Abram Tromka Sold at Auction Prices

Abram Tromka, New York / Poland / Russian Federation (1896 - 1954), two old men, paint on glass, 9 1/2"H x 7 1/2"W (sight), 12 1/2"H x 10 1/2"W (frame)

Abram Tromka New York / Poland / Russian Federation, (1896 - 1954) two old men paint on glass Signed upper right, and signed verso. Biography from the Archives of askART: The following, submitted October 2005 by William Woolf, is a biography of the artist created by his wife, Ann Tromka. The Tromka's were good friends of Woolf's parents. What I relate here about Tromka, from the time he came to "America" is what I remember of what he told me during our first years together. Tromka was seven years old when he came here from Poland with his family. At immigration headquarters (then called Castle Garden) the official clearing the family for entrance, suggested that since they were now in the United States, it would be a good idea for them to take an American name, suggesting "Phillips" instead of their foreign name of TROMPKA (the original spelling). So following his suggestion, they took the name of Phillips, and Phillips it remained until 1930 when Tromka changed it back, dropping the "p" for euphonious reasons. Abe related to me that when he was on the boat coming to New York, he watched a woman painting and was fascinated, and then and there decided he was going to be an artist too. He did not speak to me much about his childhood, except that it was a very difficult one, and at fifteen left home and was on his own, making do as best he could at odd jobs of every kind. His formal schooling stopped in the sixth grade and from then on he was self-taught. He discovered the Henry Street Settlement early in life and spent all of his spare time there, fascinated by the many activities he found so much to his liking. Actually the Henry Street Settlement in his youth was his home and his school. While still attending public school, his teacher recognized his talent for drawing, and called it to the attention of Lillian D. Wald, Head of the Settlement. She, too, was so impressed, that an art class was started at the Settlement, and an art teacher engaged, a Miss Nora Hamilton, an artist. Miss Hamilton taught him how to etch, and then, when he wanted an etching press of his own, and had saved enough money to buy one, he had no place for it. Miss Wald invited him to use the nurses' quarters at the Settlement as his studio, which he did at night, when the nurses were not there. (He worked during the day and that was why he concentrated on drawing and etching which could be done at night.) So he etched and drew the surroundings and the people he knew so well, and when he was seventeen years old, Miss Wald used his drawings and etchings to illustrate her book "The House on Henry Street," published by Henry Holt and Company in 1915. By 1931 the book had gone into its 5th printing and is now a collector's item. During the period from 1915 through 1927, Tromka kept on drawing and etching, and then decided to try other media. Also, during the period through 1922, he studied evenings at the Ferrer School (not now in existence) with George Bellows and Robert Henri, whose protégé and friend he became; they were the only teachers he had besides Miss Hamilton, mentioned earlier. When asked later who his teachers were, he would answer, "Henri, Bellows, Rembrandt, Cezanne," etc. Both Henri and Bellows were impressed by his talent and had many of his drawings and etchings. By that time, in 1923, he, with a number of friends (not artists) had a studio at 92 Fourth Avenue, in New York (now a post office), where he worked and lived for a number of years. Henri and Bellows were frequent visitors there during their lifetime. An early edition of the SURVEY GRAPHIC published a feature article about him, including illustrations of his drawings and etchings, calling him "The Rembrandt of the East Side." This was during his Henry Street Settlement period. Before he started painting, his etchings and drawings were included in many museum exhibitions throughout the country, and Julius Rosenwald, a patron of the Henry Street Settlement, purchased a number of them and presented the etching "The Sweet Potato Vendor" to the Metropolitan Museum. In 1927, Tromka met Herbert Tschudy, then curator of paintings at the Brooklyn Museum, who became his close friend. By 1932, Mr. Tschudy, who kept close touch with Tromka's development as a painter, felt that he had enough interesting work to warrant a first one-man show at the Brooklyn Museum, and during the entire summer of 1932, Tromka's paintings were on exhibition there. In 1930, Tromka asked Mr. Tschudy what he thought of the idea of his assuming his original name, and Mr. Tschudy was most enthusiastic. So for two years prior to his first one-man show at the Museum, Tromka used the name Phillips-Tromka and then finally dropped the "Phillips" and used the name Tromka only. His exhibition at the Museum was a success. Until his death in 1954, he was included in many group shows in all media at the Brooklyn Museum (etchings, drawings, oils, gouache, serigraphs) and was a prize winner there in 1946 and 1952. Two of his paintings, a gouache and an oil, were presented to the Brooklyn Museum in the 1940's, but unfortunately have not been shown for years, and I do not know what has happened to them. Tromka was on the WPA Art Project for its entire duration. He did not have to go on relief, but was invited to join to add prestige to the work being done. A number of well-known artists were on the Project in this capacity. Being on the Art Project was, according to Tromka, the happiest creative period of his life.

