20th Century Abstract Paintings

Modern painting by Margaret Balzer Cantieni (1914-2002). Tempera on wood board. Signed in lower right corner "Balzer '46". Painting measures 1 1" x 14" with frame 16 1/2" x 19 1/2". Margaret Balzer studied at the Art Institute of Chicago with Lyonel Feininger, Josef Albers and William Stanley Hayter...

Painting by Thomas Downing (1928 - 1985). "Moon", 1985 Acrylic on paper bag 35" x 15" (framed) Dedication on reverse to his wife Helen. Downing’s works are in many collections in...

Antique American modernist abstract landscape signed oil painting. Oil on canvas. Signed. Framed. Image size, 24L x 18H.

A painting by Alexander Calder. "The Oval Spiral" is a Post-War, geometric abstract painting, gouache and ink on paper in bold colors of reds and blacks by artist Alexander Calder. T...

Presenting a modern abstract composition with a textured surface created by the Swedish artist, Sture Wikström (1921-1993). With its textured surface, s...

The Winding River French School, 1947 signed & dated oil on canvas, framed framed: 20 x 24 inches canvas: 14 x 18.5 inches provenance: private collection, France condition: very good...

Oil on canvas. Signed and dated lower right. 35 x 45.5 in. 36.5 x 47 in. (framed) Custom framed in a solid maple floater with a polyurethane clear coat finish. Provenance Galerie ...

Vibrant depiction of a group of bathers in a lush, colorful forest of fauvist invention by California artist Don Klopfer (1920-2009). The stylized nude fig...

Hannes Grosse Wave Form (Wellenform) (Square, Round, Wavy, Modern, Mid-Century) Oil and Acrylic on Canvas Year: 1971 Size: 34.62 x 34.62 inches Signed and dated verso Framed (simply...

This painting is part of our exhibition America Coast to Coast: Artists of the 1940s. Homage to Leger, 1941, oil on canvas, signed and dated lower right, 14 x 17 inches; inscribed ...

Oil and Pumice on Canvas 'Untitled (Orange)' Painting by Pamela Burns B. 1938, 1990 Additional information: Medium: Oil and pumice on canvas Dimensions: 45.1 x 76.8 cm 17 3/4 x 30 1...

Oil and Sand on Canvas 'Traces (II)' Painting by Pamela Burns B. 1938, 1993 Additional information: Medium: Oil and sand on canvas Dimensions: 25.4 x 50.8 cm 10 x 20 in Signed, date...

Burnt Ochre Field, Oil on Canvas Painting by Pamela Burns B. 1938, 1986 Additional information: Medium: Oil on canvas Dimensions: 23 x 80 cm 9 x 31 1/2 i...

This work is part of our exhibition - America Coast to Coast: Artists of the 1940s Untitled (Cubist Portrait), 1945, oil on masonite, signed and dated lower middle, 20 x 16 inches, remnant of exhibition label verso, perhaps exhibited at Murry's solo exhibition at the Los Angeles's Screen Cartoonists' Gallery, July , 1945, presented in its original frame Jerre Murry was a California modernist painter. Born in Columbia, Missouri, Murry studied at the Detroit Academy of Art and worked as an artist for the Detroit News and Detroit Free Press. Murry traveled to the Bahamas, where he was inspired to paint modernist scenes of island life and people. By the early 1930s, Murry had relocated to Los Angeles, where he caught the attention of Synchromist painter Stanton Macdonald Wright, State Supervisor for the Federal Art Project (FAP) in Southern California. MacDonald Wright enrolled Murry into the FAP. Murry’s Gauguin-influenced painting Sun Image was exhibited together with other FAP artists at the Los Angeles County Museum of Art in 1936, and Murry was also included in the FAP exhibit at the Paris Exposition in 1937. Stendahl Galleries in Los Angeles, the Chamber of Commerce Gallery in Santa Barbara, and at the Los Angeles County Museum of Art also showed Murry’s work during the 1930s. Murry created a murals for Los Angeles Water & Power Company, the Boise, Idaho Post Office, and Glendale Junior College. In 1939, Murry's work was exhibited at the Golden Gate International Exposition and the New York World's Fair. He also was included in the All California Exhibition at the Los Angeles County Museum of art that same year. He went on to exhibit in Los Angeles at the Foundation of Western Art's Trends in Southern California Art shows in 1940 and 1941, at Raymond and Raymond Gallery in Hollywood and USC’s Elizabeth Holmes...

