Edouard Leon Cortes
Edouard Leon Cortes was born in Lagney, France in 1882. At the age of 17, Edouard began his studies at the École des Beaux-Arts in Paris. His first exhibition in 1901 brought him immediate recognition. The way he was able capture the magic in his paintings of Paris is what brought him much acclaim. His French landscapes have a universal fascination which his audience can relate to. His paintings dance with beauty, as the speckling of light across each work creates intriguing subjects alluring to a nostalgia. Each of his city scenes glows with arresting beauty. The flower markets, the quaint boutiques, the sidewalk cafes and beautiful landscapes all enter into his brilliant, jewel-like compositions which are known and revered all over the world.
His works were first exhibited in North America in 1945 and he subsequently achieved even greater success. In his last year of life he was awarded the prestigious Prix Antoine-Quinson from the Salon de Vincennes. A member of the Society of French Artists, Edouard Cortes was a painter who made an indelible imprint on the minds and affections of art lovers not only in Europe but also throughout the United States.
Guillaume Seignac was born in Rennes, France in 1870. He became a dedicated follower to traditional academics. From 1889 until 1894 he studied at the Academy Julian in Paris, where he received vigorous training . His teachers included Tony Robert-Fleury, a noted history and genre artist, Gabriel Ferrier, who had been awarded the Prix de Rome in 1872 and William Adolph Bouguereau, one of Frances most academic painters of the time and winner of the Prix de Rome and one of the most successful French painters of all time. Each teacher a highly renowned painted from the 19th Century. Seignac began exhibiting at the Salon in 1897 and did so almost yearly until his death in 1924. He was elected a member of the Society of French artists in 1901 and that same year was also appointed an Officer of the French Academy. Seignac also received an Honorable Mention at the Salon of 1900 and a Third Class medal in 1903. In 1906 Seignac was appointed to the post of Officer of Public Instruction in Art. Specializing in portraying romantic figures of beautiful women, both in the nude and clothed, he was addressed with much success, mostly in the United States, where his work could be found in many collections.
The look of the "Official" art of the Salon continued in the work of Guillaume Seignac, or, as Charles Saunier wrote of his art in the Salon of 1908: "Bouguereau is dead, long live Bouguereau! Or, rather, long live Monsieur Seignac! For in the works of the disciple live once more the subjects dear to the dead artist, with his mellowness and perfection of execution."
Albert Nemethy (Albert Szatmar Nemethy) was born on March 31, 1920 in Budapest, Hungary. As a young Jewish boy he realized a gift for art that animated his thoughts and artworks throughout his life. Largely self-taught, he sought inspiration in the old masters, yet always strove to express his own ideas. Even thought he was blind in his left eye since an early age, Nemethy was educated at the Academy of Art in Budapest. He and his wife Georgina and family, moved to Salzburg, Austria in 1948, and then to Munich, Germany, where they stayed for two and half years. There he was chosen the “First Artist” out of a group of 600 artists in 1950 and was given an opportunity to exhibit at the National Gallery at Munich, Germany.
In 1951 the Nemethy family of 6 children came to the United States, settling first in Montclair New Jersey. Nemethy was especially interested in the Hudson River Valley School, and he came to public attention primarily through his exquisitely detailed paintings of Hudson River steamboats depicting life during that time and modes of transportation for commerce and pleasure in the manner of James Bard. Out of homage to the Hudson River School artists, he also painted landscapes, then portraits, and genre scenes. Painting almost every day and far into the night, he produced thousands of paintings.
His work of art is unrivaled and unparalleled in subject, color, design and illustrative power. His art is traditional in technique and highly philosophical in aim. Much of his inspiration comes from the Old Testament once declaring "We are able to see the past much better than the present”. Nemethy had other talents besides painting. While in Germany he passed a test on organ building and for many years worked on designs for organs to be built along methods entirely unique in the musical world. He also had a working knowledge of woodworking and masonry.
Albert Nemethy specialized in painting murals for factories, churches, plant lobbies and various companies. Several were painted in New York City, including Worthington Corporation on Park Avenue, New York. These murals, although highly sophisticated, harmonize with their surroundings. In these delightful renderings, he usually depicted science, music, life, time, water, love and transformation of form in modern art. Besides murals, Nemethy also specializes in portraits and landscapes, with a distinct style all of his own and he refers to this style as “psychic realism”. While his works does not have any artistic kinship with one of the most celebrated painters, Salvador Dali, many of his admirers recall Dali’s art. However, he has nothing in common with Dali’s "bizarre weirdness". He is a painter of Life, Nature, Humanity, Love, Flowers, and Music.
In the more recent years his painting subjects widened considerably to include grand landscapes of the American west in the manner of Bierstadt and what he cared about most, his paintings of “moralism”. Where his fertile mind gave expression to a complex philosophy of the role of human life in the universe, a legacy he wished to present to the public and to be remembered by.
As an international artist he received membership in the Munich Academy of Art in Munich in 1950. Also his paintings were exhibited at the U.S. Military Academy at West Point and at the Temple Hill Museum and Lodge in Vails Gate, New York. A piece painting depicting the Washington statue situated in Budapest's City Gardens decorates now the White House in Washington. With important international donations like the paintings “Chaikovsk’s Symphony” and portrait to “President Mihail Gorbachev” to the people of Russia. Nemethy painted and presented to President Richard Nixon several works, one of which was to commemorate the bi-centennial of the United States of America.
Given the vast quantity of works he produced, now residing in collections around the nation and abroad, many of them unsigned, his legacy will all be uncovered for years to come. Near to his last days, his enthusiasm for painting did not diminish, he died on September 3, 1998 and he was buried in his native Budapest, leaving us an extraordinary legacy of art.
Martha Walter was born in March 19, 1875 in Philadelphia, Pennsylvania. Walter is a well-known American Impressionist painter as she benefitted from an excellent arts education. She attended Girls High School from 1895 to 1898, Walter studied at the Pennsylvania Museum & School of Industrial Art, now The University of the Arts College of Art and Design. Then she enrolled with William Merritt Chase at his summer school in Shinnecock, Long Island, followed by enrolling the Pennsylvania Academy of Fine Arts studying under Chase’s wing. Showing on Walter's early work a very strong influence of Chase, translated in a use of rich saturated colors, combined with a very successful application of black paint. Since black was a pigment extraordinarily difficult to master and often omitted in the general course of American Impressionism. She was also was one of the few American Impressionists who used black in her palette.
