Pennsylvania - Paintings

A contemporary of Paul Cadmus, and like him, highly focused on depicting the male figure in various settings and positions, John Lear never gained fame beyond his circle of admirers ...

Painted by Wilmot Heitland, one of America's great watercolorists in the 1930s, this sun-drenched depiction of a native Dominican, nude and stepping toward a pool of water, captures ...

JOHN MOGFORD, R.I. British, 1821-1885 "A Scottish Loch at Sunrise" Oil on canvas Signed lower right "John Mogford" Item # 109YWG10X A sweeping landscape view, this lovely scene ...

Daniel Belliard Enamel on copper small framed painting fisherman in boat on lake. Item features an enamel on copper painting, distressed wooden frame...

This stunning example of Art Deco-Mid Century American surrealism was painted by Erwin Kummer, a widely-known Chicago painter who exhibited widely in the 1940s at the Art Institute o...

This brilliant Surrealist composition, with the stylization and exaggerated plant forms of Art Deco, was painted by Jan Matulka in 1944. Both Surrealism and "Moderne" decorative arts thrived in the 1940s, and here the artist draws from both styles. Matulka was born in Prague and came to America as a young man, and trained here and in Paris, where he became exposed to Cubism. He exhibited in New York, created illustrations for New Masses which advanced the interest of American workers...

Dom Dominic Mingolla Enamel on copper painting red lighthouse and Shoreline 9 x 12. Item includes enamel on copper painting, artist signature...

Depicting a Salome who is both ravishing and terrifying, with her auburn tresses rising up as if on fire, this remarkable work was painted by Dunbar Beck, famed for his WPA and New Y...

"Two Trees", yellow trees in field - Acrylic on canvas, signed lower right and dated '78 - Framed dimensions: 34.5 in x 28.5 in.

Depicting a bountiful still life of flowers, fruit, and lobster under the watchful eye of a perched parrot and cherub, all in the foreground with a garden landscape in the background...

Richly colored and stunningly beautiful, this 1920s depiction of a female figure in Classic Greek garb, her hair in a bun and her dress radiantly dyed candy-apple red, was painted by...

This masterful and extraordinary painting, filled with ghostly nudes in various poses in a dark interior, with Orpheus playing the lyre in the garden outside lit in an otherworldly golden light was clearly created by Pavel Tchelitchew, Eugene Berman or another Mid-Century master of Surrealism. Full of symbolism and allegory, the interior features sheep and nude figures who are in deep sleep or some kind of euphoric stupor. Some figures are painted in a silvery white, as if lit by the moon, and others are suffused in a golden lifelike...

A fine framed etching & aquatint on Japan paper. By Pablo Picasso (1881 - 1973) Entitled "Le Faune" (The Faun). Signed in pencil to the lower right. Numbered 42/200. P...

This bucolic woodland scene is one of the most charming pieces that Lee Woodward Zeigler produced over a career that focused largely on mural painting. Z...

Jean Chaleye (French, b. 1878 - d. 1960) "Theater" - oil on board , signed upper right. Depicting a balcony view towards an orchestra pit in a theater.

A rare and magnificent example of a mural influenced by both the Arts & Crafts and Art Nouveau movements, this painting of a plumed knight on horseback...

Full of joy and sunlight, this depiction of a nude male and female couple dancing on the edge of the sea with a ruined Greek temple below them, was painted by Louis Rigal, one of Ame...

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...

A very well done Signed "Ship in Storm" Gouache on Paper Artwork. Newly professionally framed and ready to hang. In the style of Edward Hopper & Win...

JOSEPH JANSEN German, 1829-1905 "A Dutch Homestead" (1884) Oil on canvas signed lower right "J. Jos. Jansen 1884" Frost & Reed label verso with title Item # 308EPG23Z An excee...

Painted by Antoinette Schulte, a widely-respected artist in New York, who exhibited and taught widely, this painting depicts male and female nudes sheltered by the boughs of a tree h...

Beautifully conceived, dramatically set and very finely painted, this gouache and ink painting by Willis R. Lohse is a paean to the hard work and nobility of the black farmer in America, hat in hand as he marvels at the beauty of the day. Full of lovely colors -- lemon yellow, cerulean and fresh green -- Lohse captures a lovely moment where the farmer pauses to look upward, amidst sprays of birch trees and expanses of rolling fields. Lohse was a German-American artist who is best known for his illustrations for fiction and fantasy books published between the 1920s and 1950s, including "The Boy Who Found the King," "Raff, the Jungle Bird...

Culinary still life, "Eggs and Garlic" painted by Bucks County artist, Valerie Von Betzen. Von Betzen is a regional artist well-known for her even...

ALFRED AUGUSTUS GLENDENING British, active 1861-1903 A Figure Overlooking a River Landscape Before a Pasture of Grazing Sheep (1884) Oil on canvas signed lower left "A. A. GLENDEN...

A true Art Deco masterpiece, painted as a final study for one of a series of large murals for the National Elks Memorial in Chicago, finished in 1926, this large gold-hued scene depi...

A very interesting and unusual Lancaster Covered 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 and is dated 1936 on the rear. Overall frame Size approximately 28″ wide x 2″ deep x 22″ 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...

