Drawings and Watercolor Paintings

Theodor Alescha (1898-1991). Netherlands harbor scene, ca. 1935. Pastel on paper mounted to illustration board, 18 x 24 inches. Measures 24 x 30 inches framed. Signed lower right. Ex...

Women in Marocco is an original pencil drawing realized by Helen Vogt in 1930s. The state of preservation is very good. Not signed, Only stamp of the artist on the lower margin. ...

Provence Landscape by Louis Bellon (French 1908-1998) Signed and dated 47' From a batch of similar work where most were dated 1942-1947 watercolour painting on paper, unframed measu...

William Page, British 1794-1872 watercolor on board mounted mount: 14 x 15 inches painting: 6.5 x 8 inches provenance: private collection, UK condition: v...

Roger Bonafe (French b. 1932) signed watercolour on thick art paper, inscribed verso Size 30 x 22.5 inches Bonafe was born in the town of Caux (Herault) in Southern France in 1...

Allan Rohan Crite: 1910-2007. Well listed and important African American artist. He has auction results over $200,000 and as high as $15,000 for his ...

"Phytanthoza Iconographia", c1737-1745. A wonderful selection of yellow and blue flowers: hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", presented in hand-m...

Clemens Wolf declares himself a champion of sensuality: 'I'm really interested in the process of transforming something trivial into a sensual object. The guided coincidence plays a ...

Mid Century French feutre drawing on paper of a Provençal stable with horses by Jean Arène. Signed and dated bottom left and presented in a wooden frame under glass. This evocative...

John Bowers Nude in Class 1940s Charcoal on Paper 19"x25", unframed Signed top left corner in charcoal Came from a portfolio owned by artist John Bowers John was awarded a Master o...

Late Mid Century French feutre drawing on paper of a Provençal lady sitting in her kitchen by Jean Arène. Signed and dated bottom left. This artwork is a striking pen-and-ink drawi...

Part of my "Nude in Interior" series. Sepia Ink, Pencil and Graphite on Paper. Original sepia ink drawing on watercolor paper. Size is 48x33cm /19x13in. Size in mat and framed 70x5...

Original pastel on archival paper by the well known Hudson River artist, George Douglas Brewerton. A Northern California scene near Mount Shasta. Signed lower left and dated 1876. Recently professionally matted and framed in new antique silver style gallery frame. Overall framed measurements are 27 by 36 inches. Under glass. Condition is excellent. Provenance: A Pennsylvania collector. George Douglas Brewerton received lessons in art from Prof. Robert W. Weir at West Point where his father was Superintendent. In 1874, he was detailed to San Francisco as an officer in the Stevenson Regiment. In 1848, he underwent many adventures in Western deserts and mountains with Kit Carson, who crossed the country with news of the California Gold Rush. After serving as an aide to Gen. Rufus Saxton during the Civil War, Brewerton called himself “Colonel,” although he never received an army commission...

Morning Near Arizona, (Desert Landscape) is an original color pencil drawing from 1888 by George Elbert Burr (1859-1939). Portrays a spring/summer landscape with a tree and fauna, cl...

Mesmerizing watercolor of towering rock formations along Cape Fréhel in Brittany, France by S. Lefevre Goux, circa 1920. A peninsula located in the Côtes-d'Armor in northern Brittany...

A charming early 20th-century watercolour scene depicting a detail from Fra Angelico's Coronation of the Virgin. Delicately captured, the artist strips back from Angelico's vibrant o...

Getting Ready for the Revolution - Learning How to Ride in the Subway Litho crayons on illustrator’s board, c. 1932 Signed: Adolf Dehn (VED) lower right corner (signed by Virginia Dehn, the artist’s widow) Tilted along the upper edge of the recto in pencil by the artist Verso inscriptions: “VF 3168.D” in a circle, also annotated in red pencil “32” in a circle and “699 Provenance: Mary Ryan Gallery, exhibition entitled Adolf Dehn Lithographs, 1927-1940, Nov. 16 to Dec. 12, 1982. The original exhibition notice us affixed to the backing board of the frame Note: A drawing intended or used in the publication Vanity Fair, for whom Dehn worked in the mid 1920’s to the 1930’s. Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere—not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic “little magazines” such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895-1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs...

Kotlicki is a constantly searching artist. Treading his own path, aiming at defining himself, giving his work a clear identity, he came across the avant-garde. He would back off the ...

Peaceful watercolor of a figure sat on a park bench in the Luxembourg Gardens of Paris by French artist Madeleine Scali, circa 1960. Original one-of-a-kind artwork on paper displ...

