1940s Paintings

6239 Pair of dachshund set in a moody oil painting Set I a gilt wood frame Image size 19.5x23.5" Signed lower right

Set of Surrealistic Watercolor Paintings in Golden Frames made by Birger Ekman, estimately in the 1940s. * Set (2) of watercolor paintings with surrealistic and dream-like motives ...

An opulent and finely executed mid 20th-century floral still life, painted in oil on board and signed C. Adolph in the lower right corner. This sophisticated artwork pays homage to ...

Handsome richly rendered pair of vintage hunt scenes depicting men in period red jackets on white horses galloping through the landscape with their hound dogs. Framed beautifully in...

This exceptional original American Regionalist watercolor and gouache mural study perfectly encapsulates the optimistic "Progress and Industry" design spirit of the Works Progress Administration (WPA) era. Masterfully executed by acclaimed St. Louis muralist and WPA artist Michael Chomyk (1911–1993), the composition vividly chronicles the evolution of mid-century American infrastructure, transportation, and trade. The panoramic scene dynamically bridges two distinct worlds: a quiet, rural farm landscape complete with a traditional red barn and silos, and a bustling symbol of modern progress. Cutting through the countryside is a sleek, aerodynamic streamlined rail train, while a classic multi-engine propeller plane slices through the sky above. Both elements of transportation guide the viewer's eye toward a towering, geometric Art Deco NYC...

Step into the rustic charm of a bygone era with this captivating 1940s Expressionist French oil painting. Skillfully depicting a vibrant farmer's market scene, the canvas comes alive...

Italian painting from the first half of the 20th century. Oil artwork on pressed wooden board depicting a landscape in Macchiaiolo style, Sunset in the countryside of good pictorial ...

A vibrant impressionist style oil painting on bard, artist signed Derbino '41.. Framed in original frame. Born in Sicily, Italy, Rosario Gerbino became a landscape painter and illustrator who lived in New York City where he taught at the Leonardo da Vinci Art School. He studied at the National Academy of Design with George Maynard, Charles Hinton...

Antique Chinese mountaneerous landscape painting, large impressive, 35” by 59”, framed in wooden frame under glass. Watercolor with ink and gouache on paper.

Great Italian painting dated 1940. Oil on board framework depicting a woodland landscape in impressionist style with good pictorial quality. Frame in wood and plaster, adapted to the...

