1970s Abstract Paintings

Artist: Richard R. Benda (1934 - ) Title: Satyricon - Triptych Year: circa 1970 Medium: Acrylic on Board, signed l.r. Frame Size: 40 in. x 63 in. (101.6 cm x 160.02 cm)

Sebastian Matta-Clark was born in 1943, twin of Gordon Matta-Clark. Son Of Chilean Surrealist Roberto Matta Sebastian, known as Batan died in 1976. He showed 3 exhibitions in his sho...

Oil painting size is 16"x19.5. Estate signature stamp Lower right and verso. Arthur Pinajian, like many great artists, began his career illustrating the human form, which is how he developed his wide-ranging visual lexicon. This segment of the collection is at the heart of his oeuvre, both referencing and producing works with fluidity and scope of technique rarely found in one single artist. This New York...

Red tulips. Abstract. 1975, canvas, oil, 50x40.1 cm double-sided Aleksandr Rodin (1922-2001) Painter Born in a family of farmers. Wife Rasma Lace - art scholar. Studied at the Stal...

Stuart Bigley is an artist based in New York’s beautiful Hudson Valley. He has been making and showing his artwork for over 40 years. During this time he also co-founded and ran the ...

Artist: Roy Ahlgren, American (1927 - 2011) Title: Passage Year: 1976 Medium: Acrylic on Canvas, signed and dated verso Size: 30 x 30 in. (76.2 x 76.2 cm)

Sebastian Matta-Clark was born in 1943, twin of Gordon Matta-Clark. Son Of Chilean Surrealist Roberto Matta Sebastian, known as Batan died in 1976. He showed 3 exhibitions in his sho...

Provenance: Virginia Miller Galleries. Ramon Carulla, born in Havana, Cuba in 1936 moved to the United States in 1967. He has exhibited widely throughout the United States, Latin America and Europe. He has participated in personal and group exhibitions in Canada, Venezuela, Mexico and Spain and throughout the USA. Select Gallery Exhibitions: Lowe Art Museum (Coral Gables, Florida), The Museum of Fine Arts (Montreal, Canada), The International Monetary Fund (Washington, D.C.) The Art Expo (New York City). Select Awards: First Prize at the VI Graphic Biennial of Latin America (1983; San Juan, Puerto Rico), the Silvia Daro Dawidowics Award for Painting (1980; Metropolitan Museum) the Samuel Golan Award (1982, Fine Art Auction Exhibition; CH 2, Miami, Florida). the Cintas Fellowship (Institute of International Education; United Nations, New York) SELECTED INDIVIDUAL EXHIBITIONS 2005 Sonnet Gallery (Sarasota, Florida) 2000 Ramon Carulla: People and Places - Corbino Galleries, 1998 The Dreamers - Cuban Collection Fine Art (Coral Gables, Florida) 1997 The Immigrant Series – Metro-Dade Cultural Resource Center (Miami, Florida) 1996-96 Ramon Carulla: Works on Paper – P. Jorn(Hamburg, Germany) 1994 Ramon Carulla: New Paintings, Plates & Boxes – The Barbara Scott Gallery Rostros para recordar – Galería Traz (Mexico City, Mexico) 1993 Ramon Carulla, Exhibición Personal – Contemporary Art Museum (Panama) 1992 Ramon Carulla: Recent Work - The Barbara Scott Gallery (Bay Harbor, Florida) 1991 Cabinet Room – The Capitol (Tallahassee, Florida) 1988 Sofa & Hostage Series – Jay Moos Gallery 1987 20 Years After – Bacardi Art Gallery (Miami, Florida) 1985 Malcom Brown Gallery – (Cleveland, Ohio) Mask Series...

Soni Wallace masters color and form in this Abstract Expressionist painting. Many works from this period in her life reflect coastal landscapes through a ...

Original watercolor on paper. Hand signed on front; signed, titled and dated on verso by the artist. Additional images are available upon request. Certificate of Authenticity is inc...

