Mid-20th Century Abstract Paintings

Impressive early American modernist abstract sunset oil painting. Framed. Oil on canvas. Image size, 34H by 30L.

Vibrant abstract gouache with purple, blues, oranges, and green colors by British artist Stephen Priestner, 2008. Displayed on a white mat with a gold border and fits a standard-size...

Budd Hopkins, American (1931-2011) 'City Sun II', 1969 Oil painting on canvas. Hand signed and dated lower left. Verso: Artist, title, and year in pencil on stretcher. Dimensions: 36" H x 52" w. Frame: 37.25" h x 53.25" w. Budd Hopkins was one of the leading proponents of the "hard-edge" abstract minimalist school of painting in the 1950s and 1960s, Budd Hopkins (born 1931) created works that show the strong influence of Jackson Pollock and other leading painters of the Abstract Expressionism movement. Hopkins' paintings are now in numerous major collections, including the San Francisco Museum of Art, the Guggenheim Museum in New York, and the Hirshhorn Collection in Washington, DC. Recently, he has also been recognized for his research into the matter of UFOs and one of his books, "The Intruders", printed by Random House, was on the New York Times best-seller list and was the basis for a television show on CBS. Born in 1931, he is a graduate of Linsly Military Institute (now Linsly School) in 1949 and Oberlin College in 1953. He first displayed artistic abilities when, as a child recovering from a long-term illness, he began to create sculptures of ships made out of modeling clay. But it wasn't until he arrive at Oberlin that he made a serious study of art. Later, Hopkins included abstracted figures in his sculptural pieces. While moving away from Abstract Expressionism, Hopkins retained in his work the use of intense colors and hard-edged forms. His works of the 1980s, including Temples and Guardians, featured these "sentinels" who were, according to Hopkins, "participating in a frozen ritual, fixed – absolutely – within a privileged space..." Though Hopkins denied any connection, some critics viewed these ritualistic pieces as an extension of Hopkins' fascination with alien beings. Hopkins viewed his sculpted guardians not as human per se, but as magical, fierce, noble robots of the unconscious. He settled in New York after obtaining his degree and has had a residence there ever since. He and his wife, April Kingsley, and their daughter, Grace, divide their time between their home at Cape Cod, Mass., and that in New York City. In his work, he travels widely. He has exhibited in England, Finland, Italy and Switzerland. In 1963, Hopkins was selected by the Columbia Broadcasting System as one of the 15 painters featured in the network's first television special on American art. In 1958, Art News picked him as one of 12 Americans for exhibition in Spoleto, Italy, in the "Festival of Two Worlds." His brilliance has won him a number of fellowships and awards. In 1972, the West Virginia Arts and Humanities Council awarded him its Commission Prize. In 1976, he received the John Simon Guggenheim Fellowship for Painting and in '79 he received a fellowship from the National Endowment of the Arts. He also won a special project grant from the New York State Council on the Arts in 1982. He was friends with Robert Ryman and many of the other 10th street avant garde artists. He was an original member of March Gallery which showed Alice Baber, Elaine de Kooning, Mark di Suvero, Lester Johnson, Matsumi Kanemitsu. His work was handled by Poindexter Gallery. (a major gallery founded in 1955 in New York City by Elinor Poindexter. The gallery specialized in sculpture, abstract, and figurative art and featured the works of such artists as Richard Diebenkorn, Jules Olitski, Nell Blaine, Al Held, Willem de Kooning, Franz Kline, Earl Kerkam, Milton Resnick and Robert De Niro, among others. His art has been featured in the Metropolitan Museum of Art, Museum of Modern Art, Bronx Museum of Art, Brooklyn Museum, Whitney Museum, Corcoran Gallery, Guggenheim Museum, Queens Museum in New York, and the Public Library of New York. He was included in Young America 1960: Thirty American Painters Under Thirty-Six buy Lloyd Goodrich at the Whitney Museum of American Art in NYC. Artists included: Sonia Gechtoff, Edward Giobbi, Ron Gorchov, James Harvey, Budd Hopkins, Wolf Kahn, Alex Katz, Robert Natkin, Rudy Pozzatti, Dean Richardson, Frank Roth, William Wiley, and Noriko Yamamoto...

