American Paintings

Whimsical outsider, Folk Art oil painting by William R. Straly, excellent use of color. Texture and space.

This original framed pastel, hand-painted Indian chief is signed E. Summer 35 and is in wonderful condition.

Looking forward, looking back Fritz proctor is an American painter from Niagara Falls, New York. Fritz acquired his BA in Studio Art from the Universi...

Original MCM Pen and ink architectural study for a Palm Springs Residence (unbuilt). Framed and signed; J.H.Hahn, Reminiscent of the famed Dinah Shore hous...

Modern abstract expressionism acrylic on canvas painting unsigned but possibly executed by Judith Godwin, period painting, amazing use of color, space an...

Well executed modern industrialist oil painting, futuristic factory workers. Amazing use of color, texture and space. Artist unknown. Mark Kostabi meets Fernand Leger.

This large oil painting is like a mural. It is large and very graphic. It is Signed by Linda and dated 1979. It has to minor old tiny repairs. It has a nice clear coat of artist v...

This Signed Victoria 1986 watercolor is in fine condition and great frame original to the piece of art.

Large-scale Folk Art Carnival game board, American, circa 1940s. This painted carnival game board came from Texas and combines wonderfully patinate...

Signed William Sheldon Horton impressionist landscape painting. This "Plein Air" artist has majestically captured the purple desert canyons of California. This substantial canvas is ...

A pair of M.E. FAGER reverse mirror paintings framed and each signed by artist. American design, 1950. Each rectangular mirror plate depicting ...

Bold geometric abstract board found in Texas. We have a collection of these boards from an anonymous artist. Painted on recycled cupboard doors, table tops, stool tops and bread boar...

This watercolor painting is newly framed and is one of two by the same artist in our gallery. The second one is also signed by the artist and marked Southern California. The conditio...

Pair of baseball and basketball paintings found in a Midwestern American Legion hall. These were proudly displayed behind the legion hall bar. Grea...

