Continental US - Abstract Paintings

Harrison Gilman's large original artworks begin with a layer of fast-paced gestural abstraction followed by organic shapes and geometric structures. Some of his paintings remain in t...

Colorful landscape painting "Olive Grove IV" 30x40 by artist H.M. Saffer II. Painted in the style of pointillism- a series of tiny painted brushstrokes, this oil landscape depicts a...

Martin Rosenthal "House with Yellow Windows" c. 1960s Encaustic & Oil paint on paper 20"x13" unframed Signed and dated in ink lower left Martin Rosent...

Amazing surreal cloudscape modernist oil painting. Framed. Oil on canvas.

"Baal (M-1128)" is an abstract Post War oil on canvas painting by Hans Hofmann in 1947. The artwork is 59 3/8 x 47 1/4 inches and with the frame is 68 x 56 x 3 1/8 inches, weighing l...

Interior design paintings. The work was done with acrylic and watercolor in red and black color on watercolor paper 360g. The work is 11 by 15 inches in size framed (black) with a s...

Fresh green and white original painting. Wall art for the spring season.

Rites of Passage by Parris Jaru is a commanding composition that captures the essence of transformation and resilience. The figure, painted in deep brown against a vibrant yellow bac...

Artist: Juhachiro Takada Title: Untitled II Medium: Encaustic, Sand on Canvas, Signed in pencl Paper Size: 10.5 x 12.5 inches Frame Size: 19.5 x 20.5 inches

Encaustic on panel. It's simple; I create art because it makes me happy. I try not to overthink the process of what I’m painting and let my intuition be my guide. I love laying do...

Sophisticated, chic, worldly--call it what you wish--but abstract expressionist flowers by Sonia Grineva, shown here freshly cut and placed in an emerald green glass vase, is what br...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

Large minimal abstract painting with a green background. Attached to the surface are two toy cars surrounded by red paint and four wired bicycles surrounded in blue. The work is sign...

"Girl Reflection" is an expressionist depiction merging a portrait of a girl laying with her arms crossed behind her head, and the surface of a pond adorned with lilypads. An excit...

Los Angeles artist Amber Goldhammer paints dramatic abstract compositions in acrylic on canvas featuring energetic brushstrokes. Goldhammer uses her contemporary paintings to express...

Hunt Slonem "Barbara" Black Outline Bunny on White Background A single rabbit gestured in black on a white background in a vintage frame Unframed: 9 x 5.5 inches Framed: 11 x 8 inch...

Born in the South of France in 1926 and raised by very strict parents, Jean Sanglar was prohibited from playing with same age mates. Truly talented, as a young boy he drew frequentl...

Barcelona native artist Raul de la Torre's vibrant abstract mixed media artworks pay homage to textiles. De La Torre allows the materials to take over during the process and collabor...

Vintage modernist abstract expressionist painting. Oil on canvas. Housed in a period frame. Image size, 24L x 36H. Signed.

Artist/Designer; Manufacturer: Cleve Gray (American, 1918-2004) Marking(s); notes: signed Materials: acrylic on canvas Dimensions (H, W, D): 50"h, 65"w; 51"h, 66.5"w frame Addition...

Will Beger and his contemporary-minimalist paintings, take on an entirely unique approach to southwest art. Influenced by his youth and inspired by nature, he effortlessly captures a...

An original mid century modern abstract expressionist painting by American artist Toma Yovanovich. Toma Yovanovich (1931-2016) Yovanovich was a painter/printmaker whose work i...

James Massena March (American, 1953-2021) Untitled Oil on canvas 30 x 48 inches "My paintings are about space, form and energy. I generally start painting without preconceived notio...

"Fruit Bowl No. 1" is an abstact still-life Post War oil on canvas painting by Hans Hofmann in 1949. The artwork is 29 1/2 x 37 1/2 inches and with the frame is 38 1/8 x 46 1/8 x 3 1...

Jennifer Bricker-Pugh Harvest and Thread Acrylic on Panel Year: 2022 Size: 23x34x1.5in Signed, dated and inscribed by hand COA provided Ready to hang Ref.: 924802-1080 Jennifer is a...

