Stamford / Westport - Art

Mixed Media artist Amy Genser makes dimensional paper collages. These colorful, textural, one-of-a-kind wall pieces embody movement and processes. She masterfully manipulates paper -...

This abstract painting by Teodora Guererra features a cool, serene palette of icy blue, soft gray, pale sage, white and hints of cream. Created with different sized brushes and palet...

This minimalist abstract painting by Sofie Swann features a light palette, with organic orange shapes assembled over a solid, soft white background. The painting is made with acrylic...

Lucas Van Leyden (1494-1533) Virgin and Child on a Crescent Engraving, 1523 120x77 mm; 4 ¾ x 3 1/8 inches, thread margins frame : 16 x 11 in. Note : very good, dark clean impressi...

This contemporary realistic landscape painting by Carol Young captures a barn in a rural setting. It features a vibrant palette, with ...

This abstract collage painting by Deborah T. Colter is made with acrylic paint and mixed media collage elements on panel. It features a grey and green palette with warm yellow gold a...

Since 1974, Louise P. Sloane has been actively engaged in the studio as an abstract painter. Her work focuses upon geometric forms, grids and patterns. These detail oriented pieces ...

This abstract floral encaustic painting by Linda Bigness features a cool green and blue palette, with subtle warm muted orange accents and large organic botanical forms and line work...

This contemporary seascape painting by Molly Wensberg, titled Perfect Day, radiates joy through its playful palette and layered, expressive composition. The piece features a bright, ...

This small free-standing sculpture of an abstracted magenta pink flower by Jeffie Brewer is made with powder coated steal. The sculpture features a simplified floral form with two cu...

Ayse Wilson is a Turkish-American artist who lives and lives and works in Connecticut. Her work draws from memory and emotion to remind viewers of youth, innocence and the timeless space we occupy when we are young. Wilson graduated from Wellesley College...

This abstract painting by Kelly Rossetti is made with oil and acrylic paint on gallery wrapped canvas. It features loose, gestural brush strokes and a light palette with light blue, ...

This original abstract watercolor painting by Nealy Hauschildt features a dark blue palette and washy layers of paint. "In this deep blue piece," the ...

This impressionistic winter landscape painting by Molly Doe Wensberg features a cool blue, green, and white palette. The artist captures a s...

Primarily an experimenter, Goldberg’s work is a collection of variations on the theme of water in movement, through drawings, paintings and sculptures She works primarily in resins ...

Germain's composition is a great example of abstract expressionism on the French front and they called the movement Lyricism. Startling blue movements mixed with myriad of other col...

A vibrant and yet romantic sailing scene which was a favorite series by Della-Volpe. His compelling colorist approach has made his works desirable as he was one of the few artists post-war to be representative in style like Milton Avery and Wolf Kahn. Head to Sea has the hallmark intense and lovely coloration for which Della-Volpe is known. He came out of Abstract Expressionism in the New York school but then pivoted, like Milton Avery to representational, colorist work. The frame is a silvered gold leaf float frame of quality and has a rubbed, antiqued surface...

This abstract sculpture by Joe Sorge is made with steel and blue wax. A single strip of steel extends up from a small steel base, spiraling several times and then extending out strai...

This crystalline glazed porcelain vase by Jon Puzzuoli features a white and cream-toned palette with a narrow neck and lip finished in 18K gold luster. Crystalline glazes are speci...

This contemporary piece is made with dichroic film on mirror and is framed in a modern white frame. The application of the film creates a changing colorful aesthetic so that the viewer sees different colors like pink, blue, purple, and orange as they change the angle at which they view it. Areas around the periphery that look metallic give the mixed-media piece an almost painterly aesthetic. This abstracted mirror invites interaction and adds a playful alternate view to any space. It can hang vertically or horizontally, and is ready to hang. "I seek to find balance between the creative process and the present moment using color as a direct and indirect language," the artist says. "Color series paintings explore the dynamics between light, pigment, and the viewer. To achieve this, I work with mirrors as my canvas and a medium that allows for drastic shifts, effected by natural exposures, like light, the angle of a space, and the viewer themselves. Combining the reflective areas of a mirror with color...

Passageway North Africa was executed during Walter’s extensive travels throughout Spain, Northern Africa, and the Dalmatian coast. These works are magnificent snapshots –pictorial po...

This contemporary realistic landscape painting by Carol Young captures a barn in a rural setting. It features a vibrant, contrasting p...

