Mid-20th Century Abstract Paintings

Charming Garden Path Mid 20th Century signed by Regine David (French mid 20th century, female) oil on canvas, framed framed: 21 x 25 inches canvas: 19.5 x 24.5 inches Provenance: private collection, Paris Condition: very good condition Description: This vibrant oil painting by Régine...

Title: Original Oil Painting of Mediterranean Townscape Framed by a Window Artist: Roland Pichard Signed: Bottom right Medium: Oil on oil paper, mounted on card Size: 9.5 (height...

Original oil on canvas painting by the well known abstract expressionist artist, John Little. Signed lower right. Signed and dated 1965 on top stretcher bar verso. Betty Parsons Ga...

"Ole Swimmin Hole" Southern California Oil on canvas board 1930s Elegant mid century landscape depicting a lake and hillside in summer by well known and collected California artist ...

Yoko Matsumoto Work 1, 1965 Signed and dated lower left; signed on reverse and inscribed extensively in Japanese Oil on canvas 36 x 35 3/4 inches Born in Tokyo, Japan in 1936. Mats...

American modernist abstract expressionist oil painting. Oil on board. Housed in a period modernist frame. Image size, 12L x 16H. Attributed to Margaret Crawford.

"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...

Clarence Holbrook Carter (American, 1904-2000) King Tut No. 2, 1968 Gouache on paper Signed and dated upper right 11.25 x 8.25 inches 25.5 x 20.5 inches A surrealist mid-century fig...

Antique American modernist abstract landscape oil painting. Oil on canvas. Framed.

