Mid-20th Century Abstract Paintings

Vintage modernist abstract painting by Suzanne McCullough (b.1916). Oil on canvas. Housed in a period frame. Image size, 24L x ...

by Jean Pierre Stagnaro (1927 - 2013) signed inscribed verso signed oil on canvas, framed framed: 25 x 48 inches canvas: 24.75 x 47.75 inches pro...

Stunning original oil painting by Elvic Steele depicting this surrealist fantasy abstract painting. Elvic Steele is a fascinating English painter. Her works entrance the observer, d...

Antique American modernist abstract oil painting. Oil on canvas, circa 1950. Signed. Image size 46L x 36H. Framing is available!

Ceri Richards Lyre Bird (Design for the cover of Poetry London), 1943 Ink, gouache and pastel on paper Bears original Jonathan Clark & Co. label on the back of the frame Unique Frame...

Composition is an original contemporary artwork realized in the mid-20th century by Roberto Crippa. Mixed media (tempera and collage). Signature on the back. Includes frame: 65 x 6 x 64 cm Colorful and power artwork with a mixed composition of geometrical shapes and with different contrasting colors. Gaetano Crippa known as Roberto Crippa (Monza, 1921 - Bresso, 1972) was an Italian painter, sculptor and aviator. He started painting in 1945, with a figurative style and cubist influence close to Picasso's style. He joined the spatial movement with Lucio Fontana, Gian Carozzi...

D Ollard Ribbons of Memory Gouache and photographic collage 20 x 26 cm Signed to reverse Provenance: The family of A. E. Halliwell Little is known about D Ollard other than the fac...

Abstract Expressionist Portrait of Nude Lady by Gilbert Pelissier (French born 1924) signed, circa 1960's-1970 period oil painting on canvas, unframed canvas size: 20 x 24 inches con...

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

Alfred Aberdam (1894–1963) painter and graphic artist was a painter of School of Paris, born in Lvov, capital of Galicia, Austro-Hungarian Empire. Born in Lviv, Krystonopol, East Galicia (now Chervonograd, Ukraine) and received a traditional Jewish education in a Heder while studying Hebrew with private teachers. In 1905–12 he lived in Lvov, where he finished high school. He decided to become an artist at the age of 14. At this time he came into contact with young Yiddish Judaic writers (Melech Ravitch, Abraham Moshe Fuks, and others) and with Zionist youth groups in Lvov. He attended their meetings and their lectures on Jewish Judaica artists. After graduating high school, he organized several conferences in his hometown on Italian and Flemish masters and on the first Jewish painters, including Josef Israels (1824-1911). In 1911 he started to study art at the Munich Royal Academy of Fine Arts, Akademie der Bildenden Künste München. Lemberg/Lwów (today Lviv), studies under Gabriel von Hackl (1843-1926). During World War I he was imprisoned by the Russians and stayed in the camp for prisoners of war in Siberia where he became acquainted with David Burliuk and other Russian futurists. In 1917, Aberdam was appointed People’s Commissar of the Department of Fine Arts by the local soviet, which assigned him the task of reorganizing artistic teaching. A year later, in Moscow, he befriended the poet Vladimir Mayakovski. In 1921 in Poland, he began his studies at Kraków's Academy of Fine Arts under Professor Teodora Axentowicz, then lived in Paris. There he participated in numerous exhibitions, and in a Poland exhibition in the Gallery of Modern Art Editions in 1929. In the latter he organized the exhibition in 1931. In 1932 he exhibited in Warsaw and Lviv. From 1933 he belonged to a group of visual artists known as "Nowocześni". In 1923, while he was staying in Berlin, he met Menkes and Weingart in sculptor Alexander Archipenko’s studio. In 1924, he settled in Paris in the Montparnasse area. In the end of 1925, Jan Sliwinski held an exhibition in his gallery Au Sacre du Printemps, at 5 rue du Cherche-Midi, Paris. His work was exhibited alongside paintings by his Galician friends Leon Weissberg, Sigmund Menkes and Joachim Weingart...

Rays of Light French abstract artist, signed and dated 78 painting on board, unframed board: 8.25 x 20.5 inches Provenance: private collection, France Condition: a few surface marki...

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...

Impressive early American modernist abstract geometric oil painting. Framed. Oil on canvas.

