Paint Figurative Paintings

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

Medium: Oil on Canvas Signature: Unsigned Advertisement, Cream of Wheat, 1929.

Medium: Acrylic on Board Dimensions: 16.00" x 20.00" Signature: Signed Lower Right GIrls of Canby Hall Book Cover

Grosset & Dunlap, Illustration, Art Seiden was a top children's book illustrator in the 1950' - 1060's Work comes in two parts that are butted together by the artist

Famed female illustrator Jessie Willcox Smith paints the " Ideal Child" in a spiritual moment for the Christmas cover of Good Housekeeping. The accompl...

Oil on canvas Canvas size: 6 x 12 inches Framed size: 13.5 x 17.5 inches Signed

Date: 1928 Medium: Oil on Canvas Dimensions: 16.00" x 22.00" Signature: Signed Lower Right Interior setting with people standing around.

Date: 1929 Medium: Oil on Canvas Dimensions: 20.00" x 16.00" Signature: Signed Lower Left Liberty Magazine Cover, March 16, 1929

Signed Lower Left

Date: 1914 Medium: Oil on Canvas Dimensions: 29.00" x 19.00" Signature: Signed and Dated Lower Right

Date: 1928 Medium: Oil on Canvas Dimensions: 20.00" x 16.00" Signature: Signed Lower Right Liberty Magazine Cover, August 4, 1928

Signed & Dated Lower Right

1972-73 Eastbourne College for Art and Design: Fine Art Foundation Course: studies drawing. Works through the South Coast Period of paintings. Studio: South Coast of England. 1974-8...

Date: 1932 Medium: Oil on Canvas Dimensions: 18.00" x 20.00" Signature: Signed Lower Right A New Year's themed cover painting by Leslie Thrasher for the January 9, 1932 edition of L...

Medium: Oil on Canvas Signature: Signed "A.O.F 19" Lower Left "Man & Woman in Disagreement" Long affiliated with The Saturday Evening Post (nearly 50 years), he did dozens of covers and much story art, most notably the long-running Tug-Boat Annie and with maritime painting, Fischer was more versatile than depicting the sail and dreadnaughts when given a chance. Still, he's best known for painting the sea, her beauty and her dangers (whether hurricanes or U-Boats). It's no surprise that his oils graced such titles as The Cruise of the Cachalot: Round the World After Sperm Whales, Treasure Island, The Mutineers, 20000 Leagues Under the Sea...

Joe Kaufman, writer, illustrator. Recipient Art Directors Club medal, 1948, New York Academy of Sciences Children's Science Book award, 1973, Gold award, Silver award Art Directors C...

Tempera mixed with gum arabic and alcohol on Renaissance Panel Robert Riggs was a gay man. Being gay in American during the 1940's time was something not to flaunt in public. Rigg's had to communicate his underlying feelings in more symbolic ways. Throughout Riggs oeuvre, one sees continuous references to strong hunked out manly men and vulnerable boys. It is a core element of is iconography and is described in a powerful graphic style. In “Prospector firing Rifle” is a Dick Pic. Riggs is clearly making a sexual statement about the moment of climax. The long, straight rifle explodes and is captured at the peak moment of climax. Meanwhile, the bag two bags of gold clearly resemble the other part of the male anatomy. Riggs was a thoughtful and meticulous visual thinker and nothing in any of Riggs’s compositions were haphazardly placed. In tribute to the artist’s suppressed feelings, I have given this work a second title “Happiness is a Warm Gun...

Charming portait with Modernest colors. Provenance: Christie's Mercedes Matter, daughter of the artist, Salander-O'Reilly Galleries, New York. Private Collection. Sale: Skinner, Inc...

Medium: Oil on Canvas Signature: Signed Lower Right Collier's Magazine Cover, March 24, 1923

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

Date: 1948 Medium: Oil on Board Dimensions: 17.25" x 13.50" Signature: Signed Lower Left Magazine Story Illustration

Oil on canvas “Everything that surrounds me affects me. Memories, politics, nature, people, a dry leaf on the ground, music and books.” Corvengi’s works explore his version of a l...

Medium: Acrylic on Board Dimensions: 20.50" x 24.00" Signature: Signed Lower Right "Lay the Mountains Low" Book Cover, by Terry C. Johnston

Françoise Nielly has explored the different facets of image all her life, through painting, photography, roughs, illustrations and virtual computer generated animated graphics. It is...

