1930s Paintings

Oil on Canvas, 1935 by Dietz Edzard ( German/French 1893-1963 ) Height: 17.99 in ( 45,7 cm ), Width: 12.99 in ( 33 cm ) With the artist's signature stamp at lower left. Framed. Prope...

Jules Herve (French, 1887 - 1981) Place Jeanne D'Arc, Paris, circa 1930 Oil on canvas 8 3/4 x 10 3/4 inches Signed lower right; signed on the reverse Jules Rene Herve, an impression...

This evocative landscape by Otto Lindberg captures the quiet beauty of a forest at dusk. The most striking feature is the luminous pink and violet glow of the fading sunlight, master...

Original oil on canvas painting of a lavish interior dinner party scene by Venancio Zolla. Signed lower right. Condition is excellent. Bibliography printed label on frame verso. O...

Gorgeous mid century impressionist seascape of Southern California coastal rocks and waves by Georgia Crittenden Bemis (American, 1908-2008), 1939. Signed lower left corner and on verso. Presented in gilt-toned gesso frame of period. Image size: 30"H x 36"W. Framed size; 34"H x 40"W. Painting was exhibited at the San Diego Fine Arts Gallery, 1939. Georgia Crittenden Bemis was born in Delano, MN on Jan. 13, 1908. Bemis moved to San Diego, CA in 1928. She studied there at the Academy of Fine Arts and with Pauline DeVol, Charles Reiffel, Otto Schneider...

Le Pont Neuf, Paris by Edouard Henri Leon (French 1873-1968) signed lower front corner inscribed and titled verso oil on canvas in wooden surround slip frame wooden frame: 18.5 x 25....

Antique American oil painting. Oil on canvas. Measuring 18 by 22 inches.

Impressive early American modernist cityscape oil painting. Framed. Oil on canvas. Signed. Image size, 20H by 36L.

Nude Woman is a modern artwork realized by Antonio Feltrinelli in 1930s. Mixed colored oil painting on canvas Antonio Feltrinelli (Milan, 1887 – Gargnano, 1942) He was born in Mila...

This mural study is part of our exhibition America Coast to Coast: Artists of the 1930s Industry and Commerce, 1936, tempera on panel, 16 ½ x 39 ½ inches, signed verso “John Ballator, Portland Ore.” provenance includes: J.C. Penney Company, represented by Russell Tether Fine Arts Assoc.; presented in a newer wood frame About the Painting Industry and Commerce is a prime example of WPA Era muralism. Like a Mediaeval alter, this mural study is filled with icons, but the images of saints and martyrs are replaced with symbols of America's gospel of prosperity through capitalism. Industry and Commerce has a strong narrative quality with vignettes filling the entire surface. Extraction, logistics, design, power generation, and manufacturing for printing, chemicals, automobiles and metal products are all represented. To eliminate any doubt about the mural's themes, Ballator letters a description into the bottom of the study. Ballator also presents an idealized version of industrial cooperation, as his workers, lab-coated technicians and tie-wearing managers work harmoniously toward a common goal in the tidy and neatly designed environments. Although far from the reality of most industrial spaces, Ballator's study reflects the idealized and morale boosting tone that many mural projects adopted during the Great Depression. About the Artist John R Ballator achieved success as a muralist, lithographer, and teacher during the Great Depression. Born in Oregon, he studied at the Portland Museum Art School, the University of Oregon and at Yale University where he received a Bachelor of Fine Art. In 1936, Ballator was commissioned to paint a mural panel for the new Department of Justice Building in Washington DC, an important project that spanned five years with several dozen artists contributing a total of sixty-eight designs. Ballator completed murals for the St. Johns Post Office and Franklin High School, both in Portland, Oregon. He also contributed to the 1938 murals at Nathan Hale School in New Haven, Connecticut. During the late 1930s, Ballator taught art for several years at Washburn College in Topeka, Kanas, where he completed a mural for the Menninger Arts & Craft Shop before accepting a professorship at Hollins College...

Josep Ventosa Domenech (1897-1982) - Navarcles - Oil on panel Oil measurements 16x22 cm. Frame measurements 31x37 cm.

Antique American modernist landscape abstraction. Oil on board, circa 1940. Signed. Image size 30L x 25H. Housed in a period modern frame.

