1980s Abstract Paintings

Magenta and Yellow Abstract Expressionist Composition in Acrylic on Paper Abstract in bright colors on heavy grey paper by California-based artist Ricardo de Silva (Brazilian, 20th ...

Jeremy Gardiner (British, b. 1957) Argonauts, 1986 Oil on canvas 54 x 54 in. Framed: 55 1/2 x 55 1/2 x 3 in. Signed, dated, and titled verso Provenance: NYNEX Corporation Jeremy Gardiner’s artistic excavation of the geology of landscape is shaped both by human activity and by the forces of nature. Gardiner interprets, through his painting and printmaking, a variety of landscapes that contain the marks and secrets of their own distant formation, giving them a unique, contemporary depth and beauty. His artistic exploration has taken him from the Jurassic Coast...

Orderly slides is a watercolor painting on Fabriano paper by Italian-born multidisciplinary artist Lucio Pozzi. It is currently housed at Hal Bromm Gallery.

The Rooster is an original Contemporary artwork realized in 1985 by the italian artist Leo Guida (1992 - 2017). Oil painting and colored oil pastels on canvas. Total Dimensions: 7...

Abstract figures is an original contemporary artwork realized by Sandro Fabrizi in 1987. Mixed colored oil on canvas. Hand signed and dated on the lower margin. Includes frame

Artist: Nick Wallis, American XXth Title: More Afterthoughts 9 Year: circa 1980 Medium: Acrylic on Canvas, signed l.r. Size: 47.5 x 60 in. (120.65 x 152.4 cm)

Vintage Latin American School Original Abstract Expressionist Painting of Minimalist Face — Acrylic on Paper Gorgeous example of 1980s vintage L...

Tulips in a vase #4. Oil on cardboard, 48 x 39 cm Aleksandr Rodin (1922-2001) Painter Born in a family of farmers. Wife Rasma Lace - art scholar. Studied at the Stalingrad School o...

Portrait of a Woman with Rosy Cheeks in Acrylic on Paper A stylized portrait by California-based artist, Ricardo de Silva (American/Brazil, 20th C). In this stylized portrait, the s...

Artist in Gouache on Interview Magazine Back Page 1989 Modernism Portrait of a man and commemorating The Fall of the Berlin Wall on Andy Worhol's Interview Magazine back page and pai...

