Acrylic Paintings

Richard Anuszkiewicz Metallic Water, 1964 Painting with Liquitex on canvas. (1964 Art Institute of Chicago Exhibition and J.L. Hudson Gallery) Signed boldly and dated 1964 on the ver...

David Hare Cronus Dining, 1968 Graphite, acrylic, paper collage on board 44 x 34 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “a...

David Hare Cronus Hunting, 1967 Acrylic and paper collage on linen 68 x 53 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and wha...

Acrylic on canvas. Signed, dated, and titled verso. 62.25 x 62.25 in. 63.75 x 63.5 in. (framed) Custom framed in a maple floater with a polyurethane clear coat finish. Provenance ...

Original Mid-Century oil on canvas composition by American Artist Edith E. Ferullo (1928 - 2008). The painting features a thick textured abstract nude subject. The brutalist artwork ...

Albert Stadler was an innovator in American art, particularly in the 1960's. He was in Clement Greenberg's exhibition of 1964 titled "Post Painterly Abstraction" held at the Los Ang...

Original acrylic on heavy archival paper by the well known French artist, Andre Francois. Signed top left “Francois”. Condition is excellent. Circa 1965. Young, wide eyed girl hol...

Up for sale is an original 1965 oil painting by Leroy Neiman (1921-2012) famous American Sport Artist Painting Depicts the famous Joe Namath playing the Jets Neiman was famous for...

3895 Three farm girls acrylic on board in a gilt frame

Painting by Noche Crist (1909 - 2004). Work is untitled and signed. Measures 22" x 12". Painting is casein paint and plaster on board. Catalogue of an exhibition in 2008 at the...

Mountain Landscape is a modern artwork realized by Carmelo Molino in 1961. Mixed colored oil on canvas. Hand signed and dated on the lower margin.

3701 Acrylic on stretched canvas Set in a vintage hand painted frame Image size 15x19"

Jack Wolfe Untitled, 1965 Acrylic and collage on board Hand signed on the front Frame included: held in original vintage frame with original gallery label Unique Provenance: Parker S...

A Mid-Century, Abstract painting in blues and greens by Hillside House of Originals artist, Robert (Van) Warren Hoople.

Modern abstract landscape painting by Louisiana artist Robert Gordy. The work features his iconic tubular figure set against a surrealist night landscape scene. Signed and dated in t...

5036 Vintage abstract flower arrangement Signed on verso

5049 Colorful Fauvist painting on stretched canvas set in an artist frame Signed E,Burnes

5033 Surreal acrylic on rapped canvas with painted edges no frame required

Hong Kong Junks Mid-Century Impressionist in the Style of Charles Bertie Hall TPeter Wong (Chinese/American, 20th C.) From Taiwan, Province of China....

3944 Vintage acrylic on artist board Set in a period frame Image size 19.5x15.5" Signed

The rich red background of Naohiko Inukai's painting seems to glow under good lighting, with the floating dots adding a touch of whimsy to this minimal...

A great strong-edge painting by Naohiko Inukai, No. 16 is part of a series the artist created in the mid 1960s. Many from this series were shown at Inuk...

Impressionist architectural palm landscape by a river. Signed by unknown artist in 1968. Dimensions Without Frame: H 21 in. x W 33.5 in.

"Room Interior" is an original acrylic painting on masonite by David Barnett. The artist used bright, non-mimetic colors to create an abstracted interior scene. Artist signed piece o...

Artist: Peter Keil Title: Couple Size: 21 1/2 × 25 1/2 Inches (Framed: 24 1/2 × 28 1/2 Inches) Medium: Acrylic on Board Edition: Original Year: 1969 Notes: Hand Signed and Da...

Illegible signature. Frameless.

