Oil Abstract Paintings

French Cubist artist, circa 1960’s signed oil painting on canvas, framed framed: 27 x 22 inches canvas: 26 x 21 inches provenance: private collection, France condition: overall good...

Tristan Fabris 1953, French Surrealist artist Abstract Surrealist Figurative study oil on canvas, framed inscribed verso framed: 32 x 24 inches canvas: 31 x 24 inches private collect...

A prime example of European Lyrical Abstraction with vibrant, rich, high-keyed colors

This incredible post-cubist and colorist still life oil on board painting was designed by A. Rigollot (France, 20th Century). Colorist paintings are characterized by intense color us...

Work on canvas Golden wooden frame 63 x 72 x 5 cm

French Surrealist artist, circa 1960’s oil painting on canvas with stuck on magazine art, unframed canvas: 15 x 18 inches provenance: private collection, Paris condition: overall good

French expressionist artist, circa 1960’s Circle of Bernard Buffet oil painting on board, framed framed: 37.5 x 31 inches board: 32 x 25.5 inches provenance: private collection, Fran...

A wonderful work by the elusive Salvadoran Mauricio Aguilar which is sculptural as well as pictorial. As I hope the video will show, the artwork offers new perpectives when viewed fr...

'Portrait of a Reposing Cat', oil on board, by F. DuParc (circa 1960s). A thoroughly modern depiction of a colourful, contented feline most likely inspired by Italian Futurist, Fortunato Depero (1892-1960). Futurism corresponded to Cubism sharing several elements including faceted or segmented shapes. Cubism however, was generally static and more subdued whereas Futurism was bright and dynamic embracing technology, mechanisation, power and energy. In this work, the vibrant colours and serene look on the subject transmit a sense of optimism - life is good...

Budd Hopkins was part of New York’s initial wave of abstract expressionists which included Mark Rothko, Robert Motherwell, and Jackson Pollock, among others. Hopkins’ hard-edged pain...

From the estate of the artist William Littlefield Seymour Franks 1916-1981 American painter and designer, Seymour Franks, was born in New York City in 1916.He studied at the National Academy of Design. Franks, exhibited at: the Pennsylvania Academy of Fine Art in1944, 1954; The Whitney Museum of American Art, from 1946-48, 1950, 1952; the Brooklyn Museum, 1949, 1951; Art Institute of Chicago in 1947; Peridot Gallery, 1948, 1950-55; University of Nebraska, 1951; and had a solo show at the University of Illinois in 1952. Established in 1948 on N.Y.’s thriving 9th ST., the Peridot Gallery was an early supporter of American avant-garde art. It staged both Louise Bourgeois & Philip Guston’s first one-person shows as well as the American premiere exhibition of Medardo Rosso...

Frederick Conway (1900-1973) was a painter, educator, and lecturer. From 1929 to 1970, Conway was a member of the faculty of the Washington University Art School. When Max Beckmann was in residence at Washington University, he and Conway became close associates. Conway was one of the first to realize the importance and seriousness of Beckmann's teaching. In 1949, Beckmann painted Conway's portrait. Conway was born in Saint Louis, Missouri, and studied at the Saint Louis School of Fine Arts and in Paris at the Academie Julian, the Academy Moderne, and the Academy Grande Chaumiere. He painted murals for the WPA (Works Progress Administration...

Original oil on canvas painting by the well known abstract expressionist artist, John Little. Signed lower right. Signed and dated 1965 on top stretcher bar verso. Betty Parsons Ga...

Introducing a beautifully gripping post-war oil painting by British artist Joseph Duncan. Within this intense expressionistic work, the powerful use of c...

An extra-large abstract composition that invigorates the bystander with its powerful color play. This oil painting is a typical mid-century modern abstract oil painting that is full ...

Gray Area Benjamin Benno, American (1901–1980) Date: circa 1960 Oil on Burlap, signed Size: 18 x 15 in. (45.72 x 38.1 cm) Frame Size: 23.5 x 20 inches

Circa 1968 abstract oil and crayon on board by artist Margo Hoff (1910-2008), estate stamped verso. Abstracted cliff scene painted in shades of red, pink...

