Arnold Friedman (American, 1874-1946) Self Portrait Drawing, charcoal on paper. Size: 11'' x 8.5'', 28 x 22 cm (sheet); 15.75'' x 13'', 40 x 33 cm (mat). Provenance: Private Pennsylvania Collection (by descent to present owner).
ARNOLD FRIEDMAN (1874 - 1946, AMERICAN) Landscape with Village and Houses. Oil on canvas. Signed, Friedman, lower right. Signed, A. Friedman, on verso. 25¾x27¾ inches. Provenance: Arnold Klein Gallery, Royal Oak, Michigan; [Bunte Auctions, Elgin, Illinois, February 26, 2005, Lot 5333]; Private collection; [Hindman Auctions,Chicago, IL, Octopber 20, 2023, lot 54, sold as "Abstract Landscape with Castle"]; Private collection.
Arnold Friedman 1879 - 1946 Fresh Mounts signed Friedman (lower left); signed A. Friedman and titled (on the reverse) oil on canvasboard 9 ¼ by 13 ½ in. 23.5 by 34.3 cm.
Arnold Aaron Friedman New York, (1879-1946) Polo Players lithograph Signed lower right. Biography from the Archives of askART: Modernist painter Arnold Friedman, was born in New York City. He did not study art until 1905, with Robert Henri at the Art Students League in New York City. He supported himself by working in the post-office. Eleven paintings by Arnold Friedman were shown in New York City in 2002 at the Berry-Hill Galleries in the exhibition, High Notes of American Modernism: Selections from the Tommy and Gill LiPuma Collection. Friedman's paintings appeared in two exhibitions in New York City in 2003, a one-man show at the Barbara Mathes Gallery, and a survey, American Art: 1750 to the Present, at the Richard York Gallery. A comprehensive 1986 exhibition of approximately one hundred eleven paintings and some watercolors and drawings was held at the Salander-O-Reilly Galleries in New York City. The show, Arnold Friedman (1874-1946): An Exhibition: Paintings, Drawings and Watercolors, gave rise to an extensive catalogue with an essay by critic Hilton Kramer. Arnold Friedman participated, from February 14-16, 1936, in the First Congress of American Artists against War and Fascism, in New York City. An extant publication records the essays of painters Stuart Davis and Peter Blume, photographer Margaret Bourke-White, sculptor Paul Manship and critic Lewis Mumford, among others, as well as the artists who attended, including painters Max Weber, David Alfaro Siqueiros, Jose Clemente Orozco, Harry Sternberg, Arnold Blanch and John Groth. Sources: http://www.berry-hill.com/exhibitions/2002_11_12/ http://www.eventjar.com/pageMaps/artistF.251.300.html http://www.usedbookcentral.com/texis/ubc/searchbooks,sid,10389,jump,600.html http://mullenbooks.com/cgi-bin/kmb455/7050.1.html
Arnold Aaron Friedman New York, (1879-1946) Standing Man graphite on paper Unsigned. Provenance: The Estate of Kenneth Frazier Biography from the Archives of askART: Modernist painter Arnold Friedman, was born in New York City. He did not study art until 1905, with Robert Henri at the Art Students League in New York City. He supported himself by working in the post-office. Eleven paintings by Arnold Friedman were shown in New York City in 2002 at the Berry-Hill Galleries in the exhibition, High Notes of American Modernism: Selections from the Tommy and Gill LiPuma Collection. Friedman's paintings appeared in two exhibitions in New York City in 2003, a one-man show at the Barbara Mathes Gallery, and a survey, American Art: 1750 to the Present, at the Richard York Gallery. A comprehensive 1986 exhibition of approximately one hundred eleven paintings and some watercolors and drawings was held at the Salander-O-Reilly Galleries in New York City. The show, Arnold Friedman (1874-1946): An Exhibition: Paintings, Drawings and Watercolors, gave rise to an extensive catalogue with an essay by critic Hilton Kramer. Arnold Friedman participated, from February 