Georgina Klitgaard

"Fruit" Georgina Klitgaard, Apples and Pears Still Life, Woodstock Female Artist

Frederick Arthur Jessup Still Life Arrangement Signed lower left Oil on canvas 18 1/2 x 22 inches Provenance: Findlay Galleries, New York Private Collection, New York

Albert Swinden (1901 - 1961) Still Life of Fruit, 1937 Oil on canvas 18 x 30 inches Provenance: Graham Gallery, New York Albert Swinden (1901–1961) was an English-born American abstract painter. He was one of the founders of the American Abstract Artists, and he created significant murals as part of the Federal Art Project. Albert Swinden was born in Birmingham, England in 1901. When he was seven, he moved with his family to Canada, and in 1919 he immigrated to the United States. He lived in Chicago, where he studied for about a year and a half at the Art Institute. He then relocated to New York City, where his art education continued briefly at the National Academy of Design. He soon changed schools again, to the Art Students League, which he attended from 1930 to 1934. He studied with Hans Hofmann and gained an appreciation for Synthetic Cubism and Neoplasticism. According to painter and printmaker George McNeil, Swinden "could have influenced Hofmann ... He was working with very, very simple planes, not in this sort of Cubistic manner. Swinden was working synthetically at this time." While still a student, Swinden began teaching at the Art Students League, in 1932. Swinden married Rebecca Palter (1912–1998), from New York. Their daughter, Alice Swinden Carter, also became an artist. Carter, who attended the School of the Museum of Fine Arts, Boston, received an award from the Institute of Contemporary Art, Boston for her large sculptures. Swinden was hired for the Federal Art Project (FAP) of the Works Progress Administration (WPA), and he is best known for the murals which he painted as part of that project. In 1935, New York City Mayor Fiorello La Guardia attended the opening of the inaugural exhibit at the Federal Art Project Gallery, accompanied by Audrey McMahon, New York regional director for the Works Progress Administration/Federal Art Project. Among the works on display was Abstraction, a sketch by Swinden; it was the design for a mural planned for the College of the City of New York. A newspaper account described it as consisting of "brightly colored T-squares, triangles and rulers in horizontal, vertical and diagonal positions". La Guardia asked what it was, and upon being told it was a mural design, he said he didn't know what it depicted. Someone joked that it could be a map of Manhattan. The displeased mayor stated that "if that's art, I belong to Tammany Hall." (Tammany Hall, which the Republican mayor referenced, was the New York Democratic Party political society.) Fearing that the mayor's negative attitude could jeopardize the future of abstract art within the Federal Art Project, McMahon dispatched an assistant to summon an artist who could speak to the mayor in defense of abstraction. The assistant returned with Arshile Gorky. Swinden played an important role in the founding of the American Abstract Artists. In 1935, he met with three friends, Rosalind Bengelsdorf, her future husband Byron Browne, and Ibram Lassaw, with the goal of exhibiting together. The group grew and started meeting in Swinden's studio, which adjoined those of Balcomb and Gertrude Greene...

Frank Marsdon London (1876 - 1945) Sunflowers Oil on canvas 31 x 22 inches Signed lower right Exhibited: Pittsburgh, Carnegie Museum of Art. Frank Marsden London was born in the small Southern town of Pittsboro in central North Carolina in 1876. When he reached adulthood, London attended the University of North Carolina...

Edith Kramer (1916 - 2014) Still Life with Mask, n.d. Oil on canvas 26 x 20 inches Signed and titled on the stretcher Provenance: Estate of the artist Kramer was born in Vienna, Austria-Hungary in 1916. At age 13 Kramer began art lessons with Friedl Dicker. Dicker was graduate of the Bauhaus in Weimar, Germany and was an artist and art teacher of note. Kramer studied drawing, sculpture and painting, and was influenced by the method for teaching art developed by Bauhaus artist Johannes Itten. It was in 1934 after Kramer graduated from Realgymnasium that she, then 18, followed Dicker to Prague to continue to study under her. During this time in Prague, Kramer witnessed the therapeutic impact of art when she assisted Dicker in teaching art to the children of political refugees. With the threat of Nazi invasion looming, Kramer took refuge in America in 1938. In New York City, she worked for three years teaching sculpture at a progressive school called the Little Red School House. During World War II Kramer worked as a machinist at a tool and die shop in the Soho district of New York City. She stayed after her shift to draw the other workers in their industrial setting. These works were rendered in the social realist style. In 1947 Kramer visited some of the earliest known artwork, in the caves at Lascaux. Kramer spoke of these cave paintings as an example of the universal language of art. At the age of 33 she returned to New York City, with hopes of making a living as an artist. Still in her 33rd year, Kramer was offered a job at Wiltwyck School for Boys, a school and residential treatment facility for children with behavioral and emotional needs. This job was arranged for her by psychoanalyst and board member at Wiltwyck, Dr. Viola Bernard. Dr. Bernard gave Kramer the title, "Art Therapist," noting that few teachers were willing to work with such challenging students. It was here that Kramer worked with disturbed boys, ages 8 through 13, for the following seven years. Raised in a family which was interested in psychoanalytic theory, Kramer herself became a follower of Sigmund Freud. Kramer especially believed in the concept of sublimation. Freudian theory describes sublimation as a process in which primitive urges coming from the id are transformed into socially productive activities that lead to gratification of the original urge. Kramer's training was in art, art education and psychoanalytically informed psychotherapy. Kramer believed sublimation to be one of the most vital goals of art therapy...

