Board Figurative Paintings

Approximate Date: 1953 Medium: Oil on Board Signature: Signed Lower Left Dimensions: 24.00" x 16.50" This illustration was published as the paperback cover of The Golden Egg...

Signature: Signed Lower Left The Girls of Canby Hall Series by Emily Chase, published by Scholastic (1984–1989), is a collection of young adult novels, based around the lives of a g...

Sunil Das - Head I - 10 x 8 inches (unframed size) Mixed Media on Board Free Shipping Without Frame Sunil Das (1939-2015) was a Master Modern Indian Artist from Bengal. Extremel...

Oil paint on heavy illustration board by the Spanish artist, Cecilio Pla. Signed lower right. Titled and signed verso. “Tipos” means types; different type...

Medium: Sepia Gouache on Board Dimensions: 25.50" x 16.50" Signature: Signed Lower Right Story Illustration, Two Victorian women, man reading lett...

Oil on hardboard, 1963, by Heinz Borchers ( 1898-1972 ), Germany. Framed. 25.59 x 15.55 in ( 65 x 39,5 cm ) Provenance: estate of the artist

Medium: Gouache and Watercolor on Board Signature: Signed Lower Right Exhibitions: Allentown Art Museum, At the Edge: Art of the Fantastic (June 3- September 9, 2013)

Boy eating Corn by Great Modern Indian Artist Paritosh Sen 20 x 12 inches (unframed size) - Acrylic on board Inclusive of shipment in a roll form. Boy eating Corn : Great acrylic w...

Boy eating Corn by Great Modern Indian Artist Paritosh Sen 20 x 12 inches (unframed size) - Acrylic on board Inclusive of shipment in a roll form. Boy eating Fruit, figurative in a...

Jim’s of Lambertville is proud to offer this artwork by: Gershon Benjamin (1899-1985) An American Modernist of portraits, landscapes, still lives, and the urban scene, Gershon Benj...

Translated title: "Mystic cloud" Acrylic on cardboard and wood.

George Nemethy finds his inspiration in moments of quiet and solitude. Where he finds himself one with the sea and the sky and the tranquil world which he freely escapes to. Trained from an early age by his father Albert Nemethy, a world-renowned painter known best for his large scale steamer boats, George found...

An original egg tempera painting by American female artist Catherine Koenig.

Medium: Oil and Pencil on Board Dimensions: 29.50" x 23.25" Signature: Signed Lower Left

Painting of The Merry Wives of Windsor attributed to John Calcott Horsley English, 19th Century Frame: Height 97.5cm, width 74cm, depth 7cm Panel: Height 78cm, width 54cm, depth 0.5c...

Perez Pétriarte Mother and Child Oil on Wood Board Perez Pétriarte grew up on the coast of SW France. This painting is one her rarer works appearing for sale from the 1980s She is a...

The realist acrylic on board miniature painting, "Mount Vernon," 2017, is an intimate travelogue panel by midwestern artist, Steven Paddack. Anyone who has been on a road trip knows ...

George Nemethy finds his inspiration in moments of quiet and solitude. Where he finds himself one with the sea and the sky and the tranquil world which he freely escapes to. Trained from an early age by his father Albert Nemethy, a world-renowned painter known best for his large scale steamer boats, George found...

Gregory Kitterle's Arch and Pole is a 11.8 x 12-inch ink, oil, and pencil painting on board. It oscillates between figuration and abstraction, in a tridimensional space alternating b...

Three young boys talking. One of the boys is playing with a military jacket on the chair. Signed lower center. The illustrations of Douglas Crockwell were often simply signed “Douglass” to avoid confusion with the signature of Norman Rockwell, particularly since their work was being published on the covers of The Saturday Evening Post during the same period. Necessary too, because Crockwell also worked very realistically, and like Rockwell, was particularly good with children. Their backgrounds, however, were entirely different. Crockwell was born in Chicago, Ohio, and took his degree in Science at Washington University, followed by study at the Academy of Fine Arts in Chicago and the St. Louis School of Fine Arts. He received his first commission for a cover for The Saturday Evening Post in 1933, and this was followed by many more, as well as work for other periodicals and a long list of national advertisers. During the ‘thirties, he also completed Post Office murals in Vermont, New York State and Mississippi, and began to work on experimental animated films. The films, and inventing a “pan-stereo” viewing...

George Nemethy finds his inspiration in moments of quiet and solitude. Where he finds himself one with the sea and the sky and the tranquil world which he freely escapes to. Trained from an early age by his father Albert Nemethy, a world-renowned painter known best for his large scale steamer boats, George found and nurtured his passion for miniature sailboats...

