Bathing Group
By John Edward Costigan
Located in Sheffield, MA
John Edward Costigan American, 1888-1972 Bathing Group Oil on canvas board 12 by 16 in, w/ frame 19 by 23 in Signed ‘J.E. Costigan N.A.’ lower left John Costigan was born of Irish-...
Oil
20th century drypoint etching figurative animal print black and white signed
By John Edward Costigan
Located in Milwaukee, WI
"Boy With Cows" is an original drypoint etching by John Edward Costigan. It depicts a young boy with three cows standing in a watering hole. The artist si...
Etching, Drypoint
$14,000
"Barnyard Winter" John Edward Costigan, Snowy Landscape, American Artist
By John Edward Costigan
Located in New York, NY
John Edward Costigan Barnyard Winter, 1922 Signed dated lower right Oil on canvas 25 x 30 inches John Costigan was a self-taught painter and trained printer distinguished by his im...
Canvas, Oil
John Edward Costigan Painting, circa 1950's - Carnival
By John Edward Costigan
Located in Phoenix, AZ
John Costigan (1888-1972) oil on canvas, circa: 1950s. In excellent condition. Exciting Expressionist Painting of a lively Carnival Scene. Signed lower right: ''J.E. Costigan", Title...
Paint
Bathing Group
By John Edward Costigan
Located in Sheffield, MA
John Edward Costigan American, 1888-1972 Bathers Oil on canvas 20 by 24 in, w/ frame 26 by 30 in Signed "J.E. Costigan N.A." lower left John Costigan was born of Irish-American par...
Canvas, Oil
Bathers
By John Edward Costigan
Located in Sheffield, MA
John Edward Costigan, N.A. American, 1888-1972 Bathers Oil on canvas Signed ‘J.E. Costigan N.A.’ lower left 20 by 24 in. W/frame 26 by 30 in. John Costigan was born of Irish-American parents in Providence, Rhode Island, February 29, 1888. He was a cousin of the noted American showman, George M. Cohan, whose parents brought the young Costigan to New York City and was instrumental in starting him on a career in the visual arts. They were less successful in encouraging him to pursue formal studies at the Art Students League (where, however, he later taught) than in exposing him to the commercial art world through the job they had gotten him with the New York lithographing firm that made their theatrical posters. At the H. C. Miner Lithographing Company, Costigan worked his way up from his entry job as a pressroom helper, through various apprenticeships, to the position of sketch artist. In the latter capacity he was an uncredited designer of posters for the Ziegfeld Follies and for numerous silent films. Meanwhile, he had supplemented his very meager formal studies in the fine arts with a self-teaching discipline that led to his first professional recognition in 1920 with the receipt of prizes for an oil painting and watercolor in separate New York exhibitions. A year earlier, Costigan had wed professional model Ida Blessin, with whom he established residence and began raising a family in the sleepy little rural New York hamlet of Orangeburg, the setting for the many idyllic farm landscapes and wood interiors with which he was to become identified in a career that would span half a century. John Costigan’s first national recognition came in 1922 with his winning of the coveted Peterson Purchase prize of the Art Institute of Chicago for an oil on canvas, “Sheep at the Brook.” It marked the start of an unbroken winning streak that would gain him at least one important prize per year for the remainder of the decade. The nation’s art journalists and critics began to take notice, making him the recurring subject of newspaper features and magazine articles. The eminent author and critic Edgar Holger Cahill was just a fledgling reporter when he wrote his first feature, “John Costigan Carries the Flame,” for Shadowland Magazine in 1922. Costigan had his first one-man show of paintings at the Rehn Gallery on New York’s 5th Avenue in November, 1924, to be followed less than three years later by another at the Art Institute of Chicago. In addition, Costigan’s work has been—and continues to be included, side-by-side with that of some of America’s most high-profile artists, in museum and gallery exhibitions throughout the country. His renown had peaked in the early 1930s, by which time his work had been honored with nearly every major award then being bestowed in the fine arts and had been acquired for the permanent collections of several prestigious American museums, including New York’s Metropolitan (which only recently, in 1997, deaccessioned his “Wood Interior,” acquired in 1934). Although Costigan’s celebrity had ebbed by the late 1930s, the Smithsonian Institution saw fit in 1937 to host an exhibition exclusively of his etchings. And, in 1941, the Corcoran Gallery (also Washington, D.C.) similarly honored him for his watercolors. (Another Washington institution, the Library of Congress, today includes 22 Costigan etchings and lithographs in its permanent print collection.) During World War II, Costigan returned briefly to illustrating, mainly for Bluebook, a men’s pulp adventure magazine. A gradual revival of interest in his more serious work began at the end of the war, culminating in 1968 with the mounting of a 50-year Costigan retrospective at the Paine Art Center and Arboretum in Oshkosh, Wisconsin. Oils, watercolors and prints were borrowed from museums and private collections throughout the country, and the exhibition was subsequently toured nationally by the Smithsonian Institution. John Costigan died of pneumonia in Nyack, NY, August 5, 1972, just months after receiving his final prestigious award —the Benjamin West Clinedinst Medal of the Artist’s Fellowship, Inc., presented in general recognition of his “...achievement of exceptional artistic merit...” in the various media he had mastered in the course of his career. This painting depicts one of the artist's favorite themes --the farm family bathing...
