Figurative Paintings

Please contact me for best shipping rates and speediest delivery. Ellen Powell Tiberino, matriarch of the Tiberino artist dynasty that includes her artist-husband Joseph and three artist-children (Raphael, Gabriel, and Ellen), often looked to Black women and girls as subjects, in the contexts of motherhood, pregnancy, and childhood, as well as subjects drawn from her neighborhood communities. Her work is expressionistic and passionate with dramatic gestures and dark colorism in her figures, but it is also intimate and highly personal. At this point in her career, Tiberino had been struggling with cancer, and as a result, her palette became brighter and more colorful than her former dark palette. "Three Sisters" includes Ellen Powell Tiberino’s self-portrait in the front of the composition, nursing an infant. Tiberino’s two sisters, Joyce and Anne, sit behind her. Tiberino likely paints from memory or imagination here, since her four children were well beyond nursing age when she created this painting. "Three Sisters" is likely among the last large-scale canvases Tiberino completed, opting to work on a smaller scale and while seated as her illness progressed. Tiberino ultimately lost her battle in 1992. "Three Sisters" comes from a private Main Line, PA collection, acquired directly from the artist immediately upon its completion. Framed in original wood strip frame. It is in excellent condition. Tiberino graduated from the Pennsylvania Academy of the Fine Arts in 1959, where she was awarded a prestigious Cresson scholarship to study in Europe. After returning to the US, she lived and worked in New York until she married fellow artist (Joseph) and returned to her hometown of Philadelphia where she continued to create oil paintings, oil pastels drawings, sculptures, murals, and mosaics. In Philadelphia, she was part of social and professional circles that included Moe Brooker, Barbara Bullock, Walter Edmonds, Charles Pridgen, Leroy Johnson, John Simpson, James Dupree...

Title: Vibrant French Gouache Painting of Navajo Jewelry Makers in Albuquerque by Emile GALLOIS (1882-1965, French) Signed: Yes Medium: Original gouache painting on thick unframed p...

Title: French Impressionist Oil Painting of Landscape of Riverside Cottages at Dusk By Fanch Lel (French b. 1930) Size: 7 x 9.5 inches (height x width) Oil painting on board, unframe...

Parisian Evening Stroll by Alexander Osipov (Russian, 1946) signed oil on canvas, framed Framed: 16 x 29 inches Canvas : 12 x 24 inches Inscribed verso Provenance: private collection...

A stunning jewel and pertinent example of Berthelsen's charming New York City scenes. Here we find a The Plaza hotel and the Manhattan buildings depicted in the far background with pops of colors shinning through the lights and magic of the city. The artist was truly a master of capturing New York in all of its glory throughout the seasons. This piece is executed whimsically, yet dramatically evoking an emotion of wonder and beauty. This piece is signed lower right by the artist and it also bears the reproduction right's stamp on the reverse. It is titled on the back and it comes housed in a beautiful French giltwood frame with linen liner and hanging wire on verso ready to be displayed. Art measures 6.5 x 8 inches Frame measures 12 x 14 inches Johann Berthelsen was born in Copenhagen in 1883, the 7th of seven children, to Conrad and Dorothea Karen Berthelsen. His parents were involved in artistic and professional circles. In 1890, his mother brought the children to America, settling in Manistee, Michigan, with her sister's family. They would eventually move to Manitowoc, Wisconsin, a city on the shore of Lake Michigan. As a teenager, Johann was actively involved in choirs and singing groups. And he always loved to draw and paint, and while he was too impatient to take well to schoolwork, and never went beyond the 5th grade. Although he worked in several trades, Johann's mind and heart were always with the arts. As his voice matured, he also always wanted to be an actor, and at the age of 18 moved to Chicago where he reconnected with an old friend who was studying voice at the Chicago Musical...

Title: Bullfighting Scene Artist: José María Tuser Vázquez (1919-1986) Technique: Oil on canvas Dimensions: 16.1 x 13 inches (unframed) Date: c. 1950-1960 Condition: Good Provenance:...

