Florida - Abstract Paintings

Carol Jablonsky (1939-1992) Acrylic on canvas painting with collage titled verso "Letter in a Bottle" 17 X 17 framed 10.5 X 10.5 sight The image is whimsical and rather mysterious,...

This is a vibrant and richly textured original painting titled "Forgotten Brushes" by visionary artist Serg Graff, created in 2021. Executed in acrylic and mixed media on canvas, the...

Italian painter Andrea Gallotti’s practice is rooted in the quiet rigor of repetition, a deliberate return to a gesture so simple it borders on the childlike, yet so subtle that its ...

Yuri Larin (1936-2014). Landscape, 1986. Watercolor on paper, 16.5 x 18 inches. Mounted on cardboard sheet measuring 24 x 28 inches. Signed and dated lower ...

Traces of lived experiences appear in On Hansen's works, exploring the possibilities of formal abstraction and seeking an organic experience between space and time through painting a...

Hidden Memories 60 X 48 is acrylic on canvas with rocks, shells, glass and fuchite. Nancy Seibert began her art studies in Washington D.C. at George Washington University...

acrylic painting Born in Badalona (Barcelona). Photographer and advertising film director. Founding partner of the advertising production company La Cosa de las Peliculas: He has d...

Born in Havana, Cuba, in the late 70s during a well-documented time of religious and political oppression, abstract expressionist artist Mirtha Moreno, immigrated to the United State...

Post Dogmatist Painting on Panel, signed verso Art is 11 x 14 with frame approximately 12.5 x 15.5 ready to hang Cecil Touchon Born 1956 Austin, Texas is a contemporary American col...

A sophisticated industrial inspired mixed media painting by world renowned artist, Andre Kohn. It is on museum gallery wrap canvas and comprised of layered photographs, wax, charcoal...

"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...

Expressionist Abstract Composition With Orange and Blue Colors Canvas size 24"x32" gold leaf frame 27"x35", signed lower right corner. Sandro von Lorsch German painter born 1921-19...

Cactus Landscape, ca. 1975-80. Gouache on Arches rag paper, Sheet measures 23 x 30 inches. Image measures 22 x 29 inches. Signed lower left. Excellent condition. Unframed.

James Brooks (1906-1992). Plantlike, c.1945. Oil on canvas measures 18 x 24 inches; 24 x 30 inches in a painted wood frame of the period. Signed "J. David Brooks" lower right, Signed...

This mesmerizing original painting by Boston-based artist Serg Graff invites the viewer into a swirling dreamscape of mystical symbols and mythic energy. Ti...

James Floyd Clymer (1893-1982), ca.1930. Watercolor and pencil on paper measures 14 x 20 inches. Signed lower margin. James Floyd Clymer ( 1893-1982 ) known for his Regionalist st...

Judi Rotenberg (20th century). Winston Flowers, Newbury St. Boston, ca. 1970. Ink and watercolor on Awagami paper, sheet measures 18.5 x 24 inches. Uppe...

Berto Lardera (1911-1989). Collage, 1958. Paper, cardboard, paint. 29 x 40.5 inches; 31.5 x 42 inches framed. Signed and dated lower right. Bears origina...

Post Dogmatist Painting on Panel, signed verso Art is 8 x 8 with frame approximately 9.5 x 9.5 ready to hang Cecil Touchon Born 1956 Austin, Texas is a contemporary American collage...

The Liquied series is inspired by transformation, the speed with which things change, and the material's ability to adapt to its environment. As Zygmunt Bauman describes, liquid life...

Step into a vivid labyrinth of color and imagination with this original work by visionary artist Serg Graff. Titled Kaleidoscope Wishes, this piece is a fantasy abstract composition ...

Traces of lived experiences appear in On Hansen's works, exploring the possibilities of formal abstraction and seeking an organic experience between space and time through painting a...

RETNA (b. 1979) Black on White 5, 2025 Acrylic on Paper 83.50 x 60 in (212.09 x 152.40 cm)

John Hultberg Oil on canvas Panorama of pictures. 1998 Hand signed lower right, J. Hultberg ‘98. Artist, date, and title written on verso. Canvas 25.5”H x 35”W, Frame 26”H x 35.5”...

