Rag Paper Abstract Paintings

In the 24 x 18in abstract painting Coral Reef, 2025 a. muse uses acrylic, oil pastel, gouache, sand, and diamond dust to render colorful biomorphic forms from the sea. Warm, cool, an...

These series of paintings by Natalia Roman gather their inspiration from geometric, minimalist shapes and paintings from the beginning of Modernism, with a special emphasis on Art De...

Douglas M. Olsen (b. 1960). #38, After the Rains, 1980. Watercolor on rag paper, 22 x 22 inches. Signed lower margin and on verso.

Beautifully framed - ready to hang Peter Max Land of the Free, Home of the Brave, 2005 Acrylic and collage on heavy art paper Hand signed in acrylic paint on the front, the back bears the artist's copyright and unique catalogue/inventory # This work is elegantly framed with a raised float - a gorgeous aesthetic touch in a handmade white wood museum frame under UV plexiglass. Land of Free, Home of the Brave, is an original signed painting, an acrylic and collage on heavy art paper, that was part of a series the artist did in response to the 9/11 terrorist attacks in New York City, with each variation in the series unique. It is hand signed in acrylic paint on the front and bears the artist copyright and stamp and the Peter Max unique inventory/catalogue on the back. Measurements: Framed 28 inches vertical by 22 inches horizontal by 2 inches Painting 24 inches vertical by 18 inches No artist of our time has reached such a vast global audience and influenced so many others who paint and draw than the legendary Peter Max. On a level comparable to Andy Warhol, but appealing to a broader base of art lovers, Max is the celebrity painter par excellence, an inescapable presence on the cultural consciousness since he burst on the scene in the 1960s. His art is in the collections of more than a hundred museums, many of which have given him solo exhibitions, as well as United States embassies, corporate headquarters and prominent private collections. Max was the first rock-star-scale artist. Even when he was only in his twenties, he was featured on the cover of Life magazine and appeared on late-night talk shows. Now revered as an “Old Master” of Neo-Expressionism, Max’s legacy has gone way past his graphic design origins and inspired generations of artists, including many gathered under the Park West umbrella. An instant media sensation when he made his debut in the 1960s as the go-to artist for the leading rock bands in the heyday of the Woodstock era, Max’s career became ever more public over the decades. At the invitation of the White House, he has made the portraits of six sitting United States presidents and scores of world leaders. He was named the official artist for the Grammies as well as the United States 2006 Winter Olympics team, the World Cup, the U.S. Open tennis championships, the Super Bowl and several music festivals, high-profile events that carried his signature style literally to billions of viewers. Peter Max’s amazing life story, as captivating as his art, was shaped by world events from the start to this day. The literal journey around the world has all the drama of an epic movie. He was born in Berlin in the perilous year of 1937. The next year, his father Jacob recognized that the family could narrowly escape the Nazis by taking the long ocean voyage to join the extensive Jewish refugee community in Shanghai. He has vivid memories living in an old villa across the street from the bright red columns in front of a Buddhist temple where the bells and incense made an indelible impression on him. He watched in fascination as they practiced their calligraphy with giant, five-foot long brushes that made huge Chinese characters on pieces of paper they laid on the ground. The young Peter was given brightly colored crayons and paper to play with by his mother Salla, but when she left the room, he started to draw on her beautiful set of Louis Vuitton steamer trunks...

James Floyd Clymer (1893-1982), ca.1930. Watercolor and pencil on paper measures 15 x 20 inches. Signed lower margin. Tape residue marks on back. Glue marks at bottom left and ri...

Douglas M. Olsen (b. 1960). #135, 1982. Watercolor on rag paper, 22 x 30 inches. Signed lower margin and on verso.

In the artist's abstract print series, Cosmos, 2023 by a.muse represents an imaginary cosmos - the universe as a place of longing, dreams, wonder, and ethereal beauty. A 13.75" x 11"...

Artist: Pierre Marie Brisson (French, 1955-) Title: "Figure Sur Rouge (Figure on Red)" *Signed by Brisson lower right. It is also signed and dated on verso Year: 1983 Medium: Origina...

James Floyd Clymer (1893-1982), ca.1930. Watercolor and pencil on paper measures 15 x 20.5 inches. Signed lower margin. James Floyd Clymer ( 1893-1982 ) known for his Regionalist ...

In contrasting colors that pop Live Composition II, 2024 by African American artist Bai is a 30” x 22” abstract acrylic, oil pastel, and ballpoint pen work on paper. A focus on an ...

