1940s Paintings

Socialist realism painting buy R. Kovach . Graphic painting and walnut original frame .Panting shipping continental USA in home delivery $285 2-4 weeks . if shipping UPS 5-10 days s...

Decorative painting from the 1940s. Red, blue and yellow. Children playing on a bicycle. Framed in a beautiful gold frame with a linen liner.

A striking and richly-hued example of American Scene painting, this depiction of a yellow calla lily framed by undulating hills in tones of purple and red was painted by Richard Taflinger. The artist's celebration of his native Oklahoma landscape...

This detailed and highly-finished study by John Ramsey Conner for an allegorical painting depicts a relaxed grouping of nude figures executed in pale tones of ivory, mossy green and ...

Saturated with the brilliant hues of earth and sea, and filled with symbols and signs of Hawaii's spectacular landscape and rich history -- including an angry Hawaiian king with his traditional feathered headdress or "mahiole" -- this watercolor was painted in the wake of the attack on Pearl Harbor...

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...

Perfumed with the heady colors and forms of tropical flowers such poppy and hibiscus, this arresting Art Deco watercolor was painted by Gustavo Cenci, best known for his part in pain...

Kurt Thorsén, Sweden. Oil on canvas. Self-portrait of the artist. Dated 1943. The canvas measures: 93 x 52 cm. The frame measures: 6 cm. In excellent condition. Signed and dated.

1948 3 figure oil painting by the artist Robert Broner (1922-2010). Broner has pieces in the collections of the MOMA, Guggenheim, Metropolitian Musuem of...

This Post-War Hawaiian oil painting on paper, titled "Two Lilies," is a beautiful piece signed by the artist E. Wolf. The artwork captures the vib...

Charming and beautifully painted, this painted backdrop for theatre, perhaps for a residential space or a small professional theatre, depicts several ...

An early "over-all painting". Oil and graphite on 'beaver board'. This painting is illustrated in "The Art of the Artist" Arthur Zaidenberg, Crown Publishers NY 1951. Signed on back....

In his early years, artist Ivan Bartlett was known for his WPA mural painting, such as for the Ada County courthouse in Boise, Idaho, but in the 1940s and 1950s he became famous for ...

A striking example of WPA mural art, this study for one of the murals proposed for the new Queens Supreme Courthouse -- a 1930s Works Progress Administration project in Queens, New York -- was painted by Eugene Savage. Like many paintings from the period, the study is teeming with allegory and symbolism, surmounted at the top by the figure of Justice with a long sword, spurning businesspeople at her feet who offer gifts and favors. Savage is best known for a spectacular set of murals illustrating the history and lore of Hawaii commissioned by Matson Shipping Line for the S.S. Lurline, executed in the 1940s but not installed until the 1950s. The artist also painted other series of murals and paintings, include an enormous mural...

Edvin Ollers – Oil on Panel, “Garden Motif,” Signed and Dated 1943 A beautiful and atmospheric oil on panel painting by renowned Swedish artist and designer Edvin Ollers (1888–1959)...

Billy Seay Airbrushed Parrot Lovers artwork (original airbrushed over a print) for the Turner Company, circa 1948, in the original white painted frame. This a great example of the post-WWII Hawaiian and tropical art/decorating boom. Great for vintage Art Deco dwellings and rattan-inspired rooms. The print is new old stock and has never been displayed until now. Bill Seay (1922-2012) started his working life as Billy Seay, a child actor, in the late silents and early talkies (“Kid Millions” with Eddie Cantor, “Topaze” with John Barrymore, and “The Unknown” with Lon Chaney and the young Joan Crawford, are the most noted of these films), then followed in his father’s footsteps as an artist, joining the designer Sacha Brastoff in his studio from 1952 to 1959, remaining a life-long friend and co...

French 1940s gouache on paper. Custom framed with sandblasted oak frame with acid free paper and UV glass.

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...

Unique and large frame hand quilted pheasants that stand out in vivid hues. Imported artwork and sold by the heritage Woodwards Store in Canada. Excellent for use in study or bedroom...

Created in the 1940s, this painting has an air of nostalgia and foreboding. It depicts a house set against the backdrop of not-so-distant skyscrapers. The city fades into gray in con...

1940s WPA School Winter Scene Oil Painting by A. Stuz Offered for sale is a large 1940s WPA school oil painting on canvas of a playful wi...

Axl Leskoschek, an Austrian artist was born on September 3rd 1889 in Graz, Austria. He died on February 12, 1976 in Vienna, Austria. He began his studies with Law but in 1917 he had...

Colette Gueden (1905-2000). "Leaves and fruits." Extremely rare signed watercolor on paper. Collette Gueden was a very famous and popular French artist and designer in the 1950s....

A frog is sitting on a stone by a pond and is being observed by a small brownish black bird sitting on a tree stump looking down on the frog across the water. According to Vollmer's dictionary of visual artists Tor Otto Fredlin...

Wonderful graphic roll up chart on wooden dowel rods. Hand-painted on black canvas with original hand-written weather log for the month of February in chalk. Gridded areas designated...