Signed lower right, 'V. Wicht' for John Von Wicht (German-American, 1888-1970) and painted circa 1965. Born in Germany, this abstract expressionist painter, muralist, printmaker, mo...

Bold San Francisco Abstracted Still Life Composition in Oil on Board Bold still life composition by Frank Koci (Czech-American, 1904-1983). A table is set with a jug of wine and a bowl of fruit and a landscape in the background. It is composed of several layers of paint, with bold outlines. In some areas, paint has been scraped away to create additional texture. In broad terms, you can describe Koci’s paintings as a series of “people-scapes,” wherein people are shown having relationships (some fleeting, some enduring) with fellow humans. A better term is probably “preludes” — wherein each painting sets the stage for something momentous that will occur in the very next frame. In the best Kocis, the tension is palpable. Signed in the lower right corner "Koci". Presented in a wood frame. Board size: 13"H x 30"W x .5"D Born in 1904 in Pilsen Czechoslovakia to a widowed mother. Koci grew up in poverty. Leaving Pilsen at 17 he was already too sophisticated about arts and literature, drama, and polished...

Antique American modernist abstract oil painting. Oil on canvas, circa 1950. Signed. Image size 46L x 36H. Framing is available!

Antique American modernist abstract signed oil painting. Oil on canvas. Signed. Framed.

Antique American modernist cityscape painting by Kamil Kubik. Oil on canvas. Unsigned. Unframed. Image size, 30L x 24H.

Genre: Contemporary Subject: Abstract Medium: Oil Surface: Canvas Country: Italy Dimensions: 19 3/4" x 15 1/2" x 3/4" Dimensions w/Frame: 26" x 22" Giordano Falzoni (Italian, 1925-...

Joseph Kapeza was a Congolese artist working in Sub Saharan Africa in the mid 20th century. Kapeza had a long and troubled life of mental illness. He sta...

Artist: Ruben Poblano – Mexican (20th century ) Title: Astronomo Year: 1968 Medium: Mixed Media on canvas Canvas size: 31.5 x 47.5 inches. Framed size: ...

This black and red abstract oil painting features red and orange splashes of paint overlaid on a black background. The vivacity and life force evoked by the artwork makes it a captiv...

Frederick Conway (1900-1973) was a painter, educator, and lecturer. From 1929 to 1970, Conway was a member of the faculty of the Washington University...

Oil on canvas. Signed and dated lower right and verso, titled verso. 39.25 x 31.75 in. 40.25 x 32.75 in. (framed) Custom framed in maple. Philippe Hosiasson was born and grew up i...

'Abstract Composition', oil on board (circa 1960s), by Edgar Stoëbel (1909-2001). In his very original style, artist Stoëbel's abstract image seems to form a human torso with the lively colours of a modernist work. The image has a pop art quality to it and was created just as that movement was emerging. Pop art challenged traditional painting by embracing colourful images from advertising, popular culture, comic books and mundane objects from everyday life. This artwork has a powerful intensity of tone and colour having somewhat faded with time. It speaks to Stoëbel's very distinctive style which remains completely approachable and appealing. In fact, this is not pop art. This is part of the post-war concrete abstract movement, or Constructive Art...

