Horizontal Abstract Drawings and Watercolors

Beautiful abstract expressionist collage by Bay Area artist Michael Pauker (American, b.1957). Composed of two contrasting sections of light blue and brown, this piece has layers of ...

Minimalist Aerial Perspective fine pen/watercolour painting on artist paper painting: 10 x 14 inches provenance: private collection, England condition: very good and sound condition...

Unique work mixed media H63 x W 78 cm (Framed)

Color lithograph on fine Arches paper Published 1966 Publisher: Maeght, Paris Limited edition Signature and numbering in pencil by the artist Numbered specimen: 68/75 Paper size: 54...

Friederike Oeser, a contemporary abstract painter, lives and works in Munich, Germany. For Oeser there is no hierarchy of visual value. It all has import—whether it be a trickle of w...

Anthony Padovano Untitled Abstract Expressionist drawing, 1971 Ink wash on paper drawing Signed and dated in ink wash Unique Original (unique) signed Abstract Expressionist ink wash ...

'Untitled II' abstract composition, mixed media on soft board, Japanese ink, oil, pencil and gouache by Erez Yardeni (2018). There is so much energy in th...

Provence Abstract by Louis Bellon (French 1908-1998) Initialled lower right gouache painting on paper, unframed measurements: 9.5 x 14 inches (overall sheet measures 12.5 x 17.5 inc...

Simon Samsonian (1912 - 2003) Colorful Geometric Abstraction, 1981 Oil on paper 16 x 22 inches Signed and dated lower right Provenance: Estate of the artist This survivor of the Armenian genocide wound up in a Cairo orphanage in 1927. He rose to fame as one of Egypt’s great modernists, but after moving to Long Island late in life he withdrew into anonymity. Now his compelling story is being told. Art historians are finally beginning to realize that the power of abstraction in its early years was a zeitgeist not limited to the major European centers of the avant-garde — Paris, Munich, and Moscow — but one that quickly rippled to major cities throughout the world. Within a few decades that original shock of a new vision had inspired thousands of artists from different cultures — particularly those the Middle East — whose translations were not slavish imitations of works by seminal figures like Picasso, Braque, Malevich, and Kandinsky but creative variants colored by their respective cultures. This essay focuses on an extraordinary Armenian artist, his harrowing survival of the genocide, his rise to fame in Cairo, and his creation of a unique style of abstraction. Art historians have typically formed a chorus that teaches the history of abstraction like this: Just before and during the World War I era, several avant-garde artists emerged to create shockingly different new forms by which artists could express themselves. In Paris, Picasso and Braque broke out with cubism, quickly followed by Mondrian. In Moscow, Malevich created Suprematism, the ultimate hard-edge geometric abstraction. And in Munich, Kandinsky emerged as the father of Abstract Expressionism. Within these few short years a zeitgeist was sensed throughout the art world. American pioneers, too — particularly Stanton Macdonald-Wright and Morgan Russell — felt this explosive freedom of expression. When Europe was recovering after World War I it became clear that Paris would retain its title as capitol of the art world, lasting through the Roaring Twenties and even through the Great Depression. But the end of World War II changed everything. A parallel war had been won by a group of irascible young Abstract Expressionists in New York — led by Pollock, Rothko, DeKooning, and Kline. No sooner had Paris been liberated from the Germans than Picasso, Matisse, Breton, and Duchamp surrendered to the Americans. From that point on New York would be the epicenter of the art world. But a lens that focuses myopically on the war between the avant-garde of Paris and New York misses the wider narrative of multiple aesthetic modernities that developed in the several decades following World War I. For Armenian artists the matter is even more complex owing to the genocide of 1915 where more than 1.5 million people — seventy-five percent of Armenians in the Ottoman Empire — were massacred. Those not shot on the spot were sent on death marches through the Mesopotamian desert without food or water. Frequently, the marchers were stripped and forced to walk naked under the scorching sun until they dropped dead. As a child Samsonian witnessed the murder of his parents and most of the members of his family. Soon thereafter, his older sister, Anahid, quickly shepherded him into a line of children being rescued by Greek nuns. But they became separated and he lost her, too. He was sent to a Greek orphanage in Smyrna (now Izmir), on Turkey’s west coast. Because he only knew his first name, the orphanage gave him a last name based on the place where they found him — Samsun — a major port on Turkey’s north coast on the Black Sea. His birth date was unknown, too. According to Samsonian’s vague recollections he assumed he was about three or four years old at the onset of the genocide, which would place his birth year in 1911 or 1912. In 1922, when Samsonian was about 10, the Turks ended their war with the Greeks by putting Smyrna to the torch in what has been called the “Catastrophe of Smyrna.” Once again, the child was on the run, escaping the fire and slaughter. He found temporary refuge in Constantinople, but within a year that major port would fall to the Turks, too, and become renamed as Istanbul. This time, Samsonian was whisked away to an orphanage in Greece founded by the American charity, Near East Relief — which is credited with saving so many Armenian orphans that the American historian Howard M. Sachar said it “quite literally kept an entire nation alive. Any understanding of Samsonian’s approach to modernism requires careful consideration of the impact of his early years because his art is inseparable from the anguish he experienced. In 1927, when he was a teenager, he was transferred to Cairo, Egypt, then a cosmopolitan city hosting a sizable portion of the Armenian diaspora. There he lived with thirty-two other children on the top floor of the Kalousdian Armenian School. Upon graduating in 1932 he won a scholarship to attend the Leonardo da Vinci Art Institute — an Italian art school in Cairo — where he won first prize in final examinations among one hundred students. He found work with an Armenian lithographic printer and he returned to the Kalousdian Armenian School to teach drawing. In 1939 he married one of his students, Lucy Guendimian. The Cairo in which Samsonian matured as an artist was home to many prominent art collectors after World War I. In this receptive environment Samsonian exhibited widely and won many awards. Beginning in 1937 and for the next thirty years he exhibited annually at the prestigious Le Salon du Caire hosted by the Société les Amis de l’Art (founded in 1921). After World War II he hit his stride as a modernist in Cairo, counting among his peers other artists of the Armenian diaspora such as Onnig Avedissian, Achod Zorian, Gregoire Meguerdichian, Hagop Hagopian...

