Henry Baker Art

This work is part of our exhibition America Coast to Coast: Artists of the 1940s Untitled (Farm in Winter), 1940s, oil on canvas, signed lower right, 26 x 30 inches, presented in an original frame Julius Delbos...

Untitled (Collapsed Shacks), c. 1940s, oil on canvas, signed lower left, 20 ½ x 26 ½ inches, presented in a period frame This work is part of our exhibition America Coast to Coast: ...

Landscape, 1940, oil on canvas, 24 x 20 inches, signed, dated and titled verso: “Marcel Cailliet ’40 – S.C.” and “Marcel Cailliet Landscape”; likely exhibited at the annual juried st...

Fabulous original mid century modern oil on canvas painting by the well known New York artist, William Katz. The painting is done in a colorful abstraction of sailboats and is signed by the artist lower left. The artist has mixed sand into the oil paint to give the painting a highly textured look. Condition is excellent. Circa 1955. The frame is original with a studded gold edge detailing and with natural wood sides. Frame is in fine original condition. Overall framed measurements are 17 by 29.25 inches. Provenance: A Saint Petersburg, Florida collector. William P. Katz (1926-2003) American William Katz was born in New York, studied at The Art Students League and with Sebastiano Mineo of New York City. For five years he worked and lived in the home that was once occupied by the great American sculptor Gutson Borglum. His works are in many private collections in the United States, Norway, England, Canada and Greece. Best known for sculptures, he also created paintings and designed textiles and jewelry. Alexander Kirkland called him an abstract "figurist-fantasist." He has had one-man exhibits at many galleries including: 1964, Miami Museum of Modern Art, Miami, FL; 1965, Fordham University...

This painting is illustrated in the Catalogue of the 1945 Encyclopedia Britannica Collection of Contemporary American Painting, p.84. Written and edited by Grace Pagano. "Painting ...

In his artwork entitled, “December 25th,” Alec Montroy paints a New York City street blanked with snow but illuminated still by the numerous neon signs ab...

"History of US Postal Service" American Scene Social Realism WPA Modern Chicago Harold Haydon "History of the U.S. Postal Service" 21 x 25 1/2 inches Oil on canvas, c. 1938 Estate s...

NYC 1939 World's Fair Mural Study American Scene WPA Modern Mid 20th Century Eugene Savage (1883 – 1978) 1939 World’s Fair Mural Study 45 x 30 inches Oil on Canvas Signed lower right The painting is part of a 1,000 piece collection of art and objects from the 1939 World’s Fair. The collection as a whole is available. Savage created the mural for the facade of the Communications Building. An image of the completed mural, along with a published postcard, is part of the listing. Note the center top female figure, she resembles the figure in the offered painting. BIO Eugene Francis Savage was born in Covington, Indiana 1883. He underwent various forms of art training in the early years. He was a pupil of The Corcoran Gallery and The Art Institute of Chicago, and was later awarded a fellowship to study in Rome at The American Academy. While under the spell of that ancient city the young artist began to render historic figures that were suitable for the classic style needed for mural painting in the traditional manor. During this period he was able to study and observe Roman and Greek sculpture, although much of the academic training was accomplished by using plaster casts along with the incorporation of live models. This method survived and was used efficiently throughout Europe and the United States. After leaving the Academy, Savage was commissioned to paint numerous murals throughout the United States and Europe. This artist received acclaim for the works he produced while under commissions from various sources. This young master was a contemporary of Mexican muralists David Alfaro Siqueiros (1896-1974), Jose Clemente Orozco (1883-1949) and Diego Rivera (1886-1957). In this period he was to show the influence of his contemporaries in formulating a modern style. Savage also played a vital role in the WPA Federal Art program, and he was a member of The Mural Art Guild.. Savage was elected an associate member of The National Academy of Design in 1924 and a full member in 1926. From 1947, he held a professorship at Yale University where he taught mural painting, and some of his students went on to significant positions. By this time the artist had painted large-scale murals at Columbia, Yale University, Buffalo N.Y., Dallas, Texas, Chicago, Indiana, along with other commissioned works. He also achieved recognition for a series of murals commissioned by the Matson Shipping Line and completed around 1940. For this commission, Savage made many exacting studies of customs and folkways of the Hawaiian natives. However, the award-winning murals were not installed as planned but were put in storage during the war years when the ships were used for troop transportation and were in danger of attack. However the mural images were reproduced and distributed by the shipping company including nine of the mural scenes that were made into lithographed menu covers in 1948. The American Institute of Graphic Arts awarded certificates of excellence for their graphic production, and the Smithsonian Institute exhibited the works in 1949. Today Savages' Hawaiian Art production is held in high regard by collectors of Hawaiian nostalgia. In later years the artist focused his attention on a theme that dealt with the customs and tribal traditions of the Seminole Indians of Florida. He produced many variations of this theme throughout his lifetime, and the pictures were usually modest scale easel paintings, precise and carefully delineated. Many of these pictures incorporate Surrealistic elements and show some minor stylistic influences of the painters Kay Sage...

