Small Abstract Paintings

Harriet was born and raised in Brooklyn, New York, and lived with her husband in Park Slope for over 35 years. She attended the Brooklyn Museum School at...

Beautiful ca. 1955 oil painting by American artist, Eve Peri. Oil on illustration board, panel measures 10 x 15 inches; 15.75 x 20.75 inches framed. Signed lower left. Excellent condition. Vintage...

Colored Reticulum is an original artwork realized by Giorgio Lo Fermo (b. 1947) in 2020. Original Oil Painting on Canvas. Hand-signed and dated by the artist on the back of the can...

Hunt Slonem "Heart" Multicolor Bunny A single rabbit gestured in white Diamond Dust on a pink and yellow background with Diamond Dust in a vintage frame....

Artist: Ian Hornak (1944-2002) Title: Untitled (Scottish Pastoral Landscape) Year: 1982 Medium: Acrylic on canvas Size: 16 x 20 inches Condition: Good Provenance: Estate of Ian Horna...

American modernist abstract expressionist oil painting. Oil on board. Housed in a period modernist frame. Image size, 12L x 16H. Attributed to Margaret Crawford.

Setting Sail 24.0 x 24.0 x 1.5, 3.0 lbs Acrylic paint Hand signed by the artist Artist's Commentary: "Glenn Fischer is an abstract artist working in collage and painting to create...

"Untitled, Figure Study" is an abstract figurative Post War pastel on paper paintings by Hans Burkhardt in 1967. The artwork is 21 1/4 x 16 1/4 inches and, with the frame, is 28 3/4...

Antique American school signed abstract oil painting. Oil on canvas. Signed. Framed. Image size, 19L x 13H.

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...

Beni E. Kosh/Charles Elmer Harris (American, 1917-1993) Untitled Oil on canvas board Estate stamped #611 verso 24 x 18 inches Charles Elmer Harris was born in 1917 in Cleveland, Oh...

Hunt Slonem "Hombre" Red and Orange Bunny Heart A rabbit gestured in red and orange on a matching Diamond Dust background in a vintage frame. Unframed: 14 x 14 inches Framed: 20 x 1...

With the medium of traditional oil paint, this charming piece by Chaval is exceptionally detailed and thought-provoking. Following a realist approach, yet depicting some playful impe...

Allen Williams' "Revelation II" is an original oil painting on board, created in 2023. This contemporary figurative work features a nude female form eme...

This oil painting is a wonderful example of surrealist ideals. The background of the painting is a rich blue with streaks of white, yellow, and lighter blue spheres that seem to swir...

Roland Ayers (1932-2017). Untitled, 1983. Ink on paper, measures 17 x 23 inches. Unframed and unmounted. Signed and dated lower left. Ayers holds the distinction of having participated in the first important survey of African-Americans, Contemporary Black Artists in America, a 1971 show at The Whitney. Biography: Artist and art educator, Roland Ayers was born on July 2, 1932, the only child of Alice and Lorenzo Ayers, and grew up in the Germantown district of Philadelphia. Ayers served in the US Army (stationed in Germany) before studying at the Philadelphia College of Art (currently University of the Arts). He graduated with a BFA in Art Education, 1954. He traveled Europe 1966-67, spending time in Amsterdam and Greece in particular. During this period, he drifted away from painting to focus on linear figurative drawings of a surreal nature. His return home inaugurated the artist’s most prolific and inspired period (1968-1975). Shorty before his second major trip abroad in 1971-72 to West Africa, Ayers began to focus on African themes, and African American figures populated his work almost exclusively. In spite of Ayers’ travel and exploration of the world, he gravitated back to his beloved Germantown, a place he endowed with mythological qualities in his work and literature. His auto-biographical writing focuses on the importance of place during his childhood. Ayers’ journals meticulously document the ethnic and cultural make-up of Germantown, and tell a compelling story of class marginalization that brought together poor families despite racial differences. The distinctive look and design of Germantown inform Ayers’ visual vocabulary. It is a setting with distinctive Gothic Revival architecture and haunting natural beauty. These characteristics are translated and recur in the artist’s imagery. During his childhood, one of the only books in the Ayers household was an illustrated Bible. The images within had a profound effect on the themes and subjects that would appear in his adult work. Figures in an Ayers’ drawing often seem trapped in a narrative of loss and redemption. Powerful women loom large in the drawings: they suggest the female role models his journals record in early life. The drawings can sometimes convey a strong sense of conflict, and at other times, harmony. Nature and architecture seem to have an antagonistic relationship that is, ironically, symbiotic. A critical turning point in the artist’s career came in 1971 when he was included in the extremely controversial Whitney Museum show, Contemporary Black Artists in America. The exhibition gave Ayers an international audience and served as a calling card for introductions he would soon make in Europe. Ayers is a particularly compelling figure in a period when black artists struggled with the idea of authenticity. A questioned often asked was “Is your work too black, or not black enough?” Abstractionists were considered by some peers to be sell-outs, frauds or worse. Figurative* work was accused of being either sentimental or politically radical depending on the critical source. Ayers made the choice early on to be a figurative artist, but considered his work devoid of political content. Organizations such as Chicago’ s Afri-Cobra in the late 1960‘s asserted that the only true black art of any relevance must depict the black man and woman...

