Original MAURICE GOLUBOV 1905-1987, Abstractionist Start Price USD 10,000.00 Current Price USD 10,000.00 Time Left - Bid Count 0 Buy It Now Price - Reserve Price - Start Time Thursday, September 04, 2008 End Time Sunday, September 14, 2008 Location Tampa,FL See more about 'Original MAURICE GOLUBOV 1905-1987, Abstractionist ' Description This original, dated and signed painting was given to my father from Maurice Golubov himself many years back when my father was practicing dentistry in Hollywood Florida. He was a patient of my fathers and ran up a dental bill for over $5000 and could not pay. So my father the kind man he was took this painting in lieu of payment. My father passed away and I now have painting and want to find a good home for it to someone that has an appreciation for this artist. Below is some information I found and I also have a 50pg book pictured below with paintings and life story of Maurice Golubov. He has a great Jewish history and wonderful story to tell. Maurice Golubov was born in Kiev, Russia, and came to the United States at the age of 12. When he was 14 he first studied at an art class under John Sloan. He apprenticed himself to a commercial studio and for years had supported himself as a commercial artist. In 1981 a retrospective show of 102 oils and gouaches painted by Maurice Golubov from 1925 to 1980, mounted by the Mint Museum of Art in Charlotte, N.C., was also shown in other cities, including New York, where it was seen at the Jewish Museum. Overall size mounted is 36.5" X 57" and looks like brass frame and mounted on clear glass.   Actual painting is 21" X 41" . This painting is in perfect condition not a mark on painting canvas front or back or on frame. Related links   http://www.mauricegolubov.net/ http://www.mauricegolubov.net/?gclid=CJqVyq_QuZUCFRsigQodKXAlQg http://www.artnet.com/artist/162062/maurice-golubov.html http://query.nytimes.com/gst/fullpage.html?res=9B0DE7DA1F30F936A25752C0A961948260 http://americanart.si.edu/collections/exhibits/abstraction/golubov.html http://thedetroiter.com/b2evoArt/blogs/index.php?blog=2&p=23&more=1&c=1&tb=1&pb=1 Maurice Golubov Biography 1905   Born, Vetka (near Kiev), Russia 1987   Died, USA Selected Exhibitions 2004   Winter Group Show, Lemberg Gallery, Ferndale, MI 2003   Summer Group Show, Lemberg Gallery, Ferndale, MI 1997   Art & Friendship: Selections from the Roland F. Pease Collection, Tibor de Nagy Gallery, New York, NY 1989 - 1990   The Patricia and Phillip Frost Collection: American Abstraction 1930-1945, National Museum of American Art, Smithsonian Institution, Washington DC 1990   The 79th Annual Exhibition, Maier Museum of Art, Randolph-Macon Women's College, Lynchburg, VA 1989   Tribute to Tibor de Nagy, Butler Institute of American Art, Youngstown, OH 1989   Vintage Abstraction, Tibor de Nagy Gallery, New York, NY 1988   Works on Paper, Tibor de Nagy Gallery, New York, NY 1987   Religion: Painting and Sculpture, Tibor de Nagy Gallery, New York, NY 1986   Summer Group Show, Tibor de Nagy Gallery, New York, NY 1986   Collections in Context-Works on Paper, The Hecksher Museum, Huntington, NY 1983   Selected Contemporary Prints, Tibor de Nagy Gallery, New York, NY 1980 - 1981   'Maurice Golubov Paintings 1925-1985', Mint Museum of Art, Charlotte, NC July-Sept 1980; Lowe Art Museum, Coral Gables FL, Oct-Nov 1980; Fort Wayne Museum of Art, fort Wayne, IN Jan-Feb 1981; Columbus Museum of Arts And Sciences, Columbus GA Feb-Mar 1981; rion Koogler McNay Institute, San Antonio TX Apr-May 1981; The Jewish Museum NYC June-Sept 1981 1981   Hassam & Speicher Fund Exhibition, American Academy and Institute of Arts and Letters, New York, NY 1981   The Figure, Tibor de Nagy Gallery, New York, NY 1980   Art From Houston Corporations I, Sewall Art Gallery, Rice University, Houston, TX University, NY 1980   Monotypes, Tibor de Nagy Gallery, New York, NY 1978 - 1979   Geometric Abstraction and Related Works, Newark Museum, New Jersey 1978 - 1979   New York Collection '78 - '79, The Member's Gallery, Albright-Knox Art Gallery, Buffalo, New York 1979   Recent Acquisitions, Twentieth Century Department, Metropolitan Museum