Exceptional Large c 1940s Rolph Scarlett Abstract Non Objective Gouache American
This listing is for the Exceptional Large c. 1940s Rolph Scarlett “Untitled” Gouache Painting pictured above. About this work: An excellent example of Scarlett’s desirable abstract gouache compositions from the first half of the 20th century. This work showcases Scarlett’s playful use of organic forms, reminiscent of the Spanish master Joan Miro. This colorful arrangement of shapes is set against a contrasting light green/blue background. The work is gouache on paper and is signed in the lower right. It is matted and framed behind glass. Provenance: La Parete Gallery, Toronto, Canada; (acquired from the above) Private collection, Michigan; Acquired from the above Size: 17 inches tall by 23 inches wide (artwork) 25.25 inches tall by 31.25 inches wide (frame) About the artist: Any presentation on the legacy of Rolph Scarlett has to include the history of the Guggenheim Museum’s founding, which was the peak of Scarlett’s career. Along with Wassily Kandinsky (1866-1944) and Rudolf Bauer (1889-1953), Scarlett was one of the founding artists of Solomon Guggenheim’s original museum which opened in 1938: THE MUSEUM OF NON-OBJECTIVE PAINTING. He became the third most highly collected artist among Guggenheim’s vast holdings which comprised the Museum’s permanent collection. Through the Museum’s founding curator and director, Baroness Hilla Rebay’s zealous leadership and advocacy of this radical avant-garde genre of painting and philosophy, the museum became a groundbreaking institution in New York, attracting collectors, critics, and artists. Rolph Scarlett – painter, stage and set designer, industrial designer, and jeweler – was introduced to non-objective in 1923 through a chance meeting in Geneva with Paul Klee. In 1938, after submitting a portfolio of gouaches one paper to Baroness Rebay, he was awarded a Guggenheim Grant which was enough to allow him to paint full-time. Described by Rebay as her “greatest find”, Scarlett became one of the exhibiting artists as well as a featured lecturer at the Museum on the principles of non-objective painting. The Museum and Scarlett thrived for the next ten years until Solomon Guggenheim’s death in 1949 after which the Guggenheim family – contrary to Solomon’s stated wishes – altered the programming of the museum from its exclusive focus on non-objective to a more general presentation of Modern Art. Most of Guggenheim’s collection of non-objective that had been so carefully selected and curated by the Rebay and Guggenheim – including all of Scarlett’s – were placed in storage and remained largely unseen again until the early 2000’s. Scarlett’s work was featured in several other museum shows, including the Whitney Museum of American Art’s juried annuals in 1951 and 1952. But with the bitter experience of seeing much of his best work placed into storage to remain unseen, as well as losing the important position of the museum’s featured lecturer on non-objective, Scarlett turned his back on New York and moved north to the Woodstock region. There he painted, made jewelry, and had the occasional local show. He also accepted residential teaching positions in Florida and Portugal. He later wrote a memoir, bittersweet in its recounting of the original museum’s halcyon era of 1938-1950, entitled “The Baroness, the Mogul, and the Forgotten History of the First Guggenheim Museum (As Told by One Who Was There)”. Scarlett died at his home in Woodstock in 1984. Today, Roph Scarlett is increasingly praised as one of the important contributors to the canon of American Modern. His paintings are in the permanent collections of multiple prestigious museums including The Solomon R. Guggenheim Museum of Art; National Gallery of Art, Washington, DC; Los Angeles County Museum of Art; Smithsonian Museum of American Art; Museum of Modern Art, NYC; Montreal Museum of Fine Art, Montreal, Quebec; deYoung Museum of Fine Art, San Francisco, CA, and others. Source: Frederick Holmes and Company Condition: Good overall condition. Pinpoint area of flaking upper right margin. Minor scattered surface scratches (probably from production). Frame with wear and nicks. It is ready to be displayed and enjoyed! This work will be carefully packed and shipped with insurance and signature confirmation. Free local pick up is also available. International buyers – please note I cannot lower the declared value of the package for customs. I frequently receive messages from people after I sell an item, asking if it is definitely gone. If something catches your eye, don't hesitate to inquire before it is sold! Feel free to ask any questions.
c. 1935 William Hugh Ferguson WPA Era Surrealist Portrait of Androgynous Figure
This listing is for the exceptional, museum-quality portrait by William Hugh Ferguson (American, 1905-1985) pictured above. This incredibly unusual portrait circa 1935 depicts an unidentified, androgynous sitter with a massive facial scar. Behind the figure is a surrealist background with numerous symbolic images, hidden figures, architectural elements, and a landscape. Ferguson appears to combine two major styles of the period, including American regionalism and European surrealism. This is one of the artist’s finest works, which are nearly impossible to find outside of institutional collections. The work is an oil on canvas and is signed “William H. Ferguson” in the lower left/center. Provenance: The painting has been owned by family friends of the artist for several decades. This is the first time the work is being offered to the public. Size: The painting measures 28 inches tall by 22 inches wide. It is framed, measuring 34 inches tall by 28 inches wide in total. Condition: Very good condition with minor in-painting on the left side of the image near the nude figures. The painting was recently professionally cleaned to reveal the original, vibrant colors. The frame has typical wear and some minor losses/cracks. It is ready to be displayed and enjoyed. About the artist: William Hugh Ferguson was a PAFA graduate, winning the prestigious Cresson Prize twice (1926-1927) and traveling to Paris, while he was deeply influenced by the French surrealist movement. He exhibited at PAFA twenty times between 1925 and 1952. His works can be found in numerous private and public collections including the Philadelphia Museum of Art, Pennsylvania Academy of Fine Arts, and the Reading Public Museum. This work will be carefully packed and shipped with insurance and signature confirmation. Free local pick up is also available. International buyers – please note I cannot lower the declared value of the package for customs. I frequently receive messages from people after I sell an item, asking if it is definitely gone. If something catches your eye, don't hesitate to inquire before it is sold! Feel free to ask any questions.
