North American Contemporary Art

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...

Group of Three WPA Era Paintings, American, circa 1930s-1950s. From left to right, they are: 1) Brick mason oil painting, American, circa 1930s. It ...

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...

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

Nació en Mixquiahuala Hidalgo.1? Su padre, quien tocaba jazz y leía (Algo fuera de lo común en esos años en el México rural) expuso a Gálvez a la cultura, aunque esto dio lugar a un ...

Félix Beltrán was born in Havana, Cuba, in 1938; He is currently a Mexican citizen by birth. In 1956, he traveled to the United States of America, where he graduated from both the School of Visual Arts and the American Art School, both located in New York. Likewise, he studied at the Art Students League in New York and at the Círculo de Bellas Artes in Madrid. He was a fellow of the New School for Social Research, New York, the Graphic Art Center-Pratt Institute, New York, and the Council for International Exchanges of Scholars, Washington, D.C. He is the author of 4 books and his articles and interviews have been published nationally and internationally. About his work, 3 books have been published. He has received l37 awards in various events, among which is the National Order for his contribution to culture, conferred by the Council of State of Cuba. He has received three Honoris Causa Doctorates: from the International University Foundation, Delaware and from the Autonomous University of San Luis Potosí, San Luis Potosí; likewise, he is Honoray Doctor in Letters from the International Biographical Center, Cambridge. He has participated as a jury in I2I national and international events. He is included in yearbooks, dictionaries and encyclopedias such as, among others: Incursions into Cuban Engraving, Havana; Cuban Art of the 20th Century, Los Angeles; Annuaire de L’Art International, Paris; Dictionary of Plastic Arts, Havana; Personaggi Contemporanei, Milan; Who's Who in Graphic Arts, Zürich; International Profiles, Cambridge; Allgemeines Kunstler-Lexicon, Berlin; Personalities of the World, Raleigh; Who's Who in Art, London; Who’s Who in American Art, New York; Dizionario del Grafico, Milan; Who’s Who in the World, New York and the Encyclopedie de L’Affiche, Paris. Since 1963, he was a professor at the Escuela de Instructores de Arte, Havana, Escuela Nacional de Arte, Havana, as well as one of the founders and professor at the Instituto Superior de Arte, Havana. He is currently a full professor at the Universidad Autónoma Metropolitana, Mexico City, where he is a Distinguished Professor. He is the founder and curator of the Artis Gallery, of the Metropolitan Autonomous University, Mexico City. Among his most outstanding students are Jorge Carol, Nelson Domínguez, Roberto Fabelo, Erique Martínez, Manuel Monroy, Pedro Pablo Oliva, Tomás Sánchez, among others. In 1967 he participated in the collective mural that was part of the activities of the Salon de Mai à Paris exhibition held in Havana together with artists such as Valerio Adami, Karel Appel, Cesar Baldaccini, Corneille Beverloo...

Large-scale abstract painting, American, circa 1960s. It measures an impressive 50.25" height x 42" width. This piece is currently unframed. If you prefer a black gallery frame (as s...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his...

James Welling Lilac Mist, 2017 Epson 9900 print on Museo silver rag paper Image size: 15.5 x 23.25 inches, Sheet size: 18.5 x 24 inches Edition 20, 5 AP's Signed, titled, and da...

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

A wonderful and strong print or image by Canadian born artist Marjorie Tomchuk of a Native American chief. The print is pencil signed, titled (Sac...

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

For sale a fantastic, original signed museum-quality Magnum 6x6 photographic print of Andy Warhol by renowned and iconic German photographer Thomas Hoepker. Titled "Andy Warhol in his "Factory" at Union Square. New York City, USA. 1981", this Magnum print...

Born in Mixquiahuala, Hidalgo, México, in 1967. Martín Lopeztovar took a degree in Graphic Design of Communication at The Universidad Autónoma Metropolitana – Azcapotzalco (UAM - ...

A fantastic, large, decorative painting by Robert Moskowitz, titled "The Family", circa 1977. It is signed and dated on the back. Robert Moskowitz (born 1935 in Brooklyn, New York) i...

Print: Digital Print Size: 508 x 406 mm (20 x 16 in) Edition of 30 This work is signed (2015) Hungarian conceptual artist Agnes Denes was a pioneer of early environmental ar...

Nació en Mixquiahuala Hidalgo.1? Su padre, quien tocaba jazz y leía (Algo fuera de lo común en esos años en el México rural) expuso a Gálvez a la cultura, aunque esto dio lugar a un ...

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...

Photograph Color photograph made with archival pigments on fine art rag paper with matte finish Size varies based on edition This work comes with a "Certificate of Authenticity". Luke Butler...

"Mexican Sun," an oil on canvas by artist Kathi Robinson Frank is an abstract composition in sunny golds, whites and blacks inspired by the earth and brill...

A sea sponge doubles as a vessel to hold decorative shells in the still life by Helen Oh. Enhanced with a silver leaf backdrop, the shells and sponges are reflected in the rich maho...

Fantastic original drawing by Robert Loughlin on an old orange book. Looks to be an old Russian book. Orange book with black drawing of 'the Brute' on the ...

