1960s Abstract Paintings

This mesmerizing post-cubist and colorist abstract oil on board painting was designed by A. Rigollot (France, 20th Century). Colorist paintings are characterized by intense color use...

George Dannatt (1915-2009) Shoreline No 2 - White, Grey, Pink 1975 Oil on paper Image: 7.60 x 22.5 cm Frame: 31.7 x 36.2 cm Provenance: The George and Ann Dannatt Estate, Th...

Antique American modernist abstract oil painting. Oil on canvas. Framed. Signed. Measuring 48 by 48 inches overall and 40 by 40 painting alone. In excellent original condition. Hands...

Signed lower right, 'Z. Kavin' for Zena Kavin (American, 1912-2003) and dated 1966. Born in Berkeley, California, Zena Kavin studied at the California School of Fine Arts in San Fra...

This Modern painting by Abstract Expressionist painter Stanley Bate features a textured aesthetic and a deep, colorful palette. Deep blue and red is contrasted by a brighter accents ...

Ralph Rosenborg (American, 1913-1992) Mountain Weed with Two Clouds, oil on jute canvas, canvas is hand signed recto and verso, artists label and Snyder Fine Art gallery label, The p...

Antique American modernist cityscape painting by Kamil Kubik. Oil on canvas. Unsigned. Unframed. Image size, 30L x 24H.

An original hard edge abstraction by American artist James Koenig. This work titled "Sun" is part of the Draw Near exhibition currently on view at Benjaman Gallery.

Work on wood

1927 - 2017 Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school she attended the, now, San...

Antique American oil painting by Elaine Crawley. Oil on canvas board. Signed. Framed. Measuring 21 by 25 inches overall and 20 by 24 painting alone.

1968 Oil on canvas, signed and dated « Mathieu 68 » lower right and titled « Sator » on the stretcher. The artwork is accompanied by a certificate by the Association “Archives Jean-M...

An emblematic example of Paul Jenkins mastery. It is not by hazard that Phenomena West Mantle was chosen as the cover of the catalogue for the groundbreaking exhibition "Paul Jenkins...

A modern abstract collage and oil on panel by American artist James Koenig. This Untitled work created in 1969 will be featured in our exhibition "Draw Near" which will run from Mar...

Finely painted bright and brilliant modernist painting. Oil on canvas. Framed. No signature found.

French Surrealist artist, circa 1960’s oil painting on canvas with stuck on magazine art, unframed canvas: 15 x 18 inches provenance: private collection, Paris condition: overall good

Mid Century Modern Abstracted Landscape in Oil on Masonite Bold abstracted landscape by Ray Oakvick (American, 1917-1993). Streaks of reddish brown and white create an abstracted la...

French expressionist artist, circa 1960’s Circle of Bernard Buffet oil painting on board, framed framed: 37.5 x 31 inches board: 32 x 25.5 inches provenance: private collection, Fran...

Ukrainian American abstract painting by Misha Reznikoff (1905 - 1971). Oil on canvas. Signed verso in monogram. Measuring 20.5 by 30.5 inches.

Dynamic late 1960's mixed media abstract geometric collage, with mulberry paper cut into curved and angular shapes and adhered in layers, in a unique color palette of navy blue, dark...

Nicely painted American school abstract geometric oil painting in a period frame. Signed lower right "Flemming" but without an artist determined.

Vintage abstract oil painting. Oil on board. Signed verso. Framed. In excellent original condition. Handsomely framed in a wood molding. Excellent condition, ready to hang and ...

This Modern abstract painting by Stanley Bate features a warm, deep palette of red, yellow, orange, and burnt umber. Thick strokes of paint are layered beneath light white overlappin...

Signed lower right, "Valeur" for Mogens Valeur (Danish, 1927-1999) and dated 1963. A vibrant, Post-Impressionist seascape showing green breakers rolling in towards a sandy shore ben...

Oil on board. Signed. Framed. Image size, 24H x 30L

Waterline Fine Art, Austin, TX is pleased to present the following work: Oil on canvas. Signed verso. Some scratched out, illegible writing in paint and graphite verso, which may ha...

