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Sammer Gallery LLC

@sammergallery

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Dedicated to the promotion of Constructivism and Concrete art.
1626 NW 36th St.
Miami FL 33142

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VÍCTOR MAGARIÑOS D. (1924–1993)
The Geometry of Infinite Space

Untitled, c. 1950
Tempera on hardboard
23.5 × 31.9 cm

A pioneering figure of Argentine geometric abstraction, Víctor Magariños D. approached painting not merely as an arrangement of forms and colors, but as an exploration of space, energy, and the invisible forces governing the universe.

Created around 1950, this exceptional composition captures a decisive moment in the artist’s development, when geometric abstraction was becoming the foundation of his artistic language.

Sweeping arcs of yellow, blue, and red intersect with delicate gray planes, generating a remarkable sensation of rotation, expansion, and suspended movement. The composition appears almost weightless, as if its geometric elements were orbiting within an infinite spatial field.

In 1951, Magariños traveled to Paris, where his encounters with Georges Vantongerloo, Max Bill, and Fernand Léger deepened his investigation into the relationship between geometry, science, and cosmic order.

This early work anticipates the spatial tensions and orbital structures that would become central to his mature artistic vision, culminating in his celebrated Finito-Infinito investigations.

For Magariños, geometry was never simply a formal exercise. It was a means of revealing the invisible architecture of the universe.

An extraordinary expression of the intellectual ambition and poetic sophistication of Argentine abstraction.

#VictorMagarinosD #ArgentineArt #GeometricAbstraction #LatinAmericanModernism #ConcreteArt AbstractArt ModernMasters GaleriaDeLasMisiones by @sammergallery

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4 days ago

Recommended lecture

PURITY IS A MYTH
The Materiality of Concrete Art from Argentina, Brazil, and Uruguay

An essential new publication on Latin American Concrete Art, presenting groundbreaking scholarship and technical research on one of the most influential movements in postwar Latin America.

Published by the Getty Research Institute, Purity Is a Myth explores the development of Concrete art in Argentina, Brazil, and Uruguay from the 1940s through the 1960s.

The volume examines the work of key figures including Carmelo Arden Quin, Willys de Castro, Lygia Clark, Waldemar Cordeiro, Hermelindo Fiaminghi, Judith Lauand, Raúl Lozza, Tomás Maldonado, Hélio Oiticica, Joaquin Torres García and Rhod Rothfuss, bringing together art history, conservation science, materials research, color, painting processes, and Concrete design.

Based on extensive research by the Getty and international partners, the publication offers an important new perspective on the material and intellectual foundations of Latin American geometric abstraction.

336 pages · 193 color illustrations
Getty Publications / Getty Research Institute

#carmeloardenquin #ConcreteArt #LatinAmericanArt #ArteConcreto #josepedrocostigliolo Maria Freire TomásMaldonado RhodRothfuss LygiaClark HélioOiticica JudithLauand GettyResearchInstitute LatinAmericanModernism by @sammergallery

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a month ago

Phillip Metman
Untitled, 1922
Gouache and collage on paper
8 × 5 in. (20 × 13 cm)
Signed and dated lower right “PM 22”
Created in 1922, this intimate work by Phillip Metman (1892–1967) belongs unmistakably to the visual language that transformed European art in the early decades of the twentieth century. Geometry replaces representation; black lines establish an architectural framework, while restrained fields of gray, white, black, and a striking passage of blue create a carefully calibrated rhythm.

What makes the composition particularly compelling is Metman’s use of collage alongside gouache. A fragment of printed text enters the otherwise abstract structure, introducing the material world into a composition governed by geometry. The contrast recalls the radical experiments of the European avant-garde, when artists were reconsidering the traditional boundaries between painting, typography, architecture, and everyday materials.

Despite its remarkably small scale—only 20 × 13 cm—the work has a distinctly monumental presence. The heavy black divisions organize the surface almost architecturally, while subtle irregularities in the painted fields prevent the geometry from becoming mechanical. The single blue rectangle provides the composition’s strongest chromatic accent, activating an otherwise austere palette.

Metman remains an obscure figure today, which makes works such as this especially intriguing. Rather than approaching it through reputation alone, we can encounter the object directly: a sophisticated surviving example of the geometric abstraction and collage experimentation that defined one of the most consequential periods in modern art.

Phillip Metman, Untitled, 1922 — a small work carrying the visual ambitions of an entire avant-garde generation.

