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Peter MarksUntitledc. 2002-04
c. 2002-04
About the Item
Unsigned
Provenance: Estate of the artist
Peter Marks (1935 -2010)
Peter Marks was born in New York City on January 18, 1935. A lifetime New Yorker, Marks graduated from the High School of Music and Art in 1952 and Amherst College in 1956.
After a brief stint as a graphic designer in publishing, Marks became a private art dealer and opened his gallery Peter Marks Works of Art, Inc. in 1960. During this time he specialized in the sale of Southeast Asian and Islamic antiquities and made many contributions to the field both as a dealer and an advocate of his profession. Above all, Marks was motivated by a strong desire to find great art and make it available to large audiences.
After retiring from art dealing in 2002, Marks transformed his Manhattan gallery space into a studio where he drew prolifically and painted large non-objective canvasses. This time in his studio was a happy one for Marks, who viewed this period of his life not as retirement, but rather fulfillment, a fact that is confirmed by passionate artistic output in the years leading up to his passing in 2010.
In 2012, Thomas French Fine Art acquired a large number of works by Peter Marks and now represents the estate.
- Creator:Peter Marks (1935 -2010, American)
- Creation Year:c. 2002-04
- Dimensions:Height: 7.63 in (19.39 cm)Width: 5.25 in (13.34 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Oil on canvas with metal foil.
- Gallery Location:Fairlawn, OH
- Reference Number:Seller: FA86321stDibs: LU140587182
Peter Marks
Peter Marks (1935 -2010) Peter Marks was born in New York City on January 18, 1935. A lifetime New Yorker, Marks graduated from the High School of Music and Art in 1952 and Amherst College in 1956. After a brief stint as a graphic designer in publishing, Marks became a private art dealer and opened his gallery Peter Marks Works of Art, Inc. in 1960. During this time he specialized in the sale of Southeast Asian and Islamic antiquities and made many contributions to the field both as a dealer and an advocate of his profession. Above all, Marks was motivated by a strong desire to find great art and make it available to large audiences. After retiring from art dealing in 2002, Marks transformed his Manhattan gallery space into a studio where he drew prolifically and painted large non-objective canvasses. This time in his studio was a happy one for Marks, who viewed this period of his life not as retirement, but rather fulfillment, a fact that is confirmed by passionate artistic output in the years leading up to his passing in 2010. In 2012, Thomas French Fine Art acquired a large number of works by Peter Marks and now represents the estate. Works by the artist are in the Swope Art Museum, Terre Haute, Terre Haute, Indiana and the Stanley Museum of Art, Iowa City, Iowa.
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View AllUntitled
By Peter Marks
Located in Fairlawn, OH
Untitled
Acrylic with gold leaf on canvas collage mounted on canvas, c. 2002
Unsigned
Provenance: Estate of the Artist
Condition: Excellent
Imag...
Category
Early 2000s Abstract Abstract Paintings
Materials
Oil
$600 Sale Price
50% Off
Words and Deeds
By Ben Wilson
Located in Fairlawn, OH
Words and Deeds
Oil and collage on wood panel, c. 1990
Signed recto lower right (see photo)
Verso: See photo
Signed, verso: Ben Wilson
Dated: c. 1990
Titled: Words and Deeds
Condition: Excellent
Image/panel size: 23 1/4 x 19 inches
Frame size: 26 1/4 x 21 1/4 inches
To gain exposure to a wider range of styles, he also studied at the National Academy of Design and at the Educational Alliance. Admired by critics throughout his long career, Wilson was singled out as a “discovery” by the New York Times art critic Edward Alden Jewel even before his rst one-man show at the Galerie Neuf in 1946. His paintings of the ’30s and ’40s were expressionistically rendered, often Biblical parables, lled with what he called “the grief of the intolerable” and reecting an acute awareness of the agony of the time, from the Holocaust to the Spanish Civil War. A WPA artist who identied strongly with the plight of the Jews in Europe, he relentlessly explored themes of war, torment, and futility in his early decades of painting. When times changed and social pressures subsided, Wilson’s mood lifted. He spent 1952-54 in Paris working at the Academie Julien. During the ’50s his involvement with specic imagery persisted but became more psychological and mythic in orientation. Inuenced by Cubism, he created a vocabulary of interlocking shapes and bold, sweeping gestures that served as a transition between his early gurative expressionism and his later abstract constructivist concerns. Towards the end of the decade Wilson reached a crossroads, moving towards abstraction and searching for what he called “a scaffolding under the externals.” By 1960, inuenced by the Russian Constructivists, Mondrian, and Abstract Expressionism, Wilson turned to abstraction. Reexamining the basic elements of painting, he evolved his own personal vocabulary and structure, fusing the cerebral and the emotive. He became increasingly experimental, using house paint, sand, and other unorthodox materials in paintings that he worked from all directions, dripping, spraying, stenciling, and collaging. He employed elements of disjunction, repetitions of geometric motifs, linear networks, and complex overlays to create the transparent, multi-layer development of space that characterizes his later paintings. A consummate draftsman, Wilson lled notebook after notebook with drawings that he amplied in his paintings. Eschewing popular movements, Wilson was always one to pursue a personal aesthetic. Despite more than 30 one-man shows and 50 years of teaching, he increasingly withdrew from the gallery scene but continued to paint daily until his death at age 88 in 2001 in Blairstown, New Jersey, where he and his sculptor wife Evelyn Wilson...