A very interesting and unusual Pfoutz Original Farm Scene Oil Painting by artist J. Earle Pfoutz. The painting is produced on artist and comes complete with what appears to be an original artist decorated/painted frame. The Pfoutz Original Farm Scene Oil Painting is signed on the front by the artist and appears to be dated 1948 on the rear. Known for his unusual subjects Pfoutz outdid himself with this effort, capturing the essence of a Lancaster County farm but with the startling twist of portraying a large turkey vulture in the foreground. Definitely unique. Overall frame Size approximately 33″ wide x 3″ deep x 26″ high J. Earle Pfoutz had a long and distinguished career as a self trained artist. More can be learned about him from reading this article produced by Gary Hawbaker at askART Earle Pfoutz Born: 1891 – Lancaster, Pennsylvania Died: 1957 Known for: Landscape, figure, still life painting An image of J Earle Pfoutz Biography from the Archives of askART J. Earle Pfoutz (John Earle Pfoutz) – (Oct 23, 1891-Nov 9, 1957) “A seventh generation descendant of a Swiss family which arrived in America early in the 17th Century, J. Earle Pfoutz was born in Lancaster, PA, son of John Bachman and Susan Allison Pfoutz. He painted houses for a living and pictures for a life. A self-taught artist, described as a primitive, he was distinctive for his vivid imagination and bold color application. He painted hundreds of Lancaster County scenes. Pfoutz traveled through the hills near his home and along the Susquehanna River in search of scenes. He began painting with a brush when he was fourteen, but added a palette knife after suffering an eye injury. He completed eighth grade in the Lancaster Public Schools and there his formal education ended. However, the Department of Public Instruction of the State of Pennsylvania thought so highly of his work as an artist that officials certified him as an art instructor and he taught for a year in the York (PA) public schools. He also was an art instructor under the program for disabled veterans, sponsored by the Veterans Administration, when he gave private instruction to veterans in their homes. In 1947, J. Earle Pfoutz finally earned national recognition as an artist. His painting, Opalescent October, was chosen by the Museum of Art of Dayton Ohio, to travel all over the country for a year with its Group Exhibition. Described as a “very colorful, calm scene, iridescent in color, sweeping in design,” the painting started on its journey around the country early in 1948. In an interview with the Sunday News (Lancaster, PA – Nov 2, 1947), Pfoutz stated that he didn’t know whether he was a “primitive” or an “impressionist.” No master taught him, no school channeled his style. “Sometimes I didn’t eat, but I always managed to paint,” he recalled. Many of his hundreds of canvases -most of them not sold, but given away to friends – found their way to other parts of the country. “I never remember the day when I did not love color,” Pfoutz said. “I was about 12 years old when I saw my first palette – a string of different colored paint paddles that graced the stores of that day. As a boy I had two great desires. One was to be able to eat all the strawberry jam I could, and the other to possess a string of those beautiful paint paddles. Well, I’ve got my fill of jelly, but I’ve never yet got my fill of beautiful colors.” In 1950, Pfoutz’s one man show of paintings made front page headlines in the Lancaster Intelligencer Journal: “Most of the twenty oil paintings on exhibition are landscapes, although there are several interesting figure studies. Colors again, as in all Pfoutziana are rich and full-bodied, but for the most part not as startlingly as in some of the earlier work. Most of the paintings were done during the past year, and also reveal the painter’s characteristic heavy impasto technique, in which the rich swirls of paint carry their own message. Among the figures, The Banjo Picker, and The Magician, are the most provocative. Both are character studies; the first being of a tramp musician whose drab clothing is set-off by a luminous aqua blue background. Modern in feeling and treatment is The Magician, a clown-faced wizard whose spinning ball in the air suggests the fourth dimension – space. The use of the primary colors in this picture serves to emphasize the theme effectively. A large colorful landscape, Opalescent October, depicting rolling hills against a late afternoon sky is new to Lancastrians, as it has just returned from Dayton, Ohio, where it hung in the Dayton Art Institute. Another landscape with soft dreamy colors is Fantasie D’Autumne, and one of the loveliest pictures in the show. Pennsylvania Dutch Country is another with eye appeal, and was one of the works which was hung in the Old Customs House in Philadelphia during Pennsylvania Week, and before that in a collection of Pfoutz work in the same place. In deep contrast to the sunny skies and brilliant foliage of many of the pictures, is the somewhat morbid Worry, in which the center of interest is a tremendous