Wood Paintings

Artist: Donald Roy Purdy, American (1924 - ) Title: Red Vase Year: circa 1962 Medium: Oil on Masonite, signed l.r. Size: 47 x 20 inches Frame Size: 53 x 24 inches

Spring Valley - Small Plein Air Landscape in Oil on Masonite Idyllic valley landscape with mountains in the distance by Gibson (20th Century). Pink flowers are in bloom throughout the landscape, with a handful of light green trees on either side of the composition. In the distance, a couple of purple mountains rise to meet a soft yellow and blue sky. The artist was a woman who had a gallery in Palm Desert...

Signed lower right, 'J. Roig' for Jose Roig (Argentinian-Spanish, 1898-1968) and painted circa 1955. This Argentine-Spanish Modernist was born in Spain in 1898 and was painting in A...

Abstract Impressionism primarily black and white painting by Kristin Cohen (American, b.1963). Purchased as part of her collection. Unsigned and...

Family genre scene late 19th early 20th century. The boy, tired of posing for a portrait painter, decided to play by spinning a coin on the table, this game greatly impressed his you...

Mid Century Modern, American Abstract Expressionist Painting on artist board. This wonderful work combines delicate shades of pink and blue and comes house in a contemporary natural...

Wonderful mid century California landscape of Gold Rush's Amador City with iconic stone building and farm by John Britton Matthew (American, 1896 - 1980),...

Tree of Dreamy Constellations. Signed in reverse: Ferdinando De Filippi (born 1940, Lecce, Italy) Tree of Dreamy Constellations is a fascinating painting created in a calligraphic m...

Artist: Andras Gombar, French (1946 - ) Title: Still Life 1 Year: circa 1965 Medium: Oil on Canvas mounted to Wood, signed Size: 20 x 24 in. (50.8 x 60.96 cm)

Purple Clouds Above the Farm - Landscape in Oil on Masonite Serene landscape by an unknown artist (20th Century). A detailed, textured field stretches out into the distance, meeting...

Artist: Richard Danskin – American (1936-2012) Title: Untitled Year: ca. 1970 Medium: Oil or acrylic on masonite Sight size: 11.75 x 15.75 inches. Fr...

Wonderful small scale mid century landscape of tree, grasses by the bay by unknown artist (American, 20th Century). Heavy textural impasto adds extra interest and depth. Presented in...

Beautiful modern impressionist figure painting of a nude woman by George Wishon (American, b.20th Century). The two-toned light blue and ...

Northern California Coastal Santa Cruz County Ocean Waves 1950 Plein Air Santa Cruz Sandstone Cliffs and crashing waves near Natural Bridges circa 1950 by an unknown California artis...

Charming floral painting of yellow achillea moonshine flowers among the green grass by California artist Eleanor Perry (American, 1903-1996). Signed and dated "Eleanor Perry / August...

This modern abstract painting by Peter Keil is on a smooth masonite board with a painted Tiffany Blue background, black abstract portrait. Here you ...

Striking 3-dimensional acrylic and wood on canvas sculpture by renowned Colombian painter an sculptor, Omar Rayo. Signed, titled, inscribed "New Yo...

Nocturnal seascape by Vasil (Victor) Papkov (20th Century). At the top of the piece, the moon is peeking through through ark clouds, causing them to glow white and yellow. The turbul...

Broad areas of bold, flat red, magenta, and pink characterize this mid-century painting by Barbara Warren Ebersole ( Barbara Tate Ebersole ). It depicts a block party festooned with balloons and a street organ grinder with a smartly dressed performing monkey. The overall look of a lot mid-century art inspires many of today's most celebrated contemporary artists. Signed and dated upper left. Oil on Masonite. Barbara Warren Ebersole was a painter and an author. She may have been of Native American...

