Masonite Paintings

A strong modernist oil painting depicted in the Mid Century by Russian painter Michael Baxte. Mostly known for his abstracted figures on canvas or street scenes, this piece is a wond...

Ben Wilson Byzantium, 1975 Oil on Masonite painting Hand signed reverse, Titled, "Byzantium", dated 1975 by the artist and also with estate stamp - in addition to Ben Wilson's hand s...

'Still Life', Carnegie, Biltmore, Mills College, CPLH, LACMA, WPA, CWS, Hollywood Signed, lower right, 'Boris Deutsch' (Lithuanian-American, 1892-1978) and dated 1926. Deutsch bega...

Signed in red, u.l. Oil on canvas mounted to Masonite This work is offered by ClampArt in New York City.

Double-sided Latin American Post War Geometric Abstract Dynamic abstract pieces by Ernesto Butterlin, aka Linares, (Mexican, German b. 1917 d. 1964.), 1946.The use of shape and lig...

A Vibrant, Colorful 1950s Mid-Century Modern Painting of Martha's Vineyard by Famed Chicago Artist, Francis Chapin (Am. 1899-1965). Titled "Breakfast on the Porch at the Vineyard Ho...

Paul Sample Spanish Village, 1958 Signed lower right; titled on artist label affixed to the reverse Acrylic on Masonite 23 1/4 x 33 inches Provenace Milch Galleries, New York Privat...

After the original by Henrika Langus (Slovenian, 1836-1876) and painted circa 1880. Unsigned. Framed dimensions: 17.25 x 1 x 15.5 inches. A charming and antique study of a young, f...

Original oil on masonite painting of Fleet Week with sailors flirting with young women on the dock by the American artist, Sarah Pace Carothers Rhode. ...

Signed lower left, and lower right, 'Patricia Cunningham' for Patricia Stanley Cunningham (American, 1907-1984) and painted circa 1965. A vibrant, Post-Impressionistic oil showing a...

A Large, Compelling Mid-Century Modern Figurative Painting by New York Artist, Gerrit Hondius, Titled "Equestrienne & Clown". Artwork size: 30 x 24 inches (Oil on Masonite); Frame...

Mid Century Modern, American Abstract Expressionist Painting on Masonite. This wonderful work in exciting colors is housed in a contemporary white wood frame presentation.. The art...

A vibrant, 1960s Mid-Century Modern painting, "Vermont Landscape, Spruce Tree and Shoreline" by notable Chicago artist Harold Haydon. Painted near the artist's longtime summer studi...

"Back Road" California Redwoods Santa Cruz County original Oil Painting Oil painting of the California Redwoods by Gorman Woody (American, 1907-2000). the scene is a country road ...

