שְׁמַע (Shema), Abstract Expressionist acrylic painting signed Jewish Art Unique

View Similar Items

Ed Warner - CONTEMPORARY Abstract Figurative Devil Ed Warner Handmade paper

James Coughlin - Abstract Figural and Pediments - Two Sided Art - James Coughlin

Unknown - 1984 Extra-Large Colorful And Vibrant Modern Abstract Painting. Blue, Yellow.

Elizabeth Myers Castonguay - Tree of Knowledge II (Tapestry of Nature) : abstract work of art

Tomasz Prymon - Untitled 04 - Series 2019, Contemporary Abstract Painting, Textile Lightness

Tomasz Prymon - Untitled 23 - Series 2019, Contemporary Abstract Painting, Textile Lightness

Tomasz Prymon - Untitled 02 - Series 2019, Contemporary Abstract Painting, Textile Lightness

Tomasz Prymon - Untitled 19 - Series 2019, Contemporary Abstract Painting, Textile Lightness

Tomasz Prymon - Untitled 20 - Series 2019, Contemporary Abstract Painting, Textile Lightness

Tomasz Prymon - Untitled 21 - Series 2019, Contemporary Abstract Painting, Textile Lightness

Tomasz Prymon - Untitled 12 - Series 2019, Contemporary Abstract Painting, Textile Lightness

Marc Foster Grant - "Make a Splash", Large-Scale Figurative Abstract with Swimmer in Pool

Want more images or videos?

Request additional images or videos from the seller

1 of 10

Robert Natkin
שְׁמַע (Shema), Abstract Expressionist acrylic painting signed Jewish Art Unique
ca. 1990

Name: שְׁמַע (Shema), Abstract Expressionist acrylic painting signed Jewish Art Unique
Brand: Robert Natkin
Rating: 5 (63 reviews)

