20th Century Abstract Drawings and Watercolors

Roland Ayers (1932-2014). Untitled (Sad Shit), 1969. Ink on illustration board. Panel measures 15 × 13 inches. Unfinished composition on verso. Artist and art educator, Roland ...

Roland Ayers (1932-2014). Aerial Circus Series (Ed Henderson), 1971. Ink on paper, 11.75 × 16.5 inches. Signed and dated. Artist and art educator, Roland Ayers was born on July ...

Roland Ayers (1932-2014). Spring, 1972. Ink on paper, 9.75 × 13.5 inches. Signed and dated. Artist and art educator, Roland Ayers was born on July 2, 1932, the only child of Ali...

Robert Mangold Untitled minimalist drawing, ca. 1980 Drawing in Ink on Paper Hand signed and inscribed on lower front Inscription reads as follows: Best Wishes David Bob Mangold Fram...

"Lounging Reader" is an original oil pastel drawing on a Safeway grocery bag by Reginald K. Gee. The artist signed the piece lower right and signed & dated it on the verso. This piec...

Crossways is a watercolor painting by the Italian artist Lucio Pozzi. The paper is signed and titled by the artist himself, and the work is currently housed at Hal Bromm Gallery.

"Some of What I Know, A Lot of What You Thought Was a Mistake" is an original oil pastel drawing on rag board by Reginald K. Gee. The artist signed the piece lower left. It depicts a...

Dorothea Tanning (American, 1910–2012) Initially associated with the Surrealist movement, Dorothea Tanning developed a personal visual language that blurred the boundaries between r...

Walter Darby Bannard Ammersee #2, 1975 Watercolor and acrylic painting on paper Signed, titled and dated lower recto This is a unique work Frame included: elegantly floated and frame...

Modern warm toned expressionist abstract painting by contemporary artist Doyle Gertjejansen. The work features an abstract, surrealist view of orange organic forms overlaid with expr...

"Tarkan" is an original oil pastel drawing on a paper bag by Reginald K. Gee. The artist signed the piece on the back. It features an abstract portrait in bright, expressionistic col...

Jack Youngerman October 1, from Betty Parsons Gallery, 1964 India ink on paper, with original Betty Parsons Gallery label Pencil signed and dated '64 on the front; also signed, title...

"Glimpse of the Party" is an original oil pastel drawing on board by Reginald K. Gee. The artist signed the piece on the back. It features abstract marks on a blue background. Some a...

Adrian Heath (British, 1920–1992) Abstracted Life Study Pencil and watercolour Signed with initials ‘AH’ (lower right) 8.5 x 10.625 in. (21.7 x 27 cm) This intimate work on paper by...

"Amay" is an original oil pastel and watercolor drawing on red paper by Reginald K. Gee. The artist signed the piece on the back. It features abstracted figures and mountain shapes i...

Abstract Expressionist design. Sealed on the back with the design studio name and number . Ilegible signature We offer a small number of these original illustration designs by this ...

Billy Al Bengston Turkey Dracula, 1973 Color lithograph with hand coloring and watercolor (unique variant) on Lanaquaralle paper with deckled edges Hand signed and numbered A.P. #6, ...

Dorothy Dehner (1901–1994) was an influential American artist who worked with drawing, painting, printmaking, and most notably sculpture. Dehner's legacy has been overshadowed by he...

Dorothy Dehner (1901–1994) was an influential American multidisciplinary artist who worked with drawing, painting, printmaking, and most notably sculpture. Despite her artistic cont...

Larry Zox (1937-2006) was a central figure in the evolution of 20th century abstraction in America. Raised in Des Moines, Iowa, Zox studied at the University of Oklahoma and went on to work under the tutelage of modernist Georg Grosz at the Des Moines Art Centre. Zox moved to New York City and established his reputation by the mid 1960's. His studio was located on 20th Street and he was surrounded and inspired by a melting pot of jazz artists, bikers, and boxers. Zox was one of the most successful practitioners of hard-edge or geometric abstraction and not surprisingly was championed by Frank Stella, amongst others. By the mid 1960's, Zox arrived at his most recognized style, utilizing hard-edge shapes in bold colors to create geometric patterns, which were often realized on raw canvas. Zox's hard-edge geometric creations from the late 1960's and early 1970's are arguably the most recognizable works from his oeuvre. Fittingly he had a retrospective at the Whitney Museum in 1973, that focused on such work. Today, numerous museums including the Whitney, the MoMA, the Tate and the Metropolitan all have examples of his work from this era in their permanent collections. While Zox is not directly associated with the Op Art movement, many of his works by nature of their patterns and colors create visual illusions in dimensionality. In "Mosaic" the kelly green band that intersect the composition helps give the overall work an appearance of a slanted stair. Frequently the artist seems to be inviting the viewer to find pattern within the work. In "Mosaic" we have both areas of synergy and dissonance. Can you find them? Questions about this piece? Contact us! Teal Top...

