Stamford / Westport - Paintings

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...

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...

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...

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...

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 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 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 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 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...

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...

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 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 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...

This abstract fine art mirror by Alina B is made with dichroic film on mirror, and is framed in a champagne-toned frame. The film on the mirror allows for it, and the space it reflec...

This coastal abstract statement painting Julia Contacessi features a beautiful blend of cool blues, greens, greys, and whites, creating a soft aesthetic the artist equates to feeling...

This contemporary abstract painting by Sofie Swann features a bold palette, with two simple house shapes situated side-by-side at the center of the composition over a black backgroun...

This abstract, contemporary painting by Ned Martin features a light, metallic gold palette. Light rectangles are assembled side-by-side in a grid-like pattern, with textured metallic...

In the 1950’s Donald Purdy embraced an abstract style of painting which was pervasive at the time. This painting is a perfect compliment to a room with mide modern furniture. In Ci...

A unique and uplifting Della-Volpe of a woman with abstracted elements of a flag that speaks of pride in America. Della-Volpe himself had been in the war and when he came home he was part of the New York abstract-expressionist movement. He moved away from this and felt that color and subject matter were his interests within abstraction. He did a series called "The Flagmaker" and while this work is slightly different than those, it still explores the theme of symbols that represent countries and its citizens. This is a large work and he has wonderfully incorporated elements of stars and the red, white and blue colors. There is also an "X" but this is a spatial element of design and he was also interested at this time in putting in 'pop-art" type references to culture as well. A great painting for a living room or family room or entryway. The canvas measures 50.25 x 48 inches within the frame. IT is in a wonderful, custom designed 22 karat silvered float frame. It is signed by the artist in the upper left. And the provenance is acquired directly from the artist. Woman with Flag...

This abstract encaustic painting by Linda Bigness is made on board and features a vibrant multicolored yellow, turquoise, and muted pink palette with a neutral grey background and ne...

This abstracted figure painting by Christine Averill-Green features a unique cool blue and green palette with charcoal grey and red accents. It captures a figure in a dancing stance....

This abstracted painting of a dog by Russell Miyaki features a colorful palette and loose, expressive, and playful brush strokes. The artist applies var...

This is an abstract encaustic painting by Linda Bigness with silver and gold leaf on board with neutral sides. The painting features a multicolored palette with vibrant teal, red, ye...

Jupiter came about from the Vogue Magazine Virgo horoscope in September 1991, my birthday month. It stated that Jupiter was in my sign and all my wishes would come true. Jupiter in ...

This contemporary seascape painting by S.C. Aldo is made with acrylic paint on Arches paper. It captures an abstracted view of the ocean and san...

This abstract painting by Kelly Rossetti is made with acrylic paint on gallery wrapped canvas. It features light gestural brush strokes in deep blue, green, and grey tones on a white...

This traditional landscape painting by Molly Doe Wensberg features a cool palette and a loose, impressionistic style, capturing a forest scene with the white trunks of birch trees at...

DAVID DUNLOP is a modern-day old master whose luminous paintings draw from both Renaissance techniques and contemporary science. His paintings have been shown internationally and a...

A gorgeously colored summer landscape by Important American Impressionist, Frank V Dumond. Fresh in color and elegant in the tonally complimentary French frame with silk liner. Atm...

These two small framed abstract paintings by Julia Contacessi feature a cool blue-grey palette with a wash of a white accent that flows horizontally through the center of each compos...

In this Modern abstract painting by Stanley Bate, a bold palette is married with imperfect shapes and large brush strokes. Sandy beige rectangles blend with yellow and deep blue, on ...

This large abstract fine art mirror by Alina B is made with dichroic film on mirror, and is framed in a champagne-toned frame. The film on the mirror allows for it, and the space it ...

This large abstract fine art mirror by Alina B is made with dichroic film on mirror, and is framed in a champagne-toned frame. The film on the mirror allows for it, and the space it ...

This Modern Abstract Expressionist painting by Stanley Bate is made with oil paint on canvas and features a warm muted pink rectangular shape at the center of the composition, with a...

This abstract painting by artist Ned Martin features a blue heron in profile, looking to the right side of the canvas. The background is composed of blue, silver, and black squares t...

