1930s Nude Paintings

Ivory and Ebony: two girls friends in a landscape. Art Deco Circa 1930 - 1940. Medium-large format painting from the Art Deco period.   The two girl friends.   Painting signed lower ...

Plump or fleshy and voluptuous nude... you can describe it as you see it. Signed, titled and dated lower left: John Steuart Curry / 1934 "Hilda Nellis", John Steuart Curry is best ...

This painting of a classic nude at a pool, "Hilda at the Pool," is both a portrait and a landscape. Leon Kroll rejected Modernism to triumph in the beauty of Classicism. During his l...

Ann Brockman (1895–1943) was an American artist who achieved success as a figurative painter following a successful career as an illustrator. Born in California, she spent her childhood in the American Far West and, upon marrying the artist William C. McNulty, relocated to Manhattan at the age of 18 in 1914. She took classes at the Art Students League where her teachers included two realist artists of the Ashcan School, George Luks and John Sloan. Her career as an illustrator began in 1919 with cover art for four issues of a fiction monthly called Live Stories. She continued providing cover art and illustrations for popular magazines and books until 1930 when she transitioned from illustrator to professional artist. From that year until her death in 1943, she took part regularly in group and solo exhibitions, receiving a growing amount of critical recognition and praise. In 1939 she told an interviewer that making money as an illustrator was so easy that it "almost spoiled [her] chances of ever being an artist."[1] In reviewing a solo exhibition of her work in 1939, the artist and critic A.Z Kruse wrote: "She paints and composes with a thorough understanding of form and without the slightest hesitancy about anatomical structure. Add to this a magnificent sense of proportion, and impeccable feeling for color and an unmistakable knowledge of what it takes to balance the elements of good pictorial composition and you have a typical Ann Brockman canvas."[2] Early life and training Brockman was born in Northern California in 1895 and spent much of her youth in nearby Oregon, Washington, and Utah.[1][3] She met the artist William C. McNulty in Seattle where he was employed as an editorial cartoonist. They married in March 1914 and promptly moved to Manhattan where he worked as a freelance illustrator.[4][5] At the time of their marriage, Brockman was 18 years old.[6] Over the next few years, her career generally followed that path that her husband had previously taken. His art training had been at the Art Students League beginning in 1908; she began her training there after moving to New York in 1914.[1] After an early career as an editorial cartoonist, he freelanced as a magazine and book illustrator beginning in 1914; she began her career as a magazine and book illustrator in 1919.[7] He embarked on a teaching career in the early 1930s and not long after, she began giving art instruction.[8][9] While they both adhered to the realist tradition in art, their usual subjects were different. His prominently depicted urban cityscapes in the social realist whereas hers generally focused on rural landscapes. He was best known for his etchings and she for her oils and watercolors.[8][10] Brockman returned to the Art Students League in 1926 to take individual instruction for a month at a time from George Luks and John Sloan.[1] Despite their help, one critic said McNulty's "sympathetic encouragement and guidance" was more important to her development as a professional artist.[11] Career in art In the course of her career as illustrator, Brockman would sometimes paint portraits of celebrities before drawing them, as for example in 1923 when she painted the French actress Andrée Lafayette who had traveled to New York to play title role in a film called Trilby.[12] She would also sometimes accept commissions to make portrait paintings and in 1929 painted two Scottish terriers on one such commission.[13] During this time, she also produced landscapes. In 1924 she displayed a New England village street scene painting in the Second Annual Exhibition of Paintings, Watercolors, and Drawings in the J. Wanamaker Gallery of Modern Decorative Art.[14] Available sources show no further exhibitions until in 1930 a critic for the Boston Globe described one of her portraits as "well done" in a review of a Rockport Art Association exhibition held that summer.[15] Between 1931 and her death in 1943, Brockman participated in over thirty group exhibitions and five solos.[note 1] Her paintings appeared in shows of the artists' associations to which she belonged, including the Rockport Art Association, Salons of America, Society of Independent Artists, and National Association of Women Painters and Sculptors.[17][19]Between 1932 and 1935, her paintings appeared frequently in New York's Macbeth Gallery.[20][23][25][27] She won an award for a painting she showed at the Art Institute of Chicago in 1940.[41] In 1942, the Whitney Museum bought one of the paintings she showed in its Biennial of that year.[10] Critical praise for her work steadily increased during the decade that ended with her untimely death in 1943. In 1932, her painting called "The Camera Man" was called "a clever piece of illustration."[21] Three years later, a painting called "Small Town" gave a critic "the impression of freshness, honesty, and skill".[29] In 1938, a critic described her "Folly Cove" as "masterful" and said "Pigeon Hill Picnic" was "sustained by excellence of execution".