Lasse Winslow

'Boy Fishing with Spear', Danish Post-Impressionist Figural Oil, Charlottenborg

1981

Signed lower left with monogram, 'P.T.' for Pearl Took (American, 1928-2012); additionally signed verso, dated 1977 and titled 'Sheila Antoine'. Born in England, Pearl Took first st...

Signed lower right, 'V.M. Di Carlo' for Vittorio Maria Di Carlo (Italian, 1939-2015) and painted circa 1980. Accompanied by artist label with title, 'Musicante' and gallery exhibition information. Born in San Marco, Maria Vittorio Di Carlo...

Initialed lower left, 'A.S.' for Anton Schroder (Danish, 1893-1965) and dated 1953. A substantial, modernist oil painting of a young woman, shown seated and gazing to her left with ...

Signed lower left, 'Muff' for Orla Muff (Danish, 1903-1984), titled, 'Nana' and dated 1934. After winning a national drawing competition at the age of 14, Orla Muff studied with the theatrical painter, Carl Lund from 1917-1921. He followed this with extended study throughout Europe, including in Stockholm and Paris. He achieved widespread acclaim as a designer of elaborate Art Deco sets for prominent European revues and theatrical productions, including for Copenhagen’s Folk Theater and Max Reinhardt...

Initialed lower left, 'M.S.' for Martin Snipper (American, 1914-2009) and dated 1952. Additionally signed, verso, 'Martin Snipper' and dated on stretcher bar. Artist photo courtesy of The Lost Art Salon. This Expressionist and Bay Area Figurative painter, mixed media artist, and sculptor was born in New York City in 1914 and grew up in Los Angeles. During the Great Depression, he rode the rails back to New York with just $5 in his pocket to attend the National Academy of Art, where he met his first wife. Snipper applied to the academy twice to ensure he would be accepted: once under his given name and once under his mother's maiden name. When he was accepted as Martin Snipper, he adopted the name permanently. In addition to his career as a fine artist, Snipper became a foundational figure in the development of the San Francisco Bay Area art movement of the 1960's and 1970's. Snipper remains a legendary figure in San Francisco, both for boldly expanding the Arts Commission during his tenure as Executive Director (1967-1980), and for helping shepherd the Neighborhood Arts Program into existence over 40 years ago. His innovative grass-roots approach inspired similar programs in cities across the United States while San Francisco's own program continues to bring writers into public schools, oversee the city's publicly owned cultural centers, and fund art programs and events. "He took the commission from being a sleepy operation ... and transformed arts in this town to a place it had never been before," said Stephen Goldstine, who ran the Neighborhoods Art Program under Mr. Snipper and later became president of the San Francisco Art Institute. "He was a person of unusual vitality - into his 90s he was still driving his truck to a stone yard...

Signed center right, in the 53 stub, 'Childers' for Robert Childers (American, 1924-1984) and dated 1954. Robert Childers first served in the U.S. Navy for six years after graduating from Medford High School in 1941. Following World War II, he studied at the Philadelphia Museum School of Art where he was the recipient of a gold medal and, upon graduating from the Museum's school, was the recipient of a Cresson scholarship and attended the Pennsylvania Academy of Fine Arts, where he received his Masters degree. Childers continued his education with classes at Fleisher Memorial and performed for two years with the Philadelphia Dance Theater. Following his studies, he worked in fabrics, film production, toys and illustrations for publishers with du Pont in New York City. At the same time he maintained a studio and old twine factory over the Cherry Lane Theater. He lived in Greenwich Village for 19 years before accepting a position developing new products for American Greetings Inc. While there he designed the Hobbie Holly cloth doll...

Collections: Robert Isaacson; James Draper, New York, 2014. Exhibited: Cambridge, The Fitzwilliam Museum, Beggarstaffs: William Nicholson and James Pr...