14-16, 1936, in the First Congress of American Artists against War and Fascism, in New York City. An extant publication records the essays of painters Stuart Davis and Peter Blume, photographer Margaret Bourke-White, sculptor Paul Manship and critic Lewis Mumford, among others, as well as the artists who attended, including painters Max Weber, David Alfaro Siqueiros, Jose Clemente Orozco, Harry Sternberg, Arnold Blanch and John Groth. Sources: http://www.berry-hill.com/exhibitions/2002_11_12/ http://www.eventjar.com/pageMaps/artistF.251.300.html http://www.usedbookcentral.com/texis/ubc/searchbooks,sid,10389,jump,600.html http://mullenbooks.com/cgi-bin/kmb455/7050.1.html
Arnold Aaron Friedman New York, (1879-1946) Three Women graphite and crayon on paper Signed lower right. Biography from the Archives of askART: Modernist painter Arnold Friedman, was born in New York City. He did not study art until 1905, with Robert Henri at the Art Students League in New York City. He supported himself by working in the post-office. Eleven paintings by Arnold Friedman were shown in New York City in 2002 at the Berry-Hill Galleries in the exhibition, High Notes of American Modernism: Selections from the Tommy and Gill LiPuma Collection. Friedman's paintings appeared in two exhibitions in New York City in 2003, a one-man show at the Barbara Mathes Gallery, and a survey, American Art: 1750 to the Present, at the Richard York Gallery. A comprehensive 1986 exhibition of approximately one hundred eleven paintings and some watercolors and drawings was held at the Salander-O-Reilly Galleries in New York City. The show, Arnold Friedman (1874-1946): An Exhibition: Paintings, Drawings and Watercolors, gave rise to an extensive catalogue with an essay by critic Hilton Kramer. Arnold Friedman participated, from February 14-16, 1936, in the First Congress of American Artists against War and Fascism, in New York City. An extant publication records the essays of painters Stuart Davis and Peter Blume, photographer Margaret Bourke-White, sculptor Paul Manship and critic Lewis Mumford, among others, as well as the artists who attended, including painters Max Weber, David Alfaro Siqueiros, Jose Clemente Orozco, Harry Sternberg, Arnold Blanch and John Groth. Sources: http://www.berry-hill.com/exhibitions/2002_11_12/ http://www.eventjar.com/pageMaps/artistF.251.300.html http://www.usedbookcentral.com/texis/ubc/searchbooks,sid,10389,jump,600.html http://mullenbooks.com/cgi-bin/kmb455/7050.1.html
ARNOLD FRIEDMAN Still Life with a Vase of Flowers on a Table. Oil on board. 305x255 mm; 12x10 inches. Signed in oil, lower right recto. Provenance: Salander-O'Reilly Galleries, Inc., New York, with the label; private collection, New York. Friedman was born in Corona, Queens and worked at the post office while painting on the weekends and in the evenings. While maintaining his full-time job to support his family, he developed his art career, first taking classes at the Art Students League in 1905 under Robert Henri (1865-1929) and Kenneth Hayes Miller (1876-1952) and then, in 1909, taking a leave of absence from his job to go to Paris where he was introduced to Impressionism and burgeoning modern art movements such as Cubism. His style evolved throughout his career, but he maintained his focus on color and nature, paying tribute to Impressionism, particularly Camille Pissarro (1820-1903). He did not dedicate himself full-time to art until 1933 when he was 59 years old.
Arnold Aaron Friedman American, 1874/79-1946 Rutgers Square Signed Friedman (lr); inscribed as titled on the reverse Oil on panel 18 x 15 3/4 inches (45.7 x 40 cm) (Frame dimensions: 25 1/2 x 23 1/4 x 2 inches) Not examined out of the frame. Minor frame rubbing visible to edges. Scattered stress cracks to pigment.