Impressive early American impressionist landscape oil painting. Framed. Oil on board. Image size, 11H by 14L.

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...

"Abstract Composition" signed by Armand Rottenberg (French 1903-2000) oil painting on card, unframed painting: 26 x 19.5 inches Superb original painting by the French abstract a...

Joseph Fiore (1928-2005) Untitled, ca. 1955. Oil on canvas, 18 x 24 inches. Measuring 24 x 30 inches in custom modernist frame. Signed lower left. Excellent condition. Joseph Albe...

Modernist Landscape Suzanne Vattier, French 1901-1996 gouache painting on artist paper, framed size: 7 x 9 inches Suzanne Vattier (1901-1996) was a pupil of the famous painter, Andr...

Impressive early American modernist abstract oil painting. Framed. Oil on board. Image size, 36H by 28L.

Title: Original Oil Painting of Serene Landscape with Cypress Tree and Rolling Hills Artist: Roland Pichard Signed: Verso Medium: Oil on oil paper, mounted on card Size: 8.5 (hei...

Antique American abstract expressionist oil painting. Oil on canvas. Signed. Measuring 16 by 36 inches.

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). Eleonore Austerer Gallery, Abstraction and Surrealism, 565 Sutter Street, San Francisco, CA. Group exhibition with Joan Davis, Francesca Genoves. Vladimir Cora. 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...

Beautiful ca. 1960 portrait by American artist, Vito Tomasello. Oil on sized illustration board measuring 21.5 x 30 inches. Signed lower right. A lifetime NYC resident, Tomasello ...

Provence Landscape by Paul-Louis Bolot (French 1918-2003) signed & dated 66'' oil on canvas in wooden frame framed: 22.5 x 19 inches canvas: 22 x 18 inches original oil painting con...

Artist/ School: E.Johnson, British mid 20th century, signed and inscribed verso Title: 'Cumberland', a fine Post-Impressionist oil depicting this rugged mountain face bathed in vary...

Impressive early American school modernist abstract oil painting. Framed. Oil on canvas board. Signed.

French Expressionist circa 1970's signed and dated oil on canvas canvas: 25.5 x 32 inches provenance: private collection, France condition: very good and sound condition, age related...

Nicely painted early American modernist landscape by Rita Rogers (b.1936). Oil on canvas. Signed. Artist Bio: Rita Rogers was born in North Miami Beac...

Superb Modern British abstract painting dating to 1969. The work is signed with the artists initials "RG" and dated 1969. The painting captures an amazing array of bright and colou...

Work on wood This abstract work is distinguished by its dynamic curves and vivid colors. Dominated by shades of red, blue and green, it evokes a fluid dance of organic forms. The sin...

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...

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...

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

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

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 oil painting. Framed. Oil on canvas. Signed. Image size, 16H by 20L.

Impressive early American modernist abstract still life oil painting. Framed. Oil on canvas board. Signed. Image size, 24H by 16L.

Abstracted landscape by an unknown artist (20th Century). The landscape is made up of patches of color, reminiscent of viewing agricultural land f...

Work on canvas blue wooden frame 74,5 x 61,5 x 2,5 cm

Antique American school modernist watermelon still life pastel painting. Pastel on paper. Signed. Framed. Measuring 18 by 22 inches overall and 16 by 20 painting alone.

Vintage American modernist landscape oil painting by Frank Barry. Oil on board. Signed. Framed. Measuring 27 by 31 inches overall and 18 by 22 painting alone. Nicely framed in a wood...

Antique American impressionist beach seascape oil painting. Oil on canvas board. Framed. Measuring 11 by 14 inches overall and 9 by 12 painting alone.

Abstract Landscape Miriam Bromberg Date: circa 1960 Oil on Masonite Size: 7.5 x 9.25 in. (19.05 x 23.5 cm) Frame Size: 13 x 15 inches

Nicely painted American impressionist tropical beach landscape. Oil on board. In excellent original condition. Handsomely framed in a period wood molding. Excellent condition, re...