Date: 1931 Medium: Oil on Canvas Dimensions: 20.00" x 16.00" Signature: Signed Lower Right Liberty Magazine Cover, October 17, 1931

Date: 1991 Medium: Oil on Canvas Dimensions: 36.00" x 24.00" Signature: Signed Lower Left DEAN MORRISSEY (American, 20th Century) The Illegal Rebirth of Billy the Kid...

Medium: Oil on Canvas Dimensions: 30.00" x 20.00" Signature: Signed Lower Right

Oil on canvas 2019 Signed Unique work Julien Wolf is a French painter who was born in Strasbourg in 1981, France. He graduated in 2007 at the DNSEP Art and Decorative Art section a...

Medium: Gouache watercolor painting on artist board Signature: Signed Lower Left Size: 18" x 14"

Date: 1928 Medium: Oil on Canvas Dimensions: 20.00" x 16.00" Signature: Signed Lower Left Liberty Magazine Cover 3/31/28

Medium: Oil on Board Signature: Signed Lower Right Maclean's Magazine Cover, September 15th, 1930

In some instances, a painting will look significantly much better in person than it does digitize. This is one instance. In-person, this painting will knock your socks off. It is...

Date: 1930 Medium: Oil on Canvasboard Dimensions: 27.00" x 21.00" Signature: Signed Lower Right Cover for Turf and Sport Digest, probably late 1930s

Medium: Gouache and Pencil on Board Signature: Signed Lower Left Carter's Monthly, February 1898, cover illustration. Newly Framed.

Medium: Gouache on Board Dimensions: 27.00" x 12.75" Signature: Unsigned Written by Price on the mount below the image: Like endless lines of phantoms, men, horses, guns, wagons, continued to pass through the smoking forest. A striking and emotional night scene at the Battle of the Wilderness...

Medium: Oil and Gold Paint on Board Signature: Signed Lower Right Sight Size 19.00" x 16.00" Oval, Framed 24.00" x 21.00" April. 1920 Good Houseke...

Diptych Françoise Nielly has explored the different facets of image all her life, through painting, photography, roughs, illustrations and virtual computer generated animated graphi...

Date: 1944 Medium: Oil on Board Dimensions: 19.00" x 13.00" Signature: Signed Upper Left Advertisement for Gulf Oil, 1944.

Oil on canvas Signed Unique work 1 / Hélène DUCLOS, 2016 – Artist Statement “Questioning the human condition and the position of being alive – What is it to be a living being? Who / what can we believe? Who / what can we trust? How real is our view of the world? And how is that perspective angled, and ultimately limited? These are the issues at the heart of my work as an artist. Painting, drawing, engraving and embroidery give me the freedom to approach my subjects from an ambivalent and flexible standpoint. I am building up a dynamic body of work, like pieces that you can put together in one way or another to shape different structures, pierced with numerous openings. And the title that I give each piece acts as a possible clue as to how to enter inside that system. I can portray both softness and monstrosities. I focus on the links and barriers lying between living beings and their surroundings, and evoke how permeable these connections are. My aim is not to create a visual documentary reporting fact, but rather immerse myself in observing everyday life, and in a host of images depicting real events (pictures, photos and videos). Instilled with these images, I can give a more personalized, unique and allegorical vision of the world around me. I am also interested in the key transition periods of human existence, those turning points that forge our identity within a family, a group, and society as a whole at the heart of a specific environment. I centre on what makes up and creates cohesion (rituals, myths and tales….), and indeed the opposite - what leads to life becoming shattered, hindered and frustrated (moving populations, exile and migration…) Amidst a landscape roaming with wild beasts and hybrid creatures, between love and separation, metaphors for our own desires and fears lie in hiding, or reveal themselves in the painted or embroidered spaces. Sometimes they are etched with lines, symbols and tiny architectural designs. These works might depict our inner landscapes, as if harking back to a primordial and cosmic point of origin. My most recent collections recreate the images of bodies or landscapes using abstract zones and figurative details that have no direct link with either anatomy or geography. Intimacy and the unspeakable are themes that run throughout my work, and I make sure to incorporate areas of both visual tension and relief, so as to give the viewer the space to project him or herself into the work. And here, such paradoxes can only be reached through the interplay between abstraction and figuration.” 2 / Thierry Delcourt Psychiatrist, psychoanalyst and author of works on the process of artistic creation, and the conditions of existential and social creativity : "Entering into the world of Hélène Duclos in her drawings, paintings, embroidery and words means letting yourself be carried away by a torrent towards strange shores of creation where only a few artists have ever dared to venture. As if perched on a watchtower on the threshold of different worlds, Hélène Duclos throws us out of our depth, plunging us into spaces filled with destitute mankind, and guiding us through her stem-like maze of a scheme, bristling with roots and clues. But the mystery here, like a poetic, human rebus that never ends, only compels us to take a closer look.” 3 / Hélène Duclos ‘s biography : After graduating from the Duperré School of Applied Arts in Paris with a degree in textile design, I set off on a six-month sea voyage from Vannes in Brittany, to Dakar. On returning to France, I set up my atelier...

