20th Century Paintings

Hayley Lever was an Australian born artist who lived much of his life, as well as died, in Mt.Vernon, New York. His work as a painter, etcher, lecturer and art teacher strongly embra...

Ronnie Landfield (1947- American) "Untitled" 1982 Acrylic on Paper Dimensions: Sheet 30" X 42" Frame 32 X 44 Hand signed and dated lower right Provenance: Denman Associates, Seattle gallery Ronnie Landfield (American, 1947-) is an abstract painter. During his early career from the mid-1960s through the 1970s his paintings were associated with Lyrical Abstraction (related to Postminimalism, Color Field painting, and Abstract expressionism), and he was represented by the David Whitney Gallery and the André Emmerich Gallery. Landfield is best known for his abstract landscape paintings, and has held more than seventy solo exhibitions and more than two hundred group exhibitions. Born and raised in Pelham Parkway in the Bronx, Landfield first exhibited his paintings in Manhattan in 1962. He continued his study of painting by visiting major museum and gallery exhibitions in New York during the early sixties and by taking painting and drawing classes at the Art Students League of New York and in Woodstock, New York. He graduated from the High School of Art and Design in June 1963. He briefly attending the Kansas City Art Institute before returning to New York in November 1963. At sixteen Landfield rented his first loft at 6 Bleecker Street near The Bowery (sublet with a friend from the figurative painter Leland Bell), during a period when his abstract expressionist oil paintings took on hard-edged and large painterly shapes. In February 1964, Landfield traveled to Los Angeles; and in March he began living in Berkeley where he began painting Hard-edge abstractions primarily painted with acrylic. He briefly attended the University of California, Berkeley and the San Francisco Art Institute before returning to New York in July 1965. From 1964 to 1966 he experimented with minimal art, sculpture, hard-edge geometric painting, found objects, and finally began a series of 15 - 9' x 6' mystical "border paintings". After a serious setback in February 1966 when his loft at 496 Broadway burned down, he returned to painting in April 1966 by sharing a loft with his friend Dan Christensen at 4 Great Jones Street. The Border Painting series was completed in July 1966, and soon after architect Philip Johnson acquired Tan Painting for the permanent collection of The Sheldon Memorial Art Gallery in Lincoln, Nebraska. In late 1966 through 1968 he began exhibiting his paintings and works on paper in leading galleries and museums. Landfield moved into his loft at 94 Bowery in July 1967; there, he continued to experiment with rollers, staining, hard-edge borders, and painted unstretched canvases on the floor for the first time. Briefly in 1967-1968 he worked part-time for Dick Higgins and the Something Else Press. Landfield was part of a large circle of young artists who had come to Manhattan during the 1960s. Peter Young, Dan Christensen, Peter Reginato, Eva Hesse, Carlos Villa, William Pettet, David R. Prentice, Kenneth Showell, David Novros, Joan Jonas, Michael Steiner, Frosty Myers, Tex Wray, Larry Zox, Larry Poons, Robert Povlich, Neil Williams, Carl Gliko, Billy Hoffman, Lee Lozano, Pat Lipsky, John Griefen, Brice Marden, James Monte, John Chamberlain, Donald Judd, Frank Stella, Carl Andre, Dan Graham, Robert Smithson, Robert Rauschenberg, Andy Warhol, Kenneth Noland, Clement Greenberg, Bob Neuwirth, Joseph Kosuth, Mark di Suvero, Brigid Berlin, Lawrence Weiner, Rosemarie Castoro, Marjorie Strider, Dorothea Rockburne, Leo Valledor, Peter Forakis...

James Robinson (1944-2015) Austin, Dallas, Houston Artist Image Size: 24 x 36 Frame Size: 32 x 44 Medium: Acrylic on Canvas "Last Light" Biography James Robinson (1944-2015) Biograph...

