1940s Paintings

Abraham Baylinson, 1882-1950 Still Life, 1948 Oil on canvas 23 ½ x 33 ½ inches Signed and dated (lower right): A. Baylinson / 1948 Working in a real...

SERGE FERAT 1881-1958 (Le Comte Sergueï Yastrebzov) Moscow 1881-1958 Paris (Russian/French) Title: Still Life with Guitar on Gueridon, circ...

To see our other Modern British Art, including others by Hennes, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you want. Hilary Hennes (née Hilary Miller) (1919-1993) 'The Old Bicycle...

To see our other Modern British Art, including others by Hennes, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you want. Hilary Hennes (née Hilary Miller) (1919-1993) 'Cat Sleeping...

There is a reason why there are few contemporary painters who can paint a portrait this good. It's hard to do. It's easy to throw some paint or spray a mess of graffiti on canvas. That's easy art. Executing a portrait with a great depth of anatomy and structure takes years of academic training. In Riggs's time, there were teachers who knew how to pass on this knowledge. He studied at the Art Students League and the Académie Julian . Today, they are very few and far between. Tempera mixed with gum arabic and alcohol on Renaissance Panel - Robert Riggs was a Gay Artist...

JOSEPH PRESSMANE 1904-1967 Berestechko, Ukraine 1904-1967 (Russian / French) Title: Ukrainian Folk Dancer, 1945 Technique: Original Oil Painting on can...

Robert Alexander Darrah “R.A.D.” Miller (1905 - 1966) Robert Alexander Darrah Miller, called “RAD” by his friends, was born in Philadelphia. He enrolled at the Pennsylvania Academy of the Fine Arts from 1923 to 1927 under the tutelage of Daniel Garber. In 1928, Miller moved to Bucks County where he would meet and marry Celia Belden Marshall, daughter of Dr. George M. Marshall, who at that time owned the Phillips Mill property. Nearly a year later, in 1929, a committee headed by artist, William Lathrop, negotiated to purchase the Mill property from Dr. Marshall for the purpose of holding art exhibitions. Thus, the Phillips Mill Art Association was formed. RAD Miller was a regular exhibitor at the Phillips Mill with the traditional New Hope Impressionists. Many of the original founders of the New Hope Art Colony, set in their ways, frowned upon the concept of modernist painting. A decision was made by the Association to not include the growing group of modernist painters in the area to exhibit with them at Phillips Mill. Although clearly not a traditional impressionist, Miller was not being excluded with the others, largely because his father-in-law formerly owned the mill and was one of the Association’s board of directors. RAD was sympathetic to his fellow modernists. In 1933, he was one of the original members of the Independents, a group formed for modernist artists who chose to embark on a more non-traditional creative path. They would exhibit in tandem with the Impressionists but at different locations. Around the time of his arrival to New Hope in 1928, Miller struck up a friendship with Thomas Hart Benton, and in 1932 he worked under Benton on a mural project. RAD’s paintings...

Medium: Gouache on Board Signature: Signed Lower Right

Original cover illustration for The American Weekly, published November 27, 1949. Depicting a scene from “The Winter's Tale,” this illustration is from Pogany’s “Beauties of Shakespeare” cover series for the magazine. Signed lower right. William Andrew (Willy) Pogany was a native of Hungary and his first studies in Budapest and Paris were in engineering. Success in caricaturing led him to pursue and art career, first in London and then in America. His influences were the Oriental artists and illuminated books, and much of his career was devoted to book illustration. Among his many successes were The Rubaiyat, The Kasidah, The Children’s Book of Northern Myths, The Witch’s Kitchen, The Frenzied Prince, Sonnets from the Portuguese...

Medium: Oil on Canvas Signature: Signed Lower Left Sight Size 26.00" x 19.50;" Framed 61.60" x 26.00" "The Fantastic Armada" by Dorothy Black and illustrated by Rico Tomaso for Ladies Home Journal...

Date: 1942 Medium: Oil on Board Dimensions: 18.50" x 15.70" Signature: Signed Image of woman holding pie and a man calling out to farmhands. An early 20th-century illustrator work...