Fredric Karoly (1898-1987). Etude, 1950. Oil on masonite panel measures 18 x 24 inches. Unframed. Signed, titled, dated on reverse. Good condition with minor paint loss at edges. Biography: An abstract painter, Karoly was born in Hungary and studied painting in Paris, architectural eingineering in Berlin, and emigrated to the U.S. in 1926. He began a successful career as a fashion and fabric designer. In 1948 he was working as a fashion director for Simplicity Patters, when he had a solo exhibition of of his oil paintings, wire montages, dry-pen drawings and abstract photography. Solo Exhibitions: Hugo Gallery (Alexandre Iolas) New York 1948; Gallery Mai. Paris 1949; New Gallery (Eugene Thaw) New York 1950; Museu de Arte, Sao Paulo, Brazil 1951; Miami Museum of Modern Art, Miami, Florida 1959; Loft Gallery, New York City, 1966.Group Exhibitions: Hugo Gallery, New York 1947; Salon des Realities Nouvelles, Paris 1949-1953; Whitney Museum of American Art, New York (Annual) 1951-1953, 1963; Biennale of Sao Paulo, Brazil, 1951; International Independent Exhibition, Tokyo, 1951; Martha Jackson Gallery, New York, 1959; The Butler Institute of Art, Youngstown, Ohio, 1960; Stuttman Gallery, New York, 1960; The Art Institute of Chicago (Annual), 1960; International Watercolor Exhibition, Brookyln Museum, 1961; Westchester Art Museum, White Plains, NY, 1963; Whitney Museum, Annual, NY 1963; Cleveland Art Festival, Park Synagogue, Cleveland, 1963; Whitney Museum, Sculpture Annual, NY, 1964.Works in Institutional Collections: Museu de Arte, San Paulo, Brazil; Museu de Bellas Artes, Buenos Aires, Argentina; New York University, New York; Washington University, St. Louis, Missouri; Finch College, NY; Barnard College, NY; Metropolitan Museum, Whitney Museum and Guggenheim Museum, New York; Museum of Fine Arts, St. Petersburg, FL. Awards: National Council Arts Awards, 1968. Frederic Karoly died on December 15, 1987 at the Inter-Continental Hotel in Manhattan, where he had made his home for many years. Fredric Karoly was born in Budapest in 1893. According to Karoly’s own vitae, his exhibition history began in New York in 1947, when at the age of 54 he took part in a four-person group show at Hugo Gallery. His involvement with visual art however was apparently life long. In a brief introduction to his solo show at Galerie Mai in Paris in June of 1949, Jen Luc de Rudder, reports that Karoly began painting at the age of 12 in Budapest. After several years of studying, then working in London, Paris and Berlin, Karoly emigrated to the United States in 1925 or 1926 (he probably first came to the US on a work visa in 1925). In New York, Karoly worked in women’s fashion as a designer. In 1948 Karoly worked in a manner than was clearly influenced by the work of such European surrealists as Max Ernst, creating spiked automatic bi-chromatic paintings. His style progressed into a progressively more biomorphic vein, similar to explorations by Theodore Stamos, Daphnis, Milton Avery and Mark Rothko around the same period. He was supported with patronage during this period by Mrs. Mimi Baliff, who apparently supported the “Industrial Design Workshop” that she helped open to feature Karoly’s designs in 1948. By the early 1950’s (1951) Karoly started experimenting with the drip and splatter process as well. Drip paintings dominated his process until the late 50’s-early 60’s, when linear compositional elements began to reemerge. By the late 50’s multi-layered drip grid motifs asserted a masque of spatial organization over looser washed fields and splatters of paint that Karoly worked off of. This development was consistent with concurrent explorations into the grid by artist Agnes Martin and others. By the mid-50’s Karoly’s style began another transition into a more surface concerned “Color Field” style of painting. There are elements still reminding one of Abstract Expressionist concerns as such painters as Clifford Still. But the works that began to emerge from Karoly’s studio in 1958 presaged the Morris Lewis fan motifs and Friedl Dzubas’s epic and romantic color spewing expanses of canvas. In 1959 Karoly began experiments using washes of turpentine diluted oil paint directly onto raw linen, and all of these subsequently suffered the consequences of oil oxidation and acidity upon the surfaces. However, many of Karoly’s washes in color field happily occurred on lightly prepared primed canvas surfaces as well. By 1960 Karoly began reintroducing imagistic references to his visual content. There were also various references to Japanese and Zen influences. He experimented with a variety of processes that included mixed media and marbleized surfaces achieved by the intermixture of oil and water mediums. A calligraphic element also enter Karoly’s work in the early 60’s. Then in 1961 glued and assembled objects begin to show up in Karoly’s work in earnest. The influence of early POP artists, particularly Jasper Johns, and Robert Rauschenberg, become apparent. From 1961-63, a series of the assemblage works transition from canvas to the sculptural to pieces obviously intended for full scale installation. Many of these pieces were among the most fragile of his works primarily due to their reliance upon the of gluing of objects such as plastic or paper cups on flexible surfaces of stretched linen or canvas. In the mid-60’s Karoly apparently produced a number of photo-silk screened series of Picasso, De Kooning and other significant artists of his generation. These were executed in a style somewhere between Rauschenberg’s and Roy Lichtenstein’s, primarily because of their reliance upon half tones and Ben-Day dot effects. Then Karoly began a series of paintings conflating his drip and grid styles with super imposed and painted over string. In the late 60’s Karoly embarked upon a series of multi-paneled stretched linen constructions often with slits and fiber optic back-lit elements that were prescient of the work of Dan Flavin and others. It was this body of work that was shown at Hofstra University’s Emily Lowe Gallery, and it was these works that suffered perhaps the most irreparable damage from a steam/water infiltration in a space where they were being stored. The late professional start that Karoly had into the art world was balanced by his long life span and early immersion into the design issues of modernism as it emerged in turn of the century Europe and later evolved in America. He was clearly an artist who subscribed to the ethos of the new in abstraction and was obviously impressionable and in some instances prescient with regard to various trends in abstraction. Several noteworthy and influential collectors and institutions during his 40 years of professional engagement acquired his work. The Whitney Museum of American Art had and may still own a large Karoly canvas from 1960, but this is doubtful as the artist failed to list it on the vitae he filed with MoMA in 1965. His work was recognized and honored by the Whitney with its inclusion in four of their annual survey shows (1951,1953, 1963 and 1964). The artist’s surrealist influenced paintings from 1948-1950 were the focus of a solo exhibition held of his work by the Museo de Art in Sao Paulo and eight years later a ten year survey of his work was the focus of a solo show at the Miami Museum of Modern art. The Sao Paulo Museum in Brazil, and the Museo de Bellas Artes in Buenos Aires, Argentina each acquired Karoly paintings for their collections in the 1950’s. One of Karoly’s surrealist pieces was apparently purchased by Christian Zervos, Picasso’s designated chronicler, who apparently also wrote a piece on Karoly in Cahiers D’Art in 1949. A 60’s piece of Karoly art that is in the New York University’s permanent collection is included in the MoMA Library’s catalog...

