NORMAN BLUHM
AMERICAN, 1921-1999
WHITE, 1962
OIL ON PAPER
24 × 20 INCHES
36 × 30 INCHES FRAMED SIGNED & DATED LOWER LEFT
PROVENANCE:
GIFT FROM NORMAN BLUHM TO DR. JOHN LEWIS
PRIVATE COLLECTION, NEW YORK
ABSTRACT ADDICTIONS
WORKS ON PAPER
“Works on Paper” is a broad term referring to any artwork that uses paper as its primary substrate. It encompasses all artworks created on paper using mediums such as graphite, ink, charcoal, pastel, gouache, watercolor, and oil, including prints and collages.
Drawing is the fundamental skill an individual must master to become an artist. Without establishing this expertise, one may never become a true artist. Through drawing, concepts, thoughts, emotions, fantasies, and abstract forms become the artist's vocabulary. Drawing is the act of thought translated into gesture and spontaneous motion. Working on paper becomes an expression of touch and a surrender to intuition, inviting nuance over spectacle. Works on Paper have always offered a more intimate experience for the artist—an arena to experiment with ideas freed from the constraints of permanence.
The “outline sketch,” is the oldest form of creating pictures, dating back to the Egyptians in 10,000 BC. During the Italian Renaissance, Leonardo da Vinci elevated the medium with works on paper such as, The Vitruvian Man, generating widespread recognition and helping establish Works on Paper as a legitimate form of art.
Historically, Works on Paper were marginalized as mere studies. For many decades, critics and academics focused primarily on artists' major canvases, overlooking the artistic journey that led to them. However, since the late 1970s, there has been a renewed appreciation for the conceptual origins artists explored on paper—ideas that often evolved into heroic-scale canvases.
In 1992, The Metropolitan Museum of Art staged the exhibition, Abstract Expressionism: Works on Paper… Selections from the Metropolitan Museum of Art. This groundbreaking exhibition highlighted artists' initial explorations of rhythm and gesture—records of thought that ultimately gave rise to monumental canvases.
This is our first published catalogue of “Works on Paper” from our inventory of Post War artists from the New York School, such as Elaine de Kooning, Sam Francis, Norman Bluhm, Theodore Stamos, Mary Abbott, Karel Appel, March Avery and George Condo to name a few. We hope you enjoy perusing the following pages as much as we have enjoyed composing this catalogue.
Personally, I love Works on Paper for their delicate flow of ideas that are born from pure intuition.
Vincent Vallarino, 2025
ELAINE DE KOONING
AMERICAN, 1918-1989
UNTITLED, 1974
MIXED MEDIA & COLLAGE ON PAPER
24 × 18 INCHES
35 1/2 × 30 1/2 INCHES FRAMED
SIGNED & DATED LOWER RIGHT
PROVENANCE:
PRIVATE COLLECTION, EAST HAMPTON, NY
MARK BORGHI FINE ART, NYC
PRIVATE COLLECTION, MILAN, ITALY
SAM FRANCIS
AMERICAN, 1923-1994
UNTITLED, C. 1972
