Color-Field Art

Gritty working class truck driver with tiger painting on truck door, is rendered in a flat and quick style with rapid brushstrokes defining the trucker. The tiger is painted in a t...

Thomas Victor Downing (1928 - 1985) Nineteen, 1968 Acrylic on canvas 35 1/2 x 16 1/2 inches Signed on the reverse Provenance: Estate of the artist Henri Gallery, Washington, D.C. Private Collection, Washington, D.C. Thomas Downing was born in Suffolk, Virginia. In 1950, after graduating from Pratt Institute in New York City, he received a grant from the Virginia Museum of Fine Art to study in Europe. Upon returning from Europe, he settled in Washington, DC to teach at Catholic University. In 1954 Downing became a friend of Kenneth Noland, whose life drawing course he attended. From 1955 to 1956 Downing shared a studio with Howard Mehring, another artist who came to be identified with the Washington Color School. Downing had his first one-man show at the Washington Workshop Center for the Arts in 1959. That year, Downing, Mehring, and Betty Pajac founded Origio, a cooperative art gallery in Washington. In 1959 Downing first began using the small dot in his work, a motif he explored fully into the 1970s. In the early works colorful dots determined the structure of the painting in their size, position, and repetition within a grid. Often there was a sense of concentration and expansion of the composition from the center to the edge of the canvas, achieving a visual impression of expanding open space. Looking for the fusion between the grid and color, Downing eliminated overlapping dots in 1962. The dots arranged in grids seem to project from the canvas surface, giving the impression the color floats unrestricted by the square format of his paintings. Downing’s position in the Washington Color School came from his consistent approach to color. The canvas was the receptacle of color, on which Downing often worked in tonal modulations of a hue. Downing developed shaped canvases in 1966 as a structural solution to his deeper consideration of the “spatial definition” of color. After first working in a parallelogram shape, Downing next worked in chevron-shaped canvases that examined the illusionistic qualities of color. He exhibited these works in a solo exhibition at the Corcoran Gallery in 1966-1967 and later at the Allan Stone Gallery in New York in 1967. Downing’s second series of shaped canvases titled Folds were created in 1968. In the Fold series he discovered a new effect of relief and spatial depth within a flat work that could be enhanced by color. The projections and folding in the Fold paintings suggest the paintings exist in a world without gravity. Downing exhibited in a group show at Jefferson Place Gallery in 1960 and had his first solo exhibition there in the spring of 1961. Downing had solo exhibitions in New York at Allan Stone Gallery in 1962, 1967, and 1968. He also had solo exhibition in New York at Stable Gallery in September 1963 and January 1965. In the early 1970s Downing had regular solo exhibitions at the Pyramid Galleries in DC. In the 1960s Downing was included in important museum exhibitions, including: Post Painterly Abstraction at Los Angeles County Museum of Art, 1964 (Clement Greenberg curated and included three of Downing’s dial paintings); The Responsive Eye at the Museum of Modern Art, 1965; Colorists, 1950-1965 at the San Francisco Museum of Art, 1965; Systemic Painting at the Solomon R. Guggenheim Museum, New York, 1966; and Color Field Painting at the Philadelphia Museum of Art in 1970. Thomas Downing: Recent Paintings was held at the Corcoran Gallery of Art in December 1966 - January 1967. A solo exhibition of his paintings from 1962 to 1968 was held at the La Jolla Museum of Art then travelled to the Phoenix Art Museum in 1968. Downing had a solo exhibition at the Phillips Collection in 1985. Downing taught at the Corcoran School of Art and Design, Washington, DC from 1965 to 1968. There he was influential for the next generation of DC color...

Silkscreen from 1970 by Washington Color School artist Howard Mehring (1931-1978). Museum quality framed behind UV plexi. Measures 29.5" x 26.5". Framed 37.25" x 34.25".

"Looking down towards Ludlow Castle" and "View of Bridgnorth" Oils on Canvas laid on board 9 by 12 inches, Signed and Framed (Framed in handmade gold leaf frames 14 by 17 inches) £28...