#PhillipMetman #GeometricAbstraction #AbstractArt #ModernArt #EuropeanAvantGarde 1920sArt CollageArt WorksOnPaper ArtHistory Modernism by @sammergallery

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a month ago

ALEXANDER CALDER
Receding Blocks, 1944
Gouache and ink on paper
22 ¾ × 31 in. (57.8 × 78.7 cm)
Signed and dated lower right “Calder 44”
Registered with the Calder Foundation, New York, Application No. A06512

In Receding Blocks, Alexander Calder translates his fascination with movement, balance, and space into the intimate language of works on paper. Black forms appear to advance and recede across the composition, while concentrated passages of primary color establish points of tension and visual equilibrium.
Created in 1944, the work belongs to a pivotal period in Calder’s career, when the vocabulary that defined his celebrated mobiles and standing sculptures was also being explored through gouache and ink. Geometry becomes animated: scale, distance, and negative space create a sense of movement without anything physically moving.
Calder’s remarkable achievement was to make abstraction feel spontaneous and alive. In Receding Blocks, a remarkably economical vocabulary of shape and color produces a composition that is simultaneously playful, rigorous, and unmistakably Calder.
Provenance
Perls Galleries, New York
Acquired from the above, c. 1972 #alexandercalder #galmisiones #sammergallerymiami #american #artist by @sammergallery

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a month ago

Antoni Tàpies (1923–2012)
Línea ondulada, 1970
Varnish, acrylic, ink and graphite on paper
65 × 89 cm (25⅝ × 35 in.)

A master of materiality, Antoni Tàpies transformed humble media into powerful visual language. In Línea ondulada, broad gestural brushstrokes sweep across the surface with remarkable physicality, while translucent washes, scorched tones, and spontaneous marks create a tension between control and chance. The monumental looping line becomes both gesture and symbol, reflecting Tàpies’ lifelong exploration of memory, matter, and the expressive potential of abstraction.

Executed in 1970, this work belongs to one of the artist’s most celebrated periods, when his works on paper achieved the same scale, intensity, and presence as his paintings.
————
Provenance

* Galerie Maeght, Zurich
* Galerie Wilhelm Grosshennig, Düsseldorf
* Private Collection, Switzerland (acquired from the above)
* By descent to the present owner

Literature

* Anna Agustí, Tàpies, Obra Completa, Vol. 3, 1969–1975, Barcelona, 1992, No. 2250 (illustrated, p. 157).

Exhibited

* Bremen, Kunsthalle Bremen (September–October); Baden-Baden, Staatliche Kunsthalle Baden-Baden (November–January); Winterthur, Kunst Museum Winterthur (January–March), Antoni Tàpies: Drawings – Gouaches – Collages, 1944–1976, 1977–1978, No. 63.
* Les Sables-d’Olonne, Musée de l’Abbaye Sainte-Croix, Tàpies: Works on Paper, 1952–1977, April–June 1978, No. 64.
* Lugano, Villa Malpensata, Spagna: 75 Years of Leading Figures in Art, September–November 1986, No. 114 (illustrated in the exhibition catalogue, unpaginated).

#AntoniTàpies #Tapies #SpanishArt #PostwarArt #AbstractArt WorksOnPaper ContemporaryArt ArtCollector ArtHistory SammerGallery by @sammergallery

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3 months ago

This Mosaic Table (1959) by Gonzalo Fonseca (1922–1997) is one of the finest surviving examples of the integration of art, architecture, and design promoted by the Taller Torres-García (TTG). Signed and dated in the upper right corner and bearing the initials “TTG” rather than the artist’s own signature, the work reflects the workshop’s philosophy that artistic creation was a collective endeavor inspired by Joaquín Torres-García rather than an expression of individual authorship. This practice was common among TTG artists during the 1940s and 1950s .
The date of 1959 is particularly significant in Fonseca’s career. Having moved to New York in 1958, he was beginning to establish himself internationally while simultaneously working on his important mosaic commission for The New School for Social Research. The glass tesserae used for this table were imported from Italy and are believed to be the same materials employed in that architectural commission, linking this intimate domestic object directly to one of his major public works. The table itself was reportedly commissioned for a Manhattan architect’s apartment, illustrating how TTG artists extended Constructivist principles into modern domestic architecture.
Today, the table is regarded as one of the masterpieces of the applied arts produced by the Taller Torres-García. An example of this 1959 Mosaic Coffee Table is in the permanent collection of the Museum of Fine Arts, Houston, where it is recognized as a key work demonstrating the workshop’s ambition to unite painting, sculpture, architecture, and design into a single artistic language.
#GonzaloFonseca #TallerTorresGarcia #ConstructiveUniversalism #ModernArt #latinamericanart by @sammergallery

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3 months ago

Giacomo Balla
Compenetrazioni iridescenti, 1912–1915

Created during the formative years of Italian Futurism, this intimate panel belongs to Balla’s celebrated Compenetrazioni iridescenti series. Through vibrant geometric forms and luminous color, Balla transformed light into pure abstraction, abandoning traditional representation in favor of rhythm, movement, and energy. The original Galleria Pogliani label on the reverse further strengthens the work’s historical significance and provenance.

