J. Phillip Davies Art

Vintage modernist expressionist sunset oil painting. Oil on canvas. Image size, 27.5L x 20H. Signed.

Unidentifiable signature "Victorians" c. 1960s Oil impasto paint on canvas 17.5"x60" black period wood frame 18.25"x61.25" Signed in paint lower right

THE WHITE BOAT Size: 57 x 63.5 cm (including frame) Oil on canvas A compelling minimalist coastal landscape painting that captures a moment of quiet isolation from a high vantage po...

"Bklyn Transfer, East River Crossing" by Frederick Reimers (1911–1994) This unique, captivating cityscape painting by Frederick Reimers (USA, 1911–1994) offers a dynamic view of the ...

HARBOUR LIGHT Size: 39.5 x 66 cm (including frame) Oil on board A charming mid-century modernist coastal painting that captures a serene dockside scene bathed in soft daylight, exec...

LEO HARDY (1905-1989) The Blue Barn Signed l.l.; inscribed with title on a label on the reverse Oil on board Framed 42 by 66.5 cm., 16 ½ by 26 ¼ in. (frame size 56 by 66.5 cm., 22...

In the flyleaf of the catalog published on the occasion of his exhibition in the Gallery Pels-Leusden in Berlin in 1982, there is the following dedication: “For the very gifted Rolan...

AFTERNOON STROLL Size: 50 x 59 cm (including frame) Oil on canvas A vibrant and charming mid-century modernist style landscape oil painting by Swedish artist Eric Elfvén (1921–2008...

STILL STREET Size: 59 x 44.5 cm (including frame) Oil on canvas An expressive mid-century modernist painting captures a quiet street scene, executed in oil onto canvas. A central w...

Dorothy Rivo Untitled (Mediterranean Village), c. 1960s–70s Oil on canvas Framed dimensions: 24 in. H × 36 in. W Presented in a contemporary white floater frame In Untitled (Mediter...

Henry Prellwitz Into the Woods Oil on board 11 1/2 x 8 3/4 inches Henry Prellwitz studied art at the Art Students League of New York, where his chief mentor was Thomas Wilmer Dewing; he later became its director.[3] He also studied at the Académie Julian in Paris. In 1892, he set up his studio in the Holbein Studios building on West 55th Street in Manhattan, where his future wife, the artist Edith Mitchill, also had a studio. They married in 1894 and had a son, Edwin. By the mid 1890s, he was teaching portrait painting at the Pratt Institute, where one of his students was the Cubist artist Max Weber. In 1899, Henry and Edith moved to the north shore of Peconic Bay on Long Island, where their artist friends Irving Ramsay Wiles and Edward August Bell were already established. They painted plein air paintings and also worked in adjoining studios at High House, their Peconic Bay home. Prellwitz painted Impressionist and Tonalist waterscapes of Peconic Bay and allegorical figure paintings such as the 1904 Lotus and Laurel. He exhibited mainly on the east coast and at expositions like the St. Louis World's Fair, where he won a silver medal. He won the Third Hallgarten Prize from the National Academy of Design (NAD) in 1893 for The Prodigal Son, and his Venus won the Thomas B. Clarke Prize at the 1907 NAD exhibition for the best figure composition by an American citizen painted in the United States. Both Prellwitzes disappeared into obscurity for several decades after their deaths in the early 1940s. Rediscovered in the 1980s, they have been called one of the best-kept secrets in art...

RED ROOFS Size: 45 x 53 cm (including frame) Oil on board A mid century modernist village street scene, painted in oil onto board. The composition is symmetrical and well-balanced,...