Trung Quoc Tran 1980's "Ships Passing" Oil on Canvas 35.5" x 47.5" unframed $1900 No Signature *Listed price reflects custom framing selected by seller. Please expect framing time be...

Canvas measures 24" x 30" and framed 30" x 36" x 3" About this artist: Anni Baldaugh was the daughter of Anthonius Hendricus Schade van Westrum. With a father who was a naval officer, the van Westrum family spent significant amounts of time in the Dutch East Indies. After returning to Europe, Baldaugh studied art with various teachers in Vienna, Munich and Paris. She and her husband ended up living in Los Angeles, though they suffered financial losses during World War I. While in Los Angeles, Baldaugh joined the California Watercolor Club, the California Society of Miniature Painters, the Bookplate Association International, the Laguna Beach Art Association, and the San Diego Fine Arts Society. She also became a member of the Connecticut Academy of Fine Arts. During the Great Depression...

SALE ONE WEEK ONLY “Study of Mt. Vesuvius" is a small intimate painting of an active volcano that has at times wrecked great destruction. As seen from a distance, it is a calm blue ...

It is infrequent, to say the least, that a diagnosis of tuberculosis proves fortuitous, but that was the event, in 1921, that set Paul Starrett Sample on the road to becoming a professional artist. (The best source for an overview of Sample’s life and oeuvre remains Paul Sample: Painter of the American Scene, exhib. cat., [Hanover, New Hampshire: Hood Museum of Art, 1988] with a detailed and definitive chronology by Sample scholar, Paula F. Glick, and an essay by Robert L. McGrath. It is the source for this essay unless otherwise indicated.) Sample, born in Louisville, Kentucky, in 1896 to a construction engineer and his wife, spent his childhood moving with his family to the various locations that his father’s work took them. By 1911, the family had landed in Glencoe, Illinois, settling long enough for Paul to graduate from New Trier High School in 1916. Sample enrolled at Dartmouth College, in Hanover, New Hampshire, where his interests were anything but academic. His enthusiasms included the football and basketball teams, boxing, pledging at a fraternity, and learning to play the saxophone. After the United States entered World War I, Sample, to his family’s dismay, signed on for the Naval Reserve, leading directly to a hiatus from Dartmouth. In 1918 and 1919, Sample served in the U.S. Merchant Marine where he earned a third mate’s license and seriously contemplated life as a sailor. Acceding to parental pressure, he returned to Dartmouth, graduating in 1921. Sample’s undergraduate life revolved around sports and a jazz band he formed with his brother, Donald, two years younger and also a Dartmouth student. In November 1933, Sample summarized his life in a letter he wrote introducing himself to Frederick Newlin Price, founder of Ferargil Galleries, who would become his New York art dealer. The artist characterized his undergraduate years as spent “wasting my time intensively.” He told Price that that “I took an art appreciation course and slept thru it every day” (Ferargil Galleries Records, circa 1900–63, Archives of American Art, Smithsonian Institution, available on line). In 1920, Donald Sample contracted tuberculosis. He went for treatment to the world-famous Trudeau Sanitorium at Saranac Lake, in New York State’s Adirondack Mountains for the prescribed regimen of rest, healthful food, and fresh air. Visiting his brother in 1921, Paul also contracted the disease. Tuberculosis is highly contagious, and had no certain cure before the development of streptomycin in 1946. Even for patients who appeared to have recovered, there was a significant rate of recurrence. Thus, in his letter to Price, Sample avoided the stigma conjured by naming the disease, but wrote “I had a relapse with a bad lung and spent the next four years hospitalized in Saranac Lake.” The stringent physical restrictions imposed by adherence to “the cure” required Sample to cultivate an alternate set of interests. He read voraciously and, at the suggestion of his physician, contacted the husband of a fellow patient for instruction in art. That artist, then living in Saranac, was Jonas Lie (1880–1940), a prominent Norwegian-American painter and an associate academician at the National Academy of Design. Lie had gained renown for his dramatic 