Gouache Abstract Paintings

Charles Evans (1907-1992) Mediterranean Costal Town, 1932. Gouache and watercolor on paper. Sheet measures 8.5 x 10 inches; mounted in frame measuring 8.5 x 10 inches. Signed and dated lower left. Charles Evans was a modernist known for his abstract style of painting. He studied at New York's Art Students League and Parsons School of Design, and later in Paris with Fernand Lger at the Acadmie Moderne. In 1930, Evans and his wife spent a year living in what was Paul Cezanne's studio in Aix-en-Provence, France. The following year, Evans purchased the old silk mill in New Hope and became involved in the area's modernist movement, joining the Independents in 1932. By 1935, he began to work collaboratively with Louis Stone, whom he had met in 1929 while studying with Hans Hofman in Saint Tropez, and with Charles F. Ramsey, teaching art classes and working on the Cooperative Painting Project. Every week, the three were joined by the abstract painter, Lee Gatch, in discussions at Ledger's Inn in Lambertville. In 1948 Evans co-founded the New Hope Gazette with Walter M. Teller. The same year he created set designs for St. John Terrell's Lambertville Music Circus. He also designed sets for the Bucks County Playhouse and Philadelphia's Playhouse in the Park. He later served as Set Designer for the Fred Miller...

'Cubist Still Life', gouache on paper, from the Italian School of artists (circa 1940s). Surely this very attractive piece was inspired by Juan Gris (1887-1927) and Georges Braque's ...

'Fish, Dove and Musical Instrument', gouache on paper, from the Italian School of artists (circa 1940s). Surely this very attractive piece was inspired by Georges Braque (1882-1963) ...

Flower Abstract by Guy Nicod (French 1923 - 2021) gouache on artist paper, unframed painting : 25 x 19.5 inches stamped verso provenance: artists estate, France condition: very good ...

Untitled Large Seascape Abstract Mixed Media Ink and gouache wash on paper board about 1970s, Artist signed lower right corner. Lim Ha Shan, was born in Seoul, Korea in 1945. The ...

Louis Wolchonok was a social realist painter and member of the Woodstock Art Association. His work was exhibited at the Whitney Museum of American Art, the National Academy of Design...

Louis Wolchonok was a social realist painter and member of the Woodstock Art Association. His work was exhibited at the Whitney Museum of American Art, the National Academy of Design...

Bowling gouache and ink on paper 29.5 x 43.25" signed and dated "Calder 74" on recto, lower right This work is registered in the archives of the Calder Foundation, New York. LITERA...

Large Black Face with Sun, 1968 gouache and ink on paper 29.25 x 43" signed and dated "Calder 68" lower right This work is registered in the archives of the Calder Foundation, New York. EXHIBITED Calder, Grand Valley State College, Manitou Gallery, Allendale, Michigan, May 4-June 15, 1969 Alexander Calder: Mobiles, Stabiles Gouaches, Drawings from the Michigan Collections, Flint Institute of Arts, February 20- March 27, 1983, no. 47, pp. 30 and 32, illustrated Alexander Calder: Sculpture and Works on Paper, John Berggruen Gallery, San Francisco, April 4-26, 2006 “At the time and practically ever since, the underlying form in my work has been the system of the universe, for that is a rather larger model to work from.” – Alexander Calder, 1951 (‘What Abstract Art Means to Me’, The Bulletin of the Museum of Modern Art, Vol. 18, No. 3, Spring, 1951) Alexander Calder’s interest in cosmology, the philosophical and astronomical systems of the universe, is at the heart of his creative output. The discovery of Pluto in the 1930s was a defining moment that instigated his fascination with the solar system and astronomy. Over the ensuing years he focused on creating entire worlds like ‘Calder’s Circus’ and his ‘Constellations’ sculptures...

Donald Stacy "Group Meeting" c.1950s Gouache paint on paper 24" x 18'" unframed Unsigned Came from artist's estate Donald Stacy (1925-2011) New Jersey Studied: Newark School of Fin...

Mane-Katz (1894-1962) Landscape with palm tree. Gouache on paper, signed lower right. Dimensions: (Frame) H 37.5" x W 31", (Sight) H 24.5" x W 18" Emmanuel Mané-Katz (Hebrew:מאנה כ...

'Central City, Colorado' by Leonard Silverstein is an original gouache on paper from 1954. Hand signed, titled, and dated by the artist in the lower right...

Mid century modern art with inscription in french verso. It was traded with another artist.

Kerry Smith R.E.M. - Murmur Mixed Media on Crescent board Year: 2022 Size: 21x20in Signed, dated by hand COA provided Ref.: 924802-1633 --------------------------------------- "Of...

Donald Stacy "Curled Up Cubist c.1950s Gouache on paper 24" x 18" unframed Unsigned Came from artist's estate Donald Stacy (1925-2011) New Jersey Studied: Newark School of Fine Art The Art Students League Pratt Graphic Arts Center University of Paris 1953-54 University of Aix-en-Provence 1954-55 Faculty: Art Department of the New School Museum of Modern Art School of Visual Arts Stacy Studio Workshop Exhibitions: Grand Central Moderns George Wittenborn The New School Print Exhibitions, Chicago University of Oklahoma Honolulu Museum Monclair Museum Wisconsin State College Louisiana Art Commission Philadelphia...

Kerry Smith Radiohead - Amnesiac Mixed Media on Crescent board Year: 2022 Size: 21x20in Signed, dated by hand COA provided Ref.: 924802-1641 --------------------------------------- ...

