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Byron Browne
untitled (acrobat juggling balls with a tuba)

1948

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  • Sea Forms
    By Ray H. French
    Located in Fairlawn, OH
    Signed and dated center right edge; Annotated "48" lower left Provenance: Estate of the artist One of a suite of 120 drawings that the artist did in 1 month. Most were sold thro...
    Category

    1960s Abstract Abstract Drawings and Watercolors

    Materials

    Ink, Pen

  • Abstraction
    By Abraham Walkowitz
    Located in Fairlawn, OH
    Untitled Abstraction Pen and ink on paper, 1932 Signed and dated in ink lower center Condition: Excellent Sheet/Image size: 10 3/8 x 6 1/4 inches Frame size: 16 1/2 x 12 1/2" Provena...
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    1930s Abstract Geometric Abstract Drawings and Watercolors

    Materials

    Pen, Ink

  • Black and White Cat
    By Sam Spanier
    Located in Fairlawn, OH
    Black and White Cat Ink and watercolor on paper, c. 1970 Unsigned Provenance: Estate of the artist (Estate No. 737) Condition: Excellent Image/Sheet size: 4 3/4 x 6 1/4 inches Sam Spanier (1925-2008) Born in Brooklyn New York, Sam Spanier studied painting with Hans Hofmann (1949–50) and also at the Taos Valley Art School (1951). His formative years as a working artist were spent in Paris (1951–52), where he also became involved with the work of G. I. Gurdjieff, through his disciple, Mme. Jeanne de Salzmann. By 1953, Spanier’s work had already begun to meet with critical acclaim. That year, he had his first solo gallery show, and was selected by Milton Avery and Hans Hofmann to receive the prestigious Lorian Fund Award. His second solo exhibition, in 1955, was curated by renowned museum director, Gordon Washburn. Spanier’s early work was reviewed by Dore Ashton, Donald Judd, Fairfield Porter, Stuart Preston, and Irving Sandler, among other significant critics of the period. Spanier’s spiritual path increasingly became the central focus of both his life and his art. In 1960, he was introduced to the teachings of Sri Aurobindo, which led to visits to the Sri Aurobindo Ashram in Pondicherry, India, in 1962 and 1964, during which he was inspired to leave New York City and found Matagiri (in 1968)—a spiritual center in Woodstock, New York—with his lifelong partner, Eric Hughes. The work he embarked upon there bifurcates his life as an artist, separating him from New York’s art world, and radically altering the trajectory of his career. From that point forward, it would be difficult, perhaps impossible, to consider his artistic endeavor apart from the life of dedication he had undertaken, and to which he remained committed. As early as 1954, Dore Ashton had recognized in Sam Spanier a “haptic visionary;” in 1960, Irving Sandler wrote that the people in Spanier’s paintings “seem to have witnessed some transfiguring event.” In his later paintings—usually worked in oil pastel on panel or paper—made during intermittent creative periods, from the mid-1970s to the final years of his life, the artist’s inner life remains always apparent in his subject matter; and from the portraits and abstract Buddha-like figures and heads, to the fantasy landscapes, the paintings are redolent with a rich intensity of color and light that can only be described as inspired. Sam Spanier’s works are in the collections of the Historical Society of Woodstock Museum, and the Woodstock Artists Association & Museum. He received the Woodstock Artists Association Lifetime Achievement Award in 2007. Selected Solo Exhibitions: Urban Gallery, New York (1954, 1955, 1956); Wittenborn Gallery, New York (1958); Gallery Mayer, New York (1958, 1959, 1960); Unison Gallery, New Paltz (1986, 1995, 2009); Limner Gallery, New York (1988); Fletcher Gallery, Woodstock, New York (1999). Selected Group Exhibitions: Salon des Comparaisons, Musée d’Art Moderne, Paris, France (1952); October Exhibition of Oil Paintings, New York City Center Gallery, New York (1954); Salon de Mai, Musée d’Art moderne de la ville de Paris, Centre Culturel de Saint-Germain-en-Laye, Paris, France (1954); Carnegie International, Carnegie Institute, Pittsburgh, Pennsylvania (1955); Les Plus Mauvais Tableaux, Galerie Prismes, Paris (1955); Première Exposition Internationale de l’Art Plastique Contemporain, Musée des Beaux-Arts de la Ville de Paris (1956); Recent Paintings USA: The Figure, The Museum of Modern Art (1960); Winter’s Work, Woodstock Artists Association, Woodstock, New York (1985); Juried Group Show, Woodstock Artists Association, Woodstock, New York (1986); Woodstock Artists, Self-Portraits, Historical Society of Woodstock Museum, Woodstock, New York (1988); Portraits, Albert Shahinian Fine Art, Poughkeepsie, New York (2003); The World We Live In, Upstate Art, Phoenicia, New York (2003); Show of Heads, Limner Gallery, Phoenicia, New York (2004). Selected Writings on the Artist: Dore Ashton, “Sam Spanier,” Art Digest (May 1, 1954) and “Sam Spanier,” The New York Times (March 16, 1960); Cassia Berman, “Sam Spanier: A Divine Calling,” Woodstock Times (February 7, 2008); Lawrence Campbell, “Sam Spanier: Exhibition of Paintings at Urban Gallery,” Art News...
    Category

