Figurative Paintings

5-3188a Acrylic on artist board Set in a vintage wood frame

Sunset in the Highlands by F. E. Jamieson (British 1895-1950) signed lower corner with the artists pseudonym 'Phil Hips'. oil painting on canvas, unframed canvas: 16 x 24 inches F...

Landscape with red house is a modern artwork realized by Giovanni Omiccioli in the mid-20th century. Mixed colored oil painting Includes frame Hand signed on the lower margin

Herbert Katzman 1923-2004 (American artist active in New york, Illinois and Italy) Oil Painting Dated 1946. Signed. Dimensions; Sight-16" x 20", Frame-23.5" x 27". Provenance: this...

John Steuart Curry "Sketching Wisconsin," 1946 oil on canvas 31.13 x 28 inches, canvas 39.75 x 36.75 x 2.5 inches, frame Signed and dated lower right Overall excellent condition Presented in a 24-karat gold leaf hand-carved wood frame John Steuart Curry (1897-1946) was an American regionalist painter active during the Great Depression and into World War II. He was born in Kansas on his family’s farm but went on to study art in Chicago, Paris and New York as young man. In Paris, he was exposed to the work of masters such as Peter Paul Rubens, Eugène Delacroix and Jacques-Louis David. As he matured, his work showed the influence of these masters, especially in his compositional decisions. Like the two other Midwestern regionalist artists that are most often grouped with him, Grant Wood (American, 1891-1942) and Thomas Hart Benton (American, 1889-1975), Curry was interested in representational works containing distinctly American subject matter. This was contrary to the popular art at the time, which was moving closer and closer to abstraction and individual expression. Sketching Wisconsin is an oil painting completed in 1946, the last year of John Steuart Curry’s life, during which time he was the artist-in-residence at the University of Wisconsin in Madison. The painting is significant in Curry’s body of work both as a very revealing self-portrait, and as a landscape that clearly and sensitively depicts the scenery of southern Wisconsin near Madison. It is also a portrait of the artist’s second wife, Kathleen Gould Curry, and is unique in that it contains a ‘picture within a picture,’ a compositional element that many early painting masters used to draw the eye of the viewer. This particular artwork adds a new twist to this theme: Curry’s wife is creating essentially the same painting the viewer is looking at when viewing Sketching Wisconsin. The triangular composition of the figures in the foreground immediately brings focus to a younger Curry, whose head penetrates the horizon line and whose gaze looks out towards the viewer. The eye then moves down to Mrs. Curry, who, seated on a folding stool and with her hand raised to paint the canvas on the easel before her, anchors the triangular composition. The shape is repeated in the legs of the stool and the easel. Behind the two figures, stripes of furrowed fields fall away gently down the hillside to a farmstead and small lake below. Beyond the lake, patches of field and forest rise and fall into the distance, and eventually give way to blue hills. Here, Curry has subverted the traditional artist’s self-portrait by portraying himself as a farmer first and an artist second. He rejects what he sees as an elitist art world of the East Coast and Europe. In this self-portrait he depicts himself without any pretense or the instruments of his profession and with a red tractor standing in the field behind him as if he was taking a break from the field work. Here, Curry’s wife symbolizes John Steuart Curry’s identity as an artist. Compared with a self-portrait of the artist completed a decade earlier, this work shows a marked departure from how the artist previously presented and viewed himself. In the earlier portrait, Curry depicted himself in the studio with brushes in hand, and with some of his more recognizable and successful canvases behind him. But in Sketching Wisconsin, Curry has taken himself out of the studio and into the field, indicating a shift in the artist’s self-conception. Sketching Wisconsin’s rural subject also expresses Curry’s populist ideals, that art could be relevant to anyone. This followed the broad educational objectives of UW’s artist-in-residence program. Curry was appointed to his position at the University of Wisconsin in 1937 and was the first person to hold any such position in the country, the purpose of which was to serve as an educational resource to the people of the state. He embraced his role at the University with zeal and not only opened the doors of his campus studio in the School of Agriculture to the community, but also spent a great deal of time traveling around the state of Wisconsin to visit rural artists who could benefit from his expertise. It was during his ten years in the program that Curry was able to put into practice his belief that art should be meaningful to the rural populace. However, during this time he also struggled with public criticism, as the dominant forces of the art market were moving away from representation. Perhaps it was Curry’s desire for public acceptance during the latter part of his career that caused him to portray himself as an Everyman in Sketching Wisconsin. Beyond its importance as a portrait of the artist, Sketching Wisconsin is also a detailed and sensitive landscape that shows us Curry’s deep personal connection to his environment. The landscape here can be compared to Wisconsin Landscape of 1938-39 (the Metropolitan Museum of Art), which presents a similar tableau of rolling hills with a patchwork of fields. Like Wisconsin Landscape, this is an incredibly detailed and expressive depiction of a place close to the artist’s heart. This expressive landscape is certainly the result of many hours spent sketching people, animals, weather conditions and topography of Wisconsin as Curry traveled around the state. The backdrop of undulating hills and the sweeping horizon, and the emotions evoked by it, are emphatically recognizable as the ‘driftless’ area of south-central Wisconsin. But while the Metropolitan’s Wisconsin Landscape conveys a sense of uncertainty or foreboding with its dramatic spring cloudscape and alternating bands of light and dark, Sketching Wisconsin has a warm and reflective mood. The colors of the foliage indicate that it is late summer and Curry seems to look out at the viewer approvingly, as if satisfied with the fertile ground surrounding him. The landscape in Sketching Wisconsin is also revealing of what became one of Curry’s passions while artist-in-residence at UW’s School of Agriculture – soil conservation. When Curry was a child in Kansas, he saw his father almost lose his farm and its soil to the erosion of The Dust Bowl. Therefore, he was very enthusiastic about ideas from UW’s School of Agriculture on soil conservation methods being used on Wisconsin farms. In Sketching Wisconsin, we see evidence of crop rotation methods in the terraced stripes of fields leading down the hillside away from the Curry’s and in how they alternate between cultivated and fallow fields. Overall, Sketching Wisconsin has a warm, reflective, and comfortably pastoral atmosphere, and the perceived shift in Curry’s self-image that is evident in the portrait is a positive one. After his rise to favor in the art world in the 1930’s, and then rejection from it due to the strong beliefs presented in his art, Curry is satisfied and proud to be farmer in this self-portrait. Curry suffered from high blood...