The Pennsylvania Academy of Fine Arts is where she was awarded the school's Toppan Prize and in 1903 she won a two-year traveling Cresson Scholarship that gave her the opportunity to go to France, where she attended the Académie de la Grande Chaumière under the tuition from Rene Menard and Lucien Simon and the Académie Julian in Paris, she also visited, Spain, Italy and Holland. In 1909 Walter also won the school’s Mary Smith Prize from the Academy for the best painting by a resident female artist of portrait she had painted in Europe. And in 1922 she was given a solo show at the Galerie Georges Petit. Seeking to explore outside of the academic structure, she established a private studio in the Rue de Bagneaux along with several other American women artists. But at the outbreak of World War I, she returned to the United States and set up a studio in Gloucester, Massachusetts. She began painting charming beach scenes in New York and Massachusetts; the fishing village of Gloucester, and Coney Island, Atlantic City and from along the French Coast provided an ideal subject for her with its bright colors and scenes of cheerful children, which have brought her national acclaim.
Walter is also known for her depictions at Ellis Island of the immigrants as they arrived in their ethnic costumes from other countries, poor children in rural Tennessee, and later, orientalist compositions of market scenes from her travels in North African cities. Though influenced by the artists of both the European and American art worlds, it could be said that she developed a unique painting style. Her training with Chase is evident in the saturated colors and plein-air subject matter in her early Impressionist work with bold dashing brush strokes in conjunction with total color control and well organized composition. Her painting captured the animation of the city and the light and color of seashore scenes.
Walter lived a charmed life keeping addresses in New York City, suburban Philadelphia and Gloucester while continued to visit Paris frequently traveling abroad, capturing in oil and watercolor a wealth of landscapes and cultures across the globe. Her outdoor scenes, both of city and country life, were vividly colored and somewhat abstracted. The palette changed according to the setting, but Walter’s strong, well-chosen colors were continually alluring. Her loose rendering of form gives the work an abstract quality, and the quick brushstrokes reinforce the sense of fun and vitality. Eventually she took up a teaching position at the New York School of Art, run by her old teacher William Merritt Chase. And after 1945, Martha spent most of her time in Huntingdon Valley and Glenside, Pennsylvania, where she enjoyed painting flowers from her garden.
Walter’s works can be found in the collections of the Pennsylvania Academy of the Fine Arts, The Detroit Institute of Arts, the Art Institute of Chicago, the Philadelphia Museum of Art, the Woodmere Art Museum, the Cheekwood Museum in Tennessee, the Toledo Museum of Art, the Milwaukee Art Museum, in France the Terra Museum at Giverny and the Musee d' Orsay in Paris, and the Musee Du Luxembourg, among others. She never married, and in her later years she preferred not to be disturbed by galleries and museums. And although well advanced in years, Martha Walter lived to the age of one hundred and one and continued to paint until a few years before she died on January, 1976 in Gloucester, Massachusetts.
Jacques Zucker was born in 1900 in Radom, Poland. He was a notably famous Jewish American artist mostly known for his expressionist figure paintings. In his young years he traveled to Palestine to study fine arts at the Bezalel Art School in Jerusalem. In 1917 he joined the British Royal Fuesiliers under the leadership of General Allenby to liberate Palestine from the Turks. After the first World War he settled in Paris, where he continued his studies at Académie Julian and Academie Colarossi. He then emigrated to the United States in 1922 and continued his art studies at the National Academy of Design. He supported himself by designing jewelry.
In 1925 he returned to Paris and studied at the Academie de la Grande Chaumier et Colarossi. During the Depression he worked for the WPA. From 1928 he took part in the Paris Salons: Autumn and the Tuileries. His works are expressionistic variations in the type of the Ecole de Paris. As a protégé of both Chaim Soutine and Renoir, hints of their style can be observed in much of his own work. Zucker’s style, that may have been influenced from the art of artists such as Marc Chagall, took pride in being an “internationalist”, standing the art of painting in its highest expression is universal no matter where the canvas was created.
People who respond to quality in art will understand the beauty and meaning, in their own land or in a foreign land, this was his main idea behind his artworks that was exhibited in numerous solo show in leading galleries and museums in New York, Paris, Tel Aviv, and other art centers. Claude Roger-Marx of Figaro Litteraire, dean of French art critics, write a comprehensive study of Zucker’s illustrated with 135 color and black and white plates. He traveled widely, including Italy, Spain, Portugal, Mexico and Israel. From then on Zucker lived alternately in New York and Paris, maintaining homes in both places, and spent considerable time painting in Mexico, Portugal, Greece, and Israel.
Zucker's post-impressionist works including town and landscapes, still-lives, and portraits, are part of an array of permanent installments in numerous museums and private collections in Tel Aviv, including the Joseph Hirschorn collection in Washington, D. C., the Museum of Modern Art in Paris, and the Bezalel Art Museum in Jerusalem. In 1947 he settled in Arcueil near Paris. Zucker died in 1981 in New York.
George Nemethy was born in 1952 in New York City. The Nemethy family immigrated from Hungary and consisted of six artists, all pupils of their late father Albert Sz. Nemethy. The children Julien, Albert Jr., George, Veronica, and the twins Kristina and Georgina. All of them were taught and inspired by their respected father, an American traditional and well groomed marine painter of high regard. George, as a pupil of his late father, became an artist through his inspiration and teachings. George is known for his pastoral miniature sail boat oil paintings. As a 20th century artist he was greatly inspired when he was young by Persian miniatures. Out of this fondness and extensive studying of these models, a devotion to intimacy and solitude was born. Devoting extreme patience to detail, achieving mastery to each and every work with his use of color and size.