Alexander John Drysdale (1870-1934) New Orleans Louisiana / New York Artist Size: 20 x 30 Frame: 26 x 36 Medium: Oil Wash? Watercolor? Dated: 1917 "Misty Bayou" Housed in the original magnificent frame. Alexander John Drysdale (1870-1934) New Orleans Louisiana / New York Artist Alexander John (A.J.) Drysdale was an early 20th century Louisiana artist who specialized in landscapes using the technique of oil wash, that gave his works a characteristic of a hazy look. Drysdale made use of this technique by diluting the oil paint with kerosene and applying it with cotton balls. Alexander John Drysdale, born in Marietta, Georgia on March 2, 1870, came to New Orleans at the age of fifteen with his parents. His father, Reverend Alexander J. Drysdale, became the rector of Christ Church Cathedral. Alex received private tutoring from a Professor Mehado and art lessons from Ida Hackell at the Southern Art Union. Later in New Orleans (1887) he studied art under Paul Poincy (1833-1909). The exact date of Drysdale's arrival in New York is unknown, but he enrolled in the Art Students League where he received instruction from Charles C. Curran and Frank Vincent DuMond. Apparently, he remained in New York for about five years and did not go to Europe for further study. After some time, Drysdale began specializing in landscapes, executed in a tonalist manner. Back in New Orleans, Drysdale was inspired by local subjects, especially swamp or bayou areas and other desolate wetlands. Over a period of many years Drysdale's landscapes evolved to a unique stylistic maturity. In 1909 he received a gold medal from the New Orleans Art Association. It is easy to see the influence of two artists that he admired: Corot and Inness. Working equally well in oil and watercolor (he also did scenes in charcoal), Drysdale usually divided his scene into halves or thirds, typically, a foreground consisting of tall swamp grasses achieved with broad vertical strokes; a middle ground consisting of a backdrop row of trees at the horizon line executed with staccato, jabbing strokes resulting in textural contrast; and a background devoted totally to a tonalist-like moisture-laden sky often hazy with no clouds or only a slight indication of them. This formulaic compositional format rendered with an economy of technique resulted in imagery with repetitious forms and shapes diffused in a nebulous space. In this regard, Drysdale's works are impressionistic; he also tended to use the violets and blues of the impressionist palette. Yet he lacked a specific interest in color and light. Although his expression of the Louisiana scenery is very personal, even mystical, the artist appears to have been very limited in subject matter. One of his last works was a mural for the Shushan (New York) Airport administration building, and shortly before his death he was employed as an artist by the Civil Works Administration. Drysdale was a member of the Arts and Crafts Club of New Orleans, and his work was in the permanent collection of the Delgado Museum for many years. The artist worked at his studio at 320 Exchange Place in the picturesque Vieux Carré until his death at the age of sixty-three. Stewart (in Painting in the South, 1983), describes how Drysdale was a shrewd businessman. He would solicit new homeowners who might need a canvas to decorate a wall, or a cotton broker who recently made the headlines. Drysdale died in New Orleans, on February 9, 1934. Sources: Louisiana Artists from the Collection of Dr. and Mrs. James W. Nelson. Baton Rouge, LA: Louisiana State University, 1968; Wiesendanger, Martin and Margaret Wiesendanger, Nineteenth Century Louisiana Painters and Paintings from the Collection of W. E. Groves. New Orleans: W. E. Groves Gallery, 1971, pp. 44-45; Painting in the South: 1584-1980, Exh. cat. Richmond, VA: Virginia Museum, 1983, pp. 106-107, 114, 276; Chambers, Bruce W., Art and Artists of the South: The Robert P. Coggins Collection of American Paintings. Exh. cat. Rochester, NY: Memorial Art Gallery of the University of Rochester, 1984, p. 88; Zellman, Michael David, 300 Years of American Art. Seacacus, NJ: Wellfleet Press, 1987, p. 634; Gerdts, William H., Art across America: Two Centuries of Regional Painting, 1710-1920. New York: Abbeville Press, 1990, vol. 2, pp. 110-111. Submitted by Richard H. Love and Michael Preston Worley, Ph.D. Biography from The Johnson Collection ALEXANDER JOHN DRYSDALE (1870–1934) Born in Marietta, Georgia, Alexander John Drysdale was the only son of an ordained Episcopal priest whose ministry required frequent moves to parishes in Georgia, Alabama, and Tennessee. In 1883, he accepted the call to become dean of Christ Church Cathedral, New Orleans, and was later elected a bishop. Alexander, thirteen years old when the family settled in New Orleans, began his art studies under the instruction of Ida C. Haskell, a California-born artist who was on the faculty of the recently established Southern Art Union. The local academy had been founded by several leading artists, including Andres Molinary, William Henry Buck...

