Paper Paintings

A wonderful, highly engaging large original abstract female nude pastel painting/drawing by Swiss/ American/ Californian painter-artist Hans Burkhardt. This work, titled "Seated Female" is hand-signed and dated (1958) by the artist. An original, one-of-a-kind, and unusually large work by Burkhardt. Would be the crown jewel to any collection of his work or a stunning stand-alone art accent piece in about any setting. His earlier abstract female forms are becoming rare and harder to find. Hans Burkhardt was born in 1904 in Basel, Switzerland. At the age of 20, he immigrated to New York to work with his father. From 1925 to 1928 he attended the Cooper Union School of the Arts, where he befriended mentor Arshile Gorky and Willem de Kooning—sharing Gorky's studio from 1928 to 1937. In 1937 he moved to Los Angeles, California. Burkhardt held his first solo exhibition in 1939 at Stendahl Gallery in Los Angeles. In 1945 he had a highly acclaimed solo exhibition at the Los Angeles County Museum. Burkhardt spent most of the 1950s working in Mexico. Art critics of the time considered him a "great Mexican master” alongside Orozco, Rivera, and Siqueiros, and Rufino Tamayo admired his work. He returned to Los Angeles in the 1960s to create some of the most powerful examples of Abstract Expressionism of the time. During this time he also became well known for his richly drawn pastel abstractions of the human figure of which this original work certainly qualifies. He died in Los Angeles in 1994. Burkhardt's solo shows include: 1939: Stendahl Gallery, Los Angeles, March 27 – April 17 1945: Hans Burkhardt, Los Angeles County Museum of Art 1951: Museo de Bellas Artes, Guadalajara, Mexico: Exhibicion de Pinturas Modernas; Comara Gallery, Los Angeles 1953: Fisher Gallery, University of Southern California, Los Angeles 1957: Pasadena Art Museum, California: Ten Year Retrospective, June 14 – July 14; 1961-62: Thirty Year Retrospective (traveled to Santa Barbara Museum of Art, April 11 – May 7, 1961, Los Angeles Municipal Art Gallery, January 9 – February 4, 1962, Legion of Honor (museum), San Francisco, June 10 – July 9, 1962) 1968: San Diego Museum of Art: Vietnam Paintings...

Continental school, 19th-20th century "Cherubs" Gouache and Watercolor on paper Size with frame: 19 x 11 in. (48.26 x 27.94 cm.)  

Ok this is so fun and whimsical yet beautifully done. A figure coming back from a Venetian ball having a dramatic smoke in his costume and mask. Note his cigarette holder and pointed toe are in sync! Most likely gouache or watercolor with oil stick on paper...

During the early 1950s Guy Bourdin had established himself as an artist with the eye of a painter, working primarily on paper Bourdin created images containing fascinating stories and compositions. His early experimental work bridges the gap between Surrealism and his later photography which at the time was still in its infancy. This early cat drawing...

Executed and hand-watercolored by the artist, James Sheppard, this large and impressive print depicts three boxers in various stages of undress in a men's locker room, the figures hi...

Erwin Schott (1913-1987, Munich) Artist group ZEN 49 (ZEN 49 Group of the non-objective - founded after the 2nd World War) Gouache Informel / oil paint on thick paper, ca. 1958 - es...

