Figurative Paintings

Medium: Oil on Canvas Dimensions: 29.00" x 25.00" Signature: Signed Upper Right

Signed by artist lower left. The Century Illustrated Monthly Magazine Cover

Provenance: with “Mr. Scheer,” Vienna, by July 1918; where acquired by: Jindřich Waldes, Prague, 1918–1941; thence by descent to: Private Collection, New York Literature: Rudolf Kuchynka, “České obrazy tabulové ve Waldesově obrazárně,” Památky archeologické, vol. 31 (1919), pp. 62-64, fig. 5. Jaroslav Pešina, “K datování deskových obrazů ve Waldesově obrazárně,” Ročenka Kruhu pro Pěstování Dějin Umění: za rok (1934), pp. 131-137. Jaroslav Pešina, Pozdně gotické deskové malířství v Čechách, Prague, 1940, pp. 150-151, 220. Patrik Šimon, Jindřich Waldes: sběratel umění, Prague, 2001, pp. 166, 168, footnote 190. Ivo Hlobil, “Tři gotické obrazy ze sbírky Jindřicha Waldese,” Umění, vol. 52, no. 4 (2004), p. 369. Executed sometime in the 1380s or 1390s by a close associate of the Master of the Třeboň Altarpiece, this impressive panel is a rare work created at the royal court in Prague and a significant re-discovery for the corpus of early Bohemian painting. It has emerged from an American collection, descendants of the celebrated Czech industrialist and collector Jindřich Waldes, who died in Havana fleeing Nazi-occupied Europe. The distinctive visual tradition of the Bohemian school first began to take shape in the middle of the fourteenth century after Charles IV—King of Bohemia and later Holy Roman Emperor—established Prague as a major artistic center. The influx of foreign artists and the importation of significant works of art from across Europe had a profound influence on the development of a local pictorial style. Early Italian paintings, especially those by Sienese painters and Tommaso da Modena (who worked at Charles IV’s court), had a considerable impact on the first generation of Bohemian painters. Although this influence is still felt in the brilliant gold ground and the delicate tooling of the present work, the author of this painting appears to be responding more to the paintings of his predecessors in Prague than to foreign influences. This Resurrection of Christ employs a compositional format that was popular throughout the late medieval period but was particularly pervasive in Bohemian painting. Christ is shown sitting atop a pink marble sarcophagus, stepping down onto the ground with one bare foot. He blesses the viewer with his right hand, while in his left he holds a triumphal cross with a fluttering banner, symbolizing his victory over death. Several Roman soldiers doze at the base of the tomb, except for one grotesque figure, who, beginning to wake, shields his eyes from the light and looks on with a face of bewilderment as Christ emerges from his tomb. Christ is wrapped in a striking red robe with a blue interior lining, the colors of which vary subtly in the changing light. He stands out prominently against the gold backdrop, which is interrupted only by the abstractly rendered landscape and trees on either side of him. The soldiers’ armor is rendered in exacting detail, the cool gray of the metal contrasting with the earth tones of the outer garments. The sleeping soldier set within a jumble of armor with neither face nor hands exposed, is covered with what appears to be a shield emblazoned with two flies on a white field, somewhat resembling a cartouche (Fig. 1). This may be a heraldic device of the altarpiece’s patron or it may signify evil, referencing either the Roman soldiers or death, over both of which Christ triumphs. This painting formed part of the collection assembled by the Czech industrialist and founder of the Waldes Koh-i-noor Company, Jindřich Waldes, in the early twentieth century. As a collector he is best remembered for establishing the Waldes Museum in Prague to house his collection of buttons (totaling nearly 70,000 items), as well as for being the primary patron of the modernist painter František Kupka. Waldes was also an avid collector of older art, and he approached his collecting activity with the goal of creating an encyclopedic collection of Czech art from the medieval period through to the then-present day. At the conclusion of two decades of collecting, his inventory counted 2331 paintings and drawings, 4764 prints, and 162 sculptures. This collection, which constituted the Waldesova Obrazárna (Waldes Picture Gallery), was first displayed in Waldes’ home in Prague at 44 Americká Street and later at his newly built Villa Marie at 12 Koperníkova Street. This Resurrection of Christ retains its frame from the Waldes Picture Gallery, including its original plaque “173 / Česky malíř z konce 14 stol.” (“Czech painter from the end of the 14th century”) and Waldes’ collection label on the reverse. The Resurrection of Christ was one of the most significant late medieval panel...

