Abstract Drawings and Watercolor Paintings

This is a contemporary abstract watercolor painting by artist David Ruth. This series of paintings often feature bright colors and vibrant layouts that draw the viewer in. They are c...

Robert Natkin Lyrical Abstraction for the Sonoma Mission Inn, Sonoma, California, 1990 Acrylic on paper painting with collaged element Signed twice by the ...

Jody Rasch’s work is drawn from various science practices, including astronomy, biology, and sub-atomic physics. In his subject matter and technique, Rasch builds on historical conc...

Jody Rasch’s work is drawn from various science practices, including astronomy, biology, and sub-atomic physics. In his subject matter and technique, Rasch builds on historical conc...

Jody Rasch’s work is drawn from various science practices, including astronomy, biology, and sub-atomic physics. In his subject matter and technique, Rasch builds on historical conc...

This is a contemporary abstract watercolor painting by artist David Ruth. This series of paintings often feature bright colors and vibrant layouts that draw the viewer in. They are c...

Conflict (1941) Gouache on paper 20" x 12" 27 ½" x 19 ¼" x 1 ½" framed Signed "V. Wicht" lower right. An important work from the artist's "Force" series, which were executed in hom...

Erle Loran (American, 1905-1999) Set of six landscapes Each mixed media on paper Two signed, lower right and left corners Sheet (largest, unframed): 8.25"h x 11.25"w. Loran was a very influential Bay Area artist whose works are held in public collections across the U.S., including the Metropolitan Museum of Art, the Smithsonian Institution, de Young Museum, SF MoMA...

Nam June Paik Untitled, Plate Six from Novecento, 1992 Mixed Media: Color offset lithograph with unique chalk pastel drawing 13 3/10 × 18 inches Edition 104/130 Pencil numbered 104/130, hand signed in pastel chalk on the front Edizioni Carte Segrete, Rome, Italy Excellent condition; held in matting which can be easily removed The matting measures 18" x 21" This was part of a series of works produced for the Nam June Paik retrospective at the Palazzo delle Esposizioni, Rome, 1992, Nam June Paik: Arti Elletroniche. This is one of the editions which bears unique hand coloring with pastel chalk. A comparable work sold at auction in 2015 for US $12,583. (see details below): Nam June Paik Title Novecento Description Nam June PAI K Novecento 1930-1940, 1992 Pastel sur offset en couleurs, épreuve signée et numérotée 104/130 Edizioni Carte Segrete, Rome 23,5 x 39,5 cm EH Oeuvre réalisée a l'occasion de la rétrospective Paik au Palazzo delle Esposizioni, Rome, 1992, Nam June Paik: Arti Elletroniche, cinema e Media Verso il XXI Secolo Medium pastel Year of Work 1992 Size Height 9.3 in.; Width 15.6 in. / Height 23.5 cm.; Width 39.5 cm. Misc. Signed Sale of Millon & Associés: Monday, June 22, 2015 [Lot 00090] Design Sold For 11,057 EUR Hammer (12,583 USD) Nam June Paik Biography Nam June Paik was born in 1932 in Seoul. He received a BA in aesthetics from the University of Tokyo in 1956 where he also studied music and art history. After graduating, he studied for a year with composer Thrasybulus Georgiades Georgiades at the University of Munich and for two years with composer Woflgang Fortner at the International Music College in Freiburg. He attended the International Summer Courses for New Music in Darmstadt in 1957, when he met Karlheinz Stockhausen, and in 1958, when he met John Cage. Cage, and through him Marcel Duchamp, had a significant influence on Paik as he became a major force in the avant-garde through performances. In Hommage à John Cage (1959), Paik employed audiotape and performance to attack traditional musical instrumentation and compositional practices, splicing together piano playing, screaming, bits of classical music, and sound effects. Realizing that taped sound was not enough, he decided to move into performance, first by introducing performative actions into his audio works. In 1961 Paik performed Simple, Zen for Head and Étude Platonique No. 3, in which he became a volatile figure, thrashing about in unexpected patterns and sudden movements to his signature soundtracks. In 1962 Paik participated in the Fluxus International Festival of the New Music in Weisbaden. Paik's first exhibition, entitled Exposition of Music - Electronic Television, in 1963 at Galerie Parnass at Wuppertal, launched his transition from composer and performance artist to the inventor of a new art form: an engagement with the material site of television as an instrument. In the exhibition, thirteen televisions lay on their backs and sides with their reception altered; for example, Zen for TV (1963) reduced the television picture to a horizontal line and Kuba TV (1963) shrank and expanded the image on the television set according to the changing volume. In 1964 Paik traveled to the US. He quickly settled in New York and became a leading innovator among an emerging generation of artists seeking new modes of artistic expression and distribution. That same year, Paik collaborated with Shuya Abe to create Robot K-456 (1964), a remote controlled robot that played audiotaped speeches by John F. Kennedy and defecated beans in Paik's Robot Opera (1964). In the interactive work Magnet TV (1965), Paik invited viewers to modify the television's output into swerving abstract lines through the movement of a magnet over the TV. In 1967 Paik and frequent collaborator Charlotte Moorman were arrested when Moorman performed Paik's Opera Sextronique (1967), a striptease as she played the cello at the Filmmakers' Cinematheque in New York. Paik's TV Bra for Living Sculpture (1969), which Moorman wore in performances, featured two television tubes...

