20th Century Paintings

Colorful tropical painting with a female form hidden in the abstract composition. Modern gold frame. By Jamaican artist, Richard Von White.

Vintage seascape acrylic painting in giltwood frame. Signed and dated at lower left: Eriaine 1981; Inscribed in Danish at the back. A loose translation of the title: "The Sea is Migh...

1980s Byron Gálvez Abstract Modernism Dreamy Blue Artwork Mexico 17.75 x 23.75 Signed Art Preowned condition original vintage art See all images provided.  

Charming little painting framed in a gilt wooden baroque style frame, oil on wooden panel, depicting Lady Sybil Primrose as a child, a hand-painted reproduction after an original wor...

THE FAVORITE Original painting by Lynn Curlee Acrylic on stretched canvas This painting was used for the poster for the 1995 HAMPTON CLASSIC HORSE SHO...

Fantastic original watercolor titled ‘Chinatown’ by well listed California artist, Ben Abril c1960s. Original artist frame.

Scandinavian modernist, oil on board, still life with fruits and pitcher. Approximately from the 1970s. In excellent condition. Dimensions: W 39.5 cm x H 30.0 cm. Total: W 46.5 cm x...

Tim Folzenlogen (American, b. 1952), "New Hope...", oil on Masonite, signed "Tim Folzenlogen" and dated at lower right, titled (partially illegible) at...

Bruno Forsberg (1924-2003), listed Swedish artist. Oil on board. Modernist park landscape. Colouristic palette. Signed. Mid-20th century. In perfect condition. Dimensions: 65.0 cm x...

Modern Portrait of Three Rabbits, in the style of Hunt Slonem USA, 20th century Oil on canvas A whimsical portrait study of three seated rabbit...

Larger scale hardedge abstract in the style of Karl Benjamin, rectangular forms in blues, yellow, green, mustard, black, browns, white with a soft gray background. Encased in a hands...

Layers of paper and paint make this artwork stand out on it's own. Unsigned.

A vibrant and distinctive still life painting depicting a blooming bouquet in an ornamented jug alongside a decorated bowl, arranged on a lively striped surface with a deep blue back...

Abstract painting by Antonio Ferri.

Copy of a portrait of "Emanuele Filiberto", Italian military leader of the 1500's

Unknown European artist. Oil on canvas. Abstract motif. Mid-20th century. Unsigned. Unframed. In excellent condition. Dimensions: W 80.0 cm x H 27.0 cm.

Abstract Painting by Barbara Beretich (1936-2018). It is entitled Silver Wide and depicts a moder abstract landscape. It is artist signed and was painted in 1985. Additional infor...

Albert Ferenz (1907-1994), Germany. Watercolor on paper. Abstract Landscape. Mid-20th century. Visible dimensions: 60 x 49 cm. Total dimensions: 82 ...

Maurice Rey (1930), listed Spanish/French artist. Oil on canvas. Abstract composition. Stylish painting in white, green, and gray tones. 1960. Signed and dated on the back. In excel...

Monumental Harley Francis abstract male nudes oil painting on canvas Offered for sale is a monumental abstract oil painting by Harley Frances ( 1940...

Expressionist watercolor Modernist movement still life, signed. Beautiful Expressionist still life watercolor in delicate pastel hues. Painted on paper and layed down in a loose t...

Handmade museum-quality unframed reproduction of “Still-Life of Glasses in a Basket" by Sebastien Stoskopff. This oil painting reproduction captures the essence of Stoskopff's origin...

1980s Byron Gálvez Mexico Abstract Modernism Artwork Dark Animal mixed media paper 25.75 x 19.75 Preowned original condition vintage art See all images.  