Signed (on verso): AF/2021

An artwork by Carlos Luna. "Miel y Canela" is a contemporary painting, gouache and charcoal on amate paper in red, black, and brown by Latin American artist Carlos Luna. The artwork ...

A painting by William Theophilus Brown. "Horse with Swimmers at Beach" is a Post-War figurative painting, acrylic on canvas in a palette of greens and purples by American artist Will...

A painting by Nathan Oliveira. "Mask" is a Post-War painting, acrylic, earth, and oil on canvas by Bay Area Figurative artist Nathan Oliveira. The artwork is signed and dated in the ...

Medium: Oil on Canvas Signature: Initialed Lower Left Cover Illustration for American Boy Magazine, May 1934. Includes copy of the magazine.

David Shrigley Untitled (View Things from a Distance), 2022 acrylic on paper 75 x 56 cm

Medium: Oil on Canvas Signature: Signed Upper Left "Dan Content 29" Story Illustration, Good Housekeeping Magazine, September 1929, pg 32-33 Biography: Daniel Content was born of Dutch parents and grew up in New York City. He attended New Eutriek High School in Brooklyn, NY. He studied under Dean Cornwell at the Pratt Institute as well as attending the Art Students League. Mr. Content worked as a freelance artist for about thirty years. He illustrated for such magazines as Colliers, Cosmopolitan, Readers Digest, and McCall's. In 1928 he illustrated the Windermere Series printing of Robin Hood. During World War II he traveled with the USO to Burma and India entertaining the service men with personal sketches. In the late 1950s he was an Art Director for Benton & Bowles in NYC. He also taught at the workshop School of Advertising Art. Mr. Content continued his sculpting and painting long after retirement. Some of his work can be found at Society of Illustrators in their permanent Museum. Exhibited: Masters of the Golden Age: Harvey Dunn and His Students South Dakota Art...

Medium: Oil on Canvas Signature: Signed Lower Center

Medium: Oil on Board Signature: Signed Lower Right Maclean's Magazine Cover, September 15th, 1930

Medium: Gouache on Board Signature: Signed Lower Right American Magazine story interior illustration

Medium: Oil on Canvas Signature: Signed Lower Left

Medium: Oil on Canvasboard Signature: Signed Lower Right Revere F. Wistehuff was one of the central group of cover artists in the New Rochelle Art Colony in the 1920's, '30s, '40s w...

Medium: Oil on Canvasboard Signature: Unsigned Dimensions: Sight Size 18.00" x 24.00;" Framed 28.50" x 35.50" Cover for Fate Magazine - August 1953 The original cover painting by H.W. McCauley used for the August 1953 cover of Fate (True Stories of the Strange and Unknown), illustrating "The Gods of Voodoo" by North Hildabrand. In this offering a dancing pin...

Medium: Oil on Canvas Signature: Unsigned

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters. In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23). In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”). Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5). During his sojourn in Japan, Moore spent time in Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable panels, he created about sixty scenes of daily life, among them this sparkling portrayal of a young woman dressed in a traditional kimono and carrying a baby on her back, a paper parasol...

A painting by Max Pellegrini. "Quadro teologico in onore di Puccetto, Canarino Morto da Tempo" is an oil on canvas painting executed primarily in a palette of blues and yellows with ...

Signature: Initialed Lower Left

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe...

Signed & Dated Lower Right

Medium: Oil on Canvas Signature: Signed "A.O.F 19" Lower Left "Man & Woman in Disagreement" Long affiliated with The Saturday Evening Post (nearly 50 years), he did dozens of covers and much story art, most notably the long-running Tug-Boat Annie and with maritime painting, Fischer was more versatile than depicting the sail and dreadnaughts when given a chance. Still, he's best known for painting the sea, her beauty and her dangers (whether hurricanes or U-Boats). It's no surprise that his oils graced such titles as The Cruise of the Cachalot: Round the World After Sperm Whales, Treasure Island, The Mutineers, 20000 Leagues Under the Sea...

Signed Lower Left

Painting for a Woodstock film's poster.

Medium: Oil on Canvas Dimensions: 20.00" x 29.00" Signature: Signed Lower Right

Date: 1944 Medium: Oil on Board Dimensions: 19.00" x 13.00" Signature: Signed Upper Left Advertisement for Gulf Oil, 1944.

Medium: Oil on Canvas Dimensions: 24.00" x 30.00" Signature: Signed Lower Right Hobo & 3 clowns at poker

Oil on canvas Canvas size: 6 x 12 inches Framed size: 13.5 x 17.5 inches Signed

Medium: Oil on Board Signature: Signed Lower Right Book cover for "Company K" by William March. Subject matter features three army soldiers in monochrome ...

