Cubist Art

Vintage American modernist abstract cubist oil painting by Irving Resnikoff (1897 - 1988). Oil on canvas. Framed. Signed. Measuring: 29 by 23 inches overall, and 28 by 22 painting a...

Abstracted Cubist Turkey Portrait in Pastel on Paper Brightly colored abstract portrait by Michael William Eggleston (American, 20th Century). An abs...

Matador and Bull (37) John F. Leonard American (1921–1987) Date: circa 1965 Oil on Board, unsigned Size: 20 in. x 16 in. (50.8 cm x 40.64 cm)

Paper Size: 11.5 x 8.25 inches ( 29.21 x 20.955 cm ) Image Size: 10.25 x 7.5 inches ( 26.035 x 19.05 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Addi...

Ming Ming Liang (Chinese, born 1964) "Orange Flowers" 2022 Oil paint on canvas, stretcher bars The artist signed the bottom right corner of the painting. Ming Ming Liang's "Orange F...

An original pastel drawing by Benjamin Benno, American (1901 - 1980). By the early 1930s he had established a reputation as a member of the international avant-garde and exhibited ...

In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edward Said. “Each of us can supply evidence of late works, which crown a lifetime of aesthetic endeavor,” Matisse had it with his renowned paper cuts. While nearly blind, Monet created the water lily paintings as his final legacy to the history of art.  Benton's Late Style arrived as a surprise during the Covid pandemic. The resultant aloneness from sheltering in place brought her to an uncanny level of solitude that only painting could voice. She reached for the purest of colors, and entered a celebratory world to create the Neo-Transcendental paintings titled All About Color. The disappeared narrative came as a surprise. It had been the mainstay of the masks and mask tale performances, monoprints and paintings. This time though, the artist needed to bring a vibrancy to canvas, and to make tangible this sense of sheer essence that had pressed into her inner self in that time of stillness. Well educated in color by John Ferren, the abstract expressionist painter who’d taught the year’s color study at Queen College. The sensitivity developed further through four lengthy art-working journeys to India, starting in 1976-77, continuing with a 1992-1993 Fulbright, and additional South Asia residencies in 1995, and 2011. Those and others in Africa brought an ever more attuned palette to decades of monoprints with Chine collé that featured imagery from world culture, as well as her Americana of 19th and 20th century women writers, educators, suffragists, and feminists. These Late Style artworks explore the cosmic realm. Its deceptive simplicity reminds Benton of Buffie Johnson’s late work. She, an early celebrator of Great Goddess imagery turned to circles in her latter years. similarly, Benton had drawn on rich Goddess imagery since the 1970’s...

In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edward Said. “Each of us can supply evidence of late works, which crown a lifetime of aesthetic endeavor,” Matisse had it with his renowned paper cuts. While nearly blind, Monet created the water lily paintings as his final legacy to the history of art.  Benton's Late Style arrived as a surprise during the Covid pandemic. The resultant aloneness from sheltering in place brought her to an uncanny level of solitude that only painting could voice. She reached for the purest of colors, and entered a celebratory world to create the Neo-Transcendental paintings titled All About Color. The disappeared narrative came as a surprise. It had been the mainstay of the masks and mask tale performances, monoprints and paintings. This time though, the artist needed to bring a vibrancy to canvas, and to make tangible this sense of sheer essence that had pressed into her inner self in that time of stillness. Well educated in color by John Ferren, the abstract expressionist painter who’d taught the year’s color study at Queen College. The sensitivity developed further through four lengthy art-working journeys to India, starting in 1976-77, continuing with a 1992-1993 Fulbright, and additional South Asia residencies in 1995, and 2011. Those and others in Africa brought an ever more attuned palette to decades of monoprints with Chine collé that featured imagery from world culture, as well as her Americana of 19th and 20th century women writers, educators, suffragists, and feminists. These Late Style artworks explore the cosmic realm. Its deceptive simplicity reminds Benton of Buffie Johnson’s late work. She, an early celebrator of Great Goddess imagery turned to circles in her latter years. similarly, Benton had drawn on rich Goddess imagery since the 1970’s...

La Chèvre-Feuille is an original Modern Rare book illustrated by Pablo Picasso and written by Georges Hugnet (11 July 1906 – 26 June 1974) in 1943 . Origina...

L’Instant de l’Esquisse is an original oil painting by French contemporary artist Sophie Dumont. Known for her stylized libraries, abstract landscapes, and contemplative studio inter...

(after) Georges Braque, (1882 - 1963) La Mandoline (1943) Lithograph and stencil On vellum 40 x 48 cm (c. 16 x19 inch) Printed signature in the plate Edition of 300 Very good co...

In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edwa...