Modern abstract ink and watercolor drawing by Houston born artist Arthur Turner. The work features energetic black lines accented with blocks of purple. Signed and dated along the ri...

A fresh and intriguing composition that keeps you looking at it. The composition is composed of summer greens, whites, blues and lavenders and also conveys figures and movement. Ho...

Very impressive 1969 work by well listed and important female modernist Rita McCarthy. An expressive oil on canvas. Suggestive of a surreal still life to my eye. Framed. Signed.

Beautiful 1945 painting by American artist, Eve Peri. Watercolor on tissue paper, image measures 18 x 14 inches; 20.5 x 24.5 inches matted behind scratched plexiglass. Artwork and ma...

An abstract Avante Garde piece with vivid use of paint and complex lines and color placement. A strong modernist oil painting depicted in 1969 during the rise of Avante Garde express...

" Sailing in Sunshine ", circa 1970s Oil on Canvas 50" x 40" Housed in a Slat-wood frame Overall Size: 50 1/2" x 40 3/4" Appears to be in very good condition. We are looking f...

Impressive early American modernist abstract expressionist large oil painting. Framed. Oil on canvas. Signed. Image size, 31H by 41L.

Bay Area Abstract Expressionist Composition in Oil Pastel on Cardboard San Francisco Bay area abstract expressionist composition by Ho...

Impressive American impressionist winter landscape oil painting. Framed. Oil on board. Signed. Image size, 9H by 11L.

Wonderful early American modernist abstract expressionist oil painting. Framed. Oil on canvas. Signed.

Vibrant mid century modern abstracted figurative in orange, red and black by Bay Area artist Paul Sheppard. Dated 1959 and signed "Sheppard." Presented i...

Title: Original Oil Painting of Abstract Still Life with Female Bust and Fruit Bowl Artist: Roland Pichard Medium: Oil on oil paper, mounted on card Size: 13 (height) x 9.5 (width...

Impressive early American modernist abstract oil painting. Framed. Oil on canvas. Signed. Image size, 20H by 24L. Excellent ready to hang condition. Impressive colors and compo...

