Photo 14 Jan    Artist Albert Urban 1909-1959 born in Germany, Studied with Beckmann, and Baumeister   . Fled germany in 1940 Nazis condemned his art as decadent and was forbidden to paint.    Came to this country with other leading artist. Had shows with Picasso, Chagall. Braque.   

Major contemporary artists such as Dan Flavin, have acknowledged a profound impact upon their work by the german artist. On the topic, Flavin discussed his relationship to the under-hyped artist:
"…my drawing had the personally concerned criticism of a new “American” painter, Albert Urban, a gentle unreconstructed “pariah”, who, as a young man, had had his work acclaimed in Hitler’s museum for “degenerate” art. I never studied in his studio, which Albert maintained as barred sanctuary daily from nine to five, but on several evenings, weeks apart, we sat for hours with his wife, Reva, in their spacious West Tenth Street apartment examining my papers.
After scanning a first batch of divers expression, Albert sighed, settled back into his easy chair, lighted the tobacco in a pipe and, for a while, distractedly puffed smoke through his wiry black moustache. When he finally spoke, he plainly suggested that I might better become a scholar – a religious art historian.
I was secretly shocked and grieved by Albert’s lack of recognition. In the months that followed, I fervently produced more hundreds of poor drawings and a few horrid aspirations in oil on canvas paper and similar board which I supposed must be what paintings were like.”

It is Urban’s historical importance and original style that so inspired Flavin. His original work is inevitably beckoning for further research in the area to scholars and art experts. 

Artist Albert Urban 1909-1959 born in Germany, Studied with Beckmann, and Baumeister . Fled germany in 1940 Nazis condemned his art as decadent and was forbidden to paint. Came to this country with other leading artist. Had shows with Picasso, Chagall. Braque.

Major contemporary artists such as Dan Flavin, have acknowledged a profound impact upon their work by the german artist. On the topic, Flavin discussed his relationship to the under-hyped artist:

"…my drawing had the personally concerned criticism of a new “American” painter, Albert Urban, a gentle unreconstructed “pariah”, who, as a young man, had had his work acclaimed in Hitler’s museum for “degenerate” art. I never studied in his studio, which Albert maintained as barred sanctuary daily from nine to five, but on several evenings, weeks apart, we sat for hours with his wife, Reva, in their spacious West Tenth Street apartment examining my papers.

After scanning a first batch of divers expression, Albert sighed, settled back into his easy chair, lighted the tobacco in a pipe and, for a while, distractedly puffed smoke through his wiry black moustache. When he finally spoke, he plainly suggested that I might better become a scholar – a religious art historian.

I was secretly shocked and grieved by Albert’s lack of recognition. In the months that followed, I fervently produced more hundreds of poor drawings and a few horrid aspirations in oil on canvas paper and similar board which I supposed must be what paintings were like.”

It is Urban’s historical importance and original style that so inspired Flavin. His original work is inevitably beckoning for further research in the area to scholars and art experts. 

Photo 3 Jul 6 notes YAYOI KUSAMA, “Supper”, 1963. Stuffed and sewn canvas in wooden box. Signed and Dated “Kusama 1963” on the underside, 8 inches x 16 inches x 14 inches; (20.3 cm x 40.6 cm x 35.6 cm).

Yayoi Kusama is a major postwar- contemporary Japanese artist and writer whose works incorporate visceral images and provoke philosophical questions. Born in 1929 in Matsumoto City, Japan, Kusama is also a well respected fictional writer of short stories, though Kusama began her career by studying Nihonga painting, a rigorous technique developed in Japan during the Meiji period (1868-1912) which aims to distinguish the classical elements of traditional Japanese paintings from other western-influenced styles. Many of her works have a rather obsessive compulsive tendency, palpable in the repetitive visual imagery of many of her works, some containing an abundance of tiny dots and other repeated elements, which may read as neurotic or paranoid. Drawn to the international postwar art scene, Kusama moved to New York City in 1958, exhibiting her first paintings in 1959.  Highly cherished, her Net paintings consist of a series of mesmerizingly vast canvases entirely covered in rhythmic undulations, of which their coils suggest ‘infinity’. Kusama returned to Japan in the early 1970’s to begin working on her own surrealistic novels, short stories, and poems, only later to revisit themes that permeated throughout her earlier works. Kusama is also treasured for her series of soft sculptures that she created from the 1960’s to the 1980’s, which are chiefly comprised of various fabrics, embellishments found or handmade objects.

