Abstract Paintings

Nicely painted mid century modern abstract expressionist textural oil painting. Great color and composition. Framed. No signature found.

An original oil on masonite painting by well listed Mexican artist Leonardo Nierman. This work comes in a unique gold frame presentation which is likely original to the piece. Si...

Impressive mid 20th century abstract expressionist painting. Oil on canvas. Framed.

Wonderful mid century modern abstracted figurative cityscape watercolor by Karen Miller (American, 20th century). Signed and dated lower right "K. Miller ...

American school abstract painting. Watercolor on paper, circa 1960. Unsigned. Image size, 12"L x 9"H.

A bold & dynamic ca. 1965 Abstraction titled "October Landscape" by Valfred Thelin. Image size: 13 1/2" x 30". Framed size: 18" x 35". Painter Valf...

Impressive early American modernist abstract painting by Alton S. Tobey (1914 - 2005). Oil on canvas. Framed. Signed. Image size, 24 by 66 inches.

Antique American modernist abstract oil painting. Oil on canvas. Framed. Signed. Measuring 23 by 38 inches overall and 15 by 30 painting alone. In excellent original condition. Hands...

Fanciful mid-century modern abstract of trapeze artists by Brooklyn artist Hilda Dora Pape Arp (b. 1909). This 1962 highly abstracted depiction of trape...

Vintage Mid Century Modern expressionist surreal abstract oil painting by Mary Kremer. Oil on canvas. Signed.

Here for your consideration is a very well executed early abstract painting by the well known American artist, Syd Solomon. Oil paint on birch ply panel. Signed middle bottom. Signed, titled and dated 1966 verso. The painting was done in East Hampton, New York where Syd Solomon spent his summers. Condition is excellent. Overall framed measurements are 26 by 31.5 inches. Provenance: A Sarasota, Florida collector. Syd Solomon was born near Uniontown, Pennsylvania, in 1917. He began painting in high school in Wilkes-Barre, where he was also a star football player. After high school, he worked in advertising and took classes at the Art Institute of Chicago. Before the attack on Pearl Harbor, he joined the war effort and was assigned to the First Camouflage Battalion, the 924th Engineer Aviation Regiment of the US Army. He used his artistic skills to create camouflage instruction manuals utilized throughout the Army. He married Ann Francine Cohen in late 1941. Soon thereafter, in early 1942, the couple moved to Fort Ord in California where he was sent to camouflage the coast to protect it from possible aerial bombings. Sent overseas in 1943, Solomon did aerial reconnaissance over Holland. Solomon was sent to Normandy early in the invasion where his camouflage designs provided protective concealment for the transport of supplies for men who had broken through the enemy line. Solomon was considered one of the best camoufleurs in the Army, receiving among other commendations, five bronze stars. Solomon often remarked that his camouflage experience during World War II influenced his ideas about abstract art. At the end of the War, he attended the École des Beaux-Arts in Paris. Because Solomon suffered frostbite during the Battle of the Bulge, he could not live in cold climates, so he and Annie chose to settle in Sarasota, Florida, after the War. Sarasota was home to the John and Mable Ringling Museum of Art, and soon Solomon became friends with Arthur Everett “Chick” Austin, Jr., the museum’s first Director. In the late 1940s, Solomon experimented with new synthetic media, the precursors to acrylic paints provided to him by chemist Guy Pascal, who was developing them. Victor D’Amico, the first Director of Education for the Museum of Modern Art, recognized Solomon as the first artist to use acrylic paint. His early experimentation with this medium as well as other media put him at the forefront of technical innovations in his generation. He was also one of the first artists to use aerosol sprays and combined them with resists, an innovation influenced by his camouflage experience. Solomon’s work began to be acknowledged nationally in 1952. He was included in American Watercolors, Drawings and Prints at the Metropolitan Museum of Art, New York. From 1952–1962, Solomon’s work was discovered by the cognoscenti of the art world, including the Museum of Modern Art Curators, Dorothy C. Miller and Peter Selz, and the Whitney Museum of American Art’s Director, John I. H. Baur. He had his first solo show in New York at the Associated American Artists Gallery in 1955 with “Chick” Austin, Jr. writing the essay for the exhibition. In the summer of 1955, the Solomons visited East Hampton, New York, for the first time at the invitation of fellow artist David Budd...