Jürgen Möbius (*1939 Großenhain), Black form surfaces on red painterly ground. Oil on hardboard, 50 x 60 cm, 51 x 61 cm (frame), signed "Möbius" and dated "[19]81". - Small paint chip in upper right corner, otherwise good condition. Gallery frame with slight signs of wear. - The Double Origin of Painting - About the artwork In the painting black, optically dominant forms can be seen, which in their arrangement at right angles to each other have a proto-architectural character. They are, so to speak, always already given original forms. At the same time, however, the forms are surfaces of color, and thus genuine painting. In order to make the painterly character of the painting clearly visible, Jürgen Möbius has applied red-toned strokes that have preserved the brushstroke. These are traces of an act of painting. The diagonal layers of red strokes merge into the upper white area, which oscillates between brushwork and homogeneous flatness, while the central white field, into which a black bar protrudes, has a decidedly planar character. The sharp contrast between the autonomous black surface forms, reminiscent of Kasimir Malevich, and the free brushstroke, which is not bound to any motif, creates an enormous pictorial tension, which is conveyed by the white, but at the same time is intensified by the virulent black-and-white contrast. In addition to the tense contrast of form and color, there is also a contrast between the dynamic of the brushstroke and the static of the black surface forms, whereby the diagonal alignment of these forms also gives the static a dynamic, while at the same time the layered brushstrokes have something static about them. Added to this structure of tension is the fact that the painting ground, the unprepared hardboard, is clearly present as such in the picture. In this way, it becomes clear once again that we are not dealing with an autonomous cosmos of form and color, as in Suprematism, but with a painting created by the artist's hand. With this work, Jürgen Möbius explores the possibilities of painting and thematizes painting in terms of its twofold origin, the trace of the guided brush and the painterly form, which gains its independence precisely by absorbing the brushstroke into itself. About the artist From 1959 to 1965 Jürgen Möbius studied painting at the University Institute for Art and Work Education in Mainz. He also studied philosophy and art history at the University of Mainz. Afterwards he worked as a freelance artist in Mainz. At first, Möbius created material reliefs and installations, then, around 1974, he turned increasingly to conceptual art and added cinematic means. During this phase he wrote the manifesto-like essay "Principles of Supranatural Landscape" (1979). From 1981 on, Möbius concentrated on painting and searched for artistic ways to "treat intellectual and sensual perception equally in the fusion of representational and abstract pictorial elements" (Wolfgang Zemter). He found inspiration on his study trips to Thailand and Sri Lanka. "The pure painting of Jürgen Möbius flows through us as a timeless expression of memory and energy, ploughing our perception and bringing us the happiness of seeing authentic, immovable form. - Philippe Büttner Selection of solo exhibitions 1969 Galerie Würzner, Düsseldorf / Galerie Gurlitt, Mainz 1972 Städtische Galerie, Mainz 1973 Galerie Schloss Ringenberg Rathaus, Kleve 1974 Röderhausmuseum, Wuppertal 1976 Galerie Glasing, Osnabrück / Städtische Galerie, Herne 1977, 1997, 2004 Märkisches Museum, Witten 1979 Studio M, Bamberg / Staatstheater, Darmstadt 1980 Galerie Stolànovà, Wiesbaden / Mittelrheinmuseum, Koblenz 1982 Galerie Dornhöfer, Mainz 1984 Galerie Neumühle, Schlangenbad 1985 Landesmuseum, Mainz / Kunstverein, Ludwigshafen / Nassauischer Kunstverein, Wiesbaden 1986 Museum, Bochum / Galerie der Stadt Iserlohn 1987, 1990 Galerie Klaus Kiefer, Essen 1987, 2000 Galerie Ulrike Buschlinger, Wiesbaden 1988 Kunsthalle Darmstadt 1988, 1992, 1996, 1999 Galerie Leonhard, Basel 1992, 2002 Galerie Zulauf, Freisheim 1994 Galerie Remy, Vallendar 1995 Sendezentrum des Zweiten Deutschen Fernsehens, Mainz 2001 Collegium oecumenicum, Bamberg / MVB Forum für Kultur und Wirtschaft, Mainz 2006 Adam Gallery, London Selection of group exhibitions 1969 ‘International Graphic Arts’, Galerie Dalléas Bordeaux, Paris 1975 ‘Deutscher Künstler-Bund’, Dortmund 1979 ‘Man and man’s Images’, Märkisches Museum Witten 1980 ‘Love-Dokuments of our Time’, Art Hall Darmstadt and Art Association Hannover 1982 ‘Work - Progress – Position’, Nassau Art Association Wiesbaden 1983 ‘Principle Hope – Utopic Aspects in Art and Culture of the 20th Century’, Museum Bochum 1986 ‘Selfportraits’, Gallery Klaus Kiefer Essen 1987 ‘The Dying and Death’, Gallery Klaus Kiefer Essen 1989 ‘Where are You, Revolution – Freedom, Liberty, Egality, Fraternity to-day’, Museum Bochum 1990 ‘Flight – a Problem within the Memory of Man’, Kunsthalle Darmstadt ‘Art and War 1939 – 89’, House of Cultures Berlin 1991 ‘Material and Form’, Pillnitz Castle Dresden and Pfalz Gallery Kaiserslautern 1995 20 Years Exhibitions, Chrämerhuus Langenthal, Schweiz 1998 ‘Works on Paper’, Klaus Kiefer Gallery Essen 2000 ‘Acquisitions 1900 – 2000’, Mittelrhein-Museum Koblenz 2001 ‘Strange Pictures’, Klaus Kiefer Gallery Essen 2002 ‘10 Years Buschlinger Gallery’, Buschlinger Gallery Wiesbaden 2004 ‘Eternal Space – Pictures and Sculptures’, Dome of Bamberg 2005 Art Fair Chicago, Adam Gallery, London Selected Bibliography Mittelrheinisches Landesmuseum (Hrsg.): Jürgen Möbius - Neue Bilder, Mainz 1985. Kunstverein Darmstadt (Hrsg.): Jürgen Möbius. Bilder 1985 - 1988. Kunsthalle Darmstadt, 26. Juni - 14. August 1988. Red. Dorit Marhenke, Lyrik Marcus Schiltenwolf, Düsseldorf 1988. Gabriele Prusko (Hrsg.): Jürgen Möbius. Mit Texten von Philippe Büttner und Ralph Mieritz, Basel 1992. Wolfgang Zemter (Hrsg.): Jürgen Möbius - Aktuelle Arbeiten. Märkisches Museum der Stadt Witten, Bönen 1999. Wolfgang Zemter (Hrsg.): Jürgen Möbius. Flieger in meinem Zimmer und Beruhigte Zone, Bönen 2004. Dama Gallery...

Cartoccio Viola is an artwork realized by Claudio Palmieri, in 1985. Oil on Canvas, cm. 150x80. Signed, titled and dated on rear.  Good conditions!

Red, Black, and Brown Figurative Abstract Expressionist in Acrylic on Paper A bold abstract painting by California-based artist, Ricardo de Silva (American/Brazil, 20th C). This pie...

A bold abstract expressionist watercolor with yellow and purple, contrasted with dynamic red linear accents, by Les (Leslie Luverne) Anderson (American, 1928-2009). Signed "Les Ander...