[48] At that time, Howard Devree of the New York Times saw "evidence of gathering powers" in her work and wrote "she imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Three years later, a Times critic reported Brockman had "set herself a new high" in the watercolors she presented,[52] and another critic said the gallery where she was showing had not "for some time" shown "so outstanding a solo exhibitor as Ann Brockman."[2] Shortly before her death, a critic for Art News maintained that she was "one of America's most talented women painters".[46] After she had died, a critic said Brockman's paintings "displayed real power", adding that she was "highly rated among the nation's professional artists" and was known to give "aid and encouragement, always with a smile," both artists and to her students.[10] in reviewing the memorial exhibition at the Kraushaar Galleries held in 1945, reviewers wrote about the strength and vibrancy of her personality, the quality of her painting ("every bit as good, possibly better than people had thought"),[53] called her "one of the best of our twentieth century women painters", and credited "her sense of the vividness of life" as a contributor to "the unusual breadth that is so characteristic of her work.[11] One noted that her work was "widely recognized throughout the country" and could be found in the collections of prominent museums, including the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Art Institute of Chicago.[54] Writing in the Times, Devree wrote, "even those who had followed the steady growth of this artist for more than a decade, each successive show being at once an evidence of new achievement and an augury of still better work to come, may well be surprised at the combined impact of the selected paintings in the present showing,"[55] and writing in the Brooklyn Daily Eagle, A.Z Kruse said she had made "extraorginary accomplishments", painted with "inordinate distinction" showing a "lyrical majesty," and possessed "a keen esthetic sense which did not deviate from truth."[54] Artistic style (1) Ann Brockman, undated drawing, black chalk on paper, 18 x 22 inches (2) Ann Brockman, High School Picnic, about 1935, oil on canvas, 34 1/4 x 44 1/4 inches (3) Ann Brockman, untitled landscape, about 1943, watercolor and pencil on paper, 15 1/4 x 22 1/2 inches (4) Ann Brockman, North Coast, undated watercolor, 21 1/2 x 30 inches (5) Ann Brockman, On the Beach, 1942, watercolor on paper, 16 1/2 x 20 inches (6) Ann Brockman, Lot's Wife, 1942, oil on canvas, 46 x 35 inches (7) Ann Brockman, New York Harbor, 1934, watercolor on paper, 13 1/2 x 19 1/4 inches (8) Ann Brockman, Youth, 1942, oil on board, 13 1/2 x 11 1/2 inches Brockman was a figurative painter whose main subjects were rural landscapes and small-town and coastal scenes. She worked in oils and watercolors, becoming better known for the latter late in her career. Most of her paintings were relatively small. Although she made figure pieces infrequently, the nudes and circus and Biblical scenes she painted were seen to be among her best works. In 1938, Howard Devree wrote: "Her gray-day marines and coast scenes are familiar to gallery goers and are favorites with her fellow artists. Her figure pieces have attained a sculptural quality without losing warmth or taking on stiffness. One spirited circus incident of equestriennes about to enter the big tent compares not unfavorably with many of the similar pictures by a long line of painters who have been fascinated by the theme. She imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Similarly, a critic for Art Digest wrote that year: "Fluently and virilely painted, [her] canvases suggest a close affinity between nature and humans. The artist takes her subjects out in the open where they may picnic or bathe with space and air about them. A fast tempo is felt in the compositions of restless horses and nimble entertainers busily alert for the coming performance. Miss Brockman is also interested in portraying frightened groups of people, hurrying to safety or standing half-clad in the lowering storm light."[56] Her palette ranged from vivid colors in bright sunlight to somber ones in the overcast skies of stormy weather. Of the former, one critic spoke of the rich colors and "sun-drenched rocks" of her coastal scenes and another of her "summery landscapes of coves and picnics."[11][50] Of the latter, Howard Devree said she "painted so many moody Maine coast vignettes of lowering skies and uneasy seas that artists have been heard to refer to an effect as 'an Ann Brockman day'".[57] Brockman's handling of Biblical subjects can be seen in the oil called "Lot's Wife", shown above, Image No. 6. Her watercolor called "On the Beach" and her oil portrait called "Youth" may both indicate the "sculptural quality" that Devree said was typical of her figure pieces (Image No. 8, above). An example of Brockman's bright palette in a typical summer theme is the oil painting called "High School Picnic" shown above, Image No. 2. Next to it is a painting, an untitled landscape of about 1943 whose medium, watercolor on paper, shows off the sunny palette she often used (Image No. 3). Among the darkest of her works was an untitled 1942 drawing she made in black chalk (shown above, Image No. 1). In a book called Drawings by American Artists (1947), the artist and art editor Norman Kent noted that this study influenced her painting through its use of "forms" that were "elastic" and suggested "color". He said its "massing of dark and light" created "a definite mood" that was "impressionistic" and had "the strength of a man's work".[58] Brockman's undated watercolor called "North Coast" (shown above, Image No. 4) is an example of the paintings to which Kent referred. Illustrator (9) Ann Brockman, cover, March 12, 1917, Every Week magazine (10) Illustration of an article, "The Taking of a Salient" by Henry Russell...

