Eugenie Baizerman Sold at Auction Prices

Eugenie Baizerman, New York / Poland (1899 - 1949), female nude figure study, graphite on paper, 11"H x 11 7/8"W (sheet), 16 5/8"H x 19 1/2"W (board)

Eugenie Baizerman New York / Poland, (1899 - 1949) female nude figure study graphite on paper Signed verso. Biography from the Archives of askART: Originally from Poland, Eugenie Baizerman was one of America's earliest Abstract Impressionists. Prior to immigrating to the United States in 1910, Baizerman's family lived in Bessarabia, a province of Russia, and in the city of Odessa in the Russian Ukraine. The surname she received at birth, changed to Silverman upon her arrival in America, remains unknown. Baizerman's mother, an actress, and her father, a language teacher, began nurturing her artistic skill during childhood. They initially hired an artist to coach her individually. She was later admitted to the Odessa Art School. After moving to New York City, Baizerman continued her art education at the National Art Academy of Design, followed by the Educational Alliance. She became acquainted with Saul Baizerman, a Russian sculptor working as model for the National Academy of Design, whom she later married. Eugenie Baizerman's unique style of painting emerged from French Impressionism and evolved into form of expression. She used the subjects of her paintings - ordinary objects, landscapes, and figures - as the basis for rhythmically combing thick, colorful brushstrokes in abstracted, harmonious compositions. A preference for working in isolation greatly affected Baizerman's career as an artist. Throughout her life, she was extremely shy. Also, during most of her adulthood, she dealt with respiratory problems caused by partially psychosomatic asthma. In order to avoid potentially stressful situations which aggravated her condition, she refrained from actively promoting herself and her artwork. It was on rare occasion that she allowed the inclusion of her work in public exhibitions. For these reasons, knowledge of her work was kept to a minimum. Before her death in 1949, which was attributed to her respiratory illness, the extent of Baizerman's public involvement in was limited to two shows. The first, held in 1939, was a solo display. The second was in conjunction with her husband's sculptural work closer to the time of her death. Eugenie Baizerman's artwork remained unexposed for nearly twelve years until a collection of paintings, which had been in Saul Baizerman's possession prior to his death 1957, were displayed to the public. The exhibition, held in 1961 by the Artists Gallery of New York City, resulted in the acquisition of her work institutions including the Museum of Modern Art and the Whitney Museum of American Art in New York. Submitted by Jenna Wuensche, Researcher Source: Jules Heller and Nancy G. Heller, North American Women Artists of the Twentieth Century

Eugenie Baizerman, New York / Poland (1899 - 1949), female nude figure study, graphite on paper, 11"H x 11 7/8"W (sheet), 16 5/8"H x 19 1/2"W (board)

Eugenie Baizerman New York / Poland, (1899 - 1949) female nude figure study graphite on paper Signed verso. Biography from the Archives of askART: Originally from Poland, Eugenie Baizerman was one of America's earliest Abstract Impressionists. Prior to immigrating to the United States in 1910, Baizerman's family lived in Bessarabia, a province of Russia, and in the city of Odessa in the Russian Ukraine. The surname she received at birth, changed to Silverman upon her arrival in America, remains unknown. Baizerman's mother, an actress, and her father, a language teacher, began nurturing her artistic skill during childhood. They initially hired an artist to coach her individually. She was later admitted to the Odessa Art School. After moving to New York City, Baizerman continued her art education at the National Art Academy of Design, followed by the Educational Alliance. She became acquainted with Saul Baizerman, a Russian sculptor working as model for the National Academy of Design, whom she later married. Eugenie Baizerman's unique style of painting emerged from French Impressionism and evolved into form of expression. She used the subjects of her paintings - ordinary objects, landscapes, and figures - as the basis for rhythmically combing thick, colorful brushstrokes in abstracted, harmonious compositions. A preference for working in isolation greatly affected Baizerman's career as an artist. Throughout her life, she was extremely shy. Also, during most of her adulthood, she dealt with respiratory problems caused by partially psychosomatic asthma. In order to avoid potentially stressful situations which aggravated her condition, she refrained from actively promoting herself and her artwork. It was on rare occasion that she allowed the inclusion of her work in public exhibitions. For these reasons, knowledge of her work was kept to a minimum. Before her death in 1949, which was attributed to her respiratory illness, the extent of Baizerman's public involvement in was limited to two shows. The first, held in 1939, was a solo display. The second was in conjunction with her husband's sculptural work closer to the time of her death. Eugenie Baizerman's artwork remained unexposed for nearly twelve years until a collection of paintings, which had been in Saul Baizerman's possession prior to his death 1957, were displayed to the public. The exhibition, held in 1961 by the Artists Gallery of New York City, resulted in the acquisition of her work institutions including the Museum of Modern Art and the Whitney Museum of American Art in New York. Submitted by Jenna Wuensche, Researcher Source: Jules Heller and Nancy G. Heller, North American Women Artists of the Twentieth Century