Nature's Printing Press Gouache, tempera, pigments and ink on masonite board, 1967 Signed lower left corner (see photo) Thompson was part of the late 1960’s Black Emergency Cultural Coalition along with Benny Andrews The Black Emergency Cultural Coalition Inc. (BECC) was organized in January 1969 by a group of African American artists in response to the Metropolitan Museum of Art's "Harlem on My Mind" exhibit, which omitted the contributions of African American painters and sculptors to the Harlem community. Part of a series of works the artist created in 1967. The tree motifs vary as does the color of the background. Please see photo of another work from the series. Condition: Excellent/very good Three tiny while flecks in the green border of the painting Image size: 10 1/4 x 9 1/2 inches Painting board size: 20 x 16 inches Frame size: 25 1/2 x 21 1/2 inches Russ Thompson (Born 1922- Jamaica Part of the late 1960’s Black Emergency Cultural Coalition along with Benny Andrews The Black Emergency Cultural Coalition Inc. (BECC) was organized in January 1969 by a group of African American artists in response to the Metropolitan Museum of Art's "Harlem on My Mind" exhibit, which omitted the contributions of African American painters and sculptors to the Harlem community. Members of this initial group that protested against the exhibit included several prominent African American artists, including Benny Andrews and Clifford R. Joseph, cofounders of the BECC. The primary goal of the group was to agitate for change in the major art museums in New York City for greater representation of African American artists and their work in these museums. Studied: Pratt Inst.; Carlyle College; NY Sch. Mod. Photography Exhibited: MoMA; BM, 1968; Nordness Gals., NYC; Phila. Civic Center; Ruder & Finn FA, 1969; Smithsonian Inst.; Mount Holyoke College, 1969; BMFA, 1970; RISD, 1969; Mem. Art Gal., Rochester, NY, 1969; SFMA, 1969; Contemp. Arts Mus., Houston, TX, 1970; NJ State Mus., 1970; Roberson Center for the Arts & Sciences, Binghampton, NY, 1970; UC Santa Barbara, 1970; Plaza Hotel, NYC; Westchester Art Soc. Gal. (prize); Nassau Community College; Brooklyn Pub. Lib.; Allentown (PA) Art Festival; Quinnipiac College, CT; Parrish Art Mus.; NY State Pavillion; Huntington Township Art Lg. Awards: Mitchell College, CT; BM; Armonk Lib. Show Award; Bedford Hills Lib. Show Award. Sources: Cederholm, Afro-American Artists. Public Collections: Zimmerli Art Museum, Rutgers Museum of Fine Arts, Boston Brooklyn Museum Museum of Modern Art, New York Smithsonian American Art Museum Exhibitions: MOMA Brooklyn Museum, 1968 Nordness Galleries, NYC Smithsonian Institution Museum of Fine Arts, Boston, 1970 Rhode Island School of Design, 1969 San Francisco Museum of Art, 1969 Contemporary Arts Museum, Houston, 1970 Parrish Art Museum Courtesy of Afro-American Artist; a biographical directory THOMPSON, RUSS (Born Jamaica, 1922) Painter. Born in Kingston, Jamaica, 1922. Studied at the Pratt Institute; Carlyle College; New York School of Modern Photography. Works: Cloud Flowers ; My Breath Is One with the Clouds ; The Acrobats; Relatives; Thoreau; Clothes to the Body; America- Amer- ica; Hanging Garden; Poor Room, Rich Room; Epigram a Bromide; Passage, 1969 (wood, epoxy, iron). Exhibited: Museum of Modern Art; Brooklyn Museum Fence Show, 1968; Nordness Gal- leries, NY; Phila. Civic Center; Ruder & Finn Fine Arts, 1969; Smithsonian Institution; Mount Holyoke College, 1969; Boston Museum of Fine Arts, 1970; Rhode Island School of Design, 1969; Memorial Art Gallery, Rochester, NY, 1969; San Francisco Museum of Art, 1969; Contemporary Arts Museum, Houston, 1970; NJ State Museum, 1970; Roberson Center for the Arts & Sciences, Binghamton, NY, 1970; Art Galleries, Univ. of Cal. at Santa Barbara, 1970; Plaza Hotel, NYC; Westchester Art So- ciety Gallery; Nassau Community College; Brooklyn Public Library; Allentown (Pa.) Art Festival; Quinnipiac College; Parrish Art Mu- seum; NY State Pavillion; Huntington Town- ship Art League. Collections: Frederick Douglass Institute, Wash- ington, DC; Spiro & Levinson Corp.; Mr. William Haber; Mr. & Mrs. B. Friedman; Mr. & Mrs. Samuel J. Rosen; Mr. David Scribner; Unigraphic Corp.; Mr. Benny An- drews; Jeanne Paris; Mr. & Mrs. Joseph Strauss. Awards: Westchester Art Society; Mitchell College, Conn.; Brooklyn Museum; Armonk Library Show Award; Bedford Hills Library Show Award. Sources: Boston Museum of Fine Arts. Afro- American Artists: New York/ Boston, 1970; Nordness Galleries. 12 Afro-American Artists, 1969; Mount Holyoke College. Ten Afro- American Artists, 1969; Ghent, Henri. “The Community Art Gallery,” Art Gallery, April 1970; Paris, Jean. “Black Art Experience in Art,” Long Island Press, Jamaica, NY, June 14, 1970; Ruder & Finn Fine Arts. Contemporary Black Artists’, Brooklyn College. Afro-Amer- ican Artists: Since 1950, 1969; Walker, Roslyn. A Resource Guide to the Visual Arts of Afro- Americans, South Bend, Ind., 1971. NEW YORK (NY). Acts of Art, Inc. Rebuttal to Whitney Museum Exhibition: Black Artists in Rebuttal at Acts of Art Gallery. 1971. Unpag. (20 pp.) exhib. cat., 54 b&w illus., brief biogs. of 48 artists. The text consists of an unsigned foreword (probably by Nigel L. Jackson, director of Acts of Art); a reprint of Z. D. Allen's review of the exhibition, "Rebuttal to the Whitney," from Chelsea Clinton News (Apr. 15, 1971). The catalogue was published after the show opened. Artists included: Benny Andrews, James Belfon, Betty Blayton, Lynn (Chuck) Bowers, Vivian Browne, Calvin Burnett, Jo Butler, Robert Carter, Art Coppedge, Adger Cowans, Joseph Delaney, J. Brooks Dendy, III, James Denmark, Reginald Gammon, Moses Paul Groves, Lester Gunter, Byron Hall, William Charles Henderson, II, Leon Hicks, Nigel L. Jackson, Kenneth Vrook Johnson, Cliff Joseph, Philip Martin, Kenneth Matthews, Richard Mayhew, Dindga McCannon, Alexander S. McMath, Ademola Olugebefola, William Payne, James Phillips, Kenneth Radcliffe, Junius Redwood, Enid Richardson, Gregory Ridley, Jr., Haywood (Bill) Rivers, Donald J. Robertson, Philippe G. Smith, Ann Tanksley, Bob Thompson, Russell Thompson, Robert Threadgill, Lloyd Toone, Bennie White, Timothy Wilkins, Walter H. Williams, Ed Wilson, Frank W. Wimberley, Hale Woodruff. Sq. 8vo, stapled tan wraps, lettered in brown, illus. of wire sculpture by James Denmark.. BOSTON (MA). Museum of the National Center of Afro-American Artists. Afro-American Artists: New York and Boston. May 19-June 23, 1970. 92 pp. exhib. cat, 67 b&w illus. of work by 69 artists, exhib. checklist. Intro. by Edmund B. Gaither. Important early exhibition. Includes Emma Amos, Benny Andrews, Ellsworth Ausby, Malcolm Bailey, Ellen Banks, Romare Bearden, Robert Blackburn, Betty Blayton, Ronald Boutte, Lynn Bowers, Frank Bowling, Marvin Brown, Calvin Burnett, Dana C. Chandler, John Chandler, Barbara Chase-Riboud, Ed Clark, Eldzier Cortor, Ernest Crichlow, Emilio Cruz, Avel DeKnight, Henry DeLeon, Stanley Pinckney, James Denmark, Reginald Gammon, Felrath Hines...

