Paper Abstract Paintings

Homage to Klee is an original contemporary artwork realized by Sergio Barletta in 1960. Mixed colored oil on masonite. Includes frame: 78 x 26 cm Hand signed and dated on the high...

Abstract, oil, watercolor, ink & pencil on paper by important Italian artist, Gastone Novelli. Signed & dated lower right "Novelli 68" Provenance: MILAN ART, Via Zara 18, Milano Fra...

Dynamic, expressive rendition of a jazz trio by San Francisco artist Michael William Eggleston (American, 20th century). There are three abstracted figures in this piece - a guitar p...

Abstract Composition is an Original tempera and watercolor on Paper applied on wood realized by Lucian in the 20th century. Hand-signed , also the stamp of Atelier Montmartre.

Aharon Gluska (b. 1951) Pigment and oil paint, mixed media painting on archival paper. Dimensions (H, W, D): 22.5"h, 13"w image; 32"H, 24"w frame Provenance: Siegel Collection, Florida. The Siegels' collection was acquired under the guidance of Lawrence Salander of Salander-O'Reilly Gallery in New York in the late 1980s. Aharon Gluska (born 1951) is an Israeli–American painter. Gluska was born in 1951 in Hadera, Israel. He studied at the Académie des Beaux-Arts in Paris and Avni Institute of Fine Arts in Tel Aviv. Grants Gluska received grants from the National Endowment for the Arts and the Jackson Pollock- Lee Krasner Foundation. Awards Gluska was one of two winners along with Moshe Kupferman, of the 1996 Zussman Prize for artists dealing with the Holocaust, from the Yad Vashem museum, for his paintings of prisoners at Auschwitz based on photographs of them taken by their Nazi guards. Exhibitions: Bertha Urdang Gallery, NY, USA 1983 Aharon Gluska: Painting and Drawings 1985-1986 Bertha Urdang Gallery, NY, USA 1986 Group Exhibitions The Disciplined Spirit, Exit Art, New York, USA Artists: Nahum Tevet, Micha Ullman, Aaron Gluska, Jacob El Hanani, Moshe Kupferman, Gilad Ophir, Joshua Neustein, Bertha Urdang Gallery, NY, USA Artists: Larry Abramson, Yosef Zaritsky, Zelig Segal...

Artist: George Dannatt Title: Cancelled Calendar Collage Reference no: 1079 Date: 1992 Medium: Collage on paper & card Image: 13 7/8 x 8” 35.0 x 20.2 cm Frame: 18 5/8 x 12 ½” 47.4 x...

Mid-century modern abstract acrylic on paper painting by Taos artist Beatrice Mandelman (1912-1998). Features red, yellow and blue in bright hues surrounded with black lines. Image size measures 9 1⁄2 x 12 3⁄4 inches. Framed image size measures 16 1⁄2 x 19 1⁄4 x 1 1⁄4 inches. Includes a letter of authenticity from the artist estate. Expedited and International shipping is available - please contact us for a quote. About the Artist: Born New Jersey, 1912 Died Taos, NM, 1998 The daughter of Austrian and German Jews, Beatrice Mandelman was introduced to abstract art as a young girl. At age twelve, she began her art studies by taking evening classes at the Newark School of Fine and Industrial Art. After college at Rutgers University, she continued her formal training at the Art Student’s League in New York, working with the lithographer George Pickens...

