William Grauer

untitled (Yellow Adobe Building with Bell)

20th century

Cows in a Field (Recto) Two Figures in an Interior (Verso) Watercolor on heavy textured paper, 1938 Signed in ink verso image of Two Figures, unsigned ...

untitled (Hillside in Spring) Gouache on paper, c. 1965 Signed with the estate stamp lower right Provenance: Estate of the artist by decent William C. Grauer (1895-1985) was born in Philadelphia to German immigrant parents. After attending the Philadelphia Museum School of Industrial Art, Grauer received a four year scholarship from the City of Philadelphia to pursue post graduate work. It was during this time that Grauer began working as a designer at the Decorative Stained Glass Co. in Philadelphia. Following his World War I service in France, Grauer moved to Akron, Ohio where he opened a studio in 1919 with his future brother-in-law, the architect George Evans...

untitled (The White Barn with Farmers and Horse) Watercolor, c. 1950 Signed by the artist in ink lower right: Wm. C. Grauer Numbered in pencil verso: 152 Provenance: Estate of the Artist Gretchen Grauer Vanderhoof, the artist's daughter Condition: Excellent Image/Sheet size: 18 3/4 x 24 inches William C. Grauer (1895-1985) William C. Grauer (1895-1985) was born in Philadelphia to German immigrant parents. After attending the Philadelphia Museum School of Industrial Art, Grauer received a four year scholarship from the City of Philadelphia to pursue post graduate work. It was during this time that Grauer began working as a designer at the Decorative Stained Glass Co. in Philadelphia. Following his World War I service in France, Grauer moved to Akron, Ohio where he opened a studio in 1919 with his future brother-in-law, the architect George Evans...

Standing Lincoln: The Man, Lincoln Park, Illinois Watercolor and graphite on paper , c. 1895 Signed in script lower right (see photo) The scene depicts the Augustus Saint-Gaudens bro...

Staten Island Watercolor on paper, c. 1928 Signed with the Estate stamp lower left Sheet size: 19 1/8 x 23 7/8 inches Titled on verso Part of small serie...

Snowy Peaks (Mont Blanc) Watercolor on paper, c. 1930 Signed "R. Hallowell" lower right (see photo) The image depicts is of Mont Blanc in France. Mont Blanc is the highest mountain in the Alps and Western Europe, rising 4,807.81 m above sea level. It is the second-most prominent mountain in Europe, after Mount Elbrus, and it is the eleventh most prominent mountain summit in the world. Wikipedia Provenance: From the Estate of the Artist Marbella Gallery, NYC (label) Exhibited and Illustrated: Robert Hallowell (1886-1939), Marbella Gallery, New York, Introduction by Ronald G. Pisano, No. 99. “There is in Mr. Hallowell’s work a grace that amounts to graciousness.” Leo Stein (1872-1949) Robert Hallowell (1886-1939) was highly regarded as an artist exhibiting at the finest galleries and museums in American and France in the 1920’s and 1930’s. His other professional life included graduating from Phillips Academy, Andover and Harvard University. While at Harvard he was president of the Harvard Lampoon...

Drawn to nature and Greek mythology, Marcia Scanlon works with mixed media on paper to layer, connect, and reanimate ancient stories. Her works are well-rooted in literature, inspired, in part, by Homer’s Odyssey, Sappho’s poetry, Ovid’s Metamorphoses, as well as Baudelaire’s Convergences, and Joyce’s Ulysses. Her revisiting of these stories, coupled with her own lived experiences, creates a unique literary syncretism rooted in science, nature and the artist's materials themselves as her watercolor images of upstate flora and fauna are compellingly set against Mendeleev’s Period Table of Elements. Scanlon received her MFA in painting from the University of Minnesota and has had numerous international solo and group shows. Her work is in museum and corporate collections, such as The Art Institute of Chicago, Minneapolis Institute of Art, The Weisman Museum, San Diego Museum of Art, and the House of Arts and Letters, Larnaca, Cyprus to name a few. Currently, she works in studios in Soho and rural upstate New York. Artist Statement on Mendeleev’s Dream Series: This series starts with the pre-Socratic philosopher Anaxagoras in the 5th Century BCE. Anaxagoras described the world as a primary brew of undying elements, whose material variations were never caused by an absolute presence of one element, but rather by that element’s dominance over the others. “Each one is… most manifestly those things of which there are the most in it.” He introduced the concept of Nous (Cosmic Mind) as an ordering force that dislodged and separated out the variations from the original, nearly uniform brew. Anaxagoras’s concept of undying, omnipresent elements moves me deeply. What a genius and good guesser. Next comes Mendeleev. I look for ways of connecting my regard for ancient Greek mythology and thought to our present day, so I was enchanted by Mendeleev’s dream, in which the vision of the periodic table of elements...

This 1946 gouache and ink on paper landscape with figures is by San Francisco artist Clyde Follett Seavey (1920-1991). Seavey studied at UC Berk...

This 2017 gouache and ink on paper landscape painting entitled "Chimney Rock, Ghost Ranch" is by San Francisco artist and Salon co-owner Rob Del...

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 1930-60s ink and watercolor landscape of a farm house entitled Solvang House is by California artist Forrest Hibbits (1905-1996). Hibbits graduated from the California College o...

Purple Haze (Glyph), 2012 ink, watercolor, colored pencil, marker ink and fluid ink on synthetic paper 25 x 38 inches / 635 x 965 mm Christina McPhee’s expansive abstract paintings, drawings, photographs, and videos test or query how can we know, and who is we? Moving from within a matrix of measurement, observation and contingent effects, her work resists characterization as product, and continually accesses fields outside itself. For her, process equals trial. Her work emulates potential forms of life, in various systems and territories, from a perspective of the non-self– a world beyond identity. McPhee’s dynamic, performative, physical engagement with materials, in both her analogue and digital works, is a seduction into surface-skidding calligraphic gestures and mark-making. The tactics of living are in subterfuge, like the ‘dazzle ships...