Arnold Aaron Friedman (American, 1874-1946) Painting. Title - On the Beach with Tugboat. Oil on artists board painting. Signed lower right Friedman. Newspaper articles about the artist from 1978 attached to the back. In good condition. Painting measures 12.5 inches high, 16 inches wide. Frame measures 16 inches high, 19 inches wide. In good condition. Arnold Aaron Friedman is considered an extremely gifted and original American modern painter by scholars and art historians today. He came to the profession of a painter rather late in life and did not devote himself to his art on a full time basis until 1933, at the age of 59. Friedman was born to Hungarian Jewish parents in Corona, Queens, where he worked as a post office clerk for some forty years, painting on evenings and weekends. Under the auspices of the Federal Arts Project of the Works Progress Administration, Friedman painted murals for Chalfonte-Haddon Hall in Atlantic City, New Jersey and post office buildings in Orange, Virginia; Kingstree, South Carolina; and Warrenton, Georgia. Friedman's style underwent several transformations during his career. He began his career in 1905 under the tutelage of Robert Henri and Kenneth Hayes Miller at the Art Students League in New York. These painters had an important influence on his early style, which was geared towards representational subjects. However, during his studies at the Art Students Leagues, Friedman found himself a misfit as an older postal clerk, and harnessed the belief that every painter must learn his own trade. In 1909 Friedman took a six-month leave of absence from his job at the Post Office to study art in Paris. During this time, he was exposed to the virtues of Impressionism. He was most influenced by the Pointillism of Pisarro, and reflected his admiration of other Impressionists and Post-Impressionists was reflected in his own art after his return to New York. Friedman's trip to France also introduced him to Cubism, which he experimented with for a brief period. From these European influences, Friedman chartered his own distinctly American course and created a unique approach to painting. Upon his return to New York, Friedman's style consisted of cool tonalities and smooth finish, with two-dimensional objects. He painted traditional subjects of landscapes, portraits, and nudes all expressing his deep commitment to color. It was during this time that he made the bold statement, Color in painting is the very heartbeat (Hess). While Friedman developed several styles during the course of his career, his latest work continues to warrant the most attention. The artist maintained his commitment to nature and color as he developed an abstracting style, abandoning the brush for a palette knife. This method of painting allowed for more powerful effects of texture and abbreviated forms. Friedman's abstracted landscapes attain an atmospheric quality through his use of color and unique application. His style during his later career is distinct, as Friedman paints with impastoed surfaces that create contours and texture to define characteristics of his subject. Through these works he pays homage to the influence of Pisarro and Impressionism, yet he does so in his own vocabulary. Where an Impressionist landscape depicts a place and time, Friedman's landscapes evoke mood. As an artist, he was more concerned with the formal aspects of painting rather than with creating the exact appearance of nature. Prior to his death in his seventies, Friedman was still actively painting and developing his unique style. Friedman's oeuvre appears to have been limited to approximately 300 works. He is represented in the Metropolitan Museum of Art, Museum of Modern Art, Smithsonian Museum of American Art, Newark Museum, and Detroit Institute of Art. He was also a member of the Society of Independent Artists and Salons of America. Biography from Hollis Taggart Galleries Arnold Friedman (1874-1946) Arnold Friedman is considered an extremely gifted and original American modern painter by scholars and art historians today. He came to the profession of a painter rather late in life and did not devote himself to his art on a full time basis until 1933, at the age of 59. Friedman was born to Hungarian Jewish parents in Corona, Queens, where he worked as a post office clerk for some forty years, painting on evenings and weekends. Under the auspices of the Federal Arts Project of the Works Progress Administration, Friedman painted murals for Chalfonte-Haddon Hall in Atlantic City, New Jersey and post office buildings in Orange, Virginia; Kingstree, South Carolina; and Warrenton, Georgia. Friedman's style underwent several transformations during his career. He began his career in 1905 under the tutelage of Robert Henri and Kenneth Hayes Miller at the Art Students League in New York. These painters had an important influence on his early style, which was geared towards representational subjects. However, during his studies at the Art Students Leagues, Friedman found himself a misfit as an older postal clerk, and harnessed the belief that every painter must learn his own trade. In 1909 Friedman took a six-month leave of absence from his job at the Post Office to study art in Paris. During this time, he was exposed to the virtues of Impressionism. He was most influenced by the Pointillism of Pisarro, and reflected his admiration of other Impressionists and Post-Impressionists was reflected in his own art after his return to New York. Friedman's trip to France also introduced him to Cubism, which he experimented