Wood Paintings

The Cosmic Dream - Visionary Figurative Nude Composition in Acrylic on Masonite Flowing and stylized figurative work by Kimberlee Kuwica (American, b. 1967). A figure is floating th...

French mid 20th century Montparnasse style picture frame Wood and plaster Internal measurement (to house painting or mirror): 18 x 13 inches Overal outer measurements: 24 x 19 inches Provenance: from a collection in Paris Condition: all old picture frames...

Ben Wilson Byzantium, 1975 Oil on Masonite painting Hand signed reverse, Titled, "Byzantium", dated 1975 by the artist and also with estate stamp - in addition to Ben Wilson's hand signature Frame included: elegantly framed in a handmade white wood frame with UV plexiglass This painting is done by the second generation Abstract Expressionist artist Ben Wilson - one of the youngest artists to be given a show at ACA Gallery in 1940. The work is signed by the artist on the back and also signed with the Estate Stamp and signature on the back. Ben Wilson was born in Philadelphia in 1913 to Jewish parents who had emigrated from Kiev and settled in New York City. He was educated in Manhattan public schools and graduated from City College in 1935. To gain exposure to a wider range of styles, he also studied at the National Academy of Design and at the Educational Alliance. Admired by critics throughout his long career, Wilson was singled out as a “discovery” by the New York Times art critic Edward Alden Jewel even before his first one-man show at the Galerie Neuf in 1946. His paintings of the ’30s and ’40s were expressionistically rendered, often Biblical parables, filled with what he called “the grief of the intolerable” and reflecting an acute awareness of the agony of the time, from the Holocaust to the Spanish Civil War. A WPA artist who identified strongly with the plight of the Jews in Europe, he relentlessly explored themes of war, torment, and futility in his early decades of painting. When times changed and social pressures subsided, Wilson’s mood lifted. He spent 1952-54 in Paris working at the Academie Julien. During the ’50s his involvement with specific imagery persisted but became more psychological and mythic in orientation. Influenced by Cubism, he created a vocabulary of interlocking shapes and bold, sweeping gestures that served as a transition between his early figurative expressionism and his later abstract constructivist concerns. Towards the end of the decade Wilson reached a crossroads, moving towards abstraction and searching for what he called “a scaffolding under the externals.” By 1960, influenced by the Russian Constructivists, Mondrian, and Abstract Expressionism, Wilson turned to abstraction. Reexamining the basic elements of painting, he evolved his own personal vocabulary and structure, fusing the cerebral and the emotive. He became increasingly experimental, using house paint, sand, and other unorthodox materials in paintings that he worked from all directions, dripping, spraying, stenciling, and collaging. He employed elements of disjunction, repetitions of geometric motifs, linear networks, and complex overlays to create the transparent, multi-layer development of space that characterizes his later paintings. A consummate draftsman, Wilson filled notebook after notebook with drawings that he amplified in his paintings. Eschewing popular movements, Wilson was always one to pursue a personal aesthetic. Despite more than 30 one-man shows and 50 years of teaching, he increasingly withdrew from the gallery scene but continued to paint daily until his death at age 88 in 2001 in Blairstown, New Jersey, where he and his sculptor wife Evelyn Wilson...

Alfonso Hüppi (1935) Untitled Mixed media on canvas (paint, wood) 49 x 54 cm Signed and date 1962 Hüppi was born 11 February 1935 in Switzerland. He was...

This painting is a perfect example of lyrical abstraction and a choice painting out of the best period of Vlerick's career. Pierre Vlerick’s work shows...

Icon of Our Lady of Jerusalem. Egg tempera on gesso and over a wooden board. Dimensions in centimeters: 42 x 34 x 2 cm / In inches: 16.54 x 13-39 x 0-79 " Author: Oliver Samsinger...

French mid 20th century Montparnasse style picture frame Wood and plaster Internal measurement (to house painting or mirror): 18 x 15 inches Overal outer measurements: 24 x 21 inches Provenance: from a collection in Paris Condition: all old picture frames...

Josep Puigdengolas Barrella (Barcelona (1906 - 1987), was a Spanish landscape painter of the 20th century. The Marqués de Lozoya said of Puigdengolas that ...