INK ON PAPER
21 7/8 × 14 INCHES
31 X 22 INCHES FRAMED
PROVENANCE:
GIFT FROM THE ARTIST TO THE PRESENT OWNER
PRIVATE COLLECTION, LOS ANGELES
NORMAN BLUHM
AMERICAN, 1921-1999
UNTITLED, 1964
OIL ON PAPER LAID TO CANVAS
30 × 22 INCHES
34 1/2 × 26 INCHES FRAMED
SIGNED & DATED LOWER RIGHT
PROVENANCE:
MANNY SILVERMAN GALLERY
LOS ANGELES (LABEL VERSO)
DAVID KLEIN GALLERY
BIRMINGHAM, MICHIGAN (LABEL VERSO)
ROSENTHAL FINE ART
CHICAGO (LABEL VERSO)
THE COLLECTION OF DOMINIC PANGBORN
GROSSE POINTE, MICHIGAN
FROZEN SUMMER, 1963
MIXED MEDIA ON PAPER
30 × 22 INCHES
43 × 34 ½ INCHES FRAMED
SIGNED, TITLED & DATED VERSO
PROVENANCE: THE ARTIST; PRIVATE COLLECTION, NY
GEORGE CONDO
UNTITLED, 1985
GOUACHE ON PAPER
32 ½ × 47 7/8 INCHES
43 3/8 × 59 INCHES FRAMED
SIGNED & DATED LOWER RIGHT
PROVENANCE: ANNINA NOSEI GALLERY, NEW YORK
PRIVATE COLLECTION
PHILLIPS, NEW YORK, NOVEMBER 14, 2000, LOT 190
BLACK TULIP, APRIL 24, 1984
CHARCOAL ON PAPER IN ARTIST FRAME
50 × 38 INCHES
54 1/2 × 42 INCHES FRAMED INITIALED, DATED & TITLED AT LEFT SIDE
PROVENANCE:
BLUM HELMAN GALLERY, NEW YORK (LABEL VERSO)
EXHIBITED:
MUSEUM OF CONTEMPORARY ART, CHICAGO, DONALD SULTAN
SEPTEMBER - NOVEMBER, 1987 (LABEL VERSO)
DONALD SULTAN
AMERICAN, B. 1951
WILL BARNET
AMERICAN, 1911-2012
FINAL STUDY FOR “ATALANTA”, 1975
WATERCOLOR, COLOR PENCILS & PENCIL ON VELLUM
47 × 36 INCHES
56 1/2 × 46 1/2 INCHES FRAMED
SIGNED LOWER RIGHT
PROVENANCE:
HARMON-MEEK GALLERY, NAPLES,FL
THE ESTATE OF THE ARTIST
A STUDY FOR THE SAME-TITLED LITHOGRAPH
1975 (SEE SZOKE 160)
THE SUBJECT OF BARNET’S DAUGHTER, ONA, LEANING IN FRONT OF A WINDOW
OLD MAN’S AFTERNOON, 1978
WATERCOLOR AND PENCIL ON PAPER
11 × 19 INCHES
24 × 32 INCHES FRAMED
SIGNED & DATED LOWER RIGHT
PROVENANCE:
ACQUIRED DIRECTLY FROM THE ARTIST PRIVATE COLLECTION, NEW YORK
THIS WORK IS A STUDY FOR THE OIL PAINTING “ OLD MAN’S AFTERNOON .”
ANTON ROOSKENS
DUTCH, 1906-1976
UNTITLED, 1968
GOUACHE ON PAPER
12 1/2 × 16 1/2 INCHES
20 × 23 1/2 INCHES FRAMED
SIGNED & DATED LOWER RIGHT
PROVENANCE:
GALERIE KRIKHAAR, AMSTERDAM
KAREL APPEL
DUTCH, 1921-2006
PAYSAGE HUMAIN, 1959
PASTEL AND ACRYLIC ON PAPER
22 × 30 INCHES
33 5/8 × 40 1/2 INCHES FRAMED
SIGNED & DATED LOWER LEFT
PROVENANCE:
PRIVATE COLLECTION
ACQUIRED FROM THE ABOVE BY THE
PRESENT OWNER IN NOVEMBER 1973
EXHIBITED:
SÃO PAULO MUSEUM OF MODERN ART
‘5TH BIENNIAL OF SÃO PAULO SEPTEMBER - DECEMBER 1959, CAT NO. 12
VIVIAN SPRINGFORD
AMERICAN, 1914-2003
UNTITLED, 1984
WATERCOLOR ON PAPER
22 × 30 INCHES
30 5/8 × 38 5/8 INCHES FRAMED
SIGNED LOWER RIGHT
PROVENANCE: THE ESTATE OF THE ARTIST
WILLIAM SOMMER
AMERICAN, 1867-1949
PSYCHE, C. 1916
OIL ON BOARD
21 × 12 1/2 INCHES
31 × 23 INCHES FRAMED SIGNED LOWER RIGHT
PROVENANCE: THE ESTATE OF THE ARTIST
JOSEPH M. ERDELAC, LAKEWOOD, OHIO; CONSTANCE ERDELAC, CLEVELAND, OHIO, BY DESCENT; DOD AND ANNIE WAINWRIGHT, FORT MYERS, FLORIDA, ACQUIRED FROM THE ABOVE, 2005 (PSYCHE), AND CIRCA 2007 (MOONLIGHT SONATA).
