American Gothic Style
Anderson Craig
Portrait of a Red-Haired Man
Oil on Canvas
Circa 1930s
DIMENSIONS
CANVAS: Height: 10 inches (25 cm) Width: 8 inches (20 cm)
FRAME: Height: 15 inches (38.1 cm) Width: 13 inches (33.02 cm) Depth: 2 inches (5.08 cm)
DETAILS
Signed by the artist in the lower right corner.
The painting is framed in a Newcomb-Macklin Co. gilt wood frame.
ABOUT PAINTING
The portrait, rendered in the American Gothic style, is an oil on canvas painting by the distinguished artist Anderson Craig, created during the 1930s. This striking piece features a young man with vivid red hair, capturing a moment of profound intensity and character. The American Gothic style, known for its austere and detailed representation, is exemplified in Craig's meticulous brushwork and the composition of this painting.
In this artwork, Craig utilizes the American Gothic aesthetic, which is characterized by its clear, almost photographic precision and the emphasis on stark, moralistic themes. The young man’s fiery red hair contrasts dramatically with the somber background typical of this style, creating a powerful visual impact. His expression, rendered with intricate detail, conveys a sense of seriousness and introspection, which is a hallmark of the American Gothic tradition.
Craig's technique in this piece showcases his skillful use of oil paint to achieve rich textures and deep, resonant colors. The canvas is imbued with a palpable sense of depth and realism, while the subject's detailed features, from the texture of his hair to the subtle play of light and shadow on his face, highlight Craig’s attention to detail and his ability to evoke emotion through his art.
This portrait not only reflects the artist's mastery of the American Gothic style but also provides a glimpse into the cultural and artistic milieu of the 1930s. The era, marked by economic hardship and social upheaval, often influenced artists to explore themes of resilience and identity. Craig’s portrayal of the young man can be seen as a commentary on the spirit of the time, blending traditional elements with personal expression to create a compelling and enduring piece of art.
ABOUT ARTIST
Anderson Craig (American, 1904 – 1964) was an American artist whose work spanned several decades and styles. Known for his contributions to American art during the mid-20th century, Craig's career is marked by a range of artistic achievements.
Anderson Craig was born in Iowa City, Iowa, the son of Dr. Arthur Still Craig and Melle Campbell Craig. He took art and design courses in Kansas City, Missouri in the 1920 and in the late 1920's was a portrait artist in New York City. During the Depression of the 1930's he worked as an animation background artist, first for Fleisher Studios and later for Terrytoons, where he eventually became head of the backgrounds department. Through the 1940's he supplemented his income by doing wartime posters and freelance artwork for magazine advertisements. After 15 years he left Terrytoons to run his own small animation studio, concentrating on making commercials. In 1959 it was announced the he was returning to Terrytoons (then part of CBS) as an animation director, but a year later he had moved to Massachusetts were he was an art director for Bay State Film Productions.
Craig grew up in an environment that fostered his artistic talents. He studied at several prominent art institutions, where he honed his skills in painting and sculpture. His early works were influenced by the modernist movements of the time, but he soon developed a distinctive style that combined elements of realism with abstraction.
Throughout his career, Craig exhibited his work in various galleries and museums across the country. His pieces were noted for their vibrant use of color and innovative compositions. He was also involved in several art movements and groups, which helped to shape his artistic approach and gain recognition within the art community.
In addition to his work as a visual artist, Craig was also an educator. He taught art at several universities, where he influenced a new generation of artists with his techniques and creative philosophy. His contributions to both art and education have left a lasting impact on the field.
Anderson Craig died in Springfield, Massachusetts on February 21, 1964. His work continues to be celebrated for its unique style and contribution to American art. His legacy endures through his pieces in private collections and public institutions, reflecting a rich and diverse career.
$4,500
Mid-Century Modernism
Juan De'Prey
Portrait of a Young Boy
Oil on Board
Circa 1940s
DIMENSIONS
Height: 30.5 in (77.47 cm) Width: 24 in (60.96 cm) Depth: 2.25 in (5.72 cm)
DETAILS
Signed by the artist in the upper right corner. The painting has the original wood frame.
ABOUT
Juan De'Prey created a modernist oil on board portrait painting depicting a young boy seated on a chair. Executed in the 1940s, the artwork captures the essence of the era through its stylistic and thematic elements. The portrait reflects De'Prey's distinctive artistic vision, showcasing his mastery in portraying human emotion and character with vibrant brushwork and nuanced composition. This piece exemplifies De'Prey's talent in merging traditional portraiture with modernist sensibilities, contributing to his legacy as a significant figure in 20th-century art.
ABOUT ARTIST: Juan DePrey (Puerto-Rican/American, 1904 - 1962)
Juan De’Prey's claimed childhood in Puerto Rico contrasts with census records showing his family's origins. His father, Louis, a Frenchman from Haiti, brought them to Puerto Rico in 1909. The census lists Juan's elder brothers and a younger sister, noting his birthplace as Haiti and his name spelled "Gean," reflecting the Spanish rendition of "Jean."
De’Prey's early life included jobs like selling newspapers and working in fields. Later, as a seaman in New York during the Great Depression, he took on various roles, eventually selling paintings while operating an elevator. In 1934, he co-founded the Pro-Art Group and later joined The Latin American Art Group of New York.
His breakthrough came in the early 1940s when sculptor Jose de Creeft awarded him first prize at an exhibit, marking his shift to full-time artistry. Exhibitions at notable venues followed, earning acclaim from critics.
De’Prey's career flourished with exhibitions at the Whitney Museum and the Galeria Sudamericana, and commissions for murals at institutions like the University of Puerto Rico and Mount Holyoke College. In 1962, he received the Friends of Puerto Rico's gold medal.
Known for his landscape paintings and poignant portraits of children, De’Prey's artistry resonated deeply with Puerto Rican themes and was likened to Mexican masters. His work, delving into social and racial themes, reflected his deep intellectual engagement.
Following his death in 1962, exhibitions and collections continued to celebrate his legacy, highlighting his enduring influence on Puerto Rican art and culture.
$3,600
Neoclassical | Dutch Style
Still Life Painting
Oranges in Metal Bowl
Oil on Masonite
Ca. 1950s
DIMENSIONS
Height: 20 in (50.8 cm) Width: 17 in (43.18 cm) Depth: 1 in (2.54 cm)
DETAILS
No signature or marks.
ABOUT PAINTING
This exquisite Dutch-style still life oil painting on Masonite captures the timeless beauty of oranges arranged within a delicate metal wire bowl, gracefully positioned upon a lustrous marble table. Created in the 1950s, this piece embodies the Neoclassical style, showcasing meticulous attention to detail and a harmonious composition. Encased in its original frame, the artwork exudes a serene elegance, inviting viewers to appreciate the artistry and craftsmanship of a bygone era.
$2,500
Italian Avant-Garde Symbolism
Gianpaolo Lazzaro
Oil on Canvas Painting
1960
DIMENSIONS
Height: 24.5 in (62.23 cm) Width: 32.5 in (82.55 cm) Depth: 1.5 in (3.81 cm)
DETAILS
Dated 1960, and signed by the artist in the lower central area.
ABOUT PAINTING
We are proud to present this exquisite Italian Avant Garde symbolist oil on canvas painting by Gianpaolo Lazzaro. Created in 1960, the piece is representative of Lazzaro's art from this period. Gianpaolo Lazzaro was active from the 1930s-1970s and is known for his images of suspended bodies, cosmic attractions and space apparitions, which he predominantly created between 1946 and 1956.
ABOUT ARTIST: Gianpaolo Lazzaro (Italian, 1911–1977)
After studying at the Brera Academy in Milan, Gianpaolo, at just 16 years old in 1927, accompanied Francesco Dal Pozzo to Siam (now Thailand) to teach drawing at the Royal Academy of Bangkok. His first exhibition there was warmly received by the local press. Following a year in Siam, he returned to Padua.
At 18, he exhibited at the XVII Venice Biennale in 1930. By 1931, he settled in Milan and began showcasing his work in various galleries, including the Gian Ferrari Gallery where he exhibited alongside Filiberto Sbardella in 1939. His talent was recognized further when he won the competition to design the advertising poster for the II Venice Film Festival in 1934. Gianpaolo's artistic journey took a dramatic turn in 1935 when he participated in the Italian East Africa campaign. Surviving the rigors of colonial war, he returned to Milan in 1937.
During this period, Gianpaolo collaborated with prominent artists like Mario Sironi, befriended Lucio Fontana, and contributed to the magazine "Natura," where he met Bruno Munari. In 1940, he was conscripted into the army, and the following year he married Bruna Gualazzi. His military service took him to the Russian campaign, while back in Liguria in 1944, he joined the Resistance amidst personal milestones such as the birth of his son Claudio.
In 1945, Gianpaolo resumed his artistic pursuits in Milan, organizing the first modern contemporary art exhibition at the Italian-American press club, alongside luminaries like Carlo Carrà, Giorgio De Chirico, and Giorgio Morandi. From 1946 to 1956, he embarked on a significant series of works that established him as a pioneer, exploring themes such as space apparitions and cosmic attractions.
In 1949, a solo exhibition organized by Carlo Cardazzo at the Galleria del Naviglio underscored Gianpaolo's growing reputation. Recognition continued in 1954 when Dino Buzzati penned a story inspired by him, and from 1957 onward, he delved into his "Cosmocronache" series, blending fragments of reality with dreamlike painting.
Throughout the 1950s and 1960s, Gianpaolo participated actively in Milan's artistic milieu, engaging with figures like Enrico Castellani and Piero Manzoni. Despite this, he maintained a distinctive path, avoiding easy categorization within artistic trends.
In 1967, a significant collective exhibition in Padua showcased his work alongside peers like Lucio Fontana. By the 1970s, Gianpaolo's art evolved again, focusing on narrow vertical panels depicting expansive skies. His final exhibition in 1977 at the Zunino Gallery in Milan marked a culmination of his artistic journey, characterized by a refined use of color and form that defied conventional artistic norms.
Gillo Dorfles aptly summarized Gianpaolo's artistic evolution: "Throughout his career, from metaphysical explorations to 'Cosmocronache' and beyond, Gianpaolo consistently sought to transcend prescribed artistic canons, avoiding both anecdotal realism and geometric abstractionism."
In essence, Gianpaolo's legacy lies in his steadfast pursuit of artistic innovation and independence, forging a unique path that resonated deeply within the vibrant artistic landscape of his time.
$9,000
Abstract Expressionism
Ronald John Jorgensen
"Ancient Figures"
Oil on Canvas Painting
1953
DIMENSIONS
Height: 28.75 in (73.03 cm) Width: 32.5 in (82.55 cm) Depth: 1.5 in (3.81 cm)
DETAILS
The painting is signed and dated on the lower right corner, with additional markings on the back including the painter's signature, date (1953), dimensions, and title. The back frame bears a stamp indicating an exhibition at Wartham Bank, Falmouth in 1965, alongside stamps from WM H. Littlefield. It remains in excellent original condition, housed in its original frame showing age-appropriate wear.
ABOUT PAINTING
This framed oil on canvas painting titled 'Ancient Figures' is an abstract expressionist piece created by R. Jorgensen in 1953. The artwork reflects a style reminiscent of the early lyrical abstractions pioneered by Arshile Gorky and other artists of the early abstract expressionist movement in the United States. Jorgensen, a contemporary and friend of the prominent artist William H. Littlefield, gifted this painting to Littlefield in 1965, as indicated by an inscription on the back frame.
ABOUT ARTIST: Ronald John Jorgensen (1932-1984)
The Bassett Road machine gun murders in 1963 shocked New Zealand when Frederick George Walker and Kevin James Speight were gunned down with a .45 caliber Raising submachine gun at a house in Auckland. This crime, reminiscent of Chicago gangland killings, drew widespread attention due to its brutality and the weapon used.
The house where the murders occurred was not just a residence but operated as a "beerhouse," a quasi-illegal establishment where alcohol was sold after legal closing hours. Such places were hubs for various social groups, including poets, musicians, athletes, and criminals, and were involved in illicit activities like gambling and drug distribution.
The investigation revealed lax firearms regulations at the time, allowing criminals easy access to weapons. John Gillies and Ronald Jorgensen, prominent figures in the New Zealand underworld, were arrested and later convicted for the murders. Gillies admitted to acquiring the machine gun for protection but denied involvement in the killings. Both men received life sentences.
Jorgensen, known for his artistic endeavors in prison, was paroled under strict conditions but mysteriously disappeared in 1984, with speculation that he faked his death. Recent evidence suggests he may have fled to Australia. Gillies, after multiple incarcerations, now live under a new identity in Wellington.
The case intersected with future political figures like Robert Muldoon and John Banks, whose family had ties to the beerhouse scene. Many police involved in the investigation went on to prominent careers.
In 2019, an artwork allegedly painted by Jorgensen surfaced, adding a mysterious twist to the enduring saga of the Bassett Road murders.
