Masonite Nude Paintings

Dorothy Sovinsky Kaufman "Nude on Green Blanket" c. 1940s Oil on masonite board 40"x26.25" perios brown wood frame 40.5"x26.75 Signed on reverse in ink and paint Very Good Condition - Minor wear consistent with age and history. Needs new frame. Piece is not secured to frame at top. Born in Brooklyn, New York, a member of the first graduating class New York City's High School of Music and Arts and a graduate of The Cooper Union for the Advancement of Science and Art. Began her career as an advertising artist in Manhattan. An accomplished artist in a variety of media, including painting, drawing, mixed media, printmaking, sculpture and ceramics. A member of Association of Clay and Glass Artists of California. Her work had numerous gallery showings, and is held in private collections. Supporter and and member of the SF MOMA...

[Bruce Sargeant (1898-1938)] Three Men Bathing Signed in red, l.l. Oil on canvas 38 x 96.25 inches (96.5 x 244.5 cm) $11,000 + $850 framing This work i...

[Bruce Sargeant (1898-1938)] Nude Male by the Lake n.d. Signed in red, u.r. Oil on canvas mounted to Masonite 38 x 28.5 inches This work is offered by ClampArt in New York City.

Monochromatic white on white study of a blond nude on knees and on looking cat. The following is from Harriet Shaplan of Champaign, Illinois:My husband and I knew Maud and Thornton Utz when we lived on Siesta Key, Sarasota, FL. in the 1980s. We bought the Greenhouse Restaurant (now called the Summerhouse) and Thornton had a lovely nude painting (Greenhouse Nude) hanging at the base of the stairs that eventually made its way to our home where it hung for several years. Prints had been made of it and Thornton wanted it to hang in a more public place so the painting was moved to the Museum of Modern Art in Dallas.Later it was bought by a Frenchman named Francoise Gardinier who owned a phosphate plant in FL. He hung the Greenhouse Nude in a resort he bought on Longboat Key called Far Horizons and later moved it to France.I have 3 large original oil nudes painted by Thornton, one being "Snowfall" which was made into prints, and several prints from his nude collection. Thornton was also commissioned to do portraits of some famous people. . . Princess Grace of Monaco, Jimmy Carter and family, and a royal family in Europe whose name I don't remember. He also did lovely portraits of children.Thornton was one of the kindest, gentlest souls I have ever met and those qualities came through in his nude paintings, which are lovingly and tastefully done.I'm glad to have a found a way to help perpetuate the memory of Thornton Utz. He was truly a gifted artist and a wonderful person.Attached are excerpts Thornton's obituary as it appeared in the Sarasota Herald Tribune on Dec. 4, l999:Numerous examples of Thornton Utz's work dot the landscape of Sarasota. From buildings on siesta Key to the chapel windows of the Catholic church of the Incarnation, Utz left behind a county filled with memoirs of his artistic gift.The internationally known illustrator and painter died Wednesday. He was 85.Utz was born Nov. 15, 1914, in Memphis, Tenn., where he spent his young years doodling in textbooks. After discovering his artistic talent, he struggled to save enough money to attend art school in Chicago. With the country in a depression, Utz could afford only one year at the American Academy of the Arts, and though he studied there for only a short time,k he learned the secret to being a great artist: drawing continually.And draw Utz did, as well as paint, illustrate and design. Initial recognition of his work came for his illustrations. During the 1940s and '50s, Utz provided advertising illustrations for clients such as Coca-Cola, General Electric and Ford Motor Co. His work also graced more than 50 covers of the 'Saturday Evening Post.'International fame came with portraits of Princess Grace...

A group of red modernist nude female figures recline under a brilliantly blue sky in this vibrant, boldly colored large-scale figurative abstract landscape, posed with a nod to Picasso's iconic masterpiece "Les Demoiselles d’Avignon", by California artist Don Klopfer...

