As an artist and educator, Vance Kirkland almost single-handedly brought modern art to Denver. At a time when conservative tastes ruled, he came to Colorado and worked in a manner that emphasized process more than subject matter. Rather than pleasing landscapes, he created paintings that expressed the dynamic forces of the universe, often with results that were strange and otherworldly. Standing on principle, he never wavered from his conviction that the arts were respected disciplines and he constantly pushed for the inclusion of modern art in Denver’s public institutions. Deliberately working away from the major art centers, Kirkland’s varied art styles were determined by his compass yet were nationally recognized. Growing up in Ohio, Kirkland began his art studies at the Cleveland School of Art, where he received a diploma in painting and a bachelor’s degree in art education. The former curator of the Denver Art Museum, Diane Vanderlip points to a failed watercolor class as an indicator of both his future stylistic development and his early self-confidence. When the teacher criticized Kirkland for colors that fought with each other, the young man listened to his muse rather than pass the course. Upon graduation, he was offered a job at Princeton, but when the university discovered just how young he was, they withdrew their offer. He then accepted an offer at the University of Denver to establish their art department in 1929. While most schools shunted art offer to the side, Kirkland developed the program as a combination of academics and art. He also got officials to accept nude figure drawing. However, a parting of the ways came when he and the Provost clashed over degree recognition. The subsequent establishment of his Kirkland School of Art became a cultural beacon in this Rocky Mountain capitol. From 1927–44, he worked in a style he referred to as “Designed Realism,” in which natural forms were highly stylized in rhythmic shapes. Working totally in watercolor, he developed an individualized method of applying dots to a saturated color surface. By the end of the 30s, Kirkland’s paintings became larger and more energetic. Hiking in the mountains, the artist was inspired by the unusual shapes of high-altitude plants and trees stunted and bent by the fierce winds. Taking his painting gear, he had to add antifreeze to his paints to work in these demanding conditions. Departing from his ordinary perspective, Kirkland created compositions of open spaces and wild linear elements, which he increasingly liberated from any specific representation. In his fantastic imaginings, he had an affinity with Surrealism, although he had no interest in their Freudian pursuits. Kirkland received national attention with inclusion in exhibitions, such as “Abstract and Surrealist American Art” at the Art Institute of Chicago and “Reality and Fantasy” at the Walker Art Center. In 1946, Knoedler and Company in New York invited him to be one of their artists, which brought solo shows and group exhibitions with artists like Max Ernst. Beginning in the 1940s, he also became more active with the Denver Art Museum, serving in various honorary and formal positions. Both in his capacity as board member and curator, he relentlessly pressed for the recognition of contemporary art and artists. At the same time, his prestige grew when the University of Denver invited him back: this time as Director of the School of Art, Professor of Painting, and Chairman of the Department of Arts and Humanities. In 1941, he married Anne Fox Oliphant Olson, a librarian, and their home was a center for Denver’s cultural life with evening salons and musical performances. His first non-objective painting, Red Abstraction (1951) initiated his break with his past art. Looking back, Kirkland said, “There had to be a way of creating something and I became interested in abstraction.” Deciding to forego watercolor, he experimented with paint and materials, particularly with inventive ways of mixing them. He had always been intrigued by the quality of resistance, and now he used the combination of oil and water to cause unexpected effects. The surface of his canvases became almost like breathing skins. Committed to his new direction, Kirkland didn’t flinch when Knoedler’s dropped him for abandoning his commercially successful style. Moving to greater heights, Kirkland began painting large canvases that suggested cosmic phenomena, some of which he called “nebula.” Although the 50s saw the birth of space exploration, the artist deliberately avoided any astronomical study, preferring instead to paint the mystery beyond his knowledge. When he saw pre-Hubble photographs that looked startlingly similar, he decided to stop. Towards the end of his career, he returned to his earlier practice of layering the surface with dots. The works that first appeared in 1963 were geometric abstractions that share some of the qualities of contemporary Op Art. These later paintings were painstakingly done. Always a tireless worker, he pursued his art even after hepatitis made painting more difficult and physically excruciating, devising a system that suspended him over his canvases.