Pierre-Albert BÉGAUD (Bordeaux 1901 – 1956) End of game Oil on canvas H. 27 cm; L. 46.5 cm Signed lower right Pierre-Albert Bégaud is a French portrait and landscape painter born in...

Raoul Dufy (French, 1877-1953) Nu allongé sur canapé, circa 1939 China ink, gouache, and watercolor on paper laid on board Sight: 16 x 19.75 inches (40.6 x 50.2 cm) Signed lower righ...

André Derain (1880-1954) nude female pencil drawing, circa 1935 Stamped with Atelier Oval “Andre Derain” Stamped on verso with the S. Knaub...

Oil on canvas by B.Robert, France, ca.1930. Younh nude lady lying. With frame : 24x43.7x2.4 inches - 61x111x6 cm ; without frame : 19.7x39.4 inches - 50x100cm. Signed "B.Robert" (see...

Simka Simkhovitch (Russian/American 1893 - 1949) This came with a small grouping from the artist's family, some were hand signed some were not. These were studies for larger paintings. Simka Simkhovitch (Симха Файбусович Симхович) (aka Simka Faibusovich Simkhovich) (Novozybkov, Russia May 21, 1885 O.S./June 2, 1885 N.S.—Greenwich, Connecticut February 25, 1949) was a Ukrainian-Russian Jewish artist and immigrant to the United States. He painted theater scenery in his early career and then had several showings in galleries in New York City. Winning Works Progress Administration (WPA) commissions in the 1930s, he completed murals for the post offices in Jackson, Mississippi and Beaufort, North Carolina. His works are in the permanent collections of the Dallas Museum of Art, the National Museum of American Art and the Whitney Museum of American Art. Born outside Kyiv (Petrograd Ukraine) into a Jewish family who owned a small department store. During a severe case of measles when he was seven, Simcha Simchovitch sketched the views outside his window and decided to become an artist, over his father's objections. Beginning in 1905, he studied at the Grekov Odessa Art School and upon completion of his studies in 1911 received a recommendation to be admitted to the Imperial Academy of Arts. Though he enrolled to begin classes in architecture, painting, and sculpture at the Imperial Academy, he was dropped from the school roster in December because of the quota on the number of Jewish students and drafted into the army. Simchovitch served as a private in the 175th Infantry Regiment Baturyn [ru] until his demobilization in 1912. Re-enrolling in the Imperial Academy, he audited classes. Simka Simkhovitch exhibited paintings and sculptures in 1918 as part of an exhibition of Jewish artists and in 1919 placed 1st in the competition "The Great Russian Revolution" with a painting called "Russian Revolution" which was hung in the State Museum of Revolution. In 1922, Simkha Simkhovitch exhibited at the International Book Fair in Florence (Italian: Fiera Internazionale del Libro di Firenze). In 1924, Simkhovitch came to the United States to make illustrations for Soviet textbooks and decided to immigrate instead. Initially he supported himself by doing commercial art and a few portrait commissions. In 1927, he was hired to paint a screen for a scene in the play "The Command to Love" by Fritz Gottwald and Rudolph Lothar which was playing at the Longacre Theatre on Broadway. Art dealers began clamoring for the screen and Simkhovitch began a career as a screen painter for the theater. Catching the attention of the screenwriter, Ernest Pascal, he worked as an illustrator for Pascal, who then introduced him to gallery owner, Marie Sterner. Simkhovitch's works appeared at the Marie Sterner Gallery beginning with a 1927 exhibit and were repeated the following year. Simkhovitch had an exhibit in 1929 at Sterner's on circus paintings. In 1931, he held a showing of works at