20th Century Abstract Paintings

This oil painting is original and signed by the artist. I have owned this piece since the early 1970's. The oil depicts a village and is vibrant in color.

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 8.25 x 7.25 inches condition: excellent provenance: all the paintings we h...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 12.75 x 9.75 inches condition: excellent provenance: all the paintings we ...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 12.75 x 9.75 inches condition: excellent provenance: all the paintings we ...

Antique American modernist landscape signed oil painting of the Anza-Borrego desert. Oil on canvas. Framed. Signed. Measuring: 36 by 44 inches overall. In excellent original condit...

Painted sculpted cardboard Unique work Coming from the artist's studio Jacques ROUBY, the aesthetics of mystery "Experimental dreamer, passionate about graphic adventures, delibera...

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...

Oil on canvas, 24 x 19 inches overall, 20 x 15.75 inches image size. A modernist still life. Cubist elements as well. Signed lower right and presented in an a modernist frame. ...

Willy Oster Untitled Geometric Abstract Mixed Media Collage; Acrylic, Paper 1990 27.55 x 39.37 inches (70 x 100 cm) Signed, dated and annotated by hand on verso COA provided *Condit...

Antique French impressionist portrait landscape oil painting. Oil on canvas, lain to board. Signed. Framed. Measuring: 12 by 15 inches overall, and 6 by 9 painting alone.. In excell...

Title: Colourful French Harbour Scene with Moored Boats and Forest by Fanch Lel 1996 by Fanch Lel Signed: Lower right corner Size: 11 x 19 inches (height x width) Oil painting on boa...

Antique American abstract expressionist oil painting. Oil on canvas. Framed. Measuring: 43 by 31 inches overall. In excellent original condition. Handsomely framed in a giltwood mo...

Abstract Cityscape by H. de Sainte Foi (French 20th century) signed oil on board, unframed board: 24 x 47 inches Provenance: private collection, France Condition: all corners are w...

Original Mid-Century oil on canvas composition by American Artist Edith E. Ferullo (1928 - 2008). The painting features a thick textured abstract nude subject. The brutalist artwork ...

David Humphrey Trophy (Museum of Contemporary Art, Chicago), 1983 Oil on Canvas painting Signed Twice: Hand signed and dated verso, also artist has signed his name and written his ho...

His first name sounds like a concerto. Vivacious, its name is reminiscent of an aperitif or a cyclist. The addition of the two evokes the Italianate. Indomitable and unavoidable. Mor...

Work on cardboard

Signed lower right, 'Paula Melcher' (American, 20th century) and dated 1956.

Lively abstract painting with primary tones of yellows, reds and greens with accents of blue and black on white background, 1952. Signed lower right. Original artwork on paper dis...

Antique American abstract oil painting. Oil on canvas. Measuring: 40 by 49 inches overall. In excellent original condition. Excellent condition, ready to hang and enjoy.

Louise Delorme (b. 1928). Vase of Flowers, 1969. 26 x 36 inches; 27 x 37 inches framed. Signed lower left. Titled and dated on verso. Excellent condition.

Anita Johnson Untitled (Architectonic Blues), c. late 1960s–early 1970s Oil on canvas Framed dimensions: 46 in. H × 35 in. W Contemporary black floater frame A luminous exploration ...

Surrealist composition French School, dated 1975 verso oil on canvas, framed framed: 33.5 x 27 inches canvas: 32 x 25.5 inches inscribed verso provenance: private collection, France ...

5050 Heavy impasto figurative oil painting Set in a hand carved 19th century wood frame Image size 17.5x 13.5"

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: ...

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...

Harold Feist’s gloriously colorful acrylic abstract painting called Chanson radiates joy. Known for his innovative color field work, Feist has chosen a bright rainbow palette in broa...

Richard Anuszkiewicz (American, 1930-2020) Temple of Evening Reds, 1983 Acrylic on canvas Signed verso 36 x 36 inches 36.75 x 36.75 inches, framed Richard Anuszkiewicz was born in E...

Charles Sutton, “April Afternoon,” Oil on Board, Framed Landscape Painting Warmly toned impressionist oil painting by Charles Sutton, titled April Afternoon. The work captures a tra...

