Alice Baber Sold at Auction Prices

Painter, b. 1928 - d. 1982

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  • Alice Baber (1928-1982) - Crossing Winds, 1974
    Jul. 25, 2026

    Alice Baber (1928-1982) - Crossing Winds, 1974

    Est: €12,000 - €18,000

    Alice Baber (1928-1982) | USA Alice Baber — Crossing Winds, 1974 Oil on Canvas Signed: Signed ‘Baber’ (lower right); signed, titled and dated ‘Alice Baber Crossing Winds, 1974’ (on the reverse of the canvas). Dimensions: Artwork: 83 × 86 cm | 32.7 × 33.9 in Provenance: Private collection, Düsseldorf (acquired in the 1970s). Private collection, Mr. Marcus Schuster. Acquired from the above by the present owner. Condition: Overall good condition. Please contact us to request a detailed Condition Report. Conditions of Sale: All lots are sold as is. See Section 4 of our Terms and Conditions for return policy. All inquiries must be made prior to bidding, as no further details can be provided after the sale. By placing a bid, you confirm that you have read and agree to our Terms and Conditions in full. Shipping: Aurora & Athena does not provide in-house shipping. The successful buyer arranges shipping directly with a company of their choice. For shipments outside the EU, Spanish export tax may apply to certain higher-value artworks; no export tax applies within the EU. Any such tax is payable by the buyer. Please refer to our Shipping & Export Information page for further details. -- Crossing Winds, executed in 1974, is a radiant example of Alice Baber’s mastery of light, color, and fluid abstraction. Known for her unique “staining” technique, Baber allows translucent layers of pigment to overlap, creating a sense of ethereal depth and rhythmic movement across the canvas. In this work, the circular forms—a hallmark of her mature style—appear to float and intersect, suggesting a dynamic, celestial interplay of light and atmosphere that lives up to the evocative title. Baber’s compositions are often described as celebrations of color, and Crossing Winds is no exception. The orchestration of cool blues and greens, punctuated by warm notes of yellow and coral, evokes a sense of airy turbulence and calm simultaneously. By eschewing rigid structural lines in favor of pulsing, overlapping orbs, Baber invites the viewer into a meditative experience, where the boundaries between light and form dissolve, reflecting her lifelong quest to capture the pure energy of the visible world.

    Aurora & Athena
  • Rainforest to Palenque, Mexico
    Jul. 14, 2026

    Rainforest to Palenque, Mexico

    Est: $40,000 - $60,000

    Alice Baber 1928 – 1982 Rainforest to Palenque, Mexico signed (upper right) oil on canvas 40 by 30 in. 101.6 by 76.2 cm. Executed in 1975.

    Sotheby's
  • Alice Baber, American (1928-1982), interior scene with floral still life, oil on canvas, 40 1/2"H x 31"W(stretcher)
    Jun. 24, 2026

    Alice Baber, American (1928-1982), interior scene with floral still life, oil on canvas, 40 1/2"H x 31"W(stretcher)

    Est: $500 - $5,000

    Alice Baber American, (1928-1982) interior scene with floral still life oil on canvas Unsigned. Stains, minor paint loss, ripped canvas. Attached to a home made wood frame stretcher. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Due to the instability of the surface and overall condition, this item will require transportation via white glove delivery and cannot be shipped via standard carrier. It cannot be unstretched and/or rolled for shipping. Statement regarding the authenticity of this work: Following a thorough review by recognized authorities in the field, there is a clear consensus affirming the authenticity of these pieces. We are pleased to confirm that these works are regarded as genuine examples of the artist's body of work, supported by professional expert evaluation. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in paintings of ovals, circles and free-forms that extolled the radiance of color. Born August 22, 1928 in Charleston, Illinois, the artist was dogged by ill-health as a child, forced to spend her winters in Florida to escape the harsh northern winters. Cancer would claim her on October 2, 1982 in New York City at the relatively young age of fifty-four. She is buried in Fairview Cemetery in Edgar County, Illinois. But she began her art studies early, as if to compensate for a shortened life, studying drawing as an eight-year-old, and taking a college class by age twelve. She attended Lindenwood College in Missouri for two years, then studied with Alton Pickens, a figurative expressionist painter, at Indiana University in Bloomington. She received her M.A. degree there in1951. Travel was an important activity for Baber in the early 1950s, during her marriage from 1964-1970 to abstract painter Paul Jenkins, and throughout her life. In 1951, she studied at the Ecole des Beaux-Arts in Fontainebleau, France, and traveled through Europe. In 1958, she began a several-year period of living in Paris. In 1964, Baber and Jenkins visited Japan for their show at the Osaka Pinacotheca Museum. Baber visited India twice in the 1970s. In 1974, she had a one-person exhibition in New Delhi, the same year she traveled to Iran for a show in Teheran. In 1976, she traveled to thirteen Latin American countries, lecturing and exhibiting, on a four-month tour sponsored by the United States Information Agency. In the early 1950s, Baber went to live in New York City, where she became a member of a Tenth Street co-operative gallery, the March Gallery, where she had her first one-person show in 1958. She attended the Yaddo Colony* in Saratoga Springs, New York for the first time in that year. She was supporting herself by writing, later becoming art editor of McCall's magazine. Baber organized exhibitions of women artists, including "Color Forum," in 1972 at the University of Texas, in Austin, and "Color, Light, and Image," in 1975 in New York City at the Women's Interart Center, a show of artists from around the world in recognition of the United Nations International Women's Year. Baber wrote an essay for the catalogue of the Texas show. Phyllis Derfner covered the latter exhibition in the March-April, 1976 issue of Art International. Baber was a writer and teacher, as well as an artist, serving as artist-in-residence in Albuquerque at the University of New Mexico's Tamarind Institute lithography workshop. She taught painting at the New School, New York City; University of California at Santa Barbara, and University of California, Berkeley. Her stain paintings, different from but related to those of Paul Jenkins, explored both variations of a single color and rich combinations of multiple colors. Several Alice Baber paintings form the nucleus of the Baber Midwest Modern Art Collection of the Greater Lafayette Museum of Art in Indiana. In East Hampton, Long Island, New York, the Guild Hall Museum established the Alice Baber Memorial Art Library. Her work is in the collections of four major New York City museums, the Guggenheim Museum, Whitney Museum of American Art, Metropolitan Museum of Art, and the Museum of Modern Art; and in Washington, D.C., the Corcoran Gallery of Art and National Museum of Women in the Arts. Other collections with her work are museums in New Delhi, India; Manchester, England; Amsterdam, Holland; Osaka, Japan; Israel; Austria; Cologne, Germany, and San Francisco and Santa Barbara, California. Other articles about Alice Baber include: James Jones, "The Tragedy of Color," Studio International, September 1965 Norton T. Dodge, Alice Baber: Color, Light and Image, a catalog, St. Mary's City, Maryland, 1977 Ann McCoy, "Alice Baber: Light as Subject," Art International, September-October 1980 Sylvia Moore, "Alice Baber," Woman's Art Journal, Spring-Summer 1982 Alexandra de Lallier, "The Watercolors of Alice Baber," Woman's Art Journal, Spring-Summer 1982. Source: Jules and Nancy Heller, North American Women Artists of the 20th Century and http://www.baberfamilytree.org/historian/alice_baber.htm Written by Lonnie Pierson Dunbier

    Ripley Auctions
  • Alice Baber, American (1928-1982), abstract, oil on canvas, 71"H x 49 1/2"W (stretcher), 73 1/4"H x 52"W (frame)
    Jun. 24, 2026

    Alice Baber, American (1928-1982), abstract, oil on canvas, 71"H x 49 1/2"W (stretcher), 73 1/4"H x 52"W (frame)

    Est: $500 - $5,000

    Alice Baber American, (1928-1982) abstract oil on canvas Unsigned. Major cracking, flaking, and paint loss. Paint surface is unstable. Attached to a home made wood frame stretcher. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Due to the instability of the surface and overall condition, this item will require transportation via white glove delivery and cannot be shipped via standard carrier. It cannot be unstretched and/or rolled for shipping. Statement regarding the authenticity of this work: Following a thorough review by recognized authorities in the field, there is a clear consensus affirming the authenticity of these pieces. We are pleased to confirm that these works are regarded as genuine examples of the artist's body of work, supported by professional expert evaluation. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in paintings of ovals, circles and free-forms that extolled the radiance of color. Born August 22, 1928 in Charleston, Illinois, the artist was dogged by ill-health as a child, forced to spend her winters in Florida to escape the harsh northern winters. Cancer would claim her on October 2, 1982 in New York City at the relatively young age of fifty-four. She is buried in Fairview Cemetery in Edgar County, Illinois. But she began her art studies early, as if to compensate for a shortened life, studying drawing as an eight-year-old, and taking a college class by age twelve. She attended Lindenwood College in Missouri for two years, then studied with Alton Pickens, a figurative expressionist painter, at Indiana University in Bloomington. She received her M.A. degree there in1951. Travel was an important activity for Baber in the early 1950s, during her marriage from 1964-1970 to abstract painter Paul Jenkins, and throughout her life. In 1951, she studied at the Ecole des Beaux-Arts in Fontainebleau, France, and traveled through Europe. In 1958, she began a several-year period of living in Paris. In 1964, Baber and Jenkins visited Japan for their show at the Osaka Pinacotheca Museum. Baber visited India twice in the 1970s. In 1974, she had a one-person exhibition in New Delhi, the same year she traveled to Iran for a show in Teheran. In 1976, she traveled to thirteen Latin American countries, lecturing and exhibiting, on a four-month tour sponsored by the United States Information Agency. In the early 1950s, Baber went to live in New York City, where she became a member of a Tenth Street co-operative gallery, the March Gallery, where she had her first one-person show in 1958. She attended the Yaddo Colony* in Saratoga Springs, New York for the first time in that year. She was supporting herself by writing, later becoming art editor of McCall's magazine. Baber organized exhibitions of women artists, including "Color Forum," in 1972 at the University of Texas, in Austin, and "Color, Light, and Image," in 1975 in New York City at the Women's Interart Center, a show of artists from around the world in recognition of the United Nations International Women's Year. Baber wrote an essay for the catalogue of the Texas show. Phyllis Derfner covered the latter exhibition in the March-April, 1976 issue of Art International. Baber was a writer and teacher, as well as an artist, serving as artist-in-residence in Albuquerque at the University of New Mexico's Tamarind Institute lithography workshop. She taught painting at the New School, New York City; University of California at Santa Barbara, and University of California, Berkeley. Her stain paintings, different from but related to those of Paul Jenkins, explored both variations of a single color and rich combinations of multiple colors. Several Alice Baber paintings form the nucleus of the Baber Midwest Modern Art Collection of the Greater Lafayette Museum of Art in Indiana. In East Hampton, Long Island, New York, the Guild Hall Museum established the Alice Baber Memorial Art Library. Her work is in the collections of four major New York City museums, the Guggenheim Museum, Whitney Museum of American Art, Metropolitan Museum of Art, and the Museum of Modern Art; and in Washington, D.C., the Corcoran Gallery of Art and National Museum of Women in the Arts. Other collections with her work are museums in New Delhi, India; Manchester, England; Amsterdam, Holland; Osaka, Japan; Israel; Austria; Cologne, Germany, and San Francisco and Santa Barbara, California. Other articles about Alice Baber include: James Jones, "The Tragedy of Color," Studio International, September 1965 Norton T. Dodge, Alice Baber: Color, Light and Image, a catalog, St. Mary's City, Maryland, 1977 Ann McCoy, "Alice Baber: Light as Subject," Art International, September-October 1980 Sylvia Moore, "Alice Baber," Woman's Art Journal, Spring-Summer 1982 Alexandra de Lallier, "The Watercolors of Alice Baber," Woman's Art Journal, Spring-Summer 1982. Source: Jules and Nancy Heller, North American Women Artists of the 20th Century and http://www.baberfamilytree.org/historian/alice_baber.htm Written by Lonnie Pierson Dunbier

    Ripley Auctions
  • Alice Baber, American (1928-1982), figural grouping / landscape with trees, pair of back-to-back mounted oil on canvas paintings held together with lumber boards, 42 1/2"H x 32 1/2"W(stretcher)
    Jun. 24, 2026

    Alice Baber, American (1928-1982), figural grouping / landscape with trees, pair of back-to-back mounted oil on canvas paintings held together with lumber boards, 42 1/2"H x 32 1/2"W(stretcher)

