Paintings in New York City

Gerson Leiber "Dense Yet Tender" Oil and Graphite on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later, while stationed in Hungary ...

Gerson Leiber "A Concise View of the North Fork" Oil & Graphite on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art cla...

Gerson Leiber "I Hope for Controlled Chaos" Oil on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later, while stationed in Hungary in...

Gerson Leiber "I Remember Larry Fleishman Fondly" Oil and Graphite on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later, while stat...

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...

Mixed media on paper. Framed. Image size: 80 x 121 cm. Signed and dated “Chr. Wachter ‘20” at bottom right.

Stunning modern / Postmodern painterly abstraction with gorgeous knife work and thick impasto, vibrant, genius colors and juxtapositions. Fresh, unexpected yet very much reminiscent of the traditional landscape painting.

Old English hand painted Cote of Arms series with Provenance of each respective family, beautifully matted and elegantly framed. The crests are for the families listed below. Each's respective history and estate information affixed to back of each framed crest...

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 completely di...

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 completely di...

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 completely di...

This is an Original Mark Dickson painting and can be described as nothing short of a revelation in the realm of contemporary art. As one navigates through his vibrant interplay of colors—pinks, purples, blues, and greens—it becomes evident that his works are a bridge between abstract expression and a deep-seated Coloradan sensibility. From afar, the paintings resonate with the raw energy and abstract impulsiveness reminiscent of Adolph Gottlieb or Mark Rothko. However, upon closer introspection, Dickson's canvas unfolds a symphony, harmoniously blending his intuitive understanding of the Colorado landscapes with an almost Rothkoesque play of color and form. His artistry is a culmination of his academic sojourns, from the bustling art scene of Brooklyn's Pratt Institute to the scholarly corridors of the University of Denver. Yet, what stands out is his capability to transcend these teachings and manifest a unique narrative—one that reflects both the external world and the myriad landscapes of the human psyche. The choice of medium, notably pastel mixed with watercolors, oil washes, and graphite pencil, demonstrates a tactile indulgence in his craft. It's as if he's chiseling his memories, experiences, and observations of the Coloradan terrains and skies into each canvas. For the discerning eye, his works might also evoke the expansive color fields of Milton Avery. Yet, Dickson’s approach, particularly his relationship with color, is refreshingly instinctual, almost challenging the viewer to feel rather than dissect. In Mark Dickson's work, we're treated to an exhilarating dance of abstract brilliance juxtaposed with the tangible and intangible memories of Colorado's landscapes. In a sense, each painting becomes an invitation—to wander, to wonder, and to immerse in the art of profound introspection. The majority medium is pastel and a mixed media of watercolors, oil washes, and graphite pencil. Color is of primary importance to his work. His work shows the influence of artists Milton Avery(who used large areas of color) and Mark Rothko and Adolph Gottlieb (known for their work in the variations of color). Mark is fascinated with color and explores every aspect of its relationships. He feels his use of color is more intuitive versus analytical. Mark Dickson’s paintings, prints and monotypes are represented in private, corporate and public art collections nationally. Pratt Institute, Graduate School of Fine Arts, Brooklyn, New York, 1970 University of Denver, Graduate School of Art, MFA, Denver, Brooklyn, New York, 1973 Denver Art Museum, Colorado Annual, 1967 National Academy of Design, National Audubon Exhibition, New York Joslin Art Museum Exhibition of Colorado artists, Omaha, Nebraska Included in Outstanding and Noteworthy Americans, Bicentennial Edition, New York Chicago Botanical Garden, solo exhibition, North Brook Illinois Colorado Symphony Orchestra Association, limited-edition lithograph commission Broadway South West department store Commission; shopping bag and print. Award of Merit from American Institute of graphic arts, and Award of Distinction: "Creativity 86" Art Direction Magazine, New York Stables Art Center, Taos New Mexico, Artist of Taos Who's Who in American Art, 1990, New York Arts Student's League of Denver, Board of Directors O'Sullivan Art Center, Regis University solo exhibition, Denver Britto Central Gallery, solo exhibition, São Paulo Brazil, 2003 Amarillo Art Museum, permanent collection Amoco Oil Company, Chicago Federal Reserve Bank, Denver University of Colorado, permanent collection, Boulder, Colorado Garnett Corporation headquarters, Arlington Virginia IBM Corporation Miami Florida Las Vegas Federal Medical Center Kirkland Art Museum, permanent collection, Denver Northern Trust Bank, Naples, Florida Planes Art...

A wonderfully whimsical painting of three nude ladies sitting on a park bench. This is signed but unable to identify the artist. Old canvas from the 1950s.

Photo art and Plexiglas

Gorgeous red monochrome Pop Art still-life drawing on paper, in the midst of the artist’s untitled table series of which I have a few large canvases listed. Don't miss this treasure!

One of the original members of the Abstract Expressionist "New York School", Salvatore Grippi (1921-2017) exhibited in two of the famous New York Painting and Sculpture Annuals (1953...

