Paper Paintings

In this piece, I've poured my emotions into vibrant acrylic, the rich blues and yellows a nod to the spirit of my Ukrainian roots. It's an expressionist work, symbolic in nature, ...

Still day by the loch by Natalie Bird is an impressionist style painting of a Scottish landscape. Hills and mountains appear in the background of the loch in different tones of blue....

Jack Hooper "Green Nude 2" c. 1980s Acrylic paint on magazine page 9"x11.5", black wood gallery frame float mount 11"x14" Signed in pencil lower right Hooper's distinctive approach to artistry is exemplified by his ingenious use of acrylic paint on a magazine page, where elements of the original page subtly peek through the layers of vibrant color. This technique adds an intriguing depth to the composition, blurring the boundaries between reality and abstraction. Jack Meredith Hooper (August 26, 1928 - January 24, 2014) was an American painter, muralist, sculptor, printmaker and art educator. Hooper was a major figure on the Southern California art scene, belonging to that generation of Los Angeles painters...

'Nude at the Window Overlooking Sacré-Coeur', oil on paper mounted on canvas, by Louis Latapie (circa 1930s). Although later in Latapie's career he embraced cubism and abstraction, t...

Shirley Goldfarb Untitled (7), 1963 Initialed lower right; signed, dated, and numbered on the reverse Oil on paper 9 3/4 x 8 1/2 inches Provenance: The artist Eric Locke Gallery, Sa...

Carl Linstrum's "Other Side," "Fade," and "Emerge" series of paintings speak to disappearing ecosystems in a time of increasing climate crises, while celebrating the sheer beauty of ...

A large striped bass is about to devour two small mackerel in Jeff Conroy's watercolor entitled "Big Mack Attack". The fish are painted with the preci...

In E'stelle I color, line, shape, and texture collide on Kozuke ivory paper. This one-of-a-kind, unmounted encaustic monotype illuminates a poetic interior landscape. The softness of...

Gouache and graphite on handmade paper. 24 x 18 inches unframed. 28 x 22.25 inches framed. Artist Statement: “As an artist, I find endless possibilities overwhelming and use self-imposed boundaries to focus my work. This often includes some combination of: a literal grid or graphite border, employment of barbecue skewers or wooden chopsticks in lieu of paintbrushes for mark making, use of a monochromatic or limited color palette, and a reliance on shape and pattern to tell a story. Limiting the elements at play adds a measure of gravity to each decision, and every detail about the paper, the viscosity of the paint, micro variations in hues, and even the sharpness of the point on a skewer matters. I’ve found that the more restrictions I put in place when I paint, the freer my work has become, allowing a tension to form between the organic and prescribed. Rather than sketch before starting a new piece, I spend time with the paper and begin to visualize possibilities. From there, I can expand the work incrementally. Whether I’m working in an adapted form of pointillism, playing with opacity and hue, or building patterns through repeating shape, the work evolves in its own time. It is an intentionally open process of discovery that seeks to uncover the greatest potential of the basest elements we have at our disposal”. - Kate Snow

Rosie Emerson, born in 1981, is a contemporary artist working almost exclusively on representing the female form. Emerson’s figures draw reference from archetypes old and new, from Artemis to the modern day super model, each solitary figure, an allegory of her own fantasy. Interested in surface, the interplay between photography and painting. Emerson’s works are playful constructs; Photography is used, not as a device for capturing reality but for creating romanticised optical illusions. Inspired by her love of theatre, performance, shrines and rituals, she uses lighting, costume, set and prop making, alongside printmaking and painting to create other worldly one off pieces. Her photography is inspired by both the drama of the baroque, and ethereal qualities of Pre Raphaelite works. Other important influences include late medieval and renaissance paintings, Japanese prints, and magical realist literature. Emerson’s screen...

Therese’s dogs are a firm favourite with collectors. This pair are cheeky and irresistible. They’re a little reminiscent of Staffordshire flat back...

We would like to thank Madame Beck-Saiello for confirming the autograph nature of this drawing after an in-person examination. It was probably during an excursion in the countryside...

This piece represents a part of the artist's "Kinetic Knots" series which symbolizes shapes of the knots that are not planned. It is like the “Dao” grabbing the artist and the power ...