$38,500List Price

About the Item

Robert Natkin שְׁמַע (Shema), ca. 1990 Acrylic painting on fine art paper Signed in acrylic paint on the front (see close up image) Unique Frame included This gorgeous unique signed mixed media painting on paper by internationally renowned Abstract Expressionist painter Robert Natkin, bears the Hebrew letters of the "Shema" - one of the most important prayers in Judaism. "Shema" (which literally means listen, hearken and also obey) is the shorter term for the prayer "Shema Israel" ("Hear o' Israel), which begins: Sh'ma Yisra'eil Adonai Eloheinu Adonai echad. Hear, Israel, the Lord is our God, the Lord is One. The Shema is a Jewish prayer that serves as a centerpiece of the morning and evening Jewish prayer services. Observant Jews consider the Shema to be the most important part of the prayer service in Judaism, and its twice-daily recitation as a mitzvah (religious commandment). Also, it is traditional for Jews to say the Shema as their last words, and for parents to teach their children to say it before they go to sleep at night. The Shema is one of only two prayers that are specifically commanded in Torah (the other is Birkat Ha-Mazon -- grace after meals). It is the oldest fixed daily prayer in Judaism, recited morning and night since ancient times. It consists of three biblical passages, two of which specifically say to speak of these things "when you lie down and when you rise up." Measurements: Framed 27 inches by 27 inches by 1 inch Artwork: 21 inches by 21 inches ROBERT NATKIN (1930–2010) Described as the “author of a dappled infinite,” Robert Natkin created some of the most innovative color abstractions of the late twentieth century (Carter Ratcliff, “The Dappled Infinite,” Art & Antiques 38 [December 2015]). Populated by stripes, dots, grids, and an array of free-floating forms, his lightfilled canvases are sensuous, playful, and visually complex, representing “a unique formal universe of unparalleled beauty” (Louis A. Zona, “Foreword: Robert Natkin: Crescendos of Whispers,” in Robert Natkin: A Retrospective: 1952–1996, exhib. cat. [Youngstown, Ohio: Butler Institute of American Art, 1997]). Born in Chicago, Natkin was the son of Russian-Jewish immigrant parents who worked in the garment industry. At age five, he began going to the movies (often six times a week), an activity that, in addition to providing him with a measure of respite from his dysfunctional family, would later influence his work as a painter. In 1945, Natkin’s family moved briefly to Oak Ridge, Tennessee, where Natkin decided to pursue a career as an artist. A natural draftsman, he initially wanted to become an illustrator, like Norman Rockwell, whose work he’d seen in the Saturday Evening Post. However, while attending the school of the Art Institute of Chicago from 1948 to 1952, Natkin was afforded the opportunity to study the museum’s world-class collection of French post-impressionist art and decided to turn his attention to painting instead. During these formative years, Natkin was inspired by the examples of Pierre Bonnard and Henri Matisse, who used decorative patterning and arbitrary color to evoke mood. Most importantly, he also discovered the work of Paul Klee, the Swiss/German artist whose whimsical, semi-abstract paintings reflected his belief that “art does not reproduce the visible but makes visible”––a credo that nurtured Natkin’s burgeoning interest in emotional content. As a student, Natkin was also a frequent visitor to the Field Museum of Natural History, where he was attracted to the stylized shapes of American Indian art and Peruvian textiles. An article on Abstract Expressionism, published in Life magazine in 1949, was equally vital in determining Natkin’s evolution as a painter. In 1952, he lived briefly in New York, where he saw and was influenced by the bold canvases of Willem de Kooning. Following this, Natkin spent a few months in San Francisco before returning to Chicago, where he worked at the Newberry Library while painting in his spare time. He initially focused on portraits and expressionist figure pieces, but by 1954–55 he was producing his earliest abstract work and fraternizing with a group of artists that included the painter Judith Dolnick (b. 1934), who he married in 1957. During that same year, Natkin and Dolnick established the Wells Street Gallery in a dilapidated storefront in Chicago’s Old Town, where they exhibited their own work as well as that of other progressive-minded local artists, among them the sculptor John Chamberlain and the photographer Aaron Siskind, as well as painters from New York, including de Kooning, Jackson Pollock, and Mark Rothko. Although Natkin never embraced the concept of “action painting” as exemplified in the work of Pollock, he did, for a time, explore de Kooning’s agitated, gestural brushwork, as apparent in canvases such as Keep It Quiet (1957; private collection, formerly Hirschl & Adler Galleries, New York). (For Natkin’s Chicago period, see Robert Natkin in Chicago: The 1950s, exhib. cat. [Chicago: McCormick Gallery, 2015]). In 1959, aware of the limited patronage for abstract art in Chicago, Natkin and Dolnick moved to New York, where Natkin joined the stable of artists associated with the Poindexter Gallery, known for its support of emerging painters and sculptors. On the occasion of his début exhibition at Elinor F. Poindexter’s gallery in late 1959, the critic Dore Ashton praised the “bright, experimental boldness” of Natkin’s paintings and observed that he “obviously enjoys attacking a large canvas, filling its field with many forms and many colors, making them glide and slip, before and behind, each other” (“Natkin’s Avant-Garde Paintings on View,” New York Times, January 7, 1960). Natkin’s reputation in Manhattan art circles was further enhanced when he was included in the exhibition, Americans Under 35, held at the Whitney Museum of American Art in 1960. Immersed in the dynamism of the New York art world, where Abstract Expressionism and Color-Field painting were the dominant styles of the day, Natkin’s aesthetic approach continued to evolve. In 1961, he adopted a serial approach to painting, a practice he would adhere to throughout his career. (For an overview of the salient characteristics of Natkin’s serial work, see Robert Natkin: A Retrospective: 1952–1996). In his earliest cycle, known as the Apollo series (which Natkin worked on intermittently into the early 1970s), he used vertical stripes of varying thicknesses and textures to suggest the interplay of color and light while creating a strong architectonic quality, as apparent in works such as Beatrice (1964; National Gallery of Australia, Canberra). During the mid-1960s––in response to the color theories of Josef Albers, contemporary jazz, and his admiration for Chicago architects such as Frank Lloyd Wright and Louis