Abstract Drawings and Watercolor Paintings

Regular, 2017 by Rodrigo Spinel From The No. 1 Series Chinese ink on Fabriano paper 250 g. Image size: 14.8 cm H x 21 cm W Frame size: 22 cm H x 29 cm W x 4 cm D One of a Kind N...

Belga, 2018 by Rodrigo Spinel From The No. 1 Series Chinese ink on Fabriano paper 250 g. Image size: 14.8 cm H x 21 cm W Frame size: 22 cm H x 29 cm W x 4 cm D One of a Kind Natu...

Anverso Derecha 100 Valor Real (Framed) by Rodrigo Spinel From The No. 10 Series Chinese ink on Fabriano paper 250 g. Image size: 29.7 cm H x 14 cm W ...

Untitled (Figures in a park) Watercolor on paper, 1991 Signed lower right of image (see photo) Condition: Excellent Sheet size: 10 3/16 x 14 1/16 inches Provenance: David Anderson Ga...

Textura (Framed) by Rodrigo Spinel From The No. 5 Series Chinese ink on Fabriano paper 250 g. Image size: 25 cm H x 35 cm W Frame size: 32.5 cm H x 43 cm W x 4 cm D One of a Kind ...

Línea Aparejo, 2020 by Rodrigo Spinel From The No. 4 Series Chinese ink on Fabriano paper 250 g. Image size: 19 cm H x 19 cm W Frame size: 30 cm H x 30 cm W x 4 cm D One of a Kin...

Colón (Framed) by Rodrigo Spinel From The Series Terms And Conditions 2.0 Chinese ink on Fabriano paper 250 g. Image size: 29.7 cm H x 21 cm W Frame size: 42 cm H x 33 cm W x 4 cm...

Textura Base (Framed) by Rodrigo Spinel From The No. 7 Series Chinese ink on Fabriano paper 250 g. Image size: 42 cm H x 29.7 cm W Frame size: 54 cm H...

Plano Pirámides 2, 2018 by Rodrigo Spinel From The No. 1 Series Chinese ink on Fabriano paper 250 g. Image size: 14.8 cm H x 21 cm W Frame size: 22 cm...

Bloques Huecos 3 Puntos, 2019 by Rodrigo Spinel From The No. 3 Series Chinese ink on Fabriano paper 250 g. Image size: 21 cm H x 14.8 cm W Frame size: 32 cm H x 26 cm W x 4 cm D ...

Espiga, 2018 by Rodrigo Spinel From The No. 1 Series Chinese ink on Fabriano paper 250 g. Image size: 14.8 cm H x 21 cm W Frame size: 22 cm H x 29 cm W x 4 cm D One of a Kind Nat...

Tejido 2, 2018 by Rodrigo Spinel From The No. 1 Series Chinese ink on Fabriano paper 250 g. Image size: 14.8 cm H x 21 cm W Frame size: 22 cm H x 29 cm W x 4 cm D One of a Kind N...

Espejo, 2018 by Rodrigo Spinel From The No. 1 Series Chinese ink on Fabriano paper 250 g. Image size: 21 cm H x 14.8 cm W Frame size: 29 cm H x 22 cm W x 4 cm D One of a Kind Nat...

Plano Pirámides, 2018 by Rodrigo Spinel From The No. 1 Series Chinese ink on Fabriano paper 250 g. Image size: 14.8 cm H x 21 cm W Frame size: 22 cm H x 29 cm W x 4 cm D One of a K...

#45 Ink on paper, 1970 Signed, titled, and dated in pencil by the artist One of a series of drawings, all made in 1970, which stemmed from Hogue's interest in Persian calligraphy. H...

Esfera transparencia 3, 2019 by Rodrigo Spinel From The No. 3 Series Chinese ink on Fabriano paper 250 g. Image size: 14.8 cm H x 21 cm W Frame size: 26 cm H x 32 cm W x 4 cm D O...

