Fairfield County - Paintings

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...

Artist: Guy Harvey (1955-) Title: Marlin Catch Year: Circa 2010 Medium: Acrylic on canvas Size: 40 x 30 inches Condition: Excellent Inscription: Signed by t...

Shivani Dugar was born in Calcutta in 1979, and grew up in Bangalore, India. After completing her degree in finance at Georgetown University, Washington D.C. she decided to pursue he...

A native New Yorker, Diane had an earlier career including 17 years as a management consultant to local nonprofits concerned with poverty or disenfranchisement; work in NYC governmen...

In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edwa...

This abstract geometric painting by Ned Martin is made with oil on gallery wrapped canvas and features a cool charcoal grey and metallic silver palette. It is signed by the artist on...

This large horizontal abstract landscape statement painting by Kelly Rossetti features a cool blue palette with deep charcoal and ...

ARTIST STATEMENT: Realism as a style has basically remained unchanged since the Renaissance. Realism as a technique, however, has definitely been altered and heavily influenced by te...

An exquisite and technically superb floral work depicting flowers just laden on a table. By French Academic artist P. FRANC LAMY, it's In nice condition an...

Artist: Ian Hornak (1944-2002) Title: Untitled (Abstract Still Life with Flowers and Fruit) Year: 1963 Medium: Watercolor on heavy archival paper Size: 11.5 x 15 inches Condition: Go...

This abstract fine art mirror by Alina B is made with dichroic film on mirror, and is framed in a champagne-toned frame. The film on the mirror allows for it, and the space it reflec...

These two small framed abstract paintings by Julia Contacessi feature a cool blue-grey palette with a wash of a white accent that flows horizontally through the center of each compos...

IAN HORNAK (1944–2002) Title: Domain of Asmodeus Date: 1985 Medium: Acrylic on double layered Masonite Dimensions: 31 x 37 inches (78.74 x 93.98 cm) Condition: Excellent ...

This 1960s painting by Modernist artist Stanley Bate is an energetic abstract composition with a warm red and orange palette with small pops of bright blue throughout. The painting i...

This abstracted landscape painting by Molly Doe Wensberg features a cool blue, green, and yellow palette and captures a landscape scene with lush fo...

Taste Sweet Revenge Ryan Cronin Oil Paint on Board 48" x 48" When people look at his work Cronin wants them to feel an immediate impact, even if they’re not sure what hit them. The ...

Artist: Shimshon Holzman (1907-1986) Title: Untitled (Cafe Interior) Year: 1962 Medium: Watercolor and graphite on wove paper Size: 27.75 x 19.75 inches ...

A walk through any major museum will reveal paintings that depict or legitimate only certain kinds of experience. Despite the good intentions of critical theorists questioning the va...

IAN HORNAK (1944–2002) Title: Last Song: Beim Schlafengehen (Going to Sleep) Date: 1985–2001 Medium: Acrylic on Canvas, with Artist Painted Frame Dimensions: 47 x 59 inches (...

IAN HORNAK (1944–2002) Title: Last Song: Im Abendrot (In Evening’s Glow) Date: 1985–2001 Medium: Acrylic on Canvas, with Artist Painted Frame Dimensions: 47 x 59 inches (119....

Donald Martiny’s signature work is composed of dispersed pigment on aluminum. He creates immediately frozen brushstrokes that are made from his own movements. They are defined by the...

This marvelous, colorful and light filled work is a desirable work by the painter. It is in an impressionist style carved and leafed frame. Illustrated in the book by the artist "A...

Steve Baris is interested in the interconnections of the built environment and spatial experience. His artwork is a response to a largely overlooked type of landscape that is emerg...

Pink Lips, Blue Nails Series: Greenwich Oil Enamel Paint on Canvas 40" x 59" I consider each colored dot to be like a person. You and me and everyone. Together we all make up tha...

IAN HORNAK (1944–2002) Title: Light from the Past, 1st version Date: 1985 Medium: Acrylic on double layered Masonite Dimensions: 21.5 x 18 inches (54.61 x 45.72 cm) Conditi...

This Modern Abstract Expressionist painting by Stanley Bate is made with gouache on paper. It features a dark palette, with dark charcoal black tones contrasted by yellow and red accents throughout, and large brush strokes. The painting itself is 16" x 54" and measures 17" x 56" x 2" framed. The paper is mounted on board, framed in a black frame under glass. It is not signed by the artist, but has been authenticated by his estate, and is stamped with the estate seal on the back of the painting, and on the back of the 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 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...

This abstract, contemporary painting by Ned Martin features a light, metallic, and neutral palette. A grid of textured rectangles are patterned together, with varying layers of paint...

Andra Samelson’s work explores the relationship of microcosm and macrocosm, emptiness and form. The imagery in her paintings is often associated with molecular and galactic systems. ...

Artist: Ian Hornak (1944-2002) Title: Untitled (Abstract Garden Still Life with Flowers and Plants) Year: 1963 Medium: Watercolor on heavy archival paper Size: 29.5 x 21 inches Condi...

This abstract statement painting by Kelly Rossetti features a cool palette. Tones of muted blue are layered and washed together in large, expressive strokes, with accents of black, w...

This abstract, contemporary painting by Ned Martin features a light, metallic gold palette. Light rectangles are assembled side-by-side in a grid-like pattern, with textured metallic...

Conceived of as one half of a diptych, together with Twelfth Night Red, the title of this painting suggest a reference to William Shakespeare’s play Twel...

Mary Schiliro's work with acrylic paint on Mylar is process based, and expands the boundaries of painting by exploring new possibilities of presentation. She uses a dipping process w...

This abstract painting features cool grey background and layers of metallic gold throughout. The central abstract form is composed of imperfect shapes placed side by side. The painti...

