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  Reinhold Klaus / Carl Geyling Atelier Vienna “Cubist Man with top hat and flowers” stained glass window c. 1930

  REINHOLD KLAUS (1881-1963) Vienna, Austria

  CARL GEYLING ATELIER (founded 1841) Vienna, Austria

  Man with tophat and flowers   c. 1930

  Window of stained and hand-painted leaded glass

  Provenance: Estate of Carl Geyling (1814-1880), Vienna

  H: 17 3/4″ x W: 14 1/2″

  Reinhold Klaus studied from 1898-1902 with Alfred Roller at the Kaiserlich-Königliche Kunstgewerbeschule in Vienna. In 1914 Klaus married into the Carl Geyling family and became extensively involved with with stained glass painting. As early as 1918 Klaus worked on a stained glass window for the Siegestempel am Bisamberg in Vienna. In 1934 he became a professor of stained glass painting at the Kunstgewerbeschule, as well as creative director of the C. Geylings Erben glass painting company. Reinhold Klaus, a member of the Künstlerhaus since 1924 received many prizes and honors. He worked on commissions for the St. Veits cathedral in Prague, the St. Stephan cathedral in Vienna and many others.

   

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  Edmund F. Ward “The Swimming Hole” Oil on canvas c. 1930

  EDMUND F. WARD (b. 1892 – 1991) USA

  “The Swimming Hole”   c. 1930

  Oil on canvas

  Marks: signed Edm. F. Ward (lower right); partial labels verso:Westchester Arts and Crafts Guild; 4 Edmund F. Ward

  For more information on the artist see: Who Was Who in American Art,Peter Hastings Falk, ed. (Madison, Conn.: Sound View Press, 1985), p. 658.

  Canvas H: 18” x W: 24”

  Framed H: 27 9/16” x W: 33 9/16”

  Price: $14,000

  Ward studied at the Arts Student’s League with Edward Dufner, George Bridgeman, and Thomas Fogarty. He was an illustrator for several national magazines and books. In 1925, Ward exhibited an award winning work at the Art Institute of Chicago. He is perhaps best known for his WPA mural in the Federal Building, White Plains, New York.

   

   

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  Karl Benjamin, “Geo-metricized figure”, Oil on canvas 1954

  KARL BENJAMIN (1925-2012) USA

  Geometricized figure 1954

  Oil on canvas

  Signed: Benjamin 54 (lower left)

  For more information see: Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, Vol. 1 to 10, E. Bénézit (Paris: Librairie Gründ, 1976).

  Canvas: H: 17″ x W: 6″

  Framed: H: 24 1/2″ x W: 13 1/2″

   

  Karl Benjamin was born in Chicago, IL in 1925. He received his BA from the University of Redlands, CA and his MFA at Claremont Graduate School, CA. Benjamin belonged to the Hard Edge group of West Coast painters led by John McLaughlin during the 1950s, 60s and early 70s. He was awarded the National Endowment for the Arts Grant for Visual Arts in both 1983 and 1989. His work has been featured in numerous museum exhibitions and is included in the public collections of the Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; Museum of Modern Art, Israel; Oakland Museum, Oakland, CA; San Francisco Museum of Modern Art, CA; Seattle Art Museum, WA; and the Whitney Museum of American Art, NY, among others. For many years, Benjamin taught painting at Pomona College and Claremont Graduate School, and currently is Professor Emeritus. He lived in Claremont, CA.

   

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  Tim Liddy Who Can Beat Nixon (1970) Presidential Sweepstakes 2006 Oil and enamel on copper, plywood back

  TIM LIDDY

  “Who Can Beat Nixon” (1970) Presidential Sweepstakes 2006

  Oil and enamel on copper, plywood back

  Signed in script: Tim Liddy “circa 1970” 2006, red circular ring

  Provenance: William Shearburn Gallery (St. Louis, MO)

  H: 11 ¾” x W: 9” x D: 2”

  With his recent paintings, Liddy has both reasserted the construct of hyperrealist painting and developed a thoroughly unique advancement of that mode by extending the cultural reality of the indexed original. Based on the illustrated box lids of vintage board games, Liddy has recontextualized a subject, which evokes the underlying rules of life. Painted on copper or steel in the precise dimensions of the original, the metal is then manipulated to demonstrate the exact rips and tears from years of usage and includes trompe-l’oeil renditions of the scotch tape that might be holding the cardboard box together, the assorted stains, or the various graffiti of time. Liddy leaves no possibility of ambivalence, these works speak to a concurrent understanding of their original object identity and to themselves as works of art engaged in historical and psychological dialogue.