Mid-20th Century Abstract Drawings and Watercolors

The Dead Tiger Ink and watercolor on paper, 1955 Signed and dated in ink (see photo) Condition: Aging to the entire sheet (it's 78 years old) Image/Sheet size: 18 1/4 x 23 inches On...

Henry Moore, Eight Reclining Figures, 1962 Coloured felt-tip pen, pen and India ink on paper 29.2 x 23.3 cm (11.49 x 9.17 in) unframed 48.5 x 40.5 cm (11.22 x 15.94) framed Signed ...

This original vintage painting by Charles Ragland Bunnell (1897-1968), titled Quitting Time from Bunnell's Black and Blue Series from 1941, exemplifies his unique Abstract Structure ...

MAGIC CASEMENT, Abstract Non-Objective Mid-Century Pastel Color Field Drawing "Magic Casement" 16 x 20 ¾ inches Pastel on paper Initialed JD and dated February 22, 1967 lower left, Titled lower right The framed work measure 18 x 23 inches. Provenance: James Daugherty...

"Surrealist Texas Oil Rig" is an original, double-sided watercolor and ink piece by David Barnett, signed and dated in the lower right. It is framed with a w...

GWENDOLEN KITTY YOUNG (1914-1994) Red, Yellow & Grey Design Signed on the reverse Gouache Unframed 21.5 by 4.5 cm., 8 ½ by 1 ¾ in. (mount size 35.5 by ...

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...

Les Voiles by Léopold Survage (1987-1968) Watercolour on paper 23 x 38 cm (9 x 15 inches) Monogrammed, stamped and dated lower right Executed in 1945 Provenance Private collection, ...

A striking pop art drawing, dating from the 1960s, featuring lettering and a packet of Lucky Strike cigarettes. Pop art as art movement emerged in the 1950s and flourished in the 196...

Marbled French abstract aquatint of flowing motion, 1963. Signed lower right. Original artwork on paper displayed on a white mat with a gold border. Archival plastic sleeve and Cert...

Pencil on watermarked paper. Signed lower left. The drawing is accompanied by an authentication on photo from the Fausto Melotti Archive, with code DIS 36 015, showing the data of th...

"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...

Place de la Bastille is a really joyful original drawing on paper, realized around the first decades of XX century by the French artist Eliane Diverly (1914 - 2012). Titled and date...

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...

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

Alexander CALDER (1898-1976) Underwater Sunset Painted in 1964 Gouache on paper Signed and dated lower right This work is registered in the archives of the Calder Foundation, New Y...

An abstracted composition containing a kneeling figure . this is a stamped print, woodcblock most likely artfully combined with moody watercolor. Stefan Alexander, born Czechoslovak...

'Raining in Formosa on the Tamsui River' by Taiwanese artist, Ran In-Ting (Lan Yinding, 藍蔭鼎) (1956-59). Although elements of landscapes often appear in paintings produced by various cultures, before the 17th century in the West they were only peripheral. In 5th century China, shan shui or landscape painting developed, expressing harmony and natural beauty. These were among the first paintings to make landscape their subject (ref: 'The Short Story of Art...

etching on Japan paper , Edited in 1968, second state (of two) Limited edition of 30 copies for each state , numbered 8/30 in lower left Hand signed in pencil by artist in the lower ...

Unique work mixed media H63 x W 78 cm (Framed)

Transformista 3 - Original Figurative Drawing by Jose Luis Cuevas (b. 1934 d. 2017.) This original ink drawing by Cuevas depicts two distorted figures pressing their faces together....

Abstract watercolor composition bearing the influence of the earlier color-block compositions of Paul Klee. Pawel August Kontny, (Polish-German-American artist) He was born in Laura...

This is a complicated drawing, even for Morris Graves (1910-2001), known as the Mystical Painter of Nature. Graves tried to be sensitive to the slightest tremor or breeze that a sma...

This exceptional original project drawing, painted with colored pencil on translucent tracing paper, is by a French artist, circa the 1960s. The original painting features a geometri...

