Leon Kelly

Modernist Abstract Landscape, Oil on Canvas, 1923, Signed and Dated, Framed

1923

Landscape with Trees Watercolor on paper, 1929 Signed in pencil lower right corner Obviously influenced by the Cezanne works in the collection of his patron Alfred C. Barnes of Philadelphia. Provenance: Estate of the Artist Orange Chicken...

Oil on canvas laid on board painting titled "Untitled (Colorado Mesa and Trees)" by John E. Thompson (1882-1945). A semi-abstract painting of a Colorado landscape, painted in shades of purples, yellows and browns. Presented in a wood frame, outer dimensions measure 32 x 36 x ⅜ inches. Image sight size is 27 ¼ x 31 ¾ inches. About the Artist: Thompson’s professional career as an artist and art educator is largely associated with Denver and Colorado where he lived and worked for more than thirty years. While he may not have achieved a commanding national profile, his well-informed and unceasing efforts as the Dean of Colorado Artists in the first half of the twentieth century introduced modernity into Colorado art and art education, making it possible for all types of good art to be seen and appreciated. Producing his first drawings at age fourteen for a Professor Berger in his hometown, Thompson thereafter enrolled in the Art Students League of Buffalo, studying with Lucius Hitchcock, one of America’s noted illustrators. During that time he befriended artist George Carlock, nephew of Elbert Hubbard who headed the famous Roycroft Colony near East Aurora, New York, where they sketched and painted on the weekends. Thompson also developed his skill in bag-punching, later earning him extra money while studying in Paris. The four Sherwood Smith money prizes he won for his life-class drawings in Buffalo enabled him to attend the Art Students League in New York for two years, beginning in 1899, where he studied with Frank Vincent DuMond. He also won a scholarship in drawing to the Chase School of Art (also known as the New York School of Art) where he was monitor of Hitchcock’s illustration class. The money he earned from illustration work in New York helped finance his trip to Europe where in the spring of 1902 he studied with Myron Barlow, an American based in Étaples in northern France. The atmosphere of the fishing port -- also an international art colony at the time -- introduced Thompson to the color and life of France. In November 1902 he entered the Académie Julian in Paris, working under Jean-Paul Laurens, Henri Royer and Marcel Baschet who imparted a healthy respect for sound draughtsmanship. Among his classmates were Sheldon Cheney, American author on art and the theater, and Anton Otto Fischer, German-born illustrator and later Howard Pyle’s student in the United States. During his second year abroad Thompson spent his mornings at Julian’s and his afternoons at the Académie La Palette, directed by Jacques-Émile Blanche who attracted many British and American students seeking exposure to the latest avant-garde trends. He benefitted from the critiques of Charles Cottet, Lucien Simon and Edmond Aman-Jean with whom Birger Sandzén also studied in Paris. In the spring of 1904 Thompson left for Holland, spending the next year and a half in the painting village of Laren near Amsterdam where he met Johannes Albert Neuhuys, one of the best known painters of the Laren School, and the celebrated genre painter, Jozef Israӫls, with whom he studied. During that time Thompson had two of his paintings accepted for the 1904 exhibition of the Société des Artistes Français. Returning to Paris in July 1905 he briefly studied again at the Académie Julian and Académie La Palette before breaking with the academic style to pursue independent study at the Louvre and other Paris museums. There he assimilated diverse art forms including classical mosaics and murals, Persian miniatures, Old Master drawings and paintings, as well as the work of