1950s Paintings

SAIL BOATS & FLOWERS Size: 43 x 48 cm (including frame) Oil on Board A fantastic and confidently executed expressionist mid-century composition, painted in oil onto board. A large brown vase...

Jean Salabet French, 20th Century Vue du Sacre Coeur, Paris Jean Salabet was a School of Paris painter know for his colorful Parisian cityscapes. His work is comparable to those of ...

"White on White Blue" is a monochromatic, interior still life by Philadelphia born Expressionist painter Bernard Harmon. The 20" x 16" oil on canvas painting is framed and signed "B ...

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 ...

Beautiful poster project with gouache and watercolor signed Cerutti for the brand Lustucru. Lustucru is a French brand specialized in pasta, created in 1911.

"On Wisconsin" is an original oil painting on panel by Sylvia Spicuzza. The artist signed the piece in the lower left. This painting depicts two figures and other symbols to represen...

Glamorous Redhead is a poster-like iconic image that sums up an era in American visual history - The 1950s. Al Parker is a giant in the history of American Illustration. He possess...

The illustration shows a woman sitting in a chair next to a man lying on a sofa. The scene of the couple's living room is shown from above Published as an illustration for Steve McN...

Saturday Evening Post, Story Illustration Depicts Connecticut train station with possible drunk commuter being assisted by good samaritan Signed lower left Provenance: Illustration ...

David Davidovich Burliuk (Ukrainian: Дави́д Дави́дович Бурлю́к; Russian: Дави́д Дави́дович Бурлю́к; July 21, 1882 – January 15, 1967) was a Russian Futurist, Neo-Primitivist, book illustrator, publicist, and author associated with Russian Futurism...

Abstract Composition Oil on canvas 30x24, signed lower left. Judith Sobel was born in Lwow Poland in 1924. After World War II, she attended the Academy of...

il dipinto (olio su tela 44.5 x 35 cm; with cornice in legno 64 x 54,5) è firmato Maccari in basso a sinistra e titolato "L'insidia" e datato 1956 a penna sul retro. La scena raffigu...

Refined Italian painting of the 20th century. Oil on board painting depicting a splendid coastal landscape with maritime pines overlooking a cliff that plunges into the sea. Painting...

The Estate of the artist

A panicked little boy looks at his watch in alarm as his father tries to fix the broken television while the mother and daughter look on. HÖRZU, May 16, 1959, cover illustration. Panorama, November 14, 1959, cover illustration. Familie Journal, February 9, 1960, cover illustration. Much like Norman Rockwell, Kurt Ard...

Jerusalem by Ludwig Blum Oil on canvas 18 x 28.7 inches / 45.7 x 73cm Signed Painted circa 1955

Firmado en la parte inferior por el artista Medidas obra: 32 cm. de altura x 23 cm. de ancho Medidas marco: 55 cm. de altura x 45 cm. de ancho Se presenta enmarcada la obra con un...

'Seated Nude', Louvre, Académie Chaumière, LACMA Estate stamp, verso, for Victor Di Gesu (American, 1914-1988) and painted circa 1955. Winner of the Prix Othon Friesz, Victor di Ge...

Oil on cardboard, 1954 by Walter Wellenstein ( Dortmund 1898-1970 Berlin ). Signed and dated lower right: Wellenstein 54. Framed. Height: 13.78 in ( 35 cm ), Width: 18.5 in ( 47 cm ...

Oil paint on canvas in the style of french pointilism, 1951. By Stan Reszka ( 1924 Poland - died in Paris ). Signed lower right. Framed. Measurements: Height: 23.62 in ( 60 cm ), Wi...

John Edward Costigan, N.A. American, 1888-1972 Bathing Group Oil on canvas board Signed ‘J.E. Costigan N.A.’ lower left 12 by 16 in. W/frame 20 by 24 i...

This is an excellent example of one of Sylvia Spicuzza's rare 'finger paintings': not only is it remarkably large, but it also shows her mastery of the...

SUNSET HARBOUR Size: 56 x 65 cm (including frame) Oil on board A stunning impressionist style painting that captures a fleeting moment during sunset at a harbour. As the sun begins...

Gorgeous watercolor by Adine Stix. This piece was painted in the 1950s and was acquired directly from Adine's daughter. It is beautifully framed and matted in a gold cube frame under...

Campy and sexy illustration of two French chorus girls for the mid-century Avon paperback Les Girls. Story of the Folies Bergere Unsigned and unframed. George Ziel...

Dorothea Stefula was born in Hamburg, Germany in 1914 and studied at the art academy in Hamburg. Stefula illustrated numerous children's books, designed postage stamps, painted fresc...

