Art by Medium: Masonite

Very well executed oil on masonite painting of a reclining female nude by the New York artist, Richard Clive. Signed lower left by the artist. Circa 1965. Condition is very good. The painting is housed in its original ornate gold leaf with white linen liner. Overall framed measurements are 12.25 by 14.25 inches. Provenance: A Sarasota, Florida estate. Clive was born in New York City in 1912 and died in 1992. He studied at the National Academy of Design in 1930 and received his Bachelor in Fine Arts from New York University in 1935. He also studied with noted artists Dan Greene & Harold Wolcott...

Sweeping Pacific Northwest landscape of a beautiful Oregon lake, snow-capped mountains and redwoods by an unknown artist (American, 20th C...

Medium: Oil on Masonite

A moody mid century landscape painted in neutral, sepia tones featuring an abandoned building by Joseph Bodner (American, 1925-1982). Signed "Bodner" in ...

The vibrant French Quarter is brilliantly depicted in "Bourbon Street in New Orleans" by California-based artist Pablo Cucaro in a rich palette of chestnut, Tiffany Blue and black. S...

A Charming, Vintage Mid-Century Modern Painting of a Horse Riding Lesson with a Young Girl by Noted Chicago artist, Francis Chapin. A wonderful equestrian scene dating from the 1940...

Oil on masonite painting by the well known Russian/American artist, Nahum Tschacbasov. Signed lower right and dated 1946. In good condition. The painting is framed in a contemporary...

A rare, very poetic figurative work by Eric Scholz, dating from the 1980s. Scholz was a Hungarian artist who trained at the Academy of Fine Arts in Budapest. He was awarded the pre...

"California Round Hills" Mid Century Plein Aire Landscape in Oil on Masonite Serene landscape by J. Andrew Bennett (British, 19th/20th Century ). The viewer stands at the end of a v...

Patch of Cyan, Vintage Electric Blue Geometric Abstract by Eleanor Perry A bold modernist abstract painting by San Francisco, California artist Eleanor Perry (American, 20th Centu...

This mixed media painting on masonite is a portrait of a Renaissance figure. The background is a light taupe color with a delineated profile of the face. The signature is on the front, bordering the figure's cape. The work is sold framed. Although the painting itself is in marvelous condition, the original wood frame has some slight imperfections on the top and sides, as pictured. Mario Martin del...

Medium: Oil on Masonite Signature: Signed Upper Left Original Use: Interior Illustration for The American Magazine Excellent Condition This luminous, expressive oil on masonite wa...

Contemporary expressionist abstract painting by Houston based artist Paul Reeves. The work features white, bold, gestural strokes set against a blue and black background. Signed on t...

Date: 1950 Medium: Oil on Masonite Dimensions: 25.75" x 20.00" Signature: Signed Lower Right Original cover illustration for The Saturday Evening Post, July 1st, 1950. The Post des...

Harry Dunn (1929-1998). Island People, ca. 1970. Oil on masonite panel, 18 x 30 inches; 24 x 36 inches framed. Signed lower right. Excellent condition. Du...

A beautiful, atmospheric forest scene by American artist Gary Hicks (American, 20th Century), c.1970's. A small trail invites the viewer into this misty forest landscape, where layer...

Created circa 1965 by Victor Di Gesu (American, 1914-1988) and stamped, verso, with Victor di Gesu estate seal. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Lo...

Jim’s of Lambertville is proud to offer this artwork. Signed Lower Right Joseph Meierhans (1890 - 1980) Joseph Meierhans is one of the most important modernist painters associate...

Mid Century portrait of a grey haired woman wearing a sun hat by Jon Blanchette (American, 1908-1987). Rendered his signature style, this...

Signed Lower Right

This piece titled "The Nightmare Began Just Like Any Other Dream" is an original artwork by Angela Rio and is made of acrylic on masonite framed in artist-m...