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

This is a beautiful oil painting by American artist Conrad Buff. It measures 15.5"x23.5" and is painted on board. Buff painted a simplified abstracted landscape by the bluffs. Born...

Oil on canvas. Signed and dated lower right. 41.75 x 61 in. 44 x 63 in. (framed) Custom framed in a hardwood floater with a matte white finish. Provenance Estate of the artist Eri...

Large Surrealist Abstract, Yellow, Original Oil Painting By French artist, Sophie Danielle Rubinstain 1922-2018 The painting is stamped with the artis...

Richard Saba Birthplace: Minneapolis, Minnesota, 1946 Education: Minneapolis College of Art & Design, B.F.A. 1968 Skowhegan School of Painting & Sculpture, 1967 University of Wash...

Manuel Soto-Muñoz (1913-2000), Puerto Rican born American painter. Recipient award of merit Florida Southern College, 1958; prize Art Students League New York, 1950; 1st prize Salón ...

Timothee (Tymo) Pierre, "Indian African Face Woman", Signed Abstract/ Figurative Portrait Painting, Acrylic Paint on Cardboard, 13.50 x 10.50, Late 20th ...

Small size watercolor image of shells. Painting is mainly blue, yellow and brown tones. Painting is framed in a painted wooden gold frame with a yellow matte. Dimensions without Fram...

Materials: Red, green, black, natural lacquer, Hindi (Delhi) and Malayalam (Kerala State) newspapers. This artwork is framed in a maple wood shadowbox with Optium Museum plexiglass. Toshio Sekiji...