A beautiful early 20th Century profile portrait by the Belgian artist Jean van den Eeckhoudt of his daughter Zoum, drawn 1916. This special work is from the artist's studio. Zoum E...

An original watercolour painting by Cotswold artist, Elizabeth Chalmers, featuring a typical Cotswold cottage built in that region’s honey coloured ...

John Brock Lear, Jr., an American Modernist artist from Philadelphia, Pennsylvania. His works are in the collections of the Philadelphia Museum of Art, the Woodmere Art Museum, the D...

"Private Moment", 39x27.5in / 100x70cm, pencil and ultramarine tempera on paper, inspired by Matisse. Part of Nude in Interior series. Large drawing. Shipped rolled in a tube, from Florida, US. Free shipping for items over $500 with 1stDibs code. "Private Moment" is an exceptional addition to the "Nude in Interior" series, offering a quiet, introspective narrative that exudes grace and serenity. The young female figure, seated on an elegant armchair, is rendered with the artist's signature ultramarine on ochre paper, a pairing that enhances the emotional depth and sophistication of the scene. The interplay between the figure, the armchair, and the background elevates this work to one of both elegance and intimacy. The composition is centered yet fluid, with the figure reclining gracefully within the ornate frame of the armchair. Her pose—relaxed but introspective—creates a sense of harmony between the human form and the architectural rigidity of the chair. The artist’s sweeping, gestural brushstrokes provide movement and energy to the static pose. The curves of the body mirror the chair’s decorative elements, emphasizing the unity between the figure and her environment. The suggestion of a room or interior space in the background, with its gridded linear patterns, contrasts the organic softness of the figure and the chair. This juxtaposition adds visual interest while grounding the scene in a lived, tangible space. The combination of ultramarine blue and warm ochre paper continues to be a defining characteristic of the series, but here it feels especially poignant. The vivid blue of the figure and chair stands out against the muted background, emphasizing their significance while allowing the ochre to imbue the work with warmth and subtlety. The cool blue tones evoke calmness and introspection, while the warm ochre creates a sense of comfort and intimacy. This duality reflects the subject’s private moment—a mix of solitude, peace, and perhaps quiet contemplation. The figure’s pose—sitting with one leg bent and her arms lightly embracing herself—suggests vulnerability and self-reflection. There’s a narrative of quiet introspection, perhaps even self-care, that invites the viewer into a deeply personal moment. The elegant, almost regal armchair adds an element of formality or tradition to the scene. This contrast between the casual nudity of the figure and the structured formality of the chair lends the piece a timeless quality, connecting it to historical depictions of the reclining nude in fine art. The armchair recalls the opulence of classical interiors, reminiscent of Rococo or Baroque aesthetics. However, the loose, gestural style firmly situates the work in a contemporary context, bridging historical traditions with modern expression. Like many works in the series, "Private Moment" explores themes of solitude, introspection, and the intimate relationship between figure and space. The title emphasizes the personal, unguarded nature of the scene, making it feel both universal and deeply individual. "Private Moment" is a poignant, beautifully composed work that encapsulates the themes of intimacy, elegance, and reflection central to the "Nude in Interior" series. The artist’s expert use of ultramarine and ochre, combined with their dynamic gestural technique, creates a scene that feels timeless yet deeply personal. This piece stands as a testament to the artist’s ability to balance classical influences with modern sensibilities, making it a captivating and thought-provoking work. "Private Moment" is an exceptional addition to the "Nude in Interior" series, offering a quiet, introspective narrative that exudes grace and serenity. The young female figure, seated on an elegant armchair, is rendered with the artist's signature ultramarine on ochre paper, a pairing that enhances the emotional depth and sophistication of the scene. The interplay between the figure, the armchair, and the background elevates this work to one of both elegance and intimacy. The composition is centered yet fluid, with the figure reclining gracefully within the ornate