Gouache Figurative Paintings

Medium: Gouache and Pencil on Paperboard Signature: Signed Lower Left Original cover illustration for The Saturday Evening Post, August 26, 1961. The Post described, “The Post desc...

View in Summer of Napoli, Italy Well executed pleinair painting of a hill over looking the Bay of Napoli, Italy. done at the turn of the century in ...

Predominantly recognized as a self-taught painter, he also worked in architectural murals, sculptures, ceramics, prints and drawings. Vigas is one...

Title: French Gouache Painting of Native American Mustang Hunt in Nevada by Emile GALLOIS (1882-1965, French) Signed: Yes Medium: Original gouache painting on thick unframed paper, S...

Title: French Gouache Painting of Pueblo Bread Baking in Taos New Mexico by Emile GALLOIS (1882-1965, French) Signed: Yes Medium: Original gouache painting on thick unframed paper, S...

Title: French Impressionist Piece of Reflections Over Still Lake with Boat and Trees by Fanche Lel Size: 7.25 inches (height) x 9.5 inches (width) Gouache painting on card, unframed ...

Joseph Solman Figure Study, circa 1959-60 Signed with initials lower left Gouache on Racing Form newspaper Sight 9 x 7 inches Provenance Private Collection, Montecito, California Pr...

A female figure in red sits beside a pink and black butterfly, surrounded by brightly colored flowers in red and bright pink and a black urn next to a tree with green leaves in the c...

Title: French Gouache Painting of Native American Antelope Hunt in Utah by Emile GALLOIS (1882-1965, French) Signed: Yes Medium: Original gouache painting on thick unframed paper, Si...

Title: Vibrant French Gouache Painting of Navajo Jewelry Makers in Albuquerque by Emile GALLOIS (1882-1965, French) Signed: Yes Medium: Original gouache painting on thick unframed p...

Village Life by Fanch Lel (French b. 1930) size: 9 x 10.75 inches gouache painting on board, unframed condition: the painting is in very good condition. It has previously been stored...

Judd Mercer's (US based) "074 - Plein Air-Lafayette, CO" is a gouache painting depicting a landscape. Artist bio/statement Judd Mercer is a contemporary landscape painter and Color...

Beautiful Art Deco illustration by unknown artist. Ink and gouache on faux wood grain illustration board. Image field measuring 14 x 18 inches on a 17 x 21 inch illustration panel...

'Ochre Emergence' by celebrated figurative artist Kim Frohsin, painted in 2018. The artwork is 11 1/2 x 8 1/2 inches and it is professionally framed in a museum quality white ash har...

Title: French Village Church and Trees in Soft Pastel Gouache Style by Fanch Lel (French b. 1930) Size: 9.25 inches (height) x 10.25 inches (widt...

Medium: Gouache on Board Signature: Signed Lower Center: Al Moore The Saturday Evening Post cover, October 10, 1942

Signed impressionist gouache on paper figures in landscape circa 1910 by French painter Eugene Galien-Laloue. The piece depicts a street scene at the Quai de la Tournelle...

"Workers" Russian Constructivist 1920s Modern Social Realism Cubism Figurative VLADIMIR VASIL’EVICH LEBEDEV (1891-1967) "Workers" Gouache on paper Monog...

by Paul-Louis Bolot (French 1918-2003) signed original gouache painting on thick paper/ card unframed condition: very good and sound; the edges have a few curls and scuffs/ edge tear...

Title: French Gouache Painting of Sioux Scalp Dance Ritual in South Dakota by Emile GALLOIS (1882-1965, French) Signed: Yes Medium: Original gouache painting on thick unframed paper,...

Artist/ School: Norman A.Olley (British, 20th century) dated 1995 and inscribed verso Title - The Afternoon By The Old Mill Medium: gouache/watercolour/ ink/ pencil on thin board, ...

French Character Portrait French school, Mid 20th Century Gouache paint on unframed paper Image : 11 x 10 inches Superbly decorative 1960's French portrait painting. Ideal for man...