1913 series of paintings documenting the construction of the Panama Canal (The Metropolitan Museum of Art, New York; United States Military Academy, West Point, New York). Primarily a landscape artist, Lie had a particular affinity for scenes with water. His paintings, impressionistic, atmospheric, and brushy, never strayed from a realistic rendering of his subject. Sample regarded Lie as a mentor and retained a lifelong reverence for his teacher. Sample’s early paintings very much reflect Lie’s influence. ` In 1925, “cured,” Sample left Saranac Lake for what proved to be a brief stay in New York City, where his veteran’s benefits financed a commercial art course. The family, however, had moved to California, in the futile hope that the climate would benefit Donald. Sample joined them and after Donald’s death, remained in California, taking classes at the Otis Art Institute in Los Angeles. In Sample’s account to Price, “I couldn’t stomach the practice of painting a lot of High Sierras and desert flowers which seemed to be the only kind of pictures that were sold here so I got a job teaching drawing and painting at the art school of the University of Southern California.” Initially hired as a part-time instructor, Sample progressed to full-time status and ultimately, by the mid-1930s, to the post of Chairman of the Fine Art Department. Sample, however, did not want to wind up as a professor. “Teaching is all right in small doses,” he wrote, “but I have a horror of drifting into being a college professor and nothing more.” At the same time as he taught, Sample began to exhibit his work in a variety of venues at first locally, then nationally. Though he confessed himself “a terrible salesman,” and though occupied with continued learning and teaching, Sample was nonetheless, ambitious. In 1927, he wrote in his diary, “I am eventually going to be a painter and a damned good one. And what is more, I am going to make money at it” (as quoted by Glick, p. 15). In 1928, Sample felt sufficiently solvent to marry his long-time love, Sylvia Howland, who had also been a patient at Saranac Lake. The Howland family were rooted New Englanders and in summertime the Samples regularly traveled East for family reunion vacations. While the 1930s brought serious hardship to many artists, for Paul Sample it was a decade of success. Buttressed by the financial safety net of his teacher’s salary, he painted realist depictions of the American scene. While his work addressed depression-era conditions with a sympathetic eye, Sample avoided the anger and tinge of bitterness that characterized much contemporary realist art. Beginning in 1930, Sample began to exhibit regularly in juried exhibitions at important national venues, garnering prizes along the way. In 1930, Inner Harbor won an honorable mention in the Annual Exhibition of the Art Institute of Chicago. That same year Sample was also represented in a show at the Albright-Knox Gallery in Buffalo and at the Biennial Exhibition of the Corcoran Gallery of Art, Washington, D.C. In 1931, Dairy Ranch won the second Hallgarten Prize at the Annual Exhibition of the National Academy of Design, in New York. Sample also made his first appearances at the Carnegie Institute, Pittsburgh, and The Pennsylvania Academy of the Fine Arts, Philadelphia. In 1936, Miner’s Resting won the Temple Gold Medal at the Pennsylvania Academy’s Annual Exhibition. Always interested in watercolor, in 1936, Sample began to send works on paper to exhibitions at the Whitney Museum, New York. While participating in juried exhibitions, Sample also cultivated commercial possibilities. His first New York art dealer was the prestigious Macbeth Gallery in New York, which included his work in a November 1931 exhibition. In 1934, Sample joined the Ferargil Galleries in New York, after Fred Price arranged the sale of Sample’s Church Supper to the Michele and Donald D’Amour Museum of Fine Arts in Springfield, Massachusetts. In 1937, The Metropolitan Museum of Art purchased Sample’s Janitor’s Holiday from the annual exhibition of the National Academy of Design, a notable honor. As prestigious as this exhibition schedule may have been, by far Sample’s most visible presence in the 1930s and 1940s was the result of his relationship with Henry Luce’s burgeoning publishing empire, Time, Inc. Sample’s first contribution to a Luce publication appears to have been another San Pedro...