Ben Wilson Concert, ca. 1989 Oil on masonite board (Hand Signed by the artist; also bears the Estate Stamp) Boldly signed front and back, titled and dated on the back by Ben Wilson and also stamped on the back by the estate of Ben Wilson 42 × 48 inches Unframed This stunning painting is done by the second generation Abstract Expressionist artist Ben Wilson - one of the youngest artists to be given a show at prestigious ACA Gallery in 1940. This work "Concert" - depicting instruments, in a light, lyrically abstract painting. Exquisite colors and subtle imagery. In 2017, he was the subject of a retrospective at the George Segal Gallery at Montclair State University from September 6 to November 4 and it was accompanied by a catalogue. About Ben Wilson: Ben Wilson was born in Philadelphia in 1913 to Jewish parents who had emigrated from Kiev and settled in New York City. He was educated in Manhattan public schools and graduated from City College in 1935. To gain exposure to a wider range of styles, he also studied at the National Academy of Design and at the Educational Alliance. Admired by critics throughout his long career, Wilson was singled out as a “discovery” by the New York Times art critic Edward Alden Jewel even before his first one-man show at the Galerie Neuf in 1946. His paintings of the ’30s and ’40s were expressionistically rendered, often Biblical parables, filled with what he called “the grief of the intolerable” and reflecting an acute awareness of the agony of the time, from the Holocaust to the Spanish Civil War. A WPA artist who identified strongly with the plight of the Jews in Europe, he relentlessly explored themes of war, torment, and futility in his early decades of painting. When times changed and social pressures subsided, Wilson’s mood lifted. He spent 1952-54 in Paris working at the Academie Julien. During the ’50s his involvement with specific imagery persisted but became more psychological and mythic in orientation. Influenced by Cubism, he created a vocabulary of interlocking shapes and bold, sweeping gestures that served as a transition between his early figurative expressionism and his later abstract constructivist concerns. Towards the end of the decade Wilson reached a crossroads, moving towards abstraction and searching for what he called “a scaffolding under the externals.” By 1960, influenced by the Russian Constructivists, Mondrian, and Abstract Expressionism, Wilson turned to abstraction. Reexamining the basic elements of painting, he evolved his own personal vocabulary and structure, fusing the cerebral and the emotive. He became increasingly experimental, using house paint, sand, and other unorthodox materials in paintings that he worked from all directions, dripping, spraying, stenciling, and collaging. He employed elements of disjunction, repetitions of geometric motifs, linear networks, and complex overlays to create the transparent, multi-layer development of space that characterizes his later paintings. A consummate draftsman, Wilson filled notebook after notebook with drawings that he amplified in his paintings. Eschewing popular movements, Wilson was always one to pursue a personal aesthetic. Despite more than 30 one-man shows and 50 years of teaching, he increasingly withdrew from the gallery scene but continued to paint daily until his death at age 88 in 2001 in Blairstown, New Jersey, where he and his sculptor wife Evelyn Wilson...

"California Summer" Mid Century Plein Aire Landscape in Oil on Masonite Serene landscape by Andrew Bennett (British, 20th Century). A herd of cows are gathered under oak trees in th...

Large Geometric Abstract Oil Painting on Masonite No visible signature 36 x 48 unframed, 37.5 x 49.5 framed

His first name sounds like a concerto. Vivacious, its name is reminiscent of an aperitif or a cyclist. The addition of the two evokes the Italianate. Indomitable and unavoidable. Mor...

Harald Grote. Afternoon at Fairmount Park Oil on masonite, panel, 12 x 16 inches. Signed and dated lower right.

Frank Chabry (1916-1979) was a 20th-century artist whose career spanned several transformative decades in the art world. His work likely reflects the arti...

A Charming 1950s Modernist Portrait, "Girl in Red Scarf", by Noted Chicago Artist Francis Chapin (Am. 1899-1965). A colorful, intimate and gem-like work, the painting is accompanied...

Signed lower right, 'Podryski' for Misha Podryski, also spelled Podrisky, (Russian-American, 1903-1989), titled, 'Paris' and dated 1934. Displayed in a substantial, silver-gilt, swept frame. Framed dimensions: 31.75 H x 2 D x 38.75 W inches A substantial oil landscape showing a view of a barge moored to the bank of the Seine with a view beyond to an arched, stone bridge beneath a luminous evening sky. Born in Estonia, this Russian-American painter first attended Moscow University before moving to France where he continued his education at the American Conservatory in Paris, the School of Fine Arts at Fontainebleau and, later, in Italy. This educational path explains the polished salon portrait manner seen in his Paris canvases from the period and in his later New York portrait...

Conversation on the San Francisco Pier, Oil on Canvas, Signed, 1928 Early 20th Century oil painting of men having a conversation on the San Francisco, California pier with boats in ...

Dramatic seascape by Vasil (Victor) Papkov (20th Century). A highly saturated purple, blue and yellow sky hangs above the composition. In the distance, rain can be seen above the coastline, which has a few dots of light from buildings. In the foreground, turbulent waves crash toward the viewer. Signed in the lower right corner. No frame. Board size: 12"H x 16"W Vasil Papkov...

