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"Composition #1, 1990s Abstract Oil Painting in Blue, Violet, Gold, Teal & Pink
Located in Denver, CO
Composition #1, an original vintage 1990s abstract oil painting by Bonney Goldstein. Signed and dated 1995 by the artist, lower right. Late 20th century painting in colors of golden...
Category

1990s Abstract Abstract Paintings

Materials

Oil, Archival Paper

'Zeus, Venus and Hera' - 1980s Semi Abstract Painting, Nude Figures, Mythology
By Edward Marecak
Located in Denver, CO
Semi-abstract figurative oil painting by Denver modernist Edward Marecak (1919-1993). Titled 'Zeus, Venus, and Hera', painted in 1982 . Cubist, stylized figures depicting gods and goddesses from ancient mythology. Central to the painting is a male figure depicting Zeus, the Greek god of the sky, shown in the nude in rich shades of brown with a beard and bright blue eyes. His arms are wrapped around Venus, the Roman goddess of love, and Hera, the Greek Goddess of marriage and women. The trio is seated on a blue green chair...
Category

1980s American Modern Abstract Paintings

Materials

Oil

Portrait of a Man in Profile Smoking a Pipe, Orange, Blue, Brown, Gray
By Margo Hoff
Located in Denver, CO
Vintage original painting by 20th century Chicago/Manhattan woman artist, Margo Hoff. The untitled painting is of an older man with gray hair shown in profile with an orange backgro...
Category

20th Century American Modern Figurative Paintings

Materials

Graphite, Casein, Acrylic, Masonite

The Three Fates Confused, 1970s Abstract Figural Painting, Still Life Flowers
By Edward Marecak
Located in Denver, CO
The Three Fates Confused, a vintage 1970s figural abstraction oil painting by Denver modernist, Edward Marecak (1919-1993). Semi-abstract composition depic...
Category

1970s Abstract Abstract Paintings

Materials

Oil

Large Abstract Multicolor Painting, New Mexico Artist, Red, Yellow, Green, Brown
Located in Denver, CO
Original large format abstract painting by 20th -21st century New Mexico woman artist, Suzanne VandeBoom. The artist is known for her Abstract compositions. Painted with acrylic on ...
Category

21st Century and Contemporary Abstract Abstract Paintings

Materials

Canvas, Acrylic

Abstract Large Acrylic Painting, New Mexico Artist, Red, Yellow, Blue and Orange
Located in Denver, CO
Original large format abstract painting by 20th -21st century New Mexico woman artist, Suzanne VandeBoom. The artist is known for her Abstract compositions and this multicolored pain...
Category

21st Century and Contemporary Abstract Abstract Paintings

Materials

Canvas, Acrylic

Modernist Bicycle, Semi Abstract Vintage Painting 1960s Blue Orange White Brown
Located in Denver, CO
Vintage midcentury modern large format oil painting on canvas from the 1960s by 20th century Colorado woman artist, Mary Chenoweth. A cheerful post-mod...
Category

Mid-20th Century Modern Abstract Paintings

Materials

Oil, Canvas

Abstract Vintage Monotype, Black, Teal, Purple, Orange, Green, circa 1990-2005
Located in Denver, CO
Abstract monotype painting by Colorado woman artist Wilma Fiori (1929-2019). Abstract composition in deep jewel tones of green, orange, teal and purple on a black background. Monotype (numbered 1/1) printed on paper, signed by the artist lower right and upper left. Presented in a custom white frame with all archival materials. Provenance: Estate of the artist, Wilma Fiori About the Artist: Wilma Fiori (Wilma Denny) was born in Youngstown Ohio in 1929 and was raised in Great Bend, Kansas. She studied at Loretto Heights College in Denver, Colorado. Fiori graduated with a Bachelor of Fine Arts (BFA) degree in 1952. Two years later, she married Bob Fiori, a fellow student from Lorreto Heights. She remained active as an alumna for the College while raising four children. During this time, she developed an interest in anthropology and, in 1979, Wilma earned a Masters of Arts in Anthropology degree from the University of Denver. Fiori worked as a curatorial assistant to Richard Conn...
Category

1970s Abstract Abstract Prints

Materials

Monotype

Pair of Antique Architectural Etchings: Ornamental Frieze & Ancient Candelabra
By Giovanni Battista Piranesi
Located in Denver, CO
Collection of two 19th century Neoclassical black and white etchings by Giovanni Battista Piranesi housed in gold frames. Left: Giovanni Battista Piranesi, Ornamental Frieze, 19th ce...
Category

19th Century Rococo Still-life Prints

Materials

Etching

On Broadway, Santa Cruz, Southern California, 1950s Landscape Oil Painting
By Jon Blanchette
Located in Denver, CO
Oil on canvas board painting by Jon Blanchette (1908-1987) titled "On Broadway, Santa Cruz (California)" from circa 1955. Painting portrays a white house perched on a hill top with a...
Category

1950s American Impressionist Landscape Paintings

Materials

Oil, Board

Gunnison, Colorado 1940s Modernist Mountain Landscape Painting, Green, Blue, Red
Located in Denver, CO
1940s modernist mountain landscape painting, near Gunnison, Colorado with a white farmhouse and out buldings and trees in a meadow/valley with mountains in the background. Painted in...
Category

1940s American Impressionist Landscape Paintings

Materials

Board, Oil

1930s Colorado Modernist Landscape Painting of Trees, Mountains & Houses
Located in Denver, CO
Colorado Modernist landscape, watercolor on paper by Turner B. Messick (1878-1952) from 1938. Tree with houses and mountains in the background, pain...
Category

1930s American Modern Landscape Paintings

Materials

Archival Paper, Watercolor

Winter Palace, 1960s Mid Century Modern Framed Abstract Mixed Media Painting
By Edward Marecak
Located in Denver, CO
Winter Palace is an abstract acrylic and watercolor on paper painting by Edward Marecak (1919-1993) with pastel pinks, blues and greens. Presented in a new custom frame, outer dimensions measure 19 ¾ x 23 x 1 inches. Image size is 11 ⅝ x 14 ⅝ inches. Painting is clean and in very good vintage condition - please contact us for a detailed condition report. Provenance: Estate of Edward Marecak Expedited and international shipping is available - please contact us for a quote. About the Artist: Born to immigrant parents from the Carpathian region in Slovakia, Marecak grew up with his family in the farming community of Bennett’s Corners, now part of the town of Brunswick, near Cleveland, Ohio. When he turned twelve, his family moved to a multi-ethnic neighborhood of Poles, Czechs, Slovaks and Slovenians in Cleveland. His childhood household cherished the customs and Slavic folk tales from the Old Country that later strongly influenced his work as a professional artist. During junior high he painted scenery for puppet shows of "Peter and the Wolf...
Category

