Paintings in New York City

Vivid abstract painting by Thomas Pulgini, featuring a woman in bright colors over a black background. Artist signed in red paint. Nicely framed with wood. Pulgini was born 1965 in W...

Mid-Century lithograph of two multi-colored tropical fish in profile in a taupe and light blue double mat and a rectangular silver and green frame. (signed, LYNN BAKER) (Available in...

Copy of a painting by Arthur Wardle showing 3 leopards in tall grass with red poppies around a woman in classical garb

French Louis XVI (18th Cent) oil painting portrait of a lady in a blue dress with lace trim & flowers in her hair holding a book seated next to a large urn in a stripped carved frame...

Pair of French Victorian (19th Cent) oil on canvas paintings of standing cavaliers in gilt frames (sgnd: C. Fembleque).  

French Art Nouveau style portrait poster featuring women in ebonized frames (associated pieces: 013684c, 013684d)

Pair of 19th century gilt framed still life oil paintings of tablescapes of fruit.  

Copy of a painting titled "Sea Shore" showing ladies, children and dogs at a picnic by the shore, ship in distance

Copy of a portrait painting titled "Woman Meditating" showing contemplative woman in blue dress under arches

Copy of Impressionist painting by Secessionist artist Carl Moll titled,"Dammerung" showing a stream with a moored boat in a forest at dusk

An incredible and very rare 19th Century Meissen porcelain plaque depicting Rembrandt and Saskia in the Tavern. Meissen plaques are incredibly rar...

Oil painting on canvas Portrait young man Imperial Russian navy military school 19th This oil on canvas represents in a medallion a student of the Russian imperial army. It wears a n...

English Victorian bleached and carved framed oil painting of seascape with row boat and sail boats by shore line. (signed BREANSKI)

Copy of a Dutch Flemish still life painting titled "A Table of Desserts" showing wine, fruits and pie in copious amounts Condition: Good; Wear consistent with age and use

Copy of a painting by French Fauvist Raoul Dufy titled,"Le Port Du Havre" (c 1906) showing boats docked in a harbor

American 20th Century Surrealist Oil on Canvas, Robert Springfels, 1964

Italian Neo-classic style (20th Century) still life oil painting of softly rendered irises, peonies and other florals, gathered in a vase on a table, emerging from a darkened backgro...

Copy of American Impressionist painting "Newport" showing 2 women in summer by the shore with parasol, ship in distance

Monica Perez "Let Them Go #3" Original Acrylic Painting on Canvas 2021. W 40" x 60" Monica Perez’s works are expressions of emotion—impulsive, spontane...

Set of 5 colored Lithographs by Swedish artist Harald Lyth ( born 1937). Signed and numbered by pencil. Size with out frame 16" x11' each. Framed. One fr...

English Renaissance style (dated 1903) framed incised wood and oil paint portrait of Queen Elizabeth against a black background in a rectangular w...

Large Victorian style still life in gold frame of white and pink roses with white dogwood flowers in a vase on a stone bench

Thierry Despont, best-known as a very successful architect, was also an accomplished artist. In his painting practice, when not analyzing the smallest, most detailed creatures of the...

English Art Moderne oil painting of Stewart's cup horse race in rosewood frame. Signed lower left: "E. Noble /1938". Painted lower right: "Harmachis (Revans) Winning the Steward's cu...

Gilt framed oil painting portrait of nobleman (possibly Polish) wearing furs and pearl earring and holding scepter (19th Cent copy of a Rembrandt)

French Art Deco watercolor of a black and white dachshund, framed in a burl walnut frame (signed GEORGES BUSSON, dated 1929)(Companion pieces: 058035B-C-D-E-F) Condition: Good; Wear...

Continental landscape oil painting of a pastoral mill scene in a carved gilt wood frame

Beautiful water scene by French painter Georges Philibert Charles Maroniez (1865 – 1933). This reproduction holds his brush strokes and command of color. Set in a painted wood frame,...

