American Modern Paintings

Katharyn Gwendoln Truesdell - (American; 1909-1996) This colorful painting depicts a Southern California valley, likely near Sun City, over the mountains from Los Angeles and San Di...

William Schock (American, 1913–1976) The Fisherman, c. 1955 Oil on canvas Signed lower right 26 x 40 inches 34 x 48 inches, framed William Schock was...

Robert Gilberg (1911-1970) "Still Life in White" c.1950s Gouache on newspaper from Sacramento Bee 1957 22.75"x15.25" unframed Unsigned Born in Oakland, CA on April 25, 1911. Gilberg...

Jack Hooper "Side Stretch Nude" 9/7/1984 Gouache and pastel on paper 20"x26" unframed Signed and dated in pencil lower left In this intriguing modernist artwork, Jack Hooper's minim...

This painting was done on cradled wood board signed and dated on back. The rough texture is achieved by adding an pumice like material to the painting ground. It is a companion work ...

2023, Oil on canvas

Genre: Portrait Subject: Landscape Medium: Oil Surface: Board Country: United States EMANUEL ROMANO Rome, Italy, b. 1897, d. 1984 Emanuel Glicenstein Romano was born in Rome, September 23, 1897. His father Henryk Glicenstein was a sculptor and was living in Rome with his wife Helena (born Hirszenberg) when Emanuel was born. His father obtained Italian citizenship and adopted the name Enrico. Emanuel was brought up in Italy, Switzerland, Germany, England and Poland. In 1926 Emanuel and his father sailed for New York. They briefly visited Chicago. Romano's sister, Beatrice, and mother only joined them in New York years later. Romano changed his name on his arrival to America and some have erroneously speculated that this was to avoid antisemitic discrimination. In truth, as the son of a highly-regarded artist, Romano changed his name to ensure that any success or recognition he would later attain, would be the result of nothing other than his own merit as an artist, and not on account of his father's fame. In 1936 Romano was worked for the Federal Art Project creating murals. During and immediately after World War II, Romano created a series of allegorical works depicting graphic holocaust images that were held closely by the family until after his passing. One of these works is now on permanent display in the Florida Holocaust Museum in St. Petersburg Florida. Emanuel's father died in 1942 in a car accident before they could realize their shared dream of visiting Israel. In 1944 Romano, having completed his degree at the Pennsylvania Academy of Fine Arts and the Art Institute of Chicago, began teaching at the City College of New York. Romano moved to Safed, Israel in 1953 and established an art museum in his father's memory, the Glicentein Museum. COLLECTIONS Indianapolis Museum of Art Metropolitan Museum of Art Boston Fine Arts Museum Fogg Museum Musée Nacional de France Recently his work has been added to the Florida Holocaust Museum collection. His notable works include his holocaust themed allegorical paintings as well as portraits of Marianne Moore, his father and William Carlos Williams...

Oscar Bluemner Sheepshead, Long Island, 1907 Signed with the artist's conjoined initials "OB" and dated "4-30 - 5 - 30" / "Aug 3, 07" Watercolor on paper 6 x 10 inches Provenance: J...

Clarence Holbrook Carter (American, 1904-2000) Night Garden, 1972 Acrylic on scintilla Signed and dated lower right 21.5 x 21.5 inches 24.25 x 24.25 inches, framed Clarence Holbroo...

Oil on canvas

Maurice Newman was active/lived in Massachusetts / Lithuania. Maurice Newman is known for sculpture-abstraction, impressionist landscape painting, diorama. Born in Lithuania, Mauric...

Jack Hooper "Figures Laying with Shadows" December 1986 Paint on paper 9.5"x8" unframed Signed and dated in pencil lower left In this modernist masterpiece by Jack Hooper, two abstr...

Donald Stacy "Group Meeting" c.1950s Gouache paint on paper 24" x 18'" unframed Unsigned Came from artist's estate Donald Stacy (1925-2011) New Jersey Studied: Newark School of Fin...

Oil on canvas

Mystery American Artist Untitled, 1930 Oil on canvas 29 1/2 x 23 3/4 in. Framed: 34 1/2 x 28 3/4 x 1 1/2 in. Signed and dated lower left

Nice American Modernist Oil Painting. with old label verso. not dated but estimating it to the 70s. Not sure which Doris turner this is...

Born in Savannah, Georgia in 1912, abstract expressionist painter Morris Shulman studied at the National Academy of Design, Art Students League and Hans Hofmann School of Art in New ...

Jack Hooper "Woman on Red" 1/2/1970 Gouache, ink and pencil on glossy, red paper 11"x8.5" unframed Signed and dated in ink lower right In the year 1970, Jack Hooper's artistic prowe...

Woman in a Red Hat - Figurative Study Oil on Canvas A reclining figure painting by American painter, Patricia Gren Hayes (b. 1932), shows a person in a black dress and a Russian Fez...

Broad areas of bold, flat red, magenta, and pink characterize this mid-century painting by Barbara Warren Ebersole ( Barbara Tate Ebersole ). It depicts a block party festooned with balloons and a street organ grinder with a smartly dressed performing monkey. The overall look of a lot mid-century art inspires many of today's most celebrated contemporary artists. Signed and dated upper left. Oil on Masonite. Barbara Warren Ebersole was a painter and an author. She may have been of Native American...

