1960s Paintings

"Untitled" by Don Totten is an abstract oil painting on canvas circa 1950 and measures 26 in x 30 in. It is in excellent condition. Donald C. Totten (1903-1964) was a member of a group of artists who quietly began to introduce modernist thought, emanating from Europe and the East Coast, to the Los Angeles art community during the 1920s. Other members of this group were influential artists as Nick Brigante, Lorser Feitelson, Helen Lundeberg...

Football plays cloaked in oversized Browns jackets are seen from behind running off the field. Always the graphic innovator, legendary illustrator Bob Peak creates a radical composition by leaving the bottom two-thirds of the picture plane empty of detail. To convey a sense of motion, Peak uses broad strokes of paint similar to the action painters Franz Kline and Willem de Kooning, who were the dominant force in the fine art world in the 1960s. Clearly, one can see a cross-over influence from Fine Art to commercial illustration as Peak strikes a balance between abstract versus figurative art. This work was done on an assignment for Sports Illustrated...

Canvas mounted on wood Golden wooden frame 89 x 73 x 5 cm

Work on canvas Brown wooden frame 70 x 81 x 5.2 cm

"Requiem JFK" is an abstract oil painting on canvas by Don Totten from 1963-1964. This piece measures 72 in x 62 in. There are signs of craquelure but other...

Sam Gilliam Untitled, Ex-Museum of Modern Art Collection, 1968 Watercolor and Aluminum Paint on Fiberglass Paper. (Framed with Museum of Modern Art Collection Label Verso and Exhibition brochure from the American Embassy...

Oli T. Sihvonen (1921 - 1991) The Secrets in the Circle, 1962 Oil on canvas 25 x 34 in Signed lower right; signed, titled dated, and inscribed "Box 563 Taos, N.M." on the reverse Provenance: Private Collection, Nyack, New York Known for large, hard-edged abstractions, Oli T. Sihvonen, a Brooklyn native of Finnish ancestry, grew up in Connecticut. He attended the Norwich Art School before enrolling at the Art Students League in New York between 1938 and 1941. During World War II, Sihvonen served in the United States Army as a sergeant, specializing, as he later said, in “camouflage and deception.” His tour of duty took him to Europe where he encountered the work of Paul Cézanne. In the summer of 1946, Sihvonen traveled to western North Carolina to study at Black Mountain College, which experienced a boost in enrollment following the war years. He was greatly influenced by the progressive color theories of Josef Albers, and, later, the thinking of Buckminster Fuller. After leaving Black Mountain in 1948, Sihvonen continued his studies under the G.I. Bill at Louis Ribak’s Taos Valley Art School in New Mexico from 1949 to 1950. A year spent painting murals in Mexico included work for the Instituto Politécnico Nacional in Mexico City, an early example of his large-scale proficiency. Returning to the East Coast, Sihvonen held a succession of teaching posts: initially in Washington, DC, and then in New York City, first at Hunter College in 1954 and the following academic year at Cooper Union. Drawn to the southwestern landscape, Sihvonen moved to New Mexico, where he resided in Taos from 1956 through 1967. There, he painted sizeable geometric compositions with exuberant colors, which was atypical of Taos painters...

