Watercolor Abstract Paintings

Sergio Valenzuela “Valenz” is a contemporary Guatemalan artist who tells stories with everyday objects, primarily expressing them with graphite and acrylic on canvas. His artworks pr...

Meredith Walker's "Floral Study II" is a charming piece of contemporary folk art that showcases a minimalistic botanical composition. This original acrylic and gouache painting on ca...

Meredith Walker's "Floral Study I" is a stunning example of contemporary botanical art that blends modern minimalism with folk art sensibilities. This original painting, created with...

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...

Sergio Valenzuela “Valenz” is a contemporary Guatemalan artist who tells stories with everyday objects, primarily expressing them with graphite and acrylic on canvas. His artworks pr...

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 and reminds us of its natural beauty and the importance of its preservation. Details: Title: Marina N31 Medium: Acrylic on Paper Size: 106 x 70 cm ( 41.7 x 28 inches) Year: 2024 * Frame is for illustrative purposes only. Artwork shipped carefully rolled and packaged in a tube. * Certificate of Authenticity provided. Enric Servera (Ciutadella de Menorca, 1970) lives and works between Barcelona and Menorca, Spain. His works explores the colors and forms of the ocean, inspired by the fauna and flora of the Mediterranean Sea. His work has shown in galleries across Spain, and is part of several public and private collections. Words that may describe this series of artworks are: Mediterranean-inspired art, abstract sea...

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 sal...

Delicate strokes and natural hues shape Shiri Phillips' watercolor, ink, and colored pencil artworks, showcasing her exploration of minimalism and organic forms. Departing from her u...

This semi-abstract floral painting, titled "Sweet Summer Roses," captures the delicate beauty of pink roses and was inspired by the summer floral landscapes of Provence, South of Fra...

Original Mid-Century oil on canvas composition by American Artist Edith E. Ferullo (1928 - 2008). The painting features a thick textured abstract nude subject. The brutalist artwork ...

Yuri Larin (1936-2014). Landscape, 1984. Watercolor on paper, 17 x 18 inches. Unframed and unmounted. Signed and dated lower left. Excellent condition. Image is painted on verso side of block print wallpaper sheet of Russian manufacture. Estate of Giovanni and Dagmar Migliuolo, NYC. Giovanni Migliuolo is the former Italian Ambassador to the United Nations, USSR and Egypt. Yuri Larin, also Yuriy Larin (1936–2014) is a Russian painter and graphic artist, a member of the Union of Artists of the USSR since 1977. Larin was born in Moscow to the family of a key Soviet political leader, Nikolay Bukharin, and Anna Larina. Following the arrests of his parents in 1938 and until 1946, he lived with his relatives, and following the arrest of his step-father, he was taken to an orphanage near Stalingrad. A hydraulic engineer by training, he worked at the construction of the Saratov Hydro-Electric Plant and at design institutions. In 1960, he began his studies at the department of drawing and painting of the Krupskaya People’s University of Arts, and then, from 1965 until 1970, he studied at the department of art design at the Moscow State Higher School of Arts and Industry (the former Stroganov Institution). His career as a professional artist began in the early 1970s. From 1970 until 1986, he taught at the Moscow 1905 Memorial Arts School. His letter to prof. Vittorio Strada sent in 1980 contained the first statement of his artistic method he would later dub the “concept of the limit state”. He quit teaching after a serious illness, when he lost the ability to use his right hand. He only worked with his left hand since 1986. He died and was buried in Moscow. Exhibitions: 1981 The sixth All-Union watercolor exhibition. Moscow 1982 Personal exhibition in Moscow Drama Theater after M.N.Ermolova (together with Ye.Kravchenko). Moscow. 1985 The eighth All-Union watercolor exhibition. Moscow 1987 The ninth All-Union watercolor exhibition. Moscow. 1989 Personal watercolor exhibition. Gallery “Books&Company Art”, NY, USA Personal exhibition. The Central House of the Artist on Krymskiy Val, Moscow. 13 Biennale of the countries of the Baltic Region in Rostock, Germany. 1992 Personal exhibition of Russian and German landscapes. Duren, Germany. The exhibition of the Russian graphics. Gallery «Raissa». Erfurt, Germany. 1993 Personal exhibition in exhibition hall of magazine “Nashe Nasledie” (Russian Cultural Foundation), Moscow 1994 Personal watercolor exhibition. Gallery “The Art of the XX century”. Bonn, Germany 1996 Personal exhibition of portraits and landscapes. World Bank Moscow Office 1997 Personal exhibition “From Italian cycle”. The State Institute of Art Studies. Moscow Exhibition “THe Russian Art of the second half of the XX century. Harmony of Contrasts”. The Academy of Arts of the Russian Federation. Moscow. 1998 Personal exhibition “The seasons of Yuriy Larin. From the Russian cycle”. Moscow State Museum of Vadim Sidur...