1960s Abstract Abstract Paintings

Materials

Paper, Mixed Media, Acrylic, Watercolor

California Coast Landscape Marine Painting, Watercolor Painting Rocks, Waves
By Charles Partridge Adams
Located in Denver, CO
California coastal painting by early 20th century artist, Charles Partridge Adams circa 1925. Watercolor on paper, not signed, attributed ...
Category

1920s American Impressionist Landscape Paintings

Materials

Watercolor

Vintage Framed Abstract Red and Beige Composition, Monotype on Paper
Located in Denver, CO
Monotype, ink on paper, featuring an abstract red and beige composition by Wilma Fiori (1929-2019). Presented in a custom frame with all archival materials measuring 20 x 19 1⁄2 x 1 ...
Category

Late 20th Century Abstract Abstract Prints

Materials

Archival Paper, Monotype

Framed Vintage Abstract Monotype with Rectangles in Gray, Blue, Red, and Green
Located in Denver, CO
Abstract monotype on paper featuring red, green, and blue rectangles on a gray background by Wilma Fiori (1929-2019). Presented in a custom frame with all archival materials measurin...
Category

Late 20th Century Abstract Abstract Prints

Materials

Archival Paper, Monotype

Vintage Semi-Abstract Brightly Colored Portrait, Woman with Plant and Flowers
By Edward Marecak
Located in Denver, CO
Semi-abstract oil on canvas painting by Edward Marecak (1919-1993). Composition featuring a brightly colored portrait of a woman holding flowers. Presented in an original frame measu...
Category

Mid-20th Century Abstract Portrait Paintings

Materials

Canvas, Oil

Girl with Sheep and Car, Oil on Board Landscape Painting with Figures
By Martin Saldana
Located in Denver, CO
Girl with Sheep and Car is a oil on board landscape painting depicting figures and animals in a Folk Art style painted in the mid-twentieth century by Martin Saldana (1874-1965). Presented in a custom frame measuring 29 3⁄4 x 33 1⁄2 x 1 inches; image size is 19 1⁄2 x 23 1⁄2 inches. Painting is in good condition - please contact us for a detailed condition report. About the Artist: Born Mexico 1874 Died 1965 Born in 1874, Saldaña grew up at Rancho Neuvo in Mexico. In 1950, at the age of 76, he began attending children's art classes at the Denver Art Museum. For the next fitfteen years, Saldaña Imaginatively documented whimsical memories from his childhood in San Luis Potosi, Mexico, portraying ranch life, landscapes, and his great love of animals. The prolific artist painted every day, completing a new piece about every three days and amassing an impressive body of work for the former cook at the Denver landmark, the Brown Palace Hotel. Saldaña’s vibrant palette and geometric figures are reminiscent of the tapestries of his Mexican heritage and the paintings, primarily in oil, are innocent and endearing. Saldaña is considered to be a outsider artist, a folk artist who is self-taught, whose work is simple, direct, and high personal. Works Held: Denver Art Museum, University of Wyoming Art Museum, The Colorado Springs Fine Art Center, International Folk Art Museum, Neuss In Aberthor Museum, Stedelijk Museum ©David Cook Galleries...
Category

Mid-20th Century Folk Art Landscape Paintings

Materials

Oil, Board

1980s Large Format Abstract Oil Painting by Mark Travis, Blue Black Purple
Located in Denver, CO
Vintage 1980s original abstract painting by Denver, Colorado artist, Mark Travis. Large format artwork painted with oil on masonite board. Abstract compos...
Category

1980s Abstract Abstract Paintings

Materials

Masonite, Oil

Taos II , Framed Abstract Monotype in Blue, Brown and Black
Located in Denver, CO
Abstract monotype in blue, brown and black on paper by Wilma Fiori (1929-2019). Print is presented in a custom frame with all archival materials measuring 20 1⁄2 x 19 1⁄4 x 1 inches....
Category

Late 20th Century Abstract Abstract Prints

Materials

Ink, Archival Paper, Monotype

Central City, Colorado, 1950s Modernist Cityscape Oil Painting with Buildings
Located in Denver, CO
Oil on canvas modernist city scape painted circa 1950 by Paul K Smith (1893-1977) titled Central City, Colorado. Portrays a city scene of historic buildin...
Category

1950s American Modern Landscape Paintings

Materials

Canvas, Oil

Circus Series: Target, Vibrant Colored Abstract Conte Crayon Drawing on Paper
By Margo Hoff
Located in Denver, CO
Circus Series: Target is an abstract crayon on paper drawing by Margo Hoff (1910-2008) created in 1980. Abstract composition in vibrant shades of orange, pink, yellow, and blue with ...
Category

Late 20th Century Abstract Abstract Drawings and Watercolors

Materials

Crayon, Archival Paper

Mountain Sunset, Colorado, Vintage 1950s Autumn Landscape Painting with River
By Harold Vincent Skene
Located in Denver, CO
Oil on board painted in 1958 by Harold Vincent Skene (1883-1978) titled 'Mountain Sunset'. Colorado mountain autumn landscape featuring changing leaves...
Category

Mid-20th Century American Modern Landscape Paintings

Materials

Board, Oil

View From the Park (Colorado) Mountain View Oil Landscape Painting
By Charles Ragland Bunnell
Located in Denver, CO
Oil on canvas painting by Charles Ragland Bunnell (1987-1968) titled 'View from the Park'. Presented in a custom frame measuring 28 ¾ x 32 ¾ inches; image size is 22 ½ x 26 inches. ...
Category

Mid-20th Century American Modern Landscape Paintings

Materials

Canvas, Oil

Trees in Ranchitos II, New Mexico, 1970s Color Lithograph Landscape with Trees
By Andrew Michael Dasburg
Located in Denver, CO
"Tree in Ranchitos II" (New Mexico) is a lithograph initialed lower right by artist Andrew Michael Dasburg (1887-1979) from 1975. Presented in a custom frame measuring 30 ½ x 36 ¼ inches. Image size is 16 ½ x 23 ¼ inches. About the Artist: Born France, 1887 Died New Mexico, 1979 Andrew Dasburg was born in Paris, but emigrated to New York City in 1892 with his mother. A childhood sickness left him lame, and his artistic propensities were first recognized by a teacher at the crippled children’s school. She enrolled him in the Art Students League in 1902. There he studied under Kenyon Cox, Frank Vincent Dumond, and Birge Harrison. Later, he began taking night classes from Robert Henri at the New York School of Art. Dasburg spent 1908-1910 in Paris, where he was introduced to the great impressionist painters Matisse and Cezanne. Inspired by the work of the European modernists, Dasburg returned to the United States, where he moved to Woodstock, New York. In Woodstock, he and his wife, Grace Mott Johnson, lived with Morgan Russell...
Category

