Paul Kauvar Smith Still-life Paintings

Simka Simkhovitch (Russian/American 1893 - 1949) This came with a small grouping from the artist's family, some were hand signed some were not. These were studies for larger paintings. This is a miniature watercolor and gouache vibrant, colorful bouquet of flowers in a vase. Simka Simkhovitch (Симха Файбусович Симхович) (aka Simka Faibusovich Simkhovich) (Novozybkov, Russia May 21, 1885 O.S./June 2, 1885 N.S.—Greenwich, Connecticut February 25, 1949) was a Ukrainian-Russian Jewish artist and immigrant to the United States. He painted theater scenery in his early career and then had several showings in galleries in New York City. Winning Works Progress Administration (WPA) commissions in the 1930s, he completed murals for the post offices in Jackson, Mississippi and Beaufort, North Carolina. His works are in the permanent collections of the Dallas Museum of Art, the National Museum of American Art and the Whitney Museum of American Art. Born outside Kyiv (Petrograd Ukraine) into a Jewish family who owned a small department store. During a severe case of measles when he was seven, Simcha Simchovitch sketched the views outside his window and decided to become an artist, over his father's objections. Beginning in 1905, he studied at the Grekov Odessa Art School and upon completion of his studies in 1911 received a recommendation to be admitted to the Imperial Academy of Arts. Though he enrolled to begin classes in architecture, painting, and sculpture at the Imperial Academy, he was dropped from the school roster in December because of the quota on the number of Jewish students and drafted into the army. Simchovitch served as a private in the 175th Infantry Regiment Baturyn [ru] until his demobilization in 1912. Re-enrolling in the Imperial Academy, he audited classes. Simka Simkhovitch exhibited paintings and sculptures in 1918 as part of an exhibition of Jewish artists and in 1919 placed 1st in the competition "The Great Russian Revolution" with a painting called "Russian Revolution" which was hung in the State Museum of Revolution. In 1922, Simkha Simkhovitch exhibited at the International Book Fair in Florence (Italian: Fiera Internazionale del Libro di Firenze). In 1924, Simkhovitch came to the United States to make illustrations for Soviet textbooks and decided to immigrate instead. Initially he supported himself by doing commercial art and a few portrait commissions. In 1927, he was hired to paint a screen for a scene in the play "The Command to Love" by Fritz Gottwald and Rudolph Lothar which was playing at the Longacre Theatre on Broadway. Art dealers began clamoring for the screen and Simkhovitch began a career as a screen painter for the theater. Catching the attention of the screenwriter, Ernest Pascal, he worked as an illustrator for Pascal, who then introduced him to gallery owner, Marie Sterner. Simkhovitch's works appeared at the Marie Sterner Gallery beginning with a 1927 exhibit and were repeated the following year. Simkhovitch had an exhibit in 1929 at Sterner's on circus paintings. In 1931, he held a showing of works at the Helen Hackett Gallery, in New York City and later that same year he was one of the featured artists of a special exhibit in San Francisco at the California Palace of the Legion of Honor in Lincoln Park. The exhibit was coordinated by Marie Sterner and included four watercolors, including one titled "Nudes". He is of the generation of Russian Soviet artists such as Isaac Pailes, Serge Charchoune, Marc Chagall, Chana Orloff, Isaac Ilyich Levitan, and Ossip Zadkine. In 1936, Simkhovitch was selected to complete the mural for the WPA Post office project in Jackson, Mississippi. The mural was hung in the post office and courthouse in 1938 depicted a plantation theme. Painted on the wall behind the judge’s bench, “Pursuits of Life in Mississippi”, a depiction of black workers engaged in manual labor amid scenes of white professionals and socialites, was eventually covered over in later years during renovations due to its stereotypical African American imagery. Simka painted what he thought was typical of Jackson. His impression of pre-civil rights Mississippi was evidently Greek Revival column houses, weeping willow trees, working class families, and the oppression of African Americans. He painted African American men picking cotton, while a white man took account of the harvest and a white judge advised a white family, calling it Pursuits of Life in Mississippi. Though clearly endorsed by the government and initially generally well-received, the mural soon raised concerns with locals as the climate toward racial segregation began to change. The main concern was whether depictions that show African Americans in subjugated societal roles should be featured in a courtroom. The following year, his painting "Holiday" won praise at an exhibition in Lincoln, Nebraska. In 1940, Simkhovitch's second WPA post office project was completed when four murals, "The Cape Lookout Lighthouse and the Orville W. Mail Boat", "The Wreck of the Crissie Wright", "Sand Ponies" and "Canada Geese" were installed in Beaufort, North Carolina. The works were commissioned in 1938 and did not generate the controversy that the Jackson mural had. The main mural is "The Wreck of the Crissie Wright" and depicts a shipwreck which had occurred in Beaufort in 1866. "The Cape Lookout Lighthouse and the Orville W. Mail Boat" depicted the lighthouse built in 1859 and the mail boat that was running mail during the time which Simkhovitch was there. The boat ran mail for the area until 1957. "Sand Ponies" shows the wild horses common to the North Carolina barrier islands and "Canada Geese" showed the importance of hunting and fishing in the area. All four murals were restored in the 1990s by Elisabeth Speight, daughter of two other WPA muralists, Francis Speight...

