Mid-20th Century Abstract Paintings

signed ‘ozenfant’ (lower right) Provenance: Sale: Christie's London, 4 April 1989, lot 198 Dr. Arthur Brandt, New York (acquired at the above sale) Literature: P. & M. Guénégan, 'A...

Green, Yellow, abstract, Picasso, Atelier stamp lower right Dora Maar, original name Henrietta Theodora Markovitch (Marković), (born November 22, 1907, Paris, France—died July 16, 1...

Signed and dated 1958 lower right. 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...

De Hirsh Margules (1899-1965). North on West Street , 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15 x 22 inches. Framed measurement: 27 x 34 inched. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium" Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village. Early Life De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website. At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers. As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later. In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno). Artistic career In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting. Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe. Jane Heap, left, with Mina Loy and Ezra Pound During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter. In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa. Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that: the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment. Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow." It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day. In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel. Upon his return to New York in 1929, Margules attended an exhibition of John Marin's paintings. While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O'Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends." Alfred Stieglitz Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York. With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting. In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works. In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation. "The Baron of Greenwich Village"[edit] Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond. To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness." He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller. Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance. The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation. The writer and television personality Alexander King said I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean. King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets." Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler. Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...

Remo Michael Farruggio American, 1905-1981 Studio Oil on canvas 24 by 35 in. W/frame 28 by 39 in. Signed lower right & titled on stretcher “Studio” Circa 1959 Remo Michael Farrugg...

"Mother & Child" by Carlos Carnero (Uruguay/ French 1922-1980) signed verso watercolour/ gouache paint on artist paper, stuck on board 25.5 x 20 inches...

Artist/ School: by Claude Lagouche (French 1943-2020), see provenance details below. Claude Lagouche was born January 2, 1943 in Naves, died January 16, 2020. He quickly gained reco...

Joseph Kardonne (1911-1985). Nude Woman, 1966, 9 x 12 inches. Watercolor on paper, sheet measures inches. Signed, dated and titled lower right. Excellent condition. Born in Newark...

Chris Ritter (1906-1976). Red Bird on Sea Rocks, ca. 1960. Watercolor on rag paper, sheet measures 15 x 22 inches. Sheet is loose and unmounted. Unframed. Estate stamps500 on v...

URBAN BLOCKS Size: 48 x 63.5 cm (including frame) Oil on board A striking mid-century abstract cityscape rendered in a restrained muted palette, executed in oil onto board. The pai...

Richard Andres (American, 1927-2013) White & Yellow, c. 1953 oil on canvas signed lower right, signed and titled verso 30 x 20 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...

#5-3004 Fantasy oil painting on board, displayed in a dark-wood frame

Artist/ School: French School, mid/late 20th century Title: Abstract composition Medium: oil on canvas, unframed Size: canvas: 36 x 25.5 inches Provenance: private collection, ...

Red abstraction 1964-66, paper, gouache, 86x61 cm Gunars Klava (1933 – 1989) Gunars Klava was born in 1933 in Priekule. 1953 - graduated from J. Rosenthal Art School 1964 - began...

Leonardo Nierman (b.1932 - Mexico City, Mexico) Abstract Expressionist Painting c.1970 Fine mixed media abstract landscape by noted Mexican artist Leonardo Nierman. Created with gouache and watercolor on paper. Dimensions 11" x 14.5". The silver leaf frame measures 19.5" x 23.5". The painting is signed in the lower right corner. The frame shows some chipping and can easily be restored. Paintings by Leonardo Nierman seldom appear on the market. This is a fine opportunity to acquire an original masterpiece by this highly regarded Mexican artist. A leader in modern Mexican art...

William H. Littlefield Abstract Expressionist work on paper, for Norman Carton, 1962 Mixed media oil painting on paper Signed William H. Littlefield, dated 9/16/1962 and inscribed, "...

Joseph Kardonne (1911-1985). Nude Woman, 1945. Gouache on paper, sheet measures 12.5 x 16 inches. Image measures 11.5 x 15 inches. Signed, dated and titled lower left. Unframed. ...

Abstract Expressionist composition by Andre Guillou (French 1925-2017) oil on board board: 25.5 x 19.75 inches provenance: the artists estate, France condition: very good and sound c...

Peter Liashkov (b. 1939) French, Russian, Argentine, American artist "Life and Death (Two Figures)," 1966 Oil on board (mixed media with collage) Hand ...

Title: 1960's British Surrealist Oil Painting - "Creating + Decaying" Medium: Oil on board, unframed Size: 6 height x 4 width Condition: Good Provenance: all the paintings we have b...

Joseph Kardonne (1911-1985). Passaic River Landscape 1967. 9.5 x 13 inches. Watercolor on paper, sheet measures inches. Signed, dated and titled lower right. Excellent condition. ...

Seillans is an amazing original contemporary artwork realized by the Italian artist Cesare Peverelli (Milan, 1922 - Paris, 2000) in 1965. Mixed colored oil in canvas Hand-signed a...

