Color-Field Abstract Paintings

Larry Poons Midget Racer, 1963 Colored Pencil on Graph Paper Signed, titled, and dated by the artist on the lower right front Original frame with gallery label included Provenance: H...

A modern contemporary color field painting by Edouard D. Louis. Titled Aqua Sunset and housed in a contemporary natural wood frame presentation Measuring 30" (h) x 24" (w) unframed.

Katheryn Holt (American, born 1951) "Offshore" 2021 Oil paint, Acrylic paint, Mixed Media, Wood Panel, Wood The artist signed the back of the painting. "Offshore," a 48" x 48" mixed...

Kenneth Noland Untitled Target, 2001 Acrylic paint on offset lithograph paper Signed, dated, and dedicated along lower edge: For Howard and Susan with Love Kenneth Noland 6.10.01 Fra...

Katheryn Holt (American, born 1951) "Blue Ridge" 2022 Oil paint, Mixed Media, Wood Panel, Wood The artist signed the back of the painting. About the Art...

'Sky' London, United Kingdom 2024 Limited edition of 10 Pinted on archival Hahnehmule Photo rag paper, with care and attention to detail. The process involves layering ink bet...

These series of paintings by Natalia Roman gather their inspiration from geometric, minimalist shapes and paintings from the beginning of Modernism, with a special emphasis on Art De...

Seeking the Sound of Cobalt Blue is a series of larger paintings on 8 ply museum board and large sheets of rag paper and clayboard panels that have been created since the winter of 2...

Larry Zox Dexter's Choice, State II, ca. 1990 Mixed media, Watercolor pochoir, and Oil stick Wax, Water-Based Crayons, on heavy Arches museum watercolor rag paper with deckled edges 40 × 60 in 101.6 × 152.4 cm Edition 8/30 (unique variant) Frame included Measurements: Sheet: 40 inches (vertical) by 60 inches (horizontal) Frame: 42 inches x 62 inches x 1 inch Dexter's Choice, State # II is a unique, mixed media work from an edition of 30 unique variants done in pochoir, (25 stencils, 14 colors). Here, Zox uses watercolor instead of inks, which is applied to heavy 300 lb. watercolor paper. Although it is a multiple signed and numbered from the edition of 30, each work of art is unique because of how the paper receives the watercolor brush. In addition, this work is created like a mixed media painting because it has 11 lines added by hand with wax and water based crayons and oil sticks. The unique watercolor technique that Zox employed in making "Dexter's Choice" is documented in the textbook, "Screen Printing: Water Based Techniques,Roni Henning, NYIT ". Dexter's Choice was published by Images Gallery, and this work was acquired directly from the publisher before they sold out. This work is elegantly floated and framed in a white wood frame. Accompanied by gallery issued Certificate of Guarantee Larry Zox Biography: A PAINTER who played an essential role in the Color Field discourse of the 1960s and 1970s, Larry Zox is best known for his intensely and brilliantly colored geometric abstractions that question and violate symmetry.1 Zox stated in 1965: “Being contrary is the only way I can get at anything.” To Zox, this position was not necessarily arbitrary, but instead meant “responding to something in an examination of it [such as] using
a mechanical format with X number of possibilities.”2 What he sought was to “get at the specific character and quality of each painting in and for itself,” as James Monte stated in his introductory essay in the catalogue for Zox’s 1973–1974 solo exhibition at the Whitney Museum of American Art.3 Zox’s robust paintings reveal
a celebrated artist and master of composition who is explored and challenged the possibilities of Post-Painterly Abstraction and Minimalist pictorial conventions. Zox began to receive attention in the 1960s when he was included in several groundbreaking exhibitions of Color Field and Minimalist art, including Shape and Structure (1965), organized by Henry Geldzahler and Frank Stella for Tibor de Nagy, New York, and Systemic Painting (1966), organized by Lawrence Alloway for the Solomon R. Guggenheim Museum, New York. In 1973–1974, the Whitney’s solo exhibition of Zox’s work gave recognition to his significance in the art scene of the preceding decade. In the following year, he was represented in the inaugural exhibition of the Hirshhorn Museum and Sculpture Garden, Wahsington, DC, which acquired fourteen of his works.
 Zox was born in Des Moines, Iowa in 1937. He attended the University of Oklahoma and Drake University, Des Moines, Iowa, and then studied under George Grosz at the Des Moines Art Center. In 1958, Zox moved to New York, joining the downtown art scene. His studio on 20th Street became a gathering place for artists, jazz musicians, bikers, and boxers, and he occasionally sparred with visiting fighters. He later established a studio in East Hampton, a former black smithy used previously by Jackson Pollock. In his earliest works, such as Banner (1962) Zox created
collages consisting of pieces of painted paper stapled onto sheets of plywood. He then produced paintings that were illusions of collages, including both torn- and trued-edged forms, to which he added a wide range of strong hues that created ambiguous surfaces. In paintings such as For Jean (1963), he omitted the collage aspect of his work and applied flat color areas to create more complete statements of pure color and shape. He then replaced these torn and expressive edges with clean and impersonal lines that would define his work for the next decade. From 1962 to 1965, he produced his Rotation series, at first creating plywood and Plexiglas reliefs, which turned squares into dynamic polygons. He used these shapes in his paintings as well, employing white as a foil between colors to produce negative spaces that suggest that the colored shapes had only been cut out and laid down instead of painted. The New York Times in 1964 wrote of the works in show such as Rotation B (1964) and of the artist: “The artist is hip, cool, adventurous, not content to stay with the mere exercise of sensibility that one sees in smaller works.”4 In 1965, he began the Scissor Jack series, in which he arranged opposing triangular shapes with inverted Vs of bare canvas at their centers that threaten to split their compositions apart. In several works from this series, Zox was inspired by ancient Chinese water vessels. With a mathematical precision and a poetic license, Zox flattened the three dimensional object onto graph paper, and later translated his interpretation of the vessel’s lines onto canvas with masking tape, forming the structure of the painting. The Diamond Cut and Diamond Drill paintings...

