Oversized Drawings and Watercolor Paintings

Artwork size: 67 x 51 cm. Frame size: 112 x 97 cm. Free shipment worldwide. Archive number SF 89-153 in the Sam Francis Foundation. Stamped with the Sam Francis Estate logo and stamped signature on verso. Sam Francis’s paintings are a journey into a dream, a voyage into the landscapes of the soul where colours are lights on fire. Alongside names such as Jackson Pollock, Willem de Kooning and Franz Kline, Sam Francis is an artist who has succeeded in demonstrating a total mastery of abstract expressionism’s impassioned and spontaneous genre. The explosions of colour – red, blue, green and yellow – the streaks, strokes and bold lines of his pictures are the physical synthesis of the deepest crevices of the soul. His colours create rhythmical motifs that, characteristically enough, can be called the “musicality” of his paintings. The work of Sam Francis provides a visible meeting place for the conscious and the unconscious. His pictures are the cross-fertilisation of what has already been experienced with what exists still only as desire, a struggle between melancholy and merrymaking. Influenced by C.G. Jung, the father of psychoanalysis, Sam Francis spent a large portion of his life exploring the premise that dreams, instincts and intuition provide, the keys which unlock the mysteries and meaning of our inner lives. He was also fascinated by the four ancient elements – earth, water, air and fire – which developed into a leitmotif in his work. Sam Francis was born in San Mateo in California, USA in 1923. After starting to paint at the age of around twenty, he soon found himself increasingly consumed by the power of art. He spent much of the 1950s in Paris, from where he not only made frequent excursions to a number of European cities, but also embarked on many journeys to South America and Asia. He continued to move from place to place, primarily in the USA and Japan, right up until his death in 1994. Sam Francis’s first...

Grace Ramsey (American, b. 1985) Grace Ramsey is a self-taught painter based in Charlotte, North Carolina. Before establishing herself as a visual artist, she spent over a decade as ...

Juan Sebastian Barbera (Mexico, 1964) 'Untitled', 2013 acrylic on paper Guarro Biblos 250g. 44.1 x 30 in. (112 x 76 cm.) Unframed ID: BAR-121 Hand-signe...

Jane Starks immerses herself in the history and archaeology of the places she loves to paint: wilderness areas of Texas, New Mexico, and Utah. The paintings are begun and completed o...

"Summer Time" is an original piece by Sean 9 Lugo made from acrylic, marker, ink on paper and mixed media on a decommissioned street sign .This pieces measures 41”h x 42”w and comes ...

On October 8, 1871, one of the greatest fires of modern times broke out in Chicago. Engulfing the entire city within hours, it left over 90,000 people homeless and destroyed thousands of buildings, causing many people to flee into the water to escape the flames. Among the property destroyed were the proudest cultural and civic institutions of the city. While the financial center was rebuilt within a year and trade was greater in 1872 than it had been in 1870, it took over a decade for the city’s cultural resources to recover from the disaster. Many of the city’s best artists did not even return to Chicago for several years. Foreign aid poured in from around the world, with half coming from England alone. It is not surprising therefore, that in 1872 it was an English artist that should have designed the mural for City Hall commemorating the Great Fire...

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...

A collage by New York artist Miranda Maher. Made with Ink, Indian marble paper and Japanese Chiyogami paper on handmade Japanese paper. Miranda Maher’s ...

Fig. 9 BASE VERDE, NARANJA and BASE, Triptych, 2025 by Rodrigo Spinel From The Dibujar el Tiempo Series Indian ink on 350g Strathmore Bristol paper Overall Frame size: 73.4 H x 174....

This brightly colored mixed media artwork titled "Mask On, You’re Happy Now" is an original artwork by Kelly Kozma made of hand embroidery, latex paint, marker and handmade sequins o...