$9,000
American Art Deco
Major Felten
Female Nude
Charcoal Drawing on Paper
Circa 1930s
DIMENSIONS
Height: 28.5 in (72.39 cm) Width: 22.5 in (57.15 cm) Depth: 1.5 in (3.81 cm)
DETAILS
Signed by the artist in the lower right corner. Original period frame.
ABOUT DRAWING
This charcoal and black-and-white chalk drawing embodies American Art Deco style, crafted by Major Felten during the 1930s. The artwork portrays a nude woman in a provocative pose, seated amidst oversized hands, accentuating sensuality and grace. It is adorned with the artist's signature in the lower right corner, adding a personal touch to this captivating piece. Original artworks by Felten have become increasingly scarce to procure, making this piece particularly noteworthy. Presented in its original frame, it boasts remarkable vintage condition, showcasing age-appropriate wear that adds to its historical allure.
ABOUT ARTIST
Major Felten (American, 1904-1975) was a distinguished American visual artist and illustrator who flourished in New York City during the vibrant decades spanning the 1930s to the 1950s. Renowned for his striking posters and evocative book illustrations, Felten garnered widespread acclaim. Notably, several of his posters were later featured by Davis Blue Artwork, founded by Robert Blue and Brian Davis.
$14,000
Mid-Century Modernism
Edward Henry Molyneux
Still Life with Potted Roses
Oil on Canvas
1954
DIMENSIONS
Height: 34.5 in (87.63 cm) Width: 27 in (68.58 cm) Depth: 1.5 in (3.81 cm)
DETAILS
Signed and dated in the lower right corner. Original period wood frame.
ABOUT ARTIST
Edward Henry Molyneux, the distinguished British fashion designer and artist (1891-1974), extends his creative genius beyond the realm of haute couture into the domain of fine art. His mastery is evident in a contemporary oil on canvas, capturing a serene still life adorned with potted roses. Molyneux's artistic journey spanned decades, marked by prestigious exhibitions at Galerie Weill in Paris (1950–1956) and the Hammer Galleries in New York (1967).
Among his notable works, 'Carnations in Vase' found a cherished place in the collection of the Duke and Duchess of Windsor, while 'Roses in Glass' graced the abode of the iconic actress Greta Garbo. Molyneux's influence extended from his fashion house's inception in Paris in 1919 to expansions in Monte Carlo (1925), Cannes (1927), and London (1932). Renowned for his impeccably refined simplicity, the designer's artistic finesse shines through in this piece, elegantly signed and dated on the lower right, housed in its original wood frame.
$8,000
American Art Deco
Modernist Social Realism
Paul Raphael Meltsner
Portrait of a Youth
Oil on canvas, circa 1940
DIMENSIONS
CANVAS: 26 x 20 inches
FRAMED: 30 .5 x 24.5 inches
DETAILS
Signed ‘Paul Meltsner’ lower left.
Vintage wood frame with linen insert.
ABOUT PAINTING
This handsome portrait of a youth has been executed by Paul Meltsner, a widely recognized American painter and lithographer, in a deliberately cold but sensual and stylish Art Deco esthetics and, simultaneously, in his signature genre of Modernist Social Realism; an art movement that became prominent in the US between the two world wars. Circa 1940, this work reveals the artist’s remarkable painting manner is especially noticeable in the neat lines, clear geometry and unexpected palette. Skillfully combining cubism, classicism and mannerism, Meltsner had managed to create a certain mystery in the image of his model, giving this portrait a very special magnetic appeal.
PAUL RAPHAEL MELTSNER (AMERICAN, 1905 - 1966)
Born in New York City, painter and lithographer Paul Raphael Meltsner studied at the National Academy of Design and began his career as a magazine illustrator. With the onset of the Great Depression, Meltsner found employment with the Federal Arts Project of the Works Progress Adminstration and toured the United States, portraying industrial and agricultural workers in their everyday surroundings in paintings, prints, and murals.
His lithographs, in bold social realist style, won approval from everyday collectors as well as museums. His paintings found their way into numerous private collections and institutions including the Smithsonian Museum of American Art, The Museum of Fine arts in Boston, The Whitney Museum, and the Detroit Institute of the Arts, and many others.
In his later years, Meltsner turned to celebrity portraits and retired from New York City to Woodstock, New York, where he died.
$9,500
Mid-Century Surrealism
Alexander Cañedo
Dancing Man
Oil on Canvas, ca. 1950’s
PAINTING DIMENSIONS:
Canvas: 44 x 44 cm (17-3/8 x 17-3/8 in.)
Framed: 68 x 68 cm (26-3/4 x 26-3/4 in.)
Alexander Cañedo (Mexican-American, 1902 – 1978) was born in Mexico City as Alejandro de Cañedo; his father was a Mexican government official and his mother was from the United States. In 1918, when Cañedo was 15, his parents sent him to École nationale supérieure des Beaux-Arts in Paris where he studied under the sculptor Jean Magrou. In 1923, Cañedo traveled to Rome where he continued his art studies. In 1927, Cañedo briefly returned to Mexico. During that trip, the Mexican Government appointed him attaché to the Mexican Embassy in Rome.
In 1928, Cañedo held his first art exhibition with the Circolo Artistico in Rome, a collection of pencil drawings. More exhibitions followed in other cities in Europe. That same year, he traveled to the New York City where he exhibited widely. At this point, he began signing his work with just his last name; eventually, he also Anglicized his first name as "Alexander" and dropped the "de".
Cañedo was commissioned in 1929 to illustrate the amatory novel Orientale: The Adventure of Therese Beauchamps by the French author Francis de Miomandre. The highly stylized Art Deco results were so successful that he retained Cañedo the following year to illustrate his next novel, The Love Life of Venus.
In 1932, Cañedo was invited to have a solo show of his pencil drawings at Walter P. Chrysler, Junior's newly opened Cheshire Gallery, located in the Chrysler Building. He also had a solo exhibition at the Argent Galleries, and participated in shows of the Art Students League of New York, of which he was an active member.
By the mid-1930s, Cañedo began exhibiting watercolors. These were shown at solo exhibitions at the Arthur U. Newton Galleries. He expanded to work in oil paint and in the early 1940s, such work was exhibited at the Arthur U. Newton Galleries and the Schneider-Gabriel Galleries of New York. Beginning in 1947 and over the next decade, he produced many illustrations for the covers of science fiction magazines such as Astounding.
Traveling west, Cañedo held a solo show at Gump's Gallery in San Francisco in 1949, the first of many exhibitions at Gump's. That year, he also exhibited at the first annual Art League of California faculty show. In 1950, Walter Foster published an art instruction book titled How Cañedo Draws the Figure; it remained in print for five years.
Cañedo permanently relocated to California, dividing his time between San Francisco and Los Angeles, with frequent painting trips to the Monterey area. His work tended to be formally similar, with nude figures set in improbable, alien or abstracted landscapes, or featured natural objects such as seashells floating in such settings. During this time, Cañedo also produced many overtly homoerotic artworks for private collectors which were too suggestive to be exhibited in galleries.
His work remained in demand throughout the 1960s, with solo exhibitions at the James Pendleton Gallery, Galleria Gianni, Raymond & Raymond Gallery and the Arcade Gallery in the Beverly Hills Hotel. His works are included in the permanent collection of the Leslie Lohman Gay Art Foundation.
Cañedo died in West Hollywood, California on February 1, 1978
$4,500
Mid-Century French Modernism
Joe Stein
Portrait of a Boxer
Oil on Canvas
ca. 1950s
DIMENSIONS Height: 32 inches Width: 29 inches Depth: 2 inches
MARKINGS Signed ‘Joe Stein’
NOTE Original un-restored period frame has a Paris art gallery label affixed on the reverse.
ABOUT THE PAINTING
This unique portrait, very unusual in its pictorial style, depicts a boxer resting in his corner between rounds. His muscular hands in boxing gloves lie limply on his knees; the swollen lips stand out on his face. But the center of the composition are his deep-set eyes, the gaze of which expresses a whole range of his inner emotional experiences - thoughtfulness, concentration, poorly restrained rage and… sadness. It is this impression of the character, so accurately conveyed by the artist, which makes this portrait a truly remarkable work of art.
SOLD
French Art Deco
Emmanuel Fougerat
La Argentinita
Portrait of Encarnación López Júlvez
Oil on Canvas Painting
ca. 1920
DIMENSIONS Height: 16.25 inches Width: 13.5 inches Depth: 2.25 inches Frame width: 2.5 inches
ABOUT MODEL
Encarnación López Júlvez, known as La Argentinita (Buenos Aires, March 3, 1898 – New York, September 24, 1945) was a Spanish-Argentine flamenco dancer (bailaora), choreographer and singer. La Argentinita was considered the highest expression of this art form during that time. López Júlvez was the daughter of Spanish immigrants in Argentina, where her father had a fabric business. While living there, two of her siblings died in a scarlet fever epidemic. Consequently, she was brought to the north coast of Spain in 1901, where she began to learn Spanish regional dances. When she was only four years old, she started learning flamenco from Julia Castelao. Her first public performance was at the age of eight at the Teatro-Circo de San Sebastián, in the Basque Country. She chose the name "La Argentinita" in deference to the famous flamenco dancer Antonia Mercé (La Argentina).
After travelling throughout Spain as a child prodigy, she settled in Madrid to perform at Teatro La Latina, Teatro de la Comedia, Teatro de La Princesa, Teatro Apolo and Teatro Príncipe Alfonso. Her success led her to tour in Barcelona, Portugal and Paris, and then Latin America. In the early 1920s, she returned to Spain, where she worked in Madrid. Among her early performances was the 1920 premiere of Federico Garcia Lorca’s musical play El Malificio de la Mariposa as "the Butterfly". She announced her retirement in 1926, but would quickly return to the show business as part of the artistic renewal that led her to the Generation of ‘27, in which she combined flamenco, tango, bulerías and boleros. She danced to the compositions of Manuel de Falla, Joaquin Turina, Isaac Albeniz, Enreque Granados and Maurice Ravel. She helped in the development of Ballet Español.
Adapting pieces to popular tradition, she toured Europe, triumphing in Paris and Berlin and participating in the artistic movements of that time along with Spanish poets such as Rafael Alberti, Federico García Lorca, Edgar Neville and Ignacio Sanchez Mejias. Sánchez Mejías, an intellectual and bullfighter, was a married man and her lover. La Argentinita retired a second time to maintain her clandestine relationship with him. However, she would return to the stage with the aid of Sánchez Mejías, who participated in the search and employment of interpreters for her subsequent performances. In 1931, López Júlvez and García Lorca recorded five gramophone slate records, which were accompanied by García Lorca's piano. The selection of songs was prepared, adapted and titled Colección de Canciones Populares Españolas by García Lorca. Among the ten songs were "Los cuatro muleros", "Zorongo gitano", "Anda Jaleo" and "En el Café de Chinitas".
With the beginning of the Second Spanish Republic, López Júlvez formed her own ballet company called Bailes Españoles de la Argentinita together with her sister, Pilar Lopez Julvez, and García Lorca. López Júlvez staged several flamenco theatrical shows, including an adaption of Falla's El Amor Brujo(Love, the Magician) in 1933, and Las Calles de Cádiz (The Streets of Cadiz) in 1933 and 1940. She travelled through Spain and Paris, where she was recognized as one of the most important flamenco artists of her time. Her company included the flamenco figures Juana la Macarrona, La Malena, Fernanda Antúnez, Rafael Ortega and Antonio de Triana, who was her first dancing partner until the 1940s.
At the end of her tour around Spain, her lover Sánchez Mejías was gored to death in 1934 in the Manzanares bullring. She sought refuge in her work and moved to Buenos Aires to dance at the Teatro Colón; from there she embarked on a long American tour. In 1936 she achieved success in New York. Afterwards, she returned to Spain but was forced to flee the country shortly before the outbreak of the Spanish Civil War. She travelled through Morocco, France, the UK, the Netherlands, Belgium and the USA, where she remained in exile in New York. From then until her death in 1945, she developed her career and became one of the biggest stars of international dance, and even participated in movies.
In 1943, she presented the flamenco troupe El Café de Chinitas at the Metropolitan Opera House in New York, with her own choreography, texts by García Lorca, scenery by Salvador Dali and the orchestra directed by Jose Iturbi, In addition, she performed at the Washington DC Watergate complex with her sister.
On May 28, 1945, she gave her last performance at the Metropolitan of the orchestral work El Caprico Espanol, composed in 1887 by Nikolai Rimsky-Korsakov and based on Spanish melodies. At the end of the event, she had to be admitted to a hospital, where she died on September 24 from a tumor in her abdomen. She did not want to have it operated on because she did not wish to abandon dancing. Her body was repatriated to Spain in December and buried in the Spanish capital. That same year, the company of Bailes Españoles de la Argentinita was dissolved.
