Watercolor Abstract Paintings

Falling Towards Myself is a large-scale multicolored abstract painting with dramatic shades of Kelly green, vibrant cobalt lapis blue, yellow, ochre, peach and pale mint green agains...

Life at the Blue Bar #5, Abstract Yellow Acrylic Painting, 2017 24" x 20" x 1.5" (HxWxD) Unframed, but comes "cloth-edged" (black) and ready to display with hanging wire Artist Comm...

Predominantly recognized as a self-taught painter, he also worked in architectural murals, sculptures, ceramics, prints and drawings. Vigas is one...

Colourful Painting of Abstract Flowers on a White Background by Contemporary British Artist, Angela Wakefield. This original is from the 'Spring Burst' Interior Design Series. Framed...

Mood. 2019. Paper, watercolor, 15.5x23.5 cm Zigmunds Šņore was born in 1942 in Latvia. His works has been exhibited since 1969 and are held in private collections in Latvia, USA, S...

A painting by Alexander Calder. "Mickey Mouse" is a Post-War abstract painting, gouache and ink on paper in bold colors of reds, blacks, yellows, and oran...

Ronald Slowinski 4-Seasons: Fall Watercolor, paper Year: circa 1987 Size: 46x94x2.25in Framed in an acrylic box COA provided Comes with original papers and photographic slide Ref.: 9...

Painting of Abstract Red, Pink, Yellow & White Wild Flowers on an Orange Background by British Contemporary Artist, Angela Wakefield. From the 'Spring Burst' Interior Design Series. ...

Painting of Abstract Red, Pink, Orange & Blue Wild Flowers on a Yellow Background by British Landscape Artist, Angela Wakefield. From the 'Spring Burst' Interior Design Series. Frame...

Painting of Abstract Red, Pink & Orange Wild Flowers on a White Background by Contemporary British Artist, Angela Wakefield. From the 'Spring Burst' Interior Design Series. Framed in a Contemporary Pewter...

A painting by Alexander Calder. "Vive" is a Post-War abstract painting, gouache and ink on paper in bold colors of reds, blacks, and blues by artist Alexander Calder. The artwork is signed lower right, "Calder 72...

A painting by Alexander Calder. "The Forest" is a Post-War abstract painting, gouache and ink on paper in bold colors of reds, blacks, yellows, and blues by artist Alexander Calder. The artwork is signed lower right, "Calder 72...

A stunning Art Deco cubist gouache on cardboard painting from a Russian Artist in Paris (20th Century). The artwork shows no visible signature. This is a typical example of the Russi...

A painting by Alexander Calder. "Colonial Organisms" is a Post-War abstract painting, gouache and ink on paper in bold colors of reds, blacks, yellow...

A painting by Alexander Calder. "L'Envolee" is a Post-War abstract painting, gouache and ink on paper in bold colors of reds and blacks by artist Alexander Calder. The artwork is sig...

De Hirsh Margules (1899-1965). Christopher Street, 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15.5 x 20 inches. Window in matting measures 15 x 19 inches. Framed measurement: 23 x 30 inched. Bears fragment of original label affixed on verso. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC Exhibited: The American Federation of Arts Traveling Exhibition. From the facade of The Waverly at Christopher is depicted One Christopher Street, the 16-story Art Deco residential building erected in 1931. It is not a casual coincidence that the structure appears in this cityscape: 1 Christopher Street is the subject. The original intention of this project was to transform the neighborhood, bring a bit of affluence and make a bid to rival the Upper West Side. Margules, a sensitive aesthete, understood how a massive piece of architecture such as One changes a neighborhood. Sound, scale and focal points are forever altered. A pedestrian's sense of depth and distance becomes pronounced. All of these factors contribute to the intent behind this image. Tall buildings disrupt the human scale, change the skyline and carve up space. In this piece, negative space conforms to the man-made geometries. Clouds become gems fixed in settings. De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium" Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village. Early Life De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website. At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers. As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later. In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno). Artistic career In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting. Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe. Jane Heap, left, with Mina Loy and Ezra Pound During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter. In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa. Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that: the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment. Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow." It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day. In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel. Upon his return to New York in 1929, Margules attended an exhibition of John Marin's paintings. While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O'Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends." Alfred Stieglitz Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York. With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting. In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works. In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation. "The Baron of Greenwich Village"[edit] Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond. To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness." He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller. Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance. The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation. The writer and television personality Alexander King said I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean. King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets." Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler. Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...