"Sunny Day II" is a framed acrylic work on canvas by Alberto Murillo, featuring overlapping organic shapes in vibrant shades of blue, teal, green, orange, and brown. The artist's use...

"Untitled" 2019, 25" x 31" horizontal drawing on paper by Argentine-born artist Karina Gentinetta (featured in Architectural Digest, Elle Decor, the...

James Lepore (American, 1931-2024) Untitled (Abstract), 1962 Oil on canvas Signed Lepore 62 lower right 43 x 55 inches James Lepore was an American artis...

Edward Zutrau Kamakura, 5/1963 Signed, dated and titled on verso Oil on linen 38 1/2 x 51 1/2 inches Edward Zutrau is among the American artists who worked within the whirlwind of ...

Clean and precise, carefully ordered stripes and blocks of color in light green, dark sage, yellow ochre, pale lemon yellow and burnt orange are lively and vibrant against the neutra...

Gazing at Lebanese American artist Sally K's floral portrait is consuming and empowering. Inspired by strong, feminine women, she creates pop-realistic paintings that speak to the e...

Hunt Slonem "Double Bunny" Black Outline Pair on a Peach Background A rabbit couple gestured in black on a light orange and pink background in a vintage frame Unframed: 10 x 8 inche...

Oil on canvas signed by American artist, John Little (1907-1984) and dated 1970-71 in gilded trimmed, wood frame. Little, who attended the Buffalo Fine Arts Academy and worked under ...

Peter Stephens Quadrivium 78, 2024 acrylic and collage on paper 30 x 22 in image size:16 x 16 in (ste028)

Ben Schwab writes of his work, “the concepts of ‘here’ and “there” have always been interesting to me—particularly the question of what causes us to connect with a space as our ‘here...

