Mid-Century Modern

Stanley Stangren

Modernist Abstract Mixed Media Collage on Paper

Ca. 1964

 Dimensions: Unframed: 11-1/2 x 8-1/16 inches            Framed: 17-1/8 x 12-7/8 inches

 Signed by the artist and dated ’64 in the lower right corner; inscribed in German: Zurich, Schweitz (Zurich, Switzerland)

 

This unique work of art is a mixed media collage on paper, where the artist had generously used his own pencil, gouache and watercolor drawing with a print cut-outs.

Stanley R. Stangren (1928–2014) was an outstanding American jeweler, artist, sculptor and ceramist, residing in New York City. He worked in different styles and in different materials, including oils, watercolor, ceramic and stone sculptures; and fine jewelry.

Stangren’s painting styles varied tremendously – from complete abstract works to Holocaust themes in the style of Georges Rouault and Hieronymus Bosch to portraits in the style of Moses and Raphael Soyer. He was also a passionate lover of the performing arts, and, as a young man, spent time studying dance at both the School of American Ballet and with Martha Graham. Although he worked with dance pioneers like Ms. Graham, Anna Sokolow and Charles Weidman, an injury prevented him from pursuing dance as a career. But he found other outlets for his artistic pursuits.

In his youth, Stangrem attended the Brooklyn Museum School of Art, and graduated from the High School of Music and Art in New York City. He later studied at the Boston Museum of Fine Arts, the Art Students League, Bard Colledge and in Europe. Stangren studied jewelry design in Europe, attending Staatlische Kunst Werkschule in Pforzheim, Germany and Kunstgewerbeschule der Stadt in Zurich, Switzerland. His jewelry and designs were received with great success. His combination of precious and semi-precious stones, high-karat gold and sterling silver, and exotic materials executed with outstanding workmanship in the abstract modernist style gave a unique aspect to his designs, the metalwork usually electroformed, cast, or fused in varying textures. After returning to New York in the later 1950’s, Stangren opened and maintained a ceramic business in Trenton, New Jersey. Very few pieces of his work remain from this period.

When he retired from the ceramics business, he spent much of his time enjoying the arts. He frequently attended Juilliard performances, including most of the opera and drama presentations at the School, and was especially fond of the dance concerts. The last 40 years of his life, he taught painting in the New York area and worked with Metropolitan Museum of Arts in developing annuities, for future acquisitions.

In addition, Stangren left annuities for MoMa in support of educational programs and left, in his will or through his executors, art supplies for the Harlem School of Art and benefits for the Urban Assembly organization. Mr. Stangren's love for the arts and for the performances he was seeing at Juilliard inspired him to take his participation a step further and to establish charitable gift annuities with the School.

"I realized what Juilliard offered me, being a passionate music lover, and I decided to give something back" he said. "What Juilliard achieves is remarkable. When I think of the prominent actors, dancers and musicians that have been educated there, I am always staggered. It is deeply financially satisfying to be able to give back to the School, while benefitting from it at the same time." The Juilliard School is not the only organization that Stanley Stangren supported. He has established gift annuities at a number of other nonprofits, including the Metropolitan Museum, the American Civil Liberties Union, the Children's Aid Society and the New York City Opera.      

$1,800


French Post-Modernism

Bernard Taurelle

Nu

Oil on Canvas Painting

Ca. 1960s

Dimensions: 40.5” x 29.5” Signed lower right corner Stamped en verso “Galerie Felix Vercel Paris – New York” Original period frame

Bernard Taurelle (French, B. 1931) is a famous French artist, widely known for his impressionistic paintings. He graduated college at 19 with a degree in philosophy. A renaissance artist, Taurelle is also an accomplished musician and worked briefly as an architect and film set designer. The paintings by Bernard Taurelle exhibited at Galerie Felix Vercel in Paris (Avenue Matignon) and New York (Madison Avenue) alongside such artists as Pablo Picasso, Fernand Leger, Armand Guillaumin, Maurice Utrillo and Claude Venard. Bernard Taurelle’s paintings are part of the permanent collections of the following French museums:

Musee National d'Art Moderne, Paris Musee de Toulouse Musee de Bordeaux Musee de Nice Musee de Grenoble Musee de Rouen Ville de Paris

$15,000


Jih-Chin Wu

Neon Crowd

Contemporary Taiwanese

Oil on Canvas Painting

Ca. 2000

Signed and dated lower right.

Titled ‘Neon Crowd’ en verso.

Dimensions (unframed): 55” height x 67” wide

Dimensions (framed): 57” height x 69” wide

Medium: oil on canvas

 Jih-Chin Wu (Taiwanese, born 1971) is internationally renowned Taiwanese artist, specializing in calligraphy and traditional ink painting. Wu completed his MFA in U.S. and U.K., and has lived abroad in New York, Beijing, and London for more than 10 years, where he has exhibited personal artistic vocabularies that reflect his local development at the time, and determined his core artistic principle and mission in life. His works are the ‘image writings’ and Taiwan is the subject. These ‘image writings’ are created with instinctive brushstrokes that recreate the moments in time and convey the sub consciousness of the author. His past exhibitions include “Calligraphy of Taiwan” (2015, Aglow Space Gallery, Tainan, Taiwan), “Green Mangrove Tunnel” (2015, Taiwan etc.

$7,500


Sasha Chimkevitch

Jam Session in Paris

Watercolor & Gouache on Paper

Ca. 1960s

Signed lower right, ca. 1960s.

Period frame.

Dimensions (unframed):  Height: 20.5” | Width: 14.5”

Dimensions (framed):       Height: 27.75” | Width: 21.75”

 

Sacha Chimkevitch (French, 1920 – 2006) was born in Paris on August 17, 1920 to a Persian-Armenian mother and a Polish father. During his school years, he attended the École Alsacienne. At the crisis of adolescence, he left this institution for the school of architecture. He is indeed the last representative of a family of architects, and his father hoped to see him one day resume the family practice.