"Dialogue" is a powerful series by Indian Artist Ritu Sinha. This series of 10 pieces boldly brings to the forefront a feminist discussion that culturally isn't part of everyday life...

De Hirsh Margules (1899-1965). North on West Street , 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15 x 22 inches. Framed measurement: 27 x 34 inched. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium" Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village. Early Life De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website. At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers. As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later. In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno). Artistic career In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting. Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe. Jane Heap, left, with Mina Loy and Ezra Pound During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter. In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa. Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that: the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment. Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow." It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day. In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel. Upon his return to New York in 1929, Margules attended an exhibition of John Marin's paintings. While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O'Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends." Alfred Stieglitz Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York. With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting. In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works. In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation. "The Baron of Greenwich Village"[edit] Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond. To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness." He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller. Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance. The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation. The writer and television personality Alexander King said I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean. King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets." Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler. Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...

Watercolor painting on paper by Roger Lersy (France - 1920 - 2004). Stunning abstract cubist composition with a colorful design from the "Telstar" series executed by the artist in Paris in the 1950s. The signature on the bottom right corner reads R. Lersy. The watercolor was newly reframed in an elegant wood frame with navy blue PU leather wrapping, beige jute matte, and acrylic glass protection. Measurements: With frame: 33.50 in. wide (83.50 cm) x 17 in. high (43.25 cm). Opening view: 25.20 in. wide (64 cm) x 8.66 in. (22 cm). About: Roger Lersy is a French painter, lithographer, and composer, born in Paris on April 2, 1920, and died in Orsay on June 22, 2004. He belongs to the School of Paris and the Young Painting movement. Roger Lersy was born in the 18th arrondissement of Paris on April 2, 1920. Studying the piano from his earliest childhood, likewise beginning to draw on his father's lap, Roger Lersy, son of a decorator, enters after his schooling and for three years at the École supérieure des arts appliqués Duperré in Paris. He lives at 19 rue du Faubourg-Saint-Antoine and begins to paint. He also worked as a decorator and pursued higher musical studies, in parallel with Noël Gallon, between 1950 and 1954. After 1954, the year when galleries, both in Paris and abroad, began to exhibit him regularly, he practiced painting (canvases, watercolors, tapestry cartoons) and music. From 1961 to 1968, Lersy lived in the United States. In 1970, he went on to solo exhibitions in Paris, London, Geneva, Houston, Los Angeles, and New York. Roger Lersy was initiated into the first degree of Freemasonry in the Ancient and Accepted Scottish Rite in 1979 at the Loge du Grand Val in the Paris region and later at the Grande Loge de France. Leading two careers at the same time, Roger Lersy has left paintings that present themselves as so many rhythms and tremors. In his paintings, the motif develops along a melancholy line with well-concerted chords, pauses, and cadences. One could define Lersy as a baroque expressionist. For Bernard Dorival, Roger Lersy is, along with Gabriel Dauchot, Jean Commère...

A painting by Alexander Calder. "The Oval Spiral" is a Post-War, geometric abstract painting, gouache and ink on paper in bold colors of reds and blacks by artist Alexander Calder. T...

Esteban Vicente (1903-2001). Untitled, #36, 1955. Gouache on paper, image measures 8 x 11 inches, 16.5 x 19.5 inches framed. Signed, dated and numbered on verso. Excellent condition....

A painting by Alexander Calder. "Red and Black Spiral" is a Post-War abstract painting, gouache and ink on paper in bold colors of reds, blacks and blues by artist Alexander Calder. The artwork is signed lower right, "Calder 72...