French mid 20th century Montparnasse style picture frame Wood and plaster Internal measurement (to house painting or mirror): 18 x 13 inches Overal outer measurements: 24.5 x 19.5 inches Provenance: from a collection in Paris Condition: all old picture frames...

Original frame which measures 43" x 22" x 1.5" Signed lower right "B. W. Smith" Signed, titled and listing original price verso in pencil on label 'Beatrice Wose Smith/"Reflections ...

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...

Still life with Calla Lily is an oil painting on masonite realized by Ugo Celada da Virgilio. Hand-signed on the lower left. Provenance: Galerie Sigfrid O...

"Plateau" Oil Painting 14" x 18" inch by AHMED ZAGHLOUL

This painting is a perfect example of lyrical abstraction and a choice painting out of the best period of Vlerick's career. Pierre Vlerick’s work shows...

Mountain Road Landscape in Oil on Masonite Bright and textured mountain landscape by Artemis Wilhelm (American, 20th Century). The viewer stands on a ...

Original raised wood with inset enamel paint artwork by Sid Birnbaum. The painting is done in a abstract cubist style. Condition is very good. Signed and dated verso, 1987. Overal...

Gorgeous vintage landscape of Bavarian lake with snow-capped mountains in background. Signed illegibly bottom right corner and on verso. Palette knife work adds texture and interest....

Excellent Mid-century nude by famous illustrator/ artist Walter Charles Klett. The work is masterfully painted with a sound understanding of the basic academic principles guiding t...

Signed: by Richard Geiger (1870 – 1945), Austrian - Hungarian painter. Also pencils inscriptions on reverse with date 33 (1933). By the 1920s, he worked illustrating books, bookplates and posters. His paintings included portraits, nudes, genre paintings, and mythological scenes, but he was known for his illustrations, especially his carnival motifs. Spectacular masterwork. Size app.: 18 x 23.3 cm (roughly 7.1 x 9,2 in), framed 31.7 x 36.4 cm (roughly 12.5 x 14.3 in). Very Good condition, minimal age wear. In person actual painting may appear darker or brighter than in our pictures, strictly depending on sufficient light in your environment. Please study good resolution images for overall cosmetic condition. Glass will be removed prior to shipment for safe transit. Weight of app. 0,5 kg (without glass!) is going to measure some 2 kg volume weight packed for shipment. R. Geiger was born in Vienna. He first attended a drawing school and then studied at the Academy of Fine Arts Vienna, where he studied under Christian Griepenkerl and August Eisenmenger. He studied sculpture with Fritz Klimsch at the Academy of Arts in Berlin. There he took part in the exhibitions of the Academy with his portrait busts and sculptures. In Paris he studied at the Julian Academy and worked in the studio of François Flameng...

Vibrant depiction of a group of bathers in a lush, colorful forest of fauvist invention by California artist Don Klopfer (1920-2009). The stylized nude fig...

Blessing John Hardy, American (1923–2014) Date: 1997 Oil on Wood, signed Size: 24 x 18 in. (60.96 x 45.72 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...

Scandinavian School, early twentieth century. Inscribed, verso, on stretcher bar, 'Anna Ancher' with indistinct inscription and painted circa 1910. A psychologically-penetrating portrait of a young woman shown in profile, wearing a gold earring and a polychrome silk headscarf...

Zengeist (Mask) John Hardy, American (1923–2014) Date: 1998 Oil on Wood, signed Size: 48 x 32 in. (121.92 x 81.28 cm) Reference: Bool 405

Still life is an original modern artwork realized by Ugo Celada da Virgilio in the half of the 20th Century. Original Oil Paintig on Board. Hand-signed b...

Painted by Jim Jacobs (American, born 1945), titled, 'Nankaweep' and dated 1983. Previously with Lopoukhine Gallery, Boston from label, verso. A substantial, dynamic abstract compri...

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...

John Okulick, large colorful wood wall sculpture construction "Perfect Harmony" Hand signed and dated, 1999 Dimensions: H: 52 inches:...

Signed and dated "Mary Spencer Nay '74" lower left. Titled "Pyromaniac's Pyre" verso. Exhibited: 1976-1977 "Mary Spencer Nay: Recent and Retrospective Works". J.B. Speed Art Museum...

