Masonite Abstract Paintings

Sylvia Rutkoff (1919-2011) 26-1 "The Schoolgirl" c.1950s Oil paint, sand on Masonite 36x48 wood period frame Unsigned Collection acquired from family estate Sylvia Weinreb Rutkoff (...

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

Vivid and evocative abstracted painting of 9/11 by artist Jocelyn Audette (American, b. 1952), circa 2001. Impasto adds texture and interest. Label on verso with artist's name. Pres...

Artist: Paul Van Hoeydonck – Belgian (1925 - ) Title: Planete Year: 1961 Medium: Mixed media Size: 48 x 48 inches. Signature: Signed, dated, titled on the reverse Condition: Good This mid century work by Paul Van Hoeydonck is a direct and strong composition, like so many of Van Hoeydonck’s Planete works. It measures 48” x 48” and is a mixed media composition. It is a composition on masonite or a similar material. There is flat black and gloss black paint. Perhaps the gloss is lacquer. The surface is highly textured. The black areas have small finish nails, lying flat, attached to the surface. The other areas have sand or some other particulate in the paint. It is signed, titled and dated on the reverse. The date looks like “1961” but it could be “1969.” Please see pictures. Stylistically, this work looks very much like his work from 1961-1962. The piece is in good condition. There is a faint scratch in the upper left and some very small chips on the edges. Please see pictures. There also might be very, very light surface dirt throughout. Please refer to the artist's website as well as Whitford Gallery for extensive biographies of the artist. Public collections include Galleria Comunale d’Arte Moderna, Rome Israel Museum, Jerusalem Koninklijk Museum voor Schone Kunsten, Antwerp Museum of Modern Art, New York Stedelijk Museum, Ostende Van Abbemuseum, Eindhoven The Solomon R. Guggenheim Museum, New York PAUL VAN HOEYDONCK BIOGRAPHY 1925 Born in Antwerp, Belgium 1945-51 Graduated in History of Art and Archaeology in Antwerp, Belgium. 1952 First solo-exhibition, figurative paintings, Gallery Buyle, Antwerp, Belgium. (OMS) Figurative paintings, Gallery Unicum, Bruges, Belgium.(OMS) Figurative paintings, Au Cheval de Verre, Brussels, Belgium.(OMS) 1953 One-man show figurative paintings, Gallery Unicum, Bruges, Belgium. "Open Air Party", Driekoningen Castle, Beernem, Belgium.(GE) "Salon Quadriennal de Belgique" Liège, Belgium.(GE) 1954 Creates Coloured Geometrical Abstract paintings Gilbert Swimberge and Paul Van Hoeydonck, Galerie Théâtre du Poche, Brussels, Belgium.(GE) "Zomersalon Salon d'été" Gallery Unicum, Bruges, Belgium.(GE) "Salon quadriennal des Beaux-Arts" Ghent, Belgium.(GE) 1955 Gallery Dutilleul, Brussels, Belgium.(OMS) 1956 Co-founder of art group “FORMES” "Lauréats du prix Jeune Peinture Belge", Palais du Beaux-Arts, Brussels, Belgium.(GE) Diamond among the works 'distinguished by the jury' "La peintres du groupe Formes" Cercle Jean Jaurès, Salle de l'Académie de musique, Morlanwelz.(GE) "Défense du petit format", Gallery Saint-LaurentBrussels, Belgium.(GE) Gallery Saint Laurent, Brussels, Belgium.(OMS) 1957 Created first monochrome collages. "Salon national du meuble social moderne" Museum voor Sierkunst, Ghent, Belgium.(GE) "Lauréats du Prix Jeune Peinture" Société Royale des Beaux-Arts, Verviers, Belgium.(GE) Gallery le rouge et le noir, Charleroi, Belgium.(GE) "Groupes" Gallery Accent, Antwerp, Belgium.(GE) "Défense du petit format" Gallery Saint Laurent, Brussels, Belgium.(GE) "Summer Exhibition" Gallery Accent, Antwerp, Belgium.(GE) "Paul Van Hoeydonck" Gallery Saint Laurent, Brussels, Belgium.