Milly Ristvedt has captured, in vivid colour, and expressive form the wonders of the ‘deep’ in this gorgeous abstract painting. Against a rich blue colour field, ethereal forms and g...

Artist: Tony King Year: 1975 Title: M R3 C5 Medium: Acrylic on Canvas Canvas Size: 48 x 48 inches (121.92 x 121.92 cm) Frame Size: 49 x 49 inches (124.46 x 1...

Artist: Juan Garcia Ripolles, Spanish (1932 - ) Title: The Artist I Year: 1970 Medium: Oil on Canvas, signed l.r. Size: 19.5 x 25.5 in. (49.53 x 64.77 cm)

Antique American abstract expressionist painting. OIl on canvas. Framed. Finely painted with wonderful color palette. Signed. Dated Verso.

Vintage American modernist cow abstract still life oil painting by Jeanette Welty Chelf (1929 - 2021). Oil on canvas. Signed. Framed. Image size, 20L x 16H.

"Sem Titulo" gouache on paper. Illustrated in Barsotti's book page 146. The full sheet size listed in the catalogue is 21cm x 30cm. The specialty frame incorporates a mat cut up t...

Oil on canvas Handsigned by the artist in pencil signed on the back LCD4257

Reuven Kadim (Mark Berman) Kadim, Israeli, born Philadelphia, Pennsylvania,USA, 1929-2014. Identified with geometric abstract art. Since 1985 worked with classical ancient Mediterranean imagery, and Since 1995 worked exclusively with computer on new versions of Islamic and fractal patterns. 1983 Curator of the 17th International Biennale of Sao Paulo, Brazil. 1961-72 Art Critic for "Jerusalem Post"; 1966-73 Art Critic for "Yedioth Ahronoth" newspaper. Lived and worked in Rehovot. Education 1948-49 Los Angeles City College, California, USA, Anthropology and Architectural Design 1954-56 New Bezalel School of Art, Jerusalem Teaching 1977-84 The Technion, Israel Institute of Technology, Haifa, Architecture, and Town Planning since 1979 Bezalel Academy of Art & Design, Jerusalem 1984 Sadna Workshop for Architecture and Design, Tel Aviv. Reuven Berman...

Artist: Arthur Boden, American XXth Title: Untitled (Hexagon) Year: 1975 Medium: Acrylic on Canvas, signed verso Size: 54 x 51.5 (104.14 cm x 152.4 cm)

Signed lower right

This acrylic painting on paper was created by New York-born artist Jay Rosenblum. In his art, he seeks to correlate his great love for chamber music sonatas with freely evolving bloc...

SGenre: Contemporary Subject: Abstract Medium: Oil Surface: Canvas Country: France Dimensions: 23 3/4" x 19 3/4" x 1/2" Dimensions w/Frame: 24" x 20 1/2" A bright and colorful abstract oil painting from Ackerman's Celestial Field series. While most pieces in this series are goauche, this electric blue painting is done in oil. Shmuel Ackerman, (Shmuel Akkerman), Israeli, born 1951, Soviet Union, active in Israel and France. Shmuel Ackerman was born in Ukraine to a religious family. In 1973, he immigrated to Israel and settled in Jerusalem. From his earliest work, he created abstract symbolist art influenced by folkloristic motifs and modern Western art...

An acrylic painting by Roy Ahlgren from 1971. A geometric abstract painting utilizing bright contrasting color blocks in a modern form. Signed verso, unframed. Artist: Roy Ahlgre...

A tapestry of glorious colour meets the viewer’s eye in this gorgeous abstract work by Milly Ristvedt. The master colourist uses bright yellow as a brilliant backdrop to a cloud of g...

An abstract mid century painting by Duayne Hatchett . Oil on canvas, circa 1973. Signed verso. Duayne Hatchett was a visual artist whose work included prints, paintings, sculpt...

