1950s Abstract Paintings

This is an interesting abstract work done with handmade Japanese Kozo or Washi type fiber paper mounted on board. Hand signed and dated in wonderful muted earth tones of fall foliage. Taro Yamamoto (1919 – 1994) belonged to the New York School Abstract Expressionist artists whose artistic innovation by the 1950s had been recognized across the Atlantic, including Paris. New York School Abstract Expressionism, represented by Jackson Pollock, Willem de Kooning, Franz Kline and others became a leading art movement of the post World War II era. He was also associated with Action painting Yamamoto was born in Hollywood, California. He lived in Japan from age six to age nineteen. In 1936 he returned to the USA and began studies in cubism at Los Angeles City College. In 1941 he joined the U.S. Army and served during WWII. After being discharged from the service he returned to California where he studied at the Santa Monica City College. 1950-1952 at The Art Students League of New York, under Yasuo Kuniyoshi, Morris Kantor, Reginald Marsh, Byron Browne and Vaclav Vytlacil; 1951-1953 at the Hans Hofmann School of Fine Arts in New York City. In 1952 he won a John Sloan Fellowship from the Art Students League. The next year he traveled to Europe under a Edward G. MacDowell Traveling Fellowship where he studies in Stuttgart, Germany with Willi Baumeister. He also exhibited at Galerie Huit in Paris. In 1954 Yamamoto was invited to a residency at the MacDowell Colony in Peterborough, New Hampshire. There he worked alongside Stuart Davis, Milton Avery, Willem de Kooning, Jackson Pollock and Mark Rothko developing his unique abstract expressionist style. Later in his life he devoted himself to a more hard-edge geometric style of painting. He married Gwyneth Cotton, a naturalized English woman, in 1955, and they lived in Wellfleet, Massachusetts. They were active at the Universalist Church of Provincetown. (He descended from a long line of Shinto priests) Yamamoto died in Provincetown in 1994. Selected Solo Exhibitions 1953: Galerie Huit, Paris; 1955: The Art Students League of New York, NYC; 1960-1962: Krasner Gallery, NYC; 1963-1964: 371 Gallery, Provincetown, MA; Selected Group Exhibitions 1951: Pennsylvania Academy of Fine Arts; 1952: NY Contemporary Gallery, NYC; 1952, 1955, 1956, 1962: Provincetown Art...

Abstract Moonlit Landscape, signed and dated "Douvos"

Oil on canvas. Framed. Image size, 21H x 40L. Signed on verso.

Sam FRANCIS (1923-1994) THE YELLOW AND WHITE SQUARE Signed, titled and dated 1959 on the reverse Watercolor on paper 11 by 10 in. (27.9 x 25.4 cm.) Executed in 1959 This work is identified with the interim identification number of SF58-133 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. PROVENANCE Zoe Dusanne...

Mid Century Modern Boats and Bridge, Abstracted Maritime Landscape Painting Wonderful mid-century modern abstracted maritime seascape by listed San...

An abstract Mid Century Marina scene with Boats, presenting a vivid use of paint and complex lines and color placement. A strong modernist oil painting depicted in 1955 with sailboat...

Antique American abstract expressionist oil painting. Oil on board. Framed. Image size, 20L x 16H.

Antique American modernist abstract oil painting. Oil on board. Framed. Image size, 5.5L x 7.5H.

Dynamic mid century cyan abstract by Erle Loran (American, 1905-1999). Signed "Erle Loran" and dated "51" lower right. Presented in silver toned metal frame with mat sans glass. Image size: 21.75"H x 15"W. Framed size: 25"H x 18"W. Erle Loran was born in Minneapolis, Minnesota. He studied at the Minneapolis School of Art under the direction of Cameron Booth...