This meticulously planned, designed, and executed work depicts an ultra-wide angle view of a rock quarry/mine. The viewer looks down at close-up-stylized rock formations and then out at a horizon line with rust-colored mine trestles. Atherton hints at perspective with a broken white line that is wider in the foreground and tapers to a hairline as it recedes to the background. The work was done in 1951 at the height of America's most important art movement: Abstract Expressionism. John Atherton absorbs its influences but retains elements of representation. Atherton was an in-demand commercial artist who worked for most blue-chip clients. It is possible that this was an editorial assignment for Fortune Magazine. At the same time, Atherton was also a fine artist and the work could be an expression of pure creative pursuits. The work looks better in person and one can look at it for hours and not get bored. Look carefully and you may discover a deeper meaning in this painting of precisely arranged rocks. Signed lower right. Brooklyn Museum of Art, New York, sold to benefit the acquisitions program ____________________ From Wikipedia, the free encyclopedia John Carlton Atherton (January 7, 1900 - September 16, 1952) was an American painter and magazine illustrator, writer and designer. His works form part of numerous collections, including the Museum of Modern Art,[1] Whitney Museum of American Art and the Smithsonian American Art Museum.[2][3][4] Early Years He was the son of James Chester Atherton (1868-1928) and Carrie B. Martin (1871-1909). He was born in Brainerd, Minnesota.[5] His father was Canadian born. His parents relocated from Minnesota to Washington State, with his maternal grandparents whilst he was still an infant. He attended high school in Spokane, Washington. Career During his early years he never displayed an aptitude for art; rather, his first love being nature and the activities he relished there, mainly fishing and hunting. He enlisted in 1917, serving briefly in the U.S. Navy for a year during World War I. At the end of the war, determined to get an education he worked various part-time jobs, as a sign painter and playing a banjo in a dance band to pay his enrolment fee at the College of the Pacific and The California School of Fine Arts (now the San Francisco Art Institute). Once there, he also worked in the surrounding studios developing his oil painting techniques. A first prize award of $500 at the annual exhibition of the Bohemian Club in 1929, financed his one way trip to New York City, which helped to launch his career as an artist.[6] Atherton had aspired to be a fine artist, however his first paid jobs were for commercial art firms designing advertisements for corporations such as General Motors, Shell Oil, Container Corporation of America, and Dole. However, by 1936, encouraged primarily by friends, such as Alexander Brook, an acclaimed New York realist painter, he returned to the fine arts. Atherton continued to accept numerous commissions for magazine illustrations; such as Fortune magazine, and over the years he would paint more than forty covers for The Saturday Evening Post starting with his December 1942 design, “Patient Dog.” This picture is reminiscent of his friend Norman Rockwell ‘Americana style’ and captures a poignant moment of nostalgia, where a loyal dog looks toward a wall of hunting equipment and a framed picture of his owner in military uniform. Selected One person Exhibitions Atherton accomplished his first one-man show in Manhattan in 1936. His Painting, “The Black Horse” won the $3000 fourth prize from among a pool of 14,000 entries. This painting forms part of the Metropolitan Museum of Art collection in New York.[7] Atherton achieved recognition in New York City and elsewhere during the 1930s. Having exhibited at the Julien Levy Gallery in New York,[8] his paintings began to be collected by museums; including the Museum of Modern Art[9] and the Metropolitan Museum of Art. His reputation increased with his art deco stone lithograph poster for the 1939 New York World's Fair. In 1941, his design won first place in the Museum of Modern Arts “National Defense Poster Competition”. Selected Public Collections Fleming Museum of Art, Burlington, Vermont Albright-Knox Art Gallery,[10] Buffalo, NY Art Institute of Chicago,[11] Chicago Wadsworth Atheneum,[12] Hartford, CT Brooklyn Museum of Art, New York Metropolitan Museum of Art, New York The Museum of Modern Art,[13] New York Whitney Museum of American Art,[14] New York Pennsylvania Academy of the Fine Arts,[15] Philadelphia De Young Museum,[16] San Francisco Smithsonian American Art Museum,[17] Washington DC Butler Institute of American Art[18] Youngstown, OH The Famous Artists School Founded in 1948 in Westport, Connecticut, U.S.A. The idea was conceived by members of the New York Society of Illustrators (SOI), but due to the Society's legal status, could not be operated by it. SOI member Albert Dorne led the initiative to set up a separate entity, and recruited the support of Norman Rockwell, who was also an SOI member. For the founding faculty, Dorne recruited Atherton, as well as accomplished artists such as Austin Briggs, Stevan Dohanos, Robert Fawcett, Peter Helck, Fred Ludekens, Al Parker, Norman Rockwell, Ben Stahl, Harold von Schmidt and Jon Whitcomb.[19] He collaborated with Jon Whitcomb with the book “How I Make a Picture: Lesson 1-9, Parts 1”.[20][21] Society of Illustrators Atherton as an active member from his arrival in New York. The society have owned many of his works. Ex-collection includes: Rocking Horse (ca. 1949) [22] Atherton, as his peers had many of his works framed by Henry Heydenryk Jr.[23] Personal On November 2, 1926, he married Polly “Maxine” Breese (1903-1997).[24][25] They had one daughter, Mary Atherton, born in 1932. Atherton's often chose industrial landscapes, however found himself spending considerable time in Westport, Connecticut, with an active artistic community, and it became home for him, and his family. He then moved to Arlington, Vermont.[26] Norman Rockwell enlisted Atherton in what was to be the only collaborative painting in his career.[27] He was part of a group of artists including a Norman Rockwell, Mead Schaeffer and George Hughes who established residences in Arlington.[28] Atherton and Mead Schaeffer were avid fly fishermen and they carefully chose the location for the group,[29] conveniently located near the legendary Battenkill River. In his free time, Atherton continued to enjoy fly-fishing.[30] He brought his artistic talent into the field of fishing,[31] when he wrote and illustrated the fishing classic, “The Fly and The Fish”.[32] He died in New Brunswick, Canada in 1952,[33] at the age of 52 in a drowning accident while fly-fishing.[34] Legacy The Western Connecticut State University holds an extensive archive on this artist.[35] His wife, Maxine also published a memoir “The Fly Fisher and the River” [36] She married Watson Wyckoff in 1960. Ancestry He is a direct descendant of James Atherton,[37][38] one of the First Settlers of New England; who arrived in Dorchester, Massachusetts in the 1630s. His direct ancestor, Benjamin Atherton was from Colonial Massachusetts...

