Miami - Abstract Drawings and Watercolors

Joan Miro. original pencil, pen and marker drawing on paper 11/12/1964 Certificate per Jaques Dupin. Paris 7 septembre 91. Jacques Dupin, along with others, founded ADOM (the Associa...

Original gouache painting on paper. Hand signed lower front by Yaacov Agam. Image size 20.25 x 18.5 inches. Sheet size 29 x 22.2 inches. Frame size approx 33 x 31 inches. Cert...

A large charcoal-on-paper rendering by arguably one of America's most influential artists. It comes from the pioneering Allan Stone Galleries, who ...

Carborundum etching on hand made paper. Hand signed lower front by Roberto Matta. Edition 111/125. Published by Nordstamp. Artwork is in overall excellent condition. Certificate...

Pioneering female abstract artist Elsie Driggs paints stylized abstract organic forms in a warm palette of orange browns and tope. She merges abstraction with some figuration. A structured face composed of lines and tone emerges from an orange background. It's 1939, and even though Driggs is not well known, she is preceding many of the marquee names of abstraction by a decade. Although under the radar, this is a major work and is titled on the back stretcher is " Egyptian Gothic." It features the artist's inventiveness with her fine pencil lines incorporated in flat washes of color and collage elements. Signed lower right and inscribed on frame verso with title, artist and the date of 1939. Provenance, Christie's, Freemans. Framed under glass.. Elsie Driggs (1898 – July 12, 1992 in New York City) was an American painter known for her contributions to Precisionism, America's one indigenous modern-art movement before Abstract Expressionism, and for her later floral and figurative watercolors, pastels, and oils. She was the only female participant in the Precisionist movement, which in the 1920s and 1930s took a Cubist-inspired approach to painting the skyscrapers and factories that had come to define the new American landscape. Her works are in the collection of the Whitney Museum of American Art, the Houston Museum of the Fine Arts, the Fine Arts Museums of San Francisco, the James A. Michener Art Museum in Pennsylvania, and the Columbus Museum of Art, among others. She was married to the American abstract artist Lee Gatch. Career Born in Hartford, Connecticut, Driggs grew up in New Rochelle, a suburb of New York City, in a family that was supportive of her artistic interests. After a summer spent painting with her sister in New Mexico in her late teens, she felt she had found her life's calling. At twenty, she enrolled in classes at the Art Students League of New York, where she studied under George Luks and Maurice Sterne, both of whom were charismatic, inspirational figures in her early life. She also attended the evening criticism classes held at the home of painter John Sloan. Driggs spent fourteen months in Europe from late 1922 to early 1924, drawing and studying Italian art. There she met Leo Stein, first in Paris and later in Florence, who became an important intellectual influence, and who urged her to study Cézanne. He also introduced her to the works of Piero della Francesca, the Renaissance artist for whom she felt throughout her life the greatest admiration.[1] Driggs eventually settled in New York City, where she found representation with the progressive Charles Daniel Gallery.[2] (Advised that the old-fashioned and misogynistic Daniel would be unlikely to take on a woman artist, she signed the works she left for his consideration simply "Driggs" and waited to meet him in person until he had expressed his eagerness to include her in his gallery.)[3] In sympathy with those artists Daniel represented who were part of the burgeoning Precisionist movement, such as Charles Demuth, Charles Sheeler, George Ault, Niles Spencer, and Preston Dickinson, she too painted "the modern landscape of factories, bridges, and skyscrapers with geometric precision and almost abstract spareness."Impressionism and academic or Ashcan realism represented the past, in Driggs' view, and she intended to be resolutely modern. She was an attractive and engaging woman, but her demeanor belied a strong ambition and a clear sense of what it would take to make her mark in the New York art world. Driggs was part of the pre-eminent first group of Precisionist painters, including Demuth and Sheeler, who exhibited at the Daniel Gallery in the 1920s. Although a later group of Precisionist painters, including Louis Lozowick, Ralston Crawford and others, came on the American Art scene during the 1930s, Driggs felt that the style came to an end with the 1929 stock market crash.[5] In 1926 she painted her most famous work, Pittsburgh, a dark and brooding picture now in the permanent collection of the Whitney Museum of American Art, which depicts the gargantuan smokestacks of the Jones & Laughlin steel mills in Pittsburgh. Its focus is an overpowering mass of black and gray smokestacks, thick piping, and crisscrossing wires with only clouds of smoke to relieve the severity of the image, yet it was an image in which she found an ironic beauty. She called the picture "my El Greco" and expressed surprise that viewers in later years interpreted the painting as a work of social criticism. Like the other Precisionists (e.g., Demuth, Charles Sheeler, Louis Lozowick, Stefan Hirsch), she was concerned with applying modernist techniques to renderings of the new industrial and urban landscape, not in commenting on potential dangers the overly mechanized modern world of 1920s America might present. If anything, Precisionism, like Futurism, was a celebration of man-made energy and technology. One year later, she painted Blast Furnaces, in a similar vein. As noted above, Piero della Francesca's mural depicting "The Story of the True Cross" in Arezzo, with its tubular, static and frozen forms was the major influence on Driggs' "Pittsburgh" (it may have been the major influence for "Blast Furnaces" as well).[7] After Pittsburgh, Driggs' most acclaimed work was probably Queensborough Bridge...