    Est: $500 - $5,000

    Alice Baber American, (1928-1982) figural grouping / landscape with trees pair of back-to-back mounted oil on canvas paintings held together with lumber boards Unsigned. Paint chips and loss to both sides. Attached to a home made wood frame stretcher. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Due to the instability of the surface and overall condition, this item will require transportation via white glove delivery and cannot be shipped via standard carrier. It cannot be unstretched and/or rolled for shipping. Statement regarding the authenticity of this work: Following a thorough review by recognized authorities in the field, there is a clear consensus affirming the authenticity of these pieces. We are pleased to confirm that these works are regarded as genuine examples of the artist's body of work, supported by professional expert evaluation. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in paintings of ovals, circles and free-forms that extolled the radiance of color. Born August 22, 1928 in Charleston, Illinois, the artist was dogged by ill-health as a child, forced to spend her winters in Florida to escape the harsh northern winters. Cancer would claim her on October 2, 1982 in New York City at the relatively young age of fifty-four. She is buried in Fairview Cemetery in Edgar County, Illinois. But she began her art studies early, as if to compensate for a shortened life, studying drawing as an eight-year-old, and taking a college class by age twelve. She attended Lindenwood College in Missouri for two years, then studied with Alton Pickens, a figurative expressionist painter, at Indiana University in Bloomington. She received her M.A. degree there in1951. Travel was an important activity for Baber in the early 1950s, during her marriage from 1964-1970 to abstract painter Paul Jenkins, and throughout her life. In 1951, she studied at the Ecole des Beaux-Arts in Fontainebleau, France, and traveled through Europe. In 1958, she began a several-year period of living in Paris. In 1964, Baber and Jenkins visited Japan for their show at the Osaka Pinacotheca Museum. Baber visited India twice in the 1970s. In 1974, she had a one-person exhibition in New Delhi, the same year she traveled to Iran for a show in Teheran. In 1976, she traveled to thirteen Latin American countries, lecturing and exhibiting, on a four-month tour sponsored by the United States Information Agency. In the early 1950s, Baber went to live in New York City, where she became a member of a Tenth Street co-operative gallery, the March Gallery, where she had her first one-person show in 1958. She attended the Yaddo Colony* in Saratoga Springs, New York for the first time in that year. She was supporting herself by writing, later becoming art editor of McCall's magazine. Baber organized exhibitions of women artists, including "Color Forum," in 1972 at the University of Texas, in Austin, and "Color, Light, and Image," in 1975 in New York City at the Women's Interart Center, a show of artists from around the world in recognition of the United Nations International Women's Year. Baber wrote an essay for the catalogue of the Texas show. Phyllis Derfner covered the latter exhibition in the March-April, 1976 issue of Art International. Baber was a writer and teacher, as well as an artist, serving as artist-in-residence in Albuquerque at the University of New Mexico's Tamarind Institute lithography workshop. She taught painting at the New School, New York City; University of California at Santa Barbara, and University of California, Berkeley. Her stain paintings, different from but related to those of Paul Jenkins, explored both variations of a single color and rich combinations of multiple colors. Several Alice Baber paintings form the nucleus of the Baber Midwest Modern Art Collection of the Greater Lafayette Museum of Art in Indiana. In East Hampton, Long Island, New York, the Guild Hall Museum established the Alice Baber Memorial Art Library. Her work is in the collections of four major New York City museums, the Guggenheim Museum, Whitney Museum of American Art, Metropolitan Museum of Art, and the Museum of Modern Art; and in Washington, D.C., the Corcoran Gallery of Art and National Museum of Women in the Arts. Other collections with her work are museums in New Delhi, India; Manchester, England; Amsterdam, Holland; Osaka, Japan; Israel; Austria; Cologne, Germany, and San Francisco and Santa Barbara, California. Other articles about Alice Baber include: James Jones, "The Tragedy of Color," Studio International, September 1965 Norton T. Dodge, Alice Baber: Color, Light and Image, a catalog, St. Mary's City, Maryland, 1977 Ann McCoy, "Alice Baber: Light as Subject," Art International, September-October 1980 Sylvia Moore, "Alice Baber," Woman's Art Journal, Spring-Summer 1982 Alexandra de Lallier, "The Watercolors of Alice Baber," Woman's Art Journal, Spring-Summer 1982. Source: Jules and Nancy Heller, North American Women Artists of the 20th Century and http://www.baberfamilytree.org/historian/alice_baber.htm Written by Lonnie Pierson Dunbier

    Ripley Auctions
  • Alice Baber, American (1928-1982), party scene, figural grouping, oil on canvas, 40"H x 30"W(stretcher)
    Jun. 24, 2026

    Alice Baber, American (1928-1982), party scene, figural grouping, oil on canvas, 40"H x 30"W(stretcher)

    Est: $500 - $5,000

    Alice Baber American, (1928-1982) party scene, figural grouping oil on canvas Unsigned. Paint flaking, scratches, scuffs, loss, and small hole on edge. Stapled to a support frame. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Due to the instability of the surface and overall condition, this item will require transportation via white glove delivery and cannot be shipped via standard carrier. It cannot be unstretched and/or rolled for shipping. Statement regarding the authenticity of this work: Following a thorough review by recognized authorities in the field, there is a clear consensus affirming the authenticity of these pieces. We are pleased to confirm that these works are regarded as genuine examples of the artist's body of work, supported by professional expert evaluation. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in paintings of ovals, circles and free-forms that extolled the radiance of color. Born August 22, 1928 in Charleston, Illinois, the artist was dogged by ill-health as a child, forced to spend her winters in Florida to escape the harsh northern winters. Cancer would claim her on October 2, 1982 in New York City at the relatively young age of fifty-four. She is buried in Fairview Cemetery in Edgar County, Illinois. But she began her art studies early, as if to compensate for a shortened life, studying drawing as an eight-year-old, and taking a college class by age twelve. She attended Lindenwood College in Missouri for two years, then studied with Alton Pickens, a figurative expressionist painter, at Indiana University in Bloomington. She received her M.A. degree there in1951. Travel was an important activity for Baber in the early 1950s, during her marriage from 1964-1970 to abstract painter Paul Jenkins, and throughout her life. In 1951, she studied at the Ecole des Beaux-Arts in Fontainebleau, France, and traveled through Europe. In 1958, she began a several-year period of living in Paris. In 1964, Baber and Jenkins visited Japan for their show at the Osaka Pinacotheca Museum. Baber visited India twice in the 1970s. In 1974, she had a one-person exhibition in New Delhi, the same year she traveled to Iran for a show in Teheran. In 1976, she traveled to thirteen Latin American countries, lecturing and exhibiting, on a four-month tour sponsored by the United States Information Agency. In the early 1950s, Baber went to live in New York City, where she became a member of a Tenth Street co-operative gallery, the March Gallery, where she had her first one-person show in 1958. She attended the Yaddo Colony* in Saratoga Springs, New York for the first time in that year. She was supporting herself by writing, later becoming art editor of McCall's magazine. Baber organized exhibitions of women artists, including "Color Forum," in 1972 at the University of Texas, in Austin, and "Color, Light, and Image," in 1975 in New York City at the Women's Interart Center, a show of artists from around the world in recognition of the United Nations International Women's Year. Baber wrote an essay for the catalogue of the Texas show. Phyllis Derfner covered the latter exhibition in the March-April, 1976 issue of Art International. Baber was a writer and teacher, as well as an artist, serving as artist-in-residence in Albuquerque at the University of New Mexico's Tamarind Institute lithography workshop. She taught painting at the New School, New York City; University of California at Santa Barbara, and University of California, Berkeley. Her stain paintings, different from but related to those of Paul Jenkins, explored both variations of a single color and rich combinations of multiple colors. Several Alice Baber paintings form the nucleus of the Baber Midwest Modern Art Collection of the Greater Lafayette Museum of Art in Indiana. In East Hampton, Long Island, New York, the Guild Hall Museum established the Alice Baber Memorial Art Library. Her work is in the collections of four major New York City museums, the Guggenheim Museum, Whitney Museum of American Art, Metropolitan Museum of Art, and the Museum of Modern Art; and in Washington, D.C., the Corcoran Gallery of Art and National Museum of Women in the Arts. Other collections with her work are museums in New Delhi, India; Manchester, England; Amsterdam, Holland; Osaka, Japan; Israel; Austria; Cologne, Germany, and San Francisco and Santa Barbara, California. Other articles about Alice Baber include: James Jones, "The Tragedy of Color," Studio International, September 1965 Norton T. Dodge, Alice Baber: Color, Light and Image, a catalog, St. Mary's City, Maryland, 1977 Ann McCoy, "Alice Baber: Light as Subject," Art International, September-October 1980 Sylvia Moore, "Alice Baber," Woman's Art Journal, Spring-Summer 1982 Alexandra de Lallier, "The Watercolors of Alice Baber," Woman's Art Journal, Spring-Summer 1982. Source: Jules and Nancy Heller, North American Women Artists of the 20th Century and http://www.baberfamilytree.org/historian/alice_baber.htm Written by Lonnie Pierson Dunbier

    Ripley Auctions
  • Alice Baber, American (1928-1982), floral still life with pineapple, oil on canvas, 43"H x 33"W (frame)
    Jun. 24, 2026

    Alice Baber, American (1928-1982), floral still life with pineapple, oil on canvas, 43"H x 33"W (frame)

    Est: $500 - $5,000

    Alice Baber American, (1928-1982) floral still life with pineapple oil on canvas Unsigned. In need of restoration. See photos. Major cracking, flaking, and paint loss. Paint surface is unstable. Attached to a home made wood frame stretcher. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Due to the instability of the surface and overall condition, this item will require transportation via white glove delivery and cannot be shipped via standard carrier. It cannot be unstretched and/or rolled for shipping. Statement regarding the authenticity of this work: Following a thorough review by recognized authorities in the field, there is a clear consensus affirming the authenticity of these pieces. We are pleased to confirm that these works are regarded as genuine examples of the artist's body of work, supported by professional expert evaluation. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in paintings of ovals, circles and free-forms that extolled the radiance of color. Born August 22, 1928 in Charleston, Illinois, the artist was dogged by ill-health as a child, forced to spend her winters in Florida to escape the harsh northern winters. Cancer would claim her on October 2, 1982 in New York City at the relatively young age of fifty-four. She is buried in Fairview Cemetery in Edgar County, Illinois. But she began her art studies early, as if to compensate for a shortened life, studying drawing as an eight-year-old, and taking a college class by age twelve. She attended Lindenwood College in Missouri for two years, then studied with Alton Pickens, a figurative expressionist painter, at Indiana University in Bloomington. She received her M.A. degree there in1951. Travel was an important activity for Baber in the early 1950s, during her marriage from 1964-1970 to abstract painter Paul Jenkins, and throughout her life. In 1951, she studied at the Ecole des Beaux-Arts in Fontainebleau, France, and traveled through Europe. In 1958, she began a several-year period of living in Paris. In 1964, Baber and Jenkins visited Japan for their show at the Osaka Pinacotheca Museum. Baber visited India twice in the 1970s. In 1974, she had a one-person exhibition in New Delhi, the same year she traveled to Iran for a show in Teheran. In 1976, she traveled to thirteen Latin American countries, lecturing and exhibiting, on a four-month tour sponsored by the United States Information Agency. In the early 1950s, Baber went to live in New York City, where she became a member of a Tenth Street co-operative gallery, the March Gallery, where she had her first one-person show in 1958. She attended the Yaddo Colony* in Saratoga Springs, New York for the first time in that year. She was supporting herself by writing, later becoming art editor of McCall's magazine. Baber organized exhibitions of women artists, including "Color Forum," in 1972 at the University of Texas, in Austin, and "Color, Light, and Image," in 1975 in New York City at the Women's Interart Center, a show of artists from around the world in recognition of the United Nations International Women's Year. Baber wrote an essay for the catalogue of the Texas show. Phyllis Derfner covered the latter exhibition in the March-April, 1976 issue of Art International. Baber was a writer and teacher, as well as an artist, serving as artist-in-residence in Albuquerque at the University of New Mexico's Tamarind Institute lithography workshop. She taught painting at the New School, New York City; University of California at Santa Barbara, and University of California, Berkeley. Her stain paintings, different from but related to those of Paul Jenkins, explored both variations of a single color and rich combinations of multiple colors. Several Alice Baber paintings form the nucleus of the Baber Midwest Modern Art Collection of the Greater Lafayette Museum of Art in Indiana. In East Hampton, Long Island, New York, the Guild Hall Museum established the Alice Baber Memorial Art Library. Her work is in the collections of four major New York City museums, the Guggenheim Museum, Whitney Museum of American Art, Metropolitan Museum of Art, and the Museum of Modern Art; and in Washington, D.C., the Corcoran Gallery of Art and National Museum of Women in the Arts. Other collections with her work are museums in New Delhi, India; Manchester, England; Amsterdam, Holland; Osaka, Japan; Israel; Austria; Cologne, Germany, and San Francisco and Santa Barbara, California. Other articles about Alice Baber include: James Jones, "The Tragedy of Color," Studio International, September 1965 Norton T. Dodge, Alice Baber: Color, Light and Image, a catalog, St. Mary's City, Maryland, 1977 Ann McCoy, "Alice Baber: Light as Subject," Art International, September-October 1980 Sylvia Moore, "Alice Baber," Woman's Art Journal, Spring-Summer 1982 Alexandra de Lallier, "The Watercolors of Alice Baber," Woman's Art Journal, Spring-Summer 1982. Source: Jules and Nancy Heller, North American Women Artists of the 20th Century and http://www.baberfamilytree.org/historian/alice_baber.htm Written by Lonnie Pierson Dunbier

    Ripley Auctions
  • Alice Baber, American (1928-1982), figural grouping, fireworks celebration, oil on canvas, 31"H x 41"W(stretcher), 37"H x 47"W(frame)
    Jun. 24, 2026

    Alice Baber, American (1928-1982), figural grouping, fireworks celebration, oil on canvas, 31"H x 41"W(stretcher), 37"H x 47"W(frame)

