Ifpda International Fine Print Dealers Association Abstract Drawings and Watercolors

The Dead Tiger Ink and watercolor on paper, 1955 Signed and dated in ink (see photo) Condition: Aging to the entire sheet (it's 78 years old) Image/Sheet size: 18 1/4 x 23 inches On...

Untitled (Inspired by a Chinese scroll painting) Collage with ink on 6 paper elements Unsigned Provenance: Estate of the Artist Condition: Excellent Image size: 4 x 12 inches Support...

Untitled Graphite on paper, 1930 Signed and dated upper right (see photo) Exhibited: Francis Nauman, Leon Kelly: Draftsman Extraordinaire, New York, April 4 - May 23, 2014. (label) C...

Signed and dated center right edge; Annotated "48" lower left Provenance: Estate of the artist One of a suite of 120 drawings that the artist did in 1 month. Most were sold thro...

The Pinks and the Blues Watercolor, pen and ink on paper, 1954 Signed and dated in ink lower left, titled in pencil verso. Provenance: Gift of the Artist Privat...

Untitled (Yellow, Gray and Pink) Pastel on paper, 1981 Signed and dated lower right Condition: Excellent Sheet size: 12 x 18 inches Frame size: 15 x 21 inches Provenance: Jan Cowles ...

Untitled Fabric Design Gouache on paper, 1920-1935 Signed with the Atelier Stamp verso (see photo) Numbered with the Atelier Litt Archive number verso (see photo) Condition: E...

Black and White Cat Ink and watercolor on paper, c. 1970 Unsigned Provenance: Estate of the artist (Estate No. 737) Condition: Excellent Image/Sheet size: 4 3/4 x 6 1/4 inches Sam Spanier (1925-2008) Born in Brooklyn New York, Sam Spanier studied painting with Hans Hofmann (1949–50) and also at the Taos Valley Art School (1951). His formative years as a working artist were spent in Paris (1951–52), where he also became involved with the work of G. I. Gurdjieff, through his disciple, Mme. Jeanne de Salzmann. By 1953, Spanier’s work had already begun to meet with critical acclaim. That year, he had his first solo gallery show, and was selected by Milton Avery and Hans Hofmann to receive the prestigious Lorian Fund Award. His second solo exhibition, in 1955, was curated by renowned museum director, Gordon Washburn. Spanier’s early work was reviewed by Dore Ashton, Donald Judd, Fairfield Porter, Stuart Preston, and Irving Sandler, among other significant critics of the period. Spanier’s spiritual path increasingly became the central focus of both his life and his art. In 1960, he was introduced to the teachings of Sri Aurobindo, which led to visits to the Sri Aurobindo Ashram in Pondicherry, India, in 1962 and 1964, during which he was inspired to leave New York City and found Matagiri (in 1968)—a spiritual center in Woodstock, New York—with his lifelong partner, Eric Hughes. The work he embarked upon there bifurcates his life as an artist, separating him from New York’s art world, and radically altering the trajectory of his career. From that point forward, it would be difficult, perhaps impossible, to consider his artistic endeavor apart from the life of dedication he had undertaken, and to which he remained committed. As early as 1954, Dore Ashton had recognized in Sam Spanier a “haptic visionary;” in 1960, Irving Sandler wrote that the people in Spanier’s paintings “seem to have witnessed some transfiguring event.” In his later paintings—usually worked in oil pastel on panel or paper—made during intermittent creative periods, from the mid-1970s to the final years of his life, the artist’s inner life remains always apparent in his subject matter; and from the portraits and abstract Buddha-like figures and heads, to the fantasy landscapes, the paintings are redolent with a rich intensity of color and light that can only be described as inspired. Sam Spanier’s works are in the collections of the Historical Society of Woodstock Museum, and the Woodstock Artists Association & Museum. He received the Woodstock Artists Association Lifetime Achievement Award in 2007. Selected Solo Exhibitions: Urban Gallery, New York (1954, 1955, 1956); Wittenborn Gallery, New York (1958); Gallery Mayer, New York (1958, 1959, 1960); Unison Gallery, New Paltz (1986, 1995, 2009); Limner Gallery, New York (1988); Fletcher Gallery, Woodstock, New York (1999). Selected Group Exhibitions: Salon des Comparaisons, Musée d’Art Moderne, Paris, France (1952); October Exhibition of Oil Paintings, New York City Center Gallery, New York (1954); Salon de Mai, Musée d’Art moderne de la ville de Paris, Centre Culturel de Saint-Germain-en-Laye, Paris, France (1954); Carnegie International, Carnegie Institute, Pittsburgh, Pennsylvania (1955); Les Plus Mauvais Tableaux, Galerie Prismes, Paris (1955); Première Exposition Internationale de l’Art Plastique Contemporain, Musée des Beaux-Arts de la Ville de Paris (1956); Recent Paintings USA: The Figure, The Museum of Modern Art (1960); Winter’s Work, Woodstock Artists Association, Woodstock, New York (1985); Juried Group Show, Woodstock Artists Association, Woodstock, New York (1986); Woodstock Artists, Self-Portraits, Historical Society of Woodstock Museum, Woodstock, New York (1988); Portraits, Albert Shahinian Fine Art, Poughkeepsie, New York (2003); The World We Live In, Upstate Art, Phoenicia, New York (2003); Show of Heads, Limner Gallery, Phoenicia, New York (2004). Selected Writings on the Artist: Dore Ashton, “Sam Spanier,” Art Digest (May 1, 1954) and “Sam Spanier,” The New York Times (March 16, 1960); Cassia Berman, “Sam Spanier: A Divine Calling,” Woodstock Times (February 7, 2008); Lawrence Campbell, “Sam Spanier: Exhibition of Paintings at Urban Gallery,” Art News...

