Paper Paintings

Appears To be Two Pieces of Paper Pressed together with Separate works of Art on Either Side.possibly Watercolor on Paper. Signed JP Gaston as Pictured. Vintage Condition Consistent ...

1950s abstract Expressionism Woodblock print on handmade paper Gorgeous, graphic early work from Grippi. Experimentation with woodblock p...

Charcoal on paper mounted on wood panel, titled: Foreplay; approximate size: 48" x 48" x 1.5 inches deep; artist signed Pierre Fortin and dated 2020 on t...

A pair of watercolours by (Albert) Gordon Thomas R.S.W ( 1893-1970), one titled ‘Summer Afternoon Weymouth’showing a gentleman’s motor yacht in the foreground and the other ‘Yachts a...

Inscribed Cecilia Josuan, Colegio de N. S. del Huerto, Buenos Aires, 1896 A rare “fixé sous verre” painting using a combined technique of chromolithography for the faces and hands, and silk embroidery for the clothes and background drape. Representing three women holding each other’s hands. Chromolithography technique uses thin paper motifs glued and varnished to integrate its support. Along from the rich Spanish legacy, Argentina is also very influenced since 19th century by European culture, notably Italian. Traces of American Indian culture are harder to find than in the other Latin America countries. During 19th century, with the National pride appears Argentina specific cultural themes. The Gaucho character, keeping the cattle in the Pampas, is recurrent in literature and particularly in poetry: Fausto (1866), by Estanilaslao del Campo, or Martin Fierro (1872), by José Hernandez, often considered to be an hymn to the Pampa. Painting also celebrates this genre with the works of painter Prilidiano Pueyrredon (1823-1870). At the beginning of 19th century, painters in Latin America and particularly in Argentina are foreigners (French, Germans and British) named Costumbristas, painting folkloric landscapes and portraits much appreciated in Europe. During second part of 19th century, a national painting appears with internationally renowned painters such as Prilidiano Pueyrredon, Angel de La Valle...

Gorgeous still life drawing by New York Ab Ex artist Salvatore Grippi. Violet oil pencil on paper.

Charcoal on paper mounted on wood titled: Confusion, panel 30" x 56" x 1.5" deep; Artist signed Pierre Fortin and dated: 2020 on the back. Pierre Fortin...

Interesting mixed-media (collage and acrylic) on cardboard painting by Mexican painter Esteban Cruz. Born in Orizaba, Veracruz in 1935, Esteban Cruz at...

Possibly Watercolor or Pen on Paper. Unsigned Landscape Art of Mountains and waterfall. Vintage Condition Consistent with Age as Pictured Dimensio...

Italian mid-century modern Mixed media painting , 1940-1970s Painting entitled "Interpretazione grafica n.1" in mixed media on paper. The work depicts two women's faces, one straight...

Two charming views of the Bay of Naples and Vesuvius by Maria Gianni, goache on paper, one showing fishing boats sailing into harbour and the other with a woman in a white smock carrying a basket in the crook of her arm and another on her head. Italian, early 20th century. Maria Ada Gianni...

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...

Vintage Art Print of Abstract Sailing Boats. Possibly Watercolor on Paper.Signed JPGaston as Pictured. Dimensions. 15 W ; 1/8 D ; 23 H

Uwe Bahnsen (1930-2013), German artist. Oil on paper. Surrealist painting with figures. Signed in pencil. Dated 1975. In perfect condition. Dimensions: W 27.0 cm x H 35.8 cm.

Silkscreen on paper by Agenore Fabbri, 1971 Silkscreen created on a white paper background with a black figurative-abstract design. At the bottom right there is the signature, while ...

'Pyramide im Blau' 1973 By Italo Valenti (1912-1995) Collage and gouache on paper Collage size 23 x 22 cm Gillian Jason label verso

Watercolor and ink depicting three women with soulful and prominent eyes, with their heads downcast, presumably prositutes, in a street scene. Other figures in the background in fron...

A tall portrait painting of a nude woman by the late artist Clair Seglem. This piece has been created on thick paper and is ready for framing. The subject of this piece is a woman in...

1985 hyperrealist relief painting of a hand drawn horse shaped dagger using vivid colors, including gold gilding. Signed Ramesh Sharma.

Gouaches and collages on paper (16 x 12 cm), framed with a double mat acid-free, museum glass.

A lovely portrait painting of a woman in red. The subject of this piece is a woman with light brown hair with a fringe. She looks off to the side and wears a red tank top and a red l...

