Wood Paintings

Colorful mid century abstract expressionist painting by Les (Leslie Luverne) Anderson (American, 1928-2009). From the estate of Les Anderson in Monterey, California. Unframed. Titled...

FOUR HARPOONS 2021 Paris, France "Four Harpoons" (Abstract, Bold, Neutral, Black Painting on Wood; 50cm x 30cm) Abstract painting. Neutral color palette of black and white on wood....

Gorgeous mid-century seascape of turquoise and lavender waves crashing on coastal rocks by California artist Lee Ervast (American, 1916 - 1975), c.1950s. Si...

Acrylic on wood.

A Large, Dynamic Mid-Century Modern Painting of a Horse Race by noted Chicago Artist, Rudolph Pen. Artwork size: 24" x 36"; Framed size: 25" x 37". Signed "Pen" lower right and ti...

A Captivating, Expressive Mid-Century Modern Landscape Painting with Standing Female Nude by Noted Chicago Artist, Rudolph T. Pen. This vibrant, colorful oil painting, depicting an a...

Dialogue with Nature #89 is a unique painting by contemporary artist Maho Maeda. This painting is made with acrylic, coloured pencil and ink on cotton canva...

Jean Krillé’s paintings are known for their expressive use of color and dynamic, abstract forms, blending realism with abstraction in his depictions of nature. His landscapes often f...

No background setting is needed in this painting by Fichtl to reference solitude's impact on the young woman. Loneliness is etched into her features. The choice of a dark coat—is it ...

"KINDS OF PLANTS" is an original assemblage artwork by Jim Houser measuring 18" x 18". Jim Houser was born in 1973 in Philadelphia, Pennsylvania, the city where he currently reside...

"Fell into the Ocean" is a 16 x 16 x 1 inch abstract acrylic painting by Sandra Cohen. Dynamic, expressive brushstrokes in dominant cool oceanic tones of gray, white, blue, and hints...

Still life with red flowers is an artwork realized by Claude Decamps, mid-20th Century. Oil on canvas.  25 x 20 cm. Hand signed in red in lower margin. Good conditions!

American, 20th Century Signed: Klug '67 (Right, Center) " Still Life of Peaches ", 1967 Oil on Masonite 24" x 30" House in a 3 1/2" Frame with a 1" Linen Liner Overall Size:...

"Pacific Grove Glory" - Rocky Seascape Signed and dated "Coraly '06" in the lower right corner. Titled, dated, and signed "Pacific Grove Glory 2006 Coraly Hanson...

Edwin Kosarek (b.1929). Reclining Nude, 1952. Oil on wood panel, 17 x 48 inches. Signed and dated on verso. Edwin Kosarek Born: 1929 Studied: The Cit...

The exquisite still life can be paired with another still life with apples (symbolizing spring and autumn) also published on 1stdibs. Gianluca Corona expresses the values of the mo...

"Yellow Meadow with Sheep" Farmhouse Landscape in Acrylic on Masonite Idyllic pastoral landscape by Richard M. Bacon (American, 20th Century). A cow and two sheep are grazing in a p...

Mitzy Renooy Hanging-A-Round Ø 45 cm Frame is included in price, size with frame 55 cm Dutch artist Mitzy Renooy, a former camera woman for national television, did follow art acade...

Ana Hefco's (US based) "Ocean Waves #10" is an original, hand made mixed media painting that depicts an abstracted color field of blue, teal and beige, that is reminiscent of an aeri...

“Currency #198” presents a circular portrait of a woman in side profile, painted in luminous orange and ochre tones. Her headscarf, rendered with layered patterns and delicate highli...

Ardoise IX is the ninth of nine different medium size contemporary modern sculpture painting reliefs by French-Dutch artist Olivier Julia. The relief is made from beech wood and fini...

Antique Egyptian landscape oil painting by Noël French, 19th Century Canvas: Height 28cm, width 38cm Frame: Height 48cm, width 58cm, depth 6cm This stunning Orientalist landscape is...

Signed “Henning Ö” lower right for unidentified professional Scandinavian painter, oil painting of the second half of the 19th century on canvas pasted on (or supported by) wooden bo...

