1950s Paintings

Medium: Oil Painting Signature: Signed Lower Right

Medium: Oil on Board Signature: Signed Lower Left

Date: circa 1957 Medium: Gouache on Board Dimensions: 25.50" x 17.75" Signature: Signed Left Original illustration for a poster for the Grace Line Travel c...

ZYGMUNT SCHRETTER 1896-1977 (Polish) Title: Still Life with Bottle and Fish, ca. 1950's Technique: Original Signed Oil Painting on Canvas si...

Medium: Oil on Board Signature: Signed Lower Right

Most likely for a Magazine like Redbook, Cosmopolitan and Good Housekeeping, Ladies Home Journal or Woman's day Lorraine Fox is Hall of Fame member of the Society of Illustrators She...

Medium: Gouache and Watercolor on Paper Signature: Signed Lower Right Cover of American Weekly Magazine, June 20, 1954

Cover of Newsweek, Kruschev, March 16th 1959 Works on Paper (Drawings, Watercolors etc.), Gouache on board 12 x 12 in. (30.5 x 30.5 cm.) Signed Lower left Powerful study of Russian ...

Contact for exact dimensions. The Atlantic Magazine Cover Illustration. November 1956, Volume 198

Medium: Oil on Board Signature: Signed Lower Right This illustration was the paperback cover of Dark Streets of Paris (Lucifer's Dream) by Jean Louis Curt...

Medium: Oil on Masonite Signature: Signed Lower Right, with Title and Registration Marks in Chalk "Tom pleaded, 'Does one misstep have to ruin our marriage?'" Cover illustration for...

Medium: Oil on Canvas Signature: Signed Lower Left This appeared as the cover for the 1952 Popular Library paperback Wine of Violence by Ralph Ingersoll

Medium: Oil on Board Signature: Unsigned Dimensions: Sight Size 35.5" x 25.5;" Framed 39.50" x 28.75" This illustration was published as the paperback cover of Burro Alley by Edwin...

Medium: Oil on Canvas Signature: Signed Lower Right This illustration dates circa 1950.

Approximate Date: 1953 Medium: Oil on Board Signature: Signed Lower Left Dimensions: 24.00" x 16.50" This illustration was published as the paperback cover of The Golden Egg...

Date: circa 1950 Medium: Gouache on Board Dimensions: 27.75" x 19.75" Signature: Signed "T. Kuck" Lower Right "Gina Lollobrigida." Portrait of the I...

Cover for The Memoirs of Casanova (Bantam books #FB-415, 1957): A New Edition of the French Translation by Lowell Blair Memoirs of Casanova, Paperback Cover, 1957 Tom Lovell ha...

Date: 1953 Medium: Gouache on Board Dimensions: 32.00" x 27.00" Signature: Signed Lower Left Cover of Nov. 1953 issue of Country Gentleman magazine...

Advertisement for Schlitz beer, 1950. Published ad included. It’s part of their “I was curious” series that always features three panels. This one feat...

Date: 1955 Medium: Oil on Canvas Dimensions: 28.25" x 38.5" Signature: Signed Lower Right

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...

Men on a horse and buggy going down the snow covered road. Signed lower left. E. Everett Henry was an advertising artist during much of his career, which he began in the ‘twenti...

Signed verso Jim’s of Lambertville is proud to offer this artwork by: Rex Ashlock (1918 – 1999) Born in Spokane, Washington in 1918 Rex Ashlock was known for his abstract, figurat...

Man on Floor Illustration ca. 1950–1959 Paintings, gouache on board 8 x 26.25 in. (20.3 x 66.7 cm.) Modern Magazine Story Illustration Heritage, Morris Weiss CollectionSunning work w...

Enroll For Service, American Junior Red Cross, poster illustration, 1951 Gouache on board 22 x 14 1/2 in. Not signed From the Collection of the American Red Cross...