This is an exclusive handprinted limited edition cyanotype. This beautiful diptych is titled "Tranquil Water Patterns", and depicts calming ocean ripples at low tide. Details: + ...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of water, forests, and skies. These triptychs are large pieces that feature lush blues, making them an impressive addition to any beautifully designed space. Each triptych is printed by hand and carefully crafted to capture the unique essence of these natural environments, with a focus on the interplay of light and shadows, and the subtle nuances of tone and texture. The beach and ocean scenes depict the dynamic beauty of waves crashing against the shore, with the cyanotype process lending a dreamy, ethereal quality to the images. Similarly, the forest and wood scenes offer a glimpse into the hidden depths of nature, with the cyanotype process lending a sense of mystery and wonder to the images, while the lush blues of cyanotypes imitate the sky and clouds perfectly. These triptychs are perfect for anyone who loves to surround themselves with the beauty of nature, and they make an excellent centerpiece for any beautifully designed space. Details: + Title: Desert Palm Trio + Year: 2024 + Edition Size: 20 + Stamped and Certificate of Authenticity provided + Measurements : 100x210 cm (40 x 84 in.) Each paper measures 70x100 cm (28x 40 in.) each, a standard frame size + All cyanotype prints are made on high-quality Italian watercolor paper WHAT IS A CYANOTYPE? The cyanotype (a.k.a. sun-print) process is one of the oldest in the history of photography, dating back to the 1840's. Cyanotypes were then made famous by Anna Atkins, considered the first female photographer. Inspired by nature, we feel the need to look back at a craft that is handmade, analogue, and using an all-natural light source: the sun. Our cyanotypes are made by coating high-quality Italian watercolor paper with a light-sensitive emulsion. We then expose it in direct sunlight for several minutes using a photo negative...

A new series inspired by architecture, décor and stylish personalities of the world of interior design. The worlds of fashion, society and pop culture are captured in the illustrati...

Merchant Abundant A merchant walks through a covered marketplace draped in rugs and holding intricately decorated knives. Signed lower right : Gustavo Simoni Medium: Watercolor ...

Bergstein grew up in France between Paris and Saint-Rémy-de-Provence. At the age of 18, he flew to Barcelona, Spain where he joined an industrial design school. Back in Paris, he com...

Bergstein grew up in France between Paris and Saint-Rémy-de-Provence. At the age of 18, he flew to Barcelona, Spain where he joined an industrial design school. Back in Paris, he com...

Watercolour on paper Atmosphere -masses of evaporating water in the air- describes Ekaterina Smirnova's paintings best. Working in watercolour, Smirnova has a unique approach to thi...

Entrance-dream, 150x80cm, Watercolor, paper, pencil

Oil pastel and watercolor on cardboard realized by Sirio Pellegrini in 1960s. Includes a wooden frame realized by the Artist. cm. 157.5x113.5. Sirio Pellegrini, born in Rome on Mar...

This 45" x 31" work was drawn by Harold Stevenson in 1983 and is presented in a multi-matted black frame. The drawing depicts three standing figures, each adorned in classical-style ...

In this contemporary landscape in black sumi ink on Mylar, a peaceful forest scene is intricately detailed, beautifully capturing the serenity of a walk in the woods. This ink drawi...

Charles Levier (French, 1920-2003)- Original Watercolor "French Ladies", Shopping Frame is 43 x 35 gold metallic frame Pink matting The painting pops with lively colors . Painting is...

The artist has always liked divas and femmes-fatales. "My grandmothers spoke often of these actresses and admired them openly as if they were real. They created a collective imaginat...

Robert Strati is an American artist who creates multimedia artworks using broken plates. His recent series “Fragmented” started when he accidentally dropped and broke a porcelain pla...

Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. The artwork is unframed and will be shipped rolled in a tube Artist Statement In the 1990s I started collecting flakes of paint – leftovers from my work. I would put fresh ones in wooden formworks, dried ones in glass containers. They constituted layers of investigations into the field of painting, enclosed in dated and numbered cuboids measuring 47 × 10.5 × 10.5 cm. I called those objects Urns. In 2016, I displayed them at an exhibition, moulding a single object out of all the Urns. The Urns inspired me to redefine the status of my work as a painter. In order to do it, I performed a daunting task of placing the layers of paint not in an urn, but on a canvas, pressing each fresh bit of paint with my thumb. In the cycle of paintings Autoportret a’retour, the matter was transferred from painting to painting, expanding the area of each consecutive one. Together, the bits, the residua of paint, kept alive the memory of the previous works. It was a stage of the atomization of the painting matter and its alienation from the traditional concepts and aesthetic relations. Thus, the cycle of synergic paintings was created, as I called them, guided by the feeling evoked in me by the mutually intensifying flakes of paint. The final aesthetic result of the refining of the digested matter was a consequence of the automatism of the process of layering, thumb-pressing, and scraping off again. Just like in an archaeological excavation, attempts are made to unite and retrieve that which has been lost. This avant-garde concept consists in transferring into the area of painting of matter, virtually degraded and not belonging to the realm of art. And yet the matter re-enters it, acquiring a new meaning. The matter I created, building up like lava, became my new technique. I called it perpetuum pictura – self-perpetuated painting. Alchemical concepts allowed me to identify the process inherent in the emerging matter, to give it direction and meaning. In a way, I created matter which was introducing me into the pre-symbolic world – a world before form, unnamed. From this painterly magma, ideas sprung up, old theories of colour and the convoluted problem of squaring the circle manifested themselves again. Just like Harriot’s crystal refracted light in 1605, I tried to break up colour in the painting Iosis. Paintings were becoming symptoms, like in the work Pulp fiction, which at that time was a gesture of total fragmentation of matter and of transcending its boundaries, my dialogue with the works of Jackson Pollock and the freedom brought by his art. The painting Geometrica de physiologiam pictura contains a diagram in which I enter four colours that constitute an introduction to protopsychology, alchemical transmutation, and the ancient theory of colour. It this work I managed to present the identification of the essence of human physiology with art. But the essential aspect of my considerations in my most recent paintings is the analysis of abstraction, the study of its significance for the contemporary language of art and the search for the possibilities of creating a new message. For me, abstraction is not an end in itself, catering to the largely predicable expectations of the viewers. To study the boundary between visibility and invisibility, like in the work Unsichtbar, is to ask about the status of the possibilities of the language of abstraction. The moment of fluidity which I am able to attain results from the matter – matter...

A Different Explanation, 2024 Additional information: Medium: Acrylic on panel Dimensions: 48 × 48 in (121.9 × 121.9 cm) Clay Johnson (American, b. 1963) was born in Durham, North ...

Watercolor on paper Atmosphere -masses of evaporating water in the air- describes Ekaterina Smirnova's paintings best. Working in watercolour, Smirnova has a unique approach to this ...

The project aims to highlight the potential of the line, which, when repeated, is capable of creating complex images. The patience, focus, and perseverance dedicated to constructing ...

Judy Pfaff Untitled, 1994 Collage, Mixed media, Gouache and Leaves on paper, in Artist's Frame. Signed with Andre Emmerich & Bellas Artes Gallery Labels - accompanied by original shi...

Beaches in Cap Skiring No.1 is a unique oil pencil on cardboard, glued on wooden frame drawing by contemporary artist Calo Carratalá, dimensions are 80 × 139 × 4 cm (31.5 × 54.7 × 1....

Gestural abstract expressionist painting on archival paper mounted to panel with gold and silver metallic powders and accents of blue, burgundy, green, and purple enamel paint "Invol...

In this contemporary artwork in graphite and acrylic on canvas with layered undulations in shades of gray on a white background, Margaret Neill investigates the properties of abstrac...

Clemens Wolf declares himself a champion of sensuality: 'I'm really interested in the process of transforming something trivial into a sensual object. The guided coincidence plays a ...

Love Affair 9 (Abstract drawing) Colour pencil on two layers of Mylar — Unframed. Love Affairs" is a series of drawings on two layers of thin, translucent paper resembling ice. Each...

sumi ink and oil stick on Korean paper (72 x 61.5 x 1.5 inches, framed) b. 1942, Nagoya, Japan Jun Kaneko’s most recognized sculptural form is the boldly glazed, monumental dango (...