(3pc) E. 20th C. AMER. PAINTINGS

Jean Liberte (american, 1896 - 1965) Half portrait of a girl. Mixed media h. 6-1/2 w. 5-1/2in. (sight) overall: 15 x 13in. Signed lower right "Liberte", titled and signed on back paper. Frederic Dana Marsh (American, 1872-1961)Seated urchin, 1892. Signed and dated lower right Eugenie Baizerman (American , 1899-1949) Titled "mother leaning toward baby on bed. signed and dated 1939. 8 x 10 (sight) overall 15-1/2 x 17-1/4in. [In Situ Item] This Item will not be on display in our saleroom during our preview period. If you wish to view it in-person please make a request with the gallery.

Eugenie Baizerman Oil on Board Girl With Blue Eyes

Eugenie Baizerman (Poland / American, New York, 1899-1949). Oil on board portrait Girl With Blue Eyes. Signed, titled and dated 1943 on verso. 15 1/2" x 11 1/2" (with frame 25" x 20 3/4"). Paint loss along edges.

Eugenie Baizerman (1899-1949): Undefined Composition

Oil on wood, 1926, unsigned, with label from Zabriskie Gallery, NY. 5 1/2 x 7 1/8 in., unframed. Works from the Collection of Virginia Zabriskie

Eugenie Baizerman (1899-1949): Still Life with Bronze Horse #3

Oil on un-stretched canvas, 1937, signed 'Eugenie Baizerman', titled and dated on the reverse, with label from Zabriskie Gallery, NY. 6 1/2 x 8 1/2 in., unframed. Works from the Collection of Virginia Zabriskie

Eugenie Baizerman (1899-1949): At the Brook, #1

Oil on wood, 1926, unsigned, with label from Zabriskie Gallery, NY. 7 1/8 x 5 3/8 in., unframed. Works from the Collection of Virginia Zabriskie

Eugenie Baizerman (1899-1949): Kneeling Girl

Oil on un-stretched canvas, 1947, signed 'Eugenie Baizerman', titled and dated on the reverse, with label from Zabriskie Gallery, NY. 10 1/4 x 6 in., unframed. Works from the Collection of Virginia Zabriskie

EUGENIE BAIZERMAN (1899-1949) Young Artist (Portrait of Saul Baizerman).

