Mid-20th Century Paintings

Title: Mid Century French Original Pastel Drawing of Hilltop View Overlooking Village Artist: Josine Vignon (French 1922-2022) Medium: Oil Pastel on artist paper Size: 19.75 (heig...

Impressive early American modernist beach scene oil painting by Brooks Kelly (1935 - 2012). Framed. Oil on canvas, lain to board. Signed. Image size, 12H by 16L.

Still Life is an original modern artwork realized by an Unknown Artist in the mid-20th Century. A mixed colored oil on board. Hand signed on the lower left margin J. Meamier. Incl...

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Bibliography Art in America, April 1951, p.78 About this artists: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...

Work on wood Golden wooden frame 33 x 28.5 x 4 cm

Vintage French Painting by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back gouache painting on board, unframed measures: 5.5 high by 12.5 inches wide ...

A charming 1950s painting depicting a lighthouse in Martha's Vineyard, titled "Vineyard Light" by notable artist Francis Chapin. Artwork size: 8" x 9 1/2". Framed size: 9" x 10 1...

Unframed. Ignacio Gil Sala, was a painter, bohemian character, adventurous and intrepid traveler who knew how to capture his eyes to that world with his painting. After starting his artistic training at the age of nine, Gil Sala entered the School of Fine Arts in Barcelona, ​​where he had as teachers Felix Mestres and Vicente Borrás. Already in 1930, being still almost an apprentice, he obtained the bronze medal of the School, and in 1936 he won by contest a scholarship to make a study trip through Spain. Those were the difficult moments of the outbreak of the Civil War and thanks to the help of the sculptor Mariano Benlliure, he was able to complete his artistic training. Throughout his life Ignacio Gil dedicated himself to travel both in the Peninsula and in different Islamic and Latin American countries. He exhibited his work in Spain, France, the Philippines, Switzerland, the United States, Canada and Colombia, among many other countries. Extraordinary draftsman, agile handling pencil and charcoal, Ignacio Gil immortalized landscapes of all Spain...

Beautiful still life of orange and white flowers next to a bowl of fruit by Los Angeles and Carmel artist Helen Enoch Gleiforst (American, 1903-1997). Signed "Gleiforst" lower right....

Work on paper Frame in wood moldings and gilded plaster with glass pane 65 x 85 x 3 cm

French Landscape signed by Bernard Labbe (French mid 20th century) original oil on artist paper size: 26 x 20 inches condition: very good and ready to be enjoyed provenance: the ar...

A Captivating, Mid-Century Modern Painting of a Standing Female Nude Model. Great colors! Painted in the 1960s, this wonderful "Mod" studio scene exemplifies the abstracted Modern ...

Roger Bonafe (French b. 1932) signed watercolour on thick art paper, inscribed verso Size 30 x 22.5 inches Bonafe was born in the town of Caux (Herault) in Southern France in 1...

Nicely painted large geometric abstract painting. Oil on canvas. Framed. Image size, 48 by 36 inches.

Vintage French Watercolour Painting by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back watercolour painting on artist paper, unframed measures: 10 inch...

"Self Portrait" is an original oil painting on masonite board by Francesco Spicuzza. The artist signed the piece in the lower left. It depicts the artist holding a pipe in front of a...

This exuberantly-painted Parisian street scene is typical of Lersy's colorful and energetic style. His work combines mid-century Modern abstraction with subjects beloved by the Impre...

French cubist artist, circa 1950's signed oil painting on board, stuck on board board: 14 x 18 inches painting: 9.5 x 14 inches provenance: priva...

Stunning original oil painting by Elvic Steele depicting this surrealist fantasy abstract painting. Elvic Steele is a fascinating English painter. Her works entrance the observer, d...

Impressive early American modernist street scene. Reminiscent of New Orleans or another souther city. A bustling street scene. Nicely framed. No signature found. Image size, 24...

