Alfred Aberdam Art

NYC Subway Mid 20th Century Modern American Scene Social Realism Contemporary David Atkins (1910 – 2012) Subway Train Departure 24 x 30 inches Oil on can...

"Sock Hop" Mid-Century American Modernism WPA Female Artist 20th Century Realism. 30 x 24 inches. Oil on canvas. Signed on stretcher, c. 1940s. Frame is likely original to the painting. Realist painter-printmaker Kyra Markham...

“Still Life, 1936” by Katharine "Kitty" Duff Church (British, 1910-1999). This large, early painting by Katherine Church is among her finest canvases of the period. Characterized by its bold color palette, simplified forms, and expressive brushwork, this composition centers around a tabletop adorned with various objects: potted plants, a ceramic dish, bottles, and what appear to be books or papers. The two potted plants provide contrasting elements: on the left, what appears to be a cyclamen with red blossoms and delicate leaves, and on the right, a lush green plant with darker foliage. These plants, painted with loose, textured strokes, add an organic quality to the otherwise structured arrangement. The tabletop is cluttered yet thoughtfully composed, featuring additional objects like a clear, faceted glass bowl, a small bottle, and books or pads in striking red and green. The dynamic use of color blocks and the juxtaposition of shapes (round pots against rectangular books) create a sense of rhythm and harmony. The background is darker and less defined, emphasizing the brightly lit tabletop. Church's brushwork is gestural and modernist, leaning toward abstraction, challenging traditional still life conventions. This painting reflects Church’s interest in balancing everyday objects with bold artistic expression. It conveys both the simplicity and complexity of daily life, transforming an ordinary moment into a vibrant and engaging work of art. This work is oil on canvas and is signed and dated in the lower right. It is housed in its original gessoed frame and retains various labels and inscriptions on the reverse. Size: 28.25 inches tall by 36 inches wide (painting) 34 inches tall by 42 inches wide by 2 inches deep (frame) Provenance: Private collection, NY; Acquired from the above About the artist: Born in Highgate, north London, Katharine Church, known as ‘Kitty’ amongst friends and family, always wanted to paint. She trained at the Royal Academy of Arts between 1930-1933 and at the Slade between 1933 and 1934. In her early years Kitty exhibited regularly at the Royal Academy. Her first solo exhibition was in 1933 at the Wertheim Gallery. Other artists who exhibited there included Christopher Wood, Victor Pasmore and Cedric Morris. Kitty also showed with the New English Art Club, the London Group and between 1937-1947 her work was exhibited at the influential Lefevre Gallery, which supported avant-garde artists such as Henry Moore, Ben Nicholson and Barbara Hepworth. In 1954 the artist was invited to take part in the Figures in their setting exhibition held at the Tate Gallery. Henry Tonks and Philip Wilson Steer had a strong influence on Kitty’s early work, but it was her friendship with Ivon Hitchens that liberated her painting technique. In 1936 Kitty married Anthony West, the son of writers Rebecca West and H.G. Wells. The couple initially lived in London before moving to Quarry Farm, Chicksgrove, Tisbury, near Salisbury, where they brought up their children Caroline and Edmund. There they hosted many of their friends, including the New Zealand painter Frances Hodgkins. Other regular visitors before the War included John and Mywafany Piper, Ralph and Frances Partridge, Noel and Catharine Carrington, Julian Trevelyan and Mary Fedden. For many of those who visited Kitty would organise painting expeditions. After the war Kitty and Anthony separated, with Anthony moving to the United States. Anthony West moved to the United States to work as a journalist for The New Yorker. In the early years after their parting Kitty visited most years with the children. In the 1960s Kitty purchased Sutton House and ran the Hambledon Gallery at Blandford Forum. There she promoted the work of her early art-school friends Mary Fedden and Julian Trevelyan, alongside work by the Pipers, John Craxton...

Neon Lighting WPA Mid 20th Century Social Realism American Scene Modern Figures MAURICE BECKER (1889-1975) 'Neon Lighting 17 1/4 x 13 3/4 inches Oil on masonite Signed, dated 1936 and titled on verso BIO Maurice Becker, painter, political cartoonist and social reformer, was born in 1889 either in Gorky or Niznij Novgorod, in Russia. His family came to the United States in 1892, to New York City. After high school, Becker worked in a clothing factory. He studied with Ash Can School artist Robert Henri in 1908, and exhibited in the famous 1913 Armory Show in New York City when he was only twenty-four years of age. At the Armory show, Becker showed a drawing of a dog's head...

A most attractive and striking image of daffodils placed against a darker background Howard J Morgan (1949-2020) Daffodils in a china jug Signed and S...

Industrial Mid-20th Century WPA Modern Men Working American Scene Social Realism George Pearse Ennis (American, 1884-1936) "Forging a Gun Tube #1...

Title: Paris Café Terrace Scene Medium: Oil on canvas Dimensions: 38 × 46 cm (14.96 × 18.11 in) Framing: Unframed Signature: Hand-signed lower right Period: Second half of the 20th century Condition: Very good. Firm canvas, stable paint layer, visible impasto, no apparent restorations. Origin: Spain Original oil painting depicting a lively Parisian café terrace scene, rendered with a luminous and expressive brushstroke. The composition captures a moment of everyday urban life: seated figures, soft conversation, café signage and filtered daylight dissolving into architectural shadows. The artist prioritizes atmosphere over strict detail, allowing the scene to breathe through fluid impasto and subtle tonal transitions. The chromatic palette balances cool bluish greys and whites with warmer accents, creating depth and visual rhythm. The treatment of figures and light evokes European post-impressionist tradition, combining figurative clarity with painterly spontaneity. A refined decorative piece with strong interior presence, ideal for collectors of European figurative art, lovers of Parisian imagery, or elegant contemporary interiors seeking warmth and narrative. Àngel Badia i Camps (Puig-reig, Barcelona, 1929 – Barcelona, 2019) was a Catalan painter, illustrator and comic artist trained at the Barcelona School of Fine Arts. During the 1950s and 1960s he worked extensively as an illustrator for European and British publishers, developing a strong command of the human figure and narrative composition. From the 1970s onward he focused primarily on fine art painting, producing figurative works centered on urban scenes, landscapes and everyday life. His work was exhibited in Spanish and international galleries, consolidating his position within the Catalan figurative tradition of the second half of the 20th century. Paris café painting...

William Robert Shulgold (1897-1989), studied under Arthur Watson Sparks, head of Carnegie?€™s art department. He specialized in figurative genre subjects, displaying within his paintings a quality and understanding akin to 19th century impressionism...

female bathers by visionary artist Stephen Basso surreal dreamlike imagery ABOUT Stephen Basso Stephen Basso's highly original pastels and oil painting...

Modernist Barcelona Café Scene Painting – Spanish Post-Impressionist Figurative Oil Title: Modernist Barcelona Café Scene Painting – Spanish Post-Impressionist Figurative Oil Artist: Ignacio Gil...

Author: Alfredo Palmero Hernández (1966) Title: Restaurante Mercè, Barcelona (handwritten inscription on the stretcher) Medium: Oil on canvas Dimens...

This is for an original Oil Painting by the famous New York Jewish Artist Tully Filmus Painting Depicts a orchestral Quartet of men beautifully painted and Amazing Good Condition ...