These exceptional original drawings, painted with colored pencil on translucent tracing paper, were designed by a French artist, circa the 1960s. The two rare paintings feature a geo...

A drawing by Alexander Calder. "Tornado in Space" is a Post-War abstract drawing, ink on paper in black and white by artist Alexander Calder. The artwork is s...

KENNETH NOLAND Untitled, for Trustees of the Honolulu Museum of Art, 1984 Mixed Media collage with silver and colored foil on board. Signed on verso (back) with personal inscription. "for Twig and Laila" (Trustees of the Honolulu Museum of Art), Deaccessioned from the Honolulu Museum of Art Collection Inscription done in black marker and reads: "A Little Exercise For Twig and Laila With Thanks For A Wonderful 3 Days At ' Cedar House' On The 'Big Island'... 1 Sept 1984 Honolulu Hawaii." Frame included Measurements Framed: 12.5" x 12.5" x .3" Artwork: 8.75" x 8.75" This reflective Chevron collage was de-accessioned by the Honolulu Museum of Art. In 2018, it was exhibited in the show "On Black Mountain: The Bauhaus Legacy in America", April 5, 2019-April 27, 2019 at the Sager Braudis Gallery in Columbia, Missouri, and is reproduced in the exhibition catalogue. Unique signed and dedicated mixed media collage with silver and colored foil on board by the important Color Field painter Kenneth Noland. It's quite a dazzling work, combining color field, geometric abstraction with Op Art, as the work changes appearance and color with the reflected and refracted light. - sometimes appearing light; sometimes darker. See the photos -- there's a light one and a darker one - and they both depict the same work. What's so impressive is that this work literally changes color depending on how the light reflects against it. The artist wrote a personal and heartfelt inscription on the verso to "Twig and Laila". (Twig (sic), which the artist deliberately misspells, is Thurston Twigg Smith, former publisher of The Honolulu Advertiser, who was married to New York philanthropist Laila Twigg Smith. Laila had lived in Hawaii since 1970, where she and her husband had put together a substantial collection of contemporary art. Unfortunately, the two divorced in 1996 and soon after she returned to New York. Two years later, in 1998, Laila died of liver failure at the young age of only 53. Laila was a major philanthropist and art collector who moved from Manhattan to Hawaii. She was a board member of the New Museum of Contemporary Art in New York and a major donor the Honolulu Museum in Hawaii. Laila donated the present Ken Noland...

Abstract Expressionist design. Sealed on the back with the design studio name and number . Ilegible signature We offer a small number of these original illustration designs by this ...

Donna Schuster (1893-1953) “Nude Bathers” watercolor, pencil and gouache within a giltwood carved frame and protective glass. Signed ‘Donna Schuster’ (Lower Right), circa 1920-1930. ...

'Composition with Circles II', gouache on art paper, by James Pichette. A dynamic, lively abstract composition by an artist known for such stunning, viv...

Untitled (Brown and Blue Shapes) Gouache and watercolor 18.25 x 11.62 inches Framed: 32.5 x 26 inches

Jim’s of Lambertville is proud to offer this artwork by: Ramstonev Co-operative Project (1937 - 1939) In the late 1930s, Charles Ramsey became close friends with Charles Evans and ...

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 ...

Opera su carta olio, di DORA Maar Colore Turchese blu Timbro MD atelier Siglato sul retro

Roland Ayers (1932-2014). Interior, 1973. Ink on paper, 7.5 inches diameter. Signed and dated. Artist and art educator, Roland Ayers was born on July 2, 1932, the only child of ...

David Storey Untitled, 1993 Charcoal and pastel 29 x 19 inches (sheet) 30 x 20 inches (frame) Unsigned Natural wood frame with light white wash. Floated in window opening. 1.5'' dep...