Very stylish, unique and original 1930's French fashion design, no doubt of Parisian origin. The painting, executed in gouache/ watercolor and pencil, is dated to the upper corner...

Fernand Blondin (1887-1967) was a Swiss painter and teacher, celebrated for his depictions of idyllic rural life, interiors, female nudes, portraits, still-lifes, religious subjects ...

The Playing Cards by Louise Alix (French, 1888-1980) *see notes below oil painting on canvas unframed measures: 30.5 inches high by 22.5 inches wide condition: overall very good and ...

Nicely painted mid century abstract landscape. Oil on canvas. Framed.

by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back oil painting on board, unframed measures: 15 high by 18 inches wide condition: overall very good an...

Mid Century oil on board seascape of a harbour scene with boats at crepuscule by Bruno. The painting is signed and dated bottom right. Presented in a fine patinated wood frame. This...

'Paris, la Bourse', gouache on paper, by Lucien Génin (circa 1930s). Created at the beginning of the 19th century by Napoleon, la Bourse, or the Stock Exchange, was intended to assert and encourage France’s prosperity in industry and trade. In 1826 the Stock Exchange was installed in the palace that the architect Brongniart had begun in 1808. Surrounded by a large peristyle of Corinthian columns, the rectangular structure reflects the official neo-classicism of the Empire Period. The artist, Génin, depicts a typically lively 1930s day in front of the building with cars of the period zooming by pedestrians on the walkway and others on the stairs leading to the entrance. He has an extremely charming, almost childlike style particularly the way he renders the people and the vehicles. The building, on the other hand, is accurate in its detail and more seriously presented. Our gallery has held and has sold over a dozen of Genin's paintings but this one stands out for its pure stylish appeal and ability to captivate while inducing a smile in the viewer. The artwork is in good overall condition - there are some minor blemishes not on the artwork itself but on the edges of the mount to which it is attached. The frame is in fair condition showing some nicks and scratches. Please enjoy the many photos accompanying the listing. Upon request a video can be provided. Signed by the artist in the lower right hand. About the Artist: After the devastation of the First World War, Lucien Génin (1894 - 1953) left his provincial home in the autumn of 1919 to find his fortune among the lively Parisians in the heart of Montmartre. Génin befriended the painters Frank Will, Gen Paul, Émile Boyer...

Frank Duffield (British, 1908-1982) original gouache painting on board, unframed size: 11 x 18 inches condition: overall very good, minor wear to the edges as is normal for an unfram...

Vintage abstract expressionist etherial oil painting by Piry Rame (1921 - 2001). Oil on canvas, circa 1960. Signed on verso. Image size, 21L x 16H. Housed in a period frame.

Signed lower right, 'P. G. Pallmann' for Peter Götz Pallmann (German, 1908-1966). Displayed in a hand-rubbed, water-gilded, swept frame. Framed D...

Title: Original Oil Painting of a Bouquet of Anemones in Full Bloom on a Glass Table Artist: Roland Pichard Medium: Oil on oil paper, mounted on card Size: 13.75 (height) x 10.75 ...

Antique American dog portrait oil painting. Oil on board. Signed. Framed. Measuring 8 by 10 inches overall and 6.5 by 9 painting alone.

Work on canvas Wooden frame and gilded plaster 70 x 86 x 6 cm

French Landscape signed by Louise Alix (French, 1888-1980) *see notes below oil painting on artist paper, unframed measures: 12 inches high by 16.5 inches wide condition: overall ver...

Bathers by Lake French School, second half 20th century oil on canvas, framed framed: 23.5 x 31 inches canvas: 20 x 28 inches provenance: private collection, France condition: good a...

Beautiful double-sided painting of a California nocturnal seascape on one side and a Sierra mountain scene on one side on the other by William L. Hughes. Signed "W. L. Hughes" bottom...

Artist/ School: French School, mid 20th century, signed Title: Still Life of Flowers in a Vase, beautifully thickly painted oil creating a dramatic surface texture. Medium: oil on...

