Fritz Bultman

Untitled (12-P1)

1936-39

The piece is mounted in an archival white mat, with an overall mat size of 30 x 24 inches. Fritz Bultman set himself apart from other Abstract Expressionists with his meticulously o...

The piece is mounted in an archival white mat, with an overall mat size of 30 x 24 inches. Fritz Bultman set himself apart from other Abstract Expressionists with his meticulously o...

The piece is mounted in an archival white mat, with an overall mat size of 30 x 24 inches. Fritz Bultman set himself apart from other Abstract Expressionists with his meticulously o...

The piece is mounted in an archival white mat, with an overall mat size of 30 x 24 inches. Fritz Bultman set himself apart from other Abstract Expressionists with his meticulously o...

Anthony Padovano Untitled Abstract Expressionist drawing, 1971 Ink wash on paper drawing Signed and dated in ink wash Unique Original (unique) signed Abstract Expressionist ink wash ...

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...

Acrylic and oil on paper. Unframed. Claude Tétot is a French abstract artist whose work expresses harmony in disharmony by exploring the enigmatic unity that can exist between seem...

Acrylic and oil on paper. Unframed. Claude Tétot is a French abstract artist whose work expresses harmony in disharmony by exploring the enigmatic unity that can exist between seem...