American Modern Figurative Paintings

An acrylic on canvas board executed in bright primary colors, black and earth tones by American artist Earl Staley. Signed lower left, "Staley 96." Prov...

Stunning New York City urban modernist watercolor titled "Summer Afternoon Stroll" by Society of Six artist Bernard Von Eichman (American, 1899-1990), 1...

Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Vogel entreats us to "rejoice and celebrate each new day, knowi...

Oil on canvas painting by the well known Russian/American artist, Nahum Tschacbasov. Done with a thick impasto paint the artist portrays the powerful yet colorful nature of the general...

MERVIN JULES (1912-1994) The Jury, c.1940’s Oil on board 14 x 15 1/8 inches Signed at lower left: JULES PROVENANCE ACA Galleries, New York, NY EXHIBITED Cahoon Museum...

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...

Compelling abstract figurative oil painting in bold, primary colors of a man and the moon by J. Gold (American, 20th Century). Signed "J. Gold" lower right. Presented in a Maple woo...

An original modern abstract portrait of a child by American artist Will Barnet. The work has a letter of provenance from the artist's wife. The i...

Here for your consideration is a oil on academy board painting by the American artist, Alvin Raffel. Signed and titled verso. Circa 1930's. Condition is good. Small puncture in the ...

PHILIP EVERGOOD (1901-1973) Seeking a Future, 1952 Oil on canvas 24 x 18 inches Signed and dated at lower left: Philip Evergood / 52 Heydenryk frame PROVENANCE Alfredo Valent...

Medium: Oil on Canvas Size: 40" x 20"

Alternative Cover work, Ink, Gouache, Watercolor on paper Initialed and dated lower center h: 9.2 x w: 12 in / h: 23.4 x w: 30.5 cm Worth Avenue Galle...

Signed lower left: R. MARSH

Exhibitions: It's a Man's World, Illustration Art by and for Men: November 14-17 2012, Illustration House NYC

Substantial and period painting, a Mid Century Modern portrait of a woman in an abstracted landscape by listed California artist Tarmo Pasto...

A Kuppenheimer ad study and was published in Step By Step Graphics, January/February 1987 in the article “Learning From Masters of the Past” by Walt and Roger Reed Medium: Oil on Ca...

Jim’s of Lambertville is proud to offer this artwork. Signed lower middle. Artist designed frame. Joseph Barrett (b. 1936) Joseph Barrett was born in Midland, North Carolina, in ...

Oil on masonite painting done in 1945 by Russian/American artist, Nahum Tschacbasov. Signed lower right and dated lower right, 1945. In original wood and gilt frame 37.5 by 31.5 inc...

James Lechay was a painter of figures, landscapes, cityscapes and still lifes who played a notable role in the tradition of avant-garde painting in New York and in the Midwest. An ar...

Oil on canvas. Signed and dated lower right 1930 Biography Hazel Finck Born in New Haven, Connecticut, Hazel Finck studied art with Guy Wiggins and Sigismund Ivanowski, a Russi...

This painting is part of our exhibition America Coast to Coast: Artists of the 1940s. The Landing/Dawn Landing, 1944, oil on canvas, signed lower left, 20 x 30, titled verso; exhib...

This work is part of our exhibition - America Coast to Coast: Artists of the 1940s Fallen Comrades/Interlude, 1949, oil on masonite, signed lower left, 35 x 56 inches; Gallery Z la...

Vintage original painting by 20th century Chicago/Manhattan woman artist, Margo Hoff. The untitled painting is of an older man with gray hair shown in profile with an orange backgro...

Modern Western wilderness scene by early Texas artist Otis Dozier. The work features two men kneeling and cleaning a hog set against a desert landscape. Signed and dated in the front lower left corner. Currently hung in a wooden frame with a cream matting. Visible Dimensions Without Frame: H 14 in. x W 19 in. Artist Biography: Otis Dozier (1904-1987) was raised on a cotton farm between Forney and Mesquite, developing a love for art and nature at a young age. After his family moved into Dallas in 1920, he received his earliest art training from well-known instructor Vivian Aunspaugh. Following his 1925 graduation from Forest High School, Dozier continued his art studies at the Dallas Art Institute with Olin Travis and Tom Stell. Also, during the 1920s, he accompanied his parents and three sisters on at least three automobile trips through the American West, familiarizing himself with the region that he would later depict in his art. Six of Dozier’s works were included in 1932’s “Exhibition of Young Dallas Painters”; a number of these artists, including Dozier, Jerry Bywaters, John Douglass...

