1930s Paintings

Signed oil on canvas landscape circa 1930 by French post impressionist painter Elisee Maclet. The work depicts a view the River Marne in Charenton-le-Pont, a commune in the southeast...

Jane Peterson Cattleya Orchids, circa 1940s Signed lower right Oil on canvas 32 x 32 inches Provenance Estate of the artist Artist’s estate sale, Ipswich, Massachusetts, 1960s Priva...

Antique European modernist landscape painting. Oil on board, circa 1930. Unsigned. Image size, 20.5L x 17.5H. Housed in a period giltwood frame.

French Art Deco, oil on canvas, society female portrait by Dembinkski (probably Anton J.) Signed, dated and located (Paris) bottom left. In later wood and gilt frame. A charming and...

"Kachina Eagle Dancer" - 1939 Serigraph Serigraph of a Kachina Eagle Dancer by Hopi Pueblo artist Kyrate Tuvahoema (Native American, 1914-1942). The Kachina Eagle Dancer wears a vib...

Vintage American modernist landscape oil painting. Oil on board. Framed. Signed. Measuring: 13 by 17 inches overall, and 9.5 by 13.5 painting alone. In excellent original condition...

Work on canvas

An exceptional, large, early work by American artist Dorothy Eisner (1906-1984). This painting was recently exhibited at Gracie Mansion in 2019 as part of “She Persists” - a show de...

A Renaissance man,circa 1930's polychrome painting on a wood plaque . Artist unknown

This gorgeous Art Deco portrait oil painting is by British female artist Elsie March. Elsie was one of 9 siblings, eight of whom became artists. Although Elsie later went on to focus...

Sea and Land Abstraction, 1936, oil on canvas board, 16 x 20 inches, signed and dated lower left, exhibited at the 18th Annual Paintings and Sculpture Exhibit at the Los Angeles Muse...

Robert Hancock (British, early 20th century) Fox Hunting Scene with Huntsmen and Hounds in a Winter Landscape Monogrammed lower right, circa 1930 Oil on canvas Presented in an ornate...

Wonderful fall landscape by Canadian/American artist William Alexander Drake. Oil on board in a period frame. 12" x 16", 14.5" x 18.5" framed. William Alexander Drake (1891–1979) wa...

A beautiful, intense painting by one of the greatest Italian avant-garde artists of the 20th century. In this beautiful, poetic work, the great artist Filippo De Pisis (Ferrara, 11 M...

Wonderful and finely painted American modernist portrait painting. Framed. Oil on canvas. Signed. Image size, 20H by 16L.

Nicely painted American school modernist portrait. Oil on canvas. Framed. Ready to hang excellent condition.

'Piazza di Spagna, Roma' oil on canvas, by Yves Brayer (1933). At the bottom of the Spanish Steps, is one of the most famous squares in Rome. It owes ...

Ferdinand Burgdorff (American, 1881-1975) Winter Water, c. 1930 Oil on masonite Signed lower left, titled verso 40 x 46 inches 43 x 49.25 inches, framed Written Verso: Along the Pac...

Presented here is a distinctive landscape by the Swiss artist Ernst Suter, a creator primarily known for his sculptural works, making this painting a noteworthy and rare acquisition....

Josep Ventosa Domenech (1897-1982) - Navarcles - Oil on panel Oil measurements 16x22 cm. Frame measurements 31x37 cm.

Title: Pensive Woman Artist: Vicente Oliver (1896–1970) Technique: Oil on canvas Dimensions: 18.1 x 15.0 in (46 x 38 cm) Support: Unframed canvas Date: Mid-20th century Signatu...

Clarence Holbrook Carter (American, 1904-2000) Woman with FUCHSIA, 1935 Oil on canvas Signed and dated lower right 31.75 x 27 inches 37 x 32.25 inches, framed Untitled Still Life ver...