Emory Ladanyi Hungarian, 1902-1986 Thunderous Mixed Media on Canvas Signed Lower Right Inscribed & titled on Verso 40 by 48 in. W/frame 42 by 50 in. Born November 8, 1902 in Kecskemet, Hungary, the child of Mihaly and Maria Ladanyi, Emory Ladanyi moved with his family to Eger, a town famous for its good wine. He studied at the High School of Science and Art. At fifteen, he discovered anatomy in a textbook and began to consider a career in medicine, and was accepted into the Medical School of The University of Budapest to become a medical student. He received his doctoral degree in 1927 and did his residency in dermatology in the largest hospital in Berlin, then one of the most prominent dematology centers of Europe. In Berlin, he was especially impressed by the works of Edvard Munch, forerunner of German Expressionism, who exerted a lasting influence on his work. Following medical residency in Vienna, he was also impressed by the works of Gustav Klimt, Egon Schiele, and Kokoschka. In 1928 he returned to Budapest to continue postgraduate studies, also advancing his art education. His many friends were among the avant-garde poets and writers of that time. In March 1929, he arrived in New York. June of that year, he passed the medical boards, and in September received his license to practice medice in the State of New York. Outside of the medical profession which enabled him the livelihood to continue to paint, he moved exclusively in avant-garde circles of New York City. He was a close friend of the composer Edgar Varese. Others of his circle were poet Kenneth Patchen...

Akira Kito, Japanese, 1925-1994 Diable et Roge Oil on Canvas Titled, signed, and dated 1963 verso Hand signed lower center Dimensions: 32 x 12 3/4 in. (81.3 x 32.4 cm.), Frame: 33 1...

'Abstract, Parchment and Rose' by Kurt Weber, 1963. Musée d'Art Moderne, Paris, Zurich ----- Signed lower right, 'Kurt Weber' for Kurt Oscar Weber (Swiss-American, 1938-2011); addit...

Original oil on canvas abstract painting by the Czech/German artist, Walter Blumel. Signed upper right by the artist and verso as well. Condition is very good. Circa 1965. Overall ...

'The Life-Drawing Class', oil on board, by French (likely) artist M David (circa 1960s). A swirling, colourfully vivacious artwork that is immediately attractive and captivating. A l...

The most significant example of Cremona’s work to come to market in recent memory, this sweeping 1968 abstraction captures the haunting lyricism that defined his mature work. The com...

This Modern painting by Abstract Expressionist Stanley Bate was made with oil on canvas circa 1960. In it, layers of red, yellow, white, and umber paint are expressively applied over...

This vibrant British abstract is by noted artist Peter L Field. Painted circa 1960, the composition in reds has relief sculptural impasto. The red works ...

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

Impactful abstract monotype of abstract figures in black over a bright orange background, circa 1960. Signed lower right. Original artwork on paper displayed on a white mat with a g...

An extra-large red abstract composition that invigorates the bystander with its powerful red and black color play. This oil painting is an exquisite example of a mid-century modern a...

'Abstract in Red' by Carmélio' Rodrigues Cruz, 1966. Brasil, São Paulo Bienniale, MoMA Resende, New York, Chicago ---- Signed twice, verso, 'Carmélio' and 'Carmélio Cruz' for Carmélio' Rodrigues Cruz (Brazilian, born 1924) and dated 1966. Carmélio Rodrigues Cruz first studied art with the Brazilian painter, Jacinto de Souza (1935-1940). In 1944, he was invited to participate in the Sociedade Cearense de Artes Plásticas (SCAP), alongside other Latin American Modernists including Antonio Bandeira...

A wonderful work by the elusive Salvadoran Mauricio Aguilar which is sculptural as well as pictorial. As I hope the video will show, the artwork offers new perpectives when viewed fr...

This original mid-20th century oil painting by acclaimed American modernist Charles Ragland Bunnell (1897–1968) captures an abstracted view of the dramatic mountain landscape near Co...