Mary Abbott Postcard Geometry Signed lower right Crayon on paper 4 x 5 1/2 inches Among the early exponents of Abstract Expressionism, Mary Abbott created powerful oil paintings in...

"Collage" by Bernard Herzog (French, b.1935) signed lower corner signed and stamped verso with catalogue number photo collage cut outs on paper, unframed overall paper: 25.5 x 20 in...

IIsabel Rock is a creator of contemporary fairy tales. A graduate of the Royal College of Art in London, her work is an explosion of strange occurrences while a surreal narrative tak...

Michael Knigin Abstract 1 Orange and Yellow 1967 Ink brush and watercolor on paper 8.25"x11" unframed Signed and dated in ink lower right Came from artist's estate *Custom framing a...

This painting features hues of green, yellow, pink and orange. These pieces are archival pigment prints mounted to panel. The images are macro scans of neutral water (Left) and alkaline water (Right) mixed with ink from: white oak acorns...

Reclining Nude Model in Acrylic on Paper Colorful painting of a woman by acclaimed bluegrass musician Katherine "Kathy" Kallick (American, b. 1952). A woman is reclining on a lounge chair, with her head resting against one hand. Behind her, there is a potted plant. Some of the shadows in this piece are shown in reds and oranges, creating a warm feel to the composition. Unsigned, but was acquired with a collection of the artist's work. Paper size: 22.5"H x 28.38"W Katherine Kallick...

Isabel Rock is a creator of contemporary fairy tales. A graduate of the Royal College of Art in London, her work is an explosion of strange occurrences while a surreal narrative takes the audience on a journey into the imagination. Hugely inspired by Paula Rego, Isabel Rock is part of a formidable group of women artists (Leonora Carrington and Eileen Agar amongst others) working with Surrealism. In October 2023 Isabel won the Evelyn Williams...

Abstracted cityscape painting on paper in blue, black, grey and white oil wash of an industrial New York City rooftop "Untitled I," painted by Ricardo Mulero in 2018 7.5 x 5 inches, oil wash on paper 16.5 x 13.5 inches in a soft white wood frame with an 8-ply window mat and non-glare glass Excellent condition, ready to hang as is Ricardo Mulero is fascinated with capturing the brilliance of light and the contrast of natural beauty with utilitarian landscapes. Here, Mulero focuses on an abstracted New York City rooftop where water towers stand in the distance. Contrasts in light and shadow accentuate the urban landscape's geometric forms and highlight bold color palettes of blue, black, and grey. The piece is in excellent condition and ready to hang. About the Artist: Growing up in Puerto Rico, I observed how people and nature could co-exist in harmony. Today, that principle guides my design and artistic work. My paintings are expressions that draw upon my life experiences, traditions, and surroundings. These unique environments inspire my oil paintings: Puerto Rico, where I grew up, New York City, Fire Island Pines...

A rhythm exists here on the farm, beginning with the sunrise and the sounds of nature awakening. My art is a reaction to this sense of place. Whether I’m in the studio, tending to th...

A moment of calm is inspired by Rachael'slove of paddle boarding along her local river. Rachael’s works on paper are particularly organic. Diluted paint is allowed to migrate on a ...

WALERIA MATELSKA (born 1994 in Belarus) In 2012-2015 she studied at the Faculty of Painting at the Academy of Fine Arts in Krakow, where in the years 2015-2018 she her diploma from t...

Original oil paint on heavy archival paper abstract by the American artist, Martin Rosenthal. Bold, vibrant colors. Signed lower right by the artist and dated 1965. Condition is ver...

WALERIA MATELSKA (born 1994 in Belarus) In 2012-2015 she studied at the Faculty of Painting at the Academy of Fine Arts in Krakow, where in the years 2015-2018 she her diploma from t...

