New York - Abstract Drawings and Watercolors

Carl Andre Handwritten letter from Amsterdam the artist's sister, 1982 Postmarked Postcard Hand addressed, handwritten and hand signed by Carl Andre. Letter is postmarked from Amster...

Margie Hughto Blue Blossom, 1983 Dyed Handmade paper Hand signed and dated by the artist on the lower right front. Titled on the back. Frame Included in ...

"Seduced by the formal complexity of color, I revel in its emotive slipperiness and enjoy mining its controversial decorativeness. The inextricability of these aspects unique to col...

John Giorno LET IT COME LET IT GO, 2017 Watercolor on handmade paper Hand signed and dated by the artist on the back of the artwork. The frame features a die-cut window on the back t...

Rocio Rodriguez October 16, 2014, 2014 pastel, oil pastel and charcoal on paper 18 x 24 in. framed 22 x 28 in. This original oil oil pastel drawing on paper by Rocio Rodriguez featu...

Between September 2018 and April 2019, I created 100 small paintings consecutively. I endeavored to make nothing else and viewed the project as an opportunity to experiment and solid...

Finesse and delicacy are what characterize best Antonin Anzil’s artistic practice. Paper as a medium seems incompatible with the idea of engraving or sculpturing; and yet. Using a sh...

James Rosati Untitled Geometric Abstraction, 1982 Two-sided Acrylic and Colored Pencil on Paper drawing Hand signed and dated on lower right front 14 1/2 × 13 1/2 inches This is a un...

James Siena "This is for Nadine", signed drawing, 2005 Original drawing done in black marker, bound in the title page of softcover PACE Gallery catalogue with stiff wraps hand signe...

Emma's artwork is inspired by the Parisian luxury world of fashion, textures and color. This lush orange and sunset hued artwork titled "Soft Light 09" works well on it's own or as a...

Tony Oursler Crab (With Museum Exhibition Labels), 1972 Colored pencil on paper Bears what appears to be the artists signature (or original notation)...

Maeve D'Arcy Land Shark , 2024 ink and colored pencil on paper 22 x 30 in. (dar150)

By developing a geometry between line and the spaces in between in their work, the four abstractionists featured in Transcendental create a point of departure for the mind into a sp...

David Humphrey Remembering Florida, 1992 Oil Stick, Enamel on Handmade Paper (Contemporary Art Center of Cincinnati label verso of frame) Signed on the back 29 × 43 1/2 × 1 inches Unframed This is an abstract, mixed media work by David Humphrey. It has a "Contemporary Arts Center of Cincinnati" label on the verso. In a vintage mahogany box...

Robert Petersen Giotto, 1989 Mixed Media: Silkscreen with Watercolor and Acrylic on paper Hand signed, numbered and dated on front A.P 2/3 (Unique variant - each example unique with ...

An artwork on paper by New York artist Miranda Maher. Made with Reproductions of maps of the moon printed on Unryu Inkjet washi, mounted to Magnani cotton paper, Overlayed with Sumi ...

