20th Century Contemporary Art

Lovely pair of vintage 1970s pencil signed, limited edition arboreal prints. Arboreal because they’re all about trees… and leaves. This listing is for two pieces of art, one price. T...

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...

Beautiful Abstract work .Painted by the Dutch artist Fred van de Walle in 1965. Unique Original work . Signed and dated . small crack .see photos. Fred van de Walle born 1940 is a ...

Great wooden trade sign from a California farm. Giant peach with graphics on both sides. Sign reads 'Hamilton's Tree Ripened Peaches 1/2 Mile' on on...

A beautiful large scale work of art by Laddie John Dill. Work is composed of cement, glass, wood and pigment applied to canvas. Signed and dated verso. From the artist's website: La...

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"...

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...

Jim Dine "Two Boots" Silkscreen, 1968 Immerse yourself in the world of cutting-edge art with this magnificent "Two Boots" silkscreen by contemporary art trailblazer, Jim Dine. With ...

Lithograph signed and numbered "fish And pyramids" by Alexander Calder 1976 Edition of 150 copies Perfect condition

Large torn paper painting/collage similar to Arthur Secunda. Each color has been painted and torn then reconstructed to create a beautiful collage. Vibrant color and rich texture.

A bright and bold modern piece, this painting is a striking example of artist Clair Seglem's love for color. A pair of mannequins seemingly come to life w...

A terrific example of a two-paged screen print from Josef Alber's Formulation : Articulation, 1972. This example is Portfolio 1 from Folder 18, 1972. From an edition of 1000 prod...

Hand-dyed wool on cotton warp; A bold and expressive handwoven wool tapestry from the Zapotec weaving tradition of Teotitlán del Valle, Oaxaca. This pi...

Hand painted porcelain plates signed and numbered by well knowned Artists Manufactured by Charles Fields Haviland. Each work of Art sign...

The Protector by Roy Fairchild-Woodard is #161/385. c. 1994 It is a mixed-media print on canvas 28" by 35". Fairchild-Woodard was born in England in 1...

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...

Abstract Painting by Eugene Kloszewski, circa 1950s. Kloszewski worked with and was personal friends with Josef Albers. These works were purchased from Kloszewski's widow.

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...

Magnificent solid wood bas-relief Greco-Roman mythological scene, 20th c

Selection of Joan Miro color lithographs, France, circa 1960s. The lithograph on the left in the first photo has been sold. The other two are available. We purchased a group of these...

Moody and striking abstract painting with yellow circular element, random drips of paint and a marvelous color palette of olive green, light grey and charcoal.

Watercolor and ink depicting a boat marina with a few vessels moored on the sand covered with shore birds. Other vessels on the vivid blue waters with pastel structures in the backgr...

Magnificent 1984 signed Abstract Geometric Mixed Media large scale 2D origami folded paper wall art piece composed of purple, white, black, & gra...

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...

The book titled "Kai Kein Respect" accompanies the first major survey exhibition of Kai Althoff, one of the most compelling and original voices in Contempo...

Figura imposible 1973. Serigraph on paper. Year 1973. Edition: 184 / 300. Signed: José María Yturralde.

Tim Folzenlogen (American, b. 1952), "New Beginning", pastel drawing of New York streetscape, signed Tim Folzenlogen and dated '99 at lower right. A g...

Watercolor on paper depicting a colorful floral bouquet on a table top over-looking the water with a vessel and white structures in the background. Presented in a nickel frame, matte...

“Abstract Fables,” silkscreen by Henry Mark, American, 1953. Edition of 22, stamped with initials, and signed on verso.

"Tourbillion. 1979" lithograph in colors on wove paper by Ukrainian born French artist Sonia Delaunay ( 1885-1979 ). Signed in pencil lower right edge; numbered in pencil lower left....

"Amontonamiento 06" by Alejo Palacios (Argentina, 1989) is a striking contemporary artwork created in 2022 using acrylic on handmade paper. This original piece showcases Palacios' un...

We bought a large quantity of these very high quality cast plastic panels from a Swiss bank which was being totally refurbished. These panels were covering ...

BRUNO MUNARI 1907 - 1998 USELESS MACHINE, 1984 dedication, signature and date in pencil. total edition: 50 + XV copies. Plura Editions, Milan. BIBLIOGRAPHY: Alberto Fiz, Homage to ...

Original color lithograph 'La gardeuse de moutons' by Roger de la Fresnaye. Lithograph printed from an original painting made by the author in France, circa 1909. Published in ...

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...

Intrigue yourself with the captivating Parisian streetscape depicted in this original color lithograph by Armin Birkel, titled "Blue City". Hand-signed by the artist, this piece tran...

Humboldt County Line freeway sign from Northern California. Made in 1965. Great piece of Marijuana history as well as transportation Americana. 7 feet wid...

