1960s Abstract Paintings

Work on canvas

Clarence Holbrook Carter (American, 1904-2000) Vetriculus Egg, 1965 Acrylic and collage on textured paper Signed and dated lower right 30 x 22 inches A surrealist mid-century figura...

Clarence Holbrook Carter (American, 1904-2000) Pinnacle, c. 1960s Acrylic and collage on scintilla 22 x 8 inches 23.25 x 9 inches, framed A surrealist mid-century figural abstract p...

"Untitled" by Don Totten is an abstract oil painting circa 1960 on canvas and measures 48.5 in x 36.5 in. 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...

Inscribed: "For Bilha and Jerry, Nov 1961, Howie Kanovitz" Howard Kanovitz was known as one of the first photo-realist painters. This is an early work, completed while he was still painting abstractly. Following is a brief bio of the artist: Howard Kanovitz, born in Fall River, Massachusetts, began painting in 1949, after an early career as a jazz trombonist. He studied at The Rhode Island School of Design and at The Art Students League in Woodstock with Yasu Kunyyoshi, before moving to New York City and apprenticing with Franz Kline. His Abstract Expressionist work was exhibited at Tenth Street galleries - Tanager, Hansa, Poindexter, and in Stable Gallery Annuals. Kanovitz also had a two person show with Marisol at The Great Jones Gallery and participated in the 1956 “Poets Select Painter’s” show at the Tibor de Nagy Gallery. Kanovitz always painted representational work but remained safely within what he later called the Abstract Expressionist “orthodoxy” for exhibition. His 1956-8 travels in Europe and Morocco, playing jazz...

Clarence Holbrook Carter (American, 1904-2000) Rockefeller Center, 1962 Acrylic and sand on scintilla Signed and dated lower left 25 x 20 inches Clarence Holbrook Carter achieved a ...

Clarence Holbrook Carter (American, 1904-2000) Terror of History No. 1, 1962 Acrylic and sand on scintilla Signed and dated upper left 23 x 30 inches Clarence Holbrook Carter achieved a level of national artistic success that was nearly unprecedented among Cleveland School artists of his day, with representation by major New York dealers...

Clarence Holbrook Carter (American, 1904-2000) Departing from the System, 1961 Mixed media on paper Signed and dated lower right 36 x 24 inches A surrealist mid-century figural abst...

Clarence Holbrook Carter (American, 1904-2000) Seeing Egg, c. 1960s Acrylic on textured paper 30 x 22 inches 38.5 x 30.5 inches, framed A surrealist mid-century figural abstract pai...

Alan Fenton (1927 - 2000) Untitled, 1965 Charcoal and graphite on paper 23 x 17 inches Signed and dated lower right Fenton's quiet and contemplative nonob...

"Untitled" by Don Totten is an abstract oil painting circa 1960 on canvas and measures 16.5 in x 31.5 in. It is in excellent condition. Donald C. Totten (...

Clarence Holbrook Carter (American, 1904-2000) King Tut No. 2, 1968 Gouache on paper Signed and dated upper right 11.25 x 8.25 inches 25.5 x 20.5 inches A surrealist mid-century fig...

'Man Smoking a Pipe', oil on carton (circa 1960s), by Raymond Debiève. The artist depicts a moustached man puffing on his pipe in his post-cubist style. The identity of the subject i...

Renowned for his mobiles, Alexander Calder applies the same principles of movement found in his sculptural works in this gouache work titled Untitled, 1964. Vertical yellow stripes cover the background, over which crisscrossed lines of red are punctuated with dripping blue dots. The layers of color bleed into each other, drawing attention to the water-based medium of the pigments. Gouache paint consists of opaque pigments ground in water and a thickener, which yields an especially rich color for a water-based paint. Thin abstracted lines and dots in black fill the lower half of the composition with the same swaying movement of grass blades in the wind.  The swirl in the lower right corner of the composition is a signature formal motif in both Calder’s three-dimensional and two-dimensional works. Through a masterful handling of gouache, Alexander Calder Untitled...

