CW American Modernism Art

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Previously exhibited: Marina Stern Venice - New Works, Forum Gallery, Ne...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Previously exhibited: New Pastels by Marina Stern, Forum Gallery, New Yo...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Marina Stern was a multifaceted New York-based artist whose works ranged...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Previously exhibited: 1) Marina Stern - New Paintings, Forum Gallery, Ne...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Marina Stern was a multifaceted New York-based artist whose works ranged...

This work is part of our exhibition Marina Stern Luminary, the artist's first retrospective since 2007. Previously exhibited: 1) An Exhibition of Recent Paintings by Marina Stern, ...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Another example previously exhibited: An Exhibition of Recent Paintings ...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Previously exhibited: 1) Forum Gallery, New York, NY (label verso), unkn...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Marina Stern was a multifaceted New York-based artist whose works ranged...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Marina Stern was a multifaceted New York-based artist whose works ranged...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Marina Stern was a multifaceted New York-based artist whose works ranged...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Marina Stern was a multifaceted New York-based artist whose works ranged...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Previously exhibited: Marina Stern Paintings, Eleanor Rigelhaupt Gallery...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Previously exhibited: Marina Stern Paintings, Eleanor Rigelhaupt Gallery...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Marina Stern was a multifaceted New York-based artist whose works range...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Marina Stern was a multifaceted New York-based artist whose works range...

(Note: This work is part of our exhibition Connected by Creativity: WPA Era Works from the Collection of Leata and Edward Beatty Rowan) Oil on panel, 14 ½ x 18 inches unframed, 22 x 25 ½ inches framed, inscribed “painted by David McCosh Property of Edward b. Rowan” and numbered “8” verso, this work is unsigned, but guaranteed to be by David McCosh Exhibited: The First Exhibit of the Iowa Artist...

Judy and Rita on Porch at Afton, c. 1936, oil on canvas, 24 x 36 inches, title inscribed on tacking margin; “Judy” and “Rita” inscribed verso, NB: purchased together with The New Roa...

Third Class Carriage (Down South), c. 1942 - 45, oil on canvas, 24 x 29 inches, labels verso read: "Painting by Mervin Honig [with address included]" and inscribed verso: "Title: Thi...