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

French Character Portrait French school, Mid 20th Century Gouache paint on unframed paper Image : 13 x 9.5 inches Overall Painting: 25.5 x 19.75 inches Superbly decorative 1960's ...

Late 19th Century Original English Landscape of a Cottage in Cambria Wonderful original antique painting of a thatched cottage in Cambria by...

Nude Woman on Striped Chair #2 in Charcoal and Gouache on Paper Black and white painting of a woman by acclaimed bluegrass musician Katherine "Kathy" Kallick (American, b. 1952). Th...

Artist/ School: Norman A.Olley dated 1994 and inscribed verso Title: By The Thames At Hampton Middlesex Medium: gouache/watercolour/ pencil on artist paper, unframed Painting : ...

Kerry Smith Bee Gees - Saturday Night Fever Mixed Media on Crescent board Year: 2022 Size: 21x20in Signed, dated by hand COA provided Ref.: 924802-1625 *Black frame with a mirror-gl...

Day at the Beach - Realistic Figurative Illustration in Gouache Original figurative illustration of people at the beach by Charles Ross Kinghan (American, 1895-1984). Several women are looking at someone's foot, as if there is a splinter being removed. Three of the women are closer, with their heads in the frame. Two of them have are standing with their backs to the viewer. Between the women, the viewer can catch glimpses of other activities on the beach. Possibly a sketch for Good Housekeeping Magazine. Signed "Charles Ross" in the lower right corner. (Charles Ross Kinghan) Acquired with other signed estate works by the artist. Presented in a new cream mat. Mat size: 16"H x 13"W Board size: 14"H x 11.75"W 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 Works. He studied at the Chicago Academy of Fine Art in 1916, the American Academy of Art in Chicago, the Audubon School of Art and the Art Institute of Chicago. He was a pupil of Carl Scheffler, J. Wellington Reynolds, and H.A. Oberteuffer. He taught at the Art Institute of Chicago and at the American Academy of Art in Chicago. He was an illustrator for McCalls, Good Housekeeping, Saturday Evening Post, Colliers, and many others, including American Artist magazine. He was author and illustrator of Rendering Techniques for Commercial Art and Advertising (1956) and of Ted Kautzky...

Date: 1921 Medium: Gouache on Board Dimensions: 20.75" x 17.00" Signature: Signed Lower Right (Monogram)

Medium: Gouache on Board Dimensions: 30.00" x 21.75" Signature: Signed Lower Right

This artwork vividly captures two swimmers emerging from the sea, encapsulating the essence of a serene seaside moment. The painting's use of color is striking, with the bright blue ...

Title: French Impressionist Gouache of Cathedral and Timber-Framed Houses by Fanche Lel Size: 8.5 inches (height) x 6.25 inches (width) Gouache painting on card, unframed Condition: ...

"Abstract Composition" by Roger Herson (French 1922-2008) signed gouache and crayon on paper, unframed painting: 20 x 14 inches Superb original abstract painting by the very well listed French abstract and surrealist artist, Roger Herson (1922-2008). The painting is signed and has excellent provenance, having come from the artists estate in northern France. Roger Herson (1922-2008) was a French abstract, cubist and surrealist painter from Rouen, France. Influenced by Picasso, Braque and Léger, he infuses the canvas with a frenzied and tonic movement, a rigorous construction and a personal graphic power. Painter of woman, desire and fantasies, Herson draws his inspiration from the verve and surrealist movement inspired by Georgio de Chirico...

Figurative illustration of people arriving at a church by Charles Kinghan (American, 1895-1984). The church is rendered with exquisite detail, typical ...

Title: French Coastal Village and Boats Gouache Painting with Sunset Sky by Fanch Lel (French b. 1930) Signed: Verso Size: 9.5 inches (height) x 12.75 inches (width) Gouache painting...

