Horizontal Abstract Drawings and Watercolors

Naftali Bezem (Hebrew: נפתלי בזם‎‎; born November 27, 1924) is an Israeli painter, muralist, and sculptor. Bezem was born in Essen, Germany, in 1924. His early adolescence was spent ...

marker, rubber stamps, India ink, and pen on Strathmore drawing paper :: Drawing :: Abstract :: This piece comes with an official certificate of authenticity signed by the artist :: ...

This watercolor, gouache, graphite, and crayon drawing on paper was created by contemporary artist Jody Pinto (b. 1942). Pinto's large-scale architecture and small-scale design all h...

Oil on paper - Unframed Framed on request Spielman uses oil paint on canvas, paper and panel in various sizes; she works on up to forty paintings at a time, moving between them as each begins to form, then isolating a work to bring to completion. Her saturated surfaces are luminous, with alternate glossy and matte layers, but also bear rough nail marks that scar and deconstruct the work. These etched lines and marks relate to an image and idea, and are often the underlying structure, the submerged language of a work. Her use of reds and pinks link to flesh and blood...

Spray paint, pencil, ink, watercolor on paper. Unframed. Peter Soriano works on relatively large sheets of Japanese paper with a tendency to work from something observed, ideally ar...

William Black (British, Fl. 1963 – 69) Landscape abstraction Watercolour and ink on paper Signed, inscribed and dated ‘Landscape abstraction William Black 63’ (lower edge) 8 x 11.1/4 in. (20.3 x 28.3 cm.) William Black is a little known and underrated member of the St Ives artist group who, having worked as an architect after the Second World War, went on to work as an artist following the inheritance of money in the early 1950s. He was a self taught artist, producing numerous deconstructivist sculptures in the 1960s. He moved to St Ives in Cornwall where he knew artists such as Ben Nicholson, Barbara Hepworth and Naum Gabo. There is a clear architectural element to the sculptures that he made . They illustrate an assemblage of fragmented shapes and forms of a deconstructivist nature. William Black’s artwork is very much rooted in the time and Cornish School so one can see elements from those such as Wilhelmina Barns Graham...

Elfi Schuselka (Austrian, b. 1940), Abstract Composition, Mixed Media on Paper with three-dimensional collage elements, signed in pencil lower right, unframed. 23" H x 30" W. Provena...

Artist: Ian Hornak (1944-2002) Title: (Abstract Landscape with Angel) Untitled Year: 2001 Medium: Ink on archival paper Size: 9 x 12 inches Condition: Good Provenance: Estate of Ian ...

Chicago-based artist Jan Pieter Fokkens uses his work as a means of processing the incomprehensible. Navigating the relationship between algorithmic abstraction and the tangible qualities of pattern and color, Fokkens meditates on how we as viewers negotiate our realities. Entitled "The Adventure II," this vibrant drawing depicts a still from the Italian classic film...

Title: Frammento Casa V. Technique: Mineral oxide (pure pigment) on paper Dimensions: 50x70 cm Description: A unique artwork on paper, created with mineral oxide, a natural material ...