“George in the Park” Alyce Frank American Taos Expressionist Magical Realism Oil
She also painted many portraits of her friends, relatives, and people of Taos. “George in the Park” by Alyce Frank (1932-2024). This painting showcases her bold color, loose brushwork, and instinctive sense of composition.
Original Donald Demers “Showing Off” Docked Shrimp Boat Apalachicola Florida Oil
About this work: “Showing Off” by Donald Demers (American, b. 1956) A wonderful example of Demers’ renowned marine paintings, this work depicts the Apalachicola-based shrimp boat Lady Thelma II at the dock. The painting is painstakingly detailed in Demers’ signature realist style, which has earned him the reputation as one of the top painters in his field. This work is oil on canvas panel and is signed in the lower right and verso. It is housed in a beautiful gold frame with an accompanying nameplate. Size: 9 inches tall by 12 inches wide (painting) 14 1/8 inches tall by 17 1/8 inches wide by 1 1/2 inches deep (frame) Provenance: Private collection; Acquired from the above About the artist: Donald “Don” Demers was born in 1956, in the small, rural community of Lunenburg, Massachusetts. His interest in painting maritime subjects began while spending his summers on the coast of Maine near Boothbay Harbor. Demers, having drawn and painted from a very early age, furthered his education at the School of the Worcester Art Museum, Worcester, MA, and the Massachusetts College of Art in Boston, MA. Demers’ is a “Fellow” of the American Society of Marine Artists, an elected member of the Guild of Boston Artists, and a signature member of PAPA (Plein Air Painters of America). He has won a record twelve awards at the Mystic International Marine Art Exhibition, Mystic, CT. Recognized for his communication skills, Demers conducts workshops for artists as well as producing instructional videos and DVDs. He also lectures on his landscape and marine art. His audiences include museums, art clubs and associations, yacht clubs, historical societies and educational institutions. Today, Demers is one of the most collected marine artists in the country. Condition: Excellent overall condition. Typical wear to frame from handling. It is ready to be displayed and enjoyed! This work will be carefully packed and shipped with insurance and signature confirmation. Free local pick up is also available. International buyers – please note I cannot lower the declared value of the package for customs. I frequently receive messages from people after I sell an item, asking if it is definitely gone. If something catches your eye, don't hesitate to inquire before it is sold! Feel free to ask any questions.
2018 Master Copy Of Woman Portrait SIGNED
The 2018 Master Copy of Woman Portrait is a unique and contemporary painting signed by the artist. This medium-sized artwork, measuring 20 inches in height and 16 inches in width, features a striking portrait of a woman in a colorful and realistic style. Handmade in Germany using oil painting techniques, this one-of-a-kind piece of figurative art captures the essence of female beauty and expression. Perfect for art collectors and enthusiasts seeking a distinctive and original artwork to add to their collection.
Exceptional Huge 1927 Walter Koeniger Winter Covered Bridge Kingston, New York
The artist adapted the blue and purple shadows of the impressionist aesthetic. One historian said Koeniger had a “passion” for “frozen, snow-covered scenes of winter.”. He concentrated on capturing the fleeting moods of nature during a period when the winter scene genre was rapidly rising in popularity.
Vintage Upstate New York Original Painting Sugar Maple In Snow 1970 In Frame NY
A lovely little painting on board or artist board of a Sugar Maple tree in Upstate New York, titled on back. There is also a note “by the Mother at the Convent 1970” That line has lines through it, but the initial signature of the artist on the front lower corner of painting has a Christian symbol after it. So this likely was by the Mother. The painting is probably oil but might be acrylic? It has a greyed winter feeling, like a dark snowy day. The painting is 10 inches tall and 8 inches wide including frame. The frame is a period wood frame that likely was the original frame put on the painting. Light wear to frame.
“Daguerreotype Dandies, c. 1937” Tressa Benson Regionalist American Maine Oil
In 1931, Benson settled in a 1923 Craftsman bungalow at 4132 Highland Avenue in Downers Grove, Illinois, where she would spend much of her career painting and teaching. Active in the Chicago Society of Artists, she exhibited with the group in 1931 and showed annually at the Art Institute of Chicago from 1931 to 1938, including in the Institute’s A Century of Progress exhibition of 1933–34, held in connection with the Chicago World’s Fair.
Original 1946 Louis K. Stone Abstract New Hope Modernist Watercolor Signed
His use of earth tones are balanced by soft blues, greens, and warm coral accents. A native of Ohio, Stone studied at the Cincinnati Academy of the Fine Arts. Louis King Stone is known for his abstract, non-objective paintings.