Colores 3, 2018 by Rodrigo Spinel From The No. 1 Series Chinese ink on Fabriano paper 250 g. Image size: 14.8 cm H x 21 cm W Frame size: 22 cm H x 29 ...

Bloques, 2017 by Rodrigo Spinel From The No. 1 Series Chinese ink on bond paper Image size: 14.8 cm H x 21 cm W Frame size: 22 cm H x 29 cm W x 4 cm D One of a Kind Natural Ivor...

Untitled Watercolor on paper, c. 1971 Unsigned Provenance: From the collection of Ileana Sonnabend (1914-2007) Laddie John Dill, a Los Angeles artist, had his first solo exhibition i...

Anverso Derecha 500 Valor Real (Framed) by Rodrigo Spinel From The No. 10 Series Chinese ink on Fabriano paper 250 g. Image size: 29.7 cm H x 14 cm W Frame size: 41 cm H x 25 cm W ...

Congreso Panamericano de Carreteras (Framed) by Rodrigo Spinel From The No. 15 Series Chinese ink on Fabriano paper 250 g. Image size: 29.7 cm H x 21 cm W Frame size: 42 cm H x 33 ...

Cubos Transparencia 2, 2020 by Rodrigo Spinel From The Series Terms And Conditions 2.0. Chinese ink on Fabriano paper 250 g. Image size: 25 cm H x 35 cm W Frame size: 36 cm H x 46...

Cubos Huecos (Framed) by Rodrigo Spinel From The No. 5 Series Chinese ink on Fabriano paper 250 g. Image size: 25 cm H x 35 cm W Frame size: 32.5 cm H x 43 cm W x 4 cm D One of a K...

Untitled molded mud-dried paper with collage elements, 1996 Signed and dated lower edge (see photo) Annotated and titled verso Sheet size: 24 x 7 inches Provenance: Ralph Drake, fir...

A painting by Suh Se Ok (서세옥). An Untitled, abstract ink wash on paper painting by South Korean artist Suh Se Ok (서세옥), executed in a palette of pink and bla...

Untitled Watercolor on paper. 1971 Unsigned Sheet size: 24 x 19 inches Condition: Excellent From the collection of Ileana Sonnabend (1914-2007) Laddie John Dill, a Los Angeles artist...

Ruben Gelardi's depiction of a yellow tram in Copenhagen. Pastel on paper measures 15 7/8 x 20; frame dimensions measure 22 1/4 x 26 3/4 x 1 1/4. Artist'...

