Paintings

A nice abstract of people. Great look.

Bullfighting poster, Inauguration of the San Sebastian bullring. Oil on canvas. PÉREZ SAAVEDRA, Manuel (doc. Circa 1903). 1903. Original poster for a bullfighting event for the open...

Very rare Carlo of Hollywood Mid-Century watercolor painting featuring a full jazz band with an array of musical instruments and scrolling music notes. The painting comes in the orig...

A moody piece of art. Great composition.

"Henderson Bridge" is a captivating abstract painting from the 1950s that invites viewers into a serene landscape where nature and structure harmoniously coexist. The artist employs ...

Artist: Orval Hempler Untitled (dress) Watercolor on paper Signed to the lower right Measurements: 19.50 inches wide x 26 inches high x 0.1 inches...

Scandinavian modernist. Oil on canvas. Abstract female portrait. Dated 1950. The canvas measures: 43 x 29 cm. The frame measures: 8 cm. In exc...

This oil on canvas is signed and dated in the lower right and measures 32.5" x 37" including the frame. The scene depicts a young lady playing her guitar by the light of the fire. ...

Hashimoto Dokuzan was a leading figure in early twentieth-century Zen Buddhism, serving as abbot of the major monastery Shōkokuji in the city of Kyoto and served as chief, kanchō, of the Shōkokuji branch of the Rinzai sect of Zen from 1909 to 1933. Before he entered the priesthood, he trained to be a painter under the celebrated literati artist Tomioka Tessai and continued to paint throughout his life. The present worked shows a lone Chinese man in a deep woods, leaning over the railing of a stone bridge to gaze at rushing stream below—a scene of communion with nature that East Asian painters...

[Authentic Artwork] ◆ Bisen Fukuda ◆ Chinese Landscape ◆ Lake Dongting ◆ Illustration of the Great Dongting ◆ Box ◆ Handpainted ◆ Paper ◆ Hanging Scroll ◆ Explore the artistic world...

Enamel on copper artwork 1950s Striking Female Backside Nude Enamel Art on Copper bold blue green color unsigned attributed style of Studio Del Campo ...

Beautiful limited edition lithograph on paper by Bernard Buffet done in the 1950's. The piece is in excellent condition signed and dated. 29 1/2" high x 24 1/2" wide If you are ...

Great Italian painting from the mid-20th century. Oil on board artwork depicting a mountain landscape with river and impressionist-style houses. Painting of exceptional size adorned ...

A large and bold depiction of the fate of Prometheus, suffering for his gift of fire to the world, was painted by Richard Schwarzkopf, renowned for his paintings and illustrations in what has been called the German Expressionist Art...

Lovely original oil on 16 x 20 canvas by American artist Helen Ferne Slimp (1890-1995) having horn shaped vase with cascading white dogwoods. The Belgian ornate lemon gilt frame...

Peter Robert Keil was born to an artist blacksmith father whom he lost very early in his childhood during the Second World War. During the end phase of the war, Keil's mother, also an artistically talented woman, took her son and struggled her way to West Berlin...

This cheerful and bright coloured kitchen still life has been painted in the mid-20th century. It was painted with oil paints on to canvas. We see a petroleum lamp, a wine bottle, a ...

Jean Nerfin Oil on Canvas Canadian, born 1922 Landscape in the Mid-Century Modern Paris School style. Painting in nice original condition! Signed and dated bottom right corner.

During the early 1950s Guy Bourdin had established himself as an artist with the eye of a painter, working primarily on paper Bourdin created images containing fascinating stories and compositions. His early experimental work bridges the gap between Surrealism and his later photography which at the time was still in its infancy. This early cat drawing...

This original framed group of cubist clowns is signed in the lower left and dated 1957. Extremely expressive and fun.

1950s Oil Painting on Board of Chickens. Signed Dimensions of the painting: 23x29cm

Painting by Swedish artist Tore Nyberg. Oil on canvas made in 1957. Signed and dated. Good condition with sign of age related wear. Tore Nyberg, 1911-1993, was a Swedish artist. B...

The painting "Ships on the high seas". Origin : Denmark, mid XX century - 1957 Paintor : signed Dimensions: Frame: height 79 cm / width 108 cm Image: height 66 cm / width 95 cm

Beautiful midcentury painting. A very decorative color collage of flowers. The painting is signed PL and named Monachez. The painting has a red original frame. The painting has a wa...