“Queen” is a stunning iconic portrait of a young woman coming into the full flower of her beauty and developing power. She is set in a sculptural scene of softly rounded forms surrounded by blues, pinks and lavenders along with flowers and a small hummingbird. There is a quiet power and energy in the young woman as she appears to be on the verge of movement. That she is visually beautiful is actually beside the point for Henry has managed to capture in paint the inner beauty flowing from her presence. Henry says that, “Painting is like breathing for me. I do so daily and appreciate my gift and ability. Perfection drives me as I create each piece. It must be unique. It must stand out, and is not complete until that special quality is achieved in my eyes.” Being able to create is an essential part of my life. It is an extension of my innermost thoughts and imagination. My primary focus of art is realism--using oils and acrylics. Occasionally, I switch mediums and design and build three dimensional pieces. Working mixed mediums, I use various wood, metal and paint, thus allowing me to achieve the visual effects I am looking for. Many of my pieces have been derived from my attraction to Art Deco and Ethnic designs. I am not satisfied until each piece, regardless of the medium or size, has reached the highest possible level of aesthetic quality and craftsmanship I can give it. I have enjoyed creating art since childhood. While a student at Martin Luther King Jr. high school in Detroit, I created and presented a portrait to then Mayor Coleman A. Young. A scholarship from Center for Creative Studies now the College for Creative Studies afforded me the opportunity to work towards and receive a BA in Fine Arts. Faculty and graduates of CCS include Richard Jerzy, Harry Bertoia, Doug Chaing (currently director of Lucas Film), Stephen Dinehart (game maker, writer, designer connected with The David Lynch Foundation), Tyree Guyton (international artist), Herb Babcock, Jerome Feretti, Kevin Siembieda (writer, designer and publisher of role-playing games), Renee Radell, Philip Pearlstein, Charles McGee (nationally recognized African American sculptor of animal and dancing spirits), Philip Pearlstein (2000 Honorary Doctorate, Modern Realism style), John Louis Krieger (American Modern), William Girard (American Modern), and Charles Culver. Mr. Heading understands the joy found in art and how it affects a young person's heart. He has shared his love for art as a mentor/teacher at the Virgil L. Carr Center in Detroit, Michigan. Students not only grew in their art experience, but also exhibited at the Ann Arbor Art Fair. Winning the 2013 MI Great Artist Competition was an honor for Mr. Heading. He is thankful to Park West Gallery owner Albert Scaglione and Oakland County Executive L. Brooks Patterson for the opportunity. Mr. Heading has been featured on ASPIRE TV, shows at the Charles H. Wright Museum of African American History, the National Conference of Artists and other numerous galleries. In addition, he is a book illustrator. His murals create a beautiful focal point and conversation piece on the walls of homes, churches and health care facilities. His art and furniture is enjoyed and treasured by collectors across the United States and Canada. Kohei Suzuki, the former Mayor of Toyota City, Japan has a box designed by Henry. His first attempt at mosaic tile was creating a Tiger sculpture to benefit the Detroit Tigers...

This large, colorful still life painting by Paul Longenecker (1920-2008) depicts a varied assortment of flowers in an urn. There is a bird’s net to the lower right of the urn as well...