This contemporary abstract painting by Teodora Guererra features a light, coastal palette of blue, light grey and off-white. The artist applies thick layers of oil paint in sweeping, horizontal gestures to create a thick, textured surface. The painting is made on gallery wrapped canvas and is wired and ready to hang. Signed by the artist on the back of the canvas. Teodora Guererra’s abstract artistic vision has evolved throughout her years spent painting and teaching in Fairfield County, Connecticut; Tucson, Arizona, and upstate New York. Arizona’s naturally radiant landscape and arid climate led her to experiment with rich under-painting and vivid color; while the shifting seasons of the East Coast inspired Guererra to pursue dripping and staining techniques. Her focus has always been pushing the limits through experimentation with new materials. “As an artist, painting can be tormenting and sublime at the same time," the artist says of her work. "I'm a big risk taker, experimenting with different materials to layer, stain and saturate color on large canvases. My most successful work looks as if it happened all at once. It sometimes takes 7 or more paintings to produce a successful one and then it's a beautiful thing." Guererra received her undergraduate and graduate Art degrees from Southern Connecticut University, The College of Saint Rose and Skidmore College. Guererra’s paintings can be found in public and private collections across the U.S., including the Allmen Health and Wellness Center for Women in New York and SUNY Brockport, NY, William & Sonoma, San Francisco, CA. Her influences are Pat Steir, John McCracken, Helen Frankenthaler, Donald Jud, Bernar Venet, Agnes Martin and Brian Rutenberg...

American, b. 1934 Born in 1934 in Brooklyn, New York, Ira Barkoff’s paintings feature empty, Zen-like landscapes whose stillness reflects a location’s essence. Barkoff seeks to “por...

This abstract geometric painting by Ned Martin is made with oil on aluminum and board, and features a cool blue-grey palette. It is signed by the artist on the back of the board and ...

Artist: Lowell Nesbitt (1933-1993) Title: X-Ray Series (with Lily) Year: 1964 Medium: Oil on canvas Size: 44 x 36 inches Inscription: Signed, dated by the artist, verso Notes: Lowell...

Series: Pop Oil Enamel Paint on Canvas I consider each colored dot to be like a person. You and me and everyone. Together we all make up that image shown. You will notice that in my...

This large abstract statement painting by Julia Contacessi is made with acrylic on gallery-wrapped canvas. It features a cool blue and warm violet palette, and is fluid in compositio...

Elizabeth Higgins Biography b. 1960 Elizabeth Higgins describes herself as an abstract figurative and landscape painter. Everything around her serves as a potential subject, an insp...

About the artist: As an American artist, Wright’s travels have taken him to paint and/or teach throughout the United States and visiting over a dozen National Park sites in addition...

This abstract painting by Sofie Swann features a warm, bright orange palette with varying sizes of circular shapes layered over a imperfect white and gold vertical lines. This painti...

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 ...

This abstract painting by Teodora Guererra features a deep green and light pink palette. The artist layers thick strokes of paint using a palette knife in broad, horizontal sweeping ...

Oil on panel WEIR FARM Series: “[This] series runs the full range from natural to post-impressionism, yet always having the themes of the American pictorial sense of place with an a...

These paintings and drawings are based on a structure of repetitive and deliberate gesture that is intuitive but carefully considered. Emily Berger brushes, wipes, rubs, and scrapes...

This abstract geometric painting by Ned Martin is made with oil on aluminum and board, and features a cool blue-grey palette. It is signed by the artist on the back of the board and ...

CANTICLES Series: “[These] are my Chants, my sacred songs of contemplation about my experience in painting the mystery within the Tidepools. These works have been inspired by my walk...

This original abstracted landscape statement oil painting by artist Bri Custer features a blue palette with vibrant yellow and green accents throughout. The artist applies thick, loo...

This abstract painting by Teodora Guererra features a metallic silver palette. The paint is layered thickly on canvas in wide, gestural strokes, creating a highly textured surface. I...

OCBLK009102723 Oil, bitumen, graphite, marble powder, burlap on canvas 72" X 60" I am a visual artist whose work investigates small and large -scale abstraction primarily in the med...

In 1968, a review in the New York Times referred to Inukai’s paintings as “Very pure”. This fresh, graphic work features a single color with bands around the edges that are truly int...

This contemporary abstract painting by Teodora Guererra features a light, cream, yellow, and off-white palette. The artist applies thick layers of oil paint in sweeping, horizontal s...

TIDEPOOLS Series: “[This series] is an ever-changing fluid eco-world that is filled with life. I can not help but reflect upon these tiny systems, a microcosm of the larger cycle of ...

Series: Pop Oil Enamel Paint on Canvas I consider each colored dot to be like a person. You and me and everyone. Together we all make up that image shown. You will notice that in my...

Oil on panel Compline Series: Compline is a recent piece, a work honoring New England. It is a culmination of what I developed and experienced from those decades painting and trekki...

This Modern Abstract Expressionist painting by Stanley Bate is made with oil paint on canvas. It features a muted, earth-toned palette with contrasting warm yellow, orange, and red accents throughout. The painting is framed in a floater frame with gold face and black sides. It is 22" x 36" and measures 24" x 38" x 2" framed. This painting is not signed by the artist, but has been authenticated by his estate. It is stamped with the estate seal on the back of the painting, and on the back of the frame. 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...

Johann Berthelsen and one of New York city’s best known artists along with Guy Wiggins, depicting the streets, parks and skyline of New York. This is a romantic and atmospheric work ...

Naohiko Inukai’s Yellow Diamond displays the artist’s refined, classic approach to painting. The beauty of this piece is in the lines of light lavender, red, white, and black that t...