Ernest Fiene

"Low Tide at Noon, Wellfleet, Massachusetts, " Ernest Fiene, WPA, Boat on Beach

Ernest Fiene Along the Kanahawa River, West Virginia, 1936 Signed lower right Oil on canvas 26 x 36 inches Fiene made a series of paintings, drawings and lithographs which are based on his travels through Pennsylvania and West Virginia during the winter of 1935-36. The industrial areas of Pennsylvania and West Virginia are represented in numerous oils, among which are some of his most well-known. Fiene wrote of the trip, "The increasing snow and atmospheric conditions [in the Kanawha River valley} enhanced this mountainous coal mining country with a majestic beauty." Winter on the River is Fiene's only American Artists Group print and there were only two lithographs produced from the West Virginia trip. The American Artists Group (AAG), under the direction of Carl Zigrosser, who was then working at New York's famed Weyhe Gallery, published ninety-three prints by over fifty artists in 1936 and 1937. Zigrosser's goal was to popularize contemporary American art through original prints offered at the low price of $2.75. The project was also a means to provide income for impoverished artists during the Depression. The prints were featured in many of the leading print exhibitions and publications of the period. The lithograph produced from this image is now in the collection of the Amon Carter Museum, Baltimore Museum of Art, Cleveland Museum of Art, Philadelphia Museum of Art, Pensacola Museum of Art, San Francisco Fine Arts Museum, Syracuse Museum, Yale University Art Museum. Ernest Fiene was born in Elberfeld, Germany in 1894. As a teenager, Fiene immigrated to the United States in 1912. He studied art at the National Academy of Design in New York City from 1914 to 1918, taking day classes with Thomas Maynard and evening classes with Leon Kroll. Fiene continued his studies at the Beaux-Arts Institute of Design in New York from 1916 to 1918, adding classes in printmaking at the Art Students League in 1923. Fiene began his career as an artist in 1919 with his first exhibition of watercolors at the MacDowell Club arranged by his mentor Robert Henri. In 1923 the Whitney Studio Club mounted a large exhibition of his works. The following year he had an exhibition at the New Gallery in New York, which completely sold out all fifty-two works, including paintings, watercolors, drawings, and etchings. With the proceeds of sales from the New Gallery exhibition, Ernest Fiene and his younger brother Paul, a sculptor, built studios in Woodstock, New York in 1925. In the early Twenties Ernest Fiene painted mostly landscapes of Woodstock and both the Ramapo and Hudson River Valleys. The first monograph from the Younger Artists Series was published on Fiene in 1922. Published in Woodstock, the series went on to include Alexander Brook, Peggy Bacon, and Yasuo Kuniyoshi. The book reproduced 1 illustration in color and another 27 reproductions in black and white. Around 1925 Fiene became fascinated with the intensity, excitement, and opportunities for color harmonies New York City offered as a subject. His paintings shifted to urban and industrial themes with architecture, industry, and transportation becoming his subjects. By 1926 Fiene had attracted the dealer Frank K.M. Rehn, who gave him a one-man exhibition that year, which travelled to the Boston Arts Club. C.W. Kraushaar Galleries gave Fiene a one-man exhibition of urban, landscape, portrait, and still life paintings in 1927. Julianna Force, the director of the Whitney Studio Club and first director of the Whitney Museum of American Art, included two of Fiene’s paintings in a fall exhibition in 1928. The Whitney Studio Club showed Fiene’s paintings in a two-man exhibition with Glenn O. Coleman that year and acquired three of Fiene’s paintings. Also in 1928 Fiene became affiliated with Edith Halpert’s Downtown Gallery where he had an exhibition of 20 lithographs in the spring. Fiene sold his house in Woodstock in 1928 to spend more of his time in New York City. With so many successful exhibitions, Fiene returned to Paris in 1928-29 where he rented Jules Pascin's studio and studied at the Académie de la Grande Chaumière. In France, Fiene painted both landscape and urban subjects developed from ideas influenced by Cubist geometry and the use of flat areas of broad color. Upon returning to New York in 1930, Fiene used this new approach to continue to paint New York skyscraper and waterfront subjects, as well as to begin a series of paintings on changing old New York based on the excavations for Radio City Music Hall and the construction of the Empire State Building. Frank K.M. Rehn Galleries exhibited this series, titled “Changing Old New York,” in 1931. Fiene also has solo exhibitions at Rehn Galleries in 1930 and 1932. Fiene’s oil paintings are exhibited at the Chicago Arts Club in 1930 as well. Fiene was included in the Museum of Modern Art’s exhibition Painting and Sculpture by Living Americans in December of 1931. Visiting New York, Henri Matisse saw the exhibition and called Fiene’s Razing Buildings, West 49th Street the finest painting he had seen in New York. Fiene had two mural studies from his Mechanical Progress series exhibited at the Museum of Modern Art’s exhibition Murals by American Painters and Photographers in 1932. Fiene sent View from my Window which depicts Fiene working on a lithograph stone while looking out his window to the newly completed Empire State Building to the Carnegie International in 1931. In 1932 Fiene participated in the first Biennial of American Painting at the Whitney Museum and his prints were included in exhibitions at the Downtown Gallery and the Wehye Gallery. In the same year, Fiene was awarded a Guggenheim fellowship to further study mural painting in Florence, Italy. On his return from Italy in 1933 Fiene re-engaged himself in New York City life and won several public and private mural projects. Fiene resumed his active exhibition schedule, participating in two group exhibitions at the Whitney Museum and a one-man exhibition of recent paintings at the Downtown Gallery in January 1934. In 1933 he purchased a farm in Southbury, Connecticut, which added Connecticut scenes to his landscape subjects. This was also the year Fiene began to spend summers on Monhegan Island, Maine, where he painted seascapes, harbor scenes, and still lifes. Fiene’s landscape paintings attracted numerous commissions as part of the American Scene movement. Through the fall and winter of 1935-36, Fiene took an extended sketching trip through the urban, industrial, and farming areas of Pennsylvania and West Virginia. Most of the twenty-four Pennsylvania urban and rural paintings from this trip were featured in an exhibition held at the First National Bank in Pittsburgh in October of 1937 by the Pittsburgh Commission for Industrial Expansion. Fiene said of these works that he formed rhythm, opportunity for space and color, and integrity in the Pennsylvania mill and furnace paintings. Fiene received the silver medal for one of the Pittsburgh paintings...