Signed Lower Left This illustration was published as the paperback cover for Tragic Ground by Erskine Caldwell, Signet, 1958.

Date: 1950 Medium: Gouache on Paper Dimensions: 17.20" x 14.20" Signature: Signed Lower Left 1950 Beer Advertisement; Two men relaxing.

Date: 1955 Medium: Acrylic on Board Dimensions: 24.00" x 36.00" Signature: Signed Lower Left

This illustration was published as the paperback cover for The Men She Knew by Norman Bligh, Venus Books No. 130/Star Guidance, 1951.

Oil on canvas, 1954 by Rudolf Schulz-Borek ( (1887 - 1983), Germany. Study for "Gefährlicher Wind". On the back inscribed. Framed. Dimensions: 10.04 x 17.91 in ( 25,5 x 45,5 cm )

Colourful original advert artwork in pastel lettering Board Sz: 7"H x 12"W Frame Sz: 11"H x 16W w/ coral mat & gilt bamboo frame

Includes a Certificate of Authenticity

The painting is being offered with a work and authenticity certificate

Includes a Certificate of Authenticity.

Medium: Oil on Canvas Signature: Signed Lower Left End of Track - Paperback Cover, written by Ward Weaver, Popular Library, 1951.

Date: 1954 Medium: Acrylic on Board Dimensions: 20.00" x 30.00" Signature: Signed Lower Right The events of 1954.

Date: 1955 Medium: Acrylic on Canvas Dimensions: 20.75" x 14.25" Signature: Unsigned This illustration was published as the cover for House of Deceit by Rae Loomis, Ace S-124, 1955.

Date: Late 1950s Medium: Gouache on Board Dimensions: 16.25" x 17.50" Signature: Unsigned Coricidin Cold Tablet Advertisement, Schering Corporation Advertisement

Date: 1952 Medium: Oil on Board Dimensions: 23.00" x 16.00" Signature: Signed Lower Left This is the paperback cover for A Bullet For My Love by Octav...

Spectators Overflowed onto the Senate Floor as Webster (left) Answered South Carolina's Ailing John C. Calhoun (right center, in court), Collier's Weekly November 25, magazine story illustration, 1955 Medium: Pen, Ink Wash, and Sepia on Paper Signature: Signed Lower Left Henry Clarence Pitz was an outstanding performer in several fields, including illustrating for magazines and books, teaching and lecturing, writing on art...

Medium: Oil on Board Signature: Signed Lower Center Advertisement for Budweiser Beer, 1956. Party seen through a beer glass.

Jim’s of Lambertville is proud to offer this artwork by: Rex Ashlock (1918 – 1999) Born in Spokane, Washington in 1918 Rex Ashlock was known for his abstract, figurative expression...

Stephen Pace Untitled, 58-06, 1958 Oil on canvas 54 x 41 inches Born in Charleston, Missouri, Stephen Pace grew up in Indiana, where his parents operated a grocery store and then a...

Signed and dated lower left 'Hassan Soliman 1957'

Yvonne Canu (born 1930) is a French artist renowned for her abstract and geometric painting, often focusing on the interaction between color, form, and light. She emerged in the mid-...

Artist: Ernest Crichlow, American (1914 - 2005) Title: Portrait of a Girl Year: 1954 Medium: Oil on Board, signed and dated l.r. Size: 19.5 in. x 15.5 in. (49.53 cm x 39.37 cm) Frame...

JOHN PIPER (1903-1992) COALPORT SHROPSHIRE, 1957 Signed lower right 57x78cm PROVENANCE : Private Collection Paisnel Gallery Private Collection Comprehensive cataloguing available on ...

André Brasilier's "Village de l’Aisle en Automne," created in 1956, is an oil on canvas measuring 21.5 x 28.7 inches and is signed in the lower left. This evocative piece captures th...

Signed & dated: lower right 1954 Diego Rivera (Mexican, (1886 - 1957) Mexican Girl Returning from the Market Watercolor on paper, behind glass 11 x 16” Signed and dated lower right,...

