Gouache Paintings

Artist: Alexandre Sacha Garbell, French (1903 - 1970) Title: St. Maxime Year: circa 1958 Medium: Gouache on Paper, signed Image Size: 4 x 7 inches Frame Size: 12.5 x 15.25 inches

French Landscape by Bernard Labbe (French mid 20th century) original gouache on card, mounted on card size: 15.5 x 20.5 inches condition: very good and ready to be enjoyed provenanc...

French Character Portrait French school, Mid 20th Century Gouache paint on unframed paper stamped Image : 25.5 x 19.5 inches Superbly decorative 1960's French portrait painting. I...

Christine Averill-Green's abstract oil and gouache painting on canvas is her interpretation of human's basic understanding of nature, art, and beauty. She weaves them together in cro...

Artist/ School: Norman A.Olley ( British, 20th Century) dated 1992 and inscribed verso Title - The Boat Repair Yard Medium: gouache/watercolour/ ink/ pencil on artist paper, unfram...

Stunning gouache painting of violin and bow resting on plaid cloth and newsprint by French artist Robert Cerouge, circa 1930. Signed lower right. ...

French Landscape by Bernard Labbe (French mid 20th century) original gouache on card, mounted on card size: 20 x 14.5 inches condition: very good and rea...

French Landscape by Bernard Labbe (French mid 20th century) original gouache on card, mounted on card size: 16.5 x 19.5 inches condition: very good and ready to be enjoyed provenanc...

Greek Figures by Bernard Labbe (French mid 20th century) original gouache on card size: 19 x 17.5 inches condition: very good and ready to be enjoyed pr...

French Landscape by Bernard Labbe (French mid 20th century) original gouache on paper stuck on card size: 25 x 19.5 inches condition: very good and ready to be enjoyed provenance: t...

French Landscape by Bernard Labbe (French mid 20th century) original gouache on paper , mounted on card size: 25 x 25.5 inches condition: very good with a small rip in the card frame...

French Landscape by Bernard Labbe (French mid 20th century) original gouache on card size: 25 x 25.5 inches condition: very good and ready to be enjoyed provenance: the artists atel...

Was born in 1993 in the city of Marganets, Ukraine. Artist Gorbachenko Multiple participants of group and solo exhibitions and Art Fair Vilnius. The artist's works are in private col...

French Landscape by Bernard Labbe (French mid 20th century) original gouache on card size: 19 x 25 inches condition: very good and ready to be enjoyed provenance: the artists atelie...

French Landscape by Bernard Labbe (French mid 20th century) original gouache on paper mounted on card size: 18.75 x 24 inches condition: very good and ready to be enjoyed provenance...

Judd Mercer's (US based) "Grass Underfoot" is an gouache painting that depicts the tall green grass of a clearing obscured partially by the tree trunks of towering mature trees Bio/...

Artist/ School: Norman A.Olley (British, 20th Century) dated 1990 and inscribed verso Title - Chapel In The Flinders Ranges Medium: gouache/watercolour/ ink/ pencil on artist paper...

French Character Portrait French school, Mid 20th Century Gouache paint on unframed paper signed lower corner Image : 12 x 9.25 inches Superbly decorative 1960's French portrait ...

Mid-century French gouache painting of urban canal scene by artist Boeme, signed lower right. Original artwork on paper displayed on a white mat with a gold border. Archival plastic...

French Landscape by Bernard Labbe (French mid 20th century) original gouache on artist paper, unframed size: 8.25 x 10.75 inches condition: very good and ready to be enjoyed provena...

Signed lower right, 'Storer' for Inez May Storer (American, born 1933) and dated 1979. Inez Storer first studied at the San Francisco College for Women, the San Francisco Art Institute and the University of California at Berkeley. She later earned a bachelor's degree at Dominican College in San Rafael and, in 1971, a graduate degree in at California State University in San Francisco. From Inverness...

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...

French Buildings by Bernard Labbe (French mid 20th century), signed, stamped verso original watercolour/ gouache painting on paper , overall size: 19.5 x 25.5 inches condition: very...

Russell Shoemaker Title: Untitled Year: 2018 Medium: Gouache on Yupo Paper Size: 12 x 9 inches Signed, dated and inscribed by the artist Russell Shoemaker received his BFA from the ...

"Bow Tie" by Jean Marc (French 1949-2019) gouache paint painting: 16 x 11.75 inches provenance: private collection, South of France Superb original painting by the widely exhibited...

French Character Portrait French school, Mid 20th Century Gouache paint on unframed paper signed lower corner Image : 16.5 x 9.25 inches Superbly decorative 1960's French portrait...

George Dannatt (1915-2009) Solar No 2 92 Gouache on black paper Image: 41.3 x 36.2 cm Frame: 58.7 x 54.0 cm Exhibitions: 1971 Nov. Marjorie Parr Gallery, London 1974 Dec. New...

