Paintings

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

Oil painting on artist board - portrait of a bare chested young man in forest - set in a contemporary silver leaf wood frame. Signed bottom right corner - A. Fein '52. Framed measure...

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...

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...

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.

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 ...

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...

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...

Mid century 1950s framed German pastel painting of a hilly landscape by a river centered on a stone castle or chateau and farmhouse. Purchased in the 50s in Frankfurt. Measures: 3...

Brilliantly painted in tones of blue, green and warm brown, this fractured view of a church and palm trees along the Mediterranean, the building's tower and apse depicted in a golden...

A wonderful, highly engaging large original abstract female nude pastel painting/drawing by Swiss/ American/ Californian painter-artist Hans Burkhardt. This work, titled "Seated Female" is hand-signed and dated (1958) by the artist. An original, one-of-a-kind, and unusually large work by Burkhardt. Would be the crown jewel to any collection of his work or a stunning stand-alone art accent piece in about any setting. His earlier abstract female forms are becoming rare and harder to find. Hans Burkhardt was born in 1904 in Basel, Switzerland. At the age of 20, he immigrated to New York to work with his father. From 1925 to 1928 he attended the Cooper Union School of the Arts, where he befriended mentor Arshile Gorky and Willem de Kooning—sharing Gorky's studio from 1928 to 1937. In 1937 he moved to Los Angeles, California. Burkhardt held his first solo exhibition in 1939 at Stendahl Gallery in Los Angeles. In 1945 he had a highly acclaimed solo exhibition at the Los Angeles County Museum. Burkhardt spent most of the 1950s working in Mexico. Art critics of the time considered him a "great Mexican master” alongside Orozco, Rivera, and Siqueiros, and Rufino Tamayo admired his work. He returned to Los Angeles in the 1960s to create some of the most powerful examples of Abstract Expressionism of the time. During this time he also became well known for his richly drawn pastel abstractions of the human figure of which this original work certainly qualifies. He died in Los Angeles in 1994. Burkhardt's solo shows include: 1939: Stendahl Gallery, Los Angeles, March 27 – April 17 1945: Hans Burkhardt, Los Angeles County Museum of Art 1951: Museo de Bellas Artes, Guadalajara, Mexico: Exhibicion de Pinturas Modernas; Comara Gallery, Los Angeles 1953: Fisher Gallery, University of Southern California, Los Angeles 1957: Pasadena Art Museum, California: Ten Year Retrospective, June 14 – July 14; 1961-62: Thirty Year Retrospective (traveled to Santa Barbara Museum of Art, April 11 – May 7, 1961, Los Angeles Municipal Art Gallery, January 9 – February 4, 1962, Legion of Honor (museum), San Francisco, June 10 – July 9, 1962) 1968: San Diego Museum of Art: Vietnam Paintings...

A beautiful painting by Leonard Maurer (1912-1976), titled "Winter Garden #2", 1959. A captivating landscape in a loose, expressive style, masterfully d...

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...

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...

Love this painting. The original "The smiling boy" by Frans Hals, 17th century. This Delfs blue tile panel image is hand painted by Nico Koelewijn in the 19...

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 where they settled. This is where Peter Robert Keil grew up in the working-class neighborhood of Berlin-Wedding and where he discovered his interest in painting – particularly in expressionistic artists and in Pablo Picasso's work. From 1954 on, the East Berlin-based painter Otto Nagel became his mentor and taught him first craft skills and painting techniques. In 1954, he began his traineeship as an artist metal worker and between 1959 and 1961, he studied at the University of Arts in Berlin. When the Berlin Wall was built, he lost contact with his mentor Otto Nagel and from the early 60s on, Keil started to spend more and more time abroad. During his studies at the University of Arts in Berlin, he came in contact with numerous other artists who later became influential artists of their generation, like for example Georg Baselitz, Eugen Schönebeck, Markus Lüpertz and Joachim Schmettau. During his time in Mallorca, he also met with Joan Miró in his studio several times. From the early 60s on, Keil established studios in Paris, London, Berlin and in the US. Today he mainly lives and works in Zimmerau (Bavaria, Germany), Berlin and Los Angeles. This painting is painted on newspaper. It was painted in Palma Mallorca...

Colorful gouache painting by Mexican artist Jose Maria de Servin circa 1950s A modernist folk art piece in bold and vibrant colors with m...