Oil
Woman and Child
By John Edward Costigan
Located in Sheffield, MA
John Edward Costigan, N.A. American, 1888-1972 Woman and Child Oil on canvas Signed ‘J.E. Costigan N.A.’ lower left 24 by 30 in. W/frame 32 by 38 in. John Costigan was born of Irish-American parents in Providence, Rhode Island, February 29, 1888. He was a cousin of the noted American showman, George M. Cohan, whose parents brought the young Costigan to New York City and was instrumental in starting him on a career in the visual arts. They were less successful in encouraging him to pursue formal studies at the Art Students League (where, however, he later taught) than in exposing him to the commercial art world through the job they had gotten him with the New York lithographing firm that made their theatrical posters. At the H. C. Miner Lithographing Company, Costigan worked his way up from his entry job as a pressroom helper, through various apprenticeships, to the position of sketch artist. In the latter capacity he was an uncredited designer of posters for the Ziegfeld Follies and for numerous silent films. Meanwhile, he had supplemented his very meager formal studies in the fine arts with a self-teaching discipline that led to his first professional recognition in 1920 with the receipt of prizes for an oil painting and watercolor in separate New York exhibitions. A year earlier, Costigan had wed professional model Ida Blessin, with whom he established residence and began raising a family in the sleepy little rural New York hamlet of Orangeburg, the setting for the many idyllic farm landscapes and wood interiors with which he was to become identified in a career that would span half a century. John Costigan’s first national recognition came in 1922 with his winning of the coveted Peterson Purchase prize of the Art Institute of Chicago for an oil on canvas, “Sheep at the Brook.” It marked the start of an unbroken winning streak that would gain him at least one important prize per year for the remainder of the decade. The nation’s art journalists and critics began to take notice, making him the recurring subject of newspaper features and magazine articles. The eminent author and critic Edgar Holger Cahill was just a fledgling reporter when he wrote his first feature, “John Costigan Carries the Flame,” for Shadowland Magazine in 1922. Costigan had his first one-man show of paintings at the Rehn Gallery on New York’s 5th Avenue in November, 1924, to be followed less than three years later by another at the Art Institute of Chicago. In addition, Costigan’s work has been—and continues to be included, side-by-side with that of some of America’s most high-profile artists, in museum and gallery exhibitions throughout the country. His renown had peaked in the early 1930s, by which time his work had been honored with nearly every major award then being bestowed in the fine arts and had been acquired for the permanent collections of several prestigious American museums, including New York’s Metropolitan (which only recently, in 1997, deaccessioned his “Wood Interior,” acquired in 1934). Although Costigan’s celebrity had ebbed by the late 1930s, the Smithsonian Institution saw fit in 1937 to host an exhibition exclusively of his etchings. And, in 1941, the Corcoran Gallery (also Washington, D.C.) similarly honored him for his watercolors. (Another Washington institution, the Library of Congress, today includes 22 Costigan etchings and lithographs in its permanent print collection.) During World War II, Costigan returned briefly to illustrating, mainly for Bluebook, a men’s pulp adventure magazine. A gradual revival of interest in his more serious work began at the end of the war, culminating in 1968 with the mounting of a 50-year Costigan retrospective at the Paine Art Center and Arboretum in Oshkosh, Wisconsin. Oils, watercolors and prints were borrowed from museums and private collections throughout the country, and the exhibition was subsequently toured nationally by the Smithsonian Institution. John Costigan died of pneumonia in Nyack, NY, August 5, 1972, just months after receiving his final prestigious award —the Benjamin West Clinedinst Medal of the Artist’s Fellowship, Inc., presented in general recognition of his “...achievement of exceptional artistic merit...” in the various media he had mastered in the course of his career. This painting depicts one of the artist's favorite themes --the farm family bathing...
