1950s Paintings

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

Antique American modernist abstract oil painting. Oil on canvasboard. No signature found. Framed. Image size, 24L x 18H.

Vintage European impressionist coastal town oil painting. Oil on board. Framed. Signed. In excellent original condition. Handsomely framed in a wood molding. Excellent condition...

5-3501 oil on canvas set in a gilt wood frame

One might reasonably ask: What were the 16th-century Spanish colonizers thinking when they took on the conquest of the Philippines? The archipelago nation is comprised of 7,641 islan...

A large, delightful oil on Masonite, 1950s, Martha's Vineyard street scene painting by famed Chicago Modern artist, Francis Chapin. Depicting a picturesque and stylized view of Main...

Monumental modernist oil on panel painting by Louis Demott Bunce (1907-1983), from an installation for the Oregon Centennial Exposition, 1959. A rare & important and monumental abstract painting by the celebrated Oregon artist Louis Bunce, the artist was commissioned to paint a mural for the 1959 Oregon Centennial & Trade Fair in Portland, the installation was titled " Gay Garden Way ", it was painted for the exterior of the Horticultural building. The mural having abstract plant abstractions, according to Bunce in his own words it was "the rounded shapes of flowers and the sun", the mural created a major furor from the conservative art public. The painting signed and dated by the artist lower left, the work was sold in the late 1980s through the celebrated Laura Russo Gallery, this painting is featured in Roger Hull's book; "Louis Bunce, Dialogue with Modernism". The painting is in good condition and ready to grace your wall. Louis Bunce attended high school and the Museum Art School before leaving for the Art Students League in New York. He established a New York connection that began when he first attended classes there in 1927 and continued over the years with frequent visits. He became friends with many promising artists, including Jackson Pollock and David Smith. In 1939 he worked for the WPA Easel Project in New York and by the time he returned to Portland he was an established artist on the East Coast. He worked at the WPA art center in Salem as an Instructor and Assistant Director. His work included murals, two of which are in the Post Offices in Grants Pass and St. Johns. Their subjects, mining and orchard farming, are activities of each region. "I have always been visually drawn to the landscape, at first the desert and mountain regions of Wyoming; then the lush and gentle color of the Pacific Northwest and the urban landscape of New York." From 1942-1945 he worked as an illustrator, a tool designer, and in assembly for the Oregon Shipbuilding Corporation. After WWII, Bunce joined the faculty of the Museum Art School in Portland, where he had been a student in 1925-1926. He taught there until his retirement in 1972. He excelled at producing screen-prints and introduced this technique to Oregon. While maintaining a national reputation throughout the 1950s and 1960s, some of New York's most prestigious galleries represented him. Theater buffs will remember his murals and portraits for Portland Civic Theater's 1938 production of Pride and Prejudice. In a career that made him one of the most recognized names in Oregon's art history, Bunce had many styles: cubism, expressionism, surrealism and abstractionism. His 1958 mural in the Portland International Airport presents this abstract style: "whirling propellers and shadows of the concourse as seen from above." It was controversial at the time as being too abstract for a public art project. Louis and wife Eda opened a full-time art gallery in Portland in 1949, called the Kharouba. Located first at 1016 SE Morrison, then at SW 11th and Alder, the gallery represented many of the leading artists of the day: Josephine Cameron, William Givler, Clifford Gleason, Jack Hammack, Charles Heaney, Frederick Heidel, George Johanson, Jack McLarty, Rick Norwood, C.S. Price, Arthur Runquist, Jolan Torok, Charles Voorhies...

Jean Salabet, Impressionism, Paris Street Scene, Oil on Canvas, France, 1954 An oil painting of a Parisian street scene by Spanish-born Juan Bayon Salado, who went by the pseudonym ...

Antique American impressionist landscape oil painting. Signed verso. Really nicely framed. Great color and thick impressionist impasto. Image size, 10L x 8H.

Bay Area Abstract Expressionist -- Oak Woodlands of San Francisco Golden Gate Park This mid-century painting by Honora Berg (American, 1897-1985) depicts coastal live oaks of Golden...