An everyday situation, from our memory, from the memory of childhood in a non-place, that is to say, an enigmatic ephemeral place, a space that is delimited and that grows, that mult...

'SF Symphony Still Life #4' by master watercolorist Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, and size. Internationally exhibited and celebrated worldwide, Bukovnik’s iconic works express a spiritual exultation - a joie de vivre - a vivid celebration of beauty. The painting captures the season of nature’s rebirth when the world awakes from its winter repose — Forever Spring...

Oil on canvas, Juliane Hundertmark is a German artist born in 1971 who lives and works in Berlin, Germany. She is considered one of Berlin's most original and inventive emerging pai...

Interior design paintings. The artwork were done with acrylic, gold leafing pen 18 kt in gold and black color on canvas size 48x36". This is the "Many thoughts, one head" series. Th...

Chinese Ancestral Portrait of Enthroned Noblewoman, Gouache on Linen Mounted on Paper, circa 1900, depicting crowned and dressed female ancestor in ...

Artodyssey "Julita Malinowska's paintings belong to those, which once seen - are never forgotten. The open spaces, sometimes cool and bright, at other times heavily saturated with co...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his...

Gestural abstract expressionist painting on archival paper with gold and silver metallic powders and accents of blue, burgundy, and green enamel paint "Platonic Solids...

Watercolor on paper Atmosphere -masses of evaporating water in the air- describes Ekaterina Smirnova's paintings best. Working in watercolour, Smirnova has a unique approach to this...

James L. Grabowski (American born 1944) New England Landscape Gouache on paper 27 1/2 x 39 1/2 Signed on the reverse Has a plaque for Arches Paper Award James Grabowski...

The artwork is unframed and will be shipped rolled in a tube Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. Krzysztof Gliszczyński born in Miastko in 1962. Graduated from the Gdańsk Academy of Fine Arts in 1987 in the studio of Prof. Kazimierz Ostrowski. Between 1995 and 2002 founder and co-manager of Koło Gallery in Gdańsk. lnitiator of the Kazimierz Ostrowski Award, con-ferred by the Union of Polish Artists and Designers (ZPAP), Gdańsk Chapter. Dean of the Painting Faculty of the Gdańsk Academy of Fine Arts in the years 2008-2012. Vice Rector for Development and Cooperation of the Gdańsk Academy of Fine Arts in the years 2012-2016. Obtained a professorship in 2011. Currently head of the Third Painting Studio of the Painting Faculty of the Gdańsk Academy of Fine Arts. He has taken part in a few dozen exhibitions in Poland and abroad. He has received countless prizes and awards for his artistic work. He is active in the field of painting, drawing, objects, and video. Artist Statement In the 1990s I started collecting flakes of paint – leftovers from my work. I would put fresh ones in wooden formworks, dried ones in glass containers. They constituted layers of investigations into the field of painting, enclosed in dated and numbered cuboids measuring 47 × 10.5 × 10.5 cm. I called those objects Urns. In 2016, I displayed them at an exhibition, moulding a single object out of all the Urns. The Urns inspired me to redefine the status of my work as a painter. In order to do it, I performed a daunting task of placing the layers of paint not in an urn, but on a canvas, pressing each fresh bit of paint with my thumb. In the cycle of paintings Autoportret a’retour, the matter was transferred from painting to painting, expanding the area of each consecutive one. Together, the bits, the residua of paint, kept alive the memory of the previous works. It was a stage of the atomization of the painting matter and its alienation from the traditional concepts and aesthetic relations. Thus, the cycle of synergic paintings was created, as I called them, guided by the feeling evoked in me by the mutually intensifying flakes of paint. The final aesthetic result of the refining of the digested matter was a consequence of the automatism of the process of layering, thumb-pressing, and scraping off again. Just like in an archaeological excavation, attempts are made to unite and retrieve that which has been lost. This avant-garde concept consists in transferring into the area of painting of matter, virtually degraded and not belonging to the realm of art. And yet the matter re-enters it, acquiring a new meaning. The matter I created, building up like lava, became my new technique. I called it perpetuum pictura – self-perpetuated painting. Alchemical concepts allowed me to identify the process inherent in the emerging matter, to give it direction and meaning. In a way, I created matter which was introducing me into the pre-symbolic world – a world before form, unnamed. From this painterly magma, ideas sprung up, old theories of colour and the convoluted problem of squaring the circle manifested themselves again. Just like Harriot’s crystal refracted light in 1605, I tried to break up colour in the painting Iosis. Paintings were becoming symptoms, like in the work Pulp fiction, which at that time was a gesture of total fragmentation of matter and of transcending its boundaries, my dialogue with the works of Jackson Pollock and the freedom brought by his art. The painting Geometrica de physiologiam pictura contains a diagram in which I enter four colours that constitute an introduction to protopsychology, alchemical transmutation, and the ancient theory of colour. It this work I managed to present the identification of the essence of human physiology with art. But the essential aspect of my considerations in my most recent paintings is the analysis of abstraction, the study of its significance for the contemporary language of art and the search for the possibilities of creating a new message. For me, abstraction is not an end in itself, catering to the largely predicable expectations of the viewers. To study the boundary between visibility and invisibility, like in the work Unsichtbar, is to ask about the status of the possibilities of the language of abstraction. The moment of fluidity which I am able to attain results from the matter – matter...

