Warren W. Sheppard

The Surf at Newport

c. 1906

Autumnal scene of a fence-lined road winding down from the mountains. Oil on board measures 14 x 18, housed in a rustic wooden frame with a white linen liner, 18 3/4 x 22 7/8 x 1 3/4...

Antibes. c. 1940. Oil on canvas laid down on board.x 8 7/8 x 9/8 . Fresh, bright colors. Signed E.D. Roth, lower left. Housed in an elegant 12 1/2 x 13 3/4 gold frame. Antibes is a...

Himalayan Bonding. 2008. Oil on canvas. 24 x 24. Provenance: the artist; Westport River Gallery, CT. Provenance: a New York private collection. Signed and dated, lower right. Housed ...

Northern Lombardy. 1938. Embury 38.20. Oil on board. 5 x 10. Signed "L. Lucioni" lower right. Good original condition. Housed in a stunning gold-and-black wood frame. hroughout hi...

Dunure Castle. Oil on canvas. 16 1/2 x 28 3/8. Signed, lower right. Housed in a dramatic 22 x 34-inch gold leaf frame. The ruins of Dunure Castle lie in a quiet location overlookin...

Oil on canvas laid on board measures 14 3/4 x 9 7/8; frame dimensions measure 22 3/8 x 17 x 3 1/4. Artist's signature, lower left. A fragment of a gallery brochure entitled, Peintures de Botkin is included with the painting. A partial title for the painting is listed under Number 3 in the exhibition. On the verso of the brochure is a label from Frank Rehn...

"Cellar with Horseshoe" WPA American Scene Modernism 20th Century NYC Industrial Joseph Solman (1909-2008) "Cellar with Horseshoe," 16 x 20 inches, oil on canvas circa 1938, initial...

"Orbs" is a 38 x 50 inches, oil on canvas painting by American modernist and surrealist, female artist Peter Miller. The work is estate stamped 202141 on verso. The painting has been...

"Salutations" is a 12 x 16 inches, oil on canvas painting by American modernist and surrealist, female artist Peter Miller. The work is painted in a vibrant color palette. The painti...

"Forest" is a 29 x 36 inches, oil on canvas painting by American modernist, female artist Peter Miller. The work is painted in a vibrant color palette. The work is estate stamped on ...

A beautiful wooded landscape scene with houses and trees. Painted on a masonite board. hand signed lower right. with framers label verso. Framed to 40 X 55 inches. 33 X 48 without the frame and mat. It is not dated. Lena Gurr (1897–1992), was an American woman artist who made paintings, prints, and drawings During the course of her career Gurr's compositions retained emotional content as they evolved from a naturalistic to a semi-abstract cubist style. Born into a Russian-Jewish Yiddish speaking immigrant family, she was the wife of Joseph Biel, also Russian-Jewish and an artist of similar genre and sensibility. Gurr used Lena Gurr as her professional name. After marrying Joseph Biel she was sometimes referred to as Lena Gurr Biel. Biel had been born in Grodno, Poland (later absorbed into Russia) and had lived in England, France, and Australia before coming to New York. An artist, he specialized in landscape paintings and silkscreen printing as well as photography. He studied art at the Russian Academy in Paris. After immigrating to the United States, he studied under George Grosz at the Arts Students League. Gurr was born in Brooklyn and, apart from brief stays in Manhattan and in Paris, lived there her whole life. This painting bears the influence of Lyonel Feininger an influential German American artist. Gurr began studying art at a young age. In 1919 she studied painting and printmaking at the Educational Alliance Art School and between 1920 and 1922 she won a scholarship to attend the Art Students League where she took classes with John Sloan and Maurice Sterne. In 1926 and 1928 Gurr participated in group shows at the Whitney Studio Club in Greenwich Village and in 1928 she also participated in the 12th annual exhibition of the Society of Independent Artists at the Waldorf Roof in New York. (Reviewing this show, Helen Appleton Read, the critic for the Brooklyn Daily Eagle, said "I made three discoveries on my first visit, Thomas Nagel, Eugenie McEvoy and Lena Gurr with two figure compositions which have something of Marie Laurencin or Helene Perdriat quality of naive sophistication.") The Waldorf Roof was a set of rooms on the top floor of the Waldorf Astoria Hotel, one of which had glass sides and a glass roof. The rooms were used for concerts, dances, benefits, and exhibitions.From 1929 to 1931 Gurr took a leave of absence from her teaching position to travel in France with Joseph Biel, an artist whom she had met while studying at the Art Students League. They spent time in Nice and Mentone but mainly in Paris. During the early months of 1931, while she was still abroad, her work appeared in group exhibitions held at the R. H. Macy department store and the Opportunity Gallery (opened by Gifford Beal). In 1932 she participated in three shows: a solo exhibition at the Brooklyn Museum, an annual exhibition of the New York Society of Women Artists, ( Its first president was Marguerite Zorach. Founding members included Agnes Weinrich, Anne Goldthwaite...

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...