Paintings

American Art Deco (1928) vertical painted velvet wall hanging of Persian lady with 2 urns (attributed to GRANT SIMON).

William Scharff, painting. "Nude Woman". Modernist painting, Danish art. Signed. Measurements without frame/with frame (cm): H 63/75, W 52/63.  

One of the most brilliantly painted, high style Art Deco paintings we have ever offered, this vivid depiction of three nude mermaids, amidst a tangle of seaweed, rising bubbles and f...

Vintage modern abstract by Linda T Fink, 1961 Oil on canvas Signed upper right corner "Fink '61" A fine example of a exhibited regional American school modern painter, beautiful colo...

Modernist portrait painting titled 'Portrait of a Lady', attributed to Hungarian modernist painter Hugo Scheiber (1873 - 1950). The piece ...

"Memorie" #14033, mixed media on paper depicting some of his favorite subjects - his dog, his mother, his farm, his chicken. Gallery framed in matte white wood frame, live image measures 37 x 28.5 inches. Gianfranco Asveri was born in Fiorenzuola D’Arda, Italy, in 1948. The artist lives and works at Gasperini on the hills between Parma and Piacenza with his beloved dogs. He began to paint in 1969. His first work was merely figurative. In the 1980s he moved closer to the “Art Brut” style. Renowned in Italy, Asveri has just finished a solo exhibition in Genoa at the Medioeval “Commenda” and will be presented in Paris next February during the Contemporary Art Fair in Port de Versailles. Recently, the newspaper “Il Sole 24 Ore” (The Italian Economic newspaper) included Asveri among the artists to watch in terms of investment in the Italian Art Market. An appreciable number of famous critics have written essays about his works: Paolo Bledinger, Luca Beatrice, Flaminio Gualdoni and Martina Corgnati. Most important exhibitions: 2016 – Sogni dipinti, Galleria Rotaross, Novara. – Lo sguardo nascosto, Galleria Biffi Arte, Piacenza. 2015 – Abracadabra, Galleria Leonardus, Sestri Levante...

Depicting a Salome who is both ravishing and terrifying, with her auburn tresses rising up as if on fire, this remarkable work was painted by Dunbar Beck, famed for his WPA and New Y...

This work is signed, dated and titled "PLUM 2017 Cliffs by the Beach” verso of the canvas and signed PLUM on recto; canvas size - 11" high x 14” wide x.50" profile; framed size- 13” ...

Medium: Paint on Aluminum with lacquer in wood frame Title: Woman Focused Artist: Marie-Josée Roy (Canadian) Measurement: 26.5"w x 50.5"h x 1.75"d Marie-Josée Roy Born and working i...

"Sem Titulo" gouache on paper. Illustrated Barsotti book page 146 Hércules Rubens Barsotti (born July 20, 1914 – December 21, 2010) was a Brazilian painter, graphic designer, s...

Large Art Deco painting signed Gueret. Technique mixte, in a solid oak frame. Coming from a cafe of Nantes.

Mark Palmer a native Buffalonian established his art career while a 20 year resident of Washington, DC. His vibrant abstract works ranging from watercolors to mixed-media often seek...

Modernist landscape painting of a woman reading in the sunshine, attributed to Hungarian modernist painter Hugo Scheiber (1873 - 1950). Th...

Large acrylic on canvas painting in abstract manner. No markings.

Marko Milovanovic (1965-) "Self-portrait red and green ", painting and pigments, signed below and dated 1991.

About the painting “Progressive” 2017 Lots of angles and shapes for progressive future. About the artist: Cecilia’s is working with all geometrical forms, lines and shadows. Her style developed to be clean and sharp forms in different combinations. Often they are in juxtaposition to create a three dimensional effect. Since two decades she has only painted in acrylic on canvas. Her art characteristics are uniform geometrical shapes with pristine borders, often in bold colours. Born in Sweden in 1954, Cecilia Setterdahl has always been painting from Swedish inspiration. Studied ascetics in High School and then went on to the Technical University of Lulea and graduated as a teacher. Moved to Stockholm and studied at the “Konstskolan” First exhibition 1988. Through a move to Neuchatel, Switzerland Cecilia continued her studies at the M-Art and Accademie Maximilien de Meuron. “Art Studio Bv5”, together with 4 other artists, she continued to work until moving to Dubai in 2015. Several part exhibitions in Neuchatel, Lausanne, Geneva, Brussels, London, New York, Hong Kong and Sweden. In the United Arab Emirates she has exhibited both acrylic paintings and hand- made carpets at Downtown Design...

This is a rare painting done by the West Coast artist, Andy Nelson (1920-1996). This painting was painting #40, part of a gallery show Mr. Nelson had in 1972 in Los Angeles. Andy Nelson's works are in the permanent collection of the Palm Springs Art...

Abstract art painting. Signed, 20th century.  

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

Marko Milovanovic (1965-) "Self-portrait red and green behind a glass", painting and pigments, signed below and dated 1991.

Marko Milovanovic self-portrait red and green with raised finger, painting and pigments, signed below and dated 1991.

Mid-Century Modern abstract village-scape painting by Heshi Yu. Painting features reflective gold and teal tones and is presented in original linen and wood frame. Signed in lower le...

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...

Paul Ackerman (1908-1981) composition oil on canvas. Wear the stamp of the signature at the bottom left. 73 x 92 cm.

Acrylic on canvas designed by Ugo La Pietra in 2004, Italy.

Full of drama and intrigue, both sensual and classical, this depiction of a female nude tiptoeing toward a curtain being pulled aside by a threatening, unseen figure, has all the noc...

