Figurative Paintings on Sale

Dynamic, expressive rendition of a jazz trio by San Francisco artist Michael William Eggleston (American, 20th century). There are three abstracted figures in this piece - a guitar p...

"In Soquel (California)" is an original oil on board painting by Jon Blanchette (1908-1987) circa 1955. Farm landscape with figure hanging laundry and silo, painted in colors of blue...

'At the Table in a French Restaurant' oil on board, French School (Initials JR dated 1970). The scene depicted in this colourful pa...

Waterfall in green). Garden landscape. Figurative painting. Modern Acrylic and mixed media on panel. 122x60x3.5 cm. / 48.03x 23.62x1.38 Inches Author: Spanish artist Ángel Luis Úbeda...

Antique illustration painting. Gouache and watercolor on board, circa 1920. Signed. Image size, 12L x 11H. Housed in a period frame.

'The Cyclists Rest Stop in Honfleur' by Jean-Marie Luc Blanpain, oil on canvas (circa 1970s). The artist's depiction of the terrace of the well known Honfleur restaurant, 'Au Relais ...

"The Vendor of Masques", 1930s modernist painting by Boardman Robinson (1876-1952) of a Mask vendors display with male and female figures (lik...

Biography from the niece of the artist from during his lifetime. Paintings acquired from the artist.s estate. Max Turner 1925 - 2019 Max Lamar Turner Painter, Sculptor, Teacher and Author. Max Turner was born in Omaha, Nebraska on July 28, 1925. His father was Lance Howard Turner and his mother Mary Irene Turner. In 1927, his family moved to Bingham Canyon, Utah where Max's father extracted copper from a creek that he had diverted to pass through his garage. The town was located in a narrow canyon on the eastern face of the Oquirrh Mountains. In 1938, when Max was 13, his family moved to Midvale, Utah. After completing high school, Max went to work laying rail until he was inducted into the U.S. Navy to serve during W.W. II. There he took an aptitude test and was initially assigned to the medical corp., later transferring to the dental unit. Max was stationed at Port Hueneme, Ventura County, California through the end of the war. When he was discharged in 1946, he remained in Southern California, living in the Los Angeles area. He met a man named Larry Torres and they formed a partnership to do silk screen work primarily for the Colby Poster Printing Company. This lasted about 10 years until the Colby building caught fire and burned down. In 1958, Max began working for Slade Novelty company that made doll parts using a product called plastisol. A year later, Max began producing plastic parts through his own business. One day, a couple of kids brought in a shrunken skull they had made and asked Max if he could reproduce it. Max said he could and he looked around for a business to work with for this task. He ultimately decided he could create his own machine shop to make molds. As a result, Max purchased a lathe, drill press, grinder and other tools to create his own machine shop and went into business making molds. He built a clientele and in 1973, he moved his machine shop to Glendale, California. Painter, Sculptor, Teacher and Author: Max recalls the day when his interest in art took a new direction. He happened to be in a paint store to purchase some supplies when he saw a card posted on a wall that read, "Come paint with Connie Marlo". Max had been interested in art since his youth and he was frequently impressed with paintings displayed by local artists at various community events. Consequently, he decided to go to Connie's Saturday morning art class at a studio on North La Brea Avenue (between Sunset and Hollywood) in Los Angeles. But, as fate would have it, he immediately took a detour from this class when he found a piece of paper on the floor of the studio referencing another art class dealing with compositions, patterns, rhythms and color harmony. The instructor's name was Hal Reed, a former art student of the Russian/American Master, Nicolai Fechin. Hal owned the building (previously the Will Foster Studio) and had founded the Art League of Los Angeles. When Max found Hal, he asked Hal if he could join his class. Hal said "No, the class was full" but he said Max could monitor the class in the back of the classroom. Max took him up on the offer and began observing the weekly class. During the class, Hal told his students that they should practice what they were learning by going to "live model" classes. Max began attending these classes where he learned how to draw figures. After a few months, Hal and Max became good friends. Hal was so impressed with Max's work that he offered Max the opportunity to teach at another location that Hal was opening in the San Fernando Valley. Max accepted the offer and began teaching his own art class. For Max, it was a quick jump from learning to teaching. Max then found that several of his students had to commute to his art class from the west end of the "Valley". To better serve this group of students, Max decided to relocate to another studio in Calabasas. Max continued teaching, and at this time he was producing very impressive portraits, both oil paintings and charcoal drawings from live models (Max never worked from photos). Max demonstrated real talent, and the style of his drawings and paintings were being compared to those of Nicolai Fechin. And, like Fechin, Max also had an interest in sculpting. One day, Max decided to