Hilda Arp Abstract Paintings

1950s oil on board painting by George Cecil Carter portraying a modernist couple, thought to be Alfred Stieglitz & Georgia O'Keefe. Presented in a custom frame, outer dimensions measure 20 ⅝ x 13 ½ x 1 ⅞ inches. Image sight size is 16 ⅞ x 9 ⅞ inches. Painting is clean and in very good vintage condition - please contact us for a complete condition report. Provenance: Private Collection, Denver Colorado Expedited and international shipping is available - please contact us for a quote. About the Artist: George Cecil Carter was born in Oklahoma in 1908 and became a noted Colorado abstract expressionist alongside contemporaries including Al Wynne, Mary Chenoweth...

Beni E. Kosh/Charles Elmer Harris (American, 1917-1993) Untitled Oil on canvas board Estate stamped #611 verso 24 x 18 inches Charles Elmer Harris was born in 1917 in Cleveland, Oh...

Genre: Modern Subject: Abstract Medium: Oil Surface: Canvas Country: United States Sabina Teichman: (1905-1983) Studied at Columbia Univ. (BA, MA), also with Charles J. Martin and A...

Louisa Lizbeth Chase was born in 1951 to Benjamin and Wilda Stengel Chase in Panama City, Panama, where her father, a West Point graduate, was stationed. The family moved to Pennsylv...

Clarence Holbrook Carter (American, 1904-2000) Ovoid, 1992 Acrylic on canvas Signed and dated lower right 7.75 x 7.75 inches 9 x 9 inches, framed Clarence Holbrook Carter achieved a...