Vance Kirkland "Tourists" 1942 Watercolor Colorado Landscape Painting
By Vance Kirkland
Located in Denver, CO
An exceptional original watercolor painting titled Tourists by renowned American modernist Vance Hall Kirkland (1904–1981), created in 1942 during his celebrated Designed Realism per...
Watercolor
$385
H 14 in W 18 in D 0.13 in
WPA Era, Industrial Scene Steel Mill by Chicago Modern Artist, Harold Haydon
By Harold Haydon
Located in Chicago, IL
A dynamic 1930s, WPA era industrial scene watercolor of a steel mill and factory workers by notable Chicago Modern artist, Harold Haydon. A wonderful example of early Twentieth Cent...
Watercolor, Paper
$7,250
H 20.25 in W 20.25 in
Houses in Zoar, Ohio Landscape, Early 20th Century Cleveland School
By August F. Biehle
Located in Beachwood, OH
August Frederick Biehle (1885-1979) Houses in Zoar, c. 1921 Gouache, litho crayon, colored pencil and graphite on paper Signed lower right 14 x 19 inches 20.25 x 25.25 inches, framed...
Crayon, Gouache, Color Pencil, Graphite
$385
H 14 in W 18 in D 0.13 in
Delightful 1950s Cubist Harbor Scene by Woman Artist Rita Duis (Astley-Bell)
Located in Chicago, IL
A Mid-Century Modern, 1950s Cubist watercolor of a brightly-colored dock scene by Chicago and New York artist Rita Duis (Astley-Bell). Signed "Duis", lower left. Artwork size: 8 1/...
Watercolor, Paper
$385
H 14 in W 18 in D 0.13 in
WPA Era, Industrial Scene Steel Mill by Chicago Modern Artist, Harold Haydon
By Harold Haydon
Located in Chicago, IL
A dynamic 1930s, WPA era industrial scene watercolor of a steel mill and factory workers by notable Chicago Modern artist, Harold Haydon. A wonderful example of early Twentieth Cent...
Watercolor, Paper
$385
H 14 in W 18 in D 0.13 in
WPA Era, Industrial Scene Steel Mill by Chicago Modern Artist, Harold Haydon
By Harold Haydon
Located in Chicago, IL
A dynamic 1930s, WPA era industrial scene watercolor of a steel mill and factory workers by notable Chicago Modern artist, Harold Haydon. A wonderful example of early Twentieth Cent...
Watercolor, Paper
$385
H 14 in W 18 in D 0.13 in
WPA Era, Industrial Scene Steel Mill by Chicago Modern Artist, Harold Haydon
By Harold Haydon
Located in Chicago, IL
A dynamic 1930s, WPA era industrial scene watercolor of a steel mill and factory workers by notable Chicago Modern artist, Harold Haydon. A wonderful example of early Twentieth Cent...
Watercolor, Paper
$1,600
H 24 in W 29 in D 0.13 in
A Dynamic Mid-Century Modern Manhattan Scene, New York City by Francis Chapin
By Francis Chapin
Located in Chicago, IL
A Large, Dynamic 1950s Mid-Century Modern Watercolor of Lower Manhattan, New York City by Noted Chicago Artist, Francis Chapin (Am. 1899-1965). The image is watercolor, pastel and c...
Watercolor, Archival Paper, Charcoal, Pastel
$47,000
H 28.25 in W 34 in
"Boats Amongst the Mangroves, " Watercolor & Gouache on Paper signed by Doris Lee
By Doris Lee
Located in Milwaukee, WI
"Boats Amongst the Mangroves" is an original watercolor and gouache painting on paper by Doris Lee. The artist signed the piece lower right. It depicts boats and other objects on a f...
Watercolor, Gouache
$15,000
H 14 in W 19.5 in
View Towards Christmas Cove, Maine, Early 20th Century East Coast Landscape
By Frank Wilcox
Located in Beachwood, OH
View Towards Christmas Cove, Maine, c. 1923 Watercolor on paper Signed lower right 14 x 19.5 inches Frank Nelson Wilcox (October 3, 1887 – April 17, 1...
