American Paintings

Beautiful continuous line drawing by Jean Negulesco - Oscar award winning Hollywood director. Multiple Colors available. Newly framed in oak

This charming 19th-century American School folk art painting, titled "Baby," captures the innocence and vitality of a young horse with delightful naivety and artistic flair. Executed...

Large expressionist landscape painting in enamel on board depicting grasses or flowers against a seaside sunset, circa 1980s-1990s. Well matched with a wide, white, wooden frame. Mea...

Oil on canvas, inscribed on the stretcher bar reverse. The painting is presented in a flat black frame that complements it well. Horace Bundy was an it...

A tall portrait painting of a woman with a flower in her hair. This piece was painted by the late Oklahoma artist Clair Seglem and is well known for his ...

Unsigned Maritime oil painting. Very good quality, by the hand of a professional painter. The painting is soiled from 100 years of exposure. The frame has some losses (chips) to the ...

Beautiful continuous line drawings by Jean Negulesco - Oscar award winning Hollywood director. Multiple Colors available with original stamp Newly framed in maple.

Modernist Abstract Oil Painting on Canvas,,, Not dated but my guess c.1940's-early 1950's , "musical themed ,, signed MICHAEL... Amazing use of colors,, space,, extremely well exec...

A late 18th/early 19th century gouache on paper landscape, an unusual composition with passing ships two large naval, small rowing and sail boats centred by a large country estate. It has the feel of being American in origins, but we could be wrong. Some creasing lines are apparent, but apart fro that is good untouched condition, housed in a period maple and gilt slip frame and glazed. Provence By descent from Douglas Shepherd (1922-1989), a designer and architect working on public houses for the brewery firm Ind Coope. He was heavily influenced by and was a serious collector of Arts and Crafts and Art Nouveau, including leading designers and artists such as Charles Ashlee and Jessie M King...

Interesting fanciful folk art village painting. American, 19th century. Original frame. H 18" W 24" Frame H 21-3/4" W 28". Inspected under UV light...

Lovely full length portrait of a young girl in this folk art painting; oil on canvas mounted on board. She is posing wearing an attractive and colorful red dress while holding a flor...

Mel Smilow, 1988, an assemblage of cut foam blocks in an array of modern abstract image of shapes, covered in a white acrylic. Trimmed in a thin contrasting pine. Signed. Mel Smilow, the famed mid century furniture designer...

Beautifully executed pastel of a Sponge Diver in amazing colors. Signed lower right corner Americo Di Franza is the artist. In excellent condition.

Beautiful original landscape scene by acclaimed artist Seth Winegar. This piece titled “Marshland Farmington” from 1999 showcases the light in nature from...

Large-scale Folk Art Carnival game board, American, circa 1940s. This painted carnival game board came from Texas and combines wonderfully patinate...

Beautiful continuous line drawings by Jean Negulesco - Oscar award winning Hollywood director. Multiple Colors available. Newly framed in oak

Signed Velpha 1920/30's era oil on linen depicting a Lilly in a vase with abstract backdrop in multi colors with geometric design attributed to the deco era. Lovely still life found ...

Artforms: An Introduction to the Visual Arts Duane and Sarah Preble Softcover Book. 5th Edition 1994. Publisher: Harpercollins College Div, 1994. For Art Appreciation, Art for Non...

Beautiful continuous line drawings by Jean Negulesco - Oscar award winning Hollywood director. Newly framed in maple with original stamp

Pair of M.E. Fager Reverse Mirror Paintings – Signed, 1950s American Design A rare and captivating pair of reverse mirror paintings by renowne...

