Abstract Mixed Media

George F. Welch (1926 - 2003) designed this lovely Mid-Century modernist enamel on copper artwork. The large square enameled plaque is wall-mounted and framed. The artwork boasts an ...

An abstract collage on wood by Kenneth Morrow Martin, American (1911-1983). Exhibited: 1st Knoxville Art Center National Exhibtion, 1961 White Landscape by Keith Morrow Martin, Amer...

ABSTRACT American Woman Abstract Non-objective Mid 20th Century Modern Drawing Irene Rice Pereira (1902-1971) Abstract 12 x 6 1/2 inches Watercolor, gouache, and ink on black paper ...

SURFACE CP/869 Steel 1951 Tempera, pencil on twelve paper tiles, on sheet Tempera, pencil on twelve layers of paper, on sheet cm 31 x 24 (sheet) 15 x 20 (panel) EXHIBITONS F.R. Mor...

An early American Abstract Mixed media / Ink on woven paper of four abstract figures . American abstract artist Lester Epstein (1919 -1963 ) signed and dated 1951 . Professionally ...

Signed lower right, 'K. Sanzenbach' for Keith Sanzenbach (American, 1931-1964) and dated 1956. Additionally signed, verso, and with the artist's Lagunitas, California address. The ...

This abstract artwork is one of a group of over 100 pieces personally selected by the artist, and gifted to a close personal friend in 1969. Please note this painting was never matte...

Mary Abbott Untitled, circa 1953 Signed with initials lower right Oil and torn paper collage 17 x 14 1/2 inches Provenance: Thomas McCormick Gallery, Chicago Private Collection, New York (acquired directly from the above) Exhibited: Athens, Georgia, Georgia Museum of Art, Suitcase Paintings...

ABSTRACT American Woman Abstract Non-objective Mid 20th Century Modern Drawing Irene Rice Pereira (1902-1971) Abstract 8 1/2 x 5 1/2 inches Watercolor, gouache, and ink on black pap...

Painting measures 18" x 24" and framed 22 ⅝" x 28 ¾" x 1 ¾". Frame is original and all original labels are intact. This piece was likely exhibited in the artist's first show at Willa...

This is a stunning polychromed, engraved, and oxidized aluminum abstract still-life composition panel painting by Robert Pansart (1909-1973). The painted aluminum panel imitates the ...

