Impressionist Paintings

Signed lower right, 'A. Delauzieres' for André Delauzieres (French, 1904-1941), dated 1936 and titled 'Bry-Sur-Marne'. Provenance: Collection of Ole...

Jim’s of Lambertville is proud to offer this artwork by: John R. Grabach (1886 - 1981) John Grabach was a highly regarded New Jersey artist, teacher, and author of the classic text...

Harbor Scene With Sailboats Seascape Signed lower left, canvas 20x20, about 1930-40. Emile Albert Gruppé was born 1896 in Rochester, New York. He lived the early years of his life in...

Oil on canvas sold with frame Total size with frame 58x67 cm Signed N. Busnelli, artist unknown from the gallery Dated 1935

Description Alfred Mitchell’s plein air oil paintings often measured sixteen by twenty inches, the size that fit his sketch box, and could be easily ca...

Whitehall Building, July 1939 - Harbor Seascape with Tugboat in Watercolor Detailed harbor landscape by Ernest Clegg (British, 1976-1954). The Whitehall Building towers over the sce...

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...

Signed lower right: Hayley Lever

Jim’s of Lambertville is proud to offer this artwork. Pastel portrait of artist's granddaughter. Complemented by original signed Harer frame. Illustra...

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...

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 is proud to offer this artwork by: John R. Grabach (1886 - 1981) John Grabach was a highly regarded New Jersey artist, teacher, and author of the classic text...

Mid Century Island in the San Francisco Bay Landscape by Alexander Nepote Lovely late 1930's Impressionist watercolor of a Bay Area island by listed California artist Alexander Nepo...

1930s French Impressionist Barbizon School oil on panel view a port by Georges Guerin (1910-1984). The painting is not signed but was acquired with a collection of other signed paint...

"Country Stroll" by Galien-Laloue is an Oil on Canvas, French Impressionism painting of the French country side of a dirt road on your wa...

Gorgeous 1930's seascape of Pebble Beach by M.C. Richardson (Late 19th/Early 20th Century), 1932. Attribution on verso with notes of exhibition (Legion of...

Everett Warner On the Wharf Signed lower left Oil on panel 15 x 20 inches Provenance Cooley Gallery, Old Lyme, Connecticut Everett Warner was born in...

An original oil on canvas painting by American female artist Mildred Green depicting fellow artist and friend Virginia Cuthbert. This beautiful pain...

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...

Beautiful landscape of simple Danish farmhouse by Peter Nielsen (Danish, 1873-1965). Signed and dated "P. A. Nielsen 1933." Presented in a giltwood frame. Image, 11.5"W x 18"W. Pai...

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...

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...

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...

The picture is in very good condition. However, there is a small tear is at the end of the page right side about less then 1/2 inch and some wrinkle. Abraham Weinbaum, also known as...

Pietro Sansalvadore was active during the early to middle of the 20th century. He painted in an Impressionist manner and on a small scale. Acquiring a late 19th-century Impressionist painting of Hammersmith Bridge by the Italian painter Pietro Sansalvadore is an opportunity to own a captivating piece of art that transcends both time and cultural boundaries. Sansalvadore's unique perspective, influenced by the Impressionist movement, infuses this painting with a luminous quality that captures the atmospheric essence of Hammersmith Bridge in a way that only a skilled artist with an international perspective could achieve. This masterpiece not only showcases the artist's mastery in capturing light and movement but also represents a harmonious fusion of Italian artistic sensibilities with the iconic English landmark. The play of colors and the subtle brushstrokes transport the viewer to the late 19th century, offering a glimpse into the allure and dynamism of that period. Owning this painting is not just acquiring a visual delight; it's investing in a historical and cultural artifact...

Antique Italian modernist seascape painting. Watercolor on paper. Signed. Framed. Measuring 12 by 22 inches overall and 10 by 20 painting alone.

Quiet Stream, Small-Scale Mid Century California Landscape, 1937 Plein air painting of a California landscape, quiet stream and hills, 1937. Attributed to California artist, art co...

Jim’s of Lambertville Fine Art Gallery is proud to offer this piece by Charles Rosen (1878 - 1950). Charles Rosen was born on April 28, 1878, in Reagantown, Westmoreland County, Pennsylvania. At age sixteen, he opened up a photography studio. However, he quickly lost interest when most of his clients only wanted post-mortem photos of deceased relatives. In 1898, he went to New York City to enter classes at the National Academy of Design, where he studied with Francis Coates Jones...

Alice B. Doughten (1880-1969). Still Life with Roses, ca. 1930. Oil on masonite panel, 12 x 16 inches. Measures 18 x 22 inches framed. Signed lower right. Original label affixed on verso with Moorestown NJ identified as artist's address. Born in Camden, New Jersey, Alice Doughten became noted for her still life and landscape paintings with figures, usually watercolors and sometimes abstract in style. She studied art at the Pennsylvania Academy of the Fine Arts with Henry McCarter, Earl Horter, Ralph Pearson...

A beautiful large 1930's Modern British oil on canvas depicting thistle in a glass vase by Helen Stuart Weir RBA ROI. Excellent quality early work by this important female artist, w...

Jim’s of Lambertville is proud to offer this artwork: Signed lower right. Complemented by a hand carved and gilt frame. *Original Meltzer frame Arthur Meltzer (1893 - 1989) Arthur Meltzer was born in Minneapolis, but spent most of his life in Bucks and Montgomery counties where he was widely acclaimed as a landscape painter. He first received art training at the Minneapolis School of Fine Arts under Robert...

untitled (French Townscape with Clouds and Mountains) Oil on masonite Signed with the estate stamp verso (see photo) Hand painted frame by the artist. (see photos) Image eize: 24 x 2...