rat. This, the painter explains, was symbolic of 1948 in China, which was ‘The Year of The Rat’ in the Chinese calendar. Background material for the picture was furnished to Pfoutz by author Pearl Buck. Other pictures include Autumn Prelude, Miners Village, painted at Cornwall, PA; Humid Day, Saint Peters Kierch, at Middletown, PA; Lady Pfoutz, inspired by the painter’s wife; Sun Flowers, Sentimental Journey, Gyne, Luzon Woman, Old Bridge, The Cow Path. Lemures, based on Roman mythology, and Ethiopian, painted from an ebony wood carving from Kenya Province, S. Africa.” In 1953, Pfoutz was installed as President of the Lancaster County Art Association. A. Z. Kruse, New York City artist, writer and member of the faculty of the Brooklyn College and the Cartoonists and Illustrators School, Manhattan, was the guest speaker. In January of 1953, thirty-five Pfoutz oils were exhibited at the Old Custom House in Philadelphia, PA under the sponsorship of the Carl Schurz Memorial Foundation. Several Lancaster County landscapes and covered bridges were included as well as Katy, a Pennsylvania Dutch scene. Symbolic paintings included End of the Second Day, the artist’s visualization of the second coming of Christ, and Twilight, typifying the grief of mothers of all lands for sons lost in battle. In June of 1953, a Pfoutz oil made history in Lancaster. From the Lancaster New Era: “For the first in local art history, a painting has been withdrawn from an exhibition because of objections from viewers and hostesses serving at the show. The painting, Jeune Fille, a standing nude done by Pfoutz, was one of the paintings in the annual spring exhibition of the Art Association and had become the center of the controversy. Pfoutz said he took the painting down… ‘graciously but reluctantly.’ ‘From an artistic standpoint, there is nothing offensive about the painting,’ Pfoutz said. ‘This community just wants its nudes with clothes on.’ “It is most brilliant in color, and because it is so brilliant I thought it would make a nice lively spot for the show. This is the first time I’ve had to take a picture off the walls. I substituted a seascape for it.’ Pfoutz said he felt the painting brought a lot of viewers to the show because it was so controversial. It had never been exhibited before. ‘If this had been shown in a metropolitan city,’ he commented, ‘people wouldn’t have given it a second glance. But the viewpoint here is more conservative, even though I don’t think moderns would have minded.’ He said he felt the painting was neither ‘objectionable nor pornographic,’ but had complied with the wishes of fellow members of the Art Association who telephoned him to relay the protests they had received. The art controversy was the first to arise here publicly since the showing of Amish Grandmother, an oil by William Gropper which was part of the Gimbel Pennsylvania exhibit at the Griest Building several years ago. — Numerous viewers of Amish Grandmother, [a painting showing an Amish woman holding a white goose], expressed themselves quite vocally, calling it an affront to the Plain Folk. But it stayed on exhibit throughout the length of the Gimbel show. Pfoutz expressed no rancor, implying that if Gropper could take it so could he.” After his death, there were several shows of Pfoutz’ work organized by his son J. Earle, Jr. J. Earle, Jr. also saw to it that President Eisenhower would receive an oil called The Cow’s Path. The president first saw the painting in 1950 when, as president of Columbia University, he visited Lancaster to address a student assembly at Franklin and Marshall College. After his address was over, the then Gen. Eisenhower stopped at the Fackenthal Library on the campus to view an exhibition of Pfoutz’s paintings. The Cow’s Path intrigued him. For some time, as his aides fumed to get him back on his time schedule, Eisenhower and Pfoutz talked, as artist to artist. Prior to his death, Pfoutz requested that The Cow’s Path be given to the President if he wanted it. The painting was presented to Ike at the White House in November of 1959. Mrs. Eisenhower owned a Pfoutz painting titled, In the Manor. Though house painting was his livelihood, he worked for Millersville State Teachers College (now a university) for a time during World War II, and called himself “the Chimney Sweep of MSTC.” During that period he knocked out a dizzying canvas in the surrealist style (he thought it was terrible) and got into the campus newspaper when one of the students spotted it. Earle Pfoutz was not the humble, downtrodden artist, not the Douanier Rousseau type at all. As he developed his skill and style through the years, he also fashioned a resilient confidence in himself as an artist. Whether he was building his own home (he built two) or painting one for somebody else, he never lost faith in his ultimate recognition—though he was never sure he would live to see it. Whether he was working as a rigger for a hoisting company, in the Stehli Silk Mill of Lancaster, carving Cloister-style chairs, decorating old chests, cementing bricks from the old Safe...