Red Tulips, 1987, oil on canvas, signed and dated verso, 40 x 34 inches, exhibited: Marina Stern Venice – New Works, Forum Gallery, New York, N.Y., from March 4 to April 1, 1989 (label verso) Marina Stern was a multifaceted New York-based artist whose works ranged from Expressionism and Pop Art to the Neo Immaculate paintings and pastels for which she is best known. A native of Venice, Stern and her family fled in 1939 to escape Italy’s repressive racial laws. After living in England for several years, the family arrived in the United States in 1941. A bright and capable student, Stern graduated from New York’s Julia Richman High School at age 15 and soon enrolled in the Pratt Institute to pursue an interdisciplinary education in the arts. Despite majoring in advertising design, Stern favored her fine art courses. She graduated from Pratt in 1946 at age 18 and began working for advertising agencies. After a brief marriage which ended in divorce, Stern married her second husband, who encouraged the artist to study at the Art Students League of New York, under the renowned Japanese American modernist, Yasuo Kuniyoshi. In Fall 1953, Stern gave birth to her first child, Michael, as she continued to study at the Arts Students League. Later in the Spring of 1957, Stern gave birth to her daughter Nina, as she continued to balance motherhood with her fine art practice and commercial art and design work. Stern’s first significant exhibitions were in 1962 at the Waverly Gallery and the Osgood Gallery, both in New York, followed by inclusion of her work in the Bertha Schaefer Traveling Collage Show from 1963 to 1964. Stern made a splash in the avant-garde art world in 1964 when Time magazine reviewed a show at Amel Gallery which featured three of her audio-visual paintings. Time’s critic noted that Stern created the “cleverest noisemakers” in the exhibition. Time dubbed this work “Talkie Pop,” a label which Stern rejected. Following this recognition, Stern was selected for inclusion in The New American Realism at the Worcester Art Museum—a major showcase of leading artists, including Andy Warhol, Robert Indiana, Roy Lichtenstein, and Jasper Johns. After the Worcester exhibition, Stern began to shift away from her “talking” Pop paintings to mysterious, interior scenes with orange, blue or black walls with windows or doors rising above black and white floors, often depopulated, but sometimes with figures. One of these works, Seven Minus Twenty-One Equals Seven, entered the permanent collection of New York’s Museum of Modern Art in 1966. By 1969, Stern began to incorporate industrial images into these scenes, and in the early 1970s, Stern created her first Neo-Immaculate works of rural, and urban landscapes, which she described as her most satisfying work. Stern often depicted locations that she held close -- New York, New Jersey, Iowa (where her son attended college), Sharon, Connecticut (where her family spent weekends and vacations) and her native Venice, Italy. Stern’s success as a Neo Immaculate painter led to consistent New York gallery representation for over two decades, first with Lee Ault Co and James Yu Gallery, and then Forum Gallery, where she had six solo shows. In 1971, Stern completed a Neo-Immaculate mural commission for the Port Authority of New York, George Washington Bridge #1 and #2, followed by another commission from the NY Cityarts Public Art Program in 1976 for a mural on Mulberry Street. Stern also enjoyed solo exhibitions in Boston (Eleanor Rigelhaupt Gallery), Connecticut (Silo Gallery, the Hotchkiss School, J. Rosenthal Fine Arts Gallery, Tremaine Gallery, and Staib Gallery), Chicago (Michael Rosenfeld Gallery), and Santa Fe (Santa Fe East Gallery). Her work was included in group shows at over a dozen public institutions, including The National Academy of Design, The Staten Island Museum, Worcester Art Museum, the Oklahoma Art Center, and the Arkansas Art Center. The Southern Alleghenies Museum of Art hosted a retrospective of four decades of Stern’s work from January 19 to April 22, 2007, entitled Perception and the Cultural Environment: The Paintings of Marina...