    1970s Abstract Abstract Drawings and Watercolors

    Materials

    Ink, Watercolor

  • Bull Ring Brass - Mexico City
    By Stephen Longstreet
    Located in Fairlawn, OH
    Signed in ink, dated and titled in pencil Watercolor, pen and ink on paper
    Category

    1950s Figurative Drawings and Watercolors

    Materials

    India Ink, Pen, Watercolor

  • Untitled
    By Ray H. French
    Located in Fairlawn, OH
    Signed and dated "1962" by the artist lower right. Mixed media on heavy paper. Done for a show to fund a trip to Italy.
    Category

    1960s Abstract Abstract Drawings and Watercolors

    Materials

    Ink, Mixed Media

  • Untitled
    By Laddie John Dill
    Located in Fairlawn, OH
    Untitled Watercolor on paper. 1971 Unsigned Sheet size: 24 x 19 inches Condition: Excellent From the collection of Ileana Sonnabend (1914-2007) Laddie John Dill, a Los Angeles artist...
    Category

    1970s Abstract Abstract Drawings and Watercolors

    Materials

    Watercolor

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  • Ruckus Rodeo (unique acrylic painting by famed Pop artist w/ Marlborough label)
    By Red Grooms
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    Red Grooms Ruckus Rodeo, 1975 Acrylic and felt tip pen on paper Signed and dated in black felt marker Unique work Provenance: Marlborough-Gerson Gallery, with original label verso Frame included: in museum frame with UV plexiglass Measurements: 22.75 inches vertical by 19.75 inches horizontal by 1.5 inches Work 16.5 inches vertical by 13.5 inches horizontal This work on paper, Ruckus Rodeo, is a unique study by Red Grooms for one of the most popular works of art in the Museum of Modern Art, Ft. Worth, Texas's collection. Ruckus Rodeo is an immense, walk-through work of art that covers 1,237 square feet of gallery space. It consists of painted two-dimensional surfaces and sculptural three-dimensional figures that re-create the Fort Worth rodeo. Grooms has referred to this work as a "sculpto-pictorama." Sculpture wire, canvas, burlap, acrylic paint, and a fiberglass compound known as celastic were used to construct the work’s Texas-sized, larger-than-life, three-dimensional caricatures of rodeo archetypes, which include the rodeo queen and her steed, a bucking bronc, playful rodeo clowns, and a giant yellow bull named Butter. Ruckus Rodeo was commissioned for the Museum's 1976 exhibition The Great American Rodeo. Grooms was one of eleven artists invited to create a work for this show. In preparation, he attended every rodeo performance during Fort Worth's 1975 Stock Show and made many sketches. From these studies, Grooms drew a panoramic rodeo scene spanning more than seven feet, which served as the basis for Ruckus Rodeo's design. Grooms returned to his studio in New York to fabricate the work's major figures. In 1976, he returned to Fort Worth with the talented fifteen-member group of painters, sculptors, engineers, and carpenters known as the "Ruckus Construction Co.," who helped in the final assembly of Grooms's robust tableau. Associate Curator Andrea Karnes commented, "Ruckus Rodeo portrays the chaos, entertainment, and danger of the Fort Worth rodeo. Grooms's engaging work is characterized by a grand sense of spectacle, encompassing the ritual, pageantry, and disorderly commotion of a real rodeo event. The artist's interest in naive and primitive objects, such as folk art puppets and toys, is easily seen in this work. His rich, arbitrary use of bold and unmodulated colors combined with angular contours creates a loud, brash ambience. Despite the work's cartoonish flair, it is clearly inflected with an urban sensibility. The characters' outfits, for example, are more like the vibrant apparel of the urban cowboy...
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