This Modern Abstract Expressionist painting by Stanley Bate is made with oil paint on canvas and features a warm, earth-toned palette. A warm yellow organic rectangular shape is at t...

This abstract statement painting by Julia Contacessi features a cool palette with washes of muted blue, cool grey, and a white accenting wash that flows through the center of the hor...

This traditional landscape painting by Molly Doe Wensberg features a cool palette, and captures a scene of lush green, rolling hills under a pale sky. It is very mildly abstracted, w...

This large abstracted seascape statement painting by S. Cora Aldo features a cool, light blue palette with warm sand tones in the large foreground of the composition. The painting ca...

Jeri Eisenberg creates nature inspired works in single panels, diptychs and triptychs. Her soft colored photographic pieces are created using non-traditional and alternative photo-ba...

Holty did a series of works that explored the use of varying tones of Gray with other colors. This was done during his Colorfield foray as he pioneered this movement along with such...

Jeri Eisenberg creates nature inspired works in single panels, diptychs and triptychs. Her soft colored photographic pieces are created using non-traditional and alternative photo-ba...

This small abstract collage painting by Deborah T. Colter is made with mixed media on panel. It features found paper and paint, with subtle text elements, texture, geometric shapes, ...

This abstract floral encaustic painting by artist Linda Bigness features a cool blue palette with metallic gold leaf accents. The painting is made with e...

This small abstract painting by Sue De Chiara is made with acrylic paint on board. It features a blue, teal, and green palette and a layered, minimalist composition. The painting is ...

This original painting by Christine Averill-Green features a cool blue and metallic silver palette with a vibrant yellow accent. A blue and white vas...

This is an abstract encaustic painting by Linda Bigness. It features multicolored palette with silver leaf accents and neutral sides. Dabs of paint and organic shapes and linework ar...

This glazed porcelain vase sculpture by Jon Puzzuoli features a burnt umber and white body and a wide neck finished with 18K gold luster. The artist's stamp is located at the base of...

Primarily an experimenter, Goldberg’s work is a collection of variations on the theme of water in movement, through drawings, paintings and sculptures She works primarily in resins ...

This large crystalline glazed porcelain vase by Jon Puzzuoli features a deep blue palette at its base, which fades to a more vibrant blue tone and blends up to a wide, white neck and...

René Romero Schuler’s expressionistic paintings depict delicate female figures that she paints using a dry-brushed, minimalist hand, leaving her subjects mostly featureless but nonet...

This abstract painting by Roger Mudre is made with acrylic paint over metal leaf on panel. The painting features a light blue and metallic silver palette, with warm, subtle pops of l...

This small glazed porcelain sculptural vessel by Jon Puzzuoli features a light green palette with a sandy beige accent applied in a wave pattern over the surface of the piece. The fl...

This small abstract collage painting by Deborah T. Colter is made with mixed media on panel. It features found paper and paint, with subtle text elements, texture, geometric shapes, ...

This traditional landscape painting by Molly Doe Wensberg features a warm palette, capturing a scene of lush yellow rolling hills and deep green patches of t...

This Modern painting by Abstract Expressionist Stanley Bate was made with oil on canvas circa 1960. It features a cool blue and grey palette along the perimeter, with warmer muted gr...

This large abstract collage statement painting by Deborah Colter is made with mixed media on on panel. It features a blue palette with warm yellow accents. Collage elements like pape...

This contemporary abstract painting by Sofie Swann features a contrasting palette, with two simple house shapes situated side-by-side over a pale yellow background. A black and white...

This Limited Edition abstract print, "A Summer Day in Nantucket," by Sofie Swann measures 50" x 40" and is an edition of 95. Printed on canvas, this print ships rolled with natural c...

This original abstracted landscape statement oil painting by artist Bri Custer features a blue palette with vibrant yellow and green accents throughout. The artist applies thick, loo...

Barrett's Flight is a super mid-size sculpture that can sit on a table, console or coffee table. It can also be a feature piece on a pedestal. As its title conveys it brings a sens...

Primarily an experimenter, Goldberg’s work is a collection of variations on the theme of water in movement, through drawings, paintings and sculptures She works primarily in resins ...

