1940s Paintings

Le Pont Neuf, the oldest existing bridge to span the Seine in Paris, is the subject of this painted board in giltwood frame, signed and dated in the lower left corner by the artist, ...

Oil on canvas painting by Dutch artist Abraham van der Zee (1882–1958), elegantly presented in its original wooden frame. A distinguished figure of early 20th-century Dutch art, van ...

Stunning Norwegian / Scandinavian Art-- "Winter Mood" by A. SCHREINER. Oil on canvas, A Museum Quality antique art from Norway. Title: "Winter Mood / Vinterstemning" Medium: Oil on ...

Highly atmospheric and winning, this American Scene painting of three young men waiting for the next train in downtown Indianapolis -- perhaps...

1940s Signed Realist WPA Banana Flower Oil Painting Offered for sale is a stunning 1940s realist WPA oil painting oil on board. The painting is signed a...

Mid-Century French Peonies Oil Painting Still Life. Signed A. Bonquet dated 1948. Lavender colors. 30 inches W by 24 inches H

VENICE oil painting, featuring the Doges Palacio, Italian School, circa 1940s in its original 1940s frame. Signed M. Coloman, 20th century.  

This 1940s, unsigned oil-on-canvas portrait, newly restored and framed, came from the estate of scholar John Githens (1937-2024) and artist Ingeborg ten Haeff (1915-2011). The couple lived and hosted lively dinner parties at their Washington Square bohemian townhouse, where many of the furnishings were designed by ten Haeff’s first husband, the architect Paul Lester Wiener...

Antique American portrait on canvas board of a Native American chief, signed lower left.

Huts in Landeck – Oberinntal Work dimensions: 30 x 40 cm Dimensions with frame: 37 x 47 cm Technique: oil on canvas Period: 1942 Description: Summer view of some huts with classic ...

WPA era (1930s/1940s ) Oil on Oval Canvas Grouping of 3 Paintings of Trains with a Ribbon and Floating Ball, a bit Surrealist. Inspired by Thomas ...

Rolph Scarlett 1889-1984. Watercolor and ink on paper.c-1940. Eric Firestone Gallery label fixed to back.. in very good condition. Colors are vibrant. Paper is very secure with some ...

Original 1940s White/Pink Magnolia Watercolor Painting on Paper Signed by Shirrell Graves. The painting features its original white wood frame with a white mat. Shirrell Graves (188...

Best known for her depictions of New Mexico and the Southwest, here Virginia True painted a brilliantly-hued Cubist scene reflecting her years in New York. Showing the influence of P...

5183 Vintage French painting of a vailed dark haired beauty Framed in a modernict gilt frame Image size 19.5x 15.5"

Colorful and impressionist depiction of a woman with hat and scarf. A friend of the artist in Paris. Unframed.

3308 Oil on canvas in a custom gilt wood frame Image size 15.5x11.5"

A striking example of WPA mural art, this study for one of the murals proposed for the new Queens Supreme Courthouse -- a 1930s Works Progress Administration project in Queens, New York -- was painted by Eugene Savage. Like many paintings from the period, the study is teeming with allegory and symbolism, surmounted at the top by the figure of Justice with a long sword, spurning businesspeople at her feet who offer gifts and favors. Savage is best known for a spectacular set of murals illustrating the history and lore of Hawaii commissioned by Matson Shipping Line for the S.S. Lurline, executed in the 1940s but not installed until the 1950s. The artist also painted other series of murals and paintings, include an enormous mural...

An unusual painting by Umberto Romano, (1906-1982). Small in scale, but powerfull image entitled " Arturo The Clown". The sculptural portrait is further enhanced by an original overs...

Like many of his contemporaries in the 1920s and 1930s, in both America and France, Buthaud was fascinated with figures from classic mythology. Leda and the Swan was a motif he retu...

This portrait of a young man with vivid red hair, blue eyes and a ruddy complexion was painted by John C. Menihan, one of the most renowned portraitists and watercolorists of his day...

1947 Una Mañana En Enero by Antonio Ballerini Painting. Newly framed in gold giltwood frame. Painting includes COA and artist information from the gallery it was purchased from in Bu...

