Mid-20th Century Abstract Paintings

Original oil paint on heavy archival paper abstract by the American artist, Martin Rosenthal. Bold, vibrant colors. Signed lower right by the artist and dated 1964. Condition is goo...

Cubist composition French school, late 20th century signed oil on board, framed with glass cover framed: 13 x 13 inches board: 9.5 x 9.5 inches Provenance: private collection, France...

Antique American modernist abstract oil painting by Adele Becker (1929-2021). Oil on canvas. Framed. Signed.

Antique American exhibited oil painting by Grace McFarren. Oil on canvas. Signed. Framed. Measuring 29 by 49 inches overall and 26 by 46 painting alone.

Born in Leningrad (now Saint-Petersbourg, Russia) in 1937, Catherine Zoubtchenko lives in France since 1945. She was a student of the painter André Lanskoy, with whom she later share...

Pierre MONTHEILLET (1923-2011) Composition in green and yellow Mixed media on paper - monotype Signed and dedicated “pour mes amis Sallaz” lower right Dimensions of the work: 28.5 x ...

Doris K. Mooney Hanna (American, 1931-2022) Untitled, 1960 Acrylic on canvas 49 x 36 in. Signed lower right: Doris K. Mooney Doris Mooney Hanna grew up in Phi...

Antique American modernist abstract oil painting. Oil on canvas, circa 1950. Signed. Image size 46L x 36H. Framing is available!

A fabulous example of 1960s geometric/op art, displaying all the fun, playfulness and vibrancy of the style. Op art, short for optical art, is a style of visual art that uses optical illusions. Typically, they give the viewer the impression of movement, hidden images and vibrating patterns. Its roots can be traced back to Cubism, Futurism, Constructivism and Dada. The maker of this stunning piece is Tony Gonnet (1909-2004) an artist close to those who shaped modern art and its history. Working in Casablanca in 1940 he met André Breton and Saint-Exupéry, who were both on their way to America. Unable to obtain a visa for himself, Gonnet returned to Paris in January of 1942. Living on Rue de Seine, he became one of the figures of Saint-Germain-des-Prés and numbered amongst his many friends Jean-Paul Sartre, Simone de Beauvoir, Jean Genet – who prefaced his first Parisian exhibition in 1952 – as well as Albert Camus, Simone Signoret, Boris Vian, Jacques and Pierre Prévert and many others. In 1941, in the ennui of Casablanca, Tony Gonnet had started to draw, and then paint, in a Surrealist style. In 1946 he abandoned figurative surrealism in favour of abstraction, making sole use from then on of geometric forms and shaded tones, in his own unique style. His works aim to achieve harmony of shapes and colours, and thus to bring joy. Tony Gonnet loved life, and said that each of his works was an offering made to it. With solo shows in major Paris galleries...

Antique American modernist still life oil painting. Oil on canvas. Signed. Measuring: 16 by 22 inches overall. In excellent original condition. Excellent condition, ready to hang a...

George Dannatt (1915-2009) Pencil Grid No 2 1966 Mixed media on paper Image: 12.7 x 17.7 cm Mount: 46.0 x 38.0 cm George Dannatt (1915-2009) was an outstanding and inspirationa...

Impressive early American modernist abstract oil painting. Framed. Oil on board. Image size, 36H by 28L.

3809 Floating world surreal figurative painting signed on verso Mury

Charmion von Wiegand Intersecting Magic Square, ca. 1963 Gouache on paperboard Signed and titled on the back of the artwork. The signature shown on the frame back is a photo of the a...

Salade des Fruits by Jean Pierre Stagnaro (French c. 1961) cubist still life composition, very thickly painted. signed oil on canvas, framed framed: 25 x 37.5 inches canvas: 23.5 x 36 inches inscribed verso provenance: private collection, France; exhibition label...

Mid Century Hawaiian Symbolism -- Stairway to Destiny Symbolic figurative abstract with climbing stairway in bright spring colors by Marguerite Loui...