Signed lower right

A strong modernist oil painting depicted in the Mid Century by Russian painter Michael Baxte. Mostly known for his abstracted figures on canvas or street scenes, this piece is a wonderful representation of his landscapes with expressive use of color, shape, and form. Later in his career, Baxte explores Expressionism, infusing both European and North American stylistic trends. Art measures 15 x 18 inches Michael Posner Baxte was born in 1890 in the small town of Staroselje Belarus, Russia. For the first half of the 19th century, it was a center of the Chabad movement of Hasidic Jews, but this group was gone by the middle of the 19th century. By the time the Baxte family immigrated to the United States at the beginning of the 20th century, the Jewish population numbered only on the hundreds. The native language of the Baxte family was Yiddish. It is likely that the death of Michael Baxte’s father triggered the family’s immigration. Three older brothers arrived in New York between 1903 and 1905. Michael and his mother, Rebecca, arrived in 1907. By 1910 Michael, his mother, and brother, Joseph, were living in New Orleans and may have spent some time on a Louisiana plantation. Around 1912, Michael Baxte returned to Europe to study the violin. In 1914 he, his mother, and Joseph moved to New York City. Meanwhile, in Algeria, a talented young woman painter, Violette Mege, was making history. For the first time, a woman won the prestigious Beaux Art competition in Algeria. At first, the awards committee denied her the prize but, with French government intervention, Mege eventually prevailed. She won again 3 years later and, in 1916, used the scholarship to visit the United States of America. When Violette came to New York, she met Baxte, who was, by then, an accomplished violinist, teacher, and composer. Baxte’s compositions were performed at the Tokyo Imperial Theater, and in 1922 he was listed in the American Jewish Yearbook as one of the prominent members of the American Jewish community. As a music teacher, he encouraged individual expression. Baxte stated, “No pupil should ever be forced into the imitation of the teacher. Art is a personal experience, and the teacher’s truest aim must be to awaken this light of personality through the patient's light of science.” By 1920 Michael Baxte and Violette Mege were living together in Manhattan. Although they claimed to be living as husband and wife, it seems that their marriage did not become official until 1928. On their “unofficial” honeymoon around 1917, in Algiers, Baxte confided to her his ambition to paint. There and later in New Mexico where the wonderful steeped sunlight approximates the coloring of Algiers, she taught him his heart’s desire. He never had any other teacher. She never had any other pupil. For ten years she devoted all her time, energy, and ambition to teaching, encouraging, inspiring him. Then in 1928, their mutual strivings were rewarded, as his works were being chosen as one of the two winners in the Dudensing National Competition for American Painters. Out of 150 artists from across the country participated in the Dudensing, and Michael Posner Baxte and, Robert Fawcett...

Story illustration for "Illegitimate" by Nelia Gardner White for the Ladies' Home Journal, published June 1944, page 25. The full caption reads: "The children danced around her, cha...

Sylvia Rutkoff (1919-2011) sr2-1 c.1950s “Girl with Doll” Impasto oil paint on Masonite 30x24 framed wood period frame Label on reverse Collection acqui...

Nude with Dark Eyes Miriam Bromberg Date: Circa 1970 Oil on Masonite, signed Size: 18 x 14 in. (45.72 x 35.56 cm) Frame Size: 24 x 19.75 inches

A great early date for this artist where he was coming out of the origins of expressionist and fauve works of art. A unique composition depicting a woman setting out a table laden w...

Signature: Signed & Dated Lower Right lllustration depicting a genre fashion scene of a woman at her toilette, having her hair pomaded.

Evocative modern figurative painting of a mother and family in a calming but somber palette by Rodrigo Ramirez Pimentel (Mexican, b. 1945), 1973. Imprimatura and impasto reveals artist's first take had mother looking out at world (can be seen when viewed at side angle) with artist ultimately deciding to have mother looking down at what she's carrying with family behind her and one figure looking like angel of death. Signed and dated "R. P. -73" lower right corner. Unframed. Image size: 36"H x 24"W. Born in Zináparo, Michoacán in 1945, Rodrigo Pimentel is one of the most talented Michoacan artists whose career is well known to many specialists in Mexican art. His work is part of the Permanent Collection of the Museum of Modern Art in Mexico City and other important collections in Mexico and the world. Rodrigo Pimentel studied at the ENAP, and became a pupil of several teachers who were still struggling for classical academic education: Santos Balmori, Francisco Moreno Capdevila...

Martin Eder was a Swedish drawing teacher, artist and ceramicist. Martin was born on the island of Gotland and spent a lot of time there, he also lived in Sala. Martin was a curious ...

Lily Pond at the Edge of the Forest - Landscape in Oil on Masonite Landscape of a lily pond by Susan Reinier (American, b. 1978). This piece is unsigned, but was acquired with a col...

