North American Paintings

Copy of a painting by Pablo Picasso titled,"Bull fight One - Horse Air" in black on white background of a picador on horse wounding the bull

Beautiful acrylic painting on a 1800's paper by contemporary artist Afsoon Thayer. Abstract design painted in a light blue hue on a ledger from a general store account book from Engl...

Copy of a painting by Arthur Wardle showing 3 leopards in tall grass with red poppies around a woman in classical garb

Sublime oil landscape of Midwestern pasture by renowned Regionalist, Louis Mayer.

A large size oil on canvas painting of "Sisters." The artist is from Eastern Europe. Signed Karger. 38.50"W, 48"H, .50"D.

Beautiful oil/acrylic on canvas painting by American artist Rebecca Ruoff, titled "Out of the Blue", 2021.

Copy of painting titled "The Letter" showing three Victorian women seated on a terrace by the ocean with one reading a letter aloud

Pulp Fiction Art "Before the Races" by Victor Olson. A beautiful Grace Kelly like female holds a parasol in her hand waiting for the horse races to begin. Elegant sophisticated impas...

Signed lower left P. Fiordalisi (1904-?). Peter Fiordalisi was born in Union City, NJ and produced this fine abstract oil paint on canvas circa 1969. The artist uses segmented color,...

James McDougal Hart (1828-1901) "Cattle at Water's Edge" original painting, circa 1890s Original oil on panel. Dimensions: 8" x 5.5". The frame measures: 11" x 8". Signed in the lower right corner. Very good antique condition. Born in Kilmarnock, Scotland, James Hart was a leading figure of the second generation Hudson River School painters and was known for idyllic landscapes, especially with cows. His family teased him about his painting of farm animals...

This contemporary artist captures the style of 19th Century European masters so well. Her colors are vivid and rich and this painting feels like it could be over a 100 years old. See...

Geometric hard lined artwork, signed 1969. This piece of art is a vibrant geometric abstraction, featuring a series of concentric rectangles that create a tunnel-like effect. The com...

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...

Copy of a portrait painting titled "Woman Meditating" showing contemplative woman in blue dress under arches

Agustin Gainza Oil Painting "Wedding at The Havana Cathedral c1880" Offered for sale is a large oil painting on canvas by Cuban-American artist Agustin Gainza. The painting is sig...

A very large framed portrait painting of a man in a giltwood frame. The subject in this piece depicts a man who reminds us of Don Draper from ...

Large Carol Bertrand Colorful Post Modern Abstract in Acrylic Amazing large canvas with mostly primary colors of blue, red ,yellow and purple. Signature of artist...

Brilliantly painted in deep pink, sky blue and ivory tones, this 1936-vintage oil painting depicts a Chinese noblewoman in an embroidered gown and elaborate headpiece, flanked by sym...

Oil on canvas painting of a nude woman, unframed. Very good colors and composition. Signed Ritman on the back stretcher, early to mid-20th century, American.

Large depiction of two men, with one smoking. Oil on canvas, signed Danielle Jaffe Ellason. Measures: 48 x 36 x 2. In excellent vintage condition with minimal wear.

Large scale acrylic on canvas in ethereal shades of creams, blush and punctuated by black and green-black. The canvas is from a Beverly Hills high rise apartment and was listed as be...

Copy of a landscape titled "Quiet Time Out" Showing woman in Victorian garb with little girl reading in Garden.

Modern abstract, mixed-media on White Aluminum painting; titled “The Island of Souls” by Maria Astadjov, a conceptual fine artist. Signed on front botto...

Beautifully painted in fresh, lovely colors on silk, this depiction of nymph and satyr, clothed in gauzy costumes like a scene from a Ballets Russes production, was painted by Stephe...

Søren Edsberg, Danish-born American painter. Oil on canvas. Abstract composition. Ca 1990s In excellent condition. Unsigned. Dimensions: 70.0 cm. x 60.0 cm.

Oil on masonite depicting a cabin in the woods with firewood stacked beneath the green tonal trees. Unframed. Signed lower left. Inscribed on verso Roches Point, Lake Simcoe. Dimens...

Copy of a dog painting "Mignonne et Sylvie" showing two hounds in a classical landscape

Vintage 1970s abstract oil painting by listed artist Frank Walcutt. Signed and dated 1972. Dimensions 36 inches x 30 inches. Unframed. Ve...

A postmodern abstract expressionist mixed-media oil painting on canvas by Bruce McColl. Signed and dated 8-89 on verso. An energetic painting with expressive colored brushstrokes. Wr...

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...