Porfirio Salinas (1910-1973) San Antonio Artist Image Size: 30 x 40 Frame Size: 39 x 49 Medium: Oil on Canvas Dated 1957 "Bluebonnet Creek" Texas Hill Country Biography Porfirio Salinas (1910-1973) Porfirio Salinas was a self-taught artist who painted landscapes of Central Texas with an emphasis on the vast bluebonnet fields that grow there in the springtime. Born in 1910 in Bastrop, Texas, he attended public schools in San Antonio. He also observed works in progress by the director of the San Antonio Art School, Jose Arpa, as well as landscape painter, Robert Wood. Wood is said to have paid Salinas five dollars a picture to paint bluebonnets because "he hated to paint bluebonnets". Salinas served in the military from 1943 to 1945. Although he was assigned to Fort Sam Houston, he was allowed to live at home. At the fort, Colonel Telesphor Gottchalk assigned him to paint murals for the officer's lounge and various other projects, and Salinas continued to be able to paint during his entire conscripted period. Even before he achieved notoriety among galleries, dealers, and museums, Salinas was widely followed and appreciated by many Texans, including former President Lyndon B. Johnson, who may be considered responsible for launching Salinas popularity beyond the boundaries of Texas. In 1973, Texas capital, Austin, honored Salinas for having "done much to bring the culture of Mexico and Texas closer together with his paintings". Salinas died in April 1973 in San Antonio, Texas. From the years of the Great Depression through President Lyndon Johnson's Great Society of the 1960s, Texan Porfirio Salinas (1910-1973) remained one of the Lone Star State's most popular artists. Today, his works remain popular with Texas collectors and those who love landscapes of the beautiful "Hill Country" that lies in the center of the state. One of the first Mexican American painters to become widely recognized for his art, Salinas was a favorite of President Lyndon Johnson and his wife, Lady Bird Johnson, as well as of Sam Rayburn, the longest-serving Speaker of the House of Representatives, and Texas Governor John Connelly. In fact, President Johnson was so enamored with his Salinas paintings that the artist will forever be associated with America's first Texas-born President. Works by Porfirio Salinas are in a number of museum collections, grace the halls of the Texas State Capitol and the Governor's Mansion in Austin, and are included in virtually every major private collection of Early Texas Art. Porfirio Salinas was born on November 6, 1910, near the small town of Bastrop, Texas, about thirty miles from Austin. His father, Porfirio G. Salinas (1881-1967), and his mother, Clara G. Chavez, struggled to make a hardscrabble living as tenant farmers, but eventually were forced to give up farming. The family moved to San Antonio, where Salinas' father was able to get a job working as a laborer for the railroad, but the scenic area around Bastrop, with its pine trees and the wide expanse of the Rio Grande River, would forever remain a touchstone for the artist. For the rest of his life, Salinas and his brothers went back frequently to visit their grandmother in her little farmhouse. When in Bastrop, Porfirio painted on the banks of the Rio Grande or in the groves of pine trees. The Salinas family was close-knit and Porfirio was the middle child of five children, so he had an older brother and sister as well as a younger brother and sister. His mother was a native of Mexico, so throughout his childhood the family made the long drive to Mexico to visit Clara Salinas' family. As a child growing up in the bi-lingual section of San Antonio, Salinas drew and painted incessantly and by the time he was ten, he was already producing work that was mature enough to sell to his schoolteachers. Many years later in an article in the New York Times he was described as a "boy whose textbooks were seldom opened and whose sketchbook was never closed." Instead of studying, the young artist spent his spare time watching artists paint in and around San Antonio. As an aspiring painter, Salinas was fortunate to grow up in the historic city, which had the most active art scene in Texas. It was his exposure to older, professional painters that encouraged the precocious young painter to leave school early in order to help his family and pursue a career as a professional artist, despite his father's inability to see art as a career with any future for his son. When Salinas was about fifteen he came to know the artist Robert W. Wood (1889-1979). He met Wood while he was employed in an art supply store and he soon began to work as an assistant to the English-born painter, who had moved from Portland to San Antonio in 1924. Although the diminutive Englishman was already an established professional artist, he did not have a great deal of formal art training and so he was then studying with the academically trained Spanish painter Jose Arpa (1858-1952) in order to augment his knowledge and give his work a more polished look. Salinas was an eager young man, and while working in Wood's downtown San Antonio studio he learned to stretch canvases, frame paintings and to sketch in larger compositions from small plein-air studies for the English artist. He began to accompany Wood and Arpa to the hills outside San Antonio, where they painted small Plein-air studies of fields of blue lupin - the state flower, the famous "Bluebonnets" of Texas - in the springtime and scenes of the gnarled Red Oaks as they changed color in the fall. He was soon assisting Wood in the tedious work of painting the tiny blue flowers that collectors wanted to see in the landscapes they purchased of central Texas. According to a 1972 newspaper story, "Legend has it that one day in the 1920s artist Robert Wood decided he could not bear to paint another bluebonnet in one of his landscapes. He hired young Porfirio Salinas to paint them in for him at five dollars a painting." Whether this story is accurate or apocryphal isn't clear, but the ambitious and independent young Salinas wasn't destined to be anyone's assistant for very long. The formative event of Porfirio Salinas' teenage years was the Texas Wildflower Competitive Exhibitions, a Roaring-Twenties dream of the eccentric oilman Edgar B. Davis (1873-1951). These competitive shows of paintings of wildflowers and Texas life were mounted in San Antonio from 1927 to 1929. Held at the newly opened Witte Museum each spring, the exhibition featured large cash prizes donated by the philanthropic Davis, which were an inducement for artists to travel from all over the United States to paint in the Hill Country of Texas. The "Davis Competitions," as they were known, helped to cement San Antonio's reputation as an art center, a legacy that remains with the "River City" today. The shows generated a great deal of excitement in the area, helping to make celebrities of the some of the artists who had already settled there and encouraging others to make San Antonio their home. Over the three years that the wildflower competitions were held, more than 300 paintings were exhibited, and many thousands of viewers saw the paintings at the Witte Museum and on tours throughout the state and in New York. Each year Davis would generously purchase the winning paintings and then donate them to the San Antonio Art League. Young Porfirio Salinas would have been able to not only watch his two mentors - Robert W. Wood and Jose Arpa - paint the works that they entered in the Davis Competitions, he would have been able to see Arpa take several of the major prizes, receiving the judge's accolades for "Verbena," "Cactus Flower" and "Picking Cotton," works that are still on view at the San Antonio Art League Museum today. Unfortunately, Davis eventually put his donations to work in other charitable endeavors, bringing to an end the wildflower events, but only after they inspired Salinas and other young painters and had helped to make wildflower paintings the most sought-after subject for traditionalist Texas collectors. In 1930, when he was only twenty, Salinas hung out a shingle and began to paint professionally, augmenting the sales of his easel paintings with what little business he could garner by painting signs for local concerns. It was a struggle for the young artist to make a living, as the effects of the Great Depression were settling in. His early works are very similar to those of Robert Wood's, both in subject matter and treatment. Salinas did small paintings of Bluebonnets for the tourists who visited San Antonio to see the famous Alamo as well as paintings of the Texas missions...