Watercolor and ink on paper of an abstract composition of brown, orange and blue shapes between black parallel lines throughout the the piece by Herbert Bayer (1900-1985). Presented in a custom black frame with all archival materials. Framed dimensions measure 17 ⅞ x 22 ⅝ x 1 inches. Image size is 10 ¼ x 15 ½ inches. Painting is clean and in very good condition - please contact us for a detailed condition report. Expedited and international shipping is available - please contact us for a quote. About the Artist: Herbert Bayer enjoyed a versatile sixty-year career spanning Europe and America that included abstract and surrealist painting, sculpture, environmental art, industrial design, architecture, murals, graphic design, lithography, photography and tapestry. He was one of the few “total artists” of the twentieth century, producing works that “expressed the needs of an industrial age as well as mirroring the advanced tendencies of the avant-garde.” One of four children of a tax revenue officer growing up in a village in the Austrian Salzkammergut Lake region, Bayer developed a love of nature and a life-long attachment to the mountains. A devotee of the Vienna Secession and the Vienna Workshops (Wiener Werkstätte) whose style influenced Bauhaus craftsmen in the 1920s, his dream of studying at the Academy of Art in Vienna was dashed at age seventeen by his father’s premature death. In 1919 Bayer began an apprenticeship with architect and designer, Georg Schmidthamer, where he produced his first typographic works. Later that same year he moved to Darmstadt, Germany, to work at the Mathildenhöhe Artists’ Colony with architect Emanuel Josef Margold of the Viennese School. As his working apprentice, Bayer first learned about the design of packages – something entirely new at the time – as well as the design of interiors and graphics of a decorative expressionist style, all of which later figured in his professional career. While at Darmstadt, he came across Wassily Kandinsky’s book, Concerning the Spiritual in Art, and learned of the new art school, the Weimar Bauhaus, in which he enrolled in 1921. He initially attended Johannes Itten’s preliminary course, followed by Wassily Kandinsky’s workshop on mural painting. Bayer later recalled, “The early years at the Bauhaus in Weimar became the formative experience of my subsequent work.” Following graduation in 1925, he was appointed head of the newly-created workshop for print and advertising at the Dessau Bauhaus that also produced the school’s own print works. During this time he designed the “Universal” typeface emphasizing legibility by removing the ornaments from letterforms (serifs). Three years later he left the Bauhaus to focus more on his own artwork, moving to Berlin where he worked as a graphic designer in advertising and as an artistic director of the Dorland Studio advertising agency. (Forty years later he designed a vast traveling exhibition, catalog and poster -- 50 Jahre Bauhaus -- shown in Germany, South America, Japan, Canada and the United States.) In pre-World War II Berlin he also pursued the design of exhibitions, painting, photography and photomontage, and was art director of Vogue magazine in Paris. On account of his previous association with the Bauhaus, the German Nazis removed his paintings from German museums and included him among the artists in a large exhibition entitled Degenerate Art (Entartete Kunst) that toured German and Austrian museums in 1937. His inclusion in that exhibition and the worsening political conditions in Nazi Germany prompted him to travel to New York that year with Marcel Breuer, meeting with former Bauhaus colleagues, Walter Gropius and László Moholy-Nagy to explore the possibilities of employment after immigration to the United States. In 1938 Bayer permanently relocated to the United States, settling in New York where he had a long and distinguished career in practically every aspect of the graphic arts, working for drug companies, magazines, department stores, and industrial corporations. In 1938 he arranged the exhibition, “Bauhaus 1919-1928” at the Museum of Modern Art, followed later by “Road to Victory” (1942, directed by Edward Steichen), “Airways to Peace” (1943) and “Art in Progress” (1944). Bayer’s designs for “Modern Art in Advertising” (1945), an exhibition of the Container Corporation of America (CAA) at the Art Institute of Chicago, earned him the support and friendship of Walter Paepcke, the corporation’s president and chairman of the board. Paepcke, whose embrace of modern currents and design changed the look of American advertising and industry, hired him to move to Aspen, Colorado, in 1946 as a design consultant transforming the moribund mountain town into a ski resort and a cultural center. Over the next twenty-eight years he became an influential catalyst in the community as a painter, graphic designer, architect and landscape designer, also serving as a design consultant for the Aspen Cultural Center. In the summer of 1949 Bayer promoted through poster design and other design work Paepcke’s Goethe Bicentennial Convocation attended by 2,000 visitors to Aspen and highlighted by the participation of Albert Schweitzer, Arthur Rubenstein, Jose Ortega y Gasset and Thornton Wilder. The celebration, held in a tent designed by Finnish architect Eero Saarinen, led to the establishment that same year of the world-famous Aspen Music Festival and School regarded as one of the top classical music venues in the United States, and the Aspen Institute for Humanistic Studies in (now the Aspen Institute), promoting in Paepcke’s words “the cross fertilization of men’s minds.” In 1946 Bayer completed his first architecture design project in Aspen, the Sundeck Ski Restaurant, at an elevation of 11,300 feet on Ajax Mountain. Three years later he built his first studio on Red Mountain, followed by a home which he sold in 1953 to Robert O. Anderson, founder of the Atlantic Richfield Company who became very active in the Aspen Institute. Bayer later designed Anderson’s terrace home in Aspen (1962) and a private chapel for the Anderson family in Valley Hondo, New Mexico (1963). Transplanting German Bauhaus design to the Colorado Rockies, Bayer created along with associate architect, Fredric Benedict, a series of buildings for the modern Aspen Institute complex: Koch Seminar Building (1952), Aspen Meadows guest chalets and Center Building (both 1954), Health Center and Aspen Meadows Restaurant (Copper Kettle, both 1955). For the grounds of the Aspen Institute in 1955 Bayer executed the Marble Garden and conceived the Grass Mound, the first recorded “earthwork” environment In 1973-74 he completed Anderson Park for the Institute, a continuation of his fascination with environmental earth art. In 1961 he designed the Walter Paepcke Auditorium and Memorial Building, completing three years later his most ambitious and original design project – the Musical Festival Tent for the Music Associates of Aspen. (In 2000 the tent was replaced with a design by Harry Teague.) One of Bayer’s ambitious plans from the 1950s, unrealized due to Paepcke’s death in 1960, was an architectural village on the outskirts of the Aspen Institute, featuring seventeen of the world’s most notable architects – Walter Gropius, Marcel Breuer, I.M. Pei, Minoru Yamasaki, Edward Durrell Stone and Phillip Johnson – who accepted his offer to design and build houses. Concurrent with Bayer’s design and consultant work while based in Aspen for almost thirty years, he continued painting, printmaking, and mural work. Shortly after relocating to Colorado, he further developed his “Mountains and Convolutions” series begun in Vermont in 1944, exploring nature’s fury and repose. Seeing mountains as “simplified forms reduced to sculptural surface in motion,” he executed in 1948 a series of seven two-color lithographs (edition of 90) for the Colorado Springs Fine Arts Center. Colorado’s multi-planal typography similarly inspired Verdure, a large mural commissioned by Walter Gropius for the Harkness Commons Building at Harvard University (1950), and a large exterior sgraffito mural for the Koch Seminar Building at the Aspen Institute (1953). Having exhausted by that time the subject matter of “Mountains and Convulsions,” Bayer returned to geometric abstractions which he pursued over the next three decades. In 1954 he started the “Linear Structure” series containing a richly-colored balance format with bands of sticks of continuously modulated colors. That same year he did a small group of paintings, “Forces of Time,” expressionist abstractions exploring the temporal dimension of nature’s seasonal molting. He also debuted a “Moon and Structure” series in which constructed, architectural form served as the underpinning for the elaboration of color variations and transformations. Geometric abstraction likewise appeared his free-standing metal sculpture, Kaleidoscreen (1957), a large experimental project for ALCOA (Aluminum Corporation of America) installed as an outdoor space divider on the Aspen Meadows in the Aspen Institute complex. Composed of seven prefabricated, multi-colored and textured panels, they could be turned ninety degrees to intersect and form a continuous plane in which the panels recomposed like pieces of a jigsaw puzzle. He similarly used prefabricated elements for Articulated Wall, a very tall free-standing sculpture commissioned for the Olympic Games in Mexico...

