lived there. Hargens also studied with Henry Rand...

Daniel Content painted in the grand tradition of the Golden Age of Illustration, in the style of Dean Cornwell, N.C. Wyeth, J.C Leyendecker ...

Beautiful portrait of a young girl by listed aritst artist Helen Mae Enoch Gleiforst (American,1903-1997). Signed "Gleiforst" lower left. Unframed. Image, 20"H x 16"W. Gleiforst wa...

Following two decades of successful impressionistic landscape painting, Wilson Henry Irvine became known for a new experimental style in the 1930s. In 1930, Irvine began making pris...

Long Light Notre Dame Oil on canvas, 1931 Note: the painting is NOT framed Signed and dated lower right Condition: Excellent Conservation by Monica Radecki, South Bend Canvas size: ...

Figurative 1930's illustration of a just married couple in a classic car by Charles Kinghan (American, 1895-1984). Signed "Kinghan" in the lower left c...

Countryside Barn at Dusk - Oil Pastel On Paper Oil pastel drawing depicting a small wooden barn atop a country hillside by Oakland, California artist Grace Anna Pfister (American, 1...

Beautiful 1931 painting by American artist, Giovanni Martino (1908-1997). Oil on canvas measures 25 x 30 inches. Measures 35 x 39 inches framed. The scene depicts what is definitivel...

The Outer Banks North Carolina - Fishing Boats Oil on Canvas 1930s Oil painting depicting two wooden canoes on the Outer Banks North Caroli...

Still Life with Lemons and Chianti Wine still life on table with wine bottle and lemons by California artist Harold F. Porter (American, 19th-20th Century). A muted mauve and blue wall paper sets the table for this classic still life of a glass of wine and a Chianti bottle with lemon bowl...

Through The Redwoods - American Impressionist American Impressionist oil painting depicting a forest of California redwood trees. A giant red...

"Christmas Morn" Sleigh in the Snow after W.C Bauer, London Oil on Linen 1937 Christmas Morning and a sleigh ride by Mrs. J.B. Anthony (American, 19th-20th C.)...

Stunning autumnal landscape titled "Fall at Barrington, Illinois", a suburb of Chicago, by Kathleen Buehr Granger (American, 1902-1999), 1938. Signed lower left "K. Buehr Granger" an...

Oil on artist board, signed Emily Hoffmeier lower left Most likely a scene of Nantucket harbor and presented in what could be the original frame with a slightly highlighted silver finish. Presents well overall measuring 16.5" x 20.5" including the frame. From 1929 to her death in 1952, Emily Hoffmeier (1888-1952) spent summers on Nantucket, painting in the waterfront studios—first Harborview No. 3 and later moving to the Red Anchor Studio on Washington Street. She exhibited in the Easy Street Gallery, the Candle House Studio, and later at the Kenneth Taylor Galleries. After the death of Maud Stumm in 1935, Hoffmeier took over the direction of the annual Sidewalk Art Show, which she ran for the next eighteen years “with untiring cheerfulness and unflagging interest.” She was one of the founding members of the Artists Association of Nantucket and served on its first executive committee. A graduate of Mount Holyoke College, South Hadley, Massachuetts, Hoffmeier taught art classes at the college for several years. From 1917 to 1951 she was a teacher at West Chester High School in Pennslyvania, where she headed the mathematics department. In addition to enrolling in the plein air classes of Frank Swift Chase...

Signed lower right: Hayley Lever

A wonderful original figure painting for a 1930's illustration by Charles Kinghan (American, 1895-1984). A woman in a plaid green skirt and mustard yel...

" Sunlit Mountains" Majestic Mount Jefferson And Mount Hood Oregon 1930s A well executed oil on linen of two mountain peaks by California and Illinois artist Andrew Dobos (American/P...

Elsie Palmer Payne, the wife of Edgar Payne, was noted for her contributions as an artist in her own right. She worked in various artistic mediums, ...

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...

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...

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 members of the New Hope Art Colony actually born in Bucks County...

A wonderful large self portrait of the artist with a Russian model by American artist Pauline Lennards Palmer (1867-1938). Born in McHenry, Illinois, Palmer studied at the Art Institute of Chicago between 1893 and 1898, including a one-month session with William Merritt Chase in 1897, and further temporary instruction with Frank Duveneck. She became one of Chicago's early twentieth-century portrait and landscape painters and one of the Midwest's most active and energetic exponents of impressionism. After her career was well established, she moved to Provincetown and studied with Charles Hawthorne...

Jim's of Lambertville Fine Art Gallery is proud to present this piece by John Fulton Folinsbee (1892 - 1972). One of the finest painters to embark upon the New Hope Art Colony, John...

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...

