1920s Figurative Paintings

Approximate Date: 1923 Medium: Oil on Canvas Signature: Signed Lower Right Size: 38.00" x 25.00" Men depicted in a winter scene, used as a book cover ...

Date: 1921 Medium: Oil on Canvas Dimensions: 29.00" x 21.00" Signature: Signed Lower Right "His Bodyguard," Cream of Wheat Advertisement, Saturday Evening Post, November 19, 1921

Date: 1926 Medium: Oil on Canvas Dimensions: 20.00" x 16.00" Signature: Signed Lower Left Liberty magazine cover, November 6, 1926

Fact: There is no one alive today who can paint and draw as good as Dean Cornwell. Why? It takes a lifetime of training, work and commitment to be a great academic artist. Unfortunat...

Date: 1924 Medium: Oil on Canvas Dimensions: 26.60" x 21.50" Signature: Signed and Dated The Country Gentleman, October 11, 1924, cover illustra...

Medium: Oil on Canvas Signature: Signed Lower Left Norman Mills Price never fully received the popular recognition that his work deserved. Because he was so intently interested in h...

Date: 1927 Medium: Oil on Canvas Dimensions: 28.00" x 42.00" Signature: Signed and Dated Upper Right Story illustration "Can't Keep a Good Man Down," by George Pattullo and illustra...

Date: 1920 Medium: Oil on Canvas Dimensions: 24.00" x 30.00" Signature: Signed Lower Right 1920 Cosmopolitan - page 63 of cornwell book Nicknamed "The Dean of Illustrators" by his peers. A cartoonist at 18 for Louisville Herald. By 1911 he was in the Chicago Tribune's Art department while studying at the city's Art Institute. In 1915, a student of Harvey Dunn, he in turn taught artists and developed talents for a generation. Oils for Cosmopolitan, Redbook, True, American Weekly, Life, Good Housekeeping. Book art for Man from Galilee and others. Ad contracts for GM, Eastern, Pennsylvania Railroad, Paul Jones Whiskey, Aunt Jemima...

Date: 1921 Medium: Oil on Canvas Dimensions: 30.00" x 21.00" Signature: Signed Lower Right This illustration was published in Trail's End by George W. Ogden, Grosset & Dunlap, ...

Medium: Oil on Board Signature: Signed Lower Right Sight Size 15.50" x 11.25", Framed 23.00" x 22.00" Original Cover Illustration for The Saturday Evening Post, May 2, 1925.

Date: 1920s Medium: Oil on Stretched Canvas Dimensions: 24.00" x 34.00" Signature: Signed Lower Right likely a cover for Top Notch

Date: 1923 Medium: Oil on Canvas Dimensions: 28.00" x 32.00" Signature: Signed Lower Right Advertisement for Cream of Wheat cereal

Medium: Oil on Canvas Signature: Signed Lower Right Sight Size 26.00" x 40.00", Framed 35.00" x 49.00" Story illustration from The Flower of the Flock, Cosmopolitan magazine, August...

Date: 5/25/1929 Medium: Oil on Canvas Dimensions: 14.00" x 12.00" Signature: Signed Lower Right

Date: 1923 Medium: Oil on Panel Dimensions: 24.00" x 36.00"

Date: 1924 Medium: Oil on Canvas Dimensions: 26.00" x 24.00" Signature: Signed Lower Left, Dated Verso, '24

Medium: Oil and Gold Paint on Board Signature: Signed Lower Right Sight Size 19.00" x 16.00" Oval, Framed 24.00" x 21.00" April. 1920 Good Houseke...

Approximate Date: February, 1923 Medium: Oil on Board Signature: Signed and Titled Size: 20.00" x 16.00" Washington's Birthday, Woman's World magazine cover, February 1923

Mabel Rollins Harris was among other things an illustrator who specialized Children's art. Looking at her work today her pictures take on an almost surreal quality. She posed ...

Medium: Oil on Board Sight Size 28.00" x 24.00", Framed 34" x 30" Signature: Signed Upper Left Cover Illustration for the February 16, 1924 issue of The Country Gentleman...