This painting is part of our exhibition America Coast to Coast: Artists of the 1930s Refreshment and Intermission, tempera on board, 11 x 19 inches, c. 1930/40s, signed lower middle, exhibited at Groom's one person show at Closson’s Gallery, Cincinnati, OH, March, 1943 (see The Cincinnati Enquirer, March 7, 1943, section 3, p. 4); provenance includes a private Ohio collection; presented in a period gold painted frame About the Painting Refreshment and Intermission is part of a series of paintings of Amish subjects Grooms started in 1938 based on his travels in Pennsylvania. These tempera works reflect the Regionalist impulse to paint local scenes far away from big cities. Focusing on both people and landscape, Grooms' compositions tell the stories of the uniquely American experience of the Amish. “Grooms paints the Amish people with as much understanding of type and appreciation of the plastic quality as any artist who has approached this challenging subject," noted the art critic for The Cincinnati Inquirer when reviewing Grooms' solo exhibition at Closson' Gallery, "In his current show, ‘Refreshment and Intermission,’ is a case in point. Here the absorbed concentration of people eating is described without an ounce of sentimentality. He has made the most of the interest between groups and of the conversations, both humorous and serious. The work has the quaint simplicity of a Lord’s Supper...

Antique American modernist kitchen table fruit still life . Oil on board. Signed. Framed. Measuring: 15 by 12 inches overall Excellent condition, ready to hang and enjoy.

Original cover for The Saturday Evening Post magazine, published May 14, 1932 Joseph Christian Leyendecker’s Circus Bareback Rider (1932) is a standout example of his work for The S...

The subject is a tranquil mountainous landscape from the Lyngenfjord region, framed by the dramatic peaks of the Lyngen Alps in the distance. In the center rises a distinctive double...

A Colorful 1930s Modern Street Scene of St. Charles Street, New Orleans by Notable Chicago Artist, Walter Burt Adams (Am. 1903-1990). A vibrant, painterly view of a sunlit street corner and store front in the historic Garden District of New Orleans, Louisiana. Completed in 1938 during one of the artist's painting trips to New Orleans, and most likely painted in the quiet morning hours, a favored time to paint by the artist. A wonderful example of Walter Burt Adams renowned Urban Realism of the 1930s and '40s, inspired by the artwork of fellow American painter, Edward Hopper. Exhibited: "The 42nd Annual Exhibition of Artists of Chicago and Vicinity", Art Institute of Chicago (AIC), Chicago, IL, 1938, #4. Artwork size: 20 x 25 inches, oil on canvas, accompanied with the artist's original frame (framed size: 26 1/2 x 31 1/2 inches). Signed and dated Walter Burt Adams 38, lower left; signed and dated on reverse. Provenance: Estate of the artist. Walter Burt Adams was a dedicated painter of the American Scene and a singular personality among his peers in the Chicago Modern Art community. His no-nonsense manner, devotion to his craft and sardonic sense of humor characterize a man whose paintings capture life in and around Chicago between the early 1920s and the late 1970s. Born in Kenosha, Wisconsin just after the turn of the last century, Walter Burt Adams spent his childhood in Fargo, North Dakota and began his artistic education there through a correspondence cartooning class as a boy. After finishing high school in Fargo, Adams moved to Chicago in 1922 in order to enroll at the school of the Art Institute of Chicago. Adams’ instruction at the school with artists such as George Oberteuffer, Frederick V. Poole, Charles Wilimovsky...

Oil on Canvas by Jean Émile Laurent (1906–1983) — Shepherd Child with Two Black Goats in an Oriental Pasture. This lyrical oil on canvas by Jean Émile Laurent—undoubtedly one of the...

Oil on canvas signed R.B.FELTRAP, France, 1937. Nude. With frame : 101.5x82.5 cm - 40x32.5 inches ; without frame : 92x73 cm - 36.2x28.75 inches. Format 30F. Signed and dated "R.B.Fe...