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...

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

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...

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...

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...

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...

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...

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

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...

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

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 ...

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...

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...

Vividly painted in tones of turquoise, canary yellow and warm brown, this extraordinary depiction of a slender Black male nude holding an umbrella -- in our opinion a Mid-Century Mod...

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...

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...

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...

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...

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.

Shipping off the coast by English artist Thomas Luny. Oil on canvas signed and dated 35' in the lower left. Nice period and possibly original frame. Thomas Luny (1759–1837), born in Cornwall, probably at St Ewe, was an English artist and painter, mostly of seascapes and other marine-based works. At the age of eleven, Luny left Cornwall to live in London. There he became the apprentice of Francis Holman, a marine painter who would have a great and long lasting artistic influence on Luny: Luny remained until 1780 in Holman's London studio, which, was first situated in Broad Street, St. George's, and later relocated to Old Gravel Lane. Examples of his work are exhibited at the National Maritime Museum at Greenwich, in the Royal Albert Memorial Museum in Exeter, and at The Mariners' Museum in Newport...

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

Abstract oil (16" x 20") by Norman Gorbaty (b. 1932), circa late 1950s. Gorbaty was a young artist in his 1920s when his work was included in a 1954 show of American printmakers at t...

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

1950s Le Goullon oil on board of clown.

A neapolitan gouache depicting a Vesuvius eruption, circa 1840. Inscription on frame verso detailing provenance from Collins family of New York: "Charles Bush Collins bought this pi...

Ingvar Engdahl (1928-1992), listed Swedish artist. Oil on canvas. Abstract composition. Dated 1958-59. In excellent condition. Would benefit from cleaning. Canvas dimensions: 73.5 c...

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

In our opinion, the masterpiece of Marcel Delmotte's long artistic career, this highly-finished surreal painting depicts four semi-nude female figures, one very pale and ghostly in t...

The caption of this charming pen and ink, watercolor and gouache vignette reads "A troupe of Eastern Entertainers taken from diary of G. Copeland 1830." Perhaps a rememberance from...

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...

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...

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...

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".

A large painting by Thurman Nicholson.

A 1950s beat generation urban portrait of a man in a fedora, resembling the author William S. Burroughs. An audacious palette depicting the neon soaked...

Stunning watercolor "Bouquet of Peonies" executed by Madeleine Renaud in the 1950s,the author demonstrates great skill in the use of colors, the various shades of blue purple and gre...

Although she is famous for her genre scenes such as "Bleeker Street Fire Hydrant" and "New Year's Eve in Greenwich Village," Kyra Markham began her career...

Really impressive oil on canvas painting by the great modern Italian artist Umberto Carabella (Paliano, Frosinone 1912-1956). This is an intense portrait of the great football player Giancarlo 'Carlo' Galli, known as 'Testina d'oro' (Golden Head) for his skill in the head game. Period 1950s This painting, never before on the market, comes from a private collection. Every item of our Gallery, upon request, is accompanied by a certificate of authenticity issued by Sabrina Egidi official Expert in Italian furniture for the Chamber of Commerce of Rome and for the Rome Civil Courts. After his football training at Montecatini, Carlo Galli's competitive career remained inextricably linked to that of coach Giuseppe Gipo Viani. He met the future coach of the national team in Lucca in 1949 and in the summer of that year, when Viani moved to the Palermo bench, Galli was signed by the Rosanerodal from Cascina. Despite his stature, however, he was gifted in the aerial game and here Viani's contribution was decisive. He succeeded in making him a centre forward who made the most of his characteristics, so much so that he was nicknamed the golden head, and on 8 December 1949 came his Serie A debut. On 18 December (Palermo Lazio 2-1) he scored his first Serie A goal. He ended his first season in the top division with 8 goals. On 5 November 1950 (Palermo Pro Patria 8-0) he scored four...

Abstract geometric Cubist oil painting on canvas housed in elaborately molded gilded wood frame. The piece features a pattern of opposing diagonal lines that create a triangular frac...

A beautiful oil on canvas painting by Harriet Rosendale, ca' 1950's, depicting a farmhouse in abstracted, impressionist style. Harriet Rosendale was a well-known and well-listed Ccon...

Stunning oil painting of remarkable size and truly decorative,the painting captures the serene atmosphere of an unspoiled countryside.A river gently crosses the landscape ,an ancient...