Original watercolor on paper. Hand signed on front; signed, titled and dated on verso by the artist. Additional images are available upon request. Certificate of Authenticity is inc...

Executed in 1930, this abstract yet representational biomorphic charcoal work by African American Artist Charles Henry Alston prefigures his ...

Art Deco Illustrator Charles Perry Weimer creates a powerfully graphic depiction of a 1930s couple in front of a classic Art Deco building with a...

Famed graphic designer Ivan Chermayeff creates a portrait made from cut paper and magazine clippings. Chermayeff names it "Old Lady with Spring Hat " and as one views it "charming"...

This later work by Lyonel Feininger approaches almost full abstraction. It was executed in 1950 at a crucial moment in American art history. Abstract Expressionism and non-representational art were in full gear and taking the world by storm. Yet Feininger who was associated with the German expressionist groups: Die Brücke...

Executed in 1950 during the heyday of Abstract Expressionism and non-representational art, Feininger reduces a landscape to the bare minimums of lines and wash. Moeller Fine Art

Watercolor on heavy paper work is unframed Signed by artist in pencil, lower right verso. Property from the estate of Anne E. C. Porter, with the estate stamp, verso. ...

Murray Tinkelman builds his works out of tiny meticulously placed cross hatchings that are organized into horizontal and diagonal structures. Most are done with a ruler and some fre...

Original color drawing on paper. Hand signed lower front by Roberto Matta. Image size 12 x 16 inches. Frame size approx 23.25 x 27.5 inches. Artwork is in overall excellent co...

Original watercolor on paper. Hand signed on front by the artist. Additional images are available upon request. Certificate of Authenticity is included. Please do not hesitate to ...

Original color drawing on paper. Hand signed lower front by Roberto Matta. Image size 12 x 16 inches. Frame size approx 23.25 x 27.5 inches. Artwork is in overall excellent co...

Unique gouache on handmade paper. Hand signed and dated lower front. Artwork sheet size 8.5 x 10.5 inches. Custom framed as pictured. Artwork is in excellent condition. Artwork ...

A gritty New York City street scene with period Roaring Twenties Cars and stuffed metal garbage cans is depicted by female artist Ruth Light Braun. ...

Original pastel on paper. Hand signed on front and authenticated on verso by the artist. Framed. Artwork is in excellent condition. Certificate of authenticity included. All reasonab...

Original gouache on paper. Hand signed and dated lower front. Artwork sheet size 22 x 10 inches. Custom framed as pictured. Artwork is in excellent condition. Certificate of aut...

Original crayon drawing on paper. Hand signed on front by Purvis Young. Artwork size 11 x 8 inches. Frame size approx 17 x 14 inches. Artwork is in excellent condition. Certifica...

Pencil, colored pencil and charcoal on paper. Note: The painting shown on the wall may not be proportional to the room size.

Legendary Graphic designer Paul Rand was also a Fine Artist/Painter. In the present work, " Untitled: Asian Calligraphic Shapes Over Biomorphic Forms," Paul explores the relationship...

Sheroanawë Hakihiiwë (1971) No Ohiri Pre Ai (No Tenian Comida), 2013 Watercolor on handmade paper, 50 x 67 cm, signed in the bottom left Comes with certificate of authenticity. Born in a small Yanomami Indigenous community in the Venezuelan Amazon, Hakihiiwe began making paper from natural fibres in the 1990s, a skill he learned by studying with the Mexican artist Laura Anderson Barbata. The artist’s work now consists primarily of drawings and paintings on handmade paper. He draws from his ancestral knowledge of the signs and symbols of Yanomami culture, and their decorative application in basketry and body painting for ritual ceremonies. His work forms a rapidly growing visual lexicon, or library, of Yanomami visual culture. Hakihiiwe’s drawings and paintings reveal his beliefs, rites and traditions as well as his close relationship to the natural world. Hakihiiwe was selected for The Milk of Dreams, the main exhibition at the LIX Venice Biennale in 2022, curated by Cecilia Alemani. Other recent group shows that the artist has participated in include: Siamo Foresta, Triennale di Milano, Italy (2023); Chosen Memories: Contemporary Latin American Art from the Patricia Phelps de Cisneros...

