Saul Schary Paintings

"Bearsville NY" Landscape Social Realism Mid 20th Century Modern American Scene Georgina Klitgaard (1893 - 1976) Bearsville NY 26 1/4 x 36 inches Oil on canvas Singed lower right, t...

Oil on canvas modernist city scape painted circa 1950 by Paul K Smith (1893-1977) titled Central City, Colorado. Portrays a city scene of historic buildin...

WPA Landscape American Scene Social Realism Mid 20th Century Modern Farm Rural James McCracken (1875 – 1967) WPA Landscape 28 x 36 inches Oil on canvas, c. 1930s Signed lower right ...

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...

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 ...

'Abandoned (Colorado)' is an oil painting by William Sanderson (1905-1990) depicting an abandoned house in green grass hills. Presented in a custom frame measuring 13 ¼ x 16 ½ inches; image size measures 8 ½ x 11 ¼ inches. Painting is in good condition - please contact us for a detailed condition report. About the Artist: Born Latvia 1905 Died Colorado 1990 The elder son of a construction engineer, he was born Wilhelm Tsiegelnitsky in a seaside resort near Riga, Latvia, then part of the Russian Empire. His father, Grigori Mojesevich (later Anglicized to Gregory) was of Russian-Jewish heritage, while his mother Berta (Bertha) came from a German-Jewish background. Because preference in awarding construction contracts at that time were being given to members of the Russian Orthodox Church, his father had the whole family baptized in that church which he kept a secret from Sanderson’s grandparents. His father’s profession took the family to a number of cities in various parts of the Russian Empire including Warsaw, Kharkhov, Kiev, and Samarkand in Asia. To his mother’s annoyance, he scribbled on anything within easy reach, deciding by age ten that he would make art his lifetime goal. During the Bolshevik Revolution in 1917 the family lived with relatives in Rostov-on-the-Don where his mother enrolled him in the local Chinyenov Art School, marking the first step in his art career. Feeling that they would have no place in the new Communist political reality, in 1921 the family left Rostov for Kiev, emigrating to Italy and Greece on short-term visas before arriving in New York two years later, sponsored by Gregory’s relatives in New Jersey. The Tsiegelnitsky surname was changed to the more pronounceable Siegel. Experiencing the frustration shared by most immigrants seeking to establish themselves in a new, unfamiliar environment, Sanderson sufficiently mastered English by 1924 to attend the Fawcett School of Industrial Art in Newark (later the Newark School of Fine and Industrial Art) where he studied with Ida Wells Stroud, herself a student of William Merritt Chase and Arthur Dow and part of the early twentieth-century Arts & Crafts Movement. Seeking a more challenging curriculum, he enrolled at the National Academy of Design in Manhattan (1924-1927), studying painting with Charles Hawthorne, etching with William Auerbach-Levy, and life drawing with Charles L. Hinton. Sanderson won the Suydam Medal for Life Drawing, First Prize in Composition, and Honorable Mention in Etching. He also briefly attended the Art Students League in New York in 1928, studying lithography with Charles Locke who in 1936 taught a summer course in the medium at the Colorado Springs Fine Arts Center. However, Sanderson quit the League when he could no longer afford the tuition. With his art studies behind him, he began a successful career in illustration in New York. Briefly associated with the Evening Graphic, he maintained a decade-long affiliation with the New Masses, honored to be in the company of such established artist-contributors as Jean Charlot, Stuart Davis, Adolf Dehn, Louis Lozowick, Reginald Marsh, Jan Matulka and Boardman Robinson – some of whom later were affiliated with the Colorado Springs Fine Arts Center in the 1930s and 1940s. As a young immigrant he came to share some of the popular views of the left-wing intellectual community in American in the 1920s and early 1930s; but in 1936 he severed his connections with the New Masses because he did not like the direction it had taken by that time. In 1929, the year of the stock market crash and the onset of the Great Depression, he began doing commercial book illustration in New York which he continued until being drafted during World War II. However, his steady income disqualified him from participation in the Works Progress Administration (WPA)-era art projects. A barometer of his success was his inclusion in the Fifth Exhibition of American Book Illustration in 1935 sponsored by American Institute of Graphic Arts whose jurors included Edith Halpert of The Downtown Gallery in New York. Among the book titles he illustrated were: Marian Hurd McNeeley, The Jumping Off Place; P.N. Krasnoff, Yermak the Conqueror; Joe Lederer, Fanfan in China; Fay Orr, Freighter Holiday; and The Cavalcade of America. His images of a covered wagon and a Daniel Boone prototype in the last-named publication anticipate subjects he later explored more fully in his easel painting in Colorado with likenesses such as The Woman of the Plains and Hombre. In the 1930s and early 1940s he also produced illustrations and covers for leading American magazines such as The New Yorker, Esquire, Cue, and Harper’s. In 1931 he became a naturalized U.S. citizen in Manhattan and by 1936 began informally using Sanderson as his surname, making the change official in 1941. In 1937 he was given a solo show at the American Contemporary Art (A.C.A.) Gallery in New York. The following year he became art director at the McCue Ad Agency in New York where he worked until after the Japanese attack on Pearl Harbor. Looking forward to the day when he could give up illustration for the fine arts, his career change was set in motion when he was drafted into the U.S. Army in March 1942. After basic training at Kessler Field near Biloxi, Mississippi (where the Tuskegee Airmen also trained) he shipped out at his own request to Lowry Air Force Base in