American Contemporary Art

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

Signed and numbered abstract of child and woman in great condition by Keith Bruce Finch. He was born in Holyoke, Colorado on October 9, 1919. Finch was most active in Los Angeles i...

A landscape still life painting of fruit and white vessels on a table. Measures: 13" x 17.5". This lovely painting depicts deep purple plums and green pears sitting upon a table. A w...

A Dan Flavin aquatint and etching in colors. Titled, signed and dated # 30/30 - 1988. Measures: Sheet 22 1/4 in. × 31 3/16 in.

A truly stunning, one-of-a-kind work by California master tapestry artist Helen Webber featuring various wild natural creatures in an African jungle scene. The colors are so rich and vibrant. This, without question, is one of the most wonderful pieces we have come across in some time. A vibrant, rich, heavy, substantial work overall. Displayed in a custom crackle finish frame. Sure to stand out in about any setting. This work leaps off the wall. Truly a designer's dream. The tapestry is signed by Webber in the lower left. Webber's works can be seen in a number of various settings including worship centers/churches/temples, hospitals and health care facilities (Betty Ford...

Post Modern master Sandro Chia carborundum etching or mezzo-print titled "Painter with Teddy bears" is signed and numbered 8 of 50. Produced between 1989-90 in New York City. The pri...

Lester Goldman watercolor in striking colors of blue, pink, green and red. Acquired directly from the estate of Lester Goldman. Excellent condition and ...

Josef Albers from Formulation: Articulation, 1972. Silkscreen prints, folio 1/folder 6. Floated in while gold leaf frames using all acid free archival material...

A fine impressionist oil on canvas by the well celebrated Reynolds Beal. Dated 1928 on verso and signed. The reverse bearing the Estate Stamp and Catalog page information. The USS Utah at Rockport Mass...

Josef Albers abstract lithographs from Formulation and Articulation, published by Harry N. Abrams Inc., New York, and Ives Sillman Inc., New Haven, circa 1972. These works are from P...

Selection of Modern Art or Gallery Wall, circa 1960s. From left to right they are: 1) Watercolor of male nude on blue paper, circa 1960s. It h...

Selection of Alexander Calder color lithographs, circa 1960s. They have been recently framed in clean lined black lacquered wood gallery frames...

Josef Albers from formulation: Articulation, 1972. Silkscreen prints, folio II/ folder 10. Floated in 12-karat white gold gilt frame using all acid free archival materials. #176 of 1...

Humorous original oil on canvas with black ink, painting by deceased American comedienne, Phyllis Diller (1917-2012), which she titled, “Two Idiots On A...

Colorful watercolor "golf clowns" signed by George Crionas. Please note: Dark brown frame minor scratches on frame see detail picture. George Crionas was born in Detroit Mi in 19...

Michael Mew painting, ‘Robots Gone Bad 2’, mixed media 2008 Title: Robots Gone Bad 2 Date: 2008 Medium: Paint, mixed media, collage resin on panel Si...

Fantastic contemporary abstract oil portrait. A beautiful and expressive face in brilliant colors. Signed by the artist Roland.

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...

For your consideration a wall art in a rectangular shape. The art has an abstract cubism technique. It appears to be a wood block or lithograph. Dominant color is green and black to...

Vintage steel road sign that reads Gun Club Road. Sign was retired from the desert in California, just north of Bakersfield. Green reflective sign with white lettering and trim. Good...

Blurring the Boundaries: Installation Art 1969-1996 by Ronald J Onorato and Hugh M Davies. Museum of Contemporary Art, San Diego, 1999. 1st Ed, 2nd printing softcover. A classic documentation of site-specific and multi-media installation artwork, Blurring the Boundaries surveys twenty-five years of the genre's finest artwork. Included are: James Turrell, Vito Acconci...

Extremely rare California ‘Slow Children' playing sign. Entire sign is embossed with an old-time child wearing knickerbocker trousers. From the early 1900s. Great piece of history. P...

Selection of Mid-Century jazz themed paintings, American, circa 1930s-1970s. From left to right, they are: 1) New Orleans jazz watercolor by Leo Meirsdorff...

Framed oil on canvas board by Guy Carleton Wiggins (1883–1962). Wiggins was an American impressionist painter known for his painting of street scene of New York City in snow. The pai...

Nice set of 3 1996 stainless steel shadow boxes wall artwork, in vintage original condition with some wear and patina due to age and use. The measurements for each shadow box is w...

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 ...

Artist: John Patrick Dugdale (New York, b. 1960) Title: The Spirit Eye Medium: Cyanotype Year: 1998 Edition: number 3/12 Measurement: H 14", W 11"...

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...

