1970s Abstract Drawings and Watercolors

Elegantly detailed French abstract pen and ink drawing, circa 1975. Original artwork on paper displayed on a white mat with a gold border. Archival plastic sleeve and Certificate o...

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...

A substantial abstract watercolor comprising harmonious geometric forms arranged on a grid of blue, green, ivory and buff mosaic-like rectangles. Signed lower right "D.M. Hubbard" (A...

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...

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.

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

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 ...

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

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