1950s Abstract Paintings

Antique American modernist abstract oil painting. Oil on canvas. No signature found. Framing is available.

Watercolor painting on paper by Roger Lersy (France - 1920 - 2004). Stunning abstract cubist composition with a colorful design from the "Telstar" series executed by the artist in Paris in the 1950s. The signature on the bottom right corner reads R. Lersy. The watercolor was newly reframed in an elegant wood frame with navy blue PU leather wrapping, beige jute matte, and acrylic glass protection. Measurements: With frame: 33.50 in. wide (83.50 cm) x 17 in. high (43.25 cm). Opening view: 25.20 in. wide (64 cm) x 8.66 in. (22 cm). About: Roger Lersy is a French painter, lithographer, and composer, born in Paris on April 2, 1920, and died in Orsay on June 22, 2004. He belongs to the School of Paris and the Young Painting movement. Roger Lersy was born in the 18th arrondissement of Paris on April 2, 1920. Studying the piano from his earliest childhood, likewise beginning to draw on his father's lap, Roger Lersy, son of a decorator, enters after his schooling and for three years at the École supérieure des arts appliqués Duperré in Paris. He lives at 19 rue du Faubourg-Saint-Antoine and begins to paint. He also worked as a decorator and pursued higher musical studies, in parallel with Noël Gallon, between 1950 and 1954. After 1954, the year when galleries, both in Paris and abroad, began to exhibit him regularly, he practiced painting (canvases, watercolors, tapestry cartoons) and music. From 1961 to 1968, Lersy lived in the United States. In 1970, he went on to solo exhibitions in Paris, London, Geneva, Houston, Los Angeles, and New York. Roger Lersy was initiated into the first degree of Freemasonry in the Ancient and Accepted Scottish Rite in 1979 at the Loge du Grand Val in the Paris region and later at the Grande Loge de France. Leading two careers at the same time, Roger Lersy has left paintings that present themselves as so many rhythms and tremors. In his paintings, the motif develops along a melancholy line with well-concerted chords, pauses, and cadences. One could define Lersy as a baroque expressionist. For Bernard Dorival, Roger Lersy is, along with Gabriel Dauchot, Jean Commère...

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...

Abstract Non Objective Mid 20th Century American Modern Color Field 1950s James Daugherty (1887 – 1974) Abstraction 84-1/2 x 42-1/2 inches Signed and ...

At the height of Abstraction Expressionism, overlooked Academic Artist John Atherton created a wonderfully complex painting that embodies many of the characteristics of what was going on in Mid-Century American Art. The work is simultaneously abstract as it is representational. Like a Bento Box, it's divided into sections by dividers. On close inspection, each section stands on it's own as a beautiful mini-painting yet coalesces as part of the whole. From a distance, it is eye-pleasing, but as the view gets closer and closer, new structures and details gloriously reveal themselves. This is an important painting and not unlike the work of Joaquín Torres-García. It was done in the last year of the artist's life. Signed lower right. Canvas is relined. Framed size: 30 x 41.25. The work is best viewed with top gallery lights to bring out color. Atherton exhibited at the famous Julien Levy Gallery in New York and his fine art is mainly associated with Magic Realism. He participated in the seminal 1943 Museum of Modern Art exhibition, American Realists and Magic Realists. The Museum of Modern Art has 4 Atherton paintings in its collection. As an Illustrator, Atherton did covers for the Saturday Evening Post, Fortune and Holiday Magazine...

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...

Richard Andres (American, 1927-2013) White & Yellow, c. 1953 oil on canvas signed lower right, signed and titled verso 30 x 20 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller...

Icy Winter Size: 44 x 52 cm (including frame) Oil on canvas A beautifully ethereal mid century modernist winter landscape scene, painted in oil onto canvas. This semi abstract land...

Antique American abstract expressionist oil painting. Oil on canvas. Signed in monogram. Framing is available!

Oil on board. Signed and dated lower right and verso, titled verso. 36.25 x 48 in. 40.5 x 52.25 in. (framed) Framed in contemporary silver, tiered floater frame. Dennis Eugene Norman Burton was a Canadian modernist who was born in Lethbridge, Ontario. He attended the Ontario College of Art from 1952 to 1956, and worked for the Canadian Broadcasting Corporation (CBC) as a graphic designer until 1960. Inspired by a 1955 exhibition of the “Painters Eleven” at Toronto’s Hart House, as well as American Abstract Expressionist artists such as Robert Motherwell, Jack Tworkov, and Willem de Kooning, Burton shifted his focus toward abstraction in the mid-1950s. Burton showed with the famed Isaacs Gallery in Toronto, becoming one of the youngest members on the gallery’s roster. A talented musician, he also played saxophone in the Artist’s Jazz Band in Toronto - a pioneering Canadian free-jazz group...

