Recognized Dealers Figurative Paintings

Medium: Oil on Canvas Signature: Signed Lower Right 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...

A contemporary commentary on the human condition in Vietman. Nguyen draws inspiration from Basquiat while applying surreal expressionism through his own lens. The painting uses col...

She Loves Me ...She Loves Me Not, Liberty Magazine Cover, June 19, 1926 Original cover for Liberty magazine, published June 19, 1926. Sandy forgot that toda...

Medium: Oil on Canvas Signature: Signed Lower Left Size: 26.20" x 24.00" As noted in Vintage Illustration by Rick and Charlotte Martin, Hy Hintermeister was actually the pen name of...

Medium: Gouache on Board Signature: Signed Lower Left Illustration, American Litho. Co., 1904;

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...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE 'Celtic Furniture' by Hugues Claude Pissarro (b. 1935) Oil on canvas 92 x ...

Signed and dated ‘20 at lower right Illustrated: Walt Reed, The Illustrator in America 1900-1960’s, p 86

Medium: Oil Paint Signature: Signed Lower Right Dimensions: 26.00" x 24.00" As noted in Vintage Illustration by Rick and Charlotte Martin, Hy Hintermeister was actually the pen name...

Medium: Oil on Canvas Signature: Signed Upper Left Story illustration for “The Stars Look Down” by A.J. Cronin, illustrated by Cornwell and W. Smithson Broadhead...

Medium: Oil on Canvas Signature: Signed Lower Right "Valley of Ashes" by William James Stevens Jr., and illustrated by Stevan Dohanos for the Saturday Evening Post, May 24, 1947.

*PLEASE NOTE UK BUYERS WILL ONLY PAY 5% VAT ON THIS PURCHASE. Vessels by Yosl Bergner (1920-2017) Oil on canvas 65 x 81.4 cm (25 ⁵/₈ x 32 inches) Signed and dated upper left Execute...

Date: 1989 Medium: Acrylic on Board Dimensions: 24.00" x 18.00" Signature: Signed Lower Left This painting was published as the cover for Aurora Rose by Anne Worboys, Pocket Books, ...

Pollack, Bob (American, born 1936. STEVE YOUNG IN ACTION (San Francisco 49ers, 1996). Original painting in acrylics on paper, 1996. Signed and dat...

Medium: Oil on Canvas Dimensions: 28.00" x 22.00", Framed 34.00" x 28.00" Signature: Signed Lower Left Original illustration for Moby Dick: 'To ...

Perry Burns received his BFA from the Rhode Island School of Design in 1988. Since then he has been making paintings that merge the traditions of Middle Eastern patterns and European...

Medium: Oil on Board Signature: Signed Lower Right Vogue magazine cover 3/15/13

Signature: Farmer Smoking his Pipe Medium: India and colored inks "Dorne never got around to producing his volume of instruction for the Famous Artists Schools, but a lot of that ma...

Image of a ballerina wearing a tutu sitting in front of a brick wall. Signed Lower Left. Artist Francois Cloutier captures the essence of ballet in paintings of dancers who maintai...

“We Prefer Cigarets [sic]: Lil’s Hectic Hunt for Holiday Gifts,” original cover for Liberty magazine, published December 17, 1927 With only six days left before Christmas, Lil and h...

Medium: Oil on Canvas Signature: Signed Size: 31.00" x 35.00" From Lincoln, Nebraska, Mortimer Wilson, Jr. had a rich, sumptuous style of painting, based in part on his training as a portraitist. His father, conductor of the Atlanta Symphony ad a composer, had wanted his son to follow a musical career, but both violin and piano were discarded when Mortimer showed a genuine interest in drawing and painting. Wilson became a popular illustrator for American Magazine, The Saturday Evening Post, and Woman’s Home Companion, as well as for advertisers such as Maxwell House...

Back Cover illustration for the April 8, 1950 Easter edition of The War Cry, a magazine published by the Salvation Army This heartwarming image graced the back cover of the 1950 Eas...

Medium: Oil on Canvas Signature: Signed Lower Left This work was featured on the cover of The Saturday Evening Post, June 11, 1949 The Post described the cover as follows: "Having found the setting he wanted for his circus-theme cover painting - on the Brotherton farm near Westport, Connecticut- Stevan Dohanos began rigging up a beam for the farm boy...

Portrait of a Woman by Ludovic-Rodo Pissarro (1878-1952) Oil on canvas 55 x 46 cm (21 ⁵/₈ x 18 ¹/₈ inches) Signed lower right, Ludovic Rodo Executed circa 1906 This work of art is a...

Illustration for the poem “Life is a Gypsy Dressed in Red” by Mary Carolyn Davies for Hearst’s International, published October 1921, page 44. Medium: Oil on Canvas Dimensions: 30....

Le Pont Rose sous la Neige - Châteaudun by H. Claude Pissarro (b. 1935) Oil on canvas 38 x 46 cm (15 x 18 ¹/₈ inches) Signed lower left, H. Claude Pissarro This work is accompanied ...

Le Mois des Moissons, Environs de Meulan by H. Claude Pissarro (b. 1935) Oil on canvas 50 x 61 cm (19 ³/₄ x 24 inches) Signed lower right, H. Claude Pissarro This work is accompanie...

Date: 1985 Medium: Acrylic on Canvas Dimensions: 28.00" x 18.00" Signature: Signed Lower Right Warner books Robert Berran has been a prolific romance and historical book cover illus...

