Abstract Abstract Paintings

Abstract Cubist Construction Collage Mid 20th Century American Modernism Cubism Vaclav Vytacil (1892 - 1984) Abstract Construction #2 Caesin on board collage 11 x 13 1/2 th inches S...

A beautifully painted Art Deco period oil painting by highly acclaimed American Artist Burr Singer 1912-1992 . Oil on canvas dating to the 1930s . Very good condition. Dimensions...

Untitled (Fabric Design) Annotated on the verso with the studio address of the artist Signed in ink lower right corner: “Marguerite Gross” Gouache on heavy paper, 1930-1939 In 1930 ...

Early geometric ala Kandinsky Oil on paper Estate of Sam Esses Never afraid of trying new styles, curious and opinionated, constantly engaged with the world around him, Rolph Scarle...

Modernist painting by Vaclav Vytlacil of "City Scene with Faces". Signed and dated "Vytlacil 32" lower right. Provenance: Estate of the artist #1584; Martin Diamond Fine Art Exhibi...

Signed and dated "Biederman 4-35" lower right. About this artist: Charles Joseph Biederman was a twentieth century abstract American artist best known for his constructivist, cubist...

Louis Schanker was an important early American modernist painter. He was best known for his work of the 30's and 40's done in a semi-abstract mode that was influenced by European m...

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

Vintage American modernist abstract interior painting. Oil on canvas, circa 1930. No signature found. Image size, 20L x 16H. Framing available.

Signed and dated "Vytlacil 38" lower left, and signed and dated verso. Provenance: Estate of the artist #1602; Martin Diamond Fine Art About this artist: Born in 1892 to Czechoslov...

Antique American abstract signed oil painting. Oil on canvas. Signed. Framed. Image size, 50L x 36H.

Early geometric ala Kandinsky Oil on paper Estate of Sam Esses Never afraid of trying new styles, curious and opinionated, constantly engaged with the world around him, Rolph Scarle...

"Untitled Abstract" is a 30 x 22 inches, oil on canvas painting by American modernist and surrealist, female artist Peter Miller. The work is painted in a vibrant color palette and estate stamped #202163 on verso. The painting has been conserved and inspected by conservation specialist, Gratz Gallery & Conservation Studio, Inc. Exhibition history: Forgotten Woman of American Modernism, Gratz Gallery & Conservation Studio, Doylestown, Pennsylvania, 2022. Provenance: Estate of the Artist; Private Collection, Saugerties, New York; Gratz Gallery & Conservation Studio, Doylestown, Pennsylvania. Image: Peter Miller in Her Studio Julien Levy Gallery...

Antique American modernist abstract pastel and watercolor painting. Signed illegibly. Framed. Image size, 14L x 18H.

Signed lower left, 'Gregory Deane' (American, born 1938) and painted circa 1985. Framed dimensions: 15 H x 31.5 W x 1.5 D inches This contemporary California Expressionist incorpora...

William Baziotes (1912 - 1963) Untitled, circa 1935-1940 Oil on board 14 x 19 3/4 inches Illegible Inscription present to the verso Provenance: Previously from the estate of Consta...

Antique American school modernist mixed media painting. Oil on board with gold leaf assemblage, circa 1930. Unsigned. Image size, 13L x 17H. Housed in a period wood frame most li...

Metchiled Naviasky Refugee from Europe who studied art in England. During the war she became picture editor of famous magazine PIcture Post. Later she taught mysticism in art at t...

Cosmic Fantasy is an original artwork realized in 1936 by Leandra Angelucci. Mixed colored tempera on paper. Includes frame: 45 x 4 x 52 cm Hand s...

Professor George De Goya. PhD. MA. FRSA. Born In Budapest, 1915-1992, related to the Spanish artist Goya on his mother’s side. Educated in Budapest and France where he received a de...

Geometric Abstract American Oil Painting WPA Color Field Abstraction Modern Non Objective. August Mosca was born in Naples, Italy on August 19, 1909. He and his family emigrated to ...

Helen Malta (b.1912). Tattoo Parlor, ca. 1935. Oil on canvas, 20 x 33 inches. Signed lower right. Metropolitan Museum of Art reproduction rights stamp on r...

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

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

Vintage abstract expressionist painting by James Edward Jones. Oil on board, circa 1980. Signed on verso. Displayed in a per...

Jean deyrolle (1911-1967) is a french painter, ceramist and litographer. Jean Deyrolle, né le 20 août 1911 à Nogent-sur-Marne et mort d'une crise cardiaque le 30 août 1967 à Toulon,...

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

Rolph Scarlett (Canadian/American, 1889 - 1984) “Geometric Composition” Signed lower right, circa late 1930’s early 1940’s 19 ½ x 26 inches Mixed media, Price on request About Rolph...

American artist Walter Quirt painted this modernist non objective geometric abstract oil color field during the WPA era in the 1930s. Abstraction, 12 x 16 inches. Oil on canvas. Sig...

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

Original vintage 1939 transcendentalist painting by early New Mexico artist, Emil Bisttram (1895-1976) with a stylized cross motif in colors of Pink, ...

Quick and confident brush strokes describe the gritty forms of perhaps steam engines or railroad yards. Luks bravura style of putting paint to canvas anticipates action painting of ...

Fritz Bultman set himself apart from other Abstract Expressionists with his meticulously organized abstract compositions, use of sculpture, and the adoption of collage as a core prac...