Oil Paintings

Antique American abstract expressionist oil painting. Oil on board. Framed. Image size, 20L x 16H.

Very beautiful oil on masonite painting by the American mid century modern artist Roy M. Steinberg. Signed lower left. Circa 1955. Condition is very good; no issues. A jester blowi...

DOUBLE SIDED PORTRAIT II Size: 48 x 30cm unframed Oil on board An intriguing double sided oil on board: one side depicts a pair of women looking into a book, and the other side feat...

Antique American modernist abstract oil painting. Oil on canvas. Framed. Image size, 30L x 24H.

Rafael Durancamps (1891-1979) - Landscape - Oil on canvas Oil measures 38x46 cm. Frame measures 58x66 cm. Rafael Durancamps i Folguera (Sabadell, March 29, 1891 [1] - Barcelona, Jan...

Antique American modernist framed oil painting. Oil on board. No signature found. Framed. Image size, 13L x 12H.

DOUBLE SIDED PORTRAIT I Size: 48 x 30cm unframed Oil on board An intriguing double sided oil on board: one side depicts a pair of women looking into a book, and the other side featu...

oil on masonite

Carl Hoppe 1897-1981 San Antonio Artist Image Size: 28 x 28 Frame Size: 33.5 x 33.5 Medium: Oil "Lost Maples" Texas Biography Carl Hoppe 1897-1981 Carl Thomas Hoppe, born 22 August 1897 in San Antonio, TX, son of German immigrants August and Teresa Hoppe, died 15 January 1981 in San Antonio at age 83 [San Antonio Express-News, 16 January 1981]. A resident of the Alamo Heights district, his primary employment was salesman at Joske's Department Store in San Antonio [San Antonio City Directory]. In the 1920s, he married Frances Rose, but they apparently had no surviving children. He was active as an artist in the mid 1900s through at least the 1960s. He is best known for landscapes in an impressionistic style. He signed his works with a simple "C. Hoppe" and sometimes included a brief descriptive phrase on the back of the painting or in pen & ink on a paper label with an inscription about the painting or the person to whom it was presented. Some of his original frames appear to be home-crafted. He is reported to have studied under several more-notable Texas artists who worked in the San Antonio area, including Porfirio Salinas, Robert Wood, Jose Arpa, and Julian Onderdonk. Upon opening an exhibit of his works at the Panhandle-Plains Historical Museum in Canyon, Texas in 1997, the museum curator stated "Hoppe's high place in the Hill Country art...

COASTAL DOCK Size: 45 x 49.5 cm (including frame) Oil on board A vibrant and expressive mid-century figurative painting, executed in oil onto board. The composition depicts a bustl...

CITY VIEWS Size: 42 x 49.5 cm (including frame) Oil on board A mid century Swedish cityscape painted in oil onto board. Distinct and expressive brushstrokes convey the energy and hustle and bustle of the city. Rich, earthy, and textured colours in deep reds, blues and greens have been applied swiftly, creating a sense of depth and space in the picture. The artist has probably painted this ‘en plein air’ (outdoors), and so has captured the dynamism of the view before him/her. The painted is housed a very complementary light wood mid century frame...