Tadasky #B-119, 1964 Signed, titled, and dated "Tadasky / 1964 / #B-119" on the reverse Acrylic on canvas 15 x 15 inches Provenance: Kootz Gallery, New York Private Collection, Maryland Tadasky (Tadasuke Kuwayama) was born in Nagoya, Japan. He painted since childhood, but as a youngster was steered toward his father's business of shrine-building. This led him to study applied engineering at university in Tokyo and learn the craft of miyadaiku (shrine carpenters) in the family factory. Tadasky taught himself about modern and Western art from books. His eyes were opened to the power of abstraction through the work of Josef Albers and other Bauhaus artists; art made up of simple squares and other geometric elements was essentially prohibited in the Japanese art tradition. In Japan, Tadasky experimented with many forms of art, including representational painting, but by the time he applied for scholarships to the United States, he was experimenting with simple circles in larger constructions. Tadasky came to the United States in 1961 on a scholarship to study at the Cranbrook Academy of Art in Bloomfield Hills, Michigan. Tadasky's first stop was New York where he decided to stay. He soon won a modern art scholarship competition at the Art Students League and the prize of free tuition enabled him to stay in New York and rent a studio loft in which he worked. At this time, Tadasky sustained himself financially with carpentry work. Later he transferred to the art school of the Brooklyn Museum after Tadasky impressed the director enough to get a scholarship to work entirely in his own studio in Manhattan. In the early 1960s, Tadasky began to focus on compositions of concentric circles that trigger optical color interaction and explore sensory stimulation. They are highly calculated and precisely created, consisting of thin, pulsating, vibrantly colored lines that seem to whirl and radiate outward from the center. Shortly after arriving in New York, Tadasky set out to create tools that would aid him to create the perfect rings he envisioned. Through painstaking solitary experimentation in his studio, Tadasky developed a special wheel for his circles and adapted it into a drum for vertical lines. For brushwork, he used traditional Japanese brushes best suited to the fine detail of his paintings. Philip Johnson was among Tadasky's earliest supporters, purchasing a painting...

Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school she attended the, now, San Francisco Ar...

Gene Hedge One, 1968 Signed and dated on the reverse Acrylic on canvas 53 3/8 x 32 inches (P118) Gene Hedge was born (1928) and raised in rural Indiana. After military service, he b...

Gene Hedge Untitled, circa 1966 Acrylic on canvas 61 1/2 x 42 1/8 inches (P122) Gene Hedge was born (1928) and raised in rural Indiana. After military service, he briefly attended Ball State University in Muncie, Indiana. There he encountered the writing of Laszlo Moholy-Nagy, and the following year (1949) went to study at the Institute of Design in Chicago. He received a B.S. degree in Visual Design from the Institute of Design (1953), and he also took courses at the Art Institute of Chicago and began working in collage. During this period, the influence of Eugene Dana...

Gene Hedge Untitled, 1966 Acrylic on canvas 60 x 43 inches (P276) Gene Hedge was born (1928) and raised in rural Indiana. After military service, he briefly attended Ball State Univ...

Gene Hedge Untitled, circa 1968 Acrylic on canvas 82 1/2 x 61 1/2 inches (P104) Gene Hedge was born (1928) and raised in rural Indiana. After military service, he briefly attended Ball State University in Muncie, Indiana. There he encountered the writing of Laszlo Moholy-Nagy, and the following year (1949) went to study at the Institute of Design in Chicago. He received a B.S. degree in Visual Design from the Institute of Design (1953), and he also took courses at the Art Institute of Chicago and began working in collage. During this period, the influence of Eugene Dana...