Her recent works consist of freestanding sculptures and dizzying displays, a lovely frenzy of elegantly vivid forms that have been included in leading museums throughout the world, including the Museum of Modern Art, New York; Los Angeles County Museum of Art; Tate Modern, London; Centre Pompidou, Paris; and the National Museum of Modern Art in Tokyo, among many others. Kusama continues to live and work in Tokyo, where her designs extend but are not limited to a versatile scope of art forms such as theater happenings, fashion designs and dazzling mirror-filled rooms which captivate their viewer. Often praised by her peers, among them Donald Judd, Dore Ashton and Frank Stella, Kusama’s work is also presently on display at the Whitney Museum of Art. Similar soft sculptures to the one illustrated above take the form of household furniture pieces. The exhibition will be open from July 12-September 30th, 2012, alongside another solo-exhibition of the work, Fireflies on the Water, on view now.

YAYOI KUSAMA, “Supper”, 1963. Stuffed and sewn canvas in wooden box. Signed and Dated “Kusama 1963” on the underside, 8 inches x 16 inches x 14 inches; (20.3 cm x 40.6 cm x 35.6 cm).

Yayoi Kusama is a major postwar- contemporary Japanese artist and writer whose works incorporate visceral images and provoke philosophical questions. Born in 1929 in Matsumoto City, Japan, Kusama is also a well respected fictional writer of short stories, though Kusama began her career by studying Nihonga painting, a rigorous technique developed in Japan during the Meiji period (1868-1912) which aims to distinguish the classical elements of traditional Japanese paintings from other western-influenced styles. Many of her works have a rather obsessive compulsive tendency, palpable in the repetitive visual imagery of many of her works, some containing an abundance of tiny dots and other repeated elements, which may read as neurotic or paranoid. Drawn to the international postwar art scene, Kusama moved to New York City in 1958, exhibiting her first paintings in 1959.  Highly cherished, her Net paintings consist of a series of mesmerizingly vast canvases entirely covered in rhythmic undulations, of which their coils suggest ‘infinity’. Kusama returned to Japan in the early 1970’s to begin working on her own surrealistic novels, short stories, and poems, only later to revisit themes that permeated throughout her earlier works. Kusama is also treasured for her series of soft sculptures that she created from the 1960’s to the 1980’s, which are chiefly comprised of various fabrics, embellishments found or handmade objects.

Her recent works consist of freestanding sculptures and dizzying displays, a lovely frenzy of elegantly vivid forms that have been included in leading museums throughout the world, including the Museum of Modern Art, New York; Los Angeles County Museum of Art; Tate Modern, London; Centre Pompidou, Paris; and the National Museum of Modern Art in Tokyo, among many others. Kusama continues to live and work in Tokyo, where her designs extend but are not limited to a versatile scope of art forms such as theater happenings, fashion designs and dazzling mirror-filled rooms which captivate their viewer. Often praised by her peers, among them Donald Judd, Dore Ashton and Frank Stella, Kusama’s work is also presently on display at the Whitney Museum of Art. Similar soft sculptures to the one illustrated above take the form of household furniture pieces. The exhibition will be open from July 12-September 30th, 2012, alongside another solo-exhibition of the work, Fireflies on the Water, on view now.

