1950s Paintings

"Civil Rights." Evergood's early commentary on racial issues in the 1950s depicts four black men gagged, roped, and hanging from the "Tree of Life," which represents the unique interconnectedness of life. In the background, imprisoned blacks look on through a barbed-wire fence. Whites watch in horror but do nothing to help. Meanwhile, a two-legged, three-headed serpent wraps itself around the tree that both physically and symbolically separates the races. This is an important work in the history of American art. It may be one of the very earliest examples of a major American painter doing a major work that challenges racial segregation and injustice at a time when no one else would. The title of the work is inspired by a Historic Supreme Court decision on racial segregation. The Little Rock...

Signed and dated to lower edge 'Paul Rand 11.52'. Collection of the artist - Mounted along upper eduge to matboard, Unframed.

Professor George De Goya. PhD. MA. FRSA. Born In Budapest, 1915-1992, related to the Spanish artist Goya on his mother’s side. Educated in Budapest and France where he received a de...

Redhead Girl in Window with Flower Pots by Lorraine Fox can be a joyful addition to your home. A beautiful redheaded young girl looks back at us from ...

Original artwork depicting the Jones Beach tower surrounded by 18 frollicking unbathers commissioned by the United German American Societies of Nassau Co, ...

c1950s Watercolor depicting six naughty, scantily-clad vixens representing Mans' Ruin Art Sz: 10"H x 12 7/8"W Frame Sz: 15 1/4"H x 18"W w/ gilt bamboo frame

Medium: Gouache on Illustration Board Signature: Signed Lower Right March 28, 1953 Magazine Cover of The New Yorker

Signed Lower Right by Artist Original cartoon for Playboy, published February 1959, with their stamp in upper margin. Subsequently reproduced in Jack Davis: Drawing American Pop Cul...

Signed lower right. Description A portrait of a stylized young man dressed in a blue coat with a ruffled white shirt in an artistic background suggest that it may be a portrait of a young actor or performer. About the artist. Joseph Pollet was an important member of the Woodstock Art Colony. He emigrated to NYC in 1911 from Albbruck, Germany (born in 1897) and at age 21 had a promising career as an advertising copywriter. While working, he studied painting and his landscapes were immediately successful in NYC galleries. He studied at the Art Student's League with John Sloan, Robert Henri, and Homer Boss...

Signature: Signed Lower Left Original cover for The Catholic Boy magazine, published September 1952. Captioned on the first page of the magazine: "Is geography distracting you from ...

Illustration for True magazine, presumably published February 1956. Nighttime scene of policemen and bloodhounds investigating a murder on a cobblestone street. Approximate Date: 1956 Medium: Oil on Board Signature: Signed Lower Right Size: 22.70" x 16.20" Tom Lovell Biography: A Native American finding a Raggedy Ann doll...

Saturday Evening Post sticker and editorial and production marks on verso. This is more than just a simple semi-silhouette. It's a carefully crafted and wonderfully composed image. T...

Medium: Oil on Masonite Signature: Signed Lower Left This piece was published as an illustration in True Magazine titled "Blondin Crossing Niagara" in 1953. Born Jean-François Grave...

