1940s Paintings

Morris Walton Leader (1877- 1966) Morris Walton Leader was born in Marshall, Texas, in 1877. He died in Austin, Texas, where he had lived since he was a young boy. He studied with ...

Original oil paintign on canvas. Hand signed and dated lower left by Henrik Kobor. Canvas size: 57 x 45.12 inches. Frame size: 62.75 x 50.75 inches Artwork is in overall excellen...

Decorative Chinese school painting. Fine detail and painted with rich colors. In a wonderful carved frame painted in pastel blue.

Signed lower right: Andrew / Loomis Shaw-Barton Calendar illustration

6116 Gate entrance to Rome set in a 19th century gilt frame Image size 11,5x15.5"

Beautiful oil on mahogany panel painting of the bustling Port of Ostend in Belgium by Louis Clesse. Signed lower right and dated 1942. Titled verso and signed again by the artist ve...

A stylish, vintage, 1940s woman's fashion study featuring an elegant, colorful design titled "Personal Choice of Gertrude Lawrence, Star of Lady in the Dark". Gertrude Lawrence, fam...

Indriķis Zeberiņš (born in 1882, died in 1969), painter, graphic artist. Studied at the studio of J. Rosenthal in Riga (1905–1906), at the school of the Society for the Promotion of ...

Adolf Dehn: 1895-1968. Well listed American artist with a high auction record of $20,000 which was achieved this year. He was born in Minnesota and studied at Minneapolis School of F...

Vintage American modernist landscape oil painting. Oil on canvas. Provenance from a Sag Harbor, NY collection. Measuring: 18 by 24 inches overall. Excellent condition, ready to hang...

A stylish, vintage, 1940s fashion study featuring an elegant design for a woman's red gown, evening wear. Artwork size: 11 x 8 1/2 inches. Archivally matted to 16 x 12 inches. P...

Merio Ameglio Italian, 1897-1970 Notre Dame, Autonne Oil on Canvas 18 by 21 ½ in. W/frame 26 by 29 ½ in. Signed lower left & titled on reverse Merio noted impressionist painter p...

A stylish, vintage, 1940s fashion study featuring an elegant design for a woman's autumn suit. Inscription reads: "Brown and grey suit and cape affair from Town and Country, Blum's ...

Fletcher Martin Lunch Break, circa 1940 Signed lower right Oil on canvas 31 1/2 x 37 3/8 inches When Fletcher Martin died in 1979, the New York Times entitled his obituary “Artist o...

These artworks by Carl Holty are only sold as a pair. Each painting measures 9" x 11" and framed 18" x 20.25" x 2.5" The red and gold work is signed "Carl Holty" in the lower right. About this artists: Carl Holty was awakened to his interest in art as a child through visits to the Layton Art Gallery of Milwaukee, and began painting lessons with Friedrich Wilhelm Heine at a young age. Though born in Freiburg, Germany, in 1900, he was raised in Wisconsin and enrolled at Marquette University. Before long, Holty abandoned his pre-medical studies in order to pursue art. He spent a summer at the School of the Chicago Art Institute in Saugatuck, Michigan, and set off for New York in 1920. He then studied at the National Academy of Design under Francis Coates Jones...

Another delightful large painting by the post impressionist master; Emile Albert Gruppe. The landscape take you down a snow covered road by a cool icy running stream through a New En...

Gorgeous pointillist egg tempera portrait of young blonde girl by Robert Joseph Collins (American, 1922-2011), 1947. Signed "Collins" and dated "'47." U...

Medium: Oil on Canvas Signature: Signed Lower Left Size: 34.00" x 24.00" Maxwell House Coffee, "Home for Christmas..." (1945) For years, Walter Martin...

I am pretty sure this is by the architect and artist Elmer Grey. He was a famous architect in Los Angeles and also an artist he mostly signed with his full name but the way the last ...

This WPA-era signed oil painting by Paul K. Smith captures a stormy summer landscape in Colorado, featuring houses and lush trees under dramatic storm clouds. Painted in rich shades ...

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"Two Seas and a Moon" Surrealism American Scene WWII Modern WWI Denver WPA Era Arnold Ronnebeck (1885 - 1947) Two Seas and a Moon 30 x 22 1/2 inches Oil on Canvas, c. 1943 Signed u...