Oil
Group of Workers
By John Edward Costigan
Located in San Francisco, CA
This artwork titled "Group of Workers" 1943, is an original lithograph on paper by noted American artist John Edward Costigan, 1888-1972. It is hand signed and titled in pencil by th...
Lithograph
Fisherman Three 1939 original signed etching by John E. Costigan
By John Edward Costigan
Located in Paonia, CO
Fisherman Three is an original 1939 signed etching by the American artist John E. Costigan ( 1888-1972 ) a self-taught painter and printmaker. The locale for Costigan...
Etching
$2,500
"When Day is Done, " an Original Etching signed by John Edward Costigan
By John Edward Costigan
Located in Milwaukee, WI
"When Day is Done" is an original etching and aquatint signed lower right in pencil by the artist John Edward Costigan. It depicts a man and a woman with their young child at the end...
Etching, Aquatint
$1,200
H 17 in W 13 in D 1.25 in
"View of the Empire State NYC in Snow" Impressionistic Ashcan School Style
By Cindy Shaoul
Located in New York, NY
An impressionistic depiction of a figure in the snow with cars and buildings in the busy City Streets. The Empire State Building is portrayed in the background as the snow filled str...
Canvas, Oil, Board
$5,000
H 24 in W 27 in D 2 in
"Summer Day at Nice" French Beach Scene Impressionistic Oil Painting on Canvas
By Suzanne Demarest
Located in New York, NY
A stunning oil painting scene depicting figures by the beach in a sunny day at Nice, France done in the 20th Century. The vibrant colors and impressionistic brushwork is done with bo...
Canvas, Oil
$2,500
H 34 in W 49 in D 2 in
Mid-Century Modern Figural of Two Women and Child by Harold Kitner Kent State
Located in Soquel, CA
Expressive Mid-Century figural painting of two women and child in pastel hues by Harold Kitner (American, 1921 - 2004). Image, 33"H x 48"W Walnut frame, 34"H x 49"W x 2"D Harold Kitner was born on May 18, 1921 in Cleveland, Ohio and was the son of Isaac and Frieda Kitner. He obtained his MA from Case Western Reserve University in 1947. Kitner was a postgraduate from Cleveland Institute, Ohio University, Cleveland College, Washington and Lee University. He obtained his Doctorate from Kent State University. Exhibition: Harold Kitner - Active / Figure / Exaltation at Kent State School of Art Gallery in Kent, Ohio in 2014. Harold Kitner taught for over 30 years at the Kent State University School of Art. Harold Kitner began teaching art and art history at Kent State University in 1947. During his career, he served as Director and Chairman of the Fine Arts Division. Kitner played a significant role in creating the Art School’s core program, organizing the Kent State Arts Festival, and the Blossom Festival School. He also served as President of the Kent chapter of the American Association of University Professors, and was an art critic for the Akron Beacon Journal. In 1967, Kitner became Kent State University’s first Faculty Ombudsman, officially titled Dean for Faculty Counsel. He held this position until 1974. At the time of the Kent State shootings, Kitner’s position as Ombudsman meant that he was involved in many of the decisions regarding University administration in the weeks and months following the Kent State shootings. Kitner began a partial retirement in 1980, and left Kent to become the director of the Institute of the South Florida Art...