"Dusseldorf, Germany" 1993, oil on canvas, hand signed and dated lower left, Canvas (unframed):18 X 48. framed: 19.5 X 49.5 Provenance: directly from the artist. Exhibited at Phyllis Kind Gallery in NYC in 1987. Archie Rand (American, born 1949) is an artist from Brooklyn, New York. Rand's work as a painter and muralist is held in the collections of the San Francisco Museum of Modern Art, the Art Institute of Chicago, the Victoria and Albert Museum in London, the Bibliothèque Nationale de France in Paris, and the Tel Aviv Museum of Art. His graphic works and books are held by the Metropolitan Museum Of Art, the Museum of Modern Art, the Whitney Museum of American Art, the Art Institute Of Chicago, The Brooklyn Museum, the Baltimore Museum of Art, the Smithsonian Institution, and The New York Public Library; and are owned by Harvard, Yale, Columbia, Brown, and Johns Hopkins universities. Born in Brooklyn, Rand received a Bachelor of Fine Arts in cinegraphics from the Pratt Institute, having studied previously at the Art Students League of New York. His first exhibition was in 1966, at the Tibor de Nagy Gallery in New York. He has since had over 100 solo exhibitions, and his work has been included in over 200 group exhibitions. He is currently Presidential Professor of Art at Brooklyn College which granted him the Award for Excellence in Creative Achievement in 2016. Before joining Brooklyn College, Rand was the chair of the Department of Visual Arts at Columbia University. The Italian Academy For Advanced Studies in America at Columbia University presented him with The Siena Prize in 1995. He was awarded a Guggenheim Foundation Foundation Fellowship in 1999 and was made a Laureate of the National Foundation for Jewish Culture, which awarded him the Achievement Medal for Contributions in the Visual Arts. In 2002 he received the Presidential Award for Excellence in Teaching from Columbia University. In 2002 he became the artistic advisor to film director Ang Lee for his production of The Hulk, and was asked by Milestone Films to provide a commentary track for the DVD release of Henri-Georges Clouzot’s classic 1955 film The Mystery of Picasso. Archie Rand’s earliest major works are “The Letter Paintings” (or “The Jazz Paintings”) (1968–71), a radically positioned series of technically inventive, mural-sized canvases. The Letter Paintings, by incorporating the names of mainly male and female African-American musicians, undermined prevailing aesthetic categories by conflating many contemporary movements including Conceptual Art, Color Field, Pattern and Decoration, diary entry and social commentary. In 1974 Rand received a commission from Congregation B’nai Yosef in Brooklyn. Rand was asked to paint thematic murals on the complete 16,000-square-foot (1,500 m2) interior surfaces of the synagogue. The work took three years, and completing this commission made Rand the author of the only narratively painted synagogue in the world and the only one we know of since the 2nd Century Dura-Europos. The religious legal controversy raised by placing wall paintings in a traditionally iconoclastic space was resolved by the verdict of Rabbi Moshe Feinstein, then considered to be the world’s leading Talmudic scholar, who declared the paintings to be in conformity with the law. His subsequent turn to figuration may have been influenced by his friendship with Philip Guston, whose own work was transformed in the late 1960s. Like Guston, Rand "chafed at the limitations of purely abstract forms." A near-cult figure who started out as a child prodigy and whose admirers range from John Ashbery to Julian Schnabel. Rand’s paintings display a vast and savvy menu of inventive and finely executed approaches. He has completed many series after the works of Paul Celan, Moyshe-Leyb Halpern, Eugenio Montale, Yehuda Amichai, Rainer Maria Rilke, Samuel Beckett/Paul Eluard and Jack Spicer. Working often with poets, he has produced books and continues to engage in publishing collaborative projects. He maintained a correspondence with the American British Jewish painter R.B. Kitaj. In 2008, on a warehouse wall, Rand mounted the painting, “The 613”, which at 1700 square feet (17’ x 100’) is nearly twice the size of James Rosenquist’s F-111. It is one of the largest freestanding paintings ever made. Reminiscent of “The Segments” paintings it is intimidatingly enormous. Paradoxically, despite the raucous cartoony bytes that shoot colorful flashes from the manic surface, “The 613” glows warmly. Its overall effect is strangely calming and majestic. In an article on a 2011 exhibition of Rand's "Had Gadya" series, David Kaufmann wrote: Rand displayed his work in 15 solo exhibitions between 2008 and 2017, many of them showcasing paintings done after Scripture, or his workings with poets: Including “Had Gadya, 2005”, Borowsky Gallery, Philadelphia, PA (2011); “Gods Change, Prayers Are Here To Stay (after Yehuda Amichai), 2000", Katz Gallery, Atlanta, GA (2014); “Psalm 68, 1994”, Derfner Museum, Riverdale, NY (2014); “The Chapter Paintings”, Tribeca Gallery, NY (2015); “Men Who Turn Back (after Eugenio Montale), 1995", SRO Gallery, Brooklyn, NY (2016); “Sixty Paintings From the Bible” & “The Book of Judith, 2012”, Cleveland State University Galleries, Cleveland, OH (2016) & The American Jewish Museum, Pittsburgh, PA (2017); “Archie Rand: Early Works With Poetry: Jack Spicer, 1991 and Samuel Beckett/Paul Eluard, 1993”, St. Francis College, Brooklyn, NY (2017). "The 613" In 2015 Blue Rider/Penguin/Random House published The 613, allotting one color plate per page for each of the 614 units in the painting. The Wall Street Journal labeled The 613 as “dynamic…remarkable…thrilling” The New York Times selected the book as “Editors' Choice” and praised it in two separate reviews calling it “wonderfully garish” and declaring that “nothing prepared the art world for 'The 613.' Recent Activity In 2016 Rand showed two bodies of work that were done in Italy, “La Certosa Di Pontignano, 1995” and “Mount Etna, 2005,” at The Interchurch Center Galleries, New York. From 2016 to 2017 he served as the Curator and Juror for the Governor of Wyoming’s Capitol Arts Exhibition at The Wyoming State Museum, Cheyenne, WY. A 2017 exhibition, “Archie Rand: Early Works With Poetry”, featured two series of work from 1991 and 1993 after poems by Jack Spicer and Samuel Beckett/Paul Eluard. This painting was exhibited in the Phyllis Kind Gallery in NY in 1987. (Phyllis Kind was an American art dealer active in Chicago and New York. She promoted the work of the Chicago Imagists, The Monster Roster and The Hairy Who and outsider artists. Kind opened a gallery in Chicago in 1967. Called Pro Grafica Arte, the gallery dealt in master prints and drawings. In 1975, she opened a gallery on Spring Street in New York's SoHo district. She gave some of the artists in the movement their first solo shows: Jim Nutt and Gladys Nilsson...