Transcendental Image (Sun God) Encaustic on paper, 1944 Signed and dated lower right: Bisttram 44 Sheet size: 11 1/8 x 8 1/2 inches Condition: Excellent Provenance: Warren Shaull "Em...

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 ...

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 ...

Provenance: William M. Chambers Fine Art Acquired directly from the owner by previous owner See info verso A Russian-born painter and stage designer, Pavel Tchelitchew worked in man...

An artwork on paper by New York artist Miranda Maher. Made with Reproductions of maps of the moon printed on Unryu Inkjet washi, mounted to Magnani cotton paper, Overlayed with Sumi ...

An artwork on paper by New York artist Miranda Maher. Made with Reproductions of maps of the moon printed on Unryu Inkjet washi, mounted to Magnani cotton paper, Overlayed with Sumi ...

Abstract landscape resembling a blue, green, yellow, and white. This piece is painted with watercolor and measuring 13" x 13". The frame measures 22" x 24".

This series of drawings deals with memories. I use a somewhat random but purposeful fluidity to create these fantastical images that are partly derived from nature. I work intuitivel...

Trapeze (Abstract painting) Acrylic and Ink on Handmade Wasli Paper — Unframed. Laura Newman's paintings combine geometric delineations of space, ephemeral color fields, dynamic lin...

Thaw 14 (Abstract drawing) Color Pencil and Graphite on Mylar. Unframed. Thaw Series is a group of drawings where the artist continues her work touching upon environmental matters...

Gushing 3 (Abstract drawing) Pigment and Color Pencil on Mylar. Unframed. Gushing represents a transition between Peerna’s earlier Maelstrom series based on circular motion, and t...

Big Blue Melt 14 (Abstract drawing) Pigment, Color Pencil and Ice on Mylar. Unframed. Big Blue Melt are works that have been created with pigment pencils and ice. Peerna starts th...

Blue Melt 19 (Abstract drawing) Pigment, Ice on Yupo. Unframed. Blue Melt are works that have been created with pigment pencils and ice. Peerna starts the drawings by first markin...

Ablation Zone 6 (Abstract drawing) Pigment And Ice on Yupo. Unframed. Ablation is a series of drawings that extend the Blue Melt approach into large, long, excessively vertical wo...

Briggs is s significant Post War artist who can bring substantial prices and interest with his works from the 1950's. His style during this period was "action painting" and expressi...

Anne-Charlotte Saliba's artistic universe is largely inspired by nature, its abyssal dimension as well as its vegetal or mineral forms. Her sculpted artworks are a confrontation of smooth and grainy texture on the same linear paper. A cloud of small perforations, incisions, and punches which play on the elasticity of the paper, to create a topographic relief. A controlled wandering of dotted lines, scales and bumps are drawn following the movement of her hand on the paper. The flow is both free and thoughtfully planned, allowing unexpected movements and completely abandoning set patterns at times. Saliba sees herself more like an artisan than an artist in the sense that she is working with texture and touch to create unique intricate sculpted artworks. Playing with light and shadow, each in her own way ennobles a seemingly banal material with a genuine concern for ethics. Like modern-day memento mori, Saliba’s works transport us into dreamlike worlds in which the evanescence of paper echoes the transience of life, subtly reminding us to enjoy the present moment. Anne-Charlotte Saliba works and lives near Lyon, France. Her work has reviewed in numerous publications and has won the prestigious price for Jeune Creation de Métiers d’Art in 2020. She is now represented by the Muriel Guépin Gallery...