Oil on canvas modernist city scape painted circa 1950 by Paul K Smith (1893-1977) titled Central City, Colorado. Portrays a city scene of historic buildin...

interior painting with a flower in the minimalist style "Red Gerbera" The painting is perfect for the most sophisticated interior.

NYC Cityscape American Scene WPA Modern Realism Mid 20th Century Architectural Ernest Fiene (1894-1965) Cityscape 36 x 30 inches Oil on canvas Signed and dated 1930. lower right Provenance Estate of the artist. ACA Galleries, New York Exhibited New York, Frank Rehn Gallery, Changing Old New York, 1931. New York, ACA Galleries, Ernest Fiene: Art of the City, 1925-1955, May 2-23, 1981, n.p., no. 5. BIO Ernest Fiene was born in Elberfeld, Germany in 1894. As a teenager, Fiene immigrated to the United States in 1912. He studied art at the National Academy of Design in New York City from 1914 to 1918, taking day classes with Thomas Maynard and evening classes with Leon Kroll. Fiene continued his studies at the Beaux-Arts Institute of Design in New York from 1916 to 1918, adding classes in printmaking at the Art Students League in 1923. Fiene began his career as an artist in 1919 with his first exhibition of watercolors at the MacDowell Club arranged by his mentor Robert Henri. In 1923 the Whitney Studio Club mounted a large exhibition of his works. The following year he had an exhibition at the New Gallery in New York, which completely sold out all fifty-two works, including paintings, watercolors, drawings, and etchings. With the proceeds of sales from the New Gallery exhibition, Ernest Fiene and his younger brother Paul, a sculptor, built studios in Woodstock, New York in 1925. In the early Twenties Ernest Fiene painted mostly landscapes of Woodstock and both the Ramapo and Hudson River Valleys. The first monograph from the Younger Artists Series was published on Fiene in 1922. Published in Woodstock, the series went on to include Alexander Brook, Peggy Bacon, and Yasuo Kuniyoshi. The book reproduced 1 illustration in color and another 27 reproductions in black and white. Around 1925 Fiene became fascinated with the intensity, excitement, and opportunities for color harmonies New York City offered as a subject. His paintings shifted to urban and industrial themes with architecture, industry, and transportation becoming his subjects. By 1926 Fiene had attracted the dealer Frank K.M. Rehn, who gave him a one-man exhibition that year, which travelled to the Boston Arts Club. C.W. Kraushaar Galleries gave Fiene a one-man exhibition of urban, landscape, portrait, and still life paintings in 1927. Julianna Force, the director of the Whitney Studio Club and first director of the Whitney Museum of American Art, included two of Fiene’s paintings in a fall exhibition in 1928. The Whitney Studio Club showed Fiene’s paintings in a two-man exhibition with Glenn O. Coleman that year and acquired three of Fiene’s paintings. Also in 1928 Fiene became affiliated with Edith Halpert’s Downtown Gallery where he had an exhibition of 20 lithographs in the spring. Fiene sold his house in Woodstock in 1928 to spend more of his time in New York City. With so many successful exhibitions, Fiene returned to Paris in 1928-29 where he rented Jules Pascin's studio and studied at the Académie de la Grande Chaumière. In France, Fiene painted both landscape and urban subjects developed from ideas influenced by Cubist geometry and the use of flat areas of broad color. Upon returning to New York in 1930, Fiene used this new approach to continue to paint New York skyscraper and waterfront subjects, as well as to begin a series of paintings on changing old New York based on the excavations for Radio City Music Hall and the construction of the Empire State Building. Frank K.M. Rehn Galleries exhibited this series, titled “Changing Old New York,” in 1931. Fiene also has solo exhibitions at Rehn Galleries in 1930 and 1932. Fiene’s oil paintings are exhibited at the Chicago Arts Club in 1930 as well. Fiene was included in the Museum of Modern Art’s exhibition Painting and Sculpture by Living Americans in December of 1931. Visiting New York, Henri Matisse saw the exhibition and called Fiene’s Razing Buildings, West 49th Street the finest painting he had seen in New York. Fiene had two mural studies from his Mechanical Progress series exhibited at the Museum of Modern Art’s exhibition Murals by American Painters and Photographers in 1932. Fiene sent View from my Window which depicts Fiene working on a lithograph stone while looking out his window to the newly completed Empire State Building to the Carnegie International in 1931. In 1932 Fiene participated in the first Biennial of American Painting at the Whitney Museum and his prints were included in exhibitions at the Downtown Gallery and the Wehye Gallery. In the same year, Fiene was awarded a Guggenheim fellowship to further study mural painting in Florence, Italy. On his return from Italy in 1933 Fiene re-engaged himself in New York City life and won several public and private mural projects. Fiene resumed his active exhibition schedule, participating in two group exhibitions at the Whitney Museum and a one-man exhibition of recent paintings at the Downtown Gallery in January 1934. In 1933 he purchased a farm in Southbury, Connecticut, which added Connecticut scenes to his landscape subjects. This was also the year Fiene began to spend summers on Monhegan Island, Maine, where he painted seascapes, harbor scenes, and still lifes. Fiene’s landscape paintings attracted numerous commissions as part of the American Scene movement. Through the fall and winter of 1935-36, Fiene took an extended sketching trip through the urban, industrial, and farming areas of Pennsylvania and West Virginia. Most of the twenty-four Pennsylvania urban and rural paintings...