EXHIBITED:
RIFFE GALLERY, COLUMBUS, OHIO, “WILLIAM SOMMER: THE MODERNIST MUSE IN OHIO,” MAY 5-JULY 2, 1994 (PSYCHE); THE CLEVELAND MUSEUM OF ART, CLEVELAND, OHIO, “TRANSFORMATIONS IN CLEVELAND ART, 1746-1946: COMMUNITY AND DIVERSITY IN EARLY MODERN AMERICA,” MAY 19-JULY 21, 1996 (PSYCHE ON LOAN FROM THE JOSEPH M. ERDELAC COLLECTION).
LITERATURE: N. GILSON, “NO USE FOR NEW YORK,” THE COLUMBUS DISPATCH, MAY 5, 1994 (PSYCHE ILLUSTRATED ON FRONT PAGE OF THE ARTS SECTION);
W.H. ROBINSON, ET AL, THE CLEVELAND MUSEUM OF ART, TRANSFORMATIONS IN CLEVELAND ART, 1746-1946: COMMUNITY AND DIVERSITY IN EARLY MODERN AMERICA, CLEVELAND, OHIO, 1996, PP. 81-82, 250, FIG. 77, NO. 187, ILLUSTRATED (PSYCHE).
MARCH AVERY
AMERICAN, B. 1932
AMANDA AND SALLY, 1992
WATERCOLOR ON ARCHES PAPER
22 × 30 INCHES
29 × 37 INCHES FRAMED
SIGNED & DATED LOWER RIGHT
PROVENANCE:
PRIVATE MASSACHUSETTS COLLECTION
ROBERT RICHENBURG
AMERICAN, 1917-2006
MOMA COLLAGE, 1960
TORN AND PASTED PAPERS ON CARDBOARD
22 X 28 INCHES
30 X 36 INCHES FRAMED
PROVENANCE:
THOMAS MCCORMICK GALLERY, CHICAGO
ACQUIRED FROM THE ABOVE BY THE PRESENT OWNER IN 2003
EXHIBITED:
MUSEUM OF MODERN ART, NEW YORK
THE ART OF ASSEMBLAGE, OCTOBER 2 - NOVEMBER 12, 1961, NO. 181; DALLAS MUSEUM FOR CONTEMPORARY ARTS, DALLAS, TEXAS, JANUARY 9 - FEBRUARY 11 1962; SAN FRANCISCO MUSEUM OF ART, SAN FRANCISCO, MARCH 5 - APRIL 15, 1962
ROSE ART MUSEUM, WALTHAM, MASSACHUSETTS
ROBERT RICHENBURGIST ROBERT RICHENBURG: ABSTRACT
EXPRESSIONIST, AUGUST 28 - OCTOBER 17, 1993, NO. 31, AUGUST 28 - OCTOBER 17, 1993, NO. 31
MARGARET TRUMBULL JENNINGS
AMERICAN, 1896-1983
UNTITLED CUBIST DRAWING, C. 1945
CHARCOAL ON PAPER
25 × 19 INCHES
UNFRAMED
PROVENANCE:
THE PRIVATE COLLECTION OF WOLF KAHN & EMILY MASON; WORKS FROM THIS PORTFOLIO WERE INCLUDED IN “DRAWINGS FROM THE HANS HOFMANN SCHOOL OF ART”, ACME FINE ART, BOSTON FEB 7-MARCH 9, 2007
NOTE:
JENNINGS’ DRAWING WITH HANS HOFMANN’S OUTLINED REVISIONS IN CHARCOAL
1907-1989
EVENING HORSES, 1964
WATERCOLOR, PENCIL & INK ON BOARD
20 × 30 INCHES
30 × 40 INCHES FRAMED
