Hard-Edge Landscape Drawings and Watercolors
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Style: Hard-Edge
"Rose Breasted Mazurka" Watercolor Painting - abstract, landscape, colorful
Located in Marmora, NJ
Kurt Herrmann
10x11” (26x28 cm) unframed
watercolor on paper
2022
Artist Watercolor statement:
I went to Siberia in 1994 for the adventure and to paint. I came home with my first ...
Category
2010s Hard-Edge Landscape Drawings and Watercolors
Materials
Watercolor
"Buzz Tripper" Watercolor Painting -bold, abstract, landscape, colorful, travel
Located in Marmora, NJ
Kurt Herrmann
10x11” (26x28 cm) unframed
watercolor on paper
2022
Artist Watercolor statement:
I went to Siberia in 1994 for the adventure and to paint. I came home with my first ...
Category
2010s Hard-Edge Landscape Drawings and Watercolors
Materials
Watercolor
"Lake Arbutus" Watercolor Painting -travel, bold, abstract, landscape, colorful
Located in Marmora, NJ
Kurt Herrmann
10x11” (26x28 cm) unframed
watercolor on paper
2022
Artist Watercolor statement:
I went to Siberia in 1994 for the adventure and to paint. I came home with my first ...
Category
2010s Hard-Edge Landscape Drawings and Watercolors
Materials
Watercolor
"Stonecat Flashback" Watercolor Painting -bold, abstract, landscape, colorful
Located in Marmora, NJ
Kurt Herrmann
10x11” (26x28 cm) unframed
watercolor on paper
2022
Artist Watercolor statement:
I went to Siberia in 1994 for the adventure and to paint. I came home with my first ...
Category
2010s Hard-Edge Landscape Drawings and Watercolors
Materials
Watercolor
Luna's Tire Shop, hand cut collage bright limited color
Located in Brooklyn, NY
Collage: Hand cut color-aid paper on gessoed heavyweight watercolor paper
framed in a flat gray painted wood frame with plexi.
Philomena is a daughter of Brooklyn. She holds a BFA fr...
Category
2010s Hard-Edge Landscape Drawings and Watercolors
Materials
Archival Paper, Watercolor
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NOIR - Contemporary Minimalistic Abstract Expressive Oil Pastel Painting - Frame
By Janusz Kokot
Located in Salzburg, AT
This work of art will be sent unframed - (the risk is too big if the glass breaks that the work of art will be damaged)
Janusz Kokot was born in Kalisz in 1960. He studied at the Pedagogical University in Częstochowa at the Art Institute. He practices painting and drawing. In the years 1988 - 2020 he organized 19 individual exhibitions. He took part in dozens of collective exhibitions in Poland and abroad. He is a laureate of 13 prizes and distinctions in national competitions.
„In my art I like to speak quietly. The meaningful message is often only heard in a whisper. To show something strong, but subtle, without shouting, is a challenge for me and an adventure I enjoy. I believe this way can reveal the talent of the artist. I love to explore the possibilities for the medium I am using, to see how much I can take from it, to push the boundaries. Often I create a series of paintings, taking something from the last to form the next. During my 30 year career I have used many mediums including water colours and oil paints, but for the last ten years I have almost exclusively been using oil pastel...
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Llangorse Lake, Brecon Beacons, Wales, circa 1964. Welsh Landscape. Abstract.
By Roger Cecil
Located in Sutton Poyntz, Dorset
Roger Cecil.
Welsh ( b.1942 - d.2015 ).
Llangorse, Brecon Beacons
Watercolor and pastel on paper. Signed.
Image size 19.5 inches x 29.5 inches ( 49.5cm x 75cm ).
Frame size 24.6 inches x 34.6 inches ( 62.5cm x 88cm ).
Available for sale; this original painting is by the Welsh artist Roger Cecil and dates from around 1964.
The watercolor and pastel work is presented and supplied in a sympathetic contemporary frame (our stock frame, which is shown in these photographs), mounted using conservation materials and behind glass. The original backboard has been reused but the artwork has been isolated from it using conservation barrier materials.