Monument in Red, Black, and Blue - Abstract Expressionist in Acrylic on Paper A bold abstract painting by California-based artist, Ricardo de Silva (American/Brazil, 20th C). A blac...

The Big Sky 2 is an original contemporary artwork realized in 1988 by the Italian artist Leo Guida (1992-2017). Original oil on canvas. Good conditions e...

Wonderful 1980's abstract of sunset through Golden Gate Bridge arch. Unsigned. Presented in rustic painted wood frame. Image size: 8.5"H x 11"W.

Signed and dated "© D. Christensen 1989" with an orientation arrow verso. Medium "Acrylic on Canvas", title "Java", size "22 x 20" are all inscribed verso. Dimensions of this artwo...

Vintage Contemporary Surrealist PAFA Artist Mark McCullen signed verso dated 1986 titled "A remarkable piece of Apparatus" 30 x 22" board, 32 x 24" Framed.

"Typee". Original, oil and encaustic on canvas artwork.   On the reverse: Signed, Andrews Kelly and dated 1985. In the former collection of prestigious, New York City gallery, Salan...

10 X 17 without frame. Seymour Boardman (1921–2005) was a New York abstract expressionist. Since his first solo exhibition in Paris in 1951, Boardman developed a personal vision and style of his own, following his own path of abstraction. As a painter he sought to reduce the image to its bare essence. Initially working in the freely brushed manner of Abstract Expressionism, Boardman gradually eliminated the arbitrary aspects of his work until only straight lines and two or three areas of flat, sometimes somber, tones remained. He could hardly have achieved more with less. In a career that was steady and determined, Seymour Boardman created paintings that are unique, while avoiding fashion and trends. His work stands alone because it derives from the Romantic landscape previously articulated by Milton Avery and early Mark Rothko (who was a friend) and later developed into almost hard edged painting. Seymour Boardman majored in art at City College of New York in 1938-1942. He served in the United States Air Force from 1942–1946, during which he was hospitalized for over a year due to a wound to his left shoulder, which resulted in partial paralysis of the arm and hand. After a full medical discharge from the service in 1946, he left for Paris to continue his art education at the École des Beaux-Arts, Académie de la Grande Chaumière, and Atelier Fernand Léger. Boardman's work became more abstract but still based on figure and landscape. He returned to New York in 1949 and went to the Art Students League. Boardman continued to paint dark, moody paintings using a limited palette of black, white, grey, and an occasional additional color. Departed Le Havre France on the Liberte, arriving with his wife in New York on Jan. 22, 1952. In 1955, he had his first one-man show in New York at the Martha Jackson Gallery. It was favorably reviewed by Hilton Kramer, Emily Genauer, Fairfield Porter, and others. "…inscrutable, dark, mostly in blacks stained here and there with calm whitish shapes, they yet manage to suggest something inhuman and romantic…" (N.Y.Times, March 26, 1955). He began to acquire recognition in the 1950s with his paintings of griddled facets seen as if through a frosted glass, without any crisp lines, and in bright colors favoring reds. Boardman's friends included Lawrence Calcagno, Perez Celis, John Hultberg, Burt Hasen, Frank Lobdell, Richards Ruben, Robert Ryman and Nassos Daphnis. Throughout the 1960s, Boardman showed at both the Stephen Radich Gallery and the A.M. Sachs Gallery; in 1967, The Whitney Museum of American Art and the Guggenheim Museum acquired a painting each. In the early 1970s Boardman had a large exhibition of paintings at the Andrew Dickson White...

