Pencil Paintings

PETER HALLEY 6/21/96.9, 1998 Graphite and ink drawing Hand-signed by artist, signed and dated in graphite lower right front; lower left front bears title: 6/21/96.9 Frame included: elegantly matted and framed in a hand made museum frame with UV plexiglass signed and dated in graphite lower right front; lower left front bears title: 6/21/96.9 This is a unique work Frame included: elegantly floated and framed in a museum quality hand made white wood frame under UV plexiglass Measurements: Framed 16.5 inches vertical by 13 inches horizontal by 1.5 inches Artwork (visible) 10 inches vertical by 8 inches horizontal Peter Halley Biography Peter Halley was born in 1953 in New York. He began his formal training at Phillips Academy in Andover, Massachusetts, from which he graduated in 1971. During that time, Halley read Josef Albers’s Interaction of Color (1981), which would influence him throughout his career. From 1973 to 1974 Halley lived in New Orleans, where he absorbed the vibrant cultural influences of the city, began using commercial materials in his art, and first became acquainted with the writings of earthwork artist Robert Smithson. In 1975 the artist graduated from Yale University, New Haven, with a degree in art history. After Yale, Halley returned to New Orleans, where he received an MFA in painting from the University of New Orleans in 1978. He had his first solo exhibition at the Contemporary Art Center, New Orleans, that same year. In 1978 Halley spent a semester teaching art at the University of Louisiana, Lafayette. He has continued to teach throughout his career. In 1980, Halley moved back to New York and had his first solo exhibition in the city at PS122 Gallery. At this time, Halley was drawn to the pop themes and social issues addressed in New Wave music. Inspired by New York’s intense urban environment, Halley set out to use the language of geometric abstraction to describe the actual geometricized space around him. He also began his iconic use of fluorescent Day-Glo paint. In 1984, Halley started to exhibit with the International With Monument gallery, becoming closely associated with the organization and its artists, who exhibited conceptually rigorous work in a market-savvy, coolly presented space that stood in stark contrast to the bohemian, Neo-Expressionist flair of the East Village art scene at the time. In 1986, an exhibition of four artists from International With Monument at the Sonnabend Gallery in New York heralded the group’s growing success. By the late 1980s, Halley was exhibiting with prominent galleries in the United States and Europe. In 1989, an exhibition of his paintings traveled to the Museum Haus Esters, Krefeld, Germany; Maison de la culture et de la communication de Saint-Étienne, France; and Institute of Contemporary Arts, London. From 1991 to 1992, a retrospective toured Europe, with presentations at the CAPC Musée d’art contemporain de Bordeaux, France; Musée d’art contemporain, Lausanne, Switzerland; Museo nacional centro de arte Reina Sofía, Madrid; and Stedelijk Museum, Amsterdam. In 1992, the Des Moines Art Center hosted his first solo exhibition at a U.S. museum. While developing his visual language, Halley became interested in French post-structuralist writers, including Jean Baudrillard, Guy Debord, Michel Foucault, and Paul Virillio, all of whom shared his concern with the character of social spaces in a post-industrial society. In 1981, he published his first essay “Beat, Minimalism, New Wave, and Robert Smithson” in Arts, a New York–based magazine that would publish eight of his essays before the decade’s end. Halley’s writings became the basis for Neo-Geometric Conceptualism (also known as Neo-Geo), the offshoot of Neo-Conceptualism associated with the work of Ashley Bickerton, Halley, and Jeff Koons. In 1988, the artist’s writings were anthologized in Collected Essays, 1981–1987, and again in 1997 in a second anthology, Recent Essays, 1990–1996. In the mid-1990s, Halley began to produce site-specific installations for museums, galleries, and public spaces. These characteristically brought together a range of imagery and mediums, including paintings, wall-size flowcharts, and digitally generated wallpaper prints. Halley has executed permanent installations at the Dallas/Fort Worth International Airport, Texas, and the Gallatin School of Individualized Study at New York University. In 2011, his installation of digital prints Judgment Day...