Creating pastel hues across the waters with shimmering highlights, and puffed clouds pulling down to the sea, there is a magic being created. In his pieces we can find all the qualities that so many are in love with, and the reason why his paintings are sought after by elite collectors, sailors, and curators. His dreamy puffed clouds that are so effortlessly contrasted with the majestic blues in his sky and water, piece together this absolutely breath taking works. What creates an even more shocking and delightful surprise is, in almost every sailboat painting, if you look closely enough you will find tiny people depicted in the sail boat. In this piece you will find two people sitting about. His extreme attention to detail, and his fixation on miniatures when he was a child is what establishes such a wonderful enchantment to every single one of his masterful sailboat paintings. When critics refer to his work, they write on his sincere ability to achieve pure tranquillity in his paintings.
A George Nemethy is hard to come by, largely because he is often traveling to pick up inspiration for his tranquil color pallet. An artist on the run, George's most sought after "colors on the sea" works are hard to find. Worldwide, sailors, curators and collectors have followed him from coast to coast to track down one of his precious paintings. Today George's works are almost impossible to find. We are pleased to have an extremely rare private collection of his works.
Elaine de Kooning
Elaine de Kooning was an accomplished landscape and portrait artist active in the Abstract Expressionism movement of the early 20th century. She was a member of the Eighth Street Club (the Club) in New York City. The Club’s members were part of the abstract expressionist movement, and the Club functioned as a space to discuss ideas. A membership position for a woman was rare at this time. Women were often marginalized in the Abstract Expressionist movement, functioning as objects and accessories to confirm the masculinity of their male counterparts. On December 9, 1943, she married Dutch action painter Willem de Kooning, whose career eventually eclipsed hers.
Elaine de Kooning was a part of the abstract expressionist movement. She chose to sign her artworks with her initials rather than her full name, to avoid her paintings being labeled as feminine in a traditionally masculine movement. She made both abstract and figurative paintings and drawings. Her earlier work comprised watercolors and still lifes, including 50 watercolor sketches inspired by a statue in the Luxembourg Gardens in Paris. Later in her career, her work fused abstraction with mythology, primitive imagery, and realism. Her gestural style of portraiture is often noted, although her work was mostly figurative and representational, and rarely purely abstract. She produced a diverse body of work over the course of her lifetime, including sculpture, etchings, and work inspired by cave drawings, all in addition to her many paintings. Late in life, she produced a series of paintings inspired by the paleolithic cave paintings of Lascaux in France and Altamira in Spain; these were shown at the Fischbach Gallery in November 1988. She died three months later from complications of lung cancer.
Lucien Adrion was born May 25, 1889 in Strasbourg, France. He was was a French Post-Impressionist painter, draftsman, and printmaker known for his depictions of the French countryside and beaches, as well as Parisian life including landscape, still life, figure and landmarks paintings. He began his initial studies in Strasbourg as a technical draughtsman. In 1907, at the age of 18, he left his hometown Strasbourg and traveled to Paris, where he found employment in a large drafting company to work as a fashion illustrator. Adrion changed his mind upon arrival and rather than working for a large company, he decided to peruse his artistic career by traveling to London, Munich and Frankfurt. As the World War broke out he had to go to Berlin, where he studied as an engraver with Hermann Struck, who was also the teacher of Marc Chagall. He remained in Berlin until the war ended and after the demobilization, Lucien would study engraving under Franz Ritter von Struck, who was Marc Chagall's teacher as well. Adrion returned to his home town in France in 1919, and then eventually moved to Paris, where he took a studio in Montparnasse of Paris and allied himself primarily with the young Eastern European painters such as Chaim Soutine, Pinchus Krémègne and Michel Kikoine to operate. In 1921 Adrion had his first solo exhibition at Galerie Chéron and then in 1926 at the age of 37, he had his first major exhibition in the Salon des Indépendants, where later on, he exhibited regularly. In 1940 he exhibited in the Salon d'Automme and the following year 1941 in the Salon des Tuileries where he exhibited several landscapes. As an engraver, watercolorist and painter from the French school, he took a variety of external scenes as subjects for his work, showing a particular fondness for the picturesque aspects of the Parisian landscape, beach scenes and horse races. Throughout his career, Adrion continued to exhibit his work at Salons in Paris, where his paintings were praised for their ability to capture the movement and transience of urban life. He eventually left Paris to settle in Normandy, where he began focusing on beach landscapes subject, with a great success because they became very popular as decorative paintings. He died on August 1953 in Cologne, France.
Maurice Bompard was born in 1857 Rodez, France. He was mostly known as a French orientalist painter that represented meticulously executed scenes from the Eastern daily life, but as well his particularly magnificent views of Venice. At a very young age he went to Marseille to study at the École des Beaux-Arts, later he went to Paris where he studied fine arts under Gustave Boulanger and Jules Lefèvre tuition. In 1882, he won a scholarship allowing him to visit Germany, Italy, Tunisia and Spain. It can be noticed the influence of his journey to Spain with some reminiscences of architectural decorations in the piece ‘Harem in Granada’ based in an imaginary scene, and of Tunisia with the piece ‘Tunisia Butcher’.
For Bompard, everything changed in an exhibition in 1890 with his first success ‘Les Bouchers de Chetma’, presented at the Salon des artistes as an evocation of a little oasis near Biskra, which he discovered on the occasion of his wedding trip in Algeria, in 1889. From 1889 to 1893, Bompard stayed every winter at Biskra, taking advantage as many other artists did of the privileged scenes of having the streets of Tilatou as his workshop. The fantasized Eastern scenarios and the support of his academic painting studies was followed by the stays in the Sahara: turning himself into a traveling painter. By painting in this scenarios it was observed a clarification of his chromatic palette to white, ochre and orange, under a pristine blue sky; being possible for the painter the use of a much more smooth material and a moderate sense of observation. Some of his works were painted on wood in a small format, dematerializing even more the light on these pieces, often capturing Biskris children wearing their red caps.
Because of the number of copies that he made for clients during his orientalist and colonial works, occasionally it's hard to set timelines for the completion of certain works. Several works by the artist have been sold at auction, including: ‘Tangier’ sold at Heritage Auctions, Dallas in 2014, ‘Courtyard Scene’ and ‘Venice Canal Scene’ sold at John Moran Auctioneers Inc., Altadena in 2014, ‘Lady Fishing’ sold at Grogan & Company, Dedham in 2014, ‘Still Life’ sold at Michaan's Auctions, Alameda in 2014, ‘La Rivière d'El-Kantara’ and ‘Une Rue de l'oasis de Chetma’ sold at Artcurial - Briest, Poulain, F. Tajan, Paris in 2013, ‘Vista Junto Al Canal’ sold at Morton Casa de Subastas, Lomas de Chapultepec in 2013.