A canvas collection filled with a special energy for Angelica Tcherassi. Evoking our relationship as souls within this universe, recalling the joy of being at ease and in peace with ...

Yitzhak Amitai (1907-1984). Still Life with Musical Instruments, 1963 Oil on canvas, 14 x 25.5 inches; 18 x 29.5 inches framed. Artist Isaac Amitai was born into a Jewish family ...

Beautiful abstract painting by American artist, James Floyd Clymer (1893-1982). At the Weir Trap, ca. 1930. Watercolor and pencil on paper measures 15 x 20 inches. Signed lower margi...

Dennis Hollingsworth (Spanish/American, b. 1956), "Lil' Franklin," 1997, Oil on canvas, Hand signed on stretcher bar verso, Gallery label verso (Bennett Roberts Fine Art, Los Ange...

Zvi Mairovich. (Poland, Israel 1911-1974) Large abstract harbor scene with boats. Vibrant colors. Oil on canvas. Hand signed lower right. Tel Aviv, Jaffa harbour. Canvas: 35.5 x 47....

Budd Hopkins, American (1931-2011) Strike Red Oil on canvas, 1965, signed 'Hopkins' and dated lower right. Dimensions: 85 x81 in., 86 x 52 in. with frame. Provenance: bears partial label remnant verso from Poindexter Gallery. (a major gallery founded in 1955 in New York City by Elinor Poindexter. The gallery specialized in sculpture, abstract, and figurative art and featured the works of such artists as Richard Diebenkorn, Jules Olitski, Nell Blaine, Al Held, Willem de Kooning, Franz Kline, Earl Kerkam, Milton Resnick and Robert De Niro, among others. Budd Hopkins was one of the leading proponents of the "hard-edge" abstract minimalist school of painting in the 1950s and 1960s, Budd Hopkins (born 1931) created works that show the strong influence of Jackson Pollock and other leading painters of the Abstract Expressionism movement. Hopkins' paintings are now in numerous major collections, including the San Francisco Museum of Art, the Guggenheim Museum in New York, and the Hirshhorn Collection in Washington, DC. Recently, he has also been recognized for his research into the matter of UFOs and one of his books, "The Intruders", printed by Random House, was on the New York Times best-seller list and was the basis for a television show on CBS. Born in 1931, he is a graduate of Linsly Military Institute (now Linsly School) in 1949 and Oberlin College in 1953. He first displayed artistic abilities when, as a child recovering from a long-term illness, he began to create sculptures of ships made out of modeling clay. But it wasn't until he arrive at Oberlin that he made a serious study of art. Later, Hopkins included abstracted figures in his sculptural pieces. While moving away from Abstract Expressionism, Hopkins retained in his work the use of intense colors and hard-edged forms. His works of the 1980s, including Temples and Guardians, featured these "sentinels" who were, according to Hopkins, "participating in a frozen ritual, fixed – absolutely – within a privileged space..." Though Hopkins denied any connection, some critics viewed these ritualistic pieces as an extension of Hopkins' fascination with alien beings. Hopkins viewed his sculpted guardians not as human per se, but as magical, fierce, noble robots of the unconscious. He settled in New York after obtaining his degree and has had a residence there ever since. He and his wife, April Kingsley, and their daughter, Grace, divide their time between their home at Cape Cod, Mass., and that in New York City. In his work, he travels widely. He has exhibited in England, Finland, Italy and Switzerland. In 1963, Hopkins was selected by the Columbia Broadcasting System as one of the 15 painters featured in the network's first television special on American art. In 1958, Art News picked him as one of 12 Americans for exhibition in Spoleto, Italy, in the "Festival of Two Worlds." His brilliance has won him a number of fellowships and awards. In 1972, the West Virginia Arts and Humanities Council awarded him its Commission Prize. In 1976, he received the John Simon Guggenheim Fellowship for Painting and in '79 he received a fellowship from the National Endowment of the Arts. He also won a special project grant from the New York State Council on the Arts in 1982. He was friends with Robert Ryman and many of the other 10th street avant garde artists. He was an original member of March Gallery which showed Alice Baber, Elaine de Kooning, Mark di Suvero, Lester Johnson, Matsumi Kanemitsu. His art has been featured in the Metropolitan Museum of Art, Museum of Modern Art, Bronx Museum of Art, Brooklyn Museum, Whitney Museum, Corcoran Gallery, Guggenheim Museum, Queens Museum in New York, and the Public Library of New York. He was included in Young America 1960: Thirty American Painters Under Thirty-Six buy Lloyd Goodrich at the Whitney Museum of American Art in NYC. Artists included: Sonia Gechtoff, Edward Giobbi, Ron Gorchov, James Harvey, Budd Hopkins, Wolf Kahn, Alex Katz, Robert Natkin, Rudy Pozzatti, Dean Richardson...