the Helen Hackett Gallery, in New York City and later that same year he was one of the featured artists of a special exhibit in San Francisco at the California Palace of the Legion of Honor in Lincoln Park. The exhibit was coordinated by Marie Sterner and included four watercolors, including one titled "Nudes". He is of the generation of Russian Soviet artists such as Isaac Pailes, Serge Charchoune, Marc Chagall, Chana Orloff, Isaac Ilyich Levitan, and Ossip Zadkine. In 1936, Simkhovitch was selected to complete the mural for the WPA Post office project in Jackson, Mississippi. The mural was hung in the post office and courthouse in 1938 depicted a plantation theme. Painted on the wall behind the judge’s bench, “Pursuits of Life in Mississippi”, a depiction of black workers engaged in manual labor amid scenes of white professionals and socialites, was eventually covered over in later years during renovations due to its stereotypical African American imagery. Simka painted what he thought was typical of Jackson. His impression of pre-civil rights Mississippi was evidently Greek Revival column houses, weeping willow trees, working class families, and the oppression of African Americans. He painted African American men picking cotton, while a white man took account of the harvest and a white judge advised a white family, calling it Pursuits of Life in Mississippi. Though clearly endorsed by the government and initially generally well-received, the mural soon raised concerns with locals as the climate toward racial segregation began to change. The main concern was whether depictions that show African Americans in subjugated societal roles should be featured in a courtroom. The following year, his painting "Holiday" won praise at an exhibition in Lincoln, Nebraska. In 1940, Simkhovitch's second WPA post office project was completed when four murals, "The Cape Lookout Lighthouse and the Orville W. Mail Boat", "The Wreck of the Crissie Wright", "Sand Ponies" and "Canada Geese" were installed in Beaufort, North Carolina. The works were commissioned in 1938 and did not generate the controversy that the Jackson mural had. The main mural is "The Wreck of the Crissie Wright" and depicts a shipwreck which had occurred in Beaufort in 1866. "The Cape Lookout Lighthouse and the Orville W. Mail Boat" depicted the lighthouse built in 1859 and the mail boat that was running mail during the time which Simkhovitch was there. The boat ran mail for the area until 1957. "Sand Ponies" shows the wild horses common to the North Carolina barrier islands and "Canada Geese" showed the importance of hunting and fishing in the area. All four murals were restored in the 1990s by Elisabeth Speight, daughter of two other WPA muralists, Francis Speight...

Elie Anatole PAVIL 1873-1948 The Martinican nude woman Painting, oil on canvas Signed Painting: 41 x 33 cm (16.1 x 13 inches) Modern natural oak frame (American box): 51 x 43 cm (20....

Large oil on canvas by Fernande Horovitz-Edwards, France, 1930s. "Bathers". With frame: 117,5x90x4 cm - 46.3x35.4x1.6 inches. Without frame: 114x87 cm - 44.9x34.25 inches. Signed low...

Oil on canvas by Yves DIEY (1892-1984), France. The Nude. With frame : 99x54 cm - 39x21.25 inches ; without frame : 90x45 cm - 35.4x17.7 inches. Signed "Yves Dieÿ" lower right (see p...

Raphael DELORME (1886-1962) Study, preparatory work for “La Princesse” Watercolor and pencil on paper Annotated “La Princesse” 30,5 x 22,5 cm Small folds and small stains Born in 18...

Unique etching in red chalk performed in 1930 in glass framed oak in mint condition Börje Harald Holm, born May 17, 1892 in Uppsala, died October 3, 1973, was a Swedish painter and...