French late 20th century watercolour and gouache study for the series 'Alexander and His Army' by Stephane Lovighi-Bourgogne. Presented in plain wood frame. A strong and forceful de...

by Paul-Louis Bolot (French 1918-2003) signed original gouache painting on thick paper/ card unframed condition: very good and sound; the edges have a few curls and scuffs/ edge tear...

Sam Maitin (1928-2004). Seated Figure, ca. 1970. Charcoal, gouache and decorative paper collage. Measuring 15.5 x 20.5 inches; 22.75 x 27.75 inches framed. Signed lower left. Excellent condition. Period frame original to the piece in mahogany with natural wood grain on sides and 22k gold leaf gilt face. After graduating from Simon Gratz High School, Maitin won a scholarship to the Pennsylvania Museum School of Industrial Art (now the University of the Arts). A painter, printmaker, sculptor, muralist, graphic designer, political activist, and beloved teacher, Maitin headed the Visual Graphics Communication Laboratory at the University of Pennsylvania’s Annenberg School for Communication from 1965–1972 and served on the board of Woodmere Art Museum from 1995–2004. He received a number of awards, including a 1968 Guggenheim Foundation Fellowship. He created murals and other public art for the Children’s Hospital of Philadelphia, the University of Pennsylvania, Temple University’s Kornberg School of Dentistry, the Please Touch Museum, and Hahnemann University Hospital, among others. Maitin's work is museum collections in the United States and Europe, including (but not limited to): Philadelphia Museum of Art Library of Congress, Washington, D.C. National Gallery of Art, Washington, D.C. Museum of Modern Art, New York Tate Gallery, London Bauersche Geisserie, Germany Oakland Museum, California Pennsylvania Academy of the Fine Arts The Currier Gallery of Art...

Title: French Gouache Study of Hopi Kachina Mask and Taos Pueblo Textile by Emile GALLOIS (1882-1965, French) Signed: Yes Medium: Original gouache painting on thick unframed paper, ...

Erotic Scene is a gouache and China ink original painting on silk, realized probably in the second half of XIX century by an anonymous Japanese artist of XIX century, From a collection of twelve Japanese erotic silk paintings, wrongly titled "Shunga", mounted under a yellow cardboard Passepartout, cm 37 x 26.8, this modern artwork of little dimensions, but of extraordinary quality represents an erotic scene between two young Japanese lovers portrayed in their intimate situation and with their sophisticated traditional costumes and hairstyle. Without ever being vulgar or too explicit but with extreme elegance, our ancient Japanese artwork...

Portrait by Bernard Labbe (French mid 20th century) original gouache on artist paper, unframed size: 19.5 x 16.5 inches condition: very good and ready to be enjoyed provenance: the ...

Title: French Gouache Painting of Navajo Weavers in Canyon de Chelly Arizona by Emile GALLOIS (1882-1965, French) Signed: Yes Medium: Original gouache painting on thick unframed pape...

Donald Stacy "Pink Floor" c.1950s Gouache paint on paper 17.25" x 17.25" unframed Signed in pencil lower right Came from artist's estate *Custom framing av...

AKOS BIRO (HUNGARIAN 1911-2002) gouache/ painting board size: 9.5 x 10.75 inches Beautifully colourful, original painting by the very popular and highly regarded Hungarian/ French p...

Title: French Gouache Painting of Navajo Night Dance in New Mexico by Emile GALLOIS (1882-1965, French) Signed: Yes Medium: Original gouache painting on thick unframed paper, Size: 1...

Bricklayers House Beautiful Cover Proposal American Scene Modern WPA 1930s Industrial Workers Antonio Petruccelli (1907 - 1994) Brick Layers House Beautiful cover proposal, c. 1939 ...

Medium: Sepia Gouache on Board Dimensions: 25.50" x 16.50" Signature: Signed Lower Right Story Illustration, Two Victorian women, man reading lett...

Medium: Gouache on Board Signature: Signed Lower Left Board measures 23.75 x 15.75 inches.

A rare original signed Art Deco gouache on paper by Erte (Romain de Tirtoff) . This stunning theatrical costume design is signed Erte at the lower right. The piece is 20 by 18 fram...