Paul Pagk Untitled Geometric Abstraction, 1989 Gouache and watercolor on paper Signed, dated and inscribed "A Jacqueline". Frame included Excellent unique work on paper by contempora...

James Floyd Clymer (1893-1982), ca.1930. Watercolor and pencil on paper measures 14 x 20 inches. Signed lower margin. James Floyd Clymer ( 1893-1982 ) known for his Regionalist st...

Abstract Geometric Composition Date: Second half of the 20th century Medium: Gouache on paper Dimensions: H 50 cm x W 65 cm approx. Description: Modular geometric structure with ove...

Vibrant abstract gouache with purple, blues, oranges, and green colors by British artist Stephen Priestner, 2008. Displayed on a white mat with a gold border and fits a standard-size...

A fluid wash of bubblegum pink fills the surface of this painting. Ricard has written in bright yellow, blue, and vivid silver the following: So how do you be friends w/a whore? Business being business/Ethically, a ho can’t rat on its tricks; so if the ho is hohoing yr husband Damned if you’ll ever find out. March 26. Whore sharply contrasts the beauty of silver, yellow, and pink with Rene’s pithy, obscene pronouncement. The pink ground is applied in a sheer wash, like Male Cinderella’s background, and the artist’s cursive shimmers in the same silver as One Shoe One You / True Love, Size 3?, and This is not a thanksgiving pumpkin. While Whore shares enticing formal qualities with other works in this group, the text snaps us to cold reality, down into the gutter with a bump. Ricard is happy to visit a fairy tale, but doesn’t stays in the fantasy for long. There’s an intimacy to this work’s smaller scale which compels the viewer to lean in and decode Ricard’s poetry. The artist’s outsized signature is with initials in dark blue, which pop out against that beautiful saturated pink. Canvas floater frame, in maple with .25 inch moulding. Whore is part of a group of works dating from 1989-1990 as Rene Ricard prepared for Mal de Fin at the Petersburg Gallery, New York, in 1990, his very first one-man exhibition. Born Albert Napoleon Ricard, he moved to New York in the 1960s at the age of 18. With that relocation, Albert died, and Rene was born. Instantly adopted into Andy Warhol’s glittering orbit, Ricard thrived in the city, with its heady concentration of art, culture, and debauchery. In New York Ricard found the milieu where he would shine. He acted in underground films, playing Warhol in the artist’s own Andy Warhol Story. He became a renowned poet and writer, published in the Paris Review and Artforum. In typically wry fashion he explained how he became a painter: “I began adding images [to my poetry] because I’ve always liked to draw and paint. And it was hard to find junk-store paintings of the right quality, things that could support some writing, so I just started making the images myself. Unfortunately, people really like that, even though I far prefer just the writing.” Ricard drew on his vast knowledge of literature and art history, weaving these references together with bursts of autobiographical poetry: what the New York Times termed his “seething verbal finesse.” Ricard, having spent years in the Factory’s milieu, learned from Warhol’s creative strategies. Warhol created images quickly with screen printing, with no regard for perfection. Duplication was the method and the ideology. Ricard, too, worked quickly: urgency was part of his visual language of looped cursive and scribbled colors. He often borrowed a lithographic plate or silkscreen from already-completed works, printing the matrix on canvas or paper to create backgrounds for new works (Size 3’s red printed background may be an example of this). He appropriated thrifted paintings and discarded items such as a pinboard or a piece of insulation, so long as the object in question had a flat surface upon which to work. The two artists were both outsiders to the art world in a sense—Warhol coming from the world of design and Ricard, a bona fide author, but both intuitively understanding how to compel the viewer. As Warhol anthologized consumerism, Ricard catalogued desire. For example, Size 3 and One Shoe One You feature Ricard’s take on Warhol’s famous shoe drawings...