Large Impasto Landscape Painting on Board. Housed in a white washed wooden frame.

Victorian style miniature from the 1800s. Imagine entering a room where time has stopped, where every detail tells stories of a bygone era, made of elegance, mystery and timeless cha...

Walt Killam, large oil on Masonite, 1955 (1907-1979), Abstract Landscape, signed and dated lower right, 44"h x 37"w 52"h x 44"w (framed) Walt Killam was born in Providence, Rhode...

Spectacular melancholic antique winter scape with hare oil on canvas large painting. Signed in cirillyc lower right/ probably White Russian emegrant artist.

A gorgeous very large floral still-life with striking black background and roses that practically pop off the canvas. Frame is equally impressive. Signed lower right, R. L. Bryant 18...

Oil Painting by Gloria Dudfield (1922 - 2015) from the Oakland Art Museum California Painters' Annual 1959. Painting measures 62.75" wide, 1.75" deep and 69.75" high. Gloria Dudfi...

Henry Maurice D'Anty (1910-1998). Swedish/French artist. Oil on canvas. Depiction of a clown and horse-drawn carriage. Bold brushstrokes. Coloristic palette. Fauvist style. 1959-1960...

Our magnificent oil on canvas by John Henry Frederick Bacon, A.R.A. (1868-1914), entitled The Golden Butterfly, depicts the family of John and Julietta Boyd-Harvey at Tondu House in South Wales in 1907. It was exhibited at the Royal Academy in London in 1907, no. 572. This very large painting depicts the Boyd-Harvey family on the lawn of Tondu House in South Wales, with the mountain and valley of Tondu in the background. John Bacon...

Beautiful framed wooden canvas from the end of the 19th century. The reference narrative is the one found in the Acts of the Apostles (Acts 2:14-42) in which Saint Peter starts pre...

ORIGINAL OIL ON CANVAS PAINTING Titled 'Nature Morte L'Hiver' which translates to English as Winter Still Life, depicting winter vegetables including potatoes, onions and a leek rea...

Technical Sheet Title: "Portrait of a Woman on a Colorful Background" Author: M. Domínguez (Spanish School) Date: 1954 Technique: Oil on canvas Dimensions: 61 x 50 cm Style: Express...

France / 1900 / Painting / canvas, oak / art / antique A beautiful reproduction of Paul Louis Narcisse Grolleron’s “Soldier Carrying a Wounded Soldier, 1898. The artist employs a ri...

Oil painting on canvas painted by Jan van Rijsewijk (Dutch, 1928-1987). The painting is a Dutch village street and signed by Rijsewijk lower right. Nicely framed in gold painted woo...

Painting on wood by Wilder Bentley dated 1959 titled Inyo VII, Chrysopylae. Painting measure 60.75" wide, 15.5" high and 1" deep.

Pair of Modernist Expressionist acrylic on canvas abstract landscape with a silhouette of a person standing in a sea made of geometric-shaped buildings signed "Carlo" for Carlo of Ho...

Original artwork by the master. It is in as-found poor condition. It will be shipped in a tube without glass or framing. Pencil signed with information on backing paper, crayon numb...

Watercolor on paper of a majestic view of the mountains signed Harold Broadfield Warren. He is a well listed landscape artist who lived from 1859 to 1934. He was born in Manchester, ...

A large French painting, featuring motifs from the Kabbalah, the dualism of yin and yang, as well as themes of seasons and the cycles of life. Dating back to the 1950s, it is a work ...

Guido Borgianni was born in New York on June 11, 1915, to Florentine Roberto Borgianni, a leather merchant, and Sara Herreshoff, who belonged to one of the wealthiest families in the United States and became a legend in the construction of the racing boats that also participated in and won the America's Cup. Guido was not even a year old when, once his parents' marriage had foundered, his father brought him back to Florence. Of Guido Borgianni's extraordinary gifts as a draftsman and painter, Galileo Chini, his neighbor, noticed, and he worked to see that talent refined. Thus Borgianni attended the Academy of Fine Arts under Felice Carena, a strict teacher but one who knew how to appreciate the qualities of his pupils. In the first part of his life he signed his works in black. Then, when he became a pointillist, he began to use red. Among his great admirers were Alessandro Parronchi and Oskar Kokoschka, who was captivated by Borgianni's paintings during his Florentine stay in 1949. Soffici, Saetti, Malaparte, Montale, Pratolini, and Cesare Zavattini, the screenwriter of Vittorio De Sica and Italian neorealism, all liked him very much, finding him "as beautiful as a Corot." In 1946 he exhibited at the Quadriennale in Rome. After his marriage to Simonetta Avila in 1954, his activities were enlivened by travel: in 1955 to Venice, in 1957 to Paris, from 1958 to 1962 around Italy, in 1964 to Spain, in 1971 to New York and Barbados Islands. In 1950 he was awarded a prize at the Mostra Nazionale del Fiorino in Florence, and in 1956 he was appointed Academician of the Accademia delle Arti del Disegno in Florence. In 1957 he was awarded First Prize at the Portrait Exhibition at Dante's House in Florence. Upon his death, deep condolences were expressed by the president of the Florence City...

