Rudolph Pen

A Large, Fabulous Mid-Century Modern Painting of a Chicago Night Club, Burlesque

Circa 1948

Signed lower right 'John R. Nobriga' (American, 20th Century) and dated 1962. Additionally signed and dated verso and titled 'Dancers'. A colorful mid-century oil on paper showing ...

Philip Reisman paints the raw street life of New York City. Whether he's painting a barmaid or a street hobo, Reisman is a people painter. He studied at the Art Students League with ...

Medium: Oil on Canvas Board Signature: Signed Upper Left Two women Cabaret Dancers As a youngster, William Andrew Loomis loved to draw pictures, but it was a visit to the nearby stu...

A captivating oil on canvas by the renowned Spanish artist François Batet, celebrated for his lively depictions of Parisian life and the vibrant atmosphere of the city's famous cafés...

Joseph Kardonne (1911-1985). Night Club New York, ca. 1960s. . Watercolor on paper, sheet measures 8.5 x 12 inches; 11 x 17 in matting. Excellent condition. Born in Newark, New Jer...

Signed Lower Left

Signed lower right, 'Phillips' for Dick Phillips (American, 20th century) and painted circa 1965. Additionally signed, verso, on stretcher bar, 'Dick Richard Phillips'. A vibrant, 1...

Broadway Musical Gala American Scene Mid 20th Century Modern Dancers Curt Nations (20th Century) Brodway Musical Gala 38 x 28 inches Oil on canvas, c. 1950s Unsigned Inscribed on to...

Brilliant and memorable, this painting has two sides: a scene of nude burlesque dancers, ornamented in red feathers and red shoes on one side, and on the other, a highly abstract, Cubist composition in tones of taupe, wine, pale green and black. The artist was William L'Engle, and clearly he considered the Cubist composition more important, because it has a hand-painted border and is monogrammed. L'Engle was a towering figure in the Provincetown art colony, and was extremely well connected to America's artistic elite, starting with his trip to Europe as a young man with Waldo Pierce and George Biddle. Over time, William and his life Lucy became close to a wide range of important figures in painting, theater and the arts, including Charles Hawthorne, Eugene O'Neill, Gerrit Beneker, John Dos Passos, Edmund Wilson...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...