Gorgeous abstracted figurative of Caryatids titled "Ring Three" by Doris Ann Warner (American, 1925-2010). Signed, titled, and dated "Warner 1970" on verso. Displayed in rustic wood ...

mixed media on paper Signed in blue, lower right 18.25 x 25 inches; 27 x 33.375 framed Provenance: Private Collection, Denver, CO

"Shoreline", Modern Coastal Landscape Eucalyptus Trees, Sunset Coastal Landscape Watercolor by Kipp Stewart (American, b. 1928), late 20th century. This vivid scene uses a soft and dreamy polychromatic palette of golden rod yellow, subdued purple, and dark green. Acrylic on natural edge paper. Signed in the lower right, "Stewart". Tag on verso with title ("Shoreline"), artist's name, size, and materials. Presented in a light wood frame, mounted on a white background. Image size: 12.75"H x 17.5"W. Paper size: 23"H x 30"W. Framed size: 30.5"H x 38"W x 1.25"D. Kipp Stewart (American, b. 1928) is an artist, architect, and designer from Pennsylvania. Known to furniture obsessives for the Declaration series he codesigned for North Carolina’s Drexel Furniture, Stewart is most commonly associated with mid-century design movements of his adopted home state of California. There, in 1972, Stewart designed the Ventana Big Sur, a luxury resort near Montecito for which he oversaw architecture, planning, furniture and interior design across 160 acres of land. By the time Stewart spearheaded the Ventana, he was already well versed in furniture design. After briefly serving in the U.S. Navy as a teenager, Stewart enrolled at the Chouinard Art Institute (present-day Cal Arts) in Los Angeles. By the time he graduated, he was steeped in the world of modern seating design, experimenting with new chair models that bridged form and function. Charles and Ray Eames were important influences on his early work, which included a chrome-framed lounge chair whose reclined shape bears a striking resemblance to the Eames iconic lounge. In the late 1950s, Stewart partnered with another West Coast furniture designer, Stewart MacDougall, on a line of modern furniture for Drexel. (The pair were also producing case pieces and more for Glenn of California.) Drexel soon unveiled Stewart and McDougall’s Declaration line, which was constructed entirely of natural walnut and featured the choice of white porcelain or brass drawer pulls and cabinet door handles...

Pink,red,white,yellow, Picasso Dora Maar is the pseudonym of Henrietta Theodora Markovitch (Paris 1907 - 1997). Shrouded in the monumental shadow of Picasso, she has long been - and...

Larry Hood (Native American, 1950-1995). Cactus Landscape, ca. 1975-80. Gouache on Arches rag paper, Sheet measures 23 x 30 inches. Image measures 22...

Larry Hood (Native American, 1950-1995). Birds in Flight, ca. 1975-80. Gouache on Arches rag paper, Sheet measures 23 x 30 inches. Image measures 22 x 29 i...

