(after) Arthur Dove

Handmade Wool Tapestry Abstract American Modernist Arthur Dove Aubusson Style

Morris Kantor New York (1896 - 1974) Paris from the Ile St. Louis, 1927 (view of Eiffel Tower) Oil painting on canvas Hand Signed lower left. Provenance: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution ( bears label verso) Size: 20 3/4"H x 28 1/8"W (sight), 28.75 "H x 36"W (framed) Morris Kantor (Belarusian: Морыс Кантор) (1896-1974) was a Russian Empire-born American painter based in the New York City area. Born in Minsk on April 15, 1896, Kantor was brought to the United States in 1906 at age 10, in order to join his father who had previously relocated to the states. He made his home in West Nyack, New York for much of his life, and died there in 1974. He produced a prolific and diverse body of work, much of it in the form of paintings, which is distinguished by its stylistic variety over his long career. Perhaps his most widely recognized work is the iconic painting "Baseball At Night", which depicts an early night baseball game played under artificial electric light. Although he is best known for his paintings executed in a realistic manner, over the course of his life he also spent time working in styles such as Cubism and Futurism, and produced a number of abstract or non-figural works. A famous cubist, Futurist, painting of his "Orchestra" brought over 500,000$ at Christie's auction house in 2018 Kantor found employment in the Garment District upon his arrival in New York City, and was not able to begin formal art studies until 1916, when he began courses at the now-defunct Independent School of Art. He studied landscape painting with Homer Boss (1882-1956). In 1928, after returning to New York City from a year in Paris, Kantor developed a style in which he combined Realism with Fantasy, often taking the streets of New York as his subject matter. He did some moody Surrealist Nude paintings and fantasy scenes. In the 1940's he turned towards figural studies. Later in his career, Kantor himself was an instructor at the Cooper Union and also at the Art Students League of New York in the 1940s, and taught many pupils who later became famous artists in their own right, such as Knox Martin, Robert Rauschenberg, Sigmund Abeles and Susan Weil...

Saul Schary was born in 1904 in Newark, New Jersey. Painter, Printmaker, Illustrator. He lived and worked in New York City and New Milford, Connecticut. Schary studied at the Art St...

Abstract watercolor composition bearing the influence of the earlier color-block compositions of Paul Klee. Pawel August Kontny, (Polish-German-American artist) He was born in Laurahuette, Poland, in 1923, the son of a wealthy pastry shop owner. In 1939 he began studying architecture in Breslau where he was introduced to the European masters and to the work of some of the German Expressionists, soon afterward banned as "degenerate artists" and removed from museums throughout Germany by the Nazi regime. His studies were interrupted by World War II. Drafted into the German army, traveling in many countries as a soldier, he sketched various landscapes but in 1945, he was captured and held as a prisoner of war in Italy. After the war, he studied at the Union of Nuremberg Architects to help design buildings to replace ones destroyed in the war. He recorded his impressions of the local population and the landscapes through his watercolors and drawings. Pawel Kontny thereafter moved to Nuremberg, Germany, becoming a member of the Union of Nuremberg Architects and helping to rebuild the city's historic center. He soon decided to concentrate on his professional art career. He married Irmgard Laurer, a dancer with the Nuremberg Opera. Pavel Kontny 's career as an artist was launched with his participation in an all German exhibition, held at the Dusseldorf Museum in 1952. He held one-man shows in Germany, Switzerland and the United States. During his trip to the United States in 1960, Kontny became instantly enamored with Colorado, and decided to relocate to Cherry Hills with his wife and two children. He quickly established himself in the local art community, being affiliated for a time with Denver Art Galleries and Saks Galleries. His subject matter became the Southwest. During this time he received the Prestigious Gold Medal of the Art Academy of Rome. His extensive travel provided material for the paintings he did using his hallmark marble dust technique. he also worked equally in pastel, watercolor, charcoal and pencil-and-ink. in a style which merged abstraction and realist styles, influenced by Abstract Expressionist painting and South Western American landscapes. In the early 1960s he was one of only a few European-born professional artists in the state, a select group that included Herbert Bayer (1900-1985), a member of the prewar Bauhaus in Weimar and Dessau, Germany, and Roland Detre (1903-2001), a Hungarian modernist painter. As a Denver, Colorado resident, Pavel Kontny exhibited at galleries and museums throughout the United States, Germany and Japan. There, he was inspired by frequent trips to Native American pueblos in the Southwest, as well as by the study of the Plains Indians of Montana and Wyoming. Over the years Kontny had a number of students and generously helped young artist by hosting exhibitions at his Cherry Hills home. For many years he generously donated his paintings to support charitable causes in Denver. Influences during his European years included German pastelist C.O. Muller, German Informel painter Karl Dahmen and Swiss artist, Hans Erni. In the early 1950s his painting style showed the influence of the Die Brücke (The Bridge), a group of German expressionist artists formed in Dresden in 1905 who had a major impact on the evolution of modern art in the twentieth century in Germany. By the middle of the decade his style incorporated more referential abstraction and total abstraction, resulting in part from his study of Hans Hartung, a German artist based in Paris who exhibited his gestural abstract work in Germany. The American moon landing in 1969 inspired Paul Kontny...