An original oil on board painting by American modernist John W. Hatch. This incredible cubist landscape was created in 1952. Estate stamped and dated on the reverse. Titled, "Nahant Rocks, Lynn, MA " with a partial exhibition label on the reverse. The painting comes housed in a black wood frame presentation. John Woodsum Hatch 1919-1998 During his fifty-year career as an artist, John Woodsum Hatch explored the people, the landscape, and the seascape around him. From his extensive travels to his years in New Hampshire, he developed a body of work that captures a sense of place. Through watercolor, ink and sand, he depicted the grandeur of the White Mountains. The crisp light and distinct topography of the Isles of Shoals and Great Bay Estuary are precisely and clearly documented in acrylic and tempera paintings. His ability to convey the sheer scale and longevity of the mountains and sea, and by comparison the fleeting nature of human life, conveys in a not-so-subtle way that the natural environment is to be revered and preserved. Hatch took his first teaching job at the University of New Hampshire in 1949, the same year he graduated from Yale University. He never left. A former student, Sam Cady, described his contributions: “He was a wonderful mix of jokester and sage. A teacher who obviously loved people, loved teaching, and had a great gift for it.” After retiring in 1985, he was made an honorary Professor Emeritus at UNH. Hatch contributed to New Hampshire's cultural life in three areas: his teaching, his art, and his community service. His effectiveness in these three areas can be traced his commitment to give something of himself to help others. Many artists teach by necessity and resent it as a drain on their creative energies but Hatch found his greatest fulfillment from a combination of teaching, making art, and being deeply involved with his community as an art historian and as an environmentalist. Hatch’s work can be seen in numerous public collections, including: the Addison Gallery of American Art; DeCordova Museum; Pennsylvania Academy of Fine Arts; State of New Hampshire's Living Treasures Collection, and the Portland Museum of Art in Maine. John Woodsum Hatch, New Hampshire's 1997 Living Treasure Award recipient, died on August 6, 1998, at the age of 78. Hatch was a draftsman, an artist and a muralist. His works can be found in public and private collections throughout the region. He exhibited at the New Hampshire Art...

Very finely painted 1940 American modernist portrait painting. Oil on canvas. In excellent original condition. Signed. Handsomely framed in a period giltwood molding. Excellent...

A mid century modernist oil painting. No signature found. Circa 1960. Image size, 48"L x 32"H

Work sold to benefit the CLEVELAND INSTITUTE OF ART Joseph B. O’Sickey (American, 1918–2013) Untitled, c. 1950 Oil on paper Signed lower right 12.5 x 19 inc...

Antique American modernist framed oil painting. Oil on board. No signature found. Framed. Image size, 13L x 12H.

Vintage American modernist interior scene oil painting. Oil on canvas. Signed. Framed. Image size, 30L x 24H. Great color and a nice period modern wood frame. Ready to hang.

Vivid mid century landscape of autumn trees blurring into colorful abstraction by Helen Gleiforst (American, 1903-1997). Presented in a giltwood frame. Image size: 10" H X 8" W. G...

Seascape view of a boat dock. Painting is in a cubist style with neutral tones. The artist uses color and shape to create depth in the painting. Placed in a thick wooden frame. Artis...

Antique American modernist framed oil painting. Oil on board. No signature found. Framed. Image size, 13L x 12H.

An oil painting by George Marshal Cohen from 1960. An abstract expressionist style painting with dark blue tones and bright yellow accents. Figurative representations of female legs ...

Taro Yamamoto, (American, 1919-1994) "La Gatta Miso" Oil or Acrylic/Canvas 32" x 50" Hand signed lower right, dated 1990, Titled on the stretcher verso, unframed. Taro Yamamoto (1919 – 1994) belonged to the New York School Abstract...

Antique American modernist cityscape oil painting. Oil on board. Signed. Framed. Image size, 16L x 11.5H.

Vintage signed American school guitar still life oil painting. Oil on canvas. Signed illegibly. Framed. Image size, 22L x 18H.

Signed verso "F. Kastner" for Fenton Kastner (American, 1915-2008), dated 1955, and titled "Waterfront-IV". Old label verso inscribed with artist's name and title. A dynamic, mid-...

An original modern abstract by American artist James Koenig. This work created in 1954 is featured in the Draw Near exhibition currently on view at Benjaman Gallery.

Abstract Expressionist Bay Area Fauvist Oil on Paper Honora Berg Berkeley 1959 San Francisco Bay area abstract expressionist painting by Honora Berg (American, 1897-1985).A brilliant fauvist example of the bold slashes of colors Honora Berg creates. Splashes of blue over red and green hues with bright canary yellow swirls and patches. Estate stamp on verso "Estate of Honora Berg - Miller Fine Art" Unframed. 30"H x 22"W. Larry Miller 1958-2003, Larry was a specialist in bay area abstract artists and purchased numerous bay area artists estates. He purchased the entirety of the Honora Berg Estate and we purchased many of those works directly form Larry. Honora Berg, an Abstract Expressionist and Bay Area Figurative School artist, studied at the San Francisco Art Institute with David Park, Elmer Bischoff and James Budd Dixon...