Barbara Shermund (1899-1978). Fancy Department Store Satirical Cartoon, ca. 1930's. Ink, watercolor and gouache on heavy illustration paper, panel measures 19 x 15 inches. Signed lower right. Very good condition. Unframed. Provenance: Ethel Maud Mott Herman, artist (1883-1984), West Orange NJ. For two decades, she drew almost 600 cartoons for The New Yorker with female characters that commented on life with wit, intelligence and irony. In the mid-1920s, Harold Ross, the founder of a new magazine called The New Yorker, was looking for cartoonists who could create sardonic, highbrow illustrations accompanied by witty captions that would function as social critiques. He found that talent in Barbara Shermund. For about two decades, until the 1940s, Shermund helped Ross and his first art editor, Rea Irvin, realize their vision by contributing almost 600 cartoons and sassy captions with a fresh, feminist voice. Her cartoons commented on life with wit, intelligence and irony, using female characters who critiqued the patriarchy and celebrated speakeasies, cafes, spunky women and leisure. They spoke directly to flapper women of the era who defied convention with a new sense of political, social and economic independence. “Shermund’s women spoke their minds about sex, marriage and society; smoked cigarettes and drank; and poked fun at everything in an era when it was not common to see young women doing so,” Caitlin A. McGurk wrote in 2020 for the Art Students League. In one Shermund cartoon, published in The New Yorker in 1928, two forlorn women sit and chat on couches. “Yeah,” one says, “I guess the best thing to do is to just get married and forget about love.” “While for many, the idea of a New Yorker cartoon conjures a highbrow, dry non sequitur — often more alienating than familiar — Shermund’s cartoons are the antithesis,” wrote McGurk, who is an associate curator and assistant professor at Ohio State University’s Billy Ireland Cartoon Library & Museum. “They are about human nature, relationships, youth and age.” (McGurk is writing a book about Shermund. And yet by the 1940s and ’50s, as America’s postwar focus shifted to domestic life, Shermund’s feminist voice and cool critique of society fell out of vogue. Her last cartoon appeared in The New Yorker in 1944, and much of her life and career after that remains unclear. No major newspaper wrote about her death in 1978 — The New York Times was on strike then, along with The Daily News and The New York Post — and her ashes sat in a New Jersey funeral home...

