Mid-20th Century Abstract Paintings

"Gravity Zero" Mid 20th Century American Abstract 1960s Color Field Abstraction James Daugherty (1887 – 1974) "Gravity Zero: 24 x 18 inches Signed on verso Oil on panel Provenance...

Fabulous mystery midcentury abstract. It is oil on board measuring 60 inches wide by 20 high. Frame is 1/2 around. Painting is signed Kirstein. The artist was obviously very talented...

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 1967. Condition is ver...

Antique American modernist signed interior oil painting. Oil on board. Signed. Framed. Image size, 9L x 10H. Provenance from the San Francisco Museum of Art.

Dynamic, mid century multi colored abstract by Erle Loran (American, 1905-1999). Depicts a group of hunters and their horses participati...

Title: 1960's British Surrealist Oil Painting - "Bagatelle" Medium: Oil on board, unframed Size: 4.5 height x 3 width Condition: Good Provenance: all the paintings we have by this a...

Impressive early American modernist abstract painting by Alton S. Tobey (1914 - 2005). Oil on board. Framed. Signed. Image size, 24 by 48 inches.

Nice quality modernist painting. Oil on canvas. Framed. Image size, 16L x 12H.

Signed lower right, "Valeur" for Mogens Valeur (Danish, 1927-1999) and dated 1963. A vibrant, Post-Impressionist seascape showing green breakers rolling in towards a sandy shore beneath an evening sky tinged with lilac and mauve. A prominent member of the Bornholm School, Mogens Valeur was, at heart, a colorist and focused on representing his chosen subject with line and forms. A student of Peter Rostrup...

Antique French modernist Paris school cityscape street scene oil painting. Oil on canvas. Framed. Signed. Measuring 27 by 40 inches overall and 26 by 39 painting alone. In excellent...

Title: 1960's British Surrealist Oil Painting - The Flaming Pearl' Abstract Artist: Elvic Steele Medium: Oil on board, unframed Size: 6 height x 4.5 width Condition: Good Provenance...

Stunning - bold - bright and colourful! All words that wonderfully describe this vibrant burst of colour on the wall! The painting is by the relatively undiscovered abstract painter...

Antique Canadian modernist signed oil painting. Oil on board. Signed. Framed. Image size, 16L x 12H.

Storm at Sea 1960s Gouache and Oil Pastel on paper 35.75"x33.25 float mount black wood frame measures 38.5"x1.5"x36" Gloria (Fischer) Dudfield July 12, 1922 – May 27, 2015 Came from...

"Abstraction" Mid-20th Century American Abstract 1960s Color Field Modernist James Daugherty (1887 – 1974) Abstraction with White Border 16 x 12 inches Estate stamp verso Oil on p...

Emil John HESS 1913-2003 This vibrant watercolor on canvas by acclaimed American artist Emil John Hess immerses viewers in the lively atmosphere of a bustling circus scene. Painted...

Signed verso "F. Kastner" for Fenton Kastner (American, 1915-2008), dated 1955, and titled "Waterfront-IV". Old label verso inscribed with artist's name and title. A dynamic, mid-...

This is an interesting abstract work done with handmade Japanese Kozo or Washi type fiber paper mounted on board. Hand signed and dated in wonderful muted earth tones of fall foliage. Taro Yamamoto (1919 – 1994) belonged to the New York School Abstract Expressionist artists whose artistic innovation by the 1950s had been recognized across the Atlantic, including Paris. New York School Abstract Expressionism, represented by Jackson Pollock, Willem de Kooning, Franz Kline and others became a leading art movement of the post World War II era. He was also associated with Action painting Yamamoto was born in Hollywood, California. He lived in Japan from age six to age nineteen. In 1936 he returned to the USA and began studies in cubism at Los Angeles City College. In 1941 he joined the U.S. Army and served during WWII. After being discharged from the service he returned to California where he studied at the Santa Monica City College. 1950-1952 at The Art Students League of New York, under Yasuo Kuniyoshi, Morris Kantor, Reginald Marsh, Byron Browne and Vaclav Vytlacil; 1951-1953 at the Hans Hofmann School of Fine Arts in New York City. In 1952 he won a John Sloan Fellowship from the Art Students League. The next year he traveled to Europe under a Edward G. MacDowell Traveling Fellowship where he studies in Stuttgart, Germany with Willi Baumeister. He also exhibited at Galerie Huit in Paris. In 1954 Yamamoto was invited to a residency at the MacDowell Colony in Peterborough, New Hampshire. There he worked alongside Stuart Davis, Milton Avery, Willem de Kooning, Jackson Pollock and Mark Rothko developing his unique abstract expressionist style. Later in his life he devoted himself to a more hard-edge geometric style of painting. He married Gwyneth Cotton, a naturalized English woman, in 1955, and they lived in Wellfleet, Massachusetts. They were active at the Universalist Church of Provincetown. (He descended from a long line of Shinto priests) Yamamoto died in Provincetown in 1994. Selected Solo Exhibitions 1953: Galerie Huit, Paris; 1955: The Art Students League of New York, NYC; 1960-1962: Krasner Gallery, NYC; 1963-1964: 371 Gallery, Provincetown, MA; Selected Group Exhibitions 1951: Pennsylvania Academy of Fine Arts; 1952: NY Contemporary Gallery, NYC; 1952, 1955, 1956, 1962: Provincetown Art...