Among the honors she received after her death was a plaque consecrated at the Metropolitan Opera House, positioned among the medals of Alfonso X El Sabio and La Orden de Isabel la Católica to honor her merits in the field of culture.
ABOUT ARTIST
Emmanuel Fougerat (French, 1869 – 1958) was a renowned French painter, museum curator and art historian. A former student of the Regional School of Fine Arts in Rennes, Fougerat studied in the studio of Albert Maignan and that of Jean-Paul Laurens in Paris. He was appointed director of the Nantes School of Fine Arts and was also the founder and curator of the Museum of Fine Arts in the same city. Emmanuel Fougerat was named Chevalier of the Legion of Honor in 1912. In 1923, he was placed on temporary leave from the French State in order to carry out a mandate as director of fine arts education in the Province of Quebec, Canada; where he served as an art teacher and director of the École des beaux-arts de Montréal from 1923 to 1925. Emmanuel Fougerat is also the author of works on several French painters, including Albert Besnard, Paul Baudry, Eugène Carrière, Théodore Chassériau, Camille Corot etc. He was a painter of genre scenes, portraits and nudes. His works were exhibited at the Salon des Artistes Français until 1945. The artist died on September 3, 1958 in Paris.
Emmanuel Fougerat’s paintings are in the following public collections:
• Nantes Museum of Fine Arts, France.
• Museum of Modern Art in Paris, France.
• Rennes Town Hall: permanent decorations.
• Museum of Fine Arts of Saint-Nazaire (destroyed in 1944), France
• National Museum of Fine Arts of Quebec, Canada.
$3,800
American Mid-Century Modern
Richard Wilt
Oil on Canvas Painting
Ca. 1960s
DIMENSIONS
Height: 13.75 inches Width: 10.25 inches Depth: 1,25inches
ABOUT ARTIST
Richard Wilt (American, 1915 - 1981)
1915 Born in Tyrone, PA
1981 Died in Ann Arbor, MI
EDUCATION:
1938 BFA Carnegie Institute of Technology (now Carnegie-Mellon University), Pittsburgh, PA
1953 MA in Art History, University of Pittsburgh, PA
1945 New School of Social Research, New York City, NY (studied with Stuart Davis)
MILITARY
1942-1945 Pilot of B25 Bombers, North Africa Theater
UNIVERSITY ART SCHOOL FACULTY
1946-1947 University of West Virginia, Morgantown, WV
1947-1980 University of Michigan School of Art, Ann Arbor, MI
VISITING ARTIST/WORKSHOPS:
1940 Somerset Summer Art School, Somerset, PA
1947 Ox-Bow Summer Art School, Saugatuck, MI
1969 Wayne State University, Detroit, MI
1969 Cranbrook Academy of Art, Bloomfield Hills, MI
GALLERIES
Forsythe Galleries, Ann Arbor, MI
Collectors Gallery (Gilman Gallery) Chicago, IL
De Graaf Forsythe Galleries, Ann Arbor, MI
SELECTED ONE PERSON EXHIBITIONS:
1942 Elmira Art Museum, New York City, NY
1948 Rackham Galleries, University of Michigan, Ann Arbor, MI
1950 Arts and Crafts Center, Pittsburgh, PA
1950 Grand Rapids Art Museum, Grand Rapids, MI
1951 Butler Institute of American Art, Youngstown, OH
1951 Swetzoff Gallery, Boston, MA
1952 Detroit Artists Market, Detroit, MI (also 1962)
1953 Forsythe Gallery, Ann Arbor, MI (also 1958)
1955 Rackham Galleries, University of Michigan, Ann Arbor, MI
1959 Maine Sabbatical Show, University of Michigan Art Museum, Ann Arbor, MI
1961 Antigua Sabbatical Show, University of Michigan Art Museum, Ann Arbor, MI
1962 Amel Gallery, New York City, NY
1962 Collector’s Gallery, Chicago, IL
1968 “Revolution”, Lawrence Stevens Gallery, Detroit, MI
1979 “Rural Themes of Pennsylvania”, Central Michigan University, Mt. Pleasant, MI
1979 Slusser Gallery, Art School, University of Michigan, Ann Arbor, MI (63rd one-man show)
SELECTED GROUP EXHIBITIONS
1946 Associated Artists of Pittsburgh, Pittsburgh, PA
(also 1947,1948,1949,1950,1951,1953,1954, and 1962)
1947 Ann Arbor Art Association, Ann Arbor, MI
(also 1948,1949,1950,1951,1952,1954,1955,1957,1958, and 1962) “Annual Exhibition of Michigan Artists”, Detroit Institute of Arts, Detroit, MI
1948 Four-man Invitational, A.C.A. Gallery, New York, NY (also 1959 )
Detroit Institute of Arts, Detroit, MI
(also 1949,1951,1952,1953,1954,1956,1958,1959, and 1961 with
Guy Palazolla)
1949 Pennsylvania Academy of Fine Arts, Philadelphia, PA
Watercolor Exhibit, Art Institute of Chicago, Chicago, IL
Old Northwest Territory Invitational Exhibition
1951 Butler Institute of American Art, Youngstown, OH (also1953, 1962)
American Federation of the Arts exhibition: “Five Americans”, circulated nationwide
“Five Americans”, Institute of Contemporary Art, Boston, MA
1954 Michigan Water Color Society-entered annual shows
1955 “Men and Steel” Exhibition, Birmingham Art Museum, Birmingham, AL
“Interior Valley Exhibition”, Cincinnati Museum, Cincinnati, OH. Invitation through Carnegie Museum of Art.
1958 “American Painting and Sculpture,” a joint venture with the Pennsylvania Academy of Fine Arts Invitational Exhibition and the Detroit Institute of Arts in 1959
1962 Flint Institute of Arts, Flint, MI
“Drawings U.S.A.”, Minnesota. Circulated by American Federation of Art,
Springfield, MO
“Watercolors U.S.A.”, Springfield, MO
1963 “International Watercolor Exhibition”, Brooklyn Museum, Brooklyn, NY
“Contemporary American Art” Invitational, Art Institute of Chicago Drawing Exhibition, Norfolk Museum, Norfolk VA. Circulated by the Smithsonian Institute
$3,500
DIMENSIONS: Height: 24” (61cm) Width: 20” (50.8cm) Frame width: 3.25” (8.12 cm)
ABOUT: This painting is a part of the ‘The Cantonese’ series of portraits by David Anthony Tauszky from the 1920s. The magnificent hand-carved wood and gold plated Art Deco frame is original and in good condition.
DAVID ANTHONY TAUSZKY (1878-1972) was a known American painter, born in Cincinnati, Ohio on September 4, 1878. Tauszky studied in New York City at the Art Students League and continued at Academie Julian in Paris under Laurens and Constant. He was already well known in the East in 1922, when he moved to Los Angeles. Making his home in California, the artist made many trips back to New York City to paint and exhibit. Tauszky died in Pasadena, California on February 26, 1972.
EXHIBITIONS: Painters and Sculptors of Los Angeles, 1922-27, Stendahl Galleries, Los Angeles, 1927, Laguna Beach Art Association, 1920s, Pasadena Society of Artists, 1920s, Grand Central Galleries, New York, 1928, Pasadena Art Institute, 1928 (prize), Santa Ana, 1928 (1st prize), Salmagundi Club, 1929 (prize), Allied Art Association, 1929, Civic Art Show, Pasadena, 1937.
WORKS HELD: Wingate School, New York City, Denver Art Museum.
PUBLICATIONS: American Art Annual, 1905-33, Who's Who in American Art, 1936-41, Artists of the American West.
SOURCES: Hughes, Edan M. – ‘Artists In California 1786-1940’; 3rd ed. Vol. 1; Sacramento: ‘Crocker, Art Museum, 2002’. N. pag. 2 vols. Print
$6,500
LEV MEZHBERG
URBAN WINTER LANDSCAPE
OIL ON CANVAS PAINTING
2003
Signed and dated in the bottom right corner “L.M.03”
Dimensions: Height: 28 inches (70cm) Width: 40 inches (100 cm)
Lev Leonidovich Mezhberg (Ukrainian/American, 1930-2007) was born and spent most of his life in the cosmopolitan city of Odessa, whose streets and suburbs are found in many of his works. In 1958, he graduated from Odessa College of Fine Art with highest honours. Mezhberg's work has been exhibited at museums and galleries throughout the Soviet Union, the USA and Europe and is owned by such collectors as leonard Bernstein, Vladimir Horowitz, Natalia Makarova and Mikhail Baryshnikov. Named one of the "Six Best Painters in Russia" in 1967. Some museums with permanent exhibits: Tretyakov Gallery, Moscow, Russia; Russian Museum, St.Petersburg, Russia; Pushkin Museum, Moscow, Russia; Kiev State Museum, Kiev, Ukraine; Ministry of Culture Collection, Moscow, Russia; Ministry of Culture Collection, Kiev, Ukraine; Nicholas Roerich Museum, New York City, USA.
$12,000
Lev Mezhberg
Homage to Cezanne
Oil on Canvas Painting
2005
Signed and dated in the bottom right corner “LEV MEZHBERG ‘05”
Dimensions: Height: 50 inches (125cm) Width: 93 inches (232.5cm)
LEV LEONIDOVICH MEZHBERG (Ukrainian/American, 1930-2007) was born and spent most of his life in the cosmopolitan city of Odessa, whose streets and suburbs are found in many of his works. In 1958, he graduated from Odessa College of Fine Art with highest honours. Mezhberg's work has been exhibited at museums and galleries throughout the Soviet Union, the USA and Europe and is owned by such collectors as leonard Bernstein, Vladimir Horowitz, Natalia Makarova and Mikhail Baryshnikov. Named one of the "Six Best Painters in Russia" in 1967. Some museums with permanent exhibits: Tretyakov Gallery, Moscow, Russia; Russian Museum, St.Petersburg, Russia; Pushkin Museum, Moscow, Russia; Kiev State Museum, Kiev, Ukraine; Ministry of Culture Collection, Moscow, Russia; Ministry of Culture Collection, Kiev, Ukraine; Nicholas Roerich Museum, New York City, USA
$37,000
Indonesian Contemporary Abstract
Sarudian Bin Mohmin
“Tragedi Pasir Salaki I 1874”
(Engl.: SALAK SAND TRAGEDY IN 1874)
1998
ARTIST: Srudian Bin Mohmin
PAINTING: TRAGEDI PASIR SALAK I 1874 (Engl.: SALAK SAND TRAGEDY IN 1874)
ORIGIN: Indonesia
PERIOD: 1998
MEDIUM: Mixed media on wood board
SIGNATURE: Signed by the artist.
DIMENSIONS: H: 56.38 inches (141cm) x W: 41.25 inches (103cm)
$2,500
Rolph Scarlett
Modernist Abstract Composition
Guache on Paper
Ca. 1950’s
ARTIST: Rolph Scarlett (Canadian, 1889 – 1984)
OBJECT: Modernist Abstract Composition
PERIOD: Ca. 1950’s
MEDIUM: Guache on paper, framed
SIGNATURE: Signed ‘SCARLETTI’
DIMENSIONS (unframed): Height: 9-1/3” Width: 12”
DIMENSIONS (framed): Height: 22-3/4” Width: 25-3/4”
BIOGRAPHY: ROLPH SCARLETT (Canadian, 1889 – 1984) was a consummate explorer of twentieth-century abstract painting. Never afraid of trying new styles, curious and opinionated, constantly engaged with the world around him while steadfastly aware that he was on his own path and his alone, Scarlett more than once proved to be at the artistic zeitgeist of the eras in which he lived. Exposed very early on to the work of Paul Klee through a chance meeting in Europe with the artist himself, Scarlett took up abstraction with a fervor that never diminished during his long and impressive career. To create something that had never existed before: this was Scarlett’s great cause. And that is what is most obvious when you look at Scarlett’s work—you have never seen anything quite like it. Scarlett was Canadian-born, came of age in the Midwest, and spent few important years in Hollywood, where he designed stage sets. His work from this early period echoes Klee’s use of color, his confidence in naïve, primitive forms, and his blend of abstraction and figuration. In its flat spatial qualities it prefigures the Indian Space painting of the 1940s by a decade. He moved to New York in 1933 and eventually found his first great patron at the Museum of Non-Objective Painting, directed by Baroness Hilla Rebay and art patron Solomon R. Guggenheim. Guggenheim would collect over 60 works by Scarlett for his collection, more than any other artist outside of Vasily Kandinsky and Rudolf Bauer.
