USA - Contemporary Art

A lithograph titled, "Elegy ( Study )" by Robert Motherwell 1979, signed and numbered 42/98 in pencil with Motherwell's blind stamp. There were 12 artist proofs in addition to the 98...

Unique oil paint and wax on paper by James Nares ( British, b. 1953 ). Untitled. circa 2008. Archivally framed in a 12-karat white gold frame.

Large multi colored abstract wall painting titled "For Saturday" by American Artist Jim Condron, signed and dated 2015. “For Saturday,” 2015 was made durin...

In 1969 John Lennon created a portfolio of drawings which he entitled "Bag One". These drawings depicted John & Yoko Ono's wedding and subsequent honeymoon and he presented them to ...

Vintage portrait of a young boy wearing a striped red shirt with blue argyle sweater. Oil on canvas painting by artist Robert Rukavina (1914-1977), who lived in the United States and...

Entangled. A biro, watercolor, gouache painting. Sight size: circa 16 in. x 20 in. Frame size: circa 25 in. x 29 in. Signed lower left. Jeremy Hush - a long time Punk ...

Striking small abstract landscape with bold brushstrokes and rainbow colors. New blonde wood frame.

ABOUT R.B. Kitaj, Turk Sib: The Most Important Film Ever Made, Screenprint Edition of 70 Signed and numbered 63/70 in pencil lower right. Unframed. CREATOR R.B. Kitaj, United ...

Vibrant large scale Lithograph, after Henri Matisse, French, signed within the print "Matisse '52", this lithograph is probably circa 1970s. Th...

18th century Italian fragment with gold-plated crystals on a hand painted gallery 1-inch canvas. The canvas is distressed with gold powders used by restorers in Italy in the 18th and 19th century. The powders coordinate with the gold-plated crystals and fragment piece. These powders are no longer available. The 18th century fragment originally came from a church in Liguria. The Italian artifact...

This abstract painting by little known Los Angeles artist is a fine example of color abstraction. The painting portrays an abstract ballerina dancer. The painting has been newly fram...

Available in a limited edition of 100, Cicely and Miles Visit the Obamas, captures a scene where Miles Davis and Cicely Tyson, stand in front of the White...

British Artist Robyn Denny (1930-2014), pair of framed geometric abstract silkscreen prints from the Waddington Suite 1968-1969, Untitled II & IV, originally sold by the famed Greenb...

Magical depiction of the Sphinx at Giza in Egypt as interpreted by artist Monsef Labib. Handcrafted in Cairo on genuine papyrus with intricate details, this 3-D impressionism is app...

The book titled "Kai Kein Respect" accompanies the first major survey exhibition of Kai Althoff, one of the most compelling and original voices in Contempo...

Intricate, ethereal and highly textured, the abstract compositions of Japanese mosaic artist Toyoharu Kii reflect a sophisticated approach to the technical art of mosaic making. Clas...

Oil painting on canvas by Chicago artist, William Stebbins. The painting features bright blues and purple tones alongside warm yellow and orange tones. Signed by the artist. Dimensi...

Oil, rice paper and gel on canvas, measures: 74" x 74". Titled "Subtracted Word #3", dated 2003.

Abstract painting by Antonio Ferri.

Interesting abstract modern art painting on steel or metal by Katrina King. "Abstract Arrangements" series made with hand-colored paint. Painted on a...

An expressive and graphic vintage serigraph depicting an abstracted group of red-wing blackbirds in flight. Signed in pencil by the artist.

Entitled "My Country", this bold and abstract landscape painting was by renowned Australian aboriginal artist Kudditji Kngwarreye (1928-2017). Acrylic painting on canvas, it was painted in 2012 and signed and inscribed on verso. The saturated colors and the visible brush strokes and intentionally uneven earth-like textures invokes the view of a landscape, partially real, partially imaginary. Kudditji Kngwarreye from the Utopia community in the Northern Territory. He was the skin brother of the late Emily Kame Kngwarreye and like his skin sister Emily, was one of the most prominent and successful artists in the history of contemporary indigenous Australian...