"Blue Heart Wife Love" San Francisco Figurative School -Joe Lysowski "Prankster" Portrait of his ex-wife while studying for his MFA in Fine art in Mexico by Joe Lysowski (American, 1938-2016) Signed on verso "J. S. Lysowski - Mexico - 6-65 Blue Heart - Wife Love" Image, 46"H x 36"W Frame, 47.25"H x 37.25"W x 1'D Joe Lysowski, former painter for the Maharishi Mahesh Yogi, the Kauai Hindu Monastery for Denny’s in-production film, Atlantis Risen. A Marine, Surfer, Artist, Ken Kesey...

Vincent Mazzocchini (France, 20th Century) created this unique French landscape oil on pressed wood board painting. This delightful composition is on rather unusual media. The lands...

Mid Century Modern Abstracted Landscape in Oil on Masonite Bold abstracted landscape by Ray Oakvick (American, 1917-1993). Streaks of reddish brown and white create an abstracted la...

Inez McCombs (1895-1975). Virgin Islands, ca. 1950. Alkyd on paper mounted to masonite panel. Measuring 13 x 16 inches; 18 x 21 inches framed. Signed lower right. Philadelphia-...

"A Young Girl Reading a Book" is a captivating portrait by Swedish artist Gustaf Arnolds. Arnolds was a prolific painter whose roots began in Vingåker and later in Ronneby from his teenage years. His educational journey in art took him through prestigious institutions such as Althins målarskola and the Tallbergska grafikskolan in Stockholm, followed by a significant period at the Konstakademien, Stockholm, between 1904 and 1909. His talent and dedication were recognized early on, earning him a scholarship to Paris, a city that would deeply influence his artistic direction. This particular work, likely painted shortly after his return to Sweden, reveals a profound influence from his time in Paris. It portrays a young girl absorbed in reading a book, a simple yet profound subject that Arnolds imbues with a sense of tranquility and introspection. The background hints at a serene landscape, dotted with quaint houses, a nod to the everyday beauty surrounding us. What sets this piece apart is Arnolds’ technique, reminiscent of pointillism but distinguished by longer, more expressive brush strokes that add a vibrant texture and depth to the canvas. This method showcases Arnolds' unique adaptation of the techniques he encountered during his Parisian studies, particularly during his interactions with Nils Dardel...