Copy of a portrait drawing in black charcoal titled,"Asian Head of Woman Black"

Copy of a drawing portrait titled,"Asian Head of Man Side"

Copy of a portrait drawing in red charcoal titled,"Asian Head of Man Red"

Japanese Abstract Expressionist Serigraph, Signed & Numbered, (MASHIKO)

Violet, Paris, 2017, Tristan Govignon archival pigment print, artist proof

Rose, Paris, 2017, Tristan Govignon archival pigment print, artist proof

Tiger, Paris, 2017,Tristan Govignon archival pigment print, artist proof

Dada Spy, Paris, 2017, Tristan Govignon archival pigment print, edition 1/7

Birds in Blue, Paris, 2017, Tristan Govignon archival pigment print, artist proof

Charcoal abstract of geometric forms on paper (1959 signed: MICHAEL LOEW) (similar to GRL3816)

Deluge, Paris, 2017, Tristan Govignon archival pigment print, edition 1 of 7

Self Portrait, Paris, 2017, Tristan Govignon archival pigment print, edition 1 of 7

Hypnos and Thanatos - Elodie Huré Oil on paper mounted on linen stretcher 195x250cm Visual artist, videographer and collagist, also trained at the t...

Small portrait painting of a man with a mustache. In pastel and paint, this piece is ready to frame. Created on brown paper, the artist first ...

A small still life water color painting of an alabaster torso accented with flowers and limes on a bright magenta background. This piece is by the late Oklahoma artist and retired Air Force man Clair...

This extremely unique piece by the late Artist, Larry Roberts, was uncovered from the archives and has never been shown. This piece has an organic shaped paper adhered to the wood, ...

Fly, Paris, 2017, Tristan Govignon archival pigment print, edition 1/7

Set 4 Old Master matted Charcoals of scuptural figures in black frames (PRICED AS SET)

American Victorian framed monograph print featuring the architectual blueprint for "Geo. A. Nickerson Residence" (McKim,Mead & White,1897) (1 OF 20) (COMPANION FRAMED: A,B,C,D)

Add a quirky touch to your decor with this Vintage Boho 1964 Original Mixed Media Armadillo. This one-of-a-kind piece combines various materials to create a whimsical and artistic de...

Acrylic on cardboard cube painting by Mexican artist Esteban Cruz. The painting features different shapes of Maori and geometric inspiration. Signed and d...

Charcoal on paper mounted on wood panel, titled: “The Healer”, approximate size: 48" x 56" x 1.5" deep. Signed Pierre Fortin and dated 2020 on the back. ...

This s gorgeous watercolor is an abstract figurative utilizing soft pastel blue and pink. This minimalistic painting has abstract shapes and subtle colorations that come together to ...

Monique Beucher (1934), French artist. Gouache on paper mounted on canvas. Abstract composition. Colorful palette. From the 1980s. Signed. In excellent condition. Exhibited at "La Ga...

Bring a touch of nature and artistic elegance to your space with this Vintage Boho Watercolor of a Bird on Paper. Delicately painted with soft, earthy tones, this artwork captures th...

Beach Apple, Paris, 2017, Tristan Govignon archival pigment print, artist proof

Japanese work on paper featuring rows of black circles and two thin orange lines passing through the circles (HISAO)

Black Bird, Paris, 2017, Tristan Govignon archival pigment print, edition 1/7

Jean Da Milano (1928-2017), Solar composition, Mixed media on paper, Signed lower left, N°828-74, n°496 1974, France. Measures : Height 65 cm, Width 50cm. Jean Da Milano is an ab...

A framed Herbert Bayer silkscreen titled 'From Light to Dark,' hand-signed by the artist and marked 69/85 by the artist in pencil.

Royal House Antiques Royal House Antiques is delighted to offer for sale this lovely 1747 British Map Showing the Kingdom of Judah on the West Coast of Africa This 1747 Negroland m...

Watercolor and ink depicting a girl with flowers standing against a red clapboard structure with blue shutters. A view of city roof-tops, church steeple and brown rolling hills is se...

Watercolor and ink depicting women standing in a group near the boardwalk over-looking a marina with moored sailboats against blue tonal waters. White structures in the background ba...

Watercolor and ink depicting a woman with flowers standing near the window in front of a green drape over-looking the bay. The bay with a single lone boat, pastel structures in the ...

Watercolor and ink depicting two women to the right, standing inside a room, with flowers in the foreground. The viewer is given a sight of the bay through the window with structures...

Watercolor and ink depicting two women to the left, partially hidden behind florals and greenery, over-looking the city red tiled roof tops and steeple with vivid blue rolling hills ...

This charming and sophisticated wall decoration has been entirely hand-painted on 100% natural cotton paper, using the sumi-e technique inspired by ancient Korean paintings. Particul...