Porfirio Salinas (1910-1973) San Antonio Artist Image Size: 25 x 30 Frame Size: 34 x 39 Medium: Oil on Canvas Circa 1950 "Lazy Day Blues" Texas Bluebonnet Biography Porfirio Salinas (1910-1973) Porfirio Salinas was a self-taught artist who painted landscapes of Central Texas with an emphasis on the vast bluebonnet fields that grow there in the springtime. Born in 1910 in Bastrop, Texas, he attended public schools in San Antonio. He also observed works in progress by the director of the San Antonio Art School, Jose Arpa, as well as landscape painter, Robert Wood. Wood is said to have paid Salinas five dollars a picture to paint bluebonnets because "he hated to paint bluebonnets". Salinas served in the military from 1943 to 1945. Although he was assigned to Fort Sam Houston, he was allowed to live at home. At the fort, Colonel Telesphor Gottchalk assigned him to paint murals for the officer's lounge and various other projects, and Salinas continued to be able to paint during his entire conscripted period. Even before he achieved notoriety among galleries, dealers, and museums, Salinas was widely followed and appreciated by many Texans, including former President Lyndon B. Johnson, who may be considered responsible for launching Salinas popularity beyond the boundaries of Texas. In 1973, Texas capital, Austin, honored Salinas for having "done much to bring the culture of Mexico and Texas closer together with his paintings". Salinas died in April 1973 in San Antonio, Texas. From the years of the Great Depression through President Lyndon Johnson's Great Society of the 1960s, Texan Porfirio Salinas (1910-1973) remained one of the Lone Star State's most popular artists. Today, his works remain popular with Texas collectors and those who love landscapes of the beautiful "Hill Country" that lies in the center of the state. One of the first Mexican American painters to become widely recognized for his art, Salinas was a favorite of President Lyndon Johnson and his wife, Lady Bird Johnson, as well as of Sam Rayburn, the longest-serving Speaker of the House of Representatives, and Texas Governor John Connelly. In fact, President Johnson was so enamored with his Salinas paintings that the artist will forever be associated with America's first Texas-born President. Works by Porfirio Salinas is in a number of museum collections, grace the halls of the Texas State Capitol and the Governor's Mansion in Austin, and are included in virtually every major private collection of Early Texas Art. Porfirio Salinas was born on November 6, 1910, near the small town of Bastrop, Texas, about thirty miles from Austin. His father, Porfirio G. Salinas (1881-1967), and his mother, Clara G. Chavez, struggled to make a hardscrabble living as tenant farmers, but eventually were forced to give up farming. The family moved to San Antonio, where Salinas' father was able to get a job working as a laborer for the railroad, but the scenic area around Bastrop, with its pine trees and the wide expanse of the Rio Grande River, would forever remain a touchstone for the artist. For the rest of his life, Salinas and his brothers went back frequently to visit their grandmother in her little farmhouse. When in Bastrop, Porfirio painted on the banks of the Rio Grande or in the groves of pine trees. The Salinas family was close-knit, and Porfirio was the middle child of five children, so he had an older brother and sister as well as a younger brother and sister. His mother was a native of Mexico, so throughout his childhood the family made the long drive to Mexico to visit Clara Salinas' family. As a child growing up in the bi-lingual section of San Antonio, Salinas drew and painted incessantly and by the time he was ten, he was already producing work that was mature enough to sell to his schoolteachers. Many years later in an article in the New York Times he was described as a "boy whose textbooks were seldom opened and whose sketchbook was never closed." Instead of studying, the young artist spent his spare time watching artists paint in and around San Antonio. As an aspiring painter, Salinas was fortunate to grow up in the historic city, which had the most active art scene in Texas. It was his exposure to older, professional painters that encouraged the precocious young painter to leave school early in order