USA - Contemporary Art

Impressive 5ft x wide three-dimensional Brutalist wall hanging sculpture by Finesse Originals. The cityscape is comprised of fiberglass made to give the effect of a gold / bronze scu...

A truly incredible work of art. This hanging sculpture is constructed of yarn-wrapped rope with incredible texture and color. Each unique element hangs at different lengths and hav...

A beautiful large scale work of art by Laddie John Dill. Work is composed of cement, glass, wood and pigment applied to canvas. Signed and dated verso. From the artist's website: La...

Fantastic Mid-Century Modern oil on canvas painting by Pascal Cucaro titled "Festival". The painting depicts Asian women in colorful Kimono robes with bold, vivid colors and thick br...

Vintage 1980s Fairgrounds sign in a unique and bold oxblood base color with white font. Eye catching and fun, this piece has the trappings of Americana wall art...

Contemporary American ceramic artist Richard Hirsch's encaustic "Paintings of Nothing Series" #1, #3, #4, #5, #6 and #7 are made of ceramic raw materials, dry pigment and wax. These ...

Trish DeMasi Moderno wall installation, Architettura, 2021 Mixed glazed stoneware Measures: 4 x 40 x 60 in (6 panels 4 x 20 x 20 in each) Moderno collection. An exploration in ...

Very cool vintage sign from Los Angeles County. Massive yellow sign with black horse and rider. Marked Los Angeles County on front. Great piece for ...

Large oil on canvas by Los Angeles artist Andrew Shachat. Represented by Patricia Correia Gallery, Venice, CA. Patricia Correia Gallery (PCG) was first established in Venice, Cali...

Original well drawn image of a nude woman reclining, obviously posing for the artist. Aged paper. Needs a nice frame. Good condition consistent with age and materials. Some slight ...

Lovely original framed portrait of a woman, acrylic on canvas with ornate frame. Artist and provenance unknown. Beautifully adorns a wall either on its...

Print: Digital Print Size: 508 x 406 mm (20 x 16 in) Edition of 30 This work is signed (2015) Hungarian conceptual artist Agnes Denes was a pioneer of early environmental ar...

Josef Albers abstract lithograph from Formulation and Articulation, published by Harry N. Abrams Inc., New York, and Ives Sillman Inc., New Haven, circa 1972. These works are from Po...

A whimsical modernist figurative ceramic tile wall art installation by Israeli artist Ruth Faktor (Faktorowicz). A unique composition with a theme of frien...

An op-art wall sculpture created by Antonio Asis. This an amazing art piece created by the Argentinian op-art artist Antonio Asis. Made in a very limited edition of only fifteen pie...

Very large and vibrant abstract painting and mixed media assemblage. Signed lower right. Block like elements in reds, tan, white and black. Along with black and white strings across ...

An op-art wall sculpture created by Antonio Asis. This an amazing art piece created by the Argentinian op-art artist Antonio Asis. Made in a very limited edition of only fifteen pie...

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...

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...

Portrait by very well known listed French artist Sylvain Vigny. The colors are slightly dark yet the fascinating way Vigny paints the face of the young boy shows lots of light and in...

Selection of modernist lithographs or gallery wall, French, circa 1960s. From top left to right, they are: 1) Joan Miro color lithograph, from Derriere Le Miroir, circa 1960s. Seen at upper left. It measures 18.5" H x 25.5" W framed. Newly framed in clean lined black lacquer gallery frame under conservation grade glass. 2) SOLD Alberto Giacometti lithograph...

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 ...

Ralph's Trees is a colorful rendition of a landscape. Acrylic on canvas. Signed Westrem and dated 2003 at bottom right. Titled on left side. Unframed.

Selection of Joan Miro color lithographs, France, circa 1960s. The lithograph on the left in the first photo has been sold. The other two are available. We purchased a group of these...

Vintage Martin Luther King Jr. Plaque Cast metal Great color and patina Ready to hang.

Trish DeMasi Lamella pod wall installation, 2021 Glazed ceramic Measures: 5 x 76 x 61 in.

Selection of Joan Miro color lithographs, France, circa 1960s. We purchased a group of these color lithographs from the estate of a couple t...

Great set of acupuncture charts from the 1970s. Extremely detailed and thorough diagrams showing every part of the human anatomy. Charts in good vintage condition. Floating on black ...

Large oil on canvas by Los Angeles artist Andrew Shachat. Represented by Patricia Correia Gallery, Venice, CA. Patricia Correia Gallery (PCG) was first established in Venice, Califo...

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...

A large and captivating unsigned painting featuring sinuous abstract leafy vine- like interlaced organic elements in orange, red and black on a soft mottled green and cream ground. U...

Pair of early 20th Century Medici portraits hand-painted on carved wood wall plaques. The handmade panels have a black lacquered finish with gold leaf details and feature rounded co...

Vintage oil on board abstract painting featuring rowboats amongst structural and architectural figures. Illegible artist's signature on the lower ...