Meredith Walker's “All Living Things” is a stunning example of contemporary folk art that blends botanical motifs and symbolic imagery to evoke a sense of interconnectedness and harm...

James Floyd Clymer (1893-1982), ca.1930. Watercolor and pencil on paper measures 15 x 20 inches. Signed lower margin. James Floyd Clymer ( 1893-1982 ) known for his Regionalist st...

Beautiful 1945 painting by American artist, Eve Peri. Watercolor on tissue paper, image measures 18 x 14 inches; 20.5 x 24.5 inches matted behind scratched plexiglass. Artwork and ma...

Murray Hantman (1904-1999). Composition, 1951. Watercolor on paper, 14 x 21 inches. Unframed. Signed lower left. Signed, dated and titled en verso. Provenance: estate of Murray Hantman. Biography: Shaped by his life experiences and a commitment to the practice of making art, the work of Murray Hantman represents a career of personal exploration and aesthetic refinement that took him from New York, to Los Angeles, back to New York and eventually to the serene, yet dramatic, coast of Maine where he worked as part of the artists’ colony on Monhegan Island. Born in Pennsylvania in 1904, Hantman’s family moved many times to follow his father’s business opportunities, eventually settling in New York. A childhood of economic instability and dislocation formed Hantman’s early years, making him independent and self-reliant from a very early age. Hantman’s father owned movie theatres and photography studios and, recognizing his son’s artistic ability, employed him to print and hand-color photographs as a child. When he was eleven and living in Michigan, a public school teacher arranged for Hantman to receive a scholarship to the Detroit Museum of Art School where after a year he was awarded another scholarship to study at the Detroit School of Design. He studied in Detroit for a year until his family abruptly moved to Alabama, interrupting his artistic and academic studies until the family moved to New York at the end of the first World War. As a young man, Hantman supported himself by working many different jobs in New York and New Jersey. Steady work with his brother at the Hartford and New Haven Railroad...

Charmion von Wiegand Intersecting Magic Square, ca. 1963 Gouache on paperboard Signed and titled on the back of the artwork. The signature shown on the frame back is a photo of the actual signature on the artwork itself. Frame Included: elegantly floated and framed in hand made white wood museum frame with UV plexiglass This work is signed and titled on the back of the artwork itself. The signature shown on the back of the frame is a photo of the actual signature, since the actual pencil signature and title is on the artwork itself, which can't be seen within the frame Measurements: Frame: 21 x 17 x 1.5 inches Artwork: 18 x 14.25 inches The Estate of the celebrated artist Charmion Von Wiegand has been represented exclusively by Michael Rosenfeld...

Delicate strokes and natural hues shape Shiri Phillips' watercolor, ink, and colored pencil artworks, showcasing her exploration of minimalism and organic forms. Departing from her u...

Margaret Layton. Wellfleet #3, ca. 1950. Watercolor on paper, image measures 5.5 x 16.5 inches in a frame measuring 13 x 24.5 inches. Signed lower left. Beautiful abstract study of...

"Abstract Composition" by Roger Herson (French 1922-2008) signed gouache and crayon on paper, unframed painting: 20 x 14 inches Superb original abstract painting by the very well listed French abstract and surrealist artist, Roger Herson (1922-2008). The painting is signed and has excellent provenance, having come from the artists estate in northern France. Roger Herson (1922-2008) was a French abstract, cubist and surrealist painter from Rouen, France. Influenced by Picasso, Braque and Léger, he infuses the canvas with a frenzied and tonic movement, a rigorous construction and a personal graphic power. Painter of woman, desire and fantasies, Herson draws his inspiration from the verve and surrealist movement inspired by Georgio de Chirico...

