Paul Feiler Art

American School, Artist Unknown

A pair of abstract modern paintings by Richard W. Dempsey (1909 - 1987). Paintings are oil on masonite and signed "Dempsey" front bottom corner. On the back of each painting on tape is written "Harmony". Richard Dempsey was born in Ogden, Utah, on September 14, 1909. His youth was spent in Oakland, CA, where he attended Sacramento Junior College (1929-31) as an art major. He then studied at The California School of Arts and Crafts (1932-34) and the Students Art Center (1935-40), where he was taught by the sculptor Sargent Johnson. In 1941, he moved to Washington, DC and studied at Howard University...

"New Move 8" Oil on Canvas is a mix of blues and greens with chrome yellow accents. Frank Arnold is thought by many to be one of the foremost abstract figurative painters and sculpto...

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...

Artwork measures 48" x 30" and framed 56 ¼" x 38 ¼" x 3" Provenance: John Heller Gallery, NYC, circa 1975 (label verso) The artist's daughter Corbino Galleries, Sarasota, FL (1990)...

“OTL 8” is 60”x 60”. Central figure of Vibrant to deep reds on a split field of warm beige/coral and deep red/black. The foreground exhibits heavy strokes and Arnold’s “8” and “X” fi...

“BS Trust” is 36” x 36”. Frank Arnold’s paintings exhibit the highest quality materials for a truly archival piece, created to last generations. Much of Frank Arnold’s work is sourc...

Energy Manifestation #4, 1933, oil on canvas, 24 x 30 inches, signed and dated lower left. Likely exhibited at Nicolaides’ solo show at the Wadsworth Atheneum (Morgan Memorial Building), Hartford, Connecticut, in April, 1933 (see Memorial Opens Varied Display of Nicolaides Work, Originality Distinguishes Creations of New York City Artist, Hartford Courant, April 5, 1933) About the Painting This rare work comes from Nicolaides’ energy series, which draws on a unique combination of machine- age aesthetics, Italian-influenced Futurism and French-inspired Surrealism. But, this is a uniquely American work produced in the melting pot of the 1930s metropolis, New York City. Nicolaides uses the ray lines of the American precisionists to frame a pulsating apparatus that unites man and machine as one. The cogs and gears of the fantasy machine seamlessly blend with the hand of its operator. We are left to wonder whether the two are working together in harmony or whether the worker has been absorbed into the machine, like a Depression era robot. In reviewing the 1933 Wadsworth Atheneum show, where works from Nicolaides’ energy series were exhibited, a critic described these paintings as “combining . . . highly imaginative form aspects of machinery and flashes of color which seem to represent light and heat.” The same critic praised the artist, “Mr. Nicolaides here achieves powerful effects with line, mass and color. These pictures are striking for the solidity of the objects portrayed, for their composition and for their delicate orchestration of tones.” Commenting on the same exhibition, Frederick Hynd, the director of the Hartford Art School, noted that “Mr. Nicolaides’ work was noteworthy for its extremely personal sense of color and for its imagination” and that the artist achieved decorative effects “based on emotional ideas.” About the Artist Kimon Nicolaides...

“Moving 5” is 60”x 48”. The vibrant yellow surface tones of this piece are broken in several places allowing random glimpses of Arnold’s dreamlike underpainting for a multi-dimension...

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1950 University of Illinois at Urbana "Contemporary American Painting" 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 36" x 2". About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...

Binyamin Basteker Abstract composition , 1990 oil on canvas 87 x 115 cm 34 x 45 in Binyamin Basteker was born in Mumbai in 1953. Growing up in a family of artists, his unique tal...

“My Other Side” is 48”x 36”. This is an earlier piece by Arnold from the estate of a late collector of his work. This piece is predominantly shades of red from light to almost black....