Work on paper Gilded wood frame with glass pane 79 x 61 x 2,5 cm

'Abstract Figure' Suzanne Vattier, French 1901-1996 gouache painting on artist paper, framed size: 9.75 x 12.5 inches Fabulous 1970s abstract goauche painting. The colours used in t...

French Character Portrait French school, Mid 20th Century Gouache paint on unframed paper signed lower corner Image : 12 x 9.5 inches Superbly decorative 1960's French portrait pa...

French Character Portrait French school, Mid 20th Century Gouache paint on unframed paper signed lower corner Image : 12.5 x 9.5 inches Superbly decorative 1960's French portrait ...

'Abstract Figure' Suzanne Vattier, French 1901-1996 signed gouache painting on artist paper, framed size: 10 x 13 inches Fabulous 1970s abstract goauche painting. The colours used i...

French Landscape by Bernard Labbe (French mid 20th century) original watercolour/ gouache on artist paper, unframed size: 16 x 12.5 inches condition: very good and ready to be enjoye...

French Landscape by Bernard Labbe (French mid 20th century) original watercolour/ gouache on artist paper, unframed size: 19.75 x 12.75 inches condition: very good and ready to be en...

French Character Portrait French school, Mid 20th Century Gouache paint on unframed paper stamped Image : 25 x 19.75 inches Superbly decorative 1960's French portrait painting. Id...

French Character Portrait French school, Mid 20th Century Gouache paint on unframed paper inscribed verso stamped to the reverse Image : 12.75 x 9.75 inches Overall size: 25.5 x 19.7...

Signed lower right "Grise" and painted circa 1965. A substantial Expressionist-style figural watercolor of a young woman reclining on a divan. Grise first studied at the Art Institute of Chicago...

French Landscape by Bernard Labbe (French mid 20th century), stamped verso original gouache/watercolour painting on artist paper overall size: 19.75 x 25.5 inches condition: very goo...

Kaitlin Ziesmer's (US based) "Sam" is an original, handmade AcrylaGouache painting that depicts a pink and green woodpecker wearing a black frilly coll...

Charis Carmichael Braun’s gouache on paper painting “Study: Storm On The Lake" depicts a Colorado lake with trees, trees, mountains, clouds, and a blue sky. Artist Statement: I am...

French Buildings by Bernard Labbe (French mid 20th century), signed, stamped verso original watercolour/ gouache painting on paper , overall size: 19.75 x 16.5 inches condition: ver...

Work on paper Stamp of the artist's studio on the back lower right Dimensions of the master key 42 x 50 cm

"Abstract" by Arlette Martin (French, b.1924) signed and dated lower right hand-side, gouache painting on card, unframed painting: 5 x 4 inches Stunning original painting by the po...

Wacky Interior Scene by Bernard Labbe (French mid 20th century) original watercolour/ gouache painting on paper board, unframed size: 10 x 8.75 inches condition: very good and ready ...

American modernist still life painting. Watercolor on paper, circa 1960. Signed. Image size, 24"L x 18"H.

Colourful Shapes by Bernard Labbe (French mid 20th century) signed original watercolour/ gouache mounted painting on paper board, unframed size: 8.5 x 5.75 inches condition: very goo...

"Abstract Design" by Arlette Martin (French, b.1924) atelier stamped gouache/watercolour painting on card, unframed painting: 8 x 6 inches Stunning original painting by th...

Nude figure by Bernard Labbe (French mid 20th century) signed original watercolour/ gouache painting on paper board, unframed size: 9.75 x 12.75 inches condition: very good and ready...

The Roadside Tavern by Bernard Labbe (French mid 20th century) signed original watercolour/ gouache painting on paper board, unframed size: 11 x 13.75 inches condition: very good and...

Richard Garrison collects information from typically overlooked aspects of daily life. Observed data from places like big box stores and parking lots ...

"Abstract Composition" by Arlette Martin (French, b.1924) signed lower corner gouache painting mounted on card, unframed mount: 6 x 7.5 inches painting: 2.75 x 4.5 inches Stunning ...