Watercolor
$1,650
H 21 in W 18 in
1930s American Modernist Landscape Painting by Burchfield Student Albright
Located in Buffalo, NY
A striking winter landscape watercolor by American artist Elisabeth Compton Chase, dated 1948, depicting a rural road leading past a red barn and farmhouse set within a snow-covered ...
Watercolor, Archival Paper
$850
H 18 in W 24 in D 0.13 in
An Innovative Mid-Century Modern Landscape by Noted Chicago Artist, Rudolph Pen
Located in Chicago, IL
A Unique, 1960s Mid-Century Modern, European City View Watercolor by Noted Chicago Artist, Rudolph T. Pen. Artwork is formatted in a trapezoid shape, an innovative compositional dev...
Paper, Watercolor
$1,650
H 21 in W 18 in
1930s American Modernist Landscape Painting by Burchfield Student Albright
Located in Buffalo, NY
A striking winter landscape watercolor by American artist Elisabeth Compton Chase, dated 1948, depicting a rural road leading past a red barn and farmhouse set within a snow-covered ...
Watercolor, Archival Paper
Sold
H 25.75 in W 29.5 in D 0.5 in
Ruins of Central City, Vintage 1935 Framed Colorado Modernist Landscape
By Vance Kirkland
Located in Denver, CO
Vintage lithograph titled "Ruins of Central City 31/70" is a modernist landscape with decaying buildings and mountains by Vance Hall Kirkland, from 1935. Presented in a custom black frame with archival materials, outer dimensions measure 25 ⅞ x 29 ⅜ x ⅝ inches. Image sight size is 14 x 17 ¾ inches. Painting is clean and in very good vintage condition - please contact us for a detailed condition report. Provenance: Private collection, Denver, Colorado Expedited and international shipping is available - please contact us for a quote. About the Artist: Variously referred to as the "Father of Modern Colorado Painting", "Dean of Colorado Artists", and "Colorado’s pre-eminent artist," Kirkland was an inventive, visionary painter who spent fifty-two years of his fifty-four-year career in Denver. Of the approximately 1,200 paintings he created, about 550 from the first half of his career (1927-1953) are water-based media: acquarelle, gouache, casein and egg tempera, with a few oils. In the latter half of his career (1953-1981) he used oil and his unique oil and water mixture. He also produced five hundred drawings and some ten prints, mostly lithographs on stone, while also engaged in teaching full-time for most of the period. To show people "something they have never seen before and new ways to look at things," he felt he needed to preserve his artistic freedom. Consequently, he chose to spend his entire professional career in Denver far removed from the established American art centers in the East and Midwest. "By minding my own business and working on my own," he said, "I think it was possible to develop in this part of the country… I’ve developed my kind of work [and] I think my paintings are stronger for having worked that way." The geographical isolation resulting from his choice to stay in Colorado did not impede his creativity, as it did other artists, but in fact contributed to his unique vision. The son of a dentist, who was disappointed with his [son’s] choice of art as a career, Kirkland flunked freshman watercolor class in 1924 at the Cleveland School of Art (now the Cleveland Institute of Art) for putting colors into his landscapes that did not exist in nature and for competing colors. Not dissuaded, he won first prize for his watercolors in his junior and senior years. [While in Cleveland,] he studied with three influential teachers. Henry Keller, included in the prestigious New York Armory Show in 1913, introduced him to designed realism which he later used in his Colorado landscapes in the 1930s and 1940s. His other teachers were Bill Eastman, who studied with Hans Hofmann and appreciated all the new movements in modern art, and Frank Wilcox, a fine watercolorist. While a student at the Cleveland School of Art, Kirkland concurrently took liberal arts courses at Western Reserve and the Cleveland School of Education and taught two freshman courses in watercolor and design, receiving his diploma in painting from the school in 1927 by doing four years of work in three. The following year he received a Bachelor of Education in Art degree from the same institution. In 1929 he assumed the position of founding director of the University of Denver’s School of Art, originally known as the Chappell School of Art. He resigned three years later when the university reneged on its