Miklos Suba

Smoke Stacks

Rolph Scarlett (Canadian/American, 1889 - 1984) “Geometric Composition” Signed lower right, circa late 1930’s early 1940’s 19 ½ x 26 inches Mixed media, Price on request About Rolph Scarlett was a painter of geometric and linear forms, an industrial designer, and a pioneer in helping establish non-objective art as an aesthetic in America. He also worked in an abstract art style during the American avant-garde movement which extended into the 1940s. He was born in Guelph, Ontario, Canada and travelled to New York City as an 18-year-old. By 1924 he made New York City his home. In 1939, Scarlett was one of the founding members and forces which steered the development of the Museum of Non-Objective Painting in New York. (later, the Solomon R. Guggenheim Museum). Guggenheim was the sponsor behind the Avant Garde and pioneering, philosophy of Baroness Hilla Rebay who founded the early museum. She was both the founding curator and director of the museum, as well as an abstract artist. She encouraged and worked with Scarlett in the early museum years, together promoting the concepts of non-objective painting. In Scarlett’s aesthetic these where geometric elements intuitively placed in non-descript flat and three-dimensional space. Any discussion of the history of the Guggenheim Museum must include four key figures: Hilla Rebay (1890-1967), Wassily Kandinsky (1866-1944), Rudolf Bauer (1889-1953), and Rolf Scarlett...

Signed lower left. This is a large example of a non-objective painting by Rolph Scarlett. Scarlett was a painter of geometric forms and shapes. His intuitive style helped establish ...

Signed lower right. David Solot, a dentist and painter, was born in Falciu (Romania) and settled in Paris in 1928. His art was surrealistic dentally inspired plus portraits and city landscapes. **************************** Translated from an article by Luana Hrisanti Rigot: "In 1956, at the Charlotte Norberg Gallery (Paris), he presented his first personal exhibition, composed of an ensemble of surrealist paintings of professional inspiration (dental elements). Two years later, at Gallery Royale (Rochefort), he exhibits another 50 paintings on the subject. At that time, a decisive event for the painter David Solot was made: a great new-York-born antibiotic producer Lederle Cy learns about his work and contacts him through the US Ambassador to Paris, proposing an advertising contract and buying the reproduction right for 24 of its canvases. A year later, the same company bought the right to print three of its cloths in color. This was the starting point of his international notoriety. In 1959, the American Dental Association celebrated its centenary, and to make it brilliant, David Solot invites him to a large exhibition at Columbus Circle, in Manhattan New York. The press, television is doing a great deal of promotion, and in the end, the interest shown by the medical professionals in the beginning only reaches an echo in the world of passionate art collectors. It is the beginning of a major international adventure! David Solot is invited to Stockholm in 1960, then to Dublin and Belfast by the Cema Art Gallery. In 1962 his works are exhibited in Helsinki. In 1963 his life was disturbed by a very painful event ... His only son, a medical student in the last year, dies in an accident. For two years, overwhelmed by pain, David Solot neglects painting. His wife, Becutza Solot, encourages him to go to Israel. David accepts, and the voyage and exhibition (1965) are successful. When returning from the voyage, he makes material for an exhibition he will present at the Transposition Gallery, while at the Salon of Physicians his "Jerusalem" painting gets the Medal of Honor, the greatest possible reward. Continuing to work on all plans, he adds a new activity to his concerns: writing. In 1967, he was impressed by a passage in Maurice Goudeket book Prés...

Signed lower left. “Abstract and Fractured Biomorphic and Geometric Forms” which was painted in the mid to late 1950’s is a nod to Picasso’s famous painting Guernica, which Hart may have seen when it was given to the Museum of Modern Art in New York in 1958. Several elements in the painting clearly reference Guernica: the black geometric and cut-out shapes, the biomorphic shapes, the abstracted horse’s head and body, with a district reference to the bull’s tail, along with the black and white pallet choice and various details throughout-all hallmarks of Picasso’s Guernica. The abstracted reality Hart presents in these references go beyond a simple nod and reflect a personal interpretation reflected in the splintered abstraction and her bespoke interpretation. Agnes Hart’s first began her career as a social realist artist in the 1930’s. She was also WPA artist. Her longtime friend Milton Avery encouraged her, and she exhibited in the same gallery in the late 1940’s, the RoKo Gallery. Her instinctive and personalized modernist periods often reflected a similar path of her compatriot artists during the first half of the 20th century. Her early works were influenced by her teachers Josef Presser, Paul Burlin and Lucile Blanch, and Reginald Neal, and reflected historical modern trends-at times showing the influence of Avery and other modernist. Like Elaine DeKooning, Lee Kraser, Michael Corrine West...

Gail Chase Bien paints thinly layered oil on linen over extended periods (from months to years) to complete a single work of art. Taking cues from nature’s extraordinary visual offer...

Gail Chase Bien paints thinly layered oil on linen over extended periods (from months to years) to complete a single work of art. Taking cues from nature’s extraordinary visual offer...

Gail Chase Bien paints thinly layered oil on linen over extended periods (from months to years) to complete a single work of art. Taking cues from nature’s extraordinary visual offer...

Gail Chase Bien paints thinly layered oil on linen over extended periods (from months to years) to complete a single work of art. Taking cues from nature’s extraordinary visual offer...