Small Abstract Drawings and Watercolors

Robert Petersen After A Rain #2, 1987 Collage on Paper: Pencil, Oil, Acrylic and Cloth Hand signed, dated and titled on lower front with Castelli Graphics label on the back Frame Inc...

Presenting a drawing by Joan Strauss Carl, which served as a preparatory study for one of her three-dimensional sculptures. Joan Strauss Carl’s artistic j...

This Lovely Modernist Lithograph Originates from the Israeli born artist Yaakov Agam (made in Paris, France Circa 1980). This Lithograph is an Artist's Proof and a member of Agam's "...

Frank Duffield (British, 1908-1982) original watercolour painting on board, unframed size: 15 x 22 inches condition: overall very good, minor wear to the edges as is normal for an u...

Robert Duran Untitled #1 (with Museum of Modern Art (MOMA) label), 1974 Watercolor on paper Includes labels from the Museum of Modern Art rental gallery label and Donna Schneier Inc; the artist's name is written on the board, not signed 18 × 23 1/2 inches Unframed This work was removed from the original vintage frame but comes with the back board with the original labels from MOMA Rental Gallery in New York and Donna Schneier Gallery in Manhattan (and later Palm Beach) Robert Duran Biography (courtesy of KARMA): Robert Duran (b. 1938, Salinas, CA; d. 2005, New Jersey) found his way from San Francisco to New York City in the mid-1960s, where he became associated with a Minimalist cohort that included Brice Marden, David Novros, and Paul Mogensen...

FRAMED SIZE 22 x 27 inches Jody Rasch’s work is drawn from various science practices, including astronomy, biology, and sub-atomic physics. In his subject matter and technique, Rasc...

"Labyrinth" 2021, 23.5" x 21.5" vertical drawing on paper by Argentine-born artist Karina Gentinetta (featured in Elle Decor, the New York Times, Traditional Home, Veranda Magazine, ...

FRAMED SIZE 22 x 27 inches Jody Rasch’s work is drawn from various science practices, including astronomy, biology, and sub-atomic physics. In his subject matter and technique, Rasc...

Jody Rasch’s work is drawn from various science practices, including astronomy, biology, and sub-atomic physics. In his subject matter and technique, Rasch builds on historical conce...

Raúl Cerillo’s creations are characterized by the construction of surfaces with multiple layers of paint, acquiring a three-dimensional appearance. Each piece, according to the artis...

FRAMED SIZE 27 x 21 inches Jody Rasch’s work is drawn from various science practices, including astronomy, biology, and sub-atomic physics. In his subject matter and technique, Rasc...

Lyman Kipp Original Mid Century Modern Painting on paper, 1969 Acrylic on paper painting Hand signed and dated by the artist on the front F...

Shape 34 (2019) by Ryan Park of Shapes Only Abstract, nonobjective, gestural, geometric art, acrylic on 300GSM archival paper. Abstract shape innovated by the artist. Neutral, ea...

FRAMED SIZE 19 x 25 inches Jody Rasch’s work is drawn from various science practices, including astronomy, biology, and sub-atomic physics. In his subject matter and technique, Rasc...

Frank Duffield (British, 1908-1982) original watercolour painting on board, unframed size: 14.75 x 21 inches condition: Fair, minor wear to the edges as is normal for an unframed wo...

EMI (Spirit): Genesis Of The Religious was created using Watercolour on 300gsm paper Genesis is the origin or mode of formation of something. “ In the beginning, God created the hea...

Orange and Yellow is a watercolor by contemporary artist Annemarie Ambrosoli painted on 600 gsm Fabriano paperboard, measuring 39x50 cm. Cardboard surface: coarse grain. This painting is part of a series of watercolors painted between 2000 and 2015. The painting is signed in the lower right corner. In this watercolor painting Annemarie Ambrosoli made several sketches of the calla flower. Transparent color overlays give depth to the flower. It consists of three calla lilies of different colors and in the background the various shades of blue sky. The study of flowers and landscape have long been favorite themes of artist Annemarie Ambrosoli. The watercolor Orange and Yellow comes with a certificate of authenticity. About the artist Annemarie Ambrosoli is an award-winning artist, below are the latest awards: - Collectors Art...

