Board Figurative Paintings

Jay Patel ELEPHANT & THE KING Acrylic on Board Year: 2022 Size: 10x12x1.5in Signed verso COA provided Ready to hang Ref.: 924802-1113 "Against a burnt orang...

Wonderfully vivid mid century abstract expressionist painting by San Francisco artist Jerry W Ward (American, b. 1968), circa 2000. Titled "Erotic Clown Diva" and signed verso. Condi...

Motivated by bold color and fast brushwork, we are moved by the simplicity and thick textured oil paints in these works. Shaoul’s “My Heart Collection” is a vibrant and energetic dis...

"I throw myself into the water almost every day- it grounds me, the body floats and the mind drifts. The "Swimmer series" has followed me over the years, resurfacing and evolving. P...

David Hardy was an English genre painter who exhibited from 1855 -1870 in various English galleries such as the British Institute, the Suffolk Street Gallery, and one example at the ...

Miniature Painting of Radio City Music Hall, New York City - a unique original from leading British Cityscape Artist, Angela Wakefield. Art measures ...

Wonderful English impressionist painting depicting an English windmill with a stormy sky at the beginning of fall. Hall painted scenes all over England , Eu...

FIne impressionist 20th-century oil on board of an English landscape, with trees and blustery clouds. Charles Bertie Hall painted marine scenes, landscapes, and town scenes in both America, Uk, and Europe. He exhibited his paintings mostly in the UK from the mid 1980s The artist has indicated this piece was painted 'En Plein air', or outdoors after a long walk near the Box Hill...

A beautiful Peter Keil original painting. Keil's signature style is shown in these Picasso inspired portraits. These portraits are characteristic of Keil's work in the 1980s when the...

Exploring the purity of the feminine form and the drama of French haute couture, artist Cindy Shaoul creates a dialogue between the figurative and the abstract. Her spirited composit...

Lorraine Fox was a pioneering female Illustrator/artist who championed a unique style immediately identified as hers. This work, in two parts, was most likely for a newsstand woman's...

A stunning depiction of a boat sailing toward a lagoon. Nemethy uses a bold impressionistic technique with thick use of paint and wonderful impressions. With unique colors, we can fe...

Genre: German Expressionist Subject: Woman Medium: gouache paint Surface: Paper board This is hand signed lower right. Framed it measures 17.25 X 15.5, sheet 12 X 10 This came from a Jewish estate. there was no additional paperwork or provenance. Julius Mordecai Pincas (March 31, 1885 – June 5, 1930), known as Pascin Jules...

Gregory Block's (US based) "Untitled" (2024) is an original, handmade painting that depicts an expressionist still-life featuring a white rose laying in front of a cup, lightly refle...

Winter Sunset with Sheep & Farmer in the English Countryside by 20th Century British Artist, Noel Ripley (b.1944). Original, Signed, Oil on Board Art mea...

In the tradition of Modigliani, Maurer's depictions of women are expressive and lively. America had very few modernists who painted in this manner but Maurer is famous for exactly t...