Michael David (b. 1954) Billie's Tree Signed, Titled, and Dated 1982 Verso. Provenance: Museum of Contemporary Art, Chicago (bears label en verso) where it had been exhibited for nearly two decades. It was also Exhibited at the Museum of Modern Art (MoMA NYC) just after he won the National Guggenheim Award. The Piece Measures approximately 70" x 71" x 8" Deep. Michael David Singer; born 1954, is an American painter. Born in Reno, Nevada, David's family relocated to Brooklyn, New York, where he was raised. He attended SUNY Fredonia for one year and in 1976 received a B.F.A. from Parson's School of Design. Michael David is classified as an abstract painter, best known for his use of the encaustic technique, a was pigmentation technique which incorporates pigment with heated beeswax. He is also known for his works in mixed-media figure painting, photography and environmental sculpture. He often incorporates religious iconography and symbolism, art historical themes such as the nude, and contemporary politics into his paintings resulting in a critical dialogue between the layered abstraction of the surface and the integrated representational imagery. His work is included in the permanent public collections of the Metropolitan Museum of Art, the Guggenheim Museum, the Jewish Museum in New York, the Museum of Contemporary Art in Los Angeles, and the Los Angeles County Museum of Art, among others. In 1976 David, erotic photographer Roy Stuart and Fredonia friend Richie Stotts formed a band called The Numbers, with David on bass. The group was a fixture in New York's early punk rock music scene, playing in clubs alongside punk pioneers Television, Blondie and the Ramones. David also played bass with punk innovators Jerry Nolan of The New York Dolls, Cheetah Chrome of The Dead Boys, Marky Ramone, Peter Gordon, David Van Tieghem and the free-improvisation noise music group Borbetomagus. In 1977, The Numbers were approached by impresario Rod Swenson, who was seeking musicians to form a backing band for singer Wendy O. Williams, whose radical persona he sought to exploit as punk music and performance art. The Numbers became The Plasmatics but the attention David began to gain as an important voice in the art world caused him to leave the band to pursue his burgeoning painting career. David's first one-man show was in 1981 at the historic Sidney Janis Gallery. That year he was awarded a Guggenheim Fellowship, at the time the youngest artist ever to do so, and in 1982 was awarded an American Academy of Arts and Letters prize. He went on to exhibit at galleries worldwide and was represented by Knoedler & Co. for the next 25 years. David is best known for using the encaustic technique of painting, which uses pigment combined with heated beeswax. David built his early career on abstraction and religious iconography, which formed the bulk of his output until 1999. Since then he has also experimented with representational painting and traditional photography. In 2000, he developed the "Chortens" and "Populations" series, about which prominent art historian and critic Donald Kuspit writes: "They are enigmatic works, all the more so because of the way their innumerable details form singularly monumental, intimidating wholes. Dense yet delicate, awesome yet intimate, they convey the fragility as well as grandeur of sheer being. Layer upon layer of paint piles up like layer upon layer of coral, but the textural result is more epic, not to say startling, than any coral island, and virtually any other existing abstract expressionist painting (upon which they are stylistically founded)." In 2001, David developed bi-lateral neuropathy due to being poisoned by gases released by overheated beeswax used in the encaustic process. The disease left him with partial paralysis of his legs, slowing the production of his painting for a number of years. That year, David began painting one of his best-known series, the "fallen Toreadors", inspired by 19th century French Realist painter Édouard Manet's "The Dead Toreador" of 1864. In 1993, David experimented at the "20x24" Polaroid studio in Manhattan, which resulted in a series of portraits of playwright Edward Albee and of friend Jackie Gross, which would become the ongoing "Jackie" series of mixed-media works. When neuropathy rendered him unable to paint during 2003, he returned to the 20x24 camera and shot large-format Polaroids inspired by Caravaggio; nude men and women dressed as Toreadors, and religious imagery. In 2002, David began to develop The Greenhouse Project, an evolving "architectural construct" based on historical American Antebellum greenhouses built using the actual glass negatives sold to starving farmers in the post-American Civil War South. David has indicated that each greenhouse will, through the display of photography and use of social networking, create a forum and exhibit for ideas and artifacts related to civil and human rights; the specifications of each greenhouse particular to the community in which each is built. David's work was reviewed in Artforum and Art in America, and is considered one of the last links to the New York School of painting. David may be the most innovative master of immediate surface since the abstract expressionists. He has acknowledged his debt to Abstract Expressionism, but he has transformed it. Where the abstract expressionist paintings of the forties and fifties seem like modern cave paintings, as their crude, unfocused, often meandering, turbulent painterliness suggests, and as such to reinstate prehistory, David seems to turn the cave into a temple, as his more considered, concentrated, indeed, dense, contemplative painterliness indicates, so that his paintings have the aura of post history. SELECT GROUP EXHIBITIONS 2023 Radiate, Garvey Simon, New York, New York 2021 Selections from NYFA - Courtesy of the Martin Z. Margulies Foundation, New York, New York 2020 Bill Lowe Gallery Presents: Masterworks from the Gallery 2016 The Golem, The Jewish Museum of Berlin, Berlin, Germany In a Post-World: Post-Punk Art Now, The Invisible Dog Art Center, Brooklyn, New York 2014 Gallery Artists, Bentley Gallery, Pheonix, Arizona 2011 Post Mammalian Tension: Michael David & Scott Browning, Bill Lowe Gallery, Atlanta, Georgia 1999 Waxing Poetic: Encaustic Art in America, Montclair Art Museum, (Jasper Johns, Jackson Pollock, Robert Rauschenberg etc) Forty Years of American Drawings, Raab Galerie, Berlin, Germany Germany Summertime, Knoedler & Company, New York, New York 1997 Michael David and James Hyde...

Artist: Elisabeth Hahn (German 1924-2021), Elisabeth Hahn was born in Dortmund, Germany, where she began her artistic studies. In 1953, she moved to Paris. She continued her studie...

Manuel Soto-Muñoz (1913-2000), Puerto Rican born American painter. Recipient award of merit Florida Southern College, 1958; prize Art Students League New York, 1950; 1st prize Salón ...

Artist: Elisabeth Hahn (German 1924-2021), Elisabeth Hahn was born in Dortmund, Germany, where she began her artistic studies. In 1953, she moved to Paris. She continued her studie...

Antique Italian modernist flower still life oil painting by Giorgio Celiberti (1929 - 1960). Oil on canvas, circa 1960. Signed on verso. Displayed ...

This rare painting is from the early works of the renowned Danish artist Kirsten Ortwed, known for her exceptional contributions to art. Ortwed has notably represented Denmark at pre...

