Seymour Tubis

"Cypresses" Oil Pastel Landscape, 1982

1982

Entitled "Winter 1988" this circa 1985 acrylic on paper is by Santa Fe artist Seymour Tubis (1919-1993). Tubis studied at the Art Students League with Hans Hofmann (1946-1949). He ex...

This 1962 pastel on paper abstracted landscape is by Santa Fe artist Seymour Tubis (1919-1993). Tubis studied at the Art Students League with Hans Hofmann (1946-1949). He exhibited i...

This mid to late 20th century expressionist landscape in ink and watercolor is by Santa Fe artist Seymour Tubis (1919-1993). Tubis studied at the Art Students League with Hans Hofman...

This mid to late 20th century expressionist landscape in pastel is by Santa Fe artist Seymour Tubis (1919-1993). Tubis studied at the Art Students League with Hans Hofmann (1946-1949...

This late 20th century watercolor on paper lily pond scene is by Santa Fe artist Seymour Tubis (1919-1993). Tubis studied at the Art Students League with Hans Hofmann (1946-1949). He...

This late 20th century pastel and ink on paper figure drawing with brown and turquoise is by Santa Fe artist Seymour Tubis (1919-1993). Tubis studied at the Art Students League with ...

Vibrant still life painting of Shell and Yacco motor oil containers, a reflective silver bucket, and a cork-stopped glass bottle by an...

Sargy Mann (1937-2015) Studio with standard lamp Signed, upper right Inscribed with title to the reverse Oil on board 48 x 60 inches Provenance: Cadogan Contemporary Private Collection Exhibited: Sargy Mann and Graham Giles, Christchurch Mansion, Ipswich, 1991 A truly beautiful work but also highly significant within Sargy's oeuvre. The painting dates to the late 1980s when Sargy and his family were living at 58 Lyndhurst Grove, SE15. Sadly by this time, Sargy's eyesight had greatly deteriorated to ‘“a very little, blurry, peripheral vision” in his left eye, (he was registered blind)....(he) found it a struggle to paint from direct observation and began to rely on short term memory and tape recordings. Working on a large scale, he taped canvas to the living room wall of the family home on Lyndhurst Grove, “rather as Bonnard had pinned primed canvas to his studio wall”’. The space depicted had initially been a dark, depressing attic space but this was transformed by the addition of some French windows. The painting has an almost abstracted quality with the two light sources creating pools of cool, luminescent energy radiating throughout the picture space. Peter Mann describes the paintings from Lyndhurst Grove as, ‘in some sense a precursor to the very late work, The little sitting room paintings...

Charming French mid-century oil on paper landscape of barges docked along a pier underneath a darkening sky, circa 1950. Signed lower left. ...

Warmly hued oil on paper still life of open wooden box with artist's supplies spilling out, circa 1930. Signed lower right. Original artwork on paper displayed on a white mat with ...

This charmingly impressionist oil still life depicts an antique copper pot, a glass bottle, and two artichokes by French artist Raymond Bailly, 1970s. Original artwork on paper dis...

Lucca Landscape is an original oil on canvas applied on plywood, realized by Antonio Longhi in 1952. Hand signed lower right "Antonio Longhi 52". Provenance: Don Chisciotte...

Beautiful large-scale figurative landscape watercolor of a vibrant village scene with several people and a cow amongst interesting architecture by William Howard Knowles (American, 1...

Lovely oil on paper landscape of autumn colored trees lining a small pathway in a park by artist Raymond Bailly, 1966. Original one-of-a-kind artwork on paper displayed on a white ...

Eye catching oil on paper of an outdoor flower market brimming with colorful blooms by French artist Raymond Bailly, circa 1970. Original one-of-a-k...

Signed lower right, 'W.M. Knowles for William Howard Knowles (American, 1909-1998), titled, 'Hong Kong' and painted circa 1965. Born in San Francisco, William Knowles studied at the Masachussets Institute of Technology and, later, at UC Berkeley. He exhibited widely and with success and was a member of the Society of Western Artists, Bohemian Club...

Oil stick on paper titled "Barn Side with Sliding Doors" by George Vander Sluis (1915-1984) of a grey wooden barn with two windows as well as tw...

Here for your consideration is a very well executed pastel on paper by John Fabian Carlson. Signed lower right and mostly likely done in the 193...

Artist: Joseph Barber, American (1915 - 1998) Title: Dining Room Interior Year: circa 1945 Medium: Watercolor and Pastel on Paper, signed l.l. Size: 15 x 21 inches (38 x 53.5 cm) Fra...

Pastel on paper drawing signed and dated by Sushe Felix (20th Century) in the lower right portraying an American Modernist view of Garden of the Gods...

