Recognized Dealers Figurative Paintings

Medium: Oil on Board Signature: Signed Lower Left Dimensions: 23 7/8" x 20.00" Cover of The Saturday Evening Post, June 21, 1958

Born in Columbus, Ohio, in 1965, Ron Hicks was an avid artist from an early age. Hicks began his formal studies in art at the Columbus College of Art and Design in Ohio. Hicks continued his studies at the Colorado Art...

6 panel painting from Scott Campbell.

Medium: Oil on Canvas Signature: Inscribed: "My best wishes to/my friend Judy Bedell/sincerely/Norman Rockwell Included with the painting, the dress that the model wore for this pai...

The Vigil-at-Arms, illustration for a poem by William Lucius Graves published in Scribner's Magazine, December 1904 Medium: Oil on Canvas Signature: Signed

Medium: Mixed Media on Board Signature: Signed on Verso Contact for dimensions. Maxfield Parrish created the present work as a playbill to commemorate a performance of Ivanhoe, whi...

Medium: Oil on Paper Laid on Panel Signature: Signed Lower Right Initialed lower right: M.P. Signed on the reverse: Maxfield Parish Initialed and numbered by the artist's son on the reverse: M.P. Jr. / No. 68. When Maxfield Parrish painted the comical A Dark Futurist in 1923 for Life magazine, he had already established himself as America's leading book and magazine illustrator. His early artwork for children's classics like L. Frank Baum's Mother Goose in Prose (1897), Kenneth Grahame's Dream Days (1900), and Eugene Field's Poems of Childhood (1904) popularized his signature atmospheric settings, cobalt blue-and-gold palette, and dreamy figures inhabiting magical worlds. Likewise, his covers for Century, Collier's, Harper's Bazaar, Ladies' Home Journal, Life, and Scribner's Magazine were highly desirous and instantly recognizable, often more stylized than his book imagery; no other journal illustrator could match Parrish's winning combination of precise draftsmanship, strong graphic design, and amusing characters. According to David Apatoff, Art Critic, The Saturday Evening Post, "Parrish abandoned his customary heavy details and rainbow colors to present a bolder, more high-contrast design silhouetted against a stark white background - a treatment more suitable for a modern magazine cover vying for attention on a crowded newsstand. A Dark Futurist is silhouetted against a white field with no background or details to prop it up. The composition is carefully centered with only differences in the hands and the artist's necktie to break the symmetry. These are crucial to the success of the design. Just as important as Parrish's clean, high-contrast style in these pictures is the refreshing humor and sophistication in content, which is usually absent from Parrish's fairytale paintings. A Dark Futurist shows us a different kind of modernism. Parrish steps out of his timeless fairy tales to tweak one of the most incendiary artistic movements of his day. Futurism, with its militant manifesto and its outspoken artists, was all the rage in Europe. Parrish pokes them, showing a "dark" and anxious futurist with pursed lips and thick glasses, poised to paint but not exactly sure of, or optimistic about, what the 'future' will hold. This suggests that Parrish was alert to, and had opinions about, current events of the day - something one might never guess from his usual subject matter." In his early Collier's illustrations, Parrish also developed memorable themes that he would return to in his 1920s magazine work. One of his most popular characters was the "seer," or man with keen visual powers, most often depicted as an artist, but also appearing as a tourist, scientist, and philosopher. Parrish's seer was recognizable by particular physical attributes: round glasses, indicating his visual and analytical acuity, and an overcoat and/or hat signifying his role as observer of the outside world. A Man of Letters, sold last year at Heritage Auctions, was one of the first Life covers Parrish rolled out for Gibson, and he repeated the character of the artist-seer, emphasizing the comic spin, for two later editions: A Dark Futurist (Life, March 1, 1923) captures a Parrish-like artist in foggy round glasses and a long green coat...

