Manhattan - Paintings

Monica Perez "Let Go" (2) Original Acrylic Painting on Canvas, 2021. Dimensions include frame size. Monica Perez’s works are expressions of emotion—im...

New York Artist Mike Adamo painting titled "Distant Oscillation" 2016 Mixed-media on canvas having 10 layers of application, Acrylic composition base, with ...

Hand-picked by buyers at Ann-Morris Inc.

A whimsical painting by M.P. Landis, whose canvases and works-on-paper come to life with their brilliant color and richly textured surfaces. This square painting evokes a childlike s...

France, 1920s Art Deco Gouache on paper Stylized portrait of a woman in profile on geometric background in grey, black and cream tones. 20 x 16 framed.

Mia Blumenstock (American, ? – 2018) Untitled Abstract Composition Unsigned and undated. Oil and collage on canvas. Framed behind plexiglass. 39.5 in. Height 49.5 in. Width ...

"Cathedral," is a large abstract painting featuring oil, oil stick and pastel on canvas. The warm brilliant shades of burnt orange, rust and magenta, tempered by the cream and gray g...

- Composition by Georges Ferrato - Oil on Canvas - Signed at bottom right, signed dated and titled on the back Ferrato’s work is often associated with the abstractionist tradition, ...

Hand-picked by buyers at Ann-Morris Inc.

Oil on hardboard Monogrammed and dated AW 22 lower right. Andreas Wachter was born in Chemnitz in 1951. He studied under Volker Stelzmann and Arno Rink at the Hochschule für Graphik...

This work, “Untitled, Woman Reclining" from 2006 is a 4-layer “painting” by William Stuart on fiberglass screen (“screen-door screen”) with acrylic late...

Early work of Sylvia Hommert 2002 LA #501 untitled painting. Oil, beeswax, paua shell, and resin on canvas. Signed lower right.

Dated mid-20th century industrial hand drawing, highly collectible Italian modern Product Design for a lacquer yellow desk light project, realized without ruler in pastels and gouach...

Hand-picked by buyers at Ann-Morris Inc.

Hand-picked by buyers at Ann-Morris Inc.

Hand-picked by buyers at Ann-Morris Inc.

An abstract painting dated and signed by the Italian designer, inventor and painter Luciano Mattioli (1924-1994), a very versatile and prolific artist on the Italian and French desig...

A large antique 19th century Belle Époque style KPM hand painted plaque of a young German woman wearing a bay laurel wreath, impressed KPM and scepter...

A mixed-media limited edition work by the well known street artist ELLE. ELLE is a highly acclaimed street artist whose work captivates with its evocativ...

A richly-hued abstract work on paper by the artist M.P. Landis. The artist's abstract paintings and works on paper are the type that take form through the artist's layering of materi...

The title of this original illustration by the artist George Venson is "Jumping Ship: An Illustration of the Way I See Things Right Now". It is a...

Spray paint Art dated 1974 and signed by the Italian designer, inventor, and painter Luciano Mattioli (1924-1994). This postmodern painting, from a...

"Torqued Mandala #2" by Paul Wirhun, painted eggshell on wood, 2008. Wirhun is an artist who works with eggshells to create colorful, mosaic-like paintings...

During her first years in New York Blaine's work, which had previously been tightly realist, turned abstract, inspired by Mondrian, Leger and Jean Helion. At one time she was the you...

Beautiful and complex Drill Painting, "HOW MANY HOLES", by Markus Linnenbrink, American 2003 (signed, titled and dated on verso with gallery label). This is a...

"Drunk with Turpentine # 21" A Robert Motherwell painting. Oil on paper. Signed and dated " Motherwell 1979 " Framed: H 37¾, W 47½ inches. Provenance: Dedalus Foundation, New Y...

Abstract mixed media collage on paper by Susan E. Wolfe, New York. (Unframed)

Painting dated 1980 and signed by the Italian designer, inventor and painter Luciano Mattioli (1924-1994,) a very versatile and prolific artist on the Italian and French design scene...

