Edmund Quincy Paintings

This is an original oil painting on by Ginny Williams. Celebrating the elements of still life often found in paintings of the Dutch golden age, this piece showcases blue and white po...

Joseph Margulies (American, 1896-1984) Untitled (Portrait of a Girl), 20th Century Oil on canvas (or possibly linen?) 29 3/4 x 25 in. Framed: 33 3/4 x 26 x 1 1/2 in. Signed lower rig...

**Technical Sheet** **Title:** "Street of the Old Quarter" **Author:** British School, 19th Century **Date:** 1892 **Technique:** Oil on canvas **Dimensions:** 14.17 x 10.63 inc...

A beautiful and rare antique American portrait of a young woman in a stunning period frame, likely original to the piece. Unsigned but beaut...

Realistic mid century portrait of a boy playing with an antique toy car by Ralph Joosten (American, 1928-2009). Signed "R. Joosten" in the lower left ...

19th Century portrait of Quintin Campbell in the style of Thomas Sully. The 30 x 25 inches oil on canvas is framed in an ornate frame. Provenance: Private collection, Bucks County, P...

Rudolf Kosow’s Film Still #3 continues his haunting exploration of the Western genre through a contemporary surrealist lens. A close-up of a stoic, rugged cowboy figure—likely inspired by Clint Eastwood—dominates the square composition. The figure’s face is heavily shadowed by a broad-brimmed hat, his lips...

Portrait of a Lady, c. 1900 Oil on canvas 36 x 28 1/2 in. Framed: 37 3/4 x 30 1/2 in.

"God Bless Our Home" is an interior and figurative scene of a woman sitting on her couch in serious and proper expression. The Americana style paint...

(Comes framed in a maple floater frame, ready to hang.) This is one of a series we have posted on 1stDibs. The first got more clicks and saves on its first day than any of the many hundreds of artworks we have ever posted. If you search on "G. Campbell Lyman" on 1stDibs you can see others in this series. Here's a recent message from a 1stDibs buyer of a painting in this series, a seasoned collector: "Love your work. We collect colorists like Wolf Kahn and Jennifer Bartlett, whom I commissioned a piece from that is in the entrance of Mayo Clinic. We are old fans...

George Picken Playground, Carl Schurz Park, 1938 Signed and dated lower left Oil on canvas 28 x 36 inches Provenance: Estate of the artist A native New Yorker, George Picken was born in 1898. His father, an artist and photographer, emigrated from Scotland; his mother came from Wales. They joined other European immigrants settling in New York City’s Hell’s Kitchen. Picken enlisted in the army during World War I and saw action at Verdun. After the war, he stayed in France and like many Americans returning from the vibrant Paris art scene, was inspired by the radical movement known as Impressionism. Upon his return Picken decided to follow in his father’s footsteps and become an artist. George began his studies in 1919 at the Art Students League during Robert Henri, Max Weber, and John Sloan’s tenure. There he took classes in studio art, illustration, and etching through 1923 studying extensively with George Bridgman. The writings of French philosopher Henri Bergson were widely circulated among the artistic community and looking at Picken’s early paintings one cannot help but wonder if as a young artist he was influenced by Bergson’s ideas. Bergson said, "[There are] two profoundly different ways of knowing a thing. The first implies that we move round the object; the second that we enter into it. The first depends on the point of view at which we are placed and on the symbols by which we express ourselves. The second neither depends on a point of view nor relies on any symbol. The first kind of knowledge may be said to stop at the relative; the second, in those cases where it is possible, to attain the absolute.” Picken’s recognition came early with showings of his work while he was a student. His drawings were published in the New Masses, a significant left-wing publication. The New York Public Library honored him with one-man shows in 1924 and 1928 and his work was included in group exhibitions at the Louis Comfort Tiffany Foundation, the Whitney Studio Club, Montross Gallery, and the Art Students League. During this time Picken married Viola Carton, one of Reginald Marsh’s models, and they lived in Westchester. Later they moved to Yorkville in Manhattan between 82nd street and East End Avenue where they began their family. Picken’s grandson Niles Jaeger recalled that, “Grandpa’s home and studio were in a five-story walk-up apartment, heated only by a coal stove. But there were wonderful views of the East River and the Queensborough Bridge...

This painting features two children with big brown eyes peeking behind red-slatted shutters. The innocence on their faces contrasts with some sense of embarrassment, like if they had...