"The frame of this artwork is slightly tilted intentionally by the artist." At Escat Gallery we are committed to maintaining the highest standards of trust and professionalism for o...

James Floyd Clymer (1893-1982), ca.1930. Watercolor and pencil on paper measures 15 x 20.5 inches. Signed lower margin. James Floyd Clymer ( 1893-1982 ) known for his Regionalist ...

Sergio Valenzuela “Valenz” is a contemporary Guatemalan artist who tells stories with everyday objects, primarily expressing them with graphite and acrylic on canvas. His medium to l...

"Various questions have led me to where my work is today. Primarily, what is the nature of a specific thing if it can be represented in various ways, even in opposing ways? Essential...

This piece Owen depicts an abstract composition with the use of mixed media and bold patterns producing work which is visually textured and rich with layers and is a part of the arti...

LE CRÂNE 2020 Paris, France A faint gesture of a skull, ‘le crane,’ lives on a pale pink background, and interacts with other abstract detailing, creating movement and tension. Evan...

Beautiful abstract painting by American artist, James Floyd Clymer (1893-1982). At the Weir Trap, ca. 1930. Watercolor and pencil on paper measures 15 x 20 inches. Signed lower margi...

Warren St 18 (Abstract Drawing) Spray paint, pencil, ink, watercolor on paper. Unframed. Peter Soriano is a Philippines-born French-American abstract artist wh...

The Wilder Shore of Love is a paean to the south coast, the celebration of distance, natural power and shoreline. The colours reflect those one finds at the edges of city, where the...

This bold contemporary composition by Yvonne Lammerich is an intriguing exploration of colour and form. Origami-like folded shapes inter-connected by fine lines dance across this col...

Mauricio Sandoval (Aguascalientes, México, 1960) Lives and works in Mexico City Mauricio Sandoval is an abstract painter, one of the best ever in Mexico; he creates his own pictoria...

Swedish artist Jonas Fisch’s imagery is vibrantly buzzing with colorful commentary on society - past and present - morphed into figures, words, and shapes. His heavily layered canvas...

Delicate strokes and natural hues shape Shiri Phillips' watercolor, ink, and colored pencil artworks, showcasing her exploration of minimalism and organic forms. Departing from her u...