Category
1990s Abstract Abstract Paintings
Materials
Oil
Untitled (Abstraction)
Located in Fairlawn, OH
Untitled (Abstraction)
Oil on canvas, date unknown
Signed lower left corner: Zayon
Canvas size: 13 3/4 x 19 1/2 inches
Frame size: 19 3/4 x 25 1/2 inches
Condition: Very good
Born i...
Category
Late 20th Century Abstract Abstract Paintings
Materials
Oil
untitled
By Dennis Ashbaugh
Located in Fairlawn, OH
Untitled
Mixed media on paper, 1979
Signed and dated ‘79 lower right (see photo)
Sheet size: 31 1/2 x 48"
Frame: 34 1/4 x 50 1/4"
Provenance:
Members Gallery, Albright-Knox Art Galle...
Category
1970s Abstract Abstract Paintings
Materials
Mixed Media, Oil
Chaco
By Virginia Dehn
Located in Fairlawn, OH
Chaco
Canvas, fabric, pigment and collage elements, 1985-1995
Signed lower left corner in red paint
Title and signed in pencil on the verso on the top of the stretcher
Condition: Excellent
Canvas size: 18 x 18 inches
Provenance: Estate of the Artist
By descent
Chaco is a Native American culture of Ancestral Puebloan peoples, thriving in New Mexico between 850 CE and 1250 CE. Some of the motifs in this work was inspired by Chaco Canyon wall art.
This mixed media work was created after the artist moved from New York to Santa Fe in 1985. It combines many Southwestern and Native American motifs.
This is one of a small group of similar works combing collage and mixed media. (See photo of native pictographs) that inspired this work.
Virginia Dehn
From Wikipedia, the free encyclopedia
Virginia Dehn
Virginia Dehn in her studio in Santa Fe
Virginia Dehn (née Engleman) (October 26, 1922 – July 28, 2005) was an American painter and printmaker. Her work was known for its interpretation of natural themes in almost abstract forms. She exhibited in shows and galleries throughout the U.S. Her paintings are included in many public collections.
Life
Dehn was born in Nevada, Missouri on October 26, 1922.] Raised in Hamden, Connecticut, she studied at Stephens College in Columbia, Missouri before moving to New York City. She met the artist Adolf Dehn while working at the Art Students League. They married in November 1947. The two artists worked side by side for many years, part of a group of artists who influenced the history of 20th century American art. Their Chelsea brownstone was a place where artists, writers, and intellectuals often gathered.
Early career
Virginia Dehn studied art at Stephens College in Missouri before continuing her art education at the Traphagen School of Design, and, later, the Art Students League, both located in New York City. In the mid-1940s while working at the Associated American Artists gallery, she met lithographer and watercolorist Adolf Dehn. Adolf was older than Virginia, and he already enjoyed a successful career as an artist. The two were married in 1947 in a private ceremony at Virginia's parents house in Wallingford, Connecticut.
