Unknown

Modern Aquatint Abstract

Circa 1960

Bright abstract French aquatint in red tones by artist Lilly Elroy, titled "Hamed", 1990. Numbered 1/1 HC lower left. Signed and dated lower right. Original artwork on paper display...

Black and white French pen and ink with ink wash of weaving lines defining abstract complex alignements, circa 1970. Original artwork on paper displayed on a white mat with a gold ...

Bright and colorful ink and watercolor abstract by French artist Jaquel, circa 1990. Signed lower right. Original artwork on paper displayed on a white mat with a gold border. Mat...

Enchanting abstract watercolor by French artist Claude Schun, circa 1990. Signed lower right. Original artwork on paper displayed on a white mat with a gold border. Mat fits a sta...

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

Black and white French pen and ink with ink wash of weaving lines defining abstract complex alignments, circa 1970. Original artwork on paper displayed on a white mat with a gold b...

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...

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

Rigoberto Mena (Cuba, 1961) 'Abstraccion Lirica', 2003 pastel, sugarlift on paper Guarro Super Alpha 250g. 20.9 x 27.2 in. (53 x 69 cm.) Unframed ID: MER-103 Hand-signed by author

“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...

Grey tonal painting of a Falcon perched on a branch. The work is framed in a silver frame with a white matte. The artist signed the work in the bottom right corner. Artist Biograph...

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...