Ralph Rosenborg (American, 1913-1992) "American Landscape, Sky and Shore, 1973" Oil on canvas. Signed 'Rosenborg' (lower right). Titled (verso). 30 x 40 in Ralph Rosenborg (1913–1992) was an American artist whose paintings were described as both expressionist and abstract and who was a colleague of the New York Abstract Expressionists in the 1940s and 1950s. Unlike them, however, he preferred to make small works and tended to explicitly draw upon natural forms and figures for his abstract subjects. Called a "highly personal artist," he developed a unique style that was considered to be both mystical and magic. His career was exceptionally long, covering more than 50 years. Rosenborg was born in Brooklyn, New York, on June 9, 1913. In 1929, while he was a high school student, he began to work with the designer, artist, and instructor, Henriette Reiss. When Rosenborg encountered her, Reiss was serving as an instructor for the School Art League in the American Museum of Natural History. She was then engaged in instructing both students and their teachers in the city school system by a method she called Rhythmic Design. She believed inspiration for abstract designs could be found in rhythms—rhythms that could be perceived in ordinary perceptions much as they are when listening to music. In May 1930 Reiss selected a drawing by Rosenborg to be shown in an exhibition of creative design by City high school students. From 1930 to 1933, aged 17 to 20, Rosenborg studied with Reiss in what Vivien Raynor of the New York Times called a "pupil-apprentice" relationship. During this time she instructed him in music appreciation, literature, and art history as well as giving technical training in art. In April 1934 Rosenborg was one of 1,500 artists to participate in the annual Salons of America exhibition, which was held that year in Rockefeller Center RCA Building. Each paid two dollars for the privilege of hanging up to three works and none was given prominence over the others. The New York Times reported that by the time the show closed a month later, some 30,000 people had viewed it. The following year he was given a solo exhibition (his first) at the Lounge Gallery of the Eighth Street Playhouse. The year after that he participated in a group show held by the Municipal Art Committee and in 1937 was given a second solo exhibition, this time in the Artists Gallery. That year he also became a founding member of and participated in a group show held by American Abstract Artists, a loose assembly of artists that aimed to promote abstract art and artists in New York. Its founders included Josef Albers, Ilya Bolotowsky, Werner Drewes, Ibram Lassaw, Mercedes Matter, Louis Schanker, Vaclav Vytlacil and Rudolph Weisenborn. At roughly the same time Rosenborg associated himself with a group of abstractionists that called itself "The Ten" (It included Ben-Zion, Mark Rothko, Adolph Gottlieb and Joe Solman) and in May 1938 joined with its other members in what would be his first appearance in a commercial gallery: the Gallery Georgette Passedoit. In 1938 he his work appeared in a group show at the Lounge Gallery, in 1939 in group shows at the Artists Gallery and at the Bonestell Gallery with David Burliuk, Earl Kerkam, Karl Knaths and Jean Liberte...

Untitled (43) Hanna Eshel, Israeli (1926) Date: 1965 Oil and Assemblage on Burlap, signed and dated verso Size: 39 x 31 in. (99.06 x 78.74 cm) Frame Size: 45 x 37 inches

Antique American abstract expressionist oil painting. Oil on canvas, circa 1960. No signature found. Image size, 24L x 20H. Framing available.

"Expressionist Abstract Figure" is a 40 x 30 inches oil on canvas work by Philadelphia artist Morris Lewis Blackman. The painting is signed in the artist's monogram "MLB" in the lower left and it is estate stamped on verso. Morris Blackman...

Signed, verso, 'M. Rosera' (American, 20th century) and dated 1963. A substantial mid-century abstract comprising contiguous and overlapping forms in variegated tones of coral, purp...

Mid-Century Modern black and white abstract expressionist painting by American artist Toma Tovanovich (1931- 2016). C...

This thickly painted and textural work is lush with mother of pearl type colors. It is suggests a nude but plays with the eye in terms of seeing it completely. Few artists could app...

Signed lower left, 'S. Omori', for Sakue Omori (Japanese, 1919-2001) and painted circa 1965; additionally signed in Kanji, verso, with artist's name 大森 朔衛 (Omori Sakue) and titled, 'Mount Fuji'. A large and exuberant, mid-century oil by this well-listed Japanese Modernist and Professor of Fine Art who studied in Paris and is particularly known for his lyrical landscape abstractions. Sakusuke (Sakue) Omori was born in Takamatsu City in Kagawa Prefecture. He drew enthusiastically as a child and, by the age of 12, had resolved to become an artist. At the age of 13, he encountered the work of the Japanese Modernist, Takeji Fujishima, which further confirmed his vocation. Omori moved to Tokyo at the age of 18 and, despite his parents objections, entered the Japan Art School where he majored in oil painting. In 1940, at the age of 21, he was granted his first public exhibition. In 1941, he was selected as an exhibitor for the Independent Art Exhibition and, in 1942, for the Art Creators Association Exhibition. In 1943, Omori won the Kagawa Prefectural Governor's Award and also received the Naval Association Award at the Great Japan Maritime Art Exhibition. After the war, with his studio and his work having been destroyed by fire, he returned to Tokyo to build a new atelier in Yochomachi. In 1950, Omori became a founding member of Japan's Modern Art Association and a member of the Action Art Association. In 1960, he was awarded the prestigious K-shi prize at the Contemporary Japanese Art...

