George Hughes

(Untitled)

Approximate Date: 1948 Medium: Oil on Board Signature: Signed Lower Left Size: 20" x 16", Framed: 26" x 22" Original cover illustration for The Saturday Evening Post, September 25 1...

Medium: Oil and Gold Paint on Board Signature: Signed Lower Right Sight Size 19.00" x 16.00" Oval, Framed 24.00" x 21.00" April. 1920 Good Houseke...

Date: 1938 Medium: Oil on Paperboard Sight Size 20.25" x 13.875", Framed to 27.50" x 21.00" Signature: Signed Lower Right with Initials: N/R 'Philip found himself involved in a humi...

Signature: Signed Lower Left Original cover illustration for The Saturday Evening Post, December 2, 1950 The Post described, “One night Art Editor Stuart was having a party. His three boys came downstairs four times and were conducted back up by their mother. The next time they came down, Papa Stuart waxed excited, firmly conveyed them aloft himself, and they did not show up again. Stuart was warmly congratulated on his success as a father. When the party broke up, the youngest lad was found asleep on the stairs. Stuart claims that the older ones never did come down again, but this was probably because they merely went to sleep in their beds from natural causes. George Hugehes has painted some other people’s offspring, to get over the idea that children all over America are eager to improve their minds by listening to sophisticated conversation.” (The Saturday Evening Post, December 2, 1950, p. 3) Exhibited: Norman Rockwell Museum...

Signature: Signed Lower Right Framed Dimensions: 32.00" x 28.00" Cover of The Saturday Evening Post Magazine, March 16, 1940

Date; 1890 Medium: Oil on Board Dimensions: 14.00" x 20.00" Signature: Signed Lower Right Harper’s Magazine May 1890

Alkyd-oil on Masonite, signed and dated (middle left), 61cm (diam.), (83cm diam. framed). (This work was kept by the artist for his personal collection. It remained in his collection...

dated and signed ‘1951 Foujita’ (lower right); inscribed ‘Ghardaia (Marché)’ (on the verso) Literature: S. & D. Buisson, Leonard-Tsuguharu Foujita, vol. 1, Paris, 2001, pp. 473 & 57...

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

Castle Doorway is an original modern artwork realized in the half of the XX Century by Giuseppe Scognamiglio (Neaples, 1901 - Neaples, 1985). Original oil on cardboard. Hand-sign...

A fine early work by the artist done while he was a student at the ART STUDENTS LEAGUE in the class of the noted teacher and artist Kenneth Hays Miller----Provenance: purchased direc...

Guy Pene du Bois' "Two Figures in Courtroom" is a WPA era American scene oil painting created in a realistic style. Modernism at its best The work is framed by Heydenryk. Pène du Bois descended from French immigrants who settled in Louisiana in 1738 and was raised in a Creole household. He was born in 1884 in Brooklyn, NY and first studied with William Merritt Chase at the New York School of Art and later continued his training with Robert Henri. Pène du Bois was greatly impressed with Henri's credo that "real life" was subject matter for art and throughout his life a realist philosophy informed his art as well as his parallel career, art criticism. In 1905, Pène du Bois made his first visit to Paris where he painted scenes of fashionable people in cafes rendered in the dark tonalities and impasto associated with the Ashcan School. By 1920, he had achieved his mature style, which was characterized by stylized, rounded, almost sculptural figures painted with invisible brushstrokes. The subjects of his paintings were often members of society whom he gently satirized. In 1924, Pène du Bois and his wife, Floy, left for France where they would remain until 1930. Returning to America showcases pictures the artist produced after this very productive period abroad. After five years of living in France, Pène du Bois was able to observe American life with fresh eyes. His work becomes more psychologically intense and less satirical. In Girl at Table a slender, blond is shown gazing at a small statue that she holds at arm's distance. The meaning is elusive, but a powerful sense of longing is evoked. Similarly, paintings such as Dramatic Moment and Jane are taut with unresolved dialogue. Both pictures depict mysterious interiors in which a lone woman anxiously awaits the denouement of a suspenseful scene. Other pictures, for example, Chess Tables, Washington Square and Bar, New Orleans, recall Pene du Bois's Ashcan origins in their depiction of urban entertainment. During this period, landscape becomes an important subject for Pène du Bois. Girl Sketching...