French Character Portrait French school, Mid 20th Century Gouache paint on unframed paper inscribed verso stamped to the reverse Image : 19.5 x 25.5 inches Superbly decorative 196...

This impressive large painting on canvas is by renowned artist Joyce Roybal, known for creating lighthearted, whimsical scenes. Roybal’s signature style combines bright, textured col...

Radiant in Red European School, late 20th century oil on board, framed Framed: 17.5 x 13 inches Board: 10 x 6.25 inches Provenance: private collection Condition: very good condition ...

The painting we are selling is a breathtaking mountain view from Hålland in Jämtland, Sweden, created by Ante Karlsson-Stig in 1932. Ante Karlsson-Stig (1885-1967) was a Swedish pain...

European artist, 20th century signed oil on canvas, unframed canvas : 28 x 38 inches provenance: private collection, Wiltshire, England condition: very good and sound condition, stai...

Aaron Bohrod, 1907-1992 Lobster Shack, 1938 Oil on masonite 16 x 20 inches Signed and dated ower left: Aaron Bohrod 1938 Bohrod-3 Provenance: Private estate, Rhode Island, 2004 Am...

A wonderfully rich beach scene done along the Spaarne Canal, in the city of Haarlem located outside of Amsterdam in the northwest Netherlands. Once a major North Sea trading port sur...

1970's Original Hawaiian Figurative Oil Painting - Before the Luau Colorful figurative of three Hawaiian women as they prepare for a Luau, circa 1970. The lush tropical backdrop fra...