This painted ceramic tile by Italo Scanga, epitomizes the characteristics of his oeuvre. Polychrome and vibrant art from the Memphis Milano era. This is signed with his initials. This is reminiscent of the mid century work of Jean Lurcat and Jean Picart le Doux. Italo Scanga (June 6, 1932 - July 7, 2001), an Italian-born American artist, was known for his sculptures, prints and, paintings, mostly created from found objects. In his youth in Calabria, Italy he worked as a cabinetmaker's apprentice and studies sculpture with a man who carved statues of saints. Italo Scanga was an innovative neo Dada, neo-Expressionist, and neo-Cubist multimedia artist who made assemblage, collage, sculptures of ordinary objects and created prints, glass, and ceramic works. Modern Italian abstract geometric folk art. Scanga's materials included natural objects like branches and seashells, as well as kitsch figurines, castoff musical instruments and decorative trinkets salvaged from flea markets and thrift shops. He combined these ingredients into free-standing assemblages, which he then painted. Although visually ebullient, the results sometimes referred to gruesome episodes from Greek mythology or the lives and deaths of martyred saints. He considered his artistic influences to be sweepingly pan-cultural, from African sculpture to Giorgio de Chirico. He often collaborated with the sculptor Dale Chihuly, who was a close friend. Constructed of wood and glass, found objects or fabric, his ensembles reflect a trio of activities—working, eating, and praying. These activities dominate the lives of those who live close to the land, but they are also activities that are idealized by many who contemplate, romantically, a simpler, bucolic life. Italo graduated from Michigan State University where he befriended fellow artists Richard Merkin and David Pease. He studied under Lindsey Decker who introduces him to welding and sculpture after his initial interest in photography. Also studies with Charles Pollock, the brother of Abstract Expressionist Jackson Pollock. His first teaching job was at University of Wisconsin (through 1964). where he met Harvey Littleton, a fellow instructor. He later moves to Providence, Rhode Island,I to teach at Rhode Island School of Design (RISD). Is colleagues with artists Richard Merkin and Hardu Keck. Starts a correspondence with HC Westermann. Spends summers teaching at Brown University; colleague of Hugh Townley. Moves to State College, PA, and teaches at Pennsylvania State University for one year. Meets artists Juris Ubans, Harry Anderson, Richard Frankel, and Richard Calabro, who remain friends throughout his career. 1967: David Pease helps him get a tenure track position at Tyler School of Art in Philadelphia, PA, . Artists he works closely with include Ernest Silva, Lee Jaffe, Donald Gill, and William Schwedler. Meets graduate student Dale Chihuly while lecturing at RISD and develops a lifelong friendship. 1969: One person exhibition, Baylor Art Gallery, Baylor University, Waco, TX. Works very closely with students Larry Becker and Heidi Nivling (who later run a gallery in Philadelphia, PA), and Harry Anderson. Welcomes many artists into his home including Donald Judd, Dan Flavin, Bruce Nauman (a former student), Vito Acconci, Ree Morton and Rafael Ferrer. 1973: "Saints Glass" at 112 Greene Street Gallery, NYC. Installation at the Institute of Contemporary Art at University of Pennsylvania, Philadelphia, PA. Meets Gordon Matta Clark and contributes to an artist cookbook. Goes to Pilchuck Glass School, Stanwood, WA, founded by Dale Chihuly, as a visiting artist. He continues to work there annually through 2001. Works over the years with Pilchuck artists Richard Royal, Seaver Leslie, Jamie Carpenter, Joey Kirkpatrick, Flora Mace, Robbie Miller, Billy Morris, Buster Simpson...

Abstracted portrait of a renaissance era woman by Sonia Gichner (20th Century). This piece is painted with splashes of bright colors, contrasting nicely with skin tones and black lin...

Representation of the Countryside is an original Contemporary artwork realized in 1982 by Claudio Bissattini. Original Acrylic on canvas. Titled a...

Get in Gear - Geometric Abstract Expressionist Composition in Acrylic on Paper A bold abstract painting in red by California-based artist, Ricardo de Silva (American/Brazil, 20th C)...

Bold, bright, and colorful, this large-scale abstract expressionist piece by D.S. Silver, a San Francisco, California bay area abstract expressionist, explores abstracted modern liberty. A high voltage color palette combined with bold and energetic abstract brushstrokes splashed across the huge canvas...

Trace is an original mixed media painting on panel realized by the Italian artist Marco Amici in 1980. Original Title: Traccia Title, Signature, date and monograms are written by t...

Judy Rifka (American, b. 1945) "Ice Hockey" Acrylic or oil paint on Fabriano paper paintings featuring multiple hockey players executed in yellow, white, purple, and black hues. Ha...

This painting with added elements is an excellent example of Joe Doyle’s abstract illusionist art. It is composed of acrylic on shaped canvas with fabric elements added. It measures 36 x 43 inches. Each edge has been painted except for the left edge which has a frame. The right edge has been shaped. The black elements of the tent-like structure are added fabric. The work is signed, titled "564" and dated on the reverse. As well it bears a label from Harcourts Gallery, a gallery in San Francisco during the 1980s and 1990s. The work is in very good condition. Joe Doyle established himself as a painter during the movement toward new abstraction in San Francisco in the mid-seventies. Stylistically his work evolved from photo-realist renderings of aircraft which exaggerated differences in focus of background and foreground" By 1975 his imagery shifted to arrangements of flat, geometric forms and tubular squiggles in a trompe l'oeil manner that created the illusion of a multi-layered, three dimensional space. By the late 1970s Doyle, along with James Havard, Jack Reilly, George D. Green, and others, had attained national prominence working this style now referred to as Abstract Illusionism. Doyle and others were included in 'Reality of Illusion' a large touring exhibition of primarily American illusionist artists organized by the University of Southern California and The Denver Art Museum. Doyle enrolled at San Francisco State College receiving his M.A. in 1971. From 1971 to 1975 he was a photo-realist transferring images from photographs using airbrush techniques on canvas, occasionally adding political satire into the subject matter, as in "Ice House...