 

In 1937, he discovered jazz. He attends the Swing Club of Paris, located at the pool of l'Étoile, rue de Tilsit, where he meets some of the rising stars of French jazz: Alix Combelle, Dany Polo and Stéphane Grappelli. His Parisian releases at this time led him to meet other musicians, such as Django and Joseph Reinhardt, the Salvador brothers, Aimé Barelli, André Ekyan and many others.

In the clubs he frequented, also performed black American musicians, who were passing through Paris. In 1938, Guy Rinaldo asked him to make a poster for the Paris Swing Club. This was definitely his first commission. At the declaration of war, Sacha precedes the call despite parental reluctance. He is incorporated into the 5th Satory-based Versailles Engineers Regiment.

 

Prisoner of war, he was held in captivity in Cassel, from where he tried to escape twice, which led to several stays in a disciplinary camp. During his captivity, he managed several times to escape the surveillance of the guards in order to listen to Dutch musicians who, braving the German police, played jazz in a café in the old French Quarter. There, he learned to know and listen to others, derision and small joys. From this painful period, he will come out matured and relaxed.

On his return from captivity, on the advice of a friend, Lucien Fontanarosa, he entered the School of Fine Arts in the engraver studio of Lemagny. For two years, he learns by copying the ancient basics of drawing. He also attended the Académie de la Grande Chaumière for training in drawing nude. He then worked between 1948 and 1951 with Pierre Merlin in engraving, at the studio of Edouard Goerg. All by himself, Sasha Chimkevich learned the techniques of gouache and watercolor, and used oil and canvas for his paintings only occasionally.

He realized that he could live by his art when, in 1948, he sold some watercolors that he had put in deposit in the record store of Jeff Gilson. However, during a part of his career the merchants blamed him for not being commercial enough. The success achieved over the past several decades by each of his numerous exhibitions is a recognition by the public of the value of Sacha Chimkevich's art.

From 1951, he exhibited his works regularly - in Paris in public places, Museum of Modern Art, House of Chemistry, Roybet Fould Museum; but also in various galleries and jazz clubs. He also exhibits in Caen and its region, where he draws his inspiration for landscapes of beaches, ports and lively streets. He is also in demand on a number of occasions abroad, notably in the United States - in Washington (1963), in Baltimore (1975), in New Orleans (1985), then in New York (1989), in Scotland in Aberdeen (1971-1972), in Germany in Oldenburg (1982), then in Hanover (1987).

He obtained several commissions from the French State for watercolors, greeting cards (especially for Georges Pompidou). He designs decorative panels for Air France's Manila and Hong Kong offices. His activity led him to illustrate poems by Guillaume Apollinaire (1978) and Les Fleurs du mal by Charles Baudelaire (1979) for the luxury editions of La Nouvelle Librairie de France. The city of Paris’ Municipality also buys his works of art. He also worked for advertising purposes- in 1967, for Sud Aviation; and in 1972, for Aerospatiale and SFENA. Many of his lithographs are published in the United States and Japan. On the theme of jazz, he produced many posters and covers of jazz records.

Sacha Chimkevich rarely worked from nature. He observed at length and then restored his memories and impressions - sometimes several weeks later, alone, in his studio. He rarely used photography but he had a solid visual memory to be able to transpose in his works the right attitudes, movements, and atmosphere. Like a conductor, he organizes his memories, composes his group of musicians and puts forward his soloists. The artist worked in a musical atmosphere, thanks to his large collection of jazz records. This music influenced the choice of colors; the sound of Charlie Parker causes blue or orange, and that of Jackie McLean a tart yellow.

Musical preferences in the jazz field of Sacha Chimkevich went from classical jazz standards to bebop. It is very logical that E.P.M. had commissioned him to illustrate a C.D. cover and the box set dedicated to these musicians. He has made some rare portraits of great jazz figures: Charlie Parker for Chan; Duke Ellington for Guiter and his re-releases; and that of Erroll Garner, one of his favorite pianists. Claude Combaz said of Sasha Chimkevitch: "His work is a chronicle of jazz. He met all the musicians from Duke Ellington to Charlie Mingus, and many were his friends. Jazz musicians say that he was just like them and that he knew how to understand them; and that he had "the feeling" in his works.

This artist continues to be considered the most authentic painter in the field of jazz. Musicians, organizers and publishers from all over the world asked him to make record covers and posters. His musician friends have dedicated many of their works to him. Claude Tissendier had composed "Chez Sacha" and Pierre-Yves Sorin "Sacha blues".

This imaginative painter enjoyed playing jazz himself, as well. However, he liked to tackle other themes: women and the sea in particular. Very early, he frequented Norman artists and participated in many of their exhibitions.

Sasha had regularly stayed in his studio in Franceville, with everything being Slavic at home. He lived his life without worrying about tomorrow; welcoming his friends, the jazzmen, in his Parisian studio every week. Even being more than 80 years of age, he always responded favorably to different requests and commissions, thus committing himself to multiple projects simultaneously.

In 1999, he donated his studio collection, as well as works donated by his friends, and his own very large collection of jazz records to the P. Dubois Museum in Boucher of Nogent-sur-Seine. This museum had dedicated a retrospective exhibition to Sasha Chimkevitch in 2001; and his heritage days - in 2006.

In his will, Sasha Chimkevitch had donated his collection of several thousand works contained in his studio to the Paul Dubois and Alfred Boucher Museum in Nogent-sur-Seine, which presents a selection of these works in its galleries.


sold


Irina Shtenberg

Portrait of a Yong Woman

Watercolor & Gouache on Paper

Ca. 194s

Unsigned, attributed to Irina Valeryanovna SHTENBERG.

Period frame.