Mid Century Modern, American Abstract Expressionist Painting on artist board. This lively action painting has wonderful interjections of color within the predominantly black and whi...

Paris. Banks of the Seine. 1961, oil on canvas, 60x81 cm

Antique American modernist flower still life painting. Oil on canvas. Signed. In excellent original condition. Handsomely framed in a period silver leaf molding. Excellent condi...

Title: 1960's British Surrealist Oil Painting - 'Life's Beginnings' Abstract Artist: Elvic Steele Medium: Oil on board, unframed Size: 6 height x 3.5 width Condition: Good Provenanc...

Antique American modernist framed oil painting. Oil on board. No signature found. Framed. Image size, 13L x 12H.

This Modern painting by Abstract Expressionist painter Stanley Bate features a textured aesthetic and a deep, colorful palette. Deep blue and red is contrasted by a brighter accents ...

A painting by Paul Jenkins. "Phenomena By Return" is an abstract, acrylic on canvas painting executed in a bright palette primarily of reds, teals, blues and yellow by Post War artis...

Impressive early American modernist abstract oil painting by Louis Wolchonok (1898 - 1973). Framed. Oil on board. Signed. Image size, 24H by 18L.

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Bibliography Art in America, April 1951, p.78 About this artists: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...

Sur la Plage French Modernist artist, 20th century indistinctly signed oil on canvas, framed inscribed verso framed: 20.5 x 26.5 inches canvas : 20 x 26 inches provenance: private c...

Title: Original Oil Abstract Still Life with Dove and Fruit Bowl on a Blue Table Artist: Roland Pichard Signed: Bottom right Medium: Oil on oil paper, mounted on card Size: 10.75...

Title: 1960's British Surrealist Oil Painting - 'Fact + Fantasy' Abstract Study Medium: Oil on board, unframed Size: 6.25 height x 4.25 width Condition: Good Provenance: all the pai...

Title: 1960's British Surrealist Oil Painting - "Evolving Plant Shapes" Medium: Oil on board, unframed Size: 4.5 height x 5 width Condition: Good Provenance: all the paintings we ha...

This 43 x 44 inch oil on canvas painting entitled 'Constructivist Abstract' features an energetic entanglement of shapes and lines in a color palette of black, white, gray and variou...

Antique American modernist abstract oil painting. Oil on canvas. Framed.

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...

Experience the energy and beauty of the coastline in Rocky Shore (1967), a stunning original oil painting on canvas by acclaimed artist Ann Sink (1924-2019). This vibrant abstract se...

Discover the vibrant world of Martin Saldana, a talented Mexican-American folk artist known for his captivating rustic and naïve style. This original painting, titled "The Train", wa...

Title: Portrait of a Gentleman in Blue with Glasses - Expressive Oil Painting Artist: Roland Pichard Signed: Bottom right Medium: Oil on oil paper, mounted on card Size: 14 (heig...