Still life painting (Violin, Flowers), Oil on canvas, by Agnes Weinrich, Signed and dated "22", Unframed: 20" x 16", Framed 27.5 x 23". Agnes Weinrich (1873-1946) was an early female, American modernist artist at a time when there was little interest in Modern Art in the USA and when few women were artists. She was a ground breaker in modern art. The painting shown is an important example of her mature phase of her work. A biography from Wiki-pedia follows: Agnes Weinrich (1873–1946) was one of the first American artists to make works of art that were modernist, abstract, and influenced by the Cubist style. She was also an energetic and effective proponent of modernist art in America, joining with like-minded others to promote experimentation as an alternative to the generally conservative art of their time. Early years[edit] Agnes Weinrich was born in 1873 on a prosperous farm in south east Iowa. Both her father and mother were German immigrants and German was the language spoken at home. Following her mother's death in 1879 she was raised by her father, Christian Weinrich. In 1894, at the age of 59, he retired from farming and moved his household, including his three youngest children—Christian Jr. (24), Agnes (21), and Lena (17), to nearby Burlington, Iowa, where Agnes attended the Burlington Collegiate Institute from which she graduated in 1897.[1][2][3] Christian took Agnes and Lena with him on a trip to Germany in 1899 to reestablish links with their German relatives. When he returned home later that year, he left the two women in Berlin with some of these relatives, and when, soon after his return, he died, they inherited sufficient wealth to live independently for the rest of their lives. Either before or during their trip to Germany Lena had decided to become a musician and while in Berlin studied piano at the Stern Conservatory. On her part, Agnes had determined to be an artist and began studies toward that end at the same time.[1][4] In 1904 the two returned from Berlin and settled for two years in Springfield, Illinois, where Lena taught piano in public schools and Agnes painted in a rented studio. At this time Lena changed her name to Helen. In 1905 they moved to Chicago where Agnes studied at the School of the Art Institute of Chicago under John Vanderpoel, Nellie Walker, and others.[1] In 1909 Agnes and Helen returned to Berlin and traveled from there to Munich, where Agnes studied briefly under Julius Exter, and on to Rome, Florence, and Venice before returning to Chicago.[5] They traveled to Europe for the third, and last, time in 1913, spending a year in Paris. There, they made friends with American artists and musicians who had gathered there around the local art scene. Throughout this period, the work Agnes produced was skillful but unoriginal—drawings, etching, and paintings in the dominant academic and impressionist styles.[1] On her return from Europe in 1914, she continued to study art, during the warm months of the year in Provincetown, Massachusetts,[1] where she was a member of the Provincetown Printers art colony in Massachusetts,[6] and during the colder ones in New York City. In Provincetown she attended classes at Charles Hawthorne's Cape Cod School of Art and in New York, the Art Students League.[1] Drawing of an old woman by Agnes Weinrich, graphite on paper, 11.5 x 7.5 inches. Hawthorne and other artists established the Provincetown Art Association in 1914 and held the first of many juried exhibitions the following year. Weinrich contributed nine pictures to this show, all of them representational and somewhat conservative in style.[1] A pencil sketch made about 1915 shows a figure, probably one of the Portuguese women of Provincetown. Weinrich was a metculous draftsperson and this drawing is typical of the work she did in the academic style between 1914 and 1920. She also produced works more akin to the Impressionist favored by Hawthorne and many of his students. When in 1917 Weinrich showed paintings in a New York women's club, the MacDowell Club, the art critic for the Brooklyn Daily Eagle said they showed a "strong note of impressionism."[7] Broken Fence by Agnes Weinrich, a white-line woodblock made on or before 1917; at left: the woodblock itself; at right: a print pulled from the woodblook. In 1916 Weinrich joined a group of printmakers which had begun using the white-line technique pioneered by Provincetown artist B.J.O. Nordfelt. She and the others in the group, including Blanche Lazzell, Ethel Mars and Edna Boies Hopkins, worked together, exchanging ideas and solving problems.