Figurative Paintings

Mixed Media on Paper Never afraid of trying new styles, curious and opinionated, constantly engaged with the world around him, Rolph Scarlett more than once proved to be at the arti...

Portrait of a Man French School signed and dated 1923 oil painting on canvas, unframed canvas: 16 x 13 inches provenance: private collection, France condition: good and sound conditi...

Bilateral: In Cafe 1920s, oil on cardboard, 60x45 cm Fishermen houses 1930s, oil on cardboard, 45x60 cm Both pieces, "In Cafe" and "Fishermen Houses," are unique in their subject matter and showcase the artist's individual style and interpretation of the chosen themes. As separate artworks, they each carry their own narratives and evoke different emotions or perspectives for viewers to appreciate and enjoy. Aleksandra Belcova...

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...

ROWLAND WHEELWRIGHT A beautiful painting by Roland Wheelwright in keeping with his traditional subject matter. This piece is a large and important example of his work and is not oft...

CELSO LAGAR Spanish, 1891 - 1966 LES MUSICIENS signed "Lagar" (lower right) signed again, located & dated "Lagar / Paris 1928" (on the reverse) oil on canvas 23-3/4 x 28-3/4 inches ...

Recently, women artists have been soaring in price to millions of dollars. In many cases, many of these women were quite obscure. For example, recently acknowledged Gertrude Abercrombie, a naive surrealist artist, has recently seen her paintings rise to the area of $400K. Lorraine Fox, who is a consummate female artist/ illustrator whose work rivals any of the recently anointed female stars is still an unknown quantity. She has exhibited at the Brooklyn Museum and is in the collection of the Smithsonian Archives of American Art, and she is a member of the Famous Artists School in Westport, Connecticut along with Norman Rockwell, Today she is relatively unknown and completely off the radar of the so-called art establishment. Wedding Day is a wonderful example of her mid-century, somewhat naive style. The work is signed lower right and was exhibited at the Brandywine River...

Beautiful oil on canvas painting with aerosol spray paint of two reclining figures by the well known Russian/American artist, Nahum Tschacbasov. Signed upper right and dated 1949. ...

A "Thumb Box" (or diminutive) painting of sailors in Hanover, NH by Harold Haydon. Harold Emerson Haydon was born in Fort William, Ontario, Canad...

"Twilight of History" is an original oil on board painting by Frederick Shane (1906-1992) from 1947. Shane's reflection of the twilight of our existence is shown with three creatures...

Signed fauvist figurative oil on panel by French painter Louis Valtat. This stunning piece depicts a nude orchestra with the conductor in the foreground. The musicians are playing ce...

The extensive work of Vilma Eckl covers a period of more than seventy years. Her incomparable artistic talent and her essential contribution to the history of art can be seen in her ...

The extensive work of Vilma Eckl covers a period of more than seventy years. Her incomparable artistic talent and her essential contribution to the history of art can be seen in her ...

Everett Spruce (1908 - 2002) Austin Artist Image Size: 18 x 15 Frame Size: 28 x 25 Medium: Oil on paper / Mixed Exhibited at a University of Texas Faculty art show in 1947 Unsigned Biography Everett Spruce (1908 - 2002) The following, submitted by a researcher of the Ashworth Collection of Native American and Western Art, is from the artist's obituary in the Fort Smith, Arkansas "Times Record" newspaper, October 20, 2002. Everett F. Spruce, well-known artist, teacher, professor emeritus, died Friday, Oct. 18, 2002, at age 94. Everett Spruce was born on a farm in Conway to William E. and Fannie McCarty Spruce. He came to Dallas, at age 17, on a scholarship to study at the Dallas Art Institute, under Olin Travis and Thomas M. Stell Jr. In 1931, he became gallery assistant at the Dallas Museum of Fine Arts and in 1934 married Alice V. Kramer, a fellow art student. He was one of the "Dallas Nine" group of Southwest artists...

Still Life with Glass and Porcelain is an artwork realized by Paul Walter Erhardt (1872-1959). Oil on canvas, signed upper right. 60 x 75 cm, f...

Expressionist style self portrait of the artist, Cornelis Ruhtenberg (1923-2008), oil on board painted in 1949. Signed by the artist on verso. Interior scene of the artist painted in...

