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Reginald Marsh
Summer at the Pier

$23,500List Price

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Knucks Down
By Karl Witkowski
Located in New York, NY
Signed upper left: Witkowski
Category

Late 19th Century American Modern Figurative Paintings

Materials

Canvas, Oil

The Betrothal Ring
By Warren B. Davis
Located in New York, NY
Signed and dated lower left: WARREN B. DAVIS 06
Category

Early 20th Century Modern Figurative Paintings

Materials

Canvas, Oil

Portrait of Two Girls
Located in New York, NY
Signed and dated upper left: Dana R Pond 01
Category

20th Century Figurative Paintings

Materials

Oil

No Sad Songs
Located in New York, NY
Pointillist painter Alec Montroy depicts a crowd assembled beneath the marquee of the Broadway musical The Phantom of the Opera in his painting “No Sad Songs,” with theatergoers walk...
Category

20th Century Pointillist Figurative Paintings

Materials

Canvas, Oil

Cotton Club
Located in New York, NY
In his oil painting, “Cotton Club,” Alec Montroy depicts elegantly-dressed figures conversing in small groups on the sidewalk outside a nightclub with a brightly lit marquee.
Category

20th Century Pointillist Figurative Paintings

Materials

Canvas, Oil

Halloween, Bleeker Street
Located in New York, NY
In his work, “Halloween, Bleeker Street,” Alec Montroy depicts costumed figures parading down Bleeker Street carrying various protest signs, including anti-Bush posters and signs pro...
Category

20th Century Pointillist Figurative Paintings

Materials

Canvas, Oil

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Located in Miami, FL
Broad areas of bold, flat red, magenta, and pink characterize this mid-century painting by Barbara Warren Ebersole ( Barbara Tate Ebersole ). It depicts a block party festooned with balloons and a street organ grinder with a smartly dressed performing monkey. The overall look of a lot mid-century art inspires many of today's most celebrated contemporary artists. Signed and dated upper left. Oil on Masonite. Barbara Warren Ebersole was a painter and an author. She may have been of Native American...
Category

1950s American Modern Figurative Paintings

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Martyl Schweig 1942 Oil Painting, Victor, Colorado, Ghost Town Landscape
By Martyl Suzanne Schweig Langsdorf
Located in Denver, CO
This stunning original 1942 oil painting, titled "Victor, Colorado", is by acclaimed American artist Martyl Suzanne Schweig (1918–2013). A vibrant and historically rich landscape, this work captures the abandoned ghost town of Victor, Colorado, set against the majestic backdrop of the Rocky Mountains. Rendered in rich hues of green, gold, and earthy brown, Schweig brings to life the rugged beauty and quiet mystery of Colorado’s once-booming mining towns. The painting was completed during a plein-air painting trip with noted artist Adolph Dehn...
Category

1940s American Modern Landscape Paintings

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NYC Subway Mid 20th Century American Modernism WPA Realism industrial Colorful
Located in New York, NY
NYC Subway Mid 20th Century American Modernism WPA Realism industrial Colorful "New York Subway," 36 x 48 inches. Oil on Masonite (backed with a wood frame), Signed and dated ’47 upper left. The colors of the painting are extraordinarily vibrant. The white gold frame, signed Richard Tobey...
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1940s American Modern Figurative Paintings

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Modernist Oil Painting George Schwacha Brooklyn Street Scene Fruit Market WPA
By George Schwacha Jr
Located in Surfside, FL
Hand signed lower left corner Oil on masonite Dimensions: Frame H 18.25" x W 22.25". Sight H 11.25" x W 15.25 This is a great scene, vintage Americana. Possibly Crown Heights in Brooklyn New York City. Done in a mid century modern style with great vibrant colors and loose, adept, brushwork. Fruit vendor with ladies shopping. George Schwacha, Jr. (1908 - 1986) New Jersey artist. Known for Landscape painting and snow scenes. He studied Arthur W. Woelfle; John Grabach; Edward Dufner and A. Schweider. George Schwacha was president of the American Artists Professional League and a past president of the Audubon Artists and Art Center of New Jersey. He belongs to the American Watercolor Society, The National Society of Painters in Casein, and the Philadelphia Watercolor Club. His paintings have been shown throughout the country at museums such as the Pennsylvania Academy, the Corcoran Gallery in Washington, DC and the Birmingham Art Museum, The Butler Art Institute in Youngstown, Ohio the Connecticut Academy of Fine Arts, as well as in leading New Jersey and New York exhibitions, including the American Society of Arts and Letters. He is listed in Who's Who in American Art and International Directory of Arts. His work is represented nationally in over 30 museums and public collections including the Newark Museum, Montclair Museum, Birmingham Art Museum, the Isaac Delgado Museum in New Orleans, and the Butler Art Institute. Worldwide he is also represented in collections in the following countries: Austria, Belgium, Canada, Egypt, England, France, Germany, Greece, Holland, Hong Kong, Israel, Scotland and Switzerland. Seymour Zayon, Bertram Hartman, Hugh Campbell, Frank Herbst, Joseph Newman, Theodore Valenkamph, Robert John McClelland, Nicolai Cikovsky, Ben Benn, George Howell Gay, Robert Brackman, Vernon Wood...
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A Soulful Modernist Portrait
By Boris Deutsch
Located in San Francisco, CA
On offer is a portrait of an unknown sitter who is rendered with profound dignity yet lifted from gloomy solemnity by a vibrant and intriguing background. Notably, artist Boris Deuts...
Category

1950s American Modern Portrait Paintings

Materials

Masonite, Oil

The Magician oil and tempera painting by Julio de Diego
By Julio de Diego
Located in Hudson, NY
Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 42" x 2" About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...
Category

1940s American Modern Abstract Paintings

Materials

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