Untitled (Purple and Yellow) Pastel on paper, 1981 Signed and dated lower right Provenance: Collection of Jan Cowles Jan Cowles was married to Gardner Cowles owner of Cowles Media Company (1935–1998) which owned newspapers, magazines and information publishing company based in Minneapolis, Minnesota in the United States. The company operated Cowles Business Media, Cowles Creative Publishing, and Cowles Enthusiast Media units. Owners of the Minneapolis Star-Tribune from 1935 to 1998, other newspapers owned at one time by Cowles Media and its affiliates included the Des Moines Register, the Buffalo Courier...

Untitled Fabric Design Gouache on paper, 1920-1935 Signed with the Atelier Stamp verso (see photo) Numbered with the Atelier Litt Archive number verso (see photo) No. 05535 ...

Untitled Fabric Design Gouache on paper, 1920-1935 Signed with the Atelier Stamp verso (see photo) Numbered with the Atelier Litt Archive number verso (see photo) No. 24680 Co...

Untitled (Circles) Graphite on wove paper, 2007 Unsigned Provenance: Estate of the Artist Condition: Excellent Sheet/Image size: 16 15/16 x 14 inches Peter Marks (1935 -2010) Pete...

Untitled molded mud-dried paper with collage elements, 1996 Signed and dated lower edge (see photo) Annotated and titled verso Sheet size: 24 x 7 inches Provenance: Ralph Drake, fir...

Cobwebs and Rocks Watercolor, 1940 Signed, dated, and copyrighted lower right Exhibited: Zimmerli Art Museum, Benjamin Benno: Retrospective Exhibition, 1988 Illustrated: Gustafson, Zimmerli Museum: Benjamin Benno: Retrospective Exhibition, 1988 Color Plate 14 copy copy of the catalog accompanies the watercolor Condition: excellent Image size: 14 3/4 x 21 inches Provenance: Estate of the Artist Ruth O...