of 1979   Gallery Artists, Watson/de Nagy Gallery & Company, Houston, TX 1978   Art on Paper, Weatherspoon Art Gallery, Greensboro, NC 1978   The Non-Objective World, 25 Years 1914-1939, Annely Juda Fine Art, London 1978   Three Painters' Heritage, Congregation Beth Israel, Houston, TX 1978   New York Collection '78-'79, The Member's Gallery, Albright-Knox Art Gallery, Buffalo, NY 1977   Art on Paper, Weatherspoon Art Gallery, Greensboro, NC 1977   Modern American Paintings, 1910-1940: Toward a New Perspective Museum of Fine Arts, Houston, TX 1977   Hassam Fund Purchase Exhibition, American Academy and Institute of Arts and Letters 1976   Hassam Fund Purchase Exhibition, American Academy and Institute of Arts and Letters 1953   National Print Exhibition, Brooklyn Museum, Brooklyn, NY 1952   Print Exhibition, Metropolitan Museum of Art, New York 1952   Annual Show, Whitney Museum of Art, New York 1951   Annual Show, Whitney Museum of Art, New York 1951   Fifty Years of Abstract Painting in America, Museum of Modern Art 1950   Salon des Realités Nouvelles, Paris, France 1949   Walker Art Center, Minneapolis, MN 1947   Chinese Gallery, New York 1946   American British Art Center, New York 1943   National Show, The Art Institute of Chicago 1937 - 1940   Hudson D. Walker Gallery 1929   Art Center, New York Winning bidder to paypal or send bankwire when auction ends. I will take this to the UPS store and have them professionally package and insure for $12,000 value. This is value I was told it could bring at auction.     MAURICE GOLUBOV 1905 Russia--1987 USA MAURICE GOLUBOV FIRST STUDIED ART AS A TEENAGER DURING EVENING CLASSES with John Sloan at a Hebrew Educational Society settlement house.[1] At age fifteen Golubov dropped out of school and apprenticed himself to a fashion studio where he copied figure illustrations. A chance encounter with Mark Tobey, who also worked as a fashion illustrator, introduced Golubov to the National Academy of Design. There, Golubov spent weeknights for four years studying with Ivan Olinsky, Charles Curran, and George L. Nelson. In 1922 his mastery of the academic regime was recognized when he received the Suydam Silver Medal for excellence in life drawing. In the spring of 1923 Golubov left both the commercial studio and the academy. Although he had not yet encountered vanguard European, or even American art, Golubov was already making abstract geometric designs. He first visited the Metropolitan Museum in the winter of 1923-24, studying Venetian and Flemish painting and glazing techniques. He was also studying Greek, Neoplatonic, and American Transcendentalist philosophy at the public library while he painted at night. With funds running short, Golubov returned to commercial art in 1924. At first full time, his position eventually became seasonal, allowing him to paint for months at a time. By the late 1920s, he had discovered other New York museums. Kandinsky and Picasso joined Cézanne on his roster of revered masters. During the late 1920s, he determined to break from commercial work to concentrate full time on painting. He became friendly with a number of other artists-- Max Weber, Raphael Soyer, Stuart Davis, Byron Browne, and Arshile Gorky. The summer of 1928 proved a turning point. Working in Woodstock, where he met Milton Avery and David Smith, Golubov began bringing compositional organization to his abstract experiments. Back in the city at the end of the summer, he brought a greater sense of confidence to his work and he began attending meetings at the John Reed Club.