Medium: Oil on Board Signature: Signed Sight Size 20.13" x 16.38", Framed 26.00" x 23.00" Maxfield Parrish’s popularity as an illustrator began with his early work for magazine publishers. An Easter 1895 cover for Harper’s Bazaar, one of the leading publications of the day, was followed by a successful foray into book illustration beginning in 1897 when Parrish completed illustrations for Frank Baum’s Mother Goose in Prose. His unique style and vivid imagination were well suited to illustrating children’s literature and resulted in numerous commissions. The List of Characters is one of 26 paintings, which appeared as an illustration in Louise Saunders' book, The Knave of Hearts. Lawrence S. Cutler and Judy Goffman Cutler write, “The last book Parrish illustrated, The Knave of Hearts (1924), was his masterpiece. When Parrish discovered this children’s play, he proposed an illustrated edition to Scribner’s, to which the publisher enthusiastically agreed …It was written by Louise Saunders, who was the wife of Maxwell Evarts Perkins of Scribner’s, an important editor in the 20th century and discoverer of authors Thomas Wolfe, Ernest Hemingway, F. Scott Fitzgerald and others. The couple were summer residents at Cornish and close friends of the Parrishes” (Maxfield Parrish and the American Imagists, Edison, New Jersey, 2004, p. 172). According to Coy Ludwig, “The artist’s enthusiasm was shared by the publisher, who requested sketches or more precise information upon which to base a cost analysis, as final approval could not be given until the costs were estimated. Parrish prepared an elaborate dummy or mock-up of the proposed publication, complete with watercolor sketches of the illustrations, and sent it to the publisher early in 1921 …The twenty-six paintings for The Knave of Heartswere executed within three years, and the book, a sumptuous production, was published on October 2, 1925… The volume, selling for ten dollars, was packaged in a telescoping box...

Medium: Oil on Canvas Signature: Signed Lower Left The Saturday Evening Post unpublished cover, 1943 The story behind the New Year's Baby Hitching to War is a fascinating one: The...

The High Desert near Abiquiu is the inspiration for Texas artist Jim Woodson. His paintings are a unity of the intuitive process of painting, personal ideology, and the desert landsc...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

Medium: Oil on Canvas Signature: Signed Lower Left Saturday Evening Post Cover, July 21, 1956 This Falter cover was owned by Sarah Johansen, daughter of John Falter. She is the you...

ANGEL 2004 Oil on Canvas 43" x 55" "An Angel brings a message of hope, of a greater power of good over despair and loss." -David Gamble BIOGRAPHY: David Gamble is a multidisciplin...

PASSING OVER A CITY 2004 Oil on Canvas 43" x 55" "An Angel brings a message of hope, of a greater power of good over despair and loss." -David Gamble BIOGRAPHY: David Gamble is a ...

THE EARTH 2004 Oil on Canvas 43" x 55" "An Angel brings a message of hope, of a greater power of good over despair and loss." -David Gamble BIOGRAPHY: David Gamble is a multidisciplinary artist from London, now based in New Orleans. His body of work consists of paintings, works on paper, and photographs, all of which have been exhibited globally. Throughout the 1980’s and 90’s, Gamble worked as one of the foremost international editorial photographers for publications such as the Observer, the Independent, LIFE, Fortune, the New Yorker, the Sunday Times, and more. Over his decades-long career spanning the commercial, journalistic, and fine art realms, Gamble has photographed such illustrious figures as Stephen Hawking...

William (Bill) Lopa emerged onto the Sports Art scene in the mid 1990’s with his unique aesthetic style of kinetic impressionism. He uses spatter techniques to capture athletes in motion and utilizes a pallet knife with brightly bold colors. His works have been featured in art galleries across the nation. Bill has also been chosen to paint commemorative artwork at All-Star and Championship sporting events. This framed original and unique 1/1 painting of global NBA icon Michael Jordan...

Original cover for Liberty magazine, published February 28, 1931. After being struck by a car in a hit and run accident, Red Hancock is on his third day of recovery in the hospital....

Medium: Oil on Paper Laid to Board Signature: Signed with the Artists Initials M.P Lower Center Coy Ludwig, Maxfield Parrish, New York, 1973, plate 35, p. 133, illustrated in color

Medium: Oil on Board Signature: Signed Lower Right 1 of a 4 part illustration used as a promotional poster Exhibited: Chadds Ford, Pennsylvania, Brandywine River Museum, Maxfield ...

