Saul L. Baizerman Sold at Auction Prices

Saul Baizerman, "Blind Warrior"

(American, 1889-1957) hammered copper, verso with old label 15-1/2"h x 21-1/2"w

SAUL BAIZERMAN Lady of Leisure.

SAUL BAIZERMAN Lady of Leisure. Bronze. 150 mm; 6 inches (height, excluding base). Incised with the artist's initials on the lower rear of the dress. From The City and the People series. Provenance: Private collection, New York. Published: Saul Baizerman's Lifetime Project: The City and the People, 1998, page 49 (another cast illustrated).

Saul Baizerman, Hammered Copper, "Astarte"

(American, 1889-1957) unsigned, verso with old label Sculpture: Appx. 18"w Overall: 16-1/2"h x 12-3/4"w x 7"d Provenance: Property from the Estates of David and Laura Finn, Westchester County, NY

Saul Baizerman, "City of the People - Steel Man"

(American, 1889-1957) beaten bronze, unsigned Sculpture: 6-1/2"h Overall: 8"h x 4-1/4"w x 6"d Provenance: Property from the Estates of David and Laura Finn, Westchester County, NY

Saul Baizerman, "Blind Warrior"

(American, 1889-1957) hammered copper, verso with old label 15-1/2"h x 21-1/2"w Provenance: Property from the Estates of David and Laura Finn, Westchester County, NY

SAUL BAIZERMAN (1889-1957) Large Head (Self Portrait).

SAUL BAIZERMAN (1889-1957) Large Head (Self Portrait). Hammered copper on wood base. 560x330x190 mm; 22x13x7 1/2 inches. Circa 1950. Exhibited: "Early Twentieth Century American Sculpture," Zabriskie Gallery, New York, February 22-March 13, 1975. Published: Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 114 (illustrated). Baizerman 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. As a teenager, Eugenie Silverman (1899-1949, see lot 36 and lot 37) 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. 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.

SAUL BAIZERMAN (1889-1957) Two bronze sculptures.

SAUL BAIZERMAN (1889-1957) Two bronze sculptures. Kneeling Boy. 95x165x70 mm, 3 3/4x6 3/4x3 inches (excluding base). Incised with initials at ankle. 1922 * Standing Figure. 170x58x45 mm; 6 3/4x2 1/4x1 3/4 inches (excluding base). Incised with signature at the lower hem of the dress. Circa 1920-30. Both from The City and the People. Provenance: Artist's estate. Baizerman 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. As a teenager, Eugenie Silverman (1899-1949, see lot 36 and lot 37) 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. 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.

Saul Baizerman American, 1889-1957 Pyrenees - December, 1954

Saul Baizerman American, 1889-1957 Pyrenees - December, 1954 Signed S. Baizerman and numbered 84 Hammered copper on armature and wood stand Height 37 1/2 inches (95.25 cm) Provenance: Zabriskie Gallery, New York Purchased from the above by Carole and Richard Rifkind, Apr., 1981 Thence by descent to the estate C Estate of Richard and Carole Rifkind

BAIZERMAN, Saul. Hammered Copper. Male Torso.

Signed and dated 91 along left side. Saul Baizerman (Russian, active in American). From a New York City Collection.

SAUL BAIZERMAN Lady of Leisure.

SAUL BAIZERMAN Lady of Leisure. Bronze with dark brown patina. 150x53x44 mm; 6x2x1 3/4 inches (excluding base). Incised with the artist''s initials on the lower rear of the dress. Ex-collection the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; deaccessioned Sotheby''s, New York, September 2001; private collection, New York. Published Saul Baizerman''s Lifetime Project: The City and the People, 1998, page 49 (another cast illustrated).

Saul Baizerman American, 1889-1957 Vivace - April

Saul Baizerman American, 1889-1957 Vivace - April Signed S. Baizerman and numbered 78 Hammered copper on a steel and wood armature Height 39 1/4 inches (99.69 cm) C Property of a Connecticut Collector

SAUL BAIZERMAN | Portrait of Joan

bronze, brown patina, on a 6 inch black marble base

SAUL BAIZERMAN | Portrait of Joan

bronze, brown patina, on a 6 inch black marble base

Saul Baizerman, (American, 1889-1957), Sun Worship

Saul Baizerman (American, 1889-1957) Sun Worship hammered copper signed Saul Baizerman and titled Height: 31 1/2 inches.

Saul Baizerman American, 1889-1957 Mediterranee

Saul Baizerman American, 1889-1957 Mediterranee Signed Saul Baizerman, numbered 97 and inscribed as titled on metal plate attached to base Hammered copper on steel armature and a wood base 14 x 31 1/2 x 16 inches C Property of The Metropolitan Museum of Art

Saul Baizerman American, 1889-1957 Man of the Field

Saul Baizerman American, 1889-1957 Man of the Field Hammered copper on steel armature on a wood base Excluding base 46 1/2 x 28 x 18 inches C Property of The Metropolitan Museum of Art

Saul Baizerman American, 1889-1957 Mountaineer

Saul Baizerman American, 1889-1957 Mountaineer Signed Saul Baizerman and inscribed as titled on metal plate attached to base Hammered copper on steel armature and wood base Excluding base 26 1/2 x 14 1/2 x 10 inches C Property of The Metropolitan Museum of Art