Sculptural folk art piece by listed artist Sharon Yavis. This work is constructed by applying layers of wood to create an almost three dimensional effect ...

Exhibited: 2003 Oakland Museum of California "Fred Martin Retrospective" A native Californian, Fred Martin was born in San Francisco in 1927, and received both his BA (1949) and MA (1954) from University of California, Berkley. At the San Francisco Art Institute Martin studied with Clyfford Still, Mark Rothko and David Park...

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 1950 University of Illinois at Urbana "Contemporary American Painting" 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 36" 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...

Exhibited: 1973 San Francisco Museum of Art 2003 Oakland Museum of California "Fred Martin Retrospective" A native Californian, Fred Martin was born...

Geometric Abstraction Oil on wood construction 26 x 25 1/4 in.

Artist: De Es Schwertberger (Dieter), Austrian (1942 - ) Title Stepping In Year: circa 1980 Medium: Oil on Masonite Size: 55 x 76 inches

A wonderful work by the elusive Salvadoran Mauricio Aguilar which is sculptural as well as pictorial. As I hope the video will show, the artwork offers new perpectives when viewed fr...

A pair of abstract modern paintings by Richard W. Dempsey (1909 - 1987). Paintings are oil on masonite and signed "Dempsey" front bottom corner. On the back of each painting on tape is written "Harmony". Richard Dempsey was born in Ogden, Utah, on September 14, 1909. His youth was spent in Oakland, CA, where he attended Sacramento Junior College (1929-31) as an art major. He then studied at The California School of Arts and Crafts (1932-34) and the Students Art Center (1935-40), where he was taught by the sculptor Sargent Johnson. In 1941, he moved to Washington, DC and studied at Howard University...

Oil on masonite painting by Eleanor Church (mid 20th century Rye, New York artist). “Crashing Surf”. Signed lower right. Condition is excellent. The painti...

Signed lower left: Iosif Evstafievich Krachkovsky (1854 - 1914), and dated lower right - 1910. Summer View Of Well pole or Shadoof / sweep somewhere in Ukraine (due the specific wicker fences design). A hot summer day that causes thirst, water quenches it. Water, a symbol of life at all times. The well depicted in this painting. source of water and hence the source of life. Symbolism and philosophical overtones in this painting is the main message of the artist to us... Oil painting on canvas pasted on cardboard, framed, early 20th century. Size app.: 45 x 33 cm (roughly 17.7 x 12.99 in), framed by 56 x 44 cm (roughly 22.04 x 17.32 in). Very Good condition, age wear, canvas pasted on cardboard. Please study good resolution images for overall cosmetic condition. In person actual painting may appear darker than on our pictures, appearance also depends on sufficient light in your room. I. E. Krachkovsky - Polish-Russian landscape painter...

Bold San Francisco Abstracted Still Life Composition in Oil on Board Bold still life composition by Frank Koci (Czech-American, 1904-1983). A table is set with a jug of wine and a bowl of fruit and a landscape in the background. It is composed of several layers of paint, with bold outlines. In some areas, paint has been scraped away to create additional texture. In broad terms, you can describe Koci’s paintings as a series of “people-scapes,” wherein people are shown having relationships (some fleeting, some enduring) with fellow humans. A better term is probably “preludes” — wherein each painting sets the stage for something momentous that will occur in the very next frame. In the best Kocis, the tension is palpable. Signed in the lower right corner "Koci". Presented in a wood frame. Board size: 13"H x 30"W x .5"D Born in 1904 in Pilsen Czechoslovakia to a widowed mother. Koci grew up in poverty. Leaving Pilsen at 17 he was already too sophisticated about arts and literature, drama, and polished...

Mobile reliefs with moving patterns operated by motors that alter the space colour ratios, initially in black and white and later in colour. Very slowly, the parts changed, were sepa...

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...

Poignant bronze sculpture of nurturing mother elephant and her calf. Rich brown patina with hints of verdigris. By American sculptor Dan Ostermiller. Signed and dated 1992. Casting n...

Mervin Jules (American, 1912-1994) Folk Singer, 20th century Oil on masonite 18 x 7 1/2 in. Signed lower left: Jules Provenance: Garelick's Gallery, Detroit Matte included, no fram...

