Masonite Paintings

Artist: Donald Roy Purdy, American (1924 - ) Title: Rabbi with Torah Year: circa 1970 Medium: Oil on Masonite, signed l.r. Size: 30 x 22.5 in. (76.2 x 57.15 cm) Frame Size: 38 x 31 i...

Edward Pechmann Renouf (1906-1999). Oil on panel measures 16 x 24 inches. Signed lower margin. Excellent condition. Provenance: Allan Stone Pr...

This modern abstract painting by Peter Keil is on a smooth masonite board with a painted grey background, black abstract portrait with many colors. Here you certainly see the Picasso...

Artist: Donald Roy Purdy, American (1924 - ) Title: Rabbi 3 Year: circa 1970 Medium: Oil on Masonite, signed l.r. Size: 24 x 30 in. (60.96 x 76.2 cm) Frame Size: 34 x 39 inches

Sewell Sillman Red, circa 1958 Acrylic on masonite 18 x 36 inches Upon attending Black Mountain College in Asheville, North Carolina, Sewell Sillman’s life was arguably altered for...

Translated title: "Pink tree". Oil paint on masonite.

This early work by Jacob El Hanani was done in 1970. It is mixed media on masonite. It is hand signed in Hebrew and English in the bottom right. The piece comes framed in a black woo...

Jonah Kinigstein is an artist living in Brooklyn. He works in the scorched earth tradition of such 18th- and 19th-century cartoonists as James Gillray, George Cruikshank, and Joseph Keppler, and embraces their somewhat rococo pen and ink technique as well as their penchant to exaggerate the grotesque. In the 1990s, he used to paste...

Artist: Donald Roy Purdy, American (1924 - ) Title: Rabbi with Torah Year: circa 1970 Medium: Oil on Masonite, signed l.r. Size: 36 x 24 in. (91.44 x 60.96 cm) Frame Size: 45 x 31 in...

JOAN NELSON UNTITLED, 1984 egg tempera on masonite 24 x 18 in. 61 x 45.7 cm. signed and dated on verso landscape castle

Artist: Warren Wolf, American (1924 - 2003) Title: Zebuwl 2 Year: 1990 Medium: Oil and Marble Dust on Shaped Masonite, signed, titled and dated verso Size: 34 in. x 31 in. (86.36 cm...

Artist: Ted Gilien, American (1914 - 1967) Title: Untitled Year: circa 1960 Medium: Oil on Masonite, signed l.l. Size: 24 x 32 inches [60.96 x 81.28 cm]

Artist: Donald Roy Purdy, American (1924 - ) Title: Rabbi Medium: Oil on Masonite, signed l.r. Size: 36 x 24 in. (91.44 x 60.96 cm)

Pensive with nosegay - Painted in Berkeley CA. painting size 10x8 with frame 16x14x1 Jon (Corka) Cornin 1905-1992 Born in New York City on March 24, 1905, Jon Cornin studied in Ne...

A strong modernist oil painting depicted in 1969 by Russian painter Michael Baxte. Mostly known for his abstracted figures on canvas or street scenes, this piece is a wonderful representation of his bold still life paintings, with expressive use of color, shape, and form. Later in his career, Baxte explores Expressionism, infusing both European and North American stylistic trends. This piece is from later in his career, but we can feel this underlying style throughout. Art measures 18 x 21.75 inches Michael Posner Baxte was born in 1890 in the small town of Staroselje Belarus, Russia. For the first half of the 19th century it was a center of the Chabad movement of Hasidic Jews, but this group was gone by the middle of the 19th century. By the time the Baxte family immigrated to the United States at the beginning of the 20th century, the Jewish population numbered only on the hundreds. The native language of the Baxte family was Yiddish. It is likely that the death of Michael Baxte’s father triggered the family’s immigration. Three older brothers arrived in New York between 1903 and 1905. Michael and his mother, Rebecca, arrived in 1907. By 1910 Michael, his mother, and brother, Joseph, were living in New Orleans and may have spent some time on a Louisiana plantation. Around 1912, Michael Baxte returned to Europe to study the violin. In 1914 he, his mother, and Joseph moved to New York City. Meanwhile, in Algeria, a talented young woman painter, Violette Mege, was making history. Since for the first time, a woman won the prestigious Beaux Art competition in Algeria. At first, the awards committee denied her the prize but, with French government intervention, Mege eventually prevailed. She won again 3 years later and, in 1916, used the scholarship to visit the United States of America. When Violette came to New York, she met Baxte, who was, by then, an accomplished violinist, teacher, and composer. Baxte’s compositions were performed at the Tokyo Imperial Theater, and in 1922 he was listed in the American Jewish Yearbook as one of the prominent members of the American Jewish community. As a music teacher he encouraged individual expression. Baxte stated, “No pupil should ever be forced into imitation of the teacher. Art is a personal experience, and the teacher’s truest aim must be to awaken this light of personality through the patient light of science.” By 1920 Michael Baxte and Violette Mege were living together in Manhattan. Although they claimed to be living as husband and wife, it seems that their marriage did not become official until 1928. On their “unofficial” honeymoon around 1917, in Algiers, Baxte confided to her his ambition to paint. There and later in New Mexico where the wonderful steeped sunlight approximates the coloring of Algiers, she taught him his heart’s desire. He never had any other teacher. She never had any other pupil. For ten years she devoted all her time, energy, and ambition to teaching, encouraging, inspiring him. Then in 1928, their mutual strivings were rewarded, as his works were being chosen as one of the two winners in the Dudensing National Competition for American Painters. Out of 150 artists from across the country participated in the Dudensing, and Michael Posner Baxte and, Robert Fawcett, were the winners. In his 1924 naturalization application, he indicated that he was sometimes known as “Michael Posner Baxte.” One of the witnesses to his application was Bernard Karfiol, a Jewish American artist. That’s when Michael may...