design and cast a bronze owl sculpture to put in his Calabasas Fine Art Gallery. Later, someone approached Max when he was at the foundry and asked him about his success selling the owl sculpture. The individual who asked this question was convinced that there was a broader market for these sculptures and he ordered a dozen of the owl sculptures from Max. This encouraged Max to do more castings. Some of the new castings were antique sculptures he found and reproduced. As this new business grew, he decided to establish his own foundry, employing up to 15 workers. The business continued for many years, up until the late 1990's when Max got tired of the foundry business and sold it. Max, who was now in his 70's, decided to move on to his next venture as an artist, dedicating himself to doing the actual sculpting of original art. He loved the creativity of sculpting and he had his sculptures cast at local foundries, ironically the same ones that used to be his competition. Max was now fully engaged in his new artistic direction and, over time, he produced a large body of work. He created very impressive sculptures, including about 100 full-size sculptures. He sold some of these to high-end clientele, the Foundry at SLS Las Vegas, and to Hollywood studios. Even though Max now seemed to be totally in his element, he somehow also found time to continue to teach painting classes at the California Art Institute in Westlake Village in Los Angeles. At the institute, he specialized in figure work. Max continued to draw, paint and teach, but he says he stopped sculpting when he turned 90. Max produced four books showcasing his drawings and paintings. The first is "Faces, The Drawings of Max Turner", copyright 2000, that showcases nearly 100 of his portrait drawings. Within the "Acknowledgements" section, he lists Hal Reed and Joseph Nordmann, two former students of Nicolai Fechin. In 2006, Max produced his second book titled "Figures and Faces", reflecting not only portraits but also figure drawings and paintings. It is a wonderful book of Max's work, but it is currently difficult to find. The third book is titled "Faces 2, The Paintings and Drawings of Max Turner", copyright 2009, which includes 75 portrait paintings and drawings. In the "Preface" of this book, Max describes growing up in a small and isolated mining town during the Great Depression. He states that as a kid, he had little exposure of any culture or view of what the rest of the world was like. His neighbor was the trash collector and Max would sometimes go through his truck looking for anything of value. Among other things, he found magazines like Cosmopolitan, Good Housekeeping and Red Book, with covers that frequently showed drawings or paintings of faces. Max states that these images were the very first source of inspiration for him. He says that he began looking more carefully at people's faces and if they had character, he would draw them. By drawing them, Max says that he was making them part of his world, his world of "Faces". In 2018, Max published his newest book showcasing his drawings and paintings. It is titled "Max Turner's Figure Sketches". This softbound book includes 76 pages and over 120 drawings and paintings. In the Introduction, Max explains "I have found that when approaching the figure, one should begin with the gesture. After having captured the essence or feeling of the pose, one can then proceed to build on it." The figure sketches in this wonderful book reflect a Master's work that consistently captures the "gesture"-showing the emotion, movement and expression. Two more books are on the horizon for Max, both dealing with his passion for sculpting. His first, "The Sculpture of Max Turner" is a compilation of his commercial and noncommercial pieces throughout his career. The second, "Terra Cotta Sculpture by Max Turner" is a complete collection of figures done at the California Art Institute. These much anticipated books should be out later in 2018. Max now considers himself primarily a sculptor. But others in the art world are more than impressed with his drawings and paintings as well. His portraits are often described as having a Fechin-esque appearance, referring to the style of Nicolai Fechin. When Max observed those first art classes given by Hal Reed, it should be noted that Hal had previously been a student of the Russian/American Master Nicolai Fechin in the early to mid-1950's. In fact, Hal was a student in the last art class that Fechin taught before he unexpectedly died in 1955. Hal was so strongly influenced by Fechin that he later produced two 30-minute art instruction videos as part his Art Video Productions wherein he specifically described Fechin techniques that he learned in Fechin's class. The Fechin style and techniques were in play when Max later met Hal. Over the years, many of Max's art students, art collectors, gallery owners, as well as the Director of the Monterey Museum of Art have commented on the Fechin-esque qualities of Max's wonderful charcoal drawings and paintings. So, while Max may consider himself primarily a sculptor, his drawings and paintings are also impressive and very much sought after. When Nicolai Fechin died in 1955, three of the nine students in his last art class became life-long friends. Max subsequently became friends with not only Hal Reed, but also with prior Fechin students Joseph Nordmann and Albert Londraville...