Chorus Line Oil pastel on paper, c. 1960's Signed (see photo) Provenance: Estate of the Artist Estate of the artist (Estate No. 745) Condition: Excellent Image/Sheet size: 5 3/4 x 4 inches Sam Spanier (1925-2008) Born in Brooklyn New York, Sam Spanier studied painting with Hans Hofmann (1949–50) and also at the Taos Valley Art School (1951). His formative years as a working artist were spent in Paris (1951–52), where he also became involved with the work of G. I. Gurdjieff, through his disciple, Mme. Jeanne de Salzmann. By 1953, Spanier’s work had already begun to meet with critical acclaim. That year, he had his first solo gallery show, and was selected by Milton Avery and Hans Hofmann to receive the prestigious Lorian Fund Award. His second solo exhibition, in 1955, was curated by renowned museum director, Gordon Washburn. Spanier’s early work was reviewed by Dore Ashton, Donald Judd, Fairfield Porter, Stuart Preston, and Irving Sandler, among other significant critics of the period. Spanier’s spiritual path increasingly became the central focus of both his life and his art. In 1960, he was introduced to the teachings of Sri Aurobindo, which led to visits to the Sri Aurobindo Ashram in Pondicherry, India, in 1962 and 1964, during which he was inspired to leave New York City and found Matagiri (in 1968)—a spiritual center in Woodstock, New York—with his lifelong partner, Eric Hughes. The work he embarked upon there bifurcates his life as an artist, separating him from New York’s art world, and radically altering the trajectory of his career. From that point forward, it would be difficult, perhaps impossible, to consider his artistic endeavor apart from the life of dedication he had undertaken, and to which he remained committed. As early as 1954, Dore Ashton had recognized in Sam Spanier a “haptic visionary;” in 1960, Irving Sandler wrote that the people in Spanier’s paintings “seem to have witnessed some transfiguring event.” In his later paintings—usually worked in oil pastel on panel or paper—made during intermittent creative periods, from the mid-1970s to the final years of his life, the artist’s inner life remains always apparent in his subject matter; and from the portraits and abstract Buddha-like figures and heads, to the fantasy landscapes, the paintings are redolent with a rich intensity of color and light that can only be described as inspired. Sam Spanier’s works are in the collections of the Historical Society of Woodstock Museum, and the Woodstock Artists Association & Museum. He received the Woodstock Artists Association Lifetime Achievement Award in 2007. Selected Solo Exhibitions: Urban Gallery, New York (1954, 1955, 1956); Wittenborn Gallery, New York (1958); Gallery Mayer, New York (1958, 1959, 1960); Unison Gallery, New Paltz (1986, 1995, 2009); Limner Gallery, New York (1988); Fletcher Gallery, Woodstock, New York (1999). Selected Group Exhibitions: Salon des Comparaisons, Musée d’Art Moderne, Paris, France (1952); October Exhibition of Oil Paintings, New York City Center Gallery, New York (1954); Salon de Mai, Musée d’Art moderne de la ville de Paris, Centre Culturel de Saint-Germain-en-Laye, Paris, France (1954); Carnegie International, Carnegie Institute, Pittsburgh, Pennsylvania (1955); Les Plus Mauvais Tableaux, Galerie Prismes, Paris (1955); Première Exposition Internationale de l’Art Plastique Contemporain, Musée des Beaux-Arts de la Ville de Paris (1956); Recent Paintings USA: The Figure, The Museum of Modern Art (1960); Winter’s Work, Woodstock Artists Association, Woodstock, New York (1985); Juried Group Show, Woodstock Artists Association, Woodstock, New York (1986); Woodstock Artists, Self-Portraits, Historical Society of Woodstock Museum, Woodstock, New York (1988); Portraits, Albert Shahinian Fine Art, Poughkeepsie, New York (2003); The World We Live In, Upstate Art, Phoenicia, New York (2003); Show of Heads, Limner Gallery, Phoenicia, New York (2004). Selected Writings on the Artist: Dore Ashton, “Sam Spanier,” Art Digest (May 1, 1954) and “Sam Spanier,” The New York Times (March 16, 1960); Cassia Berman, “Sam Spanier: A Divine Calling,” Woodstock Times (February 7, 2008); Lawrence Campbell, “Sam Spanier: Exhibition of Paintings at Urban Gallery,” Art News (April 1, 1954); Sam Feinstein, “Sam Spanier: Exhibition of Paintings at Urban Gallery,” Art Digest (March 1, 1955); Pat Horner, “Big Heart, Timeless Art —Sam Spanier Retrospective at Fletcher Gallery, Woodstock Times (July 1, 1999); Donald Judd, “In the Galleries: Sam Spanier,” Arts Magazine (April 1960); Liam Nelson, “Human Force...

Hai (Abba) (Hebrew translation: Hey Father) Signed in ink lower left by the artist’s widow “AL” (Adele Lozowick) Original label from early exhibition verso at The Art Corner Graphit...

Mlle. Jeanne at the Window, No. II Charcoal on paper, 1933 Signed and dated lower right (see photo) Illustrated: Gustafson, Zimmerli Museum, 1988, "Benjamin Benno: A Retrospective Ex...

Untitled Watercolor on paper. 1971 Unsigned Sheet size: 24 x 19 inches Condition: Excellent From the collection of Ileana Sonnabend (1914-2007) Laddie John Dill, a Los Angeles artist...

Untitled Pastel on paper, 1922 Initialed and dated lower right (see photo) Exhibited: Francis Nauman, Leon Kelly: Draftsman Extraordinaire, New York, April 4 - May 23, 2014. Provenance: Estate of the Artist The Orange Chicken...