NYC 1939 World's Fair Mural Study American Scene WPA Modern Mid 20th Century Eugene Savage (1883 – 1978) 1939 World’s Fair Mural Study 45 x 30 inches Oil on Canvas Signed lower right The painting is part of a 1,000 piece collection of art and objects from the 1939 World’s Fair. The collection as a whole is available. Savage created the mural for the facade of the Communications Building. An image of the completed mural, along with a published postcard, is part of the listing. Note the center top female figure, she resembles the figure in the offered painting. BIO Eugene Francis Savage was born in Covington, Indiana 1883. He underwent various forms of art training in the early years. He was a pupil of The Corcoran Gallery and The Art Institute of Chicago, and was later awarded a fellowship to study in Rome at The American Academy. While under the spell of that ancient city the young artist began to render historic figures that were suitable for the classic style needed for mural painting in the traditional manor. During this period he was able to study and observe Roman and Greek sculpture, although much of the academic training was accomplished by using plaster casts along with the incorporation of live models. This method survived and was used efficiently throughout Europe and the United States. After leaving the Academy, Savage was commissioned to paint numerous murals throughout the United States and Europe. This artist received acclaim for the works he produced while under commissions from various sources. This young master was a contemporary of Mexican muralists David Alfaro Siqueiros (1896-1974), Jose Clemente Orozco (1883-1949) and Diego Rivera (1886-1957). In this period he was to show the influence of his contemporaries in formulating a modern style. Savage also played a vital role in the WPA Federal Art program, and he was a member of The Mural Art Guild.. Savage was elected an associate member of The National Academy of Design in 1924 and a full member in 1926. From 1947, he held a professorship at Yale University where he taught mural painting, and some of his students went on to significant positions. By this time the artist had painted large-scale murals at Columbia, Yale University, Buffalo N.Y., Dallas, Texas, Chicago, Indiana, along with other commissioned works. He also achieved recognition for a series of murals commissioned by the Matson Shipping Line and completed around 1940. For this commission, Savage made many exacting studies of customs and folkways of the Hawaiian natives. However, the award-winning murals were not installed as planned but were put in storage during the war years when the ships were used for troop transportation and were in danger of attack. However the mural images were reproduced and distributed by the shipping company including nine of the mural scenes that were made into lithographed menu covers in 1948. The American Institute of Graphic Arts awarded certificates of excellence for their graphic production, and the Smithsonian Institute exhibited the works in 1949. Today Savages' Hawaiian Art production is held in high regard by collectors of Hawaiian nostalgia. In later years the artist focused his attention on a theme that dealt with the customs and tribal traditions of the Seminole Indians of Florida. He produced many variations of this theme throughout his lifetime, and the pictures were usually modest scale easel paintings, precise and carefully delineated. Many of these pictures incorporate Surrealistic elements and show some minor stylistic influences of the painters Kay Sage...

This painting is part of our exhibition America Coast to Coast: Artists of the 1930s Abstract Street (Untitled), 1939, oil on canvas, signed and dated lower right, 12 x 32 inches; provenance includes a private collection in Venice, California; presented in what is likely the artist's original handmade frame About the Painting The present work is the culmination of a series of mainly horizontal urban abstractions Harari completed between 1937 and 1939. Deeply influenced by Stuart Davis, Harari’s New York streetscapes began with clearly recognizable objects and landmarks as in Into New York (1937 - Collection of the Whitney Museum of American Art), New York Harbor (1937), Up and Downtown (1938), and his other mural proposals for the Nurses Home on Welfare Island (1937) and the Williamsburg Housing Project (1938). At the end of the series, Harari’s vistas became increasingly abstract with broad planes of color representing buildings and streets, the slightest cross-hatching forming a bridge or elevated train track and the vague suggestion of a streetlight looping in the right center of the composition. Figures, birds, and a street vendor’s cart are reduced to pictograms scratched into the surface of the canvas. Abstract Street (Untitled) is among Harari’s most spare works of the 1930s and 1940s and calls to mind the seemingly childlike, but deeply sophisticated works of Paul Klee from the 1920s. It serves as an excellent reminder of why Harari was heralded as one of the earliest members of the American Abstract Artists. About the Artist Hananiah Harari was an artistic polyglot who was equally at home working in styles as diverse as Cubism, Constructivism, Expressionism, Hard Edged Abstraction and trompe l’oeil Realism. A native of Rochester, New York, Harari initially studied as a child at the Memorial Art Gallery in his hometown and later as a scholarship student at the College of Fine Arts at Syracuse University. In 1932, Harari left for Paris where he befriended Nahum Tschacbasov, Benjamin Benno and John Graham and studied at the ateliers of Lhote, Leger and Gromaire. He also studied fresco painting at the Ecole de Fresque. By 1933, Harari had completed enough work and gained a sufficient reputation to have a solo exhibition at the American Club in Paris. The following year, Harari and his childhood friend and fellow artist Herzl Emanuel traveled to Palestine, where the artists worked hard in the orchards and fields of Kibbutz Deganiah, but produced little art. After returning to New York, Harari married Emanuel’s sister, Freda, and set out on the development of what noted scholar Gail Stavitsky has called an “original synthesis of the old and new." Harari became an early member of the American Abstract Artists (AAA), an organization formed to give modernists exhibition opportunities. Harari was also a member of the socially conscious Artist’s Union and the American Artist’s Congress. From 1936 through 1942, Harari worked on the Federal Art Project and assisted Marion Greenwood on a project as part of the Mural Division, but to his disappointment did not lead his own project. During the late 1930s and early 1940s, Harari completed a series of paired paintings with the same subject matter depicted in a Cubist manner and in trompe l’oeil Realism. Harari was acclaimed by Clement Greenberg and six of the artist’s works were selected for the Museum of Modern Art’s important 1943 exhibition American Realists and Magic Realists. During World War II, Harari served in the US Army Air Corps. Following the war, Harari continued to produce fine art while also producing commercial art. During the McCarthy Era, Harari’s progressive politics and leftist leaning art...

