Art by Medium: Illustration Board

Nude in the Studio, in Front of the Mirror - Portrait in Oil on Artist's Board Elegant seated nude woman by Pau Milosevich (American, b. 1936). A woman is seated in a studio, in fro...

Beautiful Art Deco illustration by unknown artist. Ink and gouache on faux wood grain illustration board. Image field measuring 14 x 18 inches on a 17 x 21 inch illustration panel...

Anita Johnson Untitled (Monochrome Construct), c. 1960s Oil on illustration board Framed dimensions: 21 in. H × 16 in. W Presented in a contemporary black frame In this striking bla...

Abstract Expressionist Original Gouache on paper and Collage Abstract Gouache and Paper Collage by Harold Winer (American, 1913-2006). Image 30"H x 40"W Slat with white paint .25" ...

Portrait of a Woman in the Style of Modigliani in Acrylic (Red Background) Portrait of a woman in the style of Amedeo Modigliani by an unknown artist (20th century). The woman has d...

Mid-century figurative seascape with boats by Henryk Dzienczarski, (Poland, b-1917). Signed "H. Dzienczarski" lower right. Displayed in a wood fra...

Late 19th Century Original English Landscape of a Cottage in Cambria Wonderful original antique painting of a thatched cottage in Cambria by...

A satirical, surreal depiction of a pig at a lunch counter by an unknown artist (20th Century). This scene, full of symbols and satire, portrays the anth...

Gary John has been a street artist since 1985. Originally from Seattle, Washington, he moved to Venice Beach, Los Angeles in 2003 and began selling his work on the Venice boardwalk. ...

Cubist Nude Woman by the Window in Oil on Canvas-Wrapped Illustration Panel Lovely modernist depiction of a nude woman, facing away from the viewer, by Kero Antoyan (Armenian, 1912-...

Cattle By Pond At Dusk, Mid-19th Century Tonalist Landscape by William Keith Gorgeous mid-19th century landscape painting by William Keith (American, 1838-1911), circa 1860. This impressive Tonalist landscape, titled "In the Woods", depicts cattle beside a pond in the forest at dusk. Keith uses loose, blended brush strokes and a muted earthy palette to create an atmospheric mood that Tonalism is known for. Signed "W. Keith" lower left. Museum label on verso from Santa Barbara Museum of Art. Presented in an antique giltwood frame. Image size: 9"H x 13"W. With frame measures: 16"H x 20"W x 3"D. Provenance: Mrs. Eugene Patterson; Santa Barbara Museum of Art. Authenticity guaranteed and certificate include. Condition: Very good. Cleaning and restoration required signature to be re-touched, original images pre-restoration available. About the Artist: Brought to New York City in 1850, William Keith was apprenticed to a wood engraver in 1856 working for "Harper's" magazine. In 1858 (or 1859) he visited California for "Harper's" and then after a trip to Great Britain, settled in California as an engraver in 1862. He began exhibiting paintings in 1864 in San Francisco where he opened his studio, after having been taught painting by his wife. The Northern Pacific Railroad...

Owl, Circa 1970 - Op Art-Inspired Geometric Composition Date: Approximately 1970 Medium: Gouache on cardboard with embossed stamp Dimensions: H 64 cm x W 49 cm approx. A stylized o...

"Dr. Snapp House" Oil Painting Don Prechtel (born 1936, American). The historic Dr. Snapp House in Cottage Grove, Oregon was built in 1886, by one of the ...

Sweeping Big Sur landscape of rolling hills in beautiful pastel colors illuminated with sunlight, by California artist Kathleen Murray (American, 1958). Oil on artists canvas board (...