1970s American Modern Landscape Prints

Materials

Lithograph, Archival Paper

Seated Girl and Hummingbird , Vibrant Figurative Oil Painting, Green Gray Black
By Martin Saldana
Located in Denver, CO
Oil on board painting titled 'Seated Girl and Hummingbird' by artist Martin Saldana (1874-1965) depicting three figures standing next to a house surrounded by plants and birds. Signed by the artist in the lower center of the piece. Painted in vibrant shades of green, red, yellow, black, and gray. Painting is in good condition - please contact us for a detailed condition report. About the Artist: Born Mexico 1874 Died 1965 Born in 1874, Saldaña grew up at Rancho Neuvo in Mexico. In 1950, at the age of 76, he began attending children's art classes at the Denver Art Museum. For the next fitfteen years, Saldaña Imaginatively documented whimsical memories from his childhood in San Luis Potosi, Mexico, portraying ranch life, landscapes, and his great love of animals. The prolific artist painted every day, completing a new piece about every three days and amassing an impressive body of work for the former cook at the Denver landmark, the Brown Palace Hotel...
Category

Early 20th Century Folk Art Figurative Paintings

Materials

Oil, Board

Chalk Butte (Montana), 1916 Oil Landscape Painting, American Impressionist
Located in Denver, CO
Oil on canvas painting by Anna Elizabeth Keener (1895-1982) titled 'Chalk Butte (Montana)' painted circa 1916. Signed lower left, titled verso by the artist. Presented in a custom fr...
Category

1910s American Impressionist Landscape Paintings

Materials

Canvas, Oil

Mid Century Abstract in Orange, Red, Brown, White and Black, Oil Painting
Located in Denver, CO
Untitled abstract oil on canvas painting by Henriette "Yetti" Stolz in colors of brown, red, and orange. Presented in a new custom hand carved wood frame measuring 31 ¼ x 36 ¼ inches. Image size measures 34 x 28 inches. Provenance: Estate of the artist...
Category

20th Century Abstract Abstract Paintings

Materials

Canvas, Oil

Pioneer Bluffs in Spring Post Impressionist Landscape Painting Kansas Stormy Sky
Located in Denver, CO
Kansas landscape oil on canvas painting by Robert N. Sudlow (1920-2010) titled 'Pioneer Bluffs in Spring' painted in 1986. Presented in original frame measuring 50 1⁄4 x 46 1⁄2 x 5 1...
Category

1980s American Modern Landscape Paintings

Materials

Oil, Canvas

White Line - Blue (Variation 1) - 20th Century Abstract Serigraph on Paper
By Margo Hoff
Located in Denver, CO
Mid-20th century abstract blue and white serigraph on paper by Margo Hoff (1910-2008). Presented in a custom oak frame with all archival materials and UV/non-reflective glass, outer ...
Category

20th Century Abstract Abstract Prints

Materials

Archival Paper, Screen

Spring Thaw, Late 20th Century Multicolor Abstract Oil Painting, White Blue Pink
By Clarence Van Duzer
Located in Denver, CO
White and multicolor abstract oil on canvas painting by Clarence Van Duzer (1920-2009). Signed by the artist in the lower left corner. Presented in a custom frame measuring 26 ¼ x 30...
Category

Late 20th Century Abstract Abstract Paintings

Materials

Canvas, Oil

Colorado Mountain Summer Landscape, 1930s Framed Modernist Oil Painting
By Arnold Blanch
Located in Denver, CO
Vintage Modernist WPA era painting by Arnold Blanch (1896-1968) of a Colorado Landscape, likely near Colorado Springs, Colorado, with green fields, red rocks and mountains in the background under a moody sky. Dominant colors include, green, yellow, red/brown, gray, white and blue. Painting is clean and in good vintage condition - please contact us for a detailed condition report. About the Artist: Arnold Blanch was an illustrator, printmaker, teacher and painter. He was primarily known for his landscape, genre, figurative, realist, and surrealist paintings. Born in Manterville, Minnesota, he was encouraged to study art by his mother, an amateur artist. He began studying at the Minneapolis Art Institute in 1914. In 1916, he received a scholarship to study in New York at the Art Students League. In New York, he studied under Robert Henri, Francis Luis Mora, Boardman Robinson, John Sloan, and Kenneth Hayes Miller. In 1919, Blanch arrived in Woodstock, New York to study at the Art Students League summer school. He married his fellow student Lucile Lundquist, and they settled in Woodstock in 1922 after traveling to France for a year. Blanch remained in Woodstock for more than forty years, until his death. He was an important figure in the Woodstock Artists Association, as he devoted much of his time to maintaining financial and moral support for the Association. Throughout his life, Blanch had more than sixty solo and group exhibits. He was awarded the Guggenheim Foundation Fellowship in 1940. In 1962, he had a retrospective at the Krasner Gallery in New York. Blanch's artistic style changed frequently throughout his career. After the 1930's, Blanch's palette became lighter and his subjects became less serious. In the 1930s, after he and his first wife separated, Blanch became romantically involved with artist Doris Lee, and both were influenced by each other's artistic styles for the next thirty years. Blanch was also influenced by the Abstract Expressionists; however, he primarily remained a figurative painter. His last artistic style consisted of shallow pictoral space and tightly arranged structures. ©David Cook Galleries...
Category