Gene Hedge Inside Violet, 1966 Acrylic on canvas 61 x 43 inches (P121) Gene Hedge was born (1928) and raised in rural Indiana. After military service, he briefly attended Ball State University in Muncie, Indiana. There he encountered the writing of Laszlo Moholy-Nagy, and the following year (1949) went to study at the Institute of Design in Chicago. He received a B.S. degree in Visual Design from the Institute of Design (1953), and he also took courses at the Art Institute of Chicago and began working in collage. During this period, the influence of Eugene Dana...

Gene Hedge Untitled, circa 1970 Acrylic on canvas 44 x 43 inches (P112) Gene Hedge was born (1928) and raised in rural Indiana. After military service, he briefly attended Ball State University in Muncie, Indiana. There he encountered the writing of Laszlo Moholy-Nagy, and the following year (1949) went to study at the Institute of Design in Chicago. He received a B.S. degree in Visual Design from the Institute of Design (1953), and he also took courses at the Art Institute of Chicago and began working in collage. During this period, the influence of Eugene Dana...

Gene Hedge Untitled, circa 1966 Acrylic on canvas 61 1/8 x 44 inches (P123) Gene Hedge was born (1928) and raised in rural Indiana. After military service, he briefly attended Ball State University in Muncie, Indiana. There he encountered the writing of Laszlo Moholy-Nagy, and the following year (1949) went to study at the Institute of Design in Chicago. He received a B.S. degree in Visual Design from the Institute of Design (1953), and he also took courses at the Art Institute of Chicago and began working in collage. During this period, the influence of Eugene Dana...

Gene Hedge Inside Blue, 1966 Acrylic on canvas 61 1/4 x 43 3/4 inches (P124) Gene Hedge was born (1928) and raised in rural Indiana. After military service, he briefly attended Ball State University in Muncie, Indiana. There he encountered the writing of Laszlo Moholy-Nagy, and the following year (1949) went to study at the Institute of Design in Chicago. He received a B.S. degree in Visual Design from the Institute of Design (1953), and he also took courses at the Art Institute of Chicago and began working in collage. During this period, the influence of Eugene Dana...

Signed lower left, 'Wood' for Virginia Wood (American, 1938-2019), additionally signed, verso, and dated 1968. Virginia Wood studied at the University of South Carolina and, subsequ...

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...

View of the Towers of Chartres Cathedral in Acrylic on Artist's Board Colorful, idealistic representation of Chartres Cathedral and the surrounding area by Ben Venezky (American, 18...

Ray Parker Untitled, 1969 Signed and dated on the reverse Oil on canvas 32 x 32 inches Provenance: Christie's New York, Interiors, September 30, 2010, Lot 181 Private Collection, Ne...

5-3424 Figural painting Mixed media on artist board Image size 12x10" Displayed in a black wood frame Signed Vanzina

Signed lower left, 'Denis Paul Noyer' (French, b. 1940), titled, 'Mougins' and dated 1968. A mid-century, stylized painting of the Place du Commandant Lamy in Mougins leading to a ...

#5-3344a Seascape Painting ,acrylic palette on board displayed in a wood frame ,signed by Mac Gucol.Image size 16 H x 11 W

Wang Ming (Chinese-American, 1921-2016). HEART.Acrylic on paper, 1969. Signed, titled and dated, verso. 21 x 15 5/8, framed to 28 7/8 x 23 1/2. In excellent condition.

5-3261a Red and Gold abstract vintage painting,acrylic on board set in a gilt/black wood frame,signed by De Luca. Image size 18.5 H x 13.5 W

Signed Lower Center Paperback book cover: The Silent Invaders, by Robert Silverberg; Publisher: (Ace Books), 1973 The Silent Invaders was first published as a paperback Ace Double...

The power of pure colour and minimal form on raw canvas. This is Milly Ristvedt. Three rows of gently curved horizontal bands of colour—golden yellow, hot pink and green create a str...

