New York - Paintings

Gerson Leiber "Impassioned by Purple Prose" 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 "There Is A Tug of Undeclared War Here" Oil on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later, while stationed in ...

Gerson Leiber "The Omnipresence of Chutzpah" Oil and Graphite on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later, while stationed...

Gerson Leiber "I Find This Appealing" Oil on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later, while stationed in Hungary in the a...

Copy of Modern Abstract Cubist style painting showing architectural planes in green, blue, ochre, purple, brown and black on a beige field in a thick black frame Paint is chipping /...

Gerson Leiber "A Surge of Discombobulation" Oil on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later, while stationed in Hungary in...

1940s Watercolor Painting On Paper Of Asian Woman Wearing Hat Wearing a Nón Lá (traditional Vietnamese hat) Signed Dorothy Dwin Illustration

American Mid-Century Impressionist style winter landscape painting of a man and horse walking down a snowy path by a telephone pole towards a house in a gold frame (signed: GIORDANO)

English Victorian gilt framed oil landscape painting of road with stone wall and houses.

American mid-century color etching of a green rocky landscape by a river with a prominent white mountain in the background titled: "Mount Hood" in a white mat with a gilt wooden fram...

Contemporary abstract painting in an artists own gallery style frame, composing of splatter and broadly applied brushstrokes of red, green, yellow, black, gray and white in acrylic p...

English Georgian (1st half 19th Century) gilt framed colored lithograph of two Moorish male soldiers peaking behind a corner while both holding a rifle (titled: Tomb of Joseph at She...

Gerson Leiber "Hopefully, A Fruitful Moment" Oil and Graphite on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later, while stationed...

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

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...

Copy of a Dutch master style painting titled "Girl Interrupted at Her Music" with girl seated under window

Copy of Impressionist landscape painting titled "Beach Scene" showing bathers with sun umbrellas in front of town

American Impressionist style oil painting on board of a still life with flowers next to a jug with gilt frame. (dated 1903)

Mid-Century lithograph of two tropical fish, one brown, one pink and red, in a beige mat with gold bevel and a rectangular giltwood frame. (signed, Charles Skora, #9).  

Contemporary American artist Patrick Phillips "Is an abstract expressionist painter influenced by the 'New York School' artists including Mark Rothko, Robert Motherwell and Helen F...

Copy of Abstract Modern painting consisting of black ground with yellow, brown, white and beige collage with lettering in a cubist style Condition: Good; Wear consistent with age an...

Wonderful and original Oil painting By Raymond Ching with COA they say pictures speak 1000 words. Raymond Ching is a New Zealand painter

Pair of 1860s Louis XVI watercolors symbolizing the garden arts. Purchased from a Southampton, NY estate. These items can be shipped via UPS.

Copy of an impressionist landscape watercolor showing people by the seaside Condition: Good; Wear consistent with age and use

Japanese two panel screen: Chrysanthemums Through the Mist Obara Paper Art Screen. Surreal and masterful rendering of chrysanthemums cloaked in mist that varies in opacity made entirely of carefully arranged mulberry paper fibers in a Japanese art practice called Obara. Accented with gold leaf. Unique in terms of both execution and dreamlike mood. Made by Yamauchi Issei (b. 1929), stamped in the corner. Issei is well known throughout Japan as the leading artist in Obara Paper Art. Starting in 1948, he apprenticed with Fuji Tatsukichi, a leading proponent of the arts and crafts movement in Japan who worked to revive many cultural traditions on the brink of extinction. Issei started exhibiting in the Nitten in 1953, won the gold medal in 1963, and eventually became a juror. His artwork was given as a gift to the Showa Emperor of Japan, as well as dignitaries such as General Douglas MacArthur...