Oil on canvas painting by Ferdinand Kaufmann. Signed by the artist in the lower left corner. Mountain landscape painting, likely of Colorado or California in summer with a rushing...

Swimmers and sun tanners at the local watering hole. Her birth name was Theresa Berney. At the time of her passing she was known as Theresa Loew. Birth place: Baltimore artist, blo...

Kansas landscape oil on canvas painting by Robert N. Sudlow (1920-2010) titled 'Pioneer Bluffs in Spring' painted in 1986. Presented in original frame measuring 50 1⁄4 x 46 1⁄2 x 5 1...

"Madam Suburbia #III - Doing Dishes" Figurative in Oil on Canvas African-American woman at her kitchen sink by Patricia Gren Hayes (Canadian/American, b....

Carl Gustaf Simon Nelson, American (1898-1988) "Nude Musicians," 30 x 35 inches, oil on canvas Signed and dated 1938 signature lower right. Provenance: Collection of Seymour Stein Bio Carl Gustaf Simon Nelson (1898 - 1988) A painter, graphic artist and teacher whose paintingfocus was color and content landscapes, Nelson at age five immigrated with his family to Sioux City, Iowa from Sweden in 1903. He studied at the Chicago Academy of Fine Arts* from 1920 to 1921, then at the Art Students League* in New York from 1923 to 1927 with Kimon Nicolaides and Kenneth Hayes Miller. He taught at the American Peoples School of New York, an adult education project; at the Cambridge School of Design from 1948 to 1952; and finally at the Boston YMCA until 1968. His work was exhibited at the Carnegie...

Night Life in the City - Figurative Cityscape Mid 1960s cityscape by an unknown artist. Oil on artists board. Image, 16"H x 20"W

This mural study is part of our exhibition America Coast to Coast: Artists of the 1930s San Pedro Post Office: History of Writing Mural South, Preliminary Mural Maquette right panel...

An oil on board Judaic painting by modern artist Ben-Zion Weinman. It depicts a portrait in profile of an old Jew. The work is signed "Ben-Zion". Born in 1897, Ben-Zion Weinman celebrated his European Jewish heritage in his visual works as a sculptor, painter, and printmaker. Influenced by Spinoza, Knut Hamsun, and Wladyslaw Reymont, as well as Hebrew literature, Ben-Zion wrote poetry and essays that, like his visual work, attempt to reveal the deep “connection between man and the divine, and between man and earth.” An emigrant from the Ukraine, he came to the US in 1920. He wrote fairy tales and poems in Hebrew under the name Benzion Weinman, but when he began painting he dropped his last name and hyphenated his first, saying an artist needed only one name. Ben-Zion was a founding member of “The Ten: An Independent Group” The Ten” a 1930’s avant...

This painting is part of our exhibition America Coast to Coast: Artists of the 1930s Quarry Workers, c. 1930s, mixed media on board, unsigned, 24 x 24 inches, possibly exhibited at...

This painting is part of our exhibition American Coast to Coast: Artists of the 1930s Subway Construction, c. 1928, oil on board, 19 x 15 ¾ inches, signed upper left, artist and title verso; exhibited: 1) 12th Annual Exhibition of the Society of Independent Artists, The Waldorf Astoria, New York NY, from March 9 to April 1, 1928, no. 864 (original price $250) (see Death Prevailing Theme of Artists in Weird Exhibits, The Gazette (Montreal, Quebec, Canada), March 8, 1928); 2) Boston Tercentenary Exhibition Fine Arts and Crafts Exhibition, Horticultural Hall, Boston MA, July, 1930, no. 108 (honorable mention - noted verso); 3) 38th Annual Exhibition of American Art, Cincinnati Art Museum, Cincinnati, OH, June, 1931 (see Alexander, Mary, The Week in Art Circles, The Cincinnati Enquirer, June 7, 1931); and 4) National Art Week Exhibition [Group Show], Montross Gallery, New York, New York, December, 1940 (see Devree, Howard, Brief Comment on Some Recently Opened Exhibitions in the Galleries, The New York Times, December 1, 1940) About the Painting Ernest Stock’s Subway Construction depicts the excavation of New York’s 8th Avenue line, which was the first completed section of the city-operated Independent Subway System (IND). The groundbreaking ceremony was in 1925, but the line did not open until 1932, placing Stock’s painting in the middle of the construction effort. The 8th Avenue line was primarily constructed using the “cut and cover” method in which the streets above the line were dug up, infrastructure was built from the surface level down, the resulting holes were filled, and the streets reconstructed. While many artists of the 1920s were fascinated with the upward thrust of New York’s exploding skyline as architects and developers sought to erect ever higher buildings, Stock turned his attention to the engineering marvels which were taking place below ground. In Subway Construction, Stock depicts workers removing the earth beneath the street and building scaffolding and other support structures to allow concrete to be poured. Light and shadow fall across the x-shaped grid pattern formed by the wooden beams and planks. It is no surprise that critics reviewing the painting commented on Stock’s use of an “interesting pattern” to form a painting that is “clever and well designed.” About the Artist Ernest Richard Stock was an award-winning painter, print maker, muralist, and commercial artist. He was born in Bristol, England and was educated at the prestigious Bristol Grammar School. During World War I, Stock joined the British Royal Air Flying Corps in Canada and served in France as a pilot where he was wounded. After the war, he immigrated to the United States and joined the firm of Mack, Jenny, and Tyler, where he further honed his architectural and decorative painting skills. During the 1920s, Stock often traveled back and forth between the US and Europe. He was twice married, including to the American author, Katherine Anne Porter. Starting in the mid-1920s, Stock began to exhibit his artwork professionally, including at London’s Beaux Arts Gallery, the Society of Independent Artists, the Salons of America, the Cincinnati Art Museum, the Whitney Studio and various locations in the Northeast. Critics often praised the strong design sensibility in Stock’s paintings. Stock was a commercial illustrator for a handful of published books and during World War II, he worked in the Stratford Connecticut...