Medium: Oil on Board Signature: Signed Lower Right 19.875" x 14.00" Each Panel 1 of a 4 Part Illustration used as a promotional poster Poster for The Red Cross—Watching...

Artist Statement: With this sculpture I represented how every day man lives trying to outdo himself, almost in competition with himself and with others, in some cases feeling omnipot...

Vladimir's neoexpressionist mixed media "Queen" series is highly textured and vibrant. The brilliance in Prodanovich's work comes from the artist's masterful ability to combine seemi...

Medium: Oil on Masonite Signature: Signed Lower Left The present work was published as the cover illustration of the October 7th, 1961 issue of The Saturday Evening Post. The Post ...

Signed Lower left The present work was published as the cover illustration of the February 3rd, 1962 issue of The Saturday Evening Post. The Post editors wrote of this cover, “The ...

Colorful wandering clouds in Hung’s works are inspired by traditional cloud ornaments from Vietnam’s ancient citadels and temples. Those ancient ornaments act like a negative version of clouds wandering throughout the space of the pieces. They link together to create a limbo world, where matters become vague and surreal. Another level lies underneath, hiding deep below the clouds the artist has created realms of consciousness and thoughts. Hung, joyful and relaxed, plays around with his dots. Silver dots, golden dots, together they light up the atmosphere to create a passive aura. Ornamental clouds, or simply just dots, they move from one shape to another, unsettled trying to find a logical order for themselves to fit in therefore challenging viewers’ senses. The order of signs creates spaces of uncertainties and invalidities, where the artist’s stories would be tied together and unfold. Silently, the artist submerges himself into an imaginative valley with no boundaries of shapes, strokes, and of random visual connections. The dreamy artist tries to hold on to his childhood memories, from straw scarecrows, late afternoon birds, handmade kites, boys looking after horses in mountain...

‘Land of the Sleepwalker 05’ is a large horizontal contemporary lacquer on wood panel “abstract figurative” painting created by Vietnamese artist Nguyen The Hung in 2017. Featuring a palette made of a variety of colors such as brown, red, black, yellow, blue and green accentuated with gold leaf, the painting presents a format that has a faux-air of Guernica revised by Miró. Painted on a dotted ground, two characters walk among a variety of creatures. We are in the land of the sleepwalker after all… Curves are perfectly balanced by straight lines; light browns oppose themselves to blacks and petite fluffy clouds seem to be falling on the ground. Colorful wandering clouds in Hung’s works are inspired by traditional cloud ornaments from Vietnam’s ancient citadels and temples. Those ancient ornaments act like a negative version of clouds wandering throughout the space of the pieces. They link together to create a limbo world, where matters become vague and surreal. Another level lies underneath, hiding deep below the clouds the artist has created realms of consciousness and thoughts. Hung, joyful and relaxed, plays around with his dots. Silver dots, golden dots, together they light up the atmosphere to create a passive aura. Ornamental clouds, or simply just dots, they move from one shape to another, unsettled trying to find a logical order for themselves to fit in therefore challenging viewers’ senses. The order of signs creates spaces of uncertainties and invalidities, where the artist’s stories would be tied together and unfold. Silently, the artist submerges himself into an imaginative valley with no boundaries of shapes, strokes, and of random visual connections. The dreamy artist tries to hold on to his childhood memories, from straw scarecrows, late afternoon birds, handmade kites, boys looking after horses in mountain...

‘Autumn Clouds No1’ is a large “abstract figurative” contemporary lacquer on wood panel painting of vertical format, created by Vietnamese artist Nguyen The Hung in 2017. Featuring a palette made of a variety of colors such as black, red, blue and green accentuated with gold leaf, this unframed painting exudes a surrealistic feel that would have made a Joan Miró proud. Painted on a dotted gold, dark green and black ground, a trapezoidal character is facing us. His head, reminiscent of medieval jesters and painted in yellow and red, has a cubist flair. Colorful clouds seem to be falling down the character’s garment and adorn the upper sections of the piece, while scintillating stars accentuate the rest of the composition. Colorful wandering clouds in Hung’s works are inspired by traditional cloud ornaments from Vietnam’s ancient citadels and temples. Those ancient ornaments act like a negative version of clouds wandering throughout the space of the pieces. They link together to create a limbo world, where matters become vague and surreal. Another level lies underneath, hiding deep below the clouds the artist has created realms of consciousness and thoughts. Hung, joyful and relaxed, plays around with his dots. Silver dots, golden dots, together they light up the atmosphere to create a passive aura. Ornamental clouds, or simply just dots, they move from one shape to another, unsettled trying to find a logical order for themselves to fit in therefore challenging viewers’ senses. The order of signs creates spaces of uncertainties and invalidities, where the artist’s stories would be tied together and unfold. Silently, the artist submerges himself into an imaginative valley with no boundaries of shapes, strokes, and of random visual connections. The dreamy artist tries to hold on to his childhood memories, from straw scarecrows, late afternoon birds, handmade kites, boys looking after horses in mountain...

