Art by Medium: Paint

VENUS I by Auguste Herbin (1882-1960) Oil on canvas 100 x 81 cm (39 ³/₈ x 31 ⁷/₈ inches) Signed and dated lower left, herbin 1945 Provenance: Private collection, Stockholm Galerie d...

Les Regiments Croates en Illyrie is an original drawing in ink and watercolor realized by by Herbert Knotel in 1930/40s. Good condition except for being aged. The artwork is depict...

Signed lower right, 'V. Isbrand' for Victor Isbrand (Danish, 1897-1989), titled, 'Paris' and painted circa 1945. Precocious as a child, Victor Isbrand painted professionally from a...

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Frederick Serger Genre: Post Impressionist Subject: Flowers, Poppies Medium: Oil Surface: Panel Frederick Serger (given name Frederick Bedrick Sinaberger) was born in 1889 to a family of Jewish manufacturers in the village of Ivancice near Brno Moravia, a province of Czechoslovakia. Showing artistic talent at a young age, he attended art schools in Brno, Czech, Vienna, Austria and Munich, Germany. During World War I, Serger joined the Austrian Army and served in the Balkans. Once his service ended, he traveled to Paris where he resumed his art training and eagerly joined the Ecole de Paris (School of Paris) artists’ movement. During this period, he was greatly influenced by the Impressionist, Post-Impressionist, and Expressionist movements. While living in Paris, he met and married Helen Spitzer. Serger and his young wife moved from Paris to Scoczow, a city on the Polish-Czech border. They remained in Scoczow for 12 years and he continued to work as an artist, exhibiting in museums in Cracow and Warsaw, Poland. He also showed at the Paris Salon de Tuilleries and the Salon d’Automne. He was part of the generation of expat artists, mostly jewish known as the School of Paris. They created art in the styles of Post-Impressionism, Cubism and Fauvism. The group included artists Marc Chagall, Chaim Soutine, Amedeo Modigliani and Piet Mondrian. Associated French artists included Pierre Bonnard, Henri Matisse, Jean Metzinger and Albert Gleizes. Many École de Paris artists lived in the iconic La Ruche, a complex of studio apartments and other facilities in Montparnasse on the Left Bank, at 2 Passage Dantzig, built by a successful sculptor, Alfred Boucher, who wanted to develop a creative hub where struggling artists could live, work and interact. A significant subset, the Jewish artists, came to be known as the Jewish School of Paris or the School of Montparnasse. The core members were almost all Jews, included Emmanuel Mane-Katz, Abraham Mintchine...

A fine example of the artist's best realistic style. A haunting landscape.

A powerful depiction of a KKK member---signed lower right A reminder of the unfortunate history of behavior that this country has not yet ridden itself of.

Create a statement or focal piece for a room. This is a very stylized portrait of a woman dating to the 1940’s. She fills the canvas with her wholesome countenance, hair and period c...