EUGENIE BAIZERMAN (1899-1949) Young Artist (Portrait of Saul Baizerman). Oil on canvas. 505x430 mm; 20x17 inches. Signed, titled and dated in ink, verso. 1918. As a teenager, Eugenie immigrated with her family from Poland to the United States. Having completed formal training at the Odessa Art School, Eugenie continued her studies in New York at the National Academy of Design and at the Educational Alliance. Classically trained, with Old Master artists as her model, Eugenie's early output was more muted and figural than the vivid abstractions of her mature œuvre. Saul Baizerman (1889-1957, see lot 144 and lot 145) was born in Vitebsk, Russia and moved to Odessa with his family as an adolescent. He wished to become a sculptor from an early age, watching his father, a harness maker by trade, hammer metal and leather hides. Saul was surrounded by revolutionary activity and political turmoil in Odessa. At age sixteen, he was imprisoned, though escaped to the United States after serving one and half years for his revolutionary ties. In 1910, Saul settled in New York, where he continued his artistic training at the Beaux-Art Institute of Design and attended much of the same schools as Eugenie, Moses Soyer (1899-1974), Raphael Soyer (1899-1987, see lot 67) and Chaim Gross (1902-1991). Saul and Eugenie married in 1920, at a time when Saul was beginning to become noticed for his small hammered bronze sculptures of the working class. The two artists traveled through Europe during the early 1920s, Saul exhibiting his "Labor Series" in London and Paris before the couple's daughter was born in New York in 1926. Saul's physically arduous technique of hammering sheets of copper related directly to his portraits of New York laborers. His exertion, evident in the works themselves, is reflected by his subjects. Saul was impeded by a studio fire in 1931 which destroyed all of his copper works in progress, though he was widely exhibited through the 1930s and 1940s. Eugenie's abstract paintings, which put color theory before form, borrowed from Expressionism. When she did include subjects, they were characterized as being "buried under a blanket of petals" so that the scenes shrunk into the background. She exhibited independently at the Artists Gallery, New York in 1938 and 1950, though she never sold a work. In 1948, the Baizermans exhibited together Saul's monumental hammered work and Eugenie's broadly painted colorful canvases at the Artists Gallery. Eugenie died in 1949 and Saul's health began to decline. His career in the 1950s was marked by high praise and honors. In 1953, the Walker Art Center, Minneapolis, organized his first retrospective. By the time Saul remarried in 1955, he had already withdrawn from his artistic work. When he died in 1957, he left behind a studio of large sculpture and a group of critics, collectors, and gallerists dedicated to his work, including Virginia Zabriskie and Joseph Hirshhorn. Though Eugenie remained an obscure artist, Krasner Galleries held a favorably received retrospective exhibition of her work in 1961 and Zabriskie Gallery exhibited her paintings from 1969 through 1988 and most recently in 2000.

EUGENIE BAIZERMAN (1899-1949) Enjoyment (Two Nudes).

EUGENIE BAIZERMAN (1899-1949) Enjoyment (Two Nudes). Oil on canvas. 760x970 mm; 30x38 inches. Dated and indistinctly inscribed in oil, lower left recto, and signed, titled and dated ink, verso. 1926. As a teenager, Eugenie immigrated with her family from Poland to the United States. Having completed formal training at the Odessa Art School, Eugenie continued her studies in New York at the National Academy of Design and at the Educational Alliance. Classically trained, with Old Master artists as her model, Eugenie's early output was more muted and figural than the vivid abstractions of her mature œuvre. Saul Baizerman (1889-1957, see lot 144 and lot 145) was born in Vitebsk, Russia and moved to Odessa with his family as an adolescent. He wished to become a sculptor from an early age, watching his father, a harness maker by trade, hammer metal and leather hides. Saul was surrounded by revolutionary activity and political turmoil in Odessa. At age sixteen, he was imprisoned, though escaped to the United States after serving one and half years for his revolutionary ties. In 1910, Saul settled in New York, where he continued his artistic training at the Beaux-Art Institute of Design and attended much of the same schools as Eugenie, Moses Soyer (1899-1974), Raphael Soyer (1899-1987, see lot 67) and Chaim Gross (1902-1991). Saul and Eugenie married in 1920, at a time when Saul was beginning to become noticed for his small hammered bronze sculptures of the working class. The two artists traveled through Europe during the early 1920s, Saul exhibiting his "Labor Series" in London and Paris before the couple's daughter was born in New York in 1926. Saul's physically arduous technique of hammering sheets of copper related directly to his portraits of New York laborers. His exertion, evident in the works themselves, is reflected by his subjects. Saul was impeded by a studio fire in 1931 which destroyed all of his copper works in progress, though he was widely exhibited through the 1930s and 1940s. Eugenie's abstract paintings, which put color theory before form, borrowed from Expressionism. When she did include subjects, they were characterized as being "buried under a blanket of petals" so that the scenes shrunk into the background. She exhibited independently at the Artists Gallery, New York in 1938 and 1950, though she never sold a work. In 1948, the Baizermans exhibited together Saul's monumental hammered work and Eugenie's broadly painted colorful canvases at the Artists Gallery. Eugenie died in 1949 and Saul's health began to decline. His career in the 1950s was marked by high praise and honors. In 1953, the Walker Art Center, Minneapolis, organized his first retrospective. By the time Saul remarried in 1955, he had already withdrawn from his artistic work. When he died in 1957, he left behind a studio of large sculpture and a group of critics, collectors, and gallerists dedicated to his work, including Virginia Zabriskie and Joseph Hirshhorn. Though Eugenie remained an obscure artist, Krasner Galleries held a favorably received retrospective exhibition of her work in 1961 and Zabriskie Gallery exhibited her paintings from 1969 through 1988 and most recently in 2000.