This vintage artwork is in good condition, commensurate with its age. Previous cockling (rippling) of the paper has been eliminated by stretching and the use of a new mounting. Previous foxing and age marks have been mechanically removed and the coarse fiber of the paper has been made good in these areas. The painting is now ready to hang and display.
The watercolor is signed lower left.
Provenance: Previously with the Howard Roberts Gallery, Imperial Buildings, 69/74 St Mary Street, Cardiff.
Roger Cecil was a reclusive painter, draughtsman and teacher who was born in Abertillery, Monmouthshire in 1942. He lived and worked in Wales for the last four decades of his life, much of it in the house where he was born and brought up.
Cecil produced abstract work rich in imagery, poetry and color, which were drawn from his environment, the industrial valley towns and mountains. Prolific and obsessive, he was always a solitary artist, with no affiliations to any group or artistic movement.
He worked for more than forty years, with an ever evolving and prolific creative output. His pictures capture the geology and the history of the places he knew so intimately, and the impact of man of that environment.
Cecil studied Fine Art at Newport College of Art from 1959 to 1963, where his teachers included John Wright and Thomas Rathmell; in 1963 he gained the College’s highest award in the national diploma in design and a place at the Royal College London. In 1964 he won the David Murray Landscape Award from the RA. He took up his place at the Royal College of Art, but after just a few weeks he was unsatisfied and instead took up manual work in opencast mines and building sites.
Cecil later spent some time teaching at Ebbw Vale. From 1995 to 1998 he did his MA, which he gained with distinction in communication design at St. Martin’s College of Art.
The BBC made a television documentary on Cecil's work called The Gentle Rebel.
For a long time Cecil did not exhibit, through choice, and it was friends who helped to promote him. He then had a series of exhibitions at Business Art Galleries from 1987, and in 1995 the Hill Court Gallery, Abergavenny, held a retrospective of his work. In 1998 Gordon Hepworth and Y Tabernacl both showed Cecil's pictures.
Cecil’s works were also shown at the Oriel Myrddin Gallery in 2006 and 20011. The small book which takes the name of the earlier exhibition ”Cariad”; has an introduction by gallery manager Meg Anthony which states;
“The magic of Roger Cecil’s work is in part down to the man, for he is enigmatic and surprising, diffident and proud. He has deliberately avoided the art establishment, remaining shy of its protocol and systems of exposure and recognition. He has consciously created the space to pursue his art, away from the pressures of publicity and celebrity...... paint is Roger’s passion.”
Cecil’s methods were complex; he worked with a mixture of materials, including oil pastels, sandpaper, primer and plaster. He built up layers and then he rubbed and scratched them away. His work is textured and nuanced, and the color reverberates as if it has a life of its own. The paintings are abstract, but there are echoes of monumental shapes and undulations of the female form, the Valleys - the dark hills embracing the bowls of space and the rich, gritty textures of the industrial and post-industrial landscape, highlighted by intricate, personal marks.
Sarah Bradford states:
“Scale is an important feature of Roger Cecil’s work; he constantly shifts from near and the far off. He also moves his viewpoint from looking at, to looking down on to. This looking down, as though a bird, onto the world of the painting, comes from exploration of his surroundings and from the ordinance survey maps he takes with him when he walks. He has often said how he is inspired by the language of symbols and lines that are used in maps to delineate the landscape. It is easy to see the connection when looking at the networks of invented footpaths, waterways, and other pinpoint features that can be found in his work.” …
Mary Lloyd...
Category
Mid-20th Century Hard-Edge Landscape Drawings and Watercolors
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A Small City Park, Abstract Painting Acrylic Watercolor Painting, Green Brown
Located in Denver, CO
"A Small City Park", acrylic and watercolor on paper by Denver artist Edward Marecak (1919-1993) of an abstract park broken into four quadrants, separated by brown and white striped borders with different shaped ponds. Inspired by City Park in Denver, Colorado where the artist frequented. Presented framed with all archival materials, outer dimensions measure 21 ¾ x 18 ¾ inches. Image size measures 12 x 15 inches.