[1][8] A year later Weinrich showed one of her first white-line prints at an exhibition held by the Pennsylvania Academy of Fine Arts in Philadelphia.[9] Broken Fence, in its two states—the print and the woodblock from which she made it—show Weinrich to be moving away from realistic presentation, towards a style, which, while neither abstract, nor Cubist, brings the viewer's attention to the flat surface plane of the work with its juxtaposed shapes and blocks of contrasting colors. Cows Grazing in the Dunes near Provincetown by Agnes Weinrich, white-line woodcut, 10 x 10 1/2 inches When in 1920 the informal white-line printmakers' group organized its own exhibition, Weinrich showed a dozen works, including one called Cows Grazing in the Dunes near Provincetown. This print shows greater tendency to abstraction than eitherBroken Fence or the prints made by other Provincetown artists of the time. The cows and dunes are recognizable but not presented realistically. The white lines serve to emphasize the blocks of muted colors which are the print's main pictorial elements. Weinrich uses the texture of the wood surface to call attention to the two-dimensional plane—the paper on which she made the print—in contrast with the implicit depth of foreground and background of cows, dunes, and sky. While the work is not Cubist, it has a proto-Cubist feel in a way that is similar to some of the more abstract paintings of Paul Cézanne.[10] By 1919 or 1920, while still spending winters in Manhattan and summers on Cape Cod, the sisters came to consider Provincetown their formal place of residence.[1][11][12][13] By that time they had also met the painter, Karl Knaths. Like themselves a Midwesterner of German origin who had grown up in a household where German was spoken, he settled in Provincetown in 1919. Agnes and Knaths shared artistic leanings and mutually influenced each other's increasing use of abstraction in their work.[1][14] The sisters and Knaths became close companions. In 1922 Knaths married Helen and moved into the house which the sisters had rented. He was then 31, Helen 46, and Agnes 49 years old. When, two years later, the three decided to become year-round residents of Provincetown, Agnes and Helen used a part of their inheritance to buy land and materials for constructing a house and outbuildings for the three of them to share. Knaths himself acquired disused structures nearby as sources of lumber and, having once been employed as a set building for a theater company, he was able to build their new home.[15] Weinrich was somewhat in advance of Knaths in adopting a modernist style. She had seen avant-garde art while in Paris and met American artists who had begun to appreciate it. On her return to the United States she continued to discuss new theories and techniques with artists in New York and Provincetown, some of whom she had met in Paris. This loosely-knit group influenced one another as their individual styles evolved. In addition to Blance Lazzell, already mentioned, the group included Maude Squires, William Zorach, Oliver Chaffee, and Ambrose Webster. Some of them, including Lazzell and Flora Schofield had studied with influential modernists in Paris and most had read and discussed the influential Cubist and Futurist writings of Albert Gleizes and Gino Severini.[16][17] Mature style[edit] Woman with Flowers by Agnes Weinrich, circa 1920, oil on canvas, 34 x 30 1/4 inches, exhibited at the Provincetown Art Association exhibition of 1920, made available courtesy of the Association. Two of Weinrich's paintings, both produced about 1920, mark the emergence of her mature style. The first, Woman With Flowers, is similar to one by the French artist, Jean Metzinger called Le goûter (Tea Time) (1911).[18] Red Houses by Agnes Weinrich, circa 1921, oil on canvas on board, 24.25 x 25.5 inches; exhibited "Red Houses" at Fifth Annual Exhibition of the Society of Independent Artists. Like much of Metzinger's work, Le goûter was discussed in books and journals of the time—including one called Cubism co-authored by Metzinger himself.