Richard Pettibone The Appropriation Print Andy Warhol, Frank Stella, Roy Lichtenstein, 1970 Silkscreen in colors on masonite board (unique variant on sculpted board) Hand-signed by artist, Signed and dated on the front (see close up image) Bespoke frame Included This example of Pettibone's iconic Appropriation Print is silkscreened on masonite board rather than paper, giving it a different background hue, and enabling it work to be framed so uniquely. The Appropriation print is one of the most coveted prints Pettibone ever created ; the regular edition is on a full sheet with white background; the present example was silkscreened on board, allowing it to be framed in 3-D. While we do not know how many examples of this graphic work Pettibone created, so far the present work is the only one example we have ever seen on the public market since 1970. (Other editions of The Appropriation Print have been printed on vellum, wove paper and pink and yellow paper.) This 1970 homage to Andy Warhol, Frank Stella and Roy Lichtenstein exemplifies the type of artistic appropriation he was engaging in early on during the height of the Pop Art movement - long before more contemporary artists like Deborah Kass, Louise Lawler, etc. followed suit. This silkscreen was in its original 1970 vintage period frame; a bespoke custom hand cut black wood outer frame was subsequently created especially to house the work, giving it a distinctive sculptural aesthetic. Measurements: Framed 14.5 inches vertical by 18 inches horizontal by 2 inches Work 13 inches vertical by 16.5 inches horizontal Richard Pettibone biography: Richard Pettibone (American, b.1938) is one of the pioneering artists to use appropriation techniques. Pettibone was born in Los Angeles, and first worked with shadow boxes and assemblages, illustrating his interest in craft, construction, and working in miniature scales. In 1964, he created the first of his appropriated pieces, two tiny painted “replicas” of the iconic Campbell’s soup cans by Andy Warhol (American, 1928–1987). By 1965, he had created several “replicas” of paintings by American artists, such as Warhol, Roy Lichtenstein (1923–1997), Ed Ruscha (b.1937), and others, among them some of the biggest names in Pop Art. Pettibone chose to recreate the work of leading avant-garde artists whose careers were often centered on themes of replication themselves, further lending irony to his work. Pettibone also created both miniature and life-sized sculptural works, including an exact copy of Bicycle Wheel by Marcel Duchamp (French, 1887–1968), and in the 1980s, an entire series of sculptures of varying sizes replicating the most famous works of Constantin Brancusi (Romanian, 1876–1957). In more recent years, Pettibone has created paintings based on the covers of poetry books by Ezra Pound, as well as sculptures drawn from the grid compositions of Piet Mondrian (Dutch, 1872–1944). Pettibone straddles the lines of appropriation, Pop, and Conceptual Art, and has received critical attention for decades for the important questions his work raises about authorship, craftsmanship, and the original in art. His work has been exhibited at the Institute for Contemporary Art in Philadelphia, the Museum of Modern Art in New York, the Museum of Contemporary Art in Miami, and the Laguna Art Museum in Laguna Beach, CA. Pettibone is currently based in New York. "I wished I had stuck with the idea of just painting the same painting like the soup can and never painting another painting. When someone wanted one, you would just do another one. Does anybody do that now?" Andy Warhol, 1981 Since the mid-1960s, Richard Pettibone has been making hand-painted, small-scale copies of works by other artists — a practice due to which he is best known as a precursor of appropriation art — and for a decade now, he has been revisiting subjects from across his career. In his latest exhibitions at Castelli Gallery, Pettibone has been showing more of the “same” paintings that had already been part of his 2005–6 museum retrospective,1 and also including “new” subject matter drawn from his usual roster of European modernists and American postwar artists. Art critic Kim Levin laid out some phases of the intricate spectrum from copies to repetitions in her review of the Warhol-de Chirico showdown, a joint exhibition at the heyday of appropriation art in the mid-1980s when Warhol’s appropriations of de Chirico’s work effectively revaluated “the grand old auto-appropriator”. Upon having counted well over a dozen Disquieting Muses by de Chirico, Levin speculated: “Maybe he kept doing them because no one got the point. Maybe he needed the money. Maybe he meant it when he said his technique had improved, and traditional skills were what mattered.” On the other side, Warhol, in her eyes, was the “latter-day exemplar of museless creativity”. To Pettibone, traditional skills certainly still matter, as he practices his contemporary version of museless creativity. He paints the same painting again and again, no matter whether anybody shows an interest in it or not. His work, of course, takes place well outside the historical framework of what Levin aptly referred to as the “modern/postmodern wrestling match”, but neither was this exactly his match to begin with. Pettibone is one of appropriation art’s trailblazers, but his diverse selection of sources removes from his work the critique of the modernist myth of originality most commonly associated with appropriation art in a narrow sense, as we see, for example, in Sherrie Levine’s practice of re-photographing the work of Walker Evans and Edward Weston. In particular, during his photorealist phase of the 1970s, Pettibone’s sources ranged widely across several art-historical periods. His appropriations of the 1980s and 1990s spanned from Picasso etchings and Brancusi sculptures to Shaker furniture and even included Ezra Pound’s poetry. Pettibone has professed outright admiration for his source artists, whose work he shrinks and tweaks to comic effect but, nevertheless, always treats with reverence and care. His response to these artists is primarily on an aesthetic level, owing much to the fact that his process relies on photographs. By the same token, the aesthetic that attracts him is a graphic one that lends itself to reproduction. Painstakingly copying other artists’ work by hand has been a way of making it his own, yet each source is acknowledged in his titles and, occasionally, in captions on white margins that he leaves around the image as an indication that the actual source is a photographic image. The enjoyment he receives in copying is part of the motivation behind doing it, as is the pleasure he receives from actually being with the finished painting — a considerable private dimension of his work. His copies are “handmade readymades” that he meticulously paints in great quantities in his studio upstate in New York; the commitment to manual labor and the time spent at material production has become an increasingly important dimension of his recent work. Pettibone operates at some remove from the contemporary art scene, not only by staying put geographically, but also by refusing to recoup the simulated lack of originality through the creation of a public persona. In so doing, Pettibone takes a real risk. He places himself in opposition to conceptualism, and he is apprehensive of an understanding of art as the mere illustration of an idea. His reading of Marcel Duchamp’s works as beautiful is revealing about Pettibone’s priorities in this respect. When Pettibone, for aesthetic pleasure, paints Duchamp’s Poster for the Third French Chess...

