Original Purchase Notes | ArtBurglar.com

American School
Large Modernist Abstract - "The Running Man"
Lesson: Frame first...standard size

Oil on canvas -abstract figure.Unsigned-signature has been blacked out on reverse??? All in good condition. Large at 48" x 36". note that it is intentially unframed.

American School
Abstract (Pair) - “Circus”
Lesson: Front & Back

Oil on Canvas mounted on baord

12 x 9"
Acrylic on canvas, assembled and mounted on panel Gift of Stephanie, Melissa, and Leah Gilliam 1995.7

Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

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The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

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This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Description of Art
Pair of nice abstract oil on canvas paintings, both signed Jordan lower right. Part of a circus series, with acrobats in first, and horse and standing riders on second. As you might expect lots of listed artist with last name of Jordan. I leave the research to you. Both in excellent condition, both double sided with paintings on reverse. Each measures 28" x 20" with frames.

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American School
Contemporary - “Scream”
Lesson: A lot of art for money...off the wall art...men & womenArt & Artist Information

Description of Art
Fabulous oil on canvas, screaming face. Original work, circa 1980.Quite impressive, really stands out. Unsigned. The artist name is W.M Ri......I'm sorry but I have lost the paper, on which I had wriiten his name. All in good condition. Large at 48" x 36". note that it is intentially unframed.

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Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

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American School
Abstract - “Invasion of Virtue”
Lesson: Period / Political symbolism...like Bracho

Art & Artist Information

Description of Art
Description: Up for auction is this Oil on canvas painting titled "Invasion of Virtue", signed and dated 1965 by 'Thau'. This fine abstract depicts a nude, headless female torso walking forward, with blue arrows pointing to her private parts. There is an American flag replacing the head. There appears to be skull imagery on the torso. On the left is a compass device with the words 'UP' and 'DOWN'. On the back , written in pencil on the stretcher is: "The Invasion of Virtue 10/5/65". It is signed "Thau" in the lower right corner. This painting is 16" x 20', unframed.
Virtue defined: Conforming to a standard, morality.
1965 -- Griswold v. Connecticut
The Court struck down a Connecticut statute forbidding the use of contraceptive devices by married couples. In this decision the Court appealed for the first time to the right to privacy--a right which it said was "fundamental and basic." Although no such right is explicitly recognized by the Constitution, the Court inferred the existence of a "zone of privacy" which protected the sexual relations of married couples.

Supreme Court of the United States

Griswold v. Connecticut

Argued March 29, 1965 Decided June 7, 1965

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All text copyrighted 2006 by ArtCollecting.info except as credited

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American School
Abstract - “Mediation”
Lesson: Showed me who was the artist on much larger piece...

Art & Artist Information

Description of Art
Description: A very nice oil on board abstract, signed lower right S.Kahn, and in the back, tittled; MEDITATION ..... Condition is good, size 20 by 30'' .,......

• The Artists Bluebook
• Mantle Fielding's Dictionary
• Mallet's Index of Artists

Museums Holding this Artist

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The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

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to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
Surreal Symbolist Nude - “The Order of Things”
Lesson: Personally relate + free shipping

Art & Artist Information

Description of Art
Description: HANNAH GRAUMANN (American, contemporary). NUDE ENCASED IN GLASS, signed lower right. Oil on board - 36 in. x 24 in.

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Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

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American School
Realism - “Still Life with Book & Pipe”
Lesson: Classical period art you can afford + std size

American School
Symbolist Portraits - “Couple in Silence”
Lesson: Bad memories

Art & Artist Information

Description of Art
Description: S.E. *** (American, 20th century). TWO FIGURES, signed and dated 1971 upper left. Oil on canvas - 36 in. x 24 in.

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All text copyrighted 2006 by ArtCollecting.info except as credited

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Nanette Hoffman
Realism: “Portrait of Sophie Klein”
Lesson: Story

Art & Artist Information

Description of Art
Oil on Academy Board, 6 x 10 1/2, signed (lower right): Jessalee Sickman.
Description: NANETTE HOFFMAN (American, 20th century). PORTRAIT OF SOPHIE KLEIN, signed lower left. Oil on canvas - 20 1/2 in. x 16 1/2 in.
NANETTE HOFFMAN (American, 20th century). PORTRAIT OF SOPHIE KLEIN, signed lower left. Oil on canvas. NANETTE HOFFMAN (American, 20th century). PORTRAIT OF SOPHIE KLEIN, signed lower left. Oil on canvas - 20 1/2 in. x 16 1/2 in.
A colorful self-portrait painting of the artist.

American School
Expressionist Portraits - “Gothic Couple”
Lesson: Torn open rear

Oil on Canvas mounted on baord

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
•

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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Art & Artist Information

Description of Art
DESCRIPTION: This Vintage Original Oil Painting Pair is a Gothic or Surreal style portrait of an Old Couple. These were painted in the early 1960's and are in good condition. They appear to be painted with oil on some type of board. The boards are a bit warped toward bottom. Recently discovered in an attic of an old estate here in town. I dont know anything about them. They are quite haunting and very intesting. Each one is 23" x 35 1/2" overall in frames. They are just signed "JT" **************************************************************************************** SHIPPING TERMS: US Buyers add $8.95 s/h within Continental states, Alaska & Hawaii more, insurance extra. Outside of US email for quote, we are always happy to ship internationally but all items paid for with paypal and sent internationally, must be sent with proof of delivery, no exceptions. ***************************************************************************************** AUCTION TERMS: Check MO or Paypal. I will email at auction end with all information. Please READ description carefully and EXAMINE photos carefully, all items sold "AS IS". I try to describe each item to the best of my knowledge but I am not an expert on all items so ask any questions before the last night. Payment expected within 14 days. Items shipped within 14 business days. Paypal payments do NOT guarantee same day shipping. Nonpay alerts are issued after 14 days and in the event that payment is not made after that time, I file for credit and leave appropriate feedback. When sending payment you MUST include item number and description to ensure the item is shipped promptly. Insurance will be provided at the request of the buyer. I can not be responsible for any item not insured. Personal checks held 10 days to clear. I answer ALL emails, if for any reason you do not receive a response to an email, I did not receive it, email again. I will leave feedback for you after you have rec'd the item and have left feedback for me letting me know you rec'd the item and are happy with the transaction. Thanks for bidding! By placing bid you are agreeing to these terms. Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
Description: Mixed media, 23 x 17, signed (lower right): Stawvyzewski.
Summary: Mixed media female bust highlighted with messages of stopping smoking.
I do not know who the artist is - the signature is difficult to discern. The reverse was first covered with newspaper (The Philadelphia Inquirer, 1961) - s0 I assume the artist hails from or once resided in the Philadelphia area.
Provenance

• Ebay

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American School
Pop Art - “Female Portrait”
Lesson: Thrifts + source of inspiration

Oil on Canvas mounted on baord

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
•

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Description of Art

Oil on Canvas mounted on baord

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
•

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Art & Artist Information

Description of Art
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
Description: Mixed media, 23 x 17, signed (lower right): Stawvyzewski.
Summary: Mixed media female bust highlighted with messages of stopping smoking.
I do not know who the artist is - the signature is difficult to discern. The reverse was first covered with newspaper (The Philadelphia Inquirer, 1961) - s0 I assume the artist hails from or once resided in the Philadelphia area.
Provenance

• Ebay

Artist Information

Oil on Canvas mounted on baord

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
•

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Art & Artist Information

Description of Art
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
Tempera on Panel, 8 1/4 x 7 1/4, unsigned
This is a charming example of a blend of folk/naive style with the high art of mid-20th century America. The style of drawing and method of paint application suggest that the maker of this work may have been well aware of the compositions being produced by some of the major naive style artists of the period. However, the direct confrontation of the subject with the viewer serving as both viewer and respondent in so sophisticated a manner indicates that this may have been created by a fine artist working in a consciously naive style. While this could be said of many artists, it is certainly true of Ben Shahn and the artists who surrounded him. Shahn was born in 1898, studied in New York at the Art Student's League and was known for his involvement with the American Socialist party during the middle of the century. Many critics have commented on the plebian or populist nature of Shahn's works, even to the common materials he used, often tempera. However Shahn was scrupulous about signing his works; due to the lack of a signature here, as well as some subtle differences in drawing style, this painting might be assigned to the circle of Ben Shahn, but not to Shahn himself. Works of this quality and appeal come to auction fairly often, and based on those sales records and current market conditions, the appropriate auction value is cited above.
Provenance

• Ebay

Artist Information

Ben Shahn (1898-1969, American)
For a period of forty years Ben Shahn was the preeminent painter-as-critic in American art. Such was his strength in this role that he retained his prominence throughout the era that saw the rise and flowering of American Abstraction. In 1954 he shared the American pavilion at the Venice Biennale with Willem de Kooning. In a sense, Shahn is the summation of the entire tradition of Social Realism in our art, which reached its fullest development under federal sponsorship in the years of the Depression and World War II. In the matter of his sources as an artist one needs only to know of his beginnings as an immigrant, of his initial training as a journeyman lithographer, of his first artistic apprenticeship with Diego Rivera on the controversial Rockefeller Center mural project in New York, and of his incessant study of the artistic past--in particular the Italian muralists of the fourteenth and fifteenth centuries. From his first conspicuous entry on the art scene with his 1932 paintings of the Sacco and Vanzetti trial of the 1920s to the end of his career he was dedicated to an understanding of the social events taking place around him. What is perhaps most important in this dedication is his extraordinary skill in the translation of these events into images of symbolic power. The subject matter of social struggle, war, poverty, and politics has seldom received comparable embodiment in our art.20th Century American painter. Born in Madrid, Spain in 1885. Died in Chicago, Illinois in 1966.
The Sheldon Gallery's Trouble has been described as "wonderfully ludicrous" in its combination of two men engaged in a fistfight against a background of empty fairground stands and the looming structure of a roller coaster.1 Ludicrous yes, but certainly more than that. In the artist's total work there is a series of comparable images in which human figures are engaged in simple everyday activities against backgrounds of similarly contrasting character. The figures in these paintings always seem to be isolated, preoccupied in a game or engaged in the intimacy of conversation, but in Trouble there is a more serious kind of engagement. We have a strong sense of the hot contention of an argument which leads to struggle which leads to violence: all this against a backdrop of fun and games. The color of the scene is dark and ominous, the very surface of the painting has an opaque, impenetrable quality. Despite the festive implication of their presence, the structures in the background have an abandoned look. Perhaps Trouble represents the artist's reminder of the constant threat of conflict that always exists just beneath the surface of social convention.

Social Realism developed from American Scene painting as a reaction to the political and economic crises of the Great Depression and World War I, events which provided a source of imagery for Ben Shahn. His family immigrated to the United Sates in 1906. Apprenticed as a lithographer in 1913, he also studied at New York University, the national Academy of Design, and the Art Students League.

The Detroit Institute of Arts presents "Common Man, Mythic Vision: The Paintings of Ben Shahn," on view July 25-October 31, 1999. The exhibition features 43 paintings created between 1936 and 1965. Although best known for his socially concerned realist art, Shahn turned to a more introspective style in the early 1940s. Through his art, he shared his own experiences as well as the historical events of his time, transforming both into commentary on social justice, humanitarian causes, and spiritual redemption. The exhibition has been organized by The Jewish Museum, New York, with sponsorship from professional services firm Ernst & Young LLP.
Known for his socially concerned realist art, from the 1940s through the end of his career Shahn began to make his works less specific critiques of social issues, developing a more introspective style. Through his art, he shared his own experiences and the historical events of his time, transforming them into meaningful commentary on social justice, humanitarian causes, and spiritual redemption.
Born in Kovno, Lithuania, 100 years ago, Benjamin Zwi Shahn was the oldest of five children in a traditional Orthodox Jewish family. Shahn emigrated with his mother, brother and sister to Brooklyn in 1906. There, they joined his father, a socialist, who had been exiled to Siberia for his subversive activities. Growing up in America, the young Shahn gradually moved away from the religious traditions of Judaism and established a secular Jewish identity aligned with the causes of labor and social reform during the 1930s.Training as a
lithographer's apprentice helped shape Shahn's mature painting style. Following study in Paris in the 1920s, Shahn shared a studio with the photographer Walker Evans and had his first solo exhibition at the Downtown Gallery in 1930. During the ensuing decade, he created works of art in response to the social, economic and political conditions of the Depression - in a style known as Social Realism. He became known as a socially and politically engaged artist and in 1932 gained fame with his series on the trial and execution of Sacco and Vanzetti, the Italian immigrant anarchists.
From 1934 to 1942, Shahn worked on various government-sponsored projects, including federally commissioned murals and as a photographer for the New Deal Resettlement Administration. He traveled throughout Pennsylvania and Delaware, and ten Southern states, gaining new insights into the character and diversity of America and its people. Shahn was deeply affected by this experience. His resulting disappointment with partisan political ideologies and his response to the horrors of World War II led to a significant change in his work. He moved from Social Realism - the American art style of the 1930s dedicated to social and political reform - toward a more subjective mode of painting.
Confronted by World War II, many of his contemporaries turned to abstraction, but Shahn continued to work within a narrative tradition. Yet, like them, he turned to the symbolic rendering of biblical and mythological themes. In allegorical works, he universalized both personal experiences and the trauma of World War II, the Holocaust, the nuclear age, and the Cold War.
"From the Jewish school of Vilkomir to an acculturated, secular life in Brooklyn to a resurgence of Jewish feeling and heritage in his later years, Ben Shahn's dedication to humanitarian causes and his belief in the regenerative powers of art offer a fascinating example of the paradigmatic path taken in the life of an immigrant American Jewish artist, " notes Susan Chevlowe, curator of the exhibition.
The work of Ben Shahn (1898-1969) was celebrated during his lifetime when it was widely promoted and collected in this country and abroad. Born in Lithuania to a traditional Orthodox Jewish family, Shahn immigrated to New York in 1906. He and his family were reunited there with his father, a socialist who had been exiled to Siberia for anti-czarist political activities. In his art and personal life Shahn gradually moved away from religious traditions of Judaism and established a secular identity aligned with the causes of labor and social reform during the 1930s.
Apprenticed to a lithographer from 1913-1916, Shahn developed an early style based on simplified, realistic images. In the 1920s he shared a studio with photographer Walker Evans, and had his first solo exhibition of paintings in New York City in 1930. His paintings responded to the social, economic and political upheavals of the Great Depression. His realistic figural style used to narrate themes of class struggle and social reform aligned him with a group of painters known as the Social Realists.
In the mid-1930s, Shahn shifted away from Social Realism, infusing his work with personal vision gained through direct experience. While many of his contemporaries turned toward abstraction, Shahn expanded his range of subjects to include biblical and psychological themes. Many such works addressed the traumas of World War II, the Holocaust, the threat of nuclear war, and the hope for world peace. Harvard University honored Ben Shahn noting that: "Pathos, protest, wit and wisdom shape the content of this lively artist's telling work."

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American School
“Impresionist Woman with Fruit”
Lesson: Style you love...

Oil on Canvas mounted on baord

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
•

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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Recent Photograph
What it looks like now...

What I saw when I first bought it...

Original On-Line Photograph

Original on-line purchase price: $1,323.00
Want to buy a painting like this one? The key buying strategy for this piece is called Playing Old-Maid.

Art description: Original oil on painting on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).

Terms & links used to describe this art & artist:

• This style of art is known as: realism
• This art's lineage is: early American
• Other site-terms associated with this art, include:

Helpful site articles about art cleaning & restoration:

Useful web links regarding art cleaning & restoration:

Lesson Two: Period forgeries are relatively common amongst pieces signed by prominent artists.
Artists as well recognized as Emil Carlsen are not only forged today - they were also copied during their active years. Thus, you'll come across paintings that even the signature is "correct".
There's three basic types of forgeries:

(Forgeries link) There's a lot of approaches to forging an artwork. Some of the more common, include:

• A period forgery - these are tougher
• The signature doesn't appear so obviously added later
• Adding a signature of a noted artist to an unsigned painting of the same period done in the style of the artist - some are really bad examples
• Peto / Harnett story & example
• A recent copy

Most often, art forgeries are so poorly rendered that a few samples viewed on the artist from a Google search will send you on your way. However, a period copy in the style of the artist...
Do your homework
I twice was premature in getting an evaluation of this painting. Shame on me!

Additional collected artworks providing supplementary lessons about art copies and art forgeries, include:

Helpful site articles about art copies and art forgeries

Useful web links regarding art copies and art forgeries

- Buying strategies to duplicate this acquisition
Original on-line purchase price: $1,323.00
Buying strategy associated with this piece: a willingness to play Old-Maid.
Helpful search tips - to find an artwork like this one: An acquisition like

Art & Artist Information

Description of Art
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
A still life painting of chrysanthemums in a vase.
Provenance

• Ebay

Artist Information

Emil Soren Carlsen, N.A. (1853-1932, American)
A master still life painter as well as of landscapes, he was especially noted for his still lifes of humble everyday objects in the tradition of 17th-century Dutch painters. His methods were precise and labor intensive with much scraping, painting, and then scraping again with a build up of impastos. He perceived art as pure aesthetics with its only language being color, masses, and rhythms of line. He was born in Copenhagen, Denmark, and studied architecture at the Danish Royal Academy before emigrating to Chicago at age 19. He worked as an architectural draughtsman, and then traveled in Europe to study the Old Masters and also enrolled at the Academie Julian in Paris. Returning to Chicago, he taught at the newly formed Chicago Art Institute, and this activity was followed by periods of living in Boston and New York, but in 1887, he moved to San Francisco to be Director of the California School of Design. There he introduced his students to the work of his New York associates including Augustus Saint-Gaudens, J Alden Weir, and John LaFarge. He also taught the concept that art, like biological matters, was evolutionary and that America might well be the next center of the art world. He shared a studio on Montgomery Street with Arthur Mathews, one of California's leading art teachers and painters. In 1889, penniless and chafing at the long hours required to be a teacher, he resigned in disgust and returned briefly to New York. However, several months later he came back to San Francisco and until 1892 taught at the Art Students League. Then he left for good and returned to New York where he became successful, selling his pictures to major museums, elected to the National Academy of Design, and often referred to as the best still life painter of his time.
Listed In:

• Who Was Who in American Art
• Davenport's Art Reference and Price Guide
• The Artists Bluebook
• Mantle Fielding's Dictionary
• Mallet's Index of Artists

Museums Holding this Artist

Links to Additional Information on this Artist:

• AskART.com
• Peter Blake Gallery

Art Cost & Investment Analysis
Original on-line purchase price (1999): $1,323.00
Additional costs
Shipping & any insurance costs: $25.00
Added Costs:

• Professional cleaning & restoration: 200.00
• Framing: 165.00

Total Additional Costs $395.00
Total investment to date: $1,674.87

Art Valuation Information & Links

Types of art values LINK
Cash / Auction
Replacement / Insurance
Valuing art: formulas
Valuation Data
Was it a good deal?
Ebay faux auction ad & results
Show link to a high quality painting by Carlsen - the detail
ADD THIS INFO IN A SEPARATE LINK:
The artist's fame has continued to the present time, when his fine paintings still excite collectors and museum visitors. This painting has some similarities to works by Carlsen, however there are some important differences which suggest that this may not be an authentic work by the artist. Certainly, the arrangement of the flowers and the placement of the vase in the space might seem comparable to a Carlsen work, however, there is a general lack of the fine details and textural differences which are so important and apparent in Carlsen's work. The signature does seem to resemble the artist's, although most are quite level and rarely contain the sort of rise which is found in the middle of the last name. In considering these factors and the concerns listed above, this painting should be listed as Attributed to Emil Carlsen and would have the auction value as cited above. If documentation were to be found which could substantiate this work as definitely that of Carlsen, this value could be greatly increased.
Emil Carlsen was a respected artist and teacher with a productive career. He immigrated to the U.S. in 1872 and spent most of his career here. His listing in "Who Was Who in American Art" notes the fact that early in his career he was recognized for his large, brilliantly colored florals. The work you have would have to be a later interpretation of this earlier theme, since it is dated 1909, long after he established his career. Florals have come to the auction market at least four times in the past several years and reached strangely varied hammer prices. 2001: $27,600; 2000: $65,000; 1999: $23,000; 1999: $63,000 - this represents a swing of over $40,000 and implies that aesthetics, condition and size are playing a large part. I am concerned that this work may be a reproductive print that has been affixed to a textured pressboard. The texture of it resembles the consistent, all-over texture one finds on pressboard that has been molded to appear like the textured surface of a painting. Also, the back suggest it is indeed pressboard, or a paper board, as opposed to an artist's canvas board or a slab of masonite - both of which would be much more likely supports for this painting. I strongly advise that you take the work to a local appraiser or art expert who can determine for sure whether this is an original oil. To complicate matters, whether this is original or a repro, one would have to admit that either way it does not seem to exhibit the level of detail and finesse seen in Carlsen's work. The composition is not as complex as others that I reviewed in my research. The point being that, if an actual painting, I would not be entirely sure it is his work, although it is obviously highly derivative of his paintings and bears his signature. I am going to suppose this is a varnished, textured reproduction, but if it can be authenticated as the work of Soren Emil Carlsen, it would gave an auction value of roughly $18,500. Retail, it would go for $30,000.

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Artwork images are copyright of the artist or assignee
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with the affordable acquisition of highly appealing artworks
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American School
“Abstract - Geometric in Bright Colors”
Lesson: signed & numbered toilet paper...great decorating piece + "printer's proof"

Oil on Canvas mounted on baord

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
•

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Art & Artist Information

Description of Art
This was listed last week and taken down by eBay as we compared this work to another artist and that was unacceptable to eBay.
This excellent, probably late 1960's or early 1970's abstract color litho very much reminded me of a Pop Art master whose name eBay will not let us mention, It combines elements of Abstract art and Pop-Art.
I can't read the illegible pencil signature in the margin - looks to be a long name perhaps similar to Charles ??? Hagelmann ??? No Idea!! Inscribed Printer's proof at lower center.
24 1/4" x 17 1/4" (image) 29 1/2" x 22" (sheet)
Unmatted and unframed
Very good condition. One area of light soil on the reverse.
SHIPPING: Priority Mail with insurance. Shipped in rigid flat pack. There is a $6.00 packing & handling + exact shipping fee.
We combine shipping for like items based on largest object and total insurance. We will hold paid items while you bid on additional ones - just pay winning bid amount of each invoice and email us you’re still bidding.
Payment by PAY-PAL only
Oil on Board, 8 x 10, signed (lower right): Flourobi (Signature Indiscernible) titled: Fishing Wires and numbered: 1905. Titled in pencil on reverse "Old Lyme, 1905" and dated again with inventory code October 20 1905 A.
A still life painting of chrysanthemums in a vase.
Provenance

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American School
“Realism - Titled: Fishing Wires”
Lesson: signed & numbered toilet paper...great decorating piece

Oil on Canvas mounted on baord

heavily listed artist...ebay link

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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
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BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

• Ebay

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
“Symbolist Portrait - Titled as: "The Termination”
Lesson: Gift

Oil on Canvas mounted on baord

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
•

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Original on-line purchase price: $0.00 - it was a gift
Want to buy a painting like this one? The key buying strategy for this piece is called Benefits of being a known collector.

Art description: Oil on board, 22 x 30, signed (lower left): A.H. CALDWELL and dated: 30 (1930).

Terms & links used to describe this art & artist:

• This style of art is known as: expressionism
• This art's lineage is: mid-century American
• Other site-terms associated with this art, include:

o unknown artist
o period forgery

Lesson One: The impact of professional art cleaning & restoration

Caldwell is what we call a very "lightly" listed artist. Translation? I have no clue who this artist "really" is.
Early American artists that are scantily listed – like EJ Busenbark – present one of the best opportunities for MAC’s to purchase paintings of styles, quality and subjects that would prove too costly if authored by more well recognized artists.
If you are on a budget, these artists are perhaps your very best avenue to purchase high quality art at a fraction of the “usual” cost.
Additional collected artworks providing supplementary lessons about art cleaning & restoration, include:

Helpful site articles about art cleaning & restoration:

Useful web links regarding art cleaning & restoration:

Lesson Two: Pieces you personally relate to....
Some art speaks volumes about some point in your life. My sister committed suicide at the age seventeen. Thus, this artwork was particularly moving to me from the first intance.
There's three basic types of forgeries:

Art & Artist Information

Description of Art
Oil on board, 22 x 30, signed (lower left): A.H. CALDWELL and dated: 30 (1930). An expressionist painting of a nude female model on a platform.
I found this to be a very powerful painting.
Provenance

• Ebay

Artist Information

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Jesus Ferreira "Chucho" Reyes
“Modernist Styled Girl”
Lesson: After the auction + perfect frame

Oil on Canvas mounted on baord

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
•

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Every artwork in the ArtCollecting.info collection provides at least one unique lesson that assists beginning web-collectors in making better decisions about a new art acquisition.
After the Auction
This artist continues to come up at big name auctions and gets mentioned more often with some of the heaviest hitters amongst Latin American art.
Framing. Of all the pieces I've seen dramatically improved by a proper frame job - this one takes the cake. My framer simply outdid himself on this piece and made me quite proud of my stand off approach to getting framing done.
Full name of artist on search engines.
On Line translation tools.

Art Mexico's Chucho

ALSO IN THIS ISSUE

Oct. 2, 1944 Table of Contents »

Arts & Entertainment Big Fifty Decision in Oshkosh Puhfick Explanation The New Pictures

Oct. 2, 1944

Mexico City's No. 1 doodler last week found himself the center of an artistic cult. Tall, wrinkled Chucho Reyes (pronounced Choocho Ray-ez) is a 58-year-old antique dealer and former art teacher who claims he knows nothing whatever about painting technique ("I don't paint—I just mess up paper"). U.S. tourists buy Reyes' bright, fantastic watercolors almost as fast as he turns them out. Chief U.S. collector is Beautician Helena Rubinstein, who owns over 100 doodles. There are two Reyes works in Manhattan's Museum of Modern Art. Chucho Reyes quickly covers big sheets of...

Top of Form

Bottom of Form

Born in October of 1882 to Buenaventura Reyes y Zavala and doña Felipa Ferreira Flores in Guadalajara Jalisco. He was said to be the Mexican Chagall (this was said by Marc Chagall himself on a trip to Mexico). His father was a collector and antique dealer but very strict with his son and Chucho barely finished his elementary education when he dropped out of school. Coming from a wealthy family he found it possible to study art as a silversmith apprentice. He learned about this trade and later on became a silversmith himself. Some of his designs are still in his nephew David´s private collection. He was also interested in woodworking and spent hours learning about carving and woodworking in nearby shops. This experience was undoubtedly necessary when he became an expert antique dealer. His first serious job was as a window dresser in a department store. In 1927, after his parents death, he takes up residence in Mexico City. Within a few months he becomes well known within the circles of artists. His work tries to promote the incorporation of folk art into mainstream culture. His main themes are roosters, circus folk, angels, skeletons, horses, flowers, and Christs. Picasso once said when seeing one of Chucho´s paintings "How refreshing! He must be a very young artist." Chucho was about to turn 60. His first individual exhibition was in 1967 at the Palacio de Bellas Artes. He died in Mexico City in 1977. There was an interesting article in Time Magazine on Oct 2 1944. Mexico's Chucho Mexico City's No. 1 doodler last week found himself the center of an artistic cult. Tall, wrinkled Chucho Reyes (pronounced Choocho Ray-ez) is a 58-year-old antique dealer and former art teacher who claims he knows nothing whatever about painting technique ("I don't paint, I just mess up paper"). U.S. tourists buy Reyes' bright, fantastic watercolors almost as fast as he turns them out. Chief U.S. collector is Beautician Helena Rubinstein, who owns over 100 doodles. There are two Reyes works in Manhattan's Museum of Modern Art. Chucho Reyes quickly covers big sheets of Chinese paper with whorls of screaming paint representing prancing horses (see cut), proud cocks, or wooden-faced little angels. To these images, Chucho sometimes adds impressions of Adam & Eve, fallen women or skeletons. All spring from Mexican folklore. Curious Course. Ten years ago Chucho Reyes set up a school in Guadalajara to train local children in painting, sculpture, bookbinding, glass blowing, dramatic writing, silver and tin work. Reyes himself knew nothing of these techniques, hired no teachers, ran the school in highly unacademic fashion. ("That is why they made such pretty things.") He stirred up his pupils by taking them to theaters, whorehouses, insane asylums, wakes, where they startled those present by climbing on chairs or stretching out on the floor to get a novel point of view. Out of this free-style approach came some spectacular work, part of it by artists now nationally known in Mexico. One outstanding Reyes graduate is the water-colorist and engraver, José Maria Servin. Chucho used to wrap his students' work in Chinese paper. He began to make careless doodles on the wrappers. These attracted the attention of Diego and Frida Rivera, who often liked the doodles on the wrapping better than the artistry inside. So Chucho tried marketing them, at 5 pesos ($1) apiece. Today Reyes' swooshing pictures bring 50 to 80 pesos in Mexico, as high as $50 in Manhattan. Chucho sometimes reinforces his doodling with paint splashes, animal footprints or droppings from his two pet doves.

Jesús Reyes Ferreira (Chucho Reyes) (1882-1977)

Description of Art
Tempera on mounted tissue paper, 20 x 30, signed (lower right): Chuco. Gallery sticker on reverse. Titled: Nina on reverse.
Gallery sticker on reverse
A still life painting of chrysanthemums in a vase.
Provenance

• Ebay

Artist Information

Jesus Ferreira "Chucho" Reyes (1882- , Mexican)
Born in 1882 in Guadalajara. Marc Chagall, Diego Rivera and Romero Orozzco collected his works. When he was 80 (1962), Reyes was honored by a memorial retrospective exhibition of his work at the Place of Fine Arts (Mexico City). This piece is the same size and subject as the painting in the General Motors of Mexico Collection, as listed in the two volumes from the University of Texas at Austin in 1969.
Listed in: Davenports Art Reference and Price Guide.

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Guillermo Meza
Surrealism: “Pastel Nude Female Drawing”
Lesson: Relate to...investment value original receipts + books & well-listed

Oil on Canvas mounted on board

12 x 9"
Signed (lower right): De Nagy
Acrylic on canvas, assembled and mounted on panel Gift of Stephanie, Melissa, and Leah Gilliam 1995.7

Original Image:
What I saw when first bid on this artwork
Purchased on eBay. COM for $126.87 - 2006

heavily listed artist...ebay link

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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
•

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

A Lesson in Geography: Value in Expatriated Artworks (brief article / engaging headline format)
Suppose you hoped to find an adorable early American impressionist painting: where you might you look? Perhaps the last place you would begin your search is a junk-seller in Belgium. Alas, that's exactly where I scored this little jewel off ebay in 2006.
Expatriated art is a common occurrence: a collector from another country buys a piece...
Additional Collecting Lessons related to this artwork are included:

Additional Collecting Lessons related to this art & artist:

Research building...historical society

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Other matched piece sold at auction...Market square

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His scenes of people not worth as much - flowers bring most

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Standard sizes / affordable frames

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Other site-terms associated with this art, include:

•

Additional Collecting Links to this artist / info
Ernest De Nagy was born around 1882 in Budapest and died in 1952. He exhibited at the Salons of America and The Society of Independent Artists in the 1930s. 20in. by 16in.

Google Search on this Artist

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

Art & Artist Information

Description of Art

Pastel of female nude by Guillermo Meza (1917-1997). Entitled "Nude Sibyl." Problematic difference between signature and monogram comprised of and E and J at lower right. Signed in full and dated Dec. 1954. Bill of sale from Galerie de Art de Mexicano, S. de R.L. accompanies the lot. Sheet: 36"h x 25 1/2"w
Purchased on December 30, 1954 by Dr. Edgar S. Bowerfind, Jr. 417 North Main Street. Hudson, Ohio USA for $2,000.
Condition: Very good. An illegible inscription beginning with the letters "Estudia da J..." has been erased on recto, just above the Meza signature. The erasure has resulted in a patch of light brown discoloration.
Provenance

• Galerie de Art de Mexicano
• Dr. Edgar S. Bowerfind
• Corcoran Fine Arts, Ltd.
• Sotheby's / Ebay.com

Artist Information

Guillmero Meza (1885-1968, Mexican)
In his youth Meza was apprentice in his father´s tailor shop while studying music, drawing and engraving at the Escuela Nocturna de Arte para Trabajadores. In 1937 he went to Morelia to work as an assistant to the painter Santos Balmori and study at the Spain-Mexico School. In Mexico City he worked as salesman, mechanic, plumber, photograph, retoucher and porter. In 1939 he walked into Diego Rivera´s studio; Rivera sent a letter of recommendation to the director of the Galería de Arte Mexicano, Inés Amor, who in 1940 organized Meza´s first solo exhibition. In 1947 Meza worked with the Mexican Dance Academy and the following year with the Magic Lantern Players. As president of the First National Congress of Visual Artists he helped lobby for a Ministry of Culture. In 1953 and 1954 he took first prize in the Salon de la Plástica Mexicana´s national painting competition. In 1977 he designed sets and costumes for a ballet company in Norway. Meza is represented in such leading museum collections as the Museo de Arte Moderno in Mexico City, the Museum of Modern Art in New York, the Art Institute of Chicago and the San Francisco Museum of Modern Art.
Guillermo Meza (1917-1997) was born in México from a very humble origin. His outstanding sensitivity was apparent early in life by his desire to study music and drawing. He studied at the Escuela Nocturna de Arte para Trabajadores No 1 (Art Night School for Workers No. 1). Under his teacher, Santos Balmori Picasso he developed an exceptional talent and unique technique in drawing. When Diego Rivera discovered Guillermo Meza in 1940, he arranged for Meza's first one man show which was held at the Galeria de Arte Mexicano. Meastro Meza participated in a large number of exhibits throughout México, the United States and Europe. His works are in the collections of the Palacio Nacional de Bellas Artes (México ), Museo de Arte Moderno (México), Museum of Modern Art (New York), The Art Institute (Chicago), the University of Michigan (Ann Arbor), the San Francisco Museum of Art, the Dallas Museum of Art, Stanford University Art Gallery (Palo Alto), the Museum of Modern Art (San Juan, Puerto Rico), and the Philadelphia Museum of Art. He mastered drawing with pastels using whites, greens, reds and yellows thereby defining a recognizable "Meza" style.
Mexican artist Guillermo Meza specialized in genre scenes, portraits, religious subjects and nudes. Of humble origin, Meza showed early talent and sensitivity for music and drawing, and studied at the Escuela Nocturna de Arte para Trabajadores No. 1 (Night Art School for Workers). Under the tutelage of Santos Balmori Picasso, he developed an exceptional talent for drawing. He was discovered by Diego Rivera in 1940, and Rivera personally arranged for Meza's first one man show which was held at the Galeria de Arte Mexicano.
His works are now in many major museum collections worldwide including, among others, the Palacio Nacional de Bellas Artes, Museo de Arte Moderno, Museum of Modern Art (New York), The Art Institute of Chicago, the San Francisco Museum of Art, the Dallas Museum of Art, and the Museum of Modern Art (San Juan, Puerto Rico).
Purchased on December 30, 1954 by Dr. Edgar S. Bowerfind, Jr. 417 North Main Street. Hudson, Ohio USA for $2,000. Mexican artist Guillermo Meza specialized in genre scenes, portraits, religious subjects and nudes. Of humble origin, Meza showed early talent and sensitivity for music and drawing, and studied at the Escuela Nocturna de Arte para Trabajadores No. 1 (Night Art School for Workers). Under the tutelage of Santos Balmori Picasso, he developed an exceptional talent for drawing. He was discovered by Diego Rivera in 1940, and Rivera personally arranged for Meza's first one man show which was held at the Galeria de Arte Mexicano. His works are now in many major museum collections worldwide including, among others, the Palacio Nacional de Bellas Artes, Museo de Arte Moderno, Museum of Modern Art (New York), The Art Institute of Chicago, the San Francisco Museum of Art, the Dallas Museum of Art, and the Museum of Modern Art (San Juan, Puerto Rico).

Guillermo Meza Alvarez – son of Melitón Meza García, a pure race Indian tailor from Tlaxcala, and of Soledad Álvarez Molina, was born on September 11, 1917 in Mexico City. This was the year that Guillaume Apollinaire gave meaning to the word surrealism; this concept was used later by André Breton in his first Manifest of Surrealism, published in 1924.
Guillermo went to primary school in 1926 and three years later, attracted to music, started studying various instruments. He ended his studies at the age of 19. His other passion was drawing (since the age of 8) and so he attended the Night Art School for Workers number 1. There he took engraving classes with professor Francisco Díaz de León and drawing classes from Santos Balmori, with whom he traveled to the city from Morelia to become an assistant. He used the income from this job to continue his study of painting at the Escuela España México. Here he met Josefa Sánchez, whom he married in 1947. They had four children: Carolina, Federico, Magdalena and Alejandro. “Pepita” died on May 6 1968 at her home in Contreras. In 1940, he was introduced to Ines Amor by means of a letter from Diego Rivera. She was the director of the Mexican Art gallery and she organized his first exhibition. Guillermo Meza’s work started with impressionism, as a symbol of the rupture and a criticism of society. During his development as an artist, he passed from the denial of Dadaism (an intellectual revolt against society) to post Dadaist affirmation (imaginative freedom): from pure anarchy to a positively achievable freedom. His creative spirit allowed him to overcome his rebelliousness (so characteristic of youth) and he adopted a clear revolutionary position, similar to surrealism that is based on responsible freedom. He was able to express himself through this conciliatory approach, and to face the reality of his own truths.
As an admirer of Breton, the spiritual guide of the surrealist movement, and of Freud – the great theorist on individual freedom – he came to poetic surrealism, a spiritual synthesis where all is fantasy, without going to the extremes of deformity of Salvador Dalí.
“Change life”, said Rimbaud; “Transform the world”, added Marx; “It is necessary to dream”, affirmed Lenin; “It is necessary to act”, concluded Goethe. Meza does not try to change life or transform the world but he does actively dream about his painting, an essential part of his life, and he works on his endless and critical denouncements of the economic and cultural abandonment suffered by the Indians.
Meza has overcome the limits of his profession; he has a profound and vivid knowledge (not empirical) of Indian thoughts on magic – the heritage of his Tlaxcalan ancestry in the Puebla Sierra – that transcends suffering and non-masochistic acceptance of pain.
This artist believes in the myth and mystery that exist in the beyond, after this fleeting life; a mystery that tries to disembowel by means of its figurations that are nearly always surreal, but also symbolic-fantastic.

Meza paints the extreme hieratic nature of his subjects, the dejection of a race wasted by abandonment and continuous and systematic exploitation, a race that takes refuge in the little that it has left: its myths and magic (manifested in religious syncretistic celebrations) that has also been left to waste. These serve as a refuge because the Indians find themselves in the middle of two forms of faith they can no longer fully accept, as neither provide them with true spiritual support. As a result, they feel attracted to other philosophies that gradually leave them more empty and isolated from their medium.
Guillermo Meza records all these painful and changing sociocultural aspects of their race with his magical, theurgical brush. Faces impregnated with arcane mysticism, covered by untruthful masks, touched by archaic and animalesque helmets; faces with an apparently absent look that is, at the same time, sharp and scrutinizing. Bodies covered with blankets or volatile layers of feathers or bubbling sea foam; bodies dressed with unlikely armor made with secret, unknown materials; mutilated, lying bodies suffering terrible torment; bodies cruelly impaled on the thorns of a maguey plant or exquisite female bodies in suggestive, erotic poses.

Fantasy landscapes that seem to come from other galaxies; nocturnal views of illuminated cites; sudden meteorites that become celebrated UFOs; foggy, volatile mountains. Bygone pyramids from ancient forgotten cultures that emerge from steamy, moving leaves.
Meza gets on the same wavelength as the universe through his marvelous art. He prefigures his hallucinations and chimera with his potently creative vision: entelechies shrouded in mystery, icons of non-reality that are the truth to his complex spirit. He projects his eidetic images on the canvas, his fictions previously conceived and invented in his fecund conscience, through which he establishes his own symbols; signs that acquire significance when they become aware of his prolific thoughts of magic, so that he can thus communicate to us his dream fantasies and splurge his own particular, rich spiritual harmony on the canvas.
His knowledge of music meant that his paintings had composition, rhythm and harmony, which make his paintings more comprehensible if we look at them and “listen” to them, as though they were a musical poem based on sharp contrast and counterpoint, in accordance with the shapes, colors and dissimilar sounds.
His artistic works have a great deal of color in them, through which he manages to achieve a rich variety of visual “sounds” and “silences”. He harmonizes and complements the resonance of his shapes and colors by means of a dominating tone. Meza’s palette is as full of sound and magic as his thoughts, a worthy complement to his creative spirit.
It is painting to be contemplated and understood, whose content changes between the magical, the terrible, the playful and the sensual; it is painting of dreams and fantasy that the active conception of Meza brings to us in the form of beautiful, rhythmic, visual poetry in harmonious combination with his bright, voluptuous sense of tropical color.
Eminently nationalistic, Meza’s work transcends through its universal content, its human message of positive acceptance of suffering and through its constant search for peace. In the hope of creating something valid and sincere, this artist makes a rite out of his profession; from this rite new ideas emerge; ideas that are mythical and eternal because they are perennial and infinite.
Source: México en el Tiempo # 8 august-september 1995

Listed In:

• Who Was Who in American Art
• Davenport's Art Reference and Price Guide
• The Artists Bluebook
• Mantle Fielding's Dictionary
• Mallet's Index of Artists

Museums Holding this Artist

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Nehemy Jean
Primitive: “Hatian Female”
Lesson: Reading the fine print

Oil on Canvas mounted on baord

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
•

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Key buying strategy: Reading the Fine Print.

Art Description: Oil on canvas, 12 x 20, signed (lower right): N. JEAN

Lesson One: The impact of professional art cleaning & restoration

Read the Fine Print
On occasion, you might find yourself with adequate time to truly meander one by one through the thousands of paintings offered each week on ebay. I find this to be a healthy occasional exercise for more than one reason.
First, it gives you a better grasp regarding the vast amount of art that is available to you - and the prices for which pieces might sell for.
Second - and relevant to this particular painting - it can unearth an occasional "find".
I suspect if I a person had the free time, they could discover several such opportunities each week at every auction site.

Artist Information

Nehemy Jean (1853-1932, Haitian)
recent poetry was published in a compilation of writing of 117 Haitian woman in many fields called "Les voies de nos silences "by Marie Alice Theard. I am listed in "Who's Who of American Women", "Who's Who in the World." I participate in many locals as well as out of town gallery shows. Seven Art Galleries represent my work. I have had over 27 gallery shows; a combination of both collective and solo shows. My first Art teacher was Haitian artist Mr. Ramponeau. I also took Art classes at academy Nehemy Jean in Port-au-Prince Haiti. I am available for consultation for beginning artists and I lecture on themes related to Creativity and our spiritual Self.
Art Studies Mr Ramponeau private teacher Haiti Academy Nehemy Jean Haiti Miraflores Art Center Lima Peru Beading classes with Kevin Davenport and Roberta Vermillon, Colorado
SELECTED BIBLIOGRAPHY
1989 - The Many Faces of Haitian Painting, Winston-Salem, NC
1982 - Artists In Tune With Their World – Masters Of Popular Art In The American & Their Relation To The Folk Tradition , Selden Rodman , NY
1998 - Caribbean Art by Veerle Poupeye
1978 - The World of Haitian painting – From the Collection of Claude Auguste Douyon
1978 – Haitian Art by Ute Stebich
Peintures Haïtiennes, Editions Delroise,
1986 - La Peinture Haitienne, Haitian Arts, Nadal & Bloncourt

Haitian Art History ( Part II ) By Aug 16, 2003, 13:13

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Haitian Art History

Dieudonne Cedor

In 1950, following a different misfortune, numerous artists, under the guidance of Lucien Price, Max pinchinnat, and Cedor seperate from the "Centre d'Art and found the "Foyer des Arts Plastiques". It is from there that would spring forth the "Realism of Cruelty" as social painting bearing the stamp of the marvelous, brillantly illustrated by Nehemy Jean, Denis Vergin, Denis Emile, Charles Obas, and Cedor. From the "Foyer des Arts Plastiques" came the "Brochette Gallery", founded by Lazare, Cedor, Dorcely. Without completely breaking with "Indigenism" and the "Realism of Cruelty, painting wich had become more conscious of properly esthetic values turned toward a much more modern and intellectual expression, especially with Spencer Depas, Villard Denis (Davertige), Jacques gabriel, and Gerard Hyppolite. It is at the "Brochette Gallery" that Rosemarie Desruisseaux made her first steps in painting.

Gesner Armand

At the "Centre d'Art" Andre Pierre and other primitive artists had reinforced the good name of Haitian Art, while Gesner Armand was joining the ranks of the "Sophisticates". Founded in the early sixties, "Calfou" was the last great association of Haitian artists. With Bernard Wah, painting took a decisive turn that opened it to the " Ecole de La Beauté" . This much more formal and less socially engaged vision of art marked a definitive rupture with "Indigenism". The "Ecole de la Beauté" found its strongest expression in the work of Bernard Sejouné, Jean René Jérome, Simil, Jean Pierre Theard, Carol Théard, Jean Claude Legagneur, and Philippe Dodard.

Frank Louissaint

On the fringe of the "Ecole de la Beauté", the vigorous and varied works of Ronald Mevs, Fravange Valcin, Celestin Faustin, and Jean Claude Garoute (Tiga) offered themselves as so many openings, as well as those of Sacha Thebaud, Frank Louissaint, Marylene Phipps, and Jean Claude Garoute (Tiga), of a very advanced modernism with multiple tendencies, touching sometimes on hyperrealism, geometric abstraction, or infomal expressionism. In the course of the seventies, Saint Soleil was being born in the heights of Laboule, marking a strong renewal of primitive painting. Out of Saint soleil, Stivenson Magloire would be an incomparable result of primitive art. Today the vitality of haitian painting, in haiti as well as abroad, is astonishing. If the new generation continues to lean toward hypperealism and feels even more the pull of surrealism and the abstract, it rejects beaten paths, and manifests a greater restlessness, and without wanting to completely break with artistic tradition. It considers itself cognizant of "modernity", more conscious of possibilities, materials, and billing problems, hesitating neither before the unusual, nor before the "licentious". Pascal Smarth, Pascale Faublas, Mario benjamin, Barbara Prezeau, Harold Dessalines.... The promises are many... The future seems assured.

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The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Angel Bracho
“Camino de Coamitl (Road to Coamitl) Caracas”
Lesson: Everything!

Oil on Canvas mounted on baord

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
•

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Stupid is as Stupid Does
Last minute...

Art & Artist Information

Description of Art

Oil on board, 13 x 15, signed (lower right): Bracho, titled: Caracas, and dated: 43 (1943).

Angel Bracho (1894 - 1973, American)
Artist: Angel Bracho (Mexican, b. 1911) Year: 1946 Medium: lithograph Dimensions: 11-1/4 x 14² Signature: in pencil lr Edition Size: not stated Annotations: N/A Reference: TGP p. 59 illustrated Paper: heavy cream wove State: N/A Publisher: TGP Price: $150.00

Artist Information

Bracho (Mid 20th Century - Venezuelan)
In researching this artist, there are no sales records for an artist who signed under this name during this time frame.
It is likely that this was produced by a local artisan/ painter who sought to express these feelings presented within a view of his native Caracas.
The 25 of May of 1915 are born in the Ports of Altagracia, state Zulia, the painter Gabriel Bracho, muralista par excellence, formed in the Mexican School. It studied Plastic Arts in Caracas, Chile, Mexico, Paris and New York. It made numerous exhibitions in Latin America, the United States and Europe.
It obtained first prizes in the halls D'Empaire and Julio T. Arce and a third prize in the Planchart Hall. In 1977 it gained for Latin America the Realistic Painting Prize It jeopardize in Bulgaria. It made the Boyacá mural that is conserved in the Palace of Miraflores, and other murals in Educational Institutes. In 1978 it shaped the cupola of the new seat of the Ministry of the Defense, in a structure of vitrales of 234 meters, only in his sort in Latin America.
For more than 20 years Bracho was fighting against a cancer, that little by little was consuming its body; nevertheless, with that spirit of always present fight, it continued developing his work. One of its last works was a wonderful interpretativo picture of Antonio Jose de Sucre, acquired by the Interior of the State Sucre in the occasion of the Bicentennial of the Birth of the Great Marshal of Ayacucho, the 3 of February of 1995. It made several murals in his native city, the Ports of Altagracia; and the house where it was born turned it museum for cultural benefit of its coterráneos. Today House is called Museum Gabriel Bracho.
Gabriel let exist in Caracas, the 6 of March of 1995. Shortly before dying the National Prize of Plastic Arts was granted to him, inexplicably late, which could not receive in life.
He was born in the Ports of Altagracia (Edo. Zulia) the 25 of May of 1915 and died in Caracas the 6 of March of 1995. Fantoches. Between 1939 and 1942, the zuliano made studies in the School of Applied Arts of Santiago of Chile. During this time the policy received great importance in its life and its work, and discovered the expressive force of the social average art as of fight. The contact with the Mexican muralismo, specially with the techniques and ideas of David Alfaro Siqueiros, increased its conception of the social importance of the art.
The work of Bracho is full of a great realism, emphasized by pinceladas vigorous and strong resistances expressed in the color and the form. During his artistic formation, Gabriel Bracho traveled by Europe and Latin America. In 1851, he exposed in the Museum of Beautiful Arts of Caracas, and in 1957, he exhibited his work in the Room of the Friendship the International of the National Museum of Plastic Arts (Palace of Beautiful Arts of City of Mexico). Also, he participated in individual and collective exhibitions in Hungary, Bulgaria and Russia. On 1958 he founded, next to other Venezuelan artists, the Factory of Arte Realista (TAR) to promote this style and to give popular character him. The thematic one of its works takes a walk, as of the Sixties, by the folklore and history, without leaving of side the social commitment. In 1976, it gained the prize in the Realistic Painting Exhibition It jeopardize, in Bulgaria. Some of their works are: Venezuela , Merciful Linen and its time , Boyacá , this last one located in the Palace of Miraflores, Caracas. Today, its residence of the Ports of Altagracia is a museum that takes its name.

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Venezuelan School
“Caraacas”
Lesson: Venezuelan dollars

Oil on Canvas mounted on baord

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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

• Ebay

Artist Information

Bracho (Mid 20th Century - Venezuelan)
In researching this artist, there are no sales records for an artist who signed under this name during this time frame.
It is likely that this was produced by a local artisan/ painter who sought to express these feelings presented within a view of his native Caracas.
The 25 of May of 1915 are born in the Ports of Altagracia, state Zulia, the painter Gabriel Bracho, muralista par excellence, formed in the Mexican School. It studied Plastic Arts in Caracas, Chile, Mexico, Paris and New York. It made numerous exhibitions in Latin America, the United States and Europe.
It obtained first prizes in the halls D'Empaire and Julio T. Arce and a third prize in the Planchart Hall. In 1977 it gained for Latin America the Realistic Painting Prize It jeopardize in Bulgaria. It made the Boyacá mural that is conserved in the Palace of Miraflores, and other murals in Educational Institutes. In 1978 it shaped the cupola of the new seat of the Ministry of the Defense, in a structure of vitrales of 234 meters, only in his sort in Latin America.
For more than 20 years Bracho was fighting against a cancer, that little by little was consuming its body; nevertheless, with that spirit of always present fight, it continued developing his work. One of its last works was a wonderful interpretativo picture of Antonio Jose de Sucre, acquired by the Interior of the State Sucre in the occasion of the Bicentennial of the Birth of the Great Marshal of Ayacucho, the 3 of February of 1995. It made several murals in his native city, the Ports of Altagracia; and the house where it was born turned it museum for cultural benefit of its coterráneos. Today House is called Museum Gabriel Bracho.
Gabriel let exist in Caracas, the 6 of March of 1995. Shortly before dying the National Prize of Plastic Arts was granted to him, inexplicably late, which could not receive in life.
He was born in the Ports of Altagracia (Edo. Zulia) the 25 of May of 1915 and died in Caracas the 6 of March of 1995. Fantoches. Between 1939 and 1942, the zuliano made studies in the School of Applied Arts of Santiago of Chile. During this time the policy received great importance in its life and its work, and discovered the expressive force of the social average art as of fight. The contact with the Mexican muralismo, specially with the techniques and ideas of David Alfaro Siqueiros, increased its conception of the social importance of the art.
The work of Bracho is full of a great realism, emphasized by pinceladas vigorous and strong resistances expressed in the color and the form. During his artistic formation, Gabriel Bracho traveled by Europe and Latin America. In 1851, he exposed in the Museum of Beautiful Arts of Caracas, and in 1957, he exhibited his work in the Room of the Friendship the International of the National Museum of Plastic Arts (Palace of Beautiful Arts of City of Mexico). Also, he participated in individual and collective exhibitions in Hungary, Bulgaria and Russia. On 1958 he founded, next to other Venezuelan artists, the Factory of Arte Realista (TAR) to promote this style and to give popular character him. The thematic one of its works takes a walk, as of the Sixties, by the folklore and history, without leaving of side the social commitment. In 1976, it gained the prize in the Realistic Painting Exhibition It jeopardize, in Bulgaria. Some of their works are: Venezuela , Merciful Linen and its time , Boyacá , this last one located in the Palace of Miraflores, Caracas. Today, its residence of the Ports of Altagracia is a museum that takes its name.

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Chester Wilson
Realism: “Portrait of a Man”
Lesson: Mass production beginnings...Monet, multi-canvases, etc.

Oil on Canvas mounted on baord

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This style of art is known as: social expressionism
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

The lessons-learned from this particular piece, include:
Lesson One: The impact of professional art cleaning & restoration
Parts is Parts - Frame Value / trading + faux-sell
Finished by...classic & common but interesting

Art & Artist Information

Description of Art
Oil on Canvas, 31 x 26, signed (on reverse stretcher): "Finished by Chester Wilson and dated 1854. Titled "Eden Mill" on the reverse stretcher board.
This is an impressive portrait of a dignified gentleman of the Victorian era seen half-length and half profile dressed in black. The Victorian period is often characterised as a long period of peace and economic, colonial, and industrial consolidation, temporarily disrupted by the Crimean War, although Britain was at war every year during this period. Towards the end of the century, the policies of New Imperialism led to increasing colonial conflicts and eventually the Boer Wars. Domestically, the agenda was increasingly liberal with a number of shifts in the direction of gradual political reform and the widening of the franchise. This is a gentleman of the era.
The painting has been restored and appears in good condition, though the restored craquelure and the light stretcher marks are still visible and there is some retouching. The frame is new and in good condition with a few scratches only.

Provenance

• Ebay

Artist Information

Chester Wilson (1900-1990, American)
British. London genre and portrait painter, who exhibited from 1846 - 1855. Exhibited at the Royal Academy from 1846 - 1843. Titles at the RA including "The Penitent", 1846; "An Indian", 1850; and "Venus Reading", 1851. Also exhibited at Sussex Street and The British Institution.

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Joseph Mallord William Turner
Luminous: “The Arrival of the Packboats ”
Lesson: I'd buy a print

Oil on Canvas mounted on baord

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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Artist Information

Joseph Mallord William Turner (1775-1851, British)
20th Century American painter. Born in Madrid, Spain in 1885. Died in Chicago, Illinois in 1966.

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Eduard Svetlik
Post-Impressionism: “Landscape at Bay with Figures”
Lesson: Expatriated...the other direction

Oil on Canvas mounted on baord

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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Artist Information

Emil Soren Carlsen, N.A. (1853-1932, American)

Bay from Southern Europe
Artist: The painting is signed "Svetlik", an unidentified European artist.
Age: The painting is from approx. 1930s.
Medium: The painting is a genuine oil painting on masonite
Size without frame: The picture is 30 cm / 12 inches high and 49 cm / 19.5 inches wide. The frame itself is 3 cm / 1 inch wide.
Description: The artist behind this charming landscape was standing of the top of a hill overlooking a bay flanked by a narrow strip of land and behind that mountains apparently without any vegetation. Just below the artist on the beach is a party bathing in the bay. The brushwork is charmingly loose.
Condition: The painting is in a good condition but with slight surface grime and abrations. The frame is a beautiful wooden frame in a good condition only with a few scratches but ready to be hung.
We recommend a light cleaning For further information see our restoration listings in our eBay store

Světlík Eduard

listopadu 1903 v Přerově. Performance in November 1903. Učitelský ústav vystudoval v Kroměříži. Teachers' Institute graduated in Kroměříž. Pak učil na obecných školách v Trávníku a Šelešovicích (u Kroměříže) a na měšťan. Then he taught at the general schools in Travnik and Šelešovicích (in Kromeriz) and the townsman. školách v Hulíně a Kroměříži. Schools Hulíně and Kroměříž. Při tom hodně maloval a konečně se mu podařilo, že byl přijat na Akademii výtvarných umění v Praze, již jako žák O. In doing so, a lot of painted and finally he managed that was adopted at the Academy of Fine Arts in Prague, as a pupil O. Nejedlého navštěvuje od r. Nejedlého visits since 1936. Světlík je krajinář, teprve v poslední době maluje i figuru a komposice. Světlík is krajinář, until recently, painting and a figure compositions. Význačnější práce: Husovo nám., Dvůr ve Starém pivovaře, Hulínská silnice, Domy na Riegrově náměstí (všechny obrazy v majetku Spořitelny města Kroměříže), Před bouří, Na moři, Lodě v Gruži, Předjaří v horách, Tání, Zátiší s cibulemi, Karlovické údolí, Jaro na Hané, Honění krále I., II., Vánoční trh, Zima v městě. Význačnější: Husovo us., The Court in the Old brewery, Hulínská roads, houses for Riegrově Square (all images in the town of Kromeriz property savings banks), before the storm, The Sea, Ships in Gruži, early in the mountains, Tání, Still Life with cibulemi, Karlovické the valley, the Spring Hané, Honění King I, II., Christmas market, Winter in the city. V roce 1939 uspořádal zajímavou výstavu na téma Mizející a rostoucí Kroměříž. In the year 1939 organized an interesting exhibition on the theme Vanishing and growing Kromeriz. Žije v Kroměříži. He lives in Kroměříž.

naroz. 6. 6th

. painter)
SÍGL, Miroslav: Almanac of Czech journalists
Volumes

Světlík, Eduard / 1903 - 1970 (čes. malíř) (čes	Záhlaví: Název Top: Name	OCH	Rok Year	Signatura Shelf	Druh dokumentu The type of document	Svazky Volumes
SÍGL, Miroslav: Almanach českých novinářů	N2g1	2008	N 7534 N 7534	kniha book	svazky

Last update: 26.5.2008; Generated system Perlie 2.0

Poslední aktualizace: 26.5.2008; Generováno systémem Perlie 2.0

Source verification data
7 Prostejov 2007
Source verification data
Kromeriz 1940.
Source verification data
, P.: Nový slovník československých výtvarných umělců 2. Toman, P.: The New Dictionary of Czechoslovak Visual Artists 2nd L-Ž. L-M. Praha 1950 Prague 1950
Month of Birth
Place of birth (the local section)
Prerov
Prerov
's Birthday
Month of death
í (místní část) Place of death (local section)
Prostejov
Prostejov
's Death
Education
Places of action in Moravia
Kromeriz Kromeriz
Branch of the culture
Specialization in culture
painter
Nejedlého; krajinář, figuralista, autor zátiší Nejedlého; krajinář, figuralista, author of still lifes

Top-passenger jm.	SVĚTLÍK Eduard 1903-1970 SVĚTLÍK Eduard 1903-1970
Zdroj ověření dat	Dolívka, J.: Výtvarníci prostějovského regionu. Dolívka, J.: Artists prostějovského region. Prostějov 200
Zdroj ověření dat	Páleníček, L.: Výtvarné umění na Kroměřížsku a Zdounecku. Páleníček, L.: Fine art to Kroměřížsku and Zdounecku. Kroměříž 1940.
Zdroj ověření dat	Toman
Rok narození Year of birth	1903
Den narození Date of birth	06
Měsíc narození	11
Místo narození (místní část)	Přerov
Okres District	Přerov
Výročí narození	3
Rok úmrtí Year of death	1970
Den úmrtí Date of death	08
Měsíc úmrtí	03
Místo úmrt	Prostějov
Okres District	Prostějov
Výročí úmrtí	0
Vzdělání	AVU Praha AVU Prague
Místa působení na Moravě	Kroměříž Kroměříž
Obor působnosti v kultuře	75
Specializace v kultuře	malíř
Povolání mimo kulturu Occupation outside the culture	pedagog teacher
Poznámka Note	na akademii studoval u O. studied at the Academy O.

Dictionary personalities eastern Moravia
SVĚTLÍK Eduard - malíř * 6. 11. 1903 Přerov + 8. 3. 1970 Prostějov Moravský malíř a pedagog.

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Lovis van Poeteren
Social Realism: “Artist with Model”
Lesson: Misspelling

Oil on Canvas mounted on baord

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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Art & Artist Information

Description of Art

THIS IS A OIL ON CANVAS THE SWINGING SEVENTY,S WONDERFULLY PAINTED VIBRANT COLOURS ABSTRACT A VERY PLEASING PAINTING FOR THE COLLECTOR PLEASE EMAIL FOR CLOSE UPS
ARTIST LOVIS VAN POETEREN
DATED 1975
WOOD FRAME (SLIGHTLY DISTRESSED) HEIGHT TWENTY ONE INCH WIDTH SIXTEEN INCH
SOME PAINT LOSS
A WONDERFUL PAINTING FOR THE COLLECTOR
NO RESERVE HAPPY BIDDING

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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Art & Artist Information

Description of Art
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).

Gazette du Bon Ton

• Year: 1922 Issue: No.1 Plate: 6
• Title: UN ADMIRATEUR SINCERE
• Art by Andre Edouard Marty
• Signed in plate
• Dress Design by Paul Poiret
• Thick woven paper
• 7-1/4" x 9-1/2" inches, sheet

The Gazette du Bon Ton was the most influential fashion magazine of its time (1912-1925). Published in Paris, each issue contained loose plates in pochoir, an early 20th Century French method of printing where each color was carefully applied by hand through a hand cut stencil. The process was difficult and time consuming, so only a limited number of copies were produced. This print is entirely ORIGINAL and is not a re-production. It is in excellent condition with no marks, tears or folds. There might be very minor, insignificant browning to the edges of the sheet. The Gazette often used spectacular ink colors, including some bright and metallic hues, that are difficult to display on a computer monitor. The actual prints are superior to what you see on the screen, and the color shifts are more subtle.

Gazette du Bon Ton Pochoir Print

Description:
From 1912 to 1925 (with time out for the war years) the Gazette du Bon Ton set the tone for sophisticated style and taste for the art deco era. As a periodical, it was designed to be both expensive and exclusive. It appeared about ten times a year and appealed to the urban, well-bred leisure class of the jazz age. As a publication, the pages and prints were loose (not bound) and were enclosed within a stiff cover. The articles concerned entertainment with emphasis, on travel, theater, sports, restaurants and haute couture fashion.
The Gazette attracted may of the leading artists of the period to design plates for the publication featuring elegantly dressed women and men sometimes in a whimsical or fanciful setting. The latest creations were displayed from the top Paris fashion houses - Lanvin, Worth, Paquin and Poiret. Illustrations in the Gazette appeared both in the text and as separate plates or planches. Croquis plates were mainly used for new dress design illustrations. The planches were done in the pochoir (hand colored stencil) process and were highly coveted as decorative prints. The Gazette was able to obtain many of the top art deco artists to illustrate the publication including George Barbier, George Lepape, Raoul Dufy, Thayht, A.E. Marty, Charles Martin, Drian, Pierre Brissaud and others. The celebrated artists were also known in other areas of the art world as painters, illustrators, poster artists, fashion and costume designers, etc.
The Gazette maintained an image of the carefree European Continental lifestyle of the era before the next world war. It is estimated that about 2,000 issues were published each year. Many were lost or destroyed.. Complete sets are very rare and the prints enjoy a strong appeal for decorating and collecting. Plates from the Gazette are often reproduced in catalogs, calendars and advertisements to symbolize the art deco and jazz age period before the depression. There are also reproductions made.
Recommended Reading: French Fashions of Good Taste - Pochoir illustrations: 1920 - 1922 from the Gazette du Bon Ton, published by Schiffer Publishing Ltd. and available on Amazon.com or book stores.
Collecting
The most popular GDBT years are generally the early 1912 to 1914 issues. There are also very nice plates in the 1920 to 1922 issues. The publication later ran into financial difficulties and often the 1924/25 plates were not done in pochoir, but were lithographs. Ironically, they are often harder to find because less were produced.
Plates or Planches - The individual plates are about 9 1/2" x 7 1/4' and are specified from each issue and attributed to an individual illustrator. The most desirable plates are usually from George Barbier, George Lepape, Thayht and A.E. Marty. (Retail price range is $150 to $350). Next in popularity are Pierre Brissaud, Charles Martin, Benito and others. (Retail price range is about $75 to $200. Certain individual scenes are also favored by collectors regardless of illustrator and receive higher than average prices.
Double Size Plates: (Retail price range about $150 to $425)
Croquis: Decorative fashion plates. (Retail price range about $20 to $50)
Advertisement: Often highly decorative. (Retail price range about $20 to $40)
Article: Usually 4 to 6 page articles with illustrations. (Retail price range about $25 to $75)
Watercolors: Occasionally water colors may be available of the actual plate rendering. (Retail price range may vary from $1500 to $5000).
Plates from the Journal des Dames are also decorative and collectible and many are from the same artists illustrated in the Gazette.
Expensive pochoir plates also appear in Modes et Manieries, Falbalas et Franchules, Fetes Galant, Personnages de Comedie and other pochoir print series. A pochoir print collector and connoisseur will appreciate these very desirable and rarer prints.
Offering:

• GDBT 1922, No. 2, Plate 14
• Title: L'Averse Intempestive
• Artist: George Barbier
• Condition: Excellent
• Size: 9 1/2" x 7 1/4"
• Mat: FREE 12" x 10" Double Bainbridge Mat with removable archival tape
• NOTE: Any vertical or horizontal lines and Ebay monogram in lower right corner does not appear on actual print

Special purchase package also includes FREE double archival mat for GDBT print. Our 12" x 10" mats are custom cut for GDBT prints with Bainbridge archival (more expensive and safer than acid free) mat board and are cream color outer mat and dark green, blue or red color inner mat with 1/4 inch offset Mats come with a backing board. These mats and backing board cost about $15.00 to $20.00 retail.
Seven (7) days return privilege on all purchases.
Information: Gazette du Bon Ton and pochoir information obtained from Fine Print Gallery. Buy with confidence. These are the original GDBT planches. We are one of the largest dealers in the world of pochoir prints.
From the University of Cincinnati Rare Book website: The Art of the Pochoir Book " The effect is arresting: paging through the leaves of a pochoir-illustrated book, the reader is abruptly stopped by the extraordinary effects of lush, vibrant colors and bold geometric shapes. Bright oils and watercolors seem to come alive on the page in an almost three-dimensional experience. These volumes, with their focus on patterns and color interactions, use a stenciling technique to present decorative arts and the possibilities of book printing. In fact, pochoir is the French word for stenciling, a form of coloring pictures that dates to a thousand years ago in China. It was introduced to commercial publishing in France in the late 1800s, and there it had its most exquisite expression. The pochoir process would use from 20 to 250 different stencils applied to a black-and-white collotype print from a photograph. The collotypes are affixed to stencil sheets of metal or board, and the patches to be colored are cut out. Each color to be applied uses a separate pompon, or brush of coarse, shortly-cropped animal hair, to sponge or dab on the paint. Each stencil is done in turn until the image is finished, so it is essential to place the stencils exactly in position. Though pochoir illustration had its heyday in the 1920s, with Paris as its center of greatest artistic production, several places produced pochoir books during this decade, including London, Florence, New York, and the avant-garde publishers of Prague and other Eastern European cities. In the United States, pochoir gave way quite early to related methods like serigraphy and silk-screening. Occasionally today some fine press books are illustrated using the pochoir method, but its most sumptuous flowering eight decades ago represents a remarkable era in the history of the book..."

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Pablo Picasso
“Fillette Chen”
Lesson: Pot Humus prints?

Oil on Canvas mounted on baord

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This style of art is known as: social expressionism
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Artist Information

Pablo Ruiz Y. Picasso (1881-1973, Spanish)
A master still life painter as well as of landscapes, he was especially noted for his still lifes of humble everyday objects in the tradition of 17th-century Dutch painters. His methods were precise and labor intensive with much scraping, painting, and then scraping again with a build up of impastos. He perceived art as pure aesthetics with its only language being color, masses, and rhythms of line. He was born in Copenhagen, Denmark, and studied architecture at the Danish Royal Academy before emigrating to Chicago at age 19. He worked as an architectural draughtsman, and then traveled in Europe to study the Old Masters and also enrolled at the Academie Julian in Paris. Returning to Chicago, he taught at the newly formed Chicago Art Institute, and this activity was followed by periods of living in Boston and New York, but in 1887, he moved to San Francisco to be Director of the California School of Design. There he introduced his students to the work of his New York associates including Augustus Saint-Gaudens, J Alden Weir, and John LaFarge. He also taught the concept that art, like biological matters, was evolutionary and that America might well be the next center of the art world.

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Pablo Picasso
Modernism: “Mother & Child”
Lesson: Pen & Ink mischief

Oil on Canvas mounted on baord

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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

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Pablo Picasso
Abstract “Green”
Lesson: Estate Stamp

Oil on Canvas mounted on baord

heavily listed artist...ebay link

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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

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Alphonse Marie De Neuville
Realism: “French Cavalrymen”
Lesson: Clean-it-yourself...paper

Oil on Canvas mounted on baord

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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

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Alphonse Marie De Neuville
Realism: “French Cavalryman on Horseback”
Lesson: Cleaning

Oil on Canvas mounted on baord

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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

• Ebay

Artist Information

Alphonse Marie De Neuville (1835-1885, French)
The son of a banker, Alphonse was born in Saint Omer, Normandy, on the last day of May, 1836. As a youngster, he yearned to be a soldier but his family insisted that he study law. Although he completed his law degree in 1857, he showed more interest in art and approached Adolphe Yvon and Hipployte Bellange about his idea but both discouraged him so he entered the studio of Francois-Eduard Picot where he started work with another pupil and future military artist, Berne-Bellecour. The great painter Delacroix also took the young painter under his wing. In 1859, the artist showed his first military painting at the Salon. The Fifth Battalion of Chasseurs at the Gervais Battery, Malahoff for which he won a medal. A commission to paint Garibaldi taking Naples was received the following year and de Neuville went to the place to sketch first-hand. While there he witnessed the siege at Capou. He received a second-class medal for another painting of the Crimean War shortly after. Throughout the 1860s he busied himself with various large canvases depicting events from the Crimean War and Italian War of 1859, but it was to the events of the war with Prussia in 1870-71 that De Neuville was to gain his reputation as a painter of the 'incident' rather than the event. At the age of 35, the artist found himself as an officer of auxiliary sappers near Paris, and participated in the battles at Le Bourget and Champigny. These experiences enabled him to embark on a series of remarkable paintings chronicling the suffering of the French soldiers in the war. In 1872 appeared The Bivouac before Le Bourget but it was his picture of the following year, The Last Cartridge which really brought his name to prominence among the art critics of Paris. In this powerful and pathetic picture, a small group of French chasseurs await their fate in the upper room of a shot-riddled house having exhausted their ammunition. To achieve the reality of the moment, the artist painted the scene in a room which had been riddled with bullets and wreaked of powder. His 1875 piece entitled Attack by fire upon a barricaded house at Villersexel was regarded by many as his finest picture to date, but this was soon overshadowed by the immensely popular Le Bourget painted in 1878 showing a few French soldiers filing out of a church into the arms of the victorious Prussians. During the next few years, his reputation before him, he found employment in England with the Fine Art Society painting scenes from the various colonial campaigns in Zululand and Egypt resulting in his pictures of Rorke's Drift and Tel-el-Kebir but he soon returned to the subject he was most at home with, the war of 1870. Pictures for the 1880s include the famous Cemetery of St Privat and two panoramas of the battles at Champigny and Rezonville painted with his pupil, Edouard Detaille. His premature death at the age of 49 in May 1885 shocked the art world but his numerous pictures were a lasting testament to his greatness and sensitiveness to the sufferings of the common soldier.
Alphonse de Neuville was born in Saint-Omer on May 31, 1835. Raise Barb and of Eugene Delacroix, it beginning with the Show of 1859 with a scene of battle and illustrated the Three Musketeers for the Calmann-Lévy editor: the figures carried out for this book testifies to the influence of Philippoteaux for the taste of the decoration and the setting in scene. Thereafter, Alphonse de Neuville made many compositions for the review the Turn of the World and for the publications of the Hetzel editor. He dies on May 18, 1885 in Paris. French painter and draughtsman (1835-1885).
(b Saint-Omer, 31 May 1835; d Paris, 19 May 1885). French painter. He was first attracted to art while a cadet at the Ecole Navale. At the insistence of his wealthy family he withdrew after one year to study law. Already keen to become a military artist, de Neuville often sketched the troops training on the Champ de Mars or at the Ecole Militaire. He decided to study art in Paris, although consultations with the established military artists Hippolyte Bellangé and Adolphe Yvon were not encouraging, and it was only with difficulty that he gained a place as a student in the atelier of François-Edouard Picot, where Etienne Prosper Berne-Bellecour (1838–1910) was a contemporary. Soon disaffected with Picot’s stultifying regime, de Neuville set out on his own and by 1859 had his first painting accepted at the Salon: the Fifth Battalion of Chasseurs at the Gervais Battery (untraced). His entry won a third-class medal and praise from Eugène Delacroix. From then de Neuville’s way to independent success was firmly established.
NEUVILLE, ALPHONSE MARIE DE (1836-1885), French painter, was born, the son of wealthy parents, at Saint-Omer, France, on the 31st of May 1836. From school he went to college, where he took his degree of bachelier ès letires. In spite of the opposition of his family he entered the naval school at Lorient, and it was here, in 1856, that his artistic instincts first declared themselves. After being discouraged by several painters of repute, he was admitted to work in Picot’s studio. He did not remain there long, and he was painting by himself when he produced his first picture, “The Fifth Battalion of Cl~asseurs at the Gervais Battery (Malakoff).” In I86o de Neuville painted an “Episode of the taking of Naples by Garibaldi “ for the Artists’ Club in the Rue de Provence, and sent to the Salon in 1861 “The Light Horse Guards in the Trenches of the Mamelon Vert.” He also illustrated Le Tour du monde and Guizot’s History of France. At the same time he painted a number of remarkable pictures: “ The Attack in the Streets of Magenta by Zouaves and the Light Horse” (1864), “A Zouave Sentinel “(1865), “ The Battle of San Lorenzo “(1867), and “ Dismounted Cavalry crossing the Tchernaia” (1869). In these he showed peculiar insight into military life, but his full power was not reached till after the war of 1870. He then aimed at depicting in his works the episodes of that war, and began by representing the “ Bivouac before Le Bourget “ (1872). His fame spread rapidly, and was increased by” The Last Cartridges “ (1873), in which it is easy to discern the vast difference between the conventional treatment of military subject.s, as practised by Horace Vernet, and ‘that of a man who had lived through the life he painted. In 1874 the “Fight on a Railroad” was not less successful, and was followed by the “Attack on a House at Villersexel” (1875) and ‘the “ Railway Bridge at Styring” (1877). In 1878 the painter exhibited (not at the Great Exhibition) “ Le Bourget,” the “ Surprise at Daybreak,” “ The Intercepted Despatch-bearer,” and a considerable number of drawings. He also exhibited in London some episodes of the Zulu War. In 1881 he was made an officer of the Legion of Honour for “The Cemetery of Saint-Privat” and “The Despatch-bearer.” During these years de Neuville was at work with Detaille on an important though less artistic work, “The Panorama of Rézonville.” De Neuville died in Paris on the 18th of May 1885. At the sale of his works the state purchased for the Luxembourg the “Bourget” and the “Attack on a Barricaded House,” with a water-colour “The Parley,” and a drawing of a “Turco in Fighting Trim.”
Works illustrated by Alphonse de Neuville
Rotating crops Alfred Adventures of the Corcoran Captain Hatchet.
Mayne-Reid, Hunters of Giraffes, Hatchet, 10 ill.
Jules Verne Around the Moon, 6 engravings, Hetzel, 1871.
Jules Verne Twenty thousand miles under the seas Hetzel, 1869-1870, 111 ill. Novel of adventure as from 9 years - History of the Nemo Captain and his submarine, Nautilus. After Nautilus ran, professor Aronnax, his Conseil servant and the harpooner Ned Land are collected aboard submarine. The cage is gilded, but they are prisoners and must follow the Nemo captain in his tour around the world, with the discovery of Atlantis and of some treasures.
Jules Verne the Turn of the World in 80 days 1873.
Painted cavalry, genre, portraits, streets and animals. Painted with Edouard Detaille.
Listed In: Currier’s Price Guide of European Artists at auction, Benezit Dictionnaire, Bryan’s Dictionary, Champlin and Perkins Cyclopedia of Paintings, Encyclopedia Brittanica, Thieme-Becker Lexikon, Davenport’s Art Reference Guide, Mallett’s Index of Artists.

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Johann Kluska
Expressionism: “Triptych - Motif from Dante's Divine Comedy”
Lesson: On-line authentication...unsigned

Oil on Canvas mounted on baord

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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Art & Artist Information

Description of Art
Oil on board, 9 x 16, unsigned.

On offer here is an impressive triptych painting with a motif from Dante's divine comedy. Naked bodies are floating around in a rocky landscape, illustrating the damned souls in hell. The Divine Comedy (Italian: Commedia, later christened "Divina" by Giovanni Boccaccio), written by Dante Alighieri between 1308 and his death in 1321, is widely considered the central epic poem of Italian literature, the last great work of literature of the Middle Ages and the first great work of the Renaissance, and one of the greatest of world literature. It has been illustrated by famous artists like Michelino, Gustave Doré and Salvador Dalì.
This illustration appears to be of a more symbolic kind. The triptych composition underlines the religious content of the famous poem and refers to its division into three parts: Hell, Purgatory and paradise. A modernist interpretation of the medieval story with a slightly neo-expressionist touch.

Age: The painting is from the mid 20th century.
Condition: The painting is in a very good condition with light surface grime. The frame is a beautiful giltwood frame in a very good state with only a few insignificant scratches.
Provenance

• Ebay

Artist Information

Johann Kluska (1904-1973, German)

Artist: The painting is apparently unsigned, by the German artist Johann Kluska (1904-73).
We recommend a light cleaning For further information see our restoration listings in our eBay store
Authentication: The painting is authenticated by art expert Mesa Bajric and we fully guarantee its authenticity. To meet the new standards of Ebay’s Code of Conduct we introduce our external consultant, Mesa Bajric. Credentials: MA in Graphic and History of Art at the Academy of Art in Sarajevo Expert in: Graphic 16th – 20th century Central European Art Former Employees: Museums: Portrait Gallery in Tuzla, Slovenia Exhibitions: Moscow, Russia Gelsenkirchen, Germany Dubrovnik, Croatia Belgrade, Serbia Sarajevo, Bosnia Ljublijana, Slovenia Zagreb, Croatia Copenhagen, Denmark

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Alexander Kanoldt
Expressionism: “European Cityscape”
Lesson: Life long journey

Oil on Canvas mounted on baord

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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

• Ebay

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W. Claude Johnson
Realism: “Mountainous Seascape”
Lesson: Artist / gallery owner

Oil on Canvas mounted on baord

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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Emil Soren Carlsen, N.A. (1853-1932, American)

A BRITISH ARTIST
Artist: The painting is signed "W. Claude-Johnson", a British artist.
Age: The painting is from the early 20th century.
Medium: The painting is a genuine oil painting on canvas.
Size without frame: The picture is 30 cm / 12 inches high and 46 cm / 18 inches wide. The frame itself is 3 cm / 1 inch wide.
Description: Here you are offered an impressive landscape with a rocky island, breaking the surface of a lake, surrounded by huge mountains. The sky is covered by a thick layer of dark clouds as if a storm is brewing. The island is rendered with rough brushstrokes, adding to the textural richness of the painting.
Condition: The painting is in fairly good condition with craquelure, abrasions and peeling paint. The frame is a beautiful, wooden frame in a fairly good state with scratches and wear to the paint.
We recommend a medium cleaning/restoration. For further information see our restoration listings in our eBay store.
Authentication: The painting is authenticated by art expert Mesa Bajric and we fully guarantee its authenticity. To meet the new standards of Ebay’s Code of Conduct we introduce our external consultant, Mesa Bajric. Credentials: MA in Graphic and History of Art at the Academy of Art in Sarajevo Expert in: Graphic 16th – 20th century Central European Art Former Employees: Museums: Portrait Gallery in Tuzla, Slovenia Exhibitions: Moscow, Russia Gelsenkirchen, Germany Dubrovnik, Croatia Belgrade, Serbia Sarajevo, Bosnia Ljublijana, Slovenia Zagreb, Croatia Copenhagen, Denmark

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Helge Helme
Realism: “Still Life with Cactus”
Lesson: Skilled artist outside their noted realm

Oil on Canvas mounted on baord

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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

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Thomas Hand
“Winter Scene with Figures”
Lesson: Story of authentication...how many years

Oil on Canvas mounted on board

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This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

Research building...historical society

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Other matched piece sold at auction...Market square

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His scenes of people not worth as much - flowers bring most

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Standard sizes / affordable frames

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Other site-terms associated with this art, include:

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The lessons-learned from this particular piece, include:
Lesson One: The impact of professional art cleaning & restoration
If you play a degree of the treasure hunt game, you'll have a few pieces in your collection that while they hold no great personal appeal to your collecting "tastes" - you retain in an effort to eventually unearth data which will cause them to be considered of much greater value at some future date.
This painting was offered for sale under the heading of "English School".

I call these art works " flippers" - for their purpose is to eventually become substantially more valuable through research - and they can subsequently help fund the acquisition of a piece you consider more dear to your heart as time passes.
Through Eppraisal - I was able to get a good feel for potential authorship of this painting. Their analysis has given me a direction of which to perhaps eventually ascertain authorship - and if I were not so interested in teaching "you" about how you might use such art to further your collecting efforts - I would hope to sell the item at a tidy profit and use this increased cash to acquire a painting more dear to my heart.

Art & Artist Information

Description of Art
Oil on canvas, 10 x 12, signed (lower right): Indiscernible, in a gilded frame. Remnants of auction, title or exhibition sticker on reverse of canvas.
Re-lined
A still life painting of chrysanthemums in a vase.

Art Valuation Information & Links

ADD THIS INFO IN A SEPARATE LINK:
This is a nice example of a long standing tradition of snowy landscapes. Depictions of this subject actually go back as far as the Renaissance when Winter scenes first came out of the studio of the Brueghel. This subject continued to be treated during the next three centuries by many of the most important painters of their time, including artists from Belgium, Holland, Germany, Austria and England. This particular painting appears to have been created by a Dutch or German artist based on the palette, paint application and choice of scenery. Unfortunately, the identity of the artist remains a mystery as the partial letters submitted are not sufficient to decipher the maker of this piece. It is clear that the artist was well trained and highly aware of prior achievements in landscape painting. It is also obvious, based on the method of paint application and the extent to which color was mixed, that this was created during the last quarter of the 19th century. Works like this come to auction with great frequency and even without an attribution, this would have some appeal to collectors at auction in the range of values cited above. If the identity of the artist is deciphered through a physical inspection of the painting, it is likely that this value might increase.
The signature on this painting is unfortunately too obliterated to read, but stylistically this work is very similar to that of the late 19th/early 20th century Dutch painter, Willem Hendrik Eichelberg (1845-1920), who received his training at the Amsterdam Academy before embarking on a fairly successful career as a landscape painter who occasionally did townscapes and beach scenes as well. Dutch winter landscapes of this sort were extremely popular in the mid- to late- 19th century as the whole of Northern Europe experienced a succession of extremely cold winters. The Dutch artists in particular made a specialty of winter landscapes such as this as well, with riverscapes that depicted skaters and merchants trading from stalls set on the frozen rivers.
Your painting has unfortunately received a little too much restoration to be worth a lot of money but it is still a very atmospheric little piece which might benefit from further research into is authorship. The chalk mark on the back indicates that it was at one point in a Sotheby's sale: Lot 118? 6- (19)87. The rest of the date is probably underneath the metal plate affixed to the back of the frame. With that exact information it should be possible to have Sotheby's look up their catalogue entry which may contain the identity of the artist. The values given below, meanwhile are predicated upon works of this period by other Dutch painters of similar style and quality that have come to market in recent years.

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Paul Geissler
Realism: “Artist Self Portraits”
Lesson: Pair-buying...matched prints

Oil on Canvas mounted on baord

heavily listed artist...ebay link

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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Art & Artist Information

Description of Art

A pair of etchings. 12 x 18, signed in pencil (lower left): Paul Geissler and titled Diego. One appears to be a self-portrait of the artist with his brush in hand. The other the same man holding a small bird.
A still life painting of chrysanthemums in a vase.
Provenance

• Ebay

Artist Information

Paul Geissler (1881-1965, German)

Born June 25, 1881, Erfurt, Germany, where his father was a gardener. Studies drawing under the painter Sondermann. Attends the Arts and Craft School in Erfurt for 4 years. Studies at the Grand-Ducal School of Arts in Weimar, Germany, under Max Thedy, 1903. Receives commissions for paintings from the German Empress and a Russian grand-duke. Gives up painting and specializes on etchings, the art he likes best. Works on large etchings in Paris, 1910-11. Moves to Munich, Germany, 1912. On the board of Association for Original Etchings, in Munich. Travels through Switzerland, Liechtenstein, Belgium, Holland, Austria, France. Moves to Garmisch-Partenkirchen, Germany, 1918. His most productive years are 1920-30. Travels to USA, 1928, returns via Sicily and Italian mainland. In USA, executes beautiful etchings of Independence Hall and the Betsy Ross House in Philadelphia as well as scenes of Yale and Princeton. Appointed professor in Germany, 1943. Several universities offer him a post, but he remains independent. Chairman of the Werdenfelser Kunstlerbund, association of artists in the Garmisch, Germany, area. Died May 30, 1965. Source of information on Paul Geissler: Kunsthandlung Geissendoerfer [Geissendoerfer Gallery], Postfach 1214, 91534 Rothenburg/Tauber, Germany
Paul Geissler was born in 1881 and died in 1965. He was one of the foremost German etchers. His plates, chiefly of the architectural beauties of old Europe, have been highly praised by many of the most discriminating critics and collectors. Yet his work appeals as strongly to the public as it does to connoisseurs.
Every one of whom the famous ruins of Italy or the beauties of the German and Belgian Cathedrals hold fascination; all those for whom the past glories of the Old World exercise a romantic spell will appreciate the charm of Geissler´s etchings.
Through Geisslers work one can renew acquaintance with well remembered scenes or see, perfectly presented, the most beautiful of Europe's famous old buildings.
From 1919 on Paul Geissler lived in Garmisch-Partenkirchen. He died in 1965.
German painter. Born 1881.

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William Fridericia
Abstract Expressionism: Titled as “Sill Life with Fruits”
Lesson: Name...as Title: misspelling

Oil on Canvas mounted on baord

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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

The lessons-learned from this particular piece, include:
Lesson One: The impact of professional art cleaning & restoration
Sometimes, what a seller describes about a piece is obviously wrong. In this instance, the seller listed the artist as "XXX". Having slept through a few German classes back in high school I recognized the term to mean "still life". Thus, I knew something was amiss. Upon requesting a photo of the painting, I discovered who the artist was.
In case you haven't noticed from my other pieces, I'm a sucker for "bright red" in any painting. I was certain this piece was simply faded from old varnish and would brighten up after cleaning. Unfortunately - it did not. However, my framer did an excellent job of adding the right encasing to bring out the painting's strengths.

Art & Artist Information

Description of Art

Oil on Canvas, 19 x 25 1/2, signed (lower left): William Fridericia and dated: '47. Titled in pencil on reverse "Still Life with Fruits" in both English & Danish. Remnants of a label from Fridericia and a gallery label.
An expressionist still life rendering of fruit on a table.
Provenance

• Ebay.com
• Private Estate

Artist Information

William Fridericia (1909-1996, Danish)
20th Century Danish painter. Born 1909. Died 1996.
Artist: William Fridericia
Information from Kunstindeks Danmark
Fridericia, William Born: Frederiksberg, 04-03-1909 Died: 05-03-1996 Occupation: billedhugger, maler Sex: male Nationality: Danish Location: Danmark

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Artworks by the artist in Danish museums [26]

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Works by the artist in Danish museums
Number of artworks: 26

Name:

William Fridericia

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Blikfang II

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1940

Assemblage

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Bornholms Kunstmuseum

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Flyets Skygge på Havet

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1959

Linocut

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Flyets skygge på Havet

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1957

Linocut

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Bornholms Kunstmuseum

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Gamle Møller på Mykonos

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1955

Drawing

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Bornholms Kunstmuseum

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Geli

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1955

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Bornholms Kunstmuseum

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Geli

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Bornholms Kunstmuseum

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Himmelgaven

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1955

Linocut

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Bornholms Kunstmuseum

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Katten, Fuglen og Regnormen

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1953

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Bornholms Kunstmuseum

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Komposition

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1940

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Kubisk Opbygning

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Bornholms Kunstmuseum

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Kunstnerens hustru. Polykrom mosaik

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1954

Bust

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Esbjerg Kunstmuseum

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Kvindelig nøgenmodel, siddende

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1953

Linocut

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Bornholms Kunstmuseum

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Lav ophængning

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1953

Linocut

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Bornholms Kunstmuseum

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Ligeberettigede

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1954

Linocut

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Bornholms Kunstmuseum

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Model fra Ryggen

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1953

Linocut

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Bornholms Kunstmuseum

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Mykonos

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1955

Drawing

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Bornholms Kunstmuseum

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Opstilling med frugter

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1954

Linocut

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Bornholms Kunstmuseum

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Rytterstatuer

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1954

Linocut

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Bornholms Kunstmuseum

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Siddende model

Bottom of Form

1953

Linocut

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Bornholms Kunstmuseum

Bottom of Form

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Siddende model

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1953

Linocut

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Bornholms Kunstmuseum

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Siddende Model (Sort Baggrund)

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1953

Linocut

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Bornholms Kunstmuseum

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Skyhavet

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1957

Linocut

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Bornholms Kunstmuseum

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Skyhavet

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1957

Linocut

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Bornholms Kunstmuseum

Bottom of Form

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Stående Model (Sort Baggrund)

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1953

Linocut

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Bornholms Kunstmuseum

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Tordenskyer over Mykonos

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1955

Drawing

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Bornholms Kunstmuseum

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Tre modeller

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1943

Linocut

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Bornholms Kunstmuseum

Bottom of Form

The first years The 1930s was a fertile decade for the founding of new artists’ associations. Koloristerne started in 1932, the same year as Corner, on the initiative of the painter Gitz-Johansen and the Swedish born artist Emil Westman. The other members were the Barber-painter John Christensen (chairman of the group until 1940), Hjalmar Kragh-Pedersen, Peder Larsen, Knud Nellemose, Svend Thomsen, Hans Olsen and Povl Søndergaard, and the Swedes Ivan Nilsson, Figge Holmgren, Karl Enock Ohlsson, and Martin Edmond. The original idea was that the group should exhibit alternately in Denmark and Sweden, but after the death of Emil Westman the association became a purely Danish enterprise. The name Koloristerne referred more to the artists’ work with colours than to a decidedly colouristic policy.
The 1940s were marked by the admission of a number of new members, among them Aage Fredslund Andersen, Boye Givskov, Kai Mottlau, who for 36 years was Koloristernes’chairman., Børge Bokkenheuser, Harald Leth, Carl Lobedanz, and others. From the previously dissolved association Bølleblomsten came, in the beginning of the 1950s, William Fridericia, Steffen Petersen, and Ingrid Hansen, they were all earlier students from P.Rostrup Bøyesen’s Malerskole, and in the case of the two later typical colourists. William Fridericia succeeded Kai Mottlau in 1980 and remained chairman until 1989.
Abstract entered cautiously, first with Helge Ernst in 1955, followed by Helle Thorborg and Hugo Arne Buch. During the 60s it found a quite natural place among more traditional descriptions of nature, compositions with figures and still lifes, and the artists who find their inspiration in a more fabulating world., as for example Reidar Magnus (member from 1964 to 1968), Erling Jørgensen (from 1968 to 1973), William Fridericia, Herman Stilling (who became a member in 1964).
Koloristerne’s characteristics Koloristerne maintain these three central areas: Painting, sculpture, and lithographic art. They remain faithful to the traditional values of art: a solid piece of workmanship which in no way means a lack of substance. Some are fabulating or lyric others more reflective. There is no great interest in people, with the exception of Leif Lage’s portraits, which show a wide range of human expressions in connection with an intense richness of colour. Lisbeth Nielsen is another of the few artists whose mind is always on the human theme and who concentrates on the expression of the body. In recent years Astrid Klenow has demonstrated interest in the portrait with a series of busts in clay, portraits and scenes from everyday life are present with J.P. Groth-Jensen, but quite inseparable from the artist’s fascination with colour which to an even higher degree characterises his fine, lyrical description of nature.

