New York - Paintings

Abstract acrylic painting on canvas with a pastel pink, yellow, and gold palette “The Return of Spring”, painted by Ragellah Rourke in 2019 48 x 36 inches, acrylic on canvas Sides are cleanly painted so additional framing is optional Wire backing for easy hanging Artist signature located on the back This contemporary, abstract painting was created by Hudson Valley based artist, Ragellah Rourke in 2019. Her most recent body of work focuses on relationships between color and space. Elements of symbolism, reminiscent of Gustav Klimt, decorate the composition with abstract markings and calligraphic gestural brushwork. Warm yellow and gold tones with hints of green radiate upwards into a background of pastel pink, recalling the awaking the nature during the beginning of spring. There is wire installed on the back for easy hanging. The painting’s sides are cleanly painted so additional framing is optional. Artist Statement: My paintings are very textural and built up slowly over long periods of time. The surface holds the memory of the painting’s development, all the time looking for clues for what will come next. I look for connections between the forms that develop. They are never something that I logically calculate, but rather a long string of chances, thoughts, and guesses. The appearance and meaning develop throughout the progression of the painting. It is a continuous search for resolution, balance and mystery within the painting. Artist CV: 1963 Born Albany, NY 1998 BA Painting, The University at Albany, State University of New York Residing: East Berne, NY SOLO EXHIBITIONS: 2012 Carrie Haddad...

Cityscape Mid-20th Century Modern Social Realism American Scene Regionalism WPA Samuel Thal (1903 to 1964) "Cityscene" 12 x 16 inches Oil on board, c. 1940s Signed verso Framed: 19...

"Skylover" is a contemporary realist male nude perspective oil painting in a unique wood frame. An ellipse shaped canvas displays a man laying on the ground under the morning sky. Hi...

Nature-Inspired Minimalist Abstract Color Field painting on three wood panels in shades of cool blues and greys. Acrylic on 3 panels, Each panel is 8 x 24 x 2 inches Panels can be oriented or stacked horizontally or vertically, recommended spacing between panels is 1-2 inches Overall measurement for vertical install with 1 inch spacing: 28 x 24 x 2 inches We are amazed by this artist's ability to achieve multiple flawless layers of acrylic paint, wiping it on and off with cotton cloth, to create a subtle yet distinctive woven texture on a smooth surface. The artist's work is inspired by patterns found in nature such as tree rings, rock lines, ethereal horizons, or water ripples. It appears as though a light source is originating behind the panel, glowing softly in a pale, dreamy green palette. This unique surface spreads all the way to the very edge of each panel. The 2 inch deep sides are cleanly painted white for a seamless finish. These panels hang flush to the wall by resting on two nails on either side of the panel, and can be arranged in any number of ways, highlighting the work's sculptural element. Artist's Statement: My paintings merge the detailed textures and colors found in the natural world with the linear and geometric patterns visible in industrial and architectural structures. The interplay of these elements drives the work and provides a platform for constant change and narrative. By simultaneously layering and removing paint with rags instead of brushes, my hand is directly involved with the process. Each piece contains multiple panels that evoke a nuanced and evolving universe. Ginny Fox builds up each non-representational piece with overlapping streaks of paint that frequently span two or three panels. Working with rags instead of brushes, Fox’s hand moves along parallel paths, emergent colors cascading gently towards the edges of the composition's plane. There’s something vaporous to the outer layers of the work, the interwoven strands of color offering glimpses at the painting’s earthy base and hinting at the artist’s gradual process. Having received her education from New York University in the 1970s, Fox has since exhibited throughout the United States, especially in New York City and the northeastern U.S. RESUME Solo Exhibits 2019 Winterscape Soho20 Bushwick, New York 2017 Perpetual Earth Soho20 Bushwick, New York 2015 Intimate Universe Soho20 Chelsea New York...

Hunt Slonem "Red Duet" Bright Orange Bunny Couple A pair of rabbits gestured in black on a bright orange background in a vintage frame Signed, dated, and titled to verso Unframed: 1...