Kerry Smith Bob Dylan - Blood On The Tracks Mixed Media on Crescent board Year: 2021 Size: 21x20in Signed, dated by hand COA provided Ref.: 924802-1629 ----------------------------...

Kerry Smith Johnny Hodges - The Big Sound Mixed Media on Crescent board Year: 2016 Size: 21x20in Signed, dated by hand COA provided Ref.: 91-0194 ----------------------------------...

Kerry Smith Jimi Hendrix - Band Of Gypsys Mixed Media on Crescent board Year: 2022 Size: 21x20in Signed, dated by hand COA provided Ref.: 924802-1640 -------------------------------...

Kerry Smith Ray Charles in Person Mixed Media on Crescent board Year: 2016 Size: 21x20in Signed, dated by hand COA provided Ref.: 91-0191 --------------------------------------- "...

Kerry Smith The Stooges - The Stooges Mixed Media on Crescent board Year: 2017 Size: 21x20in Signed, dated by hand COA provided Ref.: 92-1671 ---------------------------------------...

Kerry Smith The Doors - L.A. Woman Mixed Media on Crescent board Year: 2021 Size: 21x20in Signed, dated by hand COA provided Ref.: 924802-1642 --------------------------------------...

Kerry Smith Neil Young at Massey Hall Gouache, Conservation Glass Year: 2018 Size: 21x22in Framed Signed, dated by hand COA provided Ref.: 923421 -----------------------------------...

Kerry Smith Bing Crosby - White Christmas Mixed Media on Crescent board Year: 2018 Size: 12x12in Framed Signed, dated by hand COA provided Ref.: 924802...

Andy Warhol Gouache on Interview Magazine Back Page 1989 Modernism Portrait of Andy Worhol on Andy Worhol's Interview Magazine back page and painted over in Gouache by Ricardo (Richa...

Artist in Gouache on Interview Magazine Back Page 1989 Modernism Portrait of a man and commemorating The Fall of the Berlin Wall on Andy Worhol's Interview Magazine back page and pai...

Composition is a Gouache realized by Reynold Arnould (Le Havre 1919 - Parigi 1980). Good condition. No signature. Reynold Arnould was born in Le Havre, France in 1919. He studied...

Donald Stacy "Forest Through the Window" c.1950s Oil pastel and gouache paint on paper 14" x 17" unframed Unsigned Came from artist's estate Donald Stacy (1925-2011) New Jersey Studied: Newark School of Fine Art The Art Students League Pratt Graphic Arts Center University of Paris 1953-54 University of Aix-en-Provence 1954-55 Faculty: Art Department of the New School Museum of Modern Art School of Visual Arts Stacy Studio Workshop Exhibitions: Grand Central Moderns George Wittenborn The New School Print Exhibitions, Chicago University of Oklahoma Honolulu Museum Monclair Museum Wisconsin State College Louisiana Art...

An original cubist gouache painting by American artist Benjamin Benno. This surreal teal composition does little to resemble anything from its title, i...

Edward Avedisian ( 1936-2007 ) Gouache or oil on paper, 3 guys around a car, hand signed in paint lower left, Measures 30"x 22.5" Edward Avedisian (June 15, 1936, Lowell, Massachusetts – August 17, 2007, Philmont, New York) was an American abstract painter who came into prominence during the 1960s. His work was initially associated with Color field painting and in the late 1960s with Lyrical Abstraction and Abstract Expressionism. He studied art at the School of the Museum of Fine Arts, Boston. By the late 1950s he moved to New York City. Between 1958 and 1963 Avedisian had six solo shows in New York. In 1958 he initially showed at the Hansa Gallery, then he had three shows at the Tibor de Nagy Gallery and in 1962 and 1963 at the Robert Elkon Gallery. He continued to show at the Robert Elkon Gallery almost every year until 1975. During the 1960s his work was broadly visible in the contemporary art world. He joined the dynamic art scene in Greenwich Village, frequenting the Cedar Tavern on Tenth Street, associating with the critic Clement Greenberg, and joining a new generation of abstract artists, such as Darby Bannard, Kenneth Noland, Jules Olitski, and Larry Poons. Avedisian was among the leading figures to emerge in the New York art world during the 1960s. An artist who mixed the hot colors of Pop Art with the cool, more analytical qualities of Color Field painting, he was instrumental in the exploration of new abstract methods to examine the primacy of optical experience. One of his paintings was appeared on the cover of Artforum, in 1969, his work was included in the 1965 Op Art The Responsive Eye exhibition at the Museum of Modern Art and in four annuals at the Whitney Museum of American Art. His paintings were widely sought after by collectors and acquired by major museums in New York and elsewhere. He has been exhibited in prominent galleries, such as the Anita Shapolsky Gallery and the Berry Campbell Gallery in New York City. Edward Avedisian was known for his brightly colored, boldly composed canvases that combined Minimalism's rigor, Pop art exuberance and the saturated tones of Color Field painting. Roberta Smith of the NYT writes of Avedesian: "Edward Avedisian helped establish the hotly colored, but emotionally cool, abstract painting that succeeded Abstract Expressionism in the early 1960s. This young luminary harnessed elements of minimalism, pop, and color field painting to create prominent works of epic proportions that energized the New York art scene of the time." In 1996 Avedisian showed his paintings from the 1960s at the Mitchell Algus Gallery, then in SoHo. His last show, dominated by recent landscapes, was in 2003 at the Algus gallery, now in Chelsea. Selected Exhibitions: Op Art: The Responsive Eye, at the Museum of Modern Art, Whitney Museum’s Young America 1965 Expo 67, held in Montreal, Canada. Six Painters (along with Darby Bannard, Dan Christensen, Ron Davis...