agreement to grant its art courses full recognition toward a Bachelor of Arts degree. His students prevailed on him to continue teaching, resulting in the Kirkland School of Art which he opened in 1932 at 1311 Pearl Street in Denver. The building, where he painted until his death in 1981, formerly was the studio of British-born artist, Henry Read, designer of the City of Denver Seal and one of the original thirteen charter members of the Artists’ Club of Denver, forerunner of the Denver Art Museum. The Kirkland School of Art prospered for the next fourteen years with its courses accredited by the University of Colorado Extension Center in Denver. The teaching income from his art school and his painting commissions helped him survive the Great Depression. The U.S. Treasury Department’s Section of Fine Arts commissioned from him two post office murals, Cattle Roundup (1938, Eureka, Kansas), and Land Rush (1940, Sayre, Oklahoma). He also did murals for several Denver clients: the Gerald Hughes mansion (1936, later demolished), Arthur Johnson home (1936-37, Seven Drinks of Man), Albany Hotel (1937, later demolished), Neustetter’s Department Store (1937, "History of Costume," three of five saved in 1987 before the building interior was demolished in advance of its condo conversion), and the Denver Country Club (1945, partially destroyed and later painted over). In 1953 the Ford Times, published by the Ford Motor Company, commissioned Kirkland along with fellow Denver artists, William Sanderson and Richard Sorby, to paint six watercolors each for the publication. Their work appeared in articles [about] Colorado entitled, "Take to the High Road" (of the Colorado Rockies) by Alicita and Warren Hamilton. Kirkland sketched the mountain passes and high roads in the area of Mount Evans, Independence Pass near Aspen, and Trail Ridge Road in Rocky Mountain National Park. In 1946 Kirkland closed his art school when the University of Denver rehired him as director of its School of Art and chairman of the Division of Arts and Humanities. In 1957 the University gave him its highest honor – the "University Lecturer Award." When he retired in 1969 as Professor of Art Emeritus to become a full-time painter, the School of Arts was the university’s largest undergraduate department. In 1971 Governor John Love presented Kirkland the State of Colorado Arts and Humanities Award. In addition to his dual positions as artist and teacher in Denver for more than half a century, he served the Denver Art Museum as a trustee, chairman of the accessions committee, member of the exhibitions committee, curator of European and American art, and honorary curator of painting and sculpture. He also won the battle with the museum’s old guard to establish a department of modern and contemporary art. Additionally, he was one of the fifty-two founding members of the Denver Artists Guild which included most of Colorado’s leading artists who greatly contributed to the state’s cultural history. Kirkland developed five major painting periods during his life encompassing various series with some chronological overlap: Designed Realism (1927-1944); Surrealism (1939-1954); Hard Edge Abstraction, including the Timberline Abstraction Series (1947-1957); Abstract Expressionism with four series – Nebulae, Roman, Asian, and Pure Abstractions (1951-1964); and the Dot Paintings with five series – Energy of Vibrations, Mysteries, Explosions, Forces, and Pure Abstractions (1963-1981). Nevadaville (1931), a watercolor, belongs to Kirkland’s initial period of Designed Realism. Adapting nature by redesigning the realism he saw on location in Colorado allowed him to be "more concerned with the importance of the painting rather than the importance of the landscape." He noted that the rhythms his Cleveland teacher, Henry Keller, "found in nature created a certain movement in his paintings… [that moved] away from the static element of a lot of realistic, representational painting." Kirkland, along with fellow watercolorist Elisabeth Spalding, were some of the first Denver artists interesting themselves in Colorado’s nineteenth-century mining towns west of Denver. They offered an alternative to the overwrought cowboy and Indian subject matter of the previous generation; while the human and architectural components of the mining towns provided a welcome break from the predominant nineteenth-century landscape tradition. Vibrations of Two Yellows in Space (1970), one of Kirkland’s small