Rag Paper Paintings

This is an exclusive handprinted limited edition cyanotype of gorgeous rolling clouds. Details: + Title: Dense Rolling Clouds + Year: 2024 + Edition Size: 100 + Stamped and Certifi...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of water, forests, and skies. These triptychs are large pieces that feature lush blues, making them an impressive addition to any beautifully designed space. Each triptych is printed by hand and carefully crafted to capture the unique essence of these natural environments, with a focus on the interplay of light and shadows, and the subtle nuances of tone and texture. The beach and ocean scenes depict the dynamic beauty of waves crashing against the shore, with the cyanotype process lending a dreamy, ethereal quality to the images. Similarly, the forest and wood scenes...

A work by contemporary African-American artist Bai (Carl Karni-Bain) a portrait of a black indigenous Indian chief. Acrylic, oil pastel, and ballpoint pen, The Black Indian Chief, 20...

Douglas M. Olsen (b. 1960). #38, After the Rains, 1980. Watercolor on rag paper, 22 x 22 inches. Signed lower margin and on verso.

"Dragon Fruit Bush" is an abstract expressionist painting by Romina Milano where a dance of black gestures unfolds across colorful brushstrokes infused with raw emotion. Romina Mil...

In contrasting colors that pop Live Composition II, 2024 by African American artist Bai is a 30” x 22” abstract acrylic, oil pastel, and ballpoint pen work on paper, presented in an ...

This is a beautiful landscape painting by Alexandra Czierpka. By reducing color and form to their essentials, she invites the observer to contemplate the harmony between humans and n...

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...

"Turkey Tail Mushrooms" is an abstract expressionist painting by Romina Milano where a dance of black gestures unfolds across colorful brushstrokes infused with raw emotion. Romina...

"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...

"Coral Curves II" is a hand-painted acrylic painting on high-quality 300g paper by artist Ryan Rivadeneyra. These painting, influenced by modernist artists of the 50's, 60's, and 70...

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...

Giclee print on archival cold press cotton rag, edition 9 of 25 with 5 APs. In this new series of paintings, Moore explores themes of wanderlust and memory. From glowing neon signag...

James Floyd Clymer (1893-1982), ca.1930. Watercolor and pencil on paper measures 15 x 20 inches. Signed lower margin. Tape residue marks on back. Glue marks at bottom left and ri...

A muted color acrylic and oil pastel of an androgenous subject with Modigliani eyes, Ornette by African American artist Bai is an enigmatic portrait made on 15” x 11” etching paper. ...

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...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of w...

Both painting and photograph, a painted print. This is a multistep combination of painting and a kind of alternative photographic process from the 1800s: cyanotype. The outline of th...

Artist: Pierre Marie Brisson (French, 1955-) Title: "Figure Sur Rouge (Figure on Red)" *Signed by Brisson lower right. It is also signed and dated on verso Year: 1983 Medium: Origina...

De Hirsh Margules (1899-1965). Christopher Street, 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15.5 x 20 inches. Window in matting measures 15 x 19 inches. Framed measurement: 23 x 30 inched. Bears fragment of original label affixed on verso. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC Exhibited: The American Federation of Arts Traveling Exhibition. From the facade of The Waverly at Christopher is depicted One Christopher Street, the 16-story Art Deco residential building erected in 1931. It is not a casual coincidence that the structure appears in this cityscape: 1 Christopher Street is the subject. The original intention of this project was to transform the neighborhood, bring a bit of affluence and make a bid to rival the Upper West Side. Margules, a sensitive aesthete, understood how a massive piece of architecture such as One changes a neighborhood. Sound, scale and focal points are forever altered. A pedestrian's sense of depth and distance becomes pronounced. All of these factors contribute to the intent behind this image. Tall buildings disrupt the human scale, change the skyline and carve up space. In this piece, negative space conforms to the man-made geometries. Clouds become gems fixed in settings. De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium" Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village. Early Life De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website. At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers. As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later. In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno). Artistic career In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting. Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe. Jane Heap, left, with Mina Loy and Ezra Pound During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter. In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa. Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that: the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment. Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow." It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day. In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel. Upon his return to New York in 1929, Margules attended an exhibition of John Marin's paintings. While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O'Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends." Alfred Stieglitz Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York. With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting. In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works. In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation. "The Baron of Greenwich Village"[edit] Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond. To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness." He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller. Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance. The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation. The writer and television personality Alexander King said I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean. King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets." Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler. Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...