Initialed lower right, 'E.B.S.' for E.B.Stetson (American, 20th century) and painted circa 1965; additionally signed, verso, 'E. B. Stetson'. A substantial, mid-century American Sch...

Modernist abstract composition signed Geist. Oil on board, circa 1950. Signed lower right. Displayed in a wood frame. Excellent ready to hang condition.

A large American Abstract Expressionist oil on canvas painting by Pacific Northwest artist Frederick Heidel ( 1915-2000), "Blue Landscape", Oregon, circa 1955. This is a large & earl...

Antique American modernist nocturnal street scene oil painting. Oil on board. Framed. Signed . Measuring: 14 by 12 inches overall, and 8 by 10 painting alone. In excellent original...

Artist/ School: French School, 1960's period Title: figurative group, with deep green color background. Medium: oil on canvas, unframed Canvas: 36.5 x 26 inches Provenance: pri...

A serene and subtly rendered coastal scene by H. J. Schneider, this oil on canvas painting captures the quiet expanse of East Hampton’s beachfront architecture and dunes. Executed wi...

Edwin Mieczkowski (American, 1929-2017) Broken Ice, 1976 Gouache and pencil on paper Signed, dated (Feb. 2, 1976) and titled lower right 27.5 x 37.75 inches 35 x 45 inches, framed Edwin Mieczkowski, born in Pittsburgh, was a leader of geometric and perceptual abstraction during the latter part of the 20th century. Mieczkowski's work first came to prominence in "The Responsive Eye" exhibition, the nation's first major exhibition of perceptual art, held at the Museum of Modern Art in New York in 1965. Mieczkowski was also featured in the 1964 article in Timemagazine that first used the term "Op Art" to describe paintings that manipulated visual cues in order to reorder and excite viewers' perceptual responses. With a complex aesthetic that over time has transcended mere tricks of optical art, Mieczkowski has spent nearly four decades producing geometrically paintings, drawings and sculptures, a genre of modern art that is known broadly as perceptual abstraction. His output of static and dynamic forms create a body of work, still largely intact, that uses visually disorienting, meticulously arranged lines, dazzling kaleidoscopic colors, and alluring juxtapositions of hue and tone, to playfully and seductively present new challenges for the viewer's eyes. The desired result is an optical effect of perpetual motion, harmonics and rhythm. . . . Along with Frank Hewitt and Ernst Benkert, Mieczkowski was a co-founder in 1959 of the Anonima* group that worked together in Cleveland and New York and declared itself free from the pressures of the art market and the pursuit of personal fame. Members of Anonima often left their works unsigned and vowed to shun the usual art market venues such as commercial galleries, biennials and competitions. Instead, they engaged in a rigorous, self-imposed program of painting exercises to explore the effects of geometry and color on visual perception. Although Mieczkowski's work hung side-by-side in the MOMA "Responsive Eye" exhibition with such colleagues as Josef Albers, Victor Vasarely, Richard Anuszkiewicz, Morris Louis, Kenneth Noland, Carlos Cruz-Diaz, Ad Reinhardt and Bridget Riley, all of whom went on to considerable fame and fortune, Mieczkowski chose to eschew commercial exhibition and career promotion. Instead, he spent 39 years teaching at the Cleveland Institute of Art and quietly executing a number of public art commissions while independently pursuing his own intuitive explorations in geometric abstraction. Mieczkowski pursued virtually no commercial sales of his work. Consequently, the body of work he left behind consists of hundreds of paintings, drawings and sculptures only recently viewed...

A striking oil on canvas still life rendered in a late Cubist idiom, this 1968 composition by V. Melo presents a disciplined yet expressive tabletop scene. The spatial relationships ...

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

Artist: Carol Sideman– American (1925-2021) Title: Blue Sea #57 Year: circa 1975 Medium: Acrylic paint, gouache, chine colle on heavy watercolor paper Si...

Work on canvas This bold, intriguing work features an abstract composition dominated by organic forms. Three main figures stand out against an intense purple background, each framed ...

Abstract Nude by Therese Hummel (French, 1911-1999) oil on canvas, unframed canvas : 14 x 9.5 inches Provenance: private collection of this artists work, Paris Condition: sound and g...

Russian Icon by Peter Kalkhof (German, 1933-2014) acrylic painting on canvas, unframed 61cm x 56cm Stunning original painting by the very well listed German born painter, Peter Kalk...

