Paintings

Circa mid 19th Century watercolor on paper. Clatworthy Church of St Mary Magdalene, Somerset England. Shows graveyard with iron mortsafe cages over g...

A refined Chinese export painting depicting ‘The Tea shop’ Canton, early 19th century Ink and watercolour on silk, H. 63.5 x W. 52.3 cm Framed in giltwood frame. ?The paintin...

Four Cornish luggers with a lighthouse on the horizon Oil on cardboard Characterful naive picture in the spirit of Alfred Wallis Measures: Board len...

Oil on panel, signed lower left and inscribed reverse. Provenance: Fay Gold Gallery b.1956 Scott Duce is an international artist working in New York. Duce’s work is included in many corporate, museum, and private collections. Notable collections include Random House, General Electric, IBM, Pfizer, Inc., Capital Holding Corporation, McGraw-Hill Corporation, Petroplus Holdings, Switzerland, Seagrams-Montreal, Canada, and the U.S. Embassy in Stockholm, Sweden. Among his awards and honors he received a National Endowment for the Arts/SECCA artist grant. Duce’s work has been exhibited throughout the United States, with several solo exhibitions in New York City, Chicago, Boston, Atlanta, and internationally in Paris, France; Florence, Italy; and Lima, Peru. He has had many commissioned works, including Bell South...

Maurice Campbell Taylor (b.1900) : Bedford Public Library 1955 Oil on artist's board Signed lower left Maurice Campbell-Taylor In original white painted frame Measures: length 69cm.,...

Very cool mid century vibrant turquoise acrylic on canvas painting in the style od Damien Hirst, 1970's, original brushed chrome frame.

Optical art acrylic on canvas "Triangles", stretched, wired and ready to hang Offered is an optical art acrylic painting on canvas titled "Triangles. The work is stretched, wired ...

The tea clipper Arctic Moon, an oil on canvas by British artist Henry Scott. Signed in the lower left. Provenance: MacConnall-Mason, London. The painting measures: 30" x 20" canvas a...

1979 Cui Tang Chiense / Korean painting on silk showing brightly colored male and female pheasants in front of a bush of pink and white peonies. 1 ?? huà tí Title of the Art 2 ?? (Korean) N/A 1. gold thread 2. marital relationship 3 ?????? ? yi jiu qi jiu nián dù zuò Work in the year of 1979 4&5 ?? cuì táng Cui Tang (?: green; ?:chamber) (artist’s pseudonym/esteemed name) This art was made in 1979...

This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into image. 16 plates traveled through Europe as part of a book tour. We are offering them in a limited edition printed on Aluminum in large format. This one is called A Fecund Moment showing the tie of Marcus Garvey...

Artist/ School: Norman A. Olley ( British, 20th Century, 1908-1996), 1995, signed to the front and inscribed verso Title - Bolton Castle, Yorkshire, England. Cattle grazing the fields below the 14th Century medieval...

This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into image. 16 plates...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move -- the plié -- and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered -- a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor -- a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum -- the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity -- movement directed inward to the core of one’s self -- a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions -- an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself -- the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to -- or moreso an extension of -- his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat-induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments -- moments that denote a certain frailty -- the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction -- and also the reverse of this -- a unique anthropomorphization of varying states of movement -- that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person -- one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s -- one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

Artist: Elisabeth Hahn (German 1924-2021), Elisabeth Hahn was born in Dortmund, Germany, where she began her artistic studies. In 1953, she moved to Paris. She continued her stud...

Oil on canvas, signed and dated lower left. B. 1941, British Born in the East coastal town of Bridlington in Yorkshire, England, and largely self-taught, Michael Whitehand is one of England’s top maritime artists. He has successfully exhibited his work internationally and his paintings are in important collections, like Britain’s recent Prime Minister, John Major...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

Artist/ School: Norman A. Olley ( British, 20th Century, 1908-1996), 1996, signed to the front and inscribed verso Title - Hampton Court Bridge from Cygnet Island, a London scene ...

Greek Architectura Oil on canvas Dimensions: 47.24’’ x 63’’ Signed and dated 2021. Vernon is a sculptor artist emerging from the French art scene. He began his training with the Fr...

Cubist artwork, acrylic on canvas, by F. Miller, 1998. Dimensions: W42.5” x D2” x H49”.

Artist/ School: Norman A. Olley ( British, 20th Century, 1908-1996), 1990, signed to the front and inscribed verso Title - "The Ploughman's Return", a rural scene of English worki...

This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into image. 16 plates...