Selection of Modern Art, circa 1950s-1970s. From left to right, they are: 1) The abstract nude female drawing, probably American, circa 1950s....

Print Print made with archival pigments on fine art rag paper Measures: 24.00 x 20.00 in 61.0 x 50.8 cm Edition of 50 This work is signed and numbered by the artist. This print by artist duo McDermott and McGough...

Large abstract expressionist oil on canvas titled "caldron" painted by Tom Lieber 1992 (American b. 1949). Signed, titled, and dated verso on canvas. Impressive size from an estate i...

Extraordinary vintage 1980s Memphis style painting with intriguing 3D design. This is a mixed media piece that blurs the line between painting and sculpture. In fact, one could go so...

Group of Three WPA Era Paintings, American, circa 1930s-1950s. From left to right, they are: 1) Brick mason oil painting, American, circa 1930s. It ...

ASTRONOMICAL BLACKBOARD (G.149), 1978, etching, signed in pencil, from the numbered edition of 11/15 AP image 17 ¾ x 35 ¾”, full margins Abstract Art , Pop Art Frame: 44"x27''

Zhai Xinjian (China, b. 1950) "The Nude Model Girl" oil on canvas depicting a female nude model posing seated on a draped stool, within a giltwood frame. Signed in Chinese and dated: 1987-9-20 (lower-right). Listed and illustrated in The Hefner Galleries contemporary oil paintings from The People's Republic of China Brochure of Zhai Xinjian, recent paintings, May 3-28, 1988. (See the images of brochure/pamphlet from Hefner Galleries - The brochure/pamphlet is NOT included with the purchase of this item.) Canvas height: 29 inches (73.7 cm). Canvas width: 22 1/2 inches (57.2 cm). Frame height: 35 1/2 inches (90.2 cm). Frame width: 28 1/2 inches (72.4 cm). The current auction...

Print Archival pigment print on Moab Entrada Measures: 20.00 x 20.00 in 50.8 x 50.8 cm Edition of 50 This work comes with a signed Certificate of Authenticity. Frances Goodman...

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...

Entitled "Rock Bottom", this triptych photographs were by American photographer David Hilliard (born 1964) in 2008. These chromogenic prints were f...

Hugues Claude Pissarro (b. 1935) oil on canvas painting Le Bouquet Au Vase Bleu. Very fine impressionist oil on canvas by this highly sought aft...

Beautiful colors and great technic on this striking geometric acrylic on canvas by san Diego artist Allen Perrier circa 2012. Large size.

A very cool expressionist figural painting by German artist Peter Keil, circa 1989. The painting is signed and dated; oil on canvas and measures 37" x 35" in a black wooden double ed...

Richard T. Titlebaum "Cristina" Abstract Figural Mixed Media This is an original mixed media work on paper by American artist Richard Titlebaum. It is entitled "Cristina." The piece...

Keith Haring 1982: Rare vintage original 1982 issue of Art News featuring a timeless cover image by Martha Cooper of Keith Haring painting the historic Bowery and Houston Street mura...

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...

"Bindu" by Jay McCafferty, 1981 Solar burns on paper, framed behind glass, 3' x 5' A singular work of quiet intensity, Bindu by Jay McCafferty reveals the meditative force behind his...

Fantastic original drawing by Robert Loughlin on an old orange book. Looks to be an old Russian book. Orange book with black drawing of 'the Brute' on the ...

Contemporary New York artist Peter Buchman's "Truth be Told" is made of laser cut plexiglass, acrylic medium and enamel on wood. It's a part of his Voice-Over series, in which the ar...

"Climb It, 2024" Oil, acrylic, pastel , and charcoal on canvas, diptych 114" x96" Oil on Canvas Commanding in scale and quietly powerful in message, "Climb It" (2024) is a monumenta...

Paul Garland (American, b. 1943), an abstract composition, pencil signed and dated 1983. The work is very colorful with wonderful movement and expression. It has been expertly framed...

"Mexican Sun," an oil on canvas by artist Kathi Robinson Frank is an abstract composition in sunny golds, whites and blacks inspired by the earth and brill...

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...

Gerson Leiber "No Seashore Holiday" 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 arm...

Michael Michaeledes was a self-taught painter raised in Egypt and Greece, studied art and architecture in Europe. His art is held in museums, foundations and private collections arou...

One of our most favorite finds to date, this striking portrait painting will make a lively accent to any art collector. Painted on board, the subject of the painting sits confidently in a chair. She wears a gray suit and hat, and has long blonde hair. The entire piece is on a bright pink background. (Is it just us, or does this piece remind you of the blonde version of Carmen Sandiego...

A whimsical collage/acrylic on canvas entitled "Spider Kiss" by a noted Japanese artist -Misaki Kawai (河井美咲) (born 1978 in Ōkawa, Kagawa,) Her work has been shown extensively in the...