Dick Beer (b. London 1893 - d. Stockholm 1938) Portrait of Gabriele Varese (in Italian uniform), 1919 oil on canvas mounted on panel 116 x 90 cm stamp signature Exhibited: Solo exhibition, Stockholm, Nov-Dec 1917; The Royal Academy Stockholm 1973; Åmells Konsthandel – En internationell kubist, Stockholm & London 2008 Hälsinglands Museum 2011 Millesgården – Dick Beer – Impressionist & Kubist, 2012 Provenance: Within the family Beer until today Dick Beer was born in 1893 in London as Richard Beer, the youngest of five brothers. His father, John Beer (1853-1906), was a watercolourist who was born in Stockholm and had left Sweden at the age of 17. John Beer instructed his sons in drawing and painting, among other things. A number of sketchbooks bear testimony to the boys’ talent. Dick Beer’s parents died in 1906 and 1907. Barely 15 years old, Beer arrived in Sweden as an orphan. First he lived with relatives and finally he ended up at Reverend Laurell in Västergötland. Dick Beer began his artistic studies at the Althin School of Painting in Stockholm in 1908 and continued at the Royal Academy of Arts in the autumn of 1910, but in September 1912 he broke off his studies and travelled to Paris. He rented a studio and enrolled at the Colarossi and Grande Chaumière academies. In the summer of 1913, Dick Beer travelled to Pont-Aven in Bretagne in order to paint. In September the same year, he held his first solo exhibition in Stockholm which he gave the French title Exposition des tableaux de Bretagne et autour de Paris. The exhibition proved a success. Many of the paintings were executed in a light palette in a style inspired by the impressionists. In 1914, Dick Beer undertook an extensive study trip to Italy, Tunis, Morocco and Spain, which resulted in canvases overflowing with colours and light. When the French army mobilised, he volunteered and was enlisted in the French Foreign Legion. In 1915 Dick Beer sustained severe head injuries in a grenade attack, which resulted in deafness and a nervous condition that would plague him for the rest of his life. Two of his brothers died the following year, fighting for the English army. Dick Beer was hospitalised and convalesced at Château de Rochefort. Here he started painting again, in an impressionist style, a painting dominated by blue and green hues. In 1918, Dick Beer married Ruth Öhrling, a dentist, and their son John was born later in the year. During this time, Beer began experimenting with cubist painting and created several large compositions, including the painting “The Arab Café”. In the years that followed, Dick Beer was based in Paris, where he often moved house. He was instructed by André Lhote, who encouraged his students to work freely in the studio and provided them with individual critique. Beer often travelled to Bretagne or Provence. His artist friends came from all over Europe and included Amedeo Modigliani. Dick Beer exhibited fairly regularly in Paris between 1919 and 1934 and made a name for himself in French artist circles. In the summers, Ruth regularly rented a house in the countryside, often at Lake Mälaren. She kept a large house with many models and friends and there was a lot of painting and discussions. In 1933, the couple divorced but Ruth still loved Dick and continued to support him financially for the rest of his life. Dick Beer also exhibited in Sweden, albeit irregularly due to his failing health. In the 1920s and 1930s, Beer continued to pursue an expressionist painting with intense colours and unexpected perspectives, but eventually he veered towards more naturalistic forms, including a large number of nudes. He also painted several portraits of artists, politicians and writers. In 1938, Dick Beer sojourned in Arles. The budding photographer Christer Strömholm...

This vibrant lithograph, created by Pablo Picasso in 1968, was designed to promote a show at the Centre Culturel International. The artwork is a striking example of Picasso's innovat...

Raymonde HEUDEBERT Hippolyte : Woman in a Cubist Landscape, 1930 Original stone lithograph Printed signature in the plate On Arches vellum 28 x 22 cm (c. 11 x 9 inch) Excellent con...

A lithograph from the Marina Picasso Estate Collection after the Pablo Picasso painting "Tete". The original painting was completed in 1937. In the 1970's after Picasso's death, Mar...

The lithograph was published by Louis Broder in Paris and printed by Fequet & Baudier, also in Paris. Reference: Czwiklitzer #255 The image measures 28 1/4 x 18 1/2 inches and feat...

Etching and drypoint realied by Léger in 1952. Artist proof our of and edition of 100. Hand signed in pencil lower right.

Forest Landscape John F. Leonard American (1921–1987) Date: circa 1965 Oil on Board, signed lower right Size: 22 in. x 30 in. (55.88 cm x 76.2 cm)

This is a one-of-a-kind original cubist painting by San Diego artist, Alexander Arshansky. Its dimensions are 36" x 24" x 1.5". It is unframed. A Certificate of Authenticity will fol...

This is a one-of-a-kind original cubist painting by San Diego artist, Alexander Arshansky. Its dimensions are 24" x 18" x 1.5". It is unframed. A Certificate of Authenticity will fol...