Work on canvas

Eliezer Weishoff (Israeli, 20th century) Still life of kettle (Russian samovar) over a warmer, 1973 Acrylic or oil on canvas Signed, dated and signed ...

Signed lower right, 'Haefner' for Janice Haefner (American, 1919-2002) and painted circa 1960; additionally signed, verso, and with artist address. This life-time member of the Pacific Art League lived in Los Altos...

Will Beger and his contemporary-minimalist paintings, take on an entirely unique approach to southwest art. Influenced by his youth and inspired by nature, he effortlessly captures a...

Vertical composition made in oil on linen canvas in the modern style. Diversity and bright colors with a predominance of white, red, blue, yellow, purple and turquoise. The work is c...

Work on cardboard Wooden frame 52.2 x 45 x 2 cm

Vertical composition made in oil on linen canvas in the modern style (naiv). Diversity and bright colors with a predominance of white, red, blue, purple and light turquoise. The work...

Signed verso, on stretcher bar, 'Janice Haefner' (American, 1919-2002) and painted circa 1960. A substantial mid-century, Expressionist figural abstraction showing two women seated ...

Isaac Monteiro (1938-2008) Female, 1985 Oil on canvas 36 x 48 in. Framed: 37 x 49 x 1 1/4 in. Signed lower left: I Monteiro Inscribed verso: Female, I M...

Clarence Holbrook Carter (American, 1904-2000) Still Life with Apples, 1940 Oil on canvas Signed and dated upper right 18 x 24 inches Clarence Holbrook Carter achieved a level of national artistic success that was nearly unprecedented among Cleveland School artists of his day, with representation by major New York dealers...

Betsy Podlach (American, born 1964.) Still life with Tin Cup, 1996 17.5 X 16.5 inches. Framed it measures 18.25 X 17.25 Betsy Podlach graduated from Harvard, cum laude, (she studied at Harvard with Alfred Decreido and William Reimann as well as Carlos Fuentes continuing her studies at the New York Studio School of Drawing, Painting, and Sculpture, Ms. Podlach was awarded an art fellowship and residency at The International School of Art in Umbria, Italy. Betsy Podlach is an American painter who considers the Italian Venetians and the american abstract expressionist painters her mentors. The two painters she is most inspired by are Titian and Jackson Pollock, Both use the picture plane and abstraction and space, light, movement and form to communicate a physicality built entirely on the principals of painting, in the “classical” sense of a flat plane and lines, color, shape, space and light applied to that flat surface to create magic – light, space, form, emotion, force, movement, the physical and the spiritual. She describes her work as a figurative version of abstract expressionism. She was influenced by many of the abstract expressionists from the NY school...