Monochromatic white on white study of a blond nude on knees and on looking cat. The following is from Harriet Shaplan of Champaign, Illinois:My husband and I knew Maud and Thornton Utz when we lived on Siesta Key, Sarasota, FL. in the 1980s. We bought the Greenhouse Restaurant (now called the Summerhouse) and Thornton had a lovely nude painting (Greenhouse Nude) hanging at the base of the stairs that eventually made its way to our home where it hung for several years. Prints had been made of it and Thornton wanted it to hang in a more public place so the painting was moved to the Museum of Modern Art in Dallas.Later it was bought by a Frenchman named Francoise Gardinier who owned a phosphate plant in FL. He hung the Greenhouse Nude in a resort he bought on Longboat Key called Far Horizons and later moved it to France.I have 3 large original oil nudes painted by Thornton, one being "Snowfall" which was made into prints, and several prints from his nude collection. Thornton was also commissioned to do portraits of some famous people. . . Princess Grace of Monaco, Jimmy Carter and family, and a royal family in Europe whose name I don't remember. He also did lovely portraits of children.Thornton was one of the kindest, gentlest souls I have ever met and those qualities came through in his nude paintings, which are lovingly and tastefully done.I'm glad to have a found a way to help perpetuate the memory of Thornton Utz. He was truly a gifted artist and a wonderful person.Attached are excerpts Thornton's obituary as it appeared in the Sarasota Herald Tribune on Dec. 4, l999:Numerous examples of Thornton Utz's work dot the landscape of Sarasota. From buildings on siesta Key to the chapel windows of the Catholic church of the Incarnation, Utz left behind a county filled with memoirs of his artistic gift.The internationally known illustrator and painter died Wednesday. He was 85.Utz was born Nov. 15, 1914, in Memphis, Tenn., where he spent his young years doodling in textbooks. After discovering his artistic talent, he struggled to save enough money to attend art school in Chicago. With the country in a depression, Utz could afford only one year at the American Academy of the Arts, and though he studied there for only a short time,k he learned the secret to being a great artist: drawing continually.And draw Utz did, as well as paint, illustrate and design. Initial recognition of his work came for his illustrations. During the 1940s and '50s, Utz provided advertising illustrations for clients such as Coca-Cola, General Electric and Ford Motor Co. His work also graced more than 50 covers of the 'Saturday Evening Post.'International fame came with portraits of Princess Grace...

Sylvia Rutkoff (1919-2011) sr19-1 “Topless” Oil on Masonite 26.5x14.5 silver wood frame 30"x18" Unsigned Collection acquired from family estate *Custom framing available for addition...

Irving Sinclair Large Scale Reclining Nude Original Oil Painting C.1940 An elegant young woman reclining nude and handling her pearls Original oil on...

ANTON VORAUER "PENSIVE NUDE" OIL ON MASONITE, SIGNED AUSTRIAN-AMERICAN, C.1940 24 X 30 INCHES Anton Vorauer 1905-1985 From the late 1920s to the eve of World War II, Anton Vor...