Black, Orange, and Blue Abstract Expressionist Composition in Acrylic on Paper A colorful abstract painting by California-based artist, Ricardo de Silva (American/Brazil, 20th C). L...

Right Turn on the Railroad Track - Abstract Expressionist Mixed Media on Paper Abstract in bold blue and red on a soft black background , by California-based artist Ricardo de Silva (Brazilian, 20th Century). Signed and dated at the bottom left corner, "R. de Silva 86." Image shown above is enhanced in Photoshop to make signature more visible. Paper size: 30"H x 22"W From a collection of Ricardo de Silva's work and memorabilia. DeSilva was a gallery owner, first in Santa Barbara in the 1960's and 70's, then in San Jose in the 1980's. He was dedicated to promoting the work of talented upcoming artists, including Kogyo and Hasui Kiyochika, Robert Frame, Jim Stuckenberg, Alice Robertson Carr, Deborah Eve...

Artist: Shmuel Brand, German/Israeli (1921 - ) Title: Untitled Year: 1980 Medium: Oil with Mixed Media on Masonite, signed l.l Size: 39.5 x 27.5 in. (100.33 x 69.85 cm)

Stunning abstract Bay Area Figurative Movement piece titled "Napoleon's Ambition" by Katherine Barieu (American, 1917-2010), 1982. Signed and dated lower right corner. Presented in grey painted slat shadow box frame. Image size: 16"H x 16"W. Framed size is 17"H x 17"W x 1.50"D. Born in 1917, Katherine Barieau was among the artists associated with the University of California at Berkeley in the 1950s. She remained active in the regional art scene throughout the following decades, producing abstract and figurative work in oil, acrylic, watercolor, mixed media and collage. The daughter of Scottish immigrants, Barieau was raised in Cambridge, MA. She graduated from Wellesley College (BA 1938) and later settled in California. Her art studies culminated with her enrollment in the art department at the University California, Berkeley (MFA 1953). A quote from a 1992 artist statement reads, "I was caught up in the wave of Abstract Expressionism and influenced by the riches in the Unconscious (I had a Jungian therapist). I have never ceased to experiment with media and searching to find how best to express inner ideas. It was wonderful to be exposed to established and active painters, to have a chance to study with experienced painters, to have friends who were also exploring and involved." Her teachers included John Haley, James McCray, Glenn Wessels and Felix Ruvolo. Her friends included fellow UC students Paul Wonner, Theophilus Brown and Jerrold Davis - as well as Richard Diebenkorn after this return to Berkeley in 1953. Barieau also studied with the California watercolorist Alexander Nepote, and with the New York School Abstract Expressionists Esteban Vicente and Kyle Morris...

Lynne Golob Gelfman, American (1944-2020) Composition in Blue Acrylic polymer on paper Hand signed and dated recto Sheet: 22.5 x 30 inches Frame dimensions: 26 x 33 frame with glazin...

Abstracted Figurative and Stone in Acrylic on Textured Paper Abstracted cityscape by California-based artist Ricardo de Silva (Brazilian, 20th Century)...

Boathouse at Night, Modernist Two Toned Color-field Abstracted Seascape Nocturnal seascape by Vasil (Victor) Papkov (20th Century). At the top of the piece, the moon is obscured beh...

ONE WEEK ONLY SALE "Midtown III" is a vibrant abstract work by David Kapp that captures the immediacy of his native New York City and the fast-paced lifestyle that can blur before a...

Vertigo is a colorful artwork realized by the Italian artist Franco Giuli during the 1989-1990. Acrylic on canvas. Artwork exhibited on the occasion of ...

