“Circus Yard” American Regionalist, Elephants, Tents, Performers, Clowns, Oil
By Paul Sample
Located in Yardley, PA
“Circus Yard” by Paul Starrett Sample (American, 1896-1974). A vibrant circus scene by the noted American regionalist, Paul Starrett Sample. This work captures the lively bustle beh...
Canvas, Oil
Memories of an Old Man
By Paul Sample
Located in Los Angeles, CA
An Acrylic on canvas titled " Memories of an Old Man" C. 1960's, signed lower right. Provenance: Milch Galleries NY, label affixed. Canvas measures 28 x 36 inches. Framed size is app...
Acrylic
$9,800
Vermont Farm
By Paul Sample
Located in Milford, NH
A fine impressionist landscape of a Vermont farm by American artist Paul Starrett Sample (1896-1974). Sample was born in Louisville, Kentucky and went to school at Dartmouth College,...
Canvas, Acrylic
$9,500
"Spanish Village" Paul Sample, Mid 20th Century European Scene, Pastel Colors
By Paul Sample
Located in New York, NY
Paul Sample Spanish Village, 1958 Signed lower right; titled on artist label affixed to the reverse Acrylic on Masonite 23 1/4 x 33 inches Provenace Milch Galleries, New York Privat...
Masonite, Oil
"Hippo" Paul Sample, Regionalist, Atmospheric Circus Performers and Animal Scene
By Paul Sample
Located in New York, NY
Paul Sample Hippo Signed lower right Oil on canvas 16 x 20 inches Provenance Chidsey Collection Private Collection (acquired from the above in 1980) Sample's attempt to impose a T...
Canvas, Oil
San Pedro Harbor
By Paul Sample
Located in New York, NY
It is infrequent, to say the least, that a diagnosis of tuberculosis proves fortuitous, but that was the event, in 1921, that set Paul Starrett Sample on the road to becoming a professional artist. (The best source for an overview of Sample’s life and oeuvre remains Paul Sample: Painter of the American Scene, exhib. cat., [Hanover, New Hampshire: Hood Museum of Art, 1988] with a detailed and definitive chronology by Sample scholar, Paula F. Glick, and an essay by Robert L. McGrath. It is the source for this essay unless otherwise indicated.) Sample, born in Louisville, Kentucky, in 1896 to a construction engineer and his wife, spent his childhood moving with his family to the various locations that his father’s work took them. By 1911, the family had landed in Glencoe, Illinois, settling long enough for Paul to graduate from New Trier High School in 1916. Sample enrolled at Dartmouth College, in Hanover, New Hampshire, where his interests were anything but academic. His enthusiasms included the football and basketball teams, boxing, pledging at a fraternity, and learning to play the saxophone. After the United States entered World War I, Sample, to his family’s dismay, signed on for the Naval Reserve, leading directly to a hiatus from Dartmouth. In 1918 and 1919, Sample served in the U.S. Merchant Marine where he earned a third mate’s license and seriously contemplated life as a sailor. Acceding to parental pressure, he returned to Dartmouth, graduating in 1921. Sample’s undergraduate life revolved around sports and a jazz band he formed with his brother, Donald, two years younger and also a Dartmouth student. In November 1933, Sample summarized his life in a letter he wrote introducing himself to Frederick Newlin Price, founder of Ferargil Galleries, who would become his New York art dealer. The artist characterized his undergraduate years as spent “wasting my time intensively.” He told Price that that “I took an art appreciation course and slept thru it every day” (Ferargil Galleries Records, circa 1900–63, Archives of American Art, Smithsonian Institution, available on line). In 1920, Donald Sample contracted tuberculosis. He went for treatment to the world-famous Trudeau Sanitorium at Saranac Lake, in New York State’s Adirondack Mountains for the prescribed regimen of rest, healthful food, and fresh air. Visiting his brother in 1921, Paul also contracted the disease. Tuberculosis is highly contagious, and had no certain cure before the development of streptomycin in 1946. Even for patients who appeared to have recovered, there was a significant rate of recurrence. Thus, in his letter to Price, Sample avoided the stigma conjured by naming the disease, but wrote “I had a relapse with a bad lung and spent the next four years hospitalized in Saranac Lake.” The stringent physical restrictions imposed by adherence to “the cure” required Sample to cultivate an alternate set of interests. He read voraciously and, at the suggestion of his physician, contacted the husband of a fellow patient for instruction in art. That artist, then living in