Chicago-based artist Michael Thompson creates unique kites crafted from split bamboo frames covered with stretched muslin and a collage of vintage Asian ephemera—including fragments ...

Intrigue yourself with the captivating Parisian streetscape depicted in this original color lithograph by Armin Birkel, titled "Blue City". Hand-signed by the artist, this piece tran...

A large painting by New York School artist Ben Wilson. Signed on verso. Name of work is “Over View” Burnished silver frame. Ben Wilson was born in Phila...

Monochromatic, ethereal and highly textured, the abstract compositions of Japanese mosaic artist Toyoharu Kii reflect a sophisticated approach to the technical art of mosaic making. ...

A very decorative work of art by listed artist, Jo Patch. Jo Patch born in Opprebais on January 13, 1937. He was active in Belgium primarily although many of his works were exhibit...

Postmodern "City Living ?" Art Pottery figural wall sculpture signed "THS 79" featuring an abstract face being devoured by ribbons and string. F...

This stunning example of Art Deco-Mid Century American surrealism was painted by Erwin Kummer, a widely-known Chicago painter who exhibited widely in the 1940s at the Art Institute o...

American Flag No. 1 by J. Wohnseidler. Arcylic on canvas with hand-applied starfish. Unframed. Signed/titled/dated by artist on back. Measures: 48 inches L x 36 inches H x 1.5 inches D.

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his...

Jean Dubuffet Anticultural Positions by Mark Rosenthal, Anny Aviram and Kent Minturn. Published by Rizzoli International Publications, 2016. 1st Ed hardcover with dust jacket exhibit...

Monogrammed lower right, signed, dated 2018, with title on verso- "Have You Got Somewhere Better to Be?". A Surreal painting featuring a fashion model type figure wearing a black sli...

Larry Rivers was both an artist, musician and actor. The collage depicts opera divas. The use of celluloid tape as part of the composition was typical i...

Mid Century abstract in primary colors. Perfect pop of color for that empty wall. Red, blue, yellow and orange oil on canvas. Unsigned. This item can parcel ship.

Selection of black and white abstract prints. From left to right, they are: 1) Abstract lithograph by Terry Haan, circa 1960s. Pencil s...

Renato Freitas, b. 1974, oil and mixed media paintings titled Silver 1 and Silver 2. Each work is framed in a black wood frame. Renato Freitas was born in Brazil and now works in...

Extraordinary Mid-Century Modern cityscape painting with brown and green skyline. The large scale (5 foot) cityscape painting is reminiscent...

A fantastic, large, decorative painting by Robert Moskowitz, titled "The Family", circa 1977. It is signed and dated on the back. Robert Moskowitz (born 1935 in Brooklyn, New York) i...

Artist: John Patrick Dugdale (New York, b. 1960) Title: Bacchus in Repose Medium: Cyanotype Year: 1997 Edition: number 5/10 Measurement: Sight H 14", W 11"; with artist fame H 19.25"...

Chicago-based artist Michael Thompson creates unique kites crafted from split bamboo frames covered with stretched muslin and a collage of vintage Asian ephemera—including fragments ...

Josef Albers abstract lithograph from Interaction of color, circa 1960s.

Larry Zox Screenprint, framed. Framed art measures 45.5"H x 56.75"W x1.5"D.

Fighting for Love by Tracey Emin, circa 1998. Offset lithograph on pale green paper, signed, numbered (29/300), and framed. Measures 11.75 x 8.25 inches. Originally purchased from Wh...

Selection of Joan Miro color lithographs, France, circa 1960s. We purchased a group of these color lithographs from the estate of a couple that lived in France from 1951-1983. These ...

Ink and Acrylic painting By Virginia Dutton, Titled Torso, Signed & Dated Dutton, 2015. Large Ink and acrylic painting on canvas and signed 'Dutton' and dated on the right side...

"Sweet Potato Dreaming" painting by Lorna Fencer Napurrula Lorna is a Senior Warlpiri Custodian and she is among a small group of women who collectively produced the first paintings ...