with for a brief period. From these European influences, Friedman chartered his own distinctly American course and created a unique approach to painting. Upon his return to New York, Friedman's style consisted of cool tonalities and smooth finish, with two-dimensional objects. He painted traditional subjects of landscapes, portraits, and nudes all expressing his deep commitment to color. It was during this time that he made the bold statement, Color in painting is the very heartbeat (Hess). While Friedman developed several styles during the course of his career, his latest work continues to warrant the most attention. The artist maintained his commitment to nature and color as he developed an abstracting style, abandoning the brush for a palette knife. This method of painting allowed for more powerful effects of texture and abbreviated forms. Friedman's abstracted landscapes attain an atmospheric quality through his use of color and unique application. His style during his later career is distinct, as Friedman paints with impastoed surfaces that create contours and texture to define characteristics of his subject. Through these works he pays homage to the influence of Pisarro and Impressionism, yet he does so in his own vocabulary. Where an Impressionist landscape depicts a place and time, Friedman's landscapes evoke mood. As an artist, he was more concerned with the formal aspects of painting rather than with creating the exact appearance of nature. Prior to his death in his seventies, Friedman was still actively painting and developing his unique style. Friedman's oeuvre appears to have been limited to approximately 300 works. He is represented in the Metropolitan Museum of Art, Museum of Modern Art, Smithsonian Museum of American Art, Newark Museum, and Detroit Institute of Art. He was also a member of the Society of Independent Artists and Salons of America. Arnold Friedman is considered an extremely gifted and original American modern painter by scholars and art historians today. He came to the profession of a painter rather late in life and did not devote himself to his art on a full time basis until 1933, at the age of 59. Friedman was born to Hungarian Jewish parents in Corona, Queens, where he worked as a post office clerk for some forty years, painting on evenings and weekends. Under the auspices of the Federal Arts Project of the Works Progress Administration, Friedman painted murals for Chalfonte-Haddon Hall in Atlantic City, New Jersey and post office buildings in Orange, Virginia; Kingstree, South Carolina; and Warrenton, Georgia. Friedman's style underwent several transformations during his career. He began his career in 1905 under the tutelage of Robert Henri and Kenneth Hayes Miller at the Art Students League in New York. These painters had an important influence on his early style, which was geared towards representational subjects. However, during his studies at the Art Students Leagues, Friedman found himself a misfit as an older postal clerk, and harnessed the belief that every painter must learn his own trade. In 1909 Friedman took a six-month leave of absence from his job at the Post Office to study art in Paris. During this time, he was exposed to the virtues of Impressionism. He was most influenced by the Pointillism of Pisarro, and reflected his admiration of other Impressionists and Post-Impressionists was reflected in his own art after his return to New York. Friedman's trip to France also introduced him to Cubism, which he experimented with for a brief period. From these European influences, Friedman chartered his own distinctly American course and created a unique approach to painting. Upon his return to New York, Friedman's style consisted of cool tonalities and smooth finish, with two-dimensional objects. He painted traditional subjects of landscapes, portraits, and nudes all expressing his deep commitment to color. It was during this time that he made the bold statement, Color in painting is the very heartbeat (Hess). While Friedman developed several styles during the course of his career, his latest work continues to warrant the most attention. The artist maintained his commitment to nature and color as he developed an abstracting style, abandoning the brush for a palette knife. This method of painting allowed for more powerful effects of texture and abbreviated forms. Friedman's abstracted landscapes attain an atmospheric quality through his use of color and unique application. His style during his later career is distinct, as Friedman paints with impastoed surfaces that create contours and texture to define characteristics of his subject. Through these works he pays homage to the influence of Pisarro and Impressionism, yet he does so in his own vocabulary. Where an Impressionist landscape depicts a place and time, Friedman's landscapes evoke mood. As an artist, he was more concerned with the formal aspects of painting rather than with creating the exact appearance of nature. Prior to his death in his seventies, Friedman was still actively painting and developing his unique style. Friedman's oeuvre appears to have been limited to approximately 300 works. He is represented in the Metropolitan Museum of Art, Museum of Modern Art, Smithsonian Museum of American Art, Newark Museum, and Detroit Institute of Art. He was also a member of the Society of Independent Artists and Salons of America.
Arnold Aaron Friedman (American 1874-1946), pastel and graphite, titled on verso Dancer, retains ACA Master Gallery and James Graham & Sons labels on verso, 16" x 10".