French School, circa 1970's oil painting on cardboard, framed 21.75 x 17 inches Superbly decorative and bold abstract painting from the 1970's, of French authorship. Painted with st...

Antique American modernist street scene painting. OIl on board. Framed. Signed "Van Zandt 50". Really finely painted and an interesting subject as well!

Oil Painting on canvas Hand signed to lower right Lauro. Provenance: Eleonore Austerer Gallery, San Francisco, CA Work Size: 39.5 x 39.5 in. framed 44 X 44 inches. Roberto Lauro is a British-Swiss Post War & Contemporary artist who was born in 1932. Roberto Lauro was born in 1932 in Gorey Harbor on the island of Jersey (Great Britain) the son of a Swiss mother, Rosa Ramseier, from Oberdiessbach / Emmental, Switzerland, and and Italian father Innocenzo Roberto Lauro, born in Mondovi, Italy. In 1941 he moved to Switzerland with his mother. 1949-1953 he lived in Gunten (Switzerland) where he did an Apprenticeship as a lithograph and offset printer and graphic designer in Thun. There he was introduced to the color theory of Johannes Itten by Hermann Oberli at the Bern School of Applied Arts. From 1953 to 1955 he worked as a fine art printer in Norway where he was influenced by the color theory of Edvard Munch. These works bears the influence of Russian artist Andre Lanskoy, Tachisme and the Cobra artists Karel Appel, Constant, Corneille, Christian Dotremont, Asger Jorn, and Joseph Noiret. In 1955-1956 he worked as an offset printer in Amsterdam (Netherlands). Visit to the Instituut voor Kunstnijverheidsonderwijs. In 1957 he returned to Gunten, Switzerland. Where he started working in printmaking and and oil painting. He resumed his studies at the Bern School of Applied Arts. He was greatly impacted and influenced by abstract art on the occasion of a large Paul KIee exhibition. In 1958 he moved to Zurich where he worked part-time work as an offset copyist; fulfilling graphic orders for advertising agencies. In 1962 he took his final examination as graphic designer at the Zurich School of Applied Arts. In 1980 he begins his development of three-dimensional picture objects, Sculpture, detachment from the canvas, using metal as a support and play space for light and color. By 1981 he has turned full time to fine art. He spends the next years growing and developing his considerable talent. Inspired by classical music, the rhythm, mood and lightness of which form the basis for the large swings and loops of his colorfully lacquered metal and blown glass sculptures. These are "pensieri", thought sketches that capture the emotions in countless versions. There is something dance-like about his rotating sculptures. Everything becomes music and the rhythm of colors. In 1988, after exhibitions in Europe, he has his first exhibitions in Atlanta and San Francisco (USA), In 1989 he does his first glass and metal sculptures at the Roberto Niederer glassworks, Hergiswil (Switzerland). In 1992 has a retrospective exhibition in the Tan Gallery, Zurich, and the Eleonore Austerer Gallery, San Francisco. They Publish a catalogue raisonne, Eine Retrospektive, covering a 45 year career. In 1993 he creates A Retrospective, a unique sculpture in a table top form that contains his catalogue raisonne and an original lithograph. 1993–1995 he begins work on a number of large scale public outdoor commissions, including Light Columns for a Bank building, and a commission of a sculpture-fountain in Oetwil am See. In 2001 he creates a wall sculpture entitled "Color Poems of the Yearly Cycle. A linen bound book enclosed in a unique plexi display with a one - of a - kind metal and glass sculpture,containing 12 linocuts each printed in colors and signed. Roberto Lauro's sculptural work work is spontaneous and loaded with energy. The furrows, rifts, cracks and scars in the metal allow light to enter; it is then reflected back by the glass. His work is a clear statement of our times, uniting the intellect and the heart in search of the spiritual. Like the interplay of light and shadow, his sculpture combines fragile, transparent glass with solid, heavy iron. These colorful and luminous sculptures convey a powerful presence and emit vibrant positive energy. With their jagged exteriors and translucent cores, the spectacular sculptures created by the synergy of metal and glass are powerful - yet fragile. Lauro has created and mastered his own idiom and proven that through the artist sheer will and vision, seemingly incompatible materials such as iron and glass can indeed be combined. In 2004 he has an anniversary exhibition Light and Color, Love of Life on the island of birth, Jersey. Ceramic works (raku with glass inclusions). Roberto Lauro's works have been shown in numerous exhibitions in Europe and the USA around the world, and he has also realized projects such as "KUNST AM BAU" in public spaces and for industry. He lives and works in Switzerland. Select Exhibitions Eleonore Austerer Gallery, Palm Desert ART IN THE FRAME FOUNDATION: The Harbour Gallery, Isle of Jersey Galerie fur Gegenwartskunst,, Bonstetten, Switzerland Galerie Annamarie Anderson, Zurich, Switzerland “Color and Light,” Austerer-Crider Gallery, Palm Springs, CA, USA “Color and Light: the art of Roberto Lauro,” Eleonore Austerer Gallery, San Francisco, CA, USA “Flower Power,” with Ed Baynard, Roberto Azank, Siegward Sprotte, and Daniel Phil...