Medium: Oil on Board Signature: Signed Lower Right Sight Size 15.50" x 15.00", Framed 23.00" x 22.00" signed Jessie Willcox Smith (lower right); signed Jessie Willcox Smith and titl...

Signature: Signed Lower Left: Monte / Crews Cover of The Saturday Evening Post, January 11th, 1936

Medium: Oil on Canvasboard Signature: Unsigned Dimensions: Sight Size 18.00" x 24.00;" Framed 28.50" x 35.50" Cover for Fate Magazine - August 1953 The original cover painting by H.W. McCauley used for the August 1953 cover of Fate (True Stories of the Strange and Unknown), illustrating "The Gods of Voodoo" by North Hildabrand. In this offering a dancing pin...

Figurative acrylic on canvas. Portrait of female skateboarder. Has abstract quality. Almost dreamlike. Vibrant colors. About the Artist: "Growing up in England during the 80s, the influence and love of American sub cultures through TV, and being surrounded by large non-spaces of US air bases around East Anglia, gave me a slightly odd and romantic view of America. I finished the Masters Degree bronze-casting course at the Royal College of Art in 1999 and have pursued my passion for Art ever since. I have built up a body of work that follows the theme of a journey into abstraction, inspired by Robert Smithson, Donald Judd, Fiona Banner, Cornelia Parker...

Medium: Acrylic on Board Dimensions: 24.00" x 31.50" Signature: Signed Lower Right "Tackett and the Indian" Book Cover, by Lyn Nofziger

Date: 1976 Medium: Oil on Canvas Dimensions: 29.00" x 22.00" Signature: Faintly Signed "Marchetti" Lower Right Cover art for the companion book to the 1976 film starring Bruce Dern and Madeline Kahn.

Oil on canvas Signed lower right Unique work 1 / Hélène DUCLOS, 2016 – Artist Statement “Questioning the human condition and the position of being aliv...

Date: 1927 Medium: Oil on Canvas Signature: Signed Lower Right Liberty Magazine Cover, September 24, 1927

Medium: Oil on Canvas Signature: Signed Lower Right

"…Sensuality and religiousness are indeed the stated elements of Leviathan’s work, using, in his own words, the expression ‘An Eternal Cosmic Mating’, or ‘Elements of Earth, Air, Water and Fire’. The desire to bring together the transcendental and the mundane, is the charger of the brush…" Varda Genosar (Herzliya, 2003) David Leviathan, born on 6 August 1950, is a multi-talented Israeli artist, renowned for his contributions to painting, sculpting, and poetry. Growing up in the nurturing environment of Kibbutz Givat Brenner in Israel, Leviathan's artistic journey began to unfold right after completing his military service in 1972. He honed his skills at the Avni Institute of Fine Arts, where he not only studied under the guidance of the esteemed artist Yehezkel Streichman...

"The Great Man Comes to Take His Oath" Life Magazine Spread, July 4th, 1960, This epic narrative depicts the celebration of George Washington's inauguration, en route to Federal Hall...

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

Medium: Gouache Signature: Signed Lower Right a slave with shackles on the ground behind him appealing to Abraham Lincoln with the Civil War battle s...

Exhibitions: It's a Man's World, Illustration Art by and for Men: November 14-17 2012, Illustration House NYC

Medium: Oil on Board Dimensions: 16.00" x 20.00" Signature: Signed Lower Left

Bisti Wash, 2020 "For Blackburn, the Western’s heroic drama, good-versus-evil narrative, and assertive landscape are challenges to face in her work. These aspects of film can overwhelm a painting, thus distancing the viewer from the art. She wants the art to be dominant; “Painting wins,” she declares. She finds this happens when a painting possesses what she terms “classical balance.” By this the artist means that everything is where it needs to be compositionally—nothing can be changed—and “the whole can be seen at once.” Linda Blackburn...

Medium: Oil on Canvas Dimensions: 28.00" x 22.00" Signature: Signed Lower Right

Medium: Oil on Canvas Sight Size 12.00" x 10.00", Framed 20.00" x 18.00" Signature: Signed Lower Left June 1933 Cappers Farmer Magazine Cover.

Medium: Oil and Pencil on Canvas Laid Down on Board Study for the December 23rd, 1939 issue The Saturday Evening Post.