1940s Paintings

JEAN MIROSLAW PESKE 1870-1949 Ukraine 1870-1949 France (Ukrainian/Russian/French) Title: La Vague / The Wave, circa 1948 Technique: Original Signed Oil Painting on canvas laid on board. This work was painted circa 1948. size:33 x 41 cm / 13 x 16.1 in Additional Information: This is an original painting by Jean Peske...

Jim’s of Lambertville is proud to offer this artwork by: Gershon Benjamin (1899-1985) An American Modernist of portraits, landscapes, still lives, and the urban scene, Gershon Ben...

This interesting British landscape oil painting is by noted artist Laurence Henry Irving. Painted circa 1940 it is a Kent harvest landscape of the Rother Valley from Prospect Hill, W...

Tempera on board, 87cm x 60cm (framed 106cm x 78cm). Stuart Maxwell Armfield (1916-2000) was renowned for his use of the traditional egg tempera technique, a skilled process that us...

Antique American school signed seascape painting. Oil on board. Signed. Framed. Image size, 24L x 18H.

Born in Hungary, Bisttram went on to become a prolific artist creating many thousands of paintings and drawings that embraced styles from realism through abstraction. A member of the WPA, he was best known as one of the founders of Transcendental Art...

Richard Andres (American, 1927-2013) Untitled, c. 1949 oil on canvas 18 x 32 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller designed and made the simple gold wedding ring Avis wore for their 65 years of marriage. During those 65 years neither wavered in their mutual love, nor in the respect they shared for one another’s art. The couple lived in a converted chicken coop in Missouri while Richard was in boot camp. At the camp, he would volunteer for any job offered and one of those jobs ended up being painting road signs. His commander noticed how quickly and neatly he worked and gave him more painting work to do - eventually recommending him for a position painting murals for Army offices in Panama. Until her dying day, Avis remained angry that “The army got to keep those fabulous murals and they probably didn’t even know how wonderful they were.” In Panama, their first son, Mark, was born. After Richard’s discharge in 1953, they moved back to the Cleveland area and used the GI bill to attend Kent State gaining his BA in education. The small family then moved briefly to Buffalo, where Richard taught at the Albright Art School and the University of Buffalo – and their second son, Peter, was born. Richard had exhibited work in the Cleveland May Show and the Butler Art Museum during his art school years, and during the years in Buffalo, his work was exhibited at the gallery he had so loved as a child, the Albright Art Gallery. In 1956, the family moved back to the Cleveland area and Richard began teaching art at Lincoln West High School during the day while working toward his MA in art at Kent State in the evenings. Avis and Richard, with the help of an architect, designed their first home - a saltbox style house in Hudson, Ohio, and in 1958, their third son, Max (after Max Beckmann) was born. Richard enjoyed the consistency of teaching high school as well as the time it gave him to paint on the weekends and during the summer months. In 1961, he received his MA and his daughter, Claire, was born. With a fourth child, the house was much too small, and Avis and Richard began designing their second home. An admirer of MCM architecture, Richard’s favorite example of the style was the Farnsworth house – he often spoke of how the concepts behind this architectural style, particularly that of Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s...

Oil on cardstock painting of oil tankers docked in port along with people dockside on a bright clear day by the Long Island American artist, Whitney Myron H...

Oil on masonite. Russian-Jewish-American artist Nahum Tschacbasov (1899-1984) is known for his intriquing cubo-surrealistic-symbolist works which feature a strong psychological elem...

Jim’s of Lambertville is proud to offer this artwork by: Gershon Benjamin (1899 - 1985) An American Modernist of portraits, landscapes, still lives, and the urban scene, Gershon ...

An original oil and sand painting on wood by Benjamin Benno, American (1901 - 1980) measuring 32 x 18.75 inches, signed and dated lower left. By...

An original oil painting on canvas by Benjamin Benno, American (1901 - 1980) measuring 24 x 30 inches, signed and dated upper left. By the early 1930's Benno had established a reput...

Road Less Traveled Hawaii Surrealist Mid Century Figurative Abstract Landscape Symbolistic and romantic Surrealist 1940s figurative abstract landscape with a figure journeying down a path in an idyllic landscape by Marguerite Louis Blasingame circa 1940-45. Signed Blasingame lower right corner; from a collection of her work. Unframed. Condition: Excellent; professionally cleaned and UV varnished. Image, 30"H x 20"W. Marguerite and her husband Frank Blasingame...

Antique American surreal abstract landscape painting Will Hollingsworth. Oil on canvas, circa 1940. Signed. Displayed in a period modernist fr...

Destiny's Path, Hawaii - Surreal Mid Century Hawaiian Figurative Abstract Symbolistic and romantic 1940s surreal figurative of pastel orange figure...

We are pleased to present this vivid, modernist work by Marcel Janco, one of the founders of Dada. It is housed in a stunning House of Heydenryk frame. Marcel Janco was a Romanian-Israeli-Jewish painter who was one of the founders of Dadaism and a noted modernist architect. His career evinced the modern artist's interest in the primitive in art. In its earliest years, the Romanian avant-garde flourished mainly outside of Romania, thanks to the conservative and nationalistic mood of that country during the post-World War I era. Dada, the anti-art movement, was hatched by a group of Romanian expatriate artists, Tristan Tzara (born Sami Rosenstein), Marcel Janco and other intellectuals working in Zurich in 1915. The Dada movement, which later took root in other centers in Europe and the United States, fostered an abandonment of traditional artistic methods and forms and urged an approach to art without preconceived ideas. A manifesto by Tristan Tzara said that Dada meant nothing, that ''we want works, straightforward, strong, accurate and forever not understood, logic is always wrong.'' Janco built the scenery for Cabaret Voltaire in Zurich that was the first Dadaist meeting place, and he was one of the most energetic members of the Zurich group. At the cabaret the members of the group put on shows and performances that were alien to and completely different from anything to which the bourgeois society of Zurich was accustomed. Marcel Janco was a full partner in all the group's activities - he created the masks they wore during stage performances, and took part in the shows that evoked great rage and indignant responses from the audience. A Dada construction of his was reproduced on the cover of Dada, the group's magazine, published in 1917. His best known Dadaist works were abstract, architectonic plaster reliefs, one of which is in the collection of the MOMA. Janco had his first exhibition at Cafe Voltaire in 1916. In 1917, Janco exhibited at the first Dada show in Zurich at the Dada gallery together with Hans Arp, Giorgio de Chirico, Paul Klee, and Tzara. In 1918, he became a member of Das Neue Leben, a group of artists in Basel that included Arp, Fritz Baumann, Augusto Giacometti...

