Gouache Figurative Paintings

Unique, one of a kind original gouache on paper from Harper's Bazar series. Hand signed lower front by Erte; titled top front with studio catalog number on verso. Sheet size 10.7...

Bamboo design. Sealed on the back with design studio name and number 972 We offer a small number of these original illustration designs by this design studio based in Alcoy (Spain), ...

This is a large work on paper created during MacDowell Fellowship residency . It is 60 x 51 inches on paper. There are figurative elements in the harlequin patterned abstract space ...

Mindbender - Abstract Expressionism "G.D." A painting in vivid red that revels in a harmonious balance between gestural abstraction, geometric ...

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. This is a watercolor and gouache beach scene three young men bathing...

Rarely do you come across a work of art that is vastly different than just about anything you see. This work is undeniably brilliant and a sheer pleasure to behold. Alexander Leydenfrost...

Original Painting. Vanity Fair Illustration Proposal. Art Deco Modern 1930s Antonio Petruccelli (1907 - 1994) Vanity Fair Illustration proposal, c 1930’s 18 X 13 3/4 inches (sight) ...

Bricklayers House Beautiful Cover Proposal American Scene Modern WPA 1930s Industrial Workers Antonio Petruccelli (1907 - 1994) Brick Layers House Beautiful cover proposal, c. 1939 ...

Birds design. Sealed on the back with the design studio name and number 98 We offer a small number of these original illustration designs by this design studio based in Alcoy (Spain)...

Predominantly recognized as a self-taught painter, he also worked in architectural murals, sculptures, ceramics, prints and drawings. Vigas is one...

AKOS BIRO (HUNGARIAN 1911-2002) watercolour/ gouache painting on card, signed size: 7.75 x 10.75inches Beautifully colourful, original painting by the very popular and highly regard...

Gouache on artist board Provenance: Estate of Sam Esses Never afraid of trying new styles, curious and opinionated, constantly engaged with the world around him, Rolph Scarlett mor...

Flowers and pixel design. Sealed on the back with design studio name and number 268 We offer a small number of these original illustration designs by this design studio based in Alc...

Goauche Provenance: Estate of Sam Esses 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 artistic zeitgeist in a career that stretched for more than 75 years. Born in 1889, Scarlett had his first retrospective by 1928. He subscribed fully to the modernist credo. Interviewed at the time, he said: "If a futuristic painting...

Viktor Schreckengost (American, 1906-2008) Mayan Watercolor heightened with gouache over pencil on paper Signed lower right 39 x 29 inches 45.5 x 35.5 inches, framed Registered with The Viktor Schreckengost foundation, stock no. 6891 The son of a commercial potter in Sebring, Ohio, Viktor Schreckengost learned the craft of sculpting in clay from his father. In the mid-1920s, he enrolled at the Cleveland School of Art (now the Cleveland Institute of Art, or CIA) to study cartoon making, but after seeing an exhibition at the Cleveland Museum of Art he changed his focus to ceramics. Upon graduation in 1929, he studied ceramics in Vienna, Austria, where he began to build a reputation, not only for his art, but also as a jazz saxophonist. A year later, at the age of 25, he became the youngest faculty member at the CIA. In 1931, Schreckengost won the first of several awards for excellence in ceramics at the Cleveland Museum of Art, and his works were shown at the Metropolitan Museum of Art, the Art Institute of Chicago, the Panama-Pacific Exposition in San Francisco, and elsewhere. By the mid-1930s, Schreckengost had begun to pursue his interest in industrial design. For American Limoges...

French Figures by Bernard Labbe (French mid 20th century) original gouache on card size: 10.5 x 13 inches condition: very good and ready to be enjoyed ...

Portrait of Andy Warhol with Purple Hair in Pastel and Gouache on Paper Whimsical portrait by Ricardo de Silva (Brazilian, 20th Century). Andy Warhol is l...

Gouache on artist board Provenance: Collection of Sam Esses Never afraid of trying new styles, curious and opinionated, constantly engaged with the world around him, Rolph Scarlett...

God, Keeper, and Maker of all Air Tola-Kina. Figural Abstract Gouache Watercolor Painting.