Simka Simkhovitch (Russian/American 1893 - 1949) This came with a small grouping from the artist's family, some were hand signed some were not. These were studies for larger paintings. Simka Simkhovitch (Симха Файбусович Симхович) (aka Simka Faibusovich Simkhovich) (Novozybkov, Russia May 21, 1885 O.S./June 2, 1885 N.S.—Greenwich, Connecticut February 25, 1949) was a Ukrainian-Russian Jewish artist and immigrant to the United States. He painted theater scenery in his early career and then had several showings in galleries in New York City. Winning Works Progress Administration (WPA) commissions in the 1930s, he completed murals for the post offices in Jackson, Mississippi and Beaufort, North Carolina. His works are in the permanent collections of the Dallas Museum of Art, the National Museum of American Art and the Whitney Museum of American Art. Born outside Kyiv (Petrograd Ukraine) into a Jewish family who owned a small department store. During a severe case of measles when he was seven, Simcha Simchovitch sketched the views outside his window and decided to become an artist, over his father's objections. Beginning in 1905, he studied at the Grekov Odessa Art School and upon completion of his studies in 1911 received a recommendation to be admitted to the Imperial Academy of Arts. Though he enrolled to begin classes in architecture, painting, and sculpture at the Imperial Academy, he was dropped from the school roster in December because of the quota on the number of Jewish students and drafted into the army. Simchovitch served as a private in the 175th Infantry Regiment Baturyn [ru] until his demobilization in 1912. Re-enrolling in the Imperial Academy, he audited classes. Simka Simkhovitch exhibited paintings and sculptures in 1918 as part of an exhibition of Jewish artists and in 1919 placed 1st in the competition "The Great Russian Revolution" with a painting called "Russian Revolution" which was hung in the State Museum of Revolution. In 1922, Simkha Simkhovitch exhibited at the International Book Fair in Florence (Italian: Fiera Internazionale del Libro di Firenze). In 1924, Simkhovitch came to the United States to make illustrations for Soviet textbooks and decided to immigrate instead. Initially he supported himself by doing commercial art and a few portrait commissions. In 1927, he was hired to paint a screen for a scene in the play "The Command to Love" by Fritz Gottwald and Rudolph Lothar which was playing at the Longacre Theatre on Broadway. Art dealers began clamoring for the screen and Simkhovitch began a career as a screen painter for the theater. Catching the attention of the screenwriter, Ernest Pascal, he worked as an illustrator for Pascal, who then introduced him to gallery owner, Marie Sterner. Simkhovitch's works appeared at the Marie Sterner Gallery beginning with a 1927 exhibit and were repeated the following year. Simkhovitch had an exhibit in 1929 at Sterner's on circus paintings. In 1931, he held a showing of works at the Helen Hackett Gallery, in New York City and later that same year he was one of the featured artists of a special exhibit in San Francisco at the California Palace of the Legion of Honor in Lincoln Park. The exhibit was coordinated by Marie Sterner and included four watercolors, including one titled "Nudes". He is of the generation of Russian Soviet artists such as Isaac Pailes, Serge Charchoune, Marc Chagall, Chana Orloff, Isaac Ilyich Levitan, and Ossip Zadkine. In 1936, Simkhovitch was selected to complete the mural for the WPA Post office project in Jackson, Mississippi. The mural was hung in the post office and courthouse in 1938 depicted a plantation theme. Painted on the wall behind the judge’s bench, “Pursuits of Life in Mississippi”, a depiction of black workers engaged in manual labor amid scenes of white professionals and socialites, was eventually covered over in later years during renovations due to its stereotypical African American imagery. Simka painted what he thought was typical of Jackson. His impression of pre-civil rights Mississippi was evidently Greek Revival column houses, weeping willow trees, working class families, and the oppression of African Americans. He painted African American men picking cotton, while a white man took account of the harvest and a white judge advised a white family, calling it Pursuits of Life in Mississippi. Though clearly endorsed by the government and initially generally well-received, the mural soon raised concerns with locals as the climate toward racial segregation began to change. The main concern was whether depictions that show African Americans in subjugated societal roles should be featured in a courtroom. The following year, his painting "Holiday" won praise at an exhibition in Lincoln, Nebraska. In 1940, Simkhovitch's second WPA post office project was completed when four murals, "The Cape Lookout Lighthouse and the Orville W. Mail Boat", "The Wreck of the Crissie Wright", "Sand Ponies" and "Canada Geese" were installed in Beaufort, North Carolina. The works were commissioned in 1938 and did not generate the controversy that the Jackson mural had. The main mural is "The Wreck of the Crissie Wright" and depicts a shipwreck which had occurred in Beaufort in 1866. "The Cape Lookout Lighthouse and the Orville W. Mail Boat" depicted the lighthouse built in 1859 and the mail boat that was running mail during the time which Simkhovitch was there. The boat ran mail for the area until 1957. "Sand Ponies" shows the wild horses common to the North Carolina barrier islands and "Canada Geese" showed the importance of hunting and fishing in the area. All four murals were restored in the 1990s by Elisabeth Speight, daughter of two other WPA muralists, Francis Speight...

An air of femininity is expressed in this striking red dress painting on art board, capturing a nostalgic nod to timeless glamour. Delicate detail (with a hint of shimmer) blends wit...

Dancers in Veils (56) John F. Leonard American (1921–1987) Date: circa 1960 Oil on Board Size: 20 in. x 16 in. (50.8 cm x 40.64 cm) Frame Size: 26 x 22 inches

Created by artist Patrick Nevins in 2025, “Calcium” is an original, handmade oil on board that forms part of his engaging Elements Series. Measuring 6 x 6 x 0.12 inches, and presente...

Jim Beckner's (US based) "Sidewalks in Greys" is an oil painting that depicts a busy city sidewalk and street at night cast in the fluorescent light of the signs and cars and passers...

Jay Patel Silhouette crane in sunrise Acrylic on Board Year: 2022 Size: 12x10x1.5in Signed verso COA provided Ready to hang Ref.: 924802-1120 "The artist ha...

Recently completed painting of Madison Square in New York City on a snowy winters day. Signed top left and signed and titled verso. Condition is excelle...

