Philippe Hosiasson

Blue Grey

1960

Oil on canvas. Signed lower right. 50.5 x 38.25 in. 51.5 x 39 in. (framed) Custom framed in maple. Theodore Franklin (“Ted”) Appleby, Jr. was born January 28, 1923 in Asbury Park, New Jersey to a very prominent family in Monmouth County. He attended the Pauling School in New York and studied at the atelier of John Corneal. On December 12, 1942, Appleby enlisted in the U.S. Marine Corps, subsequently seeing action in the Marshall Islands. Upon the conclusion of the war, he was stationed for a year in Yokohama, Japan, where he studied local engraving techniques. In 1947, after returning home, Appleby moved to Mexico for a year to study mural painting in San Miguel de Allende. Following his sojourn in Mexico, Appleby briefly returned home to the U.S. before ultimately relocating to Paris. There, he joined a lively community of expatriate American artists involved with what would come to be known as the “School of Paris.” Appleby befriended fellow Americans Sam Francis and Jackson Pollock, exhibiting extensively throughout France with the former. He also regularly visited the atelier of Fernand Léger, and was represented in the "Salon de Réalités Nouvelles" and the “Salon d’Automne” during the 1950s and 60s. From 1955 to 1961, Appleby participated in group exhibitions in Chicago, Leverkusen (Germany), Lisbon, London, and Paris. He also had three notable solo exhibitions during this period: Studio Facchetti, Paris (1956); Martha Jackson Gallery, New York (1957); and the American Cultural Center, Paris (1959). In 1957, Appleby’s work was presented at the 62nd American Exposition of Painters and Sculptors at the Chicago Art Institute, where he was awarded the Norman Wait Harris Bronze Medal and Prize. Answering the famed artist André Lhote’s call to help save the village of Alba-la-Romaine in the Ardèche, Appleby and his wife - the artist Hope Manchester - purchased a home in the village in 1950, ultimately settling there until their deaths. Source: Taylor Graham Gallery

Oil on canvas. Signed and dated lower left. 51 x 38 in. 52.5 x 39.25 in. (framed) Framed in maple. Gabriel Godard, a self-taught painter, was born in 1933 in Delouze, France. Hist...

Oil on canvas. Signed and dated lower left, inscribed label verso. 59.25 x 55.25 in. 61 x 57 in. (framed) Custom framed in a wooden double tray frame, hand-painted white. Provenance Galerie Lovers of Fine Art, Gstaad, Switzerland This work has been recorded under no. 1531 in the digital Catalogue Raisonné of the artist, prepared by Michel Reymondin, Montreux, Switzerland. Carl Walter Liner was born in the Swiss canton of Appenzell, near the border with Liechtenstein, in 1914. The son of famed artist Carl August Liner, the younger Liner enjoyed more critical and commercial renown for his landscapes. In 1938 at the age of 24, he undertook what would become the first of several residencies in Paris. This particular sojourn helped to establish the trajectory of his career, as Paris would provide the setting in which he became acquainted with early twentieth century masters Maurice de Vlaminck, Georges Braque, Ossip Zadkine, Gérard Schneider, and Erich Heckel. The stylistic and technical influence of his contemporaries is clearly evident in Liner’s work from this point forward. Unfortunately, the dawn of the 1940s would bring about a number of challenges for Liner. With the outbreak of war, Liner was mobilized for the Swiss Border Guard, and returned home to Switzerland in 1939. He remained on active duty until 1945, only to lose his father the following year. The death of the elder Liner left a profound impact on his son, who eventually made his way back to Paris in 1947 and embarked upon what would become a very successful series of nudes. By his own admission, 1948 was a pivotal year in Liner’s career, as a particularly spiritual trip to Algeria would foment the emotions led to the beginning of his practice with abstraction. Henceforth, Liner would vacillate between the figurative and abstract, creating parallel oeuvres. His abstraction from the 1950s and 60s mirrored...

Oil, pastel, and paper collage on canvas. Signed and dated verso. 52.75 x 47.75 in. 54 x 49 in. (framed) Gilded floater frame. Provenance Compass Rose, Chicago Born Sylvan Irwin Goldberg in 1924 and raised in the Bronx, Michael Goldberg was an important figure in American Abstract Expressionism, who began taking art classes at the Art Students League in 1938. A gifted student, Goldberg finished high school at the age of 14 and enrolled in City College. He soon found New York’s jazz scene to be a more compelling environment, and he began skipping classes in favor of the Harlem jazz clubs near campus. Goldberg’s love of jazz would become a lifelong passion and a key component to his approach to composition in his paintings. From 1940 to 1942, like many of the leading artists of the New York School, Goldberg studied with Hans Hofmann. In 1943, he put his pursuit of painting on hold and enlisted in the U.S. Army. Serving in North Africa, Burma, and India, Goldberg received a Purple Heart and a Bronze Star before being discharged in 1946. After his service, he traveled and worked in Venezuela before returning to the United States, settling back in New York and resuming studies with Hofmann and at the Art Students League. Living downtown and frequenting the Cedar Bar, Goldberg befriended many of the artists of the New York School. In 1951, his work was included in the groundbreaking Ninth Street Show, co-organized by Leo Castelli, Conrad Marca-Relli, and the Eighth Street Club, and featuring the work of - among others - Hofmann, Jackson Pollock, Willem de Kooning, and Franz Kline. In 1953, the Tibor de Nagy...

Oil on canvas. Signed and titled verso. 40.25 x 56.25 in. 40.75 x 56.75 in. (framed) Custom framed in a whitewashed cherry closed-corner frame. Aaron Levy was born in New York Cit...