Jodi Miller captivates with her atmospheric landscapes, inspired by the vast skies of her prairie upbringing and her global travels in the Royal Canadian Air Force. Influenced by the...

COASTAL ABSTRACTION Oil on board Size: 36.5 x 49.5 cm (including frame) A striking and brilliantly executed mid-century modernist abstract composition that captures a rugged coastal...

Exploring the purity of the feminine form and the drama of French haute couture, artist Cindy Shaoul creates a dialogue between the figurative and the abstract. Her spirited composit...

Motivated by bold color and fast brushwork, we are moved by the simplicity and thick textured oil paints in these works. Shaoul’s “My Heart Collection” is a vibrant and energetic dis...

'Fish, Dove and Musical Instrument', gouache on paper, from the Italian School of artists (circa 1940s). Surely this very attractive piece was inspired by Georges Braque (1882-1963) ...

Artist/ School: Yvette Dubois Habasque (1929-2016) Title: Abstract Compostion Medium: original oil painting on board, signed and dated 2007 Size: board: 18 x 24 inche Condition: ...

I enjoy working on impressionist artworks with an expressive touch. This artwork was done with oil paints on a heavyweight professional paper. In my artworks I transform my energy ...

Walter Darby Bannard (born September 23, 1934 in New Haven, CT) "Natural Christmas (1972)" Alkyd Resin Magna Medium Aquatec Gel on Canvas Painting Walter Darby Barnard is a Profess...

This series of works by the Danish artist Peter Kramer (Roskilde, 1959) with numerous exhibitions between Spain and Denmark are entitled "365 urns", in which the artist works with ti...

This is a one of a kind original cubist painting by San Diego artist, Alexander Arshansky. Its dimensions are 16"x20". It is unframed. A certificate of authenticity will follow deliv...

Fredric Karoly (1898-1987). Etude, 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...

This piece is a collaboration between Angel Ortiz (LAII) and Cindy Shaoul. They began collaborating in 2010 with their iconic "Street Cars" series, depicti...

Susan Kiefer Admitting Porosity Oil on canvas Year: 2023 Size: 24x24x1.35in Signed and inscribed by hand COA provided Ref.: 924802-1675 An angular composition with a field of dark b...

5-3280 Abstract on artist board .Set in a black wood frame with gold stripe. Image size 15.50 H x 17.50 W

Title: Cornfield In Autumn Medium: Oil on canvas Size: 15.5 x 19 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: Th...

Antique American school modernist mixed media painting. Oil on board with gold leaf assemblage, circa 1930. Unsigned. Image size, 13L x 17H. Housed in a period wood frame most li...

Eddy Lee’s figurative surrealist portrait paintings on exposed wood depict emotive sirens who evoke a sense of mystery and seductiveness. His original artworks combine geometric elements with innocent women portraits seeking to trigger emotions, rather than communicating specific explanations. He reconciles the unconscious with rational life, exploring the power of dreams, embracing automatism, and freeing his subjects from the constraints of conscious thought. This colorful, intriguing woman portrait is painted with acrylic and gouache on a hand-built cradled wood panel. This one-of-a-kind original artwork measures 24 inches high by 24 inches wide. It is signed by the artist on the front and back. It is wired and ready to hang. It does not require framing. Free local Los Angeles delivery. Affordable Continental U.S. and worldwide shipping available. A certificate of authenticity issued by the art gallery is included with this unique work. Originally from Seattle, Washington, Eddy Lee relocated to Los Angeles in late 2012 to pursue a full-time career as a fine artist. He started his career on the Venice Beach Boardwalk and quickly gained a large following across the United States with exhibitions in San Francisco, Las Vegas, and Los Angeles. The artist’s work is inspired by the works of Audrey Kawasaki...

Sewing on Korean Paper 19 7/10 × 19 7/10 in 50 × 50 cm This is a unique work. This work includes a Certificate of Authenticity. The patchwork of Ro, Shin Kyoung Weaving the network ...

Contemporary figurative painting with lots of details and movement. Beautiful statement piece for any art collection. Combining a lot of different colors in any interiors and settin...

Bold Geometric Forms gouache on artist paper, unframed painting: 23 x 16 inches Provenance: private collection, France Condition: very good condition For more any more information ...

This piece is artist signed , very vibrant colors, and is a part of my private collection since the 1970's.

