American Contemporary Art

"Follow The Leader," a large framed blue oil and acrylic painting by Renée Rey, shows that the connection between nature, technology and people are paramount...

An iconic black and white photography by Barbara Morgan (American, 1900-1992) of "Martha Graham, Letter to the World". The photo was originally tak...

Born in Santa Cruz, California, KC Haxton traveled the country with his family, gathering experiences that shaped his unique view of the world at a young age, never living in one pla...

Jennifer Gibbs draws artistic inspiration primarily from meditation and nature. Her extensive body of work ranges from abstract expressionism to delicate botanicals to her charcoal l...

Prominent 1980s reversible LUNCH sign in a unique and bold blue base color with white font and borders. The reverse side features colorful flowers and the w...

Abstract Painting by Eugene Kloszewski, circa 1950's. Kloszewski worked with and was personal friends with Josef Albers. These works were purchased from Kloszewski's widow.

A framed black and white street photograph by Vivian Maier (American, 1926-2009), untitled and undated (circa 1950s), This is a gelatin silver print print...

Group of sixteen black-and-white prints after Sol LeWitt, from the limited edition folio "Black Gouaches," published by Stephan Natkin/Galerie Digital Arts, France, circa 1992. They ...

Selection of large-scale abstract paintings, artist unknown, probably American, circa 1960s. They have been framed in clean lined white lacquered gallery frames under UV resistant gl...

Richly layered collage on a vintage tin game board having a masculine combination of leather book bindings, text from Shakespeare plays, and decorative...

A framed photograph by Chinese American photographer Don Hong-Oai (1929-2004) "The Intimate Shadow", a composed landscape photograph taken in Quilin, the world-famous scenic area in China. Signed with title, inscription of location and dated on the top -left, red sealed on the lower right corner and signed and dated 1982 lower left on the mat. The photograph depicts an idyllic scenery on Li-river with the karst peak in the misty background, where a fishing boat floats. The work was created with dark room manipulation to echo the traditional chines ink painting that showcase a surreal ambience. The photograph is housed in the original artist's archive metal frame with an old print of the artist's bio and copyright mark on the back. It was purchased directly from the artist's studio. Sight Approximately 13.625" w x 10.125" h. Don Hong-Oai was born in Canton, China but raised and educated in Saigon, Vietnam. At age 13 he began an apprenticeship at a Chinese photo and portrait shop. In 1979 he immigrated to the United States and settled in the Chinatown of San Francisco. Don began making a living by selling his landscape photographs in front of Macy’s and began to receive recognition for his craftsmanship. His style was heavily influenced by the legendary photographer Long Chin-San and his technique of layering negatives for ideal composition, by taking three negatives, foreground, middle ground, and far ground, and selecting a subject from each negative. The photographs of Don Hong-Oai are made in a unique style, which can be considered Asian pictorialism. This method of adapting a Western art for Eastern purposes probably originated in the 1940s in Hong Kong. One of its best-known practitioners was the great master Long Chin-San (who died in the 1990s at the age of 104) with whom Don Hong-Oai studied. With the delicate beauty and traditional motifs of Chinese painting (birds, boats, mountains, etc.) in mind, photographers of this school used more than one negative to create a beautiful picture, often using visual allegories. Realism was not a goal. Don Hong-Oai was one of the last photographers to work in this manner. He is also arguably the best. He has won hundreds...

Henry Moore prints, from the limited edition folio entitled "The Drawings of Henry Moore", published by Curt Valentin, New York, 1946. They have been professionally matted and framed...

A framed black and white street photograph by Vivian Maier (American, 1926-2009), entitled "New York, NY, December 2, 1954", this is a gelatin silver prin...

21st Century Black India Ink Drawings framed in Handmade Steel by Elliot Bergman They are heavily layered and distinctly textured. Bergman utilizes both traditional tools and foun...

Contemporary New York artist Peter Buchman's "Truth be Told" is made of laser cut plexiglass, acrylic medium and enamel on wood. It's a part of his Voice-Over series, in which the ar...

20th Century painting by Joe Boudreau, untitled #2. This untitled work was painted with acrylic, house paint, oil and water colored paint by the late Chic...

Nicely done great colors on this abstract palette framed painting , circa 1980's .

Pair of abstract color lithographs by Joseph Albers from the "Interaction of Color" portfolio, folder number VIII-2, circa 1960s. The price noted below is for the pair of framed works.

Jennifer Gibbs draws artistic inspiration primarily from meditation and nature. Her extensive body of work ranges from abstract expressionism to delicate botanicals to her charcoal l...

