Skip to main content

20th Century Art

to
25,076
63,258
32,064
31,206
16,100
12,811
Overall Width
to
Overall Height
to
7,544
20,732
235,391
1,864
2,213
4,753
6,408
5,865
13,215
19,648
25,045
17,332
13,331
5,299
39,163
19,716
14,750
10,645
6,719
5,677
4,393
2,594
1,800
1,135
690
451
100
91
80,308
62,657
8,001
74,217
37,439
27,505
21,753
17,457
13,560
12,526
11,665
10,306
8,728
8,619
7,743
7,726
5,287
4,326
4,190
4,010
3,830
3,795
3,516
48,619
28,815
28,484
28,342
14,801
8,771
1,278
1,179
1,171
1,013
34,622
44,435
83,388
63,806
Period: 20th Century
The Hunters
Located in Belgrade, MT
This piece is artist signed and numbered. Jacques Despierre was born in St. Etienne France, 1912-1995. He studied at the Academie Colarrossi and also at the Ecole des Beaux arts in P...
Category

Cubist 20th Century Art

Materials

Paint, Lithograph

Large British Sporting Oil Painting Jockey on Racehorse in Landscape Gilt Frame
Located in Cirencester, Gloucestershire
Jockey on Horseback British School, 20th century painted after an earlier style oil on canvas, framed framed: 31 x 35 inches canvas: 20 x 24 inches provenance: private collection, UK...
Category

English School 20th Century Art

Materials

Oil

Antique Landscape oil Painting Misty Morning Swans on the lake By L.Hilden 1920'
Located in Douglas Manor, NY
4041 Antique landscape oil painting in a period frame 1920's
Category

20th Century Art

Materials

Oil

"Le Pont-Neuf" original etching
Located in Henderson, NV
Medium: original etching. This impression on Canson et Montgolfier wove paper was printed in 1937 in an edition of 500 for the "Paris 1937" portfolio. Printed at the atelier of Jean-...
Category

20th Century Art

Materials

Etching

Walasse Ting 'Blue Horse'
Located in Brooklyn, NY
Paper Size: 45.75 x 61.75 inches ( 116.205 x 156.845 cm ) Image Size: 45.75 x 61.75 inches ( 116.205 x 156.845 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling ...
Category

Contemporary 20th Century Art

Materials

Offset

Walasse Ting 'Blue Horse'
$200 Sale Price
20% Off
Brigitte Bardot Holding Puppies
Located in Austin, TX
Candid black and white capture of actress Brigitte Bardot holding two puppies. Brigitte Bardot is a French former actress, singer, and model as well as an animal rights activist. Fa...
Category

Contemporary 20th Century Art

Materials

Archival Ink, Archival Paper, Archival Pigment

Robert Rauschenberg 'National Collection of Fine Arts-Poster' 1976 Pop Art
Located in Brooklyn, NY
First edition exhibition poster for a retrospective of Rauschenberg's works organized by NCFA, Washington DC, with mutual sponsorship of N.E.A. a Federal Agency, Museum of Modern Art...
Category

Pop Art 20th Century Art

Materials

Offset

Diurnes: The Goat in a Mountain - Original Collotype and Stencil (Cramer #115)
Located in Paris, IDF
Pablo PICASSO (1881-1973) Diurnes: The Goat in a Mountain, 1962 Original collotype and stencil (Jacomet workshop) Unsigned Limited to 1000 copy On paper 40 x 30 cm (c. 15,7 x 11,8 ...
Category

Modern 20th Century Art

Materials

Stencil

After Dinner Relaxation
Located in San Francisco, CA
This artwork titled "After Dinner Relaxation" c.1980 is an original color serigraph on paper by Israeli artist Itzchac Tarkay 1935-2012. It is hand signed and numbered 426/450 in pe...
Category

Art Deco 20th Century Art

Materials

Screen

Boats on a Pond
Located in London, GB
'Boats on a Pond', oil on canvas, by Charles Kvapil (circa 1930s). This tranquil artwork depicts people fishing from their small boats. The motionless pond is surrounded by lush foliage with some homes as backdrop. The painting is spattered with light. With hardly any air moving in the scene, the still water plays...
Category

20th Century Art

Materials

Canvas, Oil

Candle Lit Interior Book Covered Table 20th Century French Oil Painting
Located in Cirencester, Gloucestershire
Candle Lit Interior by Annie Faure (French 1940-2021) signed lower corner oil painting on canvas, unframed canvas size: 25.5 x 36 inches condition: overall very good, minor surface s...
Category

