North American Paintings

Oil Painting Modern Sailboat Art oil painting in red white and blue Unsigned. Canvas oil. Measures: 20 x 16 x .75 inches Preowned original unrestored ...

A midcentury American oil painting of a boy looking out at the sea.  Measurements: Height: 41" Width: 52 Depth: 1.5".

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

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...

Thierry Despont, best-known as a very successful architect, was also an accomplished artist. In his painting practice, when not analyzing the smallest, most detailed creatures of th...

Nick Barberi (20th century) Construction in Orange Gouache on paperboard Signed and inscribed to verso Measurements: 7 inches wide x 16.50 inches high x ...

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...

Condition: Original Vintage Condition Materials: Oil On Canvas, Gilt-Wood Frame Style: Realism

A beautiful and quite engaging original watercolor painting by California artist Dorothy Sklar (1906-1996) featuring a colorful, lush landscape with mountain backdrop contrasted agai...

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...

Sophisticated and playful at the same time, this important painting by Eduard Buk Ulreich returns to one of his favorite themes: a group of frolicking horses in the landscape, overflowing with high spirits. Ulreich came to fame as one of the muralists who decorated the lounges and public rooms of Radio City Music Hall...

'Abstract III, Diptych' by Beverly Myers Modern Painter, School of Wolf Kahn  USA, Post 2015 "Abstract III, Diptych" by Beverly Myers is a striking depa...

A nice little cubist painting on canvas illegibly signed lower left corner. We just had it framed beautifully and floated. The painting has some minor paint loss please see the deta...

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...

In his 1999 assemblage, Rayas, artist Dan Rizzie gives a nod back to the Dadaist movement of the early 20th century while, at the same time, looking forward toward the atmospheric to...

MacMillan Mid Century Abstract Acrylic on Canvas Painting This painting measures: 48.5 wide x 1.5 deep x 48.5 inches high We take our photos in a controlled lighting studio to show...

Highly textured mixed media impressionist still life on board with giltwood frame. Bill Condon was a native Houstonian, a practicing architect a...

"Midsummer Blue", Swedish abstract expressionist watercolour collage painting on paper. Framed in white lacquered wood frame, measuring 41" length x 29.25" width x 1.25" depth. Painting measures 35.25" length x 24" width, unframed. Signed Peter Astrom...

Harif Guzman "One of a Kind: White on Black 1, " Mixed Media - Graffiti Art Known simply as “Haculla,” Guzman’s alter ego is characterized by a rudimentary depiction of human physio...

LIAISONS I Original painting by Lynn Curlee One of a series of eight paintings based upon 17th century French engravings. Each paint...

Samuel Waugh (American, 1814-1885) Portrait painting of Robert Patterson, Sr., (Philadelphia, 1819-1909). canvas: 20 by 24 inches frame: 23 by 27 inches

Post Impressionist acrylic landscape painting on stretched canvas - featuring a large tree in the foreground - finished with a fabric matte with composite gilt filet - copper giltwoo...

Lovely Art Deco impressionistic, interior still life study of a vase of vivid dahlias, circa 1930. Elegant matching 2 toned limed washed frame. 1930s USA.

Carol Frye - contemporary American abstract mixed media painting - gouache, water color and pencil on card (media listed on the back - see photo) - painting mounted to black backboar...

Robert O'Meara (American, XX-XXI), Abstract Composition in red, green, and purple, Oil on Canvas, unsigned, unframed. 30" H x 44 " W.

Original mixed media entitled "W.D. Snodgrass Come out of the Storm" by Deloss Mcgraw, circa late 1970s. The piece is in very good vintage condition and comes unframed; it measures 2...

Original mid-century abstract oil painting by Clay Walker, circa 1957. The piece is in very good vintage condition and is presented in a black frame with c...

Late 20th century abstract oil painting depicting birds in a tree by California artist Peter Lowe. Highly textured painting on canvas. Mounted in original solid wood rustic frame. Si...

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

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...

Jacob Glushakow (1914 – October 12, 2000[2]) was an American painter known for his keen observations of life in the city of Baltimore, Maryland, United States. He graduated from the ...

Atmospheric pastel original still life in original period frame and displayed under glass; almost 100 years old. Signed illegibly to lower right and wired for wall display. A very p...

A contemporary Americana Folk Art acrylic painting on canvas titled “Identical Twins Holding a Quilt” by Bill W. Dodge. Hand signed and titled on the lower left. Circa 1990s. Rendere...

James Mattison (1990) is a self-taught fine artist focusing on contemporary impressions of people and his surroundings both of his home in New England and beyond. Born in Portland, M...

Arthur Shilstone (American, b.1922) "Belem, Brazil" original watercolor, circa 1960s Original watercolor on paper. Dimensions 26.5" x 19". The f...

Acrylic on canvas original painting entitled "Country Bridge" by renowned Filipino artist Romeo Villalva Tabuena, cica 1970. The painting is very bright and colorful and measures an impressive 35.5" x 22.5" x 2". It is presented in its original wood frame; signed and dated in the upper right of the painting. The piece also includes a gallery sticker on the reverse from Guanajuato, Mexico. Gorgeous focal point piece of art with wonderful color and texture! #3062 Romeo Villalva Tabuena Filipino postwar Neo-realist painter and printmaker Romeo Tabuena...

