Louis Stone Mixed Media

Clinton Hill (1922-2003), created quintessential mid-century images, but figures are unusual in his work. This is from a very early period. In 1951 Hill studied at the Academie de la...

You are viewing a modernist American watercolor painting by Robert Noel Blair. Robert Noel Blair (American, 1912-2003) was an American artist, painter, sculptor, printmaker and te...

A stylish, colorful 1950s Mid-century Modern abstract geometric textile design (depicting a polychrome patterned design of horizontal bands and spheres in red, blue and green tones) ...

A stylish, colorful 1950s Mid-century Modern abstract geometric textile design (depicting a polychrome Wedge Star pattern in orange, blue, red and yellow tones) by famed French costu...

Jim’s of Lambertville Fine Art Gallery is proud to offer this piece by Milton Avery (1885 – 1965). Milton Avery was a prominent Modernist painter whose work combined abstraction and...

A stylish, colorful 1950s Mid-Century Modern abstract geometric textile design (depicting a polychrome Wedge Star pattern in red, white and blue tones) by notable costume, set and fa...

xecuted during the 1930s, this watercolor by Samuel Bolton Colburn captures the enduring character of the American rural landscape through a distinctly modernist lens. Barns, cultiva...

Painted in 1941, Quitting Time is a compelling example of Charles Ragland Bunnell's mature modernist vision and his pioneering contribution to American abstraction. Created during a ...

A stylish 1950s Mid-Century Modern abstract geometric textile design in brown, yellow and pale pink tones by famed French costume, set and fashion designer Andre Delfau (1914-2000). Artwork size: 19 x 14 1/2 inches; Unframed. Presented in an archival mat measuring 26 x 20 inches (ready to frame). Estate stamped on reverse. Provenance: Estate of the artist. One from a series of related Modern textile designs by Andre Delfau. Please see our other 1stDibs gallery listings. Born in Paris, France in 1914, Andre Delfau became an internationally acclaimed stage, set and costume designer who worked world-wide from the 1930s to the 1980s. Delfau was a life long artist and painted independently of his noted design career. His artwork is recognized for it’s vibrant color and form, and a particularly keen use of line. He was highly influenced by the French Modern trends of Cubism and Surrealism, and his artwork is often infused with a dramatic sense of architecture and perspective. Delfau created fashion designs for such major Paris couture houses as Balmain, Jean Patou and Balenciaga. He completed noteworthy set designs and costumes for numerous international operatic and ballet productions, including those at the Royal Danish Ballet, the Royal Ballet of Great Britain, the Paris Opera, the Dance Theater of Harlem, the Ruth Page International Ballet, the Civic Ballet of Chicago, the Chicago Opera Ballet and the Lyric Opera of Chicago, among others. Most notably, Delfau designed the elaborate stage sets and costumes for the 1986 PBS television production of the Viennese operetta, "Die Fledermaus...

Charles Houghton Howard was born in Montclair, New Jersey, the third of five children in a cultured and educated family with roots going back to the Massachusetts Bay colony. His father, John Galen Howard, was an architect who had trained at M.I.T. and the École des Beaux-Arts in Paris and apprenticed in Boston with Henry Hobson Richardson. In New York, the elder Howard worked for McKim, Mead and White before establishing a successful private practice. Mary Robertson Bradbury Howard, Charles’s mother, had studied art before her marriage. John Galen Howard moved his household to California in 1902 to assume the position of supervising architect of the new University of California campus at Berkeley and to serve as Professor of Architecture and the first Dean of the School of Architecture (established in 1903). The four Howard boys grew up to be artists and all married artists, leaving a combined family legacy of art making in the San Francisco Bay area that endures to this day, most notably in design, murals, and reliefs at the Coit Tower and in buildings on the Berkeley campus. Charles Howard graduated from the University of California at Berkeley in 1921 as a journalism major and pursued graduate studies in English at Harvard and Columbia Universities before embarking on a two-year trip to Europe. Howard went to Europe as a would-be writer. But a near-religious experience, seeing a picture by Giorgione in a remote town outside of Venice, proved a life-altering epiphany. In his own words, “I cut the tour at once and hurried immediately back to Paris, to begin painting. I have been painting whenever I could ever since” (Charles Howard, “What Concerns Me,” Magazine of Art 39 [February 1946], p. 63). Giorgione’s achievement, in utilizing a structured and rational visual language of art to convey high emotion on canvas, instantly convinced Howard that painting, and not literature, offered the best vehicle to express what he wanted to say. Howard returned to the United States in 1925, confirmed in his intent to become an artist. Howard settled in New York and supported himself as a painter in the decorating workshop of Louis Bouché and Rudolph Guertler, where he specialized in mural painting. Devoting spare time to his own work, he lived in Greenwich Village and immersed himself in the downtown avant-garde cultural milieu. The late 1920s and early 1930s were the years of Howard’s art apprenticeship. He never pursued formal art instruction, but his keen eye, depth of feeling, and intense commitment to the process of art making, allowed him to assimilate elements of painting intuitively from the wide variety of art that interested him. He found inspiration in the modernist movements of the day, both for their adherence to abstract formal qualities and for the cosmopolitan, international nature of the movements themselves. Influenced deeply by Surrealism, Howard was part of a group of American and European Surrealists clustered around Julien Levy. Levy opened his eponymously-named gallery in 1931, and rose to fame in January 1932, when he organized and hosted Surrealisme, the first ever exhibition of Surrealism in America, which included one work by Howard. Levy remained the preeminent force in advocating for Surrealism in America until he closed his gallery in 1949. Howard’s association with Levy in the early 1930s confirms the artist’s place among the avant-garde community in New York at that time. In 1933, Howard left New York for London. It is likely that among the factors that led to the move were Howard’s desire to be a part of an international art community, as well as his marriage to English artist, Madge Knight...

This abstract artwork is one of a group of over 100 pieces personally selected by the artist, and gifted to a close personal friend in 1969. Please note that this painting was never ...

Opper Estate Maroon Abstract c. 1940-1950's Gouache on Paper 15" x 18" Unframed From the estate of Ruth Friedmann Opper & Jerry Opper. Ruth was the daughter of Bauhaus artist, Gustav Friedmann. San Francisco Abstract Expression A free-spirited wave of creative energy swept through the San Francisco art community after World War II. Challenging accepted modes of painting, Abstract Expressionists produced highly experimental works that jolted the public out of its postwar complacency. Abstract Expressionism resulted from a broad collective impulse rather than the inspiration of a small band of New York artists. Documenting the interchanges between the East and West Coasts, she cites areas of mutual influence and shows the impact of San Francisco on the New York School, including artists such as Mark Rothko and Ad Reinhardt. San Francisco's Beat poets...