Mixed-media painting with sand on canvas titled "New York Sunset" by Marjorie Bishop, American, 1940s (signed on front, title on sticker on back). This...

- Abstract by Georges Ferrato - Oil on Canvas - Signed at bottom right, signed dated and titled on the back Ferrato’s work is often associated with the abstractionist tradition, par...

Oil on canvas by Valery Tsarikovsky signed lower right Tsar. The measurements are 29” by 34” framed and 20” by 27” unframed.

Our antique oil on canvas from the Orientalist period, 13 1/2 by 19 1/4 inches, depicts a female playing a small stringed instrument, wearing yellow scarf with blue, red and green st...

Painting. Acrylic on canvas by Gerard Economos (French,1935-) Gerard Economos is known for his passionate, intensely colored abstract compositions and large acrylic paintings that have been performed live in front of audiences in 12 countries. Economos has had over 88 events over the last 57 years and his work is now in collections in over 34 countries. He started Live Performances with the Greek avante-garde composer and architect, Iannis Xenakis during a Sound Festival; Subsequently he developed the "Une Musique a Voir" (A music to see) concept. 'La Cuisine aux Fleurs' (Cooking with Flowers) was a series of paintings initiated at the request of the renowned French Chef, Raymond Oliver in 1975 who wished to have his recipes illustrated. They have been rarely shown in public. For an illustrated 15 page biography of Economos please contact Thomas Gallery Ltd...

Painting, oil in cardboard, signed H Scheiber (Budapest 1873- 1950). Hugo Scheiber was born in Budapest in 1873. At the age of eight, he moved with his family from Budapest to Vie...

An energetic, richly hued abstract work on paper by the artist M.P. Landis. The artist's abstract paintings and works on paper are the type that take form through the artist's layeri...

A richly-hued abstract work on paper by the artist M.P. Landis. The artist's abstract paintings and works on paper are the type that take form through the artist's layering of materi...

An energetic abstract work on paper by the artist M.P. Landis. The artist's abstract paintings and works on paper are the type that take form through the artist's layering of materia...

"Ottobre in Cantina" Painting, oil on canvas by Italian artist Sergio Agostini, Rome, 1960. Signed on lower left with sticker from original exhibition at Galleria L'88 on Via M...

An untitled painting by British caricaturist and illustrator Henry William Bunbury (1750-1811). Oil on canvas. Unsigned.

This is a chromogenic print of a wax sculpture by the artist. The piece of work is limited edition to only 25 copies. This specific copy is 20th out of the 25 total. It is also signe...

Liaisons III Original painting by Lynn Curlee One of a series of eight paintings Based Upon 17th century French engravings. Each pai...

Tragic mask Original painting by Lynn Curlee, professional artist and author, illustrator of award winning picture books for children Acrylic on stretched canvas. Canvas is stretch...

"Blue Fence", an abstract acrylic on canvas by Brady Legler, American, 2015 (signed and dated on verso). Brady Legler is a talented painter and jewelry designer. His works are an exp...

Oil on canvas signed lower left. Elisee Maclet (1881-1962) Very well listed French artist. Studied in Paris, was influence by many famous French artists...

Hamlet. A small study in acrylic on canvas board for a proposed large painting by Lynn Curlee, award winning children's book author and illustrator. The painted sketch has a gilt frame.

“Lac Iman,” abstract oil in heavy impasto on canvas by Pierre Bosco, French, 1955 (signed Bosco on front and gallery label on verso).

A painting of the first balloon to cross the English channel in 1785, used as an illustration in Ships of the Air by award winning children's author and illustrator Lynn Curlee. The ...

Fallen Greek warrior painting by Lynn Curlee Based upon an ancient Greek sculpture. Edges are fully finished and painted so that framing is optional.

"Smoke and Mirrors," 2021 is a large framed abstract mixed media painting by Kathi Robinson Frank in white, pale and deep amber, charcoal gray, fores...

During her first years in New York Blaine's work, which had previously been tightly realist, turned abstract, inspired by Mondrian, Leger and Jean Helion. At one time she was the you...

