1950s Paintings

Medium: Oil on Board Signature: Unsigned Illustration celebrating important women throughout history, published in McCall's magazine, May 1959. Accompanied by a tear sheet of the p...

Medium: Oil on Canvasboard Signature: Unsigned Dimensions: Sight Size 18.00" x 24.00;" Framed 28.50" x 35.50" Cover for Fate Magazine - August 1953 The original cover painting by H.W. McCauley used for the August 1953 cover of Fate (True Stories of the Strange and Unknown), illustrating "The Gods of Voodoo" by North Hildabrand. In this offering a dancing pin...

Medium: Oil on Board Signature: Signed Lower Right Book cover for "Company K" by William March. Subject matter features three army soldiers in monochrome ...

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...

Signature: Signed Lower Left ‘Stevan Dohanos’ Medium: Mixed Media on Paperboard Laid Down on Masonite The present work was published as the cover illustration of the June 26th, 1954...

Medium: Oil on Masonite Signature: Signed 'John Falter' Lower Right Sight Size 7.00" x 9.375;" Framed 9.50" x 12.00" Johnson & Johnson reproduced the present work as an advertisemen...

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

Date: 1958 Medium: Oil on Board Dimensions: 23.20" x 33.50" Signature: Signed Lower Left Story illustration for Good Housekeeping magazine, December 1958. Image of woman and two sailors leaving house at Christmas time. Exhibited: The Triumph of Winter, National Arts Club, New York, December 16, 2013- January 5, 2014 A Native American finding a Raggedy Ann doll...

Signature: Signed Lower Right Medium: Gouache on Board

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

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

Date: 1952 Medium: Oil on Board Dimensions: 22.25" x 16.25" Signature: Signed Lower Left This classic Nappi painting was first published as the cover for Backwoods Hussy by Hallam Whitney (PBO, Original books...

Approximate Date: 1950 Medium: Oil on Canvas Signature: Signed Lower Right Size: 42.00" x 37.00" PRICE ON REQUEST- This image was used in magazine advertisements and promotion...

Approximate Date: 1956 Medium: Oil on Board Signature: Signed Lower Right Size: 22.70" x 16.20" A Native American finding a Raggedy Ann doll on ...

Medium: Painting Signature: Unsigned Contact for dimensions. Katrina, By Jeramie Price. Publisher is Pocket Books, Inc. (1956). Comes with book.

Medium: Oil on Board Signature: Signed Lower Right

Date: 1952 Medium: Oil on Canvas Dimensions: 34.00" x 27.00" Signature: Signed Lower Left Cover for The Saturday Evening Post Magazine, May 31, 1952. Clymer's coverscape takes you to Massachusetts' tidelands where the frost is on the pumpkin and the red and gold areon the trees. Gloucester harbor and the inlets roundabout-- for three centuries this haven has been the homeport of renowned and valiant fisherman. They were the Captains Courageous of Rudyard Kipling, the hero’s of Longfellow's The Wreck of the Hesperus and of James B. Connolly's tales of the sea. John Ford Clymer's success as an artist can be traced to his boyhood in the Kittitas Valley located in the central regions of Washington state. It was there that he developed an enthusiasm for the world around him and an abiding respect for historical accuracy. Over the years John Clymer received numerous awards and honors including the revered Prix de West in 1976, from the national Academy of Western Art. Other great achievements included both gold and silver metals for his oils and charcoal drawings from the Cowboy Artists of America, "Western Artist of the Year" from the National Wildlife Art Collectors Society, and both John and Doris were honored at the Ellensburg National Art Show and Auction for their contributions to western heritage. John's highest honor came in 1988 when he was awarded the prestigious Rungius Medal from the Wildlife of American West Art...

Signature: Signed Lower Left, "Hughes" Medium: Oil on Masonite Framed 24.50" x 26.50" Original cover illustration for The Saturday Evening Post, June 8, 1957. The Post described, “...

Persephone Oil on canvas, 1952 Signed lower left (see photo) Titled reverse "Persephone" Signed "V. 52" Exhibited: Columbus Gallery of the Arts label "71/30 Bt. 2", see label Condi...

Chemin de Placy by Paulémile Pissarro (1884-1972) Oil on canvas 65 x 54 cm (25 ⁵/₈ x 21 ¹/₄ inches) Signed lower right, Paulémile. Pissarro. Signed and titled on the reverse Executed...

*PLEASE NOTE UK BUYERS WILL ONLY PAY 5% VAT ON THIS PURCHASE. Les Bords de l’Orne au Soleil Couchant by Paulémile Pissarro (1884-1972) Oil on canvas 54 x 65 cm (21 ¹/₄ x 25 ⁵/₈ inch...