Andrew Karoly (Hungarian-American, 1893-1978)/ Louis Szántó (Hungarian-American, 1889-1965) Alice in Wonderland, 1960 Oil on canvas Signed and dated low...

Here we have a partial male nude by admired American artist John Brock Lear, Jr. He was able to contrast the earthy reality of the flesh with vividly c...

This painting is part of our exhibition America Coast to Coast: Artists of the 1930s Street Cleaners, c. 1940s, oil on canvas, signed lower right, 28 ¾ x 42 inches, Gallery Z...

Kerry Smith Led Zeppelin - Houses Of The Holy Mixed Media on Crescent board Year: 2018 Size: 21x20in Signed, dated by hand COA provided Ref.: 924802-1632 --------------------------...

Antonio Petruccelli (1907 - 1994) Fly Ball New Yorker cover proposal. c. 1930s 12 1/4 X 8 1/4 inches (sight) Framed 18 X 14 inches Gouache on board...

This artwork "Flowers with Personages" c.1970 is an oil painting on paper by American artist Mary Zarbano, 1931-2019. It is signed at the lower right corn...

Signed, Dated, Titled Verso BIO: Daniel Jefferson AKA "Bipolar Holiday" is a self-taught street artist. A native of St. Louis, he grew up in North St. Louis County in the cities of Normandy and Hazelwood. By the age of 3, he was drawing and painting alongside his father and together they shared studios and collaborations into his mid-20s. His father grew up in Tupelo, Mississippi and his mother in St. Louis. Expounding on his family history, Holiday speaks of his Quaker and Native American ancestry - along with his father, who is black, and his mother who is white - as forming his multiracial identity and upbringing. He expresses “not always fitting in,” - being neither “this nor that” - and residing on the margins between the social constructs of race. This emotional state is reflected in his artistic output. He cautions us to see that, while the subject matter of his work is not always a direct depiction of his experience of race, his existence as a person of color propels him and bears directly on his artistic focus and choice of materials, along with the application and gesture in each work. Anger and sadness are part of it – also love, joy, pride and humility. The artist often signs his work with a mark inspired by the ancient Egyptian Eye of Horas – a symbol of power, protection, and health. Throughout his career, Bipolar Holiday has been both a solo practitioner and a collaborator. Tagging as King Dee and later Melo, he worked variously in the St. Louis area from the mid- 1990s to early 2000s. In the 1990s, he painted with the then St. Louis-based graffiti artist Nick Miller and his crew. Choice spots ranged from free standing concrete walls on abandoned property to temporary fencing along construction sites. The artist's compositions contained expressive line and figural elements – human faces, eyes – and the ethereal and allegorical – angel, devil motifs, etc. Later, he moved his artistic focus to a more studio-based form starting in the early 2000s. Holiday had his first show alongside his father’s work at Urbis-Orbis Gallery in downtown St. Louis in 2003. Coming full circle, he occasionally works in a few items of collage or spontaneous marks made by his daughter during her early childhood. Bipolar Holiday has exhibited his work both locally and globally including St. Louis, New York, Grand Rapids and Antwerp. In 2019, he was featured in a four-page spread of JMG Lifestyle Magazine and a large-scale work whet to the Isabis Art Expo in 2019. St. Louis Magazine listed “Bipolar Holiday: Kyoto Girls” when the Walker-Cunningham Fine Art pop-up exhibit was named to the A-List in July 2020. Holiday's work can be found in numerous private and public collections. He lives in St. Louis City...