A young man at a crowded upper-class Haitian swimming pool attracts attention. We see him only from the back in a Magritte-like pose. The transfixed expressions of some of the nubile bare-breasted bathing beauties and one man with his hands down his pants give us a clue that the mystery man is special. This is a fascinating work packed with drama and overflowing with pent-up emotion.
Bigaud's narrative is as complex as his figural composition of lookers and swimmers. Notice the sight lines of the lookers go back to front while the two swimmers go from left to right. The twenty-two figures are contained in the rectangular shape of the pool, which is pushed to the front of the picture plane. The cars of the pool partygoers are seen in the background with one witness. He is fully clothed and is most likely a chauffeur. The fully clothed female at the pool offering food is a servant. A boxy-looking radio with a pack of cigarettes and the style of the cars give glue to the date. Most Haitian art depicts average working people. The pool party departs from that tradition and shows life of the Haitian upper class. Most likely, this was painted in Petion-Ville. The higher the elevation in Port-au-Prince the more wealthy the homes. Although the artist's painting technique may be described as naive or lacking polish.
 t's one of the reasons why the work radiates charm and interest. The painting is oversized with huge dimensions of 55 x 48 and will be a statement in any room. Wilson Bigaud is considered to be a Haitian master. The condition is good. Three repaired one-inch issues on the extreme center and upper right edge. Visible only on close inspection. Otherwise presents very well and is elegantly framed, ______________________________________ Haitian master Wilson Bigaud is renowned for works portraying everyday life and rites of passage—vodou rituals, fortune-tellers, weddings, cockfights, and carnivals—with voluminous figures and lucid colors. Born in Port-au-Prince, in 1946 Bigaud was among the first to attend DeWitt Peters’s Le Centre d’Art d’Haïti, where he studied with Hector Hyppolite...

Classic mid century still-life of a green drape with vase, by W. Gray (American, 20th Century). Dated and signed by the artist lower right, "57 W. Gray." ...

A highly abstracted figure emerges in fluid, elegant brush strokes, reminiscent of the works of Francis Bacon, in this striking abstract painting by Bay...

SALE ONE WEEK ONLY "Ellos Tres" translates to "Them Three" and is a clever piece by the Mexican artist Fernando Ramos Prida. Using acrylic and a ...

Gorgeous mid century landscape of High Sierras full of clouds and cool lake water. some impasto texture also. A well done oil by a California plein air painter. Image 24"H x 30"W Oi...

Mid century portrait of a girl in bonnet by listed artist Helen Mae Enoch Gleiforst (American,1903-1997), circa 1950. Unframed. Signed "Gleiforst" lower left corner. Image size: 20"H...

A lighthearted figurative abstract by Bay Area artist Kristin Cohen (American, b.1963). Signed and dated lower left, "Cohen '95." Presented in the artist's painted wood frame. From ...

Beautiful landscape of gum trees in their native Australia, painted in the southern town of Gawler, by D. Millowick (Australian, 20th Century), c. 1960s-1970s...

Partially signed, lower left, 'Georgetti' for Wedo Georgetti (American, 1911-2005) and painted circa 1955. Accompanied by an Certificate of Authenticity. A substantial, mid-century Post-Impressionist oil cityscape showing a view of Prague Castle, the hereditary seat of King Wenceslas and the Kings of Bohemia. Born in Italy, this California Post-Impressionist came to the United States at the age of one. Georgetti first worked as a merchant seaman to support his art studies and traveled all over the world accumulating sketches, many of which he later worked up into paintings. He made frequent visits to France, where he was influenced by the Post-Impressionists and, particularly, by the Nabis. An innovative theorist, Georgetti was the originator of the style known as California Fauvism. He exhibited widely and with success, both at exhibitions and at one-man shows (Oakland Art Gallery, 1942-44; Society of American Graphic Artists, NYC, 1944; Maxwell Galleries, 1940’s; de Young...

Raphael Mahdavi, Untitled, 1990, Oil and wood collage, assemblage painting on paper, Provenance: Kouros Gallery NYC Label. (label and backing torn but present) Dimensions: 17.5 x 23 mat, 25 x 32 frame. Rafael Sinclair Mahdavi (1946-) is a painter and sculptor. He has lived and worked in America, France, Greece, Austria, Spain and England. He has quadruple nationality, France, American, Mexican and Iranian. HIs work combines elements of Contemporary, Symbolist Abstraction and Minimalist art in particularly in his sculpture. Cranbrook BFA & Former Parsons Professor. He taught in Paris, Amiens and Issy-les-Moulineaux, France. Rafael Mahdavi was born in 1946 in Mazatlan, Mexico of an American mother and Iranian father. He was home schooled in Mallorca and later attended board...