A large American abstract oil on canvas depicting nature in blues and greens, by American artist Donald Tait (1923-2018), who later lived and painted in Paris.

Titled 'Tangent' - Buffalo artist James Koenig paintings reflected many phases of American painting Styles including scenes from The WPA period, abstrac...

Signed Winter Church Scene by F. Michaels. Nice New England winter scene composition. Framed in a solid wooden frame. Signed lower right.

A beautiful oil painting by the Belgian artist Hubert Glansdorff. It is a portrait of a young child. The child wears a kimono and looks at the viewer...

Beautiful American modernist abstract acrylic painting on board in a beautiful new silver wood frame By Zoute’. Bold graphic imagery and vibrant colors. Signed lower right corner Z...

Antique framed impressionist oil painting on board. Lovely artist signed antique framed impressionist oil painting on board. This beauty d...

Inspired by "Kublai Khan," the famed Romantic poem by Samuel Taylor Coleridge, and one of a series painted by Milton Bond dating from the 1940s and 1950s, this depiction of a nude youth...

20th century oil on canvas painted and signed by the Belgium artist Alphonse Vermeir (1905-1994.) Depicting a Belgium townview. Originates Belgium, dating, circa 1940.

Beautiful signed original painting on canvas by Charles Cobelle of Paris. Charles Cobelle was a studio assistant to Raoul Dufy prior to his own prolific career as an artist in Paris....

"Provincetown Ice House, 1940s" Bruce McKain (American, 1900-1990) C. 1940s Oil on Canvas Canvas Dimensions: 41.5 in. Width 31.5 in Height Frame Dimension...

Well executed watercolor/gouache showing the great windjammer Kobenhaven under sail. The massive four masted barque has most sails set. Matted and framed. Titled lower left “Kobenhav...

Teeming with allegory and symbolism, this large and elaborate study by Eugene Savage for a major mural to be executed in mosaic was painted for the new Queens Supreme Courthouse -- a...

Boldly painted in vivid hues of red, deep pink, yellow and shades of blue, this abstract painting is attributed to Gino Severini, Italy's leading Modernist painter, who executed work...

More peaceful than a feng shui fountain, this post-impressionist oil on canvas shows a stunningly normal scene from the Swedish forest. Stands of linden trees, fir and aspen frame a ...

A beautiful oil on board by Arnold Turtle.

Perhaps the most remarkable of all the crystal paintings made by Milton Bond in the 1940s, this depiction of beautiful nude figures, male and female, forming a symmetrical circle aro...

Depisis style midcentury oil panting vase rose flowers signed T.Rossi 1940s classic frame. Elegant and refined as a picture of Depisis.

A charming oil painting by noted Washington DC artist Leonard Maurer, ca' 1948. Depicting children climbing trees. Wonderful sense of color and a real m...

This lovely painting from 1940 beautifully captures the atmosphere that prevailed at the Italian harbor during the orange harvest. It was painted by a German artist in 1940 in Italy,...

A very interesting and unusual Cornwall Iron Banks Original Oil Painting by artist J. Earle Pfoutz. The painting is produced on canvas and comes complete wit...