Painted in brilliant shades of fuscia, persimmon, olive green and aquamarine, this original gouache painting was painted to advertise the Ladies Home Journal in a Horn and Hardart...

One of the most striking and vivid Art Deco paintings we have ever offered, this dramatization of Beethoven's Fifth Symphony was made by Eugene Savage, probably in the 1930s at the h...

This gorgeous, idyllic depiction of nude figures enjoying the beauty and abundance of Arcadia, some picking apples and others making love, was painted by David Karfunkle in the 1930s...

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...

Clearly influenced by Raoul Dufy, Marie Laurencin and Hollywood set designs, this striking depiction of two nude female figures around a table with a bowl of fruit was painted in 194...

Painted in vivid, glowing colors by Robin Artine Smith, this depiction of a 1940-era blonde in a tangerine-hued swimsuit striding into the surf is a...

"HEN AND CHICKS" (1867) BY ANDREA CHERUBINI (ITALIAN, 1833-1905) In oil on canvas, signed lower left "A Cherubini 1867, Roma" Item # 007NKJ21H An exqu...

Exotic and highly atmospheric, this nocturnal Art Deco scene of the famed Egyptian prince, Saif ul Malook, from the fairy tale by Mian Muhammad Baskh, was painted by Gösta Adrian-Nil...

Impressionist New York City, a snowy winter evening on the Hudson. Tug boats navagate the choppy water as snow fills the air. A productive day with the famous Statue of Liberty and E...

The American public was fascinated with all things exotic in the 1930s and 1940s, including aquatic and seaside themes and Art Deco hotels and residential interiors often featured pa...

Beautifully painted by Giovanni Colacicchi in rich, verdant colors, this depiction of a nude, youthful Adam figure in the midst of the Garden of Eden, accompanied by God in a hooded,...

Sumputous floral still life by Pearl Van Sciver, (1896 – October 10, 1966) born in Chestnut Hill, Philadelphia, Pearl's life is reflected in her oil p...

Finely painted in gouache by J. Collazzi, who did a series of landscapes and fantasy paintings in the 1930s, this scene of two classical figures restraining a horse is classic Art De...

A vivid example of late Art Deco painting, executed in a pointillist manner, this four-panel screen was created by John Sennhauser, a Swiss-born artist who was active in New York fro...

In an era when fine art and natural history museums commissioned artists to travel the world to draw, paint and sculpt the native cultures they saw, Paul Travis' travels to Africa we...

A fabulous striking Isaac Maimon original oil on canvas of one of his stylized Parisian cafe ladies dressed in a strapless red gown and dramatic hat. Measure framed 38.5” W x 32.2...

Oil on board of a women with parasol sitting in a garden filled with the light of the day.

"Les Chenes Liege" painting. (translating to The Cork Oaks) - Oil on canvas, signed lower left - Unframed.

Fresh as a crisp fall day, this painting of a woman taking down laundry at the base of a hill dominated by her home above is a reassuring depiction of wholesome rural life in 1941, p...

"Boy with violin" painting. - Oil on canvas, signed lower right - Unframed.

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 with what appears to be an original artist decorated/painted frame with later touch ups. The Cornwall Iron Banks Original 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 workings of one of the largest iron ore mines in the eastern United States, located in Cornwall PA. This mine and others in the area that came before it, played a crucial role in the development of the United States of America from the Revolutionary War, through the industrial revolution up until the 1970’s when the mine was flooded during Hurricane Agnes and closed operations. Overall frame Size approximately 26″ 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...

An early and important work of Frederick Massa, who is best known for his murals for the Fort Ticonderoga Post Office and the Pacific Branch of the Brooklyn Public Library, this fair...

This powerful depiction of a half-nude man capturing a fish in his conical basket -- much like men and women have done for centuries -- is painted in a rich, deep palette of warm bro...

Painted in an era when African or African American figures were increasingly featured in painting and sculpture, both in America and Europe, this sensuous depiction of a black male figure by Rowena Meeks Abdy...

One of the finest examples of illustration art and Art Deco painting we have ever offered, this elegant and sophisticated view of New Yorkers skating arm in arm on a frozen pond or l...

Hand painted early 19th century miniature under glass. Finely painted details on this lovely lady. In a brass oval frame, with floral embroidery surround. Painting measures 2.5 in x...

JOHN WILSON CARMICHAEL British, 1800-1868 "View over Lake Nemi, Italy" (1865) Oil on canvas Signed lower right "1865 J. W. Carmichael" Item ...

Ernest Yarrow-Jones (British, b. 1872-d. 1951) "Les Foins" painting. -Oil on canvas , signed lower right. Depicting a row of trees in a field.

Reflecting France’s fascination with Africans and Black Americans, and perhaps inspired by the Exposition Colonial Internationale held in Paris in 1931, this canvas shows an African ...

Brilliantly painted in striking shades of tomato red, green-blue and chalky white, this painting was made by Béla Kádár, increasingly appreciated and collected today as Hungary's ...

Glowing with tenderness, love and warmth, this depiction of a sleeping father, his arm protectively embracing his baby son, was painted by Svatopluk Machal, a Czech painter, in the 1...

Dramatically and vividly painted, this depiction of a seated Archer of Asian descent, holding his bow in one hand, is a Classic example of Depression-era portraiture. The contemplati...