Robert Kelly

Mimesis Noir

2012

2019 Acrylic on canvas over board 36 x 36 in. (91.4 x 91.4 cm) Signed and dated, verso

Mountainside, 2000 Oil on canvas 24 x 30 in. (61 x 76.2 cm) Signed, titled, and dated, verso At the heart of Bousfield's work lies a lyrical celebration of color and tactile sensati...

2016 Oil on canvas 60 x 42 in. (152.4 x 106.7 cm) Signed, titled, and dated, verso

Untitled, 2022 Oil on canvas 36 x 36 x 1 1/2 inches Signed and dated, verso

2022 Oil on canvas 24 x 18 in. (61 x 45.7 cm) Signed and dated, verso Framed, excellent condition

Sonata 23 Triptych 2017 Oil on canvas (3 panels) 48 x 120 x 1 1/2 inches, overall Signed and dated, verso

Africana Mid-Century Modern large and impressive mixed media stone, sand and oil on artist board. The painting is unsigned there is a small fragment of old paper label with number #2...

FRANCISCO BORES Spanish, 1898 - 1972 STILL LIFE OF FRUITS signed "Borès 45´" (lower right) oil on cardboard 15-3/4 x 19-3/4 (40 x 50 cm.) framed: 18-1/4 x 22-1/8 inches (46 x 56 cm.) PROVENANCE Private French Collector Francisco Bores López (Madrid, May 5, 1898 - Paris, May 10, 1972) was a Spanish painter of the so-called New School of Paris. His artistic training originated both in the Cecilio Pla painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz or Joaquín Peinado...

Solo II Uldis Krauze (1958) 2005., Cardboard, author's technique, 64x45 cm

Charles Green Shaw Harvard vs. Yale, 1944 Signed and dated on the reverse Oil on canvasboard 9 x 12 inches Provenance: Harvey and Francois Rambach, New Jersey Private Collection, California Washburn Gallery, New York D. Wigmore Fine Art, New York Private Collection, New York Charles Green Shaw, born into a wealthy New York family, began painting when he was in his mid-thirties. A 1914 graduate of Yale, Shaw also completed a year of architectural studies at Columbia University. During the 1920s Shaw enjoyed a successful career as a freelance writer for The New Yorker, Smart Set and Vanity Fair, chronicling the life of the theater and café society. In addition to penning insightful articles, Shaw was a poet, novelist and journalist. In 1927 he began to take a serious interest in art and attended Thomas Hart Benton's class at the Art Students League briefly in New York. He also studied privately with George Luks, who became a good friend. Once he had dedicated himself to non-traditional painting, Shaw's writing ability made him a potent defender of abstract art. After initial study with Benton and Luks, Shaw continued his artistic education in Paris by visiting numerous museums and galleries. From 1930 to 1932 Shaw's paintings evolved from a style imitative of Cubism to one directly inspired by it, though simplified and more purely geometric. Returning to the United States in 1933, Shaw began a series of abstracted cityscapes of skyscrapers he called Manhattan Motifs which evolved into his most famous works, the shaped canvases he called Plastic Polygons. The 1930s were productive years for Shaw. He showed his paintings in numerous group exhibitions, both in New York and abroad, and was also given several one-man exhibitions. Shaw had his first one-man exhibition at the Valentine Dudensing Gallery in New York in 1934, which included 25 Manhattan Motif paintings and 8 abstract works. In the spring of 1935 Shaw was introduced to Albert Gallatin and George L.K. Morris. Gallatin was so impressed with Shaw's work, he broke a policy against solo exhibitions at his museum, the Gallery of Living Art, and offered Shaw an exhibition there. In the summer of 1935 Shaw traveled to Paris with Gallatin and Morris who provided introductions to many great painters. Shaw regularly spent time with John Ferren and Jean Hélion. The following year Gallatin organized an exhibition called Five Contemporary American Concretionists at the Reinhardt Gallery that included Shaw, Ferren, and Morris, Alexander Calder, and Charles Biederman...

Geometric figurative abstraction Oil on board Well framed and signed

An abstract walk in town from the studio of Christopher Barrow Oil on board. Signed. Image 20" x 16". Framed 23" x 19"