Among his finest pieces of artwork is the oil on canvas of this collection ’Grand Canal at Sunset’ and some of his most important works are exhibited at the Musée Denys-Puech of Rodez, Museum d'Orsay and the Museum of Fine Arts of Marseille. In 1893, Bompard participated in the creation of the Society of Orientalist Painters, but it is also that year when, by feeling threatened during a trip to El Kantara, he decided not to return to Algeria. So he became a painter of Venice were he remain must of his life, which assure him a much greater fame. Bompard died in 1936 in Paris.
Nanno de Groot
Nanno de Groot was born in March 23, 1913 in Balkbrug, Holland. He started drawing at six years of age. Although his father prevented him to study art at the early age, he moved to the United States in the year of 1941 and in 1946 at age 33 he discovered Picasso and he dedicated the rest of his life to painting and drawing. He worked for a year as a cartoonist for the San Francisco Chronicle. After his marriage to the New York School artist Elise Asher in 1948 Nanno de Groot settled in New York on West 12th Street. He became connected to the pioneers of the New York School, where he came to identify with abstract expressionists such as Jackson Pollock, Hans Hofmann, Franz Kline and Joan Mitchell. Nanno de Groot considered himself an American artist and part of the abstract expressionist movement. His earlier works included a number of monotypes and the now famous "Linear Figures" series, skeletal characters delineated by evocative streaks of black oil paint. In the following series, "Women in Chairs", de Groot observed that features interfered with the expression of the painting.
Nanno de Groot exhibited at Saidenberg Gallery, New York in 1952, 54, 55 and Bertha Schaefer Gallery, NYC. His works were exhibited in Hansa Gallery, in 1953 and for the years of 1954-1955 in Tanager Gallery and Stable Gallery. He also participated from 1954 to 1957 in the invitational New York Painting and Sculpture Annuals. These Annuals were important because the participants were chosen by the artists themselves. In 1956, 59, 60, 61, 64 he exhibited with HCE Gallery, Provincetown, MA and 1957, 58, 59, 61 at Parma Gallery, NY. In October of 1960 his works were displayed in Stamford Museum & Nature Center, Stamford, Connecticut. In 1971 he exhibited at Jack Gregory Gallery, Provincetown, Massachusetts, and in 1982 a Retrospective Exhibition at Provincetown Art Association and Museum, Provincetown, Massachusetts. Through 1987–2003 he were were with Julie Heller Gallery, Provincetown, MA. For the years of 2004 and 2007 his works were selected for ACME Fine Art, Boston MA and there were presented two exhibitions "Nanno de Groot: The New York Years” and "Nanno de Groot: Earth Sea and Sky” respectively. His works are a part of Museums and Public Collections like: Everson Museum, Hirshhorn Museum and Sculpture Garden in Washington D.C., Museum of Fine Arts of Boston, Massachusetts, Chrysler Museum of Art in Provincetown, Massachusetts, Hebrew University at Jerusalem, Israel, Provincetown Art Association and Museum at Provincetown, Massachusetts, the Olson Institute at Guilford, Connecticut and the Kresge Art Museum, and of Michigan State University in East Lansing, Michigan. Nanno de Groot died on December 26, 1963 in Provincetown, MA.
Thierry Poncelet was born in 1946 in Brussels, and studied Fine Arts at the St. Luc Academy. Thereafter he joined Max Massot's workshop to learn the art of painting in a traditional way and restoring fine paintings. After establishing himself as a renowned restorer he also began to deal fine arts. As he began to deal with fine arts and restoring, he was inspired to develop a style to replace the head of a portrait he was working on, by his own dog's. The result was striking, and only wanted to keep it as a sarcastic painting of his own token. However, the enthusiasm of friends and colleagues for this strange restoration was immediate and since then many other Aristochiens were born from forgotten family portraits.
Edouard Febvre was born in 1885 in France. Febvre is a visual artist known for his city and streets scenes, pieces of the of suburbs under the snow, fairgrounds and Gypsies. As a painter, active in the 20th Century his work sometimes brings back an imaging of a picturesque, desperate and pessimistic scenario, but sometimes we can find some other works by him that glimmers more cheerful when he painted over the butte. Several of the works by the artist have been sold at auction, including: ’Carnival à Paris’ sold at Christie's New York, ‘The House Sale’ in 2007 and more recently ’Rue anime avec chopes et fiacres’ sold at Eric Pillon Encheres, Versailles in 2014, ‘L’accordoniste’ and ‘Paris, Montmartre’ sold at Eric Pillon Encheres, Versailles in 2014.
Febvre remains a painter to be rediscovered, and which deserves a better understanding of his prolific lifetime as being a true impressionistic painter of the early 20th Century. His works have been exhibited in the Salon d'Automne of 1941, in Galerie Roussard and in Workshop at 8 both in Paris. Febvre died in 1967.
Andre Gisson was born with the name of Anders Gittelson in 1921 in Brooklyn, New York. As a leading American Realist painter, he is often known for landscape, still life, portrait and figure paintings that reflect an adopted experience by his extensive travels and studies in Europe and the Far East, and his desire to appear in a cosmopolitan background. As a struggling young Impressionist painter originally from New York City, and to highlight his reputation in order to enhance his chances for success, he claimed to be French and adopted his artistic name asserting to have been born in 1910 to find himself more closely aligned with the founders of the Impressionist movement.
He lived in Westport, Connecticut for most of his life, but also in New York and in France. He graduated from the Pratt Institute, and after graduation, he joined the United States Armed Services to become Captain in the Army during World War II. Gisson continued his studies in Europe, where he came under the influence of the great French impressionists. Upon his return to New York he resumed his career in art as an impressionist painter, having developed and refined the style and technique of impressionism. As multitalented artist, he is equally adept at painting landscapes, coastal scenes, still lifes, and portraits with small broken brushwork including soft and vibrant colors. Gisson's landscapes and beach scenes depict the French countryside, where he paints every summer, and the region around Lake Mahopac in upstate New York, where he lived for many years.