1930s American Modern Landscape Paintings

Materials

Canvas, Oil

Convolution, 1940s Modern Black White Abstract Lithograph of Kinetic Movement
By Herbert Bayer
Located in Denver, CO
"Convolution" is a lithograph on paper by Herbert Bayer (1900-1985) from 1948 of an abstract kinetic movement shape. Presented framed in all archival materials, outer dimensions measure 23 x 26 ¾ x 1 ¼ inches. Image sight size is 17 x 22 inches. Print is clean and in very good condition - please contact us for a detailed condition report. Expedited and international shipping is available - please contact us for a quote. About the Artist: Herbert Bayer Born 1900, Haag am Hausruck, Ausstria Died 1985, Montecito, California Herbert Bayer enjoyed a versatile sixty-year career spanning Europe and America that included abstract and surrealist painting, sculpture, environmental art, industrial design, architecture, murals, graphic design, lithography, photography and tapestry. He was one of the few “total artists” of the twentieth century, producing works that “expressed the needs of an industrial age as well as mirroring the advanced tendencies of the avant-garde.” One of four children of a tax revenue officer growing up in a village in the Austrian Salzkammergut Lake region, Bayer developed a love of nature and a life-long attachment to the mountains. A devotee of the Vienna Secession and the Vienna Workshops (Wiener Werkstätte) whose style influenced Bauhaus craftsmen in the 1920s, his dream of studying at the Academy of Art in Vienna was dashed at age seventeen by his father’s premature death. In 1919 Bayer began an apprenticeship with architect and designer, Georg Schmidthamer, where he produced his first typographic works. Later that same year he moved to Darmstadt, Germany, to work at the Mathildenhöhe Artists’ Colony with architect Emanuel Josef Margold of the Viennese School. As his working apprentice, Bayer first learned about the design of packages – something entirely new at the time – as well as the design of interiors and graphics of a decorative expressionist style, all of which later figured in his professional career. While at Darmstadt, he came across Wassily Kandinsky’s book, Concerning the Spiritual in Art, and learned of the new art school, the Weimar Bauhaus, in which he enrolled in 1921. He initially attended Johannes Itten’s preliminary course, followed by Wassily Kandinsky’s workshop on mural painting. Bayer later recalled, “The early years at the Bauhaus in Weimar became the formative experience of my subsequent work.” Following graduation in 1925, he was appointed head of the newly-created workshop for print and advertising at the Dessau Bauhaus that also produced the school’s own print works. During this time he designed the “Universal” typeface emphasizing legibility by removing the ornaments from letterforms (serifs). Three years later he left the Bauhaus to focus more on his own artwork, moving to Berlin where he worked as a graphic designer in advertising and as an artistic director of the Dorland Studio advertising agency. (Forty years later he designed a vast traveling exhibition, catalog and poster -- 50 Jahre Bauhaus -- shown in Germany, South America, Japan, Canada and the United States.) In pre-World War II Berlin he also pursued the design of exhibitions, painting, photography and photomontage, and was art director of Vogue magazine in Paris. On account of his previous association with the Bauhaus, the German Nazis removed his paintings from German museums and included him among the artists in a large exhibition entitled Degenerate Art (Entartete Kunst) that toured German and Austrian museums in 1937. His inclusion in that exhibition and the worsening political conditions in Nazi Germany prompted him to travel to New York that year with Marcel Breuer, meeting with former Bauhaus colleagues, Walter Gropius and László Moholy-Nagy to explore the possibilities of employment after immigration to the United States. In 1938 Bayer permanently relocated to the United States, settling in New York where he had a long and distinguished career in practically every aspect of the graphic arts, working for drug companies, magazines, department stores, and industrial corporations. In 1938 he arranged the exhibition, “Bauhaus 1919-1928” at the Museum of Modern Art, followed later by “Road to Victory” (1942, directed by Edward Steichen), “Airways to Peace” (1943) and “Art in Progress” (1944). Bayer’s designs for “Modern Art in Advertising” (1945), an exhibition of the Container Corporation of America (CAA) at the Art Institute of Chicago, earned him the support and friendship of Walter Paepcke, the corporation’s president and chairman of the board. Paepcke, whose embrace of modern currents and design changed the look of American advertising and industry, hired him to move to Aspen, Colorado, in 1946 as a design consultant transforming the moribund mountain town into a ski resort and a cultural center. Over the next twenty-eight years he became an influential catalyst in the community as a painter, graphic designer, architect and landscape designer, also serving as a design consultant for the Aspen Cultural Center. In the summer of 1949 Bayer promoted through poster design and other design work Paepcke’s Goethe Bicentennial Convocation attended by 2,000 visitors to Aspen and highlighted by the participation of Albert Schweitzer, Arthur Rubenstein, Jose Ortega y Gasset and Thornton Wilder. The celebration, held in a tent designed by Finnish architect Eero Saarinen, led to the establishment that same year of the world-famous Aspen Music Festival and School regarded as one of the top classical music venues in the United States, and the Aspen Institute for Humanistic Studies in (now the Aspen Institute), promoting in Paepcke’s words “the cross fertilization of men’s minds.” In 1946 Bayer completed his first architecture design project in Aspen, the Sundeck Ski Restaurant, at an elevation of 11,300 feet on Ajax Mountain. Three years later he built his first studio on Red Mountain, followed by a home which he sold in 1953 to Robert O. Anderson, founder of the Atlantic Richfield Company who became very active in the Aspen Institute. Bayer later designed Anderson’s terrace home in Aspen (1962) and a private chapel for the Anderson family in Valley Hondo, New Mexico (1963). Transplanting German Bauhaus design to the Colorado Rockies, Bayer created along with associate architect, Fredric Benedict, a series of buildings for the modern Aspen Institute complex: Koch Seminar Building (1952), Aspen Meadows guest chalets and Center Building (both 1954), Health Center and Aspen Meadows Restaurant (Copper Kettle, both 1955). For the grounds of the Aspen Institute in 1955 Bayer executed the Marble Garden and conceived the Grass Mound, the first recorded “earthwork” environment In 1973-74 he completed Anderson Park for the Institute, a continuation of his fascination with environmental earth art. In 1961 he designed the Walter Paepcke Auditorium and Memorial Building, completing three years later his most ambitious and original design project – the Musical Festival Tent for the Music Associates of Aspen. (In 2000 the tent was replaced with a design by Harry Teague.) One of Bayer’s ambitious plans from the 1950s, unrealized due to Paepcke’s death in 1960, was an architectural village on the outskirts of the Aspen Institute, featuring seventeen of the world’s most notable architects – Walter Gropius, Marcel Breuer, I.M. Pei, Minoru Yamasaki, Edward Durrell Stone and Phillip Johnson – who accepted his offer to design and build houses. Concurrent with Bayer’s design and consultant work while based in Aspen for almost thirty years, he continued painting, printmaking, and mural work. Shortly after relocating to Colorado, he further developed his “Mountains and Convolutions” series begun in Vermont in 1944, exploring nature’s fury and repose. Seeing mountains as “simplified forms reduced to sculptural surface in motion,” he executed in 1948 a series of seven two-color lithographs (edition of 90) for the Colorado Springs Fine Arts Center. Colorado’s multi-planal typography similarly inspired Verdure, a large mural commissioned by Walter Gropius for the Harkness Commons Building at Harvard University (1950), and a large exterior sgraffito mural for the Koch Seminar Building at the Aspen Institute (1953). Having exhausted by that time the subject matter of “Mountains and Convulsions,” Bayer returned to geometric abstractions which he pursued over the next three decades. In 1954 he started the “Linear Structure” series containing a richly-colored balance format with bands of sticks of continuously modulated colors. That same year he did a small group of paintings, “Forces of Time,” expressionist abstractions exploring the temporal dimension of nature’s seasonal molting. He also debuted a “Moon and Structure” series in which constructed, architectural form served as the underpinning for the elaboration of color variations and transformations. Geometric abstraction likewise appeared his free-standing metal sculpture, Kaleidoscreen (1957), a large experimental project for ALCOA (Aluminum Corporation of America) installed as an outdoor space divider on the Aspen Meadows in the Aspen Institute complex. Composed of seven prefabricated, multi-colored and textured panels, they could be turned ninety degrees to intersect and form a continuous plane in which the panels recomposed like pieces of a jigsaw puzzle. He similarly used prefabricated elements for Articulated Wall, a very tall free-standing sculpture commissioned for the Olympic Games in Mexico...
Category

