Art by Medium: Wood

This hyperrealistic diptych included 2 paintings by Roni Yoffe and is from her latest body of works. It is oil on wood and comes not framed (but ready to hang), but framing options a...

Gentleman with sword in a blacksmith’s forge. Italy, first half of the 17th century Oil on walnut panel Panel size: 22 × 18.5 cm Frame: 28.5 × 25 cm (not original) A forge. Tools n...

The artist finds inspiration in the exploration of various discarded materials, transforming them into three-dimensional sculptures full of transparency and life. She uses small piec...

Jean Krillé’s paintings are known for their expressive use of color and dynamic, abstract forms, blending realism with abstraction in his depictions of nature. His landscapes often f...

This original sculpture is created in cold-cast aluminum, which interacts beautifully with its environment and reflects light in nuanced ways. Because of the reflective surface of aluminum, the sculpture takes on different appearances depending on the lighting conditions: In bright lighting, the sculpture appears more vibrant and silver-toned, showcasing its lustrous finish and fluid contours. The high contrast highlights every curve and swirl, giving it a striking, almost glowing presence. In softer or dimmer light, the tones become more muted and subtle. The sculpture takes on a pewter-like appearance, with deeper shadows and a more understated elegance. This makes it a perfect fit for a variety of settings, adapting to its surroundings and changing mood with the light. The sculpture’s color and finish are consistent; the perceived changes are purely the result of lighting. The color variations in the photos are a testament to the material’s responsiveness to light. If you’re placing it in a room with changing daylight or adjustable lighting, you’ll enjoy how it shifts throughout the day, almost like a living piece of art. Jacob Burmood creates undulating abstract cold cast aluminum sculptures, intuitively redefining aesthetic shapes and visual perceptions. His sculptures draw connections between nature-inspired, organically composed objects, rejecting the rigid structure of geometric abstraction in favor of harmonious compositions that seem to move before the eye. This original cold-cast aluminum sculpture is 26 inches tall by 12 inches wide and 12 inches deep. Free local Los Angeles area delivery. Affordable Continental U.S. and worldwide shipping is available. A certificate of authenticity issued by the art gallery is included. The sculpture Burmood's artworks are inspired by modernist and bio-morphic sculpture...

Oil on plywood realized by Alberto Gallerati in 1970s. Hand signed. Titled on rear. Very good condition.

Very refined and delicate oil on panel depicting a signed male portrait. The man is depicted in three-quarters, with a serene expression. He appears elegantly dressed, wearing the p...

June Glasson is an artist, illustrator, and designer. She live in Laramie, WY. Her paintings have been exhibited at the National Portrait Gallery in London, Nature Morte Gallery in B...

Limerick: Henry O'Shea, c1800. Dual process photogravure on cardstock, 4 x 2 1/2 inches (102 x 64 mm), the full sheet. Framed handsomely in the original handmade wood frame with a ...

A Large, Vibrant 1950s Mid-Century Modern Still Life Painting / Interior Scene by Noted Chicago Artist, Rudolph T. Pen. Depicts a delightful interior scene painted in subtle harmoni...

"I walked into a timeless place … full of supporting actors and actresses of every conceivable role," Abramson wrote in Light: On the South Side, published by Chicago's Numero Group ...

Mini Mori Girl By Yoshitomo Nara 2012 Resin, wood and plastic sculpture 11.5 x 8 x 8 cm Edition of 1000 Unboxed