Andy Warhol Gouache on Interview Magazine Back Page 1989 Modernism Portrait of Andy Worhol on Andy Worhol's Interview Magazine back page and painted over in Gouache by Ricardo (Richa...

Original vintage gouache painting on poster board by Emma Heinzelmann (Hungarian, born 1930). Hungarian Peasant art, children fairytale themes, in psychedelic pop colors of the era.This painting that depicts figures including a crowned pig, and a princess in a bed. Artist signature above bed. Housed in chrome mid century frame. Framed: 19.5 X 25.5 image is 14.75 X 21.25. Emma Heinzelmann ( Nyírbátor , March 14 , 1930 - ) Munkácsy Prize-winning Hungarian graphic designer and illustrator. Heinzelmann is a Hungarian children's book illustrator and graphic poster artist, who started her career during the 1950’s. She has a very unique drawing style that resembles children’s book illustrations. Working in psychedelic pop colors of the era. She Initially she studied to be a costume designer but she soon turned to graphic design. She graduated in 1950 from the clothing design department at the Junior High School in Török Pál Street which operated under the name Szépmíves Lyceum from 1946 to 1950. His master was György Farkas, a ceramicist, painter and sculptor. She creates her compositions using mainly watercolor and gouache paint. She often worked on illustrations for children’s books, since her style fits their themes. Her posters show the same playful Hungarian Folk Art style. She has produced artwork in almost all areas of applied graphics. posters, commemorative cards, designed album covers, postcards, advertising graphics, slide films, animation and cartoons. Her drawings were published in Dörmögő Dömötör and Kisdobos among others as well as in children's magazines. An entire generation of children grew up with her book illustrations, reading the fairy tales of Wilhelm Hauff or Hans Christian Andersen. Her story books and drawings are known well beyond our borders. She illustrated nearly 80 storybooks. She is a contemporary of Maurice Sendak and William Steig. Her work is of the same genre as the iconic Polish Cyrk poster artists. In her original fine art graphics grotesque and bitter elements often prevail, her figures are playfully ironic. Her drawings are made in a variety of ways, from pencil drawings to watercolor painting to collage techniques, from decorative spot effects to lace-like line drawings. She is no stranger to a kind of Art Nouveau influence, but it is always individual. It was never beautiful, but over the years its color scheme changed, thus confirming the lines of József Somogyi quoted earlier. She had several individual exhibitions, and for more than 10 years as a member of the Papp-Gábor group, her works could be seen in Dorottya Street. In 2009 , the book of art historian András Székely was published by Holnap Könyvkiadó under the title Emma Heinzelmann: fairy tales in the drawing. Awards and recognitions Lot Prize (International Poster Biennale, Warsaw) (1972) Ministry of Culture Award (1977, 1979) Brno Graphic Biennale (Bronze Award) (1980) Worker's Award (1984) Children's Book of the Year Award (1984) IBBY Andersen Diploma (1988) Hamburg Lifetime Achievement Award (1990) Albert Star Award (1992) Noémi Ferenczy Award (2005) Munkácsy Award (1984) Solo Exhibitions: Thought Bookstore, Budapest (1965) Cultural Center, Nyíregyháza (1974) Little Gallery, Komárom (1982) Art Gallery, Budapest. (1990) Vác (2010) Selected group exhibitions: International Children's Book Fair and Exhibition, Bologna (1971-1975) International Graphic Biennale, Brno (1966-1985) BIB (Children's book illustration biennial), Bratislava (1970-1985) XXXVI. Venice Biennale, Venice (1972) ARC. International Poster Biennale, Warsaw (1972) International Poster Triennale (B) (1972-1974) Weekdays, graphic exhibition, (1975) Calligraphy and typography, Institute of Cultural Relations, Budapest (1977) "Falrahányt pea", graphic exhibition, Institute of Cultural Relations, Budapest.(1978) International Poster Triennale (B) (1978) National Poster Exhibitions, Art Gallery, Budapest (1978)(1980) International Poster Exhibition (IR) (1979) Slide films: Fairy tales with Emma Heinzelmann's drawings: Under the Shore (1981) Goose Party (1981) Take a Little Trumpet (1982) The Bremen Town...

'Landscape' by Édouard Righetti (1924-2001) Signed Lower Front oil painting on artist paper, beautifully painted very good condition size: 20 x inches x 20.5 inches provenance: all ...