1940s Abstract Abstract Prints

Materials

Paper, Lithograph

Carnival Series: ZigZag - 1970s Abstract Conte Crayon on Paper
By Margo Hoff
Located in Denver, CO
Original signed abstract by mid-20th century Chicago artist Margo Hoff (1910-2008) titled 'Carnival Series: Zig Zag' painted in 1979. Presented in a vintage frame, outer dimensions m...
Category

20th Century Abstract Expressionist Abstract Paintings

Materials

Paper, Conté, Crayon

Lights at Night - 1960s Abstract Oil on Canvas Painting in Blue, Purple, and Pin
Located in Denver, CO
Abstract oil on canvas painting by Vincent Pershing O'Brien (1919-1999) painted in 1962. Presented in a custom frame measuring 46 x 71 x 1 inches. Canvas size measures 43 1⁄4 x 68 in...
Category

1960s Abstract Abstract Paintings

Materials

Canvas, Oil

Abandoned (Colorado) - Oil on Canvas, American Modern Landscape Painting
By William Sanderson
Located in Denver, CO
'Abandoned (Colorado)' is an oil painting by William Sanderson (1905-1990) depicting an abandoned house in green grass hills. Presented in a custom frame measuring 13 ¼ x 16 ½ inches; image size measures 8 ½ x 11 ¼ inches. Painting is in good condition - please contact us for a detailed condition report. About the Artist: Born Latvia 1905 Died Colorado 1990 The elder son of a construction engineer, he was born Wilhelm Tsiegelnitsky in a seaside resort near Riga, Latvia, then part of the Russian Empire. His father, Grigori Mojesevich (later Anglicized to Gregory) was of Russian-Jewish heritage, while his mother Berta (Bertha) came from a German-Jewish background. Because preference in awarding construction contracts at that time were being given to members of the Russian Orthodox Church, his father had the whole family baptized in that church which he kept a secret from Sanderson’s grandparents. His father’s profession took the family to a number of cities in various parts of the Russian Empire including Warsaw, Kharkhov, Kiev, and Samarkand in Asia. To his mother’s annoyance, he scribbled on anything within easy reach, deciding by age ten that he would make art his lifetime goal. During the Bolshevik Revolution in 1917 the family lived with relatives in Rostov-on-the-Don where his mother enrolled him in the local Chinyenov Art School, marking the first step in his art career. Feeling that they would have no place in the new Communist political reality, in 1921 the family left Rostov for Kiev, emigrating to Italy and Greece on short-term visas before arriving in New York two years later, sponsored by Gregory’s relatives in New Jersey. The Tsiegelnitsky surname was changed to the more pronounceable Siegel. Experiencing the frustration shared by most immigrants seeking to establish themselves in a new, unfamiliar environment, Sanderson sufficiently mastered English by 1924 to attend the Fawcett School of Industrial Art in Newark (later the Newark School of Fine and Industrial Art) where he studied with Ida Wells Stroud, herself a student of William Merritt Chase and Arthur Dow and part of the early twentieth-century Arts & Crafts Movement. Seeking a more challenging curriculum, he enrolled at the National Academy of Design in Manhattan (1924-1927), studying painting with Charles Hawthorne, etching with William Auerbach-Levy, and life drawing with Charles L. Hinton. Sanderson won the Suydam Medal for Life Drawing, First Prize in Composition, and Honorable Mention in Etching. He also briefly attended the Art Students League in New York in 1928, studying lithography with Charles Locke who in 1936 taught a summer course in the medium at the Colorado Springs Fine Arts Center. However, Sanderson quit the League when he could no longer afford the tuition. With his art studies behind him, he began a successful career in illustration in New York. Briefly associated with the Evening Graphic, he maintained a decade-long affiliation with the New Masses, honored to be in the company of such established artist-contributors as Jean Charlot, Stuart Davis, Adolf Dehn, Louis Lozowick, Reginald Marsh, Jan Matulka and Boardman Robinson – some of whom later were affiliated with the Colorado Springs Fine Arts Center in the 1930s and 1940s. As a young immigrant he came to share some of the popular views of the left-wing intellectual community in American in the 1920s and early 1930s; but in 1936 he severed his connections with the New Masses because he did not like the direction it had taken by that time. In 1929, the year of the stock market crash and the onset of the Great Depression, he began doing commercial book illustration in New York which he continued until being drafted during World War II. However, his steady income disqualified him from participation in the Works Progress Administration (WPA)-era art projects. A barometer of his success was his inclusion in the Fifth Exhibition of American Book Illustration in 1935 sponsored by American Institute of Graphic Arts whose jurors included Edith Halpert of The Downtown Gallery in New York. Among the book titles he illustrated were: Marian Hurd McNeeley, The Jumping Off Place; P.N. Krasnoff, Yermak the Conqueror; Joe Lederer, Fanfan in China; Fay Orr, Freighter Holiday; and The Cavalcade of America. His images of a covered wagon and a Daniel Boone prototype in the last-named publication anticipate subjects he later explored more fully in his easel painting in Colorado with likenesses such as The Woman of the Plains and Hombre. In the 1930s and early 1940s he also produced illustrations and covers for leading American magazines such as The New Yorker, Esquire, Cue, and Harper’s. In 1931 he became a naturalized U.S. citizen in Manhattan and by 1936 began informally using Sanderson as his surname, making the change official in 1941. In 1937 he was given a solo show at the American Contemporary Art (A.C.A.) Gallery in New York. The following year he became art director at the McCue Ad Agency in New York where he worked until after the Japanese attack on Pearl Harbor. Looking forward to the day when he could give up illustration for the fine arts, his career change was set in motion when he was drafted into the U.S. Army in March 1942. After basic training at Kessler Field near Biloxi, Mississippi (where the Tuskegee Airmen also trained) he shipped out at his own request to Lowry Air Force Base in Denver, becoming part of the Army Air Corps and taking an instant liking to Colorado. At Lowry his humorous drawings of barracks life were published in the base newspaper, The Rev-Meter. In the summer of 1943 he had his first solo exhibition in Colorado at the Denver Art Museum-Chappell House that consisted of black-and-white drawings of army life. He also began painting watercolor scenes from memory of his previous life in the East. His two visits to Vance Kirkland’s studio in Denver’s Capitol Hill neighborhood, while stationed at Lowry, occasioned a lifelong friendship and professional association. On Sanderson’s excursion in 1943 to the Colorado Springs Fine Arts Center he met his future wife, Ruth Lambertson from Cedar Falls, Iowa, whom he married eight weeks later, initiating a union lasting forty-seven years. His fluency in Russian landed him an assignment as an interpreter with the American ground forces meeting up with the Soviet Army marching westward toward Berlin in the last months of World War II. His impressions and photos of the bombed-out city formed the basis of his montage, Berlin 1945, painted in Denver in 1947. Its palette and collage-like quality and that of some of his other paintings from this period reflect the influence of American modernist, Stuart Davis. Following his military discharge and some brief design work for the Kistler Stationery Company and the A.B. Hirschfeld Press in Denver, Sanderson swapped commercial art for academia in 1946 when Vance Kirkland hired him as Assistant Professor of Advertising Design at the University of Denver, which subject he taught until retiring in 1972. Along with Kirkland and other faculty artists, he became a charter member of the 15 Colorado Artists. Founded in 1948, the group comprised some of the state’s leading contemporary artists seeking to distance themselves from much of the traditional imagery then being produced and exhibited in Denver and elsewhere. Reflecting the viewpoint of his fellow charter members Sanderson said, "I’m very taken with the nature scenes in this region, but it’s not the function of the artist to paint them when there are photographers around." Paraphrasing Picasso, the leading representative of contemporary art at that time, he added: "The painting is the artist’s representation of what nature is not." The financial security and stability of his teaching position at the University of Denver (DU) gave him the freedom to develop his easel painting. He produced a large body of oils and watercolors in both stylized Realism and Surrealism depicting, respectively, Colorado-inspired subject matter and social criticism of modern life and industrial civilization. One of his first canvases, Steamship Ruth, titled in honor of his wife and incorporating elements remembered from the port of Rostov in Russia has large, precisely-arranged areas of flat color with crisp edges seen in many of his Colorado paintings in the 1950s and 1960s. Similarly, Mountain Rhythm employs a bright palette and undulating lines conveying his fascination with the overall composition of irregular mountain and cloud shapes. Trailer Park, near the foothills west of Denver, provided abundant material for a geometric form study, while Composition with Fried Eggs in the Denver Art Museum’s collection essentially is a semi-cubistic arrangement of interlocking planes and spaces that was reproduced in the August 25, 1952, issue of Time Magazine. His work was also shown in group exhibitions outside Colorado at the Dallas Fine Art Museum, Museum of New Mexico (now, New Mexico Museum of Art) in Santa Fe, Joslyn Memorial Museum in Omaha, San Francisco Art Association, Salt Lake City Art Center, and the Cedar City Art Museum Association in Utah. The positive notice accorded his work in the early 1950s earned him a commission from the Ford Motor Company to illustrate an article, Fort Garland, by Marshall Sprague in the June 1954 issue of Ford Times. (Similar commissions were also given at that time to Denver’s Vance Kirkland and Richard Sorby.) In the mid-1950s Sanderson also executed several murals in different techniques for secular and religious buildings in Colorado, reminiscent of artists’ commissions under the Federal Arts Projects (FAP) during the Depression era: the Graland School lobby and the Colorado Tobacco Building, both in Denver; St. Joseph’s School, Salida; Mesa Elementary School, Cortez; as well as the Andrew Jackson Hotel in Nashville, Tennessee. Sanderson’s life in Europe and illustration work for the New Masses in New York made him very aware of ethnic and racial prejudice. He said, "I believe the artist is first of all a human being with the ability to see and depict the hope, aspirations and the despair of other human beings." In the 1950s he recorded the political movement for Black racial equality in paintings such as Noon Hour, Whites Only...
Category