Eugenie Baizerman

(New York/Poland, 1899-1949) Oil on board titled, "Two Girls Resting on a Mountain." Signed on verso, titled and dated 1949. Good overall condition housed in period frame. H12 1/2" W9 1/2" (without frame)

EUGENIE BAIZERMAN (American, 1899-1949)

Mother leaning toward baby on bed oil on canvasboard h. 8 w. 10 in. overall: 15-1/2 x 17-1/4 in. 1939, titled, signed, and dated on verso

Eugenie Baizerman, (6) paintings, 1931-1947

Eugenie Baizerman (NY, 1899-1949), "Shack in Field" gouache on board, unsigned, inscribed and dated twice verso with The Artists' Gallery stamp, matted and unframed, 6"h x 7.5"w (sight), 13"h x 13.5"w (mat); "Fruit, Flowers and Bottle #5" oil on canvas, unsigned, inscribed and dated 1937 verso, matted and unframed, 7.5"h x 5.625"w (sight), 13.5"h x 12"w (mat); "Fruit and Blue Saucer" and "Cup, Spoon, and Fruit" oils on canvas unframed, inscribed, titled and dated 1947 on the back, each 6.75"w x 9.75"h; "Roadhouse and Trees" and "Fruit and Flower Color Notes" oils on canvas mounted on board, the first signed in pencil lower right dated 1931, 7.75"w x 6.25"h (image) the second dated 1947 on back, 10"w x 8"h, each inscribed and dated twice verso with The Artists' Gallery stamp

E. Baizerman, (6) drawings, (1) painting, 20th c.

Eugenie Baizerman (American, 1899-1949) "Mother Leaning Toward Baby on Bed #2", 1939, gouache on board, sketch for "Women at the Shore #3", 1940, pencil on board, "Trees on Hilly Ground", 1939, brush and ink on paper mounted on board, "Young Daughter", 1939, brush and ink on paper mounted on board, signed and dated lower right, study for "Women at the Shore #2", 1940, pencil on paper, two studies of a baby's head and hand for "A Quiet Scene", 1946, ink on paper, inscribed on verso with title, artist and date and the artist's initials or The Artists' Gallery stamp, 8.5"w x 7.5"h (smallest), 15"w x 20"h (largest)

Eugenie Baizerman, (2) landscapes, 20th c.

Eugenie Baizerman (NY, 1899-1949) "Trees by the Field" and "Barns Behind Trees," 1934, watercolor on paper, inscribed on back of art and mat with title, artist and date and The Artists' Gallery stamp, 18.75"w x 15"h (sheet), 24"w x 21"h (mat)

Eugenie Baizerman, (2) landscapes, 20th c.

Eugenie Baizerman (NY, 1899-1949), "Trees by a Brook" and "Pink Foliage," 1934, watercolor on paper, inscribed on back of art and mat with title, artist and date and The Artists' Gallery stamp, 18.75"w x 15"h (sheet), 24"w x 21"h (mat)

EUGENIE BAIZERMAN (1899-1949): TUCSON IMPRESSIONS

EUGENIE BAIZERMAN (1899-1949): TUCSON IMPRESSIONS Oil on canvas, 1947, signed ''Eugenie Baizerman'', titled and dated on the reverse, variously inscribed on the stretcher. 17 x 24 in., unframed. Property from Wilkes University, Wilkes-Barre, PA