Jim's of Lambertville Fine Art Gallery is proud to present this piece by John Fulton Folinsbee (1892 - 1972). One of the finest painters to embark upon the New Hope Art Colony, John...

Vibrant mid century landscape of Mount Whitney by John Alfred Coultrup (American, 1888-1982), Signed/inscribed in the paint "Coultrup" lower left. Presen...

Sierra Peak California Mountain and Stream 1930s 1930s painting of the California Sierras by Southern California artist Aaron Roberts (American, 19...

High Desert Scene at sunrise circa 1930s by Herbert A. Schmidt (American, 1885 - 1930) Schmidt was a well known architect and designer of many San Francisco buildings and was a pupil at the Mark Hopkins Art Institute (SF) in 1899-1901. Graduated from the University of Pennsylvania in Architecture. President of the San Francisco Bohemian Club...

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

Portrait of a Seated Woman oIl on canvas, c. 1930 Signed on the reverse in oil paint: "Paul W" Created while the artist was a student at the Minneapolis Institute of Arts Provenance: Estate of the artist Condition: Cleaned and stretched by Monica Radecki, South Bend, Indiana. The painting is unframed Canvas size: 30 x 24 inches This work created while the artist was in art school. Winchell studied art at the Minneapolis and Chicago Art Institutes in the 1930’s. He went on to teach at both institutions. Winchell studied under the noted artists Daniel Garber and Leon Kroll. Winchell exhibited at the Minneapolis Institute of Arts, Art Institute of Chicago and the Kansas City Art Institute. He retired to a quiet life in Painsville, Ohio. Paul H. Winchell (1903 – 1971) was a printmaker, illustrator, teacher, and gilder according to Crump, 2009 (Minnesota Prints and Printmakers, 1900- 1945, Minnesota Historical Society Press). He was the son of Mrs. Looman Winchell of Shepherd Rd as noted in a 1937 newspaper article (Painsville, O. Telegraph). Winchell grew up in North Perry, Ohio and then studied and worked as an instructor at the Art Institute of Chicago. He studied with Leon Kroll (1884 – 1974), Boris Anisfeld (1878-1973), Daniel Garber (1880 – 1958), Charles Woodbury (1864 – 1940), George Oberteuffer...

Marguerite Stuber Pearson was a firm proponent of the Boston School tradition, characterized by her mastery of academic technique and the selection of traditional subjects of portraiture, figures in interiors and still lifes. In her debut exhibition at the Guild of Boston Artists in 1931, one reviewer happily reported that her paintings were “executed in the best Boston School tradition.” Upon seeing the show, Edmund Tarbell...

Day at the Beach - Realistic Figurative Illustration in Gouache Original figurative illustration of people at the beach by Charles Ross Kinghan (American, 1895-1984). Several women are looking at someone's foot, as if there is a splinter being removed. Three of the women are closer, with their heads in the frame. Two of them have are standing with their backs to the viewer. Between the women, the viewer can catch glimpses of other activities on the beach. Possibly a sketch for Good Housekeeping Magazine. Signed "Charles Ross" in the lower right corner. (Charles Ross Kinghan) Acquired with other signed estate works by the artist. Presented in a new cream mat. Mat size: 16"H x 13"W Board size: 14"H x 11.75"W Charles Ross Kinghan (American, 1895-1984) was born in Anthony, KS on January 18, 1895. A teacher, he moved to Wichita as a teenager and did sign painting for the Western Sign Works. He studied at the Chicago Academy of Fine Art in 1916, the American Academy of Art in Chicago, the Audubon School of Art and the Art Institute of Chicago. He was a pupil of Carl Scheffler, J. Wellington Reynolds, and H.A. Oberteuffer. He taught at the Art Institute of Chicago and at the American Academy of Art in Chicago. He was an illustrator for McCalls, Good Housekeeping, Saturday Evening Post, Colliers, and many others, including American Artist magazine. He was author and illustrator of Rendering Techniques for Commercial Art and Advertising (1956) and of Ted Kautzky...

A beautiful 1930's landscape titled "Trail into California Mountains" by Oklahoman artist Sidney Lorenzo Brock (American, 1869-1943). Presented in ...

Interior courtyard scene by Mary Scott (American, late 19th/early 20th C). Two large stone columns support an arch, framing the composition. Between the columns, some of the courtyard can be seen, including a tree and the edges of a grassy area. Across the courtyard, there is a small desk and chair...

An antique American Woodstock school landscape painting in an original hand carved period wood frame. Unsigned but clearly done by a very masterful hand.

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...

Modern impressionist still life with vegetables signed Michelle. Charming composition depicting eggplant, celery, peppers, tomatoes and more. Original period frame.