Signed lower left, 'Pauline Palmer' (American, 1867-1938) and painted circa 1915, two years after the artist's first solo exhibition at the Art Institute of Chicago. Exhibited: Chicago Galleries Association and titled, 'Sunny Yards' (attached, partial label from original frame) A staunch proponent of pure Impressionism at the turn of the twentieth century, Pauline Palmer influenced the world of American art far beyond her Midwestern art community. Primarily known for her landscapes and portraits, Palmer rejected the waves of modernism that hit the United States in the teens and twenties, remaining true to the traditions of Impressionism. In 1923, she established the Association of Chicago Painters and Sculptors as an alternative to the increasing number of institutions celebrating Abstraction and Cubism. Pauline Palmer was enrolled at the Art Institute of Chicago from 1893 to 1898, and studied with some of the most prominent artists of the period, including William Merritt Chase and Frank Duveneck. Following her graduation, Palmer moved to Paris and attended the Académie de la Grande Chaumiére and the Académie Colarossi, where she studied under Raphael Collin. While in France, she exhibited with success including at the Paris Salon each year from 1903-06 and, again, in 1911. Her principal teacher and friend in Paris was the American Impressionist, Richard Emil Miller, whose shimmering handling of light made a profound impression upon her. Palmer also traveled extensively throughout Europe, a rite of passage for aspiring artists of her time. Returning to Paris, she studied with Gustave Courtois and Lucien Simon, both exemplars of compositional structure. Upon her return to the United States, Palmer set up her first American studio in the legendary Tree Studios building in Chicago. The artist's husband, Dr. Albert Palmer, whom she had married in 1891, both supported and encouraged his wife's artistic development. The couple kept a summer home in Provincetown, Massachusetts, where she made friends with many of the Portuguese fishermen's families, often using their children and the routines of their daily lives as subject matter for her painting. Pauline Palmer exhibited widely and with success, including in Italy, France, Norway and throughout the United States. Her works were shown at the National Association of Women Painters and Sculptors and, beginning in 1899, she exhibited at the Art Institute of Chicago for twenty-seven consecutive years. Over the course of her long career, she exhibited over 250 paintings at the Art Institute of Chicago, including at two solo exhibitions. She was the recipient of numerous prizes, medals and juried awards including nearly all the AIC's major awards, purchase prizes and honorable mention citations. Palmer also received a gold medal from the Colarossi Academy in Paris. Involved in numerous artist organizations, she was a member of the Chicago Municipal Art League, the Chicago Art Guild, the Chicago Arts Club and a charter member of the Chicago Women's Salon. Elected the first woman president of the Chicago Society of Artists, she went on to serve as president of both the Art Institute Alumni Association and the Chicago Association of Painters and Sculptors. Considered by the Modernists of her day to be a traditionalist, Pauline Palmer remained true to her artistic vision and she continues to be regarded as one of the leading women of American Impressionism. Her light-filled, colorful compositions captured landscapes and scenes of American daily life with unusual freshness and seeming effortlessness. Celebrated during her life as "Chicago's Painter Lady," Palmer was honored twelve years after her death by a posthumous retrospective at the Art Institute of Chicago and the establishment of an annual scholarship awarded in her honor by the Art Institute of Chicago. (with thanks to Hali Thurber) CHRONOLOGY 1867, Born in McHenry, IL 1885, Moves to Chicago to teach art 1891, Marries Dr. Albert Elwood Palmer 1893, Exhibits, World's Columbian Exposition, Chicago 1896, First exhibits at the Art institute of Chicago 1898, Exhibits at Exposition in Omaha, NE 1899, First exhibit, Pennsylvania Academy of Fine Arts 1900-1902, Studies with various artists in Paris 1901, Exhibits at Exposition in Buffalo 1903-1906, Exhibits at Paris Salon 1904, Exhibits at Universal Exposition in St. Louis, 1907, Four prizes at the Art Institute of Chicago 1911, Exhibits at the Paris Salon 1911, Exhibits at the Expositione de Belle Arti, Naples 1913, Solo exhibition, Art Institute of Chicago 1915, First prize, Society of Western Artists 1917, Opens first American studio in Chicago 1918, First woman president, Chicago Society of Artists 1918-1929, holds position of president for 11 years 1918-1921, Silver medals, Society of Chicago Artists 1921, Silver medal at Peoria Society of Allied Artists 1927, President, The Art Institute Alumni Association 1929-1931, President, Chicago Association of Painters and Sculptors 1938, Dies, Trondheim, Norway AWARDS 1904, Universal Exposition in St. Louis, bronze medal 1907, Art Institute 's Chicago Artists' Exhibition 1915, Society of Western Artists exhibition, first prize 1918, Society of Chicago Artists, silver medal 1921, Peoria Society of Allied, silver medal Solo Exhibitions: 1913, Art Institute of Chicago 1939, Art Institute of Chicago, memorial exhibition Union League Club of Chicago, memorial exhibition Group Exhibitions: 1893, World's Columbian Exposition in Chicago 1896, Art institute of Chicago 1898, Exposition in Omaha, NE 1899, Pennsylvania Academy of Fine Arts 1899-1926, Art Institute of Chicago 1901, Exposition in Buffalo 1903-06 Paris Salon 1904, Universal Exposition in St. Louis 1911, Paris Salon 1911, Expositione de Belle Arti, Naples 1915, Exposition in San Francisco 1950, Chicago Galleries Association 1984, Lakeview Museum of Arts and Sciences, Peoria Memberships: 1918-29, First woman President,Chicago Society of Artists 1927, President of The Art Institute Alumni Association 1929-31, President of Chicago Association of Painters and Sculptors Reference: E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Jacques Busse, 1999 Nouvelle Édition, Gründ 1911, Vol. X, page 523; Thieme-Becker Allgemeines Lexikon der Bildenden Künstler von der Antike bis zu Gengenwart, Ulrich Thieme and Felix Becker, Deutscher Taschenbuch Verlag 1992, Vol. XXVI, page 129; Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Peter Hastings Falk, Sound View Press 1999, Vol. III, page 2512; Mantle Fielding’s Dictionary of American Painters, Sculptors and Engravers, Glen B. Opitz, Apollo Press 1983, page 708; Biographical Encyclopedia of American Painters, Sculptors & Engravers of the U.S.: Colonial to 2002, Bob Creps, Dealer’s Choice Books, Inc. 2002, Vol. II, page 1047; Mallett’s Index of Artists, Daniel Trowbridge Mallett, Peter Smith: New York 1948 Edition, R.R. Bowker Company 1935, page 326; Pauline Lennards Palmer...

