Unframed Paintings

Feu de Joie 1970 hand signed and dated. Measurements: 25.75 X 25.75 Framed. Image is 23.75 X 23.75 Emilcar Similien, known as Simil was born in 1944 in St. Marc. He finished elementary school in St. Marc and high school in Port-au-Prince. From 1965 until 1971 he studied at the Academy of Beaux-Arts in Port-au-Prince, where he took courses in painting, sculpture, and art history. Simil uses his images of women only as means for displaying patterns, color, and the sparkle of gold jewelry on black skin. He paints with acrylics on Masonite of any size. His surfaces are smooth and polished. Simil delights in beauty, elegance, and grace. This is done in a silhouette style reminiscent of Kara Walker. Emilcar Simil (Similcar) is known for Acrylic painting in high colors of black skinned female figures. He is of the generation of Haitian artists that include Bernard Sejourne, Prospere Pierre-Louis, Levoy Exil, Louisiane Saint Fleurant, Henri Calixte, Paul Dieuseul, Laurent Casimir, Frantz Zephirin, Denis Smith, Philton Latortue, Philome Obin, Préfète Duffaut, Fernand Pierre...

Michelle Condrat's (US based) oil painting "Evening Magic" depicts some trees showing the fall colors of yellow and oranges. This painting is unframed, but ready to hang. "The most...

In this contemporary abstract painting in acrylic on panel, geometric shapes in shades of cobalt blue, black, red, yellow and a black and white botanical pattern are vibrant against ...

"Bliss" is an original painting by Nicky Chubb. The pink tones are made evermore vibrant by the opulent gold background. ADDITIONAL INFORMATION: Nicky Chubb Everlasting Spring Ori...

'Dark Vessel with House Plant' by Ellen Rolli is a charming still life composition rendered in mixed media on paper. Measuring 12 x 9 in, this piece showcases the artist's distinctiv...

In this abstract landscape painting, a captivating scene unfolds on a canvas brought to life by layers of oil paint. Against a deep black background, a juxtaposition of elements emer...

Steven H. Rehfeld (American, born 1954) "Feast" 2021 Oil paint, Canvas, Stretcher bars The artist signed the back of the painting. "Feast" by Steven H. Rehfeld emerges as a triumpha...

In Anticipation, acclaimed artist Ginny Williams captures the quiet beauty and powerful symbolism of the Northern Cardinal—a bird often associated with hope, renewal, and spiritual p...

In this contemporary landscape painting in oil on panel by David Konigsberg, the drama and sublime beauty of the sky in New York State's Hudson Valley is captured. The artist is wide...

Technical Sheet - Title: Port de la Selva - Artist: Josep Puigdengolas Barella (1906-1987) - Style: Mediterranean Luminism - Technique: Oil on board - Dimensions: 13 x 16.1 inches (u...

Blue landscape Original oil painting on canvas Single piece Accompanied by certificate of authenticity 92 x 65 cm 2024 Marilina Marchica was born in Agrigento, where she works and ...

Sunflower Bouquet signed by Fanch Lel (French b. 1930) Size: 11.75 x 9.5 inches Gouache painting on cardboard, unframed Inscribed verso Condition: The painting is in good condition,...

Kathleen Keifer is a California-based, internationally collected artist. She is a leading force of the New California Realism. Kathleen brings a fresh, clean perspective to her color...

Artist/ School: Suzanne Crochet (French c. 1930), female French Impressionist artist Title: The Old Cottage Medium: oil on board, unframed Size: board: 9.5 x 13 inches Provenance: private collection, France Condition: The painting is in overall good and sound condition, there are a few minor marks and scuffs to the surface - curved board

Interior with Clay Pot and Flowers by Ellen Rolli is a beautifully expressive 12 x 12-inch acrylic painting that blends rich textures with a refined color palette. This piece capture...

Title: Mid Century French Pastel Drawing of Coastal View of Cap Ferret Artist: Josine Vignon (French 1922-2022) Medium: Oil Pastel on artist paper Size: 22.5 (height) x 19.25 (wid...

Sunlit Poolside Scene with Figures by Bernadette Kelly (French b. 1933) Unsigned Medium: oil painting on board, unframed Painting size: 3.75 inches (height) x 6 inches (width) Condit...