Diego Barboza - 1945-2003 Hand signed and dated 1988 Oil on Canvas Diego Barboza was born the Carabobo street of Maracaibo, Venezuela on February 4, 1945. He was a Venezuelan Neo Figurative Painter who is among the most famous and influential figures in Venezuelan art history. Diego Barboza opened a new chapter in Latin America, beyond the surreal or the magical realism of the Modern Latin American Masters. He created a new language of dislocation and transgression. Personages became distorted to the point that was very exaggerated forms His figures twisted and contorted without losing their presence or their pull. Extremities muscles, and bones burst into an explosive compound of divergent and convergent lines. Through eruptive brushstrokes and fractured outlines. Barboza created a world of illusions. Barboza was born into a upper-middle-class family. He stopped going to school at 12 years old, and he registered himself at the School of Visual Art in the City of Maracaibo Venezuela. Barboza studied at the School of Visual Arts in Caracas, Venezuela. Barboza began his training as an artist at age 12 in his native Maracaibo when he left formal education to enroll in the then School of Plastic Arts of Zulia, then Julio Arraga School of Plastic Arts, where he was a student in the modeling, collage and Drawing of Angelina Curiel. His first collages, in the sixties, show the influence of American Pop Art. In 1967 he exhibited at the Ateneo de Caracas his series 'Los Ratones', a proposal then 'criticized by critics as unprecedented in Venezuela'. In his tribute to the film "Nosferatu" Friedrich Murnau included 32 drawings as well as two-dimensional objects. In 1968 he moved to London where he studied at the London College of Printing. From that time is his '30 Girls with Nets', an action in which 30 students of the London College of Printing, dressed in black and covered by white nets, toured London public places, behaving naturally. His 'street expressions', which he later called 'poetic actions', symbolized a breakdown of social restraints through unusual behaviors that sought to provoke public reactions. Upon his return to Venezuela in 1973, Barboza continues with this line of work, being recognized as one of the initiators of Venezuelan conceptual art. In the 1980's Diego Barboza turned to painting, the New Venezuelan Figuration. Here belongings and the feminine figure fill the work of that time, in which he embodied his intimacy and daily life through scenes of furnishings and flowers that included objects from his workshop and home. His nudes were made from live model, then to follow the path of distortion resulting in their unmistakable females: a figure that represented their personal way of appreciating beauty. Barboza presented his first individual exhibition at the Centro de Bellas Artes of Maracaibo Venezuela. In 1963, he traveled to London when the Conceptual Art movement started, he had the support of the London New Art Lab Gallery. On March 7, 1970 Barboza displayed his first work on Conceptual Art, which he called Art of Action. In London with the performance of 30 Girls with nets (30 Muchachas con redes). His second work was Nets and Hats in markets and restaurants (Con sombreros y redes en mercados y restaurantes). In London UK. His third The Centerpiece (El Ciempies) and the fourth Expression on a laundry-mat (Expresiones en una lavandería) In 1974. Baboza returned to Venezuela. Where he presented two very important Conceptual Art works: The Armadillo Box (La Caja del Cachicamo) and from the School of Athens to the New School of Caracas (De la Escuela de Atenas a la Nueva Escuela de Caracas). Closing his cycle of Conceptual Art creation. IN Venezuela a sort of impromptu academy started up at Claudio Perna’s house. Eugenio Espinoza, Roberto Obregón, Antonieta Sosa, Alfred Wenemoser, Yeni and Nan, Sigfredo Chacón, Diego Barboza, Luis Villamizar, Margherita D’Amico, Pedro Terán, Alfredo del Mónaco, as well as international figures who happened to be visiting Venezuela such as Antoni Muntadas, Charlotte Moorman, and Roman Polanski would gather there. Venezuela, especially Caracas, was a rich field of action for modernism in South America. Venezuelan Geometric Abstraction, Op art and Kinetic Art dominated through crucial figures like Jesús Rafael Soto, Gego, Alejandro Otero, and Carlos Cruz Diez, the country’s kinetic art made a fundamental contribution internationally. The Greater London Arts Association and the Arts Council of Great Britain did several exhibitions of (North, Central, South, London, Wales, Scotland and Ulster) to show the actual Visual Arts in all of the United Kingdom and Diego Barboza was invited for this event with a solo exhibition, expressions around a cylinder (Expresiones alrededor de un cilindro). Diego has made numerous solo and group exhibitions, obtaining rewards since 1963. He is represented in the most important museums of Venezuela, as well as in England, Brazil, Colombia and Cuba. In 1986 he was awarded the Municipal Visual Arts Award of the Municipal Council of the Federal District and in 1997 he received the National Prize for Plastic Arts granted by the National Council of Culture, CONAC. Select Group Exhibitions 1964 Ateneo de Caracas, Caracas, Venezuela 1965 Salón Arturo Michelena, Valencia, Venezuela 1968 Salón Oficial Museo de Bellas Artes, Caracas, Venezuela 1971 Art Spectrum London, London, Great Britain 1972 Serpentine Gallery, London, Great Britain 1973 Midland Group Gallery, London, Great Britain 1974 Galería BANAP, Caracas, Venezuela 1975 Casa de Las Américas, La Habana, Cuba Museo de Bellas Artes, Caracas Galería de Arte Nuevo, Buenos Aires, Argentina 1976 Museo de Arte Moderno, Bogotá, Colombia Museo de Arte Contemporáneo, Sao Paulo, Brazil Museo de la Tertulia, Cali, Colombia Bienal de Venecia, Venecia, Italy 1979 Centro de Artes y Comunicación, Buenos Aires, Argentina 1980 Galería NBC, Memphis, Tennessee, USA 1981 Galería de Arte Nacional, Caracas, Venezuela Museo de Arte Contemporáneo, Medellín, Colombia Museo de Bellas Artes, Caracas, Venezuela 1986 Museo de Arte La Rinconada, Caracas, Venezuela 1989 Galería Venzor, Chicago, Illinois, USA 1990 Museo Bellas Artes, Santiago de Chile, Chile 1992 Ambrosino Gallery, Coral Gables, Florida, USA 1993 Museo de Arte de Petare, Caracas, Venezuela Centro de Arte Lia Bermúdez, Maracaibo, Venezuela 1994 Galería Namia Mondolfi, Caracas, Venezuela 1995 Galería Art Nouveau, Maracaibo, Venezuela Galería Cesar Sassòn, Caracas, Venezuela Maremares Resort, Puerto La Cruz, Venezuela Galería Durban, Caracas, Venezuela Galería Odalys, Caracas, Venezuela 1996 Centro de Arte Grupo Li, Caracas, Venezuela Galería Uno, Caracas, Venezuela Centro Cultural Consolidado, Caracas, Venezuela Espacios Unión, Caracas, Venezuela Hebraica, Caracas, Venezuela 1997 Sociedad Dramática, Maracaibo, Venezuela, Venezuela CELARG, Caracas, Venezuela Galería Ocre Arte, Caracas, Venezuela Museo de Arte Contemporáneo , Maracay, Venezuela Galería Medicci, Caracas, Venezuela Awards 1963 Premio Estímulo - IX Salón d’Empaire, Maracaibo, Venezuela 1964 Premio José Ortìn Rodríguez - X Salón d’Empaire, Maracaibo, Venezuela 1965 Primer Premio de Dibujo - III Salón Pez Dorado, Caracas, Venezuela 1968 Premio Henrique Otero Vizcarrondo - XXIV Salón Oficial Anual de Arte Venezolano Museo de Bellas Artes, 1973 Premio Emilio Boggio...