A. Rigollot (France, 20th Century) designed this superb post-cubist and colorist abstract oil on board painting. Colorist painting is characterized by intense color use, which become...

Rare and interesting mid century Icelandic abstract painting. Oil on canvas board. Signed verso. Image size, 16H by 13L.

Vintage American modernist abstract landscape painting. Oil on canvas. Framed in a great gold leaf molding. Impressive piece in person!

Artist/ School/ Date: Douglas Stuart Allen (American/ French 1923-2021) American born artist from Chicago, retiring to France during his latter years to become a full time painter. ...

Oil Painting on canvas Hand signed to lower right Lauro. Provenance: Eleonore Austerer Gallery, San Francisco, CA Work Size: 39.5 x 39.5 in. framed 44 X 44 inches. Roberto Lauro is a British-Swiss Post War & Contemporary artist who was born in 1932. Roberto Lauro was born in 1932 in Gorey Harbor on the island of Jersey (Great Britain) the son of a Swiss mother, Rosa Ramseier, from Oberdiessbach / Emmental, Switzerland, and and Italian father Innocenzo Roberto Lauro, born in Mondovi, Italy. In 1941 he moved to Switzerland with his mother. 1949-1953 he lived in Gunten (Switzerland) where he did an Apprenticeship as a lithograph and offset printer and graphic designer in Thun. There he was introduced to the color theory of Johannes Itten by Hermann Oberli at the Bern School of Applied Arts. From 1953 to 1955 he worked as a fine art printer in Norway where he was influenced by the color theory of Edvard Munch. These works bears the influence of Russian artist Andre Lanskoy, Tachisme and the Cobra artists Karel Appel, Constant, Corneille, Christian Dotremont, Asger Jorn, and Joseph Noiret. In 1955-1956 he worked as an offset printer in Amsterdam (Netherlands). Visit to the Instituut voor Kunstnijverheidsonderwijs. In 1957 he returned to Gunten, Switzerland. Where he started working in printmaking and and oil painting. He resumed his studies at the Bern School of Applied Arts. He was greatly impacted and influenced by abstract art on the occasion of a large Paul KIee exhibition. In 1958 he moved to Zurich where he worked part-time work as an offset copyist; fulfilling graphic orders for advertising agencies. In 1962 he took his final examination as graphic designer at the Zurich School of Applied Arts. In 1980 he begins his development of three-dimensional picture objects, Sculpture, detachment from the canvas, using metal as a support and play space for light and color. By 1981 he has turned full time to fine art. He spends the next years growing and developing his considerable talent. Inspired by classical music, the rhythm, mood and lightness of which form the basis for the large swings and loops of his colorfully lacquered metal and blown glass sculptures. These are "pensieri", thought sketches that capture the emotions in countless versions. There is something dance-like about his rotating sculptures. Everything becomes music and the rhythm of colors. In 1988, after exhibitions in Europe, he has his first exhibitions in Atlanta and San Francisco (USA), In 1989 he does his first glass and metal sculptures at the Roberto Niederer glassworks, Hergiswil (Switzerland). In 1992 has a retrospective exhibition in the Tan Gallery, Zurich, and the Eleonore Austerer Gallery, San Francisco. They Publish a catalogue raisonne, Eine Retrospektive, covering a 45 year career. In 1993 he creates A Retrospective, a unique sculpture in a table top form that contains his catalogue raisonne and an original lithograph. 1993–1995 he begins work on a number of large scale public outdoor commissions, including Light Columns for a Bank building, and a commission of a sculpture-fountain in Oetwil am See. In 2001 he creates a wall sculpture entitled "Color Poems of the Yearly Cycle. A linen bound book enclosed in a unique plexi display with a one - of a - kind metal and glass sculpture,containing 12 linocuts each printed in colors and signed. Roberto Lauro's sculptural work work is spontaneous and loaded with energy. The furrows, rifts, cracks and scars in the metal allow light to enter; it is then reflected back by the glass. His work is a clear statement of our times, uniting the intellect and the heart in search of the spiritual. Like the interplay of light and shadow, his sculpture combines fragile, transparent glass with solid, heavy iron. These colorful and luminous sculptures convey a powerful presence and emit vibrant positive energy. With their jagged exteriors and translucent cores, the spectacular sculptures created by the synergy of metal and glass are powerful - yet fragile. Lauro has created and mastered his own idiom and proven that through the artist sheer will and vision, seemingly incompatible materials such as iron and glass can indeed be combined. In 2004 he has an anniversary exhibition Light and Color, Love of Life on the island of birth, Jersey. Ceramic works (raku with glass inclusions). Roberto Lauro's works have been shown in numerous exhibitions in Europe and the USA around the world, and he has also realized projects such as "KUNST AM BAU" in public spaces and for industry. He lives and works in Switzerland. Select Exhibitions Eleonore Austerer Gallery, Palm Desert ART IN THE FRAME FOUNDATION: The Harbour Gallery, Isle of Jersey Galerie fur Gegenwartskunst,, Bonstetten, Switzerland Galerie Annamarie Anderson, Zurich, Switzerland “Color and Light,” Austerer-Crider Gallery, Palm Springs, CA, USA “Color and Light: the art of Roberto Lauro,” Eleonore Austerer Gallery, San Francisco, CA, USA “Flower Power,” with Ed Baynard, Roberto Azank, Siegward Sprotte, and Daniel Phil...