Hunt Slonem bunny oil painting 'Anthony' 2024. Oil on wood, 10 x 8 in. / Frame: 12 x 10 in. This painting features Slonem's signature bunny outlined in black over a white background. Includes a handpicked, antique wood frame. Considered one of the great colorists of his time, Slonem’s neo-expressionist paintings feature an exuberant and bold, fauvist palette to emphasize his beloved menagerie of animals. Through the application of lavish, lush colors, Slonem’s painterly style continues to be fresh and innovative bordering on Pop Art aesthetics. Depicting his signature motifs of repeating whimsical animal imagery, the artist’s devotion to nature and its inhabitants are apparent. Born in Kittery, Maine in 1951, Hunt Slonem graduated with a Bachelor of Arts degree in Painting and Art History from Tulane University in New Orleans, Louisiana. Slonem later attended the prestigious Skowhegan School of Painting and Sculpture in Maine, where he was exposed to influential artists from the New York area including Alex Katz, Alice Neel, Richard Estes, Jack Levine, Louise Nevelson and Al Held. This exposure played a pivotal role in Slonem’s artistic career, as it aided in his decision to move to New York in 1973. Since 1977, Slonem has had over 250 solo exhibitions at prestigious galleries. Museums, both domestic and international, have collected his work, among them Solomon R. Guggenheim Museum, the Metropolitan Museum of Art in New York City, the Whitney, the Miro Foundation, and the New Orleans Museum of Art. His work has been exhibited globally, including in Madras, Quito, Venice, Gustavia, San Juan, Guatemala City, Paris, Amsterdam, Madrid, Stockholm, Oslo, Cologne, Tokyo, and Hong Kong. His work has been shown in thirty-one different museums including the Hunter Museum of American Art in Chattanooga, Tennessee, in 1981; the Museo Diocesano d'arte sacra Sant'Apollonia in Venice, Italy, in 1986; the Albany Museum of Art in Albany, Georgia, in 2007; the Istanbul Museum of Modern Art in Istanbul, Turkey, in 2007; Museo de Arte de El Salvador in San Salvador, El Salvador, in 2010; the National Gallery for Foreign Art in Sofia, Bulgaria, in 2010; the Alexandria Museum of Art in Alexandria, Louisiana in 2011, the Polk Museum of Art in Lakeland...

Remember the boom box? Roch Smith does. The precursor to the current generation of music devices like the ‘beats’ headphones, this boom box is huge and sits on the shoulders of a cas...

Ceremonial Portrait of Noble German Lady - amazing discovery of hidden monogram "J.E. 1826" disclosing Great American portraitist Jacob Eichholtz (17...

Spring landscape, green, 19th century Edgardo CORBELLI (Turin, 1918 - 1989) From the traditional composition of the 1930s, the painting of Corbelli leads to technical and expressive...

Original and unique artwork by Hunt Slonem. Oil on wood Painting is framed, as seen in the images. Framed dimension 16.5 x 14.5 inches Signed Verso, titled and dated. Please note th...

Gorgeous plein air California desert scene titled, "Road to Death Valley" by Mike Wright (American, b. 1958). Signed "M. Wright 14" lower left corner. Disp...

Mid Century Modern, American Abstract Expressionist Painting on Masonite. This wonderful work in exciting colors is housed in a contemporary white wood frame presentation.. The art...

Lilac Eve by Jorunn Mulen [2020] original Acrylic paint on wood Image size: H:40 cm x W:30.5 cm Complete Size of Unframed Work: H:40 cm x W:30.5 cm x D...

French mid 20th century Wood and plaster frame Internal measurement (to house painting or mirror): 23.5 x 46.75 inches Overal outer measurements: 33 x 56.5 inches Provenance: from a ...

Claude Sauthier was born in Geneva, Switzerland, in 1929 and passed away in the same city in 2016. He studied at the Geneva School of Decorative Arts and initially worked as a graphi...