frame of the armchair. Her pose—relaxed but introspective—creates a sense of harmony between the human form and the architectural rigidity of the chair. The artist’s sweeping, gestural brushstrokes provide movement and energy to the static pose. The curves of the body mirror the chair’s decorative elements, emphasizing the unity between the figure and her environment. The suggestion of a room or interior space in the background, with its gridded linear patterns, contrasts the organic softness of the figure and the chair. This juxtaposition adds visual interest while grounding the scene in a lived, tangible space. The combination of ultramarine blue and warm ochre paper continues to be a defining characteristic of the series, but here it feels especially poignant. The vivid blue of the figure and chair stands out against the muted background, emphasizing their significance while allowing the ochre to imbue the work with warmth and subtlety. The cool blue tones evoke calmness and introspection, while the warm ochre creates a sense of comfort and intimacy. This duality reflects the subject’s private moment—a mix of solitude, peace, and perhaps quiet contemplation. The figure’s pose—sitting with one leg bent and her arms lightly embracing herself—suggests vulnerability and self-reflection. There’s a narrative of quiet introspection, perhaps even self-care, that invites the viewer into a deeply personal moment. The elegant, almost regal armchair adds an element of formality or tradition to the scene. This contrast between the casual nudity of the figure and the structured formality of the chair lends the piece a timeless quality, connecting it to historical depictions of the reclining nude in fine art. The armchair recalls the opulence of classical interiors, reminiscent of Rococo or Baroque aesthetics. However, the loose, gestural style firmly situates the work in a contemporary context, bridging historical traditions with modern expression. Like many works in the series, "Private Moment" explores themes of solitude, introspection, and the intimate relationship between figure and space. The title emphasizes the personal, unguarded nature of the scene, making it feel both universal and deeply individual. "Private Moment" is a poignant, beautifully composed work that encapsulates the themes of intimacy, elegance, and reflection central to the "Nude in Interior" series. The artist’s expert use of ultramarine and ochre, combined with their dynamic gestural technique, creates a scene that feels timeless yet deeply personal. This piece stands as a testament to the artist’s ability to balance classical influences with modern sensibilities, making it a captivating and thought-provoking work. Artist Statement "I started by painting interiors, being interested in space and perspective through my studies. These scenes evolved, when I added the human figure. I focused more on the human figure and its relation to the background. The human figure is more present than ever in my paintings now. As a woman artist I’ve been preoccupied with the female form and its imagery. One of my goals was to capture the solitary moments and the nude’s relation to the surrounding space. My interest turned from depicting the space to rendering the atmosphere and the scene as a whole, the feeling a woman adds to the environment: warmth, desire, joy, a feeling of power and control, or the opposite – sadness, despair. Here is a collection of figurative paintings, exploring the nudes in interior spaces, seeing the nudes from my perspective, as a woman artist, considering the physical and spiritual realities of a woman’s body, in a new level of intimacy. My paintings are the opposite of objectifying a woman’s or a man’s anatomy. Painted works, featuring female nudes and a also men nudes, in a reversal of the male-artist/female-muse pattern, validate the feminine experience, defining myself through it. I was interested in how one experiences the body in a sensual form, and later focused on my own body, as I experience it myself, looking into the mirror and reconnecting. My work challenges the tradition of the nude by capturing my point of view, the gaze of a female painter, by using photography, drawings, sketches, and painting on canvas, for, both physical and psychological exploration. My art tries to create a visual language for emotion, beauty, feelings of intimacy and in the same time autonomy, captured with paint and vivid colors. My intense interest in color and the gestures of the brush strokes are the means I see and convey the subjects in space, as living, passionate beings." Paula Craioveanu