The organic aesthetic and textures of Peter Kuttner’s original boho minimalist artworks are the result of patient layering and unique uses of media. Through a combination of collage ...

Mother & Child, 2016 By Christopher Mudgett This powerful and emotive original oil painting from the artist's 2016 "Mother & Child" series encapsulates a profound moment of tenderne...

Incredible early American modernist interior scene by Anthony Toney (1913 - 2004) . Oil on canvas. Framed. Signed. Measuring 26 by 32 overall and 18 by 24 painting alone.

#5-3460 Impressionist Seascape ,contemporary on canvas,signed by V.Stewart

4093 Multi colored abstract on artist board Set in a vintage hand painted wood frame Signed on verso by P.Russo

Los Angeles artist Amber Goldhammer paints dramatic abstract compositions in acrylic on canvas featuring energetic brushstrokes. Goldhammer uses her contemporary paintings to express...

Abstract expressionist painting in the style of Gerhard Richter in a blue, teal, and green palette with accents of peach, yellow, and pink "Absorbed in Brilliance", made by Bruce Mur...

In acrylic on canvas, carefully ordered curving stripes of color in gradient shades start with berry, plum purple in the center transitioning to bright lemon yellow at the edges. Sig...

Artist : Susan Kiefer Title : "Grace Notes" Materials : oil on canvas Date : May 2020 Dimensions : 30" x 40" x 1.5" Description : Hard-edged geometric abstract with four overlapping...

"Horses of the Tang Dynasty" oil on canvas painting by Steve McElroy, 2024. Ceramic horses of the Tang Dynasty are classic art forms that will look ...

