Abstract Paintings

Frank Sinatra 1915-1998 American Yellow Abstract with Triangles Signed "Sinatra 89" (lower right) Acrylic on canvas One of the great American icons of the 20th century, Frank Sin...

Vintage American modernist cityscape oil painting. Oil on board. Framed. Measuring: 17 by 21 inches overall, and 12 by 16 painting alone. In excellent original condition. Handsomely...

Vintage American modernist landscape oil painting. Oil on board. Framed. Measuring: 14 by 17 inches overall, and 10 by 14 painting alone. In excellent original condition. Handsomely...

Antique French landscape oil painting. Oil on canvasboard. Framed. Signed verso. Measuring: 12 by 14 inches overall, and 9 by 11 painting alone. In excellent original condition. Ha...

Vintage American modernist landscape oil painting. Oil on board. Framed. Signed. Measuring: 19 by 23 inches overall, and 16 by 20 painting alone. In excellent original condition. H...

Antique American modernist still life oil painting. Oil on canvas. Signed. Measuring: 16 by 22 inches overall. In excellent original condition. Excellent condition, ready to hang a...

Antique American modernist abstract mixed media oil painting. Oil on board. Framed. Signed. Measuring: 19 by 25 inches overall, and 12.5 by 18.5 painting alone. In excellent origin...

Original Modernist / Minimalist Acrylic & Copper Metallic Painting on Linen Canvas / MDF Wood Panel. *This Artwork is being SOLD UNFRAMED! - the additional Virtual Image of the fr...

MASQUERADE Size: 59 x 53.5 cm (including frame) Oil on Board A lively and captivating mid-century geometric abstract composition, executed in oil onto board by the established Swedi...

Blue is the color of trust and peace. seascape It can suggest loyalty and integrity as well as conservatism and frigidity. Painting is 8.5X10.5" heavyweight stock comes custom-fr...

Oil on canvas. In very good condition with bright colors. Provenance: Manufacturers Hanover Trust Company, New York, with the label verso; private collection, New York.

Early modern warm toned landscape watercolor painting by Texas artist E.M. "Buck" Schiwetz. The work features an oil refinery on a platform in the background with a bald cypress fram...

Evocative abstract acrylic painting on canvas that explores the relationship between yellow and grey. Painted with acrylic on canvas in 1973 by Bonnie Lewton, titled on the back yell...

Modernist mixed media abstract portrait. Framed. Mixed media original collage. Signed. In excellent original condition. Handsomely framed in a wood molding. Excellent condition, r...

Modernist mixed media abstract portrait. Framed. Mixed media original collage. Signed. In excellent original condition. Handsomely framed in a wood molding. Excellent condition, r...

Mid Century Mountain Stream Modernist Landscape by Honora Berg This mid century modernist landscape painting by Honora Berg (American, 1897-1985) depicts a vibrant mountain stream, ...

Antique English landscape oil painting by Julian Barrow (1939 - 2013). Oil on canvas. Signed. Framed. Measuring: 10 by 12 inches overall, and 8 by 10 painting alone. In excellent or...

Antique American school modernist landscape oil painting. Oil on canvas. Signed. Framed. Measuring 18 by 21 inches overall. In excellent original condition. Handsomely framed in a ...

Striking modernist painting on canvas with a hot palette that conveys a strong reference to the sun's energy. Signed in the upper left C. Rosenberg ...

Exhibited: 2003 Oakland Museum of California "Fred Martin Retrospective" A native Californian, Fred Martin was born in San Francisco in 1927, and received both his BA (1949) and MA (1954) from University of California, Berkley. At the San Francisco Art Institute Martin studied with Clyfford Still, Mark Rothko and David Park...

Amanda Immurs, an artist hailing from Hamilton, Canada, creates enchanting oil and watercolor artworks that bring whimsical scenes of children, animals, and flora to life. Immurs' ar...

Paul Kohn - Spores, Year: 2005, Medium: Acrylic, Sawdust, Oil Pastel and Gesso on Board, signed and dated on verso, Size: 17 x 12.5 x 3.75 in. (43.18 x 31.75 x 9.53 cm), Frame Siz...

An iconic mixed media example of Richard Merkin's art. Bulldog Drummond and the Great Coca-Cola Mystery (1965) Mixed media on paper 51" x 33" 53" x 35" x 2" framed Signed "Merkin" ...

"Backstage, Ambassador" Broadway Theatre NYC Mid-century Modern Modernist CubistSigned lower left, titled on the stretcher. Norkin was a Brooklyn, Ne...

Original Acrylic Modernist "Colorfield" Painting on Heavy 300 lb (640gsm) Cold Pressed French "Lanaquarelle" Archival 100% Cotton Watercolor Paper - The Title written in graphite 'PA...

Ortez (Modernist Family Portrait) is a vibrant 1947 abstract gouache on paper by American artist Lewis Lee Tilley (1921–2005). This dynamic composition captures a family of five seat...