As a frequent exhibitor and lecturer at the Museum of Non-Objective Painting (MNOP), Scarlett honed his sensitive feel for bodies in space and capitalized on his trademark use of bright, vivacious colors into accomplished, perfectly harmonized geometric works. However, Scarlett soon morphed these hard-edged forms into a nuanced expressionistic abstraction which, at its best, seems to be populated by dancing forms that animate the canvases. Along this way he was advised by Rudolf Bauer, the German expatriate and one of the originators of non-objective painting in the teens. Bauer had the idea for the Museum, and Rebay, his champion, had found in Solomon Guggenheim a patron for manifesting it. When Bauer emigrated just before World War II, he wanted to meet Scarlett. The two became friends, and Bauer advised Scarlett on his work over the course of many years. Even in a 1979 interview, Scarlett began to tear up as he recalled his first meeting with Bauer, a man whose work he "worshipped," describing that, "It was a touching moment for me, I’ll tell you."
Scarlett and Rebay also had a close, important relationship, one in which he bore the brunt of her sometimes condescending, if motherly, critiques and admonitions with tolerance and gratefulness. Eventually, though, he had to push back. In a letter from 1951 he writes, "I have noticed with growing amazement that during the past three years you have accepted less and less of my work—and, that same work, which you rejected has been accepted and shown in the best and largest shows all over this country." This period—the late 1940s to the early 1950s—did in fact correspond to Scarlett’s most critical success, and to a return to the fanciful forms and characters of his pre-war work. At the same time, he found his own rhythm and complexity using a drip style similar to, though denser and more opaque than, the one made famous by Jackson Pollock, who had worked for many years at the MNOP and with whom he shared common influences. In 1949 he had a very well received solo show in 1949 at the Jacques Seligmann Gallery, reviewed very favorably in The New York Times: "The impression made by these paintings is one of originality and strength." He was also included in a juried show "American Painting Today" at the Metropolitan Museum of Art in 1950 and in the Whitney Annual of 1951. The curator for the Whitney show in fact bypassed a selection of Scarlett’s careful geometrics in favor of a new "lyrical" drip painting—one which he describes as having had "a helluva good time" making.Rebay articulated her loss of control over Scarlett very keenly in one of her last official letters to him: "So your way ended in the horrid jungle it is in now; even a Mr. Pollock’s smearage was not bad enough for you to have a try at; and betraying yourself, you betrayed art and my faith in you, and my present disgrace by my failure to foresee such an outrageous possibility—since you even paint objectively now."
Yet, despite the fact that he was moving in his own direction when the change in leadership took place at the Museum of Non-Objective Painting and Rebay was forced out as director, Scarlett was hit hard. He understood this change rightly as a betrayal by the establishment. Scarlett was a unique individual and soul, and was affected personally and philosophically by the idea that the movement with which Scarlett had aligned his talents seemed to disappear overnight, and his life’s work rendered valueless. Without the Museum’s support, Scarlett decided eventually to move to the artists’ community of Shady, New York, just outside of Woodstock. He had occasional shows throughout the years, but mostly settled down to regional obscurity. He began making jewelry, which had been his first trade, and it was following a show of his jewelry in 1975 at the Jaro Gallery, that he was rediscovered by Samuel Esses, and his wife Sandy.
Samuel Esses was a successful businessman and an avid collector. He always sought out that which was unusual and, like Scarlett, was ahead of his time in many ways. For example, in 1979, Sam became enthralled with the early graffiti appearing on the New York subway trains. With the sole goal of preserving these groundbreaking yet short lived works of art he was inspired to create "The Esses Studio," a painting warehouse and workshop for graffiti artists to work in a studio, collaborate, and paint on canvas. The biggest names of graffiti writing participated—Futura, Crash, Dondi, Zephyr, and Daze to name a few. The project was well received and provided critical validation at an important time for this alternative form of abstraction to be recognized by the established art world. The success of the "Esses Studio" helped fuel an alternative fire that would propel gallerists and curators to acknowledge other street artists and provide a foundation of acceptance for the early careers of Keith Haring and Jean-Michel Basquiat. It is not a stretch to say that what Esses saw in the graffiti art of the 1970s was very similar to what he saw in 1950s-era Scarletts—something raw, honest, and melding many twentieth century influences into one unique form. Inspired by the importance of the collection and the passion of the collector, Weinstein Gallery acquired the entire "Esses Collection of Paintings by Rolph Scarlett."
In spite of his self-imposed obscurity over the past half-century, Rolph Scarlett’s paintings are represented in a number of significant museum collections including the Guggenheim (which still owns over 30 works), the Smithsonian Institution, the Los Angeles County Museum of Art (from the important Leslie Collection), the Montreal Museum of Art, and the de Young Museum in San Francisco. The 2011 Weinstein Gallery exhibition Rolph Scarlett: Listen with Your Eyes represents first comprehensive retrospective of Scarlett’s paintings. It is our hope that once this collection is shown to a larger public, Scarlett will be recognized, as he was by Hilla Rebay, as one of the "greatest artists of our time.
$1,250
Ivan Olinsky
Still Life with Chinese Porcelain Figurine & Fruits
Original Oil on Canvas Painting
Ca. 1920’s
ARTIST: Ivan Grigorewitch Olinsky (Russian-American, 1878 1962)
SUBJECT: Still Life w/ Chinese Porcelain Figurine & Fruits
PERIOD: 1920’s
MEDIUM: Oil on canvas, framed
SIGNATURE: Signed ‘Ivan G. Olinsky’ lower right
DIMENSIONS: H: 16” W: 19.75”
ARTIST: IVAN GRIGORIEVICH OLINSKY (b. Elizabethgrad, Russia 1878 – d. New York City 1962), painter and teacher, he studied with J. Alden Weir, George W. Maynard and Robert Vannoh at the National Academy of Design in New York. His figure paintings, academic in style and influenced to a degree by Impressionism, were shown frequently at the Macbeth Gallery and Grand Central Galleries in New York City. Ivan Olinsky came to the United States from Russia when he was thirteen years old. His family settled in New York City, and several years later Ivan entered the National Academy of Design. He excelled at mural painting, and in 1900 the prominent artist John La Farge hired him as an assistant. For the next eight years Olinskys own work took a backseat to this role. As he turned thirty, he longed to establish himself as a serious artist in his own right, and he moved with his wife and daughter to Italy so that he could concentrate on his career. When he returned to New York in 1910, critics praised his new work and the distinguished Macbeth Gallery agreed to represent him. From that time on Olinsky built a successful career as a portraitist, and his idealized paintings of women were especially popular. (Cummings, Olinsky, Faces of Change: The Art of Ivan G. Olinsky, 1878–1962)
$3,500
David Burliuk
Portrait of Wife Marussia
Pencil n Paper Drawing
Ca. 1940’s
ARTIST: DAVID BURLIUK
SUBJECT: PORTRAIT IF WIFE MARUSSIA
PERIOD: CA. 19405S
MEDIUM: PENCIL ON PAPER DRAWING, FRAMED
DIMENSIONS: W: 11.5” X H: 15.5” (UNFRAMED)
DIMENSIONS: W: 16” X H: 20” (FRAMED)
SIGNATURE: SIGNED ‘D. BURLIUK’
CONDITION: GOOD CONDITION, WEAR CONSISTEN WITH AGE AND USE.
ARTIST BIOGRAPHY: DAVID BURLIUK (Ukrainian-American, 1882–1967) was a Ukrainian painter known for his nvolvement with Russian Futurism during the 1910s. Burliuk’s thickly painted depictions of Russian peasants in a primitive style are among his most acclaimed works. Born David Davidovich Burliuk on July 21, 1882 in Semyrotivka, Russian Empire (present-day Ukraine), he went on study art at a number of schools, including the Kazan School of Fine Arts and as a private student of Anton Azbe in Munich. During the early part of his career, Burliuk’s art was a mix of Fauvist, Cubist, and Futurist styles, which he combined with his fascination for the forms and designs of Scythian culture. In 1913, the artist participated in a group exhibition with his friend Wassily Kandinsky for his Der Blaue Reiter almanac. At the outbreak of World War I, the artist fled to Siberia then Japan before relocating to New York in 1922. The artist died on January 15, 1957 in Long Island, NY. Today, Burliuk’s works are held in the collections of the Art Institute of Chicago, the Smithsonian American Art Museum in Washington, D.C., and the State Russian Museum in St. Petersburg, among others.
sold
Austrian Romanticism
Alpine Landscape
Original Oil on Canvas Painting
Ca. 1910
ARTIST: UNKNOWN
SUBJECT: AUSTRIAN ALPINE LANDSCAPE
PERIOD: CA. 1910
STYLE: ROMANTISISM
MEDIUM: OIL ON CANVAS
DIMENSIONS: H: 12.75” x W: 9.75” > UNFRAMED
DIMENSIONS: H: 18” x W: 15” > FRAMED
SIGNATURE: UNSIGNED
CONDITION: GOOD antique CONDITION, WEAR CONSISTEN WITH AGE AND USE
sold
Giuseppe Napoli
Ritratto (Portrait)
American Mid-Century Modernist Painting,
1955-1959
ARTIST: GIUSEPPE NAPOLI (AMERICAN, 1929 - 1967)
SUBJECT: RITRATTO (PORTRAIT)
PERIOD: CA. 1955 - 1959
STYLE: AMERICAN MID-CENTURY MODERNISM.
MEDIUM: ACRYLIN ON MASONITE BOARD, FRAMED.
DIMENSIONS: H: 39.75” x W: 30.25”
SIGNATURE: SIGNED ‘JIUSEPPE NAPOLI’ AND DATED 1955-1959 EN VERSO
CONDITION: GOOD CONDITION, WEAR CONSISTEN WITH AGE AND USE
ARTIST BIOGRAPHY: GIUSEPPE NAPOLI (1929 - 1967) was active/lived in New York. Giuseppe Napoli is known for Abstract, modernist painting and sculpture-portrait, still life, figurative. Giuseppe Napoli was a Mid-Century Modernist Artist of the New York School. Living throughout most of the 1950's and 60's in Greenwich Village in a small studio space, he was a beloved and talented member of that influential group of artists. Unafraid to experiment in both the Modernist-Representational style as well as the completely Abstract Expressionist style, he created a strong body of work typical of his period in New York. Unfortunately, Napoli suffered from Depression and would experience severe mood swings, making the launching of his career a bit difficult. None-the-less, he had many one man shows and participated in numerous group shows. His explosive life was tragically cut short by suicide in 1967, ending a short but brilliant career as a painter, sculpture and water colorist.
sold
Victor Laks
Abstract Composition
French Mid-Century Modernist Painting
1961
ARTIST: VICTOR LAKS (FRENCH-AMERICAN, 1924-1978)
SUBJECT: ABSTRACT COMPOSITION
PERIOD: CA. 1961
STYLE: FRENCH MID-CENTURY MODERNISM
MEDIUM: OIL ON CANVAS, FRAMED
DIMENSIONS: H: 24” X W: 47”
SIGNATURE: SIGNED AND DATED EN VERSO “Viktor LAKS avril 61 I Paris’
CONDITION: GOOD CONDITION, WEAR CONSISTEN WITH AGE AND USE.
ARTIST BIOGRAPHY: Victor Laks, (French-American, 1920 -1978) was born in Paris. He studied at the Academie de la Grand-Chaumiere at Montparnasse with Emile-Othon Friesz, and the School of the Louvre. He came to New Mexico, USA in 1947 to teach at the University of New Mexico and lived in Taos for only one summer before moving to Brazil to produce sets for its National Ballet. He later moved on to New York City in 1950, and eventually back to France in 1955. Most of Laks’ works are heavy impasto; intriguing and dark, but also brilliant with primary reds and blues shining through.
sold
Victor Finn
Still Life with Guitar
Hungarian Mid-Century Modernist Oil on Canvas Painting
1957
ARTIST: V. Finn was Hungarian-American Postwar & Contemporary painter.
PAINTING: STILL LIFE WITH GUITAR
PERIOD: 1957
STYLE: HUNGARIAN MID-CENTURY MODERNISM
MEDIUM: OIL ON CANVAS, FRAMED
DIMENSIONS: H: 18” X W: 24”
SIGNATURE: SIGNED AND DATED “’57 V.FINN’
CONDITION: GOOD CONDITION, WEAR CONSISTEN WITH AGE AND USE.
sold
Victor Finn
A Couple in Bathing Suits
Hungarian Original Modernist Oil on Canvas Painting
Ca. 1950’s
ARTIST: V. FINN (HUNGARIAN) V. Finn was Hungarian Postwar & Contemporary painter.
PAINTING: A COUPLE IN BATHING SUITS
PERIOD: CA. 1950’S
STYLE: HUNGARIAN MID-CENTURY MODERNISM
MEDIUM: OIL ON CANVAS, UNFRAMED
DIMENSIONS: H: 28” X W: 38”
SIGNATURE: SIGNED ‘V.FINN’
CONDITION: GOOD CONDITION, WEAR CONSISTEN WITH AGE AND USE.