James Floyd Clymer (1893-1982), ca.1930. Watercolor and pencil on paper measures 14 x 20 inches. Signed lower margin. James Floyd Clymer ( 1893-1982 ) known for his Regionalist st...

"Drunken Oak" is an original abstract watercolor painting layered over an original archival pigment print of an oak tree using alternative process photography on 100% rag paper. Imag...

Dessert Landscape, ca. 1975-80. Gouache on Arches rag paper, Sheet measures 23 x 30 inches. Image measures 22 x 29 inches. Signed lower left. Excellent condition. Unframed.

Ellen Hackl Fagan makes her paintings by pouring paint around the forms of commonplace, mass-produced objects placed on wet sheets of paper or panels – little fruit cartons, fragment...

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...

This series of hand painted acrylic paintings by Natalia Roman are inspired by the colors and textures of Italian terrazzo tiling. The patterns created combine a variety of vivid col...

In this series, Perrine explores the profound relationship between light and color, both essential elements in her artistic expression. Without light, there would be no colors, and i...

James Floyd Clymer (1893-1982), ca.1930. Watercolor and pencil on paper measures 14 x 20 inches. Signed lower margin. James Floyd Clymer ( 1893-1982 ) known for his Regionalist st...

In this series, Perrine explores the profound relationship between light and color, both essential elements in her artistic expression. Without light, there would be no colors, and i...

This series by Enric Servera explores the relationship of humans to salt and seawater. The intention of these works is to submerge us into the sea, a salty treasure that surrounds us...

"Pastel Constructivist Triangles" is an abstract painting by Spanish artist Natalia Roman. It is a beautiful combination of geometric shapes in a classy gamut of colors. The use of p...

Beautiful abstract painting by American artist, James Floyd Clymer (1893-1982). At the Weir Trap, ca. 1930. Watercolor and pencil on paper measures 15 x 20 inches. Signed lower margi...

Cactus Landscape, ca. 1975-80. Gouache on Arches rag paper, Sheet measures 23 x 30 inches. Image measures 22 x 29 inches. Signed lower left. Excellent condition. Unframed.

Beautiful abstract painting by American artist, James Floyd Clymer (1893-1982). Newfoundland, ca.1930. Watercolor and pencil on paper measures 14 x 20 inches. Signed lower margin. James Floyd Clymer ( 1893-1982 ) known for his Regionalist style of land, sea and cityscapes, created paintings with an emphasis on color and form. His works possess a clear and simple style, easily understood by the masses. Born in Perkasie Pennsylvania, 20 miles north of Philadelphia, Clymer was the youngest of seven children. Losing his mother during childbirth, he was raised by his eldest sister. He attended Drexel University in Philadelphia, studying Art and Architecture and worked as an Architect in the years following World War I. During this time, Clymer met the artist Gwenyth Waugh, daughter of the renowned marine painter, Frederick Judd Waugh. His thrust then changed from Architect to Artist. Together, the couple travelled to destinations such as Spain and Newfoundland, where they gave birth to their only daughter. In the early 1920's, Clymer and family settled in Provincetown, MA and quickly became associated with notable artists such as Helen Sawyer, Edwin Dickinson...

Octopus, 2025 by a.muse is a 24 x 18in contemporary abstract work on rag paper of an octopus floating through horizontal planes of pink, ochre, and lime green sea. The artist mixes s...

Beneath the Sea, 2025 by a.muse is a 24 x 18in original work on paper that combines acrylic, pastel, sand, and diamond dust. For layered bands of saturated color, the artist uses tex...

Beautiful lanscape painting by American artist, James Floyd Clymer (1893-1982). Newfoundland, ca.1930. Watercolor and pencil on paper measures 14 x 20 inches. Signed lower margin. SHIPS ROLLED. James Floyd Clymer ( 1893-1982 ) known for his Regionalist style of land, sea and cityscapes, created paintings with an emphasis on color and form. His works possess a clear and simple style, easily understood by the masses. Born in Perkasie Pennsylvania, 20 miles north of Philadelphia, Clymer was the youngest of seven children. Losing his mother during childbirth, he was raised by his eldest sister. He attended Drexel University in Philadelphia, studying Art and Architecture and worked as an Architect in the years following World War I. During this time, Clymer met the artist Gwenyth Waugh, daughter of the renowned marine painter, Frederick Judd Waugh. His thrust then changed from Architect to Artist. Together, the couple travelled to destinations such as Spain and Newfoundland, where they gave birth to their only daughter. In the early 1920's, Clymer and family settled in Provincetown, MA and quickly became associated with notable artists such as Helen Sawyer...