Oil on masonite. Signed lower right and on verso. 30 x 24 in. 31 x 25 in. (framed) Custom framed in maple. Louis Leon Ribak was born in the Russian empirical governorate of Grodno in 1902. A long-disputed region that is ethnically Lithuanian, at present day, Grodno is located in the western reaches of the Republic of Belarus, near the borders with Poland and Lithuania. At the age of ten, Ribak and his family immigrated to New York City. In 1922, he attended the Pennsylvania Academy of Fine Arts, followed by studies at the Art Students League (1923) and the Educational Alliance (1924). Ribak’s oeuvre can be largely delineated between two stylistic phases: social realism and abstraction, the former taking hold during the 1930s and 40s. During that period, he had several solo exhibitions at the A.C.A. Gallery in New York, while also regularly exhibiting with “An American Group Inc.” - a cohort of socially-conscious painters that included Stuart Davis, Reginald Marsh, Maurice Sterne, and Raphael Soyer. In 1933, Ribak assisted Diego Rivera on the mural for the lobby of Rockefeller Center, while also being employed by the Works Progress Administration (WPA) as a muralist. Louis Ribak met fellow artist Beatrice Mandelman at a dance sponsored by the Artists Union in New York. They were married in 1942, and shortly thereafter, he was drafted for military service in World War II. After his discharge from the service in 1942 due to difficulties with asthma, Mandelman and Ribak traveled west to visit his former mentor John Sloan in Santa Fe, NM. By this time, the couple had become disenchanted with the art scene in New York, and in light of the need to find a healthier climate for Ribak’s asthma - as well as reputed FBI surveillance based on political affiliations with Communist sympathizers - they decided to permanently relocate to the emerging artists’ colony of Taos, NM in 1944. This change of scenery ushered in the second phase of Ribak’s stylistic career, with his work shifting from social realism toward abstraction. He was captivated by the landscape and the diverse cultures of northern New Mexico, the influences of which began to appear in his work. Ribak founded the Taos Valley Art School in 1947, offering no ideology to his students; instead arguing that the adoption of a single approach would lead to academicism. Ribak was an integral force in the development of the Taos Moderns...

Grillo's works are valued for their golden luminosity and lush brushwork that is comparable to earlier masterful painters such as J.M.W. Turner or Peter Paul Rubens. Filled with a ly...

'Still Life on Black Background, oil on canvas (circa 1960s), by Edgar Stoëbel (1909-2001). In his inimitable style, artist Stoëbel's abstract still life with black background is a lively and colourful modernist work. This artwork has a powerful intensity of tone and colour which speaks to Stoëbel's very distinctive style but remains completely approachable and appealing. This is part of the post-war concrete abstract movement, or Constructive Art...

"One of Pinajian's early works, 'Overlook Mountain, Woodstock, 1974' is a vibrant depiction of the Woodstock mountains. The abstract composition was create...

1968 Oil on canvas, signed and dated « Mathieu 68 » lower right and titled « Sator » on the stretcher. The artwork is accompanied by a certificate by the Association “Archives Jean-M...

Work on canvas Silver wooden frame 46 x 50.5 x 5 cm

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

'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...

signed, inscribed and dated 'Frost. April - Sept 66 Red Blue White.' (on the canvas overlap)

Oil on canvas. Signed and dated lower left. 36.25 x 30.25 in. 38.5 x 32.5 in. (framed) Custom hardwood frame with dark stain. FredEric’s Frame Studio, Chicago. Provenance McCormick Gallery, Chicago Born in Alabama, John Little attended the Buffalo (NY) Fine Arts Academy as a teenager, until 1927. Soon after, he moved to New York where he began operatic vocal training and opened what would become a very successful textile business designing fabric and wallpaper. In 1933, he enrolled at the Art Students League under the tutelage of George Grosz. Little’s early work consisted predominantly of landscapes, until 1937, when he began studying under Hans Hofmann and his work naturally shifted toward abstraction. During his time with Hofmann, he with artists such as Lee Krasner, George McNeil, Gerome Kamrowski, Giorgio Cavallon...

Bernard Segal was born in Cincinnati, Ohio and attended Cincinnati University and the Cincinnati Art Academy. He was known for figure, abstract painting, collage, and cartoon illustration. In the 1920's and 30's, he lived in NYC and attended The Art Students League where he was creative with a number of artistic styles of the period. During WWII, he worked as a cartoonist for a government issued newspaper called 10-SHUN that was published in Greensboro, NC. Bernard worked under the pen name Seeg, and was the author of the comic strip "Hank and Honey," that appeared in the New York Herald Tribune from the 1940's through the 50's. This cartoon was syndicated and published in Quebec under the title "Louise et Louis." The strip was later retitled to Ellsworth. Segal also illustrated a number of Jewish books that were published by the Union of American Hebrew Congregations, and Bible stories. In the 1950's Segal moved to Bucks County, Pennsylvania, and became a member of the New Hope Modernists. He worked with esteemed artists such as George Nakashima, Charles Evans, Louis Stone, Lloyd ney, josef Zenk, Clarence Carter and Charles Ramsey. Segal's most noted work was made during the 1960's, during which time he produced paintings and collages in the abstract expressionist style. He enjoyed painting bright abstract oil...