A French Art Deco illustrative drawing, hand painted in ink and gouache on blue laid paper. The design includes a collection of fashion accessories, handbags, gloves, hats, and perfu...

This painting "Angel", created in the style of abstract expressionism and spiritual symbolism, was done by French artist Natalya Mougenot during a challenging period in her life. She...

The painting and the preparatory drawing are offered together. Provenance Private collection, Germany, Trier, c. 1980- 2013 Saint John the Baptist Brown ink and wash over red chalk on oatmeal paper 31 x 20.5 cm Inscribed: „Ferrau Fenzonio da Faenza invt. esque … imp. da Fran. Villamena …“. bears the collector's mark of Henry Scipio Reitlinger (1882-1950; Lugt 2274a) on a tiny label glued to the verso On the reverse is a partial drawing of a Pieta, pricked for transfer. Provenance New York, Doyle, 14. October 2015, No. 6 The painting and the preparatory drawing resemble the composition of an engraving after Ferraù Fenzoni by Francesco Villamena. Drawing, engraving and painting are almost identical, except for minor differences. Even the measurements nearly correspond: painting (32 x 25,5 cm), drawing (30 x 20,5 cm), engraving (31,1 x 23,5 cm). Dr. Guiseppe Scavizzi confirmed the attribution of the present panting to Fenzoni and he dates it to c. 1590. The inscription on the drawing reads “Ferrau Fenzonio da Faenza invt. esque. . . imp. da Fran: Villamena . . .”. The engraving’s inscription also lists place and date “Ferra Fensionius inventor/F. Villamoena sculpsit Rome/Aspectu fruitur… antra puer/cum Privilegio… 1613”. Interestingly, the engraving is not mirrored as it is in most printing processes. Painting, drawing and engraving are not reversed but the same. It is remarkable to note that there are further paintings by Fenzoni which were engraved in the same order and not reverted. They also show strong parallels regarding the compositions and the measurements (see for example “Deposition of Christ” ). Ferraù Fenzoni was an Italian painter mainly active in Todi. He is also called Il Faenzone after his birthplace (Faenza). He apprenticed in Rome during the papacy of Gregory XIII and contributed to numerous fresco cycles under pope Sixtus V, such as the Loggia della Benedizioni in the Lateran Palace, the frescoes on the walls and vaults of the Scala Santa of the adjacent Basilica of San Giovanni in Laterano, and the decoration in the Sistine library. His expressive canvases straddle the styles of Mannerism and Baroque. In 1594, he moved to Todi. A “Last Judgement” by him is housed in the cathedral of Todi. He returned to Faenza in 1599, where he decorated chapels in the cathedral from 1612 to 1616. In 1622, he completed a “Deposition”, now in the local Pinacoteca. In 1640, Fenzoni was named “cavaliere dello speron d’oro” by Cardinal Colonna and, on 25th April 1634, he was nominated vicar and “castellano of Granarolo”. Fenzoni‘s style is characterized by a mixture of the Mannerism of the Northern Netherlands and the Italian Baroque. Saint John the Baptist, Old Master, 17th Century, By Fenzoni, Religious Scene, Rome Art...

This gouache painting by Ulf Linde, a multifaceted Swedish figure, presents a unique portrayal of a woman seen from behind, set against a blue and white...

Artist: Yasmin Brandolini d'Adda, South African/Italian (1929 - ) Title: 2 Year: 1984 Medium: Tempera on Paper, signed and dated Size: 40 in. x 25 in. (101.6 cm x 63.5 cm)

The Galli Bibiena Dynasty and European Courts. The Galli Bibiena family, renowned Italian artists and scenographers, served the most distinguished European courts, including those ...

Usually viewers try to look over the shoulder to see what the artist is painting, but here Evgeniy Monahov, in a quick sketch portrait, seems to be looking over the shoulder of his m...

Signed lower center, in fabrics bowl, 'Ruth Mae McCrane' (American, 1929-2002) and dated upper center, in calendar, February 1989. Ruth Mae McCrane taught...

This captivating Victorian sanguine chalk portrait drawing of a young girl is by Pre-Raphaelite British artist Edward Robert Hughes. Signed and dated 1896, Hughes depicts in great detail her sweet young face and beautiful dress which appears to almost glow with light. A full length portrait and a really lovely drawing epitomising childhood innocence. The portrait depicts Elaine Blunt and has an inscription from Edward Hughes verso. Signed and dated lower right. Provenance. Colchester estate. Sotheby Lot 283 29th June 1976 Chapman Bros Condition. Sanguine chalk on paper, 28 inches by 20 inches unframed and in good condition. Housed in a glazed oak frame, 37 inches by 29 inches framed and in good condition. Edward Robert Hughes - Not to be confused with Edward Hughes (1832 - 1908), who specialised in portrait painting. Edward Robert Hughes RWS (1851 – 1914) was an English painter who worked prominently in watercolours, but also produced a number of significant oil paintings. He was influenced by his uncle and eminent artist, Arthur Hughes who was associated with the Pre-Raphaelite Brotherhood, and worked closely with one of the Brotherhood's founders, William Holman Hunt. Having settled on his career choice, Edward Robert Hughes attended Heatherley's in London to prepare himself for the chance of auditioning for the Royal Academy School. Hughes became a student at the Royal Academy School in 1868. While Pre-Raphaelitism played an influential part in shaping Hughes work, Aestheticism is also seen in his paintings. E.R. Hughes is widely known for his works Midsummer Eve and Night With Her Train of Stars yet he built a career as a portrait painter to the upper classes. In addition to being an accomplished artist himself, E.R. Hughes was also a studio assistant to the elder artist and Pre-Raphaelite Brotherhood founding member William Holman Hunt when Hunt suffered from glaucoma. Two of the paintings that Hughes worked on with Hunt were The Light of the World, which is displayed in St Paul's Cathedral, and The Lady of Shalott, which is exhibited at the Wadsworth Atheneum. On his own he experimented with ambitious techniques and was a perfectionist; he did numerous studies for many of his paintings, some of which turned out to be good enough for exhibition. Hughes held several important offices within the artistic community over his lifetime such as becoming a member of the Art Workers Guild in 1888, and was on their committee from 1895 to 1897. He was elected to Associate Membership of The Royal Water Colour Society (ARWS) on 18 February 1891, and he chose as his diploma work for election to full membership a mystical piece (Oh, What's That in the Hollow?) inspired by a verse by Christina Rossetti entitled Amor Mundi. His painting A Witch was given by the Royal Watercolour Society to King Edward VII and Queen Alexandra to mark the coronation in 1902. In later years Hughes served as the Vice-President of the RWS before leaving in 1903. Throughout his career, E.R. Hughes exhibited his works in several galleries around London: Dudley Gallery, Grosvenor Gallery, New Gallery, The Royal Academy, and toward the end of his career he exhibited with The Royal Society of Painters in Water Colours (RWS). His works can be seen in public collections including Cartwright Hall, Bradford, Cambridge & County Folk Museum, Maidstone Museum & Art Gallery, Bruce Castle...