This Modern Abstract Expressionist painting by Stanley Bate is made with gouache on paper and features a cool, muted palette and light texture. The painting itself is 13" x 22" and measures 21.25" x 29.25" x 1" framed. It is signed by the artist in the lower left-hand corner of the painting and is framed in a black frame with an acid-free mat. It is ready to hang. Stanley Bate was born on March 26, 1903 in Nashville, Tennessee. The Bates were an established Tennessee family, in fact, Henry’s brother William Bate was the governor of Tennessee from 1883-1887 and a United States Senator from 1887-1905. Stanley studied art at the Watkins Institute in Nashville. In the 1920’s Bate moved to New York City to study at the Art Students League under Frederick Bridgman. He soon landed a job with Encyclopedia Britannica, and from 1927-1929 served as art editor. From 1929 until his death in 1972, Stanley was a self-employed artist. He taught art classes at both the Art Students League and the Albany Institute of History and Art and brought in extra income by making illustrations for magazines such as “Outdoor Life” and “Popular Science”. On January 27, 1934 Stanley married Emilie Rossel. Emilie had emigrated from Switzerland to New York in 1923. She found work as a governess to Alfred Vanderbilt and later as an executive secretary for Wall Street investment brokers Kahn, Loeb and Co. Emilie met Stanley in New York in the early 1930’s when she attended one of his art exhibitions with a friend. The couple, who had no children, lived on 34th Street in Manhattan. During this period, Bate was producing and exhibiting his art and joined several artists groups. Stanley and Emilie became part of the New York art scene, dining weekly at the Society of Illustrators Clubhouse. Stanley Bate’s time in New York was pivotal in the formation of his painting style. He lived in New York during the inception of one of the most important Modern Art movements, one that helped New York replace Paris as the center of avant-garde art. This movement, which was called the New York School of artists, was later known as Abstract Expressionism. It was comprised of a loosely associated group of vanguard artists working in New York City during the 1940s and 1950s. The New York School was not defined by a specific style, but instead reflected a fusion of European Modernism and American social relevancy that was depicted in many individual styles. Influences of Surrealism, Cubism, and Modernism can be found in their work, along with an interest in experimenting with non-traditional materials and methods. American art was in the forefront of international avant-garde for the first time. Stanley Bate was undoubtedly exposed to the varied styles and techniques that were emerging during the formative years of the New York School. Mark Rothko and Robert Motherwell were formulating their versions of color field paintings. Joseph Cornell was experimenting with assemblages, collage and the use of different types of textured paints. Jackson Pollock was adhering objects such as buttons and coins into his early works, while Louise Nevelson was using found objects. Helen Frankenthaler added sand to her early paintings. The New York School artists were undermining traditional fine art by using mixed media and non-traditional methods. Stanley Bate absorbed these varied influences and soon his early realistic landscapes and still-lifes were replaced with something entirely new. The influence of Cubism, notably the flat shallow space of the picture plane, is obvious in many of Bate’s paintings. Surrealism is evident in Bate’s use of subjects from myth, primitive art and antiquity, along with the Automatism-like line work in his more linear images. The unfettered experimentation of the New York School is everywhere in Stanley Bate’s work. We see nods to color field, collage, the mixing of textures into paint, mixed media, the inclusion of found objects and thick, luscious impasto. Bate was prolific and experimented in various media including oil, watercolor, lithography, silk screen, wood cut, drawing, collage, ceramics and sculpture. Bate is considered a true Modernist. His work is largely abstract, but sometimes figures and buildings are discernable. He frequently mixed paint, sand and glue together to achieve a textured surface, and then scraped and scratched through this layer to expose some of the underpainting below. His sculpture, which is often whimsical, also reflects the non-traditional methods of the New York School. Bate pioneered the use of enamel and copper in his work. The sculptures are not carved or modeled as was done in the past, but instead are built using mixed media and new materials. In addition to the New York School influence, many of Bate’s works exhibit a strong connection to the Spanish school, especially the work of Antonio Tapies and Modesto Cuixart. These artists were both part of an avant-garde group known as Art Informel, the Spanish equivalent of Abstract Expressionism. These artists likewise worked in mixed media and introduced objects and texture into their work. Many of Bate’s subjects and titles relate to Spanish locations and words. It is likely that Stanley spent time in Spain and found inspiration there. By the early 1940s, Stanley and Emilie had started spending weekends in a barn they purchased in Craryville, New York, a few hours north of Manhattan. The barn had no electricity or plumbing, but when the Bates eventually decided to leave New York and live full time in Craryville, they remodeled the barn, putting a gallery downstairs and a studio and living quarters upstairs. Although the Bates moved out of New York City, Stanley remained part of the New York art scene, exhibiting in New York and elsewhere throughout the 50s and 60s. During his lifetime he was represented by the New York galleries Knoedler and Company, Kennedy Galleries, Rose Fried Gallery and Key Gallery, along with Tyringham Gallery located in Tyringham, Massachusetts. Craryville was Stanley’s home until his death on August 21, 1972. Emilie died 1984...