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

Paul Burlin had a long and successful career of eight decades, though his work did not turn to abstract expressionism--the style of this work and the style in which, arguably, his best work was produced--until the painter was in his seventies, a clear example of his stalwart, and lifelong pursuit of new forms of expression. He was the youngest to participate in the landmark Armory Show of 1913, showing alongside Monet, Picasso, Manet, and Degas, among others. Like many other modernists of his time, Burlin was fascinated by “primitive” art. While still in New York, Burlin was profoundly affected by the African tribal art that he saw at the American Museum of Natural History in New York, as well as the Marius de Zaya...

Clarence Holbrook Carter (American, 1904-2000) Seeing Egg No. 2, 1965 Acrylic and collage on scintilla Signed and dated upper right 30 x 22 inches 34 x 29 inches, framed A surrealis...

Mid-Century "The Horse Race" #50 B Pierre Bosco (Italy/France, 1909-1993) Oil on canvas 15 x 12 inches, frame size “The savage art of Bosco bears its rudeness and its mystery. It i...

One of the "Women of Abstract Expressionism". Oil on canvas. A New York Times review describes Buffie Johnson's work as located at the intersection of spiritualism, myth, and symbol, and influenced by the work of Carl Jung...

Signed lower right, 'Landanyi' for Emory Landanyi (Hungarian-American, 1902-1986); additionally signed, verso, dated 1968 and titled, 'Passacaglia'. Born in Hungary, Emory Ladanyi first attended the University of Budapest Medical School. During his medical residency in Berlin, he was especially influenced by the works of Edvard Munch, forerunner of German Expressionism. During a second residency, in Vienna, he was also exposed to the works of Gustav Klimt, Egon Schiele, and Kokoschka who were influential in his further development. In 1929, Landanyi arrived in New York and began to practice medicine which enabled him to continue painting. Outside of his professional work, he moved exclusively in the avant-garde artistic circles of New York City, becoming close friends of the composer Edgar Varese, the poet Kenneth Patchen...

Richard Andres (American, 1927-2013) Pieces Collage, c. 1965 collage on paper 14 x 18 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 designed and made the simple gold wedding ring Avis wore for their 65 years of marriage. During those 65 years neither wavered in their mutual love, nor in the respect they shared for one another’s art. The couple lived in a converted chicken coop in Missouri while Richard was in boot camp. At the camp, he would volunteer for any job offered and one of those jobs ended up being painting road signs. His commander noticed how quickly and neatly he worked and gave him more painting work to do - eventually recommending him for a position painting murals for Army offices in Panama. Until her dying day, Avis remained angry that “The army got to keep those fabulous murals and they probably didn’t even know how wonderful they were.” In Panama, their first son, Mark, was born. After Richard’s discharge in 1953, they moved back to the Cleveland area and used the GI bill to attend Kent State gaining his BA in education. The small family then moved briefly to Buffalo, where Richard taught at the Albright Art School and the University of Buffalo – and their second son, Peter, was born. Richard had exhibited work in the Cleveland May Show and the Butler Art Museum during his art school years, and during the years in Buffalo, his work was exhibited at the gallery he had so loved as a child, the Albright Art Gallery. In 1956, the family moved back to the Cleveland area and Richard began teaching art at Lincoln West High School during the day while working toward his MA in art at Kent State in the evenings. Avis and Richard, with the help of an architect, designed their first home - a saltbox style house in Hudson, Ohio, and in 1958, their third son, Max (after Max Beckmann) was born. Richard enjoyed the consistency of teaching high school as well as the time it gave him to paint on the weekends and during the summer months. In 1961, he received his MA and his daughter, Claire, was born. With a fourth child, the house was much too small, and Avis and Richard began designing their second home. An admirer of MCM architecture, Richard’s favorite example of the style was the Farnsworth house – he often spoke of how the concepts behind this architectural style, particularly that of Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s...