André Masson (1896-1987) Surrealistic flower Original colour pencil drawing Signed with the artist's stamp on the back (see photo) On 30.5 x 29 cm tracing paper (11.8 x 11.4 inche...

Jay Van Everen was a pioneering early American abstractionist known for his affiliation with the Synchromists. His abstract color studies would take him to the forefront of the Ameri...

Whimsical and enchanting French abstract drawing of tree, circa 1980. Original artwork on paper displayed on a white mat with a gold border. Mat fits a standard-size frame. Arch...

WILLIAM BAZIOTES Untitled Abstract Expressionist Mid Century Modern ink drawing with Estate COA, ca. 1955 Ink Drawing on Paper Signed lower right recto. Accompanied by letter of aut...

A drawing by Richard Diebenkorn. This Untitled work from the Urbana Series is an ink of paper, abstract drawing by Post War, Bay Area Figurat...

paesaggio di Menerbes dove Picasso le regalò una casa e lei visse per alcuni anni - L'opera è firmata e Timbrata MD - Dora MAAR (Parigi 1907 – 1997) Nata Henrietta Theodora Mark...

These exceptional original project drawings, painted with colored pencil on translucent tracing paper, are by a French artist, circa the 1960s. The two paintings feature a geometric ...

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...

This later work by Lyonel Feininger approaches almost full abstraction. It was executed in 1950 at a crucial moment in American art history. Abstract Expressionism and non-representational art were in full gear and taking the world by storm. Yet Feininger who was associated with the German expressionist groups: Die Brücke...

"Two Crosses" is a gouache on paper by Alexander Calder. The work is signed in the lower right, "Calder 65”. Although renowned for his innovative and groundbreaking sculptures, Alexander Calder started his artistic career as an abstract painter, preferring to use gouache. What is gouache? Gouache is a water-soluble paint – a type of opaque watercolor. As Calder returned to gouache painting towards the end of his life, he was now armed with a lifetime of experience as a sculptor. He explored the three-dimensional vocabulary of sculptural forms he had developed onto the two-dimensional surface of the paper. Certain shapes and colors recur throughout his gouaches and sculptures. Circles, ovals, and other geometric forms dominate the space. There is the same sense of energy and fluidity. The shapes do not sit on the surface but vibrate giving a feeling of movement in contrast to the static nature of painting. Like his sculpture, Calder’s gouache...

Drawing on paper without frame Size A4

Roland Ayers (1932-2014). Untitled (Landscape 2), 1968 Ink on paper. 30 × 28 inches. Artist and art educator, Roland Ayers was born on July 2, 1932, the only child of Alice and...