"Airplanes Dive Over Enemy Skies" Italian Futurism Futurist Transportation Plane Guglielmo “Tato” Sansoni (Italian, 1896 – 1974) "Airplanes Dive Over Enemy Skies (Aerei in Picchiata su Stabilimenti Nemici)," 20 x 28 inches. Oil on canvas. Circa 1930s. Signed lower right. Titled and signed verso. Guglielmo Sansoni...

5149 Antique French Impressionist oil painting landscape Signed lower left Image size 22x18"

Pierre-Albert BÉGAUD (Bordeaux 1901 – 1956) End of game Oil on canvas H. 27 cm; L. 46.5 cm Signed lower right Pierre-Albert Bégaud is a French portrait and landscape painter born in...

Antique American school seascape oil painting. Oil on canvas. Framed. Signed. Image size, 30L x 24H.

Brooklyn Bridge NYC American Scene Social Realism Mid 20th Century Modern WPA Cecil C. Bell (American, 1906-1970) Brookyn Bridge amid the NYC Waterfront 35 ½ x 23 ½ inches Oil on Bo...

Impressive early American winter scene impressionist landscape painting. Oil on board. Framed. Signed. Image size, 18 by 24 inches.

Frank Hoffman (1888-1958) New Mexico, Illinois Artist Image Size: 27 x 41 Frame Size: 37 x 50 Medium: Oil Circa 1930s - 1940s "The Encounter" Indian & Bear Frank Hoffman (1888-1958) Growing up in New Orleans where his father raced horses, Frank Hoffman developed a great love for these animals, which was reflected in his paintings. He worked as an illustrator for the "Chicago American" newspaper, which gave him an opportunity to draw many subjects from opera to prize fights, and eventually he became head of the department. During that time, he took formal art training from J. Wellington Reynolds, a portrait painter. In 1916, having been rejected for military service because of poor eyesight, he went West and lived with cowboys and Indian tribes and served as public relations director for Glacier National Park. Eventually he settled on a ranch near Taos, New Mexico, and became part of that art colony and studied with Leon Gaspard, who encouraged him to use color freely. Advertisers including General Motors, General Electric, and the Great Northern Railway hired him because they loved his bold, broad brush work and striking colors. He also did magazine illustrations, specializing in western subjects. Because of the spaciousness of his ranch that he called Hobby Horse Rancho, he kept live models of cow ponies, thoroughbred horses, longhorn steers, several breeds of dogs, eagles, a bear and burros. From 1940 Brown & Bigelow Publishing Company of St. Paul, Minnesota had him under exclusive contract, and during the next 14 years, he produced 150 paintings for that company. Source: Walt Reed, The Illustrator in America, 1860-2000 Known as a traditional Western illustrator, painter and sculptor, Frank Hoffman was born in Chicago, Illinois. He grew up around his father's New Orleans, Louisiana, racing stables. Through a family friend, Hoffman was hired to make sketches for the Chicago American, later becoming head of the art department. While working for the paper, he had five years of formal art training in private lessons from J. Wellington Reynolds, a portrait painter. In 1916, Hoffman went West to paint, living with the Indian tribes and the cowboys. During that time, he also worked as public relations director for Glacier National Park, where he met noted artist John Singer Sargent. In 1920, Hoffman joined the young art colony in Taos, New Mexico. He studied with Leon Gaspard, learning the use of color. Although focusing on his fine art, Hoffman also painted for corporate advertising campaigns and illustrated Western subjects for the leading national magazines in the 1920's. Hoffman became the best-known New Mexico illustrator of the time. As his success grew, he bought his own Hobby Horse Rancho, where he raised quarter horses and kept as live models the longhorns, dogs, eagles, burros, and even a bear that he had begun to sculpt in the 1930's. Later, beginning with 1940, Hoffman was under exclusive contract to Brown and...

Ships is an original painting realized by Bruno Croatto in 1938. Signed and datet by the Artist at bottom left. Includes a wooden frame.

Georgina Klitgaard (1893 - 1976) Buttermilk Bay, Cape Cod, Massachusetts, 1933 Oil on canvas 18 x 30 inches Signed lower right Provenance: Frank K. M. Rehn Galleries, New York Harold Ordway Rugg Private Collection, Western New York Georgina Berrian was born in Spuyten Duyvil, New York in 1893. She was educated at Barnard College...

