Art by Medium: Paper

The “visible” spectrum, is probably the most well-known of human sensory limitations, as the human #eye is only capable of perceiving light at wavelengths between 390 and 750 nanometers. Of course, calling it the “visible” spectrum is a bit of a misnomer, as plenty of animals are capable of perceiving light with frequencies outside this relatively narrow band of electromagnetic radiation. Using infrared black and white...

'Dahlia on Ink #3' 2023 Black and white floral film photography combination with ink painting. Made using a large format 4x5 film camera, developed in the studio by the artist. P...

'Composition in Orange and Red', gouache on paper, by James Pichette (circa 1970s). A dynamic, lively abstract composition by an artist known for such s...

Rammellzee Annina Nosei Gallery, New York, 1983 (Rammellzee Gothic Futurism, Rammellzee Ikonoklast Panzerism): RARE Rammellzee illustrated announcement card published by Annina Nosei...

Modern abstract painting of grass and leaves by artist Spe, 2013. Signed lower right. Original artwork on paper displayed on a white mat with a go...

Anna Kruhelska is a visual artist and architect working across fields of art and design. She creates abstract, three-dimensional paper wall reliefs that...

Set of 2 Drawings (Framed) by Rodrigo Spinel From The Series Paper money is white Chinese ink on Fabriano paper 250 g. 1. Anverso Derecha 100 Valor Real 2. Anverso Derecha 500 Valor...

'Lily in Charcoal' 2023 From raw energy to sublime. 'Lily in Charcoal' is an expression piece combining an abstract charcoal drawing with a live lily...

Print, belongs to a collection "STRIPES". Limited edition of 10. Signed by the author.

The “visible” spectrum, is probably the most well-known of human sensory limitations, as the human #eye is only capable of perceiving light at wavelengths between 390 and 750 nanomet...

This abstract coastal landscape painting by Kelly Rossetti is made with oil paint on paper. It features a cool blue palette with contrasting pink and orange tones across an abstracte...

Katie Edwards Taj Mahal Limited Edition Silkscreen Print Edition of 50 Size: H 51cm x W 40.5cm x D 0.5cm Sold Unframed Please note that insitu images are purely an indication of how ...

A substantial and vibrant American Abstract dating to circa 1975. Stamped, verso, with artist estate stamp for Aida Nelson (American, 1921-2018) and titled...

Abstract Geometric Illusory Line Art in Ink on Paper by Geraldine Heib In this line abstract by Jerry O'Day (American, 1912), lines intersect and layer in straight and rounded ways giving a sense of movement to the piece. O'Day uses simple ink on paper and pure geometric form in the Minimalist style of the 1960s. Unsigned, but was acquired with a collection of the artist's work. Mat size: 39"H x 27"W Paper size: 30"H x 20"W Image size: 27"H x 16"W Jerry O'Day is also known as Geraldine Heib. Born in Oakland, California, on June 17, 1912. Geraldine Heib assumed the name Jerry O'Day at an early age. She grew up in Washington and studied in Seattle at the Cornish School of Fine Arts. Upon moving to the San Francisco Bay area in 1938, she further studied with Bufano as a muralist for two years. O'Day wed sculptor David Lemon and had a gallery in a converted cod fishery in Belvedere from 1942 until 1963. At that time, the couple moved to a houseboat in Sausalito, where she remained until her demise on March 30, 1986. Post War California artist, Jerry O'Day studied at the Cornish School of Fine Arts in Seattle; studied with Beniamino Bufano for two years. She lived in the artist's colony at the Cod fishery with artist David Lemon on Belvedere Island in the San Francisco Bay Area from 1942 - 1963. Solo Exhibitions: City of Paris, Rotunda Gallery; Lucien Labaudt Gallery, 1963; Torrance Gallery, San Anselmo, 1955; Marin Art Gallery, Sausalito, 1956; Palace of The Legion of Honor, San Francisco, 1962; East & West Gallery, Fillmore Street, San Francisco; Landmarks Gallery, Marin County, 1991. Selected Group Exhibitions: 65th Annual Painting and Sculpture Exhibition of the San Francisco Art Association at the San Francisco Museum of Art, 1945; Fourth Winter Invitational, California Palace of The Legion of Honor, San Francisco, 1963. Source: David J Carlson...

A simple, yet dynamic composition. Blue, green and yellow - colour is used sparingly in this collage, and to great effect. The assemblage is mounted without glass, but within a frame...

This is an exclusive limited edition black and white giclée print, on 100% cotton Hahnemühle Photo Rag Fine Art matte paper. This series of black and white photographs captures the ...

This series by Enric Servera explores the relationship of humans to salt and seawater. The intention of these works is to submerge us into the sea, a salty treasure that surrounds us...