'Composition in Red and Blue' is a vintage abstract expressionist original oil painting on board by Charles Bunnell (1897-1968) from 1951. Signed and dated by the artist in the lower left corner. Abstract composition painted in shades of white, cream, blue, red, and tan. Presented in a vintage frame, outer dimensions measure 28 ½ x 22 ½ x 1 inches. Image size is 24 x 18 inches. About the Artist: Charles Bunnell developed a love for art at a very young age. As a child in Kansas City, Missouri, he spent much of his time drawing. When he was unable to find paper he drew on walls and in the margins of textbooks for which he was often fined. Around 1915, Bunnell moved with his family to Colorado Springs, Colorado. He served in World War I and later used his GI Training to study at the Broadmoor Art Academy (later renamed the Colorado Springs Fine Arts Center) during 1922 and 1923. In 1922, he married fellow student, Laura Palmer. He studied with Ernest Lawson in 1927-1928 and, in the winter of 1928-1929, he served as Lawson’s assistant. In the late 1920’s, the Bunnell’s settled just west of Colorado Springs and 1928, they welcomed the first of their three children. Their one-acre homesite, which they referred to as “Old Home Place”, was situated between two sets of railroad tracks at the foot of Pike’s Peak. Charlie converted an old railroad boxcar into his studio, where he later gave lessons. Beginning in 1931, Bunnell spent a year and a half studying under Boardman Robinson. The two men clashed constantly due to a generation gap and markedly different philosophies. Robinson encouraged his students not to stray from realism and though Bunnell mastered Robinson’s preferred style of American Scene painting, he regularly irritated his professor with his abstract sketches. Bunnell taught at the Kansas City Art Institute during the summers of 1929, 1930, 1940, and 1941. Between 1934 and 1941, he painted and taught under federal projects which included assisting Frank Mechau on murals for the Colorado Springs Post Office. However, he did not take to mural making and, after criticism from Boardman Robinson about his use of “heavy daubs which have no place in mural work,” he abandoned mural-making altogether. By the late 1930’s, Bunnell’s work departed from the American Scene/Modernist style he was trained in towards abstraction. This is marked by his “Black and Blue” series, consisting of 83 abstracted ink and watercolors. Affected by the Second World War and the loss of his 10-year old son, Bunnell’s work of the early 1940’s took on a Transcendental and Surrealist tone. The works from this period are moody and readily reflect the political and personal turmoil experienced by the artist. In the late 1940’s, Bunnell began experimenting with Abstract Expressionism. He alone is credited with introducing Colorado Springs to the new style as it was excluded from the Fine Art Center’s curriculum by Boardman Robinson. Bunnell excelled in Abstract Expressionism and continued to evolve in the style through the 1950’s continuing to his death in 1968. He was recently recognized as a premier American Abstract Expressionist by his inclusion in the book American Abstract Expressionism of the 1950’s: An Illustrated Survey. Solo Exhibits: Kansas City Art Institute, Kansas City, Missouri, 1930; Santa Fe Museum, Santa Fe, New Mexico, 1947; University of Illinois, Urbana, Illinois, 1948; University of Kentucky, Lexington, Kentucky, 1949; Taos Gallery, Taos, New Mexico, 1951; Carl Barnett Galleries, Dallas, Texas, 1952; The Bodley Gallery, New York, 1955; Amarillo, Texas, 1955; Haigh Gallery, Denver, Colorado, 1955; Colorado Springs Fine Arts Center, Colorado Springs, Colorado, 1956; Dord Fitz Art Gallery, Amarillo, Texas, December 1956 – February 1957, 1959, 1969 (retrospective). Group Exhibits: Carnegie Institute, 1927-1928; Colorado State Fair, 1928 (1st prize); Artists Midwestern, Kansas City, Missouri, 1929 (Gold Medal); Art Institute of Chicago, 1947 (the exhibit traveled to ten major museums in the United States); “Artists West of the Mississippi”, Colorado Springs Fine Arts Center, Colorado Springs, Colorado (7 times); Denver Art Museum Western Annual, Denver, Colorado (5 times); Mid-America Annual, Kansas City, Missouri, 1958; First Provincetown Festival, 1958; Southwestern Annual, Santa Fe, New Mexico, Winter 1957-1958; Central City, Colorado; Cañon City...

At cafe 1950, cardboard, oil, 51x71 cm The main focus of the artwork is a stylized representation of a cafe scene. The artist's intention is to capture the vibrant and lively atmosphere of a bustling cafe setting. The painting features numerous figures dancing in the background, creating a sense of movement and excitement. The artist's stylized approach involves using bold and expressive brushstrokes, vibrant colors, and abstracted forms to depict the figures and the overall energy of the scene. In the foreground, there is a man sitting behind a table with wine bottles, adding a focal point to the composition. The red interior of the cafe provides a warm and inviting ambiance, adding to the overall atmosphere of the painting. Biruta Baumane...

