Paper Paintings

Big dragonfly Paper, mixed media, 21x30 cm Juris Utāns (1959-2022) was a Latvian painter. Worked in the field of critical realism, socially active and political art. Juris Utans' ...

MORNING BREAKFAST is an original mixed media collage on board by Brooklyn artist Karl A. McIntosh. MORNING BREAKFAST is a somewhat amusing, colorful abstract portrait portraying a black family seated together having breakfast. McIntosh shows his inventive use of collage using cut bits of colored paper in shades of red, brown, blue, pink, black. Visible are magazine print clippings for facial details, dishes, lettering layered with wildly expressive yellow, blue, green and white painted accents that create an energetic and rambunctious breakfast table scene. The viewer can't help but continue gazing at the frenzied movement and visual chatter going on in MORNING BREAKFAST, a captivating and irresistible painted collage by Karl A. McIntosh. Framed size - 27.25 in. x 33.5 in. Image size - 221.25 in. x 27.5 in. Excellent condition, archival framing, beveled cherry wood colored frame with green and gold liner, hand signed by the artist "K.A.McIntosh" on upper left edge. About the artist: Karl A. McIntosh is a self taught artist who works is pastel, watercolor, acrylic, stone, wood and metal and is a known for his imaginative transformation of found objects into works of art. Born in Kingston, Jamaica, McIntosh moved to the United States at an early age and later took up art. Among his mentors are artist Otto Neals with whom he worked at the Bob Blackburn Printmaking Working Workshop and artist Marian Griffin. McIntosh is also a poet, drummer and dancer who draws his creative inspiration and expression from his study of African art and culture. McIntosh’s bold, bright colors dance off the page and tantalize the senses. His work is profound in its statement and deliciously whimsical. His work is an honest portrayal of everyday life and the people who live it but on occasion, takes on public figures and world events most often employing satire as thick as the layers of paint or paper he uses to depict them. McIntosh’s work has been exhibited at numerous venues across the country including Dorsey’s Art Gallery, The Skylight Gallery, MOCADA (The Museum of Contemporary Diasporan Art), 843 Studio Gallery, The National Black Fine Art...

In Japan, they are known as Nishikigoi, or living jewels. These brilliantly colored varieties of the Amur carp have been selectively bred by family owned fisheries for generations. When I began this series of Gyotaku (Japanese fish printing) I studied the many varieties of Koi, each with their own unique colors and patterns. To create these pieces I print common carp I catch myself with sumi ink using traditional techniques used by Japanese fisherman...

This vibrant painting of Bauhaus reminiscences celebrates the bold colors, geometric forms, and architectural elegance of the Bauhaus movement. This captivating artwork combines dyna...

This artwork makes part of my small collection of abstract paintings created in various soft neutral earth tones. Main colors of this collection are grey, brown, suede, black, white....

Dominika Krechowicz is a professor at the Gdansk GUT The Art works from this series are painted with acrylic technique on fabriano watercolor paper. They were created from 2010 to ...

Acrylic on paper laid board. Frameless. Needs restoration

The organic aesthetic and textures of Peter Kuttner’s original boho minimalist artworks are the result of patient layering and original uses of media. Through a combination of paint ...

Walter Anderson ( American, 1903 - 1965) Hydrangeas, circa 1950 Mixed media on paper 11 x 8 1/2 inches Provenance: Luise Ross Gallery, New York Private Collection, New Jersey Acquired from the estate of the above, 2021 Walter Anderson firmly believed that quality art was an important part of life and should be made available to everyone. As he said, "There should be simple, good decorations, to be sold at prices to rival the five-and-ten." Noticing that only poor quality art was available in stores and little was available for children, he resolved to make art which could be reproduced easily and sell inexpensively — linoleum block prints. This technique enabled him to provide affordable, quality art. The technique of linoleum block printing is a simple concept; however, it requires much skill and talent to actually produce memorable art. Anderson purchased surplus "battleship linoleum," thicker than ordinary linoleum with a burlap backing for better support, to create his blocks. During the mid-1940s, he created almost 300 linocuts working in the attic of the sea-side plantation house, Oldfields, his wife's family home in Gautier. Masses of linoleum chips accumulated at the foot of the attic stairs as he often worked night and day. He began with sketching out a design directly on the linoleum. Once he had carved the image into the surface, he used the back of faded, surplus stock wallpaper that a friend sent him, laying long strips on top of the inked linoleum. A roller made of sewer pipe filled with sand served as his press. When the print was completed, he often colored it by hand with bold strokes and vivid colors. The prints were sold at Shearwater Pottery, the family business, for a mere dollar a foot. But "what about a well-designed fairy tale for a child's room?" he asked himself. Since there was a lack of affordable art for children, much of his work with linoleum blocks focused on subjects for children. He depicted fables and fairy tales ranging from Arabian Nights, to Germany and the Grimm Brothers' Rapunzel, to the French story of The White Cat, to the Greek tales such as Europa and the Bull, and to tales from China, India, and other cultures. Anderson also created "mini" books featuring the alphabet and Robinson Cat. The blocks are not only alive with the story being depicted, but they are also filled with designs taken from Best-Maugard's Method for Creative Design. Swirls, half-circles and zig-zag lines fill every available space on the linoleum block making them come alive and capture their audience. But fairy tales, children's verses and the "mini" books, consisting of about 90 blocks, were not the sole subject of Anderson's linoleum block prints. In total, he created approximately 300 linoleum blocks with subjects ranging from coastal flora and fauna, coastal animals, and sports and other coastal activities. Anderson even created linoleum blocks to be used to print tablecloths and clothing, some worn by his own children. Color and subjects of the linoleum block prints were not the only things that got them noticed. In 1945 when Anderson was creating these prints, the standard size of linoleum block prints was only 12 by 18 inches. These small dimensions were due to the common size of the paper available and the restrictions made by national competitions. Since Anderson used wallpaper...