Medium: Gouache on Board Dimensions: 27.00" x 12.75" Signature: Unsigned Written by Price on the mount below the image: Like endless lines of phantoms, men, horses, guns, wagons, continued to pass through the smoking forest. A striking and emotional night scene at the Battle of the Wilderness...

Date: 1952 Medium: Oil on Board Dimensions: 23.00" x 16.00" Signature: Signed Lower Left This is the paperback cover for A Bullet For My Love by Octav...

Medium: Oil on Canvas Signature: Signed Lower Right

Medium: Oil on Canvas Signature: Signed Twice and Dated Lower Left: Harvey / Dunn 1932 Harvey Dunn's Dawn, Dawn, Dawn is a truly exceptional illustration that captures a key moment of American History. In the present work, Dunn skillfully depicts colonial soldiers...

Date: 1921 Medium: Oil on Canvas Signature: Signed and Dated Lower Right Dimensions: 26.00" x 40.00" Illustration for American magazine.

Medium: Oil on Board Signature: Signed Lower Left Story illustration for "In The Cathedral" by Achmed Abdullah published in Cosmopolitan, May 1938, pages 24-25. The magazine descri...

Date: 1932 Medium: Oil on Canvas Dimensions: 18.00" x 20.00" Signature: Signed Lower Right A New Year's themed cover painting by Leslie Thrasher for the January 9, 1932 edition of L...

Date: 1927 Medium: Oil on Canvas Signature: Signed Lower Right Liberty Magazine Cover, September 24, 1927

Medium: Oil on Board Signature: Signed Lower Right Vogue magazine cover 3/15/13

Medium: Gouache Signature: Signed Lower Right a slave with shackles on the ground behind him appealing to Abraham Lincoln with the Civil War battle s...

Signed on verso

Medium: Oil on Canvas Dimensions: 28.00" x 22.00" Signature: Signed Lower Right

Exhibitions: It's a Man's World, Illustration Art by and for Men: November 14-17 2012, Illustration House NYC

Signature: Signed Lower Left ‘Stevan Dohanos’ Medium: Mixed Media on Paperboard Laid Down on Masonite The present work was published as the cover illustration of the June 26th, 1954...

Medium: Oil on Canvas Signature: Signed Lower Right Cover Illustration for ''Motor'' Magazine, February 1931 Depicting a Duryea Automobile Driving by a Blacksmith Shop

Date: 1970 Medium: Oil on Canvas Dimensions: 25.00" x 22.00" Signature: Signed Lower Right Fawcett book cover. Robert Berran has been a prolific romance and historical book cover il...

Medium: Oil on Masonite Signature: Signed 'John Falter' Lower Right Sight Size 7.00" x 9.375;" Framed 9.50" x 12.00" Johnson & Johnson reproduced the present work as an advertisemen...

Medium: Oil on Canvas Signature: Signed Lower Right This illustration dates circa 1950.

Date: 1958 Medium: Oil on Board Dimensions: 23.20" x 33.50" Signature: Signed Lower Left Story illustration for Good Housekeeping magazine, December 1958. Image of woman and two sailors leaving house at Christmas time. Exhibited: The Triumph of Winter, National Arts Club, New York, December 16, 2013- January 5, 2014 A Native American finding a Raggedy Ann doll...

Medium: Oil Board Dimensions: 40.00" x 25.50" Signature: Signed Lower Left Frank G. Slaughter 'Sword and Scalpel" Book Cover

Signature: Signed Lower Right Illustration, 1917

Medium: Oil on Canvas Laid on Board Signature: Signed Lower Left "Spring Is Here" The Country Home Magazine Cover, March (Year Unknown).

Signature: Signed Lower Right Medium: Gouache on Board

Medium: Oil on Canvas Signature: Signed Lower Left End of Track - Paperback Cover, written by Ward Weaver, Popular Library, 1951.

Signature: Signed Lower Left Medium: Mixed Media Illustration

Medium: Oil on Canvas Signature: Signed Lower Left

Medium: Oil on Canvas Laid on Board Signature: Signed Lower Right Sight Size 14.50" x 13.00;" Framed 23.75" x 21.75" The Subdivision, Liberty Magazine Cover, June 18...

Medium: Gouache on Board Signature: Signed Lower Right Seats of the Haughty, Munsey's Magazine illustration, December 1906 Literature: This illustration appeared in O. Henry's shor...