Oil on paper - Unframed. In her abstract drawings, collages and paintings, Fieroza Doorsen brings to life the tensions and harmonies that emerge when structure meets intuition. Her ...

Stephanie Visser, a native of southwestern Michigan, was educated at Kendall College of Art and Design in Grand Rapids Michigan. She continued her education in fine arts and painting...

An abstract work on paper hand-pulled on an etching press by the artist a.muse who is inspired by jazz, she uses bright color to create pulsing vibration, good vibes, and spontaneous...

Late Mid Century French watercolour and Gouache on handmade paper of a pair of dancers by Damien Hermellin. Signed and dated bottom right. Pres...

"Fascination II" - Abstract Oil On Paper Original abstract oil painting depicting hues of blue, green, red and orange titled "Fascination II." Titled "Fascination II" bottom center...

Paula Valenzuela Everything is Connected, 2025 Watercolor, alcohol and acrylic inks on paper 14 x 10 inches This one-of-a-kind work on paper comes unframed and ships in a tube. Exte...

Frank Arnold is widely regarded as a leading contemporary abstract figurative painter and sculptor. Acknowledged as a living master, his art seamlessly blends personal and universal ...

My paintings and drawings incorporate elements found in architecture, design, popular culture and art history. My reductive compositions and pure color mimic the low-tech graphics ut...

Shape 22 (2019) by Ryan Park of Shapes Only Abstract, nonobjective, gestural, geometric art, acrylic on 300GSM archival paper. Abstract shape innovated by the artist. Neutral pal...

Interior design paintings. The work was done with alcohol ink in violet, orange color on Yupo paper. The work is 11 by 14 inches in size, framed black with a styrene face on a mat bo...

Set of 3 Abstract Drawing on paper by Rodrigo Spinel From the series Illusions of the Line Chinese ink on Fabriano paper 250 g. Overall size: Image size: 29.6 cm H x 35.8 cm W. Fr...

Abstract expressionist seascape on paper. Boats gently rocking in the sunshine give a real feel good element to this piece. This work was created under the guidance of the great Engl...

'Bay boys' Dubrovnik, Croatia 2014 Limited edition of 20.

Bruno Lucchesi (b.1926). Mother and Child, ca. 1960. Oil and charcoal on sized paper mounted to masonite, measuring 11 x 21 inches; 15.5 x 25.5 inches in original gold leaf frame. Si...

Melissa Chalhoub, a 2014 graduate of Saint Joseph University in Beirut, seamlessly navigates the realms of cinema and visual art. With a background in directing and sound design for ...

Peter Halley Cell with Explosions I, 1993 Line Engraving on Japanese Wahon Creme Kozo Paper with glazed surface Hand signed and numbered 49/50 by the artist on lower front Original frame included: matted and framed in a wood frame Rarely to market, this hand signed and numbered 1993 Peter Halley print is held in its original 1990s vintage frame. It's on elegant Japanese Wahon cream paper which is 100% Kozo paper with glazed surface. The specs on the paper are part of the design process. Measurements: Frame: 19 x 19 x 1 inches Visible: 12 1/4 x 12 1/4 inches Sheet: 15 7/8 x 15 1/4 inches Peter Halley Biography Peter Halley was born in 1953 in New York. He began his formal training at Phillips Academy in Andover, Massachusetts, from which he graduated in 1971. During that time, Halley read Josef Albers’s Interaction of Color (1981), which would influence him throughout his career. From 1973 to 1974 Halley lived in New Orleans, where he absorbed the vibrant cultural influences of the city, began using commercial materials in his art, and first became acquainted with the writings of earthwork artist Robert Smithson. In 1975 the artist graduated from Yale University, New Haven, with a degree in art history. After Yale, Halley returned to New Orleans, where he received an MFA in painting from the University of New Orleans in 1978. He had his first solo exhibition at the Contemporary Art Center, New Orleans, that same year. In 1978 Halley spent a semester teaching art at the University of Louisiana, Lafayette. He has continued to teach throughout his career. In 1980, Halley moved back to New York and had his first solo exhibition in the city at PS122 Gallery. At this time, Halley was drawn to the pop themes and social issues addressed in New Wave music. Inspired by New York’s intense urban environment, Halley set out to use the language of geometric abstraction to describe the actual geometricized space around him. He also began his iconic use of fluorescent Day-Glo paint. In 1984, Halley started to exhibit with the International With Monument gallery, becoming closely associated with the organization and its artists, who exhibited conceptually rigorous work in a market-savvy, coolly presented space that stood in stark contrast to the bohemian, Neo-Expressionist flair of the East Village art scene at the time. In 1986, an exhibition of four artists from International With Monument at the Sonnabend Gallery in New York heralded the group’s growing success. By the late 1980s, Halley was exhibiting with prominent galleries in the United States and Europe. In 1989, an exhibition of his paintings traveled to the Museum Haus Esters, Krefeld, Germany; Maison de la culture et de la communication de Saint-Étienne, France; and Institute of Contemporary Arts, London. From 1991 to 1992, a retrospective toured Europe, with presentations at the CAPC Musée d’art contemporain de Bordeaux, France; Musée d’art contemporain, Lausanne, Switzerland; Museo nacional centro de arte Reina Sofía, Madrid; and Stedelijk Museum, Amsterdam. In 1992, the Des Moines Art Center hosted his first solo exhibition at a U.S. museum. While developing his visual language, Halley became interested in French post-structuralist writers, including Jean Baudrillard, Guy Debord, Michel Foucault, and Paul Virillio, all of whom shared his concern with the character of social spaces in a post-industrial society. In 1981, he published his first essay “Beat, Minimalism, New Wave, and Robert Smithson” in Arts, a New York–based magazine that would publish eight of his essays before the decade’s end. Halley’s writings became the basis for Neo-Geometric Conceptualism (also known as Neo-Geo), the offshoot of Neo-Conceptualism associated with the work of Ashley Bickerton, Halley, and Jeff Koons. In 1988, the artist’s writings were anthologized in Collected Essays, 1981–1987, and again in 1997 in a second anthology, Recent Essays, 1990–1996. In the mid-1990s, Halley began to produce site-specific installations for museums, galleries, and public spaces. These characteristically brought together a range of imagery and mediums, including paintings, wall-size flowcharts, and digitally generated wallpaper prints. Halley has executed permanent installations at the Dallas/Fort Worth International Airport, Texas, and the Gallatin School of Individualized Study at New York University. In 2011, his installation of digital prints Judgment Day...

