Abstract Paintings

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 ...

"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...

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...

Antique American modernist abstract oil painting. Oil on canvas, circa 1973. Signed. Image size 36L x 32H.

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" ...

ALL TOGETHER Size: 55 x 64.5 cm (including frame) Oil on canvas A richly textured mid-century abstract figurative painting, executed in oil onto canvas. Simple yet effective in it...

Modern Cubist inspired animal painting by the iconic Houston based artist David Adickes. The work features a group of three abstract chickens running ...

Modern abstract landscape painting by the iconic Houston based artist David Adickes. The work features a group of red, teal, and orange trees set against a light tan background. Curr...

This mid-20th-century abstract landscape oil painting by American modernist Henriette "Yetti" Stolz beautifully captures a stylized forest scene, featuring trees rendered in rich, earthy tones of gold, brown, orange, and blue. The painting reflects Stolz's modernist approach, blending organic forms with abstract color fields. Signed on the back, this piece is presented in a vintage frame, with outer dimensions measuring 30 ¾ x 36 ¼ inches, and the image size is 30 ¼ x 35 ¾ inches. Provenance: Estate of the Artist, Henriette "Yetti" Stolz. About the Artist: Henriette "Yetti" Stolz was born in Serbia in 1935 and moved to Denver, Colorado, in the early 1950s after WWII. She studied art at Colorado College in Colorado Springs, where she was exposed to the modernist movements shaping the local art scene. Stolz was influenced by contemporary artists such as Mary Chenoweth...

Donald Stacy "Curled Up Cubist c.1950s Gouache on paper 24" x 18" unframed Unsigned Came from artist's estate Donald Stacy (1925-2011) New Jersey Studied: Newark School of Fine Art The Art Students League Pratt Graphic Arts Center University of Paris 1953-54 University of Aix-en-Provence 1954-55 Faculty: Art Department of the New School Museum of Modern Art School of Visual Arts Stacy Studio Workshop Exhibitions: Grand Central Moderns George Wittenborn The New School Print Exhibitions, Chicago University of Oklahoma Honolulu Museum Monclair Museum Wisconsin State College Louisiana Art Commission Philadelphia...

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...

"Sea of Needs 03" Abstract Painting 39" x 29.5" inch by Patricio Gonzalez Oil and gold leaves on paper From "Looking for Happiness" series LOOKIN...

In Times of Corona many people get more time, more time with their families. They slow down, running for money and success and even more money and power are replaced by self-reflecti...

In times of Corona and the Social Distancing we stay much more at home then usually. That can be good as well: We do have more time to get to know ourselves better. Even we have more...

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...

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

A Fabulous 1950s Mid-Century Modern Still Life Painting by Notable Chicago Woman Artist, Vivian Kinsley Chapin (Am. 1909-1984). A vibrant, colorful still life painting of a turquois...

“My current work often features ordinary creatures, like the many illustrations of birds and flowers I painted for the Homes and Gardens and other sections during the 25 years I was ...

Man in Boat by Raymond Guidot (French, 1935 - 2021) artists studio stamp verso oil painting on board, unframed board: 10.75 x 9 inches stamped verso condition: very good provenance:...

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...

"I've Seen Too Many Waves" original abstract oil painting by Jocelyn Auld (b. 1999.) Two light sources, potentially moons, light the crest of a giant abstracted wave. As the white l...

Exhibited: 1973 San Francisco Museum of Art 2003 Oakland Museum of California "Fred Martin Retrospective" A native Californian, Fred Martin was born...

"The Serie Elements" is a painting by the South African - French artist Leith Ridley. About the artwork: TECHNIQUE: oil painting STYLE: Abstract, Contemporary Edition : Unique, si...

Antique American modernist abstract landscape oil painting by Charles Green Shaw (1892 - 1974). Oil on canvas. Framed. Signed. In excellent original condition. Handsomely framed i...

Antique Israeli American modernist folk art landscape by Malcah Zeldis. Mixed media painting on paper. Framed. Signed. Measuring 18 by 22 inches overall and 11 by 14 painting alone....

Signed Lower Right Bror Julius Olsson “B.J.O.” Nordfeldt (1878 - 1955) Bror Julius Olsson was born in Tullstrop, Sweden in 1878. He immigrated to the United States in 1891, later adopting his mother’s maiden name of Nordfeldt. Beginning his art studies at the Art Institute of Chicago where he was chosen to assist fellow artist, Albert Herter, with a large mural project for the McCormick Harvester Company. In 1900, he was sent to Paris by McCormick to help set up the completed mural at the Paris Exposition. While there, he studied briefly at the Academie Julian before traveling to England to study woodblock printmaking under F. Morley Fletcher. Returning to Chicago in 1903, Nordfeldt would spend the next ten years painting mainly figurative works in an academic style similar to that of the Old Masters. By the mid-teens he had developed a bold dramatic modernist style and divided his time between New York and Provincetown, Massachusetts. There, he invented the “Provincetown Print...

