Canvas Contemporary Art

"Sweet Potato Dreaming" painting by Lorna Fencer Napurrula Lorna is a Senior Warlpiri Custodian and she is among a small group of women who collectively produced the first paintings ...

René Jean Clot (1913-1997) La Récréation, 1963 Oil on canvas Dimensions : 130.5 x 89.5 cm Biography Student at the School of Fine Arts of Algiers...

"Giardino" by Italian Artrist Olimipia Biasi.  

Wonderful vintage colorful (colorful) abstract modernist oil painting on canvas signed with the monogram 'O.H.' by Otto Herter (1924-2000) painted in 1993. Otto Herter was born i...

There is something about this solemn portrait that lures you in. Rendered in gestural strokes reminiscent of Franz Kline, the figure cuts across the austere white. The stark field of...

This abstract monochrome painting by little known Los Angeles artist is a fine example of color abstraction. The canvas has been painted with a monochrome, purplish brown paint that ...

Parisian cityscape, signed and framed oil on canvas by Serge Belloni, ‘57 This painting has all the quintessential features of Belloni’s renowned Parisi...

"Distant Thunder" by Kent B Lemon A vivid landscape featuring two moose graising by the river amidst the beautiful backdrop of the Rocky Mountains. Signed lower left with ornate French inspired gold frame. Circa 2002 Artist Biography: Kent is a native of Colorado where he grew up in a home filled with paintings and a family immersed in the arts. He was educated at Colorado University, Boulder, and Parsons School of Design, New York. After studying in New York he returned to Colorado and apprenticed with Denver artists Mark Daily and Ned Jacob...

William Ashton (1881-1963), Oil on canvas on board, signed lower left: Will Ashton. This work was probably painted on one of Ashtons painting trips to t...

1970's abstract oil painting on canvas, signed Mabel Swan. Please confirm item location (NY or NJ) with dealer.

A wonderful informal abstract modernist painting signed by German artist Walter Wohlschlegel (1907-1999) in 1986. Painted on canvas, Wohlschlegel creates an interesting color play, m...

Fantastic Mid-Century Modern oil on canvas painting by Pascal Cucaro titled "Festival". The painting depicts Asian women in colorful Kimono robes with bold, vivid colors and thick br...

Large painting by Leopoldo Torres Aguero Oil on canvas in bleu and white colors. Signed and dated on the back.  

Stunning abstract oil on canvas by noted Italian artist from Milan, Fausta Dossi, dated 1994. Title: "Reliquire" Relics. Copy of artist's gallery catalog included with the sale. Se...

Large Lee Reynolds abstract oil painting circa 1960s for Vanguard Studios original tag to back with a polished aluminum original frame.

"Sunset" contemporary art oil painting on canvas rendered in beautiful pastel shades of cream white pink and blue by June Hendrickson, USA, 1986.

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...

Midcentury abstract Expressionist oil painting by Raphael Collzo in a wood frame-title "Landscape #1".

Abstract oil on board painting by Robert Chapman. In the artist's hand made frame. As the assistant to Willem de Kooning for the last decade of de Koon...

A lovely Aboriginal contemporary painting by Abie Loy depicting Medicine leaves in Dreamtime. The alternating burnt orange and white dots contrast each other on the black background, a haze of orange mini-dots further providing a shifting visual effect that is subtle and mysterious. The painting comes with COA and photographs of the artist signing the painting. Abie Loy Kemarre...

Vivid color and movement to this original acrylic on canvas. Signed and dated on the verso. Shelley Herman 1970 "June Breath".

Wax, oil, paper and varnish on canvas. Dated 1994. Framed.

Large abstract expressionist oil on canvas titled "caldron" painted by Tom Lieber 1992 (American b. 1949). Signed, titled, and dated verso on canvas. Impressive size from an estate i...

Sean Scherer (b. 1968): Malady & Diffident Oil and wax on canvas, 1991, signed 's. Scherer', titled and dated on the reverse, with label from Stux Galler...

Robert Combas, large original serigraphy mounted on canvas, 83/100, 1992, signed in pencil, framed. 125 x 98cm with frame, 110 x 85cm without.  

Rare abstract oil on canvas painting by the Swedish artist Bertil Berntsson made in 1963. In good vintage condition showing some signs from age and use. Measurements: 115 x 103 x 2 cm.

Signed, dated, 1959, oil-on-canvas painting by listed, well-exhibited, French, Lyrical Abstraction painter, Pierre Fichet (1927-2007). Select group exhibitions: Paris Biennale, Franc...

Juan Archuleta gates and garden painting. Well done in a fine custom gilt frame from a fine New Jersey private. collection. Juan S.E. Archuleta, Bor...

"Study in Orange" by Dennis Yersner in brass frame.

Original oil on canvas painting by listed Italian artists Federico Salvatore. The painting depicts a sailboat coming out of the Marina Grande in Capri Italy. Hand marked ‘Marina ...

Artists: Angelos Panayiotou Born: 1943 Nationality: Greece Title: An elderly Man in Contemplation Medium: oil on canvas, Mark: signed lower r...

1974 Mid-Century Modern abstract artwork by Jonas Gerard.

Selection of Modern Abstract paintings, probably American, circa late 1950s-early 1960s. From left to right, they are: 1) The framed abstract painting on paper on the left measure...

Rare abstract oil on canvas painting by the Swedish artist Bertil Berntsson made in 1964. In good vintage condition with small signs of use. Framed in a pine frame. 129 x 120 x 2 cm.

