Paul Burlin Paintings

Stinchcombe Hill by Rupert Aker [2022] original Oil on board Image size: H:30 cm x W:30 cm Complete Size of Unframed Work: H:30 cm x W:30 cm x D:2cm Frame Size: H:33 cm x W:33 cm x ...

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...

Los Angeles artist Harrison Gilman graduated from NYU’s Tisch School of the Arts. In 2018 his artworks were exhibited at the We Rise Art Fair in Los Angeles alongside Shepard Fairey ...

A velvety dark green reminiscent of a forest’s canopy dominates the canvas in this abstract piece by Noreen Taylor. Glimpses of yellow and pale green pro...

Gestural, abstract expressionist oil painting on canvas in earth tones of blue and green, with accents of burgundy and pale yellow "May 29", Painted by Hudson Valley based artist, James O'Shea in 2021 Oil on canvas, 26 x 26 inches unframed, raw canvas sides Wire backing, ready to hang Signed verso James O’Shea’s deeply pigmented abstractions are grounded in the landscape. Taking his cues from the bare winter months in the Northeast when the horizon is stripped of its foliage, he suggests that “So much of life’s structure reveals itself when it goes into hibernation”. The architecture in O’Shea’s compositions takes form with expressive gestures using...

Materia et Antimateria by Ruggero Vanni is an exceptional example of abstract expressionism meeting sculptural sensibilities. This unique mixed-media painting blends pigments and tex...

An original modernist oil painting by American female artist Esther Rollick.

This large dramatic oil painting was made as part of a landscape panorama which measures 7m across in total. Although the four pieces were made as a complete work, they are available...

George Gustav Adomeit (American, 1879-1967) Summer Landscape Oil on canvas board Signed lower right 13 x 14.25 inches 18.25 x 19.5 inches, framed A major painter of American scene s...

Abstract oil painting on canvas with pastel palette with red and green “Day of the Swans”, painted by Ragellah Rourke in 2021 48 x 36 inches, oil on canvas Sides are cleanly painted so additional framing is optional Wire backing for easy hanging Artist signature located on the back This contemporary, abstract painting was created by Hudson Valley based artist, Ragellah Rourke in 2021. Her most recent body of work focuses on relationships between color and space. Elements of symbolism, reminiscent of Gustav Klimt, decorate the composition with abstract markings and calligraphic gestural brushwork. Warm yellow and red tones with hints of green radiate upwards into a background of white, recalling the awaking the nature during the beginning of spring. There is wire installed on the back for easy hanging. The painting’s sides are cleanly painted so additional framing is optional. Artist Statement: My paintings are very textural and built up slowly over long periods of time. The surface holds the memory of the painting’s development, all the time looking for clues for what will come next. I look for connections between the forms that develop. They are never something that I logically calculate, but rather a long string of chances, thoughts, and guesses. The appearance and meaning develop throughout the progression of the painting. It is a continuous search for resolution, balance and mystery within the painting. Artist CV: 1963 Born Albany, NY 1998 BA Painting, The University at Albany, State University of New York Residing: East Berne, NY SOLO EXHIBITIONS: 2012 Carrie Haddad Gallery...

A fine abstract expressionist oil and paper painting by American artist Sam Tchakalian (1929-2004). Sam was born in Shanghai, China, and lived in China during the first 17 years of ...