"Green Landscape" is a landscape painting by Philadelphia born Expressionist painter Bernard Harmon from 1955. The 18" x 24" oil on canvas features a spring or summer landscape, pain...

Model in Pierre Cardin Suit on Scale in Tuilleries, 1957 -- Cardin's herringbone tweed "bag" dress photographed by Mark Shaw in Paris's Tuileries Gardens for the LIFE September 1957 ...

Date: 1951 Medium: Gouache on Paper Dimensions: 22.50" x 17.50", Framed 28.00" x 24.00" Signature: Signed Middle Right Original cover illustration for The Saturday Evening Post, Sep...

Most likely for a magazine like Saturday Evening Post interior editorial spread. The empty space to the right was for the art director to surprint type. The empty space acts as a com...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Nylons and Bric-a-Brac by Orovida Pissarro (1893-1968) Oil on canvas 73 x 60 cm (28 ³/₄ x 23 ⁵/₈ inches) Signed and dated upper right Orovida 1951 Provenance Estate of the artist With John Bensusan-Butt, cousin of the artist G Hassell, 25th November 1988 With John Noott, 10th June 1992 Literature K L Erickson, Orovida Pissarro: Painter and Print-Maker with A Catalogue Raisonné of Paintings, (doctoral thesis), Oxford, 1992, Appendices, no. 141 (illustrated) Exhibition London, Redfern Gallery, Recent Paintings: Orovida, 3rd-26th January 1952, no. 51 Artist biography Orovida Camille Pissarro, Lucien and Esther Pissarro’s only child, was the first woman in the Pissarro family as well as the first of her generation to become an artist. Born in Epping, England in 1893, she lived and worked predominantly in London where she became a prominent member of several British arts clubs and societies. She first learned to paint in the Impressionist style of her father, but after a brief period of formal study with Walter Sickert in 1913 she renounced formal art schooling. Throughout her career, Orovida always remained outside of any mainstream British art movements. Much to Lucien's disappointment she soon turned away from naturalistic painting and developed her own unusual style combining elements of Japanese, Chinese, Persian and Indian art. Her rejection of Impressionism, which for the Pissarro family had become a way of life, together with the simultaneous decision to drop her famous last name and simply use Orovida as a ‘nom de peintre’, reflected a deep desire for independence and distance from the weight of the family legacy. Orovida's most distinctive and notable works were produced from the period of 1919 to 1939 using her own homemade egg tempera applied in thin, delicate washes to silk, linen or paper and sometimes embellished with brocade borders. These elegant and richly decorative works generally depict Eastern, Asian and African subjects...