English Victorian gilt framed oil seascape painting with lighthouse on pier.(Willet)

English Art Deco oil painting of "Kit" signed and dated 1917 in gilt frame.  

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English Victorian large oil painting of a yachting scene with figures (Edward VII) on a deck in a gilt rope frame. (titled: "On the Brittania" by Thomas Henry).   

English Victorian oval miniature watercolor portrait on vellum of a gentleman in top hat in rectangular velvet frame

An original work by the artist from 1983 Title: " Wild West #2" Signed and Dated by the artist It comes with COA and has great Provenance.

Frederick Massey (British, 1862-1925) Beach scene with bathing children and an adult, oil on canvas, signed 'F. Massey' to lower left, housed in giltwood frame marked 'F Massey' in l...

Copy of a portrait painting of a woman in high collared dress with pearl necklace and lace

Spanish Colonial Penitent Mary Magdalene Original oil on canvas painting XIX century Details Original period frame. Painting dimensi...

Copy of a traditional style portrait of family with four children - Infant on Mothers Lap.

English Victorian (19th Cent) oil painting domestic scene of lady in chair by fireplace in gilt frame. (signed)

Oil on canvas. Painting by Hans Speidel, Berlin. Speidel was among a group of painters known as the 'Neue Sachlichkeit' (New Objectivity). This betwee...

Dutch (19th Century) still life oil painting featuring peaches, pears, grapes and melon lushly composed on a table corner, enhanced by a slightly glossy varnish and mounted in an orn...

French (19th Cent) gilt framed oil landscape Impressionist style painting with stream and tree.

Copy of a painting by Arthur Wardle titled,"Lady with Leopards" showing portrait of woman in classical dress in field of red poppies with three leopards & ocean in background

American Victorian gilt framed oil painting portrait of bearded man lighting pipe

An academic oil painting depicting a young man in profile holding a spear, seated. Some flaking in the background, consistent throughout. Framed in a vintage giltwood frame. Circa 1900.

Copy of an impressionist interior scene painting titled "Private Room at the Rat Mort". Showing a woman seated at dinner in a club

French Victorian (19/20th Cent) oil painting portrait of a lady and French poodle with blue bow in walnut and ebonized frame.  

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English ebonized framed oil portrait, painting of Henry VIII with plume in hat

French Art Deco watercolor of a small brown, black and white beagle, framed in a burl walnut frame. (signed GEORGES BUSSON, dated 1929)(Companion pieces: 058035A-B-C-E-F) Condition:...

Oil on wood depicting Amiral Horatio Nelson, 1st Viscount Nelson, Duke of Bronte, born September 29, 1758 at Burnham Thorpe and died October 21, 1805 off Cape Trafalgar, is a British...

Oil on canvas, painting by Hans Speidel (1895-1976): Germany, Signed. Speidel, opposed the Hitlerian racial laws, and was a proponent of the German mo...

French Art Deco watercolor of a brown dachshund, framed in a burl walnut frame. (signed GEORGES BUSSON, dated 1929)(Companion pieces: 058035A-B-D-E-F) Condition: Good; Wear consiste...

French Louis XVI (18th century) oil painting of a scene with a dog and a young lady enticing a young sleeping man with a feather in a gilt carved swag and scroll frame with an eagle ...

Copy of a wildlife painting titled "Flushing Pheasants" depicting a bird dog with a pair of pheasants

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...

Vintage (20th century) oil painting of a dog reclining alongside a lamb in a barn filled with farm implements on rectangular, unframed canvas.      

"Deco Train" Original painting by Lynn Curlee This painting was used as an illustration in Trains, a picturebook for older kids published by Simon & Schus...

English Victorian style (20th Century) painting featuring a black and white dog looking through a blooming shrub towards a colorful red, white and black pheasant, amid a pastoral Set...

Copy of a portrait painting titled "Two Girls at a Window" showing two women looking out of an open window