Paul Shimon (American, 1919-2011), "The Three Hebrew Lads Going into the Furnace", Gouache on Paper, 1948, depicting a scene from the Book of Daniel, signed and dated lower right, ti...

Date: December, 1946 Medium: Gouache and Graphite on Board Dimensions: 17.50" x 26.75" Signature: Unsigned "The Clever Sister." Illustration for the first part of the story of the s...

This oil painting on board is signed by the artist in the lower left corner. It is dated 1941 next to the signature. The board is additionally inscribed and titled, verso. Vasyl Hr...

Two women in a garden and two men walking and talking in the background. A Native American finding a Raggedy Ann doll on a lonely western road. A ...

A charming and stylized depiction of a day at the Central Park Zoo. with World War Two uniformed visitors front and center. Sea lions put on a show in front o...

Oil on board, signed and dated '44 lower right Image size: 15 x 19 inches (38 x 48.25 cm) Contemporary style hand made frame This portrait of an unknown man certainly captures the personality of the chosen sitter. With hat tilted to the side, eyebrow lifted and a half smile of the man's face, one gets the impression that he is finding the whole process of having his portrait painted rather amusing. Still in Ireland at this time, the sitter is likely to have been a friend of the artist, from Belfast. In 1944 there was a group exhibition in Belfast held at the textile business of William Ewart & Sons on Bedford Street. Here Smith showed his works alongside the artists Colin Middleton...

Medium: Oil on Canvas Signature: Signed and Dated Lower Right. Inscribed Lower Right: Art Kane- To Nip Behrmann 1941 Magazine story illustration. Probably published by Saturday Even...

Medium: Gouache on Board Signature: Signed Lower Right Saturday Evening Post magazine cover, October 25, 1941

Cover of Saturday Evening Post magazine, February 19, 1949 The parents and grandmother are taking a picture of the baby while trying to make him smile. Jack Welch was a tall Texan from Cleburne. He went through public school in Temple, Texas, took the W. L. Evans correspondence course in cartooning, and did a short turn at Southern Methodist University illustrating yearbooks. This was enough to launch him as a newspaper artist; he worked for papers in Texas, California, Chicago, Philadelphia, and New York. The next logical step was an advertising agency sketch man...

Jim's of Lambertville Fine Art Gallery is proud to present this piece by Richard Wedderspoon (1889 - 1976). Richard Wedderspoon was an important member of the New Hope Art Colony as both an Impressionist and Modernist painter. Wedderspoon was not only a respected painter, but also a teacher who spent summers at his Bucks County home and the school year at Syracuse University where he was Professor of painting. He was born in Red Bank, New Jersey and first studied art at the Carnegie Institute in Pittsburgh. He continued his studies at the Corcoran School of Art in Washington, and at age twenty four, he enrolled at the Pennsylvania Academy of the Fine Arts studying with Henry McCarter and Daniel Garber. While there his roommates were Charles Garner and Lloyd Ney. Wedderspoon began friendships with fellow artists, Charles Hargens, Clarence Johnson and Stanley Reckless...

Original Christmas cover for Judge magazine, published December 22, 1917. Santa is dressed as a World War I soldier with a sack of toys holding a drum and toy soldiers. Orson Byro...

The Pin-Up of ravishing young beauties in mid-century America was a widely popular art form. The assumption that Pin-Up art was the exclusive domain of men is a misnomer. Female illu...

In Byron Browne's "The Night Journey", 1947, Picasso meets Jackson Pollock. Brown strikes a balance between fanciful representation and gestural abstrac...

Julia (Elsie Julia Miller) Schleicher (Canadian/American, 1916-1988) she was an important female illustrator Woman Tennis Player Pastel and gouache on boa...

Jerusalem by Ludwig Blum Oil on canvas 25.6 x 32 inches / 65 x 81cm Signed Painted circa 1940

A family sitting around a dinner table. Ladies Home Journal interior illustration Signed lower right. Harold Anderson studied at the Fenway Art School in his native Boston. Among his instructors were Chase Emerson, Harold Brett, and Arthur Spear...

Medium: Oil on Canvas Signature: Signed Lower Right

Date: 1940s Medium: Oil on Canvas Dimensions: 33.00" x 37.00", Framed 42.00" x 38.00" Signature: Signed Presumably Advertising for Maxwell House Coffee ...