Antique American modernist seascape signed oil painting. Oil on canvas. Signed on verso. Framed. Image size, 30L x 15H.

Never afraid of trying new styles, curious and opinionated, constantly engaged with the world around him, Rolph Scarlett more than once proved to be at the artistic zeitgeist in a career that stretched for more than 75 years. Born in 1889, Scarlett had his first retrospective by 1928. He subscribed fully to the modernist credo. Interviewed at the time, he said: "If a futuristic painting brings the casual gallery patron to an abrupt stop and forces him to spend five minutes in front of the painting, then the ends of modernism have been served," A major proponent of non-objective painting, Scarlett's career and artistic philosophy is closely linked with the early history of the Solomon R. Guggenheim Museum in New York. His work, along with that of Kandinsky, Klee, and German artist Rudolph Bauer...

This monochromatic, black-and-white abstract painting plays a constant game between forms and shadows. For the painter, his artworks are a pure contrast between the visible and the invisible. Dark gestural lines decorate the background and contrast against a disappearing white background with subtle details of grey. Organic patterns appear in the black line work, creating an ethereal use of depth and space. The foreground contains multiple uncanny shapes feeding an overall fantasy yet gloomy atmosphere. The title of the artwork is "Phase 2...

View of a Port "59" French Modernist School Oil on canvas Illegibly signed. l.r., dated "59" 28 3/4 x 23 3/4 (30 x 25 frame) inches A positively brilliant, Modernist view of a French port...

Vintage 1950s original signed abstract painting of New York City by Charles Ragland Bunnell from 1951, cityscape mid century modern skyline. Presented in a custom black frame, outer dimensions measure 21 ⅜ x 26 ⅜ x 2 inches. Image size is 19 x 24 inches. Painting is clean and in very good vintage condition - please contact us for a complete condition report. Expedited and international shipping is available - please contact us for a quote. About the artist: Charles Bunnell developed a love for art at a very young age. As a child in Kansas City, Missouri, he spent much of his time drawing. When he was unable to find paper he drew on walls and in the margins of textbooks for which he was often fined. Around 1915, Bunnell moved with his family to Colorado Springs, Colorado. He served in World War I and later used his GI Training to study at the Broadmoor Art Academy (later renamed the Colorado Springs Fine Arts Center) during 1922 and 1923. In 1922, he married fellow student, Laura Palmer...

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...

Wonderful abstract expressionist painting of guitarist painted by Norman Rubington (American, 1921 - 1991) while in Rome, 1952. Signed lower left and on verso. Dated "11 - 52, Roma" ...

The Mid-Century mindset As expected, 65 years ago.. people looked at art/painting a little differently. Back then, many artists were concerned with depicting simple and beautiful t...

Provenance: Martha Jackson Gallery, NY; Anderson Gallery, Buffalo, NY. In a career that spanned nearly six decades and combined aspects of Abstract Expressionism and Color Field painting, Mr. Opper became known for vibrantly colored paintings in which soft, cloudlike forms, or elongated plinths jostled gently against each other. By American standards an early convert...

Untitled (Fruit, Leaves, Spotted Cloth) oil on canvas painting signed by Bernard Arnest (1917-1986) from 1959. Abstracted still life featuring fruit and leaves on a purple/grey background. Presented in a custom frame measuring 43 x 36 ¾ inches, image size measures 40 x 34 inches. Expedited and International shipping is available - please contact us for a quote. About the Artist: A Denver native, Arnest studied with Helen Perry at East High School who is accredited to having identified many of Colorado’s talented artists. At Perry’s recommendation Arnest benefited from supplemental instruction at the newly founded Kirkland School of Art and at the School of Fine Art and Design operated by Colorado artist Frank Mechau. Following graduation from East, Arnest enrolled at the Broadmoor Art Academy in Colorado Springs, where he studied with Boardman Robinson and Henry Varnum Poor. In 1940 Arnest was awarded the Guggenheim Fellowship in painting which he spent in San Francisco. That same year San Francisco Museum of Art had a one-man show for Arnest, the first of many in his professional career. Other exhibitions included the Whitney Museum, Corcoran Gallery of Art, National Academy of Design, Carnegie Museum of Art and the Minneapolis Institute of Art. After the war he worked for two years in New York City and began a thirty-nine-year affiliation with Kraushaar Galleries who also showed the likes of George Luks, John Sloan, Maurice...

Antique American modernist oil painting by Victor De Pauw (1902 - 1971). Oil on board, circa 1950. Framing available. Image size, 24L x 27H. Signed.