Vincenzo D’Esposito. Italian ( b.1886 - d.1946 ). HMS Nairana, Royal Navy Seaplane Carrier. Gouache On Paper. Signed Lower Right. Image size 7.7 inches x 12.2 inches ( 19.5cm x 31cm ). Frame size 13.8 inches x 17.7 inches ( 35cm x 45cm ). Available for sale; this original painting is by the Italian artist Vincenzo D’Esposito and dates from circa 1918. The painting is presented and supplied in a sympathetic and contrasting contemporary frame to suit the subject coloration (which is shown in these photographs) and behind non-reflective Tru Vue UltraVue® UV70 glass. This antique piece is in superb condition. It wants for nothing and is supplied ready to hang and display. The painting is signed lower right. Vincenzo D’ Esposito was an Italian artist, active in the beginning of the twentieth century. He was a son of Gaetano de Esposito, an artist who lived in Malta. Vicenzo continued the work of his father and another brother, who all painted the various ships that sailed the Mediterranean in their time. Vincenzo D’Esposito is particularly known for his gouache pictures of British warships in Valetta harbour. It is likely that he received orders from merchant captains and naval officers who stopped in Valetta. Such works are now well sought after by British collectors. The HMS Nairana, featured in this artwork, was a vessel with a particularly interesting history. She was originally owned by the Australian shipping line Huddart Parker, who, in 1914, ordered her to be built in Dumbarton, Scotland by William Denny and Brothers. She was designed to be a passenger ship with some cargo capacity to serve in the Australian coastal trade. The name ‘Nairana’ is an Aboriginal name, meaning ‘Golden Eagle’ or ‘Eagle of the Sea’. She was launched in 1915 at the Denny shipyard in Dumbarton, Scotland. The launch had been delayed because of the diversion of shipping construction work to military vessels on the outbreak of the First World War. For the first year and a half of her life she remained at anchor. Then in 1917 she was purchased by the Royal Navy and converted into a combined landplane and seaplane carrier. After being commissioned HMS Nairana was assigned to the Battle Cruiser Force of the Grand Fleet at Scapa Flow, although she was mostly employed for pilot training and ferrying aircraft to ships equipped with flying-off decks. In 1918 HMS Nairana participated in the North Russia Campaign in support of the British intervention in the Russian Civil War, including taking part in what was probably the first fully combined air, sea and land military operation in history when she joined Allied ground forces and other ships in driving the Bolsheviks out of their fortifications on Modyugski Island at the mouth of the Northern Dvina River. In May 1919 HMS Nairana was refitted in Rosyth, then continued to support military operations in Russia until October that year, when she went to Devonport to be decommissioned. Nairana was returned to her former owners in Australia in 1921 and refitted in her original planned configuration, and then spent the next 27 years ferrying passengers and cargo between Tasmania and Melbourne. She was twice struck by rogue waves in the Bass Strait...

"Shadow Blooms 3" is a brightly colored abstract painting with richly layered tones, inks and paint. It is sized at 48x60 inches, and can be in...

Artist: Claude Lagouche (French 1943-2020) Claude Lagouche was born January 2, 1943 in Naves, died January 16, 2020. He quickly gained recognition for his talent and his work, exh...

Artist: Claude Lagouche (French 1943-2020) Claude Lagouche was born January 2, 1943 in Naves, died January 16, 2020. He quickly gained recognition for his talent and his work, exh...

Richard Garrison collects information from typically overlooked aspects of daily life. Observed data from places like big box stores and parking lots are systematically transformed i...

Richard Anuszkiewicz Near and Far Acuity, 1957 Gouache and watercolor painting Hand signed and dated 1957 by Richard Anuszkiewicz on the right front Frame included Anuszkiewicz' artworks from the late 1950s are rarely found on the market. This historic painting is one of the works that helped launch the artist's career. It was done in 1957 - the year the artist arrived in New York. Near and Far Acuity has been removed from its original frame, and re-framed in an elegant wood frame with conservation materials and UV plexiglass. The original gallery label from The Contemporaries has been preserved and affixed to the new backing, and the collector who acquires this work will also be provided with a copy of the original receipt - signed by Karl Lunde (director of the Contemporaries and author of a major monograph on the artist). Measurements: Frame: 32 x 28 x 2 inches Artwork: 21 x 25 inches This work was first exhibited in the groundbreaking, and career-making 1960 exhibition at The Contemporaries gallery (New York, February 29, 1960 - March 19, 1960) and was featured in the exhibition catalogue, shown in the images here. In his essay entitled "Richard Anuszkiewicz: Color Precisionist" by art historian John T. Spike, he writes, "In the spring of '57, Richard Anuszkiewicz left Ohio for good. "I was ready. I came to New York with a substantial amount of work. I was ready to go around to the galleries and I was prepared because I really had something. I had an idea. I had a series of paintings that showed this idea and I felt good about it and I felt now that's the only place for me to be." A friend helped him get a job touching up the plaster models of classical temples and statues in the Junior Museum of the Metropolitan Museum of Art. He took off six months the next year to travel around Europe in a Volkswagen, also seeing some places in North Africa. "When I came back, I remember taking my work around to the galleries and receiving interesting comments — positive comments from the various people. But Abstract Expressionism was very popular. My things were very hard-edged, very strong in color — a use of color that nobody was using. Everybody would say. 'Oh, they are nice, but so hard to look at. They hurt my eyes". Leo Castelli considered him seriously but the gallery was developing a specialization in pop artists like Jasper Johns and Robert Rauschenberg. "I can remember going to Martha Jackson and having her look at the work and she would put her hands straight out in front of her and block out parts of the painting with her hand and she'd say, mmm no rest areas." He finally caught on with The Contemporaries Gallery in the fall of 1959. The gallery at 992 Madison Avenue mainly represented new European talent. Karl Lunde, the gallery director, saw some of his canvases hanging...

Early work was impressionistic and hard abstract. Carola later developed a more mature way of working in a colourful exploration of the subject. Colour was her main interest and she...