"Spring Thaw" by Modernist painter, Stanley Bate is a textured and energetic abstract painting, created in the early 1960s. Bate, who was inspired by his Abstract Expressionist peers...

Oil on canvas. Signed and titled verso. 40.25 x 56.25 in. 40.75 x 56.75 in. (framed) Custom framed in a whitewashed cherry closed-corner frame. Aaron Levy was born in New York Cit...

Art critic Hilton Kramer called the Greek-American artist Aristodimos Kaldi's paintings "beautifully executed landscapes in a lyric mode. . . all delicacy and nuance and romance. . . " Kaldis was a New York School painter...

Oil on canvas. Signed, dated, and titled verso. 46.5 x 36 in. 47.5 x 37 in. (framed) Custom framed in a maple floater. Charles Strong, who was born in Greeley, Colorado on Christmas Day in 1938, was one of the youngest artists of the San Francisco School of Abstract Expressionism. He was a colleague of vanguard artists such as Elmer Bischoff, Richard Diebenkorn, Jack Jefferson...

Oil on canvas. Signed and dated lower left, inscribed label verso. 59.25 x 55.25 in. 61 x 57 in. (framed) Custom framed in a wooden double tray frame, hand-painted white. Provenance Galerie Lovers of Fine Art, Gstaad, Switzerland This work has been recorded under no. 1531 in the digital Catalogue Raisonné of the artist, prepared by Michel Reymondin, Montreux, Switzerland. Carl Walter Liner was born in the Swiss canton of Appenzell, near the border with Liechtenstein, in 1914. The son of famed artist Carl August Liner, the younger Liner enjoyed more critical and commercial renown for his landscapes. In 1938 at the age of 24, he undertook what would become the first of several residencies in Paris. This particular sojourn helped to establish the trajectory of his career, as Paris would provide the setting in which he became acquainted with early twentieth century masters Maurice de Vlaminck, Georges Braque, Ossip Zadkine, Gérard Schneider, and Erich Heckel. The stylistic and technical influence of his contemporaries is clearly evident in Liner’s work from this point forward. Unfortunately, the dawn of the 1940s would bring about a number of challenges for Liner. With the outbreak of war, Liner was mobilized for the Swiss Border Guard, and returned home to Switzerland in 1939. He remained on active duty until 1945, only to lose his father the following year. The death of the elder Liner left a profound impact on his son, who eventually made his way back to Paris in 1947 and embarked upon what would become a very successful series of nudes. By his own admission, 1948 was a pivotal year in Liner’s career, as a particularly spiritual trip to Algeria would foment the emotions led to the beginning of his practice with abstraction. Henceforth, Liner would vacillate between the figurative and abstract, creating parallel oeuvres. His abstraction from the 1950s and 60s mirrored...

Vintage American School cat portrait painting. Cubist / Precisionist style Oil on canvas. Unsigned. Framed. Image size, 29.25 by 23.25H.

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...

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

Black,Red,Abstrat,Picasso, Dora Maar is the pseudonym of Henrietta Theodora Markovitch (Paris 1907 - 1997). Shrouded in the monumental shadow of Picasso, she has long been - and redu...

Wonderful mid century abstract expressionist landscape of bridge over water cityscape, circa 1960. Illegible signature lower left ("Aioli"?). Conditi...

The story of the post-WWII New York School artists is still being written. The role of women in the art of the day still needs examination and study. Kurz is one such example. Diana Kurz (b. 1938) was born into a wealthy Austrian-Jewish family whose business was Aryanized after the Anschluss forcing the family to flee, first to Spain, then across Europe, and finally to the United States. Brought up as a "normal" American girl, Kurz always wanted to be an artist. She studied at Brandeis, at Hunter with Robert Motherwell and received her MFA from Columbia. She received instruction from Hans Hoffmann, studied with Phillip Guston and Phillip Pearlstein...