Paul Burlin had a long and successful career of eight decades, though his work did not turn to abstract expressionism--the style of this work and the style in which, arguably, his best work was produced--until the painter was in his seventies, a clear example of his stalwart, and lifelong pursuit of new forms of expression. He was the youngest to participate in the landmark Armory Show of 1913, showing alongside Monet, Picasso, Manet, and Degas, among others. Like many other modernists of his time, Burlin was fascinated by “primitive” art. While still in New York, Burlin was profoundly affected by the African tribal art that he saw at the American Museum of Natural History in New York, as well as the Marius de Zaya...

American school abstract painting. Watercolor on paper, circa 1960. Unsigned. Image size, 12"L x 9"H.

Signed, lower right, 'E.R. Larrain' for Emilio Rodríguez Larraín (Peruvian, 1928-2015), and inscribed 'Roma, Nov 1963, Enero 1964'. (Rome, Nov 1963-January 1964). Verso titled, "L'Homme C'est Sujet à Errer" (Man Tends to Wander), and bearing the artist's self-portrait in india ink and wash. Exhibited: XXXII Venice Biennale, 1964. (original exhibition label verso) Previously with Staempfli Galleries, New York. This painting is registered in the Archives of American Art as 'Staempfli Gallery, inventory #775'. A monumental and historically distinguished work by this groundbreaking Peruvian Modernist who drew inspiration from Peruvian indigenous and pre-colonial culture. The paintings of Emilio Rodríguez Larraín are held in the permanent collections of museums worldwide including the Musée de la Ville de Paris, Peru's Museo de Arte de Lima and the Museum of Modern Art in New York. This painting was selected by the Peruvian Government for exhibition at the XXXII Venice Biennale in 1964 and is the largest single recorded work by the artist. Emilio Rodríguez Larraín received his Bachelors of Architecture in 1949 from Peru's Universidad Nacional de Ingeniería and held his first solo exhibition in Lima after visiting Europe in 1950. In 1951, he returned to Europe in the company of the artists Alfredo Ruiz Rosas and Joaquín Roca Rey...

Richard Andres (American, 1927-2013) Magic Garden, c. 1962 oil on canvas signed lower left, signed and titled verso 50 x 42 inches Richard Andres was born in Buffalo, New York in 19...

Signed lower right 'G. Pisani', (Italian, born 1935), titled verso 'Paesaggio con Valigia' (Landscape with Luggage) and dated 1963. Provenance: Galleria El Centro, Naples, Italy 1963. (from original label, copied verso). A very substantial, mid-century abstracted landscape comprising an assembled group of Fendi shopping bags in the fashion designer's signature tones of cream, bistre and scarlet, shown contrasted against a lyrical, sunset-coral background. This powerful and lyrical oil was awarded the 1963 Michetti Painting Prize. Gianni Pisani studied at the Accademia de Bella Arti in Naples under Emilio Notte. Much of his career in the 1960s and 70s involved reinvigorating the Neapolitan art scene with assemblages, ‘object art’ and performance art, an approach that was critically described and acclaimed by poet and writer, Edoardo Sanguineti. The recipient of numerous medals, prizes and juried awards, including the Prize City Cesenatico (1955). Pisani exhibited widely and with success from the early 1950's including at the 8th Biennale of San Benedetto del Tronto (1969), Palazzo Dugnani (1983) and at the Non-Existent Gallery. Other solo and group exhibitions include a three-time participation in the National Quadrennial Art Shows (VIII, Rome, 1960; IX, Palazzo dei Esposizione, 1965/66; XI, Palazzo dei Congressi, 1986) and the 1995 Venice Biennale. An ardent exponent, and influential teacher, of Modernism, Pisani taught at the Academy of Fine Arts of Brera in Milan and, for many years, at the Academy of Fine Arts in Naples, of which he was later appointed director. Gianni Pisani’s works are held in the permanent collections of numerous museums including the Museum of Capodimonte, the Museum of Contemporary Art Donna Regina (MADRE), Museum of Contemporary Religious Art...

This painting is a great example of David Adickes' early work that embodies the abstract geometric style. Most likely originally sold at DuBose Gallery in Houston, Texas. Circa 1960s...

Vintage American modernist abstract oil painting by Christine Opolus. Oil on canvas, circa 1960. Signed. Framed. Image size, 32L x 12"H.