EUGENIE BAIZERMAN (American, 1899-1949)

Mother leaning toward baby on bed oil on canvasboard h. 8 w. 10 in. overall: 15-1/2 x 17-1/4 in. 1939, titled, signed, and dated on verso

Eugenie Baizerman (1899-1949): Cafeteria

Eugenie Baizerman (1899-1949): Cafeteria Oil on canvas, 1933, signed, dated and titled on the reverse of the frame. 18 1/4 x 22 in., 19 x 22 1/2 x 1 1/4 in. (frame). Exhibition: The American Federation of Arts, New York, October 1962-May 1963. Provenance: Oscar Krasner, Inc., New York. Property of Wilkes University

EUGENIE BAIZERMAN (American, 1899-1949)

Mother leaning toward Baby on Bed 1939, oil on canvasboard, titled, signed, and dated on verso h. 8 w. 10 in. overall dimensions: 15-1/2 x 17-1/4 in.

Eugenie Baizerman (NY/Poland, 1899-1949),Etude for Women at the Shore, #3

oil on canvasboard, unsigned, presented in a later gilt frame with linen liner. SS 11.5 x 15.5 in.; DOA 19.25 x 23.5 in.

EUGENIE BAIZERMAN (American, 1899-1949)

EUGENIE BAIZERMAN (American, 1899-1949), ''Harvest Time'', oil on canvas, signed lower left and dated 1940 at bottom, artist, title and date inscribed to verso. 24''h, 30''w. Unframed, craquelure, relined, losses along bottom.

EUGENIE BAIZERMAN (American, 1899-1949)

EUGENIE BAIZERMAN (American, 1899-1949), ''Mist'', oil on canvas, signed lower left, signed, titled and dated 1939 to verso. 24''h, 30''w. Unframed, craquelure, tear upper right, wear with losses and tears to the edge of canvas, canvas loose with concave areas.

EUGENIE BAIZERMAN (1899-1949): CLOTH IN MOVEMENT, 1948

EUGENIE BAIZERMAN (1899-1949): CLOTH IN MOVEMENT, 1948 Oil on canvas. 29 1/2 x 35 1/2 in. (image), 32 x 38 in. (frame).

EUGENIE BAIZERMAN (1899-1949): ETUDE FOR WOMEN AT THE SHORE #2, 1940

EUGENIE BAIZERMAN (1899-1949): ETUDE FOR WOMEN AT THE SHORE #2, 1940 Oil on canvasboard, stamped 'EB' on the reverse. 11 3/4 x 15 3/4 in. (image), 10 x 23 in. (frame).

Eugenie Baizerman (NY, 1899-1949), Two Works

Eugenie Baizerman (NY, 1899-1949), Two Works the first an oil on board, unsigned, female nude, presented in a period gilt composition frame with linen liner (SS 7.75 x 9 7/8 in.; DOA 15.25 x 17.25 in.); the second an oil on board, inscribed on the verso "Purple Vase with Flowers by Mirror / Eugenie Baizerman 1938 / 8 3/4 x 7 3/8," with Artist Gallery stamp on the verso as well (SS 8.75 x 7.25 in.; DOA 16 x 14.75 in.). Krasner Gallery, New York, NY

Eugenie Baizerman (American, 1899-1949) Étude for Dawn #6 10 3/16 x 8 1/8in

Étude for Dawn #6 oil on canvas board 10 3/16 x 8 1/8in

Eugenie Baizerman (American, 1899-1949)

Eugenie Baizerman (American, 1899-1949) Three Figures with Greenish Background; and a companion painting the first signed, dated and titled 'Three Figures with greenish background Eugenie Baizerman 1941' (on the reverse) each oil on canvasboard The first 10 x 8 in. (25.4 x 20.3 cm.) The first painted in 1941. (2)

Eugenie Baizerman (AMERICAN, 1899-1949)

Eugenie Baizerman (AMERICAN, 1899-1949) A Woman Resting in a Shadowy Valley (Tucson Etude #5); and a companion painting the first signed, dated, titled and inscribed 'A Woman Resting in Shadowy Valley (Tucson Etude #5) Eugenie Baizerman 1949' (on the reverse) each oil on canvasboard the first 12 x 9 in. (30.5 x 22.9 cm.) The first painted in 1949. (2)

Eugenie Baizerman (American, 1899-1949)

Eugenie Baizerman (American, 1899-1949) Untitled signed and dated 'Eugenie Baizerman 37' (upper right) oil on canvas laid down on masonite 23½ x 29½ in. (59.7 x 75 cm.) Painted in 1937.