Abstract geometric painting with a cool toned palette of green, blue, and grey with accents of black and white against a sea foam green colored acrylic wash background "Blue and Grey Green Plan" made by Hudson Valley artists, Donise English, in 2022 Graphite, colored pencil, and acrylic painting on vellum 24 x 18 inches unframed, 31 x 25 x 1.5 with an 8-ply white mat, non-glare plexi, and simple black moulding Signed, verso Excellent condition and ready to hang This abstract geometric painting on vellum was made by Hudson Valley based artist, Donise English, in 2022. The composition begins with a blue green toned background of acrylic wash. A grid of box-like patterns in sky blue, green, grey, and black with white line work are stacked to create an irregular shape or an "imagined city grid", says the artist. The painting on vellum is complemented by a simple black frame with an 8-ply white mat, non-glare plexi, and wire backing. It's in excellent condition and ready to hang. About the artist: Donise English emphasizes lines, grids, and fields of subtle color to evoke imagined places and invented structures. While precise lines and straight angles are often associated with themes in architecture and urban planning designs, English conveys a geometric motif guided by intuition rather than a ruler. Variations on grids retain flaws and unmistakable traces of the artists’ hand; her style of draftsmanship shies away from intellectualism and instead makes her compositions feel very personal. A central checkerboard formation floats over a ground of pastel color or washes of grey or cream. Each design is intensely intricate, incorporating gouache, acrylic, pen, graphite, ink and colored pencil. The artist recently retired from her decades career teaching at Marist College and is now devoted full time to her art making. Artist Statement: My work is about the way visual diagrams present information that describes how something is made or the way it is. I am interested in drawing and collaging multiple layers of information that refer abstractly to maps, architectural drawings and blueprints or patterns and structures found in such things as roller coasters, power lines and fences. I use gouache and collaged paper in a series of layers that are a visual and ideological response to the previous layer to define my pictorial space. For each piece I create a set of rules to follow about the use of a limited palette, a grid format, opacity of paper and whether a piece may include curving lines or maintain a rectilinear structure. Artist CV: EDUCATION Master of Fine Arts in Painting Bard College 1986 Bachelor of Science in Art History State University College at New Paltz 1977 Additional Study: New York Studio School (Drawing Marathons) Columbia University, School of Architecture Women’s Studio Workshop TEACHING Professor of Studio Art, Department of Art and Art History, Marist College, Poughkeepsie, NY Coordinator, Interior Design Program, Florence, Italy campus 1992-present AWARDS NYFA Fellowship in Painting 2018 Invitational Award for Outstanding Contemporary Talent, University of Bridgeport, CT 2000 Purchase Prize, “11th National Juried Exhibition” College of Notre Dame of Maryland, Baltimore 1999 First Prize, “Women in the Visual Arts ‘95” Erector Square Gallery, New Haven, CT 1995 Joseph A. Cain Memorial Purchase Award for Sculpture Del Mar College, Corpus Christi, TX 1994 Honorable Mention, “National Juried Exhibition” University of Bridgeport, CT 1993 Individual Artists Fellowship in Sculpture Dutchess Arts Fund 1992/93 Tallix, Morris, Singer Internship in Sculpture Tallix Foundry, Beacon, NY 1990/91 MEMBERSHIP Royal British Society of Sculptors SELECTED JURIED/INVITATIONAL EXHIBITIONS 2020 “edu: Art Faculty of the Hudson Valley”, Hudson Valley MOCA, Peekskill, NY 2019 “Contemporary Abstraction”, Carrie Haddad Gallery, Hudson, NY “Mixed