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Contemporary painting by Spanish artist Santiago Castillo. This large painting is created in oil and stucco on wood. The stucco and a combination of matte and gloss paint finish crea...

Mixed media on canvas.

Mid Century abstract in primary colors. Perfect pop of color for that empty wall. Red, blue, yellow and orange oil on canvas. Unsigned. This item can parcel ship.

A large modern painting by Frank Rampolla.

Mid-Century Modern era mosaic tile art panel by celebrated artist, David Holleman (1927-2020). Holleman is a prolific artist with a storied career spanning the better part of the 20th century and into the 21st. During his time serving with the US Army in Berlin, he became influenced by German Expressionist painter Carl Hofer. Once Holleman returned to the US he turned to ceramics as his primary medium. Despite winning national prizes for his pottery, he endeavored to further explore the medium. Holleman began working with his hallmark, mosaic tiles. Holleman produced over 50 mosaic tile murals...

The abstract artwork signed by J. Holden is a captivating and vibrant piece, depicting a cowboy and his horse with a modern, imaginative twist. Rendered in bright, bold colors on a s...

Contemporary urban realism by local Philadelphia artist, Christopher Windle. Light and shadow, along with graphic perspective conveys a moody solitu...

American Flag No. 1 by J. Wohnseidler. Arcylic on canvas with hand-applied starfish. Unframed. Signed/titled/dated by artist on back. Measures: 48 inches L x 36 inches H x 1.5 inches D.

Amazing large Shadow Box comprised of silk screen construction, paper, foil, and paint housed in a black Lacquer frame. Created by Jacqueline Tuteur. ...

This still life painting on panel captures a variety of objects. Among the objects depicted are a beautiful venetian glass bowl, a cup of Italian gelato, a ripe peach, a white life mask and an obsolete iPod all placed upon a table. These masterfully painted objects create a tableau of our times. This artwork is framed in a simple antiqued silver wooden frame measuring 8.75 H x 14.75 W inches. Andrew S. Conklin Still life with Italian bowl, life mask, peach and iPod Oil on panel Measures: 7.50 H x 13.50 W in 19.05 H x 34.29 W cm ACK036 Andrew S. Conklin Andrew S. Conklin is a figurative painter. He holds an MFA from the Academy of Art University, and studied painting at the National Academy of Design in New York City with Harvey Dinnerstein...

British artist Grace Watts (b. 1990) works on hand-stretched linen in her east London studio. With its expressive mark-making, this piece in oil and graphite on a beige background is...

Extraordinary lithographic print on paper of two Porsche automobiles, a 944 and a 356 by famed automotive and aviation artist David Lord. Signed and dated, 1985. Image dimensions: 16.75” x 20.75”. Chromed frame dimensions: 24.25” x 27.25”. About David Lord Inspiration for David Lord to draw and paint came from hours spent as a child at a drawing board set next to his talented grandmother’s easel. “She painted flowers and landscapes . . . I drew cars, boats, airplanes and army tanks.” In addition, a beloved, dedicated, high school teacher, who “instilled the love of art history, taught me art skills and techniques, and the ability to ‘know what to keep . . . and what to leave out’ of my art.” A New Englander by birth, David attended high school in Connecticut. Art was his favorite class and he kept his eighth grade dream of going to art school alive with hundreds of hours spent drawing cars and planes. After high school, he began two years of art studies at the University of Hartford in Connecticut and then began training at Art center College of Design in Los Angeles, California. After two semesters there, general Motors granted him a full scholarship. He graduated in 1965 as a Bachelor of professional Arts in Industrial Design. Upon graduation, Lord was hired by UniRoyal in South bend, Indiana, to design consumer products and eventually products for military application in Vietnam. “I also had the honor and privilege of working with Gordon Buehrig on the preliminary design, drawings, and clay for the 8/10 scale Cord, built of vacuum-formable, color impregnated plastic. After three years with a South Bend industrial design firm, Lord started his own company. During this period he spent many late evenings at the easel in his own studio, painting and drawing automobiles. The direction of his artwork, philosophy and goals began to form. “I decided to focus my love of all things automotive with my talent for painting and drawing. I had been to many events over the years; councours, car and air shows, had an extensive automotive reference collection and four major influences and mentors. These were men whose talent I was in awe over the years; Peter Helck, Walter Gotschke...