Domenick Capobianco (American, b. 1928), Pastel Lines Abstract Composition, Oil on Canvas, circa 1975, apparently unsigned, "Studio Domenick Capobianco" stamp to verso, unframed. 66"...

Artist: Lamont Ferguson, American XXth Title: Untitled Year: 1972 Medium: Fused Plastic on Panel, signed and dated l.r. Size: 48 x 48 in. (121.92 x 121...

An oil painting by Leo Bates from 1976. A prolific artist who operated predominately in secrecy until his death in 2013, Leo Bates produced a number of works never before seen until ...

Expressive and bright abstract acrylic painting with hints of avian flight, 1975. Displayed on a white mat with a gold border and fits a standard-size frame. Archival plastic sleev...

Carmen Louis Cicero, American (1926 -) - Untitled, Year: 1972, Medium: Oil on Canvas, signed and dated on verso, Size: 38 x 44 in. (96.52 x 111.76 cm)

Artist: Peter Mack Title: In the Cannon's Mouth Year: circa 1980 Medium: Acrylic on Canvas, signed l.r. Size: 60 x 60 in. (152.4 x 152.4 cm)

This acrylic painting on paper was created by New York-born artist Jay Rosenblum. In his art, he seeks to correlate his great love for chamber music sonatas with freely evolving bloc...

Artist: Jay Rosenblum, American (1933 - 1989) Title: Untitled VIII Year: circa 1977 Medium: Acrylic on Paper Paper Size: 26 in. x 40 in. (66.04 cm x 101.6 cm)

Artist: Bety Kohlberg, American (1936 - ) Title: No. 42 Year: 1977 Medium: Acrylic on Canvas, signed and dated l.r. Size: 70 x 56.5 in. (177.8 x 143.51 cm)

Engaging abstract ink and watercolor painting of metal locks against a black background, 1980s. Original artwork on paper displayed on a white mat with a ...

An original mixed media (Watercolor and india ink) on paper depicting a mountain range at night.

Original mixed media on paper. Hand signed, dated and titled on verso by the artist. Referenced on page 53 in the Waddington and Tooth "Ben Nicholson paintings on paper" book. Artwor...

Jay Milder (born 1934) is an American artist and a figurative expressionist painter of the second generation New York School. Old Testament themes such as Jacob's Ladder and Noah’s Ark, and the Jewish mystical beliefs of the Kabbalah, are recurring themes in Milder’s paintings which are presented as archetypal images that recur in the basic karma, make-up and need of human nature. Internationally exhibited, Milder is included in the collections of many national and international museums. He has been the subject of two, recent retrospectives in Brazil in 2007 at the National Museum Brasilia and, in 2006, at the Museum of Modern Art, in Rio de Janeiro. He is renowned in Sao Paulo, one of the major international centers for street and public art, as a seminal influence on graffiti artists. Jay Milder was born in Omaha, Nebraska, in 1934. His grandparents, who came from the Ukraine, were descendants of the Hasidic mystic, Rabbi Nachman. As he listened to family stories his interest in spiritualism and mysticism increased, and became an important influence on his philosophy of life and art. Later, when he arrived in New York, he was drawn to the Theosophical Society and the teaching of Helena Blavatsky. In 1954 Milder visited Europe where he studied painting with André L’Hote, and sculpture with Ossip Zadkine. He spent much time studying at the Louvre Museum, and at the studio of Stanley Hayter. During his Paris years the paintings of the Jewish painter Chaim Soutine, primarily influenced him. Milder returned to the United States in 1956, and he began studying painting at the Chicago Art Institute. He exhibited with the Momentum Group, an alliance of artists who were particularly dedicated to the progression of figurative art and its global origins. In 1957, Milder spent the summer in Mexico for a summer where he exhibited in Puebla. That year he received the Mexican Government’s Honor Award for artists. In the summer of 1958, Milder studied with Hans Hofmann in Provincetown, Massachusetts. He exhibited his work at the Sun Gallery, with his contemporaries, including Mary Frank, Red Grooms, Bob Thompson, Lester Johnson, Emilio Cruz and Alex Katz, among others. During this period his painting began to incorporate iconography of birds, animals, humans and animal/human hybrids. In 1958, Milder, Bob Thompson and Red Grooms, founded the City Gallery in the Chelsea section of New York City. The gallery moved downtown and became the Delancey Street Museum and an early site for ‘Happenings’,which Milder participated in. He showed his first major series called Subway Runners in 1960 at the Martha Jackson Gallery in New York City. Milder began a group of smaller paintings, entitled “Messiah Series”, in the late 1960s. These were fully expressionistic earth toned pictures, and he completed around 250 paintings in the series, based on biblical themes from the Old Testament. When 40 of these paintings were shown in a traveling exhibition premiering at the Richard Green Gallery in New York City, in 1987, art critic Donald Kuspit wrote in ArtForum Magazine: “after Nolde’s biblical pictures, these are the best and most integral group of biblical pictures in the 20th century.” During the 1970s, Milder co-founded a collective group called Rhino Horn with Peter Passuntino, Peter Dean, Benny Andrews, Nicholas Sperakis, Michael Fauerbach, Ken Bowman, Leonel Gongora, and Bill Barrell...