Presenting an original oil and sand on canvas by Italian artist Gastone Breddo, "L'Universo.". Born in Italy in 1915, Breddo worked throughout his life as an abstract/futurist art...

An original oil on board painting by American modernist John W. Hatch. This incredible cubist painting was created in the 1950's. Estate stamped on the reverse. The painting com...

Signed lower left, 'Stoltenberg' for Donald Hugo Stoltenberg (American, 1927-2016) and dated 1957. Titled, verso on original artist's label, 'West Side, New York'. Provenance: Mr. & ...

"Florentine Night" is a vibrant abstract oil painting by Edward (Eduardo) Arcenio Chavez (1917-1995), created circa 1951. Signed and titled by the artist on the back of the canvas, t...

Waterline Fine Art, Austin, TX is pleased to present the following work: Oil on canvas. Signed lower right, signed and dated verso. 62.25 x 56.25 in. 64 x 58 in. (framed) Custom framed in a natural cherry wood floater. Provenance Washburn Gallery, New York Behnke Doherty Gallery, Washington Depot, CT Born in 1908 in Chicago, John Opper moved with his family to Cleveland, Ohio, in 1916. In high school, he began studying art and attending classes at the Cleveland Museum of Art. After graduation, he enrolled in the Cleveland School of Art (now Cleveland Institute of Art), only to withdraw after a year and move to Chicago, where he took classes at the Art Institute of Chicago. He eventually returned to Cleveland, enrolling at Western Reserve University (now Case Western Reserve), receiving his bachelor’s degree in 1931. The Depression has taken hold during this period, so Opper found work by teaching metalworking and sketching classes at the Karamu Settlement House, the oldest African American theater in the United States. In 1933, Opper traveled to Gloucester, Massachusetts, eventually connecting with the artist Hans Hofmann, who was teaching at the school run by Ernest Thurn. Hofmann encouraged Opper to work “in a more modern vein and start finding what it’s all about.” Heeding this advice, Opper relocated to New York, co-founding a mail-order club of American and British prints for dissemination to schools and museums. By the mid-1930s, he joined the Works Progress Administration (WPA) Easel Division, and also began attending the 57th Street school that Hans Hofmann had established after leaving the Art Students League. Looking back at his time at the school, Opper felt that beyond Hofmann’s teaching, most advantageous was his contact with fellow artists, including Byron Browne, Rosalind Bengelsdorf, and George McNeil. At the time, he also met Giorgio Cavallon and the sculptor Wilfrid Zogbaum. In 1936, Opper became a founding member of the American Abstract Artists, along with Balcomb and Gertrude Greene. The organization was formed to provide an opportunity for artists to show abstract works at a time when such opportunities were scarce. This led to his first solo show in 1937 at the Artists’ Gallery in New York. During his summer in Gloucester in 1933, Opper came to know Milton Avery. Painting in Avery’s informal studio in New York City the following winter, he became acquainted with Adolph Gottlieb and Mark Rothko. Opper participated in a couple of shows during the 1930s of the American Artists Congress Against War and Fascism, whose president was Stuart Davis. About the same period, Opper joined the Artists’ Union and served as the business manager of its publication, Art Front. During World War II, Opper worked for a ship design company creating drawings for piping systems used in PT boats...

A modern abstract painting by American female New York City artist Irene Zevon titled "Medusa" created in 1960. This painting was born out of Zevon's Flamenco series, but opened u...

Vintage modernist harbor view by Aksel Jorgensen (1883 - 1957). Oil on board, circa 1957. Signed. Displayed in a period frame. Image size, 24"L x ...

A fine mid 20thCentury Modernist/Post Impressionist Landscape circa 1952 oil on canvas 46cmx54cm Good quality silver gilt gallery frame 59cmx68cm Painted by Thure Wahlstrom (1908- ? ...

Vintage American modernist southern school painting. A family portrait on a New Orleans porch. Beautiful detail in the wrought iron. Brilliant color palette here. Signed verso. ...

Bela de Kristo Nature morte, circa 1956 Signed lower right Oil on board 19 5/8 x 11 3/4 inches Provenance: Alexander Kahan Fine Arts, New York Private ...

Richard Anuszkiewicz Old Door, 1953 Watercolor on paper Signed and dated by the artist on the lower right front 20 × 14 inches Unframed This unique and extre...