Abstract oil painting Education 1994–1996 MFA, University of British Columbia, Vancouver, Canada 1991–1994 BFA, Rockford College, Illinois, USA Solo Exhibitions 2017-20118 Landscape / Still Moving, Rockford Art Museum Annex, Rockford, Illinois, USA 2017 Life Still / In Motion, Kortman Gallery, Rockford, Illinois, USA 2015 Ljósanótt, Keflavik, Iceland 2014 Umbrot, Kaffi Sólon, Reykjavik, Iceland 2012 Brotinn himinn, Kaffi Sólon, Reykjavik, Iceland 2011 Eins og enginn sé morgundagurinn, Listasalur IÐU, Reykjavik, Iceland 2009 Myndbirtingar, B5, Reykjavik, Iceland 2006 ekki endilega hér / hvergi (possibly nowhere), Gallerí List, Reykjavik, Iceland 2006 In Transit, Galeriazero, Barcelona, Spain 2005 Koma og fara, SPH, Garðabaer, Iceland 2001 flökt (taktur einsemd snerting), Café Prestó, Kopavogur, Iceland 1999 Manngervingar (anthropomorphic), The Labour Unions’ Art Gallery, Iceland 1998 hafið bláa hafið, Gallerí smíðar&skart, Reykjavik, Iceland Group Exhibitions 2016 Ljósanótt, Keflavik, Iceland 2002 Anniversary Exhibition, Gallerí List, Reykjavik, Iceland 1998 Brynhildur Gudmundsdottir & Hekla Gudmundsdottir, Bílar&list, Reykjavik, Iceland 1996 Masters of Fine Arts Graduate Exhibition, Belkin Gallery, Vancouver, Canada 1996 XQXQXQX, Skuggi Gallery, Rockford, Illinois, USA 1995 Invitational Drawing Exhibition, OR Gallery, Vancouver, Canada 1995 Annual Erotic Art Exhibition, New-Era Society, Victoria, Canada 1995 Opening Exhibition, Skuggi Gallery, Rockford, Illinois, USA 1995 Gullnáman, Laugarvatn, Iceland 1995 Heart Art, Rockford College Art Gallery, Illinois, USA 1994 TSYQEOPXHBE, BFA Exhibition, Rockford College Art Gallery, Illinois, USA 1994 Just Another One Night Stand, Rockford College Art Gallery, USA 1993 No Icelandic Conversation, Rockford College Student Art...

Self Portrait, Paris, 2017, Tristan Govignon archival pigment print, edition 1 of 7

American Victorian Hudson River School style oil painting scene of a house by a stream with tree in foreground in a gold frame

American Victorian style oil painting of Mark Twain in a dark stained frame (part of a series of American 19th Cent writers)

Hand-picked by buyers at Ann-Morris Inc.

Contemporary American ceramic artist Richard Hirsch's encaustic Painting of Nothing #75 is made of ceramic raw materials, dry pigment and wax. This piece is part of his ongoing Painting of Nothing Series. Hirsch applies the waxy mix with a brush onto redwood plywood backed structures with two-inch wood strips all around and used various torches to layer, flux, bubble and blend. "Waxy and very tactile, they are probably the work Mark Rothko would have done had he spent most of his life in clay. Hirsch’s paintings have the nuance, subtle texture, and color shifts that become evident in blown-up photographs of his ceramic objects as well as a similar presence." Signed and dated en verso by the artist. This painting ship directly from the artist’s studio in Rochester, NY. (Literature: "With Fire: Richard Hirsch, A Life Between Chance and Design", Scott Meyer (Author), RIT Cary Graphic Arts Press 2012 - "The Paintings" pgs. 102 - 105) Richard Hirsch brief bio: In the field of contemporary ceramic, Rick Hirsch has earned an international reputation. He has achieved this recognition by engaging in numerous diversified professional activities. Through efforts in university teaching, exhibits, writing, lecturing and researching he has risen to worldwide prominence. In 1975, Hirsch co-authored a book entitled Raku, published by Watson-Guptill. This was the first comprehensive text to address the new innovations developing in the west that were transforming traditional Japanese Raku. Also, in the same year, Hirsch became a founding faculty member of The Program in Artistry at Boston University. Currently, Hirsch is a Professor Emeritus at The School for American Crafts which is a part of Rochester Institute of Technology in Rochester, NY. His university teaching career now spans well over four decades. Repeatedly, Hirsch has participated in several milestone exhibitions and publications. Significant shows include; The Evolution of American Art in Craft Media Since 1945; Echoes: Historical References in Contemporary Ceramics; American Ceramics Now; Raku: Origins, Impact and Contemporary Expression; and Convergences: The Presence of the Past in Contemporary American Ceramics...