Signature: Signed Lower Left Framed 31.00" x 23.00" American Weekly magazine cover, October 31, 1954

Title: Afternoon in Bloom Artist: Unknown (French School, signed Z. Nasir in Persian) Medium: Oil on canvas Dimensions: 62 x 46 cm Signed: Lower right Date: 1950 A charming and roma...

Signed lower right Agnes Hart was born in Meridan, Connecticut. She studied at the Ringling School of Art in Sarasota, Florida; at Iowa State University with Josef Presser, Paul Burlin and Lucile...

This monochromatic, black-and-white abstract painting plays a constant game between forms and shadows. For the painter, his artworks are a pure contrast between the visible and the invisible. Dark gestural lines decorate the background and contrast against a disappearing white background with subtle details of grey. Organic patterns appear in the black line work, creating an ethereal use of depth and space. The foreground contains multiple uncanny shapes feeding an overall fantasy yet gloomy atmosphere. The title of the artwork is "Phase 2...

Signed lower right and dated 1950.

Signed and dated lower right; inscribed, Dated and Signed on Verso Provenance: Ashley John Gallery

BASKETS Sheet size: 58 x 45.5 cm Image size: 49 x 38 cm Lithograph on paper A mid century limited edition (164/260) coloured lithograph, signed by Esaias Thorén and dated 1957. It ...

RED COTTAGE Size: 25.5 x 33.5 cm (including frame) Oil on canvas A small and characterful mid century modernist landscape painting, executed in oil onto canvas. This atmospheric an...

HOUSES AT SUNSET Size: 44 x 62 cm (including frame) Oil on canvas A stunning mid century modernist oil landscape painting depicting rows of houses at sunset. The rooftops of the ho...

Date: 1951 Medium: Gouache and Tempera on Board Dimensions: 10.25" x 12.50" Signature: Signed Lower Right The Head and the Heart, American Magazine story illustration, September 1951

PORTRAIT IN SEPIA Size: 72 x 56 cm (including frame) Oil on Board A large and striking mid century modernist portrait in oil, painted onto board. With a very distinctive dark sepia...

Date: 1950 Medium: Oil on Canvas Signature: Signed Lower Center Contact for exact dimensions. High Score, By Frank Bennett, This Week Magazine, September 1...

Mid Century Americana "For a horrible instant Carter thought the jet was going to crash in the street." Saturday Evening Post Work is unframed

Signed Lower Right by Artist Lawrence Williams and Nell O’Day, “The Glass Fortress,” American Magazine, August 1950, illustrated, n.p. Daniel Zimmer, Tom Lovell: Illustrator, Decatu...

Warm-toned abstract figurative painting by an unknown artist. The painting depicts Galveston, TX boxer John Arthur Johnson in profile view. Unsigned. Unframed but framing options are...

Francis Plummer 1930 - 2019 The Triple Deity Egg Tempera on board, signed lower left Image size: 24 x 20 inches Gilt Framed Plummer specialised in th...

Clifford Edgar Jones 1915-1975 American Chickens, 1948. Oil on canvas 30 x 24 inches unframed and 34" x 27.5" inches including the frame. Signed at lower right Clifford Jones ‘48’. P...

In 1955, as he was residing at the Château de Chassy in the Morvan for two years, Balthus created a large painting entitled "Getting up". Balthus was inspired for this painting by t...

Film noir crime drama painted in a single frame. In narrative art, telling a story in a single image is harder than doing it in episodes. "'That police officer...

Huile sur toile. Dimensions avec cadre: 71x63 cm. Isaac Antcher est un peintre moldave né le 21 janvier 1899 à Peresecina et mort à Malakoff le 21 av...

This oil painting by the artist Gregoire Michonze signed and dated "Michonze 58" in the lower right corner. There is a hand written label verso where the work is described as “Compo...

Commercial illustration depicting happy California framers for California Prunes. The work is rendered in a charming and highly stylized manner. Unfr...

Signed Lower Right by Artist Original cartoon for Playboy, published February 1959, with their stamp in upper margin. Subsequently reproduced in Jack Davis: Drawing American Pop Cul...

The illustration features a car salesman trying to talk a man into buying a very small red car whose license plate reads "Pikkolo" This piece was featured as the cover illustration of both HÖRZU and Panorama in 1959. Much like Norman Rockwell, Kurt Ard...

The work is in excellent condition and meticulously rendered in a photo-realistic style. It showcases the artist's high-level sense of design. Newsweek could hire any artist in the...

A nice impressionist oil on masonite city scene with a young crowd in Rome, Italy, probably the Fontana del Prigione, illegibly signed lower right, title inscribed on verso “Trastev...