Oil on cardboard by Nandor VAGH WEINMANN (1897-1978), France, 1930s. Naked back. With frame: 64x56 cm - 25.2x22 inches ; without frame: 46x38cm - 18.1x15 inches. 8F format. Signed "Nandor V. Weinmann" lower left. In its Montparnasse frame. Very good condition. Born October 3, 1897 in Budapest, Nándor is the older brother of Elemer and Maurice Vagh-Weinmann. He came to Paris to present his work in 1931. He died on December 12, 1978 near Montereau (Seine-et-Marne) following an automobile accident. He is the most colorful of the three “expressionist” brothers. Painter of figures, landscapes, especially open mountains, and bouquets in bright colors. He is also a religious painter and then finds the tragic condition. Born in BUDAPEST on October 3, 1897, Nandor Vagh Weinmann belongs to a profoundly artistic people. Living in the heart of Central Europe where they came from Asia a millennium ago, the Hungarians have preserved a strong ethnic individuality whose mark is their very synthetic, non-Indo-European language. Resistant to secular invasions, they have kept the virtues of a very ancient humanity that have become rare in our modern world, especially since their way of life has remained essentially rural until today. In the arts they know how to express a generous, extreme sensibility and by the poetic verb, by the musical rhythms and also by a popular art of a richness, an exceptional harmony. Until the age of thirty-four, during the decisive years of childhood and youth, Nandor Vagh Weinmann was intimately imbued with popular life and the soul of Hungary. From the capital where his father was a jeweler and had a family of ten children, Nandor was the fifth, he knew first of all the suburbs, the populated districts, the rigors in winter of the cold and the snow. A very mobile existence made him acquainted with all of Hungary, from the Danube to Transylvania, its infinite plains and its wild mountains, its immense villages with ample low houses, and its towns which are still immense villages. The painter is passionate about rustic works, harvest scenes, beautiful folk costumes. Coming into direct contact with the peasants, he learned to know their soul. These contacts gave the artist a direct feeling for popular life and soul, as Millet once understood the peasants of Barbizon and Normandy whose existence he shared. What fascinated Nandor Vagh Weinmann above all were the festivals which enlivened the dreary life of the countryside, the circuses, the merry-go-rounds, the gypsies unleashing orgies of music, light and color. In the party, and especially the Hungarian party, the whole soul of a people, all its energy, its need for movement, for intensity, is expressed in its pure state and realizes the primary and essential form of what is called beauty. And as if melted at the party, there is the infinite steppe where herds of horses and oxen circulate where terrible storms sometimes roar where the seasons unfold their grandiose splendours. The young Nandor Vagh Weinmann nourishes his sensitivity to his inexhaustible shows, both eternal and always new, a sensitivity which very early declared itself that of a painter. Since the age of fourteen he painted, and since then he never stopped doing it. Two of his brothers Maurice, two years his junior, who had a remarkable career similar to that of Nandor and later Elemer who became Maurice's pupil, also devoted themselves to painting, despite family obstacles. And the three brothers united by a common passion worked together in Hungary and later in France. Painting was so much in the blood of the family, as in the past among the Veroneses, the Breughels, the Lenains, the Van Loos and so many other artistic dynasties, that three sons of the Vagh Weinmanns became painters in their turn. One of these, Emeric, son of Nandor, today occupies an important place in the contemporary school. Nandor, at fifteen, was a pupil of the Academy of Fine Arts in Budapest where he worked diligently, then at that of Vienna. He painted many portraits, but also landscapes, compositions and, by his relentless work, managed to live from his brush, although married very young and having to overcome many hardships. He therefore knew the hardships and miseries of life. These strongly impregnated his vision as an artist and explain the thrill of humanity that runs through all his work. A particularly moving experience was reserved for him at the age of twenty. In the hospitals of Budapest he had to paint extraordinary cases, operations, frightful wounds, the deformations to which our poor body is subjected by traumas and physiological decompositions. In these circumstances, it is not a question of gratuitous art, of formal research but of immediate, authentic expressions of our flesh and our being. We know that Breughel Velázquez and Goya had been haunted by the sight of cripples and of madmen Géricault by that of corpses. But life is ultimately stronger than anything, and it is life that Nandor Vagh Weinmann has passionately observed and translated through all the places where he has always painted on nature. Nothing stopped him. It happened to him to paint, for example in front of the mill of Linselles by a weather so cold, that nobody could stay outside, and that he did not leave the place before having finished his work. Because he works constantly on the ground, under the sky, in the silence he loves. His reputation is established. He exhibited at the national fair in Budapest, in the big cities of Hungary Szeged, Szombathely, Veszprém, Kaposvar. In 1931, like all artists in the world, he came to France. But unlike the others, he did not settle in Paris. Because Nandor Vagh Weinmann does not belong to this group of cosmopolitans that we call the School of Paris. He settled in Toulouse, where he remained for a long time with his brothers, and traveled throughout France, eager for new ties, exhibiting in the most diverse cities, in Bordeaux, Marseille, Lyon, Agen, Bayonne, Dax, Tarbes, Grenoble, Nice, Cannes, Strasbourg, Mulhouse, Colmar, Lille. He even crossed borders. He was in Saint Sebastian, in Geneva, and once in Egypt in 1927 where he painted King Fouad...