Medium: Oil on Canvas Signature: Unsigned Cashmere Bouquet Soap ad illustration, c. 1949 Haddon Hubbard Sundblom influenced the world of advertising ...

Klett was an in-demand illustrator in the post-war period of the late 1940's and 1950's. and . His work appeared in many of the newsstand magazines at the time. This work is a pers...

Meticulously rendered account of three prospectors trying to rustle up some water before they can dig up some gold. Magazine Illustration of the Old West, American West, Cowboys Casein on board, Western / Frontier Art...

Signed with initials Tempera on hand-made paper laid on panel 6 3/4 x 8 3/4 inches

Signed lower left. A watercolor on paper medium. Gordon Grant was a master of maritime watercolors, known for his ability to capture the essence of nautical life with remarkable pr...

Signed by Artist Lower Right Amoco Oil Advertisements

Journalist Portraiture. Gouache on board Signed Lower Right matted to 17.75 x 16.75 inches. Archivally Matted Not Framed 
 He illustrated more than 300 covers for Time magazine a...

Gouache on paper, 18 7/8 x 14 3/4 in. Signed (at lower right): Morris; (with monogram, on the back): GLKM [monogram] / 1932 [sic] Executed circa late 1940s A passionate advocate of abstract art during the 1930s and 1940s, George L. K. Morris was active as a painter, sculptor, editor, and critic. An erudite man with an internationalist point of view, Morris eschewed the social, political, and figural concerns that preoccupied so many artists of Depression-era America, believing that painters should focus their attention on the beauty, refinement, and simplicity of pure form instead. His goal, he said, was “to wedge the expression further and further into the confines of the canvas until every shape takes on a spatial meaning” (as quoted in Ward Jackson, “George L. K. Morris: Forty Years of Abstract Art,” Art Journal 32 [Winter 1972–73], p. 150). Born into an affluent family in New York City, Morris was a descendent of General Lewis Morris, a signer of the Declaration of Independence. From 1918 until 1924, he attended the Groton School in Connecticut, studying classics and art. He continued to focus on literature and art while attending Yale University (1924–28), an experience that prepared him well for his future activity as an artist-critic. After graduating in 1928, Morris studied at the Art Students League of New York, working under the realist painters John Sloan and Kenneth Hayes Miller, as well as Jan Matulka, the only modernist on the faculty. In the spring of 1929, Morris traveled to Paris with Albert E. Gallatin, a family friend and fellow painter who introduced him to leading members of the Parisian avant-garde, including Jean Arp, Pablo Picasso, Georges Braque, Jean Hélion, and Piet Mondrian. Morris also took classes at the Académie Moderne, studying under Fernand Léger and Amédée Ozenfant, important exponents of Synthetic Cubism who influenced his aesthetic development. Indeed, after experimenting with the simplified forms of Modernism for a few years, Morris moved on to abstraction by 1934, adopting a hard-edged, geometric approach inspired by Leger’s cubist style and the biomorphic shapes of Arp and Joan Miró. Following his return to New York in 1930, Morris built a white-walled, open-spaced studio (inspired by that of Ozenfant, which had been designed by Le Corbusier) on the grounds of Brockhurst, his parents’ 46-acre estate in Lenox, Massachusetts. In 1935, he married the painter and collagist Estelle “Suzy...

A fine figural oil painting of a mother and three children with worried looks on their faces as military planes fly overhead by American artist Hope Shipee Bunin (1908-1970). Bunin w...

Date: 1945 Medium: Gouache Dimensions: 21.25" x 16.50" Signature: Signed Lower Left Cover of The Saturday Evening Post, February 3, 1945

Includes a Certificate of Authenticity

Story illustration for “Abbé Doret’s Secret” by Manuel Komroff for Cosmopolitan, published February 1942. The full caption reads: “As the gardener passed he lifted his cap twice ‘Do...

Rolph Scarlett (Canadian/American, 1889 - 1984) “Abstract” Signed and dated 1947, lower right Gouache on paper Provenance: Private collection, Miami Florida About Rolph Scarlett w...

Alternate cover for Fortune Magazine February, 1940. Gouache on board. 350x285 mm; 13 3/4x11 1/4. Signed "A. Petrucelli" in lower left image. Tipped t...