This small painted panel belongs to one of the most innovative phases of Balla’s career, when he was moving away from naturalistic representation toward pure abstraction. Between 1912 and 1915, inspired by Futurism’s fascination with movement, light, and energy, Balla developed the Compenetrazioni iridescenti series. In these works, he abandoned traditional perspective in favor of interlocking geometric forms and radiant color harmonies that suggest the penetration and diffusion of light through space. e, the composition possesses remarkable visual intensity. The symmetrical arrangement of triangles and stepped geometric motifs creates a rhythmic structure that conveys expansion and contraction, while the rich red and golden tones generate a luminous vibration characteristic of Balla’s experimental language. Rather than depicting an object, the painting seeks to express an immaterial phenomenon—the dynamic interaction of light, color, and space.

#GiacomoBalla #ItalianFuturism #Futurism #AbstractArt #ModernArt ItalianArt MuseumQuality SammerGallery by @sammergallery

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3 months ago

Harry Booström
Nr 9, 1950.
Oil on canvas.
46 x 61.5 cm.

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The artist Harry Booström (1917-1996) is often proclaimed to have been a dreamer and concretist. His artistic studies were conducted at Edward Berggren’s and Isaac Grünewald’s painting schools from 1941 to 1945. Booström was a contemporary of the “1947 års män” group and, like them, was inspired by the
early concrete tradition. After his studies Booström travelled to Denmark, where he resided for a period, yet still made time to travel to Holland and
France. In 1948 Booström moved to Stockholm but spent the summer months on the island of Gotland, where he had spent his youth. The nature there was of great inspiration Transitioning trough abstract style in the 1950s, he moved towards a purely non-
representational, concrete art with geometric basic forms. In the interplay between form and color, warm and cold tones, he achieved both dynamism and movement in his compositions. Harry Booström had his debut in 1948 at Samlaren where through his years he took part in several highly important exhibitions such as a Høstudstillingen / Den Frie Udstilling, Copenhagen, Espace, Stockholm, Réalités Nouvelles, Paris, and Stockholmskonkretisterna, Halmstad. Booström was also an active member in the international Groupe Espace, which advocated for expanded collaboration between artists and architects. Together with the architect Bertil Ahlqvist, Booström decided upon the colour of row houses in Visby #espace #groupespace #conrete #constructivism #maxbill by @sammergallery

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3 months ago

Thank you, Julio, for opening new ways of seeing, feeling, and experiencing light, movement, and space.

Your work continues to inspire generations, reminding us that art can be both a source of wonder and a catalyst for reflection.

With admiration and gratitude.

——-

Gracias, Julio, por abrirnos nuevas formas de ver, sentir y experimentar la luz, el movimiento y el espacio.

Tu obra continúa inspirando generaciones y recordándonos que el arte puede ser, al mismo tiempo, juego, reflexión y descubrimiento.

Con admiración y gratitud.

#JulioLeParc #KineticArt #OpArt #LatinAmericanArt #arthistory by @sammergallery

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4 months ago

Top 5 booths at Arco Madrid 2026 Edition, thank you artsy !!! #arco #arcomadrid #madrid #joseignacio #artsy taken in ARCO Madrid by @sammergallery

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7 months ago

We are pleased to announce our participation in ARCO Madrid 2026, one of the leading international contemporary art fairs.

📍 Stand 7C18
🗓 March 4–8, 2026
📍 IFEMA Madrid

The presentation brings together a selection of key artists from the Río de la Plata and Latin American avant-garde, highlighting the legacy and continued relevance of Constructivism, Concrete Art, and geometric abstraction through historical and contemporary perspectives.

We look forward to welcoming collectors, curators, and friends in Madrid.

#ARCOMadrid #GaleríadelasMisiones #ArteLatinoamericano #ArteConcreto Constructivismo GeometricAbstraction MadridArtWeek by @sammergallery

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8 months ago

On this day, José Gurvich was born (1927–1974)

A key figure of modern Uruguayan art and a disciple of the Taller Torres García, Gurvich developed a singular visual language in which constructivism engages with symbolism, everyday life, and memory.
His work—deeply human and poetic—continues to expand the boundaries of modern art in the Río de la Plata.

Today we celebrate his birthday and his enduring legacy.

#JoséGurvich #UruguayanArt #ModernArt #TallerTorresGarcía #Constructivism ArtHistory LatinAmericanArt by @sammergallery

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9 months ago