Joan Miro. Original single piece mixed technique painting Joan Miro Ferra 1893-1983 Original Study for “EL GOLAFRE ".NOT SIGNED 1979 Unique. Gouache, lithotint and crayon on paper ...

Interior design paintings. The artwork was done with watercolor on watercolor paper 300g. The works are 15 by 11 inches in size, framed (black) with a styrene face on a mat board in ...

Sam Maitin (1928-2004). Seated Figure, ca. 1970. Charcoal, gouache and decorative paper collage. Measuring 15.5 x 20.5 inches; 22.75 x 27.75 inches framed. Signed lower left. Excellent condition. Period frame original to the piece in mahogany with natural wood grain on sides and 22k gold leaf gilt face. After graduating from Simon Gratz High School, Maitin won a scholarship to the Pennsylvania Museum School of Industrial Art (now the University of the Arts). A painter, printmaker, sculptor, muralist, graphic designer, political activist, and beloved teacher, Maitin headed the Visual Graphics Communication Laboratory at the University of Pennsylvania’s Annenberg School for Communication from 1965–1972 and served on the board of Woodmere Art Museum from 1995–2004. He received a number of awards, including a 1968 Guggenheim Foundation Fellowship. He created murals and other public art for the Children’s Hospital of Philadelphia, the University of Pennsylvania, Temple University’s Kornberg School of Dentistry, the Please Touch Museum, and Hahnemann University Hospital, among others. Maitin's work is museum collections in the United States and Europe, including (but not limited to): Philadelphia Museum of Art Library of Congress, Washington, D.C. National Gallery of Art, Washington, D.C. Museum of Modern Art, New York Tate Gallery, London Bauersche Geisserie, Germany Oakland Museum, California Pennsylvania Academy of the Fine Arts The Currier Gallery of Art...

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...

George Dannatt (1915-2009) Havannah Lake No 1 1966 Gouache on paper Image: 24.2 x 34.3 cm Frame: 41.9 x 52.0 cm Exhibitions 1970 Sep. Penwith Gallery, St Ives. 1975 Newlyn ...

"In A Mood" 2023, 72" H x 96" W. Large scale abstract painting consisting of acrylic, pencils, and oil pastels on canvas by Argentine-born artist Karina Gentinetta (featured in Elle ...

Signed lower right, 'K. Sanzenbach' for Keith Sanzenbach (American, 1931-1964) and dated 1956. Additionally signed, verso, and with the artist's Lagunitas, California address. The ...

Douglas M. Olsen (b. 1960). #135, 1982. Watercolor on rag paper, 22 x 30 inches. Signed lower margin and on verso.

In this contemporary abstract painting in gouache and acrylic on paper, clean and precise, carefully ordered thick horizontal stripes in shades of peach, light blue, dark navy, and a...

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

David Ambrose’s fascination with paper began as a child as when convalescing from major surgery on his right leg at the age of seven. Paper became the playground for his imagination ...

Neige (Abstract painting) Collage, Gouache, acrylic and oil pastel on Arches paper — Unframed Marie de Lignerolles is an artist, designer, illust...

Abstract, large scale red, orange, crimson, black, and pink scene with lines, shapes and hand painted brushstroke texture. This dramatic Howard Hodgkin work is ideal for display in m...