Grimes 1963 Abstract depicting various portraits Oil on canvas 24 x 30 unframed, 32.5 x 26 framed

ABSTRACTION Mid-Century Abstract Non-Objective Color Field oil American Modern James Daugherty (1887 – 1974) "Unidentified Flying Object," 12 x 16 inc...

Edward Zutrau Untiled, 4/1963 Signed and dated on stretcher bar Oil on linen 35 1/2 x 51 inches Edward Zutrau is among the American artists who worked within the whirlwind of diver...

"Martos" is an abstract oil painting on canvas by Stanley Bate featuring what appears to be a high horizon line of white and muted yellow. Beneath that line is a combination of textu...

Oil abstract comprising interconnected organic shapes in variegated shades of turquoise, vermilion, coral, and lime, outlined in deep ebony. Signed with monogram lower right, 'P.T.'...

Large American modernist abstract oil painting. Framed. Oil on canvas. Signed. Image size, 50H by 40L.

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...

Small and colorful expressionist portrait of a clown by Marjorie Blake (American, 1920-1994). Signed "M. Blake" in the lower right corner. Dated "1969" ...

This Modern Abstract Expressionist painting by Stanley Bate is made with oil paint on board and features an earth-toned palette. The artist layers paint on the canvas, creating texture among softly blended muted green and umber colors in a highly abstract composition. The painting itself is 43.5" x 24" and measures 44" x 24.5" x 2" framed. It is signed by the artist in the lower right-hand corner of the painting and is framed in a very thin, off-white floater frame. It 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...

Antique American modernist abstract landscape. Oil on canvas, circa 1950. Unsigned. Image size 60L x 36H. Unframed

Original abstract oil painting on heavy card stock by the American artist Martin Rosenthal. Signed lower left and dated 1960. Condition is very good. Slight bow to board. Nicely pro...

This Modern abstract painting by Stanley Bate features a warm, deep palette of red, yellow, orange, and burnt umber. Thick strokes of paint are layered beneath light white overlappin...

This stunning Modernist Untitled Color Field Oil Painting in Earth Tones signed Herbert MacDonald originates from the United States, Circa 1968. Features a rectangular composition in...

Oil on canvas. Signed

Colorful abstract expressionist piece by Les (Leslie Luverne) Anderson (American, 1928-2009) that lends itself to either vertical or horizontal orientat...

Diana Kurz OP #7, 1960-61 Signed, titled, dated on verso Oil on canvas 66 x 52 1/2 inches Diana Kurz (born 1936) is an Austrian-born feminist painter. In 1938, Diana Kurz's family ...

1927 - 2017 Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school she attended the, now, San...

Artist/Designer; Manufacturer: Ram Kumar (Indian, 1924-2018) Marking(s); notes: signed; 1961 Materials: oil on canvas Dimensions (H, W, D): 35"h, 27"w image; 45"h, 37"w canvas (work ...

IRVING GEORGE LEHMAN "CUBIST FIURES' OIL ON PANEL, SIGNED RUSSIAN-AMERICAN, C.1960 23.5 X 25.5 INCHES FRAMED 29.5 X 32.5 INCHES Irving George Lehman 1900-1983 Born in Kiev, R...

Gouache on paper. Signed in pencil, lower right corner.

