1930s Paintings

Story illustration for “The Kenworthy Case” by Rex Beach, published in Cosmopolitan, May 1936, pages 48-49. The full caption reads: "While Rosa and Doctor Lutyens quarreled violentl...

Jim’s of Lambertville is proud to offer this artwork by: Morris Hall Pancoast (1877 – 1963) Born in Salem, New Jersey, Morris Hall Pancoast was a painter, illustrator, and cartoonist. He took night courses at Drexel University and enrolled at the Pennsylvania Academy of the Fine Arts under Thomas Anshutz...

Beautifully rendered in Krolls signature academic style. Unframed - Signed lower right, unframed

A very attractive oil on canvas painting by the French Post-Impressionist painter Charles Picart le Doux (1891-1959), a beach scene in Spain, signed and dated 1933. The painting depi...

Original cover for Good Housekeeping magazine, published March 1931

'Emile's Tavern', gouache on paper (circa 1930s), by Lucien Génin. A tavern in French is called a 'guinguette'. With the rise in living standards from the 1860s along with the develo...

Birger Hjelm – Våreldar ("Spring Fires"), c. 1935-1938 Oil on board unframed 80 x 84.5 cm (31 ½ x 33 ¼ in) framed 82 x 87 cm (32 ¼ x 34 ¼ in) Signed “Birger Hjelm” lower right; titl...

'The Church of Saint-Nicolas du Chardonnet, Paris', gouache on art paper by Lucien Génin (circa 1930s). In Paris' 5th Arrondissement the site in which Saint-Nicolas du Chardonnet is ...

LOURIER-DREYFUS Jeanne (1873-1955) Gardeners at Saint Cloud's Park Oil on canvas signed low right Frame by Gault : (Paris Fbg St Honoré) Dim canvas : 81 X 100 cm Dim frame : 109 x 129 cm LOURIER-DREYFUS Jeanne (1873-1955) French School 20th century Post-impressionist Disciple of Pierre Eugène Montézin, Jeanne Lourier was a pupil of workshop who assimilated the features and environment of the Master. Her artistic education also passed by the workshop of Jules Adler...

Jim’s of Lambertville is proud to offer this artwork by: Walter Emerson Baum (1884 - 1956) Born in Sellersville, Pennsylvania, Walter Baum was one of the only members of the New Ho...

It is a work by Edgar Degas? A stunning and beautiful study of three members of a fair in an off moment. Dramatic underlighting creates a dramatic mood. Deftly rendered in the ...

Story illustration for “Appearance and Reality” by W. Somerset Maugham, published in Cosmopolitan, November 1934, pages 22-23. Described as "A masterfully witty story of manners and...

ALFRED RETH 1884-1966 Budapest 1884-1966 Paris (Hungarian/French) Title: Abstract Composition, 1939 Technique: Original Signed and Dated Oil and Mixed Technique painting on Board ...

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

"Untitled" is a painting by American artist David Smith. David Smith’s paintings from the 1930s rarely come to market, and when Untitled (Billiard Players) surfaced at a Christie’s auction in 2018, it created quite a stir, realizing an impressive price of $1.15 million. Painted around the same time, Untitled shares many similarities with Untitled (Billiard Players). Both paintings affirm Smith’s place among the American artists when ideas and style began to intermingle and coalesce around Picasso’s innovations. Uniquely positioned in temperament and ability, Smith was a man of considerable ambition whose direct-metal configurations would have much to do with achieving new ideas about abstraction. Yet all along, he insisted he was a painter, not a sculptor who painted. Paintings by Smith...

One feels very small yet peaceful strolling among Sequoia Sempervirens, California’s oldest living residents. And if that’s not enough to make a human feel insignificant, these coast...

Following two decades of successful impressionistic landscape painting, Wilson Henry Irvine became known for a new experimental style in the 1930s. In 1930, Irvine began making prismatic paintings—landscapes and still-lifes rendered as though seen through a glass prism. The effect accentuated the play of light on the edges of objects. Irvine remained committed to this style of prismatic painting throughout the 1930s, winning the best-picture award in 1934 for a picture of a life-sized nude at the annual exhibition of the Lyme Art...

Théophile Jean DELAYE Drôme, 1896 – Drôme, 1970 Souk in Marrakech Gouache on paper 34 x 24 cm (48 x 38 cm with frame) Signed and titled lower left "Souk in Marrakech / Théophile Jean...

Mount Hood From Clear Lake, Early 20th Century Large-Scale Panoramic Landscape Large-scale panoramic oil painting landscape of Mount Hood from Clear Lake by William M. Lemos (Ameri...