Antique modernist abstract painting by Elsie Orfuss (Born 1913). Oil on canvas. Signed on verso. Nicely framed. Image size, 36L x 48H

Antique American modernist abstract expressionist oil painting. No signature found.

Impressive mid 20th century abstract expressionist painting. Oil on canvas. Framed.

Vintage modernist still life painting. Oil on canvas. Image size, 18L x 24H.

Still Life of onions on a table, placed with a blue pitcher by Fernand Audet (French, Tarascon 1923 - Mulhouse 2016) signed lower right oil painting on canvas, unframed, on stretcher...

Artist: John Uht, American (1924 - 2010) Title: Four Figures Year: circa 1960 Medium: Oil on canvas, signed l.l. Size: 40 in. x 30 in. (101.6 cm x 76.2 cm) Frame Size: 46.5 x 36.5 in...

Walter Inglis Anderson (1903-1965) is considered one of the pre-eminent artists of the 20th c. American south. Anderson’s artistic vision paired with the subjects of the Gulf Coast ...

Antique American modernist abstract oil painting. Oil on board. Signed. Framed. Image size, 7L x 5H.

Wonderful mid century modern abstracted figurative cityscape watercolor by Karen Miller (American, 20th century). Signed and dated lower right "K. Miller ...

Mid Century Modern Abstract Painting by Don Clausen C.1959 Early abstract by Clausen Original oil on board Dimensions 48" wide x 28.25" high The frame measures 52" wide x 33.25" ...

This superb Scottish Abstract oil painting is by noted sixties Edinburgh artist Alexander McNeish. An early work, painted circa 1957 when McNeish was just 25 years old, it demonstrat...

Original mid-century modern abstract oil on canvas painting by the well known Russian/American artist Nahum Tschacbasov. Signed lower right and dated 1945. Condition is very good. P...