Oil on canvas by Charles Kvapil, France, ca.1920. "On the edge of the lake". with frame: 78x58.5x6 cm - 30.7x23x2.4 inches - without frame: 65x46 cm - 25.6x18.1 inches. 15M format. Signed lower left "Kvapil" Charles Kvapil was born in Czechoslovakia on November 1, 1884, and died in Paris in 1957. He takes courses at the Royal Academy of Fine Arts in Antwerp. His first works are exhibited in 1908, at the Salon of Antwerp. In 1911, he exhibits in Munich; his works show a definite cubist influence in a well-tempered, organization and simplification bill. Arrived at a young age in Paris, he sets up his studio in Montmartre in the Hamlet of Artists, between Lepic Street and No. 11 Junot Avenue near those of Utrillo and Valadon; it is there that he will die. In 1912, he exhibits at the Salon des Independants. In 1914, he presents his works again in Belgium at the Brussels Triennal. After the war, he lives a very poor life but, with an optimistic temperament, he hopes to break through; he has to work to survive and he paints especially in the evening, especially during his first years in Paris. It is at the Salon des Independants in 1920 that Kvapil is revealed to the Parisian public. He exhibits six paintings: "My campaign", "portrait of woman", "Houseboat", "Poplars", "Bras St. Jean (landscape)" and "Still Life". He is domiciled at 233, rue d'Alésia in Montparnasse." "In the wake of the legendary figures of Montparnasse, in their shadow, and by them held at a relative discretion (the behavior of artists entering many into the brilliance of their career and the exclusive attachment to their production, without extension" social " " condemning them to darkness), is Charles Kvapil. He frequents the Parnassus café [...] and is exhibited there in a small group organized by A. Clergé, "the Company of professional painters and sculptors", which manifests itself in 1921. The preface is written by Romoff. A second follows shortly. It includes 102 participants, including Friesz, Lagar, Zorate Ortiz, Scouëzec, Astoy, Roysen, Loutreuil, Krémègne, Gallien, Goncharova, Lebedeff, Ramey, Kvapil. He remains attached to the folklore of the Bohemian painter whose Montparnasse is the field of exploits and the model of life "(Jean Jacques Lévêque" The Roaring Twenties, 1918-1939 - The Triumph of Modern Art ", 1992). He exhibits at the gallery Colette Weill. In 1923, his works are hung at Marcel Bernheim, then at Dalpeyrat, in Limoges, where he shows mostly landscapes. Subsequently, he participates in the Salon d'Automne; to that of 1941, he presents "Phlox", and in 1944 "At the window". In 1951, at the same Salon, he exhibites "Plaisir d'été" and "Le Goûter". He exhibits during his lifetime in Paris, Munich, Brussels, Geneva, Italy, Stockholm, London and New York. He is now represented in numerous public and private collections, including the Museum of Modern Art in Paris, the museums of Le Havre, Libourne, Rouen, Saint-Etienne, Amsterdam and Tunis. Charles Kvapil is known mainly as a painter of characters, especially for his representations of naked women for which his friend Ginette often served as a model; he painted models in the studio, sometimes in front of his window with the Montmartre hill in the background; often bathers or female nudes placed in groups of characters, in the manner of Courbet and the Impressionists at their beginning. He is also creator of many portraits; but he did not disdain either the still lifes, especially the bouquets of flowers, or the landscapes, which form an important part of his work. He painted many regions, including Corrèze, where he "knew how to grasp the character of the country that is not his, with his usual mastery" (SSHA Bulletin Corrèze), the Mediterranean coast, Corsica, where he stays regularly in the 1920s and 1930s; in Paris he participated in exhibitions of painters of Corsica in 1925 and 1933. In 1939, at a new exhibition of Art Corse, at the Gallery The Team, still in Paris, he presented two paintings titled "Costa Brugiata, Cap Corsica "and" View of Rogliano ". He is also the creator of "On the Island" (1923), "Querciolo, Rogliano" (1923), "Corsican Woman" (1924), "Landscape of Corsica" (1933) (information Cronica di a Corsica). Charles Kvapil was influenced by fauvism and a very temperate cubism; Paul Cézanne and to a certain extent Matisse (as a colorist), also marked his style. The desire of construction of the artists of the group to which Kvapil belongs, "did not lead to distortion, except once or twice at Kvapil" .... Kvapil and his friends "thus engaged in thorough technical studies according to the masters, all without exception have loved the beautiful solid and dense material. Their work is related, moreover, not to the classical tradition of transparent painting, but to that of the opaque painting of Frans Hals, Rembrandt and Chardin, almost alone in force since the beginning of the nineteenth century [...] so they paint all in dense pasta but without excessive excess "... (Germain Bazin," the love of art ", 1934). Charles Kvapil's paintings are original and modern, his nudes and bouquets of flowers are strong and powerful. His palette is rich in cobalt blue and warm colors. His technique is voluntary and powerful. His works in oil are often of modest size, sometimes painted on panels, or on cardboard. He also practiced with great skill the technique of pastel. P. Béran, in a study he has dedicated to him, praises the richness of his material and all that his art owes to the joy of living. "A work modeled on a life totally devoted to the pleasure of painting. (Jean Jacques Lévêque, ibid.) He was an indefatigable worker, and this is what he says: "the painter must speak little, but he must comb a lot" Bibliography Jean-Daniel Maublanc, Charles Kvapil, painter of figures, 72 p. Jean-Daniel Maublanc (preface by Louis Parrot), Perspectives - Marcel Lemar, François Eberl, Marcel Roche, Jacques Villon, Charles Kvapil, Charles Jacquemot, Pierre Bach...