(OMS) "Peintres belges inspirés par l'Espagne" Gallery Giroux, Brussels, Belgium.(GE) 1958 Creates first monochrome light works with the introduction of small plexiglass structures. "Paul Van Hoeydonck" Gallery Accent, Antwerp, Belgium.(OMS) "Oeuvres graphiques" Gallery Saint-Laurent, Brussels Exhibition G58 with Georges Van Tongerloo at Castle Middelheim Museum, Antwerp Belgium.(GE) Co-founder of the G58 Hessenhuis group in Antwerp. Opening Exhibition G58, Hessenhuis, Antwerp, Belgium.(GE) Participation at the World Exhibition Brussels, Belgium.(GE) "Groupe Art Abstrait" Gallery Hella Neblung, Düsseldorf, Germany.(GE) 1959 Begins showing in exhibitions concerned with monochrome painting and “Zerogroup” "Vision in Motion/Motion in Vision" first international exhibition in G58, Antwerp, Belgium.(GE) "Lauréats du Prix Jeune Peinture Belge1958" Palais des Beaux-Arts, Brussels, Belgium.(GE) "Oeuvres d'art acquises par l'Etat en 1958", Palais des Beaux-Arts, Brussels, Belgium.(GE) 1960 3th group exhibition G58 Hessenhuis, Antwerp, Belgium.(GE) 1961 Introduction of the “Boites A Monocles” as a reaction to the criticism concerning the light works G58 Hessenhuis, Antwerp, Belgium.(OMS) First important one-man show, Brussels, Palace of Fine Arts Iris Clert Gallery, Paris, France.(OMS° Museum of Modern Art, New York, purchases a light work First trip to New York,USA, private show introduced by Harry Torczyner 1962 Robert Elkon Gallery, New York, USA Created first Spacescapes and White Planets (Planetscapes) “Zero 3” exhibition in Dusseldorf, Germany.(OMS) 1963 Exhibits his first environment “Space Control Station” at the Forum exhibition Ghent, Belgium Participates in the Tokyo Biennale, Japan.(GE) "Contemporary painting in Belgium" St-Louis, Denver, L.A., San Francisco, USA (GE) 1964 Creation of a new race “The Mutants” Participation Documenta III, Kassel, Germany.(GE) The Hague, Vienna, Berlin, Otterlo, Bern and Brussels Pierre Restany “baptises” him “archaeologist of the future” Gallery Iris Clert, Paris, France.(OMS) Participated Floating Biennale Iris Clert, Canale Grande, Venice, Italy.(GE) Article in Times Magazine. Participated Iris Clert in Berlin, Germany.(GE) "Nieuw Realisme-Pop Art " City Museum Den Hague, Netherlands.(GE) 1965 Joins the Waddell Gallery, New York, where he presents several one-man shows Svensk-Franska Gallery, Stockholm, Sweden.(OMS) Gallery Theelen, Essen, Germany.(OMS) Gallery Waddell Gallery, New York, USA.(OMS) "Pop-Art/Nouveau Réalisme" PSK/Palais des Beaux-Arts, Brussels, Belgium. (GE) Biënnale Middelheim, Antwerp, Belgium. (GE) "Flemish Art" Gallery Arditti, Paris, France.(GE) "Belgian Drawings since Permeke", Lima, Peru.(GE) "45 years Belgian Art" Rio de Janeiro, Brasil.(GE) "Collection Graindorge" Copenhague, Denmark.(GE) "Sculptures from al directions" Worldhouse Gallery, New York, USA.(GE) "White on White" Lincoln, USA.(GE) "Pop, pop, whence pop" Heckster Museum, Huntington, New York, USA.(GE) "Nouvelles Recherches Flamandes" Palais des Beaux-Arts, Charleroi, Belgium.(GE) "Flemish Art, Svensk Handelsbanken, Stockholm, Sweden.(GE) "Art for collectors" Rhode Island, USA.(GE) 1966 joins the Gallery Bonnier, Lausanne, Geneva and Stockholm Gallery Kirkhaar, Amsterdam, Netherlands.(OMS) Gallery der Spiegel, Köln, Germany.(OMS) Gallery Cogéime, Brussels, Belgium.(OMS) Stadtisches Museum Schloss Moirsbach, Leverkusen, Germany.(GE) "Weis auf Weis" Kunsthalle Bern, Suisse.(GE) "Premio Marzotto" Valdagno, Italy (GE) "L'Espace dans l'Art" Museum of Modern Art, Brussels, Belgium.