Michael Leonard (b.1933). Theseus and the Minotaur, 1969. Acrylic on masonite panel, 16 x 20 inches; 20 x 24 inches framed. Signed and dated lower right. Signed en verso. Original Midtown Payson Galleries label affixed en verso. Excellent condition with no conservation. Theseus and the Minotaur represents the highest achievement from Leonard's transitional period of the late 1960's. It demonstrates his mastery of the illustrative style. Aware that he has exhausted the possibilities offered to him, the artist would soon move on to a mode of academic realism based on photo studies. In this piece, the subdued and earthy palate accentuates the the hero's pale flesh. It glows in comparison the the chalky grays and clay browns that frame it. The subtle graduation of tone in the subject's face signals the method Leonard would use to create almost shadowless compositions in coming years. Tradition artistic interpretations of the myth show two figures in battle, most frequently depicting the hero slaying the monster. This provocative image disorients the viewer, suggesting a gentle, intimate friendship. Adding to the complicated task of interpreting the image are factors or race and sexual orientation. Considering that Theseus and the Minotaur was painted in 1969, we can safely assert that it is a daring and prescient work that anticipates sexual freedoms of the decade to come. Price on request Biography: BORN: Bangalore, India of British parents, 1933 EDUCATION: 1972 First exhibited as a painter. Gradually relinquished Illustration to paint full time. Lives and works in London. 1957-72 Worked as an a freelance illustrator with Artists Partners 1954-57 Studied Graphic Design and Illustration at St. Martin’s School of Art, London ONE-PERSON EXHIBITIONS: 2009 New Paintings & Drawings, Forum Gallery, NY (catalogue) 2007 Michael Leonard; Master of Ambiguity: Paintings, Drawings, and Portraits, Jonathan Edwards College, Yale University, New Haven, CT (catalogue) 2004 Drawings by Michael Leonard, Thomas Gibson Fine Art, London, England (catalogue) 1999 Forum Gallery, New York, NY (catalogue) 1997 Thomas Gibson Fine Art, London, England (catalogue) 1993 Thomas Gibson Fine Art, London, England 1992 Verisimilitude, Stiebel Modern, New York, NY (catalogue) 1989 Retrospective, Artsite Gallery, Bath, England 1988 Fischer Fine Art, London, England (catalogue) 1983 Fischer Fine Art, London, England (catalogue) 1980 Fischer Fine Art, London, England (catalogue) 1977 Fischer Fine Art, London, England (catalogue) Michael Leonard/Drawings, Harriet Griffin Fine Arts, New York, NY Retrospective, Gemeentemuseum, Arnhem, The Netherlands 1974 Fischer Fine Art, London, England (catalogue) SELECTED GROUP EXHIBITIONS: 2018 Artists by Artists: The Artist as Subject, Forum Gallery, New York, NY 2017-18 Favorite Things: A Holiday Exhibition, Forum Gallery, New York, NY 2016-17 Contemporary Old Masters, Louisiana Art & Science Museum, Baton Rouge, Louisiana 2014 Wives, Daughters and Lovers, Forum Gallery, New York, NY Re-presenting Representation VIII, Arnot Art Museum, Elmira, NY 2013 Singular Vision, Forum Gallery, New York, NY 2012 Perception of Self, Forum Gallery, New York, NY Five Decades: Art and Artists of Forum Gallery, 1962-2012, Forum Gallery, New York, NY 2010 Contemporary Paintings, Drawings & Sculpture: A Summer Selection, Forum Gallery, New York, NY 2010 Re-Presenting the Nude, EVOKE Contemporary, Santa Fe, NM 2009 Summer Selections, Forum Gallery, New York, NY 2008 New Acquisitions, Forum Gallery, New York, NY 2007-08 About Face; Portraiture Now, Long Beach Museum of Art, CA 2006 The Fine Art of Drawing: Modern & Contemporary Works on Paper, Forum Gallery, New York, NY 2005 Cover Story: The Art and Photojournalism of the Sunday Times Magazine, Nikon and Proud Galleries What is Realism? Albermarle Gallery, London 2005 Collector’s Show, Arkansas Art Center, Little Rock, AR The Figurative Impulse, Forum Gallery, Los Angeles, CA 2004 Masters and Mavericks, Seraphin Gallery, Philadelphia, PA 2003 Collector’s Show, Arkansas Art Center, Little Rock, AR Contemporary Works on Paper, Forum Gallery, New York, NY Modern and Contemporary Portraits curated by Townsend Wolfe, Forum Gallery, New York, NY 2002 Artists of the Ideal, Palazzo Forte, Galleria d’Arte Moderna, Verona 2001 Between Heaven and Earth-New Classical Movements in the Art of Today, Museum voor Moderne Kunst, Ostende, Belgium 2000 The Male Form in Contemporary Art, Art and Culture Center, Hollywood, FL Still Lifes, William Baczek Fine Arts, Northampton, MA 1999 The Nude in Contemporary Art, The Aldrich Museum of Contemporary Art, Ridgefield, CT 1998 Still Life Painting Today, Jerald Melberg Gallery, Charlotte, NC Apple of My Eye: Selections of Paintings and Works on Paper, Kraushaar Gallery, New York, NY It’s Still Life, Forum Gallery, New York, NY 1998 Collector’s Show, Arkansas Arts Center, Little Rock, AR The Aldrich Contemporary Art Museum, Ridgefield, CT 1997 Animals in Art, Sotheby’s: London (touring Brighton & Preston) Re-presenting Representation III, Arnot Art Museum, Elmira, NY Ars Erotica, Edward Lucie-Smith, Rizzoli, New York, NY 1994 Naked Men and Women in American Art, Midtown Payson Galleries, New York, NY 1991 In Human Terms, Stiebel Modern, New York, NY 1987-88 The Self Portrait: A Modern View, Artsite, Bath (touring exhibition organized by Sean Kelly and Edward Lucie- Smith) 1983 8 British Realists, Louis K. Meisel Gallery, New York, NY Urban Landscape, Oldham Museum and Art Gallery, Oldham, UK Pintura Brittanica Contemporanea, Museo Municipal, Madrid, Spain British Realists, Robin Gibson Gallery, Darlinghurst, New South Wales The Male Nude: A Modern View, Homeworks, London (Organized by Francois de Louville) 1982 Fischer Group Show, Solomon Gallery, Dublin 1981 Various Approaches, Fischer Fine Art, London The Real British, Fischer Fine Art, London (organized by Edward Lucie-Smith) Fischer Fine Art, London 1980 Nudes, Angela Flowers, London 1979-80 The Craft of Art, Peter Moore’s Liverpool Project 5, Walker Art Gallery, Liverpool 1979 Figurative Approach 4, Fischer Fine Art, London 1978 John Moores’ 11, Walker Art Gallery, Liverpool Figurative Approach 3, Fischer Fine Art, London 1976 Fischer Fine Art, London 1975 Aspects of Realism, touring exhibition in Canada (organized by Rothmans) John Moores’ 10, Walker Art Gallery, Liverpool Figurative Approach, Fischer Fine Art, London 1975 Realismus and Realitat, Kunsthalle, Darmstadt Fischer Fine Art, London 1973 Fischer Fine Art, London 1972 English Explorations, Fischer Fine Art, London SELECTED BIBLIOGRAPHY: Books; Monographs: Drawn to the Past, Foreword by Anthea Gibson, Thomas Gibson Fine Art, London, 1993 Changing II (augmented edition of Changing), Editions Aubrey Walters, London, 1992 Michael Leonard: Paintings, Foreword by Lincoln Kirstein, Edward Lucie-Smith in conversation with the artist, GMP Publishers, London, 1985 Changing: 50 Drawings, Introduction by Edward Lucie-Smith, GMP Publishers, London, 1983 Books; Illustrated: The Folk Songs of North America, Alan Lomax, Cassell, London, 1960 The Kingdom of Carbonel, Barbara Sleigh, Max Parrish, London, 1959 When Wendy Grew Up – An Afterthought, J.M. Barrie, Nelson, Edinburgh Articles / Reviews: Lucie-Smith, Edward. “Modern Virtuoso.” Art Review. June 1997. Norman, Geraldine. “Nudes Inspired by Past Masters.” The Independent. June 21, 1993. Packer, William. “Back to Real Painting.” The Financial Times, June 22, 1993. Sewell, Brian. “Nude Awakening...