Antique American modernist street scene painting. Oil on board, circa 1930. Unsigned. Image size, 24L x 20H. Housed in a period modern frame.

This Modern Abstract Expressionist painting by Stanley Bate is made with gouache on paper. It features a muted palette and large, textured brush strokes. The painting itself is 13" x 22" and it measures 21.25" x 29.25" x 1" framed. It is signed by the artist in the lower right-hand corner of the painting, and is framed in a black frame with an acid-free mat. Wired and ready to hang. Stanley Bate was born on March 26, 1903 in Nashville, Tennessee. The Bates were an established Tennessee family, in fact, Henry’s brother William Bate was the governor of Tennessee from 1883-1887 and a United States Senator from 1887-1905. Stanley studied art at the Watkins Institute in Nashville. In the 1920’s Bate moved to New York City to study at the Art Students League under Frederick Bridgman. He soon landed a job with Encyclopedia Britannica, and from 1927-1929 served as art editor. From 1929 until his death in 1972, Stanley was a self-employed artist. He taught art classes at both the Art Students League and the Albany Institute of History and Art and brought in extra income by making illustrations for magazines such as “Outdoor Life” and “Popular Science”. On January 27, 1934 Stanley married Emilie Rossel. Emilie had emigrated from Switzerland to New York in 1923. She found work as a governess to Alfred Vanderbilt and later as an executive secretary for Wall Street investment brokers Kahn, Loeb and Co. Emilie met Stanley in New York in the early 1930’s when she attended one of his art exhibitions with a friend. The couple, who had no children, lived on 34th Street in Manhattan. During this period, Bate was producing and exhibiting his art and joined several artists groups. Stanley and Emilie became part of the New York art scene, dining weekly at the Society of Illustrators Clubhouse. Stanley Bate’s time in New York was pivotal in the formation of his painting style. He lived in New York during the inception of one of the most important Modern Art movements, one that helped New York replace Paris as the center of avant-garde art. This movement, which was called the New York School of artists, was later known as Abstract Expressionism. It was comprised of a loosely associated group of vanguard artists working in New York City during the 1940s and 1950s. The New York School was not defined by a specific style, but instead reflected a fusion of European Modernism and American social relevancy that was depicted in many individual styles. Influences of Surrealism, Cubism, and Modernism can be found in their work, along with an interest in experimenting with non-traditional materials and methods. American art was in the forefront of international avant-garde for the first time. Stanley Bate was undoubtedly exposed to the varied styles and techniques that were emerging during the formative years of the New York School. Mark Rothko and Robert Motherwell were formulating their versions of color field paintings. Joseph Cornell was experimenting with assemblages, collage and the use of different types of textured paints. Jackson Pollock was adhering objects such as buttons and coins into his early works, while Louise Nevelson was using found objects. Helen Frankenthaler added sand to her early paintings. The New York School artists were undermining traditional fine art by using mixed media and non-traditional methods. Stanley Bate absorbed these varied influences and soon his early realistic landscapes and still-lifes were replaced with something entirely new. The influence of Cubism, notably the flat shallow space of the picture plane, is obvious in many of Bate’s paintings. Surrealism is evident in Bate’s use of subjects from myth, primitive art and antiquity, along with the Automatism-like line work in his more linear images. The unfettered experimentation of the New York School is everywhere in Stanley Bate’s work. We see nods to color field, collage, the mixing of textures into paint, mixed media, the inclusion of found objects and thick, luscious impasto. Bate was prolific and experimented in various media including oil, watercolor, lithography, silk screen, wood cut, drawing, collage, ceramics and sculpture. Bate is considered a true Modernist. His work is largely abstract, but sometimes figures and buildings are discernable. He frequently mixed paint, sand and glue together to achieve a textured surface, and then scraped and scratched through this layer to expose some of the underpainting below. His sculpture, which is often whimsical, also reflects the non-traditional methods of the New York School. Bate pioneered the use of enamel and copper in his work. The sculptures are not carved or modeled as was done in the past, but instead are built using mixed media and new materials. In addition to the New York School influence, many of Bate’s works exhibit a strong connection to the Spanish school, especially the work of Antonio Tapies and Modesto Cuixart. These artists were both part of an avant-garde group known as Art Informel, the Spanish equivalent of Abstract Expressionism. These artists likewise worked in mixed media and introduced objects and texture into their work. Many of Bate’s subjects and titles relate to Spanish locations and words. It is likely that Stanley spent time in Spain and found inspiration there. By the early 1940s, Stanley and Emilie had started spending weekends in a barn they purchased in Craryville, New York, a few hours north of Manhattan. The barn had no electricity or plumbing, but when the Bates eventually decided to leave New York and live full time in Craryville, they remodeled the barn, putting a gallery downstairs and a studio and living quarters upstairs. Although the Bates moved out of New York City, Stanley remained part of the New York art scene, exhibiting in New York and elsewhere throughout the 50s and 60s. During his lifetime he was represented by the New York galleries Knoedler and Company, Kennedy Galleries, Rose Fried Gallery and Key Gallery, along with Tyringham Gallery located in Tyringham, Massachusetts. Craryville was Stanley’s home until his death on August 21, 1972. Emilie died 1984...