New York Window, 1986, mixed media on illustration board, signed and dated lower right, 31 x 20 inches (image), 36 ½ x 28 inches (sheet) Marina Stern was a multifaceted New York-based artist whose works ranged from Expressionism and Pop Art to the Neo Immaculate paintings and pastels for which she is best known. A native of Venice, Stern and her family fled in 1939 to escape Italy’s repressive racial laws. After living in England for several years, the family arrived in the United States in 1941. A bright and capable student, Stern graduated from New York’s Julia Richman High School at age 15 and soon enrolled in the Pratt Institute to pursue an interdisciplinary education in the arts. Despite majoring in advertising design, Stern favored her fine art courses. She graduated from Pratt in 1946 at age 18 and began working for advertising agencies. After a brief marriage which ended in divorce, Stern married her second husband, who encouraged the artist to study at the Art Students League of New York, under the renowned Japanese American modernist, Yasuo Kuniyoshi. In Fall 1953, Stern gave birth to her first child, Michael, as she continued to study at the Arts Students League. Later in the Spring of 1957, Stern gave birth to her daughter Nina, as she continued to balance motherhood with her fine art practice and commercial art and design work. Stern’s first significant exhibitions were in 1962 at the Waverly Gallery and the Osgood Gallery, both in New York, followed by inclusion of her work in the Bertha Schaefer Traveling Collage Show from 1963 to 1964. Stern made a splash in the avant-garde art world in 1964 when Time magazine reviewed a show at Amel Gallery which featured three of her audio-visual paintings. Time’s critic noted that Stern created the “cleverest noisemakers” in the exhibition. Time dubbed this work “Talkie Pop,” a label which Stern rejected. Following this recognition, Stern was selected for inclusion in The New American Realism at the Worcester Art Museum—a major showcase of leading artists, including Andy Warhol, Robert Indiana, Roy Lichtenstein, and Jasper Johns. After the Worcester exhibition, Stern began to shift away from her “talking” Pop paintings to mysterious, interior scenes with orange, blue or black walls with windows or doors rising above black and white floors, often depopulated, but sometimes with figures. One of these works, Seven Minus Twenty-One Equals Seven, entered the permanent collection of New York’s Museum of Modern Art in 1966. By 1969, Stern began to incorporate industrial images into these scenes, and in the early 1970s, Stern created her first Neo-Immaculate works of rural, and urban landscapes, which she described as her most satisfying work. Stern often depicted locations that she held close -- New York, New Jersey, Iowa (where her son attended college), Sharon, Connecticut (where her family spent weekends and vacations) and her native Venice, Italy. Stern’s success as a Neo Immaculate painter led to consistent New York gallery representation for over two decades, first with Lee Ault Co and James Yu Gallery, and then Forum Gallery, where she had six solo shows. In 1971, Stern completed a Neo-Immaculate mural commission for the Port Authority of New York, George Washington Bridge #1 and #2, followed by another commission from the NY Cityarts Public Art Program in 1976 for a mural on Mulberry Street. Stern also enjoyed solo exhibitions in Boston (Eleanor Rigelhaupt Gallery), Connecticut (Silo Gallery, the Hotchkiss School, J. Rosenthal Fine Arts Gallery, Tremaine Gallery, and Staib Gallery), Chicago (Michael Rosenfeld Gallery), and Santa Fe (Santa Fe East Gallery). Her work was included in group shows at over a dozen public institutions, including The National Academy of Design, The Staten Island Museum, Worcester Art Museum, the Oklahoma Art Center, and the Arkansas Art Center. The Southern Alleghenies Museum of Art hosted a retrospective of four decades of Stern’s work from January 19 to April 22, 2007, entitled Perception and the Cultural Environment: The Paintings of Marina...

Snowy Barn #2, 1971, oil on canvas, signed and dated verso, 18 x 23 inches Marina Stern was a multifaceted New York-based artist whose works ranged from Expressionism and Pop Art to the Neo Immaculate paintings and pastels for which she is best known. A native of Venice, Stern and her family fled in 1939 to escape Italy’s repressive racial laws. After living in England for several years, the family arrived in the United States in 1941. A bright and capable student, Stern graduated from New York’s Julia Richman High School at age 15 and soon enrolled in the Pratt Institute to pursue an interdisciplinary education in the arts. Despite majoring in advertising design, Stern favored her fine art courses. She graduated from Pratt in 1946 at age 18 and began working for advertising agencies. After a brief marriage which ended in divorce, Stern married her second husband, who encouraged the artist to study at the Art Students League of New York, under the renowned Japanese American modernist, Yasuo Kuniyoshi. In Fall 1953, Stern gave birth to her first child, Michael, as she continued to study at the Arts Students League. Later in the Spring of 1957, Stern gave birth to her daughter Nina, as she continued to balance motherhood with her fine art practice and commercial art and design work. Stern’s first significant exhibitions were in 1962 at the Waverly Gallery and the Osgood Gallery, both in New York, followed by inclusion of her work in the Bertha Schaefer Traveling Collage Show from 1963 to 1964. Stern made a splash in the avant-garde art world in 1964 when Time magazine reviewed a show at Amel Gallery which featured three of her audio-visual paintings. Time’s critic noted that Stern created the “cleverest noisemakers” in the exhibition. Time dubbed this work “Talkie Pop,” a label which Stern rejected. Following this recognition, Stern was selected for inclusion in The New American Realism at the Worcester Art Museum—a major showcase of leading artists, including Andy Warhol, Robert Indiana, Roy Lichtenstein, and Jasper Johns. After the Worcester exhibition, Stern began to shift away from her “talking” Pop paintings to mysterious, interior scenes with orange, blue or black walls with windows or doors rising above black and white floors, often depopulated, but sometimes with figures. One of these works, Seven Minus Twenty-One Equals Seven, entered the permanent collection of New York’s Museum of Modern Art in 1966. By 1969, Stern began to incorporate industrial images into these scenes, and in the early 1970s, Stern created her first Neo-Immaculate works of rural, and urban landscapes, which she described as her most satisfying work. Stern often depicted locations that she held close -- New York, New Jersey, Iowa (where her son attended college), Sharon, Connecticut (where her family spent weekends and vacations) and her native Venice, Italy. Stern’s success as a Neo Immaculate painter led to consistent New York gallery representation for over two decades, first with Lee Ault Co and James Yu Gallery, and then Forum Gallery, where she had six solo shows. In 1971, Stern completed a Neo-Immaculate mural commission for the Port Authority of New York, George Washington Bridge #1 and #2, followed by another commission from the NY Cityarts Public Art Program in 1976 for a mural on Mulberry Street. Stern also enjoyed solo exhibitions in Boston (Eleanor Rigelhaupt Gallery), Connecticut (Silo Gallery, the Hotchkiss School, J. Rosenthal Fine Arts Gallery, Tremaine Gallery, and Staib Gallery), Chicago (Michael Rosenfeld Gallery), and Santa Fe (Santa Fe East Gallery). Her work was included in group shows at over a dozen public institutions, including The National Academy of Design, The Staten Island Museum, Worcester Art Museum, the Oklahoma Art Center, and the Arkansas Art Center. The Southern Alleghenies Museum of Art hosted a retrospective of four decades of Stern’s work from January 19 to April 22, 2007, entitled Perception and the Cultural Environment: The Paintings of Marina...