Jacques VILLON Reading Man, 1962 Original lithograph (Mourlot workshop) Printed signature in the plate On tinted vellum 32 x 24 cm (c. 13 x 10 in) Excellent condition

An oil painting by Jorge Dumas from 1982. A modernist portrait in a Latin American mural-style painting. Bold and bright colors are accented by blue cubist shadows. Signed and dated ...

Trio (61) John F. Leonard American (1921–1987) Date: circa 1965 Oil on Board, unsigned Size: 18 in. x 20 in. (45.72 cm x 50.8 cm)

This is a one-of-a-kind original cubist painting by San Diego artist, Alexander Arshansky. Its dimensions are 30" x 24" x 1.5". It is unframed. A Certificate of Authenticity will fol...

Untitled Cubist Abstraction Signed and dated lower right Watercolor, charcoal and gouache on paper, 1922 Provenance: Estate of the Artist Schroeder, Romero & Sh...

Red Hammond (American) The Klue, 1986 Oil on canvas 65 1/4 x 53 1/2 x 1 1/2 in. Signed, dated, and inscribed verso Artist statement sourced from Red Hammond's website: ORIGINALITY As an artist I put myself into the piece of art not to achieve originality for its own sake, but to be honest to, to follow the work. Immersion in the making ensures that the work will be authentic -.that its uniqueness allows the work to emanate its own light, encouraging the viewer to look and to see. While not initially apparent, my paintings typically have numerous, subtle inflections that are often hidden at first glance because the large primary, usually black forms, are strong and register first. SHAPES AND EMOTIONS I place significant emphasis on my ability to invent personal shapes. When put together, they establish a dialogue within the painting. I start without any preconceived idea for the painting and do not work from drawing in order to maintain the spontaneity and challenge to work through a solution - to remain fresh and capable of creating surprises for both myself and the viewer. Working instinctually, , I grope around, figuring out how the feelings I have manifest themselves in a specific shape or shapes and how to achieve the overall mood I’m searching for in a particular piece. SYMBOLS AND MEANING I build a painting with symbols that go beyond words, creating works that may appear somewhat opaque, mysterious, at times. This encourages engagement on the part of the viewer and allows each viewer to arrive at their own ideas concerning the works’ meaning. Viewers of art often confuse subject matter with content. A cow in a field is a cow in a field - that is subject matter. Content is what the artist puts in of him or herself. That is an intangible that is difficult to decipher. I find the early work of the American abstract expressionists and the artifacts and ritual art of indigenous peoples and tribal cultures to be inspirations. COMPLETION Often I’m sure that I have completed a painting and for that moment in time I probably have. Sometimes, however, hours, days or several years later, I look at again and realize that while I was correct for that moment, the painting’s potential was never realized. So I begin the process of working that painting again, and this process can go on for years until I’ve finally got the painting to where it needs to be in order for it to be fully realized. ART AS THERAPY AND DISCOVERY Like life, art is not just about self-improvement but also about self-discovery. If I’m not working on getting better as a painter, improving my paint application or pushing myself to expand my limits as a person, I feel I’m letting myself down and falling short of my potential as an artist. Each day in the studio is a mini-metaphor for life that demands and rewards patience.… Without it, I end up with a big...

Roger de la Fresnaye Cubist Interior with Rose Bouquet Stone lithograph after a painting Printed in Mourlot workshop Printed signature in the plate On Ar...

after Georges BRAQUE Char of the Sun MEDIUM : Lithograph PRINTER : Atelier Art-Litho EDITOR : Armand ISRAEL, Paris SIGNATURE : Printed LIMITED : 399 copies unumbered PAPER : Arches ...

Composition is an original lithograph on paper realized by Fernand Léger (1881-1955). Very good conditions except for some little foxings. Sheet dimension: 23.5 x 26 On both sides...

Artist: Unknown, in the style of Pablo Picasso Medium: Painted Terracotta Sculpture Size: 27 tall x 15 x 12 inches

Roundism – 06-11-20 The Next One After Roundism – 27-10-20 I thought to postpone future colored pencil drawings for a while and return to graphite pencil. I kind of like chan...

Crucifixion (36) John F. Leonard American (1921–1987) Date: 1964 Oil on Board, signed Size: 21.5 in. x 15 in. (54.61 cm x 38.1 cm)

This is a one-of-a-kind original cubist painting by San Diego artist, Alexander Arshansky. Its dimensions are 20" x 16" x 1.5". It is unframed. A Certificate of Authenticity will fol...

Théière et Citron by Georges Braque (1882-1963) Oil on panel 22.5 x 25 cm (8 ⅞ x 9 ⅞ inches) Signed lower left, G. Braque Executed in 1947 Provenance: Perls Galleries, New York Fuji...