John Whorf (1903 - 1959) Park Street Church, Boston, circa 1930-45 Watercolor on paper 21 x 15 inches Signed lower right Housed in its original frame Provenance: Milch Gallery, New ...

Still Life of Gladiolas in a Blue Pot with bird figurine and Samurai portrait by Bonnie Beach Ryan (American, 1901-1940). In 1933, Bonnie Beach Ryan held her first solo show of flower and still life paintings at the Dana Bartlett...

Oil on board painting by Sister Mary Norbert from 1938 of a summer mountain landscape with lush trees and a farm house. Colors of green, brown, purple, blu...

Roses and vase by Bonnie Beach Ryan (American, 1901-1940). In 1933, Bonnie Beach Ryan held her first solo show of flower and still life paintings at the Dana Bartlett...

Walter Farndon June Day at the Sound Signed lower right Oil on canvas 20 x 24 inches Living and working in an era of passionate and often controversial changes in the art world, Wal...

Silver Plume, Colorado - near Georgetown, mountain landscape with fall colors, Aspen and Pine trees, river, houses and mountains by early 20th century Co...

Beautifully vivid early 20th century Pebble Beach, Carmel landscape. Signed illegibly lower right. Condition: Good. Presented in vintage frame with new mat. Image size: 7"H x 10"W.

A beautiful example from Walter Elmer Schofield's Cornwall period. Thick impasto and bright colors. Painted on board; this painting is in excellent original condition and as a bonu...

Wonderful California landscape of foothills with stream, Birch and Oak trees. Unsigned. Unframed. Image size: 12"H x 18"W.

Country Cottage at Sunrise Cottage in the morning on a winding path by an unknown American artist. Circa 1930-40. Image 18"H x 15"W Frame, 21"H x 17...

Gorgeous large-scale pastel colored landscape of a Southern California grapevine valley by Eugene (Jene) Jackman (American, 1910-1970), 1937. Rolling hills sprawl across this vast la...

Vibrant late 1930's landscape painted in a colorful spectrum of a pathway leading through trees to a glassy lake framed by distant mountains and a multicolored sky by A. Griffin (Ame...

Serene winter landscape of a snow covered hills with a frozen creek and far off house in the distance by Frederick Wagner (American, 1864-1940), c.1930's. Signed "F. W." lower right....

Figurative illustration of people arriving at a church by Charles Kinghan (American, 1895-1984). The church is rendered with exquisite detail, typical ...

Industrial illustration of a smokestack by Charles Ross Kinghan (American, 1895-1984). A large tower and holding tanks are rendered in exquisite detail, especially considering the size of the illustration. The smokestack towers above the landscape, with stairs running up the outside. Two large green holding tanks sit next to the tower. At ground level, there are a few small figures, indicating the enormous scale of the refinery. possibly a sketch for Colliers or The Saturday Evening Post Magazine. Unsigned, but was acquired with other signed estate works by the artist. Presented...

Clara Louise Bell (1886 - 1978) House on a Hill, circa 1935 Gouache on artist board 7 1/4 x 9 7/8 inches Clara Louise Bell (Mrs.Bela Janowsky) was b...

Serene landscape of the Putah Creek Bridge (now submerged, also known as Monticello Bridge) by Frank Willson Judd (American, 1864-1940). The Putah Creeks flows beneath an old Closed-spandrel red stone arch bridge 1896-1957 submerged intact beneath Lake Berryessa in 1957. When built this bridge was reputed to be the longest stone arch bridge in California and quite possibly the largest West of the Rockies. Signed and dated "Frank Willson Judd 1937" in the lower left corner. Presented in an antique, distressed frame...

Monterey Customs House and Sailboats on the Bay by unknown California artist (American, 1930+-) Some age wear to paint. frame is contemporary with slight wear and included at no cost...