(GE) Triënale of the Suthern Netherlands, Belgium/Netherlands. 1967 Produces CYBS (Cybernetics) Starts using elements from sawn-up car fenders Waddell Gallery, New York, USA.(OMS) Palais des Beaux Arts, Brussels, Belgium.(OMS) Gallery Foncke, Ghent, Belgium.(OMS) "45 years of Belgium Contemporary Art" National Art Gallery, Budapest, Hungary.(GE) "45 years of Belgium Contemporary Art" Salles d'état Dalles, Buckarest, Romania.(GE) "New Flemish School" City Gallery, Zürich, Suisse. (GE) "Actual Belgium Drawings" Madrid, Sevilla, Barcelona, Spain. (GE) "Collection Stuyvesant" Palais des Beaux-Arts, Brussels, Belgium. (GE) "Superlund" curator Pierre RestanyKunsthall Lund, Sweden. (GE) "Hommage to Bosch, De Moriaan, 's Hertogenbosch, Netherlands.(GE) "Science Fiction", kunsthalle, Bern, Suisse.(GE) 1968 First contact with NASA Gallery Kirkhaar, Amsterdam, Netherlands.(OMS) Gallery Bonhier, Lausanne, Suisse.(OMS) Belgium Haus, Köln, Germany.(OMS) International Monetary Fund, Washington, USA.(OMS) One-man show Gallery Müller, Stuttgart, Germany. "Contrasts 1947-1967, Royal Museum of Fine Arts, Antwerp, Belgium.(GE) "Science Fiction" Musée des Arts Decoratifs, Paris, France.(GE) "Science Fiction" Kunstverein, Düsseldorf,Germany.(GE) "40 ans d'Art Vivant" Hommage à Robert Giron, Palais des Beaux-Arts, Brussels Belgium. (GE) "L'eglise ouverte à l'Art Contemporain" La Biënnale, Centre Notre-Dame, Argenteuil, France.(GE) "Triënale" Hallen Brugge, Belgium.(GE) "The obsessive image 1960-1968", Institute of Contemporary Arts, London, UK.(GE) "Im Reiche des Phantastischen" Kunstverein, Recklinghausen, Germany.(GE) "Destruction Art" at Finch College, New York, USA "Art Vivant" at Vence, France. "Three blind mice" Abbe Museum, Eindhoven, Netherlands. "Three blind mice" Saint-Peter Monnastry, Ghent Lignano Biënale in Italy, Proclaimed as the official laureate. "Contact 68 Kelkheim" Pfarzencentrum Kelkheim, Germany. "Belgium Art" Archeological Museum Teheran, Iran. 1969 Contemporary Art Museum Chicago, USA.(OMS) Contemporary Art Museum Houston, USA.(OMS) Kunstverein Freiburg, Germany.(OMS) Gallery Withofs, Brussels, Belgium.(OMS) Gallery Waddell, New York, USA.(OMS) "Painting and sculpture today" Museum of Art Indianapolis, USA.(GE) "Belgium Art" Museum Bagdad, Iraq.(GE) "Belgium Art" Museum Beirout, Libannon.(GE) "Exposition Internationale de gravure" Museum of Modern Art, Ljubjana, Yugoslavia.(GE) "10 Belgische Maler" Gallery 66 Hofheim, Germany.(GE) "Space Art" Technical High School, Eindhoven, Netherlands.(GE) Gallery Foncke Ghent, Belgium.(OMS) "Apollo Mission of the Moon" National Gallery of Art, Washington, USA.(OMS) "The Jaques Kaplan collection" Finch College Museum New York, USA.(GE) 1970 The Apollo 15 Crew officially placed the statue “Fallen Astronaut” on the moon.(OMS) Creation of the first Astro's Palacio National de Bellas Artes Mexico City, Mexico.(OMS) One-man show Gallery Foncke Bruges and Ghent, Belgium. "Belgian Art 1960-1970" Kunstverein Köln, Germany.(GE) Gallery Bonnier, Genève, Suisse.(OMS) Gallery Engelberts Genève, Suisse.(OMS) "Jeu de blancs" Gallery Withofs, Brussels, Belgium.(GE) Gallery Rive Gauche, Brussels, Belgium.(OMS) "Jewels by Belgian Artists" Belgian Pavillon Osaka, Japan.(GE) "Itirénaires 'blancs' " Musée d'Art Moderne St-Ett-ienne, France.(GE) "Zeitgenossen" Kunsthalle Recklinghausen, Germany. "Second annual internal moonwalk festival" Cape Kennedy, USA. 1971 Gallery Waddell, New York, USA.(OMS) "Die Puppe" Aspekte zum Bild der Frau, Berlin/Leverkusen/Frankfurt, Germany.(GE) "Travelling Exhibition" Playboy Art...