Woman on a Patio Pastel on paper, c. 1915 Unsigned Provenance: Gift of the artist to his wife, Mary Hess Buehr By decent to the artist's niece, daughter of Will Hess David Saltzman Robert Henry Adams Fine Art Thomas French Fine Art Ronald C. Sloter, Columbus, Ohio Columbus College of Art and Design (de-accessed) Exhibited at Robert Henry Adams Fine Art, 1994, the first exhibition at the North Franklin Street Gallery. One of the early Chicago artists to adopt Impressionism, Karl Buehr became a figure and landscape painter. As a figure painter, his specialty became "gorgeously colored images of young women on porches overlooking brilliant summertime gardens." (Kennedy 98) His later work often showed a female figure with serious expression engaging the viewer with a direct stare. In his landscapes, he was noted for his strong coloration. In a December 1896 student exhibition at the Art Institute, a reviewer for the "Chicago Times Herald" described Buehr's landscapes as "blithe and joyous" with "country roads brilliant in sunlight . . . fields rich in summer verdure, under soft skies painted in a high, musical key." (Gerdts 68) Buehr was born as one of seven sons to a prosperous German family who immigrated to America and settled in Chicago in 1869. He was first exposed to his signature style of Impressionism in 1888 when he enrolled in night classes at the Art Institute while working in the shipping department of a lithographic firm near the Institute. He remained a student there until 1897 and was recognized in a "Chicago Times Herald" editorial of June 13, 1897 as one of the Institute's most outstanding pupils. The next year, his art career was temporarily put on hold when he briefly enlisted with the U.S. Army in the Spanish American War. In 1899, he resumed his art studies, this time with Frank Duveneck. He exhibited a painting at the Paris Salon of 1900. In 1905, thanks to a wealthy Chicago patron, Buehr and his family moved to France. They spent the following year in Taormina, Sicily, and spent time in Venice as well. In Paris, Buehr studied at the Academy Julian with Raphael Collin for two years. Then he went to England, enrolling in the London Art School but had returned to Paris by 1908. During this time, he began painting at Giverny, the home of Impressionist leader Claude Monet (1840-1926, and by 1912, Buehr was listing that village as his home address. One of his good friends and associates at Giverny was Frederick Frieseke. One of Buehr's paintings from that time, "News from Home", was exhibited in 1913 at the French Salon in Paris and at the annual exhibit of the Chicago Art Institute. It shows a woman in floral dress sitting on a porch with a background with potted flowers and lush greenery background. Of his painting done at Giverny, Buehr wrote in 1912 to William Macbeth of Macbeth Galleries in New York: "My figures painted in and around Giverny are costumed and in appropriate out door settings." (Gerdts 68) In 1914, he returned to the United States and took a teaching position in Chicago at the Art Institute, which he held for the remainder of his life. He was married to Mary Hess, a painter of miniatures and decorative works. In 1928-29, he was a guest artist at Stanford University. Courtesy, AskArt “Karl Albert Buehr (1866–1952) was a painter born in Germany. Buehr was born in Feuerbach - near Stuttgart. He was the son of Frederick Buehr and Henrietta Doh (Dohna?). He moved to Chicago with his parents and siblings in the 1880s. In Chicago, young Karl worked at various jobs until he was employed by a lithograph company near the Art Institute of Chicago. Introduced to art at work, Karl paid regular visits to the Art Institute, where he found part-time employment, enabling him to enroll in night classes. Later, working at the Institute as a night watchman, he had a unique opportunity to study the masters and actually posted sketchings that blended in favorably with student's work. Having studied under John H. Vanderpoel, Buehr graduated with honors, while his work aroused such admiration that he was offered a teaching post there, which he maintained for many years thereafter. He graduated from the Art Inst. of Chicago and served in the IL Cav in the Spanish–American War. Mary Hess became Karl's wife—she was a student of his and an accomplished artist in her own right. In 1922, he was elected into the National Academy of Design as an Associate member. Art Studies in Europe In 1904, Buehr received a bronze medal at the St. Louis Universal Exposition, then, in 1905, Buehr and his family moved to France, thanks to a wealthy Chicago patron, and they spent the following year in Taormina, Sicily, where the artist painted local subjects, executing both genre subjects and landscapes as well as time in Venice. Buehr spent at least some time in Paris, where he worked with Raphaël Collin at the Académie Julian. Giverny and American Impressionism Prior to this time, Buehr had developed a quasi-impressionistic style, but after 1909, when he began spending summers near Monet in Giverny, his work became decidedly characteristic of that plein-air style but he began focusing on female subjects posed out-of-doors. He remained for some time in Giverny, and here he became well-acquainted with other well known expatriate America impressionists such as Richard Miller, Theodore Earl Butler, Frederick Frieseke, and Lawton Parker. It seems likely that Buehr met Monet, since his own daughter Kathleen and Monet’s granddaughter, Lili Butler, were playmates, according to George Buehr, the painter’s son. His other daughter Lydia died before adulthood due to diabetes. He returned to Chicago at the onset of World War I and taught at The Art Inst for many years. One of his noted pupils at the Art Institute was Archibald Motley...

