Gloria Matuszewski

Emerald

2010

mysterious pale blues with gold and earthly neutral color are at play in this original painting, created in oil and resin with mixed media on canvas by artist Erin Parish between 201...

Warm abstract, etherial large-scale mixed media painting in red, maroon, white, orange, and Payne's grey, in mixed media, including oil paint and charcoal on canvas, in this calm, serene and engaging work of art. Created with oil and linseed-dipped charcoal and oil stick on canvas by experimental artist Sophie Dixon. There are area of thick paint (white) and thinner transparent glazes (warm tones). A simultaneously serene and complex work of art that feels fresh and alive. The artist has combined drawing and painting techniques with her Transposition series. There are layers of white paint applied with brushes, fingers, and palette knife. A beautiful, peaceful, quiet work of art. Ready to hang and enjoy. Framing is not required. 72 x 96 inches...

Rothko-esque color field painting that delights from a distance and up close from Swedish-American visual artist Charlotte Bernstrom, who creates acrylic paintings that are poetic ex...

Rothko-esque color field painting that delights from a distance and up close from Swedish-American visual artist Charlotte Bernstrom, who creates acrylic paintings that are poetic ex...

'Moon Lake' A meditation on blue, from visual artist Charlotte Bernstrom’s paintings are inspired by the Earth and its oceans and take their cues from Abstract Expressionism and Euro...

'Rosepedal' A meditation on floral, from visual artist Charlotte Bernstrom’s paintings are inspired by the Earth and its oceans and take their cues from Abstract Expressionism and Eu...

Mid Century Textural Color-Field Abstract in Royal Blue-Purple by Peter Witwer A striking mid-century textural color-field abstract in a bold color palette of royal blue-purple by San Francisco artist Peter Witwer (American, 1928-1968). This highly textured mixed media piece, c.1960's, uses a monochromatic palette that is divided into two areas of varying textural depths. The lower part of the canvas verges on sculptural, as the textured surface becomes almost three-dimensional and haunting forms emerge from the abstract purple-blue plane. Unsigned. From a collection of the artist's works. Displayed in a painted wood slate frame. Frame has been painted by the artist and is considered part of the artwork. Linen size: 26"H x 22"W. Framed size: 27"H x 23"W x 1.2"D Unsigned, but was acquired with a collection of the artist's work. Provenance: Without a will and a family that had little interest in his art, nearly all of his possessions and close to 100 paintings were turned over to SF’s Conservators Office. His friend, Albert Richard Lasker, purchased all of Peter’s possessions (including the art) and has taken care of them until this day, always sensing there was something remarkable about the collection. Wanting Peter’s work to finally be seen, Richard came to Lost Art Salon with Peter’s story after reading about the new gallery in a July, 2005 issue of the SF Chronicle. Born George Peter...

Oil on canvas. Signed, titled, and dated verso. 40.25 x 34 in. 41.5 x 35.5 in. (framed) Custom framed in a solid maple floater, with a matte white finish. Provenance The Betty Par...

Oil on canvas. Signed, titled, dated verso. 40 x 44 in. 41.5 x 45.5 in. (framed) Custom framed in a natural cherry floater. Provenance Knoedler Contemporary, New York Ludwig Sand...

Blue colorfield painting on canvas on beveled stretchers

Russinof uses large brushes to create highly energized gestures that intimate various patterns and forms in architecture such as frames, cornices and baroque ceiling vaults. The paint-ings are process-based in the sense that one is aware of drips and the accretion of layers, and also flirt with their role as objects by virtue of the gesture’s relation to the painting edge. Color serves to create a window onto natural space and light, even as the forms themselves acknowledge their own framing. She often thinks in these works of Renaissance portraits where the sitter’s forearm rests on the very edge of the frame, inviting intimacy, with a tiny landscape...

Russinof uses large brushes to create highly energized gestures that intimate various patterns and forms in architecture such as frames, cornices and baroque ceiling vaults. The paint-ings are process-based in the sense that one is aware of drips and the accretion of layers, and also flirt with their role as objects by virtue of the gesture’s relation to the painting edge. Color serves to create a window onto natural space and light, even as the forms themselves acknowledge their own framing. She often thinks in these works of Renaissance portraits where the sitter’s forearm rests on the very edge of the frame, inviting intimacy, with a tiny landscape...