Woman with Arms Crossed Mixed media collage-painting on stone chip surface, mounted on fabric, mounted on wood support by the artist, 1955 Signed and dated lower center Image size: 1...

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 ...

Original cover illustration for The Saturday Evening Post, August 11, 1951. The Post described, “Make the acquaintance of Kit Dunham, a Westport, Connecticut, lepidopterist. This is...

Poirier en fleurs by Paulémile Pissarro (1884-1972) Oil on canvas 46 x 61 cm (18 ¹/₈ x 24 inches) Signed lower right, Paulémile- Pissarro- Titled and ...

Still Life with Candlestick and Book by Joseph Pressmane (1904-1967) Oil on board 35.5 x 42 cm (14 x 16 ¹/₂ inches) Signed and dated lower...

Bouquet by Hugues Pissarro dit Pomié (b. 1935) Oil on canvas 80 x 40 cm (31 ¹/₂ x 15 ³/₄ inches) Signed lower right, Hugues Pissarro Executed circa 1959-60 This work is accompanied ...

Signed Upper Left by Artist

Signed lower right by Artist This illustration was published as the paperback cover of Part-Time Wife by Gerald Foster (1953).

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...

Shulman, Morris (American, 1912-1978). UNTITLED. Casein on paper, circa 1951. Signed, lower left. 14 1/2 x 21 3/4 inches, framed to 23 x 30 inches. In excellent condition. Shulman st...

The Saturday Evening Post, March 4, 1950 (cover illustration). Remembered for his 125 covers of the Saturday Evening Post between 1942 and 1958, Dohanos also designed over forty sta...

Signed Lower Right by Artist Cover of The Saturday Evening Post, September 27, 1952

Neoclassical Head in profile Watercolor and graphite on paper, 1950 Signed and dated lower left in ink (see photo) Provenance: Washington, D.C. priva...

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...

Jane Peterson (1876-1965) Lilies Oil on canvas, 1952-1953 Signed by the artist lower right: JANE PETERSON (see photo) Painting size: 29 x 23 inches Frame size: 38 x 32-1/2 x 1-1/2 inches Exhibited: The Pennsylvania Academy of the Fine Arts: One Hundred and Forty Eighth Exhibition of American Painting and Sculptures, January 25-March 1, 1953 (Photo of original label). Original tacks on stretcher where label was afixed. Label stolen while on exhibition. Exhibited: Childs Gallery, Boston, 2019- 2023 Jane Peterson was an artist who achieved significant critical attention and adulation over the course of her career. Following her first American solo exhibition in 1909, a critic observed, “There is not a dull canvas in the entire collection and everything is interesting”.1 Thirty-five years later, Historical Records published her biography in the almanac Prominent Women of New York.2 Regardless of her success, Peterson remained pragmatic as she always sought to challenge herself with new ideas and techniques. She spent a lifetime immersed in the practice of painting; as a student, teacher, and gifted artist. Peterson was a painter with little interest in self-promotion or the conventional achievements of an artist, as a result there has only been a moderate body of scholarship written about her posthumously. Peterson’s legacy is her brilliant oeuvre of impressionistic paintings, held by collections such as the Metropolitan Museum of Art, the Philadelphia Museum of Art, and the Brooklyn Museum of Art. "Jennie Christine Peterson was born in Elgin, Illinois in 1876. From an early age Peterson, who was known throughout her life as Jane, showed a natural talent for drawing. As a teenager, having received no formal art training, Peterson sat the art aptitude test conducted by the Pratt Institute. The results were promising and, in 1895, Peterson moved to New York to study at the Pratt Institute in Brooklyn. Peterson thrived at Pratt as a conscientious student, although it was not an easy time for her financially. When her money ran low Peterson gave art lessons to other students, and also earned some income through the sale of her paintings in student exhibitions. When Peterson graduated in 1901, she began working as Drawing Supervisor of Public Schools in Brooklyn. She also continued her art education taking classes at the Art Students League. Between 1904 and 1906 Peterson worked as an art teacher in New York, Massachusetts, and Maryland. In 1907, Peterson sailed to Europe where she visited artists and museums in France, Holland, and Italy. She found Europe to be more socially progressive for women artists and decided to stay and continue her art education. While in Europe, Peterson studied under Frank Brangwyn at the London School of Art, before relocating to Paris where she received instruction from Jacque-Emile Blanche, Charles Cottet, and Claudio Castelucho. Throughout 1908, Peterson was extremely productive, creating many works in her spare time while also taking on portrait commissions to augment her income. She lived in rooms in Montparnasse located around the corner from Gertrude Stein’s salon, where on Saturday evening artists and art enthusiasts would gather to view and discuss Stein’s seminal collection of Modern art. Attending these events Peterson surrounded herself with powerful art luminaries such as Pablo Picasso, Henri Matisse, Georges Braque, André Derain, and Henri Rousseau. Peterson’s style from this period is neither entirely academic nor avant garde. Rather she blends the technical skills of her academic training with the loose brushwork and bold color palette of her contemporaries to produce paintings that are beautiful impressions of life. Peterson’s early oil paintings from Europe...

