Nicholas Haz

"View of Los Angeles, " Nicholas Haz, Early California City Street Scene

1917

Guy Wiggins Clearing after a Shower Signed lower right, titled on verso Oil on panel 12 x 16 inches Guy Carleton Wiggins is best known for his impressionistic snow scenes of New Yo...

Hayley Lever (1876 - 1958) Concarneau, Brittany, France, 1905 Oil on panel 6 3/4 x 9 1/2 inches Signed by the artist lower left Inscribed by another hand on the reverse Provenance: Clayton-Liberatore Galleries, Bridgehampton, New York Hayley Lever’s (1875-1958) versatility has worked against his posthumous reputation. He was never associated with a single artistic movement, instead producing impressionist, post-impressionist, and expressionist works. While best known as a painter of post-impressionist marine scenes, his subject matter included landscapes, urban scenes, and still lifes across his 60-year career. This lack of a singular style or subject has given him an amorphous place in U.S. art history despite his obvious accomplishments. [Richard] Hayley Lever was born in Bowden, South Australia in 1875. He excelled in painting classes at Prince Alfred College (1883-91) and Norwood Art School (1891-93) in Adelaide. In the 1890s, Lever moved to England, studying art in London and painting at St. Ives, a fishing port and popular artistic colony on the Cornish coast. In St. Ives, Lever shared a studio with Frederick Waugh, and studied painting with Albert Julius Olsson and Algernon Talmage. Lever was a plein air painter particularly interested in the effect of sunlight on the sea. He painted in a distinctive style, strongly influenced by the works of Vincent van Gogh, that might now be called post-impressionism. He used a limited palette to paint the St. Ives harbor, particularly at dusk or in the moonlight. His strong contrasting colors and thick use of paint created a crisp and physical surface that earned him acclaim in Europe. Lever’s many St. Ives seascapes are among his most popular works. In 2017, his painting entitled “The Old Lighthouse and Fleets of St. Ives” sold at auction for $162,500. In 1912, Lever moved to New York to test the art market in the United States. In Manhattan, Lever met prominent U.S. painters such as Ernest Lawson, Robert Henri, William Glackens, John Sloan, and George Bellows. Lever exhibited with this group regularly in New York City, painting parks, streets, bridges and the Manhattan waterfront. However, he soon discovered the scenic potential of Gloucester, Rockport, and Marblehead in the Cape Ann area of Massachusetts...

Everett Warner On the Wharf Signed lower left Oil on panel 15 x 20 inches Provenance Cooley Gallery, Old Lyme, Connecticut Everett Warner was born in...

Howard Everett Giles (1876 - 1955) MacMahan's Maine Oil on canvas backed with board 30 x 30 inches Signed lower right Provenance: Art Institute of Chicago Christie's New York, December 8, 2011, Lot 2 Howard Giles spent most of his career in New York City, where he was an educator, magazine illustrator, and painter who espoused the theory of Dynamic Symmetry. He was born in Brooklyn, and as a young man worked in a New York railroad office. Financial support of a family friend allowed him to study at the Art Students League with H. Siddons Mowbray. In early 1910, he became an illustrator for Scribner's Magazine, and in 1912, on sketching assignment for Scribner's went to England. During World War I, he did illustration for Harper's Monthly Magazine, and many of his images were 'roaring twenties' genre and figure paintings. In 1912, he began teaching life classes at the New York School of Fine and Applied Arts (later Parsons School of Design), and remained there until the late 1920s. During that time, he was also a part-time instructor at the Childs-Walker School in Boston, and accepted numerous invitations to lecture including at Carnegie Institute in Pittsburgh, Pennsylvania Academy of the Fine Arts, Detroit Institute of Arts and Wellesley College. His initial painting style was Impressionism, but he grew increasingly interested in other scientific, aesthetic theories. He worked with Jay Hambridge from 1916 to 1919, applying Hambridge's theory of Dynamic Symmetry to his painting and his lecture topics. From 1922 to 1926, Giles also worked with and was influenced in his own painting by colorist theorist Denman Ross, who espoused a limited and related color palette. For many of his paintings, Giles used watercolor although he also painted in oil and pastels. During the last years before his retirement when he moved to Woodstock...