Coming soon

Fethiye 40x30 cm

The painting is framed behind glass. About Prymon’s Exhibition Dopaminum and his paintings: ”Dopaminum” - Tomasz Prymon Dopamine – colloquially referred to as the hormone of love ...

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

Ron Stonier (1933-2001) was a dedicated Vancouver artist celebrated for his exploration of abstract painting, influenced by his mentors Gordon Smith and Jack Shadbolt, as well as by ...

The organic aesthetic and textures of Peter Kuttner’s original boho minimalist artworks are the result of patient layering and original uses of media. Through a combination of paint ...

"Let Me In, Let Me Out" - Abstract Mixed Media Composition Boldly colored abstract figurative composition by California artist Elizabeth Arrington Leaf (American, B-1955). Three lar...

Judd Mercer's (US based) "026 - Plein Air-Golden, CO" is a gouache painting depicting valley full of vibrant plants and bright green grass. Artist bio/statement Judd Mercer is a c...

"Take Only What You Need" is an original work by Stephen Namara, a Kenyan-born, African-American artist renowned for his expressive paintings and masterful drawings rendered in ink, ...

'The Family', gouache on fine art paper (1984), by Raymond Dèbieve. In a clear nod to Picasso's influence both stylistically and in terms of subject matter ...

Antonio Monasterio – The Muses in the Blue Forest

Exploring the purity of the feminine form and the excitement of High-End Fashion, artist Cindy Shaoul creates a dialogue between the figurative and the abstract. Her spirited composi...

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 ...

This series by Enric Servera explores the relationship of humans to salt and seawater. The intention of these works is to submerge us into the sea, a salty treasure that surrounds us...

Title: PaperLandscape Artist: Marilina Marchica Year: 2025 Dimensions: 116X89 cm Technique: Mixed media ( paper collage and paint) Description: An original artwork representing a min...

'Dark Vessel with House Plant' by Ellen Rolli is a charming still life composition rendered in mixed media on paper. Measuring 12 x 9 in, this piece showcases the artist's distinctiv...

This abstract expressionist oil landscape painting, titled "Canet Beach 0.2," by French artist Natalya Mougenot, captures the essence of movement and color in a dynamic coastal scene...

Acrylic on paper contemporary figurative painting by Michal Wojtysiak. Artwork depicts Jaguar car in realistic style. MICHAŁ WOJTYSIAK (ur. 1984) Graduated of Academy of Fine Arts ...

"Vibrant Strokes on Violet" is an abstract painting diptych by Spanish artist Natalia Roman. It is a beautiful series of rhythmic brushstrokes combined with subtle tones and unique s...

Still Life with a Blue Vase 70x50 cm

James MacMaster Gray Morning Signed and titled lower left Watercolor on paper 10 1/4 x 14 inches Provenance: Private Collection, New Jersey

This illustration-style painting captures the lush elegance of pink elephant ear leaves, their broad, heart-shaped forms unfurling in delicate gradients of blush, rose, and soft mage...

A small octopus is inked in the Japanese style of Gyo-Taku print making. Using sumi ink to "print" the octopus, the artist then embellishes it with colored pencil to convey an extra...

Italian artist Fabio Coruzzi merges painting and photography into one imaginative image that offers a new outlook on an otherwise ordinary urban scene. His artworks represent an auth...