Sullivan––Natkin retained the upright format of his Apollo paintings in his Straight Edge and Step canvases, imbuing them with a heightened sense of order and structure by using masking tape to create clearly defined areas of form and color. Natkin embarked on his next thematic group, the Field Mouse series, in 1968. Based on Ezra Pound’s translation of a Chinese poem which dealt with the fleeting passage of time, the Field Mouse paintings represented a new stage in Natkin’s artistic evolution: moving away from the cool and contemplative approach of the Apollo works, he developed a more intricate style (indebted to Klee), depicting diamonds, polygons, ovals, squiggles and other shapes against textured, delicately toned backgrounds interspersed with seemingly randomly placed dots and daubs of pigment and areas of crosshatching, as in Between the Sapphire & The Sound Unfurls the Rose of Vision (1969; Harvard Art Museums, Cambridge, Massachusetts). The inclusion of several of Natkin’s luminous canvases from the Field Mouse series in the exhibition, Timeless Paintings from the USA, held at Galerie Facchetti in Paris in 1968, was instrumental in bringing him to the attention of art aficionados in Europe. In 1970, following a retrospective exhibition of his work at the San Francisco Museum of Art (now the San Francisco Museum of Modern Art), Natkin and his family relocated to West Redding, Connecticut. One year later, while serving as artist-in-residence at the Kalamazoo Art Center in Michigan, Natkin put aside his brushes and began to use sponges, soaked in acrylic paint and wrapped in pieces of cloth or netting, which he would apply to his support with different levels of pressure, a technique that enhanced the decorative quality of his paintings. The artist first applied this methodology to his Intimate Lighting series, which was influenced by an exhibition of cubist painting that he saw at The Metropolitan Museum of Art in New York. The year 1971 also marked a pivotal moment in Natkin’s career in that he had the first of many one-man shows at the venerable André Emmerich Gallery in New York. In the ensuing years, Natkin continued to develop his repertory of cyclical paintings, reviving older themes, such as his Apollo pieces, while exploring new subjects, as in his Bath and Color Bath paintings, which were inspired by the light and architecture he encountered on a visit to Bath, England, in 1974. (The Bath paintings were executed in understated monochromatic tones, while the Color Bath paintings feature a range of soft-toned hues woven together to evoke a diaphanous curtain of light.) In 1977, following his retrospective exhibition at the Moore College of Art in Philadelphia a year earlier, Natkin visited the Paul Klee Foundation in Bern, Switzerland. Returning to America, he embarked on the Bern series, using rags and sponges (on both canvas and paper) to create spirited yet very intimate canvases featuring the geometric and biomorphic shapes of his earlier Field Mouse pictures, rendered now in strong, saturated primary colors, as well as black. The Bern paintings were followed by the Hitchcock series, Natkin’s greatest and most engaging cycle in which he paid homage to the director, Alfred Hitchcock––a raconteur who, like Natkin, also used recurring themes and devices to express aspects of the human condition. As Leda Natkin Nelis has observed, her father had “long been a fan of Hitchcock’s films which, despite their entertaining surface plots, teem with darker undertones and contradictions. As the artist points out, the director succeeds, despite the playfulness of his films, to depict and romanticize man’s more somber side. Like Hitchcock, Natkin likes to interlock pleasure—and beauty––with mystery and paradox” (L.N.N. [Leda Natkin Nelis], “Bern & Hitchcock Series,” in Robert Natkin: A Retrospective: 1952–1966, n.p.). Natkin began the Hitchcock series during the early 1980s and continued to explore the theme for the remainder of his career. (For the Hitchcock paintings, see Michael Dillon, intro., Robert Natkin: Recent Paintings from the Hitchcock Series, exhib. cat. [London: Gimpel Fils, 1988] and Peter Fuller, Robert Natkin: Recent Paintings from the Hitchcock Series, exhib. cat. [New York: Gimpel & Weitzenhoffer, 1984). Taking his cue from Hitchcock’s practice of synthesizing different story lines into a cohesive narrative, Natkin sought to imbue his Hitchcock canvases with carefully considered arrangements of shapes that, as Carter Ratcliff has observed, lead “the viewer from one point to the next and the next, until the work is fully seen . . . In the ‘Hitchcock’ paintings . . . his forms show a heretofore-unseen inclination to settle into configurations evoking rather specific urban settings. Or forms flatten into patterns suggestive of maps with strong inclinations of the proper path for the eye to follow” (Ratcliff, “The Dappled Infinite”). These qualities––as well as the vibrant chromaticism associated with the Hitchcock cycle––can be found in works such as Danae (1995), in which seemingly weightless forms merge, mingle, and intersect with one another to evoke a sensation of joyous exuberance. The Green One and Night Rumble (their whimsical titles reflecting the lingering impact of Klee’s provocative wordplay) likewise exemplify Natkin’s penchant for light, texture, pattern, and gorgeous, emotive color, as well as his ability to create improvisational works of art while retaining an underlying sense of form and structure. In 1981, Natkin was the subject of a major monograph written by the British art critic Peter Fuller, an early champion of his work (see Peter Fuller, Robert Natkin [New York: Abbeville Press, 1981]). An inventive, energetic, and opinionated artist, Natkin also voiced his own thoughts about contemporary art, writing articles on painters ranging from Klee and Arshile Gorky to Jasper Johns and Franz Kline for journals such as Modern Painters. The subject of numerous one-man shows in America, Europe, and Japan, as well as a participant in numerous group exhibitions devoted to late-twentieth-century painting (most recently, Expanding Boundaries: Lyrical Abstraction: Selections from the Permanent Collection, held at the Boca Raton Museum of Art in Florida in 2009), Natkin died in Danbury, Connecticut, on April 20, 2010. Examples of his work can be found in major public collections throughout the United States and abroad, including the Institute of Contemporary Art, Boston; The Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; The Solomon R. Guggenheim Museum, New York; the Whitney Museum of American Art, New York; and the Centre Pompidou, Paris. In addition to his paintings, Natkin also left behind a colossal, 20 x 42 foot mural, executed in 1992 for the lobby of 1211 Avenue of the Americas in New York’s Rockefeller Center. -Courtesy Hirschl & Adler

