North American Paintings

Early 20th century remake of a piece originally created by Andrea del Sarto in 1528. The piece in question is a detail from a much larger mural that itself was a remake of the Vallom...

An arresting large-scale abstract composition by contemporary artist Louis Shields, "Shadow Fires," is part of his Singed Millennium Series created in 2017. This work captures a deli...

Colorful Floral Raccoco Design wall hanging

American Country style (20th Century) painting of four Indigenous Americans on horseback leading a line of additional riders behind them through a ...

60s Vintage Mid Century Modern Red Floral Still Life Oil Painting Framed Spectacular Mid Century Modern Red Floral Still Life on board by Charlene Carson, dated 1968 The piece is ...

A strong little abstract oil collage from 1980 by Richard Allen Morris. Overall frame measures 13" wide, 11" tall, 1" deep. Image size is 7" wide,...

An original Minimalist oil painting on paper by Doug Ohlson, 1936-2010. Doug Ohlson was an American abstract artist who specialized in geometric patterns and vivid colors. The artwor...

From the series e·the·re·al, this work captures a moment suspended between materiality and dissolution. A deep violet form pools at the base, anchoring the composition with weight an...

This is an Elaine Vollherbst, lane acrylic canvas painting. It is called The Joy of Life I. It is a very large rectangular framed painting that depic...

Painted in the USA around the 1970s, this painting features great color tones of burnt orange, pale orange, off-white, and grey on a backdrop of pale dark blue and white. Painted in ...

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.  

From the series e·the·re·al, this artwork bathes the canvas in soft, sand-washed hues that flow from a warm center of sienna and chestnut. The ink and resin blend effortlessly, formi...

PAT MCNAUGHTON - 'Blue Rhapsody' - Vintage oil painting on Masonite panel - artists' label and title verso - vintage frame - Canada - circa 1980. Exce...

Mid-Century Modern cityscape oil painting on canvas This piece measures: 33.75 wide x 1.75 deep x 27.75 inches high This Painting is in e...

Still Life painting, with origins dating back to the 16th century, often depicts simple everyday objects. Conklin sets his composition with both antiquities and modern elements to bring the Still Life genre into the contemporary. Yet when a closer look is taken, his modern elements are already obsolete by today's standards. The ancient bust of Alexander is placed next to an iBook begging to ask the question - what will stand the test of time?? The piece is framed in a simple walnut frame measuring 26 x 26 inches. Andrew S. Conklin Square still life with Alexander Bust and ibook oil on linen Measures: 25 H x 25 W in 63.50 H x 63.50 W cm ACK038 Andrew S. Conklin Andrew S. Conklin is a figurative painter. He holds an MFA from the Academy of Art University, and studied painting at the National Academy of Design in New York City with Harvey Dinnerstein...

This evocative oil on canvas, signed and dated "W. H. Cox 1931," is the work of William Cox, an American artist whose paintings capture the romanticized grandeur of architectural and...

Large impressive painting of nude figures. Oil on canvas, recently framed, signed Ladin (California Bay Area artist). American, mid-20th century. ...

French Provincial style (20th Century) genre painting depicting two figures working outdoors in front of a lake with a sailboat, and red-roofed houses and green trees beyond the wate...

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...

Contemporary American ceramic artist Richard Hirsch's encaustic Painting of Nothing #52 is made of ceramic raw materials, dry pigment and wax. This piece is part of his ongoing Painting of Nothing Series. Hirsch applies the waxy mix with a brush onto redwood plywood backed structures with two-inch wood strips all around and used various torches to layer, flux, bubble and blend. "Waxy and very tactile, they are probably the work Mark Rothko would have done had he spent most of his life in clay. Hirsch’s paintings have the nuance, subtle texture, and color shifts that become evident in blown-up photographs of his ceramic objects as well as a similar presence." Signed and dated en verso by the artist. This painting ship directly from the artist’s studio in Rochester, NY. (Literature: "With Fire: Richard Hirsch, A Life Between Chance and Design", Scott Meyer (Author), RIT Cary Graphic Arts Press 2012 - "The Paintings" pgs. 102 - 105) Richard Hirsch brief bio: In the field of contemporary ceramic, Rick Hirsch has earned an international reputation. He has achieved this recognition by engaging in numerous diversified professional activities. Through efforts in university teaching, exhibits, writing, lecturing and researching he has risen to worldwide prominence. In 1975, Hirsch co-authored a book entitled Raku, published by Watson-Guptill. This was the first comprehensive text to address the new innovations developing in the west that were transforming traditional Japanese Raku. Also, in the same year, Hirsch became a founding faculty member of The Program in Artistry at Boston University. Currently, Hirsch is a Professor Emeritus at The School for American Crafts which is a part of Rochester Institute of Technology in Rochester, NY. His university teaching career now spans well over four decades. Repeatedly, Hirsch has participated in several milestone exhibitions and publications. Significant shows include; The Evolution of American Art in Craft Media Since 1945; Echoes: Historical References in Contemporary Ceramics; American Ceramics Now; Raku: Origins, Impact and Contemporary Expression; and Convergences: The Presence of the Past in Contemporary American Ceramics...