Virginia and Adolf Dehn
The Dehns lived in a Chelsea brownstone on West 21st Street where they worked side by side. They often hosted gatherings of other influential artists and intellectuals of the 20th century. Among their closest friends were sculptor Federico Castellón and his wife Hilda; writer Sidney Alexander and his wife Frances; artists Sally and Milton Avery; Ferol and Bill Smith, also an artist; and Lily and Georges Schreiber, an artist and writer. Bob Steed and his wife Gittel, an anthropologist, were also good friends of the Dehns. According to friend Gretchen Marple Pracht, "Virginia was a glamorous and sophisticated hostess who welcomed visitors to their home and always invited a diverse crowd of guests..." Despite their active social life, the two were disciplined artists, working at their easels nearly daily and taking Saturdays to visit galleries and view new work.
The Dehns made annual trips to France to work on lithographs at the Atelier Desjobert in Paris. Virginia used a bamboo pen to draw directly on the stone for her lithographs, which often depicted trees or still lifes. The Dehns' other travels included visits to Key West, Colorado, Mexico, and countries such as Greece, Haiti, Afghanistan, and India.
Dehn's style of art differend greatly from that of her husband, though the two sometimes exhibited together. A friend of the couple remarked, "Adolf paints landscapes; Virginia paints inscapes." Virginia Dehn generally painted an interior vision based on her feelings for a subject, rather than a literal rendition of it.] Many of her paintings consist of several layers, with earlier layers showing through. She found inspiration in the Abstract Expressionism movement that dominated the New York and Paris art scenes in the 1950s. Some of her favorite artists included Adolf Gottileb, Rothko, William Baziotes, Pomodoro, and Antonio Tapies.
Dehn most often worked with bold, vibrant colors in large formats. Her subjects were not literal, but intuitive. She learned new techniques of lithography from her husband Adolf, and did her own prints. Texture was very important to her in her work. Her art was influenced by a variety of sources. In the late 1960s she came across a book that included photographs of organic patterns of life as revealed under a microscope. These images inspired her to change the direction of some of her paintings. Other influences on Dehn's art came from ancient and traditional arts of various cultures throughout the world, including Persian miniatures, illuminated manuscripts, Dutch still life painting, Asian art, ancient Egyptian artifacts...
Category
1980s Abstract Abstract Paintings
Materials
Oil
$3,000
Nature's Printing Press
Located in Fairlawn, OH
Nature's Printing Press
Gouache, tempera, pigments and ink on masonite board, 1967
Signed lower left corner (see photo)
Thompson was part of the late 1960’s Black Emergency Cultural Coalition along with Benny Andrews
The Black Emergency Cultural Coalition Inc. (BECC) was organized in January 1969 by a group of African American artists in response to the Metropolitan Museum of Art's "Harlem on My Mind" exhibit, which omitted the contributions of African American painters and sculptors to the Harlem community.
Part of a series of works the artist created in 1967. The tree motifs vary as does the color of the background. Please see photo of another work from the series.
Condition: Excellent/very good
Three tiny while flecks in the green border of the painting
Image size: 10 1/4 x 9 1/2 inches
Painting board size: 20 x 16 inches
Frame size: 25 1/2 x 21 1/2 inches
Russ Thompson (Born 1922- Jamaica
Part of the late 1960’s Black Emergency Cultural Coalition along with Benny Andrews
The Black Emergency Cultural Coalition Inc. (BECC) was organized in January 1969 by a group of African American artists in response to the Metropolitan Museum of Art's "Harlem on My Mind" exhibit, which omitted the contributions of African American painters and sculptors to the Harlem community. Members of this initial group that protested against the exhibit included several prominent African American artists, including Benny Andrews and Clifford R. Joseph, cofounders of the BECC. The primary goal of the group was to agitate for change in the major art museums in New York City for greater representation of African American artists and their work in these museums.
Studied: Pratt Inst.; Carlyle College; NY Sch. Mod. Photography
Exhibited: MoMA; BM, 1968; Nordness Gals., NYC; Phila. Civic Center; Ruder & Finn FA, 1969; Smithsonian Inst.; Mount Holyoke College, 1969; BMFA, 1970; RISD, 1969; Mem. Art Gal., Rochester, NY, 1969; SFMA, 1969; Contemp. Arts Mus., Houston, TX, 1970; NJ State Mus., 1970; Roberson Center for the Arts & Sciences, Binghampton, NY, 1970; UC Santa Barbara, 1970; Plaza Hotel, NYC; Westchester Art Soc. Gal. (prize); Nassau Community College; Brooklyn Pub. Lib.; Allentown (PA) Art Festival; Quinnipiac College, CT; Parrish Art Mus.; NY State Pavillion; Huntington Township Art Lg. Awards: Mitchell College, CT; BM; Armonk Lib. Show Award; Bedford Hills Lib. Show Award.