A stunning and rather rare diptych aboriginal painting by Kathleen Petyarre that depicts one of her most iconic subject. Each painting is 44" x 44". "Mountain Devil Lizard Arnkerrth...

Abstract painting by Miriam Kubach, American, signed and dated 1963. It is executed on paper and has been professionally framed under UV resistant glass in a clean lined black lacque...

Prominent 1980s reversible DINNER sign in a unique and bold blue base color with white font and borders. The reverse side features colorful flowers and the word "TEA" painted in maro...

Hugues Claude Pissarro (b. 1935) oil on canvas painting Le Bouquet Au Vase Bleu. Very fine impressionist oil on canvas by this highly sought aft...

A truly incredible work of art. This hanging sculpture is constructed of yarn-wrapped rope with incredible texture and color. Each unique element hangs at different lengths and hav...

Pop Art Pol Mara, mix-media on paper (pencil, aerograph, watercolor, pastel) framed.' Dimension for drawing only: 70 x 50cm, signed and dated '74. (there are reflections that are not...

Manuel Monton Bunuel (Spanish, b. 1940), a moody Winter street scene, oil on canvas, signed Bunuel lower right, An expressive contemporary oil pai...

Memphis and Maya come together to manifest the "Tex" Floor Lamp into existence. Made by Neophile and dated 1988. Eric Bergman and Gordon Naylor, Industrial Designers with backgroun...

Selma Daffre (b. 1951), Brazilian artist. Collography printing plate. "Linhas". Dated 1997. Visible dimensions: 22 x 17 cm. Total dimensions: 36...

This circa 1960s wall art depicts a bandage and is three-dimensional, not printed. Composed of a rubber, perforated "bandage" base and a centered square of what appears to be a cotton-linen blend "gauze" pad. The bandage is glued to paper, but with a slight ripple on one side, emphasizing the dimensionality. Obviously, it's perfect for a washroom, a medical office...

Vintage wooden Keep Off sign. Hand painted with red background and white lettering on thin wood board. Great colors and graphics. Great vintage condition. Coo...

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...

Archive Goya's etching "Tragala Perro" for Prado Museum in Madrid. In 1797-1799. In original condition, with minor wear consistent with age and use, p...

Superb acrylic wall hanging by Van Teal. Artist Orlando Acosta captures the 70s & 80s with great subject and movement. 3D affect with raised hood.

A complete set of “Three Aquatints” prints by Robert Mangold. Published by Parasol Press Ltd., on Rives BFK paper. Each signed, numbered and annotated A, B, C in pencil. Framed using...

Vibrant vintage print in bold greens in a graphic almost silhouette-like style. Gives Milton Avery vibes with a nod to pop art and Scandinavian...

For sale a fabulous Limited Edition signed print of "Bowie's Eye" by the legendary photographer RANKIN. Photographed in 1995 for "The Changing Faces of David Bowie" feature for Dazed & Confused Magazine, Issue 14. Edition 33/500. The print is framed and comes with a signed, numbered & stamped Certificate of Authenticity from Rankin, together with a signed, numbered & stamped sticky label which can be affixed to either the back of the print or the back of the frame. Description: “The chorus of “No Control”, one of the outstanding tracks for the new album Outside, co-produced by Brian Eno, echoes around the sparse, hangar-sized photographic studio. Heavy, black curtains...

Victor Vasarely Signed Sculpture "Linienspiel (Line Game)" Limited Edition Op Art Plexiglass Sculpture, 1981 Signed Lower Right, Numbered Lower Left 71/20. Acrylic Panels with line...

Tahiti : contemporary art in an age of uncertainty : Hirsch Farm Project / Mitchell Kane. The sixth annual book published by the Hirsch Farm Project, an arts-based think tank, addresses a variety of contemporary issues. The project which took place in April and July of 1996 gathered six artists to speculate on the notion of Tahiti as an allegory for contemporary uncertainties ranging from environmental havoc to oscillating geographical economies. Contributions by John Currin, Mariko Mori, Alexis Rockman...

Flowing in the Right Direction from Europaeische Graphik VII, 1971; lithograph printed in colours, signed and numbered 2/65 in pencil, printed by the Curwen Studio, published by Wolfgang Ketter, with their blindstamp. Note: For a similar example see Tate PO6459 Presented in a new hardwood ebonised box frame. About the artist: Peter Schmidt...

French Cubist Art Tapestry Needlepoint, Title " Musique Tropicale" Tropical Music by St Epin Paris Tapestries. Inspired by the work of kandinski, Picasso, Braque, Fernand Leger, and more French cubist and fauvisme artist. Handcrafted in a kaleidoscopic array of bright colors, tangerine, emerald green, yellow, purple, deep sky blue and black. This Cubist vintage needlework...

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

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...