His portraits were intended to create a reflective mood of serenity. His still life compositions show a Japanese influence in his work, while the French influence is more pronounced in his studies of the human figure. Several of Gisson’s paintings have been published and distributed internationally. His works have been exhibited in leading art galleries throughout the country for over four decades, as a solo show extended from New York, Washington, Philadelphia, Texas and California, also overseas locations in London, Paris and Tokyo. His work are part of the collections of the Smithsonian Institution and the Triton Museum of Art, in North Carolina. Among his private collectors were President Lyndon B. Johnson and W. Somerset Maugham. Gisson died in 2003 in Atlanta, Georgia.
Georges d'Espagnat was born August 14, 1870 in Melun, France. He was a French Post-Impressionist painter, muralist, illustrator, and theater designer. His family moved to Paris when he was a young man in the 1880's and at the age of 18 he declined the academic training of the Ecole des Beaux-Arts spending only a few hours there and chose instead to independently study the works of the Old Masters in the Louvre and also attending classes at the free academy. By studying this painting, he became involved with prominent Impressionist painters of the time, exhibiting his work at the Salon des Refusés and the Salon des Indépendants in Paris. d’Espagnat’s depicted everyday Parisian life, female figures, landscapes, and still lifes, in a painterly style of additive brushstrokes with a unique treatment of color, resembling the Fauves. He also travelled to Italy where he particularly admired the work of the Venetians, Titian and Tintoretto.
In 1891 d'Espagnat began his public career at the Salon des Refusées, where he took part of an exhibition and in the following year exhibited four paintings at the Salon des Indépendants, later exhibited at the Salon of the Société Nationale. A strongly independent student, and having rejected the traditional places of artistic education available in the capital, he become one of the most individualistic of 20th century French painters. Although associated with many of the greatest names in 20th century art, and though his work has at various times been identified as Fauve, Nabis or just plain Impressionist, he retained his own individuality. He was influential in the art circles of his time like Henri Matisse, Paul Gauguin, Pablo Picasso, Camille Pissaro and Marc Chagall. D'Espagnat also became closely acquainted with many of the Impressionists and Post-Impressionists including Renoir, Vuillard, Andre, Bonnard and Denis. In 1895 he had his first solo show in Paris and three years after that a show of his work was held at Durand-Ruel Gallery. Later and with a close friendship with Renoir he was a part of a group exhibition of 1907 at the Marcel Bernheim Gallery along with Bonnard, Cézanne, Matisse, Pissarro, Rouault, Seurat and Toulouse-Lautrec while in 1926 his works were a part of another exhibition at the same gallery along with André, Bonnard, Braque, Chagall, Matisse, Picasso and Signac. In 1898 he traveled Morocco and worked along the Mediterranean coast near Toulon, capturing in his canvas the strong light and vivid colors of the region.
1903 d’Espagnat, along with the architect Frantz Jourdain and critic Ivanhoe Rambosson, was a founding member of the Salon d’Automne and, a year later, became the vice president. Then in 1906 he collaborated on the illustrations for Remy de Gourmont's Sixtine, and later worked with Alphonse Daudet on his book, L’Immortel. Traveling extensively throughout his lifetime, d’Espagnat visited Britain, Germany, Italy, Portugal, Morroco, and Spain. Elected vice president of the Salon d’Automne in Paris in 1935, d’Espagnat from 1936 he served as a Professor at the Ecole Nationale Superieure des Beaux-Arts in Paris until the 1940s. In 1945 d’Espagnat became the president of La Société des Amis d’Eugène Delacroix, that was a position that he held until his death. In the following years he painted La Rochelle and Concarneau, villages along the coast of France, with watercolors.
His work can be found in many of the world’s most important museums including the Museum of Fine Arts, Boston, the Musée Royal des Beaux-Arts, Brussels, the Metropolitan Museum of Art, New York, the Art Institute, Chicago, Indianapolis Museum of Art, the Pushkin Museum, Moscow, the Musée d’Orsay, the Musée d’Art Moderne, Musée Eugène Delacroix, Bibliotheque Nationale and Palais de l’Institut, Paris Musée de l’Annonciade, Saint-Tropez, Musée d’Art Moderne et Contemporain, Strasbourg, Musée Lambinet, Versailles, Mueso Thyssen-Bornemisza, Madrid and the National Museum of Western Art, Tokyo. As an artist that constantly strove for originality and independence d’Espagnat, marked a place for himself among the modern masters. He died on April 17, 1950 in Paris, France. In the following year he was honored with an exhibition at the same Salon d’Automne, of which he was Vice-President for several years showing a variety of his large body of work; also he has honored by Durand-Ruel Gallery shortly after with a retrospective exhibit as well.
Marguerite Rousseau was born in 1888 in Belgium. Several works by this Belgian painter have been sold at auction, including: ‘The Tennis Match’ oil on Panel sold at Freeman's “Fine American & Continental Paintings” department in 2002, ‘A Regatta’ oil on Canvasboard of 1913 sold at Christie's New York in 1992, ‘An Elegant Lady Entering A Coach’ oil on board of 1919 sold at Christie's New York in 1989, ‘At the Races’ oil on canvas of 1914 sold at Christie's New York in 1990, ‘A Game of Tennis’ oil on canvas of 1916 sold by Phillips London in 1995, ‘Beach Scene’ oil on canvas of 1919 sold at Leslie Hindman Auctioneers in 1992, ‘The Bathers’ oil on board of 1919 sold at Christie's New York in 1989, ‘The Flower Market’ oil on board of 1920 sold at Christie's New York in 1990, ‘A Sunday Outing at the Sea Shore’ oil on Board sold at Doyle New York in 1991, ’Rollerskating’ oil on Panel sold at Christie's New York in 2004 and ‘Afternoon at the Beach’ oil on Canvas sold at Sotheby's in 1992. Rousseau died in 1948.