Botanical watercolour and gouache on paper circa 1920 by French fauvist painter Raoul Dufy. The work depicts flowers in red, blue and green. This work was executed by Dufy as a fabric design. Dimensions: Framed: 19.5"x19.5" Unframed: 12"x12" 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...

mixed media on paper artwork size: 40h x 30w framed size: 47h x 34.5

In this series, Perrine explores the profound relationship between light and color, both essential elements in her artistic expression. Without light, there would be no colors, and i...

DNA is genetic information, hidden and encrypted in body fluids. Veiled data that we load, that we do not know and that someone knows how to decipher. Such specifications characteriz...

A rare original signed Art Deco gouache on paper by Erte (Romain de Tirtoff) . This stunning theatrical costume design is signed Erte at the lower right. The piece is 20 by 18 fram...

In this contemporary abstract painting in acrylic on Yupo paper, gradient stripes of color in pale yellow and magenta purple are vibrant and carefully ordered. Signed, dated and titl...

Artist: Eduard Matevosyan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Paper Year: 2025 Style: Figurative art Title: Woman Portrait Size: 17" x 14" x ...

This piece depicts iconic Logos with vintage news paper clippings from the mid century. We find Jacqueline Kennedy Onassis lower left, with other Americana imagery through out. Celeb...

Juanita Guccione (1904 - 1999) Study for Ladders, 1948 Gouache on paper 17 x 13 inches Signed lower left, dated, and inscribed “Study for Oil Painting...

Love in Black and Gold - Original Acrylic on Canvas with Quartz Multicolored, iridescent abstract composition by Judith W Winslow (JW) (American, 1943-2023). This piece is textured ...

Sunil Das - Horse - 9.5 x 7 inches (unframed size) Ink on Paper Inclusive of shipment in ready to hang form. Sunil Das was one of India's most important postmodernist painters and r...

Modern abstract painting of grass and leaves in varying blues, grays, reds, gold, and browns by artist Spe, 2013. Signed lower right. Original artwork on paper displayed on a whit...

The organic aesthetic and textures of Peter Kuttner’s original boho minimalist artworks are the result of patient layering and original uses of media. Through a combination of paint ...

Signed lower right, 'Di Gesu' for Victor Di Gesu (American, 1914-1988) and created circa 1950. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art Cen...

Outstanding male portrait by 20th-century American artist, Vito Tomasello. Portrait of Young Man, John Alcorn, Eliot House, Cambridge MA. Pencil on pap...

Ky Anderson Seedling 25.8, 2025 acrylic on watercolor paper 30 x 22 in. (and484) Artist Statement: My work falls somewhere between abstraction, formalism and narrative painting. I...

Archival pigment ink print on Hahnemuhle cotton paper, edition 3 of 30. In this new series of paintings, Moore explores themes of wanderlust and memory. From glowing neon signage, t...

Melissa Chalhoub, a 2014 graduate of Saint Joseph University in Beirut, seamlessly navigates the realms of cinema and visual art. With a background in directing and sound design for ...

Girl in a cafe 70x50 cm

Peter Stephens Quadrivium 83, 2025 acrylic and collage on paper 30 x 22 in image size: 13 ½ x 17½ in (ste031)

Barcelona native artist Raul de la Torre's vibrant abstract mixed media artworks pay homage to textiles. De La Torre allows the materials to take over during the process and collabor...

This still-life painting depicts a bouquet of yellow, red and dark pink gladioli in a vase on the wooden table. This painting allow me to discover a wider palette, exploring new co...

A small octopus is inked in the Japanese style of Gyo-Taku print making. Using sumi ink to "print" the octopus, the artist then embellishes it with colored pencil to convey an extraordinary dimensionality. By printing it on Mulberry paper, which mimics the swirl of water, the artist achieves a beautiful aesthetic. The artwork is matted and framed in a white wooden frame measuring 18.25h x 24.25w x 1d inches. Jeff Conroy Stay Golden Pony Boy sumi ink and colored pencil on mulberry paper 12.50h x 18.25w in 31.75h x 46.35w cm JEC123 Gyotaku - A Japanese word translated from "gyo" meaning fish and "taku" meaning stone impression and is believed to get its inspiration from Chinese stone rubbings...

Jewelled Posy [2021] Original Flowers Watercolour, gouache and gesso Image Size: H:65 cm x W:50 cm Paper Size: H:69 cm x W:53 cm x D:0.001cm Sold Unframed Please note that insitu ima...

This is a contemporary abstract watercolor painting by artist David Ruth. This series of paintings often feature bright colors and vibrant layouts that draw the viewer in. They are c...

Columbus, Georgia (USA) based artist Kellie Newsome specializes in dynamic and abstracted still-life artworks. Her expressive style emphasizes line structure, creating vibrant painti...

Effloresce (Abstract painting) Oil on paper - Unframed Framed on request Spielman uses oil paint on canvas, paper and panel in various sizes; she works on up to forty paintings at ...