French School 20th Century Art

Materials

Oil

Tableau, Japanese, limited edition lithograph, black, white, red, signed, number
Located in Santa Fe, NM
Tableau, Japanese, limited edition lithograph, black, white, red, signed, number Shinoda's works have been collected by public galleries and museums, including the Museum of Modern Art, Solomon R. Guggenheim Museum, Brooklyn Museum and Metropolitan Museum (all in New York City), the National Museum of Modern Art in Tokyo, the British Museum in London, the Art Institute of Chicago, Arthur M. Sackler Gallery of the Smithsonian in Washington, D.C., the Singapore Art Museum, the National Museum of Singapore, the Kröller-Müller Museum in Otterlo, Netherlands, the Albright–Knox Art Gallery in Buffalo, New York, the Cincinnati Art Museum, and the Yale University Art Gallery in New Haven, Connecticut. New York Times Obituary, March 3, 2021 by Margalit Fox, Alex Traub contributed reporting. Toko Shinoda, one of the foremost Japanese artists of the 20th century, whose work married the ancient serenity of calligraphy with the modernist urgency of Abstract Expressionism, died on Monday at a hospital in Tokyo. She was 107. Her death was announced by her gallerist in the United States. A painter and printmaker, Ms. Shinoda attained international renown at midcentury and remained sought after by major museums and galleries worldwide for more than five decades. Her work has been exhibited at, among other places, the Metropolitan Museum of Art and the Museum of Modern Art in New York; the Art Institute of Chicago; the British Museum; and the National Museum of Modern Art in Tokyo. Private collectors include the Japanese imperial family. Writing about a 1998 exhibition of Ms. Shinoda’s work at a London gallery, the British newspaper The Independent called it “elegant, minimal and very, very composed,” adding, “Her roots as a calligrapher are clear, as are her connections with American art of the 1950s, but she is quite obviously a major artist in her own right.” As a painter, Ms. Shinoda worked primarily in sumi ink, a solid form of ink, made from soot pressed into sticks, that has been used in Asia for centuries. Rubbed on a wet stone to release their pigment, the sticks yield a subtle ink that, because it is quickly imbibed by paper, is strikingly ephemeral. The sumi artist must make each brush stroke with all due deliberation, as the nature of the medium precludes the possibility of reworking even a single line. “The color of the ink which is produced by this method is a very delicate one,” Ms. Shinoda told The Business Times of Singapore in 2014. “It is thus necessary to finish one’s work very quickly. So the composition must be determined in my mind before I pick up the brush. Then, as they say, the painting just falls off the brush.” Ms. Shinoda painted almost entirely in gradations of black, with occasional sepias and filmy blues. The ink sticks she used had been made for the great sumi artists of the past, some as long as 500 years ago. Her line — fluid, elegant, impeccably placed — owed much to calligraphy. She had been rigorously trained in that discipline from the time she was a child, but she had begun to push against its confines when she was still very young. Deeply influenced by American Abstract Expressionists like Jackson Pollock, Mark Rothko and Robert Motherwell, whose work she encountered when she lived in New York in the late 1950s, Ms. Shinoda shunned representation. “If I have a definite idea, why paint it?,” she asked in an interview with United Press International in 1980. “It’s already understood and accepted. A stand of bamboo is more beautiful than a painting could be. Mount Fuji is more striking than any possible imitation.” Spare and quietly powerful, making abundant use of white space, Ms. Shinoda’s paintings are done on traditional Chinese and Japanese papers, or on backgrounds of gold, silver or platinum leaf. Often asymmetrical, they can overlay a stark geometric shape with the barest calligraphic strokes. The combined effect appears to catch and hold something evanescent — “as elusive as the memory of a pleasant scent or the movement of wind,” as she said in a 1996 interview. Ms. Shinoda’s work also included lithographs; three-dimensional pieces of wood and other materials; and murals in public spaces, including a series made for the Zojoji Temple in Tokyo. The fifth of seven children of a prosperous family, Ms. Shinoda was born on March 28, 1913, in Dalian, in Manchuria, where her father, Raijiro, managed a tobacco plant. Her mother, Joko, was a homemaker. The family returned to Japan when she was a baby, settling in Gifu, midway between Kyoto and Tokyo. One of her father’s uncles, a sculptor and calligrapher, had been an official seal carver to the Meiji emperor. He conveyed his love of art and poetry to Toko’s father, who in turn passed it to Toko. “My upbringing was a very traditional one, with relatives living with my parents,” she said in the U.P.I. interview. “In a scholarly atmosphere, I grew up knowing I wanted to make these things, to be an artist.” She began studying calligraphy at 6, learning, hour by hour, impeccable mastery over line. But by the time she was a teenager, she had begun to seek an artistic outlet that she felt calligraphy, with its centuries-old conventions, could not afford. “I got tired of it and decided to try my own style,” Ms. Shinoda told Time magazine in 1983. “My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” Moving to Tokyo as a young adult, Ms. Shinoda became celebrated throughout