Landscape with Trees  by Alfred Henry Maurer, New York School, Gouache on Paper, Circa 1915. A dynamic Modernist rendering of trees and a wall in a landscape setting in hues of green, violet, sienna and yellow. Signed in pencil in the lower left corner “A / H Maurer”. The image measures 20-3/4 inches x 17 inches. Simple wood frame and glazing measuring 21-3/4 inches x 18  inches. Condition: Slight yellowing of the paper and other minor signs of age otherwise excellent condition. Provenance: Private Collection, New York Biography from The Phillips Collection of American Art: ALFRED HENRY MAURER (1868–1932) One of the first American painters to reflect the influence of European modernism in his painting. Born in New York, Maurer studied in 1884 at the National Academy of Design, New York, where he became recognized as an accomplished painter of portraits inspired by those of James A. M. Whistler and American impressionist William Merritt Chase. From 1897–1914 Maurer lived in Paris where he became acquainted with fellow Americans Arthur Dove and Gertrude and Leo Stein. It was in the Stein’s salon, a well-known meeting place for Americans and modern French artists...

Original color lithograph 'Le Bouvier' by Roger de la Fresnaye. Lithograph printed from an original painting made by the author in France, circa 1921. Framed in Barcelona by an...

We kindly invite you to read the full description, as it provides detailed technical and historical information essential to ensuring the authenticity of our pieces. This is an oil p...

Step into the enchanting world of Georges Braque with the original 'Paysage à l'Estaque' color lithograph, a masterpiece painted in France circa 1906. This lithograph, edited and printed in France in the 1970s, captures the essence of Braque's artistic brilliance and is a testament to his significant contributions to Fauvism and the development of Cubism. Framed to perfection and signed in the stone, this lithograph is not just a piece of art; it's a window into the mind of a major 20th-century French painter. Georges Braque's work between 1908 and 1912 is closely associated with that of his colleague Pablo Picasso, and this piece reflects the indistinguishable nature of their Cubist works...

Vintage Desert landscape painting floated in a simple blonde wood frame depicting a spring superbloom in the foreground with cactus ...

This vivid oil, watercolor and pencil on board by Ilonka Karasz is one of her 186 commissioned cover illustrations for the New Yorker, and the only one currently on the market. L...

Oil on canvas by José Herrera (Spanish, 1943-). Signed and dated 1973. Original stainless steel frame. A beautiful piece.

Drawing in Transparency, 20th century Transparency drawing on canvas, 20th century, unsigned, unframed. Measures: H: 100 cm, W: 81 cm, D: 2 cm.

S. SMITH ROWE - 'Drummer' - Vintage Cubist style oil painting on paper - unframed - vintage bevel edged matte board - vintage gallery/framer label to the back board - signed lower ri...

Sven H. Engberg, listed Swedish artist. Oil on canvas. Modernist landscape. Dated 1963. The canvas measures: 48 x 34 cm. The frame measures: 5.5 cm. In excellent condition. Sig...

Ole Bjørn Krüger (1922-2007), Danish artist. Oil on Japanese paper placed on board. Modernist composition. 1960s / 70s. The paper measures: 78 x 62 cm. The board measures: 84 x 68 ...

Dominic "Don/Dom" Mingolla Enamel on Copper Framed Equestrian Painting Horse Jockey Race Derby. Item features enamel on copper painting, distressed w...

Peter Robert Keil was born to an artist blacksmith father whom he lost very early in his childhood during the Second World War. During the end phase of the war, Keil's mother, also a...

Hector Ubertalli (American, b. 1928), "Images - Japan 2", 1974, acrylic on canvas, signed and dated lower right, titled with artist details on verso. The painting depicts a serene, ...

Three single paintings, mixed technique on paper, signed and dated P. Szekely 92, made on the occasion of a presentation of Emilio Pucci fabrics in the Woka Showrooms together with S...

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...

Introducing a magnificent Mexican painting by renowned artist Jesus Mariano Leuus, signed and dated in 1982. This captivating artwork depicts a scene ...

Juan Salazar (1934-) Tianguis en Toluca Signed and dated (lower left), Signed and titled, verso. Oil on canvas. 24" in. x 36" in. (61 x 91.4 cm.) Boldly painted, large and import...