Impressive early American modernist abstract oil painting by Alton S. Tobey (1914 - 2005). Framed. Oil on board. Signed. Impressive modernist painting by an important and historical artist. The following is written and submitted by Joseph Dolice, Exhibition Director of the New Rochelle Council on the Arts. This information accompanied the exhibition, "Alton Tobey," of the New Rochelle Council on the Arts October 22 to November 14, 2003. Millions of Americans have seen reproductions of the art of Alton Tobey, one of the most famous of today's living illustrators -- in national magazines such as Life, Reader's Digest and American Artist; and in public murals such as at The Smithsonian Museum in Washington DC, the Intrepid Sea, Air & Space Museum in New York City; and in Westchester where his Roots of Westchester mural is installed at the White Plains County Courthouse. Few people, however, had had the opportunity to see almost three dozen of his original paintings, including many of his portraits of famous people, at any single time or place before in history. From October 22nd through November 14th, 2003 The New Rochelle Council on The Arts, a major cultural resource for the citizens of New Rochelle and the residents of the surrounding Westchester community will present a special one-man exhibition of thirty-three of Alton Tobey's original paintings, many of which have never been publicly shown before. The show will be held in the 3000 square foot Lumen Winter Gallery in the lobby of The New Rochelle Library, the site of many major exhibitions in the past by the NRCA, such as its show of original artwork of Norman Rockwell and of Frederic Remington. Both of these artists also achieved fame mainly as illustrative painters, and had ties to the community. Alton Tobey was born in Middletown, Connecticut and received his BFA and MFA at the Yale School of Fine Arts and later taught there for four years. He has also taught at the City College of New York and has been juror for many prestigious art competitions. His work is in over 30 museums and in important government, corporate and private art collections. He has had over 50 one-man exhibitions. His work has been published in over a dozen national magazines and books, and he has over three dozen historic murals to his credit. Education: Yale School of Fine Arts, B.F.A. and M.F.A. Taught at: Yale School of Fine Arts; City College, New York City; 92nd St. YM-YWHA, New York City Affiliations: Hudson River Contemporary Artists - President Emeritus; National Society of Mural Painters - President Emeritus; Artists Equity of New York - President Emeritus; Mamaroneck Artists Guild - President Emeritus; International Arts Association - Past Vice-President Memberships: Abraxis; League of Present Day Artists; Fine Arts Federation; American Society of Contemporary Artists; Metropolitan Arts Association Awards: PWA Mural Award, 1939; Westchester Society Merit Award; Edwin Abby Mural Award, 1965; Grumbacher Awards, 1982, 1985; Westchester Council for the Arts, 1987; Lindner Memorial Award, 1992 Murals: Tazewell Museum; Tazewell, VA; 16 Chief Justices; St. Paul, MN; Signing of the Constitution; St. Paul, MN; Roots of Thomasville; Thomasville, GA; Intrepid Sea, Air, Space; New York, NY; Smithsonian