Eugenie Baizerman (AMERICAN, 1899-1949)

Eugenie Baizerman (AMERICAN, 1899-1949) Five Women and Babies on a Windy Plain (Tucson Etude #8); and a companion painting the first signed, dated and titled 'Five Women and Babies on Windy Plain (Tucson Etude #8) Eugenie Baizerman 1949' (on the reverse) each oil on artistboard the first 9 x 12 in. (22.9 x 30.5 cm.) Each painted in 1949. (2)

Eugenie Baizerman (American, 1899-1942)

Eugenie Baizerman (American, 1899-1942) Untitled; and a companion painting each oil on canvas laid down on board the first 8¼ x 10¼ in. (21 x 26 cm.) (2)

Eugenie Baizerman (AMERICAN, 1899-1949)

Eugenie Baizerman (AMERICAN, 1899-1949) Figure of Venus #11; and a companion painting the first oil on canvas laid down on board the first 7¼ x 9½ in. (18.4 x 24.1 cm.) (2)

Eugenie Baizerman (American 1899-1949)

Eugenie Baizerman (American 1899-1949) Woman bathing oil on artist board 9 x 7¼ in. (22.8 x 17.7 cm.)

Girl with Mirror

Eugenie Baizerman (American, 1899-1949) Girl with Mirror signed 'Eugenie Baizerman' (lower left) oil on canvas 28½ x 34½ in. (72.4 x 87.6 cm.) Painted in 1940-1941.

Pregnant Woman

Eugenie Baizerman (American, 1899-1949) Pregnant Woman signed, titled, inscribed and dated 'Pregnant Woman" (from murals of Day) Eugenie Baizerman 1942 54 x 19' (on the reverse) oil on canvas 53¾ x 19 in. (136.5 x 48.3 cm.) Painted in 1942.

Eugenie Baizerman American, 1899-1949 STILL LIFES AND FIGURES: SEVEN Fruit & Flowers on Two Tables,

1937; Fruit on Green Cloth, 1937; At the Brook; Mother and Daughter, 1939; Man with Hands on Table, 1931; Girl with Mirror #4, 1939; The First Born, etude #5, 1949 Some signed, titled and dated on the reverse Oils on board and canvas; 3 framed and 4 unframed Various sizes; largest 9 1/16 x 8 5/16 inches.

Eugenie Baizerman American, 1899-1949 STILL LIFES AND FIGURES: SEVEN Nude; At the Brook #4, 1926;

Girl Undressing, 1946; Still Life with Bronze Horse #1, 1937; Still Life in Lines and Tints, 1938; Cup, Plate and Lemon, 1931; Composition for Sky Chant #4, 1946 Signed, titled and dated on the reverse Oils on board and canvas; 2 framed and 5 unframed Various sizes, largest 13 1/8 x 9 1/4 inches.

Eugenie Baizerman American, 1899-1949 STILL LIFES: FOUR Planes in Still Life, 1947; Milk Bottle in Still Life, 1947; Flowers; Pears Oils on canvas, board and paper; 2 framed and 2 unframed Various sizes; largest 24 x 30 inches

Eugenie Baizerman American, 1899-1949 FIGURAL STUDIES: SIX Etude for Dawn #2, 1941; Figural Group;

Etude for Midday, 1942; Bathers; Portrait of a Woman with Blue Hat, 1931; Dress Designer #2 Signed, titled and dated on the reverse Oils on board and canvas; 4 framed and 2 unframed Various sizes; largest 10 1/8 x 8 1/8 inches.