Ludwig R. Sander

1950s Abstract Charcoal Drawing, Mid Century Modern Design, Black Off White

Circa 1955

"Abstract" is a charcoal on paper drawing by Willard Ayers Nash (1898-1942) of an abstracted landscape scene. Presented in a custom black frame measuring 22 x 20 x ¾ inches. Image size measures 14 ½ x 12 ¾ inches. Drawing is clean and in very good condition - please contact us for a detailed condition report. Expedited and international shipping is available - please contact us for a quote. About the Artist: Willard Ayer Nash Born Philadelphia, Pennsylvania, 1897 Died Albuquerque, New Mexico, 1942 Biography courtesy of Owings-Dewey Fine Art Willard Nash was frequently referred to as “the American Cézanne”. Like the French Post-Impressionist Cézanne, Nash created form with color and did wonderful work with shadows. Prior to his arrival in New Mexico, Nash painted in a formal, academic style that he learned while studying at the Detroit School of Fine Arts. However, under the tutelage of Andrew Dasburg, a fellow Santa Fe...

Gouache and watercolor on paper painting, painted in 1948 by Mary Chenoweth (1918-1999). Signed and dated by the artist in the lower right corner. Depicting an abstracted landscape o...

1935 American Modernist watercolor on paper by Frank "Pancho" Gates (1904-1998). An abstract scene of a mining town in the mountains, completed in colors of red, green, yellow, and black. Presented in a custom frame with all archival materials, outside dimensions measure 14 ¼ x 17 ¼ inches. Image size measures 8 ¾ x 11 ¾ inches. Painting is clean and in good condition, has had restoration work - please contact us for a detailed condition report. Expedited and international shipping is available - please contact us for a quote. About the Artist: A Colorado modernist artist and theater set designer, he grew up in Edgewater, Colorado, near the Manhattan Beach Theater and the winter quarters of the Denver Post’s Sells-Floto Circus which he frequented as a youngster. These two places introduced him early on to the theater. Additionally, his father toured the United States in a wire walking act with the Barnum and Bailey Circus. Gates began his association with the theater in 1919 when just out of high school. He initially worked with scenic artist, Jack Stein, at the old Tabor Theater in the Tabor Grand Opera House (demolished in 1964) in downtown Denver. Soon after that, he became an assistant scenic artist to George Bradford Ashworth, a famous New York stage set designer, who during the summer designed sets for the Elitch Gardens Theater in northwest Denver. Gates later produced the sets there until 1928. He was offered a scholarship to Colorado A & M College (now Colorado State University) in Fort Collins but declined because of his growing commitment to the theater. He followed his tenure at Elitch’s with positions at the Denham Theater in Denver and the Palm Theater in Pueblo. Upon returning to Denver, he became a free-lance artist for studios producing scenery for stage shows at the city’s Tabor, Denver, Paramount, Alladin, Rivoli, Broadway, Orpheum and Empress Theaters. He moved to California, perfecting his craft at the Pasadena Playhouse, a training school for young actors and actresses pursuing stardom in the movies. Later associated with the Technicolor Corporation, he helped to produce the film used in early color movies such as Becky Sharp (1935) and the Garden of Allah...