Japan as one of the country’s finest living calligraphers, at the time a signal honor for a woman. She had her first solo show in 1940, at a Tokyo gallery. During World War II, when she forsook the city for the countryside near Mount Fuji, she earned her living as a calligrapher, but by the mid-1940s she had started experimenting with abstraction. In 1954 she began to achieve renown outside Japan with her inclusion in an exhibition of Japanese calligraphy at MoMA. In 1956, she traveled to New York. At the time, unmarried Japanese women could obtain only three-month visas for travel abroad, but through zealous renewals, Ms. Shinoda managed to remain for two years. She met many of the titans of Abstract Expressionism there, and she became captivated by their work. “When I was in New York in the ’50s, I was often included in activities with those artists, people like Mark Rothko, Jackson Pollock, Motherwell and so forth,” she said in a 1998 interview with The Business Times. “They were very generous people, and I was often invited to visit their studios, where we would share ideas and opinions on our work. It was a great experience being together with people who shared common feelings.” During this period, Ms. Shinoda’s work was sold in the United States by Betty Parsons, the New York dealer who represented Pollock, Rothko and many of their contemporaries. Returning to Japan, Ms. Shinoda began to fuse calligraphy and the Expressionist aesthetic in earnest. The result was, in the words of The Plain Dealer of Cleveland in 1997, “an art of elegant simplicity and high drama.” Among Ms. Shinoda’s many honors, she was depicted, in 2016, on a Japanese postage stamp. She is the only Japanese artist to be so honored during her lifetime. No immediate family members survive. When she was quite young and determined to pursue a life making art, Ms. Shinoda made the decision to forgo the path that seemed foreordained for women of her generation. “I never married and have no children,” she told The Japan Times in 2017. “And I suppose that it sounds strange to think that my paintings are in place of them — of course they are not the same thing at all. But I do say, when paintings that I have made years ago are brought back into my consciousness, it seems like an old friend, or even a part of me, has come back to see me.” Works of a Woman's Hand Toko Shinoda bases new abstractions on ancient calligraphy Down a winding side street in the Aoyama district, western Tokyo. into a chunky white apartment building, then up in an elevator small enough to make a handful of Western passengers friends or enemies for life. At the end of a hall on the fourth floor, to the right, stands a plain brown door. To be admitted is to go through the looking glass. Sayonara today. Hello (Konichiwa) yesterday and tomorrow. Toko Shinoda, 70, lives and works here. She can be, when she chooses, on e of Japans foremost calligraphers, master of an intricate manner of writing that traces its lines back some 3,000 years to ancient China. She is also an avant-garde artist of international renown, whose abstract paintings and lithographs rest in museums around the world. These diverse talents do not seem to belong in the same epoch. Yet they have somehow converged in this diminutive woman who appears in her tiny foyer, offering slippers and ritual bows of greeting. She looks like someone too proper to chip a teacup, never mind revolutionize an old and hallowed art form She wears a blue and white kimono of her own design. Its patterns, she explains, are from Edo, meaning the period of the Tokugawa shoguns, before her city was renamed Tokyo in 1868. Her black hair is pulled back from her face, which is virtually free of lines and wrinkles. except for the gold-rimmed spectacles perched low on her nose (this visionary is apparently nearsighted). Shinoda could have stepped directly from a 19th century Meji print. Her surroundings convey a similar sense of old aesthetics, a retreat in the midst of a modern, frenetic city. The noise of the heavy traffic on a nearby elevated highway sounds at this height like distant surf. delicate bamboo shades filter the daylight. The color arrangement is restful: low ceilings of exposed wood, off-white walls, pastel rugs of blue, green and gray. It all feels so quintessentially Japanese that Shinoda’s opening remarks come as a surprise. She points out (through a translator) that she was not born in Japan at all but in Darien, Manchuria. Her father had been posted there to manage a tobacco company under the aegis of the occupying Japanese forces, which seized the region from Russia in 1905. She says,”People born in foreign places are very free in their thinking, not restricted” But since her family went back to Japan in 1915, when she was two, she could hardly remember much about a liberated childhood? She answers,”I think that if my mother had remained in Japan, she would have been an ordinary Japanese housewife. Going to Manchuria, she was able to assert her own personality, and that left its mark on me.” Evidently so. She wears her obi low on the hips, masculine style. The Porcelain aloofness she displays in photographs shatters in person. Her speech is forceful, her expression animated and her laugh both throaty and infectious. The hand she brings to her mouth to cover her amusement (a traditional female gesture of modesty) does not stand a chance. Her father also made a strong impression on the fifth of his seven children:”He came from a very old family, and he was quite strict in some ways and quite