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George Herbert Macrum
Floral Still Life

circa 1930

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  • Madonna of the Picture, 1930s Framed Figural Devotional New Mexico Oil Painting
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    Original 1939 oil painting by New Mexico modernist, Howard Schleeter (1903-1976), Madonna of the Picture includes a santo of the Virgin Mary, a still life of flowers in a vase and a crucifix. Presented in a custom hand-carved frame, outer dimensions measure 21 x 17 x 2 inches. Image size is 16 x 12 inches. Painting is clean and in very good vintage condition - please contact us for a complete condition report. Provenance: Private Collection, California Expedited and international shipping is available - please contact us for a quote. About the Artist: Howard Schleeter, the son of a commercial artist, studied formally at the Albright Art School in his hometown of Buffalo, New York. However, his studies at Albright were brief and the artist considered himself to be primarily self-taught. He later met Charles Lindbergh while working as an airplane mechanic. However, he soon chose to make his living entirely as an artist and, in 1929, he traveled to New Mexico. The following year he married and the couple made New Mexico their permanent home. Schleeter studied under Brooks Willis during the 1930's and worked in several mediums including gouache, watercolor, oil, scratchboard and engraving. The Great Depression took its toll on Schleeter who occasionally found work digging ditches to make ends meet. In 1936, his financial status greatly improved when he received the first of several commissions from the Works Progress Administration (WPA). Though he worked primarily in abstraction, the five murals he completed for a WPA commission in the Melrose Public School library are realistic depictions of the West. He worked on several more New Deal commissions during the years of 1936 and 1942 in locations including Santa Fe, Clayton, and Washington D.C. During this time, Schleeter furthered his income by teaching at a Las Vegas, New Mexico, art gallery during 1938 and 1939. In 1945, the Encyclopedia Britannica referred to Schleeter as "an artist's artist." He also received local attention when he became one of the first artists chosen by Peter Hurd and Jane Mabry for his significant contributions to New Mexico's art. Schleeter taught at the University of New Mexico during 1950-1951 and 1954. Member: Art League of New Mexico Exhibited: Kansas Art Institute, 1936-1938; New Mexico State Fair, 1939 (prize); New Mexico Art League, 1939 (prize); Cedar City, New Mexico, 1941-1946; Philadelphia Artist Alliance, 1945 (solo); deYoung Memorial Museum, 1946; Art Institute of Chicago, 1947; Museum of New Mexico, Santa Fe, 1951 (purchase prize), 1955 (purchase prize); Vienna, Austria, 1952; Guggenheim Museum, 1954; Karlsruhe Museum, Germany, 1955; Stanford University, 1955 (solo); New Mexico Highlands University, 1957 (purchase prize); Colorado Springs Fine Arts Center, 1958; Swope Art Gallery Works Held: A&M College, New Mexico (mural); Art League of New Mexico; Cedar City Institute of Religion; Encyclopaedia Britannica; Miners Hospital, Raton, New Mexico (mural); Museum of New Mexico, Santa Fe; Research Studio, Maitland, Florida; University of New Mexico Further Reading: Artists of 20th-Century New Mexico: the Museum of Fine Arts Collection, Museum of New Mexico Press for the Museum of Fine Arts, Santa Fe, 1992.; The Illustrated Biographical Encyclopedia of Artists of the American West, Peggy and Harold Samuels, Doubleday & Company, Inc., Garden City, New York, 1976.; Taos and Santa Fe: the Artist's Environment, 1882-1942, Van Deren Coke, University of New Mexico Press for the Amon Carter Museum of Western Art, TX and the Art Gallery, University of New Mexico, Albuquerque, NM: 1963.; Treasures on New Mexico Trails: Discover New Deal Art and Architecture: Kathryn A. Flynn ed., Sunstone Press, Santa Fe, NM: 1995.; Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Vol. 1. Peter Hastings Falk, Georgia Kuchen and Veronica Roessler, eds.,Sound View Press, Madison, Connecticut, 1999. 3 Vols. ©David Cook...
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  • 1940s Still Life with Flowers Oil Painting, Red, Yellow, Blue, Purple
    By John Edward Thompson
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    Original vintage 1945 oil painting with an interior still life with a vase of flowers, tea cup, and drapery by 20th century Colorado modernist, John E. Thompson (1882-1945). Oil on c...
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  • Abstract Still Life with Tobacco Pipes, 1940s Geometric Modern Oil Painting
    By Michel Patrix
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    An original interior Still Life painting with two tobacco pipes by twentieth century French modernist, Michel Patrix (1917-1973). Presented in a custom ...
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Simka Simkhovitch exhibited paintings and sculptures in 1918 as part of an exhibition of Jewish artists and in 1919 placed 1st in the competition "The Great Russian Revolution" with a painting called "Russian Revolution" which was hung in the State Museum of Revolution. In 1922, Simkha Simkhovitch exhibited at the International Book Fair in Florence (Italian: Fiera Internazionale del Libro di Firenze). In 1924, Simkhovitch came to the United States to make illustrations for Soviet textbooks and decided to immigrate instead. Initially he supported himself by doing commercial art and a few portrait commissions. In 1927, he was hired to paint a screen for a scene in the play "The Command to Love" by Fritz Gottwald and Rudolph Lothar which was playing at the Longacre Theatre on Broadway. Art dealers began clamoring for the screen and Simkhovitch began a career as a screen painter for the theater. Catching the attention of the screenwriter, Ernest Pascal, he worked as an illustrator for Pascal, who then introduced him to gallery owner, Marie Sterner. Simkhovitch's works appeared at the Marie Sterner Gallery beginning with a 1927 exhibit and were repeated the following year. Simkhovitch had an exhibit in 1929 at Sterner's on circus paintings. In 1931, he held a showing of works at the Helen Hackett Gallery, in New York City and later that same year he was one of the featured artists of a special exhibit in San Francisco at the California Palace of the Legion of Honor in Lincoln Park. The exhibit was coordinated by Marie Sterner and included four watercolors, including one titled "Nudes". He is of the generation of Russian Soviet artists such as Isaac Pailes, Serge Charchoune, Marc Chagall, Chana Orloff, Isaac Ilyich Levitan, and Ossip Zadkine. In 1936, Simkhovitch was selected to complete the mural for the WPA Post office project in Jackson, Mississippi. 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The main concern was whether depictions that show African Americans in subjugated societal roles should be featured in a courtroom. The following year, his painting "Holiday" won praise at an exhibition in Lincoln, Nebraska. In 1940, Simkhovitch's second WPA post office project was completed when four murals, "The Cape Lookout Lighthouse and the Orville W. Mail Boat", "The Wreck of the Crissie Wright", "Sand Ponies" and "Canada Geese" were installed in Beaufort, North Carolina. The works were commissioned in 1938 and did not generate the controversy that the Jackson mural had. The main mural is "The Wreck of the Crissie Wright" and depicts a shipwreck which had occurred in Beaufort in 1866. "The Cape Lookout Lighthouse and the Orville W. Mail Boat" depicted the lighthouse built in 1859 and the mail boat that was running mail during the time which Simkhovitch was there. The boat ran mail for the area until 1957. 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