Sam Maitin (1928-2004). Seated Figure, ca. 1970. Charcoal, gouache and decorative paper collage. Measuring 15.5 x 20.5 inches; 22.75 x 27.75 inches framed. Signed lower left. Excellent condition. Period frame original to the piece in mahogany with natural wood grain on sides and 22k gold leaf gilt face. After graduating from Simon Gratz High School, Maitin won a scholarship to the Pennsylvania Museum School of Industrial Art (now the University of the Arts). A painter, printmaker, sculptor, muralist, graphic designer, political activist, and beloved teacher, Maitin headed the Visual Graphics Communication Laboratory at the University of Pennsylvania’s Annenberg School for Communication from 1965–1972 and served on the board of Woodmere Art Museum from 1995–2004. He received a number of awards, including a 1968 Guggenheim Foundation Fellowship. He created murals and other public art for the Children’s Hospital of Philadelphia, the University of Pennsylvania, Temple University’s Kornberg School of Dentistry, the Please Touch Museum, and Hahnemann University Hospital, among others. Maitin's work is museum collections in the United States and Europe, including (but not limited to): Philadelphia Museum of Art Library of Congress, Washington, D.C. National Gallery of Art, Washington, D.C. Museum of Modern Art, New York Tate Gallery, London Bauersche Geisserie, Germany Oakland Museum, California Pennsylvania Academy of the Fine Arts The Currier Gallery of Art...

Gloria Dudfield Mexican Fruit Bowl 1960s Oil Pastel and Gouache on Paper 36"x32" unframed $1600 *Custom framing available for additional charge. Please...

Urban abstract expressionism artist Tommy Lennartsson draws on the visual culture of street and pop art when creating his original vibrant mixed-medi...

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...

