North American Paintings

Oil on canvas signed B H Stone. Depicting a Canadian winter landscape encased in a carved frame. Dimensions Height 25 inches Width 29.5 inches Depth ...

19th Century Playful Kittens, Oil on Board Painting, Framed A large and impressive oil painting signed and dates of a group of kittens some playing while waiting their turn to eat. An early beautiful oil on board painting of kittens...

Add an unexpected twist of whimsy and sophistication to your art collection with this vintage Boho oil painting depicting a monkey dressed in regal attire. Expertly hand-painted on c...

Vintage (20th Century) acrylic painting of warm toned color swaths on a background of cool blue, green, and gray hues, on a square, unframed canvas.

Vintage (20th Century) oil painting of a brown and white dog in a field as a circular focal point framed in dark brown, on square, unframed canvas.

Gerson Leiber "No Seashore Holiday" Oil on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later, while stationed in Hungary in the arm...

Robert Charon is a listed artist known for his modern abstracts. His series “Orbs” was extremely popular and a few images were produced in prints sold wo...

The height of allegorical paintings.

Original vintage abstract oil painting on canvas by Rita Hvilivitzky, 1962.

From an amazing time capsule residence in Rancho Mirage, Calif. I was told by the heirs of the estate that the painting was commissioned for his parents in the foyer of their beautif...

This bucolic woodland scene is one of the most charming pieces that Lee Woodward Zeigler produced over a career that focused largely on mural painting. Z...

A very interesting and unusual Cornwall Iron Banks Original Oil Painting by artist J. Earle Pfoutz. The painting is produced on canvas and comes complete wit...

Contemporary American ceramic artist Richard Hirsch's encaustic "Paintings of Nothing Series" #1, #3, #4, #5, #6 and #7 are made of ceramic raw materials, dry pigment and wax. These ...

The oil on canvas is signed, L. Jesberger, lower right, has an amazing noir feel to it. The moored tugboat and Silhouette figure in the foreground are juxtaposed with the highly illu...

A modern acrylic painting on canvas by Robert Morris. Signed and dated 1963 on the bottom right as well as verso. A figurative abstracted composition in minimalist neutral tones. Kno...

Condition: Original Vintage Condition Designer: Delmary Manufacturer: Delmary Materials: Oil Painting, Wood Frame Style: Contemporary Landscape This striking 1970s oil painting by...

"Number 128" geometric acrylic on canvas by esteemed Miami-based artist, Tom V. Schmitt (1966). Schmitt's work is represented in private collections and museums ...

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...

Beautiful large mixed media artwork on canvas having an abstract composition with floral feel that incorporates paint, paper and other mixed media.

One of our most favorite finds to date, this striking portrait painting will make a lively accent to any art collector. Painted on board, the subject of the painting sits confidently in a chair. She wears a gray suit and hat, and has long blonde hair. The entire piece is on a bright pink background. (Is it just us, or does this piece remind you of the blonde version of Carmen Sandiego...

Gouache on board of the motor sailing yacht Patience Prudence by John Austin Taylor. The vessel is shown under full sail with a captain at the helm. The vessel has a white hull and r...

James Gahagan was an American abstract ? expressionist artist/painter , also known as colorist.The size of the work by itself is 9 x 12 inches also signed LR, Gahagan 61. Has the ori...

A rare and magnificent example of a mural influenced by both the Arts & Crafts and Art Nouveau movements, this painting of a plumed knight on horseback...

An original work by the artist from 1983 Title: " Wild West #2" Signed and Dated by the artist It comes with COA and has great Provenance.

Oil on Board by Sandy Sutherland. this late 60's early 70's portrait of a woman, possibly a stewardess is a unique example of using oil paint and having the appearance of a watercolo...

Copy of a Dutch/Flemish still life titled "Still Life with Chessboard" showing a lute with sheet music, cards, wine, bread, flowers & chess board in a faux tortoise frame

Contemporary American ceramic artist Richard Hirsch's encaustic Painting of Nothing #9 is made of ceramic raw materials, dry pigment and wax. This piece is part of his ongoing Painti...

Early 19th Century Portrait of Naval Captain William Compton Bolton (Anglo-American: 1799 - 1849), circa 1830s, an oil on canvas half-length portrait of a sea captain holding a spygl...

A postmodern oil painting on canvas titled "Configuration" by Michigan artist Alan Watson. Titled and dated spring 1986 on verso. A vibrant co...

Selection of black and white Art, circa 1960s. From left to right, as seen in the first photo, they are: 1) Nude male watercolor. It measures 19" H x 15.25" W. 2) Abstract lithograph or Etching, titled City Night and Day, signed Bonnie ?. It measures 24"H x 24.25"W. 3) Japanese Calligraphy Painting...

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...

Abstract Mixed Media Collage on Canvas by Susan E. Wolfe. 2000s, NY. Paint and paper.

Abstract mixed media collage on paper by Susan E. Wolfe, New York. (Unframed)

Oil on canvas horizontal painting by painter Lewis John Shonborn (1852-1931) depicting horses clearing the hurdle. This captivating horizontal oil painting on canvas, created by arti...

Culinary still life, "Eggs and Garlic" painted by Bucks County artist, Valerie Von Betzen. Von Betzen is a regional artist well-known for her even...

This oil painting on canvas from the 1960s captures the spirit of an English bulldog in all its glory. The signature is eligible. The artist, whose signature is illegible, has captur...

