William S. Schwartz

"Yellow Mums, " William Schwartz, Yellow Flowers Still Life, American Modernism

circa 1950

"Coney Island" Brooklyn NYC Amusement Park Mid-century American Scene WPA Modern Ludwig Bemelmans (1898 – 1962), “Coney Island" 35 x 27 inches Oil on board Signed lower right Origi...

Japan Issue Fortune Magazine Cover Proposal Japanese Mid-Century Illustration Antonio Petruccelli (1907 - 1994) JAPAN ISSUE Fortune cover proposal, c. 1936 14 1/4 x 12 inches (sight) Framed 19 3/4 X 17 3/4 Inches Gouache on board Signed lower left BIOGRAPHY: Antonio Petruccelli (1907-1994) began his career as a textile designer. He became a freelance illustrator in 1932 after winning several House Beautiful cover illustration contests. In addition to 24 Fortune magazine covers, four New Yorker covers, several for House Beautiful, Collier’s, and other magazines he did numerous illustrations for Life magazine from the 1930s – 60s. ‘Tony was Mr. Versatility for Fortune. He could do anything, from charts and diagrams to maps, illustrations, covers, and caricatures,’ said Francis Brennan, the former art director for Fortune. Over the course of his career, Antonio won several important design awards, designing a U.S. Postage Stamp Commemorating the Steel Industry and designing the Bicentennial Medal...

Original Painting Published Fortune Mag Cover 1935 Jewels Jewelry Illustration Antonio Petruccelli (1907 – 1994) Fortune cover published, Decembe...

"Two Bottles" American Scene Realism Mid 20th Century Female Artist WPA 1940's Helen Clark Oldfield "Two Bottles," 1943. Signed “Helen Oldfield” lower right. Oil on canvas board, 18 x 14 inches. Provenance: Estate of the Artist. Helen Clark Oldfield was born in Santa Rosa. Her father, James E. Clark, invested in local hops farms. He was a director of the first Santa Rosa Bank. Oldfield lived at 547 Mendocino Avenue, in one of the finest custom-built homes in town. She was the oldest child of the family. They spent summers in their beach cabin at Jenner-by-the-Sea. She was a good student and graduated from DeWitt Montgomery High in Santa Rosa with college standard grades. Unfortunately, this idyllic situation tumbled down suddenly. due to a fraud scandal at the Bank, her father forfeited most of his assets in order to make good on his client's losses. At the time when her high school friends were going east to college, Oldfield followed her family to a new life of farming. She found this life frustrating as there was little time for her interests after conclusion of her daily duties. Here she developed her natural gift for sophisticated needle work. At the time she also took a correspondence course in industrial design and became an expert tailor. Her family was not happy with the farming arrangement. They decided to move to Oakland. In 1921 they purchased a home at 318...

Edith Kramer (1916 - 2014) Still Life with Mask, n.d. Oil on canvas 26 x 20 inches Signed and titled on the stretcher Provenance: Estate of the artist Kramer was born in Vienna, Austria-Hungary in 1916. At age 13 Kramer began art lessons with Friedl Dicker. Dicker was graduate of the Bauhaus in Weimar, Germany and was an artist and art teacher of note. Kramer studied drawing, sculpture and painting, and was influenced by the method for teaching art developed by Bauhaus artist Johannes Itten. It was in 1934 after Kramer graduated from Realgymnasium that she, then 18, followed Dicker to Prague to continue to study under her. During this time in Prague, Kramer witnessed the therapeutic impact of art when she assisted Dicker in teaching art to the children of political refugees. With the threat of Nazi invasion looming, Kramer took refuge in America in 1938. In New York City, she worked for three years teaching sculpture at a progressive school called the Little Red School House. During World War II Kramer worked as a machinist at a tool and die shop in the Soho district of New York City. She stayed after her shift to draw the other workers in their industrial setting. These works were rendered in the social realist style. In 1947 Kramer visited some of the earliest known artwork, in the caves at Lascaux. Kramer spoke of these cave paintings as an example of the universal language of art. At the age of 33 she returned to New York City, with hopes of making a living as an artist. Still in her 33rd year, Kramer was offered a job at Wiltwyck School for Boys, a school and residential treatment facility for children with behavioral and emotional needs. This job was arranged for her by psychoanalyst and board member at Wiltwyck, Dr. Viola Bernard. Dr. Bernard gave Kramer the title, "Art Therapist," noting that few teachers were willing to work with such challenging students. It was here that Kramer worked with disturbed boys, ages 8 through 13, for the following seven years. Raised in a family which was interested in psychoanalytic theory, Kramer herself became a follower of Sigmund Freud. Kramer especially believed in the concept of sublimation. Freudian theory describes sublimation as a process in which primitive urges coming from the id are transformed into socially productive activities that lead to gratification of the original urge. Kramer's training was in art, art education and psychoanalytically informed psychotherapy. Kramer believed sublimation to be one of the most vital goals of art therapy...

Still Life (Untitled), c. 1935 – 1940, oil on canvas, signed lower left, magazine cover has a 1934 date, 32 x 26 inches, remnant of exhibition label verso In their essay for the gro...

Still Life (Untitled), c. 1940/50s, oil on canvas, 25 x 30 inches, identified by label verso Jeanette Maxfield Lewis was a California-based landscape painter and etcher. Born in Oa...

Wind Flowers in a Tzu Chow Vase, 1933, oil on canvas board, signed and dated lower right, 20 x 16 inches, label verso with title and original price ($185.00), exhibited 44th Annual E...