Wonderful and dynamic western painting of two wild fighting stallions by listed artist Bernard Preston Thomas (American, 1918-1992), dated 1951. Signed and dated lower left corner and on verso. Image size: 28"H x 36"W. Presented in rustic painted frame size: 34"H x 41"W x 3"D. Originally from Sheridan, Wyoming, he loved football and art, giving up the sport to concentrate on a career in art. Thomas graduated from Woodbury College in Los Angeles with a Bachelor of Science degree, earning the Leo Youngsworth Award for outstanding senior art student at Woodbury. He became a camouflage technician at the outbreak of WWII and caught the attention of General Patton...

This outstanding post-cubist and multicolor geometric composition, gouache, and watercolor painting was designed by French artist André Morin (20th Century). Geometric art is the use...

A large tonal, Mid-Century harbor scene with boats by French artist Georges Rocher. Artwork size: 24" x 30". Framed size: 31" x 36". Georges Rocher was born in Casablanca, Moroc...

Antique American modernist still life oil painting. Oil on canvas. Signed. Measuring: 16 by 22 inches overall. In excellent original condition. Excellent condition, ready to hang a...

Beni E. Kosh/Charles Elmer Harris (American, 1917-1993) Meditation on African Sculpture, 1957 Oil on found wood panel Signed and dated lower left 20 x 15 inches Charles Elmer Harris...

"The Child Star" Mid Century Portrait of a Boy with Brown Eyes Oil on Canvas Stately portrait of a boy by William Robert Shulgold (Russian-American, 1897-1989). The subject is looki...

PORTRAIT OF A TROUBLED SOUL Size: 65.5 x 54 cm (including frame) Oil on Canvas This mid-century expressive and emotive oil portrait delves into the depths of the human psyche with a...

Very impressive mid 20th century abstract cityscape painting. Oil on canvas. Framed. No signature found.

Title: Rincón de Horta (Corner of Horta) Artist: Antoni Llobet Aracil (Barcelona, 1910 – 1983) Medium: Oil on canvas Dimensions: 46 × 55 cm (18.1 × 21.7 in) Support: Canvas on stretcher Signature: Signed “A. Llobet” in the lower right corner Inscription on reverse: “Rincón de Horta” Estimated period: 1950s–1960s Condition: Good Provenance: Private collection DESCRIPTION The painting depicts a scene of vernacular architecture in Barcelona’s Horta neighborhood, at a time when it still preserved its rural and peaceful character. A dirt path opens between lush vegetation and the façades of traditional houses, wrapped in bougainvillea, ivy, and leafy trees. Light enters from the left, illuminating the walls with warm brushstrokes that contrast with the greens and violets defining the foliage. The atmosphere is serene, almost nostalgic, captured with a loose and impasto technique, especially visible in the sky and vegetation. The composition showcases the painter’s ability to harmonize architecture and nature, conveying the tranquility of a nearly hidden corner. The vibrant brushwork and mastery of color evoke a distinctly Mediterranean sensibility, heir to post-impressionism and the legacy of Joaquim Mir. ABOUT THE ARTIST: ANTONI LLOBET ARACIL Antoni Llobet Aracil was a Catalan painter born in Barcelona in 1910 (according to some sources, 1919) and died in 1983. He trained at the Escola Superior de Belles Arts de Sant Jordi and was a pupil of masters such as José Mongrell and Joaquim Mir. In 1931, he received a scholarship to continue his studies in Rome. His career included exhibitions in Paris, Denmark, Finland, Norway, Iceland, and Mallorca, as well as his native city. He led an itinerant life that enriched his pictorial vision and allowed him to develop a plastic language characterized by free use of color, energetic brushwork, and a poetic view of the landscape. In his works, Llobet blended the impressionist tradition with a Mediterranean sense of light. He alternated natural landscapes, seascapes, rural streets, and urban corners with a rich palette and atmospheric sensitivity. He worked as a drawing and painting teacher and exhibited in prominent venues such as Grifé & Escoda in Barcelona, as well as in Palma and Inca, Mallorca. ARTISTS WITH SIMILAR STYLE The work of Antoni Llobet Aracil can be linked to that of several Catalan and Mediterranean artists through his loose technique, treatment of the landscape, and warm palette: Joaquim Mir i Trinxet – for his impasto brushwork and vibrant luminosity. Rafael Durancamps – for the intimacy and warmth of his urban and rural landscapes. Josep Mompou – for chromatic harmony and evocative simplicity. Isidre Nonell (in some late landscapes) – for dense pictorial matter and atmospheric color. Ramón Vilanova...