"Don't Cry Long" is a self-portrait of the artist and an unusual one at that in which the artist portrays herself shedding tears. Perhaps it is an expression of some grief experienced by Ms. Woodlock, but it also admonishes her to not "Cry Long" while at the same time poking fun because of her elongated face and the one lone "long" tear tracing a pattern down her face. In addition to self-portraits, Ethelyn painted commissioned portraits. In this painting her head is cocked and her famous bangs hang down her forehead. Compare two self-portraits, “Up From Under”, and “M’Eyes" to "Don't Cry Long." The major differences are the close facial view and the brilliant blood red paint that fills the entire canvas. This painting is included in the book, "Dreams Have Wings: An Artist's Journey into Magic and Mystery" printed in the United States, 1985. She describes "Don't Cry Long" as showing how funny looking we are, if we cry too long. Ethelyn Woodlock...

A wonderful mid-century interpretation of prehistoric, Paleolithic cave paintings; done in reddish earth tones and rich in visual texture by Sausalito, California artist Nan Street F...

Dark Skies, Stylised Surrealist Oil Painting French School, 1970's Oil painting on canvas, unframed Canvas size: 19.5 x 24 inches Stylised Surrealist interpretation of a stormy, dar...

Artist: Rene Portocarrero, Cuban (1912 - 1985) Title: Ciudad de la Habana, 1961 Medium: Oil on Canvas Size: 34 x 24 inches Provenance: Private Cuban Collection in South Florida....

Abstract figurative woodblock print of a beach landscape with a boat. The print is stamped by the artist and titled and editioned in pencil. This print is editioned 47 of 86 and the print is not currently framed. Artist Biography: Born in Gastonia, North Carolina in 1924, John Biggers studied at Hampton Institute (now Hampton University) under Viktor Lowenfeld and muralist Charles White. In 1943, Biggers' mural, Dying Soldier, was included in the exhibition curated by Lowenfeld, Young Negro Art, at the Museum of Modern Art in New York. After serving in the United States Navy, Biggers transferred to Pennsylvania State University where he earned his bachelor’s and master’s degrees as well as his doctorate in art education. In 1949, Biggers accepted a faculty position at Texas State University for Negroes (now Texas Southern University) in Houston, where he founded and chaired the art department until his retirement. In the early 50s, he won prizes for his work at annual exhibitions held at the Museum of Fine Arts, Houston and the Dallas Museum of Art. In 1957, he traveled to Africa on a UNESCO fellowship to study Western African cultural traditions, becoming one of the first black artists to study the culture first-hand rather than through library research. His work was profoundly influenced by his experiences in Africa. He was known for his murals, but also for his drawings, paintings, and lithographs, and was honored by a major traveling retrospective exhibition from 1995 to 1997. He created archetypal imagery that spoke positively to the rich and varied ethnic heritage of African Americans, long before the Civil Rights era drew...

Artist: Elisabeth Hahn (German 1924-2021), Elisabeth Hahn was born in Dortmund, Germany, where she began her artistic studies. In 1953, she moved to Paris. She continued her studie...

Brown and orange surface is a contemporary artwork realized by Genny Puccini in 1973. Mixed colored acrylic painting on canvas. Hand signed and dated on the back.

Artist: Elisabeth Hahn (German 1924-2021), Elisabeth Hahn was born in Dortmund, Germany, where she began her artistic studies. In 1953, she moved to Paris. She continued her studie...

Artist: Elisabeth Hahn (German 1924-2021), Elisabeth Hahn was born in Dortmund, Germany, where she began her artistic studies. In 1953, she moved to Paris. She continued her studie...

Abstract painter Paul Heald was born in Michigan in 1936. He moved to the West Coast and died in Washington in 2014. His body of work focuses on line and form abstract painting, usu...

Mid-Century Modern abstract geometric composition of pastel colored sailboats on a black background, with beautiful abstracted colorful reflections, gathering in Bay Area Sausalito Harbor by Ray Mathewson (American, d. 1968). Signed "Mathewson" in the lower right corner. Titled "The Meet" on verso. Unframed. Image: 24"H x 30"W. Ray Mathewson (American, d. 1968) was an artist and draftsman. He was married to Ruth Parker (American, b. 1930), also an accomplished artist. He died unexpectedly of a stroke in 1968. Exhibited, Toumala Arts, Fort Bragg...

Portrait. 1975, oil on plywood, 32x27,5 cm Abstract portrait Robert Elibekyan (1941) (Armenian: Ռոբերտ Էլիբեկյան; born 21 April 1941) is an Armenian pa...