Masonite, Oil
$542Sale Price|38% Off
H 19.69 in W 24.02 in
Las Ramblas Barcelona Flower Market Street Scene Painting Urban Impressionist
Located in Sitges, Barcelona
Scenes of Las Ramblas in Barcelona remain among the most recognizable urban subjects in European painting and are highly sought after by collectors and interior designers worldwide. Artist Jordi Junyent Title Rambla de las Flores, Barcelona Date 1988 Medium Oil on canvas Dimensions 50 × 61 cm 19.7 × 24 in Signature Signed “Junyent” lower left and dated 1988. Frame Unframed Condition Very good condition. Canvas firm and well stretched. Stable paint layer with bright colors. No visible restorations. Atmospheric urban painting depicting Las Ramblas flower market in Barcelona, one of the most recognizable and vibrant locations in the city. The composition captures the scene after rainfall, with reflective pavement, flower stalls and strolling figures creating depth and movement. The wet street surface reflects light and silhouettes, enhancing the lively Mediterranean atmosphere. Executed with a confident and expressive brushstroke, the artist uses a palette dominated by cool greys, greens and blues contrasted with vivid reds from the flower displays. The simplified figures and loose handling of paint emphasize the mood of the place rather than strict detail, a characteristic approach of post-impressionist urban painting. Scenes of Barcelona’s Las Ramblas are particularly sought after in the international decorative art market due to their strong visual identity and association with one of Europe’s most iconic boulevards. An attractive and highly decorative cityscape, ideal for collectors of European urban painting or for interior design settings seeking a vibrant Mediterranean atmosphere. Jordi Junyent was a Spanish painter active in the late twentieth century whose work focused primarily on urban scenes and Mediterranean city views. His paintings often depict recognizable locations such as the streets of Barcelona, rendered with a loose brushstroke and an emphasis on atmosphere, light and color. Working within a post-impressionist tradition, Junyent developed compositions that balance figurative clarity with painterly spontaneity, making his works appealing within the European decorative art market. Barcelona Las Ramblas Barcelona street scene Flower market painting...
Oil
$944Sale Price|33% Off
H 18.12 in W 21.66 in
Simó Busom, Catalan Mediterranean Landscape with River, Signed Mid-Century oil
By Simó Busom Grau
Located in Sitges, Barcelona
This mid-century oil on canvas by Catalan painter Simó Busom i Grau presents a vibrant Mediterranean landscape with river and house, painted in an expressive postwar Spanish style associated with the Barcelona school. Artist: Simó Busom i Grau (Barcelona, 1927–2020) Title: Mediterranean Landscape with River and House Date: Mid-20th Century (circa 1950s–1960s) Medium: Oil on canvas Canvas size: 46 x 55 cm (18.1 x 21.6 in) Framed size: 59 x 68 cm (23.2 x 26.8 in) Signature: Signed lower right Condition: Good overall condition. Stable paint layer. Frame: Decorative frame included, ready to hang Location: Sitges, Spain Style: Spanish Postwar Landscape / Mediterranean Modern A refined example of postwar Catalan landscape painting, this original oil by Simó Busom i Grau captures the Mediterranean atmosphere through confident brushwork and luminous color transitions. The composition centers around a warm yellow house set against rolling terrain and flowing water. Gestural trees structure the foreground, creating depth and movement while framing the landscape. The artist’s handling of paint is energetic yet controlled, with visible impasto and layered color planes that enhance texture and spatial presence. The palette moves between cool river blues and sunlit earth tones, reflecting the light and tonal vibration characteristic of mid-20th century Spanish painting. The result is a work that balances decorative appeal with painterly authenticity. Compact in size yet visually dynamic, it functions beautifully in residential interiors or curated collections of European mid-century art. The painting is signed and offered with decorative frame, ready to hang. Simó Busom i Grau (Barcelona, 1927–2020) was a Catalan painter trained at the Acadèmia Baixas in Barcelona. He developed a career closely linked to the city’s artistic circuit, exhibiting regularly in Barcelona and Madrid and maintaining connections with the historic Sala Parés. His work focused primarily on Mediterranean and urban landscapes, characterized by expressive brushwork, structural clarity and a luminous color palette rooted in modern Catalan tradition. Catalan landscape painting Spanish mid century oil Mediterranean river landscape Barcelona school painting Simó Busom signed oil Postwar Spanish art European mid century painting...