Beautiful 1945 painting by American artist, Eve Peri. Watercolor on tissue paper, image measures 18 x 14 inches; 20.5 x 24.5 inches matted behind scratched plexiglass. Artwork and ma...

Rene Marcil: 1917-1993. Very well listed Canadian artist who has auction records as high as $100,000. This fabulous fresh to the market oil painting is either on a thin board or thic...

Walking By The Sea. Artist signed lower right corner, canvas size (31 1/2 x 39 1/4in). Nicola Simbari was born in Italy and grow up in Rome. He studied at the Accademia di Belle Arti di Roma, and in the 1940s he began devoting himself to painting in a studio at Via del Babuino in central Rome. Simbari's early exposure to the architectural world had a lasting impression on his art, as he incorporated geometric forms and architectural structures into almost all of his paintings. He began to develop a distinct style stemming from impressions of life, nature, and the Mediterranean...

The ship itself is detailed with intricate lines and shading, highlighting the structure of the masts, the sails, and the hull. The use of bold colors, particularly the red accents o...

Illumination Nitro-acrylic, acrylic on canvas gallery wrap. Keith Carrington’s experiences have led him to express his talents through the fluid & exacting mediums of watercolor and...

Joseph Kardonne (1911-1985). Night Club New York, ca. 1960s. . Watercolor on paper, sheet measures 8.5 x 12 inches; 11 x 17 in matting. Excellent condition. Born in Newark, New Jer...

This is a unique original oil painting on canvas in a fantasy abstract style by Serg Graff Titled "Galactic Solar Rays". Bright colors and texture make this picture 3D and expressiv...

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...

Isabelle Graham Allison (Reese) (1927-2005). Calla Mayor, Venice ca. 1950s. Oil on canvas measuring 12 x 28 inches; 13 x 29 inches framed. Signed lower right. The artist lived and ...

Original work of the artist RUZ RUZ, Rafael (Barcelona 1956) While contemplating the painting of Ruz, we are inclined to talk about real ‘psychodrama’, in the same sense that Julius ...

The central concept of Larios painting series KHLORIS is based on the idea of ​​the garden as a metaphorical space. Larios seeks to find a certain romantic beauty in the details of n...

This is an expressive original acrylic painting on canvas in a fantasy abstract style by Alan Nolan (American Artist) Titled "Volcanic Eruption" Bright col...

Original oil paint on heavy archival paper abstract by the American artist, Martin Rosenthal. Bold, vibrant colors. Signed lower left by the artist and dated 1964. Condition is very...

Katherine Chang Liu "Chain", Acrylic and collage on paper mounted on board with a Trompe L'oeil 3D effect. contemporary abstract painting Hand signed "Katherine Liu" Dimensions: 37...

Up for sale Original Abstract Acrylic Painting on canvas in a fantasy abstract style. A unique technique, very colorful. An unusual combination of colors, a flow from sharp to soft s...

Joseph Kardonne (1911-1985). Nude Woman, 1945. Gouache on paper, sheet measures 12.5 x 16 inches. Image measures 11.5 x 15 inches. Signed, dated and titled lower left. Unframed. ...

🌿 “Flowering Ivy” – Original Acrylic Painting by Serg Graff 🌿 This unique large acrylic painting on canvas is an intricate and vibrant celebration of nature, bursting with life an...