Still life painting (Violin, Flowers), Oil on canvas, by Agnes Weinrich, Signed and dated "22", Unframed: 20" x 16", Framed 27.5 x 23". Agnes Weinrich (1873-1946) was an early female, American modernist artist at a time when there was little interest in Modern Art in the USA and when few women were artists. She was a ground breaker in modern art. The painting shown is an important example of her mature phase of her work. A biography from Wiki-pedia follows: Agnes Weinrich (1873–1946) was one of the first American artists to make works of art that were modernist, abstract, and influenced by the Cubist style. She was also an energetic and effective proponent of modernist art in America, joining with like-minded others to promote experimentation as an alternative to the generally conservative art of their time. Early years[edit] Agnes Weinrich was born in 1873 on a prosperous farm in south east Iowa. Both her father and mother were German immigrants and German was the language spoken at home. Following her mother's death in 1879 she was raised by her father, Christian Weinrich. In 1894, at the age of 59, he retired from farming and moved his household, including his three youngest children—Christian Jr. (24), Agnes (21), and Lena (17), to nearby Burlington, Iowa, where Agnes attended the Burlington Collegiate Institute from which she graduated in 1897.[1][2][3] Christian took Agnes and Lena with him on a trip to Germany in 1899 to reestablish links with their German relatives. When he returned home later that year, he left the two women in Berlin with some of these relatives, and when, soon after his return, he died, they inherited sufficient wealth to live independently for the rest of their lives. Either before or during their trip to Germany Lena had decided to become a musician and while in Berlin studied piano at the Stern Conservatory. On her part, Agnes had determined to be an artist and began studies toward that end at the same time.[1][4] In 1904 the two returned from Berlin and settled for two years in Springfield, Illinois, where Lena taught piano in public schools and Agnes painted in a rented studio. At this time Lena changed her name to Helen. In 1905 they moved to Chicago where Agnes studied at the School of the Art Institute of Chicago under John Vanderpoel, Nellie Walker, and others.[1] In 1909 Agnes and Helen returned to Berlin and traveled from there to Munich, where Agnes studied briefly under Julius Exter, and on to Rome, Florence, and Venice before returning to Chicago.[5] They traveled to Europe for the third, and last, time in 1913, spending a year in Paris. There, they made friends with American artists and musicians who had gathered there around the local art scene. Throughout this period, the work Agnes produced was skillful but unoriginal—drawings, etching, and paintings in the dominant academic and impressionist styles.[1] On her return from Europe in 1914, she continued to study art, during the warm months of the year in Provincetown, Massachusetts,[1] where she was a member of the Provincetown Printers art colony in Massachusetts,[6] and during the colder ones in New York City. In Provincetown she attended classes at Charles Hawthorne's Cape Cod School of Art and in New York, the Art Students League.[1] Drawing of an old woman by Agnes Weinrich, graphite on paper, 11.5 x 7.5 inches. Hawthorne and other artists established the Provincetown Art Association in 1914 and held the first of many juried exhibitions the following year. Weinrich contributed nine pictures to this show, all of them representational and somewhat conservative in style.[1] A pencil sketch made about 1915 shows a figure, probably one of the Portuguese women of Provincetown. Weinrich was a metculous draftsperson and this drawing is typical of the work she did in the academic style between 1914 and 1920. She also produced works more akin to the Impressionist favored by Hawthorne and many of his students. When in 1917 Weinrich showed paintings in a New York women's club, the MacDowell Club, the art critic for the Brooklyn Daily Eagle said they showed a "strong note of impressionism."[7] Broken Fence by Agnes Weinrich, a white-line woodblock made on or before 1917; at left: the woodblock itself; at right: a print pulled from the woodblook. In 1916 Weinrich joined a group of printmakers which had begun using the white-line technique pioneered by Provincetown artist B.J.O. Nordfelt. She and the others in the group, including Blanche Lazzell, Ethel Mars and Edna Boies Hopkins, worked together, exchanging ideas and solving problems.[1][8] A year later Weinrich showed one of her first white-line prints at an exhibition held by the Pennsylvania Academy of Fine Arts in Philadelphia.[9] Broken Fence, in its two states—the print and the woodblock from which she made it—show Weinrich to be moving away from realistic presentation, towards a style, which, while neither abstract, nor Cubist, brings the viewer's attention to the flat surface plane of the work with its juxtaposed shapes and blocks of contrasting colors. Cows Grazing in the Dunes near Provincetown by Agnes Weinrich, white-line woodcut, 10 x 10 1/2 inches When in 1920 the informal white-line printmakers' group organized its own exhibition, Weinrich showed a dozen works, including one called Cows Grazing in the Dunes near Provincetown. This print shows greater tendency to abstraction than eitherBroken Fence or the prints made by other Provincetown artists of the time. The cows and dunes are recognizable but not presented realistically. The white lines serve to emphasize the blocks of muted colors which are the print's main pictorial elements. Weinrich uses the texture of the wood surface to call attention to the two-dimensional plane—the paper on which she made the print—in contrast with the implicit depth of foreground and background of cows, dunes, and sky. While the work is not Cubist, it has a proto-Cubist feel in a way that is similar to some of the more abstract paintings of Paul Cézanne.[10] By 1919 or 1920, while still spending winters in Manhattan and summers on Cape Cod, the sisters came to consider Provincetown their formal place of residence.[1][11][12][13] By that time they had also met the painter, Karl Knaths. Like themselves a Midwesterner of German origin who had grown up in a household where German was spoken, he settled in Provincetown in 1919. Agnes and Knaths shared artistic leanings and mutually influenced each other's increasing use of abstraction in their work.[1][14] The sisters and Knaths became close companions. In 1922 Knaths married Helen and moved into the house which the sisters had rented. He was then 31, Helen 46, and Agnes 49 years old. When, two years later, the three decided to become year-round residents of Provincetown, Agnes and Helen used a part of their inheritance to buy land and materials for constructing a house and outbuildings for the three of them to share. Knaths himself acquired disused structures nearby as sources of lumber and, having once been employed as a set building for a theater company, he was able to build their new home.