subseries of "Open Sun Paintings," occupies the final phase in his first series of dot paintings, Energy of Vibrations in Space (1963-1972). Many pieces in the series incorporate his unique mixture of oil paint and water which he developed in the early 1950s. The work in the subseries – a challenge to the viewer’s optic nerve – constitutes his contribution to the international realm of Op Art. Recalling the theory of pulsating galaxies and the universe, he used dots applied with dowels of different sizes to surround and leave round open spaces letting the gradient background show through. Because of the color contrast between the two, the "suns" either recede into the background or jump out in the foreground, creating the powerful pulsing effect. During his lifetime he assembled on a limited budget an extensive collection of fine and decorative art and furniture. His collecting passion dated from his student days when he used his prize money from the Cleveland School of Art to purchase a watercolor by William Eastman and a now-famous set of Russian musician figures by Alexander Blazys, both of whom were his professors. After Kirkland’s death, the Denver Art Museum received a large bequest that included paintings by Roberto Matta, Gene Davis, Charles Burchfield, and Richard Anuszkiewicz (the two latter-named also alumni of the Cleveland Institute of Art); prints by Arthur B. Davies, Roberto Matta, Pablo Picasso, and Robert Rauschenberg; and a sculpture by Ossip Zadkine. Kirkland posthumously was the subject of a television documentary, "Vance Kirkland’s Visual Language," aired on over one hundred PBS television stations (1994-96), and in 1999 a six-scene biographical ballet choreographed by Martin Friedmann with scenario provided by Hugh Grant, founder and director of the Kirkland Museum of Fine & Decorative Art in Denver. Historic Denver also posthumously honored Kirkland as part of the Colorado 100. From 1997 to 2000 Kirkland’s solo exhibition was hosted by thirteen European museums: Fondazione Muduma, Milan; Sala Parpalló Museum Complex, València; Stadtmuseum, Düsseldorf; Frankfurter Kunstverein; Museum of Modern Art, Vienna; Kiscelli Múzeum and the Museum of Fine Arts, Budapest; Czech Museum of Fine Arts, Prague; National Museum, Warsaw; State Gallery of the Art of Poland, Sopot/Gdańsk, National Museum of Art, Kaunas, Lithuania; Latvian Foreign Art Museum, Riga; and the State Russian Museum, St. Petersburg. Solo Exhibitions: Denver Art Museum (1930, 1935, 1939-40, 1942, 1972, 1978-retrospective, 1988, 1998); Colorado Springs Fine Arts Center (1943); Knoedler & Company, New York (1946, 1948, 1952); Pogzeba Art Gallery, Denver (1959); Galleria Schneider, Rome (1960); Birger Sandzén Memorial Gallery, Lindsborg, Kansas (1964-65,1977); Genesis Galleries, Ltd., New York (1978); Valhalla Gallery, Wichita, Kansas (1979); Inkfish Gallery, Denver (1980); Colorado State University, Fort Collins (1981- memorial exhibition); Boulder Center for the Visual Arts (1985); University of Denver, Schwayder Art Gallery (1991). Group Exhibitions (selected): "May Show," Cleveland Museum of Art (1927-28); "Western Annuals," Denver Art Museum (1929-1957, 1964, 1966, 1968, 1971); "International Exhibition of Watercolors, Pastels, Drawings and Monotypes," Art Institute of Chicago (1930-1946); "Abstract and Surrealist American Art," Art Institute of Chicago (1947-48, traveled to ten other American museums); "Midwest Artists Exhibition," Kansas City Art Institute (1932, 1937, 1939-1942); Dallas Museum of Art (1933, 1960); San Diego Museum of Art (1941); "Artists for Victory," Metropolitan Museum of Art (1942); "United Nations Artists in America," Argent Galleries, New York (1943); "California Watercolor Society," Los Angeles County Museum (1943-1945); "Survey of Romantic Painting," Museum of Modern Art, New York (1945); New Mexico Museum of Art, Santa Fe (1945, 1951); Knoedler & Company, New York (1946-57; co-show with Max Ernest, 1950; co-show with Bernard Buffet, 1952); Joslyn Art Museum, Omaha (1948, 1956); Philbrook Art Center, Tulsa, Oklahoma (1951); "Contemporary American Painting," University of Illinois, Urbana (1952); University of Utah, Salt Lake (1952-53); Oakland Art Museum (1954-55); "Reality and Fantasy, 1900-54," Walker Art Center, Minneapolis (1954); "Art U.S.A.," Madison Square Garden, New York (1958); Roswell Museum and Art Center, New Mexico (1961); Burpee Art Museum, Rockford, Illinois (1965-68); University of Arizona Art...