This small abstract collage painting by Deborah T. Colter is made with mixed media on panel. It features found paper and paint, with subtle text elements, texture, geometric shapes, ...

This glazed porcelain vessel by Jon Puzzuoli features blue, cream and white palette. The crystalline glaze applied over the ceramic creates small, organic, crystal-like elements in t...

This original painting by Teodora Guererra features a pink and white palette with abstracted floral shapes throughout to the edges of the composition. The artist applies thick layers...

This abstract coastal landscape painting by Kelly Rossetti is made with oil paint on paper. It features a cool blue palette with contrasting pink and orange tones across an abstracte...

This Modern Abstract Expressionist painting by Stanley Bate is made with gouache on paper. It features a dark palette, with dark charcoal black tones contrasted by yellow and red accents throughout, and large brush strokes. The painting itself is 16" x 54" and measures 17" x 56" x 2" framed. The paper is mounted on board, framed in a black frame under glass. It is not signed by the artist, but has been authenticated by his estate, and is stamped with the estate seal on the back of the painting, and on the back of the frame. It is ready to hang. Stanley Bate was born on March 26, 1903 in Nashville, Tennessee. The Bates were an established Tennessee family, in fact, Henry’s brother William Bate was the governor of Tennessee from 1883-1887 and a United States Senator from 1887-1905. Stanley studied art at the Watkins Institute in Nashville. In the 1920’s Bate moved to New York City to study at the Art Students League under Frederick Bridgman. He soon landed a job with Encyclopedia Britannica, and from 1927-1929 served as art editor. From 1929 until his death in 1972, Stanley was a self-employed artist. He taught art classes at both the Art Students League and the Albany Institute of History and Art and brought in extra income by making illustrations for magazines such as “Outdoor Life” and “Popular Science”. On January 27, 1934 Stanley married Emilie Rossel. Emilie had emigrated from Switzerland to New York in 1923. She found work as a governess to Alfred Vanderbilt and later as an executive secretary for Wall Street investment brokers Kahn, Loeb and Co. Emilie met Stanley in New York in the early 1930’s when she attended one of his art exhibitions with a friend. The couple, who had no children, lived on 34th Street in Manhattan. During this period, Bate was producing and exhibiting his art and joined several artists groups. Stanley and Emilie became part of the New York art scene, dining weekly at the Society of Illustrators Clubhouse. Stanley Bate’s time in New York was pivotal in the formation of his painting style. He lived in New York during the inception of one of the most important Modern Art movements, one that helped New York replace Paris as the center of avant-garde art. This movement, which was called the New York School of artists, was later known as Abstract Expressionism. It was comprised of a loosely associated group of vanguard artists working in New York City during the 1940s and 1950s. The New York School was not defined by a specific style, but instead reflected a fusion of European Modernism and American social relevancy that was depicted in many individual styles. Influences of Surrealism, Cubism, and Modernism can be found in their work, along with an interest in experimenting with non-traditional materials and methods. American art was in the forefront of international avant-garde for the first time. Stanley Bate was undoubtedly exposed to the varied styles and techniques that were emerging during the formative years of the New York School. Mark Rothko and Robert Motherwell were formulating their versions of color field paintings. Joseph Cornell was experimenting with assemblages, collage and the use of different types of textured paints. Jackson Pollock was adhering objects such as buttons and coins into his early works, while Louise Nevelson was using found objects. Helen Frankenthaler added sand to her early paintings. The New York School artists were undermining traditional fine art by using mixed media and non-traditional methods. Stanley Bate absorbed these varied influences and soon his early realistic landscapes and still-lifes were replaced with something entirely new. The influence of Cubism, notably the flat shallow space of the picture plane, is obvious in many of Bate’s paintings. Surrealism is evident in Bate’s use of subjects from myth, primitive art and antiquity, along with the Automatism-like line work in his more linear images. The unfettered experimentation of the New York School is everywhere in Stanley Bate’s work. We see nods to color field, collage, the mixing of textures into paint, mixed media, the inclusion of found objects and thick, luscious impasto. Bate was prolific and experimented in various media including oil, watercolor, lithography, silk screen, wood cut, drawing, collage, ceramics and sculpture. Bate is considered a true Modernist. His work is largely abstract, but sometimes figures and buildings are discernable. He frequently mixed paint, sand and glue together to achieve a textured surface, and then scraped and scratched through this layer to expose some of the underpainting below. His sculpture, which is often whimsical, also reflects the non-traditional methods of the New York School. Bate pioneered the use of enamel and copper in his work. The sculptures are not carved or modeled as was done in the past, but instead are built using mixed media and new materials. In addition to the New York School influence, many of Bate’s works exhibit a strong connection to the Spanish school, especially the work of Antonio Tapies and Modesto Cuixart. These artists were both part of an avant-garde group known as Art Informel, the Spanish equivalent of Abstract Expressionism. These artists likewise worked in mixed media and introduced objects and texture into their work. Many of Bate’s subjects and titles relate to Spanish locations and words. It is likely that Stanley spent time in Spain and found inspiration there. By the early 1940s, Stanley and Emilie had started spending weekends in a barn they purchased in Craryville, New York, a few hours north of Manhattan. The barn had no electricity or plumbing, but when the Bates eventually decided to leave New York and live full time in Craryville, they remodeled the barn, putting a gallery downstairs and a studio and living quarters upstairs. Although the Bates moved out of New York City, Stanley remained part of the New York art scene, exhibiting in New York and elsewhere throughout the 50s and 60s. During his lifetime he was represented by the New York galleries Knoedler and Company, Kennedy Galleries, Rose Fried Gallery and Key Gallery, along with Tyringham Gallery located in Tyringham, Massachusetts. Craryville was Stanley’s home until his death on August 21, 1972. Emilie died 1984...