Custom Kitchen Tile Backsplash - Hand Painted Portuguese Tiles Any design, size or colour. Please message us with your requirements. - Our murals...

Sculptural canvas relief with a 17th century Italian Florence fragment by Elena Rousseau. The sculpted canvas is molded together with fresco plaster, g...

Extraordinary Mid-Century Modern cityscape painting with brown and green skyline. The large scale (5 foot) cityscape painting is reminiscent...

Still Life painting, with origins dating back to the 16th century, often depicts simple everyday objects. Conklin sets his composition with both antiquities and modern elements to bring the Still Life genre into the contemporary. Yet when a closer look is taken, his modern elements are already obsolete by today's standards. The ancient bust of Alexander is placed next to an iBook begging to ask the question - what will stand the test of time?? The piece is framed in a simple walnut frame measuring 26 x 26 inches. Andrew S. Conklin Square still life with Alexander Bust and ibook oil on linen Measures: 25 H x 25 W in 63.50 H x 63.50 W cm ACK038 Andrew S. Conklin Andrew S. Conklin is a figurative painter. He holds an MFA from the Academy of Art University, and studied painting at the National Academy of Design in New York City with Harvey Dinnerstein...

Mid-Century Modern Breeze Wall Art Piece, Contemporary Collection, Handcrafted in Portugal - Europe by Greenapple. Breeze modern wall decor captures the essence of a massive, crashi...

Vintage oil on board abstract painting featuring rowboats amongst structural and architectural figures. Illegible artist's signature on the lower ...

A fantastic and striking original oil on board painting by the renowned artist John Mackay. This is signed and dated from 2013. It is a great size and b...

One of our most favorite finds to date, this striking portrait painting will make a lively accent to any art collector. Painted on board, the subject of the painting sits confidently in a chair. She wears a gray suit and hat, and has long blonde hair. The entire piece is on a bright pink background. (Is it just us, or does this piece remind you of the blonde version of Carmen Sandiego...

A very colorful oil on canvas painting by French painter Alain Boyer. Professionally framed. Alain Boyer is a self-taught French painter, established at the Maison des Artistes s...

Beautiful tile mural with the "Lemon Tree" motif finely painted. Quantity: 48 tiles Tile mural size: 35.4"W X 47.2"H (90cm X 120cm) Tile size: 5.9"W X 5.9"H (15cm X 15cm) Origin...

Great vintage hand-painted sign. No smoking and a crossed out cigarette hand-painted on white steel. Good vintage condition.

Portrait by very well known listed French artist Sylvain Vigny. The colors are slightly dark yet the fascinating way Vigny paints the face of the young boy shows lots of light and in...

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

Chicago-based artist Michael Thompson creates unique kites crafted from split bamboo frames covered with stretched muslin and a collage of vintage Asian ephemera—including fragments ...

This 20th Century Abstract Painting on Canvas was created in 1990 and is artist signed on the back Pieroni. The art exhibits bold colors using reds, yellows, green and blues. As wit...

"Chair," A large abstract oil and charcoal painting on canvas by Kathi Robinson Frank features a dynamic composition of the synergy between horizontal and vertical forms. A bold wave of black, gray and tomato red undulates across the canvas, while drips of black, gray and tomato red stabilize one's eye on the work. The abstracted burnt orange chair...

Variation (1380-18) - One of a Kind. Abstract painting created in 2018 by French contemporary artists Pascal & Annie LENIAU. Colorful composition and abstract matter. Mixed media on paper laminated on wood panel with its frame, dim. 60 x 80 cm. Signed and dated on the back. --- Pascal & Annie LENIAU Since their meeting in 1978, Pascal and Annie...

Extraordinary vintage 1980s Memphis style painting with intriguing 3D design. This is a mixed media piece that blurs the line between painting and sculpture. In fact, one could go so...

Abstract gouache painting by American artist Shawn Savage. Shades of blue with grey and black in a black frame. Signed by the artist.