"Do America a Favor," Is a highly conceptual mixed media abstraction by artist Vivian Liddell. With impressive yarn work mixed with the paint go cohesively coincide with the text filing the piece with detail and precision. Liddell often walks the line between contemporary art and craft. Working to bring materials that are traditionally labeled as "craft" and lesser into the contemporary conversation. Mixing craft with one of the most respected and oldest forms of fine art, painting, really encourages the viewer to view the two on the same playing field. The idea of craft is settled into these gestural, layered works, constantly critiquing contemporary culture. This piece is currently unframed, but framing options are available. For more works follow our storefront at Gallery 1202. "As a painter, I often work on large, raw canvas. My abstract paintings merge formal painting and “bad” craft to challenge the high-low separation of materials (and related gender hierarchies) that have traditionally been present in the art world. The monotypes are like a calligraphic practice. I use them as a warm up to allow me to feel confident with a gesture before committing it to a larger scale. I work in layers, often sewing or incorporating fabric into the finished piece, and incorporate chance into each stage of my process. The text/titles often come from song lyrics, local radio commercials, and news headlines. I edit these snippets and piece them together to reflect my interpretation of current politics and social norms, especially as they relate to gender. Vivian Liddell is an interdisciplinary artist in Athens, Georgia who works with painting, fiber and craft techniques, sculpture, printmaking, photography, animation and sound. Born in Memphis, Tennessee, she received her BFA from the University of Georgia and her MFA from the Pratt Institute in Brooklyn. Liddell’s work has been featured in solo and curated exhibitions throughout the United States, including at the Wiregrass Museum of Art, the Macon Museum of Arts and Sciences, and Trestle Gallery in Brooklyn. In 2019 she had two solo exhibitions of her “Men” series at the Versa Gallery in Chattanooga and 621 Gallery in Tallahassee, with a review of the Versa exhibition in BURNAWAY and was recently picked by Berlin curator Tina Sauerlaender as a featured artist on Foundwork. Liddell hosts a podcast (Peachy Keen) as an extension of her art practice, interviewing women on art and the South. She is an Assistant Professor of Painting and Drawing at the University of North Georgia...

Prospectus 1 (Abstract Drawing) Graphite on paper, Unframed. Margaret Neill works for a time on a group of pieces in a series, using classic almost primal materials such as graphit...

Berlin (Abstract Painting) Spray paint, pencil, ink, watercolor on paper. Unframed. Peter Soriano works on relatively large sheets of Japanese paper with a tendency to work from so...

Artist: Karl Fred Dahmen Title: Untitled 2 Year: 1980 Medium: Drawing with Mixed Media on Paper, signed verso Size: 33 x 41.5 in. (83.82 x 105.41 cm)

Watercolour on 100% rag hot press paper. Unframed. Melissa Meyer has created a diverse oeuvre that includes oil paintings, drawings, watercolors, prints and large-scale public commi...

Manfred Schwartz (American, b. Poland, 1909-1970), Beach Seascape, Charcoal on Paper, with the artist's signature stamped lower right, unframed. 20" H x 25.5" W. Provenance: From a 3...

Hermann Kremsmayer, born in Salzburg in 1954, lives and works in Vienna. This work, entitled ‘Blue composition’ by Hermann Kremsmayer, shows a play between colours. Bright colours s...

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...

Flowers. Luxembourg Garden. 2010. Watercolor on paper, 38x50 cm Watercolor artwork in magenta and pink colors. Ingrida Irbe (1969) Born 15th of June 1969 in Riga Education: 198...

Snow Globe by Rebecca Denton [2019] limited_edition Etching and aquatint Edition number /40 Image size: H:20.5 cm x W:25.5 cm Complete Size of Unframed...

G_40, 2021 white ink on black cardboard (signed on reverse) 27 9/16 H x 39 3/8 W in. 70 H x 100 W cm Alina Aldea's drawings project all the possible forms which appear to disappear ...

G_44, 2021 white ink on black cardboard (signed on reverse) 27 9/16 H x 39 3/8 in. 70 H x 100 W cm Alina Aldea's drawings project all the possible forms which appear to disappear wi...

Watercolor on wove paper. Signed and dated in ink, lower right recto.

G_43, 2021 white ink on black cardboard (signed on reverse) 27 9/16 H x 39 3/8 W in. 70 H x 100 W cm Alina Aldea's drawings project all the possible forms which appear to disappear ...

G_41, 2021 white ink on black cardboard (signed on reverse) 27 9/16 H x 39 3/8 W in. 70 H x 100 W cm Alina Aldea's drawings project all the possible forms which appear to disappear ...