Kathleen Keifer is a California-based internationally collected artist. She is a leading force of the New California Realism. With a high level of technical virtuosity Keifer creates a new sense of reality with textures and colors that seem to add lighting effects and distinct shadows, confronting the viewer with new interpretations of familiar objects. This one-of-a-kind 12 inch square and 1.5-inch deep original artwork is a composition created with acrylic paint on canvas. It is wired and ready to hang. The sides are painted as a continuation of the front and it does not require framing. It signed by the artist on the front of the artwork. Convenient local Los Angeles area shipping. Affordable Continental U.S. and global shipping also available. A certificate of authenticity issued by the art gallery is included. Kathleen’s paintings invite the viewer to consider the complex relationship between time and timelessness. It is the sheer visual interaction between the elements, taken in their bare simplicity that interests her. For her, painting captures the very essence of time and its passage. She believes that actual sites and places have an individual magic. The goal is to take objects from popular culture and paint them in a new narrative context. Her complex approaches to popular board games present the subjects as living, tangible objects. Born and raised in Chicago, Kathleen Keifer is a second-generation artist. Her mother, also a fine artist, exposed Keifer to the world of art and supervised her training from a very early age. This legacy continues today as Keifer closely nurtures the development of the artistic leaning in each of her three daughters, inspiring a third generation of female artists. Her works are represented by Artspace Warehouse Los Angeles and have been exhibited and collected internationally, including Chicago, New York and London. REPRESENTATION Artspace Warehouse, Los Angeles, CA EXHIBITIONS 2023 “Postcards From Nowhere”, Artspace Warehouse, Los Angeles, CA 2022 “The Comforting Familiar”, Artspace Warehouse, Los Angeles, CA 2020 “Midnight Blue”, Artspace Warehouse, Los Angeles, CA 2018 Morris Inn, Notre Dame, IN Malibu Beach House, Malibu, CA Bon Voyage, Coda Gallery, Palm Desert, CA Solo Exhibition, Jeffrey Breslow Gallery, Chicago, IL Art Palm Springs Fine Art Fair, CA Artspace Warehouse, CA 2017 Affordable Art Fair New York, NY Affordable Art Fair London, UK Art Palm Springs, CA “Pop Futurism and Abstraction”, Artspace Warehouse, Los Angeles, CA 2016 Susan Schomburg gallery, Santa Monica, CA Jazz in the Pines, Idyllwild, CA 2015 Official artist of Chitag, Chicago Toy and Game Fair, Chicago, Il Jazz! Dion Gallery, Redondo Beach, CA Art 90266, LA 25, Manhattan Beach, C Political Commentary, Linus gallery, Long Beach and Pasadena, CA 2014 RETROspective, Coast Gallery, Long Beach, CA ArtHampton, Bridgehampton, NY The Pursuit of…, Lurie Gallery, Los Angeles, CA Art 90266, LA 25, Manhattan Beach, CA 2013 Pop meets Painterly, CODA Gallery, Palm Desert, CA University of Notre Dame, Notre Dame, IN Puzzles and Games, Liss Gallery, Toronto, Ontario, Canada 2012 Art, Wine & Roses, Home Gallery, Malibu, CA Pop Meets Painterly, Oh My Godard Gallery, Atlantic City, NJ 2011 Beach Games, Riley Arts Gallery, Manhattan Beach, CA Art of The Game, Oh My Godard Gallery, Atlantic City NJ Art of The Game, Liss Gallery, Toronto, Ontario, Canada 2010 Art of The Game, Gallery 319, Santa Monica, CA One Woman Show, Canfin Gallery...

Artist/ School: R. Leroy (French b. 1932) Title: The Orchestra Medium: oil painting on canvas Size: painting: 7 x 5 inches Provenance: all the paintings we have for sale by this ...

Large Antique Hunting Painting still life of a heron.  This unusual oil painting on canvas is signed in the bottom right and dated 04 (1904)....

Abstract Expressionist Composition by Gilbert Pelissier (French born 1924) signed, inscribed verso oil painting on canvas, unframed canvas size: 18 x 22 inches condition: overall ver...

Pierre Coquet (1926-2021) Still life with a red book Reference number F285 46 x 55 cm (not framed) This work is painted with oil on a canvas. There is a stamp of the signature in the...

Drawing inspiration from an immersive and impressionistic interpretation of nature, Canadian artist Vé Boisvert paints textural original artworks that capture the fleeting effects of...

"Triple Elvis" (Denied) Silkscreen Painting by Charles Lutz Silkscreen and silver enamel paint on canvas with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82 x 72" inches 2010 This important example was shown alongside works by Warhol in a two-person show "Warhol Revisited (Charles Lutz / Andy Warhol)" at UAB Abroms-Engel Institute for the Visual Arts in 2024. Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis...

"Incoming Weather" (2022) by Lorenzo Chavez is an original, handmade oil painting that depicts a stormy autumn midwestern landscape, looking out onto the base of small mountain footh...

Hand Sketch pencil drawing on artist paper painting: 9.5 x 12 inches provenance: private collection, England condition: very good and sound condition

In this series, Perrine explores the profound relationship between light and color, both essential elements in her artistic expression. Without light, there would be no colors, and i...

Southwest Pond. Oil on cardboard, early 20th century. Good condition, needs cleaning. 28 x 23.5 cm.

This is a beautiful original oil on linen painting by master painter, Donald Jurney. Reminiscent of Dutch Golden Age works, the landscape shimmers with light. This painting is not cu...