Title: 1960's British Surrealist Oil Painting - Blue Blossoms and Butterflies Medium: Oil on board, unframed Size: 6 height x 4.75 width Condition: Good ...

Vintage Mid Century Modern expressionist surreal abstract oil painting by Mary Kremer. Oil on canvas. Signed.

Elfi Schuselka (Austrian, b. 1940), Abstract Figural Composition, Mixed Media on Paper, mounted on board, circa 1965, apparently unsigned, unframed. 8.5" H x 11" W x 0.75" D. Provena...

Elfi Schuselka (Austrian, b. 1940), Abstract Composition, Oil on Board, circa 1965, black and green, apparently unsigned, unframed. 9.25" H x 6" W x 0.75" D. Provenance: From the Col...

Ink and wash on paper. Signed and dated in ink lower right. John Sennhauser became known for his nononjective paintings in the early 1940's. Per teh Smithsonian Institute, "In 194...

Frank Chabry (1916-1979) was a 20th-century artist whose career spanned several transformative decades in the art world. His work likely reflects the arti...

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

"One of Pinajian's early works, 'Overlook Mountain, Woodstock, 1974' is a vibrant depiction of the Woodstock mountains. The abstract composition was create...

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, exh...

Emory Ladanyi Hungarian, 1902-1986 Thunderous Mixed Media on Canvas Signed Lower Right Inscribed & titled on Verso 40 by 48 in. W/frame 42 by 50 in. Born November 8, 1902 in Kecskemet, Hungary, the child of Mihaly and Maria Ladanyi, Emory Ladanyi moved with his family to Eger, a town famous for its good wine. He studied at the High School of Science and Art. At fifteen, he discovered anatomy in a textbook and began to consider a career in medicine, and was accepted into the Medical School of The University of Budapest to become a medical student. He received his doctoral degree in 1927 and did his residency in dermatology in the largest hospital in Berlin, then one of the most prominent dematology centers of Europe. In Berlin, he was especially impressed by the works of Edvard Munch, forerunner of German Expressionism, who exerted a lasting influence on his work. Following medical residency in Vienna, he was also impressed by the works of Gustav Klimt, Egon Schiele, and Kokoschka. In 1928 he returned to Budapest to continue postgraduate studies, also advancing his art education. His many friends were among the avant-garde poets and writers of that time. In March 1929, he arrived in New York. June of that year, he passed the medical boards, and in September received his license to practice medice in the State of New York. Outside of the medical profession which enabled him the livelihood to continue to paint, he moved exclusively in avant-garde circles of New York City. He was a close friend of the composer Edgar Varese. Others of his circle were poet Kenneth Patchen...

Remo Michael Farruggio American, 1905-1981 Signals Oil on canvas 24 by 35 in. W/frame 28 by 39 in. Signed lower right & titled on stretcher “Signals” Circa 1959 Remo Michael Farru...

Title: 1960's British Surrealist Oil Painting - "Goldfish" Medium: Oil on board, unframed Size: 3.5 height x 4 width Condition: Good Provenance: all the paintings we have by this ar...

Night time in the City signed by Léon Schwartz -Abrys ( 1905 - 1990) French School, expressionist oil on board, unframed board: 21.5 x 25.5 inches Provenance: private collection, P...

This Modern Abstract Expressionist painting by Stanley Bate is made with oil paint on canvas and features a warm, earth-toned palette. A warm yellow organic rectangular shape is at t...

Title: 1960's British Surrealist Oil Painting - 'Light in the Heart' Abstract Artist: Elvic Steele Medium: Oil on board, unframed Size: 6 height x 4.5 width Condition: Good Provenan...

’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 ...

Title: 1960's British Surrealist Oil Painting - 'Finite + Infinite: Geometric Abstract' Artist: Elvic Steele Medium: Oil on board, unframed Size: 6 height x 4 width Condition: Good ...

A painting by Sadamasa Motonaga. This Untitled, abstract, oil on canvas painting in executed in a lush and thick palette of primarily reds, greens, o...

Title: 1960's British Surrealist Oil Painting - "Co-operation" Medium: Oil on board, unframed Size: 6 height x 4.5 width Condition: Good Provenance: all the paintings we have by thi...

Surrealist Portrait French, mid 20th century signed oil on board, framed Framed: 14 x 16 inches Board : 9 x 11 inches Provenance: private collection Condition: the board has a convex...

"Don't Cry Long" is a self-portrait of the artist and an unusual one at that in which the artist portrays herself shedding tears. Perhaps it is an expression of some grief experienced by Ms. Woodlock, but it also admonishes her to not "Cry Long" while at the same time poking fun because of her elongated face and the one lone "long" tear tracing a pattern down her face. In addition to self-portraits, Ethelyn painted commissioned portraits. In this painting her head is cocked and her famous bangs hang down her forehead. Compare two self-portraits, “Up From Under”, and “M’Eyes" to "Don't Cry Long." The major differences are the close facial view and the brilliant blood red paint that fills the entire canvas. This painting is included in the book, "Dreams Have Wings: An Artist's Journey into Magic and Mystery" printed in the United States, 1985. She describes "Don't Cry Long" as showing how funny looking we are, if we cry too long. Ethelyn Woodlock...