A beautiful oil on canvas painting by the French artist, Te Pencke. Pencke was a Parisian painter known for his colorful cityscapes depicting the times of his generation. His work is...

4032 Scandinavian painting of a female bather on cut out wood applied to a painted backround Set in a wood frame image size 8.5x10.5"

Oil on canvas by Henri-André Martin (1918-2004), France, ca.1980s. Les Baux de Provence. With frame: 71x98 cm - 28x38.6 inches. Without frame: 65x92cm - 25.6x36.2 inches. 30P format....

Menton, South of France signed by the Hungarian artist, Laslzo Ritter (1937-2003) oil on canvas, framed Framed: 22 x 28 inches Canvas : 18 x 24 inches Inscribed verso Provenance: pri...

Vintage French Oil Painting by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back oil painting on board, unframed measures: 11 high by 8 inches wide cond...

Title: French Gouache Painting of Navajo Night Dance in New Mexico by Emile GALLOIS (1882-1965, French) Signed: Yes Medium: Original gouache painting on thick unframed paper, Size: 1...

Signed Adolfo Perez Frame size 75x66 cm.

5-3208a oil on artist board Set in a restored vintage frame Image size 17x8.8"

Title: French Oil painting of a Outdoor Market Scene in Impressionist Style By Fanch Lel (French b. 1930) Size: 6.5 x 8 inches (height x width) Signed: Bottom left Oil painting on bo...

**Title**: Fisherwomen on the Beach **Author**: Rafael Mumpao Hinojosa **Technique**: Oil on canvas **Canvas dimensions**: 25.6 x 31.9 in **Framed dimensions**: 37.8 x 44.1 in This artwork captures a beautiful costumbrist scene, focusing on traditions and everyday life. **Rafael Mumpao Hinojosa**, with his detailed and realistic style, draws inspiration from renowned painters such as **Joaquín Sorolla**, a master of light and movement, and **Julio Romero de Torres...

Agustín Úbeda (1925-2007) - Surrealist scene - Mixed technique on paper glued to board Measurements 44x71 cm. Without frame. BAD CONDITION, NEEDS RESTORATION. Origin: Family of the a...

King Charles I British artist, early 20th century signed with initials oil on canvas, framed framed: 36 x 29 inches canvas: 32 x 26 inches provenance: p...

Title: French Impressionist Oil Painting of Boats at Low Tide By Fanch Lel (French b. 1930) Size: 6 x 8.5 inches (height x width) Signed: Yes Oil painting on board, unframed Conditio...

Sailing Ship at Sea Signed C.S .Vokes dated 83 signed oil painting on canvas, framed framed: 24 x 34 inches canvas: 20 x 30 inches condition: very good provenance: private collection...

Set of 6 by Guy Nicod (French 1923 - 2021) watercolour on artist paper, unframed painting : 8.75 x 6.5 inches stamped verso provenance: artists estate, France condition: very good an...

Dutch Canal Dutch artist, inscribed to label oil on board, framed Framed: 16 x 13.75 inches Board: 9.5 x 7.5 inches Provenance: Private collection, Scotland This charming painting b...

Signed fauvist oil on canvas riverscape circa 1920 by French post impressionist painter Robert Antoine Pinchon. The work depicts a view a river winding amongst wild flowers fields in...