Dimensions (unframed):  Height: 13” | Width: 11”

Dimensions (framed):       Height: 15” | Width: 12-7/8”

All the works of this internationally famous artist characterized by the clarity of the picture, and sometimes underlined sharpness of the lines. The painter acutely felt the nature of the dramatic work and found a bright, bold solution to the stage space. Always strived for simplicity and lightness, Stenberg in her works of art had created a true and delicate atmosphere.

Irina Valeryanovna SHTENBERG (Russian/Georgian, 1905–1985) was a fascinating figure in the history of Russian and Georgian art, the Tbilisi avant-garde, and the art of the theater. She spent her youth in Georgia, where she graduated from the Tbilisi Academy of Art in the 1926, studying under Evgeny Lansere and Gigo Gabashvili.

Moving to Moscow in 1929, Shtenberg became a member of the artistic elite, working and exhibiting with Akimov, Tishler, and members of the '13' artist group. With the support of Anatoly Lunacharsky, Soviet Peopel's Commissar of Education, she had first solo exhibtion in Moscow. While in Moscow, she contributed to influential avant-garde journals, such as ‘Rost’ and ‘30 days’. Unfortunately for Shtenberg, her husband, the high-ranking party functionary Alexander Kulidjanov, was arrested in 1937 and most likely executed. After returning to Tbilisi, she continued to work as a theatrical artist creating stage designs and decorations, working for the best theatres in Tbilisi.

Shtenberg is also known for her forays into erotic drawing, and her own sexuality has been the subject of much speculation over the years. Whether in her erotic drawings, her costume designs, or other works, Shtenberg always imbued a personality and humanity into her figures.

 

$1,500


James Abbott McNeill Whistler

and

Salvatore Anthony Guarino

(SELF)PORTRAIT

Circa 1904

Oil on canvas.

Signed by both artists, James Abbott McNeill Whistler and Salvatore Anthony Guarino

Ornate gilt frame designed by Stanford White, and hand-made by Thomas Dewing.

Dimensions:         Painting: 11 1/2 x 5 1/2”         Frame: 15 3/8 x 9 1/2”

PROVENANCE

This painting was purchased from the private collection of Wanda Best Anderson, a prominent socialite. The painting bears her collection label and number 52 on verso.

THE HISTORY OF THE (SELF)PORTRAIT

Presented here is a most unusual work of art – a last self-portrait by the world-famous painter, James Abbott McNeill Whistler, who began the work in 1903. There is a strong conviction among Whistler’s art progeny, as well as independent art experts that, having managed to portray the upper part (face and torso), the artist put his famous butterfly-shaped monogram at the exact place where his work was interrupted. Whistler himself due to illness and the subsequent death in the same year never finished this portrait. However, the lower part of Wistler’s self-portrait was completed by his closest friend, also a known artist - Salvatore Anthony Guarino (Italian/American, 1883 - 1919) in 1904, a year after Whistler's death.

As Guarino was not only a friend but also a great admirer of Whistler's work, he completed this portrait (lower part, below ‘butterfly monogram’) in Whistler's own style. The fact that he masterfully adopted Whistler’s palette, portrait characteristics, and signed it below Whistler’s stylized butterfly emblem in the lower right corner clearly suggests that Guarino intended this work as a testament of their closeness as painters and personal friends.

Whistler had developed his remarkable ‘butterfly monogram’ during the 1860s partly because of his interest in Asian art. He studied the potter's marks on the china he had begun to collect and decided to design a monogram of his initials. Over time, this evolved into the shape of an abstract butterfly. By around 1880, he added a stinger to the butterfly image to create a mark representing both his gentle, sensitive nature and his provocative, feisty spirit. Whistler was fond of designing the frames for his work and took great care in the appropriate placement of his butterfly signature on both his paintings and his custom-made frames.

THE FRAME

Framed in an early 20th century American gilt frame with a receding profile and raised grille panel designed by Stanford White, one of America's most recognized architects and designers at that time. White would sketch frame designs for friends and colleagues.

White's circle of collaborators included the American painter Thomas Dewing, who executed White's design for the portrait of Whistler.  White's design called for a raised grille pattern to gather and reflect light.  White did not mark his frames with his initials or any other identifying symbols. 

ABOUT WISTLER

Barbara Weinberg, former Curator at the Department of American Paintings and Sculpture at the Metropolitan Museum of Art has written on Whistler's life and work. The following are excerpts from her piece on Whistler that is available on the Met Museum's site. James McNeill Whistler participated in the artistic ferment of Paris and London in the late nineteenth century, crafted a distinctive style from diverse sources, and arrived at a version of Post-Impressionism in the mid-1860s, a time when most of his contemporaries in the avant-garde were still exploring Realism and Impressionism.

Born in Lowell, Massachusetts, Whistler spent part of his youth in Saint Petersburg, Russia, where his father, a civil engineer, advised on the construction of the railroad to Moscow and Whistler took drawing classes at the Imperial Academy of Sciences. Upon his return home, Whistler entered the United States Military Academy at West Point. He studied drawing with Robert W. Weir but had less success in other subjects; his failure in chemistry led to his dismissal from the academy in 1854. After working in the drawings division of the United States Coast and Geodetic Survey, where he received his first training in etching, Whistler—already fluent in French from his childhood years in Russia—decided to pursue a career as an artist by going to Paris to study.

Whistler arrived in the French capital late in 1855, at least a decade ahead of the great wave of his compatriots who would seek art instruction there. He enrolled in the école Imperial et Spéciale de Dessin (the "petite école") and in Charles Gleyre's independent teaching atelier, where Beaux-Arts principles prevailed (and where the future Impressionists, including Claude Monet and Pierre-Auguste Renoir, would study a few years later). Then and thereafter, Whistler's artistic development would owe less to his formal lessons than to influences outside the academic world. He responded to paintings by Dutch and Spanish Baroque masters, especially Rembrandt, Johannes Vermeer, Pieter de Hooch, Gabriël Metsu, and Diego Velázquez, and by contemporary French painters who admired the same traditions, notably Gustave Courbet, Henri Fantin-Latour, and Alphonse Legros.