to help his family and pursue a career as a professional artist, despite his father's inability to see art as a career with any future for his son. When Salinas was about fifteen he came to know the artist Robert W. Wood (1889-1979). He met Wood while he was employed in an art supply store and he soon began to work as an assistant to the English-born painter, who had moved from Portland to San Antonio in 1924. Although the diminutive Englishman was already an established professional artist, he did not have a great deal of formal art training and so he was then studying with the academically trained Spanish painter Jose Arpa (1858-1952) in order to augment his knowledge and give his work a more polished look. Salinas was an eager young man, and while working in Wood's downtown San Antonio studio he learned to stretch canvases, frame paintings and to sketch in larger compositions from small plein-air studies for the English artist. He began to accompany Wood and Arpa to the hills outside San Antonio, where they painted small Plein-air studies of fields of blue lupin - the state flower, the famous "Bluebonnets" of Texas - in the springtime and scenes of the gnarled Red Oaks as they changed color in the fall. He was soon assisting Wood in the tedious work of painting the tiny blue flowers that collectors wanted to see in the landscapes they purchased of central Texas. According to a 1972 newspaper story, "Legend has it that one day in the 1920s artist Robert Wood decided he could not bear to paint another bluebonnet in one of his landscapes. He hired young Porfirio Salinas to paint them in for him at five dollars a painting." Whether this story is accurate or apocryphal isn't clear, but the ambitious and independent young Salinas wasn't destined to be anyone's assistant for very long. The formative event of Porfirio Salinas' teenage years was the Texas Wildflower Competitive Exhibitions, a Roaring-Twenties dream of the eccentric oilman Edgar B. Davis (1873-1951). These competitive shows of paintings of wildflowers and Texas life were mounted in San Antonio from 1927 to 1929. Held at the newly opened Witte Museum each spring, the exhibition featured large cash prizes donated by the philanthropic Davis, which were an inducement for artists to travel from all over the United States to paint in the Hill Country of Texas. The "Davis Competitions," as they were known, helped to cement San Antonio's reputation as an art center, a legacy that remains with the "River City" today. The shows generated a great deal of excitement in the area, helping to make celebrities of the some of the artists who had already settled there and encouraging others to make San Antonio their home. Over the three years that the wildflower competitions were held, more than 300 paintings were exhibited, and many thousands of viewers saw the paintings at the Witte Museum and on tours throughout the state and in New York. Each year Davis would generously purchase the winning paintings and then donate them to the San Antonio Art League. Young Porfirio Salinas would have been able to not only watch his two mentors - Robert W. Wood and Jose Arpa - paint the works that they entered in the Davis Competitions, he would have been able to see Arpa take several of the major prizes, receiving the judge's accolades for "Verbena," "Cactus Flower" and "Picking Cotton," works that are still on view at the San Antonio Art League Museum today. Unfortunately, Davis eventually put his donations to work in other charitable endeavors, bringing to an end the wildflower events, but only after they inspired Salinas and other young painters and had helped to make wildflower paintings the most sought-after subject for traditionalist Texas collectors. In 1930, when he was only twenty, Salinas hung out a shingle and began to paint professionally, augmenting the sales of his easel paintings with what little business he could garner by painting signs for local concerns. It was a struggle for the young artist to make a living, as the effects of the Great Depression were settling in. His early works are very similar to those of Robert Wood's, both in subject matter and treatment. Salinas did small paintings of Bluebonnets for the tourists who visited San Antonio to see the famous Alamo as well as paintings of the Texas missions...