CORNELIS KLOOS "DANCERS" OIL ON MASONITE, SIGNED DUTCH, DATED 1951 36 X 28 INCHES Cornelis Kloos 1895-1976 This is translated from the Dutch, in an article in 1996 in regards to a retrospective exhibition at the Museum De Wieger in Deurne, The Netherlands. Cornelis Kloos was born in Rotterdam and grew up in a well-off environment. He followed a training as a backup officer and, together with the poet Nijhoff and the botanist Becking, made plans for a trip through Tibet, but because of the outbreak of World War I, the journey did not go on and he went to The Hague Academy of Art, where he later studied Gave as model designer. In 1940 he was again called under the arms; In the days of his life, he fought as a commander of the Coast Guard. In 1942, like many artists at the time, he reportedly volunteered at the Dutch Culture Chamber, but he would also have played a role in the resistance according to the catalog. Kloos was seriously planning to paint about the entire art history on a fiber-optic plate and to show it in a new educational museum. The public would have a good and bad painting on their side on conveyor belts. As an example for a good canvas, a Titian could have served as an example of how not an abstract Mondrian. Kloos had a location at a holiday park on the spot; The building drawings were already ready, but - he was already in the seventy - his museum never came. For his manuscript Imagination of the visual arts? A rational aesthetic, incorporating ten laws about quality criteria, could not find a publisher. Earlier, in 1962 his studio went into flames. In the royal attic room at his Hague apartment, which should have looked like an oriental palace, much of his oeuvre was lost. His painting Jumping girls from 1934 has disappeared. Goebbels wanted to buy the painting, which was exhibited in Berlin in 1936, but because Kloos refused to shed the black hairs of the pictured women at the request of Goebbels, the sale broke down. The incident sounds unlikely, but it is mentioned in a booklet just published on the occasion of Kloos's first exhibition in Museum De Wieger in Deurne. In addition to over thirty paintings, about twenty drawings and watercolors and some statues, reconstruction drawings of his sculpture garden in Clingendael can be seen. After the war, boyish adventure and dreams returned to beautiful girls in watercolors. Summer tones, mountain-to-valley pulling naked or half-dressed girls and tree-to-wading Tarzan girls. Often we see them happily smiling at sailing ships, sometimes tied to poles near departing trucks full of soldiers. Also naked female figures appear crawling among the goats on mountain slopes. Occasionally Kloos knew about the same airiness as David Hockney, with scenes around tennis courts and swimming pools. The funniest of the exhibition are the dirty feet that he sometimes shows, very subtly, on the tread of his models with some black dirt paint. When Caravaggio did the same, it was shameful. Not so much because of the dirty feet, but because of its models, biblical figures depicted. Due to details like those dirty feet, the dreamy Kloos, who wanted to show the reality of nature, would like to show reality again with both legs on the ground. The Tarzan Girls of Cornelis Kloos Exhibition: Cornelis Kloos. June 16th in Museum De Wieger, Oude Liesselseweg 29, Deurne. From the exhibition and the book, a figurative Dutch figure that has been a very curious oeuvre has come to the fore. Since Kloos in 1959 in The Hague artist association Pulchri, 'Aqualuxen' has been presented - double-sided painted watercolors that were led by ropes and pulleys behind a lightbox - rarely has seen him publicly. When he terminated membership of Pulchri in protest against modern abstract art, his name became oblivious. In his preference for young female form Kloos calls associations with the painter Balthus in a single work. His style shows interfaces with the painters of the new business like Max Beckmann. He also meet Art Deco-like elements here and there, and there are similarities with German painters from the thirties. Especially works as ball passes and standing naked girl with spear do strongly think of the Nazi art...