Charmion von Wiegand Pillar of Zen #124, 1959 Gouache on paper painting Hand signed, titled and dated on the front Unique Provenance: Andre Zarre Gallery, with label verso (Estate of renowned gallerist Andre Zarre, ne Andre Sowulewski) Measurements: Framed 26.5 inches vertical by 25.5 horizontal by 2 inches Artwork: 21 inches vertical by 22 inches horizontal Mid century modern, geometric, spiritual abstraction, mystical The Estate of the celebrated artist Charmion Von Wiegand has been represented exclusively by Michael Rosenfeld Gallery since 1998. From March 3 to August 13, 2023, Charmion Von Wiegand was the subject of an acclaimed retrospective at the Kunstmuseum Basel, and she has received major attention in the price, including a June, 2023 ArtNews feature entitled, "Who Was Charmion von Wiegand and Why Is She Important?". Her work was also featured in a solo presentation by Rosenfeld Gallery at the New York Art Show held at the Park Avenue Armory, which also received critical acclaim. Artists Biography - courtesy of Michael Rosenfeld Gallery: Known for her vibrant, geometric paintings that originate a deeply personal language of spiritual enlightenment expressed through a constructivist mode of abstraction, Charmion von Wiegand (1896–1983) was born in Chicago but spent much of her childhood traveling. The daughter of a journalist for Hearst, von Wiegand eventually settled in New York in 1915 to attend Barnard College and Columbia University, where she took classes at the School of Journalism while nurturing a growing interest in art history. In 1925, von Wiegand realized that she wanted to be an artist and set up a studio in Greenwich Village, teaching herself how to paint while pursuing a career as a journalist. In 1929, she secured a position in Moscow as a foreign correspondent for Hearst, the only woman at the desk at the time. In 1932, von Wiegand returned to New York and married Russian émigré Joseph Freeman, who co-founded and edited the leftist journal New Masses. Von Wiegand began writing art criticism for New Masses as well as for other publications, including New Theatre, ARTnews, and Arts Magazine. When the Abstract American Artists (AAA) held their inaugural exhibition, von Wiegand reviewed it. An early champion of abstract art, von Wiegand became close friends with AAA founder Carl Holty. In 1941, Holty introduced von Wiegand to Piet Mondrian, who would have a profound impact on her art. Fascinated by Mondrian’s artistic philosophy, von Wiegand played a key role in the introduction of his work to American audiences, translating many of the Dutch artist’s writings into English and assisting in the composition of his influential article “Toward the True Vision of Reality” (1941). Through her friendship with Mondrian, von Wiegand re-kindled her interest in Theosophy (a religion established in the late 19th century that combines aspects of Hinduism, Buddhism, occultism, and esotericism) and embarked on an extended study of neoplasticism. In her artwork, she incorporated Mondrian’s iconic grid but rejected the constraints of pure neoplasticism and embraced a wide range of influences including surrealism and German expressionism. In 1942, von Wiegand became a member of the AAA, exhibiting regularly with the group and eventually serving as its president from 1951 to 1953. In the late 1940s, sculptor and fellow AAA member Ibram Lassaw gave her a translation of The Secret of the Golden Flower: A Chinese Book of Life, which inspired von Wiegand to immerse herself in a study of Buddhist art. She began incorporating Buddhist motifs such as stupas and mandalas into her paintings, and her spiritual practice steadily intensified throughout the 1950s. In 1953, her husband gifted her a copy of the Taoist I Ching Book of Changes, a guide for divining meaning from randomly derived numbers arranged in a hexagram—a form the artist readily incorporated into her painting. Von Wiegand’s study of Theosophy also intensified over these years, bolstered by her increased access to the religion’s primary sources composed by the religion’s founders and their successors at the New York Theosophical Society’s library. Von Wiegand’s search for the sacred and transcendent ultimately led her to Tibetan Buddhism and, in 1967, von Wiegand met Khyongla Rato Rinpoche, a Gelugpa monk who had recently arrived in New York, who would mentor her spiritual study in the tradition of Mahayana Buddhism until her death. Her travels in the 1960s and 1970s took her to Tibet and India, where she had an audience with the Dalai Lama, who was living in exile in Dharamsala. Many works from these decades incorporate symbols and schematics drawn from Theosophical prismatic color charts, Chinese astrology and tantric yoga. In 1978, she was the subject of a PBS documentary titled The Circle of Charmion von Wiegand, which was scored by Philip Glass. In 1980, von Wiegand was elected to the American Academy of Arts and Letters and in 1982, the Bass Museum of Art in Miami Beach (FL) organized her first retrospective exhibition. She died the following year in New York, bequeathing her estate to Khyongla Rato and the Tibet Center of New York. In 1998, Michael Rosenfeld Gallery became the sole representative of her estate and has presented her work in four solo and multiple group exhibitions. Recent