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Peter MarksUntitledc. 2003-4
c. 2003-4
About the Item
- Creator:Peter Marks (1935 -2010, American)
- Creation Year:c. 2003-4
- Dimensions:Height: 8 in (20.32 cm)Width: 9.5 in (24.13 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Fairlawn, OH
- Reference Number:Seller: FA85671stDibs: LU140650332
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, metallic foil and glitter paper collage mounted on paper, c. 2003-2004
Unsigned
Provenance: Estate of...
Category
Early 2000s Abstract Abstract Paintings
Materials
Mixed Media
$600 Sale Price
50% Off
Untitled
By Dennis Ashbaugh
Located in Fairlawn, OH
Untitled
Mixed media on paper, 1981
Signed and dated 1981 lower left (see photo)
Provenance:
Knoedler Gallery, New York (label)
Charles Cowles Gallery, New York
The Collection of Jan...
Category
1980s Abstract Abstract Paintings
Materials
Mixed Media, Gouache
Untitled
By Dennis Ashbaugh
Located in Fairlawn, OH
Untitled (Abstraction)
Mixed media on paper, 1980
Signed and dated 1980 lower right (see photo)
Condition: Excellent, unframed
Sheet size: 31 1/2 x 47 1/2 inches
Provenance: Jan Cowl...
Category
1980s Abstract Expressionist Abstract Paintings
Materials
Mixed Media
Spiral of Time II
By Harry Nadler
Located in Fairlawn, OH
Spiral of Time II
Mixed media with acrylic on paper, 1986
Signed lower right (see photo)
Condition: Excellent
Image size: 35 x 15 1/2 inches
Provenance: Peter Marciniak, New Hampshire
Distinguished Midwest Private Collection
Select Exhibition:
1991 Franz Bader Gallery, Washington, D.C. (solo)
1980 Guggenheim Museum, New York, NY
1974 Bertha Schaefer Gallery; New York, NY (solo)
1972 Childe Hassam Purchase Show, National Institute of the Arts and Letters
1971 "The Turkish Bath of Ingres,” Louvre Museum, Paris, France
1971 Guest Artist, Tamarind Institute; Albuquerque, NM
1970 “American Drawings of the Sixties,” New School Art Center; New York, NY
1966 Dorsky Gallery, New York, NY (solo)
1962 Dwan Gallery; Los Angeles, CA (solo)
1959 Dwan Gallery, Los Angeles, CA (solo)
Museum Collection:
Smithsonian American Art Museum
Albuquerque Museum, Albuquerque, NM
Cincinnati Art Museum, Cincinnati, OH
Detroit Institute of Arts, Detroit, MI
Fine Arts Museum, Santa Fe, NM
Guggenheim Museum, New York, NY
University of New Mexico Art Museum, Albuquerque, NM
Oklahoma Art Center, Oklahoma City, OK
Pennsylvania Academy of the Fine Arts, Philadelphia, PA
Storm King Art Center, Mountainville, NY
Wesleyan University, Middletown, CT
Harwood Museum of Art, Taos
"An abstract painter who lived in New York City; Amagansett, Long Island, and Albuquerque, New Mexico, Harry Nadler is described as a "formalist abstract painter of the 1960s-90s whose works were marked by their rich colors, transparencies, and labyrinthine constructions. —The attempt to capture in a purely abstract imagery the quintessential quality of light and contour that emanate from a particular landscape is a hazardous pictorial ambition, but Mr. Nadler has met the challenge of this problem with remarkable success.˜ (Hilton Kramer, The New York Times, April 27, 1974)
Noted Fine Print Publications: Lincoln Center/Fine Art Prints,1990, "Live From Lincoln Center", screen print,edition72
Harry Nadler Biography
DESCRIPTION WITHOUT PLACE
A story Harry told me that he felt was a metaphor for his life and work was about his "golden bird." One day, when he was eight, he was walking home from school, a dangerous task for a Jewish boy in East Los Angeles in the '30s. He carried a painting he had made in school. He had to walk through a dark tunnel and was afraid. His painting of a beautiful, golden bird, radiating tropical colors, shone in the dark and he lost all his fear. The image of beauty, flight, darkness, and the power of his own image-making, stayed with him his whole life.
He discovered a kind of freedom in school; he graduated when he was 16, went to art school, supported himself as an illustrator for a newspaper; then discovered a wide new world of literature and fine arts at the University of California, Los Angeles. He earned a B.A. and an M.A., and his talent as an artist manifested itself in teaching assistantships and in painting awards and early shows. His affinity for European painting was strong, and he yearned to go to New York and immerse himself in the museums and in the current work being done by the abstract expressionists.
Awarded a Fulbright Scholarship to Spain in 1960, Harry fulfilled his dream of traveling to Europe and studying Goya's Disasters of War at the Prado. His commitment to finding a visual language to express his deep ethical concerns began at this time. He produced a series of works dedicated to the victims of the Holocaust and called the Buchenwald Landscapes and exhibited this body of work at the end of his year in Spain. He agonized over it, feeling that the imagery was too literal. He was searching for something--a formal instrument that reached a meaning beyond the obvious horror of the subject matter.
On his return to the United States, he relocated to New York City, believing that his artistic roots lay there. He first made a living by teaching extension courses, while studying great paintings in the city's museums, participating in the current art world and developing his own work.
Between 1961 and 1965, Harry made paintings of strange spaces filled with autobiographical objects. The poetry of Wallace Stevens powerfully affected him especially. For Harry, the activity of painting was a way of connecting separate realities. The work of imagination, metaphor, or "seeming" as Stevens described it, takes place in the gap between disparate elements, making connections of meaning on a deeper level. In this gap, he struggled to formulate with precision his understanding of his tools: his materials, his knowledge of philosophy and art history, his religious tradition, his life experience. In this gap, he lived with the anxiety of knowing, with faith in a process larger than himself. And he worked. Geometry became a way of speaking about ultimate purity, wholeness, relatedness; the sensuous material of paint and the particular way he combined those materials became a way of expressing the quality of his own experience.
He named a painting series Description Without Place, in honor of Stevens. In this series, windows and boxes hold images of experience (painted objects, that both separate and merge the spaces of the painting. He combines images of crucifixion and blackness, with the vitality of life in both object and color. The breaking of edges and boundaries, merging the spatial and the temporal, continued throughout his life.
In 1965, he was offered a teaching position at Wesleyan University in Connecticut. There he began his series, Homage to Ingres, shown in New York City in 1969, followed by a sports series...
Category
1980s Abstract Abstract Paintings
Materials
Mixed Media
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
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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