Oil on paper Estate stamped The history of the New York School painters is still being written, but Price earned a well-deserved place from the beginning. Price was one of the youngest of the first generation Abstract Expressionist circle of painters working in New York after WWII. Though only in his late twenties he began exhibiting in 1948 in New York at Hugo, Bodely, Iolas and Egan galleries. In a 1949, showing at Peridot galleries, Price was hailed for his breakthrough "Maze Series." A complex interweaving of organic shapes, automatic in nature and sometimes resembling bones or body parts, the "Maze" paintings exuded a pulsating energy that brought him critical acclaim. He received rave reviews in Art Digest, the New York Times and the New York Tribune. Price's earliest work was biomorphic or surrealist in nature, influenced by the automatism of Andre Breton and his school. By 1946, his work began to move away from this style to an all-over, decentralized style which became the "Maze" works and ultimately AbEx works which saw their culmination in the "Black Warrior" series. When the "Club" was started, Price was invited to join and forged close relationships with other members of the New York School including Fritz Bultman, Giorgio Cavallon, Weldon Kees, Bradley Walker Tomlin...

There are a lot of people in the art world today who dismiss illustrators are being commercial solely because the artists identified as being commercial artists and that the work was done on assignment. Sadly these art world people have limited imagination and a restricted sense of curiosity. This boxing illustration/painting was done for Sports Illustrated...

Oil on linen Neuman's work assimilated a wide variety of influences, including Bay Area Abstraction, the New York School and European Art Informel. Not bad for a young man raised in the rural mining town of Kellogg, Idaho! Arriving in San Francisco in 1947, at age 21, Neuman would first be exposed to the work of Richard Diebenkorn, Sam Francis, Clyfford Still...

Work on canvas Brown wooden baguette frame 66.5 x 79.5 x 3.5 cm

Canvas mounted on wood Golden wooden frame 89 x 73 x 5 cm

Signed verso, 'Barr' for Charles Barr (American, 1929-2019); additionally inscribed and painted circa 1965. From the Pittsburgh Post-Gazette, 2019: CHARLES "CHUCK" BARR Age 89, of Highland Park, graduated from human life on August 11. Although no headlines marked the event, he was a great man. People ranging from fellow Pittsburghers to New York art collectors have known Chuck as a wonderful self-taught artist and creative jazz musician. But above all, everyone touched by his joy knew him as a carrier of the Great Spirit. Ten minutes with Chuck could do more than make your day. It could open your heart to the boundless possibilities that life offers, if only we live from love. Chuck was raised in a working-class musical family in Beechview. Leaving home as a teenager to play tenor sax in a Chicago nightclub alongside brother, Tommy, a pianist, he burned out on the late-night routine. He then spent years trying to fit into so-called normal society, working various jobs in places from Yokohama (with the U.S. Army) to Philadelphia. Around 1969, Chuck returned to Pittsburgh to rediscover his calling and became a local legend. A Post-Gazette article dubbed him the city's "rambling minstrel" for his sax and flute recitals in public. College-trained artists marveled at the dynamic, visually musical paintings...

Compelling mid century landscape of Church of Christ the Scientist in Boston by Frank Blasingame (American; 1903-1967), circa 1960. This is a rare pi...

Mid-Century "The Emigrants" #34 Pierre Bosco (Italy/France, 1909-1993) Oil on canvas 19 1/2 x 16 1/4 inches, frame size “The savage art of Bosco bears i...

Artist: Lou Fink, American (1925 - 1980) Title: Spanish Dancers Year: 1964 Medium: Oil on Board, signed, dated and titled verso Size: 10 in. x 14 in. (25.4 cm x 35.56 cm) Frame Size:...