Shape 10 (2018) by Ryan Park of Shapes Only Abstract, nonobjective, gestural, geometric art, acrylic on 300GSM archival paper. Abstract shape innovated by the artist. Neutral pal...

Mark di Suvero Yayoi's Guitar, 1980 Ink wash drawing Signed and titled in red ink on the front Frame included (held in original vintage frame) Unique 1980 drawing by sculptor Mark di...

Signed and dated. On paper.

"Untitled wp18" Abstract Painting 22" x 18" inch by Gayatri Gamuz Watercolor on archival paper In search of silence, in search of the self. Her work emerges from the silence within...

Raúl Cerillo’s creations are characterized by the construction of surfaces with multiple layers of paint, acquiring a three-dimensional appearance. Each piece, according to the artis...

Raúl Cerillo’s creations are characterized by the construction of surfaces with multiple layers of paint, acquiring a three-dimensional appearance. Each piece, according to the artis...

Anthony Padovano Untitled Abstract Expressionist drawing, 1971 Ink Wash on Paper Drawing Signed and dated by the artist Original vintage frame included Original (unique) signed Abstr...

André MASSON (1896-1987) The enigma, 1975 ink drawing Dimensions: 47.8 x 35cm Signed lower right Provenance: Louise Leiris Gallery, Paris Paper in perfect condition. FREE period ...

KAJ-FICAJA French, Artist Couple: Chantal Ficaja-Lindström (1959) & Alexander Kaj Lindström (1959), Sans titre • Pop/ Street Art • Coloured felt pens on paper ca. 40 x 50 cm • Si...

Pensiero Rosa, splendida cornice nera 1930 Opera astratta di Dora Maar periodo dopo Picasso,queste opere descrivono gli stati d'animo e paesaggi mentali dell'artista Dora MAAR (Pari...

Raúl Cerillo’s creations are characterized by the construction of surfaces with multiple layers of paint, acquiring a three-dimensional appearance. Each piece, according to the artis...

Modern abstract orange and green toned abstract watercolor painting by native Houstonian, Dick Wray. The work features green toned curving organic shapes set against an orange toned ...

Strelizia is a watercolor by contemporary artist Annemarie Ambrosoli painted on 600 gsm Fabriano paperboard, measuring 34 x 46 cm. Cardboard surface: coarse grain. The painting is pa...

Modern abstract blue and orange toned abstract watercolor painting by native Houstonian, Dick Wray. The work features orange toned curving organic...

Raúl Cerillo’s creations are characterized by the construction of surfaces with multiple layers of paint, acquiring a three-dimensional appearance. Each piece, according to the artis...

Modern abstract blue and orange toned abstract watercolor painting by native Houstonian, Dick Wray. The work features blue toned curving organic s...

Strelizia with Sun Reflections is a watercolor by contemporary artist Annemarie Ambrosoli painted on 600 gsm Fabriano paperboard, measuring 34 x 46 cm....

Impression of Autumn is a watercolor by contemporary artist Annemarie Ambrosoli painted on 600 gsm Fabriano paperboard, measuring 50 x 30 cm. Cardboard surface: coarse grain. The pai...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 19.5 x 13 inches condition: excellent provenance: all the paintings we hav...

Modern abstract colorful abstract watercolor painting by native Houstonian, Dick Wray. The work features blue and green toned curving organic shapes set against an orange toned backg...

Words in our mind, H.Pai 50cm x 50cm Ballpoint pen and acrylic on paper Chihiro Kabata is a Japanese artist whose drawings and sculptures accumulate delicate ink lines into powerful...

Raúl Cerillo’s creations are characterized by the construction of surfaces with multiple layers of paint, acquiring a three-dimensional appearance. Each piece, according to the artis...