$1,450
Andrea Fornaro D’Aterno
Still Life with Mandoline
Ca. 1990’s
ARTIST: ANDREA FORNARO D’ATERNO (ITALIAN-AMERICAN, 1920-2000)
SUBJECT: STILL LIFE WITH MANDOLINE
PERIOD: CA. 1990’S
STYLE: ABSTRACT EXPRESSIONISM
MEDIUM: ACRYLIC ON BOARD, FRAMED
DIMENSIONS: H: 8.25” X W: 6.25”
SIGNATURE: SIGNED ‘D’ATERNO’
CONDITION: GOOD VINTAGE CONDITION, WEAR CONSISTEN WITH AGE AND USE.
ARTIST
BIOGRAPHY: Andrea Fornaro D'Aterno (1920-2000) was a creative visual artist. Andrea He was born in 1920 and was primarily inspired creatively by the 1950s. Abstract Expressionism, a form of painting that explored ideas of spirituality and the sublime, dominated the 1950s. A number of artists concentrated on the formal properties of painting, and action painting was influenced by the political freedom of the United States, in opposition to the strict nature of the Soviet bloc. Jackson Pollock, Willem de Kooning, Mark Rothko, Frank Kline, Barnett Newman, Clyfford Still and Adolph Gottlieb were influential artists of this period. The male dominated environment has been subsequently revisited to recognise the contributions of female artists such as Lee Krasner, Joan Mitchell, and Louise Bourgeois, amongst others.
sold
Nikolay Issaiev
Still Life with Fruits
Original Oil on Canvas Painting
Ca. 1920’s
CREATOR: NICOLAS ISSAIEV (A/K/A NIKOLAI ALEKSANDROVICH ISAEV, RUSSIAN-FRENCH, 1891 — 1977)
PAINTING: STILL LIFE WITH FRUITS
PERIOD: CA. 1920’S, PARIS, FRANCE
STYLE: ABSTRACT EXPRESSIONISM, PARISIAN SCHOOL
MEDIUM: OIL ON CARTON, ORIGINAL PERIOD FRAME
DIMENSIONS: H: 11.75” X W: 13.75”
SIGNATURE: SIGNED ‘ISSAIEV’
CONDITION: GOOD ANTIQUE CONDITION, WEAR CONSISTEN WITH AGE AND USE.
ARTIST: NICOLAS ISSAIEV (a/k/a Nikolay Aleksandrovich Isaev (Russian-French, 1891-1977) was a painter, graphic artist, set designer, illustrator. In the early 1900s he studied in art schools in Odessa and Kharkiv, Ukraine; and in 1912, he moved to Saint Petersburg. During World War I, Isaev entered the military academy. In 1916, he participated in combat action at the Galician Front and was wounded. In 1919, Isaev emigrated to the Kingdom of Serbs, Croats and Slovenes. In 1920, he worked as set designer at the National Theatre in Belgrad, where he also created costume sketches, theatricals; and copied Byzantine frescoes. During that time, the artist held his first personal exhibition. In 1925, Isaev moved to Paris. In 1925-1926, he attended classes at V.I.,Shukhaev and A.E.,Yakovlev workshop. In 1926, he held a day-long personal exhibition. Later he attended the Ranson Academy and was under strong influence of the cubist painter, Roger Bissière. In 1938, he spent some time working in Bissière’s studio. Just like many other Russian emigrant artists he created theatricals, worked as set designer (G. Pitoev theatre).
He decorated the pavilion of the Baltic countries at the 1937 Paris International Exposition. Some of his Russian artist friends included D.V. Merinov and G. Lebedev. Isaev took active part in the Paris salons - the Autumn Salon, the Salon des Indépendants, the Salon des Surindépendants, the Salon Comparaisons and the Salon des Tuileries. He also participated in exhibitions of Russian art in Brussels (1928), Paris (Alice Manteau, 1931; d’Alignan, 1931; La Renaissance, 1932) and Prague (1935) and in the exhibitions of the Circle group in Belgrade (1931). Isaev held personal exhibitions at the Paris Lesnik (1928), AtelierMme Margaret Train Embre (1930), La Boёtie (1930) galleries. He donated artworks for charity in a benefit for the Russian youth (1928), the members of the Union of former figures of the Russian judicial institution (1935). In 1940-1945, Isaev lived in the south of France, in Agen. He and his wife hid partisans and French officers in their house. In 1971, Issaev was awarded with the Cross of the resistance volunteer combatant.
After the war Isaev travelled in Europe a lot, visiting Switzerland, Italy and Spain. On his journeys the artist created numerous landscapes, frescoes and icons for the Uniat churches in Marseille and Strasbourg. His manner at that time changed prominently: the colors became brighter and the art was more figurative. Isaev took part in the exhibitions of Russian art organized by the France - USSR committee and the Union of the Russian Patriots. He illustrated several books, including The Flowers of Evil by Charles Baudelaire, Love Sonnets by Pierre De Ronsard, The New Extraordinary Stories by Edgar Allen Poe, The Nose by Nikolay Gogol (exhibited at the Paul Valéry club, 1954). Isaev collaborated with C’est Paris magazine.
Isaev’s later artworks (mainly landscapes) show his returned interest to cubism. In 1965, the artist presented his works at a group exhibition of European art in New-York. He participated in the Russian Artists of the Paris School(1961) and The Russian Glance (1974) exhibitions. In 1976, a posthumous exhibition of the artist took place in Paris. In 1991, after 15 years of storage, his artistic heritage (more than 200 canvases, several hundred of drawings, watercolors, gouache and pastel paintings, and illustrations) was sold at the Drouot auction.
$7,500
Sunshine
Landscape with Ashocan Reservoir
(Upstate New York, ca. 1960s)
Signed: SUNSHINE in the lower left corner.
Dimensions:
Painting (only): 19.25 x 32 inches
Painting (framed): 26.25 x 39 inches
SUNSHINE was a known local artist in Woodstock and upstate New York area during 1960’s. This abstract painting is of Ashocan Reservoir, located in Ulster County, New York. The reservoir is in the eastern end of the Catskill Park, and is one of several in the region created to provide the City of New York with water. It is the city's deepest reservoir, 190 feet (58 m) deep near the dam at the former site of Bishop Falls.
$1,200
A Girl and A Bird
Original Watercolor, Gouache and Pencil on Paper
ca. 1960s.
A wonderful work of Mid-Century Modern art, framed. Artist’s signature is illegible
Dimensions:
Painting (only): 25 X 19.75 inches Painting (framed): 26 X 20.75 inches
SOLD
Mid-Century Modern
Stanley Stangren
Modernist Abstract Mixed Media Collage on Paper
Ca. 1964
Dimensions: Unframed: 11-1/2 x 8-1/16 inches Framed: 17-1/8 x 12-7/8 inches
Signed by the artist and dated ’64 in the lower right corner; inscribed in German: Zurich, Schweitz (Zurich, Switzerland)
This unique work of art is a mixed media collage on paper, where the artist had generously used his own pencil, gouache and watercolor drawing with a print cut-outs.
Stanley R. Stangren (1928–2014) was an outstanding American jeweler, artist, sculptor and ceramist, residing in New York City. He worked in different styles and in different materials, including oils, watercolor, ceramic and stone sculptures; and fine jewelry.
Stangren’s painting styles varied tremendously – from complete abstract works to Holocaust themes in the style of Georges Rouault and Hieronymus Bosch to portraits in the style of Moses and Raphael Soyer. He was also a passionate lover of the performing arts, and, as a young man, spent time studying dance at both the School of American Ballet and with Martha Graham. Although he worked with dance pioneers like Ms. Graham, Anna Sokolow and Charles Weidman, an injury prevented him from pursuing dance as a career. But he found other outlets for his artistic pursuits.
In his youth, Stangrem attended the Brooklyn Museum School of Art, and graduated from the High School of Music and Art in New York City. He later studied at the Boston Museum of Fine Arts, the Art Students League, Bard Colledge and in Europe. Stangren studied jewelry design in Europe, attending Staatlische Kunst Werkschule in Pforzheim, Germany and Kunstgewerbeschule der Stadt in Zurich, Switzerland. His jewelry and designs were received with great success. His combination of precious and semi-precious stones, high-karat gold and sterling silver, and exotic materials executed with outstanding workmanship in the abstract modernist style gave a unique aspect to his designs, the metalwork usually electroformed, cast, or fused in varying textures. After returning to New York in the later 1950’s, Stangren opened and maintained a ceramic business in Trenton, New Jersey. Very few pieces of his work remain from this period.
When he retired from the ceramics business, he spent much of his time enjoying the arts. He frequently attended Juilliard performances, including most of the opera and drama presentations at the School, and was especially fond of the dance concerts. The last 40 years of his life, he taught painting in the New York area and worked with Metropolitan Museum of Arts in developing annuities, for future acquisitions.
In addition, Stangren left annuities for MoMa in support of educational programs and left, in his will or through his executors, art supplies for the Harlem School of Art and benefits for the Urban Assembly organization. Mr. Stangren's love for the arts and for the performances he was seeing at Juilliard inspired him to take his participation a step further and to establish charitable gift annuities with the School.
"I realized what Juilliard offered me, being a passionate music lover, and I decided to give something back" he said. "What Juilliard achieves is remarkable. When I think of the prominent actors, dancers and musicians that have been educated there, I am always staggered. It is deeply financially satisfying to be able to give back to the School, while benefitting from it at the same time." The Juilliard School is not the only organization that Stanley Stangren supported. He has established gift annuities at a number of other nonprofits, including the Metropolitan Museum, the American Civil Liberties Union, the Children's Aid Society and the New York City Opera.
$1,800
French Modernism
Bernard Taurelle
Nu
Oil on Canvas Painting
Ca. 1960s
Dimensions: 40.5” x 29.5” Signed lower right corner Stamped en verso “Galerie Felix Vercel Paris – New York” Original period frame
Bernard Taurelle (French, B. 1931) is a famous French artist, widely known for his impressionistic paintings. He graduated college at 19 with a degree in philosophy. A renaissance artist, Taurelle is also an accomplished musician and worked briefly as an architect and film set designer. The paintings by Bernard Taurelle exhibited at Galerie Felix Vercel in Paris (Avenue Matignon) and New York (Madison Avenue) alongside such artists as Pablo Picasso, Fernand Leger, Armand Guillaumin, Maurice Utrillo and Claude Venard. Bernard Taurelle’s paintings are part of the permanent collections of the following French museums:
Musee National d'Art Moderne, Paris Musee de Toulouse Musee de Bordeaux Musee de Nice Musee de Grenoble Musee de Rouen Ville de Paris
$8,700
Jih-Chin Wu
Neon Crowd
Contemporary Taiwanese
Oil on Canvas Painting
Ca. 2000
Signed and dated lower right.
Titled ‘Neon Crowd’ en verso.
Dimensions (unframed): 55” height x 67” wide
Dimensions (framed): 57” height x 69” wide
Medium: oil on canvas
Jih-Chin Wu (Taiwanese, born 1971) is internationally renowned Taiwanese artist, specializing in calligraphy and traditional ink painting. Wu completed his MFA in U.S. and U.K., and has lived abroad in New York, Beijing, and London for more than 10 years, where he has exhibited personal artistic vocabularies that reflect his local development at the time, and determined his core artistic principle and mission in life. His works are the ‘image writings’ and Taiwan is the subject. These ‘image writings’ are created with instinctive brushstrokes that recreate the moments in time and convey the sub consciousness of the author. His past exhibitions include “Calligraphy of Taiwan” (2015, Aglow Space Gallery, Tainan, Taiwan), “Green Mangrove Tunnel” (2015, Taiwan etc.
sold
Sasha Chimkevitch
Jam Session in Paris
Watercolor & Gouache on Paper
Ca. 1960s
Signed lower right, ca. 1960s.
Period frame.
Dimensions (unframed): Height: 20.5” | Width: 14.5”
Dimensions (framed): Height: 27.75” | Width: 21.75”
Sacha Chimkevitch (French, 1920 – 2006) was born in Paris on August 17, 1920 to a Persian-Armenian mother and a Polish father. During his school years, he attended the École Alsacienne. At the crisis of adolescence, he left this institution for the school of architecture. He is indeed the last representative of a family of architects, and his father hoped to see him one day resume the family practice.
In 1937, he discovered jazz. He attends the Swing Club of Paris, located at the pool of l'Étoile, rue de Tilsit, where he meets some of the rising stars of French jazz: Alix Combelle, Dany Polo and Stéphane Grappelli. His Parisian releases at this time led him to meet other musicians, such as Django and Joseph Reinhardt, the Salvador brothers, Aimé Barelli, André Ekyan and many others.
In the clubs he frequented, also performed black American musicians, who were passing through Paris. In 1938, Guy Rinaldo asked him to make a poster for the Paris Swing Club. This was definitely his first commission. At the declaration of war, Sacha precedes the call despite parental reluctance. He is incorporated into the 5th Satory-based Versailles Engineers Regiment.