Botanical watercolour and gouache on paper circa 1920 by French fauvist painter Raoul Dufy. The work depicts flowers in red and butterflies in blues, yellows, black and white. This work was executed by Dufy as a fabric design. Dimensions: Framed: 17"x27" Unframed: 10"x20" Provenance: Private collection of works by Raoul Dufy for Bianchini Ferier Bianchini Ferrier Collection - Christie's London - July 2001 SF Fall Show Raoul Dufy was one of a family of nine children, including five sisters and a younger brother, Jean Dufy, also destined to become a painter. Their father was an accountant in the employ of a major company in Le Havre. The Dufy family was musically gifted: his father was an organist, as was his brother Léon, and his youngest brother Gaston was an accomplished flautist who later worked as a music critic in Paris. Raoul Dufy's studies were interrupted at the age of 14, when he had to contribute to the family income. He took a job with an importer of Brazilian coffee, but still found time from 1892 to attend evening courses in drawing and composition at the local college of fine arts under Charles Marie Lhullier, former teacher of Othon Friesz and Georges Braque. He spent his free time in museums, admiring the paintings of Eugène Boudin in Le Havre and The Justice of Trajan in Rouen. A municipal scholarship enabled him to leave for Paris in 1900, where he lodged initially with Othon Friesz. He was accepted by the École des Beaux-Arts, where he studied under Léon Bonnat, whose innate conservatism prompted Dufy to remark later that it was 'good to be at the Beaux-Arts providing one knew one could leave'. And leave he did, four years later, embarking with friends and fellow students on the rounds of the major Paris galleries - Ambroise Vollard, Durand-Ruel, Eugène Blot and Berheim-Jeune. For Dufy and his contemporaries, Impressionism represented a rejection of sterile academism in favour of the open-air canvases of Manet, the light and bright colours of the Impressionists, and, beyond them, the daringly innovative work of Gauguin and Van Gogh, Seurat, Cézanne, Toulouse-Lautrec and others. Dufy was an out-and-out individualist, however, and was not tempted to imitate any of these artists. He produced, between 1935 and 1937, Fée Electricité (Spirit of Electricity), the emblem for the French utilities company Electricité de France (EDF). Dufy visited the USA for the first time in 1937, as a member of the Carnegie Prize jury. In 1940, the outbreak of war (and his increasingly rheumatic condition) persuaded him to settle in Nice. When he eventually returned to Paris 10 years later, his rheumatism had become so debilitating that he immediately left for Boston to follow a course of pioneering anti-cortisone treatment. He continued working, however, spending time first in Harvard and then in New York City before moving to the drier climate of Tucson, Arizona. The cortisone treatment was by and large unsuccessful, although he did recover the use of his fingers. He returned to Paris in 1951 and decided to settle in Forcalquier, where the climate was more clement. Within a short time, however, he was wheelchair-bound. He died in Forcalquier in March 1953 and was buried in Cimiez. Between 1895 and 1898, Raoul Dufy painted watercolours of landscapes near his native Le Havre and around Honfleur and Falaise. By the turn of the century, however, he was already painting certain subjects that were to become hallmarks of his work - flag-decked Parisian cityscapes, Normandy beaches teeming with visitors, regattas and the like, including one of his better-known early works, Landing Stage at Ste-Adresse. By 1905-1906 Friesz, Braque, Matisse, Derain, Vlaminck, Van Dongen and Rouault were described collectively as Fauves (the wild beasts). What they had in common was a desire to innovate, but they felt constrained nonetheless to meet formally to set out the guiding principles of what promised to be a new 'movement'. Dufy quickly established that those principles were acceptable; moreover, he was most impressed by one particular painting by Henri Matisse ( Luxury, Calm and Voluptuousness) which, to Dufy, embodied both novelty and a sense of artistic freedom. Dufy promptly aligned himself with the Fauves. Together with Albert Marquet in particular, he spent his time travelling the Normandy coast and painting views similar...

Interior design paintings. The work was done with india ink in black and grey color on Yupo paper. The work is 11 by 14 inches in size, framed with a styrene face on a mat board in white with sizes 16 by 20 in. Mila Akopova is New York artist . She graduated from Moscow State University with a degree in History and Theory of Art. Her Artwork got 3rd place at the 2020 and 2021 American Art Awards, juried by 25 best galleries and museums in America, with artist from 63 countries, in category: minimalism. Also, several works took part in exhibitions of the All-Russian Decorative Art Museum and in the Cube Moscow exhibition space . It was published as the catalog: “The game of tic tac toe, or creating a collection in one year”. Several works by Mila Akopva were created specifically for the collaboration with Vintage Dream...