Non-Objective Drawing (Double sided composition) Graphite on paper, 1938 Initialed "B" by the artist lower right corner Created while the artist was imprisoned in a Gestapo Prison for his "Degenerate Art" Image size: 7 x 6 3/4 inches Housed in raw silk matting in a reproduction Gugenheim style frame with OP3 Acrylic Frame dimensions: 16 x 17 x 1 1/2 inches Condition: Folded in quarters by the artist to hide the drawing from the Gestapo Irregular margins Provenance: Estate of the artist Phillips Auction, New York Borghi Inc. "Back in Berlin, Das Geistreich had become a lonely island of individualism in a menacing sea of Nazism. The Bauhaus had been closed down by the government in 1933, and artists such as Bauer were increasingly ostracized. Many had already fled the country. Rebay wrote Bauer in August 1937 to report that she had visited the Degenerate Art exhibition in Munich, which featured many artists from their Der Sturm days, including works by Kandinsky, Klee, Moholy-Nagy, and, of course, Bauer. Why Bauer lingered so long in this hostile environment remains a mystery. He was not Jewish, yet his patron was one of the richest Jews in the world. This association would not go unnoticed in Nazi Germany. In July 1937 Bauer traveled to Paris because his work was included in an exhibition called Origines et développement de l'art international indépendant, organized by the Musée du Jeu de Paume. In this large survey of the period, his painting was shown alongside the work of Picasso, Georges Braque, Léger, Chagall, and Joan Miró. It is believed that while he was in Paris he received word from friends that it was too dangerous to return to Berlin; yet he ignored the warning. According to the Rebay documentarian Sigrid Faltin, it is likely that his sister, a Nazi zealot who had disowned him, turned him in to the authorities for his art. Bauer was suddenly a prisoner in Berlin. Defiant, he scavenged scraps of paper and pencils while in prison, so that he could continue to draw." Courtesy Weinstein Gallery...

In his sculptures, drawings and paintings, Michael O’Keefe employs unpredictable processes as a means to discover content. He couples accident and chance with unconventional methods,...

Ink and pastel on paper Signed by the artist in ink lower left; titled in pencil verso From the Estate of the artist

Untitled (Abstraction) Ink on textured paper, c. 1958 Signed lower right: Scarlett Note: A rare mid to late 1950s example of the artist's abstract expressionist style. Provenance: Es...

Pencil drawing on paper from 1944. Signed and dated with cypher. Paper size 4 x 6" (10 x 15.1 cm). Werner Drewes (1899-1985), painter, printmaker, educator and lecturer, was...

"Behind my canvases, collages, and drawings lies a singular proposition: places are not inert; they are repositories for all that passes through them. My work is an inquiry into the ...

Signed and dated "1962" by the artist lower right. Mixed media on heavy paper. Done for a show to fund a trip to Italy.

Signed and dated lower left Provenance: Estate of the artist Michael and Alan Lipton (sons) Wilkes University, Wilkes Barre, PA De-accessed 2017 Note: Lipton did a large number of preliminary...

Shaun O’Dell More Love Three, 2017 gouache and ink on paper 30 x 22 in (76.2 x 55.9 cm) At once investigations of surface and depth, representation and reality, Shaun O'Dell's newe...

Gilad Efrat Untitled, 2013 oil pastel on paper, 22 1/2 x 28 1/2 in (57.2 x 72.4 cm)

Shaun O’Dell More Love Four, 2017 gouache and ink on paper 30 x 22 in (76.2 x 55.9 cm) At once investigations of surface and depth, representation and reality, Shaun O'Dell's newes...

Shaun O’Dell More Love Two, 2017 gouache and ink on paper 30 x 22 in (76.2 x 55.9 cm) At once investigations of surface and depth, representation and reality, Shaun O'Dell's newest...

A drawing by Richard Diebenkorn. This Untitled work from the Urbana Series is an ink of paper, abstract drawing by Post War, Bay Area Figurat...

Gilad Efrat Untitled, 2013 oil pastel on paper, 22 1/2 x 28 1/2 in (57.2 x 72.4 cm)

Unsigned Authenticated verso by the artist's nephew, Andrew Lowe Provenance: Estate of the Artist

Signed and dated center right edge; Annotated "48" lower left Provenance: Estate of the artist One of a suite of 120 drawings that the artist did in 1 month. Most were sold thro...

