Aquatint Abstract Drawings and Watercolors

Etching on paper, signed Gaetano Carboni A painter and engraver, Gaetano Carboni was born in 1928 in Ascoli Piceno and, between 1940 and 1950, implemented his first figurative experi...

This is an exclusive handprinted limited edition cyanotype. "Hollywood Pool House Glow" shows the shimmering reflections of a Hollywood, California swimming pool. Details: + Title: ...

Carborundum etching on hand made paper. Hand signed lower front by Roberto Matta. Edition 111/125. Published by Nordstamp. Artwork is in overall excellent condition. Certificate...

Sweet Life, 2022 by a.muse is an abstract watercolor collage․ This work on paper is a collection of memories of summer, fragments of everyday life sequenced...

*UK BUYERS WILL PAY AN ADDITIONAL 5% IMPORT DUTY ON TOP OF THE ABOVE PRICE Red River Inside my Eyelids by Yayoi Kusama (b. 1929) Ink, pastel, felt pen on paper 55 x 39.8 cm (21 ⁵/₈ ...

Grey tonal painting of a Falcon perched on a branch. The work is framed in a silver frame with a white matte. The artist signed the work in the bottom right corner. Artist Biograph...

Espandersi is a beautiful artwork realized by  Maurizio Gracceva   in the 2017. China ink on paper.  Hand signed by the artist. Title, date, techinique and sign on the back. Auth...

Abstract modern aquatint etching in black and white, circa 1960. Signed lower right. Original artwork on paper displayed on a white mat with a gold border. Mat fits a standard...

This 14" X 10" unframed mixed media pastel and ink etching on paper by Josette Simon Gestin is from the artist's series titled "No way back." On the far right side is a depiction of a redheaded women...

Ink on paper, Acrylic and / or watercolor, signed in the front, framed in a aluminum silver frame, glass. Philip Wittmann work is based on signs. Sign...

“I have been living in Berlin as a painter for 45 years and since then a lot of water has flowed down the Spree, many ‘big’ and little names, many art scenes, a lot of noise and lots of hope have come along. There was the great period of 1920-1933, when Berlin was a real and free art city, when the public still visited the exhibitions and the painters had not yet invented the publicity. There was the ’12th Reich’, which eliminated art. And there came the laborious new beginnings after 1945. When I was a beginner, around 1925, I plunged rather carelessly into the lively art scene: first exhibition in the then very turbulent jury-free show. In 1927, for the first time, I succeeded in conquering a wall space in the academy on Pariser Platz, where Liebermann led a strict regiment. Many young exhibitions were organized and critically acclaimed (Paul Westheim). Paul Cassirer showed three generations in two beautiful exhibitions, I was one of the youngest. My first collective exhibition was in the Galerie Möller in 1928, after which I received a master studio in the ‘Akademie der Künste’ for three years. In the printing workshop on the Steinplatz I learned the etchings on the same press, on which I still create the plates at our university today. This was followed by further exhibitions, again at Möller in 1931, etchings in the gallery Gurlitt in 1932, in the Szczecin Museum, whose director Riezler acquired several pictures that were destroyed during the Nazi era. The Kronprinzenpalais had also bought a picture and the Kupferstichkabinett some etchings. Everything went ahead, and then, with one hit, it was over. In 1934, all free, progressive exhibitions were closed and the associations liquidated (Künstlerbund, Sezession). The end of painting. I learned ceramics and painted tiles and tiled stoves; The war...

In carefully drawn dots and lines in soft shades of indigo blue with pink, green, yellow and dark red details, this intricate composition is inspired by patterns in nature. This draw...