William Sharp (1900 - 1961) Factory on the River Oil on canvas 20 1/2 x 28 1/2 inches Initialed lower left: WS Provenance: Estate of the artist Private Collection, New York Swann Auction Galleries, American Art, June 13, 2019, Lot 178 Private Collection, New York Colonial Sand and Stone Co., founded by Generoso Pope, was once the country’s largest sand and gravel business, providing the concrete for much of New York City’s skyline, including the Empire State Building, Rockefeller Center, Radio City Music Hall, airports and subways. William Sharp was born on June 13, 1900, in Lemberg, Austria, where he attended college and the Academy for Arts and Industry. He later studied in Kraków, Poland, and in Berlin and Munich, Germany. Sharp began his career as a designer of stained-glass windows and as a painter of murals. He served in the German army during World War I. After the war he became a newspaper artist in Berlin and a well-known etcher. Sharp drew political cartoons that were bitterly critical of the growing Nazi movement. As the influence of National Socialism intensified, he began to contribute drawings, under a pseudonym, to publications that were hostile to Hitler. After Hitler assumed power, Sharp was confronted with these drawings and told that he would be sent to a concentration camp. However, in 1934, he escaped to the United States. His first newspaper assignment in America was making courtroom sketches for The New York Mirror...

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Though he was born in Norwich, England in 1833 and lived in London for the second half of his life, George Henry Boughton’s formative years as a self-taught artist began in Albany, New York, where his family settled in the 1830’s. Recognized as a leading landscape and genre painter in the United States and abroad, Boughton illustrated editions of Washington Irving’s Rip Van Winkle...