ENGLISH SUMMARY

“… we’re some comrades who would like to join forces. By the way we’re not at all alike, amongst ourselves we’re as different as fire and water, and each one among us should be considered a sensation in himself. There’s not definite line in this exhibition, and we have been subjected to no other censorship than the one we have been subjected our own products to.” Gitz-Johansen wrote in 1932 (B.T. Dec., 1932).

The exhibited works all had a naturalistic view of the motifs and a tendency to focus on social-realistic subjects. Not until the end of the 1930s did a real joy in colour become pronounced with Koloristerne, with among others Henry Heerup as a guest, who, however, quickly changed to Corner & Høst-udstillingen, Preben Knuth, Poul Sørensen, and Svend Thomsen.

The 40s and 50s

Abstract Art

William Fridericia

The end of the 50s was a bad period for the group, who felt dissatisfied with Charlottenborg’s poor exhibition facilities, where there were three groups to share the building. After many discussions and a two-years pause Koloristerne opened again, in 1961, at Den Frie. Here they could unfurl all the rooms, admit new members and invite guests, like Poul Winther for example, who became a member in 1964, Seppo Mattinen in 1966 (from 1975 he changed to Grønningen) and Søren Hansen in 1969.

During the 1970s and the 80s many of the present members joined, who mostly work in an expressive idiom, partly abstract, often with a starting point in the recognizable world: Tonning Rasmussen in 1971 (he stayed with the group until 1986 when he switched to Grønningen), Nanna Hertoft in 1972, Peter Hentze and Ole Heerup in 1974, Jens Peter Helge Hansen in 1976, Leif Lage in 1977, Inge Lise Westman in 1979. During the 80s the following became members - Else Fischer-Hansen in 1980, Frank Rubin und Ingvald Holmefjord in 1981, Pia Schutzmann in 1984, Poul Skov Sørensen in 1988, in the 90s, Kurt Tegtmeier, Maria Buras, Johannes Carstensen and Eli Benveniste, and in the last years Niels Reumert, Søren Ankarfeldt, Anne-Birthe Hove and Toni Larsen.

Today, as at the beginning of the group, Koloristerne have neither manifestos nor determined artistic policies. Still they stand out from other associations, maybe because of the characteristics connected with their name, which has troubled them for many years. There is an outspoken colouristic talent among most of the members, not necessarily because they relish in strong colours. The colouristic sense may manifest itself in subdued colours, which, on account of their selection and arrangement, give the painting a special strength, a charisma. In spite of the broad spectrum of artistic idioms one can point out two main trends that give the association a unique profile: part of the artists are founded in the Danish tradition and thus carry on a heritage which already was present in the group’s infancy, while others cultivate a lyrically expressive, sometimes fabulating idiom as a statement from their souls or sense.

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William Russell Flint
Realism: “Sailboats at Harbor”
Lesson: Watercolor mischief

Oil on Canvas mounted on baord

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Artist Information

Sir William Russell Flint, R.A. (1880-1969, British)
A master still life painter as well as of landscapes, he was especially noted for his still lifes of humble everyday objects in the tradition of 17th-century Dutch painters. His methods were precise and labor intensive with much scraping, painting, and then scraping again with a build up of impastos. He perceived art as pure aesthetics with its only language being color, masses, and rhythms of line. He was born in Copenhagen, Denmark, and studied architecture at the Danish Royal Academy before emigrating to Chicago at age 19. He worked as an architectural draughtsman, and then traveled in Europe to study the Old Masters and also enrolled at the Academie Julian in Paris. Returning to Chicago, he taught at the newly formed Chicago Art Institute, and this activity was followed by periods of living in Boston and New York, but in 1887, he moved to San Francisco to be Director of the California School of Design. There he introduced his students to the work of his New York associates including Augustus Saint-Gaudens, J Alden Weir, and John LaFarge. He also taught the concept that art, like biological matters, was evolutionary and that America might well be the next center of the art world. He shared a studio on Montgomery Street with Arthur Mathews, one of California's leading art teachers and painters. In 1889, penniless and chafing at the long hours required to be a teacher, he resigned in disgust and returned briefly to New York. However, several months later he came back to San Francisco and until 1892 taught at the Art Students League. Then he left for good and returned to New York where he became successful, selling his pictures to major museums, elected to the National Academy of Design, and often referred to as the best still life painter of his time.

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Anthony Vandyke Copley Fielding
“Realist Lake Landscape Watercolor”
Lesson: Blacklight discoveries

Oil on Canvas mounted on baord

heavily listed artist...ebay link

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This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Lesson One: The impact of professional art cleaning & restoration
Advert for George Rowney & Co, paint manufacturer
Medium; Print on paper
Genre; Leaflet
Printer; Unknown
Shelfmark; Evan.4268, 4268
Zoomable image
Large image
Add to my personal folder
Send to a friend
This is a leaflet for George Rowney & Co. Rowney & Co were well known manufacturers of watercolour paints and artists materials. Artists such as Turner and Constable are said to have used their products. New colours like 'Crimson Alizarine' would have been popular with the middle classes who had lots of leisure time and enjoyed painting still lives and landscapes. This company still exists today, they are now known as Daler- Rowney.

Art Valuation Information & Links

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Jack Eichborn
Impressionism: “Sailboats at Moonlit Harbor”
Lesson: Musical Frames

Oil on Canvas mounted on baord

heavily listed artist...ebay link

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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Art & Artist Information

Description of Art
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
Jack Eichborn, born 1906, indicated painter... Oil on disk... signs... Middle 20 Jh... 59 xs 74 cm of inkl frame... the painting is is in very good condition... the original frame a cost-free supplement... Please you see yourself the photos in the XXL - format at... Become curious??? ... I adjusted also into eBAY-USA painting; you see indicate" takes place this automatically via the function "other articles of the salesman... the Mitsteigern exactly like in eBAY-Germany, for the respective Euro-value will be should have always with notice, whereby the native shipping charges naturally substantially more low... you yet questions, reach me you either per enamel over "question at the salesman" or short-termed per telephone under 06348,5935... I guarantee the correctness of my statements...
Provenance

• Ebay

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Ingeborg Benthine Debois Jörgensen
Realism: “Still Life with Fruit & Flowers”
Lesson: Mass amount of production by minor artist...classic styles you can afford

Oil on Canvas mounted on baord

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Original on-line purchase price: $112.50 +

Art description: Original oil on canvas, 28 x 37 1/2", signed (lower right): I.B. Debois.

Lesson One: A lot of art for the money

Vintage European Paintings

Danish paintings are the undiscovered gems of Europe: They were among the first to study with the Impressionists, starting in the 1880s. They naturally adopted the "French Palette" and brought its use of color back to Denmark. At the same time, they shifted their subject matter to country landscapes and ordinary people - both cast in the diffused light of Scandinavia. This became known as “Nature, Light, and Mood school of painting.
Taught at the Royal Academy of Fine Arts, where leading figures were employed to pass on their secrets and tradecraft to the next generation, these artists held onto the classic vision of art - a “window to eternity,” revealing the sweetness, beauty, and love that lay beyond the pain and difficulty of everyday life.
The last hurrah for this philosophy was 1890-1914, before the Great War, when European culture and sensibilities were at their highest.
Biographies: Most were important people in their own time and place. Many have numerous pieces in museums around the world. They traveled and exhibited internationally. Many received awards and medals, and have been the subject of books and articles. (Sample)

Emil Soren Carlsen, N.A. (1853-1932, American)

Realist still life
Artist: Signed "I. B. Debois" for Ingeborg Benthine Debois Jörgensen (born 1897-1970), a Danish artist well-known for her flower paintings and still life oils.
Age: The painting is from the mid 20 th century.
Medium: The painting is a genuine oil painting on canvas
Size without frame: The picture is 68 cm / 27 inches high and 98 cm / 38.5 inches wide. The frame itself is 5 cm / 2 inches wide.
Description: Here you are offered a large and charming still life of a bunch of flowers in a pot, a bowl with assorted fruits and more fruits on the table. Note the flowers with their heads hanging - they are an ancient symbol of death and decay that has existed in still lives for centuries.
Condition: The painting is in a good condition but with slight surface grime. The frame is a beautiful wooden frame in a good condition with scratches and wear
We recommend a light cleaning For further information see our restoration listings in our eBay store
Authentication: The painting is authenticated by art expert Rasmus C. Olsen and we fully guarantee its authenticity. To meet the new standards of Ebay’s Code of Conduct we introduce our external consultant, Rasmus C. Olsen. Credentials: MA in History of Art University of Copenhagen 2004 Expert in: Dutch Art 17th century German Art 19th – 20th century American Art 19th – 20th century Scandinavian Art 19th – 20th century French Art 19th century Former Employees: Museums: The National Gallery, Copenhagen, Denmark, the Department of Conservation. The Royal Cast Collection, Copenhagen, Denmark Other: The Cathedral of Roskilde, Denmark

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Marc Chagall
Modernism: Titled as “My Fiancée in Black Gloves”
Lesson: Autographed Prints

Oil on Canvas mounted on baord

heavily listed artist...ebay link

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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
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BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

• Ebay

Artist Information

Marc Chagall (1889-1985, Russian / French)
A master still life painter as well as of landscapes, he was especially noted for his still lifes of humble everyday objects in the tradition of 17th-century Dutch painters. His methods were precise and labor intensive with much scraping, painting, and then scraping again with a build up of impastos. He perceived art as pure aesthetics with its only language being color, masses, and rhythms of line.

The pencil signature is a fairly recent development in the history of printmaking. The practise is generally attributed to Whistler's brother-in-law, Sir Francis Seymour Haden, who was soon imitated by Whistler himself. Until the last third of the 19th century, the only time a print came with a signature was when it was a gift by the artist. Seymour Haden's great innovation was to charge extra for a signature: 5 guineas for an unsigned print, 6 for a print with a signature (a guinea equaled 21 shillings or about $5.25, so Haden's innovation added a modest 20% or $5.25 to the price of a print). The innovation did not catch on immediately. Most of Renoir's and Cezanne's prints are unsigned as are most German Expressionist prints, which were often published in books and periodicals in editions of between 200 and 1000 impressions. The practice of having separate signed and unsigned editions continued during most of the 20th century. Chagall, Miró, Picasso, Braque, Giacometti, Kandinsky, Kollwitz, and others often did both signed and unsigned editions so that those who could afford to pay could have a signed impression while those who could not could still have the print. Kollwitz frequently published a small edition with pencil signature and then, a few years later, a larger unsigned edition of the same piece would appear. Chagall's great etching series either come unsigned, like the Dead Souls, his first major work for Ambroise Vollard, or partially signed and partially unsigned. Chagall was at his most elaborate when he and Vollard decided to issue three editions of The Fables of La Fontaine: a small signed edition of 100 numbered with the place of the plate in the series, a hand-colored but unsigned impression of 85, and an unsigned edition of 240. It was thus possible either to have an unsigned hand-colored impression or a signed but uncolored impression. In the Bible etchings, Chagall and Vollard changed course: the etchings came either unsigned and uncolored or signed and hand-colored. Chagall also made many prints for publication in deluxe art reviews like Derrière le Miroir and XXe Siecle; sometimes these would also be available in a small pencil-signed and numbered edition. To further complicate things, sometimes Chagall would take one of the large-edition unsigned pieces, sign it, and send it off to a friend or sign one of the unsigned impressions at a gallery opening. A pencil signature on a print that was not supposed to be signed is called a complimentary signature. A Chagall signature on a letter is worth about $1000; on a work of art it can be worth many times that amount. Unfortunately, as the desire for signed Chagall prints pushed the prices higher and higher, the forgers, scenting an opportunity, were quick to take unsigned prints, add a fake signature, often an HC or EA annotation, and let it go at that. Spaightwood guarantees the authenticity of all works we sell. That guarantee includes the signature.

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Aage Bertelsen
Tonalism: “River Landscape in Winter”
Lesson: Styles you love - period art you can afford

Oil on Canvas mounted on baord

heavily listed artist...ebay link

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This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
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BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

• Ebay

Artist Information

Aage Bertelsen (1873 -1945, Danish)

Artist: The painting is signed Aage Bertelsen (1873-1945), a listed Danish artist and pupil of L.A. Ring and his father, the landscape painter Rudolf Bertelsen. He traveled to Italy, Germany, France and in Scandinavia. He stayed in Civita d'antino for two months in 1913. He received the academy medal in 1911 and 1913, silver medal in 1908 and diploma de merito in Rome 1932. He exhibited on Charlottenborg in Copenhagen during the period 1899-1903 and on other Danish exhibitions.

• Original oil on canvas from 1920.
• Signed by Aage Bertelsen (1873-1945), listed Danish artist. Educated at Zahrtmann's School of Art 1892-95 and during shorter periods until 1901. Study trip to Italy 1897, Germany and France 1899-1900, Greenland (1906-08, Italy 1913. Also to England, Sweden and Norway. Exhibitions since 1893. Many separate exhibitions. Represented in a couple of museums.

Age: The painting is from the early 20th century.
Medium: The painting is a genuine oil painting on canvas.
Size without frame: The picture is 38 cm /15.5 inches high and 58 cm / 23.5 inches wide. The frame itself is 7 cm / 3 inches wide.
Description: Here you are offered a compelling landscape with a river, meandering through a dark, winterlandscape with bare trees, whose tops are reflected on the surface of the water. A small path runs next to the river, leading into a forest to the left. Exhibition label on reverse.
Condition: The painting is in a fairly good condition with surface grime and peeling/missing paint upper right. The frame is a beautiful giltwood frame in a good state with minor stains and scratches.
We recommend a medium cleaning/restoration. For further information see our restoration listings in our eBay store.
Authentication: The painting is authenticated by art expert Rasmus C. Olsen and we fully guarantee its authenticity. To meet the new standards of Ebay’s Code of Conduct we introduce our external consultant, Rasmus C. Olsen. Credentials: MA in History of Art University of Copenhagen 2004 Expert in: Dutch Art 17th century German Art 19th – 20th century American Art 19th – 20th century Scandinavian Art 19th – 20th century French Art 19th century Former Employees: Museums: The National Gallery, Copenhagen, Denmark, the Department of Conservation. The Royal Cast Collection, Copenhagen, Denmark Other: The Cathedral of Roskilde, Denmark

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Jens Christian Bennedsen
Realism: “Landscape with Heather”
Lesson: A lot of art for the money

Oil on Canvas mounted on baord

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Art & Artist Information

Description of Art

Artist, Signature & Related Information: Signed “Chr Bennedsen” for the Danish artist Jens Chr Bennedsen (1893-1967), known especially for his landscapes. Oil on board, 30 x 20, signed (lower left): Chr Bennedsen and dated 1909 (lower right).
Age: The painting is from the 1930s.
Medium: The painting is a genuine oil painting on canvas

Size - without frame: The picture is 69 cm / 27 inches high and 100 cm / 39.5 inches wide. Size - with frame: The frame itself is 9 cm / 3.5 inches wide.

Description: A realist-style landscape from Denmark featuring an old lady and her cow walking on a country road in a hilly environment clad in heather - one of Europe's most commonly known wildflowers. The hills continue as far as the eye can see and in the background is a river winding its way through the landscape. It is indeed a summer's day.
On offer here is a heather landscape painted by one of Scandinavia's most popular painters of the genre. The heath in the western region of Denmark has been since the 19th century a popular motif and for good reason. The purple heather in the summer makes a wonderful contrast to the greens and blues of the surrounding landscape. The warm glow the giltwood frame produces a perfect accent for this summer scenery.
Condition: The painting is in a good condition but with faint surface grime and abrasions. The frame is a beautiful giltwood frame in a good condition with a few scratches
Provenance: Purchased on ebay. There was a tag on the reverse from Lauritz Auction Gallery. No additional ownership history / lineage available.

Artist Information

Jens Christian Bennedsen (1893-1967, Danish)

known especially for his landscapes.
From an ebay sale of
He was educated at Teknisk Skole (Technical School), and later partly by independent study and partly at private schools. He was a distinct landscape painter who mainly sought his motifs in areas that lie in a natural state. With a fine understanding he depicted the Jutlandic moor, the dunes on the West Coast and the inlets in the open landscapes. Jens Christian Bennedsen depicted very vividly the Fall and Winter in Norway and Sweden with their spruce and birch-woods in a naturalistic interpretation, which shows his technical skills and mastery of the interplay between light and colors. From 1927 he exhibited at the Painters Association, at the Free Exhibition and from 1952 he exhibited at Charlottenborg. Internationally he exhibited at Stockholm, Goeteborg, Malmoe and Rome

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John Staines Babb
Realism: “Landscape”
Lesson: Watercolor vs oil...few auction results

Oil on Canvas mounted on baord

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Lesson One: The impact of professional art cleaning & restoration

Victorian period paintings by English artists are relatively common place and often provide the opportunity to acquire a good bit of art for your money.
This era produced the first real form of "middle class" in the world. As with the earlier Dutch artists on a more limited scale Like had been seen in the early Dutch masters, Victorian homes were seeking art to fill their walls and a host of aspiring artists filled the void.
This piece has several factors I find appealing. First, even though the frame is in pretty rough shape "physically", it's a very powerful period frame and decorates well in a rich environment.
This was my first lesson in the fact oil paintings don't necessarily end up being worth more than watercolors. When I first acquired the piece, I was aware of a listing a watercolor sold at auction in London for $33,000.

Art & Artist Information

Description of Art

Oil on artist's board, 12 x 18, signed (lower right): J. Staines Babb.
Subject: A Victorian landscape of a lake, trees, and countryside in a heavily gilded period frame with some losses.

Provenance

• Ebay.com
• Private Estate

Artist Information

John Staines Babb
A British painter active during the late 19th & early /20th century. Lived in London - painted romantic landscapes and literary subjects - made a living as a "decorative" artist.
Exhibited 1870 - 1900. Showed at the Royal Academy, 1872 - 1900. Exhibited at Sussex Street 1874 - 1876, and elsewhere.
Listed In:

• Davenport's Art Reference and Price Guide
• The Dictionary of Victorian Painters

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Cioca Radu
Surrealism / Symbolism: “Titled - Real Visions”
Lesson: Touches you...foreign gallery test...found source of inspiration David Bowie

Oil on Canvas mounted on board

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
•

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

Research building...historical society

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Other matched piece sold at auction...Market square

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His scenes of people not worth as much - flowers bring most

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Standard sizes / affordable frames

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Other site-terms associated with this art, include:

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39 x 27
Thank you because choose to visit our gallery. Here you'll find what you're looking for. We create quality art because we only answer to you, not the whole sellers. Now, you have the opportunity buy direct from artists. We offer you high quality product at unbeatable prices. Now is your chance to commission a hand-painted portrait in rich glowing colors that will be a family heirloom for generations to come. This makes a wonderful personal gift for an anniversary, birthday, graduation, retirement - anyone would cherish a one-of-a-kind work of art featuring their loved ones! And don't forget Christmas!! We have created numerous commissioned pieces. We are here when you need the best and most thoughtful gifts for your loved ones. Your business is much appreciated and your satisfaction is very important to us.
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Date of birth: October 05, 1981

Education:
"Marin Sorescu" Art College from Craiova, 1996 - 2000
"Ioan Andreescu" Academy of Visual Arts, Cluj – 2000-2004
In 2003 scholar-ship “Erasmus Socrates” for Accademia di Belle Arti e del Restauro in Palermo, Italy

Artistic Activity:

Group exhibitions:
2000: Art exhibition at National Theatre in Craiova
2001: Art exhibition at Transit House in Cluj Napoca
2001: Art exhibition at Université de Rouen, France
2003 Art exhibition at Accademia di Belle Arti e del Restauro, San Martino delle Scale – Palermo, Italy
2004: Art exhibition at Transit House in Cluj Napoca
2004: Art exhibition at Pécs, Hungary
2004: Art exhibition at “Expo Transylvania” in Cluj Napoca
2004: Art exhibition at “ART GALLERY” in Cluj Napoca

Personal exhibition:
2004: “Café Bulgakov”

His paintings are displayed in private collections from USA, Cyprus, Switzerland, France, Italy, Germany and many other countries.

Provenance

• Ebay

100% art!
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Event:

Vineri, 1 septembrie 2006, a avut loc o nouă expoziţie a artiştilor plastici din localitatea noastră, artişti care nu încetează să ne surprindă prin creaţiile lor tot mai valoroase. Friday, 1 September 2006, held an exhibition of nine artists from plastic our town, artists who do not cease to surprise us with their creations ever more valuable. Acest eveniment, anunţat în cadrul "Zilelor Oraşului Turda", sa bucurat de o prezenţă numeroasă. This event, announced in the City of Athens Days ", enjoyed a presence numerous.
Deschiderea vernisajului Opening vernisajului
Dorindu-se o apropiere a turdenilor de arta plastică, dar şi o sensibilizare a acestora, pictorii din localitatea noastră au organizat o nouă expoziţie. Dorindu the turdenilor an approximation of the plastic arts, but also an awareness of these painters of our town have organized a nine exhibition. În cadrul acesteia, un număr însemnat de artişti plastici au expus câteva dintre lucrările lor. In the latter, a large number of plastic artists exhibiting some of their work. Vernisajul a fost deschis de domnul Alexandru Picovici care, în calitate de organizator, a oferit celor prezenţi informaţii despre exponate şi despre autorii acestora. Opening of the exhibition was opened by Mr. Alexander Picovici which, as the organizer, provided those present exhibits and information about their authors. Nu a ezitat să-şi exprime bucuria că numărul celor prezenţi, interesaţi de realizările artiştilor plastici turdeni, a crescut simţitor. Not hesitant to express the joy that the number of those present, the achievements of artists interested in plastic turdeni, has greatly increased. În încheiere, pictorul Alexandru Picovici a deschis vernisajul prin invitaţia lansată tuturor de a aprecia lucrările plastice expuse. Finally, the painter Alexander Picovici opened inauguration invitation launched by everyone to appreciate the work of plastic exposed.
Diversitate Diversity
Pictorul Călin Anton expune un ciclu de lucrări, având drept temă teatrul absurd. Calin painter Anton expose a cycle of works, with the theme absurd theatre. Naraţiunea se subordonează formei, deoarece accentul cade pe figurativ. Naraţiunea is subject shape, because the emphasis falls on the figurative. Se poate remarca o armonie a culorilor aflată parcă în antiteză cu scenele imaginate. You can notice a harmony of colors seem located in antiteză with imagined scenes.
Maria Deleanu, artistă plină de sensibilitate, pictează o aşezare omenească de tip insular. Maria Deleanu, artist full of sensitivity, pictează a type of human settlement island. Înconjurată de apă, aceasta pare a fi întocmai unui micro-univers pierdut, rătăcit. Înconjurată water, it seems to be just a micro-universe lost, rătăcit.
Radu Cotişel prezintă, în cele două tablouri expuse, un univers rustic. Radu Cotişel present, the two paintings exhibited, a rustic universe. Verdele contrastează cu nuanţele de maro şi, împreună, sugerează un peisaj surprins în timpul toamnei, anotimp al abundenţei. Verdele contrasts with nuanţele of brown and, together, suggest a landscape caught during autumn, the season of abundance.
Alin Bâlc pictează un peisaj care transmite bucuria de a trăi. Alin Bâlc pictează a landscape that transmit the joy of living. Aleile cu copaci înfrunziţi transmit o stare de calm desăvârşit. Aleile with trees înfrunziţi transmit a state of calm desăvârşit.
Artista plastică Ileana Crăciun aduce în faţa turdenilor două scrisori adresate fiicei ei, Sara. Artista plastic Ileana bring before Christmas turdenilor two letters to her daughter, Sara. Sunt două exponate absolut interesante. There are two exhibits absolutely interesting.
Gheorghe Roşa, cel care a fost prezent cu multe şi valoroase lucrări şi la expoziţia anterioară, alături de pictoriţa Mihaela Gligor, vine din nou în faţa turdenilor cu trei tablouri. Roşa George, who was present and many valuable works and the exhibit earlier, along with pictoriţa Mihaela Gligor, comes again before turdenilor with three paintings. Inspirat de peisajul local, pictorul prezintă Cheile Turzii în multiple ipostaze. Inspired by the local landscape, the painter presents Gorges Turzii in multiple ipostaze.
Sarah Einich atrage atenţia turdenilor printr-un tablou expus în Israel. Sarah Einich draws attention turdenilor by a picture exhibited in Israel. Coloritul bogat, siguranţa liniilor exprimă forţa artistei. Coloritul rich, safety lines artist expresses the force. Deşi impresionează "El şi ea" nu aparţine impresionismului, ci expresionismului german. Although impresionează "He also" does not belong impresionismului but expresionismului german. Organizatorul expoziţiei, Alexandru Picovici, devine pictorul Alexandru Picovici. The organizer of the exhibition, Alexandru Picovici becomes painter Alexander Picovici. La acest vernisaj s-au putut admira şi două dintre lucrările lui. At this vernisaj were able to admire and two of his works. Biserica din Horea este subiectul unei picturi de dimensiuni mari, care propune parcă o întoarcere într-un alt timp existenţial. Church of Horea is subject to large paintings which seem proposes a return to another time existenţial. Coloritul vine în sprijinul acestei idei de vechime. Coloritul comes in support of this idea of seniority. Motivele florale se regăsesc în alte două lucrări ale aceluiaşi pictor. The reasons are found in floral two other works of the same painter. Tot natură statică există şi într-un tablou al artistului Adrian Ţop. All static nature exist in a picture of the artist Adrian Ţop. Florile roşii din glastră contrastează cu nuanţele gri din fundal, sugerând tocmai importanţa laturii decorative, a artei într-o lume gri, monotonă şi tristă. Glastră red flowers contrast with nuanţele grey background, suggesting the side just decorative art in a grey world, monotonă and sad. Diferite de acest tablou sunt celelalte două, avănd în prim-plan o biserică reformată surprinsă de pictor din două perspective. Different from this picture are the other two, avănd in the spotlight a Reformed church surprinsă painter of the two perspectives.
Alături de pictorii turdeni, au expus lucrări şi artiştii plastici Mircea Viorel, Ladislau Suba, Ana Maria Nagy şi Mihaela Gligor. Along with painters turdeni, exhibiting works and artists plastic Mircea Viorel, Ladislau Suba, Ana Maria Nagy and Mihaela Gligor. Se remarcă măiestria autorilor, arta compoziţională şi formele abordate. It notes măiestria authors, art forms and compoziţională addressed.

Cine este Lucian Cătană? Who is Lucian Cătană?
Profesor la Liceul "Pavel Dan" din Câmpia Turzii, Lucian Cătană pictează de aproximativ zece ani, după cum ne-a declarat. Professor at the School "Pavel Dan" Campia Turzii in, Lucian Cătană pictează approximately ten years, as we said. A expus lucrări remarcabile, dovedindu-se "un maestru al desenului" (Alexandru Picovici). He exhibited remarkable work, proving to be "a master of design" (Alexander Picovici). Fin observator al feminităţii, pictorul Lucian Cătană doreşte să transmită prin operele lui şi atitudinea umană a femeii. Fin observer of feminităţii, the painter Lucian Cătană wishes to convey through the works of human attitude and a woman. Recunoaşte însă că "în general, aceasta are o atitudine de provocare a publicului, tot timpul se uită spre privitor, de multe ori exprimă chiar superioritate". Recognize that "in general, this attitude is a challenge to the public all the time to look on, often expressed even superiority."
Lucian Cătană conştientizează faptul că un artist trebuie să aibă incredere în el şi în ceea ce realizează. Lucian Cătană awareness that an artist must have confidence in it and what you achieved. Crede în puterea autosugestiei: " Un om care se zbate să facă nişte lucruri pe care el le crede deosebite trebuie să aibă sentimentul că este cel mai bun, chiar dacă se va minţi". He believes in the power autosugestiei: "A man who zbate to do some things that he thinks they must have special feeling that is best, even if it will lie." Având, în momentul creaţiei, această stare de spirit, apariţia în picturi a chipului lui Donald, simbol al împlinirii artistului, nu mai pare întâmplătoare. Given the time of creation, this state of mind, the emergence in the paintings of Donald chipului, împlinirii symbol of the artist, does not appear random.
Întrebat cât timp consacră artei plastice, Lucian Cătană a spus că, mental, pictează aproape în fiecare zi, dar în faţa tablourilor se aşează doar atunci când este fericit. Asked how long enshrining plastic art, Lucian Cătană said, mental, pictează almost every day, but before tablourilor sit only when it is happy. Ce îl inspiră? What inspires you? Viaţa. Life. Fiecare pictură exprimă stări sufleteşti autentice. Each painting expresses states sufleteşti authentic. Eul biografic influenţează eul artistic. Biography self eul artistic influences.
Privind cu atenţie lucrările expuse de pictor, se poate observa o antiteză compoziţională. Looking carefully explained the work of a painter, you can see a antiteză compoziţională. Ipostazele în care este surprinsă feminitatea nu sunt doar diferite, ci şi contrastează. Ipostazele it is surprinsă femininity are not only different but also contrasts. Femeia este inocentă şi provocatoare. The woman is inocentă and provocative. Ea are o puritate spirituală certă sugerată printr-o aură aşezată deasupra unui chip de călugăriţă sau îşi etalează nuditatea şi căderea în hybris. It has a certain spiritual purity suggested by a aură situated above a chip or călugăriţă of their displays nuditatea and hybris in the fall. Este pictată în apogeul frumuseţii şi senzualităţii ei, dar şi asemenea unei copile. It is painted in its peak beauty and senzualităţii them, but also a copile. Are, în acelaşi tablou, părul acoperit ori îşi expune părul roşu, strălucitor. It has the same picture, hair covered or expose their hair red, strălucitor. În cazul acesta, antiteza se realizează prin motivul părului. In this case, antiteza realized by reason hair. Stingheră sau îndrăzneaţă, femeia îl inspiră pe pictorul Lucian Cătană. Stingheră or îndrăzneaţă, it inspired a woman painter Lucian Cătană. Ea îşi ocupă locul şi în autoportretul artistului şi, printr-un joc de lumini şi umbre, îşi exprimă atitudini de viaţă. It occupies its place in autoportretul artist, and through a game of light and shadows, expresses attitudes of life. Senzualitatea feminină se accentuează prin roşul aprins care este ca o pată de culoare pe un fundal negru-alb. Senzualitatea female Points are lit by roşul which is a color blemish on a black-white background.

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Anders T. Mortensen
Surrealism / Symbolism: “Titled - Ak ja, de dage”
Lesson: Art that disgusts people

Oil on Canvas mounted on baord

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
•

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Art & Artist Information

Description of Art
Description: ANDERS T. MORTENSEN. Olie på plade. "Ak ja, de dage". Maleri med hårtot effekt. Sign. bagpå Anders T. Mortensen '87. Monteret med smal sort liste langs kanten. 62 x 62 cm.
Ah yes, those days.
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
A still life painting of chrysanthemums in a vase.
Provenance

• Ebay

Artist Information

Anders T. Mortensen
Born 1962
Graphic artist/printmaker, painter
Works in copper, zinc, etching, aquatint, ink, gouache and oil.

Ref. outtake(dk)
Kulturspinderiet, Silkeborg
Silkeborg Kommune
Clausholm Slot
Kunstpavillonen, Aalborg
Aalborg Kommunes Kunstfond
Galleri Sulegaarden, Assens 2004, 2005, 2006
Galleri Lykke, Odense 2005, 2006
Several public and private art circles and collections.

Web: http://www.anderst.org
E-mail: mail@anderst.org

Google Search on this Artist

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All text copyrighted 2007 by ArtCollecting.info except as credited

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affordably acquire quality artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Danilla Bogden
Expressionism: “Nude Female”
Lesson: Pieces that lead to other / better pieces..."test" purchases

Oil on Canvas mounted on baord

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
•

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Born : sep 12 1977
Education :
1991-1995 High school "Octav Bancila" school of fine arts, Iasi 1998-2003 "ION ANDREESCU" Academy of Visual Arts, Cluj-Napoca
Exhibition:
1994 folk festival exhibition Suceava 1996 thematic exhibition "Rebreanu", Ilva Mare 1999 group exhibition Buteni, Arad
-70% of paintings are collections in USA

Payment can be made using money order/cashiers, or personal check. For more information please contact the seller. Vous pouvez demander tous que vous voulez en francais

United States shipping and handling US $35.00 Europe shipping and handling EUR 22.00 If you buy more paintings which will be send in the same parcel you only pay $10 (Euros 8) for the following. Shipping insurance per item (not available) Most shipping is done from Romania

SM service.

Contact us at mpavel1956@yahoo.com
Vous pouvez m'ecrire en francais a mpavel@email.ro

NUDE by DANILA BOGDAN

AUTHOR: DANILA BOGDAN

DESCRIPTION

tecnique/suport
size(inches)
size(cm)
style
state

:
:
:
:
:

OIL/CANVAS
20x24
50x60
EXPRESSIONIST
ROLLED

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Provenance

• Ebay

Artist Information

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Roberto Carbone

“Realism: Titled - Two Graces”
Lesson: Stick to a plan at art auctions

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7
Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:
heavily listed artist...ebay link
This style of art is known as: social expressionism
This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Impulse Purchases can cost you
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

ROBERTO CARBONE -SIGNED Art Print -Female Nude Lingerie
Item number: 200229817462

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Louis Wolchonok

Social Realism - “Dead End”
Lesson: Stamps on rear

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7
Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:
heavily listed artist...ebay link
This style of art is known as: social expressionism
This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Every artwork in the ArtCollecting.info collection provides at least one unique lesson that assists beginning web-collectors in making better decisions about a new art acquisition.
The lessons-learned from this particular piece, include:
Lesson One: The impact of professional art cleaning & restoration
Too Much of a Good Thing
A sale of so many lovely pieces by a skilled artist can be tempting.. this acquisition was in my opinion - a bridge too far.
Having already acquired two others (three if you count the fact one is a "pair") I went back to the trough on this piece.
The picture was perfect and reminded me of a street I lived on as a child.
It was unframed. The lighting was a little better in the picture than the piece actually was.
Translation: when you have limited resources, a limited budget and a finite amount of wall space - too much of the same artist is just a bit much.
This lot features what appears to be an entrance to a factory with two men standing at the gate. The style is that of socal realism.
Social Realism developed as a reaction against idealism and the exaggerated ego encouraged by Romanticism. Consequences of the Industrial Revolution became apparent; urban centers grew, slums proliferated on a new scale contrasting with the display of wealth of the upper classes. With a new sense of social consciousness, the Social Realists pledged to “fight the beautiful art”, any style which appealed to the eye or emotions. They focused on the ugly realities of contemporary life and sympathized with working-class people, particularly the poor. They recorded what they saw (“as it existed”) in a dispassionate manner. The public was outraged by Social Realism, in part, because they didn't know how to look at it or what to do with it

Art & Artist Information
Description of Art
Pen, ink and watercolor on heavy paper, 14 x 11, unsigned. Sellers stamp, signature, ebay inventory number, and Wolchonok code on reverse.
A still life painting of chrysanthemums in a vase.
Provenance
Ebay
Artist Information
Louis Wolchonok (1898- , American)
WPA artist often called: "The forgotten social realist painter".
Louis Wolchonok was a painter,etcher,designer and teacher. He was born in NY,NY Jan 12 1898. Studied:National Academy of Design, Cooper Union Art School, City College of NY,B.S. Julian Academy Paris, Work Univ of Nebraska, Cleveland Museum of Art, Bibliotheque Nationale Paris. Group Exhibitions, Art Institute of Chicago, Whitney 1934 National Academyof Design Penna, Academy of Fine Arts,Tate Gallery, London, Los Angeles Musuem of Art. One Man exhibitions, ACA Gallery, Newhouse Gallert, Milch Gallery, Ainslie. Members, Brooklyn Society of Artist, NY Water Color Club, Society of American Etchers, NY Society of Craftsmen. Taught: Drafting,City College of NY from 1930. Design, Painting and Etching, Craft Students League, YWCA, NY,NY from 1932.

Additional Information:
My favorite links on this artist:
AskART.com...specific / my fave links

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ArtCollecting.info
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Artwork images are copyright of the artist or assignee
All text copyrighted 2007 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource
to help beginning collectors
affordably acquire quality artworks
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For Questions or Comments: Contact info@artcollecting.info

Louis Wolchonok

Social Realism: “Artist Self Portrait”
Lesson: Too much frame / self-portrait

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7
Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:
heavily listed artist...ebay link
This style of art is known as: social expressionism
This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Every artwork in the ArtCollecting.info collection provides at least one unique lesson that assists beginning web-collectors in making better decisions about a new art acquisition.
The lessons-learned from this particular piece, include:
Lesson One: The impact of professional art cleaning & restoration
I paid $51.00 for this item - and ended up having it framed in a $450.00 frame.
At the time, I was rather dead set of building my "face" collection - and felt certain this piece would be part of my "permanent collection". Ahem.
Self portrait?

Art & Artist Information
Description of Art
Pen & Ink on Paper, 9 1/2 x 12, signed (lower middle): Louis Wolchonok.
Wolchonok was a social realist painter - and this work is prototypical of both his style and that period. I found this to be a most powerful and compelling drawing.
Provenance
Ebay
Artist Information
Louis Wolchonok (1898- , American)
WPA artist often called: "The forgotten social realist painter".
Louis Wolchonok was a painter,etcher,designer and teacher. He was born in NY,NY Jan 12 1898. Studied:National Academy of Design, Cooper Union Art School, City College of NY,B.S. Julian Academy Paris, Work Univ of Nebraska, Cleveland Museum of Art, Bibliotheque Nationale Paris. Group Exhibitions, Art Institute of Chicago, Whitney 1934 National Academyof Design Penna, Academy of Fine Arts,Tate Gallery, London, Los Angeles Musuem of Art. One Man exhibitions, ACA Gallery, Newhouse Gallert, Milch Gallery, Ainslie. Members, Brooklyn Society of Artist, NY Water Color Club, Society of American Etchers, NY Society of Craftsmen. Taught: Drafting,City College of NY from 1930. Design, Painting and Etching, Craft Students League, YWCA, NY,NY from 1932.

Additional Information:
My favorite links on this artist:
AskART.com...specific / my fave links

Google Search on this Artist

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ArtCollecting.info
How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2007 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource
to help beginning collectors
affordably acquire quality artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Louis Wolchonok

Impressionism: “Pair of Miniature Landscapes”
Lesson: Cleaned frames + Pairs

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7
Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:
heavily listed artist...ebay link
This style of art is known as: social expressionism
This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Lesson One: The impact of professional art cleaning & restoration
Considering I spent far too much on framing on one Wolchonok - and came up short on the other - it only seemed fair I'd get a bit of good luck and learn something new from my other purchase.,
Actually, these were my first such purchase. I paid 59.99 apiece for them.
Lesson Two: Period forgeries are relatively common amongst pieces signed by prominent artists.
Art & Artist Information
Description of Art
Oil on Board, 4 1/2 x 7, signed (lower left): Louis Wolchonok
A brightly colored mountain scene. These pieces exhibit a great deal of age. Having witnessed a lot of Wolchonok's art sell on ebay - I'm guessing these are from his earliest works and appear to have been executed in Europe.
Provenance
Ebay
Artist Information
Emil Soren Carlsen, N.A. (1853-1932, American)
WOLCHONOK, Louis (1898-1973)
Birth place: NYC
Addresses: New York 23, NY
Profession: Painter, etcher, designer, teacher, craftsperson, writer, lecturer
Studied: CUASch.; NAD; CCNY (B.S.); Julian Acad., Paris; Brooklyn Acad. FA.
Exhibited: WMAA, 1934; AIC, 1930-1932; NAD; PAFA; Los Angeles MA; Tate Gal., London; Milch Gal. (solo); ACA Gal.; Newhouse Gal.; Ainslie Gal.
Member: New York Soc. Craftsmen (1st vice-pres., 1951-53); SAE; Woodstock AA
Work: CMA; Univ. Nebraska; Bibliothèque Nationale, Paris.
Comments: Teaching: drafting, CCNY, 1930-; design, etching, painting, Craft Students League of the YWCA, NYC, 1932-. Contributor: articles, Creative Design, 1934. Lectures: appreciation & history of art. Author/illustrator: Design for Artists and Craftsmen," 1954.
Sources: WW59; WW47; Woodstock AA."

This biography is drawn from the 'Who Was Who in American Art' , the reference book on the cultural life in the United States.
A master still life painter as well as of landscapes, he was especially noted for his still lifes of humble everyday objects in the tradition of 17th-century Dutch painters. His methods were precise and labor intensive with much scraping, painting, and then scraping again with a build up of impastos. He perceived art as pure aesthetics with its only language being color, masses, and rhythms of line.

He was born in Copenhagen, Denmark, and studied architecture at the Danish Royal Academy before emigrating to Chicago at age 19. He worked as an architectural draughtsman, and then traveled in Europe to study the Old Masters and also enrolled at the Academie Julian in Paris.

Returning to Chicago, he taught at the newly formed Chicago Art Institute, and this activity was followed by periods of living in Boston and New York, but in 1887, he moved to San Francisco to be Director of the California School of Design. There he introduced his students to the work of his New York associates including Augustus Saint-Gaudens, J Alden Weir, and John LaFarge. He also taught the concept that art, like biological matters, was evolutionary and that America might well be the next center of the art world.

He shared a studio on Montgomery Street with Arthur Mathews, one of California's leading art teachers and painters. In 1889, penniless and chafing at the long hours required to be a teacher, he resigned in disgust and returned briefly to New York. However, several months later he came back to San Francisco and until 1892 taught at the Art Students League. Then he left for good and returned to New York where he became successful, selling his pictures to major museums, elected to the National Academy of Design, and often referred to as the best still life painter of his time.

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ArtCollecting.info
How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2007 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource
to help beginning collectors
affordably acquire quality artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Ferdinand Warren

Abstract Expressionism: “Still Life with Fruit & Flowers”
Lesson: Local p/u...shipping

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7
Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:
heavily listed artist...ebay link
This style of art is known as: social expressionism
This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information
Description of Art
25 x 30
Frame - 26 / 31
Oil on Canvas, 20 x 16, signed (lower right): Lax.
Provenance
Ebay
Artist Information
Ferdinand Wareen (1910- , American)

1951 Abstract Buildings/Urban Landscape by listed American Artist Ferdinand E. Warren (1899-1981)
Fine Art : Paintings

$4,950 USD
Larger Views

Title: Abstract Buildings
Medium: Encaustic Painting on Panel
Size: Panel 11 x 17 inches, Outer Dimensions of the Frame 19 x 25 inches
Ferdinand Warren (1899-1981)
Born in Independence, MO 1899. Later lived and worked in Brooklyn, NY and Decatur, Georgia. Studied at the Kansas City Art Institute.
Member of the ANA, AWCS, SC, AAPL, and Allied AA.
Exhibited: Art Institute of Chicago 1936-1943; PAFA Annuals 1936-38, 1943, 1949-51; Richmond VA Annual 1948-49; Corcoran Galleries Biennials 1937-49; Art in the Embassies, US Department of State 1966-1970; NAD Ann., New York.
Awards: Kansas City AI 1923 (medal); NAD 1935 (prize); Allied Artists America (prize); AWCS 1950 (medal); Butler IA 1954 (prize); NAD 1961 (Edward Palmer Prize);
Works: MMA; BM; Rochester Memorial Gallery, Youngstown, OH; Currier Gallery of Art, Springfield, NH; NASA Permanent Collection; Two War Bond Poster Commissions, US Treasury Department; History of the Printed Word (Mural), Foote and Davies, Atlanta, GA, 1957; Robert Frost (Portrait From Life), Agnes Scott College, Decatur, Georgia, 1958; copper enamel cross, St. Agnes Episcopal Church, Atlanta, GA, 1963; Apollo 14 (painting), NASA Washington DC, 1971.
Worked primarily in oils. Positions held include Artist in Residence, University of Georgia 1950-51; Chairman Department of Art, Agnes Scott
WARREN, Ferdinand Earl (1899-1981)
Birth place: Independence, MO
Addresses: Brooklyn, NY; Decatur, GA
Profession: Painter, art administrator
Studied: Kansas City Art Inst.
Exhibited: AIC, 1936-43; PAFA Ann., 1936-38, 1943, 1949-51; Richmond (VA) Ann., 1948-49; Corcoran Gal. biennials, 1937-49 (6 times); Art in the Embassies, U.S. Dept. State, 1966-70; NAD Ann., New York; CI Int., Pittsburgh, PA. Awards: Kansas City AI, 1923 (medal); NAD, 1935 (prize); All. Artists Am., (prize); AWCS, 1950 (silver medal); Butler IA, 1954 (purchase prize); NAD, 1961 (Edwin Palmer prize).
Member: ANA; AWCS; SC; AAPL; Allied AA.
Work: MMA; BM; Rochester Mem. Gal., Youngstown, OH; Currier Gal. Art, Springfield, NH; NASA Permanent Coll., NGA, Wash., DC. Commissions: two war bond posters, U.S. Treasury Dept., 1943; History of the Printed Word (mural), Foote & Davies, Atlanta, GA, 1957; Robert Frost (portrait from life), Agnes Scott College, Decatur, GA, 1958; copper enamel cross, St. Agnes Episcopal Church, Atlanta, 1963; Apollo 14 (painting), NASA, Wash., DC, 1971.
Comments: Preferred medium: oils. Positions: artist-in-residence, Univ. Georgia, 1950-51; chmn. dept. art, Agnes Scott College, 1952-69.
Sources: WW73; Forbes Watson, Painting Today; Ernest Watson, Composition in Landscape; WW47; Falk, Exh. Record Series.

This biography is drawn from the 'Who Was Who in American Art' , the reference book on the cultural life in the United States.

Additional Information:
My favorite links on this artist:
AskART.com...specific / my fave links

Google Search on this Artist

View Next Painting Return to Section Index Site Index

ArtCollecting.info
How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2007 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource
to help beginning collectors
affordably acquire quality artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Front Page Art Collection III

Abraham Walkowitz
Modernism: “Woman Reading Book”
Lesson: After the auction, Unsigned, Museum deannexations

Oil on Canvas mounted on baord

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
•

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

Bought out of Belgium / expatriate art
Additional Collecting Lessons related to this artwork are included:
o         Secondary Lessons:
o         Expatriated art
o         Research / building: Historical society
o         Other “matched” piece sold at auction…”Market Square”
o         His scenes of “people” not worth what his scenes of areas & flowers
o         Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

• Israel Museum, Jerusalem
• Sotheby's

Artist Information

Abraham Walkowitz (1878-1965, American)
An early modernist painter known for abstract figurative works, especially in watercolor, Abraham Walkowitz was born in Siberia where his father was a lay rabbi and cantor, who died while ministering in China to Jewish soldiers who had been conscripted into the Russian army. Fearful of persecution and the possibility of her son being drafted into the Czar's army when he came of age, Walkowitz's mother decided to emigrate with her children to the United States. En route across Europe, one of her three daughters died. The remaining family traveled steerage for twenty days across the Atlantic, finally settling in the Jewish ghetto of New York City where mother and son worked long hours at a newspaper stand to support the family.
As a youth, Walkowitz studied the violin and drew continuously in chalk on any surface he could find. His formal art training began at age fourteen at the Artist's Institute and continued at the National Academy of Design. His studies in life drawing, etching and painting, with concurrent study of anatomy at a Fifth Avenue hospital, resulted in precise, detailed renderings. He made drawings of ghetto life which were published in local newspapers. To earn money for a trip to Europe, Walkowitz taught art classes and painted signs. When his figurative work was criticized as being too subjective and realistic at a juried Academy exhibition, he perceived the criticism as narrow-minded and became all the more open to the avant-garde ideas he encountered in Europe. Walkowitz began to use watercolor early in his career, gradually moving from dark, subdued colors and realistic depictions, to fresher, lighter colors following the techniques of the Impressionists. According to biographer William Innes Homer, "Although [Walkowitz] eventually shifted from a figurative style to abstraction, his fine, inventive sense of color prevailed in both modes of painting, and indeed found its freest, most intuitive expression in the medium of watercolor." Another biographer, Martica Sawin, observed that while Walkowitz regarded his work prior to 1920 as the most significant period of his art, he continued to paint prolifically into the 1940s when his eyesight began to fail. He was honored in 1963, three years before his death, by the American Academy of Arts and Letters with an award annually given to a distinguished elderly artist. An account by Kent Smith of the event describes Walkowitz as a small, silky-haired blind man honored by a crowd that "rose to its feet and applauded in thunderous ovation for twenty minutes as the frail figure beamed in obvious delight . . ." Abraham Walkowitz 1880 - 1965
Abraham Walkowitz was one of the first painters to promote modern art. He studied at the NAD under Ward, Maynard and F.C. Jones and Julian Academy under Laurens. He was a member of organizations including Soc of Ind Artists(dir., vice-pres.), and the Stieglitz Group. He exhibited at the Stieglitz Little Gallery, Armory Show, 1913, Soc of Ind Artists, PAFA, Corcoran Gallery, Brooklyn Museum, and the AIC. He traveled to Europe where he met Auguste Rodin, Max Weber, Pablo Picasso, Henri Matisse, and Gertrude and Leo Stein, artists and patrons who supported the abstract art movement in Europe. He was associated with Alfred Stieglitz, Georgia O’Keeffe, Marsden Hartley and John Marin at Stieglitz’s Gallery 291. Walkowitz is best known for his many drawings of dancer Isadora Duncan. Deeply inspired by her spontaneity and lack of convention, he expressed movement of dance through abstraction and gestural line. He created works of social realism during the 1920’s and 1930’s. He was the first American artist to draw inspiration from children’s art.

WALKOWITZ, Abraham (1878/80-1965)
Tuiemen, Siberia, Russia
Death place: Brooklyn, NY
Addresses: Came to NYC in 1889, settling in NYC; Brooklyn, NY, 1929-65
Profession: Painter, graphic artist, illustrator educator, lecturer
Studied: Cooper Union; Educ. Alliance, NYC; NAD with War, Maynard, F.C. Jones, 1894, 1898; Acad. Julian, Paris, with J.P. Laurens, 1906.
Exhibited: Haas Gal., NYC, 1908 (first solo); Stieglitz Little Gal., 1912; Armory Show, 1913; Forum Exh., NYC, 1916; S. Indp. A., 1917-39; Salons of Am.; PAFA Ann., 1929, 1933-35; Corcoran Gal. biennials, 1930, 1935; Brooklyn Mus., 1939 (retrospective); AIC.
Member: Am. Artists Congress; Am. Soc. PS&G; Soc. Indep. Artists (dir.; vice-pres.); People's AG, 1915 (founding mem.)
Work: BM; MMA; AGAA; PMA; Hirshhorn Mus.; Kalamazoo IA; LOC; NYPL; WMAA; BMFA; Newark Mus.; Columbus Gal. FA; PMG; MoMA; Biro-Bidjan Mus., U.S.S.R; Univ. Gal., Univ. Minnesota, Minneapolis
Comments: Early American modernist artist. Walkowitz is best known for his numerous drawings of Isadora Duncan, whom he met at Rodin's Paris studio in 1906. Over the course of his career he made over 5000 drawings of Duncan in motion, often simply using gestural lines to suggest movement. Walkowitz returned to NYC from Paris in 1907. In 1909 he began making etchings and over the next decade produced numerous monotypes, often choosing the buildings of NYC and river views as his subject. He explored the NYC theme in charcoal drawings as well. He met Stieglitz about 1911 and thereafter became a fixture at the gallery, advising Stieglitz to show the art of children and encouraging him to give O'Keeffe a show in 1916. After 291" closed in 1917, Walkowitz's relationship with Stieglitz ended, and the artist's career suffered for lack of support. During the 1920s he painted realistic views and during the 1930s he addressed social themes. Auth.: "Isadora Duncan;" "From the Objective to the Non-Objective," 1945.
Sources: WW59; WW47; Baigell, Dictionary; A. Davidson, Early American Modernist Painting, 34-40; Abram Lerner and Bartlett Cowdrey, "A Tape-Recorded Interview with Abraham Walkowitz," Journal of the Archives of American Art vol. 9 (Jan. 1969); Falk, Exh. Record Series.

This biography is drawn from the 'Who Was Who in American Art' , the reference book on the cultural life in the United States.

Birth place:

Abraham Walkowitz 1878 Born in Tyumen, Siberia

1889
Immigrates with his widowed mother and three brothers to the U.S

1894
Starts attending evening art classes

1898
Studies at the National Academy of Design
1899
Studies etching with Walter Shirlaw
1900
Teaches at the Educational Alliance with Henry McBride and Jo Davidson. First trip to Gloucester, MA. Exhibits at Eductional Alliance
1901
Exhibition at Art Culture League, University Settlement
1904
Wins medal in Men’s Life Class, National Academy
1906-1907
Arrives in Paris. Studies at Academie Julian, visits Rodin, first sees Isadora Duncan dance at a private salon. Travels in Holland and Italy, visits Rome, Venice, lives in Anticoli Corrado
1908
First one-man show at Haas Gallery
1909
Max Weber shares quarters with Walkowitz in a studio on 23rd Street. 1912
Introduced to Alfred Stieglitz through Marsden Hartley. First exhibition at Stieglitz’s 291.
1913
Exhibits eleven works in the Armory Show. Second exhibition at 291.
1914
Sails to Greece and Italy, returns to the US. in December.
1915
Third exhibition at 291. Friendship with John Weischel; active in founding the People’s Art Guild.
1916
One of seventeen artists selected for the Forum show at the Anderson Galleries. Fourth exhibition at 291.
1917
Moved to 12 Union Square studio. Shows in the first exhibition of the Independent Artists.
1918
Elected director of the Society of Independent Artists. Exhibited annually with the Society from 1917 to 1938.
1920 –28
Exhibited in the galleries of Societe Anonyme with Derain, Hartley, Kandinsky, Man Ray, and Stella; exhibited monotypes and etchings at Kraushaar Galleries and New Art Circle.
1929
Moves in with his sister in Brooklyn, where he lives for the rest of his life.
1930
Memorial exhibition of drawings of Isadora Duncan, Galeries Brummer, Paris.
1931
Travels to Europe and spends summer in Salzburg with Elizabeth Duncan.
1937
Memorial exhibition of drawings of Isadora Duncan, Park Art Galleries
1939-1941
Exhibitions at The Brooklyn Museum, Newark Museum, New York Public Library.
1945
Four paperbound books of his work published by Haldeman-Julius
1946-1955
Exhibited non-objective works, paintings, drawings, and monotypes at Chinese Gallery, Egan Gallery, The Jewish Museum, Wadsworth Atheneum, ACA Gallery
1955
Eye operation failed to halt his increasing blindness.
1959
Exhibition of early works at Zabriskie Gallery.
1962
Annual award to a “distinguished elderly artist” presented to Walkowitz at the American Academy of Arts and Letters
1964
“Improvisations of New York”, exhibition at Zabriskie Gallery
1965
Died on January 18

Selected Solo Exhibitions:

1912 - 1917, “291”, New York
1924, 1928, Kraushaar Gallery, New York
1929, 1930, The Downtown Gallery, New York
1937, Park Gallery, New York
1939, 1949, The Brooklyn Museum, New York
1941, 1942, 1947, New York Public Library
1941, The Newark Museum, New Jersey
1944, Schacht Gallery, New York
1946, Chinese Gallery, New York
1949, The Jewish Museum, New York
1950, Wadsworth Atheneum, Hartford, CT
1952, 1955, ACA Gallery, New York
1959, 1964, 1966, 1968
1970, 1973, 1976, 1980, 1983 Zabriskie Gallery, New York
1992, 1993 Louis Newman Gallery, Beverly Hills
2000, Robert Henry Adams Fine Art, Chicago

David Aronson, Leonard Baskin, Max Beckmann, Hyman Bloom, Fernando Botero, Paul Cadmus, Marvin Cherney, Arthur G. Dove, Philip Evergood, Adolph Gottlieb, Jonah Kinigstein, Rico Lebrun, Jack Levine, Louise Nevelson, Barnett Newman, Abraham Rattner, Ben Shahn, Mark tobey, Max Weber, William Zorach Adolf Dehn, Fritz Eichenberg, Ernest Fiene, Chiam Gross, Jacob Lawrence, Jack Levine, Reginald Marsh, Louise Nevelson, Ben Shahn, Moses Soyer, Raphael Soyer, Milton avery, samuel adler, max beckmann, philip evergood, richard florsheim, chaim gross, stanley hayter, hans hofmann, clara klinghoffer, reginald marsh, raphael soyer, moses soyer.
Selected Public Collections:
The Art Institute, Chicago
The Long Beach Museum
Princeton University Art Museum
Colorado Springs Fine Art Center
The Brooklyn Museum
Colombus Gallery of Fine Arts, OH
Kalamazoo Institute of Arts, MI
Library of Congress, Washington, DC
Metropolitan Museum of Art, NY
The Museum of Fine Arts, Boston
The Museum of Modern Art, NY
The Jewish Museum, New York
Skirball Museum, Los Angeles
Delaware Art Museum
The New Jersey State Museum
New York Public Library
The Newark Museum
The Philadelphia Museum of Art
The Phillips Collection, Washington DC
University of Minnesota Gallery
The University of California Art Museum, Berkeley
Utah Museum of Fine Arts
Vassar College Art Gallery
Whitney Museum of American Art
Williams College Museum of Art
Zanesville Art Center, Ohio
Selected Bibliography:
Baur, John I.H., Revolution and Tradition in Modern American Art. Cambridge, Mass.: Harvard University Press, 1959
Biddle, George. The Yes and No of Contemporary Art. Cambridge, Mass.: Harvard University Press, 1957
Blesh, Rudi. Modern Art, USA. Men-Rebellion-Conquest, 1900-1956. New York, Alfred A. Knopf, 1956
Brown, Milton W. American Painting: From the Armory Show to the Depression. Princeton, NJ, Princeton University Press, 1955
The Story of the Armory Show: New York, New York Graphic Society, 1963
Cahill, Holger and Barr, Art in America, a Complete Survey. New York: Reynal and Hitchcock, 1935
Camera Work. Volumes XLI, XLIV, XLVIII, XLIX-L, 1912-17
Cheney, Martha Chandler. Modern Art in America. New York: Whittlesey House, 1939
Forum Exhibition of Modern American Painters. New York: Mitchell Kannerly, 1916
Frank, Waldo. American Art and Alfred Stieglitz. Garden City, NY: Doubleday, 1934
Goodrich, Lloyd and Caur, John. American Art of Our Century. New York: The Whitney Museum of American Art, 1961
Haftman, Werner. Painting in the Twentieth Century. New York: Frederick A. Praeger, 1960. Two volumes
Hamilton, George. Collection of the Societe Anonyme: Museum of Modern Art, 1920. New Have, CT; Yale University Art Gallery, 1950
Hartmann, Sadikichi. A History of American Art. Boston: LC Page and Co., 1932
Hunter, Sam. American Art of the Twentieth Century. New York: Harry N. Abrams, Inc., 1972
Janis, Sidney. Abstract and Surrealist Art in America. New York: Reynal and Hitchcock, 1944
Kopman, Benjamin. A. Walkowitz. Jewish Artist Series. Paris: Editions Le Triangle
Lichtenstein, Isaac. Ghetto Motifs. New York: Machmadim Art Editions, Inc. 1946
McCourbrey, John W. American Tradition in Painting. New York: George Brazillier, 1963
Mellquist, Jerome. The Emergence of an American Art. New York: Charles Scribner Sons, 1942
Norman, Dorothy. Alfred Stieglitz. New York: Duell, Sloan, and Pearce, 1960

Walkowitz, Abraham. Art From Life to Life. Girard, Kansas. Hadelman-Julius Press, 1947
Barnes and Coal Mines Around Girard, Kansas. Hadelman-Julius Press, 1947

A Demonstration of Objective, Non-Objective, and Abstract Art. Girard, Kansas: Handelman-Julius Press, 1945

Isadora Duncan in her Dances, Kansas: Handelman-Julius Press, 1945

New York Improvisations, Kansas: Handelman-Julius Press, 1945

Weinberg, Louis. Jewish Artists in America, The American Hebrew, 1917

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Oil on Canvas mounted on baord

heavily listed artist...ebay link

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This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

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Oil on Canvas mounted on baord

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
•

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

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Moses Soyer
Social Realism: “Female Studies”
Lesson: Auction stickers...heavily faked artists...same woman as in other pieces / same model

Oil on Canvas mounted on baord

heavily listed artist...ebay link

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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Art & Artist Information

Description of Art
Pencil Drawing, 6 1/2 x 9 1/2, signed (lower middle): M. Soyer.
A still life painting of chrysanthemums in a vase.
Provenance

• Ebay

Artist Information

Moses Soyer, N.A. (1899-1974, American)
Dedicated to art expression with social-realist themes of the Depression Era in America, he was born in Czarist Russia in 1899, and was one of three artistic brothers. Raphael Soyer was Moses' identical twin. Later in his career, Moses Soyer turned to the depiction of female figures, especially ballet dancers. The Soyer brothers were raised in an intellectual atmosphere created by their father, a Hebrew scholar. In 1912, the Soyers emigrated to the United States and eventually settled in New York City. Moses Soyers artistic studies began in 1916, and included classes in New York at Cooper Union, the National Academy of Design, the Educational Alliance, and the Modern School, where he was influenced by Robert Henri and George Bellows. After traveling to Europe on a fellowship, Soyer taught at several schools until The Depression made such teaching positions scarce. The Depression, in fact, set the mood for most of Soyers art expression. The Works Project Administration provided him with work as well as the fellowship of other artists, but the era itself provided the social sentiments which permeate most of Soyers work. Using some of the techniques of his favorite artists, such as Van Rijn Rembrandt and Gustave Courbet, he portrayed his subjects in the perseverance of hard work or in the uncertainty of unemployment. As an artist, Soyer was particularly sensitive to the lack of work during the Depression and to the fact the Works Projects Administration provided employment for many artists who would have remained unemployed. He was opposed to landscape painting, and pursued the opportunity to use art for the purpose of making realistic social statements about his time. Together, Moses and his twin worked on some large projects, such as a mural commissioned by the Works Projects Administration for the Kingsessing Station Post Office in Philadelphia. After the Depression, Soyer tended towards ballet subjects, reminiscent of Degas, yet his work retained his own personal style of conveying sentimental moods. His paintings remained popular throughout his life. Soyer died in 1974. Moses, Soyer, NA: Painter. Painted Genre, Portraits, Cities, Nudes, Dancers, Flowers and Boats. Born on December 25, 1899, in Borisoglebsk, South Russia. Died: New York City, 1974. Emigrated to US with family in 1913, settling in Philadelphia, PA, and then in New York City. Studied at Cooper Union Art School; National Academy of Design School of Art with George W. Maynard; Beaux-Arts Institute of Design; Art School with Robert Henri and George Bellows; Education Alliance. Taught at Educational Alliance; Contemporary School of Art; New School for Social Research, from 1927-34. Represented in Newark Museum, Toledo Museum of Art, Metropolitan Museum of Art, Whitney, Brooklyn Museum, National Institute of Arts and Letters, Detroit Institue of Arts, Others. Exhibitions were held at Kleeman Galleries in 1936; Boyer Gallery, Philadelphia, PA, in 1936,37; Little Gallery, Washington, DC, in 1939-40; Reading Museum, 1968; Albrech Gallery Museum of Art, St. Joseph, MO, in 1970; Loch Haven Art Center, Orlando, FL, in 1972; others, nationally. Published: Author of Painting the Human Figure, 1964.

SOYER, Moses (1899-1974)
Borisglebsk, Tombrov, Russia
Death place: Hampton Bays, NY
Addresses: NYC/Hampton Bays, NY
Profession: Painter, drawing specialist, teacher, lithographer
Studied: CUA School; NAD, with George Maynard; BAID; Educ. Alliance Art School; Ferrer School All., 1916-20; also with Robert Henri & George Bellows.
Exhibited: Salons of Am., 1923, 1930; WMAA, 1925-63; J. B. Neumann Gal., NYC, 1929; AIC, 1932-46; Corcoran Gal biennials, 1935-53 (7 times); Kleeman Gal., NYC, 1936 (solo); Boyer Gal., NYC, 1936 (solo), 1937 (solo); PAFA Ann., 1938-52, 1958, 1964-66; Little Gal., Washington, DC, 1939 (solo), 1940 (solo); Macbeth Gal., NYC, 1940 (solo), 1941 (solo), 1942 (solo); A.C.A. Gal., NYC, 1944-74, 1977 (numerous solos); SC Award, 1964; Audubon Artists, 1966 (Award of Merit); Reading Mus., Reading, PA, 1968 (solo); Albrecht Gallery Mus., St. Joseph, MO, 1970 (solo); Loch Haven Art Center, Orlando, FL, 1972 (solo); St. Lawrence Univ., Canton, NY, 1972 (solo); Syracuse Univ., NY, Joslyn Mus. of Art, Omaha, NE, Weatherspoon Art Gal. , Univ. of North Carolina, Guild Hall of East Hampton, NY, Arkansas Art Center, Little Rock, AR, Birmingham Mus. of Art, AL, Canton Art Inst., OH, all 1972-73 (solos); Springfield (OH) Art Center, 1982 (solo); Daytona Beach Mus. of Arts & Sciences, FL, Polk Mus., Lakeland, FL, 1996-97 (solos); LOC & Phillips Collection, Washington, DC; TMA; Newark (NJ) Mus.; Butler Inst. Am. Art, Youngstown, OH; NAD; NYC WPA Art" at Parsons School Design, 1977. Other awards: Childe Hassam Fund of the Am. Acad. of Arts & Letters, 1964; Thomas B. Clarke Award, 1964; Henry W. Ranger Purchase Award, 1965; Frank C. Kirk Mem. Award, 1966; Samuel Finley Breese Morse Medal, 1967; Andrew Carnegie Prize."
Member: NAD; Artists Equity; Audubon Artists; An Am. Group; Am. Soc. Painters, Gravers & Sculptors; Nat. Inst. Arts & Letters.
Work: MMA; MoMA; WMAA; BM; Newark Mus.; Jewish Mus., NYC; PMA; AIC; LACMA; NMAA; NPG, Wash., DC; Hirshhorn Mus.; CGA; CI; Montclair Mus.; Walker Art Center; CAM; NOMA; Ringling Mus.; CM; Speed Mus., Louisville; Birmingham (AL) Mus.; Wadsworth Atheneum; Daytona Beach Mus. of Arts & Sciences; Butler IA; Parrish Art Mus., Southhampton, NY; Phoenix Art Mus.; Neuberger Mus., NY; Swope Art Gal.; PMG; TMA; Detroit Inst. Arts, MI; Everson Mus. Art, Syracuse, NY; prints, LOC. Commissions, WPA murals: Greenpoint Hospital and other hospitals & children's libraries, NYC (10 murals); USPO, Kingsessing Station, Phila., PA (with his brother Raphael)
Comments: Twin of Raphael (see entry) and brother of Isaac (see entry), he came to NYC in 1912. Like his brothers, Moses' early works were strongly influenced by the experience of the Great Depression, and he wrote essays defending social realism and attacking regionalism. After completing murals for the WPA Project, however, he focused his attention on sensitive portrayals of the human figure. His favored subject in the 1940s was dancers, and he painted numerous portraits. Teaching: instructor, Educational Alliance School of Art; instructor, Contemporary School Art, New York; instructor, New School Social Res.; instructor, Educ. Alliance Art School. Publications: author, Painting the Human Figure, Watson-Guptill (1964); co-author, with Peter Robinson Oil Painting in Progress (NYC, 1972). Illustrator: Palestine Dances, by C. Chochem and M. Roth (NYC, 1941); First Book of Ballet, by Noel Streitfeld (NYC, 1953); Vovick, by Charles Paver.
Sources: WW73; WW47; Bernard Smith, Moses Soyer, monograph (ACA Gallery, 1944); Charlotte Willard, Moses Soyer (World Publ., 1962); Baigell, Dictionary; Falk, Exh. Record Series; American Scene Painting and Sculpture, 63 (w/repro.); New York City WPA Art, 100 (repros.); addit. info. courtesy of David Soyer (son), NYC and Joel L. Fletcher, Fredericksburg, VA.

This biography is drawn from the 'Who Was Who in American Art' , the reference book on the cultural life in the United States.

Birth place:

Additional Information:

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George William Sotter
Impressionism: “Along the Canal”
Lesson: Fake

Oil on Canvas mounted on baord

heavily listed artist...ebay link

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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

A very interesting oil on old board signed lower right Sotter, and tittled:" ALONG THE CANAL" on reverse , painted circa 1940 / late 40's., probably Southern part of the Country, S.Corolina or Florida... Condition is good, frame has large chips- size 20 by 24''.....
Sotter, George William
         New Notes…
o         Signature appears more consistent with his wife Alice B. Sotter who was also an artist. Found one painting she did of landscapes.
          Could she have signed & titled after his death?
          Not common…but possible / part of estate
o         Look closely at rear…for studio tag remnant…Sotter Studios – example in pictures
          Mentioned from another piece description on Live Auctioneers
          Lessons
o         All these positives + a period frame for $300…best you could ask for in Mastermining
          Positives
o         The house color & shutters are right
o         Squiggly lines…match Sotter mill painting…unique
o         The figuration is right: woman + the other person
o         Wasn’t that expensive until recently…Decade Review
o         The title is right> Delaware river canal / Bucks County
o         The frame seems special…period
o         Age of painting looks right
o         On-board…medium is right
o         His signature & art sizes were widely varied
o         Signature” Faded look” matches close-up on Antiques Road Show
o         Would almost have to a period fake
          Considering its attention to figuration…plus Sotter wasn’t valuable until the late 1980’s…seems unlikely
          Unlike Emil Carlsen…who was faked in his time
          Unless…it was unsigned…someone added signature & reverse title?
          Negatives
o         Size is wrong – 22x26 was most common
          Can’t find a 20 x 24 example from sales yet
o         Title on reverse seems too recent / not faded enough
o         Signature problematic
o         Trees correct?
o         Florescence of painting…was it sprayed?

          Key Research
o         Brushwork
o         Pennsylvania Impressionism…New Hope School
o         Key…New Hope Historical Society & Penn Impressionism books…find “that House
o         Size match…find another piece this size versus another
o         Cull all possible signatures…comparisons
o         Find a piece with that flat bottom boat style
o         Search museums & galleries…where can I see examples of his work
o         Aldeford Auctions…largest seller
o         Handwriting of title…compare to reverse of other pieces
o         Find the house in another painting…think “seasons” difference…spring versus summer


George Sotter 1879 - 1953
Landscape Painter and stained-glass artist George William Sotter was born in Pittsburgh on September 25, 1879, the son of Nicholas and Katherine Sotter. During his youth he painted a number of river and industrial scenes documenting the Pittsburgh landscape, two of which allegedly were later purchased by Andrew Carnegie and Sotter's former teacher, William Merritt Chase. Sotter apprenticed with several stained-glass studios in Pittsburgh prior to becoming a partner in the studio of Horace Rudy in Pittsburgh about 1901. Rudy served as a mentor for Sotter. As Sotter explained in 1940, it was Rudy who arranged for him to meet a number of artists with whom he had studied at the Pennsylvania Academy of the Fine Arts in Philadelphia. He also gave Sotter a leave of absence in 1902 to attend the Pennsylvania Academy and then study plein air painting with Edward Redfield at his home in Center Bridge, Bucks County, Pennsylvania. Sotter's painting Clouds and Sunshine was exhibited in the Pennsylvania Academy's annual exhibition in 1903. From 1905 to 1907 lie studied at the academy with Thomas Anshutz and William Merritt Chase. In 1907 he married Alice E. Bennett, a fellow artist he had met in the Rudy studio in 1904. From 1910 to 1919 he taught painting and design at the Carnegie Institute of Technology's School of Fine Arts. He received a silver medal at the Panama-Pacific International Exposition in 1915, followed by a first prize at the exhibition of the Associate Artists of Pittsburgh in 1917. During the 1910s Sotter exhibited at the Pennsylvania Academy; the Corcoran Gallery of Art, Washington, D.C.; and the National Academy of Design, New York. In 1919 the artist and his wife took up residence in Holicong, Pennsylvania, where Sotter established the stained-glass studio that became his primary source of income for the rest of his life. At one time Sotter had as many as fifteen assistants, including Valentine D'Ogries and Forest Crooks, who became noted for their work in stained glass. His studio helped establish Bucks County as a center of stained-glass art, which produced works for churches in Pittsburgh, New York, Wheeling, St. Louis, St. Paul, Cleveland, Akron, and Cincinnati, as well as for the New Jersey State Museum in Trenton. He also designed a window for Buckingham's Trinity Church in Bucks County. Sotter painted his landscapes and designed stained-glass windows in his studio in Holicong through the 1940s. He had a solo exhibition of paintings and cartoons for his stained-glass Windows at the Woodmere Museum in Philadelphia in October and November 1950. Although Sotter painted marine pictures and dramatic landscape vistas with cloud-filled skies, he is most remembered for his magical moonlit snow scenes. These paintings capture the expansive evening skies and old fieldstone houses of rural Bucks County in the stillness of winter, reflecting a sensibility for the old, the concealed, and the introspective. While Sotter's early snow scenes resemble the work of his teacher Edward Redfield in their bold palette and direct style, his mature snow scenes reveal a fascination with the light of the evening sky as it falls on the snowy landscape. The overall impression conveyed in these minimally patterned views is one of unearthly tranquility as small lights flicker from solitary windows in the cold stone houses. The artist died at his home in Holicong in 1953.

Alice Sotter, private collection

Alice Sotter

PAINTER BORN: January 1, 1883, Pittsburgh, PA DIED: December 30, 1968, Doylestown, PA One of the early female artists of Bucks County, Alice Bennett Sotter in known for her stained glass work and floral paintings, whose subjects she often chose from her own garden. She was active in the the Phillips Mill art colony in New Hope during the 1930s, which included George W. Sotter, her husband, Edward Redfield, William Lathrop, and Daniel Garber. After graduating from Carnegie Institute of Technology's School of Design in her hometown of Pittsburgh, Alice became an assistant to George W. Sotter and J. Horace Rudy, who were partners in the Brothers Stained Glass Studio. Rudy was the father of Bucks County sculptor Charles Rudy, and Sotter was a student of Bucks County painter Edward Redfield. Assisting George in creating stained glass for churches in their studio in Holicong, Alice traveled to England and France to study glass designs there, and exhibited her work in Pittsburgh and Philadelphia. In her will, she generously remembered art galleries, schools, and churches, bequeathing them various examples of her and her late husband's creations.

Alice Sotter Bridge and Ferry Streets, New Hope Alice Sotter, Bridge and Ferry Streets, New Hope, n.d., photo courtesy James A. Michener Art Museum archives

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Ethel L. Smul
Impressionism: “Brooklyn Pier”
Lesson: Gloucester vs. Brooklyn: family websites + title on reverse...on "exhibited" list?? Watercolors / fakes...complex figuration is a big key

Oil on Canvas mounted on baord

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The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
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heavily listed artist...ebay link

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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Art & Artist Information
Description of Art
Fantastic w/c signed Ethel L.Smul 43'.... Ethel L. Smul is listed 20th Century NY artist., more information at Ask.Art.com.. Condition is good, size 21 by 28'', without frame..
Watercolor on paper. 5 x 6, signed (lower left): J. Gillespie.
A painting of an elderly woman walking by a pair of houses – manner of Van Gogh.
Provenance

• Ebay

Hello!
Here you will find a selection of the art work of Ethel Lubell Smul.
If you have any comments, feel free to email EthelSmul@verizon.net or leave comments here in the comment section.
Thanks for your interest.
Tony Smull

Ethel Lubell Smul's Chronology

1892 Born September 11th in New York City, Father, Julius Lubell, Mother, Kate Ginsberg Lubell. Father had a sign painting business; later, a garment factory. 1909 Maxwell School for Teachers 1909-1911 1911 Art Teacher NYC PS 72 Brooklyn 1911-1917 1917 Marries Josef Smul, M.D. February 4th. 1918 Birth of daughter, Kathryn Janet 1921 Birth of son, William 1926 Studies at the Art Students' League 1926-1947, teachers include, John Sloan, Boardman Robinson, Brockman, Olinsky, Barnet, Bob Blackburn; Press: The Arts Magazine May 1926 Still Life with Pussywillows Forbes Watson, critic 1929 Art Teacher NYC PS 84 Brooklyn 1929-1936 1930 Tiger Lillies-Collection of Elsie Hecht 1931 Still Life-Collection of Dr. Wm. Spielberg 1932 Phlox-Collection of Mrs. Landes 1934 Elected membership National Association of Women Painters & Sculptures; Salons of America Exhibition, Rockefeller Center 1935 Exhibition-Annual show-N.A.W.P.S., Academy of Alllied Arts. Press: New York Post Jan 1, 1935, New York Sun May 17, 1936 Art Teacher NYC PS 4 Queens 1936-1954 Press: The Jewish Daily Forward, January 26, 1936, Autumn Still Life-Exhibited at National Academy of Design 1937 Goldenrod and Hydrangea Collection of Mrs. Hartman, Hydrangeas & The Chinese Vase -Exhibited at N.A.W.P.S.; Geranium on the Steps exhibited at Art Students' League; Press: NY Journal, May 19, 1937, NY Times May 28, 1937. 1938 Press: NY Times Dec.11, 18. Hydrangeas exhibited at NAWPS & Academy of Allied Arts 1939 Press: NY Post April 8, NY Times May 7, The Art Digest May 15, Exhibited: The Grant Studios @NY Worlds Fair 1940 Press: NY Sun Feb 3, NY Times Feb 4,July 7, Sept 24, Dec 15. NY World Telegram July 13, Dec 28. Gloucester Wharf, Geranium on the Steps, Back Street (Collection: Margie Bronson) White Sails, Rocks exhibited at NYSWA at The New York Worlds Fair; A Busy Harbor at NAWPS at The New York Worlds Fair; Academy of Allied Arts, Gloucester Wharf. 1941 Press: NY Times March 30, April 13th, Nov 2, Dec 14 NY Sun Dec 26; Harbor Scene, Roses exhibited at National Association of Women Artists, NWSWA & Vendome Art Galleries; Wind & Rocks exhibited at Vendome, Fishing Boats, (Collection of Dr. Emanuel Saxe) Street Near the Bay exhibited at NYSWA, Riverside Museum; Gladiolus & Petunias exhibited at Allied Arts & Estelle Newman Gallery, NYC 1942 Press: NY Times Feb 22, April 19,Dec 22; Art Digest Feb 15, Aug 1, NY Herald Tribune April 26; Exhibited at Academy of Allied Arts Petunias & Wind & Rocks at Estelle Newman Gallery, A Busy Harbor exhibited at Art Students' League, Dec 19; East Gloucester exhibited at NAWA & NYSWA, Eastern Point Lighthouse exhibited at NYSWA, NAWA 1943 Exhibited: East Gloucester-Fish Market Vendome Art Galleries, NYSWA, Argent Gallery, American British Art Center, Estelle Newman Gallery. Press: NY Times Jan 24. 1944 Exhibited: Art Students League, Cala Lillies, NAWA, Willows By the Sea, Geraniums, Argent Gallery, Audubon Artists at Norlyst Gallery 1945 Exhibited: NYSWA Annual, Autumn Still Life, Dancers' Dream; School of Jewish Studies, The Captain; NAWA, Cala Lillies 1946 Press: NY Times May 14, Exhibited: Along the Waters' Edge & Fish Market, NAWA traveling show; Autumn Still Life NYSWA at the National Academy of Design; A Rocky Beach Pennell Exhibition of Prints, Library of Congress, Washington DC 1948 Press: NY Sun Sept 12 Exhibited: Under Sea Rhythms, Graphics Exhibition, group show, Argent Galleries; Moonlit Roofs 1948 Pennell Exhibition of Prints, Library of Congress, Washington, DC; Exhibited: Undersea Rhythms, Audubon Artists. 1949 Exhibited: Underseas Rhythms, Winter in the Park, Old Swimming Hole, NAWA group show, Galerie O. Bosc-Petrides, Paris; Current American Prints group show Dept of Fine Arts, Artists' Nook, Carnegie Institute, Pittsburg; Graphics Exhibition, group Show, Argent Galleries, NYC; Artists' Nook Pennell Exhibition of Prints 1949, Library of Congress, Washington, DC; Aubudon Artists, 1083 Fifth Avenue, NYC; NYSWA, Wash Day in the City, Industrials Roofs, Still Life at Penthouse Window, Winter in the Park. 1950 Press: NY Times Nov 7 Exhibited: White Rooster at NYSWA; Pennell Exhibition, Library of Congress, Washington, D.C., White Rooster, Mexican Scene, Winter in the Park at Village Art Center 1951 Press: Art Digest, Sept 15 Exhibited: Winter in the Park, Mexican Desert, Striped Rooster, Sea Horses, NAWA at Argent Galleries; Exhibited: "Circus Performers" NAWA Annual; Exhibited: Striped Rooster Society of American Etchers, Gravers Lithographers and Woodcutters Annual Exhibition, Dancers NYSWA. 1952 Exhibited: 2nd Intl Biennial of Contemporary Color Lithography, Cincinnati Art Museum, Sea Horses sold to collection, Cincinnati Art Museum; Exhibited: Lighted Lantern, The Idol, at NAWA, Red Roofs, Shells, at Brooklyn Society of Artists; White Rooster, The Lighthouse, In a Mission Courtyard, at NYSWA 1953 Who's Who in American Art, Exhibited: NY Chapter Artists Equity Assoc., NAWA, Cincinnati Art Museum Intl. Biennial of Contemporary Color Lithography 1954 Teacher NYC Astoria Junior HS 126 Queens 1954-1959, Exhibited: The Lighthouse at NAWA, Sails & Gulls at Brooklyn Society of Artists, Sea Gulls at NAWA 1955 Exhibited: Pagan Offerings, Mountain Scene at Brooklyn Society of Artists; NAWA, Marine Still Life, Old Lamp, Still Life, at NYSWA 1956 Press: NY Times Dec 12, NY Sunday Mirror Dec 9, Exhibited: Moonlit Roofs, Old Lamp, Sails & Nets at NYSWA; Old Lamp, The Lighthouse at NAWA. 1957 Exhibited: 1957-1958 Brooklyn Society of Artists Traveling Watercolor Show; Sails & Gulls at Brooklyn Society of Artists; Retires from teaching art in the NYC public school system. 1958 Who's Who of American Women; Exhibited: Red Roofs at Art USA: 58 at Madison Square Garden; Clowns Vision, Sails & Gulls at NYSWA; Shells in NAWA graphics traveling show 1959 Exhibited: Sails, Shells, NAWA 67th Annual; Trees In Bloom at NYSWA, Under Sea Landscape at Bklyn Society of Artists 1960 Exhibited: Sun & Sails at Painters & Sculptors Society of New Jersey, National Exhibition, Jersey City Museum; Growth & Sun & Sails at NYSWA, NAWA; Autumn Banners at Bklyn Soc of Artists 1961 Exhibited: Tropical Waters, Autumn Banners at NAWA; Tropical Waters at Bklyn Soc of Artists 1962 Exhibited: NAWA Traveling Graphics Exhibition 1962-1964; Pagan Rites, Donnell Library; Ancient Cathedrals at NAWA. Lyrical Chords, Waterfalls at NYSWA; Lyrical Chords sold to Topps Chewing Gum Co.; Distant Flows at NAWA; Everglades at Bklyn Soc of Artists 1963 Exhibited: In the Tropics, Awakening, Vernal Rhythms, Tempest at NYSWA; Equinox, Awakening, at NAWA; Aquacade, Pagan Rites, Sea Horses, at Univ. of Maine, Orono Maine. Rhythms of Spring American Society of Contemporary Artists. Press: Christian Science Monitor, Sept 6, 1963 1964 Exhibited: NYSWA 40th Anniversary Exhibition, Vernal Rhythms, Tempest; Rhythms of Spring at NAWA. 1965 Exhibited: NYSWA 42nd Anniversary Exhibition; NAWA Exhibition. 1966 Exhibited in NYSWA Exhibition, Lyric Chords 1967 Exhibited in NAWA Traveling Watercolor Exhibition 1967-1969; Exhibited: NAWA Annual, Mardi Gras, Mountain Scene; Exhibited: ASCA Annual Exhibition; NYSWA Annual Exhibition; Treasurer, American Society of Contemporary Artists 1968 Exhibited in NAWA Annual Exhibition, American Society of Contemporary Artists Annual Exhibition, NYSWA Annual Exhibition 1969 Exhibited in NAWA Spring Exhibition, Harbor Scene; Exhibited NAWA Traveling Graphics Exhibition 1969-1971; Pagan Rites; Exhibited: NYSWA Annual Exhibition; ASCA, Tropical Growth. 1970 Exhibited in NYSWA Exhibition. Josef, husband of 53 years, dies. 1972 Exhibited: ASCA 55 1973 Exhibited: ASCA, Sails 1978 dies January 13th in New York City.
options Comments

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Jessalee Baine Sickman
Expressionism: “Artist Self Portrait”
Lesson: self portraits

Oil on Canvas mounted on baord

heavily listed artist...ebay link

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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Art & Artist Information

Description of Art
Oil on Academy Board, 6 x 10 1/2, signed (lower right): Jessalee Sickman.
A colorful self-portrait painting of the artist.
Provenance

• Ebay

Artist Information

Jesalee Baine Sickman (1905- , American)
Painter, Teacher. Born: August 17, 1905 in Washington, DC. Lives in Denver, CO. Studied: University of Colorado; Goucher College; and the Corcoran School of Art. Member: Society of Washington Artists. Exhibited: Society of Washington Artists, Washington, DC Public Library, 1941 (one-man show); Corcoran School of Art, 1941 (Prize); Washington, DC Exhibit, 1945, (prize). Illustrator: Forum Magazine. Position: Teacher at Corcoran School of Art.

Additional Information:

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William S. Robinson, NA
Impressionism: Titled as “Sailboat at Gloucester, MA”
Lesson: Art Dealer from Net skills

Oil on Canvas mounted on baord

heavily listed artist...ebay link

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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
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BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Every artwork in the ArtCollecting.info collection provides at least one unique lesson that assists beginning web-collectors in making better decisions about a new art acquisition.
The lessons-learned from this particular piece, include:
Lesson One: The impact of professional art cleaning & restoration
Another reason to help others dispose of art and related unique items from on line sales? You get first dibs on pieces you find appealing.
I own very little "nautical" art. This piece had the style I found most appealing.
Once you own one piece by an artist - you have a higher degree of confidence in evaluating authenticity and valuing a piece of art.
Artist's like William S. Robinson are excellent for new collectors because his piece are almost always very well signed, inventoried, etc.
A Shortage of Auction Results
When you are dealing with a qualified early American artist who was a member of the National Academy - you are usually going to discover a decent number of auction records. In some instances, activity is light due to a shortage of demand as is the case with Charles Henry Miller's work.
I assumed this was the case with Robinson as well, but later discovered his situation was somewhat different. Robinson came from a quite wealthy family.

Art & Artist Information

Description of Art
Oil on Board, 12 x 16, signed (lower right): WM. S. ROBINSON and titled and dated on the reverse: Gloucester, Massachusetts, August 27, 1932. Reverse also Includes artist code and inventory number.
Gloucester harbor was a very popular scene by American impressionists during the early 20th century. Robinson, A brightly colored group of three women appearing to be congratulating a bride after a wedding.
From the mid 19th century through the present day, America’s artists have enjoyed communal living and working in summer colonies from oceanside to mountaintop. Sotheby’s is pleased to pay tribute to this rich tradition in our July online sale: American Paintings: Summer Schools and Art Colonies. An exhibition featuring highlights from the sale will be on view in our 1334 York Avenue galleries from July 15-19.
In the 19th century, many American artists went to live, work, and study in Europe’s Art Academies and countryside. Returning to America, these artists turned their attention to their own backyards. The Hudson River School, America’s first native school of painters, set the stage for the summer colonies. The Industrial Age pushed artists away from urban areas and many sought relief in communal summer retreats. One essential element of the artist colony was working en plein air, capturing the immediacy of the surrounding countryside. Communal living was another important facet of the colony, and intellectual and creative dialogues emerged as the artists worked alongside one another during the day and socialized by night
Founded in 1902, deep in New York’s Catskill Mountains, the Woodstock Art Colony became an important summer destination for many artists and we are pleased to offer works by several Woodstock artists. Those artists seeking solitude from the hustle of industry in 1870’s Boston descended upon the busy fishing port of Gloucester and the charming artistic haven of Rockport on the serene North Shore of Massachusetts. This sale is rich in material by artists working in these ports such as Milton Avery, Agnes Richmond, Joe Margulies, and Richard Haley Lever. Another Boston retreat, Provincetown, at the eastern tip of Cape Cod, was to become the most prolific of all America’s art colonies. Samuel Brecher’s “Bay of Provincetown” illustrates this quaint coastal village.
Across the country, artist colonies expanded westward, documenting the wild and unspoiled land. We are pleased to feature works by Midwest artists from the Ste. Genevieve colony outside St. Louis and Florence M. Williams’s “Backyards, Saugatuck,” an art colony in Michigan. Also offered is a landscape by Eliot Clark, celebrating the glorious Arizona desert. The Taos and the Santa Fe schools were also very important to the development of working en plein air and these and many other schools are represented in this online auction.
Today, many of the colonies are still summer destinations for artists. Others have become year-round communities with vibrant art galleries and museums. All have inspired generations of new artists to capture the beauty of our great outdoors.
Provenance

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Artist Information

William S. Robinson (1861-1945, American)
An Impressionist painter, he created landscape paintings that were very popular in his day, and he was a key figure in the Old Lyme, Connecticut Art Colony. He spent every summer from 1905 to 1920 at the Florence Griswold mansion in Old Lyme and from 1921 to 1937, was a permanent resident. He was one of the founding members of the Lyme Art Association and later served as its president. He won many awards including a silver medal at the 1915 Panama-Pacific Exposition in San Francisco. In his later years, he lived in Biloxi, Mississippi and died there in 1945.
William S. Robinson was an active and honored artist during his lifetime. He specialized in landscapes and marine studies. His work can be found in the permanent collections of the Carnegie Institute, Dallas Museum of Art, National Gallery of Art and the Cleveland Museum of Art. Your work is a good example of the "School of American Impressionism". It is painted with strong control and attention to leaving out unimportant details in an effort to achieve an overall "impression" of the scene he was viewing. It is a painting that could be "lived with easily. Robinson produced a very large body of work during his random periods of activity in Gloucester. This productivity may account for the relatively low prices that his harbor scenes command in the secondary market at this time. The prices for this type of composition have remained relatively steady in a range between $2,760 and $3,200 with the last sale of a similar work being in 1999. I have taken this fact in consideration along with the condition and the solid provenance in arriving at the following fair market value.
Birth place: East Gloucester, MA
Death place: Biloxi, MS
Addresses: Phila., PA; NYC, 1895-1922; Old Lyme, CT (summers, c.1905-22; permanently, c.1923-37)
Profession: Landscape painter, marine painter
Studied: Massachusetts Normal Art Sch., Boston; Académie Julian, Paris with Constant and Lefebvre, 1889.
Exhibited: Boston AC, 1885-1904; PAFA Ann., 1892-1924; Paris Expo, 1900 (hon. men.); Pan-Am. Expo, Buffalo, 1901 (hon. men.); SC, 1901 (prize), 1917 (prize), 1922 (prize); St. Louis Expo, 1904 (bronze med.); NAD, 1891,1910 (prize), 1929 (prize); Corcoran Gal biennials, 1907-23 (9 times, incl. 4th prize, 1919); Buenos Aires Expo, 1910 (silver med.); Pan-Pac. Expo, San Francisco, 1915 (silver med.); Dallas Exhib., 1915 (med.); S. Indp. A., 1917; Lyme AA, 1925 (prize), 1927 (prize), 1928 (prize); AIC; NAD, 1891-1900
Member: ANA, 1907; NA, 1911; AWCS 1897 (pres., 1914-21); NYWCC, 1891; SC, 1896; Lotos Club; Artists Fund Soc., 1889; NAD; Allied AA, 1919; Lyme AA (charter mem., pres.); NAC
Work: CI; Dallas AM; NGA; CMA.
Comments: A member of the colony at Old Lyme, he also painted at Monhegan Island (Maine) and Bermuda. Teaching: in Boston, 1880s; Maryland Inst., 1885-89; Drexel AI, 1890s; PAFA, 1890s; Columbia Univ. Teachers Col., 1890s; NAD, 1920-34; Connecticut Col., 1928-34.
Sources: WW40; Curtis, Curtis, and Lieberman, 94, 186; Connecticut and American Impressionism 171 (w/repro.); Art in Conn.: The Impressionist Years; Falk, Exh. Record Series.