African American artist Alvin Hollingsworth part of the famous Spiral Group , created an inventive and intriguing close-up portrait with figures in the distance. Found objects such as swatches of burlap, plastic spoons, press type and wood shapes are adhered to the surface make this work an object as much as an image. The overall image is bathed in a super hot orange-yellow. This is Hollingsworth interpretation of the soul of Africa. Indistinctly signed lower right in red. The work makes a powerful statement in person. Provenance: The Artist to a personal friend. Private collection Framed dimensions 19 1/4 x 25 1/4 in. Alvin Carl...

Oil on masonite painting by the Russian/American artist Nahum Tschacbasov. Signed middle right and dated 1955. It depicts a white stallion riding on a wooden raft in rough seas with...

Boathouse at Night, Modernist Two Toned Color-field Abstracted Seascape Nocturnal seascape by Vasil (Victor) Papkov (20th Century). At the top of the piece, the moon is obscured beh...

"Structure Relief 254" is an abstract structural relief painted in earth tones. Throughout his life Barr was interested in engineering, structure, mathematics and nature. Although i...

A magnificent 1931 Art Deco painting by master artist John Storrs. Artwork size: 18" x 12". Framed Size: 21 1/4" x 21 3/4". In a handsome, dark fram...

Signed lower right, 'J. P. Serrier' for Jean Pierre Serrier (French, 1934-1989) and dated 1966 Jean-Pierre Serrier was born in Montparnasse and attended the Académie des Beaux-Arts ...

Signed lower right, 'Esther Lyne' (American, 20th century) and painted circa 1955. A sensitively painted Post-Impressionist oil still-life showing a view of a hand-painted creamware jug...

Beautiful still life of orange and white flowers next to a bowl of fruit by Los Angeles and Carmel artist Helen Enoch Gleiforst (American, 1903-1997). Signed "Gleiforst" lower right....

Mid-century self-portrait by California artist Myrtle Cureton (American, 1909-2000). Signed "Myrtle Cureton" lower left. Artist's Santa Cruz Art League ...

This is a wonderful naive painting on wood panel by the self-taught black artist Mose Tolliver (1920-2000). It’s a great example of Mose’s unique folk-art style. It features the rat...

Stunning forest landscape of trees reflecting in water at sunset by Charles Grove (American, 20th Century). Signed "Charles Grove" lower left. Unframed. Image, 24"H x 20"W.

Artist: Ian Hornak (1944-2002) Title: Primeval Landscape Year: 1985 Medium: Acrylic on double layered Masonite Size: 16 x 19 inches Condition: Good Provenance: Estate of Ian Hornak, ...

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 42" x 2" About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...

Beautiful mid-century plein air landscape of a California dry stream, by unknown artist Hatton (American, 20th Century), c.1960. Signed "Hatton" lower right. Presented in rustic wood...

The present work was illustrated on the cover of the March 8, 1952 edition of the Saturday Evening Post. The Post writes, "When Stevan Dohanos was a little boy he was sometimes gran...

Original oil on masonite painting by the Russian/ American artist, Nahum Tschacbasov. Signed lower right. Circa 1950. Unframed. Condition: Good. Provenance: Estate of the artist. Nahum Tschacbasov’s paintings are in the permanent collections of the Metropolitan Museum of Art, the Brooklyn Museum, the Jewish Museum, the Philadelphia Museum, the Pennsylvania Museum of Fine Art, as well as numerous college and private collections. His work was shown at ACA Gallery in New York, as well as Perl’s Gallery and John Heller...

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Bibliography Art in America, April 1951, p.78 About this artists: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...

A figurative abstract painting on masonite by San Francisco, California area artist Daniel David Fuentes (American, 1978-2016). San Francisco Bay Area abstract expressionist and land...

Wonderful rustic landscape of ghost town Bodie, California titled, "The Old Trunk, Bodie" by Darwin Musselman (American, 1916-2010). Presented in a wooden frame. Egg tempera on Masonite, painted at his studio on Sequoia Drive in Fresno in 1972 (verified and authenticated by the son and estate, letter included). Signed "Darwin Musselman" lower right. Titled "The Old Trunk, Bodie" and signed "Darwin Musselman" on verso. Image size, 12"H x 24"W. Darwin B Musselman was born in Selma, California, in 1916 and began his art education at Fresno State College, from which he graduated in 1938. He then attended the Art Center School in Los Angeles, where he studied with the portrait artist, Stanley Reckless...

Beautiful oil painting of a basket of Fuji apples with a plaid cloth hanging behind by Helen Gleiforst (American, 1903-1997). Signed "Gleiforst" lower right. Unframed. Image, 24"H x ...

