Board Abstract Paintings

Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of ...

A geometric abstract monotype on Japanese handmade paper mounted on board by Post War artist Kenneth Noland. Provenance: Experimental Workshop; Private Collection.

Oil and paper assemblage abstracted seascape comprised of layers of cut and torn paper with printed patterns, images, and text, overlapped by dynamic fields of sea-foam green, coral,...

An abstract monotype on Japanese handmade paper mounted on board, depicting diagonal stripes executed in blues, violets and yellows, by Post War arti...

Africana Mid-Century Modern large and impressive mixed media stone, sand and oil on artist board. The painting is unsigned there is a small fragment of old paper label with number #2...

Artist: Julien Dinou, Swiss (1895 - 1983) Title: Jeu de Taches Year: 1966 Medium: Oil on Board, Signed and dated Size: 20 x 26 inches; 50.8 x 66.04 cm Frame: 24...

Thisoil painting on masonite board, "Untitled," by Modernist Stanley Bate was created circa 1950, part of his earlier body of work. The dark, heavy line work combined with bright col...

Enamel on cardboard. Hand signed, 1970. Dimensions: 27x22 cm. This artwork by Pablo Echaurren is a typical example of his production in 70s. Echaurren, son of Sebastian Matta, is ...

A modern abstract collage and oil on panel by American artist James Koenig. This Untitled work created in 1969 will be featured in our exhibition "Draw Near" which will run from Mar...

An original signed framed abstract expressionist painting by mid-century modern Chicago woman artist, Margo Hoff (1910-2008), "Stone Quarry" was created using acrylic, crayon and paper collage on board in shades of purple, blue, brown, white and black. Presented in a custom frame, outer dimensions measure 48 ½ x 40 ½ x 1 ¾ inches. Image size is 48 x 40 inches. Provenance: Estate of the artist, Margo Hoff About the Artist: A prolific artist, Margo Hoff’s exquisite style evolved throughout her career yet was always rooted in the events, people, and places in her life. The human experience was her soul focus, expressed through her eyes alone. Born in 1910 in Tulsa, Oklahoma, Hoff began creating white-clay animals at a young age, giving them to her friends and family. At eleven she contracted typhoid fever and was bedridden for a summer. During her convalescence, she drew and made cutouts, and it was during this time that her bold, artistic imagination came alive. She began formal art training in high school and continued her education at the University of Oklahoma, Tulsa. In 1933 she moved to Chicago and attended the National Academy of Art and the School of the Art Institute of Chicago. Between 1933 and 1960—her Chicago years—Hoff’s works was deeply rooted in a figurative, regionalist style. She often used elements of magical realism, and many of her paintings have dreamlike qualities. As a child she learned about color by grinding down rocks, plants, and berries. Her color pallet during the Chicago years is indicative of her early-life color experimentation as she consistently used warm, earth tones in her work. Hoff was a born adventurer and traveled extensively. She lived, worked, taught, and painted in Europe, Mexico, Beirut, Lebanon, Uganda, Brazil, and China. She also showed at the Denver Art Museum’s Annual Western Exhibitions in 1952-54, 56, and 57. In 1957 she showed along side Colorado modernist Vance Kirkland at the Denver Art Museum’s exhibition, Man's Conquest of Space. What was once a focus on the representational, her work began to change after 1957 when she saw Sputnik in its orbit around Earth. At that moment, feet firmly placed on the ground, she was able to imagine herself in space, looking down from the cosmos, and what she saw was an abstracted world. She then had the opportunity to peer into an electron microscope where once again she was looking down into what seemed to be a realm of pure abstraction. These two events profoundly changed her perspective and she began to move from figural painting to abstract, geometric collage. In 1960, Hoff moved to New York City and she began creating collages. Placing the canvas on the ground, and working from all sides, she used strips of painted paper and tissue—and later painted pieces of canvas—glued onto the canvas surface, building layer upon layer, shape against shape, “action of color next to stillness of color.” She believed these simplified, abstracted forms held the spirit of the subject in the same way poetry reduces words to their essence. These pieces range from aerial cityscapes, to dancers in motions, to flora...