Pioneering female abstract artist Elsie Driggs paints stylized abstract organic forms in a warm palette of orange browns and tope. She merges abstraction with some figuration. A structured face composed of lines and tone emerges from an orange background. It's 1939, and even though Driggs is not well known, she is preceding many of the marquee names of abstraction by a decade. Although under the radar, this is a major work and is titled on the back stretcher is " Egyptian Gothic." It features the artist's inventiveness with her fine pencil lines incorporated in flat washes of color and collage elements. Signed lower right and inscribed on frame verso with title, artist and the date of 1939. Provenance, Christie's, Freemans. Framed under glass.. Elsie Driggs (1898 – July 12, 1992 in New York City) was an American painter known for her contributions to Precisionism, America's one indigenous modern-art movement before Abstract Expressionism, and for her later floral and figurative watercolors, pastels, and oils. She was the only female participant in the Precisionist movement, which in the 1920s and 1930s took a Cubist-inspired approach to painting the skyscrapers and factories that had come to define the new American landscape. Her works are in the collection of the Whitney Museum of American Art, the Houston Museum of the Fine Arts, the Fine Arts Museums of San Francisco, the James A. Michener Art Museum in Pennsylvania, and the Columbus Museum of Art, among others. She was married to the American abstract artist Lee Gatch. Career Born in Hartford, Connecticut, Driggs grew up in New Rochelle, a suburb of New York City, in a family that was supportive of her artistic interests. After a summer spent painting with her sister in New Mexico in her late teens, she felt she had found her life's calling. At twenty, she enrolled in classes at the Art Students League of New York, where she studied under George Luks and Maurice Sterne, both of whom were charismatic, inspirational figures in her early life. She also attended the evening criticism classes held at the home of painter John Sloan. Driggs spent fourteen months in Europe from late 1922 to early 1924, drawing and studying Italian art. There she met Leo Stein, first in Paris and later in Florence, who became an important intellectual influence, and who urged her to study Cézanne. He also introduced her to the works of Piero della Francesca, the Renaissance artist for whom she felt throughout her life the greatest admiration.[1] Driggs eventually settled in New York City, where she found representation with the progressive Charles Daniel Gallery.[2] (Advised that the old-fashioned and misogynistic Daniel would be unlikely to take on a woman artist, she signed the works she left for his consideration simply "Driggs" and waited to meet him in person until he had expressed his eagerness to include her in his gallery.)[3] In sympathy with those artists Daniel represented who were part of the burgeoning Precisionist movement, such as Charles Demuth, Charles Sheeler, George Ault, Niles Spencer, and Preston Dickinson, she too painted "the modern landscape of factories, bridges, and skyscrapers with geometric precision and almost abstract spareness."Impressionism and academic or Ashcan realism represented the past, in Driggs' view, and she intended to be resolutely modern. She was an attractive and engaging woman, but her demeanor belied a strong ambition and a clear sense of what it would take to make her mark in the New York art world. Driggs was part of the pre-eminent first group of Precisionist painters, including Demuth and Sheeler, who exhibited at the Daniel Gallery in the 1920s. Although a later group of Precisionist painters, including Louis Lozowick, Ralston Crawford and others, came on the American Art scene during the 1930s, Driggs felt that the style came to an end with the 1929 stock market crash.[5] In 1926 she painted her most famous work, Pittsburgh, a dark and brooding picture now in the permanent collection of the Whitney Museum of American Art, which depicts the gargantuan smokestacks of the Jones & Laughlin steel mills in Pittsburgh. Its focus is an overpowering mass of black and gray smokestacks, thick piping, and crisscrossing wires with only clouds of smoke to relieve the severity of the image, yet it was an image in which she found an ironic beauty. She called the picture "my El Greco" and expressed surprise that viewers in later years interpreted the painting as a work of social criticism. Like the other Precisionists (e.g., Demuth, Charles Sheeler, Louis Lozowick, Stefan Hirsch), she was concerned with applying modernist techniques to renderings of the new industrial and urban landscape, not in commenting on potential dangers the overly mechanized modern world of 1920s America might present. If anything, Precisionism, like Futurism, was a celebration of man-made energy and technology. One year later, she painted Blast Furnaces, in a similar vein. As noted above, Piero della Francesca's mural depicting "The Story of the True Cross" in Arezzo, with its tubular, static and frozen forms was the major influence on Driggs' "Pittsburgh" (it may have been the major influence for "Blast Furnaces" as well).[7] After Pittsburgh, Driggs' most acclaimed work was probably Queensborough Bridge...

Elaine Kaufman Feiner (1922-2018) "Night Glow I" 1988 Watercolor and pastel on paper 30"x30" unframed Signed and dated in pencil lower right, titled reverse

James Nares Untitled flower monotype, 1988 Monotype on hand made paper Pencil signed and dated by James Nares on the lower right front Frame included: floated in the original wood fr...

"Bobine" is a gouache and ink on paper by Alexander Calder. The work is signed in the lower right "Calder 72". Although renowned for his innovative and groundbreaking sculptures, Alexander Calder started his artistic career as an abstract painter, preferring to use gouache. What is gouache? Gouache is a water-soluble paint – a type of opaque watercolor. As Calder returned to gouache painting towards the end of his life, he was now armed with a lifetime of experience as a sculptor. He explored the three-dimensional vocabulary of sculptural forms he had developed onto the two-dimensional surface of the paper. Certain shapes and colors recur throughout his gouaches and sculptures. Circles, ovals, and other geometric forms dominate the space. There is the same sense of energy and fluidity. The shapes do not sit on the surface but vibrate giving a feeling of movement in contrast to the static nature of painting. Like his sculpture, Calder’s gouache...

Richard Wengenroth was born in Brooklyn, New York. In his late teens and early twenties he hitchhiked the United States coast-to-coast and traveled to Japan, Mexico, France, Italy, G...

September Morning: The First Ferry. 1929. Watercolor. 10 1/8 x 13 (image and sheet). Provenance: The Fine Art Society, London. A misty, impressionist watercolor on French papier ved...