Horses Leaving the Barn Watercolor on paper, 1940 Signed and dated lower left corner (see photo) Condition: Excellent Image: 14 1/2 x 21” Frame: 25” x 31” Provenance; Associated American Artists, New York (see photo of label) Mamdouha and Elmer Holmes Bobst Displayed in an original wormy chestnut frame with OP3 Acrylic. Most probably from the AAA Dehn watercolor exhibition of 1940. Vintage original framing chosen by the artist. Note: Elmer Holmes Bobst (1884–1978) was an American businessman and philanthropist who worked in the pharmaceutical industry. His wife, Mamdouha, was also well known philanthropist. Bobst was born in Lititz, Pennsylvania. He aspired to become a doctor, but instead, he taught himself pharmacology. After his wife Ethel composed his interview letter, he became manager and treasurer of the Hoffman-LaRoche Chemical Works by 1920. When Bobst retired from the company in 1944, he was one of the nation's highest paid corporate executives. In 1945 he took charge of the ailing William Warner Company (later Warner–Lambert) and he remained board chairman until his retirement. Bobst had close connections to President Dwight Eisenhower, but was also a close friend of President Richard Nixon. Note: In 1940, the year of this watercolor, Dehn and Elizabeth Timmerman visited Waterville, MN on their way to Colorado Sprint, Colorado where Dehn was to teach lithography and watercolor. This watercolor is obviously a view of the area around Waterville. Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs. In many ways Dehn’s later artistic achievement was clearly a reaction against the grinding rural poverty of his childhood. After graduating from high school in 1914 at the age of 19—an age not unusual in farming communities at the time, where school attendance was often irregular—Dehn attended the Minneapolis School of Art from 1914 to 1917, whose character followed strongly reflected that of its director, Munich-trained Robert Kohler, an artistic conservative but a social radical. There Dehn joined a group of students who went on to nationally significant careers, including Wanda Gag (later author of best-selling children’s books); John Flanagan (a sculptor notable for his use of direct carving) Harry Gottlieb (a notable social realist and member of the Woodstock Art Colony), Elizabeth Olds (a printmaker and administrator for the WPA), Arnold Blanch (landscape, still-life and figure painter, and member of the Woodstock group), Lucille Lunquist, later Lucille Blanch (also a gifted painter and founder of the Woodstock art colony), and Johan Egilrud (who stayed in Minneapolis and became a journalist and poet). Adolf became particularly close to Wanda Gag (1893-1946), with whom he established an intense but platonic relationship. Two years older than he, Gag was the daughter of a Bohemian artist and decorator, Anton Gag, who had died in 1908. After her husband died, Wanda’s mother, Lizzi Gag, became a helpless invalid, so Wanda was entrusted with the task of raising and financially supporting her six younger siblings. This endowed her with toughness and an independent streak, but nonetheless, when she met Dehn, Wanda was Victorian and conventional in her artistic taste and social values. Dehn was more socially radical, and introduced her to radical ideas about politics and free love, as well as to socialist publications such as The Masses and The Appeal to Reason. Never very interested in oil painting, in Minneapolis Dehn focused on caricature and illustration--often of a humorous or politically radical character. In 1917 both Dehn and Wanda won scholarships to attend the Art Students League, and consequently, in the fall of that year both moved to New York. Dehn’s art education, however, ended in the summer of 1918, shortly after the United States entered World War I, when he was drafted to serve in the U. S. Army. Unwilling to fight, he applied for status as a conscientious objector, but was first imprisoned, then segregated in semi-imprisonment with other Pacifists, until the war ended. The abuse he suffered at this time may well explain his later withdrawal from taking political stands or making art of an overtly political nature. After his release from the army, Dehn returned to New York where he fell under the spell of the radical cartoonist Boardman Robinson and produced his first lithographs. He also finally consummated his sexual relationship with Wanda Gag. The Years in Europe: 1922-1929 In September of 1921, however, he abruptly departed for Europe, arriving in Paris and then moving on to Vienna. There in the winter of 1922 he fell in love with a Russian dancer, Mura Zipperovitch, ending his seven-year relationship with Wanda Gag. He and Mura were married in 1926. It was also in Vienna that he produced his first notable artistic work. Influenced by European artists such as Jules Pascin and Georg Grosz, Dehn began producing drawings of people in cafes, streets, and parks, which while mostly executed in his studio, were based on spontaneous life studies and have an expressive, sometimes almost childishly wandering quality of line. The mixture of sophistication and naiveté in these drawings was new to American audiences, as was the raciness of their subject matter, which often featured pleasure-seekers, prostitutes or scenes of sexual dalliance, presented with a strong element of caricature. Some of these drawings contain an element of social criticism, reminiscent of that found in the work of George Grosz, although Dehn’s work tended to focus on humorous commentary rather than savagely attacking his subjects or making a partisan political statement. Many Americans, including some who had originally been supporters of Dehn such as Boardman Robinson, were shocked by these European drawings, although George Grocz (who became a friend of the artist in this period) admired them, and recognized that Dehn could also bring a new vision to America subject matter. As he told Dehn: “You will do things in America which haven’t been done, which need to be done, which only you can do—as far at least as I know America.” A key factor in Dehn’s artistic evolution at this time was his association with Scofield Thayer...

Signed "George Garland" Lower Left by Artist "To melt this frigid beauty required the services of an expert, someone with a wicked-and-compelling-way with women." Illustration for "...

Le Croates en Allemagne is an original drawing in ink and watercolor realized by Herbert Knotel in 1930/40s. Good condition except for being aged. The artwork is depicted through s...

"Coney Island" Brooklyn NYC Amusement Park Mid-century American Scene WPA Modern Ludwig Bemelmans (1898 – 1962), “Coney Island" 35 x 27 inches Oil on board Signed lower left Origin...

Signed lower left by Artist The Saturday Evening Post cover, April 16, 1949

Ernst Samuel Geiger (Swiss, ∗ 1.2.1876 Turgi, † 16.12.1965 Neuenstadt) The Church of Ligerz in the Vineyards along the shore of the Lake of Bienne in Switzerland • Oil paint impast...