"A Small City Park", acrylic and watercolor on paper by Denver artist Edward Marecak (1919-1993) of an abstract park broken into four quadrants, separated by brown and white striped borders with different shaped ponds. Inspired by City Park in Denver, Colorado where the artist frequented. Presented framed with all archival materials, outer dimensions measure 21 ¾ x 18 ¾ inches. Image size measures 12 x 15 inches. Painting is clean and in good condition - please contact us for a detailed condition report. Provenance: Estate of Edward Marecak Expedited and international shipping is available - please contact us for a quote. About the Artist: Born to immigrant parents from the Carpathian region in Slovakia, Marecak grew up with his family in the farming community of Bennett’s Corners, now part of the town of Brunswick, near Cleveland, Ohio. When he turned twelve, his family moved to a multi-ethnic neighborhood of Poles, Czechs, Slovaks and Slovenians in Cleveland. His childhood household cherished the customs and Slavic folk tales from the Old Country that later strongly influenced his work as a professional artist. During junior high he painted scenery for puppet shows of "Peter and the Wolf," awakening his interest in art. In his senior year in high school he did Cézanne-inspired watercolors of Ohio barns at seventy-five cents apiece for the National Youth Administration. They earned him a full scholarship to the Cleveland Institute of Art (1938-1942) where he studied with Henry George Keller whose work was included in the 1913 New York Armory Show. In 1940 Marecak also taught at the Museum School of the Cleveland Institute. Before being drafted into the military in 1942, he briefly attended the Cranbrook Academy of Art near Detroit, one of the nation’s leading graduate schools of art, architecture, and design. A center of innovative work in architecture, art and design with an educational approach built on a mentorship model, it has been home to some of the world’s most renowned designers and artists, including Eero Saarinen, Charles Eames, Daniel Libeskind and Harry Bertoia. Marecak’s studies at Cranbrook with painter Zoltan Sepeshy and sculptor Carl Milles were interrupted by U.S. army service in the Aleutian Islands during World War II. Following his military discharge, Marecak studied on the G.I. Bill at the Colorado Springs Fine Arts Center from 1946 to 1950, having previously met its director, Boardman Robinson, conducting a seminar in mural painting at the Cleveland Institute of Art. Although he did not work with Robinson at the Fine Arts Center, who had become quite ill - retiring in 1947 - he studied Robinson’s specialty of mural painting before leaving to briefly attend the Cranbrook Academy in 1947. That same year he returned to the Fine Arts Center, studying painting with Jean Charlot and Mary Chenoweth, and lithography with Lawrence Barrett with whom he produced some 132 images during 1948-49. At the Fine Arts Center he met his future wife, Donna Fortin, whom he married in 1947. Also a Midwesterner, she had taken night art courses at Hull House in Chicago, later studying at the Art Institute of Chicago with the encouragement of artist Edgar Britton. After World War II she studied with him from 1946 to 1949 at the Fine Arts Center. (He had moved to Colorado Springs to treat his tuberculosis.) Ed Marecak also became good friends with Britton, later collaborating with him on the design of large stained glass windows for a local church. In 1950-51 Marecak returned to the Cleveland Institute of Art to complete his Bachelor of Fine Arts degree. A year later he was invited to conduct a summer class at the University of Colorado in Boulder, confirming his interest in the teaching profession. In 1955 he received his teaching certificate from the University of Denver. Vance Kirkland, the head of its art department, helped him get a teaching job with the Denver Public Schools so that he and his family could remain in the Mile High City. For the next twenty-five years he taught art at Skinner, Grove, East, George Washington and Morey Junior High Schools. Prior to coming to Colorado, Marecak did watercolors resembling those of Winslow Homer, John Singer Sargent and Charles Burchfield. However, once in Colorado Springs he decided to destroy much of his earlier ouevre, embarking on a totally new direction unlike anything he had previously done. Initially, in the 1940s he was influenced by surrealist imagery and Paul Klee, and in the West by Indian petroglyphs and Kachinas. His first one-person show at the Garrett Gallery in Colorado Springs in 1949 featured paintings and lithographs rendered in the style of Magic Realism and referential abstraction. The pieces, including an oil Witch with Pink Dish, foreshadowed the output of his entire Colorado-based career, distinguished by a dramatic use of color, intricacy of execution and attention to detail contributing to their visual impact. He once observed, "Each time I start a new painting I always fool myself by saying this time keep it simple and not get entangled with such complex patterns, color and design; but I always find myself getting more involved with richness, color and subject matter." An idiosyncratic artist proficient in oil, acrylic, watercolor, gouache and casein, he did not draw upon Colorado subject matter for his work, unlike many of his fellow painters in the state. Instead he used Midwest landscape imagery, bringing to life in it witches and spirits adapted from the Slovakian folk tales he heard growing up in Ohio. A number of his paintings depict winter witches derived from the Slovak custom in the Tatra Mountains of burning an effigy of the winter witch in the early spring to banish the memory of a hard winter. The folk tale element imparts a dream-like quality to many of his paintings. A devote of Greek mythology, he placed the figures of Circe, Persephone, Sybil, Hera and others in modern settings. The goddess in Persephone Brings a Pumpkin to her Mother, attired as a Midwestern farmer’s daughter, heralds the advent of fall with the pumpkin before departing to spend the winter season in the underworld. Train to Olympus, the meeting place of the gods in ancient Greece, juxtaposes ancient mythology with modernity creating a combination of whimsy and thought-provoking consideration for the viewer. Voyage to Troy #1 alludes to the ancient city that was the site of the Trojan Wars, but has a contemporary, autobiographical component referencing the harbor of the Aleutian Islands recaptured from the Japanese during World War II. In the 1980s Marecak used the goddess Hera in his painting, Hera Contemplates Aspects of the Art Nouveau, to comment on art movements in the latter half of the twentieth century Marecak’s love of classical music and opera, which he shared with his wife and to which he often listened while painting in his Denver basement studio, is reflected in Homage of Offenbach, an abstract work translating the composer’s musical colors into colorful palette. Pace, Pace, Mio Dio, the title of his earliest surrealist painting, is a soprano aria from Verdi’s opera, La Forza del Destino (The Force of Destiny or Fate, a favorite Marecak subject). His Queen of the Night relates to a character from Mozart’s opera, The Magic Flute. In addition to paintings and works on paper, he produced hooked rugs, textiles and ceramics. He likewise produced designs for ceramics, tableware and furniture created by his wife Donna, an accomplished Colorado ceramist. Both of them generally eschewed exhibitions and galleries, preferring to quietly do their work while remaining outside of the mainstream. He initially exhibited at the Colorado Springs Fine Arts Center in 1948 receiving a purchase award. The following year he had his first one-person show of paintings and lithographs at the Garrett Gallery in Colorado Springs. In the 1950s and early 1960s he participated in group exhibitions at the Print Club (Philadelphia); Amarillo Public Library (Texas); annual Blossom Festival Show (Canon City, Colorado); Adele Simpson’s "Art of Living" in New York; Denver Art Museum; and the Fox Rubenstein-Serkey Gallery (Denver); but he did not have another one-person show until 1966 at the Denver home of his friends, John and Gerda Scott. They arranged for his first one-person show outside of Colorado held two years later at the Martin Lowitz Gallery in Beverly Hills and Palm Springs, California. That same year his work was featured at the Zantman Galleries in Carmel, California. Thereafter he became an infrequent exhibitor after the 1970s so that his work was rarely seen outside his basement studio. In 1980 he, his wife and Mark Zamantakis exhibited at Denver’s Jewish Community Center, and four years later he had a one-person show at the Studio Gallery in Denver. In 1992 he was included in a group show at the Rule Modern and Contemporary Gallery in Denver, and a year later received a large, posthumous retrospective at the Emmanuel...