French Still Life With Flowers Bouquet Oil on masonite, signed, original vintage frame. Edith Faucon was born on May 24 in 1919 in Carentan France. She owes her artistic training f...

In this abstract landscape, artist Geneva Cross conveys the mood of a dreamlike summer evening that might be remembered by any of us in its universality. Blending the basic elements ...

A captivating, 1940s Modern painting of a seated nude on a garden bench by famed Chicago artist, Francis Chapin (Am. 1899-1965). A sensitive, skilled portrait of a young female mode...

'Venice, Santa Maria della Salute from the Cannaregio Canal' by Peter Götz Pallmann. Large Venetian Oil ----- Signed lower right, 'P. G. Pallmann'...

Signed and datedPurdy 03 lower left 14 x 22 inches Framed : 22 x 26 Beach scenes by Purdy were his most coveted works from the 1980's onward. There is an incredible amount of color...

Fredric Karoly (1898-1987). Etude III, 1950. Oil on masonite panel measures 18 x 24 inches. Unframed. Signed, titled, dated on reverse. Good condition with minor paint loss at edges. Biography: An abstract painter, Karoly was born in Hungary and studied painting in Paris, architectural eingineering in Berlin, and emigrated to the U.S. in 1926. He began a successful career as a fashion and fabric designer. In 1948 he was working as a fashion director for Simplicity Patters, when he had a solo exhibition of of his oil paintings, wire montages, dry-pen drawings and abstract photography. Solo Exhibitions: Hugo Gallery (Alexandre Iolas) New York 1948; Gallery Mai. Paris 1949; New Gallery (Eugene Thaw) New York 1950; Museu de Arte, Sao Paulo, Brazil 1951; Miami Museum of Modern Art, Miami, Florida 1959; Loft Gallery, New York City, 1966.Group Exhibitions: Hugo Gallery, New York 1947; Salon des Realities Nouvelles, Paris 1949-1953; Whitney Museum of American Art, New York (Annual) 1951-1953, 1963; Biennale of Sao Paulo, Brazil, 1951; International Independent Exhibition, Tokyo, 1951; Martha Jackson Gallery, New York, 1959; The Butler Institute of Art, Youngstown, Ohio, 1960; Stuttman Gallery, New York, 1960; The Art Institute of Chicago (Annual), 1960; International Watercolor Exhibition, Brookyln Museum, 1961; Westchester Art Museum, White Plains, NY, 1963; Whitney Museum, Annual, NY 1963; Cleveland Art Festival, Park Synagogue, Cleveland, 1963; Whitney Museum, Sculpture Annual, NY, 1964.Works in Institutional Collections: Museu de Arte, San Paulo, Brazil; Museu de Bellas Artes, Buenos Aires, Argentina; New York University, New York; Washington University, St. Louis, Missouri; Finch College, NY; Barnard College, NY; Metropolitan Museum, Whitney Museum and Guggenheim Museum, New York; Museum of Fine Arts, St. Petersburg, FL. Awards: National Council Arts Awards, 1968. Frederic Karoly died on December 15, 1987 at the Inter-Continental Hotel in Manhattan, where he had made his home for many years. Fredric Karoly was born in Budapest in 1893. According to Karoly’s own vitae, his exhibition history began in New York in 1947, when at the age of 54 he took part in a four-person group show at Hugo Gallery. His involvement with visual art however was apparently life long. In a brief introduction to his solo show at Galerie Mai in Paris in June of 1949, Jen Luc de Rudder, reports that Karoly began painting at the age of 12 in Budapest. After several years of studying, then working in London, Paris and Berlin, Karoly emigrated to the United States in 1925 or 1926 (he probably first came to the US on a work visa in 1925). In New York, Karoly worked in women’s fashion as a designer. In 1948 Karoly worked in a manner than was clearly influenced by the work of such European surrealists as Max Ernst, creating spiked automatic bi-chromatic paintings. His style progressed into a progressively more biomorphic vein, similar to explorations by Theodore Stamos, Daphnis, Milton Avery and Mark Rothko around the same period. He was supported with patronage during this period by Mrs. Mimi Baliff, who apparently supported the “Industrial Design Workshop” that she helped open to feature Karoly’s designs in 1948. By the early 1950’s (1951) Karoly started experimenting with the drip and splatter process as well. Drip paintings dominated his process until the late 50’s-early 60’s, when linear compositional elements began to reemerge. By the late 