Missouri - Figurative Paintings

Aster da Fonseca Flying South Acrylic on Tape on Paper Year: 2022 Size: 14x17in Signed by hand COA provided Ref.: 924802-1375 collage acrylic paint t...

Aster da Fonseca After the Storm Acrylic on Tape on Paper Year: 2022 Size: 14x17in Signed by hand COA provided Ref.: Ref.: 924802-1371 collage acrylic...

Aster da Fonseca A Summer Morning Acrylic on Tape on Paper Year: 2022 Size: 12x9 Signed by hand COA provided Ref.: 924802-1373 collage acrylic paint tape nature landscape bird tree ...

Aster da Fonseca Blackbirds Acrylic on Tape on Paper Year: 2022 Size: 11x14in Signed by hand COA provided Ref.: 924802-1368 collage acrylic paint tape nature landscape bird tree bea...

Aster da Fonseca Listening Acrylic on Tape on Paper Year: 2022 Size: 11x14in Signed by hand COA provided Ref.: 924802-1367 collage acrylic paint tape nature landscape bird tree beau...

Aster da Fonseca Winter Morning Acrylic on Tape on Paper Year: 2022 Size: 19x24in Signed by hand COA provided Ref.: 924802-1366 collage acrylic paint t...

Jolynn Reigeluth Regrets Acrylic, India Ink, linocut and cut paper on wood panel Year: 2022 Size: 24x18x2.5 in Framed Size: 24x18x2.5 in Ready to hang Signed COA provided Ref.: 92480...

Jolynn Reigeluth The Three DISgraces Acrylic, India Ink, linocut and cut paper on wood panel Year: 2021 Size: 36x48x2.5 in Framed Size: 36x48x2.5 in Ready to hang Signed COA provided...

Jolynn Reigeluth State of the Union 2020 Acrylic, India Ink, linocut and cut paper on wood panel Year: 2022 Size: 30x20x2.5 in Framed Size: 30x20x2.5 in Ready to hang Signed COA prov...

Marcus Cain Untitled Acrylic on paper Year: 1999 Size: 16.75x13.5 Framed: 20.25x17x1.75in COA provided Ref.: 924802-1068 Marcus Cain is a resident of Kansas City, MO and Manager of ...

Marcus Cain Untitled Acrylic on paper Year: 1999 Size: 16.75x13.5 Framed: 20.25x17x1.75in COA provided Ref.: 924802-1067 Marcus Cain is a resident of Kansas City, MO and Manager of ...

Cartoons, blockbuster movies, and a cheeky religiosity fill this painting with deep symbolistic treasure. Bringing together memories and colors from his childhood in Puerto Rico with...

Oh, to be in love! With his unique ability to meld his love of vintage colors, with childhood memories and characters, Sam Melendez's paintings are as personal as they are playful. T...

Metra Mitchell holds a BFA in Painting and minor in Art History from Western Kentucky University and an MFA in Painting from Fontbonne University. She has taught studio and art histo...

A love of locality shapes how painter Sam Melendez constructs his paintings. Referencing the iconic Amoco sign of his adopted home in St. Louis, while painting with the gritty, vinta...

Metra Mitchell holds a BFA in Painting and minor in Art History from Western Kentucky University and an MFA in Painting from Fontbonne University. She has taught studio and art histo...

Metra Mitchell holds a BFA in Painting and minor in Art History from Western Kentucky University and an MFA in Painting from Fontbonne University. She has taught studio and art histo...

Ben McLaughlin Monday: 3 down, Method of removing hair roots (12), 2008 Oil on panel 6 3/4 x 4 1/2 inches (17.1 x 11.4 cm)

Marie Gardeski grew up in Grand Rapids, Michigan. She received her BFA from the Maryland Institute College of Art and her MFA from the Cranbrook Academy of Art, and currently lives i...

What's he after?! The trope of the detective is omnipresent - and perfect fodder for painter Sam Melendez. Pulling images and characters from cartoons and popular culture and inserti...

ASHLEE SELBURG Flora and Pomona Ink and pencil on paper 42 x 68 inches

LINDSAY GWINN PARKER Resurrection 2019 Acrylic on canvas 14 x 11 inches

JOSH GEORGE Coffee Lilies Mixed media on panel 10 x 8 inches

Figure with Serpent c. 1990s Ink and gouache on paper 29 x 22 inches

Figure and Yellow c. 1964 Oil on canvas 32 x 25 inches Framed: 33 x 26 inches

LARRY KANTNER Blossom 2022 Acrylic and collage 8.5 x 6.25 inches

METRA MITCHELL Jaws of Hell 2023 Oil on panel 48 x 36 inches

Neeka Allsup was born in the back of her parent's toy store by home birth in Austin, Texas. Being an artist was encouraged from a young age, and she spent he...