This modern abstract expressionist painting by Stanley Bate features a muted, earthy palette with warm accents. The painting itself is made with gouache on paper and measures 13" x 22". It measures 21.25" x 29.25" x 1" framed and is framed in a black frame with an acid-free mat. It is signed by the artist in the lower right-hand corner of the painting, and is ready to hang. Stanley Bate was born on March 26, 1903 in Nashville, Tennessee. The Bates were an established Tennessee family, in fact, Henry’s brother William Bate was the governor of Tennessee from 1883-1887 and a United States Senator from 1887-1905. Stanley studied art at the Watkins Institute in Nashville. In the 1920’s Bate moved to New York City to study at the Art Students League under Frederick Bridgman. He soon landed a job with Encyclopedia Britannica, and from 1927-1929 served as art editor. From 1929 until his death in 1972, Stanley was a self-employed artist. He taught art classes at both the Art Students League and the Albany Institute of History and Art and brought in extra income by making illustrations for magazines such as “Outdoor Life” and “Popular Science”. On January 27, 1934 Stanley married Emilie Rossel. Emilie had emigrated from Switzerland to New York in 1923. She found work as a governess to Alfred Vanderbilt and later as an executive secretary for Wall Street investment brokers Kahn, Loeb and Co. Emilie met Stanley in New York in the early 1930’s when she attended one of his art exhibitions with a friend. The couple, who had no children, lived on 34th Street in Manhattan. During this period, Bate was producing and exhibiting his art and joined several artists groups. Stanley and Emilie became part of the New York art scene, dining weekly at the Society of Illustrators Clubhouse. Stanley Bate’s time in New York was pivotal in the formation of his painting style. He lived in New York during the inception of one of the most important Modern Art movements, one that helped New York replace Paris as the center of avant-garde art. This movement, which was called the New York School of artists, was later known as Abstract Expressionism. It was comprised of a loosely associated group of vanguard artists working in New York City during the 1940s and 1950s. The New York School was not defined by a specific style, but instead reflected a fusion of European Modernism and American social relevancy that was depicted in many individual styles. Influences of Surrealism, Cubism, and Modernism can be found in their work, along with an interest in experimenting with non-traditional materials and methods. American art was in the forefront of international avant-garde for the first time. Stanley Bate was undoubtedly exposed to the varied styles and techniques that were emerging during the formative years of the New York School. Mark Rothko and Robert Motherwell were formulating their versions of color field paintings. Joseph Cornell was experimenting with assemblages, collage and the use of different types of textured paints. Jackson Pollock was adhering objects such as buttons and coins into his early works, while Louise Nevelson was using found objects. Helen Frankenthaler added sand to her early paintings. The New York School artists were undermining traditional fine art by using mixed media and non-traditional methods. Stanley Bate absorbed these varied influences and soon his early realistic landscapes and still-lifes were replaced with something entirely new. The influence of Cubism, notably the flat shallow space of the picture plane, is obvious in many of Bate’s paintings. Surrealism is evident in Bate’s use of subjects from myth, primitive art and antiquity, along with the Automatism-like line work in his more linear images. The unfettered experimentation of the New York School is everywhere in Stanley Bate’s work. We see nods to color field, collage, the mixing of textures into paint, mixed media, the inclusion of found objects and thick, luscious impasto. Bate was prolific and experimented in various media including oil, watercolor, lithography, silk screen, wood cut, drawing, collage, ceramics and sculpture. Bate is considered a true Modernist. His work is largely abstract, but sometimes figures and buildings are discernable. He frequently mixed paint, sand and glue together to achieve a textured surface, and then scraped and scratched through this layer to expose some of the underpainting below. His sculpture, which is often whimsical, also reflects the non-traditional methods of the New York School. Bate pioneered the use of enamel and copper in his work. The sculptures are not carved or modeled as was done in the past, but instead are built using mixed media and new materials. In addition to the New York School influence, many of Bate’s works exhibit a strong connection to the Spanish school, especially the work of Antonio Tapies and Modesto Cuixart. These artists were both part of an avant-garde group known as Art Informel, the Spanish equivalent of Abstract Expressionism. These artists likewise worked in mixed media and introduced objects and texture into their work. Many of Bate’s subjects and titles relate to Spanish locations and words. It is likely that Stanley spent time in Spain and found inspiration there. By the early 1940s, Stanley and Emilie had started spending weekends in a barn they purchased in Craryville, New York, a few hours north of Manhattan. The barn had no electricity or plumbing, but when the Bates eventually decided to leave New York and live full time in Craryville, they remodeled the barn, putting a gallery downstairs and a studio and living quarters upstairs. Although the Bates moved out of New York City, Stanley remained part of the New York art scene, exhibiting in New York and elsewhere throughout the 50s and 60s. During his lifetime he was represented by the New York galleries Knoedler and Company, Kennedy Galleries, Rose Fried Gallery and Key Gallery, along with Tyringham Gallery located in Tyringham, Massachusetts. Craryville was Stanley’s home until his death on August 21, 1972. Emilie died 1984...