An original mixed media painting and collage on board by American artist James Koenig. Created in 1970, this work is part of the Draw Near exhibition currently on view at Benjaman G...

An unsigned mid century modern American abstract painting

Dina Gustin Baker studied at the Philadelphia college of Fine Art as well as the Art Students League in New York. This work acrylic on paper is evocative of her colorful palette and ...

Original 1961 mid-century modern abstract painting by New Mexico Transcendentalist, Emil Bisttram (1895-1976). Abstract floating shapes painted in shades of purple, blue, gray, white and black. Presented in a custom frame, outer dimensions measure 33 x 37 x 1 ¾ inches. Image size is 32 ½ x 36 ¼ inches. Painting is clean and in very good vintage condition - please contact us for a complete condition report. Expedited and international shipping is available - please contact us for a quote. About the Artist: Emil Bisttram grew up in the tenements of New York City after his family emigrated from Hungary when he was a young boy. Bisttram studied at Cooper Union, the National Academy of Design, and at the New York School of Fine and Applied Art. During his training, Emil studied under Ivan Olinsky, Leon Kroll, Howard Giles, and Jay Hambidge. Bisttram later taught at the New York School of Fine and Applied Art, Parson's School of Design, and at the Master Institute of the Roerich Museum in New York. Bisttram opened the nation's first freelance advertising art agency by the age of twenty-one. However, he soon abandoned the business in pursuit of a career in Fine Art. In 1930, the artist made his first visit to Taos, New Mexico, where he reportedly found himself "blocked" by the open spaces, intense light, and color that define the region. In 1931, he traveled to Mexico where he studied mural painting with Diego Rivera on a Guggenheim Fellowship. While Emil was in Mexico, his wife lived in Taos where the couple established permanent residence upon his return. In Taos, Bisttram opened the area's first commercial art gallery, the Heptagon Gallery. He also founded the avante-garde Taos School of Art, later known as the Bisttram School of Fine Art. In 1934, Bisttram was among artists selected to paint murals for the Works Progress Administration (W.P.A.). While commissioned by the W.P.A., Bisttram worked on murals in the County Courthouse in Taos and he completed a mural in the Justice Department Building in Washington, D.C. Although he continued with representational painting, much of Bisttram's work in the late 1930's became increasingly abstract. Along with Raymond Jonson and seven other artists, Bisttram founded the Transcendental Painting Group...

'Radiant Reflections: Cubist Portrait of a Woman', oil on board, by STM (circa 1970s). A superb late mid-century painting by an artist with the initials STM. Clearly inspired by cubi...

'Portrait of a Cubist Woman', oil on board, by STM (circa 1970s). A captivating painting by an artist with the initials STM. Clearly inspired by cubists Picasso and Braque, the artis...

'Cubist Figure', oil on board, by STM (circa 1960s - 70s). A marvellous mid-century sizeable painting by an artist with the initials STM. Clearly inspired by cubists Picasso and Braq...

'Portrait of Cubist Man', oil on board, Berlin School (circa 1960s). A striking cubist depiction, this is a vibrant portrait of a figure in geometric perspective. The varied hues - b...

GEOMETRIC HARMONY Size: 61 x 72 cm (including frame) Oil on Canvas A wonderfully textured mid-century geometric abstract composition executed in oil and dated 1966. The artist has ...

Gustavo Úbeda (1930-1994) - Carnival fantasy - Acrylic on panel Acrylic measurements 61x91 cm. Frameless. The painting by Gustavo Úbeda Romero (Herencia, 1930 – Sao Paulo, 1994) com...