Francine Tint (b. 1943) Another Time Thick acrylic impasto on board, 1999, Hand signed 'Francine Tint' titled, dated Inscribed 'To Piri, Enjoy Much Love' on the reverse. 14 x 15 1/...

Danish oil on board painting of couples making their way in a landscape, by Poul Møller. Though not signed the painting has a dated artist's label to the side of the frame. Presented...

"Looking down towards Ludlow Castle" and "View of Bridgnorth" Oils on Canvas, laid on board 9 by 12 inches, Signed and Framed (Framed in handmade gold leaf frames 14 by 17 inches) £2...

An observing black dog is captured against a yellow and red Coca-Cola sign in Guaymas, Mexico. Shot in 1970, Mitchell Funk was innovating in color photography, which is what many col...

Jack Bush (1909-1977) is Canada's most successful abstract artist of the 20th century. Bush was a graduate of OCAD (Ontario College of Art & Design) and a key member of Painters Ele...

Natvar Bhavsar Untitled color-field abstract expressionist print (hand signed and numbered) Color silkscreen Pencil signed, dated and numbered 39/50 by the artist on the front Rare 1...

Danish oil on board painting of buildings in a landscape by Poul Møller. Though not signed the painting has a dated artists label to the back of the frame. Presented in a plain gold ...

Danish oil on board covered in a coarse canvas. A painting of houses in a coastal landscape by Poul Møller. The painting is signed PM and dated 76 to the bottom right and to the reve...

Provenance: Fischbach Gallery, New York Collection of A. Aladar Marberger Ray Parker, a New York School Abstract Expressionist, was a colorist influenced by Cubism in his early wor...

Danish oil on board painting of two women making their way home in a coastal landscape, by Poul Møller. The painting is signed PM and dated 76 to the bottom right corner. To the reve...

Among America’s leading abstract artists, Dan Christensen (1942-2007) was devoted over the course of forty years to exploring the limits, range, and possibilities of paint and pictor...

Gerome Kamrowski Burnt Orange Seams, 1979 Acrylic on canvas 30 x 24 inches Gerome Kamrowski was born in Warren, Minnesota, on January 19, 1914. In 1932 he enrolled in the Saint Paul...

Jack Bush (1909-1977) is known as one of Canada’s most successful abstract artists of the 20th century. In the 1960's he achieved international recognition for his works that positio...

As a leading figure of the Color Field movement in the 1960s, Kenneth Noland (1924–2010) made an essential contribution to American abstraction. His iconic works feature signature fo...

Acrylic on canvas. Signed, dated, and titled verso. 52.25 x 52.75 in. 54 x 54.25 in. (framed) Custom framed in a maple hardwood floater. Provenance Salander O’Reilly Galleries, Ne...

Natvar Bhavsar Untitled mid 1960s abstraction, 1967 Silkscreen Pencil signed, dated and numbered 10/30 by Natvar Bhavsar on the front Frame included: Elegantly framed in a museum qua...

"High Green, Version I" is an aquatint print by Richard Diebenkorn, made in 1992. It is number 46 from an edition of 65. The work is signed in pencil, lower right, "RD 92". The artwo...

Wolf Kahn Brattleboro Seen as a "Flugstadt" (European river town), 1980 Pastel on paper painting. Framed with handwritten label by the artist and Grace Borgenicht label Hand-signed by artist, hand signed front; bears the artist's handwritten label as well as label from Grace Borgenicht verso and a sticker from original collector Frame included: original vintage frame This work was acquired from the Brattleboro Museum in Vermont, which sold it to raise funds for their ongoing programming. As its title notes, it depicts the "Brattleboro Seen as a Flugstadt (European River Town)" - which has important autobiographical images. Wolf Kahn was born in Germany but he and his wife spent summers in Brattleboro Vermont...

As a student of Hans Hofmann (one biographer says she was one of his star pupils), Rothschild’s works reflect a woman who was immersed in the vanguard of abstraction in America at a...

Helen Frankenthaler Frankenthaler (Hand signed and inscribed), 1988 Offset lithograph (hand signed and inscribed to renowned collectors) Hand signed and warmly inscribed in ink on the front Frame included: Museum frame with UV plexiglass included Inscribed "to Paul and Joan, love Helen Frankenthaler" (Paul and Joan Gluck were major art collectors) Measurements: Framed 42 inches vertical by 34 inches by 1.75 inches Print 34.5 inches vertical by 27 inches 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...