This Modern Abstract Expressionist painting by Stanley Bate is made with gouache on paper and features a cool, muted palette and light texture. The painting itself is 13" x 22" and measures 21.25" x 29.25" x 1" framed. It is signed by the artist in the lower left-hand corner of the painting and is framed in a black frame with an acid-free mat. It is ready to hang. Stanley Bate was born on March 26, 1903 in Nashville, Tennessee. The Bates were an established Tennessee family, in fact, Henry’s brother William Bate was the governor of Tennessee from 1883-1887 and a United States Senator from 1887-1905. Stanley studied art at the Watkins Institute in Nashville. In the 1920’s Bate moved to New York City to study at the Art Students League under Frederick Bridgman. He soon landed a job with Encyclopedia Britannica, and from 1927-1929 served as art editor. From 1929 until his death in 1972, Stanley was a self-employed artist. He taught art classes at both the Art Students League and the Albany Institute of History and Art and brought in extra income by making illustrations for magazines such as “Outdoor Life” and “Popular Science”. On January 27, 1934 Stanley married Emilie Rossel. Emilie had emigrated from Switzerland to New York in 1923. She found work as a governess to Alfred Vanderbilt and later as an executive secretary for Wall Street investment brokers Kahn, Loeb and Co. Emilie met Stanley in New York in the early 1930’s when she attended one of his art exhibitions with a friend. The couple, who had no children, lived on 34th Street in Manhattan. During this period, Bate was producing and exhibiting his art and joined several artists groups. Stanley and Emilie became part of the New York art scene, dining weekly at the Society of Illustrators Clubhouse. Stanley Bate’s time in New York was pivotal in the formation of his painting style. He lived in New York during the inception of one of the most important Modern Art movements, one that helped New York replace Paris as the center of avant-garde art. This movement, which was called the New York School of artists, was later known as Abstract Expressionism. It was comprised of a loosely associated group of vanguard artists working in New York City during the 1940s and 1950s. The New York School was not defined by a specific style, but instead reflected a fusion of European Modernism and American social relevancy that was depicted in many individual styles. Influences of Surrealism, Cubism, and Modernism can be found in their work, along with an interest in experimenting with non-traditional materials and methods. American art was in the forefront of international avant-garde for the first time. Stanley Bate was undoubtedly exposed to the varied styles and techniques that were emerging during the formative years of the New York School. Mark Rothko and Robert Motherwell were formulating their versions of color field paintings. Joseph Cornell was experimenting with assemblages, collage and the use of different types of textured paints. Jackson Pollock was adhering objects such as buttons and coins into his early works, while Louise Nevelson was using found objects. Helen Frankenthaler added sand to her early paintings. The New York School artists were undermining traditional fine art by using mixed media and non-traditional methods. Stanley Bate absorbed these varied influences and soon his early realistic landscapes and still-lifes were replaced with something entirely new. The influence of Cubism, notably the flat shallow space of the picture plane, is obvious in many of Bate’s paintings. Surrealism is evident in Bate’s use of subjects from myth, primitive art and antiquity, along with the Automatism-like line work in his more linear images. The unfettered experimentation of the New York School is everywhere in Stanley Bate’s work. We see nods to color field, collage, the mixing of textures into paint, mixed media, the inclusion of found objects and thick, luscious impasto. Bate was prolific and experimented in various media including oil, watercolor, lithography, silk screen, wood cut, drawing, collage, ceramics and sculpture. Bate is considered a true Modernist. His work is largely abstract, but sometimes figures and buildings are discernable. He frequently mixed paint, sand and glue together to achieve a textured surface, and then scraped and scratched through this layer to expose some of the underpainting below. His sculpture, which is often whimsical, also reflects the non-traditional methods of the New York School. Bate pioneered the use of enamel and copper in his work. The sculptures are not carved or modeled as was done in the past, but instead are built using mixed media and new materials. In addition to the New York School influence, many of Bate’s works exhibit a strong connection to the Spanish school, especially the work of Antonio Tapies and Modesto Cuixart. These artists were both part of an avant-garde group known as Art Informel, the Spanish equivalent of Abstract Expressionism. These artists likewise worked in mixed media and introduced objects and texture into their work. Many of Bate’s subjects and titles relate to Spanish locations and words. It is likely that Stanley spent time in Spain and found inspiration there. By the early 1940s, Stanley and Emilie had started spending weekends in a barn they purchased in Craryville, New York, a few hours north of Manhattan. The barn had no electricity or plumbing, but when the Bates eventually decided to leave New York and live full time in Craryville, they remodeled the barn, putting a gallery downstairs and a studio and living quarters upstairs. Although the Bates moved out of New York City, Stanley remained part of the New York art scene, exhibiting in New York and elsewhere throughout the 50s and 60s. During his lifetime he was represented by the New York galleries Knoedler and Company, Kennedy Galleries, Rose Fried Gallery and Key Gallery, along with Tyringham Gallery located in Tyringham, Massachusetts. Craryville was Stanley’s home until his death on August 21, 1972. Emilie died 1984...

