Recognized Dealers Drawings and Watercolor Paintings

As a reflection on the value we give to objects, this series exposes examples of objects that we use daily and for different reasons ended up gaining very high prices. By redrawing t...

As a reflection on the value we give to objects, this series exposes examples of objects that we use daily and for different reasons ended up gaining very high prices. By redrawing t...

Nude Seated in Chair Graphite on paper, 1976 Signed and dated lower right (see photo) Exhibited: Dart Gallery, Chicago, 1976 (see photo of label) Condition: Excellent Sheet size: 14 ...

Veillee Sepulchrale Verso: Study of two figures in a landscape Pen and ink on rose colored Canson watermark paper, 1944 Signed in ink with the artist's initials lower center (see photo) Dated 1944 lower center; Titled in ink upper left corner (see photo) Provenance: Swann Galleries, 2010, realized $900. John Popplestone (1928-2013), Akron, OH collector, noted psychologist and author Berman brothers (painters) From Wikipedia, the free encyclopedia Jump to navigationJump to search This article is about the painters. For the American songwriters/producers, see Berman Brothers (producers). Eugene Berman in Italy in the 1960s Eugène Berman (Russian: Евгений Густавович Берман; 4 November 1899, Saint Petersburg, Russia – 14 December 1972, Rome) and his brother Leonid Berman...

Unknown Artist, Japan, c. 1980-2000 Yamato Takeru Watercolor on Sumi paper c,. 1980-2000 Unsigned as is usual A traditional Kite design from Tsugaru Province Condition: Excellent Ver...

Hercules after Carracci IV, 2014 Tempera on paper (Signed) 27 3/5 H × 39 2/5 W in. 70 H × 100 W cm On the subject of his new works the artist stated: “There is not enough orange, ...

Inspiration (Seated Couple) Graphite on paper, c. 1967 Signed twice in pencil by the artist on recto (see photos) Condition: Excellent Image size: 13 x 16 inches Note: Although not t...

As a reflection on the value we give to objects, this series exposes examples of objects that we use daily and for different reasons ended up gaining very high prices. By redrawing t...

Next Door Neighbor Oil pastel and ink on handmade paper, 2012 Signed vertically lower left in image (see photo) Series: 99% Exhibited: Swarthmore College, List Gallery, Hiden in Pla...

Reclining Female Nude Charcoal on paper, c. 1933 Signed lower right (see photo) Provenance: Weyhe Gallery, New York (Ganso's dealer 1925-1941) Joseph Mark Erdelac, Cleveland, noted c...

G_40, 2021 white ink on black cardboard (signed on reverse) 27 9/16 H x 39 3/8 W in. 70 H x 100 W cm Alina Aldea's drawings project all the possible forms which appear to disappear ...

G_43, 2021 white ink on black cardboard (signed on reverse) 27 9/16 H x 39 3/8 W in. 70 H x 100 W cm Alina Aldea's drawings project all the possible forms which appear to disappear ...

G_45, 2021 white ink on black cardboard (signed on reverse) 27 9/16 H x 39 3/8 W in. 70 H x 100 W cm Alina Aldea's drawings project all the possible forms which appear to disappear...

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 ...

G_41, 2021 white ink on black cardboard (signed on reverse) 27 9/16 H x 39 3/8 W in. 70 H x 100 W cm Alina Aldea's drawings project all the possible forms which appear to disappear ...

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 ...

Untitled (Two Standing Nudes, one seated nude) Graphite on wove paper, heightened with color, c. 1930 Unsigned From a sketchbook created while the artist was working in Paris Conditi...

The theory of Heaven is a novelty that Plato introduced to philosophy. Inspired by this concept, the artist proposes a series of works where I imagine and recreate possible worlds on...

This series of works stems from the reflection on the value attributed to objects (metals and precious stones), established culturally and historically by society. By means of the tw...