He was born in Paris, the son of a conversation though open-minded middle-class family. His father runs the family business of optical equipment but he's also a theatre lover, an author and a poet. He gives his son a strict education and the boy will feel closer to his mother. Pierre De Maria will become a honest, straightforward man, uncompromising to himself and the others. He is very particular about his appearance and, as a child of the "Belle époque" takes up to a kind of dandysm. A cousin of his, Jacques Camoreyt (a pupil of Albert Maignan) teaches him how to master pictorial techniques along with the rather academic education in Arts he is going through. From 1907 to 1914 he is a student at the Lycée Condorcet, first graduates in science and languages, then at the Engineering College just before World War 1. The sight of atrocities will leave a deep scar in his memory. He has a miraculous escape from the war and finds a job in the family firm. He soon realizes he hates everything related to engineering and decides to launch on into painting. He works as a scene painter with Ronsin and Laverdet workshop and on stage with "avant-garde" drama companies. In the same time, he shows his work at the "Salon d'Automne" in 1923 an gets a honour prize in the modern painting department. In 1925 he takes up to boxing and creates some polychromatic facades with Djo Bourgeois, then gets into the Art Deco trend as an architect and a decorator. Henri-Pierre Roché, a writer (Jules et Jim) a painter and an art collector close to the cubists has already discovered talents ( Brancusi, Wols…) and takes an in interest in Pierre De Maria. Autoportrait Environ 1960 In 1926 (the "Années Folles "in Paris) Pierre De Maria meets Marcel Duchamp, Brancusi and the surrealist gang he enjoys but never joins. « They were friends and I was curious but I never liked the hint of complaisance I saw in their work. » He then starts some technical research an collages as shown in his first exhibition of "pasted gouaches" in Princess'Murat 's gallery in Paris. (« Fermé la nuit ») « I never thought I'd make money with my paintings. I took to painting as I would have taken holy orders » He works as a journalist for Marianne and Vu magazines (1932-1933) and writes a detailed report about the Maelström in Norway and the soviet Movies. He has the opportunity to meet Eisenstein and Poudovkine in Sovietic Russia and thinks of making a name for himself in the Movie industry. In 1939 Pierre De Maria meets Germaine Pellegrino who becomes his wife a year later. They'll have two sons : Jacques born 1942 and François born 1943. The family settle in Geneva at the end of 1943. During those years he writes an unpublished autobiographical novel («Tir à volonté») as well as a collection of thoughts about various topics such as war. He also writes poems and a play (as his father had done) «Cornelius'death», in a rather humorous manner. « He who conveys the opinion of fools makes certain to get the majority of votes ». In 1944 he is back in Paris, leaving his wife. He'll settle in Nice in 1953 and starts there his mechanical period with the recurrent theme of machinery in his painting. In 1958 he has his second exhibition in Paris (JC de Chaudun's gallery) and shows a series of lino-engravings done after some drawings of his: he then begins being acknowledged by his contemporaries, his fellow-painters and the Parisian artistic circle. Jacques Prévert even dedicated him a poem. («Les Machinoutis») Henri Pierre Roché, Henri-Pieyre de Mandiargues, Yves Taillandier contribute to the catalogue, well received by the press. In the meantime, he has his works exhibited at the Salon d'Automne, the Salon de Mai, and the Salon Comparaison. In 1963, Flemish wood-engraver Frans Masereel, and Professor Gowa, the curator of the Offenbach Fine Arts, both introduce Pierre De Maria successfully in Germany, allowing him to become famous abroad. The Homo Atomicus Exhibition gathers 45 paintings, recounting the artist'progress over the past ten years. He's then nicknamed the «Atomic age Hyperonymus Bosch» ! In 1964, Greek gallery owner Iris Clert finds him out and helps him into a new career. He is then 68. Iris Clert, as a specialist in Contemporary Art has contributed to the coming out of the New Realism movement through her most spectacular and mediatical exhibitions. She takes a fancy to Pierre De Maria 's work : « The visit of his studio turned my love at first sight into a cutainty : he uses the technique from the Ancients to express Future. » Afterwards, both get into intense collaboration so that the painter is allowed to use the gallery owner's european and international net. In 1966, his work's dedicated a research published in Connaissance des Arts Magazine n° 70 : » A foreground study of Pierre De Maria in this month issue ». Later an article in International Art. In 1969 he turns 73 and he can see his first retrospective exhibition in Nice at the Ponchettes Gallery (about 60 paintings). At 76, he meets artist Hélène Bottet, from then on allowing humour to take over violence in his art. Machines don't frighten him anymore, he's now able to mock them even through they remain at the core of his paintings, in spite of the mechanical Art...