"Wally's Pond" Rural Landscape in Oil on Masonite Idyllic rural landscape by Richard M. Bacon (American, 20th Century). A small pond is reflecting the nearby surroundings - birch tr...

"Wine Vine" Still Life in Oil on Masonite Still life of a wine glass among grapevines by Susan Reinier (American, b. 1978). Signed and dated "S Reinier 2012" on the right edge of th...

Francis Vendeveer Kughler (1901-1970. Manhattan Skyline from New York Harbor, ca. 1940. Oil on canvas mounted to masonite, 24 x 30 inches. Unframed. Excellent condition with no conservation. Signed lower right. 1901–1970 Born in New York City Kughler was educated in New York City public schools and art schools: De Witt Clinton High School, Cooper Union, the Mechanics' Institute and the National Academy of Design School of Art where he met Charlotte Livingston, an artist, whom he was later to marry. During this period he was the winner of a Tiffany scholarship, which provided him a summer of landscape painting at the Louis Comfort Tiffany estate at Oyster Bay, L.I.In the 1940s, Kughler became the President of the Salmagundi Club a well-known club in Washington Square in New York City that had been the singular gathering place for such great artists as Childe Hassam, William Merrit Chase...

Signed lower right 'G. Pisani', (Italian, born 1935), titled verso 'Paesaggio con Valigia' (Landscape with Luggage) and dated 1963. Provenance: Galleria El Centro, Naples, Italy 1963. (from original label, copied verso). A very substantial, mid-century abstracted landscape comprising an assembled group of Fendi shopping bags in the fashion designer's signature tones of cream, bistre and scarlet, shown contrasted against a lyrical, sunset-coral background. This powerful and lyrical oil was awarded the 1963 Michetti Painting Prize. Gianni Pisani studied at the Accademia de Bella Arti in Naples under Emilio Notte. Much of his career in the 1960s and 70s involved reinvigorating the Neapolitan art scene with assemblages, ‘object art’ and performance art, an approach that was critically described and acclaimed by poet and writer, Edoardo Sanguineti. The recipient of numerous medals, prizes and juried awards, including the Prize City Cesenatico (1955). Pisani exhibited widely and with success from the early 1950's including at the 8th Biennale of San Benedetto del Tronto (1969), Palazzo Dugnani (1983) and at the Non-Existent Gallery. Other solo and group exhibitions include a three-time participation in the National Quadrennial Art Shows (VIII, Rome, 1960; IX, Palazzo dei Esposizione, 1965/66; XI, Palazzo dei Congressi, 1986) and the 1995 Venice Biennale. An ardent exponent, and influential teacher, of Modernism, Pisani taught at the Academy of Fine Arts of Brera in Milan and, for many years, at the Academy of Fine Arts in Naples, of which he was later appointed director. Gianni Pisani’s works are held in the permanent collections of numerous museums including the Museum of Capodimonte, the Museum of Contemporary Art Donna Regina (MADRE), Museum of Contemporary Religious Art...

Signed lower right, 'Dusso' for Leon D'Usseau, Jr. (American, 1918-1991) and painted circa 1965. A substantial oil painting showing two lovers reclining in a barge on a stream before a Persian palace crowned with domes and minarets; the pair elegantly dressed, with the young woman bejeweled and the young man playing a lute. Born in Los Angeles, Leon D'Usseau began training under the guidance of his father, who was among the earliest fine art film directors in Hollywood. At the age of twelve, he was drawing seriously and, at fifteen, he received a working scholarship at Chouinard School of Art where he studied under Merrill Gage and Alexander Archipenko and also taught a line-drawing class. Adopting the anglicized brush-name of Dusso, he exhibited widely and with success including at the Los Angeles County Museum of Art (1937-40), the California Palace Legion of Honor (1941), the Metropolitan Museum of Art (1942), the Laguna Festival of Arts, Los Angeles Artists Association (1945), the California Watercolor Society (1946) and the Audubon Association (1945). Leon Dusso...