Bernard Beck is an American Postwar & Contemporary artist. His trademark ice cream and colorful ices have been copied and used in many channels. This is a very large and colorful wor...

Vintage American school signed modernist cubist still life oil painting and collage. Oil and mixed media on board. Signed. Framed. I...

Artist: Elisabeth Hahn (German 1924-2021), Elisabeth Hahn was born in Dortmund, Germany, where she began her artistic studies. In 1953, she moved to Paris. She continued her studie...

Abstract Composition signed by Sally Vaughan (contemporary) dated 89' gouache painting on card, unframed measurements: 9.5 x 9.5 inches condition: very good provenance: from a large ...

Abstract Composition by Sally Vaughan (contemporary) gouache painting on card, unframed measurements: 6 x 7 inches condition: very good provenance: from ...

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...

Locked in Love, Abstract Portrait, Original Oil Painting, Signed By French artist Elisabeth Dujarric, b.1930-2005 Oil painting on canvas, unframed Canvas size: 46 x 35 inches Elisabeth Dujarric de la Rivière...

A modern abstract collage and oil on panel by American artist James Koenig.

This painting is a perfect example of lyrical abstraction and a choice painting out of the best period of Vlerick's career. Ineffable, 1962 Oil on Masonite board 91,5 x 61,5 cm (without frame) 93 x 63 cm (framed) Signed and dated Top Right ‘P. Vlerick 1962’ with title, signature place and date at the back: Ineffable P. Vlerick Afsnee 1962 Pierre Vlerick’s work shows some resemblance to Willem de Kooning’s. While the Dutch American was famed for the wild manner in which he treated his canvas, Pierre Vlerick showed some more restraint, but making a painting was in any case a slow process of stopping and starting and revising. His exploration is meant to result in a correct proportion of colour fields and streaks, often applied layer upon layer. All his colors have a luminous intensity. It was mainly Bonnard’s colorful work that inspired Vlerick to compose his own singular range of colors of slightly tingling yellows, greens, oranges and bits of blue here and there. Abstraction is emphasized by his use of color. Colors not associated with objects from daily life often dominate the composition: purple, for instance. This is the basis for his continuing abstraction, ending up as color fields combined with organic elements depicted with the vaguest of contours. Though both artists create a very metropolitan, say even worldly art, their work evokes nature. De Kooning has been called a master of ‘abstract landscape’. The structure of Vlerick’s works, too, is very vegetable and organic. No wonder he referred to his paintings as his ‘gardens’. Neither artist allowed his garden to remain empty: de Kooning created a female figure looking like a cross between a floozy and the mother goddess. Vlerick imagined a woman who is enjoying her body. Vlerick’s approach to abstract art is the same as de Kooning’s; they refuse to paint in a figurative manner, yet at the same time do not wish to renounce referring to reality. De Kooning once put it very accurately during an interview when he conceded that painting the human figure any longer was absurd(in the post-war period), but also stated that it would be even more absurd not to do it. The only way out of this ambiguous dilemma is the deconstruction of the human figure. Not in order to reject it, but to show it in all its fragility. Pierre Vlerick’s exceptional artistic talents were already recognized while he was studying at the Ghent Academy (1940-1944) whereupon graduating he received a gold medal. In 1947-1948 Vlerick enrolls at the “la Grande Chaumière Academy”, a Parisian private academy which attracts lots of foreign artists thanks to the reputation of its most important teachers such as Maurice Denis (1870-1943). Denis was one of the founding fathers of “the Nabis” and is also considered to be the godfather of abstract art by many artists and art critics. Maurice Denis is famous for his quote: "Remember that a painting, before it is any kind of representation, is essentially a flat surface covered with colors in a certain collected order." At La Grande Chaumière, Vlerick is challenged to develop a pictorial language of his own. Vlerick develops a way to translate the observed reality into visions of color and form, which can be situated somewhere on the axis between the figurative and the abstract. Reality is decomposed and reconstructed into a complete new representation. After a trip to Spain in 1955 the painter evolves towards the use of brighter colors. At the Brussels World Exhibition of 1958 (Expo 58) Vlerick is for the first time confronted with real works of 17 American artists (William Baziotes, James Brooks, Sam Francis, Arshile Gorky, Adolph Gottlieb, Philip Guston, Grace Hartigan, Franz Kline, Willem de Kooning, Robert Motherwell, Barnett Newman, Jackson Pollock, Mark Rothko, Theodoros Stamos, Clyfford Still, Bradley Walker...

