Tri-State Area - Abstract Drawings and Watercolors

Santi Moix Consilience, 2009 Crayon and pencil on paper Signed and dated 2009 in crayon on the front Unique Frame included Provenance: the Artist and Kasmin Gallery This exquisite, u...

Artist: Kenneth Noland, American (1924 - 2010) Title: Stripes Year: circa 1965 Medium: Watercolor Size: 4.5 in. x 6.75 in. (11.43 cm x 17.15 cm) Frame Size: 11.5 x 13.5 inches

Of her recent works, Urso states, "I make exploratory paintings, working in response to my immediate environment. My approach involves moment-to-moment extrapolation governed by intu...

Sutra, a Sanskrit word meaning “thread”, is a word or small group of words that summarize an entire complex web of ideas, truths, wisdoms, or teachings all woven together into a sing...

Manifest 1 (Abstract Drawing) Charcoal and water on paper. Unframed. Margaret Neill works for a time on a group of pieces in a series, using classic almost primal materials such as...

Artist: Shlomo Koren, German (1932 - ) Title: Untitled - Conceptual Moon Phases 8 Year: 1965 Medium: Ink, Watercolor and Collage on Paper mounted to Canvas, signed l.l. Size: 15.5 in...

Of her recent works, Urso states, "I make exploratory paintings, working in response to my immediate environment. My approach involves moment-to-moment extrapolation governed by intu...

Pencil drawing on paper from 1944. Signed and dated with cypher. Paper size 4 x 6" (10 x 15.1 cm). Werner Drewes (1899-1985), painter, printmaker, educator and lecturer, was...

Artist: Kim Jones, American (1944 - ) Title: Don't Cry For Me Argentina Year: 1988 Medium: Ink and Gouache, signed and dated verso Size: 20 x 15.5 in. (50.8 x 39.37 cm) Frame Size: 2...

Born in Czechoslovakia on May 5, 1914. Laisner studied at the University of Chicago and AIC. Most of his career was spent in Pullman, WA as a professor at the state college. He died ...

Artist: Robert Kautz, Austrian Title: untitled Year: 2001 Medium: Acrylic and Mixed Media on Paper, signed Size: 25.5 in. x 19.5 in. (59.69 cm x 49.53 cm)

Sol LeWitt Lines in Four Different Directions, 1997 Original drawing in black felt tip pen on postmarked (franked) postcard Signed, dated and inscribed "For Andrew Thanks for the Dra...

Unknown Artist Untitled, c. 1960s Ink on paper Sight size: 10 x 7 in. Framed: 15 1/4 x 12 1/4 in. Signed illegibly lower right: Jack Bl...?

Polly Apfelbaum Color Circle and Star, 2004 Fabric Marker and Fabric Dye on Velvet Cotton Signed and dated in ink by the artist on the front with artist's inkstamp. Frame Included Si...

Jacquelyn Strycker Green Star, Breathing, 2025 risograph on handmade paper with sewing, acrylic gouache, and watercolor 8.5 x 11 in. (Str006) Pattern is al...

Finesse and delicateness are what best characterize Antonin Anzil’s artistic practice. Using a sharp tool to carefully pull the fiber of the paper from the front, the artist gives bi...