Prisoner of war, he was held in captivity in Cassel, from where he tried to escape twice, which led to several stays in a disciplinary camp. During his captivity, he managed several times to escape the surveillance of the guards in order to listen to Dutch musicians who, braving the German police, played jazz in a café in the old French Quarter. There, he learned to know and listen to others, derision and small joys. From this painful period, he will come out matured and relaxed.
On his return from captivity, on the advice of a friend, Lucien Fontanarosa, he entered the School of Fine Arts in the engraver studio of Lemagny. For two years, he learns by copying the ancient basics of drawing. He also attended the Académie de la Grande Chaumière for training in drawing nude. He then worked between 1948 and 1951 with Pierre Merlin in engraving, at the studio of Edouard Goerg. All by himself, Sasha Chimkevich learned the techniques of gouache and watercolor, and used oil and canvas for his paintings only occasionally.
He realized that he could live by his art when, in 1948, he sold some watercolors that he had put in deposit in the record store of Jeff Gilson. However, during a part of his career the merchants blamed him for not being commercial enough. The success achieved over the past several decades by each of his numerous exhibitions is a recognition by the public of the value of Sacha Chimkevich's art.
From 1951, he exhibited his works regularly - in Paris in public places, Museum of Modern Art, House of Chemistry, Roybet Fould Museum; but also in various galleries and jazz clubs. He also exhibits in Caen and its region, where he draws his inspiration for landscapes of beaches, ports and lively streets. He is also in demand on a number of occasions abroad, notably in the United States - in Washington (1963), in Baltimore (1975), in New Orleans (1985), then in New York (1989), in Scotland in Aberdeen (1971-1972), in Germany in Oldenburg (1982), then in Hanover (1987).
He obtained several commissions from the French State for watercolors, greeting cards (especially for Georges Pompidou). He designs decorative panels for Air France's Manila and Hong Kong offices. His activity led him to illustrate poems by Guillaume Apollinaire (1978) and Les Fleurs du mal by Charles Baudelaire (1979) for the luxury editions of La Nouvelle Librairie de France. The city of Paris’ Municipality also buys his works of art. He also worked for advertising purposes- in 1967, for Sud Aviation; and in 1972, for Aerospatiale and SFENA. Many of his lithographs are published in the United States and Japan. On the theme of jazz, he produced many posters and covers of jazz records.
Sacha Chimkevich rarely worked from nature. He observed at length and then restored his memories and impressions - sometimes several weeks later, alone, in his studio. He rarely used photography but he had a solid visual memory to be able to transpose in his works the right attitudes, movements, and atmosphere. Like a conductor, he organizes his memories, composes his group of musicians and puts forward his soloists. The artist worked in a musical atmosphere, thanks to his large collection of jazz records. This music influenced the choice of colors; the sound of Charlie Parker causes blue or orange, and that of Jackie McLean a tart yellow.
Musical preferences in the jazz field of Sacha Chimkevich went from classical jazz standards to bebop. It is very logical that E.P.M. had commissioned him to illustrate a C.D. cover and the box set dedicated to these musicians. He has made some rare portraits of great jazz figures: Charlie Parker for Chan; Duke Ellington for Guiter and his re-releases; and that of Erroll Garner, one of his favorite pianists. Claude Combaz said of Sasha Chimkevitch: "His work is a chronicle of jazz. He met all the musicians from Duke Ellington to Charlie Mingus, and many were his friends. Jazz musicians say that he was just like them and that he knew how to understand them; and that he had "the feeling" in his works.
This artist continues to be considered the most authentic painter in the field of jazz. Musicians, organizers and publishers from all over the world asked him to make record covers and posters. His musician friends have dedicated many of their works to him. Claude Tissendier had composed "Chez Sacha" and Pierre-Yves Sorin "Sacha blues".
This imaginative painter enjoyed playing jazz himself, as well. However, he liked to tackle other themes: women and the sea in particular. Very early, he frequented Norman artists and participated in many of their exhibitions.
Sasha had regularly stayed in his studio in Franceville, with everything being Slavic at home. He lived his life without worrying about tomorrow; welcoming his friends, the jazzmen, in his Parisian studio every week. Even being more than 80 years of age, he always responded favorably to different requests and commissions, thus committing himself to multiple projects simultaneously.
In 1999, he donated his studio collection, as well as works donated by his friends, and his own very large collection of jazz records to the P. Dubois Museum in Boucher of Nogent-sur-Seine. This museum had dedicated a retrospective exhibition to Sasha Chimkevitch in 2001; and his heritage days - in 2006.
In his will, Sasha Chimkevitch had donated his collection of several thousand works contained in his studio to the Paul Dubois and Alfred Boucher Museum in Nogent-sur-Seine, which presents a selection of these works in its galleries.
sold
Irina Shtenberg
Portrait of a Yong Woman
Watercolor & Gouache on Paper
Ca. 1940s
Unsigned, attributed to Irina Valeryanovna SHTENBERG.
Period frame.
Dimensions (unframed): Height: 13” | Width: 11”
Dimensions (framed): Height: 15” | Width: 12-7/8”
All the works of this internationally famous artist characterized by the clarity of the picture, and sometimes underlined sharpness of the lines. The painter acutely felt the nature of the dramatic work and found a bright, bold solution to the stage space. Always strived for simplicity and lightness, Stenberg in her works of art had created a true and delicate atmosphere.
Irina Valeryanovna SHTENBERG (Russian/Georgian, 1905–1985) was a fascinating figure in the history of Russian and Georgian art, the Tbilisi avant-garde, and the art of the theater. She spent her youth in Georgia, where she graduated from the Tbilisi Academy of Art in the 1926, studying under Evgeny Lansere and Gigo Gabashvili.
Moving to Moscow in 1929, Shtenberg became a member of the artistic elite, working and exhibiting with Akimov, Tishler, and members of the '13' artist group. With the support of Anatoly Lunacharsky, Soviet Peopel's Commissar of Education, she had first solo exhibtion in Moscow. While in Moscow, she contributed to influential avant-garde journals, such as ‘Rost’ and ‘30 days’. Unfortunately for Shtenberg, her husband, the high-ranking party functionary Alexander Kulidjanov, was arrested in 1937 and most likely executed. After returning to Tbilisi, she continued to work as a theatrical artist creating stage designs and decorations, working for the best theatres in Tbilisi.
Shtenberg is also known for her forays into erotic drawing, and her own sexuality has been the subject of much speculation over the years. Whether in her erotic drawings, her costume designs, or other works, Shtenberg always imbued a personality and humanity into her figures.
$1,500
James Abbott McNeill Whistler
and
Salvatore Anthony Guarino
(SELF)PORTRAIT
Circa 1904
Oil on canvas.
Signed by both artists, James Abbott McNeill Whistler and Salvatore Anthony Guarino
Ornate gilt frame designed by Stanford White, and hand-made by Thomas Dewing.
Dimensions: Painting: 11 1/2 x 5 1/2” Frame: 15 3/8 x 9 1/2”
PROVENANCE
This painting was purchased from the private collection of Wanda Best Anderson, a prominent socialite. The painting bears her collection label and number 52 on verso.
THE HISTORY OF THE (SELF)PORTRAIT
Presented here is a most unusual work of art – a last self-portrait by the world-famous painter, James Abbott McNeill Whistler, who began the work in 1903. There is a strong conviction among Whistler’s art progeny, as well as independent art experts that, having managed to portray the upper part (face and torso), the artist put his famous butterfly-shaped monogram at the exact place where his work was interrupted. Whistler himself due to illness and the subsequent death in the same year never finished this portrait. However, the lower part of Wistler’s self-portrait was completed by his closest friend, also a known artist - Salvatore Anthony Guarino (Italian/American, 1883 - 1919) in 1904, a year after Whistler's death.
As Guarino was not only a friend but also a great admirer of Whistler's work, he completed this portrait (lower part, below ‘butterfly monogram’) in Whistler's own style. The fact that he masterfully adopted Whistler’s palette, portrait characteristics, and signed it below Whistler’s stylized butterfly emblem in the lower right corner clearly suggests that Guarino intended this work as a testament of their closeness as painters and personal friends.
Whistler had developed his remarkable ‘butterfly monogram’ during the 1860s partly because of his interest in Asian art. He studied the potter's marks on the china he had begun to collect and decided to design a monogram of his initials. Over time, this evolved into the shape of an abstract butterfly. By around 1880, he added a stinger to the butterfly image to create a mark representing both his gentle, sensitive nature and his provocative, feisty spirit. Whistler was fond of designing the frames for his work and took great care in the appropriate placement of his butterfly signature on both his paintings and his custom-made frames.
THE FRAME
Framed in an early 20th century American gilt frame with a receding profile and raised grille panel designed by Stanford White, one of America's most recognized architects and designers at that time. White would sketch frame designs for friends and colleagues.
White's circle of collaborators included the American painter Thomas Dewing, who executed White's design for the portrait of Whistler. White's design called for a raised grille pattern to gather and reflect light. White did not mark his frames with his initials or any other identifying symbols.
ABOUT WISTLER
Barbara Weinberg, former Curator at the Department of American Paintings and Sculpture at the Metropolitan Museum of Art has written on Whistler's life and work. The following are excerpts from her piece on Whistler that is available on the Met Museum's site. James McNeill Whistler participated in the artistic ferment of Paris and London in the late nineteenth century, crafted a distinctive style from diverse sources, and arrived at a version of Post-Impressionism in the mid-1860s, a time when most of his contemporaries in the avant-garde were still exploring Realism and Impressionism.
Born in Lowell, Massachusetts, Whistler spent part of his youth in Saint Petersburg, Russia, where his father, a civil engineer, advised on the construction of the railroad to Moscow and Whistler took drawing classes at the Imperial Academy of Sciences. Upon his return home, Whistler entered the United States Military Academy at West Point. He studied drawing with Robert W. Weir but had less success in other subjects; his failure in chemistry led to his dismissal from the academy in 1854. After working in the drawings division of the United States Coast and Geodetic Survey, where he received his first training in etching, Whistler—already fluent in French from his childhood years in Russia—decided to pursue a career as an artist by going to Paris to study.
Whistler arrived in the French capital late in 1855, at least a decade ahead of the great wave of his compatriots who would seek art instruction there. He enrolled in the école Imperial et Spéciale de Dessin (the "petite école") and in Charles Gleyre's independent teaching atelier, where Beaux-Arts principles prevailed (and where the future Impressionists, including Claude Monet and Pierre-Auguste Renoir, would study a few years later). Then and thereafter, Whistler's artistic development would owe less to his formal lessons than to influences outside the academic world. He responded to paintings by Dutch and Spanish Baroque masters, especially Rembrandt, Johannes Vermeer, Pieter de Hooch, Gabriël Metsu, and Diego Velázquez, and by contemporary French painters who admired the same traditions, notably Gustave Courbet, Henri Fantin-Latour, and Alphonse Legros.
In 1858, Fantin-Latour, Legros, and Whistler proclaimed their allied interests by organizing themselves as the Société des Trois. Whistler also became friendly with Carolus-Duran, Zacharie Astruc, and Félix Bracquemond and was attracted to the innovative art of Édouard Manet, two years his senior, whom he met in the summer of 1861. The writings of Charles Baudelaire and Théophile Thoré (pseudonym for Willem Bürger), which stressed the importance of harmonious picture surfaces, and French painters' growing interest in Japanese aesthetics would also inform Whistler's style and philosophy of art.
Whistler had established a connection with London in the late 1840s when he went to live for a year with his half-sister Deborah and her husband, the English physician and etcher Seymour Haden. In May 1859, he decided to settle in London and to work at a distance from his avant-garde French colleagues, although he remained a conduit of ideas between them and his English artist friends. The latter included Dante Gabriel Rossetti, John Everett Millais, and other Pre-Raphaelites, whose paintings influenced Whistler's and who shared his enthusiasm for Japanese prints and blue-and-white porcelain.
Initially, Whistler merely included Asian costumes and accessories as props in his works but, by the mid-1860s, he adopted Japanese principles of composition and spatial organization. His landscapes of those years reveal that he had rejected his earlier commitment to transcribing nature in the manner of Courbet, and was responding instead to formalist imperatives, including flat, decorative surfaces, subtle tonal harmonies, and allusive, rather than literal, subjects. Taking a cue from a critic who had referred to his early portrait of his mistress, The White Girl (1862; National Gallery of Art, Washington, D.C.), as a "symphony in white," Whistler began to envision and entitle his works with the abstract language of music, calling them symphonies, compositions, harmonies, nocturnes, arrangements, and so forth.
During the late 1860s, Whistler struggled to create harmonious multi-figured arrangements that would recapitulate his successful experiments with landscapes. By 1871, he had decided to pull back from that ambitious initiative and to concentrate on single-figure subjects. His seminal canvas in this vein was Arrangement in Gray and Black, No. 1: The Artist's Mother (1871; Musée d'Orsay, Paris). In portraits that followed, including Harmony in Yellow and Gold: The Gold Girl—Connie Gilchrist (11.32) and Arrangement in Flesh Color and Black: Portrait of Theodore Duret (13.20), Whistler continued to emphasize strong silhouettes, elegant contours, and beautiful surface patterns; calibrate the placement of the figure in relation to the edges of the canvas; investigate delicate variations on one subdued hue or a pair of neighboring or contrasting hues; and balance description of appearances with what he perceived to be pictorial necessities.