Signed by Artist Lower Right The present work is a study for the cover illustration of Rockwell's American Petroleum Institute Quarterly: Centennial Issue

*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...

Signed lower right: Irving R. Wiles

Caterwaul by Orovida Pissarro (1893-1968) Oil on canvas 51 x 61 cm (20 ¹/₈ x 24 inches) Provenance Estate of the artist With John Bensusan-Butt, cousin of the artist G Hassell, 25th...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Les deux arbres au bord de la rivière dans la forêt de Lyons by Paulémile Pissarro (1884-1972) Oil on canvas 65 x...

Southhampton 8:45 PM Signed Gray lower right Titled on verso in black paint Oil on canvas, 28 x 40 inches Exhibited: Jacques Seligman Galleries (label) twice, original price $450. (See photo) Condition: {Small slit in canvas, delivered to Monica for cleaning and repair} Expertly repaired by Monica Radecki Gray had his first one man show at Seligmann in 1947. NY Times Obit: Large Abstract Works, Dies By Ken Johnson Dec. 10, 2004 Cleve Gray, a painter admired for his large-scale, vividly colorful and lyrically gestural abstract compositions, died on Wednesday in Hartford. He was 86. The cause was a massive subdural hematoma suffered after he fell on ice and hit his head on Tuesday outside his home in Warren, Conn., said his wife, the writer Francine du Plessix Gray. Mr. Gray achieved his greatest critical recognition in the late 1960's and 70's after working for many years in a comparatively conservative late-Cubist style. Inspired in the 60's by artists like Jackson Pollock, Clyfford Still, Mark Rothko and Helen Frankenthaler, Mr. Gray began to produce large paintings using a variety of application methods -- pouring, staining, sponging and other nontraditional techniques -- to create compositions combining expanses of pure color and spontaneous calligraphic gestures. In 1972 and 73 he produced "Threnody," a suite of 14 paintings, each measuring 20 feet by 20 feet, dedicated to the dead on both sides in the Vietnam War. The series was commissioned by the Neuberger Museum of Art at Purchase College, part of the State University of New York, and is considered one of the largest groups of abstract paintings created for a specific public space. PUBLIC COLLECTIONS: Addison Gallery of American Art, Phillips Academy, Andover, MA Albright-Knox Art Gallery, Buffalo, NY The Brooklyn Museum, Brooklyn, NY Cathedral of Saint John the Divine Art Gallery, New York, NY Colby College Museum of Art, Waterville, ME Columbia University Art Gallery, New York, NY Columbus Museum of Art, Columbus, OH The Corcoran Gallery of Art, Washington, D.C. Grey Art Gallery and Study Center, New York University, New York, NY Solomon R. Guggenheim Museum, New York, NY Heckscher Museum, Huntington, New York, NY Honolulu Academy of the Arts, Honolulu, HI The Jewish Museum, New York, NY Krannert Art Museum, University of Illinois, Champaign, IL Mattatuck Museum, Waterbury, CT The Metropolitan Museum of Art, New York, NY Minnesota Museum of Art, St. Paul, MI Museum of Art, Rhode Island School of Design, Providence, RI Museum of Fine Arts, Boston, MA Museum of Fine Arts, Houston, TX The Museum of Modern Art, New York, NY National Museum of American Art, Smithsonian Institution, Washington, D.C. The Neuberger Museum, State University of New York, Purchase, NY New Britain Museum of American Art, New Britain, CT The Newark Museum, Newark, NJ Norton Gallery of Art, West Palm Beach, FL Oklahoma City Art Center, Oklahoma City, OK The Phillips Collection, Washington, D.C. The Art Museum, Princeton University, Princeton, NJ Rose Art Museum, Brandeis University, Waltham, MA Shearson Lehman Hutton Collection...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE The Fortune Teller by Orovida Pissarro (1893-1968) Oil on canvas 60 x 73 cm (23 ⁵/₈ x 28 ³/₄ inches) Signed and d...