    Est: $500 - $5,000

    Alice Baber American, (1928-1982) figural grouping, fireworks celebration oil on canvas Significant paint flaking, instability, and restretched poorly. No signature present. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Due to the instability of the surface and overall condition, this item will require transportation via white glove delivery and cannot be shipped via standard carrier. It cannot be unstretched and/or rolled for shipping. Statement regarding the authenticity of this work: Following a thorough review by recognized authorities in the field, there is a clear consensus affirming the authenticity of these pieces. We are pleased to confirm that these works are regarded as genuine examples of the artist's body of work, supported by professional expert evaluation. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in paintings of ovals, circles and free-forms that extolled the radiance of color. Born August 22, 1928 in Charleston, Illinois, the artist was dogged by ill-health as a child, forced to spend her winters in Florida to escape the harsh northern winters. Cancer would claim her on October 2, 1982 in New York City at the relatively young age of fifty-four. She is buried in Fairview Cemetery in Edgar County, Illinois. But she began her art studies early, as if to compensate for a shortened life, studying drawing as an eight-year-old, and taking a college class by age twelve. She attended Lindenwood College in Missouri for two years, then studied with Alton Pickens, a figurative expressionist painter, at Indiana University in Bloomington. She received her M.A. degree there in1951. Travel was an important activity for Baber in the early 1950s, during her marriage from 1964-1970 to abstract painter Paul Jenkins, and throughout her life. In 1951, she studied at the Ecole des Beaux-Arts in Fontainebleau, France, and traveled through Europe. In 1958, she began a several-year period of living in Paris. In 1964, Baber and Jenkins visited Japan for their show at the Osaka Pinacotheca Museum. Baber visited India twice in the 1970s. In 1974, she had a one-person exhibition in New Delhi, the same year she traveled to Iran for a show in Teheran. In 1976, she traveled to thirteen Latin American countries, lecturing and exhibiting, on a four-month tour sponsored by the United States Information Agency. In the early 1950s, Baber went to live in New York City, where she became a member of a Tenth Street co-operative gallery, the March Gallery, where she had her first one-person show in 1958. She attended the Yaddo Colony* in Saratoga Springs, New York for the first time in that year. She was supporting herself by writing, later becoming art editor of McCall's magazine. Baber organized exhibitions of women artists, including "Color Forum," in 1972 at the University of Texas, in Austin, and "Color, Light, and Image," in 1975 in New York City at the Women's Interart Center, a show of artists from around the world in recognition of the United Nations International Women's Year. Baber wrote an essay for the catalogue of the Texas show. Phyllis Derfner covered the latter exhibition in the March-April, 1976 issue of Art International. Baber was a writer and teacher, as well as an artist, serving as artist-in-residence in Albuquerque at the University of New Mexico's Tamarind Institute lithography workshop. She taught painting at the New School, New York City; University of California at Santa Barbara, and University of California, Berkeley. Her stain paintings, different from but related to those of Paul Jenkins, explored both variations of a single color and rich combinations of multiple colors. Several Alice Baber paintings form the nucleus of the Baber Midwest Modern Art Collection of the Greater Lafayette Museum of Art in Indiana. In East Hampton, Long Island, New York, the Guild Hall Museum established the Alice Baber Memorial Art Library. Her work is in the collections of four major New York City museums, the Guggenheim Museum, Whitney Museum of American Art, Metropolitan Museum of Art, and the Museum of Modern Art; and in Washington, D.C., the Corcoran Gallery of Art and National Museum of Women in the Arts. Other collections with her work are museums in New Delhi, India; Manchester, England; Amsterdam, Holland; Osaka, Japan; Israel; Austria; Cologne, Germany, and San Francisco and Santa Barbara, California. Other articles about Alice Baber include: James Jones, "The Tragedy of Color," Studio International, September 1965 Norton T. Dodge, Alice Baber: Color, Light and Image, a catalog, St. Mary's City, Maryland, 1977 Ann McCoy, "Alice Baber: Light as Subject," Art International, September-October 1980 Sylvia Moore, "Alice Baber," Woman's Art Journal, Spring-Summer 1982 Alexandra de Lallier, "The Watercolors of Alice Baber," Woman's Art Journal, Spring-Summer 1982. Source: Jules and Nancy Heller, North American Women Artists of the 20th Century and http://www.baberfamilytree.org/historian/alice_baber.htm Written by Lonnie Pierson Dunbier

    Ripley Auctions
  • Alice Baber, American (1928-1982), abstract, oil on canvas, 65"H x 52 1/2"W (stretcher)
    Jun. 24, 2026

    Alice Baber, American (1928-1982), abstract, oil on canvas, 65"H x 52 1/2"W (stretcher)

    Est: $500 - $5,000

    Alice Baber American, (1928-1982) abstract oil on canvas Unsigned. In need of restoration. See photos. Major cracking, flaking, and paint loss. Paint surface is unstable. Attached to a home made wood frame stretcher. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Due to the instability of the surface and overall condition, this item will require transportation via white glove delivery and cannot be shipped via standard carrier. It cannot be unstretched and/or rolled for shipping. Statement regarding the authenticity of this work: Following a thorough review by recognized authorities in the field, there is a clear consensus affirming the authenticity of these pieces. We are pleased to confirm that these works are regarded as genuine examples of the artist's body of work, supported by professional expert evaluation. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in paintings of ovals, circles and free-forms that extolled the radiance of color. Born August 22, 1928 in Charleston, Illinois, the artist was dogged by ill-health as a child, forced to spend her winters in Florida to escape the harsh northern winters. Cancer would claim her on October 2, 1982 in New York City at the relatively young age of fifty-four. She is buried in Fairview Cemetery in Edgar County, Illinois. But she began her art studies early, as if to compensate for a shortened life, studying drawing as an eight-year-old, and taking a college class by age twelve. She attended Lindenwood College in Missouri for two years, then studied with Alton Pickens, a figurative expressionist painter, at Indiana University in Bloomington. She received her M.A. degree there in1951. Travel was an important activity for Baber in the early 1950s, during her marriage from 1964-1970 to abstract painter Paul Jenkins, and throughout her life. In 1951, she studied at the Ecole des Beaux-Arts in Fontainebleau, France, and traveled through Europe. In 1958, she began a several-year period of living in Paris. In 1964, Baber and Jenkins visited Japan for their show at the Osaka Pinacotheca Museum. Baber visited India twice in the 1970s. In 1974, she had a one-person exhibition in New Delhi, the same year she traveled to Iran for a show in Teheran. In 1976, she traveled to thirteen Latin American countries, lecturing and exhibiting, on a four-month tour sponsored by the United States Information Agency. In the early 1950s, Baber went to live in New York City, where she became a member of a Tenth Street co-operative gallery, the March Gallery, where she had her first one-person show in 1958. She attended the Yaddo Colony* in Saratoga Springs, New York for the first time in that year. She was supporting herself by writing, later becoming art editor of McCall's magazine. Baber organized exhibitions of women artists, including "Color Forum," in 1972 at the University of Texas, in Austin, and "Color, Light, and Image," in 1975 in New York City at the Women's Interart Center, a show of artists from around the world in recognition of the United Nations International Women's Year. Baber wrote an essay for the catalogue of the Texas show. Phyllis Derfner covered the latter exhibition in the March-April, 1976 issue of Art International. Baber was a writer and teacher, as well as an artist, serving as artist-in-residence in Albuquerque at the University of New Mexico's Tamarind Institute lithography workshop. She taught painting at the New School, New York City; University of California at Santa Barbara, and University of California, Berkeley. Her stain paintings, different from but related to those of Paul Jenkins, explored both variations of a single color and rich combinations of multiple colors. Several Alice Baber paintings form the nucleus of the Baber Midwest Modern Art Collection of the Greater Lafayette Museum of Art in Indiana. In East Hampton, Long Island, New York, the Guild Hall Museum established the Alice Baber Memorial Art Library. Her work is in the collections of four major New York City museums, the Guggenheim Museum, Whitney Museum of American Art, Metropolitan Museum of Art, and the Museum of Modern Art; and in Washington, D.C., the Corcoran Gallery of Art and National Museum of Women in the Arts. Other collections with her work are museums in New Delhi, India; Manchester, England; Amsterdam, Holland; Osaka, Japan; Israel; Austria; Cologne, Germany, and San Francisco and Santa Barbara, California. Other articles about Alice Baber include: James Jones, "The Tragedy of Color," Studio International, September 1965 Norton T. Dodge, Alice Baber: Color, Light and Image, a catalog, St. Mary's City, Maryland, 1977 Ann McCoy, "Alice Baber: Light as Subject," Art International, September-October 1980 Sylvia Moore, "Alice Baber," Woman's Art Journal, Spring-Summer 1982 Alexandra de Lallier, "The Watercolors of Alice Baber," Woman's Art Journal, Spring-Summer 1982. Source: Jules and Nancy Heller, North American Women Artists of the 20th Century and http://www.baberfamilytree.org/historian/alice_baber.htm Written by Lonnie Pierson Dunbier

    Ripley Auctions
  • Alice Baber, American (1928-1982), four abstract, oil paintings on unstretched canvas, 50" x 67" (largest, top right)
    Jun. 24, 2026

    Alice Baber, American (1928-1982), four abstract, oil paintings on unstretched canvas, 50" x 67" (largest, top right)

    Est: $100 - $200

    Alice Baber American, (1928-1982) four abstract oil paintings on unstretched canvas All Unsigned. Extreme cracking, peeling, flaking, and paint loss. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Due to the instability of the surface and overall condition, this item will require transportation via white glove delivery and cannot be shipped via standard carrier. It cannot be unstretched and/or rolled for shipping. Statement regarding the authenticity of this work: Following a thorough review by recognized authorities in the field, there is a clear consensus affirming the authenticity of these pieces. We are pleased to confirm that these works are regarded as genuine examples of the artist's body of work, supported by professional expert evaluation. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in paintings of ovals, circles and free-forms that extolled the radiance of color. Born August 22, 1928 in Charleston, Illinois, the artist was dogged by ill-health as a child, forced to spend her winters in Florida to escape the harsh northern winters. Cancer would claim her on October 2, 1982 in New York City at the relatively young age of fifty-four. She is buried in Fairview Cemetery in Edgar County, Illinois. But she began her art studies early, as if to compensate for a shortened life, studying drawing as an eight-year-old, and taking a college class by age twelve. She attended Lindenwood College in Missouri for two years, then studied with Alton Pickens, a figurative expressionist painter, at Indiana University in Bloomington. She received her M.A. degree there in1951. Travel was an important activity for Baber in the early 1950s, during her marriage from 1964-1970 to abstract painter Paul Jenkins, and throughout her life. In 1951, she studied at the Ecole des Beaux-Arts in Fontainebleau, France, and traveled through Europe. In 1958, she began a several-year period of living in Paris. In 1964, Baber and Jenkins visited Japan for their show at the Osaka Pinacotheca Museum. Baber visited India twice in the 1970s. In 1974, she had a one-person exhibition in New Delhi, the same year she traveled to Iran for a show in Teheran. In 1976, she traveled to thirteen Latin American countries, lecturing and exhibiting, on a four-month tour sponsored by the United States Information Agency. In the early 1950s, Baber went to live in New York City, where she became a member of a Tenth Street co-operative gallery, the March Gallery, where she had her first one-person show in 1958. She attended the Yaddo Colony* in Saratoga Springs, New York for the first time in that year. She was supporting herself by writing, later becoming art editor of McCall's magazine. Baber organized exhibitions of women artists, including "Color Forum," in 1972 at the University of Texas, in Austin, and "Color, Light, and Image," in 1975 in New York City at the Women's Interart Center, a show of artists from around the world in recognition of the United Nations International Women's Year. Baber wrote an essay for the catalogue of the Texas show. Phyllis Derfner covered the latter exhibition in the March-April, 1976 issue of Art International. Baber was a writer and teacher, as well as an artist, serving as artist-in-residence in Albuquerque at the University of New Mexico's Tamarind Institute lithography workshop. She taught painting at the New School, New York City; University of California at Santa Barbara, and University of California, Berkeley. Her stain paintings, different from but related to those of Paul Jenkins, explored both variations of a single color and rich combinations of multiple colors. Several Alice Baber paintings form the nucleus of the Baber Midwest Modern Art Collection of the Greater Lafayette Museum of Art in Indiana. In East Hampton, Long Island, New York, the Guild Hall Museum established the Alice Baber Memorial Art Library. Her work is in the collections of four major New York City museums, the Guggenheim Museum, Whitney Museum of American Art, Metropolitan Museum of Art, and the Museum of Modern Art; and in Washington, D.C., the Corcoran Gallery of Art and National Museum of Women in the Arts. Other collections with her work are museums in New Delhi, India; Manchester, England; Amsterdam, Holland; Osaka, Japan; Israel; Austria; Cologne, Germany, and San Francisco and Santa Barbara, California. Other articles about Alice Baber include: James Jones, "The Tragedy of Color," Studio International, September 1965 Norton T. Dodge, Alice Baber: Color, Light and Image, a catalog, St. Mary's City, Maryland, 1977 Ann McCoy, "Alice Baber: Light as Subject," Art International, September-October 1980 Sylvia Moore, "Alice Baber," Woman's Art Journal, Spring-Summer 1982 Alexandra de Lallier, "The Watercolors of Alice Baber," Woman's Art Journal, Spring-Summer 1982. Source: Jules and Nancy Heller, North American Women Artists of the 20th Century and http://www.baberfamilytree.org/historian/alice_baber.htm Written by Lonnie Pierson Dunbier

    Ripley Auctions
  • Alice Baber, American (1928-1982), three musicians, oil on canvas, 39 1/2"H x 32"W (stretcher), 59 1/2"H x 46"W (frame)
    Jun. 24, 2026

    Alice Baber, American (1928-1982), three musicians, oil on canvas, 39 1/2"H x 32"W (stretcher), 59 1/2"H x 46"W (frame)