Medium: Charcoal on Board Signature: Signed Lower Right

ARTIST: Bernard Myers (1925-2007) British TITLE: "Still Life Of Chrysanthemums" MEDIUM: pastel on paper SIZE: 92cm x 75cm inc frame CONDITION: excellent NOTES: Painter, printmake...

Alma is a unique mixed technique, pigments and charcoal fixed on canvas, painting by contemporary artist Franco Salas Borquez, dimensions are 160 × 245 cm (63 × 96.5 in). The artwor...

Clemens Wolf declares himself a champion of sensuality: 'I'm really interested in the process of transforming something trivial into a sensual object."" The guided coincidence plays ...

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....

The theory of Heaven is a novelty that Plato introduced to philosophy. Inspired by this concept, the artist proposes a series of works where I imagine and recreate possible worlds on...

Signed and dated

Will Barnet is one of America's best loved and known artists of the Post War era. He is highly distinctive for his figurative and narrative work and in some ways he is the Edgar All...

Astre is a unique graphite drawing on linen canvas by contemporary artist Franco Salas Borquez, dimensions are 118 × 91 cm (46.5 × 35.8 in). Dimensions of the framed artwork are 120 ...

A pillow book was meant to teach a young bride about the art of lovemaking. This rare museum-quality 19th century example is composed of 12 masterfully pai...

Jane Starks immerses herself in the history and archaeology of the places she loves to paint: wilderness areas of Texas, New Mexico, and Utah. The paintings are begun and completed o...

'Flying Composition' by master watercolorist Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral images of great depth, intensity, and size. Internationally exhibited and celebrated worldwide, Bukovnik’s iconic works express a spiritual exultation - a joie de vivre - a vivid celebration of beauty. The painting captures the season of nature’s rebirth when the world awakes from its winter repose — Forever Spring...

Gestural abstract expressionist painting on canvas in colorful hues blue, pink, and green on a silver background "Untitled Blue", 2022 by Bruce Murphy 40.5 x 40.5 inches, enamel pai...

Each line is the trace of a movement. The work is constructed by accumulation, color on color and line upon line. The strokes are like a bridge between two shores, a web that links fragments. Intensity is an essential component of my work and forms part of a vital dynamic. The experiential operates as a time shift: a difference that is installed on the continuum of reality; a gap that lets you see what is hidden from the view. The pencil tip releases material into the interstices of the paper, covering the paper grain; and if it does not, another stroke will cover this supporting skin. NOTE: This artwork is shipped in a tube. The back of the paper may contain a few small traces of colour from the wooden board where it was made (see photo above). The paper is Fabriano Watercolour Studio, 140 lb , Cold Pressed. Artistis' colour pencils Polychromos Faber Castell...