[2] In 1933, when his savings ran out, Golubov returned to full-time commercial work, though it left him little time to paint. The same year he married. During slow moments at work, he began doing miniatures in gouache and watercolor, which were often later worked out full-size. By the late 1930s, Golubov began spending his summers in Rockport, Massachusetts, and his winters in the city. He continued to move between abstraction and figuration. During the summers, his oils were frequently figurative, while his abstract canvases, with loose grid structures, dark colors, and expressionist surfaces, were done primarily during the winter months in New York. In late 1939, Golubov found a seasonal job at Vogue Wright Studios. At Vogue Wright, he worked long hours for several months and then took off about six months for painting. He continued this arrangement until his retirement in 1967. In 1941, Golubov had a solo exhibition at the Artists' Gallery. Alice T. Mason and George L. K. Morris saw the show and invited Golubov to join the American Abstract Artists. Finally he began showing with the group in 1944. By the late 1940s most of Golubov's work was abstract. He continued to exhibit at the Artists' Gallery, as well as in group exhibitions at the Walker Art Center, the Jewish Museum, the Museum of Modern Art, and the Whitney Museum of American Art. In 1943 and 1952, he had solo shows at the Mint Museum in Charlotte, North Carolina. Even at this point, however, he had not completely relinquished figuration. In 1962 Golubov's work was featured in Recent Painting USA: The Figure at the Museum of Modern Art. Although Golubov's abstractions began as experiments in design, he came to see them as a form of mental realism. He grew up in a Hasidic household, and as a child began studies toward a rabbinical education. Thus he was grounded in mysticism from an early age, and from his teenage years Golubov was captivated by the world of philosophy. He read Spinoza, Schopenhauer, Kant, Fichte, Berkeley, and Emerson, which along with Eastern philosophy and medieval Jewish theology, provided a basis for his philosophy of art. "I could sense and feel more closely the things I felt were real and yet unseen. I didn't feel comfortable trying to express these in words, however; instead, I started to find symbolic means to be able to represent them pictorially."[3] In his abstractions, Golubov sought to express the complexities of the world, a "world where endless moments are arrested into one whole instant moment." Golubov came late to the American Abstract Artists. The pressing discussions over the social relevance of abstraction, and the heated arguments over political issues were, by the mid 1940s, in the past. An admirer of Picasso, Kandinsky, and Cézanne, Golubov recognized, but did not take to heart, the stylistic accomplishments of his European prototypes. While his work did pass through developmental stages, and he developed a theory of dimensional space, Golubov looked to himself, not to others for the inspiration, and the means, to express the mystical, the magical, and the profound beauties of life. 1. Golubov experienced a very difficult childhood. After his father's precarious shoemaking business failed, his father immigrated to the United States. As World War I approached in Russia, his mother decided to leave with her six children. Golubov became separated from the rest of the family, and roamed for several months with a band of children who survived by raiding small farms. Golubov was eventually reunited with the family in Petrograd. The family finally made its way to New York. For this and other information about Golubov's life and career, see Daniel J. Cameron, ed., Maurice Golubov, Paintings 1925--1980 (Charlotte, North Carolina: The Mint Museum Department of Art, 1980). 2. At the John Reed Club, Golubov met Moses Soyer, Ad Reinhardt, Saul and Eugenie Baizerman, William Zorach, and others. Although Golubov has frequently been described as an isolated figure, he was friendly with a number of other artists. Lee Gatch, Reginald Marsh, Louis Lozowick, Jackson Pollock, Hans Hofmann, Theodore Stamos, Theodore Roszak, and others. And, if he didn't show with great frequency, his exposure was not significantly different from the other abstract artists during the 1930s and 1940s. 3. Untitled, undated, autobiographical typescript in artist's files, National Museum of American Art Library, Washington, D.C. Source:Virginia M. Mecklenburg. "The Patricia and Phillip Frost Collection: American Abstraction, 1930-1945" (Washington, DC: National Museum of American Art and Smithsonian Institution Press, 1989), pp. 75-79. Copyright 1989 Smithsonian Institution. All rights reserved. Place a Bid!