Artist/ School: Norman A. Olley ( British, 20th Century, 1908-1996), 1991, signed to the front and inscribed verso Title - "Woodland Felicity" A pastoral scene of English parkland with deer resting on grass alongside a river, and a swan paddling close by. Medium: oil on canvas laid to board, unframed Painting : 9.75 x 8 inches Provenance: all the paintings we have by this artist have come from a private UK collection of this artists work. Condition: The painting is in overall very good and sound condition, please note the upper edge and left edge of the board are not cut quite straight. This would be disguised when framed. Artist: Norman Arthur Olley was born in 1908 to a British Army family stationed in Lucknow, Bengal India. His mother died there in 1911, and his father in 1936. Norman married in Gravesend Kent in 1937, and at the beginning of the war in 1939 he was an aircraft sheet metal worker. He and his wife to Surrey in the late 1940's -early 1950's where he was a long term member of the Thames Valley Arts Club and where he regularly exhibited his work. In 1951 his painting "View from Richmond Park" was held in high regard at a very well attended exhibition in Esher, Surrey. The East Molesey area was one of his favourite areas to paint, a 1953 Art...

A pair of portrait paintings or illustrations by artist Peter Keil. Each piece is created on a separate piece of drawing paper. In black, eac...

Fantastic 19th century oil on canvas featuring a fisherman's bounty of fish, crustaceans and squid. Wonderful colors. Signed L. Cros.

Artist/ School: Norman A. Olley ( British, 20th Century, 1908-1996), undated, signed to the front and inscribed verso Title - Cornish Haybarn at Treglith Farm near Launceston in C...

Artist/ School: Norman A. Olley ( British, 20th Century, 1908-1996), 1995, signed to the front and inscribed verso Title - "Springtime Rendezvous by a Murmuring Stream". Charming image of a village lane with a figure walking his dog, and another relaxing on the stone wall watching...

A beautiful watercolor of a church interior. Trimmed corners Inscribed Malta on the page of the album it came from Fabulous quality. Lovely bright colours. Not faded at all. By Edwin...

Artist/ School: Norman A. Olley ( British, 20th Century, 1908-1996), 1991, signed to the front and inscribed verso Title - Solitary Angler on the River Thames at Teddington near L...

Artist: Elisabeth Hahn (German 1924-2021), Elisabeth Hahn was born in Dortmund, Germany, where she began her artistic studies. In 1953, she moved to Paris. She continued her stud...

A beautiful original oil on canvas painting by German-born American artist Helen Allois (who artistically simply goes by Allois). This work titled "Disapp...

This Plate comes from the book On The Rock Published by Montez press in 2016. The plates are a collaboration between the founders of Figure Ground on how to interrogate text into ima...

Artist/ School: Norman A. Olley ( British, 20th Century, 1908-1996), undated, signed to the front and inscribed verso Title - Yew Tree Cottage at Wrotham Hill in Kent, England A del...

Artist/ School: Norman A. Olley ( British, 20th Century, 1908-1996), c.1990, signed to the front and inscribed verso Title - Chalk Church from Fulborough Marshes near Gravesend, K...

Mid-Century Modern harbor painting signed, “LeMark.” The painting deviates from others of the period with it’s bright aqua blue, yellow, green and white palette. Earth tones are abundant in Mid-Century Modern paintings. Here we have something light and bright to illuminate your space. The harbor scene is rendered with broad, painterly strokes. These dynamic brush marks are borrowed from the Abstract Expressionist aesthetic prevalent at the time. This painting will be right at home in coastal locations with it’s sailboat set...

Lovely large square oil on canvas painting of foxglove flowers with a blurry ethereal background and lovely color palette of acid greens, blues and white. Signed lower right, H Simpson...

European, Contemporary Abstract Painting by René Roche on Canvas, Late 20th Century; France; Painting by René Roche, 1979, contemporary painting, post-w...

Artist/ School: Norman A. Olley ( British, 20th Century, 1908-1996), 1994, signed to the front and inscribed verso Title - "Imelda" Girl with Auburn Hair at All Saints Church...

Artist/ School: Norman A. Olley ( British, 20th Century, 1908-1996), 1992, signed to the front and inscribed verso Title - Boys Fishing a Stream near Upnor in Kent. Lovely pastora...

Square abstract painting by listed artist Eva Cellini. Born in 1925, passing away in 2017. Please confirm location.

Leon Hatot (French 1883-1953) French Impressionist oil painting on thick paper, unframed. painting: 13 x 19.75 inches. very good and ready to be enjoyed. all the paintings we have f...

