North American Paintings

About An original 19th century Mexican folk retablo "Veronica's Veil" or "El Divono Rostro" in Spain . Oil paint on tin. The Veil of Veronica, known in Italian as the Volto Santo or Holy Face, is a Roman Catholic Relic which, according to legend, bears the likeness of the Face of Jesus that was imprinted on it prior to Jesus' crucifixion. According to Roman Catholicism, Saint Veronica encountered Jesus in Jeruselum on the way to Calvary. When she paused to wipe the sweat (Latin, suda) off his face with her veil, his image was left on the veil. In the small village of Osa de la Vega in Spain, there lived a couple who led a very pious life. They were Gregorio de la Torre and Isabel Corral. From their father, Juan Montilla, they inherited a picture of the Face of Jesus or the Divino Rostro. A story that is told one day, to the amazement of many who confirmed its veracity, the picture began to perspire with living blood. News of this extraordinary event spread swiftly and widely throughout the land. CREATOR Unknown. DATE OF MANUFACTURE c.1880. MATERIALS AND TECHNIQUES Oil Paint on Tin. CONDITION Good. Wear consistent with age and use. DIMENSIONS H 14 in. W 10 in. HISTORY Retablos, better known as 'laminas' in Mexico, are small oil paintings on tin, wood and sometimes copper which were used in home altars to venerate the almost infinite number of Catholic saints. The literal translation for 'retablo' is 'behind the altar.' This unique genre of art, deeply rooted in European history, was brought to Mexico with the arrival of the Spanish and then ultimately adopted by New World mestizo natives to become what is known today as the Mexican folk retablo. The retablo was an art form that flourished in post conquest Mexico and then ultimately, with the introduction of inexpensive mediums such as tin, reached its pinnacle of popularity in the last quarter of the 19th century. With some exceptions, mostly untrained artists from the provinces worked to produce and reproduce these sacred images; some subjects painted more prolifically than others. A typical "retablero" may have reproduced the same image hundreds, if not thousands of times in his or her career. These oil paintings were sold to devout believers who displayed them in home altars to honor their patron saints. There are virtually hundreds of saints, each invoked to remedy a different situation. "San Ysidro Labrador," the patron saint of farmers, is venerated for good weather...

The five pen-and-ink drawings by Lauzon represent various aspects of a summer concert of the Boston Symphony Orchestra at Tanglewood, Lenox, MA: the co...

19th century silk embroidered and hand painted oil on canvas seascape by Thomas Willis (1850 - 1925), depicting a schooner-rigged racing yacht closely ha...

This fine oil painting on art board is signed by Van Ness and dated 1914.The painting is also in a wood frame. This is a listed artist.

This folky & fun dog painting on board has a fold in stand on the reverse side. It is also signed by the artist D.Buttler & dated 1989. Fantastic folky large dog sign.

This is a unique Water color by the famed nautical painter C. Hjalmar Amundson. Born to the name Casper Hjalmar Emerson III, later changed to C. Hjalmar Amundson, he was only ever r...

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...

Mother and Colt Horse painting. Signed and dated 1971.

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 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...

A large modernist abstract by Hampton Roads artist Robert Vick, circa 1970s. Titled “Tuscan (ineligible)”., featuring a collage and acrylic paint on canvas. A modern landscape with cool blues and grays accented by warm golds, terracotta and peach colors. The collage providing a raised affect, with great depth. Signed. Condition: Some flaking and loss of collage. White paint splatter in some areas. Signed. Dimensions: 69 3/4” W x 56.5” tall x 1.5”D Shipping: This item will ship by personal courier. Please allow 4-6 weeks for delivery depending on your distance from the east coast and our shipper’s routes. Robert V. Vick ( 1935 - 2010) was a native of Portsmouth , Virginia and received a B.F.A. from Old Dominion University. He studied art under the prominent Virginia artist Charles Sibley...

Presenting a unique set of early 20c hand painted medium sized ceiling or wall panels by Nena Claiborne. Art Nouveau/Deco Era hand-painted ceiling or w...

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...

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...

This is signed and dated, "G. Rasmussen 41" and in amazing as found condition. The walnut frame is hand carved and appears to be the original frame that the painting was placed in. T...

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...

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

A framed portrait painting of a man in the nude on wood. With wonderful texture, and muted greens, beiges, and browns, this painting will be a...

Presenting a unique set of early 20C hand painted large sized ceiling or wall panels by Nena Claiborne. Art Nouveau/Deco Era hand-painted ceiling or wa...

Art Deco Framed Acrylic Artwork "At Last" (1991) with vibrant colors and geometric design adds vintage sophistication to any art collection. Some scratches and wear on the art wor...

1960s Mexican Artist Rodolfo Nieto Abstract Oil Painting on Board Retains Morton label 32W x 27.25 H x .25 thick Original Unrestored Vintage preowned condition. Please review our ima...

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

Rare truly. Summer camp play backdrop depicting an abstract interpretation of the Rocky Mountain range. Condition is very good, this was found rolled up in a garage likely in place f...

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...

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

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.

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...

Large oil painting on canvas. Modernist Abstract, by Jim Bray, circa 1963. Charming image. Child-like. Great use of color, texture, space.

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...

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 ...

A charming depiction of a cactus, strongly graphic old theorem watercolour painting (made using stencils, and with glass straws used for blowing the base level of watercolor paint)...

M. PLASKETT - Vintage folk art autumn landscape oil painting on prepared pressed paper board - signed lower right - vintage painted & gilt soft wood frame - Canada - mid 20th Century...

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...

Folk art patriotic shield painting of John Adams, dating to around 1876 and of a large size measuring 41" x 34.5". It is an oil on canvas laid down to boards. There is writing on the back of the boards, but I cannot make out what it says. There is another similar piece to this that features another signer of the constitution in the Smithsonian collection. This piece came from a collection in Portsmouth...

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

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...

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...

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

About Alexander Gore, The artist as an observer decided after many years of visiting non-western places of culture to put his memories to use on visible surfaces for people to see...

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...

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

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...

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...

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...

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...

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 ...

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...

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

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

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

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...

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...

Unsigned. Attributed to the American Itinerate Painter Sheldon Peck on stylistic grounds. The sharp delineation of facial shadows and the familiar 'fluer ...

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...

This late 19th century Mexican Folk Art devotional painting depicts St. Rita of Casia, the patron saint of lost and improbable causes. Wishing to join an Augustinian convent ...

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.

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...

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