This modern abstract painting by Peter Keil is on a smooth masonite board with a painted grey background, black abstract portrait with many colors. Here you certainly see the Picasso...

This is a framed abstract acrylic painting on masonite board evoking a dancing figure in a landscape, perhaps wearing a Japanese kimono. It is framed in a narrow, contemporary white ...

Mid Century Modern, American Abstract Expressionist Painting on masonite This lively abstract painting reads like an interior and still life with lemons on a tabletop in vivid shade...

This modern abstract painting by Peter Keil is on a smooth masonite board with a painted Tiffany Blue background, black abstract portrait. Here you ...

Detailed abstract acrylic painting of a microcosmic underwater realm by an unknown San Francisco Bay area artist (American, 20th Century). Signed indistinctly lower right side. Unfra...

This is an abstract acrylic painting on masonite board evoking a night time seascape or ocean landscape. Predominant colors are blues and purples. Signed "Jomac" lower right, also s...

Oil, acrylic, resin on masonite

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

A dynamic, abstract expressionist image by Les (Leslie Luverne) Anderson (American, 1928-2009). From the estate of Les Anderson in Monterey, California. Signed "Les Anderson" lower r...

Signed lower left: Purdy A very cool example of mid-century 50"s abstraction. Harbor is done in a style that was being experimented with particularly in the New York and California ...

IAN HORNAK (1944–2002) Title: Primeval Landscape Date: 1985 Medium: Acrylic on double layered Masonite Dimensions: 16 x 19 inches (40.64 x 48.26 cm) Condition: Excellent ...

Tropical Fantasy Floral - Still Life Flowers Painting by Marc Zimmerman Oil on board Marc Zimmerman creates playful paintings, whether deep mysterious jungle or delightfully whimsic...

Mid Century Modern, American Abstract Expressionist Painting on Masonite. This wonderful work in hues of blue comes house in a contemporary natural wood frame presentation.. The ar...

Contemporary expressionist abstract painting by Houston based artist Paul Reeves. The work features white, bold, gestural strokes set against a blue and black background. Signed on t...

Carl Robert Holty (American 1900-1973) Abstract Expressionism Oil on Masonite board. Abstract with greens blues and red, Dimensions 12 x 9-1/2 inches. Framed 17 X 14 inches Hand...

20th Century School, "Stairway to Nirvana", Oil on Masonite, unsigned, titled verso, unframed. 24" H x 48" W x 1" D. Provenance: From the Collection of Laura and Lewis Kruger.