Note: This work is oil pastel on Arches paper. The history of the New York School painters is still being written, but Price earned a well-deserved place from the beginning. Price was one of the youngest of the first generation Abstract Expressionist circle of painters working in New York after WWII. Though only in his late twenties he began exhibiting in 1948 in New York at Hugo, Bodely, Iolas and Egan galleries. In a 1949, showing at Peridot galleries, Price was hailed for his breakthrough "Maze Series." A complex interweaving of organic shapes, automatic in nature and sometimes resembling bones or body parts, the "Maze" paintings exuded a pulsating energy that brought him critical acclaim. He received rave reviews in Art Digest, the New York Times and the New York Tribune. Price's earliest work was biomorphic or surrealist in nature, influenced by the automatism of Andre Breton and his school. By 1946, his work began to move away from this style to an all-over, decentralized style which became the "Maze" works and ultimately AbEx works which saw their culmination in the "Black Warrior" series. When the "Club" was started, Price was invited to join and forged close relationships with other members of the New York School including Fritz Bultman, Giorgio Cavallon, Weldon Kees, Bradley Walker Tomlin...

Original textured painting by Aubrey Penny. Signed and Dated 62 Aubrey Penny (American 1917-2000) was an innovative California abstract artist who worked...

Richard Andres (American, 1927-2013) Shore V, c. 1964 acrylic on canvas signed lower right, signed and titled verso 54 x 44 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller...

Estate stamped and accompanied by a COA from the estate. Oil and collage on paper. The history of the New York School painters is still being written, but Price earned a well-deserved place from the beginning. Price was one of the youngest of the first generation Abstract Expressionist circle of painters working in New York after WWII. Though only in his late twenties he began exhibiting in 1948 in New York at Hugo, Bodely, Iolas and Egan galleries. In a 1949, showing at Peridot galleries, Price was hailed for his breakthrough "Maze Series." A complex interweaving of organic shapes, automatic in nature and sometimes resembling bones or body parts, the "Maze" paintings exuded a pulsating energy that brought him critical acclaim. He received rave reviews in Art Digest, the New York Times and the New York Tribune. Price's earliest work was biomorphic or surrealist in nature, influenced by the automatism of Andre Breton and his school. By 1946, his work began to move away from this style to an all-over, decentralized style which became the "Maze" works and ultimately AbEx works which saw their culmination in the "Black Warrior" series. When the "Club" was started, Price was invited to join and forged close relationships with other members of the New York School including Fritz Bultman, Giorgio Cavallon, Weldon Kees, Bradley Walker Tomlin...

SONIA DELAUNAY 1885-1979 Hradzyk, Ukraine 1885- 1979 Paris, France (Ukrainian /French) Title: Study for a Plate, 1969 Technique: Signed Gouache and Pencil Drawing on Wove Paper Pa...

An incredible presence and painted thickly, this is an early work by French Abstractionist Francois Aubrun. It is framed in a white contemporary float...

"Paesaggio" is Stefanelli’s celebration of the Italian landscape and its power and warmth. Strokes of geometric shapes in swaths of orange hint at the presence of manmade structures ...

Winter Palace is an abstract acrylic and watercolor on paper painting by Edward Marecak (1919-1993) with pastel pinks, blues and greens. Presented in a new custom frame, outer dimensions measure 19 ¾ x 23 x 1 inches. Image size is 11 ⅝ x 14 ⅝ inches. Painting is clean and in very good vintage condition - please contact us for a detailed condition report. Provenance: Estate of Edward Marecak Expedited and international shipping is available - please contact us for a quote. About the Artist: Born to immigrant parents from the Carpathian region in Slovakia, Marecak grew up with his family in the farming community of Bennett’s Corners, now part of the town of Brunswick, near Cleveland, Ohio. When he turned twelve, his family moved to a multi-ethnic neighborhood of Poles, Czechs, Slovaks and Slovenians in Cleveland. His childhood household cherished the customs and Slavic folk tales from the Old Country that later strongly influenced his work as a professional artist. During junior high he painted scenery for puppet shows of "Peter and the Wolf...

This highly innovated Bob Peak Race Track painting is a perfect synthesis of art and commerce. Designed with a radical composition where two-thirds of the picture plane is an alm...