Charmion von Wiegand Pillar of Zen #124, 1959 Gouache on paper painting Hand signed, titled and dated on the front Unique Provenance: Andre Zarre Gallery, with label verso (Estate of renowned gallerist Andre Zarre, ne Andre Sowulewski) Measurements: Framed 26.5 inches vertical by 25.5 horizontal by 2 inches Artwork: 21 inches vertical by 22 inches horizontal Mid century modern, geometric, spiritual abstraction, mystical The Estate of the celebrated artist Charmion Von Wiegand has been represented exclusively by Michael Rosenfeld Gallery since 1998. From March 3 to August 13, 2023, Charmion Von Wiegand was the subject of an acclaimed retrospective at the Kunstmuseum Basel, and she has received major attention in the price, including a June, 2023 ArtNews feature entitled, "Who Was Charmion von Wiegand and Why Is She Important?". Her work was also featured in a solo presentation by Rosenfeld Gallery at the New York Art Show held at the Park Avenue Armory, which also received critical acclaim. Artists Biography - courtesy of Michael Rosenfeld Gallery: Known for her vibrant, geometric paintings that originate a deeply personal language of spiritual enlightenment expressed through a constructivist mode of abstraction, Charmion von Wiegand (1896–1983) was born in Chicago but spent much of her childhood traveling. The daughter of a journalist for Hearst, von Wiegand eventually settled in New York in 1915 to attend Barnard College and Columbia University, where she took classes at the School of Journalism while nurturing a growing interest in art history. In 1925, von Wiegand realized that she wanted to be an artist and set up a studio in Greenwich Village, teaching herself how to paint while pursuing a career as a journalist. In 1929, she secured a position in Moscow as a foreign correspondent for Hearst, the only woman at the desk at the time. In 1932, von Wiegand returned to New York and married Russian émigré Joseph Freeman, who co-founded and edited the leftist journal New Masses. Von Wiegand began writing art criticism for New Masses as well as for other publications, including New Theatre, ARTnews, and Arts Magazine. When the Abstract American Artists (AAA) held their inaugural exhibition, von Wiegand reviewed it. An early champion of abstract art, von Wiegand became close friends with AAA founder Carl Holty. In 1941, Holty introduced von Wiegand to Piet Mondrian, who would have a profound impact on her art. Fascinated by Mondrian’s artistic philosophy, von Wiegand played a key role in the introduction of his work to American audiences, translating many of the Dutch artist’s writings into English and assisting in the composition of his influential article “Toward the True Vision of Reality” (1941). Through her friendship with Mondrian, von Wiegand re-kindled her interest in Theosophy (a religion established in the late 19th century that combines aspects of Hinduism, Buddhism, occultism, and esotericism) and embarked on an extended study of neoplasticism. In her artwork, she incorporated Mondrian’s iconic grid but rejected the constraints of pure neoplasticism and embraced a wide range of influences including surrealism and German expressionism. In 1942, von Wiegand became a member of the AAA, exhibiting regularly with the group and eventually serving as its president from 1951 to 1953. In the late 1940s, sculptor and fellow AAA member Ibram Lassaw gave her a translation of The Secret of the Golden Flower: A Chinese Book of Life, which inspired von Wiegand to immerse herself in a study of Buddhist art. She began incorporating Buddhist motifs such as stupas and mandalas into her paintings, and her spiritual practice steadily intensified throughout the 1950s. In 1953, her husband gifted her a copy of the Taoist I Ching Book of Changes, a guide for divining meaning from randomly derived numbers arranged in a hexagram—a form the artist readily incorporated into her painting. Von Wiegand’s study of Theosophy also intensified over these years, bolstered by her increased access to the religion’s primary sources composed by the religion’s founders and their successors at the New York Theosophical Society’s library. Von Wiegand’s search for the sacred and transcendent ultimately led her to Tibetan Buddhism and, in 1967, von Wiegand met Khyongla Rato Rinpoche, a Gelugpa monk who had recently arrived in New York, who would mentor her spiritual study in the tradition of Mahayana Buddhism until her death. Her travels in the 1960s and 1970s took her to Tibet and India, where she had an audience with the Dalai Lama, who was living in exile in Dharamsala. Many works from these decades incorporate symbols and schematics drawn from Theosophical prismatic color charts, Chinese astrology and tantric yoga. In 1978, she was the subject of a PBS documentary titled The Circle of Charmion von Wiegand, which was scored by Philip Glass. In 1980, von Wiegand was elected to the American Academy of Arts and Letters and in 1982, the Bass Museum of Art in Miami Beach (FL) organized her first retrospective exhibition. She died the following year in New York, bequeathing her estate to Khyongla Rato and the Tibet Center of New York. In 1998, Michael Rosenfeld Gallery became the sole representative of her estate and has presented her work in four solo and multiple group exhibitions. Recent