1930s Abstract Paintings

Oil and colored sand on canvas realized by Irina Zdanko (1905-1999) in the 1930s. Not signed. In Excellent condition, it includes a beautiful contemporary wooden frame. Prov. Priv...

Balcomb Greene Composition, 1936 Signed Balcomb Greene on verso upper stretcher bar Signed on backing board: Balcomb Greene Oil on canvas 30 1/4 x 46 inches Provenance: The artist A...

Antique American modernist abstract pastel and watercolor painting. Signed illegibly. Framed. Image size, 14L x 18H.

Interieur No. II Oil on canvas, 1937 Signed on verso (see photo) nscribed on reverse: Benno 1937 "Interieur" (No. II) 35 x 27 cm 9 rue Compagne Premiere Paris 14e Provenance: Estate of the artist Ruth O'Hara, Lang & O'Hara, New York...

Boris Margo Cave Drama, 1938 Signed and dated lower left Oil on canvas 22 x 30 inches Best known as a painter of surrealist imagery, Boris Margo was born in Wolotschisk, Ukraine, i...

This is a Autograph Letter Signed by Alberto Gerardi to the Countess Pecci-Blunt. Rome, December 9th (1939-40). One page, single-sinded. In Italian. Excellent condition, including original envelope. Perfectly readable, thanks to an elegant calligraphy. The Italian artist writes this letter to his mentor and patron of arts, the Countess Anna Laetitia Pecci-Blunt, to inform her he was sending her two artworks she was interested in (a drawing representing a study of hands and a little wax model called Santa Teresa del Bambino Gesù...

This is a Autograph Letter Signed by Jean Dubuffet and addressed to Nesto Jacometti. Vence, November 28th, 1957. One page, single-sided. On watermarked paper. In French. excellent c...

Antique modernist tropical street scene oil painting. Oil on canvas, lain to board. Signed. Framed. Measuring 25 by 26 inches overall and 23.5 by 24 painting alone.

Gerardi's Artworks purchased by the Countess is the main content of this Autograph Letter Signed by Alberto Gerardi to the Countess Pecci-Blunt. Rome, September 17th 1939. One page, single-sinded. In Italian. Excellent condition, including original envelope. Perfectly readable, thanks to an elegant calligraphy. Touching letter addressed to the Countess and patron of arts, thanking for her purchase proposal of a hand study drawing...

A rare visionary sand painting by Kiowa Peyote Priest, Chief Charging Skunk, housed in a hand carved and painted frame, created by the artist. Works by Chief Charging Skunk are hard...

American modernist still life painting by Konrad Cramer. Konrad Cramer was a German born artist that moved the United States when he met and married American artist Florence Ballin,...

Antique American modernist still life signed oil painting. Oil on canvas, circa 1940. Unframed. Signed. Image size, 30L x 26H

Nice quality modernist painting. Oil on canvas. Framed. Image size, 16L x 12H.

Metchiled Naviasky Refugee from Europe who studied art in England. During the war she became picture editor of famous magazine PIcture Post. Later she taught mysticism in art at t...

Antique American modernist surreal oil painting. Oil on canvas. Framed. Signed illegibly.

American artist Walter Quirt painted this modernist non objective geometric abstract oil color field during the WPA era in the 1930s. Abstraction, 12 x 16 inches. Oil on canvas. Sig...

Untitled (Fabric Design) Annotated on the verso with the studio address of the artist Signed in ink lower right corner: “Marguerite Gross” Gouache on heavy paper, 1930-1939 In 1930 ...

Study for Mid-Manhattan II Oil and graphite on paper, mounted to board, 1932 Signed by the artist in pencil lower right Sight size: 8 1/2 x 7 inches One of a series of studies for th...

Rolph Scarlett (Canadian/American, 1889 - 1984) “Geometric Composition” Signed lower right, circa late 1930’s early 1940’s 19 ½ x 26 inches Mixed media, Price on request About Rolph Scarlett was a painter of geometric and linear forms, an industrial designer, and a pioneer in helping establish non-objective art as an aesthetic in America. He also worked in an abstract art style during the American avant-garde movement which extended into the 1940s. He was born in Guelph, Ontario, Canada and travelled to New York City as an 18-year-old. By 1924 he made New York City his home. In 1939, Scarlett was one of the founding members and forces which steered the development of the Museum of Non-Objective Painting in New York. (later, the Solomon R. Guggenheim Museum). Guggenheim was the sponsor behind the Avant Garde and pioneering, philosophy of Baroness Hilla Rebay who founded the early museum. She was both the founding curator and director of the museum, as well as an abstract artist. She encouraged and worked with Scarlett in the early museum years, together promoting the concepts of non-objective painting. In Scarlett’s aesthetic these where geometric elements intuitively placed in non-descript flat and three-dimensional space. Any discussion of the history of the Guggenheim Museum must include four key figures: Hilla Rebay (1890-1967), Wassily Kandinsky (1866-1944), Rudolf Bauer (1889-1953), and Rolf Scarlett...