Painting is clean and in good condition - please contact us for a detailed condition report.
Provenance: Estate of Edward Marecak
Expedited and international shipping is available - please contact us for a quote.
About the Artist:
Born to immigrant parents from the Carpathian region in Slovakia, Marecak grew up with his family in the farming community of Bennett’s Corners, now part of the town of Brunswick, near Cleveland, Ohio. When he turned twelve, his family moved to a multi-ethnic neighborhood of Poles, Czechs, Slovaks and Slovenians in Cleveland. His childhood household cherished the customs and Slavic folk tales from the Old Country that later strongly influenced his work as a professional artist. During junior high he painted scenery for puppet shows of "Peter and the Wolf," awakening his interest in art. In his senior year in high school he did Cézanne-inspired watercolors of Ohio barns at seventy-five cents apiece for the National Youth Administration. They earned him a full scholarship to the Cleveland Institute of Art (1938-1942) where he studied with Henry George Keller whose work was included in the 1913 New York Armory Show. In 1940 Marecak also taught at the Museum School of the Cleveland Institute.
Before being drafted into the military in 1942, he briefly attended the Cranbrook Academy of Art near Detroit, one of the nation’s leading graduate schools of art, architecture, and design. A center of innovative work in architecture, art and design with an educational approach built on a mentorship model, it has been home to some of the world’s most renowned designers and artists, including Eero Saarinen, Charles Eames, Daniel Libeskind and Harry Bertoia. Marecak’s studies at Cranbrook with painter Zoltan Sepeshy and sculptor Carl Milles were interrupted by U.S. army service in the Aleutian Islands during World War II.
Following his military discharge, Marecak studied on the G.I. Bill at the Colorado Springs Fine Arts Center from 1946 to 1950, having previously met its director, Boardman Robinson, conducting a seminar in mural painting at the Cleveland Institute of Art. Although he did not work with Robinson at the Fine Arts Center, who had become quite ill - retiring in 1947 - he studied Robinson’s specialty of mural painting before leaving to briefly attend the Cranbrook Academy in 1947. That same year he returned to the Fine Arts Center, studying painting with Jean Charlot and Mary Chenoweth, and lithography with Lawrence Barrett with whom he produced some 132 images during 1948-49.
At the Fine Arts Center he met his future wife, Donna Fortin, whom he married in 1947. Also a Midwesterner, she had taken night art courses at Hull House in Chicago, later studying at the Art Institute of Chicago with the encouragement of artist Edgar Britton. After World War II she studied with him from 1946 to 1949 at the Fine Arts Center. (He had moved to Colorado Springs to treat his tuberculosis.) Ed Marecak also became good friends with Britton, later collaborating with him on the design of large stained glass windows for a local church.
In 1950-51 Marecak returned to the Cleveland Institute of Art to complete his Bachelor of Fine Arts degree. A year later he was invited to conduct a summer class at the University of Colorado in Boulder, confirming his interest in the teaching profession. In 1955 he received his teaching certificate from the University of Denver. Vance Kirkland, the head of its art department, helped him get a teaching job with the Denver Public Schools so that he and his family could remain in the Mile High City. For the next twenty-five years he taught art at Skinner, Grove, East, George Washington and Morey Junior High Schools.
Prior to coming to Colorado, Marecak did watercolors resembling those of Winslow Homer, John Singer Sargent and Charles Burchfield. However, once in Colorado Springs he decided to destroy much of his earlier ouevre, embarking on a totally new direction unlike anything he had previously done. Initially, in the 1940s he was influenced by surrealist imagery and Paul Klee, and in the West by Indian petroglyphs and Kachinas. His first one-person show at the Garrett Gallery in Colorado Springs in 1949 featured paintings and lithographs rendered in the style of Magic Realism and referential abstraction. The pieces, including an oil Witch with Pink Dish, foreshadowed the output of his entire Colorado-based career, distinguished by a dramatic use of color, intricacy of execution and attention to detail contributing to their visual impact. He once observed, "Each time I start a new painting I always fool myself by saying this time keep it simple and not get entangled with such complex patterns, color and design; but I always find myself getting more involved with richness, color and subject matter."