This square-format oil on canvas dates from the French painter's mature period, when his pictorial search for a passage between the natural world, art and the spiritual world was ful...

Reginald Marsh (1898-1954) painting. c. 1954 Ink and wash on paper (double-sided) 22.25 x 30.5 inches Contact gallery for price. Reginald Marsh was an American painter, born in ...

Dark Green Wood, 1956 Philip Sutton RA (British, b. 1928) Oil on Canvas Signed and Titled Verso 34 x 34 inches 41 x 41 inches with frame Philip Sutton studied under William Coldstre...

An original oil on canvas painting by Benjamin Benno, American. "White, Grays, and Red" is an apt title for the colors used in the cubist composition. Constructed of several intersec...

Signed lower right and dated 1954. Bio: FASANELLA, RALPH (1914-97) was a self-taught painter who created large, colorful and intricate paintings of working-class culture and American politics from 1945 until his death in 1997. Fasanella had an artistic vision born of a working life. A child of Italian immigrants, he spent his youth delivering ice with his father and enduring the harsh regimen of a Catholic reform school. During the Great Depression, Fasanella worked in garment factories and as a truck driver. From his mother—a literate, sensitive, and progressive woman, Fasanella acquired a social conscience. Through her influence he became active in antifascist and trade union causes. Fasanella's political beliefs were radicalized by the Depression. His antifascist zeal led him to volunteer for duty in the International Brigades fighting fascism in Spain, where he served in 1937-1938. Upon his return to New York City Fasanella became an organizer for various unions, particularly the United Electrical, Radio, and Machine Workers of America, with whom he achieved some major organizing successes. In 1945, disillusioned by the labor movement and plagued by a painful sensation in his fingers, Fasanella started to draw. He left organizing and began to paint full time. He painted obsessively, capturing the vibrant moods of the city and the tumult of American politics. For a brief time he received some critical notice for his work, and had shows of his work in galleries as well as union halls. Fasanella included in his paintings a profusion of brightly colored details, showed interiors and exteriors simultaneously, and combined past and future. He populated his paintings with likenesses of family and friends. In 1950 Fasanella married Eva Lazorek, a schoolteacher who supported the couple through over two decades of artistic obscurity and blacklisting by the FBI. In the 1950s Fasanella retreated from political content in his works out of fear of reprisals. With the emergence of the New Left in the 1960s, however, his works became large, sharply focused political essays using images from the popular media. In 1972 Fasanella was featured in "New York" magazine and in an illustrated coffee-table book, "Fasanella's City". His large-scale, intricate paintings of urban life and American politics were then introduced to art critics and the public. In the late 1970s Fasanella spent two years in Lawrence, researching the 1912 Bread and...