Myriam Bat-Yosef Surrealist abstract oil painting in colorful abstract patterned rectangles and shades Hand signed and dated 1984. Miniature design letter also signed. Myriam Bat-Yosef, whose real name is Marion Hellerman, born on January 31, 1931 in Berlin, Germany to a Jewish family from Lithuania, she is an Israeli-Icelandic artist who paints on papers, paintings, fabrics, objects and human beings for performances. Myriam Bat-Yosef currently lives and works in Paris. In 1933, her family fleeing the Nazi Holocaust, Miriam Bat-Yosef emigrates to Palestine and settles in Jaffa. In 1936, she suffers a family tragedy, her father, militant Zionist, is called to fight, still recovering from an operation of appendicitis. The incision will become infected, antibiotics did not exist yet, and her father will die in the hospital after 9 months of suffering. Myriam and her mother leave Palestine to live in Paris for three years. French is Myriam's first school language. In 1939, still fleeing Nazism, she returned to Palestine, leaving France by the last boat from Marseille. She moved to Tel Aviv with her mother, aunt and maternal grandmother. In 1940, she began attending the Academy of Fine Arts in Tel Aviv and took her name as an artist, Bat-Yosef, which means Joseph's daughter in Hebrew, as a tribute to her father. In 1946, Myriam graduated as a kindergarten teacher but wanted to be an artist. Her mother enrolled her in an evening school to prepare a diploma of art teacher. At 19, she performs two years of military service in Israel. In 1952, with a pension of $50 a month that her mother allocated, she went to study at the Beaux-Arts in Paris. To survive, she has several activities while studying. In 1955, she had her first solo exhibition, at the Israeli Club on Wagram Avenue in Paris. Many artists, such as Yaacov Agam, Yehuda Neiman Avigdor Arikha, Raffi Kaiser, Dani Karavan and sculptors Achiam and Shlomo Selinger attended the opening . In 1956, she enrolled at the School of Fine Arts in Florence. This is where she meets the painter Errô. They share an icy studio in winter. Myriam moves to Milan with friends. She organizes a joint exhibition with Erro, one room each, at the Montenapoleone gallery. Her works are admired by the sculptor Marino Marini and the painters Renato Birolli and Enrico Prampolini. Myriam and Erro exhibit in Rome, Milan, Florence and meet many personalities: Alain Jouffroy and his wife, the painter Manina, Roberto Matta and his wife Malitte, textile artist who was one of the founders of the Pompidou Center. Back in Paris, Myriam and Erro get married, which allows Myriam to avoid being called into the Israeli army during the Suez Canal War. In 1957, Myriam and her husband went to Iceland. Myriam works in a chocolate factory. Having enough money, she starts producing art again. She exhibited in Reykjavik's first art gallery. She meets the artist Sigridur Bjornsdottir, married to the Swiss painter Dieter Roth . In 1958, Myriam and her husband leave for Israel. They exhibit in Germany, then in Israel. Back in Paris, the couple became friends with artists of the surrealist movement, such as Victor Brauner, Hans Bellmer, the sculptor Philippe Hiquily, Liliane Lijn, future wife of Takis and photographer Nathalie Waag. Erro and Myriam have a daughter on March 15, 1960, named Tura, after the painter Cosmè Tura, but also close to the Icelandic Thora or the Hebrew Torah. Bat-Yosef’s complex trajectory throughout the 20th century is linked as much to the transnational history of what was for a time called the School of Paris as it is to a certain legacy of Surrealism. Her work features the same idea of resolving antinomies that also defined the spirit of surrealism, and is enhanced with her readings of the Kabbalah and her spiritual grounding in Taoism. However, while there are reasons for her approach to be associated with the process of the ready-made, it is important to consider the immediate intrication of these works with her practice of performance, during which the body itself is also painted – a feminist response to Yves Klein’s Anthropometries (1960) and an echo of the happenings which Jean-Jacques Lebel organised at the time in Paris. In 1963, Erró told Myriam that if she wants to be a painter, she can not be his wife. Myriam chose to be a painter and the couple divorced in 1964. Since that time, Myriam Bat-Yosef has exhibited in many countries: Europe, United States, Japan, etc. Although long in the shadows, the work of Myriam Bat-Yosef has been greeted by many artists and personalities: Anaïs Nin, Nancy Huston, André Pieyre of Mandiargues, José Pierre, René de Solier , Jacques Lacarrière, Alain Bosquet, Pierre Restany, Sarane Alexandrian and Surrealist André Breton who, after a visit to her studio, confided to having been intrigued by its phantasmagorical dimension. She was included in the book Pop Art and Beyond: Gender, Race, and Class in the Global Sixties by Mona Hadler and Kalliopi Minioudaki. Extract "World Citizen, Artist of the Pop Era Sarah Wilson; Why do we know so little of Myriam Bat-Yosef, the most important female Israeli artist of the Pop era? Issues of identity and sexuality feature constantly in her work. She exhibited internationally from Reykjavik to Tokyo; she had two shows at Arturo Schwarz’s famous Dada/surrealist gallery in Milan; she participated in feminist art events in Los Angeles. Above all, in 1971, she conceived Total Art, a Pop Gesamtkunstwerk inside and outside the Israel Museum, Jerusalem. Painter, performer, and installation artist, she was also a lover, wife, and mother. Of Lithuanian-Jewish descent, she was close to the family of philosopher Emmanuel Levinas. An émigré in Paris she would repudiate a national passport, participating in Garry Davis’s short-lived “World Citizens” movement. She continues the lineage of women surrealist artists: Valentine Hugo, Leonor Fini, Dorothea Tanning, Leonora Carrington, Unica Zürn, Jane Graverol...

Antique American modern surrealist ladnscape. Oil on canvas, circa 1987. Signed. Image size 18.5L x 218.5H. Housed in a period modern frame.

