American Masterpieces from Dryads Green Gallery
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Artist Name:     Samuel Rothbort
Artist Dates:         1882 - 1971
Title:        Manhattan Lower East Side
Painting Date:      Undated
Medium:              Oil on Canvas
Signature:             Signed Left Center
Provenance:         Private Collection
Condition:            Excellent
Size Unframed:     24 x 36
Frame Condition: New Reproduction
Artist Best Price:   $10,500
Our Price:           SORRY SOLD
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Curator's Comments: Rothbort  first exhibited in New York in
1917, at a showing held by The Society of Independent Artists. It
was here that he met the noted critic Hamilton Easter Field, who
would serve as a teacher, patron and friend. Later, Rothbort
exhibited frequently at the Barzansky galleries on Madison Avenue,
and he became known during this period for his historic cityscapes
of Brooklyn and Manhattan. Rothbort originally worked in oils,
painting nearly every subject conceivable in his self taught,
impressionistic style. When the Depression hit, there was no money
for paint, so he turned to watercolors, driftwood and field stone.  
Many of his later works are "memory paintings," or recreations of
his boyhood experiences in Russia. He was born in Wolkovisk,  and
worked during his youth as a cantor, gaining many impressions of
Jewish life. Poverty, as well as the political unrest of the times led to
his immigration to America in 1904.
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The Artist, ca. 1950
Skating in Prospect Park brought $9,000 at Doyle New York
Manhattan Street Scene brought $10,000 at Doyle New York
His serious career as an artist began in 1909 when a still life he painted at the time of his marriage
showed him the path he was to follow for the rest of his life. The Rothborts settled in Brooklyn,
living on Avenue S in Flatbush in what became their permanent home. Samuel Rothbort died in
1973, leaving behind him an impressive collection of sculptures and paintings. Easter Field once
summed him up with the following line: "The layman dreams of lords and ladies, but Samuel
Rothbort paints the rich reality of the common man."
The Lost Wooden Synagogues of Eastern
Europe,
which was produced by Albert Barry and Florida Atlantic University, used many of
Rothbort's paintings in the film to show life in Eastern Europe pre-war. The paintings helped show
the viewers what the synagogues looked like in color. The film was shown at the U.S. Holocaust
Memorial Museum in Washington, D.C. and on Public television in a four part series. The
prize-winning documentary,
Memories of the Shtetl, which was produced by Harriet Semegram Barry
and was a winner at the Edinburgh Film Festival, incorporated 215 of Rothbort's watercolors, and
this film and his paintings were the major source for Jerome Robbins's movie and play,
Fiddler on
the Roof
. Rothbort's works are found in major collections including both the Smithsonian and the
Broklyn Museum.

What we like most about Rothbart's work, as exhibited in his view of Alphabet City on Manhattan's
Lower East Side, is his unromanticized energy and feeling for New York as a town of
neighborhoods--his painting are always a reminder of the great struggle between Jane Jacobs and
Howard Moses for the soul of New York--and Rothbort stands with Jacobs. He knows New York is
about where people live and how their energy and passion are channeled through the alleys, streets
and avenues where all are connected. There is energy in the streets--fed by the Con Ed power plants
along the East River --where generators are empowering immigrants and walk-up buildings to reach
for the sky. The city is fueled with the human desire for success and a richer life. Rothbort's deep
sense of New York as a city with 10,000 stories is seen in the multiplicity of people and buildings that
interconnect on his canvas. The figure on the roof is another Rothbort stylistic
element--representing his son--the painter Lawrence Rothbort who tragically pre-deceased his father
and who is a
figura in many of his father's works representing the artist unseparated from the metro
environment with its tones, noise and masses of color. Surely Rothbort would be pleased to know
that the Alphabet City neighborhood, with its Avenues A, B and C, in his painting has resurrected
itself with the energy of youth and is once again teeming and alive with artistic potential.
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