Moody Abstract Urban Landscape watercolor/gouache painting on artist paper painting: 12.75 x 9.75 inches provenance: private collection, England condition: very good and sound condit...

Stunning modernist avant-garde figurative abstract pastel in deep royal blue, with red and yellow accents by Henry Elinson (Californian/Russian 1935-2010), 1996. Signed and dated "H....

Abstract Monochrome Painting,Cubism, Mixed Medium, British Artist, Signed By British artist George Holt, late 20th Century Signed and dated '1999' verso Watercolour on board, unframe...

Kenny Scharf Original drawing on Tony Shafrazi poster, signed and inscribed to Andy Warhol's last boyfriend Jon Gould, 1984 Permanent marker drawing on Kenny Scharf Tony Shafrazi Gallery exhibition poster (hand signed and inscribed by Kenny Scharf) Boldly signed and inscribed to Andy Warhol's last boyfriend Jon Gould Frame included: Framed in a museum quality wood frame with UV plexiglass. Measurements: Frame: 35 x 28.5 x 1.5 inches Print 28.25 x 22 inches Own a piece of Pop Art history! This is a unique drawing hand signed and inscribed by Kenny Scharf, done on a vintage collectible 1984 poster from the legendary Tony Shafrazi Gallery. If you saw "The Andy Warhol Diaries" on Netflix, you'd know about Warhol's relationship with Jon Gould - Andy's last boyfriend; tragically, Warhol would become Gould's last boyfriend as well, when, soon after, Gould would die of AIDS at the young age of 33 Kenny Scharf created an original drawing, done in marker, and inscribed it to Jon Gould (featured prominently in Andy Warhol's Diaries and the eponymous Netflix series) - and it had not been seen since the 1980s. Jon Gould was a New England educated former Vice President of Corporate Communications at Paramount Pictures - a Boston Brahmin whose real claim to fame was as Andy Warhol's last boyfriend. This work was acquired from the widely publicized sale of the collection of Jon Gould - -a treasure trove of valuable gifts and art works by Warhol and others like Kenny Scharf, Basquiat and Keith Haring to Gould - that had not been seen in nearly four decades. This is one of the works from that impressive sale. Below are links to two of the many articles about the collection of Jon Gould in the New York Times, Artnet News and the New York Post respectively. About Kenny Scharf: Kenny Scharf (b. 1958, United States) is a renowned artist affiliated with the 1980’s East Village Art movement in New York. Scharf developed a distinct and uniquely personal artistic style in paintings as well as sculpture, alongside his mentor Andy Warhol, and contemporaries like Jean-Michel Basquiat and Keith Haring with whom he pioneered contemporary street art. References to popular culture reoccur throughout his works, such as appropriated cartoon characters from the Flintstones and Jetsons, as well as imagined anthropomorphic creatures. Through ecstatic compositions and a dazzling color palette, Scharf presents an immersive viewing experience that is both intimate and fresh. Scharf’s multifaceted practice—spanning painting, sculpture, installation work, murals, performance and fashion—reflects his dedication to the creation of dynamic forms of art that deconstruct existing artistic hierarchies, echoing the philosophy of Pop artists. Yet Scharf’s artistic significance expands beyond the art historical terrain of Pop Art; the artist instead coined the term “Pop Surrealist” to describe his one-of-a-kind practice. His inclusion in the 1985 Whitney Biennial marked the start of his international phenomenon, a reputation that continues to thrive today. Courtesy of Almine Rech MORE ABOUT JON GOULD: Warhol wrote extensively on Jon Gould in his diaries. In July, 2022, when the Netflix series "The Andy Warhols Diaries" came out, the New York Post (among many other publications) ran a major feature article on Warhol's relationship with Gould and on this very sale: It reads, "When Harriet Woodsom Gould died in 2016 in her nineties, she left behind a trove of family heirlooms dating back to the 1700s in her Amesbury, Mass., home. Yet in her attic, she had a secret veritable shrine to pop art. There, she had stashed her late son Jon Gould’s belongings for decades since his death in 1986 from AIDS. He had vases painted by Jean-Michel Basquiat, works by Keith Haring and dozens and dozens of gifts — photos, valentines, sketches, letters and more — from pop god Andy Warhol. “My mother kept everything,” Jon’s twin brother, Jay Gould, told The Post. Jay knew his brother “had some type of relationship” with Warhol in the 1980s, though Jon always remained discreet about it. “We were very close, identical twins, but we never talked a lot about his sexuality,” Jay, now 68, explained. “It was a different time.” Yet, he was still stunned to read the poetry and love notes Jon wrote to the older artist. “I didn’t realize the relationship was as deep as it was.” Actually, no one really knew. Gould was Warhol’s last romance, a young Paramount executive with floppy hair and preppy good looks who died tragically at 33. And though Warhol frequently mentioned him in his famed diaries, published posthumously in 1989, the artist’s dashed-off musings gave the impression that Jon was more of a crush than a genuine partner...Gould didn’t so much enter into Warhol’s life as Warhol willed him into it. It was April 1981, and Warhol, then 52, was still reeling from his breakup with Jed Johnson... Jed left that December, and that spring Warhol confessed to feeling lonely: “I’ve got these desperate feelings that nothing means anything. And then I decide that I should try to fall in love, and that’s what I’m doing now with Jon Gould.” Gould was a 26-year-old Paramount exec: a New England WASP with a lithe, strong physique and charismatic personality, who looked straight. Warhol reasoned: “Jon is a good person to be in love with because he has his own career, and I can develop movie ideas with him, you know? And maybe he can even convince Paramount to advertise in Interview, too. Right? So my crush on him will be good for business.” Warhol began courting Gould with a vengeance, sending extravagant bouquets of roses to his office at Paramount. He even offered their mutual friend, the photographer Christopher Makos, a fancy watch if he could get Gould to be his boyfriend. “I guess he never got loved,” Makos says in the series. “Because I didn’t get my watch.” (Jay Gould also tells the camera that his brother had admitted that he was in a relationship but that he said they didn’t have sex.) At first, Gould resisted Warhol’s attention, but eventually the two began spending a lot of time together, though Gould would frequently pull away if things got too intense, and he often would tell Warhol not to write about him in his diary. “I think my brother was concerned about his career at that time,” Jay Gould said. But the younger man attended parties and art events with him, invited the artist skiing with his family in Aspen and even for a time moved into his place on 66th Street. “I love going out with Jon because it’s like being on a real date,” Warhol wrote early in their relationship. “He’s tall and strong and I feel like he can take care of me.” Yet it turned out that Warhol would have to take care of Gould. On Feb. 4, 1984, Jon was admitted to New York Hospital with pneumonia — though it was understood that he had AIDS. Warhol stayed with him in the hospital every night for the 30 days he was there, despite his fear of hospitals since getting shot and his fear of getting AIDS. (Warhol couldn’t bring himself to talk about Gould’s illness in the diary, but his editor notes that when Gould was released March 7, Warhol instructed his housekeepers to wash Jon’s clothes and dishes “separate from mine.”). Around 1985, Warhol began working on his massive series of 100 works based on Da Vinci’s “The Last Supper...