Pupil of Rembrandt Portrait of a Young Man 17th Century Oil on oak panel Image size: 4 1/4 x 5 inches (11 x 13 cm) Dutch ebonised frame This small portrait is of a young man, staring inquisitively out towards the viewer. The realism of his appearance is striking, with great care taken in the depiction of the man’s features - for example, his full lips and the slight bump in the bridge of his nose. The man wears a rich burgundy doublet and a black cap and is adorned with gold accessories, indicating a degree of wealth - it is likely that this is a miniature portrait for a wealthy patron. The warm flesh tones of this painting and the intricate rendering of the man’s curly brown hair demonstrate the artistry of the painter, who has successfully captured the image of youth within his brushstrokes. Rembrandt’s Pupils Upon completing his artistic education, Rembrandt opened a studio and began to take students - the first of which were Gerrit Dou and Isaac Jouderville. The studio functioned as an art school, in which materials and guidance were provided - contrary to the studios of his peers, Rembrandt did not offer lodging to his pupils. The families of prospective pupils had to pay Rembrandt 100 guilders (enough for a house at the time) for this artistic education, and the profits from any works produced by pupils under Rembrandt would be paid to the master rather than kept by the student-artist - this contributed substantially to  the master’s income.When taking on pupils, Rembrandt looked for those who could already paint, and guided their styles to reflect his. By choosing pupils who were somewhat experienced artists, Rembrandt had an array of painters that could be involved at any stage of assisting with the creation of his works - in this way, Rembrandt’s pupils often functioned as studio assistants as well. In order to perfect Rembrandt’s style, pupils would paint copies of their teacher’s works, sometimes adding their own distinct variations. They would use the same subjects and models as Rembrandt himself, and would accompany him on outdoor trips to paint nature and landscapes. The extensive copying and utilisation of same source materials has rendered Rembrandt’s work and the work of his pupils difficult to differentiate, even in the modern era.At least 50 pupils were taught by Rembrandt, with many continuing on to become his studio assistants. A few graduated into successful artists in their own right - for example, Govaert Flinck...

This abstract tabletop sculpture is by Canadian artist Shayne Dark. Saturated in cerulean—like the colour of a deep blue sky, intersecting lengths of wood form a dramatic sculpture ...

Immerse yourself in the touching scene of this 1858 painting that tells a beautiful story: As she protected her baby's sweet sleep, the mother nestled comfortably nearby, ready to kn...

ROMAN MADONNA “Sedes Sapientiae” Auvergne Around 1175/80 Pine wood Polychrome remains Height 40 cm This depiction of the Madonna is a masterfully carved, extremely early figure made...

A painting by Mark Beard/Bruce Sargeant of two male wrestlers in athletic wear grapple on a mat, their muscular bodies highlighted by soft light, capturi...

Christ with the Angry Gaze (The Savior of the Burning Gaze), after a Russian icon from the mid-17th century Artist: Oliver Samsinger Technique: Egg tempera on gesso and wood, with 24...

Artwork made by ipe, cherry, mahogany, walnut, boat nails, acrylic & reclaimed suede Scott Troxel has exhibited his work at numerous fairs and exhibitions ...

Artist: Emil Rizek, Austrian (1901 - 1988) Title: Village Scene Year: circa 1950 Medium: Oil on Masonite, Signed l.r. Size: 20 in. x 24 in. (50.8 cm x 60.96 cm)

This double-bunny painting is an excellent example of Hunt Slonem's art practice, set in a frame hand chosen by Hunt himself. Hunt Slonem's artistic trajectory has always been chara...

Signed lower right, 'C. S. Sanchez' for Clyde Sanchez (American, 20th century), and painted circa 1975; additionally signed, verso, with artist location, 'Aptos, CA'. A substantial,...

It's 1951. Who was doing painting like this? Franz Kline, Arshile Gorky, Jackson Pollock, Mark Rothko, Willem de Kooning, Adolph Gottlieb, Clyfford Still, Robert Motherwell, Lee Kra...

This circular portrait combines vibrant green and violet tones with conceptual text intervention to explore identity, legibility, and symbolic erasure. Painted in acrylic on a round ...

A rare 18th-century Italian painting. Oil on panel artwork depicting a captivating mythological subject, Mercury delivers the infant Bacchus to the Nymphs of Mount Nysa. According to...

Medium: Walnut and paint As an artist I strive to create elegant sculptures that capture the true essence of the subject matter. Form, line and surface are used as the visual langua...

Original and unique artwork by Hunt Slonem. Oil on wood, two scored butterflies. Painting is framed, as seen in the images. Dimensions of the artwork with the frame: 14.5 x 12.5 inc...