Simon Samsonian (1912 - 2003) Colorful Geometric Abstraction, 1981 Oil on paper 16 x 22 inches Signed and dated lower right Provenance: Estate of the artist This survivor of the Armenian genocide wound up in a Cairo orphanage in 1927. He rose to fame as one of Egypt’s great modernists, but after moving to Long Island late in life he withdrew into anonymity. Now his compelling story is being told. Art historians are finally beginning to realize that the power of abstraction in its early years was a zeitgeist not limited to the major European centers of the avant-garde — Paris, Munich, and Moscow — but one that quickly rippled to major cities throughout the world. Within a few decades that original shock of a new vision had inspired thousands of artists from different cultures — particularly those the Middle East — whose translations were not slavish imitations of works by seminal figures like Picasso, Braque, Malevich, and Kandinsky but creative variants colored by their respective cultures. This essay focuses on an extraordinary Armenian artist, his harrowing survival of the genocide, his rise to fame in Cairo, and his creation of a unique style of abstraction. Art historians have typically formed a chorus that teaches the history of abstraction like this: Just before and during the World War I era, several avant-garde artists emerged to create shockingly different new forms by which artists could express themselves. In Paris, Picasso and Braque broke out with cubism, quickly followed by Mondrian. In Moscow, Malevich created Suprematism, the ultimate hard-edge geometric abstraction. And in Munich, Kandinsky emerged as the father of Abstract Expressionism. Within these few short years a zeitgeist was sensed throughout the art world. American pioneers, too — particularly Stanton Macdonald-Wright and Morgan Russell — felt this explosive freedom of expression. When Europe was recovering after World War I it became clear that Paris would retain its title as capitol of the art world, lasting through the Roaring Twenties and even through the Great Depression. But the end of World War II changed everything. A parallel war had been won by a group of irascible young Abstract Expressionists in New York — led by Pollock, Rothko, DeKooning, and Kline. No sooner had Paris been liberated from the Germans than Picasso, Matisse, Breton, and Duchamp surrendered to the Americans. From that point on New York would be the epicenter of the art world. But a lens that focuses myopically on the war between the avant-garde of Paris and New York misses the wider narrative of multiple aesthetic modernities that developed in the several decades following World War I. For Armenian artists the matter is even more complex owing to the genocide of 1915 where more than 1.5 million people — seventy-five percent of Armenians in the Ottoman Empire — were massacred. Those not shot on the spot were sent on death marches through the Mesopotamian desert without food or water. Frequently, the marchers were stripped and forced to walk naked under the scorching sun until they dropped dead. As a child Samsonian witnessed the murder of his parents and most of the members of his family. Soon thereafter, his older sister, Anahid, quickly shepherded him into a line of children being rescued by Greek nuns. But they became separated and he lost her, too. He was sent to a Greek orphanage in Smyrna (now Izmir), on Turkey’s west coast. Because he only knew his first name, the orphanage gave him a last name based on the place where they found him — Samsun — a major port on Turkey’s north coast on the Black Sea. His birth date was unknown, too. According to Samsonian’s vague recollections he assumed he was about three or four years old at the onset of the genocide, which would place his birth year in 1911 or 1912. In 1922, when Samsonian was about 10, the Turks ended their war with the Greeks by putting Smyrna to the torch in what has been called the “Catastrophe of Smyrna.” Once again, the child was on the run, escaping the fire and slaughter. He found temporary refuge in Constantinople, but within a year that major port would fall to the Turks, too, and become renamed as Istanbul. This time, Samsonian was whisked away to an orphanage in Greece founded by the American charity, Near East Relief — which is credited with saving so many Armenian orphans that the American historian Howard M. Sachar said it “quite literally kept an entire nation alive. Any understanding of Samsonian’s approach to modernism requires careful consideration of the impact of his early years because his art is inseparable from the anguish he experienced. In 1927, when he was a teenager, he was transferred to Cairo, Egypt, then a cosmopolitan city hosting a sizable portion of the Armenian diaspora. There he lived with thirty-two other children on the top floor of the Kalousdian Armenian School. Upon graduating in 1932 he won a scholarship to attend the Leonardo da Vinci Art Institute — an Italian art school in Cairo — where he won first prize in final examinations among one hundred students. He found work with an Armenian lithographic printer and he returned to the Kalousdian Armenian School to teach drawing. In 1939 he married one of his students, Lucy Guendimian. The Cairo in which Samsonian matured as an artist was home to many prominent art collectors after World War I. In this receptive environment Samsonian exhibited widely and won many awards. Beginning in 1937 and for the next thirty years he exhibited annually at the prestigious Le Salon du Caire hosted by the Société les Amis de l’Art (founded in 1921). After World War II he hit his stride as a modernist in Cairo, counting among his peers other artists of the Armenian diaspora such as Onnig Avedissian, Achod Zorian, Gregoire Meguerdichian, Hagop Hagopian...

Artist: James Lee Byars, American (1932- 1997) Title: Description of Torino Exhibit (Castello di Rivoli) Year: 1989 Medium: Marker on Foil Paper Siz...

Watercolour on 100% rag hot press paper. Unframed. Melissa Meyer has created a diverse oeuvre that includes oil paintings, drawings, watercolors, prints and large-scale public commi...

Evergreen Lane (Abstract print) Etching - Unframed. This print is last in edition. This etching refers to a Steamboat Springs, Colorado street. It...

The drawings in this series are from photos of marine accidents, and made of thread, knots, and vellum. All were completed in 2019. At sea, stacks of containers topple from a load...

Swipe 3 (Abstract painting) Sumi ink and paint on paper. Unframed. For Russinof, everything begins with color. She begins a painting by applying color in lyrical, gestural marks. T...

Rocio Rodriguez December 4, 2020 Pastel and charcoal on paper 11 x 14 in. (rodr054) Rocio's work represents an exploration of the transient and temporal and a process of creating a ...

Andrea Belag Beauty for Sale, 1990 Monotype on cotton rag paper 42 1/2 × 30 inches Unframed Pencil signed, dated and titled on the front; bears publisher name and copyright on the back Exquisite monotype; both gestural and minimalist. The title speaks for itself and defines the work. American painter Andrea Belag creates lush and luminous abstractions inspired by the visual and spiritual principles of Zen, as well as artists such as Mary Heilmann, Bernard Frize...

Theresa Bernstein The Gathering, circa 1990 Signed lower right Mixed media on paper 9 x 10 3/4 inches Theresa F. Bernstein was born in Philadelphia in 1895 to cultured, middle-clas...

Oil on paper, signature Tom Bennett freedom of rich brushwork, warm colors

Jay Rosenblum Polarity #3, 1981 Acrylic on paper 6 × 9 1/2 inches Signed and titled in graphite pencil on the front Unframed This gem of a work is an acrylic painting on paper by ren...

Berlin (Abstract Painting) Spray paint, pencil, ink, watercolor on paper. Unframed. Peter Soriano works on relatively large sheets of Japanese paper with a tendency to work from so...