In this piece, the artist depicts "La Madeleine" in an abstract and impressionistic way, capturing the magic of Paris from the 20th Century with much life. The flower sellers and tre...

A masterful oil painting depicting a view of a Venice Canal by Grace Paterson. As an Impressionist and orientalist painter, she was known for her detailed works depicting scenes from...

Walking Home by Helmut Reuter (1913-1985, German) signed oil on canvas, framed framed: 24 x 19.5 inches canvas: 21 x 16 inches Provenance: private collection, England Condition: ver...

4048 Modern fantasy figural musician sax player Set in a metal frame Signed Morgan for Brenda Polsky Morgan Childs (1942-2008)

Title: French Impressionist Oil Painting of Coastal Village with Boats Resting Ashore By Fanch Lel (French b. 1930) Size: 8.75 x 10.5 inches (height x width) Oil painting on board, u...

Title: French Impressionist Oil Painting of Two Figures Seated on an Outdoor Terrace By Fanch Lel (French b. 1930) Size: 7.25 x 9.25 inches (height x width) Signed: Yes Oil painting ...

Jockey on Horseback British School, 20th century painted after an earlier style oil on canvas, framed framed: 31 x 35 inches canvas: 20 x 24 inches provenance: private collection, UK...

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...

A Day on The Green St. Andrews Golf Course, Scotland by R. Todd, Scottish late 20th century signed oil on board, framed framed: 20 x 24 inches board: 17 x 21 inches inscribed verso p...

5-3418 Abstract oil on board. Set in a silvered wood frame Signed Sarno Image size 24x19"

"The Victor (A Triumphant Cockerel Crowing Over His Victory...)" After Melchior de Hondecoeter (Flemish, 1636-1695) Oil on canvas 40 1/2 x 34 1/4 (frame) inches This much copied pa...

Title: Seated Nude Woman Artist: Josine Vignon (French 1922-2022) Medium: signed black pen on artists paper stuck on board, glass covered Dated 1946 Size: 11 (height) x 8.5 (width...

In this piece, artist Paul Renard depicts his subject in a most romantic yet academic way. The artist was truly a master of capturing the magic and romance of the busy streets of Paris portraying the way of the times effortlessly. With much attention to detail and subtle brush strokes using a wide color pallet, a beautiful rendition of the street with figures is accomplished. We are reminded of the great impressionists of the early 20th Century such as Edouard Cortès in this piece. Paris in all of its glory in the "Roses in the Cart" is a pertinent example of how Renard achieves excellence in his work, leaving us with emotions of Paris in Autumn during dusk effortlessly. This piece is signed lower right lower right and comes housed in a beautiful wood carved museum quality...

A wonderful Impressionist winter pastoral scene of colorful quaint homes by the river. Willet has portrayed this piece in a most intimate, yet energetic way, and has packed much feel...

“The pearl necklace and the violets” . Oil on canvas 83x103cm, signed, untouched. An excellent example of french academic art from late XIX century. A great example of women in art...

A beautiful oil on canvas painting by the French artist, Jean Salabet. Salabet was a Parisian painter known for his colorful cityscapes depicting the times of his generation. His wor...

The Three Graces - Original Surrealist On Board Dramatic and dynamic fantasy scene by Russell R. Tripp (American, 1942-2025). This piece depicts a dream like scene with two nude wom...

Title: French Impressionist Oil Painting of a Tranquil Scene of Fishing Boats at Rest By Fanch Lel (French b. 1930) Size: 8.25 x 10.5 inches (height x width) Oil painting on board, u...

Matador Bullfighter - Original Oil On Canvas Original oil on canvas painting of a matador and bull by Baez. A bull is seen with his head down, while the matador is dressed in yellow...

Jordi Curós Ventura (1930-2007) - Woman in rocking chair - Oil on canvas. Work measurements 61x46 cm. Frameless. Jordi Curós Ventura (Olot, Girona, March 4, 1930) is a Spanish paint...

Expressive Portrait of a Gentleman in a Cravat signed by Fanch Lel (French b. 1930) size: 10.5 x 9 inches oil painting on board, unframed condition: the painting is in very good cond...