[19] Because the group with which Weinrich associated read about and discussed avant-garde art in general and Cubism in particular, it is reasonably likely that Weinrich was familiar with Metzinger's work before she began her own. The second painting, Red Houses, bears general similarity to landscapes by Cézanne and Braque. Both paintings are Cubist in style. However, with them Weinrich did not announce an abrupt conversion to Cubism, but rather marked a turning toward greater experimentation. In her later work she would not adopt a single style or stylistic tendency, but would produce both representative pictures and ones that were entirely abstract, always showing a strong sense of the two-dimensional plane of the picture's surface. After she made these two paintings neither her subject matter nor the media she used would dramatically change. She continued to employ subjects available to her in her Provincetown studio and the surrounding area to produce still lifes, village and pastoral scenes, portraits, and abstractions in oil on canvas and board; watercolor, pastel, crayon and graphite on paper; and woodblock prints.[20] Possessing an outgoing and engaging personality and an active, vigorous approach to life, Weinrich promoted her own work while also helping Karl Knaths to develop relationships with potential patrons, gallery owners, and people responsible for organizing exhibitions. With him, she put herself in the forefront of an informal movement toward experimentation in American art. Since, because of her independent means, she was not constrained to make her living by selling art, she was free to use exhibitions and her many contacts with artists and collectors to advance appreciation and understanding of works which did not conform to the still-conservative norm of the 1920s and 1930s.[1][21][22] Early in the 1920s, critics began to take notice of her work, recognizing her departure from the realism then prevailing in galleries and exhibitions. Paintings that she showed in 1922 drew the somewhat dry characterization of "individualistic.",[23] and in 1923 her work drew praise from a critic as "abstract, but at the same time not without emotion."[24] In 1925 Weinrich became a founding member of the New York Society of Women Artists. Other Provincetown members included Blanche Lazzell, Ellen Ravenscroft, Lucy L'Engle, and Marguerite Zorach. The membership was limited to 30 painters and sculptors all of whom could participate in the group's exhibitions, each getting the same space.[23][25][26] The group provided a platform for their members to distinguish themselves from the genteel and traditionalist art that women artists were at that time expected to show[27] and, by the account of a few critics, it appears their exhibitions achieved this goal.[1][28][29][30] In 1926 Weinrich joined with Knaths and other local artists in a rebellion against the "traditional" group that had dominated the Provincetown Art Association. For the next decade, 1927 through 1937, the association would mount two separate annual exhibitions, the one conservative in orientation and the other experimental, or, as it was said, radical.[31][32] Both Weinrich and Knaths participated on the jury that selected works for the first modernist exhibition.[11] Still Life by Agnes Weinrich, circa 1926, oil on canvas, 17 x 22 inches. Permission to use granted by Christine M. McCarthy, Executive Director, Provincetown Art Association and Museum. The painting was the gift of Warren Cresswell. Weinrich's painting, Still Life, made about 1926, may have been shown in the 1927 show. Representative of some aspects of her mature style, it is modernist but does not show Cubist influence. The objects pictured are entirely recognizable, but treated abstractly. Although fore- and background are distinguishable, the objects, as colored forms, make an interesting and visually satisfying surface design. In 1930 Weinrich put together a group show for modernists at the GRD Gallery in New York. The occasion was the first time a group of Provincetown artists exhibited together in New York. For it she selected works by Knaths, Charles Demuth, Oliver Chaffee, Margarite and William Zorach, Jack Tworkov, Janice Biala, Niles Spencer, E. Ambrose Webster, and others.[1][23] Later years[edit] Weinrich turned 60 on July 16, 1933. Although she had led a full and productive life devoted to development of her own art and to the advancement of modernism in art, she did not cease to work toward both objectives. She continued to work in oil on canvas and board, pastel and crayon on paper, and woodblock printing. Her output continued to vary in subject matter and treatment. For example, Still Life with Leaves, circa 1930 (oil on canvas, 18 x 24 inches) contains panels of contrasting colors with outlining similar to Knaths's style. Movement in C Minor, circa 1932 (oil on board, 9 x 12 inches) is entirely abstract. It too relates to Knaths's work, both in treatment (again, outlined panels of contrasting colors) and in its apparent relationship to music, something in which Knaths was also interested. Fish Shacks...