Saint-Germain-des-Prés. 1946. Oil on canvas, 73x92 cm

Atul Bose - Royal Academy Series-3 Pen & Ink on Paper, 15 x 11.2 inches (Unframed Size) 1924-26 (Delivered Unframed in as is condition) Atul Bose was a master artist whose creative journey spanned several decades and left an indelible mark on the Indian art scene. He was born in 1898 in a small village in Bengal and showed an early aptitude for art. Despite facing financial difficulties, he pursued his passion and enrolled in the Government School of Art in Calcutta. Bose's early works were influenced by the Bengal School of Art, which was a movement that sought to revive traditional Indian art forms. However, over time, Bose developed his own unique style that blended elements of Indian art with European modernism. He was particularly influenced by the works of artists like Paul Cezanne and Georges Braque. Bose spent two years, 1924-6, at the Royal Academy. He was heavily influenced there by the post-impressionist Walter Sickert. He refused an invitation to help decorate the pavilion at the British Empire Exhibition in 1924 with Mukul Dey...

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...

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...

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...

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 ...

"The Harvesters" Raphaël Dubois aka Chanterou (Belgium, 1888-1960) Signed bottom left under the pseudonym "Chanterou" Oil on canvas 23 1/2 x 19 1/4 (27 3/4 x 23 3/4 frame) inches B...

A beautiful oil on panel by French post-impressionist painter Jacques Martin-Ferrieres depicting a view of lone gondolier rowing his gondola with a backdrop of the city of Venice in ...

This retablo was purchased by the gallery in Mexico City. I knew the family that sold this retablo to me. The writing says" Puebla 1940,. It is a prayer to St. George thanking him that his dog saved him from being attached from a snake. He is is thankful that his dog was not bitten by the snake. Bernardino Pantoja This ex-voto is in excellent condition. It is framed behind conservatorship glass. The framed size is 14" x 15". The class should only be cleaned with ammonia free cleaner. An ex-voto is a votive offering to a saint or to a divinity; the term is usually restricted to Christian examples. It is given in fulfillment of a vow (hence the Latin term, short for ex voto suscepto, "from the vow made") or in gratitude or devotion. Ex-votos are placed in a church or chapel where the worshiper seeks grace or wishes to give thanks. The destinations of pilgrimages often include shrines decorated with ex-votos. Ex-votos can take a wide variety of forms. They are not only intended for the helping figure, but also as a testimony to later visitors of the received help. As such they may include texts explaining a miracle attributed to the helper, or symbols such as a painted or modeled reproduction of a miraculously healed body part, or a directly related item such as a crutch given by a person formerly lame. There are places where a very old tradition of depositing ex-votos existed, such as Abydos in ancient Egypt. Especially in the Latin world, there is a tradition of votive paintings, typically depicting a dangerous incident which the offeror survived. The votive paintings of Mexico...

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...

Corn Kachina, by Riley Sunrise, Quoyavema, Hopi, Kachina, Dancer, painting Artist Signature - Riley Sunrise (1914-2006) Quoyavema “Another of the earlier Hopi artists, Riley Sunrise (Quoyavema) worked with Fred Kabotie and Waldo Mootzka in illustrating John Louw Nelson’s Rhythm for Rain. He is also known as Quoyavema or Kwayeshva, according to Nelson. His paintings are comparable to Fred Kabotie’s, with some of them showing more action and most of them revealing less detail. Sunrise is represented in the collections of the Denver Art Museum, Gilcrease Institute (Tulsa), and the Southwest Museum. The Museum of the American Indian in New York has an extensive collection of his paintings of native Hopi dances.” (Clara Lee Tanner: Southwest Indian...

Interior is an artwork realized by Antonio Donghi in 1922 ca. Oil on canvas, cm. 60x40. Hand signed in the lower right part. Good condition, Antonio Donghi (Rome, March 16, 189...

Prolific Saturday Evening Post Cover Illustrator Pearl L. Hill Worthington paints a stunning portrait of a Ballerina in a tutu with underlighting. She sits on a decorative Chinese ...

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...

Rudolf Johann Weiss (Swiss, * 3.9.1846 Basel, † 17.4.1933 Biel) Die Twannbachgrotte/Twannbachschlucht bei Twann, Biel, Schweiz (= The Twannbach Cave/Twannbach Canyon by Douanne, Bie...

Signed J. Sureda Lloveras - Fishermen's beach - Oil on board Oil measures 33x41 cm. Frameless. Signed J. Sureda Lloveras.