ABRAM TROMKA (1896-1954) MODERNIST OIL ON MASONITE

Abram Tromka (New York, 1896-1954) Street Scene TThe expressionist influence composition of a cityscape with snow at dusk is signed lower left and again verso, where the remains of a label from The American Contemporary Art Gallery (ACA) founded in New York by Herman Baron in 1932 are pasted to the original pickled frame. Board measures 11.5 x 13 with a framed size of 16.5 x 17.75 inches. Without proof of exemption, be aware that internet sales tax applies to all Internet transactions and local sales tax may apply to local pick-up transactions. We happily provide seamless in-house packing and shipping services on nearly everything we sell. Until further notice, we cannot offer international shipping in-house.

ABRAM TROMKA ( American 1896 - 1954 ) City at River's Edge

ABRAM TROMKA ( American 1896 - 1954 ) City at River's Edge

Abram Tromka Oil, Butcher Shop Window

Abram Tromka (Russian/American 1896-1954) "Butcher Shop Window, " c. 1950's, oil on panel , signed lower right, framed. Bearing labels verso for ACA Gallery, NYC.  Dimensions: 14 x 14 in. panel size, 21.75 x 21.75 in. as framed. Condition: Very good with no damage or restoration.

Abram Tromka Polish (1896-1954) Watercolor / Gouache Rural Scene Houses on a Hill by road with some figures. Approx. 19-1/2 H x 24-1/2 W sight, overall framed size 27-1/2 x 33 inches

Abram Tromka Polish (1896-1954) Watercolor / Gouache Rural Scene Houses on a Hill by road with some figures. Approx. 19-1/2 H x 24-1/2 W sight, overall framed size 27-1/2 x 33 inches

ABRAM TROMKA 'VILLAGE SCENE' OIL PAINTING ON PAPER

Abram Tromka (Russian/American, 1896-1954) oil painting on paper depicting a village with figures. Signed lower left. Measures 24 7/8" x 19 3/8" + 4" mat & frame.

ABRAM TROMKA ( American 1896 - 1954 ) City at River's Edge

ABRAM TROMKA ( American 1896 - 1954 ) City at River's Edge

Abram Tromka, New York / Poland / Russian Federation (1896 - 1954), two old men, paint on glass, 9 1/2"H x 7 1/2"W (sight), 12 1/2"H x 10 1/2"W (frame)