CHARLES LEVIER – [SOLITUDE DE PIERROT ⚜ Oil on Canvas ⚜ Hand Signed Lower Right ⚜ Original Period Frame A THEATRICAL PORTRAIT OF MELANCHOLY “Solitude de Pierrot” captures Charles Levier’s fascination with the archetypal Pierrot from commedia dell’arte. With angular black outlines and muted pastel tones, Levier reduces the figure to its essential gestures, creating a poignant symbol of isolation and quiet reflection. The vertical format emphasizes Pierrot’s elongated stance, while his downcast eyes and red-tipped nose heighten the painting’s emotive impact. This work was acquired directly from the artist by noted Beverly Hills designer Dean Richard Kukuk and retains its original Martin Lowitz Gallery label, underscoring both provenance and historical context. WHY COLLECT THIS WORK? ✓ An early and expressive Charles Levier oil from circa 1950 ✓ Features the Pierrot subject, connecting to the theatrical tradition of commedia dell’arte ✓ Strong provenance: Martin Lowitz Gallery, Los Angeles, and the collection of Dean Richard Kukuk, Beverly Hills ✓ Retains its original period frame in excellent condition with gallery label affixed verso ARTWORK DETAILS: ▸ Title: [Solitude de Pierrot] ▸ Artist: Levier, Charles ▸ Medium: Oil on Canvas ▸ Creation Date: circa 1950 ▸ Country of Creation: US ▸ Signed: Hand Signed Lower Right ▸ Current Condition: Excellent commensurate with age. Original period frame in great condition consistent with age. ▸ Documentation: Martin Lowitz Gallery label affixed to verso ▸ Provenance: Martin Lowitz Gallery, Los Angeles; Dean Richard Kukuk, Los Angeles ▸ Dimensions: — ◼︎ Canvas Size: 44.25 inches x 15 inches — ◻︎ Frame Size: 59 inches x 30 inches x 2.625 inches INCLUDED DOCUMENTATION ✓ Certificate of Authenticity ✓ Artist Biography Document THE ARTIST: Charles Levier (1920–2003) was a French-American painter known for expressive oils, gouaches, and watercolors that bridge Modernism and postwar design sensibilities. His subjects include harbor towns, still lifes, café society, and commedia dell’arte figures such as Pierrot and Harlequin. Levier’s linear bite and stylized elongations have invited comparison to Bernard Buffet, while collectors of Modigliani, Rouault, and mid-century École de Paris painting...

Antique English modernist landscape oil painting by Phillip Castle (Born 1943). Oil on canvas. Framed. Signed verso.

A Colorful 1956 Gouache Titled "Sunday in Torromolinos, Spain" by Samuel Butnik. Artwork size: 18" x 25". Archivally matted to: 24" x 30". Biography...

"Sunday Service, a lovely mid-century figurative village street scene by Frank Serratoni (American, 1908-1970), c. 1940s. A family is shown strolling through the tree-lined street of a quaint village towards a red church...

Nicely painted American impressionist tropical beach landscape. Oil on board. In excellent original condition. Handsomely framed in a period wood molding. Excellent condition, re...

Original Antique Western Nevada Desert Oil Landscape by Phoebe K. Higgins A mid-century desert oil landscape of Western Nevada by Phoebe K. Higgins (American, 1895 - c 1960), circa ...

View Of The Haifa Coast Canvas 30x36 inches, 22K gold leaf Motyka frame 39x45 inches, artist signed lower left corner.. One of Sobel best and also early landscape painting, painted...

Jacques Bouyssou, French, 1926-1997 “Les Voiles ” Oil on canvas 5 by 6 ½ in. sight & 11 by 10 ½ in. framed signed lower left – also labeled on verso a gem of a small post-im...