This vertical format abstract painting by Modernist artist Stanley Bate measures at 26" x 50" framed. The original gold-hued floater frame pulls out the vibrant and warm pops of yell...

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...

Al Dickstein New York school Abstract Geometric work. Came in with small collection of his work including signed letters and a signed card and some monogrammed pieces. Signed and inscribed by artist. Showed at New York's Stable Gallery...

This Modern abstract figurative painting by Stanley Bate features abstracted figures in motion, placed in front of a geometric background with white, maroon, and blue squares tiled n...

Abstract Figural and Pediments - Two Sided Art Mid century figural and architectural painting on paper. Heavy layers of paint with a dog on an abutment and two Japanese wrestlers...

Mid-Century "The Red Village" #50 F Pierre Bosco (Italy/France, 1909-1993) Oil on canvas 12 x 10 inches, frame size “The savage art of Bosco bears its rudeness and its mystery. It ...

A dynamic and boldly imaginative work by celebrated mid-century Denver artist Edward Marecak, "Witches Entrance" is an original abstract painting dating to the 1960s. Rich in color a...

Blue and Black Abstract, Artist signed and dated 1968 Size: 31x36.5 framed 32x37.5 Born in Sloviansk, Ukraine in 1942. A graduate of Kent State University, receiving a B.S. in Art E...

This Modern Abstract Expressionist painting by Stanley Bate is made with oil paint and and lacquer on board. It features light textured and a light blue-grey and yellow palette contrasted by the almost black focal point of the composition. The painting is 14.5" x 19" and measures 16.25" x 20.5" x 2" framed. Signed by the artist in the lower left-hand corner of the painting, it is framed in a floater frame with warm silver face and black sides and is ready to hang. Stanley Bate was born on March 26, 1903 in Nashville, Tennessee. The Bates were an established Tennessee family, in fact, Henry’s brother William Bate was the governor of Tennessee from 1883-1887 and a United States Senator from 1887-1905. Stanley studied art at the Watkins Institute in Nashville. In the 1920’s Bate moved to New York City to study at the Art Students League under Frederick Bridgman. He soon landed a job with Encyclopedia Britannica, and from 1927-1929 served as art editor. From 1929 until his death in 1972, Stanley was a self-employed artist. He taught art classes at both the Art Students League and the Albany Institute of History and Art and brought in extra income by making illustrations for magazines such as “Outdoor Life” and “Popular Science”. On January 27, 1934 Stanley married Emilie Rossel. Emilie had emigrated from Switzerland to New York in 1923. She found work as a governess to Alfred Vanderbilt and later as an executive secretary for Wall Street investment brokers Kahn, Loeb and Co. Emilie met Stanley in New York in the early 1930’s when she attended one of his art exhibitions with a friend. The couple, who had no children, lived on 34th Street in Manhattan. During this period, Bate was producing and exhibiting his art and joined several artists groups. Stanley and Emilie became part of the New York art scene, dining weekly at the Society of Illustrators Clubhouse. Stanley Bate’s time in New York was pivotal in the formation of his painting style. He lived in New York during the inception of one of the most important Modern Art movements, one that helped New York replace Paris as the center of avant-garde art. This movement, which was called the New York School of artists, was later known as Abstract Expressionism. It was comprised of a loosely associated group of vanguard artists working in New York City during the 1940s and 1950s. The New York School was not defined by a specific style, but instead reflected a fusion of European Modernism and American social relevancy that was depicted in many individual styles. Influences of Surrealism, Cubism, and Modernism can be found in their work, along with an interest in experimenting with non-traditional materials and methods. American art was in the forefront of international avant-garde for the first time. Stanley Bate was undoubtedly exposed to the varied styles and techniques that were emerging during the formative years of the New York School. Mark Rothko and Robert Motherwell were formulating their versions of color field paintings. Joseph Cornell was experimenting with assemblages, collage and the use of different types of textured paints. Jackson Pollock was adhering objects such as buttons and coins into his early works, while Louise Nevelson was using found objects. Helen Frankenthaler added sand to her early paintings. The New York School artists were undermining traditional fine art by using mixed media and non-traditional methods. Stanley Bate absorbed these varied influences and soon his early realistic landscapes and still-lifes were replaced with something entirely new. The influence of Cubism, notably the flat shallow space of the picture plane, is obvious in many of Bate’s paintings. Surrealism is evident in Bate’s use of subjects from myth, primitive art and antiquity, along with the Automatism-like line work in his more linear images. The unfettered experimentation of the New York School is everywhere in Stanley Bate’s work. We see nods to color field, collage, the mixing of textures into paint, mixed media, the inclusion of found objects and thick, luscious impasto. Bate was prolific and experimented in various media including oil, watercolor, lithography, silk screen, wood cut, drawing, collage, ceramics and sculpture. Bate is considered a true Modernist. His work is largely abstract, but sometimes figures and buildings are discernable. He frequently mixed paint, sand and glue together to achieve a textured surface, and then scraped and scratched through this layer to expose some of the underpainting below. His sculpture, which is often whimsical, also reflects the non-traditional methods of the New York School. Bate pioneered the use of enamel and copper in his work. The sculptures are not carved or modeled as was done in the past, but instead are built using mixed media and new materials. In addition to the New York School influence, many of Bate’s works exhibit a strong connection to the Spanish school, especially the work of Antonio Tapies and Modesto Cuixart. These artists were both part of an avant-garde group known as Art Informel, the Spanish equivalent of Abstract Expressionism. These artists likewise worked in mixed media and introduced objects and texture into their work. Many of Bate’s subjects and titles relate to Spanish locations and words. It is likely that Stanley spent time in Spain and found inspiration there. By the early 1940s, Stanley and Emilie had started spending weekends in a barn they purchased in Craryville, New York, a few hours north of Manhattan. The barn had no electricity or plumbing, but when the Bates eventually decided to leave New York and live full time in Craryville, they remodeled the barn, putting a gallery downstairs and a studio and living quarters upstairs. Although the Bates moved out of New York City, Stanley remained part of the New York art scene, exhibiting in New York and elsewhere throughout the 50s and 60s. During his lifetime he was represented by the New York galleries Knoedler and Company, Kennedy Galleries, Rose Fried Gallery and Key Gallery, along with Tyringham Gallery located in Tyringham, Massachusetts. Craryville was Stanley’s home until his death on August 21, 1972. Emilie died 1984...