Colby 10 (Abstract painting) Spray paint, pencil, ink, watercolor on paper - Unframed Peter Soriano is an abstract artist who divides his time between New York City and Penobscot, ...

"traces" charcoal on paper (canson Montval paper 300 gr) two original non-reproducible drawings, no prints with wooden frame and protective glass ready to hang size 40x50 each Artwor...

All over the world (Abstract Painting) Acrylic on Montval paper - Unframed Martina Nehrling is an American abstract artist whose dynamic and richly textured paintings evoke kaleido...

Artist: Ian Hornak (1944-2002) Title: (Abstract Landscape with Trees) Untitled Year: 2001 Medium: Ink on archival paper Size: 11 x 14 inches Condition: Good Provenance: Estate of Ian...

Manfred Schwartz (American, b. Poland, 1909-1970), "Falaise d'Aval", Pastel on Paper, apparently unsigned, artist's estate stamp to verso, silvered wood frame. Image: 8.5" H x 10.5" ...

Watercolor and gouache on paper Signed, titled, and dated in pencil, verso This artwork is offered by ClampArt, located in New York City. Willy Bo Richardson received an MFA in pai...

Ink, laquer, cutting, collage on paper - Unframed This work is part of one of 4 on-going series of large works on paper. The name of this series, "Cut", relates to the technique us...

Gouache, colored pencil, graphite, and pastel on paper Signed and dated in black ink, verso This artwork is offered by ClampArt, located in New York City. Born in Peekskill, New Yo...

Indian ink, carbon black, walnut husk, gouaches & blue oil on canson paper

Contemporary abstract painting with bright colors and dynamic lines. Watercolor and gouache on paper Signed, verso This artwork is offered by ClampArt, located in New York City. W...

Sarah Alexander's 22 x 30 inch Watercolor on Aquabord painting "By the Seat of Her Pants" is a joyous and playful spiral of color. Rich orange, reds and blues coil around in a whirlwind of motion depicting the joys and emotions of a busy and full life. The painting is done on a clay panel made especially for watercolor, and sealed with a polymer varnish. The painting sits on a 2.5 inch wood cradle for a contemporary look and does not require framing. The painting is signed in the lower right hand corner. Sarah Alexander is a contemporary mixed media artist with an emphasis on watercolor and drawing using unconventional surfaces and techniques. Her work is in private collections and has been shown extensively throughout New England, and abroad. Her work has been published by North Light...

Gouache on paper - Unframed. Jill Moser is an American abstract artist whose work explores the intersection of “painting, writing and the animated image.” Her work is in the colle...

Charcoal on paper - Unframed. Margaret Neill works for a time on a group of pieces in a series, using classic almost primal materials such as graphite, charcoal, paint on traditiona...

Modern grey and white geometric abstract leaf pattern composition with orange accents by textile designer John Little. The work was created as a proposed design for a wallpaper and features the original color codes in the front lower left corner. Currently hung in a solid black frame with a large white margin. Dimensions Without Frame: H 27.13 in. x W 31.5 in. Artist Biography: A painter and textile designer, John Little is best known for gestural works filled with boldly explosive color that reflect the influences of his teacher Hans Hofmann and for his involvement in the Abstract Expressionist movement in East Hampton, where he moved in the late 1940s. In East Hampton Little congregated with Jackson Pollock, Lee Krasner, and the other artists who were the leading innovators in the New York School. John Little was born in Sanford, Alabama. He left home at the age of fourteen to become an artist, and moved to Buffalo, New York, in 1923. After spending a year working as a stevedore on the docks to save money, he enrolled at the Buffalo Fine Arts Academy and developed an interest in singing. In 1927 he moved to New York City where he continued his vocal work and studied operatic literature. He also became involved in textile design, opening his own store in 1920, called John Little Studios: Fabric and Wallpaper Design. He ran the store until 1950. In 1933 John Little resumed his painting studies at the Art Students League in New York under the guidance of George Grosz (1893-1959). The following year he made his first visit to East Hampton, Long Island, which he would eventually call home. Later in the decade, he traveled to Paris where he became familiar with European modernism. On his return to America, he taught textile design at the Pratt Institute in Brooklyn. He hired Josephine Watkins to work for him; she later became his wife. Little's textile store and teaching job gave him a financial security that was rare during the Depression, and he never found it necessary to find employment with the Works Progress Administration. At the end of the decade, John Little studied with Hans Hofmann (1880-1966) in New York and Provincetown. Little was greatly influenced by Hofmann, particularly by his views on color theory. In 1942 John Little joined the Navy as an aerial photographer. In the late 1940s he purchased a rundown house on Three Mile Harbor...