Title: Portrait of a Gentleman with Glasses - Contemporary Oil Painting Artist: Roland Pichard Medium: Oil on oil paper, mounted on card Size: 13.75 (height) x 10.75 (width) (Moun...

Impressive early American modernist landscape oil painting. Framed. Oil on canvas. Signed. Image size, 28 H by 22L.

Bird Sketches by Josine Vignon (French 1922-2022) signed pastel/watercolor on paper, unframed painting: 13 x 20 inches good condition provenance: from the...

Antique American modernist abstract oil painting. Oil on canvas. Framed. Signed. Measuring 48 by 48 inches overall and 40 by 40 painting alone. In excellent original condition. Hands...

"Danger" - Original Modernist Oil Painting on Canvas Striking modernist painting by Bay Area artist Jean Hyson (American, 1928-2023). Hard edge oil on canvas depicting a black square to the left of the canvas with a lit up cinema projector. A mans face can be seen appearing in the light coming from the projector. An orange square is seen parallel to the projector, with a yellow circle inside. The number "13" can be seen in the lower right of the orange square. Purple and light blue take up the background. Signed "Hyson" lower right in black square. Titled, signed and dated "Jean Hyson" "Danger 1966" verso. Presented in a purple wooden frame. Frame: 20 1/2"H x 24 1/2"W Image: 19 3/4"H x 24"W Born in Texas, Jean Hyson (American, 1928-2023) is best known for her modernist, sharp edge, paintings. Hyson attended the Art Student League in New York with George Grosz, Yaso Kumiyoshi and William Baziotes and Beaux Artes, Paris, France from 1954-59. She was an Artist in Residence and Instructor at the California College of Arts and Crafts, Oakland from 1970-1974. Her work is held in the Oakland Art Museum, Oakland California, Santa Barbara Museum of Art, Santa Barbara, California and the California Container Corp. of America, Chicago, Illinois. Jean Hyson and her then-husband Jacques Fabert (who typically painted under the name “Jean Faber Himbert”) were an important force within the midcentury San Francisco art scene. Her work has been featured in countless Bay Area gallery and museum exhibitions—including SFMOMA, the de Young, and the Legion of Honor—and is in numerous public and private collections. In a fantastic in-depth interview with Hilda Pertha...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...

Waterline Fine Art, Austin, TX is pleased to present the following work: Oil on canvas. Signed and dated lower left. 36.25 x 30.25 in. 38.5 x 32.5 in. (framed) Custom hardwood frame with dark stain. FredEric’s Frame Studio, Chicago. Provenance McCormick Gallery, Chicago Born in Alabama, John Little attended the Buffalo (NY) Fine Arts Academy as a teenager, until 1927. Soon after, he moved to New York where he began operatic vocal training and opened what would become a very successful textile business designing fabric and wallpaper. In 1933, he enrolled at the Art Students League under the tutelage of George Grosz. Little’s early work consisted predominantly of landscapes, until 1937, when he began studying under Hans Hofmann and his work naturally shifted toward abstraction. During his time with Hofmann, he with artists such as Lee Krasner, George McNeil, Gerome Kamrowski, Giorgio Cavallon...

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...

Impressive early American modernist abstract painting. Framed. Oil on board. Image size, 16H by 20L.

Wildlife by Josine Vignon (French 1922-2022) signed pastel/watercolor on paper, unframed painting: 14 x 18 inches good condition provenance: from the artists estate, France Josine ...

This work has amazing provenance, as it was de-accessioned from the Guggenheim Museum (bearing the original label), and was included in several prestigious international traveling mu...

"Abstract Composition" by Armand Rottenberg (French 1903-2000) oil painting on board, unframed board: 29 x 21 inches Stunning original Cubist painting by the French abstract artis...

Title: 1960's British Surrealist Oil Painting - "Darkness Descends" Abstract Medium: Oil on board, unframed Size: 4.5 height x 6 width Condition: Good Provenance: all the paintings ...

