North American Paintings

Large painting for the Partners of Americas International Convention in 1980 by Texas artist Jacqui Von Honts. Jacqui Von Honts had outstanding creative tale...

Vintage (20th century) painting capturing four figures gathering on the riverbank while buildings with classical architecture loom just across the river, surrounded by a thin brown b...

Batter Up At Fenway. Original painting by Lynn Curlee Acrylic on stretched canvas. Gallery wrapped with painted edges. This painting was used as an illustration in Ballpark — The...

Watercolor on paper by John Francis Williams Canadian, circa 1960.

Charles Hersey vintage op art painting, circa 1974 Fantastic vintage op art painting by San Francisco artist Charles Hersey. At 46+ years old, thi...

Vintage (20th Century) unframed canvas oil painting of a walled-off waterside village, capturing the sunlit buildings in contrast to the darker waters, and dotted with figures rowing...

Sunset In Harbor by Dong Moy Chu Kingman (1911-2000) Watercolor Signed. A charming watercolor painting created by Dong Kingman. This is an extraordinary piece of his art style and un...

Large scale abstract expressionist painting, American, circa 1980s. Artist unknown, in the manner of Franz Kline, et al. I...

Original mixed-media contemporary work of art by Chris RWK, professionally framed in a white shadowbox frame. A child of the 1980s, Chris’ world was often completely flooded with th...

Annick Biaudet The Eyes Reflect the Soul Annick Biaudet is without doubt, one of the best to depict it… Morateur gallery is proud to exclusively rep...

A pastel over watercolor impressionist ocean landscape titled “Molokai Dream” by American artist John Anthony “Tony” Sheets (b. 1942). Cool pastels, crosshatched and layered in de...

Rare Mid-Century Modern signed 1949 cubist gouache painting of skyscrapers, rooftops and skyline of the City of New York including The Chrysler building by painter Theodore "Theo" Ha...

Unsigned oil and watercolor drip technique on fine art paper. Framed in simple wood frame. Photographed with Knoll chair for scale.

Beautiful Mexican landscape painting by Alfonso Pena Oil on canvas created 1963. Mexican subject. Excellent condition, unframed. Measures: 19 3/4" H x ...

Owens, John Joseph (American/West Virginia 1887-1931), Model Portrait Study, signed and dated 1909, charcoal on laid paper and pen and ink, about 21 x 17 inches. Provenance: artist's...

Hard Edge New York School Ab Ex Oil on Canvas Painting by Dennis Ashbaugh 1976 Signed. Stunning work by the superstar contemporary NY artist, Dennis Ashbaugh. From his early series...

Very nice and large painting by the well known Austrian artist, Larch, worked in Mexico for many years. This art work is title in Spanish in back "Luna Congelada" his style is abstra...

Titled Cool Canopy - Buffalo artist James Koenig paintings reflected many phases of American painting styles including scenes from the WPA period, abstr...

Very graphic Op Art style reverse painting on glass having a bold geometric design in black and white with a central red circle.

Framed in a rustic wood frame with linen mat. Signed under Alias Paul Whitney Hunter. Canvas measures: 24 inches by 30 inches.

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...

This original painting was done by the Canadian artist, Manly E. MacDonald in circa 1960 in his semi-impressionistic style. The painting is done on canvas artist's board and is a Can...

Postwar Hawaiian airbrush tropical hibiscus floral on paper in original period white wood frame. Signed by artist Hammis Measures: Art 26" x 36" ...

A popular stop along old historic Route 66 - one of the original highways in the U.S. highway system that ran from Chicago to Los Angels - Glory Hole Antiqu...

An energetic abstract work on paper by the artist M.P. Landis. The artist's abstract paintings and works on paper are the type that take form through the artist's layering of materia...

A nice painting framed nicely in a Larsen Juhl frame. Signed illegibly. The painting has a few minor scratches, and the frame has some losses and has been retouched in areas, pictured.

Signed and dated in the bottom right corner “LEV MEZHBERG ‘05” Dimensions Height: 50 inches (125cm) Width: 93 inches (232.5cm) Lev Leonidovich Mezhberg (Ukrainian/American, 1930-2007) was born and spent most of his life in the cosmopolitan city of Odessa, whose streets and suburbs are found in many of his works. In 1958, he graduated from Odessa College of Fine Art with highest honours. Mezhberg's work has been exhibited at museums and galleries throughout the Soviet Union, the USA and Europe and is owned by such collectors as leonard Bernstein, Vladimir Horowitz, Natalia Makarova...

A heavily textured large abstract mixed media painting by American California artist Diana Diamond, signed lower left and dated 1968. Acrylic with crinoli...

An American reverse-glass painting of the ship ‘Hurricane’ of Boston, of rectangular form showing a three masted sailing ship flying the Stars and Stripes and signalling flags from h...

Atmospheric and full of depth, this view of an old European archway, with high-chimneyed houses beyond and crowds of people below, was painted in the 1930s by J. Alvin Storck, a Chic...

