20th Century Abstract Paintings

Signed lower right, 'C G Nelson' for Carl Gustaf Simon Nelson (American, 1898-1988) and dated 1956. A substantial, Modernist oil showing a profusion of white and pink poppies contra...

Vintage American school surreal oil painting. Oil on canvas. Signed verso. Framed. Measuring 24 by 30 overall and 22 by 28 painting alone.

Abstract Expressionist Composition signed by Gilbert Pelissier (French born 1924) oil painting on canvas, unframed canvas size: 35 x 45.75 inches condition: overall very good, a few ...

Stunning and completely unique one of a kind original artwork - by the well listed French abstract painter, Bernard Herzog (b.1935). During the latter part of his career, like Henr...

This colorful abstract acrylic painting is by Canadian artist Milly Ristvedt. Inspired by modernist mentors, in the 1970s Milly Ristvedt used simple formats on raw canvas to displa...

Up for sale here is a great modernist portrait painting. Oil on canvas, circa 1920. Painted in a wonderful modernist style. Framed. Image size 28 x 44.

Aleksandr Rodin (1922-2001) Painter Born in a family of farmers. Wife Rasma Lace - art scholar. Studied at the Stalingrad School of Art, Saratov Art School, graduated from the Depar...

Signed lower right, 'Gilberg' for Robert George Gilberg (American, 1911-1970) and dated '58'. Born in Oakland, Robert George Gilberg first studied at the Oakland Art Center during t...

Title: Original Oil Painting of a Candid Scene of an Artist Painting on an Easel Artist: Roland Pichard Medium: Oil on oil paper, mounted on card Size: 11 (height) x 14 (width), (...

Original oil paint on heavy archival paper abstract by the American artist, Martin Rosenthal. Bold, vibrant colors. Signed lower right by the artist and dated 1964. Condition is goo...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

Esteban Vicente (1903-2001). Untitled, #36, 1955. Gouache on paper, image measures 8 x 11 inches, 16.5 x 19.5 inches framed. Signed, dated and numbered on verso. Excellent condition....

"Quart and a Half" is an American Realist abstract landscape watercolor on paper painting by Andrew Wyeth in 1961. The artwork is 21 x 29 1/4 inches and is 33 3/4 x 42 1/4 x 1 inches...

Martha Lloyd (American, 1927-2018) Thaw, 1997 Oil and wax (encaustic) on canvas 20 x 20 in. Framed: 21 1/4 x 21 1/4 x 1 3/4 in. Inscribed verso Provenance: Carrie Haddad Gallery, Hudson, NY Martha Anne Lloyd...

Title: 1960's British Surrealist Oil Painting - Abstract Botanical Study Medium: Oil on board, unframed Size: 6 height x 4 width Condition: Good Provenance: all the paintings we hav...

Vivian Springford Vivian Springford (American, 1913–2003) was a color field painter, celebrated for her distinctive approach to abstraction. Initially influenced by Chinese calligra...

Wonderful mid 20th century European modernist cityscape oil painting. Framed. Oil on board. Signed. Image size, 20H by 26L.