De Hirsh Margules (1899-1965). Christopher Street, 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15.5 x 20 inches. Window in matting measures 15 x 19 inches. Framed measurement: 23 x 30 inched. Bears fragment of original label affixed on verso. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC Exhibited: The American Federation of Arts Traveling Exhibition. From the facade of The Waverly at Christopher is depicted One Christopher Street, the 16-story Art Deco residential building erected in 1931. It is not a casual coincidence that the structure appears in this cityscape: 1 Christopher Street is the subject. The original intention of this project was to transform the neighborhood, bring a bit of affluence and make a bid to rival the Upper West Side. Margules, a sensitive aesthete, understood how a massive piece of architecture such as One changes a neighborhood. Sound, scale and focal points are forever altered. A pedestrian's sense of depth and distance becomes pronounced. All of these factors contribute to the intent behind this image. Tall buildings disrupt the human scale, change the skyline and carve up space. In this piece, negative space conforms to the man-made geometries. Clouds become gems fixed in settings. De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The 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" Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village. Early Life De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website. At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers. As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later. In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno). Artistic career In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting. Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe. Jane Heap, left, with Mina Loy and Ezra Pound During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter. In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa. Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that: the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment. Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow." It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day. In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel. Upon his return to New York 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." Alfred Stieglitz Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York. With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting. In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works. In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation. "The Baron of Greenwich Village"[edit] Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond. To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness." He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller. Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance. The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation. The writer and television personality Alexander King said I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean. King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets." Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler. Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...

A mysterious blond young woman is standing by the window in a plush drawing room which has a velvety feel. With her back turned to us, she is looking out over the spires and roofs of...

Our Gallery acquired the estate of a Northern California artist, Thelma Terrell. Terrell lived in Oakland and was an illustrator and profes...

Clara Deike (American, 1881-1965) Canterbury Bells, c. 1932 Oil on canvas 26 x 24 inches 31.25 x 29.5 inches, framed Exhibited: The Women's Art Club of Cleveland, 1932 A graduate of...

A substantial, American School figural oil of a young woman with dark hair shown seated, wearing a simple white cotton shift and gazing to the viewer's left. A dramatically composed...

John Whorf was born in Boston in 1903. His father, Harry Whorf, was an artist and graphic designer. When John decided at a young age to become an artist himself, his father provided ...

A lovely gouache on cardboard painting featuring an Art Deco singer with a typical stylish outfit. Utilizing the contrast of black and white components against primary colors like y...

ADOLF ARTHUR DEHN (American, 1895-1969) San Francisco Bay Area street scene, with Trolley, Streetcar, Cable Car with bay and Alcatraz Island in background. Hand signed LRC. Sight 19" x 15", overall 23" x 19". Adolf Dehn (November 22, 1895 – May 19, 1968) was an American artist known mainly as a lithographer. Throughout his artistic career, he participated in and helped define some important movements in American art, including regionalism, social realism, and caricature. A two-time recipient of the Guggenheim Fellowship, he was known for both his technical skills and his high-spirited, droll depictions of human foibles. Adolph Dehn was born in 1895 in Waterville, Minnesota. He began creating artwork at the age of six, and by the time of his death had created nearly 650 images. Dehn went to the Minneapolis School of Art (known today as the Minneapolis College of Art and Design), where he met and became a close friend of Wanda Gag. In 1917 he and Gág were two of only a dozen students in the country to earn a scholarship to the Art Students League of New York. He was drafted to serve in World War I in 1918, but declared himself a conscientious objector and spent four months in a guardhouse detention camp in Spartanburg, SC and then worked for eight months as a painting teacher at an arm rehabilitation hospital in Asheville, NC. Later, Dehn returned to the Art Students League for another year of study and created his first lithograph, The Harvest. In 1921 Dehn's lithographs were featured in his first exhibition at Weyhe Gallery in New York City. From 1920 to 1921 in Manhattan, he was connected to New York's politically left-leaning activists. In 1921, he went to Europe. In Paris and Vienna he belonged to a group of expatriate intellectuals and artists, including Andrée Ruellan, Gertrude Stein, and ee cummings...

Antique American modernist landscape oil painting. Oil on canvas. Signed. Framed. In excellent original condition. Handsomely framed in a gold giltwood molding. Excellent conditio...