Deer Dance, painting by Tonita Pena, Santa Fe, Cochiti, Pueblo, male, female Tonita Peña (born 1893 in San Ildefonso, died 1949 in Kewa Pueblo, New Mexico) was born as Quah Ah (meaning white coral beads) but also used the name Tonita Vigil Peña and María Antonia Tonita Peña. Peña was a renowned Pueblo artist, specializing in pen and ink on paper embellished with watercolor. She was a well-known and influential Native American artist and art teacher of the early 1920s and 1930s. Tonita Peña was born on May 10, 1893, at San Ildefonso Pueblo, to Ascensión Vigil Peña and Natividad Peña of San Ildefonso Pueblo, New Mexico. When she was 12, her mother and younger sister died, as a result of complications due to the flu. Her father was unable to care for her and she was taken to Cochití Pueblo and was brought up by her aunt Martina Vigil Montoya, a prominent Cochití Pueblo potter. Peña attended St. Catherine Indian School in Santa Fe. Edgar Lee Hewett, an anthropologist involved in supervising the nearby Frijoles Canyon excavations (now Bandelier National Monument) was instrumental in developing the careers of several San Ildefonso “self-taught” artists including Tonita Peña. Hewett purchased Peña's paintings for the Museum of New Mexico and supplied her with quality paint and paper. Peña began gaining more notoriety by the end of the 1910s selling an increasing amount of her work to collectors and the La Fonda Hotel. Much of this early work was done of Pueblo cultural subject matter, in a style inspired by historic Native American works, however, her use of an artist's easel and Western painting mediums gained her acceptance among her European-American contemporaries in the art world. At the age of 25, she exhibited her work at museums and galleries in the Santa Fe and Albuquerque area. In the early 1920s, Tonita did not know how much her painting sold for at the Museum of New Mexico, so she wrote letters to the administrators because a local farmer was worried that she got paid too little. In the 1930s Peña was an instructor at the Santa Fe Indian School and at the Albuquerque Indian School and the only woman painter of the San Ildefonso Self-Taught Group, which included such noted artists as Alfonso Roybal, Julian Martinez, Abel Sánchez (Oqwa Pi), Crecencio Martinez, and Encarnación Peña. As children, these artists attended San Ildefonso day school which was part of the institution of the Dawes Act of 1887, designed to indoctrinate and assimilate Native American children into mainstream American society. In 1931, Tonita Peña exhibited at the Exposition of Indian Tribal Arts which was presented at the Grand Central Art Galleries in New York City. Works from this exhibition were shown at the 1932 Venice Biennial. That year is the only time Native American artists have shown in the official United States pavilion at that biennial, and Tonita Peña's paintings were part of that exhibition.[1 Her painting Basket Dance, that had shown in the Venice Biennial was acquired by the Whitney Museum of American Art in New York for $225. This was the highest price paid up to this time for a Pueblo painting...

Nathan Hoffman Ocean Parkway Beach, October 2, 1941 Signed, titled, dated on the reverse Oil on artists board 9 3/4 x 14 inches Born in Russia, the son...

Like it’s listed companion piece, this is a late Art Deco/Moderne architectural painting with vibrant colors and bold composition. This work is untitled but features a whimsical and futurist metropolis. The oil on canvas measures 24” wide by 30” high and with its original silvered frame 27 1/2” x 33 1/2” overall. Unlike its companion work, it is not signed or labeled. This painting dates to ca. 1940. Joseph Albert Sutter was born in Switzerland in 1891 and arrived in Los Angeles in 1926. He became active in the 1930’s Federal Art Program...

This tribute painting to Flemish art by an unknown artist portrays figures inside a mansion with a yellow and black checkerboard floor and a stained-glass window with brilliant color...

Very nicely painted American school modernist painting. Oil on canvas. Signed. Nicely framed. Image size, 16L x 20H.

Nathan Hoffman Manhattan from the Rooftops, July 1, 1947 Signed, dated and estate stamped on the reverse Oil on board 15 3/4 x 20 inches Born in Russia...

#5-3176b Surrealistic Figures in blues vintage acrylic on board, displayed in a wood frame, signed by Sannoro. Image size 15.5 H x8.5" W

Landscape With Armenians is a Watercolor realized by Henry Ottmann in 1946. Good condition on a yellowed paper. Hand signed and dated by the artist on the lower right corner. Incl...

Nathan Hoffman Brighton Beach, August 5, 1941 Signed, titled, dated and estate stamped on the reverse Oil on board 9 3/4 x 14 inches Born in Russia, th...