Creator:
Robert Natkin (1930-2010, American)
Creation Year:
ca. 1990
Dimensions:
Height: 27 in (68.58 cm)Width: 27 in (68.58 cm)Depth: 1 in (2.54 cm)
Medium:
Acrylic,Handmade Paper
Movement & Style:
Abstract
Period:
1990-1999
Condition:
Work has been examined in frame and is in excellent condition; held in the original vintage wood frame.
Gallery Location:
New York, NY
Reference Number:
1stDibs: LU1745215120332

Shop All Robert Natkin

Robert Natkin

Robert Natkin was born in Chicago on November 7, 1930 into a large family of Russian Jewish immigrants. In 1945 the family moved to Tennessee though soon returned to Chicago where Natkin would attend the Art Institute of Chicago (1948-1952). The museum’s collection of Post-Impressionist paintings, especially those of Pierre Bonnard and Henri Matisse and the whimsical abstractions of Paul Klee, were significant influences on the young artist. Natkin’s influences outside the art world included frequent trips to the Field Museum of Natural History where he was exposed to stylized Native American and Peruvian textiles. Introduced to Abstract-Expressionism in New York in 1952, Natkin was especially drawn to the works of Willem de Kooning who’s agitated marks he began to emulate though after returning to Chicago in 1953 he abandoned ties to action painting and began to form what would become his familiar color field abstraction motif. In 1957 Natkin, now married to fellow artist Judith Dolnick, opened the Wells Street Gallery which showed the works of like-minded Chicago artists including sculptor John Chamberlain and photographer Aaron Siskind as well as New York artists they admired. Due to limited patronage however this was a short-lived venture and, seeking greater opportunities, the couple moved to New York in 1959. Natkin continued to develop bold bright fields of color and texture in his paintings finding success among the Poindexter Galleries stable of up-and-coming artists. Immersed in New York’s dynamic art scene through the 1960s and 70s, Natkin continued to evolve his style through his Apollo series, Field Mouse series, and Intimate Lighting series which includes Remembrance is the Secret of Redemption, Forgetfulness Leads to Exile. Other series followed in a long and successful career. Natkin died in Danbury, Connecticut, on April 20, 2010. Robert Natkin has been the subject of numerous one-man exhibitions and has been included in many more group exhibitions. His work is in the permanent collections of dozens of national and international museums including New York’s Museum of Modern Art, the Art Institute of Chicago, the Los Angeles County Museum of Art, the National Gallery of Australia, and the Centre Pompidou in Paris. Additionally Natkin’s colossal 20 x 42 foot mural, executed in 1992, can be seen in the lobby of New York’s Rockefeller Center.

More From This Seller

View All

The City at Twilight: Twin Towers II, signed painting, Gruenebaum Gallery label

By Sonia Gechtoff

Located in New York, NY

Sonia Gechtoff The City at Twilight: Twin Towers II, 1985 Acrylic and pencil on paper (held in original frame with Gruenebaum Gallery, NY label) Signed and dated on the front; also b...