Abram Tromka New York / Poland / Russian Federation, (1896 - 1954) two old men paint on glass Signed upper right, and signed verso. Biography from the Archives of askART: The following, submitted October 2005 by William Woolf, is a biography of the artist created by his wife, Ann Tromka. The Tromka's were good friends of Woolf's parents. What I relate here about Tromka, from the time he came to "America" is what I remember of what he told me during our first years together. Tromka was seven years old when he came here from Poland with his family. At immigration headquarters (then called Castle Garden) the official clearing the family for entrance, suggested that since they were now in the United States, it would be a good idea for them to take an American name, suggesting "Phillips" instead of their foreign name of TROMPKA (the original spelling). So following his suggestion, they took the name of Phillips, and Phillips it remained until 1930 when Tromka changed it back, dropping the "p" for euphonious reasons. Abe related to me that when he was on the boat coming to New York, he watched a woman painting and was fascinated, and then and there decided he was going to be an artist too. He did not speak to me much about his childhood, except that it was a very difficult one, and at fifteen left home and was on his own, making do as best he could at odd jobs of every kind. His formal schooling stopped in the sixth grade and from then on he was self-taught. He discovered the Henry Street Settlement early in life and spent all of his spare time there, fascinated by the many activities he found so much to his liking. Actually the Henry Street Settlement in his youth was his home and his school. While still attending public school, his teacher recognized his talent for drawing, and called it to the attention of Lillian D. Wald, Head of the Settlement. She, too, was so impressed, that an art class was started at the Settlement, and an art teacher engaged, a Miss Nora Hamilton, an artist. Miss Hamilton taught him how to etch, and then, when he wanted an etching press of his own, and had saved enough money to buy one, he had no place for it. Miss Wald invited him to use the nurses' quarters at the Settlement as his studio, which he did at night, when the nurses were not there. (He worked during the day and that was why he concentrated on drawing and etching which could be done at night.) So he etched and drew the surroundings and the people he knew so well, and when he was seventeen years old, Miss Wald used his drawings and etchings to illustrate her book "The House on Henry Street," published by Henry Holt and Company in 1915. By 1931 the book had gone into its 5th printing and is now a collector's item. During the period from 1915 through 1927, Tromka kept on drawing and etching, and then decided to try other media. Also, during the period through 1922, he studied evenings at the Ferrer School (not now in existence) with George Bellows and Robert Henri, whose protégé and friend he became; they were the only teachers he had besides Miss Hamilton, mentioned earlier. When asked later who his teachers were, he would answer, "Henri, Bellows, Rembrandt, Cezanne," etc. Both Henri and Bellows were impressed by his talent and had many of his drawings and etchings. By that time, in 1923, he, with a number of friends (not artists) had a studio at 92 Fourth Avenue, in New York (now a post office), where he worked and lived for a number of years. Henri and Bellows were frequent visitors there during their lifetime. An early edition of the SURVEY GRAPHIC published a feature article about him, including illustrations of his drawings and etchings, calling him "The Rembrandt of the East Side." This was during his Henry Street Settlement period. Before he started painting, his etchings and drawings were included in many museum exhibitions throughout the country, and Julius Rosenwald, a patron of the Henry Street Settlement, purchased a number of them and presented the etching "The Sweet Potato Vendor" to the Metropolitan Museum. In 1927, Tromka met Herbert Tschudy, then curator of paintings at the Brooklyn Museum, who became his close friend. By 1932, Mr. Tschudy, who kept close touch with Tromka's development as a painter, felt that he had enough interesting work to warrant a first one-man show at the Brooklyn Museum, and during the entire summer of 1932, Tromka's paintings were on exhibition there. In 1930, Tromka asked Mr. Tschudy what he thought of the idea of his assuming his original name, and Mr. Tschudy was most enthusiastic. So for two years prior to his first one-man show at the Museum, Tromka used the name Phillips-Tromka and then finally dropped the "Phillips" and used the name Tromka only. His exhibition at the Museum was a success. Until his death in 1954, he was included in many group shows in all media at the Brooklyn Museum (etchings, drawings, oils, gouache, serigraphs) and was a prize winner there in 1946 and 1952. Two of his paintings, a gouache and an oil, were presented to the Brooklyn Museum in the 1940's, but unfortunately have not been shown for years, and I do not know what has happened to them. Tromka was on the WPA Art Project for its entire duration. He did not have to go on relief, but was invited to join to add prestige to the work being done. A number of well-known artists were on the Project in this capacity. Being on the Art Project was, according to Tromka, the happiest creative period of his life.

Abram Tromka, New York / Poland / Russian Federation (1896 - 1954), two old men, paint on glass, 9 1/2"H x 7 1/2"W (sight), 12 1/2"H x 10 1/2"W (frame)