SKYLINE Size: 29 x 37 cm (including frame) Oil on board A small and vibrant modernist oil composition, featuring a city skyline where rows of tall buildings are set against a striki...

Landscape is an artwork realized by Alberto Gillani, in 1981. Oil on Canvas. 49 x 69 cm; 79 x 89 cm with frame. Handsigned in the lower margin. Very good conditions

Oil on canvas board. Framed

Nocturne, The River Thames, London. Oil on board circa 1950's by Keith Parsons (1919-1988) British. painting 42cmx58cm fine antiques frame 68cmx83cm Night view with a full moon hanging over the River Thames in central London...

Antique American impressionist seascape beach scene oil painting. Oil on board. No signature found. Framed. Image size, 18L x 14H.

BOATS AT THE JETTY Size: 34 x 70 cm (including frame) Oil on Canvas A restful and very confidently executed mid-century coastal landscape composition, executed in oil onto canvas. ...

Antique American impressionist signed dog portrait oil painting. Oil on canvas. Signed. Framed. Image size, 20L x 16H.

HYACINTHS Size: 52 x 42 cm (including frame) Oil on Board An expressive and beautifully textured mid-century floral still life painting, executed in oil onto board. The composition...

American artist Hellier (20th Century) designed this stunning post-cubist constructivist oil on canvas painting. This painting named "Ste Augustine" features a skillful composition a...

MALCHIK Evgeni Samsonov was born in 1926 in the city of Irkutsk, Siberia. Samsonov worked in the genre of “theme” painting and was a leading Social Realist, recognized for his superb painterly handling of anatomy. He made his artistic debut in 1951 and until his passing in 1988, participated in more than forty monumental art exhibitions in Russia and abroad. Evgeni Samsonov’s paintings can be seen at the museums of Russia. The artist’s works are included in private collections in Japan, France, Italy, England, Germany and Sweden. Since 1995, the Pushkin Gallery...

Chuta KIMURA (also "Tchuta" or "Tshuta") is an allusive landscape painter and pastellist. His name - composed of the words Ki (tree) and Mura (village) - literally means "village tree". The artist was born into a middle-class family with an ancestral Samurai background. From the age of 13, he took drawing lessons at the Takamatsu School of Decorative Arts. In 1936, he went on to study at Tokyo's Nika Art Academy, where the academic teaching did not suit him. In 1937, he exhibited for the 1st time at the Dokuritsu Salon, but was immediately drafted by the army to serve in China - where, despite the war, he developed a passion for ancient calligraphy. In 1940, he eventually returned to Japan due to illness. Shortly afterwards, in 1941, he discovered a painting by Pierre Bonnard at the Ohara Art Museum in Kurashiki, the light of which overwhelmed him. He was mobilized again in China in 1945, then, once the war was over, he resumed his exhibitions in Tokyo and discovered Bonnard once again. In 1947, he married Satchiko Yunoki, with whom he decided to move to Paris. Thanks to a patron, the young couple settled in Montparnasse in March 1953 (taking over the former studio of his illustrious compatriot, Foujita). In 1954, he exhibited at the Salon des Artistes Français and met Jacques Zeitoun, artistic director of the "Art Vivant" gallery (Paris and Lyon), who immediately signed him up. From 1955 onwards, Kimura enjoyed a steady stream of solo exhibitions - in Paris (e.g. Galerie St Placide, Kriegel, or Art Yomiuri - the latter exhibiting his work 4 times at FIAC in the 1980s); Lyon (e.g. Galerie St Georges); Antibes (e.g. Galerie St Georges); and Paris. galerie St Georges); Antibes (ex. galerie René Raporte); Brussels (ex. galerie de France et du Benelux); Geneva (ex. galerie Krugier); Tokyo (ex. galleries Nichido, or Takarashi); and New York (ex. galleries David Findlay, or Ruth Sigel). The artist also participated in fairs and group exhibitions (e.g. Biennale de Paris in 1957, Centre Pompidou in 1979, The Phillips Collection in 1985). In 1962, he moved to Châtenay-Malabry and met Jean Grenier - professor of philosophy and holder of the chair of aesthetics and art science at the Sorbonne - who became his principal biographer: "When Kimura rightly prides himself on uniting East and West, which, he writes, are as different from each other as day and night are from each other, he might add that it is by remaining himself and drawing on the dual traditions of his country that he has succeeded in creating a work that is at once so violent and so gentle. In 1963, the French State bought a painting from him - "Jardin à Châtenay". In 1965, Galerie Kriegel (recently opened by his 1st dealer...