This painting is part of our exhibition America Coast to Coast: Artists of the 1930s Factory Worker, c. 1936, oil on canvas, signed lower right, 18 ¼ x 36 inches; exhibited in City ...

Moshe (Matusovski) Matus (Polish Israeli , 1908-1958), Depicting an orchestral concert. Hand signed lower right. Dimensions: (Frame) H 31" x W 37", (Sight) H 21" x W 28" Moshe ...

Raphael Gleitsmann (American, 1910-1995) Still Life with Apple, 1934 Gouache on board Signed and dated lower right 20 x 16 inches 24.5 x 20.5 inches, framed Condition: small damage ...

Signed lower right Virtual catalogue raisonné: Edouard L. Cortès, registration #EC001359 Marché aux Fleurs, La Madeleine (The flower market at the Madeleine church Paris) depicts...

Painted by George Carr Drinkwater, this vibrant oil on canvas depicts the actress of stage and screen Cecily Byrne as Mary Stuart. Painted circa 1930 it is a stunning evocative portrait of an actress who was famous throughout the 1930’s. A fine portrait of a long forgotten film star. Cecily Byrne (1889-1975) was an actress, known for Loyalties, Henry IV and Brown Sugar...

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...

5149 Antique French Impressionist oil painting landscape Signed lower left Image size 22x18"

M. Ricket (British, mid-20th century) Café Interior Oil on canvas, signed lower right Presented in a carved gilt frame This engaging mid-century scene by M. Ricket captures the war...

De Hirsh Margules (1899-1965). Christopher Street, 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15.5 x 20 inches. Window in matting measures 15 x 19 inches. Framed measurement: 23 x 30 inched. Bears fragment of original label affixed on verso. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC Exhibited: The American Federation of Arts Traveling Exhibition. From the facade of The Waverly at Christopher is depicted One Christopher Street, the 16-story Art Deco residential building erected in 1931. It is not a casual coincidence that the structure appears in this cityscape: 1 Christopher Street is the subject. The original intention of this project was to transform the neighborhood, bring a bit of affluence and make a bid to rival the Upper West Side. Margules, a sensitive aesthete, understood how a massive piece of architecture such as One changes a neighborhood. Sound, scale and focal points are forever altered. A pedestrian's sense of depth and distance becomes pronounced. All of these factors contribute to the intent behind this image. Tall buildings disrupt the human scale, change the skyline and carve up space. In this piece, negative space conforms to the man-made geometries. Clouds become gems fixed in settings. De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium" Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village. Early Life De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website. At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers. As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later. In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno). Artistic career In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting. Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe. Jane Heap, left, with Mina Loy and Ezra Pound During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter. In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa. Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that: the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment. Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow." It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day. In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel. Upon his return to New York in 1929, Margules attended an exhibition of John Marin's paintings. While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O'Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends." Alfred Stieglitz Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York. With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting. In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works. In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation. "The Baron of Greenwich Village"[edit] Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond. To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness." He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller. Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance. The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation. The writer and television personality Alexander King said I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean. King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets." Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler. Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...

A captivating, Modern 1930s portrait painting of a young woman in a black sweater by famed Chicago artist, Francis Chapin (Am. 1899-1965). A skilled and expressive portrait of a sty...

'Portrait of Boy' by Luigi Corbellini (circa 1930s). The artist painted this endearing young boy whose name remains unknown. Perhaps the slightly timid expre...

Impressionist French Coastal Oil Painting On Wood Panel Andre Beronneau (French, 1886-1973), Seaside at Platin, oil on board coastal lands...

A captivating, 1930s portrait painting of a young woman by famed Chicago artist, Francis Chapin (Am. 1899-1965). A sensitive, skilled portrait of a young female model, most likely h...