Minou-Study of Head Charcoal and pencil on vellum, 1984 Signed and dated in pencil by the artist Minou was Barnet's feline companion throughout many of his most prolific years. It has been said that if you entered Barnet's studio and Minou did not like you Barnet lost interest and dismissed you almost immediately. Provenance: Susan Teller Gallery, prior to 2005 (one of Barnet's friends and dealers) Babcock Galleries, 2005-2008 This drawing is related to a similar composition reproduced in the Richard Boyle catalog for Babcock Galleries. References: Boyle, Will Barnet Drawings, related to works reproduced on pp. 21, 41 (see photo of page 41) Minou is the cat on the back right. Condition: Excellent Stray ink and paint consistent with a working studio drawing Archival framing with DEN Glass (see photo) Image size: 9 x 11 7/8 inches Frame size: 17 x 19 inches Will Barnet Born May 25, 1911, Beverly, Massachusetts, US Died November 13, 2012 (aged 101), New York City, US Will Barnet (May 25, 1911 – November 13, 2012) was an American artist known for his paintings, watercolors, drawings, and prints depicting the human figure and animals, both in casual scenes of daily life and in transcendent dreamlike worlds. Biography Born in 1911 in Beverly, Massachusetts, Barnet knew by the age of ten that he wanted to be an artist. As a student, he studied with Philip Leslie Hale at the School of the Museum of Fine Arts, Boston and viewed first-hand John Singer Sargent at work on the murals of the Boston Public Library. In 1930, Barnet studied at the Art Students League of New York, with Stuart Davis and Charles Locke, beginning his long association with the school. Here he concentrated on painting as well as printmaking, and, in 1936, he became the official printer for the Art Students League. There, he later instructed students in the graphic arts at the school and taught alongside the likes of Yasuo Kuniyoshi, Robert Beverly Hale and Richard Pousette-Dart. Barnet influenced a generation of artists, including James Rosenquist, Knox Martin, Emil Milan, Paul Jenkins, Ethel Fisher and Cy Twombly. Barnet continued his love of teaching with positions at the Cooper Union, at Yale University, and at the Pennsylvania Academy of Fine Arts. He was represented by the Bertha Schaefer Gallery in New York City. Barnet had three sons, Peter, Richard, and Todd Barnet, by his first wife Mary Sinclair. Barnet later married Elena Barnet, with whom he had a daughter, Ona Barnet. Death A longtime resident of the National Arts Club, Barnet died in New York City on November 13, 2012, at the age of 101. Works Barnett's works span the various "movements" of their era, from his early social realist work to his final signature style of clean lines and carefully placed volumes of solid color in a kind of minimalist representational approach. His work is concerned with humanity, yet at his core he always remained a formalist, cerebral in his approach to the elements that make up a good picture. In his interviews he articulated his well thought out principles regarding color use, composition and subject matter, in a professorial manner reflecting the theoretical acumen he brought to his teaching. Like many American painters of his generation he was digesting the evolving trends in Europe and integrating the new visual vocabulary into his American style while remaining universal, referencing his own personal history with images of his wife, his daughter, and their family pets. As James Thomas Flexner wrote, Barnet's work "makes us experience the interplay between the personal and the universal." While remaining representational, the simple elegance of the figures and their flat surfaces reflect his exploration with abstraction. Will's artistic output spans eighty years. Few artists, other than Picasso or Monet, can claim such a long continuous period of inspired art making, nor the logical progression of moving through artistic phases: in the 1930s he was a social realist, in the 1940s a Modernist, in the 1950s an Abstract Expressionist and in the 1960s and onward he settled on a representational minimalism honed from the refinement of his earlier explorations. His early work is decidedly social realist, with sullen portraits done in dark tonalities that suggest both the struggle of the depression era and the hope in the simple love of family life. He moves out of this phase with the improving economy and in the 1940s adds vibrant color and more abstract figures, suggesting a lifting of the depression era malaise. He was a key figure in the 1940s New York movement called Indian Space Painting, artists who based their abstract and semi-abstract work on Native American art; a striking movement which had a handful of practitioners (notably Steve Wheeler...

Untitled (Woman's Head in Profile) Watercolor and pastel on paper laid down on board, 20 x 13 inches (50.8 x 33 cm) Framed dimensions: 27 x 20 inches Signed upper left: Joseph Stella...

Secret Garden 12, 2020 white ink on black cardboard 27 9/16 H x 39 3/8 W in. 70 H x 100 W cm The drawings signed by Alina Aldea show the meticulousness and perfection of microscopic...

The Archangel, 2020 collage on paper 15 3/4 H x 11 13/16 W in. 40 H x 30 W cm The artist’s collages describe a series of faces composed of different materials – cardboards, textiles...

The Accounting Women, 2019 collage on paper 11 13/16 H x 15 3/4 w in 30 H x 40 W cm The artist’s collages describe a series of faces composed of different materials – cardboards, te...

The One Who Sold His Mind, 2020 collage on paper 15 3/4 H x 11 13/16 W in. 40 H x 30 W cm The artist’s collages describe a series of faces composed of different materials – cardboar...

The Origami Seller, 2019 collage on paper 15 3/4 H x 11 13/16 W in. 40 H x 30 W cm The artist’s collages describe a series of faces composed of different materials – cardboards, tex...

The Amateur, 2019 collage on paper 15 3/4 H x 11 13/16 W in 40 H x 30 W cm The artist’s collages describe a series of faces composed of different materials – cardboards, textiles, f...

The Poker Player, 2019 collage on paper 15 3/4 H x 11 13/16 W in. 40 H x 30 W cm The artist’s collages describe a series of faces composed of different materials – cardboards, texti...