Michael Tracy (American/Texas, 1943-2024). Cruz II: Amor XIII-XVII, 1990s Amor Omnia, the artist’s handmade book documenting a performance on Easter Sunday, April 4, 1993 in collab...

Monumental Los Angeles freeway sign from the 90s. Beach Cities sign showing people which way to Manhattan Beach, Redondo Beach and other cities. Reflectiv...

Abstract Painting by Eugene Kloszewski, circa 1950s. Kloszewski worked with and was personal friends with Josef Albers. These works were purchased from Kloszewski's widow.

Contemporary artist Jennifer Printz "Quietus II" series of six prints blends photography, graphite, and Epson Ultrachrome inks on antique papers. The work is matted and framed in wood, protected with anti-static, non-glare Plexiglass glazing. Jennifer Printz, an artist with a love for the poetic, carefully selects titles for her pieces and exhibitions to evoke multiple meanings. One such significant title in her work is "Quietus," symbolizing resolution and rest. She chose this title to reflect the artwork's creation during a sabbatical, a period of rejuvenation and tranquility. "Quietus" also represents her core artistic motivation – emphasizing the importance of stillness and calm in life. In the hustle and bustle of life, we often miss out on essential experiences unless we allow ourselves to be quiet and introspective. Jennifer believes that finding solace is crucial, and she invites viewers to appreciate its significance. Her work provides a meditative space, offering a brief moment of quiet reflection. In 2017, she was interviewed by Jenine Culligan, the director at the Eleanor D. Wilson Museum at Hollins University, where her solo exhibition sabbatical work was titled "An Almost Unnoticed Quietus." This title cleverly connects "quietus" with "almost unnoticed," highlighting the themes of meditation and mindfulness. Through these practices, Jennifer uncovers profound aspects of our world and emotions often overlooked in our hurried lives. Meditation has taught her to appreciate the moments when we are on the verge of giving up, as these are often when unexpected greatness can unfold. Shown in the first photo, from top left to right: Image 3: Unpaused Moment Paper Size: 15” H x 12.5” W / Framed Size: 20” H x 17.5” W Image 4: Lead to Dust Paper Size: 15” H x 12.5” W / Framed Size: 20” H x 17.5” W Image 5: Strata Rises Through Paper Size: 15” H x 12.5” W / Framed Size: 20” H x 17.5” W Image 6: Dark Serenity Paper Size: 15” H x 12.5” W / Framed Size: 20” H x 17.5” W Image 7: A Few Splinters of Time Paper Size: 15” H x 12.5” W / Framed Size: 20” H x 17.5” W Image 8: Sinking Through the Sands...

A framed photograph by Chinese American photographer Don Hong-Oai (1929-2004). Entitled "Three Friends", the work is a sepia toned gelatin silver print. It has inscription of "taken in Beijin in 1985" and with three artist's stamps in red ink. Presented matted and framed under Plexiglas. The sight is 10.5"h x 13.5"w. It is one of the matching pair from an American collection. Don Hong-Oai was born in Canton, China but raised and educated in Saigon, Vietnam. At age 13 he began an apprenticeship at a Chinese photo and portrait shop. In 1979 he immigrated to the United States and settled in the Chinatown of San Francisco. Don began making a living by selling his landscape photographs in front of Macy’s and began to receive recognition for his craftsmanship. His style was heavily influenced by the legendary photographer Long Chin...

Title: Kintsugi Study, #12 (Kazan - volcano), Kintsugi Study, #13 (Fields and Valley), Kinstugi Study, #11 (Crossroads) Year: 2015 Each 23.5-inch square reclaimed ceramic panel has...

Artist: John Patrick Dugdale (New York, b. 1960) Title: Bacchus in Repose Medium: Cyanotype Year: 1997 Edition: number 5/10 Measurement: Sight H 14", W 11"; with artist fame H 19.25"...