"Shattered" WPA Mid 20th Century Modernism American Scene Surrealism Figurative Estate stamp on the stretcher, verso. Provenance: Estate of the artist. 20 x 24 inches. BIO Leon Bibel continued painting through 1941 and resumed work in both painting and especially wood sculpture by 1960. He worked until his very last day in 1995. His last series of large wood sculptures were modeled on spice boxes, which were miniature buildings...

Donald Stacy "Group Meeting" c.1950s Gouache paint on paper 24" x 18'" unframed Unsigned Came from artist's estate Donald Stacy (1925-2011) New Jersey Studied: Newark School of Fin...

Donald Stacy "Eve" c.1950s Gouache and oil pastel on paper 14x17" black wood frame 14.75"x17.75" Unsigned, Eve written in paint along right margin Came from artist's estate Donald S...

Donald Stacy "Ms.Y" c. 1950s Gouache and oil pastel on paper 14" x 17" unframed Unsigned Came from artist's estate Donald Stacy (1925-2011) New Jersey S...

Richard Marshall Merkin (American, 1938-2009) Gladys and Half-Pint Hand signed 'Merkin' (center right), Titled, inscribed, dated, and initialed 'GLADYS BENTLEY AND FRANKIE 'HALF-PINT' JAXON 1997/R.M.' verso. Oil on canvas 37 1/2 x 72 in. (95.3 x 182.9 cm) framed 39 1/4 x 74 x 2 in. Gladys Alberta Bentley (August 12, 1907 – January 18, 1960) was an American blues singer, pianist, and entertainer during the Harlem Renaissance. Her career skyrocketed when she appeared at Harry Hansberry's Clam House, a well-known gay speakeasy in New York in the 1920s, as a black, lesbian, cross-dressing performer. She headlined in the early 1930s at Harlem's Ubangi Club, where she was backed up by a chorus line of drag queens. She dressed in men's clothes (including a signature tailcoat and top hat), played piano, and sang her own raunchy lyrics to popular tunes of the day in a deep, growling voice while flirting with women in the audience. On the decline of the Harlem speakeasies with the repeal of Prohibition, she relocated to southern California, where she was billed as "America's Greatest Sepia Piano Player" and the "Brown Bomber of Sophisticated Songs". She was frequently harassed for wearing men's clothing. She tried to continue her musical career but did not achieve as much success as she had had in the past. Bentley was openly lesbian early in her career, but during the McCarthy Era she started wearing dresses and married, claiming to have been "cured" by taking female hormones. Frankie "Half-Pint" Jaxon, born Frank Devera Jackson was an African American vaudeville singer, stage designer and comedian, popular in the 1920s and 1930s. He was born in Montgomery, Alabama, orphaned, and raised in Kansas City, Missouri. His nickname of "Half Pint" referred to his 5'2" height. He started in show business around 1910 as a singer in Kansas City, before travelling extensively with medicine shows in Texas, and then touring the eastern seaboard. His feminine voice and outrageous manner, often as a female impersonator, established him as a crowd favorite. By 1917 he had begun working regularly in Atlantic City, New Jersey and in Chicago, often with such performers as Bessie Smith and Ethel Waters, whose staging he helped design. He served slightly less than a year in the United States Army in 1918–1919 and rose to the rank of sergeant. In the late 1920s he sang with top jazz bands when they passed through Chicago, working with Bennie Moten, King Oliver, Freddie Keppard and others. He performed and recorded with the pianists Cow Cow Davenport, Tampa Red and "Georgia Tom" Dorsey, recording with the latter pair under the name of The Black Hillbillies. He also recorded with the Harlem Hamfats. In the 1930s, he was often on radio in the Chicago area, and led his own band, titled Frankie "Half Pint" Jaxon and His Quarts of