Signed lower right "Cornin," dated "LVII" for 1957, and titled verso "Uncial." Jon Cornin first studied with Raphael Soyer at New York's Art Student's League and, subsequently, at the Grand Central School of Art. Using the pseudonym, CorKa, he and his wife, Zena Kavin produced cartoons for Saturday Evening Post and the New Yorker from 1941-1952. The Cornins moved to the San Francisco Bay area in 1940 and settled in Oakland. In addition to his career as a painter, Jon Cornin was also a noted teacher, respected theorist of Modernism and the author of 'Painter's Credo: Selected Notes' (Stone House Press, 1985). He exhibited widely and with success and was the recipient of numerous prizes, medals and juried awards. Partial List of Exhibitions: Museum of New Mexico, 1937-39; Oakland Art Gallery, 1939-45; San Francisco Museum of Art, 1938, 1940, 1945; California Watercolor...

Antique American modernist street scene painting. OIl on board. Framed. Signed "Van Zandt 50". Really finely painted and an interesting subject as well!

Charles Green Shaw (American, 1892-1974) By the Dawn's Early Light, 1955 Oil on masonite Signed lower left, dated and titled verso 35.5 x 23.75 inches 38 x 26.25 inches, framed Provenance: The estate of the artist to Charles H. Carpenter Charles Green Shaw, born into a wealthy New York family, began painting when he was in his mid-thirties. A 1914 graduate of Yale, Shaw also completed a year of architectural studies at Columbia University. During the 1920s Shaw enjoyed a successful career as a freelance writer for The New Yorker, Smart Set and Vanity Fair, chronicling the life of the theater and café society. In addition to penning insightful articles, Shaw was a poet, novelist and journalist. In 1927 he began to take a serious interest in art and attended Thomas Hart Benton's class at the Art Students League briefly in New York. He also studied privately with George Luks, who became a good friend. Once he had dedicated himself to non-traditional painting, Shaw's writing ability made him a potent defender of abstract art. After initial study with Benton and Luks, Shaw continued his artistic education in Paris by visiting numerous museums and galleries. From 1930 to 1932 Shaw's paintings evolved from a style imitative of Cubism to one directly inspired by it, though simplified and more purely geometric. Returning to the United States in 1933, Shaw began a series of abstracted cityscapes of skyscrapers he called Manhattan Motifs which evolved into his most famous works, the shaped canvases he called Plastic Polygons. The 1930s were productive years for Shaw. He showed his paintings in numerous group exhibitions, both in New York and abroad, and was also given several one-man exhibitions. Shaw had his first one-man exhibition at the Valentine Dudensing Gallery in New York in 1934, which included 25 Manhattan Motif paintings and 8 abstract works. In the spring of 1935 Shaw was introduced to Albert Gallatin and George L.K. Morris. Gallatin was so impressed with Shaw's work, he broke a policy against solo exhibitions at his museum, the Gallery of Living Art, and offered Shaw an exhibition there. In the summer of 1935 Shaw traveled to Paris with Gallatin and Morris who provided introductions to many great painters. Shaw regularly spent time with John Ferren and Jean Hélion. The following year Gallatin organized an exhibition called Five Contemporary American Concretionists at the Reinhardt Gallery that included Shaw, Ferren, and Morris, Alexander Calder, and Charles Biederman...

Herbert Siebner (1925-2004) was a German-born Canadian painter whose work is characterized by its expressive use of color and texture, and its exploration of themes of war, exile, an...

Stunning and expressive large scale oil painting by mid-century San Francisco artist Louis Earnest Nadalini (American, 1927-1995). Signed "Nadalini" lower right. Unframed. Image size...

Antique French modern painting of a fall forest. Oil on board, circa 1950. Signed. Image size, 15.5L x 9.75H. Housed in a period giltwood f...

Antique American modernist New England barn oil painting. Oil on canvas, circa 1960. Signed illegibly. Image size, 24L x 20H. Framed in a period f...

Genre: Modern Subject: Abstract Medium: Oil Surface: Canvas Country: United States Dimensions: 18" x 24" Dimensions w/Frame: 18.5" x 24.5" Cubist Surrealism, reminescent of the Later Pop Art works of Roy Lichtenstein. Alan Tompkins a prolific artist, he continued to paint into his 100th year and strongly desired one thing: to be remembered for his art. “I’m not a hobbyist, I’m not an educator,” said Tompkins. “I want to be remembered as a painter.” Tompkins produced thousands of paintings, many showing the influence of Cubism and abstract art, during a long and productive career. Tompkins played a pivotal role in the formation of the University of Hartford. He was director of the Hartford Art School in 1957 when it merged with the original Hillyer College and the Hartt College of Music to become the University of Hartford. He served as director until 1969 and then taught art history and visual studies until his retirement in 1974. A graduate of Columbia University...

