Paul Rabut (American, 1914-1983) Painting Illustration. Title - Senn Atomic Energy Plant. Gouache and watercolor on artist board painting illustration. Signed lower right Paul Rabut. Inscribed on reverse: General Electric Calendar 1960, Senn Atomic Energy Plant, Italy. Paul Rabut 104 Easton Rd, Westport, Conn. Tel- Capital 7-6014. Included with the painting is the original 1960 calendar with original printed illustrations. Sight size of the painting measures 14 inches high, 20 inches wide. Frame measures 27.25 inches high, 32 inches wide. In good condition.

From Tribalartmagazine.com: The Mysterious World of PAUL RABUT By Charles Derby. The Merritt Parkway begins twenty miles sou's of Hartford, Connecticut, and is an hour away from Paul Rabut's (1914-1983) home in Westport. This isn's a typical highway-it’s a distinctive winding road with Art Deco bridges and fully grown trees that cast their shadows as they bend towards the median strip. Whenever I drove on this road, getting closer to my destination, my anticipation and excitement grew. I felt as if I were being drawn into a tunnel that ushered me into Paul's mysterious world. Like a magician, Paul orchestrated our encounters. I never knew what fabulous objects I might see or which ones he's make available. He seldom showed me everything he had; instead he presented a few choice artifacts while he kept others hidden away to dazzle me at a later time. If that weren't enough, Paul's wife Peggy would consistently serve us delicious meals that made me feel welcome and part of the family. Often I'd stay overnight. My sleeping quarters were in a tiny unfinished room. Opposite my bed was a shelf of African sculptures, loaded three to four figures deep, backed by pegboard walls cluttered with African masks. This room reminded me of a ship's cabin, which was appropriate, since being there was the ultimate trip for a collector like me. I met this remarkable man at an auction near Boston, Massachusetts, in 1974. At that time I had been collecting Native American art for about two years. Paul invited me out to the parking lot where his rusty car was packed with piles of Plains Indian beadwork, Amazonian featherwork, and Navajo textiles. He explained that some of the items were for sale and others were to be used to trade for African and Northwest Coast sculptures. Soon I made my first visit to his home. Besides the guest room where I stayed, other rooms in the house were filled with examples of tribal art. Even though I had never collected African art, I was intrigued by what I saw. That night I dreamed about an African figure I had noticed at Paul's. When I asked him about it, he told me that it was a Bakongo fetish and that it was available to buy. That was my first purchase and was the spark that fired my passion for African art. One lesson Paul taught me was the value of trading. Until I met him, I had no idea that collectors often traded with one another to get rare and unusual pieces they normally couldn't afford to purchase. My first few trades with him were fraught with worry about whether I was doing the right thing. As I gained confidence, simple trades turned into complex deals of several items at a time. We'd often stay up late to talk about a trade; we'd test one another with preposterous suggestions.

Condition is in the description