In 1858, Fantin-Latour, Legros, and Whistler proclaimed their allied interests by organizing themselves as the Société des Trois. Whistler also became friendly with Carolus-Duran, Zacharie Astruc, and Félix Bracquemond and was attracted to the innovative art of Édouard Manet, two years his senior, whom he met in the summer of 1861. The writings of Charles Baudelaire and Théophile Thoré (pseudonym for Willem Bürger), which stressed the importance of harmonious picture surfaces, and French painters' growing interest in Japanese aesthetics would also inform Whistler's style and philosophy of art.

Whistler had established a connection with London in the late 1840s when he went to live for a year with his half-sister Deborah and her husband, the English physician and etcher Seymour Haden. In May 1859, he decided to settle in London and to work at a distance from his avant-garde French colleagues, although he remained a conduit of ideas between them and his English artist friends. The latter included Dante Gabriel Rossetti, John Everett Millais, and other Pre-Raphaelites, whose paintings influenced Whistler's and who shared his enthusiasm for Japanese prints and blue-and-white porcelain.

Initially, Whistler merely included Asian costumes and accessories as props in his works but, by the mid-1860s, he adopted Japanese principles of composition and spatial organization. His landscapes of those years reveal that he had rejected his earlier commitment to transcribing nature in the manner of Courbet, and was responding instead to formalist imperatives, including flat, decorative surfaces, subtle tonal harmonies, and allusive, rather than literal, subjects. Taking a cue from a critic who had referred to his early portrait of his mistress, The White Girl (1862; National Gallery of Art, Washington, D.C.), as a "symphony in white," Whistler began to envision and entitle his works with the abstract language of music, calling them symphonies, compositions, harmonies, nocturnes, arrangements, and so forth.

During the late 1860s, Whistler struggled to create harmonious multi-figured arrangements that would recapitulate his successful experiments with landscapes. By 1871, he had decided to pull back from that ambitious initiative and to concentrate on single-figure subjects. His seminal canvas in this vein was Arrangement in Gray and Black, No. 1: The Artist's Mother (1871; Musée d'Orsay, Paris). In portraits that followed, including Harmony in Yellow and Gold: The Gold Girl—Connie Gilchrist (11.32) and Arrangement in Flesh Color and Black: Portrait of Theodore Duret (13.20), Whistler continued to emphasize strong silhouettes, elegant contours, and beautiful surface patterns; calibrate the placement of the figure in relation to the edges of the canvas; investigate delicate variations on one subdued hue or a pair of neighboring or contrasting hues; and balance description of appearances with what he perceived to be pictorial necessities.

Whistler invented a monogram signature—a stylized butterfly based on his initials—and always placed it deliberately as a compositional element, not just a maker's mark. His devotion to overall harmony extended to interior decoration, furniture, and the design of frames and even entire exhibitions. He became a central figure in the Aesthetic movement, which was founded on the philosophy of "art for art's sake" and emphasized artistic principles, elevated taste, and creative eclecticism in the conception and production of furniture, metalwork, ceramics and glass, textiles and wallpaper, and other objects.

He was also an influential printmaker. Whistler's innovative paintings and pronouncements invited controversy. He famously filed and won a libel suit in 1878 against the aging English art critic John Ruskin, who had accused him of "flinging a pot of paint in the public's face" when he showed an almost abstract city scene—Nocturne in Black and Gold: The Falling Rocket (1875; Detroit Institute of Art)—in an exhibition at London's Grosvenor Gallery in 1877. Whistler was instrumental in establishing the credo of modern art. In 1885—a year before George Seurat's emblematic Post-Impressionist canvas, Sunday Afternoon on the Island of La Grande Jatte (1884–86; Art Institute of Chicago), appeared in the French Impressionists' final group exhibition and announced the end of naturalistic transcription as an avant-garde goal—Whistler proclaimed in his famous "Ten O'Clock" lecture: Nature contains the elements, in color and form, of all pictures, as the keyboard contains the notes of all music. But the artist is born to pick, and choose, and group with science, these elements, that the result may be beautiful—as the musician gathers his notes, and forms his chords, until he bring forth from chaos glorious harmony.

To say to the painter that Nature is to be taken as she is, is to say to the player, that he may sit on the piano. That Nature is always right, is an assertion, artistically, as untrue, as it is one whose truth is universally taken for granted. Nature is very rarely right, to such an extent even, that it might almost be said that Nature is usually wrong: that is to say, the condition of things that shall bring about the perfection of harmony worthy a picture is rare and not common at all.

 

SOLD


Mildred Hurwitz

Oil on Canvas Painting

Abstract Composition

Ca. 1950s

Dimensions:         Height: 18”         Width:  16”

MILDRED HURWITZ (American, 1922 – 2012) was a successful Chicago–based abstract artist. She was born in Philadelphia where she received a BA from The University of the Arts. She had also received a Master’s Degree in Art Education from Rowan University, during a time when it was unusual for a woman to attain such advanced education. During her lifetime, Mildred Hurwitz had numerous exhibitions of her abstract paintings. In addition, she was a beloved teacher having dedicated more than 20 years to the art education of children.

$750


Boris Solotareff

Portrait of Mr. Lautenberg

Oil on Canvas Painting

1920s

Signed en verso B. Solotareff, Lautenberg.

Original period frame, made personally by the artist.

Dimensions (without frame):          Height: 16”         Width: 12 ½”

Dimensions (with frame):                Height: 20”         Width: 17”         Depth” 1.75”

BORIS SOLOTAREFF (Russian, 1889 –1966) was a Russian painter, who was active in Munich, Switzerland and France, but spent the majority of his career in New York City, where he became a naturalize American citizen in 1949.

