Late 20th Century Abstract Drawings and Watercolors

A color pencil and pigment work on paper by Post War artist Dennis Oppenheim. Signed lower right, "Dennis Oppenheim 1981". Provenance: General Electric Corporate Collection; Hea...

Eye catching abstract watercolor of a figure relaxing on the floor of a modern decorated room, circa 1970. Original artwork on paper displayed on a white mat with a gold border. A...

watercolor on Arches, framed Throughout Mala Breuer’s career she completed well over 400 watercolors and works on paper that preceded each and every one of her large works on canv...

Frame size 76x78 cm. Free shipment worldwide. Acquired directly from the artist. Archive number (P90/41) “The heart is an eye,” writes Nobel laureate Octavio Paz in an essay on Matta’s paintings. Matta creates a world coloured both by a sunny faith in the future and by visions of impending doom. Roberto Sebastian Echaurren Antonio Matta, who died aged 91 on 23 November 2002, was born in Santiago, Chile, on 11 November 1911 into a family with Spanish, French and Basque roots, and raised in an atmosphere of religiosity. By the age of 21 he had graduated and begun work as an architect, but his leisure time he devoted to sketching and painting. In 1933 he travelled to Europe for the first time, visiting Greece, Yugoslavia, Italy and other countries, and subsequently taking the initiative to collaborate with the architect, Le Corbusier. As time passed, however, Matta’s enthusiasm for a career in architecture waned, and he began to devote himself full-time to art, making early acquaintances with surrealists such as Max Ernst, Salvador Dalí, André Breton and others. Between 1939 and 1948 Matta, like many of his artistic contemporaries, lived in self-imposed exile in the USA, but, after almost 10 years’ absence from Europe, he returned to make first Rome and then, a few years later, Paris his home. Throughout most of the rest of his life Matta commuted between his studio in Paris and his creative refuge in the monastery outside Rome. And it is here, in Italy, that he produced his greatest paintings. Matta’s first retrospective in Sweden was organised in 1956 when his works were exhibited in what was then Galerie Colibri – run by, among others, the artist C O Hultén...

watercolor on Arches, framed Throughout Mala Breuer’s career she completed well over 400 watercolors and works on paper that preceded each and every one of her large works on canv...

watercolor on Arches, framed Throughout Mala Breuer’s career she completed well over 400 watercolors and works on paper that preceded each and every one of her large works on canv...

Gorgeous burst of blue behind a flat top mountain with splashes of orange in this abstract geometric landscape by Erle Loran (American, 1905-1999). Signed and dated lower right "Erle...

watercolor on Arches, framed Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school she att...

Pastel, gouache and coffee on paper. Artwork size: 58 x 56 cm. Frame size: 78 x 76 cm. Free shipment worldwide. Acquired directly from the artist. Archive number (P90/37) “The heart is an eye,” writes Nobel laureate Octavio Paz in an essay on Matta’s paintings. Matta creates a world coloured both by a sunny faith in the future and by visions of impending doom. Roberto Sebastian Echaurren Antonio Matta, who died aged 91 on 23 November 2002, was born in Santiago, Chile, on 11 November 1911 into a family with Spanish, French and Basque roots, and raised in an atmosphere of religiosity. By the age of 21 he had graduated and begun work as an architect, but his leisure time he devoted to sketching and painting. In 1933 he travelled to Europe for the first time, visiting Greece, Yugoslavia, Italy and other countries, and subsequently taking the initiative to collaborate with the architect, Le Corbusier. As time passed, however, Matta’s enthusiasm for a career in architecture waned, and he began to devote himself full-time to art, making early acquaintances with surrealists such as Max Ernst, Salvador Dalí, André Breton and others. Between 1939 and 1948 Matta, like many of his artistic contemporaries, lived in self-imposed exile in the USA, but, after almost 10 years’ absence from Europe, he returned to make first Rome and then, a few years later, Paris his home. Throughout most of the rest of his life Matta commuted between his studio in Paris and his creative refuge in the monastery outside Rome. And it is here, in Italy, that he produced his greatest paintings. Matta’s first retrospective in Sweden was organised in 1956 when his works were exhibited in what was then Galerie Colibri – run by, among others, the artist C O Hultén at number 36 Södra Förstadsgatan in Malmö, Sweden. This was also the time when Matta began to collaborate with poets and other artists in Sweden. He produced the illustrations for Lasse Söderberg’s first anthology of poems, Akrobaterna (“The Acrobats”), published in 1955, and was also responsible for the cover of the Swedish art and literary magazine Salamander. In 1959 the first museum exhibition of Matta’s work in Europe was arranged at the Museum of Modern Art (Moderna Museet) in Stockholm. Held under the aegis of Pontus Hultén, it was entitled “Fifteen Forms of Doubt” and included 15 or so gigantic paintings...