Beautiful ca.1930 double-sided abstract painting by American artist, James Floyd Clymer (1893-1982). On the Docks, Sunset. Watercolor and pencil on paper measures 15 x 20.5 inches. S...

"Lime and Black Line Work" is an abstract painting by Spanish artist Natalia Roman. It is a beautiful series of rhythmic brushstrokes combined with subtle tones and unique shapes tha...

This series of hand painted acrylic paintings by Natalia Roman are inspired by the colors and textures of Italian terrazzo tiling. The patterns created combine a variety of vivid col...

Composition in Red - Framed. French American Frédéric Choisel is inspired by the cities of France, New York and the Bay Area and creates elegant abstractions that tell a story of urb...

On the subject of a sea horse that dances through colorful seagrass meadows, a.muse paints Sea Horse, 2025, in neon green, pink, purple, blue and yellow. For the 24 x 18in painting o...

The Mediterranean and grassy cliffs, Postcard from Paradise, Les Goudes, 2025 by a.muse paints the sea and the radiant botanical energy of the Les Goudes in Marseille, in the south o...

Postcard from Paradise, St Tropez by a.muse is an abstract painting with multi-colored “dots,” expressive lines, and organic shapes that form a sensory tableau, translating the light...

In Peacock, 2025 a.muse paints the celebratory energy associated with a sun-drenched St. Tropez in a 24 x 18in work on rag paper. Using oil pastel and soft pastel the artist reimagi...

For the 24 x 18in painting on rag paper Mermaid Serena, 2025 a.muse uses a kaleidoscope of neon colors - greens, pinks, and oranges for her mythical mermaid. The composition is organ...

For a 24 x18in contemporary work on rag paper Fish in the Sea, 2025, a.muse paints the rhythmic energy of waves with acrylic, gouache, sand, and diamond dust. In undulating horizonta...

Blue Geisha Swimming, 2025 is a 24 x 18in abstract painting on paper. a.muse uses oil, pastel, and sand for gestural mark making. Through line, shape and color, the artist creates mo...

Image in video is of 8"x10" edition - more sizes available. “Gold Kissed” embodies quiet sophistication — a meditation on stillness, light, and the subtle shimmer of life’s most fle...

These paintings and drawings are based on a structure of repetitive and deliberate gesture that is intuitive but carefully considered. Emily Berger brushes, wipes, rubs, and scrapes,...

Radiant yet serene, "Delight in Bloom" celebrates the quiet joy found in nature’s unfolding moments. Soft layers of yellow, orange, white, and plum mingle in a gentle play of light a...

Artist: Alec Cumming Title: Forms Inside the Moment Medium: oil on paper Size: 69cm x 99cm (27” x 38”) Year: 2016 Alec Cumming Exhibited at Alec Cumming...

Seeking the Sound of Cobalt Blue is a series of larger paintings on 8 ply museum board and large sheets of rag paper that have been created since the winter of 2016. Using domestic...

"Urban Brushstrokes on Baby Blue" is an abstract painting diptych by Spanish artist Natalia Roman. It is a beautiful series of rhythmic brushstrokes comb...

James Floyd Clymer (1893-1982), ca.1930. Watercolor and pencil on paper measures 14 x 20 inches. Signed lower margin. James Floyd Clymer ( 1893-1982 ) known for his Regionalist st...

Man & Woman, ca. 1975-80. Gouache on Arches rag paper, Sheet measures 23 x 30 inches. Image measures 22 x 29 inches. Signed lower left. Excellent condition. Unframed.

Golfam Jozdani Shadows of Peace XIV (Aliens, Surreal, Expressionism, Urban) 2025 Oil Pastel on Fine Paper Size: 11 x 8.5 inches (28 x 22 cm) Signed and dated in pencil COA provided ...

Golfam Jozdani Shadows of Peace II 2025 Oil Pastel on Fine Paper Size: 8.5 x 11 inches (22 x 28 cm) Signed and dated in pencil COA provided *Framing Options available - Please Inqui...

Golfam Jozdani Shadows of Peace I 2025 Oil Pastel on Fine Paper Size: 11 x 8.5 inches (28 x 22 cm) Signed and dated in pencil COA provided *Framing Options available - Please Inquir...

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...