Signature: Signed Lower Right Medium: Oil on Handboard Literature: Mabelle Glenn et al., eds., The World of Music: Song Programs for Youth; Adventure, Boston, Massachusetts, 1938, illustrated in color opp. p. 64 Douglas Allen...

Framed Dimensions: 36.00" x 48.00" Signature: Signed Lower Right J.G Brown's "Monopolist" was listed in 1885's Spring Exhibit catalogue of M.A. It was displayed on a panel in The We...

Colorful wandering clouds in Hung’s works are inspired by traditional cloud ornaments from Vietnam’s ancient citadels and temples. Those ancient ornaments act like a negative version of clouds wandering throughout the space of the pieces. They link together to create a limbo world, where matters become vague and surreal. Another level lies underneath, hiding deep below the clouds the artist has created realms of consciousness and thoughts. Hung, joyful and relaxed, plays around with his dots. Silver dots, golden dots, together they light up the atmosphere to create a passive aura. Ornamental clouds, or simply just dots, they move from one shape to another, unsettled trying to find a logical order for themselves to fit in therefore challenging viewers’ senses. The order of signs creates spaces of uncertainties and invalidities, where the artist’s stories would be tied together and unfold. Silently, the artist submerges himself into an imaginative valley with no boundaries of shapes, strokes, and of random visual connections. The dreamy artist tries to hold on to his childhood memories, from straw scarecrows, late afternoon birds, handmade kites, boys looking after horses in mountain...

Colorful wandering clouds in Hung’s works are inspired by traditional cloud ornaments from Vietnam’s ancient citadels and temples. Those ancient ornaments act like a negative version of clouds wandering throughout the space of the pieces. They link together to create a limbo world, where matters become vague and surreal. Another level lies underneath, hiding deep below the clouds the artist has created realms of consciousness and thoughts. Hung, joyful and relaxed, plays around with his dots. Silver dots, golden dots, together they light up the atmosphere to create a passive aura. Ornamental clouds, or simply just dots, they move from one shape to another, unsettled trying to find a logical order for themselves to fit in therefore challenging viewers’ senses. The order of signs creates spaces of uncertainties and invalidities, where the artist’s stories would be tied together and unfold. Silently, the artist submerges himself into an imaginative valley with no boundaries of shapes, strokes, and of random visual connections. The dreamy artist tries to hold on to his childhood memories, from straw scarecrows, late afternoon birds, handmade kites, boys looking after horses in mountain...