RUZ, Rafael (Barcelona 1956) While contemplating the painting of Ruz, we are inclined to talk about real ‘psychodrama’, in the same sense that Julius Bissier referred to some of th...

Enrique Climent (1897-1980). Casas de Ibiza, c.1960. Oil and sand on canvas, 35 x 46 inches; 44.5 x 55.5 inches (frame). Signed lower left. Excellent condition with no damage or conservation. Instituo National de Bellas Artes lebel affixed en verso. Biography: Enrique Climent ( Valencia , Spain, 1897- Mexico City , 1980) was a Spanish painter and graphic designer, present in the Spanish Pavilion of the International Exhibition of Paris in 1937 , two of whose works are conserved in the National Museum Art Center Reina Sofía , as part of the collection of the Spanish Museum of Contemporary Art (MEAC). Exiled in Mexico , country in which he died at 83 years of age. He has been associated with the driving group in Spain of the "New Art". Born in a bourgeois family of the Valencian capital, despite paternal opposition, Climent studied at the School of Fine Arts of San Carlos , and with a scholarship received in 1919, traveled to Madrid to complete them in San Fernando . In the capital of Spain he participated in the gathering of Ramón Gómez de la Serna , for whom he illustrated some greguerías , and in the avant-garde activities of the then-called first Escuela de Vallecas , Associated with the Society of Iberian Artists . He also collaborated as an illustrator of Blanco y Negro magazine, 3 and illustrated books by Elena Fortún , Azorín , Juan Manuel Díaz Caneja and Manuel Abril . 3 Before, in 1924 he had been in Paris for two years, where he came to design some stage sets for opera shows. 6 He participated in three of the exhibitions of "Los Ibéricos" (San Sebastián in 1931, Copenhagen in 1932 and Berlin in 1933), as well as in the International Exhibitions of Contemporary Spanish Art in Paris and Venice in 1936. He was one of the Spanish exiles who in 1939 landed in Veracruz , after the crossing of the Sinaia , along with other intellectuals and artists (such as José Moreno Villa , Arturo Souto...

Lorna Marsh (South African, 2004 Horse and Rider Mixed Media on Paper Hand signed and dated Frame: 25" X 32.5" Image: 22.5" X 30.5" Experience the captivating fusion of contemporar...

Acrylic on masonite. This is a pivotal work in deep and radiant cobalt blue from 1950. It dipicts calligraphic and hieroglyph structures over a grid and pyramidal base by the first generation abstract expressionist. Provenance: Skinner: November 13, 1992 [Lot 00219}, The entry in the Skinner catalog indicates that the painting came directly from the artist to the family of the consignor to Skinner. Kaminsky Auctions. There is an unbroken paper trail that traces the ownership of the painting from the current owner, through two auction houses to the artist. Perfect unbroken provenance. Pousette-Dart was among the most inventive of the Abstract Expressionist generation, His uncanny talent was to expand the nature of abstraction and still make each mark each element very much his own; a reflection of what he called   "the concealed power of the spirit," he said, “not of the brute physical form."   His was not aiming for a singular, realized aesthetic formula but to expand the possibilities of painting; the transcendental in painting. Typical of such invention and exploration is this  painting  Untitled 1950 when the artist was only 34 years old and represented by one of the champions of the new American painting, Betty Parsons.  
A banner year for Pousette-Dart, the Museum of Modern Art acquired their first painting by the Minnesota born artist.  He worked on easel size works such as this painting an oil on masonite. At the same time Pousette-Dart was also working on larger scale works such as Path of the Hero, running over ten feet in length now in the collection of the Metropolitan Museum of Art.  Both contain fields of color articulated by a highly sophisticated white hieroglyphic vocabulary. Rather than demonstrate an expressionist sensibility, Pousette-Dart harnesses his more cerebral ideas transforming thick areas of paint into a more refined composition of geometric forms akin to the pattern and forms of say a stained glass window. In a way he is looking back at Fugue, 1940 a black and white composition which makes use of a similar format of painting albeit smaller. Color and form are minimal, but what Pousette-Dart has maximized is the rhythmic and syncopated character of painting casting his ideas into purely symbolic terms that one might link to the pictograms of Adolph Gottlieb. Nonetheless, nature is always at the core of Pousette-Dart’s thinking and dreaming. Here he has transformed the local Ramapo Mountains—where he will eventually move with his family to live and work— into a complex series of articulated fragments linked by style, scale and color.  The painting’s imagery built on two large triangles and reduced to just two colors, cobalt blue and white all outlined in black.  Pousette-Dart symbols stacked in horizontal and vertical rows:  blue is ground, white is language, symbolic of light, consciousness and awareness . The painting maintains a mystical character images compounded that formulate a secret code and linked to the series of white paintings Pousette-Dart authored in the first half of the 1950s. Get up close to the picture and you discover images within images a kind of picture puzzle...