Gilles Afera Ferrand, "Espace 15" oil on canvas, signed, and dated 1984 Small cracks in the paint.

In 1943, when the Second World War still raged a continent away, Eleanor Reed painted this beautiful and haunting view of the New Mexico landscape, featuring a rosy-toned adobe churc...

Framed abstract painting in acrylic on canvas. Signed at right bottom corner and dated 2016. Yamil O Cardenas was born in Cuba in 1959 and recently moved to Miami in the USA. Grow...

Gouache on plate. Still life. Constructivist school, circa 1915. Unknown artist. In very good condition. The plate measures: 27.5 x 20.5 cm. The frame measures: 5.5 cm.

Modernist Painting Suggestiveness by Peter Sengl 1985 Austria This painting by Peter Sengl was named suggestiveness. Also the painting is signed and dated. Peter Sengl was born 1945...

Acrylic on canvas designed by Ugo La Pietra in 2005, Italy.

Oil Painting on Canvas by Lester Goldman. A stunning example of his later work. This work is untitled and was created in during 2004 and 2005, not long...

A superb example of American allegorical painting celebrating the nation's trade and commerce, this gorgeous, high energy view of a major port, bustling with sailing ships, steam shi...

Full of joy and sunlight, this depiction of a nude male and female couple dancing on the edge of the sea with a ruined Greek temple below them, was painted by Louis Rigal, one of Ame...

Henri Van Wynsberghe (1929-2018) dit Henri Victor "Château de la mer à Roquebrune, 1991" Gouache on cardboard, monogrammed and dated. Measures: 108 x 74.5 cm Beaux-Arts de Roubai...

This work is signed, dated and titled "PLUM 2008 New Bike” verso of the canvas and signed PLUM on recto; canvas size - 48" x 36” x .75" profile. Andrew Plum was born in Lancashire, E...

Beautiful reclining female nude by Mikao Kono (1900-1979). Oil on paper pasted on canvas. Signed and dated XXXIII (33) in red bottom left. Dimension: 46 x 38cm (without frame), 52...

"Prisoner" painting by Philippe Delhom; named after the English television shows that starred Patrick McGoohan, in the end 1960s in Great Britain. Th...

Boris Solotareff (Russian, 1889-1966) was a Russian painter, who was active in Switzerland and France; but spent the majority of his career in New York City, where he became a natura...

Monumental 5' x 6' colorful Modern Impasto painting of winter scene. Gorgeous heavy impasto strokes make up this beauty. This is ideal if you have a huge blank wall needing lots of ...

Author of "How Cañedo Draws the Figure" and one of the acknowledged masters of the nude in the Art Deco and Mid-Century periods, Alexander Cañedo pain...

France, 1920s Art Deco Gouache on paper Stylized portrait of a woman in profile on geometric background in grey, black and cream tones. 20 x 16 framed.

Vivid and striking, classic French Art Deco watercolor of an exotic woman holding a flower in one hand was painted by Chasquest, perhaps as a costume design for a Hollywood productio...

Very nice tile painting, by the well known artist Max Walter Svanberg, signed titled in back as shown in picture, also marker R R R in front.

Oil portrait of a lady on canvas in a wood frame. The subject has brunette hair with vibrant green eyes. Signed Jo Grove 1980. Back of the portrait says Hecho in Mexico. Great for a ...

A brilliant and vivid painting by Daniel Heyman, this depiction of a man-angel standing before the famous main facade of the Hôtel de Sully in Paris is drenched in color: aquamarine,...

Ink and Acrylic painting By Virginia Dutton, Titled Torso, Signed & Dated Dutton, 2015. Large Ink and acrylic painting on canvas and signed 'Dutton' and dated on the right side...

Decorative silver painting by William Kozar, 2008, Canada.

Beautiful lacquer wall panel depicting a family of swans with waterlilies with a gold leaf border. In the manner of Jean Dunand.

'Nude in My Studio' by Ken Howard Depicting a sunny interior scene of the artist's studio with a sitting female nude. Painted in the traditional contemporary style. Oil on canvas...

This work, “Untitled, Woman Reclining" from 2006 is a 4-layer “painting” by William Stuart on fiberglass screen (“screen-door screen”) with acrylic late...

Monumental French Vintage Abstract Oil Painting by Dehais, 1985 Offered is an over-scale abstract oil on canvas signed Dehais lower right and dated 1985. This large, colorful painti...

About the painting “Middle” Strict and simple geometrical lines that focus on the RED centre. About the artist: Cecilia’s is working with all geometrical forms, lines and shadows. Her style developed to be clean and sharp forms in different combinations. Often they are in juxtaposition to create a three dimensional effect. Since two decades she has only painted in acrylic on canvas. Her art characteristics are uniform geometrical shapes with pristine borders, often in bold colours. Born in Sweden in 1954, Cecilia Setterdahl has always been painting from Swedish inspiration. Studied ascetics in High School and then went on to the Technical University of Lulea and graduated as a teacher. Moved to Stockholm and studied at the “Konstskolan” First exhibition 1988. Through a move to Neuchatel, Switzerland Cecilia continued her studies at the M-Art and Accademie Maximilien de Meuron...

A beautiful unframed oil on board.

Abstract figural artwork depicting two faces in monochromatic hues black, grey, and beige. The painting also features the two characteristic birds which are components in all of the ...

This vibrant neo-primitive portrait was executed by Ukranian born artist David Davidovich Burliuk (1882-1967). A student of the Kazan School of Fine...

The oil painting depicting a nude female in a state of relaxation, her hair styled in the fashion of the Art Deco period, in period molded and ebonized frame with gilt rabbet.