Mid Century Don Quixote Portrait Spanish Catalan Expressionist Oil TECHNICAL SHEET Oil on canvas Mid-20th century 55 × 33 cm (21.7 × 13 in) Frame: 58 × 36 cm (22.8 × 14.2 in) Signed lower right Metal frame with matte finish Very good overall condition DESCRIPTION Striking Mid-Century modernist interpretation of Don Quixote by Jaume Muxart, executed in a strong Catalan Neo-Figurative Expressionist language characteristic of Spanish post-war painting. The elongated vertical figure is constructed through palette-knife structure and dense impasto, reducing Cervantes’ legendary knight to a symbolic psychological presence rather than a literal portrait. The helmet-like white head emerging from a deep burgundy background creates a dramatic apparition typical of Muxart’s mature figurative period. The figure represents Don Quixote as an existential literary archetype frequently explored in Spanish modern painting and particularly within the renewal of Catalan modern art associated with artists connected to the Grupo Taüll, one of the key movements in the evolution of post-war avant-garde painting in Barcelona. Compact in scale but visually intense, the painting combines strong decorative presence with the intellectual depth characteristic of Muxart’s Quixote interpretations. ARTIST BIO Jaume Muxart (1922–2019) was a major Catalan painter and founding member of the influential Grupo Taüll, alongside Antoni Tàpies, Modest Cuixart, Josep Guinovart and Joan-Josep Tharrats. After early exhibitions in Barcelona in the late 1940s he travelled to Paris on scholarship, where he encountered the international avant-garde that shaped his expressive language. He later represented Spain at the São Paulo Biennial and exhibited widely across Europe and the Americas. Muxart served as professor and later dean of the Faculty of Fine Arts at the University of Barcelona and became a member of the Royal Catalan Academy of Fine Arts of Sant Jordi. His work is held in numerous institutional and private collections. ARTISTIC CONTEXT / INSPIRATION This painting belongs to the expressive Neo-Figurative tradition developed in post-war Spain and Catalonia, where literary archetypes such as Don Quixote became vehicles for psychological and symbolic exploration. Comparable resonances can be found in the structural figuration of Bernard Buffet, the expressive intensity of Antonio Saura, and the material experimentation associated with Antoni Tàpies, Modest Cuixart and Josep Guinovart within the post-war Catalan avant-garde. don quixote painting...

Richard Andres (American, 1927-2013) Crusader, c. 1969 acrylic on canvas signed and titled verso 48.5 X 62.5 inches Richard Andres was born in Buffalo, New York in 1927. A graduate ...

Artist: Claude Lagouche (French 1943-2020) Claude Lagouche was born January 2, 1943 in Naves, died January 16, 2020. He quickly gained recognition for his talent and his work, exh...

This painting is a great example of David Adickes' early work that embodies the abstract geometric style. Most likely originally sold at DuBose Gallery in Houston, Texas. Circa 1960s...

Hand signed by the artist lower right. Very good conditions. Certificate of authenticity of the Artist on the photograph.

Stunning surrealist painting by Bay Area Figurative artist, John Hultberg (1922-2005). War Night, 1956. Gouache on illustration board measures an impressive 30 x 40 inches; 34 x 44...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on thick board unframed: 8 x 8 inches condition: excellent provenance: all the paintings we have fo...

A stylish, colorful 1950s Mid-century Modern abstract geometric textile design (depicting a polychrome patterned design of horizontal bands and spheres in red, blue and green tones) ...

"Open Portals" Large Scale Color Field Painting, Signed, 1960s, 70x60 Dynamic piece by Felix Ruvolo (American, 1912-1992). This piece exemplifies late-1960s hard-edge abstraction, w...

A dymanic mid century abstract expressionist painiting with geometric shapes in cool tones and two figures by Leslie Luverne Anderson (American, 1928-2009). Oil on masonite. Titled "...

This work is part of our exhibition Marina Stern Luminary, the first retrospective of the artist since 2007. Marina Stern was a multifaceted New York-based artist whose works ranged...

About this work: “Untitled (Wrestlers Series)" (1968) by Erica Rutherford (1923-2008). A bold and important work from Rutherford’s celebrated pop art period, this large 1968 canvas ...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 12.75 x 9.75 inches condition: excellent provenance: all the paintings we ...

Stamped, verso, on canvas with certification of authenticity for Dora Masters (American, 1916-2003), bearing stamped wax seal and painted circa 1955. Provenance: Acquired from the a...

Title: Abstract Landscape with Cypress Trees and Pavilion - Contemporary Oil Painting Artist: Roland Pichard Medium: Oil on oil paper, mounted on card Size: 11 (height) x 14.25 (w...

