Seymour Lipton

Untitled sculptural study

1981

SEYMOUR LIPTON Untitled sculpture drawing, 1979 Charcoal on paper Original drawing done in charcoal by renowned sculptor Seymour Lipton Provenance: Michael and Alan Lipton, the artis...

ROBERT GOODNOUGH Seated Girl, 1961 Charcoal Drawing on Paper 23 3/4 × 18 inches Hand signed in charcoal on the front Unframed Unique This is an exquisite, rare poignant early Robert ...

Anthony Padovano Untitled Abstract Expressionist drawing, 1971 Ink Wash on Paper Drawing Signed and dated by the artist Original vintage frame included Original (unique) signed Abstr...

Ron Gorchov Untitled early 1960s Abstract Expressionist work, 1962 Ink and watercolor painting on paper Signed and dated in black ink lower left recto Frame included: elegantly floa...

MARK DI SUVERO Abstract Expressionist drawing with artist signed COA, ca. 1963 Pen and black ink and brush and black ink wash on paper. Hand signed on the front. Framed, with separa...

JAY MILDER Untitled, ca. 1987 Gouache on Paper hand signed in pencil, lower left. Image is 9 square inches; framed it's 16 square inches Frame included: held in the original vintage frame A protege of Hans Hofmann, Milder also studied Jewish mysticism and Kaballah. Poignant framed color gouache painting on paper by second generation Abstract Expressionist painter Jay Milder, a former student of Hans Hofmann, whose work has been greatly informed by his background and interest in Jewish mysticism and Kaballah. Most recently, Milder had been represented by the Lohin Geduld Gallery in Manhattan and Eric Firestone. The visible sheet measures approximately 9 square inches. Framed, the work measures 16 square inches. Artist's official biography: JAY MILDER Born 1934 in Omaha, Nebraska, Jay Milder became a noted abstract painter in the New York art scene in 1958 when he, Bob Thompson, and Red Grooms founded City Gallery. They were all influenced by Abstract Expressionism, but closer to Willem De Kooning than Jackson Pollock because all three were committed to figurative work. Milder was originally shown at The Allan Stone Gallery and then when Martha Jackson took over as Milder’s dealer, her client, Walter Chrysler...

Acrylic & charcoal on canvas

Acrylic, charcoal, glue & ink on paper

Acrylic, ink, glue & charcoal on paper

Acrylic, charcoal, photographic paper marouflaged on canvas

Unsigned, Gifted the artist Charles Cajori by the artist. Accompanied by COA. Mercedes Matter was destined for a life in art. She was the daughter of Mercedes de Cordoba, a former model for Edward Steichen and other members of the Photo-Secession, and Arthur B. Carles, an important early modernist American painter who studied the art of Paul Cézanne and Henri Matisse in Paris in the 1910s. This early and persistent exposure to modern art led Matter herself to begin painting at the age of six. In the early 1930s, she studied with the artist Hans Hofmann, like nearly every important American abstract painter of the next generation. This German-born painter is of course famous for teaching the concepts of abstract painting that would define the New York School: the “push-pull” approach to composition and the focus on the picture plane. During the Depression, Matter worked for the Works Progress Administration alongside Willem de Kooning, Arshile Gorky, and Lee Krasner. The project she and de Kooning collaborated on was directed by Fernand Léger, for whom she served as a translator. In the early 1950s, Mercedes was among the first female members of the Club, an organization of downtown artists that held frequent discussion evenings; she was also a regular at the Cedar Tavern. For Mercedes, “The Club was marvelous. It brought together in one place, at one time, the greatest diversity of artists—as nothing had done before or has since. . . . The end of that marvelous time came when American art became big business...

Alan Fenton (1927 - 2000) Untitled, 1965 Charcoal and graphite on paper 23 x 17 inches Signed and dated lower right Fenton's quiet and contemplative nonob...