Look no further than a little black dress! Turning this popular phrase into a bemusing - and life-sized - painting of the character Olive Oyl from the Po...

In his series No Sé Quién Vivió Aquí, artist Sam Melendez combines his a masterful eye for narrative and characters with his trademark grit, and love of vintage colors. The large nos...

In his series No Sé Quién Vivió Aquí, artist Sam Melendez combines his a masterful eye for narrative and characters with his trademark grit, and love of vintage colors. The large nos...

Making quintessentially contemporary work which references historical tropes and characters, Sam Melendez is a master of the narrative. Men in togas, a mythical bull and a 50s American...

Perfect for an airy sitting space, or a quiet, contemplative living room, this painting is as personal as it is colorful! Combining his love for the vintage colors of his hometown in...

Utilizing his love of vintage colors from his hometown in Puerto Rico, painter Sam Melendez crafts a tribute to his adopted home of St. Louis. A true St. Louis staple, Tropicana Bowl...

In Houska's Night Watch, his Pop Art style and use of gray colors create a unique variety of his different iconic characters in the festive and gregarious ...

This is an original oil on velvet painting created c. 1942. Syd Cockell was an accomplished American illustrator during World War II.

In his series No Sé Quién Vivió Aquí, artist Sam Melendez combines his a masterful eye for narrative and characters with his trademark grit, and love of vintage colors. The large nos...

Arnaldo de Lisio (Italian, 1869-1949) Donna con Ventilatore Oil on Canvas Signed Lower Right 34 x 24 inches 41 x 31.5 inches Arnaldo De Lisio (9 December 1869 – 5 March 1949) was an...

A Day in June, Scene Eastchest, New York Edward Gay (Irish, American, 1837-1928) Oil on Canvas Complimented by original frame in great condition Signed and Dated Lower Right Titled a...

Reclining Nude Carl Rudolph Krafft (American, 1884-1938) Oil on Canvas Signed Lower Left 38 x 40.25 inches Born in Reading, Ohio, Carl Krafft became a prolific regionalist painter o...

Bateau Sous la Pont Yolande Ardissone (French, b. 1927) Oil on Canvas Signed Lower Center 30.25 x 25.25 31.5 x 36.5 inches with frame Born in Normandy on June 6, 1927 to an Italian ...

Ancient Blessing, 2006 Roseta Santiago Oil on Canvas Signed Middle Left 42 x 48 inches 43 x 50 inches with frame Roseta Santiago was born and raised in Washington D.C. She started ...

Greg Miller Sun'n'Sand Oil, Paper, Resin on Panel Year: 2008 Size: 45 x 70 x 2 inches Signed: On Verso COA provided Drawing from the rich cultural and geographic influences of his ...

LeRoy Neiman (American, 1921-2012) Statue of Liberty, July 4, 1986 Signed and Dated Lower Left Acrylic Paint and Chalk 24 x 16 inches 37.5 x 29.25 inches with frame Mr. Neiman's ki...

New Moon Detail Peter Max (German, b. 1937) Acrylic on Canvas 15 x 30 inches 26 x 41 inches with frame Signed lower right "Inspired by the monks and sages the artist saw as a child growing up in Shanghai, China, Peter Max's 'New Moon' is representative of his sensual and energetic Neo-Expressionistic brushwork style, and of his bold, Neo-Fauvist color palette which began to emerge in the 1970s. In the painting, a zen monk, holding his umbrella, contemplates the meaning of a new moon rising - new beginnings and goals, a time when new intentions are made. He seems to float somewhere between the horizon and the clouds and heavens, close to the new moon, and painted in the most daring and vibrant of the artist's color palettes." ©ALP, Inc. Known throughout the world and a household name in America, Max is known for his new age style cosmic imagery and multi-colored blends. During the late 60's and early 70's his colorful art reached millions of people and he won numerous major awards for his work. His paintings, drawings and limited edition graphics have been exhibited in major museums throughout the world. He works in multiple media, including oil, acrylics, water colors, fingerpaints, dyes, pastels, charcoal, pen, multi-colored pencils, etchings, engravings, animation cels, lithographs, serigraphs, ceramics, sculpture, collage, video, xerox, fax, and computer graphics. He also includes mass media as a "canvas" for his creative expression. Peter Max was born in Berlin, Germany, and spent his childhood in Shanghai. From China, the family went to Tibet for a year, and then on to Israel. His family's odyssey continued to Paris, and finally, at the age of 16, Max arrived in the United States. He began his art studies in New York at the Art Student's League and continued at the Pratt Institute and School of Visual Arts. Max often uses American symbols in his artwork and has done paintings and projects for presidents Ford...