1-128 large Italian frames with elaborate cast detailing. Overall size 40 x 34 x 1" Inside rabbit 30 x 24"  

Surrealist abstract figurative oil on board painting titled "Woman with Pendant" c.1947 , the imagery is of a woman holding a pendant in a room with a painting of a building in the b...

Boldly painted in vivid hues of red, deep pink, yellow and shades of blue, this abstract painting is attributed to Gino Severini, Italy's leading Modernist painter, who executed work...

Huts in Landeck – Oberinntal Work dimensions: 30 x 40 cm Dimensions with frame: 37 x 47 cm Technique: oil on canvas Period: 1942 Description: Summer view of some huts with classic ...

Original Bavarian Tyrolian Folk Art painting, signed and dated This charming folk painting is executed in oil on artist board. A beautiful and rus...

Belgium / 1940 / Painting / Canvas and wood / Rustic / France Provincial This evocative signed Belgian landscape painting from the 1940s captures the quiet poetry of the countryside...

A large surrealist oil on canvas titled 'Dream World' signed 'RJ Wendell' for Raymond John Wendell (1917-2005), and dated 48 lower left. This particular work was featured in life Ma...

Belgium / 1940 / Painting / Albert Demoen / Canvas and wood / Rustic / France Provincial Evoking the quiet drama of the open sea, this Belgian oil painting by Albert Demoen (1916) o...

Handsome portrait of a Great Dane by painter, Lawrence Shelby. Oil paint on rust-colored velvet canvas, framed by stained oak. Artist-signed.     ...

Large-scale Folk Art Carnival game board, American, circa 1940s. This painted carnival game board came from Texas and combines wonderfully patinate...

Montague Dawson: ‘Six Metre Class boat by the Lymington Spit’, a watercolour showing a white hulled Six Metre yacht sailing away from a racing buoy, running downwind with reduced goo...

“Big Sister Dance”: an oil on masonite painting by artist Åke Tügel (1925 - 2002), signed and dated, 1949. This stunning piece showcases extraordinary texture and boasts tones of bor...

Set of ten Weinhold Reis colored lithographs of the Blackfeet; period frames - Scalping Woman; Wife of Night Shoots; Lazy Boy; Blackfeet Medicine Man; Long Ti...

Best known for his handsome, beautifully-crafted furniture designs, much in demand today, Tommi Parzinger also painted over the span of his career. His rare, early works -- such as t...

French Art Deco painting entitled “Printemps” (“Spring”), created by Raoul Guinet in the 1940s. Executed in oil on canvas, the work depicts a lively dancing scene featuring three fig...

American regionalist oil on canvas depicting a dock scene in Sag Harbor, NY, circa 1940s, in a gilded and handcarved frame.

An elegant and fine abstract painting by Leonard Maurer, signed and dated 1949, titled "Summer Landscape", in original painted frame. Leonard Maurer (19...

Striking modernist oil painting on canvas by Bengt Orup, with dramatic contrasting colors and stylized motif of three vivacious fish.

Richly executed in a deep palette of green, red and black, this striking portrait of a male youth in a yellow plaid swimsuit was painted at the end of World War II by Paul Cocagne, o...

In this listing you will find an intimate Impressionist or rather post-impressionist portrait of a Reader by Vera Milosavljević Ćirić. A striking post-war portrait rendered with ex...

Artist Frederick Hepner Buchholz (1901 - 1983) Connecticut. Oil on Canvas, WPA Modern Industrial American Scene of 1940s WWII Aircraft Factory Workers, titled "Aircraft Riveters". Fred is know for his vibrant tones to achieve dramatic contrast. In original gold tone frame, hand-painted by Buchholz. Canvas size is 24" x 18". Two labels, on verso : Essex Art Association, Inc. Title (Aircraft Riveters), Artist Frederick Buchholz...

Oil on board Impressionist style landscape painting, likely American, circa 1940s. Signed lower right. It measures 17"H x 21", framed.

Serving, perhaps, as a commentary on the futility and horror of war, this allegorical painting of "Two Philosophers" was made by Arthur Kampf in 1948-49, shortly after the end of World War II and toward the end of his long life. Kampf was known for his historical and allegorical paintings, including a large scene showing a group of nude soldiers...

The Last Flowering of the Middle Ages by Baron Joseph Van Der Elst. Published by Doubleday, Doran and Company Inc., 1944. Stated 1st Ed hardcover. An in-depth look into art of the Middle Ages. Contents: 1. The Times and the Men who Made Them: Men of Flanders; The Flemish Parade; The Good Black Earth; The Rise of the Towns; The Medieval Guilds; Of Love, the Dream; The Upward Glance; Pt. 2. The Flemish Masters: Jan van Eyck; Petrus Christus...

Large American abstract modernist impressionist oil painting on masonite board in the great original artist hand painted sgraffito combed decorated wood frame by Zoute ( born Leon Sa...

A very interesting and unusual Cornwall Iron Banks Original Oil Painting by artist J. Earle Pfoutz. The painting is produced on canvas and comes complete wit...

Large impressive antique Chinese landscape painting, signed and framed under glass. Mixed media on paper, watercolor, ink and gouache.

This oil painting is a landscape of the Texas hill country by the renowned Artist Carl Gaspard. It features rolling hills with the state flower of bluebonnets Scattered throughout.

Important painting by Leonard Maurer (1912-1976), titled "Bridge #2", 1949. A great example of American 1940's modernism with clear influences of Jackso...