Translated title: "Skull". Acrylic on masonite. It features a wooden frame, which is painted and decorated with gold leaves.

"She's Watching" Mixed media collage, assemblage, gestural painting on masonite. Hand Signed in ink and titled verso. It does not appear to be dated. I am estimating it is from the 1980's. It has some Postmodern elements and similarities to Transavanguardia is the Italian version of Neo-expressionism. Francie Bishop Good (American, 1949-) Francie Bishop Good was raised in Allentown, Pennsylvania. She currently lives and works in South Florida and New York City. Her work has been exhibited nationally and internationally. Bishop Good is twice recipient of the South Florida Cultural Consortium Fellowship, and the State of Florida Individual Artist Fellowship. She completed her Graduate Studies at Maine Media College, Rockport, Maine, International Center of Photography, New York, New York, Master of Arts, Florida Atlantic University, Boca Raton, Florida, B.F.A. University of Colorado, Boulder, Colorado, Philadelphia College of Art, Philadelphia, Pennsylvania, William Allen High School, studies under James Musselman Her museum solo shows include the Allentown Art Museum, Allentown, PA, Museum of Art, Fort Lauderdale, FL, the Museum of Contemporary Art, Jacksonville, FL, Art and Culture Center, Hollywood, FL, and the Hilliard Museum, Lafayette, LA. Bishop Good's work has been shown at David Castillo Gallery, Mindy Solomon Gallery, Miami, FL. Griffin Museum of Photography, Bernice Steinbaum Gallery, and AMbrosino Gallery. Recent museum acquisitions include Museum of Fine Arts, Boston, MA The Wadsworth Atheneum, Hartford, CT, The Patricia & Philip Frost Art Museum at Florida International University, Miami, FL, Bass Museum of Art, Miami Beach, FL and the NSU Art Museum, Fort Lauderdale, FL. Selected Group and Invitational Exhibitions NSU Art Museum, Remember to React: 60 Years of Collection, Fort Lauderdale, FL Frost Art Museum, Connectivity: Selections from the Collection of the Frost Art Museum, Miami, FL Dual Roles, curated by Laura Marsh, Art and Culture Center of Hollywood FL David Castillo Gallery, gallery artists, in terms of collage, Miami Beach, FL Multidisciplinary, curated by Dimensions Variable, Open Source Gallery, Brooklyn, NY Cornell Museum, Artistically Speaking, Boca Raton Museum of Art, FL. People and Places, Photographs from the Collection, summer 2015 Frost Museum, FIU Miami FL, 25 Inches, The Faces of the Permanent Collection Locust Projects, Smash and Grab, November Annie Wharton Fine Art, Los Angeles group show, summer Museum of Art Fort Lauderdale ,The Art of Caring summer Women to Women, collaboration with Samantha Salzinger, Bakehouse Fredric Snitzer Gallery Boy oh Boy, Summer Show Miami A.I.R. Gallery, The Man I Wish I Was, curator Kharis Kennedy Photo Miami with Nina Arias, Miami, FL December Alva Gallery, New London, Ct Being Good: Women's Moral Values Art Basel with Ambrosino Gallery, Miami, FL 51st Venice Biennale, Italy Poles Apart / Poles Together, International Artists' Museum, White Box Norton Museum of Art, West Palm Beach, FL, FOCUS ON: New Photography, National Museum of Women in the Arts, FL Transitory Patterns Museum of Contemporary Art, Miami, FL Optic Nerve Selected Collections Museum of Fine Arts, Boston, Ma. Wadsworth Atheneum Museum of Art, Hartford, Ct. Bass Museum of Art, Miami Beach, FL Frost Museum of Art, Miami Florida Norton Museum of Art, West Palm Beach, Florida Museum of Contemporary Art, Jacksonville, Florida Boca Raton Museum of Art, Boca Raton, Florida Sagamore Hotel Collection, Miami Beach, Florida Museum of Art, Fort Lauderdale, Florida Refco Collection, Chicago, Illinois Allentown Art Museum, Allentown, Pennsylvania New World Symphony Residence, Miami, Florida Art in Public Places, Broward County, Florida Art and Culture Center of Hollywood, Florida William Gates III (Bill Gates) Monica and Richard Segal Saks Fifth Avenue Asides from being an exceptional artist she is also a passionate collector. Photographs by Cindy Sherman and the late feminist artist Ana Mendieta, collages by Kara Walker, a watercolor by Louise Bourgeois, Cecily Brown, Tracey Emin, Teresita Fernandez, Carrie Mae Weems, Nan Goldin, Barbara Kruger, Catherine Opie, Lorna Simpson, Kiki Smith, Mickalene Thomas, and Kara Walker. are among 100 works by leading contemporary artists donated by philanthropists David Horvitz...