*UK BUYERS WILL PAY AN ADDITIONAL 5% IMPORT DUTY ON TOP OF THE ABOVE PRICE Jeune Fille à l'Accordéon by ISMAEL DE LA SERNA (1898-1968) Oil on masonite 88.9 x 115.6 cm (35 x 45 ¹/₂ i...

John Edward Costigan, N.A. American, 1888-1972 Woman and Child Oil on canvas Signed ‘J.E. Costigan N.A.’ lower left 24 by 30 in. W/frame 32 by 38 in. John Costigan was born of Irish-American parents in Providence, Rhode Island, February 29, 1888. He was a cousin of the noted American showman, George M. Cohan, whose parents brought the young Costigan to New York City and was instrumental in starting him on a career in the visual arts. They were less successful in encouraging him to pursue formal studies at the Art Students League (where, however, he later taught) than in exposing him to the commercial art world through the job they had gotten him with the New York lithographing firm that made their theatrical posters. At the H. C. Miner Lithographing Company, Costigan worked his way up from his entry job as a pressroom helper, through various apprenticeships, to the position of sketch artist. In the latter capacity he was an uncredited designer of posters for the Ziegfeld Follies and for numerous silent films. Meanwhile, he had supplemented his very meager formal studies in the fine arts with a self-teaching discipline that led to his first professional recognition in 1920 with the receipt of prizes for an oil painting and watercolor in separate New York exhibitions. A year earlier, Costigan had wed professional model Ida Blessin, with whom he established residence and began raising a family in the sleepy little rural New York hamlet of Orangeburg, the setting for the many idyllic farm landscapes and wood interiors with which he was to become identified in a career that would span half a century. John Costigan’s first national recognition came in 1922 with his winning of the coveted Peterson Purchase prize of the Art Institute of Chicago for an oil on canvas, “Sheep at the Brook.” It marked the start of an unbroken winning streak that would gain him at least one important prize per year for the remainder of the decade. The nation’s art journalists and critics began to take notice, making him the recurring subject of newspaper features and magazine articles. The eminent author and critic Edgar Holger Cahill was just a fledgling reporter when he wrote his first feature, “John Costigan Carries the Flame,” for Shadowland Magazine in 1922. Costigan had his first one-man show of paintings at the Rehn Gallery on New York’s 5th Avenue in November, 1924, to be followed less than three years later by another at the Art Institute of Chicago. In addition, Costigan’s work has been—and continues to be included, side-by-side with that of some of America’s most high-profile artists, in museum and gallery exhibitions throughout the country. His renown had peaked in the early 1930s, by which time his work had been honored with nearly every major award then being bestowed in the fine arts and had been acquired for the permanent collections of several prestigious American museums, including New York’s Metropolitan (which only recently, in 1997, deaccessioned his “Wood Interior,” acquired in 1934). Although Costigan’s celebrity had ebbed by the late 1930s, the Smithsonian Institution saw fit in 1937 to host an exhibition exclusively of his etchings. And, in 1941, the Corcoran Gallery (also Washington, D.C.) similarly honored him for his watercolors. (Another Washington institution, the Library of Congress, today includes 22 Costigan etchings and lithographs in its permanent print collection.) During World War II, Costigan returned briefly to illustrating, mainly for Bluebook, a men’s pulp adventure magazine. A gradual revival of interest in his more serious work began at the end of the war, culminating in 1968 with the mounting of a 50-year Costigan retrospective at the Paine Art Center and Arboretum in Oshkosh, Wisconsin. Oils, watercolors and prints were borrowed from museums and private collections throughout the country, and the exhibition was subsequently toured nationally by the Smithsonian Institution. John Costigan died of pneumonia in Nyack, NY, August 5, 1972, just months after receiving his final prestigious award —the Benjamin West Clinedinst Medal of the Artist’s Fellowship, Inc., presented in general recognition of his “...achievement of exceptional artistic merit...” in the various media he had mastered in the course of his career. This painting depicts one of the artist's favorite themes --the farm family bathing...