"Annie Nobles Miller" Abstract Florida landscape oil on board painting Hand signed lower left Inscribed on verso St. Lucie County. Measures: Board 24"H x 30"W; Framed - 32"H x 38"W. Annie Miller was a member of the Indian River School of Painting, which was not a formal school but was a group of mostly African-American Florida working class people who wanted to paint. Following is the explanation of that school and its participants. Indian River School is a name applied to Floridian artists in the 1950's and 1960's. They were heavily influenced by nature. Most of the artists in this movement were African American. Their work is characterized by quick strokes and eschews traditional methods of paintings. The main influence for the group was a man named A.E. Backus, a Bohemian white man who mentored the group of young black artists. The group used to congregate in his studio and learnt to paint from 'Beanie' (as he was called) as a way out of their lower class labour jobs. Their work was powerful, dramatic yet captured the serenity and beauty of the Florida Although the exact count of artists mentored by A.E. Backus remains unknown, experts estimate it to be around 20 individuals, many of whom he supported through college. Albert Ernest "Beanie" Backus (1906–1990) was famous for his vivid, naturalist Florida landscapes capturing a fast-vanishing Florida wild lands. Backus would come to be seen as the seminal Florida landscape painter, and others who followed would emulate him. Primarily of the Indian River and Everglades areas of Florida. Backus was a Native Floridian artist of great importance recreating scenes of Florida's sky, rivers, ocean, back country, unpredictable weather, clouds, and birds. Born in Fort Pierce, FL to a family of talented boat designers and builders. His "Uncle" Reg Goodwin helped Backus as a young painter go to the Parsons School of Fine Art in New York in 1924. He was referred to as “Florida’s painter laureate,” and the “Dean of Florida’s landscape painters.”In addition to his influence on the Florida Highwaymen painters (Alfred Hair...