liberal in others.” He owned one of the first three bicycles ever imported to Japan and tinkered with it constantly He also decided that his little daughter would undergo rigorous training in a procrustean antiquity. “I was forced to study from age six on to learn calligraphy,” Shinoda says, The young girl dutifully memorized and copied the accepted models. In one sense, her father had pushed her in a promising direction, one of the few professional fields in Japan open to females. Included among the ancient terms that had evolved around calligraphy was onnade, or woman's writing. Heresy lay ahead. By the time she was 15, she had already been through nine years of intensive discipline, “I got tired of it and decided to try my own style. My father always scolded me for being naughty and departing from the traditional way, but I had to do it.” She produces a brush and a piece of paper to demonstrate the nature of her rebellion. “This is kawa, the accepted calligraphic character for river,” she says, deftly sketching three short vertical strokes. “But I wanted to use more than three lines to show the force of the river.” Her brush flows across the white page, leaving a recognizable river behind, also flowing.” The simple kawa in the traditional language was not enough for me. I wanted to find a new symbol to express the word river.” Her conviction grew that ink could convey the ineffable, the feeling, "as she says, of wind blowing softly.” Another demonstration. She goes to the sliding wooden door of an anteroom and disappears in back of it; the only trace of her is a triangular swatch of the right sleeve of her kimono, which she has arranged for that purpose. A realization dawns. The task of this artist is to paint that three sided pattern so that the invisible woman attached to it will be manifest to all viewers. Gen, painted especially for TIME, shows Shinoda’s theory in practice. She calls the work “my conception of Japan in visual terms.” A dark swath at the left, punctuated by red, stands for history. In the center sits a Chinese character gen, which means in the present or actuality. A blank pattern at the right suggests an unknown future. Once out of school, Shinoda struck off on a path significantly at odds with her culture. She recognized marriage for what it could mean to her career (“a restriction”) and decided against it. There was a living to be earned by doing traditional calligraphy:she used her free time to paint her variations. In 1940 a Tokyo gallery exhibited her work. (Fourteen years would pass before she got a second show.)War came, and bad times for nearly everyone, including the aspiring artist , who retreated to a rural area near Mount Fuji and traded her kimonos for eggs. In 1954 Shinoda’s work was included in a group exhibit at New York City’s Museum of Modern Art. Two years later, she overcame bureaucratic obstacles to visit the U.S.. Unmarried Japanese women are allowed visas for only three months, patiently applying for two-month extensions, one at a time, Shinoda managed to travel the country for two years. She pulls out a scrapbook from this period. Leafing through it, she suddenly raises a hand and touches her cheek:”How young I looked!” An inspection is called for. The woman in the grainy, yellowing newspaper photograph could easily be the on e sitting in this room. Told this, she nods and smiles. No translation necessary. Her sojourn in the U.S. proved to be crucial in the recognition and development of Shinoda’s art. Celebrities such as actor Charles Laughton and John Lewis of the Modern Jazz Quartet bought her paintings and spread the good word. She also saw the works of the abstract expressionists, then the rage of the New York City art world, and realized that these Western artists, coming out of an utterly different tradition, were struggling toward the same goal that had obsessed her. Once she was back home, her work slowly made her famous. Although Shinoda has used many materials (fabric, stainless steel, ceramics, cement), brush and ink remain her principal means of expression. She had said, “As long as I am devoted to the creation of new forms, I can draw even with muddy water.” Fortunately, she does not have to. She points with evident pride to her ink stone, a velvety black slab of rock, with an indented basin, that is roughly a foot across and two feet long. It is more than 300 years old. Every working morning, Shinoda pours about a third of a pint of water into it, then selects an ink stick from her extensive collection, some dating back to China’s Ming dynasty. Pressing stick against stone, she begins rubbing. Slowly, the dried ink dissolves in the water and becomes ready for the brush. So two batches of sumi (India ink) are exactly alike; something old, something new. She uses color sparingly. Her clear preference is black and all its gradations. “In some paintings, sumi expresses blue better than blue.” It is time to go downstairs to the living quarters. A niece, divorced and her daughter,10,stay here with Shinoda; the artist who felt forced to renounce family and domesticity at the outset of her career seems welcome to it now. Sake is offered, poured into small cedar boxes and happily accepted. Hold carefully. Drink from a corner. Ambrosial. And just right for the surroundings and the hostess. A conservative renegade; a liberal traditionalist; a woman steeped in the male-dominated conventions that she consistently opposed. Her trail blazing accomplishments are analogous to Picasso’s. When she says goodbye, she bows. --by Paul Gray...
Category