Alexander Calder Composition with Circles, Triangles and other Shapes utilizes strong color contrasts and bold, black lines to create a playful piece that relays the impression of en...

Edward Zutrau Untitled, 2/17/1963 Signed and dated on verso Oil on linen 25 1/2 x 21 inches Edward Zutrau is among the American artists who worked within the whirlwind of diverse a...

Cubist Angular Construction of a Town by Laure Noetzin-Azam (French 1929-2024) pupil of André LHOTE signed oil on canvas, unframed canvas: 18.5 x 15 inches Provenance: all the paint...

Title: Abstract Still Life with Pink and Orange Vases - Contemporary Oil Painting Artist: Roland Pichard Signed: Bottom right Medium: Oil on oi...

Friedel Dzubas Floating Spring #2, 1968 Magna on canvas 20 x 55 inches Provenance The artist Estate of the artist Exhibited New York, Lincoln Glenn Gallery, A Tribute to André: Art...

This evocative mid-century abstract painting features richly layered textures and a restrained palette of aqua blues, muted greens, and deep earthen blacks. The composition suggests ...

"Shutters Are Good" Large Scale 1970 Geometric Color Field Composition Bold geometric piece by Felix Ruvolo (American, 1912-1992). This piece exemplifies late-1960s hard-edge abstra...

This original artwork by Mark Tobey is a Monotype with tempera, heightened with tempera on paper. Signed Tobey lower right Signed Mark Tobey with the remark GOOD! on the back. Prove...

Sea and Land Abstraction, 1936, oil on canvas board, 16 x 20 inches, signed and dated lower left, exhibited at the 18th Annual Paintings and Sculpture Exhibit at the Los Angeles Muse...

Purple Abstract British, 20th century (cira 1960's) oil on canvas, unframed canvas: 38.5 x 51.5 inches Provenance: private collection Condition: very good condition with signs of pr...

A vibrant and conceptually engaging mid-century modern abstraction, Alpha – The Beginning (1957) by Eve Drewelowe captures a moment of creative genesis through dynamic color and laye...

Joseph Kardonne (1911-1985). Nude Woman, 1966. Watercolor on paper, sheet measures 10 x 13.5 inches. Signed, dated and titled lower right. Excellent condition. Born in Newark, New ...

Michel Colin (b.1934). Boats in Harbor, 1969. Gouache on paper, sheet measuring 16 x 20 inches. Signed and dated lower right. Sheet is unframed. Michel Colin, born in 1934, live...

Esteban Vicente (1903-2001). Untitled, #36, 1955. Gouache on paper, image measures 8 x 11 inches, 16.5 x 19.5 inches framed. Signed, dated and numbered on verso. Excellent condition....

Lazzaro Donati (Italian, 1926-1977) Untitled (Abstract Woman), Mid-20th Century Oil on board 20 x 16 in. Framed: 25 3/4 x 21 7/8 in. Signed lower right Lazzaro Donati (1926-1977) was born in Florence in 1926 and attended the Academy of Fine Arts. He began to paint in 1953, and in 1955 held his first exhibition at the Indiano Gallery in Florence. Within three years eleven exhibitions followed in Italy, and as his reputation grew he was invited to give major exhibitions in London, Paris, New York, Chicago, Rio de Janeiro and Montevideo. He is considered one of the foremost contemporary Italian painters and his paintings hang in museums and private collections throughout the Americas, Europe and Asia. Mr. Donati lived and worked at 24 Piazza Donatello in Florence, the square where generations of artists have created works worthy of the great Florentine tradition. As you entered the narrow hallway to his studio, a gilded life-size Venetian angel beckoned you to his door. Once inside, the present faded away and you found yourself in an atelier where early masters might have worked during the Renaissance. Within, luxurious Persian rugs set off the innumerable objects d'art and antique furnishings. Light poured in through the sloping glass wall on the north side. A dramatic stairway led to an overhanging balcony which served as a private gallery where the artist hung some of his favorite early works. To the left of the entrance was a smaller studio where Donati sculpted, with a window overlooking the famous old English cemetery where tourists laid flowers on the grave of Elizabeth Barrett Browning. In the main studio itself, where Donati received his clients in an atmosphere as polished as an office of a top executive, one hardly realized that it was here that the artist actually painted. His easel was covered with Persian blue velvet, the painting on the easel was already framed, his chair was upholstered in red velvet and on his palette the colors were arranged with the precision of a Byzantine mosaic. In a corner stand were his latest works, framed and ready to be sent off to his next exhibition in Europe or America. Donati was a born host with a warm welcome, an elegant man who possessed enormous charm a good nature and a keen sense of humor. Apparently shy, he preferred to speak on subjects extraneous to his art, purposely distracting you from his paintings, then leading you back to them, tactfully and without pretension. He spoke fluent French and English as well as some Spanish and German. "After all", he said, "you've got to know how to sell a painting to everyone." He had no sympathy for the "drip and splash" studios of his contemporaries, preferring to keep his studio tidy and spotless. "Painting is a matter of precision", he said, "If a painter can't put his paint where he wants it to go, I don't see how he can call himself a painter. For me it is absolutely necessary to control the paint." When asked to reveal the technique he used to achieve the enamel-like finish typical of his paintings he answered, "That is a secret between me and my butler. Actually, most of my paintings are done by him!" But in fact behind the façade, Donati was a serious craftsman who devoted to his painting as a way of life and means of expression. From the beginning of his career, his paintings revealed a striving for perfection and continual research in problems of style and technique. His early works indicated a momentary interest in surrealism and abstract art; they were predominantly two dimensional, depending on line and strong color. But by 1958, with his painting The Lady with a Fan...