This Modern Abstract Expressionist painting by Stanley Bate is made with oil paint on board and features an earth-toned palette. The artist layers paint on the canvas, creating texture among softly blended muted green and umber colors in a highly abstract composition. The painting itself is 43.5" x 24" and measures 44" x 24.5" x 2" framed. It is signed by the artist in the lower right-hand corner of the painting and is framed in a very thin, off-white floater frame. It is ready to hang. Stanley Bate was born on March 26, 1903 in Nashville, Tennessee. The Bates were an established Tennessee family, in fact, Henry’s brother William Bate was the governor of Tennessee from 1883-1887 and a United States Senator from 1887-1905. Stanley studied art at the Watkins Institute in Nashville. In the 1920’s Bate moved to New York City to study at the Art Students League under Frederick Bridgman. He soon landed a job with Encyclopedia Britannica, and from 1927-1929 served as art editor. From 1929 until his death in 1972, Stanley was a self-employed artist. He taught art classes at both the Art Students League and the Albany Institute of History and Art and brought in extra income by making illustrations for magazines such as “Outdoor Life” and “Popular Science”. On January 27, 1934 Stanley married Emilie Rossel. Emilie had emigrated from Switzerland to New York in 1923. She found work as a governess to Alfred Vanderbilt and later as an executive secretary for Wall Street investment brokers Kahn, Loeb and Co. Emilie met Stanley in New York in the early 1930’s when she attended one of his art exhibitions with a friend. The couple, who had no children, lived on 34th Street in Manhattan. During this period, Bate was producing and exhibiting his art and joined several artists groups. Stanley and Emilie became part of the New York art scene, dining weekly at the Society of Illustrators Clubhouse. Stanley Bate’s time in New York was pivotal in the formation of his painting style. He lived in New York during the inception of one of the most important Modern Art movements, one that helped New York replace Paris as the center of avant-garde art. This movement, which was called the New York School...

"Surrealist Composition" by Sophie Danielle Rubinstain (1922-2018) signed lower left hand side, oil painting on canvas, unframed canvas: 23.5 x 28.5 inches Stunning original oil p...

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...

Sleep, Huge French Abstract Portrait, Original Oil Painting Signed By French artist Elisabeth Dujarric, b.1930-2005 Dated '1962' verso Oil painting on canvas, unframed Canvas size: 43.5 x 18 inches Elisabeth Dujarric de la Rivière...

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...

Nicely painted mid century modern abstract expressionist textural oil painting. Great color and composition. Framed. No signature found.

Fanciful mid-century modern abstract of trapeze artists by Brooklyn artist Hilda Dora Pape Arp (b. 1909). This 1962 highly abstracted depiction of trape...

Antique American modernist abstract oil painting by Adele Becker. Framed. Oil on canvas.

Selma Moskowitz "Flowers and Bugs" 2/19/1963 Oil paint and paper on paper 25.5"x15.25" unframed Signed and dated lower right in pencil With a career spanning over five decades, Selm...

Artist/ School: French School, indistinctly signed lower right, circa 1970's Title: Giant Butterfly/ Moth Medium: oil painting, on board. Size: frame: 24.25 x 29.25 inches...

An original oil on masonite painting by well listed Mexican artist Leonardo Nierman. This work comes in a unique gold frame presentation which is likely original to the piece. Si...