This Modern Abstract Expressionist painting by Stanley Bate is made with gouache on paper. It features a dark palette, with dark charcoal black tones contrasted by yellow and red accents throughout, and large brush strokes. The painting itself is 16" x 54" and measures 17" x 56" x 2" framed. The paper is mounted on board, framed in a black frame under glass. It is not signed by the artist, but has been authenticated by his estate, and is stamped with the estate seal on the back of the painting, and on the back of the frame. It is ready to hang. Stanley Bate was born on March 26, 1903 in Nashville, Tennessee. The Bates were an established Tennessee family, in fact, Henry’s brother William Bate was the governor of Tennessee from 1883-1887 and a United States Senator from 1887-1905. Stanley studied art at the Watkins Institute in Nashville. In the 1920’s Bate moved to New York City to study at the Art Students League under Frederick Bridgman. He soon landed a job with Encyclopedia Britannica, and from 1927-1929 served as art editor. From 1929 until his death in 1972, Stanley was a self-employed artist. He taught art classes at both the Art Students League and the Albany Institute of History and Art and brought in extra income by making illustrations for magazines such as “Outdoor Life” and “Popular Science”. On January 27, 1934 Stanley married Emilie Rossel. Emilie had emigrated from Switzerland to New York in 1923. She found work as a governess to Alfred Vanderbilt and later as an executive secretary for Wall Street investment brokers Kahn, Loeb and Co. Emilie met Stanley in New York in the early 1930’s when she attended one of his art exhibitions with a friend. The couple, who had no children, lived on 34th Street in Manhattan. During this period, Bate was producing and exhibiting his art and joined several artists groups. Stanley and Emilie became part of the New York art scene, dining weekly at the Society of Illustrators Clubhouse. Stanley Bate’s time in New York was pivotal in the formation of his painting style. He lived in New York during the inception of one of the most important Modern Art movements, one that helped New York replace Paris as the center of avant-garde art. This movement, which was called the New York School of artists, was later known as Abstract Expressionism. It was comprised of a loosely associated group of vanguard artists working in New York City during the 1940s and 1950s. The New York School was not defined by a specific style, but instead reflected a fusion of European Modernism and American social relevancy that was depicted in many individual styles. Influences of Surrealism, Cubism, and Modernism can be found in their work, along with an interest in experimenting with non-traditional materials and methods. American art was in the forefront of international avant-garde for the first time. Stanley Bate was undoubtedly exposed to the varied styles and techniques that were emerging during the formative years of the New York School. Mark Rothko and Robert Motherwell were formulating their versions of color field paintings. Joseph Cornell was experimenting with assemblages, collage and the use of different types of textured paints. Jackson Pollock was adhering objects such as buttons and coins into his early works, while Louise Nevelson was using found objects. Helen Frankenthaler added sand to her early paintings. The New York School artists were undermining traditional fine art by using mixed media and non-traditional methods. Stanley Bate absorbed these varied influences and soon his early realistic landscapes and still-lifes were replaced with something entirely new. The influence of Cubism, notably the flat shallow space of the picture plane, is obvious in many of Bate’s paintings. Surrealism is evident in Bate’s use of subjects from myth, primitive art and antiquity, along with the Automatism-like line work in his more linear images. The unfettered experimentation of the New York School is everywhere in Stanley Bate’s work. We see nods to color field, collage, the mixing of textures into paint, mixed media, the inclusion of found objects and thick, luscious impasto. Bate was prolific and experimented in various media including oil, watercolor, lithography, silk screen, wood cut, drawing, collage, ceramics and sculpture. Bate is considered a true Modernist. His work is largely abstract, but sometimes figures and buildings are discernable. He frequently mixed paint, sand and glue together to achieve a textured surface, and then scraped and scratched through this layer to expose some of the underpainting below. His sculpture, which is often whimsical, also reflects the non-traditional methods of the New York School. Bate pioneered the use of enamel and copper in his work. The sculptures are not carved or modeled as was done in the past, but instead are built using mixed media and new materials. In addition to the New York School influence, many of Bate’s works exhibit a strong connection to the Spanish school, especially the work of Antonio Tapies and Modesto Cuixart. These artists were both part of an avant-garde group known as Art Informel, the Spanish equivalent of Abstract Expressionism. These artists likewise worked in mixed media and introduced objects and texture into their work. Many of Bate’s subjects and titles relate to Spanish locations and words. It is likely that Stanley spent time in Spain and found inspiration there. By the early 1940s, Stanley and Emilie had started spending weekends in a barn they purchased in Craryville, New York, a few hours north of Manhattan. The barn had no electricity or plumbing, but when the Bates eventually decided to leave New York and live full time in Craryville, they remodeled the barn, putting a gallery downstairs and a studio and living quarters upstairs. Although the Bates moved out of New York City, Stanley remained part of the New York art scene, exhibiting in New York and elsewhere throughout the 50s and 60s. During his lifetime he was represented by the New York galleries Knoedler and Company, Kennedy Galleries, Rose Fried Gallery and Key Gallery, along with Tyringham Gallery located in Tyringham, Massachusetts. Craryville was Stanley’s home until his death on August 21, 1972. Emilie died 1984...

Yellow the Colour of the Sun by Rosie Phipps [2022] Yellow the Colour of the Sun is an original watercolour and gouache on paper by Rosie Phipps, sold mounted. Featuring her gestura...

Opper Estate Maroon Abstract c. 1940-1950's Gouache on Paper 15" x 18" Unframed From the estate of Ruth Friedmann Opper & Jerry Opper. Ruth was the daughter of Bauhaus artist, Gustav Friedmann. San Francisco Abstract Expression A free-spirited wave of creative energy swept through the San Francisco art community after World War II. Challenging accepted modes of painting, Abstract Expressionists produced highly experimental works that jolted the public out of its postwar complacency. Abstract Expressionism resulted from a broad collective impulse rather than the inspiration of a small band of New York artists. Documenting the interchanges between the East and West Coasts, she cites areas of mutual influence and shows the impact of San Francisco on the New York School, including artists such as Mark Rothko and Ad Reinhardt. San Francisco's Beat poets...

The Autumn Equinox with its Hunters by Rosie Phipps [2022] The Autumn Equinox with its Hunters is an original watercolour and gouache painting by artist Rosie Phipps, sold mounted. ...

Clarence Holbrook Carter (American, 1904-2000) King Tut No. 2, 1968 Gouache on paper Signed and dated upper right 11.25 x 8.25 inches 25.5 x 20.5 inches A surrealist mid-century fig...