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...

Erin Parish draws on patterns found in nature for the subject matter of her tactile, bold, and brilliant abstract paintings created with oil and resin on wood and canvas. Inspired by...

Jeremy Novy’s unique brand of street art is ripe with thoughtful social examinations. Novy has combated a homophobic lack of representation with a celebration of gay iconography, bringing joviality and warmth to disused urban spaces. Since graduating from pecks school of the arts, Novy’s art has been met with acclaim across the country. His work has benefited non-profit foundations, advocacy organizations, and community service programs and has been featured in numerous films, books, publications, and collections public and private. His stencil work is cogent in its messaging and remarkably complex for its compositional simplicity-like the koi fish of his most-established series which, floating beneath the surface of concrete, refer to anti-authoritarian coded symbols in chinese art under communism. His pioneering images of drag queens, physique pictorials...

Annette Davidek (b. 1957, Flint, MI) creates mysterious yet beautiful paintings that reference naturalistic forms, from exotic plants and sea life to microscopic organisms. Combining...

Pomegranates and Sunshine was inspired by the warm Mediterannean landscape of Turkey's coast. A floral painting to make you happy. Rachael Dalzell's paintings are colourful and exp...

3-D hand made artwork using Perler beads and mixed media in a found painting in a vintage frame the artist lives and works out of Sweden and is represented by Krause Gallery in NYC

This layered paper and drawing collage titled "House Studies Series V" is an original artwork by Seth Clark made of paper, charcoal, pastel, graphite, and acrylic on wood. Through a ...

"Ballerinas" impressionist painting by Andre Gisson (1921-2003). Soft colors and bright light are hallmarks of Gisson's work. This is rare subject manor for the artist. Although Am...

" ALMOND BLOSSOM original acrylic painting. framed Julien was born in 1948 in Vichy, France. He studied art and theater in Clermont-Ferrand at the same time as finishing his degree ...

This sculptural painting by Natasha Lelenco, created on a wooden circle with a thickness of two centimeters and a diameter of 26 centimeters, is one of the recent works from the Curr...

WOMBS, TOMBS AND TOOLS 2020 Paris, France Hand-painted, serif typeset words loosely convey the similarities between the place we begin and end life -- the womb and the tomb --- and ...

Ancestral sound #41 is a unique painting by contemporary artist Maho Maeda. This painting is made with acrylic, coloured pencil and ink on cotton canvas and carved wood, dimensions a...

Crucifixion, cercle of Adriaen Isenbrandt, mid 16th century School of Bruges, cercle of Adriaen Isenbrandt (actif 1510-1551) Oil on oak panel with its original ebonized frame Dimensi...

Carré vertical I is one of the latest medium size contemporary modern sculpture painting reliefs by French-Dutch artist Olivier Julia. The relief is made from dozens of individually ...

Consigned to the gallery; By descent to the Katherine A. Norris Legacy Collection, Huntington Beach, California; Acquired by Katherine A. Norris, Newport Beach, California; From John...

Ocean Wave, Mid Century Modern Abstracted Seascape Beautiful abstracted seascape, a mid century modern oil painting of ocean waves breaking on ro...

