Board Abstract Paintings

"Orange Clouds" is an American Modern contemporary seascape with sailboat, evening. Kelly Carmody’s work has been widely exhibited and collected. One of her major figurative works w...

AUTUMN MOUNTAIN Size: 54 x 42 cm (including frame) Oil on Board A vibrant and playful mid-century modernist abstract composition, painted in oil onto board. The artist has used a m...

Sidney E.Zimmerman USA (1926-2007) studied at the Brooklyn a Museum of Art after returning from Europe during WWII. In 1950, he studied with Morris Kantor and Vaclav Vytlacil at the ...

COASTAL SPLENDOUR Size: 35 x 43 cm 13.8 x 16.9 inches (including frame) Oil on Board A mesmerising mid-century abstract coastal landscape where earth, sea, and sky converge in a...

'Feminine Forms: Harmony in Curves', oil on board, German School (circa 1980s). Two nude figures portrayed in the abstract posture differently. Both are curvaceous and Rubenesque. Re...

Ireland Landscape Rocky Cliffs with Castle on the Northern Irish Sea Coastline, by 20th Century Irish Australian Artist, Henry McLaughlin. Art measures 10 x 8 inches Frame measure...

'Portrait of Young Woman', oil on board, German School (circa 1960s). A sensuous mid-century portrait of a young woman painted in the style of expressionists / cubists of the era. Un...

Flowers in a blue vase Cardboard, author's technique, 29x21.5 cm

Untitled Large Seascape Abstract Mixed Media Ink and gouache wash on paper board about 1970s, Artist signed lower right corner. Lim Ha Shan, was born in Seoul, Korea in 1945. The ...

Jogen Chowdhury Untitled Charcoal & Dry Pastel on Brown Paper Pasted on Board 10 x 8 inches 2021 Style : He has immense contribution in inspiring young artists of India. Jogen Cho...

Jogen Chowdhury Untitled Charcoal & Dry Pastel on Brown Paper Pasted on Board 10 x 8 inches 2021 Style : He has immense contribution in inspiring young artists of India. Jogen Cho...

Laimdots Murnieks had a significant influence on the development of Latvian painting at the end of the 20th century. His work 'Holiday' conveys the feeling lightness and joy, which i...

Motke Blum was born in Racacun, Romania in 1925. Early in his childhood, the Blum family moved to Bucharest where they settled in a house situated near a circus. The circus would become young Blum's greatest love. He befriended several of the clowns and other performers and, when not painting or playing in clay, Blum could be found enjoying the company of these spirited entertainers. These experiences would later become a recurring theme in many of his works of art. In 1938, he was taken by the Romanian Iron Guard. When the Germans invaded Romania, Blum was taken to a forced labor camp. Even during his imprisonment, he continued to create art, painting on the walls of the camp. He escaped the Nazi camp in 1944 and boarded an immigrants' ship to Israel. One of the three ships in the convoy was sunk by a German torpedo. Motke later incorporated shipwrecks, boats, and other maritime subjects into several of his paintings. Studies, Bezalel, Jerusalem, Enamel, Silversmithing, Painting and Sculpture. 1956 Seminar in the dep. of design in the royal silver factory of Zeist, The Netherlands. Over the course of his long and fruitful career, Blum showed internationally at over fifty one-man-shows with exhibits in Israel, Holland, England, Belgium, the United States, France, Australia, and more. His art has been commissioned for public buildings and by prominent figures in Israel and around the world, and a series of posters were commissioned by the Justice Ministry and the Ministry of Tourism. Group exhibition Rina Gallery, Jerusalem Artists: Motke Blum, Efraim Fima (Roytenberg, Ephraim) Zelig Segal, David Sharir, Joseph Halevi...

"Through the Cataracts" Pastel Painting 12" x 22" inch by El Hussein Fawzi Signed Circa 1960 EL HUSSEIN FAWZI: (1905-1999). Born in Helmia district, Cairo on 4 September 1905, El...

Remo Farruggio Untitled Mid Century Modern abstraction (original oil painting), ca. 1947 Oil painting on masonite board Hand signed by Remo Farruggio on the lower right front 16 × 20...

ALTEA Size: 25 x 38 cm (including frame) Oil on Board A brilliantly executed semi-abstract mid-century modernist oil composition, painted in 1959 by the established Swedish artist I...