One of the "Women of Abstract Expressionism" Amaranth Ehrenhalt was long interested in patter and the idea of decoration in her work. Indeed, in the mid-60s, before Miriam Schapiro or Judy Chicago or the idea of "femmage," she embarked on a series of works that explored these ideas. This is one of them. She wanted to incorporate typically female images and ideas into her art. To quote one reviewer of Miriam Schapiro's work: "These things had been tossed aside, and she gave them appreciation." Amaranth Ehrenhalt was a multifaceted artist best known for her paintings. She was part of the second generation of Abstract Expressionists, working first in New York in the early 1950s, and then in Paris for much of the rest of her career. Never afraid to experiment, Ehrenhalt's work may best be described as bold, even aggressive, in execution, composition and even color. She worked across media, including oils, works on paper, prints and etchings, tapestry, design and sculpture. Amaranth Ehrenhalt died on March 16, 2021 in Manhattan. She was 93. The cause was Covid-19. Ehrenhalt moved to Paris early in her career and settled there as an expatriate artist for the next forty-odd years. Le Select Cafe was the place where artists and cognoscenti met. There Ehrenhalt met Beauford Delaney...

Oil on canvas Handsigned by the artist in pencil Signed lower middle Signed, titled on the back 41.00 cm. x 33.00 cm. 16.14 in. x 12.99 in. (image) 47.00 cm. x 39.00 cm. 18.5 in....

Football plays cloaked in oversized Browns jackets are seen from behind running off the field. Always the graphic innovator, legendary illustrator Bob Peak creates a radical composition by leaving the bottom two-thirds of the picture plane empty of detail. To convey a sense of motion, Peak uses broad strokes of paint similar to the action painters Franz Kline and Willem de Kooning, who were the dominant force in the fine art world in the 1960s. Clearly, one can see a cross-over influence from Fine Art to commercial illustration as Peak strikes a balance between abstract versus figurative art. This work was done on an assignment for Sports Illustrated...

'Two Ladies Trying to Out-Mystify Each Other', Original 1969 semi-abstract cubist style oil painting portraying two female figures with still life. Figural abstraction, oil paint on ...

Structure XXIII is an original contemporary artwork realized by Nato Frascà in 1964. Acrylic painting on canvas. Title, signature and date on the back of...

An original abstract oil painting by American artist Martin Rosenthal signed by the artist and created in the late 1950's, early 1960's. This colorful dynamic work comes housed in a...

Multi-Color Abstract Expressionist Textural Mid-Century Abstract by Peter Witwer A bold mid-century abstract expressionist piece exploding with heavy texture and vivid color by San Francisco artist Peter Witwer (American, 1928-1968). Darker colors are layered atop each other, building up from white, yellow, and red through greens and blues into dark purple and black. The composition is surrounded by an orange field, creating a strong contrast. Unsigned, but was acquired with a collection of Witwer pieces. Displayed in a vintage wood frame. Linen size: 30"H x 16"W Framed size: 31.25"W x 17.25"W Provenance: Without a will and a family that had little interest in his art, nearly all of his possessions and close to 100 paintings were turned over to SF’s Conservators Office. His friend, Albert Richard Lasker, purchased all of Peter’s possessions (including the art) and has taken care of them until this day, always sensing there was something remarkable about the collection. Wanting Peter’s work to finally be seen, Richard came to Lost Art Salon with Peter’s story after reading about the new gallery in a July, 2005 issue of the SF Chronicle. Then to a San Francisco Collector and then to Robert Azensky fine Art Born George Peter...

Mid-Century Cyclists - The Field Sprint Pierre Bosco (Italy/France, 1909-1993) Oil on canvas 15 x 12 inches, frame size “The savage art of Bosco bears its rudeness and its mystery....

"Signals, Orange/Black" is an oil on masonite painting by Bernard Arnest (1917-1986) from 1962. Signed by the artist in the lower center of the piece and titled verso. Presented in the original artist frame measuring 36 ½ x 27 ½ inches, image size is 36 x 27 inches. Featuring an abstract geometric design made up of orange, black, red, yellow, and green. Orange/Black is from Arnest's Signals Series and was part of the artists solo exhibition at Kraushaar Galleries in October 1962. About the Arist: 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 Prendergast...

"Untitled" by Don Totten is an abstract oil painting on canvas circa 1960 and measures 25.5 in x 48 in. 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...

"Lyric" by Don Totten circa 1960, oil on masonite and measures 18 in x 32 in. This piece is in excellent condition. Donald C. Totten (1903-1964) was a mem...