Contemporary 20th Century Art

Materials

Lithograph

Set of 2 Aventure d'une libertine Photographs. From The Secret Album Series
Located in Miami Beach, FL
Set of 2 Photographs Aventure d'une libertine, 2015 From The Secret Album Series Overall Frame size: 20.5 H x 28.5 W x 1 D in. Overall Sheet size: 17.7 H x 24 W in. Individual size: ...
Category

Modern 20th Century Art

Materials

Color, Archival Pigment

original lithograph
Located in Henderson, NV
Medium: original lithograph. Printed on a thin japon-type paper and published in Milan by Groupe Espace for the very rare 1955-56 volume of Documenti d'Arte d'Oggi. Sheet size 12 1/2...
Category

20th Century Art

Materials

Lithograph

Kurt Hutton Fair Fun 1938 Limited Edition Silver Gelatin Fibre Print
Located in London, GB
Fair Fun (1938) - Silver Gelatin Fibre Print (Photo by Kurt Hutton/Getty Images) Two young women enjoying themselves on the 'Caterpillar' ride at Southend Fair, Essex, October 1938...
Category

Modern 20th Century Art

Materials

Black and White, Silver Gelatin

French Impressionist Oil Painting of Figures Walking Through a Sunlit Park
Located in Cirencester, Gloucestershire
Title: French Impressionist Oil Painting of Figures Walking Through a Sunlit Park By Fanch Lel (French b. 1930) Size: 7 x 8.75 inches (height x width) Signed: Yes Oil painting on boa...
Category

Impressionist 20th Century Art

Materials

Oil

The High Life Slim Aarons Estate Stamped Print
Located in London, GB
The High Life 1968 by Slim Aarons Slim Aarons Limited Estate Edition Actor George Hamilton (in blue) takes off in a speedboat with friends Ruth Luthi and Mike Belami, during a sta...
Category

Modern 20th Century Art

Materials

Archival Pigment

"L'hotel de ville" original etching
Located in Henderson, NV
Medium: original etching. This impression on Canson et Montgolfier wove paper was printed in 1937 in an edition of 500 for the "Paris 1937" portfolio. Printed at the atelier of Jean-...
Category

20th Century Art

Materials

Etching

Grace Jones for After Dark
Located in Wilton Manors, FL
Victor Arimondi (1942-2001). Portrait of Grace Jones, 1975. Period print measures 8 x 11.75 inches; 10.25 x 13 inches framed. Artist studio stamp on ve...
Category

Realist 20th Century Art

Materials

Photographic Paper

Original Marilyn Monroe Photograph
Located in Soquel, CA
Original Marilyn Monroe Photograph Original photograph of Marilyn Monroe posing in her dressing room on the film of "Gentlemen Prefer Blondes" by photographer Milton Gold (American,...
Category

Photorealist 20th Century Art

Materials

Photographic Paper, Silver Gelatin

Portrait of a Man Inspired by El Greco - Lithograph (Mourlot)
Located in Paris, IDF
Pablo PICASSO (1881-1973) Man with a Strawberry after El Greco, 1973 Lithograph (Atelier Mourlot, Paris) Signed in the plate On Arches vellum, 68 x 50 cm (c. 27 x 20 in) REFERENCES...
Category

Cubist 20th Century Art

Materials

Lithograph

Palma de Mallorca from the Sea mediterranean art oil on canvas painting Spain
Located in Barcelona, Barcelona
Title: Palma de Mallorca from the Sea Artist: Josep Coll Bardolet (1912–2007) Technique: Oil on linen canvas Dimensions: 81 x 100 cm (approx. 31.9 x 39.4 in) Condition: Unframed Sign...
Category

Impressionist 20th Century Art

Materials

Linen, Oil

Henri Silberman 'Manhattan East Side' 1999- Offset Lithograph
Located in Brooklyn, NY
Paper Size: 15.75 x 19.75 inches ( 40.005 x 50.165 cm ) Image Size: 12.25 x 17.75 inches ( 31.115 x 45.085 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling ...
Category