50’s multi-layered drip grid motifs asserted a masque of spatial organization over looser washed fields and splatters of paint that Karoly worked off of. This development was consistent with concurrent explorations into the grid by artist Agnes Martin and others. By the mid-50’s Karoly’s style began another transition into a more surface concerned “Color Field” style of painting. There are elements still reminding one of Abstract Expressionist concerns as such painters as Clifford Still. But the works that began to emerge from Karoly’s studio in 1958 presaged the Morris Lewis fan motifs and Friedl Dzubas’s epic and romantic color spewing expanses of canvas. In 1959 Karoly began experiments using washes of turpentine diluted oil paint directly onto raw linen, and all of these subsequently suffered the consequences of oil oxidation and acidity upon the surfaces. However, many of Karoly’s washes in color field happily occurred on lightly prepared primed canvas surfaces as well. By 1960 Karoly began reintroducing imagistic references to his visual content. There were also various references to Japanese and Zen influences. He experimented with a variety of processes that included mixed media and marbleized surfaces achieved by the intermixture of oil and water mediums. A calligraphic element also enter Karoly’s work in the early 60’s. Then in 1961 glued and assembled objects begin to show up in Karoly’s work in earnest. The influence of early POP artists, particularly Jasper Johns, and Robert Rauschenberg, become apparent. From 1961-63, a series of the assemblage works transition from canvas to the sculptural to pieces obviously intended for full scale installation. Many of these pieces were among the most fragile of his works primarily due to their reliance upon the of gluing of objects such as plastic or paper cups on flexible surfaces of stretched linen or canvas. In the mid-60’s Karoly apparently produced a number of photo-silk screened series of Picasso, De Kooning and other significant artists of his generation. These were executed in a style somewhere between Rauschenberg’s and Roy Lichtenstein’s, primarily because of their reliance upon half tones and Ben-Day dot effects. Then Karoly began a series of paintings conflating his drip and grid styles with super imposed and painted over string. In the late 60’s Karoly embarked upon a series of multi-paneled stretched linen constructions often with slits and fiber optic back-lit elements that were prescient of the work of Dan Flavin and others. It was this body of work that was shown at Hofstra University’s Emily Lowe Gallery, and it was these works that suffered perhaps the most irreparable damage from a steam/water infiltration in a space where they were being stored. The late professional start that Karoly had into the art world was balanced by his long life span and early immersion into the design issues of modernism as it emerged in turn of the century Europe and later evolved in America. He was clearly an artist who subscribed to the ethos of the new in abstraction and was obviously impressionable and in some instances prescient with regard to various trends in abstraction. Several noteworthy and influential collectors and institutions during his 40 years of professional engagement acquired his work. The Whitney Museum of American Art had and may still own a large Karoly canvas from 1960, but this is doubtful as the artist failed to list it on the vitae he filed with MoMA in 1965. His work was recognized and honored by the Whitney with its inclusion in four of their annual survey shows (1951,1953, 1963 and 1964). The artist’s surrealist influenced paintings from 1948-1950 were the focus of a solo exhibition held of his work by the Museo de Art in Sao Paulo and eight years later a ten year survey of his work was the focus of a solo show at the Miami Museum of Modern art. The Sao Paulo Museum in Brazil, and the Museo de Bellas Artes in Buenos Aires, Argentina each acquired Karoly paintings for their collections in the 1950’s. One of Karoly’s surrealist pieces was apparently purchased by Christian Zervos, Picasso’s designated chronicler, who apparently also wrote a piece on Karoly in Cahiers D’Art in 1949. A 60’s piece of Karoly art that is in the New York University’s permanent collection is included in the MoMA Library’s catalog...