Artist: Rolph Scarletti (Canadian, 1889 – 1984) Object: Modernist Abstract Composition Period: Ca. 1950’s Medium: Guache on paper, framed Dimensions (unframed): Height: 9-1/3” Width: 12” Dimensions (framed): Height: 22-3/4”” Width: 25-3/4” Rolph Scarlett (Canadian, 1889 – 1984) was a consummate explorer of twentieth-century abstract painting. Never afraid of trying new styles, curious and opinionated, constantly engaged with the world around him while steadfastly aware that he was on his own path and his alone, Scarlett more than once proved to be at the artistic zeitgeist of the eras in which he lived. Exposed very early on to the work of Paul Klee through a chance meeting in Europe with the artist himself, Scarlett took up abstraction with a fervor that never diminished during his long and impressive career. To create something that had never existed before: this was Scarlett’s great cause. And that is what is most obvious when you look at Scarlett’s work—you have never seen anything quite like it. Scarlett was Canadian-born, came of age in the Midwest, and spent few important years in Hollywood, where he designed stage sets. His work from this early period echoes Klee’s use of color, his confidence in naïve, primitive forms, and his blend of abstraction and figuration. In its flat spatial qualities it prefigures the Indian Space painting of the 1940s by a decade. He moved to New York in 1933 and eventually found his first great patron at the Museum of Non-Objective Painting, directed by Baroness Hilla Rebay and art patron Solomon R. Guggenheim. Guggenheim would collect over 60 works by Scarlett for his collection, more than any other artist outside of Vasily Kandinsky and Rudolf Bauer. As a frequent exhibitor and lecturer at the Museum of Non-Objective Painting (MNOP), Scarlett honed his sensitive feel for bodies in space and capitalized on his trademark use of bright, vivacious colors into accomplished, perfectly harmonized geometric works. However, Scarlett soon morphed these hard-edged forms into a nuanced expressionistic abstraction which, at its best, seems to be populated by dancing forms that animate the canvases. Along this way he was advised by Rudolf Bauer, the German expatriate and one of the originators of non-objective painting in the teens. Bauer had the idea for the Museum, and Rebay, his champion, had found in Solomon Guggenheim a patron for manifesting it. When Bauer emigrated just before World War II, he wanted to meet Scarlett. The two became friends, and Bauer advised Scarlett on his work over the course of many years. Even in a 1979 interview, Scarlett began to tear up as he recalled his first meeting with Bauer, a man whose work he "worshipped," describing that, "It was a touching moment for me, I’ll tell you." Scarlett and Rebay also had a close, important relationship, one in which he bore the brunt of her sometimes condescending, if motherly, critiques and admonitions with tolerance and gratefulness. Eventually, though, he had to push back. In a letter from 1951 he writes, "I have noticed with growing amazement that during the past three years you have accepted less and less of my work—and, that same work, which you rejected has been accepted and shown in the best and largest shows all over this country." This period—the late 1940s to the early 1950s—did in fact correspond to Scarlett’s most critical success, and to a return to the fanciful forms and characters of his pre-war work. At the same time, he found his own rhythm and complexity using a drip style similar to, though denser and more opaque than, the one made famous by Jackson Pollock, who had worked for many years at the MNOP and with whom he shared common influences. In 1949 he had a very well received solo show in 1949 at the Jacques Seligmann Gallery, reviewed very favorably in The New York Times: "The impression made by these paintings is one of originality and strength." He was also included in a juried show "American Painting Today" at the Metropolitan Museum of Art in 1950 and in the Whitney Annual of 1951. The curator for the Whitney show in fact bypassed a selection of Scarlett’s careful geometrics in favor of a new "lyrical" drip painting—one which he describes as having had "a helluva good time" making. Rebay articulated her loss of control over Scarlett very keenly in one of her last official letters to him: "So your way ended in the horrid jungle it is in now; even a Mr. Pollock’s smearage was not bad enough for you to have a try at; and betraying yourself, you betrayed art and my faith in you, and my present disgrace by my failure to foresee such an outrageous possibility—since you even paint objectively now." Yet, despite the fact that he was moving in his own direction when the change in leadership took place at the Museum of Non-Objective Painting and Rebay was forced out as director, Scarlett was hit hard. He understood this change rightly as a betrayal by the establishment. Scarlett was a unique individual and soul, and was affected personally and philosophically by the idea that the movement with which Scarlett had aligned his talents seemed to disappear overnight, and his life’s work rendered valueless. Without the Museum’s support, Scarlett decided eventually to move to the artists’ community of Shady, New York, just outside of Woodstock. He had occasional shows throughout the years, but mostly settled down to regional obscurity. He began making jewelry, which had been his first trade, and it was following a show of his jewelry in 1975 at the Jaro Gallery, that he was rediscovered by Samuel Esses, and his wife Sandy. Samuel Esses was a successful businessman and an avid collector. He always sought out that which was unusual and, like Scarlett, was ahead of his time in many ways. For example, in 1979, Sam became enthralled with the early graffiti appearing on the New York subway trains. With the sole goal of preserving these groundbreaking yet short lived works of art he was inspired to create "The Esses Studio," a painting warehouse and workshop for graffiti artists to work in a studio, collaborate, and paint on canvas. The biggest names of graffiti writing participated—Futura, Crash, Dondi, Zephyr, and Daze to name a few. The project was well received and provided critical validation at an important time for this alternative form of abstraction to be recognized by the established art world. The success of the "Esses Studio" helped fuel an alternative fire that would propel gallerists and curators to acknowledge other street artists and provide a foundation of acceptance for the early careers of Keith Haring and Jean-Michel Basquiat. It is not a stretch to say that what Esses saw in the graffiti art of the 1970s was very similar to what he saw in 1950s-era Scarletts—something raw, honest, and melding many twentieth century influences into one unique form. Inspired by the importance of the collection and the passion of the collector, Weinstein Gallery...

Beautiful gouache painting of an exotic bird by the important Mexican artist, known as "Chucho" Reyes. Measures: 19"x 28.5" in a period wood frame, u...

Selection of paintings by Miriam Kubach, American, circa 1950s. They are framed in vintage gilt frames. They are priced at $550 each.