SAUL BAIZERMAN | Old Cortesan

hammered copper and wood

Saul L. Baizerman (Russian/American, 1889-1957)

DESCRIPTION: Saul L. Baizerman (Russian/American, 1889-1957). Terracotta sculpture of a nude woman on a black triangular base. Baizerman was born in Russia, but traveled extensively in Europe later settling in New York. He is best known for his realistic style of simplified human forms. In 1949 one of his works was purchased by the Whitney Museum. PROVENANCE: Given in the 1930's to the consignor's father, a lawyer in New York, as payment for legal work provided. MEASUREMENTS: Sculpture 4" x 5-1/2" without base. Base 1" x 8" x 3-3/4". CONDITION: Several areas of loss, including left side of head and several areas on the base.

Saul L. Baizerman (Russian/American, 1889-1957)

DESCRIPTION: Saul L. Baizerman (Russian/American, 1889-1957). Terracotta sculpture of a nude woman on a black triangular base. Baizerman was born in Russia, but traveled extensively in Europe later settling in New York. He is best known for his realistic style of simplified human forms. In 1949 one of his works was purchased by the Whitney Museum. PROVENANCE: Given in the 1930's to the consignor's father, a lawyer in New York, as payment for legal work provided. MEASUREMENTS: Sculpture 4" x 5-1/2" without base. Base 1" x 8" x 3-3/4". CONDITION: Several areas of loss, including left side of head and several areas on the base.

Female Figures Two works of art: Saul L. Baizerman (Russian, 1889-1957)

Female Figures; Two works of art: Saul L. Baizerman (Russian, 1889-1957); Untitled (Head of a Woman); Copper plaque; Signed "SB"; 13 1/2 x 8 1/4"; Thomas Dow Jones (American, 1817-1891) Untitled (Nude); Bronze; Signed "Tom Jones (c)", stamped "Gorham Founders"; 7 3/4" high with base; Provenance: The Eileen and Marvin Reingold Collection

SAUL BAIZERMAN: A cast bronze head and shoulder

SAUL BAIZERMAN: A cast bronze head and shoulder portrait of a girl with bobbed hair, inscribed to the reverse, mounted on a mahogany block with square stone base, 18" high. See illustration

Saul Baizerman American, 1889-1957 (i) Figure Sewing (ii) Figure Ironing; Together with Artist Unknown, Two Figures Embracing

Saul Baizerman American, 1889-1957 (i) Figure Sewing Plaster with faux bronze finish Height 5 inches (ii) Figure Ironing Plaster with faux bronze finish on a black base Height 5 1/2 inches, excluding the base; Together with Artist Unknown, Two Figures Embracing, stone, height 5 1/4 inches

Saul Baizerman American, 1899-1957 Desert

Saul Baizerman American, 1899-1957 Desert Signed S. Baizerman and numbered 94 Hammered copper Height 21 1/2 inches

Baizerman (Saul, 1889-1957). Male Nude, hammered

Baizerman (Saul, 1889-1957). Male Nude, hammered bronze sculpture, length 18 cm (7 ins), height 5 cm (2 ins) Provenance: From the collection of Frank McEwen, writer and art critic, who worked for the British Council. Saul Baizerman was born in Vitebsk, Russia, in 1889, and was involved in the early stages of the Bolshevik revolution, for which cause he and his brother robbed a bank in 1906. He escaped from jail with the assistance of his father and fled to the United States, where he settled in New York and trained as a sculptor at various art schools. He began to work directly on metal sculpture while studying in Paris in 1925, and developed a technique of beating copper with a hammer to produce figurative shapes. His work tends to focus on working class subjects, such as the series of small-scale statuettes in bronze and plaster he produced under the heading 'The City and The People' and 'Labor'. With accompanying letter to Frank McEwen from the Museum of Modern Art, New York, relating to the present work, dated February 24, 1987. (1)

Saul Baizerman American, 1889-1957 PORTRAIT OF JOAN HAY BAIZERMAN

Saul Baizerman American, 1889-1957 PORTRAIT OF JOAN HAY BAIZERMAN Plaster cast on a wooden base Height including base 22 inches Estimate $400-600 In generally good condition. No visible restoration. The simulated patina is chipped in the nose, and there is a small chip on the top rear of the head. The approximate height of the bust without the stand is 15 inches.

Saul Baizerman American, 1889-1957 FIGURE Initialed SB on side of foot Bronze; brown patina Height 5 5/8 inches

Saul Baizerman American, 1889-1957 FIGURE AT DESK; IRONING: TWO Painted plaster Height 5 1/4 inches ; Together with Artist Unknown STONE SCULPTURE OF TWO CHILDREN Height 5 inches

Saul Baizerman American, 1899-1975 FIGURE Signed S. Baizerman on back of figure Bronze; brown patina Height 4 3/8 inches

Saul Baizerman American, 1899-1957 DESERT Signed and numbered S Baizerman 94 on base of piece Hammered copper Height 21 3/4, width 15 1/4 inches

Saul Baizerman American, 1899-1957 HEAD Hammered copper Height 14 1/2 inches