This biography is drawn from the 'Who Was Who in American Art' , the reference book on the cultural life in the United States.

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Pierce Rice
Realism: “Women of an Era I”
Lesson: Artist Estate

Oil on Canvas mounted on baord

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
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BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Artist Information

Pierce Rice (1916 - 2003, American)
Pierce George Rice, an under appreciated illustrator from the American comic book industry's early years who later enjoyed a successful career in classical art, criticism, and teaching, died of complications from pneumonia May 23 at the Armed Forces Retirement Home in Washington, D.C. He was 86 years old. Rice was a native of Brooklyn, New York. As a young man, Rice took the Major Arts course at Boys High and Saturday arts classes offered by the Pratt Institute. He later attended the venerable National Academy of Design at 109th and Amsterdam. There he learned under the noted art teachers Leon Kroll and Arthur Kovey. Rice responded well to that institution's European-influenced specialized curriculum, split between practical training that reflected the school's take on modern aesthetics and a wide-ranging educational program based on lectures and assigned reading. In 1939, Rice became one of the nameless, facile craftsmen hired to churn out work across multiple comic book lines. Work in the comic book field may have seemed a strange choice for an artist with Rice's training, but a job doing art made the 23-year-old the first in his artistically inclined family to secure full time employment using his creative abilities. In addition, the subject matter of most comics was in keeping with the artist's lifelong fascination in the human form. Rice joined the Iger shop after answering a newspaper advertisement, but was fired for reasons unknown to the artist a few months later. Upon leaving, he set up shop with Arturo and Louie Cazeneuve, with whom he enjoyed a lengthy but intermittent professional partnership. Rice began his comic book career drawing features for a number of publishers in quick succession. Rice would later recall that an early client of his own studio set-up was Fox, and that he enjoyed a long relationship with Harvey Comics, where he worked on such characters as Zebra, Green Hornet, Captain Freedom and Black Cat. But his work can be found in a number of magazines from various companies. Rice's art is believed to have graced features in the first several issues of Fawcett's Wow Comics in 1941. He also was one of the creators to publish at Centaur before that company ceased doing business in 1942. Other clients included Hillman and MLJ. Like many comic book artists of his generation, Rice was New York local and forged friendships and business partnerships with others in the industry. He told the Journal in 1997 that the time spent between his stint with Iger and entering the service in World War II was probably the happiest of his life. "There was something about the ease of the exchanges with editors and publishers, everyone was located within walking distance, having our own placeâ€¦ It made it extremely agreeable." The United States Army drafted Rice in 1943. After a stint stateside pursuing various artistic opportunities within his regiment, Rice served in World War II's European theater during the Allied advance and for several months after the fighting had ended. He drew for the Seventh Army Newspaper in Heidelberg and saw a brief period of combat. He was a recipient of the Bronze Star. After the war, Rice joined several hundred returning servicemen taking part in the flush years of the American comic book industry. Unlike many artists who had continued to freelance as military schedules allowed, Rice had severed his contacts when he entered the Army and had to rebuild his client base. Through Bernie Sachs and Arthur Petty, Rice began work at DC, where he contributed art to such features as Spectre, Crimson Avenger, Manhunter, Slam Bradley and Seven Soldiers of Victory. Other post-War clients were Hillman, Harvey, Ace, Standard, Gleason, Ziff-Davis, ACG, Eastern and Topps. Rice enjoyed a comparably long stay in the division of Martin Goodman's pulp publishing empire devoted to comic books, during its first extended run using the name Marvel. Rice worked in the Stan Lee-run Empire State Building offices as part of their post-war bullpen set-up, staying for close to two and a half years. Rice eventually took room in another artists' studio, but the era he had enjoyed before the war had passed. "I moved in to 109 West 42nd St with Arturo Cazeneuve sometime in the sometime in the very early '50s," he wrote Jim Vadeboncoeur in April of this year, comparing his pre- and post-war experiences. "Bob Sale was established there, Bill Savage and Charley Sultan having just moved out; a photo retoucher was on the premises. $20 a month. Arturo, never very earnest, remained only a while, his space was taken by a furniture artistâ€¦ Sale left, a newspaper cartoonistâ€¦ came in at the same point as Bernie [Krigstein]. Mainly though, there was never the air of cordiality that prevailed at 415 Lexington Avenue where the two Cazeneuves and I held open house, enough company, in fact, passing through [to force] us to do most of our work far into the early hours of the morning. Louis Cazeneuve, now that I think of it, left to avoid the company, Arturo presently moved over to the Harvey office, and Charles Flanders moved in." A brief stop with Harvey's horror books in the early 1950s would serve as the end chapter in Rice's comic book career. According to Vadeboncoeur, who has studied the period extensively, Rice was one of the more talented comic book artists of his day. "Rice was a natural storyteller with classical training and a firm grasp of anatomy and perspective," he told the Journal. "All too often these abilities were masked by the inks of lesser artists for whom he anonymously penciled - but they couldn't hide those Â¾ rear shots with the elbows prominently thrust into the foreground. His love of comic art and his devotion to his craft was such that when I sent him photocopies of his work he'd done 40 years prior, he felt compelled to enlarge the copies and rework the panels he thought weak. He was an unsung master of the medium." In his final days in comics in the early 1950s, Rice participated in an attempt to unionize the creative end of comic book production, a movement led by artists including Bernard Krigstein. Although only mildly interested in forming a union, and with a political viewpoint he later described as half-liberal, half-conservative, Rice produced a small mimeographed newspaper for the effort. According to an interview given by the late artist Gil Kane, Rice also forcibly argued against an editorial detractor at one of the organizational meetings - something Rice had a hard time remembering by the late 1990s. In the mid-'50s Rice permanently relocated to the Washington D.C. area, where he lived in a city apartment for several years until finally settling in Fairfax Country, Virginia. His time in comics faded from view for all but the most dedicated and persistent observers, as he began to pursue magazine cover illustration, portraiture and various design projects. According to long-ago D.C.-area comic book fan Gary Groth, very few enthusiasts bothered to recall Rice's run on various Golden Age titles. "He was decidedly not the local comic book artist for kids like myself. He was totally unknown; none of my fellow fans in the area knew who he was or even knew he lived there. In fact, I was completely unfamiliar with his work, as you might expect of a 15 or 16 year old Marvel zombie." When his parents noticed an article about Rice in a local newspaper and contacted the artist, Groth received a glimpse into Rice's post-comics life. "My Dad drove me over to his apartment in Washington and I spent two to three hours there. The fact is, I had no clue as to who he was or what he'd drawn but he'd been a comic book artist and that was enough for me. I remember his apartment as being fairly spacious, full of books and artwork on the walls. He was absolutely gracious and gentlemanly, patiently answered questions from me and conversed with my Dad while I listened. He seemed like a born educator - or explainer. He easily expatiated on subjects, seemed easy-going, and sure of himself." In the second half of his professional life, Rice had indeed become a highly regarded critic and educator. He began writing critical art essays as early as the 1940s. Pursuing his own tastes in classical architecture and art as opposed to what he felt were the distorted values of modernism, Rice would become a founder of the Classical America movement in art and architecture, contributing to their journal of the same name when it began publication in 1971. He was also a friend of the movement's dominant personality, Henry Hope Reed. Rice taught several classes at his alma mater and graduate courses at the University of Pennsylvania. He never finished formal school beyond the Academy, and thought that academy graduates made for better artists than those who received a more standard education. He commuted to both schools where he taught. Rice typically lectured on favorite Classical America topics such perspective rendering and composition. The Philadelphia-based educator and architect Alvin Holm told the Journal that Rice's take on classical forms changed the arc of his professional career. "He completely changed my intellectual orientation and showed me another way of looking at things, a way that raised my skill levels in all areas. I took his course, and then I took it again, and I took it again - I took it four times in a row," Holm said. In his eulogy for the artist, Holm compared Rice to the esteemed Bauhaus-influenced educator Josef Albers, under whom he had earlier studied at Yale. "In 1978 I took Pierce's course in classical drawing and was astonished at how wildly different it was from the excellent courses I had had twenty years earlier. Josef Albers taught me to draw horses by looking very carefully at a horse; Pierce said, 'Forget the horse! If you want to make a beautiful drawing of a horse, study carefully beautiful drawings of horses. Then you can look at the horse.' Albers and almost everyone else at Yale taught us to be analytical, believing that discrimination was the whole goal, while Pierce Rice taught us to see the commonalities - those aspects of things which unify, that create a coherent world out of bits and pieces." Holm went on to become a teacher himself, closely patterning his classes after those taught by Rice. Alumni of the Rice and Holm courses made up a significant number of the founders of and early contributors to New York's Institute of Classical Architecture, begun in 1991. Best known for its magazine The Classicist, in the fall of 2002 the Institute announced that it would be merging with Reed's organization Classical America and its popular Arthur Ross awards, educational initiatives, and textbooks. Both Rice and Holm continued to produce other educators, whom Holm feels are all teaching classes modeled on the original Rice courses. But no student could match the idiosyncratic mastery with which Rice taught. "He spoke in kind of an oracular way. He would look up in the sky, his eyes would go up and he would say something that was not intelligible frequently. Some times it would take to the next class week to sink in. He had amazing observations that were pithy and sort of infinitely expandable." Some of those comments displayed an appealing sense of art in all things. In 1987, Norton published Rice's book Man as Hero: the Human Figure in Western Art, an historical survey of the use of figures in art broken down by category, as part of its Classical America Series in Art and Architecture. Man as Hero was noteworthy for the connections Rice drew between classical artists such as Michelangelo and Fragonard and illustrators like J.C. Leyendecker, John Tenniel, and Gustave Dore. "In the light of the most fundamental deficiencies of what constitutes art of the West, 19th century painting fails to qualify," he wrote. "But Tenniel (illustrator of Alice in Wonderland and Punch cartoonist), Daumier and Dore filled the specifications. Nor was this mere literal compliance with convention. Their individual powers were such that only the most brilliant names of the previous centuries are to be compared with theirs." Man as Hero was re-issued in 2000, the crown jewel in Rice's published writing on art. In 1997 Rice contributed an essay to The Library of Congress: The Art and Architecture of the Thomas Jefferson Building, edited by Henry Hope Reed and John Y. Cole. J.G. Brown released a monograph of Rice's "J.G. Brown, the Bootblack Raphael," in 1979. Rice never stopped doing art of his own. In Washington, Rice became a noted portrait painter and a respected designer. He received a commission from Philip Morris International to design a two-ton sculpture in the shape of the medallion. The bronze piece was installed in the company's New York City offices. A mural to which Rice contributed, portraying Theodore Roosevelt's sons playing in a White House stairway, is displayed at the National Museum of American History. In 1988, Rice had a show at the Susan Conway Carroll Gallery, and in 1989 his design placed second in The Suffolk County Vietnam Veterans Memorial design competition. Rice considered himself an artist who stood on the shoulders of thousands of years of artistic tradition, and his friends say that belief helped provide him with a timeless view of the past. "He never left the comic books, and was always very happy to remember what he learned there," said Holm. "He would say the best figurative art is still in comic books. The best perspective artists - the guys who really know how foreshorten arms and legs - they all work in comics. A guy who draws Spider-Man, what he has to draw, it's just amazing to watch a figure tumble through the air. That artist draws things very few studio artists can. Pierce would say, 'They know everything. They know perspective, shade and shadowâ€¦' He never left them. He would come into class with pictures in panels, illustrating what we were going to be learning that evening. There's so many ways that the comics remained with him. Those days were immediate to him." In Man As Hero, Rice wrote about Western art with words that the Washington Post chose to eulogize him. "The great tradition of Western art has been and should continue to be, not merely representational work but the idealization of the human form, the glorification of both heroic individuals and the heroic possibilities of mankind." It is a statement laden with meaning for the art movement in which Rice traveled, the hero-soaked comic book medium in which he worked, and, ironically, the publishing industry that failed to match his better impulses but that he never forgot. Pierce Rice was preceded in death by a wife of 33 years, Marilyn Young, who died in 1992. His closest living relatives are Louise and Tom Krause, who arranged his burial 87 years to the day from when he was born. Originally Published in The Comics Journal #254
Four paintings of Civil War soldiers by Pierce Rice wearing various types of shakos, conical military hats decorated with plumes or pompoms. Only one was titled by the artist: Union Army Artillery Shako, which shows a light artillery officer wearing a shako, with a red plume. The compositions have the modern feel of casual snapshots of men going about their activities, rather than formally posed portraits. The painting of the man in the shako with a red and white pompom recalls the artist's background in comic book illustration, with its dramatic and mysterious closeup, showing just the eyes gazing directly at the viewer, shaded by the hat's brim.
Pierce George Rice was an American artist, as well as an influential writer and educator on classical architecture and art history. Born and educated in Brooklyn, after high school he studied art at the National Academy under Leon Kroll, Charles C. Curran and Lester Cobey. Finishing his studies in 1938, he went to work as a cartoonist for Harvey Comics, drawing for The Green Hornet and others. During World War II he served in the army, and returned to cartooning after the war for various companies, including over two years at Marvel Comics.
In the 1950s, Rice moved to the Virginia suburbs of Washington, D.C., area and turned to magazine cover illustration, portraiture and commissions. He also became an advocate for the classical tradition in art and architecture as a co-founder of the organization Classical America with Henry Hope Reed. He wrote essays for its journal, which began publication in 1971, and reviews for Art & Antiques. He further expounded his ideas in courses in classical architecture and traditional drawing techniques for the National Academy of Design, New York, and the University of Pennsylvania. A charismatic lecturer, his teachings influenced the founders of New York's Institute of Classical Architecture, which merged with Classical America in 2002.
Rice also completed some major art commissions, including the 14-foot-diameter bronze relief that until recently decorated the Philip Morris, Inc. International Headquarters Building on Park Avenue in New York City, and a mural for the National Museum of American History in Washington. His writings include Man As Hero: The Human Figure in Western Art (1986, 2000). Rice's archive on art and illustration are in the Pierce Rice Collection of the Smithsonian Institution and the Library of Congress, and his papers are at the Avery Library at Columbia University.
Condition: Union Army Artillery Shako is generally very good with usual light overall wear and soiling of the image itself; the rest of the board is in good condition with scattered wear and staining. The other paintings are generally very good with usual light overall wear, toning and soiling, and minor or scattered wear to edges.
References:
"Obituary: Pierce Rice 1916-2003." Originally published in The Comics Journal #254. 30 June 2003. The Comics Reporter. http://www.comicsreporter.com/index.php/resources/longbox/59/

"Pierce Rice." (Biography accompanying estate sale.) Washington, D.C.: Sloan Kenyon, 2005.

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Pierce Rice
Realism: “Women of an Era I”
Lesson: Artist Estate

Oil on Canvas mounted on baord

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
•

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

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ArtCollecting.info
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ArtCollecting.info is a free resource
to help beginning collectors
affordably acquire quality artworks
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For Questions or Comments: Contact info@artcollecting.info

Pierce Rice
Realism: “Women of an Era I”
Lesson: Artist Estate

Oil on Canvas mounted on baord

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
•

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

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ArtCollecting.info
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affordably acquire quality artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Pierce Rice
Realism: “Women of an Era I”
Lesson: Artist Estate

Oil on Canvas mounted on baord

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
•

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

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For Questions or Comments: Contact info@artcollecting.info

Renée Radell
Social Expressionism: Titled as “Two for the Show”
Lesson: Experts not always right

Oil on Board

12 x 9"
Signed (lower right): Renee and dated '66 (1966) Titled “Two for the Show” on reverse. Remnants of a gallery / artist sticker also on reverse

Original Image:
What I saw when first bid on this artwork
Purchased on eBay. COM for $126.87 - 2006

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heavily listed artist...ebay link

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This style of art is known as: social expressionism
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RENEE RADELL (American, born 1882-1934)

The "experts" are sometimes wrong - trusting your gut on the value of an artwork (brief article / engaging headline format)
This painting: entitled "Two for the Show" by Renee Radell is one on my personal favorites.
Suppose you hoped to find an adorable early American impressionist painting: where you might you look? Perhaps the last place you would begin your search is a junk-seller in Belgium. Alas, that's exactly where I scored this little jewel off ebay in 2006.
"This is a typical example of the decorative style paintings popular during the last half of the 20th century. Paintings like this were rendered in a loose, modernist style derived from the 1950s European school. Many aspects of this style actually derive from the School of Paris of Post WWII Europe. In researching Renee, it is known that the artist was active in Paris during this period. It may be assumed that Renee was able to adopt certain aspects of the style to create a more generic type of painting. By the mid 1960s, works painted in this manner were intended to serve as decoration for by this time, the expressionist color and aggressive compositions which characterized the Parisian School had paled and became acceptable within environments other than just in galleries or museums. Major hotel chains such as Stouffer and Hilton were known to have acquired works of this type for their interior spaces as well as for their private collections. Unfortunately, the vast majority of paintings acquired during this time have not held their value to the present time. This is due primarily to changes in popular taste during the past 40 years. Works of this sort commonly come to auction and based on the quality and appeal of this work, the appropriate auction value is cited above."
Expatriated art is a common occurrence: a collector from another country buys a piece...
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Research building...historical society

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Other matched piece sold at auction...Market square

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His scenes of people not worth as much - flowers bring most

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Standard sizes / affordable frames

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Additional Collecting Links to this artist / info
Ernest De Nagy was born around 1882 in Budapest and died in 1952. He exhibited at the Salons of America and The Society of Independent Artists in the 1930s. 20in. by 16in.
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To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

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Artist Information
Renée Radell (1900-1990, American)
Renee Radell: About the Artist The new series of European landscapes by Renee Radell, a result of her extensive travels in the three countries depicted, France, Spain and Germany, evokes the permanence of things. For 50 years, her paintings have captured the beauty and turbulence of life at defining moments in the American experience. In beautiful soft colors, they transmute the moment into a timeless experience. While reminding the viewer of dangers inherent in extreme human tendencies, they welcome a commonality of spirit. During this time of global uncertainty, the artist returns once again to the simplicity of nature, the enduring earth and sky. Her recent landscapes inspire us to embrace a broader universal awareness through the medium of art. Renee Radell has been creating art for over five decades. She has exhibited in numerous galleries from New York City (ACA Gallery, Silverstein Gallery, Robert Shuster Gallery, Access Gallery, Columbia University’s Maison Française, Tasca Gallery) as well as in numerous institutions, such as the Foundation Mona Bismarck in Paris, the Brattleboro Museum, and the Detroit Institute of Arts. She is the recipient of the Marguerite Eyer Wilson Foundation grant for intaglio series, the Michigan Council of the Arts grant for painting, and has won numerous awards. She was an Artist-in-Residence at the University of Detroit Mercy where she taught painting and drawing during the 1970s and was awarded faculty grants and institutional commissions while exhibiting extensively in the Midwest. She joined the faculty at Parsons School of Design, teaching drawing on a part-time basis for 15 years.
ABOUT THE ARTIST
Renee Radell, at that time a Michigan resident, first attracted the attention of the art world’s inner circles in 1952. Then Director of The Detroit Institute of Art, Dr. Edgar P. Richardson, had followed her rapid rise in visibility since her graduation from the Detroit Society of Arts & Crafts. Having made a prior purchase of a Radell watercolor for the museum’s permanent collection, in 1961 Richardson commented in the catalogue for her second one-person show:
“Expressiveness has matured into passion. Subtlety has grown into power. Her art today is work which one looks at carefully and with the most serious attention.”
A review in the Detroit News covered the event, portending a flurry of critical acclaim:
“Radell's first solo show disclosed a painter of great potential; her second show fulfills every promise made then. They [the paintings] are so personal, so unconventional, that they cannot fail to move the viewer.” - Detroit News 1961
Radell soon made it to the New York stage for her powerful contribution to social commentary painting during the 1960s. A series of one-person exhibitions in New York galleries created a stir among international art critics:
“These are powerful paintings in the Expressionist tradition of Joseph Levine and Ben Shahn. However, Radell expresses a humanism and a pathos that is more universal and more moving than the older forms of social commentary.” - ArtsMagazine 1967
“Explosive canvases…..almost an ethereal beauty.” - New York Sunday Times 1967
“In her work, pathos and poetry grow in exalting each other.” - La Revue Moderne 1968
Through the Vietnam War era, Radell continued to use the brush to record her piercing view of human essence, causing Dr. Russell Kirk, quintessential man of letters and biographer of T.S. Eliot, to predict in 1974:
“Her high talent with the brush transmutes a moment’s experience into a timeless image. From our milieu she extricates those truths about the human condition, which renew mind and conscience. Her pictures will be preserved as brilliant period pieces.” - Detroit News Magazine 1974
“How exciting is the chance to see a survey of works by a classic figurative painter like Renee Radell! Her pictures are
powerful expressions, whether theological, political or pastoral…rich allegories of life and death from an artist who is a
master of her craft.” — Walter Robinson, Artnet Magazine 2007
Now that the unconventional has become the new conventional, the paintings of Renee Radell reignite one’s faith in the
resilience of contemporary art and confirm the observation by Time magazine critic Robert Hughes that “Serious figure
painting never went away.” Displayed in the historic Tilden Mansion on Gramercy Park, these 15 canvases evoke
timeless human themes of love, death, war, hope and religion – themes that echo through her work and are more
germane today. Radell demonstrates a rare mastery of portraying the figure in seamless harmony with color.
Shown publicly for the first time in 30 years, The Tide, painted in 1966, portrays the impartial grip of time on human
existence. The Political Fertility Rite (1966) could be CNN footage from today’s presidential race. The Commitment
Committee (1973) suggests the risky decision-making process during the final years of the Vietnam War. Radell’s
heightened form of Social Realism drew critical praise when displayed in a series of New York exhibitions.
“These are powerful paintings in the Exressionist tradition of Jack Levine and Ben Shahn. However, Radell expresses a
humanism and pathos that is more universal and more moving than the older forms of social commentary.”
— Cindy Nemser, Artsmagazine 1967
The later works on view reveal the freedom and joy of metaphor and unleash Radell’s tireless imagination into a new
arena of surrealism. The Carousel (1997) with its unbridled spirit is a celebration of life’s infinite and individual
possibilities. The Standard Bearers Crossing The North Sea (2000) is the center piece from a 5 x 18 foot triptych
depicting the imaginary timeless parade of Everyman. Return to Eden II (2003) suggests both the vacuity inherent in a
society without direction as well as a search for redemption.
Please contact KB Contemporary for further information.

Radell moved to New York City in 1985 and has taught at Parsons School of Design and at the Cleveland Art Institute’s fine arts program in Lacoste, France. She is represented in several museums and extensively among international collectors.

Exhibitions

1995

Silverstein Gallery, New York, NY (solo)

1995

Alan Stone Gallery, New York, NY

1995

Artex-Kyoto, Kyoto, Japan

1995

Silverstein Gallery, New York, NY

1994

Artex-Tokyo, Tokyo, Japan

1994

Silverstein Gallery, New York, NY

1993

Hanson Gallery, New York, NY

1993

Parsons School of Design, New York, NY

1993

La Tour Des Cardineux Gallery, L’Isle-sur-Sorgue, France

1993

New England Fine Art Institute, Boston, MA

1993

Parsons School of Design, New York, NY

1992

Hanson Gallery, New York, NY

1992

Parsons School of Design, New York, NY

1991

Access Gallery, New York, NY

1991

Brattleboro Museum, Brattleboro, VT (solo)

1991

Mona Bismark Foundation, Paris, France

1991

Hammer Gallery, New York, NY

1990

Access Gallery, New York, NY (solo)

1989

Union League Club, New York, NY (solo)

1988

Cleveland Art Institute, Lacoste, France (solo)

1987

La Maison Francaise of Columbia University, New York, NY (solo)

1986

Cleveland Art Institute, Lacoste, France (solo)

1982

University of Michigan, Flint, MI (solo)

1981

Ryder Gallery, Los Angeles, CA

1980

Nonson Gallery, New York, NY (solo)

1980

Atelier Royce, Santa Monica, CA

1980

Michiana Art Exhibition, South Bend, IN

1978

University of Michigan, Dearborn, MI (solo)

1978

Toledo Museum of Art, Toledo, OH

1977

Atelier Royce, Santa Monica, CA

1976

Hillsdale College, Hillsdale, MI (solo)

1976

Ferris State University, Big Rapids, MI

1975

Marietta College, Marietta, OH

1975

Olivet College, Olivet, MI

1975

Sheldon Ross Gallery, Birmingham, MI

1975

Center for Creative Studies, Detroit, MI

1975

National Sculpture Society, New York, NY

1974

Marietta College, Marietta, OH

1974

Olivet College, Olivet, MI

1974

Sheldon Ross Gallery, Birmingham, MI

1974

Oakland University, Rochester, MI

1973

Oakland University, Rochester, MI

1973

Butler Art Institute, Youngstown, OH

1973

Scarab Club, Detroit, MI

1972

Chiara Gallery, Cleveland, OH (solo)

1972

Butler Art Institute, Youngstown, OH

1971

Bloomfield Art Association, Birmingham, MI

1970

Kirkland College, Roscommon, MI

1970

University of Michigan, Ann Arbor, MI

1970

Dearborn Museum, Dearborn, MI

1970

University of Toronto, Ontario, Canada

1970

Grand Valley College, Grand Rapids, MI

1969

Robert Shuster Gallery, New York, NY (solo)

1969

Welna Gallery, Chicago, IL (solo)

1969

Detroit Institute of Art, Detroit, MI

1968

Cobo Hall Exhibition Center, Detroit, MI (solo)

1968

Marietta College, Marietta, OH (solo)

1968

Oakland University, Rochester, MI (solo)

1968

University of Winsor, Ontario, Canada (solo)

1968

Detroit Institute of Art, Detroit, MI

1968

Chiara Gallery, Cleveland, OH (solo)

1967

Robert Shuster Gallery, New York, NY (solo)

1967

Scarab Club, Detroit, MI

1966

Tasca Gallery, New York, NY (solo)

1966

J. Walter Thompson Gallery, Detroit, MI

1965

Tasca Gallery, New York, NY (solo)

1965

Detroit Artists’ Market, Detroit, MI

1964

Center for Creative Studies, Detroit, MI (solo)

1964

Kaufman’s Gallery Vendome, Pittsburgh, PA (solo)

1964

Michiana Art Exhibition, South Bend, IN

1964

Bloomfield Art Association, Birmingham, MI

1964

Center for Creative Studies, Detroit, MI

1964

Western Michigan Art Exhibition, Grand Rapids, MI

1963

Butler Art Institute, Youngstown, OH

1962

Michiana Art Exhibition, South Bend, IN

1962

Oakland University, Rochester, MI

1962

Butler Art Institute, Youngstown, OH

1961

Garelick Gallery, Detroit, MI (solo)

1960

Detroit Institute of Art, Detroit, MI

1960

ACA Gallery, New York, NY

1959

Garelick Gallery, Detroit, MI (solo)

1959

Scarab Club, Detroit, MI

1957

Dearborn Museum, Dearborn, MI

1957

Detroit Institute of Art, Detroit, MI

1957

Ecclesiastical Arts Guild, Detroit, MI

1955

Scarab Club, Detroit, MI

1955

Dearborn Museum, Dearborn, MI

1954

Detroit Institute of Art, Detroit, MI

1952

Detroit Artists’ Market, Detroit, MI (solo)

1950

Detroit Institute of Art, Detroit, MI

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Thomas Benjamin Pope
Realism Trompe l'oeil: “Hanging Cherries”
Lesson: Re-lined value comparisons

Oil on Canvas mounted on baord

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The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
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heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Every artwork in the ArtCollecting.info collection provides at least one unique lesson that assists beginning web-collectors in making better decisions about a new art acquisition.
The lessons-learned from this particular piece, include:
Learn About Condition
Although I didn't get hurt badly - this piece was my first real lesson on how the condition of a piece of art affects its price.
Condition wise At first glance, this piece appears almost perfect - and I was non the wiser upon receiving the piece. In fact, this painting essentially appears to be "perfect".
However, when I had a more astute collector take a look at the painting some months later - I discovered the piece had been "relined".
What is Relining?
Art & Artist Information
Description of Art
Oil on canvas, 8 x 10, signed (lower left): T.B. Pope and dated beneath signature, '72. (1872)
A very "tight" example of still life realism. This painting represents Pope's specialty succinctly.
Provenance

• Ebay

Artist Information
Thomas Benjamin Pope ( - 1891, American)
American. Pope studied at the American Institute, 1845, 1849. He was wounded while serving in the Union Army. He resided in Newburgh, NY. He was killed by a train in Fishkill, NY in 1891. His specialties were: fruit still life, landscapes, and genre.20th Century American painter. Born in Madrid, Spain in 1885. Died in Chicago, Illinois in 1966.
Artist used the Hudson Valley as his canvas By Don Herron In the 19th century, almost every city in New York state had its resident painter or painters – an artist or group of artists who would make a living by depicting the local landscape and who would paint portraits of the local citizens. There were also itinerant painters who would travel from town to town getting portrait and landscape commissions. These were considered, at the time, to be sort of the "handymen" of the art world. To be a "real" artist, one had to study in Europe in the studio of a well-known "accepted" artist. New York's Hudson River School took a different road. Comprising of artists who had a deep, almost primal feeling for nature and man's place in the world, they were the first to recognize and appreciate the vast wilderness of 19th-century America. Coupled with that appreciation of the grandeur of nature was pride in the victory over England in the Revolutionary War. Among the best-known and most successful artists of this school were Thomas Cole, Asher B. Durand, John F. Kensett, Jasper Cropsey, Frederick Edwin Church, Albert Bierstadt and George Innes. Cole, the leader of the group, considered America to be "the Abode of Virtue." The term "Hudson River School" was originally used in a pejorative sense by hostile art critics. Early in the 19th century, their work was considered to be too crude and naive to be "real art." The artists of the Hudson River School lacked the finish and the facility to turn out the dazzling virtuosity shown in popular European work. Like the Impressionists and the "Ash Can School," the Hudson River School was dismissed as the work of poorly trained amateurs. But they were true artists who, through their love and admiration of the Hudson River and the surrounding countryside, captured the energy and beauty of the area far better than if they had been given the elaborate and, in many ways, stultifying training of the European masters. One of these natural artists was Thomas Benjamin Pope. Born in 1834 in New York City, he was educated in the city and at the age of 14, left school to work in a stationer's store. Prior to 1860, Pope moved to Newburgh and established a wholesale liquor store on Front Street, the heart of Newburgh's business district at the time. Pope was a member of Washington's Continentals, Newburgh's military company before the Civil War. At the beginning of the Civil War, Pope enlisted as a second lieutenant in the Union Army. He served in the first company of the 56th New York Volunteers, the famous 10th Legion under the command of Capt. Thomas S. Marvel, and was wounded during the raid by Stewart's Calvary in the Potomac Valley. After the Battle of Appomattox, Pope returned to Newburgh, where he resumed his business career. Pope had become an active artist in 1854, and became proficient in watercolor and oil techniques. He painted portraits and landscapes, and his greatest joy was painting landscapes depicting the beauty of the Hudson Valley. Both before and after the Civil War, Pope taught art to many students in Newburgh and the surrounding area. In addition to his career as an artist, Pope worked from 1876 onward as a newspaper reporter and became city editor for the Newburgh Register and eventually editor of the Newburgh Daily News. For health reasons, he became a columnist for the News, writing a column he signed "Old Boy." Pope's studio was in the Townsend Building on Third Street, between Water and Smith streets, and he gave his art lessons in this studio. The studio doubled as an art gallery, and its walls were hung with Pope's paintings. In the 1870s and '80s, Pope became interested in theatricals, and his readings and dramatizations were very popular and well-known. He eventually became a drama critic and published The Lorgnette, the theatrical program for the old Academy of Music. In addition to the art lessons Pope gave in his Newburgh studio, he frequently went to nearby towns and villages to give lessons to interested students. On May 6, 1891, Pope gave an art lesson at Fishkill Landing. Running late for the return ferry to Newburgh, he took a shortcut from Main Street across the railroad tracks, and was killed by a fast train of the New York Central and Hudson River Railroad. In 1855, Pope had married Emma A. Shaw of New York City, and they lived at 40 Dubois St. in the City of Newburgh. His funeral, on May 9, 1891, was held at his home. The house still stands, in excellent condition, looking much as it must have looked during Pope's time there. Thomas and Emma Pope had three children, Katherine Roma Pope, Anne Elizabeth Pope Lawrence and Thomas Marvel Pope. Pope's wife, Emma, lived until 1917, and his three children lived until the 1940s and '50s. Some of his descendants still live in the Newburgh area, and many of his paintings are represented in local collections. From 5-7 p.m. April 13, the Crawford House will host an exhibition of paintings by Thomas Pope from the collection of Marguerite and Richard Lease. Exhibited will be 12 paintings from the Lease collection, with more paintings from the permanent collection of the Historical Society of Newburgh. All told, it will be a fine representational collection of 19th-century Hudson River School art, and will show the evolution of a painting style that in recent years has proved its value and importance to the world of art. The Crawford House, Newburgh's historic home museum, is the perfect setting for a collection of this sort. Built in 1830, it reflects the prosperity of 19th-century Newburgh, and shows how perfectly paintings of the Hudson River School fit into the architectural and decorative styles of the time. A very prolific artist whose work was, at times, uneven, Pope nevertheless was a leading New York artist, and his work provided some of the foundation for the Hudson River School. This show will be invaluable to those interested in the beauty and historic importance of 19th-century New York and the school of art it produced. Don Herron is an artist and photographer who lives in Newburgh. He writes a weekly column for the Times Herald-Record's Community section, and can be reached at donherron@bigfoot.com.

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Creilly Harman Pollack
Social Realism: “Seated Man”
Lesson: Family Authentication

Oil on Canvas mounted on baord

Want to buy an artwork similar to this piece?

Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
•

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

Pollack, Creilly Harman
(American, 1909-1982)…fix
Seated Man
Watercolor on Artists Board
22 x 16”
Bought out of Belgium / expatriate art
Additional Collecting Lessons related to this artwork are included:
o         Secondary Lessons:
o         Expatriated art
o         Research / building: Historical society
o         Other “matched” piece sold at auction…”Market Square”
o         His scenes of “people” not worth what his scenes of areas & flowers
o         Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Every artwork in the ArtCollecting.info collection provides at least one unique lesson that assists beginning web-collectors in making better decisions about a new art acquisition.
The lessons-learned from this particular piece, include:
Lesson One: The search for artist information never ends
As you acquire more obscure artists, you'll most often rely upon data provided by the seller plus information you can glean from google to create a profile of the artist. Researching artists in your collection can be adventurous: it's illuminating to discover the how's & why's of the style of rendering you possess.
In this instance, my first surprise was that "Crei9lly" was a woman. Somehow, I first assumed that was man's name.
It never ends:
This is an original Julio De Diego piece. He was friends with my aunt and her husband - Creilly and Peter Pollack prior to his death in 1979 in Sarasota, Florida. I inherited this work when my aunt passed away. I will certainly try to answer any questions about it. It is signed in the lower right, but there is no date and i am not too familiar with the work of de diego. It is 9x13 and appears to be pen/pencil with maybe watercolor? Artist Biography: Julio de Diego was born May 9, 1900 in Madrid, Spain. At the age of 15 he was an apprentice to a set designer at an opera company, and his first exhibition was held in a gambling casino when he was only 17. Due to his family's opposition to his art career, de Diego moved to Paris in 1922. In 1924, he came to the United States and settled in New York City, where he stayed until 1931. During this time, de Diego traveled to Tampa and designed sets and costumes for "The Wild Cat" at Centro Asturiano. In 1950, de Diego married Gypsy Rose Lee. Between 1931-1942 de Diego lived in Chicago and exhibited at the Art Institute of Chicago. Other exhibition locations included the Chicago Renaissance Society, the New York World's Fair, the Whitney Museum, the Carnegie Institute, the Metropolitan Museum of Art, Associated American Artists, Bonstell Gallery, and Nierendorf Gallery. De Diego's extraordinary creative talent is difficult to quantify as no comprehensive retrospective of the artist's work has ever been presented. If such an event were to occur, it is likely the artist would leapfrog past many lesser talents and land in a place at the highest echelon of American art. De Diego's technical virtuosity, inventiveness, and willingness to push beyond the established boundaries of the art world resulted in an artistic legacy which is at first difficult to comprehend. The artist easily moved from the personal to the ideological, and managed to eschew the artistic fashions of the day. De Diego died in 1979 in Sarasota, FL.
Nicole Boesken
That's definitely her work. She went to Scripps college and studied art and opened her own art gallery in Oklahoma city in the 50's where she taught art and displayed her own work. I always thought of her as a very pioneering woman, she was independent and creative. When she moved to Sarasota in the 70's she became deeply involved with the local art community having some creative input into various local sites including the Ringling Art School and Library. She was an advocate for the arts. She also promoted her husband Peter's legacy through various museums, books etc. My dad said he recently saw an interview with her on T.V. which is cool.

Thanks for sharing the picture, it is beautiful.

NY Times - POLLACK--Creilly H. 73, Sarasota, FL, died October 21, 2004. Her husband (deceased) Peter Pollack was curator of photography at the Art Institute of Chicago and later director of the American Federation of Art. The couple lived in New York City, where she worked for the Eggers Partnership, Architects and Planners, developing interiors for some of the most prestigious buildings in the city from 1968 to 1974.
Artist Information
Creilly Harman Pollack (American - Early 20th Century)
Published: November 7, 2004
POLLACK--Creilly H. 73, Sarasota, FL, died October 21, 2004. Her husband (deceased) Peter Pollack was curator of photography at the Art Institute of Chicago and later director of the American Federation of Art. The couple lived in New York City, where she worked for the Eggers Partnership, Architects and Planners, developing interiors for some of the most prestigious buildings in the city from 1968 to 1974. She is survived by three nieces, Barbara Ronk of Sarasota, Nicole Creilly Boesken of Appleton, WI, and Mary Riley of Los Angeles, a nephew Ferrin Cooper, with the U.S. Army, and a stepson Frederick Pollack. A remembrance service will be held November 13, at her Sarasota residence.
This is from Peter Pollack's personal collection. Mrs Creilly Pollack inscription verso. He was curator of photography at The Art Institute of Chicago for 12 years, and authored the book, ''The Picture History of Photography''.

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Artwork images are copyright of the artist or assignee
All text copyrighted 2007 by ArtCollecting.info except as credited

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to help beginning collectors
affordably acquire quality artworks
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John Frederick Peto, NA
Realism Trompe l'oeil: “Sill Life with Apples”
Lesson: Fakes

Oil on Canvas mounted on baord

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Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
•

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Original on-line purchase price: $1,323.00
Want to buy a artwork similar to this piece?
The key buying strategy for this piece is called Conditional Affection....link to guidebook
Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link
• period forgery...ebay link

Art description: Original oil on painting on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
Terms & links used to describe this art & artist:

• This style of art is known as: trompe l'oeil
• This art's lineage is: early American
• Other site-terms associated with this art, include:

Every artwork in the ArtCollecting.info collection provides at least one unique lesson that assists beginning web-collectors in making better decisions about a new art acquisition.
The lessons-learned from this particular piece, include:
The good:
The bad: Most of Peto's work is very small in size. additionally, almost all his pieces
Many collectors on a budget are forced to constantly yearn for art by heavily listed artists
  Peto
o         Blacklighting…he re-did his work
          In-painting on bowl?
o         Use of “fakes” info from England
o         Major Auction…Sotheby’s / Christies Estimate
o         NYC / Museum Curator

John Frederick Peto (1854-1907) is generally considered the second only to Harnett as the most important artist of the American trompe l’oeil school. Born in Philadelphia, Peto studied at the Pennsylvania Academy, but his greatest influence was Harnett, with whom he was friendly prior to Harnett’s departure to travel in Europe. Considerable confusion exists about Peto’s work, due to much forgery of his art as the work of Harnett. Although a follower of Harnett, Peto was at times a somewhat crude technician, and occasionally his foreshortening of, for example, pipe stems, does not work, or his matchsticks fail to jut out towards the viewer. Peto chose as his subjects objects that are usually worn and old, never sumptuous or elegant, and his still lifes have been said to be among the most pessimistic in American art. With titles emphasizing the qualities of decrepit old age, they are powerful reflections of post- Civil War pessimism. Later in his career, he became more concerned with light, which kept him from being totally trompe l’oeil . In these later works he did not pursue the precision of Harnett and Chalfant, and luminescent atmosphere blurs the edges of his forms and eliminates such details as script and print. Peto’s objects may not seem as ‘real’ as those of Harnett, but it may be argued that the ambience in which he saturates them seems to breathe and is itself more ‘alive’
Lesson One: The impact of professional art cleaning & restoration
Professional art cleaning and restoration can have a monumental impact on both the value & appearance of an artwork. After comparing the original purchase photo to a more recent image of this painting, most readers would safely categorize this comment into the "no, shit" category. So what's the trick for beginners? Learning what will clean up well - and what won't. Also, what sort of problems will likely be very expensive to restore versus more affordable improvements.
Additional collected artworks providing supplementary lessons about art cleaning & restoration, include:

Helpful site articles about art cleaning & restoration:

Useful web links regarding art cleaning & restoration:

Lesson Two: Period forgeries are relatively common amongst pieces signed by prominent artists.
Artists as well recognized as Emil Carlsen are not only forged today - they were also copied during their active years. Thus, you'll come across paintings that even the signature is "correct".
There's three basic types of forgeries:
(Forgeries link) There's a lot of approaches to forging an artwork. Some of the more common, include:

• A period forgery - these are tougher
• The signature doesn't appear so obviously added later
• Adding a signature of a noted artist to an unsigned painting of the same period done in the style of the artist - some are really bad examples
• Peto / Harnett story & example
• A recent copy

Most often, art forgeries are so poorly rendered that a few samples viewed on the artist from a Google search will send you on your way. However, a period copy in the style of the artist...
Do your homework
I twice was premature in getting an evaluation of this painting. Shame on me!
Additional collected artworks providing supplementary lessons about art copies and art forgeries, include:

Helpful site articles about art copies and art forgeries

Useful web links regarding art copies and art forgeries

Art & Artist Information
Description of Art
Oil on canvas, 12 x 16, signed (lower left): J.F. Peto.
A still life painting of chrysanthemums in a vase.
Provenance

• Ebay

Artist Information
John Frederick Peto, N.A. (1854-1907, American)
A highly acclaimed painter of "trompe l'oeil" [fool-the-eye] still life, John Peto, born March 17, 1854, in Philadelphia, led a quiet life, and little is known about his artistic training except that in 1877 he was enrolled at the Pennsylvania Academy of the Fine Arts. There he was influenced by classmate William Harnett, "trompe l'oeil" still life painter, but in contrast to Harnett, he painted commonplace subjects that suggested that which was in disorder and ramshackled. Many of these objects were arranged around rack-looking structures or shelves that were piled high with a variety of items, many of them autobiographical, including pipes, books, letters, feathers, etc. From 1879 to 1889, Peto tried to live the life of a professional artist by maintaining a studio in Philadelphia and exhibiting regularly at the Academy. However, he was not very successful because he often painted objects that were perceived as ugly and not pleasing subjects the public wanted. He found he made more money by playing the cornet. In 1887, Peto first visited Island Heights, a resort town on the coast of New Jersey by Toms River, and in 1889, he and his wife built a house there, living an isolated, simple life. He supported himself and his family by playing the cornet for Methodist revival meetings, and sold his paintings at the local drugstore to friends and local business people. He rarely exhibited his work, and he totally lost contact with the professional art world--- his recognition there came posthumously. However, his wife, who took in boarders, sold his small souvenir still lifes to these people, and now these are regarded as collector's items. Some of his still-life subjects were musical instruments including the violin. He also had a special interest in Abraham Lincoln, and between the 1890s and 1900s, painted about a dozen canvases of him. Peto often had trouble completing a work, continually painted over canvases, and often abandoned them altogether. His painting estate was disorderly and during his lifetime, he was not a good business person. In 1905, a Philadelphia dealer carted away a lot of his work without payment. Shortly after, Peto paintings with fake Harnett signatures appeared on the market, and some years later, sorting these out led to a renewed interest in trompe l'oeil.
John Frederick Peto was arguably the second-greatest 19th century American painter of still lifes. Born in 1854, this artist was largely unknown until the full extent of his oeuvre was uncovered in the 1960s. Before then, Peto and his works had been lumped into the extensive amount of material which had been painted by his contemporary William Harnett. While the two artists shared a similar approach to painting, and to the objects within their paintings, much of Harnett's work seems grand in scale and symphonic in composition, while Peto's works are consistently small, precious and meditative.
John Frederick Peto was born in Philadelphia in 1854. He studied at the Pennsylvania Academy of the Fine Arts in 1878. He exhibited there between 1879 an 1886, the only exhibitions of his career. He moved to Island Heights, New Jersey in 1889, and lived and painted there until his death in 1907. His works are in many prominent private and public collections, and can be seen in the museums of Boston, Brooklyn, and Minneapolis; as well as the Museum of Modern Art in New York, Smith college Museum of Art, and the Pennsylvania Academy of the Fine Arts. A highly acclaimed painter of "trompe l'oeil" [fool-the-eye] still life, he led a quiet life, and little is known about his artistic training except that in 1877 he was enrolled at the Pennsylvania Academy of the Fine Arts. There he was influenced by William Harnett, "trompe l'oeil" still life painter, but in contrast to Harnett, he painted commonplace subjects such as pipes and books. In 1887, Peto first visited Island Heights, a resort town on the coast of New Jersey by Toms River, and in 1889, he built a house there, living an isolated, simple life. He supported himself and his family by playing the coronet for Methodist revival meetings and sold his paintings at the local drugstore to friends and local business people. He rarely exhibited his work, and his recognition came posthumously. Some of his subjects were musical instruments including the violin. He also had a special interest in Abraham Lincoln and between the 1890s and 1900s painted about a dozen canvases of him. Among his many contributions to still life painting are his rack pictures that show objects, many of them autobiographical, hanging from walls. American painter. Born in Philadelphia, PA, in 1854. Now considered one of the leading figures in the American still life tradition, John Frederick Peto lived a life of relative obscurity. He spent his early years in Philadelphia where he studied briefly at the Pennsylvania Academy of Fine Arts in 1878 and had the fortuitous opportunity to meet William Michael Harnett who became an influential friend. He moved to Island Heights, NJ, 1889; visited the West twice; close friend with of Gustav Stickley, never traveled to Europe. With the exception of one exhibit at the Pennsylvania Academy, he had no major shows until the 1950’s. Painted “Trompe l’oeil” still lifes characterized by asymmetrical arrangement of banal subjects such as string, tin cups, tattered books, umbrellas, torn postcards, etc. Died in 1907. Represented by Kennedy Galleries, NYC.
Peto had little commercial success during his lifetime and long remained overshadowed by Harnett until Alfred Frankenstein resurrected the artist’s reputation when he reattributed to Peto a group of paintings bearing spurious Harnett signatures. In 1905, a Philadelphia dealer began forging the signature of the more famous William Harnett on many Peto paintings (although their styles differed greatly). Iconographically, Peto’s assemblages owe an obvious debt to such Harnettian motifs as a pipe and mug, stack of books and informal writing table arrangements.
Although common subjects engaged both artists’ interests, Peto’s concern was in the less precise rendering of the object – he usually painted less polished, more thickly rendered surface finishes than Harnett – but rather more with the manner in which light affected the object. According to John Wilmerding, “while he works with effects of illusionistic rendering of forms in space, visual trickery is seldom an aim in itself. Most of all, while he is capable of totally convincing effects of deception, Peto prefers to exploit, rather than suppress, the mark of his brushwork. Finally, his vision of the genre is more than decorative, instead of a neutral and self-affiancing stance, he makes his forms express deeply felt emotion.” (Wilmerding, Important Information Inside, Washington, D.C., 1983, p. 217).
In his later years, Peto’s work became increasingly in contrast to the more removed, objective approach employed by Harnett. Through the use of thick, solidly-textured pigments and looser, more painterly brushwork, Peto’s pictures took on a uniquely expressionistic character that was decidedly softer than the hard edged offerings of his colleagues. According to Alfred Frankenstein, the “muted radiance” of his palette and its palpable application has evoked comparisons with Vermeer.
Listed in: Mantle Fielding’s Dictionary of American Painters, Who Was Who in American Art, Davenport's Art Reference and Price Guide, and Decade in Review.
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The majority of works by Peto are small in scale, many measuring around 4 x 9 inches. The support of choice seems to have been either panel or board. Peto's favored subjects included desktop objects and writing instruments, although there are a few examples of paintings of fruit as well. Thus, the subject of this work may fit in with Peto's oeuvre. However, numerous forgeries of this artist's work have surfaced during the past few decades and it would be wise to have the piece examined in person by a curator at, for instance, the American Paintings Department of the National Gallery in Washington, D.C., or the Metropolitan Museum in New York. Both of these departments are highly familiar with Peto's works and their opinion of its authenticity would be necessary in establishing a definitive value. Based on the information provided and due to the lack of documentation, this work would be listed as 'In the style of Peto' and would then carry the fair market valuation listed above. With authentication, the fair market value would be in the range of $15,000/25,000
John Frederick Peto is one of the major trompe l'oeil still life painters of the American School. His most sought after works are those trompe l'oeil (French for "fool the eye") paintings that resemble the works of William Harnett, and which appear so "real" that you seem to be able to pick the objects right off the canvas. This work is not of that style. Nor does it contain his typical subjects matter: pipes, books, mugs, violins, etc. His most trompe l'oeil paintings have been known to sell at auction for prices in the $380,000 range. The signature looks right, however, this work - a still life executed with a more straightforward, traditional approach - does not exhibit the level of polish one would expect from a Peto. Nevertheless, still life arrangements by Peto that are more traditional have indeed sold in the past five years in a range of $11,000 to $49,625. In addition, many have been brought to auction and have failed to sell altogether. It is interesting to note that the painting that most closely matches yours, "Oranges," a small work on panel, was offered at Sotheby's New York in 1995 and failed to sell at the outrageous estimate of $60,000-$80,000. No other comps I viewed were simply of fruit. In arriving at the following fair market value, I have taken into consideration that your work is repaired; that much of what you showed me in the photographs appears to be authenticate (the signature looks very close to those I have in the signature books available to me); the condition is slightly unclear - I have a question about how much has been "painted in" during the restoration and it seems like a rather large piece of canvas had to be replaced; and the composition is not of the most highly collected by Peto. I would like to point out that an eppraisal is not a certificate of authenticity, which can only be obtained from an expert in the work of Peto after an in-person inspection, a step we suggest you take before attempting to sell.

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Bruce Barton Penny
Social Realism: Titled as “Boy with Flower”
Lesson: an artist you love: only artist I own three pieces for sake of the art

Oil on Canvas mounted on baord

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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

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Bruce Barton Penny
Surrealism: Titled as “Soul in the Sand”
Lesson: Childhood Memories

Oil on Canvas mounted on baord

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EARNEST DE NAGY (American, 1882-1934)

Bought out of Belgium / expatriate art
BRUCE PENNEY (American, b. 1929). BOY PLAYING WITH HOOP, signed and dated 1969 lower right. Oil on masonite - 30 1/2 in. x 38 in.

Additional Collecting Lessons related to this artwork are included:
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o         Other “matched” piece sold at auction…”Market Square”
o         His scenes of “people” not worth what his scenes of areas & flowers
o         Standard sizes = affordable frames
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2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

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Bruce Barton Penny
Surrealism: Titled as “Soul in the Sand”
Lesson: Art you connect with...only artist I own three pieces for sake of the art

Oil on Canvas mounted on board

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Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

A Lesson in Geography: Value in Expatriated Artworks (brief article / engaging headline format)
Suppose you hoped to find an adorable early American impressionist painting: where you might you look? Perhaps the last place you would begin your search is a junk-seller in Belgium. Alas, that's exactly where I scored this little jewel off ebay in 2006.
Expatriated art is a common occurrence: a collector from another country buys a piece...
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Research building...historical society

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Other matched piece sold at auction...Market square

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His scenes of people not worth as much - flowers bring most

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Standard sizes / affordable frames

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Ernest De Nagy was born around 1882 in Budapest and died in 1952. He exhibited at the Salons of America and The Society of Independent Artists in the 1930s. 20in. by 16in.
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• William Fridericia

Art & Artist Information
Description of Art

BRUCE BARTON PENNEY (american b. 1929) "SOUL IN THE SAND" Signed and dated '1967'. Label with title verso. Oil on board. 27 3/4 x 17 15/16 in. Estimate $300-500 Good original condition.

Sale 1272 Lot 288

Oil on board, 27 3/4 x 17 15/16 inches, signed (lower left): Emil Carlsen and dated 1909 (lower right).
A still life painting of chrysanthemums in a vase.
Provenance

• Ebay

Artist Information
Born Laconia, New Hampshire. Addresses: Kennebunkport, ME. Studied: Worcester Museum School; Cleveland Woodward illustrator; with Eldon Rowland, Well Fleet, Mass; New York Phoenix School Design. Exhibited: Hanover Galleries New Hampshire, Southern Vermont Art Association, Manchester; Solo Shows, Wiener Gallery NYC, Center Street Gallery Winter Park Florida, Gallery 2 Woodstock Vermont. Work: Worcester Polytech Institute Mass, Stockholm Museum Sweden, Dartmouth College, Hanover New Hampshire.

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Charles Henry Miller, NA
Barbizon School: Titled as “The Mill Stream: Queens, NY”
Lesson: Knowing your artist

Oil on Canvas mounted on board

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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

A Lesson in Geography: Value in Expatriated Artworks (brief article / engaging headline format)
Suppose you hoped to find an adorable early American impressionist painting: where you might you look? Perhaps the last place you would begin your search is a junk-seller in Belgium. Alas, that's exactly where I scored this little jewel off ebay in 2006.
Expatriated art is a common occurrence: a collector from another country buys a piece...
Additional Collecting Lessons related to this artwork are included:
Additional Collecting Lessons related to this art & artist:

Research building...historical society

•

Other matched piece sold at auction...Market square

•

His scenes of people not worth as much - flowers bring most

•

Standard sizes / affordable frames

•

Other site-terms associated with this art, include:

•

Additional Collecting Links to this artist / info
Ernest De Nagy was born around 1882 in Budapest and died in 1952. He exhibited at the Salons of America and The Society of Independent Artists in the 1930s. 20in. by 16in.
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To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

Art & Artist Information
Description of Art
Oil on canvas, 12 x 9, signed (lower left): CHM and dated 1909 (lower right).
A prototypical Barbizon-styled landscape
Provenance

• Ebay

Artist Information
Charles Henry Miller (1842-1922, American)
Born in New York, March 20, 1842. Died January 23, 1922. He first exhibited at the National Academy of Design in 1860; was elected an Associate in 1873, and an Academian, in 1875. Received a gold medal at the Philadelphia Centennial, 1876; also exhibited in Boston(Gold) and New Orleans (Gold) exhibitions. Represented in Metropolitan Museum by Sunset, East Hampton; also by paintings in the Brooklyn Museum, the National Academy, The Museums at Stony Brook, The Republican Club, The Democratic Club (both in NYC), and the Rhode Island School of Design.
Studied at the National Academy and at the Bavarian Academy in Munich under Adolph Lier, 1867-70. Lier had received his early training in Munich and Dresden, but had later become a disciple of the Barbizon School when visiting France in 1861. "It is also likely Lier came under the influence of Constable while painting in England in 1865. Due to these influences through Lier, Miller's own style of painting is more closely related to such Barbizon masters as Corot, Rousseau, Daubiny, and Dupr'e as well as the English masters Constable and Turner than to the celebrated painters of the Munich school." (Pisano)
Member: ANA, 1873; NA 1875; Century Association; Lotos Cl; Queensborough Soc. Appl. A.&Cr. (Pres.); New York Etching Club.
MILLER, Charles Henry (1842-1922)
NYC
Death place: NYC
Addresses: Queens, NY, 1903-on (studio in NYC)
Profession: Landscape painter and etcher, writer, lecturer
Studied: NAD; Munich and elsewhere in Europe, 1867-70; Acad. Julian, Paris, 1894-96.
Exhibited: NAD, 1860-1921; Brooklyn AA, 1872-84, 1891-92; Phila. Centenn., 1876 (gold); PAFA, 1879-99 (6 times); Boston AC, 1880-1907; Boston (gold); AIC, 1888-1904; New Orleans (gold); Brooklyn AA; Corcoran Gal. annual, 1908.
Member: ANA, 1873; N.A., 1875; Century Assoc.; Lotos Cl.; Queensborough Soc. Appl. A. &Cr. (pres.).
Work: MMA; Brooklyn Inst, Mus.; Republican Cl., Democratic Cl., both in NYC; RISD.
Comments: Received his medical degree in 1863 and shortly after visited Europe; but on his return Miller gave up medicine to become a painter and went back to Europe for study. About 1870 he established a studio in NYC. He became best known for his paintings and etchings of Long Island scenes. In 1885 he published, under the pseudonym Carl De Muldor, The Philosophy of Art in America.
Sources: G&W; WW21; DAB; Cowdrey, NAD; Falk, Exhibition Records Series

This biography is drawn from the 'Who Was Who in American Art' , the reference book on the cultural life in the United States.

Birth place:

Charles Henry Miller

Old Mill at Valley Stream, Queens, New York

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A nineteenth century landscape painter and etcher, Charles Henry Miller began exhibiting his art at the prestigious National Academy of Design at the age of eighteen. During this period he also studied medicine and graduated with a full medical degree in 1864. He then traveled through the art museums of Europe and resolved to be an artist, studying formally under Adolf Lier at the Bavarian Royal Academy in Munich from 1867 to 1870. Upon his return to the United States, Miller concentrated upon the landscape of then rural areas surrounding New York, such as Queens. His paintings and etchings earned him election to the National Academy as an Associate in 1873 and as an Academician in 1876.
Old Mill at Valley Stream, Queens, New York is indicative of Miller's fine art. Most of his graphic works of art (including this example) are notable for combining etching with drypoint in a free-style manner which in some aspects are comparable to the French Barbizon etchers, such as, Daubigny and Corot. Miller's etchings are today included many public collections throughout the United States.
(Sizes in inches are approximate, height preceding width of plate-mark or image.)

- The price is no longer available. The artist biography and information pertaining to this work of art has been written and designed by Greg & Connie Peters exclusively for "www.artoftheprint.com". Check our site periodically for new additons. There are new biographies and works of art for sale posted on a regular basis. We hope you found the information you required and that it has been beneficial.
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Title:	Old Mill at Valley Stream, Queens, New York
Artist:	Miller, Charles Henry (New York City, 1842 - 1922)
Date:	1878
Medium:	Original Etching and Drypoint
Note:	Charles Henry Miller:
	Charles Miller received his first lessons in the art of etching from Alfred Cadart in 1866 but did not start to produce a considerable number of etchings until 1876.
Image Size:	5 1/4 X 7 1/4
	Framed and Matted with 100% Archival Materials
Condition:	Printed upon nineteenth century wove paper and with margins extending to about one inch past the plate-mark on all sides. Signed and date by the artist within the plate (lower left corner). Some matte burning from a previous framing effort is apparent in the outer margins but the actual etched image itself is in excellent condition with strongly bitten lines and tonal values. This original etching represents both a valuable example of nineteenth century New York art and of the highly regarded work of Charles Henry Miller.
Price:	Sold

Original etching by Charles Henry Miller.

Old Mill at Valley Stream, Queens, New York Original Etching by Charles Henry Miller.

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Alfred Maurer
Modernism: Titled as “Figures in the Park”
Lesson: Not every piece by fake sellers is a fake...estates

Oil on Canvas mounted on baord

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EARNEST DE NAGY (American, 1882-1934)

Estate sellers
Something else to go on
Art lights...on certain pieces

Additional Collecting Lessons related to this artwork are included:
o         Secondary Lessons:
o         Expatriated art
o         Research / building: Historical society
o         Other “matched” piece sold at auction…”Market Square”
o         His scenes of “people” not worth what his scenes of areas & flowers
o         Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Every artwork in the ArtCollecting.info collection provides at least one unique lesson that assists beginning web-collectors in making better decisions about a new art acquisition.
The lessons-learned from this particular piece, include:
Lesson One: The impact of professional art cleaning & restoration
Luck
I've known several active on-line collectors that have literally "stolen" a great painting at a drastically reduced price. Sadly, I've pretty much been one of those buyers who most often got dealt the "Old Maid card. This piece represents one of the few certain pieces of decent quality I've acquired a a good price.
Pillars
Most collections tend to get defined by a handful of pieces you'll come to know as your "pillars". Essentially, they are your best and most valuable pieces and tend to be the first items you bring up in a conversation with a fellow collector. In a collection as humble as mine - this piece represents one of the finest pieces I own as it is an original oil by a recognized master of American art.
It's not real until "they" say so
The more important and valuable an artist is - the more experts will caveat a piece to death as "attributed to" - until a recognized expert in the artists work examines the piece and puts their authentication "seal of approval" on the item.

Art & Artist Information
Description of Art
Oil on Board, 11 1/2 x 14, signed (lower right): A.H.Maurer. 10 1/2 x 13 image size
A brightly colored group of three women appearing to be congratulating a bride after a wedding.
Exhibition Board includes two stickers. Back of board includes partial sticker from Gramercy pencil written title Tommin Park and #
Born and raised in New York, Maurer studied at the National Academy of Design, New York, in 1884 and briefly at the Académie Julian, Paris, during 1897. He received critical success with academic paintings of single female figures in interiors and genre scenes of café society, which reflected the influence of the work of James Abbott McNeill Whistler and William Merritt Chase - for example, "At the Café" (c. 1905; Hermitage Museum). His long residence in Paris from 1897, his participation in various independent salons and his association with Leo and Gertrude Stein led to his interest in avant-garde art. He may have been one of a group of Americans who studied briefly with Henri Matisse. By 1907 he was producing vigorously painted Fauvist landscapes, such as Landscape with Red Tree (c. 1907–8), which he exhibited in New York at Alfred Stieglitz’s Gallery 291, in 1909 and at the Folsom Gallery in 1913. It was later in his career that he showed with both the Washington Irving Gallery and Gramercy Gallery.
Maurer's painting style has been broken down into approximately three periods which reflect the influences on his painting. These correspond to the time periods previously mentioned and illustrate how his painting style developed from one based on tonal qualities, to one based on intense expressive color and finally applying this fauve-inpsired palette to a cubist ordered space. This painting of a landscape is a bit difficult to categorize, but probably falls into the time period of 1900-1904, when the artist's more traditional approach to painting is just starting to be influenced by the saturated colors and drawing style of the fauves. Although this painting does have some of the documentation of its history, it is not the typical sort of subject nor composition for which the artist is best known. For this reason, the painting would be assigned the qualifier of Attributed to Alfred Maurer and the corresponding auction value cited above. It would be advisable to have this examined by a qualified gallery, familiar with the works of Maurer to verify the assignment of this to that artist. A few suggestions would be to contact; Hirschl & Adler, Owen Gallery, and Adelson Gallery. All are located in New York and should be able to be of further assistance. It is quite likely that if this work can be firmly attributed to Maurer, the associated value would be significantly increased.
Provenance

• Ebay.com
• Arthur Roger Gallery, New York

Artist Information
Alfred Henry Maurer (1868 - 1932, American)
Alfred Henry Maurer was one of the first and greatest American practitioners of Cubism and Expressionism. Born in 1868, the son of Louis Maurer who was a lithographer for the firm of Currier and Ives, Maurer studied first with his father and then moved to Paris where he resided from 1897 to 1914. During this time, the artist was greatly influenced by the works of James A.M. Whistler, whose style he emulated to great advantage initially. By 1906, Maurer was impressed by Henri Matisse and his Fauve companions, and then by 1911 the works of Pablo Picasso and Georges Braque made their everlasting impression on this artist. Indeed the last two decades of Maurer's life were spent creating many of the finest and truest Cubist art expressions painted by any American artist. With the onset of WWI, Maurer had returned to New York in 1914 where he remained until his death in 1932.
Called the first American modernist painter, Alfred Maurer began as a traditionalist and then explored many styles including impressionism, tonalism, and cubism. He was born in New York City, the son of Louis Maurer who was a commercial artist for Currier & Ives. Young Alfred learned commercial art from working in the same business as his father. In 1884, he enrolled in the National Academy of Design and in 1897, left for Paris where he stayed until 1914 and studied briefly at the Academie Julian. Before World War I, he was drawn to the work of Dutch painter Franz Hals and the Spanish painter Diego Velazquez and was also influenced by Americans John Singer Sargent and James Whistler. In 1901, his painting titled "An Arrangement," done in the rich, impressionist, tonal style of Whistler won first prize at the Carnegie International Exhibition. Between 1905 and 1907, Maurer, influenced by his friendship with expatriates and avant-garde focused Gertrude and Leo Stein as well as Henri Matisse and Paul Cezanne, moved away from tonalism to Fauvism, and for this reason, some have called him the first modernist American painter. He returned to New York City and circulated among most of the young modernist painters of the city and seemed to much influenced by the painting of Marsden Hartley and Arthur Dove. Interestingly he was not of particular interest to Alfred Stieglitz, who prided himself on sponsoring leading edge artists, but he did exhibit in Stieglitz' Photo-Secession Gallery in 1909. He exhibited in the Armory Show of 1913, when modernist art was first widely exhibited in America, and with the Society of Independent Artists from 1917 until he died. In the 1920s, he focused on still lifes and figural pieces, many of them Cubist in style. In 1932, he committed suicide, which some attributed to his alienation from popular acceptance and from his stressful relationship with his father who lived to be one-hundred years old. Alfred Henry Maurer (1868-1932) was born in New York, the son of German-born Louis Maurer, a celebrated painter and lithographer employed for a time by Currier and Ives. At age sixteen, Maurer was taken out of school to work, as his father had done at that age, in his father's lithographic firm. He worked there for about thirteen years, designing cigar and soap labels. However, this did not satisfy the largely self-taught artist. In 1897, after limited study with the sculptor John Quincy Adams Ward and painter William Merritt Chase, Maurer had saved enough money to go to Paris. He remained there for four years, inspired by the Parisian art world and a circle of American and French artists. His work, in the style of James McNeill Whistler, earned recognition with prestigious prizes, such as First Prize at the 1901 Carnegie International Exhibition--the most important exhibition in the world at that time--and similar recognition at major exhibitions in this country and Europe.
At age thirty-six, stimulated by Post-Impressionism, Fauvism and Cubism, and not satisfied with continuing to paint "acceptable" or "fashionable" work, Maurer diligently sought his own method of expression. His revolt, and resulting break with representationalism, caused his international reputation to dissipate almost overnight. Maurer left Paris just prior to World War I, leaving much of his work behind. Regretfully he returned to his father's house where he found no parental support or understanding. The elder Maurer, satisfied with his own career, rejected not only his son's modernist work, but also his son. For the next seventeen years Maurer worked in a garret in his father's house with neither financial success nor critical acclaim. He continued to work and experiment, though he sold his work infrequently and at low prices.
Having celebrated his 100th birthday in 1932, Maurer's father died that same year, leaving his son financially secure and finally free of his father's domination. Tragically, Alfred Maurer--"gentle, introspective, rejected Alfy"--took his own life several weeks after his father's death. Some sources indicate he was in ill health and filled with remorse at not having reconciled with his father before his death. Others state that he could not exist without an object for the hatred that had sustained him for so long.
Hans Hofmann, the influential and respected teacher and painter wrote in 1950:
Four names already excel in the great drama of modern art in America: Alfred Maurer, John Flannagan, Arthur Carles, Arshile Gorky. All of them have been guided by the same artistic awareness that no expression can become coherent without being plastically and aesthetically conceived.
Maurer is a painter of enormous stature. His vision of the reality of painting drove him to leave behind the success that accompanied his earlier work. This is the tragedy and glory of every great man; he must follow an inner urge of deeper purpose which may destroy him in order that the work may live. It is the continuation of such essential creativity into another generation that creates tradition.
Maurer, Flannagan, Carles, Gorky, Ryder are the forerunners of a true and great American tradition that is being carried on by the vanguard of advanced modern artists.
Alfred H. Maurer was born in New York to parents of German descent. His father was a lithographer. Alfred was taken out of school at age sixteen to go to work in New Jersey, working for the lithographic firm of Heppenheimer and Maurer, which his father had joined in 1874. Alfred was self-taught, although he did attend some classes at the National Academy of Design from 1885 through 1888 and again from 1889 to 1896 and in the 1890s he designed cigar and soap labels for advertisements. In 1897 Maurer moved to Paris, studying briefly at the Academie Julian. Maurer exhibited at the Paris Salons of 1899 and 1900, gaining him critical acclaim. He participated in group exhibitions in New York, Chicago, and Philadelphia, including an exhibition in 1901 at the Allen Gallery which was organized by Robert Henri. Maurer had met Henri in Paris, where he also met Gertrude Stein and her circle. The French avant-garde greatly affected Maurer and his painting style chanced so dramatically that he could not longer exhibit with Robert Henri and his group. Stieglitz's gallery 291 hosted an exhibition featuring the works of Alfred Maurer and John Marin in 1909 both of whose works were strongly influenced by Cezanne and other aspects of French modernism. In 1913 Maurer exhibited in the Armory Show. Maurer, who had been living in Europe returned to New York in 1914 to escape the war. Upon his return to New York, Maurer associated with Arthur Dove and William Glackens. Maurer was became the director of the Society of Independent Artist in 1919 and 1924 had a one-man show at Weyhe Gallery in New York. Throughout the years Maurer developed a personal style that was his own, synthesizing the European modernism with his experience in America. The bold impasto and spontaneous brushwork of Flowers coupled with the bright colors and wonderful composition illustrates Maurer's style and skill in depicting one of the finest still lifes that he produced in his career.
April 9, 2006
ART REVIEW; From the Obscure To the Unglued
By HELEN A. HARRISON
'Alfred Maurer: The First American Modern'
Heckscher Museum of Art, 2 Prime Avenue, Huntington, (631) 351-3250. Through May 14.
If Alfred Maurer really was America's first modernist, why is he not as well known as Arthur Dove, Georgia O'Keeffe, Marsden Hartley and John Marin? This exhibition, organized by the Frederick R. Weisman Art Museum at the University of Minnesota from its extensive holdings of Maurer's work, does not provide a definitive answer, but it does suggest some reasons.
The son of a popular illustrator for Currier & Ives, Maurer (1868-1932) seemed destined to become a fashionable and successful painter in the manner of Whistler and Chase. The exhibition includes examples of his early, highly accomplished portraits in that vein. Even after moving to Paris in 1897, he continued to work traditionally for several years before falling under the spell of Cézanne, Matisse and the Fauvists.
This turning point is represented by several landscapes and still lifes -- notable for their flattened perspective, unnatural high-key color and lively brushwork -- that bear out the claim of the exhibition's title. This was only one of several breaks in Maurer's development, and his inconsistency no doubt contributed to his marginalization in the annals of art history.
His radical aesthetic shift did not please his father, who denounced Maurer's post-Impressionist canvases when they were shown in New York by Alfred Stieglitz in 1909, five years before the Armory Show introduced Americans to European modernism.
After moving back to New York in 1914, Maurer lived with his parents but continued to defy his father's conservative standards. He also worked counter to the American avant-garde, which leaned toward Cubist-inspired abstraction. In the 1920's, he began a long series of portraits that recall Modigliani's elongated, stylized women. A bachelor with no known romantic attachments, he created an eccentric harem of remote, iconic and often bizarrely distorted female companions. Eventually he painted them in pairs, staring blankly at each other, and increasingly fragmented them as his own life disintegrated.
Neglected by the art world, in ill health and dependent on his disapproving father for support, Maurer became isolated and depressed. Two weeks after his 100-year-old father's death, he took his own life, leaving a collection of work that still defies categorization.
MAURER, Alfred Henry (1868-1932)
NYC
Death place: NYC
Addresses: Paris, France; NYC, 1914-32
Profession: Painter
Studied: NAD, with Ward, 1884; Académie Julian, Paris, 1897.
Exhibited: Paris Salon, 1899; AIC, 1899-1939; PAFA Ann., 1900-09, 1918, 1920; SC, 1900 (prize); CI, 1901 (prize); Worcester, 1901 (prize); Pan.-Am. Expo, Buffalo, 1901 (med.); St. Louis, 1904 (med.); Liège Expo., 1905 (med.); Intl. Expo., Munich, 1905; Paris Salon (prize); Stieglitz's "291" Gal., NYC, 1909 (with John Marin); Armory Show, 1913; Forum Exh. Mod. Am. P., 1916; S.Indp.A., 1917-33, 1936; Salons of Am., 1933; Nat. Coll. Fine Arts (now NMAA), 1973 (retrospective).
Member: Paris AAA; Paris SAP.
Work: MoMA; Mem. Hall Mus., Phila.; PMG; Barnes Coil., Phila.; Hirshhorn Mus.; WMAA; Univ. Minn.
Comments: Important early modernist. While living in Paris (1897-1914), he became the first American painter to abruptly drop the traditional Impressionist style, adopting a Fauvist style by 1907. Returning to NYC in 1914, Maurer combined abstraction and expressionism in his work, choosing as his subjects studio interiors and landscapes. During the 1920s he focused on still lifes and a series of intensely expressive heads," in which he employed distorted form and the dislocated planes of cubism. Discouraged and depressed because of poor health, he committed suicide only a few weeks after the death of his centenarian father, Louis (see entry). Much of Maurer's European work has been lost.
Sources: WW31; A. Davidson, Early American Modernist Painting, 41-48; Baigell, Dictionary; Sheldon Reich, Alfred Maurer, 1868-1932 (exh. cat., NCFA, 1973); Fink, American Art at the Nineteenth-Century Paris Salons, 370; Falk, Exh. Record Series.

This biography is drawn from the 'Who Was Who in American Art' , the reference book on the cultural life in the United States.

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Roy Lichtenstein
Pop Art: Titled as “ CRAK! ”
Lesson: Conditional affection
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EARNEST DE NAGY (American, 1882-1934)

Bought out of Belgium / expatriate art
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2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

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Artist Information
Roy Lichtenstein (1923 - 1997, American)
Pop artist Roy Lichtenstein's (American, 1923-1997) color silkscreen print entitled "Sweet Dreams, Baby!" on heavy, smooth, white wove paper. The print, sometimes also known as "POW," was produced in 1965 and is from the "11 Pop Artists Portfolio," volume III. Signed "rf Lichtenstein" in pencil lower right; numbered 17/200 lower left. Printed by Knickerbocker Machine and Foundry, Inc., New York (KMF). Collaboration with Dawa Basanow (screenprinting). Listed in the Lichternstein catalogue raisonne: Mary Lee Corlett, "The Prints of Roy Lichternstein. A Catalogue Raisonne 1948-1995," Hudson Hills Press, New York in association with the National Gallery of Art, Washington, D.C., 1994, cat. no. 39, p. 79.
Notes: Acquired from New Gallery (Cleveland, Ohio) by the present owner in 1966; Nina Castelli Sundell, principal in the New Gallery, was the daughter of the famed New York contemporary art dealer Leo Castelli, who gave Lichtenstein his first exhibit in his New York gallery in 1962. Castelli remained Lichtenstein's dealer for the rest of the artist's life. Lichtenstein began print making in 1948 on the Ohio State Campus. By the early 1960's he had begun to develop what has become known as his signature style--tighlty segmented flat color and pattern sometimes bounded with black line, dots and stripes to signify tone and texture and as a nod to the formalities of the printed surface. Inspiration came from advertisements and comic book sequences. Lichtenstein remarked that he saw the "11 Pop Artist" prints as his first "true" pop prints. The prints set out the themes that he continued to develop in his subsequent work, and which led to his artistic fame. "Sweet Dreams Baby!" was inspired directly by a comic strip. The other 10 artists involved in the "11 Pop Artists" portfolio project included: Jim Dine, James Rosenquist, Andy Warhol, Tom Wesselman, Allan D'Arcangelo, Allen Jones, Gerald Laing, Peter Phillips, Mel Ramos, and John Wesley. An early and highly collectable Lichtenstein image.
Lichtenstein was an important part of the 1960s trend called Pop art. The term "pop" refers to popular culture. In Pop art, everyday objects became the subject matter for painting and sculpture in a variety of different ways. Lichtenstein chose the comics as the point of departure for his paintings. He selected an image, increased its scale, and altered it in subtle yet important ways. Lines were moved, or shapes changed to strengthen the composition. The appearance of Picture and Pitcher, although a sculpture, still displays the strong outlines, solid primary colors, and simplification of form characteristic of his earlier Pop paintings. Roy Lichtenstein is remembered as one of the 20th century's greatest and most influential artists. An excellent painter and sculptor, Roy was a pioneer whose unique visual language became the transitional voice between the modern and post-modern art movements of the late 20th century. Ruth E. Fine, Curator of Modern Prints and Drawings for the National Gallery of Art, distinguishes four areas of Lichtenstein's work that became "potent forces in late 20th Century art" : 1)the breakdown of barriers between art and life, using everyday objects and subjects appropriate to consumer culture, 2)an exploration of art based on other art, 3)an interest in serial imagery, and 4)participation in the untraditional medium of printmaking. Born in New York City in 1923, Roy grew up in a city that epitomized the ideals and machinations of modernism. He therefore gained a unique understanding of the affects of modern life on the solitary soul, the group, and the society at-large. Growing up during the depression years and coming of age at the start of World War II, he was greatly influenced by the jazz clubs of Harlem and the boxing matches and carnivals of Coney Island. At the age of 14, he began classes at Parson's School of Design, at 16 he studied at the Art Students League under Reginald Marsh, and by 1940 he was enrolled as a painting major at Ohio State University, Columbus. His education was interrupted from 1943-1946 by a European tour of duty during World War II. He began his artistic career as an abstract expressionist painter exploring the ideas of spontaneity and the "epoch of crisis" inherent in action painting. As America began to move past the effects of World War II and into prosperous times, art no longer needed to be an emotional reaction to the effects of nuclear war and industrialization. Instead, it became a commentary on American prosperity and the commercial boom that resulted from the war efforts. Roy Lichtenstein's paintings and prints are the embodiment of this change. By 1961 Roy began to use objects and images from mass culture and advertising. He adapted painting techniques and imagery from comic strips, commercial printing, stenciling, and projected images. Good Morning, Darling, , Whaam! (1963), and Big Painting VI (1965) are among his most popular comic strip paintings. These blowups of the original cartoon were reproduced by hand and brought him unparalleled attention. His art consisted of black outlines, stripes, dots, brushstrokes, flat fields, foils, and patterns such as canvas weave and wood grain. The idea of appropriating imagery from popular culture transformed Lichtenstein into a leader of the New York City based pop art movement along with artists like Andy Warhol. During this time he also produced elegant sculptures that revived earlier forms of the 1930s, as seen in his Modern Sculpture with Glass Wave(1967). Roy Lichtenstein's Bull Profile Series is one of his most popular series of his lithographic works. Completed in 1973, Lichtenstein's purpose during this period was to explore the "progression of an image from representation to abstraction". To illustrate this progression, Roy's Bull unfolds in 7 different phases. Beginning with a monochromatic palette, he gradually breaks down the form into many geometrical compliments, he sections the picture plane using areas of color and diagonal lines. These shapes become more abstract until they are simply flat planes of color. Once the deconstruction of the Bull has been completed, Roy returns to the original form with a new interpretation in primary colors that are indicative of the pop-art movements re-interpretation of commercial art. From his studio in New York City, Roy Lichtenstein did cartoon inspired paintings that helped launch the Pop Art movement. He was unique in that he developed a new visual language in an avant-garde style that was disruptive to viewers and yet was accessible and popular with them. He also did innovative art work that incorporated many late 20th-century movements and addressed a number of social issues. His thirty-five year career of public recognition was celebrated in 1993-94 by The Solomon R. Guggenheim Museum in New York with a large scale retrospective of his work. He was born in Manhattan and went to high school there. By age 14, he was taking art classes at the Parsons School of Design and also studied briefly with Reginald Marsh at the Art Students League in 1939. He then attended Ohio State University where his major influence was Hoyt Sherman, whose figure-ground relationships inspired Lichtenstein's treatment of cliche subjects. In 1943, he was drafted into the Army and served in Europe and then returned to Ohio State, completing his BFA and MFA and then teaching at that campus. From Cleveland, Ohio, he made frequent trips to New York and started to exhibit there in 1949. In the 1950s, he used various techniques of Abstract Expressionism, did figurative work, and like many of his generation, began employing pop art images. But he was searching for a style. In 1957, he left Cleveland to teach at New York University in Oswego, New York, and in 1961, he began teaching at Rudgers University, where one of his colleagues, Allan Kaprow, used cartoon figures. Through Kaprow, he met many renegade New York artists including Claes Oldenburg and Jim Dine; it was a circuitous return to the New York from where he had a long journey. In 1962, he had a landmark exhibition at the Castelli Gallery that showed enlarged depictions of advertisements and comic strip images. In fact, it was gallery owner Leo Castelli who, as a major promoter of the contemporary art scene, was a key person in launching his career. Although Lichtenstein's pop paintings had widespread popular acceptance, he began in 1965 to do Abstract Expressionism, but in contrast to others in that style, he did work that was hard and static. In the 1990s, he did large-scale abstract interiors, and he also worked in ceramics and enamelled steel. Throughout his career, he appeared in many documentary films and did posters for entertainments including Bill Clinton's United States presidential campaign. Lichtenstein's murals are in Dusseldorf, Germany; Tel Aviv, Israel; and New York City. He died unexpectedly on September 30, 1997 from virul pneumonia, having worked until the time of his death.
Studied at Ohio State University, B.F.A., M.A. (1949). Noted for pioneering role in Pop art movement,
which took its subject matter from mass culture. Taught at Ohio State (1946-51), New York State
University College, Oswego (1957-60), and Douglass College of Rutgers University, New Brunswick,
N.J. (1960-63). Died in New York 29 September 1997. Reference: Roy Lichtenstein Drawings and
Prints with an introduction by Diane Waldman (New York: Chelsea House Publishers, 1969) Corlett,
Mary Lee. The Prints of Roy Lichtenstein, A Catalogue Raisonné 1948-1993. (New York: Hudson
Hills Press, 1994) In conjunction with The National Gallery of Art, intro. by Ruth E. Fine.
Lichtenstein is best known for paintings derived from comic strips first shown in New York in 1962. Considered his finest print, Peace through Chemistry represents his first work in lithograph and screenprint on Special Arjomari paper, produced at Gemini G.E.L. in 1969-70. This technique is considered ideal for rendering the flat color of the lines and dots. The dot pattern that transforms the microscope, hand, and test tube into abstract images is an enlargement of the dots known in the trade as Ben Day dots--the photo-mechanical dots that constitute the shading in a comic strip.
Lichtenstein's lithographs are made from aluminum plates with stencils, hand-cut by Gemini printers. He presents his compositions in final form and is attentive to the proofing, realigning of shapes, and changing colors throughout the printing process.
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Art Valuation Information & Links
Offeset lithograph from 1963/64 printed in colors on wove paper, signed in pencil, dated and numbered 158/300, published by Leo Castelli Gallery, New York, with full margins. Sheet 19 1/8 x 27 5/8.

(1923 - 1997)

Title	CRAK !
Artist	Roy Lichtenstein
Medium	Offset lithograph on lightweight off-white wover paper
Origin/Date	New York, 1963/1964
Edition	Edition 300, Signed, dated and numbered in pencil.
Size	48.9 x 70.2 cm (19 1/4 x 27 5/8 in)
Printer	Colorcraft, New York
Publisher	Leo Castelli, New York
Reference	Corlett II.2
Condition	excellent condition
Stock ID	9931
Price £	POA SOLD

Lot 176 Roy Lichtenstein Crak!, 1964 Offset Lithograph on wove paper Numbered 262/300 Signed, dated, and numbered in pencil on recto Published to coincide with a Lichtenstein exhibition at Leo Castelli Gallery, New York, September 28 - October 24, 1963 Printed by Total Color, New York Published by Leo Castelli Gallery, New York, New York Provenance: Purchased in 1966 by present owner Note: There exists an unnoticeable 1.5 inch tear which has been archivally repaired.Image: 19.8 x 27.6 inches; Framed: 27.25 x 35.5 inches Estimated Gallery Price: $14,000/$20,000

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Irving Lehman
Abstract Expressionism: “Sailboat watercolor”
Lesson: Artist you know...combined shipping

Oil on Canvas mounted on baord

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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Art & Artist Information
Modernist Composition with Sailboat at Sunset
Watercolor on thin unstretched primed canvas sheet
Estate stamp on reverse
12" x 16"
CONDITION: Very good condition.
BIOGRAPHY: Painter, sculptor & printmaker. Came to New York from Russia as a young man and had studios in lower Manhattan and Brooklyn. Studied at Cooper Union and National Academy of Design. One-man shows of both painting and sculpture at ACA Galleries in early 1930’s. Worked as a W.P.A. (Works Progress Administration) artist during the Depression. Member of American Art Congress, worked near Woodstock and in Columbia County, NY and visited Rockport, MA & Mexico. Subjects include Brooklyn Navy Yard, Coney Island, Central Park, Camp Lexington in the Catskills, as well as both Social Realist and Constructivist influenced figures. Lehman exhibited at the Art Institute of Chicago ( AIC ), Brooklyn Museum, National Academy of Design ( NAD ), Pennsylvania Academy of Fine Arts ( PAFA ) Museum of Fine Arts, Bezalel, Israel as well as in Paris, France, Japan and elsewhere.
Lehman signed in both cursive and printed letters throughout his career. The artist’s date of death is variously recorded as 1981, 1982 & 1983 (the correct date is ‘83). There are several Lehman estate stamps including “Red Rock Studio,” signature and “Estate of” ( as 1900-1982 ) as after the death of his wife his art was dispersed to 11 heirs through numerous exhibitions and auctions in Manhattan, Upstate New York, New England, Florida and Canada during the 1990’s.
He is listed in Davenport’s, Mallett’s and Who Was Who in American Art.
PROVENANCE: This work was acquired from an heir of one of Lehman’s relatives who lived and worked in the Greater New York Area.
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Original Work on Paper by Irving George Lehman. Who was a Russian-American W.P.A Era Artist. He grew up amidst Revolutionary Soviet Avant Garde movements and moved to New York in the 1920's. He studied at Cooper Union and had solo painting and sculpture exhibitions at ACA gallaries in Manhattan. He worked as a WPA artist during the Depression. During the 1930's he lived in Greenwich Village and moved to Brooklyn in the 1940's. During World War II he worked at the Brooklyn Naval Yard which influenced not only his subjects by his use of industrial materials in his Sculptures. Prior to WWII his studio work was done in Woodstock and at the end of WWII he began working in Columbia County, NY. He was included in dozens of solo and group exhibitions in New York, Nationally and Internationally. In the 1950's he began to execute increasingly larger canvases. While his style began as Social Realism in the thirties he eventually moved on to Cubist inspired Modernist Figurative Abstraction. His work also included Jewish subject matter in a number of compositions. He is included in museum collections in the US and Israel.
Most works have a studio or estate stamp, of which there are two varieties. A large type face stamp, done in New York by an appraiser that appears on a few works on paper, and a small typeface stamp that was applied after the works passed to her heirs, appearing on the prints and also most remaining works on paper. Some works also were signed by the artist on the front. Details of stamp or signature are as noted above. Several of her paintings have sold for significant sums at auction, however as is sometimes encountered with artists that come to prominence simultaneously in New York and elsewhere, no one auction price reporting database appears to be inclusive of all sales, however, he has been widely offered and sold.
From ASKART:
Born in Kiev, Irving Lehman studied at the Art Students League and Cooper Union in New York City, eventually becoming a Member of the American Artists Congress, American Abstract Artists and other contemporary avant-garde groups. With many others he worked on the WPA.
Exhibitions: Whitney Museum, National Academy, Albany Institute, Brooklyn Museum PAFA, and numerous important American and European institutions and galleries.
Awards: His work won international acclaim from England - Israel - Paris, while he is primarily accorded a permanent place in American Art History as member of the New York School of Abstract Expressionism.
Irving George Lehman, painter, printmaker, designer, engraver and teacher, was born in 1900 in Russia, later coming to Brooklyn, New York. He studied at the Cooper Union School of Art, and National Academy of Design, both in New York City. He worked as a W.P.A. (Works Progess Administration) artist during the Depression. He was a member of the American Art Congress. He exhibited at the Art Institute of Chicago, Illinois; Pennsylvania Academy of the Fine Arts, Philadelphia; National Academy of Design; and Brooklyn Museum.
Lehman is listed in Who Was Who in American Art, and Mallett's Index of Artists.
He died in September 1983 in a nursing home in Great Barrington, Massachusetts.
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Oil on Canvas

20 x 16"
Signed (lower right): Lax
Titled "New Work Overview" on reverse
Exhibition sticker on reverse: Grand Central Art Galleries: New York: Empire City in the Age of urbanism 1875-1945 November 14, 1988 - January 26, 1989 / 212-867-3344
This painting was accompanied by a book authored by Lax entitled: "One Man Show".

Original Image:
What I saw when first bid on this artwork
Purchased on Sothebys. COM for $126.87 - 2006

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DAVID LAX (American 1910-1990)

Art That Touches your soul: Buying art that stirs a memory of days gone by
Memories: some artworks define a part of your past
There's a number of reasons why collectors acquire one piece of art over another. They might prefer a certain style of painting or be drawn to the particular arrangement of an artwork & admire the skill associated with its creation. Equally compelling is when an artwork touches a cord from your own life experiences. Some pieces define the essence of our life journey (Meza). Other pieces touch our sense of view about the world (Radu) Others, like this one? Evoke a memory from the past.
Many years ago I fell deeply in love with a woman I met in New York city. Being a native, New Yorker - is was almost impossible. Metaphorically-speaking? This painting defined that relationship.
Also...Penny paintings
If you've ever visited a fine art gallery selling overpriced art you've heard the classic pitch "you should buy a piece because you love it". Basically, what they are saying is that we hope you'll find a piece in our gallery that will cause you to pay our ridiculous prices and throw any sense of hard core economic reality out the door.
I believe in buying art that I love. One way in which a painting invokes such heart felt attraction is when the subject takes you back to a special memory in your past. This painting by David Lax did so for me in a most powerful way.
Years ago, I fell in love with a lovely lady from New York City. Being from a small town in Kentucky, both the city and her classy demeanor had a way of overwhelming my senses with each visit. The relationship lasted for years and we are still dear friends. What hindered our future was the city itself - and her love affair with her "hometown".
Hearing all this can you imagine how I so clearly related to this piece? Notice "his" casual attire - and her more formal red dress. Even the hair colors were fairly accurate. If I had commissioned an artist to represent all that this relationship "was" - this piece would have been the best I could have asked for.
You'll find similar works of art that will take you back to special moments in your life. Don't try and force them.
Additional Collecting Lessons related to this artwork are included:
Additional Collecting Lessons related to this art & artist:

Research building...historical society

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Other matched piece sold at auction...Market square

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His scenes of people not worth as much - flowers bring most

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Standard sizes / affordable frames

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Other site-terms associated with this art, include:

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Additional Collecting Links to this artist / info
Ernest De Nagy was born around 1882 in Budapest and died in 1952. He exhibited at the Salons of America and The Society of Independent Artists in the 1930s. 20in. by 16in.
Google Search on this Artist

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

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Lawrence Kupferman
“Abstract Expressionism: Titled - Of the Sea”
Lesson: Power of retrospective

Watercolor and Ink on Paper

Mixed Media, 29 ¾ x 21 ½ signed, (lower right):

Kupferman. Titled “OF THE SEA” on reverse, signed again Lawrence Kupferman and dated August 10, 1949. An inventory number is included as well: DG #195H.

Original Image:

What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

heavily listed artist...ebay link

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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
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BACK TO CONTEMPORARY ART

LAWRENCE EDWARD KUPFERMAN, ANA (American, 1909-1982)
(American, 1882-1934)

Success from mastermining – scoring art worth that’s much more than your original investment – most often occurs from one of three methods. The first is where you correctly notice something special about an artwork that other buyers overlook or undervalue. The second? Possessing detailed knowledge on a particular artist or school & being in a position to quickly authenticate, buy a most-affordable artwork hits the market. The third & final core method is where you guess right in terms of art or artist that ends up rising rapidly in value relatively soon after you buy a piece. The latter scenario best describes the story behind this acquisition of art by Lawrence Kupferman.

