André Cottavoz Landscape Paintings

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...

Till the Clouds Roll By 1945 Frank Sinatra Mid Century Modern Hollywood Film WPA TILL THE COULDS ROLL BY (Film Set), oil on canvas, 20 x 24 inches signed “Richard Whorf” lower right and signed and dated on the verso “R. Whorf/ Dec. 21, 1945. Frame by Hendenryk. ABOUT THE PAINTING This painting is from the collection of Barbara and Frank Sinatra, dated December 21, 1945 (just nine days after Frank Sinatra’s 30th birthday), and depicts the Metro-Goldwyn-Mayer Culver City backlot during the filming of Till the Clouds Roll By, the direction of the film having been taking over by Richard Whorf in December 1945. It is not presently clear if Whorf gave the Sinatras this painting as a gift, as the presence of the Dalzell Hatfield Galleries label on the verso indicates the painting may have been sourced there. Frank and Nancy Sinatra acquired a number of works from Dalzell Hatfield Galleries during the 1940’s, or perhaps they framed it for the couple. Sinatra performed “Old Man River’ in the film. Sinatra and June Allyson are depicted in the center of the painting. PROVENANCE From the Estate of Mrs. Nancy Sinatra; Dalzell Hatfield Galleries, Ambassador Hotel, Los Angeles. An image of the Dalzell Hatfield label and the back of the original frame (which we replaced with a stunning Heydenrk frame) are attached. Nancy Sinatra was Fran's first wife. Nancy Rose Barbato was 17 years old when she met Frank Sinatra, an 18-year-old singer from Hoboken, on the Jersey Shore in the summer of 1934. They married in 1939 at Our Lady of Sorrows Church in Jersey City where Frank gave Nancy a recording of a song dedicated to her titled "Our Love" as a wedding present. The young newlyweds lived and worked in New Jersey, where Frank worked as an unknown singing waiter and master of ceremonies at the Rustic Cabin while Nancy worked as a secretary at the American Type Founders. His musical career took off after singing with big band leaders Harry James and Tommy Dorsey...

"Industrial Cityscape, Chicago" WPA Modernism Mid-Century Cityscape 20th Century Aaron Bohrod (American 1907 – 1992) Industrial Cityscape 20 x 16 inches Oil on board Signed lower ri...

Maestro active in Venice in the 19th Century Title: View of Venice with the Island of San Giorgio Maggiore and the Basilica Medium: Oil on canvas Dimensions: without frame 29 × 41 c...

Painted sculpted cardboard Unique work Coming from the artist's studio Jacques ROUBY, the aesthetics of mystery "Experimental dreamer, passionate about graphic adventures, delibera...

An exceptional, large, early work by American artist Dorothy Eisner (1906-1984). This painting was recently exhibited at Gracie Mansion in 2019 as part of “She Persists” - a show de...

"Potion as a Place," 2024, Paris, France A deep and bold floral of an abstract, mesmerizing landscape. This original oil painting on linen exudes loose and energetic movement with rich purples, that dances across the surface. Swirls of the floral, rose composition...

Summer Pastoral Contemporary Regionalism Rural Modern American Scene Art Realism Roger Medearis (1920 – 2001) Summer Pastoral (1984) Acrylic on canvas stretched over board 27 × 40 i...

Mediterranean Catalan Hermitage and Cypress Landscape Oil Painting Artist: Francesc Galofré Surís (Barcelona, 1900–Les Borges del Camp, 1986) Title: Hermitage of Santa Marina, Pratd...

HOLY SPLIT II 2026 Paris, France HOLY SPLIT II is an ethereal mixed medium painting on canvas depicting a surreal dreamlike rift in a serene landscape. Abstract fuchsia forms sugges...

This large painting is a ca. 1960 copy of a famous Rockwell Kent painting that was executed in Vermont in 1921. The work is oil on canvas and well represents the original image, tho...

Striking regionalist painting by American/Hungarian artist Charles Harsanyi. Autumn Colors in Stephenstown NY. 15" x 20" Oil on board with bold brushwork housed in a 19.25 x 24.25 white washed period frame. Charles Harsanyi (American, 1905-1973) Charles E. Harsanyi was born in Tapolcza, Hungary in 1905. He studied at the Royal Academy in Budapest, Hungary with A. Bankhard from 1923 to 1928. Nineteen years later, in 1947, Harsanyi moved to the U. S., settling in Jackson Heights, New York. The painter and drawing specialist became a member of numerous prestigious art clubs including the Salmagundi Club, The Society of Independent Artists and the Allied Artists of America. Harsanyi served as an awards director and chairman of admissions for the Audubon Artists Association during the 1950s. Later in life after living in Stephentown, New York and Cape Coral, Florida, Harsanyi passed away in Fort Myers, Florida in 1973. STUDIED Royal Academy in Budapest, Hungary with A. Bankhard, 1923-28 MEMBER Salmagundi Club, 1941 Brooklyn Painters & Sculptors American Artists Congress Society of Independent Artists Audubon Artists Association, jury awards director, 1952; chairman admissions committee, 1953; nominating committee, 1955, 1956 Artists Fellow Allied Artists of America, life member; jury awards 1945; jury selection, 1954 AWARDS Long Island Art League, 1954 (prize) Cumberland Valley Artists, 1949, 1950, 1952 (prizes) EXHIBITIONS: Society of Independent Artists, 1929, 1930, 1936-40, 1943, 1944 National Academy of Design, 1933-55 Salons of America, 1934 Brooklyn Museum, 1934 Corcoran Gallery, 1935-51 (four times) Allied Artists of America, 1935-53 (bronze medals 1944, 1953) Doctor Saharunis Art Gallery, Naples, Florida, 1970s American Federation of Arts traveling exhibit Farnsworth Museum, 1950 Springfield Museum of Art, 1947-50 Denver Art Museum, 1937-39 Washington County Museum of Fine Art, 1937-46 (prizes 1938, 39, 41, 43, 54) (gold medal 1946) Butter Art Institute, 1953 World's Fair, New York, 1939 Baltimore Museum of Art, 1939 Art Institute of Chicago, 1941-44 Cincinnati Art Museum, 1941 Pennsylvania Academy of the Fine Arts, 1942, 1948, 1949 Salmagundi Club, 1946 (prize), 1951 (prize) Connecticut Academy of Fine Arts, 1942, 1943, 1945, 1953, 1955 (William Bradford...