Vintage Colorful Acrylic Hand Painted Scene of Koi Fish. Framed and Matte.

Expressionist nude oil painting on canvas by western PA artist Robert J. Cronauer (1916-1995). Cronauer graduated Indiana University of Pennsylvania in 1937, earned his master's degr...

Original oil on canvas painting by the very talented French artist Charles Henri Franzini d’Issoncourt who won an award in Paris at the Universal Exposition in 1900 for his artwork. ...

Morris Shulman (American, 1912-1978) A painting on board depicting nesting cormorants, circa 1950. 18 ¼ by 30 inches

One of the strongest Mid-Century portraits we have seen, this depiction of a young man in a vivid, emerald-green sweater was painted by Paul Zimmerman, an important artist who grew u...

New England Summer Home Painting. Classic Americana of a cape house in the summer. Oil on canvas house in a very thick, solid wooden frame.

Le Shoppe Too in Michigan is offering a mid century modern textured painting with impasto technique on board by Van Hoople. Circa late 1950s ...

Beautiful floral still life, abstract mid-century painting by Bea Van Wye 1959, in an antique hand carved frame.

Striking framed oil painting on panel of a bunch of aster flowers in a jug set in front of a large cheval mirror. painted towards the end of his career by swedish artist Zilo known f...

1950s Le Goullon oil on board of clown.

Cityscape oil on canvas painting by James Coignard, France (1925-2008). Signed and framed. Early period. Canvas size 28.5" x 23.5. Size with frame 35" x 30".

Italian Artist - 50's Painting - Modern Italian Artwork Painting Gian Cesare Battaini the small canvas framed into the larger frame measure 20 cm x 15 cm Giancesare Battaini (Mila...

This is a master abstract oil painting by the well known artist Nathan Oliveira . This work was originally purchased by the original owner Joyce Freedman in Bel Air , California from...

A scintillating period Abstract Expressionist oil painting on masonite. A finely rendered piece that reveals a highly worked surface of the medium with brush stroke and palette knife...