Jim's of Lambertville Fine Art Gallery is proud to present this piece by Burgoyne Diller (1906 – 1965). Born in New York City in 1906, Burgoyne Diller began drawing when he was stri...

Sam Francis Untitled (SF64-121) 1964 Gouache and oil on paper 69.9 x 104.4 cms (27 1/2 x 41 1/8 ins) SF14605 Exhibited: New York, 'Chamberlain/Francis', Van Doren Waxter, July 11- ...

Provenance: Darthea Speyer, Paris. backing 12 X 17 image 8.5 X 11.5 John Levee (1924 - 2017) was an American modern art abstract expressionist painter who had worked in Paris since ...

Sam Francis Untitled (#2 Pri-Rain) (SF64-592) 1964 Gouache on paper 57.2 x 75.6 cms (22 1/2 x 29 3/4 ins) Frame size: 82.9 x 103.2 cms (32 5/8 x 40 5/8 ins) SF14652 $300,000 Exhibit...

Theresa Bernstein The Gathering, circa 1990 Signed lower right Mixed media on paper 9 x 10 3/4 inches Theresa F. Bernstein was born in Philadelphia in 1895 to cultured, middle-clas...

Jim's of Lambertville Fine Art Gallery is proud to present this piece by Burgoyne Diller (1906 – 1965). Born in New York City in 1906, Burgoyne Diller began drawing when he was stri...