Gurevich Anatole Anatol Gurevitch Anatol Gurewitsch (1916-2005) Per the hebrew label on the back, this was exhibited in 1951. I believe at the Tel Aviv museum of art (as per the Israel Museum (Jerusalem) website)m in a manner reminescent of Bezalel Schatz, Moshe Castel, Jean david and other Israeli artists of the New Horizons prominent in that period ts a nude crouching figure against a colorful abstract background. Israeli Painter and stage designer. Yakir of Tel Aviv. Born in Russia, Moscow in the mid-teens of the twentieth century. Studied painting in Berlin. Immigrated to Palestine from Germany in 1934. Served in the British Army (1941-1946). Known for his pantings of Jewish rabbis and other Judaica subject matter. He specialized in stage design for dance troupes: the dance troupe led by Gertrude Kraus, Inbal, the Batsheva Dance Company, the international black dancer tali bati. His first wife was the late dancer and choreographer - the girl Kesten, His son is theater director Michael Gurevich. His second wife was the actress - Rivka Gur, who gave birth to his second son, Eyal. He died at the age of 89 after a serious illness. He left behind two sons: Michael (Miki) Gurevitch and Eyal Gurevitch. He was the uncle of the artist and sculptor - Igael Tumarkin. He was a stage designer in the theaters The brothel of Hunzo from Kibbutz Givat Haim, the British military band of this type, the British army, Gertrud Kraus, the Inbal Dance Theater, the Israeli Ballet, the Batsheva Dance Company and more. He designed a stage for plays The girl and the Negro, the Threepenny Opera, a band on the Thames, the singer of the land (in the military band of 1944), the banknote to Shlomo, the tea department, Nathan the Wise, Herod and Miriam. Awards Yakir Tel Aviv Prize, on behalf of the Tel Aviv Municipality. Anatol Gurewitsch, painter and Stage designer, born 1916, Moscow. After Second World War worked as stage designer. Designed costumes for dancer Gertrud Krausz. Uncle of Igael Tumarkin, and father of the theater Director Miki Gurewitsch. Education Academy of Fine Arts, Berlin, art 1936 with Frenel Frankel 1937 with Miron...

La Traviata - Dancer of the Bohemian Ballet - 3rd Act is a modern artwork realized in 1948 century by Erté (Romain de Tirtoff). Mixed colored gouache on ...

"Siesta" Painting, Oil on Board Signature: Lower Right Frame Size: 28.50" x 35.50" Frame is hand carved original design for Lon Megargee. It has the sig...

Work on wood

LODEWIJK BRUCKMAN Den Haag 1903-1995 Leeuwarden BLOSSOM BRANCHE, 1946 Oil on canvas 41 x 41 cm. Signed and dated: lower left

An early 1940s fashion study featuring a woman seated with hat and gloves. Provenance: Cornelia Steckl-Jurin, Founder of the Fashion Department at the School of the Art Institute of...

Signed Lower Right by Artist “I therefore reversed the mop, placed the soft end of it gently against the colonel’s face, and pushed him politely backward” Magazine story illustratio...

An early 1940s fashion study featuring a hat advertisement for Chicago's most notable department store, Marshall Field & Company. Provenance: Cornelia Steckl-Jurin, Founder of the...

The Talking Cardws is a Watercolour Drawing realized by Mino Maccari (1924-1989) in 1948s. Hand signed on the lower margin. Good condition on a little paper. Mino Maccari (Siena,...

Nice modernist American school painting. Oil and watercolor and gouache on board. Signed. Framed. Image size, 18L x 23H.

After his academy Theo Meier moved to Germany where he came into contact with Max Liebermann and German expressionists from Die Brücke. Inspired by Paul Gauguin, he left for Tahiti at the age of 24. The influence of Paul Gauguin and the German Expressionists can be clearly seen in his works. After a year in Tahiti, he moved toBali where he found the culture and art that he had missed in Tahiti. He settled in Sanur and befriended the other artists who had settled in Bali, such as Rudolf Bonnet, Walter Spies, Antonio Blanco...

The German in the Brewery is a watercolor Drawing realized by Mino Maccari (1924-1989) in 1945s. Hand signed and titled on the lower margin. Good condition on a little yellowed pa...

Signed by Artist Advertisement for the Interwoven Stocking Company, New Brunswick, NJ. (Reverse also signed with Philadelphia address of artist)

Antique American modernist signed abstract oil painting. Oil on canvas. Signed. Framed. Image size, 42L x 24H.

Signed lower right, "V. Di Gesu" for Victor Di Gesu (American, 1914-1988), dated 1946; additionally signed verso and titled "Blue Teapot". A vibrant still-life showing a bouquet of ...

Love Honor Obey? Lon Megargee ca. 1940 Oil on Board Size: 19.75 x 26.75 inches Frame: 26.75 x 33.75 inches signed lower right Painting is framed Creator...

