Shoichi Ida

Untitled

1996

Signed and dated "1962" by the artist lower right. Mixed media on heavy paper. Done for a show to fund a trip to Italy.

Untitled molded mud-dried paper with collage elements, 1996 Signed and dated lower edge (see photo) Annotated and titled verso Sheet size: 24 x 7 inches Provenance: Ralph Drake, fir...

Unsigned Provenance: Estate of the artist Peter Marks (1935 -2010) Peter Marks was born in New York City on January 18, 1935. A lifetime New Yorker, Marks graduated from the Hig...

Signed and dated lower left Provenance: Estate of the artist Michael and Alan Lipton (sons) Wilkes University, Wilkes Barre, PA De-accessed 2017 Note: Lipton did a large number of preliminary...

Non-Objective Drawing (Double sided composition) Graphite on paper, 1938 Initialed "B" by the artist lower right corner Created while the artist was imprisoned in a Gestapo Prison for his "Degenerate Art" Image size: 7 x 6 3/4 inches Housed in raw silk matting in a reproduction Gugenheim style frame with OP3 Acrylic Frame dimensions: 16 x 17 x 1 1/2 inches Condition: Folded in quarters by the artist to hide the drawing from the Gestapo Irregular margins Provenance: Estate of the artist Phillips Auction, New York Borghi Inc. "Back in Berlin, Das Geistreich had become a lonely island of individualism in a menacing sea of Nazism. The Bauhaus had been closed down by the government in 1933, and artists such as Bauer were increasingly ostracized. Many had already fled the country. Rebay wrote Bauer in August 1937 to report that she had visited the Degenerate Art exhibition in Munich, which featured many artists from their Der Sturm days, including works by Kandinsky, Klee, Moholy-Nagy, and, of course, Bauer. Why Bauer lingered so long in this hostile environment remains a mystery. He was not Jewish, yet his patron was one of the richest Jews in the world. This association would not go unnoticed in Nazi Germany. In July 1937 Bauer traveled to Paris because his work was included in an exhibition called Origines et développement de l'art international indépendant, organized by the Musée du Jeu de Paume. In this large survey of the period, his painting was shown alongside the work of Picasso, Georges Braque, Léger, Chagall, and Joan Miró. It is believed that while he was in Paris he received word from friends that it was too dangerous to return to Berlin; yet he ignored the warning. According to the Rebay documentarian Sigrid Faltin, it is likely that his sister, a Nazi zealot who had disowned him, turned him in to the authorities for his art. Bauer was suddenly a prisoner in Berlin. Defiant, he scavenged scraps of paper and pencils while in prison, so that he could continue to draw." Courtesy Weinstein Gallery...

Untitled (Abstraction) Ink on textured paper, c. 1958 Signed lower right: Scarlett Note: A rare mid to late 1950s example of the artist's abstract expressionist style. Provenance: Es...

The discipline of creating a drawing each day is a process, like a written diary, to clear the mind, to declutter thoughts, and to observe patterns. It is a method that allows the mind a freedom to wander and drift. A visual journal becomes a safe space for personal reflection–a self-awareness fueled by the opportunity for contemplation and immersion. The painted surface for the drawings was created by dividing five large paintings into 40 separate pieces. I chose five paintings from my Perspective Series (1993-94), which relied on day-to-day imagery that narrated a story about shifting time and how time anchors our day. The brush strokes of Perspectives are fluid, with muted colors – moving from deep blacks to taupe whites. Dividing these pieces was a means for me to rethink ideas and recurring images in my older work. The very thin gold leaf applied to each piece has a wonderful amber tone. This gold leaf is from Myanmar, where it is used as decoration for Buddha or for the dome of a temple or monastery. In the drawings, the gold element relates to the sense of infinity – like the sky in an enclosed courtyard. An architectural element is a critical component in my studio work that I wanted to carry over into these pieces. I envisioned a courtyard–a safe space that opens up to the sky. Unfolding circles define the beginnings of an open interior space. The process felt open-ended. It was an opportunity to get lost in thought and to give me an opportunity to reflect, muse and declutter my thinking. Then repeat. 40 days...

30X21.25 without the frame. Mixed Media painting and drawing on paper. Lawrence Kupferman had a long and illustrious career as an artist and educator. His work has been exhibited at ...

Mito 2015 Collage e acrilico su carta CM 70x50 Con la mano e con fuoco, sul metallo. Con la mano e col pensiero sulla carta. Il disegno è inscindibile dalla scultura e non può esse...

3 Sculture 2012 Acrilico e grafite su carta CM 70x50 Con la mano e con fuoco, sul metallo. Con la mano e col pensiero sulla carta. Il disegno è inscindibile dalla scultura e non ...

Scultura elegante 2013 Collage e acrilico su carta CM 70x50 Con la mano e con fuoco, sul metallo. Con la mano e col pensiero sulla carta. Il disegno è inscindibile dalla scultura ...

Gouache and paper, mixed media, Signed in the middle center. Armand Avril, né à Lyon en 1926, est un peintre vivant à Cotignac dans le Var. Il est surtout connu pour les assemblages qu'il a réalisés à partir de 1968. D'origine modeste, cependant très tôt intéressé par l'art et les musées où le poussait son père, il s'essaie d'abord à la peinture. Cependant, Avril ne commence à trouver son véritable style qu'à l'âge de quarante-deux ans. Enfant, il est un habitué des musées de Lyon qu’il fréquente sur les conseils de son père. Adulte, sa passion pour la collection l’incite à se nourrir des arts premiers et d’artistes comme Gaston Chaissac...