Untitled 2 (Abstract painting) Acrylic and oil on paper - Unframed Claude Tétot is a French abstract artist whose work expresses harmony in disharmony by exploring the enigmatic unity that can exist between seemingly disparate elements, such as graphic patterns and gestural markings. Tétot is inspired by the search for unexpected harmonies. He could be placed in an aesthetic lineage with Hans Hofmann and Shirley Jaffe...

Test Pattern 2 (Grey Study) (Abstract Drawing) Ink, gouache and acrylic on Fabriano paper - Unframed. Test Pattern series sets up a generic template as a poetic prompt to consider ...

A city rendered almost entirely in red, with the water streaked across its surface separating out values of blue and purple. This unique watercolor is signed by the artist. Cityscap...

Untitled (Ref 12102) (Abstract Painting) Ink on paper mounted on canvas - Unframed. Martín Reyna is an Argentinian-born abstract painter living in Paris, France. His gestural abstr...

Naftali Bezem (Hebrew: נפתלי בזם‎‎; born November 27, 1924) is an Israeli painter, muralist, and sculptor. Bezem was born in Essen, Germany, in 1924. His early adolescence was spent ...

Ambassade 44 (Abstract Expressionism painting) Watercolour on hot press paper - Unframed This work is part of the watercolour series titled Ambassade which was named after a visit ...

Scaffold (Abstract painting) Acrylic and Ink on Handmade Wasli Paper — Unframed. Laura Newman's paintings combine geometric delineations of space, ephemeral color fields, dynamic li...

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...

Diana Kurz Still Life, 1966 Signed and dated lower right Pastel on paper 19 3/4 x 25 1/2 inches Diana Kurz (born 1936) is an Austrian-born feminist painter. In 1938, Diana Kurz's f...

Pierre MONTHEILLET (1923-2011) Composition in yellow Watercolor and gouache on paper Signed lower left Dimensions of the work: 50 x 65 cm Dimensions of the frame: 60 x 80 cm Pierre ...

Liddell often walks the line between contemporary art and craft. Working to bring materials that are traditionally labeled as "craft" and lesser into the contemporary conversation. Mixing craft with one of the most respected and oldest forms of fine art, painting, really encourages the viewer to view the two on the same playing field. The idea of craft is settled into these gestural, layered works, constantly critiquing contemporary culture. This piece is not framed, but we are able to work with a framer local to you in order to have it framed and ready to hang. We can also frame it before shipment. For new listings, more work by Liddell and sales, please follow our storefront at Gallery 1202. "As a painter, I often work on large, raw canvas. My abstract paintings merge formal painting and “bad” craft to challenge the high-low separation of materials (and related gender hierarchies) that have traditionally been present in the art world. The monotypes are like a calligraphic practice. I use them as a warm up to allow me to feel confident with a gesture before committing it to a larger scale. I work in layers, often sewing or incorporating fabric into the finished piece, and incorporate chance into each stage of my process. The text/titles often come from song lyrics, local radio commercials, and news headlines. I edit these snippets and piece them together to reflect my interpretation of current politics and social norms, especially as they relate to gender." Vivian Liddell is an interdisciplinary artist in Athens, Georgia who works with painting, fiber and craft techniques, sculpture, printmaking, photography, animation and sound. Born in Memphis, Tennessee, she received her BFA from the University of Georgia and her MFA from the Pratt Institute in Brooklyn. Liddell’s work has been featured in solo and curated exhibitions throughout the United States, including at the Wiregrass Museum of Art, the Macon Museum of Arts and Sciences, and Trestle Gallery in Brooklyn. In 2019 she had two solo exhibitions of her “Men” series at the Versa Gallery in Chattanooga and 621 Gallery in Tallahassee, with a review of the Versa exhibition in BURNAWAY and was recently picked by Berlin curator Tina Sauerlaender as a featured artist on Foundwork. Liddell hosts a podcast (Peachy Keen) as an extension of her art practice, interviewing women on art and the South. She is an Assistant Professor of Painting and Drawing at the University of North Georgia...