WOODED LANDSCAPE WITH HOUSES Signed original brush and ink on wove paper, circa 1950. WOODED LANDSCAPE WITH HOUSES is an original watercolor brush and ink on paper, hand signed in ink pen by African-American artist, teacher, and printmaker Ronald Joseph (1910--1992) Artwork depicts an abstract landscape, is in good condition, paper tape remaining on reverse side edges, mounted in an archival acid-free mat, unframed. Artwork paper size - 18 x 21.5 in. Year created - c. 1950 About the artist - Ronald Joseph (1910 -1992) was born on the island of St. Kitts, West Indies In 1910. When he was very young, his mother decided to move to the United States but she could not afford to take him with her. Mr. and Mrs. Theophilus Joseph, a childless couple who were friends of Joseph’s mother, adopted him. Afterwards, the Joseph family moved to the Island of Dominica, where they stayed for ten years. In 1921, his foster parents also decided to come to the United States. In New York, Joseph met his mother but remained living with his foster parents. In 1926 Ronald Joseph received a scholarship for the Ethical Culture School, were he spent two and half years of his high school period. At this time he obtained an art scholarship through Dr. Henry Fritz, with whom he became acquainted through his art teacher in public school. Joseph was taken into the Saturday art class, where he was the only black participant. An artistic prodigy, Ronald Joseph had his student works shown at the Metropolitan Museum of Art. Ronald Joseph graduated from Ethical Culture Fieldston School in 1929. He was honored as “the most promising” young artist in New York City’s schools. He began his study at Pratt Institute in 1931 and graduated in 1934. During the 1930s and 1940s, Joseph participated in many exhibitions of African-American art, the Works Progress Administration mural project, and the Harlem Artists Guild. Ronald Joseph enlisted in the U.S. Army Air Corps at the declaration of World War II and was posted as a member of the ground crew in Tuskegee, Alabama, and in Michigan. At the end of the war in 1945, he received his G. I. Bill of Rights scholarship. In 1948, he was presented with the Rosenwald Fellowship. The funds allowed him to live and work abroad – first in Peru for two years, then in Paris. Joseph used the G.I. bill to study in Paris at the Grande Chaumière. He described this period of his life as being “independent of economy”. His work from these travels is largely undocumented; according to Rosenwald scholar, Daniel Schulman, many pieces of art are undated or simply dated “1948-1952”. After this period he came back to New York without money and work and indicated this as period of hardship. Ronald Joseph left the U.S. in 1956, disappointed in the unreceptiveness of the art world to his work with mixed feelings about this. On the one hand, he felt guilty for having left the U.S. during a period when blacks were struggling for their civil rights; on the other, he felt “lucky” to have been able to live and work in place where he did not feel discrimination as intensely. He emigrated to Belgium and later settled permanently in Brussels. Ronald Joseph was married to Claire Joseph and they had a son, Robin Joseph. In 1989 Joseph returned to the United States after an absence of thirty-three years to attend the Lehman College exhibition and symposium and to renew his old friendships. Afterward, he returned to Brussels where he continued to work as a painter, living there for the remainder of his life. Ronald Joseph started his artistic career in Harlem, New York City at the Harlem Community Arts Center, where he was one of the youngest pupils. Joseph studied lithography and other printmaking techniques with Riva Helfond, who taught him many aspects of the process based on simple techniques, including how to operate the press, and how to prepare the stones. Helfond played a significant role as a teacher of lithography at the Harlem Art Center. Joseph produced his first lithographs under her supervision, and this was at a time when she was just beginning to learn the medium herself. At the Harlem Community Arts Center Joseph met Robert Blackburn, who was his classmate. In 1937 Ronald Joseph depicted Blackburn, in one of his most famous works, that is now located at The Metropolitan Museum collection. Experimenting with lithography and etching, as well as woodblock and silkscreen printing, Joseph explored the techniques of printmaking alongside his friend Robert Blackburn. Joseph described the Harlem Art Center as a “healthy and lively” place, where he had made wonderful friends. In the late thirties, he also served as a teacher at the Harlem Community Arts Center. There Joseph met younger artist Jacob Lawrence and Gwendolyn Knight. They formed a friendship, where they enjoyed conversations and visiting museums together. Both Joseph and Knight would hire Lawrence to pose for them. Jacob Lawrence considered Ronald Joseph to be a very intellectual artist. In the 1930s, Joseph became chairman of the Harlem Artists Guild and represented it in Washington with Stuart Davis and Hugo Gellert. Ronald Joseph was also a participant in the mural section of WPA and a representative of the Harlem Artists’ Guild to the New York World’s Fair (1939-1940). Joseph’s early oil paintings were influenced by Picasso, Braque and other European artists while most of his contemporaries focused on social realism. By 1943, he was hailed by art historian James Porter as New York’s “foremost Negro abstractionist painter”. His pastels and gouaches from the late forties and early fifties showed a highly structured abstraction combined with a studied spontaneity. Ronald Joseph’s finely tuned abstractions often incorporated representational elements along with apparently “purer” forms. He described this aspect of his work in these terms: “It’s not abstract and abstract at the same time. It’s pure creation.” His works from the 1950s employed both still life and landscape as pretexts for masterly exercises in nearly abstract pictorial construction related to cubism and fauvism. During World War II, Joseph was drafted. After the war he formed “a kind of a group” with Robert Blackburn, Charles White, Larry Potter, and Reginald Gammon...

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...

Julián Terán Linescape 11 , 2017 Ink on Paper 16.5 x 35.5 in (41.91h x 90.17w cm)

Drawing, 1938. Signed and dated with the artist cypher. Paper size 7 9/16 x 6 1/4" (19.3 x 15.8 cm). Werner Drewes (1899-1985), painter, printmaker, educator and lecturer, wa...