Modern abstract pastel toned street scene by Philippine-born artist Romeo Tabuena. The work features a street scene with shadow figures browsing under a white tarp. Signed and dated in the front upper left corner. Currently hung in a grey toned frame. Dimensions Without Frame: H 19.75 in. x W 31.75 in. Artist Biography: Romeo Tabuena is a Philippine-born painter rooted in Eastern sensibility. He has been a resident of Mexico for more than four decades. Born in Lloilo in 1921, he studied architecture at the Mapua Institute of Technology and a fine arts course, majoring in painting, at the University of the Philippines. He also studied at the Art Students League in New York and at the Academie de la Grande Chaumiere in Paris. Tabuena decided to settle in Mexico and to make it the base of his painting career. But he has maintained links with his native country through participation in its major art projects, and despite his long residence in Mexico, he has retained his Philippine citizenship. One of his major works since 1957 is a government-commissioned mural, Filipiniana, at the Philippine Embassy in Washington D.C. His other exhibits include a ten-year retrospective show in 1959 at the Philippine Art Gallery in Manila. In 1962, his successful one-man show, which was sponsored by the Philippine Government at the International Salon of the Palace of Fine Arts in Mexico City, "further elevated the status of Philippine painting...

Figural abstract inspired by Chinese art and calligraphy featuring a large totem-like form in textured earth tones with black Chinese characters in bold, black brushstrokes by Anna Wu Weakland...

UN Poster Design American Scene Mid 20th Century Modernism WPA World Peace Jo Cain (1904 – 2003) We Are All Members of the Human Race: UN Poster Proposal 21 x...

"Aswan Vista" Pastel Painting 12" x 22" inch by El Hussein Fawzi Signed Circa 1960 EL HUSSEIN FAWZI: (1905-1999). Born in Helmia district, Cairo on 4 September 1905, El Hussein F...

'Portrait of a Young Woman', oil on board, by Peter Robert Keil (1983). A wide-eyed woman gazes out to the viewer with an inquisitive gaze. The artist's use of exuberant colours beli...

THE PEACH Size: 25.5 x 20 cm (including frame) Acrylic on canvas A bold and visually striking mini geometric abstract painting, executed in acrylic onto canvas and dated 2019. Smal...

CONNECTION Size: 26 x 47 cm (including frame) Oil on board A brilliantly executed and beautifully textured abstract figurative oil composition, painted in 1965 by the established Sw...

'Untitled Cubist Figure', oil on board, by STM (circa 1970s). A vibrant modern painting inspired by Picasso and Braque, the artist uses angles, lines and...

American School, Artist Unknown

Kerry Smith R.E.M. - Murmur Mixed Media on Crescent board Year: 2022 Size: 21x20in Signed, dated by hand COA provided Ref.: 924802-1633 --------------------------------------- "Of...

Kerry Smith Radiohead - Amnesiac Mixed Media on Crescent board Year: 2022 Size: 21x20in Signed, dated by hand COA provided Ref.: 924802-1641 --------------------------------------- ...

Forest Cardboard, oil, 30x30 cm Lidija Auza (1914. 24. 02 Vitebsk, Belarus – 1989. 13. 12 Riga, Latvia) Painter She studied at the Art Academy of Latvia (1936-1938) and gradua...

the painting is being offered with a work and authenticity certificate

Gurevich Anatole Anatol Gurevitch Anatol Gurewitsch (1916-2005) Per the hebrew label on the back, this was exhibited in 1951. I believe at the Tel Aviv museum of art (as per the Israel Museum (Jerusalem) website)m in a manner reminescent of Bezalel Schatz, Moshe Castel, Jean david and other Israeli artists of the New Horizons prominent in that period ts a nude crouching figure against a colorful abstract background. Israeli Painter and stage designer. Yakir of Tel Aviv. Born in Russia, Moscow in the mid-teens of the twentieth century. Studied painting in Berlin. Immigrated to Palestine from Germany in 1934. Served in the British Army (1941-1946). Known for his pantings of Jewish rabbis and other Judaica subject matter. He specialized in stage design for dance troupes: the dance troupe led by Gertrude Kraus, Inbal, the Batsheva Dance Company, the international black dancer tali bati. His first wife was the late dancer and choreographer - the girl Kesten, His son is theater director Michael Gurevich. His second wife was the actress - Rivka Gur, who gave birth to his second son, Eyal. He died at the age of 89 after a serious illness. He left behind two sons: Michael (Miki) Gurevitch and Eyal Gurevitch. He was the uncle of the artist and sculptor - Igael Tumarkin. He was a stage designer in the theaters The brothel of Hunzo from Kibbutz Givat Haim, the British military band of this type, the British army, Gertrud Kraus, the Inbal Dance Theater, the Israeli Ballet, the Batsheva Dance Company and more. He designed a stage for plays The girl and the Negro, the Threepenny Opera, a band on the Thames, the singer of the land (in the military band of 1944), the banknote to Shlomo, the tea department, Nathan the Wise, Herod and Miriam. Awards Yakir Tel Aviv Prize, on behalf of the Tel Aviv Municipality. Anatol Gurewitsch, painter and Stage designer, born 1916, Moscow. After Second World War worked as stage designer. Designed costumes for dancer Gertrud Krausz. Uncle of Igael Tumarkin, and father of the theater Director Miki Gurewitsch. Education Academy of Fine Arts, Berlin, art 1936 with Frenel Frankel 1937 with Miron...