The realist acrylic on board miniature painting, "Wright City, MO," 2017, is an intimate travelogue panel by midwestern artist, Steven Paddack. Anyone who has been on a road trip kno...

Whitney Myron Hubbard's wife in the garden Signed in pencil lower left Whitney M. Hubbard. Framed in a contemporary gold leaf frame 16 by 13.75 inches. A seventy year resident of G...

George Nemethy finds his inspiration in moments of quiet and solitude. Where he finds himself one with the sea and the sky and the tranquil world which he freely escapes to. Trained from an early age by his father Albert Nemethy, a world-renowned painter known best for his large scale steamer boats, George found...

Medium: Oil on Board Dimensions: 18.00" x 16.00" Folk Art piece of a police man stopping horse drawn buggy for child to cross street.

Medium: Acrylic on Board Dimensions: 17.00" x 20.00" Signature: Signed Lower Left The Girls of Canby Hall, The Chost of Canby Hall Book Cover, by Emily Chase

Date: 1943 Medium: Oil on Board Dimensions: 17.50" x 25.50" Signature: Signed Lower Left Born in San Francisco, Amos Sewell was a ranking California tennis player in his 20s wh...

Medium: Oil on Canvas Board Signature: Unsigned "I married a dead man" Cover Illustration

George Nemethy finds his inspiration in moments of quiet and solitude. Where he finds himself one with the sea and the sky and the tranquil world which he freely escapes to. Trained from an early age by his father Albert Nemethy, a world-renowned painter known best for his large scale steamer boats, George found and nurtured his passion for miniature sailboats...

Medium: Acrylic on Board Dimensions: 18.75" x 21.00" Signature: Signed Lower Right

Contemporary Large-Scale Cubist Figurative Abstract Lavender Interior Scene Bursting with bright colors and whimsical energy, this contemporary figurative abstract painting by San ...

George Nemethy finds his inspiration in moments of quiet and solitude. Where he finds himself one with the sea and the sky and the tranquil world which he freely escapes to. Trained from an early age by his father Albert Nemethy, a world-renowned painter known best for his large scale steamer boats, George found...

Medium: Oil on Board Dimensions: 14.00" x 20.00" Signature: Signed Lower Right Robert Berran has been a prolific romance and historical book cover illustrator since the 1970s.

Date: 1951 Medium: Oil on Board Dimensions: 14.00" x 21.00" Signature: Signed Lower Right Story illustration for Saturday Evening Post magazine, February 3, 1951. Born in Sa...

Medium: Acrylic on Board Dimensions: 16.5" x 19.00" Signature: Signed Lower Left

Date: 1921 Medium: Gouache on Board Dimensions: 20.75" x 17.00" Signature: Signed Lower Right (Monogram)

Artist: Rex Clawson, American (1929 - 2007) Title: The War on Poverty Rock Year: 1968 Medium: Oil on Board, signed and dated Size: 13 x 10 inches; 33 x 25.4 cm Frame: 18 x 15 inches;...

Medium: Oil on Board Dimensions: 28.00" x 24.00" Signature: Signed Lower Right Calendar Illustration

Medium: Oil on Board Dimensions: 18.00" x 14.00" Signature: Signed Lower Left Biblical illustration.

Date: 1966 Medium: Oil on Board Dimensions: 10.50" x 9.75" Signature: Signed Lower Right Men magazine, upper half cover, March 1966

Cubist gouache figural of a man wearing a sombrero and boots contrasted against a scumbled and dry-brush background of ochre, deep crimson red and umber. Signed lower left, "Jakobse...

Medium: Gouache on Board Signature: Signed Lower Right Dimensions: 30.00" x 22.00"

Signed Ernst Gunnar Widholm (1882 - 1953). Vivid sunset color explosion in the coastal green opening reveals sacred action of the mythological reality: beautiful bacchantes taking ca...

