Continental US - Paintings

An original watercolor painting by San Ildefonso (Pueblo) Native American artist, Jose Roybal (1922-1978) depicting the Pueblo Harvest Dance. Presented in ...

Artforms: An Introduction to the Visual Arts Duane and Sarah Preble Softcover Book. 5th Edition 1994. Publisher: Harpercollins College Div, 1994. For Art Appreciation, Art for Non...

Gouache painting showing snowing the English built Cargo Steamer S.S. Thornaby. The ship was built by Ropner Shipbuilding at Stockton on tees in 1889. She hit a mine and sank in 1916...

Series of 5 abstract expressionist painting each on a Masonite board. These paintings were purchased from an estate in Westchester NY, they date from the 1960s or 1970s they are well...

A small American Classical framed painting of a stagecoach. This piece is framed in a deep wooden frame, with gilt gold around the edges and brown and black on the inside and outside...

Pair of M.E. Fager Reverse Mirror Paintings – Signed, 1950s American Design A rare and captivating pair of reverse mirror paintings by renowne...

A truly gorgeous, quite large and decorative, engaging South Indian Asian (India) Pichwai and/or gouache painting in a heavy two-sided acrylic frame featuring an evening Maharaja roy...

English Country (20th Century) painted and carved wall plaque of golf sign.

Signed Velpha 1920/30's era oil on linen depicting a Lilly in a vase with abstract backdrop in multi colors with geometric design attributed to the deco era. Lovely still life found ...

Whimsical outsider, Folk Art oil painting by William R. Straly, excellent use of color. Texture and space.

Oil on canvas of the classical figure Diana holding a bow in a landscape setting with a putti and dogs in vivid colors. French School 18th century  

Santa Fe Art. Ellis, Simone. Published by Crescent Books., New York., 1993. Large hardcover book. Illustrated in black, white and color. Important refer...

Mel Smilow, 1988, an assemblage of cut foam blocks in an array of modern abstract image of shapes, covered in a white acrylic. Trimmed in a thin contrasting pine. Signed. Mel Smilow, the famed mid century furniture designer...

Beautiful continuous line drawing by Jean Negulesco - Oscar award winning Hollywood director. Multiple Colors available. Newly framed in oak

Large sport fishing yacht heading out to sea. The captain is atop the flying bridge. Vessel is fitted with outriggers. Burgees are flying. Oil on canvas ...

A tall portrait painting of a woman with a flower in her hair. This piece was painted by the late Oklahoma artist Clair Seglem and is well known for his ...

Bold geometric abstract board found in Texas. We have a collection of these boards from an anonymous artist. Painted on recycled cupboard doors, table tops, stool tops and bread boar...

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...

A fantastic and extraordinary artwork with historical and artistic importance. Mural titled "Linger Longer Bar" signed and dated by artist P. Comstock on bottom right. Depicting a multitude of well known cartoon characters of the era including Mickey and Minnie, Popeye and Olive Oyl, Little Orphan Annie and a virtual Who’s Who of early 20th Century Cartoon...

Classic Victorian Painting of English Spaniels by Zollikofer

Well painted original Trompe L'oeil painting. Unsigned and unknown. unframed. Likely British late 19th or early 20th century. Gorgeous piece, would look fabulous framed or install...

Modernist Abstract Oil Painting on Board by WNY Artist Kathrin Langley titled "Ancient Tomb" Albright Knox Art Gallery award winning painting.. Well ...

Stunning little american folkhart water color of a young gentleman. Sitting with his arm over the back of what appears to be a tiger maple chair of the period. In the lower right corner we can see what is a tiger maple table...

Original Alexander Gore oil on canvas painting. Beautiful abstract texture colors .signed by the artist.

Measure: With frame: 40” W x 37.25” H Robuste Guillaume Azoulay Rare Guillaume Azoulay “Robuste” State II Gold Leaf Serigraph In excellent condition. Numbered and signed 72...

19th Century portrait of a gentleman in a black coat. Presented in a period frame.

Limited edition Fecit Etching, numbered 36/200. Artwork is framed, and depicts a village in neutral tones. Art dimensions (Without frame): 20" W x 31" H.

This striking hand-painted stone by the esteemed artist Ilya Schor, created in Provincetown, Massachusetts, during the 1950s, is a remarkable example of his unique blend of abstract ...

Beautiful continuous line drawings by Jean Negulesco - Oscar award winning Hollywood director. Multiple Colors available. Newly framed in oak

Jeka Kemp (Scottish,1876–1966) "No 6 Fleurs", Still Life depicting orange lilies, blue, purple and white flowers in a yellow pitcher, sitting atop a table with fabric draped in the ...

Antique watercolor view of a sailor with pet bird, circa 1800, a lovely detailed painting of a sailor seated in rough chair, tenderly spoon feeding a finch pe...

Beautiful continuous line drawings by Jean Negulesco - Oscar award winning Hollywood director. Newly framed in maple with original stamp

Charming mid century acrylic painting on canvas of a leopard with fauna and flora, executed in an enchanting naive style. Signed Paradis 82 and presented in a wood frame.

Scott Kerr is a self-taught Contemporary Abstract Artist. As a young boy, he was exposed to the art world by his father through the works of a local Texas artist, David Brownlow. Ama...

Americana Folk Outsider Art oil on canvas by African American Artist, John Jones, circa 1990s-early 2000s, USA. Signed painting depicts man pointing out his Auntie’s behind. Excelle...

Mural by Rufus Porter from Prescott Tavern in East Jaffrey, New Hampshire, circa 1824. This panel was removed from the tavern prior to its being torn down in 1950. This mural hung in...