"The Cruelties of Life (Le Cruautés de la Vie)" by Belgian artist Benoît Gilsoul an abstract watercolor and charcoal on paper representing several contorted human figures juxtaposed...

This is a contemporary abstract watercolor painting by artist David Ruth. This series of paintings often feature bright colors and vibrant layouts that draw the viewer in. They are c...

Preliminary drawing for the sculpture Diadem Black Crayon on paper, 1957 Signed and dated lower left The preliminary drawing for the 1957 sculpture of the same name in the collection of the Baltimore Museum of Art...

This is a contemporary abstract watercolor painting by artist David Ruth. This series of paintings often feature bright colors and vibrant layouts that draw the viewer in. They are c...

This is a contemporary abstract watercolor painting by artist David Ruth. This series of paintings often feature bright colors and vibrant layouts that draw the viewer in. They are c...

Interior design paintings. The diptych is made with alcoholic ink in pink, purple, fuchia, grey color on Yupo paper. Each work is 11 by 14 inches in size, framed (gold) with a styren...

American Cubist Abstract Art Deco Avant-Garde Constructivism 20th Century Modern Florence Henri (American, 1893-1982) Composition 18 1/2 x 12 1/2 in...

Scaffold (Abstract painting) Acrylic and Ink on Handmade Wasli Paper — Unframed. Laura Newman's paintings combine geometric delineations of space, ephemeral color fields, dynamic li...

Circles And Lines (Abstract painting) Acrylic and Ink on Arches Paper — Unframed. Laura Newman's paintings combine geometric delineations of space, ephemeral color fields, dynamic l...

Screens (Abstract painting) Acrylic and Ink on Handmade Wasli Paper — Unframed. Laura Newman's paintings combine geometric delineations of space, ephemeral color fields, dynamic lin...

Trapeze (Abstract painting) Acrylic and Ink on Handmade Wasli Paper — Unframed. Laura Newman's paintings combine geometric delineations of space, ephemeral color fields, dynamic lin...

Spheres (Abstract painting) Acrylic and Ink on Arches Paper — Unframed. Laura Newman's paintings combine geometric delineations of space, ephemeral color fields, dynamic lines and o...

This is a contemporary abstract watercolor painting by artist David Ruth. This series of paintings often feature bright colors and vibrant layouts that draw the viewer in. They are c...

Interior design paintings. The triptych is made with alcoholic ink in garnet red, cherry red, gray, white on Yupo paper. It can be in both horizontal and in vertical positions. Each ...

Porch (Abstract painting) Acrylic and Ink on Arches Paper — Unframed. Laura Newman's paintings combine geometric delineations of space, ephemeral color fields, dynamic lines and org...

Slide (Abstract painting) Acrylic and Ink on Arches Paper — Unframed. Laura Newman's paintings combine geometric delineations of space, ephemeral color fields, dynamic lines and org...

Bridge (Abstract painting) Acrylic and Ink on Arches Paper — Unframed. Laura Newman's paintings combine geometric delineations of space, ephemeral color fields, dynamic lines and or...

This is a contemporary abstract watercolor painting by artist David Ruth. This series of paintings often feature bright colors and vibrant layouts that draw the viewer in. They are c...

An exquisite work of geometric abstraction by this celebrated artist Winston Roeth Untitled, ca. 1996 Pastel on handmade paper Hand signed on the front Frame included: Floated and framed in the original wood frame with uv plexiglass Measurements: Framed: 13.5"h x 12.75"w Artwork: 10"h x 9"w More about Winston Roeth: At first glance Roeth’s painted panels of wood or slate appear very simple: flat planes of colour that look a certain way, but which shift in the changing light or as you move around them. They are exquisitely painted in layers of velvety pigment and reveal their secrets slowly: quiet combinations that play gentle tricks on the eye - simultaneously drawing the viewer into dense voids and bouncing the gaze back with a vibrant intensity. Roeth’s compositions are distilled to this apparent simplicity through the most minimal ingredients. Sometimes a picture is divided into grids, a geometric harmony of lines and colours, so that the matt expanse of paint is broken up by shimmeringly luminous lines in a perfect balance of light, depth and colour. Others combine planes of a single colour with a contradictory border: an edge on which the picture turns. In a world so accustomed to instant gratification Winston Roeth’s paintings require and reward an unusual level of contemplation. Roeth is based in Beacon, New York...