Point Lobos Cove, Carmel California by Adelaide Bartleme Point Lobos Cove circa 1940s by Carmel artist Adelaide Bartleme, (American, 1881-1973). The niece of a well known New York ar...

View of the Towers of Chartres Cathedral in Acrylic on Artist's Board Colorful, idealistic representation of Chartres Cathedral and the surrounding area by Ben Venezky (American, 18...

This piece came from the collection of the Bezalel Art Gallery on the Lower East Side of New York City. Emmanuil Snitkovsky is an internationally known artist, sculpture and poet. Emmanuil Snitkovsky was born into a family of artists and scholars from the Odessa Art College in Russia. Immersed in the traditions of Russia art, he approaches form, line, space and color with relentless vision and impeccable technique. Two highly successful artists, the husband and wife team of Emmanuil and Janet Snitkovsky have exhibited a selection of eight large Judaic paintings at the Chabad Chassidic Art Institute (Chai Gallery) in Crown Heights. Three of those paintings are truly singular visions of Jewish Art that cause us to stop and reassess our preconceptions about the meaning and importance of their subjects. Emmanuil and Janet Snitkovsky were both born in the Ukraine in the 1930′s. Emmanuil was trained in Odessa in public monument art, and Janet majored in fashion at the Lvov Decorative Art Institute. After both narrowly survived the devastation of the Second World War in Stalin’s Russia, they began to collaborate on state sponsored art works in 1962. For ten years, they worked on grandiose public sculptural projects to commemorate the fallen Russian heroes of the Second World War in Moscow, Kiev, Tula and Kazan. They were exemplary Soviet Realists working for the Soviet regime. Eventually, this career became untenable for them, both as artists and as Jews, when they clashed with Soviet officialdom over a commission to commemorate the Babi-Yar massacre. The Soviets refused to acknowledge this massacre of 100,000 Jews and eventually suppressed the memorial. In 1978, Emmanuil and Janet arrived in New York and began to recreate their artistic lives. In the ensuing 25 years, they have been quite successful, exhibiting widely in the United States and Europe. They have nurtured a hybrid style of painting and sculpture called “Renaissance Revival” combining contemporary and classical subjects in a stylized realism that evokes both the American regionalist Thomas Hart Benton and the Italian Renaissance master Sandro Botticelli. The works are highly proficient, polished, and commercial productions in a quirky decorative style. They have continued to accept sculptural projects that have not shied away from kitschy realistic sculptures of Charlie Chaplin as “The Kid,” The Little Tramp” and Buster Keaton as “Cameramen.” In some ways, they have appropriated American culture just as they once accepted Soviet culture. Janet, a graduate of the Lvov College, was invited- by virtue of the high honors she achieved there- to matriculate at the Lvov University of Art. Such an opportunity is extremely rare for anyone, particularly for someone of Jewish descent. Their works of art are included in collections of the Japanese Imperial Family...