Francesco Spicuzza (American, 1883-1962) Untitled Landscape, 20th century Pastel on paper Sight size: 24 x 30 in. Framed: 26 1/4 x 32 3/8 in. Signed lower right: Spicuzza Italian-born Francesco Spicuzza was primarily a Wisconsin painter who did portraits, still-lives and local landscapes. He spent the first part of his life in near-poverty to become a painter. An eternal optimist, in 1917, the artist reported: "I am happy and my only ambition now is to paint better and better until I shall have reached the measure of the best of which I am capable." (Spicuzza, 1917, p. 22). His predilection for beach scenes germinated early: reportedly, the five-year-old boy first drew the outlines of his father's fishing boat in the sand on the seashore near their home in Sicily. After setting himself up as a fruit peddler in Milwaukee, Spicuzza's father sent for his family when Francesco was eight years old. For the following six years the boy was unable to attend school because of his job in his father's fruit and vegetable business. The poor lad suffered a caved-in shoulder from carrying a heavy wooden crate. The young Spicuzza was aided by moral and financial support from a sympathetic Milwaukee businessman named John Cramer, publisher and editor of the Evening Wisconsin, who raised Spicuzza's salary as a newspaper assembler so that he could attend school. In 1899 or 1900, Spicuzza began studying drawing and anatomy under Robert Schade (1861-1912), a painter of panoramas who had been trained in Munich under Carl Theodor von Piloty. Spicuzza was also taught by Alexander Mueller (1872-1935), a product of the Weimar and Munich academies. Mueller realized Spicuzza was a colorist and encouraged that orientation (Madle, 1961). Spicuzza found it beneficial to accept an apprenticeship in a lithographic studio for $8 a week, which demanded most of his time. During the St. Louis Universal Exposition in 1904, still a struggling student, Spicuzza attended the fair, thanks to Cramer. It was not long before Spicuzza received a twenty-five dollar portrait commission, and this inaugural success led to new commissions and allowed him to continue as a painter. The earliest influences in his work appear to be from Edward H. Potthast and Maurice Prendergast, though Spicuzza never mentioned either artist. Already in August 1910, Spicuzza was described in a newspaper as "one of the most talented of Milwaukee's rising workers." He undoubtedly received lasting inspiration from his one summer study period in 1911 with John F. Carlson at the Art Students League's Summer School in Woodstock, New York. Certainly Spicuzza would have picked up spontaneity in handling the brush from Carlson. Although he executed numerous still-lives and an occasional religious work, Spicuzza is best known for his Milwaukee beach scenes populated with frolicking bathers in multi-colored attire, not unlike the images of Potthast, who used a similar technique. Many of these are small, preparatory works on canvas board executed between 1910 and 1915. Frequently with even greater animation than Potthast, Spicuzza produced moving images of youthful energy and uninhibited child's play. These beach genre scenes reflect the attitude of American impressionists who depicted the more pleasant side of life. Spicuzza manipulated a successful balance of rich pigment applied in varying degrees of impasto texture with subtle nuances of hue. Working all'aperto, he sought "the soft enticing shades of yellow, blue, green, pink and lavender . . . to get the effects of bright glistening summer air." (L.E.S., n.d.). As a painter whose color not only derived from direct observation but also from a personal theory of color symbolism, Spicuzza traded the linear approach of lithography for dynamic patches of brilliant color. Like Prendergast, he would often tilt the angle of the picture plane to bring the viewer's position above the scene. Spicuzza was unable to enter the 1913 Armory Show or the Panama-Pacific International Exposition two years later but he did submit work to the annual exhibitions of the Pennsylvania Academy of the Fine Arts and those of the Art Institute of Chicago. His first important award was the bronze medal presented by the St. Paul Institute in 1913, which was followed by the silver medal two years later. Before long, Spicuzza had acquired a greater sense of security in his profession and was described by a writer in International Studio (April 1917) as "an independent artist with an assured future. His pastels and water-colours are poetic and joyous bits of nature with a genuine out-of-door feeling." In 1918, his Spirit of Youth, exhibited at the National Academy of Design, sold for $112.50. Four years later, the artist achieved his greatest local recognition by winning the gold medal from the Milwaukee Art Institute. Spicuzza spent a great deal of time painting en plein air and by 1925 he began summering at Big Cedar Lake, near West Bend, Wisconsin to gather his subject matter. Easter Morning (1926) owes something to the Symbolist movement, with its figure of Christ appearing over a seascape. During the difficult era of the Depression, patrons came to Spicuzza's aid and during the 40s, he taught housewives, businessmen and students at the Milwaukee Art Institute, the Milwaukee Art Center, and in his private studio. In the following decade, although his kind of art was no longer popular in the "make-it-or-break-it" New York gallery world, Spicuzza enjoyed regular patronage and sales. His beach scenes became more static and he would experiment with modernist techniques. Spicuzza died at the age of seventy-eight. Sources: L.E.S., "Do Colors Change a Person's disposition? Experiments of a Milwaukee Artist...

Leon Dolice (1892 - 1960) New York Harbor Skyline at Twilight (Searching), circa 1930-40 Pastel on paper 12 x 19 inches Signed lower left Provenance: Spanierman Gallery, New York T...