This meticulously planned, designed, and executed work depicts an ultra-wide angle view of a rock quarry/mine. The viewer looks down at close-up-stylized rock formations and then out at a horizon line with rust-colored mine trestles. Atherton hints at perspective with a broken white line that is wider in the foreground and tapers to a hairline as it recedes to the background. The work was done in 1951 at the height of America's most important art movement: Abstract Expressionism. John Atherton absorbs its influences but retains elements of representation. Atherton was an in-demand commercial artist who worked for most blue-chip clients. It is possible that this was an editorial assignment for Fortune Magazine. At the same time, Atherton was also a fine artist and the work could be an expression of pure creative pursuits. The work looks better in person and one can look at it for hours and not get bored. Look carefully and you may discover a deeper meaning in this painting of precisely arranged rocks. Signed lower right. Brooklyn Museum of Art, New York, sold to benefit the acquisitions program ____________________ From Wikipedia, the free encyclopedia John Carlton Atherton (January 7, 1900 - September 16, 1952) was an American painter and magazine illustrator, writer and designer. His works form part of numerous collections, including the Museum of Modern Art,[1] Whitney Museum of American Art and the Smithsonian American Art Museum.[2][3][4] Early Years He was the son of James Chester Atherton (1868-1928) and Carrie B. Martin (1871-1909). He was born in Brainerd, Minnesota.[5] His father was Canadian born. His parents relocated from Minnesota to Washington State, with his maternal grandparents whilst he was still an infant. He attended high school in Spokane, Washington. Career During his early years he never displayed an aptitude for art; rather, his first love being nature and the activities he relished there, mainly fishing and hunting. He enlisted in 1917, serving briefly in the U.S. Navy for a year during World War I. At the end of the war, determined to get an education he worked various part-time jobs, as a sign painter and playing a banjo in a dance band to pay his enrolment fee at the College of the Pacific and The California School of Fine Arts (now the San Francisco Art Institute). Once there, he also worked in the surrounding studios developing his oil painting techniques. A first prize award of $500 at the annual exhibition of the Bohemian Club in 1929, financed his one way trip to New York City, which helped to launch his career as an artist.[6] Atherton had aspired to be a fine artist, however his first paid jobs were for commercial art firms designing advertisements for corporations such as General Motors, Shell Oil, Container Corporation of America, and Dole. However, by 1936, encouraged primarily by friends, such as Alexander Brook, an acclaimed New York realist painter, he returned to the fine arts. Atherton continued to accept numerous commissions for magazine illustrations; such as Fortune magazine, and over the years he would paint more than forty covers for The Saturday Evening Post starting with his December 1942 design, “Patient Dog.” This picture is reminiscent of his friend Norman Rockwell ‘Americana style’ and captures a poignant moment of nostalgia, where a loyal dog looks toward a wall of hunting equipment and a framed picture of his owner in military uniform. Selected One person Exhibitions Atherton accomplished his first one-man show in Manhattan in 1936. His Painting, “The Black Horse” won the $3000 fourth prize from among a pool of 14,000 entries. This painting forms part of the Metropolitan Museum of Art collection in New York.[7] Atherton achieved recognition in New York City and elsewhere during the 1930s. Having exhibited at the Julien Levy Gallery in New York,[8] his paintings began to be collected by museums; including the Museum of Modern Art[9] and the Metropolitan Museum of Art. His reputation increased with his art deco stone lithograph poster for the 1939 New York World's Fair. In 1941, his design won first place in the Museum of Modern Arts “National Defense Poster Competition”. Selected Public Collections Fleming Museum of Art, Burlington, Vermont Albright-Knox Art Gallery,[10] Buffalo, NY Art Institute of Chicago,[11] Chicago Wadsworth Atheneum,[12] Hartford, CT Brooklyn Museum of Art, New York Metropolitan Museum of Art, New York The Museum of Modern Art,[13] New York Whitney Museum of American Art,[14] New York Pennsylvania Academy of the Fine Arts,[15] Philadelphia De Young Museum,[16] San Francisco Smithsonian American Art Museum,[17] Washington DC Butler Institute of American Art[18] Youngstown, OH The Famous Artists School Founded in 1948 in Westport, Connecticut, U.S.A. The idea was conceived by members of the New York Society of Illustrators (SOI), but due to the Society's legal status, could not be operated by it. SOI member Albert Dorne led the initiative to set up a separate entity, and recruited the support of Norman Rockwell, who was also an SOI member. For the founding faculty, Dorne recruited Atherton, as well as accomplished artists such as Austin Briggs, Stevan Dohanos, Robert Fawcett, Peter Helck, Fred Ludekens, Al Parker, Norman Rockwell, Ben Stahl, Harold von Schmidt and Jon Whitcomb.[19] He collaborated with Jon Whitcomb with the book “How I Make a Picture: Lesson 1-9, Parts 1”.[20][21] Society of Illustrators Atherton as an active member from his arrival in New York. The society have owned many of his works. Ex-collection includes: Rocking Horse (ca. 1949) [22] Atherton, as his peers had many of his works framed by Henry Heydenryk Jr.[23] Personal On November 2, 1926, he married Polly “Maxine” Breese (1903-1997).[24][25] They had one daughter, Mary Atherton, born in 1932. Atherton's often chose industrial landscapes, however found himself spending considerable time in Westport, Connecticut, with an active artistic community, and it became home for him, and his family. He then moved to Arlington, Vermont.[26] Norman Rockwell enlisted Atherton in what was to be the only collaborative painting in his career.[27] He was part of a group of artists including a Norman Rockwell, Mead Schaeffer and George Hughes who established residences in Arlington.[28] Atherton and Mead Schaeffer were avid fly fishermen and they carefully chose the location for the group,[29] conveniently located near the legendary Battenkill River. In his free time, Atherton continued to enjoy fly-fishing.[30] He brought his artistic talent into the field of fishing,[31] when he wrote and illustrated the fishing classic, “The Fly and The Fish”.[32] He died in New Brunswick, Canada in 1952,[33] at the age of 52 in a drowning accident while fly-fishing.[34] Legacy The Western Connecticut State University holds an extensive archive on this artist.[35] His wife, Maxine also published a memoir “The Fly Fisher and the River” [36] She married Watson Wyckoff in 1960. Ancestry He is a direct descendant of James Atherton,[37][38] one of the First Settlers of New England; who arrived in Dorchester, Massachusetts in the 1630s. His direct ancestor, Benjamin Atherton was from Colonial Massachusetts...

