Alfred Aberdam Interior Paintings

Industrial Mid-20th Century WPA Modern Men Working American Scene Social Realism George Pearse Ennis (American, 1884-1936) "Forging a Gun Tube #1...

"Paper Making" WPA Industrial Mid-Century American Scene Social Realism Workers Douglas Crockwell (1904-1968) "Paper Making" 19 x 39 inches Oil on board, c. 1936 Signed verso Framed: 28 x 47 Provenance: Estate of the Artist BIO Spencer Douglass Crockwell was born into a comfortable middle class household on April 29, 1904 in Columbus, Ohio. His father, Charles Roland Crockwell, was a mining engineer; his mother, Cora, was the daughter of an Iowa attorney. He became a commercial artist and experimental filmmaker who spent a good part of his career creating illustrations and advertisements for the Saturday Evening Post. In 1907 the Crockwell family moved to St. Louis, Missouri, where he graduated from high school and then attended from Washington University. Initially he studied engineering, but soon switched to business. While still an undergraduate, Crockwell took courses at the St. Louis School of Fine Arts and quickly realized that he wanted to be an artist. After graduating from Washington University in 1926, Crockwell continued to study at the St. Louis School of Fine Arts until 1929. The following year he relocated to Chicago and continued his studies at the American Academy of Art. In 1930 and 1931 he studied in Europe on a Traveling Fellowship. In 1932 Douglass Crockwell moved to Glens Falls, New York, which was to be his home for the remainder of his life. The following year he married Margaret Braman. They had three children, a son Douglass and two daughters, Johanna and Margaret. During the depression he created murals and posters for the Works Progress Administration including Post Office murals in White River junction, Vermont; Endicott, New York; and Macon, Mississippi. In 1934 he painted Paper Workers, Finch Pruyn & Co. (the leading Glens Falls, New York company) for the WPA. In the 1930s Crockwell developed an interest in experimental animated films that occupied him for the rest of his life. In 1936 and 1937, he collaborated with David Smith, a sculptor, to create surrealist films. Because of his interest in experimental films, his output of paintings was limited to just twenty to forty illustrations a year during this time. Crockwell painted his first of many Saturday Evening Post cover in 1933. He also worked for Life, Look, and Esquire, and numerous national advertisers including Friskies dog food, Welch’s Grape Juice, Republic Steel...

"Sock Hop" Mid-Century American Modernism WPA Female Artist 20th Century Realism. 30 x 24 inches. Oil on canvas. Signed on stretcher, c. 1940s. Frame is likely original to the painting. Realist painter-printmaker Kyra Markham...

Intimate reclining woman in blue, modern European figurative interior Artist: Josep Lloveras i Feliu (Spanish, 1922–2014) Title: Reclining woman in blue Medium: Oil on canvas Dimens...

Still life / stilleben by Swedish painter Emil Johan Olsson (1890-1964) depicting a bowl of plums arranged before a bookshelf in a quietly balanced interior. Expressive brushwork, su...

“Still Life, 1936” by Katharine "Kitty" Duff Church (British, 1910-1999). This large, early painting by Katherine Church is among her finest canvases of the period. Characterized by its bold color palette, simplified forms, and expressive brushwork, this composition centers around a tabletop adorned with various objects: potted plants, a ceramic dish, bottles, and what appear to be books or papers. The two potted plants provide contrasting elements: on the left, what appears to be a cyclamen with red blossoms and delicate leaves, and on the right, a lush green plant with darker foliage. These plants, painted with loose, textured strokes, add an organic quality to the otherwise structured arrangement. The tabletop is cluttered yet thoughtfully composed, featuring additional objects like a clear, faceted glass bowl, a small bottle, and books or pads in striking red and green. The dynamic use of color blocks and the juxtaposition of shapes (round pots against rectangular books) create a sense of rhythm and harmony. The background is darker and less defined, emphasizing the brightly lit tabletop. Church's brushwork is gestural and modernist, leaning toward abstraction, challenging traditional still life conventions. This painting reflects Church’s interest in balancing everyday objects with bold artistic expression. It conveys both the simplicity and complexity of daily life, transforming an ordinary moment into a vibrant and engaging work of art. This work is oil on canvas and is signed and dated in the lower right. It is housed in its original gessoed frame and retains various labels and inscriptions on the reverse. Size: 28.25 inches tall by 36 inches wide (painting) 34 inches tall by 42 inches wide by 2 inches deep (frame) Provenance: Private collection, NY; Acquired from the above About the artist: Born in Highgate, north London, Katharine Church, known as ‘Kitty’ amongst friends and family, always wanted to paint. She trained at the Royal Academy of Arts between 1930-1933 and at the Slade between 1933 and 1934. In her early years Kitty exhibited regularly at the Royal Academy. Her first solo exhibition was in 1933 at the Wertheim Gallery. Other artists who exhibited there included Christopher Wood, Victor Pasmore and Cedric Morris. Kitty also showed with the New English Art Club, the London Group and between 1937-1947 her work was exhibited at the influential Lefevre Gallery, which supported avant-garde artists such as Henry Moore, Ben Nicholson and Barbara Hepworth. In 1954 the artist was invited to take part in the Figures in their setting exhibition held at the Tate Gallery. Henry Tonks and Philip Wilson Steer had a strong influence on Kitty’s early work, but it was her friendship with Ivon Hitchens that liberated her painting technique. In 1936 Kitty married Anthony West, the son of writers Rebecca West and H.G. Wells. The couple initially lived in London before moving to Quarry Farm, Chicksgrove, Tisbury, near Salisbury, where they brought up their children Caroline and Edmund. There they hosted many of their friends, including the New Zealand painter Frances Hodgkins. Other regular visitors before the War included John and Mywafany Piper, Ralph and Frances Partridge, Noel and Catharine Carrington, Julian Trevelyan and Mary Fedden. For many of those who visited Kitty would organise painting expeditions. After the war Kitty and Anthony separated, with Anthony moving to the United States. Anthony West moved to the United States to work as a journalist for The New Yorker. In the early years after their parting Kitty visited most years with the children. In the 1960s Kitty purchased Sutton House and ran the Hambledon Gallery at Blandford Forum. There she promoted the work of her early art-school friends Mary Fedden and Julian Trevelyan, alongside work by the Pipers, John Craxton...