Category

1980s Abstract Expressionist Abstract Paintings

Materials

Acrylic, Pencil, Graphite

Sonia Gechtoff
The City at Twilight: Twin Towers II, signed painting, Gruenebaum Gallery label, 1985

$13,750

God Bless America: 5 Liberties unique Pop Art painting hand signed twice, Framed

By Peter Max

Located in New York, NY

Peter Max God Bless America: 5 Liberties, 2001 Acrylic and collage on heavy art paper painting Hand signed twice: once in acrylic painting on the front, and also on the back, with th...

Category

Early 2000s Pop Art Abstract Paintings

Materials

Mixed Media, Acrylic, Archival Paper

Peter Max
God Bless America: 5 Liberties unique Pop Art painting hand signed twice, Framed, 2001

$5,500

In the Sculpture Garden, unique signed oil on canvas painting, Charles Cowles

Located in New York, NY

Donald McLaughlin In the Sculpture Garden (ex-collection Charles Cowles Gallery), 1985 Oil on Canvas. Framed with labels from Wolff Gallery and Charles Cowles Gallery Sticker label, ...

Category

1980s Abstract Expressionist Abstract Paintings

Materials

Canvas, Oil

Donald McLaughlin
In the Sculpture Garden, unique signed oil on canvas painting, Charles Cowles, 1985

$1,000

Ozymandias (unique, signed Abstract Expressionist painting by renowned painter)

By Ben Wilson

Located in New York, NY

Ben Wilson Ozymandias, 1989 Oil on masonite board Boldly signed by Ben Wilson on the back 36 × 48 inches Unframed Provenance: acquired from the Estate of Ben Wilson This work is titled "Ozymandias" after the famous sonnet written by Percy Bysshe Shelley (1792-1822). Shelley's poem is one of the most poignant meditations on the fleeting nature of human power and the inevitability of decline. The poem serves as a reminder that time erodes even the most imposing empires and leaders and that the pursuit of lasting fame and control is ultimately futile. Depending on how one views Ben Wilson's Abstract Expressionist painting of "Ozymandias" -- some of the imagery might reveal the head of an angry king and a sickle. Shelley's poem Ozymandias reads: I met a traveler from an antique land...

Category

1980s Abstract Expressionist Abstract Paintings

Materials

Masonite, Oil

Ben Wilson
Ozymandias (unique, signed Abstract Expressionist painting by renowned painter), 1989

$15,000

Lovers and Others (unique mid century modern painting) - double sided artwork

By Nahum Tschacbasov

Located in New York, NY

Nahum Tschacbasov Lovers and Others (Two Unique Works), 1978-1979 Gouache on Two-sided Paper (Two Signed Works) Hand signed twice: once on each side 11 × 15 inches (each side) A rare...

Category

Mid-20th Century Surrealist Abstract Paintings

Materials

Ink, Gouache

Nahum Tschacbasov
Lovers and Others (unique mid century modern painting) - double sided artwork, 1978

$8,800

Mid Century Modern abstract cityscape, unique oil painting, signed twice, Framed

By Norman Carton

Located in New York, NY

Norman Carton Mid Century Modern Cityscape, ca. 1951 Oil on canvas painting (signed twice) Signed twice: hand signed on the front and also signed on the back Unique Frame included: T...

Category

1950s Expressionist Figurative Paintings

Materials

Canvas, Oil

Norman Carton
Mid Century Modern abstract cityscape, unique oil painting, signed twice, Framed, ca. 1951

$7,900

2010s Abstract Abstract Paintings

Materials

Acrylic, Handmade Paper, Permanent Marker

Ed Warner
CONTEMPORARY Abstract Figurative Devil Ed Warner Handmade paper, 2023

$648 Sale Price

20% Off

Abstract Figural and Pediments - Two Sided Art - James Coughlin

By James Coughlin

Located in Soquel, CA

Abstract Figural and Pediments - Two Sided Art Mid century figural and architectural painting on paper. Heavy layers of paint with a dog on an abutment and two Japanese wrestlers...

Category

1960s Abstract Expressionist Figurative Paintings

Materials

Acrylic, Handmade Paper

James Coughlin
Abstract Figural and Pediments - Two Sided Art - James Coughlin, 1971

$1,320 Sale Price

20% Off

1984 Extra-Large Colorful And Vibrant Modern Abstract Painting. Blue, Yellow.

Located in Frederiksberg C, DK

An intriguing and vibrant extra-large contemporary (allegedly) French painting. In-versio: "Cardaillac", 1984, "Acryl sur papier de chine", "Yellow Orange and Blue". Not signed. ...