S.Becker signed oil on canvas, framed framed: 13 x 18.5 inches canvas: 11 x 16 inches provenance: private collection condition: very good and sound condition

French School, circa 1970's Expressionist blaze of colors oil on board, unframed board: 29 x 21 inches provenance: private collection condition: very good and sound condition

Neutral Abstract, Muted Colours, Signed Oil Painting By French artist 'Jean Briant', 20th Century Signed by the artist on the lower right hand corner ...

Large gilt framed abstract modernist landscape of Jerusalem. Framed it measures 33.25 X 41.25 inches. Canvas measures 28 x 36 inches. Bold Blue sky. Avraham Binder was born in 1906 in Vilnius (or Vilna), now part of Lithuania. He began painting at an early age and completed the prescribed studies in painting at the academy of arts in his native city. Upon graduation, at the commencement exhibition of works submitted by the graduates, he was awarded a prize in recognition of his talents. Artistic talent had deep roots in the Binder family. Avraham's father and grandfather were both artistically inclined, as was his sister Zila Binder and daughter Yael. In fact, he came from a long line of master artistic bookbinders, hence the family surname. The Binder family emigrated to Palestine in 1920. There, his father established a bookbinding workshop in Tel-Aviv while Avraham pursued painting. Binder has not identified with any particular modern school nor narrow artistic doctrine. He struggles to verbally explain his personal conception. Instead, he derives inspiration from emotions, resulting in a great variety of artistic treatments. Particularly memorable are his urban landscapes with their predominance of blues and aquamarines, composed of a profusion of squares and rectangles, crowding one another and covering nearly the entire canvas. The angular shapes are interspersed with radiant dots of red, gold and yellow, like the lights of the big city. Those squares and rectangles reflect, perhaps, impressions of a childhood spent among books which were scattered about the home and workshop of his father, the bookbinder. These shapes, no doubt, had their influence upon the artist whose first youthful impressions were – books. Traces of these shapes are discernible in Binder’s work to this day, in the angularity of splashes of color which, no longer crowded together, are now well separated to create an airy spaciousness. Not only the splashes of color – the inventing space, too – creates figurative effects in the artist’s treatment. Avraham Binder is not a “cerebral” painter. Neither identified with any particular modern school, nor preaching any narrow artistic doctrine, he is an emotional artist: his inspiration, derived from the heart, leads him on to the most varied range of treatments in his artistic work. In vain might one try to persuade him to define his personal conception of painting. He is not one to indulge in verbal explanation. But his sheer artistic skill, his virtuosity with the paint brush, did impel him to experiment widely with the artistic techniques of the modern age. And his exceptional talent stood him in good stead in all this experimentation. Binders large-scale urban landscapes are not mere constructs to represent our present-day architecture with its pervasive angularity. Made up as they are of color, Binder’s unique color composition qualifies these canvases to be ranked among the foremost artistic works in Israeli painting. They are uniquely Binder, very different from what we see in the work of his contemporaries. Here and there, Binder also introduces the human element into these paintings. He lives and breathes the atmosphere of his surroundings, deeply experiencing the sea and the shore of Tel-Aviv that confront him day after day, and which he has transferred to his canvases, as metaphors in paint, throughout the life. More recently, he has created a new series of shore-and-seascapes, in tones ranging from brown to blue. ochre, violet and pale yellow – marvelous views of the sea and of figures enlivening its shore. In yet another series, featuring nearly the same range of hues, he lets us view, through his eyes, the Carmel Market in Tel-Aviv, or the city’s coffee houses with their crowds of people, heads bunched together as if in search of human closeness, with the windows looking in upon them. He has also done large paintings of Jerusalem...

Modern neutral toned abstract mixed media painting by Texas artist Carole Myers. The work features a collage of different textured papers combined with pa...

Stunning original oil painting by the French abstract artist, Yvette Dubois-Habasque (1929-2016). The painting has excellent provenance having come from the artists studio sale in Pa...

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

Sandu Darie (1908-1991) "Untitled" 1960, casein on wood 11.4 x 12.5 (29.8 x 31.7 cm).