Rabbi in the synagogue at prayer wearing tallit and tefillin. Hugó Scheiber (born 29 September 1873 in Budapest – died there 7 March 1950) was a Hungarian modernist painter. Hugo Scheiber was brought from Budapest to Vienna at the age of eight where his father worked as a sign painter for the Prater Theater. At fifteen, he returned with his family to Budapest and began working during the day to help support them and attending painting classes at the School of Design in the evening, where Henrik Papp was one of his teachers. He completed his studies in 1900. His work was at first in a post-Impressionistic style but from 1910 onward showed his increasing interest in German Expressionism and Futurism. This made it of little interest to the conservative Hungarian art establishment. However, in 1915 he met the great Italian avant-gardist Filippo Tommaso Marinetti and the two painters became close friends. Marinetti invited him to join the Futurist Movement. The uniquely modernist style that he developed was, however, closer to German Expressionism than to Futurism and eventually drifted toward an international art deco manner similar to Erté's. In 1919, he and his friend Béla Kádar held an exhibition at the Hevesy Salon in Vienna. It was a great success and at last caused the Budapest Art Museum to acquire some of Scheiber's drawings. Encouraged, Scheiber came back to live in Vienna in 1920. A turning point in Scheiber's career came a year later, when Herwarth Walden, founder of Germany's leading avant-garde periodical, Der Sturm, and of the Sturm Gallery in Berlin, became interested in Scheiber's work. Scheiber moved to Berlin in 1922, and his paintings soon appeared regularly in Walden's magazine and elsewhere. Exhibitions of his work followed in London, Rome, La Paz, and New York. Scheiber's move to Germany coincided with a significant exodus of Hungarian artists to Berlin, including Laszlo Moholy-Nagy and Sandor Bortnyik. There had been a major split in ideology among the Hungarian avant-garde. The Constructivist and leader of the Hungarian avantgarde, Lajos Kassák (painted by Hugó Scheiber in 1930) believed that art should relate to all the needs of contemporary humankind. Thus he refused to compromise the purity of his style to reflect the demands of either the ruling class or socialists and communists. The other camp believed that an artist should be a figurehead for social and political change. The fall out and factions that resulted from this politicisation resulted in most of the Hungarian avant gardists leaving Vienna for Berlin. Hungarian émigrés made up one of the largest minority groups in the German capital and the influx of their painters had a significant effect on Hungarian and international art. Another turning point of Scheiber's career came in 1926, with the New York exhibition of the Société Anonyme, organized by Katherine Dreier. Scheiber and other important avant garde artists from more than twenty-three countries were represented. In 1933, Scheiber was invited by Marinetti to participate in the great meeting of the Futurists held in Rome in late April 1933, Mostra Nazionale d’Arte Futurista where he was received with great enthusiasm. Gradually, the Hungarian artists began to return home, particularly with the rise of Nazism in Germany. Kádar went back from Berlin in about 1932 and Scheiber followed in 1934. He was then at the peak of his powers and had a special flair in depicting café and cabaret life in vivid colors, sturdily abstracted forms and spontaneous brush strokes. Scheiber depicted cosmopolitan modern life using stylized shapes and expressive colors. His preferred subjects were cabaret and street scenes, jazz musicians, flappers, and a series of self-portraits (usually with a cigar). his principal media being gouache and oil. He was a member of the prestigious New Society of Artists (KUT—Képzőművészek Új Társasága)and seems to have weathered Hungary's post–World War II transition to state-communism without difficulty. He continued to be well regarded, eventually even receiving the posthumous honor of having one of his images used for a Russian Soviet postage stamp (see image above). Hugó Scheiber died in Budapest in 1950. Paintings by Hugó Scheiber form part of permanent museum collections in Budapest (Hungarian National Museum), Pecs (Jannus Pannonius Museum), Vienna, New York, Bern and elsewhere. His work has also been shown in many important exhibitions, including: "The Nell Walden Collection," Kunsthaus Zürich (1945) "Collection of the Société Anonyme," Yale University Art Gallery, New Haven, Connecticut (1950) "Hugó Scheiber: A Commemorative Exhibition," Hungarian National Museum, Budapest (1964) "Ungarische Avantgarde," Galleria del Levante, Munich (1971) "Paris-Berlin 1900-1930," Centre Georges Pompidou, Paris (1978) "L’Art en Hongrie, 1905-1920," Musée d’Art et l’Industrie, Saint-Etienne (1980) "Ungarische Avantgarde in der Weimarer Republik," Marburg (1986) "Modernizmus," Eresz & Maklary Gallery, Budapest (2006) "Hugó Scheiber & Béla Kádár," Galerie le Minotaure, Paris and Tel Aviv (2007) Hugó Scheiber's paintings continue to be regularly sold at Sotheby's, Christie's, Gillen's Arts (London), Papillon Gallery (Los Angeles) and other auction houses. He was included in the exhibition The Art Of Modern Hungary 1931 and other exhibitions along with Vilmos Novak Aba, Count Julius Batthyany, Pal Bor, Bela Buky, Denes Csanky, Istvan Csok, Bela Czobel, Peter Di Gabor, Bela Ivanyi Grunwald, Baron Ferenc Hatvany, Lipot Herman, Odon Marffy, C. Pal Molnar...

'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...

Title: French Gouache Portrait Study of Three Navajo and Kumeyaay Figures by Emile GALLOIS (1882-1965, French) Signed: Yes Medium: Original gouache painting on thick unframed paper, ...

Original painting on paper by Agnese Negriba- The artwork depicts a female garden spirit in a moment of rest. Artwork invites to enter a space that is full of fragrance, humming soun...