Dimensions: (Frame) H 28.5" x W 35.5" (Painting) H 22" x W 30" Miguel Ángel Aybar Llauca, an artist specializing in expressionist painting, was born in Huancavelica and lives in the city of Ica where he began drawing from a very young age, drawing from its beautiful valleys and customs. In 1970 he began his studies in Drawing, Painting and Sculpture at the Regional School of Ica. He is a graduate of the National Superior Autonomous School of Fine Arts of Peru (1971-1976) with honorable mention, forming the promotion "Juan Manuel Ugarte Eléspuru". "Iqueño Expressionism" is the title of the exhibition that will be available to the public from May 25 to June 13 in the "Paracas" Room of the "Adolfo Bermúdez Jenkins" Regional Museum of Ica. Av. Ayabaca block 8°. Miguel Angel Aybar is a painter who characterizes expressionism in Ica without a doubt. His songs speak of longing, and secret friendships with the hurango, the palm tree of Huacachina or the silent and still sand of Ica. His work is primarily characterized by color. The contrasts between the intense dark contrasted with the radiance of reds, oranges, yellows or greens, achieve a positive effect on the observer. Its warm tones reach high levels like an Ica sun at noon. However, among those quasi Servulian colors , Andean prints maintain their presence. Hats, ponchos or skirts hidden from a root bound by blood or memories. The perfect textures of his works give him the seal, the personality that characterizes a curdled and experienced Aybar who no longer needs to dialogue with the brush; they just flow, hand and brush. When entering the exhibition hall, you do not need to read the signature, he is an Aybar. There is no room for confusion. Although there are not a few artists from Ica who use these boiling tones, and I translate it as a tribute to that Sérvulo that touches you in the depths of your being, if you are an artist and you live in Ica, you want to be possessed by the ghost of the disturbing Sérvulo Gutiérrez turned legend. Servulus still catches the spectator being absorbed, as if observing a volcano, fearing that it might erupt, but with an inexplicable delight that he stops you next to him and captures you. However, Aybar no longer needs Servulo's shadow, he has gained an important space in the artistic world of Ica. He is an artist and a close friend of poets and musicians. Painter recognized by the Ica society and deserving of all the medals and recognitions by the different institutions. He not only paints with mastery, as Alberto Dávila predicted, when he said that his maturity would give him the position that corresponds to him. He now sings in public to the delight of his closest friends. Ica recognizes him as a son and has given him the place that corresponds to this remarkable painter whom I congratulate. DATA ABOUT THE ARTIST Miguel Angel Aybar Yauca, was born in 1952 in Huancavelica. He has lived in Ica since he was very young; he began his art studies at the Ica Regional School of Fine Arts. He later moved to Lima to study at the National Autonomous School of Fine Arts of Peru from where he graduated in 1976. His teacher Alberto Dávila described him as: a restless, imaginative young man with a sober and dramatic color. His forms acquire poise and great eloquence . Aybar also had the painter Carlos Aitor Castillo...

THE PATH LESS TAKEN Size: 24.5 x 25.5 cm (including frame) Oil on board A brilliantly executed abstract figurative oil composition painted by the established Swedish artist Ivar Mor...

5-3623 Oil on artist board set in a vintage frame Image size 7x10"

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on board unframed: 7.75 x 7.75 inches condition: excellent provenance: all the paintings we have fo...

Charles Bertie Hall, Yacht sailing in a river. Owning an Impressionist marine landscape by Charles Bertie Hall, an English/American Impressionist painter, offers a unique opportuni...

This piece is artist signed , very vibrant colors, and is a part of my private collection since the 1970's.

Small but mighty. A moment caught, an explosion of energy, of color. And such a departure for California artist Heinie Hartwig (b. 1937), who is known primarily for his Western subje...

Cubist Still Life Composition French School, mid 20th century oil on canvas, framed framed: 22 x 26 inches canvas: 18 x 21.5 inches provenance: private collection, Paris condition: v...

'Abstract Composition', oil on board (circa 1960s), by Edgar Stoëbel (1909-2001). In his very original style, artist Stoëbel's abstract image seems to form a human torso with the lively colours of a modernist work. The image has a pop art quality to it and was created just as that movement was emerging. Pop art challenged traditional painting by embracing colourful images from advertising, popular culture, comic books and mundane objects from everyday life. This artwork has a powerful intensity of tone and colour having somewhat faded with time. It speaks to Stoëbel's very distinctive style which remains completely approachable and appealing. In fact, this is not pop art. This is part of the post-war concrete abstract movement, or Constructive Art...

Vintage Oil Painting of the Cullin Hills - the iconic Mountain Range on Isle of Skye in the Scottish Highlands, by 20th Century Artist, Roger Gallaher Art measures 20 x 16 inches ...

Peter Haigh was raised on a farm near the Yorkshire town of Lockwood. Taking up painting as a hobby at an early age, Haigh sold his first painting at the a...

Charming Village by the Water signed by Regine David (French mid 20th century, female) dated 1967 oil on canvas, framed framed: 21 x 25 inches canvas: 19.5 x 24.5 inches Provenance: ...

'Fish, Dove and Musical Instrument', gouache on paper, from the Italian School of artists (circa 1940s). Surely this very attractive piece was inspired by Georges Braque (1882-1963) ...

"Geostructure IX" is an intensely colorful painting of the primary shapes of the circle, square, and triangle. Though the shapes are repetitive their mixed juxtapositions and the creative use of color moves the eye around the canvas with constant interest. This painting is an extraordinary example of Franklin Jonas...

Impasto Oil Painting of River Tree Scene British Postwar & Contemporary Artist, Terry Evans Terry Evans is a British Postwar & Contemporary Painte...