David Hare Cronus Asleep in the Cave, 1971 Acrylic on board 27 1/2 x 38 1/4 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most afraid of.” No one could accuse David Hare of possessing such fear. Blithely unconcerned with the critics’ judgments, Hare flitted through most of the major art developments of the mid-twentieth century in the United States. He changed mediums several times; just when his fame as a sculptor had reached its apogee about 1960, he switched over to painting. Yet he remained attached to surrealism long after it had fallen out of official favor. “I can’t change what I do in order to fit what would make me popular,” he said. “Not because of moral reasons, but just because I can’t do it; I’m not interested in it.” Hare was born in New York City in 1917; his family was both wealthy and familiar with the world of modern art. Meredith (1870-1932), his father, was a prominent corporate attorney. His mother, Elizabeth Sage Goodwin (1878-1948) was an art collector, a financial backer of the 1913 Armory Show, and a friend of artists such as Constantin Brancusi, Walt Kuhn, and Marcel Duchamp. In the 1920s, the entire family moved to Santa Fe, New Mexico and later to Colorado Springs, in the hope that the change in altitude and climate would help to heal Meredith’s tuberculosis. In Colorado Springs, Elizabeth founded the Fountain Valley School where David attended high school after his father died in 1932. In the western United States, Hare developed a fascination for kachina dolls and other aspects of Native American culture that would become a recurring source of inspiration in his career. After high school, Hare briefly attended Bard College (1936-37) in Annandale-on-Hudson. At a loss as to what to do next, he parlayed his mother’s contacts into opening a commercial photography studio and began dabbling in color photography, still a rarity at the time [Kodachrome was introduced in 1935]. At age 22, Hare had his first solo exhibition at Walker Gallery in New York City; his 30 color photographs included one of President Franklin Roosevelt. As a photographer, Hare experimented with an automatist technique called “heatage” (or “melted negatives”) in which he heated the negative in order to distort the image. Hare described them as “antagonisms of matter.” The final products were usually abstractions tending towards surrealism and similar to processes used by Man Ray, Raoul Ubac, and Wolfgang Paalen. In 1940, Hare moved to Roxbury, CT, where he fraternized with neighboring artists such as Alexander Calder and Arshile Gorky, as well as Yves Tanguy who was married to Hare’s cousin Kay Sage, and the art dealer Julian Levy. The same year, Hare received a commission from the American Museum of Natural History to document the Pueblo Indians. He traveled to Santa Fe and, for several months, he took portrait photographs of members of the Hopi, Navajo, and Zuni tribes that were published in book form in 1941. World War II turned Hare’s life upside down. He became a conduit in the exchange of artistic and intellectual ideas between U.S. artists and the surrealist émigrés fleeing Europe. In 1942, Hare befriended Andre Breton, the principal theorist of surrealism. When Breton wanted to publish a magazine to promote the movement in the United States, he could not serve as an editor because he was a foreign national. Instead, Breton selected Hare to edit the journal, entitled VVV [shorth for “Victory, Victory, Victory”], which ran for four issues (the second and third issues were printed as a single volume) from June 1942 to February 1944. Each edition of VVV focused on “poetry, plastic arts, anthropology, sociology, (and) psychology,” and was extensively illustrated by surrealist artists including Giorgio de Chirico, Roberto Matta, and Yves Tanguy; Max Ernst and Marcel Duchamp served as editorial advisors. At the suggestion of Jacqueline Lamba...