Museum (2); Washington, DC; California Bank, Rockefeller Center; NYC; American Bureau of Shipping; NYC; Council on Fitness; Washington, DC; U.S. Post Office; East Hartford, CT; MacArthur Memorial, (6); Norfolk, VA; Falstaff Mural; St. Louis, MO; Three Murals for Saudi Arabia; Jidda, SA; History of Transportation; Hartford, CT; Project 400 (14 Murals); Chadds Ford, PA; Evyan Perfumes/Cheseborough; NYC; Campbell Avenue Library; E. Hartford, CT; Eastchester Town Hall; Eastchester, NY; Liebowitz Family (2); New York, NY; Roots of Westchester County; WhitePlains, NY Publications where featured: Life Magazine; Iconagraphy of Stradivari; American Artist; Readers' Digest; Spotlight; Epic of Man - Life; The Plate Collection Magazine; Birds of Tikai - Museum of Natural History; Men and Power - Western Publishing; The Golden Book of American History (in 12 volumes - 300 paintings by Tobey) August 1, 1961 in Plate Collector magazine (with Tobey featured on the cover): "Tobey Brings Murals to Plates" by Susan Elliott: Winter, 2007 (Vol. 5 Number 20) in Illustration magazine: "The Curvilinear Career of Alton S. Tobey" by John Matuszak. Also in numerous newspaper articles in The New York Times, USA Today, Gannett newspapers, and others. Corporate collections: ABC TV; New York, NY; Charles Pfizer Co.; New York, NY; Readers' Digest; Pleasantville, NY; Ciba-Geigy; Ardsley NY; American Cyanamid; Bound Brook, NJ; General Foods Corp.; White Plains, NY; Evyan Perfumes; New York, NY Portraits: Albert Einstein; Pope John Paul II; Ronald Reagan; Charles Pfizer; Golda Meir; Alexander Calder; Cardinal Cooke; Armstrong, Aldrin, Collins; Robert Merrill; E. Ronald Harriman; Robert Frost; Douglas MacArthur; Alfred DelBello; Robert Merrill; John L. Lewis; Charles Picker; John F. Kennedy and Robert Kennedy Government & other projects: Newberger Museum; Purchase, NY; Dept. of Commerce; Washington, DC; Amer. Machine/Foundry; White Plains, NY; President's Council on Fitness; Wash., DC; Yonkers Professional Hospital; Yonkers, NY; Iona College; New Rochelle, NY; NYU Law Library; New York, NY; Jewish Community Center; White Plains, NY; Instituto Norteamericano del Arte; Mexico; American Center; Stockholm, Sweden; Amer. Bureau of Shipping; New York, NY; The National Academy; New York, NY; St. Patrick's Cathedral; New York, NY; St. Francis Hospital; Hartford, CT; Elmira College; Elmira, NY; Hofstra University; Long Island, NY; Murray Av. School; Larchmont, NY; Mercy College; Dobbs Ferry, NY Limited editions: Royal Doulton Plates; London, England; Lucien Picard; New York, NY; Scafa Tournabene; West Nyack, NY; Numa, Ltd.; Akron, OH International collections: Copenhagen, Denmark; Minori, Italy; Jerusalem, Israel; Lima, Peru; LaRochelle, France; Stockholm, Sweden; Athens, Greece; Buenos Aires, Argentina; Guatemala City, Guatemala; Mexico City, Mexico; Tepotzian, Mexico Solo Shows: American Center; Stockholm, Sweden Alliance Galleria; Copenhagen, Denmark Mamaroneck Artists' Guild; Larchmont, NY Silvermine Artists Guild; New Canaan, CT Instituto Mexicano Norteamericano; Mexico Galleria Satellite; Mexico City, Mexico Casa de Aquarella, Mexico City, Mexico Jewish Center; New Haven, CT Alice Tully Hall; Lincoln Center, NYC Riverside Museum; New York, NY Westchester Art Society...