A very interesting and unusual Lancaster Covered Bridge Original Oil Painting by artist J. Earle Pfoutz. The painting is produced on artist board and comes complete with what appears to be an original artist decorated/painted frame. The painting is signed on the front by the artist and is dated 1936 on the rear. Overall frame Size approximately 28″ wide x 2″ deep x 22″ high J. Earle Pfoutz had a long and distinguished career as a self trained artist. More can be learned about him from reading this article produced by Gary Hawbaker at askART Earle Pfoutz Born: 1891 – Lancaster, Pennsylvania Died: 1957 Known for: Landscape, figure, still life painting An image of J Earle Pfoutz Biography from the Archives of askART J. Earle Pfoutz (John Earle Pfoutz) – (Oct 23, 1891-Nov 9, 1957) “A seventh generation descendant of a Swiss family which arrived in America early in the 17th Century, J. Earle Pfoutz was born in Lancaster, PA, son of John Bachman and Susan Allison Pfoutz. He painted houses for a living and pictures for a life. A self-taught artist, described as a primitive, he was distinctive for his vivid imagination and bold color application. He painted hundreds of Lancaster County scenes. Pfoutz traveled through the hills near his home and along the Susquehanna River in search of scenes. He began painting with a brush when he was fourteen, but added a palette knife after suffering an eye injury. He completed eighth grade in the Lancaster Public Schools and there his formal education ended. However, the Department of Public Instruction of the State of Pennsylvania thought so highly of his work as an artist that officials certified him as an art instructor and he taught for a year in the York (PA) public schools. He also was an art instructor under the program for disabled veterans, sponsored by the Veterans Administration, when he gave private instruction to veterans in their homes. In 1947, J. Earle Pfoutz finally earned national recognition as an artist. His painting, Opalescent October, was chosen by the Museum of Art of Dayton Ohio, to travel all over the country for a year with its Group Exhibition. Described as a “very colorful, calm scene, iridescent in color, sweeping in design,” the painting started on its journey around the country early in 1948. In an interview with the Sunday News (Lancaster, PA – Nov 2, 1947), Pfoutz stated that he didn’t know whether he was a “primitive” or an “impressionist.” No master taught him, no school channeled his style. “Sometimes I didn’t eat, but I always managed to paint,” he recalled. Many of his hundreds of canvases -most of them not sold, but given away to friends – found their way to other parts of the country. “I never remember the day when I did not love color,” Pfoutz said. “I was about 12 years old when I saw my first palette – a string of different colored paint paddles that graced the stores of that day. As a boy I had two great desires. One was to be able to eat all the strawberry jam I could, and the other to possess a string of those beautiful paint paddles. Well, I’ve got my fill of jelly, but I’ve never yet got my fill of beautiful colors.” In 1950, Pfoutz’s one man show of paintings made front page headlines in the Lancaster Intelligencer Journal: “Most of the twenty oil paintings on exhibition are landscapes, although there are several interesting figure studies. Colors again, as in all Pfoutziana are rich and full-bodied, but for the most part not as startlingly as in some of the earlier work. Most of the paintings were done during the past year, and also reveal the painter’s characteristic heavy impasto technique, in which the rich swirls of paint carry their own message. Among the figures, The Banjo Picker, and The Magician, are the most provocative. Both are character studies; the first being of a tramp musician whose drab clothing is set-off by a luminous aqua blue background. Modern in feeling and treatment is The Magician, a clown-faced wizard whose spinning ball in the air suggests the fourth dimension – space. The use of the primary colors in this picture serves to emphasize the theme effectively. A large colorful landscape, Opalescent October, depicting rolling hills against a late afternoon sky is new to Lancastrians, as it has just returned from Dayton, Ohio, where it hung in the Dayton Art Institute. Another landscape with soft dreamy colors is Fantasie D’Autumne, and one of the loveliest pictures in the show. Pennsylvania Dutch Country is another with eye appeal, and was one of the works which was hung in the Old Customs House in Philadelphia during Pennsylvania Week, and before that in a collection of Pfoutz work in the same place. In deep contrast to the sunny skies and brilliant foliage of many of the pictures, is the somewhat morbid Worry, in which the center of interest is a tremendous rat. This, the painter explains, was symbolic of 1948 in China, which was ‘The Year of The Rat’ in the Chinese calendar. Background