Kerry Smith Johnny Hodges - The Big Sound Mixed Media on Crescent board Year: 2016 Size: 21x20in Signed, dated by hand COA provided Ref.: 91-0194 ----------------------------------...

Kerry Smith Bob Dylan - Blood On The Tracks Mixed Media on Crescent board Year: 2021 Size: 21x20in Signed, dated by hand COA provided Ref.: 924802-1629 ----------------------------...

Kerry Smith Jimi Hendrix - Band Of Gypsys Mixed Media on Crescent board Year: 2022 Size: 21x20in Signed, dated by hand COA provided Ref.: 924802-1640 -------------------------------...

Kerry Smith Ray Charles in Person Mixed Media on Crescent board Year: 2016 Size: 21x20in Signed, dated by hand COA provided Ref.: 91-0191 --------------------------------------- "...

Kerry Smith The Stooges - The Stooges Mixed Media on Crescent board Year: 2017 Size: 21x20in Signed, dated by hand COA provided Ref.: 92-1671 ---------------------------------------...

Kerry Smith The Doors - L.A. Woman Mixed Media on Crescent board Year: 2021 Size: 21x20in Signed, dated by hand COA provided Ref.: 924802-1642 --------------------------------------...

Kerry Smith Bing Crosby - White Christmas Mixed Media on Crescent board Year: 2018 Size: 12x12in Framed Signed, dated by hand COA provided Ref.: 924802...

'Portrait of a Smiling Woman', oil on board, by Peter Robert Keil (1983). A cheerful look on the painting's subject puts a smile on the face of the viewer as well. Her beautiful blue eyes express a contentedness suggesting life is good...

"Abode II" Drawing 12" x 20" inch (1967) by El Hussein Fawzi Signed and dated. 1967 EL HUSSEIN FAWZI: (1905-1999). Born in Helmia district, Cairo on 4 September 1905, El Hussein...

1950s oil on board painting by George Cecil Carter portraying a modernist couple, thought to be Alfred Stieglitz & Georgia O'Keefe. Presented in a custom frame, outer dimensions measure 20 ⅝ x 13 ½ x 1 ⅞ inches. Image sight size is 16 ⅞ x 9 ⅞ inches. Painting is clean and in very good vintage condition - please contact us for a complete condition report. Provenance: Private Collection, Denver Colorado Expedited and international shipping is available - please contact us for a quote. About the Artist: George Cecil Carter was born in Oklahoma in 1908 and became a noted Colorado abstract expressionist alongside contemporaries including Al Wynne, Mary Chenoweth...

Measures 16.5 X 20 without frame. heavy craquelure. it seems like some sort of experimental technique the artist used. paint is stable. please see photos Abram Tromka was born May 1, 1896 in Poland. At the age of seven he immigrated with his family to the United States, settling in New York City. It was on the boat coming to New York where Tromka first became interested in art. Fascinated by a woman who was painting, he decided that he wanted to become an artist. Upon arrival at immigration headquarters, Tromka’s family adopted the surname “Phillips,” which he kept until 1930. Hence the artist’s early works bear the signature — ‘A. Phillips.’ Having a rough childhood, Tromka left home at 15 and spent the remainder of his teenage years living at the Henry Street...

Painting with plaster and gilt details. Attributed to Edgar levy. A modernist still-life painter whose style leaned towards Cubism, Edgar Levy had a studio...

Genre: Modern Subject: Abstract Medium: Oil Surface: Canvas Dimensions: 16" x 12" Heshi Yu was born in Shandong, Mainland China, 1935. He graduated from the Art Department of National Taiwan Normal University. In 1946, he traveled to France to further his studies at l'Ecole Nationale Supérieure des Beaux-Arts in Paris. In 1968, he moved to New York and devoted himself to creation. A work of 1970s was selected by Lincoln Center to make a serigraph to celebrate the bicentenary of America. Multiple materials, acrylic and ink, used in his works; Through the concept to modern painting, Mr. Yu blended the find art...