His resume…like Joe Goode, Rolph Scarlett…versus chincy resume
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info…other sites on the web

Additional collecting tips associated with this artwork:

early collecting efforts

1. Maintain balance your

2. Titles & descriptions

right price…Meza / Montenegro didn’t work…Joe Goode, Scarlett,

3. Trusting a proven artist resume at the

4. Framing tips…title on reverse

5. Stolen masterpieces

Style Category / Tags: Abstract, Early abstract expressionism, Boston artists, American,

o         Secondary Lessons:
o         Power of time & retrospective: Kupferman / Pollack
o         Such a distinct style + title…definitely them
o         Titles & descriptions
o         Out of favor style
o         Framing…title on Reverse…particularly works on paper…Pierce Rice, Wolchonok, Reyes,
o
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

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Every artwork in the ArtCollecting.info collection provides at least one unique lesson that assists beginning web-collectors in making better decisions about a new art acquisition.
The lessons-learned from this particular piece, include:
Lawrence Kupferman was not a very well known artist outside of his native area of Rhode Island. From what I can tell from the museums which hold his pieces, his best known works are those of etchings of New York City.
However, he was certainly a most accomplished artist. Here we see him testing the waters in a whole different palette: Abstract Expressionism. Know what else? I like this piece.
This was a very affordable piece of art - as it should have been. It's not what Kupferman was recognized for as an artist. thus, price should reflect this lack of importance of the style you seek. Still, I liked the colors and the feel of the piece and had a perfect "wall" for it to call home.
You'll find many decently listed artists who tried styles of art outside their normal oeuvre - and they tend to sell for almost nothing.

Art & Artist Information

Description of Art
Mixed Media, 29 ¾ x 21 ½ signed, (lower right): Kupferman. Titled “OF THE SEA” on reverse, signed again Lawrence Kupferman and dated August 10, 1949. An inventory number is included as well: DG #195H.
An abstract vision of the sea:
While summering on Cape Cod in 1946, Kupferman became fascinated by the abundant life along the beach. He filled sketchbooks with images of sea creatures and invented zoomorphic forms. He borrowed a microscope and began to examine organisms in drops of sea water. Rather than depicting what he observed, the artist strove to capture the spark of life and the cosmic nature of this unfamiliar realm. Kupferman wrote, "I try to suggest, at least, the wonderful dense complexity of matter, or indeed of being; the miracle of being…. I try to allude to the atomic structure, to the ceaseless spinning movements, the endless pulsations inherent in all beings." Microscopic Creatures from the Ocean Deep depicts the world of cold and darkness at the bottom of the sea.
"Recent abstract canvases by Lawrence Kupferman at the Levitt Gallery also derive their inspiration from the sea. Employing amoebic antennnaed forms and a blurred, runny technique of oil and watercolor, these painting suggest a world or submarine flora and fuana caught in a swirling lava-like flow of brilliant flame color. Individual forms cary poetic suggestion in their gem-like luster and mysteriousness that comes of their minute, fascinating particularization." -The New York Times, April 9, 1948
KUPFERMAN, Lawrence Edward (1909-1982)

Boston, MA
Death place: Dorchester, MA
Addresses: Newton Centre, Dorchester
Profession: Painter, etcher, teacher, lecturer
Studied: BMFA Sch., 1929-31; Massachusetts Col. Art, Boston (B.Sc.Ed., 1935).
Exhibited: SAE, 1937, 1939 (prize), 1940-41, 1943, 1944; WMAA, 1938-63; PAFA, 1938, 1940-45, Annuals, 1947, 1952, 160th Watercolors Ann., 1965; AIC, 1938, 62nd Ann., 1957; SFMA, 1938-39, 1941-44, 1946; WFNY, 1939; CI, 1941; MoMA, 1943; Brooklyn Mus., 1943, 1945, 22nd Int. Watercolor Biennial, 1963; Inst. Mod. A., Boston, 1943; Mortimer Brandt Gal., 1946 (solo); Phila. A. All. 1946; Boris Mirski Gal., Boston, 1944-46; Contemp. Am. Painting & Sculpture Biennial, Univ. Ill., 1961; Horizon Gallery, Newton Centre, MA, 1960s; Horizon West, Los Angeles, CA, 1960s. Awards: San Francisco AA, 1938; AV, 1942; Saratoga Springs Victorian Purchase Prize, Assoc. Am. Artists, 1947; Purchase prize for "Tempest," Krannert Art Mus. Biennial, 1953; first prize for painting, "Odysseus," RI Arts Festival, Providence, 1961.
Member: A.N.A.; SAE; Phila. WC Cl.
Work: MoMA; WMAA; MMA; BMFA; Mills Col.; LOC; CI; IBM Coll.; BMA; SFMA; FMA; Harvard; WMA; Boston Pub. Lib.; AGAA; Wadsworth Atheneum, Hartford, CT. Commissions: murals, Am. Export Lines, SS Constitution, 1948 & SS Independence, 1948.
Comments: Preferred media: acrylics, tempera. Teaching: Mass. Col. Art, 1941-68.
Sources: WW73; WW47; John I.H. Baur, Revolution and Tradition in American art (Harvard Univ. Press, 1951); Bartlett H. Hayes, The Naked Truth and Personal Vision (Addison Gallery Am. Art, 1955); Nathaniel Pousette-Dart, American Painting Today (Hastings House, 1956); Falk, Exh. Record Series.

This biography is drawn from the 'Who Was Who in American Art' , the reference book on the cultural life in the United States.

Birth place:

Provenance

• Ebay

Artist Information

Lawrence Edward Kupferman (1909 - 1982, American)
Lawrence Kupferman (1909–1982) was born in the Boston area, and he became one of the most important abstract artists to emerge from there in the early 1940s. Kupferman worked as an artist for the WPA in the 1930s, developing a strictly realist style that depicted Victorian houses and other detailed architectural images. Around 1943 Kupferman began to integrate more expressionistic forms into his works. He soon moved completely away from recognizable subject matter and definitively became an abstract painter. In 1946 he studied with the influential German-born artist Karl Zerbe at the School of the Museum of Fine Arts in Boston. Kupferman later attended the Massachusetts College of Art, where he would become a professor and retire as its Head of Painting in 1969. His focus, as it would remain until the late 1960s, was on abstract, marinelike amoeboid forms—the imagery intimated, rather than strictly described.
Kupferman was an active participant in a huge thrust in Boston art in the 1940s to create a vibrant art scene that rivaled New York. He has been appropriately credited with bringing Abstract Expressionism to Boston, serving as a critical artistic conduit to New York painters such as Mark Rothko and Hans Hofmann, contacts he made in Provincetown, Massachusetts, where he spent his summers beginning in 1946. Kupferman's unique brand of abstraction integrated with the already burgeoning figurative expressionism in Boston, and he showed at the Boris Mirksi Gallery, arguably the most important Boston gallery at the time. He served as the Chair of the Modern Artists Group and is considered one of the major Boston artists whose numerous exhibitions throughout the world helped establish that city as a vital art scene.
Kupferman continued to paint until he died in 1982 in the Boston area. His work received a retrospective at the Brockton Art Center, Fuller Museum of Art, in Brockton, Massachusetts in 1974.
[ Top of Page ]

Unconventional Modernist Lawrence Kupferman (1909-1982) innovated many of the technical achievements used by more famous artists, but few critics recognized his unique genius.
Art was the chronicler of and the archive for Kupferman's mind wanderings. As concepts evolved and were redefined, the artist's brush represented being in past, present, and future time. His pigments ooze, lines oscillate, and avenues of flowing, jelly-like paint river through or fade into and out of space (see Color Plate Tidal Estuary #2, 1953). Kupferman took motifs from tangible and sensed realities. His atmospheres symbolize cosmic space. Existence is spiritualized as a connected covenant with all of creation. Veil-like, mysterious lines move like vapors over washes of opaque translucent colors that blend, erupt or fade into seas of time-like space and souls become one with an ever-moving, deepening milieu. He admitted, "My figures journey to greet an eternal fellowship with nature’s every particle."[i]
"Around 1941, I started to pour paint onto canvases in Provincetown. Jackson Pollock came into my studio to observe how I let paint take on a liquid life or path of its own. Those ethereal poured paintings may have stimulated Pollock's more frantic splashed-on techniques,” Kupferman said thoughtfully. "I want paint to find its own way on canvas, just as if it were a person discovering his or her way in life…. My personal background has a lot to do with why I have that goal."[ii]
Kupferman was born on March 25, 1909, in Dorchester, MA, the son of an impoverished Austrian Jew Samuel Kupferman (cigar maker) and his wife Rose. In 1914, he was not told his mother had died and was sent to live with grandparents. He waited and expected his mother to return and filled hours by drawing. Two years later, he was devastated to hear his mother was dead. During that period, classmates discriminated against Jews. He began to formulate that reality is not what it seems and that in the hidden, illusive, unseen elements of the abstract, authenticity and certainty can be found.
"Being a short, homely Jewish kid in a predominantly Irish-Catholic, snobby town, I admit, I was a lonely, misunderstood, introverted boy. I vowed when I was eight, that I'd never be narrow-sighted, deceitful, or mean like the children and adults with whom I grew up."[iii]
In the late 1920s, Kupferman attended Boston's Museum School to study with Philip L. Hale and lamented, "Hale was rigid, straight-laced, unfriendly and too restrictive. He didn’t allow any freedom of expression and I craved to find that in art. Beyond that, I considered the Boston school passé."[iv]
In 1932, Kupferman studied with Ernest L. Major at MASS College of Art, and met and married fellow artist Ruth Cobb (1937). During the 1930s, his painted hard lines began to dissolve, bleach and cave-in during the Great Depression, and desolation and anguish crept into his work. He worked as an etcher for the WPA and began to question the isolation of individuals within crowded cities.
Kupferman, Jack Levine (b. 1915), Hyman Bloom (b. 1913) and David Aronson (b. 1923) founded the "The Boston Urban Jewish School," whose roots ran deep into traditional Hebraic scholarship. Their work depicted graphically and without restriction the social problems and moral issues of their era.
Hitler's WWII atrocities against the Jews enraged Kupferman. His broad humanity surfaced in infernos of melting color in Holocaust Figures (see Color Plate). Pregnant, illusive female figures and haunting male heads dissolve into vanishing realities that are kept present in paint. The lyrical figures in Archaic Drama (see Color Plate) glorify and rejoice over life.
Evening Tides, 1948 (see Color Plate) abstracts biological reality to show that being is a continuous, evolving river or journey into the unknown. "This might be at the deepest bottom of an ocean, where light comes only from microscopic life forms…or it could be out…far beyond Venus, where things collect and begin again," Kupferman mused. "Life is mysterious. I find relevance in the abstract, for in it is the womb of existence." He called his wiggly sperm-like lines “mind submarines. They thrust deep into the murkiness of the subconscious…so the complexities of truth can be analyzed."[v] Kupferman's courageous series of paintings that probed inside the human brain examined the thought process.
Kupferman was an Associate of the National Academy, taught Painting at MA College of Art and was Chairman of its Painting Department. Some critics gave him credit for having been one of the pioneering fathers of the poured painting technique. As early as 1943, the Museum of Modern Art, the Whitney Museum of American Art and various publications acknowledged him as a humanistic innovator whose work bluntly exposes humans to themselves.
After 1945, the series Truth Tunnels was devised to explore the eternal womb of the cosmos. Then, Kupferman painted various series that probed the human psyche and were meant to shock and challenge people to think (Conversations, Landscapes of the Mind and Cinemas). In All Are Artists on the High Wire, June, 1952 (see Color Plate) spirit-like entities dance, walk, fall, balance and are fragmented in fragile time and their souls mesh in oneness (as an abstract form) with infinite matter.
"Throughout my career," Kupferman admitted, "Boston was a mental and physical prison in which genuineness and spontaneity in art was absent. I summered in Provincetown for artistic sanity. Mark Rothko, Hans Hofmann, Adolph Gottlieb, William Baziotes, Leo Manzu, Byron Brown and I hung out together in an invigorating atmosphere of rediscovery. We started our own renaissance! Together with Robert Motherwell, Richard Pousette-Dart, Weldon Kees and Karl Knath, we exhibited at Forum 49, and if I had gone to New York with all of them…I probably would have been just as famous as they are. They told me to leave Boston. My career and art have suffered because I made a mistake about where to live. No one…looks at art for art’s sake. It's all about where you live…. Isn't that pathetic?"[vi]
Kupferman's art hears the echoes, sees the flows and rides the tides of motion and space (see Color Plate Tidal Estuary #2, 1953). He strayed from traditional, antiquated thought into unsafe, unknown realms. In The Bottom of the Sea (1954, see Color Plate) microscopic marine life is scientifically examined. Kupferman theorized that life began in the sea and that within its depths the answers to mysteries about life are held. Minimal oscillating lines show micro-organic life forms moving in The Bottom of the Sea. Fluid within matter grows, oozes and regroups. Marine minutiae symbolize the continuum of productive growth. Lifelines are started, defused and enveloped in vibrations of watery color currents. The artist identifies life as sinuous hope that can come out of voids and turmoil. Believing that human life might have begun as a tiny microscopic organism that originally fell from outer space into one of earth's seas, Kupferman envisioned afterlives to be when souls (energies) lift from or escape bodies to rise into the cosmos to continue an everlasting journey through pantheistic space (see Color Plate, The Voyageur, 1971).
Transcendental Meditation as taught by Maharishi Mahest Yogi and the poetry of Pablo Neruda and Jorge Guillen influenced Kupferman to pour acrylics onto canvas to symbolize the inner flows of the universe and inestimable space. His ocean views (1970s) saluted the constancy of motion in life. Kupferman believed each particle of existence is part of a huge moving sea of space, and that all things are one. The Voyager, 1971 (see Color Plate) was Kupferman's ode to man's victory in space. In Mystic Rites, 1974 (see Color Plate) figures float, ease from earth and transcend into cosmos rebirth. By 1980, the artist resurrected his mother in paint and she floats through his theories to give birth, carry a child, contemplate and fade away. It comforted him to realize at the end of his life that she had always been with him.
In 1978, the artist said somberly, "I'll be remembered, I hope, as someone who was authentic… as someone who felt and tired to understand experiences…as an artist who was as truthful as he could be. Of course, being human has its limitations, but I’ve tried to be a meaningful contributor…a responsible voice….I am a political animal who is interested in the big picture of justice and humanity….If I'm wrong about an afterlife, I hope to live in my work. If I had it all to do over again, I'd want to be me and do what I’ve done…. My goal was to show that every living creature has an invaluable, eminent covenant with creation."
The artist died on October 2, 1982, from Parkinson’s Disease in Boston, content thinking his soul would enter an abstracted eternal womb and join all of those who went before him.

[i] Kupferman interview in the artist's Newton, MA studio, August, 1978.
[ii] Ibid.
[iii]Ibid.
[iv] Kupferman interview in the artist's studio March 1978.
[v] Ibid.
[vi] Kupferman interview in the artist's studio, April 1977.

References: Art Digest, "Kupferman Abstracts," vol. 22, no. 14, April 15, 1948 and "Kupferman's Dynamic Compositions," vol. 24, no. 4, Nov. 15, 1949; Art News, "Lawrence Kupferman," vol. XLVII, no. 2, April 1949; Barr, Alfred H., Jr., & D.C. Miler, American Realists and Magic Realists, Museum of Modern Art, 1943; Baur, John I.H., Revolution & Tradition in Modern American Art (Harvard College 1951); Boston Sunday Globe, "Lawrence Kupferman and His Strange Sea of Thought," May 29, 1953; New York Times, "Print Show at Museum of Modern Art," 7/10/49; NY Sunday Times, "Provincetown Season," Sam Hunter, Aug. 29, 1948; Pagno, Grace, Contemporary American Painting, Encyclopedia Brittanica, 1945; Schwarz, Karl, Jewish Artists of the 19th and 20th Centuries (Philosophical Library, NY, 1949); Taylor, Robert, "Lawrence Kupferman and his strange sea of thought," Boston Sunday Herald, 3/29/53; Time, "Wet and Dry," 4/19/48, p. 71; "The State of Painting," 12/11/50, p. 72; "Art," 4/17/1950;

Biographical data: Kupferman was born March 25, 1900 in Dorchester, MA, the son of cigar maker Samuel Kupferman and Rose. He studied at the Boston Museum School with Philip Leslie Hale and H. Alden Ripley (1929-1931); Massachusetts School of Art with Ernest L. Majors and Otis Philbrick (1931-1935). He a member of the Society of American Etchers; an Associate at the National Academy; Philadelphia Water Color Club. Awards include American Artists for Victory (1942); San Francisco Art Association (1938); Society of American Etchers (1939). One-man shows include Mortimer Brandt Gallery (1946); Boris Mirski Gallery, Boston (1944-1946); Mortimer Leavitt Gallery, NY (1948, 1949, 1951, 1953); Martha Jackson Gallery (1955); Swetzoff Gallery, Boston (1956); Ruth White Gallery, NY (1958); Gropper Gallery, NY (1958); Pace Gallery, Boston (1950,1961,1963); DeCordova Museum, Lincoln, MA (1961); Galerie Irla Kert, Montreal (1962); Art Unlimited, Prov., RI (1963); Tragos Gallery, Boston (1965); Horizon Gallery, Rockport (1968); Greenfield Gallery, NY (1970); Horizon West, L.A., CA (1971); Harold Ernst Gallery, Boston (1973);retrospective, Brockton Art Museum, Brockton, MA (1976).He is represented in the Museum of Fine Arts, Boston; The Boston Public Library; Fuller Memorial Art Museum, Brockton, MA; Mills College; Museum of Modern Art; Carnegie Institute; IBM Collection; Baltimore Museum of Art; Walker Art Center, Minneapolis; Bowdoin College; N.Y. University; Library of Congress, Washington, D.C.; San Francisco Museum of Art; Harvard University; Addison Gallery of American Art and the Fogg Museum of Art, Cambridge, MA. Position: Teacher at the Mass. School of Art (1941-1970). He died at University Hospital in Boston of Parkinson’s disease and complications of pneumonia on October 2, 1982. Married artist Ruth Cobb April 29, 1937. Two children, both artists: Nancy and David.
Critic Howard Devree wrote in The New York Times, “A gentle…lyric spirit is manifest in the watercolors of Lawrence Kupferman. Suggestion through rich evanescent color is Kupferman’s approach—…of wind-blown foliage or tide-moved water weeds, the sense of sunlight on a May morning or the mysterious mantle of an August night and of stars seen through pine trees, and of the feel of the sea through shapes and colors calling up marine images. These paintings are poetic visions of the inner eye.” Kupferman’s genius created an artistic language of evolving, progressing, resonant imagery that is universal, intimate, poetic and haunting. Submitted by Patricia Jobe Pierce Born in Boston, Mass. Studied at Boston Museum of Fine Arts School, Massachusetts School of Arts. Collections: Metropolitan Museum of Art, Boston Museum of Fine Arts, Baltimore Museum of Arts, Fogg Museum of Art, Museum of Modern Art, New York, Whitney Museum of Modern Art, Boston Public Library. Also a painter and educator, Massachusetts College of Arts. (retired as chairman of department of painting) Residence; Newton Center, Mass. 1966. The Library of Congress holds 7 prints of his. In the 1930s, when employed by the Works Progress Administration, he made a series of etchings and drypoints, mostly of the facades of houses. His style changed completely in the 1940s, becoming first political and expressionist, and later abstract expressionist. In very recent years he has returned to making prints of buildings in his first manner
You are bidding on an original watercolor painting by renowned artist Lawrence Edward Kupferman (American, 1909-1982). We recently obtained this museum quality painting from a very upscale South Beach mansion. It still has the original 1940’s wood frame and matting, and of course is signed by the artist on the lower right corner. We guarantee this work of art to be 100% authentic or your money back.
Lawrence Kupferman had a long and illustrious career as an artist and educator. His work has been exhibited at such distinguished venues as the Museum of Modern Art, the Metropolitan Museum of Art, and the Baltimore Museum of Art, among others too numerous to mention. Today, Kupferman's work is in the permanent collections of such institutions as the British Museum, the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, the Museum of Fine Arts Boston, the Fogg Art Musuem and the Brooklyn Museum among others. Recognition of Kupferman's considerable talent and skill is ongoing, and in 2002 Kupferman's work figured prominently in important museum exhibitions of twentieth century art at the Boston University Art Gallery and at the DeCordova Museum.
Kupferman's paintings express his unique view of the neighborhoods and people of Boston during the 1930s and 1940s. This period of Kupferman's life was marked by the completion of his studies at Boston's Museum of Fine Arts School, his subsequent employment in the the Work's Progress Administration from 1937-1940, and the commencement of his teaching career at the Massachusetts College of Art in 1941. He produced both etchings and paintings during this period, and his work was exhibited at the World's Fair (New York, 1939), the Pennsylvania Academy of Fine Arts (1938), the Whitney Museum of American Art (1938, 1946, 1948, 1949), the Art Institute of Chicago (1938), and the Museum of Modern Art (1943).
Reviewers have likened Kupferman's painting from the late 1930s and '40s to the work done in Holland and Germany by Max Beckmann, and they compare favorably with work done in the U.S. by Jack Levine and Ben Shahn. Kupferman's Images of Boston are consistently imbued with an artful combination of social commentary, satire, and skillfully expressive energy. They profoundly speak both of the time of their creation and the moment at hand.
Major Art Indices Listed In:

• The Artists Bluebook
• Davenport's Art Reference
• Who's Who in American Art
• The Annual Exhibition Record of the Art Institute of Chicago
• The American Painting Collection

MUSEUMS that include Lawrence Kupferman in their collection include:
Lawrence Kupferman
Curriculum Vitae
Museum Collections

• Metropolitan Museum of Art, New York
• Museum of Modern Art, New York
• Whitney Museum of American Art, New York
• Brooklyn Museum of Art, New York
• Museum of Fine Arts, Boston
• San Francisco Museum of Art
• Wadsworth Atheneum, Hartford, Conn.
• Walker Art Center, Minneapolis
• Victoria & Albert Museum, London
• British Museum, London
• Addison Gallery of American Art, Andover, Mass.
• Art Center, La Jolla, Ca.
• Baltimore Museum of Art
• Boston Public Library
• Bowdoin College Museum of Art, Brunswick, Maine
• Cape Museum of Fine Arts, Dennis, Mass.
• Carnegie Library, Syracuse University, N.Y.
• Carnegie Institute, Museum of Art, Pittsburgh
• Danforth Museum of Art, Framingham, Mass.
• Davis Museum, Wellesley College, Mass.
• Fogg Art Museum, Cambridge
• Farnsworth Museum, Rockland, Maine
• Fuller Museum of Art, Brockton, Mass.
• Library of Congress, Washington
• Massachusetts College of Art, Boston
• McMullen Museum of Art, Boston College
• New York University Art Collection
• Provincetown Art Association & Museum, Mass.
• Tampa Museum of Art, Fl.
• University of Illinois, Urbana
• University of Massachusetts Art Collection, Amherst
• University of Michigan Museum of Art, Ann Arbor
• University of New Hampshire Art Gallery, Durham
• Worcester Art Museum, MA

Artistic Afilliations

• Member, National Academy of Design, New York
• Member, Royal Society of Arts, London

Solo Exhibitions

• Boris Mirsky Gallery, Boston 1944, 1945, 1946, 1947
• Mortimer Brandt Gallery, (Betty Parsons, director) NY 1946
• Philadelphia Art Alliance 1947
• Mortimer Levitt Gallery, New York 1948, 1949, 1951, 1953
• Martha Jackson Gallery, New York 1955
• Verna Wear Gallery, New York 1956
• Swetzoff Gallery, Boston 1956
• Ruth White Gallery, NewYork 1958
• Gropper Gallery, Cambridge 1958
• Pace Gallery, Boston 1960, 1961, 1963
• DeCordova Museum, Lincoln, MA 1961
• Galerie Irla Kert, Montreal 1962
• Art Unlimited, Providence 1963
• Tragos Gallery, Boston 1965
• Horizon Gallery, Rockport, MA 1968
• Massachusetts College of Art, Boston 1969
• Greenfield Gallery, NewYork 1970
• Horizon West, Los Angeles 1971
• Harold Ernst Gallery, Boston 1973, 1975, 1976
• Brockton Art Center (Fuller Museum of Art), MA 1974
• Prakarpas Gallery, NewYork 1976
• Ely Gallery, Westfield State College, MA 1985
• Whistler House Museum, Lowell, MA 1985
• Newton Art Center (New Art Center), MA 1987
• Beth Urdang Gallery, Boston 1990, 1992
• Barbara Mathes Gallery, New York 1990
• Associated American Artists, New York 1992
• Acme Fine Art, Boston 2003

Selected Group Exhibitions

• World's Fair, New York 1939
• Museum of Modern Art, New York 1943
• Metropolitan Museum of Art, New York 1950
• Whitney Museum of American Art, New York, "Annuals" 1946, 1948, 1949, 1950, 1951, 1952, 1953, 1955, 1956, 1957, 1958, 1963
• Whitney Museum of American Art, New York, Anniversary Show 1980
• Art Institute of Chicago, 1948, 1949, 1957
• Betty Parsons Gallery, New York 1946
• Petit Palais, Paris 1949
• Cultural Institute, Traveling Show of American Art, Germany 1949
• Brooklyn Museum, N.Y., 1947, 1949, 1951, 1952, 1963
• Chateau de Rohan, Strasbourg, France 1956
• Museum of Fine Arts, Boston 1959, 1960, 1962, 1977, 1999
• University of Illinois, Biennial 1949, 1950, 1953, 1957, 1961, 1971
• Boston Arts Festival, 1952, 1954, 1955, 1956, 1957
• Joslyn Art Museum, Omaha 1948, 1956
• San Francisco Museum of Art 1946
• Worcester Museum of Art, Mass., 1947, 2002
• Venice Bienniale 1940, 1949
• Baltimore Museum of Art 1949
• Metropolitan Museum of Art, New York 1950
• Corcoran Gallery of Art, Washington, D.C., 1952
• Walker Art Center, Minneapolis 1950, 1954
• Butler Institute of Art, Youngstown, Ohio 1954
• Cape Museum of Art, Dennis, Mass. 2000, 2002
• Provincetown Museum & Art Assoc., Mass. 1949, 1952, 1964, 1998, 1999
• Institute of Contemporary Art, Boston, 1947, 1949, 1950, 1957, 1959, 1960, 1962, 1966
• Wadsworth Atheneum, Hartford, 1960s
• Carnegie Institute, Pittsburgh 1940s and 1950s
• Addison Gallery of American Art, Andover, Mass., 1955
• British Museum, London 1980
• Royal Academy, London 1952, 1953
• Penn. Academy Annual, Philadelphia 1947, 1950
• University of Michigan Art Museum 1949, 1950, 1985
• Portland Museum of Art, Maine 1958
• National Academy, New York 1946
• Carpenter Center for Visual Arts, Harvard University, Cambridge 1967
• Davis Museum of Art, Wellesley College, Mass. 2001
• DeCordova Museum, Lincoln, Mass. 1951, 1977, 1984, 1999, 2000, 2001, 2002, 2003
• The Art Gallery, University of New Hampshire, Durham, 2001, 2003
• Boston University Art Gallery 2002

Additional Information:

• My favorite links on this artist:

o AskART.com...specific / my fave links
o

Google Search on this Artist

Art Valuation Information & Links

• Current prices for comparable works by Kupferman are in the $5,000.00-$8,000.00 range (including buyer's premium)
• A 28x21 watercolorsold at theoldprintshop.com for $4,000.00
• A small 12x9 b/w etching sold at kramerfineart.com for $2,800.00
• A 14x12 b/w drypoint sold at paramourfinearts.com for $1,500.00

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American School
Abstract - hh - “Abstract”
Lesson: Worthwhile fakes

Oil on Canvas mounted on baord

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The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
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heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
•

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Art & Artist Information
Description of Art

Item Specifics - Paintings

Original/ Reproduction:

Original

Style:

Abstract

Listed By:

Dealer or Reseller

Size Type/ Largest Dimension:

Large (Greater than 30'')

Signed?:

Signed

Date of Creation:

1970-1989

Medium:

Oil

Region of Origin:

US

Subject:

Figures, Portraits

A very interesting oil on board modernist/cubist signed lower right H.H along with number...Condition is good, size 24 by 30'' .....

Hofmann, Hans

o         Current Notes
o         Probably a 1980’s China rendition…like Carlsen?
o         Positives
o         The Larger H / H makes it more right + brush stroke + cleverness of subjects
o         Size of work matches his + on-board
o         Custom-painted frame / liner
o         Type of brushwork a match
o         Quality of subject…very clever use of # of faces / hands & depth
o         1964 piece…matches color, style & signature…Hofmann.net
o         Aging is right for 1964…+ IV = 64…\
o         Has built-in H/H’s like Hofmann usually did
o         They’re will built-in to the design…thus…it’s a total fake or real…the smaller hh’s are not as compelling in that regard
o         Problems
o         Signature match to American book…almost too exact…obvious faking?
o         Signature / right corner area…”cloudy”?
o         Nothing else to go on?
o         Commonly copied…was a popular teacher…like Emil Carlsen
o         Hunter Museum piece…heavier brushwork + signature didn’t float
o         Questions to answer / explore
o         Rear / board…seems unusual for a high-end artist
          A 1980’s China copy?
          Must see photos…reverse of a painting
Lot 0078
Hans Hofmann (1880-1966)
Sold For GBP14,000
Buyers Premium included
Hans Hofmann (1880-1966) Untitled signed and dated 63 (lower left) oil on board mounted on masonite 74 x 58 cm. (29 1/8 x 22 7/8 in.)
o         HH IV…should have “date” below that
          Find Art Info has 14 signature examples…paid session / review
o         Why go to all this work to create an exceptional original piece…from the period…in the right brushwork & coloring…with the H/H’s…and do such a poor signature example…if you were seriously trying to fake it?
o         Is it a NY-school that someone add HH?
          HH’s are throughout the piece
o
o         Deliberate fake…he was a noted teacher
o         Or…never prove
o         Buy books
o         Re-examine lower right corner + blacklight

According to the Hofmann biography at the Tate Gallery website [1], Hofmann's work is distinguished by "a rigorous concern with pictorial structure, spatial illusion, and colour relationships."

Oil on Canvas mounted on baord

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Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:

heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
•

BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Art & Artist Information
Description of Art
A very interesting oil on canvas, looks like Nude ,possibly African or pre-Columbian art ??? signed Golub...A little research on Ask Art.com .. found the artist Leon A.Golub (1922-2004) Chicago Artist..He was a modernist painter, who expressed a wide range of interests from African to Greek and Roman Sculpture...His auction record is very inpressive, ranging$ 3,000-50,000.00, We are unfamiliar with the work of this artist, ..Maybe one of you will recognize it .Anyway the painting is very Abstract Expressionist , reverse has some letters and is dated 59'... Condition is good-no frame, size 26 by 36''....
Journal of Master Mining: MasterMiner's Journal
Pre-Purchase
The challenge? I can't quite figure out what's going on with the "figure" in this piece. Is it a dancer? Considering the artist was caught up after the Vietnam war with horrors & justice...the hands look like a "justice" model.
I went on-line & looked at images...add links & photos.
Signature
LEON GOLUB (American, born 1922) Columnar Head, 1958 Lacquer and oil on canvas 45 1/8 x 48 1/2” Gift of Debra and Robert Mayer from the Robert B. Mayer Memorial Loan Collection 1984.6.1
Born in Chicago, American painter Leon Golub earned a B.A. in Art History from the University of Chicago. After World War II, during which time he served in the United States Army, Golub studied at the School of the Art Institute of Chicago, from which he received a B.F.A. in 1949 and an M.F.A. in 1950. His earliest paintings focused on the Holocaust and the atomic bombings at Hiroshima and Nagasaki; these works reflect his experiences during the War and embody his dedication to depicting the subject of political power and its abuses. In an era dominated by the purist, ‘art for art’s sake’ rigor of Abstract Expressionism, Golub chose instead to focus on the human form. Inspired by the flawed grandeur of antique art, he began a series of colossal heads, including Columnar Head. Distant and unfeeling, these larger than life heads have blank eyes that endlessly stare over and beyond—and never at—the viewer.
Some of his best-known later works include his Gigantomachy series of 1965-68, which includes classicized nude figures entangled in ferocious battle, his Vietnam series of 1972-74, and Mercenaries, Interrogations, and Riots, three series that further examine victims and their victimizers. Golub’s disjointed and agonized figures are mirrored in the brutal rawness of his painted surfaces—pitted, scraped, and rough with thick patches of paint.
Size...correct mixture of horizontal & vertical
Signature
The signature is buried in with other dark paint which made it less than ideal. Additionally, upon blacklighting the painting, I didn't like the signature. It doesn't "float"...as if it was painted earlier. Rather, it appears it might have been added with a magic marker...a common tool amongst art thugs to create a signature that doesn't show up badly under blacklight.
This the only blaring "challenge" on this piece. I'll need to see a couple of similar period examples & look at the signatures to determine if it's a big problem.

Purchase
Ok...I just bought it. I paid $331.11 - three other people bid after an opening bid of $300.00. The magic $300 - is often a threshold for "chance" pieces. It's a point you can eventually re-sell.
Waiting for Arrival
I did some digging on-line...looking at comparable pieces.
Article Found
Lefon Golub died Aug. 8 in New York from complications following surgery. Earlier in the year, the 82-year-old painter, who was best known for his epically scaled paintings depicting scenes of torture and political repression, exhibited a group of recent drawings on erotic themes at Ronald Feldman Gallery, New York. The show also included large-scale canvases of torsos and heads painted between 1959 and 1964 with a coruscated lacquer technique that gives the figures the look of ancient eroded monuments. It was works like the latter, which blend Classical motifs with the raw materiality of Dubuffet, that first brought Golub to prominence when five of his paintings were included in the exhibition "New Images of Man" at New York's Museum of Modern Art in 1959.
Following a spell of teaching in the Midwest, Golub, together with Spero, moved to Paris in 1959. As well as raising three sons, the couple developed a particularly close artistic dialogue, one that continued until Golub's death. Returning to the U.S. in 1964, the two artists moved to New York, where Golub, who had switched from lacquer to acrylic paint, began the "Gigantomachies," large-scale paintings of battling figures based on Classical models. He also began to partially scrape away the images on his painted canvases, creating a dramatically abraded surface. About this time, he rejected the stretched canvas, outfitting his paintings with grommets that allowed them to be hung easily on the wall.
As the 1960s progressed, Golub's art began to respond more directly to current events, in particular the Vietnam War, which he staunchly opposed. In the "Napalm" series (1969), showing naked, flayed figures against raw linen grounds, and the "Vietnam" series (1972-74), scenes of U.S. soldiers attacking Vietnamese civilians, he began to cut away sections of the canvases, leaving gaping spaces that echoed the brutality and confusion of the painted images. He also increased the scale of his work: the largest of the Vietnam paintings measures some 10 by 30 feet.
Ask Art Article
In fact, Mr. Golub is an amiable man, married for a half century this December to the artist Nancy Spero, with whom he shares a remarkable artistic dialogue and divides their loft 50-50 into separate studios. Their life is their work; such domesticity as there is takes place at a table in the kitchen corner squeezed into the back of the loft and cluttered with the eclectic collection of publications to which they subscribe, from Time magazine to Women's International Network News, which itemizes human rights abuses around the world. They met at the Art Institute of Chicago after World War II, in which Mr. Golub served as a mapmaker for the Eighth Air Force. In the wake of the Holocaust and Hiroshima, Mr. Golub was abrading, chipping and attacking his surfaces. It was as if they were the flesh of the crudely rendered allegorical figures he wanted to depict as at once universal, heroic and desperately defenseless. Late Hellenistic sculpture, pre- Columbian masks, shamanism and outsider art all went into the brew, notes Jon Bird, the curator of the retrospective, in the catalog.
He made his figures jarringly disjointed, as physically inept as he says he feels in his own body. He set them in front of his scrim of red oxide, as in a Pompeiian mural. But they weren't murals, they were softer, more unstable linen, hung not stretched, patches sometimes chopped away, like limbs.
In 1959, Leon Golub boldly countered the emerging monolith of Abstract Expressionism with a series of figurative paintings inspired by sculptures at the Great Altar of Zeus at Pergamon. Golub seized upon the violent, hyper-masculine grotesquerie of the Hellenistic friezes as a visual lexicon with which to engage contemporary issues of militarization and oppression. In Reclining Youth, the artist reinterprets the figure of a dying soldier from the Pergamon Altar with a palette of blood, bone, and black; dense layers of paint, scraped in places to reveal raw canvas, generate a dynamic texture that evokes raw flesh and wounded skin. Excited by the prospect of exploring a new medium, Golub worked with Magnolia Editions to transform the image into a tapestry in 2003, resulting in an equally evocative but remarkably different piece. The work’s brutal impasto is softened by its translation into warp and weft; a rosy palette breathes new life into the original’s somber grays, while the continuity of woven threads seems almost to have healed the figure’s wounds. -Nick Stone
Leon Golub, Brawler In a Cosmic Melee

Top of Form

E-MAIL

Bottom of Form

By AMEI WALLACH
Published: July 22, 2001
I'M sort of political, sort of metaphysical, sort of wiseacre,'' Leon Golub is saying in his street-smart Chicago cadence. ''When I paint a skull, I don't do it with eyebrows furrowed.''
He has taken the more uncomfortable of the two chairs in his Greenwich Village studio, a battered metal affair, although his 79-year-old bones don't give him much relief. There's no more getting down on the floor to scrape a canvas, as in the old days in the 1980's, when he flayed the blood-red backgrounds behind his graphic, nearly 10-foot-high paintings of torturers, mercenaries and thugs with a meat cleaver.
Those paintings are the centerpiece of a retrospective, ''Leon Golub: Paintings, 1950-2000,'' organized by the Irish Museum of Modern Art in Dublin and on view at the Brooklyn Museum through Aug. 19. But as the exhibition makes explicit, they are only a way station in the artist's lifelong enterprise to make paintings that speak truth to power and record on an epic scale what he calls ''this unending fatalistic aggression which is the nature of the world.''
His cosmic ambition is to paint his dire, conflicted view of the condition of the world in which we live on the skin of the world, which is what he calls canvas.
Mostly it's a situation we'd just as soon not know about, like the guys in the truth squad horsing around while they torture a bound, hooded victim in the 1981 ''Interrogation II.'' Two of the goons face us, grinning, as if we share a dirty secret.
Mr. Golub's secret has been that he implicates us, and doesn't go that easy on himself either, in depicting official mayhem right out of the news. In the ''Interrogation,'' ''White Squad'' and ''Riot'' paintings of the 1980's, the towering figures start at floor level and intrude on our space.
This was something new in painting, not the victor's propaganda of history painting from the Romans through Jacques-Louis David; not Francisco Goya's horror over the invader. This was painting that said, ''We have met the enemy and it may be us.''
''The only question that protest art asked was, 'Which side are you on?' '' says Robert Storr, senior curator, department of painting and sculpture at the Museum of Modern Art. ''But Leon makes big heroic paintings of anti-heroic subject matter, and you can't help but be swept up by the scope. You are put on the spot. You are on the side you don't want to be on, in a position where you are mesmerized by violence and at the same time horrified by it.''
Mr. Golub has long been the art world's insider outsider, cherished for his activist efforts on issues from the Vietnam War to AIDS, but as often marginalized as celebrated for the pugnacious canvases that inevitably do battle with the aesthetic of the moment.
''See, I'm crazy because I think I am touching real things in real time,'' he says. ''People are aware of these things in film, they're aware of it in novels. We're saturated in information. But this information is not accepted in the sacrosanct temples of art because those are the highest achievements of capitalism, and what they represent is the idea that the possibilities of the human spirit are open and vast and gracious.''
As a painter he's a brawler. As a man he looks the part. There's something ominous and looming about him in a disarming, cartoony sort of way. He's got the head of one of his thugs -- or of the late Picasso: a bald bullet skull, protruding ears, a libertine's fleshy lips. The eyes give another message; they're always checking for reactions; they're in constant tension between the need to be loved and the zest for a good intellectual fight.
In fact, Mr. Golub is an amiable man, married for a half century this December to the artist Nancy Spero, with whom he shares a remarkable artistic dialogue and divides their loft 50-50 into separate studios. Their life is their work; such domesticity as there is takes place at a table in the kitchen corner squeezed into the back of the loft and cluttered with the eclectic collection of publications to which they subscribe, from Time magazine to Women's International Network News, which itemizes human rights abuses around the world.
They met at the Art Institute of Chicago after World War II, in which Mr. Golub served as a mapmaker for the Eighth Air Force. In the wake of the Holocaust and Hiroshima, Mr. Golub was abrading, chipping and attacking his surfaces. It was as if they were the flesh of the crudely rendered allegorical figures he wanted to depict as at once universal, heroic and desperately defenseless. Late Hellenistic sculpture, pre-Columbian masks, shamanism and outsider art all went into the brew, notes Jon Bird, the curator of the retrospective, in the catalog.
Very soon New York noticed. Peter Selz included Mr. Golub in his 1959 ''New Images of Man'' exhibition at the Museum of Modern Art, together with such figurative artists as Dubuffet and Giacometti. It was the wrong time and the wrong place, a moment of power struggle in the art world between a permissive profusion of styles and an uncompromising insistence on the inevitability of abstraction. William Rubin, who would soon become the reigning curator at the Modern, led the attack against figurative painting, savaging Mr. Golub.
And Mr. Golub rose to the bait. He sent Mr. Rubin a note calling him ''a big slob,'' ''a bully-boy'' and ''a sap,'' annotated with scatalogical drawings. He does that sometimes.
''Of course that letter killed any opportunity MOMA may have had to buy a painting,'' Mr. Golub says. He has had some 70 museum exhibitions, but it rankles that his paintings are sparsely represented in New York museum collections. Last year Ulrich and Harriet Meyer gave the Modern its first major Golub, his 10-foot-by-24-foot ''Gigantomachy I'' (1965). It is a painting with the ambition of a Roman frieze. It shows archetypal male figures endlessly entangled in ferocious battle.
''I describe the 'Gigantomachy' paintings as the most fatalistic and irredeemable of my work,'' Mr. Golub says. ''There's no surcease to the aggression. There's no end point.''
The Vietnam war was escalating when he was working on the ''Gigantomachy'' series. Their existential universality began to seem like a dead end, and Mr. Golub resolved the problem in the 1970's by putting uniforms on his aggressive warriors and faces on the populace. In the last half of the 1970's, he made multiple portraits of power: Nelson Rockefeller, Francisco Franco, John Foster Dulles, Mao Zedong, followed by his ''Mercenaries'' paintings.
He made his figures jarringly disjointed, as physically inept as he says he feels in his own body. He set them in front of his scrim of red oxide, as in a Pompeiian mural. But they weren't murals, they were softer, more unstable linen, hung not stretched, patches sometimes chopped away, like limbs.
''His painting became most disturbing when he put his archetypes in modern dress, in a form that looks like us,'' says Mr. Storr. ''Leon is one of those artists lots of people want to write off, but they are forced to respect him. They think about the pictures more than they want to, and that's his strength.''
In the 1980's, a young generation was reviving figuration. Julian Schnabel learned from Mr. Golub's technique, Eric Fischl from his subject matter. For the second time in his life, the artistic mainstream was in step with him, at least for the moment.
He has staged the spot where I sit in his studio: between two paintings he has just completed, ''Bite Your Tongue I'' and ''Bite Your Tongue II.'' There's a skull in each of them -- one dangles a cigarette from its teeth.
The new work has none of the coherent narrative of the theatrical paintings of the 1980's. Now he disperses over the canvas fragments of passion, politics, buffoonery and dread -- slogans, graffiti, animals, unnerving cartoons -- which pull apart as strenuously as they hang together.
The new paintings take their impulse from a 1937 essay by the philosopher Theodor W. Adorno on ''Late Style in Beethoven.'' The essay ends with words that Mr. Golub has written prominently on ''Bite Your Tongue II'': ''In the history of art late works are the catastrophes.''
''You have nothing more to lose,'' Mr. Golub says. ''The stakes are higher now. If you're ever going to do it, now's the time to do it. And these works are a catastrophe because they are going to pull out of you the most extreme possibilities that you are capable of. So they are almost catastrophic in your attempt to get to them, and they're almost catastrophic in their effect on the world.''
He turns and regards the painted dog that in one form or another runs through the new work, which is based on Marc Antony's guilt-stricken lines after helping murder Julius Caesar: ''Cry havoc, and let slip the dogs of war.''
''Dogs move through our culture as a kind of unresolved issue,'' Mr. Golub says. ''I mean we mistreat dogs, we pet dogs, when a city gets bombed out, what's left are dogs roaming through the city. The dog represents us at our most extreme letting go. I love this notion. Endgame.''
He sets his hands on black-clad knees. ''I can try and slip in something unexpected, something that doesn't belong there even. And I make it belong, somehow, see? I put in a joker. It's thrilling to me, really thrilling!''
In 1950, the year he turned 28, he wrote: ''In its most significant aspects, contemporary art is ugly . . . a threat to the ordering of society and man's concept of himself.'' For Leon Golub, nothing has changed, and everything has.

by Jerry Saltz Leon Golub, May 18-Aug. 19, 2001, at the Brooklyn Museum of Art, 200 Eastern Parkway, Brooklyn, N.Y. 11238.
It would be hard to think of an artist more out of sync with the current political or artistic moment than Leon Golub, this country's preeminent painter of torturers, mercenaries, goons and death squads at work. His paintings are big, blunt, raw, fragmentary and, in his own words, "in your face, up yours."
More interested in history and politics than in anything especially formal, Golub, 79, is a passionate activist in a time that is far from impassioned about politics. In or out of fashion -- and he has been both several times -- Golub has been painting our predilection for destruction and folly for more than 50 years.
Although I've never been a devotee of Golub's blowtorch realism, I have been shaken by his menacing figures -- thugs who send chills down your spine by doing little more than hanging out or giving you a shady glance. Golub excels at portraying what he calls "ferocious, indirect power."
In Horsing Around III (1983), a powerful black man sporting a pistol and an army jacket sits on a crate. Next to him, a standing black woman in a bandanna smokes, while a dazed-looking white woman wearing jeans and a tawny bra sits on his knee. He puts one hand on her thigh and the other down the front of her pants. The colors are sickly De Kooning-esque turquoise and yellow, the surface abraded.
But what makes this painting so disturbing -- and the thing Golub does better than any painter I can think of -- is the way it strips away your invisibility. The figures pause for a tense, pivotal moment; they know you're here, and give you a look that produces a shiver of fear, trapping you in your otherness, like you've stumbled onto something more than you can handle. Regardless of your origins or politics, Golub's work gives you a queasy sense of just how sheltered and vulnerable you really are.
This painting, and most of his other works from the 1980s (especially the "Mercenaries," "Riot," "White Squad" and "Interrogation" series), confirm that Golub is a polemicist, and a good one. From 1973, when he executed Vietnam II -- the 40-foot-long breakthrough that saw him move from mythic figures to all-too-real ones -- to 1991, with the startling Try Burning This One..., an image of two guys daring you to mess with them and their flag, Golub was almost never off-message.
What's more, this message comes through forcefully, without sentimentality or the device of language. The fact that he rarely stretched these canvases may have contributed to Golub's somewhat marginalized status, kept him from being compared to other painters.
Instead, Golub presents you with these great, slack, rough-edged things -- blood relatives to theatrical backdrops, banners and ancient tapestries. Each flaunts its flatness and its physicality. Thus, the ragged, almost primitive look of these paintings -- the stains, scrapes, wrinkles and gouges -- comes off that much more intentional and that much less arty.
However they come off, it's great to see these paintings installed so generously in such a weird political climate. Taking up little more than four contiguous galleries, this retrospective of 27 medium-to-huge works and a cluster of small portraits (of politicos like Richard Nixon, Francisco Franco and Fidel Castro) feels truncated. When I got to the last room I had to ask if the show continued elsewhere.
Nevertheless, Golub's development is tracked from a painter of muddy golems to his angular figures of the 1960s, to the eye-for-an-eye paintings of the '80s, to his occasionally poignant recent investigations into aging. Golub's chief influences seem to have been Expressionism; Dubuffet; primitive, outsider and classical art; and Abstract Expressionism's (especially Pollock's) scale and tactility. But his main touchstones were apparently José Orozco's images of social chaos and atrocity and Picasso's Guernica, which Golub saw in Chicago when he was 15, and later described as "a super-photograph, tremendous, stridently eloquent."
As for his peers, Golub's pared-down political realism acts as the third leg of an intriguing, against-the-grain, generational tripod formed by Alex Katz's reductive, apolitical, representational paintings and Peter Saul's twisted political figuration. Along with his wife, the painter Nancy Spero -- who also exhibits a fiercely independent, up-yours streak -- Golub may also have paved the way for theatrical history painters like Anselm Kiefer, Jörg Immendorff and, more recently, William Kentridge.
The catalogue capably records Golub's early failures and successes in Chicago; the drubbing he took in the press for his contribution to MoMA's 1959 "New Images of Man" show (his art was lambasted as "inflated, archaizing, phonily expressive and badly painted" by future MoMA curator William Rubin, to whom Golub wrote a note beginning, "Honey, I want you to know what a big slob you are," and accompanied by a little drawing of a man pissing on himself); a five-year relocation in Paris; a 19-year dry spell, beginning in 1963, during which he went without an exhibition in a New York commercial gallery; his destruction of nearly all his work from the mid '70s; and his rediscovery in the early '80s by a generation who admired his figuration and politics.
Sadly, this exhibition can't show one especially salient side of Golub: his writings, which vary from scintillating to scathing. For a taste of his contentiousness and willingness to hold unpopular positions, check out this scorcher of a letter, published in the November 1968 Artforum in response to an article written by Robert Smithson:
"Mangy dolt! Give up your brushes and fissure your mind! Scum, throw away your technology and rust your bones! Sadist! Release nature and the vile laws of culture! Shrink your mental mud, man! ... Die dog! We don't want your lousy bones giving anthropomorphic overtones to our graves! Entropic Demiurge! Build an earth mound! Piss on it!"
Clearly, Golub never suffered anything lightly. Sometimes he pounced on a subject; other times he crept up on it. If in his current work he can do for aging what he did to mayhem and institutional power, Golub will have raised the bar of political realism to the truly personal.
JERRY SALTZ is art critic for the Village Voice, where this article first appeared.

Blowtorch Realism

Delacroix Greece Painting
Delacroix became a leader of the Romantic school of art, deriving his inspiration from violent sources, predominantly war. Delacroix was a humanitarian, and his subjects were largely chosen in response to the tumultuous times in which he lived. Liberty Leading the People and Greece Expiring on the Ruins of Missolonghi in particular showed his love of allegory in painting, the former depicting representatives of each of the social classes of France following an anthropomorphic Liberty, and the latter depicting Greece as a single grieving woman.
The Death Of Sardanapalus c.1826 Eugene Delacroix

The French Romantics tended toward literary or allegorical sources in their work, as well as events of their own time. Eugene Delacroix greatly expanded the expressive possibilities of Romanticism. Ever since David, art and literature, especially in France, were closely associated. The "Story Picture" will evolve into the motion picture/movie of the week. The staging of exciting and disturbing events, real (the Titanic) or imaginary (Star Wars and the X-files) and a concern for visual reality to electrify the emotions. The Greek revolt against Turkish rule in 1820 (Greece Expiring On The Ruins of Missolonghi), Liberty Leading the People, and after a trip to North Africa in 1832, a series of paintings depicting "Natures Noblemen" (the dessert Arabs) unspoiled by European decadence. The Romantics believed that man is intrinsically good and that it was society that corrupts man, who would otherwise be eternally happy in his natural state.

Greece Expiring On The Ruins of Missolonghi. c.1827 Eugene Delacroix

In The Death of Sardanapalus Delacroix tells the legend of the last of the Assyrian Kings, besieged in his palace for two years by the Medes Persian. On hearing that the enemy had at last breached his walls, the King had all his concubines, slaves and horses slaughtered and his treasures destroyed before his eyes before committing suicide. And what could be more romantic than the Greek revolt againit the Turks in 1823. Artists not only painted pictures about it but went to fight for Greek freedom. Lord Byron, who went to Greece gave his life for Greek independence. For many of the French Romantic artists, war and nationalism became a major theme.

Liberty Leading The People 1830 Eugene Delacroix

In Liberty Leading the People, Delacroix put it all together: as the "people" (remember the idea of allegory), a dock worker on the far left with a top hatted "white collar" worker next to him, while on Liberty's left a young street boy, yes they had street people back then, charges over the barrackades for Liberty and France! Unfortunately, the anarchy created by the French Revolution would lead to the Dictatorship of Napoleon Bonapart and his attempted conquest of Europe. And here the Romantic ideal would be turned to the causes of French nationalism under Napoleon Bonapart. For our French Romantics, it would become "for God (Napoleon and God seeming to be on a pretty even footing) and Country" --Vive la France!

Officer Of The Imperial Guard c.1812 by Theodore Gericault

War was the perfect vehicle for the Romantic... Heroic action and violence. The adrenaline rush of charging into massed cannons as our Officer Of The Imperial Guard (right) is about to do. Of course, the reality of that action is anything but romantic. As we will see when we compare the Spanish Romantic painter Francisco Goya's depiction of war. But the idea is still with us... Star Wars and Chuck Norris, all the martial arts movies and video games.
HANNAH GRAUMANN (American, contemporary). NUDE ENCASED IN GLASS, signed lower right. Oil on board - 36 in. x 24 in.
Description: Mixed media, 23 x 17, signed (lower right): Stawvyzewski.
Summary: Mixed media female bust highlighted with messages of stopping smoking.
I do not know who the artist is - the signature is difficult to discern. The reverse was first covered with newspaper (The Philadelphia Inquirer, 1961) - s0 I assume the artist hails from or once resided in the Philadelphia area.
Provenance

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Artist Information
LEON GOLUB SELECTED BIOGRAPHY/BIBLIOGRAPHY selected Solo Exhibitions 2003 “Leon Golub: Prints and Drawings, 1948 – 2002,” International Center of Graphic Art, Ljubljana, Slovénia Chicago Cultural Center Galerie Darthea Speyer, Paris Christine König Galerie, Vienna Ronald Feldman Fine Arts, New York Crown Gallery, Brussels 2001 Ronald Feldman Fine Arts, New York Leon Golub and Nancy Spero, Instituto Cultural Peruano Norteamericano, Lima, Peru “Leon Golub and Nancy Spero Prints 1950 – 2001,” The Print Center, Philadelphia, Pennsylvania 2000-2001 Irish Museum of Modern Art, Dublin – retrospective exhibition traveling to: South London Gallery Albright Knox Gallery, Buffalo NY The Brooklyn Museum of Art 2000 S.M.A.K. (Stedelik Museum voor Actuelle Kunst), Ghent Barbara Gross Galerie, Munich Christine Konig Galerie, Vienna “The Fighting Is A Dance Too, Leon Golub/Nancy Spero,” Roth Horowitz Gallery, New York 1999-2000 “Leon Golub, While the Crime is Blazing: Paintings and Drawings, 1994--Present,” Bucknell Art Gallery, Bucknell University, Lewisberg, Pennsylvania (traveling exhibition) “Partisans,” installation for “To The Rescue: Eight Artists in an Archive,” American Jewish Joint Distribution Committee, ”International Center of Photography Midtown, New York (traveling exhibition) “Leon Golub, Nancy Spero, George Moore,” La Sala Nacional de Exposiciones, Parque Cuscatlan, San Salvador, El Salvador. Traveling to Instituto de Artes Graficos de Oaxaca, Mexico 1999 Mary Washington College, Fredericksburg, Virginia “Leon Golub, George McNeil,” Hopper House Art Center, Nyack, New York Luckman Fine Arts Complex, California State University, Los Angeles 1998 “Image Violence II,” European Workshop of Arts and Culture Hellerau, Dresden (Installation) Museo Jacobo Borges, Caracas Galerie Darthea Speyer, Paris Ronald Feldman Fine Arts, New York Anthony Reynolds Gallery, London Stefania Miscetti Arte Contemporanea, Rome 1997 Crown Gallery, Brussels “Leon Golub • Nancy Spero - Contemporaries,” The Elaine L. Jacob Gallery, Wayne State University, Detroit 1996 “Leon Golub • Nancy Spero,” Hiroshima Art Prize retrospective exhibition, Hiroshima City Museum of Contemporary Art “Sanguinary,” Installation, Hiroshima City Museum of Contemporary Art “Snake Eyes: 1995 & Sphinx & Other Enigma: 1952-56,” Ronald Feldman Fine Arts, New York “Image Violence”, Installation, Emily Carr Institute of Art and Design, Vancouver, B.C. “Gigantomachies: 1965 - 1969,” New York Kunsthalle Galerie Darthea Speyer, Paris Rhona Hoffman Gallery, Chicago Nano Museum (traveling), Part 1, Part 2, June-July 1995 “Violence Zone: The Weimar Installation,” Orangerie Schloß Belvedere, Weimar “Update,” installation for exhibition, “Nancy Spero and Leon Golub” Residenzgalerie, Salzburg “Notes In Time: Leon Golub/Nancy Spero,” installation, Fine Arts Gallery, University of Maryland, Baltimore County, Cantonsville “Leon Golub - New Work,” Rice University Art Gallery, Houston 1994-95 "War and Memory," Leon Golub/Nancy Spero retrospective exhibition 1950's-1994, American Center, Paris; List Visual Arts Center, M.I.T., Vancouver Art Gallery 1994 Hood Art Museum, Dartmouth College, Hanover, New Hampshire Burnett Miller Gallery, Los Angeles Barbara Gross Galerie, Munich "Leon Golub/ Nancy Spero," Printworks, Chicago "Leon Golub/ Nancy Spero," Rhona Hoffman Gallery, Chicago 1993 "Violence Report/Prisoners," installation, Kunsthalle Barmen/von der Heydt-Museum, Wuppertal, and Kunstverein Ulm/Ulmer Museum, Germany "Golub/Spero, 1960's/70's" and "Golub/Spero, 1990's/50's" (consecutive exhibitions), Josh Baer Gallery, New York "Works on Paper," Leon Golub and Nancy Spero, Olin Art Gallery, Kenyon College, Gambier, Ohio 1992-93 Retrospective Exhibition, Malmö Konsthall, Malmö, Sweden; Kulturhuset, Stockholm; and Kunstverein München "Public Violence," Installation, Malmö Konsthall (Gymnasium), Malmö 1992 "Political Portraits," The College of Saint Rose, Albany, New York "Patriots," Josh Baer Gallery, New York Galerie Darthea Speyer, Paris "Leon Golub Paintings 1987-92," Institute of Contemporary Art, Philadelphia (traveling to The Contemporary Museum, Honolulu; Akron Art Museum, 1993) "An Incident," Musée D'Art Contemporaine de Montréal, Quebec (installation for "Pour la Suite du Monde") Galerie Littmann, Basel "Nancy Spero & Leon Golub: Works on Paper," Traklhaus Gallery, Salzburg 1991 "WorldWide," Grand Lobby installation, The Brooklyn Museum, New York (traveling to Dickinson College, Carlisle, Pennsylvania; University of California, San Diego; Chicago Cultural Center; Lehigh University, Bethlehem, Pennsylvania) "Leon Golub/Nancy Spero," UWM Art Museum, University of Wisconsin - Milwaukee Anthony Reynolds Gallery, London 1990 Josh Baer Gallery, New York Galerie Darthea Speyer, Paris Spertus Museum of Judaica, Chicago 1989 The Eli Broad Family Foundation, Los Angeles Rhona Hoffman Gallery, Chicago Burnett Miller Gallery, Los Angeles Cranbrook Academy of Art Museum, Bloomfield Hills, MI 1988 Barbara Gladstone Gallery, New York The Saatchi Collection, London "Retrospective," Galerie Neuendorf, Frankfurt "The First Series (Lithographs 1946-56)," Parson Gallery, Northern Illinois University (traveling to Little Rock Art Center, Arkansas, 1989; Spertus Museum of Judaica, Chicago, 1990) 1987 Galerie Darthea Speyer, Paris Kunstmuseum, Luzern (traveled to Kunstverein, Hamburg) "Leon Golub/Nancy Spero," The Orchard Gallery, Derry, N. Ireland (traveled to The Douglas Hyde Gallery, Dublin, 1988) 1986 Barbara Gladstone Gallery, New York "Leon Golub/Nancy Spero," Greenville County Museum of Art, Greenville, South Carolina 1985 Rhona Hoffman Gallery, Chicago Printworks, Chicago "Prints," Stanford University Museum of Art, Stanford, California "Currents," Institute of Contemporary Art, Boston 1984 Galerie Darthea Speyer, Paris "Golub," Retrospective Exhibition, New Museum of Contemporary Art, New York (traveling in 1985 to La Jolla Museum of Contemporary Art, California; Museum of Contemporary Art, Chicago; The Montreal Museum of Fine Arts; The Corcoran Gallery of Art, Washington, DC; Museum of Fine Arts, Boston) 1983 Honolulu Academy of Arts, Honolulu "Matrix/Berkeley 58," University Art Museum, University of California at Berkeley "Leon Golub: Mercenaries, Interrogations and Other Works," Sarah Campbell Blaffer Gallery, University of Houston (traveling to Portland Center for Visual Arts; University of Arizona Museum of Art, Tuscon; Miami University Art Museum, Oxford, Ohio; Atrium Gallery, University of Connecticut at Storrs; Everson Museum, Syracuse, New York 1982 Susan Caldwell, Inc., New York Institute of Contemporary Art, London "Vietnam War," Leon Golub/Nancy Spero, Tweed Arts Group, Plainfield, New Jersey 1981 "Leon Golub/Nancy Spero," Swarthmore College, Pennsylvania 1979 Visual Arts Museum, School of Visual Arts, New York 1978 Colgate University, Colgate, New York State University of New York at Stony Brook 1976 Haverford College, Haverford, Pennsylvania San Francisco Art Institute 1975 New York Cultural Center, Retrospective Exhibition 1974 Museum of Contemporary Art, Retrospective Exhibition, Chicago 1973 Musee de L'Abbaye Saint Croix, Sable d'Olonne, France 1970-71 National Gallery of Victoria, Melbourne Galerie Darthea Speyer, Paris 1970 Hayden Gallery, Massachusetts Institute of Technology, Cambridge 1966 University of Chicago, retrospective exhibition 1964 Galerie Iris Clert; Galerie Europe, Paris (joint exhibitions) Tyler School of Art, Temple University, Philadelphia, retrospective exhibition, 1963 Gallery A, Melbourne 1959-63 Alan Frumkin Gallery, New York 1962 Galerie Iris Clert, Paris Hanover Gallery, London 1960 Centre Culturel Americain, Paris 1958 "Leon Golub/Nancy Spero," Indiana University 1957 Institute of Contemporary Art, London 1956 Pomona College, Pomona, California Pasadena Museum of Art, Pasadena, California 1955-64 Allan Frumkin Gallery, Chicago 1954 Artists Gallery, New York 1952 Wittenborn & Co., New York 1951 Purdue University, Indiana 1950 Contemporary Gallery, Chicago Selected Group Exhibitions 2003 “Sanctuary,” Glasgow Gallery of Modern Art, Scotland 2002 “Documenta XI,” Kassel, Germany “Markers II,” EAM, Kassel, Germany “Do It,” Museo de Arte Carillo Gil, San Angel, Mexico “To Do Battle: Conflict, Struggle and Symbol in Art,” Norton Simon Museum, Pasadena, California “Culture of Violence,” Fine Arts Center, University of Massachusetts, Amherst 2001-2002 “Vital Forms,” Brooklyn Museum of Art, New York (Travelling) 2000-2001 “Markers” Banner Project, Venice Biennale, International Artists Museum, Lodz, Poland “Open Ends: Contemporary Art from 1960 - 2001,” The Museum of Modern Art, New York “Reconfiguration: Works on Paper at the Central Academy of Fine Arts Gallery,” Beijing, China 2000 “Kwangju Biennale 2000,” Art and Human Rights Section, Korea “Chicago Loop: Imagist Art 1949-1979,” Whitney Museum of American Art, Stamford, Connecticut “Carnival In The Eye Of The Storm: War/ Art/ New Technologies: Kosovo,” Pacific North West College of Art, Portland, Oregon 1999-2000 “Threads of Dissent,” Isabella Stewart Gardner Museum, Boston; Fabric Workshop, Philadelphia “The End: An Independent Vision of Contemporary Culture, 1982-2000,” Exit Art, New York 1999 The American Century, Art and Culture, Part II 1950-2000, The Whitney Museum of American Art, New York “Looking Forward, Looking Black,” Elaine L. Jacob Gallery, Wayne State University, Detroit “Torn Apart,” Art Gallery of Western Australia, Perth “Face to Face: Four Centuries of Portraits,” Vancouver Art Gallery “A Sangre y Fuego,” Espai D’art Contemprani de Castello, Valencia, Spain “Speak Art,” Billboard, Mass MOCA, North Adams, Massachusetts “Millenium Messages (Time Capsules),” Hecksher Museum, Huntington, New York. Smithsonian Institution traveling exhibition through 2003. 1998 “Matrix/Berkeley: 20 Years,” The University of California, Berkely Art Museum “Presence of Greek Myth,” Instituto di Storia dell’Arte,” Palermo “Critical Interventions: Evil,” John Hansard Gallery, The University, Southampton, England “Regard Noir,” Bibliotheque National de France, Paris 1997 “Views from Abroad-European Perspectives on American Art 3,” Whitney Museum of American Art, New York “Envisioning the Contemporary: Selections from the Permanent Collection,” Museum of Contemporary Art, Chicago “do it, 1997 - 2000,” a traveling exhibition conceived and curated by Hans-Ulrich Obrist, and organized and circulated by Independent Curators Incorporated (ICI), New York 1996-97 “Multiple Identity: Selections from the Whitney Museum of American Art,” organized by the Whitney Museum of American Art, (traveling: National Gallery, Washington D.C., Alexandros Soutzos Museum, Athens; Museu d’ Art Contemporani, Barcelona; Kunstmuseum, Bonn) “Art in Chicago 1945-1995”, Museum of Contemporary Art, Chicago 1996 “Thinking Print: Books to Billboards, 1980-95,” The Museum of Modern Art, New York “In the Shadow of Storms: Art of the Postwar Era,” Museum of Contemporary Art, Chicago “withdrawing,” Ronald Feldman Gallery, New York “Second Sight: Printmaking in Chicago 1935 - 1995,” Mary and Leigh Block Gallery, Northwestern University, Chicago 1995-96 “Glaube Hoffnung Liebe Tod,” Kunsthalle, Vienna “Stones & Voices,” Stiftung für Konkrete Kunst, Revtlungen, Germany 1995 “25 Americans: Painting in the 90s,” Milwaukee Art Museum “Risarcimento: Artisti contemporanei per gli Uffizi,” Uffizi Gallery, Florence “4 x 1 im Albertinum,” Galerie Neue Meister, Staatliche Kunstsammlungen Dresden “Art with Conscience,” Newark Museum, New Jersey “Face Value: American Portraits,” The Parrish Art Museum, Southampton, New York “Murder,” Bergamot Station Arts Center, Santa Monica, California; Thread Waxing Space, New York “Death Penalty: Death of Culture,” Visual Arts Gallery, Purchase College, State University of New York, Purchase 1994 "Black Male: Representations of Masculinity in Contemporary Art," Whitney Museum of American Art, New York “As Seen By Both Sides: American and Vietnamese Artists Look at the War,” National Museum of Fine Arts, Hanoi; Fine Arts Museum, Ho Chi Minh City; Fine Arts Center, Da Nang, (note reference from 1991) "States of Loss," Jersey City Museum, New Jersey “Old Glory: The American Flag in Contemporary Art,” Clevleand Center for Contemporary Art, Ohio; Jacksonville Art Museum, Florida, 1995-96; Phoenix Art Museum, Arizona, 1996 “Civil Rights Now,“ SECCA, Southeastern Center for Contemporary Art, Winston-Salem, North Carolina “Welt-Moral,” Kunsthalle, Basel “The Assertive Image: Artists of the Eighties,” from the Eli Broad Family Foundation, UCLA/Armand Hammer Museum of Art and Cultural Center, Los Angeles 1993 "Visible Outrage," National Colloquim Art Exhibition, Ohio Wesleyan University, Delaware, Ohio "Twenty Five Years," Anniversary Retrospective, Cleveland Center for Contemporary Art, Cleveland "The Broken Mirror, "Kunsthalle, Vienna, Austria; Deichtorhallen, Hamburg "43rd Biennial Exhibition of Contemporary American Painting," The Corcoran Museum of Art, Washington D.C. "lére Triennale des Amériques, Presence en Europe 1945/92," Maubeuge, France "Artists of Conscience," Alternative Museum, New York "Waging War, Waging Peace," Ohio Wesleyan University, Delaware, Ohio "What Is Political, Anyway?," Boras Kommun Konstmuseet, Sweden 1992 "Americas," Andalusian Pavillion, Expo '92, Monasterio de Santa Clara, Moguer (Huelva), Spain "Parallel Visions: Modern Artists & Outsider Art," Los Angeles County Museum of Art (traveling 1993 to Centro de Arte Reina Sofia, Madrid, Kunsthalle Basel, and Setagaya Art Museum, Tokyo) "JFK: Myth and Denial," B4A Gallery, New York "Beyond Glory," The Maryland Institute College of Art, Baltimore 1991 "Inheritance & Transformation," The Irish Museum of Modern Art, Dublin "Devil on the Stairs: Looking Back on the Eighties," Institute of Contemporary Art, Philadelphia, (traveling to Newport Harbor Art Museum, Newport Beach, California) "The Political Arm," John Weber Gallery, New York (traveling to Washington University Gallery of Art, St. Louis) "The Critical Image," Weatherspoon Art Gallery, Greensboro, North Carolina "As Seen By Both Sides: American & Vietnamese Artists Look at the War," Boston University Art Gallery, Boston (traveling 1991-93) "Compassion & Protest: Recent Social & Political Art from the Eli Broad Family Foundation Collection," San Jose Museum of Art "Responsive Witness," Palo Alto Cultural Center, California "The Art of Advocacy," Aldrich Gallery of Contemporary Art, Ridgefield, Connecticut "16 Years of Social & Political Commentary," The Alternative Museum, New York 1990 "The Decade Show," Museum of Contemporary Hispanic Art, New York (exhibition continues at New Museum of Contemporary Art, New York and The Studio Museum of Harlem, New York) "Toward The Future," Museum of Contemporary Art, Chicago "Goya A Beijing," Centre International D'Art Contemporain de Montreal, Quebec "The Price Of Power," Cleveland Center for Contemporary Art "1968 - Concrete Utopia in Art and Society," Stadtische Kunsthalle, Dusseldorf and Museum Furgestaltung, Zurich 1989 "Prospect 89," Kunstverein, Frankfurt "First Impressions," Walker Art Center, Minneapolis (traveling 1989-90) "Estampes et Revolution 200 Ans Apres," Center National des Arts Plastiques (CNAP), Paris (traveling 1989-90) "A Different War," Whatcom Museum of History and Art, Bellingham, Washington (traveling 1989-90) 1988 "Committed to Print," Museum of Modern Art, New York (traveling) "1888/1988: Centennial Exhibition; 1988: The World of Art Today," Milwaukee Art Institute, Milwaukee "Heroics: A Critical View," Walter Phillips Gallery, Banff Center, Alberta "Representing Vietnam 1965-1973," Leubsdorf Art Gallery, Hunter College, New York "Classical Myth and Imagery in Contemporary Art," Queen's Museum, Flushing, New York "Uhuru: African and American Art Against Apartheid," City Without Walls, Newark, New Jersey "Altered States," Kent Fine Art, New York "Agit Pop," Otis/Parsons Gallery, Otis Art Institute of Parsons School of Design, Los Angeles "Democracy: Politics and Election," Group Material, DIA Art Foundation, New York "The Body and Society," Embassy Cultural House, London, Ontario "Prints As Protest," Vinalhaven Press, New York 1987 Documenta 8, Kassel, West Germany; also included in "The Castle," Group Material, Documenta 8, Kassel, "Avant-Garde in the Eighties," Los Angeles County Museum of Art "Tragic and the Timeless Today: Contemporary History Painting," University of Illinois, Chicago "International Art Show for the End of World Hunger," International Monetary Fund, Washington, DC (traveling 1987-90 through USA, Europe and Latin America) "Morality Tales," Grey Art Gallery & Study Center, New York University (traveling) "Art Against AIDS," Barbara Gladstone Gallery, New York "Constitution," Group Material, Temple University, Philadelphia "The Atelier Project," Neuberger Museum, State University of New York at Purchase "The 100 Days of Contemporary Art of Montreal," Centre International d'Art Contemporain de Montreal (CIAC), Quebec "All The News That Fit For Print," PPOW Gallery, New York "Anti-Baudrillard," Group Material, White Columns, New York "Concrete Crisis, Urban Images of the 80's," PAD/D (Political Art Documentation/ Distribution), Exit Art, New York 1986 "Momento Mori," Centro Cultural/Arte Contemporaneo, Mexico City "State of Art," Institute of Contemporary Art, London "Re-Inventing Politics: Political Art Now," Telluride Institute, Telluride, Colorado "Image Wars," Center for Idea Art, Denver "American Myths," Kent Fine Art, New York "The Law & Order Show," Barbara Gladstone Gallery, New York "75th American Exhibition," The Art Institute of Chicago "En Camino," Museo Del Chopo, Mexico City "Ironies of Freedom: Violent America," Emila Lowe Gallery, Hofstra University, Hempstead, Long Island, New York 1985 "The Other America," Royal Festival Hall, London "The Political Landscape," Robeson Center Gallery, Rutgers University, Newark, New Jersey "Actual Size," Larry Gagosian Gallery, Los Angeles "Save Life on Earth," International Physicians for the Prevention of Nuclear War, traveling from Budapest through Europe, Japan, Australia, etc., 1985-86 "Disinformation," Alternative Museum, New York "States of War: New European & American Painting," Seattle Art Museum "Mass," Group Material (traveling) "El Arte Narrativo y Pintura Mexicana," PS 1, Long Island City, New York "State of Mind, State of the Union," PADD, Judson Church Gallery, New York "Male Sexuality: Expressions," Art City, New York Nouvelle Biennale de Paris, La Villette, Paris Biennal Exhibition, Group Material Installation, "Americana," Whitney Museum of American Art, New York "Social Studies," Barbara Gladstone Gallery, New York 1984 "Artists Call Against American Intervention in Central America," Benefit Exhibition, Judson Church, NYC; Leo Castelli Gallery, New York "Art as Social Conscience," Edith C. Blum Art Institute, Bard College Center, Annandale-on-Hudson, New York "The New Portrait," Institute for Art and Urban Resources, PS 1, Long Island City, New York "Body Politic," Tower Gallery, New York "The Human Condition: San Francisco Museum of Modern Art Biennial III" "Content: A Contemporary Focus, 1974-84," Tenth Anniversary Exhibition, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC ROSC '84, "The Poetry of Vision," Dublin "Alternate Spaces: A History in Chicago," Museum of Contemporary Art, Chicago "Tradition and Conflict: Images of a Turbulent Decade, 1963-1973," Studio Museum in Harlem, New York "La Narrativa Internacional de Hoy," Museo Tamayo, Mexico City 1983/84 "Brave New Works: Recent American Painting and Drawing," Museum of Fine Art, Boston 1983 "1983 Biennial," Whitney Museum of American Art, New York "Portraits on a Human Scale," Whitney Museum of American Art, Downtown Branch at Federal Hall National Memorial, New York "The War Show," State University of New York at Stony Brook "It Was a Time for Anger," Institute for Art and Urban Resources at PS 1, Long Island City, New York "Art Couples III: Leon Golub and Nancy Spero," Institute for Art and Urban Resources, Inc. at PS 1, Long Island City, New York "New York Painting Today," Carnegie Mellon Institute, Pittsburgh "Sex and Violence," Contemporary Arts Center, New Orleans "Resistance Festival for Nicaraguan Artists," Danceteria, New York "Terminal New York Exhibit," Harborside Industrial Center (former Brooklyn Army Terminal), Brooklyn, New York "New Work New York: Newcastle Salutes New York," Newcastle Polytechnic Gallery, Newcastle, England; Arcade Gallery, Harrowgate, England 1982 "Realism & Realities: The Other Side of American Painting 1940-1960," Rutgers University, New Jersey; Montgomery Museum of Fine Arts, AL; University of Maryland "Homo Sapiens," Aldrich Museum, Ridgefield, Connecticut "Mixing Art and Politics," Randolph Street Gallery, Chicago "Painting and Sculpture Today," Indianapolis Museum of Art, Indiana "Dangerous Works," Parsons School of Design, New York "Atomic Salon," Ronald Feldman Gallery, New York "Luchar!," Taller Latinoamericano, New York "The Monument Redefined," Gowanus Memorial Artyard, New York "Photographies d'Artistes," Galerie France Morin, Montreal, Quebec 1981 "Figure in American Art," Art Museum of Southwest Texas, Corpus Christi; University of South Dakota "Heads," Institute for Art and Urban Resources at PS 1, Long Island City, New York "Crimes of Compassion," Chrysler Museum, Norfolk, Virginia "Realism," Bard College, Annandale-on-Hudson, New York 1980 "American Figurative Painting 1950-1980," Chrysler Museum, Norfolk, Virginia "Art of Conscience, the Last Decade," Wright State University, Dayton, Ohio (traveling 1981-82) "Mavericks (Aspects of the Seventies)," Rose Art Museum, Brandeis University, Waltham, Massachusetts 1979 "Political Comment in Contemporary Art," State University College at Potsdam; State University of New York at Binghampton (1980) "Harlem Renaissance Exhibit III," City College of New York, New York "Centennial Exhibition," Art Institute of Chicago 1977 "Memorial to Orlando Letelier," Cayman Gallery, New York "Paris-New York," Centre d'Art et de Culture Georges Pompidou (Centre Beaubourg), Paris 1976 "Visions: Distinguished Alumni Exhibition, 1945 to Present," School of the Art Institute of Chicago "Project Rebuild," Grey Art Gallery at New York University, Municipal Gallery and Museum of Modern Art, Udine, Friuli, Italy "Exhibition of Liturgical Arts," 41st International Eucharistic Congress, Philadelphia "A Decade of American Political Posters: 1965-1975," Westbeth Galleries, New York "The Michener Collection: American Painting of the 20th Century," University of Texas (circulated in the US, Europe and Latin America, 1966-76) 1974 "Continuing Graphic Protest...and the Grand Tradition," Pratt Graphic Center Gallery, New York (traveling) 1972 "Collage of Indignation II," New York Cultural Center, New York "Bertrand Russell Centenary Year Exhibition," Woburn Abbey "Chicago Imagist Art," Museum of Contemporary Art, Chicago, IL; New York Cultural Center, New York "International Art Manifesto for the Legal Defense of Political Prisoners," Berkeley 1970 "American Painting," Virginia Museum "Peace Exhibition," Philadelphia Museum of Art "Flag Show," Judson Memorial Church, New York 1969 Salon Comparaisons, Paris "L'oeil Eccoute," Avignon Arts Festival "Il Bienial International del Deporte en las Bellas Artes, Madrid 1968 "Mayor Richard Daley," Feigen Gallery, Chicago & New York; Cincinnati Museum, (1969) "Art and Liberation," Nihon Gallery, Tokyo "The Obsessive Image, 1960-68," Institute of Contemporary Art, London "La Figuration depuis la Guerre," St. Etienne 1967 Prix Marzotto, European Community Prize Exhibition "Sources for Tomorrow," Smithsonian Institution, Washington, DC (traveling through 1969) "Collage of Indignation," Angry Arts, New York University "Il International der Zeichnung," Darmstadt, Germany Carnegie International, Pittsburgh "Le Monde en Question," Musee d'Art Moderne, Paris 1966 "American Painting," Virginia Museum Los Angeles Peace Tower, Los Angeles "USA: Art Vivant," Musee des Augustins, Toulouse 1965 "Il Presente Contestato," Museo Civico, Bologna "The Figure International," American Federation of Arts (traveling through 1966) 161st Annual, Pennsylvania Academy, Philadelphia "American Exhibition," University of Illinois, Urbana 1964 "The Figure Since Picasso," Ghent, Belgium "Mythologigues Quotidiennes," Musee d'Art Moderne, Paris "Prix Marzotto," European Community Prize Exhibition (traveled through Europe 1964-65) Documenta III, Kassel, 160th Annual, Pennsylvania Academy, Philadelphia Carnegie International, Pittsburgh 1963 "American Exhibition," University of Illinois, Urbana "New Directions," San Francisco Museum of Modern Art "Dunn International," Tate Gallery, Beaverbrook Art Gallery, New Brunswick, Canada "Bertrand Russell Peace Foundation Exhibition," Woburn Abbey "Forum," Abbey St. Pierre, Ghent, Belgium "Art: USA: Now," national and international traveling exhibition through 1964 "Realities Nouvelles," Musee d'Art Moderne, Paris 1962 Corcoran Museum Annual, Washington, DC "The Figure," Museum of Modern Art, New York "La Piccolo Bienale," Galerie Iris Clert, Venice San Paolo Biennele "65th American Exhibition," Art Institute of Chicago 1961 "Second International Biennial," Academy of Fine Arts, Mexico City "Private Worlds," American Federation of Arts 1959 "New Images of Man," Museum of Modern Art, New York "Museum Directors' Choice," Baltimore Museum of Art "63rd American Exhibition," Art Institute of Chicago 1958 "Surrealist and Dada Sculpture," Arts Club, Chicago 1957 "American Exhibition," University of Nebraska "American Exhibition," University of Illinois 1956 Annual Exhibition, Whitney Museum of American Art, New York 1955 Annual Exhibition, Whitney Museum of American Art, New York Institute of Contemporary Arts, Houston 1954 "Expressionism, 1900-1950," Walker Arts Center, Minneapolis "61st American Exhibition," Art Institute of Chicago Carnegie International, Pittsburgh "Younger American Painters," Guggenheim Museum, New York, national traveling exhibition through 1956 1953 "International Exhibition of Modern Graphics," Salzburg, Vienna, Linz, Berlin, Munich, Hamburg 1948-58 "Exhibition Momentum," Roosevelt College, Chicago (subsequent locations, Chicago area) 1947 "First Veterans Annual," School of the Art Institute of Chicago Selected Biography Abel, Jeff. “Leon Golub at the MCA,” Chicago Artists’ News. April, 1997 Adams, Shelley F. & "An Interview with Leon Golub," Rutgers Art Review XII-XIII, 1991-1992, Justin Carlino pp. 70-86 Alloway, Lawrence "Leon Golub, Paintings from 1956-57," exhibition catalog, Allan Frumkin Gallery, Chicago 1957 "Leon Golub," exhibition catalog, Hanover Gallery, London 1962 "Leon Golub: Art & Politics," Artforum, October 1974, pp. 66-71 "Leon Golub, The Development of His Art," exhibition catalog, Museum of Contemporary Art, Chicago 1974 "Art," The Nation, February 19, 1977, pp. 221-222 Andersen, Wayne American Sculpture in Process: 1930-1970, New York Graphic Society, 1975, pp. 136-140, 143-144 Anonymous "Leon Golub," Current Biography, vol. 45, August 1984, pp. 20-23 Arac, Jonathon, ed. "Engagements: Postmodernism, Marxism, Politics," Boundary #2, Vol. XI, Fall/Winter 1982/83, Portfolio Avgikos, Jan Review of "Patriots," Josh Baer Gallery, NYC, Artforum, April 1992 Baigell, Matthew "'The Mercenaries': An Interview with Leon Golub," Arts Magazine, May 1981, pp. 167-69 Bird, Jon “Infvitabile Fatvm: Leon Golub’s History Painting,” Oxford Art Journal, vol.20, #1, 1997, cover & pp. 81-94 “A Crack in the Tea-cup: Leon Golub’s History Painting,” exhibition catalog, Hiroshima City Museum of Contemporary Art, 1996 "Leon Golub: Fragments of Public Vision," exhibition catalog, Institute of Contemporary Art, London, 1982 "The Imag(in)ing of Power," Art Monthly, vol. 83, February 1985, Berlind, Robert “Leon Golub at Ronald Feldman”, Art in America, February 1999, p. 107 pp. 10-13 Bowman, Richard "Looking To The Outside: Art In Chicago, 1945-75: Leon Golub," exhibition catalog, Parallel Visions: Modern Artists & Outsider Art, Los Angeles County Museum of Art, 1992, pp. 151-153. Brenson, Michael "Art: From Leon Golub, Political Thugs Gallery," The New York Times, February 10, 1984, p. C20 "Art: A Golub Retrospective at The New Museum," The New York Times, September 28, 1984, p. C29 Brooks, Rosetta "Undercover Agent," Artforum, January 1990, pp. 114-121 and cover Bryant, Edward "Portraits of Power," exhibition catalog, Colgate University, Hamilton, NY 1978 Danto, Arthur "Art: Golub," The Nation, November 17, 1984, pp. 531-533 Davies, Suzanne "Leon Golub," Art Network (Australia), Autumn 1985, pp. 21-24 Diduk, Barbara & "A Conversation With Leon Golub," WorldWide traveling exhibition David Robertson catalog, commencing at Dickinson College, Carlisle, PA, March 1992, pp. 19-21(reprinted in Leon Golub - Violence Report, exhibition catalog, "Violence Report/Prisoners," Kunsthalle Barmen/von der Heydt-Museum, Wuppertal, Germany, 1990 and Kunstverein Ulm/Ulmer Museum, Ulm, Germany, 1993-94) Dreiss, Joseph "Leon Golub's Gigantomachies: Permagon Revisited," Arts Magazine, May 1981, pp. 174-176 Eisen, Albert "Leon Golub," exhibition catalog, Allen Frumkin Gallery, NYC, 1959 Eshleman, Clayton "Golub the Axolotl," Temblor, No. 6, 1987, pp. 109-113 (also appeared in Antiphonal Swing: Selected Prose 1962/1987, McPherson & Co., pp. 89-100) Fehlemann, Sabine Leon Golub - Violence Project, exhibition catalog, "Violence Report/Prisoners," Kunsthalle Barmen/von der Heydt-Museum, Wuppertal, Germany, 1990 and Kunstverein Ulm/Ulmer Museum, Ulm, Germany, 1993-94 Fournet, Claude "Golub," exhibition catalog, Musee de L'Abbaye Sainte Croix, Les Sables-D'Olonne, August 6-September 1, 1973 Fuller, Peter "Chicago for Real: Leon Golub," New Society (London), July 26, 1979, pp. 198-199 (reprinted in Beyond the Crisis in Art, Writers and Publishing Cooperative Society, London, 1980, pp. 104-109) Goldstein, Richard & "Technicians of Torture," The Sciences, March/April 1986, pp. 14 Patrick Bresslin 19, cover and illustrations Golub, Leon "A Law Unto Himself," Exhibition Momentum - A Forum, 9 Viewpoints, Chicago 1950 "A Critique of Abstract Expressionism," College Art Journal, Winter 1955 Statement, exhibition catalog, Allan Frumkin Gallery, New York, 1963 "Bombs and Helicopters: The Art of Nancy Spero," Caterpillar I, 1967 (reprinted in Nancy Spero: Works Since 1950, Everson Museum of Art, Syracuse, NY, 1987) Review of Styles and Radical Will, by Susan Sontag, Caterpillar 8/9, October 1969, pp. 127-128 "Regarding the Lehman and Rockefeller Gifts to the Metropolitan Museum," Artforum, November 1970 "Utopia/Anti-Utopia," Artforum, May 1972, pp. 33-34 "2D/3D," Artforum, March 1973 "16 Whitney Museum Annuals of American Painting, Percentages 1950-1972," Artforum, March 1973 "Art & Politics," Artforum, October, 1974, pp. 66-71 What Works?" Art Criticism, vol. 1, Fall 1979, pp. 29-48 "Too Much of What?" Art Workers News, vol. 10, June 1981, p. 21 "On Being T (Taken for Granted)," New Art Examiner, October 1981, p. 3 "Interrogations, Mercenaries, White Squads," edited talk with Leon Golub, Ferro Botanica, November 1982, pp. 11-23 Statement, exhibition catalog, "American Myths," Kent Fine Art, NYC, October 1985 Statement, Fifty New York Artists, Chronicle Books, San Francisco,1986 Interview, exhibition catalog, "Process & Product," Bard College, Annandale-on-Hudson, New York, 1987 "Aura: Iron Age," Artist Project, Artforum, October 1987, pp. 8-9 "The Proper Testimony of the Artist," exhibition catalog, "Surviving Visions: The Art of Iri and Toshi Maruki," Massachusetts College of Art, Boston, 1988 "'Picturing' Greatness," review of exhibition at The Museum of Modern Art, NYC, C Magazine, Summer 1988, pp. 26-28 "Monuments of Egypt: The Napoleonic Edition," Artforum, December 1988, p. 110 Photos, Impulse, Winter 1989, pp. 20-23 "Split Infinities," Artforum, January 1990, pp. 118-120 Interview, Pataphysics G/H, Melbourne, 1990 Statement for Richard Bolton's The Emporer's New Clothes: Censorship, Sexuality and the Body Politic, Photographic Resource Center, Boston, MA, July 1990 Statement, "Napalm Testicles," John Weber Gallery, NYC, Nov 1990 Interview, "On Nationality: 13 Artists," by Lily Wei, Art In America, September 1991, p.124 "From Baldung To Bush," Sex & Death, New Observations, Issue 80 Nov/Dec 1990, p. 12 "An Incident," exhibition statement for "Pour La Suite du Monde," Musée d'Art Contemporaine de Montréal, May 1992 Interview, Leon Golub-Violence Report, exhibition catalog, "Violence Report/Prisoners," Kunsthalle Barmen/von der Heydt-Museum, Wuppertal, Germany, 1990 and Kunstverein Ulm/Ulmer Museum, Ulm, Germany, '93-94, May 28, 1993 Forum, "Du Témoignace Comme Désengagement," ArtPress 194, September 1994, pp. 49-50. Interview, "A conversation with Leon Golub and Nancy Spero," exhibition catalogue, War and Memory, Leon Golub/Nancy Spero retrospective exhibtion 1950-1994, The American Center, Paris, MIT List Visual Arts Center, Cambridge, MA, 1994-95 “Leon Golub: Do Paintings Bite?” , selected texts 1948 - 1996, edited by Hans-Ulrich Obrist, Cantz Verlag, Ostfildern, Germany, 1997 Gordon, Avery “The Sledge-Hammer And The Dagger,” Interview, exhibition catalog for “While The Crime Is Blazing (Malcontent)”, Bucknell University, Lewisburg, Pennsylvania, 1999 Gumpert, Lynn & Golub, exhibition catalog, New Museum of Contemporary Art, New Ned Rifkin York City, 1984 Guthrie, Derek "Art, Politics and Ethics: Interview with Leon Golub and Nancy Spero," New Art Examiner, vol. 4, April 1977, pp. 6-7 "The Art of Conscience," WorldWide traveling exhibition catalog, commencing at Dickinson College, Carlisle, PA, March 1992, pp. 10-13 (reprinted in Leon Golub - Violence Report, exhibition catalog, "Violence Report/Prisoners," Kunsthalle Barmen/von der Heydt-Museum, Wuppertal, Germany, 1990 and Kunstverein Ulm/Ulmer Museum, Ulm, Germany, 1993-94) Hammond, Pamela "Leon Golub: Burnett Miller" Art News Reviews, March 1990, p. 193 Harris, Susan "Golub/Spero - Reality and Revelation," catalog for exibitions, Josh Baer Gallery, NYC, 1993 Hayes, John "Massive Canvases Record 'Brute Facts and Brutal Events,'" Marchbox, AIUSA (Amnesty International USA), February 1983, p. 11 Hendrickson, Janis "Leon Golub," exhibition catalog, Neuendorf Gallery, Frankfurt, West Germany, 1988 Hess, Elizabeth "The Killing Fields," The Village Voice, December 13, 1988 Horsfield, Kate "Profile: Leon Golub," Interview, Video Data Bank, School of the Art Institute of Chicago, vol. 2, March 1982 Horodner, Stuart “You See You Know - Leon Golub and Nancy Spero,” Dazed and Confused, issue 23, August 1996, pp 116 – 118 “While the Crime is Blazing (Malcontent),” exhibition catalog essay, Bucknell University, Lewisburg, Pennsylvania, 1999 Hughes, Robert "The Human Clay in Extremis," Time Magazine, December 31, 1984, p. 67 Hutchinson, John "In Conversation with Leon Golub & Nancy Spero," Circa Art Magazine (Northern Ireland), # 36 September/October 1987, pp. 29-33 Isaak, Jo-Anna "Who Wears the Pants in the House of Being?" Interview, Arts Magazine, January 1992, Vol. 66, #5, pp. 54-59. “Rebel With A Cause,” CIRCA 93, Dublin, Autumn 2000, pp. 35-37 Johnson, Ken "Golub's Men," exhibition catalog, Political Portraits, College of Saint Rose, Albany, NY, 1992 Karmel, Pepe “Leon Golub’s Dogs of War and Pain,” The New York Times, March 1, 1996 Klein, Barbara "Leon Golub," exhibition catalog, Massachusetts Institute of Technology, 1970 Kozloff, Max "The Late Roman Empire in the Light of Napalm," Art News, November 1970, pp. 58-60, 76-78 Kimmelman, Michael. “At The Met With Leon Golub and Nancy Spero, The New York Times, January 5, 1996 Kuspit, Donald "Golub's Assassins: An Anatomy of Violence," Art in America, May/June 1975, pp. 62-65 "Leon Golub's Murals of Mercenaries: Aggression, 'Resentiment,' and the Artist's Will to Power," Artforum, May 1981, pp. 52-57 Leon Golub: Existential/Activist Painter, Rutgers University Press, New Brunswick, NJ, Spring 1985 Levin, Kim "Power to the Painter," The Village Voice, February 28, 1984 "Leon Golub," Art of Our Times - The Saatchi Collection, Lund Humphries, London & Rizzoli, New York, 1985 Lingemann, Susanne "Leon Golub Der Brutale Realist," Art, December 1991, pp. 64-78 Lippard, Lucy "Making Manifest," The Village Voice, January 27, 1982, p. 72 (reprinted in Get the Message? A Decade of Art for Social Change, EP Dutton, Inc., New York, 1984, pp. 279-281 "Necessary Evils," The Village Voice, March 19, 1985, p. 92 Lösel, Anja "Cowboys & Folterknochte," Stern, August 11, 1993, pp. 102-3 Lyon, Christopher "Synthetic Realism: Albright, Golub, Paschke," College Art Journal, Winter 1987 "An Ambiguous and Changing Terrain: Nancy Spero and Leon Golub Talk About Art and Political Commitment," The Museum of Modern Art Members Quarterly #46, NYC, Winter 1987 Malone, Patrick & "Is There a New Chicago School?" Art News, October 1955 Peter Selz Marzorati, Gerald "Leon Golub's Mean Streets," Art News, February 1985, pp. 74-87 and cover A Painter of Darkness: Leon Golub and Our Times, Viking Penguin, Inc., New York, 1990 McBride, Henry "American Looking East, Looking West," Art News, May 1954 McEvilley, Thomas "Frontal Attack: The Work of Leon Golub", Leon Golub, exhibition catalogue, Malmo Konsthall, Malmo, Sweden, 1992-93 Miller, James A. & The Arts and the Public, University of Chicago Press, Chicago, Paul Herring 1967, pp. 195-211, 223-224 Millet, Catherine “Face á l’Histoire,” Art Press, Paris, February, 1997, p.75 Nairne, Sandy State of the Art: Ideas and Images of the 1980's, A Channel Four Book, Chatto & Windus, London, 1987, pp. 167-174 Newman, Michael "Interview with Leon Golub," exhibition catalog, Institute of Contemporary Art, London, 1982 Obrist, Hans-Ulrich “Trialogue At The Cut-Off,” exhibition catalog, Hiroshima City Museum of Contemporary Art, 1996 "Atlanten und Archive," interview by Hans-Ulrich Obrist, Meta 3 Atlanten Und Archive, 1994, pp. 120-124. “Dog Jaw Monument,” Unbuilt Roads, Verlag Gerd Hatje, Germany Do It, traveling exhibition catalog Independent Curators Incorporated, New York, p. 104, 1997 “Utopia,” Hans-Ulrich Obrist, Molly Nesbit, Nancy Spero, Leon Golub, True Truth About The Nearly Real, Kunstlerhaus, Mousonturm, Frankfurt/Main, 2002, pp. 84 - 99 Perreault, John "Assassins," Soho Weekly News, April 10, 1975, p. 15 "Realpolitik," Soho Weekly News, January 26, 1982, p. 24 Pincus-Witten, "Golub on Three Levels," exhibition newsletter, Iris. time, #15, Robert Galerie Iris Clert, Paris, May 27, 1964 Rapaport, Brooke K. "WorldWide: Leon Golub," exhibition catalog, The Brooklyn Museum, NYC, April 1991 (reprinted as "Leon Golub's First Installation: Derived From His Paintings," in WorldWide, traveling exhibition catalog, organized by David Robertson, Dickinson College, Carlisle, PA, March 1992 and in Leon Golub - Violence Report, exhibition catalog, "Violence Report/Prisoners," Kunsthalle Barmen/von der Heydt-Museum, Wuppertal, Germany, 1990 and Kunstverein Ulm/Ulmer Museum, Ulm, Germany, 1993-94) Ratcliff, Carter "Theater of Power," Art In America, January 1984, pp. 74-82 and cover Roberts, John "Leon Golub's Mercenaries and Interrogations," Art Monthly (London), September 1982 "Leon Golub: Selected Paintings 1967-1986," exhibition catalog, Orchard Gallery, Derry, Northern Ireland; Douglas Hyde Gallery, Dublin, Ireland Robins, Corinne "Leon Golub," exhibition catalog, National Gallery of Victoria, Melbourne, Australia, 1970-71 Rosenberg, Harold "Aesthetics of Mutilation," The New Yorker, May 12, 1975 Sachs, Brita "Aus den finstersten Winkeln des menschlichen Wesens," Frankfurter Allgemeine Zeitung, August 26, 1993, Nr. 197/Seite 29 Sandler, Irving "An Interview with Leon Golub," Arts Magazine, February 1970 "Interview: Leon Golub Talks with Irving Sandler," Journal, Archives of American Art, vol. 18, 1978, pp. 11-18 Schjeldahl, Peter "Red Planet," The Village Voice, October 26, 1982, pp. 96, 111 "Leon Golub," exhibition catalog, Barbara Gladstone Gallery, NYC, 1986 (reprinted in "New York, New Art," Art & Design, vol. 5, No. 7/8, 1989, pp. 54-57) "What is Political Anyway?" exhibition catalog, Boras Konstmuseum, Sweden, 1993 Schulze, Franz "One Man's Quest for a Symbol of Our Times: Leon Golub's Fearsome Giants," Chicago Daily News, February 22, 1969 Fantastic Images: Chicago Art Since 1945, Follett Publishing Co., Chicago, 1972, pp. 40-49 Searle, Adrian Interview, Leon Golub and Nancy Spero, Talking Art I, Institute of Contemporary Art, London, 1993, pp. 43-52 “A Half-Century of Pain, Violence, Torture, War, Evil and Anger,” The Guardian, London, July 11, 2000, p. 12 Selz, Peter "A New Imagery in American Painting," College Art Journal, Summer 1956 "New Images of Man," exhibition catalog, The Museum of Modern Art, NYC, 1959 Siegel, Jeanne "Interview, Leon Golub/Hans Haacke: What Makes Art Political?" Arts Magazine, April 1984, pp. 107-110 (reprinted in Artworlds 2: Discourse on the Early 80's, UMI Press, AnnArbor, Michigan, 1988) Siegel, Jeanne, ed. "How Effective is Social Protest Art?" (Vietnam), Artwords, UMI Press, Ann Arbor, Michigan, 1985, pp. 101-120 Smith, Roberta "Golub/Spero, Part II - 90's/50's," The New York Times, May 7, 1993 Sonna, Birgit "Gewalt auf der Leinwand," Münchner Kulter, Munich, August 12, 1993, Zeitung No. 184/Seite 11 Speyer, James A. "Leon Golub, Retrospective Exhibition," exhibition catalog, Stella Elkins Tyler School of Fine Arts, Temple University, Philadelphia, 1964 Spurling, John "Larger Than Life-Size," New Statesman, August 13, 1982, p. 28 Storr, Robert "Riddled Sphinxes," Art In America, March 1989, pp. 126-131 "Images of Rule: A Power Pack," Art Journal, Summer 1989, vol. 48, no. 2, pp. 180-185 Strauss, David Levi The Fighting Is A Dance Too, Roth Horowitz publisher, New York, 2000 Suzanski, Edward J. "Leon Golub Leads Viewers Into Violent Scenarios," Philadelphia Enquirer, May 24, 1992 Talabot, G. Gassiot "Les Gigantomachies de Golub," exhibition newsletter, Iris. time, #15, Galerie Iris Clert, Paris, May 27, 1964 "Golub: Les Mythes a l'heure du Napalm," Opus International, #23, March 1971, pp. 36-37 Tallmer, Jerry "Meat Cleaver Beauty," New York Post, Weekend, Friday, August 10, 1990, p. 26 Wescott, Hanne "Nancy Spero Und Leon Golub: Ars Sine Scientia Nihil Est," Artis, Das Aktuelle Kunstmagazin, April 1990, pp. 30-35. "Leon Golub," Kritik, Munich, April, 1993, pp. 80-82. Wittocx, Eva Leon Golub: Bijten Schilderijen?, “exhibition catalogue, S.M.A.K. (Stedelijk Museum Voor Atuele Kunst), Ghent, Belgium, 2000 Wye, Deborah "Committed to Print," exhibition catalog, The Museum of Modern Art, NYC, 1988 Selected Grants and Awards 2000 Honorary Doctor of Fine Arts, Pratt Institute, Brooklyn, New York 1999 The Robert Lepper Distinguished Lecture in Creative Inquiry, Carnegie Mellon School of Art Honorary Doctor of Fine Arts, Trinity College, Hartford 1997 Cityarts, New York, 29th annual award (jointly with Nancy Spero) 1996 Hiroshima Art Prize (Jointly with Nancy Spero) Fellow, American Academy of Arts and Sciences 1995 Honorary Doctor of Humane Letters, College of Saint Rose, Albany, New York Visual Art Award, National Foundation of Jewish Culture, New York992 Dickinson College Arts Award 1989 Award, Chicago Committee to Defend the Bill of Rights 1988 Skowegan Medal for Painting 1986 William H. Bartels, Martin B. Cahn & Walter M. Campana Award, 75th American Exhibition, Art Institute of Chicago 1985 Honorary Doctor of Fine Arts, Swarthmore College 1984 Appointed John C. Van Dyck Professor of Visual Arts, Rutgers University 1982 Honorary Doctor of Fine Arts, School of the Art Institute of Chicago Christian & Mary Lindback Foundation Award, Rutgers University 1973 American Academy of Arts and Letters, National Institute of Arts and Letters 1968 Guggenheim Foundation Grant 1967 Cassandra Foundation Grant 1965 Tamarind Lithography Grant, Los Angeles 1962 Watson F. Blair Purchase Prize, 65th American Exhibition, Art Institute of Chicago 1961 Honorable Mention, 2nd Interamerican Biennial of the Academy of Fine Arts, Mexico City 1960 Ford Foundation Grant 1954 Florsheim Memorial Prize, 61st American Exhibition, Art Institute of Chicago Print Folios 1985 "Fashion Moda Benefit Portfolio," NYC 1972 "Conspiracy - The Artist as Witness," 12 artists, published by the Center for Constitutional Rights, NYC, to raise funds for the defense of the Chicago Eight 1967 Artists & Writers Protest, Peace Portfolio, 16 artists, 18 poets 1954 "Contemporary Sculpture Portfolio," Spirale 4, Berne, Switzerland Video & Film War And Memory, Nancy Spero and Leon Golub: Retrospective at the American Center in Paris, video documentary by Irene Sosa, music by A.E. McClelland, 1994 Golub, a film by Kartemquin Films, Chicago, IL, 1988 (previewed New York Film Festival, 1988) State of the Art: Ideas & Images of the 1980's, Program 5, TV Film Channel Four, London, England, 1987 Victims, Media Environment with Nancy Spero and Werner Wada, Rod Rodgers Dance Company The Mercenary Game, a documentary film by Alain d'Aix, Jean-Claude Burger, Morgan Laliberte Productions; InformAction & The Societe, The RadioTelevision du Quebec, 1983 Interview Series, School of the Art Institute of Chicago Video Data Bank, with Kate Horsfield; produced by Kate Horsfield and Lyn Blumenthal, 1977 Attica Book, art work by Black and White artists, the writings of prison inmates, Black Emergency Cultural Coalition and the Artists & Writers Protest, New York, 1972 Books ArT RANDOM Leon Golub: Heads and Portraits, Kyoto Shoin International Co., Ltd., Kyoto, Japan, 1990 Bird, Jon Leon Golub: Echoes if the Real, Reaktion Books, London, 2000 Golub, Leon Do Paintings Bite?, edited by Hans-Ulrich Obrist, selected texts 1948 - 1996, Cantz Verlag, Ostfildern, Germany, 1997 Kuspit, Donald Leon Golub: Existential/Activist Painter, Rutgers University Press, New Brunswick, NJ, Spring 1985 Marzorati, Gerald A Painter of Darkness: Leon Golub and Our Times, Viking Penguin, Inc., New York, 1990 Museum Collections Albright Knox Museum, Buffalo, New York Amon Carter Museum of Eastern Art, Fort Worth, Texas Art Gallery of Western Australia, Perth Art Institute of Chicago Australian National Gallery, Canberra Baltimore Museum of Art, Maryland Bibliotecque National, Paris Brooklyn Musuem of Art, New York Carnegie Museum of Art, Pittsburgh, Pennsylvania Cincinnati Art Museum, Ohio Civici Museo, Udine, Italy Corcoran Gallery of Art, Washington, DC Des Moines Art Center, Des Moines, Iowa Fogg Museum, Harvard University, Boston, Massachusetts Fond National d’Art Contemporain, Paris Galleria Degli Uffizi, Florence, Italy Greater London Council, London Greenville County Museum of Art, South Carolina Hampton Institute, Virginia Hiroshima City Museum of Contemporary Art Hirshhorn Museum and Sculpture Garden, Washington, DC Honolulu Academy of Fine Art, Hawaii Hunter Museum of Art,. Chattanooga, Tennessee Indiana University Art Museum, Bloomington, Indiana Indianapolis Museum of Art, Indianapolis Israel Museum, Jerusalem Jewish Museum, New York Judah L. Magnes Museum, Berkeley, California Kansas City Art Institute, Kansas Kent State University, Ohio List Visual Arts Center at MIT, Cambridge, Massachusetts Los Angeles County Museum, California Madison Art Center, Madison, Wisconsin Malmö Konsthall, Malmö, Sweden Metropolitan Museum of Art, New York Miami University Art Museum, Florida Morris Museum, Morristown, New Jersey Musee des Beaux-Arts, Montreal Museum of Contemporary Art, Chicago Museum of Modern Art, New York Museum Tel Aviv, Israel National Collection of Fine Arts, Smithsonian Institute, Washington, DC National Museum of American Art, Smithsonian Institute, Washington, DC National Museum of Fine Art, Hanoi, Vietnam National Gallery of Canada, Ottawa National Gallery of Victoria, Melbourne, Australia Nelson-Atkins Museum of Art, Kansas City, Missouri Newport Harbor Art Musuem, California Northern Illinois University, Dekalb Norton Simon Museum, Pasadena, California Seattle Art Museum, Washington Tate Gallery, London Tennessee State Museum, Nashville Tacoma Art Museum, Washington Toledo Museum, Ohio University of California at Berkeley University of California at Los Angeles - Grunwald Graphic Arts Foundation University of Chicago - Smart Galleries University of Illinois at Urbana - Krannert Art Museum University of Massachusetts at Amherst University of North Carolina at Chapel Hill University of North Carolina at Greensboro University of Texas University Museum, Southern Illinois University, Carbondale Vancouver Art Gallery Weatherspoon Art Gallery, Greensboro, South Carolina Whitney Museum of American Art, New York Zimmerli Art Museum, Rutgers University, New Brunswick, New Jersey Private Foundations The Broad Art Foundation, Los Angeles