Clarence Holbrook Carter (American, 1904-2000) Mandala No. 5, 1968 Acrylic on scintilla Signed on verso 29.5 x 22 inches Clarence Holbrook Carter achieved a level of national artist...

Dynamic late 1960's mixed media abstract geometric collage, with mulberry paper cut into curved and angular shapes and adhered in layers, in a unique color palette of navy blue, dark...

Yeffe Kimball (c. 1905 - 1978) Cepheus B, 1963 Signed, titled, and dated on the reverse Acrylic on canvas 34 x 40 inches Provenance: Private Collection, New York Estate of the above, 2022 Born in Mountain Park, Oklahoma, in 1914, Effie Y. Goodman subsequently spent her early years on her grandfather’s farm in Missouri. She attended college in Ada and the University of Oklahoma in Norman from 1931-1935. After college, she went to New York where she worked under distinguished artists such as George Bridgman and John Corbin at The Art Students League in New York in the early 1940s. She adopted the name Yeffe Kimball, adapting her first husband's surname of Campbell to form Kimball, and never returned to her small-town roots. She became a world traveler and student, studying intermittently with Fernand Léger in Paris from 1940-1941. In 1948, she married Harvey L. Stalin, an atomic scientist. Her art was influenced by Stalin’s work and she entered a new era, focusing on burning planets, atmospheric gases, and flashing comets. Her work was also inspired by American Indian spiritual...

Nice quality abstract painting. Oil on paper. Signed. Framed. Image size, 8.5 by 8.

Mid-Century "The Polo Player" #50 C Pierre Bosco (Italy/France, 1909-1993) Oil on canvas 15 x 12 inches, frame size “The savage art of Bosco bears its rudeness and its mystery. It ...

AbEx Grid No. 29, from the Bank Street Series. acrylic on paper, signed lower center. This work is published the Bertschmann Immersed in Perpetual States of Discovery book, page 42.

James Lepore (American, 20th Century) Untitled (Abstract), 1962 Oil on canvas Signed Lepore 62 lower right 43 x 55 inches James Lepore is an American art...

Bay Area figurative painting of a nude woman looking over her shoulder by Thomas L. Tribby (American, b. 1944). Signed and dated "Tribby 66" in the lower right corner. Unframed, but the edges are painted black for a frame-less display. Canvas size: 37.5"H x 33.5"W. Bay area figurative artist and painted while at the University of California, Berkeley, CA – Bachelor of Arts, 1963-1966. Flat rate Shipping $100 quoted. Thomas Tribby (American, b. 1944) is an internationally known artist who has participated in solo and group exhibitions in the United States and Europe. He works in a variety of media, including watercolor, acrylic, and oil. Tribby has gallery representation in Florida and his paintings have been featured in articles in Waterfront Home and Design and Architectural Digest. Tribby has participated in juried and invitational shows in Florida, California, Arizona, Georgia, South Carolina, Tennessee, Washington, D.C., and New York, and in Paris, France. In December 2007, Tribby had the honor of being one of nine painters in the American Delegation at Le Salon des Beaux Arts de la Société Nationale des Beaux Arts exhibition, known as the Paris Salon, at the Carrousel du Louvre in Paris, where his painting, Lifeguard, was exhibited. In January 2008 Tribby received from the Design Center of the Americas, DCOTA, the prestigious Stars of Design award in the category of Art. Tribby lives and works in West Palm Beach, Florida. EDUCATION 1961-1963 University of Washington, Seattle, WA Studies in Fine Arts 1963-1966 University of California, Berkeley, CA – Bachelor of Arts 1969-1970 Arizona State University, Tempe, AZ, Grad Studies, MFA Program 1979-1980 Arizona State University, Tempe, AZ, Grad Studies, MFA Program GROUP EXHIBITIONS: INVITATIONAL OR JURIED 2014 Monochrome, Palm Beach Cultural Council, Lake Worth, FL 2010 Spectrum 2010, The Hunter Museum of American Art, Chattanooga, TN 2010 Studio 1608 Group Show, West Palm Beach, FL 2008 Florida Original Contemporary Art, West Palm Beach, FL 2007 Paris Salon, Carrousel du Louvre, Paris, France 2005 Liman Gallery, Palm Beach, FL 2003 Grand Bank and Trust, Palm Beach Gardens, FL 2003 Aaron Gallery, Washington D.C. 2001 The Retreat, Artists Against Abuse, Southampton, NY 2000, 2003-2004 Palm Street Art Studios, West Palm Beach, FL 1996 Studio 412, Group Show, West Palm Beach, FL 1992, 1994 Small Works Show, Armory Arts Center, WPB, FL ONE MAN EXHIBITIONS 2018 Armand Bolling Fine Arts, Jupiter, FL 2012, 2016 Ellis-Nicholson Gallery...