Original Painting. New Yorker Mag Cover Proposal WPA Mid Century American Scene Antonio Petruccelli (1907 – 1994) Perplexed Gentleman New Yorker cover proposal, c. 1939 13 1/4 X 8 ...

A beautiful 1930's French impressionist oil on canvas depicting a landscape in the Haute Loire region with hay bale and hilltop village, by René Aubert. ...

Suzanne Roche, French signed and dated 1930 signed oil painting on canvas, unframed canvas : 21 x 28 inches provenance: private collection, France condition: overall very good

Leonid Frechkop (1897–1982), painter and art critic, is a significant figure in Russian and Belgian art. Born on November 6, 1897, in Moscow, he trained under renowned masters at the...

This Western Landscape by New England Impressionist painter Richard Edward Miller is a 12.5 x 23.5 inches, oil on board painting from 1931. A plein-air and impressionist painter as ...

Work on canvas

Gaston CORNIL French 1883 - 1960 A beautiful painting by Gaston Cornil of the coast of France. The texture within his palette works beautifully with his talent in creating a 3 dimensional effect with the waves and sand. An outstanding example, unique from his traditional landscapes. Oil on panel Picture Size: 15 x 18" (38 x 46cm) Outside Frame Size: 21 x 24" (53 x 61cm) He was born on May 15th 1883 in St Mande...

Large and amazing Colorado landscape painting by Eleanor Dow Green . Oil on canvas. Framed. Signed. Image size, 30 by 36 inches.

Work on canvas Wooden frame 74 x 61.5 x 4 cm

Notre Dame Cathedral by Maurice Falliès (French, 1883-1965), an artist who specialised in Paris street scenes. His work was recently shown at the Musée...

The painting we are selling is a breathtaking mountain view from Hålland in Jämtland, Sweden, created by Ante Karlsson-Stig in 1932. Ante Karlsson-Stig (1885-1967) was a Swedish pain...

Landscape is a modern artwork realized by Kurt Schwitters in 1936. Mixed colored oil on canvas. Signed with monogram and dated on the lower right rec...

Wonderful double sided oil on heavy fiber board paintings done by the well known North Fork Peconic Bay artist Caroline Bell. The coastal sailing painting is signed lower left. The haystack painting verso is signed in pencil lower right. The sailing painting is in good condition; the haystack painting is in good condition. Both done circa 1930. In a period but not original gold leaf over wood frame. Framed measurements are 19 by 23.75 inches. Provenance: A Long Island, New York estate. (1874-1970) Caroline Bell was the leader of a group of artists known as the Peconic Bay Impressionists...

Oil mesures 36x23 cm. Frameless. Restored.

This captivating oil on board painting by Sister Mary Norbert, dated 1938, beautifully captures a serene summer mountain landscape. The composition feature...

"3rd Avenue EL" NYC American Scene Ashcan WPA Modern 20th Century Social Realism Bernard Gussow (1881-1957) 3rd Avenue El 28 1/8 x 30 1/4 inches Oil on canvas Signed lower left Fram...

Art Deco Movie Set 20th Century American Modernism Hollywood WPA Social Realism Arthur Rosenman Ross (1913 - 1981) Art Deco Movie Set, Probably MGM Studios, 1937 17 x 27 inches Gouache on illustration Board Signed Art Ross, ‘37 lower right Provenance: Estate of the artist. BIO Arthur Rosenman Ross was a key figure in automotive design at General Motors during America's "Golden Age" of auto design, the 1930's through the 1950s. He attended the Art Institute of Chicago from age 17, exhibiting a special interest for automotive renderings and the female figure. In 1934, he changed his name from Rosenman to Ross, fearing his Jewish ancestry could prejudice his career prospects. At age 20, he turned down job offers from MGM Studios in Hollywood and Duesenberg to work at General Motors alongside the Legendary Harley Earl in 1935. He was hand picked by Mr. Earl and assigned to GM's War and Camouflage Division in 1937 through WW2. It was during this pivotal period in which he executed some extraordinary military aircraft artworks, likely used between GM and America's military aeronautics companies in design preparation for WW2. General Motors played an important role in helping America's aircraft manufacturers preceding and during the war. Just after the war in 1945, Mr. Ross was rewarded by GM, being made Chief Designer of Cadillac, then two years later becoming Chief at Oldsmobile until his retirement in 1959. He was in large part responsible for some of GM's classic Cadillac designs such as the Cadillac Sixty Special, Fleetwood, LaSalle and GM's first concept car, the extraordinary Buick Y-Job. Mr. Ross was an exceptionally charismatic and vivacious man who quite by chance, befriended His idol, Salvador Dali at GM in 1955. They talked about art, cars and girls late into the evening, according to his son, Carter Ross. He had a gift in rendering the erotic arts...