Jane Peterson (1876-1965) Lilies Oil on canvas, 1952-1953 Signed by the artist lower right: JANE PETERSON (see photo) Painting size: 29 x 23 inches Frame size: 38 x 32-1/2 x 1-1/2 inches Exhibited: The Pennsylvania Academy of the Fine Arts: One Hundred and Forty Eighth Exhibition of American Painting and Sculptures, January 25-March 1, 1953 (Photo of original label). Original tacks on stretcher where label was afixed. Label stolen while on exhibition. Exhibited: Childs Gallery, Boston, 2019- 2023 Jane Peterson was an artist who achieved significant critical attention and adulation over the course of her career. Following her first American solo exhibition in 1909, a critic observed, “There is not a dull canvas in the entire collection and everything is interesting”.1 Thirty-five years later, Historical Records published her biography in the almanac Prominent Women of New York.2 Regardless of her success, Peterson remained pragmatic as she always sought to challenge herself with new ideas and techniques. She spent a lifetime immersed in the practice of painting; as a student, teacher, and gifted artist. Peterson was a painter with little interest in self-promotion or the conventional achievements of an artist, as a result there has only been a moderate body of scholarship written about her posthumously. Peterson’s legacy is her brilliant oeuvre of impressionistic paintings, held by collections such as the Metropolitan Museum of Art, the Philadelphia Museum of Art, and the Brooklyn Museum of Art. "Jennie Christine Peterson was born in Elgin, Illinois in 1876. From an early age Peterson, who was known throughout her life as Jane, showed a natural talent for drawing. As a teenager, having received no formal art training, Peterson sat the art aptitude test conducted by the Pratt Institute. The results were promising and, in 1895, Peterson moved to New York to study at the Pratt Institute in Brooklyn. Peterson thrived at Pratt as a conscientious student, although it was not an easy time for her financially. When her money ran low Peterson gave art lessons to other students, and also earned some income through the sale of her paintings in student exhibitions. When Peterson graduated in 1901, she began working as Drawing Supervisor of Public Schools in Brooklyn. She also continued her art education taking classes at the Art Students League. Between 1904 and 1906 Peterson worked as an art teacher in New York, Massachusetts, and Maryland. In 1907, Peterson sailed to Europe where she visited artists and museums in France, Holland, and Italy. She found Europe to be more socially progressive for women artists and decided to stay and continue her art education. While in Europe, Peterson studied under Frank Brangwyn at the London School of Art, before relocating to Paris where she received instruction from Jacque-Emile Blanche, Charles Cottet, and Claudio Castelucho. Throughout 1908, Peterson was extremely productive, creating many works in her spare time while also taking on portrait commissions to augment her income. She lived in rooms in Montparnasse located around the corner from Gertrude Stein’s salon, where on Saturday evening artists and art enthusiasts would gather to view and discuss Stein’s seminal collection of Modern art. Attending these events Peterson surrounded herself with powerful art luminaries such as Pablo Picasso, Henri Matisse, Georges Braque, André Derain, and Henri Rousseau. Peterson’s style from this period is neither entirely academic nor avant garde. Rather she blends the technical skills of her academic training with the loose brushwork and bold color palette of her contemporaries to produce paintings that are beautiful impressions of life. Peterson’s early oil paintings from Europe...

Something is mesmerizing about the paintings of Pat Berger - a captivating force that immediately draws us in. Her work is characterized by a unique composi...

A "Thumb Box" or diminutive painting by Harold Haydon depicting a mountain at sunset. Harold Emerson Haydon was born in Fort William, Ontario, Canada in...

Mid century modern art with inscription in french verso. It was traded with another artist.