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Reverend Howard Finster
“Folk Art: Giraffe from 1988”
Lesson: Local interest...which years are most valuable

Oil on Canvas mounted on baord

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The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
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heavily listed artist...ebay link

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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Art & Artist Information
Description of Art
Acrylic with permanent marker and collage on wood, 18 1/4 high, with base 7 x 5 1/2 x 1/4". Dated 1989. Artist's name on the photocopied inscription on the base and further inscriptions.
A brightly colored group of three women appearing to be congratulating a bride after a wedding.
Provenance

• Arthur Roger Gallery, New York
• Ebay.com / Butterfield's: Sold to Benefit the Laila Twigg-Smith Foundation, Honolulu, HI

Artist Information
Reverend Howard Finster (1916 - 2001, American)
For forty years, Howard Finster was a minister. After retirement, he lived in Summerville, Georgia, and constructed a garden dedicated to his religious beliefs. Called "Paradise Gardens Park and Museum," it has become a fantastic world created from found objects-- fragments of mirrors, salvaged refrigerator doors, concrete walls, hubcaps, mosaic cement paths, and a pump house of Coca-Cola bottles---all to the glory of the Lord. Finster appeared regularly on Sundays to greet visitors and to guide them through the maze of symbolic sculptures, structures including a John Deer tractor and the Tomb of the Unknown Body. Indeed he has become a much-loved man for the vigor of his beliefs and his compassion towards others. Except for a book of drawings he did in the 1930s, he did not do paintings until 1976 when he had a vision to do sacred art. He began to mount them on glass salvaged from television screens. His mediums became oil, house paint, watercolor and car lacquer--all wild Baroque creations. In 1999, he completed a 4 X 8 foot painting of "The Last Supper." He has painted album covers for the rock groups R.E.M. and Talking Heads, the latter voted album cover of the year in 1985 by "Rolling Stone Magazine." In 1996, Finster was commissioned by the Coca Cola Company to paint an eight foot Olympic Coke Bottle to represent the United States Art exhibits at the Olympics. In December 1995, the High Museum of Atlanta, Georgia held a Birthday Party exhibit for Finster that proved to be one of the most highly attended events at the museum. He and his wife Pauline raised five children.
Additional Information:

• My favorite links on this artist:

o AskART.com...specific / my fave links
o

• Google Search on this Artist

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Edward Cucuel
“Impressionism: Still Life”
Lesson: Fake...worth the money

Oil on Canvas mounted on baord

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The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o         Secondary Lessons:
o         Expatriated art
o         Research / building: Historical society
o         Other “matched” piece sold at auction…”Market Square”
o         His scenes of “people” not worth what his scenes of areas & flowers
o         Standard sizes = affordable frames
Lesson Links: Art Burglar
A very nice oil on canvas, still life signed lower left , I can't make out the signature, painted circa 1930/late 30's, condition is good-small repair on reverse-not evident to front, size 20 by 24'', the frame has some chips..
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Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

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Jasper Cropsey, NA
Realism: “Hudson River Landscape”
Lesson: Authentication odyssey for heavily faked artists + no real provenance

Oil on Canvas mounted on baord

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This style of art is known as: social expressionism
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This art's lineage is: Contemporary American
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BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

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Art & Artist Information
Description of Art
Watercolor and pencil on Paper laid down on paper, 9 x 11, signed (lower right): J. Cropsey, and dated: 1855. Image 6 x 9.
The landscape suggests the area around West Point or Tappan Zee. This oil shows similarities to the Hudson River paintings from the same period of Jasper Francis Cropsey. The use of light yellow greens combined with pink and purple tones in the sky is distinctive to many of Cropseys' Hudson River oils. The figures in the rowboat also show strong similarities to the figures found in Cropseys' Hudson River rowboats ( ref: see "The Hudson River and Its Painters", Viking Press, 1972 - color plates 10 and 81-shows clearly these similarities). this
A river and mountain scene with luminous style coloring in the sky. I originally assumed this piece was executed while Cropsey was in Europe - based upon the style of boats and the large mountains in the background. However, history says Cropsey moved to Europe in 1856. Therefore. I assume this piece represents some scene along the Hudson Valley.
Provenance

• ebay.com
• Oregon estate

Artist Information
Jasper Francis Cropsey, N.A. (1823-1900, American)
Born on Staten Island, New York, he became a nationally known luminist landscape painter whose work reflects his interest in architecture and serial painting, life's voyages, allegorical progression, seasons, etc. He had early success, being acclaimed by the press when he was in his twenties. He was trained in architecture but turned to landscape painting, which was then gaining acceptance. He was an admirer of Thomas Cole and used Cole's Roman studio when studying in Italy from 1847-49. Although Cole was deceased by then, he adopted Cole's colorful palette and romantic treatment of subject matter. He lived most of his life at Hastings-on-Hudson, overlooking the Hudson River and traveled and painted extensively in the river valley. However, from 1856 to 1863, he lived in England where the influence of Frederic E. Church replaced Cole.
Born February 18, 1823 at Rossville Long Island, New York. Pupil of National Academy of Design in New York City; traveled in Europe. At first an architect; later painted landscapes, chiefly Hudson River scenery including landscapes owned by the Metropolitan Museum, New York. Elected member of National Academy in 1851. Died June 22, 1900 in Hastings, NY.
Jasper Cropsey was born on his father’s farm in Rossville, Staten Island on February 18, 1823. As a young boy, Cropsey had recurring periods of poor health. During these periods, while absent from school, Cropsey taught himself to draw. His early drawings were architectural sketches and landscapes drawn on notepads and in the margins of his schoolbooks.
n the 1870’s, the Hudson River School style of painting was in decline. Darwinist theory and the Civil War contributed to a movement away from spiritual and national themes. The "God as Nature" view of Cropsey was becoming less popular as people no longer believed that America was the "Promised Land" or the new "Garden of Eden".As a result of the disillusionment in America, European art began to dominate the American art market.
The Barbizon School of France, impressionism, and other movements soon supplanted and nearly eliminated interest in American landscape painting. In 1884, the Cropseys were so debt ridden, they had to sell Aladdin and auction off Jasper’s paintings. They sold 68 works for $5000.The Cropseys moved to "Ever Rest", a house in Hastings-on-Hudson, NY. Ever Rest overlooked the Hudson, and Jasper added a studio in which he would continue to work. In 1893, Jasper suffered a severe stroke, yet recovered well enough to continue to work, although his later paintings were somewhat inconsistent. These years were spent painting with watercolors, as they were easier to manage than oils
Jasper and Maria auctioned all of Jasper’s works in 1855, realizing a sum great enough to finance their second European sojourn. They set sail for England in 1856, where they lived for the next seven years.
The English were most impressed with Cropsey’s views of American autumn. By this time Cropsey was regarded as "America’s painter of autumn". The English could not believe the brilliant reds and oranges of the autumn scenes, so Cropsey sent for and received New England leaves pressed onto postcards to demonstrate that his colors were true. In 1861, the American Minister, Charles Adams, presented Jasper and Maria to Queen Victoria. Cropsey’s fame was established and he was reaping financial rewards befitting his position as a popular and influential artist. "Autumn on the Hudson" sold in 1862 for $2000, by far the most Cropsey had ever received for a painting. While in England, Jasper painted and sketched English landscapes, in particular rock formations on the Dorset Coast and intimate scenes on the Isle of Wight.
Jasper Cropsey spent the period after Europe travelling in America. He spent a lot of time in the Hudson Valley, Vermont, the White Mountains of New Hampshire, and at Niagara Falls.
These years were some of his most productive and as his reputation grew he was commissioned for many paintings. Although working mainly on American landscapes and on scenes from his European journey, Cropsey began to paint literary and allegorical scenes also. "Land of Beulah" was his contribution to Bunyan’s "Pilgrim’s Progress", a panoramic sequence of paintings which many artists contributed to. "Hawking Party in the Time of Queen Elizabeth", was a scene inspired by the works of Sir Walter Scott. "Spirit of War" and "Spirit of Peace" were epics set in feudal times. Cropsey also painted several allegorical works with Christianity and morality as themes. "Millennial Age", describes a utopian vision of the world with a lion, lamb, and child on an altar as described in Isaiah. This altar group, including a relief of swords beaten into plowshares, was used by Jasper in several paintings.
Jasper Francis Cropsey died in 1900 at the age of 77. Although Cropsey produced some fine paintings in his latter years, the art world had changed so much that he died in near anonymity. The work of Cropsey and the other Hudson River School painters would not come back into favor until the 1960’s.
His artistic skills improved rapidly as Jasper mimicked whatever paintings, drawings, and architectural renderings he could find. At the age of fourteen, Cropsey entered an architectural model in a contest and won a diploma from the 1837 Mechanics Institute of New York fair. Soon Jasper Cropsey began a five-year apprenticeship for Joseph Trench, architect. Trench realized young Jasper’s artistic ability and provided him with studio space and art supplies in order to develop his artistic skills. Jasper took advantage of Trench’s encouragement and sketched and painted whenever he could. Cropsey mostly painted landscapes, copied from engravings of Claude Lorrain and other landscape artists.
In the 1870’s, the Hudson River School style of painting was in decline. Darwinist theory and the Civil War contributed to a movement away from spiritual and national themes. The "God as Nature" view of Cropsey was becoming less popular as people no longer believed that America was the "Promised Land" or the new "Garden of Eden".As a result of the disillusionment in America, European art began to dominate the American art market.
The Barbizon School of France, impressionism, and other movements soon supplanted and nearly eliminated interest in American landscape painting. In 1884, the Cropseys were so debt ridden, they had to sell Aladdin and auction off Jasper’s paintings. They sold 68 works for $5000.The Cropseys moved to "Ever Rest", a house in Hastings-on-Hudson, NY. Ever Rest overlooked the Hudson, and Jasper added a studio in which he would continue to work. In 1893, Jasper suffered a severe stroke, yet recovered well enough to continue to work, although his later paintings were somewhat inconsistent. These years were spent painting with watercolors, as they were easier to manage than oils.
Jasper F Cropsey had painted the Hudson River since the 1850s. His Autumn-On the Hudson River (1860, National Gallery of Art) was a sensational success in London, where he lived from 1856 to 1863. It is a very large panoramic painting with such bright autumnal foliage that the painter, in order to convince his audience of the veracity of his colors, exhibited with it some genuine autumn leaves from America. After returning to America in 1863, Cropsey pursued a highly successful career painting the landscape ofNew York, New Jersey, Pennsylvania, and the White Mountains with occasional views of the Hudson in oil or, with growing frequency, watercolor.
In 1869, his ambition and reputation prompted him to design and build Aladdin, a twenty-nine room Victorian mansion high on a hill in Warwick, New York. During the 1870s, Cropsey did not paint the Hudson as frequently as he did European subjects, panoramic views of other American valleys, mountains and lake scenes, often done with great sensitivity to water reflections and the effects of moist atmosphere. Although he exhibited three pictures in the 1876 Philadelphia Centennial Exhibition, one of which, The Old Mill (1876, The Chrysler Museum, Norfolk, Va.), set in the blazing colors of autumn, not only received favorable notice but reproductions of which remain popular today, Cropsey's fortunes had passed their peak. Debts incurred building Aladdin, the acquisition of property in New York City, other debts surviving from England, and reduced painting production due to the artist's preoccupation with building and illness finally led to such dire financial straits that Aladdin had to be sold in 1884. The Cropseys moved to Hastings - on-Hudson, New York and into a house with a view of the river which appeared frequently in his later work. A close examination of Sailing reveals that it is dated 1883, not 1888 as previously thought. It was thus painted when Cropsey's fortunes were at their lowest ebb, just before the mortgage sale of Aladdin. The view takes in part of the Tappan Zee, where the Hudson widens above Hastings at Tarrytown. Cropsey's frequent panoramic breadth is narrowed here by the foreground trees which flank the distant view across the river to the highlands on the west bank. Trees and brush are animated not only by bright colors but also by the vigorous lines of the drawing, which are clearly visible through the thin paint. These sketchy strokes, many of which are not part of the final design, give a somewhat unfinished, rough vitality to the work. Instead of the smoother, more finished surfaces and rounder forms of earlier pictures, one finds in the later oils flatter shapes and rougher surfaces closely related to Cropsey's increasing activity in watercolor, with its flat color areas and visible texture. Beyond the vigorous foreground and beneath a sky made more dramatic by the thickly painted pink and yellow clouds, commerce moves along the river under steam and sail. It is an autumn image by the American who is still master of that season.
Jasper Cropsey was a mid-nineteenth century painter and architect known for his detailed, romantic autumn landscapes. A member of the Hudson River School, he reached his artistic peak in 1860 with a nine-foot-long canvas of a New York autumn. Its brilliant colors stunned many of the English viewers to whom it was presented in London. Cropsey was born on Staten Island, New York, in 1823. He was trained in mechanical drafting and apprenticed at age 15 to architect Joseph Trench. He developed a strong interest in painting and took lessons in painting watercolors. In 1841, he began doing landscapes in oil, painting scenes of the White Mountains, the Catskill Mountains and areas around Greenwood Lake, New Jersey, as well as literary and thematic landscapes. In 1842 he left Trench's office to devote himself to painting, although he continued to work as an architect. In The Spirit of War (1851, National Gallery of Art) Cropsey represents war as a mighty medieval fortress set among fantastic geological peaks against a phenomenal sunset. Allegorical paintings like this one, dark and turbulent, were remarkably similar to those of Thomas Cole. Cropsey went to Europe in 1847 for two years; beginning in 1856, he lived in England for seven years. There, he painted one of his greatest works, Autumn-On the Hudson River (1860, National Gallery of Art), which received critical raves and rated Cropsey an audience with Queen Victoria. From then on, Cropsey specialized in fall scenes, earning the nickname "America's painter of autumn." He was inclined toward precise detail and had a tendency to be repetitive. In the later years of his life, Cropsey settled on the Hudson River at Hastings, New York, painting oil and watercolor views of the river many times over. He continued some architectural work throughout his life; among his designs was the Victorian-style Sixth Avenue elevated station in New York City. Cropsey died in 1900. Painter. Born February 18, 1823 at Rossville Long Island, New York. Pupil of National Academy of Design in New York City; traveled in Europe. At first an architect; later painted landscapes, chiefly Hudson River scenery including landscapes owned by the Metropolitan Museum, New York. Elected member of National Academy in 1851. Died June 22, 1900 in Hastings, NY.

Jasper F. Cropsey, American (1823-1900) European landscape, possubly Northern Italy or Switzerland, signed J.F.C. 1852, L.L. Oil on canvas, 5 5/8 in. X 8 in. framed Jasper Francis Cropsey, in the company of Frederic Edwin Church, Asher B. Durand, and John F. Kensett, was one of the most respected painters of the Hudson River School. At the peak of his career—from the mid-1840s through the 1870s—Cropsey enjoyed fame in both England and the United States for his views of American scenery, particularly his richly colored canvases capturing the glories of the American autumn. Born on Staten Island, New York, on February 18, 1823, Cropsey trained to be an architect. At the age of thirteen he made and submitted a scale model of a country house to the annual exhibition of the Mechanics’ Institute in New York City. His model won a medal and brought the youth to the attention of New York architect Joseph Trench. Cropsey served a five-year apprenticeship with Trench, who encouraged him to embellish his architectural drawings with landscape backgrounds and figures. To this end, Trench enabled Cropsey to study drawing with the landscape painter Edward Maury. Although the practice of architecture supported Cropsey throughout the 1840s, it was the rendering of his designs on paper rather than the design process itself that ignited his passion. His success with the watercolor medium kindled a desire to paint with oils, which Cropsey took up in 1841. He learned to handle the new medium by copying from existing works of art, which included his own watercolors as well as Dutch paintings and engravings of paintings by Claude Lorrain. In 1843 he participated for the first time in an exhibition at the National Academy of Design. He was made an associate of the Academy the following year on the merits of View of Orange County with Greenwood Lake in the Distance. Cropsey had discovered Greenwood Lake in southeastern New York State by 1843. He opened a studio there and began submitting views of the lake to various exhibitions in New York. Cropsey’s attachment to the area was an enduring one. In 1866, he purchased a forty-five-acre tract outside the village of Warwick near Greenwood Lake where he constructed Aladdin, a 29-room Gothic Revival mansion with studio. Following his marriage in the spring of 1847, Cropsey and his bride, Maria Cooley, embarked upon a two-year European honeymoon. They spent the summer in England before traveling through Italy with American painters Christopher Pearse Cranch and Thomas Hicks and sculptor William Wetmore Story. During a lengthy stay in Rome, Cropsey worked out of the former studio of Thomas Cole, the founding father of the Hudson River School. Upon his return to the United States in the summer of 1849, Cropsey settled down to painting as a full-time occupation. He shared a studio with Edwin White at 114 White Street in New York City, where he taught and worked up his European sketches into finished oils. His pupils included the gifted American landscapist David Johnson. Cropsey made frequent sketching trips to the White Mountains, the Catskill Mountains, Greenwood Lake, and Newport, Rhode Island. This productive and rewarding period culminated in Cropsey’s rise to academician status in the National Academy in 1851. In June 1856 the Cropseys again went abroad, this time renting a home and studio in the Kensington section of London. The artist arrived with commissions from American patrons for paintings of castles and abbey ruins, thus he traveled a great deal through the English countryside. He found, in turn, that his American subjects were just as eagerly desired abroad. The London printer Gambert and Company commissioned thirty-six views from Cropsey for publication in American Scenery. During his seven years in England, Cropsey kept company with leading figures in the British art world, including the director of the National Gallery, Sir Charles Eastlake, and author John Ruskin, leader of the Pre-Raphaelite movement, who influenced a generation of American and British painters through his advocacy of painting natural objects in their natural settings. While abroad, Cropsey began exhibiting the autumnal scenes that would become his hallmark. His monumental Autumn—On the Hudson River of 1860 (National Gallery of Art, Washington D. C.) was lauded by Queen Victoria and the London press, earning Cropsey trans-Atlantic repute as “America’s painter of autumn.” Shortly after his return to America, Cropsey undertook American Autumn, Starruca Valley, Erie Railroad, a large painting celebrating a prosperous nation newly at peace. A chromolithograph after the painting was published by Thomas Sinclair of Philadelphia, which immediately put Cropsey’s work within easy reach of a mass market. He was commissioned by Milton Courtright to paint Valley of Wyoming (1865, Metropolitan Museum of Art, New York), a painting measuring seven feet in width. The sale of these paintings gave him the money necessary to build Aladdin. By the 1880s, Cropsey could no longer afford what had become an extravagant lifestyle. Aladdin was sold by his creditors, and in June 1885 the Cropseys settled in a modest home in the town of Hastings-on-Hudson, New York. Cropsey began painting the Hudson River and the Palisades, the rocky outcroppings on the Hudson’s west bank that are visible from Hastings. Although his landscape subject matter remained the same, his palette became increasingly high-keyed as a result of his contact with the English Pre-Raphaelites. Cropsey died at Hastings-on-Hudson on June 22, 1900. His home there has been preserved as a center for the study of Cropsey and his art. Cropsey was a founding member of the American Water Color Society in 1866. His other memberships included the Century Club, the Lotos Club, the Pennsylvania Academy of the Fine Arts and the Artists Aid Society. Major examples of his work are in the collections of the Museum of Fine Arts, Boston; Peabody Institute, Baltimore; the New-York Historical Society; Harvard University, Cambridge, Massachusetts; the Metropolitan Museum of Art, New York; and the National Gallery of Art, Washington, D. C. Biography from AskART: The following is excerpted from The New York Times, May 27, 2001, "Vistas Revisited: Landscapes in Oil and Life" By Kirk Johnson WARWICK, N.Y. Sometimes a view can change a life. A person climbs a hill, gazes out at the landscape, and is never quite the same. A vista has become a vision. It happened about 150 years ago to a landscape painter named Jasper Francis Cropsey, then a rising star of the Hudson River School of art, who wandered one day onto a hilltop that the Indians called Noonantum, just south of the Catskills. It happened again in the 1930's, when a young Polish immigrant named John Woloszczak hiked up to the abandoned ruins of the Cropsey homestead and stood in the spot though he didn't know it at the time where the artist had painted a view of "Mounts Adam and Eve," shimmering in the distance across Warwick Valley. One was a shy, socially awkward man who became famous for his ability to depict the seasons. The other studied for the priesthood and painted houses for a living. What unites them and their families across time and space is a singular, transcendent view, and the rocky hilltop that came to embody it. "Family follows family," said Katherine Woloszczak (pronounced WOL-a-check), describing the process that led to her family's establishment here over the last half century. Mrs. Woloszczak, who is 86, said the hill and the view that inspired her husband, John, have been like an anchor holding everything and everyone together. Mr. Woloszczak died three years ago at age 88, but four of their grandchildren are now preparing to build homes behind hers, starting this summer, and it's their presence, she said, that keeps her alive. "I think I would be dead, too, a long time, without family," she said. A painting is ultimately a closed world, bound by its frame a self-contained story that begins and ends. But the tale of Noonantum Hill part of the necklace of vales and promontories that came to define the Hudson River School suggests that real-world beginnings and ends are not so neat. What happened here more than a century ago a reaction of light and perspective that artists like Cropsey believed was special on this continent is still very much unfolding. For the Cropsey and the Woloszczak families, the link was provided by an old woman named Mrs. MacPherson. No one seems to remember her first name; only that she was tiny and ancient and arrived one day in the 1950's, when the Woloszczaks had just moved the 50 or so miles from Manhattan to Warwick. Did they know who had once lived on this hilltop, she asked them? Did they know whose home was up there moldering in those trees? They didn't, and she told them. And then she told them who Cropsey was because they had never heard of him, either, said John Woloszczak Jr., John and Katherine's youngest son. Mrs. MacPherson said she had grown up playing with Cropsey's daughters in the 1870's. Her father had been a tanner who had come to the Cropsey place to collect his pelts or empty his traps, and she told the Woloszczaks her memories as a child of being invited into the Cropsey house for cookies. She gave them a grainy black-and-white family photograph taken in the 1880's and showed them art-book images of the view of "Mounts Adam and Eve" their view, as the Woloszczaks thought of it, made famous before any of them were born. And so what had simply been "the old mansion," as the Woloszczaks had called it until then, gradually became something more. They began collecting books about Cropsey. Photographs and architectural plans of the house, which the artist designed himself and called Aladdin, began to pile up, and that allowed the children to trace on the forest floor the places where specific rooms had been, like Cropsey's studio. The odd trees that the family had noticed all over their hill oak and pine and maple trees with leaves as big as dinner plates that don't normally grow here were Cropsey's trees, the family realized. And so they became special, too. The ruins and their association with the life of this one artist became part of the identity of the property, and the Woloszczak family history became linked with a kind of artistic resonance that hung over everything. In search of society's values, The Hudson River School became part of the national consciousness in the early-to mid-1800's through its single-minded belief that places like Noonantum were important. On the borderlands between wilderness and civilization, a society's values were to be found, the painters said, and they took America with them on their search. From the Adirondack Mountains to Long Island Sound, they brought back a world that was being transformed even as they captured it by industry and agriculture, by the railroads and, as many people in those days put it, by the march of progress. There are, of course, things of value in this world beyond the visual pyrotechnics of a landscape, and perhaps that is the ultimate thread that ties together the Cropsey and Woloszczak stories. No matter how much the view inspired them, what brought the artist and the immigrant to this hill was love. In that respect, they were kindred spirits. Both men married New Jersey women, and it was through their wives that they first came to these woods. Cropsey's wife, born Maria Cooley, grew up around Greenwood Lake, N.J., a few miles south of Warwick, and he first came to the area and painted deliriously happy scenes of her family's home on the lake in the 1840's. John Woloszczak came because his wife's sisters, who had grown up on a farm in East Brunswick, N.J., had found jobs during the Depression in a Warwick resort hotel. But for Cropsey, the happy days he envisioned at Aladdin were not to be. The completion in 1869 of his 29-room home coincided with a precipitous decline in sales, and the prices of his paintings and those of other artists of the Hudson River School. The carnage of the Civil War, art experts say, had shattered the idea for many people that nature could solve mankind's ills and evils. The postwar mavericks of art favored looser, more personal styles and looked upon older painters like Cropsey as dinosaurs. Between 1865 his most successful year as a painter, when he sold nine paintings for a total of $9,000 and the 1880's, his fortunes almost collapsed. In the mid-1880's, he auctioned off 67 paintings, including a dozen by his daughter, Lily, and received only $2,700. The season had truly changed. In a letter to his wife in early November 1880, while she was in New York City trying to raise money, Cropsey wrote of his troubles paying the bills, and how he had clumsily hammered both thumbs working on the house and could no longer paint. He was 57, ill and nearly broke. "Will it ever grow better? Will the silver lining ever show itself?" Cropsey wrote. "Will good fortune ever smile on you and me again?" Three years later, the Cropseys sold Aladdin and moved into a smaller house in Hastings-on-Hudson, in Westchester County, where he lived until his death in 1900 at age 77. Mrs. Cropsey died several years later. Little remains of the Cropsey home today but for a ragged outline of foundation stones the house burned in a spectacular fire in 1909, after the Cropseys had moved and it had been renamed Barr Castle, but those stones have gradually become the centerpiece of the Woloszczak family circle. The perspective of "Mounts Adam and Eve," which Cropsey painted over and over from his front yard perhaps as many as a dozen times, though only about half of those are known to exist is still recognizable. A middle school and a high school are now clustered on the valley floor below the hill both recently expanded as the town has grown. And while the farms are mostly gone, a broad swath of trees still nestles the valley, and the mountains beyond look just as he painted them. Katherine Woloszczak said she often sits before her huge bay window these days, just looking out. The window dominates much of the northwest side of her little house, as though the window was conceived of first, to frame the scene, and the house added only later for support. "I think maybe that this was given to us from God," she said. Biography from AskART: Born on Staten Island, New York, Jasper Cropsey became a nationally known luminist landscape painter whose work reflects his interest in architecture and allegorical progression, seasons, etc. Called "America's painter of autumn", he was especially known for his sunlit-ridden fall landscapes. Reportedly the peak of his career was the creation of a "nine-foot-long canvas of a New York autumn. Its brilliant colors stunned many of the English viewers to whom it was presented in London." (Zellman 202) His painting, Autumn on the Hudson River, was so well received in England that Queen Victoria granted him an audience. Cropsey had early success, being acclaimed by the press when he was in his twenties. He was trained in architecture, having been apprenticed to an architect when he was age 15, but he turned to landscape painting, which was then gaining acceptance. He was an admirer of landscape painter Thomas Cole and used Cole's Roman studio when studying in Italy from 1847-49. Although Cole was deceased by then, Cropsey adopted Cole's colorful palette and romantic treatment of subject matter. He lived most of his life at Hastings-on-Hudson, overlooking the Hudson River and traveled and painted extensively in the river valley. However, from 1856 to 1863, he lived in England where the influence of Frederic E. Church replaced Cole. Source: Michael David Zellman, 300 Years of American Art ** If you discover credit omissions or have additional information to add, please let us know at registrar@AskART.com.

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Emil Carlsen, NA
“Realism: Chrysanthemums in a Vase”
Lesson: Fakes

Oil on Canvas mounted on baord

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heavily listed artist...ebay link

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This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
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BACK TO CONTEMPORARY ART

EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Original on-line purchase price: $1,323.00
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Art description: Original oil on painting on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
Terms & links used to describe this art & artist:

• This style of art is known as: realism
• This art's lineage is: early American
• Other site-terms associated with this art, include:

o heavily listed artist

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Lesson Two: Period forgeries are relatively common amongst pieces signed by prominent artists.
Artists as well recognized as Emil Carlsen are not only forged today - they were also copied during their active years. Thus, you'll come across paintings that even the signature is "correct".
There's three basic types of forgeries:
(Forgeries link) There's a lot of approaches to forging an artwork. Some of the more common, include:

• A period forgery - these are tougher
• The signature doesn't appear so obviously added later
• Adding a signature of a noted artist to an unsigned painting of the same period done in the style of the artist - some are really bad examples
• Peto / Harnett story & example
• A recent copy

Most often, art forgeries are so poorly rendered that a few samples viewed on the artist from a Google search will send you on your way. However, a period copy in the style of the artist...
Do your homework
I twice was premature in getting an evaluation of this painting. Shame on me!
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Art & Artist Information
Description of Art
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
A still life painting of chrysanthemums in a vase.
Provenance

• Ebay

Artist Information
Emil Soren Carlsen, N.A. (1853-1932, American)
Carlsen, Emil

Notes
o         Appears he got looser with his brushwork 1905-10…like with piece
o         Then…he went back to more precise?
o         Impressionistic style…versus realism
o         20 x 30 OB #684…on reverse…??
o         Fasteners…stamped on board…+ other lettering?
o         How common was “pressboard” at that time?
o

Good
o         Figuration is correct…subject, positioning of flowers + falling flowers, size of artwork,
o         Original frame matches style of some authenticated pieces
o

Bad
o         Rise in signature
o         Lack of precision…fineness of detail
o         Water damage
o         Medium seems wrong…he was a successful artist…this medium seems “cheap”
o

Carlsen's early career was marked by still lifes of yellow roses and other bright flowers. However, he gained critical recognition for rich, sensuous paintings of dead game and kitchen still lifes that made him an important figure in the Chardin revival of the 19th century. With an emphasis on subtle light and form, visual truths such as wet scales or gleaming copper became completely believable. Carlsen is recognized for his traditional representation with an Impressionistic approach to color and light.

First achieving recognition as an accomplished still-life painter, landscape, notably woodland interiors and marine scenes, became increasingly prominent in Carlsen's oeuvre after 1900. Friendships with American Impressionists Willard Metcalf, John Henry Twachtman, and J. Alden Weir were influential in his landscape work. Although not rigidly Impressionistic in his approach, soft, seamless brushwork, careful draughtsmanship, and pastel hues created by subdued filtered light are the essential characteristics of Carlsen's understated, reflective scenes of nature. His landscapes exhibit a serene sensibility that has commonly been associated with Carlsen's Danish origins. His approach to landscape relates to the work of George Inness, whose paintings evoke mood and allude to the spirituality and mysticism of nature

The decade following 1900 marked a turning point as Carlsen paid increasing attention to rendering objects with pure forms, such as ovals, circles, and ellipses, which he painted with sharply delineated edges and a sure sense of three dimensionality. He became particularly fascinated with using only a few colors on one canvas. He was captivated in particular by the many shades and tones of white, which Hiesinger suggests might demonstrate the influence of Whistler. The latter's inclusion of the words "nocturne," "symphony," and "arrangement" in the titles of his works surely had an impact, for Carlsen also exhibited works with titles such as Arrangement in Gray, or more simply Blue and Gold, or Blue and White.

On view until December 10 at Vance Jordan Fine Art in New York City is an exhibition of thirty-five still lifes by Emil Carlsen entitled Quiet Magic: The Still-Life Paintings of Emil Carlsen. Although well known as a landscape and marine painter, Carlsen also painted an extraordinary group of still lifes, to judge by those that survive. At one point in his life he bought back an unspecified number of them, only to tear them to shreds.

Art Cost & Investment Analysis
Original on-line purchase price (1999):       $1,323.00
Additional costs
Shipping & any insurance costs:                          $25.00
Added Costs:

• Professional cleaning & restoration: 200.00
• Framing: 150.00

Total Additional Costs $375.00
Total investment to date: $1,698.00
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The artist's fame has continued to the present time, when his fine paintings still excite collectors and museum visitors. This painting has some similarities to works by Carlsen, however there are some important differences which suggest that this may not be an authentic work by the artist. Certainly, the arrangement of the flowers and the placement of the vase in the space might seem comparable to a Carlsen work, however, there is a general lack of the fine details and textural differences which are so important and apparent in Carlsen's work. The signature does seem to resemble the artist's, although most are quite level and rarely contain the sort of rise which is found in the middle of the last name. In considering these factors and the concerns listed above, this painting should be listed as Attributed to Emil Carlsen and would have the auction value as cited above. If documentation were to be found which could substantiate this work as definitely that of Carlsen, this value could be greatly increased.
Emil Carlsen was a respected artist and teacher with a productive career. He immigrated to the U.S. in 1872 and spent most of his career here. His listing in "Who Was Who in American Art" notes the fact that early in his career he was recognized for his large, brilliantly colored florals. The work you have would have to be a later interpretation of this earlier theme, since it is dated 1909, long after he established his career. Florals have come to the auction market at least four times in the past several years and reached strangely varied hammer prices. 2001: $27,600; 2000: $65,000; 1999: $23,000; 1999: $63,000 - this represents a swing of over $40,000 and implies that aesthetics, condition and size are playing a large part. I am concerned that this work may be a reproductive print that has been affixed to a textured pressboard. The texture of it resembles the consistent, all-over texture one finds on pressboard that has been molded to appear like the textured surface of a painting. Also, the back suggest it is indeed pressboard, or a paper board, as opposed to an artist's canvas board or a slab of masonite - both of which would be much more likely supports for this painting. I strongly advise that you take the work to a local appraiser or art expert who can determine for sure whether this is an original oil. To complicate matters, whether this is original or a repro, one would have to admit that either way it does not seem to exhibit the level of detail and finesse seen in Carlsen's work. The composition is not as complex as others that I reviewed in my research. The point being that, if an actual painting, I would not be entirely sure it is his work, although it is obviously highly derivative of his paintings and bears his signature. I am going to suppose this is a varnished, textured reproduction, but if it can be authenticated as the work of Soren Emil Carlsen, it would gave an auction value of roughly $18,500. Retail, it would go for $30,000.

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Ed Coutts
“Pen & Ink: Wonder Woman”
Lesson: Self Portrait gift

Oil on Canvas mounted on baord

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This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

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American School
Abstract Drawing - “CA ”
Lesson: Enough to go on...

Oil on Canvas mounted on baord

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This style of art is known as: social expressionism
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EARNEST DE NAGY (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Art & Artist Information
Description of Art
Blue ink on paper abstract drawing. Signed with mono. Good condition, apart for staining at corners. Measures 11 1/2" x 8 1/2" without frame.

DRAWING ABSTRACT SIGNED w/MONO

Item number: 170224784065

Sorry, you were outbid. This item sold to artworld for US $206.06.

US $206.06

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Item location:

Rego Park, New York, United States

History:

3 bids

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artworld( 1293)

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Description

Item Specifics - Drawings

Original/Reproduction:

Original

Medium:

Pencil, Graphite

Listed By:

Dealer or Reseller

Subject:

Landscapes

Signed?:

Signed

Style:

Abstract

Date of Creation:

1900-1949

Size Type/ Largest Dimension:

Small (Up to 14'')

Region of Origin:

US

Old drawing signed lower left with monogram , along with :"Bloomfield Oct"., reverse has exhibition labdel -Mistic Art Assoc., Condition is good-frame shows age, size 6 by 9'' with out mat.....

00101
What's your Credit Score? 720? 650? Find Out From Experian.

Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
Whitney Museum
http://www.whitney.org/www/american_voices/540/index.html
Adam Weinberg: Alexander Calder magically breathed life into inanimate objects, using wire and recycled materials to create this army of circus characters. Beginning in 1927, Calder performed the Circus in Paris, New York, and elsewhere. He would issue invitations to his guests, who would sit on makeshift bleachers munching peanuts, just like the real circus. With the crash of cymbals and music from an old gramophone, the circus would begin. Many of the individual circus animals and performers include mechanized parts—Calder was originally trained as a mechanical engineer. It wasn't the tricks or gimmicks of the circus that appealed to Calder, but the dynamic movement of bodies in space. He first went to the Ringling Brothers, Barnum & Bailey circus in 1925. He was inspired by the mechanics of the circus and made hundreds of drawings of the equipment and the ropes and the guy wires for the tents. Later in his career, Calder turned his attention to more abstract work. In 1930, he visited the studio of artist Piet Mondrian. He was delighted with Mondrian's work, and later recalled, "I thought at the time how fine it would be if everything there moved." He went on to invent the mobile and other works of moving sculpture.
Description: Mixed media, 23 x 17, signed (lower right): Stawvyzewski.
Summary: Mixed media female bust highlighted with messages of stopping smoking.
I do not know who the artist is - the signature is difficult to discern. The reverse was first covered with newspaper (The Philadelphia Inquirer, 1961) - s0 I assume the artist hails from or once resided in the Philadelphia area.
Provenance

• Ebay

Artist Information
Strawvesky (20th Century, American)
Early Years: 1898–1930
Born in Pennsylvania in 1898, Alexander Calder created works of art throughout his childhood. After graduating from the Stevens Institute of Technology and briefly considering an engineering career, Calder became a professional artist in his early twenties. He moved to New York and attended classes at the Art Students League while working concurrently as an illustrator for the National Police Gazette. A series of the Ringling Brothers and Barnum & Bailey Circus was included amongst these illustrations. Soon after moving to Paris in 1926, Calder developed his Cirque Calder, a miniature work of performance art made of wire and found materials. Performances of the Cirque Calder gained Calder introduction to artists in Paris, then the center of the art world. He also invented wire sculpture, whereby Calder "drew" in space with wire portraits of friends and personalities of the day. In 1928, he was given his first solo exhibition of these wire sculptures at the Weyhe Gallery in New York.

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Gerald "Jerry" Byrd
“Geometric Abstract: Rhea Series”
Lesson: Framing oil on paper, Museum deannexation, bad condition on purpose

Oil on Canvas mounted on baord

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heavily listed artist...ebay link

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This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
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GERALD "JERRY" BYRD (American, 1882-1934)

Jerry Byrd
Untitled
Tape, Glue, Watercolor on Paper
24'' x 30''
1975

Active as an artist in geometric abstract style in southern California, Jerry Bryd was born in Fullerton, California 1947 and earned an MFA degree from the University of California at Irvine. His paintings are in the A T & T building in San Francisco and the IBM building in San Jose. He has also illustrated a college algebra textbook for MacMillan Publications.

He has held a Fellowship from the National Endowment for the Arts.

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

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Don Bluth
“Character Study: Dirk the Daring”
Lesson: Memories...shouyld have gotten better provenance

Oil on Canvas mounted on baord

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The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
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heavily listed artist...ebay link

•

This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
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EARNEST DE NAGY (American, 1882-1934)

Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o         Secondary Lessons:
o         Expatriated art
o         Research / building: Historical society
o         Other “matched” piece sold at auction…”Market Square”
o         His scenes of “people” not worth what his scenes of areas & flowers
o         Standard sizes = affordable frames
Lesson Links: Art Burglar
Drawing. Paper size, 13 ½ x 16 ½, character sizes, 9 x 4 and 7 x 3 ½. Sixteen field (model sheet)
Drawing of Dirk the Daring from the Laserdisc game “Dragon’s Lair”.
Re-living a favorite memory
I paid about $3,000.00 for this lovely work of art. Well, not really - but I suspect I pumped about that many quarters into the laser disc game associated with this character years ago.
Some art pieces are special to us because they remind us of
Drawing. Paper size, 13 ½ x 16 ½, character sizes, 9 x 4 and 7 x 3 ½. Sixteen field (model sheet)
Drawing of Dirk the Daring from the Laserdisc game “Dragon’s Lair”.
Don Buth (20th Century, American)
American animation artist. A former Disney animator, Bluth left Disney in the 1970’s. Dragon’s Lair was created by Don Bluth, then digitized and developed into the first-ever laserdisc video arcade game. This phenomenally successful game was the precursor to today’s home video games. Bluth and his team went on to produce The Secret of Nimh, An American Tale and Anastasia, among others.

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

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Jane Bassuk
Abstract: “Artist Self Portrait”
Lesson: Seller offered after first

Oil on Canvas mounted on baord

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The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
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heavily listed artist...ebay link

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This style of art is known as: social expressionism
•
This art's lineage is: Contemporary American
•

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JANE BASSUK (American, 1882-1934)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700

Front Page Art Collection

Realism: “Composition”
Lesson: The impact of a scene / historical on a paintings value...Eden Mill

Oil on Canvas
12 x 16"
Signed (lower right): Melvin Miller and dated 1970. Titled "Eden Mill" on the reverse stretcher board.

Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on eBay. COM for $126.87 - 2006

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:
• heavily listed artist...ebay link
• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

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MELVIN MILLER
(American, 1937-2007)
A Title Leads to Discovery: Artwork with historical value
Melvin Miller was part of a skilled group of Maryland artists known as the Baltimore realists. He was known for creating paintings of area tugboats, trains & indigenous scenery with a realist style of the ld masters. As a general rule, the most valuable & desired paintings by any artist is rooted in their noted area of collectible. However, there are exceptions.
Eden Mill was first built in the 1800's and over time was operated as both a mill & as a power plant. Today, it is a thriving nature center. This artwork, rendered in 1970 - is a compelling historical view of the structure before it was fully renovated.
Link to Eden Mill web site

Additional Collecting Lessons related to this art & artist:
• Research on-line...keep checking back on the web
• Same seller: Sheppard, Melvin Miller, Renee Radell, Staniszewski...asking other pieces
• Realism - skill impresses us early-on
• Value of a frame
•
• Other site-terms associated with this art, include:
o heavily listed artist
o period forgery
Additional Collecting Links to this artist / info
Ernest De Nagy was born around 1882 in Budapest and died in 1952. He exhibited at the Salons of America and The Society of Independent Artists in the 1930s. 20in. by 16in.
Google Search on this Artist

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

Art & Artist Information
Description of Art
Oil on Canvas, 12 x 16, signed (lower right): Melvin Miller and dated 1970. Titled "Eden Mill" on the reverse stretcher board.
A contemporary example of photo-realism example of an old mill.
Provenance
• Butterfield's
Artist Information
Melvin Miller (1900-1990, American)
Born in Baltimore in 1937, Melvin O. Miller graduated from the Maryland Institute of Art in 1959. As a student of Jacques Maroger, Ann D. Schuler, and Earl Hofmann, he became interested in the mediums and techniques of the 15th - 18th century Flemish and Italian Masters, and he has assisted Franklin Redelius in the research of those masters.
The Maryland Institute of Art awarded him an honorary BFA degree in 1996.
He was a member of the "6 Realists of Baltimore" 1961 - 1963. Favorite subjects include Baltimore and European cityscapes, maritime subjects and occasional floral pieces. Regionally, he has been sometimes called, "the Canaletto of Baltimore."
On four occasions, AT&T commissioned him to paint their various cable ships. He is mentioned in several of the various "Who's Who" type publications and has completed over 1900 oil paintings to date. Prices range from $1,000 to $20,000.
Mr. Miller and a partner, Nancy Lee Conrad, maintain Conrad-Miller Studios, teaching schedules, and gallery space in Fells Point, an original neighborhood of Baltimore.
Melvin Miller
2007 Fleet Street
Baltimore, MD 21231

Melvin O. Miller 1937 - 2007
Read Miller's Obituary published in the Baltimore Sunpapers on Dec. 1, 2007

Born in Baltimore in 1937, Melvin O. Miller graduated from the Maryland Institute of Art in 1959. As a student of Jacques Maroger, Ann D. Schuler, and Earl Hofmann, he became interested in the mediums and techniques of the 15th - 18th century Flemish and Italian Masters, and he has assisted Franklin Redelius in the research of those masters.

Published in the Baltimore Sunpapers on Dec. 1, 2007
by Jacques Kelly Sun reporter

Melvin O. Miller

Melvin O. Miller, an artist whose oil paintings depicted Baltimore scenes of streetcars, harbor tugs and wooden market sheds, died of a heart attack Monday at St. Agnes Hospital. The Woodlawn resident was 70.

Mr. Miller belonged to a group known as the Realists of Baltimore, artists who rejected abstract expressionism of the 1950s and employed luminous paints based upon ancient formulas. He stored 300 pigments in apothecary jars in his studio.

"He had a way of capturing the activity on the streets of Baltimore," said fellow artist and friend Nancy Conrad, with whom he shared a Fleet Street studio. "He loved the city, and he had one focus in his life, his artwork."

Born in Baltimore and raised on South Fulton Avenue and later in Woodlawn, he was a 1955 Milford Mill High School graduate. He earned a degree in 1959 from what is now the Maryland Institute College of Art, which later awarded him an honorary degree in recognition of his work.

He studied under French-born Jacques Maroger, who developed a student following at the Institute and at his studio at the Evergreen mansion in North Baltimore. With his group, he imitated the complicated formulas and techniques of the 15th to 18th-century Flemish and Italian masters. This type of painting became to be known as the Maroger method.

"Melvin was very dedicated to the technique," said Frank Redelius, another member of this group and a Northeast Baltimore
resident. "He was also the recorder of Baltimore."

Mr. Miller chose city locations for his works - the No. 6 Firehouse in Oldtown, the old Ford's Theater on Fayette Street and crumbling buildings in the path of highways. He carefully dated his paintings and recorded their locations in notes written in brown ink.

The darkened streetcar barns, which he painted from memory, figured in his works. He found that red streetcars outsold yellow ones.

"The warm brown drawings in Melvin Miller's notebooks are as fine and detailed and evocative as the lines and folds and calluses in the palm of an old friend's hand," said a 1987 Evening Sun profile of him. "They picture Baltimore during a generation of transition. And the sweet and dowdy and sometimes mean old city that once seemed as fixed and unvarying as a copperplate portrait has turned out to be as fragile as the ink in which Miller records it."

The article said he painted "great buildings, of course, and familiar vistas. But he also draws the plain, anonymous rowhouses and workshops that give the city shape and tone and perhaps soul."

"I have become sort of a historian," Mr. Miller said of his work at the time. "Some of these things are not with us any more."

At his death, Mr. Miller had an uncompleted painting of the Hippodrome Theatre on his easel. A red Eutaw Street streetcar
passed its blazing marquee.

Survivors include a sister, Ruth Hughes of Mount Pleasant, N.C.; and a niece, Robin Grubb of Concord, N.C.

Graveside services will be held at 11 a.m. Monday at Lorraine Park Cemetery in Woodlawn.
Back

410 522-7322
Additional Information:
• My favorite links on this artist:
o AskART.com...specific / my fave links
o
• http://www.geocities.com/edenmillcalendar/EDENMill_New_W/Main_Indexx.html
• Google Search on this Artist

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Oil on Canvas
24 x 20"
Signed (lower left): Fletcher C. Ransom
Framed in a hand-carved, gilded period frame.
James M. Cowan, an important United States collector, originally purchased this artwork. In 1930, Mr. Cowan left the bulk of his collection to the city of Nashville, TN where it is now the cornerstone of the permanent collection at the Parthenon Museum.
Original Image:
What I saw when first bid on this artwork
Purchased on Sothebys. COM for $126.87 - 2006

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:
• heavily listed artist...ebay link
• This style of art is known as: modernism
• This art's lineage is: Contemporary American

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FLETCHER CHARLES RANSOM
(American 1870-1943)
The Double Discovery...Fletcher C. Ransom + The legend was true...Even museums can be wrong + the "frames" as a part of art value: Never give up on a painting you believe is special
This piece is simply chocked full of important lessons for the beginning collector.
Even museum records can be wrong. Someone, somewhere, had mistakenly listed the name on the reverse of the painting as "Fletcher Cranson". Even the final estate listed the painting and artist as such. However, upon seeing a
another tale tell sign was visiting the Cowen collection at the Parthenon in Nashville. Mr. Cowan quite obviously had a "thing" for this type of view and coloring.
Follow up the sale
Trust quality and let it speak for itself. the brush work and detail on this painting was as good as I'd ever seen. The frame was hand carved and absolutely perfect. All this told me this was not a painting by an itinerant artist.
Finally, I followed up on the sale of a small piece by this artist on ebay - and found his home town was in Plano, Michigan.
As I round out my research in the years ahead, I'm betting this turns out to be something pretty special. Cowan had decent resources at the time relative to the type of patron Ransom would have drawn.
Frames affect Value
Of all the frames in my collection - this is without a doubt the nicest. It's hand carved and in superb condition.
Additional Collecting Lessons related to this art & artist:
• Period frames that can affect the value of an artwork
• Some legends are actually true
• Owned by a major collector
• Family re-ignites interest
• Asking about "other" art work for sale...Farsky
•
o heavily listed artist
o period forgery
Additional Collecting Links to this artist / info
Ernest De Nagy was born around 1882 in Budapest and died in 1952. He exhibited at the Salons of America and The Society of Independent Artists in the 1930s. 20in. by 16in.
Google Search on this Artist

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

This piece is simply chocked full of important lessons for the beginning collector.
Even museum records can be wrong. Someone, somewhere, had mistakenly listed the name on the reverse of the painting as "Fletcher Cranson". Even the final estate listed the painting and artist as such. However, upon seeing a
another tale tell sign was visiting the Cowen collection at the Parthenon in Nashville. Mr. Cowan quite obviously had a "thing" for this type of view and coloring.
Follow up the sale
Trust quality and let it speak for itself. the brush work and detail on this painting was as good as I'd ever seen. The frame was hand carved and absolutely perfect. All this told me this was not a painting by an itinerant artist.
Finally, I followed up on the sale of a small piece by this artist on ebay - and found his home town was in Plano, Michigan.
As I round out my research in the years ahead, I'm betting this turns out to be something pretty special. Cowan had decent resources at the time relative to the type of patron Ransom would have drawn.
Frames affect Value
Of all the frames in my collection - this is without a doubt the nicest. It's hand carved and in superb condition.
Cowan Collection
From Wikipedia, the free encyclopedia
In April 1927, twenty-one crates arrived in Nashville from Grand Central Galleries in New York City. These were the first of three shipments of paintings from an anonymous donor to the city of Nashville. Some three years later, upon his death, James M. Cowan (1858-1930) was revealed as the patron who had donated the paintings. The Cowan Collection, as it is known today, is an assemblage of sixty-three paintings donated to Nashville, to be housed in the Parthenon.
Cowan, born in 1858, was a successful insurance executive, who began collecting art while in his thirties and who, by his death, had amassed some seven hundred pieces of art. Cowan spent a portion of his childhood in Tennessee, and he considered our state his ancestral home, because several of his immediate relatives were buried in Tullahoma, Tennessee.
The Cowan Collection spans the years 1765-1923. Mr. Cowan was very specific in the choices for his collection, and in the interests they displayed. His selection of works emphasizes the landscape and seascape more than any other subject matter. And the technical styles vary from the smooth almost non-brushstroke of the Neo-Classic, to the impasto and laded brush work of Impressionism. All of the artists in this collection were American, most of whom were also members of the National Academy.

Art & Artist Information
Description of Art
Oil on canvas, 24 x 20, signed (lower left): Fletcher C. Ransom. Framed in a gilded, hand carved period frame.
James M. Cowan, an important United States collector, originally purchased this artwork. In 1930, Mr. Cowan left the bulk of his collection to the city of Nashville, TN where it is now the cornerstone of the permanent collection at the Parthenon Museum. A detailed description of Mr. Cowan's life and collecting interests was detailed in The Magazine Antiques in the November, 1980 edition on American Paintings. (The cover of the magazine was a copy of Cowan's painting by Sanford Gifford)
Mr. Cowan left numerous paintings to his siblings prior to his death. This piece was part of a group of paintings left to Mrs. C.W. Forbes of Atlanta, GA. It was inadvertently referred to in the tax record of Mr. Cowan's final estate obtained from the museum as “Fletcher Cranson”.
Provenance
• James M. Cowan
• Mrs. C.W. Forbes
• Robert Byrd
Artist Information
Fletcher Charles Ransom (1870 - 1943, American)
Fletcher Charles Ransom was born October 23, 1870 in Alamo, Michigan. He died May 2, 1943 in Plainwell, Michigan and is interred in the family plot in Alamo Cemetery.

Ransom was the oldest of four children and received his early education in the Kalamazoo
school system. His artistic ability was recognized early and paved the way for his education at the Art Institute of Chicago and thereafter, the Academy of Fine Art in New York City.
Living quarters were shared for a time with the notable Cy Young, in Greenwich Village. Fletcher may be considered one of America's finest artists and yet one of those least known.

Some of his works include the following: Commissioned Portraits, Magazine Illustrations: "Youths Companion," "Colliers," "Woman's Home Companion. "Books for David Graham Phillips, Osborn Co. New York Calendars: Brown & Bigelow Co., Joliet, Illinois; Gerlach-Barklow Co., New York, NY. Commissioned by the Chicago & Midland & Illinois Railroad Company to paint twenty portraits of Abraham Lincoln's life. He completed fourteen of these before his death. The majority of the Lincoln portraits are currently exhibited at the executive offices of the railroad in Springfield, Illinois.

Some known locations of Fletcher's work are Forest Lawn Cemetery, Los Angeles California; the old Senate Office Building, Washington, D.C.; the Elks Club, Joliet, Illinois; the Greater Lafayette Museum of Art, Lafayette, Indiana; the Brooklyn Museum, Brooklyn, NY; Alamo Township Museum, Alamo, Michigan; Charles A. Ransom Library, Plainwell, Michigan.

Fletcher lived in New York for a number of years before relocating to Joliet, Illinois. After some years he moved to Plainwell, Michigan, living with his sister Fannie and continuing with his work, in addition to lending a hand at the homestead, until his death.
Member: Society of Illustrators, 1903.
Fletcher C. Ransom was an illustrator most actively during the years, 1910 to the early 1940's. He studied art at the Chicago Art Institute and the Academy of Fine Art, New York City. He was hired to illustrate calendars for Brown & Bigelow Co., Colliers Magazine and many other clients. He did a series of portraits of Abraham Lincoln which were commissioned in Illinois. His paintings are in the permanent collection of the Brooklyn Museum, NYC. He was also a member of the Society of Illustrators.
Additional Information:
• My favorite links on this artist:
o AskART.com...specific / my fave links
o
• Google Search on this Artist
Types of art values LINK
Cash / Auction
Replacement / Insurance
Valuing art: formulas
Valuation Data
Was it a good deal?
Ebay faux auction ad & results
Show link to a high quality painting by Carlsen - the detail
ADD THIS INFO IN A SEPARATE LINK:
Few comparable paintings (paintings by the artist of this theme) have come to auction. Paintings of other subjects have come to the block, however: wrestling and genre pictures (pictures that portray everyday people immersed in daily activities) have sold in a range from $1,000 to $3,000. Yours is a beautiful contemplative painting after the Post Impressionists - lilac, teal and blue palette that would have interest among American painting collectors - although, you are not interested in selling it as you reported. Still, given that Ransom was known primarily as an illustrator, one wonders how a straightforward landscape by the artist would do at auction? Without comparables on which to base a higher value, I must assign it a somewhat conservative secondary market value. If placed in a strong estate sale complete with other American paintings of similar or better caliber, it could could do better. Ransom was a lesser known artist of his time, but highly skilled. The current values are listed below for this painting.

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Walter Young
Realism: Titled as “Arabesque”
Lesson: Auction "plan" mishap...best laid plans

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

WALTER N. YOUNG
(American, 1906 -)
Arabesque
Oil on Board
Original Purchase Price: $103.50 from ebay live auctions: Freeman’s
+ date
ARABESQUE"
Signed bottom right, oil on board
29 7/8 x 39 3/4 in."
o Secondary Lessons:
o Major Collections: Chef Paul collection
o The title: understanding it
o Shipping issues
• Planned as shared costs…but didn’t get the other piece
• Damage
o Is it Walter N. Young from NY?
• AskArt / Freedman’s has separate
• Reality? It was part of a major collection, it’s a major work…it’s going to be a listed artist
o Call / research records from Chef Paul collection
o Frame colors matched Tatiana’s bedroom set
o She was now too old for this piece…ended up in storage
o Opposite of positives: Bendor / Thilo / Belgium bundle
o Major Art Example
• Size + detail
• Like Midsummer…
o End of auction…your fave choices all at the end of a live auction
o Why Arabesque title?...repeated patterns
• Like Mirror title…forces you to learn / motivates you…about something new in art
o Insult to injury…damaged in shipment
o Goodwill gesture with fave shipper…Bendor mess
o Was hard not to try & sell it…needed many more piece & budget was tight
o Kept it: important lesson on patience at auction
o Artist “Medium” examples…unique type of “board”
o
o

Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
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Art & Artist Information

Description of Art
434: WALTER YOUNG, (AMERICAN 20TH CENTURY), ARABESQUE""

WALTER YOUNG
(AMERICAN 20TH CENTURY)
ARABESQUE"
Signed bottom right, oil on board
29 7/8 x 39 3/4 in."

Condition Report

Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

Oil on Academy Board, 6 x 10 1/2, signed (lower right): Jessalee Sickman.
A colorful self-portrait painting of the artist.
Provenance
• Ebay
Freeman’s Spring Sales of Fine Art Top $4.4 Million
May and June Results Represent 70% Growth from 2006
Philadelphia, PA, June 26, 2007 – Freeman’s Sunday, June 24th auction of Fine American & European Paintings & Sculpture closed out the spring season with a roaring success, with 126 lots selling for a total of $2,465,000. Combined with the May auction of Modern & Contemporary Art (which in previous years had been sold as part of the June sale), results from the spring totaled $4,435,000 for 299 lots sold – representing 70% growth from 2006 and an average lot value of nearly $15,000.
Sunday’s top lot was a fine Western scene entitled “The Impressionable Years” by the American artist Tom Ryan. Estimated conservatively at $30,000-50,000, the vibrant cattle drive scene attracted the attention of many of the top Western collectors and dealers, and intense competition from the room, phones and internet eventually led to a result of $203,150. The work came to Freeman’s from the collection of Mrs. Paul’s Kitchen, which contributed a number of highlights to the day including Lamar Dodd’s “Wolf Fork Valley” ($34,655) and a large Louis Glanzman oil painting depicting the 1976 Bicentennial unveiling of a commemorative Liberty Bell at Philadelphia’s Independence Hall, which sold for $16,730.
Prices were strong throughout the day, with more than 40% of the lots reaching prices in excess of high estimates. The auction opened with a diverse selection of European works, led by “Still Life with Champagne Flute and Wild Plums” by the 19th century German artist Johann Wilhelm Preyer. Advertised extensively in Germany and through Freeman’s strategic partner in the UK, Lyon & Turnbull, the painting eventually landed with a London buyer at $191,200 against an estimate of $50,000-80,000.
Other highlights from the European section included two fine English watercolors – “The Balustrade” by Sir William Russell Flint, which returned to England for $67,100, and “International Sixes” by Montague Dawson, which reached $31,070 from a Canadian bidder. A Belgian buyer was the successful bidder on Alberto Pasini’s “Persian Scouts” at $41,825, and a pair of oil paintings after Francois Boucher entitled “Pastorale aux Jeunes Femmes” sold to an eBay user in Hungary for $36,600.
Results for American works were bullish throughout the sale’s second half, including a large landscape by the German/American painter Hermann Herzog. The depiction of “A Fishing Village in the Lofoten Islands, Norway,” which measured 50 x 75 inches, sold for $119,500. At the opposite end of the size spectrum was the 12 x 16 inch “Landscape with Two Figures at Sunset” by the Hudson River School founder Thomas Cole, which sold for the same price.
Pennsylvania Impressionists were well represented, as always. Fern Coppedge’s “Snow and Sunshine” sold for $71,700, as did Elizabeth Fisher Washington’s “Spring,” and a floral study by Mary Elizabeth Price entitled “White Poppy” reached $56,120. The work of Roy Nuse continued to prove popular with Freeman’s buyers with “Neshaminy Woodhill Bridge” exceeding high estimate at $41,825 and “Wismer Farm” selling for $27,485.
Other American highlights included an important Edmund Darch Lewis work depicting “A View of Philadelphia from Belmont Plateua” ($25,095), Cecilia Beaux’s portrait of “Mrs. Robert Chapin and Daughter Christina” ($50,787) and a number of fine illustration pieces including Norman Rockwell’s “Charwomen in Theater,” which sold for $50,787.
Freeman’s will continue to offer two fine art sales each season, with the next sales for November 4th (Modern & Contemporary Art) and December 2nd (Fine American & European Paintings & Sculpture). Full sale results and a schedule of upcoming events are available here. Sale and consignment inquiries may be directed to Alasdair Nichol (ext. 3011, anichol@freemansauction.com) or David Weiss (ext. 3014, dweiss@freemansauction.com).

Strictly Arabesque
This oil painting workshop is about learning to paint in the style of 'alla prima'- that is, to start and finish a painting in one session.
Concept with Arabesque
Friday, 04 July 2008 09:43

"Concept with Arabesque"
390 x 820 mm - Acrylic on canvas
SOLD
I have been feeling the urge to break away from my natural representational style and experiment with forms of abstraction.
The work began without preconception and remained open to change as the layers of paint transformed and progressed, but I found it difficult to leave behind my love of pattern and form...(old habits are hard to break)...and I found myself applying an arabesque style scroll motif across the top of it, so it's now a sort of hybrid post-modern abstract ;-)

Arabesque | Art Movement

Typical of Islamic ornamentation from c.1000, the arabesque is a complex style of decoration characterised by repetitive geometric patterns, the interlacing of plant and animal forms, and abstract curvilinear motifs. Although the actual style was derived from Hellenic craftsmen in Asia Minor, the term arabesque was coined in the 15th or 16th century when Europeans became interested in the Islamic arts. Regarded as both an art and a science, the arabesque is mathematically precise, aesthetically pleasing, and symbolic. That said it can be seen to comprise religious and secular art.

Rendered in nearly every media known to Muslim artisans, Arabesque ornamentation has been created with ceramic tiles, mirrors, brickwork, metalwork, stucco, stonework, mosaic and marble inlays. It has gained much significance as an art style due to the fact that it has flexibly and regionally evolved while still retaining its original principles.

Arabesque geometric artwork was not used until the golden age of Islam in which ancient texts were translated from their original Greek and Latin into Arabic at the House of Wisdom. When the works of Plato and Euclid became extremely popular, it was Euclid's geometry as well as Pythagoras' foundations of trigonometry that were expounded on by Al-Jawhari circa 860. His Commentary on Euclid's Elements went on to become the starting point of the Arabesque art form.

As the style was often employed to cover entire surfaces, arabesque was also applied to the decoration of illuminated manuscripts, walls, furniture, metalwork, pottery, stonework, majolica, and tapestry from the Renaissance to the 19th century. Usually found decorating the walls of mosques, the geometric patterns and shapes that are chosen and the way they are formatted is based upon the Islamic view of the world. According to the Muslim faith, this iconography comes together to create an endless pattern which symbolises the eternal nature of Allah.

Arabesque art encapsulates two modes which act as a reflection of unity arising from diversity. The first mode recalls the values of Islam that govern the order of the world. These include the basic elements which come together to make objects structurally perfect and therefore beautiful, for example, angles and the static shapes they create. As each repetitive geometric form has a built-in symbolism ascribed to it, the square, for example, with its fours equilateral sides, is symbolic of the key elements of nature: earth, air, fire and water. Without any one of the four, the physical world, represented by a circle that inscribes the square, would collapse and cease to exist. From the Islamic viewpoint, geometry is one of the streams that flows from the fountainhead of Islam. That said Islam and science were never seen as two separate subjects but key components of the faith.

The second mode of the Arabesque recalls the nature of life giving and is based upon the flowing nature of plant forms. As the Qur'an contains many verses which mention the exquisite gardens of Paradise, the depiction of scrolling vines, surreal flowers, and gracefully flowing leaves is a common feature in the arabesque. Many would argue that there is also a third mode, the mode of Arabic calligraphy, which acts as a visible expression of the highest art of all; the art of the spoken word. Complete passages from the Qur'an are commonly seen in Arabesque art.

Artist Information

Walter Young (1903- , American)
Painter, Teacher. Born: August 17, 1905 in Washington, DC. Lives in Denver, CO. Studied: University of Colorado; Goucher College; and the Corcoran School of Art. Member: Society of Washington Artists. Exhibited: Society of Washington Artists, Washington, DC Public Library, 1941 (one-man show); Corcoran School of Art, 1941 (Prize); Washington, DC Exhibit, 1945, (prize). Illustrator: Forum Magazine. Position: Teacher at Corcoran School of Art.

Additional Information:
• My favorite links on this artist:
o AskART.com...specific / my fave links
o
•
Google Search on this Artist

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ArtCollecting.info
How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2007 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource
to help beginning collectors
affordably acquire quality artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Lesson: Expatriated Art

Oil on Canvas mounted on board
12 x 9"
Signed (lower right): De Nagy
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on eBay. COM for $126.87 - 2006

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
A Lesson in Geography: Value in Expatriated Artworks (brief article / engaging headline format)
Suppose you hoped to find an adorable early American impressionist painting: where you might you look? Perhaps the last place you would begin your search is a junk-seller in Belgium. Alas, that's exactly where I scored this little jewel off ebay in 2006.
Expatriated art is a common occurrence: a collector from another country buys a piece...
Additional Collecting Lessons related to this artwork are included:

Additional Collecting Lessons related to this art & artist:
• Research building...historical society
• Other matched piece sold at auction...Market square
• His scenes of people not worth as much - flowers bring most
• Standard sizes / affordable frames
• Other site-terms associated with this art, include:
o heavily listed artist
o period forgery

Additional Collecting Links to this artist / info
Ernest De Nagy was born around 1882 in Budapest and died in 1952. He exhibited at the Salons of America and The Society of Independent Artists in the 1930s. 20in. by 16in.

Google Search on this Artist

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

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How-to Source for Beginning On-Line Art Collectors

Ernest De Nagy
Ernest De Nagy, noted Hungarian painter, is known for his paintings of portraits, landscapes, still lifes, genre scenes, musicians, gardens, carriages, costal and maritime scenes. He also painted many famous portraits over the years including General "Blackjack" Pershing, whose portrait hangs at the Army Base in Arlington Virginia.
He usually worked in oil paint and painted in a realism style, and he lived in Ogunquit, Maine. De Nagy's name and dates often get confused with his son Ladislas (or Laszlo, or Lazlo) De Nagy (Hungarian, 1906-1944), who was also a noted painter and who passed away at an early age.
Ernest De Nagy also had a daughter Eva De Nagy, 1911-1999, who a noted painter as well and who later owned the Eva De Nagy Art Gallery in Provincetown, MA.
Ernest’s artwork can be found in many public and private collections worldwide.
Biography from askart.com

Current Featured Artist

Ernest De Nagy

Ernest De Nagy (Hungarian-American, 1881-1952) noted painter, known for his paintings of portraits, landscapes, still lifes, genre scenes, musicians, gardens, carriages, costal and maritime scenes. He painted many famous portraits over the years including General "Blackjack" Pershing, whose portrait hangs at the Army Base in Arlington Virginia. He usually worked in oil paint and painted in a realism style. He lived in Ogunquit, ME. Ernest’s name and dates often get confused with his son’s Ladislas (or Laszlo, or Lazlo) De Nagy (Hungarian, 1906-1944) who was also a noted painter and who passed away at an early age. He also had a daughter Eva De Nagy (Hungarian-American, 1911-1999) who a noted painter as well and who later owned the Eva De Nagy Art Gallery in Provincetown, MA. Ernest’s artwork can be found in many public and private collections worldwide.

Chronology:

1881- Born, Budapest, Hungary.

circa early 1900’s-1910’s- Ernest traveled and painted throughout Europe.

1906- Son Ladislas (or Laszlo, or Lazlo) Moholy De Nagy (Hungarian, 1906-1944) was born, Hungary.

1911- Daughter Eva De Nagy (Hungarian-American, 1911-1999), was born, Hungary.

circa 1911- 1920’s- Ernest lost his first wife to Cancer (unknown name).

circa 1920’s- Ernest remarried to his second wife Irma (née Eazol) De Nagy (Hungarian-American, 1897-1977), the well known palmist, author and lecturer who studied painting under her husband and also became an artist of excellence. She had two sons from her previous marriage into the aristocratic Nozdroviczky family in Hungary (unknown names).

1931- Ernest, Irma and their children emigrated to the United States and settled in New York City.

1934- Exhibited, group show, 12th Annual Exhibition of the Salons of America, Forum Rockefeller Center, NYC. Exhibited, group show, Eighteenth Annual Exhibition of the Society of Independent Artists, Grand Central Palace, NYC.

circa 1940’s- Ernest spent some time in New Orleans, LA. The family moved to McKee City, New Jersey, near Atlantic City, where Ernest opened an art gallery and art studio.

1944- Son Lazlo died, Trenton, NJ.

1952- Ernest died, NJ.

1977- October, his wife Irma died, NJ.

1999- Daughter Eva died, Provincetown, MA.

Publications: Who Was Who in American Art 1564-1975, by Peter Hastings Falk, 1999; The Artists Bluebook, by Lonnie Pierson Dunbier (Editor), AskArt.com, Inc., 2005.

For possible additional information or images from this artist, please visit the AskArt link

(Rewritten in parts & compiled chronologically by Mark Strong of Meibohm Fine Arts, Inc., East Aurora, NY, 09/2009. Sources: A special thank you to a member of the De Nagy family (who wishes to remain anonymous) for providing additional information and clearing up a few facts and missing information; Who Was Who in American Art 1564-1975, by Peter Hastings Falk, 1999; Davenport's Art Reference: The Gold Edition, by Ray Davenport, 2005; AskArt.com with permission, quick facts and prior discussion board entries; fultonhistory.com, online digitized news article, Brooklyn Daily Eagle, “The Salons 12th Annual Holds Record For Size”, Sunday, April 15, 1934, Pg. 14 B-C, Brooklyn NY Daily Eagle 1934 Grayscale – 4056.pdf; handresearch.com, online news article, “Hands in the News: About Irma De Nagy”, March 4, 2009; trocadero.com)

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.
Artwork images are copyright of the artist or assignee
All text copyrighted 2009 by ArtBurglar.com except as credited

ArtCollecting.info is a free resource
to help beginning collectors
affordably acquire quality artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Jane Bassuk
Abstract: “Artist Self Portrait”
Lesson: A lot of art for money + on-line research / artist contact

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:
• heavily listed artist...ebay link
• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

JANE BASSUK
(American, 1882-1934)
Bought out of Belgium / expatriate art
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info
Wonderful abstract oil on canvas, large at 42 1/2" x 42 1/2". Signed and dated Jane Bassuk, winter '72. All in good condition, intentially unframed.

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

View Next Painting Return to Section Index Site Index

ArtCollecting.info
How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2007 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource
to help beginning collectors
affordably acquire quality artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Roberto Montenegro
Surrealism: “Hand Holding a Red Pitahaya”
Lesson: After the auction/ unsigned...overexposed / free fall value

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Every artwork in the ArtCollecting.info collection provides at least one unique lesson that assists beginning web-collectors in making better decisions about a new art acquisition.
The lessons-learned from this particular piece, include:
Lesson One: The impact of professional art cleaning & restoration
This was one of the first pieces of art I can honestly say I "really" wanted. Having already acquired an ink on paper by Montenegro, I had been afforded the opportunity to study the artist and the styles which he was most famous for producing. This original oil represented all
Bottom fishing
Robert Montenegro vs. Roberto

Art & Artist Information

Description of Art

Encaustic on Panel, 14 x 11 15/16
Provenance
• Sotheby's.com
• Acquired directly from the Artist
Artist Information

Robert Montenegro (1885-1968, Mexican)
Born in Guadalajara, Jalisco in 1887, the painter and muralist Robeto Montenegro inherited his love art from his uncle, who gave him his first painting lessons. He contributed illustrations and vignettes to the Revista Moderna and later moved to Mexico City. He studied in the San Carlos Academy under Julio Ruelas, Antonio Fabrés and Germán Gedovius. Until 1921 he lived in Europe, where he worked with important Spanish, French and Belgian artists. In Mexico, José Vaconcelos commissioned him to do several murals in the Ministry of Public Education, Benito Juárez School, the Iberoamerican Library and the National Teacher´s School. As a writer and critic, together with other contemporary artists, he tried to divert attention away from European art by introducing popular Mexican art to the public. His vast body of work includes painting, engraving, book illustrations, vignettes and stained-glass windows. He was the founder of the Arts Academy, and died in Morelia, Michoacán in 1968.
Montenegro attended the Academia de San Carlos, studying under Julio Ruelas, German Gedovius and Leandro Izaguirre. He obtained a scholarship to study in Europe where he received training at the Colarossi and Grand Chaumiere Academies in Paris (1906-1910 and 1911-1919). Montenegro was also head of the department of Fine Arts and Director of the Museo de Arte Popular. A muralist, he is also known for his fine work decorating many public buildings.
Roberto Montenegro (1887 - 1968). Grandson of José Guadalupe Montenegro, who devoted his fortune to liberal causes, and a cousin of Amado Nervo, co-publisher of La Revista Moderna de México (1898-1911). Began to studied painting, 1903, with Félix Bernardelli in Guadalajara, In Mexico City, the following year, briefly studied architecture at San Carlos Academy but returned to painting, under Antonio Fabrés; later studied with Ruelas, Gedovius and Izaguirre. Fellow student of Diego Rivera, Angel Zárraga and Francisco Goitia. In 1905 awarded a scholarship for study abroad; in Madrid worked in the studio of the painter Baroja, and then studied in Paris from 1907. Associated with Picasso, Juan Gris, Cocteau and others; contributed drawings to Le Témoin, 1907. Some Montenegro's work belonged to the broad current of indigenismo, which was manifested in the rediscovery and revaluation of native cultures and traditions, as well as the use of Indian themes in visual arts.
At the outbreak of war, in 1914 with Anglada Camarasa, moved to Palma de Mallorca, wher remained until 1919; in this period illustrated La lámpara de Aladino and published a book on Nijinsky. Returning to Mexico, held first exhibition, and organized first Exhibition of Popular Arts, Mexico City, 1921. Active in mural movement, commissioned by Minister of Education, José Vasconcelos, to paint frescos, with Dr. Atl, at exconvent of SS Pedro y Pablo; his mural masterpiece Fiesta de la Santa Cruz, for main staircase, completed 1924. Published Mexican Masks (1926) and Pintura Mexicana 1800-1860 (1933). Work in stage design in 1930s included collaboration with Marc Chagall on ballet Aleko and Antonio Leal on Lenormand's The Simoon. In 1934 appointed director, Museum of Popular Arts of Palacio de Bellas Artes; selected section on popular arts for exhibition, Twenty Centuries of Mexican Art, Museum of Modern Art, New York, 1940. In 1946 founded Museum of Popular Arts in Toluca; published Retablos de México (1951).
Born in the city of Guadalajara, Mexico, in 1885, Montenegro began studying painting under Feliz Bernardelli. In 1904, then living in Mexico City, he began studying architecture, which he soon abandoned to take up studies in the Academy of San Carlos under Antonio Fabres, Julio Ruelas, Leandro Izaguirre and German Gedovius. His peers in the academy included Diego Rivera, Angel Zarraga and Francisco Goitia.
Later, with a scholarship from the Mexican government, he entered the Academia de San Fernando in Madrid where he met and worked with Joaquín Sorolla and Ignacio Zuloaga. In 1907 he moved to Paris where he met Picasso, Gris and Cocteau. Stimulated by the energy of Paris, he made some drawings for the magazine Le Temoin, illustrated Aladin's Lamp and wrote a biography of Russian dancer Nijinsky.
The outbreak of First World War forced Montenegro to move to Mallorca, where he stayed for almost five years. During his exile he met Anglada Camarasa, a highly recognized Catalunian painter of the time, who notoriously influenced Montenegro's style.
Soon after Montenegro's return to Mexico, José Vasconcelos commissioned him to paint frescos in the convent of San Pedro and San Pablo. In 1924, Montenegro finished one of his best works — "Fiesta de la Santa Cruz" — on the staircase of that building.
Montenegro was also an influential promoter of popular arts, organizing events such as the first popular arts festival in 1921. In the thirties he published a book — "Pintura Mexicana del Periodo 1800-1860" — and collaborated with Marc Chagall in the choreography of the ballet Aleko, and with Antonio Leal in the Le Simoun ballet by Lenormand. He also dedicated himself to portraiture, becoming a master of technique, best seen in a portrait of his friend Chucho Reyes Ferreira, currently found at the the Regional Museum of Guadalajara.
In 1951, indulging his taste for popular art, he published "Retablos Mexicanos". He successfully exhibits his work both in Mexico and in foreign countries, which yields him multiple acknowledgements.
In 1965, the Palace of Fine Arts in Mexico City exhibited an anthology of his work spanning five decades. His death in Mexico City in 1968 was mourned by the artistic community in Mexico and abroad. In good condition overall.