Biography from the niece of the artist from during his lifetime. Paintings acquired from the artist.s estate. Max Turner 1925 - 2019 Max Lamar Turner Painter, Sculptor, Teacher and Author. Max Turner was born in Omaha, Nebraska on July 28, 1925. His father was Lance Howard Turner and his mother Mary Irene Turner. In 1927, his family moved to Bingham Canyon, Utah where Max's father extracted copper from a creek that he had diverted to pass through his garage. The town was located in a narrow canyon on the eastern face of the Oquirrh Mountains. In 1938, when Max was 13, his family moved to Midvale, Utah. After completing high school, Max went to work laying rail until he was inducted into the U.S. Navy to serve during W.W. II. There he took an aptitude test and was initially assigned to the medical corp., later transferring to the dental unit. Max was stationed at Port Hueneme, Ventura County, California through the end of the war. When he was discharged in 1946, he remained in Southern California, living in the Los Angeles area. He met a man named Larry Torres and they formed a partnership to do silk screen work primarily for the Colby Poster Printing Company. This lasted about 10 years until the Colby building caught fire and burned down. In 1958, Max began working for Slade Novelty company that made doll parts using a product called plastisol. A year later, Max began producing plastic parts through his own business. One day, a couple of kids brought in a shrunken skull they had made and asked Max if he could reproduce it. Max said he could and he looked around for a business to work with for this task. He ultimately decided he could create his own machine shop to make molds. As a result, Max purchased a lathe, drill press, grinder and other tools to create his own machine shop and went into business making molds. He built a clientele and in 1973, he moved his machine shop to Glendale, California. Painter, Sculptor, Teacher and Author: Max recalls the day when his interest in art took a new direction. He happened to be in a paint store to purchase some supplies when he saw a card posted on a wall that read, "Come paint with Connie Marlo". Max had been interested in art since his youth and he was frequently impressed with paintings displayed by local artists at various community events. Consequently, he decided to go to Connie's Saturday morning art class at a studio on North La Brea Avenue (between Sunset and Hollywood) in Los Angeles. But, as fate would have it, he immediately took a detour from this class when he found a piece of paper on the floor of the studio referencing another art class dealing with compositions, patterns, rhythms and color harmony. The instructor's name was Hal Reed, a former art student of the Russian/American Master, Nicolai Fechin. Hal owned the building (previously the Will Foster Studio) and had founded the Art League of Los Angeles. When Max found Hal, he asked Hal if he could join his class. Hal said "No, the class was full" but he said Max could monitor the class in the back of the classroom. Max took him up on the offer and began observing the weekly class. During the class, Hal told his students that they should practice what they were learning by going to "live model" classes. Max began attending these classes where he learned how to draw figures. After a few months, Hal and Max became good friends. Hal was so impressed with Max's work that he offered Max the opportunity to teach at another location that Hal was opening in the San Fernando Valley. Max accepted the offer and began teaching his own art class. For Max, it was a quick jump from learning to teaching. Max then found that several of his students had to commute to his art class from the west end of the "Valley". To better serve this group of students, Max decided to relocate to another studio in Calabasas. Max continued teaching, and at this time he was producing very impressive portraits, both oil paintings and charcoal drawings from live models (Max never worked from photos). Max demonstrated real talent, and the style of his drawings and paintings were being compared to those of Nicolai Fechin. And, like Fechin, Max also had an interest in sculpting. One day, Max decided to design and cast a bronze owl sculpture to put in his Calabasas Fine Art Gallery. Later, someone approached Max when he was at the foundry and asked him about his success selling the owl sculpture. The individual who asked this question was convinced that there was a broader market for these sculptures and he ordered a dozen of the owl sculptures from Max. This encouraged Max to do more castings. Some of the new castings were antique sculptures he found and reproduced. As this new business grew, he decided to establish his own foundry, employing up to 15 workers. The business continued for many years, up until the late 1990's when Max got tired of the foundry business and sold it. Max, who was now in his 70's, decided to move on to his next venture as an artist, dedicating himself to doing the actual sculpting of original art. He loved the creativity of sculpting and he had his sculptures cast at local foundries, ironically the same ones that used to be his competition. Max was now fully engaged in his new artistic direction and, over time, he produced a large body of work. He created very impressive sculptures, including about 100 full-size sculptures. He sold some of these to high-end clientele, the Foundry at SLS Las Vegas, and to Hollywood studios. Even though Max now seemed to be totally in his element, he somehow also found time to continue to teach painting classes at the California Art Institute in Westlake Village in Los Angeles. At the institute, he specialized in figure work. Max continued to draw, paint and teach, but he says he stopped sculpting when he turned 90. Max produced four books showcasing his drawings and paintings. The first is "Faces, The Drawings of Max Turner", copyright 2000, that showcases nearly 100 of his portrait drawings. Within the "Acknowledgements" section, he lists Hal Reed and Joseph Nordmann, two former students of Nicolai Fechin. In 2006, Max produced his second book titled "Figures and Faces", reflecting not only portraits but also figure drawings and paintings. It is a wonderful book of Max's work, but it is currently difficult to find. The third book is titled "Faces 2, The Paintings and Drawings of Max Turner", copyright 2009, which includes 75 portrait paintings and drawings. In the "Preface" of this book, Max describes growing up in a small and isolated mining town during the Great Depression. He states that as a kid, he had little exposure of any culture or view of what the rest of the world was like. His neighbor was the trash collector and Max would sometimes go through his truck looking for anything of value. Among other things, he found magazines like Cosmopolitan, Good Housekeeping and Red Book, with covers that frequently showed drawings or paintings of faces. Max states that these images were the very first source of inspiration for him. He says that he began looking more carefully at people's faces and if they had character, he would draw them. By drawing them, Max says that he was making them part of his world, his world of "Faces". In 2018, Max published his newest book showcasing his drawings and paintings. It is titled "Max Turner's Figure Sketches". This softbound book includes 76 pages and over 120 drawings and paintings. In the Introduction, Max explains "I have found that when approaching the figure, one should begin with the gesture. After having captured the essence or feeling of the pose, one can then proceed to build on it." The figure sketches in this wonderful book reflect a Master's work that consistently captures the "gesture"-showing the emotion, movement and expression. Two more books are on the horizon for Max, both dealing with his passion for sculpting. His first, "The Sculpture of Max Turner" is a compilation of his commercial and noncommercial pieces throughout his career. The second, "Terra Cotta Sculpture by Max Turner" is a complete collection of figures done at the California Art Institute. These much anticipated books should be out later in 2018. Max now considers himself primarily a sculptor. But others in the art world are more than impressed with his drawings and paintings as well. His portraits are often described as having a Fechin-esque appearance, referring to the style of Nicolai Fechin. When Max observed those first art classes given by Hal Reed, it should be noted that Hal had previously been a student of the Russian/American Master Nicolai Fechin in the early to mid-1950's. In fact, Hal was a student in the last art class that Fechin taught before he unexpectedly died in 1955. Hal was so strongly influenced by Fechin that he later produced two 30-minute art instruction videos as part his Art Video Productions wherein he specifically described Fechin techniques that he learned in Fechin's class. The Fechin style and techniques were in play when Max later met Hal. Over the years, many of Max's art students, art collectors, gallery owners, as well as the Director of the Monterey Museum of Art have commented on the Fechin-esque qualities of Max's wonderful charcoal drawings and paintings. So, while Max may consider himself primarily a sculptor, his drawings and paintings are also impressive and very much sought after. When Nicolai Fechin died in 1955, three of the nine students in his last art class became life-long friends. Max subsequently became friends with not only Hal Reed, but also with prior Fechin students Joseph Nordmann and Albert Londraville...