'Abandoned (Colorado)' is an oil painting by William Sanderson (1905-1990) depicting an abandoned house in green grass hills. Presented in a custom frame measuring 13 ¼ x 16 ½ inches; image size measures 8 ½ x 11 ¼ inches. Painting is in good condition - please contact us for a detailed condition report. About the Artist: Born Latvia 1905 Died Colorado 1990 The elder son of a construction engineer, he was born Wilhelm Tsiegelnitsky in a seaside resort near Riga, Latvia, then part of the Russian Empire. His father, Grigori Mojesevich (later Anglicized to Gregory) was of Russian-Jewish heritage, while his mother Berta (Bertha) came from a German-Jewish background. Because preference in awarding construction contracts at that time were being given to members of the Russian Orthodox Church, his father had the whole family baptized in that church which he kept a secret from Sanderson’s grandparents. His father’s profession took the family to a number of cities in various parts of the Russian Empire including Warsaw, Kharkhov, Kiev, and Samarkand in Asia. To his mother’s annoyance, he scribbled on anything within easy reach, deciding by age ten that he would make art his lifetime goal. During the Bolshevik Revolution in 1917 the family lived with relatives in Rostov-on-the-Don where his mother enrolled him in the local Chinyenov Art School, marking the first step in his art career. Feeling that they would have no place in the new Communist political reality, in 1921 the family left Rostov for Kiev, emigrating to Italy and Greece on short-term visas before arriving in New York two years later, sponsored by Gregory’s relatives in New Jersey. The Tsiegelnitsky surname was changed to the more pronounceable Siegel. Experiencing the frustration shared by most immigrants seeking to establish themselves in a new, unfamiliar environment, Sanderson sufficiently mastered English by 1924 to attend the Fawcett School of Industrial Art in Newark (later the Newark School of Fine and Industrial Art) where he studied with Ida Wells Stroud, herself a student of William Merritt Chase and Arthur Dow and part of the early twentieth-century Arts & Crafts Movement. Seeking a more challenging curriculum, he enrolled at the National Academy of Design in Manhattan (1924-1927), studying painting with Charles Hawthorne, etching with William Auerbach-Levy, and life drawing with Charles L. Hinton. Sanderson won the Suydam Medal for Life Drawing, First Prize in Composition, and Honorable Mention in Etching. He also briefly attended the Art Students League in New York in 1928, studying lithography with Charles Locke who in 1936 taught a summer course in the medium at the Colorado Springs Fine Arts Center. However, Sanderson quit the League when he could no longer afford the tuition. With his art studies behind him, he began a successful career in illustration in New York. Briefly associated with the Evening Graphic, he maintained a decade-long affiliation with the New Masses, honored to be in the company of such established artist-contributors as Jean Charlot, Stuart Davis, Adolf Dehn, Louis Lozowick, Reginald Marsh, Jan Matulka and Boardman Robinson – some of whom later were affiliated with the Colorado Springs Fine Arts Center in the 1930s and 1940s. As a young immigrant he came to share some of the popular views of the left-wing intellectual community in American in the 1920s and early 1930s; but in 1936 he severed his connections with the New Masses because he did not like the direction it had taken by that time. In 1929, the year of the stock market crash and the onset of the Great Depression, he began doing commercial book illustration in New York which he continued until being drafted during World War II. However, his steady income disqualified him from participation in the Works Progress Administration (WPA)-era art projects. A barometer of his success was his inclusion in the Fifth Exhibition of American Book Illustration in 1935 sponsored by American Institute of Graphic Arts whose jurors included Edith Halpert of The Downtown Gallery in New York. Among the book titles he illustrated were: Marian Hurd McNeeley, The Jumping Off Place; P.N. Krasnoff, Yermak the Conqueror; Joe Lederer, Fanfan in China; Fay Orr, Freighter Holiday; and The Cavalcade of America. His images of a covered wagon and a Daniel Boone prototype in the last-named publication anticipate subjects he later explored more fully in his easel painting in Colorado with likenesses such as The Woman of the Plains and Hombre. In the 1930s and early 1940s he also produced illustrations and covers for leading American magazines such as The New Yorker, Esquire, Cue, and Harper’s. In 1931 he became a naturalized U.S. citizen in Manhattan and by 1936 began informally using Sanderson as his surname, making the change official in 1941. In 1937 he was given a solo show at the American Contemporary Art (A.C.A.) Gallery in New York. The following year he became art director at the McCue Ad Agency in New York where he worked until after the Japanese attack on Pearl Harbor. Looking forward to the day when he could give up illustration for the fine