A vibrant modernist geo-abstract cityscape by American artist Harry Crowley (1898-1979). Crowley began as a musician, graduating from the New England Conservatory of Music in Boston, MA, and taught advanced piano at the Brooklyn Conservatory of Music and the Westchester Conservatory of Music, where he was on the faculty for 25 years. He did not begin to paint until he was 43 and was completely self-taught, developing his own style of abstract expressionism. In 1948, he launched his own gallery exhibition at NY’s Salpeter Gallery, with several others to follow over the years at this same venue. His work can be found in many private collections around the world, including the collections of Harry Hemsley and sports commentator Walter Lanier “Red” Barber. Copies of his work also appeared on numerous covers of business holiday cards. This oil painting with thick impasto represents a bird’s eye view of a city grid...

Robert Motherwell (1915-1991) Untitled (Ochre Open) 1972 Acrylic on Upson board 60.6 x 24.5 cms (23 7/8 x 9 5/8 ins) RM9997 P666 Recto, upper right: RM \ 72 Verso not signed, not da...

Robert Motherwell Two Figures No. 12 1958 Oil on paperboard 19.1 x 24.1 cms (7 1/2 x 9 1/2 ins) RM12376 W41 Motherwell painted this work in Saint-Jean-de-Luz during the summer of 19...

Robert Motherwell Elegy to the Spanish Republic No. 163 1979-82 Acrylic and Conte crayon on board 59.1 x 74.3 cms (23 1/4 x 29 1/4 ins) RM14159 P1061 Elegy to the Spanish Republic No. 163 is a fine example of Robert Motherwell’s most acclaimed body of work, the Elegies to the Spanish Republic. As important as Barnett Newman’s zips and Jackson Pollock’s drips for their revolutionary contribution to art history, the Elegies are Motherwell’s most extensive series; he executed over 140 paintings using this motif, beginning in 1948 until his death in 1991. Nearly every major museum collection, including the Metropolitan Museum of Art, New York, Museum of Modern Art, New York, Solomon R. Guggenheim Museum of Art, New York, and San Francisco Museum of Modern Art, have in their permanent collection an Elegy to the Spanish Republic. Intended to be read as a lamentation or funeral song after the Spanish Civil War (1936-39), Motherwell’s Elegies to the Spanish Republic are a lyrical and poetic memorial to the immense human loss and suffering endured during these harrowing years. Motherwell was a young student of twenty-one when the horrors of the Spanish Civil War commenced in 1936, and he would later reflect that it was the most “moving political event” of his youth. In 1939, the Spanish Civil War concluded with the fall of Spain’s democratically elected socialist government, which was deposed by a fascist coalition led by dictator Francisco Franco, whose dictatorship would persist until 1975. In 1948 nearly a decade after the end of the Spanish Civil War, Motherwell created his first Elegy with a small drawing to accompany a poem by Harold Rosenberg. Over the next four decades, Motherwell would pursue this same structural and thematic motif relentlessly; taken as a whole, the Elegies confirm the resounding impact that this war had on the young artist, and indeed stand as a powerful monument to the overwhelming loss during and in the aftermath of the Spanish Civil War. Motherwell stated: “I meant the word 'elegy' in the title. I was twenty-one in 1936, when the Spanish Civil War began…The Spanish Civil War was even more to my generation than Vietnam was to be thirty years later to its generation, and should not be forgotten, even though la guerre est finie.” (David Craven in Joan M...

Robert Motherwell Two Figures No.7 1958 Oil on paperboard mounted on board 18.9 x 23.9 cms (7 7/16 x 9 7/16 ins) RM14236 W36 Motherwell painted this work in Saint-Jean-de-Luz during...

"Camouflage" Abstract Painting Oil on Cartoon 20" x 14" inch by Mohammed Ismail 1991 Signed & Dated ABOUT THE ARTIST Mohammed Ismail (1936-1993) Dr. Mohamed Ismail was born in 1...

A small but enchanting painting by the Swedish artist Johnny Oppenheimer (1923-2005) . This captivating piece showcases the thick paint impasto technique, resulting in a delightful b...