Daumier, Renoir, Toulouse-Lautrec and Van Gogh. He visited Gertrude Stein’s salon and viewed the Fauves’ work at the 1905 Salon d’Automne and the Cézanne retrospective at the 1907 Salon that greatly influenced his own creative output. Reexamining all that he had learned from a new perspective, he began developing his own vision, melding Cézanne’s color planes with the traditional art he loved. He considered Cézanne’s work a “belated return of art to the classicism of the old masters” and their concern with structural qualities, form, line and color. Thompson and Carlock became Thomas Hart Benton’s first two American friends after he arrived in Paris in 1907 to study at the Académie Julian, as noted in Tom Benton’s America: An Artist in America. Carlock introduced Thompson to the great English color scientist, Percival Tudor-Hart. Working in his atelier from 1905 to 1908, he received a thorough grounding in composition research and color theory and also learned to think constructively for himself. For a time he painted scintillating color landscapes at Chezy-sur-Marne near Chateau Theirry. Thereafter he lived for six months at the home of the novelist George Sand at Gargilesse-Dampierre where he produced Impressionist style canvases. After 1908 he worked independently, taking painting trips to Martigues, Aix and Marseilles in the south of France. He also traveled to England, Spain and Italy, studying important public art collections in those countries. At the outbreak of World War I he returned to Buffalo, New York, to await a quick end to the hostilities that did not materialize. Eager to paint and intrigued by railroad folders describing the light and rugged country in Colorado, he traveled to the state in 1914 where he spent about seven months at Shaffers Crossing and Pine in the mountains west of Denver. Among the images he produced there was Pine, Colorado. Reflecting his exposure to Post-Impressionism in Europe and stylistically very different from most of the art being produced in Colorado at that time, the painting has a certain freedom and minimum of detail combined with a sound structural base characterizing his work over the next thirty years. In addition to falling in love with the Colorado landscape in 1914, he met his future wife Harriette C. Brown, whom married the following year and returned to Buffalo. His European credentials gained him several students of Polish heritage in Buffalo – Józef Bakoś, Alexander Korda and Walter Mruk. They followed him to Denver after he relocated there with his wife in 1917. Bakoś and Mruk later moved to Santa Fe where along with Fremont Ellis, Willard Nash and Will Shuster they became two of the founding members of Los Cinco Pintores (The Five Painters), the city’s first modernist art group. In the mid-1920s Thompson comprised part of the summer school faculty at the Santa Fe Art School that included Bakoś and Mruk, as well as Andrew Dasburg, B.J.O. Nordfeldt and Walter Ufer. Seeking to educate the public in the fine arts, Thompson and his young students introduced modernism to Colorado in 1919 at the twenty-fifth annual exhibition of the Denver Art Association. It quickly became known as the Denver Armory Show because it generated similarly vituperative polemics in the local press as did the Armory Show held six years earlier in New York. Thompson’s painting, Organization of Rocks and Trees, was ridiculed by Horace Simms in the Rocky Mountain News as reflecting “downright idiocy of conception.” Some critics in the local press even went so far as to label the artist a “Bolshevik.” He successfully weathered the storm, going on to teach for a time in the early 1920s at the Denver Academy of Fine and Applied Arts along with Laura Gilpin, Anne Van Briggle Ritter, Arnold Rönnebeck and Paul St. Gaudens. After he resigned, a group of students – among them Donald Bear, Josephine Hurlburt, Charles F. Ramus and Frank Vavra...