This vibrant work by noted 20th century American artist, Joel Durand, employs a bold palette and sophisticated approach in this dramatic and abstracted sti...

An original Acrylic and Oil on canvas by Andy Gradwell. Greek Island Painting. circa 2012 Signed. 65cm x65cm. Landscape /seascape. Semi abstract ...

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 ...

BLACK & WHITE HOUSE Size: 47 x 52 cm (including frame) Oil on Canvas A brilliantly executed and richly textured modernist oil composition, painted by the established Swedish artist ...

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...

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)...

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...

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

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...

Antique American modernist abstract oil painting. Oil on canvas. Measuring 46 by 46 inches overall. In excellent original condition. Excellent condition, ready to hang and enjoy.

"Les Bateaux " is a portrait painting by the South African - French artist Leith Ridley. About the artwork: TECHNIQUE: oil painting STYLE: Portrait, Contemporary Edition : Unique,...

Modern blue toned Abstract Expressionist painting by the French painter Joël Dabin. The work features a group of running horses set against an abstract yellow, orange, and light blue...

ABOUT THIS PIECE #1100 “Rental Boat by Bridge”, Oxford, England 1992 28 x 20”, Oil on Canvas Custom framed. This is a series of English landscapes, painted by the late American arti...

The Sea by Louis Eugene Glasser (French b. 1897) signed oil on board, framed framed: 22.5 x 29.5 inches board: 17.5 x 24.5 inches provenance: priv...

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...

WAVES Size: 48.5 x 67.5 cm (including frame) Oil on canvas A rhythmic and richly textured mid-century abstract composition, executed in oil onto canvas. Embracing the principles of...

SENORITAS Size: 48 x 62 cm (including frame) Oil on Board An outstanding semi-abstract figurative oil composition, painted in 1957 by the established Swedish artist Ivar Morsing (1919-2009), whose works have been exhibited in public collections including the National Museum in Stockholm, Moderna Museet in Stockholm, Kalmar Museum, and Jönköping Museum. The artwork captures the poised and elegant presence of five Spanish ladies...

This vibrant and texturally rich acrylic mixed media painting titled "Arizona Grand Canyon Adventures" by Serg Graff captures the wild spirit of the American Southwest in a uniquely ...

Abstract Composition by Guy Nicod (French 1923 - 2021) oil on artist paper, unframed stamped verso painting : 19.5 x 24 inches provenance: artists estate, France condition: very good...

This painting reflects the subtle transformations we experience within ourselves. The flowers appear to dissolve and shift, symbolizing the ever-changing nature of our emotions and s...

"Red Bikini" captures a moment of transition between two states: carefree freedom and the anticipation of a new encounter. A woman putting on a dress with her red bikini draped over ...

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...

"Loading" is a reflection on the moment when a miracle begins to take form. The painting features pink hydrangeas, symbolizing the gentle, almost imperceptible unfolding of something...

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...

Modern Cubist inspired figurative painting by the iconic Houston based artist David Adickes. The work features a bearded man wearing a top hat with a bird perched on his head set aga...

Ted Hinrichs Discovering Red Acrylic on Canvas Year: 2025 Size: 20 x 16 x 0.75 inches (50.8 x 40.64 x 1.9 cm) Signed by hand COA provided *On Stretcher Frame (Painted Edges), ready ...

"Shelter Island Evening" is a blue and green oil painting of a Northeastern American harbor. Kelly Carmody’s work has been widely exhibited and collected. One of her major figurati...

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...

Mid-Century Modern Abstracted Cubist Table Still-Life in Acrylic on Masonite Vibrant mid-century modern still life with abstracted synthetic cubist elements in warm colors, highligh...

Unknown Russian Artist Russian Orthodox Church, Middle 19th century Unsigned Illuminated in red, yellow blue and green pigments and gold leaf on paper An Illuminated manuscript folio...

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...