Beam recognizes that a successful work of art “must develop its own personality…It must empower, engage or provoke the public’s attention.” One exhibition in particular, titled Owavino(1997-1998) [meaning last minute] held in Illinois—perhaps the pinnacle of media mastery—garnered Beam numerous reviews, attacks and responses, even after the exhibiton had closed, for his work Turkish Medal (1996-1997-2013). The painting combines a comparatively altered version of one of Pulitzer-Prize winning illustrator Bill Mauldin...

Corcos paints what appears to be the northern part Central Park from an elevated view looking northwest. The artist used a restricted palette of warm browns and grays with heavy outl...

Acrylic paint on masonite.

The artist is creating inside his studio.

"Forever & Ever" is an abstract oil on masonite by artist Alayna Rose. A mix of warm reds, oranges and pinks blend together with bright pops of green. Text reads FOREVER AND EVER, t...

Oil paint transferred onto a Masonite board. Mainly yellow tones with decorative foliage. Framed in a white frame with a white matte. Artist Biography: Melanie Millar isa painter living and working in Houston, Texas. She has exhibited her work in one-person shows, group-shows and juried competitions nationally. Her work is in private and corporate collections, as well as in the collection of the Museum of Fine Art, Houston. She grew up in New Jersey but later moved to Houston, Texas. Her undergraduate degree is from the University of Texas. In 1999, she completed an MFA in painting and drawing at the University of North Texas, Denton Texas...

This original interior still life painting by twentieth-century French modernist Michel Patrix (1917-1973) features a striking composition of two tobacco pipes...

H. Wilson Smith (1901-1981) California Artist $3000 Oil on masonite in the original frame. Painting measures 26 3/4"h x 20 1/2"w. Frame: 27 3/8"h x 21 1/8"w. Titled on the verso ...

Botanical Abstract, Vintage 1970s Modern Floral This vivid oil painting of flowers on a bright sunny day is a fresh modernist take on the botanical still-life. California artist El...

Mixed Media on Masonite

Acrylic paint on masonite.

Bold portrait of an introspective circus clown. Rich colors. Detailed circus background. Oil on masonite. Signed Klotz. Dated 1950. Unfarmed. american Emmett Kelly...

Acrylic paint on masonite.

David was inspired by the Anasazi petroglyphs with these shapes of the figures in this painting. It is an oil painting on Masonite. The frame is black wood- a shadow box concept. The...

Acrylic paint on masonite.

A nude white woman gazes out and over a Giorgio de Chirico like surrealist landscape to an overly dramatic sunset with stylized orange rays. In the center of the composition is a cut-out of a mountain with a moat. In the extreme foreground is a silhouetted orange plane with a spiral of leaves. Along with the empty landscapes of de Chirico, it's possible that Frederick Haucke was influenced by Salvador Dalí " The Persistence of Memory" in 1931, and Dali's painting was shown at the Museum of Modern Art in 1934. In that painting, Dali, paints a vacant landscape doted with symbols from the unconscious. This painting by Frederick Haucke owes a debt to giants of the Surrealist movement but still, Haucke carves out his style. The shape of the nude's hair echoes the shape of the sunset. What the symbolism to the mountain is and the flower in the foreground we will leave to the viewer to speculate. It was shown at the very prestigious Pearls Gallery in New York City. Artists in the famous Perls' stable included Derain, Dufy, Rouault, Matisse, Picasso, Modigliani, Pascin, Soutine, Chagall and Vlaminck. With a 1971 retrospective of Alexander Calder's work. This Haucke from the Perls Gallery...

Acrylic paint on masonite. The frame was painted by the artist.

Translated title: "Now I see you". Acrylic on masonite.

Translated title: "Skull". Acrylic on masonite. It features a wooden frame, which is painted and decorated with gold leaves.

Acrylic on canvas paper, mounted on masonite with black enamel painted frame. Philomena Marano has spent decades “penetrat[ing] the soul of Coney Isla...

Acrylic paint on masonite. The frame was painted by the artist.

Translated title: "Now I see you" Acrylic on masonite.

Green Haze is an acrylic on masonite painting, 10 x 14 inches, signed 'RICKER' lower right corner. Framed in a contemporary dark brown/black frame.

American plein air impressionist Peter Mayer was born 1887-1993. Exhibited painting of Broadway and West 72nd street in New York, Verdi Square. T...