Signed figurative oil on board circa 1890 by French Nabis school painter Edouard Vuillard. The work depicts two seated ladies dressed in black with grey pinafores enjoying coffee together. Illustrated in the Catalogue Raisonne of Edouard Vuillard by Antoine Salomon and Guy Cogeval - Volume I, Page 229 - Reference IV-7 This striking work dates to between 1890 and 1891 which was without doubt Vuillard’s greatest decade as an artist. At this time the painter was working with the group of artist known as "Les Nabis" which included Pierre Bonnard, Maurice Denis, Paul Ranson, Ker-Xavier Roussel, Félix Vallotton, Paul Sérusier and Auguste Cazalis. The group played a large part in the transition from impressionism and academic art to abstract art, symbolism and the other early movements of modernism. They believed that a work of art was not a depiction of nature, but a synthesis of metaphors and symbols created by the artist. Signature: Signed lower right Dimensions: Framed: 19.25"x20.25" Unframed: 9.25"x10.25" Provenance: Renou et Poyet - Paris Roland, Browse & Delbanco - London (labels verso) c. 1955 The collection of Sir Alec Guinness Galerie Jan Krugier, Geneva - 1972 Nichido Gallery - Tokyo 1972 Private collection - Japan Christie's London - Impressionist & Modern Art - June 2016 Édouard Vuillard attended the Lycée Condorcet in Paris, where he made friends with Maurice Denis, Lugné-Poe, and Ker-Xavier Roussel, later his brother-in-law. He studied in Maillart’s studio; for six weeks came under the tutelage of Jean-Léon Gérôme at the École des Beaux-Arts in Paris; and later under William Bouguereau and Robert at the Académie Julian, where he became closely linked with the Nabis group (from the Hebrew word for ‘prophet’). He met Marcel Proust in 1902. From 1908, he taught at the Académie Ranson. In 1937, he was elected member of the Institute. At first, Vuillard painted small subjects, disciplined and proficient, qualities for which the prestigious École Française was famous. His earliest still-lifes (1888) are astonishing in their decisiveness and subtlety. His empathy for the object had already compelled him to soften its appearance; the object, which, by virtue of its bright or glossy presence, remained the nonego and the ‘thing represented’ for so many others. ‘Intimacy’ developed immediately between the painter and this modest environment; inhabiting it every day enabled him to celebrate its splendour, and it was to remain his favourite environment. But he was already alternating between small portraits and still-lifes, which gained recognition because of their natural qualities and dignity of tone: a rare combination in a beginner. About 1890, influenced indirectly by Paul Gauguin, all the certainties which the self-styled Nabis painters had contented themselves with suddenly collapsed. Everything was called into question again: both the linear layout of the picture and its colour scheme; the choice of subject and its material aspect; its manufacture and its purpose. Vuillard’s paintings at that time show surprising, bold innovations and an arbitrary power, which one would expect 15 or 20 years later at the height of the Fauvist period. The preoccupation with an internal geometry set them apart from earlier studies. From then on, the paintings were based on forms, lines, and colours. Vuillard made concessions. He produced a portrait or interior with its furniture and its wallpapers, in which the family inhabiting it, evolves. Treated with flat areas of colour and solid shades of ochres, reds, blues, and saffron yellow, without modulation, they seem to prefigure certain paintings by Henri Matisse and Roger de La Fresnaye. In 1891, Vuillard painted an Elegant Lady, a silhouette seen from the back; a long vertical shape starting from the hair decorated with brown feathers; there is a kind of pink cloak, the tight and never-ending black skirt, erect in front of a half-open, bright orange door in a green wall, from where the light of another vertical shape emerges, which is bright yellow, and is reflected in red on the parquet at the feet of the elegant lady. This painting meets his concerns about the actual moment of creating ‘harmonies corresponding to our feeling’, and by virtue of its almost geometric structure, its drawing entirely free of detail, its light effects and colour harmonies, very much prefigures aspects of the future Abstraction movement and is oddly reminiscent of the final period of Nicolas de Staël. All too often, Vuillard is only admired in his role as the harmonist, the serene contemplator who combines an exquisite sense of nuance, rhythms, and values with the most acute observation. These singular investigations, these three-dimensional meditations including a table, a folding metal cot...

"Saint Germain" Paris Cityscape by Konstantin Korovine Lively Paris street scene by Konstantin Alexievitch Korovine (Constant Korovin) (Russian, 1861-1939). In a plaza outside a large building, people are going about their daily lives. In the foreground, a woman relaxes at a table with a few apples on it. A car passes behind the woman to the left. The painting is executed in Korovine's signature style - rapid, confident strokes that evoke the character of the scene without excess detail. Signed in the lower left corner "Constant Korovine". And Titled with date and signature, Location and dated: "Saint Germaine, September 13, 1931", and artist's name "Constant Korovine" written in lower right corner. Two stamps on verso (one from Douane Centrale, Paris) Board size: 13"H x 16"W Konstantin Alekseyevich Korovin was a leading Russian Impressionist painter. Konstantin was born in Moscow to a merchant family officially registered as peasants of Vladimir gubernia. His father, Aleksey Mikhailovich Korovin, earned a university degree and was more interested in arts and music than in the family business established by Konstantin's grandfather. Konstantin's older brother, Sergey Korovin, was a notable realist painter. Konstantin's relative Illarion Pryanishnikov was also a prominent painter of the time and a teacher at the Moscow School of Painting, Sculpture and Architecture. In 1875 Korovin entered the Moscow School of Painting, Sculpture and Architecture, where he learned from Vasily Perov and Alexei Savrasov. His brother Sergey was already a student of the School. During their scholar years the Korovins became friends with their fellow students Valentin Serov and Isaac Levitan...