Pierre Courtens is a French painter of Belgian origin, born in Brussels in 1921 and died in Ribérac Dordogne in 2004. Baron Pierre Courtens is the third generation of painters with his brother Jacques Courtens , son of Hermann Courtens, grandson of Franz Courtens. His grandfather and then his father, director of the Royal Academy of Fine Arts of Brussels, were ennobled by the King of the Belgians...

Mid 20th century oil and spackle painting featuring an abstracted cityscape with a bridge and buildings by Henriette "Yetti" Stolz. Signed by the artist in the lower right margin. Pa...

Set against a deep green background of layered paint and wavy lines, Benjamin Benno’s textured composition features an array of unidentifiable figures of varying sizes and shapes. Th...

'Still Life with Fruit', oil on board, by an artist with initials 'T.N.', from Berlin School (circa 1960s). A stunning, conceptual composition depicting a bowl with fruit on a table. The backdrop horizontal paint...

Philippe Visson, (1942-2008), whose parents were both of Russian origin, was born in New York in 1942. His mother, a Parisian art historian, was the Editor of La Gazette des Beaux-Arts from 1930 to 1960, and had always frequented the international artistic milieu. His father was a major political journalist for The Washington Post and Roving Editor for The Reader’s Digest. Philippe Visson therefore was raised in a cosmopolitan milieu between the United States and Europe. At the Vissons, one devours; one spends beyond one’s means; one falls, but only to land on one’s feet. Visson is a painter to whom it is difficult to assign a particular movement in art history; and that, principally for two reasons: firstly, his origins,his education and his way of life have produced a personality without any true roots, but rather a citizen of the world, who carries with him all cultures, from pre-Revolutionary Russia to the black ghetto of Washington, D.C. Secondly, he is self-taught, and can work in complete solitude, as well as before a large audience. His art is therefore uniquely his own, and certainly not that of an Art Brut ‘author’. His faces, his anti-portraits, reveal a continuum of humanity’s facets: from Christ to the demon, from the child to the aged, from the Caucasion to the African. Biography Philippe Visson, whose parents were both of Russian origin, was born in New York in 1942. His mother, a Parisian art historian, was the Editor of “The Gazette des Beaux-Arts” and had always frequented the international artistic milieu. His father was a major American political journalist for “The Washington Post” and “The Readers Digest”. Philippe Visson therefore was raised in a cosmopolitan milieu between the United States and Europe. He starts to paint in the bathroom of Parisian luxury hotel at the age of 16, working in a frenzy and without art lessons. He’s immediately confronted with the scrutiny of professional experts that surround his parents. He has instant success when he shows at the Craven Gallery in Paris in December, 1958, quickly offered to him; then in New York in the Milch Galleries in May, 1959; followed by shows in Monte Carlo, Geneva and New York again. It was too much, too soon. Visson falls into drinking. Returning to Washington, D.C. on 1960, the period 1963-1979 is differentiated by a life that is sometimes social, sometimes reclusive, which continues when his family settles in a large villa in Switzerland (Epalinges above Lausanne) in the mid-sixties. Visson has stopped drinking. He paints in one of the rooms of his parents’ house and inundates all the empty rooms with his productions that remain hidden from the public, allowing them to be seen only by personalities such as Marcel Brion and René Huyghe, both of the Académie Française; or Jean Leymarie, Director of the Museum of Modern Art in Paris. It’s only at the start of the seventies that he once again opens his work to the public. He meets several important cultural figures of the time, such as René Berger, Director of the State Fine Arts Museum of Lausanne; and Michel Thévoz, future Director of the Art brut Museum. After the death of his father in 1973, he settles without money with his mother in a luxury hotel in Paris. It’s only after a year and a half of perpetual and colorful adventures that they return to Washington, D.C., where he resumes painting and produces a unique period of abstracts. Returning to Switzerland at the death of his mother in the beginning of the eighties, Visson meets with blatant success in Switzerland, where institutions exhibit and purchase his paintings (Aarau State Fine Arts Museum, the Federal Office of Culture in Bern). His fury for painting takes the form of an explosion while remaining focused (he always keeps what he considers the best paintings for himself). After the life of a hermit in the Paccots, Visson comes down from his mountain to settle in Montreux on the Swiss Riveria. This moving is marked by a sort of return to social life, despite the fact that he paints in a cellar. A period of public projects with charitable goals is launched. Visson thrives on this contact with the public. This changes somewhat when he receives a working studio in The Montreux Palace in the late nineties. This emerging from the cellars denotes a new era for the artist. He starts an intense period of painting, and moves six thousand of his paintings to the Palace. He continues his public projects, including the acquisition against paintings of a Stradivarius violin...