This vibrant British abstract is by noted artist Peter L Field. Painted circa 1960, the composition in reds has relief sculptural impasto. The red works ...

"Annie Nobles Miller" Abstract Florida landscape oil on board painting Hand signed lower left Inscribed on verso St. Lucie County. Measures: Board 24"H x 30"W; Framed - 32"H x 38"W. Annie Miller was a member of the Indian River School of Painting, which was not a formal school but was a group of mostly African-American Florida working class people who wanted to paint. Following is the explanation of that school and its participants. Indian River School is a name applied to Floridian artists in the 1950's and 1960's. They were heavily influenced by nature. Most of the artists in this movement were African American. Their work is characterized by quick strokes and eschews traditional methods of paintings. The main influence for the group was a man named A.E. Backus, a Bohemian white man who mentored the group of young black artists. The group used to congregate in his studio and learnt to paint from 'Beanie' (as he was called) as a way out of their lower class labour jobs. Their work was powerful, dramatic yet captured the serenity and beauty of the Florida Although the exact count of artists mentored by A.E. Backus remains unknown, experts estimate it to be around 20 individuals, many of whom he supported through college. Albert Ernest "Beanie" Backus (1906–1990) was famous for his vivid, naturalist Florida landscapes capturing a fast-vanishing Florida wild lands. Backus would come to be seen as the seminal Florida landscape painter, and others who followed would emulate him. Primarily of the Indian River and Everglades areas of Florida. Backus was a Native Floridian artist of great importance recreating scenes of Florida's sky, rivers, ocean, back country, unpredictable weather, clouds, and birds. Born in Fort Pierce, FL to a family of talented boat designers and builders. His "Uncle" Reg Goodwin helped Backus as a young painter go to the Parsons School of Fine Art in New York in 1924. He was referred to as “Florida’s painter laureate,” and the “Dean of Florida’s landscape painters.”In addition to his influence on the Florida Highwaymen painters (Alfred Hair...

'The Stray Cat', oil on board, by F. DuParc (circa 1960s). A thoroughly modern depiction of a colourful, graceful feline most likely inspired by Italian Futurist, Fortunato Depero (1...

Work sold to benefit the CLEVELAND INSTITUTE OF ART Joseph B. O’Sickey (American, 1918–2013) Untitled, c. 1950 Oil on paper Signed lower right 12.5 x 19 inc...

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...

This stunning abstract artwork was made in 1960, by the well known Italian artist Ermete Lancini. The artwork is a painting and a collage with newspaper...

Title: 1960's British Surrealist Oil Painting - ''Campanula Association' Abstract Study Medium: Oil on board, unframed Size: 6 height x 3.75 width Condition: Good Provenance: all th...

Modernist Portrait of Woman with Flowers French artist, circa 1960's Signed lower right corner Oil on canvas, unframed Canvas: 24 x 18 inches Provenance: Private collection, France C...

Tablescape (Mid-Century Modern Abstract and Cubist Style Oil Painting on canvas) by New York School Painter and WPA artist, Lionel Gilbert Mid century modern, abstracted still life p...

Joseph Kardonne (1911-1985). Tugboat, 1939, 9 x 11.25 inches. Ink on paper. Signed, dated and titled lower right. Excellent condition. Born in Newark, New Jersey in 1911, Joe Kardo...

Vintage American school impressionist landscape oil painting. Oil on board. Framed. Excellent ready to hang condition.

Oil on canvas. Framed. No signature found. Strong color and composition.

Jay Milder (American, 1934-) Oil painting on Canvas Hand signed lower right Dated 1960 This is being sold unframed Abstract with letters and calligraphy, Homage to Cy Twombly. Jay ...

"Portrait" by Carlos Carnero (Uruguay/ French 1922-1980) Pencil on thin paper, unframed paper: 10.5 x 8.25 inches provenance: the artists estate, Pari...

Mid Century Hawaiian Symbolism -- Stairway to Destiny Symbolic figurative abstract with climbing stairway in bright spring colors by Marguerite Loui...

Fred Kenknight Vintage 1960s "Midday Sun" Abstract Oil Painting Fantastic vintage oil painting signed by Fred Kenknight. Though untitled, we are call...

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...

Rufino Tamayo (Mexican, 1899-1991) 'The Red Horse of the Apocalypse' from the The Four Horsemen of the Apocalypse Series. Commissioned by Issac-Louis Lemaistre De Sacy as illustratio...