Unique etching in red chalk perfomed in 19030 glass framed oak mint condition. Börje Harald Holm, born May 17, 1892 in Uppsala, died October 3, 1973, was a Swedish painter and graph...

Raphael DELORME (1886-1962) Study of a woman in profile Watercolor, gouache and pencil on paper Illegible annotation in the lower right corner 31 x 20 cm Small needle holes at the to...

Unique etching performed in red chalk in mint condition glass framed in oak in 1930. Börje Harald Holm, born May 17, 1892 in Uppsala, died October 3, 1973, was a Swedish painter and...

Unique etching in red chalk performed in 1930 glass framed oak in mint condition. Börje Harald Holm, born May 17, 1892 in Uppsala, died October 3, 1973, was a Swedish painter and g...

A classic Art Deco Nude Oil Painting of a woman holding a single rose that projects beauty and serenity. A reclining nude is the essence of what is pure and natural yet also desirab...

Raphael DELORME (1886-1962) Study, preparatory work for “La Princesse” Watercolor and pencil on paper Annotated “La Princesse” 30,5 x 22,5 cm Small folds and small stains Born in 18...

Oil on canvas signed ROBJ, France, 1930s. Couple near the Pound. with frame - 134.6x107x7 cm - 53"x42"x2.75" ; without frame - 116x89 cm - 45.7x35 inches. 50F format. Signed "Robj" l...

Oil on canvas by Charles PICART LE DOUX (1881-1959), France, 1939. The Beautiful Girl. With frame: 85.5x72.5 cm - 33.7x28.5 inches ; without frame: 73x60cm - 28.75x23.6 inches. 20F f...

Antique American signed modernist nude male landscape oil painting. Oil on canvas. Signed. Framed. Image size, 18L x 14H.

Hans Burkhardt The Artist's Wife (1930) Oil on canvas, 20" x 16" 24" x 20 ½" x 1 ½" framed Dated 1930 lower right recto. Annotated "To Elsa HB Louise Burkhardt 1930. HB" verso. ...

Arnold Blanch Nude Signed lower right Oil on board 20 x 16 inches Provenance: G. David Thompson Collection, Pittsburgh Private Collection, New York Bo...

Carl Gustaf Simon Nelson, American (1898-1988) "Nude Musicians," 30 x 35 inches, oil on canvas Signed and dated 1938 signature lower right. Provenance: Collection of Seymour Stein Bio Carl Gustaf Simon Nelson (1898 - 1988) A painter, graphic artist and teacher whose paintingfocus was color and content landscapes, Nelson at age five immigrated with his family to Sioux City, Iowa from Sweden in 1903. He studied at the Chicago Academy of Fine Arts* from 1920 to 1921, then at the Art Students League* in New York from 1923 to 1927 with Kimon Nicolaides and Kenneth Hayes Miller. He taught at the American Peoples School of New York, an adult education project; at the Cambridge School of Design from 1948 to 1952; and finally at the Boston YMCA until 1968. His work was exhibited at the Carnegie...

"Nude "odalisque Aux Pantins" Belgian Modern School By Georges Brasseur 1930" Georges BRASSEUR was an artist born in Belgium in 1880 and died in 1950. His works went up for sale at p...

An intriguing 1930's Art Deco Slade School oil on canvas painting. The work depicts a mother and child bathing, surrounded by other bathers. It possibly has religious overtones. This...

Oil on canvas signed R.B.FELTRAP, France, 1937. Nude. With frame : 101.5x82.5 cm - 40x32.5 inches ; without frame : 92x73 cm - 36.2x28.75 inches. Format 30F. Signed and dated "R.B.Fe...