    Est: $500 - $5,000

    Alice Baber American, (1928-1982) three musicians oil on canvas Unsigned. Major cracking, flaking, and paint loss. Paint surface is unstable. Attached to a home made wood frame stretcher and pieced frame. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Due to the instability of the surface and overall condition, this item will require transportation via white glove delivery and cannot be shipped via standard carrier. It cannot be unstretched and/or rolled for shipping. Statement regarding the authenticity of this work: Following a thorough review by recognized authorities in the field, there is a clear consensus affirming the authenticity of these pieces. We are pleased to confirm that these works are regarded as genuine examples of the artist's body of work, supported by professional expert evaluation. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in paintings of ovals, circles and free-forms that extolled the radiance of color. Born August 22, 1928 in Charleston, Illinois, the artist was dogged by ill-health as a child, forced to spend her winters in Florida to escape the harsh northern winters. Cancer would claim her on October 2, 1982 in New York City at the relatively young age of fifty-four. She is buried in Fairview Cemetery in Edgar County, Illinois. But she began her art studies early, as if to compensate for a shortened life, studying drawing as an eight-year-old, and taking a college class by age twelve. She attended Lindenwood College in Missouri for two years, then studied with Alton Pickens, a figurative expressionist painter, at Indiana University in Bloomington. She received her M.A. degree there in1951. Travel was an important activity for Baber in the early 1950s, during her marriage from 1964-1970 to abstract painter Paul Jenkins, and throughout her life. In 1951, she studied at the Ecole des Beaux-Arts in Fontainebleau, France, and traveled through Europe. In 1958, she began a several-year period of living in Paris. In 1964, Baber and Jenkins visited Japan for their show at the Osaka Pinacotheca Museum. Baber visited India twice in the 1970s. In 1974, she had a one-person exhibition in New Delhi, the same year she traveled to Iran for a show in Teheran. In 1976, she traveled to thirteen Latin American countries, lecturing and exhibiting, on a four-month tour sponsored by the United States Information Agency. In the early 1950s, Baber went to live in New York City, where she became a member of a Tenth Street co-operative gallery, the March Gallery, where she had her first one-person show in 1958. She attended the Yaddo Colony* in Saratoga Springs, New York for the first time in that year. She was supporting herself by writing, later becoming art editor of McCall's magazine. Baber organized exhibitions of women artists, including "Color Forum," in 1972 at the University of Texas, in Austin, and "Color, Light, and Image," in 1975 in New York City at the Women's Interart Center, a show of artists from around the world in recognition of the United Nations International Women's Year. Baber wrote an essay for the catalogue of the Texas show. Phyllis Derfner covered the latter exhibition in the March-April, 1976 issue of Art International. Baber was a writer and teacher, as well as an artist, serving as artist-in-residence in Albuquerque at the University of New Mexico's Tamarind Institute lithography workshop. She taught painting at the New School, New York City; University of California at Santa Barbara, and University of California, Berkeley. Her stain paintings, different from but related to those of Paul Jenkins, explored both variations of a single color and rich combinations of multiple colors. Several Alice Baber paintings form the nucleus of the Baber Midwest Modern Art Collection of the Greater Lafayette Museum of Art in Indiana. In East Hampton, Long Island, New York, the Guild Hall Museum established the Alice Baber Memorial Art Library. Her work is in the collections of four major New York City museums, the Guggenheim Museum, Whitney Museum of American Art, Metropolitan Museum of Art, and the Museum of Modern Art; and in Washington, D.C., the Corcoran Gallery of Art and National Museum of Women in the Arts. Other collections with her work are museums in New Delhi, India; Manchester, England; Amsterdam, Holland; Osaka, Japan; Israel; Austria; Cologne, Germany, and San Francisco and Santa Barbara, California. Other articles about Alice Baber include: James Jones, "The Tragedy of Color," Studio International, September 1965 Norton T. Dodge, Alice Baber: Color, Light and Image, a catalog, St. Mary's City, Maryland, 1977 Ann McCoy, "Alice Baber: Light as Subject," Art International, September-October 1980 Sylvia Moore, "Alice Baber," Woman's Art Journal, Spring-Summer 1982 Alexandra de Lallier, "The Watercolors of Alice Baber," Woman's Art Journal, Spring-Summer 1982. Source: Jules and Nancy Heller, North American Women Artists of the 20th Century and http://www.baberfamilytree.org/historian/alice_baber.htm Written by Lonnie Pierson Dunbier

    Ripley Auctions
  • Alice Baber, American (1928-1982), two figures, oil on canvas, 41"H x 31"W(stretcher)
    Jun. 24, 2026

    Alice Baber, American (1928-1982), two figures, oil on canvas, 41"H x 31"W(stretcher)

    Est: $500 - $5,000

    Alice Baber American, (1928-1982) two figures oil on canvas Unsigned. Minor paint loss. Attached to a home made wood frame stretcher. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Due to the instability of the surface and overall condition, this item will require transportation via white glove delivery and cannot be shipped via standard carrier. It cannot be unstretched and/or rolled for shipping. Statement regarding the authenticity of this work: Following a thorough review by recognized authorities in the field, there is a clear consensus affirming the authenticity of these pieces. We are pleased to confirm that these works are regarded as genuine examples of the artist's body of work, supported by professional expert evaluation. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in paintings of ovals, circles and free-forms that extolled the radiance of color. Born August 22, 1928 in Charleston, Illinois, the artist was dogged by ill-health as a child, forced to spend her winters in Florida to escape the harsh northern winters. Cancer would claim her on October 2, 1982 in New York City at the relatively young age of fifty-four. She is buried in Fairview Cemetery in Edgar County, Illinois. But she began her art studies early, as if to compensate for a shortened life, studying drawing as an eight-year-old, and taking a college class by age twelve. She attended Lindenwood College in Missouri for two years, then studied with Alton Pickens, a figurative expressionist painter, at Indiana University in Bloomington. She received her M.A. degree there in1951. Travel was an important activity for Baber in the early 1950s, during her marriage from 1964-1970 to abstract painter Paul Jenkins, and throughout her life. In 1951, she studied at the Ecole des Beaux-Arts in Fontainebleau, France, and traveled through Europe. In 1958, she began a several-year period of living in Paris. In 1964, Baber and Jenkins visited Japan for their show at the Osaka Pinacotheca Museum. Baber visited India twice in the 1970s. In 1974, she had a one-person exhibition in New Delhi, the same year she traveled to Iran for a show in Teheran. In 1976, she traveled to thirteen Latin American countries, lecturing and exhibiting, on a four-month tour sponsored by the United States Information Agency. In the early 1950s, Baber went to live in New York City, where she became a member of a Tenth Street co-operative gallery, the March Gallery, where she had her first one-person show in 1958. She attended the Yaddo Colony* in Saratoga Springs, New York for the first time in that year. She was supporting herself by writing, later becoming art editor of McCall's magazine. Baber organized exhibitions of women artists, including "Color Forum," in 1972 at the University of Texas, in Austin, and "Color, Light, and Image," in 1975 in New York City at the Women's Interart Center, a show of artists from around the world in recognition of the United Nations International Women's Year. Baber wrote an essay for the catalogue of the Texas show. Phyllis Derfner covered the latter exhibition in the March-April, 1976 issue of Art International. Baber was a writer and teacher, as well as an artist, serving as artist-in-residence in Albuquerque at the University of New Mexico's Tamarind Institute lithography workshop. She taught painting at the New School, New York City; University of California at Santa Barbara, and University of California, Berkeley. Her stain paintings, different from but related to those of Paul Jenkins, explored both variations of a single color and rich combinations of multiple colors. Several Alice Baber paintings form the nucleus of the Baber Midwest Modern Art Collection of the Greater Lafayette Museum of Art in Indiana. In East Hampton, Long Island, New York, the Guild Hall Museum established the Alice Baber Memorial Art Library. Her work is in the collections of four major New York City museums, the Guggenheim Museum, Whitney Museum of American Art, Metropolitan Museum of Art, and the Museum of Modern Art; and in Washington, D.C., the Corcoran Gallery of Art and National Museum of Women in the Arts. Other collections with her work are museums in New Delhi, India; Manchester, England; Amsterdam, Holland; Osaka, Japan; Israel; Austria; Cologne, Germany, and San Francisco and Santa Barbara, California. Other articles about Alice Baber include: James Jones, "The Tragedy of Color," Studio International, September 1965 Norton T. Dodge, Alice Baber: Color, Light and Image, a catalog, St. Mary's City, Maryland, 1977 Ann McCoy, "Alice Baber: Light as Subject," Art International, September-October 1980 Sylvia Moore, "Alice Baber," Woman's Art Journal, Spring-Summer 1982 Alexandra de Lallier, "The Watercolors of Alice Baber," Woman's Art Journal, Spring-Summer 1982. Source: Jules and Nancy Heller, North American Women Artists of the 20th Century and http://www.baberfamilytree.org/historian/alice_baber.htm Written by Lonnie Pierson Dunbier

    Ripley Auctions
  • Alice Baber, American (1928-1982), abstract, oil on canvas, 72"H x 86"W (stretcher)
    Jun. 24, 2026

    Alice Baber, American (1928-1982), abstract, oil on canvas, 72"H x 86"W (stretcher)

    Est: $500 - $5,000

    Alice Baber American, (1928-1982) abstract oil on canvas Signed with loss over signature. Major cracking, flaking, and paint loss. Paint surface is unstable. Attached to a home made wood frame stretcher. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Due to the instability of the surface and overall condition, this item will require transportation via white glove delivery and cannot be shipped via standard carrier. It cannot be unstretched and/or rolled for shipping. Statement regarding the authenticity of this work: Following a thorough review by recognized authorities in the field, there is a clear consensus affirming the authenticity of these pieces. We are pleased to confirm that these works are regarded as genuine examples of the artist's body of work, supported by professional expert evaluation. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in paintings of ovals, circles and free-forms that extolled the radiance of color. Born August 22, 1928 in Charleston, Illinois, the artist was dogged by ill-health as a child, forced to spend her winters in Florida to escape the harsh northern winters. Cancer would claim her on October 2, 1982 in New York City at the relatively young age of fifty-four. She is buried in Fairview Cemetery in Edgar County, Illinois. But she began her art studies early, as if to compensate for a shortened life, studying drawing as an eight-year-old, and taking a college class by age twelve. She attended Lindenwood College in Missouri for two years, then studied with Alton Pickens, a figurative expressionist painter, at Indiana University in Bloomington. She received her M.A. degree there in1951. Travel was an important activity for Baber in the early 1950s, during her marriage from 1964-1970 to abstract painter Paul Jenkins, and throughout her life. In 1951, she studied at the Ecole des Beaux-Arts in Fontainebleau, France, and traveled through Europe. In 1958, she began a several-year period of living in Paris. In 1964, Baber and Jenkins visited Japan for their show at the Osaka Pinacotheca Museum. Baber visited India twice in the 1970s. In 1974, she had a one-person exhibition in New Delhi, the same year she traveled to Iran for a show in Teheran. In 1976, she traveled to thirteen Latin American countries, lecturing and exhibiting, on a four-month tour sponsored by the United States Information Agency. In the early 1950s, Baber went to live in New York City, where she became a member of a Tenth Street co-operative gallery, the March Gallery, where she had her first one-person show in 1958. She attended the Yaddo Colony* in Saratoga Springs, New York for the first time in that year. She was supporting herself by writing, later becoming art editor of McCall's magazine. Baber organized exhibitions of women artists, including "Color Forum," in 1972 at the University of Texas, in Austin, and "Color, Light, and Image," in 1975 in New York City at the Women's Interart Center, a show of artists from around the world in recognition of the United Nations International Women's Year. Baber wrote an essay for the catalogue of the Texas show. Phyllis Derfner covered the latter exhibition in the March-April, 1976 issue of Art International. Baber was a writer and teacher, as well as an artist, serving as artist-in-residence in Albuquerque at the University of New Mexico's Tamarind Institute lithography workshop. She taught painting at the New School, New York City; University of California at Santa Barbara, and University of California, Berkeley. Her stain paintings, different from but related to those of Paul Jenkins, explored both variations of a single color and rich combinations of multiple colors. Several Alice Baber paintings form the nucleus of the Baber Midwest Modern Art Collection of the Greater Lafayette Museum of Art in Indiana. In East Hampton, Long Island, New York, the Guild Hall Museum established the Alice Baber Memorial Art Library. Her work is in the collections of four major New York City museums, the Guggenheim Museum, Whitney Museum of American Art, Metropolitan Museum of Art, and the Museum of Modern Art; and in Washington, D.C., the Corcoran Gallery of Art and National Museum of Women in the Arts. Other collections with her work are museums in New Delhi, India; Manchester, England; Amsterdam, Holland; Osaka, Japan; Israel; Austria; Cologne, Germany, and San Francisco and Santa Barbara, California. Other articles about Alice Baber include: James Jones, "The Tragedy of Color," Studio International, September 1965 Norton T. Dodge, Alice Baber: Color, Light and Image, a catalog, St. Mary's City, Maryland, 1977 Ann McCoy, "Alice Baber: Light as Subject," Art International, September-October 1980 Sylvia Moore, "Alice Baber," Woman's Art Journal, Spring-Summer 1982 Alexandra de Lallier, "The Watercolors of Alice Baber," Woman's Art Journal, Spring-Summer 1982. Source: Jules and Nancy Heller, North American Women Artists of the 20th Century and http://www.baberfamilytree.org/historian/alice_baber.htm Written by Lonnie Pierson Dunbier

    Ripley Auctions
  • Alice Baber, American (1928-1982), abstract, oil on canvas, 24"H x 30"W(stretcher)
    Jun. 24, 2026

    Alice Baber, American (1928-1982), abstract, oil on canvas, 24"H x 30"W(stretcher)