A very large and wonderfully detailed screen print by Asian/ Japanese American artist Masami Teraoka titled "New Views of Mt. Fuji: Sinking Pleasure Boat" is based on his original 1976-77 painting by the same name. The print is numbered in pencil at the lower edge (63/75), blind-stamped and dated (1977) at the upper right, sealed by Teraoka with his personal stamps/seals within the image, and likely hand-signed on verso (we have not removed the artwork from the frame but this is most likely the case). The work was printed on Rives BFK paper by Ron McPherson and Julie McPherson, and published by Space Gallery, Los Angeles, CA. Masami Teraoka has had over 70 solo exhibitions and he has twice been honored by the American Academy of Arts and Letters in New York. He has also received two fellowships from the National Endowment for the Arts. His works can be found in collections and museums around the world including: The Fine Arts Museums of San Francisco; the Asian Art Museum of San Francisco; the Smithsonian American Art Museum, Washington D. C.; the Honolulu Museum of Art, Hawaii; the Los Angeles County Museum of Art; the Metropolitan Museum of Art, New York; the National Portrait Gallery, Washington D. C.; Tate Modern, London, England; the Queensland Art Gallery/GOMA, Brisbane, Australia; the Gallery of Modern Art, Glasgow, Scotland and the Singapore Art...

“Smoking in Venice” 2003 by Stephen Elledge is a limited edition (10 total) direct print on aluminum backing.

Bruce Dorfman Arezzo mixed-media collage painting *Bruce Dorfman has had fifty-six solo exhibitions in New York, the United States and abroad. His most recent exhibitions include: ...

Suite of photographs of Georgia O'Keefe by Malcolm Varon, American, circa 1980s. They are from the limited edition portfolio "O'Keefe At Ninety". These photographs are in numerous mu...

Amazing vintage metal Brutalist nail sunburst, starburst wall art. In the style of Silas Seandel, Curtis Jere. Great mid century modern piece.

Alex Kosta metal decorative signed and dated wall Sculpture title weekend scramble 73

La Barre Haute, 2001 by Daniel Buren (b. 1938). Painted wood. Edition of 25 different colors by Schellmann Art, Munich/ New York. Each work is unique in color. Provenance...

A wonderful cast ceramic wall plaque of a mythical Celtic beast, by Jim Meredith Studios, late 20th century. The plaque, imitating ancient carved stone...

Large-scale abstract painting, American, circa 1960s. It measures an impressive 50.25" height x 42" width. This piece is currently unframed. If you prefer a black gallery frame (as s...

This vintage modernist serigraph on canvas is by Jillian Field (American, 1950–1997), a celebrated artist known for her striking landscapes and refined stencil printing techniques. Born in Chicago, Illinois, and later residing in Squaw Valley, California, Field began her artistic journey at just five years old. She went on to earn a Fine Arts degree from the University of Illinois and gained recognition throughout California for her serigraphs, which were exhibited and sold in galleries across the state. Her work is admired for its simplicity, depth, and ability to capture beauty through one- and two-color compositions. Details Artist: Jillian Field Medium: Serigraph on Canvas Style: Modernist / Mid-Century Modern Color Palette: Tan, sienna, and brown Dimensions: 55" H x 38.5" W A striking piece of MCM wall art...

Pair of Larry Zox silksceens signed and each numbered 54/75 giltwood frames size of top silkscreen H 28.75 x W24 x W 1.5.

Gerson Leiber "A Concise View of the North Fork" Oil & Graphite on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art cla...

Entitled "Portrait of Me at Twilight", this photograph is by American photographer John Patrick Dugdale (1960-). The self-portrait, a toned cyanot...