Artist Commentary: Moonlight Flit is a triptych, with a fondness of moonlight walks in the summer. A contemporary landscape, this painting comes UV pro...

An artwork by Alexander Calder. "Cercles" is an abstract painting, gouache and ink on paper in bold colors of reds, blues, and blacks by Post-War, American artist Alexander Calder. T...

Otto Tschumi * 4.8.1904 Bern, † 18.2.1985 Bern) Weite Landschaft (Wide Landscape) A fine surrealist landscape • Mixed media: gouache, tempera, pencil on paper ca. 15 x 19 cm • Shabby chic gilt 19thC frame most likely chosen by the artist himself . 16.5 x 20.5 cm • Signed and dated (19)43 bottom left • Verso: In pencil titled, dated and re-signed by the artist Swiss painter Otto Tschumi, considered one of the most important Swiss surrealists, was born on the 4th of August 1904 in Bittwil, Seeberg, Switzerland and died on the 18th February 1985 in Bern. Tschumi grew up in modest circumstances in Bern and attended basic school there. He then ended his apprenticeship as a sign painter...

Untitled 1957 Gouache 9.25 x 8.5 inches Framed: 17 x 16 inches

A painting by Alexander Calder. "Directions" is a Post-War abstract painting, gouache and ink on paper in bold colors of reds, blacks, yellows, and oranges by artist Alexander Calder...

Gouache, ca1950 Handsigned by the artist in pencil 22.00 cm. x 28.00 cm. 8.66 in. x 11.02 in. (image) Framed work Gouache on paper A certificate of authenticity etaliblished by Pie...

A painting by Alexander Calder. "Tracks" is a Post-War abstract painting, gouache and ink on paper in bold colors of reds, blacks, and yellows by artist Alexander Calder. The artwork...

Blue Cloud, Pink Sky is an original artwork realized by the English artist Martin Bradley in 1983. Original gouache on paper. Titled on the lower left corner Blue Cloud, Pink Sky...

French early 21st Century Graffiti, street art, 'drip' painting on paper by Jonas “SUN7” Bournat. The work is signed and titled to the backboard. Presented in fine wood, glass and cl...

Gladys Nilsson A Small Error (INV# NP3714) watercolor on paper Approx: 5 x 5.12" Frame: 10.12 x 10.12" 1987 Annotated on mat verso with title, artist...

Eddy Lee’s figurative surrealist portrait paintings on exposed wood depict emotive sirens who evoke a sense of mystery and seductiveness. His original artworks combine geometric elements with innocent women portraits seeking to trigger emotions, rather than communicating specific explanations. He reconciles the unconscious with rational life, exploring the power of dreams, embracing automatism, and freeing his subjects from the constraints of conscious thought. This colorful, intriguing portrait is painted with acrylic and gouache on a hand-built cradled wood panel. This one-of-a-kind original artwork is 48 inches high by 36 inches wide and is signed by the artist on the back. It is wired and ready to hang. It does not require framing. Free local Los Angeles delivery. Affordable Continental U.S. and worldwide shipping available. A certificate of authenticity issued by the art gallery is included with this unique work. Originally from Seattle, Washington, Eddy Lee relocated to Los Angeles in late 2012 to pursue a full-time career as a fine artist. He started his career on the Venice Beach Boardwalk and quickly gained a large following across the United States with exhibitions in San Francisco, Las Vegas, and Los Angeles. The artist’s work is inspired by the works of Audrey Kawasaki...

Les Ruines Des Plus Beaux Monuments De La Grece both 22 3/4" x 34" (sight) oil with arabesque artist identified on label verso. #27, Earthquake II, From 1992 show; Night Paintings, Galerie Pierre Passebon, Paris, France, Les Ruines des Plus Beaux Monuments de la Grèce, Stubbs Books & Prints, New York Konstantin Kakanias (born September 18, 1961 in Athens) is a contemporary Greek painter, illustrator and multimedia artist. He currently lives and works in Los Angeles and Greece. Throughout his career Kakanias has created drawings, paintings, sculptures, performances, ceramics and books. Kakanias' work does not belong to any single style. He is known to explore a range of themes in his work from the light and comic to the dark and psychological. Kakanias attended the Fashion Institute of Technology in New York City, majoring in Textile Design, from 1977-1979. Kakanias moved to Paris in 1979. He attended the Studio Berçot where he studied Fashion and Art. He was also taught by the Italian artist and stage designer Lila de...