This charming Post-Impressionist Art Deco oil painting is by noted British prolific Royal Academy exhibitor and Royal Academician William Dring. It is possible that our painting was ...

A wonderful oil on canvas circa 1930 by Tunisian post impressionist painter Albert Braitou-Sala. The work depicts a beautiful, blonde nude laid back on a white sheet surrounded by cl...

This superb British nude portrait oil painting is attributed to the circle of Harold Knight. Painted circa 1930, it is a seated study of a nude woman in soft focus, arms raised to on...

Bruno was born in 1888 in Bruenn, then part of the Austro-Hungarian Empire. He was the youngest son of a well-to-do family of textile manufacturers. Bruno was a delicate child, but...

A stunning exhibited 1934 nude female portrait by Dora Crocket (Countess Lewenhaupt). The portrait depicts a nude woman reclining in a sensual pose against a background of red and bl...

Sleeping woman  is an artwork realized by Antonio Feltrinelli in 1930s.  Oil on canvas, 110 x 160 cm.  Very good conditions Antonio Feltrinelli (Milan, 1887 - Gargnano, 1942) wa...

Seated Nude is an artwork realized by Antonio Feltrinelli, in 1930s.  Oil on canvas, 108 x 75 cm. Provenance: Galleria Pesaro, Milan. Good conditions! The nudes and portraits w...

This lovely British Modernist portrait oil painting is by noted artist Lionel Ellis. The painting comes from a collection of works by the artist, previously owned by his wife. Painte...

Henri Burkhard, Born in New York in 1892, began his studies at the Art Students league in New York and then pursued international studies at the Académie Julian, Acadêmie Colarissi, and Académie de la Grande Chaumière, Pariss. Once the artist returned to New York, he began to exhibit frequently frequently at the Whitney Museum of American Art in 1926-36; the Corcoran Gallery, Art Institute of Chicago, and the Pennsylvania Academy of Fine Arts in the 1930's. Works by the artist have been handled and sold over the last hundred years at major American auction houses and dealers, such as Heritage...

This painting was done early in Clyde Singer's career while at the Art Students League in New York. It was purchased directly from the artist in 1988.

Antique American modernist nude signed drawing. Pencil on paper. Unsigned. Framed. Image size, 9L x 12H.

Oil on isorel panel by Charles PICART LE DOUX (1881-1959), France, 1949. Model on green background. With frame: 97.5x76.5 cm - 38.4x30.1 inches ; without frame: 81x60cm - 31.9x23.6 i...

An oil painting of a reclining nude, created by Leontine Wallace ca, 1931. Leontine Wallace studied with André Lhote in Paris. The artist was a lifelong resident of California, liv...

A French Post Impressionist reclining nude sensitively painted and dating to the Art Deco period. Pierre Mitiffiot de Belair was born in Lyon, France in 1892. He was the son of Fern...

This black pencil on paper is a study of a nude standing female, designed by Marie Louise Simard (1886-1963). The hand-written signature is on the bottom left corner with the officia...

Benjamin Bennon most prominently worked in the cubist tradition, stretching and fracturing the figures of his subjects in order to take new approaches to their meaning and interpreta...

French artist Georges Lucien Guyot (1885 - 1972) signed this charming woman nude study. This painting features a lovely design of a woman getting out of the bath and wiping with a towel. Only a few lines in charcoal and red chalk or sanguine mark the silhouette and posture and capture the model's expression. The red color emphasizes the color of the skin and imbues the lascivious movement. The sketches of the bath towel are only suggested, but it gives the whole thing a lot of softness and an incredible illusion of movement. Signed on the bottom left corner: Georges Lucien Guyot. The artist used a technique named "sanguine," or red chalk or crayon. The drawing has a blood-red, reddish, or flesh coloration. It has been popular for centuries for drawing employed by 15th and 16th Century artists such as the great masters like Leonardo da Vinci, Michelangelo, and Raphael. The drawing is ornate with a contemporary wood frame with a red and yellow deep-textured pattern and an off-white matte with acrylic glass protection. Measurements: With Frame: 20.87 in. wide (53 cm) x 28.35 in. high (72 cm) x 1 in. deep (2.5 cm). View alone: 11.44 in. wide (29 cm) x 18.94 in. high (48 cm). About: Georges Lucien Guyot (born December 10, 1885, in Paris, where he died December 31, 1972) is a French artist, sculptor, and painter. From an early age, Georges Guyot showed artistic abilities, but the modest conditions of his parents did not allow him to study art. So he did his apprenticeship with a wood sculptor. Guyot excelled in copying works from the 15th, 16th, and 17th Centuries but rapidly showed an attraction for nature. This attraction led him to the Jardin des Plantes in Paris, where he could study wild animals and translate his observations into sculptures and paintings. A familiar figure of Montmartre, Georges Guyot was the guest of the Bateau-Lavoir from the time of Cubism. In 1931, he joined the group of Twelve, created by François Pompon and Jane Poupelet...