Medium: Oil on Masonite Signature: Signed Lower Right, with Title and Registration Marks in Chalk "Tom pleaded, 'Does one misstep have to ruin our marriage?'" Cover illustration for...

Medium: Oil on Masonite Signature: Signed 'Hughes-' Lower Left This work was published as the cover of the June 17, 1950 edition of The Saturday Evening Post. Literature: J. Cohn, ...

Medium: Oil on Canvas with an Element of Collage Signature: Signed Lower Left Original cover illustration for The Saturday Evening Post, February 27th, 1954. The Post described, “...

Italian illustrator Gianni Benvenuti paints a charming fantasy scene. It's of an extreme closeup of a tiny crowned and winged Prince and Princess They are standing upright in a dand...

One Thousand and One Nights - It is often known in English as the Arabian Nights. What is notable about this work is how magnificently composed, designed, and rendered it is. Its l...

Medium: Gouache on Board Signature: Not Signed The Night Club Mystery, The Sexton Blake Library #284 cover, March 1953 This illustration appeared on the c...

ANTAL BIRO 1907-1990 Pozsony 1907-1990 Székesfehérvár (Hungarian) Title: Figures / Alakok, 1950-1952 Technique: Original Signed and Oil Painting on Board size: 21 x 31 cm / 8.3 x...

JACOB EL HANANI b. 1947 1947 Casablanca (Israeli) Title: Surrealist Landscape Technique: Signed Pen and Ink on Canvas Size: 80 x 59 cm. / 31.5 x 23.2 in. Additional Information...

Medium: Oil on Masonite Signature: Signed 'John Falter' Lower Right Sight Size 7.00" x 9.375;" Framed 9.50" x 12.00" Johnson & Johnson reproduced the present work as an advertisemen...

This beautiful semi-abstract harbor scene of a flock of birds is rendered in Martin's signature style

Pioneering Female Illustrator Barbara Briggs Bradley was an in-demand illustrator in the 1950s. Merrill Publishers of their famous children's books hired Barbara Briggs Bradley to d...