This is a rare ceramic plaque painted with enamel glaze by famed Israeli German artist Irene Awret (these are generally hand signed Awret Safed on the verso. I just have not opened the frame to check) the actual glazed ceramic is 10.25 X 14.75 inches. It depicts a girl or woman with potted plants, birds, pomegranates and other fruits and flowers in a naif, folk art style. Irène Awret was born to a Jewish family in Berlin called Spicker, the youngest of three children. Her mother died in 1927, when Irène was six years old. In 1937 she was forced to stop high school, due to the Nazi race laws. Because she could not continue her regular studies, her father sent her to study drawing, painting and art restoration with a Jewish painter. Among his students were a large number of German Jews who knew they would have to leave Germany within a short time and would require a profession to enable them to support themselves. When the situation grew worse, following the Kristallnacht (the first major attack on German and Austrian Jews in November 1938), her uncle decided to move to Belgium. In 1939 the situation became even worse - her father was fired from his job and the family were forced to leave their home. As a result, Awret's father tried to send her and her sister to Belgium, with the help of smugglers. The first smuggler proved to be a double agent and they were sent back from Aachen to Berlin. Two weeks later they made a second, successful, attempt to sneak across the border. Awret worked for a Dutch Jewish family as a maid. As she had her room and board there, she was able to save enough money to study art part-time at Brussels' Académie Royal des Beaux-Arts. A few months later Awret's father joined her and her financial situation became easier. She left her job and studied full-time, helping support herself with restoration work when it was available and by painting portraits to order. Later, Awret found a hiding place on a farm in Waterloo with a Jewish family who were connected with the underground. In January 1943 she had to return to Brussels, living with a false identity card which stated she was a married woman with two children. Awret succeeded in renting an attic without informing the police where she was - she told her landlady that she had been forced to flee her husband because he beat her. While there, she supported herself by restoring wooden sculptures. A Jewish informer gave her up to the Gestapo, accompanying the two Gestapo men who arrested her. Awret was able to take a bag containing food and drawing materials. She was detained in the Gestapo cellars in Brussels where she drew. Because there was nothing there to draw, she sketched her own hand (view this work). Awret was interrogated in order to reveal the hiding place of her father who was still in Brussels. The National Socialist regime was determined to persecute him, even though he had fought for Germany in World War I and been permanently disabled. They stepped up their torture and brought Awret before Hartmann, the head of the Gestapo in Brussels. When Hartmann saw her block of drawings, he asked her where she had studied art and halted the interrogation. Awret was placed in a narrow cell and then transferred to Malines camp, which the Belgian's called Mechelen. Malines was a transit camp to Auschwitz, regularly sending 2000 people at a time. Although she arrived just before Transport No. 20, Irène Awret avoided being included. Instead she was put to work in the leather workshop, decorating broaches. While she was there, Hartmann visited the camp and spotted her: "I could have discovered where your father is hiding," he told her. When her artistic talents became known, she was transferred to the Mahlerstube (artist's workshop) where she worked producing graphics for the Germans until the end of the war. When Carol (Karel) Deutsch (whose works are now on view at Yad Vashem) was sent from Mechelen to his death with his wife, he left young Irene his paintbox. Irene also recalls seeing the great painter Felix Nussbaum and his wife being pushed into a boxcar bound for the gas, and tells of the aftermath of the famous 20th Train incident, when a young Jewish doctor armed only with a pistol and helped by two unarmed friends with a lantern ambushed one of Mechelen's Auschwitz-bound trains carrying 1,618 Jews, most of whom had fled Eastern Europe for Belgium. Awret's job enabled her to paint and draw - mainly in pencil, but also in watercolors and oils. In the artists' workshop she met a Jewish refugee from Poland - Azriel Awret - who would later become her husband. Among the other artists in the workshop were Herbert von Ledermann-Vütemberg, a sculptor from an aristocratic family with Jewish roots, Léon Landau, and Smilowitz, who perished in the camps in the East. Irène and Azriel tried to bribe a German officer to prevent Smilowitz's deportation. Not only were they unsuccessful, but they were almost put onto the same train. Jacques Ochs was another artist with whom they became friends in the camp. Ochs, a French-born Protestant who lived in Belgium, was interned as a political prisoner. He remained in Belgium after liberation. After the war the Awrets immigrated to Israel and made their home in Safed. They continued to work, and were instrumental in founding Safed's artists' quarter. The Beit Lohamei Haghetaot (Ghetto Fighters' House Museum) art collection holds works donated by Awret. These date from her time in Malines camp and from her stay in Brussels after the war, when she was in the company of orphans who had hidden while their parents were sent to Auschwitz. Her highly expressive works have made their way to exhibitions at theTel Aviv Museum, the Haifa Museum of Modern Art and the Modern Art Gallery in Washington, D.C., as well as into the private collections of such individuals as Dr. Jonas Salk...

Robert Motherwell Two Figures No. 12 1958 Oil on paperboard 19.1 x 24.1 cms (7 1/2 x 9 1/2 ins) RM12376 W41 Motherwell painted this work in Saint-Jean-de-Luz during the summer of 19...

