Jean Arp Drawings and Watercolor Paintings

Blue, purple, and green toned winter landscape pastel drawing by German-American painter, Wolf Kahn. Signed by the artist in the lower right corner. Framed and matted in a gold frame...

The idea of Ben Nicholson and his circle was to apply constructivist principles to public and private art. Especially, they were against ornaments and advocated for clean lines. Artworks were created with mathematical precision. “Geometric shapes...

"#71 – THEN IT'S HOPELESS?" is from Amy Williams' series A Farewell to Arms – wherein the artist is working directly onto page 71 of a found copy of Ernest Hemingway's WWII romance novel. The artist selects certain words and phrases from the page to isolate as a poem, and then draws, inks, redacts and paints the rest of the page according to the text of the poem. Here the poem reads: "Then it's hopeless? / But sometimes I cannot hope. / I cannot." Note the poem is outlined in dark red and purple radiating lines, while outside there are lighter violet, blue and white lines. From Amy Williams – "My recent work is focused on making treated book pages using a found vintage...

"#56 – BOTH WOUNDED A LITTLE" is from Amy Williams' series A Farewell to Arms – wherein the artist is working directly onto page 56 of a found copy of Ernest Hemingway's WWII romance...

This work is registered as an authentic work by Alexander Calder (1898 – 1976) in the archives of the Calder Foundation (NY), under application number A.24492.  Created in 1967, this original pen and red ink drawing on paper is initialed ‘CA’ in blue ink in the lower right by Alexander Calder (1898 – 1976) with a handwritten dedication, also in blue ink, ‘To Alvin Lane’ along the lower center. The Sketch for ‘The X & Its Tails’ is an original study and preliminary drawing made by Calder preceding his large-scale sculpture for the Detroit Institute of Arts.  Sketches for models and sculptures are rare and this is no exception; according to Alvin S. Lane, collector and friend to Calder, “To the best of my knowledge there were very few, if any, preliminary drawings done by Calder that were on the market, but he was good enough when he did two for commissions to send the drawings to me as a present [including this Sketch for ‘The X & Its Tails’].  I included one of them here to show that although his drawings usually have a flowing steady line, his preliminary drawings are sloppy scribbles” (23). Provenance: ~       Gift of artist ~       Private Collection (Riverdale, NJ) Catalogue Raisonné and COA: Sketch for 'The X & Its Tails,' 1967 is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the final sale of the work). 1. Registered with the Calder Foundation, NY under application number A.24492. 2. Elvehjem Museum of Art. The Terese and Alvin S. Lane Collection...

This is an exclusive handprinted limited edition cyanotype. "Lake Tahoe Panorama" shows a sequence of abstracted ripples of the calm Tahoe waters. Details: + Title: Lake Tahoe Panor...

A lovely signed pen drawing in three colours by Thilo Maatsch. Artist: Thilo Maatsch Date: 1966 Framed size: 49 x 37.5cm Signature: Signed in pencil: “TM 66” Mounting: Conservation-...

Being nearsighted from a young age, Audrey Stone is drawn to seeing things up close; her work entails detail in the making and her desire for visual intimacy. How craft and art are d...

"Second Theme" 1949 Abstract Mid 20th Century Geometric Non-Objective Hard Edge Burgoyne A. Diller (American, 1906-1965) "Second Theme" 1949. Pencil and crayon on paper. Signed and dated 'D. 49' (lower right). Image: 9 1/2 x 5 1/2 in. Andre Emmerich Gallery, New York. Martha Jackson Gallery, New York. Anderson Gallery, Buffalo, New York. David K. Anderson Grandchildren's Trust. BURGOYNE DILLER (1906-1965) Recognized as the first American painter to embrace the tenets of Neo-Plasticism, Burgoyne Diller made an important contribution to the development of non-objective art in the United States. Working in a hard-edged geometric style, he produced paintings, drawings, and collages that paved the way for the development of American Minimalism during the 1960s and 70s. Born in New York City in 1906, Diller began painting and drawing as a teenager growing up in Battle Creek, Michigan. Later, while attending Michigan State University in East Lansing on an athletic scholarship, he made weekend visits to the Art Institute of Chicago, where he familiarized himself with Impressionist and Post-Impressionist painting. He was especially drawn to the landscapes and still lives of Paul Cézanne, who modeled color to create structure and volume. In 1929, Diller moved to Manhattan and enrolled at the Art Students League, where his teachers included such progressive-minded painters as Jan Matulka, Hans Hofmann, and George Grosz. Hofmann's concept of the "push-pull" effect of form and color exerted a strong influence on his early work, as did his growing familiarity with Analytical and Synthetic Cubism, German Expressionism, and other vanguard European styles. Diller had the opportunity to see some of this work firsthand, but he also kept abreast of developments abroad by reading journals such as Cahiers d'Art. Diller completed his studies at the League in 1933, the year he had his first solo exhibition at the Contemporary Arts Gallery in New York. It was around this time that his paintings began to show the influence of the reductive, pared-down geometric compositions of the Dutch Constructivist Piet Mondrian and the equally restrained compositions of Kasimir Malevich and El Lissitsky...

"#186 – WOUNDED WERE COMING" is from Amy Williams' series A Farewell to Arms – wherein the artist works directly onto pages of a found copy of Ernest Hemingway's WWII romance novel. The artist selects certain words and phrases from page 186 to isolate as a poem, and then draws, inks, redacts and paints the rest of the page according to the text. The resulting poem reads "The wounded were coming / men that were scared / I felt the rain in my face / It was getting dark." – Hemingway's novel is a doomed romance between a wounded American soldier and an Italian nurse – note the feminine form on the page, with a "dress" or apron that looks skeletal, bloody and rained upon, all at once. From Amy Williams – "My recent work is focused on making treated book pages using a found vintage...

Untitled (Smiley self portrait) By Damien Hirst Damien Hirst is a British contemporary artist known for his provocative and often controversial works that explore themes of life, ...

This 15" x 22" watercolor on paper painting by Lisa Miceli depicts an imaginative abstracted landscape. This painting is part of the "latticeWorks Series."...