[15] Weinrich was somewhat in advance of Knaths in adopting a modernist style. She had seen avant-garde art while in Paris and met American artists who had begun to appreciate it. On her return to the United States she continued to discuss new theories and techniques with artists in New York and Provincetown, some of whom she had met in Paris. This loosely-knit group influenced one another as their individual styles evolved. In addition to Blance Lazzell, already mentioned, the group included Maude Squires, William Zorach, Oliver Chaffee, and Ambrose Webster. Some of them, including Lazzell and Flora Schofield had studied with influential modernists in Paris and most had read and discussed the influential Cubist and Futurist writings of Albert Gleizes and Gino Severini.[16][17] Mature style[edit] Woman with Flowers by Agnes Weinrich, circa 1920, oil on canvas, 34 x 30 1/4 inches, exhibited at the Provincetown Art Association exhibition of 1920, made available courtesy of the Association. Two of Weinrich's paintings, both produced about 1920, mark the emergence of her mature style. The first, Woman With Flowers, is similar to one by the French artist, Jean Metzinger called Le goûter (Tea Time) (1911).[18] Red Houses by Agnes Weinrich, circa 1921, oil on canvas on board, 24.25 x 25.5 inches; exhibited "Red Houses" at Fifth Annual Exhibition of the Society of Independent Artists. Like much of Metzinger's work, Le goûter was discussed in books and journals of the time—including one called Cubism co-authored by Metzinger himself.[19] Because the group with which Weinrich associated read about and discussed avant-garde art in general and Cubism in particular, it is reasonably likely that Weinrich was familiar with Metzinger's work before she began her own. The second painting, Red Houses, bears general similarity to landscapes by Cézanne and Braque. Both paintings are Cubist in style. However, with them Weinrich did not announce an abrupt conversion to Cubism, but rather marked a turning toward greater experimentation. In her later work she would not adopt a single style or stylistic tendency, but would produce both representative pictures and ones that were entirely abstract, always showing a strong sense of the two-dimensional plane of the picture's surface. After she made these two paintings neither her subject matter nor the media she used would dramatically change. She continued to employ subjects available to her in her Provincetown studio and the surrounding area to produce still lifes, village and pastoral scenes, portraits, and abstractions in oil on canvas and board; watercolor, pastel, crayon and graphite on paper; and woodblock prints.[20] Possessing an outgoing and engaging personality and an active, vigorous approach to life, Weinrich promoted her own work while also helping Karl Knaths to develop relationships with potential patrons, gallery owners, and people responsible for organizing exhibitions. With him, she put herself in the forefront of an informal movement toward experimentation in American art. Since, because of her independent means, she was not constrained to make her living by selling art, she was free to use exhibitions and her many contacts with artists and collectors to advance appreciation and understanding of works which did not conform to the still-conservative norm of the 1920s and 1930s.[1][21][22] Early in the 1920s, critics began to take notice of her work, recognizing her departure from the realism then prevailing in galleries and exhibitions. Paintings that she showed in 1922 drew the somewhat dry characterization of "individualistic.",[23] and in 1923 her work drew praise from a critic as "abstract, but at the same time not without emotion."[24] In 1925 Weinrich became a founding member of the New York Society of Women Artists. Other Provincetown members included Blanche Lazzell, Ellen Ravenscroft, Lucy L'Engle, and Marguerite Zorach. The membership was limited to 30 painters and sculptors all of whom could participate in the group's exhibitions, each getting the same space.[23][25][26] The group provided a platform for their members to distinguish themselves from the genteel and traditionalist art that women artists were at that time expected to show[27] and, by the account of a few critics, it appears their exhibitions achieved this goal.[1][28][29][30] In 1926 Weinrich joined with Knaths and other local artists in a rebellion against the "traditional" group that had dominated the Provincetown Art Association. For the next decade, 1927 through 1937, the association would mount two separate annual exhibitions, the one conservative in orientation and the other experimental, or, as it was said, radical.[31][32] Both Weinrich and Knaths participated on the jury that selected works for the first modernist exhibition.[11] Still Life by Agnes Weinrich, circa 1926, oil on canvas, 17 x 22 inches. Permission to use granted by Christine M. McCarthy, Executive Director, Provincetown Art Association and Museum. The painting was the gift of Warren Cresswell. Weinrich's painting, Still Life, made about 1926, may have been shown in the 1927 show. Representative of some aspects of her mature style, it is modernist but does not show Cubist influence. The objects pictured are entirely recognizable, but treated abstractly. Although fore- and background are distinguishable, the objects, as colored forms, make an interesting and visually satisfying surface design. In 1930 Weinrich put together a group show for modernists at the GRD Gallery in New York. The occasion was the first time a group of Provincetown artists exhibited together in New York. For it she selected works by Knaths, Charles Demuth, Oliver Chaffee, Margarite and William Zorach, Jack Tworkov, Janice Biala, Niles Spencer, E. Ambrose Webster, and others.[1][23] Later years[edit] Weinrich turned 60 on July 16, 1933. Although she had led a full and productive life devoted to development of her own art and to the advancement of modernism in art, she did not cease to work toward both objectives. She continued to work in oil on canvas and board, pastel and crayon on paper, and woodblock printing. Her output continued to vary in subject matter and treatment. For example, Still Life with Leaves, circa 1930 (oil on canvas, 18 x 24 inches) contains panels of contrasting colors with outlining similar to Knaths's style. Movement in C Minor, circa 1932 (oil on board, 9 x 12 inches) is entirely abstract. It too relates to Knaths's work, both in treatment (again, outlined panels of contrasting colors) and in its apparent relationship to music, something in which Knaths was also interested. Fish Shacks...