Abstract Landscape is an original modern artwork realized by Enzo Brunori between 1962-1963. Mixed colored oil painting. Hand signed and dated on the lower margin. Good conditions...

Still Life is a contemporary artwork realized by Mario Asnago. Hand signed on the lower margin Mixed colored oil painting on canvas. Includes frame Mario Asnago: A renewed archit...

This Modern Abstract Expressionist painting by Stanley Bate is made with oil paint on canvas. It features a muted, earth-toned palette with contrasting warm yellow, orange, and red accents throughout. The painting is framed in a floater frame with gold face and black sides. It is 22" x 36" and measures 24" x 38" x 2" framed. This painting is not signed by the artist, but has been authenticated by his estate. It is stamped with the estate seal on the back of the painting, and on the back of the frame. 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...

Untitled (43) Hanna Eshel, Israeli (1926) Date: 1965 Oil and Assemblage on Burlap, signed and dated verso Size: 39 x 31 in. (99.06 x 78.74 cm) Frame Size: 45 x 37 inches

Abstract, oil, watercolor, ink & pencil on paper by important Italian artist, Gastone Novelli. Signed & dated lower right "Novelli 68" Provenance: MILAN ART, Via Zara 18, Milano Fra...

Antique American modernist abstract oil painting by Christine Opolus. Oil on canvas, circa 1950. Signed. Image size 35L x 45H. Housed in a period ...

Roger Lersy, French (1920 - 2004) Oil on canvas Signed, R. Lersy, dated 1961 lower right Measuring 35 X 31 Matted and framed. sight 26 X 21.5 Roger Lersy was born in Paris, France 1920, in the rough neighborhood surrounding Place Pigalle. His youth was marked by extreme poverty. Lersy studied art and music at the École des Arts Apppliqués. He was a painter, lithographer and musician-composer He belongs to the École de Paris and was a member in the movement of the Young Painting. By 1946, when he first exhibited in Paris, Lersy became one of the founders of the School of Paris’ New Graphic School. Lersy received the Prix des Amateurs d’Art in 1953, the Shell Prize in 1954 and the Grand Prize of the City of Marseilles in 1953. Lersy could be defined as a Baroque expressionist. For Bernard Dorival, Roger Lersy is along with Gabriel Dauchot, Jean Commère and Raymond Guerrier among "the most noted champions of this expressionism which is part of the continuation of Bernard Buffet's miserabilism". Famous works: New Year's Eve , Aubusson tapestry of the Manufacture des Gobelins , Permanent Mission of France to the United Nations , One Dag Hammarskjöld Plaza , New York . Venice , bridges , watercolor, 1963 (theme of the Roger Lersy exhibition, Chicago). The poppy , original lithograph, Imprimerie Bellini, 1978, collection of the Cabinet des estampes , BNF . Still life at the pedestal table , oil on canvas, Jonzac town hall. Lohengrin , oil on canvas, Versailles Administrative Court of Appeal. Portrait of the painter Tony Agostini , drawing. Series Eiffel Tower. Stained glass: Saint-Laurent Church, Longlaville ( Meurthe-et-Moselle ), 29 stained glass windows. Musical works: Stained glasses for clarinet , saxophone, cello and percussion , creation in the church of Longlaville, 1972. Three pieces for two waves Martenot : 1. Scum of dream, 2. Scare and jubilation. Malicious connivance, sheet music Editions A. Leduc, Paris, 1979. Work for trumpet and piano , published by Éditions G. Billaudot, Paris, 1984. Five pieces for piano , scores published by G. Billaudot, Paris, 1989. Five preludes for piano and alto saxophone , scores at Éditions Combre, premiere at Flâneries musicales de Reims , 1993. In memory of Chagall , piece for flute and percussion , recording of Duo Hyksos (Henri Tournier, flute and Michel Gastaud, percussion) in 1995. Preface in black and yellow for horn and piano , score at Éditions Combre, Arc-en-ciel collection, 2000. Soundtracks: Diatomées Note 4 , 19 , film by Jean Painlevé...