Wendell Brazeau

Preliminary drawing for the painting entitled Trapezoids

c. 1950

Ink, graphite and colored pencil on graph paper The final composition measured 28 x 28 inches Annotated #615 in the lower right corner of the sheet Provenance: Francine Seders Galler...

Non-Objective Drawing (Double sided composition) Graphite on paper, 1938 Initialed "B" by the artist lower right corner Created while the artist was imprisoned in a Gestapo Prison for his "Degenerate Art" Image size: 7 x 6 3/4 inches Housed in raw silk matting in a reproduction Gugenheim style frame with OP3 Acrylic Frame dimensions: 16 x 17 x 1 1/2 inches Condition: Folded in quarters by the artist to hide the drawing from the Gestapo Irregular margins Provenance: Estate of the artist Phillips Auction, New York Borghi Inc. "Back in Berlin, Das Geistreich had become a lonely island of individualism in a menacing sea of Nazism. The Bauhaus had been closed down by the government in 1933, and artists such as Bauer were increasingly ostracized. Many had already fled the country. Rebay wrote Bauer in August 1937 to report that she had visited the Degenerate Art exhibition in Munich, which featured many artists from their Der Sturm days, including works by Kandinsky, Klee, Moholy-Nagy, and, of course, Bauer. Why Bauer lingered so long in this hostile environment remains a mystery. He was not Jewish, yet his patron was one of the richest Jews in the world. This association would not go unnoticed in Nazi Germany. In July 1937 Bauer traveled to Paris because his work was included in an exhibition called Origines et développement de l'art international indépendant, organized by the Musée du Jeu de Paume. In this large survey of the period, his painting was shown alongside the work of Picasso, Georges Braque, Léger, Chagall, and Joan Miró. It is believed that while he was in Paris he received word from friends that it was too dangerous to return to Berlin; yet he ignored the warning. According to the Rebay documentarian Sigrid Faltin, it is likely that his sister, a Nazi zealot who had disowned him, turned him in to the authorities for his art. Bauer was suddenly a prisoner in Berlin. Defiant, he scavenged scraps of paper and pencils while in prison, so that he could continue to draw." Courtesy Weinstein Gallery...

Untitled Abstraction Graphite on paper, c. 1950 Unsigned Signed with the estate stamp verso (see photo) Provenance: Estate of the artist Inherited by his neighbor/caregiver Condition: Excellent Soft fold on top edge, not visible from front Image/Sheet size: 14 x 11 1/16 inches Medard Klein was born in Appleton Wisconsin on January 6th, 1905. At the age of 21, Klein left his rural hometown and moved to Chicago where he began studying art. During the late 1920’s Klein...

Untitled Abstraction Graphite on paper, c. 1946 Signed with the estate stamp verso Provenance: estate of the Artist Inherited by his neighbor/caregiver Condition: Excellent Image/Sheet size: 11 1/16 x 14 inches Medard Klein was born in Appleton Wisconsin on January 6th, 1905. At the age of 21, Klein left his rural hometown and moved to Chicago where he began studying art. During the late 1920’s Klein...

Untitled Graphite on paper, 1930 Signed and dated upper right (see photo) Exhibited: Francis Nauman, Leon Kelly: Draftsman Extraordinaire, New York, April 4 - May 23, 2014. (label) C...

Untitled Abstraction Graphite on paper. c. 1946 Unsigned Provenance: Estate of the Artist Inherited by his neighbor/caregiver Condition: Staining at corners ...

Blush, rose and pink meditative, methodical, zen like calm drawing w/ repeated lines from Gloria Matuszewski who is inspired by the history of textile manufacturing and the anonymous...

Jack Tworkov 'Untitled,' 1974 Graphite and colored pencil 14 x 16.75 inches (image) 20 x 23 inches (sheet) 21 x 24 inches (frame) Signed

Lawrence Kupferman was born in the Boston area (b.1909 - d.1982) , and he became one of the most important abstract artists to emerge from there in the early 1940s. Kupferman worked as an artist for the WPA in the 1930s, developing a strictly realist style that depicted Victorian houses and other detailed architectural images. Around 1943 Kupferman began to integrate more expressionistic forms into his works. He soon moved completely away from recognizable subject matter and definitively became an abstract painter. In 1946 he studied with the influential German-born artist Karl Zerbe at the School of the Museum of Fine Arts in Boston. Kupferman later attended the Massachusetts College of Art, where he would become a professor and retire as its Head of Painting in 1969. His focus, as it would remain until the late 1960s, was on abstract, marinelike amoeboid forms—intimated, rather than strictly described. Kupferman was an active participant in a huge thrust in Boston art in the 1940s to create a vibrant art scene that rivaled New York. He has been appropriately credited with bringing Abstract Expressionism to Boston, serving as a critical artistic conduit to New York painters such as Mark Rothko and Hans Hofmann, contacts he made in Provincetown, Massachusetts, where he spent his summers beginning in 1946. Kupferman’s unique brand of abstraction integrated with the already burgeoning figurative expressionism in Boston, and he showed at the Boris Mirksi Gallery, arguably the most important Boston gallery...

Ecume (Abstract painting) Collage, acrylic, watercolor and colored pencil — Unframed The foam, the water and the earth. Space of a moment when we no longer know whether what we see ...

Méditerranée (Abstract painting) Watercolor and colored pencil on paper — Unframed A composition that stayed in my mind afterwards having visited the Rayol gardens where the sea and...

A meditative suspended calm of color, recalling an iconic theme. Painting through dynamic and oblique forms mixing western and oriental zen colors as the sides of the paintings expan...