This gouache painting by Werner Drewes was created in 1942. Signed with a pen in the lower right. Cypher and date are just under the signature. Painted to the papers edge - the pap...

Drawing, 1938. Signed and dated with the artist cypher. Paper size 7 9/16 x 6 1/4" (19.3 x 15.8 cm). Werner Drewes (1899-1985), painter, printmaker, educator and lecturer, wa...

Untitled Abstraction Pen and ink on paper, 1932 Signed and dated in ink lower center Condition: Excellent Sheet/Image size: 10 3/8 x 6 1/4 inches Frame size: 16 1/2 x 12 1/2" Provena...

Provenance: Estate of the Artist Peter Marks (1935 -2010) Peter Marks was born in New York City on January 18, 1935. A lifetime New Yorker, Marks gradu...

Unsigned as per usual Enamel paint and ink on tracing paper Provenance: Estate of the Artist Peter Marks (1935 -2010) Peter Marks was born in New York City on January 18, 1935....

Unsigned Provenance: Estate of the artist Sheet: 14 x 17"; Image: 4 7/16 x 12" Peter Marks (1935 -2010) Peter Marks was born in New York City on January 18, 1935. A lifetime ...

Robert Ruello Switch-It #19, 2016 graphite, watercolor, and colored pencil on paper 20 x 15 inches Energetic and charged with visual power, the Switch-It series is movement and tran...

Unsigned Provenance: Estate of the artist Peter Marks (1935 -2010) Peter Marks was born in New York City on January 18, 1935. A lifetime New Yorker, Marks graduated from the Hig...