Landscape signed lower left beautiful original gold leaf frame. ​ Frank Peyraud earned a lasting reputation for rural landscapes, especially snow scenes in broadly defined forms and glowing colors. Excepting a trip from 1921 to 1923 to Italy and Switzerland, he was based in Chicago, where a Registrar of the Chicago Art Institute in materials for a traveling exhibition, described him as the "dean of Chicago landscape artists." (Richter) Peyraud was one of the first American painters to focus on the Midwestern landscape and did many river and farm scenes including his signature snowscapes. Many of his paintings reflected Impressionism, an abstract style executed with rapid technique and broken brushstrokes brought over from France towards the end of the 19th Century. Impressionism received much attention in Chicago in some of the artwork exhibited at the 1893 Exposition. Of Peyraud and Impressionism, it was written that "he was the most successful of the progressive Chicago painters who experimented with impressionist approaches in the years following Exposition." He was credited with more discipline of execution than many of his peer impressionists and with a "valid impressionism", (Greenhouse) that conveyed poetic interpretations to what many persons regarded as very ordinary rural Illinois landscape. His snow scene haystack painting, Winter Light on the Farm, in the Marshall Collection of Peoria and exhibited at the Terra Museum, shows "crystalline atmosphere and fleeting light of a waning winter afternoon". (Greenwood) and seems to reference the serial haystack paintings by Claude Monet. Many of Peyraud's works had luminous back-lighting, and careful arrangement of contrasting shapes, and a tone inviting the viewer into a "slightly enchanted world into which quotidian human elements rarely intrude." (Richter) Peyraud was born in Bulle, Switzerland, and enrolled as an architecture student at the Ecole des Beaux-Arts in Paris. In 1881, at age 22 and an established architect in France, he emigrated to Chicago where he spent the remainder of his career. He found employment there as a cyclorama painter, which meant creating huge panoramic paintings in the round, "forerunner of the wide-screen motion picture." (Richter). In 1891, he became involved in retouching Paul Phillipoteaux's panorama, The Battle of Gettysburg, when it came to Chicago for exhibition He continued to work on panoramic and cycloramas spectacles including The Creation for the 1903 Louisiana Exposition. Spring Painted Desert in the Santa Fe Railroad Collection shows at least one trip West. Peyraud also did mural painting, several of them in Peoria, Illinois including a series of allegorical murals with Hardesty Maratta in the Peoria at the newly-built Public Library. In Peoria, he also taught classes and gave lectures. In 1906, he married Elizabeth Krisher, a portrait painter, and illustrator. Sources include: Marianne Richter, Union League Club of Chicago Art Collection, "Frank Charles Peyraud...

Nathan Hoffman Brighton Beach, August 5, 1941 Signed, titled, dated and estate stamped on the reverse Oil on board 9 3/4 x 14 inches Born in Russia, th...

Approximate Date: 1948 Medium: Oil on Board Signature: Signed Lower Left Size: 20" x 16", Framed: 26" x 22" Original cover illustration for The Saturday Evening Post, September 25 1...

WPA Mural Study 1940 American Scene Modern Social Realism Figurative Mid Century Michael Loew (1907-1985) Detail for Mural (Social Security Building Washington D.C.) 24 x 24 inches ...

PURRMANN, Karl (1877-1966) Baroque interiors of Castle Oil on wood panel signed and dated 1947 Low left Framed by Gault (Paris) Dim wood : 52 X 66 cm PURRMANN, Karl (1877-1966) Ger...

Vintage French impressionist portrait oil painting. Oil on board. Signed. Framed. Provenance from a Sag Harbor, NY collection. Measuring: 23 by 19 inches overall. Handsomely framed ...

Original watercolor on paper. Initialed lower right by Rolph Scarlett. Artwork size 7.75 x 8.75 inches. Frame size 17.5 x 21.5 inches. Artwork is in excellent condition. Certifi...

This elegant 1945 interior still life oil painting is by celebrated Colorado modernist John E. Thompson (1882–1945), widely regarded as the “Dean of Colorad...

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 42" x 2" About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...

Jacques Martin-Ferrières (French, 1893-1972) La grille d'entrée principale de l'Artaudière, 1945 Oil on canvas Canvas: 36.25 x 28.75 inches (92.1 x 73.0 cm) Framed Dimensions 41.5 X ...

Giacomo ROSSELLI (1901-nc) "Venice" Oil on canvas signed low right Old frame gilded with leaves Dim canvas : 60 X 81 cm Dim frame : 80 X 100 cm Certificate of authenticity delivered ...

