Lorraine Fox

Garden Scene with red trees - Women Illustrators

circa 1950 1960

Surrealist ad where a gloved human hand rises in pictorial height to the size of a chemical plant. Tension is created as Drafsman's Pencil is about to t...

Blueprints into Reality - Full-page ad for United Engineers that ran in Fortune Magazine, March 1958, and other business magazines. As Fred Taraba stated, this image is symbolic of optimism and potential. Work includes the original issue of Fortune Magazine with the ad in which United Engineers mentions Stanley Meltzoff. "Here Stanley Meltzoff dramatizes with tools and massive concrete forms...

Acrylic on masonite. This is a pivotal work in deep and radiant cobalt blue from 1950. It dipicts calligraphic and hieroglyph structures over a grid and pyramidal base by the first generation abstract expressionist. Provenance: Skinner: November 13, 1992 [Lot 00219}, The entry in the Skinner catalog indicates that the painting came directly from the artist to the family of the consignor to Skinner. Kaminsky Auctions. There is an unbroken paper trail that traces the ownership of the painting from the current owner, through two auction houses to the artist. Perfect unbroken provenance. Pousette-Dart was among the most inventive of the Abstract Expressionist generation, His uncanny talent was to expand the nature of abstraction and still make each mark each element very much his own; a reflection of what he called   "the concealed power of the spirit," he said, “not of the brute physical form."   His was not aiming for a singular, realized aesthetic formula but to expand the possibilities of painting; the transcendental in painting. Typical of such invention and exploration is this  painting  Untitled 1950 when the artist was only 34 years old and represented by one of the champions of the new American painting, Betty Parsons.  
A banner year for Pousette-Dart, the Museum of Modern Art acquired their first painting by the Minnesota born artist.  He worked on easel size works such as this painting an oil on masonite. At the same time Pousette-Dart was also working on larger scale works such as Path of the Hero, running over ten feet in length now in the collection of the Metropolitan Museum of Art.  Both contain fields of color articulated by a highly sophisticated white hieroglyphic vocabulary. Rather than demonstrate an expressionist sensibility, Pousette-Dart harnesses his more cerebral ideas transforming thick areas of paint into a more refined composition of geometric forms akin to the pattern and forms of say a stained glass window. In a way he is looking back at Fugue, 1940 a black and white composition which makes use of a similar format of painting albeit smaller. Color and form are minimal, but what Pousette-Dart has maximized is the rhythmic and syncopated character of painting casting his ideas into purely symbolic terms that one might link to the pictograms of Adolph Gottlieb. Nonetheless, nature is always at the core of Pousette-Dart’s thinking and dreaming. Here he has transformed the local Ramapo Mountains—where he will eventually move with his family to live and work— into a complex series of articulated fragments linked by style, scale and color.  The painting’s imagery built on two large triangles and reduced to just two colors, cobalt blue and white all outlined in black.  Pousette-Dart symbols stacked in horizontal and vertical rows:  blue is ground, white is language, symbolic of light, consciousness and awareness . The painting maintains a mystical character images compounded that formulate a secret code and linked to the series of white paintings Pousette-Dart authored in the first half of the 1950s. Get up close to the picture and you discover images within images a kind of picture puzzle...

This colorful painting by Eleanor Parke Custis is in the spirit of Louis Valtat and the Fauves. The subject of flowers in the foreground is repeated in the backdrop. It straddles the line between abstraction and representation. Signed lower right - Work is framed. Eleanor Parke Custis studied in Corcoran School of the Arts and Design under Edmund C. Tarbell and Pennsylvania Academy of the Fine Arts with Henry B. Snell. Initially, she began her art career as a painter, creating watercolors. Custis created illustrations for Scribner's Magazine, Harper's, Doubleday, Harcourt. She started to take photographs in her youth, using a Brownie camera...

Enroll For Service, American Junior Red Cross, poster illustration, 1951 Gouache on board 22 x 14 1/2 in. Not signed From the Collection of the American Red Cross...

An intriguing and complex composition composed of guns, rifles, ammo and a bullseye. Work is housed in a rustic Heydenryk frame.

Khawam’s first genre of paintings started in 1980 during the heights of the Superrealism movement in New York City where Khawam was the youngest among the group and in his first year...

"The Secret Garden" Painting Polyptych 71" x 120" in by Nikita Makarov Polyptych. 260x180 cm total size. The size of one part is 65x180. The work created in the author's techniqu...

'Rhapsody in Blue' depicts a historic San Francisco apartment building with warm sunlight and shadows cascading across the facade of the lavender buil...

With the distinctive medium of post-it notes, Özmenoğlu re-contextualizes everyday objects from something ordinary to a beautiful work of art. The individualized behavior of each pos...

With the distinctive medium of post-it notes, Özmenoğlu re-contextualizes everyday objects from something ordinary to a beautiful work of art. The individualized behavior of each pos...

Lynette Cook, 'To Be a Hawk', 30 x 24, Acrylic on canvas. One of the artist's new 'To Be' paintings that is a recognition of our urban spaces coexisting with nature. Diving deeper, ...