An idiosyncratic artist proficient in oil, acrylic, watercolor, gouache and casein, he did not draw upon Colorado subject matter for his work, unlike many of his fellow painters in the state. Instead he used Midwest landscape imagery, bringing to life in it witches and spirits adapted from the Slovakian folk tales he heard growing up in Ohio. A number of his paintings depict winter witches derived from the Slovak custom in the Tatra Mountains of burning an effigy of the winter witch in the early spring to banish the memory of a hard winter. The folk tale element imparts a dream-like quality to many of his paintings.
A devote of Greek mythology, he placed the figures of Circe, Persephone, Sybil, Hera and others in modern settings. The goddess in Persephone Brings a Pumpkin to her Mother, attired as a Midwestern farmer’s daughter, heralds the advent of fall with the pumpkin before departing to spend the winter season in the underworld. Train to Olympus, the meeting place of the gods in ancient Greece, juxtaposes ancient mythology with modernity creating a combination of whimsy and thought-provoking consideration for the viewer. Voyage to Troy #1 alludes to the ancient city that was the site of the Trojan Wars, but has a contemporary, autobiographical component referencing the harbor of the Aleutian Islands recaptured from the Japanese during World War II. In the 1980s Marecak used the goddess Hera in his painting, Hera Contemplates Aspects of the Art Nouveau, to comment on art movements in the latter half of the twentieth century
Marecak’s love of classical music and opera, which he shared with his wife and to which he often listened while painting in his Denver basement studio, is reflected in Homage of Offenbach, an abstract work translating the composer’s musical colors into colorful palette. Pace, Pace, Mio Dio, the title of his earliest surrealist painting, is a soprano aria from Verdi’s opera, La Forza del Destino (The Force of Destiny or Fate, a favorite Marecak subject). His Queen of the Night relates to a character from Mozart’s opera, The Magic Flute.
In addition to paintings and works on paper, he produced hooked rugs, textiles and ceramics. He likewise produced designs for ceramics, tableware and furniture created by his wife Donna, an accomplished Colorado ceramist.
Both of them generally eschewed exhibitions and galleries, preferring to quietly do their work while remaining outside of the mainstream. He initially exhibited at the Colorado Springs Fine Arts Center in 1948 receiving a purchase award. The following year he had his first one-person show of paintings and lithographs at the Garrett Gallery in Colorado Springs. In the 1950s and early 1960s he participated in group exhibitions at the Print Club (Philadelphia); Amarillo Public Library (Texas); annual Blossom Festival Show (Canon City, Colorado); Adele Simpson’s "Art of Living" in New York; Denver Art Museum; and the Fox Rubenstein-Serkey Gallery (Denver); but he did not have another one-person show until 1966 at the Denver home of his friends, John and Gerda Scott. They arranged for his first one-person show outside of Colorado held two years later at the Martin Lowitz Gallery in Beverly Hills and Palm Springs, California. That same year his work was featured at the Zantman Galleries in Carmel, California.
Thereafter he became an infrequent exhibitor after the 1970s so that his work was rarely seen outside his basement studio. In 1980 he, his wife and Mark Zamantakis exhibited at Denver’s Jewish Community Center, and four years later he had a one-person show at the Studio Gallery in Denver. In 1992 he was included in a group show at the Rule Modern and Contemporary Gallery in Denver, and a year later received a large, posthumous retrospective at the Emmanuel...
Category
Mid-20th Century Hard-Edge Landscape Drawings and Watercolors
Materials
Paper, Acrylic, Watercolor
H 18.75 in W 21.75 in D 1.25 in
BLACK JAWS - Contemporary Abstract Expressive Oil Pastel Painting
By Janusz Kokot
Located in Salzburg, AT
Janusz Kokot was born in Kalisz in 1960. He studied at the Pedagogical University in Częstochowa at the Art Institute. He practices painting and drawing. In the years 1988 - 2020 he ...