Abstract geometric composition with hints of the female body Date: Circa 1970 Medium: Tempera on thick cardboard Dimensions: H 64 cm x W 50 cm approx. Description: This abstract geo...

Beautiful oil painting of a California lake by Margaret Ward (American, 20th century). Mountains of browns and reds shadow over a bright blue lake, with dark brown and green trees su...

Clown with Bouquet - Acrylic and Ink on Cardstock Colorful portrait of a clown holding a bouquet of flowers by Jassen Marek (20th Century). A sad clown in a suit with a straw hat ho...

Splendid Landscape of the Scottish Highlands Loch in summer by Francis E Jamieson, also known as W. Richards, was an English painter who, after a holiday to the Highlands of Scotland, became obsessed with painting highland landscapes and became one of the most prolific artists of his time. Image, 20.5"H x 30.38"W Frame, 26.5"H x 36.5"W x 3"Deep (please note for shipping quote purposes we marked it as 1" deep in the details section) The paintings of FE Jamieson were so fashionable he was contracted to paint exclusively for various furniture stores painting scenes on furniture. Jamieson is believed to have painted under eleven different artist names so he could sell more of his paintings undetected by his employers. These aliases include J McGregor, Graham Williams, Henry Stewart, HB Davis and W Richards. There are other pseudonyms that include Aubrey Ramus...

A dynamic landscape featuring a beautiful sunrise reflecting on storm clouds above the quiet shoreline by Santa Cruz artist Don Hannan (American 20th c). An Airplane flies into the s...

Wonderful mid century landscape of Ojai, California with charming stucco cottage and almond trees in bloom and mountains in background titled, "Storm over Ojai" by Margaret Anna Dobson (American, 1888-1981), 1959. Signed faintly, lower right. Signed in pencil "Margaret Dobson", titled "Storm Over Ojai" and dated "1959" on verso. Presented in vintage gilt-toned wood frame. Image size: 12"H x 16"W. Framed size: 14"H x 17.75"W. Margaret Dobson was a painter, illustrator, muralist, etcher. Born in Baltimore, MD on Nov. 9, 1888. Dobson studied at the Maryland Institute, PAFA, Fontainebleau School of Art (Paris), and Syracuse University. She studied privately with Daniel Garber, Cecilia Beaux, Violet Oakley, Emil Carlsen, Robert Vonnoh, Hugh Breckenridge, and others. She was active in London, England until 1933. She then settled in Los Angeles where she remained until her death on Jan. 20, 1981. Primarily a muralist, she also painted floral still lifes and landscapes of the Sierra and southern California. Member: NAC; Royal Society of Etchers (London); Laguna Beach AA; Women Painters of the West; Santa Monica AA; Calif. Art Club; LAAA; Artists of the SW. Exhibits: Fontainebleau, 1927 (prize); Egan Gallery (LA), 1933; Calif. PM Society, 1935, 1936; Ebell Club (LA) 1936 (1st prize); Academy of Western Painters, LACMA, 1937; Santa Cruz Art League, 1938; Friday Morning Club (LA), 1939; GGIE, 1939; Society for Sanity in Art, CPLH, 1944. Murals: Santa Monica Women's Club; Palace of Fontainebleau and Fontainebleau Hospital (France); Kaufman (TX) Post Office (Driving the Steers); Girl Scouts...

Signed lower center, 'by Buk' for Eduard Buk Ulreich (American, 1889-1966), dedicated lower center, 'for Ruth' and painted circa 1945. Additionally signed and titled verso 'Navajo Fa...

Wonderful Spanish landscape of a humble farm in Rota, Cadiz, Spain with horses, a cow with two herons, one of which is on cow's back by San Francisco artist John Sackas (American, 1910-2004), circa 1950s. Signed lower Left "Sackas" and verso Rota Farm House Cadiz" "John Sackas" . Verso has location, attribution and full artist's biography. Presented in gilt-toned carved wood frame. Image size: 14"H x 18"W. Born in New Jersey on May 22, 1910. John Sackas studied at the San Francisco Art Institute (1934), Chouinard Art School in Los Angeles, Corcoran Gallery of Art, and California School of Fine Arts, Jerry...

