American Paintings

Native American girl oil painting, girl is seated wearing red dress with a white overcoat and head scarf. Blue and purple highlights in background. Fram...

An original, gorgeous, watercolor Portrait of a girl by Listed Artist Myra Sides Copus, harmonious, beautiful, colors mixed with reds, yellows and pastels, creating an emotional dram...

This is a master work by the artist Harris G. Strong, circa 1960. The pieces measures 43" x 73". In the original wooden frame.

Oil on Canvas, A hand painted large oil on canvas Depicting a still life, framed signed lower right, Ellen Bayley. Condition: Excellent Measurement: in frame 37 W x 37 H Abo...

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

Mixed-media work by artist Purvis Young. Acrylic on paper, plastic and white metal sign insert cover. Folk Art painted in black, white, pink, yellow, red and green. Work on found obj...

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...

Americana Amish "farmhouse" oil painting by Harvey Milligan, circa 1950s. Charming character scale and composition (figures are very small). Although n...

These Interactive art pieces are part of a series of 6 pieces, each one being one of a kind. Much like the card collecting of our youth, the compositio...

This original framed pastel, hand-painted Indian chief is signed E. Summer 35 and is in wonderful condition.

Signed oil painting of boots & glasses oil on canvas. Unframed and in pristine condition. Signed by Mary Juno.

Series of 5 abstract expressionist painting each on a Masonite board. These paintings were purchased from an estate in Westchester NY, they date from the 1960s or 1970s they are well...

A Wesley Lea oil on canvas painting, Dated 1957, this vibrant painting has many colors, blended in among abstract lines. This piece would look great in any ro...

Native American Hunter with his Mustang oil painting on cannvas. Original Contemporary oil painting canvas stretched on wood.. Signed on the right corner. ( illisible).

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

Vintage pastel drawing " Seas " Drawn by Janet Biggs Signed Janet Elenor Biggs Janet Biggs,( b. 1959) a 2018 John Simon Guggenheim Foundation fell...

This fine Folk Art painting of a girl holding wheat in a field painted on board. It is unsigned and on board newly framed. The condition is very good.

Oil on canvas painting by artist Peter Colby. Large oversize canvas featuring two lions resting upon a patch of green grass. The background of this piece i...

Magnificent art work, acrylic on wooden wheel, painted by outsider artist extraordinaire Robert Loughlin in 2005. In very good condition, comes on a metal standard. Signed to verso ‘RL’. A certificate of originality is available on request. In life, Mr. Loughlin was a furniture picker who sold Paul Evans tables to New York’s swankiest midcentury furniture shops. In death, he has gained a measure of immortality for his Dadaesque series of paintings, “The Brute,” which depicts a kind of Cro-Magnon James Dean with a cigarette dangling from his mouth. He is the misanthropic muse whose sole pleasures in life, aside from nicotine consumption, are plaid shirts, sex and a stiff drink. Ostensibly, the Brute was inspired by Gary Carlson, a strapping Vietnam War veteran. In September 2011, while in the middle of a bender, Mr. Loughlin, 62, was hit by a car as he crossed the highway near the Airstream trailer...

Presented is an original oil painting on Masonite (panel) titled Northrop P61-B Black Widows. The artist, Jack Fellows, signed the painting along the bott...

Circa 1970 oil on panel depicting a traveling pack of animals by acclaimed outsider artist, Bruno Del Favero (b. Italy 1910, d. USA 1995). Fine example sho...

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...

Oil painting on canvas classical ballet dancers. Russian style classical ballet oil painting. 3 couples of ballerinas and ballet male dancers wearin...

The Moon Goddess oil painting on canvas. Great colors with a lady under the moon with a cat and owl around her. Very fine contemporary painting, stretch...

Earl Daniels (1920-1999), California painter of landscapes, seascapes, coastal scenes, still- lives and abstracts, was born in New York City where he worked both as a commercial arti...

Limited edition Fecit Etching, numbered 36/200. Artwork is framed, and depicts a village in neutral tones. Art dimensions (Without frame): 20" W x 31" H.

This painting is dated on the stretcher frame 1940 and the large over sized dog is a pointer or know as a bird dog. The birds are quail. This painting is amazing and very well done. ...

Paintings depicting portraits of a lady wearing a traditional sari style attire and head cover. Looks like and Asian traditional attire, bright colors, probably Afghani or Persian or Indian lady...