"Workers" Russian Constructivist 1920s Modern Social Realism Cubism Figurative VLADIMIR VASIL’EVICH LEBEDEV (1891-1967) "Workers" Gouache on paper Monog...

Sam Maitin (1928-2004). Seated Figure, ca. 1970. Charcoal, gouache and decorative paper collage. Measuring 15.5 x 20.5 inches; 22.75 x 27.75 inches framed. Signed lower left. Excellent condition. Period frame original to the piece in mahogany with natural wood grain on sides and 22k gold leaf gilt face. After graduating from Simon Gratz High School, Maitin won a scholarship to the Pennsylvania Museum School of Industrial Art (now the University of the Arts). A painter, printmaker, sculptor, muralist, graphic designer, political activist, and beloved teacher, Maitin headed the Visual Graphics Communication Laboratory at the University of Pennsylvania’s Annenberg School for Communication from 1965–1972 and served on the board of Woodmere Art Museum from 1995–2004. He received a number of awards, including a 1968 Guggenheim Foundation Fellowship. He created murals and other public art for the Children’s Hospital of Philadelphia, the University of Pennsylvania, Temple University’s Kornberg School of Dentistry, the Please Touch Museum, and Hahnemann University Hospital, among others. Maitin's work is museum collections in the United States and Europe, including (but not limited to): Philadelphia Museum of Art Library of Congress, Washington, D.C. National Gallery of Art, Washington, D.C. Museum of Modern Art, New York Tate Gallery, London Bauersche Geisserie, Germany Oakland Museum, California Pennsylvania Academy of the Fine Arts The Currier Gallery of Art...

Don Crowley (1926-2019) Arizona / California Western Artist Image Size: 11 x 13 Frame Size: 18 x 20 Medium: Gouache Study "After Glow" Indian Girl with her...

From the estate of Jerry Opper & Ruth Friedman Opper Too Much c. 1940-1950's Gouache on Paper 15" x 18", framed wood gallery frame float mount 21.5"x19.5" From the estate of Ruth Friedmann Opper & Jerry Opper. Ruth was the daughter of Bauhaus artist, Gustav Friedmann. San Francisco Abstract Expression A free-spirited wave of creative energy swept through the San Francisco art community after World War II. Challenging accepted modes of painting, Abstract Expressionists produced highly experimental works that jolted the public out of its postwar complacency. Abstract Expressionism resulted from a broad collective impulse rather than the inspiration of a small band of New York artists. Documenting the interchanges between the East and West Coasts, she cites areas of mutual influence and shows the impact of San Francisco on the New York School, including artists such as Mark Rothko and Ad Reinhardt. San Francisco's Beat poets...

Barbara Shermund (1899-1978). Showgirls Cartoon for Life Magazine, 1934. Ink, watercolor and gouache on heavy illustration paper, matting window measures 16.5 x 13 inches; sheet measures 19 x 15 inches; Matting panel measures 20 x 23 inches. Signed lower right. Very good condition with discoloration and toning in margins. Unframed. Provenance: Ethel Maud Mott Herman, artist (1883-1984), West Orange NJ. For two decades, she drew almost 600 cartoons for The New Yorker with female characters that commented on life with wit, intelligence and irony. In the mid-1920s, Harold Ross, the founder of a new magazine called The New Yorker, was looking for cartoonists who could create sardonic, highbrow illustrations accompanied by witty captions that would function as social critiques. He found that talent in Barbara Shermund. For about two decades, until the 1940s, Shermund helped Ross and his first art editor, Rea Irvin, realize their vision by contributing almost 600 cartoons and sassy captions with a fresh, feminist voice. Her cartoons commented on life with wit, intelligence and irony, using female characters who critiqued the patriarchy and celebrated speakeasies, cafes, spunky women and leisure. They spoke directly to flapper women of the era who defied convention with a new sense of political, social and economic independence. “Shermund’s women spoke their minds about sex, marriage and society; smoked cigarettes and drank; and poked fun at everything in an era when it was not common to see young women doing so,” Caitlin A. McGurk wrote in 2020 for the Art Students League. In one Shermund cartoon, published in The New Yorker in 1928, two forlorn women sit and chat on couches. “Yeah,” one says, “I guess the best thing to do is to just get married and forget about love.” “While for many, the idea of a New Yorker cartoon conjures a highbrow, dry non sequitur — often more alienating than familiar — Shermund’s cartoons are the antithesis,” wrote McGurk, who is an associate curator and assistant professor at Ohio State University’s Billy Ireland Cartoon Library & Museum. “They are about human nature, relationships, youth and age.” (McGurk is writing a book about Shermund. And yet by the 1940s and ’50s, as America’s postwar focus shifted to domestic life, Shermund’s feminist voice and cool critique of society fell out of vogue. Her last cartoon appeared in The New Yorker in 1944, and much of her life and career after that remains unclear. No major newspaper wrote about her death in 1978 — The New York Times was on strike then, along with The Daily News and The New York Post — and her ashes sat in a New Jersey funeral home...