"Unemployed" WPA American Scene Social Realism Mid 20th Century Modern William Gropper (1898 - 1977) Unemployed 20 x 16 inches Oil on canvas, 1937 Signed lower right Provenance: Estate of the artist Bio Throughout his life, William Gropper used his artistic talents to protest social injustice. Born in New York City, he grew up there in poverty and left high school to work as a dishwasher and delivery boy. He eventually began a career in art and was able to study with Robert Henri and George Bellows from 1912 to 1915. He adopted their realistic painting style, and his own work expressed sympathy for common laborers and outrage at society's ills. In 1919 Gropper established a reputation as a political cartoonist working for the New York Tribune. His blunt, forceful style attracted the attention of other publications, and he provided illustrations and cartoons for a variety of magazines, from the left-wing New Masses to mainstream Vanity Fair. Like many social realist artists of the 1930s, Gropper supported liberal political causes, depicting subjects such as the plight of migrant laborers and striking factory workers. In his first gallery exhibition in 1936 at ACA Galleries, Gropper's work was so well received by critics, collectors, and artists that the following year he had two one-man exhibitions at ACA Galleries. In 1937, Gropper traveled west on a Guggenheim Fellowship and visited the Dust Bowl and the Hoover and Grand Coulee Dams, sketching studies for a series of paintings and a mural he painted for the Department of the Interior. That same year he had paintings purchased by both the Metropolitan Museum of Art and the Museum of Modern Art. Gropper exhibited at the 1939 New York World's Fair, Whitney Museum of American Art (1924-55), Art Institute of Chicago (1935-49), Carnegie International (1937-50), Pennsylvania Academy of the Fine Arts (1939-48), and National Academy of Design (1945-48). He was a founder of the Artists Equity Association and member of the National Institute of Arts and Letters. From 1940 to 1945 William Gropper was preoccupied with anti-Nazi cartoons...

Impressive early American modernist large flower still life oil painting. Framed. Oil on board. Image size, 35H by 23L.

CELSO LAGAR Spanish, 1891 - 1966 PAVILLON DE CIRQUE signed "Lagar" (lower right) oil on canvas 15 x 18 inches (38 x 46 cm.) framed: 21-1/2 x 24-1/2 inches (54 x 62 cm.) NOTE: THIS W...

Signed on top left side P. Ghiglia 937. Good conditions.

Serene winter landscape of a snow covered hills with a frozen creek and far off house in the distance by Frederick Wagner (American, 1864-1940), c.1930's. Signed "F. W." lower right....

The Castle By Norman Lindsay (1879-1969), Watercolour painting on canvas mounted on board and framed signed to lower right painting measures: 30.5cm x 23.5cm framed: 77.5cm x 70.5cm ...

Signed impressionist landscape oil on canvas circa 1930 by French painter Antoine Bouvard Snr. The work depicts a gondolier sailing a gondola on a Venetian Canal. The last light of t...

'Boats on a Pond', oil on canvas, by Charles Kvapil (circa 1930s). This tranquil artwork depicts people fishing from their small boats. The motionless pond is surrounded by lush foliage with some homes as backdrop. The painting is spattered with light. With hardly any air moving in the scene, the still water plays...

French Art Deco, oil on canvas, society female portrait by Dembinkski (probably Anton J.) Signed, dated and located (Paris) bottom left. In later wood and gilt frame. A charming and...

Female Figure is an original artwork realized in the 1930s by Antonio Feltrinelli (Milan, 1887 - Gargnano, 1942). Original Painting on canvas. Hand-signed on the lower right corne...

Stark and emotional depiction of a family after a natural disaster by Charles Kinghan (American, 1895-1984). This grayscale painting was created as an ...

Early 20th Century Oil Painting Grand Canal at Dusk, Venice Italy (2-Sided) Peaceful and substantial romantic scene of a gondolas along Venice's iconic Grand Canal at Dusk by Richar...