A small, colorful Modernist landscape painting by Harold Haydon, depicting "Western View from Sun Deck on Ajax Mt., Aspen, Colo.", dated 1955. This pain...

MOONLIGHT Size: 51 x 59 cm (including frame) Oil on canvas An atmospheric modernist style composition executed in oil onto canvas by the well-established Swedish artist Fabian Lundqvist...

Oil on board Image size: 12 1/2 x 15 1/2 inches (31.75 x 40 cm) Contemporary style handmade frame Exhibitions 1952 Royal Academy of Arts Exhibition, Gallery no. VII, no.429. This forest scene invites the viewer into a multi-sensory event where the cool, damp shadows of the foliage can almost be felt and the rich bouquet of the forest floor recalled. Here, Sherlock has chosen a somewhat unusual angle and composition, dissecting each truck and tree form so that only a part can be seen. Furthermore, as we look into the depths of this space it becomes clear that we are stood gazing down into a valley that is in the distance, behind this wooded area. Indeed, instead of giving us an uninterrupted view of this vista, as perhaps would be expected, this view is deliberately blocked and our focus is directed instead towards the organic forms in the foreground. The Artist  Marjorie Sherlock was born at Fir Tree Cottage, George Lane, Wanstead, Essex, on 3 February 1891, the elder child of the civil engineer, Henry Sherlock, and his wife, Alice (née Platts), who was born in Benares, India. By 1901, the family was living at ‘The Limes’, 121 Mill Road, Cambridge, and Marjorie received an education locally. In 1918, she entered into marriage with her cousin, Major Wilfrid Barrett, though this proved unsuccessful and they later divorced (he remarrying in 1941). She then continued to live at the family home until the Second World War. During the First World War, Marjorie Sherlock studied at Westminster Technical Institute under the Camden Town School painters, Walter Sickert and Harold Gilman. She exhibited at the Royal Academy of Arts from 1917, when she showed a powerful view of the interior of Liverpool Street Station (Government Art Collection) (to which the current etching [202] relates). In time, she would exhibit at the International Society, the New English Art Club, the Royal Society of British Artists, the Society of 207 Graphic Art and the Women’s International Art Club (becoming a member of the last two). She also showed work internationally. Developing as a printmaker as well as a painter, Sherlock studied etching under Malcolm Osborne at the Royal College of Art in 1925. She published her etchings in four series, the titles of which indicate her love of travel: ‘English Etchings, ‘Egyptian Etchings’ (both 1925), ‘German Etchings’ (1929) and ‘Indian Etchings’ (1932). During this period, she also visited the united States. More admiring of Continental painters than British ones, she furthered her studies, in 1938, by working in Paris under André L’Hôte and André Dunoyer de Segonzac. During the Second World War, Sherlock moved to East Devon and settled at Oxenways, a Victorian hunting lodge...

Signed lower left, "Di Gesu" for Victor Di Gesu (American, 1914-1988), with estate stamp, verso, and painted circa 1955. Winner of the Prix Othon Friesz, Victor di Gesu first attend...

Vintage American modernist abstract oil painting. Oil on canvas. Signed verso.

A small, colorful Modernist landscape painting by Harold Haydon, depicting "View NW from Sun Deck, Aspen, Colo, Ajax Mt.", dated 1955. This painting com...

Artist: Unknown (European, Active Early - Mid 20th Century) (Orientalist School) Title: "City Street Scene, Damascus, Syria" *Signed illegibly lower left Circa: 1950 Medium: Original...

Oil measures 50x61 cm. Frameless. Signed down on the left. restored.

Lafuente - Grape harvester - Oil on canvas Spanish school signed "Lafuente". Oil measures 61x50 cm. Frameless.

Oil on board painting by Donna Marecak (1922-1998) titled 'Artist and his Family' from 1950. Interior scene with four figures, a baby, and a cat gathered around a table. Painted in ...

Stamped, verso, with estate stamp for Victor Di Gesu (American, 1914-1988) and created circa 1950. A loose study of a woman seated in a dress, resting her chin on her hand and recli...