Untitled (Woman by the Windows) Unsigned. Pastel on board, c. 1915 Created while the artist was in Giverny, France Provenance: Gift of the artist to his wife, Mary Hess Buehr by Descent to the artist's niece, daughter of Will Hess. David Salzman Robert Henry Adams Fine Art, Chicago Ronald C. Sloter, Columbus One of the early Chicago artists to adopt Impressionism, Karl Buehr became a figure and landscape painter. As a figure painter, his specialty became "gorgeously colored images of young women on porches overlooking brilliant summertime gardens." (Kennedy 98) His later work often showed a female figure with serious expression engaging the viewer with a direct stare. In his landscapes, he was noted for his strong coloration. In a December 1896 student exhibition at the Art Institute, a reviewer for the "Chicago Times Herald" described Buehr's landscapes as "blithe and joyous" with "country roads brilliant in sunlight . . . fields rich in summer verdure, under soft skies painted in a high, musical key." (Gerdts 68) Buehr was born as one of seven sons to a prosperous German family who immigrated to America and settled in Chicago in 1869. He was first exposed to his signature style of Impressionism in 1888 when he enrolled in night classes at the Art Institute while working in the shipping department of a lithographic firm near the Institute. He remained a student there until 1897 and was recognized in a "Chicago Times Herald" editorial of June 13, 1897 as one of the Institute's most outstanding pupils. The next year, his art career was temporarily put on hold when he briefly enlisted with the U.S. Army in the Spanish American War. In 1899, he resumed his art studies, this time with Frank Duveneck. He exhibited a painting at the Paris Salon of 1900. In 1905, thanks to a wealthy Chicago patron, Buehr and his family moved to France. They spent the following year in Taormina, Sicily, and spent time in Venice as well. In Paris, Buehr studied at the Academy Julian with Raphael Collin for two years. Then he went to England, enrolling in the London Art School but had returned to Paris by 1908. During this time, he began painting at Giverny, the home of Impressionist leader Claude Monet (1840-1926, and by 1912, Buehr was listing that village as his home address. One of his good friends and associates at Giverny was Frederick Frieseke. One of Buehr's paintings from that time, "News from Home", was exhibited in 1913 at the French Salon in Paris and at the annual exhibit of the Chicago Art Institute. It shows a woman in floral dress sitting on a porch with a background with potted flowers and lush greenery background. Of his painting done at Giverny, Buehr wrote in 1912 to William Macbeth of Macbeth Galleries in New York: "My figures painted in and around Giverny are costumed and in appropriate out door settings." (Gerdts 68) In 1914, he returned to the United States and took a teaching position in Chicago at the Art Institute, which he held for the remainder of his life. He was married to Mary Hess, a painter of miniatures and decorative works. In 1928-29, he was a guest artist at Stanford University. Courtesy: AskArt “Karl Albert Buehr (1866–1952) was a painter born in Germany. Buehr was born in Feuerbach - near Stuttgart. He was the son of Frederick Buehr and Henrietta Doh (Dohna?). He moved to Chicago with his parents and siblings in the 1880s. In Chicago, young Karl worked at various jobs until he was employed by a lithograph company near the Art Institute of Chicago. Introduced to art at work, Karl paid regular visits to the Art Institute, where he found part-time employment, enabling him to enroll in night classes. Later, working at the Institute as a night watchman, he had a unique opportunity to study the masters and actually posted sketchings that blended in favorably with student's work. Having studied under John H. Vanderpoel, Buehr graduated with honors, while his work aroused such admiration that he was offered a teaching post there, which he maintained for many years thereafter. He graduated from the Art Inst. of Chicago and served in the IL Cav in the Spanish–American War. Mary Hess became Karl's wife—she was a student of his and an accomplished artist in her own right. In 1922, he was elected into the National Academy of Design as an Associate member. Art Studies in Europe In 1904, Buehr received a bronze medal at the St. Louis Universal Exposition, then, in 1905, Buehr and his family moved to France, thanks to a wealthy Chicago patron, and they spent the following year in Taormina, Sicily, where the artist painted local subjects, executing both genre subjects and landscapes as well as time in Venice. Buehr spent at least some time in Paris, where he worked with Raphaël Collin at the Académie Julian. Giverny and American Impressionism Prior to this time, Buehr had developed a quasi-impressionistic style, but after 1909, when he began spending summers near Monet in Giverny, his work became decidedly characteristic of that plein-air style but he began focusing on female subjects posed out-of-doors. He remained for some time in Giverny, and here he became well-acquainted with other well known expatriate America impressionists such as Richard Miller, Theodore Earl Butler, Frederick Frieseke, and Lawton Parker. It seems likely that Buehr met Monet, since his own daughter Kathleen and Monet’s granddaughter, Lili Butler, were playmates, according to George Buehr, the painter’s son. His other daughter Lydia died before adulthood due to diabetes. He returned to Chicago at the onset of World War I and taught at The Art Inst for many years. One of his noted pupils at the Art Institute was Archibald Motley...

Alice Aycock All the Wars in the World (Fire): Come and Get Me, 2020 inkjet print and hand-painted watercolor on paper 57 x 93 3/16 in. / 144.8 x 236.7 cm framed: 60 5/8 x 96 7/8 in.

Alice Aycock The Mystery of the Highway in the Sky, Part 1, 2017 inkjet print and hand-painted watercolor on paper 24 x 50 1/16 in. (61 x 127 cm) framed: 27 1/8 x 53 1/8 in.

Alice Aycock A Startling Whirlwind for University of Tennessee, Knoxville, 2013 inkjet print and hand-painted watercolor on paper 24 x 30 in. / 61 x 76.2 cm framed: 27 1/8 x 33 1/8 in.

Alice Aycock Devil Whirlwinds on the Clouds for 2 Players: From the Gameboard Series #6, 2012 inkjet print and hand-painted watercolor on paper 66 x 47 in. / 167.6 x 119.4 cm framed:...

Alice Aycock From the Series Entitled "Sum Over Histories:" Study for a Timescape II, 2012 inkjet print and hand-painted watercolor on paper 36 x 53 in. / 91.4 x 134.6 cm