Mediterranean Catalan Hermitage and Cypress Landscape Oil Painting Artist: Francesc Galofré Surís (Barcelona, 1900–Les Borges del Camp, 1986) Title: Hermitage of Santa Marina, Pratd...

Get Change Here - American Modernism Scene WPA Mid-Century Realism NYC Cityscape Max Arthur Cohn (1903-1988) "Get Change Here" 20 x 25 inches Oil on canvas, c. 1930s Signed lower le...

Title: Paris Café Terrace Scene Medium: Oil on canvas Dimensions: 38 × 46 cm (14.96 × 18.11 in) Framing: Unframed Signature: Hand-signed lower right Period: Second half of the 20th century Condition: Very good. Firm canvas, stable paint layer, visible impasto, no apparent restorations. Origin: Spain Original oil painting depicting a lively Parisian café terrace scene, rendered with a luminous and expressive brushstroke. The composition captures a moment of everyday urban life: seated figures, soft conversation, café signage and filtered daylight dissolving into architectural shadows. The artist prioritizes atmosphere over strict detail, allowing the scene to breathe through fluid impasto and subtle tonal transitions. The chromatic palette balances cool bluish greys and whites with warmer accents, creating depth and visual rhythm. The treatment of figures and light evokes European post-impressionist tradition, combining figurative clarity with painterly spontaneity. A refined decorative piece with strong interior presence, ideal for collectors of European figurative art, lovers of Parisian imagery, or elegant contemporary interiors seeking warmth and narrative. Àngel Badia i Camps (Puig-reig, Barcelona, 1929 – Barcelona, 2019) was a Catalan painter, illustrator and comic artist trained at the Barcelona School of Fine Arts. During the 1950s and 1960s he worked extensively as an illustrator for European and British publishers, developing a strong command of the human figure and narrative composition. From the 1970s onward he focused primarily on fine art painting, producing figurative works centered on urban scenes, landscapes and everyday life. His work was exhibited in Spanish and international galleries, consolidating his position within the Catalan figurative tradition of the second half of the 20th century. Paris café painting...

Industrial Working Man Social Realism Mid-20 Century Modern American Scene Art Edith Kramer (1916-2014) "Man on Lathe II" Oil on linen, 1949 23 x 22 inches Signed and dated in blac...

Medium: Oil on canvas Date: c.1985 Dimensions (canvas): 46 × 38 cm 18.11 × 14.96 inches Dimensions (framed): 69 × 61 cm 27.16 × 24.01 inches Signature: Signed lower right Frame: Included Condition: Very good condition. Stable canvas, no visible restorations. Atmospheric European architectural oil painting depicting a Venetian window with open green shutters, rendered in a refined realist style. The composition highlights aged brickwork, textured plaster and filtered Mediterranean light, creating a calm and contemplative presence. Rather than focusing on narrative, the work emphasizes tonal harmony, surface quality and architectural rhythm. Painted circa 1985, this piece belongs to the artist’s mature period, when Venetian and Mediterranean architectural subjects became recurring themes in his production. The controlled brushwork and balanced palette reflect a synthesis between academic European training and Mediterranean sensitivity. The work is documented and published in a monographic book dedicated to the artist’s production, reinforcing its authenticity and relevance within his body of work. Venetian subjects remain highly desirable among collectors and interior designers seeking elegant European character pieces with architectural depth and decorative strength. An excellent example of late 20th-century Spanish realism with strong decorative appeal. Josep Maria Vayreda C...

WPA American Scene Social Realism Mid 20th Century Modern Postal Workers Deco CT Arnold Aaron Friedman (American, 1874-1946) "Cancellation Table" 11 1/2 x 26 1/2 inches Oil on Wood ...