Artist: Gene Davis Title: Carousel Year: 1980 Medium: Lithograph on Arches Paper, signed and numbered in pencil Edition: 250 Image 13.5 x 20 inches Paper Size: 17 x 24 inches

Kenneth Noland Ojai Festival print (Deluxe signed limited edition), 1986 Offset Lithograph Hand signed and numbered 6/100 by Kenneth Noland on lower front Frame included: framed in ...

Jules Olistki Luminous Dawn (from Vera List Print Program, Mostly Mozart, Lincoln Center), 1997 Silkscreen on wove paper 24 1/2 × 35 inches Signed and dated in pencil and numbered 'A...

Paul Allen Reed Untitled #31, 1982 Oil pastel on paper Pencil signed dated and annotated "7 10 79 1" by Paul Reed on the lower front Frame included: Th...

Kenneth Noland Untitled, 1987 Monotype with hand painting on wove paper Hand signed and dated with artist's copyright in pencil on the back; also with the blind stamp/chop mark lower...

School of Paul Feeley Untitled, c. 1960s Oil on canvas 20 x 59 5/8 in. Signed lower right Primarily a painter, Paul Feeley (American, 1910 - 1966) favored canvases with simple geome...

Acrylic on canvas. Signed and dated lower right, titled verso. 69 x 68.25 in. 70.5 x 70 in. (framed) Custom framed in a solid maple floater. Provenance Private Collection, Hilton ...

Jack Bush Jack Bush at Andre Emmerich, 1966 Offset lithograph exhibition poster. Postmarked to McNay Art institute director 22 1/2 × 17 3/4 inches Unframed This special mid century modern exhibition...

Wolf Kahn Red Barns, 1980 Color Lithograph on wove paper Hand signed, dated, and numbered 45/50 by the artist on the front Original vintage wood frame included Classic 1980 Wolf Kahn...

Kenneth Noland screenprint of "Virginia Site, 1959" printed in Belgium 2002. This is an unsigned edition. Paper dimensions are 27.5" x 27.5" and image dimensions are 19.5" x 19.5".

Larry Zox Untitled IV, ca. 1979 Pochoir on Arches Paper with Deckled Edges. Hand signed and numbered PPIV/4 by artist in pencil on the lower front. 28 1/2 × 22 1/2 inches Unframed Th...

Oil on canvas. Signed, titled, and dated verso. 40.25 x 34 in. 41.5 x 35.5 in. (framed) Custom framed in a solid maple floater, with a matte white finish. Provenance The Betty Par...

Color Field / AbEx

Shooting Star - 1979 Print - Silkscreen 36.5'' x 36.75'' Edition: Signed in pencil, dated and marked 238/250 Unframed

Larry Poons Midget Racer, 1963 Colored Pencil on Graph Paper Signed, titled, and dated by the artist on the lower right front Original frame with gallery label included This work has...

Kenneth Noland Untitled Target, 2001 Acrylic paint on offset lithograph Signed, dated, and dedicated along lower edge: For Howard and Susan with Love Kenneth Noland 6.10.01 Framed This original acrylic target painting on offset lithograph paper was gifted by the artist to the influential publishers, authors, and film producers Howard and Susan Kaminsky, and it bears a warm personal inscription followed by the artist's signature. Measurements: Framed: 22 x 21.75 x 1.25 inches Unframed: 19 1/2 x 19 inches Provenance: Gifted by Kenneth Noland to the distinguished publishers, authors, and film producers Howard and Susan Kaminsky. (Howard also became a member of the Council on Foreign Relations...

Bright reds, yellows, blue and green stripes adorn a wall in lower Manhattan. Chairs of the same color scheme line the street and have an older woman with a scarf covering her face. ...

Oil on canvas. Signed, titled, dated verso. 40 x 44 in. 41.5 x 45.5 in. (framed) Custom framed in a natural cherry floater. Provenance Knoedler Contemporary, New York Ludwig Sand...