A Charming, Colorful 1950s Mid-Century Modern Harbor Scene of Martha's Vineyard by Notable Chicago Artist, Francis Chapin (Am. 1899-1965). Painted near the artist's longtime studio ...

A Vibrant, Colorful 1950s Mid-Century Modern Painting of Martha's Vineyard by Famed Chicago Artist, Francis Chapin (Am. 1899-1965). Titled "Tree in Tisbury", the painting depicts a ...

Highly textured landscape, with thick impasto illustrating a glorious scene of figures swimming in calm waters near large rocks and swaying trees, by Tyler Micoleau (American, 1911-2001). Signed and dated "Tyler Micoleau 1968" in the lower left corner. Presented in a gold colored wood frame. Image size: 12"H x 16"W Tyler Micoleau (American, 1911-2001) was born in Rhode Island but spent most of his life in Nevada County, California. He was a graduate of the Rhode Island School of Design and an instructor at Brown University. Micoleau moved to Nevada City...

Signed, u.r. Oil on canvas mounted to Masonite 80 x 32 inches

Edwin Kosarek (b.1929). Reclining Nude, 1952. Oil on wood panel, 17 x 48 inches. Signed and dated on verso. Edwin Kosarek Born: 1929 Studied: The Cit...

Mid Century Floral Bouquet and Splendor Still Life Beautiful still life of orange and white flowers next to a bowl of fruit by Los Angeles and Carmel artist Helen Enoch Gleiforst (A...

Mid-century self-portrait by California artist Myrtle Cureton (American, 1909-2000). Signed "Myrtle Cureton" lower left. Artist's Santa Cruz Art League ...

"Wally's Pond" Rural Landscape in Oil on Masonite Idyllic rural landscape by Richard M. Bacon (American, 20th Century). A small pond is reflecting the nearby surroundings - birch tr...

Ultra Realist Library Still-Life Books and Candles "Little Devil in the Details" Highly detailed library interior scene and still-life titled "Little Devil in the Detail" by Ken DeWaard (American, 20th-century). This intriguing artists performance in excellence piece, features realistically rendered books, paintings within paintings, candle light, and a devil or gargoyle sculpture. The artist creates a strong mood as well as interesting subject matter in this unique scene. Signed "Dewaard '99" upper right. Displayed in a wood frame. Image size, 13"H x 14"L. Frame: 20"H x 21"W x 2"D After receiving his Bachelor of Arts with honors, Ken began working in a commercial art studio in Chicago. He continued his studies at the American Academy of Art, where he studied with nationally recognized watercolorist, Irving Shapiro. Upon Irving's recommendation Ken joined the acclaimed Palette and Chisel Academy of Fine Art in Chicago, where he soon began studying with Scott Burdick as well as Dan Gerhartz...

Arresting and evocative oil abstract titled "Female Priests" by Les (Leslie Luverne) Anderson (American, 1928-2009). Unframed. Signed "Les Anderson" on...