Sandy Litchfield brings her magical abstracted landscapes to a new medium in her recent colored pencil drawings. Loose, delicate lines scramble over one another, bringing a diffuse, ...

Spray paint, pencil, ink, watercolor on paper. Unframed. Peter Soriano works on relatively large sheets of Japanese paper with a tendency to work from something observed, ideally ar...

Aida experiences resilience: she paints, she breaks and she rebuilds. Watercolor, subtle and delicate, turns into great sculpture. The beauty of scars in her work — imperfect and fra...

Woods (Abstract Expressionism painting) Acrylic and mixed media on paper - Unframed. Werfel employs expressive, lyrical gestures that create b...

OA 19 (Abstract painting) Acrylic on paper - Unframed. Using the geometric vocabulary found in architectural schemata, Bolt tries to create a dynamic tension between foreground and...

Ambassade 44 (Abstract Expressionism painting) Watercolour on hot press paper - Unframed This work is part of the watercolour series titled Ambassade which was named after a visit ...

So Tough (Abstract Painting) Acrylic on paper. Unframed. This piece comes out of the more informal Painting A Day series. While these are more interested in scale, stroke, and surf...

An Abstract expressionist gouache painting by American artist, Sid Gross. Date: 1959 Gouache on paper, signed and dated lower right Image Size: 18.5 x 12 inches Frame Size: 28 x 22 ...

Pigment pencil on Mylar. Unframed. The Maelstrom Series include the most iconic and known of Peerna's works. Starting from the center on a tilted table, she extends her fingers t...

Colby 10 (Abstract painting) Spray paint, pencil, ink, watercolor on paper - Unframed Peter Soriano is an abstract artist who divides his time between New York City and Penobscot, ...

Spring (Abstract Expressionism painting) Acrylic and mixed media on paper - Unframed Werfel employs expressive, lyrical gestures that create bursts of movement and energy. Her colo...

This collotype featured in the pamphlet available at Galerie de Art Misrachi for an exhibition of works by Vlady. This specific example also bears a drawing by the artist in pen on t...

Location: 211 Showroom Abstract With Yellow, 1987, by Norman Bluhm (1921-1999) Watercolor on paper 22 ¼ x 30 inches unframed (56.515 x 76.2 cm) 23 ¾ x 31 ½ inches framed (60.325 x 80...

Gouache on paper - Unframed. Jill Moser is an American abstract artist whose work explores the intersection of “painting, writing and the animated image.” Her work is in the colle...

"Bourrée Fantasque #2", Pastel on Paper by Artist Francisco Moncion, is a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet ...

"Bourrée Fantasque #3", Pastel on Paper by Artist Francisco Moncion, is a Mid-20th Century fantasy image inspired by George Balanchine's 1949 ballet ...

The drawings in this series are from photos of marine accidents, and made of thread, knots, and vellum. All were completed in 2019. At sea, stacks of containers topple from a load...

The drawings in this series are from photos of marine accidents, and made of thread, knots, and vellum. All were completed in 2019. At sea, stacks of containers topple from a load...

The drawings in this series are from photos of marine accidents, and made of thread, knots, and vellum. All were completed in 2019. At sea, stacks of containers topple from a load...

Charcoal on paper - Unframed. Margaret Neill works for a time on a group of pieces in a series, using classic almost primal materials such as graphite, charcoal, paint on traditiona...

Pencil and paint stick on paper. Unframed. This work on paper is about Minimalism and exploring minimalist ideas of small moments where one thing has an effect on the whole. On a s...

Color pencil, ink pen and Chinese ink on wooden panel

Manfred Schwartz (American, b. Poland, 1909-1970), "Falaise d'Aval", Pastel on Paper, apparently unsigned, artist's estate stamp to verso, silvered wood frame. Image: 8.5" H x 10.5" ...

Statement-The emphasis in the work is on color ,motion and emotion. I make paintings that are inspired by aspects of life thus transforming color and movement into their own visual ...

Signed and dated lower left. Size: 16 x 12 in. Frame Size: 30 x 25 in.

Anna Kruhelska is a visual artist and architect working across fields of art and design. She creates abstract, three-dimensional paper wall reliefs that...

Ink #4 (Abstract painting) Ink, watercolor, gouache on Arches watercolor paper - Unframed. Image size: 12” x 8.25” - 30,5 x 21 cm. She layers paint in gestural, horizontal swaths ...

Charcoal on paper - unframed. Neill creates works on canvas, linen and paper using a variety of mediums, including graphite, colored pencil, charcoal and paint. Her process involve...

An Abstract expressionist gouache painting by American artist, Sid Gross. Date: 1959 Gouache on paper, signed and dated lower right Image Size: 18.5 x 12 inches Frame Size: 28 x 22 ...

Manfred Schwartz (American, b. Poland, 1909-1970), Rivulets Etretat, Pastel on Paper, apparently unsigned, with artist's estate stamp to verso, in mat, unframed. Image: 9" H x 10.25"...

Ambassade 44 (Abstract Expressionism painting) Watercolour on hot press paper - Unframed This work is part of the watercolour series titled Ambassade which was named after a visit ...

"#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...