Achille Perilli “Systematic 1°“ Lithography Achille Perilli Final lithography made for Engineering Company C. Lotti e Associati Roma. Editions numbered from 1/99 to 99/99 plus XXX ...

"Echo" is a black & white framed archival pigment print (photograph) from a hand-etched photogram from artist Jenny Lynn's "Personal Myths" series Includes image of legs and heels.. ...

An original abstract oil painting by American artist Martin Rosenthal signed by the artist and created in the late 1950's, early 1960's. This colorful dynamic work comes housed in a...

Fine Art Print, Hahnemuehle fine art paper, limited edition of 25. Signed by the author.

"Exploring new formats, techniques and ideas provides me with the foundations to all of my work. Since 2006 I had purposely avoided colour, and due to physical restrictions in the sm...

Abstract expressionist oil painting with assembled objects by Bay Area artist Michael Pauker (American, b. 1957). Splashes of gold paint are applied to a wood panel, with a few bits of burnt umber. Several objects - including a paint tube, cotton balls, and a miniature painting - are attached to the panel. Signed "Michael Pauker", titled "His Name Was Writ in Acrylic Paint", and dated "2017" on verso. There is a note from the artist that this is the top of a two-part piece, but the whereabouts of the bottom half are unknown. Unframed. Image size: 20"H x 24"W Bay Area artist and art educator Michael Pauker was born in New York in 1957 and knew he wanted to be an artist from the age of 15. He earned a Bachelor’s in Fine Arts at SUNY Purchase in his native state of New York. In 1989 he went on to earn an M.F.A at Mills College in Oakland and was awarded the City of Oakland Artist Fellowship in Painting. He has been a Bay Area resident since 1988. His work has been exhibited widely across the U.S., as well as in Japan and Costa Rica, and is included in the collection of the Fine Arts Museums of San Francisco. Exhibitions include: 2007 Contemporary Art Museum, San Jose, Costa Rica 2007 “The Ebay Art Project,” Works/San Jose, San Jose, CA 2003 “Found Imagery: The Art of Collage,” Fresno Art Museum,Fresno, CA 2003 “Cut, Copy, Paste,” De Saisset Museum, Santa Clara, CA 2003 “20th Annual Exhibition,” Berkeley Art Center, Berkeley, CA 2002 “40 by 40...

This is an exclusive limited edition black and white giclée print, on 100% cotton Hahnemühle Photo Rag Fine Art matte paper. This series of black and white photographs captures the ...

The artists explore even further the infinite possibilities of transformation by turning something as temporary as a fashion editorial, into something completely different and origin...

Stephanie Visser, a native of southwestern Michigan, was educated at Kendall College of Art and Design in Grand Rapids Michigan. She continued her education in fine arts and painting...

Myril Adler "Moonscape" c.1960s Intaglio etching collage, ink on paper 3"x6" site unframed Signed and titled in ink Myril Adler, was born on September 22, 1920 in Vitebsk, Russia (n...

Susan Pomery Wilks. English ( b.1945 - d.2023 ). Flock Of Sheep. Pastel & Charcoal On Paper. Signed Lower Right. Image size 13.6 inches x 23 inches ( 34.5cm x 58.5cm ). Frame size 2...