Raúl Cerillo’s creations are characterized by the construction of surfaces with multiple layers of paint, acquiring a three-dimensional appearance. Each piece, according to the artis...

Raúl Cerillo’s creations are characterized by the construction of surfaces with multiple layers of paint, acquiring a three-dimensional appearance. Each piece, according to the artis...

Raúl Cerillo’s creations are characterized by the construction of surfaces with multiple layers of paint, acquiring a three-dimensional appearance. Each piece, according to the artis...

Raúl Cerillo’s creations are characterized by the construction of surfaces with multiple layers of paint, acquiring a three-dimensional appearance. Each piece, according to the artis...

Modern abstract colorful abstract watercolor painting by native Houstonian, Dick Wray. The work features blue and green toned curving organic shapes set against an orange toned backg...

Modern abstract green toned abstract watercolor painting by native Houstonian, Dick Wray. The work features green toned curving organic leaf shapes set against a tan toned background...

Modern abstract blue and green toned abstract watercolor painting by native Houstonian, Dick Wray. The work features blue toned curving organic sh...

Otto Eglau (1917 Berlin - 1988 Kampen), Raft Landscape in Sweden, 1956. Watercolor and ink on paper, 45 x 60 cm, signed in his own hand lower right with "Eglau" and dated "[19]56". - somewhat darkened Exposé as PDF - Temporary structures - About the artwork A wide river landscape stretches out before us, its horizon line running across the upper part of the picture, creating the impression of enormous depth. The depth is further extended by the dark tree trunks, most of which spill into the picture, and at the same time rhythmized by their different positions. This sequence of movements gives the landscape a strong dynamic moment. Indeed, the landscape seems to be "fleeing" from beneath us. To keep the gaze on the foreground alone requires a real visual effort. By looking at the foreground, we have already arrived at the background. Therefore, we cannot speak of pictorial grounds in the classical sense. Rather, we are confronted with a structurally rhythmic continuum of space, the dynamics of which are further accelerated by the cut tree trunks in the foreground and the upright trunks in the background, which function as target marks. Since the narrow strip of sky has the same white tonality as the ice, this area also fits seamlessly into the spatial structure, so that a deserted "structural landscape" unfolds before us. The structure, however, is not - as in the case of Piet Mondrian - completely abstract and thus something that exists independently of itself, removed from the time of natural space. The structures that Otto Eglau discovered in nature remain bound to it, which is why they exhibit a temporality that corresponds to the 'course of things'. Even if they correspond to an architecture of nature brought to representation, the structures are not substantial, but contingent. Artistically uncovered, they present themselves to Eglau at the very moment he captures them. In nature itself, these structures will never be repeated in the same way. Panta rhei - everything flows, even if the flow of time is frozen by his artistic representation and the image, for all its dynamism, radiates calm at the same time. "The structures I put behind things, and the lines that hold my paintings, are signs of transient life. They are random like the trace a wave leaves in the sand, blurred like the border between sea and land, ephemeral like the life of a shell I hold in my hand." - Otto Eglau About the artist After his release from captivity in 1947, Otto Eglau studied at the Hochschule für Bildende Künste in Berlin. He was a student of Oskar Nerlinger, Max Kaus and Wolf Hoffmann. From 1953 he taught free drawing for architects at the Technical University of Berlin. In the years that followed, Eglau undertook numerous study trips that took him to Scandinavia, the Arab world, the Far East and even Macau. During these travels he cultivated the technique of watercolour, which allowed him to work quickly in the open air, while retaining a strong painterly quality. Scholarships enabled Eglau to stay in Japan from 1962 to 1963 and in Naples in 1970. From 1969 to 1976 Eglau was professor of etching at the International Summer Academy of Fine Arts in Salzburg. Between 1983 and 1988 Eglau worked