Color-Field Art

Mark Rothko (After) National Gallery Contemporary Collection poster, 1988 Offset lithograph poster 41 × 30 inches Unframed National Gallery, Twentieth Century Collection, 1988 Offset...

Valery Gazukin (1951-2014) – Portrait of Sergei, Ural Avant-Garde Urals, 1970s-1980s Medium: tempera on cardboard Dimensions: 40 x 40 cm (53 x 51 cm with frame) Signature: signed l...

Vivian Springford Expansionist Series (VSF295), circa 1970 Signed on the reverse Acrylic on canvas 28 1/4 x 24 1/4 inches A contributor to Abstract Expressionism and Color Field pa...

Mid 20th Century oil on card Colour Field view of horses in a landscape at Cacherle-St Marie de la Mer in the Camargue. The painting is signed Ch Bonnefoi and dated bottom right and ...

A modern contemporary color field painting by Edouard D. Louis. Titled Aqua Sunset and housed in a contemporary natural wood frame presentation Measuring 30" (h) x 24" (w) unframed.

Wolf Kahn Blau-Grün (Blue-Green), 2000 Pastel painting on paper Signed on the lower left front Frame included: elegantly framed in a museum quality white wood frame with UV plexiglas...

Vivian Springford Untitled (Rice Paper Mounting), 1963-65 Signed lower left Ink, watercolor and acrylic on rice paper laid to canvas 27 1/4 x 53 3/8 inches A contributor to Abstrac...

A contemporary abstract geometric colour field landscape in oil on canvas board by Dutch artist Bernadette Van Baarsen. Signed bottom left and presented i...

Kenneth Noland Untitled Target, 2001 Acrylic paint on offset lithograph paper Signed, dated, and dedicated along lower edge: For Howard and Susan with Love Kenneth Noland 6.10.01 Fra...

Larry Poons Midget Racer, 1963 Colored Pencil on Graph Paper Signed, titled, and dated by the artist on the lower right front Original frame with gallery label included This work has...

"Legato 2" - Chartreuse Abstract Geometric Screen Print Geometric abstract screen print with chartreuse color field by Michael Hale (B...

Katheryn Holt (American, born 1951) "Reflection" 2024 Oil paint, Mixed Media, Wood Panel, Wood The artist signed the back of the painting. "Reflection" by Katheryn Holt is a stunnin...

Danish oil on board painting of couples making their way in a landscape, by Poul Møller. Though not signed the painting has a dated artist's label to the side of the frame. Presented...

Sherron Francis Bandoline III, 1978 Signed, titled and dated on the reverse Acrylic and mixed media on canvas 49 x 71 1/2 inches Artists such as Helen Frankenthaler, Morris Louis, ...

Kenneth Noland Untitled Target, 2004 Lithograph on hand made paper with deckled edges Signed and numbered in pencil from the limited edition of 75 on the lower front; bears the artis...

Paul Feeley Rafina II Greece, 1961 Watercolour on paper Hand Signed, titled and dated lower front In 1961, color field painter Paul Feeley created a series of watercolors - Rafina an...

'Green and Blue No.2' is a colour field abstract artwork, focusing on the interplay of form and tone within a monochromatic composition. The deep blue hue creates a sense of depth an...