Original American Modernist watercolor on paper mounted on cardboard by William Bertrum Sharp (1924-1984). An abstract composition of blue, grey, yellow, pink, and orange. Presented ...

Blue Stream Size: 42 x 80 cm (including frame) Oil on board An outstanding and visually striking mid century abstract oil painting by Swedish painter Hans Osswald (1919-1983), whose...

The Western Plain By Gray Smith (Australian, 1919-1990) Signed Lower Left Without Frame: 20" x 30" With Frame: 24" x 34" Gray Smith was an Australian artist, poet and jeweler who was part of the Heide Circle. While best known as the Australian artist Joy Hester's spouse, his most productive artistic period came later while married to Joan Upward in the '60s and '70s. Smith's modernist paintings often featured isolated figures in Australian outback...

Signed lower right. From the later 1950s, Vaughan painted landscapes without figures that verged towards complete abstraction: works in which colour is tessellated into compositions ...

Oil on board, signed verso. Reynolds made numerous paintings on the theme of ‘moth barn’, in addition to a lithograph dating from 1956. Moth Barn Interior 3 (1952) is a diminutive va...

Oval Theme (1) builds outwards from a central red wedge, unfurling through larger slabs of colour towards the edge of the composition. The materiality of th...

A fun and lively small-scale impasto oil painting of an abstract sun by contemporary Big Sur, California artist Heidi Hybl (American, b.20th Century). Red and orange points radiate o...

"Abstract Composition" Oil painting 19" x 13" by Tahia Halim Tahia Halim was born in Cairo in 1919. Her primary education took place inside the Royal ...

"Love and War," a collaborative series between Bert Long Jr. and Jesse Lott, features loosely human forms painted in a manner that suggests humanity’s proce...

“Icarus Suspended” is an extraordinary painting of Ayrton's obsession with flight, myths, mirrors and mazes. This complex piece shows a figure in flight, frozen in action, either swooping down or, perhaps, falling to earth. Named after the Greek mythological figure, Icarus, who along with his father attempted to escape from Crete by means of wings that his father constructed from feathers and wax. Flying too close to the sun the wax melted and both fell to earth. The positioning of Ayrton's figure is reminiscent of "The Fall of Icarus" by Jacob Peter Gowy, Museo Nacional del Prado. This is part of a series of artworks on Icarus some sculptural and some three-dimensional paintings on canvas. Verso contains gallery label Matthiesen Gallery, 142 Bond St., London, England, with a signature and text in upper right corner: "To Morton Schotnick. Bought on the occasion of The Archives of American Arts Tour to London, England. October 10, 1961. Michael Ayrton...

Interference Paint on Board

Collage and Painted mixed media artwork painting. Born 1930 in Chile, Golomb immigrated to Palestine in 1935. He later became a member of the Radius Group and an instructor at the Avni Institute, Tel Aviv. He had 20 one-man shows and participated in numerous exhibitions. Golomb has been using oils, tempera, acrylic, encaustic and pencil to produce his works often based on musical associations. Education: With Canadian, Barry Ortzki, a pupil of Henry Moore, and studied painting in tempera with Ernst Fuchs and Wolfgang Manner, Reichenau, Austria Studied drawing with Esther Peretz Arad and Avinoam Kosowsky Teaching Avni Institute, Tel Aviv Group Exhibition, Radius, Tel Aviv 11 February, 1984 - 7 March, 1984 Artists: Shimon Avni, Lea Nikel...

Signed lower right

DANIEL GORSKI Untitled, 1964 Acrylic on canvas mounted on board 90 x 90 inches

Floated on archival white mat with dark wood frame. Fritz Bultman set himself apart from other Abstract Expressionists with his meticulously organized abstract compositions, use of ...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

Fritz Bultman set himself apart from other Abstract Expressionists with his meticulously organized abstract compositions, use of sculpture, and the adoption of collage as a core prac...

Titled & dated verso