CORNELIS KLOOS "NYNPHS" OIL ON MASONITE, SIGNED DUTCH, DATED 1951 36 X 28 INCHES Cornelis Kloos 1895-1976 This is translated from the Dutch, in an article in 1996 in regards to a retrospective exhibition at the Museum De Wieger in Deurne, The Netherlands. Cornelis Kloos was born in Rotterdam and grew up in a well-off environment. He followed a training as a backup officer and, together with the poet Nijhoff and the botanist Becking, made plans for a trip through Tibet, but because of the outbreak of World War I, the journey did not go on and he went to The Hague Academy of Art, where he later studied Gave as model designer. In 1940 he was again called under the arms; In the days of his life, he fought as a commander of the Coast Guard. In 1942, like many artists at the time, he reportedly volunteered at the Dutch Culture Chamber, but he would also have played a role in the resistance according to the catalog. Kloos was seriously planning to paint about the entire art history on a fiber-optic plate and to show it in a new educational museum. The public would have a good and bad painting on their side on conveyor belts. As an example for a good canvas, a Titian could have served as an example of how not an abstract Mondrian. Kloos had a location at a holiday park on the spot; The building drawings were already ready, but - he was already in the seventy - his museum never came. For his manuscript Imagination of the visual arts? A rational aesthetic, incorporating ten laws about quality criteria, could not find a publisher. Earlier, in 1962 his studio went into flames. In the royal attic room at his Hague apartment, which should have looked like an oriental palace, much of his oeuvre was lost. His painting Jumping girls from 1934 has disappeared. Goebbels wanted to buy the painting, which was exhibited in Berlin in 1936, but because Kloos refused to shed the black hairs of the pictured women at the request of Goebbels, the sale broke down. The incident sounds unlikely, but it is mentioned in a booklet just published on the occasion of Kloos's first exhibition in Museum De Wieger in Deurne. In addition to over thirty paintings, about twenty drawings and watercolors and some statues, reconstruction drawings of his sculpture garden in Clingendael can be seen. After the war, boyish adventure and dreams returned to beautiful girls in watercolors. Summer tones, mountain-to-valley pulling naked or half-dressed girls and tree-to-wading Tarzan girls. Often we see them happily smiling at sailing ships, sometimes tied to poles near departing trucks full of soldiers. Also naked female figures appear crawling among the goats on mountain slopes. Occasionally Kloos knew about the same airiness as David Hockney, with scenes around tennis courts and swimming pools. The funniest of the exhibition are the dirty feet that he sometimes shows, very subtly, on the tread of his models with some black dirt paint. When Caravaggio did the same, it was shameful. Not so much because of the dirty feet, but because of its models, biblical figures depicted. Due to details like those dirty feet, the dreamy Kloos, who wanted to show the reality of nature, would like to show reality again with both legs on the ground. The Tarzan Girls of Cornelis Kloos Exhibition: Cornelis Kloos. June 16th in Museum De Wieger, Oude Liesselseweg 29, Deurne. From the exhibition and the book, a figurative Dutch figure that has been a very curious oeuvre has come to the fore. Since Kloos in 1959 in The Hague artist association Pulchri, 'Aqualuxen' has been presented - double-sided painted watercolors that were led by ropes and pulleys behind a lightbox - rarely has seen him publicly. When he terminated membership of Pulchri in protest against modern abstract art, his name became oblivious. In his preference for young female form Kloos calls associations with the painter Balthus in a single work. His style shows interfaces with the painters of the new business like Max Beckmann. He also meet Art Deco-like elements here and there, and there are similarities with German painters from the thirties. Especially works as ball passes and standing naked girl with spear do strongly think of the Nazi art...