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...

James Floyd Clymer (1893-1982), ca.1930. Watercolor and pencil on paper measures 15 x 20 inches. Signed lower margin. James Floyd Clymer ( 1893-1982 ) known for his Regionalist st...

Giclee print on archival cold press cotton rag. Every print is uniquely hand embellished by the artist with gold acrylic paint. Edition 5 of 10 with 5 APs. In this new series of pai...

"Lucky Dandelion" is an abstract expressionist painting by Romina Milano where a landscape of black gestures unfolds across colorful brushstrokes infused with raw emotion. Romina M...

"Urban Brushstrokes on Baby Blue" is an abstract painting diptych by Spanish artist Natalia Roman. It is a beautiful series of rhythmic brushstrokes comb...

This series of hand painted acrylic paintings by Natalia Roman are inspired by the colors and textures of Italian terrazzo tiling. The patterns created combine a variety of vivid col...

Original, uniquie cyanotype. “I love this means of directly using sun and water to create my art,” says Terri Dilling. “It is a collaboration with nature. The weather and the season...

James Floyd Clymer (1893-1982), ca.1930. Watercolor and pencil on paper measures 15 x 20 inches. Signed lower margin. James Floyd Clymer ( 1893-1982 ) known for his Regionalist st...

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...

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...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of water, forests, and skies. These...

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 ...

Douglas M. Olsen (b. 1960). #135, 1982. Watercolor on rag paper, 22 x 30 inches. Signed lower margin and on verso.

This new series of painting is an exciting transition for Kinney as he is best known for assemblage and sculpture. “Anim”, the Latin root word of animal, means life, soul or breath. This exhibition features select large-format monochromatic oil paintings on stretched canvas and wood panels. On view as well are works on paper with Japanese Sumi Ink, which inspired the oil paintings. Kinney has been looking at pre-historic cave paintings as well as animals depicted therein, such as the Chauvet caves in Nice, Southern France. Emerging from the inextricable interplay of light and dark, Kinney’s black and white ink paintings capture the ever-shifting subjectivity shaped by shadow. Cast in Japanese Sumi ink, each unique painting explores the trajectories of human and animal, natural and architectural form- what is revealed or hidden? A variety of hand-torn, heavy weight papers add textural dimension to each mark and brush stroke, as well as through the immediacy of brushstrokes to depict the action within the artwork In his latest collection of works, Kinney explores animal form and meaning as seen in both contemporary and ancient times. In “Savanna (Zebras) ”, a stampede of zebras is depicted through oil paint on wood panel. Animal populations in regions like the horn of Africa today face the loss of their natural habitats due to extreme draught. He explores the deep imprint they leave behind and the interconnectedness of humans and animals in the world. With the balance of nature at stake, Kinney’s paintings underscore the importance of the relationship between the natural environment and civilization. Matt Kinney...

"Wild Mushrooms IV" is an abstract expressionist painting by Romina Milano where a dance of black gestures unfolds across colorful brushstrokes infused with raw emotion. Romina Mil...

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...

"Empty Bottle of Wine" is a modern still life composition where an empty bottle of wine lays on a table, gracefully coexisting with a half-filled glass of...

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...

Archival pigment ink print on Hahnemuhle cotton paper, edition 13 of 30. In this new series of paintings, Moore explores themes of wanderlust and memory. From glowing neon signage, ...

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...

This is a combination of painting and photography, the antique cyanotype process. The silhouette of the plant was first drawn, then painted not with ink or paint, but with light-sens...

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...