Paper, Lithograph
Sold
H 34.75 in W 42.75 in D 1.25 in
Ed Sketching at Red Rocks, Vintage 1940s Original Mountain Landscape, Colorado
By Vance Kirkland
Located in Denver, CO
Original vintage 1940s Modernist Landscape painting of Red Rocks Park, Colorado by Vance Kirkland (1904-1981). Titled, "Ed (Hicks) Sketching at Red Rocks". This regionalist mountain landscape painting is set near Red Rocks Park, Morrison, Colorado (just west of Denver). The figure in the painting is of Kirkland's friend, Ed Hicks. Watercolor on paper, signed and dated, January 1943, lower left and titled verso by the artist. Painted in colors of red, brown, blue, and green. Presented in a custom gold leaf frame, outer dimensions measure 34 ¾ x 42 ⅞ x 1 ¼ inches. Painting as shown within the mat and frame measures 21 x 29 inches. Provenance: Private Collection, Denver, Colorado About the Artist: Variously referred to as the “Father of Modern Colorado Painting,” “Dean of Colorado Artists” and “Colorado’s pre-eminent artist,” Kirkland was an inventive, visionary painter who spent fifty-two years of his fifty-four year career in Denver. Of the approximately 1,200 paintings he created, about 550 from the first half of his career (1927-1953) are water-based media: acquarelle, gouache, casein and egg tempera, with a few oils. In the latter half of his career (1953-1981) he used oil and his unique oil and water mixture. He also produced five hundred drawings and some ten prints, mostly lithographs on stone, while also engaged in teaching full-time for most of the period. To show people “something they have never seen before and new ways to look at things,” he felt he needed to preserve his artistic freedom. Consequently, he chose to spend his entire professional career in Denver far removed from the established American art centers in the East and Midwest. “By minding my own business and working on my own,” he said, “I think it was possible to develop in this part of the country… I’ve developed my kind of work [and] I think my paintings are stronger for having worked that way.” The geographical isolation resulting from his choice to stay in Colorado did not impede his creativity, as it did other artists, but in fact contributed to his unique vision. The son of a dentist, who was disappointed with his [son’s] choice of art as a career, Kirkland flunked freshman watercolor class in 1924 at the Cleveland School of Art (now the Cleveland Institute of Art) for putting colors into his landscapes that did not exist in nature and for competing colors. Not dissuaded, he won first prize for his watercolors in his junior and senior years. [While in Cleveland,] he studied with three influential teachers. Henry Keller, included in the prestigious New York Armory Show in 1913, introduced him to designed realism which he later used in his Colorado landscapes in the 1930s and 1940s. His other teachers were Bill Eastman, who studied with Hans Hofmann and appreciated all the new movements in modern art, and Frank Wilcox, a fine watercolorist. While a student at the Cleveland School of Art, Kirkland concurrently took liberal arts courses at Western Reserve and the Cleveland School of Education and taught two freshman courses in watercolor and design, receiving his diploma in painting from the school in 1927 by doing four years of work in three. The following year he received a Bachelor of Education in Art degree from the same institution. In 1929 he assumed the position of founding director of the University of Denver’s School of Art, originally known as the Chappell School of Art. He resigned three years later when the university reneged on its agreement to grant its art courses full recognition toward a Bachelor of Arts degree. His students prevailed on him to continue teaching, resulting in the Kirkland School of Art which he opened in 1932 at 1311 Pearl Street in Denver. The building, where he painted until his death in 1981, formerly was the studio of British-born artist, Henry Read, designer of the City of Denver Seal and one of the original thirteen charter members of the Artists’ Club of Denver, forerunner of the Denver Art Museum. The Kirkland School of Art prospered for the next fourteen years with its courses accredited by the University of Colorado Extension Center in Denver. The teaching income from his art school and his painting commissions helped him survive the Great Depression. The U.S. Treasury Department’s Section of Fine Arts commissioned from him two post office murals, Cattle Roundup (1938, Eureka, Kansas), and Land Rush (1940, Sayre, Oklahoma). He also did murals for several Denver clients: the Gerald Hughes mansion (1936, later demolished), Arthur Johnson home (1936-37, Seven Drinks of Man), Albany Hotel (1937, later demolished), Neustetter’s Department Store (1937, “History of Costume,” three of five saved in 1987 before the building interior was demolished in advance of its condo conversion), and the Denver Country Club (1945, partially destroyed and later painted over). In 1953 the Ford Times, published by the Ford Motor Company, commissioned Kirkland along with fellow Denver artists, William Sanderson and Richard Sorby, to paint six watercolors each for the publication. Their work appeared in articles [about] Colorado entitled, “Take to the High Road” (of the Colorado Rockies) by Alicita and Warren Hamilton. Kirkland sketched the mountain passes and high roads in the area of Mount Evans, Independence Pass near Aspen, and Trail Ridge Road in Rocky Mountain National Park. In 1946 Kirkland closed his art school when the University of Denver rehired him as director of its School of Art and chairman of the Division of Arts and Humanities. In 1957...