Paul Emile PISSARRO (1884-1972) Calvados : River in the forest Original oil on panel Handsigned on bottom On panel 46 x 55 cm (c. 18 x 22 in) In a golden wood frame size 60 x 67 cm ...

G. Harvey (Gerald Harvey Jones) (1933-2017) San Antonio, Austin, and Fredericksburg Artist Image Size: 24 x 36 Frame Size: 32 x 44 Medium: Oil on Canvas Dated 1996 "Powder Snow Morni...

This stunning oil on canvas painting of a highly colorful still-life composition features a fruit bowl with fruits and grapes. It is an extremely lively and vibrant post-cubist exec...

Monumental, important WPA painting by Percy Albee. The painting is oil canvass measuring 36" x 48". Titled verso "New Americana", this WPA painting was exhibited at the Carnegie Inst...

Oil on canvas sold with frame Total size with frame 88x98 cm Carmen Bilbao was born in Bolivia in 1954. Graduated in Fine Arts from the Faculty of Architecture and Fine Arts at the...

This artwork Titled "Les Quais de la Seine with Notre Dame, Paris" c.1970 is an oil painting on canvas by noted French artist Guy Buffet, 1943-2023. It is signed at the lower right c...

Genre: Post Impressionist Subject: Landscape Medium: Oil Surface: Canvas Country: France Dimensions: 13" x 16" Jacques Zucker was born in 1900 in Radom, Poland. He was a notably fa...

Paul Emile PISSARRO (1884-1972) Normandy : Trail near Saint Omer, c. 1940 Original oil on canvas Handsigned on the bottom left corner Signed and titled on the back On canvas 46 x 61...

ARTIST: Guy Bardone (1927-2015) French TITLE: “Still Life” SIGNED: lower left MEDIUM: oil on canvas SIZE: 114cm x 98cm inc frame CONDITION: excellent DETAIL: Guy Bardone was born in...

Dave Pavelonis Untitled (Valley of the Dolls) Acrylic on canvas 60.5 x 50.75

Gorgeous realistic Big Sur in Northern California seascape during sunset by Alexander Dzirgurski (American, 1911-1995), circa 1970. Signed lower right corner, artist stamp on verso....

Russian Abstract Expressionist Village Oil Painting Soviet Non Conformist Frame: 27.5 X 27.5 Image: 19.5 X 19.5 Artist: Myhaylo Shteinberg (aka Mykhaylo Shteinberg, Michael Steinbe...

Jean Vollet Lac st Cassien Painting Framed Size 30 x 23 Inches Image Size 14.25 x 21 Inches Jean Vollet was born at Montayral, France on June 29, 1935. Studied art at the Ecole d'A...

This superb British exhibited portrait oil painting is by noted artist George Spencer Watson. The influence of Lord Frederick Leighton and the It...

This superb large British Edwardian exhibited portrait oil painting is by noted artist George Spencer Watson. It was painted in 1909 and exhibite...

This beautiful early 20th-century oil painting by French artist Eugène Galien-Laloue (1854-1941) depicts several figures unloading fish at the port of Dieppe. Eugène Galien-Laloue i...