Arnold Friedman Museum Oil Ex Taggart Salander, titled Museum Piece Number 2, oil on panel, 14.5 x 10 inches, 21.75 x 17.375 x 1.5 inches overall framed, signed lower left, Marquie Gallery 16 W 57th St New York, Hollis Taggart 958 Madison Ave NY as HT 9555 and Salander OReilly 20 East 79th St NYC as AO24084 Reg 24084 labels verso. Gessoed oak frame. Accompanied by a color photocopy of a Hollis Taggart advertisement or gallery sheet depicting the artwork together with a partial email text with Taggart referencing a Friedman shipment with family references and address removed. Provenance: Krassner Seymour Cooke Collection formerly of Kennebunkport, Maine, removed from their waterfront Southeast Florida estate in late 2021. CXRL21
Arnold Aaron Friedman (American, 1874-1946) Rolling Hills Oil on paper laid on board 15-1/2 x 38 inches (39.4 x 96.5 cm) (image) PROVENANCE: Hirschl and Adler Galleries, New York; Salander O' Reilly, New York; Questroyal Gallery, LLC., New York; Acquired by the present owner from the above, circa 2010. HID01801242017
ARNOLD FRIEDMAN (1879-1946) Wooded Hillside. Oil on canvas. 610x475 mm; 24x18 3/4 inches. Signed in oil, lower left. Circa 1945. Published: Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 89 (illustrated). Friedman was born in Corona, Queens and worked at the post office while painting on the weekends and in the evenings. While maintaining his full-time job to support his family, he developed his art career, first taking classes at the Art Students League in 1905 under Robert Henri (1865-1929) and Kenneth Hayes Miller (1876-1952) and then, in 1909, taking a leave of absence from his job to go to Paris where he was introduced to Impressionism and burgeoning modern art movements such as Cubism. His style evolved throughout his career, but he maintained his focus on color and nature, paying tribute to Impressionism, particularly Camille Pissarro (1820-1903). He did not dedicate himself full-time to art until 1933 when he was 59 years old.
ARNOLD FRIEDMAN (1879-1946) Coastal Landscape with a Red Boat. Watercolor on cream wove paper. 300x380 mm; 12x15 inches. Signed in pencil, lower right recto. Circa 1925-30. Friedman was born in Corona, Queens and worked at the post office while painting on the weekends and in the evenings. While maintaining his full-time job to support his family, he developed his art career, first taking classes at the Art Students League in 1905 under Robert Henri (1865-1929) and Kenneth Hayes Miller (1876-1952) and then, in 1909, taking a leave of absence from his job to go to Paris where he was introduced to Impressionism and burgeoning modern art movements such as Cubism. His style evolved throughout his career, but he maintained his focus on color and nature, paying tribute to Impressionism, particularly Camille Pissarro (1820-1903). He did not dedicate himself full-time to art until 1933 when he was 59 years old.
ARNOLD FRIEDMAN (1879-1946) Industrial Landscape on a River. Color pastels and pencil on tan card stock. 300x410 mm; 11 3/4x16 1/8 inches. Inscribed "Original drawing c 1935/by Arnold Friedman" by Elizabeth Friedman, the artist's daughter, in pencil, verso. Circa 1935. Provenance: Artist's estate, New York. Friedman was born in Corona, Queens and worked at the post office while painting on the weekends and in the evenings. While maintaining his full-time job to support his family, he developed his art career, first taking classes at the Art Students League in 1905 under Robert Henri (1865-1929) and Kenneth Hayes Miller (1876-1952) and then, in 1909, taking a leave of absence from his job to go to Paris where he was introduced to Impressionism and burgeoning modern art movements such as Cubism. His style evolved throughout his career, but he maintained his focus on color and nature, paying tribute to Impressionism, particularly Camille Pissarro (1820-1903). He did not dedicate himself full-time to art until 1933 when he was 59 years old.
ARNOLD FRIEDMAN (1879-1946) Three watercolors. Flushing Bay I * Flushing Bay II. Circa 1936 * Afternoon, New York. Circa 1938. Each 267x362 mm; 11 1/4x14 1/4 inches. Each dated and inscribed "Original watercolor by Arnold Friedman," by Elizabeth Friedman, the artist's daughter, in pencil, verso. Provenance: Artist's estate, New York. Friedman was born in Corona, Queens and worked at the post office while painting on the weekends and in the evenings. While maintaining his full-time job to support his family, he developed his art career, first taking classes at the Art Students League in 1905 under Robert Henri (1865-1929) and Kenneth Hayes Miller (1876-1952) and then, in 1909, taking a leave of absence from his job to go to Paris where he was introduced to Impressionism and burgeoning modern art movements such as Cubism. His style evolved throughout his career, but he maintained his focus on color and nature, paying tribute to Impressionism, particularly Camille Pissarro (1820-1903). He did not dedicate himself full-time to art until 1933 when he was 59 years old.