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

A Large Abstract oil on canvas painting by Robert K McKeller (1945-2009). A bold artwork full of emotion, a fabulous statement piece for those looking for an immersive piece of art for a large wall. An unique artwork by a well respected 20th Century artist. Measures 5ft wide by 4ft high. Robert K McKellar is an artist known for his distinctive style, often characterized by vibrant colours and dynamic forms. His work spans various mediums, including painting and sculpture, and frequently explores themes of nature, emotion, and abstraction. McKellar’s pieces might incorporate elements from his surroundings, reflecting a deep connection to the landscapes and experiences that inspire him. Robert McKellar’s abstract work often emphasizes colour, movement, and texture, creating immersive experiences for viewers. His approach uses bold and contrasting colours to evoke emotion and energy, drawing the viewer’s eye and stimulating the senses. His abstract pieces frequently feature fluid shapes and patterns that suggest movement, inviting interpretation and personal connection. Mixed Media Techniques: He often employs a variety of materials and techniques, layering paints and textures to add depth and complexity to his compositions. Nature-Inspired Elements: Many of his works reflect natural forms and landscapes, reinterpreted through an abstract lens, blending realism with abstraction. Emotional Resonance: McKellar’s art aims to convey feelings and moods rather than depict specific subjects, encouraging viewers to engage with the work on a personal level. His abstract art is celebrated for its ability to blend aesthetic appeal with deeper emotional and conceptual undertones, making each piece a unique exploration of the human experience. His works often resonate with audiences due to their emotional depth and visual impact. About Robert K McKeller Painter and teacher, born in Gravesend, Kent, where he attended the Technical School for Boys, 1957–62. Emigrated to New Zealand, 1964, returning to England on the death of his father in 1966. Did a foundation course at Medway College of Design, 1969–70, then a degree course at Camberwell School of Arts and Crafts, 1971–3. Gerald Norden...

Vintage 1980s geometric Memphis style painting… capturing the full essence of the era. This large scale painting is the 1980s in a nutshell. Anyone who lived the period immediately gets flashback of Miami Vice, Trapper Keeper...

An antique violin case is open to expose its treasures - not only the rich orange lining, but the plethora of sea shells. Placed upon a gleaming ta...

A fabulous modern abstract by wonderfully talented Arnold Weber (1931-2010). Tremendous mood, energy and range of color. This Killer piece succinctly captures the feeling of the earl...

Gerson Leiber "No Seashore Holiday" Oil on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later, while stationed in Hungary in the arm...

"Intercostal," 2022 is a large framed abstract mixed media painting by Kathi Robinson Frank in striking shades of black, gray, blue, yellow, green...

Media consists of fiber, paint, shellac on a linen canvas. Beautiful wood frame. Frank Faulkner by Philip Herrera, 2006: Born in Sumter, South Carolina in 1946, Frank Faulkner received his B.F.A. from the University of North Carolina in 1968, Phi Beta Kappa, and his M.F.A. from the same institution in 1972. Faulkner’s work quickly won him numerous grants and awards, including an individual artist grant from the National Endowment for the Arts in 1974. He was selected for the Whitney Biennial in 1975, which prompted him to settle in New York. There, he came to the attention of Dorothy Miller, Curator Emeritus of the Museum of Modern Art with a legendary eye for new talent. Since then, Faulkner has continued to garner acclaim and awards. He has been featured in dozens of one-person exhibitions (not to mention group exhibitions) in this country, as well as in Japan, Switzerland, and Germany. Faulkner’s work is owned by leading museums (the Smith College museum in Northampton, Massachusetts, for example, the National Museum of American Art and the Hirshhorn in Washington, D.C.) and by renowned collectors such as Nelson Rockefeller, Baron Leon Lambert, Phillip Hanes and Abba Eban. What a viewer first notices is the sheer elegance of the pieces, no matter what materials Faulkner uses—metal, wood and fabric as well as canvas and paper. Obvious, too, is the artist’s originality. Faulkner belongs to no school. His work is patterned but is far too intellectual to qualify as so-called “pattern art,” which mainly strives to be merely pretty. Rather, he paints in his own highly organized way, filling the surface without being excessive or boring. Faulkner sets up a system, say, of dots or dashes, then subtly changes the visual rhythms in order to add life and surprise—what he calls “the gymnastics of seeing.” He works and reworks the surfaces of his canvases, often laying down one thin layer of slightly reflective gold, silver or bronze paint upon another until the final work seems to glow with inner light. John Ashbery, a leading critic and poet, has likened Faulkner’s art to minimalist music, which achieves both simplicity and beauty from its obsessive repetitions. The critic Carter Ratcliff describes it more simply as “brilliant artifice.” Faulkner’s current work, a series of paintings on paper, continues and deepens this exploration of the relationship between wrought surface and changing light. Another striking aspect of the work is the influence of the decorative arts. Faulkner has made some paintings on wood that stand independently and fold open like screens. Other pieces resemble large tapestries, and yet others take their inspiration from Art Nouveau inlays...