Oil
An Officer, Grande Armée, Hussars, Circa 1815
Located in Stoke, Hampshire
John Leslie Berry (1920–2009) An Officer, Grande Armée, Hussars, Circa 1815 Oil on canvas Signed lower left Canvas size - 14 x 10 in Framed size - 18 1/2 x 14 1/2 in ohn Leslie Ber...
Oil
$25,500
H 36 in W 48 in D 1 in
"On The Beach", Greg Harris, Original Oil, Figurative, Landscape, 36x48 in.
By Greg Harris
Located in Dallas, TX
"On The Beach" By Greg Harris is a perfect example of his most sought after paintings. Measuring 36x48 in., this painting is timeless with woman and children at the beach...
Canvas, Oil
$1,800
H 18.38 in W 14.38 in
The Artist, American Impressionist, 1928, Oil on Canvas on Board, Painter, Woods
Located in Wiscasset, ME
Leon Foster Jones was born in Manchester, New Hampshire. He studied under Joseph Rodefer DeCamp and Ernest Lee Major at the Cowles Art School in ...
Canvas, Oil, Board
"Cove" Oil Painting
By Leigh Ann Van Fossan
Located in Denver, CO
Leigh Ann Van Fossan's "Cove" is an original, handmade oil painting that depicts bright teal colored cove where water meets the shore and the atmospheric pastel sky reflects in the b...
Oil, Canvas
$1,652Sale Price|36% Off
H 25.6 in W 31.89 in
Seated Female Nude Oil Painting – Spanish Figurative Expressionist 20th Century
Located in Sitges, Barcelona
Artist: Francisco Abad Doblas (Spain, b. 1933) Title: Seated Female Nude Date: 1975 Medium: Oil on canvas Dimensions: 65 × 81 cm (25.6 × 31.9 in) Signature: Signed upper right Framing: Unframed Condition: Very good. Firm canvas and stable paint layer with visible impasto. No apparent restorations. Period: 20th Century A striking seated female nude executed in oil on canvas by Spanish painter Francisco Abad Doblas. This powerful figurative composition presents a seated woman rendered with confident, textured brushwork and a vibrant chromatic palette. Flesh tones are constructed through layered strokes of pinks, ochres, greens and blues, creating both movement and depth. The cool-toned background enhances the warmth of the figure, reinforcing anatomical structure and spatial contrast. The painting reflects the Spanish post-impressionist figurative tradition of the mid-to-late 20th century, combining academic discipline with expressive painterly freedom. Particular attention is given to the modeling of the face and hands, demonstrating strong draftsmanship and studio practice. With its balanced 65 × 81 cm format and strong visual presence, the work functions as a statement piece within a refined contemporary interior or a collection focused on European figurative art. Francisco Abad Doblas (Spain, born 1933) is a Spanish figurative painter active during the second half of the 20th century. His work focuses on traditional genres such as landscape, still life and the human figure, developed through direct observation and a loose post-impressionist brushstroke. His paintings circulated through Spanish private galleries during the 1970s and 1980s and continue to appear in European secondary market sales, appreciated by collectors of academic and figurative Spanish art. European Figurative Art Spanish Modern Painting...