Abstract Geometric Illusory Line Art in Ink on Paper by Geraldine Heib In this line abstract by Jerry O'Day (American, 1912), lines intersect and layer in straight and rounded ways giving a sense of movement to the piece. O'Day uses simple ink on paper and pure geometric form in the Minimalist style of the 1960s. Unsigned, but was acquired with a collection of the artist's work. Mat size: 39"H x 27"W Paper size: 30"H x 20"W Image size: 27"H x 16"W Jerry O'Day is also known as Geraldine Heib. Born in Oakland, California, on June 17, 1912. Geraldine Heib assumed the name Jerry O'Day at an early age. She grew up in Washington and studied in Seattle at the Cornish School of Fine Arts. Upon moving to the San Francisco Bay area in 1938, she further studied with Bufano as a muralist for two years. O'Day wed sculptor David Lemon and had a gallery in a converted cod fishery in Belvedere from 1942 until 1963. At that time, the couple moved to a houseboat in Sausalito, where she remained until her demise on March 30, 1986. Post War California artist, Jerry O'Day studied at the Cornish School of Fine Arts in Seattle; studied with Beniamino Bufano for two years. She lived in the artist's colony at the Cod fishery with artist David Lemon on Belvedere Island in the San Francisco Bay Area from 1942 - 1963. Solo Exhibitions: City of Paris, Rotunda Gallery; Lucien Labaudt Gallery, 1963; Torrance Gallery, San Anselmo, 1955; Marin Art Gallery, Sausalito, 1956; Palace of The Legion of Honor, San Francisco, 1962; East & West Gallery, Fillmore Street, San Francisco; Landmarks Gallery, Marin County, 1991. Selected Group Exhibitions: 65th Annual Painting and Sculpture Exhibition of the San Francisco Art Association at the San Francisco Museum of Art, 1945; Fourth Winter Invitational, California Palace of The Legion of Honor, San Francisco, 1963. Source: David J Carlson...

One of a group of over 100 works personally selected by the artist and gifted to a close personal friend in 1969, this work was never matted, framed, glued, taped or exposed to light...

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...

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...

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 ...

"Wigwam rouge et jaune" is a gouache on paper by Alexander Calder. The unique work is signed in the lower right, “Calder 65”. Although renowned for his innovative and groundbreaking...

A drawing by Henry Moore. "Sculpture Motives" is a semi-abstract, figurative drawing, ink, watercolor, and wax crayon on paper in beige, white, and black platte by British modern art...

Genichiro Inokuma, Japanese (1902 - 1993) - Exhibition Poster, Year: 1968, Medium: Poster, with pen drawing, signed and dated in the plate, Size: ...

Surrealist proto-Afropunk drawing by African-American artist, Roland Ayers (1932-2014). Hesitation Blues, 1968. Ink on paper, sheet measures 13 x 23 inches; 14 x 18 inches in archival pH-neutral matting. Signed and dated lower right. Excellent condition with no damage or restoration. Provenance: Sheila Ayers-Whitelaw Exhibition History: Roland Ayers: Calligraphy of Dreams, Woodmere Art Museum, 07/10/2021 - 10/24/2021 Artist and art educator, Roland Ayers was born on July 2, 1932, the only child of Alice and Lorenzo Ayers, and grew up in the Germantown district of Philadelphia. Ayers served in the US Army (stationed in Germany) before studying at the Philadelphia College of Art (currently University of the Arts). He graduated with a BFA in Art Education, 1954. He traveled Europe 1966-67, spending time in Amsterdam and Greece in particular. During this period, he drifted away from painting to focus on linear figurative drawings of a surreal nature. His return home inaugurated the artist’s most prolific and inspired period (1968-1975). Shorty before his second major trip abroad in 1971-72 to West Africa, Ayers began to focus on African themes, and African American figures populated his work almost exclusively. In spite of Ayers’ travel and exploration of the world, he gravitated back to his beloved Germantown, a place he endowed with mythological qualities in his work and literature. His auto-biographical writing focuses on the importance of place during his childhood. Ayers’ journals meticulously document the ethnic and cultural make-up of Germantown, and tell a compelling story of class marginalization that brought together poor families despite racial differences. The distinctive look and design of Germantown inform Ayers’ visual vocabulary. It is a setting with distinctive Gothic Revival architecture and haunting natural beauty. These characteristics are translated and recur in the artist’s imagery. During his childhood, one of the only books in the Ayers household was an illustrated Bible. The images within had a profound effect on the themes and subjects that would appear in his adult work. Figures in an Ayers’ drawing often seem trapped in a narrative of loss and redemption. Powerful women loom large in the drawings: they suggest the female role models his journals record in early life. The drawings can sometimes convey a strong sense of conflict, and at other times, harmony. Nature and architecture seem to have an antagonistic relationship that is, ironically, symbiotic. A critical turning point in the artist’s career came in 1971 when he was included in the extremely controversial Whitney Museum show, Contemporary Black Artists in America. The exhibition gave Ayers an international audience and served as a calling card for introductions he would soon make in Europe. Ayers is a particularly compelling figure in a period when black artists struggled with the idea of authenticity. A questioned often asked was “Is your work too black, or not black enough?” Abstractionists were considered by some peers to be sell-outs, frauds or worse. Figurative* work was accused of being either sentimental or politically radical depending on the critical source. Ayers made the choice early on to be a figurative artist, but considered his work devoid of political content. Organizations such as Chicago’ s Afri-Cobra in the late 1960‘s asserted that the only true black art of any relevance must depict the black man and woman...