Print engraving, soft ground and scouper on paper; ed. 45/50 24 x 20 inches; 26.25 x 23 inches framed Signed and dated lower center, "SW Hayter 47", titled in pencil lower center Pro...

Subtly colored abstract geometric composition by J. Swidler (20th Century). A grid of 15 squares has been laid out in pencil, each square divided into different sections. Some of the...

Professor George De Goya. PhD. MA. FRSA. Born In Budapest, 1915-1992, related to the Spanish artist Goya on his mother’s side. Educated in Budapest and France where he received a de...

Wonderful abstracted surreal figure of a spirit by Michael Eggleston (American, 20th Century). This piece is bold and lively, with bright colors and rich blacks. This horned spirit i...

Dorothy Hood Untitled II, 1982-1997 Collage on Mat 30 x 20 Following a 1981 trip to Egypt, hood collected printed papers which influenced her collage series for approximately a decade.

Larry Hood (Native American, 1950-1995). Man and Spirit Wolf, ca. 1975-80. Gouache on Arches rag paper, Sheet measures 23 x 30 inches. Image measures 22 x 2...

Allan D'Arcangelo Constellation, 1971 Acrylic on paper, mounted to canvas Hand sgned and dated 1971 lower front Frame included Measurements: Framed: 23.75 x 23.75 x 1.25 inches Artwo...

Bright and dynamic abstract composition by unknown artist "JANE" (20th Century). Swirls of purple, teal, and green dance around each other in an abstract pattern. Small highlights of...