A wonderfully designed and exceptionally rare hand painted, earthenware three tile/panel plaque/ wall hanging by ceramics masters husband and wife artists Vivika and Otto Heino. Quite heavy and substantial in size. The couple was best known for their inspired designs and distinctive glazes. This massive 3 tile plaque, which shows clear signs of Asian influence, is attached to a board for hanging. Again exceptionally rare in both scale and design. We have never seen another like this by the couple. The work is signed and dated (1988). Would be the crown jewel in any Heino collection and sure to stand out in any setting, modern or otherwise. Very unique. Very rare. Dimensions: 47.5" high, 18" wide, 1.5" deep. The piece is quite substantial and weighs 44 pounds. The couple are winners of the following awards: Gold Medal from the sixth Biennale internationale de céramique d'art, in Vallauris, France, (1978). Silver medal from the International Ceramics Exhibitions in Ostend, Belgium, (1959). Their work can be found in the following collections: American Craft Museum, New York City, NY County Art Museum and Craft Folk Art Museum, Los Angeles, CA De Young Museum, San Francisco, CA Museum of Fine Arts, Boston, MA Picasso Museum in Vallauris, France Smithsonian Institution, Washington, DC Craft & Folk Art Museum, Los Angeles Mingei Museum, San Diego Ventura County...

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...

Modernist abstract still life lithograph by James Lechay (1907-2001), American, circa 1980s. Pencil signed and numbered 95/175 by the artist. Lechay was clearly influenced by the Min...

Very large woodcut by Leonard Baskin (1922-2000) titled "Angel of Death". Leonard Baskin is widely considered one of the preeminent figures of 20th cen...

1999 Earthman, Spector Gallery, show announcement silk screened artwork, Philadelphia, PA by Jim Houser. Measures: W 12 x H 18 in. Shipped unframed.

This fantastic abstract strong landscape work of art by the designer Larry Laslo is signed in the lower right hand corner. The vivid colors of green, yellow white, black and cobalt b...

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 ...

Josef Albers abstract lithographs from Formulation and Articulation, published by Harry N. Abrams Inc., New York, and Ives Sillman Inc., New Haven, circa 1972. These works are from P...

Set of four limited edition lithographs of the four seasons by Mark Van Epps. All signed AP 5/25.

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...

Unsigned oil and watercolor drip technique on fine art paper. Framed in simple wood frame. Photographed with Knoll chair for scale.

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

Vintage San Francisco sign that reads "SAN FRANCISCO CITY AND COUNTY POP 793,700 ELEV 61." Dated 1997 on back. Stamped property of California on the back. Some wear to metal on front constant with age. Fun wall art...

Raymond Pettibon "Getting me out the Door" Measures: 18" x 22 1/2" No frame.  

Vintage Los Angeles elementary school sign. Hand-painted on a fiberglass board. 6 feet wide. Sign states 'Los Angeles Unified School District Administrative Offices' 1208 Magnolia Avenue. Building and address are still used for the school. Fun piece of Los Angeles history...

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...

Donna schuster (1883-1953) “Mother and Child” watercolor, pencil and gouache within a giltwood carved frame and protective glass. Signed ‘Donna Schuster’ (Lower Right), circa 1920-19...

Super cool Los Angeles freeway sign. Made in the late 1990s. This sign welcomed you as you entered the city of Los Angeles. Stamped "PROPERTY STATE...

Unique vintage trailhead sign. 6.5 feet long and 1.5 feet tall. Wooden sign from Davenport/ Sears Loop Trail in Horseshoe dam, Arizona, a remote section of the Mazatzal's that sees little use. Sign indicates with arrows "SEARS TRAILHEAD 1/4," "DAVENPORT TRAILHEAD 2 1/2," and "SHEEP BRIDGE 10." Light brown background with white lettering and border. Small sticker on top left corner reads "The willful defacing or removal of forest service...

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

This stylish 1980s mixed-media artwork by the American artist Harold Edward Larsen (b.1935) was acquired from a Palm Beach estate. Note: Signed...

A white and black abstract lithograph depicting an imaginary galaxy by Louise Siekman. It is numbered 1/10. It sits in a black stained frame.

Josef Albers abstract lithographs from Formulation and Articulation, published by Harry N. Abrams Inc., New York, and Ives Sillman Inc., New Haven, circa 1972. These works are from P...

Josef Albers abstract lithographs from folder XI-1, interaction of color, circa 1960s. updated

For your consideration is a monumental mosiac mural of world wonders made in 1986 by Michigan artist Edgar Louis Yaegar (51x74). Edgar Louis Yaeger was a...

1974 Mid-Century Modern abstract artwork by Jonas Gerard.

Big Country, etching on zinc triptych by German artist Renata Zerner. This is the Artist Proof, and is signed by the artist. Measurements: 34 inches...

Abstract lithographs by Josef Albers from Formulation and Articulation, published by Harry N. Abrams Inc., New York, and Ives Sillman Inc., New Haven, circa 1972. Edition of 1000. Th...

Black and red lithograph by the famed American sculptor Henry Moore. Limited edition of 63/65, signed and numbered in pencil.

Set of 4 signed abstract intaglio prints by Kazuko Watanabe, framed. Signed in pencil by the artist and numbered 16/30, 19/20, 7/10, 9/10. Kazuko Watanabe is a graduate of the San...