Abram Tromka New York / Poland / Russian Federation, (1896 - 1954) two old men paint on glass Signed upper right, and signed verso. Biography from the Archives of askART: The following, submitted October 2005 by William Woolf, is a biography of the artist created by his wife, Ann Tromka. The Tromka's were good friends of Woolf's parents. What I relate here about Tromka, from the time he came to "America" is what I remember of what he told me during our first years together. Tromka was seven years old when he came here from Poland with his family. At immigration headquarters (then called Castle Garden) the official clearing the family for entrance, suggested that since they were now in the United States, it would be a good idea for them to take an American name, suggesting "Phillips" instead of their foreign name of TROMPKA (the original spelling). So following his suggestion, they took the name of Phillips, and Phillips it remained until 1930 when Tromka changed it back, dropping the "p" for euphonious reasons. Abe related to me that when he was on the boat coming to New York, he watched a woman painting and was fascinated, and then and there decided he was going to be an artist too. He did not speak to me much about his childhood, except that it was a very difficult one, and at fifteen left home and was on his own, making do as best he could at odd jobs of every kind. His formal schooling stopped in the sixth grade and from then on he was self-taught. He discovered the Henry Street Settlement early in life and spent all of his spare time there, fascinated by the many activities he found so much to his liking. Actually the Henry Street Settlement in his youth was his home and his school. While still attending public school, his teacher recognized his talent for drawing, and called it to the attention of Lillian D. Wald, Head of the Settlement. She, too, was so impressed, that an art class was started at the Settlement, and an art teacher engaged, a Miss Nora Hamilton, an artist. Miss Hamilton taught him how to etch, and then, when he wanted an etching press of his own, and had saved enough money to buy one, he had no place for it. Miss Wald invited him to use the nurses' quarters at the Settlement as his studio, which he did at night, when the nurses were not there. (He worked during the day and that was why he concentrated on drawing and etching which could be done at night.) So he etched and drew the surroundings and the people he knew so well, and when he was seventeen years old, Miss Wald used his drawings and etchings to illustrate her book "The House on Henry Street," published by Henry Holt and Company in 1915. By 1931 the book had gone into its 5th printing and is now a collector's item. During the period from 1915 through 1927, Tromka kept on drawing and etching, and then decided to try other media. Also, during the period through 1922, he studied evenings at the Ferrer School (not now in existence) with George Bellows and Robert Henri, whose protégé and friend he became; they were the only teachers he had besides Miss Hamilton, mentioned earlier. When asked later who his teachers were, he would answer, "Henri, Bellows, Rembrandt, Cezanne," etc. Both Henri and Bellows were impressed by his talent and had many of his drawings and etchings. By that time, in 1923, he, with a number of friends (not artists) had a studio at 92 Fourth Avenue, in New York (now a post office), where he worked and lived for a number of years. Henri and Bellows were frequent visitors there during their lifetime. An early edition of the SURVEY GRAPHIC published a feature article about him, including illustrations of his drawings and etchings, calling him "The Rembrandt of the East Side." This was during his Henry Street Settlement period. Before he started painting, his etchings and drawings were included in many museum exhibitions throughout the country, and Julius Rosenwald, a patron of the Henry Street Settlement, purchased a number of them and presented the etching "The Sweet Potato Vendor" to the Metropolitan Museum. In 1927, Tromka met Herbert Tschudy, then curator of paintings at the Brooklyn Museum, who became his close friend. By 1932, Mr. Tschudy, who kept close touch with Tromka's development as a painter, felt that he had enough interesting work to warrant a first one-man show at the Brooklyn Museum, and during the entire summer of 1932, Tromka's paintings were on exhibition there. In 1930, Tromka asked Mr. Tschudy what he thought of the idea of his assuming his original name, and Mr. Tschudy was most enthusiastic. So for two years prior to his first one-man show at the Museum, Tromka used the name Phillips-Tromka and then finally dropped the "Phillips" and used the name Tromka only. His exhibition at the Museum was a success. Until his death in 1954, he was included in many group shows in all media at the Brooklyn Museum (etchings, drawings, oils, gouache, serigraphs) and was a prize winner there in 1946 and 1952. Two of his paintings, a gouache and an oil, were presented to the Brooklyn Museum in the 1940's, but unfortunately have not been shown for years, and I do not know what has happened to them. Tromka was on the WPA Art Project for its entire duration. He did not have to go on relief, but was invited to join to add prestige to the work being done. A number of well-known artists were on the Project in this capacity. Being on the Art Project was, according to Tromka, the happiest creative period of his life.

ABRAM TROMKA, PORTRAIT OF A YOUNG MAN, O/B.