Portrait of a young man in charcoal, mounted in custom ebonized wood frame. Sensitive and soulful, the piece reveals a tender, complex relationship to its subject.

Circa 1970 oil on panel depicting a traveling pack of animals by acclaimed outsider artist, Bruno Del Favero (b. Italy 1910, d. USA 1995). Fine example sho...

Susan Grisell, American artist, signed, oil on canvas, abstract art. Impressionist-esque depiction of two cows standing amongst trees, measures 22 1/2 x ...

Oil painting on canvas classical ballet dancers. Russian style classical ballet oil painting. 3 couples of ballerinas and ballet male dancers wearin...

This wonderful abstraction by Sandra Gierke is executed in oil on linen. A very active painting with a vivacous composition, staccato shapes and lines, and a fantacstic, heavily work...

The Moon Goddess oil painting on canvas. Great colors with a lady under the moon with a cat and owl around her. Very fine contemporary painting, stretch...

Painted during the heyday of American Surrealism, this watercolor depicts a sleeping nude female figure holding a laurel wreath, seemingly disconnected from a pair of male nudes saun...

A tall portrait painting of a woman with a flower in her hair. This piece was painted by the late Oklahoma artist Clair Seglem and is well known for his ...

A tall floral still life painting by Oklahoma artist Clair Segelm. The subject of this piece is an emerald green vase that sits atop a light blue tablecloth. Tall purple flowers tower over the vase, and two clementines or oranges rest at its side. The background is geometric in blue and yellow. About the artist: This piece is by the late Oklahoma artist and retired Air Force man Clair Seglem...

Abstract multicolored mixed-media painting reds gold black, late 20th century, from a Palm Beach Estate. Back shows this was originally displayed by an owner in Stockholm. Pain...

1950s Art Pink Abstract painting Oil on Canvas by Miguel Alvarez Acosta former director of the INBA and cultural ambassador to Mexico. Mexican Modernism 28.5 h x 22.5 w x 1.13 d Ori...

Vintage Nantucket orange street watercolor by Doris & Richard Beer, circa 1940, a watercolor on paper view of orange street, signed in pencil power right. Doris and Richard Beer (1898-1967 and 1893-1959 respectively) produced a well-known series of watercolor miniatures featuring popular Nantucket scenes. Working at their Wharf Head Studio on Old North Wharf for 18 years, the couple worked together on these copyrighted creations, photo-duplicating Doris's line sketch and Doris and Richard completing the watercolor. One of a large collection of Beer watercolors...

Large Fine Art painting of floral still life on canvas. This gorgeous piece is a statement piece. Its large scale will make anyone swoon when entering a room. The piece depicts a vas...

Dramatic and stunning is this large scale contemporary black and white painting Cubic Light by Edward Evans. Evans creates sculptural illusions that are bo...

To our knowledge, this study is the only known image of this mural, created by John Garth to show an idealized Man at work and at play, all nude or semi-nude, and accompanied by anim...

Titled "Avanzando" & "Incertidumbre" by Leonora Sisto, Mexico, 21st century. Using cold wax.

Mid-century original oil on canvas abstract painting by Patricia Sloane, circa 1960s. Sloane was an American painter, author, and professor of Fine Arts at NYC Technical College of t...

The Art of Patronage, The Daywood Collection. Charleston: Huntington Museum of Art, 2017. First Edition hardcover with dust jacket. 122 pp. A catalogue of works from The Daywood Collection at the Huntington Museum of Art. The collection includes oils by: Childe Hassam, landscape and figurative oils...

Large original oil painting of Maine landscape by Henry Varnum Poor.

"Floating," 2020 is a large abstract oil on canvas by Kathi Robinson Frank in diaphanous shades of gray, dusty rose, white, black burnt orange and green. In her own works, Robinson F...

A lovely portrait sketch by Oklahoma artist Clair Seglem. This piece depicts a woman with short dark hair and a light blue v neck shirt. This piece is on ...

This multicolored expressionist style painting by American artist Eleanor Coen depicts the layered feeling of a city with its patchwork of buildings and l...

John Kingerlee: A Painter’s Passage, by Jonathan Bennington. Visual Arts Center, The University of Texas at Austin, 2008. 1st Ed softcover. This survey of Kingerlee’s work includes p...

A large oil on canvass depicting an stylized, almost abstracted to the basic organic forms, landscape. Beautiful harmonic colors with an interesting poetic design. Signed illegibly a...

Watercolor gouache of a heavy duty industrial factory of what appears to be boilers. Men creating and doing the hard hat scene. Great perspective along with v...

A large and boldly painted midcentury American (Bay Area School) abstract Expressionist painting on canvas by Linda Soares. Signed on the back with the artists name and titled or cat...

Robert E. Matheny Glitter on canvass. Early work 1969, original Lucite shadow box frame. Visual artist starting in circa 1960, two years after graduating from Long Beach state College with an art education Masters Degree, Contemporary of John Baldessari, San Diego Art...

Collection of Two Drawings by Dave Zarick Small charcoal and paint drawings by the late Dave Zarick. Museum mounting and white wood frames Each piece is different Sold separately ...