Hand signed lower left corner Oil on masonite Dimensions: Frame H 18.25" x W 22.25". Sight H 11.25" x W 15.25 This is a great scene, vintage Americana. Possibly Coney Island in Brook...

Dorothy Rivo Untitled (Mediterranean Village), c. 1960s–70s Oil on canvas Framed dimensions: 24 in. H × 36 in. W Presented in a contemporary white floater frame In Untitled (Mediter...

Unidentifiable signature "Victorians" c. 1960s Oil impasto paint on canvas 17.5"x60" black period wood frame 18.25"x61.25" Signed in paint lower right

Robert Glick (American, born 1950) "The Cove" 2024 Acrylic paint, Canvas, Stretcher bars The artist signed the bottom right and back of the painting. This painting by Robert Glick c...

Albert Heckman Glasco Landscape, circa 1940 Signed lower right Oil on canvas 25 1/4 x 39 1/2 inches Albert Heckman was born in Meadville, Western Pennsylvania, 1893. He went to New York City to try his hand at the art world in 1915 after graduating from high school and landing a job at the Meadville Post Office. In 1917, at the age of 24, Heckman enrolled part-time in Teachers' College, Columbia University's Fine Arts Department to begin his formal art education. He worked as a freelance ceramic and textile designer and occasionally as a lecturer at the Metropolitan Museum of Art. In the early 1920s, at the age of almost 30, he graduated with a Bachelor of Arts degree from Columbia Teachers College. He was especially impacted by his instructor at Columbia, Arthur Wesley Dow. After graduating, he was hired by the Teachers' College as a Fine Arts instructor. He stayed with Columbia Teachers' College until 1929, when he left to attend the Leipzig Institute of Graphic Arts in Leipzig, Germany. Isami Doi (1903-1965), who was born in Hawaii, was arguably his most impressive student at Columbia. Doi is now regarded as one of the most prominent artists hailing from Hawaii. Heckman became an active member and officer of the Keramic Society and Design Guild of New York in the 1920s as part of his early commercial art career. The Society's mission was to share knowledge and showcase textile and ceramic design exhibits. In 1922, Heckman married Florence Hardman, a concert violinist. Mrs. Heckman's concert schedule during the 1920s kept Albert and Florence Heckman apart for a significant portion of the time, but they spent what little time they had together designing and building their Woodstock, New York, summer house and grounds. A small house and an acre of surrounding land on Overlook Mountain, just behind the village of Woodstock, were purchased by Albert and Florence Heckman at the time of their marriage. Their Woodstock home, with its connections, friendships, and memories, became a central part of their lives over the years, even though they had an apartment in New York City. Heckman's main artistic focus shifted to the house on Overlook Mountain and the nearby towns and villages, Kingston, Eddyville, and Glasco. After returning from the Leipzig Institute of Graphic Arts in 1930, Mr. Heckman joined Hunter College as an assistant professor of art. He worked there for almost thirty years, retiring in 1956. Throughout his tenure at Hunter, Mr. Heckman and his spouse spent the summers at their Woodstock residence and the winters in New York City. They were regular and well-known guests at the opera and art galleries in New York. Following his retirement in 1956, the Heckmans settled in Woodstock permanently, with occasional trips to Florida or Europe during the fall and winter. Mr. Heckman's close friends and artistic career were always connected to Woodstock or New York City. He joined the Woodstock art group early on and was greatly influenced by artists like Paul and Caroline Rohland, Emil Ganso, Yasuo Kuniyoshi, Andre Ruellan, and her husband, Jack...