arts, his career change was set in motion when he was drafted into the U.S. Army in March 1942. After basic training at Kessler Field near Biloxi, Mississippi (where the Tuskegee Airmen also trained) he shipped out at his own request to Lowry Air Force Base in Denver, becoming part of the Army Air Corps and taking an instant liking to Colorado. At Lowry his humorous drawings of barracks life were published in the base newspaper, The Rev-Meter. In the summer of 1943 he had his first solo exhibition in Colorado at the Denver Art Museum-Chappell House that consisted of black-and-white drawings of army life. He also began painting watercolor scenes from memory of his previous life in the East. His two visits to Vance Kirkland’s studio in Denver’s Capitol Hill neighborhood, while stationed at Lowry, occasioned a lifelong friendship and professional association. On Sanderson’s excursion in 1943 to the Colorado Springs Fine Arts Center he met his future wife, Ruth Lambertson from Cedar Falls, Iowa, whom he married eight weeks later, initiating a union lasting forty-seven years. His fluency in Russian landed him an assignment as an interpreter with the American ground forces meeting up with the Soviet Army marching westward toward Berlin in the last months of World War II. His impressions and photos of the bombed-out city formed the basis of his montage, Berlin 1945, painted in Denver in 1947. Its palette and collage-like quality and that of some of his other paintings from this period reflect the influence of American modernist, Stuart Davis. Following his military discharge and some brief design work for the Kistler Stationery Company and the A.B. Hirschfeld Press in Denver, Sanderson swapped commercial art for academia in 1946 when Vance Kirkland hired him as Assistant Professor of Advertising Design at the University of Denver, which subject he taught until retiring in 1972. Along with Kirkland and other faculty artists, he became a charter member of the 15 Colorado Artists. Founded in 1948, the group comprised some of the state’s leading contemporary artists seeking to distance themselves from much of the traditional imagery then being produced and exhibited in Denver and elsewhere. Reflecting the viewpoint of his fellow charter members Sanderson said, "I’m very taken with the nature scenes in this region, but it’s not the function of the artist to paint them when there are photographers around." Paraphrasing Picasso, the leading representative of contemporary art at that time, he added: "The painting is the artist’s representation of what nature is not." The financial security and stability of his teaching position at the University of Denver (DU) gave him the freedom to develop his easel painting. He produced a large body of oils and watercolors in both stylized Realism and Surrealism depicting, respectively, Colorado-inspired subject matter and social criticism of modern life and industrial civilization. One of his first canvases, Steamship Ruth, titled in honor of his wife and incorporating elements remembered from the port of Rostov in Russia has large, precisely-arranged areas of flat color with crisp edges seen in many of his Colorado paintings in the 1950s and 1960s. Similarly, Mountain Rhythm employs a bright palette and undulating lines conveying his fascination with the overall composition of irregular mountain and cloud shapes. Trailer Park, near the foothills west of Denver, provided abundant material for a geometric form study, while Composition with Fried Eggs in the Denver Art Museum’s collection essentially is a semi-cubistic arrangement of interlocking planes and spaces that was reproduced in the August 25, 1952, issue of Time Magazine. His work was also shown in group exhibitions outside Colorado at the Dallas Fine Art Museum, Museum of New Mexico (now, New Mexico Museum of Art) in Santa Fe, Joslyn Memorial Museum in Omaha, San Francisco Art Association, Salt Lake City Art Center, and the Cedar City Art Museum Association in Utah. The positive notice accorded his work in the early 1950s earned him a commission from the Ford Motor Company to illustrate an article, Fort Garland, by Marshall Sprague in the June 1954 issue of Ford Times. (Similar commissions were also given at that time to Denver’s Vance Kirkland and Richard Sorby.) In the mid-1950s Sanderson also executed several murals in different techniques for secular and religious buildings in Colorado, reminiscent of artists’ commissions under the Federal Arts Projects (FAP) during the Depression era: the Graland School lobby and the Colorado Tobacco Building, both in Denver; St. Joseph’s School, Salida; Mesa Elementary School, Cortez; as well as the Andrew Jackson Hotel in Nashville, Tennessee. Sanderson’s life in Europe and illustration work for the New Masses in New York made him very aware of ethnic and racial prejudice. He said, "I believe the artist is first of all a human being with the ability to see and depict the hope, aspirations and the despair of other human beings." In the 1950s he recorded the political movement for Black racial equality in paintings such as Noon Hour, Whites Only...