Two rectangles with one in black layered on the other one in red on masonite. A triangle is cut from the corner of the red rectangle and being placed on top of the red rectangle. Acrylic on masonite Lucio Pozzi (b. 1935) was born in Milan and moved to the United States in 1962 as a guest of the Harvard International Summer Seminar. His first of many exhibitions at Hal Bromm Gallery was in 1976. Though foremost a painter, Pozzi considers writing, drawing, and sculpture to be valuable tools to his art. He has an extensive teaching career as well, having lectured at Cooper Union, Yale Graduate Sculpture...

Acrylic paint on masonite.

Acrylic paint on masonite. The frame was painted by the artist.

Acrylic paint on masonite. The frame was painted by the artist.

Acrylic paint on masonite. The frame was painted by the artist.

Acrylic paint on masonite.

Acrylic paint on masonite.

Acrylic paint on masonite. The frame was painted by the artist.

Acrylic paint on masonite. The frame was painted by the artist.

Acrylic on masonite.

Mixed Media on Masonite

Mixed Media on Masonite

Acrylic on Masonite

Acrylic on Masonite

Procession with elephant, expressionist style oil painting, signed and dated. George Russin was born in New York 1910-2010. He attended the High School of Music and Art to pursue bot...

Italian painting from the second half of the 20th century. Artwork oil on masonite depicting a view with a small house of good pictorial quality. Painting adorned with an octagonal w...

This painting is a perfect example of lyrical abstraction and a choice painting out of the best period of Vlerick's career. Ineffable, 1962 Oil on Masonite board 91,5 x 61,5 cm (without frame) 93 x 63 cm (framed) Signed and dated Top Right ‘P. Vlerick 1962’ with title, signature place and date at the back: Ineffable P. Vlerick Afsnee 1962 Pierre Vlerick’s work shows some resemblance to Willem de Kooning’s. While the Dutch American was famed for the wild manner in which he treated his canvas, Pierre Vlerick showed some more restraint, but making a painting was in any case a slow process of stopping and starting and revising. His exploration is meant to result in a correct proportion of colour fields and streaks, often applied layer upon layer. All his colors have a luminous intensity. It was mainly Bonnard’s colorful work that inspired Vlerick to compose his own singular range of colors of slightly tingling yellows, greens, oranges and bits of blue here and there. Abstraction is emphasized by his use of color. Colors not associated with objects from daily life often dominate the composition: purple, for instance. This is the basis for his continuing abstraction, ending up as color fields combined with organic elements depicted with the vaguest of contours. Though both artists create a very metropolitan, say even worldly art, their work evokes nature. De Kooning has been called a master of ‘abstract landscape’. The structure of Vlerick’s works, too, is very vegetable and organic. No wonder he referred to his paintings as his ‘gardens’. Neither artist allowed his garden to remain empty: de Kooning created a female figure looking like a cross between a floozy and the mother goddess. Vlerick imagined a woman who is enjoying her body. Vlerick’s approach to abstract art is the same as de Kooning’s; they refuse to paint in a figurative manner, yet at the same time do not wish to renounce referring to reality. De Kooning once put it very accurately during an interview when he conceded that painting the human figure any longer was absurd(in the post-war period), but also stated that it would be even more absurd not to do it. The only way out of this ambiguous dilemma is the deconstruction of the human figure. Not in order to reject it, but to show it in all its fragility. Pierre Vlerick’s exceptional artistic talents were already recognized while he was studying at the Ghent Academy (1940-1944) whereupon graduating he received a gold medal. In 1947-1948 Vlerick enrolls at the “la Grande Chaumière Academy”, a Parisian private academy which attracts lots of foreign artists thanks to the reputation of its most important teachers such as Maurice Denis (1870-1943). Denis was one of the founding fathers of “the Nabis” and is also considered to be the godfather of abstract art by many artists and art critics. Maurice Denis is famous for his quote: "Remember that a painting, before it is any kind of representation, is essentially a flat surface covered with colors in a certain collected order." At La Grande Chaumière, Vlerick is challenged to develop a pictorial language of his own. Vlerick develops a way to translate the observed reality into visions of color and form, which can be situated somewhere on the axis between the figurative and the abstract. Reality is decomposed and reconstructed into a complete new representation. After a trip to Spain in 1955 the painter evolves towards the use of brighter colors. At the Brussels World Exhibition of 1958 (Expo 58) Vlerick is for the first time confronted with real works of 17 American artists (William Baziotes, James Brooks, Sam Francis, Arshile Gorky, Adolph Gottlieb, Philip Guston, Grace Hartigan, Franz Kline, Willem de Kooning, Robert Motherwell, Barnett Newman, Jackson Pollock, Mark Rothko, Theodoros Stamos, Clyfford Still, Bradley Walker...

I see each painting as a portal in life, a gateway to new experiences and perspectives, triggered by simple conversations or significant milestones. It fascinates me how viewers conn...

Work is marked on reverse "Rhythm" and "The Whip." on verso - We are not sure the exact meaning of this work. Gropper was a social realist and a radical of his time and a commenta...