Mark Beard

[Bruce Sargeant (1898-1938)] Kenneth Carpenter, Gold Medalist

n.d.

Oil on canvas Signed in red, u.r. 14 x 11 inches, canvas size 14.5 x 11.5 inches in distressed gold leaf frame This artwork is offered by ClampArt, located in New York City. “Bruc...

Oil on canvas Signed in red, u.r. 9 x 8 inches, canvas size 9.5 x 8.5 inches in distressed black painted wood frame This artwork is offered by ClampArt, located in New York City. ...

A classical anatomical figure in an artist's studio, surrounded by brushes and a palette, with muted tones creating a contemplative and intimate atmosphere. Contemporary figurative painting by Mark Beard [Bruce Sargeant (1898-1938)] Artist’s Studio n.d. Signed in red, u.r. Oil on canvas 36 x 18 inches $4,000 + $300 framing The pure and brilliant world of Bruce Sargeant’s art seems terribly removed from our own, unhampered by the prevalent inconsistencies of today’s world. Peopled with comely thoroughbreds, his paintings project a world vision unchanged from the models cherished by idealist writers like E. M. Forster and Rupert Brooke in that golden decade that led up to the Great War. Neither buff nor narcissistic, his fair-haired young athletes pose, somewhat uncomfortably, before the painter’s gaze, not wanting the attention yet feeling their duty to submit. Though tantalized by the New World dabbings of Robert Henri and John Sloan, Sargeant found his true inspiration in the art and ethos of fifth-century Athens, where the achievement of the kaloi kagathoi, young men who were “beautiful to look at and worthy of admiration,” were the perfect models for artistic rendering and public adulation. At base, Sargeant’s models, like the sculptures of Lysippus and Praxiteles, are idealized heroes whose achievements on the playing field earn them their renown. However, unlike his precursors, the painter requires no civic responsibility from his ephebes, only physical stamina, gymnastic prowess, and good looks. His work bespeaks a class that existed briefly, but was prolonged and attenuated in the languorous novels of writers such as Denton Welch...

[Bruce Sargeant (1989-1938)] Hunter and Wrestler n.d. Signed, l.r. Oil on canvas mounted to polycarbonite panel 79 x 43 inches (200.7 x 109.2 cm) $11,000 + $850 framing This wor...

Signature: Signed Lower Right Original cover for The Saturday Evening Post, published August 8, 1936 and reprinted for the July / August 1996 issue. Kernan's Final Post Cover In the Eleventh Olympiad, Joseph Francis Kernan’s final cover for The Saturday Evening Post, a sprinter channels the speed and power of an eagle while preparing to represent the United States at the 1936 Olympic Games in Berlin. Kernan created 26 covers for The Saturday Evening Post between 1924 and 1936. Kernan’s depiction of the athlete was a fitting conclusion for the artist’s Post commissions, as much of his life’s work celebrated sportsmen and outdoor life. This now iconic cover held such impact that it was published twice – first on August 8, 1936, and later for the July / August 1996 issue to celebrate the 100th anniversary of the modern Olympic Games that took place in Atlanta, Georgia. Jesse Owens and the 1936 Summer Olympics The 1936 Summer Olympics were held from August 1 to 16 in Berlin, Germany, which was then under Adolf Hitler’s Nazi regime. The track and field competition garnered special attention that year, as Jesse Owens, the African American sprinter and long jumper, took home a historic four gold medals. Owens took center stage at the Games, setting new records in the 100- and 200-meter sprints, the long jump, and helped his team win a record-setting 4 x 100-meter relay. Jesse Owens and Ralph Metcalfe were not initially scheduled to compete in the relay. On the morning of the event, it was announced that Owens and Metcalfe would take the places of Marty Glickman and Sam Stoller, the only Jews on the U.S. track team. Glickman later blamed the controversial decision on the U.S. Olympic Committee president Avery Brundage and track coach Dean Cromwell, accusing them of appeasing the Nazi regime’s anti-semitism. The magnitude of Owens’ achievements as a black athlete was multiplied by the fact that Hitler had unsuccessfully attempted to use the Summer Olympics to validate his theories of Aryan racial superiority. As the first Games to be televised, and with radio broadcasts reaching 41 countries, Hitler envisioned the Olympics as a way to disseminate Nazi propaganda. The German Olympic...

Portrait of Man (16) John F. Leonard American (1921–1987) Date: circa 1965 Oil on Canvas Size: 16 in. x 12 in. (40.64 cm x 30.48 cm)

Presenting a rare, early original oil painting, "Stan Spohn", by American artist Robert McIntosh(1916-2010) McIntosh was extremely prolific and exhibited throughout his lifetime, ...

Portrait Of A Country Gentleman, early 20th Century by Charles Edwin Andrew (1911-1996) Large early 20th century portrait of an English country ...