Great grandson of the famous writer Victor Hugo, the painter Jean Hugo (1894-1984) was in the thick of the Paris art scene between the wars. A member of the avant garde, he was a friend of Picasso, Cocteau and Colette and was associated with the Neo Romantics. His small gouaches on paper were avidly collected by Dr. Albert Barnes, and can be seen today in the Barnes Collection in Philadelphia. Hugo's most desirable work -- landscapes, interior scenes, set designs -- date from the mid 1920s to the late 1930s. This whimsical painting, signed and dated 1927, is set in a curtained, classical interior furnished with Victorian lighting fixtures...

Framed oil painting on board by Sara Skaaning. Based in the Island Mon, Denmark, the visual artist Sara Skaaning starts from her surroundings that twists and transforms until complet...

"Two Birds," by artist Ted Weller, is a stunning example of Hyper-Realism in which the artist deconstructs nature to create a more powerful and exhilarating version of this otherwise...

"Intercostal," 2022 is a large framed abstract mixed media painting by Kathi Robinson Frank in striking shades of black, gray, blue, yellow, green...

Large abstract expressionist painting on raw canvas by Belgian Painter, A.C. Hermkens. Signed. "Dynamicism and Space Co-exist in a Work of Subtle Tensions and Mythic Wishes.".  

Artist: Rolph Scarletti (Canadian, 1889 – 1984) Object: Modernist Abstract Composition Period: Ca. 1950’s Medium: Guache on paper, framed Dimensions (unframed): Height: 9-1/3” Width: 12” Dimensions (framed): Height: 22-3/4”” Width: 25-3/4” Rolph Scarlett (Canadian, 1889 – 1984) was a consummate explorer of twentieth-century abstract painting. Never afraid of trying new styles, curious and opinionated, constantly engaged with the world around him while steadfastly aware that he was on his own path and his alone, Scarlett more than once proved to be at the artistic zeitgeist of the eras in which he lived. Exposed very early on to the work of Paul Klee through a chance meeting in Europe with the artist himself, Scarlett took up abstraction with a fervor that never diminished during his long and impressive career. To create something that had never existed before: this was Scarlett’s great cause. And that is what is most obvious when you look at Scarlett’s work—you have never seen anything quite like it. Scarlett was Canadian-born, came of age in the Midwest, and spent few important years in Hollywood, where he designed stage sets. His work from this early period echoes Klee’s use of color, his confidence in naïve, primitive forms, and his blend of abstraction and figuration. In its flat spatial qualities it prefigures the Indian Space painting of the 1940s by a decade. He moved to New York in 1933 and eventually found his first great patron at the Museum of Non-Objective Painting, directed by Baroness Hilla Rebay and art patron Solomon R. Guggenheim. Guggenheim would collect over 60 works by Scarlett for his collection, more than any other artist outside of Vasily Kandinsky and Rudolf Bauer. As a frequent exhibitor and lecturer at the Museum of Non-Objective Painting (MNOP), Scarlett honed his sensitive feel for bodies in space and capitalized on his trademark use of bright, vivacious colors into accomplished, perfectly harmonized geometric works. However, Scarlett soon morphed these hard-edged forms into a nuanced expressionistic abstraction which, at its best, seems to be populated by dancing forms that animate the canvases. Along this way he was advised by Rudolf Bauer, the German expatriate and one of the originators of non-objective painting in the teens. Bauer had the idea for the Museum, and Rebay, his champion, had found in Solomon Guggenheim a patron for manifesting it. When Bauer emigrated just before World War II, he wanted to meet Scarlett. The two became friends, and Bauer advised Scarlett on his work over the course of many years. Even in a 1979 interview, Scarlett began to tear up as he recalled his first meeting with Bauer, a man whose work he "worshipped," describing that, "It was a touching moment for me, I’ll tell you." Scarlett and Rebay also had a close, important relationship, one in which he bore the brunt of her sometimes condescending, if motherly, critiques and admonitions with tolerance and gratefulness. Eventually, though, he had to push back. In a letter from 1951 he writes, "I have noticed with growing amazement that during the past three years you have accepted less and less of my