William S. Schwartz Art

Morris Kantor, American, 1896-1974 Seaside View, 1930 Hand signed M. Kantor and dated 1930 lower right Oil on canvas 22 1/4 x 19 1/4 inches 24 1/2 x 21 (frame) Morris Kantor (Belarusian: Морыс Кантор) (1896-1974) was a Russian Empire-born American painter based in the New York City area. This is a beautiful boat scene with a river or lake probably on Long Island. Born in Minsk on April 15, 1896, Kantor was brought to the United States in 1906 at age 10, in order to join his father who had previously relocated to the states. He made his home in West Nyack, New York for much of his life, and died there in 1974. He produced a prolific and diverse body of work, much of it in the form of paintings, which is distinguished by its stylistic variety over his long career. Perhaps his most widely recognized work is the iconic painting "Baseball At Night", which depicts an early night baseball game played under artificial electric light. Although he is best known for his paintings executed in a realistic manner, over the course of his life he also spent time working in styles such as Cubism and Futurism, (influenced by the Art Deco movement) and produced a number of abstract or non-figural works. A famous cubist, Futurist, painting of his "Orchestra" brought over 500,000$ at Christie's auction house in 2018. Kantor found employment in the Garment District upon his arrival in New York City, and was not able to begin formal art studies until 1916, when he began courses at the now-defunct Independent School of Art. He studied landscape painting with Homer Boss (1882-1956). In 1928, after returning to New York City from a year in Paris, Kantor developed a style in which he combined Realism with Fantasy, often taking the streets of New York as his subject matter. He did some moody Surrealist Nude paintings and fantasy scenes. In the 1940's he turned towards figural studies. Later in his career, Kantor himself was an instructor at the Cooper Union and also at the Art Students League of New York in the 1940s, and taught many pupils who later became famous artists in their own right, such as Knox Martin, Robert Rauschenberg, Sigmund Abeles and Susan Weil...