The painter Montenegro Robert (1885-1968) published a brief book of memories six years before dying. He was 1962. The artist, opacado in the public scope by his muralistas colleagues, felt like a solitary painter, "whose talent could be haggled over by the critic and the official institutions, but never by him and his true friends", indicates to Miguel Echegaray Angel in the prologue of a new edition of those pages where Montenegro wanted ' ' to relate events of a intrascendente superficiality '', according to words of the painter.
Planes in the time are the title of the work that, in opinion of Echegaray, is a narration interested in revaluing the own life and the artistic trajectory of its author "and making it obvious to the others: if the life is as soon as a rough draft, the destiny is a printed book
The history of Montenegro, counted by him, begins with its arrival to the Federal District coming from its Guadalajara birthday to study architecture. Their interest by the technique of the drawing and the history of the art directs it to the Academy of San Carlos, where it agreed with Diego Creek, Zárraga Angel, Francisco Goitia and Saturnino Herrán.
Montenegro remembers its passage by the Modern Magazine , directed by Loved I rib, in which "it published poetries with illustrations of (Julio) Ruelas, reproduced pictures of the painters, and to me they published one to me that another drawing that gives pain me to remember".
After two years of studies in San Carlos, Montenegro won, along with Diego Creek, an aid to study in Europe. The artist wrote that his first stay in Madrid was ' ' a time of great intensity '' in its plastic and intellectual formation, and confesses a deep veneration by the personages of the time: Ramon of the Valley Inclán, Ricardo and Pío Baroja, Gregorio Marañón, Antonio Robles, Manuel and Antonio Machado, Miguel de Unamuno and Juan Ramon Jiménez.
In Paris one feels perplex "when arriving and to give account to me of the transformation that was in the atmosphere of that time, all my knowledge and all my inclinations, all my experiences, came down in front of the unexpected movement that was in the City Light.
"the exhibition of the independent ones, They Fauves, exhibitions of Picasso, Braque, disturbed my intentions, and in a while of transition I remained isolated thinking about that bold new vision of the painting that changed all my ways, and without letting admire, to have the respect due to the great teachers of the painting - the Italians, the Spaniards, the flamenco ones -, it felt taken to me by the modern current and I discovered in me to a revolutionary incipiente".
Its stay in Europe is the narration of a young artist in the heat of formation. Echegaray Adds: "the Montenegro young person questions itself how to assimilate the new currents without reduction of his formation and its attachment by the classic painting. Questions for which it seems not to have solution and that rather they paralyze it ".
Aesthetic and political reclamations
Montenegro was not a painter with interests and political ideas, far from it an activist or a politicized artist. However, in his story it confesses to have contributed with something to the revolutionary cause that embraced their Mexican colleagues of visit in Europe: "My situation was not of most shining, worked in some newspapers and the remuneration was little, but he was me very satisfactory to be able to help, although it go poorly, to the cause of my conspiradores guests".

When it returns to the country, the painting of Montenegro was scorned so much for aesthetic reasons as by its deficiency of political and ideological contents. "Both questions were united in a same dispproval on the part of the militant muralismo. The esteticismo of Montenegro and its political deviation left it outside the scene occupied by the vanguard of the public painting ", is emphasized in the prologue of Planes in the time .

Nevertheless, it is added, "we must be sorry that it did not go deep in that attitude of cronista of the exquisite in venecianos palaces, morbosas celebrations and dislocated meetings of countess, Marquesses and new millionaires. Of not to be so strong its aesthetic and political indecisions, it had been possible to recognize like the painter of new and old aristocracies; of the affectations and eccentricities that a ferocious ideological sentence wished to eliminate of all pictorial representation

Encaustic painting
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A 6th-century encaustic icon from Saint Catherine's Monastery, Mount Sinai.
For encaustic tiles see Encaustic tile
Encaustic painting, also known as hot wax painting, involves using heated beeswax to which colored pigments are added. The liquid/paste is then applied to a surface — usually prepared wood, though canvas and other materials are often used.
The simplest encaustic mixture can be made from adding pigments to beeswax, but there are several other recipes that can be used — some containing other types of waxes, damar resin, linseed oil, or other ingredients. Pure, powdered pigments can be purchased and used, though some mixtures use oil paints or other forms of pigment.
Metal tools and special brushes can be used to shape the paint before it cools, or heated metal tools can be used to manipulate the wax once it has cooled onto the surface. Today, tools such as heat lamps, heat guns, and other methods of applying heat allow artists to extend the amount of time they have to work with the material. Because wax is used as the pigment binder, encaustics can be sculpted as well as painted. Other materials can be encased or collaged into the surface, or layered, using the encaustic medium to adhere it to the surface.
This technique was notably used in the Fayum mummy portraits from Egypt around 100-300 CE, in the Blachernitissa and other early icons, as well as in many works of 20th-century American artists, including Jasper Johns.
Kut-kut, a lost art of the Philippines implements sgraffito and encaustic techniques. It was practiced by the indigenous tribe of Samar island around 1600 to 1800.[citation needed]
Encaustic art has seen a resurgence in popularity since the 1990s with people using electric irons, hotplates and heated stylus on a variety of different surfaces including card, paper and even pottery. The iron makes producing a variety of artistic patterns elementary. However, the medium is not limited to just abstract designs, it can be used to create complex paintings, just as other media such as oil and acrylic.

[edit] References

Wikimedia Commons has media related to:
Encaustic painting
• Mayer, Ralph. The Artist's Handbook of Materials and Techniques Viking Adult; 5th revised and updated edition, 1991. ISBN 0-670-83701-6

[edit] External links
• What Is Encaustic Painting?
• Early Icons from St. Catherine's, The Sinai
• Encaustic History and Process information
• Dutch website with very nice paintings
Retrieved from "http://en.wikipedia.org/wiki/Encaustic_painting"

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Lesson: Favorite life memories

Oil on Canvas
20 x 16 in.
Signed (lower right): Lax
Titled "New Work Overview" on reverse
Exhibition sticker on reverse: Grand Central Art Galleries: New York: Empire City in the Age of urbanism 1875-1945 November 14, 1988 - January 26, 1989 / 212-867-3344
This painting was accompanied by a book authored by Lax entitled: "One Man Show".
Copyright for this work may be controlled by the artist, the artist's estate, or other rights holders. A more detailed analysis of its rights history may, however, place it in the public domain.

Original Image:
What I saw when first bid on this artwork
Purchased on Sothebys. COM for $126.87 - 2006

Want to buy an artwork similar to this piece?
Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:
• heavily listed artist...ebay link
• This style of art is known as: modernism
• This art's lineage is: Contemporary American
At Connie's Inn, from the "Of the Blues" series

BACK TO CONTEMPORARY ART

DAVID LAX
(American / Canadian 1910-1990)
Art that touches your soul: Buying art that stirs a special memory of days gone by
Memories: some artworks define a part of your past
There's a lot of reasons why someone decides to purchase one piece of art over another. They might prefer a particular style of painting or be drawn to certain arrangements within an artwork. One of the most compelling reasons to acquire an artwork is that it touches a cord from your own life experience. Keep in mind - you're going to be "living" with your paintings in your home.
Some pieces define the essence of our life journey (Meza). Other pieces touch our sense of view about the world (Radu) (Penny) Childhood. Others, like this one? Evoke a special memory from your past.
Many years ago I fell deeply in love with a woman I met in New York city. Being a native, New Yorker - is was almost impossible. Metaphorically-speaking? This painting defined that relationship.

I believe in buying art that I love. One way in which a painting invokes such heart felt attraction is when the subject takes you back to a special memory in your past. This painting by David Lax did so for me in a most powerful way.
Years ago, I fell in love with a lovely lady from New York City. Being from a small town in Kentucky, both the city and her classy demeanor had a way of overwhelming my senses with each visit. The relationship lasted for years and we are still dear friends. What hindered our future was the city itself - and her love affair with her "hometown".
Hearing all this can you imagine how I so clearly related to this piece? Notice "his" casual attire - and her more formal red dress. Even the hair colors were fairly accurate. If I had commissioned an artist to represent all that this relationship "was" - this piece would have been the best I could have asked for.
You'll find similar works of art that will take you back to special moments in your life. Don't try and force them.
Additional Collecting Lessons related to this artwork are included:

Additional collecting lessons related to this art & artist:
• Researching exhibition stickers
• Other matched piece sold at auction...Market square
• His scenes of people not worth as much - flowers bring most
• Standard sizes / affordable frames
• Other site-terms associated with this art, include:
o heavily listed artist
o period forgery
Additional Collecting Links to this artist / info
Ernest De Nagy was born around 1882 in Budapest and died in 1952. He exhibited at the Salons of America and The Society of Independent Artists in the 1930s. 20in. by 16in.
Google Search on this Artist

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

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Rolph Scarlett
Abstract Expressionism: “Composition”
Lesson: The genius of the Dunbar System...he did more to affect art collecting for beginners in the past 20 years than anyone...Retrospective, Does size matter...subject / ongoing research

Oil on Canvas
34 x 44"
Signed (lower right): Scarlett
Titled "New Work Overview" on reverse
Exhibition sticker on reverse: Grand Central Art Galleries: New York: Empire City in the Age of urbanism 1875-1945 November 14, 1988 - January 26, 1989 / 212-867-3344
This painting was accompanied by a book authored by Lax entitled: "One Man Show".
Original Image:
What I saw when first bid on this artwork
Purchased on Sothebys. COM for $126.87 - 2006

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:
• heavily listed artist...ebay link
• This style of art is known as: modernism
• This art's lineage is: Contemporary American
At Connie's Inn, from the "Of the Blues" series

Music played an important role in Romare Bearden's art. He especially loved jazz, and his method as a visual artist was based in part on what he had learned from jazz musicians about improvisation. As in jazz, the unpredictable repetitions and juxtapositions of shapes, textures, and colors in his art create startling, unexpected visual rhythms. As Bearden once said about being an artist: "You must become a blues singer—only you sing on the canvas. You improvise—you find the rhythm and catch it good, and structure as you go along—then the song is you. Music has always been important for me the way it has been important for many Blacks. Blacks have made their own sound, their own musical language like jazz. It is theirs and they identify with it. In a world of constantly changing identities, certain forms of music represent a solid identity for Blacks."

• Artist: Romare Bearden, American, 1914-1988
• Medium: Collage (with acrylic and lacquer) on masonite panel
• Dates: 1974
• Dimensions: 49 7/8 x 39 15/16 in. (126.7 x 101.4 cm)
• Signature: Signed lower left (blue): "romare bearden"
• Collections: Contemporary Art
• Museum Location: This item is not on view
• Accession Number: 75.74
• Credit Line: John B. Woodward Memorial Fund
• Rights Statement: © artist or artist's estate
• Caption: Romare Bearden (American, 1914-1988). At Connie's Inn, from the "Of the Blues" series, 1974. Collage (with acrylic and lacquer) on masonite panel, 49 7/8 x 39 15/16 in. (126.7 x 101.4 cm). Brooklyn Museum, John B. Woodward Memorial Fund, 75.74. © artist or artist's estate
• Image: overall, 75.74_PS2.jpg. Brooklyn Museum photograph, 2009

• Record Completeness: Best (87%)

BACK TO CONTEMPORARY ART

ROLPH SCARLETT
(American-Canadian 1889-1984)
Art That Touches your soul: Buying art that stirs a memory of days gone by
Size versus subject matter: which is most important?
There's a number of reasons why collectors acquire one piece of art over another. They might prefer a certain style of painting or be drawn to the particular arrangement of an artwork & admire the skill associated with its creation. Equally compelling is when an artwork touches a cord from your own life experiences. Some pieces define the essence of our life journey (Meza). Other pieces touch our sense of view about the world (Radu) Others, like this one? Evoke a memory from the past.
Many years ago I fell deeply in love with a woman I met in New York city. Being a native, New Yorker - is was almost impossible. Metaphorically-speaking? This painting defined that relationship.
Also...Penny paintings
If you've ever visited a fine art gallery selling overpriced art you've heard the classic pitch "you should buy a piece because you love it". Basically, what they are saying is that we hope you'll find a piece in our gallery that will cause you to pay our ridiculous prices and throw any sense of hard core economic reality out the door.
I believe in buying art that I love. One way in which a painting invokes such heart felt attraction is when the subject takes you back to a special memory in your past. This painting by David Lax did so for me in a most powerful way.
Years ago, I fell in love with a lovely lady from New York City. Being from a small town in Kentucky, both the city and her classy demeanor had a way of overwhelming my senses with each visit. The relationship lasted for years and we are still dear friends. What hindered our future was the city itself - and her love affair with her "hometown".
Hearing all this can you imagine how I so clearly related to this piece? Notice "his" casual attire - and her more formal red dress. Even the hair colors were fairly accurate. If I had commissioned an artist to represent all that this relationship "was" - this piece would have been the best I could have asked for.
You'll find similar works of art that will take you back to special moments in your life. Don't try and force them.
Additional Collecting Lessons related to this artwork are included:
Additional Collecting Lessons related to this art & artist:
• Figuring out your abstract artwork
• Most collectible subject versus not
•
o heavily listed artist
o period forgery
Additional Collecting Links to this artist / info
Ernest De Nagy was born around 1882 in Budapest and died in 1952. He exhibited at the Salons of America and The Society of Independent Artists in the 1930s. 20in. by 16in.
Google Search on this Artist

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

Art & Artist Information
Description of Art
Oil on canvas, 34 x 44, signed (lower right): Scarlett.
Abstract composition
Provenance
• Butterfield's
Artist Information
Rolph Scarlett (1889-1984, American)
A prominent figure of post-World War II painting in New York, Jackson Pollock produced Sleeping Effort when he returned to abstract figuration after making his famous drip paintings in the late 1940s, in which he explored completely non-representational forms. In Sleeping Effort, while working with abstract representational or referential imagery, Pollock synthesized the expressive handling of his drip paintings with the psychological interests of his work from earlier in the 1940s. In his psychological images he was influenced by Jungian and Surrealist notions of the human subconscious, both of which focus on dreams as conduits to the psyche. Sleeping Effort itself suggests a dreamlike state: a reclining figure in the foreground is surrounded by unidentifiable imagery floating in an amorphous blue background, as if providing insight into the figure's subconscious. Building up layers of paint into a thick impasto of rich colors, Pollock's loose brushwork is typical of Abstract Expressionist gestural painting, in which visible brushstrokes were seen as traces of the creative act. The fragmentation and dissonance of form and color, viewed within the context of the postwar nuclear era, link this painting to the world in which it was produced.

Rolph Scarlett (1889-1984) was born in Guelph, Ontario, Canada. He received early training and encouragement in art, with private tutoring in the academic basics of form, perspective and color. At age fourteen, when Scarlett announced his intention to be an artist, his father insisted that he learn a trade and apprenticed him to his uncle for four years to learn jewelry-making. This training was to serve him well throughout his life, and he continued to make jewelry until his death.
In 1908, at age 18, Scarlett made his first trip to New York. He did not return to Canada until four years later at the start of World War I. Scarlett continued to make periodic trips to New York after the war, including a visit to the Armory Show in 1913 where he saw and was fascinated with the modern and abstract art on display.
A decade later, while working for a large wholesale jewelry business in Toronto, Scarlett visited Switzerland where he met the artist Paul Klee. Klee suggested that Scarlett try to make some small abstract compositions. This experience caused him to move away from realism to abstraction in his own work. At this point he began a serious study of nonobjective art as well as stage design.
In 1930, Scarlett went to California where his abstract paintings and watercolors were shown in a solo exhibition. He also executed set designs for the Pasadena Playhouse that were described by a local critic as "daringly effective." Scarlett settled in New York in 1932, working for Design Associates, a company that produced modern furniture designs and planned several pavilions at the New York World's Fair.
Rolph Scarlett, born in 1889 in Canada, was taught by his grandmother to paint. His romance with Non-Objective art began in 1924 with the purchase of a box of pastels and a stack of paper. As he began to test the pastels on the white sheets, he became enamored of the purity and power of these chromatic marks. He lost track of time and eventually fell asleep. When he awoke the next morning, he found he had created completely abstract compositions. The artist entered the best of this work in a juried competion of the Toledo Museum of Art. After much debate, the jurors, who had never seen a completely abstract work of art before, awarded it first prize. The drawing was so controversial that people waited in line to see it. Hilla Rebay considered Scarlett her greatest discovery.
By 1939, Scarlett had begun his long association with The Solomon R. Guggenheim Museum (then the Museum of Non-Objective Painting) directed by Baroness Hilla von Rebay. He lectured there for fifteen years and his paintings were shown in numerous exhibitions, in New York as well as Paris. The Museum acquired sixty of his paintings for their permanent collection, but when Guggenheim died, Rebay and the artists she championed were forced out of the gallery, and Scarlett's paintings were put in storage. According to Scarlett's memoirs, "This caused me great financial hardship, loss of prestige and loss of artistic recognition."
For nearly a decade in the 1950s Scarlett experimented with expressionistic paintings, some made by puncturing holes in the bottom of paint cans and allowing the paint to drip onto the canvas. This work, labeled "Lyrical," (though Abstract Expressionism is the more familiar term) won critical acceptance.
Before the end of his nearly 90-year career, Scarlett had returned to geometric abstraction with a greatly brightened palette and a denser composition than used in his earlier work. His commitment to abstraction never wavered and he continued to explore it until his death at age 94.
Rolph Scarlett was born in Guelph, Ontario. By the time he moved to the United States in 1918, he had gained experience in the techniques of painting, execution of jewellery settings, and designing for the stage. Each of these interests helped shape his career. As a painter, Scarlett was deeply involved with geometric abstraction during the 1930s and 1940s when he was associated with New York’s Museum of Non-objective Painting (later the Solomon R. Guggenheim Museum). A geometric sensibility also inspired his innovative, cubist-inspired stage designs for plays such as George Bernard Shaw’s Man and Superman (1929). As a commercial designer during the 1930s, he produced a remarkable body of design drawings on a wide range of subjects from household objects to the 1939 New York World’s Fair amusement rides. Much of his work followed the streamlined, machine age sensibility of the period (the shape of the times), a design vision that Scarlett applied to a cocktail shaker (1930s), a guided missile (1937), and the “headgear” for theatre costumes (see studies No.31-35). Throughout his life Scarlett made unique jewellery in the tradition of American modernist jewellery, with shapes and forms that relate to his morphed geometric abstract works of the 1940s. After he retired to Woodstock, New York in the late 1960s, jewellery increasingly became his focus. He was actively making jewellery until a few years before his death at age 96.
ROLPH SCARLETT (1889-1984) was born in Guelph, Ontario, Canada, and some years later when he was fourteen he began to design jewelry professionally, a craft which he continued off and on for the rest of his life. His major effort was as a painter of abstract geometric works and of abstract expressionistic paintings. The major collector of his work is the Solomon R. Guggenheim Museum in New York which owned over a hundred and twenty Scarletts, both oils and works on paper. His long life as an artist began in his teens as a jewelry designer and fabricator, and his desire to learn more about art took him to New York in 1908 when American artists were just beginning to experience strong influences from major modern European artists of the day such as Cezanne and Picasso. And after a short return to Canada Scarlett moved permanently to the United States in 1918 to live and work as an artist. In 1923 he traveled to Germany, met the artist Paul Klee, and devoted himself to the principles of non-objective and abstract art. In 1928 he moved to Hollywood, California where he designed sets for motion picture studios and the Pasadena Playhouse, an extremely well-known and well-respected live theatre. His set designs from this period have survived and from time to time appear on the market. Their stark sincerity and simpleness mark them as still very contemporary and modern. In the mid-1930s he met the director of the Museum of Non-objective Art in New York (later the Guggenheim), Hilla Rebay, who figures prominently in his career for many years. Scarlett's ongoing relationship with the Non-Objective Museum and Rebay has many facets. His work was collected by both Hilla Rebay and Solomon Guggenheim, as well as the museum itself. He taught and gave lectures at the museum and in the 1940s became friends with and worked at the Museum with the abstract expressionist painter, Jackson Pollack. Earlier, during the 1930s, Scarlett's work was very pure in the geometric abstract style for the most part. From the mid-1930s through the early 1950s, he made monoprints of a mixed media nature which Janet Flint, curator of American Prints at the Smithsonian said, "were among the earliest Abstract relief prints created in the United States." And in the late 1930s Scarlett began to paint in the Abstract Expressionist style and is historically important as both an American pioneer in purely abstract and in the abstract expressionist styles. Meanwhile in the 1930s he was regularly exhibiting his work in Los Angeles, at the Art Institute in Chicago, San Francisco Art Museum and, of course, in New York City: the Modern Age Gallery in N.Y., the Metropolitan Museum, Whitney Museum and at the Museum of Modern Art. In the Fifties he had a one-man show at the Jacques Seligman Gallery. His work is spoken of and referred to in almost every art book dealing with purely abstract American art. His work is in numerous collections, both public and private. He moved to Woodstock, New York in the 1950s where he remained until his death, working and occasionally teaching. Since his death in 1984, the Washburn Gallery in New York, among many others, has given him numerous shows; there have been approximately 14 one-man shows of his work, mostly in New York City.
Rolph Scarlett Untitled (Study in Black), C.1935-1955 Ink, Gouache and Watercolor on Paper 17.75 x 12 inches, 45 x 31 cm. Signed Lower Right Provenance: The Estate of the Artist Unframed The Work: As this work was not dated by the artist it is difficult to ascertain whether it was executed just before or just after Scarlett's most celebrated geometric period of the mid 1940s. The energetic style does recall the action painting of the 1950s and may place it later rather than earlier. The coarse signature suggests that it was signed later in life and not at the time of execution which is typical of works sold by the artist out of the studio or later out of the artist's estate.
The Artist: The Baroness Hilla Rebay, founding director of the Solomon Guggenheim Museum, considered Rolph Scarlett to be one of her greatest discoveries. Scarlett exhibited alongside Kandinsky, Bauer, Moholy-Nagy and other prominent members of the Art of Tomorrow Group which comprised the core collection of the Solomon Guggenheim Collection of Non-Objective Painting.Scarlett was the Museum's chief lecturer for many years. Scarlett described his first meeting with his idol, the painter Rudolf Bauer, in 1939 as a life changing event which brought tears to his eyes even when recounting the story years later. Scarlett first saw the work of European modernists during a trip to Europe in 1923 where he met Paul Klee. Rolph Scarlett is also on record as one of the first American artists to work in the abstract idiom. An abstract pastel drawing by Scarlett won first prize in an art competition early in the century when everyone else was painting landscape, still life and the figure. The drawing caused such a sensation that visitors to the exhibition stood on long lines and waited patiently to see the winning entry.
SCARLETT, Rolph (1889-1984)
Birth place: Guelph, Ontario, Canada
Death place: Woodstock, NY
Addresses: NYC; Toledo, OH; California; Great Neck; Woodstock, 1953-on
Profession: Painter, designer, printmaker
Studied: Loretto Acad., Guelph, Ontario, 1907; Guggenheim Mus. (scholarship, 1938)
Exhibited: TMA, 1926 (1st prize); Guggenheim Mus.; Guelph, Ontario; Hagemeyer Gal., Pasadena, CA, 1930 (solo); GGE, 1939; Mus. of Non-Objective Painting, 1939; Modern Age Gal., NYC, 1940, 1945; Gal. Réalités Nouvelles, Paris, 1940, 1946-49; Gal. Charpentier, Paris, 1940, 1947; Palais des Beaux-Arts, 1947; Soc. Contemp. Art at AIC, 1948; Univ. of Illinois, 1949; MMA, 1950; Illinois State College, 1951; WMAA, 1951-52, 1999; Seligmann Gal., NYC, 1953, 1973 (solos); Studio Guild, 1955 (solo); Munson-Williams Proctor Institute, 1971; Jarvis Gal., Woodstock, NY, 1973 (solo); Univ. Guelph, Ontario, 1977; Zabriskie Gal., NYC, 1981; Carnegie Inst., 1983; Washburn Gal., NYC, 1982-83, 1988, 1994 (solo); Assoc. Am. Artists, NYC, 1987 (solo); Struve Gal, Chicago,1988, 1990 (solo); Worcester Art Mus., 1991; Phillips Collection, 1992; Hirschl & Adler, 1993 (solo); Woodstock AA, 1993 (solo); Guggenheim Mus., 1996; Gary Snyder Fine Art, 1993, 1995, 1996; National Mus. of Am. Art, Smithsonian, 1997; Fletcher Gal., Woodstock, 1998, 2000 (solos).
Member: Woodstock AA
Work: Guggenheim Mus.; Woodstock AA; WMAA; MoMA; Brooklyn Mus.; Univ. Guelph, Ontario (50 paintings acquired , 1977)
Comments: An important painter of geometric abstractions in the 1930s and 1940s, he came to NYC at the age of 18 but returned to Canada during the war years. He learned the jewelry trade at his father's urging. In 1918 he moved permanently to the U.S. , and returned to NYC in 1924, beginning his career as an abstract painter. In 1929, he went to Pasadena, CA and created stage designs for George Bernard Shaw"s "Man and Superman." In 1936 he settled in NYC, creating modern furniture designs for Design Associate, and planning several pavilions for the WFNY, 1939. In 1940 he designed stage sets for the Rockettes at Radio City Music Hall. Solomon Guggenheim and Hilla Rebay, who in 1939 were in the process of founding the Museum of Non-Objective Painting (later the Solomon R. Guggenheim Museum), took an interest in Scarlett's work and by 1940 he became the new museum's chief lecturer. After Guggenheim died in 1949, the museum changed direction toward a more balanced range of 20th century art, and the visibility of Scarlett's work lapsed. By 1953, when Scarlett had become nearly forgotten, the Guggenheim owned sixty of his paintings and monoprints. He continued to paint and make jewelry until his death, and showed his work in Woodstock exhibits.
Sources: WW40; exh. cat., Struve Gal. (Chicago, 1990); Woodstock's Art Heritage, 128-129; American Abstract Art, 197; add'l info. courtesy of Jim Young, Woodstock; Woodstock AA

This biography is drawn from the 'Who Was Who in American Art' , the reference book on the cultural life in the United States.
Art in Review

Published: July 29, 2005
(Page 4 of 4)
Rolph Scarlett: 'Paintings and Works on Paper'
Saint Joseph College Art Gallery
1678 Asylum Avenue
West Hartford, Conn.
Through Sept. 17
Rolph Scarlett (1889-1984), today a little-known Canadian painter and designer of stage sets, industrial products and jewelry, was a favorite artist of Hilla Rebay, the painter who founded the Museum of Non-Objective Painting that eventually became the Solomon R. Guggenheim Museum. This show is timed to coincide with the Guggenheim's current (through Aug. 10) show "Art of Tomorrow: Hilla Rebay and Solomon R. Guggenheim," in which a so-so Scarlett painting appears.
But this expansive exhibition - nicely deployed in the spacious art gallery of this Roman Catholic women's college - reveals Scarlett as an excellent painter, a fine colorist with a gift for orchestrating abstract forms into rhythmic, arresting compositions that for him represented a search for "universal order." His nonobjective painting, purely abstract with no basis in the literal world, was indebted to Kandinsky, with whose work Scarlett had reconnected through meeting Paul Klee in 1923.
One very Kandinsky-esque oil from the mid-1930's is on view here (the works generally have no titles, and dates are speculative), a loose but lyrical composition in which curved, wavy and straight lines flow animatedly around brightly colored geometric and biomorphic forms on a sea-blue field. Hard to distinguish from the master.
But Scarlett did wonderful things of his own devising, like a vibrant oil from around 1940, in which three rows of arched forms, each row a separate color, loom diagonally on a field of green, magenta and orange, the whole crossed in another diagonal direction by a checkered pole with an orange ball at its base. Almost 3-D in its impact, it's a highlight of the show.
Scarlett is at his best in his geometric abstractions of the 1930's and 40's.
Later, his work seems to go soft. Spurred by Abstract Expressionism, he produced gestural drip paintings, and then came a hard-edge period in which his efforts, at least to my eye, come off as routine.
His star waned at the Guggenheim with Rebay's departure in the early 1950's, and in 1955 he moved near Woodstock, N.Y., where he continued to paint but focused on making sculpturelike jewelry.
His early painting deserves wider recognition. GRACE GLUECK

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Rolph Scarlett
Abstract Expressionism: “Composition”
Lesson: The genius of the Dunbar System...he did more to affect art collecting for beginners in the past 20 years than anyone...Retrospective, Does size matter...subject / ongoing research

Oil on Canvas
34 x 44"
Signed (lower right): Scarlett
Titled "New Work Overview" on reverse
Exhibition sticker on reverse: Grand Central Art Galleries: New York: Empire City in the Age of urbanism 1875-1945 November 14, 1988 - January 26, 1989 / 212-867-3344
This painting was accompanied by a book authored by Lax entitled: "One Man Show".
Original Image:
What I saw when first bid on this artwork
Purchased on Sothebys. COM for $126.87 - 2006

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:
• heavily listed artist...ebay link
• This style of art is known as: modernism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

ROLPH SCARLETT
(American-Canadian 1889-1984)
Art That Touches your soul: Buying art that stirs a memory of days gone by
Size versus subject matter: which is most important?
There's a number of reasons why collectors acquire one piece of art over another. They might prefer a certain style of painting or be drawn to the particular arrangement of an artwork & admire the skill associated with its creation. Equally compelling is when an artwork touches a cord from your own life experiences. Some pieces define the essence of our life journey (Meza). Other pieces touch our sense of view about the world (Radu) Others, like this one? Evoke a memory from the past.
Many years ago I fell deeply in love with a woman I met in New York city. Being a native, New Yorker - is was almost impossible. Metaphorically-speaking? This painting defined that relationship.
Also...Penny paintings
If you've ever visited a fine art gallery selling overpriced art you've heard the classic pitch "you should buy a piece because you love it". Basically, what they are saying is that we hope you'll find a piece in our gallery that will cause you to pay our ridiculous prices and throw any sense of hard core economic reality out the door.
I believe in buying art that I love. One way in which a painting invokes such heart felt attraction is when the subject takes you back to a special memory in your past. This painting by David Lax did so for me in a most powerful way.
Years ago, I fell in love with a lovely lady from New York City. Being from a small town in Kentucky, both the city and her classy demeanor had a way of overwhelming my senses with each visit. The relationship lasted for years and we are still dear friends. What hindered our future was the city itself - and her love affair with her "hometown".
Hearing all this can you imagine how I so clearly related to this piece? Notice "his" casual attire - and her more formal red dress. Even the hair colors were fairly accurate. If I had commissioned an artist to represent all that this relationship "was" - this piece would have been the best I could have asked for.
You'll find similar works of art that will take you back to special moments in your life. Don't try and force them.
Additional Collecting Lessons related to this artwork are included:
Additional Collecting Lessons related to this art & artist:
• Figuring out your abstract artwork
• Most collectible subject versus not
•
o heavily listed artist
o period forgery
Additional Collecting Links to this artist / info
Ernest De Nagy was born around 1882 in Budapest and died in 1952. He exhibited at the Salons of America and The Society of Independent Artists in the 1930s. 20in. by 16in.
Google Search on this Artist

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

Art & Artist Information
Description of Art
Oil on canvas, 34 x 44, signed (lower right): Scarlett.
Abstract composition
Provenance
• Butterfield's
Artist Information
Rolph Scarlett (1889-1984, American)
A prominent figure of post-World War II painting in New York, Jackson Pollock produced Sleeping Effort when he returned to abstract figuration after making his famous drip paintings in the late 1940s, in which he explored completely non-representational forms. In Sleeping Effort, while working with abstract representational or referential imagery, Pollock synthesized the expressive handling of his drip paintings with the psychological interests of his work from earlier in the 1940s. In his psychological images he was influenced by Jungian and Surrealist notions of the human subconscious, both of which focus on dreams as conduits to the psyche. Sleeping Effort itself suggests a dreamlike state: a reclining figure in the foreground is surrounded by unidentifiable imagery floating in an amorphous blue background, as if providing insight into the figure's subconscious. Building up layers of paint into a thick impasto of rich colors, Pollock's loose brushwork is typical of Abstract Expressionist gestural painting, in which visible brushstrokes were seen as traces of the creative act. The fragmentation and dissonance of form and color, viewed within the context of the postwar nuclear era, link this painting to the world in which it was produced.

Rolph Scarlett (1889-1984) was born in Guelph, Ontario, Canada. He received early training and encouragement in art, with private tutoring in the academic basics of form, perspective and color. At age fourteen, when Scarlett announced his intention to be an artist, his father insisted that he learn a trade and apprenticed him to his uncle for four years to learn jewelry-making. This training was to serve him well throughout his life, and he continued to make jewelry until his death.
In 1908, at age 18, Scarlett made his first trip to New York. He did not return to Canada until four years later at the start of World War I. Scarlett continued to make periodic trips to New York after the war, including a visit to the Armory Show in 1913 where he saw and was fascinated with the modern and abstract art on display.
A decade later, while working for a large wholesale jewelry business in Toronto, Scarlett visited Switzerland where he met the artist Paul Klee. Klee suggested that Scarlett try to make some small abstract compositions. This experience caused him to move away from realism to abstraction in his own work. At this point he began a serious study of nonobjective art as well as stage design.
In 1930, Scarlett went to California where his abstract paintings and watercolors were shown in a solo exhibition. He also executed set designs for the Pasadena Playhouse that were described by a local critic as "daringly effective." Scarlett settled in New York in 1932, working for Design Associates, a company that produced modern furniture designs and planned several pavilions at the New York World's Fair.
Rolph Scarlett, born in 1889 in Canada, was taught by his grandmother to paint. His romance with Non-Objective art began in 1924 with the purchase of a box of pastels and a stack of paper. As he began to test the pastels on the white sheets, he became enamored of the purity and power of these chromatic marks. He lost track of time and eventually fell asleep. When he awoke the next morning, he found he had created completely abstract compositions. The artist entered the best of this work in a juried competion of the Toledo Museum of Art. After much debate, the jurors, who had never seen a completely abstract work of art before, awarded it first prize. The drawing was so controversial that people waited in line to see it. Hilla Rebay considered Scarlett her greatest discovery.
By 1939, Scarlett had begun his long association with The Solomon R. Guggenheim Museum (then the Museum of Non-Objective Painting) directed by Baroness Hilla von Rebay. He lectured there for fifteen years and his paintings were shown in numerous exhibitions, in New York as well as Paris. The Museum acquired sixty of his paintings for their permanent collection, but when Guggenheim died, Rebay and the artists she championed were forced out of the gallery, and Scarlett's paintings were put in storage. According to Scarlett's memoirs, "This caused me great financial hardship, loss of prestige and loss of artistic recognition."
For nearly a decade in the 1950s Scarlett experimented with expressionistic paintings, some made by puncturing holes in the bottom of paint cans and allowing the paint to drip onto the canvas. This work, labeled "Lyrical," (though Abstract Expressionism is the more familiar term) won critical acceptance.
Before the end of his nearly 90-year career, Scarlett had returned to geometric abstraction with a greatly brightened palette and a denser composition than used in his earlier work. His commitment to abstraction never wavered and he continued to explore it until his death at age 94.
Rolph Scarlett was born in Guelph, Ontario. By the time he moved to the United States in 1918, he had gained experience in the techniques of painting, execution of jewellery settings, and designing for the stage. Each of these interests helped shape his career. As a painter, Scarlett was deeply involved with geometric abstraction during the 1930s and 1940s when he was associated with New York’s Museum of Non-objective Painting (later the Solomon R. Guggenheim Museum). A geometric sensibility also inspired his innovative, cubist-inspired stage designs for plays such as George Bernard Shaw’s Man and Superman (1929). As a commercial designer during the 1930s, he produced a remarkable body of design drawings on a wide range of subjects from household objects to the 1939 New York World’s Fair amusement rides. Much of his work followed the streamlined, machine age sensibility of the period (the shape of the times), a design vision that Scarlett applied to a cocktail shaker (1930s), a guided missile (1937), and the “headgear” for theatre costumes (see studies No.31-35). Throughout his life Scarlett made unique jewellery in the tradition of American modernist jewellery, with shapes and forms that relate to his morphed geometric abstract works of the 1940s. After he retired to Woodstock, New York in the late 1960s, jewellery increasingly became his focus. He was actively making jewellery until a few years before his death at age 96.
ROLPH SCARLETT (1889-1984) was born in Guelph, Ontario, Canada, and some years later when he was fourteen he began to design jewelry professionally, a craft which he continued off and on for the rest of his life. His major effort was as a painter of abstract geometric works and of abstract expressionistic paintings. The major collector of his work is the Solomon R. Guggenheim Museum in New York which owned over a hundred and twenty Scarletts, both oils and works on paper. His long life as an artist began in his teens as a jewelry designer and fabricator, and his desire to learn more about art took him to New York in 1908 when American artists were just beginning to experience strong influences from major modern European artists of the day such as Cezanne and Picasso. And after a short return to Canada Scarlett moved permanently to the United States in 1918 to live and work as an artist. In 1923 he traveled to Germany, met the artist Paul Klee, and devoted himself to the principles of non-objective and abstract art. In 1928 he moved to Hollywood, California where he designed sets for motion picture studios and the Pasadena Playhouse, an extremely well-known and well-respected live theatre. His set designs from this period have survived and from time to time appear on the market. Their stark sincerity and simpleness mark them as still very contemporary and modern. In the mid-1930s he met the director of the Museum of Non-objective Art in New York (later the Guggenheim), Hilla Rebay, who figures prominently in his career for many years. Scarlett's ongoing relationship with the Non-Objective Museum and Rebay has many facets. His work was collected by both Hilla Rebay and Solomon Guggenheim, as well as the museum itself. He taught and gave lectures at the museum and in the 1940s became friends with and worked at the Museum with the abstract expressionist painter, Jackson Pollack. Earlier, during the 1930s, Scarlett's work was very pure in the geometric abstract style for the most part. From the mid-1930s through the early 1950s, he made monoprints of a mixed media nature which Janet Flint, curator of American Prints at the Smithsonian said, "were among the earliest Abstract relief prints created in the United States." And in the late 1930s Scarlett began to paint in the Abstract Expressionist style and is historically important as both an American pioneer in purely abstract and in the abstract expressionist styles. Meanwhile in the 1930s he was regularly exhibiting his work in Los Angeles, at the Art Institute in Chicago, San Francisco Art Museum and, of course, in New York City: the Modern Age Gallery in N.Y., the Metropolitan Museum, Whitney Museum and at the Museum of Modern Art. In the Fifties he had a one-man show at the Jacques Seligman Gallery. His work is spoken of and referred to in almost every art book dealing with purely abstract American art. His work is in numerous collections, both public and private. He moved to Woodstock, New York in the 1950s where he remained until his death, working and occasionally teaching. Since his death in 1984, the Washburn Gallery in New York, among many others, has given him numerous shows; there have been approximately 14 one-man shows of his work, mostly in New York City.
Rolph Scarlett Untitled (Study in Black), C.1935-1955 Ink, Gouache and Watercolor on Paper 17.75 x 12 inches, 45 x 31 cm. Signed Lower Right Provenance: The Estate of the Artist Unframed The Work: As this work was not dated by the artist it is difficult to ascertain whether it was executed just before or just after Scarlett's most celebrated geometric period of the mid 1940s. The energetic style does recall the action painting of the 1950s and may place it later rather than earlier. The coarse signature suggests that it was signed later in life and not at the time of execution which is typical of works sold by the artist out of the studio or later out of the artist's estate.
The Artist: The Baroness Hilla Rebay, founding director of the Solomon Guggenheim Museum, considered Rolph Scarlett to be one of her greatest discoveries. Scarlett exhibited alongside Kandinsky, Bauer, Moholy-Nagy and other prominent members of the Art of Tomorrow Group which comprised the core collection of the Solomon Guggenheim Collection of Non-Objective Painting.Scarlett was the Museum's chief lecturer for many years. Scarlett described his first meeting with his idol, the painter Rudolf Bauer, in 1939 as a life changing event which brought tears to his eyes even when recounting the story years later. Scarlett first saw the work of European modernists during a trip to Europe in 1923 where he met Paul Klee. Rolph Scarlett is also on record as one of the first American artists to work in the abstract idiom. An abstract pastel drawing by Scarlett won first prize in an art competition early in the century when everyone else was painting landscape, still life and the figure. The drawing caused such a sensation that visitors to the exhibition stood on long lines and waited patiently to see the winning entry.
SCARLETT, Rolph (1889-1984)
Birth place: Guelph, Ontario, Canada
Death place: Woodstock, NY
Addresses: NYC; Toledo, OH; California; Great Neck; Woodstock, 1953-on
Profession: Painter, designer, printmaker
Studied: Loretto Acad., Guelph, Ontario, 1907; Guggenheim Mus. (scholarship, 1938)
Exhibited: TMA, 1926 (1st prize); Guggenheim Mus.; Guelph, Ontario; Hagemeyer Gal., Pasadena, CA, 1930 (solo); GGE, 1939; Mus. of Non-Objective Painting, 1939; Modern Age Gal., NYC, 1940, 1945; Gal. Réalités Nouvelles, Paris, 1940, 1946-49; Gal. Charpentier, Paris, 1940, 1947; Palais des Beaux-Arts, 1947; Soc. Contemp. Art at AIC, 1948; Univ. of Illinois, 1949; MMA, 1950; Illinois State College, 1951; WMAA, 1951-52, 1999; Seligmann Gal., NYC, 1953, 1973 (solos); Studio Guild, 1955 (solo); Munson-Williams Proctor Institute, 1971; Jarvis Gal., Woodstock, NY, 1973 (solo); Univ. Guelph, Ontario, 1977; Zabriskie Gal., NYC, 1981; Carnegie Inst., 1983; Washburn Gal., NYC, 1982-83, 1988, 1994 (solo); Assoc. Am. Artists, NYC, 1987 (solo); Struve Gal, Chicago,1988, 1990 (solo); Worcester Art Mus., 1991; Phillips Collection, 1992; Hirschl & Adler, 1993 (solo); Woodstock AA, 1993 (solo); Guggenheim Mus., 1996; Gary Snyder Fine Art, 1993, 1995, 1996; National Mus. of Am. Art, Smithsonian, 1997; Fletcher Gal., Woodstock, 1998, 2000 (solos).
Member: Woodstock AA
Work: Guggenheim Mus.; Woodstock AA; WMAA; MoMA; Brooklyn Mus.; Univ. Guelph, Ontario (50 paintings acquired , 1977)
Comments: An important painter of geometric abstractions in the 1930s and 1940s, he came to NYC at the age of 18 but returned to Canada during the war years. He learned the jewelry trade at his father's urging. In 1918 he moved permanently to the U.S. , and returned to NYC in 1924, beginning his career as an abstract painter. In 1929, he went to Pasadena, CA and created stage designs for George Bernard Shaw"s "Man and Superman." In 1936 he settled in NYC, creating modern furniture designs for Design Associate, and planning several pavilions for the WFNY, 1939. In 1940 he designed stage sets for the Rockettes at Radio City Music Hall. Solomon Guggenheim and Hilla Rebay, who in 1939 were in the process of founding the Museum of Non-Objective Painting (later the Solomon R. Guggenheim Museum), took an interest in Scarlett's work and by 1940 he became the new museum's chief lecturer. After Guggenheim died in 1949, the museum changed direction toward a more balanced range of 20th century art, and the visibility of Scarlett's work lapsed. By 1953, when Scarlett had become nearly forgotten, the Guggenheim owned sixty of his paintings and monoprints. He continued to paint and make jewelry until his death, and showed his work in Woodstock exhibits.
Sources: WW40; exh. cat., Struve Gal. (Chicago, 1990); Woodstock's Art Heritage, 128-129; American Abstract Art, 197; add'l info. courtesy of Jim Young, Woodstock; Woodstock AA

This biography is drawn from the 'Who Was Who in American Art' , the reference book on the cultural life in the United States.
Art in Review

Published: July 29, 2005
(Page 4 of 4)
Rolph Scarlett: 'Paintings and Works on Paper'
Saint Joseph College Art Gallery
1678 Asylum Avenue
West Hartford, Conn.
Through Sept. 17
Rolph Scarlett (1889-1984), today a little-known Canadian painter and designer of stage sets, industrial products and jewelry, was a favorite artist of Hilla Rebay, the painter who founded the Museum of Non-Objective Painting that eventually became the Solomon R. Guggenheim Museum. This show is timed to coincide with the Guggenheim's current (through Aug. 10) show "Art of Tomorrow: Hilla Rebay and Solomon R. Guggenheim," in which a so-so Scarlett painting appears.
But this expansive exhibition - nicely deployed in the spacious art gallery of this Roman Catholic women's college - reveals Scarlett as an excellent painter, a fine colorist with a gift for orchestrating abstract forms into rhythmic, arresting compositions that for him represented a search for "universal order." His nonobjective painting, purely abstract with no basis in the literal world, was indebted to Kandinsky, with whose work Scarlett had reconnected through meeting Paul Klee in 1923.
One very Kandinsky-esque oil from the mid-1930's is on view here (the works generally have no titles, and dates are speculative), a loose but lyrical composition in which curved, wavy and straight lines flow animatedly around brightly colored geometric and biomorphic forms on a sea-blue field. Hard to distinguish from the master.
But Scarlett did wonderful things of his own devising, like a vibrant oil from around 1940, in which three rows of arched forms, each row a separate color, loom diagonally on a field of green, magenta and orange, the whole crossed in another diagonal direction by a checkered pole with an orange ball at its base. Almost 3-D in its impact, it's a highlight of the show.
Scarlett is at his best in his geometric abstractions of the 1930's and 40's.
Later, his work seems to go soft. Spurred by Abstract Expressionism, he produced gestural drip paintings, and then came a hard-edge period in which his efforts, at least to my eye, come off as routine.
His star waned at the Guggenheim with Rebay's departure in the early 1950's, and in 1955 he moved near Woodstock, N.Y., where he continued to paint but focused on making sculpturelike jewelry.
His early painting deserves wider recognition. GRACE GLUECK

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ArtCollecting.info
How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2007 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource
to help beginning collectors
affordably acquire quality artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
Pointalism & Geometric abstract .

Lesson: 24 x 20 Double Sided...the reverse piece is better"

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Description of Art
Interesting small line abstract painting.With second painting on reverse. The abstract is very intricate, with a series of tiny lines, with spaced blue highlits. Don't see amy signature, but one may be lurking in there. All in good condition. measures 24" x 20" without slat frame.

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Joseph Sheppard
Realism: “Nude Female on Bed”
Lesson: Looks matter...pretty women bring more...show "ugly" nude I sold

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

A rare showcase opens at the University of Maryland
New gallery is devoted to the works of Maryland artist Joseph Sheppard
April 18, 2010|By Edward Gunts, The Baltimore Sun
Joseph Sheppard has painted a president, sculpted a pope, written books on art and shown his work across the U.S. and Europe.
But a new art gallery that opens Tuesday marks perhaps the greatest achievement of all for the Maryland-born artist: It will be the first time that a permanent gallery has opened in the state to house the works of a single living artist.
"I think it's my best work," the 79-year-old Sheppard says. "If this happens at all, the artist is usually dead. This is quite unique."
The Leroy Merritt Center for the Art of Joseph Sheppard
The Leroy Merritt Center for the Art of Joseph Sheppard honors Sheppard’s extraordinary work, underscores his lifelong devotion to creating and promoting classical art, and celebrates the legacy of Maryland philanthropist and businessman Leroy Merritt. Designed by well-known Baltimore architect Jim Grieves, this extraordinary cultural arts center serves as an enduring tribute to the accomplished painter and sculptor. Established in 2010, the center furthers the university’s goal of promoting lifelong learning and serves as a unique focal point for the university’s highly acclaimed visual art collections.

You're Invited
Opening Reception and Dinner
April 20, 2010 | 6:30 p.m.
UMUC Inn and Conference Center
Event and Ticket Information
In the News
Press Releases
The Arts at UMUC
UMUC Events and Arts
About the Artist: Joseph Sheppard
Student, Teacher, and Artist
For internationally renowned painter and sculptor, Joseph Sheppard, art does indeed imitate life.
As one of the great contemporary masters of figurative art in the realist tradition, Sheppard believes that to portray the human figure in any medium, one must first understand its intricate anatomy. So he has made that awareness a central focus of his life’s work, as a student, a teacher, and an artist.
Training and Education
Sheppard first discovered his innate talent and meticulous eye for detail at the age of 12. Determined to make his own mark as an artist, he earned a scholarship to the Maryland Institute College of Art (MICA). Although Sheppard began his studies there at a time when modernist abstraction was the latest craze, he quickly rekindled his passion for three-dimensional form and perspective under the influence of Jacques Maroger, the legendary classical painter and former art conservator at the Louvre.
Much to Sheppard’s delight, Maroger taught both painting and anatomy, as a foundation for understanding the technical genius of the great 17th and 18th century Dutch and Flemish masters. Using an out-of-print book of anatomy charts, Maroger lectured on the importance of basic anatomical forms in drawing; lessons that inspired Sheppard to spend hours in the library tracing all 110 of the book’s plates.
Maroger also introduced his students to American social realist painter, Reginald Marsh, who encouraged Sheppard to recreate Baltimore’s urban life on canvas. Calling upon his classical training, the young artist painted vividly realistic human figures, against a colorful backdrop of city streets, barrooms, and strip joints—soon receiving local and national acclaim for his life-sized painting of Baltimore burlesque queen Blaze Starr.
While artist-in-residence at Dickinson College in 1957, Sheppard landed a Guggenheim Fellowship. Traveling to Europe, he studied the work of Paul Rubens, and drew from the many classical Greek and Renaissance statues he saw in Italy and Paris. Returning home to Maryland, Sheppard continued to forge his career as a working artist, using what he had learned to further his own inimitable style.
The Six Realists
In 1961, he co-founded the Six Realists, a group of young artists who, determined to promote their work, took over a vacant gallery in Baltimore. But after drawing 2,000 people on opening night, the three-week exhibition turned into a three-year venture, earning tremendous acclaim and support for the six enterprising organizers.
Sheppard also returned to MICA, this time to teach painting and life drawing to a new generation of emerging artists. And in looking for ways to help his students better understand the human form, developed his own extensive series of anatomy charts. He subsequently compiled these charts into the first of seven books he wrote and illustrated, all of which are now both highly respected and widely translated.
Collections and Honors
In the decades that followed, Sheppard built an enviable reputation in the art world. He has been awarded numerous honors, including The Gold Medal of Honor in 1994 from the National Sculpture Society, and more recently, the XVIII Premio Internazionale Pietrasanta e la Versilia nel Mondo in Italy. In addition, his work can be found in the collections of such prestigious institutions as the Baltimore Museum of Art, the Carnegie Museum of Art in Pittsburgh, the Butler Institute of American Art in Ohio, the Malcolm Forbes Collection in New York, the University of Maryland University College, the Columbus Museum of Fine Arts in Ohio, The Midwest museum of American Art in Indiana, The National Art Museum of Sports in Indiana, The National Portrait Gallery in Washington D.C., and the Museo Dei Bozzetti in Pietrasanta in Italy.
Portraits and Sculptures
Throughout his remarkable career, Sheppard has painted portraits of, among other distinguished notables, President and Mrs. George H. W. Bush, Senator Barbara Milulski, former Governor William Donald Schaefer, Cardinal William H. Keeler, and film director John Waters (now on display at the National Portrait Gallery in Washington, D.C.). He has also produced a compelling portfolio of figurative paintings and drawings, many of which either depict the impact of adversity on the human spirit, or capture his longstanding fascination with boxing (having been a regular participant at the Mack Lewis Professional Boxing Gym for two years). His extraordinary murals have brought life off of the streets and on to the walls, in a variety of public and private institutions, both here in Maryland and around the country.
Over the past 20 years, Sheppard has turned his enormous talent to sculpture, invoking his extensive knowledge of composition, perspective, draftsmanship, and anatomy to “celebrate the aesthetics of the human form” in stone and bronze. This shift in focus led him to Pietrasanta, Italy—a Tuscan town known primarily for its rich marble quarries—where he now lives and works six months out of every year.
Like his paintings, Sheppard’s sculptures capture both life’s agony and its ecstasy, by delineating every nuance of the human figure in action. For example, in Man Pulling, Sheppard details every straining muscle to convey the physical anguish of heavy labor. Moreover, in creating the centerpiece for Baltimore’s renowned Holocaust Memorial, he meticulously depicts the broken, emaciated, and naked bodies of camp victims, as they cling to the “flame of death,” as a powerful symbol of their horrifying fate.
Several years ago, Sheppard’s talents also caught the attention of the Catholic Archdiocese of Baltimore, and so began a long and mutually beneficial relationship, which has produced a number of outstanding portraits and sculptures. His extraordinary seven-foot sculpture of Pope John Paul II embracing two children during his visit to Baltimore in 1995, serves as the focal point of the city’s Pope John Paul II Prayer Garden. In 2007 Sheppard was also commissioned to paint an official portrait of the current pontiff, Benedict XVI.

Art & Artist Information

Description of Art
Oil on board, 12 x 16, signed (lower right): Sheppard. Highly detailed realistic work of a nude woman lying on a bed writing a letter in a gilded frame.
Provenance
• Private Estate
Provenance
• Ebay

Artist Information

Joseph Sherley Sheppard (1930- , American)
Born Owlings Mills, Maryland in 1930. Studied art at the Maryland Institute of Art, receiving a four-year scholarship. In 1956-1957, he was Artist-in-Residence at Dickinson College. In addition to several important awards from the Peale Museum in Baltimore,
Mr. Sheppard’s prizes and honors include the Emily Lowe Prize in the 43rd Annual Allied Artists Exhibition of 1956; a Guggenheim Traveling Fellowship for 1957; the John F. and Anna Stacy Scholarship Fund Award in 1958; the Bronze Medal of Honor in the Allied Artists Exhibition of 1959; the prize for Figure Painting, Allied Artists, 1963; and the $1,000.00 First Purchase Prize in the National Show at the Butler Institute of American Art.
Mr. Sheppard’s paintings are included in the Butler Institute, the Davenport Museum, the University of Arizona Museum, and the Columbus Museum of Fine Arts, Pennsylvania. He has had two, one-man exhibitions in Paris; eleven in New York; in addition to exhibitions at the Butler Institute of Art and the Westmoreland County Museum, Pennsylvania.
Joseph Sheppard was born in Owing Mills, MD, in 1930. He attended the Maryland Institute of Art on a four-year scholarship from 1948 to 1952, where he studied with Jacques Maroger, the former technical director of the Louvre and rediscoverer of the old masters painting medium. Mr. Sheppard has won numerous coveted prizes and awards over the five decades of his career. His work is included in many public and private collections; he has taught anatomy, drawing and painting at Dickenson College and the Maryland Institute of Art and has published five books on the subjects. He is an awarding winning member of the National Sculpture Society and the Allied Artists of America.
Training
Maryland Institute of Art, 1948-1952
Guggenheim Traveling Fellowship 1957
Awards and Prizes (partial listing)
Peale Museum, Baltimore, MD
Lowe Prize, Allied Artists of America, 1956
Stacey Scholarship Award, 1958
Bronze Medal of Honor, Allied Artists of America, 1963
First Purchase Award, Butler Institute of American Art, 1963
MacDonough Prize, Butler Institute of American Art, 1967
Governor's Prize, Maryland Artist's Exhibition, 1971
Tallix Foundry Prize, National Sculpture Society, 1983
Puzinas Awart, Allied Artists of America, 1984
Meyerowitz Memorial Award, Allied Artists of America, 1985
Agop Agapoff Memorial Prize, National Sculpture Society, 1986
Medal of Honor, Allied Artists of America, 1986
National Sculpture Society's Percival Dietsch Award, 1994
National Sculpture Society, Gold Medal and Maurice Hexter Prize, 1999
Museums and Collections (partial listing)
Butler Institute of American Art, Ohio
Davenport Municipal Art Gallery, Iowa
Arizona Museum of Art, Arizona
Columbus Museum of Fine Art, Ohio
Westmoreland Museum of Art, Pennsylvania
Norfolk Museum of Art and Sciences, Virginia
Baltimore Museum of Art, Maryland
Brooks Memorial Art Gallery, Tennnessee
Fine Arts Museums of the South, Alabama
New Britain Museum of American Art, Connecticut
Carngie Institute Museum of Art, Pennsylvania
Malcomb Forbes Foundation
Museo Dei Bozzetti Di Pietrasanta, Italy
The Vatican

SHEPPARD, Joseph Sherly (1930)
Birth place: Owings Mills, MD
Addresses: Baltimore, MD
Profession: Painter, sculptor
Studied: Maryland Inst. Art, certificate fine art; also with Jacques Maroger.
Exhibited: Allied Artists Nat., 1956 & 1959; Realists, Laguna Beach, 1964; Regional, Butler Ins. Am. Art Nat., 1967, 1972 (solo); BMA Art Regional, 1971; Westmoreland Co. Mus, Greenburg, PA, 1972; Grand Central Galleries, NYC & IFA Gal., Wash., DC, 1970s. Awards: Emily Lowe Prize, Allied Artists, 1956; Guggenheim Foundation fellowship, 1957-58; purchase prize, Butler IA, 1967.
Member: All. A. Am.
Work: BMA; Butler IA; Davenport (IA) Munic. Art Gal.; Univ. Arizona Mus.; Norfolk (VA) Mus. Arts & Science. Commissions: portrait of Pres. Hawkins, Towson State College, MD, 1967; Discovery of Scurvy, Public Health Hospital, Baltimore, 1968; Battle of Ft. McHenry, Equitable Trust Co., Baltimore, 1969; Christ Crowned With Thorns, Lutheran High School, Baltimore (MD) Co., 1970; seven historical murals, Baltimore Police Dept., 1970-71.
Comments: Preferred media: oils. Teaching: instructor of oil painting, Dickinson College, 1955-57 & Maryland Inst. Art, 1963-.

This biography is drawn from the 'Who Was Who in American Art' , the reference book on the cultural life in the United States.

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Ben Smith
Expressionism: Titled as “Lucca”
Lesson: Condition on purpose? Local Artists

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Mason Murer’s Mark Karelson and Twenty21 Collections’ Erin Wertenberger have, as Wertenberger reports, recently decided to begin hosting a series of exhibitions intended to create a history of living Atlanta artists, beginning with legendary veterans James Yarbrough and Benjamin Smith. Yarbrough’s wizardry with egg tempera and encaustic deserves its own review, but Smith is the priority here for several reasons, cited below.

Smith’s exhibition at Mason Murer, which closes on March 20, features a selective semi-retrospective of the woodcuts of the 68-year-old (69 on March 18) Atlanta artist who made some of the American art world’s larger examples of the genre (using sheets of plywood as the printing blocks). It also contains a sizable number of the newest of Smith’s exquisitely crafted drawings–drawings that, in the words of Wertenberger, betray “an extraordinarily wicked wit.”
His accomplishments in woodcuts can be viewed on his website. The recent drawings, some of which can be had unframed for as little as $95, can for the most part be viewed only in the gallery.
It’s remarkable that a significant part of Smith’s prodigious output should be available at prices closer to those found in emerging-artist galleries. It is even more remarkable that less than a week before the show’s closing, a major percentage of the unframed drawings were still available.
The failure of collectors to take full advantage of an unheard-of bargain may simply stem from a lack of publicity, or may have something to do with Smith’s combination of classical composition and perversely visionary humor. His figures typically seem to come from the Middle Ages by way of Mardi Gras, and the dramas they enact are sometimes obscure, often lovely, and almost always disturbing.

Ben Smith, Getting a Head at A.I.G., 2009, mixed media. Photo courtesy BenSmithArt.com.
Smith notes that the drawings are as darkly comic as the woodcuts are serious, and that their improbable titles come after the drawing itself is established as an integral work of art. The titles frequently undermine the dynamic established by the drawing itself, and are as topical as the visual themes are timeless: Getting a Head at A.I.G. is only one example, in which the appealing mix of technique and the visual romance of the historically costumed figures is negated by the fact that the details of the picture are comically horrific and the scene is further destabilized by the wry title.
A few drawings are straight moments of fantasy, such as one of Faustus conjuring, but most contain contemporary references (one is purportedly about sequencing the human genome) and all are vaguely unsettling. The late patron and collector Judith Alexander once told Smith, “The thing that’s disturbing about your humor is that your humor is absolutely serious.”
That puts Smith squarely in line with the ironic mindset of artists fifty years his junior.
A well-known critic, poet, and ART PAPERS staff member, Dr. Jerry Cullum has been a keen observer of the metro Atlanta scene for decades.
________________________________________

Based upon his index of art included at his website, it's the earliest piece listed.

click to see larger image Female Figure
1961
woodblock print
18 x 12 inches

Provenance
• Ebay

Artist Information

Smith, Ben (20th Century, American)
Ben Smith
________________________________________

Atlanta based artist Ben Smith is perhaps best known for creating enormous woodblock prints of shamans, wizards, and ceremonial figures. These monumental figures in ornate robes or suits of armor, with a presence impossible to ignore, summon the viewer to enter into an imaginary procession of mythological creatures -- part human, part animal, and part mechanical -- as they weave their way to mysterious rites. At once fearsome and whimsical, these winged and hooved creatures, dressed in masks and elaborate headdresses, conjure spirits from atop wheeled contrivances.
The prints, which sometimes reach dimensions of up to 15 feet, feature bold, black designs on white backgrounds, with occasional splashes of bright color. Small passages of intricate details punctuate long, flowing lines that appear and disappear in undulating spirals.
In recent years Ben has turned his attention to drawing and teaching, and he excels in both endeavors. His fellow artists, when recommending his classes to students, often refer to Ben as the finest draftsman in Atlanta. His drawings, noted for their exquisite line and composition, combine the imagination of his earlier work with precise observation honed over thirty years of teaching and demonstrating figure drawing.
Ben currently maintains a full teaching schedule at the Atlanta College of Art and Chastain Arts Center. He is working on new woodblock prints as time permits.
Ben is represented by Ann Jacob Gallery in Highlands, North Carolina, and Framboyan Gallery in New Orleans.

Smith is one of the South's best-known artists. His works grace dozens of private and corporate collections throughout the country (including the McDonalds and the Mead Corporation's collections), and are in the permanent collections of such prestigious galleries as the Brooklyn Museum and the Israel Museum.
His work is quite popular. For example, on the opening day of a show in New Orleans in 1979, all but one of his paintings (something of a departure for the printmaker) were sold in the first hour. For over a decade, Smith has taught at Oglethorpe University and the Atlanta College of Art, and more recently at Callanwolde Fine Arts Center.

Shows, Awards, and Collections
Personal
Born: Atlanta, Georgia
Date: March 18, 1941

Education
M.F.A Tulane University, 1970
B.F.A Atlanta School of Art, 1964
Professional Artist Certificate, Atlanta School of Art, 1964

Teaching Experience
Atlanta College of Art, Community Education, 1970 - Present, Basic Drawing, Figure Drawing
Chastain Arts Center, 1993 - present, Basic Drawing, Figure Drawing
American Intercontinental University, 1989 - 2005, Basic Drawing, Figure Drawing
Oglethorpe University, 1970 - 1979, Basic Drawing, Figure Drawing

Awards
Arts Festival of Atlanta Scholarship, 1968
Tulane Fellowship, 1968
First Purchase Award, Southeastern Drawing and Print Show, Jacksonville, FL, 1965
First Purchase Award, Beaux Art Guils, Tuskeegee, AL, 1965
First Prize, Cooperstown, New York, 1964
Atlanta School of Art Scholarship, 1960-1964

One Person Shows
Downtown Atlanta Library, Atlanta, GA, 1999, 2007
Framboyan, New Orleans, LA, 1990, 2005
Ann Jacob Gallery, Atlanta, GA 1988, 1989, 1998, 2002
Callanwolde Art Center, Atlanta, GA, 1979
Image South Gallery, Atlanta, GA 1972, 1974, 1976, 1979
Galleries International, Winter Park, FL, 1978
Dick Jemison Gallery, Birmingham, AL, 1976
Tennessee Fine Arts Center, Cheekwood-Nashville, TN, 1972
Bienville Gallery, New Orleans, LA, 1970, 1972, 1974, 1977, 1979, 1980
Galerie Illien, Atlanta, GA, 1969, 1970
Gainesville Art Association, Gainesville, GA, 1968
Savannah Art Association, Savannah, GA, 1968
Peabody College Museum, Nashville, TN, 1967
Unitarian Universalist Church, Atlanta, GA, 1966
Georgia Institute of Technology, 1966
LaGrange College, LaGrange, GA, 1966
Georgia Institute of Technology, Atlanta, GA 1966
Mandoria Gallery, Atlanta, GA, 1965
Group Shows (partial list)
"The Ben Show", Spruill Arts Center, Atlanta, GA 2006
Judith Alexander Memorial Show, Sandler Hudson Gallery, Atlanta, GA 2005
Swan Coach House Christmas Show, Atlanta, GA 2005
Chastain Arts Center Faculty Show, Atlanta, GA 2005, 2006
American Intercontinental University, Faculty Show, Atlanta, GA 2005
35 Year Retrospective, Chastain Arts Center, Atlanta, GA, 2004
Selected Works from the State of Georgia Art Collection, The Museum of Contemporary Art of Georgia, Atlanta, GA, 2004
34th Annual Exhibition of the Association of Georgia Artists, Georgia Museum of Art, Athens, GA 1964
Washington Printmakers 25the Exhibition, National Museum, Washington, D.C. 1964
23rd Annual National Exhibition, Painters and Sculptors Society of New Jersay, 1964
III Biennial Internacional Del Deporte En Las Bellas Artes, Museo do Atrarazanas, Barcelona, Spain 1971
Georgia Artists Show, High Museum, Atlanta, GA 1971 - 1972
Northwestern Printmakers 36th International Exhibition, Portland Art Museum, Portland, Oregon, 1965
Fourth Annual National Invitational Exhibition, Frank H. McClung Museum Gallery, University of Tennessee, Knoxville, TN, 1966
The High Museum of Art, Atlanta, GA (Prints from the Permanent Collection), 1978
College of Charleston, Charleston, S.C. Invitational Spoleto Exhibit, 1978.
Partial List of Collections
Art in the Embassies Program, Washington, DC
Ashville-Biltmore College, Asheville, NC
Birmingham Museum, Birmingham, AL
Brooklyn Museum, Brooklyn, NY
Brown University, Providence, RI
Cincinnati Museum of Art, Cincinnati, OH
Delgado Museum, New Orleans, LA
Georgia Commission of the Arts, Atlanta, GA
Georgia Institute of Technology, Atlanta, GA
The High Museum of Art, Atlanta, GA
Hudson River Museum, Yonkers, NY
Johnson Museum, Ithaca, NY
Kotonah Museum, Westchester, NY
LaGrange College, LaGrange, GA
McDonalds Corporation Collection, Chicago, IL
Mead Corporation, Atlanta, GA
Morris Museum, New Orleans, LA
Newcomb College, New Orleans, LA
O'Hare Hyatt Hourse, Chicago, IL
Peabody College (Museum), Nashville, TN
Philip Schutze, Atlanta, GA
Tennessee Fine Arts Center, Cheekwood-Nashville, TN
Trust Company of Georgia, Atlanta, GA
University of Kentucky, Lexington, KY
University of Tennessee Center, Knoxville, TN
Wellesley College, Wellesley, MA

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Artwork images are copyright of the artist or assignee
All text copyrighted 2007 by ArtCollecting.info except as credited

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to help beginning collectors
affordably acquire quality artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Continental School
“Surrealism: Pastel”
Lesson:

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Surreal pastel, signed with monogram lower right, can't quite make the letters out.Circa 1965-70. The work is interesting, and deserves some research. All in good condition , with anti glare glass. measures 24 1/2" x 10 1/2" with frame.Note skewed mat.

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Irving Lehman
Abstract Expressionism: “View of New York City”
Lesson: Alternative mediums affordable...too much frame

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:
• heavily listed artist...ebay link
• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Every artwork in the ArtCollecting.info collection provides at least one unique lesson that assists beginning web-collectors in making better decisions about a new art acquisition.
The lessons-learned from this particular piece, include:
Many collectors on a budget are forced to constantly yearn for art by heavily listed artists
Sadly, this piece is not a study in success.
I was very pleased when I first picked up the piece from my framer. The pewter style frame they selected to house the piece brought out the colors and style perfectly.
However, I now regret not having acquired a finer piece from the group that was sold. The lesson here is simple.
If you are acquiring an unframed piece - try to get the best piece you can afford to help offset the total investment you will end up making.. In the long term - it's a much better move - and you'll be happy you did.

Art & Artist Information
Watercolor on paper, 11 x 17, signed (lower right): I Lehman.
An abstract expressionistic depiction of couples dancing from the property of Barbara Caplin, an heir to Lehman’s estate.
Provenance
• Barbara Caplin
Artist Information
Irving George Lehman (1900-1982, American)
Lehman was born in Russia on January 1, 1900 and moved to New York prior to World War II. He worked as an artist and sculptor his entire life, not only in painting, drawing and sculpture but as a maker of wood blocks. He was a regional painter depicting scenes of Manhattan, Cape Cod and New England, working as a WPA artist.
He studied at Cooper Union Art School and the National Academy of Design.
He had one man shows in the ACA Gallery, Uptown Gallery, Harry Salpeter Gallery, Knapik Gallery, all in New York City, with the Philadelphia Art Alliance, in Oxford England and with other galleries in Woodstock, NY, Columbia Art Museum South Carolina. Also, exhibited in the following museums: Brooklyn Museum, Chicago Art Institute, City Art Museum, St. Louis; IBM Gallery; National Gallery (Smithsonian) Washington, DC; Seattle Museum, Whitney Museum of Art, New York; Pennsylvania Academy; Nebraska Art Museum; and others.
He was a member of the Abstracts Artists of America, exhibiting throughout Europe and Japan in the 1950’s. Lehman won many prizes, was a member of the American Artists Congress, American Abstract Artists, Audubon Artists of America, American Society of Contemporary Artists, and the Vectors.
Lehman died in Columbia County, Upstate New York, in 1982.
http://query.nytimes.com/gst/fullpage.html?res=9F06E7D91E38F937A1575AC0A965948260
IRVING LEHMAN
• Print
• Save

Published: September 24, 1983
Irving Lehman, a painter and sculptor whose abstract expressionist works have been shown in galleries throughout the United States and abroad, died Sunday at a nursing home in Great Barrington, Mass. He was 83 years old and lived in East Chatham, N.Y., and Manhattan.
Mr. Lehman, who was born in Russia, studied at Cooper Union and the National Academy of Art. He worked in oil and watercolor as a painter and in metal and steel as a sculptor and often went to the familiar scenes of New York City for his inspiration.
A New York Times review of an exhibition of his paintings - titled ''Variations on New York'' - at the Salpeter Gallery in Manhattan in 1955, said: ''Lehman admirably succeeds in catching the clamorous confusion of Manhattan; his pictures are suitably restless in design.''
Abroad, his works were shown in galleries in Great Britain, France, Italy, Israel and Japan, and in 1951, they were included in a United States international traveling exhibition in Europe.
Mr. Lehman is survived by his wife, Martha, and two sisters, Pauline Shalat of Brooklyn and Esther Golub of Albany.
http://libwww.syr.edu/digital/guides/i/IrvingLehmanPapers-Des.htm
Irving Lehman Papers
Special Collections Research Center
Syracuse University Library
Syracuse, NY 13244
Correspondence Form
A Note to Researchers
SCRC revises and updates its finding aids from time to time. To be sure that you are working with the most current version, please check with our reference staff by using our correspondence forms (see above), writing to scrc@syr.edu, or calling (315) 443-2697.
This file was last modified on: September 22, 2003 01:06 PM
LEHMAN, Irving (1900-1982)
Birth place: Kiev, Russia
Death place: E. Chatham, NY
Addresses: NYC
Profession: Painter, sculptor
Studied: ASL; Cooper Union, 1920-24; NAD, 1925-30.
Exhibited: WMAA; NAD; S. Indp. A.; Salons of Am.; Albany Inst. History & Art; Alabama WCS; Brooklyn Mus.; Charleston Art Gal.; AIC; SAM, 1930-46; PAFA Ann., 1948; ACA Gal., NYC; Uptown Gal., NYC; NYC WPA Art" at Parsons Sch. Des., 1977. Awards: Kellner Award, Brooklyn Soc. Artists 42nd Ann., 1959; Am. Soc. Contemp. Artists 44th Annual Distinctive Merit Award, 1961; Lafayette Nat. Bank Award, Am. Soc. Contemp. Artists 47th Annual, 1964."
Member: Am. Artists Congress; Am. Abstract Artists; Audubon Artists Am.; Am. Soc. Contemp. Artists.
Work: St. Edmund's Hall, Oxford Univ., England; Ein Harod, Israel; at. Mus. Bezalel, Israel; Vanderpoel Mem. Coll., Chicago; Mus. Art Populaire Juif, Paris.
Comments: WPA artist. Teaching: Brooklyn College Adult Educ.; New York Bd. Educ.; studio workshops. Marlor gives year of death of 1982.
Sources: WW73; WW47; articles, Am. Abstract Art (1936-66), Univ. Syracuse Lib. Mss & House & Garden Decorating Guide (fall/winter, 1968-69); New York City WPA Art, 57 (w/repros.); Falk, Exh. Record Series.

This biography is drawn from the 'Who Was Who in American Art' , the reference book on the cultural life in the United States.

Original Work on Paper by Irving George Lehman. Who was a Russian-American W.P.A Era Artist. He grew up amidst Revolutionary Soviet Avant Garde movements and moved to New York in the 1920's. He studied at Cooper Union and had solo painting and sculpture exhibitions at ACA gallaries in Manhattan. He worked as a WPA artist during the Depression. During the 1930's he lived in Greenwich Village and moved to Brooklyn in the 1940's. During World War II he worked at the Brooklyn Naval Yard which influenced not only his subjects by his use of industrial materials in his Sculptures. Prior to WWII his studio work was done in Woodstock and at the end of WWII he began working in Columbia County, NY. He was included in dozens of solo and group exhibitions in New York, Nationally and Internationally. In the 1950's he began to execute increasingly larger canvases. While his style began as Social Realism in the thirties he eventually moved on to Cubist inspired Modernist Figurative Abstraction. His work also included Jewish subject matter in a number of compositions. He is included in museum collections in the US and Israel.
Most works have a studio or estate stamp, of which there are two varieties. A large type face stamp, done in New York by an appraiser that appears on a few works on paper, and a small typeface stamp that was applied after the works passed to her heirs, appearing on the prints and also most remaining works on paper. Some works also were signed by the artist on the front. Details of stamp or signature are as noted above. Several of her paintings have sold for significant sums at auction, however as is sometimes encountered with artists that come to prominence simultaneously in New York and elsewhere, no one auction price reporting database appears to be inclusive of all sales, however, he has been widely offered and sold.
Biography: Painter, sculptor & printmaker. Came to New York from Russia as a young man and had studios in lower Manhattan and Brooklyn. Studied at Cooper Union and National Academy of Design. One-man shows of both painting and sculpture at ACA Galleries in early 1930’s. Worked as a W.P.A. (Works Progress Administration) artist during the Depression. Member of American Art Congress, worked near Woodstock and in Columbia County, NY and visited Rockport, MA & Mexico. Subjects include Brooklyn Navy Yard, Coney Island, Central Park, Camp Lexington in the Catskills, as well as both Social Realist and Constructivist influenced figures. Lehman exhibited at the Art Institute of Chicago ( AIC ), Brooklyn Museum, National Academy of Design ( NAD ), Pennsylvania Academy of Fine Arts ( PAFA ) Museum of Fine Arts, Bezalel, Israel as well as in Paris, France, Japan and elsewhere.
Lehman signed in both cursive and printed letters throughout his career. The artist’s date of death is variously recorded as 1981, 1982 & 1983 (the correct date is ‘83). There are several Lehman estate stamps including “Red Rock Studio,” signature and “Estate of” ( as 1900-1982 ) as after the death of his wife his art was dispersed by 11 heirs through numerous exhibitions and auctions in Manhattan, Upstate New York, New England, Florida and Canada during the 1990’s.

From ASKART:
Born in Kiev, Irving Lehman studied at the Art Students League and Cooper Union in New York City, eventually becoming a Member of the American Artists Congress, American Abstract Artists and other contemporary avant-garde groups. With many others he worked on the WPA.
Exhibitions: Whitney Museum, National Academy, Albany Institute, Brooklyn Museum PAFA, and numerous important American and European institutions and galleries.
Awards: His work won international acclaim from England - Israel - Paris, while he is primarily accorded a permanent place in American Art History as member of the New York School of Abstract Expressionism.

Irving George Lehman, painter, printmaker, designer, engraver and teacher, was born in 1900 in Russia, later coming to Brooklyn, New York. He studied at the Cooper Union School of Art, and National Academy of Design, both in New York City. He worked as a W.P.A. (Works Progess Administration) artist during the Depression. He was a member of the American Art Congress. He exhibited at the Art Institute of Chicago, Illinois; Pennsylvania Academy of the Fine Arts, Philadelphia; National Academy of Design; and Brooklyn Museum.
Lehman is listed in Who Was Who in American Art, and Mallett's Index of Artists.
He died in September 1983 in a nursing home in Great Barrington, Massachusetts.
Shipped in rigid, cardboard flat-pack.
Shipping to your Zip Code in Continental U. S. via Priority Mail + $7 supplies + online 6# 32" x 38" x 1"
rigid cardboard flat-pack + insurance of $1.65 each full or partial $100 value.
Upon request we can combine like sized items closing within 48 hr. of each other for $2.00 plus 1# above largest/heaviest item.
Sorry, we do not shipped rolled.

________________________________________
DESCRIPTION:
American Jewish painter, sculptor, engraver, designer. Born in Russia.
Photographs of Lehman's paintings and sculpture (1935-1963); clippings (1958-1961); and exhibition catalogs, invitations, and posters (1947-1960).
Dates: 1935-1973
Size of Collection: 0.25 linear ft.
Additional Information:
• My favorite links on this artist:
o AskART.com...specific / my fave links
o
• Google Search on this Artist

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American School
Adam & Eve at the End of the 20th Century". large at 30" x 40" without slat frame. All in good condition.
Lesson: 30 x 40 Blondewood frame + price ++

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Description of Art
Very interesting 1972 pop art oil on canvas, signed and dated lower right, can't make out the name. Signed again on back, and titled:" Adam & Eve at the End of the 20th Century". large at 30" x 40" without slat frame. All in good condition.

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The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
Pop Art Yellows Crowd
Lesson: Fake Warhol?

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Pop Art Yellows Crowd
Lesson: Fake Warhol?
Description of Art
Pop art oil on canvas circa 1970. Very mod retro work. Unsigned . All in good condition, measures 30" x 24" without slat frame.

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
Unsigned Modernist Men
Lesson: Gift from Seller ++

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Description of Art
1945 Oil on board -Beautiful young women in ceremonial dress. Signed and dated Helen Bisson Barnett, lower right. I believe she is Indonesian, Malayasian, or Thai. If anyone knows, please let me know. In any case the work is wonderful with intricate head dress. All in good condition, frame looks to have been repainted and shows some minor age. Measures 20" x 16" without frame, and 24" x 20" with.

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
Realist Nude - “Emiko Adams”
Lesson: Labels on Reverse

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Blue ink on paper abstract drawing. Signed with mono. Good condition, apart for staining at corners. Measures 11 1/2" x 8 1/2" without frame.
A very nice oil on canvas modernist signed with monogram , lower right R.C. and above that :ABCO, or PBCO, painted circa 1950, condition is good, size 14 by 18''. Note that it is currently framed in a iiner border, not a complete frame........
Crawford, Ralston
o Period copy…was signature added later?
o Title in ABCD + finger…common to his style?
o Depth / brush strokes?
o Wrong
o Figuration
o

ART: RALSTON CRAWFORD IN SURVEY AT WHITNEY
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By VIVIEN RAYNOR
Published: October 11, 1985
RALSTON CRAWFORD is up for reconsideration by way of a retrospective at the Whitney Museum. Made up of 155 works, this first comprehensive survey of Crawford's art suggests that a better word than ''reconsideration'' would be ''consideration'' -something that he seems never to have had.
The renown the artist did achieve came at an unpropitious time, around the start of World War II (in which he served), and lasted only until the advent of Abstract Expressionism. Then it died, never to be resurrected, even though he did his best work during and after the great ''eclipse'' and continued to show until shortly before his death in 1978.
Crawford has even eluded the revisionist earth-movers, although in recent years museums and galleries have been exhibiting his photographs, which constitute about one-third of these 155 works.
Judging from the excellent catalogue essay by the show's curator, Barbara Haskell, time was Crawford's enemy from the very beginning. Born in 1906, he belonged to the same generation as the first Abstract Expressionists and would seem to have been a candidate for their movement, given his preoccupation with abstract values and with the painting as an end in itself. But militating against this was the artist's own disposition, which was cool and fastidious, together with his essential classicism and above all his insistence on abstracting from observed reality.
Crawford was too young to be a Precisionist, but the work of his early maturity was influenced by the movement and the acclaim he received for it typecast him. So when the hard-edged abstraction challenged Abstract Expressionism in the 1950's, no one seems to have spotted the connection between Crawford's later, more geometric, art and, say, Ellsworth Kelly's abstractions, also based on natural forms. Likewise, the affinity between his landscapes of the early 40's and the empty highways that were Allan d'Arcangelo's contribution to Pop went unnoticed in the 60's.
However - and this, too, may be a disadvantage - Crawford does not come across as an underdog; he began as he ended - an inventive but methodical painter of landscapes and usually utilitarian architecture that, though often full of surrealistic tension, are satisfying as flat geometrical designs, especially when shadows are incorporated in the patterns. Essentially, the difference between ''Electrification N2'' (1936), a black pylon and its wires silhouetted against a blue sky, and ''Feeder Canal, Coulee Dam'' (1971) is one of skill and experience. But what a difference this is. The latter canvas can be read as the slanting concrete walls of the canal meeting at the horizon. Still, it is more easily perceived as an abstraction composed of two irregular white wedges striped in black entering from either side of the canvas to conjoin with two more wedges, one a pale blue coming from the top, the other a darker blue from the bottom.
Twelve years younger than Stuart Davis, the mature Crawford is by no means his equal, but he stands closer to him than to any Precisionist. Indeed, it is likely that he reduced such scenes of the late 40's as ''Third Avenue Elevated'' to slabs of color under Davis's influence, even as he was producing starker, more original abstractions such as ''Wharf Objects, Santa Barbara.'' On the other hand, coincidence and the tempo of the times cannot be ruled out. Both artists abstracted from the thing seen, taking their cues from Synthetic Cubism, although the less jaunty and, deep down, much more romantic Crawford was probably more profoundly affected by Cezanne.
Incidentally, the two had similar war careers - Davis as a map maker for Army intelligence during the first World War, Crawford as a designer of charts making meteorological data more comprehensible to Army pilots in the second. He was also artist-in-residence at the Bikini Atoll bomb tests of 1946.
Still, in this selection, the influences exerted and sustained eventually become a melange defying analysis and prompting woolly thoughts about ideas filling the air at a given time. Besides, many ''influences'' may only be this observer's subjective associations, some with artists much younger than Crawford, such as the master of black-edged pattern, Nicholas Krushenick, and one - the strangest - with a near-contemporary, Jean Helion.
Helion, a member of the Abstract-Creation group in Paris, turned figurative during the 40's, painting figures and scenes as if they were disintegrating. The dark ''cracks'' in his forms also affect the compositions based on plane wrecks that Crawford produced during the war years.
It takes a lot of critical exegesis to elevate an artist to masterhood and the neglected Crawford still has many miles to go. Nevertheless, this show reveals him as a vivid and frequently up-to-date-looking painter, a first-rate draftsman and, on occasion, an inspired photographer. The show is at the Whitney, Madison Avenue at 75th Street, through Feb. 2. Also of interest this week: Liubov Popova (Rachel Adler Gallery, 58 East 79th Street): Constructivism was the climax and logical end of the nonobjective experiments that had preceded it. Yet it sometimes seems as sublimely irrelevant a gesture as dressing for dinner in the jungle, for the Soviet Union, after all, was at a standstill, having barely survived its participation in World War I, its revolutions and civil uprisings. All the same, there's no denying the esthetic impact of this didactic movement or the intensity of its exponents, of whom Liubov Popova (1899-1924) was one of the most notable.

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Thadeus Tade Styka
Realism: “Portrait of Eva Stanger”
Lesson: Gloucester vs. Brooklyn: family websites + title on reverse...on "exhibited" list?? Watercolors / fakes...complex figuration is a big key

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:
• heavily listed artist...ebay link
• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information
Description of Art
Eva Stanger
Lived at Biltmore Hotel in Atlanta, had a wealthy Jewish benefactor named Lou owned Dalton Carpet who paid her bills
Lived in Chattanooga husband did gambling game machines...went to prison = she continued business got caught fixing a jury
She was born a Fuller from Hallyville, AL...Dean's dad's sister
Built house 25 years ahead of its time
Huge bathroom
All walls with live fish aquariums
All tile floors with warming pipes underneath versus normal heating = didn't work very well
All sliding doors into walls
Never trusted banks = money in jewelry, cash & antiques
Found $135,000 loose cash in house

Fantastic w/c signed Ethel L.Smul 43'.... Ethel L. Smul is listed 20th Century NY artist., more information at Ask.Art.com.. Condition is good, size 21 by 28'', without frame..
Watercolor on paper. 5 x 6, signed (lower left): J. Gillespie.
A painting of an elderly woman walking by a pair of houses – manner of Van Gogh.
Provenance
• Ebay
Hello!

Here you will find a selection of the art work of Ethel Lubell Smul.

If you have any comments, feel free to email EthelSmul@verizon.net or leave comments here in the comment section.

Thanks for your interest.
Tony Smull

Ethel Lubell Smul's Chronology

1892 Born September 11th in New York City, Father, Julius Lubell, Mother, Kate Ginsberg Lubell. Father had a sign painting business; later, a garment factory.
1909 Maxwell School for Teachers 1909-1911
1911 Art Teacher NYC PS 72 Brooklyn 1911-1917
1917 Marries Josef Smul, M.D. February 4th.
1918 Birth of daughter, Kathryn Janet
1921 Birth of son, William
1926 Studies at the Art Students' League 1926-1947, teachers include, John Sloan, Boardman Robinson, Brockman, Olinsky, Barnet, Bob Blackburn; Press: The Arts Magazine May 1926 Still Life with Pussywillows Forbes Watson, critic
1929 Art Teacher NYC PS 84 Brooklyn 1929-1936
1930 Tiger Lillies-Collection of Elsie Hecht
1931 Still Life-Collection of Dr. Wm. Spielberg
1932 Phlox-Collection of Mrs. Landes
1934 Elected membership National Association of Women Painters & Sculptures; Salons of America Exhibition, Rockefeller Center
1935 Exhibition-Annual show-N.A.W.P.S., Academy of Alllied Arts. Press: New York Post Jan 1, 1935, New York Sun May 17,
1936 Art Teacher NYC PS 4 Queens 1936-1954 Press: The Jewish Daily Forward, January 26, 1936, Autumn Still Life-Exhibited at National Academy of Design
1937 Goldenrod and Hydrangea Collection of Mrs. Hartman, Hydrangeas & The Chinese Vase -Exhibited at N.A.W.P.S.; Geranium on the Steps exhibited at Art Students' League; Press: NY Journal, May 19, 1937, NY Times May 28, 1937.
1938 Press: NY Times Dec.11, 18. Hydrangeas exhibited at NAWPS & Academy of Allied Arts
1939 Press: NY Post April 8, NY Times May 7, The Art Digest May 15,
Exhibited: The Grant Studios @NY Worlds Fair
1940 Press: NY Sun Feb 3, NY Times Feb 4,July 7, Sept 24, Dec 15. NY World Telegram July 13, Dec 28. Gloucester Wharf, Geranium on the Steps, Back Street (Collection: Margie Bronson) White Sails, Rocks exhibited at NYSWA at The New York Worlds Fair; A Busy Harbor at NAWPS at The New York Worlds Fair; Academy of Allied Arts, Gloucester Wharf.
1941 Press: NY Times March 30, April 13th, Nov 2, Dec 14 NY Sun Dec 26; Harbor Scene, Roses exhibited at National Association of Women Artists, NWSWA & Vendome Art Galleries; Wind & Rocks exhibited at Vendome, Fishing Boats, (Collection of Dr. Emanuel Saxe) Street Near the Bay exhibited at NYSWA, Riverside Museum; Gladiolus & Petunias exhibited at Allied Arts & Estelle Newman Gallery, NYC
1942 Press: NY Times Feb 22, April 19,Dec 22; Art Digest Feb 15, Aug 1, NY Herald Tribune April 26; Exhibited at Academy of Allied Arts Petunias & Wind & Rocks at Estelle Newman Gallery, A Busy Harbor exhibited at Art Students' League, Dec 19; East Gloucester exhibited at NAWA & NYSWA, Eastern Point Lighthouse exhibited at NYSWA, NAWA
1943 Exhibited: East Gloucester-Fish Market Vendome Art Galleries, NYSWA, Argent Gallery, American British Art Center, Estelle Newman Gallery. Press: NY Times Jan 24.
1944 Exhibited: Art Students League, Cala Lillies, NAWA, Willows By the Sea, Geraniums, Argent Gallery, Audubon Artists at Norlyst Gallery
1945 Exhibited: NYSWA Annual, Autumn Still Life, Dancers' Dream; School of Jewish Studies, The Captain; NAWA, Cala Lillies
1946 Press: NY Times May 14, Exhibited: Along the Waters' Edge & Fish Market, NAWA traveling show; Autumn Still Life NYSWA at the National Academy of Design; A Rocky Beach Pennell Exhibition of Prints, Library of Congress, Washington DC
1948 Press: NY Sun Sept 12 Exhibited: Under Sea Rhythms, Graphics Exhibition, group show, Argent Galleries; Moonlit Roofs 1948 Pennell Exhibition of Prints, Library of Congress, Washington, DC;
Exhibited: Undersea Rhythms, Audubon Artists.
1949 Exhibited: Underseas Rhythms, Winter in the Park, Old Swimming Hole, NAWA group show, Galerie O. Bosc-Petrides, Paris; Current American Prints group show Dept of Fine Arts, Artists' Nook, Carnegie Institute, Pittsburg; Graphics Exhibition, group Show, Argent Galleries, NYC; Artists' Nook Pennell Exhibition of Prints 1949, Library of Congress, Washington, DC; Aubudon Artists, 1083 Fifth Avenue, NYC; NYSWA, Wash Day in the City, Industrials Roofs, Still Life at Penthouse Window, Winter in the Park.
1950 Press: NY Times Nov 7 Exhibited: White Rooster at NYSWA; Pennell Exhibition, Library of Congress, Washington, D.C., White Rooster, Mexican Scene, Winter in the Park at Village Art Center
1951 Press: Art Digest, Sept 15 Exhibited: Winter in the Park, Mexican Desert, Striped Rooster, Sea Horses, NAWA at Argent Galleries; Exhibited: "Circus Performers" NAWA Annual; Exhibited: Striped Rooster Society of American Etchers, Gravers Lithographers and Woodcutters Annual Exhibition, Dancers NYSWA.
1952 Exhibited: 2nd Intl Biennial of Contemporary Color Lithography, Cincinnati Art Museum, Sea Horses sold to collection, Cincinnati Art Museum; Exhibited: Lighted Lantern, The Idol, at NAWA, Red Roofs, Shells, at Brooklyn Society of Artists; White Rooster, The Lighthouse, In a Mission Courtyard, at NYSWA
1953 Who's Who in American Art, Exhibited: NY Chapter Artists Equity Assoc., NAWA, Cincinnati Art Museum Intl. Biennial of Contemporary Color Lithography
1954 Teacher NYC Astoria Junior HS 126 Queens 1954-1959, Exhibited: The Lighthouse at NAWA, Sails & Gulls at Brooklyn Society of Artists, Sea Gulls at NAWA
1955 Exhibited: Pagan Offerings, Mountain Scene at Brooklyn Society of Artists; NAWA, Marine Still Life, Old Lamp, Still Life, at NYSWA
1956 Press: NY Times Dec 12, NY Sunday Mirror Dec 9, Exhibited: Moonlit Roofs, Old Lamp, Sails & Nets at NYSWA; Old Lamp, The Lighthouse at NAWA.
1957 Exhibited: 1957-1958 Brooklyn Society of Artists Traveling Watercolor Show; Sails & Gulls at Brooklyn Society of Artists; Retires from teaching art in the NYC public school system.
1958 Who's Who of American Women; Exhibited: Red Roofs at Art USA: 58 at Madison Square Garden; Clowns Vision, Sails & Gulls at NYSWA; Shells in NAWA graphics traveling show
1959 Exhibited: Sails, Shells, NAWA 67th Annual; Trees In Bloom at NYSWA, Under Sea Landscape at Bklyn Society of Artists
1960 Exhibited: Sun & Sails at Painters & Sculptors Society of New Jersey, National Exhibition, Jersey City Museum; Growth & Sun & Sails at NYSWA, NAWA; Autumn Banners at Bklyn Soc of Artists
1961 Exhibited: Tropical Waters, Autumn Banners at NAWA; Tropical Waters at Bklyn Soc of Artists
1962 Exhibited: NAWA Traveling Graphics Exhibition 1962-1964; Pagan Rites, Donnell Library; Ancient Cathedrals at NAWA. Lyrical Chords, Waterfalls at NYSWA; Lyrical Chords sold to Topps Chewing Gum Co.; Distant Flows at NAWA; Everglades at Bklyn Soc of Artists
1963 Exhibited: In the Tropics, Awakening, Vernal Rhythms, Tempest at NYSWA; Equinox, Awakening, at NAWA; Aquacade, Pagan Rites, Sea Horses, at Univ. of Maine, Orono Maine. Rhythms of Spring American Society of Contemporary Artists. Press: Christian Science Monitor, Sept 6, 1963
1964 Exhibited: NYSWA 40th Anniversary Exhibition, Vernal Rhythms, Tempest; Rhythms of Spring at NAWA.
1965 Exhibited: NYSWA 42nd Anniversary Exhibition; NAWA Exhibition.
1966 Exhibited in NYSWA Exhibition, Lyric Chords
1967 Exhibited in NAWA Traveling Watercolor Exhibition 1967-1969; Exhibited: NAWA Annual, Mardi Gras, Mountain Scene; Exhibited: ASCA Annual Exhibition; NYSWA Annual Exhibition; Treasurer, American Society of Contemporary Artists
1968 Exhibited in NAWA Annual Exhibition, American Society of Contemporary Artists Annual Exhibition, NYSWA Annual Exhibition
1969 Exhibited in NAWA Spring Exhibition, Harbor Scene; Exhibited NAWA Traveling Graphics Exhibition
1969-1971; Pagan Rites; Exhibited: NYSWA Annual Exhibition; ASCA, Tropical Growth.
1970 Exhibited in NYSWA Exhibition. Josef, husband of 53 years, dies.
1972 Exhibited: ASCA 55
1973 Exhibited: ASCA, Sails
1978 dies January 13th in New York City.
options Comments

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For Questions or Comments: Contact info@artcollecting.info

Continental School
“Impressionism: Israel...1940
Lesson: Subject & date...