Category

1980s Abstract Abstract Paintings

Materials

Canvas, Acrylic, Handmade Paper

1984 Extra-Large Colorful And Vibrant Modern Abstract Painting. Blue, Yellow., 1984

$4,200

Tree of Knowledge II (Tapestry of Nature) : abstract work of art

Located in New York, NY

Abstract work of art with figurative elements by Elizabeth Myers Castonguay. Her work is dedicated to creating art about human equality and preservation of the biodiversity of nature. This painting is a complex work of art that incorporates abstraction and figurative elements. One can notice images of books, human hands, bitten apple and even an entire beautiful landscape in this canvas. Stark contrast of dark background with bright shapes and elements create drama and tension. This work can become a unique gift and will be a wonderful addition to any space, be it a living room of a modern home or a lobby of a commercial building. Elizabeth Myers Castonguay is an accomplished artist, whose work was exhibited at Denise Bibro...

Category

2010s Abstract Abstract Paintings

Materials

Metal

Elizabeth Myers Castonguay
Tree of Knowledge II (Tapestry of Nature) : abstract work of art, 2022

$8,500

Untitled 04 - Series 2019, Contemporary Abstract Painting, Textile Lightness

By Tomasz Prymon

Located in Salzburg, AT

The painting is framed behind glass. Unframed Size: 74x54cm Framed: 95x74cm About Prymon’s Exhibition Dopaminum and his paintings: ”Dopaminum” - Tomasz Prymon Dopamine – colloquia...

Category

2010s Contemporary Abstract Paintings

Materials

Acrylic, Handmade Paper

Tomasz Prymon
Untitled 04 - Series 2019, Contemporary Abstract Painting, Textile Lightness, 2019

$2,027

Untitled 23 - Series 2019, Contemporary Abstract Painting, Textile Lightness

By Tomasz Prymon

Located in Salzburg, AT

About Prymon’s Exhibition Dopaminum and his paintings: ”Dopaminum” - Tomasz Prymon Dopamine – colloquially referred to as the hormone of love and happiness. Why is this organic che...

Category

2010s Contemporary Abstract Paintings

Materials

Acrylic, Handmade Paper

Tomasz Prymon
Untitled 23 - Series 2019, Contemporary Abstract Painting, Textile Lightness, 2019

$918

More Ways To Browse

Contemporary Bronze Bust

Couple Metal Sculpture

Horse Hunting Prints

Indian Horse Sculpture

Jacqueline Kennedy Onassis

Japanese Figurative Wood Sculptures

16th Century Old Master Painting

19th Century Pastel Portrait

Andy Warhol Self Portrait

Black White Woodblock

שְׁמַע (Shema), Abstract Expressionist acrylic painting signed Jewish Art Unique

View Similar Items

Robert Natkin
שְׁמַע (Shema), Abstract Expressionist acrylic painting signed Jewish Art Unique
ca. 1990

About the Item

Robert Natkin

More From This Seller

1980s Abstract Expressionist Abstract Paintings

Sonia Gechtoff
The City at Twilight: Twin Towers II, signed painting, Gruenebaum Gallery label, 1985

Early 2000s Pop Art Abstract Paintings

Peter Max
God Bless America: 5 Liberties unique Pop Art painting hand signed twice, Framed, 2001

1980s Abstract Expressionist Abstract Paintings

Donald McLaughlin
In the Sculpture Garden, unique signed oil on canvas painting, Charles Cowles, 1985

1980s Abstract Expressionist Abstract Paintings

Ben Wilson
Ozymandias (unique, signed Abstract Expressionist painting by renowned painter), 1989

Mid-20th Century Surrealist Abstract Paintings

Nahum Tschacbasov
Lovers and Others (unique mid century modern painting) - double sided artwork, 1978

1950s Expressionist Figurative Paintings

Norman Carton
Mid Century Modern abstract cityscape, unique oil painting, signed twice, Framed, ca. 1951

You May Also Like

2010s Abstract Abstract Paintings

Ed Warner
CONTEMPORARY Abstract Figurative Devil Ed Warner Handmade paper, 2023

1960s Abstract Expressionist Figurative Paintings

James Coughlin
Abstract Figural and Pediments - Two Sided Art - James Coughlin, 1971