Signed, Dated, Titled Verso BIO: Daniel Jefferson AKA "Bipolar Holiday" is a self-taught street artist. A native of St. Louis, he grew up in North St. Louis County in the cities of Normandy and Hazelwood. By the age of 3, he was drawing and painting alongside his father and together they shared studios and collaborations into his mid-20s. His father grew up in Tupelo, Mississippi and his mother in St. Louis. Expounding on his family history, Holiday speaks of his Quaker and Native American ancestry - along with his father, who is black, and his mother who is white - as forming his multiracial identity and upbringing. He expresses “not always fitting in,” - being neither “this nor that” - and residing on the margins between the social constructs of race. This emotional state is reflected in his artistic output. He cautions us to see that, while the subject matter of his work is not always a direct depiction of his experience of race, his existence as a person of color propels him and bears directly on his artistic focus and choice of materials, along with the application and gesture in each work. Anger and sadness are part of it – also love, joy, pride and humility. The artist often signs his work with a mark inspired by the ancient Egyptian Eye of Horas – a symbol of power, protection, and health. Throughout his career, Bipolar Holiday has been both a solo practitioner and a collaborator. Tagging as King Dee and later Melo, he worked variously in the St. Louis area from the mid- 1990s to early 2000s. In the 1990s, he painted with the then St. Louis-based graffiti artist Nick Miller and his crew. Choice spots ranged from free standing concrete walls on abandoned property to temporary fencing along construction sites. The artist's compositions contained expressive line and figural elements – human faces, eyes – and the ethereal and allegorical – angel, devil motifs, etc. Later, he moved his artistic focus to a more studio-based form starting in the early 2000s. Holiday had his first show alongside his father’s work at Urbis-Orbis Gallery in downtown St. Louis in 2003. Coming full circle, he occasionally works in a few items of collage or spontaneous marks made by his daughter during her early childhood. Bipolar Holiday has exhibited his work both locally and globally including St. Louis, New York, Grand Rapids and Antwerp. In 2019, he was featured in a four-page spread of JMG Lifestyle Magazine and a large-scale work whet to the Isabis Art Expo in 2019. St. Louis Magazine listed “Bipolar Holiday: Kyoto Girls” when the Walker-Cunningham Fine Art pop-up exhibit was named to the A-List in July 2020. Holiday's work can be found in numerous private and public collections. He lives in St. Louis City...

Signed, Dated, Titled Verso BIO: Daniel Jefferson AKA "Bipolar Holiday" is a self-taught street artist. A native of St. Louis, he grew up in North St. Louis County in the cities of Normandy and Hazelwood. By the age of 3, he was drawing and painting alongside his father and together they shared studios and collaborations into his mid-20s. His father grew up in Tupelo, Mississippi and his mother in St. Louis. Expounding on his family history, Holiday speaks of his Quaker and Native American ancestry - along with his father, who is black, and his mother who is white - as forming his multiracial identity and upbringing. He expresses “not always fitting in,” - being neither “this nor that” - and residing on the margins between the social constructs of race. This emotional state is reflected in his artistic output. He cautions us to see that, while the subject matter of his work is not always a direct depiction of his experience of race, his existence as a person of color propels him and bears directly on his artistic focus and choice of materials, along with the application and gesture in each work. Anger and sadness are part of it – also love, joy, pride and humility. The artist often signs his work with a mark inspired by the ancient Egyptian Eye of Horas – a symbol of power, protection, and health. Throughout his career, Bipolar Holiday has been both a solo practitioner and a collaborator. Tagging as King Dee and later Melo, he worked variously in the St. Louis area from the mid- 1990s to early 2000s. In the 1990s, he painted with the then St. Louis-based graffiti artist Nick Miller and his crew. Choice spots ranged from free standing concrete walls on abandoned property to temporary fencing along construction sites. The artist's compositions contained expressive line and figural elements – human faces, eyes – and the ethereal and allegorical – angel, devil motifs, etc. Later, he moved his artistic focus to a more studio-based form starting in the early 2000s. Holiday had his first show alongside his father’s work at Urbis-Orbis Gallery in downtown St. Louis in 2003. Coming full circle, he occasionally works in a few items of collage or spontaneous marks made by his daughter during her early childhood. Bipolar Holiday has exhibited his work both locally and globally including St. Louis, New York, Grand Rapids and Antwerp. In 2019, he was featured in a four-page spread of JMG Lifestyle Magazine and a large-scale work whet to the Isabis Art Expo in 2019. St. Louis Magazine listed “Bipolar Holiday: Kyoto Girls” when the Walker-Cunningham Fine Art pop-up exhibit was named to the A-List in July 2020. Holiday's work can be found in numerous private and public collections. He lives in St. Louis City...

Mid-century oil on masonite modern painting by the well known Russian/American artist, Nahum Tschacbasov. Signed top left and dated 1949. Titled verso. Condition is good. Provenanc...