Whistler invented a monogram signature—a stylized butterfly based on his initials—and always placed it deliberately as a compositional element, not just a maker's mark. His devotion to overall harmony extended to interior decoration, furniture, and the design of frames and even entire exhibitions. He became a central figure in the Aesthetic movement, which was founded on the philosophy of "art for art's sake" and emphasized artistic principles, elevated taste, and creative eclecticism in the conception and production of furniture, metalwork, ceramics and glass, textiles and wallpaper, and other objects.
He was also an influential printmaker. Whistler's innovative paintings and pronouncements invited controversy. He famously filed and won a libel suit in 1878 against the aging English art critic John Ruskin, who had accused him of "flinging a pot of paint in the public's face" when he showed an almost abstract city scene—Nocturne in Black and Gold: The Falling Rocket (1875; Detroit Institute of Art)—in an exhibition at London's Grosvenor Gallery in 1877. Whistler was instrumental in establishing the credo of modern art. In 1885—a year before George Seurat's emblematic Post-Impressionist canvas, Sunday Afternoon on the Island of La Grande Jatte (1884–86; Art Institute of Chicago), appeared in the French Impressionists' final group exhibition and announced the end of naturalistic transcription as an avant-garde goal—Whistler proclaimed in his famous "Ten O'Clock" lecture: Nature contains the elements, in color and form, of all pictures, as the keyboard contains the notes of all music. But the artist is born to pick, and choose, and group with science, these elements, that the result may be beautiful—as the musician gathers his notes, and forms his chords, until he bring forth from chaos glorious harmony.
To say to the painter that Nature is to be taken as she is, is to say to the player, that he may sit on the piano. That Nature is always right, is an assertion, artistically, as untrue, as it is one whose truth is universally taken for granted. Nature is very rarely right, to such an extent even, that it might almost be said that Nature is usually wrong: that is to say, the condition of things that shall bring about the perfection of harmony worthy a picture is rare and not common at all.
SOLD
Mildred Hurwitz
Oil on Canvas Painting
Abstract Composition
Ca. 1950s
Dimensions: Height: 18” Width: 16”
MILDRED HURWITZ (American, 1922 – 2012) was a successful Chicago–based abstract artist. She was born in Philadelphia where she received a BA from The University of the Arts. She had also received a Master’s Degree in Art Education from Rowan University, during a time when it was unusual for a woman to attain such advanced education. During her lifetime, Mildred Hurwitz had numerous exhibitions of her abstract paintings. In addition, she was a beloved teacher having dedicated more than 20 years to the art education of children.
sold
Boris Solotareff
Portrait of Mr. Lautenberg
Oil on Canvas Painting
1920s
Signed en verso B. Solotareff, Lautenberg.
Original period frame, made personally by the artist.
Dimensions (without frame): Height: 16” Width: 12 ½”
Dimensions (with frame): Height: 20” Width: 17” Depth” 1.75”
BORIS SOLOTAREFF (Russian, 1889 –1966) was a Russian painter, who was active in Munich, Switzerland and France, but spent the majority of his career in New York City, where he became a naturalize American citizen in 1949.
Solotareff made use of a variety of styles; according to the Benezit Dictionary of Artists, his "work was in the mainstream of Eastern European Expressionism, with influences of Art Deco from the time when he lived in Paris.
Solotareff's paintings have been exhibited widely, including the "Cinquantenaire Du Symbolisme" exhibition at the Biblioteque Nationale (1936), the Vendome Galleries (New York, 1938), and the "Exhibition of oils and water colors" at the Charles Barzansky Galleries from October 1–20, 1940.
$6,500
Michel Rodde
Hommage A Paris
Oil on Canvas Painting
1970s
Dimensions: Height: 45.5” Width: 46”
Michel RODDE (French, 1913–2009) was a highly acclaimed French artist, honored and awarded numerous times in France and worldwide during his lifetime. He mainly received international recognition for his Modern Impressionist style, exhibited so well in this painting.
Signed low Signed lower left: Michel Rodde; titled and inscribed en verso: Hommage a Paris / Michel Rodde. There is a Reference Number F2219 on the stretcher. The cardboard protective back cover has an almost completely damaged David Findley gallery label with Ref. #F2219.
Good original condition consistent with age and use, period frame. We make our best effort to provide a fair and descriptive condition report. Send message to this seller to request more details or discuss price.
SOLD
Johann Berthelsen
Manhattan Snow Storm Scene
Oil on Canvas Painting
1950s
This wonderful romantic painting depicts figures bustling along a Manhattan street during a snowstorm.
Signed lower right. Good original condition consistent with age and use, period frame. We make our best effort to provide a fair and descriptive condition report. Send message to this seller to request more details or discuss price.
Dimensions: Height: 12 inches Width: 16 inches
Johann Henrik Carl Berthelsen (1883 –1972) - Coming to America as a child, he enjoyed early success as an opera singer and music teacher. His friendship with the artist Wayman Adams resulted in a move to New York and experimentation with painting. When the Great Depression took a toll on his musical career, Berthelsen began selling oil scenes of his beloved New York City, which quickly found prominent buyers including William Randolph Hearst. While he also painted pastoral and mountain landscapes, Berthelson's snow scenes of Manhattan are particularly prized.
Price: $9,500
Ernest Fiene
Cognac, Lemons and Grapes
Still Life Oil on Canvas Painting
1922
Signed in the lower left corner, and dated 1922.
Good original condition consistent with age and use, period frame. We make our best effort to provide
a fair and descriptive condition report. Send message to this seller to request more details or discuss price.
Dimensions: Height: 24 inches Width: 20 inches
sold
Ernest Fiene (German-American,1894–1965) was a 20th-century American artist who primarily worked in New York City and Woodstock, New York. Ernest Fiene's artwork often focused on bringing out the humanity of a space while simultaneously deconstructing it into abstract shapes. His notable work includes cityscapes, views of New York City in particular, landscapes and other figural art. A fixture on the faculty of the Art Students League, he was also a prolific artist with a body of work spanning many media, from etchings to frescoes. "I am interested more in the future of American art than in the past of European art. Out of this new civilization, out of this machine age, a new school of painters will be developed." Born in Germany in 1894, Fiene fled his native land in 1912 to avoid military service in what would become World War I. Traveling first to the Netherlands, he continued on to the United States. From 1914 to 1916, he studied at the National Academy of Design in New York City, and from 1916 to 1918 at the Beaux Arts Institute. In 1923, Fiene continued his study of printmaking at the Art Students League of New York. In 1921 he married Jeannette Etarre. From 1928 to 1929, he studied in Paris and traveled in France. Fiene was hired in 1940, along with eight other prominent American artists, to document dramatic scenes and characters during the production of the film The Long Voyage Home, a cinematic adaptation of Eugene O'Neill's plays. In 1945 he divorced his first wife and was married to Alicia Wiencek. Fiene re-established his relationship with the Art Students League in 1948, returning to teach classes in painting and drawing there. In 1948, he was elected into the National Academy of Design as an Associate member, and became a full Academician in 1952. In the 1950's he also served on the faculty of the Famous Artists School in Westport, Connecticut. Fiene died of a heart attack in Paris in 1965.
Solo Exhibitions
1919 McDowell Club, New York City, NY
1920, 1922-26 Society of Independent Artists, New York City, NY
1923 Whitney Studio Club, New York City, NY
1923-55 Waltham Mills Artists Association, Boston, MA
1924 The New Gallery, New York City, NY
1930-52-54 Pennsylvania Academy of Fine Arts, Philadelphia, PA
Group Exhibitions
1920-41 Society of Independent Artists, New York City, NY
1923-55 Whitney Museum of American Art, New York City, NY
1924 New Gallery, New York City, NY
1930-49 Corcoran Biennial, Washington, D.C.
1930-45 Carnegie Museum of Art, Pittsburgh, PA
1928-45 Art Institute of Chicago, Chicago, IL
1940-46 Library of Congress, Washington, D.C.
Awards
1932 Guggenheim Fellowship, Guggenheim Museum, New York City, NY
1938 W.A. Clark Prize, Corcoran Gallery, Washington, D.C.
1940 Ada S. Garrett Prize, Art Institute of Chicago, Chicago, IL.
Memberships
National Academy of Design
Art Students League of New York
Artists Equity Association
International Institute of Arts & Letters
American Artists Congress
Century Association
Guggenheim Fellow
Woodstock Art Association
Salons of America
Public Collections
Museum of Fine Arts Boston
Zinnias and Apples
Deep Winter
Butler Institute of American Art
Colorado Hills
Los Angeles County Museum of Art
Brick Factories
Metropolitan Museum of Art
The Lucy Plant, Carnegie Steel Mill, Pittsburgh
Locomotive
Granary
Addison Gallery of American Art
White Roses
San Diego Museum of Art
Venice #2
Smithsonian American Art Museum and the Renwick Gallery
St. Michael's in Brooklyn
Washington Arch
Peter Siabkyn
Double-Portrait
Oil on Canvas Painting
1924
Dimensions: Height: 34 3/4 inches Width: 27 ½ inches
PETER SIABKYN (Russian/German, 1899-1948) "Untitled" oil on canvas signed "P. Siabkin" and dated 1924 in the lower left, further inscribed en verso. Unframed.
sold
Peter Siabkyn
Self-Portrait
Oil on Canvas Painting
1928
Dimensions: Height: 36 5/8" Width: 26"
PETER SIABKYN (Russian/German, 1899-1948) "Self-Portrait" oil on canvas signed "P. Siabkin" and dated 1928 lower right, further inscribed en verso. Unframed.
sold
George Schreiber
Untitled
Oil on Canvas Painting
1950s
Dimensions: Height: 18 ¼” Width: 24 ¼”
GEORGE L. SCHREIBER (1904 - 1977) was active/lived in New York / Belgium. George Schreiber is mostly known for rural genre and figure painting, lithography. George Schreiber was born 25 April 1904 in Brussels, Belgium. After studying in Berlin, London, Rome, Paris, and Florence, he moved to New York in 1928. Schreiber exhibited at the Carnegie Institute, Corcoran Gallery of Art, Pennsylvania Academy of Fine Arts, Art Institute of Chicago, Whitney Museum of American Art, Metropolitan Museum and the Museum of Modern Art - often winning prizes. Besides his career as a lithographer, Schreiber was also a painter, illustrator, watercolorist as well as a teacher at the New School for Social Research. Museum collections of Schreiber's work include the Metropolitan Museum of Art, Brooklyn Museum, Whitney Museum of American Art, Museum of the City of New York.
sold
Boris Solotareff
Double-Portrait
Watercolor & Gouache on Paper
1920s
Dimensions: Height: 15 ¾” Width: 23 ½”
BORIS SOLOTAREFF (Russian, 1889 –1966) was a Russian painter, who was active in Munich, Switzerland, and France; but spent the majority of his career in New York City, where he became a naturalized American citizen in 1949. Solotareff made use of a variety of styles; according to the Benezit Dictionary of Artists, his "work was in the mainstream of Eastern European Expressionism, with influences of Art Deco from the time when he lived in Paris." Solotareff's paintings have been exhibited widely, including the "Cinquantenaire Du Symbolisme" exhibition at the Bibliothèque Nationale (1936), the Vendome Galleries (New York, 1938), and the "Exhibition of oils and water colors" at the Charles Barzansky Galleries from October 1–20, 1940.
$3,500
ON HOLD
A.V. Parkhomenko
Single
Original Oil on Board Painting
Ca. 1987
Aleksandr Valentinovich Parkhomenko (Russian, 1958–2006)
Signed and dated en verso.
Dimensions:
Height: 20 inches Width: 14 inches Depth: 1 inch
sold
J. Cohen
Portrait of a Man
Oil on Board Painting
Circa 1950s
Signed in the lower left corner, J. Cohen.
Dimensions
H 13.32 in. x W 10.32 in. x D 1.5 in.
H 33.84 cm x W 26.22 cm x D 3.81 cm
Although the artist's exact name has not been identified, it can be said with certainty that this remarkable, artistically and psychologically very strong oil on board work belongs to the brush of a true professional in the field of portrait art and will certainly be a worthy addition to any serious collection of paintings.
sold
This is a double-sided painting –
Side 1: View of Manhattan, signed lower left and dated 1954.
Side 2 (reverse): Genre scene with porters.
DIMENTIONS: Unframed: 20.5 x 30.5 inches Framed: 32 x 37 inches
SAM DIAMOND (Polish/American, 1919 – 1978)
- Born May 1, 1919 in Warsaw, Poland.
