Albert Swinden

"Still Life of Fruit, " Albert Swinden, American Abstract Association, AAA

1937

Georgina Klitgaard Apples and Pears Still Life Signed lower right Oil on canvas 8 x 10 inches Georgina Klitgaard’s art has sometimes gotten lost in the critical propensity to assign artists to membership in one school or another. Unfortunately for her posthumous reputation, Klitgaard defied easy characterization. She was a U.S. modernist, working in both oil and watercolors, but never abandoned figurative painting. She made her reputation in landscape but also excelled in portraits, flower studies, and even cityscapes. Yet despite Klitgaard’s ambiguous status in art history, her paintings continue to fascinate viewers attracted to the unsteady ground between twentieth-century realism and expressionism. Georgina Klitgaard (née Berrian) was born in Spuyten Duyvil, New York (now part of the Bronx); the Berrians had lived in the area since at least the U.S. Revolution. After graduating from Barnard College, she studied art at the National Academy of Design. In 1919 she married Kay Klitgaard, a Danish artist and writer. The next year, her life took a decisive turn when the couple visited friends in Woodstock, NY—about 120 miles north of New York City--and fell in love with the area. In 1906, L. Birge Harrison helped found the Art Students League Summer School in Woodstock and the area became a magnet for landscape painters. The Klitgaards bought a house in 1922 on a steep ledge at the end of Cricket Ridge, high above Bearsville, which provided panoramic vistas overlooking the Catskill Mountains and the Hudson Valley. Klitgaard joined the artists’ colony in the area, which at the time included artists Ernest Fiene and Katherine Schmidt. Klitgaard exhibited widely and her career slowly developed momentum. She was a regular contributor at Whitney Museum shows from 1927 to 1944. In 1929, she exhibited a painting entitled “Carousel” in the Whitney Studio Club’s famous exhibition “Circus in Paint.” Gertrude Vanderbilt Whitney acquired five paintings by Klitgaard in the early 1930s and served as a significant patron for the artist. Klitgaard s New York dealer, Frank Rehn...

Frederick Arthur Jessup Still Life Arrangement Signed lower left Oil on canvas 18 1/2 x 22 inches Provenance: Findlay Galleries, New York Private Collection, New York

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...

Frank Marsdon London (1876 - 1945) Sunflowers Oil on canvas 31 x 22 inches Signed lower right Exhibited: Pittsburgh, Carnegie Museum of Art. Frank Marsden London was born in the small Southern town of Pittsboro in central North Carolina in 1876. When he reached adulthood, London attended the University of North Carolina...

Marsden Hartley Lemons and Pear, circa 1922-23 Oil on canvas 9 x 10 3/4 inches Provenance: Adelaide Shaffer Kuntz, Bronxville (Hartley’s friend and patron) Bertha Schaefer Gallery, New York (acquired from the above) Private Collection, Stamford, Connecticut (acquired from the above) Barridoff Galleries, Portland, Maine, April 7, 1984, Lot 29 (as Still Life with Pear and Lemons) Richard Ward Foster (acquired at above sale) Sotheby's New York, American Art, October 6, 2017, Lot 32 Private Collection (acquired from the above) Exhibited: (possibly) Kantstrasse, Berlin, Private showing in artist’s studio, 1923. (possibly) New York, Bertha Schaefer Gallery, Still Life Painting by European and American Painters, 1944. Born in Lewiston, Maine, Marsden Hartley became one of the most famous early modernist artists of twentieth-century American art, known for landscapes, still lifes, and some portraits. His painting showed a focus on monumental shapes, especially clouds and landscape forms, and his unique style has been described by critic Sadakichi Hartmann as "an extreme and up-to-date impressionism" and "emerging modernism that evolved through Impressionism". (Gerdts 291) He had a lonely, insecure childhood because his mother died when he was eight years old, and he was raised by an older sister when his father left to remarry. He studied art in Cleveland, Ohio and then in 1898 went to the Chase School in New York and at the National Academy of Design. He continued to spend much time in Maine painting landscapes, and by 1909 had his first exhibition, which was held at New York Gallery 291, run by Alfred Stieglitz. There he became involved with a social circle of modernists that included Georgia O'Keeffe, Arthur Dove, and John Marin. In 1912, he first went to Europe where he had further exposure to modernism, and from 1913 to 1915 he was in Germany. In Paris, he experimented with Cezanne-like still lifes and was befriended by Gertrude Stein. In Germany, he was influenced by Expressionism, and especially by military pageantry. It is said that his greatest contribution to early 20th-century American modernism has been his brilliant synthetic military icons known as German Officer Portraits. He developed a close homosexual relationship with a handsome young Prussian officer who was killed in World War I. Being encouraged by Stieglitz to explore American subjects, Hartley turned to American Indian objects...

Edward Millman (1907 - 1964) Candelabra, 1962 Signed lower right; titled and dated on the reverse Oil on canvas 41 3/4 x 31 1/2 inches Provenance: The ...

Still Life on a Table is an original oil painting on canvas realized in the 20th Century. Good conditions (the painting has been restored in some parts). Frame included (83x108 cm).

John Atherton 1900-1952 American The Bass Season Saturday Evening Post cover, June 29, 1946 Signed "Atherton" (lower right) Inscribed "The Bass Season opens in the east July 1st /...

Bold outlines and strong weighty forms coalesce with a compositional delicacy that forms the hallmark of Hartley's work. The work has a long and distinguished provenance and exhibit...

Monogr. and dat. lower left: AW / 37 The work is present in the catalogue raisonné of the Belvedere under the number Ex 26402. Provenance: Private property, Graz (Austria) Catalogu...

Signed, monogram: Pavel Aleksandrovich Shillingovsky (1881 - 1942). Russian artist, master of graphics, representative of modern and neoclassical. He rarely painted with oil paints, ...

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