1950s abstract oil on canvas painting by Henriette "Yetti" Stolz from 1956. Completed in shades of brown, white, black, and gray. Signed by the artist in the lower right corner. Presented in a vintage frame measuring 42 ¾ x 16 ¾ inches. Image size measures 42 ¼ x 16 ¼ inches. Provenance: Estate of the Artist, Henriette "Yetti" Stolz Painting is in good condition - please contact us for a detailed condition report. About the Artist: Henriette “Yetti” Stolz was born in Serbia in 1935 ( and is still living ). Her family emigrated to Denver, Colorado, in the early 1950s after WWII and she attended East High School before studying art at Colorado College, in Colorado Springs in the mid to late 50s. While there studying she would have been exposed to modernist artists working both at the college ( ie. Mary...

Antique American abstract cubist composition "Terra Firma Theme 10" by Augustus Goertz (Born 1948) . Oil on canvas, circa 1958. Housed in a period gi...

mixed media on paper Signed in blue, lower right 18.25 x 25 inches; 27 x 33.375 framed Provenance: Private Collection, Denver, CO

Antique American modernist oil painting. Oil on board, circa 1950. Housed in a vintage frame. Image size, 16L x 11H. Signed.

Pink,red,white,yellow, 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...

Tempura and ink on heavy paper Signed bottom right, Numbered on verso "No. 18" 8.75 x 19.75 inches; 18.5 x 29.5 inches framed Provenance: Private collection, Denver, Colorado

Radiant Relections. Abstract Non-Objective 1950s Oil Mid 20th Century American Woman Female Artist. Signed lower right. Provenance: Estate of Foy C. Casper, Norfolk, Virginia (a close personal friend of the artist and a former director of the Irene Rice-Pereira Foundation). Sothebys American art sale October 10, 2008. The canvas measures 50 x 40. The work has been restored, relined and is housed in its original frame, made by the artist's second husband, George Wellington Brown, a marine engineer from Boston. BIO Periera was an American abstract artist, poet, and philosopher who played a significant role in the development of modernism in America. She is known for her work in the Geometric abstraction, Abstract expressionist, and lyrical abstraction genres and her use of the principles of the Bauhaus school. She helped found the Federal Art Project...

Green, Yellow, abstract, Picasso, Atelier stamp lower right Dora Maar, original name Henrietta Theodora Markovitch (Marković), (born November 22, 1907, Paris, France—died July 16, 1997, Paris), French photographer and Surrealist artist whose career and accomplishments were overshadowed during her lifetime by the details of her affair with Pablo Picasso. Her work was resurrected and reexamined more thoughtfully after her death. Maar and Picasso began a love affair in 1936. She photographed him often, and her pictures of him creating his epic work Guernica became important visual documents related to that painting. Throughout their relationship, Picasso painted Maar numerous times (e.g., Dora Maar Seated [1937]; Weeping Woman...

Blue and green-toned modern abstract figurative portrait painting by Houston, TX artist David Adickes. The work features two men figures standing side by s...

Antique American modernist oil painting. Oil on board, circa 1950. Housed in a vintage frame. Image size, 24L x 18H. Signed.

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, "Naha...

Vintage American modernist oil painting by Morris M. Shulman (1912 - 1978). Oil on board, circa 1955. Housed in a vintage frame. Signed. Image size, 28 by 20.

20 x 30 inches; 22.125 x 32.0625 inches framed Provenance: Private collection, Denver, CO Exhibition History: Exhibition label on stretcher, "Elmhurst Art Museum, Hugo Weber, Septemb...

Signed lower right "Sander" 19.5 x 23.5 inches; 23.5 x 25.125 inches framed Provenance: Private collection, Denver

Wonderful mid century modern mixed media abstracted Northern California landscape by Hilda Davidson Kaster (American, 1912-2008), circa 1950. The artist uses layers of mixed media earthtones and natural textures such as leaves and bark to create the aesthetic of the deep forest of Sebastopol, California. Signed lower left corner, on verso with exhibition and gallery labels. Presented in rustic wooden frame of period (fair condition), Image size: 18"H x 24"W. Hilda Davidson Kaster was born in Oakland, California in 1912 to Russian Jewish immigrant parents. She went to New York in the early 1930s to study art. At the Traphagen School of Design, she was a student of Moses Soyer and William Gropper, who were founders of the Ashcan School. Later in the 1930s she worked as a commercial artist and designer for I. Miller Shoes...

Bike Race; On the Line Bosco #46 Pierre Bosco (Italy/France, 1909-1993) 1950s Oil on canvas 25 x 13 inches, frame size “The savage art of Bosco bears its ru...