A LUSH SPRING 2021 Paris, France "A Lush Spring" (Abstract Statuesque Lion, Rich Color Palette, Painting on Wood) Playful optimism. “A Lush Spring” is created using a rich color pa...

"CloudHawk" is a minimalist and modernist wood wall sculpture reminiscent of mid century modern, art nouveau and bold graphic design. It is part of my "Small Pops" Series wood wall s...

Ben Wilson Ozymandias, 1989 Oil on masonite board Boldly signed by Ben Wilson on the back 36 × 48 inches Unframed Provenance: acquired from the Estate of Ben Wilson This work is titled "Ozymandias" after the famous sonnet written by Percy Bysshe Shelley (1792-1822). Shelley's poem is one of the most poignant meditations on the fleeting nature of human power and the inevitability of decline. The poem serves as a reminder that time erodes even the most imposing empires and leaders and that the pursuit of lasting fame and control is ultimately futile. Depending on how one views Ben Wilson's Abstract Expressionist painting of "Ozymandias" -- some of the imagery might reveal the head of an angry king and a sickle. Shelley's poem Ozymandias reads: I met a traveler from an antique land...

Overlooking the Bay - Coastal Landscape in Oil on Masonite Serene coastal landscape by unknown artist "Lydia" (American, 20th century). The viewer stands at a vantage point above a small coastal town in possibly Maine. The town is nestled in lush landscape, full of vibrant foliage. Beyond the town, there is a bay with prominent cliffs surrounding it. Signed and dated "Lydia 57" in the lower right corner. Board size: 15.5"H x 19.5"W We are researching Lydia Cooley Freeman (American, 1906-1998) as a possible artist for this painting. Born in Tacoma, Washington on January 13, 1906, Lydia Cooley, by the 1930s, had settled in New York City where she studied at the Art Students League under John Sloan. Her portraits of women, children and the working class are of the Ash Can school...

"Transmission #1 2-2" is an original hand-cut wood collage by Matt R. Phillips measuring 20"h x 13"w. The piece ships in the pictured, artist-made, wood floater frame. The artist us...

David Shingler's (NC based) "Colorado Plains" is an original, handmade oil painting that depicts plains with a backdrop of foothills, blue snow-capped mo...

"Magic Mushroom" contains those repetitive features of mantras or mandalas patiently made by hand. It projects a psychedelic image thanks to the chaotic...

This is an original paper, charcoal, pastel, graphite, and acrylic on wood panel artwork by Seth Clark measuring 42”h x 33”w. Seth Clark grew up in Seekonk, Massachusetts and studi...

A Transendental Abstraction by famed Chicago Modernist, William S. Schwartz titled "Impressions of the West #7". Anecdotally, Schwartz's notable "Impressions of the West" series wer...

Artist: Kera Geometric abstraction in white, yellow, black and blue Medium: Acrylics and spraypaint on canvas, framed in thin wood frame. Size: 130 x 90 cm Original painting ___...

Complete set of 41 sewn cotton, sand-filled bags, contained in a wooden box with screenprinted box lid, 1978, signed and numbered from the edition 13 of 16 (there are also 2 artist’s...

APOTROPAIC DEVIL FIGURE Romansh South Tyrol or Grisons Around 1120/50 Carved pine wood Original version Height 151 cm This singular figure is a demonic, devil-like figure carved fro...

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Orientalist African Hunter Leaning on His Shield Black Forest, School Switzerland  19th century Carved Wood 21 inches This is an exceptionally beautifu...