Acrylic on canvas still life of flowers in a vase with a yellow background by Richard Rumi, "Irises".

Abstract painting on board by Brenda Hope Zappitell titled Peaceful Times, dated 2009.

American Art Moderne 1940s oil painting of 1930s bar scene with dancing figure (Companion pieces: 054912A-054912C)

A modern abstract oil on canvas circa 1971, signed by American painter Jerome Rettich.

American Victorian framed monograph print featuring the architectual blueprint for "Detail Central Portion, Academic Building, University of Virginia" (McKim,Mead & White,1898) (1 OF...

Four Italian hand-painted whimsical ceramic plaques in brass frames from the 1960s.

Continental Dutch style (19/20th Cent) gilt framed oil painting of a seascape of canal with houses and snow. Water damage and severe peeling to the left side of the painting.

Contemporary American artist Patrick Phillips "Is an abstract expressionist painter influenced by the 'New York School' artists including Mark Rothko, Robert Motherwell and Helen F...

Daniel J O'Keefe quoted by Peter Hastings Falk on "Life Bio" as one of the rediscovered masters. Dan is constantly evolving and continues to surprise his loyal followers with breath...

Well constructed impressionist painting depicting a Paris street scene. Fantastic color. Beautiful original frame signed Abramawitz

Abstract gouache painting by American artist Shawn Savage. Shades of blue with grey and black in a black frame. Signed by the artist.

American (19th/20th Cent) oil seascape/landscape painting of a fortress by the seaside with small boats in a rectangular gilt wood frame with carved detail

English Victorian style (modern) birds eye maple and gilt trimmed framed oil painting of a fruit tree in porcelain jardiniere Sold AS IS. (See related items for full set)

1970s signed Asian painting bird and flowers.

Copy of a portrait painting of a young woman in a white dress and flowers in a classical landscape

Copy of Ashcan style portrait painting of young girl in straw hat

American Art Deco pen and ink drawing of urban amusement park scene with a black matting and gilt square frame (L. Chupin)(Companion pieces: BRA012A, BRA012B, BRA012D, BRA012E, BRA01...

Italian Neo-classic style (20th Century) still life oil painting of white and pink flowers with greenery arranged in a ceramic jug, on rectangular, unframed canvas (Similar painting:...

1990s oil on canvas of floral arrangement by B. Haas.

Modernist abstract oil on canvas painting by Linda Hopkins. Purchased straight from the estate of Leonard Buzz Wallace. Hopkins and Wallace, when married...

Copy of a painting by American Abstract artist Milton Avery showing two females bathers by the water's edge. Condition: Good; Wear consistent with age and use

1940s Pastel Painting On Paper Of Asian Woman Signed Dorothy Dwin Illustration Wood Frame and glass Colors: pink, blue, white

Brendan Lynch, American, b. 1985, "Girl Piss", Posters, Aluminum leaf, paint on wood panel, 2013 Condition: Good; Wear consistent with age and use

Copy of a portrait painting of a young man in high collared garb with gold frame

Vintage (20th Century) unframed canvas oil portrait of a woman seated with a small dog on her lap, leaning on her propped up arm as she gazes into the distance, amid a blue painterly...

Copy of Impressionist landscape painting showing cows and farmer in stone wall fenced pasture

Copy of a painting showing a busy day on the beach with sailboats, bathers and children in the surf

Vintage (20th Century) still life acrylic painting of sliced and eaten watermelon with a knife on a surface draped in beige cloth, painted on rectangular plywood. Imperfections in w...

"Yellow Jug & Pears" by Scottish painter David Mcleod Martin (1922-2018). Oil on canvas. Signed lower right corner. Dated 1998 on back of canvas. The pa...