Jenner Augusto da Silveira Brazilian, 1924-2003 Abstract Oil on canvas 27 ½ by 35 ½ in. W/frame 29 by 37 in. Signed and dated "Jenner Augusto 1962" in lower right Jenner Augusto da Silveira (Aracaju SE 1924 - Salvador BA 2003). Painter, cartazista, illustrator, designer, writer. Reside in several cities of Sergipe. The Lizard city holds posters for the local cinema. In Orange, around 1940, studying painting of Horace Time . Returns to live in Singapore in 1944, when it dedicated to painting and works in trade. In 1949, conducts free panels in modernist style to the decor of the Bar Cacique. In 1949, he moved to Salvador, and works as an assistant in the studio of Mario Cravo...

Ralph Rosenborg (American, 1913-1992) "American Landscape, Sky and Shore, 1973" Oil on canvas. Signed 'Rosenborg' (lower right). Titled (verso). 30 x 40 in Ralph Rosenborg (1913–199...

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

Large American modernist abstract oil painting. Framed. Oil on canvas. Signed. Image size, 50H by 40L.

SALE ONE WEEK ONLY This abstract acrylic work by Max Günther is an exquisite example of his abstract cityscape work. A preferred subject of Günther's, his work took cityscape shapes...

Nicely painted American school abstract expressionist painting. Oil on canvas. Framed. Signed verso. Measuring 30 by 30 overall and 24 by 24 painting alone.

Al Dickstein New York school Abstract Geometric work. Came in with small collection of his work including signed letters and a signeed card and some monogrammed pieces.. Signed with monogram and inscribed and signed verso. Showed at New York's Stable Gallery...

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

Jay Milder (American, 1934-) Oil painting on Canvas Hand signed lower right Dated 1960 This is being sold unframed Abstract with letters and calligraphy, Homage to Cy Twombly. Jay ...

This Modern Abstract Expressionist painting by Stanley Bate is made with oil paint on board and features an earth-toned palette. The artist layers paint on the canvas, creating texture among softly blended muted green and umber colors in a highly abstract composition. The painting itself is 43.5" x 24" and measures 44" x 24.5" x 2" framed. It is signed by the artist in the lower right-hand corner of the painting and is framed in a very thin, off-white floater frame. It is ready to hang. Stanley Bate was born on March 26, 1903 in Nashville, Tennessee. The Bates were an established Tennessee family, in fact, Henry’s brother William Bate was the governor of Tennessee from 1883-1887 and a United States Senator from 1887-1905. Stanley studied art at the Watkins Institute in Nashville. In the 1920’s Bate moved to New York City to study at the Art Students League under Frederick Bridgman. He soon landed a job with Encyclopedia Britannica, and from 1927-1929 served as art editor. From 1929 until his death in 1972, Stanley was a self-employed artist. He taught art classes at both the Art Students League and the Albany Institute of History and Art and brought in extra income by making illustrations for magazines such as “Outdoor Life” and “Popular Science”. On January 27, 1934 Stanley married Emilie Rossel. Emilie had emigrated from Switzerland to New York in 1923. She found work as a governess to Alfred Vanderbilt and later as an executive secretary for Wall Street investment brokers Kahn, Loeb and Co. Emilie met Stanley in New York in the early 1930’s when she attended one of his art exhibitions with a friend. The couple, who had no children, lived on 34th Street in Manhattan. During this period, Bate was producing and exhibiting his art and joined several artists groups. Stanley and Emilie became part of the New York art scene, dining weekly at the Society of Illustrators Clubhouse. Stanley Bate’s time in New York was pivotal in the formation of his painting style. He lived in New York during the inception of one of the most important Modern Art movements, one that helped New York replace Paris as the center of avant-garde art. This movement, which was called the New York School...