Solotareff made use of a variety of styles; according to the Benezit Dictionary of Artists, his "work was in the mainstream of Eastern European Expressionism, with influences of Art Deco from the time when he lived in Paris.

Solotareff's paintings have been exhibited widely, including the "Cinquantenaire Du Symbolisme" exhibition at the Biblioteque Nationale (1936), the Vendome Galleries (New York, 1938), and the "Exhibition of oils and water colors" at the Charles Barzansky Galleries from October 1–20, 1940.

$6,500


Michel Rodde

Hommage A Paris

Oil on Canvas Painting

1970s

Dimensions:       Height: 45.5”     Width: 46”

Michel RODDE (French, 1913–2009) was a highly acclaimed French artist, honored and awarded numerous times in France and worldwide during his lifetime.  He mainly received international recognition for his Modern Impressionist style, exhibited so well in this painting.

Signed low Signed lower left: Michel Rodde; titled and inscribed en verso: Hommage a Paris / Michel Rodde. There is a Reference Number F2219 on the stretcher. The cardboard protective back cover has an almost completely damaged David Findley gallery label with Ref. #F2219.

Good original condition consistent with age and use, period frame. We make our best effort to provide a fair and descriptive condition report. Send message to this seller to request more details or discuss price.

 

Price: $4,500


Johann Berthelsen

Manhattan Snow Storm Scene

Oil on Canvas Painting

1950s

This wonderful romantic painting depicts figures bustling along a Manhattan street during a snowstorm.

Signed lower right. Good original condition consistent with age and use, period frame. We make our best effort to provide a fair and descriptive condition report. Send message to this seller to request more details or discuss price.

Dimensions:         Height: 12 inches            Width: 16 inches

Johann Henrik Carl Berthelsen (1883 –1972) - Coming to America as a child, he enjoyed early success as an opera singer and music teacher. His friendship with the artist Wayman Adams resulted in a move to New York and experimentation with painting. When the Great Depression took a toll on his musical career, Berthelsen began selling oil scenes of his beloved New York City, which quickly found prominent buyers including William Randolph Hearst. While he also painted pastoral and mountain landscapes, Berthelson's snow scenes of Manhattan are particularly prized.

 

Price: $15,000


Ernest Fiene

Cognac, Lemons and Grapes

Still Life Oil on Canvas Painting

1922

Signed in the lower left corner, and dated 1922.

 

Good original condition consistent with age and use, period frame. We make our best effort to provide

a fair and descriptive condition report. Send message to this seller to request more details or discuss price.


Dimensions:            Height: 24 inches            Width: 20 inches

 Price: $4,800

Ernest Fiene (German-American,1894–1965) was a 20th-century American artist who primarily worked in New York City and Woodstock, New York. Ernest Fiene's artwork often focused on bringing out the humanity of a space while simultaneously deconstructing it into abstract shapes. His notable work includes cityscapes, views of New York City in particular, landscapes and other figural art. A fixture on the faculty of the Art Students League, he was also a prolific artist with a body of work spanning many media, from etchings to frescoes. "I am interested more in the future of American art than in the past of European art. Out of this new civilization, out of this machine age, a new school of painters will be developed."  Born in Germany in 1894, Fiene fled his native land in 1912 to avoid military service in what would become World War I. Traveling first to the Netherlands, he continued on to the United States. From 1914 to 1916, he studied at the National Academy of Design in New York City, and from 1916 to 1918 at the Beaux Arts Institute. In 1923, Fiene continued his study of printmaking at the Art Students League of New York. In 1921 he married Jeannette Etarre. From 1928 to 1929, he studied in Paris and traveled in France. Fiene was hired in 1940, along with eight other prominent American artists, to document dramatic scenes and characters during the production of the film The Long Voyage Home, a cinematic adaptation of Eugene O'Neill's plays. In 1945 he divorced his first wife and was married to Alicia Wiencek. Fiene re-established his relationship with the Art Students League in 1948, returning to teach classes in painting and drawing there. In 1948, he was elected into the National Academy of Design as an Associate member, and became a full Academician in 1952. In the 1950's he also served on the faculty of the Famous Artists School in Westport, Connecticut. Fiene died of a heart attack in Paris in 1965.

 

Solo Exhibitions

1919 McDowell Club, New York City, NY
1920, 1922-26 Society of Independent Artists, New York City, NY
1923 Whitney Studio Club, New York City, NY
1923-55 Waltham Mills Artists Association, Boston, MA
1924 The New Gallery, New York City, NY
1930-52-54 Pennsylvania Academy of Fine Arts, Philadelphia, PA

Group Exhibitions

1920-41 Society of Independent Artists, New York City, NY
1923-55 Whitney Museum of American Art, New York City, NY
1924 New Gallery, New York City, NY
1930-49 Corcoran Biennial, Washington, D.C.
1930-45 Carnegie Museum of Art, Pittsburgh, PA
1928-45 Art Institute of Chicago, Chicago, IL
1940-46 Library of Congress, Washington, D.C.

Awards

1932 Guggenheim Fellowship, Guggenheim Museum, New York City, NY
1938 W.A. Clark Prize, Corcoran Gallery, Washington, D.C.
1940 Ada S. Garrett Prize, Art Institute of Chicago, Chicago, IL.