David Novros (American, b. 1941) Untitled (Home Savings Study), 1986 Watercolor on paper Framed: 35 1/4 x 86 3/4 x 1 3/4 in. Each panel: 30 x 42 in. From Los Angeles and working fro...

Māris Abiļevs (born 23 April 1956 in Kazakhstan) is a Latvian graphic artist and printer, brother of graphic artist Andris Abiļevs. He works in etching, lithography and various mixed...

Richard Stankiewicz Study for Sculpture (Untitled), ca. 1968 Graphite on Paper Signed in graphite lower right front Frame Included: held in original vintage frame with Kulicke label ...

Colored marker on heavy paper

Colored marker on heavy paper

This etching is in very good condition, it is signed and numbered by the artist but I was unable to identify the artist. It is a piece from my private collection of artists from the ...

Robert Longo Pressure, 1983 Acrylic and Graphite on Paper Signed and dated 'Robert Longo 83’ (lower right) in graphite Frame included: Floated and framed in a museum quality frame with UV plexiglass This is a unique painting "Pressure " [on God], Robert Longo's unique acrylic and graphite work on paper, was created during the same period as his iconic work, simply labeled "Pressure", now in the permanent collection of the Museum of Modern Art in N.Y. Whereas the latter depicts a young man, the present work, titled "Pressure on Heaven", then deliberately changed to "Pressure on God", is more ethereal in subject matter, though the lone youth's image is still present in the composition. From Lexander magazine: "In the excerpt from Neal Benezra’s article about 1980s art in the previous post, he writes, “Robert Longo’s Pressure might well be the most representative work of art of the 1980s.” I would go further and state that it is the definitive work of the 1980s—the penultimate visual anthem of the era—and most especially the period between 1979—1987, during which the musical genres of gothic rock and deathrock flourished and achieved their greatest artistic successes through the work of a variety of diverse bands including Bauhaus, Siouxsie and the Banshees...

When does a line on a page become figurative? The series of drawings by Mexican artist Renato Garza Cervera entitled Mareas Humanas (Conflictos II) / Human Tides (Conflicts II) satis...

Colored ink marker on paper

Ink, colored marker on heavy paper

Colored ink marker on paper

Ink, colored marker on paper

Colored ink marker on paper

Ink, colored marker on paper

Edith Isaac-Rose "Pastel Landscape Pond" 1963 Pastel on paper 13.5"x10" unframed Signed and dated lower left in pencil. Came from a portfolio of her work Born in Chicago in 1929, and neé Ganansky-Teitelbaum, she graduated from The Art Institute of Chicago in 1951 and moved to New York in 1959 where she lived ever since. Taking as her professional name her parents’ first names, Edith was a prolific artist working first as an abstract expressionist then turning in the 1980s to figurative, political work consisting of drawings, paintings, and embroideries which she called “Daily Rage”. She had been represented by the Phyllis Kind Gallery and her work is in the Hirshhorn Museum as well as numerous private collections. Edith, along with her partner of 35 years, Bea Kreloff, (1925-2016), founded Art Workshop International in 1981 where they held art and writing workshops in Assisi, Italy, Monhegan Island, Maine, and Puerto Escondido, Mexico. They were both actively involved with the anti-war movement, gay liberation...

Larry Rivers French Money, ca. 1966 Original graphite drawing with collage Boldly signed in graphite pencil in the center of this collage. Larry Rivers original, unique drawing with ...

Abstract artwork on paper by a Bulgarian/American artist Iliyan Ivanov. Ivanov continues to treat color in a multilayered approach, introducing a wid...

Abstract artwork on paper by a Bulgarian/American artist Iliyan Ivanov. Ivanov continues to treat color in a multilayered approach, introducing a wid...

Abstract artwork on paper by a Bulgarian/American artist Iliyan Ivanov. Ivanov continues to treat color in a multilayered approach, introducing a wid...