Media”, SITE Gallery, Brooklyn, NY 2018 “JuxtaPositions”, The Painting Center, New York, NY “Peculiar Rarities”, Carrie Haddad Gallery, Hudson, NY 2017 “Interlock: Color and Contrast in Abstraction”, Carrie Haddad Gallery, Hudson, NY “Donise English: Encaustics”, Catskill Art Society, Livingston Manor, NY 2016 “Let’s Stay in Touch”, Howard County Center for the Arts, Ellicott City, MD “Under, Over, After Over”, Vassar College, Poughkeepsie, NY 2015 “Off the Grid”, Arts & Culture Program, Albany International Airport, Albany, NY “Gridspace”, KMOCA, Kingston, NY “Abstraction”, Carrie Haddad Gallery, Hudson, NY “Assuming Identity”, NY Institute of Technology, New York, NY 2013 “Modern Artists”, Carrie Haddad Gallery, Hudson, NY “Artists of the Mohawk-Hudson Region”, The Hyde Collection, Glens Falls, NY Stone Canoe/Community Folk Art Center, Syracuse, NY 2012 New York Institute of Technology, New York, NY “Contemporary Painters (Who Just Happen To Be Women)”, Carrie Haddad Gallery, Hudson, NY “Strange Glue: Collage at 100”, Cambridge School, Weston, MA “Dear Mother Nature”, Dorsky Museum, SUNY New Paltz, NY “Fresher Paint”, Rockland Center for the Arts, Nyack, NY Courthouse Gallery, Lake George Arts Project, Lake George, NY 2011 “Process+Content: Donise English”, Vassar College, Poughkeepsie, NY “Donise English-Paintings”,Orange County Community College, Newburgh, NY “Gender Matters/Matters of Gender”, Freedman Gallery, Albright College, Reading, PA 2010 Carrie Haddad Gallery, Hudson, NY “Encaustics: Wax and Image”, Westchester Community College, White Plains, NY “Dots, Lines and Figures”, Carrie Haddad Gallery, Hudson, NY “Spring Awakening”, NY Institute of Technology, New York, NY “Clay City Dreams”, NY Institute of Technology, New York, NY “Texture,Pattern, Fragment”, Krause Gallery, Moses Brown School, Providence, RI 2009 “Collage”, NY Institute of Technology, New York, NY “Working in Wax”, Bedford Gallery, Walnut Creek, CA “Encaustic 2009”, College of New Rochelle, NY “Three Artists”, Carrie Haddad Gallery, Hudson, NY “Convergence: The Human Experience”,Howard County Center for the Arts, MD 2008 “Suckers and Biters: Love, Lollipops, and Exquisite Corpse” Chashama Gallery, New York, NY Carrie Haddad Gallery, Hudson NY 2007 “Patterns and Light”, Blue Hill Gallery, Blue Hill, ME “Suckers and Biters”, AG Gallery, Brooklyn, NY 2006 “100 Artists, 100 Watercolors”, Jeannie Freilich Fine Art, New York, NY “On/Of Paper”,Kirkland Art Center, Clinton, NY “The Love Show”, Manchester Community College, Manchester, CT 2005 The Soap Factory, Minneapolis, MN “Small Tales”, Valdosta State University, Georgia National Juried Exhibition,Art Institute and Gallery Salisbury, MD, Juror: Stephen Haller “Greed, Envy, Jealousy, Fear”, TSL Warehouse, Hudson, NY 2004 “Women in the Middle: Borders, Barriers, Intersections” University of Wisconsin-Milwaukee “Girl Art Now”,Hera Gallery, Wakefield, RI 3 Person Exhibition, Monterey Peninsula College, Monterey, CA “The Feminine Eye”, Bradley University, Peoria, IL “Women Painting Women”, McNeese State University, Lake Charles, LA “Thought Patterns”, Kent Place Gallery, Summit, NJ “Surface, Matter and Artifice”, Dutchess Community College Art Gallery Poughkeepsie, NY 2003 “Beefcake/Cheesecake”,Orange County Center for Contemporary Art, Santa Ana, CA,Juror: Jamie Wilson, Curator Halpert Bienniel, Appalachian State University, Boone, NC Juror: Jeff Fleming, Senior Curator, Des Moines Art Center “The Great White Oak”, Garrison Art Center, Garrison, NY Carrie Haddad Gallery, Hudson, NY 2002 “Cat Calls”, Red Clay Arts, Brooklyn “Hudson Valley Regional”, SUNY New Paltz Juror: Sydney Jenkins, Director, Ramapo College Art Galleries 2001 One-Person Exhibition, Davis and Hall Gallery, Hudson, NY “Beyond the Surface”, Womanmade Gallery, Chicago One-Person Exhibition, Garrison Art Center, Garrison, NY 2000 “Vision 2000...