Oil on canvas by Edouard Goerg (1893-1969), France, 1958. Life is always the same. Acquired in 2017 from the personal collection of Edouard Goerg. Measurements : with frame : 62.5x53.4 cm - 24.6x21 inches, without frame : 55x46 cm - 21.7x18.1 inches, format 10F. Signed "E.Goerg" (see photo). Preserved by the painter, then by his family since his death in 1969, this painting appeared in 2017. Entitled "Always life begins again", it is a crepuscular work. Testamentary one could say, so much the statement which is made there is definitive. The fact that he kept it until his death tends to consolidate this vision. Far from the empty looks and death faces of the rebellious era of sarcastic expressionism, the terrifying and compassionate testimony of the Spanish war, and the post-WWII flower women, we are dealing here with a a form of reasonable abdication, but honest. This idea that although everything changes, nothing changes. Changed times, actors, ideas, the same comedy occupies the society. Having given up the idea of ​​changing the latter, Goerg accepts the fact that the only alternative is to stay there or get lost. But stay afloat with his values, completely independent, whatever the cost is. This work is similar to La Vie Recommence of 1935, reproduced on page 54 of Gaston Diehl's book devoted to the painter (Éditions de Clermont, 1947). On the latter, the artist depicts his vision of life, from birth to death, made of hope, fear, cruelty, resignation and fatality. 23 years later, Toujours La Vie Recommence shows us the road traveled by the painter. It is no longer a matter of denunciation, but ultimately of acceptance of reality and the difficulty of staying there yourself. The admirer of Hieronymus Bosch gives us an inspired composition. The hand of God, the only expression of physical beauty in this work, comes down from heaven to give life. Symbolically, it holds an egg that dispenses the element from which the human protagonists find their birth, and in which they move and tangle more than they impose. Beautiful allegory of society. Four characters, two women and two men evolve in this societal marigot. The man in the foreground, ruddy face, evolves with ease. His body is supple, flexible, adaptable. The woman on the left observes him with admiration. Obviously, this man is in his place and causes rapture. The right man with massive shoulders and wrapped, shows a physical maladjustment to the activity he is doing. He struggles to stay afloat, his face expresses effort, even exhaustion. But he assumes. He does with what he has, with what he is. The other woman shows him the greatest indifference. What is not the case of the demonic archangel (recurrent in the works of Bosch) with the stunted body, who leads the dance and holds this character, we understand the painter, under his control as to have fun. As this character cannot change bodies, Goerg cannot change values. He does it with. Had he not said to the critic Roger Brielle: "Independents, sensitive and just men, that's what we must strive to stay in this world in disarray". Goerg will have come to narrative expressionism to give us a balance sheet allegory of his deep self and his condition. Édouard Goerg is one of the major artists of his generation. Coming from a Champagne family, he was born in Sidney, Australia, in 1893, during a professional stay of his father. After passing through London, he arrives in Paris at the age of seven. At twenty, between 1913 and 1914, he studieds painting at the Académie Ranson with Maurice Denis and Paul Sérusier. He travels to Italy and India. Mobilized in 1914, he is sent to Artois, then to Argonne. From 1920, he exhibits at the Salon des Independants, then at the Salon d'Automne where he joins with Laboureur. At Berthe Weil, in 1924, he participates in the exhibitions of the Gromaire group, a prelude to a series of exhibitions in Paris (Berthe Weill, Bernheim Jeune), as in Brussels (Le Centaure). Goerg illustrates books including Table of the beyond by F.Boutet. In 1928, he meets Paul Guillaume who exhibits his works in Boston and the Art Institute of Chicago. He continues to show his works, satires of the bourgeois manners, at Bernheim Jeune, then at Lucie Krogh. In 1934, he travels to Belgium and Holland where he paints surrealist paintings that will be exhibited at Jeanne Castel. In 1935-1936, he meets Aragon, who opened the doors of the houses of the cultures created by the Association of Writers and Revolutionary Artists. The Spanish war and the Second World War mark it deeply. He must protect his daughter and his Jewish women...