Original vintage 1945 oil painting with an interior still life with a vase of flowers, tea cup, and drapery by 20th century Colorado modernist, John E. Thompson (1882-1945). Oil on c...

Original oil on canvas painting by Anton Refregier of a young girl resting in the grass. Signed upper right and dated 1962. Condition is very good. The painting is in its original oa...

'Victor, Colorado', 1942 oil painting on masonite by Martyl Suzanne Schweig (1918-2013). This classic Colorado landscape was painted overlooking a ghost town with the Rocky Mountains visible across the background, completed in rich tones of green, gold, and brown. This painting was completed on a trip with fellow artist, Adolph Dehn...

'Café de la Place', gouache on paper, by Raymond Debiève (circa 1970s). A solitary stroller in a small French town crosses the street in front of a café al...

Peru, colonial style, Early 20th century Oil on canvas, 47,5 x 38 cm (wooden frame) Provenance: Italian private collection.

Signed illegibly lower left. Oil on paper. 10 x 8.

Mid century modern masterwork, 'The Green Boat', by celebrated American woman artist, Elaine Badgley Arnoux. Painted in 1958 in the artists's unique style, ...

Oil on canvas board painting by Ila Mae McAfee (1987-1995) titled "A Little Nippy" portraying four horses in different color tones. Signed by the artist in the lower left corner and titled verso. Presented in a custom frame, outer dimensions measure 33 ½ x 27 ½ x 1 ⅜ inches. Image size is 27 ⅞ x 21 ¾ inches. Painting is clean and in very good vintage condition - please contact us for a detailed condition report. Provenance: Private Collection, Denver, Colorado Expedited and international shipping is available - please contact us for a quote. About the Artist: As a girl growing up in a ranching community near Gunnison, Colorado, Ila McAfee loved to ride horses and to make sketches. Riding ten-miles round trip to school and back, she developed empathy for these magnificent animals, which remained with her and served as the basis for her life in art. Gathering any scraps of paper that she could find, she drew their forms, and her first full image of a horse was in the family Bible. As an adult, she declared, “I just imagine them as if their being existed in a mythological realm.” McAfee went to Los Angeles and studied at the West Lake School...