Pair of Labrador Retrievers Gianni Reggio (Italian, 1898-1961) Circa 1930s Gouache on paper 14 1/4 x 13 1/2 inches (frame) Signed on the back. Gianni Reggio was an Italian painte...

Jim’s of Lambertville is proud to offer this artwork by: Arthur B. Carles (1882-1952) Born in Philadelphia, Pennsylvania, Arthur Carles was a painter whose work went through phases...

Daniel Content painted in the grand tradition of the Golden Age of Illustration, in the style of Dean Cornwell, N.C. Wyeth, J.C Leyendecker ...

Signed lower left "Vigny" for Sylvain Vigny (French, 1903-1970) and painted, circa 1935, on artists board prepared by Maison Franco, 19 Rue Pastorelli, Nice. Born in Vienna, Sylvain...

August Frederick Biehle (American, 1885–1979) Hibiscus, 1935 Gouache, graphite and colored pencil on paper Signed and dated center 16.5 x 11.5 inches 21 x 15.75 inches, framed A ver...

Oil on canvas signed ROBJ, France, 1930s. Couple near the Pound. with frame - 134.6x107x7 cm - 53"x42"x2.75" ; without frame - 116x89 cm - 45.7x35 inches. 50F format. Signed "Robj" l...

Consigned to the gallery By Decent H&N Fine Art, Newport Beach, CA; From Katherine A. Norris Legacy Collection, Newport Beach, California; Rick Hill, San Diego, California by descent from his mother a former pupil of Alfred Mitchell...

"Untitled" is a painting by artist David Smith. The work is signed and dated in the upper left "David Smith (symbol) 1936". When David Smith set up a workshop on the Brooklyn Navy Pier in 1933 to learn direct-metal techniques, he shared the space not with artists, but with professional welders. Yet as he stated in 1964, ‘…all my early friends were painters…I never conceived of myself as anything other than a painter because my work came straight through the raised surface.’ Picasso and Cubism would be dominant influences in Smith’s work. He understood that Picasso imagined the world as a sculptor might, and not necessarily limited to the unavoidable impact of Cubism. In addition to pursuing a kind of rethinking of the world in three-dimensionality on his own terms, by the late 1920s, Picasso had shown interest in surrealism. That meant drawing not as a depiction of reality, but rather as a reconfiguration of the body in an assemblage of often precariously balanced, interconnected forms — some expressed in a three-dimensional form, others as drawings or paintings. Those processes are reflected in this work by David Smith; three fanciful totemic assemblages set within a landscape perspective of ground, mountains, and sky and whose presence is surreal enough to cast shadows under a presumed solar presence. Untitled, 1936 embraces surrealism, yet also serves to demonstrate the extent to which his thought processes are inextricably linked to sculpture and related to scale, spatial orientation, and three-dimensionality. With that in mind, it is not surprising to know that Smith saw no demarcation between sculpture and painting, or that a painting such as Untitled (1936) can exist outside of planning or design for future three-dimensional work. Provenance: Estate of David Smith, New York Hauser & Wirth Private Collection Exhibition: Kunstsammlung Nordrhein-Westfalen, ‘David Smith: Skulptureen, Zeichnungen [David Smith: Sculpture and Drawings]’ Dusseldorf/DE, March 14 – April 27, 1986 (travelled to: Städtische Galerie im Stäelschen Kunstinstitut, Frankfurt/DE, June 19 – September 28, 1986: Whitechapel Art Gallery...

MOÏSE KISLING French-Polish, 1891 - 1953 BOUQUET OF FLOWERS WITH MIMOSA signed & dedicated "à Edith Mara", Kisling (lower left) oil on canvas 13 X 88-1/2 inches (33 X 22.5 cm.) frame...

This is an original Oil Painting by the Ukrainian artist Elie Anatole Pavil. It is hand signed by the artist at the lower right corner. The reverse bears a label with the title and d...

Augustus Edwin John (Welsh, 1878-1961). Portrait of Barbara, ca. 1930. oil on canvas, 11 5/8 x 14 5/8 inches. Framed dimension: 16 x 19 inches....