Impressive early American impressionist cityscape painting. Oil on canvas. Framed. Apparently not signed. Image size, 20H x 24L.

Acrylic on masonite. This is a pivotal work in deep and radiant cobalt blue from 1950. It dipicts calligraphic and hieroglyph structures over a grid and pyramidal base by the first generation abstract expressionist. Provenance: Skinner: November 13, 1992 [Lot 00219}, The entry in the Skinner catalog indicates that the painting came directly from the artist to the family of the consignor to Skinner. Kaminsky Auctions. There is an unbroken paper trail that traces the ownership of the painting from the current owner, through two auction houses to the artist. Perfect unbroken provenance. Pousette-Dart was among the most inventive of the Abstract Expressionist generation, His uncanny talent was to expand the nature of abstraction and still make each mark each element very much his own; a reflection of what he called   "the concealed power of the spirit," he said, “not of the brute physical form."   His was not aiming for a singular, realized aesthetic formula but to expand the possibilities of painting; the transcendental in painting. Typical of such invention and exploration is this  painting  Untitled 1950 when the artist was only 34 years old and represented by one of the champions of the new American painting, Betty Parsons.  
A banner year for Pousette-Dart, the Museum of Modern Art acquired their first painting by the Minnesota born artist.  He worked on easel size works such as this painting an oil on masonite. At the same time Pousette-Dart was also working on larger scale works such as Path of the Hero, running over ten feet in length now in the collection of the Metropolitan Museum of Art.  Both contain fields of color articulated by a highly sophisticated white hieroglyphic vocabulary. Rather than demonstrate an expressionist sensibility, Pousette-Dart harnesses his more cerebral ideas transforming thick areas of paint into a more refined composition of geometric forms akin to the pattern and forms of say a stained glass window. In a way he is looking back at Fugue, 1940 a black and white composition which makes use of a similar format of painting albeit smaller. Color and form are minimal, but what Pousette-Dart has maximized is the rhythmic and syncopated character of painting casting his ideas into purely symbolic terms that one might link to the pictograms of Adolph Gottlieb. Nonetheless, nature is always at the core of Pousette-Dart’s thinking and dreaming. Here he has transformed the local Ramapo Mountains—where he will eventually move with his family to live and work— into a complex series of articulated fragments linked by style, scale and color.  The painting’s imagery built on two large triangles and reduced to just two colors, cobalt blue and white all outlined in black.  Pousette-Dart symbols stacked in horizontal and vertical rows:  blue is ground, white is language, symbolic of light, consciousness and awareness . The painting maintains a mystical character images compounded that formulate a secret code and linked to the series of white paintings Pousette-Dart authored in the first half of the 1950s. Get up close to the picture and you discover images within images a kind of picture puzzle...

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...

Expressionist French Landscape, Bright Colours, Oil Painting circle of Pierre Ambrogiani (French 1907-1985) Oil painting on canvas, unframed Canvas size: 6.5 x 9.5 inches Beautiful ...

Nicely painted mid century abstract expressionist oil painting. Great color and composition. Framed. Signed. Oil on canvas.

Sailboats Abstract French cubist artist, circa 1950's oil on board, unframed board: 33 x 48 inches provenance: private collection, France condition: all four corners are worn but sho...

Joseph Kardonne (1911-1985). Nude Woman, 1989. Watercolor on paper, sheet measures 10 x 14 inches; 15 x 18 inches in original matting which has some foxing and discoloration. Signed...