1930s French Impressionist Barbizon School oil on panel view of a church in a bucolic landscape by Georges Guerin (1910-1984). The painting is signed bottom right and also signed top...

Juan Gil y Gil (1900-1984) - Landscape with hermitage - Oil on panel Oil measurements 27x35 cm. Frameless Painter. He began his artistic training in Paris, which he later continued ...

"Bright Eyes" is an original oil paint on canvas mounted on board by Pauline Palmer. It depicts a young child in blue with wide eyes smiling in front of a ...

Albert Rafols Cullerés (1892-1986) - Landscape of Mollet - Oil on cardboard Oil measures 25x32 cm. Frameless. Catalan painter formed the Llotja...

Frederick Lester Sexton White Horse Signed lower right Oil on canvas 25 x 30 inches Provenance Part of a Collection received from the Lyme Art Association. Frederick Lester Sexton received a lot of reviews and exhibitions in the 1920s, 1930s, and 1940s, when he was at the height of his career. Because it captured the personal view of many people's wish to ignore national issues and simply live their lives in their homes, his work was favorably welcomed. The rise of modernist styles like Abstract Expressionism, which started to take over the American art scene in the 1950s, also contributed to Sexton's fall in popularity. As collectors and regular spectators discover once more that realism is a valid component of American art because it speaks directly and clearly to the beauty they perceive in their surroundings, many artists, like Sexton, are experiencing a renaissance. Cheshire, Connecticut, was the birthplace of Frederick Sexton in 1889. His father, J. Frederick Sexton, was the Rector of St. Peter's Church in Cheshire and a well-known Episcopal clergyman. The mother, Mary Louise Lester, was an amateur painter and came from a pretty well-known Hartford family. Frederick was killed in an open-hearth fire when he was eighteen months old. His right hand was badly burned and was never to be opened again. The father kept the family together after his mother passed away when he was nineteen. Sexton's mother taught him art, and he went to public schools in New Haven. He received the prestigious Winchester Prize for a year of study in Spain while attending the Yale School of Fine Art, where he studied under Augustus Tack...

Bruno was born in 1888 in Bruenn, then part of the Austro-Hungarian Empire. He was the youngest son of a well-to-do family of textile manufacturers. Bruno was a delicate child, but...

"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.)...

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...

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...

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...

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...

Stunning oil painting in gorgeous pastel tones titled Old Monterey Cypress by P. M. Anderson (American, 20th century). Signed and dated "P.M Anderson,...

Artist: Reginald Marsh, American (1898 - 1954) Title: The "Cannonball" Year: 1936 Medium: Watercolor on Paper, signed, titled, and dated l.r. Size: 16.5 in. x 22.5 in. (41.91 cm x 57...

Paul Schumann 1876-1946 Galveston Artist Image Size: 9 x 12 Frame Size: 12.5 x 15.5 Medium: Oil on Board Circa 1930s "Navy or Coast Guard Boat At Sea" Paul Schumann 1876-1946 Galveston Artist Image Size: 8 x 12.75 Frame Size: 13 x 17.5 Medium: Oil New Mexico Biography Paul Schumann 1876-1946 Paul R. Schumann Paul Richard Schumann (December 13, 1876 – April 29, 1946) was a Texas impressionist seascape painter who has been called the Gulf Coast counterpart of Winslow Homer. Education and personal life Paul R. Schumann was born in Reichersdorf in the German state of Saxony in 1876, one of four children of Albert F. Schumann and Mina Clara Zincke. Only he and his brother Albert Otto survived infancy. The family emigrated to the United States in 1879 and settled in Galveston, Texas, where he lived until his death. Schumann evinced an early interest in art and received encouragement from the superintendent of the Galveston Public Schools. He studied painting with local painter Julius Stockfleth...

La obra va firmada por el artista en la parte inferior Se presenta sin enmarcar la obra Medidas obra: 73 cm. de altura x 60 cm. de ancho Estado de conservación bueno el de la obra...

House in the Forest, Mid-Century German Landscape with Trees, 1937 Verdant mid-century landscape of a small mountain house nestled in thickly wood...

An original oil on board by American artist Julius Richter. Julius Richter, was a physician, surgeon and educator. He was born Dec. 19,1876, in Alleghany, Pennsylvania. He was educ...

Vibrant watercolor of two blue fish painting by Florence, Italy artist Vittorio Guidotti. Unsigned. "Original watercolor by Vittorio Guidotti" on ve...

Early work of figures moving along the street in Cuernavaca to the Cathedral in Mexico by Goldie Anita Powell Harding (American, 1892-1974). Circa 1935. Tempera on Masonite. In a per...

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

"Red Rocks Park" – an original circa 1935 oil painting by noted Denver artist Eula Ray, capturing a serene winter landscape of the iconic Red Rocks of Colorado. Rendered in oil on bo...

Antique American impressionist portrait oil painting. Oil on canvas. Framed. No signature found.

Ricardo Diaz Purple Mountains pink sky. Saguaro Cactus (1912-1981) El Paso Artist Image Size: 11 x 17 Frame Size: 15 x 21 Medium: Oil Dated 1933 "El Paso Desert" Biography Ricardo Diaz 1912-81 Ricardo Diaz 1912-81. El Paso . Painter, muralist, teacher, frame maker. Diaz attended Bowie High School, El Paso, where he participated in interscholastic art exhibitions. Emilio Garcia...

Paris roofs. 1930s. Oil on canvas, 60x80 cm

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

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...

Wonderfully painted early 20th century English still life of flowers. The artist has painted these flowers in an Impressionist manner but with the traditional use of layers and lay...

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...