Fredric Karoly (1898-1987). Etude III, 1950. Oil on masonite panel measures 18 x 24 inches. Unframed. Signed, titled, dated on reverse. Good condition with minor paint loss at edges. Biography: An abstract painter, Karoly was born in Hungary and studied painting in Paris, architectural eingineering in Berlin, and emigrated to the U.S. in 1926. He began a successful career as a fashion and fabric designer. In 1948 he was working as a fashion director for Simplicity Patters, when he had a solo exhibition of of his oil paintings, wire montages, dry-pen drawings and abstract photography. Solo Exhibitions: Hugo Gallery (Alexandre Iolas) New York 1948; Gallery Mai. Paris 1949; New Gallery (Eugene Thaw) New York 1950; Museu de Arte, Sao Paulo, Brazil 1951; Miami Museum of Modern Art, Miami, Florida 1959; Loft Gallery, New York City, 1966.Group Exhibitions: Hugo Gallery, New York 1947; Salon des Realities Nouvelles, Paris 1949-1953; Whitney Museum of American Art, New York (Annual) 1951-1953, 1963; Biennale of Sao Paulo, Brazil, 1951; International Independent Exhibition, Tokyo, 1951; Martha Jackson Gallery, New York, 1959; The Butler Institute of Art, Youngstown, Ohio, 1960; Stuttman Gallery, New York, 1960; The Art Institute of Chicago (Annual), 1960; International Watercolor Exhibition, Brookyln Museum, 1961; Westchester Art Museum, White Plains, NY, 1963; Whitney Museum, Annual, NY 1963; Cleveland Art Festival, Park Synagogue, Cleveland, 1963; Whitney Museum, Sculpture Annual, NY, 1964.Works in Institutional Collections: Museu de Arte, San Paulo, Brazil; Museu de Bellas Artes, Buenos Aires, Argentina; New York University, New York; Washington University, St. Louis, Missouri; Finch College, NY; Barnard College, NY; Metropolitan Museum, Whitney Museum and Guggenheim Museum, New York; Museum of Fine Arts, St. Petersburg, FL. Awards: National Council Arts Awards, 1968. Frederic Karoly died on December 15, 1987 at the Inter-Continental Hotel in Manhattan, where he had made his home for many years. Fredric Karoly was born in Budapest in 1893. According to Karoly’s own vitae, his exhibition history began in New York in 1947, when at the age of 54 he took part in a four-person group show at Hugo Gallery. His involvement with visual art however was apparently life long. In a brief introduction to his solo show at Galerie Mai in Paris in June of 1949, Jen Luc de Rudder, reports that Karoly began painting at the age of 12 in Budapest. After several years of studying, then working in London, Paris and Berlin, Karoly emigrated to the United States in 1925 or 1926 (he probably first came to the US on a work visa in 1925). In New York, Karoly worked in women’s fashion as a designer. In 1948 Karoly worked in a manner than was clearly influenced by the work of such European surrealists as Max Ernst, creating spiked automatic bi-chromatic paintings. His style progressed into a progressively more biomorphic vein, similar to explorations by Theodore Stamos, Daphnis, Milton Avery and Mark Rothko around the same period. He was supported with patronage during this period by Mrs. Mimi Baliff, who apparently supported the “Industrial Design Workshop” that she helped open to feature Karoly’s designs in 1948. By the early 1950’s (1951) Karoly started experimenting with the drip and splatter process as well. Drip paintings dominated his process until the late 50’s-early 60’s, when linear compositional elements began to reemerge. By the late 50’s multi-layered drip grid motifs asserted a masque of spatial organization over looser washed fields and splatters of paint that Karoly worked off of. This development was consistent with concurrent explorations into the grid by artist Agnes Martin and others. By the mid-50’s Karoly’s style began another transition into a more surface concerned “Color Field” style of painting. There are elements still reminding one of Abstract Expressionist