This Modern Abstract Expressionist painting by Stanley Bate is made with oil paint and and lacquer on board. It features light textured and a light blue-grey and yellow palette contrasted by the almost black focal point of the composition. The painting is 14.5" x 19" and measures 16.25" x 20.5" x 2" framed. Signed by the artist in the lower left-hand corner of the painting, it is framed in a floater frame with warm silver face and black sides and is ready to hang. Stanley Bate was born on March 26, 1903 in Nashville, Tennessee. The Bates were an established Tennessee family, in fact, Henry’s brother William Bate was the governor of Tennessee from 1883-1887 and a United States Senator from 1887-1905. Stanley studied art at the Watkins Institute in Nashville. In the 1920’s Bate moved to New York City to study at the Art Students League under Frederick Bridgman. He soon landed a job with Encyclopedia Britannica, and from 1927-1929 served as art editor. From 1929 until his death in 1972, Stanley was a self-employed artist. He taught art classes at both the Art Students League and the Albany Institute of History and Art and brought in extra income by making illustrations for magazines such as “Outdoor Life” and “Popular Science”. On January 27, 1934 Stanley married Emilie Rossel. Emilie had emigrated from Switzerland to New York in 1923. She found work as a governess to Alfred Vanderbilt and later as an executive secretary for Wall Street investment brokers Kahn, Loeb and Co. Emilie met Stanley in New York in the early 1930’s when she attended one of his art exhibitions with a friend. The couple, who had no children, lived on 34th Street in Manhattan. During this period, Bate was producing and exhibiting his art and joined several artists groups. Stanley and Emilie became part of the New York art scene, dining weekly at the Society of Illustrators Clubhouse. Stanley Bate’s time in New York was pivotal in the formation of his painting style. He lived in New York during the inception of one of the most important Modern Art movements, one that helped New York replace Paris as the center of avant-garde art. This movement, which was called the New York School of artists, was later known as Abstract Expressionism. It was comprised of a loosely associated group of vanguard artists working in New York City during the 1940s and 1950s. The New York School was not defined by a specific style, but instead reflected a fusion of European Modernism and American social relevancy that was depicted in many individual styles. Influences of Surrealism, Cubism, and Modernism can be found in their work, along with an interest in experimenting with non-traditional materials and methods. American art was in the forefront of international avant-garde for the first time. Stanley Bate was undoubtedly exposed to the varied styles and techniques that were emerging during the formative years of the New York School. Mark Rothko and Robert Motherwell were formulating their versions of color field paintings. Joseph Cornell was experimenting with assemblages, collage and the use of different types of textured paints. Jackson Pollock was adhering objects such as buttons and coins into his early works, while Louise Nevelson was using found objects. Helen Frankenthaler added sand to her early paintings. The New York School artists were undermining traditional fine art by using mixed media and non-traditional methods. Stanley Bate absorbed these varied influences and soon his early realistic landscapes and still-lifes were replaced with something entirely new. The influence of Cubism, notably the flat shallow space of the picture plane, is obvious in many of Bate’s paintings. Surrealism is evident in Bate’s use of subjects from myth, primitive art and antiquity, along with the Automatism-like line work in his more linear images. The unfettered experimentation of the New York School is everywhere in Stanley Bate’s work. We see nods to color field, collage, the mixing of textures into paint, mixed media, the inclusion of found objects and thick, luscious impasto. Bate was prolific and experimented in various media including oil, watercolor, lithography, silk screen, wood cut, drawing, collage, ceramics and sculpture. Bate is considered a true Modernist. His work is largely abstract, but sometimes figures and buildings are discernable. He frequently mixed paint, sand and glue together to achieve a textured surface, and then scraped and scratched through this layer to expose some of the underpainting below. His sculpture, which is often whimsical, also reflects the non-traditional methods of the New York School. Bate pioneered the use of enamel and copper in his work. The sculptures are not carved or modeled as was done in the past, but instead are built using mixed media and new materials. In addition to the New York School influence, many of Bate’s works exhibit a strong connection to the Spanish school, especially the work of Antonio Tapies and Modesto Cuixart. These artists were both part of an avant-garde group known as Art Informel, the Spanish equivalent of Abstract Expressionism. These artists likewise worked in mixed media and introduced objects and texture into their work. Many of Bate’s subjects and titles relate to Spanish locations and words. It is likely that Stanley spent time in Spain and found inspiration there. By the early 1940s, Stanley and Emilie had started spending weekends in a barn they purchased in Craryville, New York, a few hours north of Manhattan. The barn had no electricity or plumbing, but when the Bates eventually decided to leave New York and live full time in Craryville, they remodeled the barn, putting a gallery downstairs and a studio and living quarters upstairs. Although the Bates moved out of New York City, Stanley remained part of the New York art scene, exhibiting in New York and elsewhere throughout the 50s and 60s. During his lifetime he was represented by the New York galleries Knoedler and Company, Kennedy Galleries, Rose Fried Gallery and Key Gallery, along with Tyringham Gallery located in Tyringham, Massachusetts. Craryville was Stanley’s home until his death on August 21, 1972. Emilie died 1984...

