Gouache Paintings

Title: Abstract Still Life with Bottles Nuts and Frames French Modernist Gouache Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 24 x 18 inches (height x widt...

Title: Abstract Still Life with Fruit Grapes Pears and Melon French Modernist Gouache Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 24 x 19.75 inches (heigh...

Title: Abstract Still Life with Melons Bold Colourful French Modernist Gouache Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 19.75 x 24 inches (height x wid...

Martin Eder was a Swedish drawing teacher, artist and ceramicist. Martin was born on the island of Gotland and spent a lot of time there, he also lived in Sala. Martin was a curious ...

Garden Splendor and wonder abstract and visual Stimulation Abstract Garden Splendor by New York and California artist Ross Martin Fink (American, B-1935). An in depth abstract and Ga...

This circa 1930 original gouache painting by Grinsson, titled "Balade sur la Côte d’Azur", perfectly captures the spirit of the Roaring Twenties and early 1930s, an era defined by el...

Title: Colourful Draped Fabrics Hanging Hats and Red Flower Pot Modernist Still Life Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 25.25 x 18.25 inches (hei...

Title: Modernist Blue Draped Fabrics Abstract Studio Objects Red White Background Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 19.75 x 24 inches (height x ...

Title: Green Bottle Looping Rope Draped Fabrics and Yellow Red Forms French Modernist Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 19.75 x 15.75 inches (he...

Title: Hat Stand with Colourful Umbrellas Draped Fabrics and Jugs Modernist Still Life Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 20.5 x 16.25 inches (he...

Title: Stuffed Toy and Childrens Objects with Blue Drapery French Modernist Still Life Art Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 24 x 18.25 inches (...

Title: Yellow Draped Cloth Grey Bottles and Potted Plants French Modernist Still Life Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 24 x 19.5 inches (height...

This abstracted floral painting by Christine Averill-Green is made with oil paint and gouache on gallery-wrapped canvas. It features a light, pastel palette, with varying green and pink tones applied in light, almost washy layers. The painting is wired and ready to hang. "A play on the shapes in nature; how they change and flow," the artist says of this piece. "Ambiguous forms set against a symmetrical background. I am in awe of the tremendous energy that I see everywhere in the world. I tried to celebrate that in this painting." Averill-Green has been exhibiting her artwork in galleries and museums in Upstate New York for over 40 years. She received her B.A. in Art and an M.S. in Art Education. Artists such as Richard Diebenkorn, Euan Eglow, Antonio Lopez Garcia, and her teachers Catherine Kehoe...

Bold, embossed kimono by Patricia A. Pearce (American, b. 1948). Numbered, titled, and signed along bottom edge ("1/25 Kimono 6 Patricia A Pearce"). No frame. Patricia Pearce ...

Original gouache illustration on board for "The Joy of the Elephant." London, 1971. Unframed. Unsigned.

Estate stamp, verso, for Victor Di Gesu (American, 1914-1988) and painted circa 1955. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art Center and t...

Title: Yellow Draped Cloth Bottles Glassware and Potted Plants Modernist Still Life Guy Nicod (French 1923 - 2021) Gouache on artist paper, unframed Size: 18.25 x 24 inches (height ...

Martha, Act I (Chicago Opera) from 1925 is a gouache on paper measuring approximately 9 x 7 inches and framed in a custom, closed-corner frame. Signed recto 'Erté' mid-right and stamped with Erte's Villa Excelsior block stamp and 'Composition originale' verso. Annotated in fountain pen verso 'No 659 Martha I acte Pour Madame Ganna Walska...

Joachim Czichon Untitled Gestural Abstract Composition Medium: Gouache Year: 1984 Signed and dated by hand Edition: Unique Size: 16.4 × 11.5 inches C...

Ivan Kurach (1909 – 1968) lived and studied in Italy. Well known both in Europe and in the United States, his paintings are found in famous private collections and in museums all ov...

Early Twentieth Century Aviation Vintage Aircraft Airplane Framed Gouache Painting of Imperial Airways Hannibal. One of a set of three that were painted by the well known Artist and Illustrator Charles Thomas Howard. Each was painted to be published as postcards so these are the original artworks. They are in good clean condition with fresh and vibrant colours I have had them framed in handmade gold frames with a flecked cream mount. Can be sold individually or as a set, they look really striking displayed together. “Three Studies of Airplanes” Gouache, Signed and Framed. Charles Thomas Howard was born in Boston, Lincolnshire in 1865 and after he married in 1905 moved to London where he pursued his career as Painter and Illustrator. He did many works that were produced as postcards as these three all were. He worked for at least three publishers and was incredibly highly sought after. His work was diverse but he specialised in Aviation, Railways and Military subjects. His work is held in many Art Libraries including the Bridgeman and as postcards have been reprinted many times over the years and still resonate with todays audiences. He died at the age of 76 in West Sussex. These originals comprise of De Havilland Comet...

Figurative nude with complex color—pink, green, grey and yellow— rhythm, and overall design by Kim Frohsin. 'The Pastry Chef' abstracted nude acrylic and mixed media painting in Froh...

This came from the collection of the Horace Richter Gallery, Old jaffa, Israel These were done in the 1990's Hand signed and dated. titled Old Jaffa. Jay Milder (born 1934) is an Am...

This contemporary painting in ink, gouache and pencil on archival paper is composed of solid shapes surrounded by a pattern of delicate lines and dots in dark brown, taupe, charcoal ...