'Portrait of Future Man', oil on board, Berlin School, (circa 1960s). A thoroughly modern portrait clearly in the style of Italian Futurist, Fortunato Depero (1892-1960). Futurism co...

A beautiful large mid 20th century French post-impressionist oil on panel depicting irises in a jug by Jean de Paul. The work is in superb original cond...

Claude Verlinde is a French painter who works in the vein of "fantastic realism", sometimes called "magic realism", and his work shows the lineage of f...

Gunnar JOHNSSON (1917-2007) Swedish School A whimsical portrait, probably dating to the early 1950s and painted during Gunnar’s stay in Spain. Translation- Credit Wikipedia “Gunnar...

Expressive Mid-Century figural painting of two women and child in pastel hues by Harold Kitner (American, 1921 - 2004). Image, 33"H x 48"W Walnut frame, 34"H x 49"W x 2"D Harold Kitner was born on May 18, 1921 in Cleveland, Ohio and was the son of Isaac and Frieda Kitner. He obtained his MA from Case Western Reserve University in 1947. Kitner was a postgraduate from Cleveland Institute, Ohio University, Cleveland College, Washington and Lee University. He obtained his Doctorate from Kent State University. Exhibition: Harold Kitner - Active / Figure / Exaltation at Kent State School of Art Gallery in Kent, Ohio in 2014. Harold Kitner taught for over 30 years at the Kent State University School of Art. Harold Kitner began teaching art and art history at Kent State University in 1947. During his career, he served as Director and Chairman of the Fine Arts Division. Kitner played a significant role in creating the Art School’s core program, organizing the Kent State Arts Festival, and the Blossom Festival School. He also served as President of the Kent chapter of the American Association of University Professors, and was an art critic for the Akron Beacon Journal. In 1967, Kitner became Kent State University’s first Faculty Ombudsman, officially titled Dean for Faculty Counsel. He held this position until 1974. At the time of the Kent State shootings, Kitner’s position as Ombudsman meant that he was involved in many of the decisions regarding University administration in the weeks and months following the Kent State shootings. Kitner began a partial retirement in 1980, and left Kent to become the director of the Institute of the South Florida Art...

Medium: Oil on Canvas Signature: Signed Lower Right Sight Size 30.00" x 24.12", Framed 39.00" x 34.00" Saturday Evening Post Cover, December 18, 1937 Exhibitions: It's a Man's Worl...

Mid Century Impressionist Still Life in Tissue Paper on Cardboard Impressionist still life by Honora Berg (American, 1897-1985). Pieces of tissue paper have been cut out and thought...

5-3365 Oil on artist board of on enchanted lily pond Set in an ornate hand painted wood frame Image size 12.5x15.5"

This painting is part of our exhibition America Coast to Coast: Artists of the 1930s Jefferson Market Library (Courthouse), c. 1930s, oil on canvas, 30 x 24 inches, signed lower right; presented in a newer silver painted frame About the Painting Writing about an exhibition of Charles W. Adams’ work at the Eighth Street Art Gallery in the mid-1930s, Emily Grenauer observed in The World-Telegram that the artist’s paintings were “distinguished for their solid form, well organized design and sumptuous color” and the art critic for The Herald Tribune found Adam’s work “a strong, formal realization of his subject . . . he paints with vital emphasis on structure and composition.” Although we do not know which works these critics referenced, it is likely they were writing about paintings like Jefferson Market Library (Courthouse). With its carefully designed reality, strong angles, solid forms, and well-disciplined puffs of smoke in the background, Adams presents a highly structured version of the Greenwich Village landmark, the Jefferson Market Library, which was a courthouse at the time Adams completed this work. The Jefferson Market Library was a prized subject for downtown painters, including the Ashcan School painter, John Sloan, the modernist, Stuart Davis, and the precisionist, Francis Criss...