Coulton Waugh was born in 1896 in Cornwall, England. He was an American visual artist, son of maritime painter Frederick Judd Waugh, and his grandfather was the Philadelphia portrait painter Samuel Waugh. In 1907 his family moved to the United States, he grew up in Provincetown, Massachusetts and later made his home in Newburgh, New York. Over there Waugh was enrolled at New York's Art Students League where he studied with George Bridgman, Frank Dumond and John Carlson. By 1916 Coulton was employed as a textile designer. In 1921 he moved to Provincetown, Massachusetts where he operated a model ship and hooked rug shop for 11 years.
As a part of an artistic family, Waugh was a painter, comic strip artist and author. As he lived in New York he is often known for the artistic work in marine scenes, still life compositions and cartoons. Also was one of the main artists who worked on the famous “Dickie Dare” comics, created by Milton Caniff. He was working on the strip for more than 20 years, from 1933 until 1957, and there is where Waugh met his future wife, Odin, after hiring her to work on the strip as an artist and letterer. In 1945, he created “Hank” which only ran a short time. From 1947 on, Waugh divided his time between painting, teaching art and writing a seminal history of cartooning called “The Comics” in 1947 as a reference on the history of comics, which became one of the first serious examinations of the medium, as well as instructional books on cartooning and palette-knife painting.
In Provincetown he created other pictorial maps or decorative maps, including ones of Provincetown of 1924, Cape Cod of 1926 and Newburgh, New York in 1958. His map of California of 1948 was a collaboration with his wife Odin Burvik (Mabel Burwick).
His paintings were displayed at New York's Hudson Walker Gallery, and he also was known for his pictorial maps and hand-colored lithographs, like the one exhibited of a Cape Cod map at the International Silk Show in Guadazno in the year 2000. Some other exhibitions where his artwork participated was at the National Academy of Design and the Provincetown Art Association. Among the Museum exhibitions that showcased his pieces are the Art Institute of Chicago, the Carnegie Institute (International), the Pennsylvania Academy of the Fine Arts and the Whitney Museum of American Art. Grand Central Art Galleries, New York City used to hold a notable representation of his artworks. Waugh died in 1973.
Ben Benn was born with the name of Benjamin Rosenberg in 1884 in the town of Kamenets Podolsk, Ukraine. This town was the regional capital of an area in what is today, South West Ukraine, and was historically known as Podolia. His family chose to immigrate to the United States in c. 1894 to reside eventually in New York City. Between 1904 and 1908 he studied at the Arts Students League and at the National Academy of Design. He spent most of his career in New York City including memberships with the American Society of Painters and Sculptors, American Artists Congress and the Woodstock Artist Association.
Despite his excursions into Cubism and Abstract Expressionism, Benn seems always to have been a ‘subject’ painter. The Academy curriculum stressed portraiture built up with broad, painterly brushstrokes, a technique that remained the foundation of Benn’s style. By his mid teens Benn’s canvases were bolder in color and more decorative in style, the artist also depicted urban scenes, yet, unlike the Social Realists, his work was more an affirmation than a critical commentary on the human condition. Considering this, it is remarkable that he remained visible at all during the 50’s and early 60’s, when prejudice against the representational amounted nearly to a proscription of this kind of artwork.
His first important participations were in the Forum Exhibition of Modern American Painters in 1916 as well as the First Annual Exhibition of the Society of Independent Artists in 1917. As a pioneer American modernist, with an independent style, was best known for his bold simplification. He exhibited extensively including his first solo exhibition which was held in 1925 at J.B. Newman’s New Art Circle Gallery and four at the Babcock Gallery between 1960 and 1970. He also exhibited at Columbia University in 1927, Whitney Museum of American Art from 1927 to 1950, the Corcoran Gallery in 1932 and 1957, and the Pennsylvania Academy of Fine Art in 1942 and 1952.
Benn participated in other important exhibitions of American Modernism included “The Decade of the Armory Show: New Directions” in American Art from 1910 to 1920, and the Whitney Museum of American Art's traveling exhibition from 1963 to 1964 and many more. Benn had many solo exhibitions during his lifetime, including one at the Jewish Museum of New York in 1965 and at the Walker Art Center in Minneapolis. Also he was awarded a medal that year at the the Pennsylvania Academy's 147th Annual Exhibition. Today Benn’s works is part of many museums and permanent collections including the Metropolitan Museum of Art, the Museum of Modern Art, The Whitney Museum, Newark Museum, Baltimore Museum, Albany Institute of Art in New York, Butler Art Institute in Youngstown Ohio, the Knoxville Art Center and the University of Minnesota.
His prominence in the art world over 6 decades was reaffirmed at a 90th birthday show at the Hirshhorn Museum in Washington, D.C. in 1974. Between his most publicly recognized works are a portrait of ‘New York Judge J. Planken’ that has been at the New York City Courthouse, a ‘Still-Life Painting’ that forms a part of The Kröller Collection in The Hague, Holland, and the piece named ‘End of the Street’ that was exhibited at the Hammer galleries at a solo exhibition shortly after the artist’s death, with the number 36 in catalogue, which became also a part of the collection of the New Britain Art Museum. Benn died in 1983 in Bethel, Connecticut.
Kristina Nemethy is one of the twin sisters of Albert Nemethy and sibling of five. She was born in 1950, Germany and arrived to New York City at age one. In her later years, her father found that the town of Newburgh was where this family of artists can flourish. She was raised with strong influences and was inspired by the surrounding artistic values that reached all of the siblings; who all eventually became artists. Julien, Georgina, Albert, George and Veronica; whose paintings you may spot at auction halls upstate New York.
Augustina Kristina Nemethy started to go her own way, trying different subjects of her skills. She paints still lifes, river boats, portraits, seascapes, landscapes, and emotionally strong depictions of subjects she feels connected to; creating intricately detailed modern subjects with rich colors and fine details. She often varies her media from oil to water colour and other techniques.
There is a spiritual connection that binds the Nemethy's, with the tradition of love towards fine art and the heritage of the Hudson Valley. Being inspired by a father of such talent; studying and experience directed her and made it so much easier to be self-taught. Kristina's work is vast, as she is inspired by many traditional values of painting. Always incorporating her fine art skills, her work is intricate with the finest details. Her work is expressive and bold; making it easier for her work to be distinguished from her other siblings.