Oil
$3,718
H 22.25 in W 25.99 in D 2.56 in
Pêcheurs Sur Les Rochers 1930s Framed Provencal Côte d'Azur Oil Painting
Located in Sutton Poyntz, Dorset
Gustave Vidal. French ( b.1895 - d.1966 ). Pêcheurs Sur Les Rochers. Bord De Mer En Côte d'Azur. Oil On Panel. Signed Lower Right. Image size 12.4 inches x 15.6 inches ( 31.5cm x 39.5cm ). Frame size 22.2 inches x 26 inches ( 56.5cm x 66cm ). Available for sale, this original oil painting is by the French artist Gustave Vidal and dates from around 1935. The painting is presented and supplied in its original frame. The original cotton slip has been replaced with a sympathetic contemporary slip that is in keeping with the fresh coastal aesthetic of the painting (which is shown in these photographs). This antique painting is in a good condition. It wants for nothing and is supplied ready to hang and display. The painting is signed lower right. Gustave Vidal was a 20th century French artist, and one of the best Provencal landscapers of his generation. He worked in the Provencal and Basque regions as well as Corsica and the centre of France. He was born in Avignon in 1895, in the Provence region of France, and died in the same town in 1966. Vidal trained at the École des Beaux-Arts in Avignon. It is often reported that he studied under Pierre Grivolas, (1823-1906) who was a prominent teacher there who had encouraged plein air painting to capture light and colour directly from nature. However, Grivolas died when Vidal was only 9 or 10, so it is very unlikely that there was a direct teacher/student relationship between them in a formal apprenticeship or atelier setting. Pierre Grivolas had been a director of the École des Beaux-Arts in Avignon until his death in 1906, and found what became known as the Nouvelle école d’Avignon, promoting outdoor practice and modern landscape painting. Grivolas influenced a generation of Provençal painters directly, and his teachings persisted after his death. Vidal therefore studied in the establishment that continued his ethos and would have been influenced by Grivolas’ directorship. Vidal won numerous awards at the Beaux-Arts in Avignon and became a sociétaire (member) of the Salon des Artistes Français in Paris, an important exhibition venue for French artists of the period. He actually wrote the articles of association for this establishment. As well as exhibiting in Avignon and Paris Vidal also exhibited in Berlin and Brussels. Vidal was primarily a landscape and marine painter. His work is associated with Provencal scenes — including rural landscapes, village streets, harbours, seascapes, and views of the French Riviera and interior France. His technique combined impasto application with both palette knife and brush, reflecting influences from Impressionism and post-Impressionist colourism encountered during his career, especially in Paris. This gives his canvases a textured, lively surface and strong sense of light and atmosphere. His works typically show rich colour and balanced composition, with evocative French light. Nowadays Vidal’s paintings appear regularly in antique galleries, auctions, and online sales in Europe and beyond, though he’s not commonly featured in major public museums or standard art history encyclopaedias. Auction results indicate steady interest among collectors of regional French painting, with prices varying according to size and subject. Although not among the most famous French painters of his generation, Gustave Vidal holds a solid place within early-to-mid-20th-century Provence painting, continuing the regional tradition of light, colour, and landscape that followed Impressionism, and appealing to contemporary collectors of Provençal and southern French art...
Oil, Wood Panel
$600
H 3.75 in W 5.875 in
Tigre couché à l'entrée de son antre (Tiger Lying at the Entrance to its Lair)
By Eugène Delacroix
Located in Middletown, NY
Etching, drypoint, and roulette on watermarked Hallines cream laid paper, 3 3/4 x 5 7/8 inches (95 x 148 mm), full margins. A very good impression of this charming image, with all of...
Laid Paper, Drypoint, Etching
Sold
H 11.25 in W 15.75 in
Cutting Foddor original 1938 etching by John Costigan
By John Edward Costigan
Located in Paonia, CO
Cutting Fodder, also known as Family in the Field, is an original signed 1938 etching by the American artist John E. Costigan ( 1888-1972 )a self-taught painter and printmaker. ...
Etching
Bathing Group
By John Edward Costigan
Located in Sheffield, MA
John Edward Costigan, N.A. American, 1888-1972 Bathing Group Oil on canvas board Signed ‘J.E. Costigan N.A.’ lower left 12 by 16 in. W/frame 20 by 24 i...
Oil