J. Steven Manolis

"South Pointe Park, Miami Beach, Florida, " Contemporary Abstract Expressionist

2020

Surreal Abstract Mid 20th Century American Modern Woman Artist Work on Paper Juanita Guccione (1904 - 1999) Surreal Abstract 18 x 11 3/4 inches Watercolor and mixed media on paper Signed lower left Framed: 23 x 17 inches Note. We are currently have listed a 1935 oil by Guccione, and in addition to this abstract drawing, we have several other works on paper, along with a major surrealist oil, none of which are currently listed. Inquiries are invited. BIO The following is from Djelloul (Del) Marbrook, son of the artist. Of signatures on paintings by his mother, Juanita first signed as Anita Rice, then as Juanita Rice, Juanita Rice Marbrook, Juanita Marbrook, and finally Juanita Guccione after marrying in the 1940s. Juanita Guccione's life (June 20, 1904-December 18, 1999) spanned all but four years of the 20th Century. Cubist*, realist, surrealist*, automatist* and abstract strains are all to be found in her work, but by 1970 she was painting works in watercolor and acrylic that no longer included the human figure or the observed world. She was the younger sister of the abstract geometric* artist Irene Rice Pereira. The sisters were born in Chelsea, MA, but spent most of their working lives in Manhattan. In the early 1930s, Guccione, then painting as Nita Rice, lived for four years among the Ouled Nail...

"NY Street Signs" Mid-20th Century WPA 1938 Modernist Abstract Realism Pop Art Stuart Davis (American, 1892-1964) "Street Signs" Modernist gouache and traces of pencil on paper in the proto-pop art style Davis is celebrated for, 1938, signed to lower right, framed. Image: 11 1/4 x 15 1/4 inches. Frame by Bark: 18 1/2 x 22 inches. LITERATURE: A, Boyajian, M. Rutkowski, Stuart Davis, A Catalogue Raisonne, Vol. 2, New Haven, Connecticut, 2007, vol. II, p. 632, no. 1232, illustrated. EXHIBITIONS: ACA Galleries, New York American Artists' Congress: Group Exhibition of Paintings and Sculpture, Dec. 3-16, 1939 (SDAB I, 12/3/39, p. 129). Outlines Gallery, Pittsburgh, Stuart Davis, Mar. 3-16, 1946. Coleman Art Gallery, Philadelphia, 5 Prodigal Sons: Former Philadelphia Artists: Ralston Crawford, Stuart Davis, Charles Demuth, Julian Levi, Charles Sheeler, Oct 4 - 30, 1947 (pamphlet), no. 12. PROVENANCE: The artist; Mr. and Mrs. Frank Bowles, New York, Apr. 3, 1956; thence by descent, Private Collection, New York. NOTES: According to the Catalogue Raissonne, "the title 'Street Signs' is recorded in the artist's account books...

"Sculpture Model" Abstract American Drawing Modernism Mid 20th Century Cubism Charles Biederman (American, 1906-2004) Sculpture Model Ink and gouache on Arches paper Sight: 18 x 1...

MODERNIST DRAWING New Hope Mid-Century WPA Abstract Non-Objective Jazz Modern. Signed with a "Ramstonev" stamp lower right. RAMSTONEV Cooperative Art Project (1937-1939). In the late 1930s, Charles Ramsey became close friends with Charles Evans and Louis Stone. He persuaded them to join him teaching his New Hope summer classes in non-objective painting. Soon, a history-making collaboration began. In 1937, meeting in Evans' studio at the rear of Cryer's Hardware store on Main Street in New Hope, a decision was made to establish the Co-Operative Painting Project. They were intrigued by the cooperative ad-lib process by which jazz musicians created their music. Believing this to be the quintessential American contribution to music, they theorized that a similar result might be obtainable with art, a "visual jam session." This particlarly fascinated Ramsey, who was a jazz buff and had a large collection of jazz records. The objective was to jointly collaborate in the creation of a painting as well as applying collective criticism during its creation. By creating forward movement by general consent, they believed they could produce a higher level of beauty. By consensus it was decided that subject matter would be non-objective. Up to eight people would participate and stop when the painting "felt" finished by common agreement. These co-operative works were done in several different mediums- the majority in pastel, but some in watercolor, gouache, graphite or cut paper collage. On occasion, the group would create a series, as opposed to a single work, created in steps by three or four artists. One of the occasional participants was famed New Hope poet, Stanley Kunitz. These series could range in number from four to sixteen paintings in each. The first of a series would be very basic and the last a fully finished work. In the scope of importance among the New Hope Modernist...

"#51 – WE THINK" is from Amy Williams' series "A Farewell to Arms" – wherein the artist works directly onto page 51 of a found copy of Ernest Hemingway's ...

"#220 – PEACE" is from Amy Williams' series "A Farewell to Arms" – wherein the artist works directly onto page 220 of a found copy of Ernest Hemingway's W...

"#70 – I AM TIRED" is from Amy Williams' series "A Farewell to Arms" – wherein the artist works directly onto page 70 of a found copy of Ernest Hemingway'...

"#187 – HE SAID IT WAS A LIE" is from Amy Williams' series A Farewell to Arms – wherein the artist is working directly onto page 187 of a found copy of Er...