"Rosemary" with feather boa - Bay Area Figurative Movement Study Oil on Canvas A dark-haired woman with a feather boa sits propped on a stool surrounded by bright textures and patte...

This painting is part of our exhibition America Coast to Coast: Artists of the 1930s Refreshment and Intermission, tempera on board, 11 x 19 inches, c. 1930/40s, signed lower middle, exhibited at Groom's one person show at Closson’s Gallery, Cincinnati, OH, March, 1943 (see The Cincinnati Enquirer, March 7, 1943, section 3, p. 4); provenance includes a private Ohio collection; presented in a period gold painted frame About the Painting Refreshment and Intermission is part of a series of paintings of Amish subjects Grooms started in 1938 based on his travels in Pennsylvania. These tempera works reflect the Regionalist impulse to paint local scenes far away from big cities. Focusing on both people and landscape, Grooms' compositions tell the stories of the uniquely American experience of the Amish. “Grooms paints the Amish people with as much understanding of type and appreciation of the plastic quality as any artist who has approached this challenging subject," noted the art critic for The Cincinnati Inquirer when reviewing Grooms' solo exhibition at Closson' Gallery, "In his current show, ‘Refreshment and Intermission,’ is a case in point. Here the absorbed concentration of people eating is described without an ounce of sentimentality. He has made the most of the interest between groups and of the conversations, both humorous and serious. The work has the quaint simplicity of a Lord’s Supper...

"Madam Suburbia #2" (Woman and Child, Sue & Casey) in Oil on Canvas An auburn-haired woman sits in a chair with her young child, by American painter, Patricia Gren Hayes (b. 1932). ...

Costa Rica! Still Life with Guitar, Fruit, Wine, and Newsprint in Oil on Canvas Still life in a semi-cubist style by Irene Pattinson (American, 1909-1999). On a reddish-purple table, there is a plate with two apples, a bottle of wine, and an acoustic guitar. The guitar's headstock is shown extending from where the neck meets the body, implying a cubist interpretation of the scene. At the back of the still life arrangement, there is a (collage) newspaper with "Costa Rica!" in the headline. At the left of the composition, there is a curtain or cloth draped across part of the scene. Signed "Irene Pattinson" on verso. No frame. Canvas size: 32"H x 24"W Irene Pattinson (American, 1909-1999) studied at the California School of Fine Art (now The San Francisco Art Institute), San Francisco State College and The Marion Hartwell School of Design. She was President of the San Francisco Woman Artists Association 1955-56. Provenance:The Artist, Estate of Irene Pattinson: David Carlson; Estate of Larry Miller Fine Art, Robert Azensky Fine Art Solo Exhibitions: Lucien Labaudt Gallery 1955; San Francisco Museum of Art, 1961 (39 works) Selected Group Exhibitions: San Francisco Art Association Annual 1948, 54, 55; San Francisco Woman Artists, 1957-1960; Oakland Art Museum Annual, 1951, 58; California Palace of the Legion of Honor, 1960; Richmond Art Center, 1955, 56, 57, 58; San Francisco Art Institute 1959, 60. The Art Bank of the San Francisco Art Association, 1958, 59, 60, 62, 63; Winter Invitational, California Palace of The Legion of Honor, San Francisco, 1960; Fourth Winter Invitational, California Palace of The Legion of Honor, San Francisco, 1963; Awards: First Place, San Francisco Woman Artists Assoc., 1957, 1959; San Francisco Art Festival 1957;Literature: San Francisco Art Institute - A catalog of the Art Ban 1962/63; San Francisco and the Second Wave: The Blair Collection Exhibitions: 1963 The Art Bank of the San Francisco Art Association, San Francisco, CA 1963 California Palace of The Legion of Honor: Forth Winter Invitational, San Francisco, CA 1962 The Art Bank of the San Francisco Art Association, San Francisco, CA 1961 San Francisco Museum of Art, San Francisco, CA 1960 California...

Abstract watercolor composition bearing the influence of the earlier color-block compositions of Paul Klee. Pawel August Kontny, (Polish-German-American artist) He was born in Laurahuette, Poland, in 1923, the son of a wealthy pastry shop owner. In 1939 he began studying architecture in Breslau where he was introduced to the European masters and to the work of some of the German Expressionists, soon afterward banned as "degenerate artists" and removed from museums throughout Germany by the Nazi regime. His studies were interrupted by World War II. Drafted into the German army, traveling in many countries as a soldier, he sketched various landscapes but in 1945, he was captured and held as a prisoner of war in Italy. After the war, he studied at the Union of Nuremberg Architects to help design buildings to replace ones destroyed in the war. He recorded his impressions of the local population and the landscapes through his watercolors and drawings. Pawel Kontny thereafter moved to Nuremberg, Germany, becoming a member of the Union of Nuremberg Architects and helping to rebuild the city's historic center. He soon decided to concentrate on his professional art career. He married Irmgard Laurer, a dancer with the Nuremberg Opera. Pavel Kontny 's career as an artist was launched with his participation in an all German exhibition, held at the Dusseldorf Museum in 1952. He held one-man shows in Germany, Switzerland and the United States. During his trip to the United States in 1960, Kontny became instantly enamored with Colorado, and decided to relocate to Cherry Hills with his wife and two children. He quickly established himself in the local art community, being affiliated for a time with Denver Art Galleries and Saks Galleries. His subject matter became the Southwest. During this time he received the Prestigious Gold Medal of the Art Academy of Rome. His extensive travel provided material for the paintings he did using his hallmark marble dust technique. he also worked equally in pastel, watercolor, charcoal and pencil-and-ink. in a style which merged abstraction and realist styles, influenced by Abstract Expressionist painting and South Western American landscapes. In the early 1960s he was one of only a few European-born professional artists in the state, a select group that included Herbert Bayer (1900-1985), a member of the prewar Bauhaus in Weimar and Dessau, Germany, and Roland Detre (1903-2001), a Hungarian modernist painter. As a Denver, Colorado resident, Pavel Kontny exhibited at galleries and museums throughout the United States, Germany and Japan. There, he was inspired by frequent trips to Native American pueblos in the Southwest, as well as by the study of the Plains Indians of Montana and Wyoming. Over the years Kontny had a number of students and generously helped young artist by hosting exhibitions at his Cherry Hills home. For many years he generously donated his paintings to support charitable causes in Denver. Influences during his European years included German pastelist C.O. Muller, German Informel painter Karl Dahmen and Swiss artist, Hans Erni. In the early 1950s his painting style showed the influence of the Die Brücke (The Bridge), a group of German expressionist artists formed in Dresden in 1905 who had a major impact on the evolution of modern art in the twentieth century in Germany. By the middle of the decade his style incorporated more referential abstraction and total abstraction, resulting in part from his study of Hans Hartung, a German artist based in Paris who exhibited his gestural abstract work in Germany. The American moon landing in 1969 inspired Paul Kontny...