Blue Navy Abstract, Size: 31x36.5 framed 32x37.7 Walter Swyrydenko was born in Sloviansk, Ukraine in 1942. A graduate of Kent State University, receiving a B.S. in Art Education and an M.A. in Painting. Studied in Paris, France. Professor of Art at Lakeland Community College. He was awarded the rank of Professor Emeritus in 2002 by Lakeland Community College, and held a retrospective of his work, "A Look Back 1965-2001," at the LCC Gallery in 2003. Listed in Marquis’ “Who’s Who Dictionary of International Biography,” “ Leaders of America,” “Who’s Who in the Arts, 1971-1972,” Artists/USA, 1972-1973, 1974-1975,” “Outstanding Young Men of America,”1971,” International Who’s Who in Art and Antiques, 1972,” Annuaire De L’Art International, 1974-1975, 1975-1976,” “Library Of Human Resources...

André Verdet ( 1913 - 2004 ) . Artiste français né à Nice (alpes maritimes ) mort à Saint Paul de Vence . poète , peintre , sculpteur , céramiste , mus...

Diana Kurz Studio Interior, 1964 Signed, titled, dated on verso Oil on canvas 52 x 72 inches Diana Kurz (born 1936) is an Austrian-born feminist painter. In 1938, Diana Kurz's fami...

This very striking exhibited Scottish Abstract oil painting is by influential Scottish artist Jack Knox. Painted in 1964, it is a vivid mix of autumnal colours, textures and brushwork that work perfectly. A brilliant example of his work from the early sixties and which was exhibited at the Royal Scottish Academy in 1965. Titled and dated 21.2.64 lower right. Provenance. Exhibited Royal Scottish Academy, Exhibition 1965, Edinburgh. Condition. Oil on canvas, 51 inches by 36 inches unframed and in good condition. Housed in a gilt sixties surround frame, 53 inches by 38 inches framed and in good condition. Jack Knox RSA (1936-2015) was one of the most influential artists to work in Scotland in the second half of the twentieth century. Born John Knox to a family of tailors in Kirkintilloch, Knox studied at the Glasgow School of Art (1953-57) where his drawings were noted for their mature draughtsmanship. After graduating, Knox went to Paris to attend the atelier of Cubist artist, André L’Hȏte. During his time in Europe Knox digested the various art movements of the moment, including Surrealism, Tachisme, Colour Field and Pop Art. Visiting the great museums, he was particularly interested in Analytic Cubism and Georges Braque’s intimation, rather than description, of object. He also went to Brussels to visit the first major show of American Abstract Expressionism in Europe. He returned to Scotland eager to establish his own style, drawing on everything he had seen in Europe. In 1960 the Glasgow Herald presented an exhibition during the Edinburgh Festival of young artists from the west of Scotland. Knox was selected to show alongside George Devlin, Carole Gibbons, Anda Patterson, Douglas Abercrombie and Duncan...

Signed lower left, 'Wood' for Virginia Wood (American, 1938-2019), additionally signed, verso, and dated 1968. Virginia Wood studied at the University o...

"Zuen" by Stanley Bate is a Modern abstract painting made in 1951, featuring geometric shapes, line work, and light blue shapes complemented by pops of muted yellow, red, deep eggpla...

Red Optical Composition is an original artwork realized by the Italian contemporary master, Carlo Montesi in 1966. In good conditions. Tempera, oil pai...

Antique French American modernist still life oil painting by Dimitri Berea (1908 - 1975). Oil on canvas. Signed. Framed. Measuring 30 by 34 inches overall and 18 by 22 painting alone.

Oil on board. Signed. Framed. Image size, 24H x 30L

Shirley Goldfarb Untitled (7), 1963 Initialed lower right; signed, dated, and numbered on the reverse Oil on paper 9 3/4 x 8 1/2 inches Provenance: The artist Eric Locke Gallery, Sa...

Artist: C. Stone Title: Accent Marks Year: circa 1960 Medium: Acrylic and Sand on Canvas, Signed l.l. Size: 30 x 36 inches (76 x 91.5 cm)

Mid century modern abstract by artist Tommie (Thomas) Olson a student of Robert Preusser, when he was 16 and attending John Deagan High School in Houst...

Vintage modernist abstract oil painting by Anton Sipos (Born 1938). Oil on canvas. Framed. Signed.

This fantastic Sixties abstract oil painting on paper on canvas is by noted South African artist Douglas Portway. Although born in South Africa, as he ...