A charming & diminutive 1930s oil on Masonite view of Martha's Vineyard harbor by notable Chicago artist Francis Chapin. Artwork size: 8 3/4" x 11 3/4". Framed size: 12 1/2" x 15 1/2". Provenance: Estate of the artist. Francis Chapin, affectionately called the “Dean of Chicago Painters” by his colleagues, was one of the city’s most popular and celebrated painters in his day. Born at the dawn of the 20th Century in Bristolville, Ohio, Chapin graduated from Washington & Jefferson College near Pittsburgh, Pennsylvania before enrolling at the Art Institute of Chicago in 1922. He would set down deep roots at the Art Institute of Chicago, exhibiting there over 31 times between 1926 and 1951. In 1927 Chapin won the prestigious Bryan Lathrop Fellowship from the Art Institute – a prize that funded the artist’s yearlong study trip to Europe. Upon his return to the United States, Chapin decided to remain in Chicago, noting the freedom Chicago artists have in developing independently of the pressure to conform to pre-existing molds (as was experienced by artists in New York, for example). Chapin became a popular instructor at the Art Institute, teaching there from 1929 to 1947 and at the Art Institute’s summer art school in Saugatuck, Michigan (now called Oxbow) between 1934 – 1938 (he was the director of the school from 1941-1945). A prolific painter, Chapin produced numerous works while traveling in Mexico, France, Spain, Saugatuck and Martha’s Vineyard, where he frequently spent summers and taught at the Old Sculpin Gallery there. Chapin was best recognized for his dynamic and vibrant images of Chicago during the 1930s and 40s. Chapin was a resident of the Old Town neighborhood where he lived and kept his studio on Menomonee Street for many years. Described as a “colorful figure, nearly 6 feet 6 inches tall, and thin, and usually wearing tweeds”, it is easy to imagine Chapin at work observing the busy street life of the city. In addition to his many exhibitions at the Art Institute of Chicago, Chapin’s work was shown during his lifetime at such institutions as the Pennsylvania Academy of Fine Arts, Philadelphia; the Corcoran Gallery, Washington, D.C.; the National Academy of Design, New York; the Museum of Modern Art, New York; the Whitney Museum of American Art, New York and the Carnegie Institute, Pittsburgh, among others. Francis Chapin’s paintings are represented in the collections the Art Institute of Chicago; the Friedman Collection, Chicago; the Butler Institute of American Art, Youngstown; the Denver Art Museum; the Everson Museum of Art, Syracuse; the Norton Museum of Art, West Palm Beach...

In the mid-1960s Joseph Solman (American, 1909 - 2008) was commissioned to create portraits of the Begg family. This is a portrait of John Begg Jr., the son of the mid-century nuclear family...

Artist: William Harnden, American (1920 - 1983) Title: Conductor with Orchestra Medium: Oil on Masonite, signed Image Size: 15.5 x 19 inches Frame Size: 18 x 21 inches

Nativity scene on an architrave of a cathedral, done in the style of Hummel figurines by Helen Gleiforst (American, 1903-1997). Signed "Gleiforst" in t...

Wonderful mid-century still life of a floral bouquet with self portrait, in a vivid palette and painterly brush strokes, by Marjorie Hyman (American, - 2016), circa 1969. Signed lower left corner. Unframed. Condition: Good; wear on edges and corners. Image size: 30"H x 24"W. Hyman was a professional artist, published poet, played piano at the Officers Club during World War II. She studied theater at Stanford University and later performed professional monologues in the Bay Area. Member of the Peninsula Art Association, student of Alice de Boton...

Peter Sword Vintage Abstract Triptych Oil Paintings C.1970s Oil on recycled wood panels Each painting varies slightly in size Largest dimensions 24.5" w...

Robots, or "Strange Self-Sufficient Machine" by Giuliano Ghelli ( Florence, 1944- 2014, Chianti). Painting in a wooden frame with glass. Oil on canv...

Nocturnal seascape by Vasil (Victor) Papkov (20th Century). A dark storm hangs over the ocean, with mixed hues of black, blue, purple and red. At the ho...

Vibrant and playful landscape by California artist Richard "Don" Klopfer (1920-2009). Signed and dated "R. Klopfer 3.86" on verso. No frame. Board size: 13"H x 19"W Richard "Don" Kl...