Abstract geometric painting in pastel shades of off-white, yellow, green, and light blue - inspired by abstract expressionist Richard Diebenkorn "Leave Me Alone" painted by Hudson Va...

Swedish artist Jonas Fisch’s imagery is vibrantly buzzing with colorful commentary on society - past and present - morphed into figures, words, and shapes. His heavily layered canvas...

This artwork will be shipped flat within the US. If shipped outside of the US this work will be shipped rolled in a dent-resistant tube. This method is especially safe for large work...

James Siena Untitled t-nail drawing (reference: two against two), 1999 Graphite on paper Pencil signed, titled, annotated and dated on the reverse of the sheet (see photos) also penc...

James Floyd Clymer (1893-1982), ca.1930. Watercolor and pencil on paper measures 14 x 20 inches. Signed lower margin. James Floyd Clymer ( 1893-1982 ) known for his Regionalist st...

Charmion von Wiegand Intersecting Magic Square, ca. 1963 Gouache on paperboard Signed and titled on the back of the artwork. The signature shown on the frame back is a photo of the actual signature on the artwork itself. Frame Included: elegantly floated and framed in hand made white wood museum frame with UV plexiglass This work is signed and titled on the back of the artwork itself. The signature shown on the back of the frame is a photo of the actual signature, since the actual pencil signature and title is on the artwork itself, which can't be seen within the frame Measurements: Frame: 21 x 17 x 1.5 inches Artwork: 18 x 14.25 inches The Estate of the celebrated artist Charmion Von Wiegand has been represented exclusively by Michael Rosenfeld...

I was inspired to begin this series during the winter when I was on a hike and discovered the movement of the branches that often go unnoticed during other times of the year when the...

Al Dickstein New York school Abstract Geometric work. Came in with small collection of his work including signed letters and a signeed card and some monogrammed pieces.. Signed with monogram and inscribed and signed verso. Showed at New York's Stable Gallery...

This series, started in 2016 conveys a color and emotional language and is inspired by the series Color as Adjective, a series of drawings and paintings that are visual representatio...

This series, started in 2016 conveys a color and emotional language and is inspired by the series Color as Adjective, a series of drawings and paintings that are visual representatio...

Barnstable by Joseph Conrad-Ferm, 2022 Acrylic paint, spray paint, marker, oil pastels, color pencil, and graphite on canvas W 58" x H 68.25" x D 1.5" "Barnstable county is a mass...

Danny Avidan’s paintings explore the tension between form and formlessness, using it as a way to reflect on the body and the creative process. His expressive gestures continuously at...

'Untitled II' abstract composition, mixed media on soft board, Japanese ink, oil, pencil and gouache by Erez Yardeni (2018). There is so much energy in th...

Jason Craighead (b.1971) is an abstract artist based in Raleigh, North Carolina. In his mixed-media works, drawing, painting, and writing fuse seamlessly together His surprising com...

ANTONI TÀPIES Spanish, 1923 - 2012 PARAGUAS signed "Tàpies" (lower right) paint and pencil on paper 22-1/2 x 15-1/6 inches (57 x 38.5 cm.) framed: 38-1/5 x 30-1/3 inches (97 x 77 cm....

Katherine Bello Title: Path Medium: oil and graphite on canvas Year: 2021 Size: 30" x 20" x 1.5" Signed, dated and inscribed by hand COA provided (issued by representing gallery) Katherine Bello's aim as an artist is to capture a sense of place, a moment of time, or a feeling - to evoke a sense of wonder. Bello loves paint and paint brushes; bold, gestural mark-making and the interplay of color. She is influenced by light and landscape, poetry, history and science. Formerly educated in Chemical Engineering and Interior Design, Bello is drawn to the process of creating Something out of Nothing. Abstract, sbstract art...

Impetus denotes the transmission of power, even attach. We over value the transmission of power from mover to the object moved. Lack of impetus is not necessarily want of impetus.

At Escat Gallery we are committed to maintaining the highest standards of trust and professionalism for our collectors. Every artwork in our collection comes with a Certificate of Au...

Contemporary Abstract Painting of grid in pastel blue, grey, white, green and pink "When the World is a Monster" painted by Hudson Valley, NY based painter, Anthony Finta, in 2020 40...

"Petite Adagio in Burnt Umber" 2025, 60" H x 48" W. Abstract, mixed media painting consisting of acrylic, pencils, and oil pastels on canvas by Argentine-born artist Karina Gentinett...

Jodi Fuchs creates artworks that speak to the chaos and stillness (and the reconciliation of these two forces) that is inherent in the human experience. She...

Warren St 18 (Abstract Painting) Spray paint, pencil, ink, watercolor on paper. Unframed. Peter Soriano is a Philippines-born French-American abstract artist who divides his time b...

Orange, Green, Yellow, Turquoise, black - mixed media on canvas. Several pieces of this series hung together or as a single piece of art make for a very powerful statement. Drawn t...

Abstract expressionist figure, a seated blonde female nude with dynamic expressive lines by San Francisco artist Michael William Egglest...