Elm trees in autumn at the edge of Salt Creek, Illinois, by Mary H. Brubaker (American, b. 1891). Signed and dated "Mary H. Brubaker 35" in the lower left cor...

Outstanding painting by the italian artist Donato Frisia, dated 1930. Signed lower left in red. A sensual nude of woman reclined on a sofa is depicted with, at the same time, appeal...

Antique American oil painting. Oil on canvas. Measuring 18 by 22 inches.

Impressive American impressionist winter landscape oil painting. Framed. Oil on board. Signed. Image size, 9H by 11L.

Signed oil on panel landscape circa 1930 by French post impressionist painter Victor Charreton. This stunning work depicts a view of a French hamlet in summer - the buildings in the ...

Brooklyn Bridge NYC American Scene Social Realism Mid 20th Century Modern WPA Cecil C. Bell (American, 1906-1970) Brookyn Bridge amid the NYC Waterfront 35 ½ x 23 ½ inches Oil on Bo...

In this gilt wood framed oil on canvas waterscape, American Impressionist artist Harry Hoffman depicts the last moments of a morning sunrise over a river in predominant hues of lavender, purple, pink and blue. The sky is reflected in the water below with a sandy brown beach and large green tree in the foreground. Harry Leslie Hoffman was born in Cressona, a small community in Pennsylvania’s Schuylkill Valley. His mother was an amateur artist who encouraged her son to pursue a career in the arts. In 1893, Hoffman entered the School of Art at Yale University and studied with John Ferguson Weir, the son of Robert Walter Weir. After graduation in 1897, Hoffman moved to New York to continue his studies at the Art Students League. He also traveled to Paris and took classes at the Académie Julien. In the summer of 1902, Hoffman attended the Lyme Summer School of Art, in the town of Old Lyme on the Connecticut coast. The school was headed by Frank Vincent Dumond and was located in a boarding house owned by Florence Griswold. The school eventually grew into an artists’ colony and a center for American Impressionism. When Hoffman first arrived as a student, he was not permitted to stay in the house which was designated for the professional artists only. However, his outgoing personality soon won him many friends at the colony. In 1905, Hoffman settled in Old Lyme and worked as a full member of the artist colony. He was particularly influenced by Willard Leroy Metcalf, an Impressionist also working in Old Lyme. Fellow artists later fondly recalled Hoffman’s antics at the Griswold house, which included playing the flute and banjo, tap-dancing, singing humorous songs, and performing magic tricks. In 1910, Hoffman married another Old Lyme artist named Beatrice Pope, and the couple had one child in 1921. Hoffman and his wife often escaped New England during the harsh winter months. In the winters of 1914 and 1915 he traveled to Savannah, Georgia with fellow Old Lyme artist William Chadwick...

De Hirsh Margules (1899-1965). North on West Street , 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15 x 22 inches. Framed measurement: 27 x 34 inched. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The 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" Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village. Early Life De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website. At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers. As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later. In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno). Artistic career In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting. Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe. Jane Heap, left, with Mina Loy and Ezra Pound During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter. In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa. Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that: the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment. Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow." It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day. In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel. Upon his return to New York 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." Alfred Stieglitz Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York. With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting. In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works. In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation. "The Baron of Greenwich Village"[edit] Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond. To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness." He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller. Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance. The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation. The writer and television personality Alexander King said I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean. King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets." Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler. Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...

'Nude Viewed from the Back', oil on canvas, by Charles Kvapil (1937). The world of art has for centuries depicted nudes in one form or another. Kvapil's wonderfully alluring versions may likely be inspired by Courbet and Cézanne. This nude appears on a chair with her back to the artist and viewer. There are plush reds, sensuous pinks and darker, patterned curtains...

Portrait realized by Franco Settimj in 1932. Oil on cardboard. Hand signed and dated lower right. Good condition except for some minor issing parts on edges.

We are proud to have recently discovered, “The Sophisticate”, by American artist Alexander Rosenfeld. Rosenfeld was classically trained in fine ...

Signed and dated oil on panel landscape by sought after French post impressionist painter Jacques Martin-Ferrieres. This beautiful piece depicts a view of Auribeau-sur-Siagne, is a c...

View of the al-Aqsa Mosque, Jerusalem Watercolor on pencil lines 40 x 28 cm Signed lower right With Frame Lucienne Épron grew up in the Charente Maritime in France, and was awakened...

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...