This abstracted floral painting by Christine Averill-Green is made with oil paint and gouache on gallery-wrapped canvas. It features a light, pastel palette, with varying green and pink tones applied in light, almost washy layers. The painting is wired and ready to hang. "A play on the shapes in nature; how they change and flow," the artist says of this piece. "Ambiguous forms set against a symmetrical background. I am in awe of the tremendous energy that I see everywhere in the world. I tried to celebrate that in this painting." Averill-Green has been exhibiting her artwork in galleries and museums in Upstate New York for over 40 years. She received her B.A. in Art and an M.S. in Art Education. Artists such as Richard Diebenkorn, Euan Eglow, Antonio Lopez Garcia, and her teachers Catherine Kehoe...

This textured abstract painting by Teodora Guererra features a deep, royal violet palette with subtle white and magenta accents. The artist applies paint in thick layers and wide, en...

This large horizontal abstract statement painting by Kelly Rossetti features a cool blue palette with deep charcoal and pale pink accents throughout. The artist layers the colors usi...

This original abstract painting by Kelly Rossetti features a cool blue palette with both black and white accents. Light layers of paint are washed over one another, with some more de...

This abstract fine art mirror by Alina B is made with dichroic film on mirror, and is framed in a champagne-toned frame. The film on the mirror allows for it, and the space it reflec...

This is an abstract encaustic painting by Linda Bigness. It features a green, blue, and grey multicolored palette with gold leaf accents and neutral sides. Dabs of paint and organic ...

Fannie Burr was a highly accomplished painter and one of our earlier American women artists! This very contemporary, fresh and appealing floral study was done circa 1895!! The rarity of this and its virtuoso execution could lend it to being in the collection of a Connecticut museum. Along with her sister Jennie, they were known as the "Burr Sisters". They did focus on paintings of still life and nature which would have been acceptable for a female artist of the period. Fannie studied at the Yale School of Art and then the Art Students League in New York. She was assistant to Julian Alden Weir a major CT impressionist, while he was at Yale teaching. The composition is avant-hard for this date! It is in an exceptional hand carved 22 karat frame of high value, Art Nouveau style. In the estate of 700 or so paintings by Fannie and Jenny Burr it was found that they did not sign most of the paintings. They were not selling their works or represented so much so this is understandable. This has a great provenance! Estate of the artist Julian Eddy by 1962 Connecticut Gallery, Lyme CT...

This pair of textured abstract paintings by Teodora Guererra features a light, greyscale palette with subtle warm accents throughout the composition. The artist layers thick strokes ...

This abstracted painting of a dog by Russell Miyaki features a light, colorful palette and loose, expressive, and playful brush strokes. The artist appl...

This abstract painting by Teodora Guererra features a metallic silver palette. The paint is layered thickly on canvas in wide, gestural strokes, creating a highly textured surface. I...

This abstract painting by Julia Contacessi features a light, coastal palette, with washes of varying blue tones on the bottom of the composition and light blush and white tones at th...

This stunning and beautifully executed nude model in the studio was done perhaps while Friis was studying at the Académie Julian in Paris. It is framed in a French Louis style frame ...

This Modern painting by Abstract Expressionist painter Stanley Bate depicts large trees in an abstracted landscape. The palette is bright and vibrant, with expressive strokes of pain...

This Modern Abstract Expressionist painting by Stanley Bate is made with gouache on paper. It features a muted palette and large, textured brush strokes. The painting itself is 13" x 22" and it measures 21.25" x 29.25" x 1" framed. It is signed by the artist in the lower right-hand corner of the painting, and is framed in a black frame with an acid-free mat. Wired and 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...

Liz Barber's organic abstract paintings are layered bursts of energy inspired by nature’s movement. Forms and lines fall into a sea of emotion. Shapes and reflections drift into volu...

This abstract floral painting by Christine Averill-Green is made with oil paint on gallery wrapped canvas. It captures a floral bouquet with red, pink, and white flowers and green leaves, which are placed in a glass vase. The clear vase reflects and refracts the colors of the stems of the flowers. The background is a deep, near black which provides contrast to the vibrant colors of the flowers, The painting is wired and ready to hang. Averill-Green has been exhibiting her artwork in galleries and museums in Upstate New York for over 40 years. She received her B.A. in Art and an M.S. in Art Education. Artists such as Richard Diebenkorn, Euan Eglow, Antonio Lopez Garcia, and her teachers Catherine Kehoe...

This abstracted painting of a Doberman dog features a loose, energetic style and vibrant colors. The artist layers wide brush strokes and thin, swirling line to create the dog's black, blue, and orange form, with a pale yellow gold background. The painting is made with acrylic paint and gold leaf on gallery wrapped canvas. It has painted sides and is signed by the artist in the lower right-hand corner of the painting. It is wired and ready to hang. Russell Miyaki...