    Est: $500 - $5,000

    Alice Baber American, (1928-1982) abstract oil on canvas Faint signature verso? Scratches, scuffs, and loss to paint. Stapled to a support frame. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Due to the instability of the surface and overall condition, this item will require transportation via white glove delivery and cannot be shipped via standard carrier. It cannot be unstretched and/or rolled for shipping. Statement regarding the authenticity of this work: Following a thorough review by recognized authorities in the field, there is a clear consensus affirming the authenticity of these pieces. We are pleased to confirm that these works are regarded as genuine examples of the artist's body of work, supported by professional expert evaluation. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in paintings of ovals, circles and free-forms that extolled the radiance of color. Born August 22, 1928 in Charleston, Illinois, the artist was dogged by ill-health as a child, forced to spend her winters in Florida to escape the harsh northern winters. Cancer would claim her on October 2, 1982 in New York City at the relatively young age of fifty-four. She is buried in Fairview Cemetery in Edgar County, Illinois. But she began her art studies early, as if to compensate for a shortened life, studying drawing as an eight-year-old, and taking a college class by age twelve. She attended Lindenwood College in Missouri for two years, then studied with Alton Pickens, a figurative expressionist painter, at Indiana University in Bloomington. She received her M.A. degree there in1951. Travel was an important activity for Baber in the early 1950s, during her marriage from 1964-1970 to abstract painter Paul Jenkins, and throughout her life. In 1951, she studied at the Ecole des Beaux-Arts in Fontainebleau, France, and traveled through Europe. In 1958, she began a several-year period of living in Paris. In 1964, Baber and Jenkins visited Japan for their show at the Osaka Pinacotheca Museum. Baber visited India twice in the 1970s. In 1974, she had a one-person exhibition in New Delhi, the same year she traveled to Iran for a show in Teheran. In 1976, she traveled to thirteen Latin American countries, lecturing and exhibiting, on a four-month tour sponsored by the United States Information Agency. In the early 1950s, Baber went to live in New York City, where she became a member of a Tenth Street co-operative gallery, the March Gallery, where she had her first one-person show in 1958. She attended the Yaddo Colony* in Saratoga Springs, New York for the first time in that year. She was supporting herself by writing, later becoming art editor of McCall's magazine. Baber organized exhibitions of women artists, including "Color Forum," in 1972 at the University of Texas, in Austin, and "Color, Light, and Image," in 1975 in New York City at the Women's Interart Center, a show of artists from around the world in recognition of the United Nations International Women's Year. Baber wrote an essay for the catalogue of the Texas show. Phyllis Derfner covered the latter exhibition in the March-April, 1976 issue of Art International. Baber was a writer and teacher, as well as an artist, serving as artist-in-residence in Albuquerque at the University of New Mexico's Tamarind Institute lithography workshop. She taught painting at the New School, New York City; University of California at Santa Barbara, and University of California, Berkeley. Her stain paintings, different from but related to those of Paul Jenkins, explored both variations of a single color and rich combinations of multiple colors. Several Alice Baber paintings form the nucleus of the Baber Midwest Modern Art Collection of the Greater Lafayette Museum of Art in Indiana. In East Hampton, Long Island, New York, the Guild Hall Museum established the Alice Baber Memorial Art Library. Her work is in the collections of four major New York City museums, the Guggenheim Museum, Whitney Museum of American Art, Metropolitan Museum of Art, and the Museum of Modern Art; and in Washington, D.C., the Corcoran Gallery of Art and National Museum of Women in the Arts. Other collections with her work are museums in New Delhi, India; Manchester, England; Amsterdam, Holland; Osaka, Japan; Israel; Austria; Cologne, Germany, and San Francisco and Santa Barbara, California. Other articles about Alice Baber include: James Jones, "The Tragedy of Color," Studio International, September 1965 Norton T. Dodge, Alice Baber: Color, Light and Image, a catalog, St. Mary's City, Maryland, 1977 Ann McCoy, "Alice Baber: Light as Subject," Art International, September-October 1980 Sylvia Moore, "Alice Baber," Woman's Art Journal, Spring-Summer 1982 Alexandra de Lallier, "The Watercolors of Alice Baber," Woman's Art Journal, Spring-Summer 1982. Source: Jules and Nancy Heller, North American Women Artists of the 20th Century and http://www.baberfamilytree.org/historian/alice_baber.htm Written by Lonnie Pierson Dunbier

    Ripley Auctions
  • Alice Baber, American (1928-1982), nude musicians, figural grouping, oil on canvas, 40 3/4"H x 30 1/2"W(stretcher)
    Jun. 24, 2026

    Alice Baber, American (1928-1982), nude musicians, figural grouping, oil on canvas, 40 3/4"H x 30 1/2"W(stretcher)

    Est: $500 - $5,000

    Alice Baber American, (1928-1982) nude musicians, figural grouping oil on canvas Unsigned. Major cracking, flaking, and paint loss. Paint surface is unstable. Attached to a home made wood frame stretcher. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Due to the instability of the surface and overall condition, this item will require transportation via white glove delivery and cannot be shipped via standard carrier. It cannot be unstretched and/or rolled for shipping. Statement regarding the authenticity of this work: Following a thorough review by recognized authorities in the field, there is a clear consensus affirming the authenticity of these pieces. We are pleased to confirm that these works are regarded as genuine examples of the artist's body of work, supported by professional expert evaluation. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in paintings of ovals, circles and free-forms that extolled the radiance of color. Born August 22, 1928 in Charleston, Illinois, the artist was dogged by ill-health as a child, forced to spend her winters in Florida to escape the harsh northern winters. Cancer would claim her on October 2, 1982 in New York City at the relatively young age of fifty-four. She is buried in Fairview Cemetery in Edgar County, Illinois. But she began her art studies early, as if to compensate for a shortened life, studying drawing as an eight-year-old, and taking a college class by age twelve. She attended Lindenwood College in Missouri for two years, then studied with Alton Pickens, a figurative expressionist painter, at Indiana University in Bloomington. She received her M.A. degree there in1951. Travel was an important activity for Baber in the early 1950s, during her marriage from 1964-1970 to abstract painter Paul Jenkins, and throughout her life. In 1951, she studied at the Ecole des Beaux-Arts in Fontainebleau, France, and traveled through Europe. In 1958, she began a several-year period of living in Paris. In 1964, Baber and Jenkins visited Japan for their show at the Osaka Pinacotheca Museum. Baber visited India twice in the 1970s. In 1974, she had a one-person exhibition in New Delhi, the same year she traveled to Iran for a show in Teheran. In 1976, she traveled to thirteen Latin American countries, lecturing and exhibiting, on a four-month tour sponsored by the United States Information Agency. In the early 1950s, Baber went to live in New York City, where she became a member of a Tenth Street co-operative gallery, the March Gallery, where she had her first one-person show in 1958. She attended the Yaddo Colony* in Saratoga Springs, New York for the first time in that year. She was supporting herself by writing, later becoming art editor of McCall's magazine. Baber organized exhibitions of women artists, including "Color Forum," in 1972 at the University of Texas, in Austin, and "Color, Light, and Image," in 1975 in New York City at the Women's Interart Center, a show of artists from around the world in recognition of the United Nations International Women's Year. Baber wrote an essay for the catalogue of the Texas show. Phyllis Derfner covered the latter exhibition in the March-April, 1976 issue of Art International. Baber was a writer and teacher, as well as an artist, serving as artist-in-residence in Albuquerque at the University of New Mexico's Tamarind Institute lithography workshop. She taught painting at the New School, New York City; University of California at Santa Barbara, and University of California, Berkeley. Her stain paintings, different from but related to those of Paul Jenkins, explored both variations of a single color and rich combinations of multiple colors. Several Alice Baber paintings form the nucleus of the Baber Midwest Modern Art Collection of the Greater Lafayette Museum of Art in Indiana. In East Hampton, Long Island, New York, the Guild Hall Museum established the Alice Baber Memorial Art Library. Her work is in the collections of four major New York City museums, the Guggenheim Museum, Whitney Museum of American Art, Metropolitan Museum of Art, and the Museum of Modern Art; and in Washington, D.C., the Corcoran Gallery of Art and National Museum of Women in the Arts. Other collections with her work are museums in New Delhi, India; Manchester, England; Amsterdam, Holland; Osaka, Japan; Israel; Austria; Cologne, Germany, and San Francisco and Santa Barbara, California. Other articles about Alice Baber include: James Jones, "The Tragedy of Color," Studio International, September 1965 Norton T. Dodge, Alice Baber: Color, Light and Image, a catalog, St. Mary's City, Maryland, 1977 Ann McCoy, "Alice Baber: Light as Subject," Art International, September-October 1980 Sylvia Moore, "Alice Baber," Woman's Art Journal, Spring-Summer 1982 Alexandra de Lallier, "The Watercolors of Alice Baber," Woman's Art Journal, Spring-Summer 1982. Source: Jules and Nancy Heller, North American Women Artists of the 20th Century and http://www.baberfamilytree.org/historian/alice_baber.htm Written by Lonnie Pierson Dunbier

    Ripley Auctions
  • Alice Baber, American (1928-1982), abstract chickens/birds, oil pastel on canvas, 29 1/2"H x 35"W(stretcher)
    Jun. 24, 2026

    Alice Baber, American (1928-1982), abstract chickens/birds, oil pastel on canvas, 29 1/2"H x 35"W(stretcher)

    Est: $500 - $5,000

    Alice Baber American, (1928-1982) abstract chickens/birds oil pastel on canvas Unsigned. Scratches, scuffs, loss, and small hole / tears on edge. Stapled to a support frame. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Due to the instability of the surface and overall condition, this item will require transportation via white glove delivery and cannot be shipped via standard carrier. It cannot be unstretched and/or rolled for shipping. Statement regarding the authenticity of this work: Following a thorough review by recognized authorities in the field, there is a clear consensus affirming the authenticity of these pieces. We are pleased to confirm that these works are regarded as genuine examples of the artist's body of work, supported by professional expert evaluation. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in paintings of ovals, circles and free-forms that extolled the radiance of color. Born August 22, 1928 in Charleston, Illinois, the artist was dogged by ill-health as a child, forced to spend her winters in Florida to escape the harsh northern winters. Cancer would claim her on October 2, 1982 in New York City at the relatively young age of fifty-four. She is buried in Fairview Cemetery in Edgar County, Illinois. But she began her art studies early, as if to compensate for a shortened life, studying drawing as an eight-year-old, and taking a college class by age twelve. She attended Lindenwood College in Missouri for two years, then studied with Alton Pickens, a figurative expressionist painter, at Indiana University in Bloomington. She received her M.A. degree there in1951. Travel was an important activity for Baber in the early 1950s, during her marriage from 1964-1970 to abstract painter Paul Jenkins, and throughout her life. In 1951, she studied at the Ecole des Beaux-Arts in Fontainebleau, France, and traveled through Europe. In 1958, she began a several-year period of living in Paris. In 1964, Baber and Jenkins visited Japan for their show at the Osaka Pinacotheca Museum. Baber visited India twice in the 1970s. In 1974, she had a one-person exhibition in New Delhi, the same year she traveled to Iran for a show in Teheran. In 1976, she traveled to thirteen Latin American countries, lecturing and exhibiting, on a four-month tour sponsored by the United States Information Agency. In the early 1950s, Baber went to live in New York City, where she became a member of a Tenth Street co-operative gallery, the March Gallery, where she had her first one-person show in 1958. She attended the Yaddo Colony* in Saratoga Springs, New York for the first time in that year. She was supporting herself by writing, later becoming art editor of McCall's magazine. Baber organized exhibitions of women artists, including "Color Forum," in 1972 at the University of Texas, in Austin, and "Color, Light, and Image," in 1975 in New York City at the Women's Interart Center, a show of artists from around the world in recognition of the United Nations International Women's Year. Baber wrote an essay for the catalogue of the Texas show. Phyllis Derfner covered the latter exhibition in the March-April, 1976 issue of Art International. Baber was a writer and teacher, as well as an artist, serving as artist-in-residence in Albuquerque at the University of New Mexico's Tamarind Institute lithography workshop. She taught painting at the New School, New York City; University of California at Santa Barbara, and University of California, Berkeley. Her stain paintings, different from but related to those of Paul Jenkins, explored both variations of a single color and rich combinations of multiple colors. Several Alice Baber paintings form the nucleus of the Baber Midwest Modern Art Collection of the Greater Lafayette Museum of Art in Indiana. In East Hampton, Long Island, New York, the Guild Hall Museum established the Alice Baber Memorial Art Library. Her work is in the collections of four major New York City museums, the Guggenheim Museum, Whitney Museum of American Art, Metropolitan Museum of Art, and the Museum of Modern Art; and in Washington, D.C., the Corcoran Gallery of Art and National Museum of Women in the Arts. Other collections with her work are museums in New Delhi, India; Manchester, England; Amsterdam, Holland; Osaka, Japan; Israel; Austria; Cologne, Germany, and San Francisco and Santa Barbara, California. Other articles about Alice Baber include: James Jones, "The Tragedy of Color," Studio International, September 1965 Norton T. Dodge, Alice Baber: Color, Light and Image, a catalog, St. Mary's City, Maryland, 1977 Ann McCoy, "Alice Baber: Light as Subject," Art International, September-October 1980 Sylvia Moore, "Alice Baber," Woman's Art Journal, Spring-Summer 1982 Alexandra de Lallier, "The Watercolors of Alice Baber," Woman's Art Journal, Spring-Summer 1982. Source: Jules and Nancy Heller, North American Women Artists of the 20th Century and http://www.baberfamilytree.org/historian/alice_baber.htm Written by Lonnie Pierson Dunbier

    Ripley Auctions
  • Alice Baber, American (1928-1982), abstract, oil on canvas, 41"H x 31"W(stretcher), 43 3/4"H x 33 3/4"W(frame)
    Jun. 24, 2026

    Alice Baber, American (1928-1982), abstract, oil on canvas, 41"H x 31"W(stretcher), 43 3/4"H x 33 3/4"W(frame)