Conference of the birds no 28 (Abstract Painting) Oil on panel. Natural and mystical processes inspire Ostovany. Informed by a variety of different cultures, Ostovany feels a conne...

Vivian Springford Untitled (Rice Paper Mounting), 1963-65 Signed lower left Ink, watercolor and acrylic on rice paper laid to canvas 27 1/4 x 53 3/8 inches A contributor to Abstrac...

'Echoes No.2 ' London, United Kingdom 2024 Limited edition of 10 Pinted on archival Hahnehmule Photo rag paper, with care and attention to detail. The process involves layerin...

'Body in blue' London, United Kingdom 2024 Limited edition of 10 Pinted on archival Hahnehmule Photo rag paper, with care and attention to detail. The process involves layerin...

A contemporary abstract geometric colour field landscape in oil on canvas board by Dutch artist Bernadette Van Baarsen. Signed bottom left and presented i...

'Red body' London, United Kingdom 2024 Limited edition of 10 Pinted on archival Hahnehmule Photo rag paper, with care and attention to detail. The process involves layering in...

A striking contemporary two-toned colorfield abstract by Bay Area artist Michael Pauker (American, b. 1957). A large neutral textured section in cream sits atop a wavy abstraction in...

Large-Scale Multicolored Gestural Abstraction with Circle in Acrylic on Canvas Abstract composition by Ellis Hopkins (American, b. 1952). This bold abstraction explores spatial tens...

Ray Parker Untitled, 1969 Signed and dated on the reverse Oil on canvas 32 x 32 inches Provenance Private Collection, New York Ray Parker was born in 1922 in South Dakota. After c...

Summer impressions Original painting, inspired by summery feelings. Andrei Sitsko has painted a picture with purple, pink, blue, as well and white colors on his palette that has a li...

Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school she attended the, now, San Francisco A...

“Rift Valley, Sonde III” is a richly textured mixed-media composition that captures the interplay between organic and abstract forms, evoking the raw beauty of nature. The earthy pa...

'Echoes of the Deep' London, United Kingdom 2024 Limited edition of 10 Pinted on archival Hahnehmule Photo rag paper, with care and attention to detail. The process involves l...

Holi powder Tantra painting #4 - Colorful abstract tantric stain painting, acrylic and powder on raw canvas by contemporary artist Elisa Niva 42 inche...

“Rift Valley, Sonde IV” is a richly textured mixed-media composition that captures the interplay between natural and abstract forms, evoking the raw beauty of nature while offering a...

Summer is Joanne Mattera’s time to work on paper. When she is fully engaged, as she has been with Riz, that time slides well into autumn. These are paintings on paper, oil and wax on...

Washes of sun yellow are edged in dashes of bright colors - mauve, cerise, lime and rust -- in this monumental color-field canvas by Milly Ristvedt. "Summer Window" from 1973 was cr...

oil on linen 1927 - 2017 Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school she attended...

“Rift Valley, Sonde 8” is a striking mixed-media composition that harmonizes Color-field staining, impasto-relief techniques, and gestural painting to create an immersive, multilayer...

William Perehudoff (1918-2013) is one of the most cherished and collected Canadian abstract painters. His work exemplifies how color field painting was expressed in Canada. Like some of his contemporaries, he was encouraged and guided by legendary New York critic Clement Greenberg. Perehudoff spent several summers at the University of Saskatchewan's legendary Emma Lake Artist's Workshop where he worked and studied with Jules Olitski and Kenneth Noland during the 1960s. Perehudoff is known for his simple and exuberant compositions that juxtapose and celebrate color. His series "La Plonge...

Conceived of as one half of a diptych, together with Twelfth Night Red, the title of this painting suggest a reference to William Shakespeare’s play Twel...

In this composition, Sylvia Spiczza works in the manner of color field artists like Mark Rothko and Helen Frankenthaler, presenting a gradation of colors shifting from yellow to red ...

Large-Scale Multicolored Color Block Abstraction in Acrylic on Canvas Abstract composition by Ellis Hopkins (American, b. 1952). In this exuberant abstract composition, Hopkins orch...

Watercolor by Willem De Looper (1932-2009). Painting is signed "de Looper" and dated 76' lower right. Painting measures 20" x 8". Willem De Looper was a Washington D.C. abstract...

“Rift Valley, Sonde IV” is an evocative mixed-media composition that captures the raw essence of nature through its textured, multilayered surface. The earthy palette—browns, ochres,...

Katheryn Holt (American, born 1951) "Shade and Breeze" 2022 Oil Paint, Mixed Media, Wood Panel, Wood The artist signed the back of the painting. 'Shade ...

Observing shifting color is an ecstatic experience for the artist. She is intrigued by transitions from one color to the next and the way the eye and brain process these transitions,...

Waterline Fine Art, Austin, TX is pleased to present the following work: Oil on canvas. Signed, titled, dated verso. 40 x 44 in. 41.5 x 45.5 in. (framed) Custom framed in a natura...

Katheryn Holt (American, born 1951) "Dewey Weber Revisited" 2023 Oil paint, Mixed Media, Wood Panel, Stretcher Bars The artist signed the back of the painting. Artist Statement: We ...

Waterline Fine Art, Austin, TX is pleased to present the following work: Acrylic on canvas. Signed, dated, and titled verso. 52.25 x 52.75 in. 54 x 54.25 in. (framed) Custom framed in a maple hardwood floater. Provenance Salander O’Reilly Galleries, New York Private Collection, Connecticut Provenance Estate of Samuel Feinstein...

“Rift Valley, Sonde III” is a richly textured mixed-media composition that captures the interplay between natural and abstract forms, evoking the raw beauty of nature while offering ...