"February 21st - Red" Abstract Expressionist Landscape by William Morehouse The image shows an abstract landscape painting by William Paul Morehouse (American, 1929-1993), titled "February 21st - Red". The painting has a textured application of impasto, in oil on canvas, with dominant earth tones and a contrasting red section at the top. The composition is divided into geometric shapes and lines, suggesting a stylized representation of a landscape. The colors and textures evoke a sense of the Northern California coastal prairie, a recurring theme in Morehouse's work. The painting is signed, titled, and dated 1960 on the reverse., and WM '60 center bottom of painting. Image, 34"H x 20"W x .5"D Signed center at bottom, Signed and dated on verso, with exhibition label and title. Post War California artist, William Paul Morehouse studied at the California School of Fine Arts (1947-1950) receiving his BFA. Not long after graduation from the CSFA he joined the Army during the Korean War. He became a Master Sergeant and was released with a Purple Heart in 1953, at which point he enrolled in courses at the California College of Arts and Crafts (now the California College of the Arts). A transfer to the San Francisco Art Institute the following year led to his Bachelors in Fine Arts, and in 1954 he enrolled at San Francisco State University where in under two years he earned his MFA. He traveled to New York that same year to participate in the Young American Painters exhibition at the Guggenheim, along with Diebenkorn, deKooning, Motherwell, and Jackson Pollock. He soon began dividing his time between the two coasts. Morehouse eventually settled in Bodega Bay permanently, where he continued to paint as part of the group the "Sonoma Four" Selected Group Exhibitions: Pennsylvania Academy of Fine Arts; University of Illinois; Fort Worth Museum; Los Angeles County Museum; National Academy; Oakland Art Museum; Rotunda Gallery, San Francisco; Denver Art Museum; Fourth Annual Exhibition of Contemporary Painting, California Palace of The Legion of Honor 1951; First Pacific Coast Biennial Exhibition, Santa Barbara Museum of Art & California Palace of the Legion of Honor, San Francisco 1955; PACIFIC COAST ART...

Paul Delapoterie, born in 1930, is a painter from Geneva, Switzerland. His work spans various styles, including abstract landscapes, figurative portraits, and surrealist pieces. Know...

'Still Life on Black Background, oil on canvas (circa 1960s), by Edgar Stoëbel (1909-2001). In his inimitable style, artist Stoëbel's abstract still life with black background is a lively and colourful modernist work. This artwork has a powerful intensity of tone and colour which speaks to Stoëbel's very distinctive style but remains completely approachable and appealing. This is part of the post-war concrete abstract movement, or Constructive Art...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 12.75 x 10 inches condition: excellent provenance: all the paintings we ha...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 8.5 x 5.75inches condition: excellent provenance: all the paintings we hav...

Arthur Dove: 1880-1946. One of the most important early American Modernists and Abstract Expressionists. He has had auction results over $8,000,000 and that record was 2 weeks ago. A...

Signed "Tom Benrimo" at lower right The overall dimensions including the frame are 35 x 41 inches

Title: 1960's British Surrealist Oil Painting - 'Garlands for Sorting' Abstract Study Medium: Oil on board, unframed Size: 4.5 height x 5 width Condition: Good Provenance: all the p...

Mid-century abstract expressionist oil on canvas by French artist, André Tardieu, signed and dated 1976 bottom right. Also with signature, ...

Impressive early American modernist central park, new york city oil painting. Framed. Oil on canvasboard . Image size, 18H by 24L.

Blue Gaze, 1977, by Robert Natkin (1930-2010) Acrylic on canvas 66 x 66 inches framed 25.98 x 25.98 cm) Signed on bottom right In childhood, Natkin recalls a dream where he dives into an Oriental rug and as he floats down into the rug he passes through bejeweled mazes of color that appear exotic to him. This recurring dream is not surprising to anyone familiar with this artist's work, since much of Natkin's work reminds one of textiles. He achieves this look by his use of cross-hatching, blottings, dottings and his own technique of transferring textures right onto the canvas by pressing with a heavy cloth or paper towel. Exhibitions: In 1957, Momentum, Chicago, IL In 1968, Pointdexter Gallery, New York, NY (solo) In 1969, San Francisco Museum of Art (retrospective 1952-1969), San Francisco, CA (solo) In 1974, Within the Decade: Selections from the Guggenheim Museum Permanent Collection, The Solomon R. Guggenheim Museum, New York, NY In 1980, Masters of American Watercolor, The Oklahoma Art Center, Oklahoma City, OK In 1992, Gimpel Fils Gallery, London, UK (solo) In 2007, LewAllen Contemporary, Santa Fe...

Vintage Impasto Oil Painting of River Mountain Scene in Wales by British Artist Charles Wyatt Warren (1908-1993) Art measures 21 x 9 inches Fram...

"Abstract Composition" signed by Armand Rottenberg (French 1903-2000) signed oil painting on card, unframed painting: 22 x 17 inches Superb original painting by the French abstra...

An original hard edge abstraction by American artist James Koenig. This work titled "Sun" is part of the Draw Near exhibition currently on view at Benjaman Gallery.