This is a contemporary abstract watercolor painting by artist David Ruth. This series of paintings often feature bright colors and vibrant layouts that draw the viewer in. They are c...

Signed lower center edge Annotated verso: “5 Juin 1966 _____ et de soleil, de et d’oseille” Image: 6 3/4 x 4 5/8" Frame: 14 1/2 x 12 3/4" Finishe...

This is a contemporary abstract watercolor painting by artist David Ruth. This series of paintings often feature bright colors and vibrant layouts that draw the viewer in. They are c...

This is a contemporary abstract watercolor painting by artist David Ruth. This series of paintings often feature bright colors and vibrant layouts that draw the viewer in. They are c...

Elizabeth Murray Crossing, 1999 Unique hand-colored paper assemblage with collage on Rives BFK on white Rising 4-ply museum support board Signed and dated in pencil 19 1/2 × 30 × 4 inches Framed: held in acrylic shadow box frame Unique hand-colored paper assemblage with collage on Rives BFK on white Rising 4-ply museum board support, signed and dated in pencil. This mixed media paper construction with hand coloring is housed in an acrylic box shadow frame, part of the "Crossing Series" of 33 works, each entirely unique, published by Gemini G.E.L., Catalogue Reference: Gemini 1776 Provenance: the Family Collection of Harry W. and Mary M. Anderson Artist Biography: Elizabeth Murray (b. 1940, Chicago, IL—d. 2007, Granville, NY) was an artist at the forefront of American painting for five decades and is considered one of the most important postmodern abstract artists of her time. Her drive and determination produced a singularly innovative body of work characterized by a Cubist-informed Minimalism and streetwise Surrealism. Throughout her career, she reveled in the physicality of paint and approached her work through the constructive vocabulary of sculpture, warping, twisting, splintering, and knotting her canvases. In her innovative and deeply imaginative body of work, Murray not only reclaimed the medium of paint as her own but shared personal evocations of birth and death, laughter and confusion, fullness and loss. From an early age, Murray wanted to be an artist—a cartoonist actually. With the support of her high-school art teacher, Elizabeth Stein, Murray enrolled at the School of the Art Institute of Chicago with the aim of becoming a commercial artist. However, she would spend more time learning from the works on view in the museum than in the classroom, gravitating toward the paintings of El Greco, Francisco de Zurbarán, Georges Seurat, Henri Matisse, and Pablo Picasso. Above all, it was the work of Paul Cézanne and Willem de Kooning that fueled her commitment to becoming a painter. After graduating in 1962, she went on to continue her studies at Mills College in Oakland, California. In 1967, she moved to New York City, where she would live and work until her death in 2007. Murray’s works from the 1960s reflect an irreverent embrace of the materiality of paint. Here, the artist experimented with elements of sculpture while maintaining allusions to the figure informed by her long-standing affinity for cartooning. Murray’s childhood love of Walt Disney and comics would underpin many aspects of her art throughout her career. During the 1970s, Murray dismantled—then rebuilt—many of the compositional strategies and theories associated with Minimalism. Using curved lines and complex shapes loosely informed by mathematical ideas, she introduced geometries that transform scale, shape, and form to her thickly painted and layered compositions. In the following decade, Murray introduced three-dimensionality to her canvases, bringing about a complete break from traditional, flat, rectilinear compositions. Muddied, moody, and gestural, the paintings of the 1980s blazed a course of international recognition and notoriety. In these works, interiors, tables, coffee cups, shoes, and other signature themes emerge from skeins of spray paint and graffiti-like markings. During the 1990s, Murray’s works became flatter while retaining a high degree of compositional elaboration and chromatic exuberance. In the final years of her career, the artist offered new visions of her characteristic motifs in vibrantly painted, multipaneled paintings. Throughout her stellar career, Murray was a much sought-after instructor, visiting artist, and lecturer. Appointments include instructor at Rosary Hill College (1965–67), visiting artist at Wayne State University and the School of the Art Institute of Chicago (1973), instructor at Bard College (1974–77), visiting instructor at California Institute of the Arts (1975–76), lecturer at Princeton University (1977), instructor at Yale University (1977–80), instructor at School of Visual Arts in New York (1978–80), lecturer at Skowhegan School of Painting and Sculpture (1979, 1985, and 1992), lecturer at Maryland Institute College of Art (1981), lecturer at New York Studio School of Drawing, Painting and Sculpture (1987), guest curator of Artist’s Choice: Elizabeth Murray at The Museum of Modern Art, New York (1995), visiting professor of studio arts at Bard College (1999–2003), and instructor at Brooklyn College (2003–07). Murray received numerous honors in recognition of her work, including the Walter M. Campana Award from The Art Institute of Chicago (1982), an award from American Academy of Arts and Letters (1984), Medal for Painting from Skowhegan School of Painting and Sculpture (1986), an honorary doctorate from School of the Art Institute of Chicago (1992), induction as an elected member of the American Academy of Arts and Letters, New York (1992), Larry Aldrich Award (1993), an honorary degree from Rhode Island School of Design (1993), MacArthur Fellowship (1999), an honorary doctorate from The New School (2001), National Artist Award from Anderson Ranch Art Center (2002), Distinguished Artist Award for Lifetime Achievement from College Art Association (2007), and an award from CITYarts (2007). Significant public commissions include two New York City Transit mural projects: Blooming (1996) at Lexington Avenue/59th Street and Stream (2001) at 23rd Street/Ely Avenue. Monographic institutional presentations include Elizabeth Murray: Drawings 1980–1986 at Carnegie Mellon University Art Gallery (1986), Elizabeth Murray: Paintings and Drawings at Dallas Museum of Art (1987, traveled to List Visual Arts Center at MIT; Museum of Fine Arts, Boston; Museum of Contemporary Art, Los Angeles; Des Moines Art Center; Walker Art Center; and Whitney Museum of American Art), Elizabeth Murray: New Work at San Francisco Museum of Modern Art (1988), Elizabeth Murray Prints: 1979–1990 at Barbara Krakow Gallery (1990, traveled to Bates College Museum of Art, David Winton Bell Gallery at Brown University, Davison Art Center at Wesleyan University, and Florida Gulf Coast Art Center), Elizabeth Murray: Recent Work at Wexner Center for the Arts at The Ohio State University (1991), Elizabeth Murray at Nerman Museum of Contemporary Art at Johnson County Community College (1993), and Elizabeth Murray: Works on Paper, Virginia Commonwealth University (1998). In 2005, Murray earned the distinction of becoming only the fifth woman to receive a career retrospective at The Museum of Modern Art, New York, following Louise Bourgeois, Lee Krasner, Helen Frankenthaler, and Jackie Winsor...