notable exhibitions that have included her work are The Third Mind: American Artists Contemplate Asia (Solomon R. Guggenheim Museum, New York, NY, 2009) and Constructive Spirit: Abstract Art in South and North America (Newark Museum, NJ, 2010). In March 2023, the Kunstmuseum Basel (Switzerland) opened the first comprehensive museum retrospective of von Wiegand’s work in Europe. Von Wiegand’s work is represented in numerous museum collections including the Addison Gallery of American Art, Phillips Academy (Andover, MA); Albright-Knox Art Gallery (Buffalo, NY); Arithmeum, University of Bonn (Germany); Birmingham Museum of Art (Alabama); Blanton Museum of Art, The University of Texas at Austin; Brooklyn Museum (NY); Carnegie Museum of Art (Pittsburgh, PA); The Cleveland Museum of Art (OH); Indianapolis Museum of Art (IN); Fondazione Marguerite Arp (Locarno, Switzerland); Museum of Fine Arts, Boston (Massachusetts); The Metropolitan Museum of Art (New York, NY); The Museum of Modern Art (New York, NY); Newark Museum of Art (New Jersey); Seattle Art Museum (WA); Smithsonian American Art Museum (Washington, DC); Walker Art Center (Minneapolis, MN); Weatherspoon Art Museum, The University of North Carolina at Greensboro; Wellin Museum of Art at Hamilton College (Clinton, NY); Whitney Museum of American Art (New York, NY); and Yale University Art Gallery (New Haven, CT). More about gallerist Andre Zarre A tribute in the New Criterion: Dispatch August 11, 2020 Andre Zarre, 1942–2020 by Dana Gordon On the late New York gallery pioneer. Art should never be aggressively explained; art should be felt. —Andre Zarre, 1977 Often, in the starlit New York cultural mecca, a longtime important figure fades away through the penumbra and dies without notice. Such was the fate of Andre Zarre, the contemporary art dealer, who passed away a few weeks ago. Andy, as he wanted friends to call him, opened his eponymous gallery in 1974 just off Madison Avenue on Sixty-ninth Street. He soon moved it to the omphalos of the art world in that era, 41 East Fifty-seventh Street, the Fuller Building. Over the years he moved to SoHo and then to Chelsea, as fashion and real estate prices pushed the art souk hither and thither. To understand his importance, all you need do is take a look at a list of artists who had solo shows at the Andre Zarre Gallery. This includes such names, from an early generation, as Sonia Delaunay, Nassos Daphnis, Sari Dienes, and Perle Fine. Among a subsequent generation are Pat Lipsky, Jay Milder, Thornton Willis, and Kes Zapkus.1 And this list does not include the many knowns and unknowns who were in his lively group shows. Zarre had a real “eye” and was a champion of abstract art from the moment he founded his gallery—even among the gathering storms of conceptual and political art, which he eschewed. He showed a good deal of figurative art as well. His galleries were always spacious and unpretentious, oriented simply to show the art. In the words of Dee Shapiro, who showed with the Zarre gallery many times, “He had a photographic memory and knew a lot about art and was always interested in the artist’s life.” Reliable biographical information on Zarre is scarce, but he said of his background that he was born in Poland in 1942 and that his parents were a diplomat and a socialite. He left home for the United States at the age of fifteen. During his decades as an art dealer in New York, Zarre did not appear to accumulate wealth, though he acquired a collection and lived on Park Avenue. “He was not personally aggressive in that way. People had to come to him,” Dee Shapiro said. He was honest in his financial dealings with artists, which not all art dealers are. For a long time while running the gallery he had a second job as a supervisor in an airline office and he kept little to no additional staff in the gallery. He supported a brother who remained in Poland. Among artists, Zarre was known to be quite ornery. After my show at his gallery in 1997, I refused to enter it for seventeen years. Then I ran into him in Chelsea and he offered me another show, an opportunity I gladly accepted, but he remained just as disagreeable. He showed the work of many women, probably more than any other gallery, save those devoted to showing only women. Collectors, curators, and writers found him mostly friendly. As Peter Reginato put it, Zarre was a “strange guy but I liked him. I think he was a dealer who was more interested in the art than in making money, but somehow he lasted forty-plus years.” Zarre is not known to have kept extensive or extant records of his gallery’s long history, though these may emerge in time. Scouring the Internet, one may compile a partial list of more than eighty artists who had solo shows at the Andre Zarre Gallery:Nancy Azara, Ellen Banks, Mary Barnes, Tony Bechara, Juan Bernal, Stephanie Bernheim, Randy Bloom, Elena Borstein, Michael Boyd, Fritz Bultman, Ed Buonagurio, Yoan Capote, Sonia Delaunay, Nassos Daphnis, Cathy Diamond, Sari Dienes, Joseph Dolinsky, Beata Drozd, Ronnie Elliot, William Fares, Perle Fine, Lynne Frehm, Ben Georgia, Mikel Glass, Dana Gordon, Juanita Guccione, Fred Gutzeit, Don Hazlitt, Amy Hill, Clinton Hill, Monroe Hodder, Budd Hopkins, Arlan Huang, Richard Hunt, Rhia Hurt, Buffie Johnson, Alexander Kaletski, Robert Kaupelis...