Oil on canva Polo Game by Pierre Bosco (1909-1993)- Circa 1960 Signed lower right Pierre Bosco, born January 29, 1909 in Visco, in the province of Udine, and died March 3, 1993 in Vernouillet, was an Italian painter and lithographer. He is best known in the 1970s as the painter of sport and horse racing. In the 1950s, he began to achieve greater success by participating in an exhibition at the Museum of Modern Art in Paris, where his paintings received praise. The following year, he exhibited fifty paintings at the Galerie du Hérisson in front of an enthusiastic public. The French press associates paintings from this period with "bewitching magic", and according to the poet Guy Lavaud, "Bosco is a powerful painter and a visionary." For three consecutive years, the painter was selected for the prestigious prize of the Musée des Arts Décoratifs in Paris. 1956, Bosco signs a fifteen-year contract with the famous Galerie de l'Elysée in Paris for an exclusive representation. At this stage of his career, Pierre Bosco has reached a maturity appreciated by art connoisseurs as well as by the press which is unanimous in praising his "dazzling visions"; Le Figaro considers him "as one of the greatest painters of his generation" and the New York Herald sees him as "the last Picasso in perspective, and very fashionable" (May 14, 1957). In 1964, he exhibited at the Max Bodner Gallery in New York Pierre Bosco occupies a privileged place among American and European collectors, particularly in France and Italy, but also in Scandinavian countries. Many Hollywood celebrities such as Kirk Douglas, Robert Mitchum, Jack...

Untitled, mix media, 1968 Additional information: Style: mixed media Label to verso Dimensions: 23 x 28 cm This work has been part of a private collec...

Harry Newman's Derelict cottages, Stagsden 1986 Watercolour, ink, crayon, gouache Signed lower right : Clifford Knight 1986 label verso : Ghosts & Silent Witness Exhibition, North...

This colorful painting depicts an abstracted portrait in bright colors, and is framed with a glass cover. Please confirm item location with seller (NY/NJ).

Antique Italian painting from the 18th century. Work oil on canvas depicting a river landscape with characters and ruins of good pictorial quality. Wooden frame of the 20th century c...

Artist/ School: Norman A. Olley ( British, 20th Century, 1908-1996), 1989, signed to the front and inscribed verso Title - Cloister Garth of Rochester Cathedral in Kent. This is p...

Artist/ School: Norman A. Olley ( British, 20th Century, 1908-1996), undated, signed to the front and inscribed verso Title - By the River Mole, East Molesey, Surrey, England Figure...

Jason Woodside (American, b. 1982) acrylic and aerosol on canvas abstract trompe l'oeil painting of colorful contrasting patterns within concentric circ...

Artist/ School: Norman A. Olley ( British, 20th Century, 1908-1996), 1996, signed to the front and inscribed verso Title - Bronze Statue of Mary and ...

Set of four Japanese reverse paintings.

Painting by Svetlin Roussev, female nude, mixing technique on canvas. The painting shows a female nude in monochrome colors. It is unframed and signed on the back. Svetlin Roussev is a Bulgarian artist, politician, collector of works of art, academician of the Academy of Sciences. He was born June 14, 1933 in Varbitza, Pleven District. He graduated in painting from Prof. Dechko Uzunov in 1959. In 1977 he became a professor. He was President of the Union of Bulgarian Artists...

Artist/ School: Norman A. Olley ( British, 20th Century, 1908-1996), dated 1995, signed to the front and inscribed verso Title - Cottage by the River...

Marc Chagall Vers la autre Clarte Towards Another Light Lithograph Ltd Ed w/ COA Marc Chagall Color Lithograph, Vers la autre Clarte Towards Another Light. Lithograph on Arches pa...

Psychedelic kaleidoscope of vibrant color and imagery. Done in the style of renown psychedelic 60s artist, Phillip Schreibman. Highly saturated reds and blues on a turquoise backgrou...

Incredible original signed painting in golden frame. Subject is a group of people dancing and playing.  

Artist/ School: Norman A. Olley ( British, 20th Century, 1908-1996), 1995, signed to the front and inscribed verso Title - Misty Morning, River Medway, Kent. Finely detailed maritime scene...

"Paysage 1963" by Bernard Dufour (Venice Biennale), oil on canvas, 1963 This work by Bernard Dufour was presented at the Venice Biennale in 1964. Bern...

An important acrylic/canvas painting from Fukui's early work approximating minimal forms within a square format. In a way these impacting 'Logos' (if you will) are at a juncture betw...