Gouache and graphite on handmade paper. 24 x 18 inches unframed. 28 x 22.25 inches framed. Artist Statement: “As an artist, I find endless possibilities overwhelming and use self-imposed boundaries to focus my work. This often includes some combination of: a literal grid or graphite border, employment of barbecue skewers or wooden chopsticks in lieu of paintbrushes for mark making, use of a monochromatic or limited color palette, and a reliance on shape and pattern to tell a story. Limiting the elements at play adds a measure of gravity to each decision, and every detail about the paper, the viscosity of the paint, micro variations in hues, and even the sharpness of the point on a skewer matters. I’ve found that the more restrictions I put in place when I paint, the freer my work has become, allowing a tension to form between the organic and prescribed. Rather than sketch before starting a new piece, I spend time with the paper and begin to visualize possibilities. From there, I can expand the work incrementally. Whether I’m working in an adapted form of pointillism, playing with opacity and hue, or building patterns through repeating shape, the work evolves in its own time. It is an intentionally open process of discovery that seeks to uncover the greatest potential of the basest elements we have at our disposal”. - Kate Snow

5191 After on American Folk art oil painting of 1st half 18th century painting by Linda Baxter signed and described on verso Oil painting on solid thick wide pine board 17" wide

Favorite Day (Abstracted Moody Landscape in Earth tones) by David Konigsberg 2025, oil on panel, 24 x 32 inches Konigsberg is a conceptual realist who works across media and paintin...

Antique American impressionist flower landscape oil painting by Francis William Loring (1838 - 1905) . Oil on board. Framed. Signed. Measuring: 11 by 16 inches overall, and 5 by 10...

Deborah Zlotsky Three of a kind, 2025 oil on canvas 36 x 30 in.

Winthrop Duthie Turney Pigeon Hill, Rockport Signed lower left Oil on canvas 20 x 24 inches Exhibited New York, National Academy of Design, Artists of America, Sixth Annual Exhibition, 1949. Winthrop Duthie Turney was born in New York City and received his education at the Art Students League. He was affiliated with the Fifteen Gallery...

Trained at the Pennsylvania Academy of Fine Art, Cockrill's approach addresses imagery from Golden children's books with a sense of contemporary irony and humor. Published in "The A...

Gilbert Munger Near Bourron, France, circa 1886 Signed lower left Oil on panel 13 x 18 inches Gilbert Munger was born on April 14, 1837 in Madison, Connecticut. He showed interest ...

Bruce Crane (1857 - 1937) Autumn Landscape Oil on canvas 25 x 30 inches Signed lower right Robert Bruce Crane was an American painter. He joined the Lyme Art Colony in the early 190...

A wonderful composition of one of Slonem's most iconic subjects, Bunnies. This piece depicts a gestural figure of a light yellow bunny on a yellow background with thick use of paint ...

Untitled Blue (Abstract painting) Acrylic on canvas - Unframed. Baribeau constructs his paintings layer upon layer, building color, form and texture into viscous, impasto compositi...

Figurative oil on canvas painting of a young athletic male 24 x 20 inches, 29.5 x 23.5 inches vintage gold painted wood frame signed B. Sargeant in red in upper right hand corner T...

This exquisite early 20th-century oil on panel by Dorothea Sharp captures the timeless and universal bond between mother and child in a tender Impressionist style. Painted circa 1900...

Antique American abstract expressionist oil painting. Oil on canvas. Signed. Measuring 16 by 36 inches.

A modern contemporary color field painting by Edouard D. Louis. Titled Aqua Sunset and housed in a contemporary natural wood frame presentation Measuring 30" (h) x 24" (w) unframed.

Title: Cloud and Wind Medium: Oil on canvas Size: 13.75 x 29.5 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This...

Very well painted period cubist still life. Oil on canvasboard. Framed. No signature found.

Title: Water Reflection - Cyan Medium: Oil on canvas Size: 23 x 23 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Year...

5022 Surreal Abstract set in a brushed aluminum frame Signed P.Russo 1986

Exploring the purity of the feminine form and the drama of French haute couture, artist Cindy Shaoul creates a dialogue between the figurative and the abstract. Her spirited composit...

Gene Hedge Untitled, circa 1955 Oil on canvas 12 1/4 x 15 3/4 inches Provenance Estate of the artist Gene Hedge was born (1928) and raised in rural Indiana. After military service...