Superb Ammi Phillips American Folk Art Portrait painting, circa 1840 We are proud of our acquisition of this authentic masterpiece by Ammi Phillips (1788-1865). The finely rendered portrait depicts an attractive young girl in a delightful lifelike quality. The pretty face is a refreshing change from the stern expressions of most of the paintings showing mature female or male sitters. Phillips palette is dark with a strikingly dramatic use of light to her face. The painting, on its original stretchers, is in untouched condition. The frame is period. This painting is unsigned, as are most of his works, but bares the unmistakable characteristics of a Phillips painting. Portrait of a young girl holding a book and wearing a golden whistle. From the New England estate of the renowned Folk Art Collector and scholar, John Bauer...

Portrait of the Whaleship Charles W. Morgan, by James Cree (1867 – 1951), artist active in the New Bedford area from 1910 to about 1932, a watercolor of the iconic American whaleship under sail. The MORGAN is the most famous Yankee whale ship, and the only surviving 19th Century whaleship from the age of sail...

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 ...

Signed and dated by Datroll 1929 pastel water color on paper and in vintage original frame. The condition is very good.

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...

Unique original signed Folk Art painting by Robyn “The Beaver” Beverland. Signed and dated 1992. Measures: 22" x 12". Artist bio: Robyn “The Beaver” Beverland found great joy in many things but what he most loved was painting. Robyn painted his Folk Art pictures...

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 cre...

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...

Presented is a framed oil-on-canvas painting entitled George Washington at Dorchester Heights by an unnamed artist. The painting dates to the mid-to-late 19th century and was modeled after the original 1806 painting by Gilbert Stuart. Gilbert Stuart (1755-1828) is best known for the hundreds of portraits he completed of American politicians and social figures during his lifetime. Stuart hoped to one day paint the first president of the United States, purportedly declaring to a friend: “I expect to make a fortune by Washington.” Stuart took on many government and private commissions during his life; his reputation and skill resulted in George Washington agreeing to sit for Stuart on three separate occasions. George Washington at Dorchester Heights was painted by Stuart in 1806. Washington stands beside his horse with a distant view of the city of Boston...

Modern Abstract Art Oil on Canvas/ Board Painting of Still Life Vegetable. The art is signed as S Justin- difficult to read. Dimensions: 12"w x 16" Original Aged Condition. Refer ...

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

Original untitled hard edge abstract painting by Billy Criswell, circa 2004. Executed in paint and pencil on a wood framed canvas with artists signature on back. Purchased directly f...

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 backdrop...

Nantucket Harbor Scene, by Inna Garsoian (1896–1984), circa 1946, oil on canvas view of wharves and waterfront from vantage of old Steamship office, signed lower right, and signed and dated on the reverse, mounted in original hand carved wooden frame. Garsoian was a former costume designer in Paris for the Ballet Russe, and summered on Nantucket from 1935-1945. Her work is noted for muted colors, stark light and shadows; she exhibited at the Easy Street Gallery. From the Nantucket Historical Association's digital exhibition "Nantucket Art...

This Signed Victoria 1986 watercolor is in fine condition and great frame original to the piece of art.

Oil and acrylic on panel by acclaimed outsider artist, Bruno Del Favero (b. Italy 1910, d. USA 1995), circa 1970. Fine example showcasing Del Favero's skill at layering textures along with an aptitude for creating fantastical landscapes. Adding out of place animals (in this case, a lion and a tiger) to an otherwise believable countryside setting for a deer hunt, creates an imaginary context removed from reality. Del Favero's marriage of fantasy and whimsy beautifully suits his Naïve painting style. Signed 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...

Mid Century painting of man at hot dog stand. Thought to be near central park NYC in the 50's. Oil on canvas board. Signed in lower right corner STERN '5...

Pair of baseball and basketball paintings found in a Midwestern American Legion hall. These were proudly displayed behind the legion hall bar. Grea...

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

This large oil painting is like a mural. It is large and very graphic. It is Signed by Linda and dated 1979. It has to minor old tiny repairs. It has a nice clear coat of artist v...

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...

A great image by the collaborative group Artfux founded in 1990. This work was most likely influenced by one of the founders Ray Arcadio. From his website the following; To artist R...

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...

Two painted ironing boards by the noted Woodstock NY artist Michael Heinrich. One of the boards is monogrammed MH. These are acrylic on much older wood ironing boards. These are wond...

This is the largest of the Toulouse Lautrec portraits by famed artist Peter Max in peach pink. Professionally framed, signed and numbered.

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...

Whimsical painting of children at play in the park. Oil on canvas board. Signed in lower right corner STERN '60. Framed in rustic Mid Century painting. Last two photos show this piece next to another painting by the same artist. Please see the Hot Dog Stand...

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

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...

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...