In my art practice I love to use bright colors which boldly contrast with complementary colors so I could get unusual original compositions and structures. The objective of this ar...

Portrait by Bernard Labbe (French mid 20th century) original gouache on artist paper, unframed size: 19.5 x 16.5 inches condition: very good and ready to be enjoyed provenance: the ...

China Ink Signed H. Balslaecj (artist unknown from the gallery) and dated 1978 Pastel wooden frame with plexiglas Total size with frame: 75x57x6 cm

The artist: Henri Aime Duhem (1860-1941) French *see notes below, signed Title: The Riverbank Medium: signed gouache on paper, loosely laid over card,...

Acrylic on paper and Netting - Framed. Image's dimensions: 32 x 29 cm/12.5 x 11.4". The Moiré project is an exercise in optical and formal aesthetics. Each individual artwork is ...

French Landscape by Guy Nicod (French 1923 - 2021) watercolour on artist paper, unframed painting : 15 x 17 inches provenance: artists estate, France condition: very good and sound c...

Wonderful mid century figurative nude charcoal line drawing of a girl walking away by Moni (Mariellen) Ehlers (American, 1926-2007). Charcoal on...

Isabel Rock is a creator of contemporary fairy tales. A graduate of the Royal College of Art in London, her work is an explosion of strange occurrences while a surreal narrative takes the audience on a journey into the imagination. In October 2023 Isabel won the Evelyn Williams Drawing Award at the Trinity Buoy Wharf Drawing Prize. Known as the UK’s most prestigious annual open exhibition for drawing; part of the prize is a solo show at Hastings Contemporary, scheduled for 2024. Whilst Isabel always has a tale to tell for each of her images, you may or may not choose to go on the journey with her or you may indeed have a different story, one of your own that jumps off the page at you, that that you decide to follow. Artwork Details: (A), 48x60cm, acrylic ink and acrylic paint on paper, 2011 Artwork Provenance: from the Artist Studio photo credits, Isabel working, black and white shots, James Brown In Isabel's own words: Banana Boat...

Robert Andrew Parker, American (1927 - 2024) - Trees, Year: circa 1961, Medium: Gouache on thin wove paper, signed and titled in pencil on verso, Size: 17.75 x 23 in. (45.09 x 58.42...

The Factory Workers by Guy Nicod (French 1923 - 2021) watercolour on artist paper, unframed painting : 15.75 x 19 inches provenance: artists estate, France condition: very good and s...

Gestural abstract painting on paper with accents of blue, dark gray, and teal underneath silver and gold metallic powders "Seeing the Past", made in 2022 by Hudson Valley painter, Br...

Pen and black ink on watermarked Ingres laid paper, 9 1/4 x 12 1/4 inches (234 x 310 mm), signed, dated and titled in brown ink, and initialed and titled in black ink in the lower right corner. Light to moderate age tone and mat tone, and with the signature and notations in brown ink having become quite attenuated, although legible. Presented in a basic black wood frame with a label from the Country Art...

Artist: Ian Hornak (1944-2002) Title: Renaissance Male Nude Figure Study Year: circa 1963 Medium: Charcoal on vélin paper Size: 18 x 23 inches Condition: Good Provenance: Estate of I...