Our plaque from KPM after the original painting by Gustav Wertheimer measures 7 3/8 by 9 7/ inches and is in good condition. Rear has the impressed KPM and sceptre mark, and the plaq...

Intriguing still life oil on canvas "Dorade Bleue" by French artist Raymond Guerrier signed Guerrier at the bottom left.

Born in Woodland, CA on April 6, 1880. Glenn was educated at USC and UCLA. She then taught for many years in the public schools of Pasadena. Member: Pacific AA; Southern Calif. Art T...

This stunning Stephen Holland original piece features vibrant colors and stylish modern appeal. Impressive "Polo Brothers" oil on canvas includes textu...

Dimensions: Height: 24” (61cm) Width: 20” (50.8cm) Frame width: 3.25” (8.12 cm) About: This very elegant painting is a part of the famous ‘Cantonese’ series of mainly female portraits, painter by David Anthony Tauszky...

Modern Impressionistic painting of people at table by. "Tea for Two" by Costain. Oil on canvas.

Modernimpressionistic portrait of man and woman by Costain. Oil on canvas.

Modern impressionistic portrait of a woman in pink by Costain. Oil on canvas.

Modern impressionistic portrait of a woman with hat by Costain. Oil on canvas.

parisian painting from the 1950's signed G. Canon located in Brooklyn

Copy of a landscape painting titled "The Town and Harbour of Toulon" showing expansive view from courtyard with people, horses, and dogs by the sea

Copy of a painting by French Impressionist showing two fauns on a lush green hill side overlooking a house and garden

Copy of landscape painting titled "View of Yorktown" showing 1781 view of attack by Americans and French on the encampment in Virginia on a vertical landscape

Copy of an impressionist vertical landscape titled "Lisiere de Floret"

American Mid-Century watercolor of corset / dress in a silver frame (signed Anna Kipin)

Copy of a still life painting by Henri Matisse c 1914) titled "Branch of Lillacs" showing branches of red flowers with green leaves in glass vase on table with a pipe and small sculp...

Copy of an abstract painting of triangles in black and brown bordered by rectangles in brown Condition: Good; Wear consistent with age and use

Copy of an Abstract painting mainly in red with white and black Condition: Good; Wear consistent with age and use

Copy of a seascape painting titled "Capture of the Fort of Saint-Jean D'Ullioa, November 23, 1838" showing siege of burning fort by tall ships

English Victorian (19th Cent) oil painting of a fisherman by a lake in gilt frame Condition: Good; Wear consistent with age and use (Slight tears to canvas, frame is misaligned.)

Copy of a portrait in a classical manner of the Rospigliosi boy scion dressed as cupid; Four of four in a series

Italian Neo-classic style print of various military arms, armor, and objects matted in stained walnut frame (part of a set of 15; associated pieces: 040101A-040101O)

Italian Neo-classic style print of various military arms, armor, and objects matted in stained walnut frame (part of a set of 15; associated pieces: 040101A-040101O)

Copy of a portrait drawing in black charcoal titled,"Asian Head of Woman Black"

French Art Nouveau style portrait poster featuring women in ebonized frames (associated pieces: 013684b, 013684c) Condition: Good; Wear consistent with age and use

Gouache on paper of a stylized lady wearing pants and a yellow jacket holding a red pocket book by Konstantin Kakanias, signed with initials lower right, titled "The Poor Look in the...

Copy of a drawing portrait titled,"Asian Head of Man Side"

Copy of a portrait painting of an older businessman in blue suit with red tie

Copy of a portrait drawing in red charcoal titled,"Asian Head of Man Red"

Copy of a vertical landscape painting showing a couple dancing al fresco

English Victorian black framed oil vertical landscape painting on board with 6 tall trees by road

Copy of a genre painting titled "Young Reapers" Showing three children by the seashore

Copy of a watercolour landscape in an Impressionist style of a castle on a hill

Copy of an impressionist landscape painting titled "Richmond Bridge"

Copy of an impressionist landscape painting titled "Blueberry Bush" showing three Victorian girls in summer picking berries

Copy of a German Romantic style landscape painting titled "Tree With Crows" showing a bare tree with crows against a sunrise Condition: Good; Wear consistent with age and use

Copy of a landscape painting titled "Tinoli, Tobia et l'ange" showing figures in a rocky gorge

Copy of an abstract painting "Blue Torso" in Modern style showing a blue shape with white and yellow and red overlay on a yellow, black and purple ground Condition: Good; Wear consi...

Copy of an abstract painting in modern style with alternating bands of blues and greens Condition: Good; Wear consistent with age and use

Copy of an Abstract painting using a tan brown background with black lines and white shapes

Copy of a landscape painting titled "Fairground Attraction" Showing carnival barker on a wagon with women and children around him

Copy of an impressionist painting titled "Tea,1872" showing a woman in Victorian garb

Copy of an interior scene painting titled "Azealas" showing a woman in Victorian dress in a sun room

Italian Neo-classic style print of various military arms, armor, and objects matted in stained walnut frame (part of a set of 15; associated pieces: 040101A-040101O)