Luigi Lucioni Pinks and Yellows, 1959 Signed and dated lower right Oil on canvas 13 x 16 inches Provenance Milch Galleries, New York Private Collection, Woodland Hills, California ...

Harvest time. Oil on canvas, 25x27,5 cm

The scale of this dynamic party painting by Leroy Foster (1925-1993) makes you feel like you are in the room with a cocktail in hand. He was an accomplished muralist, so it is no s...

Vintage American modernist landscape oil painting. Oil on canvasboard. Framed. Measuring: 13 by 16 inches overall, and 10 by 13.5 painting alone. In excellent original condition. Ha...

Oil on canvas by Edouard Goerg (1893-1969), France, 1958. Life is always the same. Acquired in 2017 from the personal collection of Edouard Goerg. Measurements : with frame : 62.5x53.4 cm - 24.6x21 inches, without frame : 55x46 cm - 21.7x18.1 inches, format 10F. Signed "E.Goerg" (see photo). Preserved by the painter, then by his family since his death in 1969, this painting appeared in 2017. Entitled "Always life begins again", it is a crepuscular work. Testamentary one could say, so much the statement which is made there is definitive. The fact that he kept it until his death tends to consolidate this vision. Far from the empty looks and death faces of the rebellious era of sarcastic expressionism, the terrifying and compassionate testimony of the Spanish war, and the post-WWII flower women, we are dealing here with a a form of reasonable abdication, but honest. This idea that although everything changes, nothing changes. Changed times, actors, ideas, the same comedy occupies the society. Having given up the idea of ​​changing the latter, Goerg accepts the fact that the only alternative is to stay there or get lost. But stay afloat with his values, completely independent, whatever the cost is. This work is similar to La Vie Recommence of 1935, reproduced on page 54 of Gaston Diehl's book devoted to the painter (Éditions de Clermont, 1947). On the latter, the artist depicts his vision of life, from birth to death, made of hope, fear, cruelty, resignation and fatality. 23 years later, Toujours La Vie Recommence shows us the road traveled by the painter. It is no longer a matter of denunciation, but ultimately of acceptance of reality and the difficulty of staying there yourself. The admirer of Hieronymus Bosch gives us an inspired composition. The hand of God, the only expression of physical beauty in this work, comes down from heaven to give life. Symbolically, it holds an egg that dispenses the element from which the human protagonists find their birth, and in which they move and tangle more than they impose. Beautiful allegory of society. Four characters, two women and two men evolve in this societal marigot. The man in the foreground, ruddy face, evolves with ease. His body is supple, flexible, adaptable. The woman on the left observes him with admiration. Obviously, this man is in his place and causes rapture. The right man with massive shoulders and wrapped, shows a physical maladjustment to the activity he is doing. He struggles to stay afloat, his face expresses effort, even exhaustion. But he assumes. He does with what he has, with what he is. The other woman shows him the greatest indifference. What is not the case of the demonic archangel (recurrent in the works of Bosch) with the stunted body, who leads the dance and holds this character, we understand the painter, under his control as to have fun. As this character cannot change bodies, Goerg cannot change values. He does it with. Had he not said to the critic Roger Brielle: "Independents, sensitive and just men, that's what we must strive to stay in this world in disarray". Goerg will have come to narrative expressionism to give us a balance sheet allegory of his deep self and his condition. Édouard Goerg is one of the major artists of his generation. Coming from a Champagne family, he was born in Sidney, Australia, in 1893, during a professional stay of his father. After passing through London, he arrives in Paris at the age of seven. At twenty, between 1913 and 1914, he studieds painting at the Académie Ranson with Maurice Denis and Paul Sérusier. He travels to Italy and India. Mobilized in 1914, he is sent to Artois, then to Argonne. From 1920, he exhibits at the Salon des Independants, then at the Salon d'Automne where he joins with Laboureur. At Berthe Weil, in 1924, he participates in the exhibitions of the Gromaire group, a prelude to a series of exhibitions in Paris (Berthe Weill, Bernheim Jeune), as in Brussels (Le Centaure). Goerg illustrates books including Table of the beyond by F.Boutet. In 1928, he meets Paul Guillaume who exhibits his works in Boston and the Art Institute of Chicago. He continues to show his works, satires of the bourgeois manners, at Bernheim Jeune, then at Lucie Krogh. In 1934, he travels to Belgium and Holland where he paints surrealist paintings that will be exhibited at Jeanne Castel. In 1935-1936, he meets Aragon, who opened the doors of the houses of the cultures created by the Association of Writers and Revolutionary Artists. The Spanish war and the Second World War mark it deeply. He must protect his daughter and his Jewish women...