Antique oil on board. Signed. Framed. Measuring 26 by 32 inches overall and 24 by 30 painting alone. In excellent original condition. Excellent condition, ready to hang and enjoy.

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

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

Nature's Printing Press Gouache, tempera, pigments and ink on masonite board, 1967 Signed lower left corner (see photo) Thompson was part of the late 1960’s Black Emergency Cultural Coalition along with Benny Andrews The Black Emergency Cultural Coalition Inc. (BECC) was organized in January 1969 by a group of African American artists in response to the Metropolitan Museum of Art's "Harlem on My Mind" exhibit, which omitted the contributions of African American painters and sculptors to the Harlem community. Part of a series of works the artist created in 1967. The tree motifs vary as does the color of the background. Please see photo of another work from the series. Condition: Excellent/very good Three tiny while flecks in the green border of the painting Image size: 10 1/4 x 9 1/2 inches Painting board size: 20 x 16 inches Frame size: 25 1/2 x 21 1/2 inches Russ Thompson (Born 1922- Jamaica Part of the late 1960’s Black Emergency Cultural Coalition along with Benny Andrews The Black Emergency Cultural Coalition Inc. (BECC) was organized in January 1969 by a group of African American artists in response to the Metropolitan Museum of Art's "Harlem on My Mind" exhibit, which omitted the contributions of African American painters and sculptors to the Harlem community. Members of this initial group that protested against the exhibit included several prominent African American artists, including Benny Andrews and Clifford R. Joseph, cofounders of the BECC. The primary goal of the group was to agitate for change in the major art museums in New York City for greater representation of African American artists and their work in these museums. Studied: Pratt Inst.; Carlyle College; NY Sch. Mod. Photography Exhibited: MoMA; BM, 1968; Nordness Gals., NYC; Phila. Civic Center; Ruder & Finn FA, 1969; Smithsonian Inst.; Mount Holyoke College, 1969; BMFA, 1970; RISD, 1969; Mem. Art Gal., Rochester, NY, 1969; SFMA, 1969; Contemp. Arts Mus., Houston, TX, 1970; NJ State Mus., 1970; Roberson Center for the Arts & Sciences, Binghampton, NY, 1970; UC Santa Barbara, 1970; Plaza Hotel, NYC; Westchester Art Soc. Gal. (prize); Nassau Community College; Brooklyn Pub. Lib.; Allentown (PA) Art Festival; Quinnipiac College, CT; Parrish Art Mus.; NY State Pavillion; Huntington Township Art Lg. Awards: Mitchell College, CT; BM; Armonk Lib. Show Award; Bedford Hills Lib. Show Award. Sources: Cederholm, Afro-American Artists. Public Collections: Zimmerli Art Museum, Rutgers Museum of Fine Arts, Boston Brooklyn Museum Museum of Modern Art, New York Smithsonian American Art Museum Exhibitions: MOMA Brooklyn Museum, 1968 Nordness Galleries, NYC Smithsonian Institution Museum of Fine Arts, Boston, 1970 Rhode Island School of Design, 1969 San Francisco Museum of Art, 1969 Contemporary Arts Museum, Houston, 1970 Parrish Art Museum Courtesy of Afro-American Artist; a biographical directory THOMPSON, RUSS (Born Jamaica, 1922) Painter. Born in Kingston, Jamaica, 1922. Studied at the Pratt Institute; Carlyle College; New York School of Modern Photography. Works: Cloud Flowers ; My Breath Is One with the Clouds ; The Acrobats; Relatives; Thoreau; Clothes to the Body; America- Amer- ica; Hanging Garden; Poor Room, Rich Room; Epigram a Bromide; Passage, 1969 (wood, epoxy, iron). Exhibited: Museum of Modern Art; Brooklyn Museum Fence Show, 1968; Nordness Gal- leries, NY; Phila. Civic Center; Ruder & Finn Fine Arts, 1969; Smithsonian Institution; Mount Holyoke College, 1969; Boston Museum of Fine Arts, 1970; Rhode Island School of Design, 1969; Memorial Art Gallery, Rochester, NY, 1969; San Francisco Museum of Art, 1969; Contemporary Arts Museum, Houston, 1970; NJ State Museum, 1970; Roberson Center for the Arts & Sciences, Binghamton, NY, 1970; Art Galleries, Univ. of Cal. at Santa Barbara, 1970; Plaza Hotel, NYC; Westchester Art So- ciety Gallery; Nassau Community College; Brooklyn Public Library; Allentown (Pa.) Art Festival; Quinnipiac College; Parrish Art Mu- seum; NY State Pavillion; Huntington Town- ship Art League. Collections: Frederick Douglass Institute, Wash- ington, DC; Spiro & Levinson Corp.; Mr. William Haber; Mr. & Mrs. B. Friedman; Mr. & Mrs. Samuel J. Rosen; Mr. David Scribner; Unigraphic Corp.; Mr. Benny An- drews; Jeanne Paris; Mr. & Mrs. Joseph Strauss. Awards: Westchester Art Society; Mitchell College, Conn.; Brooklyn Museum; Armonk Library Show Award; Bedford Hills Library Show Award. Sources: Boston Museum of Fine Arts. Afro- American Artists: New York/ Boston, 1970; Nordness Galleries. 12 Afro-American Artists, 1969; Mount Holyoke College. Ten Afro- American Artists, 1969; Ghent, Henri. “The Community Art Gallery,” Art Gallery, April 1970; Paris, Jean. “Black Art Experience in Art,” Long Island Press, Jamaica, NY, June 14, 1970; Ruder & Finn Fine Arts. Contemporary Black Artists’, Brooklyn College. Afro-Amer- ican Artists: Since 1950, 1969; Walker, Roslyn. A Resource Guide to the Visual Arts of Afro- Americans, South Bend, Ind., 1971. NEW YORK (NY). Acts of Art, Inc. Rebuttal to Whitney Museum Exhibition: Black Artists in Rebuttal at Acts of Art Gallery. 1971. Unpag. (20 pp.) exhib. cat., 54 b&w illus., brief biogs. of 48 artists. The text consists of an unsigned foreword (probably by Nigel L. Jackson, director of Acts of Art); a reprint of Z. D. Allen's review of the exhibition, "Rebuttal to the Whitney," from Chelsea Clinton News (Apr. 15, 1971). The catalogue was published after the show opened. Artists included: Benny Andrews, James Belfon, Betty Blayton, Lynn (Chuck) Bowers, Vivian Browne, Calvin Burnett, Jo Butler, Robert Carter, Art Coppedge, Adger Cowans...