Print color etching on heavy paper Signed, titled, dated on mat 18 x 11 inches; 20.5 x 17 inches framed Provenance: Private collection, Denver, Colorado

David Rankin, American (b. 1946) Rocky Hillside, (1990) Oil on paper Hand signed lower right, signed and titled verso. 30 x 22 1/2 inches David Rankin is a New York-based, British-born Australian post-war and contemporary artist known for his expressionistic abstract paintings. His work can be categorized by his use of quick, loose brushstrokes, reminiscent of scribbles on a page. Rankin works predominantly in oil painting and acrylic on canvas, but also works with paper, prints, sculptures and ceramics. Rankin has held over 100 one-person exhibitions in cities across the world, including New York, London, Paris, Beijing, Mexico, Vienna, Berlin and Cologne, as well as all over Australia. Represented in many of the world’s leading public and private collections and museums, David Rankin’s work is featured in Australia’s leading institutions, including the National Gallery of Australia, Art Gallery of New South Wales, National Gallery of Victoria and Queensland Art Gallery. David Rankin was born in Plymouth, Devon, England in 1946 then emigrated to Australia with his family in 1948. He spent his childhood in the 1950s in the semi-rural Port Hacking region South of Sydney and his teenage years in country New South Wales, from Hay, Wagga Wagga and Albury in the South to Bourke and Brewarrina in the North. Rankin is self-taught, developing his techniques and ideas in the outback towns of his youth. He was inspired by the greats from Leonardo da Vinci to Paul Klee as well as being influenced by the history of Buddhism and Asian art. In his travels before he arrived in Sydney in 1967 he developed a concept of what he wanted to achieve as an Australian artist. His dream was to express the anima, the life spirit or the essence of God in all nature. As an Australian artist he believed could bring the elements of Western Art together with an understanding and love for the cultures of Asia and the Australian Aborigine. He also felt that as Australia was closer to Asia than Europe it made sense to think about the art of Indian, Chinese and Japanese artists, and that one could not be an authentic articulate Australian artist without a love and respect for the artistic and spiritual expressions of the various Aboriginal artists, peoples and cultures. His work combined elements of Abstract Expressionist painting with Jewish and Aboriginal influences. In 1979 his first wife, Jennifer Mary Roberts (née Haynes) died. Rankin subsequently met his current wife Lily Brett, whose own life was etched by tragedy with her parents being survivors of the Holocaust. She too migrated to Australia as a child after the Second World War in 1948. The artist recounts that his empathy for Lily and the pity for his first wife's death fused into what he calls "the dark blessing of my life." The darkness was transformed into images. The author Dore Ashton writes that the events of 1979 and the fire which ravished his studio in 1997 and burnt his art works and many personal possessions, had a profound impact on his work. Having personal life experiences as his subject matter, Rankin's paintings contemplate these things. For example, his Jerusalem series followed a trip to Jerusalem in 1988, which then led to his Golgotha works. His travels to the Australian, American and Mexican deserts became the subject matter for many of his canvases, such as Ridge – Mungo, Golden Prophecy – San Antonio, Grey Sonora Landscape and then led to his Witness Series. From the fire in his studio he then painted Buddha and Flames. He illustrated two books by Lily Brett on the holocaust and explored the theme further in his huge work The Drowned and The Saved from a book by Primo Levi of the same name. Through Brett he encountered Jewish mythology and painted judaica imagery, Black...