material for the picture was furnished to Pfoutz by author Pearl Buck. Other pictures include Autumn Prelude, Miners Village, painted at Cornwall, PA; Humid Day, Saint Peters Kierch, at Middletown, PA; Lady Pfoutz, inspired by the painter’s wife; Sun Flowers, Sentimental Journey, Gyne, Luzon Woman, Old Bridge, The Cow Path. Lemures, based on Roman mythology, and Ethiopian, painted from an ebony wood carving from Kenya Province, S. Africa.” In 1953, Pfoutz was installed as President of the Lancaster County Art Association. A. Z. Kruse, New York City artist, writer and member of the faculty of the Brooklyn College and the Cartoonists and Illustrators School, Manhattan, was the guest speaker. In January of 1953, thirty-five Pfoutz oils were exhibited at the Old Custom House in Philadelphia, PA under the sponsorship of the Carl Schurz Memorial Foundation. Several Lancaster County landscapes and covered bridges were included as well as Katy, a Pennsylvania Dutch scene. Symbolic paintings included End of the Second Day, the artist’s visualization of the second coming of Christ, and Twilight, typifying the grief of mothers of all lands for sons lost in battle. In June of 1953, a Pfoutz oil made history in Lancaster. From the Lancaster New Era: “For the first in local art history, a painting has been withdrawn from an exhibition because of objections from viewers and hostesses serving at the show. The painting, Jeune Fille, a standing nude done by Pfoutz, was one of the paintings in the annual spring exhibition of the Art Association and had become the center of the controversy. Pfoutz said he took the painting down… ‘graciously but reluctantly.’ ‘From an artistic standpoint, there is nothing offensive about the painting,’ Pfoutz said. ‘This community just wants its nudes with clothes on.’ “It is most brilliant in color, and because it is so brilliant I thought it would make a nice lively spot for the show. This is the first time I’ve had to take a picture off the walls. I substituted a seascape for it.’ Pfoutz said he felt the painting brought a lot of viewers to the show because it was so controversial. It had never been exhibited before. ‘If this had been shown in a metropolitan city,’ he commented, ‘people wouldn’t have given it a second glance. But the viewpoint here is more conservative, even though I don’t think moderns would have minded.’ He said he felt the painting was neither ‘objectionable nor pornographic,’ but had complied with the wishes of fellow members of the Art Association who telephoned him to relay the protests they had received. The art controversy was the first to arise here publicly since the showing of Amish Grandmother, an oil by William Gropper which was part of the Gimbel Pennsylvania exhibit at the Griest Building several years ago. — Numerous viewers of Amish Grandmother, [a painting showing an Amish woman holding a white goose], expressed themselves quite vocally, calling it an affront to the Plain Folk. But it stayed on exhibit throughout the length of the Gimbel show. Pfoutz expressed no rancor, implying that if Gropper could take it so could he.” After his death, there were several shows of Pfoutz’ work organized by his son J. Earle, Jr. J. Earle, Jr. also saw to it that President Eisenhower would receive an oil called The Cow’s Path. The president first saw the painting in 1950 when, as president of Columbia University, he visited Lancaster to address a student assembly at Franklin and Marshall College. After his address was over, the then Gen. Eisenhower stopped at the Fackenthal Library on the campus to view an exhibition of Pfoutz’s paintings. The Cow’s Path intrigued him. For some time, as his aides fumed to get him back on his time schedule, Eisenhower and Pfoutz talked, as artist to artist. Prior to his death, Pfoutz requested that The Cow’s Path be given to the President if he wanted it. The painting was presented to Ike at the White House in November of 1959. Mrs. Eisenhower owned a Pfoutz painting titled, In the Manor. Though house painting was his livelihood, he worked for Millersville State Teachers College (now a university) for a time during World War II, and called himself “the Chimney Sweep of MSTC.” During that period he knocked out a dizzying canvas in the surrealist style (he thought it was terrible) and got into the campus newspaper when one of the students spotted it. Earle Pfoutz was not the humble, downtrodden artist, not the Douanier Rousseau type at all. As he developed his skill and style through the years, he also fashioned a resilient confidence in himself as an artist. Whether he was building his own home (he built two) or painting one for somebody else, he never lost faith in his ultimate recognition—though he was never sure he would live to see it. Whether he was working as a rigger for a hoisting company, in the Stehli Silk Mill of Lancaster, carving Cloister-style chairs, decorating old chests, cementing bricks from the old Safe...