Arthur Meltzer (1893 - 1989) "Winter Farm Landscape" Image Size: 12 x 21 inches Framed: 32.5 x 23.5 inches watercolor on paper landscape painting with Farm houses, barns and a tra...

Jon Whitcomb was know for is dipictions of Handsome men and glamous women. Most likely for a major newsstand magazine like. Cosmopolitan, McCall's and Pl...

Jim's of Lambertville Fine Art Gallery is proud to present this piece by Harry Leith-Ross (1886 - 1973). The son of an English father and a Dutch mother, Harry Leith-Ross was born in the British Colony of Mauritius, an island in the Indian Ocean a thousand miles off the southeast coast of Africa. His first formal art instruction began in England under Stanhope Forbes, followed by studies with Jean Paul Laurens at the Academie Julian in Paris. Leith-Ross came to the United States to enroll at the National Academy of Design in New York City in 1910, and then to Woodstock, in 1913. It was in Woodstock at the Art Students League, under the tutelage of Birge Harrison and John F. Carlson, that Leith-Ross would receive the training that most influenced his career as an artist. There he formed a lifelong friendship with fellow artist, John Folinsbee. The two artists shared a studio during this time and participated in several joint exhibitions exclusively featuring their work, including an exhibit at the Louis...

Art Seiden was born in Brooklyn, NY in 1923. He received a BA at Queens College and studied for eight years (!) at the Art Students League. Mario Cooper was among his instructors. Up...

Medium: Pen and Ink on Illustration Board Signature: Signed Upper Right Caricature by George Wachsteter (1911-2004) of Composer and Musician Tony Mottola, `Mr. Big`, author of the `Danger` chord for the 1950 NBC-TV show of the same name. A famous musical signature where a single repeated note is interrupted by a dramatic chord or sting, the device was named after the series which first utilized it as its theme, the CBS-TV suspense anthology, `Danger` (1950-55). It was one of the directors for `Danger` - Yul...

Mixed media on laid paper by Hubert Brake. "Abstrakte Komposition I", 1952 48,6 x 62 cm signed and dated

Work is nicely archival matted to 17.75 x 16.75 inches but not framed. Signed lower left Published : Oct. 29, 1951 Cover, Time Magazine

Man on Floor Illustration ca. 1950–1959 Paintings, gouache on board 8 x 26.25 in. (20.3 x 66.7 cm.) Modern Magazine Story Illustration Heritage, Morris Weiss CollectionSunning work w...

Most likely for Redbook, Cosmopolitan, Collier's Weekly, Good Housekeeping or Macall's

This illustration was published twice as a paperback cover, first as Motel Mistress by Norman Bligh, Original Books, 1952, and also - under the same title - as Star Novels #763, circa 1955. Raymond S. Pease was a painter and illustration artist, especially of outdoor sports, including polo, and of Western subjects. Born in Vermont, he grew up with horses, and remained interested in them the rest of his life. Pease attended Grand Central Art School and the National Academy of Design in New York City, and received a B.F.A. degree from the Yale University School of Art. He also studied art in Paris at the Ecoles des Beaux-Arts and Academie Julian. Pease painted portraits, still lifes, wildlife, polo scenes, a series of paintings of wild horses...

The Board measures 13.5 x 12.5 Ernest Hamlin Baker is one of America's greatest artist that no one has ever heard of. Take a look at his full body of work. If you haven't noticed, Er...

Blueprints into Reality - Full-page ad for United Engineers that ran in Fortune Magazine, March 1958, and other business magazines. As Fred Taraba stated, this image is symbolic of optimism and potential. Work includes the original issue of Fortune Magazine with the ad in which United Engineers mentions Stanley Meltzoff. "Here Stanley Meltzoff dramatizes with tools and massive concrete forms...

Classic illustration for a romanace novel from the 1950's in England. Recently these charming works have been the source of interest and even parody. Unsigned, unframed. Vale Studi...

Date: 1955 Medium: Acrylic on Board Dimensions: 30.00" x 20.00" Movie poster design.