Oil Painting of Camlough Lake in Northern Ireland by 20th Century Modern Artist, Patrick O'Neill Art measures 30 x 20 inches Frame measures 35 x 25 inches A beautiful colourful ...

A beautiful figurative oil painting by listed California artist Molly E. Brubaker (American, 1922-2000).Unsigned , from a collection of her works. Our certificate of Authenticity inc...

Thin edged metal frame Philip Castle is an Irish Painter and husband to artist Barry Castle He is rarely exhibited and Prince Rainier of Monaco once purc...

SALE ONE WEEK ONLY Yaeger was an American Modernist painter from Detroit, Michigan, who is credited with being one of the first painters in this style. The portrait “Untitled” easil...

Suhas Roy - Radha Mixed Media on Paper , 12 x 16 inches , 2013 Framed to be 23 x 27 inches Shipment cost estimates : Unframed shipment : 150 USD Cost of Framed shipment to USA e...

The smokers. Figurative painting. Colorful Landscape with figures. Acrylic on canvas. Measurements in centimeters: 89 x 146 x 3 cm. / Framed: 114 x 171 x 5 cm. In inches: 35.04 x 57.48 x 1.18 ". / Framed: 44.88 x 67.32 x 1.9 " In the background, a beautiful city with classical buildings and a a forest; in the foreground, a small park where smokers gather next to the fountain crowned by a cupid holding a cigarette between his fingers. It is a group of six men and three women. They all smoke. They enjoy the smoke as they blow it out of their mouths, making shapes with it and interacting with each other in various poses. Hands emerge from the trees of the nearby forest holding lighted matches between their fingers as a lure to attract smokers to the darkness of the forest. A very dreamlike image to represent the temptation of the forbidden. ABOUT THE ARTIST Fomin is a storytelling artist. He is a storyteller in his everyday, anecdotally narrating the funny side of life, and he is a storyteller in his professional life, bringing to the canvas realistic popular scenes set in fairy-tale settings where the subject matter is always treated with irony and humor. The titles of his paintings tell us about eccentric characters of an era, a culture, a society (which one?) - it doesn't matter, it is a distorted reality with a romantic and sentimental touch, which takes us to references such as Brueghel the Elder, El Bosco and Chagall, within an aesthetic and chromatism typical of Renaissance painting where Fomin develops his original scenes playing with the design of spaces, landscapes, buildings, characters and costumes. A stage director who makes us smile, but also reflect on his original interpretation of the human being, because this is the main protagonist of his paintings. ABOUT THE ARTIST Igor Fomin...

Vibrant set design by Russian artist Natalia Gontcharova (1881-1962). Two angelic figures are the central focus of this piece, but the rest of the set is laden with details, includin...

UMBERTO ROMANO "HORSE TRAINERS" OIL ON PANEL, SIGNED AMERICAN, DATED 1952 23.74 X 35.75 INCHES Born: 1905 - Naples, Italy Died: 1984 - New York C...

Antique American modernist landscape painting by Marion D Freeman Wakeman (1891 - 1953). Oil on canvas. Framed. Signed. Image size, 26H x 20L

Butteri in the Maremma is an original modern artwork realized in the early 20th Century. Mixed colored oil painting on board. Hand signed by the artist on the lower right margin V....

Modernist oil painting done in miniature on a thick block of wood of a female nude in the artist’s studio. Signed lower left by the well known New York artist, Nicholas Takis...

Antique illustration painting. Gouache and watercolor on board, circa 1920. Signed. Image size, 12L x 11H. Housed in a period frame.

'The Fisherman', oil on canvas, French School (circa 1950s). A delightfully colourful depiction of a young fisherman admiring his considerable catch, a l...

Digital illustration, print, illustration for a children magazine, suitable for children, signed by the author, limited 5.

La Rue (The Street) Charles Levier, French (1920–2003) Date: circa 1965 Oil on Canvas, signed l.l. Size: 30 x 24 in. (76.2 x 60.96 cm) Frame Size: 37.5 x 32.5 inches

Portrait Of a Woman Painting - - oil on canvas -- Woman with a Black Hair' Hal Frater passed away on February 3, 2008, just a month from celebrating his 99th birthday. Hal Frater h...