Hunt Slonem "All Saints" Purple and Red Diamond Dust Bunny A single bunny gestured in different colors of Diamond Dust in an antique frame Unframed: 10 x 8 inches Framed: 15 x 13 in...

Karl Knaths Abstract Landscape, 1955 Signed lower right; signed and dated on the reverse Oil on canvas 27 x 41 inches Provenance Collection of Marika Herskovic, New Jersey Private C...

Ganymede was a Trojan prince in Greek mythology, known for his compelling beauty. Because of his alluring good looks, Ganymede was abducted by Zeus to serve as cup-bearer in Olympus....

An oil painting of an interior close to the artist's heart; her parents house. The object of focus is the black baby grand piano. A big open win...

5184 Vintage Italian cityscape of colorful houses

Two Small pink roses grace the white background of this canvas. Lucas' studio is surrounded by nature and often paints what grows in her backyard, finding and magnifying beauty all a...

Available at Madelyn Jordon Fine Art. 'Day in Flux' 2025 by Chinese/Canadian artist Yangyang Pan. Oil on canvas, 40 x 54 in. This beautiful abstract-expressionistic landscape paintin...

WIth a passion for restoring historic houses, one of Slonem's properties is in Lousiana, where he now spends a lot of his time painting and picking up inspiration for his pallet. Thi...

A striking fusion of power and abstraction, "Entre Ciel et Terre" by Eric Robitaille captures the raw energy of a charging bull against a dramatic red and white backdrop. With its vibrant palette and expressive textures, this large-scale oil painting embodies movement, resilience, and force—qualities often associated with both the natural world and the financial sphere. The bull, a universal symbol of strength and prosperity, echoes the legendary Wall Street Bull...

Larry Zox Dexter's Choice, State II, ca. 1990 Mixed media, Watercolor pochoir, and Oil stick Wax, Water-Based Crayons, on heavy Arches museum watercolor rag paper with deckled edges ...

Motivated by bold color and fast brushwork, we are moved by the simplicity and thick textured oil paints in these works. Shaoul’s “My Heart Collection” is a vibrant and energetic dis...

6031 Colorful figurative painting of a lower Manhattan street fair Image 10.5x13.5"

JULIE HEDRICK SOLAR WINDS / EKI, (Basque) Sun Goddess, 2021 oil on canvas, triptych 60 x 180 in. 152.4 x 457.2 cm.

An oil painting by Amy Florence (b. 1989, London) of yellow dandelions in a glass vase. The wildflowers glow against a blue backdrop. Painted from direct observation, each flower is ...