Tower and Wires, 1987, acrylic on canvas, signed lower right, 24 x 16 inches, exhibited: Alfred P. Maurice Artist in the City Paintings 1979 - 1997, Archer Gallery of Clark College, ...

Atilt, 1982, acrylic on canvas, 32 x 48 inches, signed and dated lower right, “Alfred P. Maurice 2725 A South Michigan Ave, Chicago, IL, 60616” inscribed verso, “ATILT” inscribed verso, “Maurice.018” inscribed on frame, exhibited: 1) Alfred P. Maurice Artist in the City Paintings 1979 - 1997, Archer Gallery of Clark College, Vancouver, WA, April 8 – April 30, 1997, #11, and 2) An Artful Life: Celebrating the Life of Creator, Teacher, and Collector Alfred Maurice...

Antenna, 1980, acrylic on canvas, signed and dated lower right, 32 x 48 inches, “Alfred P. Maurice, 2725 A South Michigan Ave, Chicago, IL, 60616, ‘Antenna’” inscribed verso, exhibit...

Park, 1980, acrylic on canvas, signed and dated lower right, 32 x 48 inches, inscribed verso “Alfred P. Maurice, 2725 A South Michigan Ave, Chicago, IL, 60616, ‘Park”, labeled verso ...

Amish Farmscape #2, 1982, gouache, 9 x 12 inches, signed and dated lower right, label verso: “Artist-E. Lewandowski, Title- Amish Farmscape #2 STUDY, Date- 1982, Size- 9”x 12”, Medium- Gouache”, Provenance: Franklin Riehlman, Riverdale, New York, to Herman Zerweck, Ann Arbor, Michigan, 1996; Provenance: Richard Hartman, Gallery of Wisconsin, Wisconsin Edmund Lewandowski was among the best of the second-generation Precisionists. He is credited with extending Precisionism to the Midwest and successfully evolving the style into the 1980s and 1990s with his Neo Immaculate works. Lewandowski was born and raised in Milwaukee, Wisconsin, and studied at the Layton School of Art with Garrett Sinclair...

Pleasant Ridge, 1966-7, oil on board, signed, dated and titled verso, 16 x 24 inches, exhibited: Robert Herrmann, Cincinnati Art Galleries, Cincinnati, OH, March 4 to 28, 2000, no. 1...