A monumental watercolor on paper, painted in Paris by Russian artist Sacha Zaliouk. Zaliouk moved to Paris in the early 1920's and became an artist and illustrator, becoming part ...

Medium: Oil on Board 22.00" Oval, Framed 31.00" Oval Signature: Signed Lower Right Sears Magazine Cover, Fall- Winter 1927/1928

Born in Hungary in 1899 Joseph Waidinger was educated in fine art before moving to Paris to work in 1924. "Lola" is original oil on canvas, signed, and dated 1929. A true genre painting, as an elegant art deco woman sits in a cafe, perhaps waiting for someone...

Date: 1923 Medium: Oil on Board Dimensions 24.50" x 25.50" Signature: Signed Lower Left

Date: June 10, 1922. Medium: Oil on Canvas Dimensions: 26.00" x 24.00" Signature: Signed Lower Right Cover of Country Gentleman magazine 6/10...

Date: 1920s Medium: Oil on Canvas Sight Size 20.00" x 16.00", Framed 24.00" x 20.00" Signature: Signed Lower Right

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...

Oil painting on canvas by A. Shukov (Russia), 1952. Signed: (cyrillic) A. Shukov. Framed. Good condition. Dimensions: 31.5 x 23.62 cm ( 80 x 60 cm )

Gouache on paper, 1920's by Hugò Scheiber ( 1873-1950 ) Hungary. Signed with pencil lower central: Scheiber H. Framed under glass. Height: 25.98 in ( 66 cm ), Width: 19.69 in ( 50 c...

This fine early 20th-century oil painting by British artist Frank Moss Bennett (1874-1952) depicts two 18th-century gentlemen in periwigs playing cards by a fire. Frank Moss Bennett...

This early 20th-century oil painting by British artist Frank Dickson (1862-1936) depicts a coastal view with fishermen and a woman mending nets. Dickson hailed from Chester near Liv...

It is probably those irises in the foreground that always make me think of Monet's garden when I look at this landscape! Just like he Master's late work, it is so impressionist that ...

Emmanuel Cocard. Fairy Tale Scene Of A Knight With A Young Woman On Horseback. Fairy tale scene of a knight abducting a young woman on horseback. Behind them, we see dark silhouett...

A wonderful oil on canvas circa 1920 by French post impressionist painter Paul Elie Gernez depicting nude figures in the garden of eden. Signature: S...

Scene of a knight atop a ship with sword raised. Emmanuel Cocard, Lyon, 1929. Painted in gouache on thick cardboard, currently protected by a wooden panel. The author of the paintin...

Fine oil painting on canvass depicting 2 views of a handsome man wearing a white shirt, in repose. The painting is oil on canvass by Marion Butler Ewald, Bucks County and Philadelph...

Signed gouache on board figures in landscape circa 1920 by French impressionist painter Eduoard Cortes. The work depicts a view of Paris, France in winter. The streets are filled wit...

Post impressionist oil on canvas circa 1920 by French painter Adolphe Louis Gaussen. The work depicts a boat sailing in the blue waters off a rocky coast in Marseille, France. Signa...

Stunning signed impressionist oil on original canvas dated 1920 by French painter Marie Duhem. The piece depicts a woman in a pale pink dress and a gre...

Signed Lower Right Medium: Oil on Canvas Signature: Signed Lower Right Cover of The Saturday Evening Post, March 30, 1929

Oscar Lycke was a Swedish artist from Sundsvall. He is best known for his impressive colourful landscape paintings in a national romantic and realism style...

Still life, eggs, red flower, White, Realism, 1920s Henri VAN DE VELDE (1896-1969)

A wonderful oil on board circa 1920 by sought after French post impressionist painter Victor Charreton, who was known as the painter of colours. The piece depicts a figure walking th...

After François Girardon sculpture Apollo served by the nymphs at the Chateau de Versailles garden Josef Wagner-Hohenberg was a German painter who was born in 1870. Josef Wagner-Hoh...