Title: Impressionist Harbour Scene with Fishing Boats Lighthouse and Sunset Sky By Fanch Les Size: 15 x 18 inches (height x width) Oil painting on cardboard, unframed Condition: The ...

Figurative Abstract French School small frame oil painting on board painting: 20.5 x 21 inches overall size: 21x 21 inches condition: overall very good and pleasing provenance: from ...

James Lepore (American, 1931-2024) Untitled (Abstract), 1962 Oil on canvas Signed Lepore 62 lower right 43 x 55 inches James Lepore was an American artis...

A fluid wash of bubblegum pink fills the surface of this painting. Ricard has written in bright yellow, blue, and vivid silver the following: So how do you be friends w/a whore? Business being business/Ethically, a ho can’t rat on its tricks; so if the ho is hohoing yr husband Damned if you’ll ever find out. March 26. Whore sharply contrasts the beauty of silver, yellow, and pink with Rene’s pithy, obscene pronouncement. The pink ground is applied in a sheer wash, like Male Cinderella’s background, and the artist’s cursive shimmers in the same silver as One Shoe One You / True Love, Size 3?, and This is not a thanksgiving pumpkin. While Whore shares enticing formal qualities with other works in this group, the text snaps us to cold reality, down into the gutter with a bump. Ricard is happy to visit a fairy tale, but doesn’t stays in the fantasy for long. There’s an intimacy to this work’s smaller scale which compels the viewer to lean in and decode Ricard’s poetry. The artist’s outsized signature is with initials in dark blue, which pop out against that beautiful saturated pink. Canvas floater frame, in maple with .25 inch moulding. Whore is part of a group of works dating from 1989-1990 as Rene Ricard prepared for Mal de Fin at the Petersburg Gallery, New York, in 1990, his very first one-man exhibition. Born Albert Napoleon Ricard, he moved to New York in the 1960s at the age of 18. With that relocation, Albert died, and Rene was born. Instantly adopted into Andy Warhol’s glittering orbit, Ricard thrived in the city, with its heady concentration of art, culture, and debauchery. In New York Ricard found the milieu where he would shine. He acted in underground films, playing Warhol in the artist’s own Andy Warhol Story. He became a renowned poet and writer, published in the Paris Review and Artforum. In typically wry fashion he explained how he became a painter: “I began adding images [to my poetry] because I’ve always liked to draw and paint. And it was hard to find junk-store paintings of the right quality, things that could support some writing, so I just started making the images myself. Unfortunately, people really like that, even though I far prefer just the writing.” Ricard drew on his vast knowledge of literature and art history, weaving these references together with bursts of autobiographical poetry: what the New York Times termed his “seething verbal finesse.” Ricard, having spent years in the Factory’s milieu, learned from Warhol’s creative strategies. Warhol created images quickly with screen printing, with no regard for perfection. Duplication was the method and the ideology. Ricard, too, worked quickly: urgency was part of his visual language of looped cursive and scribbled colors. He often borrowed a lithographic plate or silkscreen from already-completed works, printing the matrix on canvas or paper to create backgrounds for new works (Size 3’s red printed background may be an example of this). He appropriated thrifted paintings and discarded items such as a pinboard or a piece of insulation, so long as the object in question had a flat surface upon which to work. The two artists were both outsiders to the art world in a sense—Warhol coming from the world of design and Ricard, a bona fide author, but both intuitively understanding how to compel the viewer. As Warhol anthologized consumerism, Ricard catalogued desire. For example, Size 3 and One Shoe One You feature Ricard’s take on Warhol’s famous shoe drawings...

French gouache painting, circa 1930. This abstract piece stands out for its bright hues and sharp, interconnected geometric shapes. Original one-of-a-...

Vintage French modernist South France landscape oil painting from the cirlce of Andre LHote. Apparently unsigned. Very finely painted. Oil on canvas, lain to board. Framed. Measu...

Cubist Still Life European School, mid 20th century oil painting on board, unframed painting: 18 x 11 inches condition: very good provenance: private collection, Cotswolds, England

Yuri Larin (1936-2014). Landscape, 1986. Watercolor on paper, 16.5 x 18 inches. Mounted on cardboard sheet measuring 24 x 28 inches. Signed and dated lower ...