Golfam Jozdani Saint Minecraft XXX Mixed Media on Cardboard; Acrylic, Pencil, Colored Pencil Size: 9.44 x 14.17 inches (24 x 36 cm) Signed and dated by hand COA provided *Framing Op...

This piece depicts an abstract composition with the use of mixed media and bold patterns producing a work that is visually textured and rich with layers, as Owen creates an intricate...

Jodi Fuchs' abstract expressionistic artworks emanate undeniable energy and captivate the eye with their vibrant colors and dynamic brushstrokes. Influenced by the metaphysical aspec...

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...

Large vertical self portrait by Bay Area artist Michael Pauker (American, b.1957). A minimalist portrait of the artist is at the center of this piece, w...

Combining fractions of abstracted drawings into one, Kimler creates a whole new abstracted form. With expressive pours of black paint and brushwork in charcoal and graphite, Kimler's...

Artist : Kory Twaddle Title : Nerve Center Materials : Acrylic, gouache, postage stamps, and mixed media on paper Date : 2018 Dimensions : 24 x 36 x 0.3 inches Kory Twaddle is a Ka...

Dorothy Dehner Untitled Mid Century Modern abstract sculptural drawing, 1955 Marker and graphite on paper Signed and dated by Dorothy Dehner in black felt tip pen on the front Frame ...

Steven H. Rehfeld (American, born 1954) 'Energy' 2022 Oil paint, pencil, mixed media, canvas, stretcher bars The artist signed the back of the painting. Steven Rehfeld's 36" x 36" m...

This painting is part of my series titled the "Essence Revealed." The series explores the interplay between presence and absence, employing negative space as a vital component within...

This original 1960 abstract painting by Hilaire Hiler (1898–1966) exemplifies his distinctive structuralist style and modernist vision. Created during his influential period in New Mexico, the artwork features soothing, harmonious tones of pink and blue, expertly layered to evoke a sense of calm and balance. Signed in the lower right corner, this mid-century modern piece measures 15 ½ x 18 ¾ inches framed, with an image size of 14 x 17 ½ inches. Hilaire Hiler’s work stands out for its intellectual rigor and visual harmony, blending abstraction with a structuralist approach that explores color, form, and rhythm. About the Artist: Born in St. Paul, Minnesota, and raised in Providence, Rhode Island, Hiler received extensive art training at the Rhode Island School of Design, Pennsylvania Academy of the Fine Arts, and the University of Paris. Between 1919 and 1934, he lived in Paris, working as a jazz pianist while engaging deeply with the European avant-garde. After returning to the U.S., Hiler painted WPA murals for San Francisco’s Aquatic Park...

Subtly colored abstract geometric composition by J. Swidler (20th Century). A grid of 15 squares has been laid out in pencil, each square divided into different sections. Some of the...

Patricia Zippin Study For Anaganaga 2/6 1980s Mixed Media 30"x 23", unframed Signed in pencil bottom right and titled bottom left and signed and titled in pencil on reverse Patricia...