Girl In The Armachair is an artwork realized in the 1950s by Anonymous artist. Original oil painting on canvas applied to cardboard. Includes wooden frame:60 x 7 x 50.5 cm Good co...

Charming watercolor watercolor of a market in a village interpreted and signed by Walter Peregoy, American painter acclaimed for his avant-garde style. Walter Peregoy was born in Los...

Portrait Of a Women Painting - - oil on canvas Hal Frater passed away on February 3, 2008, just a month from celebrating his 99th birthday. Hal Frater had a long and prolific caree...

Rest at the caravanserail is an original old masters artwork realized by Paul Pascal in 1885. Mixed colored gouache on paper. Included an elegant frame. Hand signed by the artist ...

Frann Spencer Reynolds (1926-2008) "Pink Triangle" c 1950s Oil on canvas 24"x32" float mount white distressed wood frame 26"x34.25" Signed on reverse Go...

'Grand Prix Racer II', French School, oil on board (circa 1960s). The 'good ole' days' of Formula One (or Grand Prix) racing are depicted in this thrilling ...

A Pair of Modernist Landscapes by listed female artist Margaret Munro Stratton McLennan. Margaret was a painter working in the early 20th Century in the Syracuse area. These charmi...

Painted by Mine Grassetti (American-Dutch, 1928-2021) circa 1995. Inscribed, verso, with certification of authenticity dated October 6th, 2021, by the artist's son, Richard Grassetti. Mine Grassetti first attended Vermont's Bennington College, the first college to include visual and performing arts as an equal partner in the liberal arts curriculum. In 1948, she graduated with a degree in art and architecture and subsequently studied at the Richmond Art Center. It was during this extended period, the 1950's through the mid 1960's, that the Center was staffed with such California luminaries as David Park, Richard Diebenkorn and Elmer Bischoff and Grassetti had the good fortune to be exposed to the ferment of artistic ideas and theories of modernism that were generated there. We are pleased to offer this vibrant figural triptych...

Rini Dhumal - 48 x 36 inches (unframed size) Oil on Canvas , 2010 Signed Style : She have been a printmaker and a painter. For some time now she have been...

Original China ink drawing on ivory colored cardboard, representing a soldier stepping off a cliff with his horse. Hand-signed on the lower left margin, in black ink "A. B. C. Lac Km...

Antique American modernist cityscape painting titled "The Junk Collector" by Clarence E. Van Duzer (1920 - 2009). Oil on board, circa 193...

Wonderful autumnal landscape of figure on overlook hill by Pascua (American, 20th Century), circa 2000. Signed lower right. Unframed. Image size: 22"H x 20"W.

Jack Hooper "Asian Woman II" 10-1990 Acrylic and conte crayon on rag paper 31"x42.25 unframed Signed and dated in pencil lower right Minor wear consistent with age and history Jac...

Acrylic paint on canvas Mixed technique Hand signed Certificate of authenticity Visual artist Suzanne Visser, was born on March 23, 1972 in Oostburg. After completing her studies at...

SALE ONE WEEK ONLY In "Portrait of a Woman" Girard has captured a beautiful, youthful, long-haired female in a pose with a slightly tilted head. There appears to be a sad look to her eyes, but that might just be a look of youthful disappointment to disappear in a second. Her long straight hair and bangs are held in place by a headband. She appears to be completely self-absorbed without being closed-off to her interior monologue and the decorative element about her head may suggest the nature of those thoughts. Girard was a Detroit figurative painter and teacher at College for Creative Studies, Detroit, Michigan where he taught for 30 years. Other College for Creative Studies (formerly Center for Creative Studies) faculty and graduates include Richard Jerzy, Harry Bertoia, Doug Chaing (currently director of Lucas Film), Stephen Dinehart (game maker, writer, designer connected with The David Lynch Foundation), Tyree Guyton (international artist), Herb Babcock...

Oil on canvas painting by Jean Calogero. Circa 1950. Signed lower right. Condition: Good. Overall in museum quality gold leaf frame 17.5 by 15.75 inches. Provenance: Manhattan Co...

Oil on canvas painting by the Italian artist, Jean Calogero. Circa 1950. Signed lower left Overall in museum quality gold leaf frame 17.5 by 15.75 inches. Condition: Good. Provenan...

'Voiliers' (Sailboats), oil on canvas. Artist signed lower right and certificate of authenticity is available. Voiliers, French for Sailboats, is a scenic depiction of abstract sailboats setting sail off a near by coastal town. These boats have set sail on adventurous travels, each with unique colors, and brushwork techniques. The clear waters and warm skies set...

