Early 20th Century Figurative Paintings

The Goldfish Bowl by Richard Miller (1875-1943) Oil on canvas 37 ½ x 29 ¾ inches unframed (95.25 x 75.565 cm) 46 ⅝ x 36 ¼ inches framed (118.428 x 97.155...

The Vigil-at-Arms, illustration for a poem by William Lucius Graves published in Scribner's Magazine, December 1904 Medium: Oil on Canvas Signature: Signed

Canvas Size: approx. 22 x 27 inches Framed Size: approx. 29 x 34 inches Edmund Adler (Austrian) 1876-1965 Known for his naturalness in color and expression, the artist Edmund...

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...

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

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...

Delphin Enjolras "In the Boudoir" Oil on Canvas Signed Lower Left Canvas: approx 29 x 22 inches Framed: approx. 37 x 30 inches Renowned as a portraitist of the upper echelons of s...

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...

EDOUARD LÉON CORTÈS French 1882 - 1969 BOULEVARD DE LA MADELEINE ON A SNOWY DAY signed "Edouard Cortès" (lower right) oil on canvas 19-3/4 x 25-1/2 inches (50 x 64.5 cm.) framed: 27-...

Important work by one of the leading artists of the italian naturalism, influenced by Giovanni Fattori as well as the the Barbizon School in France. Provenience: Collection of the Qu...

Paul Cornoyer “Central Park Autumn” c. 1910 Oil on Canvas Framed Size: approx 29 x 35 inches Canvas Size: approx 22 x 26.5 inches Provenance: The Artist to Private Collection, St. Louis thence by Descent Conservation report: Excellent condition. On original canvas, not relined. No in-painting. Paul Cornoyer was born in 1864 in St. Louis, Missouri. He studied there at the School of Fine Arts in 1881. His first works were in a Barbizon mode, and his first exhibit was in 1887. In 1889, he went to Paris for further training, studying at the Academie Julien, and returned to St. Louis in 1894. By the early 1890s, his work was more lyrical and Tonal, and he applied this style to subjects such as cityscapes and landscapes. In 1894, he painted a mural depicting the birth of St. Louis for the Planters Hotel in that city. His activities during the next six years were not particularly profitable, however, and the whereabouts of his St. Louis paintings are scarcely known. One exception is the triptych, A View of Saint Louis, with its strong urban realism. It shows the Eads Bridge...

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...

Medium: Oil on Canvas Dimensions: 28.00" x 21.00;" Framed 36.00" x 29.00" Signature: Signed Lower Right Saturday Evening Post Cover, June 29, 1918 Exhibitions: It's a Man's World,...

Medium: Oil on Canvas Signature: Signed Lower Right Sight Size 28.00" x 24.00", Framed 30.00" x 27.00" Cover of Saturday Evening Post Magazine, October 31, 1908. Exhibitions: It's a Man's World, Illustration Art by and for Men: November 14-17 2012, Illustration House NYC The National Arts Club NYC Jan 6- 19 2013 Christie's New York, Illustrating America: Norman Rockwell and His Contemporaries, November 30, 2013- January, 2014 Joseph Christian Leyendecker was one of the most famous and prolific illustrators of his time and painted one less cover for The Saturday Evening Post than Norman Rockwell. He was the creator of the cherubic New Year’s Baby and the handsome Arrow Shirt Man who set the style for men’s fashion for decades. In addition to his beautiful men, women and children, Leyendecker’s covers and advertisements depicted subjects ranging from sports to war to politics. This 1908 Post cover shows a young newsboy holding pictures of William Howard Taft...

Medium: Oil on Canvas Signature: Signed Lower Left Sight Size 29.25" x 21.00", Framed 44.00" x 35.00" The Speed God Mercury, Collier's Magazine Cover, January 19, 1907 Leyendecker,...

An early, rare oil on canvas by American artist Ron Blumberg. Blumberg was classically trained at La Grande Academie Chaumiere in Paris, 1932, before moving to New York where he b...

An original oil on canvas by prolific French artist Helene Perdriat. Perdriat specialized in figurative, genre subjects of the 1920's and 1930's French...

An original oil on canvas by Hungarian artist Gertrude Klaris. Klaris worked in oils but pramrily in mixed media works on paper, much of her style is akin to her love of stained glas...

Presenting an original mixed media watercolor by Hungarian artist Bela Kadar. Bela Kadar was a historically important artist, is work was included as part of the degenerate art movement of Nazi Germany. His works appeared illustrated in the famous German arts magazine Der Sturm...

An original oil on canvas by French artist Jean Jannel, known for his figurative, genre portraits. Le Miroir, is an original oil on canvas, signed, c.1930...

Presenting an exceptional Art Deco oil painting by Austrian artist Richard Geiger. Geiger specialized in Art Deco imagery, in particular, he enjoyed using figures from the Italian Theater...

Presenting an exceptional and rare mixed media watercolor by Belgian artist Edmond Vandercammen. Vandercammen was classically trained and well ...

Presenting a rare oil on panel by German artist Otto Tugel. Otto Tugel worked in Germany before settling in New York. This is an early oil on panel, signed in monogram, dated 1925.

An original mixed media watercolor/gouache by Russian artist Vladimer Ullianoff. Ullianoff was credited for his large paintings and mural work in venues such as Graumans Chinese Theater...

An original mixed media gouache by French artist Jean Jannel, known for his figurative, genre portraits. Mademoiselle Jannel, is an original mixed media gouache, c.1930. We acquir...