Jacques Martin-Ferrières was born on August 6, 1893 in Saint-Paul, France. He studied under the French academic painter Frederic Cormon (1845-1924) and with his father, the notable F...

Signed lower right, "Cucaro" for Pascal Cucaro (American, 1915-2003). An icon of the Beat years in San Francisco's North Beach, Pascal Cucaro was the winner of numerous medals and a...

Antique impressionist nude interior portrait painting. Oil on canvas, circa 1950. Housed in a vintage frame. Image size, 14L x 20H.

Overlooking the Bay - Coastal Landscape in Oil on Masonite Serene coastal landscape by unknown artist "Lydia" (American, 20th century). The viewer stands at a vantage point above a small coastal town in possibly Maine. The town is nestled in lush landscape, full of vibrant foliage. Beyond the town, there is a bay with prominent cliffs surrounding it. Signed and dated "Lydia 57" in the lower right corner. Board size: 15.5"H x 19.5"W We are researching Lydia Cooley Freeman (American, 1906-1998) as a possible artist for this painting. Born in Tacoma, Washington on January 13, 1906, Lydia Cooley, by the 1930s, had settled in New York City where she studied at the Art Students League under John Sloan. Her portraits of women, children and the working class are of the Ash Can school...

Abstract expressionist oil painting on board from 1955 by Charles Bunnell. Abstract shapes in layers of sage green, light blue, brown, gold, and black. Presented in a custom frame, o...

Abstracted painting of a man and a woman, the paint has been applied to textured plastic. An abstracted painting of a couple applying paint to the textured plastic surface. Genre Expressionist Fauvist Subject People Medium Acrylic Plastic Surface Board Country United States Dimensions 24" x 11 1/2" She exhibited her painting at the famous Jewish art show held at the Dallas Museum Contemporary Fine Arts Exhibition of the American Jewish Tercentenary in 1955 alogside artists Aarons, George, Benn, Ben, Berkman, Aaron, Bloom, Hyman Bohrod, Aaron Gottlieb, Adolph, Gropper, William, Gross, Chaim Gurr, Lena amongst others. Born in 1899, Belle Golinko is a listed Jewish mid...

Plotast, Josef Marc (Joseph Mark) Was born in Southbridge, Massachusetts, on August 8, 1917, studied architecture and art at various universities and art schools in France, Italy, Po...

Portrait. On a yellow background 1950's, oil on cardboard, 49,5x35 cm Laimdots Murnieks has said: "I am a sunny artist. The sun and a woman are the center of the world. It is not ...

Oil on canvas board. Signed and dated lower left. Unframed. Born in Mexico, Salvador de Regil came to America in the 1930s. As his artistic expression developed, he became known fo...

PAUL Size: 58.5 x 53 cm (including frame) Oil on canvas A striking and expressive mid-century portrait painting, executed in oil onto canvas. The composition depicts a male figure ...

Antique American modernist framed oil painting. Oil on board. No signature found. Framed. Image size, 13L x 12H.

Mid-century figurative seascape with boats by Henryk Dzienczarski, (Poland, b-1917). Signed "H. Dzienczarski" lower right. Displayed in a wood fra...

Antique American abstract expressionist signed oil painting. Oil on canvas. Signed. Framed. Image size, 26L x 20H.

Vintage American modernist interior scene oil painting. Oil on canvas. Signed. Framed. Image size, 30L x 24H. Great color and a nice period modern wood frame. Ready to hang.

SUBURBAN SERENADE Size: 46 x 59 cm (including frame) Oil on canvas An uplifting modernist composition, executed in oil onto canvas and dated 1951. The artwork portrays a suburban l...

Antique American modernist signed still life oil painting. Oil on board. Signed. Framed. Image size, 12L x 9H.

Antique American modernist signed abstract oil painting. Oil on board. Signed. Framed. Image size, 24L x 20H.

Antique American impressionist California landscape signed oil painting. Oil on canvas. Signed. Framed. Image size, 18L x 14H.

Antique American modernist seascape signed oil painting. Oil on canvas. Signed on verso. Framed. Image size, 30L x 15H.