3947 Surreal acrylic on rapped canvas with painted edges no frame required

Clarence Holbrook Carter (American, 1904-2000) Mandala No. 15, 1969 Acrylic on paper Signed and dated verso 27.5 x 22 inches Clarence Holbrook Carter achieved a level of national ar...

#5-2479b Seeking Center ,a vintage acrylic abstract on a stretched canvas, signed lower left by E.Marfe`.Unframed

This is a rare find; one of 6 we recently acquired by Angelo Ippolito (1922-2002). Abstract mixed media collage in various printed and solid-hued 8-ply rag papers. Presented in a per...

Lyman Kipp Original Mid Century Modern Painting on paper, 1969 Acrylic on paper painting Hand signed and dated by the artist on the front F...

4080 Impressionist style still life acrylic on artist board Displayed in a thin black wood frame Image size 12x14" Signed Rovini

4067 Surreal multi figural Star Star painting unframed

Clarence Holbrook Carter (American, 1904-2000) Double Ovoids with Blue and Black, 1960s Acrylic on scintilla 15.25 x 12.25 inches A surrealist mid-century figural abstract painting....

Larry Zox Jean Jean, 1964 Signed, dated, and titled on the stretcher Liquitex on canvas 58 x 62 inches Provenance: Solomon & Co., New York Private Collection, NJ Estate of the above, 2023 Committed to abstraction throughout his career, Larry Zox played a central role in the Color Field discourse of the 1960s and 1970s. His work of the time, consisting of brilliantly colored geometric shapes in dynamic juxtapositions, demonstrated that hard-edge painting was neither cold nor formalistic. He reused certain motifs, but he did so less to explore their aspects than to “get at the specific character and quality of each painting in and for itself,” as James Monte stated in his essay for Zox’s solo exhibition at the Whitney Museum of American Art in 1973. By the 1970s, Zox was using a freer, more emotive method, while maintaining the autonomy of color, which increasingly became more important to him than structure in his late years. Zox began to receive attention in the 1960s, when he was included in several groundbreaking exhibitions of Color Field and Minimalist art, including Shape and Structure (1965), organized by Henry Geldzahler for the Gallery of Modern Art, New York, and Systemic Painting (1966), organized by Lawrence Alloway for the Guggenheim Museum. In 1973, the Whitney’s solo exhibition of Zox’s work gave recognition to his significance in the art scene of the preceding decade. In the following year, Zox was represented in the inaugural exhibition of the Hirshhorn Museum, which owns fourteen of his works. Zox was born in Des Moines, Iowa. He attended the University of Oklahoma and Drake University. While studying at the Des Moines Art Center, he was mentored by George Grosz, who despite his own figurative approach encouraged Zox’s forays into abstraction. In 1958, Zox moved to New York, joining the downtown art scene. His studio on 20th Street became a gathering place for artists, jazz musicians, bikers, and boxers. He occasionally sparred with the visiting fighters. He later established a studio in East Hampton, where he painted and fished including using a helicopter to spot fish. In the 1950s and early 1960s, Zox’s works were collages consisting of painted pieces of paper stapled onto sheets of plywood. He then produced paintings that were illusions of collages, including both torn- and trued-edged forms, to which he added a wide range of intense hues that created ambiguous surfaces. Next, he omitted the collage aspect of his work and applied flat color areas to create more complete statements of pure color and shape. From 1962 to 1965, he produced his Rotation Series, at first creating plywood and Plexiglas reliefs, which turned squares into dynamic polygons. He used these shapes in his paintings as well, employing white as a foil between colors to produce negative spaces that suggest that the colored shapes had only been cut out and laid down instead of painted. The New York Times noted in 1964: “The artist is hip, cool, adventurous, not content to stay with the mere exercise of sensibility that one sees in smaller works.” In 1965, he began the Scissors Jack...

Signed and dated, abstract figurative, acrylic and pastel artwork on paper by important American artist, Hans Burkhardt (1904-1994). From Wikipedia: "When he moved to Los Angeles in...