Robert Motherwell Two Figures No.7 1958 Oil on paperboard mounted on board 18.9 x 23.9 cms (7 7/16 x 9 7/16 ins) RM14236 W36 Motherwell painted this work in Saint-Jean-de-Luz during...

This is a rare ceramic plaque painted with enamel glaze by famed Israeli German artist Irene Awret is signed Awret Safed on the verso. the actual glazed ceramic is 10X15 inches. Irène Awret was born to a Jewish family in Berlin called Spicker, the youngest of three children. Her mother died in 1927, when Irène was six years old. In 1937 she was forced to stop high school, due to the Nazi race laws. Because she could not continue her regular studies, her father sent her to study drawing, painting and art restoration with a Jewish painter. Among his students were a large number of German Jews who knew they would have to leave Germany within a short time and would require a profession to enable them to support themselves. When the situation grew worse, following the Kristallnacht (the first major attack on German and Austrian Jews in November 1938), her uncle decided to move to Belgium. In 1939 the situation became even worse - her father was fired from his job and the family were forced to leave their home. As a result, Awret's father tried to send her and her sister to Belgium, with the help of smugglers. The first smuggler proved to be a double agent and they were sent back from Aachen to Berlin. Two weeks later they made a second, successful, attempt to sneak across the border. Awret worked for a Dutch Jewish family as a maid. As she had her room and board there, she was able to save enough money to study art part-time at Brussels' Académie Royal des Beaux-Arts. A few months later Awret's father joined her and her financial situation became easier. She left her job and studied full-time, helping support herself with restoration work when it was available and by painting portraits to order. Later, Awret found a hiding place on a farm in Waterloo with a Jewish family who were connected with the underground. In January 1943 she had to return to Brussels, living with a false identity card which stated she was a married woman with two children. Awret succeeded in renting an attic without informing the police where she was - she told her landlady that she had been forced to flee her husband because he beat her. While there, she supported herself by restoring wooden sculptures. A Jewish informer gave her up to the Gestapo, accompanying the two Gestapo men who arrested her. Awret was able to take a bag containing food and drawing materials. She was detained in the Gestapo cellars in Brussels where she drew. Because there was nothing there to draw, she sketched her own hand (view this work). Awret was interrogated in order to reveal the hiding place of her father who was still in Brussels. The National Socialist regime was determined to persecute him, even though he had fought for Germany in World War I and been permanently disabled. They stepped up their torture and brought Awret before Hartmann, the head of the Gestapo in Brussels. When Hartmann saw her block of drawings, he asked her where she had studied art and halted the interrogation. Awret was placed in a narrow cell and then transferred to Malines camp, which the Belgian's called Mechelen. Malines was a transit camp to Auschwitz, regularly sending 2000 people at a time. Although she arrived just before Transport No. 20, Irène Awret avoided being included. Instead she was put to work in the leather workshop, decorating broaches. While she was there, Hartmann visited the camp and spotted her: "I could have discovered where your father is hiding," he told her. When her artistic talents became known, she was transferred to the Mahlerstube (artist's workshop) where she worked producing graphics for the Germans until the end of the war. When Carol (Karel) Deutsch (whose works are now on view at Yad Vashem) was sent from Mechelen to his death with his wife, he left young Irene his paintbox. Irene also recalls seeing the great painter Felix Nussbaum and his wife being pushed into a boxcar bound for the gas, and tells of the aftermath of the famous 20th Train incident, when a young Jewish doctor armed only with a pistol and helped by two unarmed friends with a lantern ambushed one of Mechelen's Auschwitz-bound trains carrying 1,618 Jews, most of whom had fled Eastern Europe for Belgium. Awret's job enabled her to paint and draw - mainly in pencil, but also in watercolors and oils. In the artists' workshop she met a Jewish refugee from Poland - Azriel Awret...