Modern abstract landscape painting by the iconic Houston based artist David Adickes. The work features a group of green, pink, and blue trees set against a light aqua background. Sig...

Jean Krillé’s paintings are known for their expressive use of color and dynamic, abstract forms, blending realism with abstraction in his depictions of nature. His landscapes often f...

Mid century modern abstract expressionist oil on canvas in rusty earth tones blending with subdued dark blues and whites by S. Palmer (American, 20th Century), c.1960. Signed lower r...

Abstract Expressionist Composition by Marie Deloume (French born 1942) signed on back, inscribed verso oil on card stuck on canvas, unframed canvas size: 46 x 35 inches condition: ov...

Stunning mid century mixed media collage of Roman travel items and photos by James A. Couglin, a Berkeley Abstract Expressionist (American, 1929-1979), c.1966. Painted during his Par...

Colourful Cubist Abstract, Signed Original Oil Painting By French artist Iris Leger, Mid 20th Century Signed and dated '70 by the artist on the lower right hand corner Oil painting o...

"Carnival" Heavily Textured Abstract Expressionist Figurative Oil on Canvas Bold, textured, Figurative, abstract composition by California artist Harald "Harry" Dry Schmidt (American...

Title: Original Oil Painting of Seated Man at a Table with Dog by His Side Artist: Roland Pichard Signed: Verso Medium: Oil on oil paper, mounted on card Size: 13.75 (height) x 1...

Abstract Expressionist Composition signed by Gilbert Pelissier (French born 1924) oil painting on canvas, unframed canvas size: 31.5 x 16 inches condition: overall very good, a few m...

Acrylic on canvas Signed "Sander 1969" (Typewritten paper label states: LSE #75 Atatapa 1. 1965) Ludwig Sander was a painter of the New York School. He studied under Hans Hoffman and lived and worked in New York City and Sagaponack, Long Island. His work is well represented in many public collections. He was charter member of the Eighth Street Club (The Club) whose artist members included Willem and Elaine de Kooning, Jimmy Rosati, Giorgio Spaventi, Milton Resnick, Pat Passlof...

Aleksandr Rodin (1922-2001) Painter Born in a family of farmers. Wife Rasma Lace - art scholar. Studied at the Stalingrad School of Art, Saratov Art School, graduated from the Depar...

Edward Avedisian ( 1936-2007 ) Gouache or oil on paper, 3 guys around a car, hand signed in paint lower left, Measures 30"x 22.5" Edward Avedisian (June 15, 1936, Lowell, Massachusetts – August 17, 2007, Philmont, New York) was an American abstract painter who came into prominence during the 1960s. His work was initially associated with Color field painting and in the late 1960s with Lyrical Abstraction and Abstract Expressionism. He studied art at the School of the Museum of Fine Arts, Boston. By the late 1950s he moved to New York City. Between 1958 and 1963 Avedisian had six solo shows in New York. In 1958 he initially showed at the Hansa Gallery, then he had three shows at the Tibor de Nagy Gallery and in 1962 and 1963 at the Robert Elkon Gallery. He continued to show at the Robert Elkon Gallery almost every year until 1975. During the 1960s his work was broadly visible in the contemporary art world. He joined the dynamic art scene in Greenwich Village, frequenting the Cedar Tavern on Tenth Street, associating with the critic Clement Greenberg, and joining a new generation of abstract artists, such as Darby Bannard, Kenneth Noland, Jules Olitski, and Larry Poons. Avedisian was among the leading figures to emerge in the New York art world during the 1960s. An artist who mixed the hot colors of Pop Art with the cool, more analytical qualities of Color Field painting, he was instrumental in the exploration of new abstract methods to examine the primacy of optical experience. One of his paintings was appeared on the cover of Artforum, in 1969, his work was included in the 1965 Op Art The Responsive Eye exhibition at the Museum of Modern Art and in four annuals at the Whitney Museum of American Art. His paintings were widely sought after by collectors and acquired by major museums in New York and elsewhere. He has been exhibited in prominent galleries, such as the Anita Shapolsky Gallery and the Berry Campbell Gallery in New York City. Edward Avedisian was known for his brightly colored, boldly composed canvases that combined Minimalism's rigor, Pop art exuberance and the saturated tones of Color Field painting. Roberta Smith of the NYT writes of Avedesian: "Edward Avedisian helped establish the hotly colored, but emotionally cool, abstract painting that succeeded Abstract Expressionism in the early 1960s. This young luminary harnessed elements of minimalism, pop, and color field painting to create prominent works of epic proportions that energized the New York art scene of the time." In 1996 Avedisian showed his paintings from the 1960s at the Mitchell Algus Gallery, then in SoHo. His last show, dominated by recent landscapes, was in 2003 at the Algus gallery, now in Chelsea. Selected Exhibitions: Op Art: The Responsive Eye, at the Museum of Modern Art, Whitney Museum’s Young America 1965 Expo 67, held in Montreal, Canada. Six Painters (along with Darby Bannard, Dan Christensen, Ron Davis...