Provenance Consigned to the gallery by private collectors Signed "Marion Kavanagh Wachtel" lower right Description Marion Kavanagh was a pupil of William Keith in San Francisco who, upon learning of her move to Southern California, urged her to contact Pasadena artist Elmer Wachtel. A romance blossomed and the two were married in 1904. During their marriage, out of respect for her husband, Marion Wachtel painted in watercolor, giving Elmer Wachtel the honor of painting in the more “serious” medium of oil. After the untimely passing of her husband and a period of grieving, Marion took up oil painting in 1930, working both en plein air and in the studio. This masterful plein air painting is a poetic interpretation of the snow-capped mountains in Grand Teton National Park...

'Boats on a Pond', oil on canvas, by Charles Kvapil (circa 1930s). This tranquil artwork depicts people fishing from their small boats. The motionless pond is surrounded by lush foliage with some homes as backdrop. The painting is spattered with light. With hardly any air moving in the scene, the still water plays...

This superb Vibrant British Post Impressionist floral oil painting is by noted artist Gerald Spencer Pryse. Painted circa 1930 the composition is a mass of sweet pea flowers in shade...

Portrait of The Pianist Wilda Leiner in Oil on Canvas A beautiful portrait of a woman named Wilda Leiner, a pianist (1908-1994) by longtime Santa Cruz, CA resident Cor de Gavere. S...

"At the café. Oil on panel signed lower left.Beautiful work by the great Moroccan painter Antonio Fuentes (Tangier 1905 - 1995). In the Hotel Fuentes, Antonio Fuentes was born on O...

Mediterranean Catalan Farmhouse Landscape Impressionist Oil Painting Artist: Joaquín Asensio Mariné (Barcelona, 1890–1961) Title: Rural Farmyard in Montseny Medium: Oil on canvas Pa...

Antique European impressionist landscape oil painting. Oil on canvas. Framed. Signed. Measuring: 29 by 37 inches overall, and 24 by 32 painting alone. In excellent original conditi...

A dramatic breakthrough of sunlight illuminates the waters of Vaxholm Bay (Vaxholmsfjärden) in this 1932 oil painting by Swedish artist Oskar Bergman. The composition captures the et...

Artist: Norman Lindsay (Australian, 1879–1969) Medium: Watercolour on canvas, mounted on board Size: 30.5 x 23.5 cm (painting); 77.5 x 70.5 cm (framed) Signature: Signed lower right ...

Signed watercolour on paper circa 1930 by French post impressionist painter Paul Signac. The piece depicts a view of sail boats in the harbour at Paimpol, a commune in the Côtes-d'Ar...

A captivating 1930s Modern portrait painting of a young woman, titled "Green Scarf", by famed Chicago artist, Francis Chapin. Image size: 14 1/4 x 10 inches. Framed size: 15 1/...

Dutch Landscape "Country Farmhouse" Piet Lippens (Belgian, 1890-1981) Circa 1930s Oil on canvas, signed lower left 19 1/2 x 23 1/4 (25 1/4 x 29 frame) inches Piet Lippens was a Pos...

"Snowy City Scene" American Scene Social Realism WPA Era Mid-20th Century Modern Syd J. Browne (1907-1991) "Snowy City Scene" 22 x 30 inches Oil on canvas. c. 1930s Signed lower lef...

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...

'Still Life with Imari Bowl' by Victor Isbrand. Paris, Post-Impressionist Oil, Royal Academy ----- Signed upper right, 'V. Isbrand' for Victor Isbrand (Danish, 1897-1989) and painte...

Kenneth Nunamaker never took a formal art lesson. His “training” began during his travels out West as a young man, where he painted in his spare time. It continued informally through...

This lovely British Impressionist portrait oil painting is by noted Nottinghamshire artist Arthur Spooner. Painted circa 1930 it is a charming head and shoulders portrait of a young ...

Pierre Montezin, French (1874 - 1946) - Les Foins, Year: 1938, Medium: Oil on Canvas, signed lower right, Size: 23.75 x 31.75 in. (60.33 x 80.65 cm), Frame Size: 31.25 x 39.5 inc...