Day at the Beach - Realistic Figurative Illustration in Gouache Original figurative illustration of people at the beach by Charles Ross Kinghan (American, 1895-1984). Several women are looking at someone's foot, as if there is a splinter being removed. Three of the women are closer, with their heads in the frame. Two of them have are standing with their backs to the viewer. Between the women, the viewer can catch glimpses of other activities on the beach. Possibly a sketch for Good Housekeeping Magazine. Signed "Charles Ross" in the lower right corner. (Charles Ross Kinghan) Acquired with other signed estate works by the artist. Presented in a new cream mat. Mat size: 16"H x 13"W Board size: 14"H x 11.75"W Charles Ross Kinghan (American, 1895-1984) was born in Anthony, KS on January 18, 1895. A teacher, he moved to Wichita as a teenager and did sign painting for the Western Sign Works. He studied at the Chicago Academy of Fine Art in 1916, the American Academy of Art in Chicago, the Audubon School of Art and the Art Institute of Chicago. He was a pupil of Carl Scheffler, J. Wellington Reynolds, and H.A. Oberteuffer. He taught at the Art Institute of Chicago and at the American Academy of Art in Chicago. He was an illustrator for McCalls, Good Housekeeping, Saturday Evening Post, Colliers, and many others, including American Artist magazine. He was author and illustrator of Rendering Techniques for Commercial Art and Advertising (1956) and of Ted Kautzky...

Artist in Gouache on Interview Magazine Back Page 1989 Modernism Portrait of a man and commemorating The Fall of the Berlin Wall on Andy Worhol's Interview Magazine back page and pai...

Gouache on newsprint Carribean Folk Art.

A. Rio Barcelona .Original gouache paper painting . AGUSTIN RIO ( Barceona 1923 – Barcelona 1997) Formed in Llotja i al Cercle Artístic de Sant Lluc He appeared individually in 195...

Glamorous Redhead is a poster-like iconic image that sums up an era in American visual history - The 1950s. Al Parker is a giant in the history of American Illustration. He possess...

Lipchitz’s reputation for being a painterly Cubist sculptor is understood through his semi-abstract paintings like “Prometheus”. His use of monochrome gouache to create distorted figures from the negative spaces is distinctive. Jacques Lipchitz was a celebrated Lithuanian-born French sculptor best known for his Cubist works...

At a certain size, painting a small painting with precise and meticulous detail becomes an art in itself. So is the case of "Three Children" by English Childen's book illustrator Amy Millicent Sowerby...

The Atlantis, Monaco Signed by Édouard Righetti (1924-2001) Inscribed Verso on back Gouache painting on artist paper, beautifully painted. very good ...

'Paris, la Bourse', gouache on paper, by Lucien Génin (circa 1930s). Created at the beginning of the 19th century by Napoleon, la Bourse, or the Stock Exchange, was intended to assert and encourage France’s prosperity in industry and trade. In 1826 the Stock Exchange was installed in the palace that the architect Brongniart had begun in 1808. Surrounded by a large peristyle of Corinthian columns, the rectangular structure reflects the official neo-classicism of the Empire Period. The artist, Génin, depicts a typically lively 1930s day in front of the building with cars of the period zooming by pedestrians on the walkway and others on the stairs leading to the entrance. He has an extremely charming, almost childlike style particularly the way he renders the people and the vehicles. The building, on the other hand, is accurate in its detail and more seriously presented. Our gallery has held and has sold over a dozen of Genin's paintings but this one stands out for its pure stylish appeal and ability to captivate while inducing a smile in the viewer. The artwork is in good overall condition - there are some minor blemishes not on the artwork itself but on the edges of the mount to which it is attached. The frame is in fair condition showing some nicks and scratches. Please enjoy the many photos accompanying the listing. Upon request a video can be provided. Signed by the artist in the lower right hand. About the Artist: After the devastation of the First World War, Lucien Génin (1894 - 1953) left his provincial home in the autumn of 1919 to find his fortune among the lively Parisians in the heart of Montmartre. Génin befriended the painters Frank Will, Gen Paul, Émile Boyer...