Signed 'Todros Geller' (Russian-American, 1889-1949) and dated 1937 An elegant and painterly, southwestern landscape painted when the artist was 48 years old. Born in Vinnytsia, now in the Ukraine, Todros Geller first studied in Odessa before moving to Canada. He continued his studies in Montreal (1906) and, subsequently, at the Art Institute of Chicago with George Bellows and John Norton. Geller exhibited widely and with success including, from 1925, at the Chicago Art Institute as well as at the Riverside Museum (New York, 1939), the New York World's Fair (1939) and at the Whitney Museum of American Art (1941) in addition to other national institutions. Geller was the recipient of numerous prizes, medals and juried awards and his work may be found in private and public collections including the permanent collection of the Art Institute of Chicago. He was a member of professional associations including the Artist's Union, the Artist's Congress and the Chicago Society of Artists, which he also served as president. During the the 1930's, Geller was an active participant in the Federal Art Project (WPA) in Illinois and his large-scale murals and stained glass windows may be found in Chicago and Detroit as well as Tel-Aviv. We are pleased to offer this elegant, South-Western landscape painted when the artist was 45. Reference: Todros Geller Archives, Spertus Museum of Judaica, Chicago; Sparks, Esther. "A Biographical Dictionary of Painters and Sculptors in Illinois 1808-1945." Diss., Northwestern University, 1971, p. 390; Yochim, Louise Dunn. Role and Impact: The Chicago Society of Artists. Chicago: 1979, pp. 28, 44, 238; Mavigliano, George J. and Richard A. Lawson. The Federal Art Project in Illinois 1935-1943. Carbondale: Southern Illinois University Press, 1990, p. 120; Dijkstra, Bram. American Expressionism: Art and Social Change 1920-1950. New York: Harry N. Abrams, Inc., 2003, p. 155. Chicago Modern...

On An Autumn Day - Original Impasto Oil Painting Original oil landscape painting depicting a small wood sided cabin surrounded by trees of green and orange. A focal point of a brig...

Beautiful ca. 1955 oil painting by American artist, Eve Peri. Oil on illustration board, panel measures 10 x 15 inches; 15.75 x 20.75 inches framed. Signed lower left. Excellent condition. Vintage...

An American School watercolor showing an old Ford Model T flatbed truck backed up to a barn in a rural landscape. A well-composed work paint...

Mid Century Fields of Wheat Landscape - Oil on Canvas-Wrapped Illustration Board Idyllic landscape of a path winding through a field of wheat, punctua...

Vivid mountain Landscape by Antioqueño, Medellín painter Humberto Valencia Chaves (Columbian, 1891-1971). Signed "Valencia Chaves" lower left. Presented in a rustic wooden frame. Ima...

Mt. Tamalpais and Stream in the Spring circa 1900 Stream above Lake Bon Tempe with Mt. Tamalpais in the background. A warm spring day in Northern California and the Bay Area. Excelle...

Mid Century Northern California Mountain Lake Landscape Serene landscape by Margot Wilson Lowe (American, 20th Century). The viewer looks out over a large mountain lake, reflecting ...

Signed lower right, 'James March Phillips' (American, 1913-1981) and painted circa 1965. Displayed in an original card mat decorated by the artist. Signed lower right, in pencil, 'J. M. Phillips' and titled, lower left, ''The Thief' - from Francois Villon's Christmas'. Mat dimensions: 16 x 13 inches. Born in California, James March Phillips first studied in San Francisco at the Jean Turner Art Academy and, later, under Alfred Owles...

Emergence of Woman The Cosmic Dance A Visionary Figurative in Acrylic Flowing and stylized figurative work by Visionary artist Kimberlee Kuwica (American, b. 1967). From GAIA: "As t...

"Ole Swimmin Hole" Southern California Oil on canvas board 1930s Elegant mid century landscape depicting a lake and hillside in summer by well known and collected California artist ...

A small, winding trail invites the viewer into this beautiful verdant landscape by California artist Ken Lucas (American, 20th Century). Signed "Ken Lucas" o...

Robert Azensky is pleased to offer a signed vintage original oil portrait of a woman "I see you" Compelling mid century modern portrait of a woman with expression that gets a wide v...

Mid-Century Floral Still Life with Yellow and White Irises Gorgeous mid-century floral still life of a bouquet of Irises painted in 1959, by Pacific Grove and Santa Cruz, Californi...