John Hare (American, 1908-1978) A pair of watercolor paintings: "Provencetown Rooftops” and “Afternoon Light - Cape Cod”, circa 1940s. sight: 8 by 6 ¾ inches frame: 17 ⅝ by 16 ½ in...

Italian painting dated 1948. Framework oil on panel depicting a view of the famous Sacra di San Michele (seen from Avigliana) of good pictorial quality. Small framework with frame in...

A very interesting and unusual Pfoutz Original Farm Scene Oil Painting by artist J. Earle Pfoutz. The painting is produced on artist and comes complete with what appears to be an original artist decorated/painted frame. The Pfoutz Original Farm Scene Oil Painting is signed on the front by the artist and appears to be dated 1948 on the rear. Known for his unusual subjects Pfoutz outdid himself with this effort, capturing the essence of a Lancaster County farm but with the startling twist of portraying a large turkey vulture in the foreground. Definitely unique. Overall frame Size approximately 33″ wide x 3″ deep x 26″ high J. Earle Pfoutz had a long and distinguished career as a self trained artist. More can be learned about him from reading this article produced by Gary Hawbaker at askART Earle Pfoutz Born: 1891 – Lancaster, Pennsylvania Died: 1957 Known for: Landscape, figure, still life painting An image of J Earle Pfoutz Biography from the Archives of askART J. Earle Pfoutz (John Earle Pfoutz) – (Oct 23, 1891-Nov 9, 1957) “A seventh generation descendant of a Swiss family which arrived in America early in the 17th Century, J. Earle Pfoutz was born in Lancaster, PA, son of John Bachman and Susan Allison Pfoutz. He painted houses for a living and pictures for a life. A self-taught artist, described as a primitive, he was distinctive for his vivid imagination and bold color application. He painted hundreds of Lancaster County scenes. Pfoutz traveled through the hills near his home and along the Susquehanna River in search of scenes. He began painting with a brush when he was fourteen, but added a palette knife after suffering an eye injury. He completed eighth grade in the Lancaster Public Schools and there his formal education ended. However, the Department of Public Instruction of the State of Pennsylvania thought so highly of his work as an artist that officials certified him as an art instructor and he taught for a year in the York (PA) public schools. He also was an art instructor under the program for disabled veterans, sponsored by the Veterans Administration, when he gave private instruction to veterans in their homes. In 1947, J. Earle Pfoutz finally earned national recognition as an artist. His painting, Opalescent October, was chosen by the Museum of Art of Dayton Ohio, to travel all over the country for a year with its Group Exhibition. Described as a “very colorful, calm scene, iridescent in color, sweeping in design,” the painting started on its journey around the country early in 1948. In an interview with the Sunday News (Lancaster, PA – Nov 2, 1947), Pfoutz stated that he didn’t know whether he was a “primitive” or an “impressionist.” No master taught him, no school channeled his style. “Sometimes I didn’t eat, but I always managed to paint,” he recalled. Many of his hundreds of canvases -most of them not sold, but given away to friends – found their way to other parts of the country. “I never remember the day when I did not love color,” Pfoutz said. “I was about 12 years old when I saw my first palette – a string of different colored paint paddles that graced the stores of that day. As a boy I had two great desires. One was to be able to eat all the strawberry jam I could, and the other to possess a string of those beautiful paint paddles. Well, I’ve got my fill of jelly, but I’ve never yet got my fill of beautiful colors.” In 1950, Pfoutz’s one man show of paintings made front page headlines in the Lancaster Intelligencer Journal: “Most of the twenty oil paintings on exhibition are landscapes, although there are several interesting figure studies. Colors again, as in all Pfoutziana are rich and full-bodied, but for the most part not as startlingly as in some of the earlier work. Most of the paintings were done during the past year, and also reveal the painter’s characteristic heavy impasto technique, in which the rich swirls of paint carry their own message. Among the figures, The Banjo Picker, and The Magician, are the most provocative. Both are character studies; the first being of a tramp musician whose drab clothing is set-off by a luminous aqua blue background. Modern in feeling and treatment is The Magician, a clown-faced wizard whose spinning ball in the air suggests the fourth dimension – space. The use of the primary colors in this picture serves to emphasize the theme effectively. A large colorful landscape, Opalescent October, depicting rolling hills against a late afternoon sky is new to Lancastrians, as it has just returned from Dayton, Ohio, where it hung in the Dayton Art Institute. Another landscape with soft dreamy colors is Fantasie D’Autumne, and one of the loveliest pictures in the show. Pennsylvania Dutch Country is another with eye appeal, and was one of the works which was hung in the Old Customs House in Philadelphia during Pennsylvania Week, and before that in a collection of Pfoutz work