This recently rediscovered expressionist drawing by László Moholy-Nagy is part of a small group of drawings made by the artist early in his career, in Vienna and Berlin. The use of interlaced curves, typical of the artist's technique, gives this hieratic portrait a magnetic radiance, while the absence of any connection with the rest of the body evokes a profane Holy Face. 1. From Hungary to Chicago, the ardent life of László Moholy-Nagy Moholy-Nagy was born in Borsod, now known as Bácsborsód in Southern Hungary, in July 1895. He studied law in Budapest in 1913, when he was drafted into the Austro-Hungarian army to serve as an artillery officer on the Italian and Russian fronts. While serving at artillery observation posts, Moholy-Nagy was able to execute numerous drawings, recording his traumatic war experience, on the reverse of military-issued postcards which he could easily carry with him. In 1917, he was seriously wounded and hospitalized. The following year (around 1918 at the age of 23), he abandoned his plans to become a lawyer in favour of a career as an artist, with the encouragement of his friend, the art critic Iván Hevesy. The drawings executed in those early years reveal Moholy-Nagy's powerful Expressionist lines. In his autobiography of 1944, Abstract of an Artist, Moholy-Nagy explained his early figurative style, writing that contemporary art in those days was too chaotic and that and all the '-isms' were incomprehensible and puzzling to him. He was, however, experimenting with Dadaist compositions already in 1919 and then moved to Vienna and later to Berlin, where he would soon make his first works in his Constructivist style of the early 1920s. In Berlin he met photograph and writer Lucia Schultz who became his wife the next year. In 1922 he met Walter Gropius. During a vacation on the Rhome with Lucia, she introduced him to making photograms on light-sensitized paper. Walter Gropius invited him to teach at the Bauhaus in Weimar in 1923 where he replaced Paul Klee as Head of the Metal Workshop. The Bauhaus became known for the versatility of its artists and Moholy-Nagy was no exception: throughout his career, he became proficient in the fiels of photography, typography, sculpture, painting, printmaking, film-making and industrial design. In 1928 Moholy-Nagy left the Bauhaus and established his own design studio in Berlin. He separated from his first wide Lucia in 1929. In 1931 he met actress and scriptwriter Sibylle Pietzsch. They married in 1932 and has two daughters, Hattula (born 1933) and Claudia. After the Nazis came to power in Germany in 1933, he was no longer allowed to work there. He moved his family to London in 1935. In 1937, on the recommendation of Walter Gropius, Moholy-Nagy moved to Chicago to become the director of the New Bauhaus, but the school closed in 1938. Moholy-Nagy resumed doing commercial design work, which he continued for the rest of his life. In 1939 Moholy-Nagy opened the School of Design in Chicago, which became in 1944 the Institute of Design, becoming part of the Illinois Institute of Technology in 1949. Diagnosed with leukemia in 1945, Moholy-Nagy died of the disease in Chicago in 1946. 2. Description of the artwork This drawing presents us with a frontal representation of a man in his thirties, whose penetrating gaze seems to stare at us. The face is highly symmetrical and is modelled by curved black lines. The very high forehead and the slightly dilated left pupil reinforce the very expressive character of the face. Like the Holy Face which appeared on the cloth stretched out to wipe Christ's face by Saint Veronica, only the model's face is represented on the cardboard piece. The curved lines that define the face, hollowing out the temples, the eyelids, the cheeks and the area around the mouth, create a kind of magnetic radiation around a median point located between the eyebrows. In some respects, this face may evoke one of the most famous representations of the Holy Face: the extraordinary engraving by Claude Mellan...

CELSO LAGAR Spanish, 1891 - 1966 THE CLOWN signed and dated "Lagar 52" (lower right) gouache on cardboard 10-5/8 x 8 inches (27 x 20.5 cm.) PROVENANCE Private French Collector Cel...