Two Cooked Fish with Garnish - Still Life in Oil on Artist's Board Still life of two fish by an unknown artist (20th Century). This piece is executed in a classical, painterly style...

Early 20th Century California Pasture with Cow & Eucalyptus Trees Landscape A small-scale, idyllic early 20th century California landscape of a rolling green pasture...

Trees in Bloom Along the River Landscape in Oil on Heavy Cardstock Bold oil landscape by Honora Berg (American, 1897-1985). Trees with pink and white blooms line the bank of a river. The river is shown in streaks of pink, green, and yellow, reflecting the surrounding landscape. At the far edge of the river, bright green mountains sharply rise from the bank. Acquired with a collection of the artist's work. Stamp from the Larry Miller Fine Art on verso. Unframed. Board size: 14.75"H x 22"W Honora Berg (American, 1897-1985) was an Abstract Expressionist and Bay Area Figurative School artist who studied at the San Francisco Art Institute with David Park, Elmer Bischoff and James Budd Dixon...

Mid Century Nude Study, Reclining Figure on Blue in Oil on Board Mid Century nude study of a female figure in a reclining pose with a rich blue background by listed artist Jon Blanc...

Cataract Creek, Alberta - Canadian Mountain River Valley Landscape Majestic landscape of a sweeping mountain valley vista at Cataract Creek in Alberta by Canadian artist Lloyd C. La...

Vibrant Gouache and watercolor painting by Israeli master JOSSI STERN. on paper mounted to board. Dimensions: 29.5 X 33.5 23 X 27 Jossi (Yossi) Stern, (Hungarian Israeli 1923 - ...

Playboy Magazine ran this joke cartoon illustration in color on page 43 for the October 1960 edition. Signed lower right. The work is executed on a heavy Whatman Illustration board....

Moreno Torricelli - Juventus Football Legend, UEFA Champions League 1995-96 - Determination Technique: Charcoal on paper, Signed and dated '96 Author: Marco Silombria (Savona, 1936 ...