Woman in Bloom - Figurative Nude Study Oil on Canvas A nude woman, seemingly pregnant, sits reclined in a chair with her hands at the base of her belly holding a flower. This striki...

Morton Roberts (American, 1927-1964) Antiques, c. 1950 Oil on canvas 12 1/4 x 15 in. Framed: 15 x 17 3/4 x 2 in. Signed lower left: Morton Roberts He was a promising artist, who die...

George Gustav Adomeit (American, 1879-1967) Coastal Scene Oil on canvas Signed lower left 19 x 23 inches 21.5 x 25.5 inches, framed A major painter of American scene subjects, Georg...

Jane - 40x30 Dipped Mixed Media Painting on Canvas in Solid Wood Box Frame with Natural Pine Finish. My work is inspired by the beauty that I find in the ordinary and imperfect; it...

"Rosemary" Berkeley Figurative School by Patricia Gren Hayes 1980 A large scale portrait of a blond woman by Patricia Gren Hayes (b. 1932). The model is in front of a window, with h...

John Wenger (1887-1976) celebrated easel painter and stage set designer whose career included 25 solo shows in the USA, Canada, and Europe. He created set designs for such plays as "Ile", "Petrushka", "Funny Face", and Rhapsody In Blue". John Wenger's art is included in many museums in and out of the USA. John Wenger was born on June 16, 1887 in Elizabethgrad, Russia. Wenger was born an artist, and at the age of three was painting (playing) with brushes and paint while his father, a local artist who painted scenery for the traveling theater, worked on drop scenes. His mother disapproved of this and tried to keep her son from playing with these "toys." When John Wenger was several years older, he attended Gihnazia, which is equivalent to high school but on a college level. Throughout his education Wenger excelled in visual arts. The staff at the Gihnazia school encouraged him to apply to the Imperial Art Academy of Odessa for a scholarship. At the age of thirteen, John Wenger became a student at the academy. For Wenger, this was his first time away from home and he found it to be difficult for several months. When he came to America in 1903, John earned his living by designing ladies costumes and jewelry at his uncles store in Newark, New Jersey. He then resumed his art studies at Cooper Union and The National Academy of Design. While in New York, Wenger found an interest in how music and theater connected to art. He rebelled against the heavy sets and hard lines of stage scenery...

This painting was done early in Clyde Singer's career while at the Art Students League in New York. It was purchased directly from the artist in 1988.

Three Poses - Nude Figure Study by Patricia Gren Hayes Three nude women serving as models in an art class, showing different expressions by American painter, Patricia Gren Hayes (Ca...

This is a very stylized Southwest landscape that appears to document a small church that existed at one time, perhaps in the Palm Springs or Santa Fe area. It is very reminiscent of...

A Muse - Figurative Study in Oil on Canvas A nude man wearing a sailor hat while he looks down at a woman sitting on sheets of red and blue by American painter, Patricia Gren Hayes ...

Lowell Herrero (American, 1921-2015) Untitled, c. Late 20th-Early 21st Century Oil on canvas 16 x 20 in. Framed: 19 3/4 x 23 5/8 in. Signed lower right:...

Tempera on board painting titled 'The Carved Door' by Archie Musick, signed by the artist in the lower right corner. Depicts a semi-abstract landscape with flora and fauna. Presented...

George Gustav Adomeit (American, 1879-1967) Ohio Countryside Oil on artist's board 16 x 20 inches 21.5 x 25.5 inches, framed A major painter of American scene subjects, George Adome...

Portia Novella Le Brun or “Stephanie” Oil pastel on paper, 1941 Preliminary study for this work on the reverse (see last illustration) Signed in ink lower left Provenance: William Pe...

This is a hand painted copy of the New Yorker Magazine cover image from September 25, 1978. It is not signed. I was told it is not by the artist. I am selling it as in the style of Gretchen Dow Simpson...

Clarence Holbrook Carter (American, 1904-2000) Medieval Heads, 1966 Acrylic on scintilla Signed and dated upper right 23.5 x 30 inches Clarence Holbrook...

Northwoods, 2001. Signed and dated Military Enamel, Watercolor, Glitter, Decal, Aluminum Paint on Aluminum. Bears a label from Angles Gallery verso. Tom LaDuke (born 1964) is an Am...