Beni E. Kosh/Charles Elmer Harris (American, 1917-1993) Meditation on African Sculpture, 1957 Oil on found wood panel Signed and dated lower left 20 x 15 inches Charles Elmer Harris...

Print color etching on heavy paper Signed, titled, dated on mat 18 x 11 inches; 20.5 x 17 inches framed Provenance: Private collection, Denver, Colorado

Abstract Landscape is an original contemporary artwork realized by Maria Asnago. Signed in the bottom right. Hand signed on the back. Mario Asnago. A renewed architect and painte...

Professor George De Goya. PhD. MA. FRSA. Born In Budapest, 1915-1992, related to the Spanish artist Goya on his mother’s side. Educated in Budapest and France where he received a de...

Abstract painting in blue, pink, yellow, green, and black by Paul Kauvar Smith (1893-1977). Oil on board. Presented in a custom frame, outer dimensions measure 29 ½ x 23 ¾ x 2 inche...

Antique American modernist abstract painting. Oil on board, circa 1950. Unsigned. Image size 20L x 10H. Housed in a period modern frame.

Original 1958 mid-century modern oil painting by Charles Bunnell (1897-1968), abstract expressionist composition in colors of Yellow, Blue, Teal, Green, Gray, Orange, Red & White, signed and dated lower right. Presented in a vintage gold tone frame, outer dimensions measure 34 ¾ x 28 ¾ x 1 ½ inches. Image size is 29 ¾ x 23 ¾ inches. Painting is clean and in very good vintage condition - please contact us for a complete condition report. Provenance: Estate of Charles Ragland Bunnell Expedited and international shipping is available - please contact us for a quote. About the Artist: Charles Bunnell developed a love for art as a child in Kansas City, Missouri. Around 1915, Bunnell moved with his family to Colorado Springs, Colorado. He served in World War I and later used his GI Training to study at the Broadmoor Art Academy (later renamed the Colorado Springs Fine Arts Center) during 1922 and 1923. In 1922, he married fellow student, Laura Palmer...

Acrylic on masonite. This is a pivotal work in deep and radiant cobalt blue from 1950. It dipicts calligraphic and hieroglyph structures over a grid and pyramidal base by the first generation abstract expressionist. Provenance: Skinner: November 13, 1992 [Lot 00219}, The entry in the Skinner catalog indicates that the painting came directly from the artist to the family of the consignor to Skinner. Kaminsky Auctions. There is an unbroken paper trail that traces the ownership of the painting from the current owner, through two auction houses to the artist. Perfect unbroken provenance. Pousette-Dart was among the most inventive of the Abstract Expressionist generation, His uncanny talent was to expand the nature of abstraction and still make each mark each element very much his own; a reflection of what he called   "the concealed power of the spirit," he said, “not of the brute physical form."   His was not aiming for a singular, realized aesthetic formula but to expand the possibilities of painting; the transcendental in painting. Typical of such invention and exploration is this  painting  Untitled 1950 when the artist was only 34 years old and represented by one of the champions of the new American painting, Betty Parsons.  
A banner year for Pousette-Dart, the Museum of Modern Art acquired their first painting by the Minnesota born artist.  He worked on easel size works such as this painting an oil on masonite. At the same time Pousette-Dart was also working on larger scale works such as Path of the Hero, running over ten feet in length now in the collection of the Metropolitan Museum of Art.  Both contain fields of color articulated by a highly sophisticated white hieroglyphic vocabulary. Rather than demonstrate an expressionist sensibility, Pousette-Dart harnesses his more cerebral ideas transforming thick areas of paint into a more refined composition of geometric forms akin to the pattern and forms of say a stained glass window. In a way he is looking back at Fugue, 1940 a black and white composition which makes use of a similar format of painting albeit smaller. Color and form are minimal, but what Pousette-Dart has maximized is the rhythmic and syncopated character of painting casting his ideas into purely symbolic terms that one might link to the pictograms of Adolph Gottlieb. Nonetheless, nature is always at the core of Pousette-Dart’s thinking and dreaming. Here he has transformed the local Ramapo Mountains—where he will eventually move with his family to live and work— into a complex series of articulated fragments linked by style, scale and color.  The painting’s imagery built on two large triangles and reduced to just two colors, cobalt blue and white all outlined in black.  Pousette-Dart symbols stacked in horizontal and vertical rows:  blue is ground, white is language, symbolic of light, consciousness and awareness . The painting maintains a mystical character images compounded that formulate a secret code and linked to the series of white paintings Pousette-Dart authored in the first half of the 1950s. Get up close to the picture and you discover images within images a kind of picture puzzle...