Antique American modernist abstract expressionist painting. Oil on board, circa 1940. Image size, 24L x 20H.

An oil on board painting by Gustave Weigand (1870 - 1957), signed lower right. Painting measures 16 x 12 inches. Wiegand was born in Bremen, Germany in 1870. Wiegand studied at the R...

Work on paper Dimension with pass 31.7 x 24 cm

We acquired a series of paintings from Claude Muncaster's studio. To find more scroll down to "More from this Seller" and below it click on "See all from this seller." Claude Munca...

Signed Lower Left by Artist The Saturday Evening Post cover, December 1, 1945

Good wholesome mid-century Americana is on full display in the joyous illustration that depicts a red horsedrawn sled of merrymaking folks being rreated at an inn. Signed lower left ...

Oil Painting of River Forest Landscape in Ireland by 20th Century Post War Irish Artist, Tobias Everet Spence Art measures 20 x 16 inches Frame measures inches 24 x 20 inches

Julia (Elsie Julia Miller) Schleicher (Canadian/American, 1916-1988) Woman Tennis Player Pastel and gouache on board 18 x 13-5/8 inches (45.7 x 34.6 cm) S...

A vintage, dramatic scene of the rigorous sport of steeplechasing by artist Benton Henderson Clark (American, 1895-1964). Signed and dated lower right "Benton Clark 1945." Presented ...

Beautiful. large oil on canvas, in excellent condition. Framed The Spätimpressionist Leopold Illenz was a student of Anton Azbe, and Simon Hollósy at Munich private schools...

Vintage signed large abstract oil painting. Oil on canvas. Signed.

Josep Castellanas Garrich (Barcelona, 1896 - Majorca, 1980) Born in Barcelona in 1896, and in 1919 he moved to Mallorca following in the footsteps of Santiago Rusiñol, with whom he h...

We are pleased to present a captivating painting by the artist Sam Uhrdin (1886-1964). This beautiful artwork depicts a woman from Dalarna, sitting in front of a warm, glowing fire. The entire painting is bathed in a soft, radiant light, particularly illuminating her face and traditional white/red attire. The woman appears contemplative, lost in thought, perhaps thinking of someone dear to her heart. She is depicted in a kitchen, taking a moment to relax after a day's chores in her home. Sam Uhrdin's artistic journey began in the early 1900s, he traveled to Stockholm in 1903 to further continue his studies in painting. He worked as a painter during the day and attended various evening schools in the evenings. In 1906, he journeyed to America to work as a sign painter, but he mainly ended up working as an upholsterer. Returning to Leksand in 1909 via London and Paris, his artistic talent gained recognition, and with the help of some patrons, he began studying at the Royal Academy of Fine Arts in 1911, occasionally attending Althin's painting school in Stockholm. Financial circumstances cut his study time short, and his skill as a portrait painter earned him numerous portrait commissions, which further occupied his time. In 1921, Uhrdin received a scholarship from the Royal Academy, enabling him to embark on a study trip in 1922 to the Netherlands, Belgium, and France, which he had to cut short due to his wife's illness. He later visited places like Spain and Portugal. Uhrdin's breakthrough came with his portrait of the former Prime Minister Nils Edén, which he executed in 1919. In 1921, he portrayed the participants of the Swedish Academy. Among other representatives of official Sweden captured by Uhrdin were Gustav V, Manne Siegbahn, Ludvig Stavenow, and bishops Gottfrid and Einar Billing. In 1932, he held a solo exhibition at Konstnärshuset in Stockholm, and he participated in various exhibitions, including the Swedish Artists' Association in Stockholm in 1917, Swedish Art at Valand-Chalmers in Gothenburg in 1923, Dalarna Artists displayed at Liljevalchs Konsthall in 1936, and the National Museum's traveling exhibition "Barnet i konsten" (Children in Art...

Signed lower left 'Moessel' for Julius Moessel (American, 1872-1960) and dated 1943; additionally titled verso, 'In the Artist's Garden'. A substantial, mid-century horticultural oi...

Signed Lower Right by Artist

An early 1940s fashion study featuring a hat advertisement for a hat, suit and purse. Provenance: Cornelia Steckl-Jurin, Founder of the Fashion Department at the School of the Art...

1-4086 A large scale vintage figurative painting, original oil on canvas in shades of blue .Unframed. Signed on verso G.Pascal Rocca

Seductive is a Pencil and Watercolor Drawing realized by Mino Maccari (1924-1989) in the 1940s. Hand-signed on the lower. Good condition with foxing. Mino Maccari (Siena, 1924-Ro...

Antique American school seascape oil painting. Oil on board. Framed. Unframed. Image size, 20L x 16H.