Mid Century still life oil painting on canvas, signed in the bottom right and dated 1953. This is an unusual and stylishly simplistic painting but delightfully charismatic. A ruffl...

Title: Stone House in Salardú Artist: Joan Vila‑Puig (1890–1963) Technique: Oil on canvas board Dimensions: 33 x 41 cm (12.99 x 16.14 in) Support: Canvas board Signature: Signed in t...

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

This charming rural winter scene of ice skaters fully displays Norman Rockwell's America, but it was painted by female artist Charlotte Joan Sternberg. She combines the mid-century A...

Panthéon and Bridge 2 Charles Cobelle, French (1902–1994) Date: 1959 Watercolor on Paper, signed Size: 24 x 30 in. (60.96 x 76.2 cm) Frame Size: 31 x 37 inches

Autumn Landscape, by 1958, tempera on Masonite, 24 x 36 inches, signed lower left, exhibited: 1) 133rd Annual Exhibition of the National Academy of Design, New York, NY, February 20 – March 16, 1958 (Henry Ward Ranger Purchase Prize); and 2) Henry Ward Ranger Centennial Exhibition, National Academy of Design, New York, NY, September 25 - October 12, 1958, #133 (see Levin, Meyer, Illustrative Paintings Gathered for Ranger Show at National Academy, St. Petersburg Times, October 13, 1958 (“There’s a warm, low-keyed picture of golden fields, with distant structures, called “Autumn Landscape,” by Robert Vickrey, whose magic realism is felt in so “regular” a subject.”), literature: 1) Watson, Ernest William, Composition in Landscape and Still Life, Watson-Guptill Publications, New York, 1959, pp. 24, 155 and 157 (illustrated); and 2) Vickrey, Robert and Cochrane, Diane, New Techniques in Egg Tempera, Watson-Guptill Publications, New York, 1973, p. 111 (illustrated); ex collection National Academy of Design Reflecting on his art, Robert Vickery...

Well painted 1950's mid-century modern English portrait of a black nude woman seated on a chair. The artist was a portrait and figure painter active during the 1950s-1960s Oils on ...

This superb British Abstract Expressionist oil painting on board is by noted artist Bernard Kay. It was painted in London in 1955. This striking painting is a mix of shades of black ...

Pyrenean: "Kop de Cariel" by Dorothy Alexandra Johnson (1902-1988) signed lower left oil painting on canvas, unstretched - affixed to stiff backing card 5.5 x 7.5 inches (backing card 8.25 x 10 inches) Delightful painting by the highly regarded English dog artist Dorothy Alexandra Johnson. It depicts "Kop de Cariel", a Pyrenean Mountain Dog...

American life is captured in this Clyde Singer painting, Snow in the City (1954), where he depicts an everyday moment in the city. An ordinary scene, of a group of women making thei...

Painted by Victor di Gesu (American, 1914-1988) circa 1955, and with Di Gesu estate stamp verso. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art C...

Stephen Pace Untitled, 58-26, 1958 Signed and dated lower left Oil on canvas 56 x 40 inches Born in Charleston, Missouri, Stephen Pace grew up in Indiana, where his parents operate...

'View of Notre Dame & the Île de la Cité' by Friderika Bendéné Kovacsev. Seine, Paris, Thieme Becker, Budapest ------ Signed lower left, 'Frid. J. Bende.' for Friderika Bendéné Kova...