 Memberships

National Academy of Design
Art Students League of New York
Artists Equity Association
International Institute of Arts & Letters
American Artists Congress
Century Association
Guggenheim Fellow
Woodstock Art Association

Salons of America

Public Collections

Museum of Fine Arts Boston
Zinnias and Apples
Deep Winter

Butler Institute of American Art
Colorado Hills

Los Angeles County Museum of Art
Brick Factories

Metropolitan Museum of Art
The Lucy Plant, Carnegie Steel Mill, Pittsburgh
Locomotive
Granary

Addison Gallery of American Art
White Roses

San Diego Museum of Art
Venice #2

Smithsonian American Art Museum and the Renwick Gallery
St. Michael's in Brooklyn
Washington Arch


Peter Siabkyn

Double-Portrait

Oil on Canvas Painting

1924

Dimensions:         Height: 34 3/4 inches         Width: 27 ½ inches

PETER SIABKYN (Russian/German, 1899-1948) "Untitled" oil on canvas signed "P. Siabkin" and dated 1924 in the lower left, further inscribed en verso. Unframed.

 

$8,500


Peter Siabkyn

Self-Portrait

Oil on Canvas Painting

1928

Dimensions:         Height: 36 5/8"         Width: 26"

PETER SIABKYN (Russian/German, 1899-1948) "Self-Portrait" oil on canvas signed "P. Siabkin" and dated 1928 lower right, further inscribed en verso. Unframed.

 

$6,500


George Schreiber

Untitled

Oil on Canvas Painting

1950s

Dimensions:         Height: 18 ¼”         Width: 24 ¼”

 

GEORGE L. SCHREIBER (1904 - 1977) was active/lived in New York / Belgium.  George Schreiber is mostly known for rural genre and figure painting, lithography. George Schreiber was born 25 April 1904 in Brussels, Belgium. After studying in Berlin, London, Rome, Paris, and Florence, he moved to New York in 1928. Schreiber exhibited at the Carnegie Institute, Corcoran Gallery of Art, Pennsylvania Academy of Fine Arts, Art Institute of Chicago, Whitney Museum of American Art, Metropolitan Museum and the Museum of Modern Art - often winning prizes. Besides his career as a lithographer, Schreiber was also a painter, illustrator, watercolorist as well as a teacher at the New School for Social Research. Museum collections of Schreiber's work include the Metropolitan Museum of Art, Brooklyn Museum, Whitney Museum of American Art, Museum of the City of New York.

 

$2,500


Boris Solotareff

Double-Portrait

Watercolor & Gouache on Paper

1920s

Dimensions:          Height: 15 ¾”         Width: 23 ½”

BORIS SOLOTAREFF (Russian, 1889 –1966) was a Russian painter, who was active in Munich, Switzerland, and France; but spent the majority of his career in New York City, where he became a naturalized American citizen in 1949. Solotareff made use of a variety of styles; according to the Benezit Dictionary of Artists, his "work was in the mainstream of Eastern European Expressionism, with influences of Art Deco from the time when he lived in Paris." Solotareff's paintings have been exhibited widely, including the "Cinquantenaire Du Symbolisme" exhibition at the Bibliothèque Nationale (1936), the Vendome Galleries (New York, 1938), and the "Exhibition of oils and water colors" at the Charles Barzansky Galleries from October 1–20, 1940.

 

$3,500


A.V. Parkhomenko

Single

Original Oil on Board Painting

Ca. 1987

Aleksandr Valentinovich Parkhomenko (Russian, 1958–2006)

Signed and dated en verso.

 Dimensions:

Height: 20 inches         Width: 14 inches         Depth: 1 inch

 

$975


J. Cohen

Portrait of a Man

Oil on Board Painting

Circa 1950s

Signed in the lower left corner, J. Cohen.

Dimensions

H 13.32 in. x W 10.32 in. x D 1.5 in.

H 33.84 cm x W 26.22 cm x D 3.81 cm

Although the artist's exact name has not been identified, it can be said with certainty that this remarkable, artistically and psychologically very strong oil on board work belongs to the brush of a true professional in the field of portrait art and will certainly be a worthy addition to any serious collection of paintings.

 

sold


SAM DIAMOND

View of Manhattan

O/C Painting, Ca. 1954

 

This is a double-sided painting –

Side 1: View of Manhattan, signed lower left and dated 1954.

Side 2 (reverse): Genre scene with porters.

 DIMENTIONS: Unframed: 20.5 x 30.5 inches   Framed: 32 x 37 inches

SAM DIAMOND (Polish/American, 1919 – 1978)

- Born May 1, 1919 in Warsaw, Poland.
- Family immigrated to the United States in November 1919.
- Began drawing at 6 years of age and continued an active interest in art throughout his school years.
- Graduated from Long Beach High School in 1936, at 16 years of age.
- Awarded a scholarship to Pratt Institute.
- Received art certificate from Pratt in 1939.
- Enlisted in U.S. Army Signal Corps. - Film Strip Division- doing artwork for training manuals from 1941-1946.
- Formed advertising art studio in 1946
- Continued painting and sculpture to present.
- Award for Sculpture and Painting, Westchester Art Society
- Two exhibits in Harrison, N.Y.
- Art media including sculpture in wood and alabaster; constructions in wood and tiles; mosaics; collage; assemblage.
- Residence and studio in Harrison, N.Y.
- Studio in New York City.

 

Price: $4,500


Karoly Fulop

“The Baptism”

Polychrome Ceramic Panel

Circa 1950’s

Signed to reverse.

 Dimensions: 28" H x 24" W x 1.5" D

 A framed polychromed Art Deco ceramic panel, by multi-media artist Karoly Fulop, depicting the baptism of the infant Christ. Markings include the artist's signature to the back. This art piece remains in excellent vintage condition, with age appropriate wear to frame.

 Karoly Fulop (Hungarian, 1893-1963) was born in 1893 in Czabadka, Hungry. He was a painter, sculptor, and watercolorist. Fulop studied art in Budapest, Munich, and Paris, but it was medieval art that most influenced his style. His paintings, watercolors and sculptures all have the decorative quality and detail typical of the Byzantines, a style that can still be seen today in many buildings in Budapest. Also evident in his work is the influence of the Vienna and Hungarian Secessionist movements. Fulop is an artist of unique and curious combinations; he incorporated his Catholic background with symbolist images, very modern yet in the tradition of past generations.

