Adrian Heath

Composition, White and Yellow, Oil on Canvas Painting by Adrian Heath, 1953

1953

Painting, November, Oil on Board Painting by Robert Sadler, 1957 Additional information: Medium: Oil on board 48 x 61 in 121.9 x 154.9 cm Signed; titled on support bars (William) Robert Sadler produced abstract works in varying sizes with a spare poise and strong use of colour. The son of a noted racehorse trainer, Sadler was born at Falmouth House (now demolished) at the northern edge of Newmarket, Suffolk. By the age of fourteen he was drawing and painting aeroplanes, horses, houses and landscapes. After studying at Eastbourne College and Sidney Sussex College, Cambridge, where he read Mechanical Engineering, in 1930 he joined the Royal Air Force as a pilot. In 1942, whilst posted to the Air Ministry as Director of Plans, he attended art school in London and spent the following year in Turkey on special duties where he lectured at the Turkish Air Staff College and painted and rode race horses. At the end of the war he returned to the UK and took up the post of Station Commander at RAF Binbrook in Lincolnshire. In 1947 he moved to Denmark as Air Attache to the British Embassy in Copenhagen where he attended art school and two years later, whilst Vice-President of the RAF Officers' Selection Board, set-up a studio in Stockbridge whilst attending art school in Winchester. In 1953 he moved to the USA to take up the post as representative on the NATO Joint Chiefs of Staff Intelligence Committee during which period he attended the Corcoran School of Art in Washington DC where he first encountered the work of the American Abstract Expressionists. Returning to the UK in 1955 he moved back to Newmarket, having retired from the RAF 'to devote the rest of my life to painting.' He attended Heatherley's School of Fine Art in London, Cambridge Technical College and became a member of the Winchester Art Society and the Cambridge Society of Painters & Sculptors. His first one-man show was at Swaffham Prior, Cambridge and from then until 1963 he lived and painted in a largely abstract expressionist style influenced by the Ecole de Paris Tachisme of Poliakoff and de Stael and by the contemporary British work of Peter Lanyon, William Scott, Bryan Wynter...

Untitled, Oil on Canvas by Douglas Swan, 1963 Circa Additional information: Medium: Oil on Canvas 60 x 25 1/2 in 152.4 x 64.8 cm Signed and inscribed ve...

Richard Andres (American, 1927-2013) White & Yellow, c. 1953 oil on canvas signed lower right, signed and titled verso 30 x 20 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller...

This vibrant 1970s abstract acrylic painting titled Yellow Sun is a stunning example of Beatrice Mandelman’s mastery in Mid-Century Modern art. Featuring a dynamic interplay of yellow, blue, white, and black hues, this piece captures the artist’s signature geometric abstraction style. Signed by Mandelman in the lower right corner, the painting is acrylic on canvas and presented in a custom blonde wood frame, with outer dimensions of 33 ½ x 25 ½ x 2 inches. The image size measures 32 x 24 inches. This colorful artwork encapsulates Mandelman’s unique vision and artistic legacy, making it a perfect addition to any collection of 20th-century American modern art. About Beatrice Mandelman: Beatrice Mandelman (1912-1998) was an influential 20th-century artist whose work bridged the worlds of abstract expressionism and geometric abstraction. Originally from New York, she studied at the Art Students League before establishing herself in the vibrant New York art scene. In 1944, she and her husband, painter Louis Ribak, relocated to New Mexico, where they founded the Taos Valley Art School and were instrumental in forming the Taos Art Association. Mandelman’s paintings are known for their bold use of color and geometric shapes, with influences ranging from stained-glass windows and Native American art to the avant-garde movements of Paris and New York. Her work reflects her deep engagement with modernism, as well as her connection to the rich cultural environment of Taos. Her abstract works, like Yellow Sun, continue to resonate with collectors and art enthusiasts, highlighting her as one of the leading figures in 20th-century American modern art. ©David Cook Galleries...