Artist Len Klikunas paints to modify experienced reality through visual perception. His art is a mix of art and architecture, hovering between painting and sculpture. It employs shizen (自然): the Japanese concept of naturalness, absence of pretense, or artificiality. Material is stretched over a supporting three-dimensional framework, like a tent, and coated with paint. This multi-dimensional 18-inch square, 3.25-inch deep post-minimalist artwork is wired and ready to hang. It is created with white acrylic and black spray paint on canvas, stretched over a three-dimensional wooden form. The sides of this artwork are finished by the artist as a continuation of the front, and it does not require framing. The artist signs and titles the artwork on the back. Convenient delivery is available for those in the local Los Angeles area, and affordable worldwide shipping is available for US and international art collectors. A certificate of authenticity issued by the gallery is included. Klikunas focuses on the larger idea behind his original abstract minimalist artworks. The work is characterized by “mindful artlessness” and simplicity. The natural-like radiation that comes from the structure of the materials and color schemes expresses calmness. With a fusion of art and architecture, Klikunas presents compositions that defy conventional perceptions. Through strategic placement and a rich color palette, he creates three-dimensional structures that engage viewers in a captivating visual experience. Len Klikunas' sculptural minimalist works are represented by Artspace Warehouse Los Angeles. They have been exhibited and collected throughout the world. REPRESENTATION Artspace Warehouse, Los Angeles, USA SOLO EXHIBITIONS 2018 Lacy Lines, The District, Boise, Idaho Horizons, Landscapes, The District, Boise, Idaho 2013 Block in the Void, The District, Boise, Idaho 2012 Back of the Light, The District, Boise, Idaho 1979 Nudes by Klikunas, Courtyard Gallery, Portland, Oregon 1976 Solar Votives, Clackamas College Gallery, Oregon City, Oregon SELECT GROUP EXHIBITIONS 2023 “Fluro Colour Forever”, Civic Center, Nampa, ID 2022 “Lines In Motion”, Artspace Warehouse, Los Angeles, CA 2020 Midnight Blue, Artspace Warehouse, Los Angeles, CA Reflections and Shadows, Meridian Library, ID Behind the Red Door, Initial Point Gallery, ID 2019 Affordable Art Fair, New York, NY Roots, Nampa Civic Center, Nampa, ID Binary Response, Artspace Warehouse, Los Angeles, CA After Dark: A Duality, Nampa Civic Center, Nampa, ID 2018 Affordable Art Fair, New York, NY Artspace Warehouse, Los Angeles, CA Art Palm Springs, CA 2017 Artspace Warehouse, Los Angeles, CA 2016 6 by Six, Art Source Gallery, Boise, Idaho (juried) This American Life, Treasure Valley Artists Alliance, Boise, Idaho (juried) Celebrating Private Idaho, Treasure Valley Artists Alliance, Boise, Idaho (juried) Inner Workings, Surel's Place, Winston C. Mitchell and Surel L. Mitchell Family Foundation honorarium, Garden City, Idaho (juried) 2015 Hunting and Gathering Exhibition, Treasure Valley Artists Alliance, Boise, Idaho (juried) Artspace Warehouse, Los Angeles, California 2nd 2015 Showcase Competition, winner, Artslant Bellingham National Salon des Refusés, Whatcom Museum, Bellingham, Washington 2011 Elon University Gallery, Elon, North Carolina 2010 Idaho Triennial, Boise Art Museum, Boise, Idaho 1987 La Quinta Juried Art Festival, La Quinta, California 1984 Courtyard Gallery, Portland, Oregon 1983 Courtyard Gallery, Portland, Oregon 1982 Courtyard Gallery, Portland, Oregon 1981 Courtyard Gallery, Portland, Oregon 1980 Salon de Refuses, Portland Center for the Visual Arts (PCVA), Portland, Oregon Courtyard Gallery, Portland, Oregon 1979 Courtyard Gallery, Portland, Oregon 1978 Artists of Oregon, Portland Art Museum, Portland, Oregon (juror: Wayne Thiebaud) Courtyard Gallery, Portland, Oregon Gazebo Gallery, Lake Oswego, Oregon 1977-1974 Courtyard Gallery, Portland, Oregon Gazebo Gallery, Lake Oswego, Oregon PUBLICATIONS 2010 ArtDaily, Feb 5–May 25, 2010 2010 Boise Weekly Vol. 19 Issue 15, Oct 6–12, 2010 2010 Sustain + Expand, Boise Art Museum, Boise, Idaho 2010 Idaho Statesman, Boise, Idaho, Taking the Pulse of Idaho’s Art...

VITUS 2022 Paris, France A bold and graphic painting done with acrylic on a paneled antique door. A beautiful patina and dimensional shape of the door acts as a backdrop. The piece features black and white abstract shapes...