Here I have for sale a rare Avant-Garde painting by Minna Wright Citron (October 15, 1896 – December 21, 1991). She was wife of the famous social realist Bernard Koopman. Reginald Marsh and Raphael Soyer. She moved on to start teaching in the early 1950’s Abstract...

Portrait of Man San Francisco Bay Area Figurative Movement Figurative portrait of a man by San Francisco artist Peter Witwer (American, 1928-1968). Unsigned from a collection of his work. Provenance estate of Peter Witwer, Lost Art Solon. Image 32"H x 26"W Frame, 32.5"H x 26.5"W x 1.75"D Posthumous show of the artists work exhibit card on verso. Born George Peter...

Julio Girona (1914–2002) "Untitled" Circa 1956 acrylic on hardboard 38 x 26.6 in (97 x 67.5 cm). Provenance: Dorotheum, Vienna.

Signed lower right: "Kupferman". Inscribed lower right: "1204". Titled, signed, dated, and inscribed verso: "EG: 1,204.J / "September Landscape, 1967" / Lawrence Kupferman". From the...

Professor George De Goya. PhD. MA. FRSA. Born In Budapest, 1915-1992, related to the Spanish artist Goya on his mother’s side. Educated in Budapest and France where he received a de...

Abstract Composition Oil on canvas, signed lower left. Judith Sobel was born in Lwow Poland in 1924. After World War II, she attended the Academy of Fine ...

"Imprints" by Don Totten is an abstract oil painting on canvas circa 1950 and measures 24 in x 30 in. There is foxing on verso but otherwise in good condition. Donald C. Totten (19...

"Paso Robles" by Don Totten is an abstract oil painting on canvas circa 1950 and measures 40.75 in x 47.75 in. The upper left corner has sustained a small l...

Red to Black, 1954 Abstract Oil Mid-20th Century Modern Non-Objective. Published. Signed and dated upper left. 40 1/4 x 18 1/2 inches oil on canvas. Provenance: Estate of O. Louis Guglielmi. Robert Schoelopf Gallery. Andrew Crispo Gallery. Published in the artist's monograph as seen in the attached photos. BIO Painter O. Louis Guglielmi moved stylistically from a symbolic Social Realism, Precisionism, and Surrealism, ultimately to abstraction, but his subject matter, when it existed, dealt with society's underdogs. He had experienced slum living as a youth, moving from place to place because of his violinist father's need to find employment. Though Guglielmi was born in 1906 in Cairo, Egypt, his Italian parents moved the family to Italy. In 1914, they were living in New York City in Harlem's Italian slum. Guglielmi was involved in the political and artistic protests of the trial, conviction as anarchist bombers, and execution of Sacco and Vanzetti...

"Image" by Don Totten is an abstract oil painting on canvas circa 1950 and measures 20 in x 21. It is in excellent condition. Donald C. Totten (1903-1964) was a member of a group of artists who quietly began to introduce modernist thought, emanating from Europe and the East Coast, to the Los Angeles art community during the 1920s. Other members of this group were influential artists as Nick Brigante, Lorser Feitelson, Helen Lundeberg...

"Composition" by Don Totten is an abstract oil painting on masonite circa 1950 and measures 28 in x 32 in. The painting is in good condition. Donald C. To...

"Untitled" by Don Totten is an abstract oil painting on canvas circa 1950 and measures 48.5 in x 23.5 in. The right side of the painting is bowed and needs conservation, otherwise in...

Alan Fenton (1927 - 2000) Untitled, 1958-1960 Oil on canvas 90 x 84 inches Fenton's quiet and contemplative nonobjective paintings and drawings were widely recognized for their demanding yet understated means of revealing a serious and sober essence. He identified greatly with Mark Rothko, a friend, as well as Adolph Gottlieb and Jack Tworkov, with whom he had studied privately. Fenton painted in New York City in the late 50's as the explosion of Abstract Expressionism turned into a rebellion against gestural, emotional painting. More concerned about his art than his posture, he expanded upon a tradition in painting with influences as diverse as Whistler and Turner as well as Ad Reinhardt and Joseph Albers. Alan Fenton was born in Cleveland in 1927, studied at the Cleveland School of Art, The Arts Students League, The New School, and at NYU, earning his BFA at Pratt Institute, where he later taught painting for many years. At seventeen, Fenton served in the Merchant Marines where he began a career as a professional boxer, a skill he had honed on the streets. He moved successfully through the graphic design business en route to becoming a painter in New York at the height of the art revolution of the fifties and sixties. Fenton enjoyed success with his subtle washes and pencil drawings as well as large abstract...