FRIEDEL DZUBAS (1915-1994)
FRIEDEL DZUBAS (1915-1994)
FRIEDEL DZUBAS (1915-1994)
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FRIEDEL DZUBAS (1915-1994)
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FRIEDEL DZUBAS (1915-1994)


FRIEDEL DZUBAS (1915-1994)
signed, titled and dated 'Dzubas 1962 "HELLAS"' (on the reverse)
oil on canvas
88 ¼ x 70 in. (223.8 x 178 cm.)
Painted in 1962.
André Emmerich Gallery, New York
Ameringer Howard Gallery, New York
Barbara and Ira Lipman Collection New York
Leslie Feely Fine Art, New York
Acquired from the above by the present owner
B. Rose, "In Absence of Anguish: New Works by Friedel Dzubas", Art International, no. 7, 25 September 1963, p. 98 (illustrated).
G. Glueck, "Friedel Dzubas," New York Observer, 22 November 1993.
P. L. Lewy, Friedel Dzubas, Milan, 2019, pp. 104, 106, 108 and 110 , no. 44 (illustrated and illustrated in artist's studio).
P. L. Lewy, Friedel Dzubas: Our Collection, Memphis, 2019, pp. 27, 32-33 and 127 (illustrated and illustrated in artist's studio).
Hanover, Dartmouth College, Jaffe-Friede Gallery; Boston City Hall and Montgomery Museum, Artists at Dartmouth, A Retrospective of Selected Artists-in-Residence at Dartmouth College Since 1962, September-October 1971.
Washington D.C., Hirshhorn Museum and Sculpture Garden, Friedel Dzubas, June-August 1983, pp. 17 and 47, no. 14 (illustrated).
Waltham, Brandeis University, Rose Art Museum, Selected Paintings from Four Decades, September-October 1988.
New York, The Elkon Gallery, Friedel Dzubas: The Early Years, October-December 1993, p. 8 (illustrated).
Medford, Tufts University Gallery, Friedel Dzubas: Critical Painting, February-April 1998.
New York, Ameringer Howard Gallery, Friedel Dzubas: Paintings of the 1960s, March-April 2001.
East Hampton, Leslie Feely Fine Art, Postwar and Contemporary Art, July 2021.
East Hampton, Leslie Feely Fine Art, Beauty of Nature, July-August 2023.

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Allison Immergut Associate Vice President, Specialist, Co-Head of Day Sale

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Lot Essay

“Dzubas showed himself to be a master of lyricism and landscape in two works from 1962, Aegian and Hellas. Illusionistic space is created in part by suggesting an effect of projection and recession through slightly overlapping color areas produced by the close juxtaposition of forms, where wet-in-wet application results in color bleeds,” (P. L. Lewy, quoted in Friedel Dzubas: The Size of Life, Milan, 2017, p. 108).

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