Ray H. French

Untitled

1962

Untitled (Inspired by a Chinese scroll painting) Collage with ink on 6 paper elements Unsigned Provenance: Estate of the Artist Condition: Excellent Image size: 4 x 12 inches Support...

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...

Signed and dated center right edge; Annotated "48" lower left Provenance: Estate of the artist One of a suite of 120 drawings that the artist did in 1 month. Most were sold thro...

Unsigned as per usual Enamel paint and ink on tracing paper Provenance: Estate of the Artist Peter Marks (1935 -2010) Peter Marks was born in New York City on January 18, 1935....

Untitled Abstraction Pen and ink on paper, 1932 Signed and dated in ink lower center Condition: Excellent Sheet/Image size: 10 3/8 x 6 1/4 inches Frame size: 16 1/2 x 12 1/2" Provena...

Untitled (Abstraction) Ink on textured paper, c. 1958 Signed lower right "Scarlett" (see photo) Condition: Excellent Archival framing with OP3 Acrylic Sheet size: 21 3/4 x 30 inches Frame size: 28 1/2 x 36 1/2 inches Note: A rare mid to late 1950s example of the artist's abstract expressionist style. Provenance: estate of the artist Private Collection, Hudson River Valley, New York Rolph Scarlett B. 1889, GUELPH, ONTARIO; D. 1984, WOODSTOCK, NEW YORK Born on June 13, 1889 in Guelph, Canada, and into an artistic family, Rolph Scarlett spent his teenage years as an apprentice in his uncle’s jewelry firm and briefly studied at the Art Students League, New York. While working in the jewelry industry, Scarlett found time to paint and design theatrical sets in his free time, including one for the 1928 world premiere of Eugene O’Neill’s drama Lazarus Laughed (1926). In 1923, while on a business trip to Switzerland, Scarlett had met the artist Paul Klee and soon after abandoned his figurative painting style in favor of an abstract language that suggested more universal, cosmic truths. In 1937, after permanently settling in New York, Scarlett became acquainted with the artist and curator Hilla Rebay, the first director of the Museum of Non-Objective Painting (renamed the Solomon R. Guggenheim Museum in 1952). Rebay provided Scarlett with a Guggenheim Foundation scholarship to paint full-time and obtained several of his paintings for the museum’s collection. From 1940 to 1946, Scarlett served as the museum’s chief lecturer, giving Sunday afternoon talks on art. Through Rebay, Scarlett became acquainted with the nonobjective works of Rudolf Bauer and Vasily Kandinsky and further refined his abstract style. Works from this era such as Yellow Bar (1942) are defined by overlapping geometric planes of bright, primary colors set against mute backgrounds. Scarlett avoided any reference to the outside world and believed that nonobjective painting was an act, in his words, of “pure creation.” During his lifetime, solo shows of his work were held at the Jacques Seligmann Gallery, New York (1949); Sioux City Art Center, Iowa (1951); and Washburn Gallery...

RJ's process consists of applications in the form of repetitive and free flowing strokes to create works that are complex structurally but rhythmic visually. Much can be interpreted ...

James Siena "This is for Nadine", signed drawing, 2005 Original drawing done in black marker, bound in the title page of softcover PACE Gallery catalogue with stiff wraps hand signe...

Jackson 4 (Abstract Drawings) Spray paint, pencil, ink, watercolor on paper. Unframed. Peter Soriano works on relatively large sheets of Japanese paper with a tendency to work from something observed, ideally around him. He tends to be “in” the configuration that is the subject of the work. Peter Soriano is a Philippines-born French-American abstract artist who divides his time between New York City and Penobscot, Maine. Although he began his career as a sculptor, his work is now two-dimensional. He is known for his bold spray-painted wall murals and for his more intimate works on paper. Soriano’s work is gestural and geometric, dominated by a graphic lexicon of marks and notations. Soriano's work is owned by museums in the United States and in Europe, including The Fondation Cartier pour l'Art Contemporain, Paris, France; the Morgan Library & Museum in New York City; The Colby College Museum of Art in Waterville Maine; Harvard Art Museum in Cambridge, Massachusetts. His work is also included in the corporate collection of Neuberger & Berman in New York. Soriano is fond of “systems” objects attached to other objects, such as the wiring plan of a room. But very often there are other shapes that play a role in the work. The artist would fold and rework a piece a number of times. Folding seems to concentrate the dialogue that attracts him. Reworking is part of his nature. The finished work normally is the result of this ebb and flow between the heightening and repositioning the relationship between forms. This drawing focuses of objects and elements within it, the long thin lines refering to electrical wires. Soriano’s work is inspired by his surrounding landscapes, including, for example: the Bagaduce, a tidal river that fronts his Maine studio; a hotel room in Busan, South Korea; the configuration of water pipes in his New York loft...

Spray paint, pencil, ink, watercolor on paper. Unframed. Peter Soriano works on relatively large sheets of Japanese paper with a tendency to work from something observed, ideally ar...

Warren St 18 (Abstract Drawing) Spray paint, pencil, ink, watercolor on paper. Unframed. Peter Soriano is a Philippines-born French-American abstract artist wh...

Warren St 18 (Abstract Painting) Spray paint, pencil, ink, watercolor on paper. Unframed. Peter Soriano is a Philippines-born French-American abstract artist who divides his time b...