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Very nice Impressionist Oil on canvas-Isreali Landscape with Fortress. Signed in Hebrew lower right. Note that I tore the paper in back looking for a name, also label with dollar sign? In good condition. Measures 13 3/4" x 9 3/4" without frame, and 16 1/4" x 12 1/4" with.

Za

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
Ceramic Head / Sculpture
1950's Modern/abstract ceramic head sculpture. Original, artist hand made. Can't find a signature on it. Came out of a mid-century modern estate. In good condition, with no chips or cracks. Felt on side of wood base is lifting. Measures 9 1/2" tall.

.
Lesson: 30 x 40 Blondewood frame + price ++

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Description of Art
Very interesting 1972 pop art oil on canvas, signed and dated lower right, can't make out the name. Signed again on back, and titled:" Adam & Eve at the End of the 20th Century". large at 30" x 40" without slat frame. All in good condition.

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

China School
“Marilyn...40 x 40”
XL ++

Description

This genuine art piece is an absolutely spectacular, and intriguing work of art that will be admired by all. It will make
a great addition to your home, office, game room or personal art collection and is the perfect gift idea for your family
and friends. We`ve decided to produce and promote a very limited and exclusive product line - available for sale only
at our eBay store. Usually our art is sold for hundreds to thousands of dollars each, so this is your chance on getting
one of our exquisite and exclusive artworks at a bargain price for a limited time only!.

Size: 30"x30"Inches (75 Cm. x 75 Cm.)

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

24" ORIGINAL OIL PAINTING: HOTEL CALIFORNIA
Size 24"x18" oil on canvas
About this Painting Great Work Hand Painted and by Our Hua Cui Artist Community's Zhou Yan STUDIO, with artist's unique authentication stamp Chop on the rear of the canvas to show authenic. The Stamp Color was make by the Unique recipe scoll by certain Earth minerals from Hiamalayas, which will never fade in thousand years
Zhou Yan Studio, Formed in Feb 2006 by myself and The Aim of my Studio is showing the beauty Nature and Life, my my own postive Chi into the painting to achieve the real path for health and tranquility in watcher life.

Museums Holding this Artist

Links to Additional Information on this Artist:
• AskART.com
• Peter Blake Gallery

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
Pearlstein + Vietnam Collage
Mixed media-abstract oil and collage painting. Vietnam war theme.By Judith Pearlstein. I know very little about the artist, other than-she was an art teacher at the Parsons School of Design, she was somehow affiliated with the New York Student Art League. In any case interesting work, all in good condition. measures 21 1/2" square.
.
Lesson: 30 x 40 Blondewood frame + price ++

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Description of Art
Very interesting 1972 pop art oil on canvas, signed and dated lower right, can't make out the name. Signed again on back, and titled:" Adam & Eve at the End of the 20th Century". large at 30" x 40" without slat frame. All in good condition.

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

China School
“Model...black hair head shot 36 x 36”
Lesson: Decorate well...colors
You are purchasing a 100% Genuine High Quality Oil Painting.
This is NOT a print on canvas.
Created on a bare piece of canvas by a talented artist using brushes and oil paint.
The result is a truly amazing work of art that you will be proud to own and enjoy for many years.

100% Genuine High Quality Oil Painting on Canvas

SIZE 36" inch ( HIGH ) 36" inch ( WIDE )

100% Genuine High Quality Oil Painting on Canvas

SIZE 36" inch ( HIGH ) 36" inch ( WIDE )

China School
“Classical Nude”
Lesson: Decorate well...colors

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

View Next Painting Return to Section Index Site Index
36"x24" ORIGINAL NUDE OIL PAINTING: SWEET DREAM

Size(cm): 90cm x 60cm
Size(inch): 36" x 24"
Material: Oil on canvas
Artist: Wang Ln
Click here to learn more info of this artist

Description: Great Work Hand Painted and Signed by Our Hua Cui Community Artist Wang Ln.
This painting would make a most appreciated, unexpected and beautiful gift and would certainly make a great conversation piece to adorn any room in the home or office. Please view my other Works by our Teachers auctions on ebay, you can always have chance to buy a bargain and I'm happy to combine wins to save postage.
This painting is 100% hand painted, please check the the photo of brush or pencil stroke detail . it is not a "canvas transfer" or a "giclee" or an "artist enhanced" work -- all just fancy terms for a machine made print. You are bidding on a genuine hand-made work of art.

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

China School
“Classical Nude”
Lesson: Decorate well...colors

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

View Next Painting Return to Section Index Site Index

Size(cm): 75cm x 75cm
Size(inch): 30" x 30"
Material: Oil on canvas
Artist: Zheng Qiuna
Click here to learn more info of this artist

Description: Great Work Hand Painted and by Our Hua Cui Artist Community's Miss ZHENG QIUNA with signature on the canvas to show authenic.
Zheng Qiuna Studio, Formed in Feb 2008 by Miss Zheng Qiuna, is our Leading Art Studio on Protraits and Nudes.Born in 1979, Miss. Zheng Qiuna is a desendant of Miao Ethic, who has a blood of Sumerian. She is now Member of Hua Cui Artist Community of China and Student of Master Painter Madam Gu Yingzhi.
She attend many exhibition in world scope, her recent work was sold more than 2000usd on ebay. Very few artist can paint oil painting in realistic way than Miss Zheng, She is one of the best protrait painter you can find one ebay..
This painting would make a most appreciated, unexpected and beautiful gift and would certainly make a great conversation piece to adorn any room in the home or office. Please view my other Works by our Teachers auctions on ebay, you can always have chance to buy a bargain and I'm happy to combine wins to save postage.
This painting is 100% hand painted, please check the the photo of brush or pencil stroke detail . it is not a "canvas transfer" or a "giclee" or an "artist enhanced" work -- all just fancy terms for a machine made print. You are bidding on a genuine hand-made work of art.

FEATURED ARTISTS BIOGRAPHY
　

Zheng Qiuna Born in 1979, Miss. Zheng Qiuna is a descendant of Miao Ethic, who has a blood of Sumerian Shaman. She is now Member of Hua Cui Artist Community of China and Student of Master Painter Madam Gu Yingzhi. With hard training in the Hua Cui Artist Community College Miss Zheng is famous for her realism paintings and become a multicultural Realism Artist.
As Teacher in Hua Cui Art School and Visiting Vice professor of Tianjin Oriental Art Department of Nankai University, Miss Zheng is national famous female painter by take in many exhibitions Both in Asia and Europe. As Vice Chairman of Chinese Aboriginal Charity, Miss Zheng Sell Her art works to support Tibetan and Miao Tribal Children and Saving the Minor Ethic Tribal Culture in China. As travel in Tibet, India, Europe and Indochina, Miss Zheng is taking Buddhism as her study subject and will continue her study Nankai University.
Miss Zheng's Oil painting works in realism portrait, Nude, Landscape and Zen Art Abstract. Her many works sold more than thousand dollars on ebay and would be many times in local art market, many ebay buyer invest her art works made she international famous, and very few painters can paint more realism than she does, and she is one of the leading artist in this area.
To see more of her works please click here

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

China School
“Classical Nude”
Lesson: Decorate well...colors

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

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36"x24" ORIGINAL OIL PAINTING NUDE : SUN BATH

Size(cm): 90cm x 60cm
Size(inch): 36" x 24"
Material: Oil on canvas
Artist: Zheng Qiuna
Click here to learn more info of this artist

Description: Great Work Hand Painted and signed by Our Hua Cui Artist Community's ZHENG QIUNA on the canvas to show authenic.
Zheng Qiuna Studio, Formed in Feb 2008 by Miss Zheng Qiuna, is our Leading Art Studio on Protraits and Nudes.Born in 1979, Miss. Zheng Qiuna is a desendant of Miao Ethic, who has a blood of Sumerian. She is now Member of Hua Cui Artist Community of China and Student of Master Painter Madam Gu Yingzhi.
This painting would make a most appreciated, unexpected and beautiful gift and would certainly make a great conversation piece to adorn any room in the home or office. Please view my other Works by our Teachers auctions on ebay, you can always have chance to buy a bargain and I'm happy to combine wins to save postage.
This painting is 100% hand painted, please check the the photo of brush or pencil stroke detail . it is not a "canvas transfer" or a "giclee" or an "artist enhanced" work -- all just fancy terms for a machine made print. You are bidding on a genuine hand-made work of art.

FEATURED ARTISTS BIOGRAPHY
　

Zheng Qiuna Born in 1979, Miss. Zheng Qiuna is a descendant of Miao Ethic, who has a blood of Sumerian Shaman. She is now Member of Hua Cui Artist Community of China and Student of Master Painter Madam Gu Yingzhi. With hard training in the Hua Cui Artist Community College Miss Zheng is famous for her realism paintings and become a multicultural Realism Artist.
As Teacher in Hua Cui Art School and Visiting Vice professor of Tianjin Oriental Art Department of Nankai University, Miss Zheng is national famous female painter by take in many exhibitions Both in Asia and Europe. As Vice Chairman of Chinese Aboriginal Charity, Miss Zheng Sell Her art works to support Tibetan and Miao Tribal Children and Saving the Minor Ethic Tribal Culture in China. As travel in Tibet, India, Europe and Indochina, Miss Zheng is taking Buddhism as her study subject and will continue her study Nankai University.
Miss Zheng's Oil painting works in realism portrait, Nude, Landscape and Zen Art Abstract. Her many works sold more than thousand dollars on ebay and would be many times in local art market, many ebay buyer invest her art works made she international famous, and very few painters can paint more realism than she does, and she is one of the leading artist in this area.
To see more of her works please click here

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
“Found art - Twaites B&W Abstract"
Lesson: Gift

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Original on-line purchase price: $0.00 - it was a gift
Want to buy a painting like this one? The key buying strategy for this piece is called Benefits of being a known collector.

Art description: Oil on board, 22 x 30, signed (lower left): A.H. CALDWELL and dated: 30 (1930).

Terms & links used to describe this art & artist:
• This style of art is known as: expressionism
• This art's lineage is: mid-century American
• Other site-terms associated with this art, include:
o unknown artist
o period forgery

Lesson One: The impact of professional art cleaning & restoration

Caldwell is what we call a very "lightly" listed artist. Translation? I have no clue who this artist "really" is.
Early American artists that are scantily listed – like EJ Busenbark – present one of the best opportunities for MAC’s to purchase paintings of styles, quality and subjects that would prove too costly if authored by more well recognized artists.
If you are on a budget, these artists are perhaps your very best avenue to purchase high quality art at a fraction of the “usual” cost.
Additional collected artworks providing supplementary lessons about art cleaning & restoration, include:
• Aage Bertelsen
• Alphonse Marie De Neuville Neuville
• William Fridericia
Helpful site articles about art cleaning & restoration:

• Common damage: what does it look like?
• Do-it-yourself art cleaning & restoration techniques
• Interview with my art conservator: Susan Jones

Useful web links regarding art cleaning & restoration:

• Common damage: what does it look like?
• Do It Yourself art cleaning & restoration techniques
• Interview with an art conservator: Susan Jones

Lesson Two: Pieces you personally relate to....
Some art speaks volumes about some point in your life. My sister committed suicide at the age seventeen. Thus, this artwork was particularly moving to me from the first intance.
There's three basic types of forgeries:

Art & Artist Information

Description of Art
Oil on board, 22 x 30, signed (lower left): A.H. CALDWELL and dated: 30 (1930). An expressionist painting of a nude female model on a platform.
I found this to be a very powerful painting.
Provenance
• Ebay

Artist Information

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Jesse Cooley
Graffiti Art: “Pal Horn”...Palin
Lesson: Supporting local artist, XXL art, art in all
"places"...

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Description of Art
Description:
ANDERS T. MORTENSEN. Olie på plade. "Ak ja, de dage". Maleri med hårtot effekt. Sign. bagpå Anders T. Mortensen '87. Monteret med smal sort liste langs kanten. 62 x 62 cm.
Ah yes, those days.
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
A still life painting of chrysanthemums in a vase.
NUDE by DANILA BOGDAN

AUTHOR: DANILA BOGDAN

Born : sep 12 1977
Education :
1991-1995 High school "Octav Bancila" school of fine arts, Iasi
1998-2003 "ION ANDREESCU" Academy of Visual Arts, Cluj-Napoca
Exhibition:
1994 folk festival exhibition Suceava
1996 thematic exhibition "Rebreanu", Ilva Mare
1999 group exhibition Buteni, Arad
-70% of paintings are collections in USA

DESCRIPTION
tecnique/suport
size(inches)
size(cm)
style
state :
:
:
:
: OIL/CANVAS
20x24
50x60
EXPRESSIONIST
ROLLED

PAYMENT DETAILS
Payment can be made using money order/cashiers, or personal check.
For more information please contact the seller.
Vous pouvez demander tous que vous voulez en francais SHIPPING AND CONTACT
United States shipping and handling US $35.00
Europe shipping and handling EUR 22.00
If you buy more paintings which will be send in the same parcel you only pay $10 (Euros 8) for the following.
Shipping insurance per item (not available)
Most shipping is done from Romania

Pay for this auction online with the BidPay SM service.

Contact us at mpavel1956@yahoo.com
Vous pouvez m'ecrire en francais a mpavel@email.ro

Provenance
• Ebay

Artist Information

View Next Painting Return to Section Index Site Index

ArtCollecting.info
How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2007 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource
to help beginning collectors
affordably acquire quality artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
Asian Woman - “Helen Barnett”
Lesson: Second Chance Offer

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Description of Art
1945 Oil on board -Beautiful young women in ceremonial dress. Signed and dated Helen Bisson Barnett, lower right. I believe she is Indonesian, Malayasian, or Thai. If anyone knows, please let me know. In any case the work is wonderful with intricate head dress. All in good condition, frame looks to have been repainted and shows some minor age. Measures 20" x 16" without frame, and 24" x 20" with.

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
Abstract - “Bright Colors: 5.00 + 8.50”
Lesson:

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Description of Art
Matching pair abstract oils on board. Each signed Linson, lower left. Both in good condition, frames show some age. They are 16" x 20" without frame, and 20" x 24" with.

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
Abstract - “Bright Colors: 5.00 + 8.50”
Lesson:

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Description of Art
THIS IS AN UGLY ODD ABSTRACT PAINTING
CANVAS STRETCHED
18 X 24
NOT SIGNED
THANKS FOR LOOKING

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
Modernism Abstract - “Man's Face”
Yeffe Kimball?
Lesson: perfect for a frame

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Description of Art
16 BY 20 INCHES. ACRYLIC ON CANVAS. DATES 1970'S. SIGNED KIMBALL. THERE ARE A FEW LISTED PAINTERS BY THIS NAME AND STLE. WARD KIMBALL OR YEFFE KIMBALL? NOT SURE. GOOD CONDITION./ NO RESERVE FINE ART AUCTIONS

Rare Yeffe Kimball figurative work; Indian Dance; Oil exhibited in 1966-67 at many museums
A superb understated painting by Yeffe Kimball that seems to depict turmoil or a skirmish, possibly an exodus. We warrant this painting to be by Yeffe Kimball and to otherwise be as described. Enjoy!

Yeffe Kimball was a full-blooded American Osage Indian who came to New York City from Oklahoma as the first American Indian to study with the Art Students League, where she studied 1935-39, with field trips to France and Italy. She also studied with Fernand Leger in NYC from 1940-1941. From 1942 to 1965, Kimball exhibited in more than 100 shows at art galleries and museums. Her first major appearance was at the National Academy of Arts in 1942. In 1945, she was in the Armory's Critic's Choice show, and in the same year her work was shown at the Whitney. Her work was also shown at the Carnegie Institute that year, as well as at museums in Georgia and the Carolinas. In 1946 she had her first solo show, at the Rehn Gallery in NYC; by 1987 she had had more than 55 solo exhibitions.
Among Kimball’s exhibitions were: the Crocker Art Gallery in Sacramento in 1947; the Dayton Art Institute in 1958; the Denver Art Museum in 1947; Galeries Giroux in Brussels, Belgium, in 1948; Delgado Museum of Art in New Orleans in 1947; JFK Intl Airport in 1964; Museum of New Mexico in Santa Fe in 1948 and in 1957; Nova Gallery in Boston, 1961 and 1962; Portland Art Museum in Oregon in 1949; Santa Barbara Museum of Art in 1950; Tirca Kavlis Gallery in Provincetown annually from 1959 to 1965; University of New Mexico in 1948 and 1957; University of Virginia Museum of Fine Art in 1963; and four major exhibitions at the Philbrook Museum of Art in Tulsa, which gave her a restrospective that toured the nation in 1966-1967.
Kimball's work is included in the collections of the following museums: Baltimore Museum of Art; Boston Museum of Fine Art; Cincinnati Art Museum; Dayton Art Institute; Chrysler Art Museum; Mattatuck Museum; Norfolk Museum of Arts and Sciences; Philbrook Museum, Tulsa; Portland Art Museum, Portland, Oregon (this piece is called "Fawn and Spirits," and combines modernist and Native American motifs); Wadsworth Atheneum, Hartford; Washington & Lee University, Virginia (Source: Excerpted from a generous submission by Jeff Barge to AskArt).
• Medium: Oil on cardboard or other board; the back is treated with gesso and inscribed. The edge of the canvas is wrapped in tape, apparently in lieu of framing for exhibits in 1966-67. AskArt.com illustrates other oils by the artist which have similar taped edge treatment.
• Size: 12” x 16 ¾”
• Condition: Excellent; no condition issues seen. Please note that all of our art is photographed in outdoor shade with ambient sunlight, producing the best approximation of the art’s true colors. When you unpack the art indoors under traditional lightbulb (incandescent) lighting, its tonality can appear darker. By clicking on the second-to-last green button after the pictures at the bottom of the ad, you can see a very large image of the painting. This is a good visual inventory of its condition.
• Signature: Unsigned; identified on the back; it is not known if the identification is by the artist
• Background ( or Provenance, if available): from a Bethesday Maryland collection.
• Frame: Unframed
• Second Chance Offers New eBay procedures prevent fraudulent “Second Chance” Offers. Now on higher priced items your bidder’s ID can only be seen by the seller of the item. But if you want to make absolutely sure that any second chance offer I may send you is legitimate, you can look under your own “My eBay” where my offer would appear under your “My Messages” and also under “All Buying” which is in a column on the left side of that area. I do occasionally make second chance offers. If you didn’t bid on my item to begin with, it is impossible for you to get a legitimate second chance offer.
• Important: I never eMail bidders with a private offer to sell during an auction. The latest scam involves bidders receiving “offers” from the seller while the bidding is going on. Ignore all such offers.
• Shipping: The automatically calculated shipping amount includes packing, and USPS Priority shipping and insurance. This art is being sold Worldwide. Packages in excess of 104 inches length and girth combined are shipped using UPS, usually UPS “3-day select.” I make every effort to ship within one business day of getting payment, as the feedback I’ve received attests. Our

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Irving Lehman
Abstract Expressionism: “Fish? Night Landscape? ”
Lesson: A lot of art AND artist...for the money

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:
• heavily listed artist...ebay link
• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
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Copyright © 2001 by the Speed Art Museum. All rights reserved.

This is a 40x36 inch painting done by Ukranian American artist Irving Lehman. He had a successful career as a WPA artist and later as a modernist. It was purchased from a dealer over eighteen years ago, who was representing part of the family. This was represented to me as one of his later works. I would say it is in generally good condition. Unframed. Was kept in a non-smoking house. This could be oil or tempera. It could use some conservation. No rips or tears. It has some condition issues at the edges of the canvas. This can be seen in the photos. This signature is legible, but faint in spots.
Sold As-is with no returns. Thanks for looking.
taken from his obituary:
Every artwork in the ArtCollecting.info collection provides at least one unique lesson that assists beginning web-collectors in making better decisions about a new art acquisition.
The lessons-learned from this particular piece, include:
Many collectors on a budget are forced to constantly yearn for art by heavily listed artists
Sadly, this piece is not a study in success.
I was very pleased when I first picked up the piece from my framer. The pewter style frame they selected to house the piece brought out the colors and style perfectly.
However, I now regret not having acquired a finer piece from the group that was sold. The lesson here is simple.
If you are acquiring an unframed piece - try to get the best piece you can afford to help offset the total investment you will end up making.. In the long term - it's a much better move - and you'll be happy you did.

Art & Artist Information
Watercolor on paper, 11 x 17, signed (lower right): I Lehman.
An abstract expressionistic depiction of couples dancing from the property of Barbara Caplin, an heir to Lehman’s estate.
Provenance
• Barbara Caplin
Artist Information
Irving George Lehman (1900-1982, American)
Lehman was born in Russia on January 1, 1900 and moved to New York prior to World War II. He worked as an artist and sculptor his entire life, not only in painting, drawing and sculpture but as a maker of wood blocks. He was a regional painter depicting scenes of Manhattan, Cape Cod and New England, working as a WPA artist.
He studied at Cooper Union Art School and the National Academy of Design.
He had one man shows in the ACA Gallery, Uptown Gallery, Harry Salpeter Gallery, Knapik Gallery, all in New York City, with the Philadelphia Art Alliance, in Oxford England and with other galleries in Woodstock, NY, Columbia Art Museum South Carolina. Also, exhibited in the following museums: Brooklyn Museum, Chicago Art Institute, City Art Museum, St. Louis; IBM Gallery; National Gallery (Smithsonian) Washington, DC; Seattle Museum, Whitney Museum of Art, New York; Pennsylvania Academy; Nebraska Art Museum; and others.
He was a member of the Abstracts Artists of America, exhibiting throughout Europe and Japan in the 1950’s. Lehman won many prizes, was a member of the American Artists Congress, American Abstract Artists, Audubon Artists of America, American Society of Contemporary Artists, and the Vectors.
Lehman died in Columbia County, Upstate New York, in 1982.
http://query.nytimes.com/gst/fullpage.html?res=9F06E7D91E38F937A1575AC0A965948260
IRVING LEHMAN
• Print
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Published: September 24, 1983
Irving Lehman, a painter and sculptor whose abstract expressionist works have been shown in galleries throughout the United States and abroad, died Sunday at a nursing home in Great Barrington, Mass. He was 83 years old and lived in East Chatham, N.Y., and Manhattan.
Mr. Lehman, who was born in Russia, studied at Cooper Union and the National Academy of Art. He worked in oil and watercolor as a painter and in metal and steel as a sculptor and often went to the familiar scenes of New York City for his inspiration.
A New York Times review of an exhibition of his paintings - titled ''Variations on New York'' - at the Salpeter Gallery in Manhattan in 1955, said: ''Lehman admirably succeeds in catching the clamorous confusion of Manhattan; his pictures are suitably restless in design.''
Abroad, his works were shown in galleries in Great Britain, France, Italy, Israel and Japan, and in 1951, they were included in a United States international traveling exhibition in Europe.
Mr. Lehman is survived by his wife, Martha, and two sisters, Pauline Shalat of Brooklyn and Esther Golub of Albany.
http://libwww.syr.edu/digital/guides/i/IrvingLehmanPapers-Des.htm
Irving Lehman Papers
Special Collections Research Center
Syracuse University Library
Syracuse, NY 13244
Correspondence Form
A Note to Researchers
SCRC revises and updates its finding aids from time to time. To be sure that you are working with the most current version, please check with our reference staff by using our correspondence forms (see above), writing to scrc@syr.edu, or calling (315) 443-2697.
This file was last modified on: September 22, 2003 01:06 PM
LEHMAN, Irving (1900-1982)
Birth place: Kiev, Russia
Death place: E. Chatham, NY
Addresses: NYC
Profession: Painter, sculptor
Studied: ASL; Cooper Union, 1920-24; NAD, 1925-30.
Exhibited: WMAA; NAD; S. Indp. A.; Salons of Am.; Albany Inst. History & Art; Alabama WCS; Brooklyn Mus.; Charleston Art Gal.; AIC; SAM, 1930-46; PAFA Ann., 1948; ACA Gal., NYC; Uptown Gal., NYC; NYC WPA Art" at Parsons Sch. Des., 1977. Awards: Kellner Award, Brooklyn Soc. Artists 42nd Ann., 1959; Am. Soc. Contemp. Artists 44th Annual Distinctive Merit Award, 1961; Lafayette Nat. Bank Award, Am. Soc. Contemp. Artists 47th Annual, 1964."
Member: Am. Artists Congress; Am. Abstract Artists; Audubon Artists Am.; Am. Soc. Contemp. Artists.
Work: St. Edmund's Hall, Oxford Univ., England; Ein Harod, Israel; at. Mus. Bezalel, Israel; Vanderpoel Mem. Coll., Chicago; Mus. Art Populaire Juif, Paris.
Comments: WPA artist. Teaching: Brooklyn College Adult Educ.; New York Bd. Educ.; studio workshops. Marlor gives year of death of 1982.
Sources: WW73; WW47; articles, Am. Abstract Art (1936-66), Univ. Syracuse Lib. Mss & House & Garden Decorating Guide (fall/winter, 1968-69); New York City WPA Art, 57 (w/repros.); Falk, Exh. Record Series.

This biography is drawn from the 'Who Was Who in American Art' , the reference book on the cultural life in the United States.

Original Work on Paper by Irving George Lehman. Who was a Russian-American W.P.A Era Artist. He grew up amidst Revolutionary Soviet Avant Garde movements and moved to New York in the 1920's. He studied at Cooper Union and had solo painting and sculpture exhibitions at ACA gallaries in Manhattan. He worked as a WPA artist during the Depression. During the 1930's he lived in Greenwich Village and moved to Brooklyn in the 1940's. During World War II he worked at the Brooklyn Naval Yard which influenced not only his subjects by his use of industrial materials in his Sculptures. Prior to WWII his studio work was done in Woodstock and at the end of WWII he began working in Columbia County, NY. He was included in dozens of solo and group exhibitions in New York, Nationally and Internationally. In the 1950's he began to execute increasingly larger canvases. While his style began as Social Realism in the thirties he eventually moved on to Cubist inspired Modernist Figurative Abstraction. His work also included Jewish subject matter in a number of compositions. He is included in museum collections in the US and Israel.
Most works have a studio or estate stamp, of which there are two varieties. A large type face stamp, done in New York by an appraiser that appears on a few works on paper, and a small typeface stamp that was applied after the works passed to her heirs, appearing on the prints and also most remaining works on paper. Some works also were signed by the artist on the front. Details of stamp or signature are as noted above. Several of her paintings have sold for significant sums at auction, however as is sometimes encountered with artists that come to prominence simultaneously in New York and elsewhere, no one auction price reporting database appears to be inclusive of all sales, however, he has been widely offered and sold.
From ASKART:
Born in Kiev, Irving Lehman studied at the Art Students League and Cooper Union in New York City, eventually becoming a Member of the American Artists Congress, American Abstract Artists and other contemporary avant-garde groups. With many others he worked on the WPA.
Exhibitions: Whitney Museum, National Academy, Albany Institute, Brooklyn Museum PAFA, and numerous important American and European institutions and galleries.
Awards: His work won international acclaim from England - Israel - Paris, while he is primarily accorded a permanent place in American Art History as member of the New York School of Abstract Expressionism.

Irving George Lehman, painter, printmaker, designer, engraver and teacher, was born in 1900 in Russia, later coming to Brooklyn, New York. He studied at the Cooper Union School of Art, and National Academy of Design, both in New York City. He worked as a W.P.A. (Works Progess Administration) artist during the Depression. He was a member of the American Art Congress. He exhibited at the Art Institute of Chicago, Illinois; Pennsylvania Academy of the Fine Arts, Philadelphia; National Academy of Design; and Brooklyn Museum.
Lehman is listed in Who Was Who in American Art, and Mallett's Index of Artists.
He died in September 1983 in a nursing home in Great Barrington, Massachusetts.
Shipped in rigid, cardboard flat-pack.
Shipping to your Zip Code in Continental U. S. via Priority Mail + $7 supplies + online 6# 32" x 38" x 1"
rigid cardboard flat-pack + insurance of $1.65 each full or partial $100 value.
Upon request we can combine like sized items closing within 48 hr. of each other for $2.00 plus 1# above largest/heaviest item.
Sorry, we do not shipped rolled.

________________________________________
DESCRIPTION:
American Jewish painter, sculptor, engraver, designer. Born in Russia.
Photographs of Lehman's paintings and sculpture (1935-1963); clippings (1958-1961); and exhibition catalogs, invitations, and posters (1947-1960).
Dates: 1935-1973
Size of Collection: 0.25 linear ft.
Additional Information:
• My favorite links on this artist:
o AskART.com...specific / my fave links
o
• Google Search on this Artist

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How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2007 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource
to help beginning collectors
affordably acquire quality artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Joe Goode
Pop Art: Titled as “Vandalism Series: 1975”
Lesson: Out of favor art / artists...choose three types for each live auction...with killer pedigree - "hit 'em, where they ain't"...a style you would pass-on normally, etc.

Acrylic on canvas mounted on board
35 1/2 x 23 3/4" Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:
• heavily listed artist...ebay link
• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

JOE GOODE
(American, 1882-1934)
For an art collector on a limited budget, one of the most important attributes you can develop is an open mind.
Years ago, one of my earliest mentors in the world of collecting - the late Donald Genovese - shared an important insight regarding live auctions: at almost every auction, there is one group of collectors that's under-represented. On one night? It's mostly contemporary furniture buyers, the next? It's classical art collectors, etc. Get the idea?
Granted, this approach takes ore time in preparation. Also, on occasion, all the buyers from the three groups are represented. Also, the largest auction houses tend to organize sales by category & price range so as to attract the largest number of focused buyers.
The point is that value can be found in buying art "where they ain't".
At the time when I bought this piece from a live auction at Butterfield's shortly after they were acquired by ebay, cotemporary art & artist's had fallen out of favor.
Take a moment & examine this artist's resume (link). Joe Goode was a participant in the first-ever Pop Art exhibit in the US - Common objects. Yet - at the wrong place at the wrong time - one of his early original works was being sold for $600.00 - and nobody was there to bid against me.
If you're like me, some of you might say "I don't like that piece". Again, you can subsequently re-sell it. It's been my experience that trying new forms of art it one of the greatest gifts that comes from collecting.
Mastermining motivates you to explore new art forms.
It gets even better...
An artist's retirement account is most often rooted in their lifetime of work. Consequential, full-time artists with their own studio's maintain zillions of early works, sketches, etc. These are usually sold to a gallery for long term income. In XXXX, Joe Goode's studio had a horrid fire & burned to the ground.

Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Every artwork in the ArtCollecting.info collection provides at least one unique lesson that assists beginning web-collectors in making better decisions about a new art acquisition.
The lessons-learned from this particular piece, include:
Lesson One: Live auctions offer bargains on contemporary art & artists
Have any interest in collecting contemporary artists?
Take a moment to scan below at the artist biography of Joe Goode. Many collectors on a budget are forced to constantly yearn for art by heavily listed artists.
ONE-PERSON EXHIBITIONS

1962
Dilexi Gallery, Los Angeles, California.

1963
Rolf Nelson Gallery, Los Angeles, California.

1966
Nicholas Wilder Gallery, Los Angeles, California.

1967
Rowan Gallery, London, England.

1968
Kornblee Gallery, New York, New York.

1969
Nicholas Wilder Gallery, Los Angeles, California.

1970
Galerie Neuendorf, Hamburg, West Germany
Galerie Neuendorf, Cologne, West Germany
Nicholas Wilder Gallery, Los Angeles, California.

1971
La Jolla Museum of Contemporary Art, La Jolla,California.
Mueller Gallery, Dusseldorf, Germany.
Pomona College Art Gallery, Montgomery Art Center, Claremont, California

1972
Texas Gallery, Houston, Texas.
Felicity Samuel Gallery, London, England.
Fort Worth Art Center, Fort Worth, Texas.
Galerie Neuendorf, Cologne, West Germany.
Margo Leavin Gallery, Los Angeles, California.
Minneapolis Institute of the Arts, Minneapolis, Minnesota.
Nicholas Wilder Gallery, Los Angeles, California.

1973
Cirrus Gallery, Los Angeles, California.
Contract Graphics, Houston, Texas.
Felicity Samuel Gallery, London, England.
Fort Worth Art Center, Fort Worth, Texas.
Galerie Neuendorf, Hamburg, West Germany.
Margo Leavin Gallery, Los Angeles, California.

1974
California State University Northridge.
Cirrus Gallery, Los Angeles, California.
Nicholas Wilder Gallery, Los Angeles, California.
Texas Gallery, Houston, Texas.

1975
Galerie Neuendorf, Hamburg West Germany.
Felicity Samuel Gallery, London, England.
Nicholas Wilder Gallery, Los Angeles, California.
Seder-Creigh Gallery, Hotel Del Coronado, Coronado, California.

1976
James Corcoran Gallery, Los Angeles, California.
Nicholas Wilder Gallery, Los Angeles, California.
Washington University Gallery of Art, St. Louis, Missouri.

1977
Mount Saint Mary's College, Art Gallery, Los Angeles, California.

1978
Nicholas Wilder Gallery, Los Angeles, California.

1979
Nicholas Wilder Gallery, Los Angeles, California.

1980
Charles Cowles Gallery, New York, New York.

1981
Margo Leavin Gallery, Los Angeles, California.

1982
ARCO Center for Visual Art, Atlantic Richfield Company, Los Angeles, California.
Cirrus Gallery, Los Angeles, California.
Gallery One, Fort Worth, Texas.

1983
Cirrus Gallery, Los Angeles, California.

1984
Asher/Faure Gallery, Los Angeles, California.
Charles Cowles Gallery, New York, New York.

1985
Braunstein Gallery, San Francisco, California.

1986
James Corcoran Gallery, Santa Monica, California.
Thomas Babeor Gallery, La Jolla, California.

1988
Pence Gallery, Santa Monica, California.

1989
Compass Rose Gallery, Chicago, Illinois.
James Corcoran Gallery, Santa Monica, California.

1990
James Corcoran Gallery, Santa Monica, California.

1991
Takada Gallery, San Francisco, California. " Joe Goode: From the Blue and Black Series."

1992
James Corcoran Gallery, Santa Monica, California.
Karsten Greve Gallery, Paris, France.
The Los Angeles County Museum of Art, Los Angeles, California.
Jack Tilton Gallery, New York, New York.

1993
Soma Gallery, San Diego, California.
Takada Gallery, San Francisco, California.

1994
Bobbie Greenfield Gallery, Venice, California.
L.A. Louver, Venice, California.
Shasta College, Redding, California, "Tornadoes."

1995
Nantenshi Gallery, Tokyo, Japan
Space Sawada, Tokyo, Japan

1996
L.A. Louver, Venice, California.
OCHI Fine Art, Ketchum, Idaho

1997
Orange County Museum of Art, Newport Beach, California
Peter Blake Gallery, Laguna, California
Cirrus Gallery, Los Angeles, California
Bobbie Greenfield Gallery, Santa Monica, California
Brandstetter and Weiss, Zurich, Switzerland

1998
Takada Gallery, San Francisco, California.
L.A. Louver, Venice, California
Manny Silverman Gallery, Los Angeles, California

1999
Peter Blake Gallery, Laguna, California
________________________________________
SELECTED GROUP EXHIBITIONS

1960
Oklahoma Art Center, Oklahoma City, Oklahoma, "Four Oklahoma Artists."

1961
Huysman Gallery, Los Angeles, California, "War Babies. "

1962
Pasadena Art Museum, Pasadena, California "New Paintings of Common Obj ects. "

1963
Los Angeles County Museum of Art, Los Angeles, California, "Six More."
Oakland Art Museum, Oakland, California, "Pop Art USA."

1964
The Fine Arts Patrons of Newport Harbor, Balboa
Pavilion Gallery, Balboa, California, "Collector's Show."

1965
The Fine Arts Patrons of Newport Harbor, Balboa Pavilion Gallery, Balboa, California,
"Especially for Children." Traveled to Los Angeles County Museum of Art, Los Angeles, California.

1966
Seattle Art Museum, Seattle, Washington, "Ten from Los Angeles."
Whitney Museum of American Art, New York, New York, "Annual Exhibition."

1967
Museum of Art, Carnegie Institute, Pittsburg, Pennsylvania, "Pittsburgh International Exhibition of Contemporary Painting and Sculpture. "
Nicholas Wilder Gallery, Los Angeles, California, "Two Man Drawing Show." (Joe Goode and Ron Davis)
Whitney Museum of American Art, New York, New York, "
1967 Annual Exhibition of Contemporary American Painting."

1968
Circulated under the auspices of American Federation of Arts, New York, New York, "Small Paintings for Museum Collections."
Portland Art Museum, Portland, Oregon, "West Coast Now."
The Fine Arts Patrons of Newport Harbor, Balboa Pavilion Gallery, Balboa, California, "Joe Goode Eldward Ruscha."

1969
Fort Worth Art Center Museum, Fort Worth, Texas, "Contemporary American Drawings."
Galerie Neuendorf, Hamburg, West Germany, "Group Show, Drawings."
Galleria Milano, Milan, Italy, "Graphics: Six West Coast Artists."
Hayward Gallery, London, England, "Pop Art Redefined. "
Ithaca College Art Museum, Ithaca, New York, "California Drawings 1969."
Larry Alridge Museum, Ridgefield, Connecticut, "Charles Cowles Collection."
Pasadena Art Museum, Pasadena, California, "West Coast 1945-1969." Traveled to City Art Museum of St. Louis, Missouri; Art Gallery of
Ontario, Canada; Fort worth Art Center Museum, Fort Worth, Texas.
Reece Palley Gallery, San Francisco, California.
Whitney Museum of American Art, New York, New York, " 1969 Annual Exhibition of Contemporary American Painting."

1970
Artist Studio, Venice, California, "Special Group Exhibition."
Contemporary Arts Foundation, Oklahoma City, Oklahoma, "Three California Friends: Joe Goode, Billy A1 Bengston, and Ed Ruscha."
Joslyn Art Museum, Omaha, Nebraska, "Looking West 1970."
Omaha Museum of Art, Omaha, Nebraska, "West Now."
The Museum of Modern Art, New York, New York, "Nine Portfolios." Traveled to La Jolla Museum of Art, La Jolla, California, University of Santa Barbara, Santa Barbara, California, "Drawings 1970."
Whitechapel Art gallery, London, England, "New Multiple Art."

1971
Denver Museum of Art, Denver, Colorado, "West Coast."
Grunwald Graphic Arts Foundation, University of California Los Angeles, Los Angeles, California, "Made in California."
La Jolla Museum of Art, La Jolla, California, "Continuing Surrealism." Exhibition of Contemporary American Painting."
Whitney Museum of American Art, New York, New York, "Oversize Prints."

1972
Baxter Art Gallery, California Institute of Technology, Pasadena, California, "Surrealism is Alive and Well in the West."
Bernard Jacobson, Ltd., Advanced Graphic Workshop, London, England, "Fourteen Big Prints. "
Kunstverein, Hamburg, West Germany, "1972 U.S.A. West Coast." Catalog published. Traveled to Hamburg, West Germany, Hannover, Kilnischer, Kuntsverein, Cologne, Wurttembergisher, Stuttgart.
Fort Worth Art Center Museum, Fort Worth, Texas, "Contemporary American Art Los Angeles."
Museum Boymans-Van Beuningen, Rotterdam, The Netherlands, "Joe Goode, Kenneth Price, En Edward Ruscha: Grafiek En Boeken."
The Museum of Modern Art, New York, New York, "California Prints."

1973
Brooke Alexander, Inc., New York, New York, "Hand Colored Editions." Traveled to Cirrus Gallery, Los Angeles, California.
Cirrus Gallery, Los Angeles, California, "Cirrus Editions."
Davidson Art Center, Wesleyan University, Wesleyan, Ohio, "Offset Lithography." Mappin Gallery, Sheffield, England, "Made in California."

1974
Chicago Art Institute, Chicago, Illinois.
Los Angeles County Museum of Art, Los Angeles, California, "Print Show."
Margo Leavin Gallery, Los Angeles, California.
Mount Saint Mary's College, Art Gallery, Los Angeles, California, "Robert Rowan Collection. "
National Collection of Fine Arts, Smithsonian Institution, Washington, D.C., "Eight From California."
The Oakland Museum, Oakland, California. "Cirrus Editions."
Whitney Museum of American Art, New York,
New York, "American Pop Art."

1975
Corcoran Gallery, Washington, D.C.
Gemini G.E.L., Los Angeles, California.
Los Angeles Institute of Contemporary Art, Los Angeles, California, "Current Concerns, Part I." Los Angeles Institute of Contemporary Art Journal, No. 4, (February, 1975), PP. 54-65.
Matrix Gallery, Wadsworth Atheneum, Hartford, Connecticut.
Newport Harbor Art Museum, Newport Beach, California, "A Drawing Show."
School of Visual Arts, New York, New York, "4 Los Angeles Artists." Traveled to Acquavella Gallery, New York, New York.

1976
Cedars-Sinai Medical Center Council For The Arts, Cedars-Sinai Medical Center, Los Angeles, California, "Exhibitions '76 '77."
McNay Institute With Everlasting Productions, San Antonio, Texas, "Artist's Rug Show."
The Brooklyn Museum, Brooklyn, New York, "Thirty Years of American Printmaking."
San Francisco Museum of Modern Art, San Francisco, California, "Painting and Sculpture in California The Modern Era." Traveled to National Collection of Fine Arts, Smithsonian Institution, Washington, D.C.

1977
Laguna Gloria Art Museum, Austin, Texas, "Joe Goode, Edward Ruscha Drawings." Traveled throughout Texas.
The Texas Gallery, Houston, Texas, "Drawings by Joe Goode and Ed Ruscha."

1978
Albright-Knox Art Gallery, Buffalo, New York, "American Paintings of the 1 970's."
The Art Gallery, California State University, Long Beach, Long Beach, California, "Black Dolphin Prints."
The Art Gallery, California State University, Long Beach, California, "Selections from The Frederick Weisman Company Collection of California Art." Traveled to The Corcoran Gallery of Art, Washington, D.C.; The Albuquerque Museum of Art, History, and Science, Albuquerque, New Mexico; and The Fine Art Gallery, California State University, Northridge, California.
Crocker Art Museum, Sacramento, California, "Aspects of Abstract."
The Museum of Drawers, Le Musee Entirours, Dad Schubladen Museum, Kunsthaus, Zurich, Switzerland, "1970 to 1977." Traveled to Los Angeles Institute of Contemporary Art, Los Angeles, California.
Steven Wirtz Gallery, San Francisco, California, "Southern Exposure."

1979
Cirrus Editions, Cirrus &allery, Los Angeles, California, "Ten Years of Cirrus."
Crocker Art Museum, Sacramento, California, '`Aspects of Abstract: Recent West Coast Abstract Painting and Sculpture."
Montgomery Art &allery, The Claremont Colleges, Pomona College, Lang Gallery, Scripps College, Claremont, California, "Black and White are Colors: Paintings of the 1950's-1970's."

1980
Los Angeles County Museum of Art, Los Angeles, California, "Los Angeles Prints, 1883-1980." (Part II)

1981
Art Center College of Design, Pasadena, California, "Decade: Los Angeles Painting in the Seventies."
Fine Art Gallery, California State University, Northridge, Northridge, California, "Abstraction in Los Angeles, 1950- 1980." Selections from Ruth and Murray Gribin Collection.
Los Angeles County Museum of Art, Los Angeles, California, "Art in Los Angeles: Seventeen Artists in the Sixties." Traveled to Museum of Art, San Antonio, Texas.
Los Angeles County Museum of Art, Los Angeles, California, "Sixties. "
Newport Harbor Art Museum, Newport Beach, California, "California: The State of Landscape 1972-1981." Traveled to Santa Barbara Museum of Art, Santa Barbara, California.

1982
Cirrus Gallery, Los Angeles, California, "Cirrus Downstairs."
Contemporary Arts Museum, Houston, Texas, "The Americans The Collage."
Madison Art Center, University of San Diego, San Diego, California, "Drawings by Painters."
Traveled to The Oakland Museum, Oakland, California, Montgomery Art Gallery, Pomona College, Claremont, California, "Contemporary Triptychs. "
The Museum of Modern Art of the City of Paris,
Paris, France, "Exchange between Artists--An Experience for Museums." Traveled to Hyde Gallery, Ulster, Ireland: "Exchange Between Artists 1931-1982." Museum Stuki, Lodz, Poland.

1983
The Brooklyn Museum, Brooklyn, New York, "The American Artist as Printmaker."
Cirrus Editions, Ltd., Cirrus Gallery, Los Angeles, California, "Selected Graphic Work."
Neil C. Ovsey Gallery, Los Angeles, California, "Fire and Water."
University Art Gallery, University of Southern California, Los Angeles, California, "LA Seen."
Cirrus Gallery, Los Angeles, California, "Cirrus Celebrates Los Angeles Art, Part I."
Hunsaker/Schlesinger Gallery, Los Angeles, California, "Major Work by California Artists. "
National Gallery of Art, Washington, D.C., "Gemini G.E.L.: Art and Collaboration." Traveled to Seattle Art Museum, Seattle, Washington; Nelson-Atkins Museum of Art, Kansas City, Missouri; Terra Museum of American Art, Evanston, Illinois.
Los Angeles County Museum of Art, Los Angeles, California; National Museum of Art, Osaka, Japan; Yonago City Museum, Machida City Museum of Graphic Arts, Japan.
Palm Springs Desert Museum, Palm Springs, California, "Frederick R. Weisman Foundation. "

1985
Gallery One, Fort Worth, Texas, "Drawings Coast to Coast."
Tel Aviv Museum, Tel Aviv, Israel, "Frederick R. Weisman Foundation Collection of Contemporary Art."

1986
Cirrus Gallery, Los Angeles, California, "A Southern California Collection."
Newport Harbor Art Museum, Newport Beach, California, "California Art Since 1945, Works from the Permanent Collection."

l987
The Baltimore Museum of Art, Baltimore, Maryland, "Selections From the Frederick R. Weisman Collection." Traveled to Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania; Birmingham Museum of Art, Birmingham, Alabama; Norton Gallery and School of Art, West Palm Beach, Florida; Colorado Springs Pine Arts Center, Colorado Springs, Colorado; New Orleans Museum of Art, New Orleans, Louisiana.
Cirrus Gallery, Los Angeles, California.
James Corcoran Gallery, Santa Monica, California, "The Early Show, California Art From the Sixties and Seventies."
Odakyu &rand Gallery, Tokyo, Japan, "Pop Art: USA-UK." Sponsored by The Nainichi Newspapers. Traveled to The Daimaru Museum, Osaka, Japan; the Funabashi Seibu Museum of Art, Funabashi, Japan; Sogo Museum of Art, Yokohama, Japan.
Pence Gallery, Santa Monica, California, "Year I: A Survey."
Newport Harbor Art Museum, Newport Beach, California, "Highlights of California Art Since l945: Collecting Partnership."
University Art Museum, University of California, Berkeley, Berkeley, California, i'Made in USA: An Americanization In Modern Art, The '50's & 60's." Traveled to The Nelson-Atkins Museum of Art, Kansas City, Missouri; Virginia Museum of Fine Art, Richmond,Virginia.
Daniel Weinberg Gallery, Los Angeles, California, "Artschwager, Peers, And Persuasion, l 9631988."
Fine Arts Center, Colorado Springs, Colorado, "Selections From The Frederick R. Weisman Collection."

1988
New Mexico State University, University Hall, Las Cruces, New Mexico, "The Eclectic Eye: Selections from the Frederick R. Weisman Art Foundation." Traveled to Bridge Center for Contemporary Art, E1 Paso, Texas; Cheney Cowles Art Museum, Spokane, Washington; Boise Art Museum, Boise, Idaho; University of Wyoming Art Museum; Virginia Beach Center for the Arts, Virginia Beach, Virginia; Gibbes Museum of Art, Charleston, South Carolina; The Arkansas Arts Center, Little Rock, Arkansas.
Newport Harbor Art Museum, Newport Beach, California, "Selections from the Permanent Collection. "
Norton Simon Museum, Pasadena, California, "Prints from the '60's: American Pop."
Pence Gallery in cooperation with James Corcoran Gallery, Shoshana Wayne, G. Ray Hawkins Gallery, Santa Monica, California. "Lost and Found in California: Four Decades of Assemblage Art."
Sierra Nevada Museum of Art, Stremmel Galleries, Ltd., Reno, Nevada, "West Coast Contemporary. "
Texas Gallery, Houston, Texas, "The Studs: Part II, Moses, Goode, Price, Bengston, Graham, Ruscha, Bachardy."

1989
Oklahoma City Art Museum, Oklahoma City, Oklahoma, "Joe Goode, Jerry McMillan, Edward Ruscha." Traveled to Orlando Museum of Art, Orlando, Florida.
Newport Harbor Art Museum, Newport Beach, California, Sponsored by The Irvine Company, "LA Pop in the Sixties." Traveled to Henry Art Gallery, University of Washington, Seattle, Washington; Palm Springs Desert Museum, Palm Springs, California; Neuberger
Museum, State University of New York, Purchase, New York; Phoenix Art Museum, Phoenix, Arizona.
Frederick S. Wight Art Gallery, University of California, Los Angeles, California, "Selected Works From the Frederick R. Weisman Art Foundation." Traveled to Joslyn Museum of Art, Omaha, Nebraska; Neuberger Museum,
State University of New York, Purchase, New York; Akron Art Museum, Akron, Ohio.
Whitney Museum of American Art, Federal Reserve
Plaza, New York, New York, "Suburban Home Life: Tracing the American Dream."
Whitney Museum of American Art, Stamford, Connecticut.

1990
The Los Angeles Municipal Art Gallery, Barnsdall Art Park, Los Angeles, California, "LA/Brazil
Projects '90." Traveled to Museu de Arte de Sao Paulo, Sao Paulo, Brazil.

1991
James Corcoran Gallery, Santa Monica, California, "L.A. When it Began."

1992
Cirrus Gallery, Los Angeles, California, "Changing Group Exhibition."
Bobbie Greenfield Fine Art Gallery, Venice, California.
The Museum of Contemporary Art, Los Angeles, California, "Hand-Painted Pop American Art in Transition, 1955-62."
Newspace, Los Angeles, California, "Instincts of Intuition."
Louis Stern Galleries, Beverly Hills California, "How Green was My Valley - California Landscape Painting Then and Now."

1993
The Museum of Contemporary Art, Los Angeles, California, "Hand Painted Pop: American
Art in Transition, 1955-62." Traveled to The Museum of Contemporary Art, Chicago,
Illinois, Whitney Museum of American Art, New York, New York.

1994
Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, California,
"Conversations on the Rim: Joe Goode and Tomoharu Murakami."
The Marlborough Gallery, New York, New York, "The Pop Image."
Madison Art Center, Madison, Wisconsin, "Southern California: The Conceptual Landscape."

1995
Stephen Wirtz Gallery, San Francisco, California, "Blue. "
Hunsacker/Schlesinger, Santa Monica, California, "California Collection."
UCLA/Armand Hammer Museum, Los Angeles, California, "New Visions: Los Angeles Art in the '90's."

1996
Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, California, "Selections from the Frederick R. Weisman Collections."
Margo Leavin, Los Angeles, California

1997
"Sunshine & Noir", Louisiana Museum, Denmark; Wolfsburg Kunstmuseum, Wolfsburg, Germany; Armand Hammer Museum, Los Angeles, California
"The Pop 60's: Trans-Atlantic Crossing", Museum of Modern Art, Madrid, Spain

1998
"Landscapes", Meyerson and Nowinski Gallery, Seattle, Washington
"From The Westside", Fine Arts Gallery, California State University, Los Angeles, California

1999
"Radical Past", Norton Simon Museum, Pasadena, California
________________________________________
AWARDS AND GRANTS

American Foundation of Artists
Cassandra Foundation
Copley Foundation
Maestro Grant, California Art Council
National Endowment for the Arts
National Endowment for the Arts
________________________________________
SELECTED COLLECTIONS

American Federation of Arts, New York, New York
The Art Institute of Chicago, Chicago, Illinois
Donald Bren Foundation, Los Angeles, California
Executive Life Insurance Company, Los Angeles, California
Frederick R. Weisman Art Foundation, Los Angeles, California
Fort Worth Art Center, Fort Worth, Texas
Los Angeles County Museum of Art, Los Angeles, California Minneapolis Institute of Arts, Minneapolis, Minnesota
Museum of Contemporary Art, Los Angeles, California
Museum of Modern Art, Jerusalem, Israel
Museum of Modern Art, New York, New York
The National Gallery, London, England
Newport Harbor Art Museum, Newport Beach, California
The Oakland Museum, Oakland, California
Oklahoma Arts Foundation, Oklahoma City, Oklahoma
Oklahoma State Art Collection, Oklahoma City, Oklahoma
Orlando Museum of Art, Orlando, Florida
Pasadena Museum of Art, Pasadena, California
San Diego Museum of Art, San Diego, California
San Francisco Museum of Modern Art, San Francisco, California
The St. Louis Museum of Art, St. Louis, Missouri
Stanford University, Palo Alto, California
Smithsonian Institution, Washington, D.C.
Victoria and Albert Museum, London, England
Whitney Museum of American Art, New York, New York
LISTED IN: (Arranged by date of publication)
• Davenport's Art Reference and Price Guide
• The Artists Bluebook
• The Dakis Joannou Collection
• American Images - The SBC Collection of 20th Century American Art
• Art Today
• Art Since 1940 - Strategies of Being
• Hand Pained Pop - American Art in Transition 1955 - 1962
• Pop Art - A Continuing History
• LA Pop in the 60's
• California Painters - New Work
• Contemporary Artists - 3rd Edition
• Made in USA - An Americanization in Modernism Art 1950's 60's
• Cummings Dictionary of Contemporary Artists
• Who's Who in American Art - 1997-98
• Who's Who in American Art - 1993-94
• Who's Who in American Art - 1986
• Chouinard - An Art Vision Betrayed
• Dictionary of American Sculptors - 18th Century to Present
• The Art of California - Selected Works - Oakland Museum
• The American Artist as Printmaker
• Prints - A Collectors Guide
• The Americans - The Collage
• Art in Los Angeles - Seventeen Artists in the Sixties
• The Oxford Companion to Twentieth Century American Art
• Southern California Artists - 1940 - 1980
• Decade - Los Angeles Painting in the Seventies
• Los Angeles Prints - 1883 - 1980
• American Painting in the 1970's
• New in the Seventies - Archer Huntington Gallery Exhibition
• Paintings & Sculptures in California - The Modern Era
• Joe Goode - Recent Work
• 30 Years of American Print Making - Including 20th National Print Exhibition
• Print Reference Sources - Bibliography 18th-20th Centuries
• American Pop Art
• Catalog of American Paintings in British Public Collections
• Sunshine Muse - Contemporary Art on the West Coast
• Thirty Second Annual Biennial Exhibition - Contemporary American Painting
• West Coast 1945 - 1969
• Pop Art Redefined
• 40 Now California Paintings
• The West Coast Now - Current Work from the Western Seaboard
• East Coast - West Coast Paintings
• The Current Moment in Art - Exhibitions East / West

Pretty amazing resume, huh?
If you want to buy one of his paintings, Manny Silverman gallery in Los Angeles sells them ranging from around to $10,000 for a 12 x 16 smaller piece to $65,000 for a larger more important piece like this one. In fact, a quick search on-line shows a limited edition lithograph from the same group as this original painting selling for a price beyond the budget of any piece in this collection:
Untitled
1974
167c-JG74 ST II
Lithograph with tears ed.25
30 x 41"
Price $2,400
And yet, here's an original oil painting by Joe Goode from the height of his most important period bought from a Butterfield's live auction for $600.00...and no one even bid against me. Such is the nature of contemporary art & artists.

Art & Artist Information
Description of Art
Art description: Original acrylic on canvas, 35 1/2 x 23 3/4.
A painting of a pale blue sky with artist-intended "tears" in the canvas.
Provenance
• Ebay / Butterfields
Artist Information
Jose Bueno "Joe" Goode (1937- , American)
Jose Bueno "Joe" Goode was born in in 1937 at Oklahoma City. From 1959 to 1961 he studied at the Chouinard Art Institute, Los Angeles. In 1962 he had his first one-man exhibition at the Dilexi Gallery, Los Angeles, and was included in the exhibition New Painting of Common Objects at the Pasadena Art Museum.
In 1968 he exhibited at the Kornblee Gallery, New York and had an exhibition with Ed Ruscha at the Newport Art Museum, California. In 1969 he was represented in the touring exhibition West Coast 1945-1969, organized by the Pasadena Art Museum, which was shown at the Hamburger Kunstverein in 1971.
In 1974 he was included in the American Pop Art exhibition at the Whitney Museum of American Art, New York. In 1987 he was represented in the POP ART exhibition, shown in different Japanese cities.
He currently resides in Venice, California.
[edit] Birth of "Pop Art"
In 1962 Ruscha's work was included, along with Roy Lichtenstein, Andy Warhol, Robert Dowd, Phillip Hefferton, Joe Goode, Jim Dine, and Wayne Thiebaud, in the historically important and ground-breaking "New Painting of Common Objects," curated by Walter Hopps at the Pasadena Art Museum. This exhibition is historically considered one of the first "Pop Art" exhibitions in America.

ROBERT DEAN STOCKWELL: Collages
JOE GOODE: Burn Out! (Photographs)
EDMUND TESKE: Duotone Solarizations
August 30 – October 1, 2005
Reception: Saturday, September 10, 4-6pm
Like his friend Dennis Hopper, Robert Dean Stockwell started acting at a young age and both have been involved in the L.A Art Scene since the 50s. Among Stockwell’s close friends are the artists Bruce Conner, Lyn Foulkes, George Herms and the late Wallace Berman, who Stockwell bailed out of jail when Berman was infamously arrested on charges of indecent material in his exhibition at Ferus Gallery in 1957. The exhibition at Craig Krull Gallery will feature Stockwell’s recent collages made with vintage source material. While the images are politically and erotically charged, their dreamlike juxtapositions are more closely related to the provocative constructed realities of the Surrealists. Longtime friend, Neil Young said, “Dean’s art has been part of my music in one way or another since I first met him in Topanga in the 60s.” Young concludes that Stockwell retains “the brilliant edge that has characterized all of his work since the beginning.”
Concurrently, the gallery will present an exhibition of photographs by Joe Goode entitled, “Burn Out!” Another legendary figure in the L.A. Art Scene, Goode had the misfortune of losing his studio in a fire this past spring. In typical phoenix-like fashion, the artist made art of the tragedy through a series of black and white photographs of the charred remains. Each image is a seamless pairing of two photos, a deceptively simple technique which not only abstracts the image, but also creates a subtly jarring disquietude.
Joe Goode is one of a selection of well-known California artists to come from the beach community of Venice. He, along with a handful of other artists, played a pivotal role in establishing Los Angeles as the center of the West Coast art scene of the early 1960s. The "Pollution Series" reflects the artist's interest in the function of perception. Dense veils of color obscure, but never completely hide the depth of the image.
When cantankerous yet beloved Venice artist lost everything in a devastating studio fire, his first thought was to take pictures of the wreckage. Now that's dedication. Of course, even can sometimes use a little help from their friends. Members of the art world's A-list have donated to this raffle to help Goode get back on his feet. Preview their donated creations before they're raffled off four at a time later in the evening at a pricey party. (SND)

Joe Goode at L.A. Louver - Venice, California - Review of Exhibitions - Brief Article
Art in America, Nov, 1998 by Michael Duncan
Although best known for his association with Pop art, L.A. artist Joe Goode has from the outset of his career experimented with the concept of picture-making. In his 1960s "Milk Bottle" works he toyed with the idea of a painting as a kind of portal--one you could set a milk bottle in front of. In a new body of work, Goode has refined and extended the idea of his early '70s sculptures, which use staircases as enigmatic entryways into gallery walls and corners. He sets off finely textured, abstracted paintings of the sun and moon with curved wooden stairs attached to the wall a few feet from each canvas. Using the wall as a kind of ground, the works literalize the idea of the viewer's "entering" a painting, suggesting a journey into alternate, perceptually heightened worlds.
The arrangement of each painting and stairway is precisely calibrated. Several of the works include two small curved sections of stairs: a lower one to the left of the painting and a higher one to the painting's right. One work has a corner section of steps, while a real showstopper features a 12-foot-wide arc of 12 white steps that billow out from the wall beneath a small pinkish painting. Like an altar for some hermetic moon cult, the work creates a nearly religious aura.
from high art to high rise
Residents of the contemporary Azzurra luxury high-rise, situated on the harbor in Marina Del Rey, now live in a Los Angeles’ first 19-story art gallery.

In October the building unveils a makeover, when international developer Colony Capital showcases 150 artworks, effectively transforming the high-rise into the equivalent of a permanent museum collection. The locale is just moments away from Venice Beach, birthplace of the renegade, freewheeling art scene of the 1960s.

Fifty artists from that 60-70s Venice Beach / Los Angeles art scene are featured in a variety of communal spaces — gym, lobby, rooftop lounge — in a comprehensive survey of prints, works on paper and original paintings. Sixteen individual artists have their own floor, including big hitters such as Joe Goode, Jasper Johns, David Hockney, Peter Alexander and Dennis Hopper. The penthouse is devoted to Andy Warhol.

Hopper’s “Double Standard,” his 1961 black and white portrait of Route 66, where Melrose intersects Doheny and Santa Monica Boulevard, dominates the lobby in the form of a giant billboard, an audacious inversion of interior and exterior space. It’s a fitting image, an intersection that embodies that peculiar metaphorical hinterland of LA life where vintage and contemporary coexist.

When well-known Santa Barbara art advisor and curator Julie Cline initiated this extraordinary and unprecedented corporate venture, with Toni Alexander of Intercommunications and Thomas J. Barrack Jr. of Colony Capital, she knew she was tapping into LA’s greatest cultural historical resource: the freewheeling spirit of an earlier Venice Beach counter-culture fueled by sun, surf and artistic bohemianism.

Peter Alexander’s iconic night portraits of aerial views of LA (the “LAX series”) are part of his contribution to the twelfth floor. He professes doubts about the real impact the inclusion of art will contribute to the selling of realty, but is also happy to acknowledge the experiment.

“I wish them enormous luck. It’s a pretty good idea for generating commerce for all parties involved,” he said.

Commerce and art have always danced a strange “don’t ask-don’t tell” tango; and it’s gently ironic to contemplate art being placed in this gleaming building by artists who at one time favored Venice for cheap studio rents and the benediction of permanent no-cost
natural light.

No one, apart from the artist themselves, understands the tenets of the 60s LA counterculture better than Craig Krull, owner of the Craig Krull Gallery. In addition to representing most of these iconic artists, Krull has also collected images by photographers such as Charles Brittin, Ed Ruscha and Hopper, and anecdotes of that period, into a catalogue titled “Photographing the LA Art Scene 1955-1975”, considered the definitive record of that time.

“It was small but lively community,” Krull recounts. “Of course, at the time, they didn’t know how significant this period in LA art history was going to be, they were simply a very talented group of artists in the early stages of their careers."

At the time there was more than just geographical distance between the east and west coasts. In the 50s, New York remained the authentic powerhouse of American art. The beginnings of an alternative had started in San Francisco with the advent of the Bay Area Figurative Art movement, but their sun-drenched paintings were seen as more frivolous than the ascetic abstract expressionist product emanating from the other coast.

“For the longest time San Francisco was deemed to be culturally superior over Los Angeles” Krull said. ”It had a European quality. For many years the great exhibitions went north. Los Angeles was thought of as a small hick town.”

This all changed when the LA and Manhattan scenes found common ground.

In July 1962, Warhol drove cross country after being badgered relentlessly by his friend Hopper, who promised to treat him like a star upon his arrival. It was in LA that Warhol actually had his first solo show in the States, at the seminal Ferus Gallery on La Cienega Blvd.

Legend has it that Hopper bought the first of Warhol’s “Soup Can” series for under $200. Ferus dealer Irving Blum subsequently decided he’d made a mistake in letting part of the suite go; and bought it back from Hopper. Five years ago, Blum sold the suite to MOMA New York for a cool $20 million.

The migration west continued when in the mid-60s both Robert Rauschenberg and Frank Stella traveled to LA to produce significant early lithographic works at Gemini G.E.L’s printmaking studio.

Strange fruits bloomed from this bi-coastal cross-fertilization of Pop, Abstract Expressionism, performance, Conceptualism and identity politics. Artists on both coasts emerged as proponents of a more experimental, sexier art movement more in tune with the swinging ethos of the times.

Since then, the majority of these artists — Billy Al Bengston, Ed Ruscha, Ed Moses — have continued to produce work of significance decades after they first emerged.Assemblages by George Herms and landscape-derived abstractions by Joe Goode continue to be collected voraciously. Peter Alexander’s stunning mural, an evocation of flickering light on the surface of the Pacific, was recently installed permanently at Frank Gehry’s Walt Disney Concert Hall.

These artists may all have reached the pantheons of the artworld, but seeing historical portraits of them before they achieved escape velocity, in Krull’s book and on the walls of the Azzurra, is an engaging experience. The wistful specter of an earlier time sits behind the eyes of Hopper’s portrait of a self-absorbed baby-faced Warhol: in Charles Brittin’s document of Ed Keinholz and Wallace Berman, hairy monster conceptualists chilling out at the Ferus Gallery: evocations of a simpler, more innocent time, when experimentation and play superseded commercial considerations.

It’s curious to consider that, in contemporary LA, the prospect of a self-determining experimental community, like Venice in the 1960s, becoming discovered after creating its own critical mass seems quaintly anachronistic now. The old era seems almost pre-lapsarian now: before marketing, self-promotion and “look at me” stunts became the normal order of the day.

Thousands of young artists will continue to flood into LA, settling in and enriching the dynamic creative community of Venice, but that original counter-culture frisson may just be a memory, glimpsed in photographs and sustained in oral histories. And a walk through time and place sits near the water’s edge at the Azzurra.

Oct 2005 by simon herbert

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All text copyrighted 2007 by ArtCollecting.info except as credited

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For Questions or Comments: Contact info@artcollecting.info

American School
Expressionist Couple - “Departure”
Lesson: research...art that you like is the key

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Description of Art
Description:
AMERICAN SCHOOL (20th century). THE DEPARTURE, monogrammed and dated '62 lower right. Oil on canvas - 36 in. x 16 in.

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
Expressionist Couple - “Departure”
Lesson: research...art that you like is the key

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
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Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Description of Art
Description:
AMERICAN SCHOOL (20th century). THE DEPARTURE, monogrammed and dated '62 lower right. Oil on canvas - 36 in. x 16 in.

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Realism: Titled as “When the world was full of wonder...”
Lesson: Name changes...+ women artists

Colored lithograph
12 x 11"
signed in the plate (upper left),
signed lower right in pencil: Herbert Carmichael and titled in pencil: When the World was Full of Wonder.
From the artists proof edition of 105. Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

HERBERT CARMICHAEL (SCHMALZ)
(American, 1882-1934)
Lesson One:
Artist's Proofs - artist "promotion" has been around for a very long time.
Like Jack Deloney...skilled artist & good promoter against the edgy grain - these two artists are very much alike in that regard.
Not important in art history
Lesson Two: Artists change of name
WWII & jewish
Female artists
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar
Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Lesson One: The impact of professional art cleaning & restoration
This piece is a study in research - and what the Internet can do in helping you find out more about art - and an artist.
This was one of the earlier pieces I acquired - but I could find little on the artist save a brief excerpt in Davenport's and the Victorian
One night while browsing around on a new search engine I hit upon a most interesting tie in. Come to find out this artist had changed his name during the second world war to avoid persecution as a Jew. Low and behold I found his "real" name - and discovered the type of listing befitting an artist of this skill.

Artist's Proof
Originally an Artist’s Proof was a step in the printing process using the old hand-pulled print. A very few Artist’s Proofs prints were made and sent to the artist for inspection and correction. This test print inspection process could take several viewings. When the printed image was acceptable, the print edition was run.
The Artist’s Proof is no longer a step towards an end product. Today the offset lithography standard is that the entire edition is printed at once, however, the artist may “choose” to make an Artist’s Proof edition. The Artist’s Proof edition is a very limited number of prints over and above the regular edition and of the same quality. Since Artist’s Proofs are fewer in number, they sell for a premium.
Jack DeLoney inspects each and every print and discards the imperfect prints, then he signs and numbers the Artist’s Proofs, and then signs and numbers the new release.

Art & Artist Information

Description of Art
Colored lithograph, 12 x 11, signed in the plate (upper left), signed lower right in pencil: Herbert Carmichael and titled in pencil: When the World was Full of Wonder. From the artists proof edition of 105. On the reverse of this artwork is a note from a Mr. and Mrs. William Anderson stating the boy in the portrait appears to be John The Baptist. Also, they discuss the oriental background which is assumed to be the sea of Galilee.
This highly engaging work of art seems to exhibit the strength ascertained from youth through love. Notice how the artist cut out most of the woman's face - yet her role in the piece is made clear.
Provenance
• Ebay

Artist Information

Herbert Carmichael ( Also Known As: Herbert Gustave Schmalz )
(1856 -1935, British)
Herbert Schmalz was born in England to a German father - he is best known under that name, but changed his name to Carmichael in 1918.
Schmalz's art training was fairly conventional, including studying at South Kensington and the Royal Academy Schools, and then abroad in Antwerp. He knew Leighton, living near him in Kensington, and marrying the sister of Dorothy Dene, who was one of Leighton's favorite models.
He developed a style influenced by the Pre-Raphaelites, but more soft, showing single figures or groups, over-pious religious scenes and sentimental lovers, and some topographical pictures. He also produced Orientalist pictures featuring girls with pots, camels etc somewhat akin to work by Goodall. All of this was well calculated to impress the Victorian public, and much of his work was widely reproduced in magazines and as prints. Following a visit to Jerusalem in 1890, his travel sketches were published in the Art Journal as 'A painter's pilgramage' in 1893.
He exhibited at the EA from 1879, and in 1900 he had a solo exhibition of forty pictures entitled 'A Dream of Fair Women' at the Fine Art Society in Bond Street.
http://www.fathom.com/feature/122471/index.html

Forgotten artists

In conclusion, there is one case study of an artist who sank without trace, despite the fact that during his lifetime he successfully used the strategies outlined above. Herbert Schmalz limped along behind the major artists even in the nineteenth century. At the beginning of his career, he couldn't afford to build a whole house with a studio for himself, so he moved into a small studio in Holland Park Road. His small studio--one of about eight in the block occupied by artists--was almost next to Leighton, by then president of the Royal Academy, whom he immediately befriended. He showed at the Royal Academy and at the Grosvenor Gallery. He employed various gimmicks--again, a late twentieth-century trait. He acquired a fourteen-stone boarhound, and whenever he was at the Grosvenor Gallery during private views, he took the dog with him and tied it up outside, so that he public knew that Herbert Schmalz was there and available for private conversation and, perhaps, the purchase of a work of art. He painted Leighton's favourite models, the Dene sisters, and in fact he married one of them--Edith Dene--and possibly slept with Dorothy Dene, Leighton's best known model.

Schmaltz's Holland Park studio as it exists today, worth far in excess of the £1,000 it cost to build.

His paintings frequently involved the tying-up of women, a lot of execution and death by various means, and one might expect that at the time his works might have raised questions of taste, but he regularly invited journalists into his studios to discuss them. A description in the Strand of how Schmaltz had used his fifteen-year old model for Christians and Lions ran as follows:
No-one can fail [in looking at the painting] to notice how the bonds which bind the girl to the post seem to cut into the soft flesh of her arms. This was realised absolutely by the model, for Mr Schmalz had a post erected in his studio and bound the girl to it exactly as represented. Within the limited area of the panel it will be noticed how the whole spirit of the large picture has been retained, even the mark in the foreground of the chariot-wheel, which is thrown to one side the thigh and the shin-bone of some long dead-and-gone martyr who had perished for the sake of her faith.
With the success of paintings like Christians and Lions, Schmaltz made enough money to build his own house. On Addison Road, still in Holland Park, he acquired a large house and commissioned a whole studio to himself, which cost over £1,000. His house and studio survive (now valued at several million pounds). His reputation did not, although interestingly Christians and Lions has recently been sold at Christie's for over £50,000.

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ArtBurglar.com
How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2009 by ArtBurglar.com except as credited

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Our mission is to help beginning collectors
affordably acquire quality artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Max Karp
Abstract: "Enamel"
Lesson: Info on Reverse of Painting

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:
• heavily listed artist...ebay link
• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Vintage 1960's abstract enamel painting. The painting is unsigned. Note that someone wrote the name of Max Karp on back of frame. I tried to find an abstact by Max Karp. But no luck, so I suspect it is not by him. If anyone knows different, please let me know. In any case a nice abstract enamel, in good condition, apart for cloth border on frame, which has a few age spots. Measures 6" x 4" without frame, and 9 1/2' x 7 1/2" with.

b.1916 American Artist Max Karp is a self taught artist and is one of the few contemporary painters to use enamel for their artistic work. Because of his enormous talent and the fact that he has perfected unique processes, which allow the creation of museum-quality, kiln-fired collectibles his place in art history is assured. Karp began painting by recording in his oils various species of birds and insects for his father who was an ornithologist/entomologist. In the mid-1960's, Karp became interested in the enamel process. Beginning on a small scale, he taught himself the enamel technique and later experimented with the large paintings in enamel for which he is best known. During the last few decades, Karp's enamel paintings have received critical recognition. In 1970 Hamilton Mint commissioned Karp to produce four paintings of the seasons of the year, which were then issued as a limited edition of plates on precious metal. In 1980 Karp's 20 x 24-inch enamel portrait of Beverly Sills was presented to the American Queen of Opera following her final performance on full-length opera. In addition, numerous private art collectors, including Jacqueline Kennedy Onassis

Don Herron is an artist and photographer who lives in Newburgh. He writes a weekly column for the Times Herald-Record's Community section, and can be reached at donherron@bigfoot.com.

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ArtCollecting.info
How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2007 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource
to help beginning collectors
affordably acquire quality artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Shirley Gaynor
Abstract: Johnstown Cathedral"
Lesson: Local Artist Exhibition Labels

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:
• heavily listed artist...ebay link
• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Abstract oil on canvas-Johnstown Catherdral-by Shirley Gaynor. Signed and dated S. Gaynor '65, lower left. Signed and dated again on back. Also carries an exhibition label on back. Lots of info on the internet about the artist. All in good condition, measures 14" x 16 3/4" without frame, and 19 1/4" x 16 1/2" with.
GAYNOR - Shirley T.

GAYNOR - Shirley T., Upper Yoder Township, died April 7, 2006, at Memorial Medical Center, Main Campus. Born in New York City, she moved to Johnstown with her loving husband, Theodore, who survives along with a sister, Audrey, wife of Dr. Tobias Yospin, Roslyn, N.Y.; and a brother, Jerry M. Kreinik, married to the former Estelle Stack, Parkersburg, W.Va. While a young adult living in New York, Shirley took courses in life and cast drawing and began a lifelong career as an artist. She is known for her floral and still life works, working in many different mediums including oils and charcoal among others. She was one of few who won three Salmagundi Awards for her works. She has had several one person exhibits and won many awards, and her works have been accepted in several juried exhibitions at the Southern Allegheny Museum of Art and also in New York City, and several of her works are on permanent display in museums, and also in private collections. Shirley was instrumental in the founding of the Community Arts Center, which on April 5, named her a Member Emeritus of the Board of Directors for 38 years of service, and which will continue as one of her legacies. Graveside services will be held in New York and a remembrance service will be held in Johnstown at a time and place to be announced later. Arrangements by Picking-Treece-Bennett Mortuary, West Hills. Contributions may be made in Shirley's honor to the Community Arts Center.

Annual Shirley Gaynor juried exhibit on display
By TOM LAVIS

TLAVIS@TRIBDEM.COM

The late Shirley Gaynor’s love of art continues to live through other artists.

Gaynor, who died in 2006, was a founding member of the Community Arts Center of Cambria County, 1217 Menoher Blvd., Westmont.

To honor her memory, the third annual Shirley Gaynor Juried Art Exhibit of works by area artists will be on display through Friday in the arts center’s Goldhaber-Fend Fine Arts Center.

Rose Mary Hagadus, arts center executive director, said Gaynor was instrumental in making the arts center a success.

“The exhibit is an important part of the exhibition schedule in the Greater Johnstown area because it features the work of regional artists from several counties,” Hagadus said. “She, along with several others, not only had the concept of the arts center, but Shirley Gaynor was actively involved right up until the time of her death.”

Hagadus said that for the first 10 or 12 years of the arts center’s existence, Gaynor was the “guiding force.”

After sending out more than 200 entry forms to area arts groups, Hagadus received 60 entries to be considered.

The job of selecting the entries went to juror Doug Evans of the Westmoreland Museum of Art in Greensburg.

“We were fortunate to have Doug Evans as the juror because of his extensive experience in working with all art styles and mediums,” Hagadus said.

In his juror’s statement, Evans said he was pleased at the quality of work that was submitted.

Many of the pieces had been hung, giving the juror a clear vision of each piece.

By seeing all the pieces in the gallery, it gave him an opportunity how to place the work for the exhibition, and suggest a layout according to some of the connections he saw.

“This helped my overall award choices,” Evans said.

He narrowed the field to 50 works in a variety of mediums from 28 artists.

The Shirley Gaynor Award for Artistic Achievement was awarded to “Hound Study” by Jolenne Joyner of Indiana. She received a $325 cash prize.

Evans appreciated Joyner’s handling of the pastel media.

“Jolene’s composition nicely moves across the paper; the subtle palette and highlights shine,” Evans wrote.

Highest Achievement Awards went to “Front Street, Philly,” an oil painting by William Hoffman Jr. of Somerset; “The Mill House at Vaucluse Spring,” an oil painting by Eric Feather of Bedford; and “The Money Trap,” an acrylic painting by Richard Newill of East Conemaugh Borough.

Those awards were worth $225 each.

Evans was impressed with Hoffman’s ability to convey a historical feel for the subject by combining colors with mixed brush strokes to create a pleasant animation.

“Eric’s (Feather) swirling brushstrokes offer a lyrical style all his own,” Evans said. “Rich color covers the entire surface of the canvas yet remains fresh with a nice sense of light.”

Evans was impressed with Newill’s ability to accomplish a lot in a small scale, calling the piece a “very simple but elegant composition.”

Achievement Awards of $100 went to James Richey of Johnstown and Mary Wiley-Lewis of Somerset.

Richey’s photograph, titled “Tractor,” is described by Evans as a “bold, up-front image, almost anatomical.”

Wiley-Lewis’ pastel painting titled “The Red Door” was one of two works she submitted for the show.

Evans called it “a beautifully managed composition and palette.”

Don Herron is an artist and photographer who lives in Newburgh. He writes a weekly column for the Times Herald-Record's Community section, and can be reached at donherron@bigfoot.com.

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ArtCollecting.info
How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2007 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource
to help beginning collectors
affordably acquire quality artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Continental School
“Abstract Diptych Pair: Okun”
Lesson: Power of Google / Your own research

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Description of Art
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
Pair of very nice oil on canvas abstract paintings. Signed A or O Okun, Okurn...??? and dated 1964. Please note that only the first is signed, both came out of the same estate, and are by the same artist. They are beautiful, with rich colors. In good condition, apart for some minor age crackling on left side of the first one. Some water stains on back of both. First measures 30" x 20", excluding slat frame, other is 27" x 18".
Okun, Alexander (Sasha)
One of the leading Israeli painters and teacher at the "Bezalel Academy of Arts & Design", whose artistry and unique style have been highly acclaimed by art critics in Israel and elsewhere.

Category: Artists
http://www.israelartguide.co.il/okun

OKUN SASHA
Was born in Leningrad (Petersburg) in 1949. In 1972 graduated from Muchina Academy of Arts and Design. Immigrated to Israel in 1979. Education and Teaching: 1972 - Master’s Degree, Mukhina Art Academy, St. Petersburg. 1986 - Senior lecturer at Bezalel Academy of Art and Design, Jerusalem. 1988-2002 - Lecturer at «Emunah» College, Jerusalem. 1988 - Adjunct

OKUN SASHA
Was born in Leningrad (Petersburg) in 1949. In 1972 graduated from Muchina Academy of Arts and Design. Immigrated to Israel in 1979. Education and Teaching: 1972 - Master’s Degree, Mukhina Art Academy, St. Petersburg. 1986 - Senior lecturer at Bezalel Academy of Art and Design, Jerusalem. 1988-2002 - Lecturer at «Emunah» College, Jerusalem. 1988 - Adjunct Professor, Bellarmine College, Kentucky, USA. Fellowships and Awards: 1983 - Ofer Feniger Award for a Young Artist. 1985 - Gestetner Fellowship. 1987 - Cite International des Arts, Residence Fellowship, Israel Ministry of Foreign Affairs (Cultural Exchange). 1989 - «Kentucky Colonel» honorary title, Kentucky, U.S.A. 1989 - Jefferson County Honorary Citizen, Kentucky, U.S.A. Collections: Mukhina Art Academy, Russian Museum (St. Petersburg), Yad Vashem (Jerusalem), The Negev Museum (Be’er Sheva), Janco-dada Museum (Ein Hod), Mishkan Le’Omanut Art Museum (Ein Harod), Bar-David Museum (Kibbutz Bar’am). He has presented in many one-shows, such as: Debel Gallery (Jerusalem), Cite Internationale des Arts (Paris), Horace Richter Gallery (Tel-Aviv-Jaffa), The Jerusalem Theatre, Israel Museum (Jerusalem). He has also participated in various group exhibitions in Europe, America and Israel. His works are found in private collections in Israel, Russia, Poland, France, Italy, USA, Australia, Germany, Austria, Canada and Mexico.

Museums Holding this Artist

Links to Additional Information on this Artist:
• AskART.com
• Peter Blake Gallery

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Jean-Baptiste Greuze
AFTER
Realism: Titled as “Girl with Broken Pitcher”
Lesson: Period copies...collectible

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Lesson One: The impact of professional art cleaning & restoration
About descriptions: Please read the listing text carefully. Serious discrepancies between photos and the actual work will be noted here.
Authorship is guaranteed in relation to the term used. We use the standard terms:
Signed or painted (sculpted etc) followed by an artist s name, to signify that the work is by the said artist.
The use of the following terms means that the painting is NOT guaranteed to be by the artist mentioned:
attributed to; signifies that the painting is probably a work of the artist
circle of; signifies a work of the period of the artist that shows his influence.
follower of; signifies that the work is in the artist s style, but not necessarily by a pupil
manner of; signifies that the work is in the artist s style, but of a later date or
after; signifies that the painting is a copy after the said artist, from his time or later.

Art & Artist Information

Description of Art
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
A still life painting of chrysanthemums in a vase.
AFTER JEAN-BAPTISTE GREUZE
(FRENCH, 1725-1805)
PORTRAIT OF A BOY
oil on canvas
18 1/2 x 15 inches

Provenance
• Ebay

Artist Information

Jean-Baptiste Greuze (1895-1975, American)
Condition: In fair condition. Canvas is loose on the stretcher, light abrasions to surface has left the varnish in some areas foggy, most notably in the upper center area of painting. Scattered small areas of paint loss, lower right, upper right. Under UV: uneven residual varnish

Jean-Baptiste Pigalle studied under J.B. Lemoyne in France before traveling to Rome from 1736 to 1740. While a student, he suffered from illness and poverty but his life took a turn for the better after his acceptance into the Academie Royale in 1744. His talent and versatility made him one of the leading French sculptors. He was praised for his small genre pieces and his tomb sculpture. Pigalle’s most famous sculptures are his nude figure of Voltaire and the tomb of Maurice of Saxony in Strasbourg.

Jean-Baptiste Greuze, who played Turner to Diderot's Ruskin, was the most influential French painter in the crucial decades 1760-1780; yet the show at the Wadsworth Atheneum in Hartford is the world's first special exhibit devoted to him. By the middle of the nineteenth century he had become the very type of the prurient preacher. The Goncourt brothers called him 'the man fated to establish in France the lamentable school of literary painting and of moralizing art.' He created a kind of eighteenth-century soap opera of the Salons: Tune in next year to find out what happened to the man cursed by his father or the family that prayed together. The very popularity of Greuze swamped his later career in an after-wash of cheap imitators; to compete with them, he ended his life cranking out 'têtes d'expression' of pretty girls in precocious orgasms of piety. They all seem mislabeled--'Psyche' instead of 'Simper,' 'Innocence' instead of 'Complicity,' undying 'Hope' instead of 'Wet Dream.'

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ArtCollecting.info
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Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

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Impressionism: “Dyck Still Life Floral”

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

CONTINENTAL SCHOOL
(Probably French, CA 1920)
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Description of Art
Beautiful Dutch oil on canvas-Still Life-signed G. Dyck. Circa 1930's. In good condition, apart for small repair at center right edge-not evident. Measures 28" x 22" without frame, and 32" x 26" with.

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Russian School
“
Pair Abstracts German Folk Art Oil Painting-Child/Bauernmalerei
Winter Landscape”
Lesson: Seasonal views

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

In my auction I sell: signed and not signed paintings, drawings, sketches in diference XX century periods from my private collection. BecauseI am not art expert - I sell all as I bought - all items like nice art samples from divers periods of XX century. Please look over and compare to his other paintings before you bid. I think this will be a beautiful piece on any house wall or serious collections. Be your own expert. I trust your opinion because you are the builder of your own collection.

ARTIST: unknown, Russian - please check images and to read item title.
MATERIAL, MEASUREMENT: gouache, paper , 32 x 27 cm.
CONDITION: Old and vintage paintings and drawings: possible small cracks, splits on the painting and painting corners, old and vintage art can be sold with smudgy surface or can be splodgy. It can be more and less visible. Main part of paintings is in normal or perfect condition. All as is in images. Please to check in the photos. If you have any questions about items condition please contact me - I will respond ASAP.
Main source of collection: paintings were bought from artists and art collectors, dealers, resellers also was found in art markets in Lithuania, Belorussia and Latvia.
Place your bid now to make sure you don't miss out on this great item.
Provenance:
Since most of our items are from private collectors - we do not provide provenance or COA and items sold AS IS (unless otherwise specified in description). We are not an experts of any kind so please ask any question before auction end and not after and we will respond ASAP.

This is an as-is auction and You agree to these terms by bidding. We are not experts and only offer our opinions in our descriptions. Please bid accordingly. Serious bidders preferred.
PAYMENT:
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Payment method should be advised within 48 hours after end of auction. Payment is due 7 days after end of auction.
WORLDWIDE SHIPPING: Shipping to the US and Europe is free. All our items are packed professionally and we use first class air mail LT (with tracking number). The normal delivery time is 7-10 business days.
WE DON'T END AUCTION EARLY - SO PLEASE DON'T ASK.

Find more great paintings, drawings & skeatches of this artist in my private art gallery in my personal internet site ( to find more information click "about me"). Or visit: Vabolis Antique Art Gallery

________________________________________

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

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to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
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Mildred Crooks
Modernist Still Life
Lesson: Master Mining...

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:
• heavily listed artist...ebay link
• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American
This wonderful oil on canvas is signed "Mildred Crooks" in the lower right side and on the back. The style corresponds to the important American artist Mildred Crooks (1899-1972). The size of the canvas is 12" by 18". The painting is unframed. The condition is good and presenting two small rips (easy to conserve). Please, do not hesitate to contact us for any question. Handling and Shipping into USA will be $15. International locations will vary. We accept Paypal.

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

An abstract expressionist painter of the New York School, she studied in Paris, France and exhibited at the Pennsylvania Academy of Fine Arts in 1946.

From the archives of the Ruth White Gallery, obtained through Linda Shankweiler, Design Director of The Oregonian in Portland, Oregon. The archives includes the following biography of the American Artist Mildred Crooks (1899-1972) when she was doing a Solo Exhibition on March 5 - March 30, 1957:

"Mildred Crooks was born in Chicago, Illinois. She has lived in Paris for many years, and is now residing and painting in New York. She studied at the Chicago Art Institute and in Paris, but is mostly self-taught. Three one-man shows were held in Paris and New York.

Mildred Crooks has exhibited in many group shows in New York and Paris, including the Brooklyn Museum, Salon des Tuileries, Salon d'Automne, by invitation to the Arts Club Washington D.C. where she showed 40 water color drawings, and Henry Gallery, University of Washington; also invited by Pennsylvania Academy of Fine Arts."

She illustrated for the following magazines: Harpers Bazaar, Town and Country, Mademoiselle, Seventeen, To-Days Woman, Stage and others. Paintings and drawings in private collections.

Miss Crooks had solo shows at the Ruth White Gallery in 1957 and 1960 and was included in a group exhibition at the Pioneer Museum and Haggin Galleries, Stockton, California in 1959. Her work is in the Tel-Aviv Museum.

This beautiful painting is signed in the lower right side. The size of the canvas is 16" by 12". The wonderful wooden frame is 1.50" wide. The condition of the painting is excellent. The frame is presenting few small chips. Please, do not hesitate to contact us for any question. Handling and Shipping into USA will be $25. International locations will vary. We accept Paypal.

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ArtCollecting.info
How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2007 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource
to help beginning collectors
affordably acquire quality artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Innocent Garci'a Asarta
Realism: “Spanish Girl”
Lesson: Alternative mediums

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Description of Art

Oil on artist's board, 12 x 18, signed (lower right): J. Staines Babb.
Born in Gastiáin (Navarre) on December 28, 1862. Estudió en Vitoria. He studied at Vitoria. A los veinte años de edad se trasladó a Roma para ampliar estudios, viéndose obligado, para poder vivir, a pintar y vender copias de los más prestigiosos maestros de la pintura universal, entre ellos Miguel Angel y Caravaggio. In the twenty years of age he moved to Rome to extend studies and being obliged to live, paint and sell copies of the most prestigious masters of painting universal, among them Michelangelo and Caravaggio. La Diputación Foral de Navarra, en 1883, le concedió una pensión. Diputación Foral de Navarre, in 1883, granted him a pension. En 1890 se trasladó a París para aceptar lecciones de los famosos pintores y maestros Jules Lefevre, Boujereau y Robert Fleury. In 1890 he moved to Paris to take lessons from famous painters and teachers Jules Lefevre, Boujereau and Robert Fleury. Cinco años más tarde, en 1895, celebró una interesante exposición en las Galerías Sulberberg de la capital francesa, obteniendo un buen éxito. Five years later, in 1895, held an exhibition at the Galeries Sulberberg of the French capital, obtaining a good success. En 1896 se trasladó a Madrid para trabajar en el Museo del Prado durante un año. In 1896 he moved to Madrid to work in the Prado Museum for one year. Concurrió a las Exposiciones Nacionales de Bellas Artes celebradas en Madrid en los años 1897, 1899, 1904 y 1906. Attended the National Fine Arts Exhibition held in Madrid in the years 1897, 1899, 1904 and 1906. En 1917 presenta algunas de sus obras en la Exposición de Artistas Vascos, celebrada en Bilbao. In 1917 some of his works in the Basque artist exhibition, held in Bilbao. Las obras de este artista son muy apreciadas por los coleccionistas, sobre todo, sus retratos. The works of this artist are highly valued by collectors, especially his portraits. En la Exposición Nacional de Bellas Artes de 1897, obtuvo Mención honorífica. At the National Exhibition of Fine Arts in 1897, received honorable mention. Retratos más destacados en su labor pictórica: Evaristo Churruca, Máximo Aguirre, Pablo García Ogara, Sabino Arana, Estanislao de Aranzadi, Luis Usobiaga, José Antonio Arechavala, Graciano Díaz, Arambarri, Gandarias, Meñana y Mi prima Petra . Portraits highlights his work in painting: Evaristo Churruca, Máximo Aguirre, Pablo García Ogar, Sabino Arana, Estanislao of Aranzadi, USOBIAGA Luis, José Antonio Arechavala, Graciano Diaz Arambarri, Gandarias, Menan and My cousin Petra. Cuadros diversos: Costas de Ondárroa, Convalecencia, Sardineras vascongadas, Idilio en la playa, El hogar pescador, Noticias de Cuba, Ulises atraído por las sirenas, Apunte en la plaza de Oriente, Cercanías de mi pueblo, Paisaje de Estella, La hora de la siesta en la sierra de Urbasa, La consulta con el vigía, Mar Cantábrico, Un rincón en la sierra de Urbasa, Los llanos de Estella y Una aldeana de las Amescoas . Miscellaneous Tables: Costs of Ondarroa, Convalescence, Sardinera Basque, Idilio on the beach, the fisherman home, Cuba News, Ulises attracted by the sirens, at the Point Plaza de Oriente, near my village, landscape Estella Time siesta in the mountains of Urbasa, Consultation with the lookout, Bay of Biscay, A corner in the mountains of Urbasa, The Plains of Estella and the Amescoas A villager. Sus obras figuran en algunos museos. His works are in museums. En la obra de Inocencio García Asarta se pueden distinguir dos claros periodos marcados también por las ciudades en las que trabajo. In the work of Inocencio García Asarta are two clear periods marked by the cities that work. Por un lado, la fase de aprendizaje vinculada a Roma y marcada por una actitud ligada al academicismo tradicional, acercándose a la pintura de género costumbrista e histórica. On the one hand, the learning phase associated with Rome and marked by a traditional academic-linked closer to the painting of genre and historical customs. Más tarde, ya en París se aproximó a un lenguaje pictórico más innovador, sin perder nunca de vista su visión tradicional del lienzo. En el segundo periodo, a partir de 1900 y hasta poco antes de su muerte, el pintor, ya asentado en Bilbao, se inclina por los retratos. Later, in Paris and was close to a pictorial language most innovative, never losing sight of its traditional view of the canvas. In the second period, from 1900 until shortly before his death, the painter, and settled in Bilbao , is inclined to the portraits.