Jack Scott "Airveil" 3/1976 Charcoal on unprimed canvas sprayed with custom fixative 94.25"x60.25" unstretched Signed, titled and dated in pencil on reverse Excellent Condition - Mi...

This is an origianl graphite pencil drawing with either watercolor, gouache or pastel on it. It is signed in pencil and dated. there is an inventory number verso. Katherine Porter is an American artist born in Cedar Rapids, Iowa in 1941. She received her BA from Colorado College in 1963. Katherine Porter received an honorary doctorate from Colby College. She has shown twice in the Whitney Biennial and solo exhibitions at the Knoedler Gallery in London, the Nina Nielsen Gallery in Boston, and the Andre Emmerich and Salander-O'Reilly Galleries in New York. Her work is in the collections of the Metropolitan Museum of Art, Museum of Modern Art, Whitney Museum of American Art, Museum of Fine Arts in Boston, and the Tel Aviv Museum and Bezalel Museum in Jerusalem. (Katherine Page Porter, Katherine Pavlis Porter) Her exhibitions include biennials in 1976 and 1981 at the Whitney Museum of American Art in New York City; 1980 at the San Francisco Museum of Fine Arts; 1981, Dartmouth College, Hanover, New Hampshire; 1985, Brandeis University, Waltham, Massachusetts; and 1987 at the Sidney Janis Gallery, New York City. Classic Americana. American Abstract Expressionism. it bears similarity to works by Cy Twombly and to early Pattern and Decoration piece, The movement was championed by the gallery owner Holly Solomon. The P&D movement wanted to revive an interest in minor forms such as patterning which at that point was equated with triviality. The prevailing negative view of decoration was one not generally shared by non-Western cultures, The Pattern and Decoration movement was influenced by sources outside of what was considered to be fine art. Blurring the line between art and design, many P&D works mimic patterns like those on wallpapers, printed fabrics, and quilts. There is a close connection between the Pattern and Decoration movement and the Feminist art movement. The P&D movement arose in opposition to the Minimalist and Conceptualist movements. Mary Grigoriadis, Valerie Jaudon, Joyce Kozloff, Miriam Schapiro, Robert Zakanitch all worked in this same vein. SELECTED SOLO EXHIBITIONS Galerie Hubert Winter, Vienna, Austria Victoria Munroe Fine Art, Boston, MA Meridian Gallery, San Francisco, CA Salander O’Reilly Gallery, New York, NY Bowdoin College Museum of Art, Brunswick, ME Andre Emmerich Gallery, New York, NY Knoedler Gallery, London Sidney Janis Gallery, New York, NY Pace Gallery, Addison, ME Dartmouth College, Hanover, NH (drawings) Harcus Krakow Gallery, Boston, MA SELECTED GROUP EXHIBITIONS Contemporary Landscape Painting, Nagoya/Boston Museum of Art, Nagoya, Japan From the Collection of Edward Broida, Palm Beach Art Museum, Palm Beach, FL Abstraction Per Se (through January 1993), Pratt Manhattan Gallery, NY Painting Self-Evident (Curator), Picolo