Watercolor
Space No. 3
By Vance Kirkland
Located in Denver, CO
Vance Kirkland 1966 abstract oil painting titled "Space No. 3" in shades of red, blue and green with areas of the artist's signature oil and water style...
Canvas, Oil
Coral, Amethyst and Grey (Fire and Ice)
By Vance Kirkland
Located in Denver, CO
1955 Vance Kirkland original signed oil painting "Coral, Amethyst and Grey (Fire and Ice)" abstract expressionist mid-century modern period Denver artist. Presented in a custom fram...
Oil
Sold
H 38.75 in W 29.5 in D 1.5 in
Untitled (Still Life with Flowers and Butterflies)
By Vance Kirkland
Located in Denver, CO
Original vintage 1937 painting by Colorado artist, Vance Kirkland (1904-1981). Presented in a frame measuring 38 ¾ x 29 ½ x 1 ⅜ inches. Image size measures 29 ½ x 21 ½ inches. As a...
Watercolor
Untitled (Five Million Years Ago)
By Vance Kirkland
Located in Denver, CO
Original watercolor by renowned 20th century Denver artist, Vance Kirkland (1904-1981), Dated: 1945.34 (painting number 34 from 1945) from the artist's ...
Watercolor
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H 42.25 in W 42.25 in D 1.25 in
Cool Colors in Space #22 (Abstract Dot Painting)
By Vance Kirkland
Located in Denver, CO
1970 Vance Kirkland (1904-1981) abstract "dot painting" from the "Energy of Vibrations in Space" series. This large format square painting was executed...
Oil, Canvas
Fourth of July
By Vance Kirkland
Located in Denver, CO
Abstract Expressionist oil painting by Colorado artist, Vance Kirkland. Handwritten paper label tacked to stretcher on reverse reads, "Fourth of July f...
Oil, Canvas
Sold
H 34.25 in W 41.75 in D 1.25 in
Colorado Landscape (View from Red Rocks looking south toward Soda Lakes)
By Vance Kirkland
Located in Denver, CO
Colorado Landscape (View from Red Rocks looking south toward Soda Lakes), original vintage 1943 painting by Colorado artist, Vance Kirkland (1904-1981)....
Watercolor
View From Falcon's Wing
By Vance Kirkland
Located in Denver, CO
Housed in a custom frame, outer dimensions measure 31 ½ x 39 x ¾ inches. Image size is 21 ½ x 29 inches. About the artist: As an artist and educator, Vance Kirkland...
Watercolor
Sold
H 60.75 in W 60.5 in D 1.25 in
Reds on Blue - Number 12 (Energy of Vibrations in Space Series)
By Vance Kirkland
Located in Denver, CO
From Kirkland's fifth painting period: Dot Paintings; subcategory A. "Energy of Vibrations in Space". Canvas measures 60 x 60 x 1 inches. About the Artist: As an artist and educ...
Oil
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H 19.25 in W 24.5 in D 1.25 in
Untitled (Castle of Toledo, Spain), circa 1930
By Vance Kirkland
Located in Denver, CO
Watercolor on paper. Unsigned, with letter of authenticity from Kirkland Museum. Framed dimensions are 19.25 x 24.5 x 1.25 inches; image measures 14.5 x 19.5 inches (sight). About the artist: As an artist and educator, Vance Kirkland...
Watercolor