Title: 1960's British Surrealist Oil Painting - 'Wild Growth' Abstract Study Medium: Oil on board, unframed Size: 3 height x 5.25 width Condition: Good Provenance: all the paintings...

LILI ORSZAG 1926 - 1978 (Hungarian) Title: Brown Abstraction - The Walls Technique: Original Oil on paper Size: 28 x 16 cm. / 11 x 6.2 in. Additional Information: This original...

Still Life by Fernand Audet (French, Tarascon 1923- Mulhouse 2016) signed, oil painting on canvas canvas: 8.75 x 6.25 inches Superb original oil painting by Fernand Audet (1923-201...

Title: 1960's British Surrealist Oil Painting - Golden Blooms in Verdant Growth Medium: Oil on board, unframed Size: 6.25 height x 4.25 width Condition: Good Provenance: all the pai...

A Wonderful Mid-Century Boxing Scene of a Standing Prize Fighter by Noted Chicago Artist, Rudolph T. Pen. This energetic sporting scene, painted in the 1960s, exemplifies the abstra...

Nick Wallis - Afterthoughts 1, Medium: Acrylic on Canvas, signed lower right, Size: 60 x 60 in. (152.4 x 152.4 cm)

Title: 1960's British Surrealist Oil Painting - Blooming Wildflowers in Spring Abstract Medium: Oil on board, unframed Size: 6 height x 4.5 width Condition: Good Provenance: all the...

Title: 1960's British Surrealist Oil Painting - "UFO" Medium: Oil on board, unframed Size: 6 height x 4.75 width Condition: Good Provenance: all the paintings we have by this artist...

Frank Chabry (1916-1979) was a 20th-century artist whose career spanned several transformative decades in the art world. His work likely reflects the arti...

Watercolor on paper, sheet measures 12 x 17.5 inches. Unframed. Signed and dated lower right. Estate stamp on verso. EVE PERI (1897-1966) Born in Bangor, Maine, Eve Peri worked...

Karl Drerup (1904-2000). Italian City, c.1930. Oil on masonite panel, 24 x 32 inches; 34 x 42 in custom frame. Signed lower right. Minor conservation to loss in margins. Price on request Biography: Born in Borghorst, Germany in 1904, Karl Drerup earned a Master’s Degree in graphic arts working under Hans Meid...

Antique Polish American impressionist flower still life oil painting by Edward Lis (1915 - 2011). Oil on board. Signed. Framed. Image size, 15H x 17L.

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, exh...

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...

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...

Large mid-century abstract expressionist oil on canvas of a still life of flowers by Belgian artist Eric Verhal. Signed and dated '65 to the bottom right and again to the reverse of the canvas. A colourful and energetic painting of a vase of flowers. Very much of its period. Angular lines reminiscent of the work of Bernard Buffet outline and crisscross luminescent fields of colour in orange, yellow, white and red. A real period piece, strong and full of energy. Eric Verhal ( born: 1938 ) : Masters of Art History and Archaelogy, State University, Ghent, Belgium. Masters of Fine Arts, Washington University, St. Louis, Missouri, U.S.A. In 1968, after a period of four years as a teacher at the Lycée des Garçons in Sfax, Tunisia, Verhal left for Spain and Portugal with a scholarship from the Belgian Gouverment. After this, he traveled to the U.S.A. where he taught painting and printmaking at the Washington University, St. Louis, U.S.A. In 1970 he obtained his Masters of Fine Arts degree at the same university. From 1973 up until 1999, Verhal taught history of art at the Royal Academy of Fine Arts, Ghent, Belgium. In the summers of 1974 till 1981, Verhal taught diffirent courses at the Portland School of Art, Maine, U.S.A. and at the University of North-Carolina, Greensboro, North-Carolina, U.S.A. Verhal obtained scholarships for Rome, Italy, in 1961-1962, Lisbon in 1966-1967 and Germany in 1978. In September and October 1979, he worked in Boston, U.S.A., and obtained a scholarship for Japan, in 1983, where he had a show in the White Striped House Museum, Tokyo, Japan. In 1998 Verhal opened a studio in Brooklyn (N.Y. City, U.S.A.). Arsonists burned the studio down and Verhal’s studio moved to Coton-on-Hudson, N.Y., U.S.A., in the house of his oldest daughter. Verhal opened a new studio in France, Le Massif...

Title: 1960's British Surrealist Oil Painting - "Radiance + Gloom" Medium: Oil on board, unframed Size: 4 height x 5.25 width Condition: Good Provenance: all the paintings we have b...