Kristina is a traditional painter, and will always have that in her expressive nature, but there are moments where she chooses to paint off the path of her family. She opens a new tradition in her art style when experimenting in other subjects. A style that expresses a rich color pallet with subjects that are extravagant, and bold. As her work is always consistently detailed and this consistency will always follow her no matter what style she is experimenting with; creating paintings that are modern, elegant, sophisticated, and most of all expresses her love for fine art.
Georges Jeannin was a Parisian still life and flower painter. Having studied under Vincelet, he began exhibiting at the Paris Salon from 1875. Jeannin, in collaboration with Cesbron, decorated the Paris Hotêl de Ville’s Salon de Passage. Many of Jeannin’s flower paintings were purchased by the State and he was awarded many prizes of excellence throughout his career.
An absolutely breath taking still life with flowers, Mandolin, and music sheets. Jeannin was a French artist who was a true master of his time. This painting exudes an almost realistic expression, but we do still very much feel an impressionistic technique. Signed bottom right corner, with the original plaque in a gold guild frame.
Niek van der Plas
Niek van der Plas was born in Katwijk aan Zee, Netherlands in 1954. He was the oldest son in a family of four children. Growing up surrounded by historic areas from his hometown, he was inspired by many places which seemed to stay with him into his early adulthood. The old, white church, Holland’s beaches and dunes, bulb fields, city scenes in Amsterdam and Maastricht, and other typically Dutch vistas such as harbors of old Dutch towns. We can admire these characteristics in much of his works throughout his career. Niek began painting from a very young age with signs, promoted and encouraged by his father. In 1966 he was proposed as a student to the Famous Artist school in the United States where he was awarded for his talents. Between 1973 and 1978 he studied at the School of Art in Frankfurt, and he has taken part in collective exhibitions, mainly in Germany and Belgium.
The drawings he showed at Appel & Fertsch in 1985 were rapidly executed sketches, with a very spare but supple line, sometimes indefinite, but in general representing a manifestation of movement. A man apparently hanging, a blurred structure, a strange small boat - signs of vague recognition that are ultimately less important than the way they take shape and the creative impulse they convey. What started in the early seventies with a romantic style of painting, developed through the naturalism to a more impressionistic way of working; a style of painting that came to the surface clearly in the early 1980’s.
Van Der Plas has become an artist of international renown and uses a wide variety of subjects as his palette. His paintings are still influenced by his love of water and the richness of the Dutch landscapes which one sees over and over in his work. His use of warm soft colors makes his paintings easy on the eye and delightful to behold. He is a colorist, exhibiting lush rich textures inspired by many post-impressionistic painters from France. Preferably he works with warm colors as he uses dashes of bold brushwork, which enhance the emotion of his composition. He strives to create pieces which have a French environment. As well, surrounding himself around the French Riviera, Cafes in the bustling city and of course the majestic scenes in the Parc de Belleville.
Niek continues to enchant the viewer by subtle brushwork and a balanced palette in keeping with the best of impressionist tradition. His works have been exhibited in major museums around the world, and his works of art are to be found in some of the most prestigious public and private collections worldwide. His works hang in two museums in the Netherlands and several books about him are available. He is one of the few contemporary artists listed in Benezit Dictionary of Artist. Paintings by Niek van der Plas have achieved strong auction records at International Fine Art auctions, and his paintings are continually increasing in value each year. Recently one of his paintings “Canal Grande Venice” was placed next to the paintings of Vincent Van Gogh and Maximilien Luce in a Dutch theater production called ‘Aspects of Love’.
Jean Salabet was a French, 20th Century artist born in 1900. Salabet was a Parisian painter mostly known for his colorful cityscapes depicting the times of his generation. His work is comparable to those of Jules Herve, Antoine Blanchard and Edouard Cortes. His paintings are a wonderful example of his dedication and passion throughout his of his career. Exemplary depictions of his pieces are city scenes of artist's vendors selling paintings along the view of Notre Dame de Paris, in Paris. People are scattered throughout between the tree-lined Parisian streets. Or like flower vendors walking down the street with a view from the Pont Neuf bridge, the oldest standing bridge crossing the river Seine, with people are scattered throughout with cars depicted in the background. As well wonderful examples of his works the street scenes with bustling cars and the traffic of the people walking along the sidewalks in front of the storefront view of Parisian cafe's as well as wonderful depictions of the most important Parisian monuments and iconic views of the city of Paris. Including in each one of his works a diverse color palette with vibrant details that Salabet captures in a magnificent way of the architecture of Paris so beautifully; you can feel the energy of the day and the excitement.
Luigi Cagliani was an Italian Impressionist who worked in the first half of the 20th century. Italian sources note that he was active in Lombardy, which helps explain his penchant for lakeside scenes. He also loved to paint scenes set in Venice.
René Galant was born in 1914 in France. He is known for his abstracted figural genre, a style completely unique from his counterparts when actively painting in Paris during the rush of the bohemian society. He studied at the Art school in Limoges. After his studies he planted himself in a studio and surrounded himself with the elite, socializing with Luis Buñuel, Coco Chanel, Jean Dubuffet and others. Recently more than 50 of his works have been exhibited at the Museum of the History of St. Petersburg. Galant's captures a romantic, yet very real emotion in his works, portraying society through his eyes and devoting his paintings to the ears of his times.
A semi-abstract depiction of a fashionable couple walking arm and arm. This couple purported to be John and Yoko Ono circa 1968. "Avant…Apres" [John & Yoko]. The busy street is captured with whimsicality and an abstracted depiction of each character, which is of a very charming nature since this is what Galant is mostly known for in his work. Comes displayed in a beautiful wood frame with hanging wire.
Paul Gagni was born in 1893 and is a Post-Impressionist French artist. He studied at the Ecole des Beaux-Arts in Paris. He exhibited at the Autumn Salon and the Salon of Independent Artists. He is well known for his Paris street scenes, and he died in 1962 with a great legacy of impressionistic artworks.