Red Geraniums and Yellow Curtain Original Paul Schmitt California Impressionist Geraniums in an interior setting with a yellow curtain or drape behind by Paul A. Schmitt (American, 18983-1983). Oakland, California artist. Size 23.5"H x 16.5"W Signed lower left "Paul A. Schmitt" Exhibition label on verso, "Alameda Art Association, Paul A. Schmitt Oil Still Life No 10" Painter, watercolorist, illustrator and teacher, Paul Schmitt was born in Philadelphia, in 1893 and moved to San Francisco in 1898 where he lived until the 1906 earthquake took his family home. He then moved to the Fruitvale district of Oakland. He died of natural causes at the age of 90 in San Leandro, California. Paul Schmitt studied under Perham Wilhelm Nahl, at the California College of Arts and Crafts. He also learned various crafts, woodworking and carving skills from his father, Herman Schmitt, a German wood carver working in San Francisco. Herman's works are still found in various San Francisco public buildings including the city hall chambers and the garden court of the Palace Hotel. Schmitt joined twelve other local San Francisco artists to form the group called "The Thirteen Watercolorists", a group that eventually evolved into the Society of Western Artists. Their early members included Alfred Owles, Will Cameron, Maurice Logan, Maynard Dixon and many others. Paul worked with engineers and architects doing models of many projects. He was versatile in that he also did illustrations for various publications and advertisers. He fathered thirteen children. In the late 1930's he decided to accept a teaching position in the local adult schools where he retired in his eighties. Paul was very fond of the Sierra Nevada Mountains and yearly took his large family there on camping /sketching trips. He did a series of oils of the California missions. He also traveled extensively on sketching trips including Mexico where he did a series of Mexican churches...

An Introspective, 1950s Mid-Century Modern Portrait "Head of a Young Girl" by Noted Chicago Artist, Francis Chapin (Am. 1899-1965). Artwork size: 15 x 12 1/2 inches (Framed size: ...

Serene depiction of boats on the shore by Hildegarde Hamilton (American, 1989-1970). This beautiful mid-century coastal landscape shows a small, bright blue bay surrounded by palm trees, mountains, and colorful wildflowers. Signed in the lower right corner. Presented in a rustic frame. Board size: 19.75"H x 24"W Hildegarde Hume Hamilton (American, 1989-1970) was born in Syracuse, New York, in 1898. After her education there, and brief training at the age of six in art schools in Venice, Italy, while on a European sojourn with her father, she studied fine art at the Académie Julian, the École des Beaux-Arts and the Académie Grande Chaumière in Paris, France, during the 1920s and 1930s. After returning to the United States, Mrs. Hamilton studied at the Art Students League, New York, New York, and the Cincinnati Art Academy, Cincinnati, Ohio. Hamilton exhibited her topographical street-scenes and landscapes widely throughout the United States with shows at the Syracuse, New York, Museum of Fine Art; the University of Kentucky; the University of Georgia, and most importantly, New York City’s Society of Independent Artists from 1929 to 1933, 1938, 1939, 1943 and 1944. Hamilton’s paintings are included in the collections of Wesleyan College, Virginia Military Institute...

This is an important, large tempera painting of the sand dunes that line Michigan's coast. Zolton Sepeshy, who lived and painted in Michigan, also wrote a book on tempera painting. ...

Gorgeous vibrant still life of roses, sweet peas, and calla lilies by Helen Mae Enoch Gleiforst (American, 1903-1997). Signed "Gleiforst" lower left. Displayed in a giltwood frame. I...

Abstracted landscape by California artist Devon Brockopp-Hammer (American, b. 1986). The red and yellow underpaint has been allowed to peek through the ...

[Bruce Sargeant (1898-1938)] Frieze with One Runner Flanked by Two Bicyclists n.d. Signed in red, u.r. Oil on canvas mounted to Masonite 35.5 x 69 inches (90.2 x 175.3 cm) $8,250...

Jean Krillé’s paintings are known for their expressive use of color and dynamic, abstract forms, blending realism with abstraction in his depictions of nature. His landscapes often f...

Kimono with Rope Texture - Collagraph Master Plate Master plate for collagraph printmaking featuring a kimono with rope texture in warm neutral peach tones, by California artist Pat...

'Young Man in a Yellow Brocade Waistcoat' by David Monies, 1849. Paris, Munich, Danish Royal Academy ----- Monogrammed lower right, 'DM' for David Monies (Danish, 1812-1894) and dat...

Nocturnal seascape by Vasil (Victor) Papkov (20th Century). A dark storm hangs over the ocean, with mixed hues of black, blue, purple and red. At the ho...