Christ, the Great High Priest. Greek-Italian style Icon with silver filigreed oklad. Egg tempera, over gesso on wood with a silver cover, "oklad", with pol...

Ship and Boathouse - Coastal Landscape in Oil on Masonite Dramatic depiction of a ship and house by unknown artist "Jensen" (20th Century). A white and blue boat is tied up to a pos...

Signed lower right, 'Crowell' and additionally signed, verso, 'V. Crowell' (American, 20th century) and dated 1966. Additionally signed, verso, on frame, titled, 'Hot Afternoon...

Striking oil painting on canvas of an American four mast sailing ship, in all its glory, in ocean waters with a stem ship in the horizon. Signed by noted marine artist Frederick L.Ow...

Lush landscape of an autumn forest by Evelyn Campbell (Australian, 20th Century). A path runs from the lower right of the composition through an open gap in a wood fence, with a wago...

Fred E. Robertson (1878 - 1953) Swapping Horses, 1947 Signed and dated lower right Oil on masonite 12 5/8 x 24 inches Fred Robertson, like his more famous older sister, Anna Mary Ro...

Coquillage et réveil en rouge by Henri Hayden (1883-1970) Oil on paper laid down on isorel 33.5 x 46 cm (13 ¹/₄ x 18 ¹/₈ inches) Signed and dated lower le...

Ultra Realist Library Still-Life Books and Candles "Little Devil in the Details" Highly detailed library interior scene and still-life titled "Little Devil in the Detail" by Ken DeWaard (American, 20th-century). This intriguing artists performance in excellence piece, features realistically rendered books, paintings within paintings, candle light, and a devil or gargoyle sculpture. The artist creates a strong mood as well as interesting subject matter in this unique scene. Signed "Dewaard '99" upper right. Displayed in a wood frame. Image size, 13"H x 14"L. Frame: 20"H x 21"W x 2"D After receiving his Bachelor of Arts with honors, Ken began working in a commercial art studio in Chicago. He continued his studies at the American Academy of Art, where he studied with nationally recognized watercolorist, Irving Shapiro. Upon Irving's recommendation Ken joined the acclaimed Palette and Chisel Academy of Fine Art in Chicago, where he soon began studying with Scott Burdick as well as Dan Gerhartz...

David Sharir was born in 1938 in Tel Aviv, Israel and currently resides there. David Sharir, the son of Russian immigrants, was born in Israel. Beginning his study of art in Tel Avi...

Boldly colored sunset seascape by California artist Richard "Don" Klopfer (1920-2009). Signed and dated in the lower left corner ("Klopfer 12-98"). Canvas laid down on Masonite. No frame. Board size: 7.5"H x 9.5"W Richard "Don" Klopfer (1920-2009) attended the National Art School in Washington D.C. and the California College of Arts and Crafts in Oakland, California. Klopfer was a life-long, passionate visual artist who worked in a variety of mediums, including oil paints, wood and bronze. His gallery "The Flair" was on Pico Blvd West Los Angeles from 1954 to 1980 was a gathering place for artists, friends and collectors. He was recognized for the use of brilliant color in his paintings and for leaving drawings everywhere he went. Klopfer's painting "My Old House" is on permanent exhibition at San Luis Obispo Museum of Art (SLOMA). He has also exhibited at The Los Angeles County Art Museum, Esther Robles Gallery, Third Street Gallery, Westwood Art Association, Barnsdale Park, and Robert Pyle Gallery. Selected Exhibitions: 1990 - Wild Horse Gallery - San Luis Obispo, CA 1991 - “South County Journey” - El Camino Arti Association Gallery - Pismo Beach...