20th Century Art

Materials

Offset

Antique English Portrait Oil Painting of an English Writer
Located in Douglas Manor, NY
3423 English writer portrait, oil on board displayed in a gilt -wood frame, signed by Welsh.Image size 10 H x 8 W
Category

20th Century Art

Materials

Oil

Bearden- 'Carolina Shout' Vintage African American
Located in Brooklyn, NY
This is a poster titled Carolina Shout by Romare Bearden originally was created in 1967. Carolina Shout captures the vibrant energy and cultural significance of African American lif...
Category

Contemporary 20th Century Art

Materials

Offset

Hairdresser — vintage drawing, original 'Superman' artist
Located in Myrtle Beach, SC
Leonard Nowak, 'Hairdresser', conté crayon and India ink, c. 1940s. Signed in ink, lower left. Original cartoon drawing, on textured, off-white wove draw...
Category

Modern 20th Century Art

Materials

Conté, India Ink

Roy Lichtenstein Still Life with Goldfish Bowl Vintage Pop Art
Located in Brooklyn, NY
Still Life with Goldfish Bowl is a 1980 vintage blank greeting card, originally printed for the Guggenheim Museum. The card is framed in a white wood frame with a front profile of 1 ...
Category

Pop Art 20th Century Art

Materials

Offset

Gondolas on the Grand Canal in Venice
Located in Genève, GE
Work on paper Gilded wooden frame with glass window 25 x 33.5 x 2.5 cm
Category

20th Century Art

Materials

Watercolor

Naval Engagement Napoleonic Wars Sea Battle Fine English Oil Painting
Located in Cirencester, Gloucestershire
Contemporay English School signed oil painting on copper panel framed: 13 x 14.5 inches panel: 8 x 10 inches provenance: private collection, England condition: overall very good
Category

Modern 20th Century Art

Materials

Oil

THE FAMILY Signed Lithograph, Black Family Portrait, Collage, African American
Located in Union City, NJ
THE FAMILY is an original hand drawn, limited edition lithograph by the African American artist James Denmark, printed using hand lithography on Arches paper 100% acid free. Rich, vi...
Category

Contemporary 20th Century Art

Materials

Lithograph

Terry O'Neill, Faye Dunaway Oscar Outtake
Located in New York, NY
Faye Dunaway Oscar Outtake (Stare) Los Angeles 1977 C-print 60 x 60 inches estate stamped and numbered edition of 50 Terry O'Neill CBE (1938-2019) was an eminent English photograp...
Category

Modern 20th Century Art

Materials

C Print

Abstract Figurative Expressionist painting
Located in Wilton Manors, FL
Amazing Figurative Expressionism painting with exceptional color and movement. Oil on canvas, ca. 1960s. Measures 40 x 52 inches. Unsigned and unattributed. Excellent condition.
Category

Expressionist 20th Century Art

Materials

Oil

Sans titre (Cramer 49; Mourlot 365), Marc Chagall, Vitraux pour Jérusalem
Located in Southampton, NY
Lithograph on vélin paper. Paper Size: 12.75 x 9.428 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Cain, Julien, and Fernand Mourlot. Chagal...
Category

Expressionist 20th Century Art

Materials

Lithograph

The Lady with a Red Parasol
Located in San Francisco, CA
Sheltering under a red parasol from sunny afternoon skies while passing through this lovely waterfront park, a woman could easily find renewal. She strolls along the Mediterranean sh...
Category

Impressionist 20th Century Art

Materials

Canvas, Oil

English 1970's OIL PAINTING Female Nude In An Interior by FRANK JOHNSON
Located in Cirencester, GB
ARTIST: Frank Johnson (1917-1998) British TITLE: "Female Nude In A Living Room Interior' SIGNED: unsigned, from the artists studio sale at Bonhams Chest...
Category

Post-Impressionist 20th Century Art

Materials

Oil

Fiesta, c. 1973, red, yellow & blue figurative abstract lithograph
Located in Beachwood, OH
Alexander Calder (American, 1898-1976) Fiesta, c. 1973 Lithograph in colors Signed lower right Edition: E. A. 20 x 28 inches 35.5 x 37.75 inches, framed One of America's best known ...
Category

Modern 20th Century Art

Materials

Lithograph

Forest Landscape - an Antique Oil Painting by 19th Century American Artist
Located in Preston, GB
Forest Landscape - an Antique Oil Painting by 19th Century American Artist, Clara Davis Inness (1874-1932) Art measures 36 x 24 inches F...
Category