ARNOLD FRIEDMAN (1879-1946) Two watercolors. Nudes in a Landscape, with pen and ink on card. 240x340 mm; 9 1/2x13 1/4 inches * Nude Group in a Landscape, with pen and ink and heightening in gouache on the verso of the printed cover for the Marie Harriman Gallery, New York exhibition "Poésies de Stéphane Mallarmé. Eaux-fortes originales de Henri Matisse." 205x255 mm; 8x10 inches. Both dated and inscribed "Original watercolor by Arnold Friedman," by Elizabeth Friedman, the artist's daughter, in pencil, verso. Both circa 1934. With— Figure Study, conté crayon on cream wove paper, folded. With an additional figure study of dancers in the centerfold. Circa 1930. Provenance: (the first two works) Artist's estate, New York. Friedman was born in Corona, Queens and worked at the post office while painting on the weekends and in the evenings. While maintaining his full-time job to support his family, he developed his art career, first taking classes at the Art Students League in 1905 under Robert Henri (1865-1929) and Kenneth Hayes Miller (1876-1952) and then, in 1909, taking a leave of absence from his job to go to Paris where he was introduced to Impressionism and burgeoning modern art movements such as Cubism. His style evolved throughout his career, but he maintained his focus on color and nature, paying tribute to Impressionism, particularly Camille Pissarro (1820-1903). He did not dedicate himself full-time to art until 1933 when he was 59 years old.
ARNOLD FRIEDMAN Landscape. Oil on board. 190x235 mm; 7 3/8x9 1/4 inches. Ex-collection Zabriskie Gallery, New York, with the label on the frame back; private collection, New Jersey.
Arnold Friedman (American, 1874-1946), "Twin Mountains", signed "Friedman" lower left, two gallery labels verso, 25"h x 30"w (canvas), 34"h x 41"w (frame)
Arnold Friedman (American, 1874-1946), "Floral Still Life", signed "Friedman" lower right, gallery labels verso, 24"h x 20"w (canvas), 34"h x 29"w (frame)
Arnold Friedman The Dancer pastel and graphite on paper 17 h × 11.25 w in (43 × 29 cm) condition: Work is in overall good condition. Not examined outside of frame. Measurements are of sight. Toning throughout. Some minor handling marks visible in raking light. Framed behind acrylic measuring 19 x 15 inches.
Oil on paperboard, unsigned, inscribed 'To me old sweetheart Betty- a Mid July Divertissement' and dated 1942 on the reverse, with label from Zabriskie Gallery, NY, and Salander-O'Reilly Galleries, Inc., NY. 8 3/4 x 10 1/2 in., 14 x 15 3/4 in. (frame).
Arnold Friedman (American, 1874–1946) Highway Scene Signed 'FRIEDMAN' bottom left, oil on canvas 20 x 24 in. (50.8 x 61cm) Executed circa 1935-1940. provenance: Private Collection.
ARNOLD FRIEDMAN American (1874-1946) The Vegetable Stand oil on canvas, signed "Friedman" lower left 30 x 36 inches Provenance: The artist; By descent; Salander-O''Reilly Galleries, Inc., New York, New York; Sotheby''s New York, March 23, 2005, lot 122; Christie''s New York, March 8, 2008, lot 207; Private Collection, New York, New York. Exhibitions: Marquie Gallery, New York, 1945. Other Notes: A exhibition label from the California Palace of the Legion of Honor is on the reverse. Tags: oil painting, listed artist, French style
ARNOLD FRIEDMAN Landscape with Barren Hill. Oil on board. 190x235 mm; 7 3/8x9 1/4 inches. Ex-collection Zabriskie Gallery, New York, with the label on the frame back; private collection, New York.