Saranac, was Jonas Lie (1880–1940), a prominent Norwegian-American painter and an associate academician at the National Academy of Design. Lie had gained renown for his dramatic 1913 series of paintings documenting the construction of the Panama Canal (The Metropolitan Museum of Art, New York; United States Military Academy, West Point, New York). Primarily a landscape artist, Lie had a particular affinity for scenes with water. His paintings, impressionistic, atmospheric, and brushy, never strayed from a realistic rendering of his subject. Sample regarded Lie as a mentor and retained a lifelong reverence for his teacher. Sample’s early paintings very much reflect Lie’s influence. ` In 1925, “cured,” Sample left Saranac Lake for what proved to be a brief stay in New York City, where his veteran’s benefits financed a commercial art course. The family, however, had moved to California, in the futile hope that the climate would benefit Donald. Sample joined them and after Donald’s death, remained in California, taking classes at the Otis Art Institute in Los Angeles. In Sample’s account to Price, “I couldn’t stomach the practice of painting a lot of High Sierras and desert flowers which seemed to be the only kind of pictures that were sold here so I got a job teaching drawing and painting at the art school of the University of Southern California.” Initially hired as a part-time instructor, Sample progressed to full-time status and ultimately, by the mid-1930s, to the post of Chairman of the Fine Art Department. Sample, however, did not want to wind up as a professor. “Teaching is all right in small doses,” he wrote, “but I have a horror of drifting into being a college professor and nothing more.” At the same time as he taught, Sample began to exhibit his work in a variety of venues at first locally, then nationally. Though he confessed himself “a terrible salesman,” and though occupied with continued learning and teaching, Sample was nonetheless, ambitious. In 1927, he wrote in his diary, “I am eventually going to be a painter and a damned good one. And what is more, I am going to make money at it” (as quoted by Glick, p. 15). In 1928, Sample felt sufficiently solvent to marry his long-time love, Sylvia Howland, who had also been a patient at Saranac Lake. The Howland family were rooted New Englanders and in summertime the Samples regularly traveled East for family reunion vacations. While the 1930s brought serious hardship to many artists, for Paul Sample it was a decade of success. Buttressed by the financial safety net of his teacher’s salary, he painted realist depictions of the American scene. While his work addressed depression-era conditions with a sympathetic eye, Sample avoided the anger and tinge of bitterness that characterized much contemporary realist art. Beginning in 1930, Sample began to exhibit regularly in juried exhibitions at important national venues, garnering prizes along the way. In 1930, Inner Harbor won an honorable mention in the Annual Exhibition of the Art Institute of Chicago. That same year Sample was also represented in a show at the Albright-Knox Gallery in Buffalo and at the Biennial Exhibition of the Corcoran Gallery of Art, Washington, D.C. In 1931, Dairy Ranch won the second Hallgarten Prize at the Annual Exhibition of the National Academy of Design, in New York. Sample also made his first appearances at the Carnegie Institute, Pittsburgh, and The Pennsylvania Academy of the Fine Arts, Philadelphia. In 1936, Miner’s Resting won the Temple Gold Medal at the Pennsylvania Academy’s Annual Exhibition. Always interested in watercolor, in 1936, Sample began to send works on paper to exhibitions at the Whitney Museum, New York. While participating in juried exhibitions, Sample also cultivated commercial possibilities. His first New York art dealer was the prestigious Macbeth Gallery in New York, which included his work in a November 1931 exhibition. In 1934, Sample joined the Ferargil Galleries in New York, after Fred Price arranged the sale of Sample’s Church Supper to the Michele and Donald D’Amour Museum of Fine Arts in Springfield, Massachusetts. In 1937, The Metropolitan Museum of Art purchased Sample’s Janitor’s Holiday from the annual exhibition of the National Academy of Design, a notable honor. As prestigious as this exhibition schedule may have been, by far Sample’s most visible presence in the 1930s and 1940s was the result of his relationship with Henry Luce’s burgeoning publishing empire, Time, Inc. Sample’s first contribution to a Luce publication appears to have been another San Pedro...