Henrietta Berk (American, 1919-1990), Grove, 1968, oil on canvas, signed lower left, canvas size is : 44"h x 44"w. Some cracks on the painting because of age and some small painting...

This sophisticated Mid Century Modern abstract acrylic on canvas painting was realized by the esteemed 20th Century French-American artist Sacha Kolin (1911-1981) circa 1965. The com...

Clarence Holbrook Carter (American, 1904-2000) Green and Red Mandala, 1969 Acrylic on scintilla Signed and dated lower right 24.75 x 18 inches Clarence Holbrook Carter achieved a l...

The colors on this exquisite piece as every bit as rich as they appear. Artist Martin Rosenthal was born in Woburn, MA. He completed military service in 1925 and then studied at the...

*PLEASE NOTE UK BUYERS WILL ONLY PAY 5% VAT ON THIS PURCHASE. Red Composition by TOSHIMITSU ÏMAI (1928-2002) Oil on canvas 80.2 x 55.3 (31 ⅝ x 21 ¾ inches) Signed, TOSHIMITSU IMAÏ, dated, 1963 Paris and inscribed in Japanese on the reverse Provenance Private collection, USA Born in Kyoto, Japan in 1928 Imai was part of the 20th century Japanese avant-garde. He began his formal education at the Tokyo State Art Academy where he took up painting. His early works are characterised by colourful abstractions, reminiscent of Favuism. In 1951 Imai was awarded the Kansai-Shinseisaku Prize and in 1952 the prize for the best new artist at the 15th Shinseisaku Salon. Imai relocated to Paris in 1953, the same and subsequent year he exhibited at the Salon de L’Art Sacré. Meanwhile, he attended the Académie de la Grande Chaumière and the Sorbonne to read medieval history and philosophy. In 1955, Imai completely abandoned representational art in favour of abstraction. After meeting the art critic Michel Tapié via the artist Sam Francis, Imai was the first Japanese artist to join the Art Informel movement. In 1956 Imai was called upon by the Japanese artist Taro Okamoto to curate an exhibition entitled The World: Today’s Art in Tokyo. Artists such as Jean Dubuffet, Jean Fautrier, Lucio Fontana, and Karel Appel gained important exposure in Japan. It was also in 1957, when Imai arranged for Tapié and the artists Georges Mathieu and Sam Francis to travel to Japan, that a connection between Art Informel and Gutai occurred. The Ashiya-based Gutai Art Association formed in 1954 was proclaimed a kindred spirit by Tapié which he subsequently promoted internationally. Founding members included Yoshihara Jiro, Kanayma Akira, Murakami Saburo, Shiraga Kazuo and Shozo Shimamoto...

*UK BUYERS WILL PAY AN ADDITIONAL 5% IMPORT DUTY ON TOP OF THE ABOVE PRICE Phenomena High Born by Paul Jenkins (1923-2012) Acrylic on canvas 91.44 x 50.8 cm (36 x 20 inches) Signed lower left Jenkins Signed, dated and titled on the reverse Executed in 1964 which makes this a very early work and so more valuable Biography Born at Kansas City in Missouri (USA), the multi-media artist, poet and playwright Paul Jenkins studied at the Kansas City Art Institute and the Art Students League in New York City. After his discharge from military service at the end of February 1946, he briefly studied playwriting with dramatist George McCalmon at the Carnegie Institute of Technology in Pittsburgh. Thereafter, Jenkins spent four years studying with Japanese American artist Yasuo Kuniyoshi in New York City. His first solo exhibitions were held at Studio Paul Facchetti in Paris in 1954 and the Martha Graham Gallery in New York City in 1956. Over the past thirty years, numerous retrospectives have been curated across the globe and Jenkins’ work can found in national collections from Europe and the United States to Israel, Australia and Japan. The diversity of his work springs from Jenkins’ wealth of eclectic influences. Some of his earliest works included what he called "interior landscapes" influenced by ancient natural forms like the caves he visited in the Ozark Mountains in his native-Missouri. Frequent student visits to the Frick Collection in New York fostered a love of the great masters: Bellini, Holbein, Vermeer, Rembrandt, de la Tour, Turner and Goya. In compliment, lingering student visits to the renowned Eastern collection of the Nelson-Atkins Museum of Art in Kansas City evoked powerful sympathy for a monumental Chinese fresco...