Bach Cello Suite No.3 in C Major - III Courante Watercolor and mixed pigments on paper, c. 1960's Signed and titled recto (see photos) A masterful example of the artist's series of music inspired works of art. Haas had the condition known as synesthesia. Condition: Excellent Archival framing with OP3 acrylic Image size: 17 3/4 x 13 3/4 inches Frame size: 27 1/4 x 21 inches Synesthesia: Throughout her lifetime Haas had a condition known as synesthesia. Synesthesia, as defined by Wikipedia, is a perceptual phenomenon in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway. Many famous artists, poets, musicians and authors throughout history have had synesthesia including Vincent Van Gough, Duke Ellington, Billy Joel, and Vladimir Nabokov. Haas' form of synesthesia is known as 'projective synesthesia'. With projective synesthesia Haas saw colors, shapes and/or forms when experiencing audio stimulation. Haas used...

David Hutchinson HIDE, 2021 Unique archival inkjet print 24 x 18 inches (16 x 45.7 cm)

Untitled Watercolor on paper, c. 1971 Unsigned Provenance: From the collection of Ileana Sonnabend (1914-2007) Laddie John Dill, a Los Angeles artist, had his first solo exhibition i...

Untitled molded mud-dried paper with collage elements, 1996 Signed and dated lower edge (see photo) Annotated and titled verso Sheet size: 24 x 7 inches Provenance: Ralph Drake, fir...

Unsigned Provenance: Estate of the artist Sheet: 14 x 17"; Image: 4 7/16 x 12" Peter Marks (1935 -2010) Peter Marks was born in New York City on January 18, 1935. A lifetime ...

Signed and titled recto A masterful example of the artist's series of music inspired works of art. Haas had the condition known as synesthesia. Frame: 19 1/2 x 22 3/4" Image: 11 3/...

Unsigned Provenance: Estate of the artist Peter Marks (1935 -2010) Peter Marks was born in New York City on January 18, 1935. A lifetime New Yorker, Marks graduated from the Hig...

Unsigned as per usual Enamel paint and ink on tracing paper Provenance: Estate of the Artist Peter Marks (1935 -2010) Peter Marks was born in New York City on January 18, 1935....

Signed and dated "1962" by the artist lower right. Mixed media on heavy paper. Done for a show to fund a trip to Italy.

Scarlett, Rolph (American, born Canada, 1889-1984). UNTITLED ABSTRACTION. Colored pencils on paper, not dated. Signed, lower right. 5 5/8 x 8 1/4 inches (image), 6 x 8 3/4 inches, (s...

Margules, De Hirsh. UNTITLED COMPOSITION, Ink on paper, 1962. Inscribed and signed in pencil within the image. 28 x 37 inches, 711 x 940 mm. In very good condition. Margules (1899-1...

Untitled Fabric Design Gouache on paper, 1920-1935 Signed with the Atelier Stamp verso (see photo) Numbered with the Atelier Litt Archive number verso (see photo) No. 37365 ...

Untitled Fabric Design Gouache on paper, 1920-1935 Signed with the Atelier Stamp verso (see photo) Numbered with the Atelier Litt Archive number verso (see photo)No. 26190 Con...

Reed, Robert (American, 1938-2014). PLUM NELLIE, BEAR HUG. Mixed media on paper, 1979. Titled, signed, dated, and further inscribed in the margin below the image. 22 1/2 x 34 1/2 inc...

Black ink with orange bleed on rice paper 22.9 x 27.9 cms (9 x 11 ins)

Ink on rice paper 27.9 x 22.9 cms (11 x 9 ins)

Ink on rice paper 27.9 x 22.9 cms (11 x 9 ins)

Ink on rice paper 27.9 x 22.9 cms (11 x 9 ins)

Jennifer Bartlett Homan-Ji III, 1995 Gouache and gold leaf on paper 24 1/2 x 24 in (62.2 x 61 cm) sheet

Robert Motherwell Automatism No. 11 1965 Ink and oil on paper 67.3 x 61.6 cms (26 1/2 x 24 1/4 ins) Part of the Beside the Sea series, a series of oil paintings influenced by Mother...

I . Rice Pereira Abstraction Pastel. Signed. 9 1/8 x 5 7/8" I.Rice Pereira was an American abstract artist, poet, and philosopher who played a significant rol...