Atul Bose - Royal Academy Series-4 Conte on Paper, 15 x 11.2 inches (Unframed Size) 1924-26 (Delivered Unframed in as is condition) Atul Bose was a master artist whose creative journey spanned several decades and left an indelible mark on the Indian art scene. He was born in 1898 in a small village in Bengal and showed an early aptitude for art. Despite facing financial difficulties, he pursued his passion and enrolled in the Government School of Art in Calcutta. Bose's early works were influenced by the Bengal School of Art, which was a movement that sought to revive traditional Indian art forms. However, over time, Bose developed his own unique style that blended elements of Indian art with European modernism. He was particularly influenced by the works of artists like Paul Cezanne and Georges Braque. Bose spent two years, 1924-6, at the Royal Academy. He was heavily influenced there by the post-impressionist Walter Sickert. He refused an invitation to help decorate the pavilion at the British Empire Exhibition in 1924 with Mukul Dey...

Atul Bose - Royal Academy Series-6 Pencil on Paper, 15 x 11.2 inches (Unframed Size) 1924-26 (Delivered Unframed in as is condition) Atul Bose was a master artist whose creative journey spanned several decades and left an indelible mark on the Indian art scene. He was born in 1898 in a small village in Bengal and showed an early aptitude for art. Despite facing financial difficulties, he pursued his passion and enrolled in the Government School of Art in Calcutta. Bose's early works were influenced by the Bengal School of Art, which was a movement that sought to revive traditional Indian art forms. However, over time, Bose developed his own unique style that blended elements of Indian art with European modernism. He was particularly influenced by the works of artists like Paul Cezanne and Georges Braque. Bose spent two years, 1924-6, at the Royal Academy. He was heavily influenced there by the post-impressionist Walter Sickert. He refused an invitation to help decorate the pavilion at the British Empire Exhibition in 1924 with Mukul Dey...

Artist: Pál Fried (Hungarian, 1893-1976) Title: "Intermission (Ballerina)" *Signed by Fried lower left Circa: 1940 Medium: Original Oil Painting on Canvas Framing: Recently framed in a gold Louis XV style frame Framed size: 39" x 33" Canvas size: 30" x 24" Condition: In excellent condition Notes: Provenance: private collection - Port Orange, FL; acquired from Herbert Arnot Gallery, New York, NY in the early 1970's. Titled by Fried on verso. The artist's copyright stamp and various reference number on verso. Biography: Pál Fried was born in Budapest in 1893. He received his art education at the Académie hongroise des arts (Hungarian Academy of Arts) where he was a pupil of Hugo Pohl who became one of his major influences. While under Pohl's direction, he executed many portraits of female nudes and Orientalist works. Later he studied in Paris at the Académie Julian, where he was the pupil of Claude Monet and Lucien Simone. In Paris, he was greatly influenced by the French Impressionists, especially Pierre-Auguste Renoir and Edgar Degas. This inspired him to prepare many paintings of ballerinas...

Atul Bose - Royal Academy Series-4 Conte on Paper, 15 x 11.2 inches (Unframed Size) 1924-26 (Delivered Unframed in as is condition) Atul Bose was a master artist whose creative journey spanned several decades and left an indelible mark on the Indian art scene. He was born in 1898 in a small village in Bengal and showed an early aptitude for art. Despite facing financial difficulties, he pursued his passion and enrolled in the Government School of Art in Calcutta. Bose's early works were influenced by the Bengal School of Art, which was a movement that sought to revive traditional Indian art forms. However, over time, Bose developed his own unique style that blended elements of Indian art with European modernism. He was particularly influenced by the works of artists like Paul Cezanne and Georges Braque. Bose spent two years, 1924-6, at the Royal Academy. He was heavily influenced there by the post-impressionist Walter Sickert. He refused an invitation to help decorate the pavilion at the British Empire Exhibition in 1924 with Mukul Dey...

Thomas M. Dietrich 1912-1998 The Death of Crispus Attucks, 1943 Tempera and oil on board 21 x 15 inches Signed and dated: Tom Dietrich 1943 Thomas M. Dietrich was an artist in residence at Lawrence College for 30 years and painted in the American Regionalist style. He exhibited yearly at the Art Institute of Chicago where he also received the acclaimed International William Tuthill Prize for watercolors in 1941 (Charles Burchfield won the associated Logan prize that same year) Dietrich also received a Louis Comfort Tiffany Foundation fellowship and was a founding member of the Wisconsin Watercolor Society. In 1943 Deitrich painted The Death of Crispus Attucks, depicting the historical battle known as the Boston Massacre...

