Howard Mehring

Study for Spring Sweep

1964

Steven Sorman In Real Time, 2003 Acrylic, gouache, gel medium, oil and beeswax collage painting on paper 48 × 34 inches Signed and dated 2003; The frame also bears the original label...

Victoria Barr Spirit, 1974 Crayon on Paper Signed and dated lower right front Frame included Provenance: Fischbach Gallery, New York, NY This bright, abstract 1970s artwork was created by Victoria Barr, daughter of the legendary developer of the Museum of Modern Art, Alfred H. Barr. There is a Fischbach Gallery label on the back of the frame. The Fischbach Gallery was, for many years, the gallery of record for the American artist Alex Katz. It is not easy finding Barr's work on the market at this time. Measurements: Framed: 23 inches x 29.5 inches x .5 inches Artwork: 23 inches x 29 inches Victoria Barr was born in New York, NY, in 1937 to the legendary MOMA curator and art historian Alfred H. Barr, Jr. and art historian Margaret Scolari Barr. Barr often traveled to Europe with her parents from the age of 14 onwards, meeting influential artists like Pablo Picasso, Henri Matisse, and Marc Chagall and collectors like Peggy Guggenheim. For high school, she went to Milton Academy...

Jay Rosenblum Polarity #3, 1981 Acrylic on paper 6 × 9 1/2 inches Signed and titled in graphite pencil on the front Unframed This gem of a work is an acrylic painting on paper by ren...

Jay Rosenblum Polarity #9, 1981 Acrylic on Paper 6 × 9 1/2 inches Pencil signed and titled on the front Unframed ]This gem of a work is an acrylic painting on paper by renowned Abstr...

Rolph Scarlett Untitled Abstract Expressionist Painting, ca. 1960 Gouache, Ink, Watercolor on Paper . Hand signed, with original Jonas Aarons Gallery label 23 × 18 3/4 inches Signed ...

Hand signed twice: once on each side A rare find for true art lovers - or, simply, for two lovers: two works of art for the price of one. It's unframed, but we recommend framing with...

Rare very early watercolor by this famous 'Washington D.C. Colorist'(from the group of Morris Louis, Kenneth Noland and Gene Davis), signed and dated L.L. 1958. Matted and framed in ...

Eleven late 19th to early 20th century Minton / Davis Collamore & Company porcelain china salad plates, featuring broad pink edges with gold encrusted floral bands. Broadway & 21st N...

Antique ship model with provenance. This model of the packet ship “Anglo Saxon” was “presented by Charles H Taylor of Boston to the Pelham Country Club ...

Seventeenth Century. A William and Mary silver cylindrical nutmeg grater, containing the original silver rasp, the exterior with bands of stylised fooliate decoration, the detachable cap engraved with a tulip. The base and rasp with matching maker's mark, 'TK'. Thomas Kedden. London, c.1690. Note: For a comparable illustrated example, see: Davis, J., (2002) The Robert and Meredith Green...

An exceptional, fine and impressive composite antique sterling silver canteen of cutlery for twelve persons; an addition to our anti...

Gorgeous Stow & Davis cognac leather modern tuxedo or Chesterfield style sofa with a walnut plinth base, loose seat cushions and deep tufted button detail. Beautiful condition, keepi...

We are delighted to offer for sale this very rare original Thomas Chippendale George III circa 1780 Architects writing table or desk ...

We are delighted to this very rare pair of Thomas Chippendale era circa 1760 Library chairs with period embroidered upholstery These are a very rare and highly collectible pair o...