Neige au Manoir de Miettes (Le Parapluie Bleu) by H. Claude Pissarro (b. 1935) Oil on canvas 50 x 61 cm (19 ³/₄ x 24 inches) Signed lower left, H. Claude Pissarro This work is accom...

A mixed media painting on wood, Waiting depicts an abstracted woman in a white blouse and flowing black skirt against a deep red filigreed background, the...

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters. In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23). In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”). Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5). During his sojourn in Japan, Moore spent time in Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable panels, he created about sixty scenes of daily life, among them this sparkling portrayal of a young woman dressed in a traditional kimono and carrying a baby on her back, a paper parasol...

Nguyen Dinh Vu was born in 1980 in the city of Thai Nguyen, Vietnam. He is a graduate with a master's degree from the Vietnamese University of Fine Arts. Vu is a contemporary Vietn...

Medium: Oil on Canvas Laid on Board Sight Size 28.50" x 25.50;" Framed 31.00" x 28.00" Signature: Signed Lower Left

Date: 1942 Medium: Oil on Canvas Dimensions: 24.00" x 48.00" Signature: Signed Lower Right

Clowns playing a card game of poker outside the circus American artist Hal Crecy is known for his paintings of clowns Medium: Oil on Canvas Dimen...

Medium: Oil on Canvas Sight Size 35.75" x 28.00", Framed 43.50" x 35.50" Signature: Signed Lower Right This work was illustrated on the cover of the Saturday Evening Post...

Oil on canvas Canvas size: 24 x 17 inches Framed size: 30.5 x 23.5 inches Signed lower right

Framed, dimensions: 45 x 39 in. Signed lower left

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE La N.56 à Gortahork by HUGUES PISSARRO DIT POMIÉ (b. 1935) Oil on canvas 65 x 54 cm (25 ⅝ x 21 ¼ inches) Signed ...

Story illustration for “Perdita’s Christmas” by Richard Le Gallienne for The Saturday Evening Post, published December 7, 1901, page 4. The narrater centers the story around Perdit...

Contemporary figurative oil on canvas painting with brights reds, blacks and gold. Dimensions are 73" x 55".

Medium: Oil on Canvas Signature: Signed Lower Left Norman Mills Price never fully received the popular recognition that his work deserved. Because he was so intently interested in h...

Amoco Gas Advertisement

Signed Lower Left

Date: 1880 Medium: Oil on Board Dimensions: 18.20" x 24.00" Signature: Signed Lower Right

“For the Love o’ Lil: The Picture Story of an American Family” In 1926, under his long-term contract to produce a cover per week for Liberty magazine, Leslie Thrasher introduced a s...

Medium: Oil on Canvas Signature: Signed and Dated Lower Left Cover illustration for The Saturday Evening Post, June 8, 1912

Three young boys talking. One of the boys is playing with a military jacket on the chair. Signed lower center. The illustrations of Douglas Crockwell were often simply signed “Douglass” to avoid confusion with the signature of Norman Rockwell, particularly since their work was being published on the covers of The Saturday Evening Post during the same period. Necessary too, because Crockwell also worked very realistically, and like Rockwell, was particularly good with children. Their backgrounds, however, were entirely different. Crockwell was born in Chicago, Ohio, and took his degree in Science at Washington University, followed by study at the Academy of Fine Arts in Chicago and the St. Louis School of Fine Arts. He received his first commission for a cover for The Saturday Evening Post in 1933, and this was followed by many more, as well as work for other periodicals and a long list of national advertisers. During the ‘thirties, he also completed Post Office murals in Vermont, New York State and Mississippi, and began to work on experimental animated films. The films, and inventing a “pan-stereo” viewing...

Medium: Oil on Board Signature: Signed on Reverse 1 of a 4 part Illustration, Used as Promotional Poster Exhibited: Chadds Ford, Pennsylvania, Brandywine River Museum, Maxfield Pa...

A man identifies a dead body to the police - the mortician. Probable magazine story illustration Dimensions: 16.20" x 24.20" Medium: Oil on Masonite Signature: Signed Lower Right

Medium: Oil on Board Dimensions: 21.38" x 15.00" Signature: Signed Lower Right

A painting by Jae Kon Park. "Untitled" is a figurative painting, oil on canvas in blues and browns by Korean, Post-War artist Jae Kon Park. The artwork is signed in the lower left, "...

A boy climbs out the window and sneaks out of the house to go fishing with his friend Artwork Dimensions: 28¼” x 26¼” Medium: Oil on Canvas Signature: Signed Lower Right

Signature: Initialed Lower Left

Medium: Oil on Canvas Signature: Signed Lower Left

Date: 1943 Medium: Oil on Board Dimensions: 17.50" x 25.50" Signature: Signed Lower Left Born in San Francisco, Amos Sewell was a ranking California tennis player in his 20s wh...

Medium: Oil on Board Signature: Unsigned "Defense on the sea begins on the shore." Study for a World War II propaganda poster for the "Industr...

‘After Baby Diary’ is a large figurative oil on canvas painting created by Vietnamese artist Dang Thao Ngoc in 2008. Featuring a palette made of rust, yellow, green and black colors,...

Date: 1946 Medium: Oil on Paper Dimensions: 20.25" x 18.25" Signature: Signed Lower Right Exhibitions: September 2007: Society of Illustrators

Medium: Oil on Canvas Signature: Signed Lower Right "A Successful Man," by Ella Wheeler Wilcox, from book Poems of Optimism (1919).