Date: 1940 Medium: Oil on Canvas Dimensions: 38.00" x 30.00" Signature: Signed Lower Right Original Cover Illustration for The Saturday Evening Post, December 28, 1940 At the heart of this touching and humorous Christmas work which appeared on the December 28, 1940 cover of THE SATURDAY EVENING POST, is the juxtaposition of the heads of the astonished boy holding a Drysdale package, the Drysdale poster of the store Santa in costume, and the drowsy man wearing the Santa pants and boots under his overcoat, obviously on his way home from work. Rockwell’s gift as a storyteller in pictures is displayed here at its best. The simple use of predominantly three colors – red, black and white, and the omission of any extraneous detail, add to the strength of this fine example of illustration art. Exhibitions Fort Lauderdale Museum of the Arts, Ford Lauderdale, Florida, Norman Rockwell: A Sixty Year Retrospective, February 11- March 5, 1972. The Booklyn Museum, March- April 1972 Corcoran Gallery of Art, Washington D.C, May 26, 1972- July 23, 1972 McNay Art Institute, San Antonio, Texas, July 1972- August 1972 M.H De Yound Memorial Museum, Golden State Park, San Francisco, California, Norman Rockwell: A Sixty Year Retrospective, September 9, 1972- September 5, 1972. Osaka, Japan, Hankyu Department Store, April 4-9, 1975. Press The Saturday Evening Post, December 29, 1940, cover illustration. A.L. Guptill, Norman Rockwell: Illustrator, New York, 1946, p.179, cover illustrated. T.S. Buechner, Norman Rockwell: Artist and Illustrator, New York, 1970, no. 529, illustrated. T.S. Buechner, Norman Rockwell: A Sixty Year Retrospective, exhibition catalogue, New York, 1972, p. 78, illustrated. M. Hart Hennessey and A. Knutson, Norman Rockwell: Pictures for the American People, exhibition catalogue, New York, 1999, p. 160, illustrated. C. Finch, Norman Rockwell’s America...

Date: 1944 Medium: Oil and Graphite on Paperboard Sight Size 14.00" x 11.00", Framed 22.00" x 19.00" Study for cover of The Saturday Evening Post, May 27, 1944 Norman Rockwell disc...

Medium: Oil on Canvas Signature: Signed Lower Left Sight Size 20.75" x 40.00", Framed 30.75" x 50.00" During his over four decades as the preeminent illustrator for The Saturday Evening Post, Joseph Christian Leyendecker's clever illustrations were eagerly anticipated by enthusiastic readership across the country, and none more so than his holiday designs. One of Leyendecker's most celebrated creations was his groundbreaking idea of the New Year's Baby. Originally portrayed as a fleshy sweet-faced child complete with tiny angel wings, the New Year's Baby gradually morphed into a worldly tot acutely aware of the social and political issues facing the nation at the time. In fact, Leyendecker's final Post cover illustration was the 1943 New Year's Baby. Following the success of these Post covers, the artist was hired to create advertisements for the American Oil Company (AMOCO). Throughout the 1940s and through the final years of his life, Leyendecker produced ads incorporating his famed New Year's Baby into AMOCO advertisements, as in the present work, Happy Landing...

Medium: Oil on Canvas Dimensions: 28.00" x 21.00;" Framed 36.00" x 29.00" Signature: Signed Lower Right Saturday Evening Post Cover, June 29, 1918 Exhibitions: It's a Man's World,...

Medium: Oil on Canvas Signature: Signed Lower Right Sight Size 28.00" x 24.00", Framed 30.00" x 27.00" Cover of Saturday Evening Post Magazine, October 31, 1908. Exhibitions: It's a Man's World, Illustration Art by and for Men: November 14-17 2012, Illustration House NYC The National Arts Club NYC Jan 6- 19 2013 Christie's New York, Illustrating America: Norman Rockwell and His Contemporaries, November 30, 2013- January, 2014 Joseph Christian Leyendecker was one of the most famous and prolific illustrators of his time and painted one less cover for The Saturday Evening Post than Norman Rockwell. He was the creator of the cherubic New Year’s Baby and the handsome Arrow Shirt Man who set the style for men’s fashion for decades. In addition to his beautiful men, women and children, Leyendecker’s covers and advertisements depicted subjects ranging from sports to war to politics. This 1908 Post cover shows a young newsboy holding pictures of William Howard Taft...

Trinh Quoc Chien has a unique style of painting contemporary abstract paintings on a traditional medium of lacquer and wood. His composition of panels of iconic images is unique and...

Tran Trong Vu paints a contemporary narrative on the changes that have taken place in his homeland of Vietnam. He paints on large transparent plastic sheets as well as oil on canvas.

Tran Trong Vu paints a contemporary narrative on the changes that have taken place in his homeland of Vietnam. He paints on large transparent plastic sheets.

‘Flying Doves’ is a large contemporary oil on canvas painting created by Vietnamese artist Tran Huy Hoan in 2012. Featuring a grisaille-reminiscent palette made of grey, back and whi...

Nguyen Xuan Tien uses the traditional lacquer on wood but brings a modern contemporary look with the use of greens and hint of red/organge.