Thomas Victor Downing (1928 - 1985) Nineteen, 1968 Acrylic on canvas 35 1/2 x 16 1/2 inches Signed on the reverse Provenance: Estate of the artist Henri Gallery, Washington, D.C. Private Collection, Washington, D.C. Thomas Downing was born in Suffolk, Virginia. In 1950, after graduating from Pratt Institute in New York City, he received a grant from the Virginia Museum of Fine Art to study in Europe. Upon returning from Europe, he settled in Washington, DC to teach at Catholic University. In 1954 Downing became a friend of Kenneth Noland, whose life drawing course he attended. From 1955 to 1956 Downing shared a studio with Howard Mehring, another artist who came to be identified with the Washington Color School. Downing had his first one-man show at the Washington Workshop Center for the Arts in 1959. That year, Downing, Mehring, and Betty Pajac founded Origio, a cooperative art gallery in Washington. In 1959 Downing first began using the small dot in his work, a motif he explored fully into the 1970s. In the early works colorful dots determined the structure of the painting in their size, position, and repetition within a grid. Often there was a sense of concentration and expansion of the composition from the center to the edge of the canvas, achieving a visual impression of expanding open space. Looking for the fusion between the grid and color, Downing eliminated overlapping dots in 1962. The dots arranged in grids seem to project from the canvas surface, giving the impression the color floats unrestricted by the square format of his paintings. Downing’s position in the Washington Color School came from his consistent approach to color. The canvas was the receptacle of color, on which Downing often worked in tonal modulations of a hue. Downing developed shaped canvases in 1966 as a structural solution to his deeper consideration of the “spatial definition” of color. After first working in a parallelogram shape, Downing next worked in chevron-shaped canvases that examined the illusionistic qualities of color. He exhibited these works in a solo exhibition at the Corcoran Gallery in 1966-1967 and later at the Allan Stone Gallery in New York in 1967. Downing’s second series of shaped canvases titled Folds were created in 1968. In the Fold series he discovered a new effect of relief and spatial depth within a flat work that could be enhanced by color. The projections and folding in the Fold paintings suggest the paintings exist in a world without gravity. Downing exhibited in a group show at Jefferson Place Gallery in 1960 and had his first solo exhibition there in the spring of 1961. Downing had solo exhibitions in New York at Allan Stone Gallery in 1962, 1967, and 1968. He also had solo exhibition in New York at Stable Gallery in September 1963 and January 1965. In the early 1970s Downing had regular solo exhibitions at the Pyramid Galleries in DC. In the 1960s Downing was included in important museum exhibitions, including: Post Painterly Abstraction at Los Angeles County Museum of Art, 1964 (Clement Greenberg curated and included three of Downing’s dial paintings); The Responsive Eye at the Museum of Modern Art, 1965; Colorists, 1950-1965 at the San Francisco Museum of Art, 1965; Systemic Painting at the Solomon R. Guggenheim Museum, New York, 1966; and Color Field Painting at the Philadelphia Museum of Art in 1970. Thomas Downing: Recent Paintings was held at the Corcoran Gallery of Art in December 1966 - January 1967. A solo exhibition of his paintings from 1962 to 1968 was held at the La Jolla Museum of Art then travelled to the Phoenix Art Museum in 1968. Downing had a solo exhibition at the Phillips Collection in 1985. Downing taught at the Corcoran School of Art and Design, Washington, DC from 1965 to 1968. There he was influential for the next generation of DC color...

Philip Mercier (1689-1760) Portrait of Thomas Samwell of Upton Signed Ph Mercier pinxit, Ano 1738 lower right Oil on canvas Canvas size 30 x 25 in (76.2 x 63.5 cm) Framed size 37 x 32 1/2 in Provenance The Collection of Lord Hazlerigg; Sale, Sotheby's, The Contents of Noseley Hall, 28th & 29th September 1998, Lot 62; where purchased by the present owner. Literature Walpole Society, Vol 46, 1976/8 - J.Ingamells and R.Raines: A Catalogue of the Paintings, Drawings and Etchings of Philip Mercier, No. 84 Philip Mercier was born in Berlin, the son of a Huguenot tapestry worker of French extraction who worked for the Elector of Brandenburg (later, 1701, King Frederick of Prussia). Little is documented about his early life, but Vertue tells us that he studied under the French portraitist Antoine Pesne...

"Untitled 12" is a gouache on paper by contemporary Russian artist Dmitry Samygin. Minimalist and geometric drawings.

"Untitled 13" is a gouache on paper by contemporary Russian artist Dmitry Samygin. Minimalist and geometric drawings.

Serie II number 14 - combination of minimalism geometric draw and abstract writing (stripes). Made in black and white, beige colors. Gouache on bulky 250g natural colored paper Paint...

Serie II number 4 - combination of minimalism geometric draw and abstract writing (circle and stripes). Made in black and white colors. Gouache and varnish on 250g black paper Black ...

gouache, watercolor and gold leaf on antique paper

gouache, watercolor and gold leaf on antique paper