    Est: $500 - $5,000

    Alice Baber American, (1928-1982) abstract oil on canvas Unsigned. Scratches, scuffs, loss. In need of cleaning and minor restoration. Stapled to a support frame. Framing not original. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Due to the instability of the surface and overall condition, this item will require transportation via white glove delivery and cannot be shipped via standard carrier. It cannot be unstretched and/or rolled for shipping. Statement regarding the authenticity of this work: Following a thorough review by recognized authorities in the field, there is a clear consensus affirming the authenticity of these pieces. We are pleased to confirm that these works are regarded as genuine examples of the artist's body of work, supported by professional expert evaluation. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in paintings of ovals, circles and free-forms that extolled the radiance of color. Born August 22, 1928 in Charleston, Illinois, the artist was dogged by ill-health as a child, forced to spend her winters in Florida to escape the harsh northern winters. Cancer would claim her on October 2, 1982 in New York City at the relatively young age of fifty-four. She is buried in Fairview Cemetery in Edgar County, Illinois. But she began her art studies early, as if to compensate for a shortened life, studying drawing as an eight-year-old, and taking a college class by age twelve. She attended Lindenwood College in Missouri for two years, then studied with Alton Pickens, a figurative expressionist painter, at Indiana University in Bloomington. She received her M.A. degree there in1951. Travel was an important activity for Baber in the early 1950s, during her marriage from 1964-1970 to abstract painter Paul Jenkins, and throughout her life. In 1951, she studied at the Ecole des Beaux-Arts in Fontainebleau, France, and traveled through Europe. In 1958, she began a several-year period of living in Paris. In 1964, Baber and Jenkins visited Japan for their show at the Osaka Pinacotheca Museum. Baber visited India twice in the 1970s. In 1974, she had a one-person exhibition in New Delhi, the same year she traveled to Iran for a show in Teheran. In 1976, she traveled to thirteen Latin American countries, lecturing and exhibiting, on a four-month tour sponsored by the United States Information Agency. In the early 1950s, Baber went to live in New York City, where she became a member of a Tenth Street co-operative gallery, the March Gallery, where she had her first one-person show in 1958. She attended the Yaddo Colony* in Saratoga Springs, New York for the first time in that year. She was supporting herself by writing, later becoming art editor of McCall's magazine. Baber organized exhibitions of women artists, including "Color Forum," in 1972 at the University of Texas, in Austin, and "Color, Light, and Image," in 1975 in New York City at the Women's Interart Center, a show of artists from around the world in recognition of the United Nations International Women's Year. Baber wrote an essay for the catalogue of the Texas show. Phyllis Derfner covered the latter exhibition in the March-April, 1976 issue of Art International. Baber was a writer and teacher, as well as an artist, serving as artist-in-residence in Albuquerque at the University of New Mexico's Tamarind Institute lithography workshop. She taught painting at the New School, New York City; University of California at Santa Barbara, and University of California, Berkeley. Her stain paintings, different from but related to those of Paul Jenkins, explored both variations of a single color and rich combinations of multiple colors. Several Alice Baber paintings form the nucleus of the Baber Midwest Modern Art Collection of the Greater Lafayette Museum of Art in Indiana. In East Hampton, Long Island, New York, the Guild Hall Museum established the Alice Baber Memorial Art Library. Her work is in the collections of four major New York City museums, the Guggenheim Museum, Whitney Museum of American Art, Metropolitan Museum of Art, and the Museum of Modern Art; and in Washington, D.C., the Corcoran Gallery of Art and National Museum of Women in the Arts. Other collections with her work are museums in New Delhi, India; Manchester, England; Amsterdam, Holland; Osaka, Japan; Israel; Austria; Cologne, Germany, and San Francisco and Santa Barbara, California. Other articles about Alice Baber include: James Jones, "The Tragedy of Color," Studio International, September 1965 Norton T. Dodge, Alice Baber: Color, Light and Image, a catalog, St. Mary's City, Maryland, 1977 Ann McCoy, "Alice Baber: Light as Subject," Art International, September-October 1980 Sylvia Moore, "Alice Baber," Woman's Art Journal, Spring-Summer 1982 Alexandra de Lallier, "The Watercolors of Alice Baber," Woman's Art Journal, Spring-Summer 1982. Source: Jules and Nancy Heller, North American Women Artists of the 20th Century and http://www.baberfamilytree.org/historian/alice_baber.htm Written by Lonnie Pierson Dunbier

    Ripley Auctions
  • Alice Baber, American (1928-1982), x6 abstract paintings, mixed media, watercolor, and gouache, 15 1/2"H x 18 1/4"W (frame, top left)
    Jun. 24, 2026

    Alice Baber, American (1928-1982), x6 abstract paintings, mixed media, watercolor, and gouache, 15 1/2"H x 18 1/4"W (frame, top left)

    Est: $500 - $5,000

    Alice Baber American, (1928-1982) x6 abstract paintings mixed media, watercolor, and gouache one signed. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Due to the instability of the surface and overall condition, this item will require transportation via white glove delivery and cannot be shipped via standard carrier. It cannot be unstretched and/or rolled for shipping. Statement regarding the authenticity of this work: Following a thorough review by recognized authorities in the field, there is a clear consensus affirming the authenticity of these pieces. We are pleased to confirm that these works are regarded as genuine examples of the artist's body of work, supported by professional expert evaluation. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in paintings of ovals, circles and free-forms that extolled the radiance of color. Born August 22, 1928 in Charleston, Illinois, the artist was dogged by ill-health as a child, forced to spend her winters in Florida to escape the harsh northern winters. Cancer would claim her on October 2, 1982 in New York City at the relatively young age of fifty-four. She is buried in Fairview Cemetery in Edgar County, Illinois. But she began her art studies early, as if to compensate for a shortened life, studying drawing as an eight-year-old, and taking a college class by age twelve. She attended Lindenwood College in Missouri for two years, then studied with Alton Pickens, a figurative expressionist painter, at Indiana University in Bloomington. She received her M.A. degree there in1951. Travel was an important activity for Baber in the early 1950s, during her marriage from 1964-1970 to abstract painter Paul Jenkins, and throughout her life. In 1951, she studied at the Ecole des Beaux-Arts in Fontainebleau, France, and traveled through Europe. In 1958, she began a several-year period of living in Paris. In 1964, Baber and Jenkins visited Japan for their show at the Osaka Pinacotheca Museum. Baber visited India twice in the 1970s. In 1974, she had a one-person exhibition in New Delhi, the same year she traveled to Iran for a show in Teheran. In 1976, she traveled to thirteen Latin American countries, lecturing and exhibiting, on a four-month tour sponsored by the United States Information Agency. In the early 1950s, Baber went to live in New York City, where she became a member of a Tenth Street co-operative gallery, the March Gallery, where she had her first one-person show in 1958. She attended the Yaddo Colony* in Saratoga Springs, New York for the first time in that year. She was supporting herself by writing, later becoming art editor of McCall's magazine. Baber organized exhibitions of women artists, including "Color Forum," in 1972 at the University of Texas, in Austin, and "Color, Light, and Image," in 1975 in New York City at the Women's Interart Center, a show of artists from around the world in recognition of the United Nations International Women's Year. Baber wrote an essay for the catalogue of the Texas show. Phyllis Derfner covered the latter exhibition in the March-April, 1976 issue of Art International. Baber was a writer and teacher, as well as an artist, serving as artist-in-residence in Albuquerque at the University of New Mexico's Tamarind Institute lithography workshop. She taught painting at the New School, New York City; University of California at Santa Barbara, and University of California, Berkeley. Her stain paintings, different from but related to those of Paul Jenkins, explored both variations of a single color and rich combinations of multiple colors. Several Alice Baber paintings form the nucleus of the Baber Midwest Modern Art Collection of the Greater Lafayette Museum of Art in Indiana. In East Hampton, Long Island, New York, the Guild Hall Museum established the Alice Baber Memorial Art Library. Her work is in the collections of four major New York City museums, the Guggenheim Museum, Whitney Museum of American Art, Metropolitan Museum of Art, and the Museum of Modern Art; and in Washington, D.C., the Corcoran Gallery of Art and National Museum of Women in the Arts. Other collections with her work are museums in New Delhi, India; Manchester, England; Amsterdam, Holland; Osaka, Japan; Israel; Austria; Cologne, Germany, and San Francisco and Santa Barbara, California. Other articles about Alice Baber include: James Jones, "The Tragedy of Color," Studio International, September 1965 Norton T. Dodge, Alice Baber: Color, Light and Image, a catalog, St. Mary's City, Maryland, 1977 Ann McCoy, "Alice Baber: Light as Subject," Art International, September-October 1980 Sylvia Moore, "Alice Baber," Woman's Art Journal, Spring-Summer 1982 Alexandra de Lallier, "The Watercolors of Alice Baber," Woman's Art Journal, Spring-Summer 1982. Source: Jules and Nancy Heller, North American Women Artists of the 20th Century and http://www.baberfamilytree.org/historian/alice_baber.htm Written by Lonnie Pierson Dunbier

    Ripley Auctions
  • Alice Baber, American (1928-1982), seated female nude, oil on unstretched canvas, 31"H x 43"W (canvas)
    Jun. 24, 2026

    Alice Baber, American (1928-1982), seated female nude, oil on unstretched canvas, 31"H x 43"W (canvas)

    Est: $500 - $5,000

    Alice Baber American, (1928-1982) seated female nude oil on unstretched canvas Unsigned. In need of restoration. See photos. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Due to the instability of the surface and overall condition, this item will require transportation via white glove delivery and cannot be shipped via standard carrier. It cannot be unstretched and/or rolled for shipping. Statement regarding the authenticity of this work: Following a thorough review by recognized authorities in the field, there is a clear consensus affirming the authenticity of these pieces. We are pleased to confirm that these works are regarded as genuine examples of the artist's body of work, supported by professional expert evaluation. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in paintings of ovals, circles and free-forms that extolled the radiance of color. Born August 22, 1928 in Charleston, Illinois, the artist was dogged by ill-health as a child, forced to spend her winters in Florida to escape the harsh northern winters. Cancer would claim her on October 2, 1982 in New York City at the relatively young age of fifty-four. She is buried in Fairview Cemetery in Edgar County, Illinois. But she began her art studies early, as if to compensate for a shortened life, studying drawing as an eight-year-old, and taking a college class by age twelve. She attended Lindenwood College in Missouri for two years, then studied with Alton Pickens, a figurative expressionist painter, at Indiana University in Bloomington. She received her M.A. degree there in1951. Travel was an important activity for Baber in the early 1950s, during her marriage from 1964-1970 to abstract painter Paul Jenkins, and throughout her life. In 1951, she studied at the Ecole des Beaux-Arts in Fontainebleau, France, and traveled through Europe. In 1958, she began a several-year period of living in Paris. In 1964, Baber and Jenkins visited Japan for their show at the Osaka Pinacotheca Museum. Baber visited India twice in the 1970s. In 1974, she had a one-person exhibition in New Delhi, the same year she traveled to Iran for a show in Teheran. In 1976, she traveled to thirteen Latin American countries, lecturing and exhibiting, on a four-month tour sponsored by the United States Information Agency. In the early 1950s, Baber went to live in New York City, where she became a member of a Tenth Street co-operative gallery, the March Gallery, where she had her first one-person show in 1958. She attended the Yaddo Colony* in Saratoga Springs, New York for the first time in that year. She was supporting herself by writing, later becoming art editor of McCall's magazine. Baber organized exhibitions of women artists, including "Color Forum," in 1972 at the University of Texas, in Austin, and "Color, Light, and Image," in 1975 in New York City at the Women's Interart Center, a show of artists from around the world in recognition of the United Nations International Women's Year. Baber wrote an essay for the catalogue of the Texas show. Phyllis Derfner covered the latter exhibition in the March-April, 1976 issue of Art International. Baber was a writer and teacher, as well as an artist, serving as artist-in-residence in Albuquerque at the University of New Mexico's Tamarind Institute lithography workshop. She taught painting at the New School, New York City; University of California at Santa Barbara, and University of California, Berkeley. Her stain paintings, different from but related to those of Paul Jenkins, explored both variations of a single color and rich combinations of multiple colors. Several Alice Baber paintings form the nucleus of the Baber Midwest Modern Art Collection of the Greater Lafayette Museum of Art in Indiana. In East Hampton, Long Island, New York, the Guild Hall Museum established the Alice Baber Memorial Art Library. Her work is in the collections of four major New York City museums, the Guggenheim Museum, Whitney Museum of American Art, Metropolitan Museum of Art, and the Museum of Modern Art; and in Washington, D.C., the Corcoran Gallery of Art and National Museum of Women in the Arts. Other collections with her work are museums in New Delhi, India; Manchester, England; Amsterdam, Holland; Osaka, Japan; Israel; Austria; Cologne, Germany, and San Francisco and Santa Barbara, California. Other articles about Alice Baber include: James Jones, "The Tragedy of Color," Studio International, September 1965 Norton T. Dodge, Alice Baber: Color, Light and Image, a catalog, St. Mary's City, Maryland, 1977 Ann McCoy, "Alice Baber: Light as Subject," Art International, September-October 1980 Sylvia Moore, "Alice Baber," Woman's Art Journal, Spring-Summer 1982 Alexandra de Lallier, "The Watercolors of Alice Baber," Woman's Art Journal, Spring-Summer 1982. Source: Jules and Nancy Heller, North American Women Artists of the 20th Century and http://www.baberfamilytree.org/historian/alice_baber.htm Written by Lonnie Pierson Dunbier

    Ripley Auctions
  • Alice Baber, American (1928-1982), figural grouping, oil on canvas, 40 1/2"H x 30 3/4"W(stretcher)
    Jun. 24, 2026

    Alice Baber, American (1928-1982), figural grouping, oil on canvas, 40 1/2"H x 30 3/4"W(stretcher)