Signed and Dated Modern Line Drawing Oil Painting of Nude Man. Louis Stettner (November 7, 1922 – October 13, 2016) was an American photographer of the 20th century whose work included streetscapes, portraits and architectural images of New York and Paris. His work has been highly regarded because of its humanity and capturing the life and reality of the people and streets. Starting in 1947, Stettner photographed the changes in the people, culture, and architecture of both cities. Stettner also spent significant time sculpting and painting, as well as mixing his work and “painting” on some of his photographic images. He continued to photograph New York and Paris up until his death. Louis Stettner was born in Brooklyn, New York, to Austrian immigrant parents where he was one of four children. His father was a cabinet maker, and Louis learned the trade when young, using the money he earned to support his growing love of photography. He decides to be a photographer after seeing photographs by Alfred Stieglitz and Weegee. He was given a box camera as a child, and his love affair with photography began. His family went on trips to Manhattan and visited museums, including the Metropolitan Museum of Art, where his love of art began. At 18, in 1940, Stettner enlisted in the United States army and became a combat photographer in Europe for the Signal Corps. After a brief stint in Europe he was sent to New Guinea, the Philippines, and Japan. Back from the war he joined the Photo League in New York. Through the Photo League’s exhibits, Stettner was further exposed to the work of Weegee, Edward Weston, and Lewis Hine. Stettner visited Paris in 1946 and in 1947 moved there. From 1947 to 1949 he studied at the "Institut des Hautes Études Cinématographiques" in Paris and received a Bachelor of Arts in Photography & Cinema. He went back and forth between New York and Paris for almost two decades and finally settled permanently in Saint-Ouen, near Paris, in 1990. Stettner still frequently returned to New York. Stettner's professional work in Paris began with capturing life in the post-war recovery. He captured the everyday lives of his subjects. In the tradition of the Photo League, he wanted to investigate the bonds that connect people to one another. In 1947 he was asked by the same Photo League to organize an exhibition of French photographers in New York. He gathered the works of some of the greatest photographers of the era, including Robert Doisneau, Brassaï, Edouard Boubat, Izis Bidermanas, and Willy Ronis. The show was a big success and was largely reviewed in the annual issue of U.S. Camera. Stettner had begun a series of regular meetings with Brassaï who was a great mentor and had significant influence on his work. In 1949, Stettner had his first exhibition at the "Salon des Indépendants" at the Bibliothèque Nationale, Paris. In 1951 his work was included in the famous Subjektive Fotografie exhibition in Germany. During the 1950s he free-lanced for Time magazine, Life, Fortune, and Du (Germany). While in Paris he reconnected with Paul Strand, who had also left New York because of the political intolerance of the McCarthy era—Strand had been a founder of the Photo League that would be blacklisted and then banned during those years. In the 1970s Stettner spent more time in New York City, where he taught at Brooklyn College, Queens College, and Cooper Union. In his own social realist work, Stettner focused on documenting the lives of the working class in both Paris and New York. He felt that the cities belong to the people who live there, not to tourists or visitors. His upbringing caused him to take great care in capturing the simple human dignity of the working class. He also captured noteworthy architectural images of both cities, including bridges, buildings, and monuments. Stettner produced well-known silver gelatin prints in fine images, including: Aubervilliers, Brooklyn Promenade...

Artist: John Biggers, American (1924 - 2001) Title: Return II Year: circa 2000 Medium: Acrylic/Mixed Media on Canvas Size: 28 x 22 inches Signed and dated on reverse by Mrs. Hazel B...

Robert Elton Tindall (1913-1983) "Tending the Garden" (Girl with a Hoe) c. 1940 Egg Tempera with Resin Oil Glazes on Panel Signed Lower Left Site: 10 x 9 inches Framed: 15 x 14 inch...

Modern abstracted figurative painting of a man walking in a beige suit “Tan Suit IV” painted by William Clutz in 1987 30 x 20 inches in a natural wood floater...

Original Oil on Canvas Illustration for Hearst/Cosmopolitan Aug. 1925 "Land Where Men Forget the Past, The Coconut Pearl" Caption: " 'Anyone who's knocked ...

Cecil C. Bell "The Blind Peanut Vendor" 1958 Oil on Panel Signed; Titled & Dated Verso Panel Size: approx. 14 x 18 inches Framed Size: approx 21.25 x 25.25 inches Cecil Bell was b...

Ernest Tino Trova "Figurative Abstract" 1965 Oil on Canvas approx 17 x 12.5 inches Signed and Dated Lower Right Known for his Falling Man series in abstract figural sculpture, he cr...

Provenance: The Estate of Louis J. Gartner Jr., Palm Beach, Florida. After the 1946 Paul Cadmus painting titled The Inventor, the needlework completely done in very fine petit point stitchery, with gray border banding around, initialed and dated '60 lower right corner, signed Cadmus. framed in a stained wooden barn siding frame- an amazing piece of needlework. Dimensions: needlework: 25.25 x 21.5 in., framed: 27 x 30.75 in. Louis Gartner...

Presenting a rare early oil painting from the, "WPA" period, 1941, by American artist Ron Blumberg, “The Farmer” After his classical training in Paris, Blumberg spent ten years in N...

Presenting a rare, early original oil painting, "Camilla", by American artist Robert McIntosh(1916-2010) McIntosh was extremely prolific and exhibited throughout his lifetime, inclu...

Oil on canvas Signed verso