Title: French Impressionist Oil Painting of La Vieille Ferme, Vendée, with Row Boat By Fanch Lel (French b. 1930) Size: 8.5 x 10.5 inches (height x width) Signed: Yes Oil painting on...

This is an original unique oil painting by the artist. Bernard Pothast was born on 30th November, 1882 in Hal, Belgium. He studied painting at the Rijksakademie in Amsterdam between ...

French Impressionist 'en plein air' original painting Signed by Maurice Mazeilie (French) oil painting on thin board, unframed stamped verso painting: 5 x 7 inches A delightful ori...

Wonderful figurative nude in bed of flowers of "Michel" by Berkeley artist Patricia Gren Hayes (American, 20th Century), circa 1990. Signed mid right and o...

Landscape with figures in a cottage signed by W.Greaves oil on canvas, framed dated 1909 framed: 10 x 19 inches canvas: 9 x 18 inches provenance: private collection, UK condition: ve...

Female Portrait by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back pencil drawing on artist paper, unframed measures: 8 high by 10 inches wide conditio...

5-3170a Rare and finely painted American Colorful Pointillist landscape oil painting of a woman with an umbrella.Signedn Baxter Set in a vintage wood frame

Angel Watches Over Them 1977 Oil on wood panel artist signed. This is a wonderful, example of early Purvis work, signed user right. Purvis Young (1943-2010) was an American artist fr...

Original conte crayon on paper. Dated "12.84" lower margin. Provenance: Barbara Gladstone Gallery, New York. Artwork size 12.5 x 9.5 inches. Fram...

San Antonio . Oil on canvas by Spanish artist Chico Montilla. Measurements: (H) 65 x (W) 81 x 2 (D) cm. Framed 85 x 101 x 5 cm. San Antonio, another expressionist view of the countr...

Signed lower left, 'Lavallen', dated 1987 and titled verso 'Mujer Dormida' (Woman Sleeping). A large figural oil painting of a young woman shown reclining on a sofa. Julio Lavallen...

Wilson Irvine Winter Landscape Signed lower left Oil on canvas 24 x 27 inches A prolific Impressionist with a penchant for atmospheric scenes, Illinois native Wilson Irvine began h...

Peter Julian (born 1952 in Buffalo, New York) is an American artist best known for his Neo-expressionist paintings in the 1980s. His first major exhibition was in New York in 1982 at The New Museum as part of the museum’s annual “New Work/New York” series of exhibitions. THis piece is from that exhibition. (New Work / New York. 1982; 34 pages; staple-bound; 34 pages; 44 b/w illustrations. Essays by Lynn Gumpert and Ned Rifkin. Foreword by Marcia Tucker. Artists: Tom Butter, Tom Evans, John Fekner, Judith Hudson, Peter Julian, Cheryl Laemmle...

Up for sale here is a really impressive early 1900's oil painting by William Clarke Rice, Jr. (1875 - 1928). A great nocturnal view housed in a period giltwood frame. Image size, 2...

"How Come" is a Modern surrealist oil on canvas painting by Irving Norman in 1968. The artwork is 90 x 60 inches and 91 1/4 x 61 1/2 x 1 5/8 inches with the fram, weighing less than ...

Title: French Mid 20th Century Exhibition Poster Study for WWII Normandy Landings by Anne Marie Migette Perard (French 1902-1977) Medium: Watercolor and ink on unframed paper Size: 19.75 inches (height) x 25.5 inches (width) Condition: As is normal with unframed works on paper there are some minor old creases or paper edge curls/ tears - all of which should be covered over or smoothed out once framed; generally very good and sound. Provenance: as with all the works we have by this artist, it has come from the artists estate in France. Description: This rare and historically resonant piece by Anne Marie Migette Perard is a hand-painted exhibition poster study commemorating the Débarquement—the D-Day landings of World War II. Titled Exposition sur le Débarquement, this draft appears to have been created for a local or regional tourism office (Pavillon du Tourisme) for an event running from 24 May to 3 July. Rendered in expressive watercolor and ink, the piece features bold text, explosive orange and yellow bursts symbolizing the intensity of battle, and the Cross of Lorraine—a widely recognized emblem of Free France and French resistance during the war. The backdrop suggests the beaches of Normandy, blending into a sky of smoke and movement. This work is likely an original design proposal or exhibition concept piece, making it a unique find for collectors of WWII memorabilia...