The painting is being offered with a work and authenticity certificate

From the estate of the artist. The history of the New York School painters is still being written, but Price earned a well-deserved place from the beginning. Price was one of the youngest of the first generation Abstract Expressionist circle of painters working in New York after WWII. Though only in his late twenties he began exhibiting in 1948 in New York at Hugo, Bodely, Iolas and Egan galleries. In a 1949, showing at Peridot galleries, Price was hailed for his breakthrough "Maze Series." A complex interweaving of organic shapes, automatic in nature and sometimes resembling bones or body parts, the "Maze" paintings exuded a pulsating energy that brought him critical acclaim. He received rave reviews in Art Digest, the New York Times and the New York Tribune. Price's earliest work was biomorphic or surrealist in nature, influenced by the automatism of Andre Breton and his school. By 1946, his work began to move away from this style to an all-over, decentralized style which became the "Maze" works and ultimately AbEx works which saw their culmination in the "Black Warrior" series. When the "Club" was started, Price was invited to join and forged close relationships with other members of the New York School including Fritz Bultman, Giorgio Cavallon, Weldon Kees, Bradley Walker Tomlin...

Abstracto Rojo (Red Abstract) Hand signed and dated 1966 Angel Ponce de León (Spanish-French, 1925-) The artist, apparently still living in his late 8...

Signed lower left. About the artist: Rolph Scarlett was a painter of geometric abstraction during the American avant-garde movement of the 1930s and 1940s. Born in Guelph, Ontario,...

Clarence Holbrook Carter (American, 1904-2000) In and Out, 1963 Acrylic on paper Signed and dated lower right 22 x 30 inches Figural abstract vibrant yellow geometric painting. Cl...

Clarence Holbrook Carter (American, 1904-2000) Icon Mandala, 1967 Acrylic on paper Signed and dated lower right 30 x 22 inches Clarence Holbrook Carter achieved a level of national ...

Richard Andres (American, 1927-2013) Pieces Collage, c. 1965 collage on paper 14 x 18 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller designed and made the simple gold wedding ring Avis wore for their 65 years of marriage. During those 65 years neither wavered in their mutual love, nor in the respect they shared for one another’s art. The couple lived in a converted chicken coop in Missouri while Richard was in boot camp. At the camp, he would volunteer for any job offered and one of those jobs ended up being painting road signs. His commander noticed how quickly and neatly he worked and gave him more painting work to do - eventually recommending him for a position painting murals for Army offices in Panama. Until her dying day, Avis remained angry that “The army got to keep those fabulous murals and they probably didn’t even know how wonderful they were.” In Panama, their first son, Mark, was born. After Richard’s discharge in 1953, they moved back to the Cleveland area and used the GI bill to attend Kent State gaining his BA in education. The small family then moved briefly to Buffalo, where Richard taught at the Albright Art School and the University of Buffalo – and their second son, Peter, was born. Richard had exhibited work in the Cleveland May Show and the Butler Art Museum during his art school years, and during the years in Buffalo, his work was exhibited at the gallery he had so loved as a child, the Albright Art Gallery. In 1956, the family moved back to the Cleveland area and Richard began teaching art at Lincoln West High School during the day while working toward his MA in art at Kent State in the evenings. Avis and Richard, with the help of an architect, designed their first home - a saltbox style house in Hudson, Ohio, and in 1958, their third son, Max (after Max Beckmann) was born. Richard enjoyed the consistency of teaching high school as well as the time it gave him to paint on the weekends and during the summer months. In 1961, he received his MA and his daughter, Claire, was born. With a fourth child, the house was much too small, and Avis and Richard began designing their second home. An admirer of MCM architecture, Richard’s favorite example of the style was the Farnsworth house – he often spoke of how the concepts behind this architectural style, particularly that of Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s...

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