Still life painting (Violin, Flowers), Oil on canvas, by Agnes Weinrich, Signed and dated "22", Unframed: 20" x 16", Framed 27.5 x 23". Agnes Weinrich (1873-1946) was an early female, American modernist artist at a time when there was little interest in Modern Art in the USA and when few women were artists. She was a ground breaker in modern art. She was one of the first American artists to make works of art that were modernist, abstract, and influenced by the Cubist style. She was also an energetic and effective proponent of modernist art in America, joining with like-minded others to promote experimentation as an alternative to the generally conservative art of their time. Despite the quality of her work and despite the energy and skill with which she worked both to develop her own talent and to further the progressive movement in American art, Weinrich received little recognition during her lifetime and is only recently being recognized for her leadership as an important female artist bringing the modern movement to the USA. The painting shown is an important example of her mature phase of her work. Exhibitions This is a selective list of exhibitions in which she participated during her life. Its main source is Louise Noun's article on Weinrich in Woman's Art Journal, supplemented by contemporary news accounts in The New York Times, the Brooklyn Daily Eagle, the New York Evening Post, The Philadelphia Inquirer, and The Christian Science Monitor. 1915 onward: Provincetown Art Association 1917: Pennsylvania Academy of Fine Arts 1917: Pennsylvania Academy of Fine Arts, Philadelphia 1917-23: Society of Independent Artists, New York 1919: Art Institute of Chicago 1920: Boston Arts Club 1926 onward: New York Society of Women Artists 1928: Grace Horn Gallery, Boston 1929: Pennsylvania Academy of Fine Arts, Philadelphia 1932: Boston Public Library 1936: Harley Perkins Gallery, Boston (solo) 1938: Boston Society of Independent Artists 1938: Washington Public Library, Washington, D.C. 1939: Corcoran Gallery Biennial, Washington, D.C. 1939: Fogg Art Museum Twentieth Century Club, Boston 1939: Witherstine Gallery, Boston 1939: Institute of Modern Art, Boston 1945: Woljeska Gallery, Brooklyn, New York    Detailed Biography: Agnes Weinrich was born in 1873 on a prosperous farm in south east Iowa. Both her father and mother were German immigrants and German was the language spoken at home. Following her mother's death in 1879 she was raised by her father, Christian Weinrich. In 1894, at the age of 59, he retired from farming and moved his household, including his three youngest children—Christian Jr. (24), Agnes (21), and Lena (17), to nearby Burlington, Iowa, where Agnes attended the Burlington Collegiate Institute from which she graduated in 1897.[1][2][3] Christian took Agnes and Lena with him on a trip to Germany in 1899 to reestablish links with their German relatives. When he returned home later that year, he left the two women in Berlin with some of these relatives, and when, soon after his return, he died, they inherited sufficient wealth to live independently for the rest of their lives. Either before or during their trip to Germany Lena had decided to become a musician and while in Berlin studied piano at the Stern Conservatory. On her part, Agnes had determined to be an artist and began studies toward that end at the same time.[1][4] In 1904 the two returned from Berlin and settled for two years in Springfield, Illinois, where Lena taught piano in public schools and Agnes painted in a rented studio. At this time Lena changed her name to Helen. In 1905 they moved to Chicago where Agnes studied at the School of the Art Institute of Chicago under John Vanderpoel, Nellie Walker, and others. In 1909 Agnes and Helen returned to Berlin and traveled from there to Munich, where Agnes studied briefly under Julius Exter, and on to Rome, Florence, and Venice before returning to Chicago.[5] They traveled to Europe for the third, and last, time in 1913, spending a year in Paris. There, they made friends with American artists and musicians who had gathered there around the local art scene. Throughout this period, the work Agnes produced was skillful but unoriginal—drawings, etching, and paintings in the dominant academic and impressionist styles. On her return from Europe in 1914, she continued to study art, during the warm months of the year in Provincetown, Massachusetts,[1] where she was a member of the Provincetown Printers art colony in Massachusetts,[6] and during the colder ones in New York City. In Provincetown she attended classes at Charles Hawthorne's Cape Cod School of Art and in New York, the Art Students League.[ In 1930 Weinrich put together a group show for modernists at the GRD Gallery in New York. The occasion was the first time a group of Provincetown artists exhibited together in New York. For it she selected works by Knaths, Charles Demuth, Oliver Chaffee, Margarite and William Zorach, Jack Tworkov, Janice Biala, Niles Spencer, E. Ambrose Webster, and others. Although she had led a full and productive life devoted to development of her own art and to the advancement of modernism in art, she did not cease to work toward both objectives. She continued to work in oil on canvas and board, pastel and crayon on paper, and woodblock printing. Her output continued to vary in subject matter and treatment. For example, Still Life with Leaves, circa 1930 (oil on canvas, 18 x 24 inches) contains panels of contrasting colors with outlining similar to Knaths's style. Movement in C Minor, circa 1932 (oil on board, 9 x 12 inches) is entirely abstract. It too relates to Knaths's work, both in treatment (again, outlined panels of contrasting colors) and in its apparent relationship to music, something in which Knaths was also interested. Fish Shacks...

Contemporary New York artist Peter Buchman's 'Now Showing' is created using laser-cut plexiglass, acrylic medium, and enamel on wood. It's part of his Voice-Over series, in which the artist gathers linguistic phrases to immortalize the valuable contributions of other cultures to the American Diaspora. To describe Buchman's word paintings as 'A Figure of Speech' is an understatement of the profound soulfulness they embody. They bear the marks of the artist's hand but also carry the collective spirit of those who came before him. These words derive from familiar phrases, music albums, his unique brand of irony, and the very essence of the human form. 'Now Showing' draws inspiration from Film Noir, a genre that held a profound influence on Peter's film and cinematic journey. The strident and punctual dialogue always fascinated him, along with the black and white director's perspectives. As an artist who spent hours drawing and sketching in pencil, the dramatic black and white hardened scenes just gripped him. He wanted smoke and spit and to rough something up. He wanted to emulate those textures, those scenes, that gut reaction with danger but in a poetic sense. The work reflects someone who is under interrogation, spilling their guts out, or just spilling the beans. It's a collection of phrases Peter unearthed or scratched out from movies or vintage pulp...