Bay Area Abstract Expressionist Composition in Oil on Cardboard San Francisco Bay area abstract expressionist composition by Honora Berg (American, 1897-1985). Blue, red, and yellow-green patches swirl around each other, evoking the image of a nebula or body of water with leaves floating on top. The bold colors contrast with each other, creating a strong impression even from a distance. Unsigned, but was acquired with a collection of the artist's work. Estate stamp on verso "Estate of Honora Berg - Miller Fine Art" Unframed. Paper size: 29.75"H x 22"W Larry Miller 1958-2003, Larry was a specialist in bay area abstract artists and purchased numerous bay area artists estates. He purchased the entirety of the Honora Berg Estate and we purchased many of those works directly from Larry. Honora Berg, an Abstract Expressionist and Bay Area Figurative School artist, studied at the San Francisco Art Institute with David Park, Elmer Bischoff and James Budd Dixon...

The work is executed at the heyday of abstract expressionsim in the mid-50s. Colors are saturated and bright. Goldfield (of Goldfield Gallery). Written on the stretcher. Goldfield G...

Antique American modernist abstract oil painting. Oil on canvas, circa 1950. Signed on verso. Displayed in a period frame. Image, 18"L x 20"H.

An original oil on canvas by the noted Scottish artist William Gear. A fabulous painting. One of his best and a seminal work which dates to 1959. Provenance. Douglas Foulis Art Galle...

Antique American modernist signed abstract oil painting. Oil on board. Signed. Framed. Image size, 24L x 20H.

Albert Heckman Untitled, circa 1950 Signed lower right Oil on canvas 21 1/4 x 29 inches Albert Heckman was born in Meadville, Western Pennsylvania, 1893. He went to New York City to try his hand at the art world in 1915 after graduating from high school and landing a job at the Meadville Post Office. In 1917, at the age of 24, Heckman enrolled part-time in Teachers' College, Columbia University's Fine Arts Department to begin his formal art education. He worked as a freelance ceramic and textile designer and occasionally as a lecturer at the Metropolitan Museum of Art. In the early 1920s, at the age of almost 30, he graduated with a Bachelor of Arts degree from Columbia Teachers College. He was especially impacted by his instructor at Columbia, Arthur Wesley Dow. After graduating, he was hired by the Teachers' College as a Fine Arts instructor. He stayed with Columbia Teachers' College until 1929, when he left to attend the Leipzig Institute of Graphic Arts in Leipzig, Germany. Isami Doi (1903-1965), who was born in Hawaii, was arguably his most impressive student at Columbia. Doi is now regarded as one of the most prominent artists hailing from Hawaii. Heckman became an active member and officer of the Keramic Society and Design Guild of New York in the 1920s as part of his early commercial art career. The Society's mission was to share knowledge and showcase textile and ceramic design exhibits. In 1922, Heckman married Florence Hardman, a concert violinist. Mrs. Heckman's concert schedule during the 1920s kept Albert and Florence Heckman apart for a significant portion of the time, but they spent what little time they had together designing and building their Woodstock, New York, summer house and grounds. A small house and an acre of surrounding land on Overlook Mountain, just behind the village of Woodstock, were purchased by Albert and Florence Heckman at the time of their marriage. Their Woodstock home, with its connections, friendships, and memories, became a central part of their lives over the years, even though they had an apartment in New York City. Heckman's main artistic focus shifted to the house on Overlook Mountain and the nearby towns and villages, Kingston, Eddyville, and Glasco. After returning from the Leipzig Institute of Graphic Arts in 1930, Mr. Heckman joined Hunter College as an assistant professor of art. He worked there for almost thirty years, retiring in 1956. Throughout his tenure at Hunter, Mr. Heckman and his spouse spent the summers at their Woodstock residence and the winters in New York City. They were regular and well-known guests at the opera and art galleries in New York. Following his retirement in 1956, the Heckmans settled in Woodstock permanently, with occasional trips to Florida or Europe during the fall and winter. Mr. Heckman's close friends and artistic career were always connected to Woodstock or New York City. He joined the Woodstock art group early on and was greatly influenced by artists like Paul and Caroline Rohland, Emil Ganso, Yasuo Kuniyoshi, Andre Ruellan, and her husband, Jack Taylor. Heckman operated a summer art school in Woodstock for several years in the 1930s with support from Columbia University, where these and other Woodstock artists gave guest lectures. The Potter's Shop in New York City hosted Mr. Heckman's first art show in December 1928. The exhibit received some positive reviews from critics. The American Institute of Graphic Arts chose the plate of "Wehlen, Saxony" as one of the "Fifty Prints of the Year in 1929." There were sixteen etchings displayed. The remaining plates depicted scenes in Saxony, Germany, while five of the plates were based on scenes in Rondout, New York. Heckman started switching from etching to black and white lithography by the early 1930s. A lifelong admirer of Heckman's artwork, Mr. Gustave von Groschwitz organized a significant exhibition of Heckman etchings and lithographs at the Ferargil Gallery in New York City in 1933. The exhibition traveled to the Stendahl Galleries in Los Angeles (May 1933), the Charles Lessler Gallery in Philadelphia (May 1933), J.L. Hudson in Detroit (June 1933), and Gumps in San Francisco (July 1933). Together with his early etchings, the exhibition featured brand-new black and white lithographs depicting scenes in and around Woodstock as well as "A View from Tudor City...