Reference number A7 Not framed but could be with a natural oak floated frame (add 100 euros) 36 x 36 cm This work is painted with oil on a board. Pierre was very sensitive to abstra...

Project is an artwork realized by Lucio Del Pezzo, 1985. Collage e Acrylic on cardboard. Handsigned in red in the lower part. cm. 32.5x50 Lucio Del Pezzo (Naples, December 13, 1...

Elena Fia Fozzer, Irradiant Chromosectorial. Acrylics on four canvases applied and positioned with magnets on a metal panel, 1989. Signature on the back of each canvas Artist's si...

Artist: Jenik Cook, American (1940 - ) Title: Abstract Composition I Year: 2012 Medium: Oil on Canvas, signed and dated l.l. and verso Size: 24 x 36 in. (60.96 x 91.44 cm)

An intriguing and vibrant extra-large contemporary (allegedly) French painting. In-versio: "Cardaillac", 1984, "Acryl sur papier de chine", "Yellow Orange and Blue". Not signed. ...

A textural, earth tone abstract landscape evocative of rolling hillsides in brown and white neutrals by an unknown artist (American, 20th Century). Unsigned. Unframed. Image, 24"H x...

Original Mized media on Wood. Signed, titled and dated in the back with pen.

Red and brown abstract by Les (Leslie Luverne) Anderson (American, 1928-2009). From the estate of Les Anderson in Monterey, California. Signed "Les Anderson" lower left. Unframed,...

Colorful mixed media drawing of an abstract mixed media collage by Texas Artist, Dick Wray. The work depicts colorful shapes and geometric birds. Signed and dated by the artist at the top of the work. Framed and matted in a simple wooden frame. Dimensions Without Frame: H 16.88 in. W 13.88 in. Artist Biography: Dick Wray, a native Houstonian, born in Heights Hospital in 1933 was primarily educated in Houston, Texas. He took free art lessons at the Houston Museum of Fine Arts...

Artist: Nick Wallis, American XXth Title: More Afterthoughts 3 Year: circa 1980 Medium: Oil on Canvas, Signed l.r. Size: 60 x 60 in. (152.4 x 152.4 cm)

Aharon Gluska (Israeli, b. 1951) Mixed Media Painting Markings & Inscriptions: Hand signed bottom right Date: Mid to late 20th century Frame: 26 X 33.75 Image: 23 X 30.75 Aharon Gluska (born 1951) is an Israeli–American painter. Gluska was born in 1951 in Hadera, Israel. He studied at the Académie des Beaux-Arts in Paris and Avni Institute of Fine Arts in Tel Aviv. Grants Gluska received grants from the National Endowment for the Arts and the Jackson Pollock- Lee Krasner Foundation. Awards Gluska was one of two winners along with Moshe Kupferman, of the 1996 Zussman Prize for artists dealing with the Holocaust, from the Yad Vashem museum, for his paintings of prisoners at Auschwitz based on photographs of them taken by their Nazi guards. Exhibitions: Bertha Urdang Gallery, NY, USA 1983 Aharon Gluska: Painting and Drawings 1985-1986 Bertha Urdang Gallery, NY, USA 1986 Group Exhibitions The Disciplined Spirit, Exit Art, New York, USA Artists: Nahum Tevet, Micha Ullman, Aaron Gluska, Jacob El Hanani, Moshe Kupferman, Gilad Ophir, Joshua Neustein, Bertha Urdang Gallery, NY, USA Artists: Larry Abramson, Yosef Zaritsky, Zelig Segal, Menashe Kadishman, Yaacov Agam, Buky Schwartz, Michael Gross, Michael Gitlin, Benni Efrat, Pinchas Cohen Gan, Zigi Ben Haim, Avi Adler, Arie Aroch. Bertha Urdang Collector's Choice, Space for Modern Artists - Daphna Naor, Jerusalem Group Exhibition - Etched Voices, Yad Vashem, Jerusalem painting and sculpture. Artists: Jankel Adler, Avigdor Arikha, Gideon Gechtman, Menashe Kadishman, Marcel Janco, Samuel Bak, Moshe Gershuni, Ori Gersht, Osias Hofstatter, Zvi Aldouby, Mordecai Ardon,Yosl Bergner, Mikhail Grobman, Igael Tumarkin, Naftali Bezem, Beit Shturman Museum, Kibbutz Ein Harod Artists: Adi Nes, Gal Weinstein...

Little Sky 3 (Original title: Piccolo Cielo 3) is an original Contemporary artwork realized in 1985 by the italian Contemporary artist Leo Guida (1992 - 2017). Original Oil painting...

Wonderfully evocative abstract expressionist oil painting of a face with figure reflecting in the eye by an unknown California artist (American, 20th Century). Unsigned. Unframed. Im...