This refined mid-century oil painting (canvas laid on hardboard) presents a timeless view of the Château de Neuchâtel overlooking Lake Neuchâtel, Switzerland, executed in a graceful ...

"FANTASY" by Thomas Hart Benton. Oil on canvas laid on wood with a gorgeous gold gilded frame. Price upon request.

Striking in conception and execution, this half-portrait of a handsome, blue-eyed young man -- his back to a mirror and his arm folded over a chair -- was painted by Marion Huse, who...

A very interesting and unusual Lancaster Bridge Original Oil Painting by artist J. Earle Pfoutz. The painting is produced on artist board and comes complete with what appears to be an original artist decorated/painted frame. The painting is signed on the front by the artist. Overall frame Size approximately 42″ wide x 2″ deep x 30″ high J. Earle Pfoutz had a long and distinguished career as a self trained artist. More can be learned about him from reading this article produced by Gary Hawbaker at askART Earle Pfoutz Born: 1891 – Lancaster, Pennsylvania Died: 1957 Known for: Landscape, figure, still life painting An image of J Earle Pfoutz Biography from the Archives of askART J. Earle Pfoutz (John Earle Pfoutz) – (Oct 23, 1891-Nov 9, 1957) “A seventh generation descendant of a Swiss family which arrived in America early in the 17th Century, J. Earle Pfoutz was born in Lancaster, PA, son of John Bachman and Susan Allison Pfoutz. He painted houses for a living and pictures for a life. A self-taught artist, described as a primitive, he was distinctive for his vivid imagination and bold color application. He painted hundreds of Lancaster County scenes. Pfoutz traveled through the hills near his home and along the Susquehanna River in search of scenes. He began painting with a brush when he was fourteen, but added a palette knife after suffering an eye injury. He completed eighth grade in the Lancaster Public Schools and there his formal education ended. However, the Department of Public Instruction of the State of Pennsylvania thought so highly of his work as an artist that officials certified him as an art instructor and he taught for a year in the York (PA) public schools. He also was an art instructor under the program for disabled veterans, sponsored by the Veterans Administration, when he gave private instruction to veterans in their homes. In 1947, J. Earle Pfoutz finally earned national recognition as an artist. His painting, Opalescent October, was chosen by the Museum of Art of Dayton Ohio, to travel all over the country for a year with its Group Exhibition. Described as a “very colorful, calm scene, iridescent in color, sweeping in design,” the painting started on its journey around the country early in 1948. In an interview with the Sunday News (Lancaster, PA – Nov 2, 1947), Pfoutz stated that he didn’t know whether he was a “primitive” or an “impressionist.” No master taught him, no school channeled his style. “Sometimes I didn’t eat, but I always managed to paint,” he recalled. Many of his hundreds of canvases -most of them not sold, but given away to friends – found their way to other parts of the country. “I never remember the day when I did not love color,” Pfoutz said. “I was about 12 years old when I saw my first palette – a string of different colored paint paddles that graced the stores of that day. As a boy I had two great desires. One was to be able to eat all the strawberry jam I could, and the other to possess a string of those beautiful paint paddles. Well, I’ve got my fill of jelly, but I’ve never yet got my fill of beautiful colors.” In 1950, Pfoutz’s one man show of paintings made front page headlines in the Lancaster Intelligencer Journal: “Most of the twenty oil paintings on exhibition are landscapes, although there are several interesting figure studies. Colors again, as in all Pfoutziana are rich and full-bodied, but for the most part not as startlingly as in some of the earlier work. Most of the paintings were done during the past year, and also reveal the painter’s characteristic heavy impasto technique, in which the rich swirls of paint carry their own message. Among the figures, The Banjo Picker, and The Magician, are the most provocative. Both are character studies; the first being of a tramp musician whose drab clothing is set-off by a luminous aqua blue background. Modern in feeling and treatment is The Magician, a clown-faced wizard whose spinning ball in the air suggests the fourth dimension – space. The use of the primary colors in this picture serves to emphasize the theme effectively. A large colorful landscape, Opalescent October, depicting rolling hills against a late afternoon sky is new to Lancastrians, as it has just returned from Dayton, Ohio, where it hung in the Dayton Art Institute. Another landscape with soft dreamy colors is Fantasie D’Autumne, and one of the loveliest pictures in the show. Pennsylvania Dutch Country is another with eye appeal, and was one of the works which was hung in the Old Customs House in Philadelphia during Pennsylvania Week, and before that in a collection of Pfoutz work in the same place. In deep contrast to the sunny skies and brilliant foliage of many of