Adrian Heath (British, 1920-1992) Squared foliage Gouache on paper Signed and dated `Heath 64’ (lower right) 29.1/2 x 21.3/4 in. (75 x 55.3 cm.) Born in Burma, Adrian Heath moved to...

Interno con segnali is an original contemporary artwork realized by Leo Guida in 1970s. Mixed colored watercolor on paper. Hand signed and titled on the lower margin. Includes fra...

Ellen Hackl Fagan creates works of art focused on building a visual language. Molecules of Music is a large acrylic painting based on crowd sourced input of viewers pairing sounds from the Do Re Mi musical scale to colors. 260 people submitted their opinions on color to sound matches. Language is a recurring theme in Fagan's work, ranging from interactive, ColorSoundGrammar works to painting, sculpture, lost languages...

Rainbowers I-XVI, a portfolio of 16 watercolours created in 2022, pays homage to the rich tradition of American Visionary art and self-taught artists. Inspired by the works of influe...

Acrylic, Watercolour Pencil, and Silkscreen on Panel 40in x 50in 2019 Large Sized Abstract Landscape on panel using the medium of Acrylic and Spray Paint,...

Sarah Alexander's "Lost in Thought" is a 54 x 44 x 1.5 inch botanically inspired India ink drawing on canvas with real gold leaf accents, and watercolor paint made from crushed semi ...

Eddy Lee’s figurative surrealist portrait paintings on exposed wood depict emotive sirens who evoke a sense of mystery and seductiveness. His original artworks combine geometric elements with innocent women portraits seeking to trigger emotions, rather than communicating specific explanations. He reconciles the unconscious with rational life, exploring the power of dreams, embracing automatism, and freeing his subjects from the constraints of conscious thought. This colorful, intriguing portrait is painted with acrylic and gouache on a hand-built cradled wood panel. This one-of-a-kind original artwork is 48 inches high by 36 inches wide and is signed by the artist on the back. It is wired and ready to hang. It does not require framing. Free local Los Angeles delivery. Affordable Continental U.S. and worldwide shipping available. A certificate of authenticity issued by the art gallery is included with this unique work. Originally from Seattle, Washington, Eddy Lee relocated to Los Angeles in late 2012 to pursue a full-time career as a fine artist. He started his career on the Venice Beach Boardwalk and quickly gained a large following across the United States with exhibitions in San Francisco, Las Vegas, and Los Angeles. The artist’s work is inspired by the works of Audrey Kawasaki...

Judith Brenner Chardonnay 90 x120cm Mixed Media on Watercolour Paper unframed £3000 Inspired by a residency in Umbria. My work uses the notion of alchemy, a seemingly magical process...

Sarah Alexander’s “In Flux” is a 54 x 44 x 1.5-inch painting created with watercolor, charcoal, and pen and ink drawn onto a specially treated watercolor canvas. Rich washes of brigh...

Eddy Lee’s figurative surrealist portrait paintings on exposed wood depict emotive sirens who evoke a sense of mystery and seductiveness. His original artworks combine geometric elements with innocent women portraits seeking to trigger emotions, rather than communicating specific explanations. He reconciles the unconscious with rational life, exploring the power of dreams, embracing automatism, and freeing his subjects from the constraints of conscious thought. This colorful, intriguing portrait is painted with acrylic and gouache on a hand-built cradled wood panel. This one-of-a-kind original artwork is 48 inches high by 36 inches wide and is signed by the artist on the back. It is wired and ready to hang. It does not require framing. Free local Los Angeles delivery. Affordable Continental U.S. and worldwide shipping available. A certificate of authenticity issued by the art gallery is included with this unique work. Originally from Seattle, Washington, Eddy Lee relocated to Los Angeles in late 2012 to pursue a full-time career as a fine artist. He started his career on the Venice Beach Boardwalk and quickly gained a large following across the United States with exhibitions in San Francisco, Las Vegas, and Los Angeles. The artist’s work is inspired by the works of Audrey Kawasaki...