Large expressionist landscape painting in enamel on board depicting grasses or flowers against a seaside sunset, circa 1980s-1990s. Well matched with a wide, white, wooden frame. Mea...

About Alexander Gore, The artist as an observer decided after many years of visiting non-western places of culture to put his memories to use on visible surfaces for people to see...

Bold geometric abstract board found in Texas. We have a collection of these boards from an anonymous artist. Painted on recycled cupboard doors, table tops, stool tops and bread boards. Very dynamic when hung in collections. This door appears to have been painted on an old cupboard...

Oversized original oil on canvas of a silo with weathervane. Signed upper left, Richard Treaster. Framed in a distressed lightly stained wood frame wi...

Classic Mid Century Oil Painting on Canvas,.Society Woman wearing Hat,,Wonderful colors,,unsigned ,extremely well executed,,Purchased from high end estate in Buffalo New York,, most...

This representational double portrait of a couple is signed with initials "MN" in the lower left corner, by an unidentified artist. It is a flat, washed out image, perhaps painted by...

Bold geometric abstract board found in Texas. We have a collection of these boards from an anonymous artist. Painted on recycled cupboard doors, table tops, stool tops and bread boar...

Powerful realistic oil on canvas of Native American signed Braun in a carved in a black wood frame.

American oil on board portrait of horse landscape in the original gold gilt floral frame. Signed James Weiland, (1872-1968) New York, Early 20th cent...

Mid Century painting of man at hot dog stand. Thought to be near central park NYC in the 50's. Oil on canvas board. Signed in lower right corner STERN '5...

Westley G. Olmsted (1934-2011) was a painter and sculptor. He was born in Buffalo, New York, and was a distant relative Frederick law Olmsted, th...

This amazing etching of a covered bridge in Cream Ridge, New Jersey. It is in upper Freehold Township in Monmouth County, New Jersey. This is a big farmland area. This is signed by t...

Two painted ironing boards by the noted Woodstock NY artist Michael Heinrich. One of the boards is monogrammed MH. These are acrylic on much older wood ironing boards. These are wond...

'Six Tubas' Bold Modernist work by Western New York artist,,,James Miller,, c.1960,,Wonderful use of color,,texture and space,,,

Bold geometric abstract board found in Texas. We have a collection of these boards from an anonymous artist. Painted on recycled cupboard doors, table tops, stool tops and bread boar...

Bold geometric abstract painted board found in Texas. We have a collection of these boards from an anonymous artist. Painted on recycled cupboard doors, floor boards, table tops and ...