Caption: "He proposed this morning right after the alarm clock went off." From the Estate of Charles Martignette Signed lower center unframed

Marcel Dyf French, 1899-1985 “Place de La Concorde” , 1948 Signed Dyf and dated 1948 Paris (lr) Oil on canvas Canvas: 29 x 39.75 Inches (73.6 x 99 cm) Framed: 35 x 45.25 Inches ...

Date: 1941 Medium: Oil on Canvas Dimensions; 30.00" x 45.00" Signature: Signed Lower Left Illustration for Look magazine

Medium: Oil on Canvas Signature: Signed Lower Right

Charming watercolor by B.M. Kremitske signed BMK (LL) from June, 1948 painted after Winslow Homer Art Sz: 6"H x 10 1/4"W Frame Sz: 11 3/4"H x 16"W

Lambert Werner (1900-1983) Untitled, 1948 Oil on canvas 29 1/8 × 26 1/3 in l 74 × 67 cm 30 3/4 x 28 in l 78 x 71 cm (Frame included) Signed and dated lower right Exhibition history:...

Jim’s of Lambertville is proud to offer this artwork. Signed lower right. Complemented by a hand carved and gilt frame. Alexander Farnham (b.1926) Alexander Farnham studied with Anne Steele Marsh, Van Deering Perrine, and at the Art Students League with George Bridgman...

The setting reminds us of a Rear Window by Alfred Hickcock but Evergood did it 8 years before. It's most likely Greenwich Village since Evergood lived there. This is a very big and heavy to lift painting Signed lower left Framed 56 x 51 in a period very heavy rustic wood frame. Exhibited Center Gallery, Bucknell University, PA, among others venus. gallery label remnants on verso - The Walker Art Center, Minneapolis The Whitney Museum of American Art Annual 1949 - Label Provenance: Naomi and Walter Rosenblum Best Viewed with a top gallery light...

Original watercolor circa 1947 of a Palm Beach tropical pool oasis by the acclaimed German artist & architect Franz Bueb (1919-1982) who designed Town & Cou...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Father, Daughter and Horse by Orovida Pissarro (1893-1968) Oil on canvas 60 x 73 cm (23 ⅝ x 28 ¾ inches) Signed a...

Heavy impasto pained in alla prima ( Wet-on-wet ) technique. Layer of damar varnish. Frame burn, On Masonite. Unframed Signature: Signed Max Weber upper left.

Signed Lower Left by Artist Born in small town Texas, Welch first learned his trade through the W. L. Evans correspondence course in cartooning, which led him to a short-lived stint at Southern Methodist University illustrating yearbooks. This work launched him as a newspaper artist, and eventually earning a position as an advertising agency sketch man...

Burlesque Clown Bert Lahr is dipicted in a bowler hat with a wry grin. Lahr shined in the role of The Cowardly Lion in the Wizard of OZ. Here he is de...

Medium: Watercolor on Paper Signature: Unsigned

Medium: Oil on Canvas Signature: Signed and Dated '1941' Upper Right This illustration was published for the interior story "Sugarfoot" by Clarence Budington Kelland in the Saturday Evening Post, February 7th, 1942. Signed and dated '1941' upper right Harold von Schmidt grew up in the West a generation after Remington...

Medium: Oil on Canvas Dimensions: 28.00" x 40.00" Signature: Signed Lower Right Image of colonists with ships in background. Frank J. Reilly (1906-1967) was noted as "the number 1 art teacher in America." Reilly is noted for developing a means of organizing the palette. His value studies and chroma organization are still taught as the primary methods of oil paint organization. Reilly studied with Frank DuMond at the Art Students League of New York. He taught at the Grand Central School of Art, The Art Students League of New York and other art schools as well as establishing his own art school. Reilly was the main influence on George Passantino. He is credited with the mosaic mural in The Bronx High School of Science's front lobby. Reilly's influence continues today through the teaching and art of Michael Aviano and Jack Faragasso as well as their students Jon deMartin...

This oil painting is hand signed by the artist "Kremegne" in the lower right corner. The work was painted in circa 1948. Provenance: The Issachar Ber Frydman collection. Acquired i...