Rick Bartow Abstract Drawings and Watercolors

Roland Ayers (1932-2014). The Split Second After, ca. 1959 Lithograph on paper, image measuring 14 × 18 inches. Sheet measuring 18 × 23 inches. Unframed. Minor staining of sheet...

"Abstraction" Mid-20th Century American Abstract 1960s Color Field Modernist James Daugherty (1887-1974) "Lascaux" 5 ¼ x 8 ¼ inches Pastel on paper Initialed lower left, titled lo...

Art Size : 11 x 14 in. Vintage Frame: 17 x 20 in. Signed and dated in pencil, bottom right. Media includes watercolor, acrylic, and pencil on paper. This vibrant, psychedelic and su...

We're pleased to showcase Mexican Master Rufino Tamayo's work on paper. Flying Bird portrays a bird flying over the mountains. Rufino Tamayo created this modernist and minimalist dra...

Kiki Smith Tiger Moth, 2020 Ink and colored pencil on Twin Rocker hand made paper with deckled edges Pencil signed and dated by Kiki Smith on the front Fram...

Hunt Slonem For Kevin: signed Toucan Drawing in hardback monograph: An Art Rich and Strange Signed drawing done in ink on the title page of artist's book Ink drawing of a Toucan held...

André Masson ( 1896-1987) Pencil study with annotations on the right side, acquired by the previous owner from Luis Masson son of Andrè Masson

"American Bald Eagle Flying Through Silver Clouds Between Heaven and Earth" is an original mixed media piece by David Barnett, signed on the lower left center. It incorporates watercolor, ink, iridescent acrylic, rubber stamps, collage, and oil pencil. This piece depicts a surrealist landscape. A cow with an cowl perched on its back stands in the lower left corner, and tracks lead away from it across the bottom of the picture. A small turtle approaches a pond in the lower right. In the center register of the image, two leaves have been collaged into an abstractly-drawn forest. The eagle of the title is shown in several stages of its flight through the blue and yellow sky. Art size: 7 15/16" x 9 1/2" Frame size: 15 1/4" x 16 1/8" David Barnett, an artist, collector, appraiser and gallerist has been passionate about art from the early age of five. David’s career as an art dealer began at age nineteen when, as a fine arts student, he sponsored an exhibition of work by fellow student artists. In 1966, he opened his first gallery in a converted basement apartment at Wisconsin Avenue and 21st Street. David’s talents for recognizing undervalued artists and for meeting the needs of art lovers, art collectors and artists have created a vibrant, flourishing gallery and collection of over 6,000 works of art. David was born and raised in Wisconsin. He has been painting in watercolors, acrylics, oil pastels as well as fine art photography. David has more than 10 different series he has developed over the years. They include Abstract, Surrealism, Morph Dog, Up North Birch Bark, Impressions of Mexico City, Southwest, Fireworks, Famous Artist Paying Homage and Garden Panorama. Influential artists include Vermeer, Miro, Kandinsky, Chagall, Nolde and Klee. David has been featured in many magazines, newspapers and public television programs regarding his beautiful gallery, collection and knowledge and passion of fine art. David also has work in the permanent collection Scottsdale Museum of Contemporary Art, Arizona. Exhibits “Morph Dog Series”, David Barnett Gallery, 1996 “Renewal", Art Escape Gallery, Thiensville, WI, 2003 “Recent Watercolors", David Barnett Gallery, 2003, Lora D. Art Gallery, Chicago, IL, 2004 “Group Show”, Broden Gallery Ltd., Madison, WI, May-June 2004 "Homage to Kandinsky", David Barnett Gallery, Milwaukee, WI 2014 Collections Scottsdale Museum of Contemporary Art, Scottsdale, AZ Private collections throughout the United States and around the world including collections in Wisconsin, Maryland, New York, Washington D.C., Arizona, Illinois, Florida, Kentucky. International collections in Brazil, Singapore and Hong Kong. Articles Milwaukee Journal Sentinel, "Barnett Gives His Work an Exhibit" by James Auer, November 1996 Exclusively Yours...

Baldur Helgason drawing 2018: Baldur Helgason Jorgen the Dog Day: A robust, lively Helgason hand-drawing defined by the artist’s signature style. Med...

Surrealist proto-Afropunk drawing by African-American artist, Roland Ayers (1932-2014). Animal Capers, ca. 1970 . Ink on illustration board, image measures 20 inches. inches; illustration panel measures 21.5 inches. Unsigned. Minor staining evident in detail photos Artist and art educator, Roland Ayers was born on July 2, 1932, the only child of Alice and Lorenzo Ayers, and grew up in the Germantown district of Philadelphia. Ayers served in the US Army (stationed in Germany) before studying at the Philadelphia College of Art (currently University of the Arts). He graduated with a BFA in Art Education, 1954. He traveled Europe 1966-67, spending time in Amsterdam and Greece in particular. During this period, he drifted away from painting to focus on linear figurative drawings of a surreal nature. His return home inaugurated the artist’s most prolific and inspired period (1968-1975). Shorty before his second major trip abroad in 1971-72 to West Africa, Ayers began to focus on African themes, and African American figures populated his work almost exclusively. In spite of Ayers’ travel and exploration of the world, he gravitated back to his beloved Germantown, a place he endowed with mythological qualities in his work and literature. His auto-biographical writing focuses on the importance of place during his childhood. Ayers’ journals meticulously document the ethnic and cultural make-up of Germantown, and tell a compelling story of class marginalization that brought together poor families despite racial differences. The distinctive look and design of Germantown inform Ayers’ visual vocabulary. It is a setting with distinctive Gothic Revival architecture and haunting natural beauty. These characteristics are translated and recur in the artist’s imagery. During his childhood, one of the only books in the Ayers household was an illustrated Bible. The images within had a profound effect on the themes and subjects that would appear in his adult work. Figures in an Ayers’ drawing often seem trapped in a narrative of loss and redemption. Powerful women loom large in the drawings: they suggest the female role models his journals record in early life. The drawings can sometimes convey a strong sense of conflict, and at other times, harmony. Nature and architecture seem to have an antagonistic relationship that is, ironically, symbiotic. A critical turning point in the artist’s career came in 1971 when he was included in the extremely controversial Whitney Museum show, Contemporary Black Artists in America. The exhibition gave Ayers an international audience and served as a calling card for introductions he would soon make in Europe. Ayers is a particularly compelling figure in a period when black artists struggled with the idea of authenticity. A questioned often asked was “Is your work too black, or not black enough?” Abstractionists were considered by some peers to be sell-outs, frauds or worse. Figurative* work was accused of being either sentimental or politically radical depending on the critical source. Ayers made the choice early on to be a figurative artist, but considered his work devoid of political content. Organizations such as Chicago’ s Afri-Cobra in the late 1960‘s asserted that the only true black art of any relevance must depict the black man and woman...

"Giant Hybrid Hibiscus Butterfly with Flower" is an original mixed media work by David Barnett that incorporates iridescent oil pastel, a dried hibiscus flower, and watercolor. It is...

In Uncertainty, Iryna Burda delicately yet uncompromisingly explores the fragile, unstable state between decision and helplessness, between motion and stillness. This work is not mer...