Pink, orange, and red abstract watercolor on paper by Lynn R. Wolfe (1917-2019). Signed by the artist in the lower left corner. Presented in a custom frame with all archival materials measuring 27 ½ x 34 ¼; image size is 22 ¼ x 30 inches. Provenance: Estate of the Artist, Lynn R. Wolfe Painting is in good condition - please contact us for a detailed condition report. About the Artist: Born 1917 Red Cloud, Nebraska Died 2019 Boulder, Colorado A versatile artist proficient in painting, sculpture, stained glass and mosaics, Wolfe grew up on his family’s dairy farm near Red Cloud, Nebraska. For much of his early life he was known as Bob until officially adopting the first name of Lynn in 1939. When he was six months old he contracted the "Spanish flu" in the 1918 influenza pandemic that stunted his growth, making him the smallest student in class. To compensate for his small stature, his family engaged a Black boxer to give him boxing lessons so he could always defend himself against any bullies he encountered at school. Before he started grade school in Red Cloud, one of his grandfathers - a Latin scholar - taught him how to read. His early connection with sculpture occurred when as a youngster he looked for clay in the sandpits near his home to mould figures, including a likeness of his older brother. Similarly, his adult interest in archaeology developed from their search for arrowheads brought to the surface after rainstorms on the family farm. As a teenager he read The Temple Warriors in Chichen Itza, Yucatan, by Earl and Ann Morris with illustrations by Jean Charlot. After World War II Charlot taught fresco painting and worked with Lawrence Barrett on several editions of lithographs at the Colorado Springs Fine Arts Center. In 1947 Wolfe served as Charlot’s chauffeur when he came up to lecture at the University of Colorado in Boulder (CU), and in appreciation received one of the artist’s etchings personally inscribed to him. Following graduation as valedictorian of his high school class, Wolfe enrolled in 1935 as an undergraduate on scholarship at the University of Nebraska at Lincoln, earning his B.A. degree in fine art in 1940. He studied art with Frederick Dwight Kirsch (himself a student of fellow Nebraska native Robert Henri at the Art Students League in New York) who served as Chairman of the Art Department and Director of the University Art Galleries – now the Sheldon Museum - until 1950 when he became director of the Des Moines Art Center. In Nebraska Wolfe painted representational scenes of local buildings such as grain elevators in a landscape setting and small-town street scenes with automobiles. It took Wolfe five years to earn his undergraduate degree because he worked while going to school. In his final year he worked to pay the taxes on the family farm to avoid foreclosure during the Great Depression. While at the University, he prepared fossils and did low relief sculptures of prehistoric animals for the Nebraska State Museum located in Morrill Hall on campus. He also participated in Pleistocene fossil digs in Nebraska and Texas. One of his first jobs after graduation was supervising fossil preparation in Lincoln by twenty-nine workers employed in a Depression-era project sponsored by the federal government. In 1939 he met his future wife Arlene at a sock hop at the University of Nebraska. His first impression of her was a "stunning blond across the room" with whom he shared an interest in the arts and travel. During World War II when she was living and working in Omaha, he proposed to her from New Guinea where he was stationed in the South Pacific. He said that he would take her to Florida if she married him. He later took her and their family on a number of trips to most of Europe, and to Morocco, Algeria, Turkey, China, Japan and Fiji. During the last year of the war he taught photo intelligence in Orlando, Florida, while stationed at the local Air Force base. Prior to the Japanese attack on Pearl Harbor and America’s entry into the war, he worked in the Engineer Corps doing color, texture and illusion. During the war he spent four years in the military, shipping out as a buck private and later advancing to the rank of captain. His classroom experience in Florida helped transition him at war’s end to the University of Nebraska where he taught art for two semesters to fellow intelligence officers studying there on the G.I. Bill. In the summer of 1946 he also was a visiting artist at the University of Alaska where he taught watercolor. In 1947 he relocated to CU in Boulder for his Master of Fine Arts degree on the G.I. Bill. As part of his application earning him a graduate fellowship, he included a photograph of his wife and himself in his captain’s uniform. He took painting and sculpture courses with Muriel Sibell Wolle...

Abstract Colorado mountain landscape by Eric James Bransby (1916-2020). Pastel on paper in colors of green, orange, blue, and purple. Presented in a custom frame with archival materi...

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charcoal on paper Mark Pomilio’s method, motives, and conceptual considerations are centered on visually articulating recent developments in the life sciences. It is not his intent ...

charcoal on paper (41.75 x 36.75 x 1.75 inches) Mark Pomilio’s method, motives, and conceptual considerations are centered on visually articulating recent developments in the life ...

18 x 14 inch drawing on 20 x 16 inch Aquarelle Arches Paper 24 x 20 x .5 inches framed Thin profile black metal frame, 8 ply white mat Ralph Stout's works on paper reveal a drau...

18 x 14 inch drawing on 20 x 16 inch Aquarelle Arches Paper 24 x 20 x .5 inches framed Thin profile black metal frame, 8 ply white mat Ralph Stout's works on paper reveal a drau...

18 x 14 inch drawing on 20 x 16 inch Aquarelle Arches Paper 24 x 20 x .5 inches framed Thin profile black metal frame, 8 ply white mat Ralph Stout's works on paper reveal a drau...

'Lily in Charcoal' 2023 From raw energy to sublime. 'Lily in Charcoal' is an expression piece combining an abstract charcoal drawing with a live lily emerging from a gash. The charc...