Unknown French Art and Workshop, Middle 15th century Roundel depicting St. Catherine (?) Gouache, ink gold wash and gold burnishing on vellum Book of Hours folio attributed to the C...

A rare original signed Art Deco gouache on paper by Erte (Romain de Tirtoff) . This stunning theatrical costume design is signed Erte at the lower right. The piece is 20 by 18 fram...

Cover of The Saturday Evening Post, August 2, 1958 ------ Editorial text on page 3 of the Post with this featured illustration: "Artist Alajalov, reaching for a dictionary which once helped him through a tour of Italy’s hill towns...

Hu Yongkai, born in Beijing in 1945, is currently a member of the Chinese Artists Association. He previously taught at the Shanghai Academy of Fine Arts and...

Kerry Smith Green Day - American Idiot Mixed Media on on Crescent board Year: 2017 Size: 12x12in Signed, dated by hand COA provided Ref.: 92-1653 *Black frame with a mirror-gloss fi...

This captivating 30 x 40 cm gouache painting transports the viewer into the intimacy of a room within the majestic Château d'Augerville. At the heart of this artwork, a young woman e...

French Character Portrait French school, Mid 20th Century Gouache paint on unframed paper inscribed verso stamped to the reverse Image : 19.5 x 25.5 inches Superbly decorative 196...

A charming, beautifully framed and ready to hang gouache on panel by highly-listed Parisian artist Paul Renard. One of two Paris scenes I currently have on offer by Renard. Actual go...

Seated Figures by Paul-Louis Bolot (French 1918-2003) signed original gouache painting on thick paper/ card unframed condition: very good and sound; the edges have a few curls and sc...

by Paul-Louis Bolot (French 1918-2003) signed original gouache painting on thick paper/ card unframed condition: very good and sound; the edges have a few curls and scuffs/ edge tear...

"Les Artistes du Cirque" is an original painting in ink, watercolor, and gouache on paper by leading Fauvist artist Kees Van Dongen, signed in the lower right. In the piece, two circus performers stand against against a wall. On the left, a pale woman in a blue leotard with red flowers on the shoulder stands with her arms crossed, looking out at the viewer. The painter fills in her tights with delicate white brushstrokes, lending them an almost iridescent appearance. Her strawberry blond hair is piled on top of her hair according to the fashion of the period. On the right, an African man stands in a vivid orange toga, looking somewhere off to the left. His feet are clad in bright white shoes...

Title: Stylised French Harbour Town with Boats and Church in Cool Tones by Fanch Lel (French b. 1930) Signed: Yes Size: 10.25 inches (height) x 10.5 inches (width) Gouache painting o...

Title: French Street Scene with Windmill and Figures in Impressionist Style by Fanch Lel (French b. 1930) Size: 10.5 inches (height) x 8.75 inches (width) Gouache painting on board, ...