Mediterranean Coastal Scene with Rural Property & Trees in French Countryside, by 20th Century French Artist, Jean-Pierre Vignat (Born 1913) Art measures 21 x 14.5 inches Frame me...

Jean Laurent, French 20th century marine artist signed oil on board, framed Framed: 13.5 x 21.5 inches Board: 8 x 16 inches Provenance: private collection, UK Condition: very good co...

Title: French Impressionist Oil Painting of Boats in the Harbor at Saint-Malo By Fanch Lel (French b. 1930) Size: 4.5 x 6.75 inches (height x width) Signed: Yes Oil painting on cardb...

Frame size 76x92 cm. Ignacio Gil Sala, was a painter, bohemian character, adventurous and intrepid traveler who knew how to capture his eyes to that world with his painting. After s...

Feeding the Ducks by Jules Rene Herve (1887-1981) French, signed front and back oil painting on canvas, framed canvas: 9 x 11 inches framed: 15 x 16.5 inches Provenance: private col...

5-2519a Oil on artist board displayed in a painted wood frame Image size 10x12.5"

The Border Terrier by Leonard Richard Finn (British, b. 1891) signed oil on canvas, framed framed: 24 x 20 inches canvas: 20 x 16 inches provenance: private collection, UK condition:...

Title: Modern Impressionist French Oil Painting Lush Garden Scene with Seated Figure by Bernadette Kelly (French b. 1933) Unsigned Medium: oil painting on board, unframed Painting si...

Barbara Shermund (1899-1978). Society Satirical Cartoon, ca. 1940s. Gouache on heavy illustration paper, image measures 17 x 14 inches; 23 x 20 inches in matting. Signed lower left. Very good condition but matting panel should be replaced. Unframed. Provenance: Ethel Maud Mott Herman, artist (1883-1984), West Orange NJ. For two decades, she drew almost 600 cartoons for The New Yorker with female characters that commented on life with wit, intelligence and irony. In the mid-1920s, Harold Ross, the founder of a new magazine called The New Yorker, was looking for cartoonists who could create sardonic, highbrow illustrations accompanied by witty captions that would function as social critiques. He found that talent in Barbara Shermund. For about two decades, until the 1940s, Shermund helped Ross and his first art editor, Rea Irvin, realize their vision by contributing almost 600 cartoons and sassy captions with a fresh, feminist voice. Her cartoons commented on life with wit, intelligence and irony, using female characters who critiqued the patriarchy and celebrated speakeasies, cafes, spunky women and leisure. They spoke directly to flapper women of the era who defied convention with a new sense of political, social and economic independence. “Shermund’s women spoke their minds about sex, marriage and society; smoked cigarettes and drank; and poked fun at everything in an era when it was not common to see young women doing so,” Caitlin A. McGurk wrote in 2020 for the Art Students League. In one Shermund cartoon, published in The New Yorker in 1928, two forlorn women sit and chat on couches. “Yeah,” one says, “I guess the best thing to do is to just get married and forget about love.” “While for many, the idea of a New Yorker cartoon conjures a highbrow, dry non sequitur — often more alienating than familiar — Shermund’s cartoons are the antithesis,” wrote McGurk, who is an associate curator and assistant professor at Ohio State University’s Billy Ireland Cartoon Library & Museum. “They are about human nature, relationships, youth and age.” (McGurk is writing a book about Shermund. And yet by the 1940s and ’50s, as America’s postwar focus shifted to domestic life, Shermund’s feminist voice and cool critique of society fell out of vogue. Her last cartoon appeared in The New Yorker in 1944, and much of her life and career after that remains unclear. No major newspaper wrote about her death in 1978 — The New York Times was on strike then, along with The Daily News and The New York Post — and her ashes sat in a New Jersey funeral...

Oil on canvas realized in the mid-20th Century. Mounted on a stretcher. Good condition.