"Abstract Design" signed by Arlette Martin (French, b.1924) dated 76' gouache/watercolour painting on card, unframed painting: 19 x 20 inches Stunning original painting by the pop...

"Walpi #4" is an original semi-abstract Southwestern landscape by renowned 20th-century artist Bert Van Bork (1928-2014). This captivating watercolor and mixed media painting portrays the dramatic beauty of a Native American Pueblo village nestled on the mesa of First Mesa, Arizona. Van Bork skillfully uses vibrant hues of deep blue, yellow, orange, and pink to convey the cultural richness and natural splendor of the Hopi people. The piece features adobe structures set against the expansive desert sky, merging the artist’s unique style with his deep reverence for Native American heritage. Presented in a custom white frame with archival materials and UV-protectant glass, the framed artwork measures 8 ½ x 10 ½ x ½ inches, with the image size being 4 ¾ x 7 inches. Provenance: Estate of Bert Van Bork, Evanston, Illinois About the Artist: Bert Van Bork (1928-2014) was a German-born artist, filmmaker, photographer, and writer. Trained under Karl Schmidt-Rottluff in Berlin, he played a significant role in the post-war German art scene before immigrating to the U.S. in 1954. Known for his work as a printmaker and photographer, Van Bork's powerful documentary films earned global recognition, including an Academy Award nomination for EYEWITNESS, the Legacy of Death Camp Art...

Kerry Smith Green Day - American Idiot Mixed Media on on Crescent board Year: 2017 Size: 12x12in Signed, dated by hand COA provided Ref.: 92-1653 *Black frame with a mirror-gloss fi...

Interior design paintings. The artwork was done with watercolor on watercolor paper 300g. The works are 15 by 11 inches in size, framed (black) with a styrene face on a mat board in ...

In the artist's abstract print series, Pink Cosmos, 2023 by a.muse represents an imaginary cosmos - the universe as a place of longing, dreams, wonder, and ethereal beauty. A 13.75" ...

This outstanding post-cubist and multicolor geometric composition, gouache, and watercolor painting was designed by French artist André Morin (20th Century). Geometric art is the use...

Italian Modern Abstract Work on Paper Color Field Non-Objective European Mid-Century - "Gonage" Dorazio completed "Gonage" in 1949 when just after the artist had been awarded a stipend by the French government and admission to the Academy Beaux Arts. There he met George Braque who became great friends but also an influence on Dorazio, of which "Gonage" is a living testament. "Gonage" actual size of the drawing measures 12 x 9 1/2 inches. It is signed on the lower right. The work is affixed to a 19 x 15 inch board which includes the artist's signature and date. There is a torn table on the lower left entitling the piece "Gonage". Provenance follows this piece as a gift in 1950 to the artist-colleague Luigi Lucioni, who then gifted it in 1955 to his friend, the uncle of the current owner who has owned the work since 1988. Bio Born in Italy, Piero Dorazio studied architecture in Rome. At the same time his first abstract works were executed. In 1947 he received a scholarship from the Ecole Nationale Supérieure des Beaux Arts in Paris, where he contacted Modern artists, who lived in Paris. He founded the galleries "Age d'Or" in Florence and Rome to represent avant-garde arts in Italy. During a one year stay in the USA he got acquainted with leading artists of Abstract Expressionism such as Marc Rothko...

George Dannatt (1915-2009) Small Black Abstract (Xanadu) 1963 Gouache & pencil on paper 19.6 x 25.4 cm Exhibitions 1981 May. Wills Lane Gallery, St. Ives 2001 Jly. Maltby Co...

Interior design paintings. The artwork was done with watercolor on watercolor paper 300g. The works are 15 by 11 inches in size, framed (black) with a styrene face on a mat board in ...

Interior design paintings. Part of the triptych “Does not see. Does not hear. Does not speak”. The artwork was done with watercolor on watercolor paper 360g. The works are 14 by 11 i...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Fiona Debell's "Utter Impudence" is a compelling abstract mini...

Sol LeWitt (1928-2007) Untitled Gouache on Paper 28.5 x 37.5 cm (11 1/4 x 14 3/4 in) Executed in 1995 Signed and dated 95 lower right Provenance Marco Noire Contemporary Art Turin...

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...

My 80's Hart "Token 4" 2019, gouache, acrylic, graphite, panel, yellow, orange

James Floyd Clymer (1893-1982), ca.1930. Watercolor and pencil on paper measures 14 x 20 inches. Signed lower margin. James Floyd Clymer ( 1893-1982 ) known for his Regionalist st...

Esteban Vicente (1903-2001). Untitled, #36, 1955. Gouache on paper, image measures 8 x 11 inches, 16.5 x 19.5 inches framed. Signed, dated and numbered on verso. Excellent condition....