This is the largest of the Toulouse Lautrec portraits by famed artist Peter Max in peach pink. Professionally framed, signed and numbered.

Portrait painting of an African American woman with flowers in her hair. Canvas size is 16" x 20". Beautiful colors and rich texture of the brush strokes. The artist, "Miller", is na...

American oil on canvas of landscape depicting mountains, meadows, and a stream in the original mounted foliage gilt frame. Late 19th Century.

Whimsical painting of children at play in the park. Oil on canvas board. Signed in lower right corner STERN '60. Framed in rustic Mid Century painting. Last two photos show this piece next to another painting by the same artist. Please see the Hot Dog Stand...

About Alexander Gore The artist as an observer decided after many years of visiting non-western places of culture to put his memories to use on visible surfaces for people to see....

Large impressive Folk Art acrylic painting of a haunting, moonlit, church procession is signed by the Danish born artist and dated 1963. There is one small tear in the canvas as shown. Frame is aluminum and wood. This artist's work also includes our listed Folk Art Angel...

American Folk Art Pyrography At Its Finest This is an original and beautiful 23 inch by 19.25 inch hand-painted and hand incised work of art on board of a lovely Victorian lady enth...

American oval shadow box felt picture depicts strawberries in an openwork straw basket with the large long handle rising above. Within an oval gilt frame...

Mid-Century Modern painting by Andrei Hudiakoff.

Large, mixed media, Folk Art angel is plaster sculpture with acrylic paint on wood cutout with newspaper backing on her wings. The angel is signed and date...

Semiatin Jacob (1915-2003), painting, Watercolor, circa 1950-1962, USA. Measures: Width 137 cm, height 94 cm. Jacob Semiatin was born to Hungarian Jewish parents in Dublin in 1915....

Large surrealist outsider oil painting executed by Francis W Cowell, circa 1949. Titled "THE UNCIVILIZED". Buffalo Society of Artist, 54th annual exhibition. Interesting subject, ama...

"Now You Are One of Us" by Joan Gardner in 1984, beautiful vivid colors and thick texture. This is a large scale artwork. Gardner is a multi-media artist based in Connecticut. Joa...

Signed and dated by Datroll 1929 pastel water color on paper and in vintage original frame. The condition is very good.

Mural by Rufus Porter from Prescott Tavern in East Jaffrey, New Hampshire, circa 1824. This panel was removed from the tavern prior to its being torn down in 1950. This mural hung in...

American 19th century still life painting of a compote of fruit on a table arranged with more fruit in a custom 20th century painted frame.

This American portrait descended through same family from 1830s until July 2012, when I acquired it from executor in Oregon. Early family had lived in New England. It is unusual to h...

A wonderful graphic painting done by the group of six collaborative artists who organized this group in 1990. They worked with quite a few graffiti artists including Ron English. A b...

Bold geometric abstract painted board found in Texas. We have a collection of these boards from an anonymous artist who painted on recyled cupboard doors, floor boards, table tops an...

A great image by the collaborative group Artfux founded in 1990. This work was most likely influenced by one of the founders Ray Arcadio. From his website the following; To artist R...

A great image by the collaborative group Artfux founded in 1990. This work was most likely influenced by one of the founders Ray Arcadio. From his website the following; To artist R...

A nice composition featuring a boxer. Signed lower right. Frame is newer.

In 1938, when he was just 24 years old, James Vullo’s first exhibition opened at the Albright Art Gallery. Vullo began drawing around the age of eight. He loved the city, especially ...

A fabulous vintage Boho original oil painting on board. A handsome dog on a bright red background. Signed by the artist. Acquired from a Palm Beach estate.

Arrigo Ghedini (1905-1997) was born to a wealthy northern Italian family and initially trained in economics, though soon turned to painting and stage design. He married a fellow arti...

Dramatic and lovely watercolor happy depiction of a period 1920s lady at an open window looking out at the follage and potted plants. Realized by William Bradford Green...

Amazing W.P.A. style painting, trip-tic depicting science, politics industry, worker's, 1940s-1950s. Oil on board, measuring: 52" x 32". Attention to details. Unfortunately not signe...