Signed lower left, 'Hortense M. Gordon' for Hortense Crompton Mattice Gordon (Canadian, 1886-1961) and dated 1949. Previously with: Dominion Gallery of Montreal (stamp, verso). Photo courtesy of Art Gallery of Hamilton, Ontario, Canada. Hamilton artist Hortense Crompton Mattice Gordon was one of Canada’s earliest non-representational painters, embracing abstraction in the 1930s. She was also an active member of Canada's first English-speaking abstract group, Painters Eleven. A scholarship recipient, Hortense Mattice first attended the Hamilton Art School and, subsequently, moved to Chatham, Ontario. Initially focusing on porcelain painting, Mattice quickly began building a portfolio of oils and, from 1908, was exhibiting both her porcelain and landscapes at what is now the Chatham Cultural Centre (1908) and the Art Gallery of Ontario (1909). During this time, Mattice frequently traveled to the United States and, in 1915, visited the National Gallery of Art in Washington, DC, where she would have seen early works by important modernists including Picasso and Matisse. She started her teaching career in Chatham but, having received a job offer from the artist John Sloan Gordon, returned to Hamilton to teach at the Hamilton Art School in 1918. The two artists married in 1920. In 1922, Gordon and her husband took a study trip to France and, inspired by the fervent of Modernist ideas in Paris, expanded her own approaches to art, developing an increasingly soft, loose paint handling style. It was not until the 1930’s, after a few more trips to France and her discovery of Piet Mondrian’s work, that elements of abstraction began to appear in Gordon’s work. After the death of her husband in 1940, Gordon attended the Cranbrook Academy of Art and studied with Hans Hoffmann (1941-1945) whose influence and friendship pushed her to explore non-objective painting. After her training with Hofmann and in Cranbrook, Gordon began to exhibit regularly and with success in both Canada and the United States including at the Riverside Museum (New York, 1947), Creative Gallery (New York, 1952), in Ann Arbor (Michigan, 1952), Phillips Gallery (Detroit, 1952), the Flint Institute of Arts (Michigan, 1952), Mount Allison University (New Brunswick, 1952), the Galerie Agnes Lefort in Montréal and Art Gallery of Hamilton (retrospective, 1960). She was a member of the Contemporary Artists of Hamilton (honorary president in 1948), the Ontario Society of Artists, the Hamilton Women...

The painting "Reconciliation of Elements" conveys a moment of balance between various natural energies. Dynamic strokes and vibrant colors interact to create harmony in motion. The p...

Sea blue ground with calligraphic, black, gestural lines articulate a conversation with overlaid paper collage -- a central red and black rectangle is flanked by strips of blue, red,...

Abstract Expressionist Composition by Gilbert Pelissier (French born 1924) signed and dated 73' oil painting with other media on canvas, unframed canvas size: 20 x 24 inches conditio...

Renowned artist Hunt Slonem's "August" is a 20x16 black and white oil painting on wood board of a single contemporary abstract rabbit in black against a white background. Signed to v...

Comes framed and ready to hang in black floater frame. (Note: photographed in natural light which gave the painting a bluish cast; it's more white in person. The picture shot at an ...

Los Angeles street artist Gary John exploded onto the international art scene first during Art Basel Miami in 2013. John’s playfully bold work quickly gained attention and he was nam...

Title: Misty Taihang Mountains Medium: Oil on canvas Size: 23 x 23 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: ...

5-3530 Oil on canvas Set in a rapped canvas no frame required

Title: Dreamy Scenery Medium: Oil on canvas Size: 23.5 x 23 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This pa...

Encaustic on panel. It's simple; I create art because it makes me happy. I try not to overthink the process of what I’m painting and let my intuition be my guide. I love laying do...

Katherine Bello Title: Simple Life Oil and Oils stick on canvas Year: 2021 Dimensions: 20"x20"x1.5" Signed by hand Canvas on stretcher frame - ready...

'Portrait of Woman in Yellow', oil on cardstock paper (circa 1970s), by Raymond Debiève. A cubist portrait of this lovely young woman at her window is ...

Cubist Portrait of a Woman signed, 'Samson' British, 20th century oil painting on board, framed frame: 18.5 x 14.5 inches board: 16 x 12 inches provenance: private collection, UK con...

-In light of new tariffs, we’ve applied a 20% discount off the market price of this piece to support our collectors in facing potential added costs. At the gallery, we work closely w...

Abstracted seascape of three boats near the shore with broad, painterly strokes of blue, turquoise, and neutrals by Robert Canete (American, b. 1948). Signed lower right. Image: 16"H...

Abstract artist Paul Kirley crafts visual journeys that seamlessly intertwine individuals with their surroundings, evoking the ethereal nature of dreams. Blurring the boundaries betw...

Summer Bloom series began in 2022, which Shizico Yi celebrates the season by painting en plein air in her garden. In 2024, she embarks on a fresh chapter with her new cottage garden;...

The root of Guedes's work is located in the MADÍ movement, of Argentine origin and little repercussion in Spain, which attaches great importance to the tensions that are established ...

Neutral toned gestural abstract painting by contemporary artist Ian Francis. The work features a variety of gestural marks in white and tan, accented by light green and blue lines. S...