Cover illustration for mid-century children's book publisher Merril Publishers. Signed lower right. Unframed. Retta Scott or Retta Worcester was (February 23, 1916 – August 26, 1990) was an pioneering Female Illustrator / American artist. She was the first woman to receive screen credit as an animator at the Walt Disney Animation Studios. Scott worked on storyboards to develop scenes of Bambi, his mother, and the film’s hunting dogs, on which she spent weeks to develop them into “vicious, snarling, really mean beasts.” Male artists in the company were stunned who initially assumed that only a man could create drawings with such intensity and technical skill. Her sketches caught the eye of Disney, so when the film went into production, she was assigned to animate scenes of hunting dogs chasing Faline. She worked under the film's supervising director, David D. Hand,and was tutored by Disney animator Eric Larson. This was a significant coup for the young woman, since at the 1930s-era Disney studio, women were considered only for routine tasks: "Ink and paint art was a laborious part of the animation process, and was solely the domain of women..." Her promotion to animator was in part thanks to the success of herself and other women such as Bianca Majolie, Sylvia Holland, and Mary Blair as storyboard artists. Even after receiving a promotion to animator, she and her animations continued being under appreciated in the industry. Though the most recognized Walt Disney female artist is Mary Blair, it is Retta Scott who opened up the doors for women in the animation industry. She became the first woman to receive screen credit as an animator. By the spring of 1941, Scott was also considered a "specialist in animal sketches." Scott helped produce Fantasia and Dumbo, as well as an adaptation of The Wind in the Willows that was later cancelled. She also made an appearance in The Reluctant Dragon...

Judd Mercer's (US based) "Treasure Island Beach," is an original, handmade oil painting that depicts blue waves crashing on the shore of a sandy beach filled with people. About the Artist: Judd Mercer is a watercolor painter based in Denver, Colorado. After attending art school for industrial design, Judd pursued a career in digital design and user experience and is co-owner of Elevated Third, a Denver-based digital agency. After committing to writing and illustrating a full-length fantasy novel in his spare time, Judd began watercolor painting around 2014, studying with teachers such as Alvaro Castagnet, Joseph Zbukvic and Herman Pekel...

Pioneering Female Illustrator Barbara Briggs Bradley was an in-demand illustrator in the 1950s. Merrill Publishers of their famous children's books hired Barbara Briggs Bradley to d...

Elaine de Kooning said of De Hirsh Margules that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country", and New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium." In 1929, Margules attended an exhibition of John Marin’s paintings. While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O’Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends." Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "[i]ndebted to Marin and through Marin to Cezanne for his initial conceptual approach." His work can be found in the collections of the Whitney, MOMA, Boston Museum of Fine Art, the Brooklyn Museum and the Provincetown Art...

Sarah Noble Ives, artist (1864-1944). Original drawing of three Dutch children, with an ink inscription reading: “Full Page / 6 Buff / Three children sliding on the ice / upon a summer’s day” above image. Ink, watercolor, and gouache on linen. Illustration for Mother Goose...

Genre: Judaica Subject: Religious Medium: Watercolor, Ink, Mixed Media Surface: Paper Country: United States Dimensions: 13.75" x 10" Dimensions w/Frame: 19.75" x 15.5 Born to Harry and Jenny Gropper in 1897, William was raised in New York City's Lower East Side. His parents were Jewish immigrants from Romania and Ukraine, and young William grew up in relative poverty, watching his family struggle to achieve that sought-after American dream. His father, a bright and college-educated man, was unable to find employment that worthy of his intellect. His mother, meanwhile, worked as a seamstress from home. Coupled with the devastating loss of an aunt to the infamous Triangle Factory fire of 1911, significant childhood factors created the foundation that led to Gropper’s exploration of the American experience. Early on, Gropper displayed an extraordinary, natural skill for art. By 1912, he was already studying under the instruction of George Bellows and Robert Henri at the Ferrer School in Greenwich Village. During his time at school, Gropper was also awarded a prestigious scholarship to study at the National Academy of Design. However, he refused to fit into convention and was swiftly expelled from the Academy. After his expulsion, Gropper returned home to help financially by assisting his mother and taking a shop position. However, he didn't abandon art academia and soon presented a portfolio to the New York School of Fine Art which earned him a scholarship for study. Gropper obtained his first significant job as a cartoonist for the New York Tribune in 1917. While working as a staff cartoonist for the Tribune, he also contributed drawings to publications like Vanity Fair, New Masses, The Nation, and Freiheit. His interest in the welfare of the American worker...