The Cubist, 2019 collage on paper 11 13/16 H x 15 3/4 W in. 30 H x 40 W cm The artist’s collages describe a series of characters composed of different materials – cardboards, textil...

Animal, 2019 collage on paper 11 13/16 H x 15 3/4 W in. 30 H x 40 W cm The artist’s collages describe a series of characters composed of different materials – cardboards, textiles, ...

The Dead Tiger Ink and watercolor on paper, 1955 Signed and dated in ink (see photo) Condition: Aging to the entire sheet (it's 78 years old) Image/Sheet size: 18 1/4 x 23 inches On...

Lee Hall (1934-), Connecticut Summer Fragments, a portfolio of watercolor, 29 in all, each about 5 ¼ x 7 ¼ inches, on hand made paper attached to a backing, i...

Signed and dated "1962" by the artist lower right. Mixed media on heavy paper. Done for a show to fund a trip to Italy.

Black_XIII, 2017 pencil, white and black pastel on black cardboard 27.55 H x 19.68 W in. 70 H x 50 W cm Alina Aldea's drawings project all the possible forms which appear to rapidly...

Black_VIII, 2016 pencil, black pastel on black cardboard 27.55 H x 19.68 W in. 70 H x 50 W cm Alina Aldea's drawings project all the possible forms which appear to rapidly disappear...

Black_XIV, 2017 Pencil, black pastel on black cardboard 27.55 H x 19.68 W in. 70 H x 50 W cm Alina Aldea's drawing projects all the possible forms which appear to rapidly disappear,...

“WRESTLING” is a watercolor by Joseph Golinkin created circa 1940. This piece is painted to the paper's edge and signed in red paint in the upper left. The watercolor paper size is 20 7/8 x 15 ¾ inches. Joseph Webster Golinkin...

G_15, 2019 White ink on black cardboard 39,37 H x 27.55 W in. 100 H x 70 W cm Alina Aldea's drawing projects all the possible forms which appear to rapidly disappear, without having...

Meridional VI, 2013 Tempera on Paper 27.55 H x 39.37 W in. 70 H x 100 W cm The series "Meridional" from 2014 shows colorful landscapes under some occasional exemptions. The trees...

Island for Umberto 06, 2014 Pencil on paper ( Signed and dated front lower-right corner, framed) 11.6 H x 16.5 W in. 29.5 H x 42 W cm "Island for Umberto" has the literary source in...

Island for Umberto 11, 2014 Colored pencil on paper ( Signed and dated front left corner, framed) 11.6 H x 16.5 W in. 29.5 H x 42 W cm "Island for Umberto" has the literary source i...

?! Apollo Daphne, 2017 Acrylic, acrylic marker, collages on cardboard (signed, front right corner) 20 5/64 H x 28 11/32 W in. 51 H × 72 W cm The artist...

Cell 01, 2019 Black ink on white cardboard (signed) 39 3/8 H x 27 9/6 W in. 100 H x 70 W cm The drawings signed by Alina Aldea reveal the meticulousness and perfection of microscopi...

G_IX, 2019 White ink on black cardboard (signed) 39 3/8 H x 27 9/6 W in. 100 H x 70 W cm Alina Aldea's drawings, project all the possible forms which appear to rapidly disappear, wi...

G_XII, 2019 White ink on black cardboard (signed) 39 3/8 H x 27 9/16 W in. 100 H x 70 W cm Alina Aldea's drawings, project all the possible forms which appear to rapidly disappear, ...

Untitled (Abstraction) Ink on textured paper, c. 1958 Signed lower right "Scarlett" (see photo) Condition: Excellent Archival framing with OP3 Acrylic Sheet size: 21 3/4 x 30 inches Frame size: 28 1/2 x 36 1/2 inches Note: A rare mid to late 1950s example of the artist's abstract expressionist style. Provenance: estate of the artist Private Collection, Hudson River Valley, New York Rolph Scarlett B. 1889, GUELPH, ONTARIO; D. 1984, WOODSTOCK, NEW YORK Born on June 13, 1889 in Guelph, Canada, and into an artistic family, Rolph Scarlett spent his teenage years as an apprentice in his uncle’s jewelry firm and briefly studied at the Art Students League, New York. While working in the jewelry industry, Scarlett found time to paint and design theatrical sets in his free time, including one for the 1928 world premiere of Eugene O’Neill’s drama Lazarus Laughed (1926). In 1923, while on a business trip to Switzerland, Scarlett had met the artist Paul Klee and soon after abandoned his figurative painting style in favor of an abstract language that suggested more universal, cosmic truths. In 1937, after permanently settling in New York, Scarlett became acquainted with the artist and curator Hilla Rebay, the first director of the Museum of Non-Objective Painting (renamed the Solomon R. Guggenheim Museum in 1952). Rebay provided Scarlett with a Guggenheim Foundation scholarship to paint full-time and obtained several of his paintings for the museum’s collection. From 1940 to 1946, Scarlett served as the museum’s chief lecturer, giving Sunday afternoon talks on art. Through Rebay, Scarlett became acquainted with the nonobjective works of Rudolf Bauer and Vasily Kandinsky and further refined his abstract style. Works from this era such as Yellow Bar (1942) are defined by overlapping geometric planes of bright, primary colors set against mute backgrounds. Scarlett avoided any reference to the outside world and believed that nonobjective painting was an act, in his words, of “pure creation.” During his lifetime, solo shows of his work were held at the Jacques Seligmann Gallery, New York (1949); Sioux City Art Center, Iowa (1951); and Washburn Gallery...