Tromka, Abram (Polish/American, 1896-1954). Portrait of a young man. Oil on board. Signed l.r. Framed 20" x 24".

ABRAM TROMKA (1896-1954) The Tailor.

ABRAM TROMKA (1896-1954) The Tailor. Oil on artists board. 285x235 mm; 11 1/4x9 1/4 inches. Signed in oil, lower right recto.

ABRAM TROMKA (AMERICAN, 1896-1954).

Oil on board. "Pretzel Vendor". Signed upper left. Titled verso. From a New York, NY collection.

ABRAM TROMKA (AMERICAN, 1896-1954).

Oil on board. "The Tailor". Signed lower right. Titled verso. From a New York, NY collection.

ABRAM TROMKA (AMERICAN, 1896-1954).

Oil on board. "Fat Boy". Signed upper left. Titled verso. From a New York, NY collection.

ABRAM TROMKA (1896-1954) Third Avenue El.

ABRAM TROMKA (1896-1954) Third Avenue El. Oil on canvas laid to Masonite, 1941. 914x762 mm; 36X30 Inches. Signed, Tromka, lower left. Tromka participated in the WPA/FAP contributing to the Easel Project from 1935-1943. A similar painting to this work is illustrated in the following publication: New York City WPA Art: The 1934-1943 and Now 1960-1977, p.88.

Abram Tromka, Signed Etching "Child"

"Untitled (Child)". Signed etching by Abram Tromka (1896-1954). Pencil signed lower right and dated 1927. Image size approx. 5" x 4", overall frame size approx. 12.5" x 15.5".

Painting Judaica Oil on Canvas By Abram Tromka

Painting Judaica Oil on Canvas By Abram Tromka ( Polish/ Russian American 1896-1954 ) " Two Men Praying" Signed Upper Center. Appears to be in Original Frame, With Label from Marbella Gallery NY. Condition: Appears to be in Good Condition. With some lifting of the Canvas and loss of Paint. Dimensions: Sight- 32" x 24". Frame-41" x 32" Provenance: From a Long Island, NY Home. Please note the absence of a condition report does not imply that there are no condition issues with this lot. Please contact us for a detailed condition report.

ABRAM TROMKA (AMERICAN, 1896-1954)

Oil on masonite, signed lower left. Women selling pretzels in NYC. Abram Tromka (1896-1954) was a Polish-born American Jewish painter, etcher and serigrapher. He also worked under the name Abraham Phillips. Born in Poland, Tromka came to the United States at the age of 11 and attended public school in New York City. Dimensions: (Frame) H 12" x W 10.25", (Sight) H 10.25" x W 8.75" Condition: Painting with heavy impasto, some heavy cracking in paint.

Abram Tromka (American/Russian, 1896-1954), "Village Scene at Night"

Abram Tromka (American/Russian, 1896-1954) "Village Scene at Night" oil on board signed lower left, verso with a portrait sketch of a man. Period frame. 15-1/2" x 18", framed 23-1/2" x 26" Provenance: Estate of Barbara and Ernest Henley, Houston, Texas.

Abram Tromka, Signed Etching "Child"

"Untitled (Child)". Signed etching by Abram Tromka (1896-1954). Pencil signed lower right and dated 1927. Image size approx. 5" x 4", overall frame size approx. 12.5" x 15.5".

Abram Tromka 2 Sided Watercolor

Abram Tromka, Poland (1896-1954) Two watercolor scenes in one frame. One titled 'Harlem Streets', signed lower left. Other side is '2 Figures on a Bench'. Measures 27.25"H x 30.75"W framed; 19"H x 22.5"W unframed. Condition is good, see photos. Examine all photos closely. Contact AAG for more detailed information if needed. AAG is not responsible for any errors or omissions to any lots. All sales are final and sold as is. This item cannot be shipped in house. Please contact our third party shippers.

ABRAM TROMKA (POLISH/AMERICAN 1896 - 1954)

DRAWING OF SEATED MAN WITH PIPE - 22" x 19" OVERALL , SIGNED UPPER RIGHT

TROMKA. Oil on Board. Village Scene.

Signed, bottom center. From a Larchmont, NY storage.