Spoleto Festival, Charleston, SC Art on Paper 1990, Weatherspoon Art Gallery, The University of North Carolina, Museo Barjola, Gijon, Spain; Calouste Gulbenkian Foundation, Lisbon, Portugal; Pratt Manhattan Gallery, NY Sightings, Instituto de Estudios Norteamericanos, Barcelona; Casa Revilla, Valladolid, Invitational, New Britain Museum of American Art, New Britain, CT Atelier Project, Neuberger Museum, SUNY Purchase, NY Landscape Show, Allan Frumkin Gallery, NY Rethinking the Avant-Garde, by Jonathan Fineberg, The Katonah Gallery, NY Nancy Hoffman Gallery, NY Group Show, Van Abbemuseum, Eindhoven, Holland Contemporary Drawings, Museum of Modern Art, New York, NY International Survey of Recent Painting and Sculpture, Museum of Modern Art, NY Modern Expressionist: German, Italian, & American Painters, Sidney Janis Gallery, NY American Women Artists, Part II: Younger Generation, Sidney Janis Gallery, NY Contemporary Works on Paper, Frumkin-Adams Gallery, NY Hassam Speicher Purchase Fund Exhibition, American Academy of Arts and Letters, NY The End of the World: Contemporary Visions of the Apocalypse, The New York Museum of Contemporary Art, NY Recent Acquisitions, Museum of Modern Art, New York, NY Homage to Arthur Dove, Hobart and William Smith Colleges, Geneva, NY Six Painters, The Hudson River Museum, Yonkers, NY Twenty New York Painters, Institute of Contemporary Art, Philadelphia, PA 74th American Exhibition, The Art Institute of Chicago, Chicago, IL Abstract Painting, Women’s Caucus, NY Biennial, Whitney Museum of American Art, New York Spoleto Choice, Spoleto Festival, Charleston, SC From Women’s Eyes, Rose Art Museum, Brandeis University, Waltham, MA Theodoran, Solomon R. Guggenheim Museum, New York, NY Three If By Air, Obelisk Gallery, Boston, MA Betty Parsons Collection, Finch College, New York, NY SELECTED PUBLIC COLLECTIONS Addison Gallery of American Art, Andover, MA Albertina Museum, Vienna, Austria California Palace of the Legion of Honor (Achenbach Foundation), San Francisco, CA Detroit Art Institute, Detroit, MI Fogg Art Museum, Harvard University, Cambridge, MA Gemeentsmuseum of the Hague, The Hague, Netherlands (permanent installation) Solomon R. Guggenheim Museum, New York, NY High Museum of Art, Atlanta, GA Houston Museum of Fine Art, Houston, TX Massachusetts Institute of Technology, Cambridge, MA Metropolitan Museum of Art, New York, NY Mount Holyoke...

Jack Scott "Black Arc, High Arc" 4/1976 Charcoal on unprimed canvas sprayed with custom fixative 90.25"x60" unstretched Signed, titled and dated in pencil on reverse This canvas is ...

Jack Scott "Slow Blur" 1976 Charcoal on unprimed canvas sprayed with custom fixative 89.25"x60.25" unstretched Signed, titled and dated in pencil on reverse This canvas is a testame...

This is a contemporary abstract watercolor painting by artist David Ruth. This series of paintings often feature bright colors and vibrant layouts that draw the viewer in. They are c...