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...

Of her recent works, Urso states, "I make exploratory paintings, working in response to my immediate environment. My approach involves moment-to-moment extrapolation governed by intu...

Artist: Rosana Castrillo Diaz Title: Untitled Date: 2011 Medium: Mica Paint on paper Dimensions: 25 x 25 x 3.25 inches Frame Dimensions: 26.75 x 26.75 inches

Riprap 2 (Abstract Drawing) Colour pencil and acrylic on paper. Unframed. This fluid abstract work on paper is intuitively made with a coloured pencil and acrylic. The intersectin...

Effloresce (Abstract painting) Oil on paper - Unframed Framed on request Spielman uses oil paint on canvas, paper and panel in various sizes; she works on up to forty paintings at ...

Simon Samsonian (1912-2003) Two Sisters, 1995 Poster color and mixed media on paper Sight size: 16 1/2 x 14 3/4 in. Framed: 26 x 23 1/2 x 1 in. Signed ...

Covers 20 Red A (Abstract Drawing) Gouache on handmade Khadi paper - Unframed. Joanne Freeman's works on paper are made with gouache on handmade Indian Khadi paper. She uses tape t...

Joan Snyder's early 1970s period is known as the best of her career, now an iconic period of time for feminist abstract painting of the era. This fully finished work on paper reads l...

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 surface, they also carry with them...

Adjacent 6 (Abstract drawing) Pencil and paint stick on paper. This piece is one of a group of works on paper made with paint sticks and pencil on paper that has been primed with g...

Jane Freilicher Untitled I, 1958-59 Signed lower right Charcoal on paper 11 1/2 x 8 3/4 inches Provenance: Tibor de Nagy Gallery, New York Private Collection, New York Jane Freilic...

Flit, is an abstract geometric black ink drawing on white paper, 2022. The work is hand-drawn by the artist without any ruler or straight edge. She works organically from the center,...

Colour pencil and acrylic on paper. Unframed. This fluid abstract work on paper is intuitively made with a coloured pencil and acrylic. The intersecting multi-layered forms create ...

Colored pencil and graphite on plastic paper. Unframed. Screech of Ice is a new series of drawings made by holding a bunch of pencils in two hands and letting them to do the control...

Oil on paper - Unframed Framed on request Spielman uses oil paint on canvas, paper and panel in various sizes; she works on up to forty paintings at a time, moving between them as each begins to form, then isolating a work to bring to completion. Her saturated surfaces are luminous, with alternate glossy and matte layers, but also bear rough nail marks that scar and deconstruct the work. These etched lines and marks relate to an image and idea, and are often the underlying structure, the submerged language of a work. Her use of reds and pinks link to flesh and blood...

OC 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...

Selena Beaudry’s work is created by marking and cutting up drawings. This has led the artist to rediscovering her visual language. Her work consists of...

Sandy Litchfield found peace and inspiration in regular solitary walks through nature throughout the pandemic. Her most recent body of work diaristically documents her constitutional...

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...

Gouache on handmade Khadi paper - Unframed. Joanne Freeman's works on paper are made with gouache on handmade Indian Khadi paper. She uses tape to mask out shapes and employ hard ed...

felt tip pen on paper.

Jeff Koons Original flower drawing on Rockefeller Center Puppy poster (Hand Signed), 2000 Drawing done in silver marker on offset lithograph Hand signed by Jeff Koons in marker on t...

Bruno Lassalle Untitled, 1993 18.75 x 15.75 inches; framed in natural wood color 21.6 x 19.6 inches oil pastels on board signed 'LASSALLE' and dated recto; stamped verso Bruno Lassa...

An original painting by contemporary American painter, Murray Reich. Nicely framed. House and Sky by Murray Reich, American (1932–2012) Date: 1980 Acrylic and Collage on Paper, sign...

Live Transmission Morgan O'Hara's conceptually based performative drawing researches the vital movement of living beings, the human experience of time and space. It is culturally co...

"Birds" is an elegant and contemporary abstract pattern painting with dark tones and golden highlights. This compelling artwork features an intricate tapestry of overlapping, dark-hu...

Sol LeWitt Wavy lines, original signed Minimalist ink drawing on card with Warhol stamp, 2004 Drawing in black felt tip pen on postmarked (franked) postcard with Warhol postage stamp...