Original, rare work by the American female artist Molla Archer Moss. A mixed media work of oil on paper of three young children with the addition of wax sticks as the secondary medium. Signed “Molla” lower left. Condition is fair to good. Circa 1958. The artwork is under glass and in its original frame. 0verall framed measurements are 29.25 by 25 inches. Provenance: Roko Gallery and Frames, 925 Madison Avenue, New York (stamped verso). Molla Archer Moss was born in 1916 Molla was a friend and contemporary to Jasper Johns. Molla’s work would often share a synergy to the constructed use of elements and materials upon which Johns is known. Moss had several New York Exhibitions at the Marian Willard Gallery, East Hampton Gallery and the Rose Fried Gallery...

Signed lower right, 'Alex Gonzales' (American, 1927-2020) and dated, '11/58'. A delicate and enigmatic, mid-century, painted collage showing a processio...

Collage on paper. Signed and framed. Frame dimensions: 60x76 cm Last painter of the school of Nice. This is an important painter, the first school in nice to have exhibited in New ...

Collage on paper. Signed and framed. Frame dimensions: cm 62x73 Last painter of the school of Nice. This is an important painter, the first school in nice to have exhibited in New ...

Collage on paper. Signed and framed. Frame dimensions: 61x76 cm. Last painter of the school of Nice. This is an important painter, the first school in nice to have exhibited in New...

Collage on paper. Signed and framed. Frame dimensions: 60x76 cm Last painter of the school of Nice. This is an important painter, the first school in nice to have exhibited in New ...

Artist: Hugh Wiley (1922-2013) Title: Mosaic Panel Year: 1951 Medium: Mixed Media Mosaic on Canvas, signed upper left Image Size: 24 x 17.5 inches Frame Size: 24.25 x 18 inches

Important polychrome mosaic realized by Afro in 1955 and based on his eponymous mixed media work of the same year now exhibited in MET NY. Signed lower right. Ref. M. Calvesi, Afro ...

Stunning mid century textile abstract mixed media painting of apples by Anna Ballarian (American, 1911-2010). Signed " Anna Ballarian" lower ...

Jim’s of Lambertville is proud to offer this artwork. Signed lower right. Charles Frederick Ramsey (1875 - 1951) Charles Frederick Ramsey is considered as important a leader among the New Hope Modernists, as Lathrop among the New Hope Impressionists. Ramsey, the son of prominent Philadelphia artist, Milne Ramsey...

Signed Lower Right Burgoyne Diller (1906-1965) Recognized as the first American painter to embrace the tenets of Neo-Plasticism, Burgoyne Diller made an important contribution to ...

Signed Lower Right Burgoyne Diller (1906-1965) Recognized as the first American painter to embrace the tenets of Neo-Plasticism, Burgoyne Diller made an important contribution to ...

Mathieu Matégot (1910-2001) Sans titre c.1950s wool tapestry, Manufactura de Tapeçarias de Portalegre 150 x 70 cm signed ‘Matégot’ and with the Manufactura de Tapeçarias de Portalegre monogram (lower right) Price: $11,000 USD Provenance: Barry Friedman Ltd, New York (stock no. BF21324) Notes: Mathieu Matégot was a Hungarian-born French designer, architect and artist. After studying at Budapest's School of Fine Arts in 1929, Matégot travelled across Italy and the USA until settling in Paris in 1931 where he worked as a set designer, window dresser and tapestry maker. Matégot volunteered for the French resistance at the start of the Second World War, only to be captured by the Nazis. A dreadful fate for most, however, it was during his time as a prisoner of war that the artist discovered metalworking techniques (such as Rigitulle) which he later patented and became renowned for. Upon his release, Matégot was awarded French citizenship. After the war, the artist's interest in tapestry was renewed after being introduced to contemporary tapestry revivalist, Jean Lurçat. However, in order to make ends meet, Matégot pursued furniture design; he established a workshop in Paris and dedicated his time to translating the groundbreaking metal techniques into popular handcrafted objects. In 1959, Matégot abandoned furniture design and focused exclusively on his passion for abstract tapestries. He continued his work as a pioneer of French Modern tapestry...