Approximate Date: 1957 Medium: Oil and Pencil on Board Signature: Signed Lower Left Sight Size 23.50" x 20.75", Framed 29.50" x 26.50" Original cover illustration for The Saturday E...

Spring (Primrose Gathering) by Orovida Pissarro (1893-1968) Oil on board 101.5 x 76.4 cm (40 x 30 inches) Signed and dated lower centre Orovida 1956 Provenance Estate of Orovida Pis...

Alex Minewski, 'Dockside', gouache on paper, 1953. Signed in the image, lower left. Annotated 'April 1953, Minewski, ‘Dock Side’, verso. A fine, modernist re...

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

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Migrating horses by Orovida Pissarro (1893-1968) Oil on canvas 71.1 x 81.4 cm (28 x 32 inches) Signed and dated l...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Bord de l'Orne by Paulémile Pissarro (1884-1972) Oil on canvas 46 x 61 cm (18 ¹/₈ x 24 inches) Signed lower left...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Exercising Ponies by Orovida Camille Pissarro (1893-1968) Oil on board 101.5 x 76 cm (40 x 30 inches) Signed and dated lower right Orovida 1954 Provenance Estate of Orovida Pissarro With John Bensusan-Butt, cousin of the artist Sotheby's London, 12th October 1988 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. 161 (illustrated) Exhibitions London, Bowmore Gallery, Women in Art 1850-1989, 2nd-11th November 1989 Fort Lauderdale, Museum of Art, Camille Pissarro and his Descendants, January-April 2000, no.123 This work was included in the above important museum exhibition and a catalogue of the Fort Lauderdale museum show will be included with this painting. Biography Orovida Camille Pissarro, the only child of Lucien and Esther Pissarro, was the first woman in the Pissarro family to become a professional artist and the first Pissarro of her generation to take up painting. Born in Epping, England, in 1893, she lived and worked predominantly in London, where she was a prominent member of several British arts clubs and societies. She first learned to paint in the Impressionist style from her father and, after a brief period of formal study with Walter Sickert in 1913, she renounced formal art schooling. Throughout her career, Orovida always remained outside mainstream British art movements. Much to Lucien's disappointment, she soon turned away from naturalistic painting and developed an unusual style that combined elements of Japanese, Chinese, Persian and Indian art. Her rejection of Impressionism, which, for the Pissarro family, was a way of life, and her simultaneous decision to drop her famous last name and use simply Orovida as a nom de peintre, reflected a desire for independence and distance from the family legacy, of which she nevertheless remained proud. Orovida's most distinctive works are her paintings from the 1920s...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Toits Rouges à Menton by Georges Manzana Pissarro (1871-1961) Oil on board 40 x 56.5 cm (15 ¾ x 21 ⅞ inches) Sign...

Ice Cream Picnic by Orovida Pissarro (1893-1968) Oil on board 101 x 76 cm (39 ¾ x 29 ⅞ inches) Signed and dated lower left Orovida 1953 Provenance Richard Pissarro, gifted by the ar...

Femmes Maroccaines by Marcel Dyf (1899-1985) Oil on canvas 60.5 x 73 cm (23 ⁷/₈ x 28 ³/₄ inches) Signed lower left, Dyf 1957

*UK BUYERS WILL PAY AN ADDITIONAL 5% IMPORT DUTY ON TOP OF THE ABOVE PRICE Paysage d'Annay-sur-Serein by Michel Kikoïne (1892-1968) Oil on canvas 54 x ...

Arctic Light-Orange Sun Unsigned Gouache on Japanese fibrous paper Series: Tundra Paintings Exhibited: Karl Zerbe, Gouaches of the Artic Nordness Gallery, (Madison Avenue, NY) Feb 3 through Feb 23, 1958 Cat. No. 12 (label with work, see photo...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Les Iles à Cantepie by Paulémile Pissarro (1884-1972) Oil on canvas 54 x 65 cm (21 ¹/₄ x 25 ⁵/₈ inches) Signed l...

Deux Baigneuses dans un Paysage by GEORGES MANZANA PISSARRO (1871-1961) Oil on canvas 38 x 46 cm (15 x 18 1⁄8 inches) Signed and dated lower left, Manzana Pissarro 55 This work is ...

Approximate Date: 1954 Medium: Oil on Board Signature: Signed Lower Right Sight Size 21.00" x 21.00", Framed 26.00" x 26.00" Saturday Evening Post cover painting, December 18, 1954 ...