Signed, lower right, 'E.R. Larrain' for Emilio Rodríguez Larraín (Peruvian, 1928-2015), and inscribed 'Roma, Nov 1963, Enero 1964'. (Rome, Nov 1963-January 1964). Verso titled, "L'Homme C'est Sujet à Errer" (Man Tends to Wander), and bearing the artist's self-portrait in india ink and wash. Exhibited: XXXII Venice Biennale, 1964. (original exhibition label verso) Previously with Staempfli Galleries, New York. This painting is registered in the Archives of American Art as 'Staempfli Gallery, inventory #775'. A monumental and historically distinguished work by this groundbreaking Peruvian Modernist who drew inspiration from Peruvian indigenous and pre-colonial culture. The paintings of Emilio Rodríguez Larraín are held in the permanent collections of museums worldwide including the Musée de la Ville de Paris, Peru's Museo de Arte de Lima and the Museum of Modern Art in New York. This painting was selected by the Peruvian Government for exhibition at the XXXII Venice Biennale in 1964 and is the largest single recorded work by the artist. Emilio Rodríguez Larraín received his Bachelors of Architecture in 1949 from Peru's Universidad Nacional de Ingeniería and held his first solo exhibition in Lima after visiting Europe in 1950. In 1951, he returned to Europe in the company of the artists Alfredo Ruiz Rosas and Joaquín Roca Rey...

Boats. Paper/pastel. 9,5x13,5 cm. Georgs Barkans (1925-2010) Textile artist, architect, artist Professional education: University of Latvia, Faculty of Architecture (1945-1952) Art ...

'Nude Woman at Home', oil on fine paper (1969), by Raymond Debiève. In a clear nod to Picasso's influence both stylistically and in terms of subject matter (Picasso painted many work...

Collage, mixed technique Work on paper Dark brown wood frame with bronze patina borders

Colorful abstracted portrait by Michael William Eggleston (American, 20th Century). Bold colors and dripping paint create an expressive, dynamic composition. The figure is primarily ...

Unique and stunning collotype triptych (3 panels) abstract composition of fabric and red ribbons draped over rods by Patricia A. Pearce (American, b. 1948). Unsigned. Purchased as pa...

This depicts civil rights icon MLK, the Statue of Liberty, Iwo Jima, an assemblage of mixed media photographic images and painted collaged elements. A powerful, moving work, an ode to the black civil rights movement. John M. Mitchell is originally from North Carolina, and as an art student at North Carolina Central University, he was involved with the Civil Rights movement including participating and getting arrested at a sit-in protest in Durham in 1963. After graduating, he was one of the first art teachers to take a position at the newly integrated schools in his home state. Mitchell continued his education in the 1990s and earned an MFA in painting from the Savannah College of Art and Design in 1993. He later served as a professor there from 1998-2006. Of his inspiration to create, Mitchell says: "A lot of my work is based on my experiences during the Civil Rights movement," he says. "I see art making as a 'record' of experiences. My bittersweet past, growing up in the segregated South, inspires the content, focus and narrative of my work." Savannah-based artist John Mitchell believes that a home is more than a simple edifice. Rather, he argues that the sociological, psychological, architectural, and historical associations embedded in the structure “tell us about our culture, our lives. It tells us about where we come from.” Mitchell's signature shotgun house constructions, crafted from found materials and scraps of newspaper headlines, reference his childhood in North Carolina, where such modest architectural structures were once commonplace. In "ALA 1963," he uses the shotgun shape to create a heartfelt memorial to a group of African-American girls killed in a racially motivated church bombing in Alabama nearly 50 years ago. He also incorporates the shotgun symbol in "Victims," a powerful reflection upon crime in Savannah in the early 1990s, which reveals how little has changed over the past two decades. Mitchell's mixed media constructions operate, in many ways, like memory itself. Scraps, fragments and pieces loosely cohere around a central idea, making symbolic and metaphorical connections. In these richly narrative and boldly stream-of-conscious assemblages, the whole truly is greater than the sum of its parts. Mitchell's jazz collages - carefully crafted from scraps of newspaper, sheet music, magazines and tissue paper - celebrate key players in Savannah's jazz scene, from sultry female vocalists to wiry male saxophone players. A tribute to the late jazz bassist Ben Tucker, a true Savannah legend, is especially moving, incorporating a pencil sketch of the standing bass player as well as newspaper clippings of other Savannah jazz musicians. Mitchell grew up in a shotgun house in North Carolina, a style of vernacular architecture that is particularly prevalent in the South. Mitchell fills his sculptural homes with objects of metaphorical and symbolic, iconic, importance. In Home Sweet Home he includes the American flag, a photograph of Martin Luther King Jr. and Malcolm X, and a china plate depicting The Last Supper, among other items that convey a personal and historical narrative. He notes that making art acts “as a ‘record’ of experiences. My bittersweet past, growing up in the segregated South, inspires the content, focus, and narrative of my work.” While this contains elements reminiscent of folk art and outsider art this is a quite sophisticated tour de force. He was included in the show Complex Uncertainties, Telfair Museum: Modern and contemporary art comprise painting, prints, drawing, photograph, sculpture, and works in new media, representing American artistic achievement from 1945 to the present day. The exhibition includes works by artists such as Bruce Davidson, Elaine de Kooning, Carrie Mae Weems, Sam Gilliam, Ethel Schwabacher, Radcliffe Bailey...