Signed by Artist Lower Left The present work was published on the cover of the September 4th, 1948 edition of The Saturday Evening Post. An accompanying “Keeping Posted” article about Norman Rockwell’s process behind the painting was printed on page 10 inside the issue. (Image above) The Post described, “Boston baseball fans saw a strange spectacle at Braves’ Field early this summer. As the stands filled, two respectable-looking men stood on the field staring at the spectators. Every now and then they would point to someone, run up into the stands and invite the man or woman to sit in a box above the dugout. Then the thinner of the two would contort his face into an expression of wild delight or disgust and invite the spectator to do the same, while a photographer made pictures. The explanation is on our cover. The two suspicious characters were Kenneth Stuart, the Post’s art editor and the artist, Normal Rockwell. For a detailed description of how Boston...

Title: Mid-20th Century Post-Impressionist Watercolour of Boats and Lighthouse by Anne Marie Migette Perard (French 1902-1977) Signed: Yes Medium: Watercolor on unframed paper Size: ...

Reading in the Interior French School, early 20th century signed with initials upper corner watercolour painting on artist paper, framed Glass covering framed: 13 x 10.5 inches board...

Lionel Birch was a landscape and animal painter from the turn of the 19th to 20th century. He traveled throughout Europe painting and for a while lived in Florence Italy. Most of his...

Title: Mid-20th Century Post-Impressionist Harbour Scene with Boats and Lighthouse by Anne Marie Migette Perard (French 1902-1977) Signed: Yes Medium: Acrylic on unframed paper Size:...

Title: French Monochrome Harbour Scene with Boats and Medieval Tower by Fanche Lel Signed: Yes Size: 8.25 inches (height) x 11 inches (width) Watercolor painting on paper, unframed C...

Signed and dated impressionist oil on panel landscape by French painter Camille Roche. This beautifully coloured piece depicts a view of the River Seine in Paris, France on a bright ...

Walpi Hopi Village, Arizona First Mesa Landscape by Marion Kavanaugh Wachtel. Significant southwestern painting of Hopi at Walpi Mesa in Arizona...

EDOUARD LÉON CORTÈS French, 1882 - 1969 PLACE DE LA RÉPUBLIQUE signed "EDOUARD CORTÈS." (lower right) oil on canvas 25-3/4 x 36-1/4 inches (65 x 91.5 cm.) framed: 33-1/2 x 44-1/4 inc...

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Bibliography Art in America, April 1951, p.78 About this artists: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...

Marseille Harbor French artist, circa 1952 signed oil on board, framed Framed: 29 x 24 inches Board : 24 x 19 inches Provenance: private collection, the South of France Condition: ve...

'Portrait of Boy' by Luigi Corbellini (circa 1930s). The artist painted this endearing young boy whose name remains unknown. Perhaps the slightly timid expre...