Abram Tromka lithograph

Abram Tromka (American 1896-1954)- Hobos Sleeping on Sidewalk- lithograph, ca. 1935-40, signed in pencil. 11 1/8 x 13 7/8''

Abram Tromka. "Kentucky Minstrel," serigraph

(Polish/American, 1896-1954). Serigraph on masonite, unsigned, 14 1/4 x 13 1/4 in., framed

Abram Tromka. "Kentucky Minstrel," serigraph

(Polish/American, 1896-1954). Serigraph on masonite, unsigned, 14 1/4 x 13 1/4 in., framed

Abram Tromka, Rural Home with Figures

Oil on paper. Signed lower right. Abram Tromka, Polish (1896-1954). Approx. 18" H x 24" W sight, 25" H x 31" W framed. (4194)

Abram Tromka, Village Landscape with Figures

Pastel. Signed lower right. Abram Tromka, Polish (1896-1954). Approx. 17" H x 23" W unframed, 24" H x 30" W framed. (4194)

3 ABRAM PHILLIPS TROMKA ETCHINGS

TROMKA, Abram Phillips, (American, 1896-1954): 3 Etchings to include 1) Market Scene, sight size 7 1/4" x 9 1/4", pencil signed lower right and dated '17, also signed in the matrix and noted "Issued by the People's Art Guild", framed, 13" x 14 1/4"; 2) Scene at the Tailor's, sight size 7" x 6 3/4", pencil signed lower right and dated '26, framed, 12" x 10 1/2"; and 3) Bearded Man with Hands in Pockets, sight size 5" x 2 1/4", signed in the matrix, framed, 12" x 10 1/2".

Abram Tromka, Oil on Board "Brooklyn Bridge"

Wonderful oil on board painting, WPA style circa 1930's by Abram Tromka (1896 - 1954). Great image of the Brooklyn Bridge. Signed lower right corner. Image size seen approx. 15.5" x 19.5", overall frame size approx. 23" x 27".

Abram Tromka, (Polish/American, 1896-1954), Greenwich Village

Abram Tromka (Polish/American, 1896-1954) Greenwich Village oil on masonite signed Tromka (lower right) 11 1/2 x 14 inches.

Abraham Tromka American, 1890-1954 Pretzel Woman

Abraham Tromka American, 1890-1954 Pretzel Woman Signed Tromka (ll) Oil on masonite 11 x 9 1/4 inches Provenance: Mr. and Mrs. Lester Wasserberger, New York Private collection, Stamford, Connecticut

Abram Tromka (American, 1896-1954) Coastal Home Signed "Tromka" l.l. Pastel on pape...

Abram Tromka (American, 1896-1954) Coastal Home Signed "Tromka" l.l. Pastel on paper/board, 16 1/2 x 23 1/2 in. (41.9 x 59.7 cm), framed. Condition: Toning, scattered staining, not examined out of frame.

Abram Tromka (American, 1896/1954) Untitled; Oil

Abram Tromka (American, 1896/1954) Untitled; Oil on paper (framed); Signed; 17 1/2" x 23 1/4" (sight); Provenance: Private Collection, ...

ABRAM TROMKA (1896-1954): VILLAGE SCENE Brown

ABRAM TROMKA (1896-1954): VILLAGE SCENE Brown charcoal drawing on paper, 18 1/2 x 24 in.

Abram Tromka American, 1896-1954 City Scene with Bridge

Abram Tromka American, 1896-1954 City Scene with Bridge Signed Tromka (lr) Crayon and ink on paper Sight 15 1/4 x 19 1/2 inches

ABRAM TROMKA (American 1896-1954) Landscape,

ABRAM TROMKA (American 1896-1954) Landscape, silkscreen(framed), signed, 9 1/2" x 13 1/2" sight. Together with Third Avenue at A St., NYC, watercolor and ink (framed), 1956, illegible signature, titled and dated, 10" x 13 1/2" sight

TROMKA, ABRAM

Oil on panel, Man in a Blue Cap. Signed upper left. 14 x 8 1/4." (1896-1954).

Abram Tromka American, 1896 - 1954 HAITIAN BOY