Abstracted landscape by an unknown artist (20th Century). The landscape is made up of patches of color, reminiscent of viewing agricultural land f...

Colorful abstract composition by Michael William Eggleston (American, 20th Century). Bold colors and shapes interlock to form a high-contrast composition. Sections of orange, yellow,...

Larry Hood (Native American, 1950-1995). Hawk, ca. 1975-80. Gouache on Arches rag paper, Sheet measures 23 x 30 inches. Image measures 22 x 29 inches. Sign...

Larry Hood (Native American, 1950-1995). Turtle, ca. 1975-80. Gouache on Arches rag paper, Sheet measures 23 x 30 inches. Image measures 22 x 29 inches. Signed lower left. Excellent...

A unique abstract expressionist pastel drawing by an unknown artist. Depicting a mans face as the focal point with what appears to be chu...

Bright and dynamic abstract by William Aldridge (20th Century). Layers of acrylic paint have been applied to a smooth surface, creating a transparent ...

Signed lower right: "Kupferman". Inscribed lower right: "1204". Titled, signed, dated, and inscribed verso: "EG: 1,204.J / "September Landscape, 1967" / Lawrence Kupferman". From the...

Dorothy Hood Untitled, 1982-1997 Collage on Mat 30 x 20 Following a 1981 trip to Egypt, hood collected printed papers which influenced her collage series for approximately a decade.

Lyrical abstract expressionist gouache on paper by French artist Michel Loiseau. Signed bottom right. Michel Loiseau-Rizzo, born in 1937 is an illust...

Pictographic scene by Charles Stewart (American, 1922-2011). There are several figures in the center of the piece, one of which has raised hands, as if to praise the sun above them. Surrounding the figures are symbols reminiscent of Neolithic art - spirals, handprints, and animal symbols. Signed "C. Stewart , T. S (for Taos Society of Artists)." in the lower left corner. Presented in a wood frame with vinyl faux-lizard skin wrapping, and a linen mat. Image size: 16.5"H x 21"W Charles C. Stewart (1922-2011) was born in Toledo, Ohio. From an early age he had a natural talent for the arts, so much so that during his school years, his teachers encouraged him to take classes at the Toledo Museum. He studied there for eight years. During World War II, he served with the tank destroyers in five campaigns. When he returned from the war, he studied art and sculpture at the Art Student's League in New York. He then went to Mexico for eight months to study and paint. While in Mexico, he fell in love with the country, its people and arts, vowing one day to return and live. In 1947, Stewart moved to Taos, New Mexico to start his career. He opened a frame shop and small studio and studied at the Taos Valley Art School under Louis Ribak. In 1949, he opened his own gallery. He taught art and sculpture at the Taos Art Association and at Philbrook Art Center in Tulsa, Oklahoma, as well as teaching private students. He built three homes in Taos, the last of which is known as the "Stewart House." The "Stewart House" was written up in the New Mexico Magazine in an article entitled "The House That Chuck Built" by Tricia Hurst In late 1984, Stewart and his wife, Mary Lou, were exploring the Baja in Mexico and ended up at "Land's End," a small fishing village on the Sea of Cortez called Cabo San Lucas...