simultaneously in his Berlin studio at Lietzensee, which had its own printing press, and in his studio in Kampen on the island of Sylt. Otto Eglau's work has been shown in more than 100 solo exhibitions worldwide and in more than 120 group exhibitions. "I love the vastness of the island. The mudflats off Kampen are my treasure trove; here I discover new shapes and colors every day. Without Sylt, I would be like a fish without water." - Otto Eglau Selected Bibliography Hanns Theodor Flemming: Otto Eglau. Das graphische Werk, Flensburg 1966. Heinrich Seemann (Einführung): Otto Eglau. Inselskizzen, Hamburg 1982. Heinrich Seemann (Einführung): Otto Eglau. Japan, Nepal, Sylt. Aquarelle. Zeichen und Strukturen. Einführung von Heinrich Seemann, Hamburg 1986. Otto Eglau: Watt-Tagebuch. Ausgewählte Aquarelle aus den Skizzenbüchern Otto Eglaus. Kampen 1996. GERMAN VERSION Otto Eglau (1917 Berlin – 1988 Kampen), Floßlandschaft in Schweden, 1956. Aquarell und Tusche auf Papier, 45 x 60 cm, unten rechts eigenhändig in Blei mit „Eglau“ signiert und mit „[19]56“ datiert. - etwas nachgedunkelt Exposé als PDF - Temporäre Strukturen - zum Werk Vor uns erstreckt sich eine weite Flusslandschaft, deren Horizontline im oberen Bereich des Bildes verläuft, wodurch der Eindruck einer enormen Tiefenerstreckung entsteht. Die Tiefe wird von den dunklen, zumeist ins Bild hineinfluchtenden Baumstämmen zusätzlich geweitet und – durch ihre verschiedenartigen Lagen – dabei zugleich rhythmisiert. Durch diese Bewegungsabfolge weist die Landschaft ein starkes dynamisches Moment auf. Und tatsächlich stellt sich der Eindruck ein, als ob die Landschaft unter uns ‚hinwegfluchten‘ würde. Den Blick einzig im Vordergrund zu halten, verlangt regelrecht eine visuelle Anstrengung. Auf den Vordergrund schauend sind wir bereits im Hintergrund angelangt. Daher kann gar nicht von Bildgründen im klassischen Sinne gesprochen werden. Vielmehr steht hier ein strukturell rhythmisiertes Raumkontinuum vor Augen, dessen Dynamik von den angeschnittenen Baumstämmen vorne und den als Zielmarken fungierenden aufgerichteten Stämmen hinten zusätzlich beschleunigt wird. Da der schmale Himmelstreifen dieselbe Weißtonalität wie die Wasserlandschaft aufweist, fügt sich auch dieser Bereich bruchlos in das Raumgefüge ein, so dass sich vor uns eine menschenleere ‚Strukturlandschaft‘ ausbreitet. Die Struktur ist aber nicht – wie dies bei Piet Mondrian der Fall ist – gänzlich abstrakt und dadurch etwas eigenständig für sich Bestehendes, das der Zeit des Naturraums enthoben ist. Die von Otto Eglau in der Natur entdecken Strukturen bleiben an diese zurückgebunden, weshalb sie eine dem ‚Lauf der Dinge‘ entsprechende Temporalität aufweisen. Auch wenn sie einer zur Darstellung gebrachten Architektur der Natur entsprechen, sind die Strukturen nichts Substanzielles, sondern kontingent. Künstlerisch aufgedeckt, bieten sie sich Eglau in eben jenem Moment dar, den er festhält. In der Natur selbst werden diese Strukturen niemals in derselben Art wiederkehren. Panta rhei – alles fließt, auch wenn sich der Fluss der Zeit durch seine künstlerische Darstellung verfestigt hat, wodurch das Bild – trotz aller Dynamik – zugleich auch Ruhe ausstrahlt. „Die Strukturen, die ich hinter die Dinge setze, und die Linien, die meine Bilder halten, sind Zeichen des vergänglichen Lebens. Sie sind zufällig wie die Spur, die eine Welle im Sand hinterlässt, unscharf wie die Grenze zwischen Meer und Land, vergänglich wie das Leben einer Muschel, die ich in der Hand halte.“ - Otto Eglau zum Künstler Nach seiner Entlassung aus der Kriegsgefangenschaft 1947 nahm Otto Eglau ein Studium an der Hochschule für Bildende Künste in Berlin auf. Dort war wer Schüler von Oskar Nerlinger, Max Kaus und Wolf Hoffmann. Ab 1953 unterrichtete er freies Zeichnen für Architekten an der Technischen Universität Berlin. In den Folgejahren unternahm Eglau zahlreiche Studienreisen, die ihn nach Skandinavien, in den arabischen Raum, nach Fernost und bis nach Macau führten. Auf diesen Fahrten kultivierte er die Technik des Aquarellierens, die eine zügige Bildschöpfung im Freiraum erlaubt und dennoch eine stark malerische Qualität aufweist. Stipendien ermöglichten es Eglau, sich von 1962 bis 1963 in Japan aufzuhalten und 1970 länger in Neapel zu verweilen. Von 1969 bis 1976 hatte Eglau die Professur für Radierung an der Internationalen Sommerakademie für Bildende Kunst in Salzburg inne. Zwischen 1983 und 1988 war Eglau parallel in seinem Berliner Atelier am...