concerns as such painters as Clifford Still. But the works that began to emerge from Karoly’s studio in 1958 presaged the Morris Lewis fan motifs and Friedl Dzubas’s epic and romantic color spewing expanses of canvas. In 1959 Karoly began experiments using washes of turpentine diluted oil paint directly onto raw linen, and all of these subsequently suffered the consequences of oil oxidation and acidity upon the surfaces. However, many of Karoly’s washes in color field happily occurred on lightly prepared primed canvas surfaces as well. By 1960 Karoly began reintroducing imagistic references to his visual content. There were also various references to Japanese and Zen influences. He experimented with a variety of processes that included mixed media and marbleized surfaces achieved by the intermixture of oil and water mediums. A calligraphic element also enter Karoly’s work in the early 60’s. Then in 1961 glued and assembled objects begin to show up in Karoly’s work in earnest. The influence of early POP artists, particularly Jasper Johns, and Robert Rauschenberg, become apparent. From 1961-63, a series of the assemblage works transition from canvas to the sculptural to pieces obviously intended for full scale installation. Many of these pieces were among the most fragile of his works primarily due to their reliance upon the of gluing of objects such as plastic or paper cups on flexible surfaces of stretched linen or canvas. In the mid-60’s Karoly apparently produced a number of photo-silk screened series of Picasso, De Kooning and other significant artists of his generation. These were executed in a style somewhere between Rauschenberg’s and Roy Lichtenstein’s, primarily because of their reliance upon half tones and Ben-Day dot effects. Then Karoly began a series of paintings conflating his drip and grid styles with super imposed and painted over string. In the late 60’s Karoly embarked upon a series of multi-paneled stretched linen constructions often with slits and fiber optic back-lit elements that were prescient of the work of Dan Flavin and others. It was this body of work that was shown at Hofstra University’s Emily Lowe Gallery, and it was these works that suffered perhaps the most irreparable damage from a steam/water infiltration in a space where they were being stored. The late professional start that Karoly had into the art world was balanced by his long life span and early immersion into the design issues of modernism as it emerged in turn of the century Europe and later evolved in America. He was clearly an artist who subscribed to the ethos of the new in abstraction and was obviously impressionable and in some instances prescient with regard to various trends in abstraction. Several noteworthy and influential collectors and institutions during his 40 years of professional engagement acquired his work. The Whitney Museum of American Art had and may still own a large Karoly canvas from 1960, but this is doubtful as the artist failed to list it on the vitae he filed with MoMA in 1965. His work was recognized and honored by the Whitney with its inclusion in four of their annual survey shows (1951,1953, 1963 and 1964). The artist’s surrealist influenced paintings from 1948-1950 were the focus of a solo exhibition held of his work by the Museo de Art in Sao Paulo and eight years later a ten year survey of his work was the focus of a solo show at the Miami Museum of Modern art. The Sao Paulo Museum in Brazil, and the Museo de Bellas Artes in Buenos Aires, Argentina each acquired Karoly paintings for their collections in the 1950’s. One of Karoly’s surrealist pieces was apparently purchased by Christian Zervos, Picasso’s designated chronicler, who apparently also wrote a piece on Karoly in Cahiers D’Art in 1949. A 60’s piece of Karoly art that is in the New York University’s permanent collection is included in the MoMA Library’s catalog...