An abstract collage on wood by Kenneth Morrow Martin, American (1911-1983). Exhibited: 1st Knoxville Art Center National Exhibtion, 1961 White Landscape by Keith Morrow Martin...

This rare 1965 abstract painting by Joan Semmel captures a pivotal moment in the artist’s evolution. Created during her seven-year residency in Madrid, this work reflects Semmel's tr...

'Midcentury Biomorphic Abstract', NYMoMA, Paris, XXXII Venice Biennale, MALI, Lima, Peru Signed, lower right, 'E.R. Larrain' for Emilio Rodríguez Larraín (Peruvian, 1928-2015), and inscribed 'Roma, Nov 1963, Enero 1964'. (Rome, Nov 1963-January 1964). Verso titled, "L'Homme C'est Sujet à Errer" (Man Tends to Wander), and bearing the artist's self-portrait in india ink and wash. Exhibited: XXXII Venice Biennale, 1964. (original exhibition label verso) Previously with Staempfli Galleries, New York. This painting is registered in the Archives of American Art as 'Staempfli Gallery, inventory #775'. A monumental and historically distinguished work by this groundbreaking Peruvian Modernist who drew inspiration from Peruvian indigenous and pre-colonial culture. The paintings of Emilio Rodríguez Larraín are held in the permanent collections of museums worldwide including the Musée de la Ville de Paris, Peru's Museo de Arte de Lima and the Museum of Modern Art in New York. This painting was selected by the Peruvian Government for exhibition at the XXXII Venice Biennale in 1964 and is the largest single recorded work by the artist. Emilio Rodríguez Larraín received his Bachelors of Architecture in 1949 from Peru's Universidad Nacional de Ingeniería and held his first solo exhibition in Lima after visiting Europe in 1950. In 1951, he returned to Europe in the company of the artists Alfredo Ruiz Rosas and Joaquín Roca Rey...

Richard Andres (American, 1927-2013) Untitled, c. 1949 oil on canvas 18 x 32 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller designed and made the simple gold wedding ring Avis wore for their 65 years of marriage. During those 65 years neither wavered in their mutual love, nor in the respect they shared for one another’s art. The couple lived in a converted chicken coop in Missouri while Richard was in boot camp. At the camp, he would volunteer for any job offered and one of those jobs ended up being painting road signs. His commander noticed how quickly and neatly he worked and gave him more painting work to do - eventually recommending him for a position painting murals for Army offices in Panama. Until her dying day, Avis remained angry that “The army got to keep those fabulous murals and they probably didn’t even know how wonderful they were.” In Panama, their first son, Mark, was born. After Richard’s discharge in 1953, they moved back to the Cleveland area and used the GI bill to attend Kent State gaining his BA in education. The small family then moved briefly to Buffalo, where Richard taught at the Albright Art School and the University of Buffalo – and their second son, Peter, was born. Richard had exhibited work in the Cleveland May Show and the Butler Art Museum during his art school years, and during the years in Buffalo, his work was exhibited at the gallery he had so loved as a child, the Albright Art Gallery. In 1956, the family moved back to the Cleveland area and Richard began teaching art at Lincoln West High School during the day while working toward his MA in art at Kent State in the evenings. Avis and Richard, with the help of an architect, designed their first home - a saltbox style house in Hudson, Ohio, and in 1958, their third son, Max (after Max Beckmann) was born. Richard enjoyed the consistency of teaching high school as well as the time it gave him to paint on the weekends and during the summer months. In 1961, he received his MA and his daughter, Claire, was born. With a fourth child, the house was much too small, and Avis and Richard began designing their second home. An admirer of MCM architecture, Richard’s favorite example of the style was the Farnsworth house – he often spoke of how the concepts behind this architectural style, particularly that of Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s...

Antique American modernist abstract oil painting. Oil on board. Framed. Signed. Measuring 29 by 35 inches overall and 23 by 29 painting alone. In excellent original condition. Handso...

Antique American modernist abstract landscape oil painting. Oil on canas. Framed. In excellent original condition. Handsomely framed in a wood molding. Excellent condition, read...

Grey & Tan Abstract Expressionist Textural Mid-Century Abstract by Peter Witwer Heavily textured, expressive composition by Peter Witwer (American, 1928-1968). Over the top of a heavy base layer of plaster, Witwer has added various layers of oil paint, creating a massive amount of depth and texture. Sections of red peek out from underneath various shades of tan, grey, and black. Spots of blue and purple are used sparingly, hidden in the composition. Presented in a wood frame. Canvas size: 20"H x 40"W Frame size: 26.63"H x 46.63"W Unsigned, but was acquired with a collection of the artist's work. Provenance: Without a will and a family that had little interest in his art, nearly all of his possessions and close to 100 paintings were turned over to SF’s Conservators Office. His friend, Albert Richard Lasker, purchased all of Peter’s possessions (including the art) and has taken care of them until this day, always sensing there was something remarkable about the collection. Wanting Peter’s work to finally be seen, Richard came to Lost Art Salon with Peter’s story after reading about the new gallery in a July, 2005 issue of the SF Chronicle. Born George Peter...

Very impressive signed 1967 abstract landscape. Appears to be an abstract coastal scene. Framed.