SIGNED & DATED LOWER LEFT
PROVENANCE:
TOOTH & SONS LTD., LONDON
MILLARD SHEETS
AMERICAN, 1907-1989
HORSES IN A LANDSCAPE, 1955
WATERCOLOR ON BOARD
21 1/4 × 29 1/4 INCHES
32 × 39 INCHES FRAMED
SIGNED & DATED LOWER LEFT
PROVENANCE:
ARTHUR TOOTH & SONS LTD., LONDON
ANDRÉ LANSKOY
RUSSIAN-FRENCH, 1903-1976
UNTITLED, C. 1955
GOUACHE ON PAPER
20 × 26 INCHES
27 × 33 INCHES FRAMED
SIGNED LOWER LEFT
PROVENANCE: PRIVATE COLLECTION, NEW YORK
PURCHASED FROM CHRISTIE’S PARIS DECEMBER 2007
DONALD SULTAN
AMERICAN, B. 1951
MIMOSA, JANUARY 22, 2004
CONTE CRAYON ON PAPER
19 1/2 × 27 1/2 INCHES
21 1/2 × 29 1/2 INCHES FRAMED
SIGNED WITH INITIALS
TITLED & DATED ON LEFT SIDE
PROVENANCE:
THE DRAWING ROOM, EAST HAMPTON, NY
AMERIGER YOHE FINE ART, NY
MICHAEL LOEW
AMERICAN, 1907-1985
CUBIST NUDES, 1950–1951
INK ON PAPER
9 × 6 INCHES
13 × 10 INCHES FRAMED
EACH SIGNED & DATED
PROVENANCE: THE ESTATE OF THE ARTIST
NORMAN KANTER
AMERICAN, 1926-2010
UNTITLED, 1958
PASTEL & CHARCOAL ON STRATHMORE PAPER
25 × 19 INCHES
33 × 26 7/8 INCHES FRAMED
SIGNED & DATED LOWER RIGHT
ANNOTATED “PARIS, FRANCE”
PROVENANCE: THE ESTATE OF THE ARTIST
UNTITLED, C.1955
PASTEL & CHARCOAL ON STRATHMORE PAPER
25 × 19 INCHES
33 × 26 7/8 INCHES FRAMED
SIGNED VERSO
PROVENANCE:
THE ESTATE OF THE ARTIST
EMERSON WOELFFER
AMERICAN, 1914-2003
UNTITLED, 1945
ACRYLIC ON PAPER 11 1/2 × 15 INCHES
24 × 29 1/2 INCHES FRAMED
SIGNED & DATED LOWER LEFT
PROVENANCE: PRIVATE COLLECTION, CHICAGO
UNTITLED, 1941 ACRYLIC ON PAPER
19 × 23 INCHES
29 1/2 × 33 1/2 INCHES FRAMED SIGNED & DATED LOWER LEFT
PROVENANCE:
PRIVATE COLLECTION, CHICAGO
MARY ABBOTT
AMERICAN, 1921-2019
ABSTRACT, 1951
OIL AND OIL STICK ON PAPER
18 × 24 INCHES
23 × 29 INCHES FRAMED SIGNED & DATED LOWER RIGHT
PROVENANCE:
THE ESTATE OF THE ARTIST
MCCORMICK GALLERY, CHICAGO
PRIVATE COLLECTION, CHICAGO
JACK ROTH
AMERICAN, 1927-2004
ENTRE DEUX SEINS, 1962
CHARCOAL ON PAPER
48 × 60 INCHES
50 × 62 INCHES FRAMED
SIGNED & DATED
PROVENANCE:
THE ESTATE OF THE ARTIST
MEMOIRE CHERIE, 1962
CHARCOAL & PENCIL ON PAPER
54 × 41 1/2 INCHES