Charmion von Wiegand Pillar of Zen #124, 1959 Gouache on paper painting Hand signed, titled and dated on the front Unique Provenance: Andre Zarre Gallery, with label verso (Estate of renowned gallerist Andre Zarre, ne Andre Sowulewski) Measurements: Framed 26.5 inches vertical by 25.5 horizontal by 2 inches Artwork: 21 inches vertical by 22 inches horizontal Mid century modern, geometric, spiritual abstraction, mystical The Estate of the celebrated artist Charmion Von Wiegand has been represented exclusively by Michael Rosenfeld Gallery since 1998. From March 3 to August 13, 2023, Charmion Von Wiegand was the subject of an acclaimed retrospective at the Kunstmuseum Basel, and she has received major attention in the price, including a June, 2023 ArtNews feature entitled, "Who Was Charmion von Wiegand and Why Is She Important?". Her work was also featured in a solo presentation by Rosenfeld Gallery at the New York Art Show held at the Park Avenue Armory, which also received critical acclaim. Artists Biography - courtesy of Michael Rosenfeld Gallery: Known for her vibrant, geometric paintings that originate a deeply personal language of spiritual enlightenment expressed through a constructivist mode of abstraction, Charmion von Wiegand (1896–1983) was born in Chicago but spent much of her childhood traveling. The daughter of a journalist for Hearst, von Wiegand eventually settled in New York in 1915 to attend Barnard College and Columbia University, where she took classes at the School of Journalism while nurturing a growing interest in art history. In 1925, von Wiegand realized that she wanted to be an artist and set up a studio in Greenwich Village, teaching herself how to paint while pursuing a career as a journalist. In 1929, she secured a position in Moscow as a foreign correspondent for Hearst, the only woman at the desk at the time. In 1932, von Wiegand returned to New York and married Russian émigré Joseph Freeman, who co-founded and edited the leftist journal New Masses. Von Wiegand began writing art criticism for New Masses as well as for other publications, including New Theatre, ARTnews, and Arts Magazine. When the Abstract American Artists (AAA) held their inaugural exhibition, von Wiegand reviewed it. An early champion of abstract art, von Wiegand became close friends with AAA founder Carl Holty. In 1941, Holty introduced von Wiegand to Piet Mondrian, who would have a profound impact on her art. Fascinated by Mondrian’s artistic philosophy, von Wiegand played a key role in the introduction of his work to American audiences, translating many of the Dutch artist’s writings into English and assisting in the composition of his influential article “Toward the True Vision of Reality” (1941). Through her friendship with Mondrian, von Wiegand re-kindled her interest in Theosophy (a religion established in the late 19th century that combines aspects of Hinduism, Buddhism, occultism, and esotericism) and embarked on an extended study of neoplasticism. In her artwork, she incorporated Mondrian’s iconic grid but rejected the constraints of pure neoplasticism and embraced a wide range of influences including surrealism and German expressionism. In 1942, von Wiegand became a member of the AAA, exhibiting regularly with the group and eventually serving as its president from 1951 to 1953. In the late 1940s, sculptor and fellow AAA member Ibram Lassaw gave her a translation of The Secret of the Golden Flower: A Chinese Book of Life, which inspired von Wiegand to immerse herself in a study of Buddhist art. She began incorporating Buddhist motifs such as stupas and mandalas into her paintings, and her spiritual practice steadily intensified throughout the 1950s. In 1953, her husband gifted her a copy of the Taoist I Ching Book of Changes, a guide for divining meaning from randomly derived numbers arranged in a hexagram—a form the artist readily incorporated into her painting. Von Wiegand’s study of Theosophy also intensified over these years, bolstered by her increased access to the religion’s primary sources composed by the religion’s founders and their successors at the New York Theosophical Society’s library. Von Wiegand’s search for the sacred and transcendent ultimately led her to Tibetan Buddhism and, in 1967, von Wiegand met Khyongla Rato Rinpoche, a Gelugpa monk who had recently arrived in New York, who would mentor her spiritual study in the tradition of Mahayana Buddhism until her death. Her travels in the 1960s and 1970s took her to Tibet and India, where she had an audience with the Dalai Lama, who was living in exile in Dharamsala. Many works from these decades incorporate symbols and schematics drawn from Theosophical prismatic color charts, Chinese astrology and tantric yoga. In 1978, she was the subject of a PBS documentary titled The Circle of Charmion von Wiegand, which was scored by Philip Glass. In 1980, von Wiegand was elected to the American Academy of Arts and Letters and in 1982, the Bass Museum of Art in Miami Beach (FL) organized her first retrospective exhibition. She died the following year in New York, bequeathing her estate to Khyongla Rato and the Tibet Center of New York. In 1998, Michael Rosenfeld Gallery became the sole representative of her estate and has presented her work in four solo and multiple group exhibitions. Recent