Loren Mozley 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...

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...

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: ...

"Shelter Island Evening" is a blue and green oil painting of a Northeastern American harbor. Kelly Carmody’s work has been widely exhibited and collected. One of her major figurati...

An original oil on canvas by listed New York female artist Enid Smiley.

A beautiful wooded landscape scene with houses and trees. Painted on a masonite board. hand signed lower right. with framers label verso. Framed to 40 X 55 inches. 33 X 48 without the frame and mat. It is not dated. Lena Gurr (1897–1992), was an American woman artist who made paintings, prints, and drawings During the course of her career Gurr's compositions retained emotional content as they evolved from a naturalistic to a semi-abstract cubist style. Born into a Russian-Jewish Yiddish speaking immigrant family, she was the wife of Joseph Biel, also Russian-Jewish and an artist of similar genre and sensibility. Gurr used Lena Gurr as her professional name. After marrying Joseph Biel she was sometimes referred to as Lena Gurr Biel. Biel had been born in Grodno, Poland (later absorbed into Russia) and had lived in England, France, and Australia before coming to New York. An artist, he specialized in landscape paintings and silkscreen printing as well as photography. He studied art at the Russian Academy in Paris. After immigrating to the United States, he studied under George Grosz at the Arts Students League. Gurr was born in Brooklyn and, apart from brief stays in Manhattan and in Paris, lived there her whole life. This painting bears the influence of Lyonel Feininger an influential German American artist. Gurr began studying art at a young age. In 1919 she studied painting and printmaking at the Educational Alliance Art School and between 1920 and 1922 she won a scholarship to attend the Art Students League where she took classes with John Sloan and Maurice Sterne. In 1926 and 1928 Gurr participated in group shows at the Whitney Studio Club in Greenwich Village and in 1928 she also participated in the 12th annual exhibition of the Society of Independent Artists at the Waldorf Roof in New York. (Reviewing this show, Helen Appleton Read, the critic for the Brooklyn Daily Eagle, said "I made three discoveries on my first visit, Thomas Nagel, Eugenie McEvoy and Lena Gurr with two figure compositions which have something of Marie Laurencin or Helene Perdriat quality of naive sophistication.") The Waldorf Roof was a set of rooms on the top floor of the Waldorf Astoria Hotel, one of which had glass sides and a glass roof. The rooms were used for concerts, dances, benefits, and exhibitions.From 1929 to 1931 Gurr took a leave of absence from her teaching position to travel in France with Joseph Biel, an artist whom she had met while studying at the Art Students League. They spent time in Nice and Mentone but mainly in Paris. During the early months of 1931, while she was still abroad, her work appeared in group exhibitions held at the R. H. Macy department store and the Opportunity Gallery (opened by Gifford Beal). In 1932 she participated in three shows: a solo exhibition at the Brooklyn Museum, an annual exhibition of the New York Society of Women Artists, ( Its first president was Marguerite Zorach. Founding members included Agnes Weinrich, Anne Goldthwaite...

Wonderful modernist landscape painting. Francis Kelly was born in 1927 in St. Paul, Minnesota. He received his early education in Chicago and California. He served in the United States Navy from 1944 to 1948 when he entered the Art Center School, Los Angeles. During 1951 in 1952 he lived in Paris, attending the Academie de la Grande, Chaumiere. In 1953 he went to the University of Hawaii, Honolulu, and then to the University of California at Los Angeles, where he was graphic laboratory assistant to John Paul Jones. Awarded a Fulbright Grant in 1955 he came to the Graphic Department of the Central School, London. The St. George's Gallery first introduced his etchings in Britain. In 1958 Kelly was awarded the Stacy Grant for painting. His work has been shown at Royal Academy Exhibitions and he has traveled extensively. In 1966 he was appointed Art organizer for the U.S. Embassy "Festival of Arts in Humanities". His paintings were shown in the exhibition "Five American Artists in Britain". During 1976 he acted in a similar capacity on behalf of Windsor & Newton Ltd., who sponsored an exhibition of American artists commemorating the U.S. Bicentennial. He appeared in the film Science in Art. Kelly has studied painting conservation at the Courtald Institute. In 1967 he was sent to the Italian Art and Archives Rescue Fund to Florence to restore flood damaged paintings. In 1971 his book, Art Restoration, was published by David and Charles and in the U.S. by McGraw-Hill. His second book, The Studio and The Artist was published in 1975. Kelly's work has been shown at 24 museums in Great Britain and numerous galleries. Acquisitions have been made by many public and private collections, universities and educational services. During more than 40 years in Britain he has found a growing affinity with the countryside, observing less the well-known landmarks but rather more the timeless rural lanes and by-ways as yet still unspoiled by building and industry. A member of the group in Brighton preserving Brighton's West Pier, he has produced a series of works recording the ravages of time on this finest of Victorian structures.

Signed (at lower left): WILLIAM S. SCHWARTZ

"The Lone Boat" is a contemporary seascape and sailboat with green and blue tones. Kelly Carmody’s work has been widely exhibited and collected. One of her major figurative works wa...

"Harbor Reflections" is a contemporary American Modern evening seascape. Kelly Carmody’s work has been widely exhibited and collected. One of her major figurative works was chosen ...

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...

"Stairs, Shelter Island" is a purple, blue, and pink landscape of stairs down to the beach. Carmody made the horizon line much higher than what would be technically "accurate" in ord...