56 × 43 1/2 INCHES FRAMED
SIGNED & DATED
PROVENANCE:
THE ESTATE OF THE ARTIST
1921-2019
UNTITLED (ABSTRACT), 1958
OIL AND OIL CRAYON ON PAPER
18 × 24 INCHES
25 × 31 INCHES FRAMED
SIGNED & DATED LOWER RIGHT
PROVENANCE:
THE ARTIST TO PRIVATE COLLECTION
NEW YORK
MARY ABBOTT
KENNETH NOLAND
AMERICAN, 1924-2010
DIAGONAL STRIPES VI-3, 1978
COLORED HANDMADE PAPER
32 1/2 × 49 1/4 INCHES
35 × 55 INCHES FRAMED
SIGNED & DATED LOWER RIGHT
PROVENANCE:
PROPERTY FROM THE G.E. CORPORATE ART
COLLECTION (LABEL VERSO)
ROBERT MOTHERWELL
AMERICAN, 1915-1991
CABARET #4, 1974
COLLAGE WITH GERMAN SHEET MUSIC, TORN PAPER, PENCIL AND ACRYLIC
22 × 10 1/2 INCHES
30 1/2 × 18 3/4 INCHES FRAMED INITIALED RM & DATED LOWER RIGHT
PROVENANCE:
THE (HANNELORE) SCHULHOF COLLECTION
KNOEDLER CONTEMPORARY ART NEW YORK
PLATED RESIDUE, 1983–84
OIL PAINTING ON PAPER
20 × 26 INCHES
AMERICAN, 1932-2019
28 1/8 × 34 INCHES FRAMED
SIGNED & DATED LOWER LEFT
PROVENANCE:
PRIVATE COLLECTION, NEW YORK
(240 EAST 15TH STREET)
RAY PARKER
AMERICAN, 1922-1990
UNTITLED #1, 1955
GOUACHE ON PAPER
18 1/2 × 23 1/2 INCHES
30 1/2 × 35 1/4 INCHES FRAMED SIGNED & DATED LOWER LEFT
PROVENANCE:
THE PASADENA ART MUSEUM (LABEL VERSO)
PAUL KANTOR GALLERY, BEVERLY HILLS, CA (LABEL VERSO)
EMILIO CRUZ
AMERICAN, 1938-2004
UNTITLED, 1962
OIL ON PAPER LAID TO MASONITE
22 × 25 1/2 INCHES
26 × 29 1/2 INCHES FRAMED
SIGNED & DATED LOWER RIGHT
PROVENANCE:
PRIVATE COLLECTION, NEW YORK
JOHN STEPHAN
AMERICAN, 1906-1995
UNTITLED, C. 1955
ACRYLIC ON PAPER LAID ON CANVAS
27 × 41 1/4 INCHES
29 × 43 1/4 INCHES FRAMED
SIGNED VERSO
PROVENANCE:
THE ESTATE OF THE ARTIST
JOHN LITTLE
AMERICAN, 1907-1984
UNTITLED COLLAGE, 1938
MIXED MEDIA ON PAPER
24 1/2 × 23 3/4 INCHES
24 7/8 × 24 INCHES FRAMED
SIGNED & DATED LOWER LEFT
PROVENANCE:
THE ESTATE OF THE ARTIST
CONDITION:
ORIGINAL CONDITION WITH STAINING IN YELLOW UPPER RIGHT QUADRANT
PAUL BURLIN
AMERICAN, 1886-1969
THE BANKER, 1953
WATERCOLOR ON PAPER
22 × 30 INCHES
31 5/8 × 39 1/2 INCHES FRAMED
SIGNED & DATED LOWER LEFT
PROVENANCE:
THE ESTATE OF THE ARTIST
ESTEBAN VICENTE
