Werner Haypeter

Composition III

1984

Bernhard Heiliger “Composition III”, 1967 Medium: Lithograph Signed, numbered or inscribed Edition: 100 + H.C. Size: 20.5 × 12.9 on 25.5 × 19.7 inches COA provided Bernhard Heiliger...

Medium: Gouache Year: 1991 Signed and dated by hand Edition: Unique COA provided

Joachim Czichon Untitled Gestural Abstract Composition Medium: Gouache Year: 1984 Signed and dated by hand Edition: Unique Size: 16.4 × 11.5 inches C...

Bernhard Heiliger “Composition”, 1967 Medium: Lithograph Signed, numbered or inscribed Edition: 100 + H.C. Size: 20.5 × 12.9 on 25.5 × 19.7 inches COA provided Bernhard Heiliger (11...

Magnificent abstract work on paper by Swiss artist Albert Chubac measuring 65 x 82 x 3 cm

Magnificent abstract work on paper by Swiss artist Albert Chubac measuring 63.5 x 79 x 3.5 cm

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...

Lyman Kipp Untitled Minimalist Painting, 1964 Ink roller on paper Hand signed and dated by Lyman Kipp on the front; inscribed on the back to Gene Baro (the distinguished critic and c...