Thon, William (American, 1906-2000) UNTITLED SKETCHBOOK DRAWING #3. Ink on paper, not dated, but circa 1960s. Unsigned.The sketchbook identified by an Estate label on its cover. 5 x ...

Ben-Zion. STILL LIFE WITH BOWL OF FRUIT AND PITCHER. Watercolor on paper. Signed within the image, right. 2 3/8 x 3 3/4 inches. In excellent c...

Disparate III, 2014 Tempera on paper (Signed, Framed) 27 3/5 H × 39 2/5 W in. 70 H x 100 W cm On the subject of his new works the artist stated: “There is not enough orange, yellow ...

Self Portrait as a Explorer, 2018 Pencil on Paper (Signed front right corner) 18.90 H x 12.99 W in 48 H x 33 W cm The drawing series "Self Portrait as..." is a very subtle and intr...

untitled (Mt. Desert Narrows) Watercolor on paper, c. 1945-1955 Unsigned Provenance: Estate of the Artist Condition: Excellent Image/sheet size: 11 1/4 x 15 3/8 inches Regarding the ...

Recruits on a March Ink and watercolor on paper, mounted on support Unsigned Condition: watercolor sheet laid down on paper, moderately faded Original Ackermann frame and matting Ima...

Untitled 02, 2016 Wax crayon on canvas (Signed on reverse) 78.74 H x 59.05 W in 200 H x 150 W cm Zsolt Berszán treats the first layer of the drawing as a substrate, as a surface on ...

Untitled 01, 2016 Graphite on paper (Signed on reverse) 77.95 H x 58.66 W in 198 H x 149 W cm Zsolt Berszán’s work speaks of repulsion and fascination a...

Surrealist landscape with doorway, animal and figures Watercolor on heavy paper, n.d. Unsigned Stamped with the artist's estate stamp (see photo) Provenance: Estate of the artist R...

Untitled (Woman working in the fields) Graphite on wove paper Unsigned Exhibited: Spanierman Galleries, In Praise of Women, Oct. 21-Nov. 20, 2010 Illustrated: Lisa N. Peters, In Praise of Women, Spanierman Galleries (see catalog entry in photos) Condition: Excellent Sheet size (sight): 14 1//2 x 10 5/16 inches Provenance: Spanierman Galleries, New York The young woman is a known model for Knight. She is depicted in numerous paintings. The striped skirt and wooden shoes she wears also is repeated in Knight's oeuvre. "Daniel Ridgway Knight was born in Philadelphia to a Quaker family and studied at the Pennsylvania Academy of the Fine Arts from 1858 to 1861, the year he became a founding member of the Philadelphia Sketch Club. He went to Paris and studied at the Ecole des Beaux-Arts from 1861 to 1863 with Charles Gleyre (1808-1874) and Alexandre Cabanel (1823-1889), and attended the Accademia di San Lucca, then in Venice, in 1863. Knight returned to Philadelphia that year, married, and served in the Union Army during the Civil War. He went back to France in 1871 and lived there for the remainder of his long and successful career. He settled in Seine-et-Oise near Poissy to study with the noted academic painter Jean-Louis-Ernest Meissonier (1815-1891) in 1873, and the two artists became close friends. Influenced by his French contemporaries Jules Bastien-Lepage (1848-1884) and Jules- Adolphe-Aimé-Louis Breton...

Red Sea, 2014 Collage, acrylic and colored fineliner on paper (Signed) 11.69 H x 16.53 W in 29.7 H x 42 W cm Raluca Arnăutu creates a zoomorphic world,...

House of Dreams, 2013 Ink and colored pencil on paper 16.53 H x 11.69 W in 42 H x 29.7 W cm Signed Raluca Arnăutu creates a zoomorphic world, where an...

The location of this early oil pastel drawing was identified by other pieces from the same drawing book. The oil pastel was a new invention - just on the market in 1921 and it appea...

New Orleans Sportin House Pen and ink on paper, 1951 Signed in ink, titled and dated in pencil (see photos) Condition: Corners are pasted to support sheet, some staining in image. Im...