1980s Abstract Abstract Paintings

1984 Extra-Large Colorful And Vibrant Modern Abstract Painting. Blue, Yellow., 1984

2010s Abstract Abstract Paintings

Elizabeth Myers Castonguay
Tree of Knowledge II (Tapestry of Nature) : abstract work of art, 2022

2010s Contemporary Abstract Paintings

Tomasz Prymon
Untitled 04 - Series 2019, Contemporary Abstract Painting, Textile Lightness, 2019

2010s Contemporary Abstract Paintings

Tomasz Prymon
Untitled 23 - Series 2019, Contemporary Abstract Painting, Textile Lightness, 2019

Recently Viewed

Read More

Welcome (Back) to the Wild, Wonderful World of Walasse Ting

More Ways To Browse

שְׁמַע (Shema), Abstract Expressionist acrylic painting signed Jewish Art Unique

View Similar Items

Robert Natkinשְׁמַע (Shema), Abstract Expressionist acrylic painting signed Jewish Art Uniqueca. 1990

About the Item

Robert Natkin

More From This Seller

1980s Abstract Expressionist Abstract Paintings

Sonia GechtoffThe City at Twilight: Twin Towers II, signed painting, Gruenebaum Gallery label, 1985

Early 2000s Pop Art Abstract Paintings

Peter MaxGod Bless America: 5 Liberties unique Pop Art painting hand signed twice, Framed, 2001

1980s Abstract Expressionist Abstract Paintings

Donald McLaughlinIn the Sculpture Garden, unique signed oil on canvas painting, Charles Cowles, 1985

1980s Abstract Expressionist Abstract Paintings

Ben WilsonOzymandias (unique, signed Abstract Expressionist painting by renowned painter), 1989

Mid-20th Century Surrealist Abstract Paintings

Nahum TschacbasovLovers and Others (unique mid century modern painting) - double sided artwork, 1978

1950s Expressionist Figurative Paintings

Norman CartonMid Century Modern abstract cityscape, unique oil painting, signed twice, Framed, ca. 1951

You May Also Like

2010s Abstract Abstract Paintings

Ed WarnerCONTEMPORARY Abstract Figurative Devil Ed Warner Handmade paper, 2023

1960s Abstract Expressionist Figurative Paintings

James CoughlinAbstract Figural and Pediments - Two Sided Art - James Coughlin, 1971

1980s Abstract Abstract Paintings

1984 Extra-Large Colorful And Vibrant Modern Abstract Painting. Blue, Yellow., 1984

2010s Abstract Abstract Paintings

Elizabeth Myers CastonguayTree of Knowledge II (Tapestry of Nature) : abstract work of art, 2022

2010s Contemporary Abstract Paintings

Tomasz PrymonUntitled 04 - Series 2019, Contemporary Abstract Painting, Textile Lightness, 2019

2010s Contemporary Abstract Paintings

Tomasz PrymonUntitled 23 - Series 2019, Contemporary Abstract Painting, Textile Lightness, 2019

Recently Viewed

Read More

Welcome (Back) to the Wild, Wonderful World of Walasse Ting

More Ways To Browse

Robert Natkin
שְׁמַע (Shema), Abstract Expressionist acrylic painting signed Jewish Art Unique
ca. 1990

Sonia Gechtoff
The City at Twilight: Twin Towers II, signed painting, Gruenebaum Gallery label, 1985

Peter Max
God Bless America: 5 Liberties unique Pop Art painting hand signed twice, Framed, 2001

Donald McLaughlin
In the Sculpture Garden, unique signed oil on canvas painting, Charles Cowles, 1985

Ben Wilson
Ozymandias (unique, signed Abstract Expressionist painting by renowned painter), 1989

Nahum Tschacbasov
Lovers and Others (unique mid century modern painting) - double sided artwork, 1978

Norman Carton
Mid Century Modern abstract cityscape, unique oil painting, signed twice, Framed, ca. 1951

Ed Warner
CONTEMPORARY Abstract Figurative Devil Ed Warner Handmade paper, 2023

James Coughlin
Abstract Figural and Pediments - Two Sided Art - James Coughlin, 1971

Elizabeth Myers Castonguay
Tree of Knowledge II (Tapestry of Nature) : abstract work of art, 2022

Tomasz Prymon
Untitled 04 - Series 2019, Contemporary Abstract Painting, Textile Lightness, 2019

Tomasz Prymon
Untitled 23 - Series 2019, Contemporary Abstract Painting, Textile Lightness, 2019