Charcoal and pencil on paper. Note: The painting shown on the wall may not be proportional to the room size.

Pencil, colored pencil and charcoal on paper. Note: The painting shown on the wall may not be proportional to the room size.

Original mixed media on paper. Center square is silver and reflects light in prismatic pattern. Hand signed by the artist. Artwork is in excellent condition. Certificate of authent...

Wifredo Lam “Untitled” 1970 Ink on paper 19 x 26 in Signed by the artist at the right bottom corner. Certificate of Authenticity by Eskil Lam, Lam Foundation, Paris. Wifredo Lam wa...

Original mixed media drawing on paper. Hand signed on front by Purvis Young. Artwork size 10.375 x 7.875 inches. Frame size approx 16 x 14 inches. Artwork is in excellent conditi...

Rudolph de Harak was a graphic and environmental designer and art director for Seventeen Magazine and teacher at Cooper Unio Yale and Parsons School o...

E. Simms Campbell was the first African-American illustrator/ cartoonist published in nationally distributed, slick magazines, he created Esky, the familiar pop-eyed mascot of Esquire. This early work of 1930 was done on assignment for an interior page of Life Magazine. It features two Rowing teams engaged in spirited competition with cheering onlookers. This is a highly stylized black-and-white illustration and is masterfully executed. The work is composed of two illustrations, 6 x 9 inches and 2-3/4 x 2 inches respectively. It is initialed center bottow ESC. unframed Campbell left the University of Chicago and transferred to and received his degree from the Chicago Art Institute.[3] Professional career During a job as a railroad dining-car waiter, Campbell sometimes drew caricatures of the train passengers, and one of those, impressed by Campbell's talent, gave him a job in a St. Louis art studio, Triad Studios. He spent two years at Triad Studios before moving to New York City in 1929. A month afterward, he found work with the small advertising firm, Munig Studios, and began taking classes at the National Academy of Design.During this time, he contributed to various magazines, notably Life, & Judge Following the suggestion of cartoonist Russell Patterson to focus on good girl art, Campbell created his "Harem Girls", a series of watercolor cartoons that attracted attention in the first issue of Esquire, debuting in 1933. Campbell's artwork was in almost every issue of Esquire from 1933 to 1958 and he was the creator of its continuing mascot, the cartoon character in a silk top hat. He also contributed to The Chicagoan, Cosmopolitan, Ebony, The New Yorker, Playboy, Opportunity: A Journal of Negro Life, Pictorial Review, and Redbook. His commercial artwork for advertising included illustrations for Barbasol, Springmaid, and Hart Schaffner...

Bauhaus Iconic work by the master or Cubism and Expressionism Dalzell Hatfield Gallery, Los Angeles Bonhams, Exhibited: Moller Fine Art, "Precision ...

Signed and dated lower right; inscribed, Dated and Signed on Verso Provenance: Ashley John Gallery

Original mixed media on paper. Center square is gold and reflects light in prismatic pattern. Hand signed by the artist. Artwork is in excellent condition. Certificate of authentic...

Bauhaus Iconic work by the master or Cubism and Expressionism Dalzell Hatfield Gallery, Los Angeles Bonhams, Exhibited: Moller Fine Art, "Precision ...

Charcoal and pencil on paper. Note: The painting shown on the wall may not be proportional to the room size.

Pencil and Charcoal on paper. Note: The painting shown on the wall may not be proportional to the room size.

Charcoal and pencil on paper. Note: The painting shown on the wall may not be proportional to the room size.

This Harry Beckhoff illustration is masterfully rendered and intricately designed in line and wash. It's as abstract as it's representational with its graphic style, clean lines, and flat patterning. Every element in the composition works in harmony without a line out of place. The flat and abstract nature of the work rivals that of the great modernist painters of the 1930s. Perhaps this was done for a major newsstand magazine like Collier's. Although he studied with Dean Cornwell and Harvey Dunn, he didn't pursue the style of painterly brushstrokes and impastos. Instead, he defined his forms with flat shapes, whose internal forms are defined by thin lines. The emphasis is more on silhouette and line than it is on texture and lighting. Beckhoff also described his work as having been influenced by illustrators like Pierre Brissaud...

Gallery tags on verso. Work is frame an in very good condition.

Drawn in 1912 by Picasso, this fine piece of work is a recognizable mark of his unique style. "Homme dans un interiéur jouant de la guitare", 1912 is on cream laid paper, with abstra...