LOUIS ICART French, 1888 - 1950 CAFÉ PLACE BLANCHE signed "Louis Icart" (lower left) titled, inscribed, signed and located "- Café place Blanche - / XVI-77 / L. I, / Paris" (on the r...

Signed oil on canvas dated 1924 by French impressionist painter Jules Leon Flandrin. This stunning piece depicts the scenery of the bridge Pont Saint Michel over the River Seine in P...

“Public Aid” is an oil painting by Lionel Walker, a 20th century African-American artist known for his oil paintings. Three figures dressed for the outdo...

Medium: Oil on Paper Laid on Panel Signature: Signed Lower Right Initialed lower right: M.P. Signed on the reverse: Maxfield Parish Initialed and numbered by the artist's son on the reverse: M.P. Jr. / No. 68. When Maxfield Parrish painted the comical A Dark Futurist in 1923 for Life magazine, he had already established himself as America's leading book and magazine illustrator. His early artwork for children's classics like L. Frank Baum's Mother Goose in Prose (1897), Kenneth Grahame's Dream Days (1900), and Eugene Field's Poems of Childhood (1904) popularized his signature atmospheric settings, cobalt blue-and-gold palette, and dreamy figures inhabiting magical worlds. Likewise, his covers for Century, Collier's, Harper's Bazaar, Ladies' Home Journal, Life, and Scribner's Magazine were highly desirous and instantly recognizable, often more stylized than his book imagery; no other journal illustrator could match Parrish's winning combination of precise draftsmanship, strong graphic design, and amusing characters. According to David Apatoff, Art Critic, The Saturday Evening Post, "Parrish abandoned his customary heavy details and rainbow colors to present a bolder, more high-contrast design silhouetted against a stark white background - a treatment more suitable for a modern magazine cover vying for attention on a crowded newsstand. A Dark Futurist is silhouetted against a white field with no background or details to prop it up. The composition is carefully centered with only differences in the hands and the artist's necktie to break the symmetry. These are crucial to the success of the design. Just as important as Parrish's clean, high-contrast style in these pictures is the refreshing humor and sophistication in content, which is usually absent from Parrish's fairytale paintings. A Dark Futurist shows us a different kind of modernism. Parrish steps out of his timeless fairy tales to tweak one of the most incendiary artistic movements of his day. Futurism, with its militant manifesto and its outspoken artists, was all the rage in Europe. Parrish pokes them, showing a "dark" and anxious futurist with pursed lips and thick glasses, poised to paint but not exactly sure of, or optimistic about, what the 'future' will hold. This suggests that Parrish was alert to, and had opinions about, current events of the day - something one might never guess from his usual subject matter." In his early Collier's illustrations, Parrish also developed memorable themes that he would return to in his 1920s magazine work. One of his most popular characters was the "seer," or man with keen visual powers, most often depicted as an artist, but also appearing as a tourist, scientist, and philosopher. Parrish's seer was recognizable by particular physical attributes: round glasses, indicating his visual and analytical acuity, and an overcoat and/or hat signifying his role as observer of the outside world. A Man of Letters, sold last year at Heritage Auctions, was one of the first Life covers Parrish rolled out for Gibson, and he repeated the character of the artist-seer, emphasizing the comic spin, for two later editions: A Dark Futurist (Life, March 1, 1923) captures a Parrish-like artist in foggy round glasses and a long green coat...