Painting with white peonies, clear vase, night window is a great and stylish interior decoration. The still life is author's and original. It's signed on...

French landscape by Bernard Labbe (French mid 20th century) Original watercolour/ gouache painting on artist paper, mounted on board Size: 16 x 15.5 inches Condition: very good and r...

The Wild Grace Collection, Horse paintings, Collection of 3. By Addison Jones Limited Edition Series Mixed Media . Signed & Certified A masterful ble...

Bartosz Kolata was born in Torun, Poland in 1979. In 2006 he graduated in Art Conservation and Restoration from Nicolas Copernicus University UMK, securing a Master of Art degree. He...

French Landscape signed by Georges Bordonave (French contemporary) oil painting on canvas, unframed unframed: 20 x 26 inches condition: very good p...

This is a painting from my series of sunny architectural pool paintings. As a swimmer I love to paint swimming pools in the sun and dream about actually being in one of my paintings....

This delightful summer scene depicts figures on a woodland river bank. A boat gently carries a man fishing down the calm river. In the distance there is a lock before houses and more...

Title: Provence Watercolor of Sunlit Roussillon Ochre Cliffs by Robert Lepine (French, 1929 - 2017) Signed: Yes Medium: Watercolor painting on artists paper Size: 16.25 x 12.25 (heig...

Claude Sauthier was born in Geneva, Switzerland, in 1929 and passed away in the same city in 2016. He studied at the Geneva School of Decorative Arts and initially worked as a graphi...

This painting by artist Ray Simonini titled "Meryl" is a 12x16 farm animal oil painting on canvas featuring a portrait of a white sheep against a colorful green background. Afternoon...

"Passion #3" . Composition with Two Male Nudes, oil on canvas, 35.5x19.5in / 90x50cm Part of "Wings of Gods" solo show, April 2024. see pictures from the show. Shipped as it is, stre...

Bench Overlooking the Azure Mediterranean Tony Minartz (French, 1873 - 1994) watercolour on artist paper painting : 17 x 13 inches Provenance: private collection in the South of F...

Signed Adolfo Perez Frameless

Elena Burykina's "Halfway" is an original, handmade oil painting that depicts a woman with her hands folded and supporting her chin as she stares forward, her face cast in light and ...

20th century Jewish Rabbi Portrait, Judaica Oil Painting

Playing with the interaction between positive and negative space, strong colors on neutral backgrounds, Canadian artist Virginie Schroeder creates pop art portraits and iconic pop cu...

John Tarantola's original nude portrait "Blake of Night" (2012) is a beautiful surrealist oil on panel painting that depicts an athletic nude male figure crawling forward on a slab o...