Set of Five late 19th century Italian or French portraits of Putti or Angels A unique set of five oils on board depicting either Cherubs or Putti, ...

Signed lower right. Ángel Botello (June 20, 1913 - November 11, 1986) was a Spanish-Puerto Rican painter, sculptor, and graphic artist. He was dubbed "The Caribbean Gauguin" for his...

Medium: Oil on Board Signature: Signed Lower Left Dimensions: 23 7/8" x 20.00" Cover of The Saturday Evening Post, June 21, 1958

Thaddeus Welch (American 1844-1919) The Columbian Exhibition, the 1893 Chicago World’s Fair 70 x 35”, oil on board signed Request Price The C...

Chambers transforms the pastoral into the extraordinary. Long before she puts paint to a canvas, her artistic process begins with the simple act of paying attention. From the outside looking in...

Vibrant, yet also subdued, this work’s use of color and line imbue ordinary subject matter with an uplifting sense of levity and beauty. Bolstered by a strong use of abstract elements and impressionist techniques, this oil on canvas painting is an excellent example of Chambers’ unique stylistic blend. Chambers transforms the pastoral into the extraordinary. Long before she puts paint to a canvas, her artistic process begins with the simple act of paying attention. From the outside looking in, she observes often overlooked aspects of life to discover an otherwise unseen beauty in the ordinary. Her paintings are vibrant compositions of color. She works in two distinct palettes, one bright the other subdued, each containing an incredible diversity of hue and value. Her insistence on variety furthers the idea that everything contains its own unique beauty, if only you stop to notice. Chambers skillfully uses lines and shapes to both break up the vibrancy of the canvas and to imbue her compositions with a narrative power. The line work introduces a tension to the color as the objects of her focus appear to pop and the details of each scene defiantly catch the viewer’s impatient eye. It is in this way that her paintings elevate above mere depiction to offer a lesson in the observation of art. Each painting has strong elements of abstract and impressionist techniques, as well as drawn forms that are cartoon like in character. The blend of the two adds dimension to the flat surface and provides visual anchors in the midst of the cacophony of color. Based in Belleville, Texas, Chambers is a “Texas Big 10 for Art” prize winner at KCAM, a recipient of the “Silver Award” from Art Forward, and the “Alexander Rutsch Painting Award” from the Pelham Art Center. Chambers’ art has been featured in numerous shows in galleries across the United States, including Houston, Lexington, Palm Beach, and New York. Select exhibitions include The Grace Museum in Abilene, the Dairy Arts Center in Boulder, Colorado, the McKinney Avenue Contemporary in Dallas, Texas, the Fort Worth Community Arts Center in Fort Worth, Texas, the Lawndale Art Center in Houston, Texas and the Pelham Art Center in New York. Lindy Chambers "Eyes of the Bayou...

"Love and War," a collaborative series between Bert Long Jr. and Jesse Lott, features loosely human forms painted in a manner that suggests humanity’s proce...

“Icarus Suspended” is an extraordinary painting of Ayrton's obsession with flight, myths, mirrors and mazes. This complex piece shows a figure in flight, frozen in action, either swooping down or, perhaps, falling to earth. Named after the Greek mythological figure, Icarus, who along with his father attempted to escape from Crete by means of wings that his father constructed from feathers and wax. Flying too close to the sun the wax melted and both fell to earth. The positioning of Ayrton's figure is reminiscent of "The Fall of Icarus" by Jacob Peter Gowy, Museo Nacional del Prado. This is part of a series of artworks on Icarus some sculptural and some three-dimensional paintings on canvas. Verso contains gallery label Matthiesen Gallery, 142 Bond St., London, England, with a signature and text in upper right corner: "To Morton Schotnick. Bought on the occasion of The Archives of American Arts Tour to London, England. October 10, 1961. Michael Ayrton...

Medium: Oil on Board Signature: Signed Lower Right 19.875" x 14.00" Each Panel 1 of a 4 Part Illustration used as a promotional poster Poster for The Red Cross—Watching...

Provenance Private collection, Chicago, IL, 1996-present Exhibited Bonestell Gallery, New York, May, 1940 Museum of Modern Art, 1943 (label verso) 42.25 x 34.25 inches framed

Edward Brian Seago (1910-1974) "The Bure Valley" 1938 Oil on Artist's Board Monogrammed and Dated Lower Right Estate Stamped and Titled Verso Panel: approx 11 x 14 inches Framed: a...