Edward August Landon (1911-1984). Untitled, ca. 1960. Oil on wood panel, 4 x 4 inches. Measures 7 x 7.25 inches framed. Signed lower right. Excellent condition. Minor staining in matting. Birth place: Hartford, CT Death place: Hartford Addresses: NYC, 1947; Weston, VT, 1973 Profession: Printmaker, painter Studied: Hartford Art School; ASL; also with Carlos Merida, Mexico. Exhibited: S. Indp. A., 1940; Nat. Serigraph Soc., 1940-60; Am. Color Print Soc. Ann., 1945-65; Northwest Printmakers Ann., 1950-60; U.S. Info Agency Int. Circulating Exhib., 1952; Boston Printmakers Ann., 1955-70; nationally in print exhibs., since 1941; Doris Meltzer...

Edward Avedisian (American, 1936-2007) Abstract Large Painting Acrylic on panel heavily textured with a 3D effect. Dimensions: 48"h x 75"w Circa late 1970s, early 1980s Provenance: ...

El brote II- original abstract canvas acrylic painting , Rafael (Barcelona 1956) virtual framed While contemplating the painting of Ruz, we are inclined to talk about real ‘psychodr...

Katherine Bowling (American, b. 1955) Oil on spackle on wood 1988 Hand signed, titled and dated verso, Dimensions: 48"h x 48"w Provenance: From an Important Private Collection, NYC; bears gallery label from Blum Helman Gallery, NYC Notes/Literature: Exhibited: "Earth and Sky: Recent Paintings by Katherine Bowling, Joan Nelson and Ellen Phelan", Hood Museum of Art, Dartmouth College 1992 Katherine Bowling (born 1955, Washington, D.C.) is a modernist painter known for her layered landscape paintings that draw inspiration from nature in the Hudson Valley. Katherine Bowling grew up in Tidewater, Virginia. She received her BFA from Virginia Commonwealth University in 1978. Bowling's first New York show, as well as her first solo exhibition, was in 1987. Bowling's works tend to be luminous landscape paintings that often feature woods and fields as well as roads. Many of her paintings are based on her photographs of woods and fields surrounding and in Schoharie County, where she rents a house. As Molly O'Neill notes in an essay on Bowling and her work, this area is "fifty miles northwest of the vistas that inspired the Hudson River School painters in the mid-1800s." Bowling focused in particular on the imagery of roads for the theme of her exhibition at Greenberg Van Doren, Divide. As the title implies, writes Lilly Wei in the exhibition's accompanying catalog, Bowling views the roads as "abstract marks in the landscape that divide and order space." Even with roads she has often traveled, Bowling finds something new on closer inspection that alters her perception of the familiar and mundane. Bowling explains that the roads "function as a metaphor for memory and displacement." In 2001, Bowling exhibited a number of seascape paintings. In her essay on the exhibition, art historian and critic Nancy Princenthal writes that, far from being an aberration from Bowling's typically home-based scenes, the ocean paintings are "a return to childhood memories and life long inclinations. A native of Virginia, she spent her first summers at the Atlantic shore and on the Chesapeake Bay." Primarily, however, Bowling's works focus on capturing the play of light and shadow. Art critic Eleanor Heartney notes that "Her paintings, like those of Monet, Pissarro, and Renoir, focus on the ephemeral moment and the fleeting impression, conjuring the flicker of sunlight through the trees, the shifting shadows of early evening, the reflections of clouds and foliage glancing across the rippling surface of a lake." They have a luminist quality to them. O'Neill argues that Bowling additionally "has an innate sense of abstraction and she ranges happy as an uncaged chicken, pecking elements from the Impressionists' obsession with light; from modern photography; and the drip paintings of Jackson Pollock." Bowling