"Tippy Toes" is an expressive abstract diptychon on paper. The all in all size is 65 cm / 25,6 inches W x 100 cm / 39,4 inches H. Both paintings themselves have the size 50 cm / 19,7...

Vintage signed modernist seascape painting by Gabriel Godard (Born 1933). Oil on canvas. Framed. Signed. Housed in a wide giltwood frame. Thick impasto and wonderful colors. I...

Abstract landscape painting of a white cloud in a light blue sky over an expansive dark brown country field "West Wind," painted by David Konigsberg in 2019 18 x 24 x 2 inches Ready...

Antique American modernist abstract oil painting. Oil on canvas. Measuring 24 by 30 inches overall. In excellent original condition. Excellent condition, ready to hang and enjoy.

Charles Houghton Howard was born in Montclair, New Jersey, the third of five children in a cultured and educated family with roots going back to the Massachusetts Bay colony. His father, John Galen Howard, was an architect who had trained at M.I.T. and the École des Beaux Arts in Paris, and apprenticed in Boston with H. H. Richardson. In New York, the elder Howard worked for McKim, Mead and White before establishing a successful private practice. Mary Robertson Bradbury, Charles’s mother, had studied art before her marriage. John Galen Howard moved his household to California in 1902 to assume the position of supervising architect of the new University of California campus at Berkeley and to serve as Professor of Architecture and the first Dean of the School of Architecture (established in 1903). The four Howard boys grew up to be artists and all married artists, leaving a combined family legacy of art making in the San Francisco Bay area that endures to this day, most notably in design, murals and reliefs at the Coit Tower and in buildings on the Berkeley campus. Charles Howard graduated from the University of California at Berkeley in 1921 as a journalism major, and pursued graduate studies in English at Harvard and Columbia Universities before embarking on a two-year trip to Europe. Howard went to Europe as a would-be writer. But a near-religious experience, seeing a picture by Giorgione in a remote town outside of Venice, proved a life-altering epiphany. In his own words, “I cut the tour at once and hurried immediately back to Paris, to begin painting. I have been painting whenever I could ever since” (Charles Howard, “What Concerns Me,” Magazine of Art 39, no. 2 [February 1946], p. 63). Giorgione’s achievement, in utilizing a structured and rational visual language of art to convey high emotion on canvas, instantly convinced Howard that painting, and not literature, offered the best vehicle to express what he wanted to say. Howard returned to the United States in 1925, confirmed in his intent to become an artist. Howard settled in New York and supported himself as a painter in the decorating workshop of Louis Bouché and Rudolph Guertler, where he specialized in mural painting. Devoting spare time to his own work, he lived in Greenwich Village and immersed himself in the downtown avant-garde cultural milieu. The late 1920s and early 1930s were the years of Howard’s art apprenticeship. He never pursued formal art instruction, but his keen eye, depth of feeling, and intense commitment to the process of art making, allowed him to assimilate elements of painting intuitively from the wide variety of art that interested him. He found inspiration in the modernist movements of the day, both for their adherence to abstract formal qualities and for the cosmopolitan, international nature of the movements themselves. Influenced deeply by Surrealism, Howard was part of a group of American and European Surrealists clustered around Julien Levy. Levy opened his eponymously-named gallery in 1931, and rose to fame in January 1932, when he organized and hosted Surrealisme, the first ever exhibition of Surrealism in America, which included one work by Howard. Levy remained the preeminent force in advocating for Surrealism in America until he closed his gallery in 1949. Howard’s association with Levy in the early 1930s confirms the artist’s place among the avant-garde community in New York at that time. In 1933, Howard left New York for London. It is likely that among the factors that led to the move were Howard’s desire to be a part of an international art community, as well as his marriage to English artist, Madge Knight...

Sergio Nates Deity of Human Origin #6, 2022 Acrylic on canvas 33 x 20 inches This one-of-a-kind acrylic painting on canvas is stretched across wooden stretcher bars. Sergio Nates (...

This original vintage painting by Charles Ragland Bunnell (1897-1968), titled Quitting Time from Bunnell's Black and Blue Series from 1941, exemplifies his unique Abstract Structure ...

The Market French School, indistinctly signed late 20th century oil on canvas, unframed canvas: 19.75 x 19.75 inches Provenance: private collection, Paris Condition: very good cond...

This striking 1945 abstract landscape watercolor by pioneering modernist artist Eve (Van Ek) Drewelowe, titled "The Champagne Cascades, Crescendos, Crashes," is a bold interpretation...

Mosaic abstract French School, (unsigned) late 20th century work oil on canvas, unframed canvas: 21.5 x 15 inches Provenance: private collection, France Condition: a few minor surfa...

Artist: Elisabeth Hahn (German 1924-2021), Elisabeth Hahn was born in Dortmund, Germany, where she began her artistic studies. In 1953, she moved to Paris. She continued her studie...

Vintage American modernist still life oil painting. Oil on canvas. Framed. Signed. In excellent original condition. Handsomely framed in a thin wood molding. Excellent condition...