Figurative oil on board painting by Polish artist living in the USA, Monika Rossa. Artwork depicts wide variety of fantastical creatures on a black background. Scene takes place at n...

Attributed by Wilhelm von Gegerfelt (1844—1920). The disheveled crowns of the trees indicate to us the raging wind, and the evening sky in the background...

Portrait of a Woman in the Style of Modigliani in Acrylic (Blue Background) Portrait of a woman in the style of Amedeo Modigliani by an unknown artist (20th century). The woman has ...

Motivated by bold color and fast brushwork, we are moved by the simplicity and thick textured oil paints in these works. Shaoul’s “My Heart Collection” is a vibrant and energetic dis...

Crucifixion (36) John F. Leonard American (1921–1987) Date: 1964 Oil on Board, signed Size: 21.5 in. x 15 in. (54.61 cm x 38.1 cm)

Nicholas Turner b. 1972 Beach with Sail and Clouds, 2025 oil on board 25 x 38 cm 9 7/8 x 15 in signed, dated and titled verso Born in London, Turner spent many years in Bristol befo...

The mathematics of the universe is behind the sky but we lack the senses to detect it. encaustic wax on board

This contemporary abstract expressionist woman in a red swimsuit was created by the French artist Natalya Mougenot and makes part of her ongoing series dedicated to Women. Sun Kisse...

Motivated by bold color and fast brushwork, we are moved by the simplicity and thick textured oil paints in these works. Shaoul’s “My Heart Collection” is a vibrant and energetic dis...

Frederick Vezin (1859 Torresdale Philadelphia - 1933 Düsseldorf), Autumn Landscape in the Sunlight, oil on canvas, mounted on cardboard, 32 x 41 cm (inside measurement), 44 x 51 cm (frame), signed and dates lower right "F. Vezin. [19]05". - Cardboard slightly curved, small inconspicuous retouch at the centre of the upper edge of the picture. About the artwork Although the painting appears to be a sketch, Frederick Vezin considered it to be a finished work of art, as evidenced by his signature on the lower right. And it is precisely this sketchy quality that leads to an understanding of the painting, which was certainly created in the landscape itself: the natural phenomena were to be depicted artistically at the moment of their observation. This is not done by meticulously sketching nature, but - and here Vezin follows the teaching of French Impressionism - by illustrating nature in its visual fullness. The artist's eye is, as it were, immersed in the visuality of nature, which is made visible by his hand. The painting is therefore not a reflection of the landscape, but its artistic intensification. This intensification also includes the fact that the foreground of the painting - corresponding to the field of vision - eludes a detail-oriented close-up view. Instead, the spatula-like application of paint, the vertical structure of which corresponds to the structure of the floral growth, has the effect of making nature tangible in its colourful substance. At the same time, the foreground, which remains indeterminate in its concrete objectivity, creates an atmospheric space that connects with the actual protagonist of the picture, the group of trees, which flares up in shades of red and brown. Here, too, the leaves are more speckled than clearly outlined. It is precisely this 'sketchiness' that opens up a visual experience that makes the landscape accessible in its visual fullness, thus revealing its essence. In addition to this abundance, the landscape is presented as a structure of order in that the composition of the picture makes the composition of the landscape visible. For example, the group of trees forms a distinct dark green shadow, which is repeated in the shadows cast by the trees behind it. A patterned diagonal axis is created in the picture, which is composed in this way by the landscape itself. Strictly speaking, this is a cultivated landscape: a fence at the bottom and a low stone wall at the top, running from left to right, are two elements that also have a strong compositional effect. And on the top of the hill, a stone house is embedded in the landscape as the brightest surface in the picture. Nature and culture here form a harmonious synthesis, giving the painting an Arcadian touch. In order to give the landscape as much space as possible, the horizon line is raised, but the design of the sky is also crucial. The clouds, combined with the shapes of the trees, create a bright blue sky. To the European eye, such a sky is reminiscent of a summer landscape. Accordingly, within the seasonal cycle, the blue sky is reserved for summer, and French Impressionism is also primarily an ode to summer. In Vezin's painting, however, the brilliant blue sky stands above an autumnal landscape, some of the trees even defoliated. It can therefore be assumed that the painting was made not in Europe but in the United States, and that it illustrates the proverbial Indian summer, making Frederick Vezin a pioneer of American landscape painting. About the artist Frederick Vezin was the son of a French immigrant to the United States and a German-born mother. This predestined him to promote artistic exchange between the old and new worlds. Having spent part of his schooling in Germany, in 1876, at the age of 20, he enrolled at the Düsseldorf Academy of Art, where he studied with Peter Janssen the Elder, Eduard von Gebhardt and Wilhelm Sohn, among others. He graduated in 1883, settled in Munich and returned to Düsseldorf in 1895, where he lived until his death in 1933. A native of the United States, he travelled to the country frequently and became a popular portrait and society painter. His artistic talent, however, was most evident in his landscape paintings. Trained in French Impressionism, he developed a virtuoso use of colour and a free brushwork that remained tied to the landscape motif, opening up the landscape itself in a new way. Frederick Vezin turned his attention primarily to the landscape of his homeland, becoming a pioneer of modern American landscape...