Born in 1955, Hyderabad, India, painter and writer Sangeeta Reddy migrated to the United States in 1978 and continued her studies in art. Currently she maintains a studio on Santa Fe Dr. in Denver, Colorado and Hyderabad, India, dividing her time between the two. She has been represented by various galleries in Aspen, Denver, New York, New Delhi, Chennai and now, Hyderabad since the beginning of her 26 year career. Sangeeta has lived and breathed the arts from a very young age – her maternal grandmother was a contemporary of the classical vocalist Kesarbai Kerkar, her grandfather a connoisseur of the arts. Steeped in music, her mother was one of the first disciples of the late Pandit Ravi Shankar. Her late father was a pictorial photographer who co-founded the Hyderabad Photographic Society. Sangeeta chose to follow her own path into the visual and literary arts. With seven years of undergraduate work in fine art in India and the US, and a bachelor’s from Bombay University in English literature and Philosophy, in 1985, Sangeeta’s work has developed into a highly individual style of mixed media abstract expressionistic paintings and monotypes on both canvas and paper. The deconstructed calligraphy and vibrant and nuanced color ever present in her work gives the work the flavor of India in concert with a western restraint. Known primarily for her mixed media collages on paper and canvas, her abstract work was conceived from a challenge to visually parallel Sankara’s idea of Brahman in Advait philosophy and has now evolved into a formal language of deconstructed Devanagari calligraphy. Her artistic influences range widely from Indian weaving and textiles to Vincent Van Gogh, Paul Cezanne and Pablo Picasso (who were introduced to her at a very young age by her father’s interest in Western art), to her discovery (while studying in the US) of the Taos School of landscape painters as well as the Abstract expressionist painters, painters, in particular, Mark Rothko and Willem De Kooning, Robert Motherwell, Antoni Tapies and Richard Diebenkorn. After having worked for 28 years in an abstract expressionist manner, her latest series of paintings are based on the rock formations of the Colorado Plateau. She was first Inspired By Abstract Expressionists like Barnett Newman, Mark Rothko, Clyfford Still, Ray Parker, her style evolved into abstract expressionism and color field painting, Since moving to the US she has become familiar with some of the artistic giants – Georgia O’keeffe, Maynard Dixon, Ernest Blumenschein, Victor Higgins and John Marin, much later of the Group of Seven and of Regionalism. The mountains and plains, canyons and stretches of sky, pinion, sage and cottonwoods. Mostly they were in the form of small plein air works in pastel, charcoal or water color, or drawings from memory or photographs that were more reductive and expressionistic. She has also worked in monotype techniques and in collage. SELECTED EXHIBITIONS Recent Shows: 2016 Fractured Landscapes of the West, BMOCA, Boulder, CO 2014 Erasing Borders 11th Annual Exhibition of Contemporary Indian Art, Queens Museum, NYC 2014 LA Artcore, Los Angeles 2013 Shrishti Art Gallery, Hyderabad, India 2013 Erasing Borders 10th Annual Exhibition of Contemporary Indian Art, 2012 Erasing Borders 9th Annual Exhibition of Contemporary Indian Art, Art Crossings, Queens, the Bronx school for the Arts, New York and Art6, Richmond, Virginia. 2011 “IAAC Erasing Borders: 8th Annual Exhibition of Contemporary Indian Art”, Queens Museum of Art, Queens, New York, Aicon Gallery, NYC, Charles B. Wang Center, Stony Brook and Jorgenson Center, 2011 The William Havu gallery, Denver, Colorado 2009 15th Street Gallery, Boulder 2009 Retrospective, Rocky Mountain Women...

David Shapiro Twice Told Tale (3), 11/1983 Signed and dated on verso Oil on canvas 44 x 22 inches David Shapiro was born in 1944 in Brooklyn, New York. His artwork, as described by...

Bold neon abstract composition in six parts with bright green, orange, and hot pink geometric forms by California artist Gary Ermoloff (American, b. 1949), 1982. Dated and signed on verso. Unframed. Gary Ermoloff (American b. 1949) attended the Academy of Art University in San Francisco, where he received his BA in Fashion Illustration. He is a former member of AIGA and a former Board Member...

Purple and gold mixed media abstract with reflective gold square and highly textured surface by artist and architect Peg Denney (American, 20th century...

A tongue in cheek swipe at the futility of it all. A well heeled gent (Wolf) in a Tux bays at the moon at his good fortune, by G. Lester (American, 20th Ce...

Brilliant floral watercolor painting by Mary Burke (American, 20th Century). Signed "M. Burke - SWA" lower right. Titled "Floral" and sign...

Curtis Ripley (American, born 1949). Expressionist figurative abstract oil painting on paper. Titled "Study For A Diptych". Artist signature upper right and lower left. Good overall condition with normal storage wear to frame. Provenance: Joy Moos...