Joy. Jaxon appeared with Duke Ellington in a film short titled Black and Tan (1929), and with Bessie Smith in "St. Louis Blues" (1929). Cab Calloway's "Minnie the Moocher" (1931) is based both musically and lyrically on Jaxon's "Willie the Weeper" (1927). Richard Merkin, Sometimes described as Rhode Island’s most famous New York artist, Richard Merkin has led a dual life for nearly 40 years - teaching at RISD while enjoying a celebrated painting career based in New York City. He has exhibited in countless gallery and museum shows in the US and abroad and is represented in the permanent collections of the Smithsonian Institution, The Museum of Modern Art, the Whitney Museum, the RISD museum and many others. In addition to contributing drawings and paintings to The New Yorker (along with, Art Spiegelman, Saul Steinberg, Harper’s, The New York Times Sunday Magazine and several books on Erotica and Baseball, he is a contributing editor for Vanity Fair and a former style columnist for GQ. Merkin’s honors include a Tiffany Foundation Fellowship and the Rosenthal Foundation Award from the American Academy of Arts and Letters. Museums and Selected Collections : The American Federation of Arts, New York, NY Brooklyn Museum, Brooklyn, NY Chrysler Museum of Art, Norfolk, VA First city Bank, Chicago, Ill Fisk University Art Gallery, Nashville, TN Hallmark Collections, Kansas City, MO Massachusetts Institute of Technology, Cambridge, MA Maimi-Dade Junior College, Miami, FL Michigan State University, East Lansing, MI Minnesota Museum of Art, Minneapolis, MN Museum of Modern Art, New York, NY Museum of Art, Rhode Island School of Design, RI McClung Museum, University of Tennessee, Knoxville, TN Pennsylvania Acadamy of the Arts, Philadelphia PA Prudential Insurance Company, Boston, Ma Prudential Insurance Company, Newark, NJ Rose Art Museum, Brandeis University, Waltham, MA Sara Robey Foundation, New York, NY Smithsonian Institution, Washington, DC State University of Brockport, Brockport, NY Whitney Museum of American Art, New York, NY Selected Publications : 1986-Present Contributing Editor, Vanity Fair ..1988-Present, New Yorker... 1988-Present, style column, GQ...1997, Text and Illustration for The Tijuana Bibles, published by Simon & Shuster, 1995, Illustrated book, Leagues Apart: the Men and Times of the Negro Baseball Leagues published by Morrow. 1967 Cover of the Beatles “Sgt. Peppers Lonely Hearts Club Band” Album (Mr. Merkin appears in the back row, right of center) RISD: MFA in Painting, 1963; Professor, Department of Painting special skill: Merging his role as flaneur (connoisseur of city life) with his role as painter and social historian, Merkin retrieves lost cultural artifacts – a Turkish cigarette, a gangster, a bowler and generally “things most people don’t know about” – and reconstitutes their Jazz Age virtues on canvas in cubist, comic-laced landscapes of tropical color. (ala Robert Crumb and Ben Katchor) breaking in: Perpetually on the fly from his middle-class Brooklyn background, Merkin found the perfect escape in the mid ‘60s in George Frazier, a dapper Boston columnist who inspired the emerging New York painter’s overnight reinvention of himself. The elements of structure, stability and surprise he admired in this well-dressed dandy – a cool linen suit, a splash of suspender, a polka dot scarf and pearl-handled walking stick – soon surfaced in paintings peopled by impeccable underdogs of café society along with his personal pop heroes: William Burroughs, Bobby Short and Krazy Kat...

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1950 University of Illinois at Urbana "Contemporary American Painting" 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 36" x 2". About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...