Jack Scott "Light Black Blur #2" 1978 Charcoal on unprimed canvas sprayed with custom fixative 177.25x83.25" unstretched Signed on reverse Installation: This piece is intended to be stretched and stapled to the wall without a frame. Excellent Condition - Minor wear consistent with age and history. This canvas is a testament to the artist's meticulous craftsmanship and creative vision. The intricate charcoal cross-hatch arches create a captivating play of light and shadow, each mark bearing the artist's hand. To enhance and preserve this piece, the artist has applied multiple layers of their custom-made a fixative. This carefully curated process not only protects the delicate charcoal work but also adds depth and texture to the piece. The result is a mesmerizing work of art that begs viewers to explore its intricate details and reveals new dimensions with each look. About the work: Working on large unstretched canvases, Jack Scott draws charcoal arcs in a freehand style. Through placement and density the arcs create patterns of light and dark, vibrating with a luminescence unanticipated by the rawness of the materials. In previous works the arcs coalesced into amorphous forms—romantic sensations suggesting clouds, smoke or fog. With his recent works Scott introduces a concrete graphic form, large bisecting arcs that are giant magnifications of the minutely rendered arcs. Environmental romanticism yields to a bolder sensibility, as these shapes bear relationship to configurations favored by Minimalists and hard-edge abstractionists. However, Scott’s web of soft, undulating arcs subverts the large-scale coolness of the primary form. In this sense the artist’s works remind one of Rothko, whose monumental forms were also conceived through a diffused or soft-edge development. The method of building up freehand forms is remarkable considering the massive scale favored by the artist. From this standpoint his drawing seems imbued with a medieval intensity, displaying a feeling for concentration and handcraft that is often absent from contemporary art. —Hal Fischer

Jack Scott "Black Drawing (Introductions)" 5/1976 Charcoal on unprimed canvas sprayed with custom fixative 92.5"x59.5" unstretched Signed, titled and dated in pencil on reverse This...

Jack Scott "Clear Lobe" 1-77 Charcoal on unprimed canvas sprayed with custom fixative 83.25'x57" unstretched Signed, titled and dated in pencil on reverse This canvas is a testament...

Jack Scott "T-Blur" 3-27-77 Charcoal on unprimed canvas sprayed with custom fixative 69"x59.5" unstretched Installation: This piece is intended to be stretched and stapled without ...

Jack Scott "Black Rest" 3-27-77 Charcoal on unprimed canvas, sprayed with a custom fixative 76.5"x60" unstretched Signed, titled and dated in pencil on reverse Installation: This piece is intended to be stretched and stapled without a frame. Excellent Condition - Minor wear consistent with age and history. This canvas is a testament to the artist's meticulous craftsmanship and creative vision. The intricate charcoal cross-hatch arches create a captivating play of light and shadow, each mark bearing the artist's hand. To enhance and preserve this piece, the artist has applied multiple layers of their custom-made a fixative. This carefully curated process not only protects the delicate charcoal work but also adds depth and texture to the piece. The result is a mesmerizing work of art that begs viewers to explore its intricate details and reveals new dimensions with each look. JACK SCOTT (1953-) Education: MFA San Francisco Art Institute (1978) BA San Francisco State University (1976) College of Marin (1971-1974) Exhibitions Include: Los Angeles Institute of Contemporary Art (solo) Hansen Fuller Golden Gallery, San Francisco (solo) Kirk deGooyer Gallery, Los Angeles, (solo) "California Drawings", Modernism, San Francisco Awards and Distinctions Include: National Endowment for the Arts, Artist Fellowship Grant Marin Arts Council Individual Artists Grant Finalist, S.E.C.A. Award, San Francisco Museum of Modern Art Publications Include: Albright, Thomas. Art in the San Francisco Bay Area, 1945-1980 University of California Press, 1985 Articles and Reviews Include: Fischer, Hal, ARTFORUM Wilson, William, THE LOS ANGELES TIMES Rosenthal, Adrienne, ART WEEK Albright, Thomas, SAN FRANCISCO CHRONICLE Gardener, Colin, ARTWEEK Solnit, Rebecca. Arts, PACIFIC SUN Pincus, Robert, LOS ANGELES TIMES Frankenstein, Alfred, SAN FRANCISCO CHRONICLE Public Collections Include: Prudential, Inc., New Jersey Security Pacific Bank, Los Angeles Illinois Bell, Chicago Atlantic Richfield Corporation, Los Angeles Park Fifty-Five Hotel, San Francisco About the work: Working on large unstretched canvases and Strathmore paper, Jack Scott draws charcoal arcs in a freehand style. Through placement and density the arcs create patterns of light and dark, vibrating with a luminescence unanticipated by the rawness of the materials. In previous works the arcs coalesced into amorphous forms—romantic sensations suggesting clouds, smoke or fog. With his recent works Scott introduces a concrete graphic form, large bisecting arcs that are giant magnifications of the minutely rendered arcs. Environmental romanticism yields to a bolder sensibility, as these shapes bear relationship to configurations favored by Minimalists and hard-edge abstractionists. However, Scott’s web of soft, undulating arcs subverts the large-scale coolness of the primary form. In this sense the artist’s works remind one of Rothko, whose monumental forms were also conceived through a diffused or soft-edge development. The method of building up freehand forms is remarkable considering the massive scale favored by the artist. From this standpoint his drawing seems imbued with a medieval intensity, displaying a feeling for concentration and handcraft that is often absent from contemporary art. —Hal Fischer