Purvis Young (1943 - 2010) Drawing from the 1990's #337 acrylic paint on paper 9.75 x 10 in

Purvis Young (1943 - 2010) Drawing from the 1990's #404 acrylic paint on paper 17 x 11 in

Purvis Young (1943 - 2010) Drawing from the 1970's - 1990's #449 Acrylic Paint on Paper / Found Object 8.75 x 13.50 in

Purvis Young (1943 - 2010) Drawing from the 1990's #364 Acrylic paint on paper 11 x 8.50 in

Purvis Young (1943 - 2010) Drawing from the 1990's #456 Acrylic Paint on Paper 11 x 8.50 in

Purvis Young (1943 - 2010) Drawing from the 1990's #463 Acrylic Paint on Paper 10.50 x 8 in

Original Painting tigers in jungle by river with reflection, tropical jungle setting. Titled "Paper Boat". Hand signed recto and titled verso. Framed 25.5 X 21.5 Canvas is 24 X 20...

This is from her celebrated Drip Series, Titled, "Small Dark Center" Signed and dated verso 1980. Berenice Dvorzon was an extraordinary artist who began as an active young painter during the heydey of the abstract expressionists. Her art was heavily influenced by her love of water and her travels to Europe, China, Israel, Bali, and the deep South. Her commitment to feminism, Judaism, and environmental issues was reflected in much of her work. She exhibited throughout the United States in many galleries and museums, is included in private collections, and received numerous awards. Berenice taught at Wilkes University from 1968 to 1988, where she served as an associate professor of studio art. “Most of my work deals with water images...

G. Harvey (Gerald Harvey Jones) (1933-2017) San Antonio, Austin, and Fredericksburg Artist Image Size: 20 x 24 Frame: 30 x 34 Medium: Oil On Canvas "Gathering Strays" Hereford Cattle...

This artwork titled "Place de la Madeleine, Paris" is an oil on canvas by noted American artist Gregory Sievers, b.1951. It is signed and dated at the lower right corner by the artis...

Emile Wegelin: Capturing the Essence of Nature.  Painting on Hardboard   Size-Width Size-Height: 32'' x 25'' Signed in Ink Emile Wegelin (1875-1962) devoted his life to paintin...

Carlos Ortuzar (Chilean, 1932-1985). Estaban Milla es Salvado de las Garras del Huecupor su Companero Lorenzo Huerta, ca. 1964. Oil on paper mounted to cradled masonite panel, 22 x 28.75 inches. Titled lower edge. Unsigned. Some loss of paint on the highest areas of protrusion. Corners show heavy wear will loss of paper ground. Provenance: Doyle Auctions; Couturier Gallery, Stamford CT. Carlos Ortúzar Worthington was born on March 17, 1935 in Santiago, Chile. He studied theater, law and philosophy. He entered the School of Fine Arts of the University of Chile in 1956, where he had as teachers Gustavo Carrasco, Marta Colvin...

Terence La Noue was born in Hammond, Indiana in 1941. He received a Bachelor of Fine Arts from Ohio Wesleyan University in 1964. After going to Berlin as a Fulbright Meister Student ...

Natalia Pankova (1965) - Sunflowers - Oil on canvas Oil measurements 50x50 cm. Frameless. Natalia Yuryevna Pankova (Russian: Наталия Юрьевна Панкова, Gorky, June 28, 1965) is a Ru...

Helene McKinsey Herzbrun: 1922-1984. Well listed second generation abstract American artist. She studied at the art Institute of Chicago, and under Jack Tworkov at American Universi...

Robert Harrison (Born 1949) San Antonio Artist Image Size: 30 x 40 Frame Size: 40 X 50 Medium: Oil on Canvas "Coreopsis and Cacti" Texas Hill Country Biography Robert Harrison (Born ...

A painting of Versailles by important Post-Impressionist painter Henri Le Sidaner, titled "Le Pavillion de Musique sous la neige (a Versailles Trianon)". Painting accompanied with a...

Nicely painted mid century abstract oil painting by Ken Munowitz. Oil on canvas. Framed.

This superb British figurative interior oil painting is by noted Newlyn school artist Harold Harvey. Painted circa 1912 the composition is a Cornish family, bathed in golden light, s...