Frank Nelson Wilcox (American, 1887-1964) On the Back Porch, Brecksville, Ohio, c. 1922 Watercolor on paper Monogram lower right 21.5 x 27. 5 inc...

Atul Bose - Royal Academy Series-6 Pencil on Paper, 15 x 11.2 inches (Unframed Size) 1924-26 (Delivered Unframed in as is condition) Atul Bose was a master artist whose creative journey spanned several decades and left an indelible mark on the Indian art scene. He was born in 1898 in a small village in Bengal and showed an early aptitude for art. Despite facing financial difficulties, he pursued his passion and enrolled in the Government School of Art in Calcutta. Bose's early works were influenced by the Bengal School of Art, which was a movement that sought to revive traditional Indian art forms. However, over time, Bose developed his own unique style that blended elements of Indian art with European modernism. He was particularly influenced by the works of artists like Paul Cezanne and Georges Braque. Bose spent two years, 1924-6, at the Royal Academy. He was heavily influenced there by the post-impressionist Walter Sickert. He refused an invitation to help decorate the pavilion at the British Empire Exhibition in 1924 with Mukul Dey...

Oil on canvas glued to board. Oil measures 25x40 cm. Frameless. Illegible signature.

Atul Bose - Royal Academy Series-3 Pen & Ink on Paper, 15 x 11.2 inches (Unframed Size) 1924-26 (Delivered Unframed in as is condition) Atul Bose was a master artist whose creative journey spanned several decades and left an indelible mark on the Indian art scene. He was born in 1898 in a small village in Bengal and showed an early aptitude for art. Despite facing financial difficulties, he pursued his passion and enrolled in the Government School of Art in Calcutta. Bose's early works were influenced by the Bengal School of Art, which was a movement that sought to revive traditional Indian art forms. However, over time, Bose developed his own unique style that blended elements of Indian art with European modernism. He was particularly influenced by the works of artists like Paul Cezanne and Georges Braque. Bose spent two years, 1924-6, at the Royal Academy. He was heavily influenced there by the post-impressionist Walter Sickert. He refused an invitation to help decorate the pavilion at the British Empire Exhibition in 1924 with Mukul Dey...

J. BREYNAT (XXth century) Oil on cardboard 20 x 30 cm (28 x 38 cm with the frame) Signed and dated lower left "J. Breynat / 1921" Beautiful carved wooden frame from the 19th century ...

Still life with Calla Lily is an oil painting on masonite realized by Ugo Celada da Virgilio. Hand-signed on the lower left. Provenance: Galerie Sigfrid O...

Signed and titled verso on stretcher "Lea Ancient Revel". Subtitled verso on label in artist's hand: "An attempt to marry ancient mineral matter with people". Exhibited at the 194...

Provenance: Private collection, Orlando, Florida

Signed by Artist Lower Right Maxwell House Coffee

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...

Wonderful 1940s figurative of paper boy reading the comics by Louise Miller Clark (American, 20th Century). Signed "Louise Miller" lower right. Unframed. Im...

Signed by Artist in Lower Right The Saturday Evening Post, April 14, 1928, cover illustration Literature: Arthur Leighton Guptill, Norman Rockwell, Illustrator, New York, 1970, p....

Study for Satruday Evening Post Cover, Fabruary 16, 1929

UNKNOWN Woman in Green Scarf with Cat 1940 Oil on canvas 16 x 12.5 inches Framed: 21 x 18 inches

Byron Browne was an important American modernist painter. Ink, tempera, and crayon on paper Signed and dated lower right.

Original oil on canvas painting by the well known Russian/American artist, Nahum Tschacbasov. Signed middle right and dated 1943. Condition is very good. Unlined canvas. The painti...

Dressed in traditional clothing, a handsome Chinese man is depicted as he sits resolutely with one hand on his leg and the other holding a baton. Female Artist Joyce Ballantyne...

Signed by artist lower right The Saturday Evening Post cover, July 29, 1922 This commission for The Saturday Evening Post is a brill...

Inscribed on back #174 House of Kuppeneheimer 1927 fashion advertisement, catalog cover.

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Lovers Painting on canvas / frame Charles Léandre Circa 1925 Signature lower right L 81 cms x h 115 cms