Artist: Rolph Scarletti (Canadian, 1889 – 1984) Object: Modernist Abstract Composition Period: Ca. 1950’s Medium: Guache on paper, framed Dimensions (unframed): Height: 9-1/3” Width: 12” Dimensions (framed): Height: 22-3/4”” Width: 25-3/4” Rolph Scarlett (Canadian, 1889 – 1984) was a consummate explorer of twentieth-century abstract painting. Never afraid of trying new styles, curious and opinionated, constantly engaged with the world around him while steadfastly aware that he was on his own path and his alone, Scarlett more than once proved to be at the artistic zeitgeist of the eras in which he lived. Exposed very early on to the work of Paul Klee through a chance meeting in Europe with the artist himself, Scarlett took up abstraction with a fervor that never diminished during his long and impressive career. To create something that had never existed before: this was Scarlett’s great cause. And that is what is most obvious when you look at Scarlett’s work—you have never seen anything quite like it. Scarlett was Canadian-born, came of age in the Midwest, and spent few important years in Hollywood, where he designed stage sets. His work from this early period echoes Klee’s use of color, his confidence in naïve, primitive forms, and his blend of abstraction and figuration. In its flat spatial qualities it prefigures the Indian Space painting of the 1940s by a decade. He moved to New York in 1933 and eventually found his first great patron at the Museum of Non-Objective Painting, directed by Baroness Hilla Rebay and art patron Solomon R. Guggenheim. Guggenheim would collect over 60 works by Scarlett for his collection, more than any other artist outside of Vasily Kandinsky and Rudolf Bauer. As a frequent exhibitor and lecturer at the Museum of Non-Objective Painting (MNOP), Scarlett honed his sensitive feel for bodies in space and capitalized on his trademark use of bright, vivacious colors into accomplished, perfectly harmonized geometric works. However, Scarlett soon morphed these hard-edged forms into a nuanced expressionistic abstraction which, at its best, seems to be populated by dancing forms that animate the canvases. Along this way he was advised by Rudolf Bauer, the German expatriate and one of the originators of non-objective painting in the teens. Bauer had the idea for the Museum, and Rebay, his champion, had found in Solomon Guggenheim a patron for manifesting it. When Bauer emigrated just before World War II, he wanted to meet Scarlett. The two became friends, and Bauer advised Scarlett on his work over the course of many years. Even in a 1979 interview, Scarlett began to tear up as he recalled his first meeting with Bauer, a man whose work he "worshipped," describing that, "It was a touching moment for me, I’ll tell you." Scarlett and Rebay also had a close, important relationship, one in which he bore the brunt of her sometimes condescending, if motherly, critiques and admonitions with tolerance and gratefulness. Eventually, though, he had to push back. In a letter from 1951 he writes, "I have noticed with growing amazement that during the past three years you have accepted less and less of my work—and, that same work, which you rejected has been accepted and shown in the best and largest shows all over this country." This period—the late 1940s to the early 1950s—did in fact correspond to Scarlett’s most critical success, and to a return to the fanciful forms and characters of his pre-war work. At the same time, he found his own rhythm and complexity using a drip style similar to, though denser and more opaque than, the one made famous by Jackson Pollock, who had worked for many years at the MNOP and with whom he shared common influences. In 1949 he had a very well received solo show in 1949 at the Jacques Seligmann Gallery, reviewed very favorably in The New York Times: "The impression made by these paintings is one of originality and strength." He was also included in a juried show "American Painting Today" at the Metropolitan Museum of Art in 1950 and in the Whitney Annual of 1951. The curator for the Whitney show in fact bypassed a selection of Scarlett’s careful geometrics in favor of a new "lyrical" drip painting—one which he describes as having had "a helluva good time" making. Rebay articulated her loss of control over Scarlett very keenly in one of her last official letters to him: "So your way ended in the horrid jungle it is in now; even a Mr. Pollock’s smearage was not bad enough for you to have a try at; and betraying yourself, you betrayed art and my faith in you, and my present disgrace by my failure to foresee such an outrageous possibility—since you even paint objectively now." Yet, despite the fact that he was moving in his own direction when the change in leadership took place at the Museum of Non-Objective Painting and Rebay was forced out as director, Scarlett was hit hard. He understood this change rightly as a betrayal by the establishment. Scarlett was a unique individual and soul, and was affected personally and philosophically by the idea that the movement with which Scarlett had aligned his talents seemed to disappear overnight, and his life’s work rendered valueless. Without the Museum’s support, Scarlett decided eventually to move to the artists’ community of Shady, New York, just outside of Woodstock. He had occasional shows throughout the years, but mostly settled down to regional obscurity. He began making jewelry, which had been his first trade, and it was following a show of his jewelry in 1975 at the Jaro Gallery, that he was rediscovered by Samuel Esses, and his wife Sandy. Samuel Esses was a successful businessman and an avid collector. He always sought out that which was unusual and, like Scarlett, was ahead of his time in many ways. For example, in 1979, Sam became enthralled with the early graffiti appearing on the New York subway trains. With the sole goal of preserving these groundbreaking yet short lived works of art he was inspired to create "The Esses Studio," a painting warehouse and workshop for graffiti artists to work in a studio, collaborate, and paint on canvas. The biggest names of graffiti writing participated—Futura, Crash, Dondi, Zephyr, and Daze to name a few. The project was well received and provided critical validation at an important time for this alternative form of abstraction to be recognized by the established art world. The success of the "Esses Studio" helped fuel an alternative fire that would propel gallerists and curators to acknowledge other street artists and provide a foundation of acceptance for the early careers of Keith Haring and Jean-Michel Basquiat. It is not a stretch to say that what Esses saw in the graffiti art of the 1970s was very similar to what he saw in 1950s-era Scarletts—something raw, honest, and melding many twentieth century influences into one unique form. Inspired by the importance of the collection and the passion of the collector, Weinstein Gallery...