Arnold Aaron Friedman (American, 1874-1946) Untitled (Vase of Flowers on Table) Oil on panel 11 x 10 inches (27.9 x 25.4 cm) Signed lower right: Friedman PROVENANCE: Salander-O'Reilly Galleries, Inc., New York; Private collection, New York. HID01801242017
Arnold Friedman (American, 1874-1946) Pen on orange paper, series of four self Portraits, ca. 1945, 6 x 4 inches each. Salander O'Reilly Galleries NY also Zabriskie Gallery
ARNOLD FRIEDMAN American (1874-1946) The Vegetable Stand oil on canvas, signed lower left "Friedman" 30 x 36 inches Provenance: The artist; By descent; Salander-O'Reilly Galleries, Inc., New York, New York; Sotheby's, March 23, 2005, lot 122; Christie's, March 8, 2008, lot 207; Private Collection, New York, New York. Exhibitions: Marquie Gallery, New York, 1945. Other Notes: Note: A exhibition label from the California Palace of the Legion of Honor is on the reverse. Tags: oil painting, listed artist, French style
ARNOLD FRIEDMAN Little Red Boat. Oil on panel. 345x445 mm; 13 1/2x17 1/2 inches. Ex-collection Zabriskie Gallery, New York, with the label on the frame back.
ARNOLD FRIEDMAN Landscape. Watercolor on paper, 1918. 260x363 mm; 10 1/4x14 1/4 inches. Signed in ink, lower right recto. Ex-collection private collection, New York.
WINTER LANDSCAPE Arnold Friedman (1874Ð1946) was an American Modernist painter. Oil on board, signed. Size: 8 1/4 x 10 1/2 in. Frame: 10 1/2 x13 in. He was born in Corona, Queens New York, worked for the Federal Art Project and studied at the Art Students League of New York under the tutelage of Robert Henri and Kenneth Hayes Miller. In 1909, he took a six-month leave of absence from his job to study art in Paris. During this time, he was introduced to the styles of Impressionism and Cubism. He exhibited with many of the most avant-garde venues and dealers of the period, including the Society of Independent Artists. If you would like to receive more detailed photos, please let us know. Any condition statement is given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hidden Treasures shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Arnold Friedman (New York, 1874 - 1946) Mixed Media landscape. Signed lower right. image size: 5 x 5 inches. Modernist painter Arnold Friedman, was born in New York City. He did not study art until 1905, with Robert Henri at the Art Students League in New York City. He supported himself by working in the post-office. Eleven paintings by Arnold Friedman were shown in New York City in 2002 at the Berry-Hill Galleries in the exhibition, High Notes of American Modernism: Selections from the Tommy and Gill LiPuma Collection. Friedman's paintings appeared in two exhibitions in New York City in 2003, a one-man show at the Barbara Mathes Gallery, and a survey, American Art: 1750 to the Present, at the Richard York Gallery. A comprehensive 1986 exhibition of approximately one hundred eleven paintings and some watercolors and drawings was held at the Salander-O-Reilly Galleries in New York City. The show, Arnold Friedman (1874-1946): An Exhibition: Paintings, Drawings and Watercolors, gave rise to an extensive catalogue with an essay by critic Hilton Kramer. Arnold Friedman participated, from February 14-16, 1936, in the First Congress of American Artists against War and Fascism, in New York City. An extant publication records the essays of painters Stuart Davis and Peter Blume, photographer Margaret Bourke-White, sculptor Paul Manship and critic Lewis Mumford, among others, as well as the artists who attended, including painters Max Weber, David Alfaro Siqueiros, Jose Clemente Orozco, Harry Sternberg, Arnold Blanch and John Groth
ARNOLD FRIEDMAN (1874-1946): ISLAND POND, VERMONT Oil on paperboard, signed 'Friedman' lower right. 15 x 39 in., 21 x 44 in. (frame). Property from Salander-O'Reilly Galleries, Inc.
Arnold Friedman (1874-1946, American) oil on canvas (wrapped on board) painting titled “The Branch”, signed lower right “Friedman”. 9.5 in. high x 13 in. wide. Frame: 14.5 in. high x 18.25 in. wide. Weight: 4 lbs.