Donald Stacy "Ms.Y" c. 1950s Gouache and oil pastel on paper 14" x 17" unframed Unsigned Came from artist's estate Donald Stacy (1925-2011) New Jersey S...

Antique American modernist landscape oil painting. Oil on canvas, circa 1940. Signed illegibly lower left. Image size, 36L x 24H. Housed in a period modern frame.

Gouache on paper signed en verso Throughout his sixty-year artistic career, David Hayes created sculptural forms abstracted from organic forms encountered in daily life. He first studied with American sculptor David Smith, who was among the first to work with welded steel. Hayes' sculptures have affinities to Alexander Calder's playful stabiles (Hayes met Calder in Paris) and to the shapes and colors of Matisse's late paper cutouts. Hayes works are firmly rooted in modern artists' interests in industrial materials and in commercial fabrication processes. He has had more than 400 exhibitions of his work. His work is in more than 70 museum collections, including MOMA and the Guggenheim. Throughout his career, Hayes painted models for his sculptures and sculptural-like landscapes of the geography surrounding his home in Northwestern Connecticut. In these landscapes, the gently rolling hills become modernist forms and shapes, recognizable as landscapes but also as explorations of shape and color. These are intriguing works of art in and of themselves. Lawrence Fine Art...

Gouache on paper signed en verso Throughout his sixty-year artistic career, David Hayes created sculptural forms abstracted from organic forms encountered in daily life. He first studied with American sculptor David Smith, who was among the first to work with welded steel. Hayes' sculptures have affinities to Alexander Calder's playful stabiles (Hayes met Calder in Paris) and to the shapes and colors of Matisse's late paper cutouts. Hayes works are firmly rooted in modern artists' interests in industrial materials and in commercial fabrication processes. He has had more than 400 exhibitions of his work. His work is in more than 70 museum collections, including MOMA and the Guggenheim. Throughout his career, Hayes painted models for his sculptures and sculptural-like landscapes of the geography surrounding his home in Northwestern Connecticut. In these landscapes, the gently rolling hills become modernist forms and shapes, recognizable as landscapes but also as explorations of shape and color. These are intriguing works of art in and of themselves. Lawrence Fine Art...

Gouache on paper signed en verso Throughout his sixty-year artistic career, David Hayes created sculptural forms abstracted from organic forms encountered in daily life. He first studied with American sculptor David Smith, who was among the first to work with welded steel. Hayes' sculptures have affinities to Alexander Calder's playful stabiles (Hayes met Calder in Paris) and to the shapes and colors of Matisse's late paper cutouts. Hayes works are firmly rooted in modern artists' interests in industrial materials and in commercial fabrication processes. He has had more than 400 exhibitions of his work. His work is in more than 70 museum collections, including MOMA and the Guggenheim. Throughout his career, Hayes painted models for his sculptures and sculptural-like landscapes of the geography surrounding his home in Northwestern Connecticut. In these landscapes, the gently rolling hills become modernist forms and shapes, recognizable as landscapes but also as explorations of shape and color. These are intriguing works of art in and of themselves. Lawrence Fine Art...

Gouache on paper signed en verso Throughout his sixty-year artistic career, David Hayes created sculptural forms abstracted from organic forms encountered in daily life. He first studied with American sculptor David Smith, who was among the first to work with welded steel. Hayes' sculptures have affinities to Alexander Calder's playful stabiles (Hayes met Calder in Paris) and to the shapes and colors of Matisse's late paper cutouts. Hayes works are firmly rooted in modern artists' interests in industrial materials and in commercial fabrication processes. He has had more than 400 exhibitions of his work. His work is in more than 70 museum collections, including MOMA and the Guggenheim. Throughout his career, Hayes painted models for his sculptures and sculptural-like landscapes of the geography surrounding his home in Northwestern Connecticut. In these landscapes, the gently rolling hills become modernist forms and shapes, recognizable as landscapes but also as explorations of shape and color. These are intriguing works of art in and of themselves. Lawrence Fine Art...

Gouache on paper signed en verso Throughout his sixty-year artistic career, David Hayes created sculptural forms abstracted from organic forms encountered in daily life. He first studied with American sculptor David Smith, who was among the first to work with welded steel. Hayes' sculptures have affinities to Alexander Calder's playful stabiles (Hayes met Calder in Paris) and to the shapes and colors of Matisse's late paper cutouts. Hayes works are firmly rooted in modern artists' interests in industrial materials and in commercial fabrication processes. He has had more than 400 exhibitions of his work. His work is in more than 70 museum collections, including MOMA and the Guggenheim. Throughout his career, Hayes painted models for his sculptures and sculptural-like landscapes of the geography surrounding his home in Northwestern Connecticut. In these landscapes, the gently rolling hills become modernist forms and shapes, recognizable as landscapes but also as explorations of shape and color. These are intriguing works of art in and of themselves. Lawrence Fine Art...

A Judaica painting with Hebrew Calligraphy by noted Chicago Modernist. Alexander Raymond Katz (his Hungarian first name, Sandor, was anglicized to A...

"The Vendor of Masques", 1930s modernist painting by Boardman Robinson (1876-1952) of a Mask vendors display with male and female figures (lik...

Arctic Light-Orange Sun Unsigned Gouache on Japanese fibrous paper Series: Tundra Paintings Exhibited: Karl Zerbe, Gouaches of the Artic Nordness Gallery, (Madison Avenue, NY) Feb 3 through Feb 23, 1958 Cat. No. 12 (label with work, see photo...