Denver, becoming part of the Army Air Corps and taking an instant liking to Colorado. At Lowry his humorous drawings of barracks life were published in the base newspaper, The Rev-Meter. In the summer of 1943 he had his first solo exhibition in Colorado at the Denver Art Museum-Chappell House that consisted of black-and-white drawings of army life. He also began painting watercolor scenes from memory of his previous life in the East. His two visits to Vance Kirkland’s studio in Denver’s Capitol Hill neighborhood, while stationed at Lowry, occasioned a lifelong friendship and professional association. On Sanderson’s excursion in 1943 to the Colorado Springs Fine Arts Center he met his future wife, Ruth Lambertson from Cedar Falls, Iowa, whom he married eight weeks later, initiating a union lasting forty-seven years. His fluency in Russian landed him an assignment as an interpreter with the American ground forces meeting up with the Soviet Army marching westward toward Berlin in the last months of World War II. His impressions and photos of the bombed-out city formed the basis of his montage, Berlin 1945, painted in Denver in 1947. Its palette and collage-like quality and that of some of his other paintings from this period reflect the influence of American modernist, Stuart Davis. Following his military discharge and some brief design work for the Kistler Stationery Company and the A.B. Hirschfeld Press in Denver, Sanderson swapped commercial art for academia in 1946 when Vance Kirkland hired him as Assistant Professor of Advertising Design at the University of Denver, which subject he taught until retiring in 1972. Along with Kirkland and other faculty artists, he became a charter member of the 15 Colorado Artists. Founded in 1948, the group comprised some of the state’s leading contemporary artists seeking to distance themselves from much of the traditional imagery then being produced and exhibited in Denver and elsewhere. Reflecting the viewpoint of his fellow charter members Sanderson said, "I’m very taken with the nature scenes in this region, but it’s not the function of the artist to paint them when there are photographers around." Paraphrasing Picasso, the leading representative of contemporary art at that time, he added: "The painting is the artist’s representation of what nature is not." The financial security and stability of his teaching position at the University of Denver (DU) gave him the freedom to develop his easel painting. He produced a large body of oils and watercolors in both stylized Realism and Surrealism depicting, respectively, Colorado-inspired subject matter and social criticism of modern life and industrial civilization. One of his first canvases, Steamship Ruth, titled in honor of his wife and incorporating elements remembered from the port of Rostov in Russia has large, precisely-arranged areas of flat color with crisp edges seen in many of his Colorado paintings in the 1950s and 1960s. Similarly, Mountain Rhythm employs a bright palette and undulating lines conveying his fascination with the overall composition of irregular mountain and cloud shapes. Trailer Park, near the foothills west of Denver, provided abundant material for a geometric form study, while Composition with Fried Eggs in the Denver Art Museum’s collection essentially is a semi-cubistic arrangement of interlocking planes and spaces that was reproduced in the August 25, 1952, issue of Time Magazine. His work was also shown in group exhibitions outside Colorado at the Dallas Fine Art Museum, Museum of New Mexico (now, New Mexico Museum of Art) in Santa Fe, Joslyn Memorial Museum in Omaha, San Francisco Art Association, Salt Lake City Art Center, and the Cedar City Art Museum Association in Utah. The positive notice accorded his work in the early 1950s earned him a commission from the Ford Motor Company to illustrate an article, Fort Garland, by Marshall Sprague in the June 1954 issue of Ford Times. (Similar commissions were also given at that time to Denver’s Vance Kirkland and Richard Sorby.) In the mid-1950s Sanderson also executed several murals in different techniques for secular and religious buildings in Colorado, reminiscent of artists’ commissions under the Federal Arts Projects (FAP) during the Depression era: the Graland School lobby and the Colorado Tobacco Building, both in Denver; St. Joseph’s School, Salida; Mesa Elementary School, Cortez; as well as the Andrew Jackson Hotel in Nashville, Tennessee. Sanderson’s life in Europe and illustration work for the New Masses in New York made him very aware of ethnic and racial prejudice. He said, "I believe the artist is first of all a human being with the ability to see and depict the hope, aspirations and the despair of other human beings." In the 1950s he recorded the political movement for Black racial equality in paintings such as Noon Hour, Whites Only...

Signed (at lower left): WILLIAM S. SCHWARTZ

Oil on canvas painting by the Russian/American artist, Nicolai Cikovsky. Signed lower left. In good unrestored condition. Housed in custom made wood and lemon gold gilt frame. Overal...

Boys Swimming Industrial Landscape WPA Mid 20th Century Social Realism Modernism Henry Schnakenberg (1982 - 1970) Boys Swimming Industrial Landscape 11 1/2 x 15 1/2 sight Oil on Canvas Signed lower left 14 1/2 x 18 1/2 inches, Framed Bio In many cases, American artists visited the Armory Show in New York in 1913, and returned to their studios to react to or against what they saw. However, for Henry Ernest Schnakenberg it was much more life altering. Prior to visiting this important exhibition of American and European modernist art...

"Salutations" is a 12 x 16 inches, oil on canvas painting by American modernist and surrealist, female artist Peter Miller. The work is painted in a vibrant color palette. The painti...

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...

"Forest" is a 29 x 36 inches, oil on canvas painting by American modernist, female artist Peter Miller. The work is painted in a vibrant color palette. The work is estate stamped on ...