Cosmos is an original mid-century abstract painting by Polish-American artist Pawel Kontny (also known as Paul Kontny), created in the 1960s. This striking mixed media work is compos...

Charles Evans (1907-1992) Mediterranean Costal Town, 1932. Gouache and watercolor on paper. Sheet measures 8.5 x 10 inches; mounted in frame measuring 8.5 x 10 inches. Signed and dated lower left. Charles Evans was a modernist known for his abstract style of painting. He studied at New York's Art Students League and Parsons School of Design, and later in Paris with Fernand Lger at the Acadmie Moderne. In 1930, Evans and his wife spent a year living in what was Paul Cezanne's studio in Aix-en-Provence, France. The following year, Evans purchased the old silk mill in New Hope and became involved in the area's modernist movement, joining the Independents in 1932. By 1935, he began to work collaboratively with Louis Stone, whom he had met in 1929 while studying with Hans Hofman in Saint Tropez, and with Charles F. Ramsey, teaching art classes and working on the Cooperative Painting Project. Every week, the three were joined by the abstract painter, Lee Gatch, in discussions at Ledger's Inn in Lambertville. In 1948 Evans co-founded the New Hope Gazette with Walter M. Teller. The same year he created set designs for St. John Terrell's Lambertville Music Circus. He also designed sets for the Bucks County Playhouse and Philadelphia's Playhouse in the Park. He later served as Set Designer for the Fred Miller...

Sylvia Rutkoff (1919-2011) 26-1 "The Schoolgirl" c.1950s Oil paint, sand on Masonite 36x48 wood period frame Unsigned Collection acquired from family estate Sylvia Weinreb Rutkoff (...

Alfred Cohen (American, 1920 - 2001) Signed: A. Cohen (Lower, Right) Stamped: Atelier Alfred Cohen (on Canvas Verso) " Off Boulogne ", circa 1950s Oi...

’Untitled Abstract’ By Yves Corbassiére Medium - Acrylic on paper Signed - Yes Edition - Original Date - 1968 Size - 490mm x 625mm Condition - 9. Some slight wear to edges and marks ...

Murray Hantman (1904-1999). Untitled, ca. 1950-55. Oil on canvas measures 20 x 26 inches, 26 x 32 inches in silver leaf vintage frame.. Signed lower right. Excellent condition with ...

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...

Antique American modernist abstract oil painting by Adele Becker (1929-2021). Oil on canvas. Framed. Signed.

Antique American abstract oil painting. Oil on board. Framed. In excellent original condition. Handsomely framed in a giltwood molding. Excellent condition, ready to hang and en...

This superb British 1940's abstract expressionist oil painting is by noted founder member of the Borough Group artist, Miles Peter Richmond. Painted in 1947 it has another unfinished...

Exotic Birds, ca. 1960. Enameled steel plate, 6.5 x 12.5 inches; 10 1/8 x 16 1/8 inches framed. Original studio label affixed on verso. Unsigned. UBALDO CINCIARINI (1940-2020) was an Italian enameller and embosser who studied his craft at the famous Ferruccio Mengaroni Art Institute in Pesaro, Italy before opening the "Studio Cellini...

Acrylic on canvas Canvas Size: 8 x 10 in. Frame Size: 13 x 11.25 in. An energetic and colorful composition featuring a horse in abstraction. The surface of the painting is rendered...

Byron Browne (1907-1961). Provincetown Beach, 1957. Oil on canvas, 24 x 30 inches, 30 x 36 inches in vintage solid chestnut frame. Signed lower righ...

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 ...

The Bridges over the River Seine French Expressionist artist, 20th century indistinctly signed/ titled verso oil on board, framed framed: 22 x 26 ...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 9.5 x 9.5 inches condition: excellent provenance: all the paintings we hav...

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

A large Mid Century Abstract Expressionist oil on canvas by noted Belgian artist Ernest Engel-Pak. The painting is signed bottom left. Presented in black and silver modern frame. A ...