American Realist 20th Century Art

Materials

Canvas, Oil, Cotton Canvas

French Impressionist Oil Painting of Small Boats Anchored by the Shore
Located in Cirencester, Gloucestershire
Title: French Impressionist Oil Painting of Small Boats Anchored by the Shore By Fanch Lel (French b. 1930) Size: 8.75 x 10.75 inches (height x width) Signed: Yes Oil painting on boa...
Category

Impressionist 20th Century Art

Materials

Oil

"Liz's Scissors" by William Lovelace
Located in London, GB
"Liz's Scissors" by William Lovelace 6th March 1964: Elizabeth Taylor gives her future husband Richard Burton (1925-1984) a cursory haircut. Unframed Paper Size: 12" x 16'' (inches...
Category

Modern 20th Century Art

Materials

Black and White

Roy Lichtenstein Interior with Built-in Bar, Pop Art Vintage
Located in Brooklyn, NY
Vintage blank postcard published by VG Bild-Kunst, Bonn in 1992 for the Pop Art Show at Museum Ludwig Koln. Printed in Germany. Framed in a white wood frame with a front profile of 1...
Category

Pop Art 20th Century Art

Materials

Offset

1960's British Surrealist Oil Painting - Abstract Botanical Study
Located in Cirencester, Gloucestershire
Title: 1960's British Surrealist Oil Painting - Abstract Botanical Study Medium: Oil on board, unframed Size: 6 height x 4 width Condition: Good Provenance: all the paintings we hav...
Category

Surrealist 20th Century Art

Materials

Oil

Sam - Original Fine Art Intimate photograph , woman in bed, Contemporary, Nude
Located in Sant Cugat del Vallès, Barcelona
This is an original signed archival pigment print on Hahnemühle Photo Rag® Baryta 315 gsm paper by Scottish artist Ian Sanderson (1951- 2020) titled ‘ Sam ‘ who was captured on fil...
Category

Modern 20th Century Art

Materials

Photographic Film, Archival Pigment, Pigment, Black and White, Photograp...

French Expressionist Abstract Original Painting Artists Studio Provenance
Located in Cirencester, Gloucestershire
Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 12.75 x 9.75 inches condition: excellent provenance: all the paintings we ...
Category

Abstract Impressionist 20th Century Art

Materials

Oil

Poolside Dreams, 1970 - Poolside Gossip Poolside Glamor Palm Springs Poolside
Located in Brighton, GB
Poolside Dreams, 1970 - Poolside Gossip Poolside Glamor Palm Springs Poolside by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. '...
Category

American Modern 20th Century Art

Materials

Photographic Paper, C Print, Color, Digital

Variation II on Mauve Corner (Harrison, 17), Color Lithograph, Signed/N, Framed
Located in New York, NY
Helen Frankenthaler Variation II on Mauve Corner (Harrison, 17), 1969 Lithograph in colors on Chatham British paper Signed, dated and numbered 14/21 in graphite pencil on the front Published by ULAE, West Islip, NY, with their blind stamp Frame included Accompanied by gallery issued Certificate of Guarantee Lithograph in colors on Chatham British paper Signed, dated and numbered 14/21 in graphite pencil on the front Published and printed by ULAE, West Islip, NY, with their blind stamp Literature: Frankenthaler, A Catalogue Raisonné: Prints 1961-1994, Harrison, no. 17, ppg. 106-109 Accompanied by gallery issued Certificate of Guarantee Elegantly floated and framed in a museum quality wood frame under UV plexiglass Measurements: Framed: 23.75 (vertical) x 28.75 (horizontal) x 2 inches Artwork: 20 inches (vertical) x 25 inches (horizontal) “What concerns me when I work is not whether a picture is a landscape… or whether somebody will see a sunset in it. What concerns me is, did I make a beautiful picture?” - - Helen Frankenthaler This is Frankenthaler's first silkscreen, produced for the portfolio New York Ten, which includes works by other New York-based artists at the time such as Roy Lichtenstein, Jim Dine, Tom Wesselmann and Claes Oldenburg. (She created her first lithograph in 1961) Other examples of this edition are found in the permanent collections of the Museum of Modern Art, MOCA Chicago, the Metropolitan Museum, the Philadelphia Museum, the Art Institute of Chicago, and numerous regional museums and institutions in the United States and worldwide. Helen Frankenthaler, A Brief Biography Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann. Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...
Category

Abstract Expressionist 20th Century Art

Materials

Lithograph

Surrealist composition
Located in Henderson, NV
Medium: collotype (after the Miro lithograph). Printed in 1947 in an edition of 1500 by Meriden Gravure and published by Curt Valentin for "The Prints of Joan Miro" portfolio. Size: ...
Category