 

Price: $4,500


Michel Rodde

“Hommage A Paris”

Oil on Canvas Painting

Circa 1970’s

Unlined canvas, framed in a period frame.

Dimensions:

Height: 45.5”     Width: 46”

Michel Rodde (French, 1913–2009) was a highly acclaimed French artist, honored and awarded numerous times in France and worldwide during his lifetime.  He mainly received international recognition for his Modern Impressionist style, exhibited so well in this painting.

Signed lower left: Michel Rodde; titled and inscribed en verso: Hommage a Paris / Michel Rodde. There is a Reference Number F2219 on the stretcher. The cardboard protective back cover has an almost completely damaged David Findley gallery label with Ref. #F2219.

No visible condition issues to note.  We make our best effort to provide a fair and descriptive condition report. Please examine the photos attentively, as they are an integral part of the item description.

$4,500

Original O/C painting, signed in the lower left corner, and dated 1922

Dimensions:

Height: 24 inches            Width: 20 inches

 Ernest Fiene (German-American,1894–1965)

                Ernest Fiene was a 20th-century American artist who primarily worked in New York City and Woodstock, New York. Ernest Fiene's artwork often focused on bringing out the humanity of a space while simultaneously deconstructing it into abstract shapes. His notable work includes cityscapes, views of New York City in particular, landscapes and other figural art. A fixture on the faculty of the Art Students League, he was also a prolific artist with a body of work spanning many media, from etchings to frescoes. "I am interested more in the future of American art than in the past of European art. Out of this new civilization, out of this machine age, a new school of painters will be developed."  Born in Germany in 1894, Fiene fled his native land in 1912 to avoid military service in what would become World War I. Traveling first to the Netherlands, he continued on to the United States. From 1914 to 1916, he studied at the National Academy of Design in New York City, and from 1916 to 1918 at the Beaux Arts Institute. In 1923, Fiene continued his study of printmaking at the Art Students League of New York. In 1921 he married Jeannette Etarre. From 1928 to 1929, he studied in Paris and traveled in France. Fiene was hired in 1940, along with eight other prominent American artists, to document dramatic scenes and characters during the production of the film The Long Voyage Home, a cinematic adaptation of Eugene O'Neill's plays. In 1945 he divorced his first wife and was married to Alicia Wiencek. Fiene re-established his relationship with the Art Students League in 1948, returning to teach classes in painting and drawing there. In 1948, he was elected into the National Academy of Design as an Associate member, and became a full Academician in 1952. In the 1950's he also served on the faculty of the Famous Artists School in Westport, Connecticut. Fiene died of a heart attack in Paris in 1965.

 Solo Exhibitions

1919 McDowell Club, New York City, NY
1920, 1922-26 Society of Independent Artists, New York City, NY
1923 Whitney Studio Club, New York City, NY
1923-55 Waltham Mills Artists Association, Boston, MA
1924 The New Gallery, New York City, NY
1930-52-54 Pennsylvania Academy of Fine Arts, Philadelphia, PA

Group Exhibitions

1920-41 Society of Independent Artists, New York City, NY
1923-55 Whitney Museum of American Art, New York City, NY
1924 New Gallery, New York City, NY
1930-49 Corcoran Biennial, Washington, D.C.
1930-45 Carnegie Museum of Art, Pittsburgh, PA
1928-45 Art Institute of Chicago, Chicago, IL
1940-46 Library of Congress, Washington, D.C.

Awards

1932 Guggenheim Fellowship, Guggenheim Museum, New York City, NY
1938 W.A. Clark Prize, Corcoran Gallery, Washington, D.C.
1940 Ada S. Garrett Prize, Art Institute of Chicago, Chicago, IL.

 Memberships

National Academy of Design
Art Students League of New York
Artists Equity Association
International Institute of Arts & Letters
American Artists Congress
Century Association
Guggenheim Fellow
Woodstock Art Association

Salons of America

Public Collections

Museum of Fine Arts Boston
Zinnias and Apples
Deep Winter

Butler Institute of American Art
Colorado Hills

Los Angeles County Museum of Art
Brick Factories

Metropolitan Museum of Art
The Lucy Plant, Carnegie Steel Mill, Pittsburgh
Locomotive
Granary

Addison Gallery of American Art
White Roses

San Diego Museum of Art
Venice #2

Smithsonian American Art Museum and the Renwick Gallery
St. Michael's in Brooklyn
Washington Arch

 

$5,500


- fishermen Boats Ashore -

Federico Morello

Ca. 1920's

Oil on canvas, signed lower right: F. Morello, mounted in gilded period frame.

 Dimensions:

40" L x 27" W

.            Federico Morello (Italian, 1875 - 1938) was a known visual artist, famous for depicting seascapes, genre scenes, architecture and nature of Southern Italy. This beautiful oil painting on canvas depicts a group of fishermen with their boats ashore after the day at sea.

 

$7,200


- Manhattan Snow Storm Scene -

A Painting by

Johann Berthelsen

Ca. 1960's

                Depicting figures bustling along a Manhattan street during a snowstorm, this romantic oil on canvas painting of New York City winter snow scene is signed lower right.

Dimensions:

Height: 12 inches            Width: 16 inches

Medium:

Oil on canvas, period frame.

Johann Henrik Carl Berthelsen (1883 –1972)

                Coming to America as a child, he enjoyed early success as an opera singer and music teacher. His friendship with the artist Wayman Adams resulted in a move to New York and experimentation with painting. When the Great Depression took a toll on his musical career, Berthelsen began selling oil scenes of his beloved New York City, which quickly found prominent buyers including William Randolph Hearst. While he also painted pastoral and mountain landscapes, Berthelson's snow scenes of Manhattan are particularly prized.