Diana Kurz Green Square #14 Gouache on paper 11 x 14 inches Diana Kurz (born 1936) is an Austrian-born feminist painter. In 1938, Diana Kurz's family fled Austria, first to England...

Mid century watercolor figure study, a lively depiction of a reclining nude woman by Bay Area Figurative Movement artist Hubert Buel (American, 1915-1984)....

To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you want. Derrick Latimer Sayer (British: 1917-1992) Tree for Beverly Nichols...

This live sketch was made on the same day as the first sketch for the painting “Passion for Color”, which later became famous. The posing session was difficult, Polina was tired and ...

Krzysztof Gliszczyński is Professor for painting on Academy of fine arts Gdansk. The artwork is unframed and will be shipped rolled in a tube Artist Statement In the 1990s I started collecting flakes of paint – leftovers from my work. I would put fresh ones in wooden formworks, dried ones in glass containers. They constituted layers of investigations into the field of painting, enclosed in dated and numbered cuboids measuring 47 × 10.5 × 10.5 cm. I called those objects Urns. In 2016, I displayed them at an exhibition, moulding a single object out of all the Urns. The Urns inspired me to redefine the status of my work as a painter. In order to do it, I performed a daunting task of placing the layers of paint not in an urn, but on a canvas, pressing each fresh bit of paint with my thumb. In the cycle of paintings Autoportret a’retour, the matter was transferred from painting to painting, expanding the area of each consecutive one. Together, the bits, the residua of paint, kept alive the memory of the previous works. It was a stage of the atomization of the painting matter and its alienation from the traditional concepts and aesthetic relations. Thus, the cycle of synergic paintings was created, as I called them, guided by the feeling evoked in me by the mutually intensifying flakes of paint. The final aesthetic result of the refining of the digested matter was a consequence of the automatism of the process of layering, thumb-pressing, and scraping off again. Just like in an archaeological excavation, attempts are made to unite and retrieve that which has been lost. This avant-garde concept consists in transferring into the area of painting of matter, virtually degraded and not belonging to the realm of art. And yet the matter re-enters it, acquiring a new meaning. The matter I created, building up like lava, became my new technique. I called it perpetuum pictura – self-perpetuated painting. Alchemical concepts allowed me to identify the process inherent in the emerging matter, to give it direction and meaning. In a way, I created matter which was introducing me into the pre-symbolic world – a world before form, unnamed. From this painterly magma, ideas sprung up, old theories of colour and the convoluted problem of squaring the circle manifested themselves again. Just like Harriot’s crystal refracted light in 1605, I tried to break up colour in the painting Iosis. Paintings were becoming symptoms, like in the work Pulp fiction, which at that time was a gesture of total fragmentation of matter and of transcending its boundaries, my dialogue with the works of Jackson Pollock and the freedom brought by his art. The painting Geometrica de physiologiam pictura contains a diagram in which I enter four colours that constitute an introduction to protopsychology, alchemical transmutation, and the ancient theory of colour. It this work I managed to present the identification of the essence of human physiology with art. But the essential aspect of my considerations in my most recent paintings is the analysis of abstraction, the study of its significance for the contemporary language of art and the search for the possibilities of creating a new message. For me, abstraction is not an end in itself, catering to the largely predicable expectations of the viewers. To study the boundary between visibility and invisibility, like in the work Unsichtbar, is to ask about the status of the possibilities of the language of abstraction. The moment of fluidity which I am able to attain results from the matter – matter...

"Noodling" is a narrative and figurative mixed media work featuring hues of blue and red. Blair Hobbs is inspired by the works of Marc Chagall, Benny Andrews, and Charles and Marga...

Figurative landscape of four infantrymen in formation with their long arquebus guns by Adolphe Ancker (Dutch, 19th Century), after Marchetti. Signed and dated "Adolph Ancker 1888" lo...

'Portrait of a Young Child', pencil on art paper, by French artist, Guillaume Dulac (circa 1920s). An artist known for his exquisite drawings - many are sketches for his larger oil p...

Work on paper

'Bouquet of Flowers with Vanitas', wax crayon on paper, by French artist, Louis Latapie (circa 1930s). A vanitas painting contains collections of objects symbolic of the inevitabilit...

Landscape is an artwork realized by Alberto Gillani, in 1981. Oil on Canvas. 49 x 69 cm; 79 x 89 cm with frame. Handsigned in the lower margin. Very good conditions

Frank Duffield (British, 1908-1982) signed original watercolour painting on board, unframed size: 11 x 14.75 inches condition: overall very good, minor ...