Beautiful abstract painting by American artist, James Floyd Clymer (1893-1982). Mallorca, ca.1930. Watercolor and pencil on paper measures 14 x 20 inches. Signed lower margin. Ships rolled with matting removed. James Floyd Clymer ( 1893-1982 ) known for his Regionalist style of land, sea and cityscapes, created paintings with an emphasis on color and form. His works possess a clear and simple style, easily understood by the masses. Born in Perkasie Pennsylvania, 20 miles north of Philadelphia, Clymer was the youngest of seven children. Losing his mother during childbirth, he was raised by his eldest sister. He attended Drexel University in Philadelphia, studying Art and Architecture and worked as an Architect in the years following World War I. During this time, Clymer met the artist Gwenyth Waugh, daughter of the renowned marine painter, Frederick Judd Waugh. His thrust then changed from Architect to Artist. Together, the couple travelled to destinations such as Spain and Newfoundland, where they gave birth to their only daughter. In the early 1920's, Clymer and family settled in Provincetown, MA and quickly became associated with notable artists such as Helen Sawyer, Edwin Dickinson...

Beautiful abstract painting by American artist, James Floyd Clymer (1893-1982). Newfoundland, ca.1930. Watercolor and pencil on paper measures 14 x 20 inches. Signed lower margin. James Floyd Clymer ( 1893-1982 ) known for his Regionalist style of land, sea and cityscapes, created paintings with an emphasis on color and form. His works possess a clear and simple style, easily understood by the masses. Born in Perkasie Pennsylvania, 20 miles north of Philadelphia, Clymer was the youngest of seven children. Losing his mother during childbirth, he was raised by his eldest sister. He attended Drexel University in Philadelphia, studying Art and Architecture and worked as an Architect in the years following World War I. During this time, Clymer met the artist Gwenyth Waugh, daughter of the renowned marine painter, Frederick Judd Waugh. His thrust then changed from Architect to Artist. Together, the couple travelled to destinations such as Spain and Newfoundland, where they gave birth to their only daughter. In the early 1920's, Clymer and family settled in Provincetown, MA and quickly became associated with notable artists such as Helen Sawyer, Edwin Dickinson...

Bright with pastel colors Live Composition I, 2024 by African American artist Bai is a 30” x 22” abstract acrylic and oil pastel original work on paper. Rendered in a primitive art...

James Floyd Clymer (1893-1982), ca.1930. Watercolor and pencil on paper measures 15 x 20 inches. Signed lower margin. Tape residue marks on back. James Floyd Clymer ( 1893-1982...

Beautiful abstract painting by American artist, James Floyd Clymer (1893-1982). Mallorca, ca.1930. Watercolor and pencil on paper measures 14 x 20 inches. Signed lower margin. Ships rolled with matting removed. James Floyd Clymer ( 1893-1982 ) known for his Regionalist style of land, sea and cityscapes, created paintings with an emphasis on color and form. His works possess a clear and simple style, easily understood by the masses. Born in Perkasie Pennsylvania, 20 miles north of Philadelphia, Clymer was the youngest of seven children. Losing his mother during childbirth, he was raised by his eldest sister. He attended Drexel University in Philadelphia, studying Art and Architecture and worked as an Architect in the years following World War I. During this time, Clymer met the artist Gwenyth Waugh, daughter of the renowned marine painter, Frederick Judd Waugh. His thrust then changed from Architect to Artist. Together, the couple travelled to destinations such as Spain and Newfoundland, where they gave birth to their only daughter. In the early 1920's, Clymer and family settled in Provincetown, MA and quickly became associated with notable artists such as Helen Sawyer, Edwin Dickinson and the Waughs. About 1940, Clymer moved to New York City, and in 1946, he and his family settled in a home on Schunnemunk Mountain in New York (close to Newburgh, New York, in the Hudson River Valley). He lived there until circa 1978, when he moved to his granddaughter's house near Schenectady, New York, where he later died. Clymer worked with ease in the mediums of watercolor and oil painting, much like James Fitzgerald...

In this series, Perrine explores the profound relationship between light and color, both essential elements in her artistic expression. Without light, there would be no colors, and i...

Birds in Flight, ca. 1975-80. Gouache on Arches rag paper, Sheet measures 23 x 30 inches. Image measures 22 x 29 inches. Signed lower left. Excellent condition. Unframed.

Chris Ritter (1906-1976). Abstract Composition ca. 1960. Watercolor on rag paper, sheet measures 17.5 x 22 inches. Sheet is loose and unmounted. Unframed. Estate stamps500 on v...

Chris Ritter (1906-1976). Abstract Composition ca. 1960. Watercolor on rag paper, sheet measures 17.5 x 22 inches. Sheet is loose and unmounted. Unframed. Estate stamps500 on v...

"Futuristic Constructivist Geometry" is an abstract painting by Spanish artist Natalia Roman. It is a beautiful combination of geometric shapes in a classy gamut of colors. The use o...