Original oil and metal foil on board abstract painting by George Cecil Carter (1908-1987) circa 1950s. Signed by the artist in the lower right corner, titled and dated verso. Painted in shades of dark blue, gray, white, orange, and purple. Presented in an original George Nix frame measuring 30 ¾ x 36 ¾ inches. Image size measures 23 ¼ x 29 ¼ inches. About the Artist: Born 1908, Woodward, Oklahoma Died 1987, Canon City, Colorado George Cecil Carter was born in Oklahoma in 1908 and became a noted Colorado abstract expressionist, despite having no formal training. He worked as a coal miner, gold miner, and machinist at Schneebeck’s Industries in Colorado Springs for twenty years During that time, Carter worked on his art and was was mentored by Broadmoor Academy painter, Charles Bunnell. Carter worked out of Colorado Springs and Canon City, Colorado. He exhibited nationally, including Texas and Illinois. Among his contemporaries are Al Wynne, Mary Chenoweth...

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...

Modern geometric figurative painting featuring Pablo Picasso inspired faces nestled amongst heavily abstracted harvest imagery. Reminiscent of a Cubist style of abstraction, the work...

Garfio, 1973 original mixed media papel painting painter Antonio Saura was born in Huesca on September 22, 1930. Self-taught, he began painting at age 15 during the convalescence of...

"Abode I" Drawing 20" x 12" inch (1967) by El Hussein Fawzi Signed and dated. 1967 EL HUSSEIN FAWZI: (1905-1999). Born in Helmia district, Cairo on 4 September 1905, El Hussein Fawzi was known in Egypt and the Middle Eastern his pioneering work in the field of journalistic graphic arts. Fawzibegan his artistic studies in 1922 at the School of Fine Arts, studying oil painting. He won the first prize at an art competition for which he received an art fellowship in 1928 and entered the printing school in Paris, from which he received a lithography diploma in 1932. He also studied lithography at the Estienne School in Paris. He was an artist and professor of oil painting before joining the ParisHigher School of Arts and Decoration from which he received a diploma in1933. Fawzi was also awarded an honorary degree for an oil painting exhibited at the 1939 French Salon. Although Fawzi’s fame was as an agraphic artist he also had an active career in the fine arts. Upon his return to Egypt, he founded the Department of Graphic Arts at the Faculty of Fine Arts and later was appointed director of the department, a position he held until his retirement. He made lots of illustrations for two books by Naguib Mahfouz that were published in the Al Ahram newspaper and also made drawings of all the big mosques of Egypt that were publishedin two big books...

Amitabh Sengupta - Untitled Oil on Acrylic Board , 12 x 18 inches , 2015 (Unframed & Door Delivered) Born : March 3, 1941, Mysore Bangalore Style : In his Cholamandal years, Vasude...

Original vintage painting of a Lightning Storm, Southwestern Mountain Landcape. Oil painting on textured board by Morton Lawrence Schneider (1919-2000). This large scale semi abstrac...

Ron Gorchov Historic Self Portrait, 1955-1959 Oil painting on board Hand signed in paint on the upper recto and dated 1955-9 Frame included: held in original vintage artist's frame This work was exhibited at the Sager Reeves Gallery in Columbia, Missouri in their Masters Exhibit in December, 2022, and is reproduced as a full page in their exhibition catalogue. A copy of this catalogue accompanies the artwork. In 2019, the year before Ron Gorchov passed away, Stephen Truax, director of Cheim & Read, his then gallery, passed along details of this extraordinary painting to Gorchov's studio to be included in the forthcoming catalogue raisonne. When shown the work, Gorchov remembered it well, but was amazed that the painting was still in existence after so many years. This historic early self-portrait, done over a period of four years, from 1955-1959, starting when he was only 25 years old reveals Gorchov's distinctive and sophisticated sense of color and form. This is one of the artist's earliest works, and very few works by Gorchov from this era ever appear on the market or are known to remain in existence. It should be in any museum or career retrospective. This work was gifted by the artist to Elthea Rembrandt Peale...

Oil on canvas painting from 1946 by Colorado/Woodstock modernist Jenne Magafan (1916-1952) titled 'Deserted Street'. Single figure portrayed in a ghost town with buildings and teleph...

Henry Kallem was born in Philadelphia, Pennsylvania in 1912. His first exposure to art was through his father, artist Morris Kallem. Later Kallem studied art at the National Academy ...