Signed lower right, 'Dambourgez' for Edouard-Jean Dambourgez (French, 1844-1931), titled, 'Paris' and painted circa 1890. A fine and detailed, late-nineteenth century view of a counter of the bustling cheese market...

In her realist gouache on paper animal miniature, "Green Bird," 2018, Dina Brodsky captures and highlights the full chromatic range of the bird's plumage. The fine detail of the bird...

David Hare Erotic #1 (Cronus Sex), 1970 Acrylic and paper collage on linen 68 x 51 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, ...

Anastasia Vasilyeva - Mountains 002 (2020) Abstract landscape, painting in black, grey, white colors. Artwork represents Alps in winter, covered with snow and mist above it. Paintin...

This abstract painting, created on a cardboard base, presents an explosion of energy and dynamism, characteristic of the action painting style. The use of enamel and acrylic paint pr...

Gouache and graphite on handmade paper. 24 x 18 inches unframed. 28 x 22.25 inches framed. Artist Statement: “As an artist, I find endless possibilities overwhelming and use self-imposed boundaries to focus my work. This often includes some combination of: a literal grid or graphite border, employment of barbecue skewers or wooden chopsticks in lieu of paintbrushes for mark making, use of a monochromatic or limited color palette, and a reliance on shape and pattern to tell a story. Limiting the elements at play adds a measure of gravity to each decision, and every detail about the paper, the viscosity of the paint, micro variations in hues, and even the sharpness of the point on a skewer matters. I’ve found that the more restrictions I put in place when I paint, the freer my work has become, allowing a tension to form between the organic and prescribed. Rather than sketch before starting a new piece, I spend time with the paper and begin to visualize possibilities. From there, I can expand the work incrementally. Whether I’m working in an adapted form of pointillism, playing with opacity and hue, or building patterns through repeating shape, the work evolves in its own time. It is an intentionally open process of discovery that seeks to uncover the greatest potential of the basest elements we have at our disposal”. - Kate Snow

"Seduced by the formal complexity of color, I revel in its emotive slipperiness and enjoy mining its controversial decorativeness. The inextricability of these aspects unique to col...

An acrylic and oil on heavy weight paper piece with bright use of color and texture. We are focused on the simplicity of beauty in the moment as Shaoul creates a translucent but very...

Stephanie Visser, a native of southwestern Michigan, was educated at Kendall College of Art and Design in Grand Rapids Michigan. She continued her education in fine arts and painting...

Vivid and dynamic painting of a leopard print pillbox hat by Marc Foster Grant (American, b. 1947). Playful depiction of a pillbox hat rendered in leopard ...

Impressionist Still Life with Fruit and Spoon Autumnal Traditional still life with oranges, bananas, apples, and a spoon by an unkn...

Dimensional Abstract by Jeffery Abouaf (American, b. 1949). Composed of rows of small "scenes," this piece gives the impression of a roll of film, or moments laid out next to one ano...

Exploring the purity of the feminine form and the drama of French haute couture, artist Cindy Shaoul creates a dialogue between the figurative and the abstract. Her spirited composit...

The work was done with ink and watercolor on watercolor paper 300g. The work is 11 by 15 inches in size framed (black) with a styrene face on a mat board in white color with size 20 by 16 inches. This is the "Many thoughts, one head" series. The series started with the picture of a figure with its hands framing the head - but without an actual head, as if hands were holding all the thoughts. Later on the head became objects - metaphors (soap, bubble, mine, alarm clock, etc.) as well as planets. Each person is an individual planet, with their own thoughts and satellites - companions. Artworks from this series got 3rd place at the 2020 and 2021 American Art Awards, juried by 25 best galleries...

Sword Fight, 2018, pen and crayon on paper

A very whimsical and bold depiction of a woman standing gracefully in a white gown against a pink background. This piece captures the essence of fashion in Pairs. Done in a very mode...

"I have been painting seriously for somewhere around 35 years, but have only ever sold regionally - most recently, through my gallery on Magazine Street in New Orleans. Through 1stDi...

Finely detailed hand tinted color landscape photograph of Stanford Memorial Church produced by Bear Photo Service (American, 1930s). Photographer is unknown. Numbered 904 bottom right. Displayed in a rustic gilt-toned wood frame with antique glass. Image size: 7"H x 11"W. Stanford Memorial Church is located on the Main Quad at the center of the Stanford University...