Anna Salvatore (1923-1978) Italy. Midcentury beauty featuring two young girls stylistically and colors of the time.

Still life oil painting of cabbage, leaks by listed artist Alicia Cajiao framed.46x48"

Pair of colorful monotypes by Georges-Armand Masson. Dimensions: 16" x 19.5".

Jake Attree, (Born 1950) Yorkshire artist, view of leeds. Oil on canvas, signed and dated verso: J Attree, 1992   The subject is a view across the City of Leeds taken from the artists studio on Maris Street which has since been demolished to develop a new road system. The painting is based upon a series of drawings. It was exhibited at Art Space Gallery, Michael Richardson...

Surrealist nude painting by Alex Alemany, Spanish, circa 1970s. Alemany's works are often described as "magical realism." This painting measures 32" H x 25.5" W and is unframed.

Large oil on canvas by Los Angeles artist Andrew Shachat. Represented by Patricia Correia Gallery, Venice, CA. Patricia Correia Gallery (PCG) was first established in Venice, Cali...

Stunning Mid-Century Modern oil on canvas, abstract composition by French artist, Roudneff, dated 1963. Beautiful and very interesting work. Monsieur Roudneff, created numerous mo...

An abstract work by a noted Israeli artist.

Beautiful 1978 oil still life painting by renowned Peruvian painter Almicar Salomon Zorrilla. The painting is as found, so it shows minor wear consistent with age. The painting is oi...

Beautiful and rare oil on canvas painting with a pine frame by Bertil Berntsson from the 1962. In good vintage condition with some signs from age and use.

Acrylic on canvas painting of a seahorse skeleton by Alabama and New Orleans based artist Heather Petterson. A great piece for any beach, ocean or nautical themed house. Measure: 30"...

Stunning XL black and gray abstract painting from NYC artist Rosalyn Engelman (1938). This masterfully created oil on canvas exudes great energy in a stunning sea of black and gray and is part of her Nocturnes of the Soul series created in the late 90's. A companion piece of this was exhibited at the Salon Art + Design at the Park Avenue Armory in 2017. Her influences include an expansive palette of artistic traditions, from the abstract expressionism for which she’s best known, to the Asian and Japanese art she focused on while at Rochester, to the Bauhaus tradition, which captured her attention as an undergraduate at City College in New York. SELECTED GROUP EXHIBITS Florence Biennale, EARTH:Creativity & Sustainability, Florence, Italy, 2017 Hebrew Union College...

Very large and vibrant abstract painting and mixed media assemblage. Signed lower right. Block like elements in reds, tan, white and black. Along with black and white strings across ...

"Annette Lemieux is one of the few wunderkind of the 1980s global art scene who has endured beyond that feverish time to become a significant artist wh...

Johannes Hubertus Hendrikus "John" Bévort, (Utrecht 1917-1996 Schoorl) view of Manhattan Lower Eastside from the Brooklyn Bridge Johannes John H.H. Bévort was a pupil at the Artib...

Stunning Mid-Century Modern oil on fibre board, abstract composition by listed French artist, Rene Revaute. Very interesting work, the outer edges give the impression that there are...

Roseline Koener oil on canvas 1985 About the artist: My adventurous journey as an artist has been focused on accessing the magic POOL of vibrant colors and life forces deep within me. I marvel at the infinite richness and divine beauty of colors, sounds, patterns, textures, and fragrances of Mother Nature. I am inspired and amazed by the powerful and dynamic cycles of life, which generate newness and oneness. The circular movements of planets and every cell, the miraculous growth of plants and mountains, the morning’s eclosion of roses, and the buoyancy of ocean waves fascinate me. Artists and musicians like Klee, Matisse, Tombly, Motherwell, Frankenthaler, Anatsui, Bach, Hafiz, Rumi, Hildegard von Bingen...

A bold colorful cubist abstract painting in the manner of Jacques Villon, signed and dated lower right “M. Jardet" and housed in a beautiful ...

Michel Henry, French Artist (1928 - 2016), Amsterdam - Oil on canvas, Signed lower right. A beautiful depiction of a View of Amsterdam - using a bright palette painted in the arti...

This large and well executed abstract painting was done by Carlisle Ainsworth Harris of Trinidad in 1990. This original painting is a framed acrylic on canvas and highlights Harris's...

A large painting by Italian born artist Luigi Maria De Rubeis, circa 1970s. A note about the artist courtesy of Saatchiart: "Italian painter, had his start in 1970 by winning a conte...

Title: Hiding in The Jungle Artist: Yang Qian (Chinese; B. 1959) Medium: Oil on canvas Years: purchased circa 1990 A Palm Beach, FL collection An early work by Yang Qian during his sojourn in Florida, USA. The series delved into art history with reinterpretation and overlaying symbolism. The painting is set in a moody tropical jungle at night and is a clear reinterpretation and a dialogue between Henri Rousseau's The Dream and Paul Gauguin's La Femme du Roi. Although the two French artists were contemporaries, they may have not intersected in their personal lives. Pioneering and ground-breaking for their time, their work were celebrated posthumously and served as inspiration for later artists. For a similar painting Odalisque Now (c.1990) see lot 135 of Sotheby's Contemporary Art Asia sale...

Beautiful soft paint palate of lines and columns on canvas by William Havlicek. Dr. William J. Havlicek has over 40 years of experience in fine art/studio production and exhibition,...

Original mixed-media abstract painting by American listed artist Josh Dayton. Spectacular three dimensional sculptural mixed-media abstract painting that ...