Abstract drawing with colorful text.

Reginato's work is organic and biomorphic, using color to add a painterly effect.

Jules Olitski Journey of Sara IV, ca. 1987 Monoprint on paper Signed, titled and annotated by the artist on the front 24 × 18 inches Unframed This is a unique work Excellent conditi...

John Peters 1927-2019 "Mustard DNA" 1980s Marker on paper 8"x10" brown wood frame float mount over linen mat 11"x12.75 Unsigned, came from a portfolio of the artist's work

Alice Aycock Hoodoo (Laura) from the Series "How to Catch and Manufacture Ghosts" - Vertical and Horizontal Cross-section of the Ether Wind (1981), 1990/2012 watercolor and ink on pa...

Alice Aycock The Seventh Manoeuvre of War: The Indirect Approach, 1984 pencil on paper 60 x 55 in. / 152.4 x 139.7 cm

Black and white abstract figurative ink drawing by Floyd Newsum. The work features a surreal pastoral farm scene in which two female figures and various animals appear to float in and amongst the landscape. Signed and dated in front lower right corner. Currently hung in a thin black frame with a brown matting. Dimensions Without Frame: H: 30 in x W: 44 in Artist Biography: Floyd Newsum, a painter and printmaker with a career spanning four decades, is a Houstonian by way of Memphis. Currently a University of Houston Art Instructor, he spent his childhood years in Tennessee and received his Bachelor's Degree in Fine Arts in Memphis before moving to Philadelphia where he earned a Master's Degree in Fine Art. Newsum's latest work demonstrates the influence of West African art...

This unique drawing by painter/sculptor Amalia Schulthess features large black ink curves surrounding semi-abstract characters. As the title suggests "Something going on inside". The piece is signed and dated with red ink. The entire life of Amalia Schulthess has been tied up in art. She grew up in Thurgau, Switzerland, where Paul Klee was a frequent guest in her house. She immigrated to America in 1941. Upon her arrival in New York she made contact with Piet Mondrian, who inspired her to continue working as a professional artist. Schulthess then traveled west, painting and exhibiting for the next 20 years in California and New Mexico. In Taos she met Andrew Dasburg and was instrumental in reviving the career of the great modernist who had fallen into obscurity after the war. By the late 1960s Schulthess had abandoned painting for sculpture. She worked in Florence, Italy for 10 years and after that established a studio in Pietra Santa. Regardless of where she was her work has always been close to nature. Organic forms predominate and the magic of the raw material is allowed to speak out. Schulthess was the subject of a retrospective at the Santa Barbara Museum of Art in 1976 and has exhibited in Paris at the Salon de Jeune Sculpture and the Salon de Mais. Her work is in various public and private collections both in Europe and America including the Santa Barbara Museum of Art, La Jolla Art...

