Eleanor Perry Abstract Paintings

Robert W. Petrick Coincidence Geometric Abstraction East Village NYC, 2022 acrylic on canvas New York, 2nd street studio Colorful geometric abstract ...

Artist: George Cecil Carter (1908–1993) Medium: Oil on board Size: Image: 16 ⅞ x 9 ⅞ in Framed: 20 ⅝ x 13 ½ x 1 ⅞ in Style: Mid-Century Modern, Abstract Figurative This striking 1950s oil painting by celebrated Colorado abstract expressionist George Cecil Carter presents a modernist portrayal of a couple, believed to depict Alfred Stieglitz and Georgia O’Keeffe. Rendered in bold brushstrokes and a rich color palette, the piece showcases Carter’s unique ability to merge abstraction with figurative expression, creating a sense of movement and emotion. Housed in a custom frame, this original mid-century artwork is a must-have for collectors of modernist and abstract figurative art. Provenance: From a private collection in Denver, Colorado. About the Artist – George Cecil Carter Born in Oklahoma in 1908, Carter became a leading figure in Colorado’s abstract expressionist movement, working alongside artists like Al Wynne, Mary Chenoweth...

Large Scale Mid 20th Century Acrylic Painting by Vanguard Studios Signed Van Gaard Classic 1950s to 1960s acrylic painting of a guitar against a colorful ab...

Up for sale is a wonderful 1968 Henry Vranesh American oil painting Painting Depicts a Post-war Modernist painting, a boat at sea, probably from his Alaskan series. A student of Wi...

"Don't Cry Long" is a self-portrait of the artist and an unusual one at that in which the artist portrays herself shedding tears. Perhaps it is an expression of some grief experienced by Ms. Woodlock, but it also admonishes her to not "Cry Long" while at the same time poking fun because of her elongated face and the one lone "long" tear tracing a pattern down her face. In addition to self-portraits, Ethelyn painted commissioned portraits. In this painting her head is cocked and her famous bangs hang down her forehead. Compare two self-portraits, “Up From Under”, and “M’Eyes" to "Don't Cry Long." The major differences are the close facial view and the brilliant blood red paint that fills the entire canvas. This painting is included in the book, "Dreams Have Wings: An Artist's Journey into Magic and Mystery" printed in the United States, 1985. She describes "Don't Cry Long" as showing how funny looking we are, if we cry too long. Ethelyn Woodlock...

This is a modernist-inspired painting, drawing influence from the bold creativity of 1950s, 60s, and 70s art. The composition features overlapping painter’s palette silhouettes, crea...

Acrylic on masonite. This is a pivotal work in deep and radiant cobalt blue from 1950. It dipicts calligraphic and hieroglyph structures over a grid and pyramidal base by the first generation abstract expressionist. Provenance: Skinner: November 13, 1992 [Lot 00219}, The entry in the Skinner catalog indicates that the painting came directly from the artist to the family of the consignor to Skinner. Kaminsky Auctions. There is an unbroken paper trail that traces the ownership of the painting from the current owner, through two auction houses to the artist. Perfect unbroken provenance. Pousette-Dart was among the most inventive of the Abstract Expressionist generation, His uncanny talent was to expand the nature of abstraction and still make each mark each element very much his own; a reflection of what he called   "the concealed power of the spirit," he said, “not of the brute physical form."   His was not aiming for a singular, realized aesthetic formula but to expand the possibilities of painting; the transcendental in painting. Typical of such invention and exploration is this  painting  Untitled 1950 when the artist was only 34 years old and represented by one of the champions of the new American painting, Betty Parsons.  
A banner year for Pousette-Dart, the Museum of Modern Art acquired their first painting by the Minnesota born artist.  He worked on easel size works such as this painting an oil on masonite. At the same time Pousette-Dart was also working on larger scale works such as Path of the Hero, running over ten feet in length now in the collection of the Metropolitan Museum of Art.  Both contain fields of color articulated by a highly sophisticated white hieroglyphic vocabulary. Rather than demonstrate an expressionist sensibility, Pousette-Dart harnesses his more cerebral ideas transforming thick areas of paint into a more refined composition of geometric forms akin to the pattern and forms of say a stained glass window. In a way he is looking back at Fugue, 1940 a black and white composition which makes use of a similar format of painting albeit smaller. Color and form are minimal, but what Pousette-Dart has maximized is the rhythmic and syncopated character of painting casting his ideas into purely symbolic terms that one might link to the pictograms of Adolph Gottlieb. Nonetheless, nature is always at the core of Pousette-Dart’s thinking and dreaming. Here he has transformed the local Ramapo Mountains—where he will eventually move with his family to live and work— into a complex series of articulated fragments linked by style, scale and color.  The painting’s imagery built on two large triangles and reduced to just two colors, cobalt blue and white all outlined in black.  Pousette-Dart symbols stacked in horizontal and vertical rows:  blue is ground, white is language, symbolic of light, consciousness and awareness . The painting maintains a mystical character images compounded that formulate a secret code and linked to the series of white paintings Pousette-Dart authored in the first half of the 1950s. Get up close to the picture and you discover images within images a kind of picture puzzle...

Modernist Still Life by Andree de Fremont (French, contemporary) signed painting on canvas, unframed canvas: 39.5 x 39.5 inches Provenance: from a collection in France Condition: ver...

Impressive early American impressionist landscape painting by Will S. Taylor (Born 1882). Oil on board. Framed. Signed. Image size, 12 by 13 inches.

Artist: William Littlefield, American (1902 - 1969) Title: Still Life and Abstract Year: 1950 & 1954 Medium: Double-Sided Oil on Masonite, signed and dated both sides Size: 22 x 28 i...

This work is part of our exhibition - America Coast to Coast: Artists of the 1940s Untitled (Cubist Portrait), 1945, oil on masonite, signed and dated lower middle, 20 x 16 inches, remnant of exhibition label verso, perhaps exhibited at Murry's solo exhibition at the Los Angeles's Screen Cartoonists' Gallery, July , 1945, presented in its original frame Jerre Murry was a California modernist painter. Born in Columbia, Missouri, Murry studied at the Detroit Academy of Art and worked as an artist for the Detroit News and Detroit Free Press. Murry traveled to the Bahamas, where he was inspired to paint modernist scenes of island life and people. By the early 1930s, Murry had relocated to Los Angeles, where he caught the attention of Synchromist painter Stanton Macdonald Wright, State Supervisor for the Federal Art Project (FAP) in Southern California. MacDonald Wright enrolled Murry into the FAP. Murry’s Gauguin-influenced painting Sun Image was exhibited together with other FAP artists at the Los Angeles County Museum of Art in 1936, and Murry was also included in the FAP exhibit at the Paris Exposition in 1937. Stendahl Galleries in Los Angeles, the Chamber of Commerce Gallery in Santa Barbara, and at the Los Angeles County Museum of Art also showed Murry’s work during the 1930s. Murry created a murals for Los Angeles Water & Power Company, the Boise, Idaho Post Office, and Glendale Junior College. In 1939, Murry's work was exhibited at the Golden Gate International Exposition and the New York World's Fair. He also was included in the All California Exhibition at the Los Angeles County Museum of art that same year. He went on to exhibit in Los Angeles at the Foundation of Western Art's Trends in Southern California Art shows in 1940 and 1941, at Raymond and Raymond Gallery in Hollywood and USC’s Elizabeth Holmes...

Midcentury oil on canvas , Wharf scene, possibly Fishermans Wharf in San Francisco. Mel Fowler (1921-1987) was a listed Italian-American painter known for ...