Sources: Cederholm, Afro-American Artists.
Public Collections:
Zimmerli Art Museum, Rutgers
Museum of Fine Arts, Boston
Brooklyn Museum
Museum of Modern Art, New York
Smithsonian American Art Museum
Exhibitions: MOMA
Brooklyn Museum, 1968
Nordness Galleries, NYC
Smithsonian Institution
Museum of Fine Arts, Boston, 1970
Rhode Island School of Design, 1969
San Francisco Museum of Art, 1969
Contemporary Arts Museum, Houston, 1970
Parrish Art Museum
Courtesy of Afro-American Artist; a biographical directory
THOMPSON, RUSS (Born Jamaica, 1922)
Painter. Born in Kingston, Jamaica, 1922.
Studied at the Pratt Institute; Carlyle College;
New York School of Modern Photography.
Works: Cloud Flowers ; My Breath Is One
with the Clouds ; The Acrobats; Relatives;
Thoreau; Clothes to the Body; America- Amer-
ica; Hanging Garden; Poor Room, Rich Room;
Epigram a Bromide; Passage, 1969 (wood,
epoxy, iron).
Exhibited: Museum of Modern Art; Brooklyn
Museum Fence Show, 1968; Nordness Gal-
leries, NY; Phila. Civic Center; Ruder & Finn
Fine Arts, 1969; Smithsonian Institution; Mount
Holyoke College, 1969; Boston Museum of
Fine Arts, 1970; Rhode Island School of
Design, 1969; Memorial Art Gallery, Rochester,
NY, 1969; San Francisco Museum of Art, 1969;
Contemporary Arts Museum, Houston, 1970;
NJ State Museum, 1970; Roberson Center for
the Arts & Sciences, Binghamton, NY, 1970;
Art Galleries, Univ. of Cal. at Santa Barbara,
1970; Plaza Hotel, NYC; Westchester Art So-
ciety Gallery; Nassau Community College;
Brooklyn Public Library; Allentown (Pa.) Art
Festival; Quinnipiac College; Parrish Art Mu-
seum; NY State Pavillion; Huntington Town-
ship Art League.
Collections: Frederick Douglass Institute, Wash-
ington, DC; Spiro & Levinson Corp.; Mr.
William Haber; Mr. & Mrs. B. Friedman;
Mr. & Mrs. Samuel J. Rosen; Mr. David
Scribner; Unigraphic Corp.; Mr. Benny An-
drews; Jeanne Paris; Mr. & Mrs. Joseph
Strauss.
Awards: Westchester Art Society; Mitchell
College, Conn.; Brooklyn Museum; Armonk
Library Show Award; Bedford Hills Library
Show Award.
Sources: Boston Museum of Fine Arts. Afro-
American Artists: New York/ Boston, 1970;
Nordness Galleries. 12 Afro-American Artists,
1969; Mount Holyoke College. Ten Afro-
American Artists, 1969; Ghent, Henri. “The
Community Art Gallery,” Art Gallery, April
1970; Paris, Jean. “Black Art Experience in
Art,” Long Island Press, Jamaica, NY, June 14,
1970; Ruder & Finn Fine Arts. Contemporary
Black Artists’, Brooklyn College. Afro-Amer-
ican Artists: Since 1950, 1969; Walker, Roslyn.
A Resource Guide to the Visual Arts of Afro-
Americans, South Bend, Ind., 1971.
NEW YORK (NY). Acts of Art, Inc.
Rebuttal to Whitney Museum Exhibition: Black Artists in Rebuttal at Acts of Art Gallery.
1971.
Unpag. (20 pp.) exhib. cat., 54 b&w illus., brief biogs. of 48 artists. The text consists of an unsigned foreword (probably by Nigel L.
Jackson, director of Acts of Art); a reprint of Z. D. Allen's review of the exhibition, "Rebuttal to the Whitney," from Chelsea Clinton
News (Apr. 15, 1971). The catalogue was published after the show opened. Artists included: Benny Andrews, James Belfon, Betty
Blayton, Lynn (Chuck) Bowers, Vivian Browne, Calvin Burnett, Jo Butler, Robert Carter, Art Coppedge, Adger Cowans...
Category
1960s Abstract Abstract Paintings
Materials
Acrylic
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