1990 Watercolor on paper 8 x 12 in. (20.3 x 30.5 cm) Signed in ink, lower right

1973 Watercolor on paper 30 x 22 in. (76.2 x 55.9 cm) Signed in ink, lower right

1973 Watercolor on paper 22 x 30 in. (55.9 x 76.2 cm) Signed in ink, lower center

Modern black and white charcoal still life drawing by iconic abstract artist Donald Sultan. The work features a dynamic composition of circular forms set against a white background. The rich black tones, emblematic of Sultan's work, make this work pop. Titled, dated, and signed along top margin. Currently hung in a complementary black floating frame. Dimensions Without Frame: H 48 in. x W 60 in. Artist Biography: Born in 1951 in Asheville, North Carolina, Donald Sultan rose...

WOLF KAHN Brilliant Landscape, 1991 Pastel on paper 21 x 29 inches 53.3 x 73.7 cm Signed: "W Kahn" (lower right recto) Color-field landscape painting of a house underneath trees and...

In this Bert Long work, a stimulating and vibrant background is contrasted by an expressive charcoal rendering of a twisting tree. The tree’s lack of leaves ...

This charcoal drawing by Bert Long Jr. features various locks, numbers, and a paintbrush constellating around Long’s trademark abstracted eye symbol. The sym...

This colorful artwork is one in a series of studies leading up to Long’s major ice sculpture installation Other in May of 2000. Bert L. Long Jr., was self-taught artist, was born in 1940 in Texas, grew up the Houston’s historic Fifth Ward and received his formal education from UCLA. Following a career as a successful master chef, Bert Long...

This large monoprint demonstrates Bert Long’s affection for introspection. Referring to the paint as both an action and an object underscores the fluidity of...

Eduardo Chillida, Spanish (1924–2002) India Ink, brush on laid paper, signed lower right Size: 11.5 x 8 inches Frame Size: 17 x 13.7 inches

RAMIRO LLONA UNTITLED, 1984 INK & WASH/PAPER 14 3/16 x 20 1/8 in. 36 x 50.2 cm.

Primal energy leaps from the depths of the universe, as the first rays of daylight break through the dark. Artwork Details: Ithipol Thangchalok "Early Morning Light" 1998 Oil on Pa...

Dynamic abstract with boldly colored forms in motion by Doris Ann Warner (American, 1925-2010). Signed "Warner" lower left. Unframed. Image size, 12H x 9"W. Purchase from the estate ...

"Man with Bicycle" is an extraordinarily complex painting by Artis Lane. The figure is in a Classical Greek pose balancing the body's weight on the left leg while the right is slight...

"Nude on Throne" shows a beautiful strong young woman seated upon what appears to be a ancient throne. There are objects held by her and placed on her legs, one of which can clearly ...

Watercolor on Arches paper

Gouache on board

pastel on fabric (bathrobes) on wood panel with upholstery tacks

Blue geometric abstract watercolor painting on paper by Oris Robertsion circa 1970s. Features contrasting thine, white, geometric lines with curved cool colored shapes. Artist Biog...

Georges Hugnet (1906-1974) Ultramarine Blue Creature Gouache on paper Signed in the lower right corner Dimensions 37,5 x 15,5 cm (15 x 6") Excell...

Georges Hugnet (1906-1974) Sleeping Jellyfish Gouache on paper Signed in the lower right corner Dimensions 37,5 x 15,5 cm (15 x 6") Excellent condition

Georges Hugnet (1906-1974) Green Freshness Gouache on paper Signed in the lower right corner Dimensions 37,5 x 15,5 cm (15 x 6") Excellent condition

A pastel drawing by Peter Lobello from 1991. An abstract drawing of multiple layered line strokes. Signed and framed in light wooden frame. Artist: Peter Lobello Title: Gold Ve...

Presenting an exceptional mixed media painting by American artist Hans Burkhardt. "Red Lips", is an original mixed media painting, signed, dated 1977, 5.75...