notable exhibitions that have included her work are The Third Mind: American Artists Contemplate Asia (Solomon R. Guggenheim Museum, New York, NY, 2009) and Constructive Spirit: Abstract Art in South and North America (Newark Museum, NJ, 2010). In March 2023, the Kunstmuseum Basel (Switzerland) opened the first comprehensive museum retrospective of von Wiegand’s work in Europe. Von Wiegand’s work is represented in numerous museum collections including the Addison Gallery of American Art, Phillips Academy (Andover, MA); Albright-Knox Art Gallery (Buffalo, NY); Arithmeum, University of Bonn (Germany); Birmingham Museum of Art (Alabama); Blanton Museum of Art, The University of Texas at Austin; Brooklyn Museum (NY); Carnegie Museum of Art (Pittsburgh, PA); The Cleveland Museum of Art (OH); Indianapolis Museum of Art (IN); Fondazione Marguerite Arp (Locarno, Switzerland); Museum of Fine Arts, Boston (Massachusetts); The Metropolitan Museum of Art (New York, NY); The Museum of Modern Art (New York, NY); Newark Museum of Art (New Jersey); Seattle Art Museum (WA); Smithsonian American Art Museum (Washington, DC); Walker Art Center (Minneapolis, MN); Weatherspoon Art Museum, The University of North Carolina at Greensboro; Wellin Museum of Art at Hamilton College (Clinton, NY); Whitney Museum of American Art (New York, NY); and Yale University Art Gallery (New Haven, CT). More about gallerist Andre Zarre A tribute in the New Criterion: Dispatch August 11, 2020 Andre Zarre, 1942–2020 by Dana Gordon On the late New York gallery pioneer. Art should never be aggressively explained; art should be felt. —Andre Zarre, 1977 Often, in the starlit New York cultural mecca, a longtime important figure fades away through the penumbra and dies without notice. Such was the fate of Andre Zarre, the contemporary art dealer, who passed away a few weeks ago. Andy, as he wanted friends to call him, opened his eponymous gallery in 1974 just off Madison Avenue on Sixty-ninth Street. He soon moved it to the omphalos of the art world in that era, 41 East Fifty-seventh Street, the Fuller Building. Over the years he moved to SoHo and then to Chelsea, as fashion and real estate prices pushed the art souk hither and thither. To understand his importance, all you need do is take a look at a list of artists who had solo shows at the Andre Zarre Gallery. This includes such names, from an early generation, as Sonia Delaunay, Nassos Daphnis, Sari Dienes, and Perle Fine. Among a subsequent generation are Pat Lipsky, Jay Milder, Thornton Willis, and Kes Zapkus.1 And this list does not include the many knowns and unknowns who were in his lively group shows. Zarre had a real “eye” and was a champion of abstract art from the moment he founded his gallery—even among the gathering storms of conceptual and political art, which he eschewed. He showed a good deal of figurative art as well. His galleries were always spacious and unpretentious, oriented simply to show the art. In the words of Dee Shapiro, who showed with the Zarre gallery many times, “He had a photographic memory and knew a lot about art and was always interested in the artist’s life.” Reliable biographical information on Zarre is scarce, but he said of his background that he was born in Poland in 1942 and that his parents were a diplomat and a socialite. He left home for the United States at the age of fifteen. During his decades as an art dealer in New York, Zarre did not appear to accumulate wealth, though he acquired a collection and lived on Park Avenue. “He was not personally aggressive in that way. People had to come to him,” Dee Shapiro said. He was honest in his financial dealings with artists, which not all art dealers are. For a long time while running the gallery he had a second job as a supervisor in an airline office and he kept little to no additional staff in the gallery. He supported a brother who remained in Poland. Among artists, Zarre was known to be quite ornery. After my show at his gallery in 1997, I refused to enter it for seventeen years. Then I ran into him in Chelsea and he offered me another show, an opportunity I gladly accepted, but he remained just as disagreeable. He showed the work of many women, probably more than any other gallery, save those devoted to showing only women. Collectors, curators, and writers found him mostly friendly. As Peter Reginato put it, Zarre was a “strange guy but I liked him. I think he was a dealer who was more interested in the art than in making money, but somehow he lasted forty-plus years.” Zarre is not known to have kept extensive or extant records of his gallery’s long history, though these may emerge in time. Scouring the Internet, one may compile a partial list of more than eighty artists who had solo shows at the Andre Zarre Gallery:Nancy Azara, Ellen Banks, Mary Barnes, Tony Bechara, Juan Bernal, Stephanie Bernheim, Randy Bloom, Elena Borstein, Michael Boyd, Fritz Bultman, Ed Buonagurio, Yoan Capote, Sonia Delaunay, Nassos Daphnis, Cathy Diamond, Sari Dienes, Joseph Dolinsky, Beata Drozd, Ronnie Elliot, William Fares, Perle Fine, Lynne Frehm, Ben Georgia, Mikel Glass, Dana Gordon, Juanita Guccione, Fred Gutzeit, Don Hazlitt, Amy Hill, Clinton Hill, Monroe Hodder, Budd Hopkins, Arlan Huang, Richard Hunt, Rhia Hurt, Buffie Johnson, Alexander Kaletski, Robert Kaupelis...