View from Main Reading Room, New York, 1959-60, oil on canvas, signed and dated in pencil verso, 20 x 20 inches, exhibited: Cincinnati Art Galleries, Cincinnati, OH, March 4 to 28, 2...

Ibiza, 1978, watercolor on paper, signed, dated and titled lower right, 13 x 12 inches (sight) Allan Gould was a New York-born painter, muralist and designer. He attended Dartmouth ...

9:23am, 1969, acrylic on canvas, signed and dated verso, 44 ½ x 50 inches, exhibited: 39th Midyear Show, The Butler Institute of American Art, Youngstown, Ohio, 1972 (label verso), p...

Winged Victory of Los Angeles, c. 1960, oil on masonite, signed lower right, artist’s name and title verso, 33 x 34 1/2 inches, exhibited: 1) Edward Biberman, Heritage Gallery, Los A...

East River (Untitled), c. 1940s, oil on canvas signed lower right, 18 x 24 inches Isabella Markell was a painter, etcher, and sculptor, who is best known for her New York City scen...

Indolent Interlude, 1936, oil on board, signed and dated lower middle, 12 x 16 inches, signed verso and inscribed with title and date, exhibited Uncommissioned Portrait Exhibition, A...

Blacksmith (Untitled), 1936, oil on canvas, signed and dated lower right, 28 x 30 inches Erle Loran was an influential American painter, art historian, and educator, renowned for h...

Coney Island, Fourth of July, c. 1940s, oil on canvas applied to Masonite, signed upper right, 26 x 21 1/2 inches, presented in its original frame During the 1930s and 40s, Coney I...

Self-Portrait, c. 1940, oil and tempera on Masonite, artist’s name inscribed verso, 30 x 25 inches William Ashby McCloy was an American artist, educator, and clinical psychologist. ...

A Laborer Resting, 1930, oil on canvas, signed and dated lower center, 36 x 30 inches, inscribed verso “July – 1930 / Title – A Laborer Resting / Artist – Robert Gilbert / Price - $2...

Rooftop Bathers (Untitled), c. 1940s, oil on canvas, 22 x 32 inches, signed lower right Betty Waldo Parish gives us a delightful slice of life in 1940s New York, as we see a coupl...

Downtown New York, c. 1930s, oil on canvas, signed lower right, 10 x 12 inches; label verso reads: "Harry Dix / Title Downtown New York / Medium Oil" Harry Dix was a 20th-century p...

Neighbors, 1939, oil on canvas, signed and dated lower right, 22 x 26 inches Norman Barr was an American Scene painter and muralist known for his poignant depictions of working-clas...

Mother Elizabeth, c. 1930 - 40s, tempera on Masonite, signed and titled upper left, 22 5/8 x 16 inches, artist's name inscribed verso of original frame Ernest W. Scanes was a Mich...

Hollywood, 1941, oil on board, 18 x 24 inches, signed and dated lower right, illegible writing verso About the Painting From a distance, Beckwith deftly captures the spectacle of a Hollywood premiere. But we have not been invited to the party. Our view is from the shadows of a less glamorous neighborhood with a shaggy, unkept palm tree and rundown buildings in the shadows. We look down through the darkness past a packed parking lot to the bright lights of two iconic Hollywood landmarks, the Pantages Theater and the Broadway Building. Completed in 1930, the Pantages was built as an exuberant Art Deco movie palace, while the Broadway Building housed an upscale department store which catered to entertainment industry elites who were less impacted by the Great Depression than the common man, since movies had become the mainstay of popular culture entertainment during the 1930s with large numbers of Americans looking to immerse themselves in Hollywood escapism. Here, in a rare Los Angeles urban image, Beckwith combines that Hollywood fantasy with the more sobering foreground images which could have been pulled from the L.A. Noire fiction of Raymond Chandler...