Abstract Figurative Composition in Oil on Board Boldly colored abstract composition by an unknown Bay area California artist (20th Century)...

Untitled (Highrise), 1954, oil on canvas, signed and dated lower right, 20 x 20 inches, presented in its original frame Karl Benjamin was a California-based artist who is best known...

This artwork titled "Tweet" c.1990, is an acrylic painting on paper by noted American artist Glen Chesnut. It is. signed and titled at the lower right corner by the artist. The artwo...

Oil on canvas, 18 x 22 inches overall, 16 x 20 inches image size. Vintage American impressionist landscape painting. Oil on canvas. Framed.

Roland Ayers (1932-2017). Untitled, 1983. Ink on paper, measures 17 x 23 inches. Unframed and unmounted. Signed and dated lower left. Ayers holds the distinction of having participated in the first important survey of African-Americans, Contemporary Black Artists in America, a 1971 show at The Whitney. Biography: Artist and art educator, Roland Ayers was born on July 2, 1932, the only child of Alice and Lorenzo Ayers, and grew up in the Germantown district of Philadelphia. Ayers served in the US Army (stationed in Germany) before studying at the Philadelphia College of Art (currently University of the Arts). He graduated with a BFA in Art Education, 1954. He traveled Europe 1966-67, spending time in Amsterdam and Greece in particular. During this period, he drifted away from painting to focus on linear figurative drawings of a surreal nature. His return home inaugurated the artist’s most prolific and inspired period (1968-1975). Shorty before his second major trip abroad in 1971-72 to West Africa, Ayers began to focus on African themes, and African American figures populated his work almost exclusively. In spite of Ayers’ travel and exploration of the world, he gravitated back to his beloved Germantown, a place he endowed with mythological qualities in his work and literature. His auto-biographical writing focuses on the importance of place during his childhood. Ayers’ journals meticulously document the ethnic and cultural make-up of Germantown, and tell a compelling story of class marginalization that brought together poor families despite racial differences. The distinctive look and design of Germantown inform Ayers’ visual vocabulary. It is a setting with distinctive Gothic Revival architecture and haunting natural beauty. These characteristics are translated and recur in the artist’s imagery. During his childhood, one of the only books in the Ayers household was an illustrated Bible. The images within had a profound effect on the themes and subjects that would appear in his adult work. Figures in an Ayers’ drawing often seem trapped in a narrative of loss and redemption. Powerful women loom large in the drawings: they suggest the female role models his journals record in early life. The drawings can sometimes convey a strong sense of conflict, and at other times, harmony. Nature and architecture seem to have an antagonistic relationship that is, ironically, symbiotic. A critical turning point in the artist’s career came in 1971 when he was included in the extremely controversial Whitney Museum show, Contemporary Black Artists in America. The exhibition gave Ayers an international audience and served as a calling card for introductions he would soon make in Europe. Ayers is a particularly compelling figure in a period when black artists struggled with the idea of authenticity. A questioned often asked was “Is your work too black, or not black enough?” Abstractionists were considered by some peers to be sell-outs, frauds or worse. Figurative* work was accused of being either sentimental or politically radical depending on the critical source. Ayers made the choice early on to be a figurative artist, but considered his work devoid of political content. Organizations such as Chicago’ s Afri-Cobra in the late 1960‘s asserted that the only true black art of any relevance must depict the black man and woman...

Abstract Geometric Composition Date: Second half of the 20th century Medium: Gouache on paper Dimensions: H 50 cm x W 65 cm approx. Description: Modular geometric structure with ove...

Mosaic abstract French School, (unsigned) late 20th century work oil on canvas, unframed canvas: 21.5 x 15 inches Provenance: private collection, France Condition: a few minor surfa...

Man with a Glass of Wine -  is a modern artwork realized by the painter Adriano De Laurentis. Mixed colored oil painting on canvas. Includes frame. Hand signed on the lower margin.

Pablo Picasso's linocuts, a printmaking technique using carved linoleum blocks, showcase his graphic genius and exploration of various themes. He used linocut to create posters and a...

George Dannatt (1915-2009) Painting 1960 1960 Gouache on paper Image: 25.4 x 28.9 cm Frame: 48.0 x 50.3 cm Provenance: The George and Ann Dannatt Estate, The George Dannatt Trust...