Jim’s of Lambertville is proud to offer this artwork by: John Berninger (1897 - 1981) A Pennsylvania landscape painter living in Allentown, John Berninger is described by art writer, Geoff Gehman, as being in the "outer ring of the New Hope School." His career was devoted to depicting his region in realist-impressionist style, especially snowscenes and landmarks such as Meyers Bridge in Allentown. Berninger studied with Orlando Gray Wales, Arlington Lindenmuth and Walter Emerson Baum, and then was an art instructor at the Kline-Baum School in Allentown. In 1934, he was selected as one of four students of Baum into the Circulating Picture Club of the Philadelphia Art Alliance, and two years later, he became Curator at the Allentown Art Museum, which had just been founded by Baum. Berninger's wife, Mabel, assisted him and served as museum curator and secretary of the Circulating Picture Club. In 1939, he joined the jewelry store, Wuchter and Berninger, as a partner, and advertised his paintings by placing them in the store's window. A local publisher and art enthusiast, Robert Rodale, saw his work there and years later, in 2004, held the first major exhibition of Berninger's artwork. The next year, Berninger's work was represented in the Allentown Museum exhibit, "Allentown Impressions: Views of City Parks". A frequent painting companion was Karl Buesgen...

Long-necked, elegant, slender fingers and spellbinding eyes define a quintessential Latin beauty. The painting is has a simple, architectonic composition of vertical and horizontal e...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...

"The Village Church" Piet Lippens (Belgian, 1890-1981) Circa 1930s Oil on canvas, signed lower left 19 x 15 (25 x 21 frame) inches Piet Lippens was a Post Impressionist painter fr...

Mediterranean Landscape II', ink on art paper, by Pierre Dionisi (circa 1930s). Sepia-toned, original drawing in a compelling style depicts a view of a ...

Date: 1933 Medium: Oil on Canvas Dimensions: 28.00" x 36.00" Signature: Signed Lower Left 1933 Interior Redbook Magazine, November 1933 A large signed and dated oil on canvas by no...

A dynamic 1930s, WPA era industrial scene watercolor of steel mill and factory workers by notable Chicago Modern artist, Harold Haydon. A wonderful example of the artwork from the e...

Interesting view of the Pool of London, an area known on the Thames near Tower Bridge where freight was loaded and unloaded from the earliest times of the City of London through the ...

Lois Mailou Jones: 1905-1998. Well listed African American painter and one of the most important African-American female artists of the 20th century. She has Auction records up to $7...

Medium: Oil on Canvas Signature: Signed Lower Right A close friend of Norman Rockwell, Mead Schaeffer focused his early career on illustrations for classic, historical, and adventure novels, including Moby Dick, The Count of Monte Christo, and King Arthur and His Knights. The featured lot, a masterpiece of political intrigue, was published as a story illustration for Joseph C...

Jim’s of Lambertville is proud to offer this artwork by: Walter Emerson Baum (1884 - 1956) Born in Sellersville, Pennsylvania, Walter Baum was one of the only members of the New Ho...

A whimsical and pointed piece of political satire, this original 1932 aquarelle titled Le Candidat et les Électeurs ("The Candidate and the Voters") by F. Robbe transforms the political stage into a witty animal allegory. Drawn in expressive black ink and watercolor wash, the scene depicts a parrot—perched high, wearing a top hat, and clutching a rolled-up speech—addressing an eager flock of birds below. With beaks open wide, the ‘electors’ appear to hang on every word of the charismatic, if cartoonish, orator. It's a visual metaphor brimming with irony, capturing the timeless performance of politics: showmanship, repetition, and the crowd’s fervor. Signed “F. Robbe, 32”, this work encapsulates the interwar period’s sharp sense of humor and skepticism toward authority. Its monochrome palette only enhances the theatrical drama and expressive character design, reminiscent of 19th-century French caricature artists like Daumier or Grandville, yet rendered in a distinctly 20th-century modernist spirit. Measuring small in size but large in statement, this is a rare surviving piece of illustrated political commentary. Whether you're drawn to its historical charm, anthropomorphic cleverness, or satirical tone, this little gem remains a delightful reflection on democratic rituals—and their absurdities. A unique acquisition for collectors of early 20th-century illustration, political art, or vintage French ephemera...

Arthur Osver studied at Northwestern University and the Art Institute of Chicago. Osver was awarded the Prix de Rome in 1952. He taught at the Brooklyn Museum Art School, Columbia Un...

Victor Brauner (1903-1966) La récapitulation de l'amour 1934 oil on canvas 50.2 x 61.2 cm Price: £85,000 GBP Provenance: Edouard Léon Théodore Mesens, Brussels Thence by descent N...

Jim's of Lambertville Fine Art Gallery is proud to present this piece by Burgoyne Diller (1906 – 1965). Born in New York City in 1906, Burgoyne Diller began drawing when he was stri...