Artist: Unknown, Russian Title: Dolphin Medium: Bronze Sculpture with Patina Size: 35 in. x 13 in. x 8 in. (88.9 cm x 33.02 cm x 20.32 cm)

Sketch for Frescoed Frieze is an interesting preparatory study realized by the artist Paul Bony, a famous French painter active in the last century. The artwork is in good state of p...

Very finely executed modernist ballet scene. Pastel and gouache on paper. Handsomely framed. Image size, 12H by 16L.

Homage to Picasso is an original drawing realized by Gian Paolo Berto, in 1975 Watercolored China ink drawing. Good conditions except for some shadings. Hand signed and titled on ...

'Portrait de Mousquetaire vieillissant, au visage couperose (Portrait of an Ageing Musketeer, with a Rosaceous Face)’ from 'La Serie' 347 is an etching on a paper by Pablo Picasso. T...

La Bouteille is a lithograph after a graphic work first realized by Georges Braque in 1911. Good conditions. This print is from the portfolio Derrière Le Miroir No. 138 p.7. Edited...

Nicely painted mid century abstract cubist oil painting. Great color and composition. Framed.

Image dimensions: 30.5 x 20 cm. Bouquet is a beautiful colored lithograph on paper, realized by the Cubist artist, Georges Braque (Argenteuil, 1882 – Paris, 1963). Unsigned. From “Carnets Intimes” realized in 1955. Printed by Mourlot and published in the Revue Verve...

Midi et Soir à Èze 65 x 54 cm Acrylic on Canvas MIDI et Soir à Èze presents an abstracted cubist village landscape depicting the hilltop village of Èze across two moments of the day...

Color Theoretical Challenges This oil painting ‘Neo Deco – 10-07-25’ demonstrates everything I know about color theory. In fact, it’s a search to converge all 6 main colou...

Nude in the Garden Abstract Expressionist Original Acrylic Painting on Paper Brightly colored abstract composition by Michael William Eggleston (American, 20th Century). a nude woma...

Great early Lowell Collins cubist neutral toned still life on canvas. Placed in a thin, black frame. Signed and titled by artist. Artist Biography: Born in San Antonio but raised i...

Bright and colorful modernist market scene with abstracted figures on heavy bond paper by Doris Ann Warner (American, 1925-2010). Signed "WARNER" in the lower right corner. Presented in a new double mat of light blue and antique buff...

La obra va firmada por el artista en la parte trasera y fechada del año 1976 El estado de conservación es bueno Se presenta enmarcada la obra Medidas de la obra: 70 cm. de altura ...

Artist: Pablo Picasso Title: Square Head of a Man with Joined Eyebrows (Plate V) Portfolio: Carmen Medium: Etching on Montval wove paper Year: 1949 Edition: 289 Frame Size: 21" x 18"...

Hand signed. Edition of 150 (140/150). Very good condition.

Still Life with Lemons (43) John F. Leonard American (1921–1987) Date: circa 1965 Oil on Board, not signed Size: 15.5 in. x 15 in. (39.37 cm x 38.1 cm) Frame Size: 17 x 17 inches

Le jouer de luth is a modern artwork realized by Ossip Zadkine in 1965. Black and white lithograph. Hand signed and dated on the lower margin. Artist's proof. Includes frame

Isaac Kahn, Lithuanian (1950 - ) - Horse Plate, Year: 1996, Medium: Bronze Plaque, Edition: 15/99, Size: 15.75 x 15.75 in. (40.01 x 40.01 cm)

Page Size: 15 x 22 in. Frame Size: 20 x 27 in. Signed, bottom right. This brilliant watercolor captures the iconic architecture and dramatic light of the Greek islands with an expres...

Artist: Jacques Villon, French (1875 - 1963) Title: Maternite Year: 1952 Medium: Etching, signed in pencil Edition: 75 (un-numbered) Image Size: 11 x 7.5 inches Size: 16 x 13 in. (40...

Still Life (67) by John F. Leonard, American (1921–1987) Unsigned Date: circa 1970 Oil on Canvas Size: 18 in. x 35 in. (45.72 cm x 88.9 cm)

Abstracted Cubist Egyptian Pharaoh Portrait in Pastel on Paper Brightly colored abstract portrait by Michael William Eggleston (American, 20th Centur...

Composition is a lithograph realized by  Ossip Zadkine stamped on the lower right. Numbered, edition 35/65 The artwork represents an abstract composition through strong strokes in...

Artist: David Fox (American, 1920-2011) Title: Seascape, Geometric Figure #2 Year: c.2000 Medium: Acrylic on paper Paper: Watercolor paper Image size: 10 x 8 inches Paper ...