Artist: Vahe Yeremyan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Linen Year: 2025 Style: Impressionism, Subject: Whispering Pines, Size: 44" x 63...

"Alone on the hilltop waiting for the rain" is a painting inspired by that moment just before the world transforms into a new landscape. The rain is coming. The clouds are moving. Th...

Robert Petersen Detail Sketch from January 1986, 1991 Pure pigment collage, acrylic painting and drawing Hand-signed by artist, Hand signed, hand initialed, annotated, dated by hand and with date stamp and stamped by artist and inscribed to Dr. Joseph and Mary Bottino Provenance: Bottino family 16 1/2 × 21 inches Unframed Unique Robert Petersen is a longtime collaborator, friend and protege of Robert Rauschenberg. Detail Sketch from January 1986, dated by the artist April 20, 1991, as well as April 1, 1991 and April 19, 1991, hand signed, as well as stamped RP several times, inscribed, and bears instructions"can paint over pink and blues and whites", and initialed. More about Robert Petersen: Robert Petersen was born in 1945 in the small farm town of Le Mars, Iowa and was raised there until 1952 when he moved with his family to Whittier, California. His education as an artist began in 1963 at Fullerton Community College where his interest in architectural drafting led him to develop a passion for drawing, painting, and printmaking. In 1966, he pursued his love for printmaking further at California State University, Long Beach under the former Tamarind Lithography Workshop printer, Robert Evermon. In 1969, Petersen went on to work as an assistant printer at Gemini G.E.L. where he printed editions for Frank Stella, Roy Lichtenstein, and Robert Rauschenberg. Most notably, Petersen served as one of the head printers for Rauschenberg's Stoned Moon series, during which the two formed a close friendship. In late 1970, Rauschenberg invited Petersen to live and work with him on Captiva Island, Florida, which had recently become the artist's permanent residence and studio. In 1971, Rauschenberg and Petersen...

"Annie Nobles Miller" Abstract Florida landscape oil on board painting Hand signed lower left Inscribed on verso St. Lucie County. Measures: Board 24"H x 30"W; Framed - 32"H x 38"W. Annie Miller was a member of the Indian River School of Painting, which was not a formal school but was a group of mostly African-American Florida working class people who wanted to paint. Following is the explanation of that school and its participants. Indian River School is a name applied to Floridian artists in the 1950's and 1960's. They were heavily influenced by nature. Most of the artists in this movement were African American. Their work is characterized by quick strokes and eschews traditional methods of paintings. The main influence for the group was a man named A.E. Backus, a Bohemian white man who mentored the group of young black artists. The group used to congregate in his studio and learnt to paint from 'Beanie' (as he was called) as a way out of their lower class labour jobs. Their work was powerful, dramatic yet captured the serenity and beauty of the Florida Although the exact count of artists mentored by A.E. Backus remains unknown, experts estimate it to be around 20 individuals, many of whom he supported through college. Albert Ernest "Beanie" Backus (1906–1990) was famous for his vivid, naturalist Florida landscapes capturing a fast-vanishing Florida wild lands. Backus would come to be seen as the seminal Florida landscape painter, and others who followed would emulate him. Primarily of the Indian River and Everglades areas of Florida. Backus was a Native Floridian artist of great importance recreating scenes of Florida's sky, rivers, ocean, back country, unpredictable weather, clouds, and birds. Born in Fort Pierce, FL to a family of talented boat designers and builders. His "Uncle" Reg Goodwin helped Backus as a young painter go to the Parsons School of Fine Art in New York in 1924. He was referred to as “Florida’s painter laureate,” and the “Dean of Florida’s landscape painters.”In addition to his influence on the Florida Highwaymen painters (Alfred Hair...