"Der Hafen von Plit" is a drawing by Paul Klee. The drawing is signed lower left, "Klee". The framed piece measures 25 1/4 x 30 1/2 x 1 3/8 in. Paul Klee was one of the most import...

Lyman Kipp Untitled Minimalist Painting, 1964 Ink roller on paper Hand signed and dated by Lyman Kipp on the front; inscribed on the back to Gene Baro (the distinguished critic and c...

A black and white, Surrealist watercolor on paper by artist Desmond McLean in a cerused black frame. McLean was born in Sligo, Ireland and raised in Brooklyn, NY. He was a professor...

Shape 12 (2019) by Ryan Park of Shapes Only Abstract, nonobjective, gestural, geometric art, acrylic on 300GSM archival paper. Abstract shape innovated by the artist. Neutral pal...

Leon Kelly (American, born France, 1901-1982) Surrealist Portrait Ink on paper, 11 3/4 x 8 3/4 inches; Framed: 21 3/4 x 18 3/4 inches Signed and dated at lower right: "Leon Kelly 19...

Calligraphy Abstract Panorama IV - Japanese Calligraphy on Rice Paper Landscape and Calligraphy on rice paper by Michael Pauker (American, 20th c). Signed by the artist in the bottom right corner in red pencil, "V - 40 (artist's signature) 2007." Mat Size: 10"H x 20"W Paper Size: 5.63"H x 14.38"W “I’m driven by curiosity...where it comes from I can’t tell you; it’s just there. And early 20th-century modernist art is the thing that I keep returning to.” - Michael Pauker Bay Area artist and art educator Michael Pauker was born in New York in 1957, and knew he wanted to be an artist from the age of 15. He earned a Bachelor’s in Fine Arts at SUNY Purchase in his native state of New York. In 1989, he went on to earn an M.F.A at Mills College in Oakland and was awarded the City of Oakland Artist Fellowship in Painting. He has been a Bay Area resident since 1988. His work has been exhibited widely across the U.S., as well as in Japan and Costa Rica, and is included in the collection of the Fine Arts Museums of San Francisco. Exhibitions include: 2007 Contemporary Art Museum, San Jose, Costa Rica 2007 “The Ebay Art Project,” Works/San Jose, San Jose, CA 2003 “Found Imagery: The Art of Collage,” Fresno Art Museum,Fresno, CA 2003 “Cut, Copy, Paste,” De Saisset Museum, Santa Clara, CA 2003 “20th Annual Exhibition,” Berkeley Art Center, Berkeley, CA 2002 “40 by 40,” Adam Baumgold Gallery, N.Y., NY 2002 “Works on Paper,” Bryant St. Gallery, Palo Alto, CA 2002 Dolby Chadwick Gallery...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 19 x 15.5 inches condition: excellent provenance: all the paintings we hav...