This modern abstract painting by Peter Keil is on a smooth masonite board with a painted grey background, black abstract portrait with many colors. Here you certainly see the Picasso...

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1950 University of Illinois at Urbana "Contemporary American Painting" 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 36" x 2". About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...

Exhibited: 2003 Oakland Museum of California "Fred Martin Retrospective" A native Californian, Fred Martin was born in San Francisco in 1927, and received both his BA (1949) and MA (1954) from University of California, Berkley. At the San Francisco Art Institute Martin studied with Clyfford Still, Mark Rothko and David Park...

Early Morris Gluckman abstract painting of a black shadow figure holding a pink item. Artist Biography: Morris Gluckman was born in 1894 in Kiev, Russia. He was an active artist in...

Lenz was born in Norwalk, OH on March 2, 1900. A twentieth century American painter, illustrator and commercial artist, Lenz received his artistic education at the Huntington Polyte...

Vivid and evocative feminist abstract expressionist figurative painting of woman and the many facets of her life, represented by multiple female figures engaged in various activities throughout the chaotic and colorful abstract expressionist canvas, by Audrey E. Gabrielson (American, 1932-2018), 1963. Verso has an abstract portrait with signature. Unframed. Image size: 29.75"H x 31.50"W Audrey Gabrielson was an artist, poetess, sculptor, whom lived in San Francisco. She was born in Canada in 1932 and drew, colored, modeled in clay when very young. She studied at Reed College, Portland, studying with famous West Coast artist, Louis Bunce. in San Francisco she painted with artists Cucaro, Alexander E. Anderson, and Raymond Howell. She had shown in North Beach, Modesto, Gualuala Hotel, Sausalito, Abbey Party Rents (S.F.) and many more. She had ongoing exhibits at Alberta Art, Red Deer and Uglies, Lacombe. Her art was collected by national and international collectors such as authors C.Y. Lee (“Flower Drum Song”), Alfred Coppel (“34 East”); musical promoter, Ilka Pardinas, FLY, Los Angeles. Additionally, she worked in bronze, studying under S.F. sculptor C.B. Johnson. Her art was influenced and inspired by German Expressionists, Van Gogh, Lautrec, Picasso, Klimpt, Schiele, Tamayo, Conners, Park – and many more. Obituary: Born in Alberta, Canada, Audrey passed away at her home in San Francisco's Bernal Heights neighborhood, surrounded by loved ones. Gabrielson was an artist, poet, sculptor, photographer, muse and an integral part of the San Francisco art scene of the late 1950s to late 1970s. She was a friend and contemporary of artists such as Benny Bufano...

Earl Hill (1927-1985). Gas Station Attendant, 1966. Oil on masonite panel, 10.5 x 13.5 inches, 15 x 18 inches framed. Signed and dated lower right. Inscribed...

Exhibited: 1973 San Francisco Museum of Art 2003 Oakland Museum of California "Fred Martin Retrospective" A native Californian, Fred Martin was born...

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Exhibited 1964 Marion Koogler McNay Art Institute, San Antonio, Texas This work retains its original frame which measures 54" x 42" x 2" About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...