Beautiful post war oil painting of boats navigating through the Bremen, Germany Industrial harbor by Pieter Hashager (20th Century). Signed and dated "P. Hashager '47" lower left. Di...

Multicolor Flowers IV Miriam Bromberg Date: 1970s Oil on Board Size: 18 x 14 in. (45.72 x 35.56 cm) Frame Size: 24 x 20 inches

"Promenade" Landscape in Oil on Masonite Spring landscape by Richard M. Bacon (American, 20th Century). A woman with a parasol is walking her dog on the other side of a hedge with b...

Edward Pechmann Renouf (1906-1999). Oil on masonite panel, measures 16 x 24 inches. Excellent condition. Signed lower right. Provenance: Allan Stone Projects, New York, NY. Biography: Birth place: Hsiku, China Addresses: East St. Washington, CT Profession: Painter, sculptor Studied: Phillips Andover Acad., 1924; Harvard Univ., 1928; Columbia Univ., 1936-46; drawing & painting with Carlos Merida...

"One June" - Original Oil on Masonite Original oil landscape painting depicting a vibrant green hillside by Richard M. Bacon (American, 20th Century). Two trees are the focal point...

Alice B. Doughten (1880-1969). Still Life with Roses, ca. 1930. Oil on masonite panel, 12 x 16 inches. Measures 18 x 22 inches framed. Signed lower right. Original label affixed on verso with Moorestown NJ identified as artist's address. Born in Camden, New Jersey, Alice Doughten became noted for her still life and landscape paintings with figures, usually watercolors and sometimes abstract in style. She studied art at the Pennsylvania Academy of the Fine Arts with Henry McCarter, Earl Horter, Ralph Pearson...

Shimmering Pond in the Woods - Surrealist Abstract 1960s Highly textured abstract composition by Rose Herzog (American, mid-20th Century). A multicolored pond is shown in the middle...

Modern Mixed Media Textured Kimono in Neutral Blush, Collagraph Master Plate #2 This one-of-a-kind, highly textured, modern mixed media piece of a kimono in blush, warm neutrals is ...

Mid-century European abstract street scene with figures Oil on masonite Signed upper right (indecipherable), dated 1956 15.75" x 19.5" Frame: 20.75" × 24.75"

Signed lower right, 'R. Hornak' for Rosemary Hornak (American, born 1951); additionally signed verso, titled 'Perroquets Impasto, Variation 2' and dated 1992. Rosemary Hornak received her Bachelor in Fine Arts from the College for Creative Studies in Detroit in 1978. She is the recipient of numerous prizes and juried awards and has exhibited widely and with success, both at solo and group exhibitions including at Swann Galleries in Detroit and at the Macomb Center. Raised in an artistic family, Rosemary Hornak is the sister of the hyper-realist painter, Ian Hornak. Selected Solo Exhibitions: 2004 Eric I. Spoutz Gallery, Fisher Building...

Herbert Parrish "Roses & Mirror" Floral Still Life. Oil on Masonite. 18 x 24 unframed, 26.5 x 32.5 framed.

Signed verso, 'Kim Harris' for Kimberly Ann Harris (American, 1952-2022), titled, 'Red Canoe' and dated 2004. A substantial oil painting showing a view of a moody and atmospheric se...

"Winter Folly" - Original 2003 Oil on Masonite 2003 oil on masonite still life painting titled "Winter Folly" by American artist Richard M. Bacon (American, 20th Century). Colorful...

A pair of evocative beach still life painting that flirt with surrealism by outsider artist, John Prue. Oil on masonite panel, each measures 12 x 24 i...