This contemporary abstract painting in ink, gouache and pencil on archival paper is composed of solid shapes surrounded by a pattern of delicate lines and dots in bright crimson red,...

Michel Guignard Fauvist rose, 1997 Original gouache painting Hand signed and dated at the bottom left Countersigned on the back On red canson paper 65 x 50 cm (c. 25,5 x 19,6 inch) ...

Michel Guignard Surrealist Rose, 1997 Original acrylic and gouache painting Hand signed and dated at the bottom left Signed on the back On canson paper 65 x 50 cm (c. 25,5 x 19,6 in...

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...

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, Massac...

American school abstract painting. Watercolor on paper, circa 1960. Unsigned. Image size, 12"L x 9"H.

Bold Face. A low, wide-angle portrait of the Dodge Charger's front grille, combined with the car's impactful scheme, conveys power, style, and muscular masculinity. This is not a typ...

"Medea I" (FRAMED) Painting 8" x 9.5" inch by Salah Abdel Kerim Medium: gouache on paper Signed Born in Fayoum to a big family of 5 brothers and sisters. In 1938 he meets the famou...

Nirvana literally means cool or to extinguish, it is a state of mindfullness where suffering has been extinguished and one achieves ultimate freedom. In this fabulous piece we can se...

Antique American modernist painting. Watercolor and gouache on paper. Framed. Signed. In excellent original condition. Handsomely framed in a modern molding. Excellent condition, ...

Circle of Sunqua (active 1830-1870) Two Mandarin Ducks pith paper (rice paper) gouache c.1830-1870 China Also close to: Chincqua, Lam Qua, Youqua. Compare ...

Nahum Tschacbasov Lovers and Others (Two Unique Works), 1978-1979 Gouache on Two-sided Paper (Two Signed Works) Hand signed twice: once on each side 11 × 15 inches (each side) A rare...

Throughout her career as a painter Patty Fabricant has pivoted back and forth between figurative and abstract work. Each time she makes the switch it feels abrupt, and yet increasing...

Steven Sorman In Real Time, 2003 Acrylic, gouache, gel medium, oil and beeswax collage painting on paper 48 × 34 inches Signed and dated 2003; The frame also bears the original label...

Abstracted figurative nude painting in mainly greens with purple from Kim Frohsin's "Figures WIth Edges" series. Frohsin, third generation Bay Area Figurative artist—from the movemen...

'Cones: Married Couple' from Kim Frohsin's important and historic Cautionary Tales series series of 2015. 'Married Couple' featuring a pair of construct...

Just released form the artists studio a 1997 Gouache.

Vibrant mixed media painting from Kim Frohsin, whose important and provocative Cautionary Tales series of 2015, considers the true price of progress and its repercussions on society ...

The final artwork in the artist's Cautionary Tales series that were created throughout 2015. Frohsin's Cautionary Tale's consider the true price of progress in the name of technologi...

Iconic painting from Kim Frohsin's Cautionary Tales series series of 2015. 'Mastaba and Sky' is a highly contemporary painting created from mixed media: acrylic, dry pigment, ink, pe...

“Retired Orchard” is a quiet, immersive landscape that invites the viewer to step into a still corner of nature. Layered greens and soft, atmospheric tones build a sense of depth, as...

Gorgeous modern still-life of white Chyrsanthemums in vase by Jaroslav Pavlis (Czech, 1951-2002), c.1970s. This expressive still-life is bursting with vivid colors and dynamic, expre...

Exquisite work from Frohsin's Cautionary Tales, with the appearance of a Navajo Blanket or three dimensional urban street signs that are bold, strong, colorful. The painting is mainl...

David Brayne's lyrical, dreamy and sensitive paintings have long been known to collectors. His paintings include landscapes, interiors, figures, and still-lifes. His rich, imaginary ...

Pair of original watercolors after lithographs from "The Birds of Australia" by John Gould. Signed "J.R.I" and dated 9.5.45. Unframed. Each watercol...

Tatiana Flis’ “Ripple Idly” is an 8 x 10 inch graphite and gouache drawing on thick rag paper with a deckled edge. Rich blues and indigos shine with white and shimmering silver stars...

Painting on paper is 10 1/4 x 7 5/8 inches. Professionally hinged into an 8ply museum mat with an outer dimension of 19 x 16 1/4 inches, with an archival crystal clear case. Fro...

Original Brussels Griffon gouache, probably Belgian, done as a design for a series of matchboxes.

Painting on paper is 7 7/8 x 10 1/4 inches. Professionally hinged into an 8ply museum mat with an outer dimension of 16 5/8 x 18 3/4 inches, with an archival crystal clear case. ...

This artwork portrays a sunlit scene of a woman standing on a wooden deck by the sea, capturing the sense of freedom and serenity inherent to coastal life. The woman, seen from behin...

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...

Gouache on photographic paper Natia Sapanadze is a Georgian artist born in 1999 who lives & works in Tbilisi, Georgia. Natia's alternative profession is a philologist besides she ha...

Unique and fantastical mid-century painting of a nude figure standing in front of a fish in the forest surrounded by flowers, plants, and a portrait by Kenneth Fong...

"Man of Peace" (FRAMED) Painting 7.5" x 14" inch (1955) by Salah Abdel Kerim Medium: gouache on paper Signed & dated Born in Fayoum to a big family of 5 brothers and sisters. In 19...

Signed and dated lower left

"Window VI" is one piece in Heather Hartman's Spare Room series. Hartman’s work combines paper softly appearing behind polyester mesh to create the illusion of light glowing through ...