Mechanical mask. Cardboard, tempera, 56x47 cm Vladimir Borisovich Glushenkov (May 21, 1948, Riga - December 26, 2009, Riga.) - painter, graphic artist, poet, translator. Born in Ri...

You are viewing a mixed media painting and collage on paper by American artist Richard Huntington. This piece is titled "George Washington with Letters" and is signed lower r...

In the garden. 1970s Cardboard, tempera, 59x59 cm Vladimir Borisovich Glushenkov (May 21, 1948, Riga - December 26, 2009, Riga.) - painter, graphic artist, poet, translator. Born i...

Flirt. Cardboard, mixed media, 50x40 cm Abstract/Surrealist composition with two fasec Vladimir Borisovich Glushenkov (May 21, 1948, Riga - December 26, 2009, Riga.) - painter, grap...

Work on canvas

Brunette Muse - Original Abstract Expressionist on Canvas Abstract expressionist figurative composition of a woman by California artist Harald "Harry" Dry Schmidt (American, 1933-19...

Modern grey and black toned landscape painting by Texas born artist Clark Fox. The work features a clean-lined, geometric rendering of an architectural façad...

Mom. Cardboard, oil, double sided, 50x48 cm Vladimir Borisovich Glushenkov (May 21, 1948, Riga - December 26, 2009, Riga.) - painter, graphic artist, poet, translator. Born in Riga...

Edward Pechmann Renouf (1906-1999). Oil on panel measures 16 x 24 inches. Signed lower margin. Excellent condition. Provenance: Allan Stone Pr...

Richard Hennessy, 1972. Born in Rochester, NY, in 1941, Hennessy began as a gifted concert pianist studying at the Eastman School of Music from 1954-1959. He went on to study art history at the Institute of Fine Arts, New York University, from 1963-66, after which he began his career as a fine artist. His early paintings were quickly admired and supported by Henry Geldzahler, curator of Modern Art at the Metropolitan Museum of Art. His first exhibition was in 1969 at Olivier Bernier Inc. NYC, followed in 1970 by a show at the Tibor De Nagy Gallery, also in NYC. Over the years he has shown in San Francisco, Indiana, Arizona, Florida, and at other prominent NYC galleries including Robert Miller, Hamilton, John Good and a retrospective at NYU’s Grey Gallery...

Artist: Elwood Howell, American (1933 - ) Title: Pantico Series I Year: 1976 Medium: Acrylic on Canvas, signed l.r. Size: 46 x 80 in. (116.84 x 203.2 cm)

Artist: Yoshikuni Iida, Japanese (1923 - 2006) Title: Melancholy - Yuutsuna Year: 1973 Medium: Acrylic on Canvas, signed and dated verso Size: 39.5 x 79 in. (100.33 x 200.66 cm)