Charles Burchfield, 1893-1967 Wallpaper Design No.2, 1922-28 Watercolor and gouache on paper

On the Way to Leonardo is a watercolor by contemporary artist Annemarie Ambrosoli painted on 600 gsm Fabriano paperboard, measuring 41 x 51 cm. Cardboard surface: coarse grain. The p...

Dorothy Gillespie (June 29, 1920 – September 30, 2012) was an American artist and sculptor who became known for her large and colorful abstract metal sculptures. Gillespie became best known for the aluminum sculptures she started to produce at the end of the 1970s. She would paint sheets of the metal, cut them into strips and connect the strips together to resemble cascades or starbursts of bright colored ribbon. The New York Times once summarized her work as “topsy-turvy, merrymaking fantasy,” and in another review declared, “The artist’s exuberant sculptures of colorful aluminum strips have earned her an international reputation.Her works are featured at her alma mater (Radford University) in Virginia, where she later returned to teach, as well as in New York (where she was artist in residence for the feminist Women's Interart Center), Wilmington, North Carolina and Florida. She enrolled both at Radford University near her hometown, and the Maryland Institute College of Art in Baltimore, Maryland. The director of the Maryland Institute, Hans Schuler, helped foster her career in fine art. On June 5, 1943, aged 23, Gillespie moved to New York City. There she took a job at the B. Altman department store as assistant art director. She also joined the Art Students League where she was exposed to new ideas about techniques, materials, and marketing. She also created works at Atelier 17 printmaking studio, where Stanley William Hayter encouraged to experiment with her own ideas. She and her husband, Bernard Israel, opened a restaurant and night club in Greenwich Village to support their family. She returned to making art in 1957, and worked at art full-time after they sold the nightclub in the 1970. In 1977 Gillespie gave her first lecture series at the New School for Social Research, and she would give others there until 1982. She taught at her alma mater as a Visiting Artist (1981-1983) and gave Radford University some of her work to begin its permanent art collection. Gillespie then served as Woodrow Wilson visiting Fellow (1985-1994), visiting many small private colleges to give public lectures and teach young artists. She returned to Radnor University to teach as Distinguished Professor of Art (1997–99).[8] She also hosted a radio program, the Dorothy Gillespie Show on Radio Station WHBI in New York from 1967-1973. Gillespie began moving away from realism and into the abstraction that marked her career. Gillespie returned to New York City in 1963 to continue her career. She maintained a studio through the 70s and advocate worked towards feminist goals in the art industry, picketing the Whitney Museum, helping to organize the Women's Interart Center, curating exhibitions of women's art, and writing articles raising awareness of her cause. Gillespie numbered among her acquaintances such art-world luminaries as Jackson Pollock, Lee Krasner, Alice Neel, Louise Nevelson and Georgia O’Keeffe. “She had amazing stories that unfortunately are gone,” her son said. During the 1960s, she built multimedia art installations that made political statements, such as 1965’s “Made in the USA,” that used blinking colored lights, mirrors, shadow boxes, rotating figures and tape recordings to convey a chaotic look at American commercial fads. The floor was strewn with real dollar bills, which visitors assumed were fake. By the 1980s, Gillespie's work had come to be known internationally. She completed many commissions for sculptures in public places, including Lincoln Center, Rockefeller Center and Walt Disney World Epcot Center in Orlando, Florida. Her work is in many collections across the United States, including the Delaware Museum, the Solomon R. Guggenheim Museum, and the National Museum of Women in the Arts. Her sculptures can also be found in the Frankfurt Museum in Germany and the Tel Aviv Museum in Israel. Group Shows Conceived and Curated by Dorothy Gillespie Women's Interart Center, New York, NY 1974 included: Betty Parsons, Elsie Asher, Alice Baber, Minna Citron, Nancy Spero, Seena Donneson, Alice Neel, Natalie Edgar, Dorothy Gillespie, and Anita Steckel...

Clean minimalist incised drawing from artist Sophie Dixon Dillo, whose large-scale installations using light to illuminate sheer walls of thread and filament, have been installed Int...