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, ...

Walter Darby Bannard Ammersee #2, 1975 Watercolor and acrylic painting on paper Signed, titled and dated lower recto This is a unique work Frame included: elegantly floated and frame...

As a teen, Paul Jenkins worked with ceramicist James Weldon which led to a fascination with glazes; Jenkins cultivated and eventually achieved a similar effect in his paintings by mixing oil and enamel on canvas in the 50s. In 1937, Jenkins attended classes at the Kansas City Art Institute where he painted his first series of watercolors he called interior landscapes inspired by caves in the Ozarks. After serving in the US Naval Air Corps for 2 years, Jenkins moved to New York to study with Yasuo Kuniyoshi and Morris Kantor at the Art Students League from 1948 to 1952. During those years, Jenkins met Mark Rothko, Jackson Pollock and Barnett Newman. In 1953 left for Paris where he discovered and was struck by the color density and luminosity in abstract oil works termed ébauches by Gustave Moreau and pastels by Odilon Redon. He began to experiment with poured paints in various thicknesses on canvas and paper and found this technique achieved luminosity of color which in its own way was comparable to that of Moreau and Redon. The next year, Jenkins added Winsor Newton pigments and chrysochrome, a viscous enamel paint, into his poured paintings, further enriching their color density and incandescence. The next major development in technique came in 1959 when he began using an ivory knife to guide the flow of paint. That same year, he also began to title his paintings Phenomena followed by a key word or phrase. A film on Jenkins' technique titled The Ivory Knife: Paul Jenkins at Work was shown at the Museum of Modern Art and received the Golden Eagle Award at the Venice Film Festival in 1966. In 1954 Jenkins had his first solo exhibition in Paris where he met Martha Jackson, whose New York gallery included Jenkins in a group show the following year. In 1956, Martha Jackson Gallery held a solo exhibition of Jenkins’ work at which Divining Rod...

ABSTRACT American Woman Abstract Non-objective Mid 20th Century Modern Drawing Irene Rice Pereira (1902-1971) Abstract 8 1/2 x 5 1/2 inches Watercolor, gouache, and ink on black paper Signed lower right Framed by Bark BIO rene Pereira was born in 1902 in Chelsea, Massachusetts and grew up in Great Barrington. She was strongly influenced by her mother who was an amateur artist. Irene began art lessons at the age of fifteen; she took a secretarial job because her father had died. She took art classes at the Art Students League in New York City. At the age of twenty-one she married the first of three husbands, Humberto Pereira, whose name she kept. She traveled extensively in Europe and North Africa and was much inspired by the expansive vistas of the Sahara Desert. Returning to New York, she began incorporating these visions into her work, increasingly experimental in her styles and methods. At first she painted on canvas, then she devised a means of actually incorporating light into her works by painting on layers of glass and mounting the layers together. In 1942 she married George Brown, an engineer, who helped her experiment with a variety of materials. By the 1950s she became more interested in writing poetry and, divorced from Brown in 1952, she married George Reavey, an Irish Poet...

R/E/A Ryan Cronin Oil-Based Pastel on Paper (ND) 30" x 22.5" When people look at his work Cronin wants them to feel an immediate impact, even if they’re not sure what hit them. The ...

Meg Hitchcock Supplication to the Takpo Kagyu, 2021 Text from The Aeneid, acrylic, embroidery thread, graphite 14 x 11 in. frame size: 17.75 x 14.75 in. (Hit004)

The latest watercolors from Ray Kass strike a balance between audacity and contemplation. Drawing from the Tibetan Buddhist tradition of the Tsakli - sets of miniature paintings feat...

Billy Al Bengston Turkey Dracula, 1973 Color lithograph with hand coloring and watercolor (unique variant) on Lanaquaralle paper with deckled edges Hand signed and numbered A.P. #6, ...

MAGIC CASEMENT, Abstract Non-Objective Mid-Century Pastel Color Field Drawing "Magic Casement" 16 x 20 ¾ inches Pastel on paper Initialed JD and dated February 22, 1967 lower left, Titled lower right The framed work measure 18 x 23 inches. Provenance: James Daugherty...

Philip Wittmann work is based on signs. Signs are for him an intermediary between abstraction and writing. He started painting 32 years ago, at the age...

Daisy Craddock's The World in a Tomato is an abstracted red and green still life of an heirloom tomato, rendered in oil pastel. Drawn from life, Craddo...