Oil on canvas. Signed lower right, signed and dated verso. 62.25 x 56.25 in. 64 x 58 in. (framed) Custom framed in a natural cherry wood floater. Provenance Washburn Gallery, New York Behnke Doherty Gallery, Washington Depot, CT Born in 1908 in Chicago, John Opper moved with his family to Cleveland, Ohio, in 1916. In high school, he began studying art and attending classes at the Cleveland Museum of Art. After graduation, he enrolled in the Cleveland School of Art (now Cleveland Institute of Art), only to withdraw after a year and move to Chicago, where he took classes at the Art Institute of Chicago. He eventually returned to Cleveland, enrolling at Western Reserve University (now Case Western Reserve), receiving his bachelor’s degree in 1931. The Depression has taken hold during this period, so Opper found work by teaching metalworking and sketching classes at the Karamu Settlement House, the oldest African American theater in the United States. In 1933, Opper traveled to Gloucester, Massachusetts, eventually connecting with the artist Hans Hofmann, who was teaching at the school run by Ernest Thurn. Hofmann encouraged Opper to work “in a more modern vein and start finding what it’s all about.” Heeding this advice, Opper relocated to New York, co-founding a mail-order club of American and British prints for dissemination to schools and museums. By the mid-1930s, he joined the Works Progress Administration (WPA) Easel Division, and also began attending the 57th Street school that Hans Hofmann had established after leaving the Art Students League. Looking back at his time at the school, Opper felt that beyond Hofmann’s teaching, most advantageous was his contact with fellow artists, including Byron Browne, Rosalind Bengelsdorf, and George McNeil. At the time, he also met Giorgio Cavallon and the sculptor Wilfrid Zogbaum. In 1936, Opper became a founding member of the American Abstract Artists, along with Balcomb and Gertrude Greene. The organization was formed to provide an opportunity for artists to show abstract works at a time when such opportunities were scarce. This led to his first solo show in 1937 at the Artists’ Gallery in New York. During his summer in Gloucester in 1933, Opper came to know Milton Avery. Painting in Avery’s informal studio in New York City the following winter, he became acquainted with Adolph Gottlieb and Mark Rothko. Opper participated in a couple of shows during the 1930s of the American Artists Congress Against War and Fascism, whose president was Stuart Davis. About the same period, Opper joined the Artists’ Union and served as the business manager of its publication, Art Front. During World War II, Opper worked for a ship design company creating drawings for piping systems used in PT boats...

Wesley Kimler (born 1953) an American artist based in Chicago, Illinois, is known for his colossal paintings, up to 15 feet high and 27 feet wide. According to critic Kevin Nance, th...

Alan Fenton (1927 - 2000) Pond I, 1958 Oil on canvas 81 x 90 inches Signed, titled and dated on the reverse Fenton's quiet and contemplative nonobjective paintings and drawings were...

Alan Fenton (1927 - 2000) Untitled, 1958-1960 Oil on canvas 90 x 84 inches Fenton's quiet and contemplative nonobjective paintings and drawings were widely recognized for their demanding yet understated means of revealing a serious and sober essence. He identified greatly with Mark Rothko, a friend, as well as Adolph Gottlieb and Jack Tworkov, with whom he had studied privately. Fenton painted in New York City in the late 50's as the explosion of Abstract Expressionism turned into a rebellion against gestural, emotional painting. More concerned about his art than his posture, he expanded upon a tradition in painting with influences as diverse as Whistler and Turner as well as Ad Reinhardt and Joseph Albers. Alan Fenton was born in Cleveland in 1927, studied at the Cleveland School of Art, The Arts Students League, The New School, and at NYU, earning his BFA at Pratt Institute, where he later taught painting for many years. At seventeen, Fenton served in the Merchant Marines where he began a career as a professional boxer, a skill he had honed on the streets. He moved successfully through the graphic design business en route to becoming a painter in New York at the height of the art revolution of the fifties and sixties. Fenton enjoyed success with his subtle washes and pencil drawings as well as large abstract...

Alan Fenton (1927 - 2000) Untitled, 1958-1960 Oil on canvas 90 x 84 inches Fenton's quiet and contemplative nonobjective paintings and drawings were widel...

Alan Fenton (1927 - 2000) Untitled, 1958-1960 Oil on canvas 88 x 82 1/2 inches Signed on the stretcher Fenton's quiet and contemplative nonobjective paintings and drawings were widely recognized for their demanding yet understated means of revealing a serious and sober essence. He identified greatly with Mark Rothko, a friend, as well as Adolph Gottlieb and Jack Tworkov, with whom he had studied privately. Fenton painted in New York City in the late 50's as the explosion of Abstract Expressionism turned into a rebellion against gestural, emotional painting. More concerned about his art than his posture, he expanded upon a tradition in painting with influences as diverse as Whistler and Turner as well as Ad Reinhardt and Joseph Albers. Alan Fenton was born in Cleveland in 1927, studied at the Cleveland School of Art, The Arts Students League, The New School, and at NYU, earning his BFA at Pratt Institute, where he later taught painting for many years. At seventeen, Fenton served in the Merchant Marines where he began a career as a professional boxer, a skill he had honed on the streets. He moved successfully through the graphic design business en route to becoming a painter in New York at the height of the art revolution of the fifties and sixties. Fenton enjoyed success with his subtle washes and pencil drawings as well as large abstract canvases...

Alan Fenton (1927 - 2000) Untitled, 1958-1960 Oil on canvas 89 x 83 inches Signed on the stretcher Fenton's quiet and contemplative nonobjective paintings and drawings were widely r...