Acrylic on masonite. This is a pivotal work in deep and radiant cobalt blue from 1950. It dipicts calligraphic and hieroglyph structures over a grid and pyramidal base by the first generation abstract expressionist. Provenance: Skinner: November 13, 1992 [Lot 00219}, The entry in the Skinner catalog indicates that the painting came directly from the artist to the family of the consignor to Skinner. Kaminsky Auctions. There is an unbroken paper trail that traces the ownership of the painting from the current owner, through two auction houses to the artist. Perfect unbroken provenance. Pousette-Dart was among the most inventive of the Abstract Expressionist generation, His uncanny talent was to expand the nature of abstraction and still make each mark each element very much his own; a reflection of what he called   "the concealed power of the spirit," he said, “not of the brute physical form."   His was not aiming for a singular, realized aesthetic formula but to expand the possibilities of painting; the transcendental in painting. Typical of such invention and exploration is this  painting  Untitled 1950 when the artist was only 34 years old and represented by one of the champions of the new American painting, Betty Parsons.  
A banner year for Pousette-Dart, the Museum of Modern Art acquired their first painting by the Minnesota born artist.  He worked on easel size works such as this painting an oil on masonite. At the same time Pousette-Dart was also working on larger scale works such as Path of the Hero, running over ten feet in length now in the collection of the Metropolitan Museum of Art.  Both contain fields of color articulated by a highly sophisticated white hieroglyphic vocabulary. Rather than demonstrate an expressionist sensibility, Pousette-Dart harnesses his more cerebral ideas transforming thick areas of paint into a more refined composition of geometric forms akin to the pattern and forms of say a stained glass window. In a way he is looking back at Fugue, 1940 a black and white composition which makes use of a similar format of painting albeit smaller. Color and form are minimal, but what Pousette-Dart has maximized is the rhythmic and syncopated character of painting casting his ideas into purely symbolic terms that one might link to the pictograms of Adolph Gottlieb. Nonetheless, nature is always at the core of Pousette-Dart’s thinking and dreaming. Here he has transformed the local Ramapo Mountains—where he will eventually move with his family to live and work— into a complex series of articulated fragments linked by style, scale and color.  The painting’s imagery built on two large triangles and reduced to just two colors, cobalt blue and white all outlined in black.  Pousette-Dart symbols stacked in horizontal and vertical rows:  blue is ground, white is language, symbolic of light, consciousness and awareness . The painting maintains a mystical character images compounded that formulate a secret code and linked to the series of white paintings Pousette-Dart authored in the first half of the 1950s. Get up close to the picture and you discover images within images a kind of picture puzzle...

As we gaze upon at this artwork, our eyes are immediately drawn to the foreground where a comical spectacle unfolds before us. A carriage, stubbornly stuck in the midst of a ford, se...

Kansas City Cityscape, Mid Century Modern Primary Colors Urban Landscape Mid-century modern urban landscape by California artist Eleanor Perry (American, 20th century). This 1969 mo...

This atmospheric pastoral landscape by a Dutch artist portrays a peaceful 19th-century riverbank where rural life blends with the romance of waterways. The composition follows classi...

Sky Blue Excess by Chloe Hedden captures the serene and infinite expanse of the sky in rich, sculptural texture. The swirling, fluid application of paint evokes the gentle movement o...

Mid Century Modern, American Abstract Expressionist Painting on Masonite. This wonderful work in exciting colors is housed in a contemporary white wood frame presentation.. The art...

Dining Room Interior Scene in Oil on Masonite Inviting and warm interior dining room scene by S. Spencer (American, 20th Century). Lovingly painted scene of a dining table with orna...

This captivating artwork features a vivid still life composition dominated by a potted plant with lush, broad leaves, prominently positioned in the foreground. The plant's leaves exh...

"At The Verde River" (2024) by Fikriye Oz is an original, handmade oil painting on wood that depicts a close up portrait of a woman with red hair. Fikriye Oz is a representational ...

Athenian Woman Carrying a Water Jar In a White Dress Beautiful painting by a Central California artist circa 1890s (American 19th c). Oil painting of a Athenian woman holding a blue water vase on her shoulder with a red and orange shawl draped over her white dress. Painted on late 19th century Academy...

This work is a unique piece. It is a gilded oil painting on linen canvas with 12 carat gold leaf. CS Art comprises of two artists, one French, the other Norwegian. They have been p...

