Isami Adachi

Geometric Abstract (Biomorphism, Juan Miro, Modernism, Asian-American)

Circa 1950

Signed lower right, 'Buk' for Eduard Buk Ulreich (American, 1889-1966); additionally titled verso 'Consort' and dated 1954 with inscription, 'by the one and only buk, made for Ruth'....

Signed lower left, 'Inman' for Robert Inman (American, 1927–2016) and dated, beneath the mat, 1981. Matted dimensions: 20 x 30 inches. Robert Inman first...

Signed lower left, 'Hortense M. Gordon' for Hortense Crompton Mattice Gordon (Canadian, 1886-1961) and dated 1949. Previously with: Dominion Gallery of Montreal (stamp, verso). Photo courtesy of Art Gallery of Hamilton, Ontario, Canada. Hamilton artist Hortense Crompton Mattice Gordon was one of Canada’s earliest non-representational painters, embracing abstraction in the 1930s. She was also an active member of Canada's first English-speaking abstract group, Painters Eleven. A scholarship recipient, Hortense Mattice first attended the Hamilton Art School and, subsequently, moved to Chatham, Ontario. Initially focusing on porcelain painting, Mattice quickly began building a portfolio of oils and, from 1908, was exhibiting both her porcelain and landscapes at what is now the Chatham Cultural Centre (1908) and the Art Gallery of Ontario (1909). During this time, Mattice frequently traveled to the United States and, in 1915, visited the National Gallery of Art in Washington, DC, where she would have seen early works by important modernists including Picasso and Matisse. She started her teaching career in Chatham but, having received a job offer from the artist John Sloan Gordon, returned to Hamilton to teach at the Hamilton Art School in 1918. The two artists married in 1920. In 1922, Gordon and her husband took a study trip to France and, inspired by the fervent of Modernist ideas in Paris, expanded her own approaches to art, developing an increasingly soft, loose paint handling style. It was not until the 1930’s, after a few more trips to France and her discovery of Piet Mondrian’s work, that elements of abstraction began to appear in Gordon’s work. After the death of her husband in 1940, Gordon attended the Cranbrook Academy of Art and studied with Hans Hoffmann (1941-1945) whose influence and friendship pushed her to explore non-objective painting. After her training with Hofmann and in Cranbrook, Gordon began to exhibit regularly and with success in both Canada and the United States including at the Riverside Museum (New York, 1947), Creative Gallery (New York, 1952), in Ann Arbor (Michigan, 1952), Phillips Gallery (Detroit, 1952), the Flint Institute of Arts (Michigan, 1952), Mount Allison University (New Brunswick, 1952), the Galerie Agnes Lefort in Montréal and Art Gallery of Hamilton (retrospective, 1960). She was a member of the Contemporary Artists of Hamilton (honorary president in 1948), the Ontario Society of Artists, the Hamilton Women...

Signed upper right, 'Laisner' for George Laisner (American, 1914-1984), titled, verso, 'Fireflies', and painted circa 1955. Born in Czechoslovakia, Laisner first studied at the Uni...

Signed and dated "Vytlacil 38" lower left, and signed and dated verso. Provenance: Estate of the artist #1602; Martin Diamond Fine Art About this artist: Born in 1892 to Czechoslov...

11.7 (Abstract Expressionism painting) Casein and ink on paper - Unframed Jill Moser is an American abstract artist whose work explores the intersection of “painting, writing and t...

7.21 (Abstract Expressionism painting) Casein and ink on paper - Unframed Jill Moser is an American abstract artist whose work explores the intersection of “painting, writing and t...

Schist 5 (Abstract painting) Casein on paper - Unframed Anne Russinof often does paintings on paper to loosen up for the larger canvas works. The point is to free her hand. For h...