is influenced by the use of light in the paintings of European Romantics such as J. M. W. Turner and John Constable as well as by the later work of George Inness:  Her paintings also recall landscapes by Claude Lorraine, Albert Pinkham Ryder and Camille Corot. Bowling is known for her use of spackle. She uses a long process of layering and sanding to create the "back-lit" effect found in her paintings. First, the paintings begin as a photograph which she typically takes near her rented house in the Hudson Valley. Then, she uses these photographs, which serve as her "preliminary drawings," to aid in the painting process. She also paints from memory and direct observation. Bowling paints on square panels of plywood. Bowling considers rectangular pieces to be too horizontal and rife of implications already of landscapes and horizons. She sometimes paints on one of these square and sometimes paints on several square panels together. The seams between these adjoined panels are left visible. Next, Bowling applies layers of spackle. O'Neill remarks that "Inspired, perhaps, by her day job of painting houses, [Bowling] turned to more industrial media: damp vinyl spackle, a building compound that is applied to wooden panels to create a matte, fresco-like surface. Thinned oil pigments are poured, allowed to dry, and then the Sisyphean task of sanding begins."  Initial layers generally correspond with the color of the light—varying from pinks, golds, blues, and oranges. Through this layering and sanding, she creates a luminous quality in her landscapes. Despite rigorous sanding, air bubbles within the spackle layers are revealed occasionally on the surface. Rather than disguise them, Bowling integrates them. Heartney writes that Bowling "allows these irregularities to become part of the painting so that the viewer's perception of the play of light and shadow across the image cannot be separated from an awareness of surface itself." In later stages of painting, Bowling stands above panels to throw, dribble, and splatter paint with a hair dryer, recalling the techniques of Abstract Expressionist artists such as Jackson Pollock. Awards and honors 1991 National Endowment for the Arts Grant 1989 New York State Foundation for the Arts Fellowship 1988 Mid Atlantic Arts Foundation Fellowship Notable public collections The Metropolitan Museum of Art, New York, NY Brooklyn Museum of Art, New York, NY Mary and Leigh Block Museum of Art, Evanston, IL Phoenix Art Museum, Phoenix, AZ Norton Museum of Art, West Palm Beach, CA Fisher Landau Center, New York, NY Select exhibitions 2025 PS122 Gallery Lower East Side, New York 2022 Katherine Bowling: Trees Winston Wachter Fine Art, New York 2013 Woods, Lovely Dark and Deep. DC Moore Gallery Chelsea NY Featuring: Eric Aho, Milton Avery, Romare Bearden, Dozier Bell, Jake Berthot, Katherine Bowling, Charles Burchfield, Mary Frank, Noriko Furunishi, April Gornik, Marsden Hartley, Daniel Heidkamp, David Hilliard, Mark Innerst, Max Jansons, Sissel Kardel, Whitfield...

Joseph Kardonne (1911-1985). Tugboat, 1939, 9 x 11.25 inches. Ink on paper. Signed, dated and titled lower right. Excellent condition. Born in Newark, New Jersey in 1911, Joe Kardo...

Artists stamp to verso; pictured. Provenance: From the artists estate. Oscar Murillo (Mexican American 1940-2017) was a prominent figure in the 1960s and 1970s Los Angeles art scene...

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 ...

die-cut, lithograph, colored with guoache CASTILLO, Jorge (Pontevedra, 1933). Since childhood, Jorge Castillo is passionate about drawing, and takes only ten years, with crayons, yo...

"Tzadik" A Surrealist oil painting of old mystical Jerusalem with Hebrew calligraphy Sight 13.25" x 19.5" ; frame: 21" x 27.25" David Rakia (1928-2012) was born in Vienna, Austria...