the pictures, is the somewhat morbid Worry, in which the center of interest is a tremendous rat. This, the painter explains, was symbolic of 1948 in China, which was ‘The Year of The Rat’ in the Chinese calendar. Background material for the picture was furnished to Pfoutz by author Pearl Buck. Other pictures include Autumn Prelude, Miners Village, painted at Cornwall, PA; Humid Day, Saint Peters Kierch, at Middletown, PA; Lady Pfoutz, inspired by the painter’s wife; Sun Flowers, Sentimental Journey, Gyne, Luzon Woman, Old Bridge, The Cow Path. Lemures, based on Roman mythology, and Ethiopian, painted from an ebony wood carving from Kenya Province, S. Africa.” In 1953, Pfoutz was installed as President of the Lancaster County Art Association. A. Z. Kruse, New York City artist, writer and member of the faculty of the Brooklyn College and the Cartoonists and Illustrators School, Manhattan, was the guest speaker. In January of 1953, thirty-five Pfoutz oils were exhibited at the Old Custom House in Philadelphia, PA under the sponsorship of the Carl Schurz Memorial Foundation. Several Lancaster County landscapes and covered bridges were included as well as Katy, a Pennsylvania Dutch scene. Symbolic paintings included End of the Second Day, the artist’s visualization of the second coming of Christ, and Twilight, typifying the grief of mothers of all lands for sons lost in battle. In June of 1953, a Pfoutz oil made history in Lancaster. From the Lancaster New Era: “For the first in local art history, a painting has been withdrawn from an exhibition because of objections from viewers and hostesses serving at the show. The painting, Jeune Fille, a standing nude done by Pfoutz, was one of the paintings in the annual spring exhibition of the Art Association and had become the center of the controversy. Pfoutz said he took the painting down… ‘graciously but reluctantly.’ ‘From an artistic standpoint, there is nothing offensive about the painting,’ Pfoutz said. ‘This community just wants its nudes with clothes on.’ “It is most brilliant in color, and because it is so brilliant I thought it would make a nice lively spot for the show. This is the first time I’ve had to take a picture off the walls. I substituted a seascape for it.’ Pfoutz said he felt the painting brought a lot of viewers to the show because it was so controversial. It had never been exhibited before. ‘If this had been shown in a metropolitan city,’ he commented, ‘people wouldn’t have given it a second glance. But the viewpoint here is more conservative, even though I don’t think moderns would have minded.’ He said he felt the painting was neither ‘objectionable nor pornographic,’ but had complied with the wishes of fellow members of the Art Association who telephoned him to relay the protests they had received. The art controversy was the first to arise here publicly since the showing of Amish Grandmother, an oil by William Gropper which was part of the Gimbel Pennsylvania exhibit at the Griest Building several years ago. — Numerous viewers of Amish Grandmother, [a painting showing an Amish woman holding a white goose], expressed themselves quite vocally, calling it an affront to the Plain Folk. But it stayed on exhibit throughout the length of the Gimbel show. Pfoutz expressed no rancor, implying that if Gropper could take it so could he.” After his death, there were several shows of Pfoutz’ work organized by his son J. Earle, Jr. J. Earle, Jr. also saw to it that President Eisenhower would receive an oil called The Cow’s Path. The president first saw the painting in 1950 when, as president of Columbia University, he visited Lancaster to address a student assembly at Franklin and Marshall College. After his address was over, the then Gen. Eisenhower stopped at the Fackenthal Library on the campus to view an exhibition of Pfoutz’s paintings. The Cow’s Path intrigued him. For some time, as his aides fumed to get him back on his time schedule, Eisenhower and Pfoutz talked, as artist to artist. Prior to his death, Pfoutz requested that The Cow’s Path be given to the President if he wanted it. The painting was presented to Ike at the White House in November of 1959. Mrs. Eisenhower owned a Pfoutz painting titled, In the Manor. Though house painting was his livelihood, he worked for Millersville State Teachers College (now a university) for a time during World War II, and called himself “the Chimney Sweep of MSTC.” During that period he knocked out a dizzying canvas in the surrealist style (he thought it was terrible) and got into the campus newspaper when one of the students spotted it. Earle Pfoutz was not the humble, downtrodden artist, not the Douanier Rousseau type at all. As he developed his skill and style through the years, he also fashioned a resilient confidence in himself as an artist. Whether he was building his own home (he built two) or painting one for somebody else, he never lost faith in his ultimate recognition—though he was never sure he would live to see it. Whether he was working as a rigger for a hoisting company, in the Stehli Silk Mill of Lancaster, carving Cloister-style chairs, decorating old chests, cementing bricks from the old Safe...