American 19th century still life painting of a compote of fruit on a table arranged with more fruit in a custom 20th century painted frame.

Oil on panel depicting a man in a horse-drawn carriage by acclaimed outsider artist, Bruno Del Favero (b. Italy 1910, d. USA 1995), circa 1970. Fine example showcasing Del Favero's ...

My uncle Bob was a country lawyer in rural Alabama and Moses Tolliver was one of his friends and clients. The pair of original paintings you see here were given to my uncle by Mr. Tolliver in exchange for legal services in the 1980s. Both the human figure and the snake were painted on scrap wood paneling and each has an aluminum beer pull-tab on the back for hanging. The works have been framed so the pull tab is not visible; if you prefer, simply remove the frames and both pieces will be as created. The snake painting...

Santa Fe Art. Ellis, Simone. Published by Crescent Books., New York., 1993. Large hardcover book. Illustrated in black, white and color. Important refer...

Late 19th Century Wood Framed Folk Art Painting Depicting Hound Dogs by River. The two dogs are hunting water fowl. Wood framing is modern. United States, 1...

Signed B. Donahue and dated 1969 Patriotic Flag painting. On the left side a cemetery honoring fallen heroes in war. To the Right of the flag is a seemi...

Portrait of a woman with dark hair on paper. Drawn using pastel chalk, the subject of this piece is a woman with a bouffant with short dark brown hair gazing at the artist. She wears a high neck purple top...

A vintage Boho original oil painting on board. A chic composition of a male nude in beautiful shades of green. Framed in a brilliant gilt wood frame. Acquired from a Palm Beach estate.

Mural by Rufus Porter from Prescott Tavern in East Jaffrey, New Hampshire, circa 1824. This panel was removed from the tavern prior to its being torn down in 1950. This mural hung in...

Bold geometric abstract board found in Texas. We have a collection of these boards from an anonymous artist. Painted on recycled cupboard doors, table tops, stool tops and bread boar...

Modern abstract expressionism acrylic on canvas painting unsigned but possibly executed by Judith Godwin, period painting, amazing use of color, space an...

Looking forward, looking back Fritz proctor is an American painter from Niagara Falls, New York. Fritz acquired his BA in Studio Art from the Universi...

"A wine party gathering With Sweet Memories" Vibrant Colored Print An unusual colored print by self taught outsider surrealist folk artist Gloria Antoinette Laposka (1922-2015) S...

Americana Folk Outsider Art oil on canvas by African American Artist, John Jones, circa 1990s-early 2000s, USA. Signed painting depicts man pointing out his Auntie’s behind. Excelle...

Original MCM Pen and ink architectural study for a Palm Springs Residence (unbuilt). Framed and signed; J.H.Hahn, Reminiscent of the famed Dinah Shore hous...

Original painting by Randy Lee White Native American Indian ledger style in acrylic on canvas with assemblage including feather and wood. Wrapped canva...

Polly King (1901-1993) American Born: U.S. Polly King was a painter and sketcher with a special love of travel and water. Born in West Virginia, King mo...

Oversized original oil on canvas of a silo with weathervane. Signed upper left, Richard Treaster. Framed in a distressed lightly stained wood frame wi...

Vintage Hand colored lithograph by artist Swankar Hanumann of a kachina (Katsina) Doll standing on a pedestal holding a rattle and bow. Presen...

Oil on panel by acclaimed outsider artist, Bruno Del Favero (b. Italy 1910, d. USA 1995), circa 1970. Fine example showcasing Del Favero's aptitude for creating fantastical landscapes. Contrasting oxen / bulls and flamingos with a castle backdrop creates an imaginary context removed from reality. Del Favero's marriage of fantasy and whimsy beautifully suits his Naïve painting style. Singed on verso. Bio from the Philadelphia Museum of Art: Born Princeton, Michigan, 1910; died Greenwich, Connecticut, 1995 Bruno Del Favero moved from Michigan to northern Italy with his parents at age five, returning in 1928 and settling in Greenwich, Connecticut, where he married and remained for the rest of his days. He made his living as a mason, chauffeur, and landscape gardener. It is not known exactly when or why he began to paint his delicate and mysterious landscapes, but he was exhibiting in local art shows by the early 1970s and took himself seriously enough as an artist to join the Greenwich Art Society. He maintained a studio in the basement of his home, but never shared his art with his wife and five children. After the artist's death his family introduced his work to New York dealers Shari Cavin...