- Family immigrated to the United States in November 1919.
- Began drawing at 6 years of age and continued an active interest in art throughout his school years.
- Graduated from Long Beach High School in 1936, at 16 years of age.
- Awarded a scholarship to Pratt Institute.
- Received art certificate from Pratt in 1939.
- Enlisted in U.S. Army Signal Corps. - Film Strip Division- doing artwork for training manuals from 1941-1946.
- Formed advertising art studio in 1946
- Continued painting and sculpture to present.
- Award for Sculpture and Painting, Westchester Art Society
- Two exhibits in Harrison, N.Y.
- Art media including sculpture in wood and alabaster; constructions in wood and tiles; mosaics; collage; assemblage.
- Residence and studio in Harrison, N.Y.
- Studio in New York City.
Price: $4,500
Karoly Fulop
“The Baptism”
Polychrome Ceramic Panel
Circa 1950’s
Signed to reverse.
Dimensions: 28" H x 24" W x 1.5" D
A framed polychromed Art Deco ceramic panel, by multi-media artist Karoly Fulop, depicting the baptism of the infant Christ. Markings include the artist's signature to the back. This art piece remains in excellent vintage condition, with age appropriate wear to frame.
Karoly Fulop (Hungarian, 1893-1963) was born in 1893 in Czabadka, Hungry. He was a painter, sculptor, and watercolorist. Fulop studied art in Budapest, Munich, and Paris, but it was medieval art that most influenced his style. His paintings, watercolors and sculptures all have the decorative quality and detail typical of the Byzantines, a style that can still be seen today in many buildings in Budapest. Also evident in his work is the influence of the Vienna and Hungarian Secessionist movements. Fulop is an artist of unique and curious combinations; he incorporated his Catholic background with symbolist images, very modern yet in the tradition of past generations.
Price: $4,500
Michel Rodde
“Hommage A Paris”
Oil on Canvas Painting
Circa 1970’s
Unlined canvas, framed in a period frame.
Dimensions:
Height: 45.5” Width: 46”
Michel Rodde (French, 1913–2009) was a highly acclaimed French artist, honored and awarded numerous times in France and worldwide during his lifetime. He mainly received international recognition for his Modern Impressionist style, exhibited so well in this painting.
Signed lower left: Michel Rodde; titled and inscribed en verso: Hommage a Paris / Michel Rodde. There is a Reference Number F2219 on the stretcher. The cardboard protective back cover has an almost completely damaged David Findley gallery label with Ref. #F2219.
No visible condition issues to note. We make our best effort to provide a fair and descriptive condition report. Please examine the photos attentively, as they are an integral part of the item description.
$4,500
Original O/C painting, signed in the lower left corner, and dated 1922
Dimensions:
Height: 24 inches Width: 20 inches
Ernest Fiene (German-American,1894–1965)
Ernest Fiene was a 20th-century American artist who primarily worked in New York City and Woodstock, New York. Ernest Fiene's artwork often focused on bringing out the humanity of a space while simultaneously deconstructing it into abstract shapes. His notable work includes cityscapes, views of New York City in particular, landscapes and other figural art. A fixture on the faculty of the Art Students League, he was also a prolific artist with a body of work spanning many media, from etchings to frescoes. "I am interested more in the future of American art than in the past of European art. Out of this new civilization, out of this machine age, a new school of painters will be developed." Born in Germany in 1894, Fiene fled his native land in 1912 to avoid military service in what would become World War I. Traveling first to the Netherlands, he continued on to the United States. From 1914 to 1916, he studied at the National Academy of Design in New York City, and from 1916 to 1918 at the Beaux Arts Institute. In 1923, Fiene continued his study of printmaking at the Art Students League of New York. In 1921 he married Jeannette Etarre. From 1928 to 1929, he studied in Paris and traveled in France. Fiene was hired in 1940, along with eight other prominent American artists, to document dramatic scenes and characters during the production of the film The Long Voyage Home, a cinematic adaptation of Eugene O'Neill's plays. In 1945 he divorced his first wife and was married to Alicia Wiencek. Fiene re-established his relationship with the Art Students League in 1948, returning to teach classes in painting and drawing there. In 1948, he was elected into the National Academy of Design as an Associate member, and became a full Academician in 1952. In the 1950's he also served on the faculty of the Famous Artists School in Westport, Connecticut. Fiene died of a heart attack in Paris in 1965.
Solo Exhibitions
1919 McDowell Club, New York City, NY
1920, 1922-26 Society of Independent Artists, New York City, NY
1923 Whitney Studio Club, New York City, NY
1923-55 Waltham Mills Artists Association, Boston, MA
1924 The New Gallery, New York City, NY
1930-52-54 Pennsylvania Academy of Fine Arts, Philadelphia, PA
Group Exhibitions
1920-41 Society of Independent Artists, New York City, NY
1923-55 Whitney Museum of American Art, New York City, NY
1924 New Gallery, New York City, NY
1930-49 Corcoran Biennial, Washington, D.C.
1930-45 Carnegie Museum of Art, Pittsburgh, PA
1928-45 Art Institute of Chicago, Chicago, IL
1940-46 Library of Congress, Washington, D.C.
Awards
1932 Guggenheim Fellowship, Guggenheim Museum, New York City, NY
1938 W.A. Clark Prize, Corcoran Gallery, Washington, D.C.
1940 Ada S. Garrett Prize, Art Institute of Chicago, Chicago, IL.
Memberships
National Academy of Design
Art Students League of New York
Artists Equity Association
International Institute of Arts & Letters
American Artists Congress
Century Association
Guggenheim Fellow
Woodstock Art Association
Salons of America
Public Collections
Museum of Fine Arts Boston
Zinnias and Apples
Deep Winter
Butler Institute of American Art
Colorado Hills
Los Angeles County Museum of Art
Brick Factories
Metropolitan Museum of Art
The Lucy Plant, Carnegie Steel Mill, Pittsburgh
Locomotive
Granary
Addison Gallery of American Art
White Roses
San Diego Museum of Art
Venice #2
Smithsonian American Art Museum and the Renwick Gallery
St. Michael's in Brooklyn
Washington Arch
$5,500
- fishermen Boats Ashore -
Federico Morello
Ca. 1920's
Oil on canvas, signed lower right: F. Morello, mounted in gilded period frame.
Dimensions:
40" L x 27" W
. Federico Morello (Italian, 1875 - 1938) was a known visual artist, famous for depicting seascapes, genre scenes, architecture and nature of Southern Italy. This beautiful oil painting on canvas depicts a group of fishermen with their boats ashore after the day at sea.
sold
- Manhattan Snow Storm Scene -
A Painting by
Johann Berthelsen
Ca. 1960's
Depicting figures bustling along a Manhattan street during a snowstorm, this romantic oil on canvas painting of New York City winter snow scene is signed lower right.
Dimensions:
Height: 12 inches Width: 16 inches
Medium:
Oil on canvas, period frame.
Johann Henrik Carl Berthelsen (1883 –1972)
Coming to America as a child, he enjoyed early success as an opera singer and music teacher. His friendship with the artist Wayman Adams resulted in a move to New York and experimentation with painting. When the Great Depression took a toll on his musical career, Berthelsen began selling oil scenes of his beloved New York City, which quickly found prominent buyers including William Randolph Hearst. While he also painted pastoral and mountain landscapes, Berthelson's snow scenes of Manhattan are particularly prized.
$15,500
- Village Landscape -
Original Painting by
Ernest Fiene
Ca. 1921
Ernest Fiene (American, 1894–1965) was a 20th-century American artist who primarily worked in New York City and Woodstock, New York. Ernest Fiene's artwork often focused on bringing out the humanity of a space while simultaneously deconstructing it into abstract shapes. His notable work includes cityscapes, views of New York City in particular, landscapes and other figural art. A fixture on the faculty of the Art Students League, he was also a prolific artist with a body of work spanning many media, from etchings to frescoes. "I am interested more in the future of American art than in the past of European art. Out of this new civilization, out of this machine age, a new school of painters will be developed." Born in Germany in 1894, Fiene fled his native land in 1912 to avoid military service in what would become World War I. Traveling first to the Netherlands, he continued on to the United States. From 1914 to 1916 he studied at the National Academy of Design in New York City, and from 1916 to 1918 at the Beaux Arts Institute. In 1921, he married Jeannette Etarre. In 1923, Fiene continued his study of printmaking at the Art Students League of New York. From 1928 to 1929, he studied in Paris and traveled in France. In 1940, Fiene was hired along with eight other prominent American artists, to document dramatic scenes and characters during the production of the film "The Long Voyage Home", a cinematic adaptation of Eugene O'Neill's plays. In 1945, he divorced his first wife and was married to Alicia Wiencek. Fiene re-established his relationship with the Art Students League in 1948, returning to teach classes in painting and drawing there. In 1948, he was elected into the National Academy of Design as an Associate member, and became a full Academician in 1952. In the 1950s he also served on the faculty of the Famous Artists School in Westport, Connecticut. Fiene died of a heart attack in Paris in 1965.
The painting, in all probability, depicts a small Connecticut village by a lake. It is signed by the artist, and dated 1921 in the front lower right corner.
Media: Oil on board Height: 16 inches Width: 12 inches
Solo Exhibitions
1919 McDowell Club, New York City, NY
1920, 1922-26 Society of Independent Artists, New York City, NY
1923 Whitney Studio Club, New York City, NY
1923-55 Waltham Mills Artists Association, Boston, MA
1924 The New Gallery, New York City, NY
1930-52-54 Pennsylvania Academy of Fine Arts, Philadelphia, PA
Group Exhibitions
1920-41 Society of Independent Artists, New York City, NY
1923-55 Whitney Museum of American Art, New York City, NY
1924 New Gallery, New York City, NY
1930-49 Corcoran Biennial, Washington, D.C.
1930-45 Carnegie Museum of Art, Pittsburgh, PA
1928-45 Art Institute of Chicago, Chicago, IL
1940-46 Library of Congress, Washington, D.C.
Awards
1932 Guggenheim Fellowship, Guggenheim Museum, New York City, NY
1938 W.A. Clark Prize, Corcoran Gallery, Washington, D.C.
1940 Ada S. Garrett Prize, Art Institute of Chicago, Chicago, IL.
Memberships
National Academy of Design
Art Students League of New York
Artists Equity Association
International Institute of Arts & Letters
American Artists Congress
Century Association
Guggenheim Fellow
Woodstock Art Association
Salons of America
Public Collections
Museum of Fine Arts Boston
Zinnias and Apples
Deep Winter
Butler Institute of American Art
Colorado Hills
Los Angeles County Museum of Art
Brick Factories
Metropolitan Museum of Art
The Lucy Plant, Carnegie Steel Mill, Pittsburgh
Locomotive
Granary
Addison Gallery of American Art
White Roses
San Diego Museum of Art
Venice #2
Smithsonian American Art Museum and the Renwick Gallery
St. Michael's in Brooklyn
SOLD
nude
Eugene Paul, known as Gen Paul, was born in 1895 and raised in the bohemian atmosphere of Montmartre. A self-taught artist, Gen Paul began expressing himself in drawings and paintings as a child, his earliest works show a remarkable talent. He was wounded twice in World War One, the second time he lost one of his legs. During his recovery he turned to painting, which became his passion and his livelihood for almost 60 years. Many of Gen Paul’s greatest works from the 1920s have remained in private collections. Retrospective exhibitions of Gen Paul’s work were held at the Musée de Montmartre in 1986, for the hundred-year anniversary of his birth in 1995 at Museum Les Cordeliers, and in 1998 in Zurich, Switzerland. He is represented in museums in Berne, and Geneva, Switzerland, and the Musée National d’Art Moderne in Paris.
Date of manufacture : 1968
Period : 20th Century
Country : France
Painter : Gen Paul (French, 1895 - 1975)
Remarks: Signed and dated 1968
Height : 25 inches
Width : 18 1/2 inches
Medium : Original drawing, crayolor on paper
Inventory number : P-20-0001
$7,500
"Bathing Caesar"
Original Watercolor by
Robert G. Sternloff
Ca. 1940's-50's
Dimensions:
Height: 18 1/2 inches / 46.25 cm Width: 8 3/4 inches / 21.9 cm
Robert G. Sternloff (American, 1885 - 1965) was born in Sweden and has become a prominent American illustrator doing advertising art for many companies, including Fuller Brush. He also did cover art for the Field and Stream magazine. However. he was best known for his paintings of dogs, particularly hounds. One of his Beagle paintings is in the 200 painting collection of various breeds at the American Kennel Club. He did paint the Hounds of the DuPont's sometime in the 30's. The artist died in 1965 in Mill Valley, California.
Signed and nicely framed, this mixed-media work in watercolor, gouache and pencil on paper is typical of work that was provided by Robert G. Sternloff to the Domino Club and other bars and restaurants in San Francisco during the 1940's and the 50's.