Siamese Cat with Kittens by Orovida Pissarro (1893-1968) Egg tempera on linen 39 x 48 cm (15³/₈ x 18⁷/₈ inches) Signed lower right Orovida and dated lower left 1934 Provenance J Ankri, 8th October 1967 Literature K L Erickson, Orovida Pissarro: Painter and Print-Maker with A Catalogue Raisonné of Paintings, (doctoral thesis), Oxford, 1992, Appendices, no. 51, p. 56 (illustrated) Exhibition London, The Leicester Galleries, Paintings by Orovida, February 1935, no. 6 Women’s International Art Club, 20th February - 13th March 1937, no. 273 London, Redfern Gallery, Ten Years of Work by Orovida, 5th-28th May 1938, no. 7 London, The Royal Society of British Artists, Summer Exhibition, 1947, no. 281 (possibly the etching) London, O’Hana Gallery, Paintings, Drawings and Coloured Etchings: Orovida, 3rd-18th October 1957, no. 13 Artist biography Orovida Camille Pissarro, Lucien and Esther Pissarro’s only child, was the first woman in the Pissarro family as well as the first of her generation to become an artist. Born in Epping, England in 1893, she lived and worked predominantly in London where she became a prominent member of several British arts clubs and societies. She first learned to paint in the Impressionist style of her father, but after a brief period of formal study with Walter Sickert in 1913 she renounced formal art schooling. Throughout her career, Orovida always remained outside of any mainstream British art movements. Much to Lucien's disappointment she soon turned away from naturalistic painting and developed her own unusual style combining elements of Japanese, Chinese, Persian and Indian art. Her rejection of Impressionism, which for the Pissarro family had become a way of life, together with the simultaneous decision to drop her famous last name and simply use Orovida as a ‘nom de peintre’, reflected a deep desire for independence and distance from the weight of the family legacy. Orovida's most distinctive and notable works were produced from the period of 1919 to 1939 using her own homemade egg tempera applied in thin, delicate washes to silk, linen or paper and sometimes embellished with brocade borders. These elegant and richly decorative works generally depict Eastern, Asian and African subjects, such as Mongolian horse...

Medium: Oil on Canvas Signature: Signed Twice and Dated Lower Left: Harvey / Dunn 1932 Harvey Dunn's Dawn, Dawn, Dawn is a truly exceptional illustration that captures a key moment of American History. In the present work, Dunn skillfully depicts colonial soldiers...

Jim’s of Lambertville is proud to offer this artwork by: Walter Emerson Baum (1884 - 1956) Born in Sellersville, Pennsylvania, Walter Baum was one of the only members of the New Ho...

Woman is an original modern artwork realized by Antonio Feltrinelli in 1932. Mixed colored oil painting on canvas. Hand signed and dated. Good condition. Antonio Feltrinelli (Mil...

Maurice Asselin (1882-1947) Notre-Dame, Paris Signed lower left, Oil on canvas 50 x 61 cm In good condition In its original frame : 61 x 72 cm It is really interesting to reme...

Nude is an orignal modern artwork realized by Antonio Feltrinelli in 1930s. Mixed colored oil painting on board Not signed.

Jim’s of Lambertville is proud to offer this artwork by: Gershon Benjamin (1899 - 1985) An American Modernist of portraits, landscapes, still lives, and the urban scene, Gershon ...

Olof Walfrid Nilsson (1868–1956) Fjäll i aftonsol (“Mountain in Evening Sun”) circa 1933 oil on canvas signed Olof W. Nilsson and dated 1933? unframed: 102 x 82 cm (40.2 x 32.3 in)...

'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 ...

Signature: Signed Lower Right Cover Illustration: Saturday Evening Post, November 6, 1937

Signed lower right. Description A socio-political play on the smoky, masculine enclave scene of a card game, seven men from all walks of life appear in a dim room, the table beari...

Still life is an original modern artwork realized by Valentino Ghiglia in the mid-20th Century. Mixed colored oil on board. Hand signed on the back. Includes frame.

"Shepherd with Montbèliarde Calf"  Julius Paul Junghanns (1876 - 1958)  Oil on canvas 23 7/8 x 30 (35 x 41 frame) inches Signed l.l and dated "34" and signed on the verso Private Ita...

Lodewijk Bruckman(1903-1995), was a professional artist along with his twin brother Karel. They lived and worked in the Hague in Holland. Lodewijk was a student at the Royal Academy of Art, The Hague, Holland. Exhibited at Raymond Agler Fine Arts Gallery, Gloucester, Cooley Gallery; T. Scott & Fowles Gal, NYC (1948, Boston Arts Festival, (1953, 1957, both prize winners), Cape Cod Museum of Art, Provincetown Art...

This work is signed by the artist “Janco”, in the lower right corner. Condition: Good condition. Minor areas of craquelure, particularly along the edges of the canvas. Mild surface ...