This small glazed porcelain sculptural vessel by Jon Puzzuoli features a light green palette with a sandy beige accent applied in a wave pattern over the surface of the piece. The in...

Albert Wein had a retrospective and he was called a classical modernist by art critics. He is primarily regarded as one of America's great sculptors but he loved doing drawings, wat...

This contemporary seascape painting by S.C. Aldo is made with acrylic paint on Arches paper. It depicts a lightly abstracted coastal sce...

This horizontal abstract painting by Teodora Guererra features a blue, teal, lavender and white palette. The artist layers thick strokes of paint using a palette knife in broad, hori...

This Modern Abstract Expressionist painting by Stanley Bate is made with oil paint on canvas and features a light, neutral palette with a grid-like pattern throughout the abstract composition. The artist layers paint on the canvas, creating texture among softly blended colors. The painting itself is 24" x 36" and measures 27" x 37" 1.5" framed. It is signed by the artist in the lower right-hand corner of the painting and is framed in a very thin floater frame with a silver face and brown sides. It is ready to hang. Stanley Bate was born on March 26, 1903 in Nashville, Tennessee. The Bates were an established Tennessee family, in fact, Henry’s brother William Bate was the governor of Tennessee from 1883-1887 and a United States Senator from 1887-1905. Stanley studied art at the Watkins Institute in Nashville. In the 1920’s Bate moved to New York City to study at the Art Students League under Frederick Bridgman. He soon landed a job with Encyclopedia Britannica, and from 1927-1929 served as art editor. From 1929 until his death in 1972, Stanley was a self-employed artist. He taught art classes at both the Art Students League and the Albany Institute of History and Art and brought in extra income by making illustrations for magazines such as “Outdoor Life” and “Popular Science”. On January 27, 1934 Stanley married Emilie Rossel. Emilie had emigrated from Switzerland to New York in 1923. She found work as a governess to Alfred Vanderbilt and later as an executive secretary for Wall Street investment brokers Kahn, Loeb and Co. Emilie met Stanley in New York in the early 1930’s when she attended one of his art exhibitions with a friend. The couple, who had no children, lived on 34th Street in Manhattan. During this period, Bate was producing and exhibiting his art and joined several artists groups. Stanley and Emilie became part of the New York art scene, dining weekly at the Society of Illustrators Clubhouse. Stanley Bate’s time in New York was pivotal in the formation of his painting style. He lived in New York during the inception of one of the most important Modern Art movements, one that helped New York replace Paris as the center of avant-garde art. This movement, which was called the New York School...