Abstract Expressionist Composition by Gilbert Pelissier (French born 1924) signed on back, inscribed verso oil painting on canvas, unframed canvas size: 16 x 24 inches condition: ove...

Antique American modernist portrait oil painting. Oil on canvas, lain to board. Framed. Very finely painted and a rare fauvist palette. No signature found.

Original Color Field Oil Painting Multi-Color Geometric Abstract - "Commute" Dramatic multi-color geometric abstract painting by Virginia Sevier Rogers (American, 1917-2015). Vivid ...

Title: Original Oil Painting of Vibrant Countryside Landscape with Hills and Trees Artist: Roland Pichard Medium: Oil on oil paper, mounted on card Size: 7.5 (height) x 9.25 (widt...

Abstract Expressionist Composition by Gilbert Pelissier (French born 1924) signed, inscribed verso and dated 84' oil painting on canvas, unframed canvas size: 20 x 39.5 inches condit...

This colourful abstract expressionist painting is by the award-winning artist Milly Ristvedt. The view of a triangular-shaped rock from her waterside studio inspired the colour and ...

Frank Sinatra 1915-1998 American Yellow Abstract with Triangles Signed "Sinatra 89" (lower right) Acrylic on canvas One of the great American icons of the 20th century, Frank Sin...

Signed lower right, 'Max Gunther' (German, 1934-1974); additionally signed verso, dated 1958 and titled 'Cité Décomposée'. Provenance: Estate of David Rockefeller...

Famous french painter of XXth century, born in Moscow in 1902 and died in Paris in 1976. The Count André Lanskoy works are exhibited in the world's greatest museums like : National ...

Karl Larsson (1893-1967) non-objective abstraction Original watercolor, circa 1920s-1930s In excellent condition. Archivally Matted - not framed. Measures...

De Hirsh Margules (1899-1965). Christopher Street, 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15.5 x 20 inches. Window in matting measures 15 x 19 inches. Framed measurement: 23 x 30 inched. Bears fragment of original label affixed on verso. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC Exhibited: The American Federation of Arts Traveling Exhibition. From the facade of The Waverly at Christopher is depicted One Christopher Street, the 16-story Art Deco residential building erected in 1931. It is not a casual coincidence that the structure appears in this cityscape: 1 Christopher Street is the subject. The original intention of this project was to transform the neighborhood, bring a bit of affluence and make a bid to rival the Upper West Side. Margules, a sensitive aesthete, understood how a massive piece of architecture such as One changes a neighborhood. Sound, scale and focal points are forever altered. A pedestrian's sense of depth and distance becomes pronounced. All of these factors contribute to the intent behind this image. Tall buildings disrupt the human scale, change the skyline and carve up space. In this piece, negative space conforms to the man-made geometries. Clouds become gems fixed in settings. De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium" Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village. Early Life De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website. At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers. As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later. In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno). Artistic career In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting. Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe. Jane Heap, left, with Mina Loy and Ezra Pound During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter. In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa. Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that: the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment. Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow." It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day. In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel. Upon his return to New York in 1929, Margules attended an exhibition of John Marin's paintings. While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O'Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends." Alfred Stieglitz Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York. With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting. In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works. In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation. "The Baron of Greenwich Village"[edit] Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond. To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness." He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller. Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance. The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation. The writer and television personality Alexander King said I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean. King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets." Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler. Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...

The French City French School, circa 1970's, signed lower corner oil painting on canvas: 31 x 38.5 inches framed: 23.5 x 32 inches condition: sound condition though with minor crack...

A substantial, mid-century American Abstract oil comprising biomorphic and dimensional forms in shades of coral, jade and straw, shown gathered around a central, rectangular element ...

Forest Landscape in Sumi Ink on Paper High contrast abstracted landscape by an unknown artist "Shmitt" (20th Century). The edge of a forest is shown in bold strokes of sumi ink, cre...