Metchiled Naviasky Refugee from Europe who studied art in England. During the war she became picture editor of famous magazine PIcture Post. Later she taught mysticism in art at t...

In this Modern abstract painting by Stanley Bate, a bold palette is married with imperfect shapes and large brush strokes. Sandy beige rectangles blend with yellow and deep blue, on ...

Joseph Kardonne (1911-1985). Point Pleasant NJ New Jersey Beach Landscape 1960. 11 x 14.5 inches. Watercolor, gouache and ink on paper, sheet measures ...

This very striking exhibited Scottish Abstract oil painting is by influential Scottish artist Jack Knox. Painted in 1964, it is a vivid mix of autumnal colours, textures and brushwork that work perfectly. A brilliant example of his work from the early sixties and which was exhibited at the Royal Scottish Academy in 1965. Titled and dated 21.2.64 lower right. Provenance. Exhibited Royal Scottish Academy, Exhibition 1965, Edinburgh. Condition. Oil on canvas, 51 inches by 36 inches unframed and in good condition. Housed in a gilt sixties surround frame, 53 inches by 38 inches framed and in good condition. Jack Knox RSA (1936-2015) was one of the most influential artists to work in Scotland in the second half of the twentieth century. Born John Knox to a family of tailors in Kirkintilloch, Knox studied at the Glasgow School of Art (1953-57) where his drawings were noted for their mature draughtsmanship. After graduating, Knox went to Paris to attend the atelier of Cubist artist, André L’Hȏte. During his time in Europe Knox digested the various art movements of the moment, including Surrealism, Tachisme, Colour Field and Pop Art. Visiting the great museums, he was particularly interested in Analytic Cubism and Georges Braque’s intimation, rather than description, of object. He also went to Brussels to visit the first major show of American Abstract Expressionism in Europe. He returned to Scotland eager to establish his own style, drawing on everything he had seen in Europe. In 1960 the Glasgow Herald presented an exhibition during the Edinburgh Festival of young artists from the west of Scotland. Knox was selected to show alongside George Devlin, Carole Gibbons, Anda Patterson, Douglas Abercrombie and Duncan...

Jirayr Zorthian(1911-2004), went through two Turkish massacres before age eight. He left Turkey at age nine with his family and spent a year in Padua, Italy, waiting for his visa to open to the United States. This period was very important in his life because his father took him to many cities in Europe and exposed him to great works of art. Zorthian arrived in the United States at the age of eleven and settled with his family in New Haven, Connecticut. He obtained his formal education there, after graduating from Yale in 1932, the Winchester Fellowship granted him a year and a half at the American Academy in Rome with travel and study throughout Europe. His art career branched into various directions on his return to the United States. As a mural painter his reputation was established. He has forty two (42) murals throughout the United States. Zorthian worked and taught painting at some of the finest art academiJirayr Zorthian(1911-2004), went through two Turkish massacres before age eight. He left Turkey at age nine with his family and spent a year in Padua, Italy, waiting for his visa to open to the United States. This period was very important in his life because his father took him to many cities in Europe and exposed him to great works of art. Zorthian arrived in the United States at the age of eleven and settled with his family in New Haven, Connecticut. He obtained his formal education there, after graduating from Yale in 1932, the Winchester Fellowship granted him a year and a half at the American Academy in Rome with travel and study throughout Europe. His art career branched into various directions on his return to the United States. As a mural painter his reputation was established. He has forty two (42) murals throughout the United States. Zorthian worked and taught painting at some of the finest art academies on the west coast including both the Chouinard Art Institute and the Otis Art Institute. es on the west coast including both the Chouinard Art Institute and the Otis Art Institute. The Gathering...

Artist: Moshe Katz – Romanian/Israeli (1937-) Title: Untitled - Fisherfolk Year: 1966 Medium: Oil on canvas Size: 24 x 36 inches Framed size: 28.5 x 40.5 inches Signature: Signed, d...

Richard Andres (American, 1927-2013) Magic Garden, c. 1962 oil on canvas signed lower left, signed and titled verso 50 x 42 inches Richard Andres was born in Buffalo, New York in 19...

Mid Century Abstract in polymerised macro-molecular paint on canvas applied to a painted wooden board by Belgian artist Paul H Saffre. Signed and dated {1963) on the board below the ...