Mid-20th Century American Modern Landscape Paintings

Materials

Canvas, Oil

Artist and His Family, 1950s Interior Figurative Oil Painting, Red Green White
Located in Denver, CO
Oil on board painting by Donna Marecak (1922-1998) titled 'Artist and his Family' from 1950. Interior scene with four figures, a baby, and a cat gathered around a table. Painted in ...
Category

1950s American Modern Figurative Paintings

Materials

Oil, Board

Farm and Figures, Figurative Folk Art Oil Painting with Houses and Landscape
By Martin Saldana
Located in Denver, CO
Oil on board painting by Martin Saldana (1874-1965) titled 'Farm and Figures'. Presented in a custom frame measuring 21 ½ x 26 ¼ inches; image size is 14 x 19 ⅛ inches. Titled by the artist verso. Dark green background with flowers, houses, and hills with two figures in the upper left corner holding hands. Painted with colors of orange, white, purple, and yellow. Painting is in good condition - please contact us for a detailed condition report. About the Artist: Born Mexico 1874 Died 1965 Born in 1874, Saldaña grew up at Rancho Neuvo in Mexico. In 1950, at the age of 76, he began attending children's art classes at the Denver Art Museum. For the next fitfteen years, Saldaña Imaginatively documented whimsical memories from his childhood in San Luis Potosi, Mexico, portraying ranch life, landscapes, and his great love of animals. The prolific artist painted every day, completing a new piece about every three days and amassing an impressive body of work for the former cook at the Denver landmark, the Brown Palace Hotel. Saldaña’s vibrant palette and geometric figures are reminiscent of the tapestries of his Mexican heritage and the paintings, primarily in oil, are innocent and endearing. Saldaña is considered to be a outsider artist, a folk artist who is self-taught, whose work is simple, direct, and high personal. Works Held: Denver Art Museum, University of Wyoming Art Museum, The Colorado Springs Fine Art Center, International Folk Art Museum, Neuss In Aberthor Museum, Stedelijk Museum ©David Cook Galleries...
Category

Mid-20th Century Folk Art Figurative Paintings

Materials

Oil, Board

Gateside Conversation, 1940s Original Signed Lithograph by Thomas Hart Benton
By Thomas Hart Benton
Located in Denver, CO
'Gateside Conversation' is an original signed lithograph by Thomas Hart Benton (1889-1975) from 1946. Singed by the artist in the lower right margin and titled verso. Portrays a figu...
Category

1940s American Modern Figurative Prints

Materials

Paper, Lithograph

Out of the Deep, 1950s Abstract Oil Painting, Vertical, Blue Pink Orange Gray
Located in Denver, CO
Oil on canvas abstract painting titled 'Out of the Deep' by Watson Bidwell (1904-1964) from 1959. Presented in a custom frame measuring 51 ½ x 37 ½ inch...
Category