Serene winter landscape of snow and bare trees in cool tones by California artist Virginia Sevier Rogers (American, 1917-2015). Signed and dated lower right "VR 2/50." Displayed in a...

Colorful abstract expressionist piece by Les (Leslie Luverne) Anderson (American, 1928-2009) that lends itself to either vertical or horizontal orientat...

Mid Century Modern, American Abstract Expressionist Painting on artist board. This lively action painting has wonderful interjections of color within the predominantly black and whi...

Acrylic on masonite. This is a pivotal work in deep and radiant cobalt blue from 1950. It dipicts calligraphic and hieroglyph structures over a grid and pyramidal base by the first generation abstract expressionist. Provenance: Skinner: November 13, 1992 [Lot 00219}, The entry in the Skinner catalog indicates that the painting came directly from the artist to the family of the consignor to Skinner. Kaminsky Auctions. There is an unbroken paper trail that traces the ownership of the painting from the current owner, through two auction houses to the artist. Perfect unbroken provenance. Pousette-Dart was among the most inventive of the Abstract Expressionist generation, His uncanny talent was to expand the nature of abstraction and still make each mark each element very much his own; a reflection of what he called   "the concealed power of the spirit," he said, “not of the brute physical form."   His was not aiming for a singular, realized aesthetic formula but to expand the possibilities of painting; the transcendental in painting. Typical of such invention and exploration is this  painting  Untitled 1950 when the artist was only 34 years old and represented by one of the champions of the new American painting, Betty Parsons.  
A banner year for Pousette-Dart, the Museum of Modern Art acquired their first painting by the Minnesota born artist.  He worked on easel size works such as this painting an oil on masonite. At the same time Pousette-Dart was also working on larger scale works such as Path of the Hero, running over ten feet in length now in the collection of the Metropolitan Museum of Art.  Both contain fields of color articulated by a highly sophisticated white hieroglyphic vocabulary. Rather than demonstrate an expressionist sensibility, Pousette-Dart harnesses his more cerebral ideas transforming thick areas of paint into a more refined composition of geometric forms akin to the pattern and forms of say a stained glass window. In a way he is looking back at Fugue, 1940 a black and white composition which makes use of a similar format of painting albeit smaller. Color and form are minimal, but what Pousette-Dart has maximized is the rhythmic and syncopated character of painting casting his ideas into purely symbolic terms that one might link to the pictograms of Adolph Gottlieb. Nonetheless, nature is always at the core of Pousette-Dart’s thinking and dreaming. Here he has transformed the local Ramapo Mountains—where he will eventually move with his family to live and work— into a complex series of articulated fragments linked by style, scale and color.  The painting’s imagery built on two large triangles and reduced to just two colors, cobalt blue and white all outlined in black.  Pousette-Dart symbols stacked in horizontal and vertical rows:  blue is ground, white is language, symbolic of light, consciousness and awareness . The painting maintains a mystical character images compounded that formulate a secret code and linked to the series of white paintings Pousette-Dart authored in the first half of the 1950s. Get up close to the picture and you discover images within images a kind of picture puzzle...

A strong modernist oil painting depicted in 1962 by Russian painter Michael Baxte. Mostly known for his abstracted figures on canvas or street scenes, this piece is a wonderful repre...

Haitian Artist Alberoi Bazile "Fruit" Still Life Painting in Hand Carved Frame C.1970 Original painting on masonite Masonite dimensions 24" wide x 20" high Hand carved frame dimen...

Mid Century Modern, American Abstract Expressionist Painting on Masonite. This wonderful work in exciting colors is housed in a contemporary white wood frame presentation.. The art...

A Large, Dynamic Mid-Century Modern Painting of a Horse Race by noted Chicago Artist, Rudolph Pen. Artwork size: 24" x 36"; oil on Masonite. Framed size: 25" x 37". Signed "Pen" ...

This wonderful painting depicts a rich floral arrangement in a round, transparent glass vase. The flowers are depicted in a variety of colours, including different shades of red, pin...