Inocencio García Asarta Inocencio García Asarta

Nace el 28 de diciembre en Gastiain (Navarra). Born on December 28 in Gastiain (Navarre).
1879 cursa estudios en la capital alavesa. 1879 study at the capital of Alava.
1882 en Roma se gana la vida como copista de Miguel Ángel y Caravaggio. 1882 in Rome makes his living as a copyist of Michelangelo and Caravaggio.
1883 La Colonia Artística Española de Roma, encabezada por el pintor Pradilla, solicita de la Diputación Foral de Navarra una pensión para García Asarta. Art Cologne 1883 The Spanish Rome, led by the painter Pradilla asks the Diputación Foral de Navarra pension Asarta Garcia.
1890 estudia con Jules Lefevre, Boujereau y Robert Fleury en la Academia Jullien de la capital francesa. 1890 he studied with Jules Lefevre, Robert Fleury Boujereau and Jullien at the Academy of the French capital. París y expone en las Galerías Sylberberg. Paris and sets in Galeries Sylberberg.
1896 en Madrid trabaja durante un año en el Museo del Prado, donde descubre a Velázquez. 1896 in Madrid for a year working at the Museo del Prado, where he discovers Velázquez.
1897 en Madrid recibe una mención honorífica en la Exposición Nacional de Bellas Artes con los cuadros " Un rincón de la Sierra de Urbasa"," La hora de la siesta en la Sierra de Urbasa", "Retrato", "Retrato de mi prima Petra", "Una aldeana de las Amezcoas", "Paisaje de Estella", "Los llanos de Estella", "Noticias de Cuba" y "Apunte de la plaza de Oriente". Madrid in 1897 received an honorable mention in the National Fine Arts Exhibition with pictures "A corner of the Sierra Urbasa," "Time for a nap in the Sierra Urbasa", "Portrait" "Portrait of my cousin Petra "A villager from Amezcoas," "Landscape of Estella," "The Plains of Estella, News of Cuba" and "Point of the Square East."
1899 en la Exposición Nacional de Bellas Artes presenta " La consulta con el vigía","Cercanías de mi pueblo" y "Retrato de DN R". 1899 at the National Exhibition of Fine Arts presents "The consultation with the Watchtower," "Cercanías my people" and "A Portrait of DN."
1900 traslada su residencia a Bilbao abriendo estudio en la Calle María Muñoz, 6. 1900 moving to a new study in the opening Bilbao Calle María Muñoz, 6.
1904 en la Exposición Nacional de Bellas Artes presenta las obras " Mar Cantábrico (costas de Lequeitio)", "Ulises atraído por las sirenas", "Idilio en la playa", "El hogar del pescador" y "Convalecencia". 1904 at the National Exhibition of Fine Arts presents the works "Bay of Biscay (coastal Lequeitio)", "Ulysses attracted by the sirens," "Idilio on the beach," "The home of the fisherman" and "Convalescence."
En 1905 es el heredero directo de Barroeta convirtiéndose en el retratista oficial de Bilbao. In 1905 is the direct heir of Barroeta becoming the official portrait of Bilbao. Entre sus retratos destacaremos los de "Evaristo Churruca", "Luis Usobiaga", "José Antonio Arechavala", "Graciano Díaz", "Arámbarri", etc. Among his portraits highlight the "Churruca Evaristo, Luis USOBIAGA, José Antonio Arechavala, Graciano Diaz, Arambarri" etc..
1906 en la Exposición Nacional de Bellas Artes presenta los lienzos " Sardineras Vascongadas", "Costas de Ondárroa", "Retrato del Sr. Gandarias" y "Retrato del Sr. Menaca". 1906 at the National Exhibition of Fine Arts presents the paintings "Sardinera Basque", "Costs of Ondarroa," "Portrait of Mr. Gandarias" and "Portrait of Mr. Menace."
1912 realiza por encargo de la Sociedad Bilbaína y para las paredes de honor del vestíbulo los retratos de "Don Máximo Aguirre" y "Don Pablo García Ogara". 1912 to order the Society of Bilbao and for the honor of the lobby walls of the portraits of "Don Máximo Aguirre" and "Don Pablo García Ogar.
1917 en Bilbao expone en la Asociación de Artistas Vascos. Bilbao presented in 1917 at the Association of Basque artists.
Fallece el 6 de junio de 1921 en Bilbao. Died on June 6, 1921 in Bilbao.

Barquillero O/lienzo Barquillero O / Canvas
medidas: 100x76 cm. Measures: 100x76 cm.

THIS IS A OIL ON CANVAS PORTRAIT OF A YOUNG GIRL (THIS IS PAINTED ON A TAMBORINE)
WONDERFULLY PAINTED
VIBRANT COLOURS
INTRICATE DETAIL
A VERY PLEASING PAINTING
PLEASE EMAIL FOR CLOSE UPS
UNSIGNED
DATES 1920,S

HEIGHT THIRTEEN INCH
WIDTH TWELVE INCH

SOME LOSS OF PAINT

A WONDERFUL PAINTING FOR THE COLLECTOR
NO RESERVE
HAPPY BIDDING
(Gastiain 1861 - Bilbao 1921)
“Ofelia”
Signed: Asarta
Oil/linen cloth
42 32 xs cms.
Catalogued and reproduced in the monograph on the painter of Ignacio Urricelqui (nº 66)
Formed Navarrese artist in Bilbao and Paris. Vizcaína resided good part of its life in the capital, where it practiced the costumbrista painting and the picture.

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ArtCollecting.info
How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2007 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource
to help beginning collectors
affordably acquire quality artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Gidon Ben Dor
Surrealism: “Titled - Traditions”
Lesson: Affordable Contemporary Master Works / Major Pieces
Affordable shipping, Philly Academy=best piece...mast work by minor artist - Schools,

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:
• heavily listed artist...ebay link
• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

JANE BASSUK
(American, 1882-1934)
Bought out of Belgium / expatriate art
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info
Artist Statement:
The 43 years old painter,
combine classical texture
techniques of oil
and wax using cold press
sticks, to come out with both
semi-abstract
and representational images.
The artist original and
restless painting give
surrealism the "fantastic"
structuring, that likely to
arise from free association
and the subconscious, as from
a delibrate urge to integrate
found images, direct
observation from life, and
subjects drawn from sources in
art, literature and history.

Born 1959 in the collective
farm, on the Mediterranean sea
of Israel. From 1983 to 1988
was an award student in the
Pennsylvania Academy of Fine
Art (PAFA) in Philadelphia.
For years on was represented
by self gallery, exhibit in
groups over the US, and
collected by the PAFA American
museum and private owners from
the US, UK, and IL.

The artist lives and paint in
his studio in the city of
Herzelia in Israel.

Education
1978 - Psychology - TLV U.
1982 - Design - Phila.
College.
1988 - Art - Penn. Academy of
Fine Art. (PAFA)
1991 - Art History - Temple U.
2000 - Art education - Bit
Berel College.

Shows and prizes
1989 - Ben Lanard Memorial
Award - Outstanding
achievement.
1990 - PAFA American Museum
collection.
1992 - PAFA Alumni first
prize.
1994 - Quarry Gallery - One
man show.
...

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

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How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2007 by ArtCollecting.info except as credited

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to help beginning collectors
affordably acquire quality artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Lucian Catana
Surrealism / Symbolism: “Titled - Love”
Lesson: Affordable Contemporary Master Works / Major Pieces
Lesson: International affordability / payment terms...eyes

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Description of Art
Born : Oct 5 1981
Education :
1996-2000 „Marin Sorescu” Art College, Craiova
2000-2004 "ION ANDREESCU" Academy of Visual Arts, Cluj-Napoca
2003 Scolar–ship „Erasmus Socrates”, Academia di Belle Arti e del Restauro in Palermo, Italy
Exhibition:
2000 group exhibition National Theatre, Craiova
2001 group exhibition, Tranzit House, Cluj
2001 group exhibition Universite de Rouen, France
2003 group exhibition San Martino delle Scale, Palermo, Italy
2004 group exhibition Tranzit House, Cluj
2004 group exhibition Pecs, Hungary
2004 group exhibition Expo Transylvania, Cluj-Napoca
2004 group exhibition „Art Gallery”, Cluj-Napoca
2004 personal exhibition „Cafe Bulgakov”, Cluj-Napoca

DESCRIPTION
tecnique/suport
size(inches)
size(cm)
style
state :
:
:
:
: ACRYLIC/CANVAS
39x33
100x85
SURREALIST
ROLLED

PAYMENT DETAILS
Payment can be made using money order/cashiers, or personal check.
For more information please contact the seller.
Vous pouvez demander tous que vous voulez en francais SHIPPING AND CONTACT
United States shipping and handling US $35.00
Europe shipping and handling EUR 22.00
If you buy more paintings which will be send in the same parcel you only pay $10 (Euros 8) for the following.
Shipping insurance per item (not available)
Most shipping is done from Romania

Description:
ANDERS T. MORTENSEN. Olie på plade. "Ak ja, de dage". Maleri med hårtot effekt. Sign. bagpå Anders T. Mortensen '87. Monteret med smal sort liste langs kanten. 62 x 62 cm.
Ah yes, those days.
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
A still life painting of chrysanthemums in a vase.
Date of birth: October 05, 1981

Education:
"Marin Sorescu" Art College from Craiova, 1996 - 2000
"Ioan Andreescu" Academy of Visual Arts, Cluj – 2000-2004
In 2003 scholar-ship “Erasmus Socrates” for Accademia di Belle Arti e del Restauro in Palermo, Italy

Artistic Activity:

Group exhibitions:
2000: Art exhibition at National Theatre in Craiova
2001: Art exhibition at Transit House in Cluj Napoca
2001: Art exhibition at Université de Rouen, France
2003 Art exhibition at Accademia di Belle Arti e del Restauro, San Martino delle Scale – Palermo, Italy
2004: Art exhibition at Transit House in Cluj Napoca
2004: Art exhibition at Pécs, Hungary
2004: Art exhibition at “Expo Transylvania” in Cluj Napoca
2004: Art exhibition at “ART GALLERY” in Cluj Napoca

Personal exhibition:
2004: “Café Bulgakov”

His paintings are displayed in private collections from USA, Cyprus, Switzerland, France, Italy, Germany and many other countries.

Provenance
• Ebay
Event: 100% art!

--
Friday, 1 September 2006, held an exhibition of nine artists from plastic our town, artists who do not cease to surprise us with their creations ever more valuable. This event, announced in the City of Athens Days ", enjoyed a presence numerous.
Opening vernisajului
Dorindu the turdenilor an approximation of the plastic arts, but also an awareness of these painters of our town have organized a nine exhibition. In the latter, a large number of plastic artists exhibiting some of their work. Opening of the exhibition was opened by Mr. Alexander Picovici which, as the organizer, provided those present exhibits and information about their authors. Not hesitant to express the joy that the number of those present, the achievements of artists interested in plastic turdeni, has greatly increased. Finally, the painter Alexander Picovici opened inauguration invitation launched by everyone to appreciate the work of plastic exposed.

Diversity
Calin painter Anton expose a cycle of works, with the theme absurd theatre. Naraţiunea is subject shape, because the emphasis falls on the figurative. You can notice a harmony of colors seem located in antiteză with imagined scenes.
Maria Deleanu, artist full of sensitivity, pictează a type of human settlement island. Înconjurată water, it seems to be just a micro-universe lost, rătăcit.
Radu Cotişel present, the two paintings exhibited, a rustic universe. Verdele contrasts with nuanţele of brown and, together, suggest a landscape caught during autumn, the season of abundance.
Alin Bâlc pictează a landscape that transmit the joy of living. Aleile with trees înfrunziţi transmit a state of calm desăvârşit.
Artista plastic Ileana bring before Christmas turdenilor two letters to her daughter, Sara. There are two exhibits absolutely interesting.
Roşa George, who was present and many valuable works and the exhibit earlier, along with pictoriţa Mihaela Gligor, comes again before turdenilor with three paintings. Inspired by the local landscape, the painter presents Gorges Turzii in multiple ipostaze.
Sarah Einich draws attention turdenilor by a picture exhibited in Israel. Coloritul rich, safety lines artist expresses the force. Although impresionează "He also" does not belong impresionismului but expresionismului german. The organizer of the exhibition, Alexandru Picovici becomes painter Alexander Picovici. At this vernisaj were able to admire and two of his works. Church of Horea is subject to large paintings which seem proposes a return to another time existenţial. Coloritul comes in support of this idea of seniority. The reasons are found in floral two other works of the same painter. All static nature exist in a picture of the artist Adrian Ţop. Glastră red flowers contrast with nuanţele grey background, suggesting the side just decorative art in a grey world, monotonă and sad. Different from this picture are the other two, avănd in the spotlight a Reformed church surprinsă painter of the two perspectives.
Along with painters turdeni, exhibiting works and artists plastic Mircea Viorel, Ladislau Suba, Ana Maria Nagy and Mihaela Gligor. It notes măiestria authors, art forms and compoziţională addressed.

Who is Lucian Cătană?
Professor at the School "Pavel Dan" Campia Turzii in, Lucian Cătană pictează approximately ten years, as we said. He exhibited remarkable work, proving to be "a master of design" (Alexander Picovici). Fin observer of feminităţii, the painter Lucian Cătană wishes to convey through the works of human attitude and a woman. Recognize that "in general, this attitude is a challenge to the public all the time to look on, often expressed even superiority."
Lucian Cătană awareness that an artist must have confidence in it and what you achieved. He believes in the power autosugestiei: "A man who zbate to do some things that he thinks they must have special feeling that is best, even if it will lie." Given the time of creation, this state of mind, the emergence in the paintings of Donald chipului, împlinirii symbol of the artist, does not appear random.
Asked how long enshrining plastic art, Lucian Cătană said, mental, pictează almost every day, but before tablourilor sit only when it is happy. What inspires you? Life. Each painting expresses states sufleteşti authentic. Biography self eul artistic influences.
Looking carefully explained the work of a painter, you can see a antiteză compoziţională. Ipostazele it is surprinsă femininity are not only different but also contrasts. The woman is inocentă and provocative. It has a certain spiritual purity suggested by a aură situated above a chip or călugăriţă of their displays nuditatea and hybris in the fall. It is painted in its peak beauty and senzualităţii them, but also a copile. It has the same picture, hair covered or expose their hair red, strălucitor. In this case, antiteza realized by reason hair. Stingheră or îndrăzneaţă, it inspired a woman painter Lucian Cătană. It occupies its place in autoportretul artist, and through a game of light and shadows, expresses attitudes of life. Senzualitatea female Points are lit by roşul which is a color blemish on a black-white background.

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ArtCollecting.info
How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2007 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource
to help beginning collectors
affordably acquire quality artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Jack Deloney
“Realism: Titled - Christmas Cotton”
Lesson: Second purchase

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:
• heavily listed artist...ebay link
• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

JACK C. DeLONEY
(American, 1940-)
Bought out of Belgium / expatriate art

Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Every artwork in the ArtCollecting.info collection provides at least one unique lesson that assists beginning web-collectors in making better decisions about a new art acquisition.
The lessons-learned from this particular piece, include:
Lesson One: The impact of professional art cleaning & restoration
This "collectable" lithograph - is from an edition of "950". Such a size would be considered huge for a Picasso - let alone a "Deloney".
Jack Deloney is a highly accomplished water colorist residing in Arkansas. now has a web site where he both promotes and sells his art.
I find it sad he feels compelled to reinforce this notion as he promotes his prints. It's savvy - as so many early buyers need this sort of economic reassurance before plopping down $200 to buy such a lithograph.
Sadly, he is forced to reinforce the notion that his prints make excellent investments - citing increases on current market prices from issue date to present. At the low cost he sells his pieces for - this seems like a bit of overkill. His pieces are just lovely - and in my opinion - worth every cent he charges for them on their own merits.
Artist Information
Jack Deloney (20th Century, American)
Jack C. Deloney comes by his subject matter honestly. The southern watercolorist was born and raised on a cotton farm in the small town of Ozark, Alabama, where he still lives and works. Jack has a strong love for watercolors, and after thirty years he still finds this medium exciting, whether he's painting a flower garden or a landscape. Jack initially became recognized for his art of rural subjects. Although the labor-intensive ways of working the fields may be disappearing, and some aspects of farm life may have changed, the days of the past are still vividly alive in Deloney's artistic vision. Since the budding years of Jack Deloney as "the cotton painter", there has been a growing demand for his work of other subjects from rich, beautiful florals to Italian street scenes.
Commercial art was Jack's career choice after his graduation from Auburn University in 1964 as an Art Major. After a successful 15 years in that field, he chose to become a full-time artist. He has received numerous awards and recognitions for his watercolors, which today hang in corporate, private, and museum collections throughout the nation and abroad. His prints are displayed in numerous galleries throughout the United States and also at the Jack Deloney Art Gallery located at the "Verandas".
"Verandas" is a complex of four old houses which Deloney moved and restored on Hwy 231 near Ozark. This restoration process was closely supervised by Jack and is a credit to his creative eye.
Deloney's mastery of the difficult medium of watercolor has earned him critical favor and patronage by discriminating collectors. To assure that every one of his prints is of superb quality, Deloney insists on personally controlling the printing process of his limited editions. Jack's art is captivating and a first rate investment because of the increasing prices of his originals and prints demand.
All artists know how hard it is to survive, yet alone succeed in the art world, Jack Deloney is no exception. Success has not come easy, it has taken dedication and perseverance day in and day out to achieve his lifetime goal. Jack definitely has a unique style. Watch the name "Jack Deloney" as he continues to make his place in the American Art World.
Additional Information:
• My favorite links on this artist:
o AskART.com...specific / my fave links
o
• Google Search on this Artist

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ArtCollecting.info
How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2007 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource
to help beginning collectors
affordably acquire quality artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Benjamin Eisenstadt
Expressionism: “Erotic Couple”
Lesson: Style of Artist + Frame

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:
• heavily listed artist...ebay link
• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar
You'll find similar low priced art available by minor listed artists on on-line auctions.

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

View Next Painting Return to Section Index Site Index

ArtCollecting.info
How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2007 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource
to help beginning collectors
affordably acquire quality artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

John Gillespie
Expressionism: “Elderly Woman on the Stroll”
Lesson: Van Gogh...on a stroll

Watercolor on Paper
5 x 6"
Signed (lower left): J. Gillespie Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:
• heavily listed artist...ebay link
• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

JOHN GILLESPIE
(American, 1901- )
Bought out of Belgium / expatriate art
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

A painting of an elderly woman walking by a pair of houses – manner of Van Gogh.
John Gillespie has never sold a painting at a major auction house. Outside of his native area in Ohio - it's almost impossible to find information on his life or career - save a few lines in Who's Who in American Art. Know what? Considering I paid a grand total of $35.00 for this little jewel - who cares? I adore this little piece and would gladly buy it at this price the rest of my life.
You'll find similar low priced art available by minor listed artists on on-line auctions.
John Gillespie (1901- , American)
American painter. Born in Malta, OH on May 15, 1901. Pupil of School of the Columbus Gallery, FA.
Member: Columbia Artists League and the Ohio Water Color Society. Awards: Walter A. Jones water color prize, 1924, at Columbus Art League. Supervisor of Art, Columbus Junior Academy and Columbus Academy.
Resided in Columbus Ohio.

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

View Next Painting Return to Section Index Site Index

ArtCollecting.info
How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2007 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource
to help beginning collectors
affordably acquire quality artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Continental School
“Impressionism: Reds Canal”
Lesson: The "extra" painting for shipping...was better than the first

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).

"VUE D'UN CANAL-KANAALZICHT"

PAYSAGE.(huile sur carton entoilée).
Bienvenue.Vous savez enchérir en toute confiance.Tous mes objects sont comme décrit,si non,vous allez avoir un remboursement total.
On a des réductions pour les amateurs d'art et des bons clients.On donne une réduction de 10% sur le prix enchéri pour le deuxième objet,le troisième,etc. et ça pendant six mois après le premier achat.
Vue d'un canal avec un pont.
Tableau de qualité,très bien executé.
ARTIST:
Le tableau est signé avec Vinchent J.
AGE:Des années '70.
CONDITION
Très bien,pas des manquements.Des taches ou points brillantes qui apparaient dans les photos sont due au camera et pas visible sur l'original.
ATTENTION!!Le tableau est vendue sans cadre.
DIMENSIONS:
-50 cm x 40 cm.
PAIEMENT:
-Transfère international bancaire.
-Paypal.
-On n'accept pas des cheques!!
EXPÉDITION:
La France et le reste de l'Europe:20 euro.
La Belgique et les Pays Bas:8 euro.
xxxx Controllez aussi mes autres offres xxxx
LANDSCHAP.(Olie op board)

Welkom,U kan in alle vertrouwen op onze objecten bieden,ze zijn zoals beschreven.Moest dit,om welke rede dan ook,niet het geval zijn,dan wordt het U volledig terugbetaald.

Oil on canvas-Paris Cafe. Signed and dated lower right-but can't make it out. Very nice work with heavy palette accents. Looks to be circa 1950-1960 with European canvas and stretcher. In good condition, apart for tiny repair to back, not at all evident to front- frame shows some age. measures 24" x 18" without frame, and 30" x 24" with.
VERS 1940. "NU FEMININ DANS L'ATELIER-NAAKT IN EEN
SCHILDERSATELIER".GRANDE HST.Cadre doré.Qualitée!!
NU DANS L'ATELIER.
Tableau de qualité,très bien executé.

ARTIST:

Le tableau est signé mais illisible.(regardez le photo)
AGE:Vers '40-'50.
CONDITION:
Très bien,pas des manquements.Des taches ou points brillantes qui apparaient dans les photos sont due au camera et pas visible sur l'original.
Le beau cadre doré est dans un état très bien.(regardez le photo)
DIMENSIONS:
-70 cm x 50 cm.(sans cadre)
-90 cm x 70 cm.(avec cadre)
PAIEMENT:
-Transfère international bancaire.
-Paypal.
-On n'accept pas des cheques!!
EXPÉDITION:
La France et le reste de l'Europe:25 euro.
La Belgique et les Pays Bas:10 euro.
ATTENTION!!On a des réductions pour des envoies groupés.Pour le deuxième objet,le troisième-,etc..on a des réductions de 50% sur l'envoie indiqué dans l'annonce.
xxxx Controllez aussi mes autres offres xxxx

• The Artists Bluebook
• Mantle Fielding's Dictionary
• Mallet's Index of Artists

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Continental School
“Impressionism: Paris Cafe”
Lesson: Paris school

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
Oil on canvas-Paris Cafe. Signed and dated lower right-but can't make it out. Very nice work with heavy palette accents. Looks to be circa 1950-1960 with European canvas and stretcher. In good condition, apart for tiny repair to back, not at all evident to front- frame shows some age. measures 24" x 18" without frame, and 30" x 24" with.

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Continental School
“Realism: Interior Scene with Lady Reading at Light”
Lesson: Dutch School..."skill"...where such art began

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

Art & Artist Information

Description of Art
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).

Description:
Unindentified Danish artist - signed in monogram CNB. Oil on canvas. Reading woman at the lamp. Size without frame:12 x 16 inch. (30 x 40 cm). Size with frame: 16,5 x 19,5 inch. (42 x 50 cm). The work is from around 1920-30.
Condition.
Ready to hang. No holes, tears or missing paint. The gold frame is nice. Good condition.
Please view my other items in my store. I have always many danish oil paintings - speci ally landscapes.
Shipping:
Buyers pays a fixed charge of $59 for expeditet shipment (5 - 6 days delivery). If you buy more items you only pay $15 for each of the following items (2nd., 3rd., etc.). Delays can occur du to custom and security check. All paintings are carefully packed to ensure safe shipment.
Payment:
I prefer PayPal, cashiers checks or direct money transfer to my bank account.
BIC Code: FIONDK22 IBAN code: DK9216710000042404
Bank address: Basisbank A/S, Amaliegade 5 C, 1256 Kobenhavn K. Denmark

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Continental School
“Realism: Atmospheric Canal Scene Soft Tones”
Lesson: Styles you love...artist's you can afford

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Artist:
The painting is illegibly signed by an unidentified artist, representing the Dutch School.
Age:
The painting is from the mid-20th century.
Medium:
The painting is a genuine oil painting on canvas.
Size without frame:
The picture is 60 cm /24 inches high and 80 cm 32 inches wide.
The frame itself is 6 cm /2.4 inches wide.
Description:
The painting presents a splendidly atmospheic city canal scenery with a single sailing boat. The sky and water are blending in a hazy atmoshere, creating a softly veiled, misty view. The canal lustre, buildings and trees are rendered with gentle touches of a fine stroke with colors applied side-by-side with as little mixing as possible, hereby forming a vibrant surface.
Condition:
The painting is in an almost perfect condition but with a slight age toning of the varnish. The colours would benefit from a cleaning of the canvas. You can hang it as it is.
The partially painted wooden frame is in a good state with a few minor scratches and a slight wear to the paint.

We recommend a light cleaning/restoration
For further information see our restoration listings in our eBay store
Authentication:
The painting is authenticated by art expert Mesa Bajric and we fully guarantee its authenticity. To meet the new standards of Ebays Code of Conduct we introduce our external consultant, Mesa Bajric.
Credentials:
MA in Graphic and History of Art at the Academy of Art in Sarajevo
Expert in:
Graphic 16th 20th century
Central European Art
Former Employees:
Museums:
Portrait Gallery in Tuzla, Bosnia
Exhibitions:
Moscow, Russia
Gelsenkirchen, Germany
Dubrovnik, Croatia
Belgrade, Serbia
Sarajevo, Bosnia
Ljublijana, Slovenia
Zagreb, Croatia
Copenhagen, Denmark

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Continental School
“Realism: River Scene with Cows, Peasants & Windmill”
Lesson: Affordable shipping, listing mistake-no thumbnail

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
Rural scenery with figures and herd of cattle
Artist:
The painting is illegibly signed for an unidentified Dutch artist.
Age:
The painting is from the early 20th century.
Medium:
The painting is a genuine oil painting on canvas.
Size without frame:
The picture is 85 cm /33,4 inches high and 105 cm /41,3 inches wide.
The painting is unframed.
Description:
The painting depicts a riverside scene with a herd of cattle grazing in a grassy pasture and some figures of peasants by a wind mill standing on the calm river bank. A vast picturesque sky covered with the huge fluffy clouds completes the view which has been rendered in a realistic yet slightly awkward and naïve style.
Condition:
The canvas has been restretched. The painting is in a fair condition but with surface grime, abrasions, craquelure and stretcher marks.

We recommend a full restoration
For further information see our restoration listings in our eBay store
Authentication:
The painting is authenticated by art expert Mesa Bajric and we fully guarantee its authenticity. To meet the new standards of Ebay’s Code of Conduct we introduce our external consultant, Mesa Bajric.
Credentials:
MA in Graphic and History of Art at the Academy of Art in Sarajevo
Expert in:
Graphic 16th – 20th century
Central European Art
Former Employees:
Museums:
Portrait Gallery in Tuzla, Bosnia
Exhibitions:
Moscow, Russia
Gelsenkirchen, Germany
Dubrovnik, Croatia
Belgrade, Serbia
Sarajevo, Bosnia
Ljublijana, Slovenia
Zagreb, Croatia
Copenhagen, Denmark

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Continental School
“Modernism: Azure Nude Female”
Lesson: Making it fit...

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Description of Art
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
A naked brunette in an azure shirt
Artist:
The painting is signed "Nossac" for an unidentified Swedish artist.
Age:
The painting is from approx. 1960s.
Medium:
The painting is a genuine oil painting on board.
Size without frame:
The picture is 79 cm /31.6 inches high and 53 cm /21.2 inches wide.
The frame itself is 2 cm /1.8 inches wide.
Description:
Here you are offered a very erotic female nude featuring a sensual brunette. The azure model's unbottened shirt and the background painted with the same colour, splendidly complete her slightly sunburnt, glowing skin. The artist rendered the woman's body with very precise, fine strokes and flat applied paint.
Condition:
The painting is in a good condition but with a few minor scratches and abrations. You can hang it as it is.

We recommend a light cleaning/restoration
For further information see our restoration listings in our eBay store
Authentication:
The painting is authenticated by art expert Mesa Bajric and we fully guarantee its authenticity. To meet the new standards of Ebays Code of Conduct we introduce our external consultant, Mesa Bajric.
Credentials:
MA in Graphic and History of Art at the Academy of Art in Sarajevo
Expert in:
Graphic 16th 20th century
Central European Art
Former Employees:
Museums:
Portrait Gallery in Tuzla, Bosnia
Exhibitions:
Moscow, Russia
Gelsenkirchen, Germany
Dubrovnik, Croatia
Belgrade, Serbia
Sarajevo, Bosnia
Ljublijana, Slovenia
Zagreb, Croatia
Copenhagen, Denmark

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Continental School
“Expressinism: Landscape with Soft Tones”
Lesson: Adding right frame...musical frames

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

painting of Germa, oil on canvas. in very good condition. signed : Germa. 47 cm on 37 cm. paypal only for foreign countrys!

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Continental School
“Expressinism: Houses on Street”
Lesson: Affordable impressionism

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

view on panel, oil on panel. in very good condition. not signed. 31 cm on 28 cm. paypal only for foreign countrys!

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Continental School
“Expressinism: Ships on Sea + Reverse Painting”
Lesson: Bundle of joy / AB Davies book

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).

storm on sea, oil on canvas. in good condition (1 restauration and the painting must be stretched). not signed. 76 cm on 67 cm. paypal only for foreign countrys!

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Continental School
“Expressinism: Voluptuous Nude Female in Blues”
Lesson: Unsigned Value: Large

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

• Interview with an art conservator: Susan Jones

Description of Art
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
VERY EXPRESSIVE
Artist:
The painting is unsigned and the artist is unknown.
Age:
The painting is from the mid 20th century.
Medium:
The painting is a genuine oil painting on canvas.
Size without frame:
The picture is 86 cm / 34 inches high and 113 cm / 44 inches wide.

Description:
This lot offers you an expressive depiction of a female nude, reclining on a bed. She is seen from slightly above and her foreshortened body creates a wonderful perspective depth in the painting which is held in blue and green colours.
Condition:
The painting is in very good condition with minor abrasions.
We recommend a light cleaning.
For further information see our restoration listings in our eBay store.

Authentication:
The painting is authenticated by art expert Mesa Bajric and we fully guarantee its authenticity. To meet the new standards of Ebay’s Code of Conduct we introduce our external consultant, Mesa Bajric.
Credentials:
MA in Graphic and History of Art at the Academy of Art in Sarajevo
Expert in:
Graphic 16th – 20th century
Central European Art
Former Employees:
Museums:
Portrait Gallery in Tuzla, Bosnia
Exhibitions:
Moscow, Russia
Gelsenkirchen, Germany
Dubrovnik, Croatia
Belgrade, Serbia
Sarajevo, Bosnia
Ljublijana, Slovenia
Zagreb, Croatia
Copenhagen, Denmark

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Continental School
“Impressionist Girl with Cat”
Lesson: Cats

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
I am happy to offer:

IMPRESSIONIST PORTRAIT
WOMAN WITH CAT

Indistinctly signed
The painting is indistinctly signed lower right.
To me it looks like: A.. Mau...??
Size: 19.7" x 15.7" / 50 x 40 cm.

Oil on canvas mounted on panel.

Shipping costs for U.S. and Canada are $36 . For Europe $25. / € 20.

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Continental School
“Impressionist Solo Ballet Dancer”
Lesson: Blacklight + self-cleaning

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Description of Art
THIS IS A OIL ON CANVAS THE LONELY DANCER
WONDERFULLY PAINTED
VIBRANT COLOURS
INTRICATE DETAIL
A VERY PLEASING PAINTING
PLEASE EMAIL FOR CLOSE UPS
UNSIGNED
DATES 1950,S
WOOD FRAME (DISTRESSED)
WIDTH FIVETEEN INCH
HEIGHTTWELVE INCH
SOME PAINT CRACKING DUE TO AGE
COULD DO WITH A LIGHT CLEAN
A WONDERFUL PAINTING FOR THE COLLECTOR
MINOR CRACKING DUE TO AGE
NO RESERVE
HAPPY BIDDING
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Continental School
“Midsummer Eve”
Lesson: Boat Party

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Description of Art
Hermine Heller Ostersetzer
Henri Ottevaere
Typical Scandinavian motif
Artist:
The painting is signed "HO". , an unidentified European artist.
Age:
The painting is from the early 20 th century.
Medium:
The painting is a genuine oil painting on canvas
Size without frame:
The picture is 70 cm / 27.5 inches high and 110 cm / 43 inches wide.
The frame itself is 9 cm / 3.5 inches wide.
Description:
Here you are offered a heart warming scene from what a Danish beach on Midsummer Eve. People are gathered around a huge bonfire. It is one of the beautiful bright summer nights characteristic of Scandinavia and people have gathered to sing and listen to the traditional Midsummer speech.
There is a wonderful warm glow to this depiction of something essentially Scandinavian.
Condition:
The painting is in fairly good condition with light surface grime, abrasions and the canvas is loose. The wooden frame is in a fair condition with some scratches and cuts.
We recommend a medium cleaning/restoration
For further information see our restoration listings in our eBay store
Authentication:
The painting is authenticated by art expert Mesa Bajric and we fully guarantee its authenticity. To meet the new standards of Ebay’s Code of Conduct we introduce our external consultant, Mesa Bajric.
Credentials:
MA in Graphic and History of Art at the Academy of Art in Sarajevo
Expert in:
Graphic 16th – 20th century
Central European Art
Former Employees:
Museums:
Portrait Gallery in Tuzla, Bosnia
Exhibitions:
Moscow, Russia
Gelsenkirchen, Germany
Dubrovnik, Croatia
Belgrade, Serbia
Sarajevo, Bosnia
Ljublijana, Slovenia
Zagreb, Croatia
Copenhagen, Denmark

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Continental School
“Transitional Nudes in Landscape”
Lesson: Unsigned works

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Description of Art
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
Popular motif
Artist:
No signature was found, the artist is unknown
Age:
The painting is from the late 19 th century.
Medium:
The painting is a genuine oil painting on canvas
Size without frame:
The picture is 71 cm / 28 inches high and 115 cm / 45 inches wide.
Frameless
Description:
On offer is here a portrait of three young women by a lake. All three of them are more than just a little graceful, one is standing, one is sitting and one is reclining on the ground. In the background is the lake and the girls do not appear to realize that they are being watched.
Condition:
The painting is in a fair condition but with surface grime, abrations and there is two restorable cuts in the canvas in the right side.
We recommend a medium cleaning/restoration
For further information see our restoration listings in our eBay store

Authentication:
The painting is authenticated by art expert Mesa Bajric and we fully guarantee its authenticity. To meet the new standards of Ebay’s Code of Conduct we introduce our external consultant, Mesa Bajric.
Credentials:
MA in Graphic and History of Art at the Academy of Art in Sarajevo
Expert in:
Graphic 16th – 20th century
Central European Art
Former Employees:
Museums:
Portrait Gallery in Tuzla, Slovenia
Exhibitions:
Moscow, Russia
Gelsenkirchen, Germany
Dubrovnik, Croatia
Belgrade, Serbia
Sarajevo, Bosnia
Ljublijana, Slovenia
Zagreb, Croatia
Copenhagen, Denmark
Provenance

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Continental School
“Realism: Monk Figures & Church in Landscape”
Lesson: Where it all began...

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

China School
“Modesty”
Lesson: Re-sizing your art...more interesting

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

China School
“Interlude”
Lesson: Fakes / Copies

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

24" ORIGINAL OIL PAINTING: HOTEL CALIFORNIA
Size 24"x18" oil on canvas
About this Painting Great Work Hand Painted and by Our Hua Cui Artist Community's Zhou Yan STUDIO, with artist's unique authentication stamp Chop on the rear of the canvas to show authenic. The Stamp Color was make by the Unique recipe scoll by certain Earth minerals from Hiamalayas, which will never fade in thousand years
Zhou Yan Studio, Formed in Feb 2006 by myself and The Aim of my Studio is showing the beauty Nature and Life, my my own postive Chi into the painting to achieve the real path for health and tranquility in watcher life.

Museums Holding this Artist

Links to Additional Information on this Artist:
• AskART.com
• Peter Blake Gallery

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

China School
“Freya's Doze”
Lesson: Creative Self Portraits

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

36" ORIGINAL GIRL & CAT OIL PAINTING: FREYA'S DOZE
Size 36"x26" oil on canvas
About this Painting Great Work Hand Painted and Signed by Our Hua Cui Community Artist Miss Zheng Qiuna.-------To see more of painter's information please check-About me -- a CERTIFICATE OF AUTHENTICITY is present and will beprovided to the buyer

24"x16" Charcoal on heavyweight smooth cartridge Paper
Great Work Hand Drew, Signed by The Artist Miss Li, member of our Hua Cui Artist Community and Artist Association of China. This Drawing should very nice and exotic for your Private Collection
Please view my other Works by our Teachers auctions on ebay, you can always have chance to buy a bargain and I'm happy to combine wins to save postage.
This painting is 100% hand painted, please check the the photo of brush or pencil stroke detail . it is not a "canvas transfer" or a "giclee" or an "artist enhanced" work -- all just fancy terms for a machine made print. You are bidding on a genuine hand-made work of art.

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

China School
“Cleavage View”
Lesson: Affordable original pop art

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

China School
“Classical Nude”
Lesson: Decorate well...colors

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Belgium School
“Expressionist Landscape”

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Description of Art
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
special painting of Jan. B. huile on board. in very good condition. signed : Jan. B. 30 cm on 24 cm. paypal only for foreign countrys!

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
Abstract NYC City Scene - “Stein”
Lesson: Right for Frame...versus other way around

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Description of Art
Blue ink on paper abstract drawing. Signed with mono. Good condition, apart for staining at corners. Measures 11 1/2" x 8 1/2" without frame.
Oil on board-Abstract-New York City. Signed Gloris Stein, lower right. Circa 1960- G. Stein is a New York artist , who painted scenes of the city.All in good condition. Measures 20" x 16" without frame, and 21 1/2" x 17 1/2" with.

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
Mann Pitcher / Still Life
Lesson: Master Mining / Figuration

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Description of Art

Nice oil on canvas signed Mann 1949.. Condition is good, size 14 by 16''

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
Hensche
Lesson: "Confusion" name...Might be, etc.

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Description of Art
A nice oil on board still life signed Henscke.. Condition is good, size 16 by 20''..

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
20 x 16 Abstract
Lesson: A Beautiful painting...at the right price
Learning to spot a piece - regardless of authorship...that is a lovely painting / bargain

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Description of Art
Very nice abstract oil on board, circa 1965. Unsigned. All in good condition, measures 20" x 16" without frame, and 26 1/2" x 22 1/2" with.
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
Abstract Yellows-Crucifixion - “Unsigned”
Lesson:

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Description of Art
Blue ink on paper abstract drawing. Signed with mono. Good condition, apart for staining at corners. Measures 11 1/2" x 8 1/2" without frame.
Wonderful abstract oil on canvas, circa 1960. Unsigned. In good condition. Frame has chips at left corners-see photo. Measures 31" x 21" without frame, and 37" x 27" with.
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
Abstract Church Scene - “Yuntan Sun”
Lesson: Free...regular customer

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

American School
Abstract Modernist Phone - “RC - Crawford”
Lesson: Spotting a fake

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Blue ink on paper abstract drawing. Signed with mono. Good condition, apart for staining at corners. Measures 11 1/2" x 8 1/2" without frame.
A very nice oil on canvas modernist signed with monogram , lower right R.C. and above that :ABCO, or PBCO, painted circa 1950, condition is good, size 14 by 18''. Note that it is currently framed in a iiner border, not a complete frame........
Crawford, Ralston
o Period copy…was signature added later?
o Title in ABCD + finger…common to his style?
o Depth / brush strokes?
o Wrong
o Figuration
o

ART: RALSTON CRAWFORD IN SURVEY AT WHITNEY
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By VIVIEN RAYNOR
Published: October 11, 1985
RALSTON CRAWFORD is up for reconsideration by way of a retrospective at the Whitney Museum. Made up of 155 works, this first comprehensive survey of Crawford's art suggests that a better word than ''reconsideration'' would be ''consideration'' -something that he seems never to have had.
The renown the artist did achieve came at an unpropitious time, around the start of World War II (in which he served), and lasted only until the advent of Abstract Expressionism. Then it died, never to be resurrected, even though he did his best work during and after the great ''eclipse'' and continued to show until shortly before his death in 1978.
Crawford has even eluded the revisionist earth-movers, although in recent years museums and galleries have been exhibiting his photographs, which constitute about one-third of these 155 works.
Judging from the excellent catalogue essay by the show's curator, Barbara Haskell, time was Crawford's enemy from the very beginning. Born in 1906, he belonged to the same generation as the first Abstract Expressionists and would seem to have been a candidate for their movement, given his preoccupation with abstract values and with the painting as an end in itself. But militating against this was the artist's own disposition, which was cool and fastidious, together with his essential classicism and above all his insistence on abstracting from observed reality.
Crawford was too young to be a Precisionist, but the work of his early maturity was influenced by the movement and the acclaim he received for it typecast him. So when the hard-edged abstraction challenged Abstract Expressionism in the 1950's, no one seems to have spotted the connection between Crawford's later, more geometric, art and, say, Ellsworth Kelly's abstractions, also based on natural forms. Likewise, the affinity between his landscapes of the early 40's and the empty highways that were Allan d'Arcangelo's contribution to Pop went unnoticed in the 60's.
However - and this, too, may be a disadvantage - Crawford does not come across as an underdog; he began as he ended - an inventive but methodical painter of landscapes and usually utilitarian architecture that, though often full of surrealistic tension, are satisfying as flat geometrical designs, especially when shadows are incorporated in the patterns. Essentially, the difference between ''Electrification N2'' (1936), a black pylon and its wires silhouetted against a blue sky, and ''Feeder Canal, Coulee Dam'' (1971) is one of skill and experience. But what a difference this is. The latter canvas can be read as the slanting concrete walls of the canal meeting at the horizon. Still, it is more easily perceived as an abstraction composed of two irregular white wedges striped in black entering from either side of the canvas to conjoin with two more wedges, one a pale blue coming from the top, the other a darker blue from the bottom.
Twelve years younger than Stuart Davis, the mature Crawford is by no means his equal, but he stands closer to him than to any Precisionist. Indeed, it is likely that he reduced such scenes of the late 40's as ''Third Avenue Elevated'' to slabs of color under Davis's influence, even as he was producing starker, more original abstractions such as ''Wharf Objects, Santa Barbara.'' On the other hand, coincidence and the tempo of the times cannot be ruled out. Both artists abstracted from the thing seen, taking their cues from Synthetic Cubism, although the less jaunty and, deep down, much more romantic Crawford was probably more profoundly affected by Cezanne.
Incidentally, the two had similar war careers - Davis as a map maker for Army intelligence during the first World War, Crawford as a designer of charts making meteorological data more comprehensible to Army pilots in the second. He was also artist-in-residence at the Bikini Atoll bomb tests of 1946.
Still, in this selection, the influences exerted and sustained eventually become a melange defying analysis and prompting woolly thoughts about ideas filling the air at a given time. Besides, many ''influences'' may only be this observer's subjective associations, some with artists much younger than Crawford, such as the master of black-edged pattern, Nicholas Krushenick, and one - the strangest - with a near-contemporary, Jean Helion.
Helion, a member of the Abstract-Creation group in Paris, turned figurative during the 40's, painting figures and scenes as if they were disintegrating. The dark ''cracks'' in his forms also affect the compositions based on plane wrecks that Crawford produced during the war years.
It takes a lot of critical exegesis to elevate an artist to masterhood and the neglected Crawford still has many miles to go. Nevertheless, this show reveals him as a vivid and frequently up-to-date-looking painter, a first-rate draftsman and, on occasion, an inspired photographer. The show is at the Whitney, Madison Avenue at 75th Street, through Feb. 2. Also of interest this week: Liubov Popova (Rachel Adler Gallery, 58 East 79th Street): Constructivism was the climax and logical end of the nonobjective experiments that had preceded it. Yet it sometimes seems as sublimely irrelevant a gesture as dressing for dinner in the jungle, for the Soviet Union, after all, was at a standstill, having barely survived its participation in World War I, its revolutions and civil uprisings. All the same, there's no denying the esthetic impact of this didactic movement or the intensity of its exponents, of whom Liubov Popova (1899-1924) was one of the most notable.

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The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Sir Anthony Van Dyck
“Sir Thomas Hamner”
Lesson: Buying Pairs

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Description of Art
Oil on canvas, 30 x 25, signed (lower right): Robert Stevens.
These are a pair of reproductions of good quality in heavily ornate frames. The male portrait is a known copy of the painting of “Sir Thomas Hanmer” which hangs in the Earl of Bradford’s Weston Park museum in London. (The Earl was a descendant of Hanmer). Van Dyck’s portrait of Sir Thomas Hanmer is as much admired today as it was by John Evelyn who noted (on 14 January 1685) that it was “one of the best he ever painted”. “Restrained in color, it is nevertheless intensely powerful with a magical sense of arrested movement. The female portrait has not yet been identified.
Provenance
• Ebay

Artist Information

Sir Anthony VanDyck (After) (1599-1641, British)
Flemish painter chiefly famous for portraits of the English aristocracy, though he also painted a number of large religious, allegorical and mythological subjects. Van Dyck was trained in Antwerp by H. van Balen and became the chief assistant of Rubens. He was in England for some months in 1620-21, then embarked on a prolonged tour of Italy, where he spent periods at Venice, Genoa and Rome, executing portraits and commissions for churches. He painted for a further period in Antwerp before he settled in England in 1631 as court painter.
This is a copy of a famous portrait by the great Flemish painter, Sir Anthony van Dyck (1599-1641), of Maria Louisa de Tassis, a member of one of the noblest families of the Habsburg Empire. The Tassis family came from Brabant, an area which now straddles the Belgium/Holland border and made their money from developing Europe's first international mail courier service. Van Dyck painted her in 1629 and the original now hangs in the Prince of Liechtenstein's collection in the city of Vaduz, Liechtenstein. Where the unknown artist/copyist Deurte got the name Contessa Orsini is a mystery, but there is no record of Maria Louisa ever having held that title. It is likely that this work was reproduced sometime in the 20th century. The copy is not exact. For a start it is a mirror image of the original, leading one to believe that it may have been painted by projecting a reversed color slide of the original onto a canvas and using that image as a guide. There are certain details the copyist neglected to paint such as a large pearl necklace and a bejewelled cross on the bodice. This work is also slightly cropped, otherwise it is quite a faithful and seemingly well executed copy. Such things only have a decorative value and so they do not tend to appreciate much, if at all over the years.
Robert Stevens

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Sir Anthony Van Dyck

“Female Portrait”

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7
Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:
heavily listed artist...ebay link
This style of art is known as: social expressionism
This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

Original on-line purchase price: $1,323.00
Want to buy a painting like this one? The key buying strategy for this piece is called Playing Old-Maid.
Art description: Original oil on painting on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
Terms & links used to describe this art & artist:
This style of art is known as: realism
This art's lineage is: early American
Other site-terms associated with this art, include:
heavily listed artist
period forgery

Every artwork in the ArtCollecting.info collection provides at least one unique lesson that assists beginning web-collectors in making better decisions about a new art acquisition.
The lessons-learned from this particular piece, include:
Lesson One: The impact of professional art cleaning & restoration
Professional art cleaning and restoration can have a monumental impact on both the value & appearance of an artwork. After comparing the original purchase photo to a more recent image of this painting, most readers would safely categorize this comment into the "no, shit" category. So what's the trick for beginners? Learning what will clean up well - and what won't. Also, what sort of problems will likely be very expensive to restore versus more affordable improvements.
Additional collected artworks providing supplementary lessons about art cleaning & restoration, include:
Aage Bertelsen
Alphonse Marie De Neuville Neuville
William Fridericia
Helpful site articles about art cleaning & restoration:
Common damage: what does it look like?
Do-it-yourself art cleaning & restoration techniques
Interview with my art conservator: Susan Jones
Useful web links regarding art cleaning & restoration:
Common damage: what does it look like?
Do It Yourself art cleaning & restoration techniques
Interview with an art conservator: Susan Jones
Lesson Two: Period forgeries are relatively common amongst pieces signed by prominent artists.
Artists as well recognized as Emil Carlsen are not only forged today - they were also copied during their active years. Thus, you'll come across paintings that even the signature is "correct".
There's three basic types of forgeries:
(Forgeries link) There's a lot of approaches to forging an artwork. Some of the more common, include:
A period forgery - these are tougher
The signature doesn't appear so obviously added later
Adding a signature of a noted artist to an unsigned painting of the same period done in the style of the artist - some are really bad examples
Peto / Harnett story & example
A recent copy
Most often, art forgeries are so poorly rendered that a few samples viewed on the artist from a Google search will send you on your way. However, a period copy in the style of the artist...
Do your homework
I twice was premature in getting an evaluation of this painting. Shame on me!
Additional collected artworks providing supplementary lessons about art copies and art forgeries, include:
Jon Frederick Peto
Greuze
Anthony Van Dyck: Sir Thomas Hamner
Helpful site articles about art copies and art forgeries
Common damage: what does it look like?
Do It Yourself art cleaning & restoration techniques
Interview with an art conservator: Susan Jones
Useful web links regarding art copies and art forgeries
Helme: use of a piece of a painting as a forgery
Do It Yourself art cleaning & restoration techniques
Interview with an art conservator: Susan Jones

- Buying strategies to duplicate this acquisition
Original on-line purchase price: $1,323.00
Buying strategy associated with this piece: a willingness to play Old-Maid.
Helpful search tips - to find an artwork like this one: An acquisition like

Art & Artist Information
Description of Art
Oil on canvas, 30 x 25, signed (lower right): Robert Stevens.
These are a pair of reproductions of good quality in heavily ornate frames. The male portrait is a known copy of the painting of “Sir Thomas Hanmer” which hangs in the Earl of Bradford’s Weston Park museum in London. (The Earl was a descendant of Hanmer). Van Dyck’s portrait of Sir Thomas Hanmer is as much admired today as it was by John Evelyn who noted (on 14 January 1685) that it was “one of the best he ever painted”. “Restrained in color, it is nevertheless intensely powerful with a magical sense of arrested movement. The female portrait has not yet been identified.
Provenance
Ebay
Artist Information
Sir Anthony VanDyck (After) (1599-1641, British)
Flemish painter chiefly famous for portraits of the English aristocracy, though he also painted a number of large religious, allegorical and mythological subjects. Van Dyck was trained in Antwerp by H. van Balen and became the chief assistant of Rubens. He was in England for some months in 1620-21, then embarked on a prolonged tour of Italy, where he spent periods at Venice, Genoa and Rome, executing portraits and commissions for churches. He painted for a further period in Antwerp before he settled in England in 1631 as court painter.
This is a copy of a famous portrait by the great Flemish painter, Sir Anthony van Dyck (1599-1641), of Maria Louisa de Tassis, a member of one of the noblest families of the Habsburg Empire. The Tassis family came from Brabant, an area which now straddles the Belgium/Holland border and made their money from developing Europe's first international mail courier service. Van Dyck painted her in 1629 and the original now hangs in the Prince of Liechtenstein's collection in the city of Vaduz, Liechtenstein. Where the unknown artist/copyist Deurte got the name Contessa Orsini is a mystery, but there is no record of Maria Louisa ever having held that title. It is likely that this work was reproduced sometime in the 20th century. The copy is not exact. For a start it is a mirror image of the original, leading one to believe that it may have been painted by projecting a reversed color slide of the original onto a canvas and using that image as a guide. There are certain details the copyist neglected to paint such as a large pearl necklace and a bejewelled cross on the bodice. This work is also slightly cropped, otherwise it is quite a faithful and seemingly well executed copy. Such things only have a decorative value and so they do not tend to appreciate much, if at all over the years.
Robert Stevens
Listed In:
Who Was Who in American Art
Davenport's Art Reference and Price Guide
The Artists Bluebook
Mantle Fielding's Dictionary
Mallet's Index of Artists
Museums Holding this Artist

Links to Additional Information on this Artist:
AskART.com
Peter Blake Gallery

Art Cost & Investment Analysis
Original on-line purchase price (1999): $1,323.00
Additional costs
Shipping & any insurance costs: $25.00
Added Costs:
Professional cleaning & restoration: 200.00
Framing: 165.00

Total Additional Costs $395.00
Total investment to date: $1,674.87
Art Valuation Information & Links
Types of art values LINK
Cash / Auction
Replacement / Insurance
Valuing art: formulas
Valuation Data
Was it a good deal?
Ebay faux auction ad & results
Show link to a high quality painting by Carlsen - the detail
ADD THIS INFO IN A SEPARATE LINK:
The artist's fame has continued to the present time, when his fine paintings still excite collectors and museum visitors. This painting has some similarities to works by Carlsen, however there are some important differences which suggest that this may not be an authentic work by the artist. Certainly, the arrangement of the flowers and the placement of the vase in the space might seem comparable to a Carlsen work, however, there is a general lack of the fine details and textural differences which are so important and apparent in Carlsen's work. The signature does seem to resemble the artist's, although most are quite level and rarely contain the sort of rise which is found in the middle of the last name.

In considering these factors and the concerns listed above, this painting should be listed as Attributed to Emil Carlsen and would have the auction value as cited above. If documentation were to be found which could substantiate this work as definitely that of Carlsen, this value could be greatly increased.
Emil Carlsen was a respected artist and teacher with a productive career. He immigrated to the U.S. in 1872 and spent most of his career here. His listing in "Who Was Who in American Art" notes the fact that early in his career he was recognized for his large, brilliantly colored florals. The work you have would have to be a later interpretation of this earlier theme, since it is dated 1909, long after he established his career. Florals have come to the auction market at least four times in the past several years and reached strangely varied hammer prices. 2001: $27,600; 2000: $65,000; 1999: $23,000; 1999: $63,000 - this represents a swing of over $40,000 and implies that aesthetics, condition and size are playing a large part. I am concerned that this work may be a reproductive print that has been affixed to a textured pressboard. The texture of it resembles the consistent, all-over texture one finds on pressboard that has been molded to appear like the textured surface of a painting. Also, the back suggest it is indeed pressboard, or a paper board, as opposed to an artist's canvas board or a slab of masonite - both of which would be much more likely supports for this painting. I strongly advise that you take the work to a local appraiser or art expert who can determine for sure whether this is an original oil. To complicate matters, whether this is original or a repro, one would have to admit that either way it does not seem to exhibit the level of detail and finesse seen in Carlsen's work. The composition is not as complex as others that I reviewed in my research. The point being that, if an actual painting, I would not be entirely sure it is his work, although it is obviously highly derivative of his paintings and bears his signature. I am going to suppose this is a varnished, textured reproduction, but if it can be authenticated as the work of Soren Emil Carlsen, it would gave an auction value of roughly $18,500. Retail, it would go for $30,000.

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Continental School
“Boroch: After: Titled Venus at Mirror”
Lesson: Period Frame

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Description of Art
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
Baroque composition with a mythological subject
Artist:
The painting was executed by an unidentified European artist.
Age:
The painting is from the 19th century.
Medium:
The painting is a genuine oil painting on canvas.
Size without frame:
The picture is 100 cm /39,3 inches high and 69 cm /27,1 inches wide.
The frame itself is 5 cm /1,9 inch wide.
Description:
On offer here is a fine 19th century composition painted after the painting by Peter Paul Rubens “Venus at a Mirror” (c.1615). It features a young blond and long-haired woman seen from behind while admiring her own beauty in a mirror held by winged Cupid. She is also accompanied by a servant-maid. The sensual shapes of the female body, sumptuous details, complex composition and strong light and shadow contrasts are characteristic features of the Baroque style.
Condition:
The painting is in an almost perfect condition but with a slight age toning of the varnish. The colours would benefit from a cleaning of the canvas. You can hang it as it is. The beautiful frame is new and in a very good condition.
We recommend a light restoration
For further information see our restoration listings in our eBay store
Authentication:
The painting is authenticated by art expert Mesa Bajric and we fully guarantee its authenticity. To meet the new standards of Ebay’s Code of Conduct we introduce our external consultant, Mesa Bajric.
Credentials:
MA in Graphic and History of Art at the Academy of Art in Sarajevo
Expert in:
Graphic 16th – 20th century
Central European Art
Former Employees:
Museums:
Portrait Gallery in Tuzla, Bosnia
Exhibitions:
Moscow, Russia
Gelsenkirchen, Germany
Dubrovnik, Croatia
Belgrade, Serbia
Sarajevo, Bosnia
Ljublijana, Slovenia
Zagreb, Croatia
Copenhagen, Denmark

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Dante Gabriel Rossetti

Realism: “Redhead Reading”
Lesson: Affordable Masterpiece styles

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7
Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook
Helpful search tips - to find an artwork like this one:
heavily listed artist...ebay link
This style of art is known as: social expressionism
This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Herbert Davis Richter
(School of)
Realism: “Interior Scene”
Lesson: Fakes

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Emil Soren Carlsen, N.A. (1853-1932, American)
Herbert Davis Richter
1874 - 1955
Herbert Davis Richter was a British artist who worked in many mediums; oil, water-colour and pastel. He was also master of many genres; still life, architectural studies, figures and interiors for which he is best known. Richter painted several scenes in Buckingham Palace and also the homes of many society figures of his day, in addition to scenes in his own homes in Redcliffe Square, London and Hungerford.
Richter was born in Brighton on 10th May 1874. He studied furniture design at Bath School of Art before setting himself up in business in Bath as an architect and designer 1895-1906. After this period Richter travelled to London to continue his studies, enrolling at Lambeth College and the London School of Art where he studied under Browning and J. M. Swan.
He exhibited his work at the major London Galleries and leading venues in the provinces. In 1937 he contributed to work to the Exposition Internationale de Paris, where he was awarded a Gold Medal. Richter was elected to the Royal Society of British Artists in 1910, the Pastel Society in 1916, the Royal Institute of Oil Painters in 1917, the Royal Institute in 1920, the Royal British Colonial Society of Artists in 1927 and the Royal Watercolour Society in 1937.

Additional Information:
• My favorite links on this artist:
o AskART.com...specific / my fave links
o
•
Google Search on this Artist

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ArtCollecting.info
How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2007 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource
to help beginning collectors
affordably acquire quality artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Pierre Auguste Renoir
Impressionism: Titled as “At the Seashore”
Lesson: Giclee

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Juan Miro
Abstract: “Absract”
Lesson: Contemporary fake

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Jean-Baptiste Greuze
AFTER
Realism: Titled as “Boy in Red Waistcoat”
Lesson: Period copies...collectible

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Lesson One: The impact of professional art cleaning & restoration
About descriptions: Please read the listing text carefully. Serious discrepancies between photos and the actual work will be noted here.
Authorship is guaranteed in relation to the term used. We use the standard terms:
Signed or painted (sculpted etc) followed by an artist s name, to signify that the work is by the said artist.
The use of the following terms means that the painting is NOT guaranteed to be by the artist mentioned:
attributed to; signifies that the painting is probably a work of the artist
circle of; signifies a work of the period of the artist that shows his influence.
follower of; signifies that the work is in the artist s style, but not necessarily by a pupil
manner of; signifies that the work is in the artist s style, but of a later date or
after; signifies that the painting is a copy after the said artist, from his time or later.

Art & Artist Information

Description of Art
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
A still life painting of chrysanthemums in a vase.
AFTER JEAN-BAPTISTE GREUZE
(FRENCH, 1725-1805)
PORTRAIT OF A BOY
oil on canvas
18 1/2 x 15 inches

Provenance
• Ebay

Artist Information

Jean-Baptiste Greuze (1895-1975, American)
Condition: In fair condition. Canvas is loose on the stretcher, light abrasions to surface has left the varnish in some areas foggy, most notably in the upper center area of painting. Scattered small areas of paint loss, lower right, upper right. Under UV: uneven residual varnish

Jean-Baptiste Pigalle studied under J.B. Lemoyne in France before traveling to Rome from 1736 to 1740. While a student, he suffered from illness and poverty but his life took a turn for the better after his acceptance into the Academie Royale in 1744. His talent and versatility made him one of the leading French sculptors. He was praised for his small genre pieces and his tomb sculpture. Pigalle’s most famous sculptures are his nude figure of Voltaire and the tomb of Maurice of Saxony in Strasbourg.

Jean-Baptiste Greuze, who played Turner to Diderot's Ruskin, was the most influential French painter in the crucial decades 1760-1780; yet the show at the Wadsworth Atheneum in Hartford is the world's first special exhibit devoted to him. By the middle of the nineteenth century he had become the very type of the prurient preacher. The Goncourt brothers called him 'the man fated to establish in France the lamentable school of literary painting and of moralizing art.' He created a kind of eighteenth-century soap opera of the Salons: Tune in next year to find out what happened to the man cursed by his father or the family that prayed together. The very popularity of Greuze swamped his later career in an after-wash of cheap imitators; to compete with them, he ended his life cranking out 'têtes d'expression' of pretty girls in precocious orgasms of piety. They all seem mislabeled--'Psyche' instead of 'Simper,' 'Innocence' instead of 'Complicity,' undying 'Hope' instead of 'Wet Dream.'

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Fritz Gehrke (After)
Genre: Titled as “It Didn't Arrive”
Lesson: Story

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Artist Information

ER IST NICHT ANGEKOMMEN von Fritz Gehrke - Deutschland
Original wurde 1884 gemalt, traumhafte Kopie in Rahmung
Sehr schöne Kopie von Fritz Gehrke, Motiv: "Er ist nicht angekommen" im Original aus dem Jahre 1884
Gemälde in klassischer Goldrahmung
Maße inklusive Rahmung: Höhe: 40 cm, Breite: 32 cm
Das Original wurde auf Leinwand 1884 gemalt, Kopie auf Holz
Motiv: Er ist nicht angekommen
Maler: G.D. Friedrich
Herkunft: Deutschland

tikforum - Berlin
• Das Antikforum - Berlin bietet ihnen Designspektakel der ganz besonderen Art: bestechend durch klassisch-modernen Gemälden im Original oder auch als Kopie, welches harmonisch Funktion und Proportionen vereint.
• Wir vom Antikforum - Berlin sind stets bemüht, Sie als Kunden zufrieden zu stellen. Wir bauen dabei auf ein einfaches Prinzip: Nur das Beste ist gut genug. Hochwertige Materialien, ausreichend Zeit, ein gutes Augenmaß und viel Geschick sind die Grundlagen dieses Anspruchs. Das garantiert dem Antikforum - Berlin ein langes Leben, höchste Qualität und exklusives Design.
• Die Produkte des Antikforums - Berlin sind das Zentrum Ihres Wohnraumes. Deshalb legen wir auf funktionales und exklusives Design in diesem Bereich größten Wert. Doch Kunstgegenstände sollten nicht nur gut aussehen. Auch die Quallität spielt eine wichtige Rolle. Schließlich sollen Ihre Kunstgemälde ein leben lang halten - gerade deshalb sind wir ständig unter höchsten Qualitätsansprüchen auf der Suche nach neuen Kunstgemälde die Ihr Heim verschönern soll. Für unsere Gemälde gelten besondere Vorschriften, insbesondere bei der Auswahl. Wer will schon minderwertige Qualität an den Wänden zu hängen haben. Gerade bei E-Bay gibt es eine Unmenge von unseriösen Gemäldeverkäufern, welche Ihre billigste Chinaware teuer und gut präsentieren und verkaufen wollen.
• Aber nicht nur durch Qualität und Design wollen wir überzeugen. Auch ein innovatives Logistikmanagement gehört zu unseren Ansprüchen, damit Sie schnell und sicher zu Ihren neuen Möbeln oder Gemälden kommen - schließlich stehen Sie als Kunde stets im Mittelpunkt unseres Unternehmens.

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Archipenko (After)
Modernist: Titled as “It Didn't Arrive”

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

• Ebay

Artist Information

A SPECTACULAR & IMPORTANT Modernist Bronze Statue of a Stylish Figure....GREAT ITEM!.... unsigned Archipenko ??......in EXCELLENT CONDITION.....ALL CAST IN BRONZE...very nice detail - wondeful brown patina....dimensions: size 21 1/2" height ; base is 3" diameter ..........selling at NO RESERVE....buyer pays $24.00 shipping with insurance.....questions please email......SELLER's NOTE: this is from my personal collection that i am liquidating....
tikforum - Berlin
• Das Antikforum - Berlin bietet ihnen Designspektakel der ganz besonderen Art: bestechend durch klassisch-modernen Gemälden im Original oder auch als Kopie, welches harmonisch Funktion und Proportionen vereint.
• Wir vom Antikforum - Berlin sind stets bemüht, Sie als Kunden zufrieden zu stellen. Wir bauen dabei auf ein einfaches Prinzip: Nur das Beste ist gut genug. Hochwertige Materialien, ausreichend Zeit, ein gutes Augenmaß und viel Geschick sind die Grundlagen dieses Anspruchs. Das garantiert dem Antikforum - Berlin ein langes Leben, höchste Qualität und exklusives Design.
• Die Produkte des Antikforums - Berlin sind das Zentrum Ihres Wohnraumes. Deshalb legen wir auf funktionales und exklusives Design in diesem Bereich größten Wert. Doch Kunstgegenstände sollten nicht nur gut aussehen. Auch die Quallität spielt eine wichtige Rolle. Schließlich sollen Ihre Kunstgemälde ein leben lang halten - gerade deshalb sind wir ständig unter höchsten Qualitätsansprüchen auf der Suche nach neuen Kunstgemälde die Ihr Heim verschönern soll. Für unsere Gemälde gelten besondere Vorschriften, insbesondere bei der Auswahl. Wer will schon minderwertige Qualität an den Wänden zu hängen haben. Gerade bei E-Bay gibt es eine Unmenge von unseriösen Gemäldeverkäufern, welche Ihre billigste Chinaware teuer und gut präsentieren und verkaufen wollen.
• Aber nicht nur durch Qualität und Design wollen wir überzeugen. Auch ein innovatives Logistikmanagement gehört zu unseren Ansprüchen, damit Sie schnell und sicher zu Ihren neuen Möbeln oder Gemälden kommen - schließlich stehen Sie als Kunde stets im Mittelpunkt unseres Unternehmens.

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Tagliariol
Modernist: Titled as “It Didn't Arrive”

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

tikforum - Berlin
• Das Antikforum - Berlin bietet ihnen Designspektakel der ganz besonderen Art: bestechend durch klassisch-modernen Gemälden im Original oder auch als Kopie, welches harmonisch Funktion und Proportionen vereint.
• Wir vom Antikforum - Berlin sind stets bemüht, Sie als Kunden zufrieden zu stellen. Wir bauen dabei auf ein einfaches Prinzip: Nur das Beste ist gut genug. Hochwertige Materialien, ausreichend Zeit, ein gutes Augenmaß und viel Geschick sind die Grundlagen dieses Anspruchs. Das garantiert dem Antikforum - Berlin ein langes Leben, höchste Qualität und exklusives Design.
• Die Produkte des Antikforums - Berlin sind das Zentrum Ihres Wohnraumes. Deshalb legen wir auf funktionales und exklusives Design in diesem Bereich größten Wert. Doch Kunstgegenstände sollten nicht nur gut aussehen. Auch die Quallität spielt eine wichtige Rolle. Schließlich sollen Ihre Kunstgemälde ein leben lang halten - gerade deshalb sind wir ständig unter höchsten Qualitätsansprüchen auf der Suche nach neuen Kunstgemälde die Ihr Heim verschönern soll. Für unsere Gemälde gelten besondere Vorschriften, insbesondere bei der Auswahl. Wer will schon minderwertige Qualität an den Wänden zu hängen haben. Gerade bei E-Bay gibt es eine Unmenge von unseriösen Gemäldeverkäufern, welche Ihre billigste Chinaware teuer und gut präsentieren und verkaufen wollen.
• Aber nicht nur durch Qualität und Design wollen wir überzeugen. Auch ein innovatives Logistikmanagement gehört zu unseren Ansprüchen, damit Sie schnell und sicher zu Ihren neuen Möbeln oder Gemälden kommen - schließlich stehen Sie als Kunde stets im Mittelpunkt unseres Unternehmens.

Listed In:
• Who Was Who in American Art
• Davenport's Art Reference and Price Guide
• The Artists Bluebook
• Mantle Fielding's Dictionary
• Mallet's Index of Artists
Museums Holding this Artist

Links to Additional Information on this Artist:
• AskART.com
• Peter Blake Gallery

Art Cost & Investment Analysis
Original on-line purchase price (1999): $1,323.00
Additional costs
Shipping & any insurance costs: $25.00
Added Costs:
• Professional cleaning & restoration: 200.00
• Framing: 165.00

Total Additional Costs $395.00
Total investment to date: $1,674.87

Art Valuation Information & Links

Types of art values LINK
Cash / Auction
Replacement / Insurance
Valuing art: formulas
Valuation Data
Was it a good deal?
Ebay faux auction ad & results
Show link to a high quality painting by Carlsen - the detail
ADD THIS INFO IN A SEPARATE LINK:
The artist's fame has continued to the present time, when his fine paintings still excite collectors and museum visitors. This painting has some similarities to works by Carlsen, however there are some important differences which suggest that this may not be an authentic work by the artist. Certainly, the arrangement of the flowers and the placement of the vase in the space might seem comparable to a Carlsen work, however, there is a general lack of the fine details and textural differences which are so important and apparent in Carlsen's work. The signature does seem to resemble the artist's, although most are quite level and rarely contain the sort of rise which is found in the middle of the last name.

In considering these factors and the concerns listed above, this painting should be listed as Attributed to Emil Carlsen and would have the auction value as cited above. If documentation were to be found which could substantiate this work as definitely that of Carlsen, this value could be greatly increased.
Emil Carlsen was a respected artist and teacher with a productive career. He immigrated to the U.S. in 1872 and spent most of his career here. His listing in "Who Was Who in American Art" notes the fact that early in his career he was recognized for his large, brilliantly colored florals. The work you have would have to be a later interpretation of this earlier theme, since it is dated 1909, long after he established his career. Florals have come to the auction market at least four times in the past several years and reached strangely varied hammer prices. 2001: $27,600; 2000: $65,000; 1999: $23,000; 1999: $63,000 - this represents a swing of over $40,000 and implies that aesthetics, condition and size are playing a large part. I am concerned that this work may be a reproductive print that has been affixed to a textured pressboard. The texture of it resembles the consistent, all-over texture one finds on pressboard that has been molded to appear like the textured surface of a painting. Also, the back suggest it is indeed pressboard, or a paper board, as opposed to an artist's canvas board or a slab of masonite - both of which would be much more likely supports for this painting. I strongly advise that you take the work to a local appraiser or art expert who can determine for sure whether this is an original oil. To complicate matters, whether this is original or a repro, one would have to admit that either way it does not seem to exhibit the level of detail and finesse seen in Carlsen's work. The composition is not as complex as others that I reviewed in my research. The point being that, if an actual painting, I would not be entirely sure it is his work, although it is obviously highly derivative of his paintings and bears his signature. I am going to suppose this is a varnished, textured reproduction, but if it can be authenticated as the work of Soren Emil Carlsen, it would gave an auction value of roughly $18,500. Retail, it would go for $30,000.

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Glinksky
Modernist: Titled as “It Didn't Arrive”

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Recent Photograph
What it looks like now...

Original On-Line Photograph
What I saw when I first bought it...

Original on-line purchase price: $1,323.00
Want to buy a painting like this one? The key buying strategy for this piece is called Playing Old-Maid.

Art description: Original oil on painting on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).

Terms & links used to describe this art & artist:
• This style of art is known as: realism
• This art's lineage is: early American
• Other site-terms associated with this art, include:
o heavily listed artist
o period forgery

Every artwork in the ArtCollecting.info collection provides at least one unique lesson that assists beginning web-collectors in making better decisions about a new art acquisition.
The lessons-learned from this particular piece, include:
Lesson One: The impact of professional art cleaning & restoration
Professional art cleaning and restoration can have a monumental impact on both the value & appearance of an artwork. After comparing the original purchase photo to a more recent image of this painting, most readers would safely categorize this comment into the "no, shit" category. So what's the trick for beginners? Learning what will clean up well - and what won't. Also, what sort of problems will likely be very expensive to restore versus more affordable improvements.
Additional collected artworks providing supplementary lessons about art cleaning & restoration, include:
• Aage Bertelsen
• Alphonse Marie De Neuville Neuville
• William Fridericia
Helpful site articles about art cleaning & restoration:

• Common damage: what does it look like?
• Do-it-yourself art cleaning & restoration techniques
• Interview with my art conservator: Susan Jones

Useful web links regarding art cleaning & restoration:

• Common damage: what does it look like?
• Do It Yourself art cleaning & restoration techniques
• Interview with an art conservator: Susan Jones
Lesson Two: Period forgeries are relatively common amongst pieces signed by prominent artists.
Artists as well recognized as Emil Carlsen are not only forged today - they were also copied during their active years. Thus, you'll come across paintings that even the signature is "correct".
There's three basic types of forgeries:

(Forgeries link) There's a lot of approaches to forging an artwork. Some of the more common, include:
• A period forgery - these are tougher
• The signature doesn't appear so obviously added later
• Adding a signature of a noted artist to an unsigned painting of the same period done in the style of the artist - some are really bad examples
• Peto / Harnett story & example
• A recent copy
Most often, art forgeries are so poorly rendered that a few samples viewed on the artist from a Google search will send you on your way. However, a period copy in the style of the artist...
Do your homework
I twice was premature in getting an evaluation of this painting. Shame on me!

Additional collected artworks providing supplementary lessons about art copies and art forgeries, include:
• Jon Frederick Peto
• Greuze
• Anthony Van Dyck: Sir Thomas Hamner
Helpful site articles about art copies and art forgeries

• Common damage: what does it look like?
• Do It Yourself art cleaning & restoration techniques
• Interview with an art conservator: Susan Jones

Useful web links regarding art copies and art forgeries

• Helme: use of a piece of a painting as a forgery
• Do It Yourself art cleaning & restoration techniques
• Interview with an art conservator: Susan Jones

- Buying strategies to duplicate this acquisition
Original on-line purchase price: $1,323.00
Buying strategy associated with this piece: a willingness to play Old-Maid.
Helpful search tips - to find an artwork like this one: An acquisition like

Art & Artist Information

Description of Art
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
A still life painting of chrysanthemums in a vase.
Provenance
• Ebay

Artist Information

A SPECTACULAR & IMPORTANT Modernist Bronze Statue of a Stylish Figure....GREAT ITEM!.... unsigned Archipenko ??......in EXCELLENT CONDITION.....ALL CAST IN BRONZE...very nice detail - wondeful brown patina....dimensions: size 21 1/2" height ; base is 3" diameter ..........selling at NO RESERVE....buyer pays $24.00 shipping with insurance.....questions please email......SELLER's NOTE: this is from my personal collection that i am liquidating....
ER IST NICHT ANGEKOMMEN von Fritz Gehrke - Deutschland
Original wurde 1884 gemalt, traumhafte Kopie in Rahmung
Sehr schöne Kopie von Fritz Gehrke, Motiv: "Er ist nicht angekommen" im Original aus dem Jahre 1884
Gemälde in klassischer Goldrahmung
Maße inklusive Rahmung: Höhe: 40 cm, Breite: 32 cm
Das Original wurde auf Leinwand 1884 gemalt, Kopie auf Holz
Motiv: Er ist nicht angekommen
Maler: G.D. Friedrich
Herkunft: Deutschland

tikforum - Berlin
• Das Antikforum - Berlin bietet ihnen Designspektakel der ganz besonderen Art: bestechend durch klassisch-modernen Gemälden im Original oder auch als Kopie, welches harmonisch Funktion und Proportionen vereint.
• Wir vom Antikforum - Berlin sind stets bemüht, Sie als Kunden zufrieden zu stellen. Wir bauen dabei auf ein einfaches Prinzip: Nur das Beste ist gut genug. Hochwertige Materialien, ausreichend Zeit, ein gutes Augenmaß und viel Geschick sind die Grundlagen dieses Anspruchs. Das garantiert dem Antikforum - Berlin ein langes Leben, höchste Qualität und exklusives Design.
• Die Produkte des Antikforums - Berlin sind das Zentrum Ihres Wohnraumes. Deshalb legen wir auf funktionales und exklusives Design in diesem Bereich größten Wert. Doch Kunstgegenstände sollten nicht nur gut aussehen. Auch die Quallität spielt eine wichtige Rolle. Schließlich sollen Ihre Kunstgemälde ein leben lang halten - gerade deshalb sind wir ständig unter höchsten Qualitätsansprüchen auf der Suche nach neuen Kunstgemälde die Ihr Heim verschönern soll. Für unsere Gemälde gelten besondere Vorschriften, insbesondere bei der Auswahl. Wer will schon minderwertige Qualität an den Wänden zu hängen haben. Gerade bei E-Bay gibt es eine Unmenge von unseriösen Gemäldeverkäufern, welche Ihre billigste Chinaware teuer und gut präsentieren und verkaufen wollen.
• Aber nicht nur durch Qualität und Design wollen wir überzeugen. Auch ein innovatives Logistikmanagement gehört zu unseren Ansprüchen, damit Sie schnell und sicher zu Ihren neuen Möbeln oder Gemälden kommen - schließlich stehen Sie als Kunde stets im Mittelpunkt unseres Unternehmens.

Listed In:
• Who Was Who in American Art
• Davenport's Art Reference and Price Guide
• The Artists Bluebook
• Mantle Fielding's Dictionary
• Mallet's Index of Artists
Museums Holding this Artist

Links to Additional Information on this Artist:
• AskART.com
• Peter Blake Gallery

Art Cost & Investment Analysis
Original on-line purchase price (1999): $1,323.00
Additional costs
Shipping & any insurance costs: $25.00
Added Costs:
• Professional cleaning & restoration: 200.00
• Framing: 165.00

Total Additional Costs $395.00
Total investment to date: $1,674.87

Art Valuation Information & Links

Types of art values LINK
Cash / Auction
Replacement / Insurance
Valuing art: formulas
Valuation Data
Was it a good deal?
Ebay faux auction ad & results
Show link to a high quality painting by Carlsen - the detail
ADD THIS INFO IN A SEPARATE LINK:
The artist's fame has continued to the present time, when his fine paintings still excite collectors and museum visitors. This painting has some similarities to works by Carlsen, however there are some important differences which suggest that this may not be an authentic work by the artist. Certainly, the arrangement of the flowers and the placement of the vase in the space might seem comparable to a Carlsen work, however, there is a general lack of the fine details and textural differences which are so important and apparent in Carlsen's work. The signature does seem to resemble the artist's, although most are quite level and rarely contain the sort of rise which is found in the middle of the last name.

In considering these factors and the concerns listed above, this painting should be listed as Attributed to Emil Carlsen and would have the auction value as cited above. If documentation were to be found which could substantiate this work as definitely that of Carlsen, this value could be greatly increased.
Emil Carlsen was a respected artist and teacher with a productive career. He immigrated to the U.S. in 1872 and spent most of his career here. His listing in "Who Was Who in American Art" notes the fact that early in his career he was recognized for his large, brilliantly colored florals. The work you have would have to be a later interpretation of this earlier theme, since it is dated 1909, long after he established his career. Florals have come to the auction market at least four times in the past several years and reached strangely varied hammer prices. 2001: $27,600; 2000: $65,000; 1999: $23,000; 1999: $63,000 - this represents a swing of over $40,000 and implies that aesthetics, condition and size are playing a large part. I am concerned that this work may be a reproductive print that has been affixed to a textured pressboard. The texture of it resembles the consistent, all-over texture one finds on pressboard that has been molded to appear like the textured surface of a painting. Also, the back suggest it is indeed pressboard, or a paper board, as opposed to an artist's canvas board or a slab of masonite - both of which would be much more likely supports for this painting. I strongly advise that you take the work to a local appraiser or art expert who can determine for sure whether this is an original oil. To complicate matters, whether this is original or a repro, one would have to admit that either way it does not seem to exhibit the level of detail and finesse seen in Carlsen's work. The composition is not as complex as others that I reviewed in my research. The point being that, if an actual painting, I would not be entirely sure it is his work, although it is obviously highly derivative of his paintings and bears his signature. I am going to suppose this is a varnished, textured reproduction, but if it can be authenticated as the work of Soren Emil Carlsen, it would gave an auction value of roughly $18,500. Retail, it would go for $30,000.

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

Italian School
“Realism: Classic View from Villa & Mediterranean”

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Description of Art
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
A still life painting of chrysanthemums in a vase.
Up for bid is a very rare heavily carved Gilt Picture Frame with painting. I do not know what is depicted in the hand painted picture, but it could be set in Italy perhaps. I am selling the frame only but the picture comes with it. The picture has some spots on it, which you can see in the pictures. This is for the frame only. The picture is up to you if you want to leave it in the frame or not. The frame measures 33 1/2" wide and 25 1/ 2" tall. The frame will hold a picture size of 28" wide and 20" tall. The frame has a chip in the upper right corner, which is not very noticeable looking at the frame, and some small scuffs on it. I am not sure of the age of it but looks very antique. The frame is made of wood and is antiquish gold in color . What you see is what you get. Feel free to ask any questions before bidding and I will answer to the best of my ability as by no means am I an expert on this painting. HAPPY BIDDING!!!!!! Be sure to check out my other auctions!
Provenance
• Ebay

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

German School
“
German Folk Art Oil Painting-Child/Bauernmalerei
Winter Landscape”
Lesson: Seasonal views

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

In a fine frame
Artist:
The painting is signed "H. Hess". , an unidentified German artist.
Age:
The painting is from the late 19th century.
Medium:
The painting is a genuine oil painting on wooden panel.
Size without frame:
The picture is 30 cm /12 inches high and 40 cm /16 inches wide.
The frame itself is 6 cm /2 inches wide.
Description:
A marvellous painting of a wooded landscape in winter time. The snow is hanging heavy on the branches of the trees. Over a brook there is a small wooden bridge. The colours are laid on heavily with bold brush strokes. The light is very soft and mild.
Condition:
The painting is in good condition.
The frame is a partially gilded wooden frame. It is contemporary with the painting and in a good state with only a few insignificant scratches.
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
A still life painting of chrysanthemums in a vase.
Provenance
• Ebay

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The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

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to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

German School
“Tatiana as child”
Lesson: Family memories

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.
German folk art/bauernmalerei oil on masonite, of child with toy in rocking chair. Signed Andora lower right. Adorable painting, in good condition.Note that frame has been repainted blue, and has minor scuffs. Measure 14"x.18" without frame, and 23" x 19" ith.

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

German School
“Realist Country Genre Landscape”
Lesson: German oops!

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Description of Art
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).

Hier biete ein wunderschönes altes Bild im
Barockrahmen an es zeigt einen Fischer in
einem Boot und ein Pferdegespann.Der schön
verzierte Barockrahmen sowieder das Bild
haben kleine altersbedingte Gebrauchsspuren.
Die Maße:Breite 52 cm Höhe 41 cm.
Viel Spaß beim bieten.
Here a wonderful old picture offers in

Baroque frame to it shows a fisherman in

to a boat and a horse team. Nicely

decorated baroque frames as well as him the picture

if small age-conditioned use tracks have.

The mass: Width 52-cm height 41 cms.

A lot of fun offer with.

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

German School
“Cats Playing”
Lesson: Cats: my first + shipping over seas

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Art & Artist Information

Description of Art
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
Hier bieten Sie auf ein sehr sehr liebes Bild-Oel auf Leinen-Spielende Katzen.Das Bild ist signiert unten links Havlik.Die Darstellung ist lieb nicht nur wegen der Szene ( Die Katzen haben gerade ein Korb voll Rosen umgestossen ,zwei von den Katzen fallen um mit den Blumen und drei schauen zu ),sondern auch fuer die naive Malerei(bitte beobachten Sie die rothaarige Katze rechts).Auf jeden Fall hat das Bild eine froehliche zärtliche Ausstrahlung.Das Alter ca 80 Jahre.Die Masse :50 x 64 cm,mit Rahmen ( beim Rahmen etwas auf der Seite ist die Farbe abgerieben):66 x 81 cm
Here you offer is signed is on a very very dear picture-oil on lines-playing cats the picture below to the left of Havlik. the representation dearly not only because of the scene (the cats have just a basket full roses upsetted, two of the cats fall around with the flowers and three view to), but rather also for the naive painting please you observe has the red hairy cat to the right). in any case that ca 80 years the mass: 50 xs 64 cm with frame (in the frame something on the side the color is abgerieben):66 x 81 cm
Provenance
• Ebay

View Next Painting Return to Section Index Site Index

ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

English School
“Male Portrait Study”
Lesson: It's all in the eyes

Oil on Canvas mounted on board
12 x 9"
Signed (lower right): De Nagy
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on eBay. COM for $126.87 - 2006

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
It's all in the eyes: The key to great portrair art
Suppose you hoped to find an adorable early American impressionist painting: where you might you look? Perhaps the last place you would begin your search is a junk-seller in Belgium. Alas, that's exactly where I scored this little jewel off ebay in 2006.
Expatriated art is a common occurrence: a collector from another country buys a piece...
Additional Collecting Lessons related to this artwork are included:

Additional Collecting Lessons related to this art & artist:
• Research building...historical society
• Other matched piece sold at auction...Market square
• His scenes of people not worth as much - flowers bring most
• Standard sizes / affordable frames
• Other site-terms associated with this art, include:
o heavily listed artist
o period forgery

Additional Collecting Links to this artist / info
Ernest De Nagy was born around 1882 in Budapest and died in 1952. He exhibited at the Salons of America and The Society of Independent Artists in the 1930s. 20in. by 16in.

Google Search on this Artist

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

Lesson One: The impact of professional art cleaning & restoration
Fun in naming your pieces: living with art
Think about it: take a hard look at this portrait. What Hollywood star does the subject closely resemble.
Kevin
AKA - Kevin Spacey's long long great uncle
Unlike most current collectors - I like portraits. Although i find landscapes and similar subjects appealing, I continue to find "faces" to be the most interesting of subjects.
Of course, the presentation of a face and it's emotions vary widely.
The classical look was replaced when the camera came on full swing in the 1850's. artists were relieved of their role of having to record history - and were allowed the freedom to paint for purely aesthetic reasons.
When you are considering a realism portrait - the quality of work done on the eyes is typically considered most important. The artist who did this piece was quite obviously accomplished. whereas typical portraits from this period sow a sitter with almost lifeless "shark" eyes - the subject here stares clearly at you.
Eyes should follow you across the room. ever remember being scared by such a painting or picture as a child. It's a sign of great quality.

Art & Artist Information

Description of Art
Oil on board, 30 x 20, signed (lower left): Emil Carlsen and dated 1909 (lower right).
This is a fine example of the type of portraiture being practiced in Europe during the first half of the 19th century. The painting strikes an interesting balance between the keenly observed face of the sitter, rendered with detail and precision, in contrast with the surrounding costume and background, which were painted with great flair and looseness. In one of the raking light scans, the activity of the brushwork is evident and this contributes an energizing effect to the painting.

The overall work has great quality and would be extremely appealing to collectors. Unfortunately, the initials that were cited by the owner correspond to a great number of painters of this era, making an attribution difficult. Also, the irregularity of the panel is a bit distracting and might detract a bit from the overall attractiveness of the work. Based on the good quality of the painting, its age, and the manner in which it engages the viewer, it should have an auction value as cited above. This value may be increased if a firm attribution can be rendered upon a physical inspection of the piece.

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info

English School
“AMT”
Lesson: Rowney stamp

Oil on Canvas mounted on baord
12 x 9"
Acrylic on canvas, assembled and
mounted on panel
Gift of Stephanie, Melissa, and Leah Gilliam
1995.7 Original Image:
What I saw when first bid on this artwork
Purchased on ebay.com for $126.00 on...date / XXX

Want to buy an artwork similar to this piece? Ebay links…to buy a painting just like this one
The key buying strategy for this piece is called Playing Old-Maid....link to guidebook

Helpful search tips - to find an artwork like this one:

• heavily listed artist...ebay link

• This style of art is known as: social expressionism
• This art's lineage is: Contemporary American

BACK TO CONTEMPORARY ART

EARNEST DE NAGY
(American, 1882-1934)
Bought out of Belgium / expatriate art
Sam Gilliam began his career during the 1950s as an art student at the University of Louisville, where he studied painting. During the 1960s, Gilliam was part of a movement known as color-field painting that favored color over other concerns. His more recent work has included sculptural paintings and multi-media installations.
Regarding these paintings, the artist has explained, "I’d like you to go into the painting as much as you look at it. And not lose identity with the titles, but let the titles sort of lead you in a certain sense with your eyes closed as to what the painting is about. And I think that I don’t want to determine exactly what you think, because the only way you will really find out what the painting is about is to come back several times. And that is what I am trying to do, to set up sort of an enigma that you will carry away and then come back."
In creating these works of art, Gilliam first applied a soft acrylic paint onto fabric. While the paint was still wet, he raked the surface with special tools to create the paintings’ distinct texture. Finally, the work was cut apart and reassembled in the current configuration.
Additional Collecting Lessons related to this artwork are included:
o Secondary Lessons:
o Expatriated art
o Research / building: Historical society
o Other “matched” piece sold at auction…”Market Square”
o His scenes of “people” not worth what his scenes of areas & flowers
o Standard sizes = affordable frames
Lesson Links: Art Burglar

Ebay links…to buy a painting just like this one

Links to this artist / info

To see work by Sam Gilliam in the collection of the University of Kentucky Art Museum, click here.

2035 South Third Street • Louisville, Kentucky 40208 • (502) 634-2700
Home | FAQ’s | Links | Program Sponsors | Site Map | Copyright
Copyright © 2001 by the Speed Art Museum. All rights reserved.

Advert for George Rowney & Co, paint manufacturer
Medium; Print on paper
Genre; Leaflet
Printer; Unknown
Shelfmark; Evan.4268, 4268
Zoomable image
Large image
Add to my personal folder
Send to a friend
This is a leaflet for George Rowney & Co. Rowney & Co were well known manufacturers of watercolour paints and artists materials. Artists such as Turner and Constable are said to have used their products. New colours like 'Crimson Alizarine' would have been popular with the middle classes who had lots of leisure time and enjoyed painting still lives and landscapes. This company still exists today, they are now known as Daler- Rowney.

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ArtCollecting.info
The How-to Source for Beginning On-Line Art Collectors
Artwork images are copyright of the artist or assignee
All text copyrighted 2006 by ArtCollecting.info except as credited

ArtCollecting.info is a free resource designed
to help beginning collectors
with the affordable acquisition of highly appealing artworks
from internet resources
For Questions or Comments: Contact info@artcollecting.info