FRANK BRANGWYN ( U.S./U.K./Belgium, 1867-1956) watercolor, gouache, and charcoal on paper, "The Scourging of St. Alban," study for the mural painted for Christ's Hospital, West Horsh...

Legendary female illustrator creates a graphic and tightly designed triple portrait of her signature subjects. Kids! Signed lower right. Unframed on heavy illustration board. Grace Drayton had a recognizable style which is a hallmark of all great artists. Instantly recognizable, a Grace Drayton subject is a stylized child with a cherubic style, often with round faces, plump bodies, rosy cheeks, and a happy disposition. Three Rosy Cheek Children is an excellent example of her best work. Grace Drayton Born: Grace Gebbie October 14, 1878 Philadelphia, Pennsylvania, US Died: January 31, 1936 (aged 58) Cartoonist, Illustrator Grace G. Wiederseim Notable works Campbell Soup Kids Dolly Dimples Dolly Dingle...

Artist/ School: Norman A.Olley (British, 20th century) dated 1995 and inscribed verso Title - Mallards Dropping On The Mill Stream Medium: gouache/water...

French Landscape by Bernard Labbe (French mid 20th century) original gouache on paper size: 13.75 x 10.5 inches condition: very good and ready to be enjoyed provenance: the artists ...

Miriam Story Hurford was a prolific and major American female illustrator in the 1930s to the 1950s. Her work was for cover art for women's magazines and home magazines and religious magazines. This work depicts t the wise men being guided by the star of Bethleham to the birth of the Christ child for a Christmas magazine...

Charles Rocher (1890-1962. Sailors, ca. 1920s. Gouache on paper. Sheet measures 19 x 25 inches. Considerable damage and loss as depicted. Signed lower left.

Complex Art Nouveau patterns intertwined with gracefull figures define this work by American Artist and illustrator, teacher and lecturer Mildred Bailey Carpenter. Signed in cartouc...

Dan Solojoff, Russian (1908 - 1994) Daniil Andreyevich Solojef born in St. Petersburg on February 27 (February 14) 1908 and died on 21 in Paris 1, is a poet, painter and illustrator...

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...

Guillaume Corneille “Le Gran Fleur”, 1974 Painting Gouache and Acrylic Paint on paper 25.5 x 19.5 in 66 x 50 cm signed and dated in image CONDITION NOTE: Push pin holes in all 4 cor...

Ivan Kurach (1909 – 1968) lived and studied in Italy. Well known both in Europe and in the United States, his paintings are found in famous private collections and in museums all ov...

Work on cardboard Golden wooden frame 57 x 77 x 2 cm

Redheaded model wearing Traina Sport by Kay Unger and Jesper Nyeboe. Illustration published on the cover of Women's Wear Daily, February 25, 1971. Gouache o...