Photo 3 Jul 7 notes ANTONI TAPIES (Spain 1923-2012), “Untitled”, 1970-1990. Lithograph, 30. 25” x 22” inches (76.8 cm x 55.9 cm).  
Antoni Tapies is a Spanish abstract painter whose work during the 1940’s was strongly influenced by Surrealist painters like Miro and Klee, until the 1950’; at which point he grew into his intrinsically individualized technique. A witness to the Spanish Civil War and the Catalan nationalist movement in his youth, a great percentage of Tapies’ work his informed by the turbulent climate of the Spanish streets. 
By the late 1960’s and early 1970’s, his work began to gain momentum, with many of his ‘object works’ taking on an even more Surrealist spin. Many of these works often include rather textured materials, such as marble dust, sand, chalk and Earth, while others include found objects, sometimes even massive, extending in scale to live-sized mattresses  painted with blood-like stains, others piled with straw, recalling Robert Rauschenberg. 
This very interesting print by the Catalan painter-sculptor, Tapies, has many elements that are dating it to the decades 1970-1990. 
Firstly some marks, usually crosses of ochre colour; there are two in our print, on the upper and lower left side. 
The distinct black, white, and many hues of gray are typical of this period too. Tapies used to draw every day objects in his abstract graphic work. In this case we almost have a shirt on a blouse. 
Finally, as an artist with a great sense of humor he used to play with the letters A and T, his and his wife. In this case the composition works like a lower case T, for Tapies, his family name and Teresa, his wife given name. 
The print is signed on the plate, lower right and inscribed with pencil “E.A”-“epreuve d’artiste”. 
The print is an excellent opportunity for a collector aiming to own a Tapies piece that is as affordable as it is gorgeous.

ANTONI TAPIES (Spain 1923-2012), “Untitled”, 1970-1990. Lithograph, 30. 25” x 22” inches (76.8 cm x 55.9 cm).  

Antoni Tapies is a Spanish abstract painter whose work during the 1940’s was strongly influenced by Surrealist painters like Miro and Klee, until the 1950’; at which point he grew into his intrinsically individualized technique. A witness to the Spanish Civil War and the Catalan nationalist movement in his youth, a great percentage of Tapies’ work his informed by the turbulent climate of the Spanish streets. 

By the late 1960’s and early 1970’s, his work began to gain momentum, with many of his ‘object works’ taking on an even more Surrealist spin. Many of these works often include rather textured materials, such as marble dust, sand, chalk and Earth, while others include found objects, sometimes even massive, extending in scale to live-sized mattresses  painted with blood-like stains, others piled with straw, recalling Robert Rauschenberg. 

This very interesting print by the Catalan painter-sculptor, Tapies, has many elements that are dating it to the decades 1970-1990. 

Firstly some marks, usually crosses of ochre colour; there are two in our print, on the upper and lower left side. 

The distinct black, white, and many hues of gray are typical of this period too. Tapies used to draw every day objects in his abstract graphic work. In this case we almost have a shirt on a blouse. 

Finally, as an artist with a great sense of humor he used to play with the letters A and T, his and his wife. In this case the composition works like a lower case T, for Tapies, his family name and Teresa, his wife given name. 

The print is signed on the plate, lower right and inscribed with pencil “E.A”-“epreuve d’artiste”. 

The print is an excellent opportunity for a collector aiming to own a Tapies piece that is as affordable as it is gorgeous.

Photo 3 Jul PABLO PICASSO, ”Vallavris”, 1961. Linocut Edition, 120. Signed “Picasso”, lower right corner. 

PABLO PICASSO, ”Vallavris”, 1961. Linocut Edition, 120. Signed “Picasso”, lower right corner. 

Photo 13 Jun AFTER JOOS VAN CRAESBEECK, “Men in a Tavern,” 17th Century, Dutch School, Oil on Panel, 17” x 22”. 

AFTER JOOS VAN CRAESBEECK, “Men in a Tavern,” 17th Century, Dutch School, Oil on Panel, 17” x 22”. 

Photo 13 Jun PIERRE BISIAUX (1924-Present), “Still Life with Flower Vase, Bottle & Newspaper,” Signed,Mid 20th Century, French, Oil on Canvas, 39.5” x  28.5”.
-SOLD-

PIERRE BISIAUX (1924-Present), “Still Life with Flower Vase, Bottle & Newspaper,” Signed,Mid 20th Century, French, Oil on Canvas, 39.5” x  28.5”.