Artist: Paul Van Hoeydonck – Belgian (1925 - ) Title: Planete Year: 1961 Medium: Mixed media Size: 48 x 48 inches. Signature: Signed, dated, titled on the reverse Condition: Good This mid century work by Paul Van Hoeydonck is a direct and strong composition, like so many of Van Hoeydonck’s Planete works. It measures 48” x 48” and is a mixed media composition. It is a composition on masonite or a similar material. There is flat black and gloss black paint. Perhaps the gloss is lacquer. The surface is highly textured. The black areas have small finish nails, lying flat, attached to the surface. The other areas have sand or some other particulate in the paint. It is signed, titled and dated on the reverse. The date looks like “1961” but it could be “1969.” Please see pictures. Stylistically, this work looks very much like his work from 1961-1962. The piece is in good condition. There is a faint scratch in the upper left and some very small chips on the edges. Please see pictures. There also might be very, very light surface dirt throughout. Please refer to the artist's website as well as Whitford Gallery for extensive biographies of the artist. Public collections include Galleria Comunale d’Arte Moderna, Rome Israel Museum, Jerusalem Koninklijk Museum voor Schone Kunsten, Antwerp Museum of Modern Art, New York Stedelijk Museum, Ostende Van Abbemuseum, Eindhoven The Solomon R. Guggenheim Museum, New York PAUL VAN HOEYDONCK BIOGRAPHY 1925 Born in Antwerp, Belgium 1945-51 Graduated in History of Art and Archaeology in Antwerp, Belgium. 1952 First solo-exhibition, figurative paintings, Gallery Buyle, Antwerp, Belgium. (OMS) Figurative paintings, Gallery Unicum, Bruges, Belgium.(OMS) Figurative paintings, Au Cheval de Verre, Brussels, Belgium.(OMS) 1953 One-man show figurative paintings, Gallery Unicum, Bruges, Belgium. "Open Air Party", Driekoningen Castle, Beernem, Belgium.(GE) "Salon Quadriennal de Belgique" Liège, Belgium.(GE) 1954 Creates Coloured Geometrical Abstract paintings Gilbert Swimberge and Paul Van Hoeydonck, Galerie Théâtre du Poche, Brussels, Belgium.(GE) "Zomersalon Salon d'été" Gallery Unicum, Bruges, Belgium.(GE) "Salon quadriennal des Beaux-Arts" Ghent, Belgium.(GE) 1955 Gallery Dutilleul, Brussels, Belgium.(OMS) 1956 Co-founder of art group “FORMES” "Lauréats du prix Jeune Peinture Belge", Palais du Beaux-Arts, Brussels, Belgium.(GE) Diamond among the works 'distinguished by the jury' "La peintres du groupe Formes" Cercle Jean Jaurès, Salle de l'Académie de musique, Morlanwelz.(GE) "Défense du petit format", Gallery Saint-LaurentBrussels, Belgium.(GE) Gallery Saint Laurent, Brussels, Belgium.(OMS) 1957 Created first monochrome collages. "Salon national du meuble social moderne" Museum voor Sierkunst, Ghent, Belgium.(GE) "Lauréats du Prix Jeune Peinture" Société Royale des Beaux-Arts, Verviers, Belgium.(GE) Gallery le rouge et le noir, Charleroi, Belgium.(GE) "Groupes" Gallery Accent, Antwerp, Belgium.(GE) "Défense du petit format" Gallery Saint Laurent, Brussels, Belgium.(GE) "Summer Exhibition" Gallery Accent, Antwerp, Belgium.(GE) "Paul Van Hoeydonck" Gallery Saint Laurent, Brussels, Belgium.(OMS) "Peintres belges inspirés par l'Espagne" Gallery Giroux, Brussels, Belgium.(GE) 1958 Creates first monochrome light works with the introduction of small plexiglass structures. "Paul Van Hoeydonck" Gallery Accent, Antwerp, Belgium.(OMS) "Oeuvres graphiques" Gallery Saint-Laurent, Brussels Exhibition G58 with Georges Van Tongerloo at Castle Middelheim Museum, Antwerp Belgium.(GE) Co-founder of the G58 Hessenhuis group in Antwerp. Opening Exhibition G58, Hessenhuis, Antwerp, Belgium.