A circa 1940's large Mexican painted wood panel of the Virgin of Guadalupe. Measurements: Height: 60" Width: 36" Depth: 2"

1664 Antique Equestrian oil painting of a blacksmith shop in the South Image size 17.5x23.5"

This extraordinary pair of Art Deco pieces, each depicting a pair of horses, one with its head up and one down, was executed in ink, colored pencil and gouache by Robert Reinhardt Von Liski, a Prussian-American artist. Von Liski worked in Chicago as a commercial artist in advertising agencies and elsewhere, and did work for RCA Victor and Arrow Shirts...

Rich with color and stylized in the best Art Deco manner, this original painting was made by Virginia Lyons for a proposed poster that would promote travel to Alaska and other northe...

SATURDAY SALE Galloping Horses, airbrushed watercolor by Benjamin Jorj Harris (American, 1904-1957) for Newman Decor. Dimensions shown are for fr...

Lovely and ethereal, reminiscent of the pale, ideal compositions of Puvis de Chavannes in France and America, this utopian vista depicts a series of figures gathering fruit and grain, all in formal classical poses like an ancient, early Renaissance painting...

Swiss alp painting cow in alp land

A strikingly brutal piece that raises more questions than answers. It was painted during the early 1940s by the German relatively unknown artist Franz Kofron. The fragment has been cut out of a larger subject/motif. Either due to censor or the obvious blasphemy of the subject mattter. A simple act of vandalism without any motiv does not make any sense. The technique used is referred to as Grisaille where a variety of shades/nuances within one color, typically gray, is used to create dept, mystic and atmosphere. The subject matter is a female with powerfull physic and rather masculine facial features/traits carrying a decapitated mans head attached to a stick by his long hair. One can argue that it articulates a reference to Judiths beheading...

This oil on canvas portrays a bearded man, rendered in thick, expressive strokes that capture the raw emotion and character of the subject. The vibrant, swirling colors add depth and...

Brilliantly capturing the exotic and beautiful landscape of the cypress swamps of South Florida, this painting of a pair of snowy egrets is a superb example of Art Deco scene painting. The turquoise hue of the water and the cerulean of the sky contrast with the smooth limbs of the cypress tree and the white and purple-greys of the birds. This painting was made by Renee Harcombe...

Lioness (c. 1940) by Etiennette Johan presents a powerful yet elegant study of the animal body in motion. Executed in acrylic on canvas and signed on the lower left, the composition ...

Palle Kierulf (Danish, 1917-1987) Mountain Landscape, Eidsbygda, Norge oil on canvas, circa 1948, signed lower right. Vibrant composition depicts Norwegian mountain range re...

A distinguished 1945 oil on board painting by Santa Fe artist Tenney, executed with expressive palette knife technique and substantial impasto that gives the surface remarkable depth...

Beautiful American modernist abstract acrylic painting on board in a beautiful new silver wood frame By Zoute’. Bold graphic imagery and vibrant colors. Signed lower right corner Z...

Painted at a time when the nation was increasingly interested in exotic places and peoples -- including Mexico, the South Pacific, Asia and the Southwest -- this Art Deco painting of...

Textural Floral and Fruit Still Life Signed Leyster. Oil on Board in the style of Cezanne. Solid wooden frame. Perfect classical piece for that fine dining room or hallway entry. Ple...