Sean Landers Minotaur, 2008 Oil on linen 11 x 14 inches (27.9 x 35.6 cm)

Laverne Nelson Black (American, 1887-1938) "The Deer Hunters" Signed Lower Left Canvas: 24 x 22 inches Framed: 30.5 x 28.5 inches Born in Viola,...

The Andalusia John Frederick Herring (English, 1795-1865) Signed Lower Right 14 x 18 inches 18 x 22 inches with frame Provenance: Frost &Reed, Ltd., London 1984 Herring, born in London in 1795, was the son of a London merchant of Dutch parentage, who had been born overseas in America. The first eighteen years of Herring's life were spent in London, where his greatest interests were drawing and horses.[2] In the year 1814, at the age of 18, he moved to Doncaster in the north of England, arriving in time to witness the Duke of Hamilton's "William" win the St. Leger Stakes horserace. By 1815, Herring had married Ann Harris; his sons John Frederick Herring Jr., Charles Herring, and Benjamin Herring were all to become artists, while his two daughters, Ann and Emma, both married painters. When she was barely of age in 1845 Ann married Harrison Weir. In Doncaster, England, Herring was employed as a painter of inn...

Mad River, 1996 Julio Larraz (Cuban, 1944) Signed and Dated Lower Right 41 x 49 inches 43 x 51 inches with frame Provenance: Atrium Gallery, 1999 Accomplished painter, sculptor, and...

Edward Cucuel (American, 1875-1954) Summer Idle, 1918 Signed Lower Right 35 x 43 inches 43 x 51 inches with frame Born in San Francisco, Edward Cucuel was an Impressionist painter o...