Artist Angelo Ippolito (1922-2001) produced a body of oils on canvas, works on paper, and assemblages renowned for their lyrical color, light, and compositional rigor. His paintings ...

This Gene Davis screenprint can only be described as jewel toned, with vibrant ink in peridot green, sapphire blue, turquoise green, amethyst purple, carnelian brown, grey, and pink....

Ex collection Carolyn Dunlap Millet Exhibited: Knoedler and Co, NY; Tibor de Nagy, Houston; Berry Campbell, NY Walter Darby Bannard was a leading prop...

Color screenprint on Arches paper. Signed, titled, dated and numbered 22/73 in pencil by Gilliam. Printed by Lou Stovall at the Workshop, Inc., Washington,...

Artist Angelo Ippolito (1922-2001) produced a body of oils on canvas, works on paper, and assemblages renowned for their lyrical color, light, and compositional rigor. His paintings ...

Artist: Joseph Solman, American (1909 - 2008) Title: The Red Beard Medium: Oil on Canvas, signed Size: 20.25 x 12 inches Frame Size: 30 x 22 inches

Artist Angelo Ippolito (1922-2001) produced a body of oils on canvas, works on paper, and assemblages renowned for their lyrical color, light, and compositional rigor. His paintings ...

Elliott Thompson Eleven Thirteen, (Dancing Line Series), 1972 Signed, Elliott Thompson, dated, 2/72, and inscribed, Eleven Thirteen, on verso and agai...

Exhibited: Tibor de Nagy Poulis is a color field painter associated with the abstract expressionist school. One critic describes his work thusly: "These paintings are about mark-...

Kenneth Noland Limited Edition Canvas Tote, 1977 Mixed Media: Silkscreen on Canvas with handles and leather tag. Numbered with ink stamp 15 × 15 inches Edition 268/500 Plate signed and dated Kenneth Noland and stamp numbered from the edition of 500 Very good vintage condition with handling and creasing (see photos) This was not commercially marketed but was designed as a prototype with each one stamp numbered. Not too many are around, and very rarely found in such good condition. This work is sold unframed as shown in the first image, but for inspiration only, see a photograph of how one collector framed a different edition of this work - and it looks like a print or painting! (see last image) A true vintage collectors item.

Artist Angelo Ippolito (1922-2001) produced a body of oils on canvas, works on paper, and assemblages renowned for their lyrical color, light, and compositional rigor. His paintings ...

Acrylic on canvas

A very good impression of this color screenprint on white wove paper. Signed and numbered 248/250 in pencil by Davis. Based on a series of oil paintings made by Davis, completed afte...

Gabriele Evertz Untitled, 1993 Acrylic on canvas 48 x 48 inches Provenance: The artist Private Collection, Long island (acquired from the above) G...

SPIRIT COSAS VIII is a limited edition color lithograph by the American painter Lamar Briggs printed using traditional lithography techniques on archival Arches paper. Lamar Briggs (...

Mid Century Textural Color-Field Abstract in Royal Blue-Purple by Peter Witwer A striking mid-century textural color-field abstract in a bold color palette of royal blue-purple by San Francisco artist Peter Witwer (American, 1928-1968). This highly textured mixed media piece, c.1960's, uses a monochromatic palette that is divided into two areas of varying textural depths. The lower part of the canvas verges on sculptural, as the textured surface becomes almost three-dimensional and haunting forms emerge from the abstract purple-blue plane. Unsigned. From a collection of the artist's works. Displayed in a painted wood slate frame. Frame has been painted by the artist and is considered part of the artwork. Linen size: 26"H x 22"W. Framed size: 27"H x 23"W x 1.2"D Unsigned, but was acquired with a collection of the artist's work. Provenance: Without a will and a family that had little interest in his art, nearly all of his possessions and close to 100 paintings were turned over to SF’s Conservators Office. His friend, Albert Richard Lasker, purchased all of Peter’s possessions (including the art) and has taken care of them until this day, always sensing there was something remarkable about the collection. Wanting Peter’s work to finally be seen, Richard came to Lost Art Salon with Peter’s story after reading about the new gallery in a July, 2005 issue of the SF Chronicle. Born George Peter...