Framed Cuban Artist/Caricaturist Conrado Walter Massaguer presents Hollywood star Adolphe Menjou in a satirical dual portrait. In the foreground, the subject is seen in a dapper top hat, tux, fashionable cigarette and boutonnière, and is shown as being the epitome of being stylishly debonair. To make a larger point about this subject, Massaguer paints a cast shadow of Menjou as a burning red devil who studies his alter ego from above. Keeping with the artist's sarcasm, we see the good and bad in one image. Works by Massaguer are rare and this work is in keeping with his signature style. This work was most likely done on assignment for Life Magazine, Cosmopolitan, The New Yorker or Vanity Fair. Signed upper right. Inscribe lower right. Titled on verso. Unframed, Slight bend to board; toning to board; scattered faint foxing; pin point abrasions to margins, not affecting image. 19-1/2 x 15-1/8 inches board size. Conrado Walter Massaguer y Diaz was a Cuban artist, political satirist, and magazine publisher. He is considered a student of the Art Nouveau. He was the first caricaturist in the world to broadcast his art on television.He was first caricaturist to exhibit on Fifth Avenue. He was the first caricaturist in the world to exhibit his caricatures on wood. He, and his brother Oscar, were the first magazine publishers in the world to use photolithographic printing. Self portrait of Conrado Walter Massaguer, depicted on a carrousel ride, with the devil over his left shoulder and an angel over his right. (1945) He created the magazine Social with his brother Oscar to showcase Cuban artistic talent. The duo later created the magazine Carteles, which became for a period the most popular magazine in Cuba, which was purchased by Miguel Ángel Quevedo in 1953. In his life, he met and drew caricatures of Franklin D. Roosevelt, Walt Disney, Albert Einstein, the King of Spain, and many others.[ In sum total, he was the author of more than 28 thousand caricatures and drawings.Ernest Hemingway once had to refrain himself from punching Massaguer in the face after the artist drew an unflattering caricature of him. The dictator Gerardo Machado, however, did not punch Massaguer for his own unflattering caricature - he had the artist deported. He was one of the most internationally renowned Cuban artists of his day, and his art is still regularly featured in galleries across the Western Hemisphere and Europe. Early life Massaguer was born on October 18, 1889, in Cárdenas, Cuba.[In 1892, his family moved to Havana. When the Cuban War of Independence broke out, Massaguer's family escaped the country. From 1896 to 1908, he lived in Mérida, Mexico. However, during this time, his parents enrolled him in the New York Military Academy, where he stayed during school years. In 1905, after graduating the military academy, he briefly attended the San Fernando school in Havana, where he was tutored by Ricardo de la Torriente and Leopoldo Romañach. In 1906, less than a year later, he returned to the family home in Mexico. Career as artist Early career While living in Yucatán, Mexico, Massaguer published his first caricatures in local newspapers and magazines. These included La Campana, La Arcadia, and the Diario Yucateco. In 1908, he moved back to Havana. After returning to the island in 1908, Massaguer began mingling with Havana's aristocratic circles, forming close friendships with some of the city's most powerful and influential men, as well as winning the favor of many women who were quickly charmed by him. Massaguer, largely self-taught, honed his style using the avant-garde techniques he studied from the European and American magazines that were widely available in Cuba at the time. Cover of the immensely popular Cuban magazine El Figaro, drawn by Massaguer in 1909. This cover depicts two bumbling, incompetent American tourists to the island. He started drawing for El Fígaro, and was featured prominently on the cover in 1909. After two years of refining his craft, Havana announced a poster contest aimed at attracting North American tourists to stay in the city during the winter months. Notable figures like Leopoldo Romañach, Armando Menocal, Rodríguez Morey, Jaime Valls, and others also entered the competition. The jury was particularly impressed by the modern execution and creative solution of one piece, signed by Massaguer, who was relatively unknown at the time. The jury deliberations caused a great controversy.[5] The prize was ultimately awarded to the Galician painter Mariano Miguel, who had recently married the daughter of Nicolás Rivero, the wealthy owner of the conservative newspaper Diario de la Marina. Although Massaguer received only an honorable mention, the fraud scandal caused such an uproar that his name quickly entered the public spotlight, and he became an overnight sensation. In 1910, he became co-owner of the advertising agency Mercurio, with Laureano Rodríguez Castells. At Mercurio, he led the Susini cigar campaign, and earned substantial wealth. Massaguer has been described as a restless man, in both mind and body.After earning enough money from his art to begin traveling, he was almost always doing so. He constantly traveled between New York City and Havana, Mexico and France, Europe and the Americas. In 1911, his reputation among the Havana socialites solidified when he organized his own first public caricature exhibit, and also the first Caricature Salon ever held in the Americas, hosted at Athenaeum of Havana (the Ateneo), and the Círculo de La Habana. Other exhibitors here included Maribona, Riverón, Portell Vilá, Valer, Botet, Barsó, García Cabrera, Carlos Fernández, Rafael Blanco, and Hamilton de Grau. "Messaguer Visits Broadway." Caricatures of theatrical and literary figures. Elsie Janis, Raymond Hitchcock, S. Jay Kaufman (columnist), Ibanez, author of The Four Horsemen, and Frances White In 1912, in the New York American Journal, he published his first Broadway drawings. From 1913 to 1918, he was an editor for Gráfico. Social Main article: Social (magazine) Cover of the magazine Social, July 7, 1923 In 1916, he created the magazine Social with his brother, Oscar H. Massaguer. Social's contributors included Guillén Carpentier, Chacón y Calvo, Enrique José Varona and others.Social has been described as Massaguer's great love in the magazine industry, and was the property that historians say he cared the most about. Social was an innovative magazine, being the first magazine in the world to use a modern printing process called photolithographic printing. Social set cultural trends, not only in the fashion of Cuba, but in art, politics, and Cuban identity.[11] Social catered to a certain aesthetic in Cuba - that of the sophisticated elite socialite - but Massaguer would also use this magazine to ridicule and jibe against that same class of society when he found their personalities worthy of his contempt. In Social, readers could find a variety of content, including short stories, avant-garde poetry, art reviews, philosophical essays, and serialized novels, as well as articles on interior design, haute couture, and fashion. Occasionally, the magazine also featured reports on sports such as motor racing, rowing, tennis, and horse riding.The cultural promotion efforts of both Massaguer and Emilio Roig de Leuchsenring are evident in the magazine. Notably, this period overlaps with their involvement in the Minorista Group, which was then at the forefront of the country's intellectual life.[5] Many contributors were devoted members of the group, leading some experts to consider Social as the cultural voice of the Minoristas. One of the features of Social magazine was its section called "Massa Girls," which was a play on his own name, and pronounced with a glottal 'g' in a similar fashion to the letter in Massaguer.[12] Massaguer drew women as independent and free-thinking, and never drew the woman celebrity as a caricature of herself, but as a free agent surrounded by caricatures.[11] However, Massaguer himself has been described as a womanizer in his personal life, and hesitant to fully embrace every facet of women's liberation. In 1916, he also established la Unión de Artes Gráficas and the advertising agency Kesevén Anuncios.[9] The art critic Bernardo González Barroa wrote: “Massaguer has solved the problem of working hard, living comfortably off what his art produces and not missing any artistic, sporting or social event. His broad, childish laugh, of a carefree individual who carries his luck hidden in a pocket, appears everywhere for the moment, disguising the pranks of pupils that lurk, mock and, finally, flash with satisfaction at finding the characteristic point after having analyzed a soul... Massaguer's personality is beginning to solidify now. He has been the best-known and most popular caricaturist for a long time, but his technique had not reached the security, the mastery of values that he presents in his latest works, which is very natural and explainable”[5] Carteles Main article: Carteles Cover of the magazine Carteles, November 29, 1931 In 1919, Massaguer and his brother created the magazine Carteles.[9] Carteles gained the widest circulation of any magazine in Latin America, and the most popular magazine in Cuba for a time, until that title was claimed by Revista Bohemia. Carteles remained in print until July 1960.This magazine showcased Cuban commerce, art, sports, and social life before the revolution. In 1924, Carteles took a more political turn, with articles criticizing Gerardo Machado's government. it became a prime example of the humor and graphic design employed by artists like Horacio Rodríguez Suria and Andrés García...