David Hare Cronus View from the Cave, 1971 Graphite, Ink wash, Paper Collage on Paper on Board 25 x 33 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most afraid of.” No one could accuse David Hare of possessing such fear. Blithely unconcerned with the critics’ judgments, Hare flitted through most of the major art developments of the mid-twentieth century in the United States. He changed mediums several times; just when his fame as a sculptor had reached its apogee about 1960, he switched over to painting. Yet he remained attached to surrealism long after it had fallen out of official favor. “I can’t change what I do in order to fit what would make me popular,” he said. “Not because of moral reasons, but just because I can’t do it; I’m not interested in it.” Hare was born in New York City in 1917; his family was both wealthy and familiar with the world of modern art. Meredith (1870-1932), his father, was a prominent corporate attorney. His mother, Elizabeth Sage Goodwin (1878-1948) was an art collector, a financial backer of the 1913 Armory Show, and a friend of artists such as Constantin Brancusi, Walt Kuhn, and Marcel Duchamp. In the 1920s, the entire family moved to Santa Fe, New Mexico and later to Colorado Springs, in the hope that the change in altitude and climate would help to heal Meredith’s tuberculosis. In Colorado Springs, Elizabeth founded the Fountain Valley School where David attended high school after his father died in 1932. In the western United States, Hare developed a fascination for kachina dolls and other aspects of Native American culture that would become a recurring source of inspiration in his career. After high school, Hare briefly attended Bard College (1936-37) in Annandale-on-Hudson. At a loss as to what to do next, he parlayed his mother’s contacts into opening a commercial photography studio and began dabbling in color photography, still a rarity at the time [Kodachrome was introduced in 1935]. At age 22, Hare had his first solo exhibition at Walker Gallery in New York City; his 30 color photographs included one of President Franklin Roosevelt. As a photographer, Hare experimented with an automatist technique called “heatage” (or “melted negatives”) in which he heated the negative in order to distort the image. Hare described them as “antagonisms of matter.” The final products were usually abstractions tending towards surrealism and similar to processes used by Man Ray, Raoul Ubac, and Wolfgang Paalen. In 1940, Hare moved to Roxbury, CT, where he fraternized with neighboring artists such as Alexander Calder and Arshile Gorky, as well as Yves Tanguy who was married to Hare’s cousin Kay Sage, and the art dealer Julian Levy. The same year, Hare received a commission from the American Museum of Natural History to document the Pueblo Indians. He traveled to Santa Fe and, for several months, he took portrait photographs of members of the Hopi, Navajo, and Zuni tribes that were published in book form in 1941. World War II turned Hare’s life upside down. He became a conduit in the exchange of artistic and intellectual ideas between U.S. artists and the surrealist émigrés fleeing Europe. In 1942, Hare befriended Andre Breton, the principal theorist of surrealism. When Breton wanted to publish a magazine to promote the movement in the United States, he could not serve as an editor because he was a foreign national. Instead, Breton selected Hare to edit the journal, entitled VVV [shorth for “Victory, Victory, Victory”], which ran for four issues (the second and third issues were printed as a single volume) from June 1942 to February 1944. Each edition of VVV focused on “poetry, plastic arts, anthropology, sociology, (and) psychology,” and was extensively illustrated by surrealist artists including Giorgio de Chirico, Roberto Matta, and Yves Tanguy; Max Ernst and Marcel Duchamp served as editorial advisors. At the suggestion of Jacqueline Lamba...

Artist: Ladislav Karousek, Czech (1926 - 1990) Title: Zimna Krajina (Winter Landscape) Year: 1989 Medium: Oil on Canvas, signed l.r. Size: 36 x 55 in. (91.44 x 139.7 cm) Frame Size: ...

Artist: Miriam Bromberg, American XXth Title: Self-Portrait with Flower Hat Year: 1970's Medium: Oil on Board, signed l.r. Size: 19 x 15 in. (48.26 x 38.1 cm) Frame Size: 24.5...

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...

Oil on Canvas representing in an abstract way a blue boat. The painter is a french one and originatedin Marseille.

Up for sale here is a really fantastically painted modernist composition. The painting is signed lower right, "P. Williams 1972". Gouache on board, circa 1972. Housed in a plexi ...

"One of The Thieves Was Saved" from Waiting for Godot by Samuel Becket An original watercolor painting by Westley "Wes" Olmsted. This work is currently featured in the exhibition ...