John Bonick Paintings

Movement Along a Horizon - Abstract Impressionist Oil Painting, Signed Vibrant abstract painting by Monterey, California based artist Vladimir Yerokhin (Russian b.1942 d.2019.) A ho...

Elhanan Halpern Abstract cityscape Northern Israel, Kinneret Lake, Galilee, Tiberias Hand signed lower left in Hebrew Bears label in Hebrew verso, handwritten English inscription. Ci...

This enigmatic and atmospheric abstract painting—signed lower right—features a striking typographic element reading “HIJKLYN,” embedded within a densely worked surface of gestural b...

This evocative abstract composition by François Arnal demonstrates the artist’s refined balance between structure and spontaneity during the height of postwar European abstraction. E...

Edward Avedisian Unsigned, (bears name signed verso in pencil.) Dimensions: 15" X 15" (round tondo) Circa late 1970s This is a mod, brutalist portrait of a man Edward Avedisian (J...

Exploring the purity of the feminine form and the drama of French haute couture, artist Cindy Shaoul creates a dialogue between the figurative and the abstract. Her spirited composit...

Reginald Pollack (1924-2001) Oil painting on board Sunset in December 1989 Dimensions: 12 x 12 in, 15 1/2 x 15 1/2 in (framed) Reginald Murray Pollack (1924 – 2001) was an American...

Exploring the purity of the feminine form and the drama of French haute couture, artist Cindy Shaoul creates a dialogue between the figurative and the abstract. Her spirited composit...

An abstract walk in town from the studio of Christopher Barrow Oil on board. Signed. Image 20" x 16". Framed 23" x 19"

Motivated by bold color and fast brushwork, we are moved by the simplicity and thick textured oil paints in these works. Shaoul’s “My Heart Collection” is a vibrant and energetic dis...

Composition is an original drawing in oil on cardboard realized by an unknown artist in 1989. This Artwork is depicted through strong and confident s...

Charles Green Shaw Happening, 1964 Signed and dated on verso Oil on board 8.75 x 6 inches Charles Green Shaw, born into a wealthy New York family, began painting when he was in his mid-thirties. A 1914 graduate of Yale, Shaw also completed a year of architectural studies at Columbia University. During the 1920s Shaw enjoyed a successful career as a freelance writer for The New Yorker, Smart Set and Vanity Fair, chronicling the life of the theater and café society. In addition to penning insightful articles, Shaw was a poet, novelist and journalist. In 1927 he began to take a serious interest in art and attended Thomas Hart Benton's class at the Art Students League briefly in New York. He also studied privately with George Luks, who became a good friend. Once he had dedicated himself to non-traditional painting, Shaw's writing ability made him a potent defender of abstract art. After initial study with Benton and Luks, Shaw continued his artistic education in Paris by visiting numerous museums and galleries. From 1930 to 1932 Shaw's paintings evolved from a style imitative of Cubism to one directly inspired by it, though simplified and more purely geometric. Returning to the United States in 1933, Shaw began a series of abstracted cityscapes of skyscrapers he called Manhattan Motifs which evolved into his most famous works, the shaped canvases he called Plastic Polygons. The 1930s were productive years for Shaw. He showed his paintings in numerous group exhibitions, both in New York and abroad, and was also given several one-man exhibitions. Shaw had his first one-man exhibition at the Valentine Dudensing Gallery in New York in 1934, which included 25 Manhattan Motif paintings and 8 abstract works. In the spring of 1935 Shaw was introduced to Albert Gallatin...