Joseph Nechvatal The Oedipal God of Oil Paint and Destruction, Diptych Oil and screenprint on two canvases, 1985, both signed 'Joseph Nechvatal', titled and dated on the reverse, with label from Brooke Alexander, NY. Joseph James Nechvatal (born 15 January 1951) is a post-conceptual digital artist and art theoretician who creates computer-assisted paintings and computer animations, often using custom-created computer viruses. Joseph Nechvatal was born in Chicago. He studied fine art and philosophy at Southern Illinois University Carbondale, Cornell University and Columbia University, where he studied with Arthur Danto while serving as the archivist to the minimalist composer La Monte Young. From 1979, he exhibited his work in New York City, primarily at Galerie Richard, Brooke Alexander Gallery and Universal Concepts Unlimited. He has also solo exhibited in Berlin, Paris, Chicago, Cologne, Atlanta, Los Angeles, Aalst, Belgium, Youngstown, Senouillac, Lund, Toulouse, Turin, Arles and Munich. His work in the early 1980s chiefly consisted of post minimalist gray graphite drawings that were often photo mechanically enlarged. During that period he was associated with the artist group Colab and helped establish the non-profit cultural space ABC No Rio. In 1983 he co-founded the avant-garde electronic art music audio project Tellus Audio Cassette...

A painting of Versailles by important Post-Impressionist painter Henri Le Sidaner, titled "Statue, Sans Tête, Versailles". Painting includes certificate signed by Yann Farinaux-LeSi...

HAROLD DEARDEN (BRITISH, 1888-1962) THE WINDOW CLEANERS Oil on canvas Signed `H DEARDEN’ (lower left) 30 x 30 in. (76.3 x 76.3 cm.) Dearden studied at Rochdale School of Art under H...

Robert Harrison (Born 1949) San Antonio Artist Image Size: 36 x 48 Frame Size: 44 x 56 Medium: Oil on canvas Dated 1999 "Coreopsis & Daggers" Texas Hill Country. Wildflowers Biograph...

This artwork titled "Fleurist A Hotel Cler, Paris" 1990, is an oil painting on canvas by noted American artist Gregory Sievers, b.1951. It is signed at the lower right corner by the ...

Emilio Grau Sala (1911-1975) - La Rochelle - Mixed media Artwork 49x65 cm. Frame measures 69x85 cm. Son of cartoonist Juan Grau Miró, he was born in Barcelona in 1911. Although he a...

Blair Hughes Stanton (British, 1902-1981) Girl with a Guitar, 1929 oil on canvas 16.3/8 x 25.3/4 in. (41.4 x 65.5 cm.) Provenance: the Estate of t...

"Untitled" is an oil on canvas painting made by Hans Hofmann in 1962. The artwork size is 25 x 30 1/4 inches. The framed size is 33 1/4 x 38 1/4 x 2 inches. The painting is signed lo...

Hannes Grosse Wave Form I (Wellenform) Oil and Acrylic on Canvas Year: 1971 Size: 33.46 x 33.46 x 31.49 inches (85,5 x 85,5 x 80 cm) Framed (simply wood frame) - ready to hang COA p...

Marion Maas (American, b. 1930) Untitled, c. 1980s Oil on canvas 21 7/8 x 27 1/2 in. Framed: 23 1/2 x 29 1/4 x 1 in. Signed lower right Landscape, figurat...

Kent R Wallis (1945-Active) "A Wooded Lane" Oil Paint on Canvas Unframed 24" x 36 Framed: 25" x 37"

Flowers and Arches, 1943, oil on board, initialed and dated lower left, 4 x 7 1/8 inches, presented in an older, but likely not original frame This work is part of our exhibition A...

Mario Schifano (Homs 1934 – Roma 1998), Aprile (sole di) (1988) Smalto spray su tela di cm 140 x 100 firmato, intitolato sole di e datato 1988 sul retro. L’opera risulta archiviata...

Abstract art by Alex Grinshpun is very appealing and interesting. This is an original oil signed by the artist. The Loft Fine Art would be happy to offer shipping rates if truly inte...

This original abstract/expressionist original oil by Alex Grinshpun in colorful and in great condition. We have an excellent framer if you are interested.

Childe Hassam paints a beautiful view out onto the ocean from between the trees in his artwork entitled, “Marine View, Isle of Shoals.”

Artist: Pál Fried (Hungarian, 1893-1976) Title: "Hortense (Ballerina)" *Signed by Fried lower left Circa: 1940 Medium: Original Oil Painting on Canvas Framing: Framed in a light gold...