Large gilt framed abstract modernist landscape of Jerusalem. Framed it measures 33.25 X 41.25 inches. Canvas measures 28 x 36 inches. Bold Blue sky. Avraham Binder was born in 1906 in Vilnius (or Vilna), now part of Lithuania. He began painting at an early age and completed the prescribed studies in painting at the academy of arts in his native city. Upon graduation, at the commencement exhibition of works submitted by the graduates, he was awarded a prize in recognition of his talents. Artistic talent had deep roots in the Binder family. Avraham's father and grandfather were both artistically inclined, as was his sister Zila Binder and daughter Yael. In fact, he came from a long line of master artistic bookbinders, hence the family surname. The Binder family emigrated to Palestine in 1920. There, his father established a bookbinding workshop in Tel-Aviv while Avraham pursued painting. Binder has not identified with any particular modern school nor narrow artistic doctrine. He struggles to verbally explain his personal conception. Instead, he derives inspiration from emotions, resulting in a great variety of artistic treatments. Particularly memorable are his urban landscapes with their predominance of blues and aquamarines, composed of a profusion of squares and rectangles, crowding one another and covering nearly the entire canvas. The angular shapes are interspersed with radiant dots of red, gold and yellow, like the lights of the big city. Those squares and rectangles reflect, perhaps, impressions of a childhood spent among books which were scattered about the home and workshop of his father, the bookbinder. These shapes, no doubt, had their influence upon the artist whose first youthful impressions were – books. Traces of these shapes are discernible in Binder’s work to this day, in the angularity of splashes of color which, no longer crowded together, are now well separated to create an airy spaciousness. Not only the splashes of color – the inventing space, too – creates figurative effects in the artist’s treatment. Avraham Binder is not a “cerebral” painter. Neither identified with any particular modern school, nor preaching any narrow artistic doctrine, he is an emotional artist: his inspiration, derived from the heart, leads him on to the most varied range of treatments in his artistic work. In vain might one try to persuade him to define his personal conception of painting. He is not one to indulge in verbal explanation. But his sheer artistic skill, his virtuosity with the paint brush, did impel him to experiment widely with the artistic techniques of the modern age. And his exceptional talent stood him in good stead in all this experimentation. Binders large-scale urban landscapes are not mere constructs to represent our present-day architecture with its pervasive angularity. Made up as they are of color, Binder’s unique color composition qualifies these canvases to be ranked among the foremost artistic works in Israeli painting. They are uniquely Binder, very different from what we see in the work of his contemporaries. Here and there, Binder also introduces the human element into these paintings. He lives and breathes the atmosphere of his surroundings, deeply experiencing the sea and the shore of Tel-Aviv that confront him day after day, and which he has transferred to his canvases, as metaphors in paint, throughout the life. More recently, he has created a new series of shore-and-seascapes, in tones ranging from brown to blue. ochre, violet and pale yellow – marvelous views of the sea and of figures enlivening its shore. In yet another series, featuring nearly the same range of hues, he lets us view, through his eyes, the Carmel Market in Tel-Aviv, or the city’s coffee houses with their crowds of people, heads bunched together as if in search of human closeness, with the windows looking in upon them. He has also done large paintings of Jerusalem – not the Jerusalem of gloom and holiness, but a Jerusalem in contrast to the flat topography of Tel-Aviv; it is this different topography which here provides the challenge for him as a painter. And the colors – the colors are bright, full of light, an inner illumination which seems to emanate from the artist himself, rather than from the sun beating down from above. So many great artists have built their life’s work upon watercolors. Binder’s watercolors are in no way inferior in their artistic worth to many of those, what with their spontaneity, their translucent quality, their color combinations, and the artist’s ability to say so much with an economy of brush strokes. We have here a painter who, until the end of his life, was still in his full creative powers, and who continued to add to his impressive storehouse of artistic works. Hundreds of his paintings grace the homes of collectors in Israel and throughout the world, or hang in his private collection; they include Israel landscapes and, most importantly, cityscapes; an exquisite series of wild flowers; many portrait paintings; experimental wood sculptures; murals painted on wood panels; reliefs…, etc. All these are testimony to an artist who refuses to rest on his laurels, who forever reaches out to try his hand at new challenges, strikes out in novel directions, discovers innovative techniques, and experiments in all the dimensions of the plastic arts. On the Israel Museum website they have listed an exhibition of his Artists in Israel for the Defense, Tel Aviv Museum of Art, Helena Rubinstein Pavilion, Tel Aviv 1967 Artists: Avraham Binder, Motke Blum, (Mordechai) Samuel Bak, Yosl Bergner, Nahum Gilboa, Jean David, Marcel Janco, Lea Nikel, Jacob Pins, Esther Peretz Arad, Dani Karavan, Reuven Rubin, Zvi Raphaely, Yossi Stern...

Chuzo Tamotzu Tama, Mimi, Chan, circa 1950 Signed lower left Oil on canvasboard 40 1/2 x 28 inches Tamotzu was born in Kagoshima Prefecture, Japan, in 1888. He was educated in poli...

If you are fortunate enough to find true love then be sure to keep it safe. I still believe that love lasts forever. Shades Of Your Love. A large contemporary abstract in reds and cr...

A dark background helps to reveal the shape of jug. The strong light vibrates on lemon and glass. The blue pattern on the jug and multiple reflections from objects make the work more...

Title: Spring Series II Medium: Oil on canvas Size: 35 x 23.5 inches Frame: Framing options available! Condition: The painting appears to be in fair condition. Year: 2000 Cir...

Title: Amongst Disappearance Medium: Oil on canvas Size: 27.25 x 35.25 inches Frame: Framing options available! Condition: The painting appears to be in fair condition. Year:...

James Hardy (British contemporary, 21st century) signed oil painting on board, unframed board: 8 x 16 inches provenance: private collection condition: overall very good

Artist: Eduard Matevosyan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Paper Year: 2025 Style: Figurative art Title: Nude Size: 16" x 12" x 0.1'' inch...

Dreaming Of Yesterday This piece will be taken off the wooden frame and the canvas will be shipped rolled in a tube In this piece I created nature untamed at peak bloom. The abstract...

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

Long Winter Shadows 2 [December 2022] original Oil Paint on Canvas Image size: H:15 cm x W:15 cm Complete Size of Unframed Work: H:15 cm x W:15 cm x D:2cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Long Winter Shadows 2 is an Original Painting by Eleanor Woolley. The Winter Sun is setting, intensifying the contrast between light and dark. The long shadows are cast on the pavements whilst the shoppers and workers make their way home. Lovely pinks and violets make up this painting, which is inspired Cheltenham's Montpelier on a winters afternoon. Eleanor Woolley was born in the Channel Island of Jersey, and moved to Gloucestershire where she was drawn to the outdoors, always taking walks in the landscape. Her first true love for painting came from an inspirational...

Artist: Vahe Yeremyan Title: Rust and Gold Medium: Oil on Canvas Year: 2025 Style: Impressionism Dimensions: 20" x 12.5" x 0.8" inch (51 x 32 x 2cm) Presentation: Unframed, Gallery W...