Marsden Hartley Lemons and Pear, circa 1922-23 Oil on canvas 9 x 10 3/4 inches Provenance: Adelaide Shaffer Kuntz, Bronxville (Hartley’s friend and patron) Bertha Schaefer Gallery, New York (acquired from the above) Private Collection, Stamford, Connecticut (acquired from the above) Barridoff Galleries, Portland, Maine, April 7, 1984, Lot 29 (as Still Life with Pear and Lemons) Richard Ward Foster (acquired at above sale) Sotheby's New York, American Art, October 6, 2017, Lot 32 Private Collection (acquired from the above) Exhibited: (possibly) Kantstrasse, Berlin, Private showing in artist’s studio, 1923. (possibly) New York, Bertha Schaefer Gallery, Still Life Painting by European and American Painters, 1944. Born in Lewiston, Maine, Marsden Hartley became one of the most famous early modernist artists of twentieth-century American art, known for landscapes, still lifes, and some portraits. His painting showed a focus on monumental shapes, especially clouds and landscape forms, and his unique style has been described by critic Sadakichi Hartmann as "an extreme and up-to-date impressionism" and "emerging modernism that evolved through Impressionism". (Gerdts 291) He had a lonely, insecure childhood because his mother died when he was eight years old, and he was raised by an older sister when his father left to remarry. He studied art in Cleveland, Ohio and then in 1898 went to the Chase School in New York and at the National Academy of Design. He continued to spend much time in Maine painting landscapes, and by 1909 had his first exhibition, which was held at New York Gallery 291, run by Alfred Stieglitz. There he became involved with a social circle of modernists that included Georgia O'Keeffe, Arthur Dove, and John Marin. In 1912, he first went to Europe where he had further exposure to modernism, and from 1913 to 1915 he was in Germany. In Paris, he experimented with Cezanne-like still lifes and was befriended by Gertrude Stein. In Germany, he was influenced by Expressionism, and especially by military pageantry. It is said that his greatest contribution to early 20th-century American modernism has been his brilliant synthetic military icons known as German Officer Portraits. He developed a close homosexual relationship with a handsome young Prussian officer who was killed in World War I. Being encouraged by Stieglitz to explore American subjects, Hartley turned to American Indian objects...

Suzanne Lalique The Tailor Shop, 1929 Signed and dated upper left Oil on canvas 13 x 16 inches Suzanne Lalique was born in 1892, the daughter of René Lalique and Alice Ledru. She wa...

GEOMETRIC STILL LIFE Size: 41.5 x 49.5 cm (including frame) Oil on board A vibrant and playful mid century cubist modernist composition in oil, painted on board. With a focus on sh...

STILL LIFE WITH VEGETABLES Size: 59 x 74 cm (including frame) Oil on Canvas A brilliantly executed modernist style still life composition, executed in oil onto canvas and dated 1965...

. BREAD. JARS original still life acrylic painting. Illana, an artist trained in Barcelona and Paris, although heavily self-taught, reduces the forms in his paintings to essentia...

The extensive work of Vilma Eckl covers a period of more than seventy years. Her incomparable artistic talent and her essential contribution to the history of art can be seen in her ...

RED TULIPS Size: 67 x 58 cm (including frame) Oil on Canvas A captivating and well-balanced interior still life composition, executed in oil onto canvas. Upon first glance, a vase ...

Signed lower right: CARLES