The artists explore even further the infinite possibilities of transformation by turning something as temporary as a fashion editorial, into something completely different and origin...

Myril Adler "Jerusalem" c.1960s Collagraph ink on paper 2.75"x2.75 ash wood gallery frame 9.5"x9.5" Titled in pencil, estate stamp Myril Adler, was born on September 22, 1920 in Vi...

JEKATERINA GRYAZEVA Born in Latvia, Riga 1968 Education 1979 - 1986 J.Rozentals Secondary Art School (Riga). 1987 - 1993 Academy of Art (Riga, Latvia), department of Graphics,...

"GHST" is an original acrylic work on panel by Jim Houser measuring 10in x 10in. ABOUT // Jim Houser was born in 1973 in Philadelphia, Pennsylvania, the city where he currently res...

An abstract, whimsical and bold depiction of a woman standing gracefully in a white gown against a yellow background with delicate details. This piece captures the essence of fashion...

Michel Scarpa' collage formed by cardboard blocks covered by comics stripes. It comes framed. Beautiful signed work of this artist that experienced a lot this tecnique.

The “visible” spectrum, is probably the most well-known of human sensory limitations, as the human #eye is only capable of perceiving light at wavelengths between 390 and 750 nanometers. Of course, calling it the “visible” spectrum is a bit of a misnomer, as plenty of animals are capable of perceiving light with frequencies outside this relatively narrow band of electromagnetic radiation. Using infrared black and white...

This set of drawings has been like a Covid-19 diary of one woman and her domestic realm. Simone de Beauvoir, the century's most iconic feminist scholar, called the burden of women's ...

Eduardo Chillida (Spain, 1924-2002) 'Korapillo II', 1982 chine colle, dry point on japanese paper 25.6 x 19.7 in. (65 x 50 cm.) Edition of 50. Original 63 of which 50 belong to the regular edition. P/A: 8, H.C.: 5 Unframed ID: CHI1038-013 Hand-signed by author It is documented in Chillida, E. (1999). Eduardo Chillida – Opus P. II 1973-1985. Chorus – Verlag, pp 290 – 291. Nr 82003. ____________________________________________________ He began his career in 1943 studying architecture at the University of Madrid, but in 1947 he dedicated himself to drawing and sculpture, and in 1948 he moved to Paris, then the world capital of the arts. Although he abandoned his studies, his work betrays his architectural training, showing an underlying sense of structural organization, as well as discipline in materials, planning of spatial relationships, and scale of elements. Over the years, the artist turned to materials that showed his investigations into conceptual questions and metaphysical concerns. Chillida's first stone and plaster creations oscillated between the human world and the natural world using figures and images of landscapes. Consistently guided by the quality of space, density and rhythm, his works consider ways in which mass and volume contain space. His public works, which exist on a more massive scale, not only inhabit the space but also determine a qualifying space of their own. His monumental sculptures, designed for both urban and more secluded spaces, are permanently installed internationally and constitute an important facet of his artistic production. The main retrospectives of Chillida's graphic and sculptural work have been mounted by the Museum of Fine Arts in Houston (1966); Carnegie Institute, Pittsburgh (1979); National Gallery of Art, Washington, DC (1979); Guggenheim Museum (1980); Miramar Palace, San Sebastián (1992); and Museo Nacional Centro de Arte Reina Sofía, Madrid (1999). Chillida received numerous awards, including the Grand International Prize for Sculpture at the Venice Biennale (1958), the Kandinsky Prize (1960), the Carnegie Prize for Sculpture (1964), the Andrew Mellon...

This set of drawings has been like a Covid-19 diary of one woman and her domestic realm. Simone de Beauvoir, the century's most iconic feminist scholar, called the burden of women's ...

In creating this piece, I sought to blend expressionism with a touch of surrealism, capturing the ethereal yet potent essence of a cultural guardian standing in a timeless doorway. M...

Plastically materializing the energetic atmosphere typical of the meditative mental space and thereby inducing states of contemplation and introspection has been the purpose of the w...

Mixed media on paper, framed 20 x 30 cm - 30 x 40 cm with white mat passe-partout Unique copy Signed on the front

Abstract composition with a resemblance to flowers by Les Anderson (American, 1928-2009). Unsigned, but was acquired from the estate of Les Anderson in Monterey, California. Presente...

Abstract drawing of a blue house in a yellow field by German-American painter, Wolf Kahn. Signed and dated by the artist in the lower right corner. Framed and matted in a silver wood...

The Way of Plenty – Jon Rowland – Abstract Expressionism [2020] original and hand signed by the artist Acrylic, and oil on paper Image size: H:50 cm x W:70 cm Complete Size of Un...