Exploring the purity of the feminine form and the drama of French haute couture, artist Cindy Shaoul creates a dialogue between the figurative and the abstract. Her spirited composit...

Artwork description Original oil painting on cardboard by the artist Simon Kozhin. Wooden framing with the artist's name. Simon Kozhin is committed to th...

Genre: Modern Subject: Landscape with figure of horse, driver and wagon Medium: Oil Surface: wood Board EMANUEL ROMANO Rome, Italy, b. 1897, d. 1984 Emanuel Glicen Romano was born in Rome, September 23, 1897. His father Henryk Glicenstein was a sculptor and was living in Rome with his wife Helena (born Hirszenberg) when Emanuel was born. His father obtained Italian citizenship and adopted the name Enrico. Emanuel was brought up in Italy, Switzerland, Germany, England and Poland. In 1926 Emanuel Glicenstein Romano and his father sailed for New York. They briefly visited Chicago. Romano's sister, Beatrice, and mother only joined them in New York years later. Romano changed his name on his arrival to America and some have erroneously speculated that this was to avoid antisemitic discrimination. In truth, as the son of a highly-regarded artist, Romano changed his name to ensure that any success or recognition he would later attain, would be the result of nothing other than his own merit as an artist, and not on account of his father's fame. In 1936 Romano was worked for the WPA Federal Art Project creating murals. ( there were many jewish artists active with in the WPA period. notably Chaim Gross, Ben Shahn, Isaac and Moses Soyer, Abraham Rattner and many others. During and immediately after World War II, Romano created a series of allegorical works depicting graphic holocaust images that were held closely by the family until after his passing. One of these works is now on permanent display in the Florida Holocaust Museum in St. Petersburg Florida. Emanuel's father died in 1942 in a car accident before they could realize their shared dream of visiting Israel. In 1944 Romano, having completed his degree at the Pennsylvania Academy of Fine Arts and the Art Institute of Chicago, began teaching at the City College of New York. Romano moved to Safed, Israel in 1953 and established an art museum in his father's memory, the Glicenstein Museum. COLLECTIONS Indianapolis Museum of Art Metropolitan Museum of Art Boston Fine Arts Museum Fogg Museum Musée Nacional de France Recently his work has been added to the Florida Holocaust Museum collection. His notable works include his holocaust themed allegorical paintings as well as portraits of Marianne Moore, his father and William Carlos Williams...

A very whimsical depiction of a woman stepping out in a Parisian Chateau. This piece captures the essence of fashion and Haute Couture effortlessly. Done in a very modern and impress...

In his couture series, Peter Hoffer explores the theater of fashion through a reinterpreted runway. In this mixed media painting, a realistically rendered model for the Italian luxur...

Miniature Painting of New York City Street Scene by British Cityscape Artist - a unique original from leading Contemporary Artist, Angela Wakefield. Part of the New York Collection. ...

Musicians (7) by John F. Leonard, American (1921–1987) Date: circa 1965 Oil on Canvas (unsigned) Size: 23 in. x 47 in. (58.42 cm x 119.38 cm)

Samuel Henry Alken (1810–1894) Horse Racing Scene, Possibly the Epsom Derby Oil on board, unsigned Attributed, English school circa 1840 Presented in a later gilt frame with beaded inner edge This dynamic mid-19th century racing scene, attributed to Samuel Henry Alken—also known as Henry Alken Junior—captures the high-stakes moment just before the thundering release of horses and riders at the starting line. A tightly packed field of brightly jacketed jockeys leans forward with urgent anticipation, the taut muscles of their mounts echoing the gathering tension. In the foreground, a race marshal gestures dramatically to signal the start, his stance underscoring the energy about to be unleashed. Though unsigned, the work bears the unmistakable hallmarks of Samuel Henry Alken’s hand: vigorous composition, attention to equine form, and a sharp eye for the choreography of sport. The figures are finely modelled, the palette lively but grounded, and the setting—with its wooded backdrop, animated crowd, and distant grandstands—suggests a major 19th-century race meeting, possibly the Epsom Derby, a subject Alken is known to have returned to in several formats. The composition’s panoramic sweep and low horizon lend a cinematic quality, while the density of detail—each silken cap and coat, each bridle and plume—evokes the pageantry and social theatre of Britain’s sporting calendar at the height of its Regency and early Victorian splendour. A rare and spirited scene from the golden age of English sporting painting...