Modernist view of Funza, lush green hillside landscape surrounding red-roofed buildings and bright sun overhead in sky. Likely depicting Funza - Bogotá savanna, Colombia. - Oil on ar...

Untitled Joel Stein 1993 Acrylic Color on paper Aluminum frame with glass Excellent condiction frame: 48x48x2 cm paper:30x30 cm Stein Joel (Saint-Martin Boulogne, 1926 - Paris, 20...

Domenick Capobianco (American, born 1928) abstract pop art acrylic on canvas depicting a black circle on white ground surrounded by a rainbow, apparently unsigned, "Studio Domenick Capobianco" stamp to verso, unframed. 10" H x 10" W. Provenance: Property from the estate of the artist. Note: Domenick Capobianco (American, b. 1928) artist, is a graduate of Washington University at St. Louis and a Rutgers Fellow (1979) , and a Guggeheim Fellow (1984/85). Capobianco taught for many years on the faculty at Rutgers University, N.J. His work is in the collections of the Academie des Beaux-Arts, Ljubjana, Slovenia; the Sammlung Albertina, Vienna, Austria ; L’Instituto per la Culturea e L’Arte, Catania, Italy; The Kharkiv Museum, Kharkiv, Ukraine; Le Musee d’Art Contemporain, Skopje, Macedonia; The M.V. Nesterov Museum, Ufa, Russia; The Newark Public Library, Newark, NJ; The Robert Blackburn Collection, Library of Congress, Washington, DC; and the Weatherspoon Museum, Greensboro, N.C., among many others in Europe, Asia, and the U.S. Long a regular exhibitor at the famed 55 Mercer Gallery...

Not a lot is known about Alex Sibirny, his life’s work was found after his death in Nj. He spelled his last name in a variety of ways including ‘Siburney’...

A Tingatinga painting by unknown artist from the 1970s. Signed R.N Millanzi. It is painted on masonite and has a thin black frame. Naive motif in bold colours with leopard, birds a...

Abstract oil on canvass of tonal greens, pinks and yellows with back wandering line structure, signed and dated Lois Foley '81. This example is in very fine original condition, clean...

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...

Acrylic Relief Painting by Paul Maxwell "Exterior Concerns" - 1985, USA. Dimensions 48" width x 30" height Condition Good vintage condition; professionally cleaned.

Ludwig Orny (1920 Bratislava – 2005 Munich) – Abstract Geometric Composition Oil on Panel Germany, Late 20th Century This vivid geometric abstraction by Bratislava-born artist Ludwi...

Ludwig Orny (1920 – 2005) — Abstract Composition Oil on Panel This expressive abstract painting by Ludwig Orny (1920 Bratislava – 2005 Munich) showcases the artist’s masterful layeri...

Vintage modern abstract by Linda T Fink, 1961 Oil on canvas Signed upper right corner "Fink '61" A fine example of a exhibited regional American school modern painter, beautiful colo...

A beautiful, midcentury, large portrait of a lady, circa 1960. Charcoal on paper with a very decorative gold frame.

A very decorative work of art by listed artist, Jo Patch. Jo Patch born in Opprebais on January 13, 1937. He was active in Belgium primarily although many of his works were exhibit...

Massive Black & White Painting of Arnold Schwarzenegger's 'Back Double Biceps' Unsigned, Painted on 4 x 8 foot Plywood, from Ecuador Commissioned in the USA for a upscale gym in Mi...

Scandinavian artist. Oil on canvas. Abstract composition. 1980s. The canvas measures: 40.5 x 32.5 cm. The frame measures: 1.5 cm. In excellent ...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Russian Constructivism...

Belgium / 1940 / Painting / canvas, wood / Rococo / Baroque A Belgium oil painting signed Jos Pas, 1944 of a vase with orange flowers, grapes and a painting in the background. The ...