Arnold Aaron Friedman American, 1874-1946 Flowers in a Terra Cotta Vase (Small Orange Vase of Flowers), circa 1940-46 Signed Friedman (ur); inscribed Flowers in a Terra Cotta Vase on the reverse and titled Small Orange Vase of Flowers and dated circa 1940-46 on a Zabriskie Gallery label on the back of the frame Oil on board 9 5/8 x 12 inches Provenance: Zabriskie Gallery, New York C
ARNOLD FRIEDMAN (1874-1946): REGATTA Oil on canvas, signed 'Friedman' lower right, lined. 13 x 20 in., 18 x 24 in. (frame). Salander-O'Reilly Galleries' Consigned by Trustees
ARNOLD AARON FRIEDMAN (American, 1874-1946) Untitled (Leaf Abstraction I), 1921 Oil on canvas 20 x 26 inches (50.8 x 66.0 cm) Signed and dated lower left: Arnold Friedman '21 PROPERTY FROM THE KING COLLECTION, TEXAS PROVENANCE: Zabriskie Gallery, New York; Sid Deutsch Gallery, New York; Private collection; By descent; Hollis Taggart Galleries, New York; Acquired by the present owner from the above, March 2005. EXHIBITED: Hollis Taggart Galleries, New York, "Arnold Friedman: The Language of Paint," May 24-June 30, 2006; El Paso Museum of Art, El Paso, Texas, "Modern American Painting 1907-1936: The Maria and Barry King Collection," September 8, 2013-January 5, 2014, no. 75. LITERATURE: W.C. Agee, Arnold Friedman: The Language of Paint, exhibition catalogue, Hollis Taggart Galleries, New York, May 2006, p. 21, pl. 5, illustrated; P.S. Cable, Modern American Painting 1907-1936: The Maria and Barry King Collection, exhibition catalogue, El Paso Museum of Art, El Paso, Texas, 2013, pp. 186-87, no. 75, illustrated. "Ironically, although Arnold Friedman occupies a marginal position in American modernism, soon after his death he was praised for his color and texture as one of the country's best painters--and this by none other than Clement Greenberg, the high priest of twentieth-century formalism. Most of Friedman's paintings of people, domestic interiors, still lifes, and landscapes followed a style that could be said to blend American social realism with the Post-Impressionism of the French Nabis, Pierre Bonnard and Edouard Vuillard. "However, during the 1910s and early '20s Friedman pursued color abstraction, and [Untitled (Leaf Abstraction I) is] among his boldest and most audacious creations in this realm. While the painting possesses neither the color range of the artist's other abstractions nor the textured pigment found in is later pictures, [the work] activates sonorous contrasts of deep browns and greens and features the smoothly textures skin of the painted canvas...[The work reveals influence from Paul] Cézanne and Cubism, but its originality resides in the way the artist has expressed his own sense of design, drama, and action, by appearing to hone in microscopically and give his natural forms full bodily expression. In the words of American modernist scholar William C. Agee, here Friedman depicted 'the inherent patterns and movements of plants and foliage. There are multiple intertwining elements in the 1921 painting...,more like branches than leaves but each element is distinct and independent, almost sculptural, even anthropomorphic, and moves like a dancer over and through the surface.' "Born to Hungarian Jewish parents in Queens, New York, Friedman began working as a post-office clerk during his teenage years and continued the job until retiring in 1934. His employment meant he had to paint in the evenings, but in 1905 he was able to study at the Art Students League with Robert Henri. In 1909 the artist took a six-month leave-of-absence from the post office in order to study in Paris. There he experimented with the Neo-Impressionist style of [Camille] Pissarro's paintings from the late 1880s, and absorbed the lessons from Cézanne and Cubism that would inform his abstract explorations such as [Untitled (Leaf Abstraction I)]. Friedman was among the directors of the Society of Independent Artists incorporated in late 1916, and he held his first solo exhibition in 1925 at the Bourgeois Gallery" (P.S. Cable, Modern American Painting 1907-1936: The Maria and Barry King Collection, exhibition catalogue, El Paso Museum of Art, El Paso, Texas, 2013, p. 186).
Untitled, (Young Woman in a Blue Hat), ca. 1930-1937 Oil on canvas (framed) Signed 24" x 20" Provenance: Zabriskie Gallery, New York (label on verso) Private Collection, New York
Arnold Friedman (American, 1874-1946) Portrait of a Man mixed media on board inscribed by Elizabeth Friedman (daughter of the artist) (verso) 8 1/2 x 6 3/4 inches.
