Norman Rockwell

The Dugout, Post Cover

1948

Signed by artist lower left. The Century Illustrated Monthly Magazine Cover

Medium: Gouache and Watercolor on Board Sight Size 18.00" x 17.00", Framed 25.00" x 24.00" "Twas The Night Before Christmas" by Clemen...

Approximate Date: Apr 23, 1903 Medium: Gouache on Board Signature: Signed Lower Right Dimensions: 22.50" x 15.50"

Medium: Gouache and Watercolor on Board Signature: Signed Lower Right Exhibitions: Allentown Art Museum, At the Edge: Art of the Fantastic (June 3- September 9, 2013)

Date: 1915 Medium: Watercolor, Gouache and Charcoal on Board Dimensions: 26.25" x 16.50" Signature: Signed Lower Left LITERATURE Louisa May Alcott,...

Original cover illustration for The Saturday Evening Post, November 13, 1948 The Post described, “Artist Stevan Dohanos felt like a baseball coach who had everything he needed excep...

Predominantly recognized as a self-taught painter, he also worked in architectural murals, sculptures, ceramics, prints and drawings. Vigas is one...

Predominantly recognized as a self-taught painter, he also worked in architectural murals, sculptures, ceramics, prints and drawings. Vigas is one...

"Coca Cola ... Si?! II" is a painting by Maestro Vlado Vesselinov. About the painting: Style and Technic: POP ART, Contemporary, Gouache, oil on c...

This extraordinary Italian gouache and oil on canvas brings two of the most popular characters from Greek mythology vividly the life - the nymph and the satyr. Both creatures are famed for their carefree natures and lascivious temperaments, and tales abound of satyrs pursing nubile nymphs in order to rape or seduce them, usually with little success. One such narrative humorously unfolds in the present piece, which depicts an indignant satyr captured by three nymphs with a golden net. The relationship between these two mythological creatures was a popular one for artists throughout the 18th and 19th centuries, though its origins stretch back to antiquity. Both satyrs and nymphs...

Simka Simkhovitch (Russian/American 1893 - 1949) This came with a small grouping from the artist's family, some were hand signed some were not. These were studies for larger paintings. Simka Simkhovitch (Симха Файбусович Симхович) (aka Simka Faibusovich Simkhovich) (Novozybkov, Russia May 21, 1885 O.S./June 2, 1885 N.S.—Greenwich, Connecticut February 25, 1949) was a Ukrainian-Russian Jewish artist and immigrant to the United States. He painted theater scenery in his early career and then had several showings in galleries in New York City. Winning Works Progress Administration (WPA) commissions in the 1930s, he completed murals for the post offices in Jackson, Mississippi and Beaufort, North Carolina. His works are in the permanent collections of the Dallas Museum of Art, the National Museum of American Art and the Whitney Museum of American Art. Born outside Kyiv (Petrograd Ukraine) into a Jewish family who owned a small department store. During a severe case of measles when he was seven, Simcha Simchovitch sketched the views outside his window and decided to become an artist, over his father's objections. Beginning in 1905, he studied at the Grekov Odessa Art School and upon completion of his studies in 1911 received a recommendation to be admitted to the Imperial Academy of Arts. Though he enrolled to begin classes in architecture, painting, and sculpture at the Imperial Academy, he was dropped from the school roster in December because of the quota on the number of Jewish students and drafted into the army. Simchovitch served as a private in the 175th Infantry Regiment Baturyn [ru] until his demobilization in 1912. Re-enrolling in the Imperial Academy, he audited classes. Simka Simkhovitch exhibited paintings and sculptures in 1918 as part of an exhibition of Jewish artists and in 1919 placed 1st in the competition "The Great Russian Revolution" with a painting called "Russian Revolution" which was hung in the State Museum of Revolution. In 1922, Simkha Simkhovitch exhibited at the International Book Fair in Florence (Italian: Fiera Internazionale del Libro di Firenze). In 1924, Simkhovitch came to the United States to make illustrations for Soviet textbooks and decided to immigrate instead. Initially he supported himself by doing commercial art and a few portrait commissions. In 1927, he was hired to paint a screen for a scene in the play "The Command to Love" by Fritz Gottwald and Rudolph Lothar which was playing at the Longacre Theatre on Broadway. Art dealers began clamoring for the screen and Simkhovitch began a career as a screen painter for the theater. Catching the attention of the screenwriter, Ernest Pascal, he worked as an illustrator for Pascal, who then introduced him to gallery owner, Marie Sterner. Simkhovitch's works appeared at the Marie Sterner Gallery beginning with a 1927 exhibit and were repeated the following year. Simkhovitch had an exhibit in 1929 at Sterner's on circus paintings. In 1931, he held a showing of works at the Helen Hackett Gallery, in New York City and later that same year he was one of the featured artists of a special exhibit in San Francisco at the California Palace of the Legion of Honor in Lincoln Park. The exhibit was coordinated by Marie Sterner and included four watercolors, including one titled "Nudes". He is of the generation of Russian Soviet artists such as Isaac Pailes, Serge Charchoune, Marc Chagall, Chana Orloff, Isaac Ilyich Levitan, and Ossip Zadkine. In 1936, Simkhovitch was selected to complete the mural for the WPA Post office project in Jackson, Mississippi. The mural was hung in the post office and courthouse in 1938 depicted a plantation theme. Painted on the wall behind the judge’s bench, “Pursuits of Life in Mississippi”, a depiction of black workers engaged in manual labor amid scenes of white professionals and socialites, was eventually covered over in later years during renovations due to its stereotypical African American imagery. Simka painted what he thought was typical of Jackson. His impression of pre-civil rights Mississippi was evidently Greek Revival column houses, weeping willow trees, working class families, and the oppression of African Americans. He painted African American men picking cotton, while a white man took account of the harvest and a white judge advised a white family, calling it Pursuits of Life in Mississippi. Though clearly endorsed by the government and initially generally well-received, the mural soon raised concerns with locals as the climate toward racial segregation began to change. The main concern was whether depictions that show African Americans in subjugated societal roles should be featured in a courtroom. The following year, his painting "Holiday" won praise at an exhibition in Lincoln, Nebraska. In 1940, Simkhovitch's second WPA post office project was completed when four murals, "The Cape Lookout Lighthouse and the Orville W. Mail Boat", "The Wreck of the Crissie Wright", "Sand Ponies" and "Canada Geese" were installed in Beaufort, North Carolina. The works were commissioned in 1938 and did not generate the controversy that the Jackson mural had. The main mural is "The Wreck of the Crissie Wright" and depicts a shipwreck which had occurred in Beaufort in 1866. "The Cape Lookout Lighthouse and the Orville W. Mail Boat" depicted the lighthouse built in 1859 and the mail boat that was running mail during the time which Simkhovitch was there. The boat ran mail for the area until 1957. "Sand Ponies" shows the wild horses common to the North Carolina barrier islands and "Canada Geese" showed the importance of hunting and fishing in the area. All four murals were restored in the 1990s by Elisabeth Speight, daughter of two other WPA muralists, Francis Speight...

Dan Solojoff, Russian (1908 - 1994) Daniil Andreyevich Solojef born in St. Petersburg on February 27 (February 14) 1908 and died on 21 in Paris 1, is a poet, painter and illustrator...