in the same place. In deep contrast to the sunny skies and brilliant foliage of many of the pictures, is the somewhat morbid Worry, in which the center of interest is a tremendous rat. This, the painter explains, was symbolic of 1948 in China, which was ‘The Year of The Rat’ in the Chinese calendar. Background material for the picture was furnished to Pfoutz by author Pearl Buck. Other pictures include Autumn Prelude, Miners Village, painted at Cornwall, PA; Humid Day, Saint Peters Kierch, at Middletown, PA; Lady Pfoutz, inspired by the painter’s wife; Sun Flowers, Sentimental Journey, Gyne, Luzon Woman, Old Bridge, The Cow Path. Lemures, based on Roman mythology, and Ethiopian, painted from an ebony wood carving from Kenya Province, S. Africa.” In 1953, Pfoutz was installed as President of the Lancaster County Art Association. A. Z. Kruse, New York City artist, writer and member of the faculty of the Brooklyn College and the Cartoonists and Illustrators School, Manhattan, was the guest speaker. In January of 1953, thirty-five Pfoutz oils were exhibited at the Old Custom House in Philadelphia, PA under the sponsorship of the Carl Schurz Memorial Foundation. Several Lancaster County landscapes and covered bridges were included as well as Katy, a Pennsylvania Dutch scene. Symbolic paintings included End of the Second Day, the artist’s visualization of the second coming of Christ, and Twilight, typifying the grief of mothers of all lands for sons lost in battle. In June of 1953, a Pfoutz oil made history in Lancaster. From the Lancaster New Era: “For the first in local art history, a painting has been withdrawn from an exhibition because of objections from viewers and hostesses serving at the show. The painting, Jeune Fille, a standing nude done by Pfoutz, was one of the paintings in the annual spring exhibition of the Art Association and had become the center of the controversy. Pfoutz said he took the painting down… ‘graciously but reluctantly.’ ‘From an artistic standpoint, there is nothing offensive about the painting,’ Pfoutz said. ‘This community just wants its nudes with clothes on.’ “It is most brilliant in color, and because it is so brilliant I thought it would make a nice lively spot for the show. This is the first time I’ve had to take a picture off the walls. I substituted a seascape for it.’ Pfoutz said he felt the painting brought a lot of viewers to the show because it was so controversial. It had never been exhibited before. ‘If this had been shown in a metropolitan city,’ he commented, ‘people wouldn’t have given it a second glance. But the viewpoint here is more conservative, even though I don’t think moderns would have minded.’ He said he felt the painting was neither ‘objectionable nor pornographic,’ but had complied with the wishes of fellow members of the Art Association who telephoned him to relay the protests they had received. The art controversy was the first to arise here publicly since the showing of Amish Grandmother, an oil by William Gropper which was part of the Gimbel Pennsylvania exhibit at the Griest Building several years ago. — Numerous viewers of Amish Grandmother, [a painting showing an Amish woman holding a white goose], expressed themselves quite vocally, calling it an affront to the Plain Folk. But it stayed on exhibit throughout the length of the Gimbel show. Pfoutz expressed no rancor, implying that if Gropper could take it so could he.” After his death, there were several shows of Pfoutz’ work organized by his son J. Earle, Jr. J. Earle, Jr. also saw to it that President Eisenhower would receive an oil called The Cow’s Path. The president first saw the painting in 1950 when, as president of Columbia University, he visited Lancaster to address a student assembly at Franklin and Marshall College. After his address was over, the then Gen. Eisenhower stopped at the Fackenthal Library on the campus to view an exhibition of Pfoutz’s paintings. The Cow’s Path intrigued him. For some time, as his aides fumed to get him back on his time schedule, Eisenhower and Pfoutz talked, as artist to artist. Prior to his death, Pfoutz requested that The Cow’s Path be given to the President if he wanted it. The painting was presented to Ike at the White House in November of 1959. Mrs. Eisenhower owned a Pfoutz painting titled, In the Manor. Though house painting was his livelihood, he worked for Millersville State Teachers College (now a university) for a time during World War II, and called himself “the Chimney Sweep of MSTC.” During that period he knocked out a dizzying canvas in the surrealist style (he thought it was terrible) and got into the campus newspaper when one of the students spotted it. Earle Pfoutz was not the humble, downtrodden artist, not the Douanier Rousseau type at all. As he developed his skill and style through the years, he also fashioned a resilient confidence in himself as an artist. Whether he was building his own home (he built two) or painting one for somebody else, he never lost faith in his ultimate recognition—though he was never sure he would live to see it. Whether he was working as a rigger for a hoisting company, in the Stehli Silk Mill of Lancaster, carving Cloister-style chairs, decorating old chests, cementing bricks from the old Safe...