Nicely painted mid century abstract cubist oil painting. Great color and composition. Framed. Signed.

De Hirsh Margules (1899-1965). North on West Street , 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15 x 22 inches. Framed measurement: 27 x 34 inched. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium" Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village. Early Life De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website. At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers. As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later. In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno). Artistic career In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting. Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe. Jane Heap, left, with Mina Loy and Ezra Pound During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter. In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa. Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that: the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment. Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow." It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day. In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel. Upon his return to New York in 1929, Margules attended an exhibition of John Marin's paintings. While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O'Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends." Alfred Stieglitz Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York. With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting. In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works. In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation. "The Baron of Greenwich Village"[edit] Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond. To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness." He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller. Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance. The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation. The writer and television personality Alexander King said I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean. King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets." Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler. Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...

Joseph Kardonne (1911-1985). Tarleton Landscape 1967. 9 x 12 inches. Watercolor on paper, sheet measures inches. Signed, dated and titled lower right. Excellent condition. Born in...

A dynamic, 1950s Mid-Century Modern horse race painting by noted Chicago artist, Rudolph Pen. Artwork size: 27" x 23"; oil on Masonite. Framed size: 27 1/2" x 23 1/2". Signed "Pe...

Pointillist Abstract Design by Louis Bellon (French 1908-1998) initialled lower right gouache painting on paper, unframed measurements: 8.75 x 6 inches (overall the sheet measures 11...

Antique modernist abstract painting by Elsie Orfuss (Born 1913). Oil on canvas. Signed on verso. Nicely framed. `

A brooding and atmospheric 1960s abstract oil painting on board titled "Biblical Fire" by celebrated Mexican artist Leonardo Nierman, renowned for his lyrical explorations of light, ...

Beautiful etching by California/Denmark artist Roland Petersen (b. 1926). This print measures 15 1/2" H x 19 1/4" W image size, is in excellent condition and is unframed. Pencil sign...

Alecos Kontopoulos (Greek, 1904-1975) Signed: A. Kontopoulos -965, (Lower, Left) " Heure D'Automne ", 1965 (titled on gallery label on verso) French for " Autumn Hour " or " Autum...

"Abstraction" Mid-20th Century American Abstract 1960s Color Field Modernist James Daugherty (1887 – 1974) "Abstraction" 24 x 18 inches Signed and dated 1957 lower left Oil on can...

Absolutely stunning original French abstract oil painting on canvas, dating to 1961. The work is on a large scale, measuring 36 x 25.5 inches. It i...

Artist: Claude Lagouche (French 1943-2020) Claude Lagouche was born January 2, 1943 in Naves, died January 16, 2020. He quickly gained recognition for his talent and his work, exh...

Vintage American modernist abstract oil painting. Oil on canvas. Signed.

Edward Zutrau Untitled Signed and dated on stretcher Oil on linen 26 x 31 1/2 inches Edward Zutrau is among the American artists who worked within the whirlwind of diverse abstract...