World War II Invades Central Park, 1943, oil on canvas, signed lower right, 30 x 36 inches, literature: Barton, Phyllis, Cecil C. Bell, McGrew Color Graphics (Kansas City, MO, 1976),...

The Woodshed or Woodshed, Woodstock, 1932, oil on canvas, signed lower left, 19 x 25 inches, exhibited Downtown Gallery, New York, NY, likely as part of the solo exhibition Dorothy ...

Civilization, c. 1948, oil on canvas, signed lower left, 20 x 24 inches, label verso reads “Eugene M. Dyczkowski / Grand Inland, N. Y. / Civilization,” inscribed verso in the artist’...

Farm Tragedy (Untitled), c. 1930s, mixed media on plaster on panel, unsigned, 22 1/8 x 32 inches; label verso reads: "New York Artists Equity Association, New York, NY," provenance i...

Highway Derelict, May, 1939, oil on canvas board, signed upper right, 18 x 20 inches, exhibited 1) Society of Independent Artists, American Society of Fine Arts (Art Students League), New York, NY, April 19 – May 12, 1940, no. 535 (noted verso, listed in catalog, and see Kantner, Dorothy, Palette Palaver, Pittsburgh Sun Telegraph, April 19, 1940 – “Helen F. Price and Ethel M. Dean, the former of Johnstown, the latter of this city, are two members of the Associated Artists of Pittsburgh who are represented in the Independent Artist’s Exhibition which opens today in New York. Miss Price is represented by . . . ‘Highway Derelict’ . . . .”), 2) Solo Exhibition of Log Cabin Paintings...

Sea Shells – Blue & Gold, c. 1940s, watercolor on paper, signed upper left, 15 x 19 ¼ inches (image); title and artist’s name and address inscribed verso, presented in a newer glazed...

Winged Male Figure - Apollo, c. 1930s, polychrome bas-relief of cast aggregate, 12 x 26 inches; the mold from which this cast was taken by the artist is illustrated in St. Gaudens, M...

Sea Winds, 3rd quarter 20th century, mixed media on board, signed lower left, 16 x 20 inches, signed, titled, media and price noted in pencil verso, exhibited Visual Art Show, Southe...

Untitled, c. 1940s, oil on Masonite, signed lower right, 19 ¾ x 25 ¾ inches Ava Vorhaus Gabriel was a New York-based painter, lithographer, and designer. Born in Larchmont, Gabriel ...

Road Repairing, Lower Manhattan at Night, 1934, oil on Masonite, signed and dated lower right, 24 x 16 inches; original label verso has title and address Margit Varga was an artist,...

Portrait (Untitled), c. mid 1930s, hammered copper, 11 1/2 x 8 1/2 inches Beryl McCarthy Wynnyk was a California-based painter, sculptor, and craftsperson. She studied at the Califo...

The Show is On, 1940, oil on canvas, signed and dated lower right, 24 x 20 inches, exhibited: 30th Annual Exhibition of the Associated Artists of Pittsburgh, Carnegie Institute, Pitt...

Sea and Land Abstraction, 1936, oil on canvas board, 16 x 20 inches, signed and dated lower left, exhibited at the 18th Annual Paintings and Sculpture Exhibit at the Los Angeles Muse...

Wind Flowers in a Tzu Chow Vase, 1933, oil on canvas board, signed and dated lower right, 20 x 16 inches, label verso with title and original price ($185.00), exhibited 44th Annual E...

Shell and Leaves (Untitled), c. 1930s, mixed media on illustration board, signed lower right, 10 1/4 x 13 1/2 inches Edloe Risling was a California artist who created etchings and b...

Gracie Mansion, c. 1944, oil on canvas, signed lower right, 25 x 30 inches, presented in a newer frame Isabella Markell was a painter, etcher, and sculptor, who is best known for ...

Untitled Portrait Head (perhaps Arnold Geissbuhler, the artist’s husband), c. 1920s, bronze, signed verso, 11 x 9 x 7 inches (excluding base) Elizabeth Chase was a sculptor, printma...