"Duo of Colorful Seaweed" is an acrylic painting on high-quality watercolor paper of minimal botanical algae, drawn and painted in the style of Henry Matisse...

Gouache on paper, 18 7/8 x 14 3/4 in. Signed (at lower right): Morris; (with monogram, on the back): GLKM [monogram] / 1932 [sic] Executed circa late 1940s A passionate advocate of abstract art during the 1930s and 1940s, George L. K. Morris was active as a painter, sculptor, editor, and critic. An erudite man with an internationalist point of view, Morris eschewed the social, political, and figural concerns that preoccupied so many artists of Depression-era America, believing that painters should focus their attention on the beauty, refinement, and simplicity of pure form instead. His goal, he said, was “to wedge the expression further and further into the confines of the canvas until every shape takes on a spatial meaning” (as quoted in Ward Jackson, “George L. K. Morris: Forty Years of Abstract Art,” Art Journal 32 [Winter 1972–73], p. 150). Born into an affluent family in New York City, Morris was a descendent of General Lewis Morris, a signer of the Declaration of Independence. From 1918 until 1924, he attended the Groton School in Connecticut, studying classics and art. He continued to focus on literature and art while attending Yale University (1924–28), an experience that prepared him well for his future activity as an artist-critic. After graduating in 1928, Morris studied at the Art Students League of New York, working under the realist painters John Sloan and Kenneth Hayes Miller, as well as Jan Matulka, the only modernist on the faculty. In the spring of 1929, Morris traveled to Paris with Albert E. Gallatin, a family friend and fellow painter who introduced him to leading members of the Parisian avant-garde, including Jean Arp, Pablo Picasso, Georges Braque, Jean Hélion, and Piet Mondrian. Morris also took classes at the Académie Moderne, studying under Fernand Léger and Amédée Ozenfant, important exponents of Synthetic Cubism who influenced his aesthetic development. Indeed, after experimenting with the simplified forms of Modernism for a few years, Morris moved on to abstraction by 1934, adopting a hard-edged, geometric approach inspired by Leger’s cubist style and the biomorphic shapes of Arp and Joan Miró. Following his return to New York in 1930, Morris built a white-walled, open-spaced studio (inspired by that of Ozenfant, which had been designed by Le Corbusier) on the grounds of Brockhurst, his parents’ 46-acre estate in Lenox, Massachusetts. In 1935, he married the painter and collagist Estelle “Suzy...

Modern light blue, brown, and black geometric abstract circle pattern painting by textile designer John Little. The work was created as a proposed design for a wallpaper and features the original color codes in the front lower left corner. Currently hung in a solid black frame with a large white margin. Dimensions Without Frame: H 32.75 in. x W 35.63 in. Artist Biography: A painter and textile designer, John Little is best known for gestural works filled with boldly explosive color that reflect the influences of his teacher Hans Hofmann and for his involvement in the Abstract Expressionist movement in East Hampton, where he moved in the late 1940s. In East Hampton Little congregated with Jackson Pollock, Lee Krasner, and the other artists who were the leading innovators in the New York School. John Little was born in Sanford, Alabama. He left home at the age of fourteen to become an artist, and moved to Buffalo, New York, in 1923. After spending a year working as a stevedore on the docks to save money, he enrolled at the Buffalo Fine Arts Academy and developed an interest in singing. In 1927 he moved to New York City where he continued his vocal work and studied operatic literature. He also became involved in textile design, opening his own store in 1920, called John Little Studios: Fabric and Wallpaper Design. He ran the store until 1950. In 1933 John Little resumed his painting studies at the Art Students League in New York under the guidance of George Grosz (1893-1959). The following year he made his first visit to East Hampton, Long Island, which he would eventually call home. Later in the decade, he traveled to Paris where he became familiar with European modernism. On his return to America, he taught textile design at the Pratt Institute in Brooklyn. He hired Josephine Watkins to work for him; she later became his wife. Little's textile store and teaching job gave him a financial security that was rare during the Depression, and he never found it necessary to find employment with the Works Progress Administration. At the end of the decade, John Little studied with Hans Hofmann (1880-1966) in New York and Provincetown. Little was greatly influenced by Hofmann, particularly by his views on color theory. In 1942 John Little joined the Navy as an aerial photographer. In the late 1940s he purchased a rundown house on Three Mile Harbor...

Donald Stacy "Mound Street" c. 1950s Gouache paint on paper 24" x 18'" unframed Unsigned Came from artist's estate For sale is a striking black and white painting titled "Mound Stre...

Donald Stacy "Eve" c.1950s Gouache and oil pastel on paper 14x17" black wood frame 14.75"x17.75" Unsigned, Eve written in paint along right margin Came from artist's estate Donald S...

Donald Stacy "Red Sun" c.1950s Gouache and oil pastel on paper 13.75" x 17" unframed Unsigned Came from artist's estate *Custom framing available for additional charge. Please expect framing time between 3-5 weeks. Donald Stacy (1925-2008) New Jersey Studied: Newark School of Fine Art The Art Students League...

Lily Harmon (1912 - 1998) Woman with Rose Ink and gouache on board 23 x 19 inches Lily Harmon, was an artist who worked in portraiture, assemblage and book illustration, and whose ...

Cubist Portrait by Bernard Labbe (French mid 20th century) original watercolour/ gouache painting on artist paper, unframed size: 17 x 7 inches condition: very good and ready to be e...

Cubist Portrait by Bernard Labbe (French mid 20th century) original watercolour/ gouache painting on artist paper, unframed size: 10.5 x 7.75 inches condition: very good and ready to...