Abstract oil painting on canvas with pastel palette with red and green “Day of the Swans”, painted by Ragellah Rourke in 2021 48 x 36 inches, oil on canvas Sides are cleanly painted so additional framing is optional Wire backing for easy hanging Artist signature located on the back This contemporary, abstract painting was created by Hudson Valley based artist, Ragellah Rourke in 2021. Her most recent body of work focuses on relationships between color and space. Elements of symbolism, reminiscent of Gustav Klimt, decorate the composition with abstract markings and calligraphic gestural brushwork. Warm yellow and red tones with hints of green radiate upwards into a background of white, recalling the awaking the nature during the beginning of spring. There is wire installed on the back for easy hanging. The painting’s sides are cleanly painted so additional framing is optional. Artist Statement: My paintings are very textural and built up slowly over long periods of time. The surface holds the memory of the painting’s development, all the time looking for clues for what will come next. I look for connections between the forms that develop. They are never something that I logically calculate, but rather a long string of chances, thoughts, and guesses. The appearance and meaning develop throughout the progression of the painting. It is a continuous search for resolution, balance and mystery within the painting. Artist CV: 1963 Born Albany, NY 1998 BA Painting, The University at Albany, State University of New York Residing: East Berne, NY SOLO EXHIBITIONS: 2012 Carrie Haddad Gallery...