Impasto Oil Painting of Melting Snow on English Moor Landscape by British Artist. Original on Canvas. Art measures 20 x 8 inches Frame measures 25 x 13 inches Colin Halliday is a ...

Jill Opelka Abstract III Oil on Canvas Year: 2023 Size: 20x20in Framed: 21x21x1.5in Signed by hand COA provided Ref.: 924802-2050 Tags: Abstract, Vibrant, Deep, Blue, Navy, Green, Orange, Pink *Framed in a black wooden frame ----------------- Upon entering Jill Opelka's home, her creative essence is unmistakable. Adorned with New Yorker Magazine covers, her dining room exudes a vibrant charm, complemented by quirky giant tortoises in the living room. The space is a reflection of Opelka's lively personality, evident in her central studio nestled within the bright breakfast nook. Embraced by natural light and captivating outdoor vistas, it's where her artistry thrives, even evident in intricate details like a practical denim quilt...

Girl in restaurant in Paris. 19th century, oil on wood, 46x37,5 cm Eduardo Léon Garrido (1856-1949) Eduardo León Garrido was born in Madrid in 1856. He falls within the Group of Spaniards in Paris, as he warns in his style, with clear influences of Impressionism, somewhat reminiscent of Manet. He was the eldest son of Luis Garrido Fernandez, an official at the Ministry of Finance. His father would have liked him to embrace an administrative career but Eduardo León moved towards the artistic career. Trained in the Escuela Superior de Madrid, he painted his first work « the theft of the Sabine women », at only eighteen years old. Then he entered the Studio of Vicente Palmaroli (1834-1896). He will always consider the latter as his true teacher. In 1875, at the age of 19, he arrived in Paris to continue his studies with a scholarship from the city of Madrid. The same year he exhibited for the first time at the Salon where he presented a « Saint Jerome ». Very quickly he appears to be noticed by the famous merchant of the Rue Chaptal, Adolphe Goupil, for who he worked a few years. Notice that Vincent van Gogh worked for Goupil & Cie from 1869 till 1876 (his brother Theo entered in 1873. From 1876 on Garrido exhibits portraits and stylish, contemporary scenes. Catalogues indicates that he changed his dealer for the gallery Borniche around 1880. During the years 1882-1894 he did not expose anymore at the Salon (except once, in 1887, with the portrait of his friend, the painter Bréauté) . However, he painted a lot to feed the gallery of his dealer and a few galleries in Madrid. During that period he had also some student : Anne Blanche Dillaye (1851-1931), the american painter, studied with him from 1885 till 1887. From 1892 onwards it is the merchant Félix Gérard (one of the first dealers of work by Manet and Courbet), of the Rue Lafitte, which concludes with him an exclusive contract. He probably imposed to the artist to paint a different style. This sealed a radical departure from his 1880-1890 period, during which he painted the streets of Paris, café terraces, newspaper kiosks, and was likened to very fashionable Belle-Époque artists. From 1892 onwards, Garrido painted almost solely gallant scenes in the 18th century style, in keeping with current tastes and clients’ demands. Meanwhile, Garrido left Paris. In 1888 he established a studio on the banks of the Marne at La Varenne-Saint-Hilaire (Val-de-Marne near Paris). He married there in 1892 one of its models, Leonie Beck, and in 1893 their first child, Louis- Edouard, was born. He is quickly integrated into local life and became an art teacher in the Philotechnic Association of La Varenne. From 1895 onwards he presented new works at the Salon des Artistes Français and in 1914, he obtained the French citizenship, while two of his son went into battle (World War I). He continued painting, mainly landscapes, portraits of family members (children, granddaughter Odile born in 1923) and flowers. At the end of his life and because of poor eyesight he painted exclusively flower bouquets. In 1939, Eduardo León and his wife Leonie arrive at Caen. They settled with their son, Louis- Edouard, who resided there. Eduardo Leon Garrido died there in 1949. He is buried in the family burial at the cemetery Venoix in Caen. Some of his paintings can be seen in the Museo del Prado (Madrid), the Museo Carmen Thyssen (Málaga), the Museo Nacional de Bellas Artes (Argentina), Bilbao Fine Arts Museum and private collections such as the Bellver Collection in Sevilla. In the Musée Charles Léandre...