Surrealist 20th Century Art

Materials

Photogravure

Impressionist Seascape Painting of the Chausey Islands with Boats and Rocks
Located in Cirencester, Gloucestershire
Title: Impressionist Seascape Painting of the Chausey Islands with Boats and Rocks By Fanch Lel Signed: Yes Size: 19.75 x 25.5 inches (height x width) Oil painting on board, unframed...
Category

Impressionist 20th Century Art

Materials

Oil

Mid Century French Original Ink Drawing of Place des Vosges (Paris 1970)
Located in Cirencester, Gloucestershire
Title: "Mid Century French Original Ink Drawing of Place des Vosges (Paris 1970)" Artist: Josine Vignon (French 1922-2022) Medium: Ink on artist paper Size: 19.75 (height) x 25.75...
Category

Impressionist 20th Century Art

Materials

Ink

Blackpool Railings (1951) - Silver Gelatin Fibre Print
Located in London, GB
Blackpool Railings (1951) - Silver Gelatin Fibre Print (Photo by Bert Hardy / Getty Images Archive London) Two women chatting on the railings in B...
Category

Modern 20th Century Art

Materials

Black and White, Silver Gelatin

Chagall, Tribe of Issachar, Vitraux pour Jérusalem (after)
Located in Southampton, NY
Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the album, Chagall, Vitraux pour Jérusalem. Published by Musée des Arts Décora...
Category

Expressionist 20th Century Art

Materials

Lithograph

Antique American Impressionist Beach Scene Scene Original Framed Oil Painting
Located in Douglas Manor, NY
4034 Antique Impressionist oil on artist board Set in a vintage carved wood frame image size 11.5x9.5"
Category

20th Century Art

Materials

Oil

Calder, Sunburst, Braniff International Airways Flying Colors (after)
Located in Southampton, NY
Lithograph on vélin d’Arches paper. Inscription: Signed in the plate, embossed with the official Braniff Flying Colors Collection seal, and unnumbered, as issued. Good condition. Not...
Category

Modern 20th Century Art

Materials

Lithograph

Mapplethorpe, Composition, A Season in Hell (after)
Located in Southampton, NY
Photogravure on papier gravure Cartiere Enrico Magnani à la main, mounted on papier Cartiere Enrico Magnani à la main moulé-pressé paper, as issued. Inscription: unsigned and unnumbe...
Category

Contemporary 20th Century Art

Materials

Photogravure

North African Town - Mid 20th Century French Orientalist Figures Oil Painting
Located in Sevenoaks, GB
A beautiful 1940's French oil on board by Rosette Chicotot depicting figures in a North African town, possibly Marrakech. The work is signed lower left and presented in a silvered f...
Category

20th Century Art

Materials

Oil

original lithograph
Located in Henderson, NV
Medium: original lithograph. This lithograph is from the rare 1954 "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 1954 Spr...
Category

20th Century Art

Materials

Lithograph

Vintage English Oil Painting Portrait of a Boxer Dog 'Barron'
Located in Cirencester, Gloucestershire
"Barron" Portrait of a Boxer Dog English artist, mid 20th century oil on board, framed Framed: 18 x 14 inches Board: 16 x 12 inches Provenance: private collection, England Condition:...
Category

English School 20th Century Art

Materials

Oil

Fishing Boats in Mexico, 1952 - Southern America Beaches Landscape Photography
Located in Brighton, GB
Fishing Boats in Mexico, 1952 - Southern America Beaches Landscape Photography by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. '...
Category

American Modern 20th Century Art

Materials

Photographic Paper, C Print, Color, Digital

JUMPIN' & JIVIN' Signed Lithograph, Jazz Club, Band Musicians, Color Collage
Located in Union City, NJ
JUMPIN & JIVIN' is an original hand drawn, limited edition lithograph(not a photo reproduction or digital print) by the American artist James Denmark printed on archival Somerset pap...
Category

Contemporary 20th Century Art

Materials

Lithograph

Les roses coupees
Located in Henderson, NV
Medium: offset lithograph (after the watercolor). Printed in 1970 on velin bouffant paper from the Papeteries Casteljoux and published in France by Edito-Service Geneve. This reprodu...
Category

20th Century Art

Materials

Offset

'Encircled' — Mid-Century Surrealism, Atelier 17
Located in Myrtle Beach, SC
Ian Hugo, 'Encircled', engraving, 1946, edition 50. Signed, dated, titled, and numbered '5/50' in pencil. With the blind stamp 'madeleine-claude jobrack EDIT...
Category

Surrealist 20th Century Art

Materials

Engraving

Recently Viewed

View All