Barbara Shermund (1899-1978). Showgirls Cartoon for Life Magazine, 1934. Ink, watercolor and gouache on heavy illustration paper, matting window measures 16.5 x 13 inches; sheet measures 19 x 15 inches; Matting panel measures 20 x 23 inches. Signed lower right. Very good condition with discoloration and toning in margins. Unframed. Provenance: Ethel Maud Mott Herman, artist (1883-1984), West Orange NJ. For two decades, she drew almost 600 cartoons for The New Yorker with female characters that commented on life with wit, intelligence and irony. In the mid-1920s, Harold Ross, the founder of a new magazine called The New Yorker, was looking for cartoonists who could create sardonic, highbrow illustrations accompanied by witty captions that would function as social critiques. He found that talent in Barbara Shermund. For about two decades, until the 1940s, Shermund helped Ross and his first art editor, Rea Irvin, realize their vision by contributing almost 600 cartoons and sassy captions with a fresh, feminist voice. Her cartoons commented on life with wit, intelligence and irony, using female characters who critiqued the patriarchy and celebrated speakeasies, cafes, spunky women and leisure. They spoke directly to flapper women of the era who defied convention with a new sense of political, social and economic independence. “Shermund’s women spoke their minds about sex, marriage and society; smoked cigarettes and drank; and poked fun at everything in an era when it was not common to see young women doing so,” Caitlin A. McGurk wrote in 2020 for the Art Students League. In one Shermund cartoon, published in The New Yorker in 1928, two forlorn women sit and chat on couches. “Yeah,” one says, “I guess the best thing to do is to just get married and forget about love.” “While for many, the idea of a New Yorker cartoon conjures a highbrow, dry non sequitur — often more alienating than familiar — Shermund’s cartoons are the antithesis,” wrote McGurk, who is an associate curator and assistant professor at Ohio State University’s Billy Ireland Cartoon Library & Museum. “They are about human nature, relationships, youth and age.” (McGurk is writing a book about Shermund. And yet by the 1940s and ’50s, as America’s postwar focus shifted to domestic life, Shermund’s feminist voice and cool critique of society fell out of vogue. Her last cartoon appeared in The New Yorker in 1944, and much of her life and career after that remains unclear. No major newspaper wrote about her death in 1978 — The New York Times was on strike then, along with The Daily News and The New York Post — and her ashes sat in a New Jersey funeral home...

Barbara Shermund (1899-1978). Fancy Department Store Satirical Cartoon, ca. 1930's. Ink, watercolor and gouache on heavy illustration paper, panel measures 19 x 15 inches. Signed lower right. Very good condition. Unframed. Provenance: Ethel Maud Mott Herman, artist (1883-1984), West Orange NJ. For two decades, she drew almost 600 cartoons for The New Yorker with female characters that commented on life with wit, intelligence and irony. In the mid-1920s, Harold Ross, the founder of a new magazine called The New Yorker, was looking for cartoonists who could create sardonic, highbrow illustrations accompanied by witty captions that would function as social critiques. He found that talent in Barbara Shermund. For about two decades, until the 1940s, Shermund helped Ross and his first art editor, Rea Irvin, realize their vision by contributing almost 600 cartoons and sassy captions with a fresh, feminist voice. Her cartoons commented on life with wit, intelligence and irony, using female characters who critiqued the patriarchy and celebrated speakeasies, cafes, spunky women and leisure. They spoke directly to flapper women of the era who defied convention with a new sense of political, social and economic independence. “Shermund’s women spoke their minds about sex, marriage and society; smoked cigarettes and drank; and poked fun at everything in an era when it was not common to see young women doing so,” Caitlin A. McGurk wrote in 2020 for the Art Students League. In one Shermund cartoon, published in The New Yorker in 1928, two forlorn women sit and chat on couches. “Yeah,” one says, “I guess the best thing to do is to just get married and forget about love.” “While for many, the idea of a New Yorker cartoon conjures a highbrow, dry non sequitur — often more alienating than familiar — Shermund’s cartoons are the antithesis,” wrote McGurk, who is an associate curator and assistant professor at Ohio State University’s Billy Ireland Cartoon Library & Museum. “They are about human nature, relationships, youth and age.” (McGurk is writing a book about Shermund. And yet by the 1940s and ’50s, as America’s postwar focus shifted to domestic life, Shermund’s feminist voice and cool critique of society fell out of vogue. Her last cartoon appeared in The New Yorker in 1944, and much of her life and career after that remains unclear. No major newspaper wrote about her death in 1978 — The New York Times was on strike then, along with The Daily News and The New York Post — and her ashes sat in a New Jersey funeral home...

Barbara Shermund (1899-1978). The Soda Fountain, ca. 1950s. Watercolor and ink on paper, 9 x 12 inches; 13 x 16 inches framed. Signed lower right. Exc...