'Radiant Abstraction' by Richard Bowman, 1962. Kinetogenics, Art Institute of Chicago, SFMoMA, San Francisco Museum of Art, São Paulo Biennial ---- Signed lower left, 'R. Bowman' for Richard Irving Bowman (American, 1918-2001), titled, 'Kg. 55' (Kinetogenics 55) and dated February 1962. Additionally titled, on stretcher bar verso, 'Kg 55'. Accompanied by a first edition copy of 'Richard Bowman: Radiant Abstractions', by Patricia Watts and Stefanie De Winter, published 2018. Richard Bowman's work is featured in the July/August 2024 issue of Architectural Digest, in an article titled, 'Inside a 1920s LA Respite, Re-envisioned by Jamie Bush. Richard Bowman was awarded a scholarship to study at the Art Institute of Chicago and received his Bachelor's degree in 1942. He subsequently attended the University of Iowa, receiving his Master's degree in 1945. Over the course of a long and distinguished career, Bowman exhibited internationally with success and was the recipient of numerous gold medals, prizes and juried awards. With the Kinetogenics Series, which he began in 1956, Bowman explored the intersection of color and light using contemporary advances in light theory and fluorescence technology. "For this series, he started using fluorescent enamel alkyd paint, which, Bowman stated, emitted an actual, measurable energy from the canvas. He combines his early concept of elemental radiants with the gestures of a mature Abstract Expressionist. Incorporating bold fluorescent strokes of orange, yellow and blue, which are activated by the ultraviolet in daylight, Bowman's new abstractions represented a synthesis of the physical and sensorial transmissions of energy. The combination of the artist's interests in nuclear physics, atoms, and dynamism with these vibrant colors reflected Bowman's increasing confidence as an unconventional artist working in an unconventional medium." (Richard Bowman: Radiant Abstractions, p. 13) "The 'kinetogenic' series which Bowman has been painting recently, are whorls of pure energy in colors from the violet edges of the spectrum in vibrant relationship to the vivid primaries of the center. These paintings have much less sense of place or landscape than Bowman paintings we have seen before. The “Environs” group accompanying the energy pictures in this exhibition, are, on the other hand, specific about place: are of flower beds and branches of trees, painted with the same brilliant color intensity. This use of vibrant colors gives an all-over electric, textural effect in contrast to the after-image jump which obtains when the vibrants are painted flat and geometric. This textural mosaic effect is close to the vision of heat and passionate rhythm which was central to pre-Columbian art, and is still present in the Mexican arts and crafts, which were one of Bowman’s formative sources. It is interesting to note that several of the painters who have influenced many others to experiment with vibrancy and glow in color, found their own impetus in this direction while painting in Mexico. Bowman was one of the painters who was working with fluorescents when the general tendency was to paint with muck. One feels that using color thus leads the artist, as it did his pre-Columbian esthetic ancestors, in the direction where the ecstatic becomes mystic." (courtesy: Artforum, April 1964) Thomas Albright writes of the artist, "Visiting Mexico on a traveling fellowship in the early 1940s, [Bowman] met Gordon Onslow-Ford, with whom he renewed a friendship after moving to San Mateo County in the early 1950s. His paintings, although gestural and abstract, were close in spirit to those of the Dynaton artists than to the mainstream of Abstract Expressionism. They constituted an intensely lyrical and metaphorical abstract Impressionism inspired by Bonnard and an intimacy with the natural environment. Bowman was also influenced by jazz improvisation and the jazz poetry of Kenneth Patchen, a close friend" (p. 263) EDUCATION Art Institute of Chicago, BFA, 1944 University of Iowa, MFA, 1949 AWARDS 1942 Edward L. Ryerson Foreign Traveling Fellowship, Art Institute of Chicago (Mexico) 1945 William M. R. French Memorial Gold Medal, Art Institute of Chicago 1952 Modern Painting Prize, Montreal Museum of Fine Arts 1972 Gift of Time Grant, Roswell Museum and Art Center, Roswell, New Mexico SOLO EXHIBITIONS 1945 The Pinacotheca Gallery (Rose Fried Gallery) New York 1946 Milwaukee Art Institute, Wisconsin 1949 Swetzoff Gallery, Boston 1949 Bern Porter Gallery, Sausalito, CA 1950 Kinetic ... A commentary on the relationship of SCIENCE and ART. Stanford Art Gallery, Stanford University, Palo Alto, CA 1956 Stanford University, Palo Alto, CA 1957-1977 (every 18 months) Rose Rabow Galleries, San Francisco 1961 Richard Bowman: Paintings and Reflections.1943-1961. San Francisco Museum of Art 1970 Richard Bowman: Paintings from 1966-1970. San Francisco Museum of Art 1972 Richard Bowman: Paintings, 1943-1972. Roswell Museum and Art Center, New Mexico. Traveled to the Museum of Texas Tech University, Lubbock, 1972; and Sacred Heart Convent Gallery, Menlo Park, 1972 1986 Richard Bowman: Forty Years of Abstract Painting. Harcourts Modern Gallery, San Francisco 2000 Rock and Sun: Richard Bowman's Pioneer Abstractions of the 1940s. Steven Wolf Fine Arts, San Francisco 2019 Radiant Abstractions, Curated by Patricia Watts. the Landing Gallery, Los Angeles TWO-PERSON EXHIBITIONS 1945 Room of Chicago Art: Paintings by Richard Bowman and Russell Woeltz. Art Institute of Chicago. 