Piry Rame 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: ...

Dai Xiangwen was born in Hunan in 1991 and graduated from the Academy of Fine Arts of Jianghan University, He is a member of China Artists Association, China Designers Association, a painter of Li Keran...

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...

BREAK OF DAY Size: 35 x 43 cm (including frame) Oil on Canvas A dramatic atmospheric mid century modernist landscape, painted in oil onto canvas. In this semi-abstract composition ...

Norman Carton (1908 – 1980) was an American artist and educator known for abstract expressionist art. He was born in the Ukraine region of Imperial Russia and moved to the United States in 1922 where he spent most of his adult life. A classically trained portrait and landscape artist, Carton also worked as a drafter, newspaper illustrator, muralist, theater set designer, photographer, and fabric designer and spent most of his mature life as an art educator. Carton showed in and continues to be shown in many solo and group exhibitions. His work is included in numerous museums and private collections throughout the world. Norman Carton was born in the Dnieper Ukraine territory of the Russian Empire in 1908. Escaping the turbulence of civil war massacres, he settled in Philadelphia in 1922 after years of constant flight. While attending the Pennsylvania Museum School of Industrial Art, Carton worked as a newspaper artist for the Philadelphia Record from 1928 to 1930 in the company of other illustrator/artists who had founded the Ashcan School, the beginnings of modern American art. From 1930 to 1935, he studied at the Pennsylvania Academy of Fine Arts under Henry McCarter, who was a pupil of Toulouse-Lautrec, Puvis de Chavanne, and Thomas Eakins. Arthur Carles, especially with his sense of color, and the architect John Harbison also provided tutelage and inspiration. Following his time at the Pennsylvania Academy of Fine Arts, Carton studied at the Barnes Foundation from 1935 to 1936 where he was influenced by an intellectual climate led by visiting lecturers John Dewey and Bertrand Russell as well as daily access to Albert C. Barnes and his art collection. Carton was awarded the Cresson Traveling Scholarship in 1934 which allowed him to travel through Europe and study in Paris. There he expanded his artistic horizons with influences stemming from Henri Matisse, Pablo Picasso, Chaim Soutine, and Wassily Kandinsky. While at the Pennsylvania Academy of Fine Arts, Carton was also awarded the Toppan Prize for figure painting as well as the Thouron Composition Prize. He received numerous commissions as a portrait artist, social realist, sculptor, and theatrical stage designer as well as academic scholarships. During this time, Carton worked as a scenery designer at Sparks Scenic Studios, a drafter at the Philadelphia Enameling Works, and a fine art lithographer. From 1939 to 1942, the Works Progress Administration (WPA) Federal Art Project employed Carton as a muralist and easel artist. He collaborated with architect George Howe. The WPA commissioned Carton to paint major murals at the Helen Fleischer Vocational School for Girls in Philadelphia, the Officers’ Club at Camp Meade Army Base in Maryland, and in the city of Hidalgo, Mexico. Throughout the 1940s, Carton exhibited and won prizes for his semi-abstract Expressionist and Surrealist paintings. He socialized with and was inspired by Émile Gauguin and Fernand Leger. During World War II, Carton was a naval structural designer and draftsman at the Cramps...

Artist/ School: French Expressionist painter, circa 1970 Title: abstract expressionist composition Medium: oil painting on canvas, unframed canvas: 39.25 x 25.5 inches Provenance...

Signed (at lower left): WILLIAM S. SCHWARTZ

"Spring Light on the River" captures the essence of the season with its vibrant depiction of a wild, textured river scene enveloped in lush greenery. Sylvia Paul's masterful brushstr...

Eleanor Nell Sinton Roots and Stems 1950, Oil on canvas, Signed lower right N. Sinton, Provenance: Braunstein Quay Gallery (bears label verso) Framed: 24.5 X 20.5 sight 21 X 17 inches. Nell (Eleanor) Sinton (1910-1997) was a painter, art collector and educator in San Francisco, California Nell Sinton began painting in the 1920s. She studied at the San Francisco Art Institute (then called the California School of Fine Arts). Nell Sinton, one of the early California woman abstract expressionist painters. A member of a family that moved to San Francisco in 1851, Nell Sinton began painting in the 1920s. She studied at the San Francisco Art Institute (then called the California School of Fine Arts) a decade before abstract expressionism emerged there, and, later, with Lucien Labaudt and Maurice Sterne, (1937-1938). She also worked as an apprentice to Sterne on the Federal Art Project (WPA) murals in San Francisco (1938-40) and was a member of the San Francisco Art Commission (1959-63). In 1959, Sinton was acknowledged as one of the Ten Most Distinguished Bay Area Women. A notable Bay Area Expressionist...

Dai Xiangwen was born in Hunan in 1991 and graduated from the Academy of Fine Arts of Jianghan University, He is a member of China Artists Association, China Designers Association, a painter of Li Keran...

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...