work—and, that same work, which you rejected has been accepted and shown in the best and largest shows all over this country." This period—the late 1940s to the early 1950s—did in fact correspond to Scarlett’s most critical success, and to a return to the fanciful forms and characters of his pre-war work. At the same time, he found his own rhythm and complexity using a drip style similar to, though denser and more opaque than, the one made famous by Jackson Pollock, who had worked for many years at the MNOP and with whom he shared common influences. In 1949 he had a very well received solo show in 1949 at the Jacques Seligmann Gallery, reviewed very favorably in The New York Times: "The impression made by these paintings is one of originality and strength." He was also included in a juried show "American Painting Today" at the Metropolitan Museum of Art in 1950 and in the Whitney Annual of 1951. The curator for the Whitney show in fact bypassed a selection of Scarlett’s careful geometrics in favor of a new "lyrical" drip painting—one which he describes as having had "a helluva good time" making. Rebay articulated her loss of control over Scarlett very keenly in one of her last official letters to him: "So your way ended in the horrid jungle it is in now; even a Mr. Pollock’s smearage was not bad enough for you to have a try at; and betraying yourself, you betrayed art and my faith in you, and my present disgrace by my failure to foresee such an outrageous possibility—since you even paint objectively now." Yet, despite the fact that he was moving in his own direction when the change in leadership took place at the Museum of Non-Objective Painting and Rebay was forced out as director, Scarlett was hit hard. He understood this change rightly as a betrayal by the establishment. Scarlett was a unique individual and soul, and was affected personally and philosophically by the idea that the movement with which Scarlett had aligned his talents seemed to disappear overnight, and his life’s work rendered valueless. Without the Museum’s support, Scarlett decided eventually to move to the artists’ community of Shady, New York, just outside of Woodstock. He had occasional shows throughout the years, but mostly settled down to regional obscurity. He began making jewelry, which had been his first trade, and it was following a show of his jewelry in 1975 at the Jaro Gallery, that he was rediscovered by Samuel Esses, and his wife Sandy. Samuel Esses was a successful businessman and an avid collector. He always sought out that which was unusual and, like Scarlett, was ahead of his time in many ways. For example, in 1979, Sam became enthralled with the early graffiti appearing on the New York subway trains. With the sole goal of preserving these groundbreaking yet short lived works of art he was inspired to create "The Esses Studio," a painting warehouse and workshop for graffiti artists to work in a studio, collaborate, and paint on canvas. The biggest names of graffiti writing participated—Futura, Crash, Dondi, Zephyr, and Daze to name a few. The project was well received and provided critical validation at an important time for this alternative form of abstraction to be recognized by the established art world. The success of the "Esses Studio" helped fuel an alternative fire that would propel gallerists and curators to acknowledge other street artists and provide a foundation of acceptance for the early careers of Keith Haring and Jean-Michel Basquiat. It is not a stretch to say that what Esses saw in the graffiti art of the 1970s was very similar to what he saw in 1950s-era Scarletts—something raw, honest, and melding many twentieth century influences into one unique form. Inspired by the importance of the collection and the passion of the collector, Weinstein Gallery...

By Ernest Burnett Hood (1932-1988). Cafe Royal still standing (original) in Edinburgh as it did when initially opened in present location in 1863.

An ethereal abstract painting, created in our NYC studio. This 10 x 10 inch canvas is a place for the eye to wander. Magenta, persimmon, navy and lilac create a calming yet vibrant p...

An ethereal abstract painting, created in our NYC studio. This 16 x 16 inch canvas is a place for the eye to wander. Navy, slate gray, and persimmon orange create a calming yet vibra...

-Sommières by Georges Ferrato -Oil on Canvas -35 x 45.5 in, 89 x 116 cm -Signed at bottom, signed dated and titled on the back Ferrato’s work is often associated with the abstractio...