Joseph Glasco (American, 1925-1996) Fire Island, 1967 Pastel on paper Signed and dated lower right 20 x 25 inches 23 x 27.5 inches, framed Joseph Glasco was born in Paul’s Valley, O...

Antique American modernist abstract oil painting. Oil on canvas, circa 1960. No signature found. Displayed in a period frame. Image, 30"...

"Untitled" by Don Totten is an abstract oil painting on masonite circa 1960 and measures 20 in x 16 in. The painting is in good condition. Donald C. Totten (1903-1964) was a member...

Pastel Handsigned by the artist in pencil LCD4789

Artist Angelo Ippolito (1922-2001) produced a body of oils on canvas, works on paper, and assemblages renowned for their lyrical color, light, and compositional rigor. His paintings ...

Structure XXIII is an original contemporary artwork realized by Nato Frascà in 1964. Acrylic painting on canvas. Title, signature and date on the back of...

"Passage" by Don Totten is an abstract oil painting on masonite circa 1960 and measures 24 in x 24.5 in. There are faint spots on the upper right corner of the painting but otherwise...

Geometric Composition is an original contemporary artwork realized by Aldo Moriconi in 1967. Mixed colored enamel on wood. Hand signed and dated on th...

Head is an original contemporary artwork realized by Gianni Dova in 1960. Mixed colored oil and malta painting on canvas. Hand signed, titled and date...

"Autumn '60" by Don Totten is an abstract oil painting on burlap circa 1960 and measures 50 in x 44 in. There is a tear on the lower left area of the painting but otherwise good cond...

Signed, lower right, 'E.R. Larrain' for Emilio Rodríguez Larraín (Peruvian, 1928-2015), and inscribed 'Roma, Nov 1963, Enero 1964'. (Rome, Nov 1963-January 1964). Verso titled, "L'Homme C'est Sujet à Errer" (Man Tends to Wander), and bearing the artist's self-portrait in india ink and wash. Exhibited: XXXII Venice Biennale, 1964. (original exhibition label verso) Previously with Staempfli Galleries, New York. This painting is registered in the Archives of American Art as 'Staempfli Gallery, inventory #775'. A monumental and historically distinguished work by this groundbreaking Peruvian Modernist who drew inspiration from Peruvian indigenous and pre-colonial culture. The paintings of Emilio Rodríguez Larraín are held in the permanent collections of museums worldwide including the Musée de la Ville de Paris, Peru's Museo de Arte de Lima and the Museum of Modern Art in New York. This painting was selected by the Peruvian Government for exhibition at the XXXII Venice Biennale in 1964 and is the largest single recorded work by the artist. Emilio Rodríguez Larraín received his Bachelors of Architecture in 1949 from Peru's Universidad Nacional de Ingeniería and held his first solo exhibition in Lima after visiting Europe in 1950. In 1951, he returned to Europe in the company of the artists Alfredo Ruiz Rosas and Joaquín Roca Rey...

Mid-Century "The Red Village" #50 F Pierre Bosco (Italy/France, 1909-1993) Oil on canvas 12 x 10 inches, frame size “The savage art of Bosco bears its rudeness and its mystery. It ...

Accompanied by COA from the estate Gandy Brodie (American, 1924-1975) studied dance and jazz before teaching himself to paint, inspired by the paintings ...

"Untitled" by Don Totten is an abstract oil painting on canvas circa 1960's and measures 47.5 in x 35.5 in. This piece is in excellent condition. Donald C...

Sam Gilliam Untitled, Ex-Museum of Modern Art Collection, 1968 Watercolor and Aluminum Paint on Fiberglass Paper. (Framed with Museum of Modern Art Collection Label Verso and Exhibition brochure from the American Embassy...

Pastel, 1964 Handsigned by the artist in pencil and annotated Essai 1/1 Publisher : Georges Visat (Paris) Catalog : Sabatier 110 34.00 cm. x 44.50 cm. 13.39 in. x 17.52 in. (paper) ...

Work on canvas Brown wooden frame 70 x 81 x 5.2 cm