(GE) Participation at the World Exhibition Brussels, Belgium.(GE) "Groupe Art Abstrait" Gallery Hella Neblung, Düsseldorf, Germany.(GE) 1959 Begins showing in exhibitions concerned with monochrome painting and “Zerogroup” "Vision in Motion/Motion in Vision" first international exhibition in G58, Antwerp, Belgium.(GE) "Lauréats du Prix Jeune Peinture Belge1958" Palais des Beaux-Arts, Brussels, Belgium.(GE) "Oeuvres d'art acquises par l'Etat en 1958", Palais des Beaux-Arts, Brussels, Belgium.(GE) 1960 3th group exhibition G58 Hessenhuis, Antwerp, Belgium.(GE) 1961 Introduction of the “Boites A Monocles” as a reaction to the criticism concerning the light works G58 Hessenhuis, Antwerp, Belgium.(OMS) First important one-man show, Brussels, Palace of Fine Arts Iris Clert Gallery, Paris, France.(OMS° Museum of Modern Art, New York, purchases a light work First trip to New York,USA, private show introduced by Harry Torczyner 1962 Robert Elkon Gallery, New York, USA Created first Spacescapes and White Planets (Planetscapes) “Zero 3” exhibition in Dusseldorf, Germany.(OMS) 1963 Exhibits his first environment “Space Control Station” at the Forum exhibition Ghent, Belgium Participates in the Tokyo Biennale, Japan.(GE) "Contemporary painting in Belgium" St-Louis, Denver, L.A., San Francisco, USA (GE) 1964 Creation of a new race “The Mutants” Participation Documenta III, Kassel, Germany.(GE) The Hague, Vienna, Berlin, Otterlo, Bern and Brussels Pierre Restany “baptises” him “archaeologist of the future” Gallery Iris Clert, Paris, France.(OMS) Participated Floating Biennale Iris Clert, Canale Grande, Venice, Italy.(GE) Article in Times Magazine. Participated Iris Clert in Berlin, Germany.(GE) "Nieuw Realisme-Pop Art " City Museum Den Hague, Netherlands.(GE) 1965 Joins the Waddell Gallery, New York, where he presents several one-man shows Svensk-Franska Gallery, Stockholm, Sweden.(OMS) Gallery Theelen, Essen, Germany.(OMS) Gallery Waddell Gallery, New York, USA.(OMS) "Pop-Art/Nouveau Réalisme" PSK/Palais des Beaux-Arts, Brussels, Belgium. (GE) Biënnale Middelheim, Antwerp, Belgium. (GE) "Flemish Art" Gallery Arditti, Paris, France.(GE) "Belgian Drawings since Permeke", Lima, Peru.(GE) "45 years Belgian Art" Rio de Janeiro, Brasil.(GE) "Collection Graindorge" Copenhague, Denmark.(GE) "Sculptures from al directions" Worldhouse Gallery, New York, USA.(GE) "White on White" Lincoln, USA.(GE) "Pop, pop, whence pop" Heckster Museum, Huntington, New York, USA.(GE) "Nouvelles Recherches Flamandes" Palais des Beaux-Arts, Charleroi, Belgium.(GE) "Flemish Art, Svensk Handelsbanken, Stockholm, Sweden.(GE) "Art for collectors" Rhode Island, USA.(GE) 1966 joins the Gallery Bonnier, Lausanne, Geneva and Stockholm Gallery Kirkhaar, Amsterdam, Netherlands.(OMS) Gallery der Spiegel, Köln, Germany.(OMS) Gallery Cogéime, Brussels, Belgium.(OMS) Stadtisches Museum Schloss Moirsbach, Leverkusen, Germany.(GE) "Weis auf Weis" Kunsthalle Bern, Suisse.(GE) "Premio Marzotto" Valdagno, Italy (GE) "L'Espace dans l'Art" Museum of Modern Art, Brussels, Belgium.(GE) Triënale of the Suthern Netherlands, Belgium/Netherlands. 1967 Produces CYBS (Cybernetics) Starts using elements from sawn-up car fenders Waddell Gallery, New York, USA.(OMS) Palais des Beaux Arts, Brussels, Belgium.(OMS) Gallery Foncke, Ghent, Belgium.(OMS) "45 years of Belgium Contemporary Art" National Art Gallery, Budapest, Hungary.(GE) "45 years of Belgium Contemporary Art" Salles d'état Dalles, Buckarest, Romania.