Circa 1999, Acrylic on "Canvas on board", by Suk Shuglie, Pennsylvania. Colorful and bright, this wooded scene leavens the moodiness of late Winter with th...

Original oil on board "Decouverte" with abstract figural motif by Jacques Fabert. Originally part of an exhibition in San Francisco 1962. Signed and labeled on verso as well as a lab...

Very well executed abstract oil and acrylic on canvas. Done in bright earth tones of ochre, orange and green. Sign in lower right corner and dated 1970. Surrounded by a thin brushed ...

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...

Fresh as a crisp fall day, this painting of a woman taking down laundry at the base of a hill dominated by her home above is a reassuring depiction of wholesome rural life in 1941, p...

American mid-century oil on canvas depiction of a 3 step ladder with an orange on top over a tarp in front of a trifold screen

“Bloomsday” SALE June 16, 2024 Nighttown, oil on canvas, 1991, 88” x 54" by Heather Ryan Kelley. This painting is based upon James Joyce's "Ulysses." Th...

Vintage framed acrylic painting a hand clutching a book titled “MAN”. Original and one-of-a-kind. American, late 20th century.

Beautiful colors on this large majestic abstract by Ernesto dated 1974, nicely framed . textured finish well done piece with beautiful patina.

19th century American oil painting still life with fruit and grapes. Beautiful and masterfully executed still life oil painting depicting grapes and fruit against a blue sky. This work is monogrammed and dated ‘88 (1888). It was received in the manner of Severin Roesen...

Butterflies in Amazonian Rain Forest Morpho Peleides. Oil on canvas by Columbian artist, Carlos Nariño, who lives and works in Paris since 1985. Abstract expressionist. Strong, vi...

This portrait of a young man with vivid red hair, blue eyes and a ruddy complexion was painted by John C. Menihan, one of the most renowned portraitists and watercolorists of his day...

Vintage (20th Century) unframed tole painting depicting a lone jockey, his horse, and a background with a red barn and golden fields beneath a cloudy sky...

Copy of a painting titled "Sleeping" showing nude woman with red hair sleeping

This very colorful signed and dated mixed media large scale painting by Greg Miller is titled "Eden Roc" from 2006. This is one of his large over-scale paintings that is 72" X 72". T...

Each oil on panel depicting Santa Barbara seacoast. Giltwood frames and paintings under glass. Parshall was an American painter born in Buffalo and was based in Montecito since 1916....

1970s Hard Edge Abstract Geometric Painting on Canvas, Signed Offered for sale is a 1970s hand-painted acrylic hard-edge abstract painting created on the diagonal. The geometri...

An original portrait painting by the late Oklahoma artist Clair Seglem. This tall portrait depicts a woman on a bright green background. She wears an Art Deco style outfit in black. ...

Painted by our very own starving artist here at Old Plank. A Garden in Versailles. This stunning Wall Art is 3- dimensional, so you actually feel as though you are in the garden, per...

A delightful hand embellished giclee or reproduction on canvas having a whimsical collection of ice cream colored cupcakes and teacups with clever bits of dictionary definitions and ...

Large modern abstract oil on canvas 'Sound Wave' by Carlo of Hollywood.

Post Modern Geometric Figural Acrylic on Canvas Signed AB, 1980's. Acrylic painting is signed AB in lower left of painting. 2nd picture is in separate listing.

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...

Large-scale abstract painting, American, circa 1960s. It measures an impressive 50.25" height x 42" width. This piece is currently unframed. If you prefer a black gallery frame (as s...

Wonderful mixed-media by Norman Conn (1932-2003), circa 1961. Signed verso and bearing a D'Arcy Gallery, NYC label. Very good condition. Perfectly weathered and masterfully assembled...

Vibrantly colored oil painting on canvas depicting a Persian in prayer. Jewel tone colors of turquoise, amethyst and aqua marine with earth tone golds reds and browns. Gilt and carv...

Colorful abstract painting of a modern urban landscape apparently at night. Fast and moving is the theme. Actual painting size is 24 x 30. Can be parcel posted. In excellent vintage ...

Beatriz Cota Painting "ACCESS" Mixed Media on Canvas. Beautiful, large artwork by Mexican artist Beatriz Cota

Add a touch of psychological intrigue to your decor with this Vintage After Hermann Rorschach Swiss Framed Inkblot Card. Featuring a replica of the iconic inkblot design, this framed...

Ameyaltepec, Guerrero. Tempera on paper. Venancio, Eugenio. Mexico, 20th century. Naïve rural landscape titled in the lower right and signed in the lower left, with people, building...