Larry Zox Dexter's Choice, State II, ca. 1990 Mixed media, Watercolor pochoir, and Oil stick Wax, Water-Based Crayons, on heavy Arches museum watercolor rag paper with deckled edges 40 × 60 in 101.6 × 152.4 cm Edition 8/30 (unique variant) Frame included Measurements: Sheet: 40 inches (vertical) by 60 inches (horizontal) Frame: 42 inches x 62 inches x 1 inch Dexter's Choice, State # II is a unique, mixed media work from an edition of 30 unique variants done in pochoir, (25 stencils, 14 colors). Here, Zox uses watercolor instead of inks, which is applied to heavy 300 lb. watercolor paper. Although it is a multiple signed and numbered from the edition of 30, each work of art is unique because of how the paper receives the watercolor brush. In addition, this work is created like a mixed media painting because it has 11 lines added by hand with wax and water based crayons and oil sticks. The unique watercolor technique that Zox employed in making "Dexter's Choice" is documented in the textbook, "Screen Printing: Water Based Techniques,Roni Henning, NYIT ". Dexter's Choice was published by Images Gallery, and this work was acquired directly from the publisher before they sold out. This work is elegantly floated and framed in a white wood frame. Accompanied by gallery issued Certificate of Guarantee Larry Zox Biography: A PAINTER who played an essential role in the Color Field discourse of the 1960s and 1970s, Larry Zox is best known for his intensely and brilliantly colored geometric abstractions that question and violate symmetry.1 Zox stated in 1965: “Being contrary is the only way I can get at anything.” To Zox, this position was not necessarily arbitrary, but instead meant “responding to something in an examination of it [such as] using
a mechanical format with X number of possibilities.”2 What he sought was to “get at the specific character and quality of each painting in and for itself,” as James Monte stated in his introductory essay in the catalogue for Zox’s 1973–1974 solo exhibition at the Whitney Museum of American Art.3 Zox’s robust paintings reveal
a celebrated artist and master of composition who is explored and challenged the possibilities of Post-Painterly Abstraction and Minimalist pictorial conventions. Zox began to receive attention in the 1960s when he was included in several groundbreaking exhibitions of Color Field and Minimalist art, including Shape and Structure (1965), organized by Henry Geldzahler and Frank Stella for Tibor de Nagy, New York, and Systemic Painting (1966), organized by Lawrence Alloway for the Solomon R. Guggenheim Museum, New York. In 1973–1974, the Whitney’s solo exhibition of Zox’s work gave recognition to his significance in the art scene of the preceding decade. In the following year, he was represented in the inaugural exhibition of the Hirshhorn Museum and Sculpture Garden, Wahsington, DC, which acquired fourteen of his works.
 Zox was born in Des Moines, Iowa in 1937. He attended the University of Oklahoma and Drake University, Des Moines, Iowa, and then studied under George Grosz at the Des Moines Art Center. In 1958, Zox moved to New York, joining the downtown art scene. His studio on 20th Street became a gathering place for artists, jazz musicians, bikers, and boxers, and he occasionally sparred with visiting fighters. He later established a studio in East Hampton, a former black smithy used previously by Jackson Pollock. In his earliest works, such as Banner (1962) Zox created
collages consisting of pieces of painted paper stapled onto sheets of plywood. He then produced paintings that were illusions of collages, including both torn- and trued-edged forms, to which he added a wide range of strong hues that created ambiguous surfaces. In paintings such as For Jean (1963), he omitted the collage aspect of his work and applied flat color areas to create more complete statements of pure color and shape. He then replaced these torn and expressive edges with clean and impersonal lines that would define his work for the next decade. From 1962 to 1965, he produced his Rotation series, at first creating plywood and Plexiglas reliefs, which turned squares into dynamic polygons. He used these shapes in his paintings as well, employing white as a foil between colors to produce negative spaces that suggest that the colored shapes had only been cut out and laid down instead of painted. The New York Times in 1964 wrote of the works in show such as Rotation B (1964) and of the artist: “The artist is hip, cool, adventurous, not content to stay with the mere exercise of sensibility that one sees in smaller works.”4 In 1965, he began the Scissor Jack series, in which he arranged opposing triangular shapes with inverted Vs of bare canvas at their centers that threaten to split their compositions apart. In several works from this series, Zox was inspired by ancient Chinese water vessels. With a mathematical precision and a poetic license, Zox flattened the three dimensional object onto graph paper, and later translated his interpretation of the vessel’s lines onto canvas with masking tape, forming the structure of the painting. The Diamond Cut and Diamond Drill paintings...

Wolf Kahn Bay with Boats, 1987 Color monotype on Somerset white wove paper Hand signed and dated by Wolf Kahn on the lower right front, bears labels on the back Frame Included: matte...

This 30 color screen print was created at Brand X Editions to commemorate the terrorist attacks of September 11, 2001 in New York City. This print comes directly from the publisher, Lincoln Center Editions...

Francine Tint (b. 1943) Another Time Thick acrylic impasto on board, 1999, Hand signed 'Francine Tint' titled, dated Inscribed 'To Piri, Enjoy Much Love' on the reverse. 14 x 15 1/...

encaustic on wood Michael David is best known for his use of encaustic on large abstract paintings. A practitioner of Abstract Expressionism, David layers beeswax and pigment to ...

