Paul Cadmus

'Two Boys On A Beach, No. 1' — Erotic Realism

1935

Benton Spruance, 'From the Sea' also 'From the Sea — Pieta', lithograph, editions 30, 35, 1943. A superb, richly inked impression, on off-white wove paper; the full sheet, with decke...

Bernard Brussel-Smith, 'Sailor and His Girl', wood engraving, 1941, edition 35. Signed, titled, and numbered '21/35' in pencil. Signed in the block, lower right. A superb, richly-in...

Rockwell Kent, 'The Bather', wood engraving, 1931, edition 120, Burne Jones 63. Signed in pencil. A brilliant, black impression, on cream, wove Japan paper; the full sheet with margins (2 1/2 to 3 1/4 inches); slight skinning at the top sheet edge, verso, otherwise in excellent condition. Archivally matted to museum standards, unframed. Image size 5 3/8 x 7 7/8 inches (137 x 200 mm); sheet size 11 1/8 x 14 1/2 inches (283 x 368 mm). Impressions of this work are held in the following public collections: Burne Jones Collection (Illinois), Chazen Museum of Art, Chegodaev Collection (Moscow), Kent Collection (New York), National Gallery of Art, Philadelphia Museum of Art; SUNY Plattsburg Art Museum, Princeton University Library, Pushkin Museum (Moscow), Smithsonian American Art Museum, Spector Collection (New York), University of Illinois. ABOUT THE ARTIST Rockwell Kent (1882-1971), though best known as a painter, graphic artist, and illustrator, pursued many careers throughout his life, including architect, carpenter, explorer, writer, dairy farmer, and political activist. Born in Tarrytown, New York, Kent was interested in art from a young age. These ambitions were encouraged by his aunt Jo Holgate, an accomplished ceramicist. Jo came to live with the family after Kent’s father passed away in 1887 and took him to Europe as a teenager, undoubtedly kindling his interest in exploring the world. Kent attended the Horace Mann School in New York City, where he excelled at mechanical drawing. His family’s financial circumstances prevented him from pursuing a career in the fine arts; however, after graduating from Horace Mann in 1900, Kent decided to study architecture at Columbia University. Before matriculating at Columbia, Kent spent the first of three consecutive summers studying painting at William Merritt Chase’s art school in Shinnecock Hills, Long Island. There he found a community of mentors and fellow students who encouraged him to pursue his interest in art. At the end of Kent’s third summer at Shinnecock, Chase offered him a full scholarship to the New York School of Art, where he was a teacher. Kent began taking night classes at the art school in addition to his architecture studies but soon left Columbia to study painting full-time. In addition to Chase, Kent took classes with Robert Henri and Kenneth Hayes Miller, where his classmates included the artists George Bellows and Edward Hopper. Kent spent the summer of 1903 assisting the eccentric painter Abbott Handerson Thayer at his studio in Dublin, New Hampshire—a position he secured through the recommendation of his Aunt Jo. Thayer’s naturalist lifestyle and almost mystical appreciation for natural phenomena greatly influenced Kent; he returned to Dublin for many years to visit Thayer and his family. Thayer gave the young artist time to pursue his work, and that summer Kent painted several views of the New Hampshire landscape, including Mount Monadnock...

Rockwell Kent, 'Sea and Sky', wood engraving, edition 150, 1931 (published 1932). A brilliant, richly-inked impression on cream wove Japan; the full sheet with margins (2 to 2 1/2 in...

Original Etching in excellent condition by New York artist Paul Cadmus (1904-1999). Signed in pencil lower right. Created 1938. Presents in a simple black frame, archivally matted. ...

Male Model–Two Views Signed, l.c. Charcoal on buff paper 13 x 13 inches This work is offered by ClampArt in New York City.

Study for David and Goliath c. 1971 Signed, u.r. Pastel on paper 12 x 19 inches (30.5 x 48.3 cm) This work is offered by CLAMP in New York City.

This untitled work by Rick Sindt is a small graphite drawing of two male figures with their backs to the viewer. Their focus is something out of our viewin...