An oil painting by Robert Bengtsson from 1966. An abstract expressionist style painting of amorphous shapes in shades of yellow, faint recognition of the word 'Jamaica' in background...

"Rectangle Abstraction" Mid 20th Century American Abstract 1960s Color Field James Daugherty (1887 - 1974) Rectangle Abstraction 13 1/4 x 8 1/2 inches Oil on canvas, c. 1960s Signe...

Antique American modernist abstract oil painting. Oil on canvas, circa 1960. No signature found. Displayed in a period frame. Image, 30"...

Vintage American modernist landscape painting. Oil on canvas. Framed.

An original oil and spray paint on paper by Denis Bowen who played an important role in the Post War British art movement. This simple yet stunning work dates to 1962. Signed and dated verso. Provenance. Northern collection. Condition. Oil and spray paint on paper. Image size 26 inches by 18 inches and in fine gallery condition. Housed in a simple black gallery frame in excellent condition, 28 inches by 20 inches. Denis Bowen (1921-2006) was a South African artist, gallery director and promoter of abstract and avant-garde art in Britain. He was founder of the New Vision Group and the New Vision Centre Gallery, both of which played an important role in the post-World War II British art scene. Denis Bowen was born on 5 April 1921 in Kimberley, South Africa. His father was Welsh and his mother English. After being orphaned at a young age, Bowen moved to England where he was raised by his aunt in Huddersfield. He enrolled at the Huddersfield School of Art in 1936. After serving in the Navy in World War II, Bowen resumed his art studies at the Royal College of Art in London in 1946. Between 1940 and 1986 Bowen taught art at numerous institutions including: the Kingston Institute of Art, Hammersmith School of Art, Birmingham School of Art, the Central School of Art and Design, the Royal College of Art and the University of British Columbia in Vancouver. In 1951 Bowen founded the New Vision Group, which initially emerged from meetings and displays that he organised with his students in 1951. In 1955, Bowen worked alongside Frank Avray Wilson and Halima Nalecz...

Pierre MONTHEILLET (1923-2011) Composition in yellow Watercolor and gouache on paper Signed lower left Dimensions of the work: 50 x 65 cm Dimensions of the frame: 60 x 80 cm Pierre ...