"Untitled" oil on canvas painting by artist Alex Katz. Signed and dated A. Katz 46 recto lower right. Painted in 1946, during the period when Katz was studying at Cooper Union in New...

Théière et Citron by Georges Braque (1882-1963) Oil on panel 22.5 x 25 cm (8 ⅞ x 9 ⅞ inches) Signed lower left, G. Braque Executed in 1947 Provenance: Perls Galleries, New York Fuji...

Albert Sheldon Pennoyer was born in Oakland, California in 1888. He was the son of a prosperous merchant who owned a store known as Taft And Pennoyer. At a young age, the family mov...

Medium: Oil on Illustration Board Signature: Unsigned This piece was produced as the cover art for the box containing a die-cut color lithograph manger set...

"Backstage, Ambassador" Broadway Theatre NYC Mid-century Modern Modernist CubistSigned lower left, titled on the stretcher. Norkin was a Brooklyn, Ne...

Fortune Magazine Cover Published 1941 Illustration Precisionist American Scene Antonio Petruccelli (1907 - 1994) Military Tent City Fortune Cover published, May 1941 17 1/2 X 15 in...

Jim’s of Lambertville is proud to offer this artwork. Signed Lower Right George W. Sotter (1879-1953) George W. Sotter is remembered for painting the scenic towns, farms, mills a...

#5-2758a Circa 1940's oil seascape on wood plaque,signed lower right by J.Niannino

Frame size 42 x 52.5 inches ELISABETH RONGET "AU CAFE” OIL ON CANVAS, SIGNED FRANCE, C.1940 Elisabeth Ronget 1886-1962 Elisabeth Boehm Ronget was born in 1896 in Conitz, Polan...

Presenting a wonderful oil on heavy jute canvas, "The Artists Studio." The painting depicts an artist preparing his canvases for painting. "The Artist...

This superb British Post Impressionist oil painting is by noted artist Glyn Morgan. Morgan was a noted Welsh artist, initially taught by Ceri Richards in Cardiff and later a Benton E...

6106 Back street of Marrakech Morocco oil painting Image size 17.5x13.5" Framed signed

Paul LUNAUD (Brantôme 1900 – 1949) The ironer Oil on wood H. 80 cm; W. 64 cm Signed and dated on the right in the center, formerly signed lower right. 1942 Provenance : Artist's stu...

Signed lower right and dated 1948 David Burliuk’s vibrant depiction of a Ukrainian countryside captures a moment of quiet resilience and rural harmony. A woman, adorned in a red ker...

Important, wonderful painting signed by the famous Italian artist Orazio Amato Portrait of young woman with landscape, oil on canvas signed This artwork, never before on the market...

Vintage French impressionist landscape oil painting. Oil on board. Framed. Provenance from a Sag Harbor, NY collection. Measuring: 15 by 18 inches overall. Handsomely framed in whit...

La obra va firmada por el artista en la parte inferior y fechada del año 1942 El estado de la obra es bueno Se presenta sin enmarcar la pintura Medidas obra: 113 cm de altura x 82...

Signed lower right, 'Kunffy' for Lajos Kunffy (Hungarian, 1869-1962); additionally signed, verso, on stretcher bar and inscribed, 'Somogyi' with partial label. A winter landscape s...

6072 Victorian famaily beach outing signed Period frame Image size 13.5x27.5"

A stylish, vintage, 1940s fashion study featuring a standing female model dressed in sunglasses wearing an elegant design for women's beach wear. Artwork size: 11 x 8 1/2 inches. ...

A stylish, vintage, 1940s fashion study featuring elegant designs for women's lounge wear. Artwork size: 11 x 8 1/2 inches. Archivally matted to 16 x 12 inches. Provenance: Corn...

This vibrant oil painting by Henry Varnum Poor (American, 1888–1970) captures a blooming spring landscape with barns, budding trees, and bright skies rendered in expressive, textural...

6117 Rome flower market Image size 16x11.5"

A stylish, vintage, 1940s fashion study featuring colorful designs for women's red Robin Hood hat, suit and coat. Artwork size: 11 x 8 1/4 inches. Archivally matted to 16 x 12 in...

A stylish, vintage, 1940s fashion study featuring an elegant design for a woman's hat and lace muff, Lily Daché. Artwork size: 11 x 8 1/4 inches. Archivally matted to 16 x 12 in...