Artist: Roberto Matta Title: Sans Titre 1 Medium: Original pastel/drawing on paper Signed: Hand Signed Year: 1969 Measurements: 12" x 16" Framed: 20" x 24" Authentication: Kajsa...

Oil Pastel on paper realized in 1969. Hand signed and dated in pencil lower right. Hand dedicated, signed and dated (1971) on rear. Includes a wooden frame cm. 43.5x52.  Very goo...

Roderick Fletcher Mead (American, 1900-1972) was an important painter and printmaker, best known for his surrealist landscapes and figural compositions reminiscent of Pablo Picasso a...

John Levee, an American abstract expressionist, served as a pilot in the United States Army Air Forces during World War II. Following the war, he harnessed the educational opportunit...

Composition is an original Drawing in Pencil and watercolor realized by an anonymous artist in the mid-20th Century. Good Conditions. The artwork is depicted through strong strokes...

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

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...

Frank Roth, American (1936 - ) - Untitled IV, Year: 1960, Medium: Graphite and Ink on Paper, signed, dated and dedicated in pen, Image Size: 8 x 9.5 inches, Size: 11.25 x 11 in. (28...

Stunning, rare original project drawings, hand-painted with colored pencil on translucent tracing paper by a French artist, circa the 1960s. The two paintings feature a geometric stu...

Stunning original project drawings, hand-painted with colored pencil on translucent tracing paper by a French artist, circa 1960. The two paintings feature a geometric study in color...

Louis Wolchonok, 'Rockport Harbor', gouache, c. 1950. Signed in ink, lower right. A fine, modernist work, with fresh colors, on cream wove drawing pape...

ROBERT GOODNOUGH Seated Girl, 1961 Charcoal Drawing on Paper 23 3/4 × 18 inches Hand signed in charcoal on the front Unframed Unique This is an exquisite, rare poignant early Robert ...

Artist: Claude Lagouche (French 1943-2020) Claude Lagouche was born January 2, 1943 in Naves, died January 16, 2020. He quickly gained recognition for his talent and his work, exh...

Naturalistic pencil drawing of a New Mexican landscape by artist Madelyn Colby. The work features a grove of trees surrounding a small abandoned building with the hint of a mountain ...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 12.75 x 9.75 inches condition: excellent provenance: all the paintings we ...

Paul Gattuso attended the Art Students League and worked primarily in New York City. There is an old address with a Bronx, Grand Concourse address on the ...

John Cage Water Music Manuscript, 1952 Dated "Spring 1952" lower right Ink on paper 10 3/4 x 16 1/2 inches Provenance The artist Gifted to Carolyn R. Brown, New York Estate of the a...

Lithograph on paper by Roger Lersy (France, 1920 - 2004). This stunning abstract seascape cubist composition has a highly colorful design of old boats executed by the artist in Franc...