Modernist Abstract Oil Painting on canvas by WNY Artist Kathrin Langley ..Well executed,, great use of color, texture . Katherine was known for her abstract and her religious artwor...

This exquisite hand-painted stone by the renowned artist Ilya Schor, created in Provincetown, Massachusetts, during the 1950s, beautifully captures the regal and spiritual essence of...

A key figure in American color theory, Robert Swain (b. 1940, Austin, TX) is known for his vibrant, grid-based compositions. After studying fine art at The American University and sp...

Mel Smilow, 1988, an assemblage of cut foam blocks in an array of modern abstract image of shapes assembled in a grid pattern, covered in a white acrylic. Trimmed in a thin contrasting pine. Signed. Mel Smilow, the famed mid century furniture designer...

Modern abstract expressionism acrylic on canvas painting unsigned but possibly executed by Judith Godwin, period painting, amazing use of color, space an...

This framed oil painting of an English countryside would make a stunning addition to any room. The dull greens and blues of this painting make for a calm and soothing accent piece. T...

A beautiful original abstract valley landscape oil painting in carved giltwood frame Signed by artist: "R. Bevan" (possibly British artist Robert Polhill Bevan [1865-1925]) Circa E...

19th/20th Century Oil Painting of Kittens in a Basket at Feeding. A stunning detailed oil painting in a fine carved gilt gold frame depicting a group of kittens eating and drinking...

Presented is an original mixed media painting by Steve Ferguson, entitled North American B-25B Mitchell Airplane. The work was painted for use on the Fleetw...

American abstract oil painting featuring pastel ombre color washes on textured canvas in a wooden frame. (\"Untitled\" Apollo Series, 1...

Large oil painting on canvas. Modernist Abstract, by Jim Bray, circa 1963. Charming image. Child-like. Great use of color, texture, space.

An elegant and high quality Continental 19th century Louis Philippe Period Giltwood framed Print, after Winterhalter. This stunning signed and dated 1859 print depicts an episode fro...

A vintage Boho original oil painting on board. A chic composition of a male nude in beautiful shades of green. Framed in a brilliant gilt wood frame. Acquired from a Palm Beach estate.

Vintage Gold Frame Hans Volkmann Art Print Little Princess Girl and Lord Seaham Boy. Item features prints of young boy and young girl in what appears to be...

Bold geometric abstract board found in Texas. We have a collection of these boards from an anonymous artist. Painted on recycled cupboard doors, table tops, stool tops and bread boards. Very dynamic when hung in collections. This door appears to have been painted on an old cupboard...

Lofty vintage acrylic painting on wood of a fanciful composition with columns, ornaments, a leopard on a pedestal and monkeys executed in a tongue in cheek neoclassic trompe-l'oeil t...

Set in a beautiful gilded frame, this artwork shows an early depiction of mountain climbing in the French Alps. Signed by artist on lower left corner. Frederik Hendrik Kaemmerer (1...

Beautiful continuous line drawings by Jean Negulesco - Oscar award winning Hollywood director. Multiple Colors available with original stamp Newly framed in maple.

Robert David Gauley’s framed landscape painting beautifully captures a serene countryside with a flowing stream and vibrant greenery. The oil on canvas showcases Gauley’s skillful br...

A fine French oil painting on canvas featuring a still life of a vase of flowers in a Montparnasse frame. The Montparnasse frame takes its name from the Parisian district where it w...

19th Century seascape with lighthouse, circa 1890, an oil on canvas view of a white-washed lighthouse tower on a small offshore rocky ledge, most...

Vintage African Folk Art Batik Fabric Painting Art with Mid Century Modern Influence and wooden outer Framing. In good vintage condition Dimensi...

Memorie, #13062, by Italian artist Gianfranco Asveri mixed media on paper, gallery framed in white wood frame and under glass. Depicted are some of his favorite subjects, his mother, his dog, and his cat. Live image measures 19.5 x 11.75 inches. Gianfranco Asveri was born in Fiorenzuola D’Arda, Italy, in 1948. The artist lives and works at Gasperini on the hills between Parma and Piacenza with his beloved dogs. He began to paint in 1969. His first work was merely figurative. In the 1980s he moved closer to the “Art Brut” style. Renowned in Italy, Asveri has just finished a solo exhibition in Genoa at the Medioeval “Commenda” and will be presented in Paris next February during the Contemporary Art Fair in Port de Versailles. Recently, the newspaper “Il Sole 24 Ore” (The Italian Economic newspaper) included Asveri among the artists to watch in terms of investment in the Italian Art Market. An appreciable number of famous critics have written essays about his works: Paolo Bledinger, Luca Beatrice, Flaminio Gualdoni and Martina Corgnati. Most Important Exhibitions: 2016 – Sogni dipinti, Galleria Rotaross, Novara. – Lo sguardo nascosto, Galleria Biffi Arte, Piacenza. 2015 – Abracadabra, Galleria Leonardus, Sestri Levante...

American folk art Pyrography pair Flying Ducks. This is an original and beautifully detailed hand incised work of art on wood panel of five (5) flying ducks. This unique work of art is hand incised using pyrographic techniques. It is signed lower left E. H. Hart. Dimensions: 9.75 iniches wide and 12 inches high. Provenance: Old New England collection. History of the Pyrography: py·rog·ra·phy is the art or technique of decorating wood or leather by burning a design on the surface with a heated metallic point. Pyrography was particular popular during the last quarter of the 19th century and first quarter of the 20th century About E.H. Hart Hart, Ernest Huntley 'Ernest H. Hart' (New York City, 1910 - Florida, 1985). An American painter, printmaker, illustrator, and author, Ernest Huntley Hart...