Jo Beer Art

Oil on panel, signed and dated 2007. Classic French black wooden frame with raised panel and gold leaf. Unframed size: 18.11 inches high x 14.96 inches wide. Framed size: 25.6 inches high x 22.4 inches wide x 1.25 inches deep. Sold framed. Inspired by 17th century Masters, Davidz De Heem and Willem Heda...

Oil on panel, signed and dated 2012. French handmade wooden Delf frame, raised panel with dark gold/bronze patina and gold leaf. Unframed size: 19.09 inches high x 15.75 inches wide. Framed size: 29.5 inches high x 25.125 inches wide x 1.63 inches deep. Sold framed. Stefaan’s tribute to the great French neoclassical painter stems from first seeing Gericault’s horses...

Allison Green was born in Philadelphia and grew up in a nearby rural suburb. Throughout her childhood Green lived on the periphery of a lush forest, an e...

Oil on canvas, signed and dated 2016. French handmade wooden Delf raised panel frame, gold leaf and green patina on red bolus background. Unframed size: 25.6 inches high x 21.3 inches wide. Framed size: 33.5 inches high x 29.2 inches wide x 1.13 inches deep. Sold framed. The true colors of the painting are shown in photos #1 and 2. With its mostly white tones and intricate, textured background, this work is nearly a complete departure from the artist’s other paintings. Although it is executed in a powerful chiaroscuro from a classical point of view, the counterpoint of contemporary objects with the vibrant colors make this painting distinctly modern. Green cabbage and spring onions “pop” against the simple white enameled jug...

Oil on panel, signed and dated 2001. French wooden frame in ivory with gold leaf. Unframed size: 19.7 inches high x 23.6 inches wide. Framed size: 26.4 inches high x 30.5 inches wide x 1 inch deep. Sold framed. The first Eyckmans’ painting to employ a brighter, golden palette, this everyday kitchen scene explores the differing textures of the objects within. The artist’s love of all things French is exemplified here with antique pottery, a starched linen tablecloth, breadboard and, of course, fruit and favorite cheeses. Note the superb shadowing of the board extending over the table, the detailing in the chèvre and paper wrapping to the left, and the asymmetrical cluster of stemmed Muscat grapes, all illuminated by easterly light. Classical in perspective and execution, but with a more contemporary feel that derives from the use of color and light, this painting marks a transformational point in the artist’s work. This painting is available for viewing at The Elemental Garden...

Scottish artist, David McEwen's oil painting, "Last Chukka" of a Polo groom with polo horse in Wellington, FL in the US depicts the life of Palm Beach Polo Season. McEwen is renown ...

Oil on panel, signed and dated 2009. French handmade wooden Delf frame, red bolus ground with gold leaf. Unframed size: 11.8 inches high x 19.7 inches wide. Framed size: 21.3 inches high x 29.1 inches wide x 1.25 inches deep. Sold framed. This striking and animated combination of plums with a 15th Century earthenware bowl placed atop a worn plank table hearkens back to the Old Masters while remaining present-day through its geometric composition and use of negative space. Chosen for the pictorial qualities…their shape, color, scale, and satiny skin, a true representation of plums is difficult to capture, as their essence changes and degrades in a matter of hours. As such, the artist focused on including their essential details in the first layer, a practice that is unusual for him. Note the exceptional detailing in the fine variations of color and shape of the fruit, particularly the stems, and the progressive feel attained through the balance of light and color. This painting is available for viewing at The Elemental Garden in Woodbury, CT, the exclusive U.S. representative for the artist. Stefaan...

‘Regina dei Fiori’ by Frédéric Soulacroix (1858-1933). The painting – which depicts an aristocratic Italian beauty sitting beside a porcelain vase full of peonies – is signed by th...

‘Regina dei Fiori’ by Frédéric Soulacroix (1858-1933). The painting – which depicts an aristocratic Italian beauty sitting beside a porcelain vase full of peonies – is signed by th...

Tomasz Kozlowski is a Polish artist, born in 1983 in Piotrkow Trybunalski, He lives and works in Lodz. He studied at the faculty of textiles and fashion of the Fine Arts School in Lo...

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...

[Bruce Sargeant (1898-1938)] Three Bathers by the Water Signed in red, recto Oil on canvas 96.25 x 67 inches (244.5 x 170.2 cm) $15,000 + $900 framing This work is offered by Cla...