Antoine Blanchard (French 1910-1988) "Avenue des Champs-Elysses, Paris" Oil on Canvas Signed approx 18 x 22 (site) approx 26.5 x 30 (framed) Antoine Blanchard (c.1910-1988) was a prolific and successful Neo-Impressionist painter who specialized in nostalgic scenes of Fin de Siècle Paris. Inspired by the subjects as well as the success of earlier painters of Parisian life like E. Galien Laloue (1854-1941), Edouard Cortès (1882-1969), Jean Béraud (1849-1935) and Luigi Loir (1845-1916), Blanchard painted hundreds of views of the “City of Light.” In the late 1950s, his street scenes were exported to the United States and the United Kingdom, where they were sold briskly to collectors. By the1960s, Blanchard paintings were bringing several hundred dollars in galleries, so while they were not inexpensive, they were affordable to collectors who loved Parisian scenes but who could not afford the works of Cortes or one of the other French painters known for their views of Paris in Belle Époque. Eventually Blanchard’s more delicate, feathery pastel-toned scenes of rain-swept Paris became sought after in their own right and, when he died, he was considered the last of what the dealers described as the École de Paris or “School of Paris” painters. The most salient fact about the life and career of the painter Antoine Blanchard was that he was actually born Marcel Masson, the son of a furniture maker who lived in the scenic Loire Valley, south of Paris, where the French nobility had their chateaus. The date that is usually given for Blanchard’s birth is November 15, 1910. However, there has been some speculation that he was born even later, perhaps in 1918, but some of the facts of his life have always been clouded by early biographies that claimed even earlier dates for his birth, so that he would seem to be seen as a contemporary of the famous Belle Époque painters rather than a post-war interpreter of Paris. Blanchard grew up in the hardscrabble years following the First World War. Because he was artistically talented, he was sent first to the nearby city of Blois, the capital of the Loir-et-Cher Département, for artistic training and then to the École des Beaux-Arts in Rennes, on the Brittany peninsula, where he received a classical art education. By some accounts Blanchard also studied in Paris, where the historic École des Beaux-Arts is located, but the depth of his study and the style of his earliest work will require further research. Marcel Masson was married in 1939, as war clouds gathered on the French horizon. He was drafted for service in the French Army and participated in the short and futile struggle against the invading German Panzers before returning to his family and his art during the Nazi occupation. A daughter, Nicole, was born in 1944 with a second daughter, Eveline, who eventually came to the United States, following in 1946. Masson’s early art career was interrupted, first by World War II and later by the necessity of keeping his father’s workshop running in the years after his death. By the late 1940s, though, Masson returned to his art and moved to Paris in order to further his career. Exactly when Marcel Masson adopted the pseudonym Antoine Blanchard is not known, nor are we aware of his motivations for adopting a nom de plume, but the practice was not unusual for French painters. In most cases a pseudonym was adopted because the artist had contractual obligations with more than one agent or dealer. Another motivation could be to obscure the scope of a sizable artistic production. Dealers in that era also liked to keep an artist under their thumb, so a pseudonym was a way for Blanchard’s dealers to tuck him away, out of the sight of their competitors. Like many painters before him Masson may have initially painted different subjects under different names. Marcel Masson neé Blanchard would have been well aware that the famous and prolific French painter E. Galien Laloue (1854-1941) painted under no less than four names – three pseudonyms in addition to name he was christened with – and so the adoption of another name was probably not seen as a liability to him. However, he apparently never took the step to register his pseudonym, which was possible in France, to legally restrict its use. In any event, by the 1950s Marcel Masson had become “Antoine Blanchard,” a painter of Parisian views. With the aging Edouard Cortès (1882-1969) as a model, Blanchard began to specialize in romanticized scenes of la ville des lumières, or the “City of Light.” However, instead of painting contemporary Paris, the crowded metropolis of his own time, which he may have felt was lacking in romance, he chose to look at the French capital through the rear-view mirror. So Blanchard became known for his depictions of the hurly-burly life of Paris in the Belle Époque. For inspiration, he is said to have collected old sepia-toned postcards of life in La Belle Époque (“The Beautiul Era”), the long period of peace and relative prosperity between the end of the Franco-Prussian War and the horrors of the Paris Commune in 1871 and the start of the mass bloodshed of the First World War in August of 1914. In addition, however, the paintings of Loir, Baraud, Laloue and Cortès could be found and studied in the flea markets of Paris as well as the auctions at the l’Hôtel Drouot. Reminders of the Belle Epoch were thus all around Blanchard, and of course the architecture that he painted had survived the Second World War intact, because Paris was spared bombing or a siege by the allies. Soon he was painting the horse-drawn omnibuses that took turn-of-the-century Parisians on longer trips throughout the city as well as the tradesmen, children and fashionably dressed ladies that populated Baron Haussmann’s Grand Boulevards. Blanchard’s early work was clearly modeled after the paintings of Edouard Cortès, but he was always his own man and never a slavish copyist. These paintings were darker in palette than the later Blanchard paintings most American collectors have become familiar with, and his red and blue tones were often bolder than those of Cortès. He never adopted the heavy “impasto,” the build-up of paint on the highlights of Cortes’ work, leaving that artistic trademark to the master. Blanchard’s brushwork was painterly, but the buildings in the paintings were always well rendered, for he had an excellent command of composition and perspective. By the late 1950s, agents began to purchase Blanchard’s paintings and then to export them to the United States, selling them to commercial galleries in far away Houston, Los Angeles, San Francisco, Chicago and New York. By the early 1960s, his work was already well known enough to be in reproduced by print publishers and the Donald Art Company published a number of popular prints that are now often mistaken for original paintings. By the end of the 1960s, Blanchard had begun to develop his own mature style by employing a lighter, brighter, palette and a deft, almost calligraphic style of brushwork. This helped him step out of Cortès’ shadow and become a sought-after painter in his own right. Blanchard worked through agents, essentially brokers, who purchased his work and created a demand for it in the United States and Canada. By the 1970s Blanchard’s paintings were being sold by galleries across the United States, and the American market absorbed virtually all of his work. In 1969, with the passing of Edouard Cortès, he became the last of the long series of prolific French painters of Parisian life. Blanchard’s later works were usually daylight scenes, with Paris seen awash in rain or with a mantle of soft snow, and so collectors no longer confused him with Cortes, whose Parisian clock seemed to always be set at twilight. These paintings were rendered in softer, pastel tones and he used his brush with a light touch. These qualities gave Blanchard’s work of the 1970s and 1980s a lighter, more decorative appearance. In the late 1970s, the French agent Paul Larde published a lavish book that was claimed to be an authorized biography of Antoine Blanchard by his “exclusive” dealer. Today, this book is almost impossible to find, because it was apparently the subject of a lawsuit in France. Some of the information in the Larde book was contested and found to be inaccurate and so it was withdrawn from publication. One claim that Larde made was that Blanchard’s production was extremely limited. While he was not as prolific as Cortès or Laloue, he was a hard-working painter who managed to supply a long list of galleries with his work. He produced thousands of paintings during his career. When the motivation for a monograph is marketing rather than art history, accuracy and detail can be swept aside by exaggeration, hyperbole and claims of exclusivity that were meant to discourage collectors or galleries from buying Blanchard’s from other representatives. Blanchard’s legitimate paintings were sold by several agents, who dealt directly with the artist, at least one of whom was American, one Austrian and a few French dealers. The details of Antoine Blanchard’s life are not well known because he never sought the limelight. He was content to work in his studio and ship his paintings to his agents who sold them abroad. Eventually both his daughters – Nicole and Evelyn – followed in his footsteps and became painters themselves. Evelyn (1946-2008) was savvy enough to adopt the Blanchard nom de plume, and she began painting street scenes that closely resembled her father’s later work. Antoine Blanchard passed away in 1988, leaving hundreds of paintings of Belle Époque Paris– the Notre Dame Cathedral, the Opera, the Arc de Triomphe and Place Concorde – as his lasting legacy. Notes on the Authentication of Antoine Blanchard’s Paintings: The vast majority of Blanchard’s paintings were smaller works, which were sent to the United States in tubes and stretched and framed by the galleries that sold them. Virtually all of these Blanchards were painted in European centimeter sizes, which convert to 13” x 18” or 18” x 21 1/2?, but on very rare occasions he painted much larger works in American sizes – such as 24” x 36” – on commission for dealers such as Howard Morseburg in Los Angeles or the dapper Wally Findlay, who had a chain of galleries. The first way to assess the authenticity of a Blanchard...