Canvas, Oil
The Wood Decoy oil painting by Paul Sample
By Paul Sample
Located in Hudson, NY
Signed "Paul Sample" lower right; titled and signed verso: "The Wood Decoy" & "Paul Sample" in pencil in the artist's hand. Paul Sample was an acclaimed Ne...
Canvas, Oil
$39,000
H 45 in W 39 in
NYC Cityscape American Scene WPA Modern Realism Mid 20th Century Architectural
By Ernest Fiene
Located in New York, NY
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...
Canvas, Oil
$2,008
H 17.5 in W 24.5 in D 2.5 in
Painting of Mountain Path by Lake in Ireland by 20th Century Irish Artist
By Robert B Higgins
Located in Preston, GB
Painting of Mountain Path by Lake in Ireland by 20th Century Irish Artist Art measures 16 x 9 inches Frame measures 24.5 x 17.5 inches A beautifully atmospheric mid 20th century Ir...
Oil, Board, Canvas, Wood
$29,978
H 11.42 in W 19.69 in
"Venetian Canal" Late 19th Century Oil on Canvas by Spanish Artist Antonio Reyna
By Antonio Reyna Manescau
Located in Madrid, ES
ANTONIO REYNA MANESCAU Spanish, 1859 - 1937 VENETIAN CANAL signed & located "A. Reyna, Venezia" (lower left) oil on canvas 11-1/2 x 19-3/4 inche...
Canvas, Oil
$75,000
H 31 in W 27 in D 2 in
Till the Clouds Roll By 1945 Frank Sinatra Mid Century Modern Hollywood Film WPA
By Richard Whorf
Located in New York, NY
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...
Canvas, Oil
$5,500
H 19 in W 25 in
Children Playing on a Boat, likely New York/Brooklyn/Flatbush Area, c. 1895
Located in Philadelphia, PA
Charles Lewis Fussell (American, 1840–1909) Children Playing on a Boat Oil on canvas, 11 x 16 3/4 inches Framed: 19 x 25 inches (approx.) Signed at lower left: “C.L. Fussell” Charle...
Canvas, Oil
$14,389
H 20.08 in W 29.93 in
"Moonlit River Scene", Early 20th Century Oil on Canvas by Luis Graner y Arrufi
By Luis Graner Y Arrufi
Located in Madrid, ES
LUIS GRANER Y ARRUFI Spanish, 1863 - 1929 MOONLIT RIVER SCENE signed and dated "L Graner 1925" (lower right) oil on canvas 20-1/8 x 30 inches (51 x 76 cm.) framed: 25-3/4 x 35-3/4 inches (65 x 90.5 cm.) PROVENANCE Private Collection, Barcelona, Spain Graner paints this work, Moonlit on the river, during his stay in the United States in the last stage of his artistic life, from 1910 to 1928, in full stage of maturity. This artwork reflects the constant search of the artist for the effects of light in his work. This persistent concern for light remains throughout his artistic life, which he learned in his Parisian stage under the influence of the painter Frances Platour. The silver light of the moon and the small lights at distance, which are tiny foci of artificial light, reflecting the river water, forming a chromatic range of greens, ocher and pearly that give a certain mystery to the composition, creating a modern approach to the landscape, by placing the two large trees at the edge of the river in the foreground Luís Graner y Arrufí, Spanish (1863–1929) was a Catalan painter in the Realistic style. He was born in Barcelona, and studied at the Escola de la Llotja from 1883, with Antoni Caba (color/composition) and Benet Mercadé (drawing). During his final year at school, he received a grant to study in Madrid, where he copied and learned from the Old Masters at the Museo del Prado. After that, supported by a fellowship, he moved to Paris and became a member of the Academie des Beaux-Arts. Later, he returned to Barcelona, but continued to travel to cities throughout Europe, including Berlin, Munich and Düsseldorf. Influenced by Richard Wagner's concept of "Gesamtkunstwerk" (Total Work of Art), he was motivated to create his own total art experience and organized the "Sala Mercè" (Mercy Hall) in Barcelona's Rambla District. The project involved contributors from every artistic discipline, including the new field of cinematography. The room was decorated by Antoni Gaudí. Other participants included Adrià Gual, Santiago Rusiñol, Ramon Casas...