Outstanding pencil on paper Abstract drawing. Marcel Dumont was a Liège artist who painted in oils and gouache, also produced collages and was an illustrator and engraver, doing so in a number of different styles. Early on in his career, he tended to produce paintings displaying a poetic realism but this changed over time until, in 1957, he was employing geometric abstraction and later still, the influence of pop art could be discerned. His geometric style has strong linear structure which occasionally veers to expressionism and the effect of this is an interesting sense of detachment that the viewer of the work can feel and one engages with the subject on a different level than one would normally expect. A critic wrote of him," Sometimes expressionist, sometimes linear, the abstraction forms itself willingly, in Marcel Dumont's world, to leave the rectangular structure to connect to carefully prepared tones. He retains also, in his abundant output, a few poetic pop-art collages together with a number of drawings and engravings illustrating Stefan Zweig...

This series of drawings deals with memories. I use a somewhat random but purposeful fluidity to create these fantastical images that are partly derived from nature. I work intuitivel...

This series of drawings deals with memories. I use a somewhat random but purposeful fluidity to create these fantastical images that are partly derived from nature. I work intuitivel...

This series of drawings deals with memories. I use a somewhat random but purposeful fluidity to create these fantastical images that are partly derived from nature. I work intuitivel...

1stDibs Publishing Tracker 1stDibs Publishing Tracker 100% E5 Tilde 8.0 x 5.0 x 0.1, 3.0 lbs Graphite on paper Hand signed by artist Artist's Commentary: "Tilde - is from a ser...

James Siena "This is for Nadine", signed drawing, 2005 Original drawing done in black marker, bound in the title page of softcover PACE Gallery catalogue with stiff wraps hand signe...

Mark di Suvero Grass Power, 1979-2014 Mixed Media drawing: marker, ink and pencil on paper Hand titled, signed and inscribed to Nadine by Mark di Suvero Frame included: Floated and f...