Beautiful lanscape painting by American artist, James Floyd Clymer (1893-1982). Newfoundland, ca.1930. Watercolor and pencil on paper measures 14 x 20 inches. Signed lower margin. SHIPS ROLLED. James Floyd Clymer ( 1893-1982 ) known for his Regionalist style of land, sea and cityscapes, created paintings with an emphasis on color and form. His works possess a clear and simple style, easily understood by the masses. Born in Perkasie Pennsylvania, 20 miles north of Philadelphia, Clymer was the youngest of seven children. Losing his mother during childbirth, he was raised by his eldest sister. He attended Drexel University in Philadelphia, studying Art and Architecture and worked as an Architect in the years following World War I. During this time, Clymer met the artist Gwenyth Waugh, daughter of the renowned marine painter, Frederick Judd Waugh. His thrust then changed from Architect to Artist. Together, the couple travelled to destinations such as Spain and Newfoundland, where they gave birth to their only daughter. In the early 1920's, Clymer and family settled in Provincetown, MA and quickly became associated with notable artists such as Helen Sawyer...

This is a beautiful landscape painting by Alexandra Czierpka. By reducing color and form to their essentials, she invites the observer to contemplate the harmony between humans and n...

These series of paintings by Natalia Roman gather their inspiration from geometric, minimalist shapes and paintings from the beginning of Modernism, with a special emphasis on Art Deco shapes of the 30's, 40's and 50's. The subtle but chic color combinations will combine beautifully with both vintage and modern furniture without overtaking spaces that are carefully crafted by designers. Natalia Roman was born in 1984 in Girona, Spain. She has exhibited in galleries across Europe and her colorful, abstract paintings are part of private collections all over the world. Details: Title: Pale Blue Dots...

These series of paintings by Natalia Roman gather their inspiration from geometric, minimalist shapes and paintings from the beginning of Modernism, with a special emphasis on Art De...

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...

Artist: Alec Cumming Title: To the Sound of the Temple Medium: oil on paper Size: 97 x 63 cm (38 x 25") Year: 2016 Alec Cumming Exhibited at Alec Cummin...

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...

Giclee print on archival cold press cotton rag, edition 10 of 25 with 5 APs. In this new series of paintings, Moore explores themes of wanderlust and memory. From glowing neon signa...

This piece titled "Peek A Boo" is an original piece by Branche Coverdale and is made from acrylic gouache on Stonehenge rag paper. This piece measure...

This abstract geometric acrylic painting is a vibrant and playful composition that draws inspiration from vintage Italian parasols. With a focus on bold, bright colors and clean line...

"Lime and Black Line Work" is an abstract painting by Spanish artist Natalia Roman. It is a beautiful series of rhythmic brushstrokes combined with subtle tones and unique shapes tha...

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...

This lovely minimal black and white dog painting of a Bassett Hound, is a contemporary portrait in ink on Indian rag paper which displays Ian Mason's unique ability to harmoniously i...

Artist: Alec Cumming Title: Forms Inside the Moment Medium: oil on paper Size: 69cm x 99cm (27” x 38”) Year: 2016 Alec Cumming Exhibited at Alec Cumming...

Seeking the Sound of Cobalt Blue is a series of larger paintings on 8 ply museum board and large sheets of rag paper that have been created since the winter of 2016. Using domestic...

This is a combination of painting and photography, the antique cyanotype process and the biggest the artist has ever made. The silhouette of the plant was first drawn, then painted not with ink or paint, but with light-sensitive photo emulsion. The blue and white pattern seen in each leaf is a sun print or lensless photograph of tiny plants laid on top of the painted area. The tiny flowers in the pattern across the painted silhouette are of the same species as the larger painted flower. "Cow Parsnip" and "cow parsley" are common names for this giant white native Californian wildflower...

Bold and bright figurative acrylic painting on handmade rag paper of a couple in bathing suits by the pool after swimming, by Marc Foster Grant (American,...

Original, uniquie cyanotype. “I love this means of directly using sun and water to create my art,” says Terri Dilling. “It is a collaboration with nature. The weather and the season...