The Ballet by Maria Tort Xirau (Catalan, 1924-2018) signed lower corner dated 1993 oil painting on canvas, framed framed: 24 x 33 inches canvas: 20 x 29 inches Very good condition. Provenance: private collection Maria Tort Xirau ( Figueres , 26 May 1924 – 6 June 2018) was a painter and photographic and cinematographic editor from Emporda. She developed a long professional career in leading photographic studios, in films for The Walt Disney Company and also in advertising claims for companies such as Educa Borràs . The second half of her life was dedicated to painting, exercising a luminous, varied and nostalgic chromatic style in the techniques of oil and watercolor and with exhibitions of her work in Barcelona and Figueres. The Biographical Dictionary of Art Empordà defined Tort Xirau's work as "a painting that is characterized by the strength of the strokes, the vividness and brightness of the chromatic range and exudes mastery of the photographic technique. A mixture of nostalgia and tenderness is evident.". Tort Xirau's paintings were exhibited in the two towns where she spent her life: in 1992 she exhibited his work at the Caixa de Figueres Exhibition Hall. Two years later, she did it at Sala Conex in Barcelona and in 2007 and 2013 the Consortium of Sant Ferran Castle and the Figueres Town Council organized tribute exhibitions. In 2013, she ceded to the council of the city of Figueres her work Mercat de la plaça de l'Ajuntament , watercolored on paper around 1991, which is exhibited in the rest room of the building. On June 6, 2018, she died in Figueres at the age of 94, receiving the apostolic blessing . Two years after her death, part of her paintings were included in the exhibition Paint, create, live. Women artists in the Alt...

"The Bather" Eugène Bégarat (French, 1943) Gouache 11 1/2 x 9 1/2 (21 x 19 frame) inches Eugène Bégarat was born in 1943. At the age of seventeen, Bégarat entered the School of Dec...

Signed by Artist Lower Right The Saturday Evening Post, February 11, 1939, cover illustration Literature The Saturday Evening Post, February 11, 1939, cover illustration Thomas S....

"AMAZONS", circa 1937 by Isobel Françoise Rodmell (1899–1972) French Huge 1930's Cubist Surrealist scene titled "Amazons" oil on canvas by Isobel Francoise Rodmell. Large exhibitio...

André HAMBOURG (1909-1999) Sur la plage, Trouville, 1952 Oil on canvas Painting dimensions: 27 x 35.5 cm Signed lower right Title on the back Painting in perfect condition Frame c...

Title: French Expressionist Gouache of Arched Bridge and Village Church by Fanche Lel Size: 8.75 inches (height) x 11.5 inches (width) Gouache painting on paper, unframed Condition: ...

Well painted French late 20th Century Anglo/American Impressionist painter Charles B. Hall. This was painted on a trip to France circa 1988 Hall painted marine scenes, landscapes,...

Adrian Daintrey was born in Balham, London on 23 June 1902, the youngest of three children of Ernest Daintrey, a solicitor and his wife Lucy Mary (née Blagdon). He was educated at Ch...

This painting is part of our current exhibition - America Coast to Coast: Artists of the 1940s Untitled (Elevated Platform), 1950, oil on canvas, signed and dated lower right, 30 x...

PAQUES, 1958, PARIS Hand signed Oil on board Still life of a potted cactus. DIMENSIONS: (Framed) H: 23.25" W: 20.25" (Without Frame) H: 16" W: 12.75" (1929-2008) French Roger Müh...

Juan Orvay (1938) - Peasants of Ibiza - Oil on panel Oil measurements 27x22 cm. Frame size 41x36 cm. (16,1417 in. and 14,1732 in). Joan Orvay Orvay (Eivissa 1938) ART Painter. He st...

Beni E. Kosh/Charles Elmer Harris (American, 1917-1993) Meditation on African Sculpture, 1957 Oil on found wood panel Signed and dated lower left 20 x 15 inches Charles Elmer Harris...

French Mid 20th Century watercolour on paper view of Breton fishermen gathering their nets by Girard. The painting is signed bottom right and presented in a period wood and plaster f...

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, knowing it...

Portrait of a Chic Lady French School, 20th century oil on canvas, unframed Canvas : 21.75 x 18 inches Inscribed verso Provenance: private collection, France Condition: very good con...

Octave Cartel (Belgian, 1884 - 1944) - Still life of strawberries. 27 x 37 cm without frame, 41 x 50 cm with frame. Antique oil painting on cardboard, ...

Beni E. Kosh/Charles Elmer Harris (American, 1917-1993) Untitled Oil on canvas board Estate stamped #611 verso 24 x 18 inches Charles Elmer Harris was born in 1917 in Cleveland, Oh...