Les Ruines Des Plus Beaux Monuments De La Grece both 22 3/4" x 34" (sight) oil with arabesque artist identified on label verso. #27, Earthquake III, From 1992 show; Night Paintings, Galerie Pierre Passebon, Paris, France, Les Ruines des Plus Beaux Monuments de la Grèce, Stubbs Books & Prints, New York Konstantin Kakanias (born September 18, 1961 in Athens) is a contemporary Greek painter and multimedia artist. He currently lives and works in Los Angeles and Greece. Throughout his career Kakanias has created drawings, paintings, sculptures, performances, ceramics and books. Kakanias' work does not belong to any single style. He is known to explore a range of themes in his work from the light and comic to the dark and psychological. Kakanias attended the Fashion Institute of Technology in New York City, majoring in Textile Design, from 1977-1979. Kakanias moved to Paris in 1979. He attended the Studio Berçot where he studied Fashion and Art. He was also taught by the Italian artist and stage designer Lila de Nobili...

Shadow of Opportunity on Red Planet Mixed media Framed 39.3 X 50 sheet 32.4 X 42.3 Hand signed, dated and titled by artist. (with a location of LA noted) This came with a group of 4. they are all signed and this one had a Daniel Reich Gallery label verso. Scoli Acosta...

Sarah Alexander's "When the Storm is Over" is a rich watercolor on canvas with accents of genuine white gold, watercolor made from crushed semi-precious stones, and India ink careful...

Edward Avedisian Gouache Watercolor Abstract Painting on Arches paper. (notebook cover not included) Unsigned, (bears name verso in pencil.) Dimensions: 10" X 14" Late 1970s, early 1...

Detailed abstract geometric painting inspired by city grids in light grey, blue, and yellow "Specifically Nowhere", made by Hudson Valley based artist, Donise English, in 2023 gouach...

"Maple Landscape" Abstract Landscape Painting 24" x 30" inch by Angela Afifi Not framed. Ships rolled In tube

"Untitled wp18" Abstract Painting 22" x 18" inch by Gayatri Gamuz Watercolor on archival paper In search of silence, in search of the self. Her work em...

Original vintage watercolor painting by twentieth century San Francisco woman artist, Hildegarde Haas (1926-2002). "Bach - English Suite No.2 in A Minor...

Outstanding abstract expressionist suite of 4 compositions by American artist, Desmond McLean (1929-2015). Untitled, 1959. Each of the four paintings is ink and gouache on paper, each sheet measures 18 x 24 inches. Paper exhibits some unintended creasing, toning and very small tears. Naturally there are light crease marks vertically where paper was intentionally folded to create Rorschach mirror image. Signed and dated lower margins. Unframed and unmounted. Born: Ireland Studied: Heatherly School of Art, London; American School of Art, New York; Hunter College, NYC with Robert Motherwell, Richard Lippold...

Abstract Composition by Guy Nicod (French 1923 - 2021) watercolour on artist paper, unframed painting : 20 x 14 inches provenance: artists estate, France condition: very good and sou...

"Sonora Desert Monument" is an acrylic painting from Ryan Rivadeneyra's series of imagined modernist sculptures. In this series, Rivadeneyra explores the possibilities of colorful sc...

again this has been in private collection for over 30 yrs it is in perfect condition the colors are so vibrant and it is so playful. Early work by Britto as the owner/ collector knew...

This work on paper is from Nina Bovasso's signature style diptych series. The artist began making the diptychs in 1995. These works are asymmetrical playing off of symmetrical pairin...

Original oil paint on heavy archival paper abstract by the American artist, Martin Rosenthal. Bold, vibrant colors. Signed lower right by the artist and dated 1965. Condition is goo...