Untitled, c. 1944, oil on canvas, signed on the reverse and inscribed "St. Mary's / Georgia, 35 3/4 inches x 47 3/4 inches", exhibited [Solo Exhibition], Mortimer Brand Gallery, New York, NY, January, 1946 $120,000 This painting was likely created during Gerome Kamrowski’s 1944 winter residence in St. Marys, Georgia, a period documented both by the inscription on the reverse (“G. Kamrowski / St. Marys Georgia”) and by the artist’s own handwritten autobiographical notes. In hi

Reversible Composition, c. 1937, oil on composition board, signed verso in pencil, 12 x 15 / 15 x 12 inches, “#11” “22” and #104” annotated verso, label verso reads on one side: “Charles H. Walther / American 1879-1938 / Reversible Composition / 12 x 15 inches / oil on board” and on the other side: “Inglett-Watson / Art Deco / Style Moderne / 884 Park Ave. at W. Chase / Baltimore, Maryland 21201 / 301 244 8064", literature: American Fine Art Magazine, Issue 81, May/June, 2025

Isotopic Matriculation, c. late 1940s, mixed media on Masonite, signed lower right, 15 x 18 inches, label verso reads: "Isotopic Matriculation / Ed Cowley / Price $25", presented in its original frame $5250 Edward P. Cowley was an American painter, stained glass artist, and influential professor whose career helped shape the development of modern art education in New York’s capital region. A Buffalo native, Cowley served in the 94th Infantry Division under George S. Patton in

Five Potted Plants, 1929, oil on canvas, signed and dated upper right, 38 ½ x 47 inches, titled verso, label with “#13” verso, noted “#9” verso; exhibited: 1) 45 Painters and Sculptors under 35 Years, Museum of Modern Art, New York, NY, April 11 to 27, 1930 (label verso from this show includes Biberman’s address: “58 West 57th St., NYC”); 2) Edward Biberman Exhibition, Montross Gallery, New York, NY, January 19 to February 7, 1931 (see brochure and Harris, Ruth Green, A Roun

Man at Machine, 1939, oil on canvas, unsigned, 9 ½ x 16 inches, label verso bears artist’s name and address, title, date, size and medium of the painting, exhibited Roszak Early Paintings, Harold Ernst Gallery, Ltd., Boston, MA, April 17 – May 4, 1973 (illustrated in the catalog), presented in its original frame $18,000 Theodore Roszak was a pioneering Polish-American modernist, who worked as a painter, printmaker, and sculptor. His early work reflected the clean geometry and

Untitled, 1953, oil on Masonite, signed and dated lower left, 7 x 11 1/2 inches, presented in an older (likely original) frame $1250 Ralph McGuire was an American painter whose work celebrated the industrial landscapes, waterfronts, and neighborhoods of his native Baltimore, as well as fantastical images of landscapes he created, such as the present work. His oeuvre spoke to a strain of American modernism which drew upon seemingly naive compositions and techniques to explore

Martha's Vineyard, c. 1951, oil on heavy board, signed upper left, 24 x 30 inches, signed, titled and dated verso, presented in a period frame $4000 Maurice Becker was a Russian-born American painter, illustrator, and political cartoonist. Although he is best remembered for his contributions to left-wing publications during the 1910s and 1920s, Becker was also an accomplished painter who produced landscapes, urban scenes, and figurative works over a career spanning more than

Sun Image, 1936, oil on canvas, signed lower right, 30 x 24 inches, presented in a newer frame $7,500 Jerre Murry was a California modernist painter. Born in Columbia, Missouri, Murry studied at the Detroit Academy of Art and worked as an artist for the Detroit News and Detroit Free Press. Murry traveled to the Bahamas, where he was inspired to paint modernist scenes of island life, people, and symbols, such as Sun Image. By the 1930s, Murry had relocated to Los Angeles, whe

House in Abstract Landscape (Untitled), c. 1950s, oil on board, estate stamp verso, 18 x24 inches, presented in an older frame $3,500 Fiske Boyd was a Philadelphia-born painter, printmaker, and arts educator. He studied at the Pennsylvania Academy of Fine Arts and the Art Students League with Kenneth Hayes Miller. Early in his career, Boyd adopted a modernist approach and joined the Charles Daniel Galleries in 1923. His works from the 1920s were spare compositions usually in