Provenance: Cernuda Art, Coral Gables Private Collection, Los Angeles

Six O-Clock, c. 1942, oil on canvas, 30 x 20 inches, signed and titled several times verso of frame and stretcher (perhaps by another hand), marked “Rehn” several times on frame (for the Frank K. M. Rehn Galleries in New York City, who represented Craig at the time); Exhibited: 1) 18th Biennial Exhibition of Contemporary American Oil Paintings from March 21 to May 2, 1943 at The Corcoran Gallery of Art in Washington, D.C. #87, original price $450 (per catalog) (exhibition label verso), 2) Craig’s one-man show at the Frank K. M. Rehn Galleries, New York City, from October 26 to November 14, 1942, #10 (original price listed as $350); and 3) Exhibition of thirty paintings sponsored by the Harrisburg Art Association at the State Museum of Pennsylvania in Harrisburg in March, 1944 (concerning this exhibit, Penelope Redd of The Evening News (Harrisburg, Pennsylvania) wrote: “Other paintings that have overtones of superrealism inherent in the subjects include Tom Craig’s California nocturne, ‘Six O’Clock,’ two figures moving through the twilight . . . .” March 6, 1944, p. 13); another label verso from The Museum of Art of Toledo (Ohio): original frame: Provenance includes George Stern Gallery, Los Angeles, CA About the Painting Long before Chris Burden’s iconic installation outside of the Los Angeles County Museum of Art, Urban Light, another artist, Tom Craig, made Southern California streetlights the subject of one of his early 1940s paintings. Consisting of dozens of recycled streetlights from the 1920s and 1930s forming a classical colonnade at the museum’s entrance, Burden’s Urban Light has become a symbol of Los Angeles. For Burden, the streetlights represent what constitutes an advanced society, something “safe after dark and beautiful to behold.” It seems that Craig is playing on the same theme in Six O-Clock. Although we see two hunched figures trudging along the sidewalk at the end of a long day, the real stars of this painting are the streetlights which brighten the twilight and silhouette another iconic symbol of Los Angeles, the palm trees in the distance. Mountains in the background and the distant view of a suburban neighborhood join the streetlights and palm trees as classic subject matter for a California Scene painting, but Craig gives us a twist by depicting the scene not as a sun-drenched natural expanse. Rather, Craig uses thin layers of oil paint, mimicking the watercolor technique for which he is most famous, to show us the twinkling beauty of manmade light and the safety it affords. Although Southern California is a land of natural wonders, the interventions of humanity are already everywhere in Los Angeles and as one critic noted, the resulting painting has an air of “superrealism.” About the Artist Thomas Theodore Craig was a well-known fixture in the Southern California art scene. He was born in Upland California. Craig graduated with a degree in botany from Pomona College and studied painting at Pamona and the Chouinard Art School with Stanton MacDonald-Wright and Barse Miller among others. He became close friends with fellow artist Milford Zornes...

This painting is part of our exhibition America Coast to Coast: Artists of the 1930s Goldmine, Central City, Colorado, oil on canvas, 36 x 28 inches, c. 1936, signed lower right, ex collection of Platt Fine Art, Chicago, Illinois (label verso). About the Painting Joseph Meert’s painting, Goldmine, Central City, Colorado, depicts the short-lived resurrection of a once prominent city just outside Denver. Central City was founded in 1859 soon after John Gregory struck gold in the area. As word spread, thousands of miners converged into “Gregory’s Gulch” and its surroundings became known as the “richest square mile on earth.” Mining production quickly increased resulting in Central City to becoming Colorado’s largest city in the early 1860s. Despite some technical difficulties transitioning to lode mining and the rise of competition from Leadville, Central City remained an economic boom town through the turn of the century. But, with every boom, there is a bust. World War I marked the end of Central City’s prominence as ore production ground to a halt and by 1925, the town’s population shrank to only 400 people. The desperation of the Great Depression and a nearly 100% increase in the price of gold lured labor and capital back to Central City. Meert painted in Colorado during the mid-1930s, a time when he created his most desirable works. It is during this period of renaissance that Meert captures one of Central City's outlying dirt streets bordered by 19th century wooden houses from the town's heyday and the more recently installed electric lines leading to a distant gold mine. A lone figure trudges up the hill, a mother with a baby in her arms, putting us in mind of the rebirth of the town itself. Meert had solo exhibitions at the Colorado Springs Fine Arts Center in 1936 and the Denver Art Museum. Although it is not known whether Goldmine, Central City was included in either of these exhibitions, it seems likely. Moreover, the painting is closely related to Meert’s painting, The Old Road, which was painted in 1936 and exhibited at the Corcoran Gallery of Art in Washington, DC and at the Dallas Museum of Art. About the Artist Joseph Meert was a well-regarded painter and muralist, who initially made a name for himself in the American Scene and later as an abstract expressionist. Although initially successful, Meert struggled financially and with mental illness later in life. He was born in Brussels, Belgium, but moved with his family to Kansas City, Missouri. As a child, a chance encounter at the Union Pacific Railyard changed his life. Meert happened upon a worker repainting and stenciling a design on a railroad car. Meert later recalled that this experience introduced him to the idea of being a painter. Without support from his father, Meert obtained a working scholarship to the Kansas City Art Institute. After four years at the Kansas City Art Institute, Meert studied seven years at the Art Students League and in Europe and Los Angeles. At the Art Students League, Meert fell under the spell of Thomas Hart Benton and Stanton MacDonald-Wright. In 1931, he befriended Jackson Pollock. By 1934, Meert was part of the Public Works of Art Project when he met his wife, Margaret Mullin...

This painting is part of our exhibition America Coast to Coast: Artists of the 1940s. The Landing/Dawn Landing, 1944, oil on canvas, signed lower left, 20 x 30, titled verso; exhib...

This painting is illustrated in the Catalogue of the 1945 Encyclopedia Britannica Collection of Contemporary American Painting, p.84. Written and edited by Grace Pagano. "Painting ...