Mathieu Matégot (1910-2001) Oberon c.1950s wool tapestry, Manufactura de Tapeçarias de Portalegre; (possibly) no. 2 125 x 202 cm signed ‘Matégot’ and with the Manufactura de Tapeçarias de Portalegre monogram (lower right); titled, inscribed, numbered and signed (workshop label on the verso) Price: $18,000 USD Provenance: Barry Friedman Ltd, New York (stock no. BF19387) Notes: Mathieu Matégot was a Hungarian-born French designer, architect and artist. After studying at Budapest's School of Fine Arts in 1929, Matégot travelled across Italy and the USA until settling in Paris in 1931 where he worked as a set designer, window dresser and tapestry maker. Matégot volunteered for the French resistance at the start of the Second World War, only to be captured by the Nazis. A dreadful fate for most, however, it was during his time as a prisoner of war that the artist discovered metalworking techniques (such as Rigitulle) which he later patented and became renowned for. Upon his release, Matégot was awarded French citizenship. After the war, the artist's interest in tapestry was renewed after being introduced to contemporary tapestry revivalist, Jean Lurçat. However, in order to make ends meet, Matégot pursued furniture design; he established a workshop in Paris and dedicated his time to translating the groundbreaking metal techniques into popular handcrafted objects. In 1959, Matégot abandoned furniture design and focused exclusively on his passion for abstract tapestries. He continued his work as a pioneer of French Modern tapestry...

Mathieu Matégot (1910-2001) Castille c.1950s Aubusson tapestry, Pinton Frères; (probably) unique 156 x 120 cm signed ‘Matégot’ and with the Pinton Frères monogram (lower right); titled, inscribed, numbered and signed (workshop label on the verso) Price: $14,000 USD Provenance: Barry Friedman Ltd, New York (stock no. BF11410) Notes: Mathieu Matégot was a Hungarian-born French designer, architect and artist. After studying at Budapest's School of Fine Arts in 1929, Matégot travelled across Italy and the USA until settling in Paris in 1931 where he worked as a set designer, window dresser and tapestry maker. Matégot volunteered for the French resistance at the start of the Second World War, only to be captured by the Nazis. A dreadful fate for most, however, it was during his time as a prisoner of war that the artist discovered metalworking techniques (such as Rigitulle) which he later patented and became renowned for. Upon his release, Matégot was awarded French citizenship. After the war, the artist's interest in tapestry was renewed after being introduced to contemporary tapestry revivalist, Jean Lurçat. However, in order to make ends meet, Matégot pursued furniture design; he established a workshop in Paris and dedicated his time to translating the groundbreaking metal techniques into popular handcrafted objects. In 1959, Matégot abandoned furniture design and focused exclusively on his passion for abstract tapestries. He continued his work as a pioneer of French Modern tapestry...

Mathieu Matégot (1910-2001) Apollo c.1950s Aubusson tapestry, Manufactura de Tapeçarias de Portalegre; edition 3 of 6 142 x 118 cm signed ‘Matégot’ with the Manufactura de Tapeçarias de Portalegre monogram (lower right); titled, inscribed, numbered and signed (workshop label on the verso) Price: $13,000 USD Provenance: Barry Friedman Ltd, New York (stock no. BF19383.3) Notes: Mathieu Matégot was a Hungarian-born French designer, architect and artist. After studying at Budapest's School of Fine Arts in 1929, Matégot travelled across Italy and the USA until settling in Paris in 1931 where he worked as a set designer, window dresser and tapestry maker. Matégot volunteered for the French resistance at the start of the Second World War, only to be captured by the Nazis. A dreadful fate for most, however, it was during his time as a prisoner of war that the artist discovered metalworking techniques (such as Rigitulle) which he later patented and became renowned for. Upon his release, Matégot was awarded French citizenship. After the war, the artist's interest in tapestry was renewed after being introduced to contemporary tapestry revivalist, Jean Lurçat. However, in order to make ends meet, Matégot pursued furniture design; he established a workshop in Paris and dedicated his time to translating the groundbreaking metal techniques into popular handcrafted objects. In 1959, Matégot abandoned furniture design and focused exclusively on his passion for abstract tapestries. He continued his work as a pioneer of French Modern...