notable exhibitions that have included her work are The Third Mind: American Artists Contemplate Asia (Solomon R. Guggenheim Museum, New York, NY, 2009) and Constructive Spirit: Abstract Art in South and North America (Newark Museum, NJ, 2010). In March 2023, the Kunstmuseum Basel (Switzerland) opened the first comprehensive museum retrospective of von Wiegand’s work in Europe. Von Wiegand’s work is represented in numerous museum collections including the Addison Gallery of American Art, Phillips Academy (Andover, MA); Albright-Knox Art Gallery (Buffalo, NY); Arithmeum, University of Bonn (Germany); Birmingham Museum of Art (Alabama); Blanton Museum of Art, The University of Texas at Austin; Brooklyn Museum (NY); Carnegie Museum of Art (Pittsburgh, PA); The Cleveland Museum of Art (OH); Indianapolis Museum of Art (IN); Fondazione Marguerite Arp (Locarno, Switzerland); Museum of Fine Arts, Boston (Massachusetts); The Metropolitan Museum of Art (New York, NY); The Museum of Modern Art (New York, NY); Newark Museum of Art (New Jersey); Seattle Art Museum (WA); Smithsonian American Art Museum (Washington, DC); Walker Art Center (Minneapolis, MN); Weatherspoon Art Museum, The University of North Carolina at Greensboro; Wellin Museum of Art at Hamilton College (Clinton, NY); Whitney Museum of American Art (New York, NY); and Yale University Art Gallery (New Haven, CT). More about gallerist Andre Zarre A tribute in the New Criterion: Dispatch August 11, 2020 Andre Zarre, 1942–2020 by Dana Gordon On the late New York gallery pioneer. Art should never be aggressively explained; art should be felt. —Andre Zarre, 1977 Often, in the starlit New York cultural mecca, a longtime important figure fades away through the penumbra and dies without notice. Such was the fate of Andre Zarre, the contemporary art dealer, who passed away a few weeks ago. Andy, as he wanted friends to call him, opened his eponymous gallery in 1974 just off Madison Avenue on Sixty-ninth Street. He soon moved it to the omphalos of the art world in that era, 41 East Fifty-seventh Street, the Fuller Building. Over the years he moved to SoHo and then to Chelsea, as fashion and real estate prices pushed the art souk hither and thither. To understand his importance, all you need do is take a look at a list of artists who had solo shows at the Andre Zarre Gallery. This includes such names, from an early generation, as Sonia Delaunay, Nassos Daphnis, Sari Dienes, and Perle Fine. Among a subsequent generation are Pat Lipsky, Jay Milder, Thornton Willis, and Kes Zapkus.1 And this list does not include the many knowns and unknowns who were in his lively group shows. Zarre had a real “eye” and was a champion of abstract art from the moment he founded his gallery—even among the gathering storms of conceptual and political art, which he eschewed. He showed a good deal of figurative art as well. His galleries were always spacious and unpretentious, oriented simply to show the art. In the words of Dee Shapiro, who showed with the Zarre gallery many times, “He had a photographic memory and knew a lot about art and was always interested in the artist’s life.” Reliable biographical information on Zarre is scarce, but he said of his background that he was born in Poland in 1942 and that his parents were a diplomat and a socialite. He left home for the United States at the age of fifteen. During his decades as an art dealer in New York, Zarre did not appear to accumulate wealth, though he acquired a collection and lived on Park Avenue. “He was not personally aggressive in that way. People had to come to him,” Dee Shapiro said. He was honest in his financial dealings with artists, which not all art dealers are. For a long time while running the gallery he had a second job as a supervisor in an airline office and he kept little to no additional staff in the gallery. He supported a brother who remained in Poland. Among artists, Zarre was known to be quite ornery. After my show at his gallery in 1997, I refused to enter it for seventeen years. Then I ran into him in Chelsea and he offered me another show, an opportunity I gladly accepted, but he remained just as disagreeable. He showed the work of many women, probably more than any other gallery, save those devoted to showing only women. Collectors, curators, and writers found him mostly friendly. As Peter Reginato put it, Zarre was a “strange guy but I liked him. I think he was a dealer who was more interested in the art than in making money, but somehow he lasted forty-plus years.” Zarre is not known to have kept extensive or extant records of his gallery’s long history, though these may emerge in time. Scouring the Internet, one may compile a partial list of more than eighty artists who had solo shows at the Andre Zarre Gallery:Nancy Azara, Ellen Banks, Mary Barnes, Tony Bechara, Juan Bernal, Stephanie Bernheim, Randy Bloom, Elena Borstein, Michael Boyd, Fritz Bultman, Ed Buonagurio, Yoan Capote, Sonia Delaunay, Nassos Daphnis, Cathy Diamond, Sari Dienes, Joseph Dolinsky, Beata Drozd, Ronnie Elliot, William Fares, Perle Fine, Lynne Frehm, Ben Georgia, Mikel Glass, Dana Gordon, Juanita Guccione, Fred Gutzeit, Don Hazlitt, Amy Hill, Clinton Hill, Monroe Hodder, Budd Hopkins, Arlan Huang, Richard Hunt, Rhia Hurt, Buffie Johnson, Alexander Kaletski, Robert Kaupelis...