From the series e·the·re·al, this artwork radiates with a luminous warmth, where golden caramel and burnt amber unfold in gentle waves of ink and resin. The composition emerges from ...

A cubist industrial WPA styled oil painting depicting a storage tank compound in the 1930's-40's. Good layering of colors and textures having it original patina worn wood frame signed by the artist in paint to the corner by Joan Hedman...

An outsider art painting depicting three nude ladies and one bottom; one lady with sparkly panties. By Maurice Morris Grabel (1905-1988) of Philadelphia and Egg Harbor, NJ. Oil on...

Memling's Portraits by Till Borchert. Published by Thames & Hudson, New York, NY, U.S.A., 2005. 1st Ed softcover Exhibition catalog. Published to accompany a major international tour...

Lee Porzio, Untitled, Oil on Gesso Board with String, ca 1960s. Painting measures 32: high x 48" wide; with frame painting measures 33-1/2 high x 49-3/4" wide. Painting is in good vintage condition with new gold wood frame. LEE PORZIO (1913-2004) Lee was born in Paterson, New Jersey in September 1913 to Italian immigrant parents. Growing up in nearby Hawthorne, New Jersey, Lee met first husband Angelo di Benedetto, by then a well-known artist in his own right. They married in 1942 while Angelo was serving in the Air Force. In 1946, when he was discharged, they remained in Colorado, where he had been stationed, settling in Central City near Denver. Apparently, Angelo’s years-long obsession with turning a warehouse into a giant art studio created tension in their relationship ending in their divorce. By 1953, Lee had met Allen Ditson and moved to Arizona; they married in 1954. Once in Arizona, they began building their reputations as artists able to work in various media. Allen was a sculptor in metal and wood and a furniture designer. Lee was known for her skill as a graphic artist and could execute her designs in clay, oils, fabrics and fibers. Her work was sold at fine galleries nationwide. Together, their commissions include works of dramatic size and scope in the architectural and commercial field throughout the United States as well as intimate pieces for homes and small offices. Their work adorned numerous banks, offices, restaurants, churches and university buildings all over Phoenix, Arizona. Lee passed away in Paradise Valley, Arizona in 2004. Allen died in 2007. Exhibitions: - Syracuse Ceramic National Exhibition, 1948 - Art Institute of Chicago, 25th Annual Exhibition by the Society for Contemporary American Art...

Sarah Katherine Smith (American, b.1877) Born in Rio Vista, CA, she attended the Art Institute of Chicago, then the Boston Museum School. She spent most of ...

This early piece by Purvis Young, in large scale of broken wood and particle board fragments depict a "slave march" in search of freedom. Very powerful and meaningful. Urban art by w...

American 19th Century oil painting on canvas depicting ships at sea with rough water and gray skies in a gilt frame.

Lawrence Chvotzkin (American, 20th Century) Original Painting on Canvas

A whisper of darkness suspended in stillness, “e·the·re·al” invites a moment of profound contemplation. Crafted with a delicate interplay of ink and resin on canvas, its surface capt...

This one's for the basketball lover in your life. An original signed oil painting of "The Glove" Gary Payton, player for the Seattle SuperSonics. One of the NBA's best point guards, ...

Selection of Original Female Nude Paintings, probably American, circa 1950s. They are priced at $750 each. Neither work is signed. They have both been professionally framed in vintag...

Beautiful pair of oil painting painted on canvas from the 1980 Actual painting size 8" x 9.5. Could hang horizontally or vertically.

Douglas Ferguson Elliott, O.S.P. (1916-2002) - 'Near Markham, Ont.' - Canadian Impressionist style winter landscape oil painting on Masonite panel - o...