1947 Joan Mitchell and Richard Bowman: Oil Paintings. Harry and Della Burpee Art Gallery, Rockford, Illinois. Traveled to University of Illinois. Sponsored by Rockford Art Association. 1959 Gordon Onslow Ford and Richard Bowman. San Francisco Museum of Art 1990 Independent Abstraction: A Survey of Paintings by Richard Bowman and Emerson Woelffer. Harcourts Modern & Contemporary Art, San Francisco. SELECT GROUP EXHIBITIONS 1943 Ras-Martin Gallery, Mexico City 1945 56th Annual American Exhibition of Oil Paintings. Art Institute of Chicago 1945 Art of This Century Gallery, New York 1947–48 Abstract and Surrealist American Art: Fifty-Eighth Annual Exhibition of American Paintings and Sculpture. Art Institute of Chicago. Curators: Daniel Catton Rich, Frederick A. Sweet, and Katherine Kuh. Catalogue. 1948 Fourth Summer Exhibition of Contemporary Art. State University of Iowa, Iowa City. Organized by Lester D. Longman. Included Milton Avery, Max Beckmann, Leonora Carrington, Max Ernst, Hans Hofmann, and others. Brochure. 1948 Joslyn Memorial Art Museum, Omaha, NE 1949 2nd Biennial Exhibition of Paintings and Prints. Walker Art Center, juried show, Minneapolis, 1949. Brooklyn Museum. 1951 [Group exhibition of University of Manitoba, Winnipeg, artists.] Montreal Museum of Fine Arts. Included William McCloy, Robert Gadbois, John Kacere, and other instructors from the School or Art, University of Manitoba. 1952 Sixty-ninth Annual Spring Show. Montreal Museum of Fine Arts. Bowman awarded Modern Painting Prize. 1953 Annual Exhibition of Canadian Painting. The National Gallery of Canada, Ottawa. Included John Kacere, William McCloy, Roland Wise, and Takao Tanabe. 1953 Winnipeg Group. Vancouver Art Gallery. Included William McCloy, John Kacere, Cecil Richards, Roland Wise. 1953–54 São Paulo Biennial of Modern Art, Second edition. Canadian section. Traveled to Caracas, Venezuela, and the Palacio de Bellas Artes, Mexico City. Catalogue. 1954 [Group exhibition of Winnipeg artists.] Art Gallery of Ontario, Toronto. Included Oscar Cah n, William McCloy, and Cecil Richards. 1954 Royal Ontario Museum, Toronto 1958 Esther Robles Gallery, Los Angeles 1959 Rabow Galleries, San Francisco. Included Julius Wasserstein, Gordon Onslow Ford, and Fred Reichman. June 18, 1960 David Cole Gallery, Inverness, CA. Included Ruth Awasa, John Baxter, Nankoku Hidai, Onslow Ford, Fritz Rauh, David Simpson, and Jean Varda. 1961 Paintings from the Pacific: Japan, America, Australia, & New Zealand. Auckland City Art Gallery, New Zealand. Catalogue. 1961–62. Pittsburgh International Exhibition of Contemporary Paintings and Sculpture. Fine Arts Gallery, Carnegie Institute. 1962 50 California Artists. Whitney Museum of American Art, New York. Organized by the San Francisco Museum of Art, with assistance of the Los Angeles County Museum of Art. Traveled to Walker Art Center, Minneapolis, MN; Albright-Knox Gallery, Buffalo, NY; and Des Moines Art Center, IA. Catalogue. February 1966 Contrasts. San Francisco Art Institute. Included Hassel Smith, Gordon Onslow Ford, and Ruth Asawa. October 1967 Arleigh Gallery, San Francisco. Included Lee Mullican, Fred Reichman, Amalia Schulthess, and John Baxter. 1975 Gallery 865, San Francisco 1976 Painting and Sculpture in California: The Modern Era. San Francisco Museum of Modern Art. 1978 Creation. Galerie Schreiner, Basel, Switzerland. Included Joan Mir , Fritz Rauh, John Anderson, Ruth Asawa, J.B. Blunk, Roberto Matta, Lee Mullican, Gordon Onslow Ford, Wolfgang Paalen, Fritz Rauh, Yves Tanguy, and others. Accompanying book by Onslow Ford. 1984 A Personal Selection/Collection. David Cole Gallery, Inverness, CA. Forty-eight artists including Richard Diebenkorn, Claire Falkenstein, Richard Faralla, Sam Francis, Arthur Holman, Frank Lobdell, Ed Moses, Gordon Onslow Ford, Fritz Rauh, David Simpson, Amalia Schulthess, Jean Varda, Jack Wright, J.B. Blunk. 1987 Visions of Inner Space: Gestural Painting in Modern American Art. Wight Gallery, UCLA. Fifteen artists including Sam Francis, Morris Graves, John Anderson, Lee Mullican, Gordon Onslow Ford, Mark Tobey, and Ed Moses. Co-curated by Merle Schipper and Lee Mullican. Catalogue. Traveled to National Gallery of Modern Art, New Delhi, India, 1988 1997 Through the Light: An Exploration into Consciousness. Arts and Consciousness Gallery, John F. Kennedy University, Berkeley, California. Curated by Farbiba Bogzaran. Catalogue. 1998 Lee Mullican Memorial Exhibtion. Herbert Palmer Gallery, Los Angeles. 2007 The Rose Rabow Galleries Retrospective: 1959-1977. The 8 Gallery, San Franicsco. 2008 Landscapes of Consciousness: A Circle of Artists at the Beginning of Lucid Art. Weinstein Gallery, San Francisco. Included Gordon Onslow Ford, Fritz Rauh, John Anderson, and Jack Wright. Catalogue. 2016 Palm Springs Fine Art Fair, the Landing Gallery, Palm Springs, CA 2018 Ship of Dreams: Artists, Poets, and Visionaries of the S.S. Vallejo. Sonoma Valley Museum of Art, Sonoma, CA. Catalogue. 2019 FOG Design+Art. the Landing Gallery, San Francisco, CA 2020 FOG Design+Art. the Landing Gallery, San Francisco, CA 2022 FOG Design+Art. the Landing Gallery, San Francisco, CA MUSEUM COLLECTIONS Nora Eccles Harrison Museum of Art, Utah State University, Logan Oakland Museum of California San Francisco Museum of Modern Art Santa Barbara Museum of Art, California The Smart Museum of Art, University of Chicago Taubman Museum of Art, Roanoke, Virginia BOOKS AND CATALOGUES 1947 Rich, Daniel Catton. Abstract and Surrealist American Art: Fifty-Eighth Annual Exhibition of American Paintings and Sculpture. Chicago: Art Institute of Chicago. 