Jim’s of Lambertville is proud to offer this artwork. Signed and dated lower right. Illustrated in "Charles Searles" 2013 exhibition catalog (La Salle University Art Museum / Tyler School of Art) pg. 195 Charles Searles (1937-2004) He was born in Philadelphia, PA and received his fine art education at the Pennsylvania Academy of Fine Art (PAFA) from 1969-72. He also attended the University of Pennsylvania for liberal arts studies, where he worked in the labs beside the scientists and engineers creating technical illustrations for text books. His early paintings embraced the tumultuous 60's and also reflected his own family life and surroundings. Before graduating the PAFA, Searles received the Cresson Memorial Traveling Scholarship, and the following year, the Ware Memorial Traveling Scholarship. He was the first student to use these funds to travel to Africa. His travels in Africa marked his life and work forever -- the life, the rhythms, the patterns, and the energy. Searles returned to Philadelphia and began teaching at the Ile Ife Cultural Center. It was then that he began his "Dancer" Series. This series marked a change in his life, celebrating his new sense of renewal and the African experience. He was awarded his first mural commission at the William G. Green Federal Building. This work, entitled "Celebration" is still on view today. At that time, he was also hired as a drawing teacher at the (then) Philadelphia College of Art, where he remained a professor for over twenty years. In 1978, Searles moved to New York City. He found a large, raw space -- an old sewing factory -- on Broadway and Bleeker where he would remain for the rest of his life. He continued to commute to Philadelphia teaching part time. He met Kathleen Spicer, an art student, in 1983. They married in 1985. Together, they shared a wonderful, open, artistic, social, and creative experience. Searles gradually moved away from painting and into sculpture. His sculptures maintained the vibrant color and patterns from his paintings, but seemed to dance in three dimensions. These new works embodied a live sense of rhythm and energy -- trademarks that he maintained throughout his career, whether in wood, bronze, or aluminum. In his lifetime, Charles Searles participated in over 60 group shows, and 25 solo exhibitions. He was represented by the Sande Webster Gallery in Philadelphia for over 20 years. His paintings and sculptures can be found in innumerable public and private collections. Public commissions include the Delaware River Port Authority, the NYC Mass Transit Authority, the First District Plaza in Philadelphia, and the Amtrak station in Newark, NJ. He was the recipient of many awards, including ones from the Pollock-Krasner Foundation, the Adolph and Esther Gottleib Foundation, the Creative Arts Project Fellowship, and the National Endowment for the Arts. His wife of 23 years, Kathleen Spicer adds: "Charles was his work, and his work was him. Inseparable. Our lives were all about art. We lived each day as if it was a gift. To me, he was enchanted. His vision was clear -- he could envision something and make it come to life as easy as breathing. Genius. Charles made the world a better place. Charles speaks loud and clear." Bio courtesy of Kathleen Spicer (Searles) Selected Periodical Citations: Newhall, Edith, "Dual Celebration of Self-expression", Philadelphia Enquirer, May 2013 Fabbri, Anne, "A Farewell to Charles Searles", Art Matters, January 2005 Cornell University Review, August 2000 O'Neill, Denise I., "Black Experience Puts Soul Into the Heart of Christmas", Chicago Sun-Times, December 1996 Gleuck, Grace, Review, The New York Times, December 1996 McBride, Octavia, "An Artist Acclaimed", Philadelphia Tribune, April 1993 Fox, Catherine, "National Black Arts Festival Program Guide", The Atlanta Journal, July 1990 Wilson, William, "Black Artists in Tune with Ancestors", Los Angeles Times, January 1990 Jamusch, Ann, "Special Show-Legacy of Black Art", Dallas Times Herald, January 1990 Binkley, Barbara, "Colors, Bright and Bold", The Daily News, April 1986 Grafly, Dorothy, "Charles Searles at Neumans", ART in Focus, Summer 1978 Crittendon, Denise, "Back Home from Nigeria", The Michigan Chronicle, December 1977 Garrett, Bob, Art Section Review. Boston Sunday Herald, November 1975 Patry, Louise, "A Jubilee of Afro-American Art in Boston", New England Journal, December 1975 Wright, Charles, "Paint Art Racist", The Village Voice, April 1971 Nelson, Nells, "Black Artists Rise Above the Tempest", Philadelphia Daily News, April 1971 Canaday, John, "Black Artist on View in Two Exhibitions", The New York Times, February 1970 Collections: - Philadelphia Museum of Art - The Woodmere Art Museum - Smithsonian Institute of American Art - Pennsylvania Academy of the Fine Arts - LaSalle University Art Museum - Howard University Gallery of Art - Dallas Museum of Art - Delaware Valley Arts Alliance - Montclair Museum of Art - Afro-American Historical & Cultural Museum - Museum of Afro-American History - 35 + corporate collections - National & international private collections 75+ Group Exhibitions, Including: - Woodmere Art Museum - Pennsylvania Academy of the Fine Arts - Whitney Museum of American Art - Museum of American Art - Boston Museum of Fine Arts - Brooklyn Museum - Art Alliance - National Afro-American Museum - Liberty Museum - National Blacks Fine Arts Show - Institute of Contemporary Art - Ackland Arts Museum - Arnot Art Museum 30+ Solo Exhibitions, Including: - Philadelphia Museum of Art, Philadelphia PA - The State Museum of Pennsylvania, Harrisburg, PA - LaSalle University, Philadelphia, PA - Temple University, Philadelphia, PA - Montclair Art Museum, Montclair, NJ - Noyes Museum, Oceanville, NJ - Delaware Valley Arts Alliance, Narrowsburg, NY - North Carolina State University - Winston Salem State University, Winston Salem, NC - G.R. N’Namdi Gallery, New York, NY - Sande Webster Gallery, Philadelphia, PA - June Kelly Gallery, New York, NY - Noel Gallery, Charlotte, NC - Malcolm Brown...

