Lilly McElroy

Red Abstract Aquatint

1990

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

Softly-toned watercolor abstract painting by English artist Spe, featuring a variety of purple, fuchsia, and pink hues with pressings of leaves and flowers. Displayed on a white mat ...

Fluid abstract watercolor using metallic and terracotta shades swirled together in free flowing shape by British artist Spe, 2012. Signed in pencil lower right. Original artwork on ...

Bright colored abstract painting of a guitar, a microphone, and a keyboard with musical notes in the background. Geometrical patterns play a significant role throughout this paintin...

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...

Watercolor abstract by Mexican artist Oscar Arturo, 2010. The piece's bright blues, reds, and yellows radiantly blend together as the viewer's ey...

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

About the Series: Gilliam began the series Life Lines in 2017 after recently coming into possession of MRI scans of her brain. The scans, which she spent hours pouring over, both fas...

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

Signed and dated bottom right, a beautiful aquarelle from the 1940s by Röhl.

About the Series: Gilliam began the series Life Lines in 2017 after recently coming into possession of MRI scans of her brain. The scans, which she spent hours pouring over, both fas...

About the Series: Gilliam began the series Life Lines in 2017 after recently coming into possession of MRI scans of her brain. The scans, which she spent hours pouring over, both fas...