Manfred Schwartz (American, b. Poland, 1909-1970), Still Life of Bar Table, Charcoal on Paper, with the artist's signature stamped lower right, unframed. 20" H x 25.75" W. Provenance...

A striking early 20th century harbour scene showing boats moored near Leyland in the Netherlands. The artist has signed to the lower left and inscribed "Liguze" (Leyland) to the lowe...

Screens (Abstract painting) Acrylic and Ink on Handmade Wasli Paper — Unframed. Laura Newman's paintings combine geometric delineations of space, ephemeral color fields, dynamic lin...

Richard Snyder (American, born 1951) Untitled Mixed media painting including charcoal and watercolor Hand signed to lower right Dimensions: 30.0" W x 22.5" H x 0.1" D Richard Snyder is particularly known for his large-scale abstract expressionist paintings exhibiting vibrant colors, often applied in an irregular manner with large gestural brushstrokes. He also was an accomplished sculptor and was amongst the downtown New York art-furniture scene spawned in the 1980s by the Soho gallery ‘Art et Industrie’ founded by Rick Kaufmann. Downtown New York, circa 1977-1980 was a hothouse of creative impulses that flew in the face of restrictions and ran headlong toward riotous expression. Punk, hip-hop, graffiti or neo-expressionism, Kaufmann looked around for new talent that could create a new kind of art furniture. He felt the design of the day was so standardised, and he wanted to give voice to young artists and bring new ideas to market. After receiving a BFA from the School of the Museum of Fine Arts in Boston, Snyder made his career in the fields of art and design, practicing sculpture, painting, furniture design and fabrication, interior design, cabinetmaking, construction and industrial design. Along with extensive experience in a wide variety of materials and processes, Snyder also possesses a wide range of visual and experiential vocabulary acquired in his many travels through the Americas, Africa, the Middle East and Central and Southeast Asia. Snyder considers his objects to be not just about form, function, color, material and process, but rather to be fantasies with spirit, magic and story. During his seventeen years with the Art et Industrie gallery, Snyder participated in five solo shows and more than twenty group shows, which established him as a major player in the American Art Furniture movement. His pieces have appeared in numerous publications and media around the world; and they are included in numerous private collections worldwide as well as in the permanent collection of The Art Institute of Chicago. Snyder guest-lectures at the Rhode Island School of Design in Providence, the New School in New York, and SUNY Purchase. He was included in the seminal Magen H Gallery retrospective of Art et Industrie—a New York Movement. Art et Industrie was the first to exhibit Studio Alchemia, Shiro Takahama, and Ron Arad. The retrospective included artists such as Forrest Myers, Terence Main...

Dark tonal Italian landscape with hits of yellow greens and reds. The pastel image is framed in a natural wooden frame with a white matte. Artist signed the work in the bottom right ...

Acrylic and oil on paper - Unframed Claude Tétot is a French abstract artist whose work expresses harmony in disharmony by exploring the enigmatic unity that can exist between seemi...

Untitled 28.2.12 (Abstract Drawing) Pen and Inkjet on Paper - Unframed. Caldicott's drawings have a minimal esthetic, an architectural character, created with only one or two lines....

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...

Willaim Hesthal California artist original watercolor. Surreal and whimsical circus scene with clowns. Signed lower right “Hesthal” and dated ‘39. Sheet measures 16" H x 23' W. Excel...