One of two works by the artist in my shop is this small pencil sketch on irregularly shaped scratch paper, roughly 4 1/4" by 4" (5 1/2" square in its simple wood frame from which it was removed for photography). The subject is an empty vase casting a shadow while resting on a narrow tabletop. Of possibly great interest to any researcher of the artist's life and career, the work is clearly a sketch, perhaps for a finished painting or pastel. On the reverse side, and to a lesser extent at lower right on the front, are columns of numbers and entries as if the artist were calculating his expenses....entries appear to includ "Pap" (paper?); "Etch."; "Type"; "Prin"; etc. The artist, LEON DOLICE (1892-1960) was a prolific worker at mid century in a number of media, including painting, drawing and printmaking. A website is maintained by a family member of the artist, and I take the following information from that site: "The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the young man who was someday to be spoken of as showing promise of becoming “one of the greatest etchers of all time”. Leon Dolice, even as a young boy, preferred the lure of painting to scholastic studies. His interest in art led him to abandon a secure future and to spend most of his late teens and early twenties traveling through the capital cities of Europe studying the works of the Masters. As with many itinerant artists, he made his way in a variety of fashions – metalworker, chef, designer – somehow always managing to give vent to his creative instincts. Lured by the adventure of crossing the great Atlantic and by the freedom of the New World, he came to America in 1920. There he was greeted by the turbulence of New York in the Roaring Twenties. Finding a retreat in the European Bohemianism of Greenwich Village, he picked the streets of this landmark neighborhood as his first subjects. With the encouragement of new found friends and artists such as George Luks and Herb Roth, he soon ventured out and devoted all his time to chronicling the architecture, back streets, dock scenes and other nostalgia that was fast disappearing from the face of Manhattan, mainly in copperplate etchings. He won accolades for his work, and although he traveled the East Coast recording landmarks in other cities including Washington DC, Baltimore, Chicago and Philadelphia; he always returned to his new home, Manhattan. A decline in popular favor for etchings led him to put aside his plates in the late 1930’s and devote some ten years to pastels, linocuts and painting. His subject matter was almost exclusively New York City street scenes, but figurative works, country scenes and even experiments with Abstract Expressionism at the height of its newly found favor in the 1940’s punctuated his career. In 1951, after learning of the forthcoming demise of the Third Avenue El, in the shadow of which he had maintained his studio for over a decade, he once again took to his plates and press and created a final copperplate series of Third Avenue and other New York City landmarks that were then threatened with extinction; and a series of 24 linoleum cuts of his favorite street scenes. His work brings to light aspects of nostalgic New York that survives today only in small part, whether in architecture or in spirit. Dolice’s works are in a number of museums and private collections, including those of The Museum of the City of New York, The New York Public Library, The New York Historical Society, Georgetown University Lauinger Library, The Print Club of Philadelphia, The Dave and Reba Williams Collection and many others. His biography is listed in Mallett’s, Davenport’s, The Artists’ Bluebook 2000; and on many sites on the internet. Articles about him and his work have been in major newspapers, including The New York Times, NY Daily News, NY Post and in dozens of other local papers; as well as in art publications such as Artspeak, The Journal of The Print World, Art Business News, , Decor, Art World News and many others. In the past few years, his work has been exhibited at Hofstra Museum, with the Montauk Artists’ Association, with the New Rochelle Council on The Arts, at Décor Expo and Art Expo at Javits Center and at numerous hotels, galleries and not-for-profit organizations mostly in the greater metropolitan New York area. Replicas of his works are in many galleries in New York and California and have been at Bloomingdales stores nationwide, and at other retail establishments." CONDITION: As found in Connecticut, this was probably last opened in the 1920's to 1940's period----glass was dirty, mat and drawing paper itself oxidized and with small stains throughout........most of the objectionable stains could be matted out. You might be able to retain the frame. SEE HUNDREDS OF OTHER WORKS OF ART IN MY SHOP. SEE THE BEAUTIFUL PASTEL OF THE NEW YORK SKYLINE BY THE ARTIST, IN MY SHOP.
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