SALE ONE WEEK ONLY "Untitled" by Nicholas Bodde depicts vibrant layers of color on narrow aluminum strips. These pieces are interchangeable and can be hung in various ways. Each is signed on the verso and was created in 2013. All three are sold as a set. Each aluminum panel measures 39 " h x 2.5" w. Bodde was born in New York he lives and works in Germany. He considers himself a German painter, who uses lacquered aluminum to create works that are beautiful in their simplicity and in their joyful exploration of color. The artist drives upon the tradition of European constructivism as well as Colour Field Painting, noting influences by Mark Rothko and Barnett Newmann. Bodde claims that his paintings “reveal themselves differently from close up and from a distance. When viewed from a distance they clearly appear related to constructivist geometric tendencies. But from close proximity, one notices that my main objective is painting and not construction.” The artist has reduced his subject to parallel vertical or horizontal lines and fields that race across the hard surface in a controlled riot – as if the viewer were looking out of a fast moving car while driving by fields of colorful flowers. Bodde constantly questions the colors, focusing on creating a construction through using different colors. He sees his creations as a mode of communication with the world. He paints on aluminum plates by successive coats of painting that he applies with different utensils to finally obtain a result that imprints itself into the eye’s retina. The game of colorful stripes, more or less large, sometimes with the feeling of the brush, sometimes flat, reflects the light differently on each lap. The brightness of his palette, a willful choice, accentuates the vitality that emanates from this painting. His works hesitate between the vibrating and nearly irritating colors and the calm of a monastic construction.   Bodde received his formal education from the University of Arts in Bremen (1989) and has been exhibited in numerous solo and group shows across the world, including venues such as the Yeh Gallery in Seoul, Planet Art...

Unknown artist, signed Payton 1970 Hawaii (Lower, Right) Untitled, 1970 Oil on Canvas 50" x 34" A wonderfully curious painting, whose untold history is something to marvel a...

Hunt Slonem "Jackie O Yellow" Single Bunny A black outlined rabbit on a yellow background in a vintage frame Unframed: 8 x 6 inches Framed: 11 x 9 inches *Painting is framed - Pleas...

Antique American modernist abstract oil painting. Oil on board. Signed. Framed. Image size, 7L x 5H.

Xavi Carbonell (b. 1971), a Spanish artist celebrated for his playful and spontaneous creations, offers viewers an immersive and imaginative experience. Known for leaving his works u...

NICHOLAS WILTON’s paintings are visual poems, informed by Nature and his personal experience of life. Color, texture, and organic forms are layered into a complex visual weave that h...

Motivated by bold color and fast brushwork, we are moved by the simplicity and thick textured acrylics and oils in these works. Shaoul’s “My Heart Collection” is a vibrant and energe...

Expressive black and white abstract, with scribbled linear patterns in the style of Jean-Michel Basquiat, by by Bay Area artist Michael Pauker (American, b.1957). circa 1977. Oil on canvas. Titled "Baldwin" and dated "Summer 77" on verso. Here he revisits a piece he did early in his carrier of the same title "Baldwin" in 1967. Unframed. Image size: 16"H x 12"W. “I’m driven by curiosity...where it comes from I can’t tell you; it’s just there. And early 20th-century modernist art is the thing that I keep returning to.” - Michael Pauker Bay Area artist and art educator Michael Pauker was born in New York in 1957 and knew he wanted to be an artist from the age of 15. He earned a Bachelor’s in Fine Arts at SUNY Purchase in his native state of New York. In 1989 he went on to earn an M.F.A at Mills College in Oakland and was awarded the City of Oakland Artist Fellowship in Painting. He has been a Bay Area resident since 1988. His work has been exhibited widely across the U.S., as well as in Japan and Costa Rica, and is included in the collection of the Fine Arts Museums of San Francisco. Exhibitions include: 2007 Contemporary Art Museum, San Jose, Costa Rica 2007 “The Ebay Art Project,” Works/San Jose, San Jose, CA 2003 “Found Imagery: The Art of Collage,” Fresno Art Museum,Fresno, CA 2003 “Cut, Copy, Paste,” De Saisset Museum, Santa Clara, CA 2003 “20th Annual Exhibition,” Berkeley Art Center, Berkeley, CA 2002 “40 by 40,” Adam Baumgold Gallery, N.Y., NY 2002 “Works on Paper,” Bryant St. Gallery, Palo Alto, CA 2002 Dolby...