This soft toned abstract expressionist watercolor painting, created by Charles Ragland Bunnell (1897-1968), is an exceptional example of his evolution as an artist. Featuring bold sw...

Genre: Modern Subject: Abstract Medium: Oil Surface: Canvas Country: United States Sabina Teichman: (1905-1983) Studied at Columbia Univ. (BA, MA), also with Charles J. Martin and Arthur J. Young. Exhibits include WMAA, Art USA, 1958, PAAM, Butler Institute Amer. Art, Audubon Artists Ann., Womens Westchester Center. Sabina Teichman's paintings have a touch of fauvist vitality and responsiveness and color. Her Lyrical Paintings convey the great joy of life which is hers. the joy is so profound that it cannot be obtained in traditional art forms and so it has become necessary for Sabina to create new forms to express the euphoria. As the dynamic colors emerge from her luxuriously coated brush, she surrenders to a newly realized adventure in abstract expressionism. A boldness belies he femininity which yields an exciting style and a joyful freshness. Sabina Teichman illuminates the canvas with strokes of color that affect the very soul of the viewer , for she feels that color inspires the inner being of man. Her response to color elation. Dynamic colors emerge from the luxuriously coated brush of this artist, surrendering to her newly realized adventure in abstract impressionism. A boldness belies her femininity which yields an exciting style and a joyful freshness. Sabina Teichman illuminates the canvas with strokes of color that affect the very soul of the viewer, for she knows as did Goethe, that color inspires the inner being of man. Sabina Teichman's own response to color is elation. Widely known as a figurative painter, one reviews her earlier style only to find that all shapes lived within the surrounding of abstract settings which now dominate her most recent paintings. The Vatican Museum's collection of contemporary art has acquired Sabina Teichman's painting The Prophet given in response to an expressed desire of a representative of Pope Paul VI, who said that, to the best of his knowledge, it was the first painting by a living American to become part of the Vatican. Member of Audubon Artists, Provincetown Art Association Argent Galleries, New York, 1947. Salpeter Gallery, New York, 1949, 1952, 1954. Shore Galleries, Boston, 1955. A C A Gallery, New York, 1957, 1960, 1963, 1969. A C A Gallery, Rome, 1965. Orpheus...

Vintage modernist abstract painting by Suzanne McCullough (b.1916). Oil on canvas. Housed in a period frame. Image size, 24L x ...

Vintage abstract composition by John W. Hatch (1919 - 1998, American). Exhibited work with a tag lower left. Gouache and watercolor on paper. Signed. Framed.

Very impressive modernist still life by Miguel Guzman. Oil on canvas. Nicely framed. Great color and composition.

Painted by Victor di Gesu (American, 1914-1988) circa 1955, and with Di Gesu estate stamp verso. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art C...

Irene Rice Pereira Composition with Figure, 1951 Inscribed, signed and dated Salford/Pereira 2/51 (lr); inscribed I Rice Pereira/2669 Great Clowes St/Sa...

Antique English modernist landscape oil painting by Phillip Castle (Born 1943). Oil on canvas. Framed. Signed verso.