Vintage original pen on paper drawing, partially shaded and colored in watercolors, by a listed artist Russell Ram features a study for a portrait of a sitting shirtless man. The po...

A contemporary Impressionist oil painting on canvas titled “On the Road to Rocquencourt” by Martin Jewell. Hand signed lower left and dated 1-28-92 on th...

EUGENE WHITE (1913-1966) - 'Long Boat Key' - American Impressionist landscape oil painting on panel - prominent listed artist - signed and dated lower left -...

Unusual approach to the calligraphic graffiti reaction to minimalist doctrine prevalent in NYC at the time (1975)

Andy Warhol by David BourdonVintage 1989, Abrams Book, Harry Schunk 1965 Photo Collector's Pop Art poster. This Andy Warhol rare vintage 1989 iconic David Bourdon Abrams book harry ...

Condition: Original Vintage Condition Designer: Wanoa S. Neumann Manufacturer: Wanoa S. Neumann Materials: Oil On Canvas, Wood Frame Style: Landscape

Final costume design drawing by Jose Varona for the New York City Opera's 1967 production of Le Coq d'Or (The Golden Cockerel). This design is for the title character. The drawing is ink, watercolor and gouache. Two other designs for this opera are in the collection of the McNay Museum in San Antonio, TX. Sight measurement is 19 1/4 x 14 1/8 inches. Jose Varona American was born 1930 in Argentina. He began his art career in the 1950's and later became a renowned international costume designer mostly with opera and dance productions. He moved the the United States in 1962. He designed costumes for Beverly Sills, Joan Sutherland...

Copy of a wildlife painting titled "Hunt of the Falcon" showing hawk swooping into midst of game birds and rabbit

Oil on panel, signed lower left and inscribed reverse. Provenance: Fay Gold Gallery b.1956 Scott Duce is an international artist working in New York. Duce’s work is included in many corporate, museum, and private collections. Notable collections include Random House, General Electric, IBM, Pfizer, Inc., Capital Holding Corporation, McGraw-Hill Corporation, Petroplus Holdings, Switzerland, Seagrams-Montreal, Canada, and the U.S. Embassy in Stockholm, Sweden. Among his awards and honors he received a National Endowment for the Arts/SECCA artist grant. Duce’s work has been exhibited throughout the United States, with several solo exhibitions in New York City, Chicago, Boston, Atlanta, and internationally in Paris, France; Florence, Italy; and Lima, Peru. He has had many commissioned works, including Bell South...

Casanovia; Seduction of Europe, by Frederick Ilchman. MFA Publications, Museum of fine Arts, Boston, 2017. 1st Ed hardcover with dust jacket. From the salon to the boudoir: the world...

Thierry Despont, best-known as a very successful architect, was also an accomplished artist. In his painting practice, when not analyzing the smallest, most detailed creatures of the...

Presented is an original oil-on-canvas painting of a football game by American artist Jay Cooper. In the composition, two football players, donned in red jerseys, run the ball agains...

Lovely original framed portrait of a woman, acrylic on canvas with ornate frame. Artist and provenance unknown. Beautifully adorns a wall either on its...

Ariane Beigneux American artist who was known for her portrait paintings of young children. This painting exemplifies the type of traditional portraits that were her specialty. Arian...

Morris Shulman (American, 1912-1978) A painting on board depicting nesting cormorants, circa 1950. 18 ¼ by 30 inches

Exceptional oil painting on canvas of very intriguing subject of a man with great paint texture. Beautiful object of art for wall hanging. Fra...

Felted wool from the artist's sheep, I AM THE BIRD, MY CAT IS THE WOLF was included in The Lily Too Shall Function (Nov -Dec 2023, San Francisco) at The Jones Institute included in a...

Christopher Lane (American,1937) This oil on canvas painting by Christopher Lane is very similar to one of his larger paintings that was displayed at...

This extraordinarily rare and important painting, for the cover of the December, 1952 issue of "American Manhood" magazine, depicts a fallen scuba diver, p...

Vintage (20th Century) richly-captured still life of game birds, rabbit and fowl laid out on a butcher block alongside a rounded loaf of bread, fish...

This is a contemporary art print. A Canadian, hand-finished canvas in box frame, signed by the artist, Emilija Pasagic. Titled 'Grace and Beauty II' and number 29 of 95 limited edi...

Michel Fokine as Harlequin. In Carnaval, 1910. Original life-size painting by Lynn Curlee Fokine was choreographer of the famed Ballets Russes.    

Edna Hibel color lithograph depicting Piazza San Marco or St. Mark's Square in Venice, Italy. Signed and Numbered. A very decorative piece of art by listed Post-Impressionist artis...

Painting by Daphne Covington. Her influences come from such artists as Picasso, Chagall, Matisse, Kandinsky, and Basquiat. It is her unstructured appr...