Larry Zox Untitled IV, ca. 1979 Pochoir on Arches Paper with Deckled Edges. Hand signed and annotated Printers Proof in pencil on the lower front. 28 1/2 × 22 1/2 inches Unframed This beautiful Larry Zox pochoir on Arches paper with deckled edges a unique Printers Proofs - signed by the artist in pencil on the lower front. We do not know the size of the regular edition, or whether there is a regular edition, but this is indeed a unique PP. LARRY ZOX BiIOGRAPHY A painter who played an essential role in the Color Field discourse of the 1960s and 1970s, Larry Zox is best known for his intensely and brilliantly colored geometric abstractions, which question and violate symmetry. Zox stated in 1965: “Being contrary is the only way I can get at anything.” To Zox, this position was not necessarily arbitrary, but instead meant “responding to something in an examination of it [such as] using a mechanical format with X number of possibilities.”[2] What he sought was to “get at the specific character and quality of each painting in and for itself,” as James Monte stated in his introductory essay in the catalogue for Zox’s 1973–74 solo exhibition at the Whitney Museum of American Art.[3] Zox also at times used a freer, more intuitive method, while maintaining coloristic autonomy, which became increasingly important to him in his later career. Zox began to receive attention in the 1960s, when he was included in several groundbreaking exhibitions of Color Field and Minimalist art, including Shape and Structure (1965), organized by Henry Geldzahler and Frank Stella for Tibor de Nagy, New York, and Systemic Painting (1966), organized by Lawrence Alloway for the Guggenheim Museum. In 1973–74, the Whitney’s solo exhibition of Zox’s work gave recognition to his significance in the art scene of the preceding decade. In the following year, he was represented in the inaugural exhibition of the Hirshhorn Museum, which acquired fourteen of his works. Zox was born in Des Moines, Iowa. He attended the University of Oklahoma and Drake University, and then studied under George Grosz at the Des Moines Art Center. In 1958, Zox moved to New York, joining the downtown art scene. His studio on 20th Street became a gathering place for artists, jazz musicians, bikers, and boxers. He occasionally sparred with visiting fighters. He later established a studio in East Hampton, a former black smithy used previously by Jackson Pollock. Zox’s earliest works were collages consisting of pieces of painted paper stapled onto sheets of plywood. He then produced paintings that were illusions of collages, including both torn- and trued-edged forms, to which he added a wide range of strong hues that created ambiguous surfaces. Next, he omitted the collage aspect of his work and applied flat color areas to create more complete statements of pure color and shape. He then replaced these torn and expressive edges with clean and impersonal lines that would define his work for the next decade. From 1962 to 1965, he produced his Rotation series, at first creating plywood and Plexiglas reliefs, which turned squares into dynamic polygons. He used these shapes in his paintings as well, employing white as a foil between colors to produce negative spaces that suggest that the colored shapes had only been cut out and laid down instead of painted. The New York Times noted in 1964: “The artist is hip, cool, adventurous, not content to stay with the mere exercise of sensibility that one sees in smaller works.”[4] In 1965, he began the Scissors Jack series, in which he arranged opposing triangular shapes with inverted Vs of bare canvas at their centers that threaten to split their compositions apart. In several works from this series, Zox was inspired by ancient Chinese water vessels. With a mathematical precision and a poetic license, Zox flattened the three dimensional object onto graph paper, and later translated his interpretation of vessel’s lines onto canvas with masking tape, forming the structure of the painting. The Diamond Cut and Diamond Drill paintings...

'Echoes No.2 ' London, United Kingdom 2024 Limited edition of 10 Pinted on archival Hahnehmule Photo rag paper, with care and attention to detail. The process involves layerin...

Color screenprint on Arches paper. Signed, titled, dated and numbered 22/73 in pencil by Gilliam. Printed by Lou Stovall at the Workshop, Inc., Washington,...

Jack Bush Jack Bush at Andre Emmerich, 1966 Offset lithograph exhibition poster. Postmarked to McNay Art institute director 22 1/2 × 17 3/4 inches Unframed This special mid century modern exhibition...

Shooting Star - 1979 Print - Silkscreen 36.5'' x 36.75'' Edition: Signed in pencil, dated and marked 238/250 Unframed

Friedel Dzubas (1915-1994) was a Berlin-born, American abstract painter and a key artist associated with both the New York School and the Color Field movement. Dzubas studied art i...

"Tarantella" - Geometric Abstract Screen Print with Peach, Red, and Black A minimal geometric abstract screen print in peach, red and black by Michael Hale (British, b. 1934). Prese...

“Rift Valley, Sonde III” is a richly textured mixed-media composition that captures the interplay between organic and abstract forms, evoking the raw beauty of nature. The earthy pa...

Kenneth Noland Untitled, 1987 Monotype with hand painting on wove paper Hand signed and dated with artist's copyright in pencil on the back; also with the blind stamp/chop mark lower...

"Blue and Green Abstract" by Claudia Sisemore, acylic on canvas, 43.5 x 46 inches, $4,800. "I have a vague idea of what I am going to paint. I...