1950s Abstract Abstract Paintings

Materials

Canvas, Oil

1950s Abstract Charcoal Drawing, Mid Century Modern Design, Black Off White
Located in Denver, CO
Circa 1955 abstract charcoal drawing on paper signed by artist Ludwig R. Sander (1906-1975). Presented in a custom frame measuring 32 x 42 x 1 1⁄4 inches. Original drawing measures 21 x 31 1⁄2 inches. Drawing is in very good condition - please contact us for a detailed condition report. About the Artist: Born 1906 Staten Island, New York – Died 1975 New York City The son of a musician, Ludwig Sander was exposed to art as a youngster through visits to the Metropolitan Museum and reproductions of Art Nouveau and the Jugendstil in the Manchester Guardian and in German magazines to which his parents subscribed. Having studied architecture and architectural drawing in high school, he entered New York University in 1924, but left two years later to become a painter. In 1927 he took a four-month trip to Europe, returning to New York for independent study with Alexander Archipenko before entering the Art Students League in 1928 where he studied until 1930 with George Elmer Brown...
Category

1950s Abstract Abstract Drawings and Watercolors

Materials

Archival Paper, Charcoal

20th Century Framed and Signed Abstract Watercolor Painting, Orange, Pink, Red
Located in Denver, CO
Pink, orange, and red abstract watercolor on paper by Lynn R. Wolfe (1917-2019). Signed by the artist in the lower left corner. Presented in a custom frame with all archival materials measuring 27 ½ x 34 ¼; image size is 22 ¼ x 30 inches. Provenance: Estate of the Artist, Lynn R. Wolfe Painting is in good condition - please contact us for a detailed condition report. About the Artist: Born 1917 Red Cloud, Nebraska Died 2019 Boulder, Colorado A versatile artist proficient in painting, sculpture, stained glass and mosaics, Wolfe grew up on his family’s dairy farm near Red Cloud, Nebraska. For much of his early life he was known as Bob until officially adopting the first name of Lynn in 1939. When he was six months old he contracted the "Spanish flu" in the 1918 influenza pandemic that stunted his growth, making him the smallest student in class. To compensate for his small stature, his family engaged a Black boxer to give him boxing lessons so he could always defend himself against any bullies he encountered at school. Before he started grade school in Red Cloud, one of his grandfathers - a Latin scholar - taught him how to read. His early connection with sculpture occurred when as a youngster he looked for clay in the sandpits near his home to mould figures, including a likeness of his older brother. Similarly, his adult interest in archaeology developed from their search for arrowheads brought to the surface after rainstorms on the family farm. As a teenager he read The Temple Warriors in Chichen Itza, Yucatan, by Earl and Ann Morris with illustrations by Jean Charlot. After World War II Charlot taught fresco painting and worked with Lawrence Barrett on several editions of lithographs at the Colorado Springs Fine Arts Center. In 1947 Wolfe served as Charlot’s chauffeur when he came up to lecture at the University of Colorado in Boulder (CU), and in appreciation received one of the artist’s etchings personally inscribed to him. Following graduation as valedictorian of his high school class, Wolfe enrolled in 1935 as an undergraduate on scholarship at the University of Nebraska at Lincoln, earning his B.A. degree in fine art in 1940. He studied art with Frederick Dwight Kirsch (himself a student of fellow Nebraska native Robert Henri at the Art Students League in New York) who served as Chairman of the Art Department and Director of the University Art Galleries – now the Sheldon Museum - until 1950 when he became director of the Des Moines Art Center. In Nebraska Wolfe painted representational scenes of local buildings such as grain elevators in a landscape setting and small-town street scenes with automobiles. It took Wolfe five years to earn his undergraduate degree because he worked while going to school. In his final year he worked to pay the taxes on the family farm to avoid foreclosure during the Great Depression. While at the University, he prepared fossils and did low relief sculptures of prehistoric animals for the Nebraska State Museum located in Morrill Hall on campus. He also participated in Pleistocene fossil digs in Nebraska and Texas. One of his first jobs after graduation was supervising fossil preparation in Lincoln by twenty-nine workers employed in a Depression-era project sponsored by the federal government. In 1939 he met his future wife Arlene at a sock hop at the University of Nebraska. His first impression of her was a "stunning blond across the room" with whom he shared an interest in the arts and travel. During World War II when she was living and working in Omaha, he proposed to her from New Guinea where he was stationed in the South Pacific. He said that he would take her to Florida if she married him. He later took her and their family on a number of trips to most of Europe, and to Morocco, Algeria, Turkey, China, Japan and Fiji. During the last year of the war he taught photo intelligence in Orlando, Florida, while stationed at the local Air Force base. Prior to the Japanese attack on Pearl Harbor and America’s entry into the war, he worked in the Engineer Corps doing color, texture and illusion. During the war he spent four years in the military, shipping out as a buck private and later advancing to the rank of captain. His classroom experience in Florida helped transition him at war’s end to the University of Nebraska where he taught art for two semesters to fellow intelligence officers studying there on the G.I. Bill. In the summer of 1946 he also was a visiting artist at the University of Alaska where he taught watercolor. In 1947 he relocated to CU in Boulder for his Master of Fine Arts degree on the G.I. Bill. As part of his application earning him a graduate fellowship, he included a photograph of his wife and himself in his captain’s uniform. He took painting and sculpture courses with Muriel Sibell Wolle...
Category

Late 20th Century Abstract Abstract Drawings and Watercolors

Materials

Watercolor, Archival Paper

Snowview of Baldwin (Kansas), 1980s Snow Landscape Oil Painting, Blue Gray White
Located in Denver, CO
Oil on canvas painting titled 'Snowview of Baldwin (Kansas)' painted in 1989 by Robert N. Sudlow (1920-2010) from 1989. Snowy landscape scene painted in shades of gray, brown, white,...
Category

1980s American Impressionist Landscape Paintings

Materials

Canvas, Oil

Expressionist 1940s Self Portrait Oil Painting in Blues, Greens, Gray, Interior
By Cornelis Ruhtenberg
Located in Denver, CO
Expressionist style self portrait of the artist, Cornelis Ruhtenberg (1923-2008), oil on board painted in 1949. Signed by the artist on verso. Interior scene of the artist painted in...
Category

1940s Expressionist Portrait Paintings

Materials

Oil, Board

The Hillside, Colorado, 1930s Landscape Oil Painting, Hillside Farm with Truck
By Hayes Lyon
Located in Denver, CO
WPA era oil on canvas landscape painting by Hayes Lyon (1901-1987) titled 'The Hillside' from 1938. American modernist portrayal of a hillside farm with a b...
Category

1930s American Modern Landscape Paintings

Materials

Canvas, Oil

Impressionist Mountain Landscape Painting with River, 1920s-1930s, Green & Brown
Located in Denver, CO
Oil on canvas painting by Ferdinand Kaufmann. Signed by the artist in the lower left corner. Mountain landscape painting, likely of Colorado or California in summer with a rushing...
Category