Simka Simkhovitch (Russian/American 1893 - 1949) This came with a small grouping from the artist's family, some were hand signed some were not. These were studies for larger paintings. This is a watercolor and gouache beach scene three young men bathing...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Baigneuses avec cygne by Georges Manzana Pissarro (1871-1961) Oil on panel 30 x 37.5 cm (11 ³/₄ x 14 ³/₄ inches) ...

The Nude Model French School, 1930's oil on canvas 21.5 x 15 inches double sided work provenance: private collection, Paris The painting is in sound condition, some former restoratio...

Artist: James Roy Hopkins (American, 1877-1969) Title: "Cynthia (with Cat)" *Monogram signed and dated by Hopkins lower right Year: 1937 Medium: Original Oil Painting on Canvas Framing: Recently framed in an Art Nouveau gold gesso moulding Framed size: 39.25" x 50.25" Canvas size: 34" x 45" Condition: In excellent condition. A large beautiful and well executed work. Notes: Provenance: private collection - Chicago, IL. Biography: James Roy Hopkins (1877-1969) was born in the rural farming community of Irwin, Ohio in 1877. His mother, Nettie Hopkins, painted with watercolors recreationally and encouraged her son’s artistic interests. Though he shared his mother's love of art, Hopkins initially entered Ohio State University in 1896 to study electrical engineering. However, he soon left and briefly enrolled in the Columbus School of Art before going to the Art Academy of Cincinnati where he studied with Frank Duveneck. In 1900, Hopkins moved to New York City and worked as a medical textbook illustrator. Two years later he made the pilgrimage to the art center of the western world at the time, Paris, France. While in Paris he improved his craft at the Académie Colarossi. Hopkins embraced Parisian life and socialized with and visited the studios of such great artists as Pierre...

A handsome and fit young man with an introspective gaze is depicted in a Speedo Bathing suit as he sits against a tropical lake. The work is unframed and in fair to poor condition but has soul and sex appeal to it. Louise Schacht...

CHARLES KVAPIL "NU" OIL ON CANVAS, SIGNED, TITLED BELGIAN, DATED 1932 46 X 32 INCHES FRAMED 55.5 X 41 INCHES Charles Kvapil 1884-1957 Charles Kvapil was born in 1884 in Anvers...

A wonderful oil on canvas circa 1930 by Tunisian post impressionist painter Albert Braitou-Sala. The work depicts a beautiful, blonde nude laid back on a white sheet surrounded by clouds in a blue-grey sky. A stunning piece. Signature: Signed lower left Dimensions: Framed: 16"x24" Unframed: 10.5"x18.5" Provenance: Private French collection Albert Braïtou-Sala studied under Adolphe Déchenaud, Henri Royer...

'Nude Viewed from the Back', oil on canvas, by Charles Kvapil (1937). The world of art has for centuries depicted nudes in one form or another. Kvapil's wonderfully alluring versions may likely be inspired by Courbet and Cézanne. This nude appears on a chair with her back to the artist and viewer. There are plush reds, sensuous pinks and darker, patterned curtains...

Nude woman is a beautiful and impressive oil on canvas by Antonio Feltrinelli. It was realized between the end of the 1920s and the beginning of the 1930s and represents a nude woma...

Odalisque and Guitar is an orignal modern artwork realized by Antonio Feltrinelli in 1930s. Mixed colored oil painting on board. Signed on the back Antonio Feltrinelli (Milan, 188...

Woman is an orignal modern artwork realized by Antonio Feltrinelli in 1930s. Mixed colored oil painting on canvas. Signature on the lower margin. Provenance Galleria Pesaro, Milan...