Frederic Gruger

"To the Last Penny" Story Illustration, Saturday Evening Post, 1916

1916

Signed Upper Left Saturday Evening Post 8/9/1924

1947 Bristol Vintage Car - Antique Automotive Stamp Series- Illustration Illustration showing a 1947 Bristol vintage red car. Antique car stamp ...

1939 Lagonda Vintage Car - Antique Automotive Stamp Series- Illustration Illustration showing a vintage 1939 Lagonda car. Antique car stamp Artis...

1924 Bugotte Vintage Car - Antique Automotive Stamp Series- Illustration Illustration showing a 1924 Bugotte vintage blue car. Antique car stamp ...

Watercolor, ink and graphite on paper, 1934-1935 by Uberto Bonetti, Italy. Signed lower right: Uberto Bonetti. Framed. 11.61 x 9.06 in ( 29,5 x 23 cm )

Kelly Kozma has drawn, painted, and hand-stitched this abstract work that has the feel of a map, while also seeming to nod towards the digital world. The finished framed dimensions ...

Original drawing by Lauren Rinaldi float mounted in the pictured simple white frame measuring 17in x 14in. This is an original artwork made with colored pencil, ballpoint pen, graphi...

"Second Theme" 1949 Abstract Mid 20th Century Geometric Non-Objective Hard Edge Burgoyne A. Diller (American, 1906-1965) "Second Theme" 1949. Pencil and crayon on paper. Signed and dated 'D. 49' (lower right). Image: 9 1/2 x 5 1/2 in. Andre Emmerich Gallery, New York. Martha Jackson Gallery, New York. Anderson Gallery, Buffalo, New York. David K. Anderson Grandchildren's Trust. BURGOYNE DILLER (1906-1965) Recognized as the first American painter to embrace the tenets of Neo-Plasticism, Burgoyne Diller made an important contribution to the development of non-objective art in the United States. Working in a hard-edged geometric style, he produced paintings, drawings, and collages that paved the way for the development of American Minimalism during the 1960s and 70s. Born in New York City in 1906, Diller began painting and drawing as a teenager growing up in Battle Creek, Michigan. Later, while attending Michigan State University in East Lansing on an athletic scholarship, he made weekend visits to the Art Institute of Chicago, where he familiarized himself with Impressionist and Post-Impressionist painting. He was especially drawn to the landscapes and still lives of Paul Cézanne, who modeled color to create structure and volume. In 1929, Diller moved to Manhattan and enrolled at the Art Students League, where his teachers included such progressive-minded painters as Jan Matulka, Hans Hofmann, and George Grosz. Hofmann's concept of the "push-pull" effect of form and color exerted a strong influence on his early work, as did his growing familiarity with Analytical and Synthetic Cubism, German Expressionism, and other vanguard European styles. Diller had the opportunity to see some of this work firsthand, but he also kept abreast of developments abroad by reading journals such as Cahiers d'Art. Diller completed his studies at the League in 1933, the year he had his first solo exhibition at the Contemporary Arts Gallery in New York. It was around this time that his paintings began to show the influence of the reductive, pared-down geometric compositions of the Dutch Constructivist Piet Mondrian and the equally restrained compositions of Kasimir Malevich and El Lissitsky...