Wonderful Modern Art By Pope Noell 20TH Century "DIEP #21" 2003 Acrylic On Canvas On Board. Provenance: Arlene Bujese Gallery, East Hampton, NY. Dimensions: 48.50" H x 58" W. x 2" ...

A Wonderful Modern Art By David Gamble British Of Andy Warhol's Living Room NYC 2004, Chromogenic Print On Canvas. Numbered '1/25' Lower Left Corner/ Verso: Signed, Titled, Numbered,...

Chicago-based artist Michael Thompson creates unique kites crafted from split bamboo frames covered with stretched muslin and a collage of vintage Asian ephemera - including fragment...

Circa 1999, Acrylic on "Canvas on board", by Suk Shuglie, Pennsylvania. Colorful and bright, this wooded scene leavens the moodiness of late Winter with th...

Abstract artist, Lamar Briggs, was born November 13, 1935 in Lafayette, Louisiana. He initially attended the University of Southern Louisiana for architecture before transferring to the University of Houston in pursuit of painting. He eventually graduated from the Colorado Institute of Art in 1960 and was later inducted into their Hall of Fame in 2005. After graduating, Briggs returned to Houston and began working as a graphic designer and associate art director at KTRK-TV, Channel 13...

Contemporary New York artist Peter Buchman's 'Note to Self' is created using laser-cut plexiglass, acrylic medium, and enamel on wood. It's part of his Voice-Over series, in which the artist gathers linguistic phrases to immortalize the valuable contributions of other cultures to the American Diaspora. To describe Buchman's word paintings as 'A Figure of Speech' is an understatement of the profound soulfulness they embody. They bear the marks of the artist's hand but also carry the collective spirit of many who came before him. These words derive from familiar phrases, music albums, his unique brand of irony, and the very essence of the human form. For this specific piece, 'Note to Self,' Peter is fascinated by what he said - she said and all of that back-and-forth cross-communication. Phrases like 'word on the street' and 'news at eleven'—we are all familiar with this kind of language, but how does it make us feel to see it stacked on top of each other? Writing lists, scribbling notes, verbatim, talking to ourselves or our partners... where does it all get us? Everywhere? Nowhere? This communication and street slang intrigues him. Whether he hears it or actually sees the words, the language grabs his attention, and he wants to discuss it again... with you, the viewer. Will you engage? Signed and dated en verso. This is a commissioned piece and will ship directly from the artist's studio. American artist Peter Buchman has BFA in Illustration from The Rhode Island School of Design and did a Sculpture Residency at The School of Visual Arts in New York. Peter's artwork has been exhibited throughout the US since 1981 including the Parrish Art Museum (Southampton, NY), Cooperstown Museum (NY), Delaware Museum of Art, Kidder Smith Gallery (MA) and Vered Gallery (East Hampton, NY). His work is included in the portfolios of collectors including Beth Rudin DeWoody, Nicole Miller, David Yurman and Howard Schultz...

A rare and beautiful print by Nicolas De Stael Published by Ateliers de Daniel Jacomet,Paris Signed by the artist 61/375

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...

Signed, dated, 1959, oil-on-canvas painting by listed, well-exhibited, French, Lyrical Abstraction painter, Pierre Fichet (1927-2007). Select group exhibitions: Paris Biennale, Franc...

Sold individually polyester resin; hand-shaped polyurethane foam; digital print swallow tail: 78 h. x 20 x 2.5" each a limited edition of 12 plus 4 proofs Produced by Tim Bessell Surfboards...

Contemporary American ceramic artist Richard Hirsch's encaustic Painting of Nothing #54 is made of ceramic raw materials, dry pigment and wax. This piece is part of his ongoing Paint...

Original signed abstract screenprint, entitled "Seclusion" by Josef Albers for the limited edition "Washburn College Bible", 1979. Albers created this work as a frontispiece for Volu...

Modernist abstract oil on canvas painting, by Jock MacInnes, British, circa 1980s. Signed with artist's monogram and dated at lower ed...