Medium: Oil on Board Signature: Unsigned "The ragged edges of Manhattan. . . the rowdy brothels, the dirty hallways, the seething streets of Yorkville -- this was where Mattie Dolan...

Oil on artist board original painting by the well known American artist, Nicolai Cikovsky. Thick vibrant colors with a vase of flowers, a banjo and a notebook with photographs with a rough sea as the background. Circa 1940. Condition is very good. Overall framed in a circa 1960 frame, 23 by 27.25 inches. Landscape and figure painter Nicolai S. Cikovsky, 1894-1984, was born in Russia, where he studied at the Vilna Art School, 1910-1914; the Penza Royal Art School, 1914-1918; and Moscow High Tech Art...

FLIGHT American Futurism Modernism Scene WPA Mid-Century Oil Painting Realism Daniel Celentano (1902-1980) "Flight," 26 x 26 inches. Oil on canvas, c. 1940s. Signed lower right. Ori...

Surrealist Nocturnal Hawaiian Figurative Landscape w. Blue Skirted Woman & Moon by Marguerite Louis Blasingame Striking mid century modern Hawaiian noct...

An original oil painting by Benjamin Benno, American (1901 - 1980). By the early 1930s he had established a reputation as a member of the international avant-garde and exhibited wit...

Beautiful study of a shore bird by a lake by Louise Miller Clark (American, 20th Century). Signed "Louise Miller Clark" with pallet and two brushes, lower right. Unframed. Image, 24...

Life is But A Dream - Mid Century Hawaii Surreal Abstract Landscape with Boat Symbolic mid century landscape with surreal elements, of a lone row bo...

Original abstract vintage circa 1940s Transcendental abstract oil painting by New Mexico artist, Ralph Anderson. Presented in a custom hardwood frame with all archival materials. Ou...

Signed lower right dated 1944 Signed verso William Malherbe "The Thetford Hill Vermont" Provenance: Palm Beach Galleries Framed in a gold frame

Signature: Signed Lower Right Framed Dimensions: 32.00" x 28.00" Cover of The Saturday Evening Post Magazine, March 16, 1940

Answer the Call, 1954 Gouache on board 31 × 24 in 78.7 × 61 cm Joseph Binder was an Austrian-born designer whose influence permeated Europe and the United States. He applied reductiv...

Hawaiian - Creation's Conception, Large Mid Century Modern Cosmic Abstract Stunning blue and green large scale abstract that evokes the cosmos and captures many moods by Marguerite L...

Summer Seas, Mid-Century Asilomar California Seascape by William Clothier Watts A beautiful and substantial mid-century seascape by William Clo...

Just discovered, a rare, mixed media watercolor painting by American artist Robert McIntosh(1916-2010) McIntosh was extremely prolific and exhibited throughout his lifetime, inclu...

Belgian artist Miette Braive(1916-2000), was classically trained in Belgium, before moving to Paris to pursue her art career as first a student and then a contemporary of the famed F...

PHILIP PERKINS (1907-1970) Space Travel, 1945 Oil on canvas 10 x 8 ¼ inches Dated on canvas verso: 1945 Titled on stretcher bar: Space Travel Unsigned Philip Perkins was bor...

"The Coming of the Mayflower in 1620" is a painting by American artist N.C. Wyeth. Before there was television and of a time when film was still in its infancy, N. C. Wyeth’s illustrations electrified the stories he visually shaped and annotated. As a young reader of “Treasure Island,” who can deny the urgency to read on to the next glossy illustration? Or, in excited anticipation, thumb through the pages repeatedly to the pictures ahead, so alive and vivid and full of bravado? In 1939, The Metropolitan Life Company offered Wyeth a commission of a different sort; a series of canvas murals that would rely less on bravado perhaps, but instead, a deep sense of time and place. They would offer an energetic and grand vision and express the spirit of national pride by celebrating the strong values that express what it means to be American. Wyeth was thrilled. The fourteen mural panels he agreed to produce would bring the world of Pilgrims to glowing life and “serve as a graphic and dramatic expression of the spirit of New England” (Douglas Allen, et al., N. C. Wyeth: The Collected Paintings, Illustrations, and Murals, pg. 169). Wyeth, an artist of unparalleled skill and fully invested in the authenticity of the characters that populate his narratives, relished the opportunity to convey the pride he felt toward his ancestral past. “The romance of early colonization, especially that of the Pilgrims in Massachusetts, had always excited me. My ancestor, Nicholas Wyeth...

American artist Ron Blumberg was classically trained at La Grande Academie Chaumiere in Paris, 1932, before moving to New York where he became a National Academy artist and a member ...

Belgian artist Miette Braive(1916-2000), was classically trained in Belgium, before moving to Paris to pursue her art career as first a student and then a contemporary of the famed F...