Medium: Oil on Board Signature: Signed Sight Size 20.13" x 16.38", Framed 26.00" x 23.00" Maxfield Parrish’s popularity as an illustrator began with his early work for magazine publishers. An Easter 1895 cover for Harper’s Bazaar, one of the leading publications of the day, was followed by a successful foray into book illustration beginning in 1897 when Parrish completed illustrations for Frank Baum’s Mother Goose in Prose. His unique style and vivid imagination were well suited to illustrating children’s literature and resulted in numerous commissions. The List of Characters is one of 26 paintings, which appeared as an illustration in Louise Saunders' book, The Knave of Hearts. Lawrence S. Cutler and Judy Goffman Cutler write, “The last book Parrish illustrated, The Knave of Hearts (1924), was his masterpiece. When Parrish discovered this children’s play, he proposed an illustrated edition to Scribner’s, to which the publisher enthusiastically agreed …It was written by Louise Saunders, who was the wife of Maxwell Evarts Perkins of Scribner’s, an important editor in the 20th century and discoverer of authors Thomas Wolfe, Ernest Hemingway, F. Scott Fitzgerald and others. The couple were summer residents at Cornish and close friends of the Parrishes” (Maxfield Parrish and the American Imagists, Edison, New Jersey, 2004, p. 172). According to Coy Ludwig, “The artist’s enthusiasm was shared by the publisher, who requested sketches or more precise information upon which to base a cost analysis, as final approval could not be given until the costs were estimated. Parrish prepared an elaborate dummy or mock-up of the proposed publication, complete with watercolor sketches of the illustrations, and sent it to the publisher early in 1921 …The twenty-six paintings for The Knave of Heartswere executed within three years, and the book, a sumptuous production, was published on October 2, 1925… The volume, selling for ten dollars, was packaged in a telescoping box...

Provenance: This is an early painting by Huldah Mae Cherry (also known as Huldah Cherry Jeffe), done in her "Impressionist years" and painted after a painting by another American I...

Medium: Oil on Paper Laid to Board Signature: Signed with the Artists Initials M.P Lower Center Coy Ludwig, Maxfield Parrish, New York, 1973, plate 35, p. 133, illustrated in color

EDOUARD LÉON CORTÈS French 1882 - 1969 PLACE DE LA RÉPUBLIQUE signed "EDOUARD CORTÈS." (lower right) oil on canvas 19-3/4 x 25-1/2 inches (50 x 64.5 cm.) framed: 27-3/4 x 33-3/8 inches (70 x 84.5 cm.) PROVENANCE Private Collector, Madrid An elegant night view of the Parisian Republic Square, with amazing light effects that catch us. This work executed based on brushstrokes of long and safe strokes that make the forms vibrate with vivid color. Parisian nightlife is trapped in this corner of Paris. The monumental sculpture that symbolizes freedom and that presides over the square serves as a reference behind the tram between a light chiaroscuro. Meanwhile, the effervecent and lively life of the cafes that surround it vibrate strongly with its bright lights. Èdouard León Cortés (1882–1969) was a French post-impressionist artist of French and Spanish ancestry. He is known as "Le Poète Parisien de la Peinture" or "the Parisian Poet of Painting" because of his diverse Paris cityscapes in a variety of weather and night settings. Cortes was born on August 6, 1882, in Lagny-sur-Marne, about twenty miles east of Paris. His father, Antonio Cortés, had been a painter for the Spanish Royal...

Original Oil on Canvas Illustration for Hearst/Cosmopolitan Aug. 1925 "Land Where Men Forget the Past, The Coconut Pearl" Caption: " 'Anyone who's knocked ...

Jean Dufy (1888-1964) "Les Cavaliers Dans La Parc" c. 1929/30 Oil on Canvas Signed Lower Left Provenance: Arthur Lenars & Co., Paris *This work has been authenticated by Jacques Ba...

Edmund Adler (Rode) "Blowing Bubbles" Oil on Canvas 22 x 27 inches 32 x 37 inches framed Signed Lower Right Edmund Adler (Austrian) 1876-1965 Kno...

Modernist winter landscape with figures by Abel Bertram (1871 - 1954). Watercolor and gouache on paper, circa 1920. Signed lower left,...

Micao Kono was born in Japan, but moved to work in Paris in the 1920's. His style, a mixture of Japanese watercolor and figurative Art Deco. He often mixed egg tempera into his oils ...

Belgian Symbolist artist Jan Frans DeBoever (1872 - 1948), created symbolist/allegorical paintings throughout his lifetime. He centralized on allegorical and literary subjects, gener...