Peter Marks

Untitled

2007

Untitled Abstraction Graphite on paper. c. 1946 Unsigned Provenance: Estate of the Artist Inherited by his neighbor/caregiver Condition: Staining at corners ...

Non-Objective Drawing (Double sided composition) Graphite on paper, 1938 Initialed "B" by the artist lower right corner Created while the artist was imprisoned in a Gestapo Prison for his "Degenerate Art" Image size: 7 x 6 3/4 inches Housed in raw silk matting in a reproduction Gugenheim style frame with OP3 Acrylic Frame dimensions: 16 x 17 x 1 1/2 inches Condition: Folded in quarters by the artist to hide the drawing from the Gestapo Irregular margins Provenance: Estate of the artist Phillips Auction, New York Borghi Inc. "Back in Berlin, Das Geistreich had become a lonely island of individualism in a menacing sea of Nazism. The Bauhaus had been closed down by the government in 1933, and artists such as Bauer were increasingly ostracized. Many had already fled the country. Rebay wrote Bauer in August 1937 to report that she had visited the Degenerate Art exhibition in Munich, which featured many artists from their Der Sturm days, including works by Kandinsky, Klee, Moholy-Nagy, and, of course, Bauer. Why Bauer lingered so long in this hostile environment remains a mystery. He was not Jewish, yet his patron was one of the richest Jews in the world. This association would not go unnoticed in Nazi Germany. In July 1937 Bauer traveled to Paris because his work was included in an exhibition called Origines et développement de l'art international indépendant, organized by the Musée du Jeu de Paume. In this large survey of the period, his painting was shown alongside the work of Picasso, Georges Braque, Léger, Chagall, and Joan Miró. It is believed that while he was in Paris he received word from friends that it was too dangerous to return to Berlin; yet he ignored the warning. According to the Rebay documentarian Sigrid Faltin, it is likely that his sister, a Nazi zealot who had disowned him, turned him in to the authorities for his art. Bauer was suddenly a prisoner in Berlin. Defiant, he scavenged scraps of paper and pencils while in prison, so that he could continue to draw." Courtesy Weinstein Gallery...

Untitled Abstraction Graphite on paper, c. 1950 Unsigned Signed with the estate stamp verso (see photo) Provenance: Estate of the artist Inherited by his neighbor/caregiver Condition: Excellent Soft fold on top edge, not visible from front Image/Sheet size: 14 x 11 1/16 inches Medard Klein was born in Appleton Wisconsin on January 6th, 1905. At the age of 21, Klein left his rural hometown and moved to Chicago where he began studying art. During the late 1920’s Klein...

Untitled Abstraction Graphite on paper, c. 1946 Signed with the estate stamp verso Provenance: estate of the Artist Inherited by his neighbor/caregiver Condition: Excellent Image/Sheet size: 11 1/16 x 14 inches Medard Klein was born in Appleton Wisconsin on January 6th, 1905. At the age of 21, Klein left his rural hometown and moved to Chicago where he began studying art. During the late 1920’s Klein...

Hai (Abba) (Hebrew translation: Hey Father) Signed in ink lower left by the artist’s widow “AL” (Adele Lozowick) Original label from early exhibition verso at The Art Corner Graphit...

Untitled Graphite on paper, 1930 Signed and dated upper right (see photo) Exhibited: Francis Nauman, Leon Kelly: Draftsman Extraordinaire, New York, April 4 - May 23, 2014. (label) C...

3 Sculture 2012 Acrilico e grafite su carta CM 70x50 Con la mano e con fuoco, sul metallo. Con la mano e col pensiero sulla carta. Il disegno è inscindibile dalla scultura e non ...

Artist Commentary: This piece is created from a photo of one of my sculptures, manipulated on the computer, printed on a laser print then drawn on with graphite and charcoal. Keywords: abstract, bold, plastic Artist Biography: Toby Zallman...

This abstract composition by William Schwedler includes several geometric forms and shapes that are placed alongside straight, angled lines. Untitled 1 Artist: William Schwedler, A...

BLUE JAY WAY, 2012 ink and graphite on Arches cold press paper 44.5 x 75 inches / 1130 x 1905 mm  unframed Christina McPhee’s expansive abstract paintings, drawings, photographs, and videos test or query how can we know, and who is we? Moving from within a matrix of measurement, observation and contingent effects, her work resists characterization as product, and continually accesses fields outside itself. For her, process equals trial. Her work emulates potential forms of life, in various systems and territories, from a perspective of the non-self– a world beyond identity. McPhee’s dynamic, performative, physical engagement with materials, in both her analogue and digital works, is a seduction into surface-skidding calligraphic gestures and mark-making. The tactics of living are in subterfuge, like the ‘dazzle ships...

36"x72" oil and graphite on canvas (signed on reverse). This large scale oil painting by Mark Masyga employs a linear abstract composition. Masyga's masterful knowledge and backgrou...

Artist's Statement: "My paintings are an attempt to synthesize and enlighten pursuits of eastern and western art and their traditions. Using the full visual language of abstraction –...