This piece is an exceptional impressionistic cityscape scene by Gagni of flower vendors along the sidewalk, as pedestrians, bicycles and cars stroll along the road. This Paris scene is depicted with soft brushwork and beautiful details. The busy street is captured from the times of the early 20th century with captivating movement and great impressionisms. A true piece of the times. Comes in a beautiful french carved wood frame with an original plaque. There is some amount of craquelure in the sky from old age but otherwise in good condition.
Robert Freiman, deaf from birth, was born in March 1917 in New York City. He attended an oral program near his home and later transferred to the Lexington School for the Deaf when he was six. Early in his childhood, his love for drawing, painting and studying became apparent, and as an adult, he continued his studies in New York at the National Academy of Design, Pratt Institute, the Art Students League and the Parsons School of Design. In Paris, he studied at the Ecole des Beaux Arts. Freiman was especially focused on painting portraits and figures in motion in various mediums, especially the mixed-media combination of watercolor, acrylic and pen. Among his subjects were acrobats, ballet dancers, cyclists and other athletes. He as well focused on abstracts for a time, discovering new media in his works with quick brushwork and expressive movements.
Frances Cranmer Greenman
Frances Cranmer Greenman was born on June 28, 1890 in a log cabin in Aberdeen, South Dakota. She was named for suffragist Frances Willard. At 15, she attended the Wisconsin Academy of Art. At 16, she attended the Corcoran School of Art in Washington, DC. In the 1900s, she studied with William Merritt Chase and Robert Henri in New York City. She won a gold medal from Corcoran in 1908. She moved to Minneapolis in the 1910s. She had her first major exhibition in 1913 at the Handicraft Guild. She went back to New York for several years before settling at the Hampshire Arms Hotel. Her permanent studio was on the fifth floor of the building and was painted completely black for her portraiture.
She was awarded a gold medal at the 1915 Minnesota State Fair for a group of three portraits. Greenman was an established society painter in Minneapolis by the early 1920s and made portraits for Hollywood stars, politicians and socialites.
Her 1921 exhibition at the Bradstreet Gallery in Minneapolis was described in American Art News as "alternately gay and serious, prismatic and tonal." Greenman was awarded first prize in painting at the seventh and eighth annual exhibitions of Twin City Artists. Her portrait Jane won the prize for the eighth exhibition in 1922.
Greenman was replaced as a judge during the 1925 Iowa State Fair's Art Salon due to her modernist inclinations. Painter and exhibit head Charles Atherton Cumming postponed the art judging, first claiming that Greenman was ill. Greenman herself disputed this and Cumming went on to describe how she had been "converted to what she calls 'modern' art since I last viewed her exhibit." He explained that Iowa artists were "followers of 'white man's art'" and Greenman was replaced by one J. Laurie Wallace.
Following the Wall Street Crash of 1929, Greenman left New York and supported her family by painting portraits for wealthy clients. Greenman taught at the Minneapolis School of Art from 1941 to 1943. She also taught at the Art Institute of Chicago.
Her style was bold and informed by modernism. Her painting Pink Lotus depicted one David Painter and in a severe, flattened, and unflattering manner. While her earlier portraits were more adventurous, they became more conservative and conventional over time. Her 1922 work A Moment's Rest for Mrs. Hoscovics and her portraits of Polish immigrants in Wisconsin show that Greenman wanted to use her art to explore social issues.
Greenman painted portraits of many famous people, including conductor Emil Oberhoffer, Dolores Del Rio, and Mary Pickford. She painted the official governor's portrait of Karl Rolvaag. It is hung in the Minnesota State Capitol. She wrote her autobiography, Higher Than the Sky in 1954. She also worked for the Minneapolis Sunday Tribune as a critic, writing the art column "Frances Greenman Says". Greenman died in Medina, Minnesota on May 24, 1981
Harry Neyland was born in 1877 in McKean, Pennsylvania mostly working as a painter, sculptor, illustrator, and copyist. As an American Impressionistic artist, his compositions were of a variety genre, consisting of landscapes, townscapes, ships, marine, harbors, and London and Paris scenes. Neyland's artistic education took place fist at the Zanerian Art College in Columbus, Ohio, then at the Art Students League in New York City; and later at the Academy Julien in Paris. He was a member of the Providence Art Club in Rhode Island.
As he was an expert on the whaling industry, Neyland would accompany an exhibit of marine paintings with lectures on whaling and ships. Published in a 1948 Lowell "Telegraph" article, he had a solo show of over seventy stately ship paintings at the Whistler House Museum of Art and presented his own forty-five-minute motion picture of the whaling days and recent times of New Bedford. In the article stated that Neyland was a resident of the New Bedford vicinity since 1911 and, until the hurricane of 1938, maintained a studio on Cuttyhunk, an island at the entrance to New Bedford Harbor.
Neyland illustrated Cap'n George Fred published in 1929 by Doubleday, Doran and Co. Other illustration works include Surf and Sunlight, of Hudson Motor Car Co.; The Wanderers, Pratt Institute, Brooklyn, NY; Furled Sails, Drying Sails, The Huntress of the North, Country Club, New Bedford, Massachusetts, and memorial tablets for Whaling Enshrined, Inc. His works can be found at the Whistler House Museum of Art in Lowell, Massachusetts, at the Mariner's Museum in Newport News, Virginia, also the Old Dartmouth Historic District, the Mystic Seaport Museum in Connecticut, and the Kendall Whaling Museum in Sharon, Massachusetts. Neyland died in Dartmouth, Massachusetts in 1958.
Richard 'Dick' Sargent
Richard 'Dick' Sargent, one of The Saturday Evening Post’s most prolific illustrators, was a Midwesterner born in Moline, Illinois, on March 26, 1911. His early career in art began just after his graduation from Moline High School when he went to work for a local printing and engraving plant. While there, Sargent attended night classes at the Moline Illinois Art School, the foundation for his future career as an artist. In 1951, Sargent completed his first cover for The Saturday Evening Post, “Truth About Santa,” for the December 15 Christmas issue. While Sargent’s popularity grew through the exposure he received with the Post, he also did illustration work for magazines such as Fortune, Woman’s Day, Photoplay, and American Magazine. Americans adored Sargent and his art for his ability to show relatable, pregnant scenes with open-ended conclusions that commented on the situational comedy of life.