Category
2010s Hard-Edge Landscape Drawings and Watercolors
Materials
Paper, Oil Pastel
H 27.56 in W 39.38 in
Landscape
Located in San Francisco, CA
Artist: Merton Clivette (American, 1868-1931)
Title: Landscape
Year: Circa 1925
Medium: Gouache
Paper: Heavy Bristol type
Size image: 22.75 x 28 inches
Paper size: 22.75 x 28 inches
Signature: Signed lower left by the artist
Condition: Excellent
Frame: Unframed
About the artist.
Clivette was born in Portage, Wisconsin, in 1868 as Merton Clive Cook, the youngest of five (four sons and one daughter). His father was a retired British sea captain, and his mother was an American of French, Scottish and Iroquois Indian stock.
He stayed with a circus for about five years, traveling all over the Western United States, Canada and Mexico. They did shows for the army forts, for railroad workers and on Indian Reservations.
Clivette settled in San Francisco in 1886, when he was offered a job as a reporter and theatrical writer for the San Francisco Call. He met Frederic Remington during this period. He was the first serious artist Clivette had met and he was an inspiration to him.
Clivette had done some drawing and painting on the road during his vaudeville years, he had a natural facility for it, and he had had some formal art training as well. He had had some training in Europe and was aware of the modern art movement in Europe. Later in New York he participated in symposiums and workshops at the Art Students League. Around 1910 he gave up his stage career and began to paint full time. He was about 40 years old and was to continue to paint vigorously and prolifically for the remaining 22 years of his life, His style can be identified with the Expressionist Movement, His subjects include portraits (some quite realistic, others more generalized) Indians and horsemen, laborers, gentlemen and vamps, jungle animals and birds, fish, seascapes and landscapes.
He was an active participant in the art world of New York. He was a member of the Society of Independent Artists. In 1923 he showed at the Ainslee Art Gallery at 677 Fifth Ave., in 1925 at the Spanish Society in Brooklyn and in 1927 he had a solo show at the New Gallery, 600 Madison Ave. That same year there was also a solo show of his work in Paris at the Bernheim-Jeune Gallery, which included a catalogue. In 1929 he exhibited at the Art Center of the Roerich Museum in a group show of work from the collection of George Hellman. In 1930 he was in a show at the Museum of Modern Art in New York, "Painting and Sculpture by Living Americans" which also included the work of Stuart Davis, Arthur Dove, William Glackens, Marsden Hartley, Childe Hassam, George Luks and Mark Tobey and sculptors Gaston Lachaise and William Zorach among others. A description and critical analysis of his work in included in the book by Henry Rankin Poore...
Category
Early 20th Century Hard-Edge Landscape Drawings and Watercolors
Materials
Gouache
Circle Lime
Located in San Francisco, CA
Artist: Sandra Phipps MacDiarmid (American, born 1937)
Title: Circle Lime
Year: Circa 1990
Medium: Acrylic on paper
Paper: Thick wove
Size, image: 29.5 x 39.5 inches
Size, pap...
Category
Late 20th Century Hard-Edge Landscape Drawings and Watercolors
Materials
Acrylic
Hard-edge landscape drawings and watercolors for sale on 1stDibs.
Find a wide variety of authentic Hard-Edge landscape drawings and watercolors available for sale on 1stDibs. Works in this style were very popular during the 21st Century and Contemporary, but contemporary artists have continued to produce works inspired by this movement. Many Pop art paintings were created by popular artists on 1stDibs, including Kurt Herrmann, and Philomena Marano. Frequently made by artists working with Paint, and Watercolor and other materials, all of these pieces for sale are unique and have attracted attention over the years. Not every interior allows for large Hard-Edge landscape drawings and watercolors, so small editions measuring 11 inches across are also available. Prices for landscape drawings and watercolors made by famous or emerging artists can differ depending on medium, time period and other attributes. On 1stDibs, the price for these items starts at $700 and tops out at $1,200, while the average work sells for $700.
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