"Landscape" by Carlos Carnero (Uruguay/ French 1922-1980) Pen and pencil on paper, unframed paper: 16.75 x 5.75 inches provenance: the artists estate, Paris Fine original French drawing by the important and fascinating painter, Carlos Carnero (1922-1980). The painting has excellent provenance, having come from the artists estate sale in Paris. The artists close connection to one of the 20th centuries most important artists, Fernand Leger is of important significance, with his own work being widely collected and appreciated. The artist: Carlos Carnero (1922-1980), a native of Montevideo, emigrates to Paris and joins Fernand Léger's studio workshop at the end of the 1940s. Located on the Boulevard de Clichy, the workshop-school has some seventy-five students. At the end of his life, Léger elaborates a protest against Cubism advocates the return to the human figure. The head of the workshop, Nadia Khodasievich, brilliant painter, first pupil of Malevich, then of Leger in the mid-1920s, became the assistant thenthe mistress of this one and the wife in 1952. In the workshop, Carlos Carnero, soon nicknamed "Carlos" is noted for his talent and involvement. In addition to art education, the couple Léger entrusts the task of the secretariat of the workshop: movements of the stocks, inventory paintings, material organization of exhibitions. After the death of Léger in 1955, Carlos becomes very close to Nadia, rigorous in the construction of the posterity of the master. With his new companion Georges Bauquier, they found, on their own funds, the museum Fernand Léger de Biot - Carnero gives his assistance. Carnero's style is very close to that of his master, filled with joy and colorful dynamism. At the beginning of the 50's, he tried the cubisante figuration of the portraits of Picasso then adopts the abstract balances between lines, shapes and colors of Léger. Some dates: Classical studies in Montevideo (Uruguay). 1941 to 1946 School of Fine Arts, architecture section (Montevideo). 1947 Travel grant (Italy, Spain, France). 1948 Painting workshop at André Lhote workshop. 1949 Entered the Académie Fernand Léger, first student, then 1949 to 1955 Assistant-collaborator of Fernand Léger. 1955 to 1970 Collaborator of Nadia Khodasievitch and Georges Bauquier. Exhibitions: 1950 Galerie Jeanne Bucher, Paris, Atelier Fernand Léger, Exposition collective, juillet 1950. 1951 Académie des Beaux-Arts, Paris, Atelier Fernand Léger, exposition annuelle, décembre 1951. 1953 Salon des Artistes indépendants, Paris. 1953-1954 Galerie Gentilhommière, Paris, Groupe 53. 1957-1958 Première Biennale de la “Jeune Peinture”, musée des Arts décoratifs, Paris, mai-juin 1957, Francfort, Montréal, 1958. 1959 “École de Paris” à Vienne, Linz, Gratz. Galerie de France, “Cinq peintres – Un sculpteur”. 1960 Galerie Création à Roubaix. Exposition personnelle. 1961 Galerie Pierre Weiller à Paris. Exposition personnelle. Salon des Réalités nouvelles. Palais des Beaux-Arts de Bruxelles. Exposition personnelle, mai 1961. 1962 Musée des Arts décoratifs, Paris, “Antagonismes 2 - L’objet”, juillet-octobre 1962. Galerie Pierre Weiller, Paris, “Poèmes Peints”, mars-avril 1962. Exposition personnelle. Musée d’Art moderne de la Ville de Paris : “L’art latino-américain à Paris”. 1962-1963 Exposition de peinture contemporaine, Communauté européenne, Prix Marzotto. Italie, Allemagne, Belgique, France. Exposition des Artistes latino-américains, Musée d’Art moderne de la Ville de Paris. “Expressions Nouvelles”, Antibes. 1962 à 1965 Salon “Comparaisons”. L’Oeil de Boeuf, Galerie 7...

“Resonant Lines” is part of my Landscapes of the inner eye series of paintings which explore the memory of places that we carry in our imagination rather tha...

Alan Shields Untitled double sided mixed media work, 1974 Mixed media: watercolor, string, and torn paper held in custom standing frame Signed, dated, and numbered lower edge '10/12 ...

This abstract painting features cool grey background and layers of metallic gold throughout. The central abstract form is composed of imperfect shapes placed side by side. The painti...

Kader Boly is known for painting pastoral and communal scenes from his life as a nomadic herder in the Fulani tribe, on the plains of West Africa. Kader’s work is set apart using han...

Saint Clair Cemin (Brazilian-American) Double Sculpture, 1987 Graphite and watercolor on paper Hand signed, dated and titled on the back of the sheet ...

This piece depicts an abstract composition with the use of mixed media and bold patterns producing a work that is visually textured and rich with layers, as Owen creates an intricate...

Sonia Gechtoff The City at Twilight: Twin Towers II, 1985 Acrylic and pencil on paper (held in original frame with Gruenebaum Gallery, NY label) Signed and dated on the front; also b...