Signed verso with artist monogram 'DM' for Dora Maar (Argentine-French, 1907-1997); additionally impressed, upper left, with Dora Maar Estate stamp, Maison de la Chimie sale, Paris; October, 1998. In addition to her central role as Picasso's model and lover, Dora Maar served as his constant muse during the period of his creation of Guernica for which she also served as model for the lantern-holder, appearing at upper right. Prior to embarking on her two-year relationship with Picasso, Maar had already produced a widely-respected body of work and was celebrated as an influential and cutting-edge photographer. Nevertheless, it is her high-profile relationship with Picasso and her own personality- both in publications about Picasso and in those dedicated to her own life and work- that have acquired particular significance in art-historical literature. Maar's close link to the Surrealists, however, derived from her personal radiance and enigmatic personality as well as to the conscious and politically-informed artistic perspective that underlay her cutting-edge photomontages of the 1930s. Her increasingly radical political views during this period reinforced Picasso's own awareness of the deteriorating international political situation and of the civil war in his homeland. This heightened awareness culminated in the creation of "Guernica', his supreme artistic and political statement of the 1930's. Born in 1907, Henrietta Theodora Markovitch adopted the pen name of Dora Maar during the first years of her photography career. Growing up in Buenos Aires and Paris, she learned to speak French, Spanish and English fluently and, from 1927 on, attended the Art Academy of Andre L'Hote in Montparnasse. At the Academy, she studied painting but, by the end of the 1920s, she had transferred to the Ecole de Photographie de la Ville de Paris. In the early 1930s, she founded a photographic studio together with Pierre Kfer, who was later to make a career as stage designer. Numerous fashion and advertising photography shoots resulted from this collaboration and these were soon followed by her first Paris exhibitions. Dora Maar's photographic style during the 1930s show clear, surrealist characteristics. In her photographs and photomontages, she frequently played with shifting proportions, thus echoing an important feature of surrealist pictures. This tendency was augmented by the combination of disparate objects, which robs the photographs of their character of reflecting extreme reality, converting them to expressions of inner visions and psychic states. In parallel to these surreal photographs, Dora Maar produced sobering documentary photographs of her urban environments in Paris, London or Barcelona. Repeatedly, she records, in her photographs, the underprivileged, the unemployed and homeless, the socially disadvantaged and the physically deformed. It was precisely the simplicity of these photos that enabled Dora Maar to give the day-to-day and the ugly a magnificent monstrosity in which the beautiful and the horrible blend into one another. This recorded reality is thus accompanied by a level of inner associations, fears and visions. This present work, painted in the 1930's, remained in Dora Maar's possession until the end of her life, and shows her early interest in abstraction and her preoccupation with the complex inter-relationships of color and form. This painting is accompanied by a first edition copy of...

A painting by Alexander Calder. "Zigzag Sun and Crags" is a Post-War abstract painting, gouache and ink on paper in bold colors of reds, blacks, and blues by artist Alexander Calder. The artwork is signed lower right, "Calder 72...

Large French Expressionist oil on canvas painting of a rocky landscape by Jean Arène. Signed and dated bottom left. Presented in original white painted wood frame made by the artist....

Signed and dated Oil and watercolour on paper, mounted on board 18 x 22 inches

Antique Israeli American modernist folk art landscape by Malcah Zeldis. Mixed media painting on paper. Framed. Signed. Measuring 18 by 22 inches overall and 11 by 14 painting alone....

Abstract painting, ca. 1970s measures 25 x 30 inches. Oil on canvas, unsigned. Stunning modernist custom carved picture frame by Newcomb Macklin. ca. 1950 production. Long, elegant...

"Monsieur Diel" by Sophie Danielle Rubinstain (1922-2018) signed, oil painting on board, unframed canvas: 36 x 25 inches Stunning original oil painting by the 20th century French ...

Very nice painting attesting to an artistic freedom of the artist, it is signed at the bottom right.

Measures Painting 36 x 30 inches Framed 37.25 x 31.5 inches Herman L. Renger was an American painter active during the 20th century, known for his detailed geometric and op-art pain...

Geometric Abstract American Oil Painting WPA Color Field Abstraction Modern Non Objective. August Mosca (Italian/American, 1909 – 2002) Abstract 17 x 13 inches Oil on canvas Signed ...

Stunning array of strong colors stand out in this original mid-20th century British abstract painting. The work dates to the 1950's-60's period and is of British authorship. The pa...

Artist: Claude Lagouche (French 1943-2020) Claude Lagouche was born January 2, 1943 in Naves, died January 16, 2020. He quickly gained recognition for his talent and his work, ex...

Antique modernist abstract painting by Elsie Orfuss (Born 1913). Oil on canvas. Signed on verso. Nicely framed. `