Untitled Cubist Abstraction Signed and dated lower right Watercolor, charcoal and gouache on paper, 1922 Provenance: Estate of the Artist Schroeder, Romero & Sh...

This dramatic mid-century oil and spackle painting by Henriette “Yetti” Stolz (American, 20th century) presents a bold abstract interpretation of a cityscape, featuring a dynamic bri...

A vibrant and yet romantic sailing scene which was a favorite series by Della-Volpe. His compelling colorist approach has made his works desirable as he was one of the few artists post-war to be representative in style like Milton Avery and Wolf Kahn. Head to Sea has the hallmark intense and lovely coloration for which Della-Volpe is known. He came out of Abstract Expressionism in the New York school but then pivoted, like Milton Avery to representational, colorist work. The frame is a silvered gold leaf float frame of quality and has a rubbed, antiqued surface...

Original vintage painting of a Lightning Storm, Southwestern Mountain Landcape. Oil painting on textured board by Morton Lawrence Schneider (1919-2000)...

"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...

Amish Farmscape #3, 1984, oil on canvas, 40 x 30 inches, signed and dated lower right; signed, dated, and titled verso About the Painting Amish Farmscape #3 is part of a multi-painting series of barns completed in the early 1980s for an exhibition at New York’s prestigious Sid Deutsch Gallery. Lewandowski painted this work at an important point in his career. It was the first major project undertaken by Lewandowski after his retirement from serving as the Chairman of Winthrop University’s Art Department, the last academic position he held after teaching for nearly thirty years. Lewandowski had been inspired to work on the series by a visit to Lancaster County, Pennsylvania. Like his friend and mentor, Charles Sheeler, Lewandowski had always been fascinated by vernacular architecture and the Amish barns of Pennsylvania brought back memories of rural scenes Lewandowski had painted in the Midwest much earlier in his career. Amish Farmscape #3 is a strong example of Lewandowski’s late precisionist work. The complexity of the composition and Lewandowski’s technical acumen are on full display. Being relieved of the burdens of teaching and administering a university art department likely allowed Lewandowski greater freedom and most importantly more time to complete the Amish Farmscape series. Although Lewandowski’s brand of precisionism changed throughout the years, he never deviated from the core tenets of the Immaculate School artists. In this work, we see simplified and flattened forms, the use of ray-lines to define light and space, the elimination of extraneous details, a polished almost machine-like finish, and the complete lack of visible brushstrokes, all hallmarks of the precisionist painters. Lewandowski was the last of the 20th century precisionists and in Amish Farmscape #3, we see just how successfully he continued to work in this style until his death in 1998. About the Artist Edmund Lewandowski was among the best of the second-generation precisionist painters. He was born and raised in Milwaukee, Wisconsin and studied at the Layton School of Art with Garrett Sinclair. Lewandowski achieved early success when in 1936 two of his watercolors were shown at the Phillips Collection as part of a Federal Art Project exhibition. Then, in 1937, his work was first exhibited at Edith Halpert’s Downtown Gallery which represented Lewandowski into the 1950s. Under Halpert’s guidance, Lewandowski continued to explore watercolor as his main medium during the 1930s and 1940s, since the gallery already represented Charles Sheeler, who worked primarily in oils. Sheeler became Lewandowski’s major influence as the primary leader of the ill-defined, but very recognizable Immaculate School artists, which included other Downtown Gallery painters, Niles Spencer, George Ault, and Ralston Crawford, as well as Charles Demuth and Preston Dickinson, both of whom died at a young age and had been represented by the Charles Daniel Gallery. Sheeler is credited with giving Lewandowski technical advice on how to make his paintings more precise and tightly rendered and by all accounts, Sheeler was a fan of Lewandowski’s work. Through the Downtown Gallery, Lewandowski’s paintings were accepted into major national and international exhibitions and purchased by significant museums and collectors. Franklin and Eleanor Roosevelt and Nelson Rockefeller acquired works by Lewandowski. He was included in the Museum of Modern Art’s important 1943 exhibition, American Realists and Magic Realists as well as juried exhibitions at the Whitney Museum of American Art, the Pennsylvania Academy of Fine Arts, and the Art Institute of Chicago. Lewandowski also completed commissions for magazines during the 1940s and 1950s, including several covers for Fortune. Throughout his career, Lewandowski explored urban and rural architecture, industry, machinery, and nautical themes. Looking back on his career, Lewandowski wrote, “My overwhelming desire as an artist through the years has been to record the beauty of man-made objects and energy of American industry on canvas. For as far back as I can recall, the cityscapes, farms and depictions of industrial power and technological efficiency has had a great attraction for me. I try to treat these observations with personal honesty and distill these impressions to a visual order.” Lewandowski is credited with extending precisionism to the Midwest and successfully continuing the style into the 1990s, three decades after Sheeler’s death and six decades after Demuth’s passing. Late in his career, Lewandowski enjoyed a resurgence of popularity as he was represented during the 1980s by New York’s Sid Deutsch and Allison Galleries...

GRACE HILL TURNBULL (1880-1976) Waterfall (Woodstock, New York), c. 1925 Oil on canvas 14 x 20 inches Unsigned PROVENANCE The Maryland Historical Society The work of pai...

Ron W. Thomas (1943-2009) "Tropic Exotica" c. 1970s Oil on Canvas 50 x 50 inches Signed Lower Right and Verso Ron Thomas’ Take if from Me and Kim Krause’s ...