Jichak Pressburger, Painter. b. 1933, Bratislava, Czechoslovakia. A concentration camp survivior. Came to Israel aboard the ship, "The Exodus". 1964 Went to Paris. In 1979 Returned as new immigrant. Education Tel Aviv University, B.A. in art, with Marcel Janco and Isidor Ascheim at Avni art school. Beaux Arts, Paris with Professor Coutaud. Itzchak Pressburger Stays in Paris from 1963 – 1979, Resident of the “Cité des Arts” 1969-1972. Lives and works in Jerusalem since 1979. One-Man Exhibitions 1963 Gallery Dugit, Tel-Aviv 1968 Cultural Center Enkhuizen, Netherlands 1968 Gallery Zunini, Paris (chosen by the art critic of « Opus : Jean-Jacques Lévèque) 1970 Gallery Zunini, Paris 1973 Gallery Maitre Albert, Paris. Cultural Center Verfeil sur Seye, France 1974 Gallery Maitre Albert, Paris 1976 Gallery Mundo, Barcelone 1980 Artists’ House, Jerusalem 1981 Gallery Alain Gerard, Paris Group Exhibitions 1966 Rathaus Charlottenburg, Berlin. (The first show of Israeli painters in Germany Artists Center of Silvarouvres, Nantes, Ffance XXXth Salon of Finances at “l’Hotel des Monnaies”, Paris 1969 Maison de Culture, Le Havre, France 1968 Gallery Zunini, Paris (chosen by the art critic of « Opus : Jean-Jacques Lévèque) Salon « Grands et Jeunes d’Aujourd’hui », Paris Museum of Fine Arts, Nantes, France Cultural Center Vitry, France Gallery Il Giorno, Milan Cité des Arts, Paris 1972 Salon “Grands et Jeunes d’Aujourd’hui”, Paris Salon de Mai, Paris 1973 Städtische Galerie, Siegen, Germany 1974 Jewish Cultural Center, Paris Publicis, Paris 1975 Réalitiés Nouvelles, Paris 1976 Salon de Mai, Paris 1977 “Perspectives Israeliennes”, Grand Palais, Paris 1981 Salon Alain Gerard, Paris 1984 Artists’ House, Jerusalem Publication 1990 Haggadah Yom Kippour (Hebrew/French) Abraham Bliah (private edition), Paris Acquisitions 1968 The City of Paris 1972 The State of France The Yitzchak Pressburger artist was born in Bratislava – known for centuries by its German name of Pressburg – but the outbreak of World War II found him and his family in Prague. His father realized they had to escape from the Nazi occupiers and tried to get the family across the border into Hungary. However, they were caught near the crossing point, arrested and incarcerated overnight at the nearby railway station. The Czechs put them on a train to Hungary early the next morning. That was their first miracle in their quest for survival. They survived with relative ease until late 1943, when the father was taken away to a forced labor camp. He subsequently died in a death march. Things became even more precarious in early 1944, when the Holocaust made its full-blown presence felt in Hungary. “It wasn’t the Germans, it was the Hungarian Nazis who did the dirty work,” Pressburger points out. The family lived in so-called “safe houses” that were protected by Switzerland, Finland and Sweden. The havens were dismantled in late 1944, and the Pressburgers moved into one of the two Jewish ghettos in Budapest. The Nazis had found two houses with Jews, including the one where we had been, and took them all out and shot them next to the Danube. Today there is a monument by the river [called Shoes on the Danube Bank]. We should have been with the Jews who were killed by the river,” he says. After the war, Pressburger and his siblings were farmed out to various orphanages run by the Jewish Agency, and things took a decidedly better turn. “We finally had food to eat,” he recalls. “After a while we were put on trains that were protected by the Jewish Brigade [of the British Army], and we were sent to Austria, and then to Germany.” “My uncle was a famous artist, and I learned a lot from him,” he says. While in Germany, Pressburger also took some lessons with a local artist. His mother managed to get him and two of his siblings berths on the Exodus, which set sail from Marseilles for Palestine in July 1947. Pressburger was 13 at the time and clearly recalls the aborted attempt to get to the Promised Land. “It was so crowded on the boat. This was a ship that was made to ply rivers in the United States, with a few hundred people on board, and we had over 4,500 passengers crammed in.” As we know, the British prevented the Exodus from docking in Palestine, and the passengers were shipped – in three far more seaworthy vessels – back to France. After the French government refused to cooperate with the British, Pressburger and the others found themselves back in Germany. The teenager eventually made it here in 1948, just one month before the Declaration of Independence. After a short furlough in Tel Aviv, during the first lull in the fighting in the War of Independence, he moved to Kibbutz Kfar Ruppin, where he worked in the cowshed. All the while he continued feverishly drawing and honing his artistic skills, which he says came in handy when he joined the IDF. After completing his military service, which included a spell as one of the founding members of the Flotilla 13 naval commando unit, he worked in Sdom for a while at the Dead Sea Works before starting his formal arts training in earnest. I was in the first group of students at the Avni Institute [in Tel Aviv],” he says. “There was quite a famous bunch of students and teachers like Moshe Mokadi and Isidore Ascheim and Aaron Giladi.” In such illustrious company, one might have thought Pressburger was set to unleash his burgeoning talents on art connoisseurs across the globe, but it was a while before that happened. Pressburger arrived in the French capital in 1964 and spent close to 15 years there, with a short interlude in Germany, before returning to Israel. His time in Paris was a professionally rewarding period of his life, and he also found love. “[Avni Institute teacher] Yochanan Simon gave me the name and address of a French-Israeli family in Paris, but when I got to the house, a young woman opened the door and told me the family was on vacation in Israel,” he explains. Despite missing his expected hosts’ welcome, he and the German-born young lady who greeted him soon fell for each other, and romance quickly led to wedding bells. By all accounts, Pressburger did well in Europe. He secured a rare three-year berth at Cité Internationale des Arts, where artists are normally provided with accommodation and studio space for between two months and a year. He was also accepted to the prestigious Beaux Arts academy of fine arts, mounted solo exhibitions, and took part in group shows all over Europe. One of these last was a group exhibition at Rathaus Charlottenburg in Berlin in 1966 – the first exhibition of Israeli artists in Germany after the Holocaust. When he arrived in Berlin, the lineup for the Israeli show was already signed and sealed, but somehow his work came to the attention of the German culture minister, who arranged for him to join. The Pressburgers’ year-long sojourn came to an abrupt end following an encounter he had one day while walking through the crowded Berlin streets...

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...