Party, 2021, 78x54 cm

Interior courtyard scene by Santa Cruz, California artist Betsy J. Miller (American, b. 1956). This piece is a part of the artist's series of "Site Portraits." An arched doorway in a...

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

Antique American impressionist ashcan school pastel painting. Pastel and gouache on paper. Signed. Framed.

This artwork is a captivating abstract composition that reflects the elusive nature of human relationships through figures of people, particularly feminine forms. Amorphous shapes an...

Femmage is an original diptych minimalist artwork by Nicola Grellier. The contrasting tones and strong imagery combined with the sheer scale of these works make them a statement piec...

An original antique watercolor painting by well listed Austrian artist Franz Weidinger. This work is signed and titled lower left and housed in a be...

The Bawdy Wind that Kisses all it meets is an original watercolour and gouache painting by artist Rosie Phipps, sold mounted. Featuring her gestural and expressive use of mark making...

KG Subramanyan Untitled ( Flowers ), Water Colour on Paper 11 x 10 inches 27.9 x 25.4 cm 1982 ( Framed & Delivered ) Style : K G Subramanyan was one of the leading artists who wa...

In Ro Barragan's latest work we explore a production of typographic posters that seeks to highlight the multiplicity of meanings in everyday messages. Words meet, bifurcate, overlap, amalgamate and juxtapose in speeches and the context of communications. It is in this complex multiplicity, that manifests itself in a printed text, which also functions as an image. The material used is the same as the one historically used in urban advertising posters: the work is developed by using typographic printing methods, with mobile types of wood, in typographic families dating back to the last century. The works of art are printed on sulfite paper of various sizes. This piece comes displayed on a black contemporary frame under glass. Art measures 38.25 x 26.25 in Frame measures 43.5 x 31.5 in The machines of the early 20th century and manual presses of various sizes are used for printing, which still works in historical workshops in Argentina – Pucará printing shop in La Tablada - and in the Ilusión Gráfica workshop, owned by Ro Barragán, where it is sought to continue the tradition and the typographic trade, linking its production with artistic practices. Ro holds a Master in Aesthetics and Art Theory by the National University of La Plata, all while developing artistic activities since 1994. She has participated in collective and individual exhibitions in Painting, Engraving, Objects, Digital Art, Installations and Interactive Art, in Buenos Aires and other cities of Argentina, Bogotá, Rome, and Miami. She also has developed art activities in the context of the street, through stickers and posters. She is a Teacher of the Engraving and Complementary Printed Art Workshop at the Faculty of Fine Arts of the National University of La Plata and a teacher of the typography workshop at the Museo de Calcos y Escultura comparada Ernesto de la Cárcova, city of Buenos Aires. She is the creator of Ilusión Gráfica, a typographic printing company that seeks to preserve the tradition of printing with wooden mobile...

'Girl' 2003 by American artist, Kim McCarty. Watercolor on paper, 29.875 x 22 in. (framed). This work on paper expresses the fragile vulnerability of adolescence. By using a “wet into wet” watercolor medium the artist conveys the transitory and emergent state. The figures heads become too large for their small, narrow bodies, their hands too large for their arms. The translucent watercolor expresses both the flaws and perfection. Kim McCarty is known for her nubile and waif-like figurative watercolors in muted hues, which she likens to “blurry afterimages drifting past closed eyelids.” McCarty began working with the medium in 1993, after a fire destroyed her studio and she could no longer find a space with proper ventilation for working with oil paint and became quickly intrigued with watercolor’s transparency, immediacy, and “unforgiving qualities.” She works in a wet-on-wet technique, in which watercolor is applied to a moistened sheet of paper—a technique that allows for very little control over the final image because of the pigment’s tendency to spread. For McCarty, this style corresponds to the longing, loss, and vulnerability embodied in her subjects. A graduate of UCLA (MFA) and the Art Center College of Design, Pasadena (BFA), McCarty has had many solo exhibitions include Morgan Lehman Gallery, New York and David Klein Gallery...

Lace Swirls - Abstract Expressionist Composition in Acrylic on Paper A dynamic abstract painting by California-based artist, Ricardo de Silva (American/Brazil, 20th C). This piece i...