Mid-day, Zuni Village, 1897 By. Frank Reed Whiteside (American, 1866-1929) Unframed: 20" x 30" Framed: 28" x 38" Frank Reed Whiteside, born in Philadelphia on 20 August 1867, became a student of Thomas Anshutz at the Pennsylvania Academy of the Fine Arts (1888-92). He already began exhibiting there during his student years (1887-98). In 1893, he enrolled in the Académie Julian in Paris where he received instruction from Jean-Paul Laurens and Benjamin Constant. After his French academic training, Whiteside taught art in Philadelphia high schools. He took frequent trips to the Southwest between 1890 and 1928 to live with and paint the Zuni Indians. Whiteside depicted ceremonial dances, Zuni buildings, and other genre scenes, usually in blinding afternoon sunlight. He carefully observed the effects of light on vibrant color, using a finely crafted impressionist technique. He was fond of broad areas of color, subtle combinations of hues, and simplified shapes and silhouettes. Whiteside continued to exhibit at the PAFA (1905-15), at the Art Institute of Chicago (1896-1916), at the Carnegie International (1905 and 1907) and at the Corcoran Gallery (1907). He was a member of Philadelphia art societies and beginning in 1909 had a summer studio in Ogunquit, Maine, where he took part in Hamilton Easter Field's discussion groups. Frank's wife, Clara Walker Whiteside, who published Touring New England in 1926, was active in the Ogunquit Art Association. Like Stanford White, Frank Reed Whiteside was the victim of murder, on 19 September 1929, but Whiteside's case remains unsolved. One night, the sixty-three year-old painter answered the doorbell. Two witnesses...

Aster da Fonseca Nest Builder Acrylic on Tape on Paper Year: 2022 Size: 12x9in Signed by hand COA provided Ref.: 924802-1374 collage acrylic paint ta...

Aster da Fonseca Cardinal's Nest Acrylic on Tape on Paper Year: 2022 Size: 12x9in Signed by hand COA provided Ref.: Ref.: 924802-1372 collage acrylic...

Aster da Fonseca Feeding Time Acrylic on Tape on Paper Year: 2022 Size: 14x17in Signed by hand COA provided Ref.: 924802-1370 collage acrylic paint tape nature landscape bird tree b...

Children at the Seashore By Josef Israels (1824-1911) Unframed: 9" x 15" Framed: 17.5" x 23.5" Signed Lower Left Born in Groningen, Holland, in 1824, Josef Israels was brought up in the traditions of the Jewish faith and destined for the rabbinate. His interest in drawing grew stronger with age however, and in 1840 his father finally relented, sending him to Amsterdam. There he spent his days working in the studio of Jan Kruseman and his evenings painting at the Royal Academy under Jan Pieneman, both leading portrait painters. In Paris, Israels studied a short time with the historical painter Francois Picot...

Aster da Fonseca Parakeet Acrylic on Tape on Paper Year: 2022 Size: 19x24in Signed by hand COA provided Ref.: 924802-1365 collage acrylic paint tape nature landscape bird tree beaut...

Keith Young I'm an Achiever! Collage on Canvas; Rubber, Glue, Wood, Cotton Canvas Year: 2022 Size: 22x12.5x3in Signed by hand COA provided Ready to hang Ref.: 924802-1136 ----------...