Native American Portrait "Wisdom" Emin Abbasov (b. 1950, Azerbaijan) Oil on cardboard, signed 4 7/8 x 3 1/2 (15 7/8 x 14 5/8 frame) inches Emin Abbasov ...

Pierre Coquet - "Les pots gris"/"Grey pitchers" Reference number F438 73 x 54 cm The painting is not framed but it could be with a natural oak floated (s...

"Horses Running", a bold abstract impressionist oil painting with heavy impasto. By Sheila Hedricks. Oil on board. In a period hand...

Illuminate your space with Sunnys, a radiant original oil painting by celebrated artist Millie Gosch. This 11x10-inch masterpiece, framed at 15x13 inches, beautifully captures the wa...

Motivated by bold color and fast brushwork, we are moved by the simplicity and thick textured oil paints in these works. Shaoul’s “My Heart Collection” is a vibrant and energetic dis...

Mid-20th century Impressionist scene, French landscape with cottage The painter was active around the middle of the 20th century, painting landscapes, portraits, and city scenes. ...

"Union Square" NYC American Scene Social Realism Modernism WPA Mid-20th Century Agnes Hart (American, 1912-1979) "Union Square, New York City" Sight: 14 1/2 x 21 1/2 inches Gouache...

Wonderful early 20th century still life of a Japanese Shisa (lion/dog), a floral design vase and a brass coffee pot by Wilfred A. Readio (American, 1895-1961), 1920. Signed "Wilfred ...

Impressionist New York City winter landscape scene depicting the City in Snow in a most intimate, yet energetic way. Christopher is known for capturing the beauty and simplicity of an earlier time of the 20th Century; old New York, families working together, villages and farms and friends taking walks together. Many are depicted in recognizable historical settings and this piece is an excellent example of this as he captures a snow-filled historic setting of New York with the calm, endearing charm of American Flags and buildings with snow. Christopher engages his audience with the quick use of brushwork and great attention to picking up the energy passionately of his subjects. The piece comes housed in a dark tone wood frame and it is ready to be displayed with hanging hardware on verso. Art measures 7 x 5 inches Framed measures 8.75 x 6.75 inches Christopher Willett...

Giampaolo Talani (1955-2018) The "mad scientist" of the art world, Talani created art out of virtually everything he touched. After completing his training at the Florence Academy of...

Still Life is a modern oil painting artwork realized by Guido Peyron. in the 1950s. This unique painting represents a still life typical of his style, with a fresh and quick brushst...

1940s New York Interior -- An Evening Scene of Artist and His Wife Wonderful moody 1940s New York interior and figurative oil painting in Ashcan Schoo...

Antique oil painting of soldiers and woman on the street. Oil on board. Framed.

Motivated by bold color and fast brushwork, we are moved by the simplicity and thick textured oil paints in these works. Shaoul’s “My Heart Collection” is a vibrant and energetic dis...

Le Figaro. Oil on cardboard, 70x50 cm

The Graduate (40) John F. Leonard American (1921–1987) Date: circa 1965 Oil on Board Size: 22 in. x 15 in. (55.88 cm x 38.1 cm)

Highly detailed landscape with a house and car by Edward K. Williams (American, 1870-1950). A large house sits atop a hill, looking down over a road that runs along the river. Three people are driving a car from the 1930s along the road. The scene is rendered with great detail - both the house and the car are very accurate. There is an ornate border around the piece that was not finished, including instructions for framing and matting. Signed "E K Williams" on verso, with an address. Presented in a giltwood frame with a new off-white mat. Frame size: 15.75"H x 12.75"W Image size: 7.75"H x 6.5"W Landscape painter, Edward K. Williams was born 1870 in Greensburg, Pennsylvania. Williams studied at the Art Institute of Chicago with Freer, Vanderpoel, Fursman, and Krehbiel. He exhibited there as well from 1903-1929 (including many winter scenes). He also exhibited at the Hoosier Salon, New York Watercolor Club, Herron Art Institute, American Watercolor Society, Brown County Art...

Tina Garrett's (US based) "Magique Noir" is an original, handmade oil painting that depicts a model with a painted face. This is a secondary market work with one previous owner.

Medium: Oil on Board Signature: Signed Lower Left Original cover illustration for The Saturday Evening Post, May 30, 1959. The Post described, “It is so refreshing to get away from...