Early 20th Century American Modern Landscape Paintings

Materials

Canvas, Oil

1990s Brown, Gold, Green Abstract Oil Painting, Large Format Horizontal Painting
Located in Denver, CO
Original abstract oil painting signed by Wilma Fiori (1929-2019) painted in 1994. Signed and dated by the artist on verso. Large format horizontal abstract...
Category

1990s American Modern Abstract Paintings

Materials

Oil, Canvas

Morning Near Arizona, 1880s Summer Southwestern Desert Landscape Drawing
By George Elbert Burr
Located in Denver, CO
Morning Near Arizona, (Desert Landscape) is an original color pencil drawing from 1888 by George Elbert Burr (1859-1939). Portrays a spring/summer landscape with a tree and fauna, cl...
Category

1880s American Impressionist Landscape Drawings and Watercolors

Materials

Archival Paper, Color Pencil

1930s Graphite Drawing, American Modern City Scene of Houses on a Hill, Colorado
By Charles Ragland Bunnell
Located in Denver, CO
Graphite on paper drawing of houses on a hill by Charles Ragland Bunnell (1897-1968) circa 1935. Presented in a custom hardwood frame with all archi...
Category

1930s American Modern Landscape Drawings and Watercolors

Materials

Paper, Graphite

Rainbow River, 1970s Abstract Oil & Pastel Painting, Large Scale Vertical
By Margo Hoff
Located in Denver, CO
Abstract oil and pastel on canvas titled 'Rainbow River' painted in 1979 by artist Margo Hoff (1910-2008). Vertical large scale work with rainbow colored stripes across the canvas. W...
Category

1970s Abstract Abstract Paintings

Materials

Canvas, Oil Pastel, Oil

1950s Abstract Expressionist Oil Painting, Blue Brown Orange Sage Green
By Charles Ragland Bunnell
Located in Denver, CO
Abstract expressionist oil painting on board from 1955 by Charles Bunnell. Abstract shapes in layers of sage green, light blue, brown, gold, and black. Presented in a custom frame, o...
Category

1950s Abstract Expressionist Abstract Paintings

Materials

Board, Oil

Small Nude, 20th Century Brightly Colored Figurative Oil Painting, Folk Art
By Martin Saldana
Located in Denver, CO
Brightly colored semi-abstract oil painting titled 'Small Nude' signed by Martin Saldana (1874-1965). Presented in a custom frame measuring 28 ½ x 22 ½ inches; image size is 20 ½ x 17 3⁄4 inches. Portrays a single female form surrounded by birds and flowers. Painting is in good condition - please contact us for a detailed condition report. About the Artist: Born Mexico 1874 Died 1965 Born in 1874, Saldaña grew up at Rancho Neuvo in Mexico. In 1950, at the age of 76, he began attending children's art classes at the Denver Art Museum. For the next fitfteen years, Saldaña Imaginatively documented whimsical memories from his childhood in San Luis Potosi, Mexico, portraying ranch life, landscapes, and his great love of animals. The prolific artist painted every day, completing a new piece about every three days and amassing an impressive body of work for the former cook at the Denver landmark, the Brown Palace Hotel...
Category

Mid-20th Century Folk Art Figurative Paintings

Materials

Oil, Board

Breakwater II - American Modern Abstract Crayon Acrylic Painting, Red Pink Blue
By Margo Hoff
Located in Denver, CO
Abstract acrylic and crayon on canvas, in blue, red, pink and black painted and signed by Margo Hoff (1910-2008). Wrapped canvas is ready for hanging, dimensions measure 30 x 45 inch...
Category

Mid-20th Century Abstract Abstract Paintings

Materials

Canvas, Crayon, Acrylic

Early Spring, 1930s Impressionist Style Oil Painting, The Artists Studio
By John Edward Thompson
Located in Denver, CO
Oil on canvas painting, titled 'Early Spring' (Thompson's Studio) painted in 1933 and signed by John Edward Thompson (1882-1945). Impressionist style portrayal of the artists studio ...
Category

1930s American Modern Landscape Paintings

Materials

Canvas, Oil

Media Man, 1970s Abstract Acrylic and Canvas Collage by Margo Hoff, Red Purple
By Margo Hoff
Located in Denver, CO
Abstract acrylic and fabric collage on canvas in purple, red, green, brown and black, signed by Margo Hoff (1910-2008) painted 1974. Unframed, wrapped canvas measuring 54 x 60 x 3⁄4 ...
Category

1970s Abstract Expressionist Abstract Paintings

Materials

Fabric, Canvas, Mixed Media, Acrylic

1980s American Modern Pastel on Paper Depicting the Garden of the Gods
By Sushe Felix
Located in Denver, CO
Pastel on paper drawing by Sushe Felix (20th Century) portraying an American Modernist view of Garden of the Gods Park in Colorado Springs. Presented in a custom frame with all archi...
Category

1980s American Modern Landscape Drawings and Watercolors

Materials

Paper, Pastel

Homage to Diebenkorn, Abstract Large Format Painting, Yellow Green Red Blue
Located in Denver, CO
Abstract yellow, green, blue and red oil on canvas painting titled 'Homage to Diebenkorn' signed by Wilma Fiori (1929-2019). Wrapped canvas with finished e...
Category

Mid-20th Century Abstract Abstract Paintings

Materials

Canvas, Oil

The Carved Door, Semi-Abstract Tempera Landscape Painting with Flora and Fauna
By Archie Musick
Located in Denver, CO
Tempera on board painting titled 'The Carved Door' by Archie Musick, signed by the artist in the lower right corner. Depicts a semi-abstract landscape with flora and fauna. Presented...
Category

Mid-20th Century American Modern Landscape Paintings

Materials

Board, Tempera

Sybil (The Prophetess), 1970s Abstract Figurative Oil Painting, Pink Blue Red
By Edward Marecak
Located in Denver, CO
Semi-Abstract figurative oil on burlap painting titled 'Sybil (The Prophetess)' by Edward Marecak (1919-1993) painted in 1976. Signed and dated by the artist in the lower right corne...
Category

1970s American Modern Figurative Paintings

Materials

Burlap, Oil

Gold Mining, Homestake Mine, South Dakota, 1940s Abstract Landscape Watercolor
Located in Denver, CO
Gouache and watercolor on paper painting, painted in 1948 by Mary Chenoweth (1918-1999). Signed and dated by the artist in the lower right corner. Depicting an abstracted landscape o...
Category

1940s Abstract Abstract Drawings and Watercolors

Materials

Watercolor, Gouache, Archival Paper

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