Desert Landscape with Agave and Yucca - Oil on Canvas Oil painting of a desert landscape by an unknown California artist (American, 20th C). California high desert with vibrant gree...

"Still Life" by Fernand Audet (French, Tarascon 1923- Mulhouse 2016) signed and dated 1968 oil painting on canvas, unframed painting: 19.5 x 24 inches A fine "mid century" oil pain...

Renoir's Garden, Cannes Sur Mer Josine Vignon (French 1922-2022) ...

A Charming 1950s painting titled "Oak Bluffs, Mass." (Martha's Vineyard) by notable artist Francis Chapin. artwork size: 8" x 10". Framed size: 12 3/4" x 15". Provenance: Estat...

Original Painting. Colliers Magazine Cover Published 1933 Wedding Illustration Antonio Petruccelli (1907 - 1994) The Wedding Colliers published, June 17, 1933 17 1/4 X 11 1/2 inches (sight) Framed 23 1/4 X 17 1/2 inches Gouache on board Signed lower right BIOGRAPHY: Antonio Petruccelli (1907-1994) began his career as a textile designer. He became a freelance illustrator in 1932 after winning several House Beautiful cover illustration contests. In addition to 24 Fortune magazine covers, four New Yorker covers, several for House Beautiful, Collier’s, and other magazines he did numerous illustrations for Life magazine from the 1930s – 60s. ‘Tony was Mr. Versatility for Fortune. He could do anything, from charts and diagrams to maps, illustrations, covers, and caricatures,’ said Francis Brennan, the former art director for Fortune. Over the course of his career, Antonio won several important design awards, designing a U.S. Postage Stamp Commemorating the Steel Industry and designing the Bicentennial Medal...

"Happy Family", Mid Century Sepia Figurative Interior Scene, Illustration Art by Charles Kinghan A classic and heartwarming mid-century sepia toned figurative interior scene by Charles Ross Kinghan (American, 1895-1984). Circa 1940's. This mid-century piece exemplifies the classic style of illustrations and advertisements from the period, and depicts a family gathered in their living room. Signed "Kinghan" in the lower right corner. Acquired with other works by the artist. Displayed in a period giltwood frame. Linen size: 36"H x 30"W. Framed size: 45"H x 38.5"W x 2"D. Charles Ross Kinghan (American, 1895-1984) was born in Anthony, KS on January 18, 1895. A teacher, he moved to Wichita as a teenager and did sign painting for the Western Sign...

Street scene in the French Quarter of New Orleans, Louisiana by New Orleans artist Melba Hildreth Dukes Gianelloni (American/Great Britain, 1914-2012). ...

Antique European impressionist cityscape oil painting. Oil on canvas. Signed. Framed. Measuring 28 by 33 inches overall and 22.5 by 27.25 painting alone

3925 Oil on artist board landscape painting Image size 15.5x19.5" Set in a period oak frame

P. L. Hohnstedt (Peter Lanz) (1872 - 1957) San Antonio, Comfort Artist Image Size: 12 x 16 Medium: Oil Circa 1930s "Texas Summer" Hill Country Biography P. L. Hohnstedt (Peter Lanz) ...

Wood mixed media work glued onto a white background. Purple, teal and red color tones. Artist signature in the bottom right corner. Artist Biography: Charles Pebworth is known for ...

Signed lower left, "M. Legendre' for Maurice Louis Legendre (French, born 1928) and painted circa 1960. A boldly painted, cabinet-sized oil showing the cafes of Montmartre's Place du Tertre with numerous fashionably dressed pedestrians and a view beyond to the white marble Basilica of Sacré-Cœur. Maurice Legendre was a noted French impressionist and sculptor, especially known for his Parisian and London landmark scenes. He was a pupil of Robert Couturier and Marcel Grimond...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 12.75 x 9.75 inches condition: excellent provenance: all the paintings we ...