Striking in conception and execution, this half-portrait of a handsome, blue-eyed young man -- his back to a mirror and his arm folded over a chair -- was painted by Marion Huse, who...

Whimsical oil painting titled Le Dance dated 1944. Painting measures 25" wide, 2.25" deep and 37" high.

United States Combat Battalion "300th Engineers". Artist Michael Marsden 1902-1994 is known for painting flowers this painting was painted during the war or veteran reunion.

Pál Fried (1893-1976), a well listed Hungarian artist. Oil on canvas. Portrait of a ballerina in a pink dress. Ca. 1940. Signed and stamped with gallery stamp on the back. Perfect co...

An interesting oil painting depicting a fisherman on the bank of a river. It is a somewhat curious representation, with the man shown from the back, but that is precisely why the pai...

"Market In Milan" on verso, signed and dated lower right '48, unframed.   

Created in the 1940s, this painting has an air of nostalgia and foreboding. It depicts a house set against the backdrop of not-so-distant skyscrapers. The city fades into gray in con...

An oil on canvas of a fishing charter boat at sea with fishermen. Likely an illustration for a publication circa 1940s. canvas: 27 by 21 inches frame: 31 by 25 inches Fair overall...

This fresh and vibrant portrait of a young woman with glowing blond hair and a blue 1940s frock is one of the finest World War II vintage portraits we have ever offered. Her complex...

Large Impasto Painting of House on the Water by Lephe Kingsley Holden. Signed lower right. Lephe Kingsley Holden (1881 - 1973) was active/lived in Connecticut, New York. Lephe Holden was a painter and art teacher. She was born in Hadley, Massachusetts on May 1, 1881. She was the daughter of Elbridge Kingsley and Elizabeth (Cook) Kingsley. Elbridge Kingsley was a painter, wood engraver and illustrator for the Century Co. Lephe was a graduate of Hopkins Academy, Hadley, Massachusetts and the Art Student's League, New York. She studied privately with Augustus V. Tack, Dwight Tryon, Guy Wiggins, George E. Browne, Hippolito Hidalgo, and Ed Carviedes. Holden taught art at Maxwell Training College, New York (1908-1912). She married Samuel M. Holden on October 1912, and they were married until his death in January 1936. Holden also served as the Director of Art Instruction in Westport, Connecticut School System (1927-1947). Initially she was the only art teacher, but at the time of her retirement there were five assistant instructors. She exhibited with the American Watercolor Society Education: Pratt Institute; Art Students League, NYC; With George Elmer Browne; Guy Wiggins Summer Art School, Essex, Connecticut, 1936. Membership: Key West Art and Historical Society; Key West Artists...

Vintage Wood Framed Painting with White Orchid Motif, by Tip Freeman This painting by American artist Tip Freeman depicts a White Orchid. This artwork has...

Oil on cardboard boats on the sea in 1940 with lacquered frame.

A watercolor landscape depicting a farm in the Icelandic countryside. The painting was a gift from the artist Thomas B. Gay, who was stationed with the 624th Eng. Camouflage Company...

Signed coastal beach painting by Frank Proschwitzky Freyburg. (1862 -1940) Of British-German descent but lived in the United States. Please confirm dimensions prior to purchase.