Original 1970s Op Art multicolored serigraph, TUZ’MC, by Victor Vasarely. Signed in the lower right hand corner. Victor Vasarely (French/Hungarian, 1906–1997) is known as the father...

Vintage Martin Luther King Jr. Plaque Cast metal Great color and patina Ready to hang.

Gigantic California freeway sign from 1986. Two piece sign spanning 8.5 feet long and 6 feet tall. Cats eye reflectors throughout. Retired sign from California highway system. State Route 78 is a California State highway that runs the entire width of the state from Oceanside to Blythe. Green metal sign depicting Oceanside as North and Escondido to the East. Massive statement piece. Great piece of California and transportation ephemera. Stamped 'Property of the State of California...

Framed Rug, Picasso's 'Guitar, Glass, and Fruit Dish' Decorative Art A wonderfully done abstract carpet in the manner of Picasso framed in a custom Luc...

Original oil on canvas by the artist Bucci. Circa 1960's with provenance on back showing that the piece was sold for $110 in the early 1960s. It is an exquisite original mid centur...

This stunning example of Art Deco-Mid Century American surrealism was painted by Erwin Kummer, a widely-known Chicago painter who exhibited widely in the 1940s at the Art Institute o...

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, Califo...

Paul Garland (American, b. 1943), an abstract composition, pencil signed and dated 1983. The work is very colorful with wonderful movement and expression. It has been expertly 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...

Selection of modernist art serigraphs or lithographs, circa 1950s-1970s. They are: 1) Victor Vasarely color lithograph, circa 1960s. It has been recently reframed in a clean lined bl...

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

Hauntingly beautiful, this print of a women titled "Blue Wind" was produced and distributed by Turner. Bohemian in style. Framed in a silver-gold metal fra...

Kenny Nguyen creates what he calls “deconstructed paintings”, large, bold works that are comprised of hundreds of silk strips, which he cuts, paints, and meticulously applies onto ca...

Print Print made with archival pigments on fine art rag paper Measures: 24.00 x 20.00 in 61.0 x 50.8 cm Edition of 50 This work is signed and numbered by the artist. This print by artist duo McDermott and McGough...

A large and captivating unsigned painting featuring sinuous abstract leafy vine- like interlaced organic elements in orange, red and black on a soft mottled green and cream ground. U...

ASTRONOMICAL BLACKBOARD (G.149), 1978, etching, signed in pencil, from the numbered edition of 11/15 AP image 17 ¾ x 35 ¾”, full margins Abstract Art , Pop Art Frame: 44"x27''

Upon discovering a weathered steel drum that had been warped to resemble the sleeve of a garment, artist Gordon Chandler was inspired to embark on a series of kimono sculptures forme...

Print Archival pigment print on Moab Entrada Measures: 20.00 x 20.00 in 50.8 x 50.8 cm Edition of 50 This work comes with a signed Certificate of Authenticity. Frances Goodman...

Framed, color screen-print on silk scarf. Untitled. 138/150. Measures: 37" W x 36.5" H.

Kenny Nguyen creates what he calls “deconstructed paintings”, large, bold works that are comprised of hundreds of silk strips, which he cuts, paints, and meticulously applies onto ca...

A monumental pencil and acrylic painting on canvas by American artist Marc Ross, 2022. This minimal abstract painting features an impressive gradation of ochre and burnt orange hues ...

An expressive and graphic vintage serigraph depicting an abstracted group of red-wing blackbirds in flight. Signed in pencil by the artist.

Beautiful abstract dark blue metallic painting inspired by Chinese Empress Wu Zetian, 2018.

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 fabulous modern abstract by enormously talented Arnold Weber (1931-2010). Tremendous mood and energy. Expert use of vibrant color that will bring a smile to your face. This Killer ...

Sold individually polyester resin; hand-shaped polyurethane foam; digital print swallow tail: 78 H. x 20 x 2.5" each a limited edition of 12 plus 4 proofs Produced by Tim Bessell Surfboards...

Henry Moore prints, from the limited edition folio entitled "The Drawings of Henry Moore", published by Curt Valentin, New York, 1946. They have been professionally matted and framed...

Abstract expressionist lithograph by Martha Zelt, American, circa 1950s. An outstanding black and white abstract expressionist lithograph by w...

Original signed abstract screenprint, entitled "Seclusion" by Josef Albers for the limited edition "Washburn College Bible", 1979. Albers created this work as a frontispiece for Volu...

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...

Trish DeMasi Moderno wall installation, Architettura, 2021 Mixed glazed stoneware Measures: 4 x 40 x 60 in (6 panels 4 x 20 x 20 in each) Moderno collection. An exploration in ...

Michael Michaeledes was a self-taught painter raised in Egypt and Greece, studied art and architecture in Europe. His art is held in museums, foundations and private collections arou...

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...

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...

Mesmerizing in its Ethereal quality “Movement” is at once both minimal and elegant yet powerfully abstract Standard size: 35" x 54" (per panel) Frame finish: Black, white or silver

A large modern painting by Frank Rampolla.