 

$15,500


- Village Landscape -

Original Painting by

Ernest Fiene

Ca. 1921

                      

Ernest Fiene (American, 1894–1965) was a 20th-century American artist who primarily worked in New York City and Woodstock, New York. Ernest Fiene's artwork often focused on bringing out the humanity of a space while simultaneously deconstructing it into abstract shapes. His notable work includes cityscapes, views of New York City in particular, landscapes and other figural art.  A fixture on the faculty of the Art Students League, he was also a prolific artist with a body of work spanning many media, from etchings to frescoes. "I am interested more in the future of American art than in the past of European art. Out of this new civilization, out of this machine age, a new school of painters will be developed."  Born in Germany in 1894, Fiene fled his native land in 1912 to avoid military service in what would become World War I. Traveling first to the Netherlands, he continued on to the United States. From 1914 to 1916 he studied at the National Academy of Design in New York City, and from 1916 to 1918 at the Beaux Arts Institute.   In 1921, he married Jeannette Etarre. In 1923, Fiene continued his study of printmaking at the Art Students League of New York. From 1928 to 1929, he studied in Paris and traveled in France. In 1940, Fiene was hired along with eight other prominent American artists, to document dramatic scenes and characters during the production of the film "The Long Voyage Home", a cinematic adaptation of Eugene O'Neill's plays. In 1945, he divorced his first wife and was married to Alicia Wiencek. Fiene re-established his relationship with the Art Students League in 1948, returning to teach classes in painting and drawing there. In 1948, he was elected into the National Academy of Design as an Associate member, and became a full Academician in 1952. In the 1950s he also served on the faculty of the Famous Artists School in Westport, Connecticut. Fiene died of a heart attack in Paris in 1965.

                       The painting, in all probability, depicts a small Connecticut village by a lake. It is signed by the artist, and dated 1921 in the front lower right corner. 

 Media: Oil on board                                                     Height: 16 inches                                                            Width: 12 inches

 

Solo Exhibitions

1919 McDowell Club, New York City, NY
1920, 1922-26 Society of Independent Artists, New York City, NY
1923 Whitney Studio Club, New York City, NY
1923-55 Waltham Mills Artists Association, Boston, MA
1924 The New Gallery, New York City, NY
1930-52-54 Pennsylvania Academy of Fine Arts, Philadelphia, PA

Group Exhibitions

1920-41 Society of Independent Artists, New York City, NY
1923-55 Whitney Museum of American Art, New York City, NY
1924 New Gallery, New York City, NY
1930-49 Corcoran Biennial, Washington, D.C.
1930-45 Carnegie Museum of Art, Pittsburgh, PA
1928-45 Art Institute of Chicago, Chicago, IL
1940-46 Library of Congress, Washington, D.C.

Awards

1932 Guggenheim Fellowship, Guggenheim Museum, New York City, NY
1938 W.A. Clark Prize, Corcoran Gallery, Washington, D.C.
1940 Ada S. Garrett Prize, Art Institute of Chicago, Chicago, IL.

Memberships

National Academy of Design
Art Students League of New York
Artists Equity Association
International Institute of Arts & Letters
American Artists Congress
Century Association
Guggenheim Fellow
Woodstock Art Association
Salons of America

Public Collections

Museum of Fine Arts Boston
Zinnias and Apples
Deep Winter

Butler Institute of American Art
Colorado Hills

Los Angeles County Museum of Art
Brick Factories

Metropolitan Museum of Art
The Lucy Plant, Carnegie Steel Mill, Pittsburgh
Locomotive
Granary

Addison Gallery of American Art
White Roses

San Diego Museum of Art
Venice #2

Smithsonian American Art Museum and the Renwick Gallery
St. Michael's in Brooklyn
 

$6,500


nude

Eugene Paul, known as Gen Paul, was born in 1895 and raised in the bohemian atmosphere of Montmartre. A self-taught artist, Gen Paul began expressing himself in drawings and paintings as a child, his earliest works show a remarkable talent.  He was wounded twice in World War One, the second time he lost one of his legs. During his recovery he turned to painting, which became his passion and his livelihood for almost 60 years. Many of Gen Paul’s greatest works from the 1920s have remained in private collections. Retrospective exhibitions of Gen Paul’s work were held at the Musée de Montmartre in 1986, for the hundred-year anniversary of his birth in 1995 at Museum Les Cordeliers, and in 1998 in Zurich, Switzerland. He is represented in museums in Berne, and Geneva, Switzerland, and the Musée National d’Art Moderne in Paris.

  • Date of manufacture : 1968

  • Period : 20th Century

  • Country : France

  • Painter : Gen Paul (French, 1895 - 1975)

  • Remarks: Signed and dated 1968

  • Height : 25 inches

  • Width : 18 1/2 inches

  • Medium : Original drawing, crayolor on paper

  • Inventory number : P-20-0001

 

$7,500


"Bathing Caesar"

Original Watercolor by

Robert G. Sternloff

Ca. 1940's-50's

Dimensions:

Height: 18 1/2 inches / 46.25 cm            Width: 8 3/4 inches / 21.9 cm

                Robert G. Sternloff (American, 1885 - 1965) was born in Sweden and has become a prominent American illustrator doing advertising art for many companies, including Fuller Brush. He also did cover art for the Field and Stream magazine. However. he was best known for his paintings of dogs, particularly hounds. One of his Beagle paintings is in the 200 painting collection of various breeds at the American Kennel Club. He did paint the Hounds of the DuPont's sometime in the 30's. The artist died in 1965 in Mill Valley, California.

                Signed and nicely framed, this mixed-media work in watercolor, gouache and pencil on paper is typical of work that was provided by Robert G. Sternloff to the Domino Club and other bars and restaurants in San Francisco during the 1940's and the 50's.

 

$850