This Modern Abstract Expressionist painting by Stanley Bate is made with oil paint and and lacquer on board. It features light textured and a light blue-grey and yellow palette contrasted by the almost black focal point of the composition. The painting is 14.5" x 19" and measures 16.25" x 20.5" x 2" framed. Signed by the artist in the lower left-hand corner of the painting, it is framed in a floater frame with warm silver face and black sides and is ready to hang. Stanley Bate was born on March 26, 1903 in Nashville, Tennessee. The Bates were an established Tennessee family, in fact, Henry’s brother William Bate was the governor of Tennessee from 1883-1887 and a United States Senator from 1887-1905. Stanley studied art at the Watkins Institute in Nashville. In the 1920’s Bate moved to New York City to study at the Art Students League under Frederick Bridgman. He soon landed a job with Encyclopedia Britannica, and from 1927-1929 served as art editor. From 1929 until his death in 1972, Stanley was a self-employed artist. He taught art classes at both the Art Students League and the Albany Institute of History and Art and brought in extra income by making illustrations for magazines such as “Outdoor Life” and “Popular Science”. On January 27, 1934 Stanley married Emilie Rossel. Emilie had emigrated from Switzerland to New York in 1923. She found work as a governess to Alfred Vanderbilt and later as an executive secretary for Wall Street investment brokers Kahn, Loeb and Co. Emilie met Stanley in New York in the early 1930’s when she attended one of his art exhibitions with a friend. The couple, who had no children, lived on 34th Street in Manhattan. During this period, Bate was producing and exhibiting his art and joined several artists groups. Stanley and Emilie became part of the New York art scene, dining weekly at the Society of Illustrators Clubhouse. Stanley Bate’s time in New York was pivotal in the formation of his painting style. He lived in New York during the inception of one of the most important Modern Art movements, one that helped New York replace Paris as the center of avant-garde art. This movement, which was called the New York School of artists, was later known as Abstract Expressionism. It was comprised of a loosely associated group of vanguard artists working in New York City during the 1940s and 1950s. The New York School was not defined by a specific style, but instead reflected a fusion of European Modernism and American social relevancy that was depicted in many individual styles. Influences of Surrealism, Cubism, and Modernism can be found in their work, along with an interest in experimenting with non-traditional materials and methods. American art was in the forefront of international avant-garde for the first time. Stanley Bate was undoubtedly exposed to the varied styles and techniques that were emerging during the formative years of the New York School. Mark Rothko and Robert Motherwell were formulating their versions of color field paintings. Joseph Cornell was experimenting with assemblages, collage and the use of different types of textured paints. Jackson Pollock was adhering objects such as buttons and coins into his early works, while Louise Nevelson was using found objects. Helen Frankenthaler added sand to her early paintings. The New York School artists were undermining traditional fine art by using mixed media and non-traditional methods. Stanley Bate absorbed these varied influences and soon his early realistic landscapes and still-lifes were replaced with something entirely new. The influence of Cubism, notably the flat shallow space of the picture plane, is obvious in many of Bate’s paintings. Surrealism is evident in Bate’s use of subjects from myth, primitive art and antiquity, along with the Automatism-like line work in his more linear images. The unfettered experimentation of the New York School is everywhere in Stanley Bate’s work. We see nods to color field, collage, the mixing of textures into paint, mixed media, the inclusion of found objects and thick, luscious impasto. Bate was prolific and experimented in various media including oil, watercolor, lithography, silk screen, wood cut, drawing, collage, ceramics and sculpture. Bate is considered a true Modernist. His work is largely abstract, but sometimes figures and buildings are discernable. He frequently mixed paint, sand and glue together to achieve a textured surface, and then scraped and scratched through this layer to expose some of the underpainting below. His sculpture, which is often whimsical, also reflects the non-traditional methods of the New York School. Bate pioneered the use of enamel and copper in his work. The sculptures are not carved or modeled as was done in the past, but instead are built using mixed media and new materials. In addition to the New York School influence, many of Bate’s works exhibit a strong connection to the Spanish school, especially the work of Antonio Tapies and Modesto Cuixart. These artists were both part of an avant-garde group known as Art Informel, the Spanish equivalent of Abstract Expressionism. These artists likewise worked in mixed media and introduced objects and texture into their work. Many of Bate’s subjects and titles relate to Spanish locations and words. It is likely that Stanley spent time in Spain and found inspiration there. By the early 1940s, Stanley and Emilie had started spending weekends in a barn they purchased in Craryville, New York, a few hours north of Manhattan. The barn had no electricity or plumbing, but when the Bates eventually decided to leave New York and live full time in Craryville, they remodeled the barn, putting a gallery downstairs and a studio and living quarters upstairs. Although the Bates moved out of New York City, Stanley remained part of the New York art scene, exhibiting in New York and elsewhere throughout the 50s and 60s. During his lifetime he was represented by the New York galleries Knoedler and Company, Kennedy Galleries, Rose Fried Gallery and Key Gallery, along with Tyringham Gallery located in Tyringham, Massachusetts. Craryville was Stanley’s home until his death on August 21, 1972. Emilie died 1984...

Artist/ School: Jill Jackson (British, contemporary) Title: Modern Floral Still Life Medium: gouache on artist paper, unframed Painting : 18 x 12.5 inches Provenance: all the p...

Modernist Portrait of Woman with Flowers French artist, circa 1960's Signed lower right corner Oil on canvas, unframed Canvas: 24 x 18 inches Provenance: Private collection, France C...