1948 Fourth Summer Exhibition of Contemporary Art. Iowa City: State University of Iowa. 1956 Porter, Bern. Kinetic: A commentary on the relation of Science and Art in conjunction with a retrospective exhibition of paintings by Richard Bowman. Palo Alto: Stanford University Art Gallery. 1986 Kim Eagles-Smith, ed. Richard Bowman: Forty Years of Abstract Painting. San Francisco: Harold Parker in association with Harcourts Modern Gallery, Inc. 1961 Culler, George D. Richard Bowman, Paintings and Reflections, 1943-1901. San Francisco: San Francisco Museum of Art. 1962 Culler, George D. 50 California Artists. New York: Whitney Museum of American Art. 1972 Nordland, Gerald. Richard Bowman, Paintings, 1943-1972, Roswell, NM: Roswell Museum and Art Center. 1978 Onslow Ford, Gordon. Creation. Basel: Galerie Schreiner. 1987 Schipper, Merle. Visions of Inner Space: Gestural Painting in Modern American Art. Los Angeles: Frederick S. Wight Art Gallery, UCLA. With introduction by Lee Mullican. 1997 Bogzaran, Fariba. Through the Light: An Exploration into Consciousness. San Francisco: Dream Creations. 2008 Bogzaran, Fariba. Landscapes of Consciousness: A Circle of Artists at the Beginning of Lucid Art. San Francisco: Weinstein Gallery. 2018 Bogzaran, Fariba, ed. Artists, Poets, and Visionaries of the S.S. Vallejo: 1949-1969. Inverness, CA: Lucid Art Foundation. ARTICLES AND REVIEWS [Review of Solo Exhibition at The Pinacotheca Gallery.] Art News. March 1945. “Joan Mitchell, Richard Bowman Open TwoMan Show Tomorrow at Art Association Meeting.” Rockford Morning Star (IL). January 1947. Robert Ayre. [Review of Exhibition, Montreal Mu-seum of Fine Arts.] Montreal Daily Star. 1951. Ben Metcalfe. "Varsity Art Shock —A Morbid Hoax?" Winnipeg Tribune, December 3, 1951. Beverly Wright. "Richard Bowman, abstract painter, has one-man show at Stanford Gallery." Palo Alto Times. February 17, 1956. "Atomic Art Show at Stanford." San Francisco Chronicle. February, 19, 1956. "P.A. Artist Portrays Energy in Oils." San Jose Mercury News. July 25, 1958. Neita Crain Farmer. "A Solitary Voice: Richard Bowman's Paintings Say Something, In A New Way." Palo Alto Times. May 30, 1959. Barbara Bladen. "Dick Bowman's Paintings Show Atomic Awareness," San Mateo Times. July 18, 1959. Arthur Bloomfield. "Two Top Painters at San Francisco Museum." San Francisco Call Bulletin. July 31, 1959. Alfred Frankenstein. "Slow and Fast Sculpture and Kinetogenics." San Francisco Chronicle. May 24, 1959. "Paintings on Display: Bowman and Onslow Ford Show." San Francisco Weekly. July 1959. Herman Wong. "Bowman's Art Seen At Show, Artist Builds Studio Near Hillside House." Red-wood City Tribune, September 15, 1960. Dean Wallace. "Four Bring Their Art to Perfec-tion." San Francisco Chronicle. September 30, 1960. Dean Wallace. "A Painter Looks at the Atom." San Francisco Chronicle. May 29, 1961. Alfred Frankenstein. [Review of retrospective at San Francisco Museum of Art.] San Francisco Chronicle. November 12, 1961. "International Art." Pittsburgh Post-Gazette, Sunday Magazine. October 29, 1961. "Pacific Paintings Show Common Character-istics." The Press (Auckland, New Zealand). August 5, 1961. Naomi Baker. "San Francisco's Art Is Viewed." San Diego Evening Tribune. January 26, 1962. John Canaday. "Visitors From the West." New York Times. October 28, 1962. Arthur Bloomfield. "Lost in a World They Were Never Made For." San Francisco News-Call Bulletin. August 3, 1963. Arthur Bloomfield. "Bowman Paints His Own Path." San Francisco News-Call Bulletin. February 11, 1964. "The Rockford Fifty States of Art Exhibition." Palo Alto Times. October 5, 1965. Alfred Frankenstein. "Bowman's Radiant Ab-stract Art." San Francisco Chronicle. November 12, 1965. Thomas Albright. "A Kind of Non-Art Show: Brilliant Work by Bowman." San Francisco Chronicle, February 14, 1970. Paul Emerson, "Menlo Gallery Shows Bow-man Art: Major Retrospective Show." Palo Alto Times. October 6, 1972. Arthur Bloomfield. "A Luxuriant Impact to Bowman Paintings." San Francisco Examiner. November 20, 1972. Thomas Albright. "Two Artists Views of Na-ture." San Francisco Chronicle. October 9, 1974. Arthur Bloomfield. "All But the Kitchen Sink." San Francisco Examiner. September 24, 1974. Thomas Albright. "Realism Moves In." San Francisco Chronicle. Thursday, September 4, 1975. Suzanne Muchnic. "Inspired Visions of Inner Worlds at UCLA." Los Angeles Times. January 10, 1988. Reference: Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Peter Hastings Falk, Sound View Press 1999, Vol. 1, page 404; E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Jacques Busse, 1999 Nouvelle Édition, Gründ 1911, Vol. 2, page 701; Art in the San Francisco Bay Area: 1945-1980, Thomas Albright, University of California Press, 1985, page 263; A Dictionary of Contemporary American Artists, Paul Cummings, St. Martin’s Press: New York 1966, page 66-67; Mallett’s Index of Artists, Supplement, Daniel Trowbridge Mallett, Peter Smith: New York 1948 Edition, R.R. Bowker Company 1940, page 31; Richard Bowman: Radiant Abstractions, essays by Patricia Watts and Stefanie De Winter, published by Watts...