Larry Hood (Native American, 1950-1995). Maiden and Spirit Wolf, ca. 1975-80. Gouache on Arches rag paper, Sheet measures 23 x 30 inches. Image measures 22 ...

Clifford Fishwick (1923-1997) British. Abstract Composition' circa 1974. paper media 38cm x 58cm and original period glazed frame, 51cm x 64cm. Signe...

Signed lower right: "Kupferman". Inscribed lower right: "2317". Titled, signed, dated, and inscribed verso: "GK:2,317.D / "Pacific Tide Pool" / Lawrence Kupf...

Winter Palace is an abstract acrylic and watercolor on paper painting by Edward Marecak (1919-1993) with pastel pinks, blues and greens. Presented in a new custom frame, outer dimensions measure 19 ¾ x 23 x 1 inches. Image size is 11 ⅝ x 14 ⅝ inches. Painting is clean and in very good vintage condition - please contact us for a detailed condition report. Provenance: Estate of Edward Marecak Expedited and international shipping is available - please contact us for a quote. About the Artist: Born to immigrant parents from the Carpathian region in Slovakia, Marecak grew up with his family in the farming community of Bennett’s Corners, now part of the town of Brunswick, near Cleveland, Ohio. When he turned twelve, his family moved to a multi-ethnic neighborhood of Poles, Czechs, Slovaks and Slovenians in Cleveland. His childhood household cherished the customs and Slavic folk tales from the Old Country that later strongly influenced his work as a professional artist. During junior high he painted scenery for puppet shows of "Peter and the Wolf...

Bright and dynamic abstract by San Francisco abstract expressionist William Aldridge (20th Century). Layers of acrylic paint have been applied to a sm...

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...

Crayon and acrylic paint mixed media painting by Denver artist Edward Marecak (1919-1993). Abstract geometric painting done in rich colors of dark purple, blue, and black. Presented ...

Beautiful abstract painting by American artist, James Floyd Clymer (1893-1982). Mallorca, ca.1930. Watercolor and pencil on paper measures 15.5 x 20.5 inches. Signed lower margin. ...

Nicolás Guzmán shows us a selection of pieces from his new pictorial research. Traditional techniques are mixed with industrial materials such as synthe...

Larry Hood (Native American, 1950-1995). Parrot, ca. 1975-80. Gouache on Arches rag paper, Sheet measures 23 x 30 inches. Image measures 22 x 29 inches. Si...

Nicolás Guzmán shows us a selection of pieces from his new pictorial research. Traditional techniques are mixed with industrial materials such as synthe...

Simonpietri's abstract work on paper glued to canvas. Pascal SIMONPIETRI is a painter from Corse Island, France. He is a figure very discreet of the Figurativisme Libre Mouvent durin...

Signed in graphite, lower right, 'Inman' for Robert Inman (American, 1927–2016) and painted circa 1985. Robert Inman first studied at Occidental College ...

Nicolás Guzmán shows us a selection of pieces taken from his new pictorial research, in which traditional techniques are mixed with industrial materials such as synthetic pigments an...

Martin Rosenthal "Flowers Blooming" 1962 Encaustic & Oil paint on paper 19"x14" framed walnut gallery frame ivory linen mat float mount 23.25” x 18.25” Signed and dated in ink lower ...

Original textured painting by Aubrey Penny. Signed and Dated 62 Aubrey Penny (American 1917-2000) was an innovative California abstract artist who worked...

Abstract expressionist watercolor painting of blue, black, orange, and green signed by Charles Ragland Bunnell (1897-1968). Presented in a custom frame with all archival materials an...