View of Via Margutta is an original contemporary artwork realized by Nicotra da Cosenza in 1954. Original oil on canvas. Hand-signed and dated by the artist on the lower right corner. Decorated frame is included. Mint conditions. Beautiful intense view depicting the buildings and the roofs in Via Margutta. Interesting light effect and dense and pasty color characterize this painting. This work has been realized by Nicotra Alberto. Nicotra Alberto (best-known as Nicotra da Cosenza) (Cosenza, 1899 - Rome,?) was an Italian painter. He studied in Naples and attended the studies of Michele Cascella...

'Grand Prix Racer', French School, oil on board (circa 1960s). The 'good ole' days' of Formula One racing are depicted in this thrilling mid-century...

Elegant nude by Spanish artist Diaz Cruz (Spanish, 20th Century). This modernist figurative depicts a reclining nude woman from behind. The figure resides in an abstracted minimalist...

Blue & White Oil Painting of the Mourne Mountains Ireland by Modern Irish Artist Art measures 16 x 20 inches Frame measures 21 x 25 inches

PEDRO BARRIOS "CARDS" MIXED MEDIA, SIGNED CUBAN-AMERICAN, C.1980 23.5 X 19 INCHES Born in 1947 in Cuba, Pedro Barrios was a staff illustrator for Women’s Wear Daily and illustrat...

Original mid-century modern oil on canvas board painting of a woman with birds by the well known Russian/American artist Nahum Tschacbasov. Signed and ...