1940s Pastel Painting On Paper Of Asian Woman Signed Dorothy Dwin Illustration Wood Frame and glass Colors: pink, blue, white

1940s Watercolor Painting On Paper Of Asian Woman Wearing Hat Wearing a Nón Lá (traditional Vietnamese hat) Signed Dorothy Dwin Illustration

This oil on canvas is signed and date in the upper left and measures 38" x 45.25" including the frame. Sam Uhrdin (Swedish School, 1886-1964). Sam Uhr...

French 1940s gouache on paper. Custom framed with sandblasted oak frame with acid free paper and UV glass.

“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...

Brilliantly transposed from Biblical times to 1940s America, this vivid scene shows Samson and Delilah in a quintessentially domestic setting, complete with pink wallpaper...

A cross between Grant Wood and Paul Cadmus, this remarkable American regional scene painting depicts a young man in a white t-shirt walking a group of cows down a country lane with p...

Important both historically and artistically, this painting by Lyman Anderson of a railroad engineer feeding the engine with a fresh supply of coal was commissioned by the Coca Cola ...

Billy Seay airbrushed parrot lovers (original airbrushed over a print) for the Turner Company, circa 1948, in the original white painted frame. A great exam...

French 40's Gouache on paper. Custom framed with sandblasted oak frame with acid free paper and UV glass.

Ingvar Engdahl, Swedish artist. Oil on board. Interior with two people in modernist style. In very good condition. Would benefit from a clean. Signed and dated '48. Dimensions: 67.0 ...

Paul Wightman Williams, American (20th century). This diminutive mixed-media watercolor, pastel, and ink on paper depicts a haunting abstracted face. It is float-mounted in a faux-g...

Suffused with the soft, rich colors that Jacques Azéma was known for, this view of a Moroccan landscape ("Les Champs" in French) includes a seated male y...

Postwar Hawaiian airbrush tropical hibiscus floral on paper in original period white wood frame. Signed by artist Hammis Measures: Art 26" x 36" ...

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...

Dated 1945, just before the end of World War II, this important and powerful painting by John De Forest Stull shows an embracing mother and father stand...

Friedrich Karl GOTSCH (1900-1984), very well-known and renowned german painter of the golden era of expressionism, impressionism and „Neue Sachlichkeit“. Friend of many world-famous artists of the time. His extraordinary works can be found in many exhibitions and collections around the world. - Oil / Gouache on cardboard from 1945. New professional framed. Monogrammed „F...

Snowy Creek, creek with snow and trees - signed lower right - Unframed.

Very captivating set of two early 20th C still life paintings by Alexandre 'Alex' Denonne (Belgium, 1879-1953): still life "Asparagus and eggs" and still life "Melon". Oil on canvas...

Hans Ekegardh (b. 1881, d.1962), Swedish artist. Oil on canvas. Seated nude model, landscape in the background. 1940s. In very good condition. Signed. ...

1940s oil on canvas of 2 workers sawing. Signed.

Sven Rybin (1914 - 2012), Swedish artist. Oil on board. Modernist landscape. Dated 1949. The board measures: 37 x 28 cm. The frame measures: 6.5 cm. In excellent condition. S...

Original Post-War Hawaiian Airbrush zebra in original period white painted wood frame with large mat border, Pair. Art: 21" X 26" Frame: 25.25" X 28.25"

Painting of crest on paper dated 1947.

Striking and handsome, this depiction of a Bedouin in his traditional robe has the color and intensity one would associate with the fierce sun and heat of North Africa. The painting ...

Taking its cues from the broken planes and tilted objects of Cubist masters such as Braque and Gris, as well as the polished art of the Art Deco movement, this brilliant painting sho...

Colorful impressionistic oil on canvas painting of fishing boats in a harbor. Greens, blues and reds comprise the majority of the color pallet. Nicely framed and signed Bolus. 33" x ...

American Art Deco Modernist Social Realism Paul Raphael Meltsner Portrait of a Youth Oil on canvas Circa 1940 DIMENSIONS CANVAS: 26 x 20 inches FRAMED: 30 .5 x 24.5 inches DETAIL...

Original artwork Pink Daffodil Hawaiian Flowers with a bow (original airbrushed over a print) signed by Terone. In hardwood frame with carved details. A great example of the post-WWII Hawaiian and tropical art...

Mixed-media painting with sand on canvas titled "New York Sunset" by Marjorie Bishop, American, 1940s (signed on front, title on sticker on back). This...

Art Deco painting swimming pool Vue de ma table. France ca. 1940. Acrylic paint, watercolor on board. Framed. Monogrammed.

This beautiful watercolor on paper Shows a viewpoint of buildings through an archway. Signed, dated, and titled in the lower corner. Professionally framed and matted. Vintage Conditi...

In an era when Reginald Marsh, Paul Cadmus and many other painters loved to capture the joy and energy of crowded beach scenes in America, John Winters created this lovely genre scene of a male bather in his one-piece swim suit reposing on the sand (probably the Lincoln Park beach in Chicago...

The picture is painted with oil paints on canvas. Dimensions: Frame: height 82 cm / width 109 cm Image: height 71 cm / width 96 cm

Painted with great verve and energy, this depiction of a circle of ice skaters circumnavigating a rink in Chicago -- perhaps the Lincoln Park Zoo rink -- was made in 1943 by John Win...