Original vintage gouache painting on poster board by Emma Heinzelmann (Hungarian, born 1930). Hungarian Peasant art, children fairytale themes, in psychedelic pop colors of the era. This framed painting depicts figures, a rooster and angels in flying above. Artist signature on farm gate. Housed in chrome mid century frame. Framed: 19.5 X 25.5 image is 15 X 21. Emma Heinzelmann ( Nyírbátor , March 14 , 1930 - ) Munkácsy Prize-winning Hungarian graphic designer and illustrator. Heinzelmann is a Hungarian children's book illustrator and graphic poster artist, who started her career during the 1950’s. She has a very unique drawing style that resembles children’s book illustrations. Working in psychedelic pop colors of the era. She Initially she studied to be a costume designer but she soon turned to graphic design. She graduated in 1950 from the clothing design department at the Junior High School in Török Pál Street which operated under the name Szépmíves Lyceum from 1946 to 1950. His master was György Farkas, a ceramicist, painter and sculptor. She creates her compositions using mainly watercolor and gouache paint. She often worked on illustrations for children’s books, since her style fits their themes. Her posters show the same playful Hungarian Folk Art style. She has produced artwork in almost all areas of applied graphics. posters, commemorative cards, designed album covers, postcards, advertising graphics, slide films, animation and cartoons. Her drawings were published in Dörmögő Dömötör and Kisdobos among others as well as in children's magazines. An entire generation of children grew up with her book illustrations, reading the fairy tales of Wilhelm Hauff or Hans Christian Andersen. Her story books and drawings are known well beyond our borders. She illustrated nearly 80 storybooks. She is a contemporary of Maurice Sendak and William Steig. Her work is of the same genre as the iconic Polish Cyrk poster artists. In her original fine art graphics grotesque and bitter elements often prevail, her figures are playfully ironic. Her drawings are made in a variety of ways, from pencil drawings to watercolor painting to collage techniques, from decorative spot effects to lace-like line drawings. She is no stranger to a kind of Art Nouveau influence, but it is always individual. It was never beautiful, but over the years its color scheme changed, thus confirming the lines of József Somogyi quoted earlier. She had several individual exhibitions, and for more than 10 years as a member of the Papp-Gábor group, her works could be seen in Dorottya Street. In 2009 , the book of art historian András Székely was published by Holnap Könyvkiadó under the title Emma Heinzelmann: fairy tales in the drawing. Awards and recognitions Lot Prize (International Poster Biennale, Warsaw) (1972) Ministry of Culture Award (1977, 1979) Brno Graphic Biennale (Bronze Award) (1980) Worker's Award (1984) Children's Book of the Year Award (1984) IBBY Andersen Diploma (1988) Hamburg Lifetime Achievement Award (1990) Albert Star Award (1992) Noémi Ferenczy Award (2005) Munkácsy Award (1984) Solo Exhibitions: Thought Bookstore, Budapest (1965) Cultural Center, Nyíregyháza (1974) Little Gallery, Komárom (1982) Art Gallery, Budapest. (1990) Vác (2010) Selected group exhibitions: International Children's Book Fair and Exhibition, Bologna (1971-1975) International Graphic Biennale, Brno (1966-1985) BIB (Children's book illustration biennial), Bratislava (1970-1985) XXXVI. Venice Biennale, Venice (1972) ARC. International Poster Biennale, Warsaw (1972) International Poster Triennale (B) (1972-1974) Weekdays, graphic exhibition, (1975) Calligraphy and typography, Institute of Cultural Relations, Budapest (1977) "Falrahányt pea", graphic exhibition, Institute of Cultural Relations, Budapest.(1978) International Poster Triennale (B) (1978) National Poster Exhibitions, Art Gallery, Budapest (1978)(1980) International Poster Exhibition (IR) (1979) Slide films: Fairy tales with Emma Heinzelmann's drawings: Under the Shore (1981) Goose Party (1981) Take a Little Trumpet (1982) The Bremen Town...

Vibrant Gouache and watercolor painting by israeli master JOSSI STERN. on paper mounted to board. Hungary, b. 1923, d. 1992 Jossi (Yossi) Stern, son of David and Katerina, was born in the Bakon Hills of Hungary, in 1923. He was already drawing when at the age of ten he moved with his family from the Bakon Hill region to the considerably more cosmopolitan Budapest. Recognizing the looming threat of Hitler and the pending Nazi invasion of Hungary, in 1940, at the age of seventeen, the young artist made his way to Palestine aboard the Sakaria, an old ship heavily crowded with 2,300 other refugees. Before reaching the shores of Palestine, then under the British Mandate, the British Navy...

One hundred and eleven years after his birth, baseball great Buck O'Neil was inducted into the MLB Hall of Fame in 2022. O’Neil’s biggest impact was not anything he did as a player, manager, coach or scout. Rather, what made O'Neil worthy of Cooperstown is the sheer amount he did for the game off the field in his later years. Artist Margie Lawrence shows him here with other baseball greats, Satchel Page and Jackie Robinson...

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...

65x50 cm

Basketball Player Gouache on card stock, c. 1940 Signed by the artist in ink lower center A study for the fresco mural in the Social Security Buildin...

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...

French Landscape by Bernard Labbe (French mid 20th century) original gouache on paper size: 10.5 x 8.5 inches condition: very good and ready to be enjoye...