Biography from the niece of the artist from during his lifetime. Paintings acquired from the artist.s estate. Max Turner 1925 - 2019 Max Lamar Turner Painter, Sculptor, Teacher and Author. Max Turner was born in Omaha, Nebraska on July 28, 1925. His father was Lance Howard Turner and his mother Mary Irene Turner. In 1927, his family moved to Bingham Canyon, Utah where Max's father extracted copper from a creek that he had diverted to pass through his garage. The town was located in a narrow canyon on the eastern face of the Oquirrh Mountains. In 1938, when Max was 13, his family moved to Midvale, Utah. After completing high school, Max went to work laying rail until he was inducted into the U.S. Navy to serve during W.W. II. There he took an aptitude test and was initially assigned to the medical corp., later transferring to the dental unit. Max was stationed at Port Hueneme, Ventura County, California through the end of the war. When he was discharged in 1946, he remained in Southern California, living in the Los Angeles area. He met a man named Larry Torres and they formed a partnership to do silk screen work primarily for the Colby Poster Printing Company. This lasted about 10 years until the Colby building caught fire and burned down. In 1958, Max began working for Slade Novelty company that made doll parts using a product called plastisol. A year later, Max began producing plastic parts through his own business. One day, a couple of kids brought in a shrunken skull they had made and asked Max if he could reproduce it. Max said he could and he looked around for a business to work with for this task. He ultimately decided he could create his own machine shop to make molds. As a result, Max purchased a lathe, drill press, grinder and other tools to create his own machine shop and went into business making molds. He built a clientele and in 1973, he moved his machine shop to Glendale, California. Painter, Sculptor, Teacher and Author: Max recalls the day when his interest in art took a new direction. He happened to be in a paint store to purchase some supplies when he saw a card posted on a wall that read, "Come paint with Connie Marlo". Max had been interested in art since his youth and he was frequently impressed with paintings displayed by local artists at various community events. Consequently, he decided to go to Connie's Saturday morning art class at a studio on North La Brea Avenue (between Sunset and Hollywood) in Los Angeles. But, as fate would have it, he immediately took a detour from this class when he found a piece of paper on the floor of the studio referencing another art class dealing with compositions, patterns, rhythms and color harmony. The instructor's name was Hal Reed, a former art student of the Russian/American Master, Nicolai Fechin. Hal owned the building (previously the Will Foster Studio) and had founded the Art League of Los Angeles. When Max found Hal, he asked Hal if he could join his class. Hal said "No, the class was full" but he said Max could monitor the class in the back of the classroom. Max took him up on the offer and began observing the weekly class. During the class, Hal told his students that they should practice what they were learning by going to "live model" classes. Max began attending these classes where he learned how to draw figures. After a few months, Hal and Max became good friends. Hal was so impressed with Max's work that he offered Max the opportunity to teach at another location that Hal was opening in the San Fernando Valley. Max accepted the offer and began teaching his own art class. For Max, it was a quick jump from learning to teaching. Max then found that several of his students had to commute to his art class from the west end of the "Valley". To better serve this group of students, Max decided to relocate to another studio in Calabasas. Max continued teaching, and at this time he was producing very impressive portraits, both oil paintings and charcoal drawings from live models (Max never worked from photos). Max demonstrated real talent, and the style of his drawings and paintings were being compared to those of Nicolai Fechin. And, like Fechin, Max also had an interest in sculpting. One day, Max decided to design and cast a bronze owl sculpture to put in his Calabasas Fine Art Gallery. Later, someone approached Max when he was at the foundry and asked him about his success selling the owl sculpture. The individual who asked this question was convinced that there was a broader market for these sculptures and he ordered a dozen of the owl sculptures from Max. This encouraged Max to do more castings. Some of the new castings were antique sculptures he found and reproduced. As this new business grew, he decided to establish his own foundry, employing up to 15 workers. The business continued for many years, up until the late 1990's when Max got tired of the foundry business and sold it. Max, who was now in his 70's, decided to move on to his next venture as an artist, dedicating himself to doing the actual sculpting of original art. He loved the creativity of sculpting and he had his sculptures cast at local foundries, ironically the same ones that used to be his competition. Max was now fully engaged in his new artistic direction and, over time, he produced a large body of work. He created very impressive sculptures, including about 100 full-size sculptures. He sold some of these to high-end clientele, the Foundry at SLS Las Vegas, and to Hollywood studios. Even though Max now seemed to be totally in his element, he somehow also found time to continue to teach painting classes at the California Art Institute in Westlake Village in Los Angeles. At the institute, he specialized in figure work. Max continued to draw, paint and teach, but he says he stopped sculpting when he turned 90. Max produced four books showcasing his drawings and paintings. The first is "Faces, The Drawings of Max Turner", copyright 2000, that showcases nearly 100 of his portrait drawings. Within the "Acknowledgements" section, he lists Hal Reed and Joseph Nordmann, two former students of Nicolai Fechin. In 2006, Max produced his second book titled "Figures and Faces", reflecting not only portraits but also figure drawings and paintings. It is a wonderful book of Max's work, but it is currently difficult to find. The third book is titled "Faces 2, The Paintings and Drawings of Max Turner", copyright 2009, which includes 75 portrait paintings and drawings. In the "Preface" of this book, Max describes growing up in a small and isolated mining town during the Great Depression. He states that as a kid, he had little exposure of any culture or view of what the rest of the world was like. His neighbor was the trash collector and Max would sometimes go through his truck looking for anything of value. Among other things, he found magazines like Cosmopolitan, Good Housekeeping and Red Book, with covers that frequently showed drawings or paintings of faces. Max states that these images were the very first source of inspiration for him. He says that he began looking more carefully at people's faces and if they had character, he would draw them. By drawing them, Max says that he was making them part of his world, his world of "Faces". In 2018, Max published his newest book showcasing his drawings and paintings. It is titled "Max Turner's Figure Sketches". This softbound book includes 76 pages and over 120 drawings and paintings. In the Introduction, Max explains "I have found that when approaching the figure, one should begin with the gesture. After having captured the essence or feeling of the pose, one can then proceed to build on it." The figure sketches in this wonderful book reflect a Master's work that consistently captures the "gesture"-showing the emotion, movement and expression. Two more books are on the horizon for Max, both dealing with his passion for sculpting. His first, "The Sculpture of Max Turner" is a compilation of his commercial and noncommercial pieces throughout his career. The second, "Terra Cotta Sculpture by Max Turner" is a complete collection of figures done at the California Art Institute. These much anticipated books should be out later in 2018. Max now considers himself primarily a sculptor. But others in the art world are more than impressed with his drawings and paintings as well. His portraits are often described as having a Fechin-esque appearance, referring to the style of Nicolai Fechin. When Max observed those first art classes given by Hal Reed, it should be noted that Hal had previously been a student of the Russian/American Master Nicolai Fechin in the early to mid-1950's. In fact, Hal was a student in the last art class that Fechin taught before he unexpectedly died in 1955. Hal was so strongly influenced by Fechin that he later produced two 30-minute art instruction videos as part his Art Video Productions wherein he specifically described Fechin techniques that he learned in Fechin's class. The Fechin style and techniques were in play when Max later met Hal. Over the years, many of Max's art students, art collectors, gallery owners, as well as the Director of the Monterey Museum of Art have commented on the Fechin-esque qualities of Max's wonderful charcoal drawings and paintings. So, while Max may consider himself primarily a sculptor, his drawings and paintings are also impressive and very much sought after. When Nicolai Fechin died in 1955, three of the nine students in his last art class became life-long friends. Max subsequently became friends with not only Hal Reed, but also with prior Fechin students Joseph Nordmann and Albert Londraville...