Large abstract painting that explores the relationship between warm and cool colors in an exhilarating and decidedly feminine way. Signed on the edge of the canvas and titled Torn an...

RHYTHMS OF THE WIND Size: 48 x 57.5 cm (including frame) Oil on canvas A vibrant mid-century modernist abstract painting that captures the essence of a dynamic landscape through exp...

Title: New Beginnings Painting, Modern, Abstract, Colorful, Contemporary, Invest, Artwork, Original, One-of-a-kind, Authentic This original piece is a vibrant tapestry of life's co...

Ricky Hunt’s mixed media minimalist wall art is influenced by his tumultuous past that led to a paradigm shift in creativity and life. He covers the wood panel with layers of acrylic...

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1950 University of Illinois at Urbana "Contemporary American Painting" 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 36" x 2". About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...

FLECK Size: 31 x 34.5 cm Oil on Canvas A small but very engaging and brilliantly executed abstract composition, painted in oil onto canvas and dated 1973. Set against a tranquil b...

Under The Sea Series, Nº 11. Fantasy abstract underwater landscape. Author: Úbeda. Oil on paper, 59 x 40 x 0,1 cm. The sheets that make up t...

Akira Kito, Japanese, 1925-1994 Diable et Roge Oil on Canvas Titled, signed, and dated 1963 verso Hand signed lower center Dimensions: 32 x 12 3/4 in. (81.3 x 32.4 cm.), Frame: 33 1...

Colorful Abstracted Landscape in the Style of Diebenkorn by Ellis Hopkins (American, b. 1952). This dynamic piece features textured blocks of color which resemble an abstracted lan...

A dynamic, Mid-Century Modern horse race painting by noted Chicago artist, Rudolph Pen. Artwork size: 27" x 23"; Framed size: 27 1/2" x 23 1/2". Signed "Pen" lower right. Provenan...

mixed media on wood, acrylic paint In this piece, Zin Helena Song utilizes a sharp triangular shape as her wood panel. This shape is common in city grids, like when Broadway meet...

Hock Tee Tan was born in Malaysia and studied Fine Art at Nanyang Academy of Fine Art in Singapore. He came to London in 1976 and has been working as a Fine Artist ever since. He use...

Midcentury abstract oil on canvas painted with skill and confidence with overlapping, disciplined geometric forms with free form lines executed with a complex palette of dark and bri...

The artwork "Pájaros" ("Birds"), created by Spanish artist Celia Herranz, is a striking large-format piece, 116 x 89 cm / 45.67 x 35 inches, executed in Indian ink on canvas. This w...

Under The Sea Series Nº 25. Oil on paper. Fantasy underwater abstract landscape. Green color. Transparencies effect. Measurements: (H) 39 cm. / 1...

Artist/ School: by Jill Jackson, British contemporary Title: Golden Light upon the Fields Medium: oil on canvas, framed Framed: 17.75 x 22 inches Pai...

Title: Guardians of Joy Original. Authentic. One-of-a-kind. Investment, Heartfelt. Colorful. Show stopper. Conversation piece. Exclusive. The Guardians - Journey to Joy is a brilli...

De Hirsh Margules (1899-1965). North on West Street , 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15 x 22 inches. Framed measurement: 27 x 34 inched. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium" Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village. Early Life De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website. At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers. As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later. In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno). Artistic career In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting. Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe. Jane Heap, left, with Mina Loy and Ezra Pound During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter. In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa. Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that: the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment. Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow." It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day. In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel. Upon his return to New York in 1929, Margules attended an exhibition of John Marin's paintings. While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O'Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends." Alfred Stieglitz Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York. With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting. In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works. In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation. "The Baron of Greenwich Village"[edit] Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond. To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness." He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller. Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance. The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation. The writer and television personality Alexander King said I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean. King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets." Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler. Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...

Out of many come one. A huge back mountain is formed out of scores of gas spewing smokestacks. The foreboding back mass fills most of the pictorial area. As one gets closer to the canvas, the complexity of the mass if revealed in low on contrast as we see the diverse variety of the stacks with accompanying petrochemical architecture. Above the stacks, plums of air pollutants like sulfur dioxide and nitrogen oxides rise gracefully into the atmosphere. The artist focuses less on the by-product of the stacks and more on his giant pollution machine that he has so astutely rendered. The work is mostly monochromatic but the artist has indicted a red tonality of a sunset/sunrise that offsets the charcoal blacks and grays. ______________________________________________ Submitted by Tamarind Institute Ian Davis...

Corsica signed by Lucien Gondret (French 1941-2023) signed oil on canvas, unframed canvas: 13 x 18 inches provenance: the artists estate, France conditi...

Artwork measures 48" x 30" and framed 56 ¼" x 38 ¼" x 3" Provenance: John Heller Gallery, NYC, circa 1975 (label verso) The artist's daughter Corbino Galleries, Sarasota, FL (1990)...

Anthony Benjamin was born in England on 29 March 1931. He began his study at Southall Technical College in 1947 as an engineering draughtsman and was accepted into Regent Street Poly...