-SOLD-

Photo 13 Jun EMILIO BAZ VIAUD (MEXICO, 1918-1991), “Cat on Wicker Chair,” Early 20th Century, Oil on Canvas, 27.75” x 20”.
A painter born in Mexico City, Viaud applies meticulous brushwork in a “tromple-l’oeil” style that critics have mentioned recall the great Dutch and Renaissance Masters, such as Durer and Boticelli. While briefly dappling in abstract painting in the 1970’s, he is chiefly recognized for the works he created which predate 1955. Exhibiting his first show in 1951, Viaud was a pupil of the artist Manuel Rodriguez Lozano after having studied architecture alongside his painterly interests. After having been featured alongside figures like Siqueiros and Diego Rivera in several group exhibitions, Viaud is an increasingly evaluated figure in 20th century Latin art. 

EMILIO BAZ VIAUD (MEXICO, 1918-1991), “Cat on Wicker Chair,” Early 20th Century, Oil on Canvas, 27.75” x 20”.

A painter born in Mexico City, Viaud applies meticulous brushwork in a “tromple-l’oeil” style that critics have mentioned recall the great Dutch and Renaissance Masters, such as Durer and Boticelli. While briefly dappling in abstract painting in the 1970’s, he is chiefly recognized for the works he created which predate 1955. Exhibiting his first show in 1951, Viaud was a pupil of the artist Manuel Rodriguez Lozano after having studied architecture alongside his painterly interests. After having been featured alongside figures like Siqueiros and Diego Rivera in several group exhibitions, Viaud is an increasingly evaluated figure in 20th century Latin art. 

Photo 7 Jun ROBERT WALTER WEIR (American, 1803-1889)The Two Marys at the Sepulcher, 1865Oil on canvas35 x 47-3/8 inches (88.9 x 120.4 cm)Signed and dated lower left: Robt. W. Weir. / 1865LITERATURE:I. Weir, Robert W. Weir, Artist, New York, 1947, p. 115.
  Member of the Hudson River School, Weir was an important element of 1920s social and cultural life of New York City. This painting along with many others are imbued with a genuine sense of sorrow as Weir’s wife and unborn child died in child-birth. After this event, many of his subjects were religious scenes like this one that draw from his training as a landscape painter.

ROBERT WALTER WEIR (American, 1803-1889)
The Two Marys at the Sepulcher, 1865
Oil on canvas
35 x 47-3/8 inches (88.9 x 120.4 cm)
Signed and dated lower left: Robt. W. Weir. / 1865

LITERATURE:
I. Weir, Robert W. Weir, Artist, New York, 1947, p. 115.

Member of the Hudson River School, Weir was an important element of 1920s social and cultural life of New York City. This painting along with many others are imbued with a genuine sense of sorrow as Weir’s wife and unborn child died in child-birth. After this event, many of his subjects were religious scenes like this one that draw from his training as a landscape painter.

Photo 7 Jun CONTINENTAL SCHOOL (Early 18th Century)Mythological Scene of a Tomb in a Landscape with Classical Ruins, circa 1700Oil on panel16-1/4 x 22-1/2 inches (41.3 x 57.2 cm)PROVENANCE:Koberg &…Kayser (partial label verso);Königliche Sächsische Gemäldegalerie, Dresden (Wax seals verso).

CONTINENTAL SCHOOL (Early 18th Century)
Mythological Scene of a Tomb in a Landscape with Classical Ruins, circa 1700
Oil on panel
16-1/4 x 22-1/2 inches (41.3 x 57.2 cm)

PROVENANCE:
Koberg &…Kayser (partial label verso);
Königliche Sächsische Gemäldegalerie, Dresden (Wax seals verso).

Photo 7 Jun After JACOPO DA PONTE BASSANO (Italian, 1510-1592)The Adoration of the Shepherds, 17th centuryOil on cradled panel12 x 16-3/4 inches (30.5 x 42.5 cm)
After the original work in the collection of the Galleria Corsini, this work is a beautiful 17th c. Italian copy on wood panel.

After JACOPO DA PONTE BASSANO (Italian, 1510-1592)
The Adoration of the Shepherds, 17th century
Oil on cradled panel
12 x 16-3/4 inches (30.5 x 42.5 cm)

After the original work in the collection of the Galleria Corsini, this work is a beautiful 17th c. Italian copy on wood panel.



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