Original vintage 1941 Colorado landscape painting with autumn leaves and Pikes Peak blanketed in snow by Charles Bunnell (1897-1968). Inscribed verso, "To Laura, November 22, 1941", egg tempera on board. Signed by the artist in the lower left corner and titled verso. Presented in a custom frame, outer dimensions measure 15 ½ x 19 ¼ x 1 ¼ inches. Image size is 7 ¾ x 11 inches About the Artist: Artist and teacher, Charles ("Charlie") Bunnell worked in a variety of styles throughout his career because as an artist he believed, "I’ve got to paint a thousand different ways. I don’t paint any one way." At different times he did representational landscapes while concurrently involved with semi- or completely abstract imagery. He was one of a relatively small number of artists in Colorado successfully incorporating into their work the new trends emanating from New York and Europe after World War II. During his lifetime he generally did not attract a great deal of critical attention from museums, critics and academia. However, he personally experienced a highpoint in his career when Katherine Kuh, curator at the Art Institute of Chicago, personally chose one of his paintings - Why? - for its large exhibition of several hundred examples of abstract and surrealist art held in 1947-48, subsequently including it among the fifty pieces selected for a traveling show to ten other American museums. An only child, Bunnell developed his love of art at a young age through frequent drawing and political cartooning. In high school he was interested in baseball and golf and also was the tennis champion for Westport High School in Kansas City. Following graduation, his father moved the family to Denver, Colorado, in 1916 for a better-paying bookkeeping job, before relocating the following year to Colorado Springs to work for local businessman, Edmond C. van Diest, President of the Western Public Service Company and the Colorado Concrete Company. Bunnell would spend almost all of his adult life in Colorado Springs. In 1918 he enlisted in the United States Army, serving in the 62nd Infantry Regiment through the end of World War I. Returning home with a 10% disability, he joined the Zebulon Pike Post No. 1 of the Disabled American Veterans Association and in 1921 used the benefits from his disability to attend a class in commercial art design conducted under a government program in Colorado Springs. The following year he transferred to the Broadmoor Art Academy (founded in 1919) where he studied with William Potter and in 1923 with Birger Sandzén. Sandzén’s influence is reflected in Bunnell’s untitled Colorado landscape (1925) with a bright blue-rose palette. For several years thereafter Bunnell worked independently until returning to the Broadmoor Art Academy to study in 1927-28 with Ernest Lawson, who previously taught at the Kansas City Art Institute where Bunnell himself later taught in the summers of 1929-1930 and in 1940-41. Lawson, a landscapist and colorist, was known for his early twentieth-century connection with "The Eight" in New York, a group of forward-looking painters including Robert Henri and John Sloan whose subject matter combined a modernist style with urban-based realism. Bunnell, who won first-place awards in Lawson’s landscapes classes at the Academy, was promoted to his assistant instructor for the figure classes in the 1928-29 winter term. Lawson, who painted in what New York critic James Huneker termed a "crushed jewel" technique, enjoyed additional recognition as a member of the Committee on Foreign Exhibits that helped organize the landmark New York Armory Exhibition in 1913 in which Lawson showed and which introduced European avant-garde art to the American public. As noted in his 1964 interview for the Archives of American Art in Washington, DC, Bunnell learned the most about his teacher’s use of color by talking with him about it over Scotch as his assistant instructor. "Believe me," Bunnell later said, "[Ernie] knew color, one of the few Americans that did." His association with Lawson resulted in local scenes of Pikes Peak, Eleven Mile Canyon, the Gold Cycle Mine near Colorado City and other similar sites, employing built up pigments that allowed the surfaces of his canvases to shimmer with color and light. (Eleven Mile Canyon was shown in the annual juried show at the Carnegie Institute in Pittsburgh in 1928, an early recognition of his talent outside of Colorado.) At the same time, he animated his scenes of Colorado Springs locales by defining the image shapes with color and line as demonstrated in Contrasts (1929). Included in the Midwestern Artists’ Exhibition in Kansas City in 1929, it earned him the gold medal of the Kansas City Art Institute, auguring his career as a professional artist. In the 1930s Bunnell used the oil, watercolor and lithography media to create a mini-genre of Colorado’s old mining towns and mills, subject matter spurned by many local artists at the time in favor of grand mountain scenery. In contrast to his earlier images, these newer ones - both daytime and nocturnal -- such as Blue Bird Mine essentially are form studies. The conical, square and rectangular shapes of the buildings and other structures are placed in the stark, undulating terrain of the mountains and valleys devoid of any vegetation or human presence. In the mid-1930s he also used the same approach in his monochromatic lithographs titled Evolution, Late Evening, K.C. (Kansas City) and The Mill, continuing it into the next decade with his oil painting, Pikes Peak (1942). During the early 1930s he studied for a time with Boardman Robinson, director of the Broadmoor Art Academy and its successor institution, the Colorado Springs Fine Arts Center from 1930 to 1947. In 1934 Robinson gave him the mural commission under the Public Works of Art Project (PWAP) for West Junior High School in Colorado Springs, his first involvement in one of several New Deal art...

Ernest Albert (1857 - 1946) Maine Coast, Ogunquit, 1937 Oil on canvasboard 18 x 20 inches Signed and dated lower right; titled on a label on the reverse A distinguished theatrical and scenic designer who also became a landscape painter and muralist, Ernest Albert worked in New York, St. Louis, and Chicago. He was born in Brooklyn, New York in 1857, and showing early talent, received the Graham Art...

A stunning depiction a still life from the mid century with thick use of paint and vibrant coloration. There is a statue of an elephant along with tangerines and tea set, a wonderful...