Jack Lorimer Gray, 1927-1981, was born in Halifax, Nova Scotia to Scottish parents. His talents as an artist were spotted by E. Wyly Grier while Gray was still a child. He attended t...

3886 Vegetable in a basket still life in a gilt wood frame Image size 8.75x11.5"

Rare and finely painted French modernist abstract painting by Jacques Doucet (1924 - 1994) . Framed. Oil on canvas. Signed. Artist Bio: Jacques Doucet's work is inextricably bo...

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...

Dora Maar è lo pseudonimo di Henrietta Theodora Markovitch (Parigi 1907 - 1997). Avvolta nell'ombra monumentale di Picasso, è stata a lungo - e riduttivamente - conosciuta come la su...

'Abstracted Cityscape' by Max Gunther, 1958. Modernist Abstract Oil, David Rockefeller Estate ---- Signed lower right, 'Max Gunther' (German, 1934-1...

Mid century figurative of romantic adventures by Duleich (American, 20th Century). Presented in a wooden frame. Signed "Duleich '59" lower left. Image size, 30.25"H x 24"W. Framed si...

Antique American modernist abstract oil painting. Oil on canvas. Signed.

Signed lower right, "Di Gesu", for Victor Di Gesu (American, 1914-1988); further signed and titled verso, and bearing original exhibition label. A substantial figural oil showing V...

Oil with paper collage on found card stock board, with vintage reproduction on reverse, 1956. Signed by the artist and dated in oil, lower right. Stella (1936-2024) made this work ...

Vintage French modernist still life oil painting. Oil on canvas. Framed. Signed. Measuring: 35 by 20 inches overall. In excellent original condition. Handsomely framed in a modern...

Unique, one of a kind original gouache on paper from Harper's Bazar series. Hand signed lower front by Erte; titled top front with studio catalog number on verso. Sheet size 10.7...

A superb large 1950's oil on board which we believe to depict the tenement buildings of the Milnes Court area in Edinburgh. Clothes hang from T shaped driers as a lady hangs her wash...

John Opper (American, 1908 - 1994) Untitled, 1959 Oil on board Signed and dated lower right 14.75 in. h x 18 in. w. 20 in. h. x 24.5 in. w., as framed John Opper described the 1930s...