    Est: $500 - $5,000

    Alice Baber American, (1928-1982) figural grouping oil on canvas Unsigned. Significant paint chipping and loss & two minor holes in canvas. Stapled to a support frame. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Due to the instability of the surface and overall condition, this item will require transportation via white glove delivery and cannot be shipped via standard carrier. It cannot be unstretched and/or rolled for shipping. Statement regarding the authenticity of this work: Following a thorough review by recognized authorities in the field, there is a clear consensus affirming the authenticity of these pieces. We are pleased to confirm that these works are regarded as genuine examples of the artist's body of work, supported by professional expert evaluation. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in paintings of ovals, circles and free-forms that extolled the radiance of color. Born August 22, 1928 in Charleston, Illinois, the artist was dogged by ill-health as a child, forced to spend her winters in Florida to escape the harsh northern winters. Cancer would claim her on October 2, 1982 in New York City at the relatively young age of fifty-four. She is buried in Fairview Cemetery in Edgar County, Illinois. But she began her art studies early, as if to compensate for a shortened life, studying drawing as an eight-year-old, and taking a college class by age twelve. She attended Lindenwood College in Missouri for two years, then studied with Alton Pickens, a figurative expressionist painter, at Indiana University in Bloomington. She received her M.A. degree there in1951. Travel was an important activity for Baber in the early 1950s, during her marriage from 1964-1970 to abstract painter Paul Jenkins, and throughout her life. In 1951, she studied at the Ecole des Beaux-Arts in Fontainebleau, France, and traveled through Europe. In 1958, she began a several-year period of living in Paris. In 1964, Baber and Jenkins visited Japan for their show at the Osaka Pinacotheca Museum. Baber visited India twice in the 1970s. In 1974, she had a one-person exhibition in New Delhi, the same year she traveled to Iran for a show in Teheran. In 1976, she traveled to thirteen Latin American countries, lecturing and exhibiting, on a four-month tour sponsored by the United States Information Agency. In the early 1950s, Baber went to live in New York City, where she became a member of a Tenth Street co-operative gallery, the March Gallery, where she had her first one-person show in 1958. She attended the Yaddo Colony* in Saratoga Springs, New York for the first time in that year. She was supporting herself by writing, later becoming art editor of McCall's magazine. Baber organized exhibitions of women artists, including "Color Forum," in 1972 at the University of Texas, in Austin, and "Color, Light, and Image," in 1975 in New York City at the Women's Interart Center, a show of artists from around the world in recognition of the United Nations International Women's Year. Baber wrote an essay for the catalogue of the Texas show. Phyllis Derfner covered the latter exhibition in the March-April, 1976 issue of Art International. Baber was a writer and teacher, as well as an artist, serving as artist-in-residence in Albuquerque at the University of New Mexico's Tamarind Institute lithography workshop. She taught painting at the New School, New York City; University of California at Santa Barbara, and University of California, Berkeley. Her stain paintings, different from but related to those of Paul Jenkins, explored both variations of a single color and rich combinations of multiple colors. Several Alice Baber paintings form the nucleus of the Baber Midwest Modern Art Collection of the Greater Lafayette Museum of Art in Indiana. In East Hampton, Long Island, New York, the Guild Hall Museum established the Alice Baber Memorial Art Library. Her work is in the collections of four major New York City museums, the Guggenheim Museum, Whitney Museum of American Art, Metropolitan Museum of Art, and the Museum of Modern Art; and in Washington, D.C., the Corcoran Gallery of Art and National Museum of Women in the Arts. Other collections with her work are museums in New Delhi, India; Manchester, England; Amsterdam, Holland; Osaka, Japan; Israel; Austria; Cologne, Germany, and San Francisco and Santa Barbara, California. Other articles about Alice Baber include: James Jones, "The Tragedy of Color," Studio International, September 1965 Norton T. Dodge, Alice Baber: Color, Light and Image, a catalog, St. Mary's City, Maryland, 1977 Ann McCoy, "Alice Baber: Light as Subject," Art International, September-October 1980 Sylvia Moore, "Alice Baber," Woman's Art Journal, Spring-Summer 1982 Alexandra de Lallier, "The Watercolors of Alice Baber," Woman's Art Journal, Spring-Summer 1982. Source: Jules and Nancy Heller, North American Women Artists of the 20th Century and http://www.baberfamilytree.org/historian/alice_baber.htm Written by Lonnie Pierson Dunbier

    Ripley Auctions
  • Alice Baber, American (1928-1982), farmer's market scene, oil on canvas, 40 3/4"H x 30 1/2"W(stretcher)
    Jun. 24, 2026

    Alice Baber, American (1928-1982), farmer's market scene, oil on canvas, 40 3/4"H x 30 1/2"W(stretcher)

    Est: $500 - $5,000

    Alice Baber American, (1928-1982) farmer's market scene oil on canvas Unsigned. Scratches, scuffs, loss, chips, flaking to surface. Stapled to a support frame. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Due to the instability of the surface and overall condition, this item will require transportation via white glove delivery and cannot be shipped via standard carrier. It cannot be unstretched and/or rolled for shipping. Statement regarding the authenticity of this work: Following a thorough review by recognized authorities in the field, there is a clear consensus affirming the authenticity of these pieces. We are pleased to confirm that these works are regarded as genuine examples of the artist's body of work, supported by professional expert evaluation. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in paintings of ovals, circles and free-forms that extolled the radiance of color. Born August 22, 1928 in Charleston, Illinois, the artist was dogged by ill-health as a child, forced to spend her winters in Florida to escape the harsh northern winters. Cancer would claim her on October 2, 1982 in New York City at the relatively young age of fifty-four. She is buried in Fairview Cemetery in Edgar County, Illinois. But she began her art studies early, as if to compensate for a shortened life, studying drawing as an eight-year-old, and taking a college class by age twelve. She attended Lindenwood College in Missouri for two years, then studied with Alton Pickens, a figurative expressionist painter, at Indiana University in Bloomington. She received her M.A. degree there in1951. Travel was an important activity for Baber in the early 1950s, during her marriage from 1964-1970 to abstract painter Paul Jenkins, and throughout her life. In 1951, she studied at the Ecole des Beaux-Arts in Fontainebleau, France, and traveled through Europe. In 1958, she began a several-year period of living in Paris. In 1964, Baber and Jenkins visited Japan for their show at the Osaka Pinacotheca Museum. Baber visited India twice in the 1970s. In 1974, she had a one-person exhibition in New Delhi, the same year she traveled to Iran for a show in Teheran. In 1976, she traveled to thirteen Latin American countries, lecturing and exhibiting, on a four-month tour sponsored by the United States Information Agency. In the early 1950s, Baber went to live in New York City, where she became a member of a Tenth Street co-operative gallery, the March Gallery, where she had her first one-person show in 1958. She attended the Yaddo Colony* in Saratoga Springs, New York for the first time in that year. She was supporting herself by writing, later becoming art editor of McCall's magazine. Baber organized exhibitions of women artists, including "Color Forum," in 1972 at the University of Texas, in Austin, and "Color, Light, and Image," in 1975 in New York City at the Women's Interart Center, a show of artists from around the world in recognition of the United Nations International Women's Year. Baber wrote an essay for the catalogue of the Texas show. Phyllis Derfner covered the latter exhibition in the March-April, 1976 issue of Art International. Baber was a writer and teacher, as well as an artist, serving as artist-in-residence in Albuquerque at the University of New Mexico's Tamarind Institute lithography workshop. She taught painting at the New School, New York City; University of California at Santa Barbara, and University of California, Berkeley. Her stain paintings, different from but related to those of Paul Jenkins, explored both variations of a single color and rich combinations of multiple colors. Several Alice Baber paintings form the nucleus of the Baber Midwest Modern Art Collection of the Greater Lafayette Museum of Art in Indiana. In East Hampton, Long Island, New York, the Guild Hall Museum established the Alice Baber Memorial Art Library. Her work is in the collections of four major New York City museums, the Guggenheim Museum, Whitney Museum of American Art, Metropolitan Museum of Art, and the Museum of Modern Art; and in Washington, D.C., the Corcoran Gallery of Art and National Museum of Women in the Arts. Other collections with her work are museums in New Delhi, India; Manchester, England; Amsterdam, Holland; Osaka, Japan; Israel; Austria; Cologne, Germany, and San Francisco and Santa Barbara, California. Other articles about Alice Baber include: James Jones, "The Tragedy of Color," Studio International, September 1965 Norton T. Dodge, Alice Baber: Color, Light and Image, a catalog, St. Mary's City, Maryland, 1977 Ann McCoy, "Alice Baber: Light as Subject," Art International, September-October 1980 Sylvia Moore, "Alice Baber," Woman's Art Journal, Spring-Summer 1982 Alexandra de Lallier, "The Watercolors of Alice Baber," Woman's Art Journal, Spring-Summer 1982. Source: Jules and Nancy Heller, North American Women Artists of the 20th Century and http://www.baberfamilytree.org/historian/alice_baber.htm Written by Lonnie Pierson Dunbier

    Ripley Auctions
  • Alice Baber, American (1928-1982), x14 portraits, female nude, abstract compositions, street scene, mostly watercolor on paper, some gouache?, 42"H x 32"W (largest)
    Jun. 24, 2026

    Alice Baber, American (1928-1982), x14 portraits, female nude, abstract compositions, street scene, mostly watercolor on paper, some gouache?, 42"H x 32"W (largest)

    Est: $500 - $5,000

    Alice Baber American, (1928-1982) x14 portraits, female nude, abstract compositions, street scene mostly watercolor on paper, some gouache? 2 signed. Damage present-tears, creasing, wrinkles. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Statement regarding the authenticity of this work: Following a thorough review by recognized authorities in the field, there is a clear consensus affirming the authenticity of these pieces. We are pleased to confirm that these works are regarded as genuine examples of the artist's body of work, supported by professional expert evaluation. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in paintings of ovals, circles and free-forms that extolled the radiance of color. Born August 22, 1928 in Charleston, Illinois, the artist was dogged by ill-health as a child, forced to spend her winters in Florida to escape the harsh northern winters. Cancer would claim her on October 2, 1982 in New York City at the relatively young age of fifty-four. She is buried in Fairview Cemetery in Edgar County, Illinois. But she began her art studies early, as if to compensate for a shortened life, studying drawing as an eight-year-old, and taking a college class by age twelve. She attended Lindenwood College in Missouri for two years, then studied with Alton Pickens, a figurative expressionist painter, at Indiana University in Bloomington. She received her M.A. degree there in1951. Travel was an important activity for Baber in the early 1950s, during her marriage from 1964-1970 to abstract painter Paul Jenkins, and throughout her life. In 1951, she studied at the Ecole des Beaux-Arts in Fontainebleau, France, and traveled through Europe. In 1958, she began a several-year period of living in Paris. In 1964, Baber and Jenkins visited Japan for their show at the Osaka Pinacotheca Museum. Baber visited India twice in the 1970s. In 1974, she had a one-person exhibition in New Delhi, the same year she traveled to Iran for a show in Teheran. In 1976, she traveled to thirteen Latin American countries, lecturing and exhibiting, on a four-month tour sponsored by the United States Information Agency. In the early 1950s, Baber went to live in New York City, where she became a member of a Tenth Street co-operative gallery, the March Gallery, where she had her first one-person show in 1958. She attended the Yaddo Colony* in Saratoga Springs, New York for the first time in that year. She was supporting herself by writing, later becoming art editor of McCall's magazine. Baber organized exhibitions of women artists, including "Color Forum," in 1972 at the University of Texas, in Austin, and "Color, Light, and Image," in 1975 in New York City at the Women's Interart Center, a show of artists from around the world in recognition of the United Nations International Women's Year. Baber wrote an essay for the catalogue of the Texas show. Phyllis Derfner covered the latter exhibition in the March-April, 1976 issue of Art International. Baber was a writer and teacher, as well as an artist, serving as artist-in-residence in Albuquerque at the University of New Mexico's Tamarind Institute lithography workshop. She taught painting at the New School, New York City; University of California at Santa Barbara, and University of California, Berkeley. Her stain paintings, different from but related to those of Paul Jenkins, explored both variations of a single color and rich combinations of multiple colors. Several Alice Baber paintings form the nucleus of the Baber Midwest Modern Art Collection of the Greater Lafayette Museum of Art in Indiana. In East Hampton, Long Island, New York, the Guild Hall Museum established the Alice Baber Memorial Art Library. Her work is in the collections of four major New York City museums, the Guggenheim Museum, Whitney Museum of American Art, Metropolitan Museum of Art, and the Museum of Modern Art; and in Washington, D.C., the Corcoran Gallery of Art and National Museum of Women in the Arts. Other collections with her work are museums in New Delhi, India; Manchester, England; Amsterdam, Holland; Osaka, Japan; Israel; Austria; Cologne, Germany, and San Francisco and Santa Barbara, California. Other articles about Alice Baber include: James Jones, "The Tragedy of Color," Studio International, September 1965 Norton T. Dodge, Alice Baber: Color, Light and Image, a catalog, St. Mary's City, Maryland, 1977 Ann McCoy, "Alice Baber: Light as Subject," Art International, September-October 1980 Sylvia Moore, "Alice Baber," Woman's Art Journal, Spring-Summer 1982 Alexandra de Lallier, "The Watercolors of Alice Baber," Woman's Art Journal, Spring-Summer 1982. Source: Jules and Nancy Heller, North American Women Artists of the 20th Century and http://www.baberfamilytree.org/historian/alice_baber.htm Written by Lonnie Pierson Dunbier

    Ripley Auctions
  • Alice Baber (1928-1982) - Untitled
    May. 16, 2026

    Alice Baber (1928-1982) - Untitled

    Est: €1,200 - €1,400

    Alice Baber (1928-1982) | USA Untitled Watercolor on Paper Signed: Signed: Hand-signed “Baber” in pencil in the lower right corner. Dimensions: Framed: 70 × 55 cm | 27.6 × 21.7 in Artwork: 52 × 37 cm | 20.5 × 14.6 in Provenance: Private Collection, Spain (acquired from the above in 2013). Condition: he work is in good overall condition with vibrant colors. Minor age-related toning is visible along the edges, consistent with age. Housed in a dark wooden frame with a gold inner lip. The frame shows light surface wear and some foxing/staining on the matting. The back of the frame is sealed with brown craft paper, which shows typical signs of aging. Conditions of Sale: All lots are sold as is. See Section 4 of our Terms and Conditions for return policy. All inquiries must be made prior to bidding, as no further details can be provided after the sale. By placing a bid, you confirm that you have read and agree to our Terms and Conditions in full. Shipping: Aurora & Athena does not provide in-house shipping. The successful buyer arranges shipping directly with a company of their choice. For shipments outside the EU, Spanish export tax may apply to certain higher-value artworks; no export tax applies within the EU. Any such tax is payable by the buyer. Please refer to our Shipping & Export Information page for further details. -- This luminous watercolor on paper is a quintessential example of Alice Baber’s exploration of “color light” and organic abstraction. The composition features her signature translucent, overlapping orbs in a vibrant palette of amber, crimson, and soft yellows, creating a sense of fluid movement and radiant depth across the page. As a prominent figure in the Post-War American abstraction movement, Baber’s work in this piece demonstrates her mastery of the watercolor medium, where delicate washes of color evoke a poetic, celestial atmosphere. The ethereal quality of the overlapping forms highlights her unique ability to infuse abstract shapes with a rhythmic, pulsing vitality.