Modern Cézanne style still life with collage by Dorothy Jane (Milne) Eggen (American, 1907-1986) Her still life is a Homage to Paul Cézanne's ...

"Mutual Admiration" Flower Mid-Century Modern Oil Painting Monterey Artist Mid-Century Modern painting of a little blonde girl in a white apron adoring her flowers by Monterey Artist Rose Marie (Smith) Ansel, (American, 1921-2012) Rose Marie was born and lived in the Monterey area all her life. She volunteered in various city government associations and founded the Parade of Nations in 1970 which celebrated the many ethnic cultures on the Monterey Peninsula...

Mountain Lake - Mid Century Modern Landscape with Heavy Impasto in Oil Idyllic landscape by L. Hutchings (20th Century). Dramatic mountains rise over a blue lake, partially reflecte...

Elm trees in autumn at the edge of Salt Creek, Illinois, by Mary H. Brubaker (American, b. 1891). Signed and dated "Mary H. Brubaker 35" in the lower left cor...

"Santa Catalina Island Harbor" Seascape at Sunset in Oil on Board Vibrant harbor seascape by Gary J. Schildt (American, 1938-2021). Several boats are anchored in the harbor, with the shore stretching out into the distance along the right side of the composition. The water reflects the yellow and orange sky, creating a shimmering effect. Signed "G Schildt" in the lower left corner. Titled and signed on verso "Santa Catalina Island Harbor by Gary Schildt...

Charming mid century watercolor painting of a horse in winter with a barn in the background by Ernest Smythe (American/England 1881-1950). Signed "ERNEST SMYTHE" in lower left corner. Presented in a tan mat with a wood frame and glass. Image size: 25"H x 19.75"W As William Ernest Smyth, he was born at 13 Commercial Road, Ipswich on 9 April 1874 but was not baptised at St Michael's, Ipswich until 23 October 1885, when his birth date is given as 17 February 1874, youngest son of artist Thomas Smythe...

Harvest Time The Hills of Mt Tamalpais near Lake Bon Tempe 1890s The Hills around San Rafael in the 19th century were a time of work and play as seen in this watercolor near Lake Bon...

Marc-Luc (French, active 1920s-30s). Boys Fashion Illustration, ca. 1920s. Watercolor and pencil on paper, image measures 8 x 11 inches on panel measuring 12.5 x 18 inches. Signed lo...

This piece is part of my private collection of artist lithographs, etchings and engravings from the 20th Century. It is a limited edition Epreuve d' Artiste. Pierre Eugene Clairin...