Canvas, Oil
$29,978
H 11.42 in W 19.69 in
"Ca' d' Oro, Venice" Late 19th Century Oil on Canvas of Venice, by Antonio Reyna
By Antonio Reyna Manescau
Located in Madrid, ES
ANTONIO REYNA MANESCAU Spanish, 1859 - 1937 CA' D' ORO, VENICE signed & located "A. Reyna, Venezia" (lower right) oil on canvas 11-1/2 x 19-3/4 ...
Canvas, Oil
$1,385
H 23.6 in W 35.2 in D 0.5 in
1857 Swedish Romantic Oil Seascape Sailing Fishing Boats Signed by Marcus Larson
Located in Stockholm, SE
This seascape oil painting was created in Paris in 1857 by the renowned Swedish master Simeon Marcus Larson (1825-1864). It dates from the artist's most accomplished period and offer...
Canvas, Wood, Oil
$900
H 15 in W 24 in
Palm Springs City Hall - Original Blue Landscape California Desert Artwork
By Kathleen Keifer
Located in Los Angeles, CA
Kathleen Keifer's original artworks represent one of the most significant expressions of New California Realism. Keifer brings a fresh perspective to her colorful scenes of everyday ...
Canvas, Acrylic
$890
H 23.4 in W 28.2 in D 0.5 in
1869 Romantic Alpine Landscape Oil Painting Monk Meeting at Wayside Cross Signed
Located in Stockholm, SE
This atmospheric antique oil painting, signed and dated 1869 by E. Dahlberg, captures a picturesque mountain landscape, likely in the Alps. The composition focuses on a quiet narrati...
Canvas, Wood, Oil
Woman with Shopping Cart
Located in Zofingen, AG
shipped in roll Acrylic painting of woman in sunglasses white dress black dots green socks sitting near shopping cart full of fruits Acrylic Painting on canvas One of a kind artwor...
Canvas, Acrylic
"Medicine Hat" Oil painting
By Lani Vlaanderen
Located in Denver, CO
Lani Vlaanderen's (US based) "Medicine Hat" is an oil painting that depicts a small group of wild horses grazing peacefully in golden sunlit meadow Bio/artist statement: Living in the mountains near Rocky Mountain National Park Lani is never lacking something inspiring to paint, be it a grand sunrise on Long's Peak or a small sparrow perched on a pine branch. All fill her with the desire to put paint to canvas. Her goal is not to replicate what she sees, but to express her emotional response from the source of inspiration visually in paint and convey it to the world. She wants to communicate the awe she feels when in the natural world and the joy she experiences from seeing even the seemingly most insignificant moment in time that will never come again. She strives to convey her belief that all things, all beings, all life and non-life, share equal significance and are essential to the whole. "I began my art quest by taking a few classes at Rocky Mountain College of Art and Design, then enrolled in Kim English's class at the Art Student's Leaque of Denver. After four years with Kim and functioning as his class monitor, I had the opportunity to participate in a painting group with Richard Schmid in Loveland Colorado. I painted there with him for six years. I have taken workshops from such masters as David Leffel, Sherrie McGraw...
Oil
Horse & Rider
By Paul Sample
Located in Milford, NH
A fine impressionist watercolor painting of a horse and rider by American artist Paul Sample (1896-1974). Sample was born in Louisville, Kentucky and went to school at Dartmouth Coll...
Paper, Watercolor
View of Verney Farm, Bennington NH
By Paul Sample
Located in Milford, NH
This exceptional winter landscape was painted by American artist Paul Starrett Sample (1896-1974). Sample was born in Louisville, Kentucky and wen...
Canvas, Oil
Stockton
By Paul Sample
Located in Palm Desert, CA
In this painting the viewer is given a birds-eye view of the inland port of Stockton, California. The straightforward realism of the piece contrasts with the more lyrical paintings o...
Oil
House in the country
By Paul Sample
Located in Los Angeles, CA
This is a fine example of Paul Sample's work. It is oil on Masonite, excellent condition, framed. Paul Sample, N.A. (1896-1974) Born: Louisville, KY; Studied: Dartmouth Colleg...
Masonite, Oil