Oil on panel. Natural and mystical processes inspire Ostovany. Informed by a variety of different cultures, Ostovany feels a connection to multiple separate and yet complementary mystical traditions. He looks toward elements of Western and Eastern art, literature, spirituality, poetry and music to create an environment and a mindset conducive to his process, which is connected to Abstract Expressionism and Color Field painting. Conference of the Birds...

Waterline Fine Art, Austin, TX is pleased to present the following work: Acrylic on canvas. Signed and dated lower right, titled verso. 69 x 68.25 in. 70.5 x 70 in. (framed) Custom framed in a solid maple floater. Provenance Private Collection, Hilton Head Island, SC Cleve Gray was born Cleve Ginsberg in New York on September 22, 1918. The family subsequently changed its surname to ‘Gray’ in 1936. He attended the Ethical Culture School in New York, and completed his college preparatory studies at Phillips Academy in Andover, MA, where he won the Morse Prize for most promising art student. In 1940, Gray graduated summa cum laude from Princeton University with degrees in art and archaeology. He wrote his thesis on Chinese landscape painting, which would later become an important influence on his own painterly practice. Gray joined the U.S. Army in 1942 and was deployed to the U.K., France, and Germany, where he sketched wartime destruction. After the liberation of Paris in 1944, he began informal studies with the French artists André Lhote and Jacques Villon, which continued following the conclusion of the war. Soon after, he began to exhibit his work at the Galerie Durand-Ruel in Paris, followed shortly by his first solo exhibition at the Jacques Seligmann Gallery in New York in 1947. Before 1950, Gray would participate in group exhibitions at such venerable institutions as the Metropolitan Museum of Art, New York; the Corcoran Gallery, Washington, D.C.; the Whitney Museum of American Art, New York; and the Art Institute of Chicago. In the 1960s, he formed a close friendship with the first generation Abstract Expressionist Barnett Newman. It was during this time that Gray experienced an artistic metamorphosis, dissolving his earlier cubist compositions in a sea of distilled color. This dramatic body of work marked the beginning of an artistic meditation that would last for over 40 years. The rigors of French modernism, the ethos of Abstract Expressionism, and the meditative restraint of Chinese and Japanese scroll painting commingle with astounding affect. The atmospheric, subdued tones of his 1960s paintings gradually gave way to bright, monochromatic fields of color, hazily washed onto the canvas in stain like swathes. Much of his work from the last three decades of his career feature striking graphic brushwork that conjures the influence of Japanese and Chinese calligraphy. Beginning with his marriage in 1957 to the French author and New Yorker staff writer, Francine Du Plessix, Gray would spend the remainder of his life working out of his home base in Warren, CT, while continuously exhibiting and participating in residencies around the world. He enjoyed representation and exhibitions with some of the most influential galleries of the day, including the Betty Parsons Gallery, Staempfli Gallery, Salander-O’Reilly Galleries, Eva Cohon Gallery, and Berry-Hill Gallery. Cleve Gray died in Hartford, CT in 2004, at the age of 86. Gray's work is included in the collections of the Metropolitan Museum of Art, the Museum of Modern Art (MoMA), the Whitney Museum of American Art, the Brooklyn Museum, the Solomon R. Guggenheim Museum, and many other museums and institutional collections around the world. Source: The New York Times and Loretta Howard...

School of Paul Feeley Untitled, c. 1960s Oil on canvas 20 x 59 5/8 in. Signed lower right Primarily a painter, Paul Feeley (American, 1910 - 1966) favored canvases with simple geome...

Lush Minimalism Silk Road is chromatically juicy and compositionally reductive. Each painting in this ongoing series is a small, luminous color field composed with layers of translu...

acrylic on canvas Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school she attended the, ...

Katheryn Holt (American, born 1951) "Rust" 2023 Oil paint, Mixed Media, Wood Panel, Wood The artist signed the back of the painting. "Rust" by Katheryn Holt is an 18" x 18" mixed me...