Multicolor vertical stripes abstract geometric modern color field oil painting. The painting (similar to the work of Gene Davis and other Washington Color School artists), was proudly displayed in the living room of a Classic Mid-Century Modern house designed by a student of architect Frank Lloyd Wright. Oil on canvas painting is signed Erik 74 on reverse also inscribed Erik Pitsokos. Measures 49 inches high,47.5 inches wide. Frame measures 51 inches high, 49.5 wide. In good condition. From St. Petersburg Times - Sept. 12, 1975: The Greek-born sculptor Erik Pitsokos received his art education in Greece, Italy and Canada. He immigrated to Canada in 1964 and became a Canadian citizen. In Canada he had an art school adjacent to his studio where he took only accomplished artists for highly advanced instruction in the finer points of sculpture. His entry at the International symposium of Arts held in Washington, D.C. in 1969 won him the first award for sculpture. He exhibited throughout Canada and his works have been donated to the purchased by individuals, galleries, public buildings and schools in Canada. He moved to the United States in 1975, became an American citizen and taught classes at the Florida Gulf Coast Art...

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,...

A beautiful large scale work of art by Laddie John Dill. Each panel measures 42.5" W x 66" H. Work is composed of cement, glass, wood and pigment applied to canvas. Signed and dated ...

Mid-Century Modern Unity wall art piece, contemporary collection, handcrafted in Portugal - Europe by Greenapple. Unity wall piece represents the strength that rises when the whole ...

"Architectural Delusion 1" Gouache on paper Measures: 68 x 53 cm, frame included (Signed on the back) Bauhaus style and geometric abstraction style. Geometric shapes in b...

Gerson Leiber "Simplicity Is Hard to Achieve" Oil on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later, while stationed in Hungary ...

Moira Thompson (Contemporary British School) 'Rocks in Old Bucket' Oil on canvas Signed 50cm x 50cm

A mixed media of acrylic paint applied by hand with acrylic spray paint and alcohol ink on a wood framed canvas. Inspired by the great Graffiti artist of m...

Finely painted in gouache by J. Collazzi, who did a series of landscapes and fantasy paintings in the 1930s, this scene of two classical figures restraining a horse is classic Art De...

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...

Beautiful tile mural with the "COUNTRYSIDE" motif finely painted. Quantity: 24 tiles Tile mural size: 47.2"W X 17.7"H (120cm X 45cm) Tile size: 5.9"W X 5.9"H (15cm X 15cm) Origi...

Original oil on wood-panel painting by Turkish artist, Hatice Güleryüz. Symmetrical design of repeated star motifs. Painted in colors of Ox-blood, Pale blue, and white.  48" x 48" x...

Contemporary French artist Marielle Guegan EXTRA EXTRA large triptych. Combination of painting and engraving. White frame with acrylic surface.

Oil on panel, small size, by the Swiss painter Guy Dessauges. Made in 1978 using his technique of superimposing "glazes" which gives the painting exceptio...

This finely-executed oil painting was produced by Prayat Tadonock in 1990. Prayat was trained as a fine artist according to Thai classical principles and then learned Western oil pai...

This is a mid-century modern cubist abstract oil on canvas that dates to 1957. The artist’s last name is Covick. The geometric elements are in pear greens on an eggplant background. ...

Beautiful tile mural with the "BLUE FLOWER VASE" motif finely painted. Quantity: 28 tiles Tile mural size: 41.3"H X 23.6"W (105cm X 60cm) Tile size: 5.9"H X 5.9"W (15cm X 15cm) Ori...

Beautiful tile mural with the "THE LAKE" motif finely painted. Tile mural size: 53.1"H x 106.2"W (135cm x 270cm) Tile size: 5.9"H x 5.9"W (15cm x 15cm) Origin: Portugal Producti...

Eddie Dabrowski was an American contemporary graphic street artist, self-taught, taking the concepts of street art to another level. Dabrowski’s works hang in private collections and...