A strong modernist oil painting depicted in the Mid Century by Russian painter Michael Baxte. Mostly known for his abstracted figures on canvas or street scenes, this piece is a wonderful representation of his portraits in village landscapes with expressive use of color, shape, and form. Later in his career, Baxte explores Expressionism, infusing both European and North American stylistic trends. Art measures 25.5 x 21.25 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. 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 the 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's 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...

Without a doubt California's charming coastal village of Carmel compels one to romance. But this location, the 1797 Mission San Carlos Borromeo Del Rio Carmelo, with its lovely, foun...

Signed lower right: Johan Arsenius and dated 1858 or 1853, attributed Johan Georg Arsenius (1818 - 1903), was a Swedish military man, painter and draftsman. Up for sale is important ...

SALE ONE WEEK ONLY Jennifer's "Untitled" piece appears to be a landscape with a colorful stripped form arising out of the grasses. It is an iconic image that she incorporates into her work. The following excerpt from her Artist Statement best describes her feeling about it: I stopped the slug imagery and started making purely abstract paintings. Eventually, abstract lines and forms evolved into “characters.” They lived in landscapes of a realistic sort. They were abstractions on a representational journey. It occurred to me that they were the slugs. I thought they had gone but they hadn’t. It occurred to me that they were the slugs. I thought they had gone but they hadn’t. They were the slugs transformed. Evolved slugs and broken out from their cocoons. They had become abstract “butterflies.” Jennifer Wynne Reeves was known for creating a body of paintings, drawings and photographs that speak to and confront formalist and humanist dilemmas. Beyond her achievements in the art world, Reeves enjoyed a considerable fan-base as a result of her astonishing Facebook presence where she chronicled and interwove her art and diaristic prose. Reeves solo exhibitions included Art & Public in Geneva, Gian Enzo Sperone in Rome; Max Protetch, Ramis Barquet and BravinLee programs, NYC. Reeves was also celebrated for her writing. She produced a graphic novel, The Anyway Ember and Soul Bolt, a book of images and prose. “Profoundly rewarding works” said LA Times writer, David Pagel, in a review her 2015 exhibition at CB1 Gallery. Reeves is a John Simon Guggenheim Fellow recipient. The following is an artist’s statement about her theory off work: “Twenty years ago, I called them slugs. In the beginning, they were like long lumps without arms or legs. Powerless. Difficult. Paralyzed. I thought maybe they were the symbols of sloth or depression or fear. They didn’t do anything. I wondered if I should stop making them? They were not beautiful. Nobody liked them. Nobody wanted to look at them. They were repellent and, worse, they were funny. I hated that. I wanted to be a “serious” artist. I was conflicted. I had to make the images that came to me but I was embarrassed. Maybe it wasn’t a fancy path but painting slugs was more honest than painting flowers (nothing against flower paintings, mind you). It came down to a moral choice. So, I determined to follow the slug road. Maybe it was a road that led somewhere? Or maybe not. After several years, I thought I hit a dead-end. I stopped the slug imagery and started making purely abstract paintings. Eventually, abstract lines and forms evolved into “characters.” They lived in landscapes of a realistic sort. They were abstractions on a representational journey. It occurred to me that they were the slugs. I thought they had gone but they hadn’t. It occurred to me that they were the slugs. I thought they had gone but they hadn’t. They were the slugs transformed. Evolved slugs and broken out from their cocoons. They had become abstract “butterflies.” Little kids liked them. I hated that. I wanted to be a “serious” artist. I’m not sure, exactly, who they are. They could be our conscience, our psychology, or simply the part inside us that yearns. They could be artists, modernists or the first of “us” that crawled out of the ocean. My best hunch is they are whatever it is that makes us want to make. I hope that’s a good thing and beautiful and seriously funny. Whatever the case, I’d like to know what it’s all about.” Jennifer Reeves...

"Her Lament, Our Shame" (2024) by Fikriye Oz is an original, handmade oil painting on wood that depicts a close up portrait of a woman with short black hair. Fikriye Oz is a represe...