Fernand Léger Abstract Paintings

'Fish, Dove and Musical Instrument', gouache on paper, from the Italian School of artists (circa 1940s). Surely this very attractive piece was inspired by Georges Braque (1882-1963) ...

Ortez (Modernist Family Portrait) is a vibrant 1947 abstract gouache on paper by American artist Lewis Lee Tilley (1921–2005). This dynamic composition captures a family of five seat...

Opper Estate Maroon Abstract c. 1940-1950's Gouache on Paper 15" x 18" Unframed From the estate of Ruth Friedmann Opper & Jerry Opper. Ruth was the daughter of Bauhaus artist, Gustav Friedmann. San Francisco Abstract Expression A free-spirited wave of creative energy swept through the San Francisco art community after World War II. Challenging accepted modes of painting, Abstract Expressionists produced highly experimental works that jolted the public out of its postwar complacency. Abstract Expressionism resulted from a broad collective impulse rather than the inspiration of a small band of New York artists. Documenting the interchanges between the East and West Coasts, she cites areas of mutual influence and shows the impact of San Francisco on the New York School, including artists such as Mark Rothko and Ad Reinhardt. San Francisco's Beat poets...

Flower Abstract by Guy Nicod (French 1923 - 2021) gouache on artist paper, unframed painting : 25 x 19.5 inches stamped verso provenance: artists estate, France condition: very good ...

Mane-Katz (1894-1962) Landscape with palm tree. Gouache on paper, signed lower right. Dimensions: (Frame) H 37.5" x W 31", (Sight) H 24.5" x W 18" Emmanuel Mané-Katz (Hebrew:מאנה כ...

Cubist Portrait by Bernard Labbe (French mid 20th century) original watercolour/ gouache painting on artist paper, unframed size: 10.5 x 7.75 inches condition: very good and ready to...

Gouache on paper, 18 7/8 x 14 3/4 in. Signed (at lower right): Morris; (with monogram, on the back): GLKM [monogram] / 1932 [sic] Executed circa late 1940s A passionate advocate of abstract art during the 1930s and 1940s, George L. K. Morris was active as a painter, sculptor, editor, and critic. An erudite man with an internationalist point of view, Morris eschewed the social, political, and figural concerns that preoccupied so many artists of Depression-era America, believing that painters should focus their attention on the beauty, refinement, and simplicity of pure form instead. His goal, he said, was “to wedge the expression further and further into the confines of the canvas until every shape takes on a spatial meaning” (as quoted in Ward Jackson, “George L. K. Morris: Forty Years of Abstract Art,” Art Journal 32 [Winter 1972–73], p. 150). Born into an affluent family in New York City, Morris was a descendent of General Lewis Morris, a signer of the Declaration of Independence. From 1918 until 1924, he attended the Groton School in Connecticut, studying classics and art. He continued to focus on literature and art while attending Yale University (1924–28), an experience that prepared him well for his future activity as an artist-critic. After graduating in 1928, Morris studied at the Art Students League of New York, working under the realist painters John Sloan and Kenneth Hayes Miller, as well as Jan Matulka, the only modernist on the faculty. In the spring of 1929, Morris traveled to Paris with Albert E. Gallatin, a family friend and fellow painter who introduced him to leading members of the Parisian avant-garde, including Jean Arp, Pablo Picasso, Georges Braque, Jean Hélion, and Piet Mondrian. Morris also took classes at the Académie Moderne, studying under Fernand Léger and Amédée Ozenfant, important exponents of Synthetic Cubism who influenced his aesthetic development. Indeed, after experimenting with the simplified forms of Modernism for a few years, Morris moved on to abstraction by 1934, adopting a hard-edged, geometric approach inspired by Leger’s cubist style and the biomorphic shapes of Arp and Joan Miró. Following his return to New York in 1930, Morris built a white-walled, open-spaced studio (inspired by that of Ozenfant, which had been designed by Le Corbusier) on the grounds of Brockhurst, his parents’ 46-acre estate in Lenox, Massachusetts. In 1935, he married the painter and collagist Estelle “Suzy...

Original oil paint on heavy archival paper abstract by the American artist, Martin Rosenthal. Bold, vibrant colors. Signed lower right by the artist and dated 1965. Condition is goo...

A Surrealist Judaica scene of a bearded man (Rabbi) in a boat with Shabbat candlesticks. Sight size: 17.75" x 22.5". Overall size with frame: 26.5" x31.5" Naftali Bezem (Hebrew: נ...

Original oil paint and gouache on heavy archival textured paper abstract by the American artist, Martin Rosenthal. Bold, vibrant colors. Signed lower right by the artist and dated 1...

Charles Evans (1907-1992) Mediterranean Costal Town, 1932. Gouache and watercolor on paper. Sheet measures 8.5 x 10 inches; mounted in frame measuring 8.5 x 10 inches. Signed and dated lower left. Charles Evans was a modernist known for his abstract style of painting. He studied at New York's Art Students League and Parsons School of Design, and later in Paris with Fernand Lger at the Acadmie Moderne. In 1930, Evans and his wife spent a year living in what was Paul Cezanne's studio in Aix-en-Provence, France. The following year, Evans purchased the old silk mill in New Hope and became involved in the area's modernist movement, joining the Independents in 1932. By 1935, he began to work collaboratively with Louis Stone, whom he had met in 1929 while studying with Hans Hofman in Saint Tropez, and with Charles F. Ramsey, teaching art classes and working on the Cooperative Painting Project. Every week, the three were joined by the abstract painter, Lee Gatch, in discussions at Ledger's Inn in Lambertville. In 1948 Evans co-founded the New Hope Gazette with Walter M. Teller. The same year he created set designs for St. John Terrell's Lambertville Music Circus. He also designed sets for the Bucks County Playhouse and Philadelphia's Playhouse in the Park. He later served as Set Designer for the Fred Miller...

Artist/ School: Jill Jackson (British, contemporary) Title: Abstract Expressionist Painting Medium: gouache on artist paper, unframed Painting : 12 x 16.5 inches Provenance: all...