WOODED LANDSCAPE WITH HOUSES Signed original brush and ink on wove paper, circa 1950. WOODED LANDSCAPE WITH HOUSES is an original watercolor brush and ink on paper, hand signed in ink pen by African-American artist, teacher, and printmaker Ronald Joseph (1910--1992) Artwork depicts an abstract landscape, is in good condition, paper tape remaining on reverse side edges, mounted in an archival acid-free mat, unframed. Artwork paper size - 18 x 21.5 in. Year created - c. 1950 About the artist - Ronald Joseph (1910 -1992) was born on the island of St. Kitts, West Indies In 1910. When he was very young, his mother decided to move to the United States but she could not afford to take him with her. Mr. and Mrs. Theophilus Joseph, a childless couple who were friends of Joseph’s mother, adopted him. Afterwards, the Joseph family moved to the Island of Dominica, where they stayed for ten years. In 1921, his foster parents also decided to come to the United States. In New York, Joseph met his mother but remained living with his foster parents. In 1926 Ronald Joseph received a scholarship for the Ethical Culture School, were he spent two and half years of his high school period. At this time he obtained an art scholarship through Dr. Henry Fritz, with whom he became acquainted through his art teacher in public school. Joseph was taken into the Saturday art class, where he was the only black participant. An artistic prodigy, Ronald Joseph had his student works shown at the Metropolitan Museum of Art. Ronald Joseph graduated from Ethical Culture Fieldston School in 1929. He was honored as “the most promising” young artist in New York City’s schools. He began his study at Pratt Institute in 1931 and graduated in 1934. During the 1930s and 1940s, Joseph participated in many exhibitions of African-American art, the Works Progress Administration mural project, and the Harlem Artists Guild. Ronald Joseph enlisted in the U.S. Army Air Corps at the declaration of World War II and was posted as a member of the ground crew in Tuskegee, Alabama, and in Michigan. At the end of the war in 1945, he received his G. I. Bill of Rights scholarship. In 1948, he was presented with the Rosenwald Fellowship. The funds allowed him to live and work abroad – first in Peru for two years, then in Paris. Joseph used the G.I. bill to study in Paris at the Grande Chaumière. He described this period of his life as being “independent of economy”. His work from these travels is largely undocumented; according to Rosenwald scholar, Daniel Schulman, many pieces of art are undated or simply dated “1948-1952”. After this period he came back to New York without money and work and indicated this as period of hardship. Ronald Joseph left the U.S. in 1956, disappointed in the unreceptiveness of the art world to his work with mixed feelings about this. On the one hand, he felt guilty for having left the U.S. during a period when blacks were struggling for their civil rights; on the other, he felt “lucky” to have been able to live and work in place where he did not feel discrimination as intensely. He emigrated to Belgium and later settled permanently in Brussels. Ronald Joseph was married to Claire Joseph and they had a son, Robin Joseph. In 1989 Joseph returned to the United States after an absence of thirty-three years to attend the Lehman College exhibition and symposium and to renew his old friendships. Afterward, he returned to Brussels where he continued to work as a painter, living there for the remainder of his life. Ronald Joseph started his artistic career in Harlem, New York City at the Harlem Community Arts Center, where he was one of the youngest pupils. Joseph studied lithography and other printmaking techniques with Riva Helfond, who taught him many aspects of the process based on simple techniques, including how to operate the press, and how to prepare the stones. Helfond played a significant role as a teacher of lithography at the Harlem Art Center. Joseph produced his first lithographs under her supervision, and this was at a time when she was just beginning to learn the medium herself. At the Harlem Community Arts Center Joseph met Robert Blackburn, who was his classmate. In 1937 Ronald Joseph depicted Blackburn, in one of his most famous works, that is now located at The Metropolitan Museum collection. Experimenting with lithography and etching, as well as woodblock and silkscreen printing, Joseph explored the techniques of printmaking alongside his friend Robert Blackburn. Joseph described the Harlem Art Center as a “healthy and lively” place, where he had made wonderful friends. In the late thirties, he also served as a teacher at the Harlem Community Arts Center. There Joseph met younger artist Jacob Lawrence and Gwendolyn Knight. They formed a friendship, where they enjoyed conversations and visiting museums together. Both Joseph and Knight would hire Lawrence to pose for them. Jacob Lawrence considered Ronald Joseph to be a very intellectual artist. In the 1930s, Joseph became chairman of the Harlem Artists Guild and represented it in Washington with Stuart Davis and Hugo Gellert. Ronald Joseph was also a participant in the mural section of WPA and a representative of the Harlem Artists’ Guild to the New York World’s Fair (1939-1940). Joseph’s early oil paintings were influenced by Picasso, Braque and other European artists while most of his contemporaries focused on social realism. By 1943, he was hailed by art historian James Porter as New York’s “foremost Negro abstractionist painter”. His pastels and gouaches from the late forties and early fifties showed a highly structured abstraction combined with a studied spontaneity. Ronald Joseph’s finely tuned abstractions often incorporated representational elements along with apparently “purer” forms. He described this aspect of his work in these terms: “It’s not abstract and abstract at the same time. It’s pure creation.” His works from the 1950s employed both still life and landscape as pretexts for masterly exercises in nearly abstract pictorial construction related to cubism and fauvism. During World War II, Joseph was drafted. After the war he formed “a kind of a group” with Robert Blackburn, Charles White, Larry Potter, and Reginald Gammon...

Important work by one of the greatest artists of the Italian artistic avant-garde Fausto Pirandello It depicts one of his iconic subjects ‘Bathers’ with three characters depicted in...

This is a rare, pencil signed print based upon the original drawing which is illustrated in the catalogue raisonne of Richard Lindner's Paintings, Watercolors and Drawings, Edited by...

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...

"Barns" Watercolor Mid-20th Century Modern Abstract Realism Excellent Provenance Arthur Dove (1880-1946) "Barns" 5 x 7 inches Watercolor on paper, 19...

A rare 1948 black & white drawing from woman artist, Lois Field, who studied at the New Bauhaus in Chicago. Artwork size: 3" x 4". Handsomely framed to 9" x 11". In 1923, Lois F...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 10 x 10 inches condition: excellent provenance: all the paintings we have ...

Sonia Gechtoff Flag Icon, 1963 Pastel, graphite and collage Frame included: elegantly framed in hand made wood frame with UV plexiglass Evocative mixed media mid century modern work...

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...