This oil painting is signed in the lower left hand illegible signature. Very well done in great condition and retains the original frame.  

This exquisite hand-painted stone by the renowned artist Ilya Schor, created in Provincetown, Massachusetts, during the 1950s, beautifully captures the regal and spiritual essence of...

19th century reverse painted on glass portrait of George and Martha Washington by William Matthew Prior (1806 - 1873), one of New England'...

Mel Smilow, 1988, an assemblage of cut foam blocks in an array of modern abstract image of shapes assembled in a grid pattern, covered in a white acrylic. Trimmed in a thin contrasting pine. Signed. Mel Smilow, the famed mid century furniture designer...

Through personal communications with Emily Esser and recently published scholarship by her, (December 2, 2024) "The Chapbook Children (Jonas Welch Holman, Lyman Parks, and Dean Robe...

Add a bold artistic touch to your space with this Vintage Boho Original Pencil Sketch of Skull. This one-of-a-kind drawing captures intricate details with fine pencil strokes, blendi...

From an important thirty year old New England collection of American Folk Art Pyrography Arthur Grinnell Fire Screen (1854-1924) This original circa 1910 fire screen- framed pyrogr...

This fine 19thc folk art still life painting is painted on board and has been re-framed.The detail work is amazing.The condition is pristine.It is signed by the artist in the lower r...

Signed R.Porter watercolor of a bear in the woods in California.This California artist was found in Ojai,California in a antique collection.It has been newly framed and matted.Its re...

Large impressive Folk Art acrylic painting of a haunting, moonlit, church procession is signed by the Danish born artist and dated 1963. There is one small tear in the canvas as shown. Frame is aluminum and wood. This artist's work also includes our listed Folk Art Angel...

Martha Visser't Hooft (1906-1994) Martha Hamlin Visser't Hooft was an artist and teacher whose family was deeply involved in the arts and sciences. Her father, Chauncey Jerome Hamlin, was one of Buffalo’s most influential civic leaders and planners, and an attorney known for his activism in museums. Her mother, Emily Gray Hamlin, was a social activist with interests that extended to the arts and philosophy. Martha Visser’t Hooft studied art in Paris in the 1920s at the Académie Julian, and explored exciting new European developments, such as cubism and surrealism, Russian ballet, and modern music. In 1926 she moved to New York to study briefly at the Parsons School of Design before transferring to the John Murray Anderson School of Theater Design. She took several trips to Taos, New Mexico, meeting several prominent artists of the area, including Buffalo-born patron Mabel Dodge Luhan...

Whimsical outsider, Folk Art oil painting by William R. Straly, excellent use of color. Texture and space.

Stunning little american folkhart water color of a young gentleman. Sitting with his arm over the back of what appears to be a tiger maple chair of the period. In the lower right corner we can see what is a tiger maple table...

Bold geometric abstract board found in Texas. We have a collection of these boards from an anonymous artist. Painted on recycled cupboard doors, table tops, stool tops and bread boards. Very dynamic when hung in collections. This door appears to have been painted on an old cupboard...

This amazing etching of a covered bridge in Cream Ridge, New Jersey. It is in upper Freehold Township in Monmouth County, New Jersey. This is a big farmland area. This is signed by t...

Abstract mixed-media work by artist Purvis Young. Folk Art portraying bleeding and pregnant figures in a crowd, policemen on horseback and large blue eyes. Young used eyes as symbols...

Gouache painting showing snowing the English built Cargo Steamer S.S. Thornaby. The ship was built by Ropner Shipbuilding at Stockton on tees in 1889. She hit a mine and sank in 1916...