    Aurora & Athena
  • Alice Baber, The White Sound of the Piper
    May. 14, 2026

    Alice Baber, The White Sound of the Piper

    Est: $70,000 - $90,000

    Alice Baber The White Sound of the Piper 1975 oil on canvas 48 h x 68.25 w x 1.25 d in (122 x 173 x 3 cm) Signed, titled and dated to verso 'Alice Baber 1975 The White Sound of the Piper'. Provenance: Private Collection, Florida | Private Collection This work will ship from Chicago, Illinois.

    Rago Arts and Auction Center
  • ALICE BABER WATERCOLOR ON PAPER
    Feb. 28, 2026

    ALICE BABER WATERCOLOR ON PAPER

    Est: $1,500 - $2,000

    Watercolor painting on paper depicting an abstract composition attributed to Alice Baber. Signed lower right. Viewable measures 17" x 11 1/2". Frame measures 23 1/4" x 17 3/4" x 1".

    Antiques & Modern Auction Gallery
  • ALICE BABER (American 1928-1982) "Appearance of the Wizard," CIRCA 1979, 30 x 22 in. (76.2 x 55.9 cm.), Frame: 39 x 29 3/4 in. (99.1 x 75.6 cm.)
    Feb. 21, 2026

    ALICE BABER (American 1928-1982) "Appearance of the Wizard," CIRCA 1979, 30 x 22 in. (76.2 x 55.9 cm.), Frame: 39 x 29 3/4 in. (99.1 x 75.6 cm.)

    Est: $300 - $500

    ALICE BABER (American 1928-1982) "Appearance of the Wizard," CIRCA 1979, lithograph on paper, signed and numbered lower center, "Alice Baber III/VII," with the Tamarind Institute blindstamp at lower left.

    Simpson Galleries, LLC
  • Alice BABER (1928-1982)., Sans titre., Huile sur toile signée et située à paris en 1962 au revers sur le rebord supérieur de la toile., Mention dédicace au marqueur sur le châssis : "For Madam Polain from Alice"., Dim...
    Jan. 25, 2026

    Alice BABER (1928-1982)., Sans titre., Huile sur toile signée et située à paris en 1962 au revers sur le rebord supérieur de la toile., Mention dédicace au marqueur sur le châssis : "For Madam Polain from Alice"., Dim...

    Est: €5,000 - €6,000

    Alice BABER (1928-1982). Sans titre. Huile sur toile signée et située à paris en 1962 au revers sur le rebord supérieur de la toile. Mention dédicace au marqueur sur le châssis : "For Madam Polain from Alice". Dimensions : 31,5 x 17,5 cm. Collection privée belge.

    MJV Soudant
  • Alice Baber (1928-1982) New York
    Jan. 06, 2026

    Alice Baber (1928-1982) New York

    Est: $40,000 - $60,000

    BLUE SOUND CROSSING BELOW, 1975, oil painting on canvas, signed and dated and titled on stretcher bars, 38 x 64”, frame 39 x 65”. Exhibited: Santa Barbara Museum of Art, Alice Baber, June 3 to July 5th, 1976, with museum label on verso. Please note, The Alice Baber Project is currently preparing a catalog raisonne and seeking works on canvas and paper for inclusion. Contact: https://alicebaber.com/call-for-works/

    Clark's Fine Art & Auctioneers Inc.
  • Alice Baber (1928-1982), "Red Knight," 1965
    Dec. 10, 2025

    Alice Baber (1928-1982), "Red Knight," 1965

    Est: $15,000 - $25,000

    Alice Baber (1928-1982) "Red Knight," 1965 Oil on canvas Signed lower left: Baber; signed again, titled, dated, and inscribed on the upper and lower stretchers: Alice Baber New York 1965

    John Moran Auctioneers
  • Alice Baber (1928-1982), "The Royal Court of the Jaguars," 1979
    Dec. 10, 2025

    Alice Baber (1928-1982), "The Royal Court of the Jaguars," 1979

    Est: $50,000 - $70,000

    Alice Baber (1928-1982) "The Royal Court of the Jaguars," 1979 Oil on canvas Signed, titled, and dated on the canvas overlap: Alice Baber 1979; numbered "#135" on the upper portion of the stretcher

    John Moran Auctioneers
  • Alice Baber (1928-1982), Printer's proof
    Dec. 05, 2025

    Alice Baber (1928-1982), Printer's proof

    Est: $300 - $500

    Color lithograph on paper, signed and editioned lower left: Alice Baber, Pr.P

    Lusher Fine Art & Auctions
  • Alice Baber (1928-1982) Oil/Board
    Nov. 22, 2025

    Alice Baber (1928-1982) Oil/Board

    Est: $100 - $1,000

    Attributed to: Alice Baber, American (1928-1982) oil on board. Signed lower left. Minor wear on frame and small chips towards the bottom of the work, otherwise in good condition. Frame measures 22 1/8" x 18 1/8" Work measures 15 3/4" x 11 3/4" 16A

    Joshua Kodner
  • Alice Baber UNTITLED Watercolor Painting
    Nov. 15, 2025

    Alice Baber UNTITLED Watercolor Painting

    Est: $3,000 - $5,000

    Artist/Designer; Manufacturer: Alice Baber (American, 1928-1982) Marking(s); notes: signed Materials: watercolor on paper Dimensions (H, W, D): 8"h, 5"w (work is not framed) Additional Information: Provenance: Artist Studio | Private Collection, New York, New York.   Baber was associated with the Color Field movement and the second generation of Abstract Expressionists. Her lyrical use of transparent washes aligns her with artists such as Helen Frankenthaler, Sam Francis, and Paul Jenkins.

    Palm Beach Modern Auctions
  • Alice Baber UNTITLED Watercolor Painting
    Nov. 15, 2025

    Alice Baber UNTITLED Watercolor Painting

    Est: $3,000 - $5,000

    Artist/Designer; Manufacturer: Alice Baber (American, 1928-1982) Marking(s); notes: signed Materials: watercolor on paper Dimensions (H, W, D): 8"h, 5"w (work is not framed) Additional Information: Provenance: Artist Studio | Private Collection, New York, New York.   Baber was associated with the Color Field movement and the second generation of Abstract Expressionists. Her lyrical use of transparent washes aligns her with artists such as Helen Frankenthaler, Sam Francis, and Paul Jenkins.

    Palm Beach Modern Auctions
  • Alice Baber, Morning in the Garden
    Nov. 12, 2025

    Alice Baber, Morning in the Garden

    Est: $40,000 - $60,000

    Alice Baber Morning in the Garden 1977 oil on canvas 25.625 h x 32 w in (65 x 81 cm) Signed and dated to lower left 'Baber 77'. Signed, titled and dated to verso 'Alice Baber Morning in the Garden 1977'. Provenance: Quintessentia, Zurich | Acquired from the previous in 2013 by the present owner This work will ship from New York City.

    Rago Arts and Auction Center
  • Alice Baber, Ladder Ascending
    Nov. 12, 2025

    Alice Baber, Ladder Ascending

    Est: $80,000 - $120,000

    Alice Baber Ladder Ascending 1976 oil on canvas 38 h x 64 w in (97 x 163 cm) Signed, titled and dated to verso 'Alice Baber Ladder Ascending 1976'. Signed to lower left 'Baber'. Provenance: Antiques & Modern Auction Gallery West, Palm Beach | Acquired from the previous in 2016 by the present owner This work will ship from Lambertville, New Jersey.

    Rago Arts and Auction Center
  • The Turning of The Wheel of the Mysteries
    Oct. 01, 2025

    The Turning of The Wheel of the Mysteries

    Est: $20,000 - $30,000

    Alice Baber 1928 - 1982 The Turning of The Wheel of the Mysteries signed, titled, dated 1979 and dedicated for Eva and Edward Cohon with thanks for the unique vision (on the overlap) oil on canvas 18 ⅛ by 24 ⅛ in. 46 by 61.3 cm. Executed in 1979.

    Sotheby's
  • Alice Baber (1928-1982), "The Swing and the Bridge," 1970
    Sep. 30, 2025

    Alice Baber (1928-1982), "The Swing and the Bridge," 1970

    Est: $50,000 - $70,000

    Alice Baber (1928-1982) "The Swing and the Bridge," 1970 Oil on canvas Signed, titled, dated, all twice, and numbered "#359," on the upper and lower canvas overlaps, verso

    John Moran Auctioneers
  • ALICE BABER WATERCOLOR ON PAPER
    Sep. 27, 2025

    ALICE BABER WATERCOLOR ON PAPER

    Est: $1,500 - $2,000

    Watercolor painting on paper depicting an abstract composition attributed to Alice Baber. Signed lower right. Viewable measures 17" x 11 1/2". Frame measures 23 1/4" x 17 3/4" x 1".

    Antiques & Modern Auction Gallery
  • Tree of Life II
    Sep. 26, 2025

    Tree of Life II

    Est: $50,000 - $70,000

    Infinite Color: Alice Baber from the Art Museum of Greater Lafayette, Sold to Benefit Permanent Collections Acquisitions and Care Alice Baber 1928 - 1982 Tree of Life II signed (lower right); signed (upper left); signed twice, titled twice and dated 1974 twice (on the overlap) acrylic on canvas 63 ¾ by 37 ¾ in. 161.9 by 95.9 cm. Executed in 1974.

    Sotheby's
  • Alice Baber (American, 1928-1982) "Green Around Green"
    Sep. 25, 2025

    Alice Baber (American, 1928-1982) "Green Around Green"

    Est: $50,000 - $80,000

    Oil on canvas. Signed 'Baber' (lower left). Signed, titled, and dated 'Alice Baber "Green Around Green" 1966' (on reverse). Catalog Note: For further reading on the artist, see: Levin, Gail. Alice Baber: An Artist's Triumph Over Tragedy. Pegasus Books, 2026. Provenance Note: Michael Pauker, board chairman of the Barclay Knitwear Company Inc., which he had founded almost a half century ago, believed to be one of the oldest and most successful manufacturers of men's sportswear in the United States. In addition to an active business career, Mr. Pauker spent considerable time and effort on many philanthropic causes. Following World War II, he was a participant in the campaign that was to bring many of the survivors of the Nazi era to what was then Palestine. He was a past chairman of the March of Dimes, the United Jewish Appeal, the Greater New York Fund, a director of Maimonodes Institute, a founder of the Albert Einstein School of Medicine and a trustee of the Fifth Avenue Synagogue.

    Cottone Auctions
  • Alice Baber (1928-1982), "Cave of the Hermit," 1972
    Jun. 17, 2025

    Alice Baber (1928-1982), "Cave of the Hermit," 1972

    Est: $50,000 - $70,000

    Alice Baber (1928-1982) "Cave of the Hermit," 1972 Oil on canvas Signed lower left: Baber; signed again, titled, dated, and numbered, all on the canvas overlap: 1972 / "#227"

    John Moran Auctioneers
  • Alice Baber (1928-1982), "The Jaguar Drum Leaps to Daylight," 1978
    Jun. 17, 2025

    Alice Baber (1928-1982), "The Jaguar Drum Leaps to Daylight," 1978

    Est: $60,000 - $80,000

    Alice Baber (1928-1982) "The Jaguar Drum Leaps to Daylight," 1978 Oil on canvas Signed and dated upper left: © Baber 78; signed again, titled, dated, all twice, and numbered "#151," all on the upper and lower canvas overlaps, verso

    John Moran Auctioneers
  • The Green Night of the Jaguar
    May. 16, 2025

    The Green Night of the Jaguar

    Est: $30,000 - $50,000

    Alice Baber 1928 - 1982 The Green Night of the Jaguar signed and dated 81 (lower left); signed, titled and dated 1981 (on the overlap) oil on canvas 30 by 50 in. 76.2 by 127 cm. Executed in 1981.

    Sotheby's
  • The Purple Crossing the Valley
    May. 16, 2025

    The Purple Crossing the Valley

    Est: $40,000 - $60,000

    Infinite Color: Alice Baber from the Art Museum of Greater Lafayette, Sold to Benefit Permanent Collections Acquisitions and Care Alice Baber 1928 - 1982 The Purple Crossing the Valley acrylic on canvas 30 by 40 in. 76.2 by 101.6 cm. Executed in 1969.

    Sotheby's
  • Alice Baber (American, 1928-1982) Light Ladder, 1965
    May. 13, 2025

    Alice Baber (American, 1928-1982) Light Ladder, 1965

    Est: $50,000 - $70,000

    Alice Baber (American, 1928-1982) Light Ladder, 1965 oil on canvas signed Baber (lower right) 31 1/2 x 39 inches. This lot is located in New York.

    Freeman’s | Hindman
  • Alice Baber (American, 1928-1982) Red + Blue Deluge
    May. 13, 2025

    Alice Baber (American, 1928-1982) Red + Blue Deluge

    Est: $10,000 - $15,000

    Alice Baber (American, 1928-1982) Red + Blue Deluge watercolor on paper signed Baber (lower left); titled (verso) 14 x 11 inches. This lot is located in Palm Beach.

    Freeman’s | Hindman
  • ALICE BABER, (American, 1928-1982), The Blue Song of the Tree, 1981, watercolor on paper, sheet: 29 3/4 x 41 3/4 in.
    May. 10, 2025

    ALICE BABER, (American, 1928-1982), The Blue Song of the Tree, 1981, watercolor on paper, sheet: 29 3/4 x 41 3/4 in.

    Est: $5,000 - $8,000

    ALICE BABER (American, 1928-1982) The Blue Song of the Tree 1981, watercolor on paper signed Alice Baber 1981 lower left, in red triangle signed, dated, titled, and located Alice Baber, 1981 "The Blue Song of the Tree" Sacred Space Series Summer - Sag Harbor verso upper left

    Grogan & Company
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