Here's a very bold and powerful hard edge painting by Henry Kallem (1912-1985). The oil on canvas measures 30" by 40" (without frame) and is titled in pencil "Autumnal" on verso as w...

A fantastic original oil on canvas by Naohiko Inukai. This is number forty in a series of colored scapes he created in the mid 1960's and is in excellent condition. This work is signed and dated on the reverse It's color changes subtly with the lighting, when properly lit it casts a beautiful warm orange tone throughout the room. Born in 1937 in Kurashiki-city Okayama,Japan. He came to the US around 1960 and returned to Japan around 1982 were he still resides. Education:Cooper Union School of Art and Architecture New York...

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...

Painted by Antoinette Schulte, a widely-respected artist in New York, who exhibited and taught widely, this painting depicts male and female nudes sheltered by the boughs of a tree h...

An original pink and white modern abstract painting in an elegant vintage gold frame created by Houston artist, Shannon Weir.

Impressionist style oil on canvas. People walking on the beach with dogs and parasols. Paul was from Weston Connecticut and a member of the Society of Illustrators, the Society of Am...

Copy of an 18th Century portrait of Russian royal Pavel Pavlovic in a brown suit showing him in seated at desk in front of statue of a lady with a simple dark gold frame Condition: ...

"Black on White on Black on White" is the name given by Segel for this composition. The subject is open to interpretation though some viewers could thin...

Bruce Myers Mid Century Signed Original Oil on Canvas Painting This painting measures: 30.5 wide x .75 deep x 15.5 inches high This painting is in Good Vintage Condition. We take ...

Multicolor vertical stripes abstract geometric modern color field oil painting. The painting (similar to the work of Gene Davis and other Washington Color School artists), was proudly displayed in the living room of a Classic Mid-Century Modern house designed by a student of architect Frank Lloyd Wright. Oil on canvas painting is signed Erik 74 on reverse also inscribed Erik Pitsokos. Measures 49 inches high,47.5 inches wide. Frame measures 51 inches high, 49.5 wide. In good condition. From St. Petersburg Times - Sept. 12, 1975: The Greek-born sculptor Erik Pitsokos received his art education in Greece, Italy and Canada. He immigrated to Canada in 1964 and became a Canadian citizen. In Canada he had an art school adjacent to his studio where he took only accomplished artists for highly advanced instruction in the finer points of sculpture. His entry at the International symposium of Arts held in Washington, D.C. in 1969 won him the first award for sculpture. He exhibited throughout Canada and his works have been donated to the purchased by individuals, galleries, public buildings and schools in Canada. He moved to the United States in 1975, became an American citizen and taught classes at the Florida Gulf Coast Art...

This striking Regency-style oil painting captures a masterful blend of classical elegance and artistic expression. Featuring a contemplative male figure draped in a rich red cloth, t...

Copy of Impressionist painting showing Brettones on the beach collecting Kelp.

Oil on canvas impressionist winter landscape by Robert A. Waltsak (American b. 1944). Mr. Waltsak grew up in Newark, New Jersey and at an early age gravitated to the arts, studying at the Newark School of Fine and Industrial Art, The School of Visual Arts in New York, and later at the Ridgewood Art Institute where he remains a popular fixture. Waltsak's award-winning paintings are held in numerous private and corporate collections and have been exhibited at the Hastings on Hudson Museum and at the Ridgewood Juried Art Show. He has been represented by galleries in New Jersey, New York, and ConnecticutRobert Alan Waltsak is a New Jersey Landscape...

Beautifully conceived, dramatically set and very finely painted, this gouache and ink painting by Willis R. Lohse is a paean to the hard work and nobility of the black farmer in America, hat in hand as he marvels at the beauty of the day. Full of lovely colors -- lemon yellow, cerulean and fresh green -- Lohse captures a lovely moment where the farmer pauses to look upward, amidst sprays of birch trees and expanses of rolling fields. Lohse was a German-American artist who is best known for his illustrations for fiction and fantasy books published between the 1920s and 1950s, including "The Boy Who Found the King," "Raff, the Jungle Bird...

Gerson Leiber "Simplicity Is Hard to Achieve" Oil on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later, while stationed in Hungary ...

Signed acrylic on poster board in vibrant colors of persimmon, brown, yellow, chartreuse, and pink. Nicely framed in a simple wood frame with an inner gilt b...

A fabulous modern abstract by wonderfully talented Arnold Weber (1931-2010). Tremendous mood, energy and range of color. This Killer piece succinctly captures the feeling of the mid-...

Photo realist acrylic painting on canvas, architectural scene of Victorian Brick House, signed Sue Wall (Sue Wall b. 1950 NY, noted for architectural paintings.

Unique and sculptural butterfly form presents as an abstract geometric diptych. Can be hung horizontally or vertically. See image 8 & 9 for artis...

Mid Century signed Abstract Still Life titled "Spring Flowers" by Richard C. West Signed and dated 1965. Nice impasto style technique. Tones of Olive green, yellow, gray and light bl...

Large oil on canvas by Los Angeles artist Andrew Shachat. Represented by Patricia Correia Gallery, Venice, CA. Patricia Correia Gallery (PCG) was first established in Venice, Cali...

Large abstract acrylic painting by noted NYC artist Jules Granowitter. The painting is mainly executed in tones of blue with orange, purple, green, gray and red also visible. Nice b...