Blue Shutters and Still life with a bird and fruit by Charlie Baird [2021/22] original Oil on Canvas Image size: H:62 cm x W:67 cm Complete Size of Un...

Very impressive mid 20th century cubist abstract. Oil on canvas. Framed.

Oil on board. Signed. Framed. Image size, 23 1/2H x 29 1/2L

Oil on canvas painting by Ferdinand Kaufmann. Signed by the artist in the lower left corner. Mountain landscape painting, likely of Colorado or California in summer with a rushing...

Nicely painted mid century abstract cubist oil painting. Great color and composition. Framed.

Six O-Clock, c. 1942, oil on canvas, 30 x 20 inches, signed and titled several times verso of frame and stretcher (perhaps by another hand), marked “Rehn” several times on frame (for the Frank K. M. Rehn Galleries in New York City, who represented Craig at the time); Exhibited: 1) 18th Biennial Exhibition of Contemporary American Oil Paintings from March 21 to May 2, 1943 at The Corcoran Gallery of Art in Washington, D.C. #87, original price $450 (per catalog) (exhibition label verso), 2) Craig’s one-man show at the Frank K. M. Rehn Galleries, New York City, from October 26 to November 14, 1942, #10 (original price listed as $350); and 3) Exhibition of thirty paintings sponsored by the Harrisburg Art Association at the State Museum of Pennsylvania in Harrisburg in March, 1944 (concerning this exhibit, Penelope Redd of The Evening News (Harrisburg, Pennsylvania) wrote: “Other paintings that have overtones of superrealism inherent in the subjects include Tom Craig’s California nocturne, ‘Six O’Clock,’ two figures moving through the twilight . . . .” March 6, 1944, p. 13); another label verso from The Museum of Art of Toledo (Ohio): original frame: Provenance includes George Stern Gallery, Los Angeles, CA About the Painting Long before Chris Burden’s iconic installation outside of the Los Angeles County Museum of Art, Urban Light, another artist, Tom Craig, made Southern California streetlights the subject of one of his early 1940s paintings. Consisting of dozens of recycled streetlights from the 1920s and 1930s forming a classical colonnade at the museum’s entrance, Burden’s Urban Light has become a symbol of Los Angeles. For Burden, the streetlights represent what constitutes an advanced society, something “safe after dark and beautiful to behold.” It seems that Craig is playing on the same theme in Six O-Clock. Although we see two hunched figures trudging along the sidewalk at the end of a long day, the real stars of this painting are the streetlights which brighten the twilight and silhouette another iconic symbol of Los Angeles, the palm trees in the distance. Mountains in the background and the distant view of a suburban neighborhood join the streetlights and palm trees as classic subject matter for a California Scene painting, but Craig gives us a twist by depicting the scene not as a sun-drenched natural expanse. Rather, Craig uses thin layers of oil paint, mimicking the watercolor technique for which he is most famous, to show us the twinkling beauty of manmade light and the safety it affords. Although Southern California is a land of natural wonders, the interventions of humanity are already everywhere in Los Angeles and as one critic noted, the resulting painting has an air of “superrealism.” About the Artist Thomas Theodore Craig was a well-known fixture in the Southern California art scene. He was born in Upland California. Craig graduated with a degree in botany from Pomona College and studied painting at Pamona and the Chouinard Art School with Stanton MacDonald-Wright and Barse Miller among others. He became close friends with fellow artist Milford Zornes...

Vintage American school signed modernist cubist still life oil painting and collage. Oil and mixed media on board. Signed. Framed. I...

Nicely painted mid century abstract cubist oil painting. Great color and composition. Framed.

Oil on canvas painting by Charles Ragland Bunnell (1897-1968) circa 1928-1929 of a Manitou, Colorado with a view of Pikes Peak. Early 20th century mountain landscape painting. Presen...

Finely painted vintage American modernist still life. Cubist composition with great color. Oil on board. Framed. Signed.