Thinking of Pompeii (Mixed Media Collage on Board in Tones of Red)), made by Hudson Valley based artist, Donise English, in 2025 mixed media collage on board, framed Image size: 16 x...

Depicts a sunny summer day in the Alps with figures of fishermen and working lumberjacks processing logs with a water-powered sawmill located on the bank of a turbulent mountain rive...

Artist Len Klikunas paints to modify experienced reality through visual perception. His art is a mix of art and architecture, hovering between painting and sculpture. It employs shiz...

This painting, formerly attributed to Hyacinthe Rigaud, is typical of the art of Jan Weenix, one of the best still life and hunting painters of the Dutch Golden Age. In a cleverly d...

"Flashe" is a minimalist and modernist wood wall sculpture reminiscent of both made century modern forms and the brutalist architectural movement. The piece was inspired by my love ...

Aronson, David 1923- David Aronson, son of a rabbi, was born in Lithuania in 1923 and immigrated to America at the age of five. He settled in Boston, Massachusetts where he studied at the school of the Museum of Fine Arts under Karl Zerbe, a German painter well known in the early 1900s. Aronson later taught at the school of the Museum of Fine Arts for fourteen years and founded the School of Fine Art at Boston University where he is today a professor emeritus. An internationally renowned sculptor & painter, Aronson has won acclaim for his interpretation of themes from the Hebrew Talmud and Kabala. His best known works include bronze castings, encaustic paintings, and pastels. His work is included in many important public and private collections, and has been shown in several museum retrospectives around the country. He is considered to be one of the most important 20th century American artists. At twenty-two David Aronson had his first one-man show at New York's Niveau Gallery. The next year, six of his Christological paintings were included in the Fourteen Americans exhibition at Manhattan's Museum of Modern Art where Aronson’s work was included alongside abstract expressionists Arshile Gorky, Robert Motherwell and Isamu Noguchi. In the 1950s, Aronson turned more toward his Jewish heritage for the inspiration for his art. Folklore as well as Kabalistic and other transcendental writings influenced his work greatly. The Golem (a legendary figure, brought to life by the Maharal of Prague out of clay to protect the Jewish community during times of persecution) and the Dybbuk (an evil spirit that lodges itself in the soul of a living person until exorcised) frequently appear in his work. In the sixties, Aronson turned to sculpture. His work during this period is best exemplified by a magnificent 8’ x 4’ bronze door which now stands at the entrance to Frank Lloyd Wright's Johnson Foundation Conference Center for the Arts in Racine, Wisconsin. In the seventies and eighties, Aronson continued his work in pastel drawings, paintings, and sculptures, often exploring religion and the frailties of man's nature. During this time, in addition to a traveling retrospective exhibition and many one-man shows in New York, Los Angeles, Chicago, and Boston at the Pucker-Safrai Gallery on Newbury Street, Aronson won many awards and became a member of the National Academy of Design in New York. Two years ago he retired from teaching to work full-time in his studio in Sudbury, Massachusetts. included in the catalog Contemporary Religious Imagery in American Art Catalog for an exhibition held at the Ringling Museum of Art, March 1-31, 1974. Artists represented: David Aronson, Leonard Baskin, Max Beckmann, Hyman Bloom, Fernando Botero, Paul Cadmus, Marvin Cherney, Arthur G. Dove, Philip Evergood, Adolph Gottlieb, Jonah Kinigstein, Rico Lebrun, Jack Levine, Louise Nevelson, Barnett Newman, Abraham Rattner, Ben Shahn, Mark Tobey, Max Weber, William Zorach and others. Selected Awards 1990, Certificate of Merit, National Academy of Design 1976, Purchase Prize, National Academy of Design 1976, Joseph Isidore Gold Medal, National Academy of Design 1976, Purchase Prize in Drawing, Albrecht Art Museum 1975, Isaac N. Maynard Prize for Painting, National Academy of Design 1973, Samuel F. B. Morse Gold Medal, National Academy of Design 1967, Purchase Prize, National Academy of Fine Arts 1967, Adolph and Clara Obrig Prize, National Academy of Design 1963, Gold Medal, Art Directors Club of Philadelphia 1961, 62, 63, Purchase Prize, National Institute of Arts and Letters 1960, John Siimon Guggenheim Fellowship 1958, Grant in Art, National Institute of Arts and Letters 1954, First Prize, Tupperware Annual Art Fund Award 1954, Grand Prize, Third Annual Boston Arts Festival 1953, Second Prize, Second Annual Boston Arts Festival 1952, Grand Prize, First Annual Boston Arts Festival 1946, Traveling Fellowship, School of the Museum of Fine Arts 1946, Purchase Prize, Virginia Museum of Fine Arts 1944, First Popular Prize, Institute of Contemporary Art 1944, First Judge's Prize, Institute of Contemporary Art Selected Public Collections Art Institute of Chicago Virginia Museum of Fine Arts Bryn Mawr College Brandeis University Tupperware Museum, Orlando, Florida DeCordova Museum Museum of Modern Art Print Collection, New York Atlanta University Atlanta Art...

One of early of the French artist’s works by Emile Godchaux (fra.: Émile Godchaux, 1860 - 1938), late 19th century. This amazing landscape takes us to a cloudy spring day, making us ...

Idle Hour is an intricately painted Impressionist depiction of woman with her pets on her veranda. It is exquisitely framed in a French Gold Leaf frame of quality and value. Paint...