The Last Flowering of the Middle Ages by Baron Joseph Van Der Elst. Published by Doubleday, Doran and Company Inc., 1944. Stated 1st Ed hardcover. An in-depth look into art of the Middle Ages. Contents: 1. The Times and the Men who Made Them: Men of Flanders; The Flemish Parade; The Good Black Earth; The Rise of the Towns; The Medieval Guilds; Of Love, the Dream; The Upward Glance; Pt. 2. The Flemish Masters: Jan van Eyck; Petrus Christus...

A child's silhouette renderings of five World War I English and German fighter planes featuring: Albatross Scout, Sopwith Camel, The Rumpler, Gotha and Handly-Page. All done in black...

Jane Gilday masterwork, "Harvest Pastoral" Oval giltwood with incised and painted landscape Titled, signed and dated on reverse "Harvest Pastoral Oct. 1...

Important Artist William Fuller Curtis This is an original and beautiful 25 inch by 45 inch hand painted and hand incised wood framed work of art -and containing a wonderful hand hammered copper repousse panel of the iconic Bethlehem Shephard Boy Flute...

American School Oil Painting - Fishing Landscape with Seated Old Man, Dog, and Fishing Pole at the Pond, Signed 'Baldwin' Artist Board 10.5 x 13.5 I...

Morris Walton Leader (1877- 1966) Morris Walton Leader was born in Marshall, Texas, in 1877. He died in Austin, Texas, where he had lived since he was a young boy. He studied with ...

This bold and emotionally charged acrylic painting on canvas by Niagara exemplifies her signature fusion of comic book aesthetics and feminist punk attitude. Signed lower right. Circ...

Contemporary American artist Patrick Phillips "Is an abstract expressionist painter influenced by the 'New York School' artists including Mark Rothko, Robert Motherwell and Helen F...

An American school oil on canvas portrait of a lady with a book; the book opened to an image of another portrait. Verso with stenciled canvas supplier William Wisong of Baltimore a...

This bold modernist painting was painted by German / American artist Peter Robert Keil (b. 1942). Kiel was born in Züllichau / Pomerania and studied at the University of the Arts, Berlin. He admired the works of the Expressionists, Picasso in particular, whom he later met in Spain. He was also influenced by Juan Miro...

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

An interesting colorful painting (acrylic on canvas) by Eric Dennard, 1942-1993. Signed, dated 1971 in a period lucite frame. A note about the artist: "...

Large expressionist landscape painting in enamel on board depicting grasses or flowers against a seaside sunset, circa 1980s-1990s. Well matched with a wide, white, wooden frame. Mea...

SATURDAY SALE Galloping Horses, airbrushed watercolor by Benjamin Jorj Harris (American, 1904-1957) for Newman Decor. Dimensions shown are for fr...

Huge modern art expressionist oil painting by Michael Hafftka Entitled: Meltzer Meltzer & Meltzer.

“Grey Nude with Apples and Flowers” by Doris Klein, Signed 1971—Pop-Influenced Hard-Edge Figurative Painting Description: A visually commanding oil painti...

This wonderful watercolor is a scene of people riding horses by the water. It is signed C. Macourlard and marked Southern California. The condition is pristine and they are newly fra...

Black Joe Jackson (American, 1922 – 1997) Title: Dign Rootz Medium: Acrylic painting on board Signed: Signed to the lower right Introducing "Dign Rootz" - a stunning piece of folk a...

It sounds like you're describing a vintage boho-style oil painting on canvas that features a nude female figure and is signed by the artist. This kind of artwork can be quite strikin...

Signed William Sheldon Horton impressionist landscape painting. This "Plein Air" artist has majestically captured the purple desert canyons of California. This substantial canvas is ...

Suffused with both sensuality and alienation, this large oil painting depicts a couple in the bedroom, the female figure poised with a head of cabbage and a doll, and her lover -- ev...

Signed lower right. An impressive hulking ship with a green hull dominates the scene at a dock, perhaps for repair. The partial view of a steamship is in the right background. Sigh...

A wonderfully composed/designed and a bit oddly alluring Mid-Century Modern artist portrait oil on board painting (perhaps a self portrait. The subject looks a little akin to Dylan T...

A wonderful and quite engaging encaustic painting (the process of which heated wax is mixed with paint to provide texture and expanded color range) by Norwegian born American artist ...

Nude painting of a woman, back view. The technique is ink wash. Painting is on paper with a wood frame, C 1950. Original wood framing.

Contour style painting on paper of large male nude seated figure, artist signed at bottom Fred Bennett. In simple white enameled metal and glass frame with mat. Beautifully executed ...