Mixed Media on Masonite

Mixed Media on Masonite

Mid Century Modernist Sailboat Geometric Abstract Oil Painting This dynamic mid-century piece features bold geometry and a strong sense of movement. White triangular shapes parade a...

Katherine S. Kirkman (American, XX-XXI), "Urban Renewal", Oil on Masonite, signed lower right, titled and signed to verso, wood frame. Image: 23.5" H x 19.5" W; frame: 26" H x 24" W....

Figurative abstract painting by San Jose, California area artist Daniel David Fuentes (American, 20th Century). San Francisco bay area abstract expressionist and landscape artist dur...

Gorgeous mid century modernist abstract combining earth-tones and subtlest metallic silver background by Corban LePell (American, b. 1933), 1955. Signed ...

Edward Pechmann Renouf (1906-1999). Oil on masonite panel, measures 16 x 24 inches. Excellent condition. Signed lower right. Provenance: Allan Stone Projects, New York, NY. Biography: Birth place: Hsiku, China Addresses: East St. Washington, CT Profession: Painter, sculptor Studied: Phillips Andover Acad., 1924; Harvard Univ., 1928; Columbia Univ., 1936-46; drawing & painting with Carlos Merida...

“Untitled” 1970 Abstract Surrealist Composition Encaustic & oil paint on Masonite 60 x 48 inches Not framed Born in 1934, the work of Suzanne Bloomfield represents the life force wh...

Mid-Century Modern Abstracted Cubist Table Still-Life in Acrylic on Masonite Vibrant mid-century modern still life with abstracted synthetic cubist elements in warm colors, highligh...

Acrylic on Masonite

Signed upper right, 'Graham' for Ellwood Graham (American, 1911-2007) and painted circa 1985; additionally signed, verso, and titled, 'View Study'. This early California Modernist ...

Fredric Karoly (1898-1987). Etude, 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...

Small and colorful expressionist portrait of a clown by Marjorie Blake (American, 1920-1994). Signed "M. Blake" in the lower right corner. Dated "1969" ...

A Vibrant, Expressionist 1950s Mid-Century Modern Still Life Painting by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). Depicting a bright and vivid studio still life scene ...

Color Block Abstracted Still Life with Bust by Ellis Hopkins (American, b. 1952). This bold composition combines the language of still life with geometric abstraction. Vivid blocks...

Sylvia Rutkoff (1919-2011) "Traffic" c.1950s Oil, sand, grout, gesso on masonite 48"x36" wood period frame Signed on reverse in pencil Collection acquired from family estate Sylvia ...

Edward Pechmann Renouf (1906-1999). Oil on panel measures 16 x 24 inches. Signed lower margin. Excellent condition. Provenance: Allan Stone Pr...

A Lively, Expressionist 1950s Mid-Century Modern Painting, "Still life with Lemon" by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). Depicting a painterly studio still life...

A Vibrant, Expressionist 1950s Mid-Century Modern Still Life Painting by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). Depicting a bright and cheerful studio still life sce...

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...

Edward Pechmann Renouf (1906-1999). Oil on panel measures 16 x 24 inches. Signed lower margin. Excellent condition. Provenance: Allan Stone Pr...

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...

Jim’s of Lambertville is proud to offer this artwork by: Lloyd R. Ney (1893 – 1964) Called “Bill” by his friends, Lloyd Ney was one of the pioneers of Modernist art in New Hope. Ne...

A dynamic, Mid-Century Modern horse race painting by noted Chicago artist, Rudolph Pen. Artwork size: 27" x 23"; Framed size: 27 1/2" x 23 1/2". Signed "Pen" lower right. Provenan...