SPANISH/AMERICAN, 1903-2001)
UNTITLED, 1985
PASTEL, COLLAGE AND WASH ON PAPER
24 1/2 × 19 INCHES
34 1/2 × 30 INCHES FRAMED
SIGNED & DATED LOWER RIGHT
PROVENANCE:
PRIVATE COLLECTION, NEW YORK
MARY ABBOTT
AMERICAN, 1921-2019
UNTITLED INK ON PAPER
24 × 18 INCHES
32 X 24 1/4 INCHES FRAMED SIGNED LOWER RIGHT
PROVENANCE: ACQUIRED BY PRESENT OWNER DIRECTLY FROM THE ARTIST
JOHN LITTLE
AMERICAN, 1907-1984
BLUE, BLACK AND WHITE (WHITE HOUSE), 1962
PAPER COLLAGE
22 3/4 × 23 1/2 INCHES
25 ×26 INCHES FRAMED
SIGNED & DATED UPPER RIGHT
PROVENANCE: SPANIERMAN MODERN, NEW YORK
ACQUIRED FROM THE ABOVE BY THE PRESENT OWNER
EXHIBITED:
NEW YORK, SPANIERMAN MODERN
JOHN LITTLE: ECLIPTIC TERRANE APRIL 27–MAY 28, 2010
FRED TROLLER
SWISS/AMERICAN, 1930-2002
UNTITLED (DINER SERIES), 1982
COLORED PENCIL ON PAPER
22 1/2 × 30 INCHES
23 1/2 × 31 1/2 INCHES FRAMED
SIGNED & DATED
PROVENANCE:
THE ESTATE OF THE ARTIST
UNTITLED (DINER SERIES), 1982
COLORED PENCIL ON PAPER
30 × 22 1/2 INCHES
31 × 23 1/2 INCHES FRAMED
SIGNED & DATED
PROVENANCE:
THE ESTATE OF THE ARTIST
UNTITLED (DINER SERIES), 1982
COLORED PENCIL ON PAPER
22 1/2 × 30 INCHES
23 1/2 × 31 1/2 INCHES FRAMED
SIGNED & DATED
PROVENANCE: THE ESTATE OF THE ARTIST
KEITH HARING
AMERICAN, 1958-1990
UNTITLED, C. 1986
INK & GOUACHE ON PAPER
16 1/2 × 11 1/2 INCHES
24 × 19 INCHES FRAMED
SIGNED AT LOWER RIGHT
PROVENANCE: THE ARTIST
LAWRENCE LIN, AKA DR. WINKIE SAN FRANCISCO, CA
JOHN LANTHROP
(ATTORNEY OF LAWRENCE LIN) SAN LEANDRO, CA
DWIGHT HAMMACK, SAN LEANDRO, CA
(LETTER FROM HAMMACK'S ATTORNEY REGARDING PROVENANCE)
THEODOROS STAMOS
GREEK/AMERICAN, 1922-1997
INFINITY FIELD
LEFKADA SERIES, 1978
ACRYLIC ON PAPER
14 × 11 INCHES
30 × 22 1/2 INCHES FRAMED
SIGNED, TITLED & DATED VERSO
PROVENANCE:
TURSKE & WHITNEY GALLERY, LOS ANGELES, CA
SOTHEBY’S, NEW YORK, NY, FEBRUARY 15, 1989
THE JEANNE AND CARROLL BERRY COLLECTION
ATLANTA, GEORGIA
EXHIBITED:
GEORGIA MUSEUM OF ART, UNIVERSITY OF GEORGIA “ADVANCED AND IRASCIBLE: ABSTRACT EXPRESSIONISM FROM THE COLLECTION OF JEANNE AND CARROLL BERRY,” JAN. 14 - APR. 30, 2017