Jim’s of Lambertville is proud to offer this artwork by: Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...

"Cellar with Horseshoe" WPA American Scene Modernism 20th Century NYC Industrial Joseph Solman (1909-2008) "Cellar with Horseshoe," 16 x 20 inches, oil on canvas circa 1938, initial...

William Baziotes (1912 - 1963) Untitled, circa 1935-1940 Oil on board 14 x 19 3/4 inches Illegible Inscription present to the verso Provenance: Previously from the estate of Consta...

This is a Letter of Thanks Signed by the Italian artist Alberto Gerardi to the Countess Pecci-Blunt. Rome, April 6th. Around 1938. One page, single-sinded. In Italian. Excellent con...

A beautifully painted Art Deco period oil painting by highly acclaimed American Artist Burr Singer 1912-1992 . Oil on canvas dating to the 1930s . Very good condition. Signed. Di...

Professor George De Goya. PhD. MA. FRSA. Born In Budapest, 1915-1992, related to the Spanish artist Goya on his mother’s side. Educated in Budapest and France where he received a de...

WALTER WELLENSTEIN 1898 Dortmund - 1970 Berlin Pineapple and apples on a table (1933) Oil on panel. 61x65 cm (F. 61 x 65 cm). Signed and dated. signed top right Walter Wellen...

Work is matted but not framed. Painter, Designer, Illustrator born on July 18, 1903 in Warren Arkansas. Studied at the Chicago Art Institute; Northwestern University; Vienne, Austria; with Eliot O’Hara and Hubert Ropp. Member of the following organizations: Dallas Art Association; Texas Fine Arts Association; National Association of Watercolor Artists; and the Texas watercolor Society. Smith exhibited at: American Watercolor Society in 1945, 1948 and 1952; with National Assn. of Watercolor Artists in 1945, 1946, and 1948; Artists Alliance in Dallas in 1943 (awarded prize), in 1944 (awarded prize), in 1945-46 and 1948-1950, 1952-53 with prizes awarded in 1948 and 1953; the Texas General Exhibition from 1943 through 1946, 1948-49; with the Texas Watercolor Society from 1950-52 with prizes won in 1950 and 1951, 1957; with the Southern States Arts League in 1944 and 1945; Texas Fine Arts Association in 1945 and awarded prize and with the Texas Artist Group consecutively from 1945.Smith’s work is in the collection of the Dallas Museum of Fine Arts. Her one-man shows were in Austin, Texas in 1948; in San Antonio in 1951 and Dallas in 1951. Smith’s work is in the collection of the Dallas Museum of Fine Arts. Original pastel and gouache on paper by Robin Artine Smith...

An original gouache painting on board by Benjamin Benno, American (1901 - 1980). By the early 1930s he had established a reputation as a member of the international avant-garde and...

Landscape Benjamin Benno, American (1901–1980) Date: 1937 Oil on board Size: 6.25 x 8.75 in. (15.88 x 22.23 cm) Frame Size: 8.75 x 11 inches

Casting a silhouette against the washed red wall of the building, the figure with a conical gently holds a mandolin while it stares up at the open window above. L’Episoir Benjamin B...

An abstract painting by American artist Benjamin Benno of a faceless floating figure. Abstract Form Benjamin Benno, American (1901–1980) Date: 1933 Oil on canvas, signed and dated u...

An original oil painting by Benjamin Benno, American (1901 - 1980). By the early 1930s he had established a reputation as a member of the international avant-garde and exhibited wit...

The Amazon Benjamin Benno, American (1901–1980) Date: 1938 Oil and montage on canvas, signed and dated lower left Size: 31.75 x 26.13 in. (80.65 x 66.36 cm) Frame Size: 33.5 x 27.5 i...

Set against a deep green background of layered paint and wavy lines, Benjamin Benno’s textured composition features an array of unidentifiable figures of varying sizes and shapes. Th...

A small-scale oil painting by Benjamin Benno, executed in 1934. A large boulder perches precariously on a tiled slab of earth, echoing a sense of stillness. A Rock and a Hard Place...

An original cubist gouache painting by American artist Benjamin Benno. This surreal teal composition does little to resemble anything from its title, i...

An original oil painting on canvas by Benjamin Benno, American (1901 - 1980) measuring 64 x 46 inches, signed and dated lower right and verso. Provenance: O'Hara Gallery, NYC. By th...

Signed lower right Miklos Suba, a Hungarian-born American artist, was a master of Precisionism, a movement that celebrated the clean lines and geometric clarity of industrial landsc...

Fritz Bultman set himself apart from other Abstract Expressionists with his meticulously organized abstract compositions, use of sculpture, and the adoption of collage as a core prac...