Jules Olitski Play of Angels, 2000 Watercolor and gouache on all-rag paper Signed and dated 2000 by the artist on the front Frame included (elegantly floated and framed in light wood...

Danish oil on board painting of two women making their way home in a coastal landscape, by Poul Møller. The painting is signed PM and dated 76 to the bottom right corner. To the reve...

Katheryn Holt (American, born 1951) "Rivers End" 2022 Oil Paint, Mixed Media, Wood Panel, Wood The artist signed the back of the painting. 'River's End' by Katheryn Holt is an intri...

A French Fauvist Color-Field gouache and chalk on paper landscape by G Ricard. The painting is not signed but was acquired from the atelier of the artist. There is another painting o...

Silkscreen by Washington Color School artist Howard Mehring (1931-1978). Work is printed on thick wove paper circa 1970. Work was originally acquired from artists estate and is uns...

Katheryn Holt (American, born 1951) "Aqua" 2022 Oil Paint, Mixed Media, Wood Panel, Wood The artist signed the back of the painting. About the Artist: Katheryn Holt paints memory. H...

Boat Moon, in vivid blues a range of blue tones on Arches Paper. not framed. Signed, titled and dated verso. Francine Tint is a New York-based American abstract expressionist painter and costume designer...

Artist: Gene Davis Title: Carousel Year: 1980 Medium: Lithograph on Arches Paper, signed and numbered in pencil Edition: 250 Image 13.5 x 20 inches Paper Size: 17 x 24 inches

Danish mid century Colourfield oil on board painting of a rural landscape by Poul Møller. The painting is initial signed and dated bottom right and there i...

encaustic on wood Michael David is best known for his use of encaustic on large abstract paintings. A practitioner of Abstract Expressionism, David layers beeswax and pigment to ...

Exceptional and large painting by French artist Christian Gardair (French, b.1938). Painting is acrylic on polyester paper. Signed and titled "Oceano Graphie" dated 1983. Painting me...

Waterline Fine Art, Austin, TX is pleased to present the following work: Acrylic on canvas. Signed, dated, and titled verso. 52.25 x 52.75 in. 54 x 54.25 in. (framed) Custom framed in a maple hardwood floater. Provenance Salander O’Reilly Galleries, New York Private Collection, Connecticut Provenance Estate of Samuel Feinstein...

Leon Polk Smith (1906 -1996) holds a unique place in a long tradition of American geometric abstract painting. Born near Chikasha, a Native American territory later annexed by the U....

A striking contemporary two-toned colorfield abstract by Bay Area artist Michael Pauker (American, b. 1957). A large neutral textured section in cream sits atop a wavy abstraction in...

School of Paul Feeley Untitled, c. 1960s Oil on canvas 20 x 59 5/8 in. Signed lower right Primarily a painter, Paul Feeley (American, 1910 - 1966) favored canvases with simple geome...

Willem de Looper was born in The Hague, Netherlands, in 1932. He was raised in an environment that encouraged his enthusiasm for everything American, especially jazz. He came to the ...

Kenneth Noland (1924 – 2010) is one of the most important artists and contributors to the evolution of American abstraction. He is one of the most beloved figures in the Color-Field ...

Katheryn Holt (American, born 1951) "Offshore" 2021 Oil paint, Acrylic paint, Mixed Media, Wood Panel, Wood The artist signed the back of the painting. "Offshore," a 48" x 48" mixed...

Leon Polk Smith (1906 -1996) holds a unique place in a long tradition of American geometric abstract painting. Born near Chikasha, a Native American territory later annexed by the U....

Waterline Fine Art, Austin, TX is pleased to present the following work: Oil on canvas. Signed, titled, dated verso. 40 x 44 in. 41.5 x 45.5 in. (framed) Custom framed in a natura...

Jack Bush (1909-1977) is Canada's most successful abstract artist of the 20th century. Bush was a graduate of OCAD (Ontario College of Art & Design) and a key member of Painters Ele...

This stunning serigraph, "Untitled" (Diagonal Composition) was realized by the esteemed American color field artist Larry Zox (American, 1936-2006) circa 1965. It features a dynamic ...

encaustic on panel Michael David is best known for his use of encaustic on large abstract paintings. A practitioner of Abstract Expressionism, David layers beeswax and pigment to cr...

Although he socialized with such famous abstract expressionist artists as Lee Krasner and Robert Motherwell, Doug Ohlson creates paintings that are restrained and geometric in nature...

This artwork was made in the Colorfield concept with the character elements - the formulas on the painting are from mathematical game theory. In game theory, the battle of the sexes...

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...