Abstract charcoal drawing by Miriam Kubach, American, circa 1960s. It is executed on paper and has been professionally framed under UV resistant glass in a clean lined black lacquer ...

A very decorative original oil on canvas painting by American artist, Franklin Cassierra featuring a jazz musician. Franklin Cassierra, (American, Contemporary), New York City Soho street artist, painterly composition of man playing guitar...

A beautifully made acrylic and C-Print Contemporary artwork wall art, No. 22, year 2001, signed and numbered by artist on back as shown in last three images. The C-Print (magenta pin...

Josef Albers abstract lithographs from Formulation and Articulation, published by Harry N. Abrams Inc., New York, and Ives Sillman Inc., New Haven, circa 1972. These works are from P...

A visually arresting photograph by John Patrick Dugdale (American, born 1960-) titled "Stillness of Spirit". Relatively large in print size, the w...

Josef Albers abstract lithograph from Formulation and Articulation, published by Harry N. Abrams Inc., New York, and Ives Sillman Inc., New Haven, circa 1972. These works are from Po...

Contemporary abstract oil on canvas by Chicago based artist Vanessa Navarrete framed in wood white oak frame. It is signed

John Dugdale (American, b. 1960). Turbulent Dream, NYC, 1998. Platinum-palladium print. Image size 8-3/4 x 6-3/4 inches paper size with margins 17 x 14 inches Signed and editi...

-Limited edition Peter Max "Peace on Earth II" mixed media with acrylic painting enhancements on a color lithograph -The art is hand signed by Peter Max in acrylic and the lithograph...

Print of L'Arc de Triomphe wrapped project signed by the artist Christo Javacheff . Sheet: 62 x 71 cm USA 2019.

Original artwork. The art and design continuum of form and space. Hand torn / sculpted canvas, black gesso, thin wood frame.

An iconic image by Pop Art master artist Roy Lichtenstein titled "Haystack #6" from his critically acclaimed, somewhat rare, and now hard-to-find Haystack series. Lichtenstein, inspired by his trip to Paris and viewing of Claude Monet's impressionistic paintings of haystacks, the work, and series is a pop art homage to the French painter. The series of seven "Haystack" prints runs from morning (yellow) to midnight (black, with embossing) each reflecting Monet's changing light effects. This work is a limited edition lithograph with screen printing on Rives BFK white wove paper. It was published by Gemini G.E.L., Los Angeles (with their blind stamps to the lower right margin). The work was done in a limited numbered edition of 100. The work is hand-signed in pencil, dated (1969), and numbered (90/100) by Lichtenstein. This particular work can be found in The Tate Museum, London, UK, The Philadelphia Art Museum...

Jacob Moses Semiatin was born in 1915 in Dublin, Ireland to Polish-Jewish parents, cantor Herman Semiatzky and Sarah Moldovnik. He emigrated with family in 1920 and settled in Brooklyn, NY. First, as Abstract Expressionist, Semiatin exhibited at Contemporary Arts Gallery, in 1957, which also introduced Mark Rothko and Mark Tobey. His work is in the collections of the Houston MoMA and the Irish Jewish Museum, among others, and in private collections such as the Ted Turner...

Pulsating with energy, a vibrant decorative painting on half moon vintage window, inspired by a butterfly atrium at a local nursery. Black and white butterflies are painted front an...

Introducing "CHAMP DE COULEUR" - Our newest limited-release art print series. This first work in the collection is an interplay of colors and geometry. "Champ De Couleur" skillfully ...

Contemporary artist Bonnie Edelman's "Tranquilo Beach Panorama, T&C" (Turks & Caicos) was photographed in 2011 and is part of the Sea Scapes Series. As her most recognized collection...

Contemporary American ceramic artist Richard Hirsch's encaustic "Paintings of Nothing Series" #1, #3, #4, #5, #6 and #7 are made of ceramic raw materials, dry pigment and wax. These ...

Portrait chalk sketch of a nude woman sitting and reclining on a floor. In the manner of Salvador Dali. This piece is composed of bright oranges, yellows and emerald greens with smal...

This Mid-Century Modern wall art is composed of plaster on wood, with welded square nails depicting two figures under a tree, unsigned and framed in a simple wood frame.