Vera Barnett is best known for creating elements of her composition—by sewing and painting plastic, building objects with cardboard and tape, and assembling found objects—then settin...

Medium: Oil on Canvas Signature: Signed Lower Left Dimensions: 24.00" x 18.00" Image of a druggist with a young girl and dog.

Medium: Oil on Canvas Signature: Signed Lower Left Sight Size 29.25" x 21.00", Framed 44.00" x 35.00" The Speed God Mercury, Collier's Magazine Cover, January 19, 1907 Leyendecker,...

‘Security Checked’ is a large vertical contemporary surrealist figurative oil on canvas painting created by Vietnamese artist Dinh Y Nhi in 2008. Featuring a vivid palette made of red, orange, pink and black tones, the painting depicts a frontal view of an angular nude figure, bending her knees down. The pink tones of her skin stand out dramatically on the red painted background made of large strokes contrasted with black fields that seem to frame the subject. This piece exemplifies Y Nhi's style of paintings as her success with two-colors; red, blue or black and white, addresses modern themes and issues devoid of gender. Her figurative surrealism style of stick figures is warped and elongated, stretched out of proportion. Each figure tilts and twists at painful angles. They bring to mind the famous harrowing faces in Edward Munch's ‘The Scream’, or the difficult distorted ones from the portraits of Francis Bacon. But most of the faces Y Nhi paints are miniature ones devoid of details, deceptively random and simple brush strokes. There is a playfulness that reflects the outer images the painter projects of herself. Her style also allows her to convey complex textures, and emotions, in her images. Dinh Y Nhi is a graduate of Hanoi's School of Fine Arts. Her work has been exhibited in many shows in Vietnam. She is receiving much notice among the Vietnamese press and art patrons in the United States, Australia and Asian countries. With its strong presence and large proportions, this surrealist oil on canvas painting will be a definite conversation piece in any home, whether placed above a sofa, console table or enfilade. Exhibitions 2011: Group Exhibition Art Asia Miami, Florida, AiBo Fine Asia Art 2011: Portrait, Dinh Y Nhi & Le Thiet Cuong...

‘Security’ is a large framed contemporary surrealist figurative oil on canvas painting of vertical format, created by Vietnamese artist Dinh Y Nhi in 2010. Featuring a cold palette mostly made of grey and black tones, accented with blue and beige touches, the painting depicts a frontal view of a nude figure. This piece exemplifies Y Nhi's style of paintings as her success with two-colors; red, blue or black and white, addresses modern themes and issues devoid of gender. Her figurative surrealism style of stick figures is warped and elongated, stretched out of proportion. Each figure tilts and twists at painful angles. They bring to mind the famous harrowing faces in Edward Munch's ‘The Scream’, or the difficult distorted ones from the portraits of Francis Bacon. But most of the faces Y Nhi paints are miniature ones devoid of details, deceptively random and simple brush strokes. There is a playfulness that reflects the outer images the painter projects of herself. Her style also allows her to convey complex textures, and emotions, in her images. Dinh Y Nhi is a graduate of Hanoi's School of Fine Arts. Her work has been exhibited in many shows in Vietnam. She is receiving much notice among the Vietnamese press and art patrons in the United States, Australia and Asian countries. With its powerful presence and great proportions, this surrealist oil on canvas painting will be a definite conversation piece in any home, whether placed above a sofa, console table or enfilade. Set inside a frame, the painting is titled in the lower section. 1967: Born in Hanoi, Vietnam 1989: Graduated from Hanoi Fine Art University Exhibitions: 2011: Group Exhibition Art Asia Miami, Florida, AiBo Fine Asia Art 2011: Portrait, Dinh Y Nhi & Le Thiet Cuong...

Cafe is a typical Maimon Impressionist painting of 1993 with an wide color pallet of blues, greens, oranges and greys. Isaac Maimon is an Israeli born artist (b.1951) who studied at...

‘Dove on Black Water Pot’ is a large realist oil on canvas painting created by Vietnamese artist Tran Huy Hoan in 2012. Featuring a vivid palette made of a tonality of reds and black...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

Gouache on wood

signed "Zapata 08" at lower right