Colorful abstract painting with geometric details in bright hues of blue, red, green, and yellow, against a black background "Instead", painted by Anne Francey in 2017 Mixed media on Masonite 10 x 10 x 2 inches, sides reveal raw wood Excellent condition, signed verso Ready to hang Anne Francey has been working with subject matter inspired by nature for most of her artistic career. Since the pandemic, this focus has become ever more apparent as her new acrylic paintings on paper demonstrate her intuitive process of reinterpreting literal subjects like leaves, flowers, birds, or bugs into vibrant worlds of layered color. She begins by drawing from life but then allows fluctuating colors, traces of the hand, and evidence of the physical medium to be introduced as the composition evolves and finds its final imprint on the surface. The spontaneity of her process welcomes the unknown, she explains: “The things that moved me first…might have become by now just a faint whispering. But I know that a story is being told, even if I don’t understand yet all the words.” About the artist: Anne Francey was born in 1956 in Grandson, Switzerland. She attended the Ecole des Beaux-Arts de Lausanne (ECBA) from 1976 to 1981, where she received a diploma of Fine Arts in painting. In 1981, she moved to New York where she attended the School of Visual Arts and the graduate program of Fine Arts at Hunter College. She graduated in 1987 with a Master of Fine Arts (MFA). EDUCATION 1983-1987 Hunter College: Master of Fine Arts, New York EXHIBITIONS (Most recent) 2021 Le Comptoir des Motifs, Artefactory, Geneva, Switzerland, fabric design, group show 2018 Eric Laffer Gallery, Upstate Invitational, 3 person show, Schuylerville, NY The Arts Center of the Capital Region, Configurations, one person show, Troy, NY Carrie Haddad gallery, Ebb and Flow, Hudson, NY Saratoga Arts, Then and Now, Saratoga Springs, NY 12866 2017 Byrdcliffe Kleinert/James Center, The Ritual of Construction, group show, Woodstock, NY Carrie Haddad gallery, Summer, group show Thompson Giroux gallery, En Masse, group show Eric Laffer gallery, Winter Show, Schuylerville, NY 2016 Saratoga Arts, 30th Anniversary Invitational, Saratoga Springs, NY Carrie Haddad Gallery, Summer Color, Hudson, NY Laffer Gallery, 5th Annual Juried Group Show, Schuylerville, NY 2015 Carrie Haddad Gallery, Paper, group show, Hudson, NY 2014 Luminarté, Contemporary Islamic Art, group show, Dallas, TX Spring Street Gallery, Where are you from? 3 persons show, Saratoga Spgs, NY Albany Institute of History and Art, Mohawk Hudson Regional, group show NY Albany International Airport, Natural Gestures, 3 persons show Albany, NY Laffer Gallery, Winter show, Schuylerville, NY COMMUNITY MURALS, GRANTS, RESIDENCIES, SYMPOSIUMS, 2021 Community Mural United Nations International school, NY “The Year that Zoomed by” 2020 Fulbright U.S. Scholar award 2020-2021 (travel postponed to 2021-2022) 2019 1001 Hands (“1001 Mains”) Concept, design and direction of a 150 sqft community ceramic mural with 600 participants, Ibn Rachiq Art Center,Tunis, Tunisia. Funded through the US Embassy and the Swiss Embassy in Tunis. Colors of the City, Wall Ceramic and Architecture in Tunis, International symposium, Tunis/Tunisia 1997- 2018 Artist in residence at various schools for the creation of community murals 2018 Bir-el Bey...

Bruno Lucchesi (b.1926). Mother and Child, ca. 1960. Oil and charcoal on sized paper mounted to masonite, measuring 11 x 21 inches; 15.5 x 25.5 inches in original gold leaf frame. Si...

Modern Geometric Green & White Kimono, Abstract Expressionist Collagraph Plate #3 Stunning modern minimalism meets abstract expressionism with green, white and black in this unique ...

Without a doubt California's charming coastal village of Carmel compels one to romance. But this location, the 1797 Mission San Carlos Borromeo Del Rio Carmelo, with its lovely, foun...

"I've Seen Too Many Waves" original abstract oil painting by Jocelyn Auld (b. 1999.) Two light sources, potentially moons, light the crest of a giant abstracted wave. As the white l...