(GE) "New Flemish School" City Gallery, Zürich, Suisse. (GE) "Actual Belgium Drawings" Madrid, Sevilla, Barcelona, Spain. (GE) "Collection Stuyvesant" Palais des Beaux-Arts, Brussels, Belgium. (GE) "Superlund" curator Pierre RestanyKunsthall Lund, Sweden. (GE) "Hommage to Bosch, De Moriaan, 's Hertogenbosch, Netherlands.(GE) "Science Fiction", kunsthalle, Bern, Suisse.(GE) 1968 First contact with NASA Gallery Kirkhaar, Amsterdam, Netherlands.(OMS) Gallery Bonhier, Lausanne, Suisse.(OMS) Belgium Haus, Köln, Germany.(OMS) International Monetary Fund, Washington, USA.(OMS) One-man show Gallery Müller, Stuttgart, Germany. "Contrasts 1947-1967, Royal Museum of Fine Arts, Antwerp, Belgium.(GE) "Science Fiction" Musée des Arts Decoratifs, Paris, France.(GE) "Science Fiction" Kunstverein, Düsseldorf,Germany.(GE) "40 ans d'Art Vivant" Hommage à Robert Giron, Palais des Beaux-Arts, Brussels Belgium. (GE) "L'eglise ouverte à l'Art Contemporain" La Biënnale, Centre Notre-Dame, Argenteuil, France.(GE) "Triënale" Hallen Brugge, Belgium.(GE) "The obsessive image 1960-1968", Institute of Contemporary Arts, London, UK.(GE) "Im Reiche des Phantastischen" Kunstverein, Recklinghausen, Germany.(GE) "Destruction Art" at Finch College, New York, USA "Art Vivant" at Vence, France. "Three blind mice" Abbe Museum, Eindhoven, Netherlands. "Three blind mice" Saint-Peter Monnastry, Ghent Lignano Biënale in Italy, Proclaimed as the official laureate. "Contact 68 Kelkheim" Pfarzencentrum Kelkheim, Germany. "Belgium Art" Archeological Museum Teheran, Iran. 1969 Contemporary Art Museum Chicago, USA.(OMS) Contemporary Art Museum Houston, USA.(OMS) Kunstverein Freiburg, Germany.(OMS) Gallery Withofs, Brussels, Belgium.(OMS) Gallery Waddell, New York, USA.(OMS) "Painting and sculpture today" Museum of Art Indianapolis, USA.(GE) "Belgium Art" Museum Bagdad, Iraq.(GE) "Belgium Art" Museum Beirout, Libannon.(GE) "Exposition Internationale de gravure" Museum of Modern Art, Ljubjana, Yugoslavia.(GE) "10 Belgische Maler" Gallery 66 Hofheim, Germany.(GE) "Space Art" Technical High School, Eindhoven, Netherlands.(GE) Gallery Foncke Ghent, Belgium.(OMS) "Apollo Mission of the Moon" National Gallery of Art, Washington, USA.(OMS) "The Jaques Kaplan collection" Finch College Museum New York, USA.(GE) 1970 The Apollo 15 Crew officially placed the statue “Fallen Astronaut” on the moon.(OMS) Creation of the first Astro's Palacio National de Bellas Artes Mexico City, Mexico.(OMS) One-man show Gallery Foncke Bruges and Ghent, Belgium. "Belgian Art 1960-1970" Kunstverein Köln, Germany.(GE) Gallery Bonnier, Genève, Suisse.(OMS) Gallery Engelberts Genève, Suisse.(OMS) "Jeu de blancs" Gallery Withofs, Brussels, Belgium.(GE) Gallery Rive Gauche, Brussels, Belgium.(OMS) "Jewels by Belgian Artists" Belgian Pavillon Osaka, Japan.(GE) "Itirénaires 'blancs' " Musée d'Art Moderne St-Ett-ienne, France.(GE) "Zeitgenossen" Kunsthalle Recklinghausen, Germany. "Second annual internal moonwalk festival" Cape Kennedy, USA. 1971 Gallery Waddell, New York, USA.(OMS) "Die Puppe" Aspekte zum Bild der Frau, Berlin/Leverkusen/Frankfurt, Germany.(GE) "Travelling Exhibition" Playboy Art...

A major work by Noche Crist (1909- 2004). Titled "The Devil's Mirror" and signed on reverse. The mirror in the center of the painting reflects a distorted ...

Jack Bush (1909-1977) is known as one of Canada’s most successful abstract artists. Beginning in the 1960s he achieved international recognition for his works that were aligned with ...

Joseph Cain Virginia City, Nevada Oil on masonite 21 5/8 x 36 1/2 inches Signed lower right A painter, muralist, and art educator, Joseph Cain's work was ...