Set of 3 Stamps Framed by Rodrigo Spinel From The Series Terms and Conditions . Chinese ink on Fabriano paper 250 g. Overall size: Image size: 29.7 cm H x 63 cm W Frame size: 42 c...

Margie Hughto Blue Blossom, 1983 Dyed Handmade paper Hand signed and dated by the artist on the lower right front. Titled on the back. Frame Included in ...

sbc 197 (Abstract painting) Mixed media collage on paper — Unframed Susan Cantrick's abstract paintings explore the pre-verbal realm of thought through structured visual responses. ...

This piece titled "the wind telling stories" is an original piece by Cassie Normandy White and is made from fabric monotypes and ink. This piece ...

Set of 3 Abstract Drawing on paper, by Rodrigo Spinel From the series Illusions of the Line Chinese ink on Fabriano paper 250 g. Overall size: Image size: 29.6 cm H x 56 cm W. Fram...

This framed 27" x 37" watercolor painting by Irish artist, Peter Healy is from the 'In Flux' Pandemic Collection. The painting comes vibrantly alive as the...

Andrei Petrov is an American artist of Russian origins. He is best known for his abstract oil paintings where calibrated stratifications of intense shades of colors are scraped to ex...

Blue Mother Drawing #3, by Jeanette Fintz in 2020 22 x 30 inches watercolor, gouache on Fabriano paper Signed lower right corner Framed: 32 x 39.5 inches, custom white frame, 8 ply w...

About Prymon’s Exhibition Dopaminum and his paintings: ”Dopaminum” - Tomasz Prymon Dopamine – colloquially referred to as the hormone of love and happiness. Why is this organic che...

The Dead Tiger Ink and watercolor on paper, 1955 Signed and dated in ink (see photo) Condition: Aging to the entire sheet (it's 78 years old) Image/Sheet size: 18 1/4 x 23 inches On...

Drawing on paper without frame Size A4

A Sandstorm on the Little Colorado River, Arizona. 1920. Watercolor on watercolor board. Study for Seeber 189. 10 3/8 x 14 1/4. Signed lower left; titled verso. An exquisitely subtl...

Regular, 2017 by Rodrigo Spinel From The No. 1 Series Chinese ink on Fabriano paper 250 g. Image size: 14.8 cm H x 21 cm W Frame size: 22 cm H x 29 cm W x 4 cm D One of a Kind N...

This piece titled "held like a dream" is an original piece by Cassie Normandy White and is made from fabric monotypes and ink. This piece measure...

Signed lower right, 'Gilberg' for Robert George Gilberg (American, 1911-1970) and painted circa 1965. Born in Oakland, Robert George Gilberg first studied at the Oakland Art Center during the 1930s. Following service during WWII, he settled in Nevada City, California where he lived and painted until shortly before his death in San Francisco. Gilberg exhibited widely and with success and was the recipient of numerous medals, prizes and juried awards, including at the San Francisco Museum of Fine Arts...

Richard Garrison collects information from typically overlooked aspects of daily life. Observed data from places like big box stores and parking lots are systematically transformed i...

Classic modern black and white French ink wash, 2015. Signed lower right. Original artwork on paper displayed on a white mat with a gold border. Archival plastic sleeve and Certific...

Set of 6 drawings 2022 by Rodrigo Spinel (Framed) From the series Terms and conditions Gliceé printed on Hahnemule Fiber Matt paper, intervened by ...

Cubos Transparencia 2, 2020 by Rodrigo Spinel From The Series Terms And Conditions 2.0. Chinese ink on Fabriano paper 250 g. Image size: 25 cm H x 35 cm W Frame size: 36 cm H x 46...

"I paint directly and urgently from life. My paintings are “moment-to-moment” extrapolations. In them, I tap a kind of “hyper” or “trippy” vision, as I look simultaneously in all di...

Dorothy Dehner A Piano for Pete, 1975 Ink on paper Hand signed, dated and inscribed "A Piano for Pete - Best, Dorothy" on the the front Unique Frame included Held in the original vin...

French painting in bright green, blue and yellow tones of someone sitting at a table by artist Jean-Charles Lauthe, 1971. Signed and dated lower right. Original artwork on paper dis...

Frank Duffield (British, 1908-1982) signed original watercolour painting on board, unframed size: 10.75 x 15 inches condition: overall very good, minor wear to the edges as is normal...

This piece titled "when darkness yields" is an original piece by Cassie Normandy White and is made from fabric monotypes and ink. This piece meas...

This 15" x 22" watercolor on paper painting by Lisa Miceli depicts an imaginative abstracted landscape. This painting is part of the "latticeWorks Series."...

Daniel Brice Untitled NY 8, 2015 watercolor, charcoal and pastel on paper 29 x 42 in. This original abstract oil painting on paper by Daniel Brice is bold and modern, anchored by a ...

This piece titled "who's there?" is an original piece by Cassie Normandy White and is made from fabric monotypes and ink. This piece measures 30"...

Maeve D'Arcy Land Shark , 2024 ink and colored pencil on paper 22 x 30 in. (dar150)

This piece titled "said the zinnia" is an original piece by Cassie Normandy White and is made from fabric monotypes and ink. This diptych piece m...