Medium: Oil on Board Signature: Signed Lower Left

Date: 1953 Medium: Gouache on Board Dimensions: 32.00" x 27.00" Signature: Signed Lower Left Cover of Nov. 1953 issue of Country Gentleman magazine...

Narrative artist Robert Riggs captures a highly-charged scene of an Indian firewalking ceremony. Firewalking is part of a religious ritual and is associated with the mystical powers...

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...

Pruett Carter captures the quintessential look of the 1950's in this loosely rendered but charming work for Redbook. Bright, punchy colors define each object and are arranged in a simplified but complex composition of intersecting and overlapping planes of color. The double portrait of the girl expresses a peak moment of introspection. She ponders her situation while preparing to get dressed for her special occasion. The whole scene is imbued with suspense about her future. Carter is a great academic painter. With just a few light touches of the brush, he quickly defines the form of the subject and achieves the X factor of the work. The profile and frontal view of the girl clearly are the same person. He nails her look. This is hard to do. Do not underestimate it. Sadly, there is a reason why there are very few contemporary artists can actually paint and draw without tracing photographs or resort to naive painting. It's hard to do. It's hard to be a painter. You can not fake...

O MARA'S MUNICIPAL TAVERN - Saturday Evening Post Illustration Supreme technical skill allows the artist to realistically capture an...

Enroll For Service, American Junior Red Cross, poster illustration, 1951 Gouache on board 22 x 14 1/2 in. Not signed From the Collection of the American Red Cross...

Most likely for a Magazine like Redbook, Cosmopolitan and Good Housekeeping, Ladies Home Journal or Woman's day Lorraine Fox is Hall of Fame member of the Society of Illustrators She...

Medium: Watercolor, Gouache & Charcoal on Board Date: 1950s Dimensions: Various Sizes Signature: Unsigned Contact for exact dimensions. AMERICAN ARTIST (20th Century) Group of four...

Date: 1954 Medium: Acrylic on Board Dimensions: 20.00" x 30.00" Signature: Signed Lower Right The events of 1954.

Date: 1955 Medium: Oil on Canvas Signature: Signed Lower Left Dimensions: 27.00" x 38.00" "Dr. Walters glanced back. Howell was whispering to Louise as though the savagery arou...

ABRAM ADOLPHE MILICH 1884-1964 Tyszowce, Poland 1884-1964 Paris (Polish) Title: Chateauneuf, 1957 Technique: Original Signed Oil Painting on canvas size: 65.5 x 81 cm / 25.8 x 31...

Signed lower right, unframed - Interior Illustration for Redbook Magazine

Archivally Matted to 17.75 x 16.75 inches Signed lower left

Medium: 1958 Medium: Gouache on Tempera on Board Dimensions: 17.00" x 15.50" Signature: Signed and Inscribed Lower Right This illustration was published as the dust jacket for the h...

Story illustration for "The Well-Meaning Kidnapper" by Logan Carrol, published in The Saturday Evening Post, February 3, 1951, page 24. The full caption reads: "'Don't you know kidn...

Men on a horse and buggy going down the snow covered road. Signed lower left. E. Everett Henry was an advertising artist during much of his career, which he began in the ‘twenties, and he illustrated many advertising campaigns. Henry brought to his work a thorough academic training through study at the Art Students League, the School of Fine and Applied Art, New York University and Columbia University. He also did some teaching at the School of Fine and Applied Art in New York. In 1935, he painted murals for the Ford Company Building at the San Diego Fair. This led to many other mural commissions, several of which he executed in collaboration with Allen Saalburg and Louis Bouché...

Medium: Oil on Board Signature: Signed Lower Right

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...

EMILIO GRAU SALA Spanish, 1911 - 1975 TROUVILLE, SEPTEMBRE 1953 signed Grau Sala (lower left) signed again, located & dated "Grau Sala, Trouville, Septembre 1953" on the reverse oil...

Signature: Signed Lower Right Medium: Gouache on Board