“Rift Valley, Sonde 7” is a striking mixed-media composition that harmonizes Color-field staining, impasto-relief techniques, and gestural painting to create an immersive, multilayer...

Katheryn Holt (American, born 1951) "Tropic" 2022 "Tropic" by Katheryn Holt is a mesmerizing 40" x 40" framed oil painting that embodies the tranquil essence of abstract expression...

Katheryn Holt (American, born 1951) "Summer Rain" 2022 Oil Paint, Mixed Media, Wood Panel, Wood The artist signed the back of the painting. About the Artist: Katheryn Holt paints me...

Mid Century Textural Color-Field Abstract in Royal Blue-Purple by Peter Witwer A striking mid-century textural color-field abstract in a bold color palette of royal blue-purple by San Francisco artist Peter Witwer (American, 1928-1968). This highly textured mixed media piece, c.1960's, uses a monochromatic palette that is divided into two areas of varying textural depths. The lower part of the canvas verges on sculptural, as the textured surface becomes almost three-dimensional and haunting forms emerge from the abstract purple-blue plane. Unsigned. From a collection of the artist's works. Displayed in a painted wood slate frame. Frame has been painted by the artist and is considered part of the artwork. Linen size: 26"H x 22"W. Framed size: 27"H x 23"W x 1.2"D Unsigned, but was acquired with a collection of the artist's work. Provenance: Without a will and a family that had little interest in his art, nearly all of his possessions and close to 100 paintings were turned over to SF’s Conservators Office. His friend, Albert Richard Lasker, purchased all of Peter’s possessions (including the art) and has taken care of them until this day, always sensing there was something remarkable about the collection. Wanting Peter’s work to finally be seen, Richard came to Lost Art Salon with Peter’s story after reading about the new gallery in a July, 2005 issue of the SF Chronicle. Born George Peter...

Emily Berger’s paintings are based on a structure of repetitive and deliberate gesture that is intuitive but carefully considered. She brushes, wipes, rubs, and scrapes, incorporatin...

Summer is Joanne Mattera’s time to work on paper. When she is fully engaged, as she has been with Riz, that time slides well into autumn. These are paintings on paper, oil and wax on...

Colorful abstracted color field painting of matchsticks by Bay Area artist Michael Pauker (American, b. 1957), circa 2000. Unsigned, but was acqui...

encaustic on panel b. 1954, Reno Nevada Michael David is best known for his use of encaustic on large abstract paintings. A practitioner of Abstract Expressionism, David layers bees...

Katheryn Holt (American, born 1951) "Aqua" 2022 Oil Paint, Mixed Media, Wood Panel, Wood The artist signed the back of the painting. About the Artist: Katheryn Holt paints memory. H...

Color Field / AbEx

"Blue and Green Abstract" by Claudia Sisemore, acylic on canvas, 43.5 x 46 inches, $4,800. "I have a vague idea of what I am going to paint. I...

"Untitled, 1975" by Claudia Sisemore, acylic on canvas, 41.5 x 50 inches, $4,800. "I have a vague idea of what I am going to paint. I read that many artists are inspired by an idea before they begin their work and plan their approach and process based on that idea or muse. Others become inspired after they have begun working and watching colors, shapes and designs form. I basically belong the second group. Usually, after painting begins in a loose, free manner, I become excited by certain colors and patterns and continue from there." -Claudia Sisemore -- Caudia Sisemore says she was teaching English when artist David Chaplin (an equally popular and influential teacher) was at Weber and initially got her into landscape painting. “Then he took me to a show at the Art Barn and Lee [Deffebach] was showing there [with Don Olsen...

Larry Zox (1937-2006) was a central figure in the evolution of American abstraction. He played an essential role in the emergence of Color Field during the 1960s and 1970s, eventuall...

Friedel Dzubas (1915-1994) was a Berlin-born, American abstract painter and a key artist associated with both the New York School and the Color Field movement. Dzubas studied art i...