Emil Betzler German Expressionist tempera painting on ingrain 'Harlequins 1', 1962 ('Harlekins 1') Outstanding piece of Expressionist art. Not signed, but clearly attributable to Emi...

Angelo Testa, untitled, watercolor on paper, 13 1/4" x 16" Signed "angelo testa" lower right recto, framed circa 1950 Testa studied fine art painting and sculpture at the Chicago In...

A watercolor by Robert Freiman.

Gio Colucci, painter, sculptor, ceramist was born in Florence, Italy in 1892. In 1911, he moved to Paris to study architecture at the Fine Art School. Colucci settled in Cairo in 191...

Gio Colucci, painter, sculptor, ceramist was born in Florence, Italy in 1892. In 1911, he moved to Paris to study architecture at the Fine Art School. Colucci settled in Cairo in 191...

Japanese two-panel screen: Stylized waves on silver leaf and golden sun. Showa period (1926-1989), modern painting in mineral pigments on silver.

Emil Betzler German expressionist tempera on paper on ingrain 'Harlequins 2', the 1960s Outstanding piece of expressionist art. Signed. Similar work is shown in 'Emil Betzler' - mon...

Abstract painting by Miriam Kubach, American, circa 1960s. It is executed on paper and has been professionally framed under UV resistant glass in a clean lined black lacquer gallery ...

Midcentury abstract expressionist ink drawing on paper by Salvatore Grippi, 1953. Measures: 9.5" x 12". This ink wash figurative abstract Expressionist piece on paper is signed by it...

Gio Colucci, painter, sculptor, ceramist was born in Florence, Italy in 1892. In 1911, he moved to Paris to study architecture at the Fine Art School. Colucci settled in Cairo in 191...

Oil pastel and watercolor on paper. Signed and dated to lower right edge 'Vaclav Vytlacil 1953'. Signed and dated to lower left edge 'Vytlacil 1953'. It is also titled on reverse. Pa...

Magnificent Mexican MCM watercolor on paper depicting a Veracruz woman donning the traditional white cotton and lace "jarocho" dress posing by an Industria...

Multicolored surrealistic painting by Erwin Stolz (1896-1987) Gieshuebel Sauerbrunn (Kyselka), Czech Republic, 1953. Color on paper carton, stamped. All measures are approximate.

Watercolor A view of St. Paul's Cathedral in London- Sergio Manfredi (1932-?) Italian painter, Signed and dated "S. Manfredi 1958" lower left and inscribed "London St. Paul's Cathedr...

This Mid-Century Modern one of a kind horizontal watercolor by William Henry is a combination of cubist individual faces with African influences...

Signed and titled lower left and verso, Robert Steed, New York, NY, "Wellfleet Facade". Oil paint on paper. Beautiful layered and intricate abstracted cityscape. The piece is in exce...

Watercolor of a mining operation by Mason Wells (1906-1984). Watercolor is currently not framed. Mason Bacheller Wells was born in Southbridge, Massachu...

Post-War American India ink on paper painting of a seated nude leaning on a table, executed in a minimalistic, contoured style in a white wooden frame (signed LOEW '59)

Fabulous vintage abstract painting of a French gendarme with a woman over his back circa 1950's. This painting is oil on board, with a linen mat framed under glass in a gold leaf fra...

Graphic and colorful abstract print depicting an African-American man feeding pigeons in front of a brick building. Signed under the mat "Merton Simpson" as shown in photo. Although ...

Excellent color and technique in this vintage water color signed Brockway. Possibly a Michael Brockway, listed English watercolorist born 1919 and ...

Colorful block print of a red and green shelled turtle on a green background. Titled "Turtle," numbered "Second 60 60, signed "Whitey Pollock", and dated "50." Framed dimensions: ...

Bearing the signature "Hale Pua Hawaii". Estimated to originate from the late 1940s to the early 1950s, it is executed on a mat board. Oda's meticulous technique involves incorporat...

Carrie Jackson Davidson watercolor painting of Klongs in Hong Kong, 1957 Offered for sale is is a 1957 watercolor painting by Carrie Jackson Davidson( 1891-1975). The delicated exec...

vintage mid-century watercolor painting. Abstract architectural-landscape Signed in the upper right corner: DOW 59. Signed in verso in pencil: Framed by Duane 8-18-64 The compositi...

This amazing work of art frame that is a mixed media geometric abstract collage is by Charmion Von Weigand. It is signed with the artists initials CvWand and dated 1955. This is a mid century work of art. It is a stunning piece of vibrancy. She was an American journalist , abstract painter, writer, collector, benefactor and art critic. it is pigment and paper collage on paper. it has a very Mondrian like feel to it in gorgeous hues of color. She became close friends with Piet Mondrain as evidenced in this great influence of her work that has magnificent hues in pigment of collage media...