Industrial Mural Study, Veterans Memorial Building, Santa Barbara WPA American Joseph Edward Knowles (1907-1980) "Study for Industry Mural, Veterans Memorial Building, Santa Barbara, CA" 19 1/2 x 50 1/2 inches Oil on board, c. 1930s. Estate stamp verso Framed: 27 x 60 inches The completed mural is currently hanging on the wall, part of the building actually, at the Veterans Memorial Building in Santa Barbara. A photo of the work insitu is included in the attached photos. BIO Joseph Edward Knowles was born in Kendall, Montana, on June 15, 1907. He grew up in San Diego, California. At age twenty, two years before the beginning of the Great Depression, he moved north to another town on the coast of California---Santa Barbara. There he began studying fine art at the Santa Barbara School of the Arts* (1927-1930), under the supervision of Frank Morley Fletcher, previously director of the Edinburgh College of Art. Fletcher, who was trained in portraiture, landscape painting, and woodblock* printing, was a great influence on young Knowles. It was there that Knowles learned the art of color woodblock printmaking, a medium in which he showed great skill. Not long after completing his studies with Fletcher, Knowles began teaching art. For a period of thirty years, from 1930 to1960, he taught at the Cate School in Carpinteria, California. In 1934-1935, Knowles traveled throughout Europe, further developing his artistic skills in England, France, and Italy. Upon his return, he continued to teach art at various schools and institutions: Cate School, Crane Country School, extension classes at the University of California at Santa Barbara (UCSB), and at the Santa Barbara Museum of Art (SBMA). Knowles also served as an art education consultant for the County of Santa Barbara. In addition, he was founding co-director and president of the Santa Barbara Fine Arts Institute (1969-1972), which later developed a specialization in photography and became the Brooks Institute of Photography. Knowles died at his home in Santa Barbara on September 8, 1980. Much of Knowles' watercolor work is associated with what has been termed the "California School*," a loose grouping of artists throughout the state that included such figures as Millard Sheets, Phil Dike, Dong Kingman, George Post, and the Santa Barbara painters Dan Lutz and Standish Backus, Jr. The California School artists, including Knowles, were known for their fresh, direct, spontaneous style of watercolor painting. Knowles and other members of the school found inspiration in nature and the built environment alike, emphasizing elements of design in their exuberant, boldly stated, colorful scenes from everyday life. While painting in a representational* manner, Knowles generally avoided photographic realism, preferring subjective interpretation of his subjects. In this, as well as in his experimental approach and vigorous brushwork, he displayed a strongly modern sensibility. Knowles often used the wet-on-wet watercolor technique as he painted seascapes and landscapes, mostly along the California coast. He also employed dry-brush* techniques in many of his paintings, often leaving some of the white of the watercolor paper exposed. Some of the latter depict trees and other forms in a broken and airy manner that recalls Cezanne. Knowles' colored woodblock prints are more reserved and exact in their draftsmanship than his paintings. Spare, clean, lyrical lines are drawn to illustrate floral motifs and boat scenes with a touch of asymmetry conjuring Japanese woodblock prints. His murals from the post-World War II period are considerably more modern in their approach and show an emphasis on design and color. PROFESSIONAL ORGANIZATIONS California Watercolor Society (1940 - 1955) Santa Barbara Art Association (Vice President - 1952) ONE-MAN EXHIBITIONS Golden Gate International Exposition (GGIE) - San Francisco, California San Diego Fine Arts Gallery (SDMA) - San Diego, California Santa Barbara Museum of Art (SBMA) - Santa Barbara, California Cowie Galleries - Los Angeles, California Gallery de Silva - Santa Barbara, California Bradley Galleries - Santa Barbara, California MURALS Westmont College - Ellen Porter Hall Mural - Santa Barbara, California Safeway Grocery (now Vons Grocery on West Victoria Street) - Exterior Tile Mosaic - Santa Barbara, California Santa Barbara Bank & Trust - Interior Mosaic Panels, Santa Barbara, California Santa Barbara Girls Club - Interior Mosaic Mural - Santa Barbara, California Ernest Righetti High School - Mosaic Mural - Santa Maria, California Shell Oil Company - Mosaic Panel - California Beckman Instruments, Corporate Headquarters - Mosaic - Fullerton, California STAINED GLASS WINDOWS, WALLS and PANELS Katherine Thayer Cate Memorial Chapel - Cate School, Carpinteria, California William S. Porter Memorial Chapel - Cottage Hospital, Santa Barbara, California La Rinconada Building - Santa Barbara, California ILLUSTRATIONS "California's Wonderful Corner: True Stories for Children from the History of the Santa Barbara Region," by Walter A. Tompkins (1962 & 1975) China Designs: Two sets of dinnerware for Winfield China...

Antique American school realist fruit still life oil painting. Oil on board. Unsigned. Framed. Image size, 16L x 16H.

Painted en plein air at a vineyard in Siena, a beautiful sunny day enchants the verdures natural vibrance. Centrally, a small house is shadowed by towering trees painted in dark gree...

Sailboat Race Miriam Bromberg Date: circa 1960 Oil on Canvas, signed lower right Size: 24 x 50 in. (60.96 x 127 cm)

4091 Graffiti art oil on artist board displayed in a custom -made wood frame. Signed by S.Mooney 1987. Image size 12H x12W

Vintage fauvist hat still life oil painting. Oil on canvas. Framed. Measuring: 27 by 33 inches overall, and 26 by 32 painting alone.. In excellent original condition. Handsomely fr...

4080 Impressionist style still life on artist board Displayed in a thin black wood frame Image size 12x14" Signed Rovini

A monumental unique painting in four 48 x 48 inch panels by Donald Sultan. Artist: Donald Sultan, American (1951 - ) Title: Two Dog Pass Year: January 12th, 1988 Medium: Tar and L...

Jean Salabet, Impressionism, Paris Street Scene, Oil on Canvas, France, 1954 An oil painting of a Parisian street scene by Spanish-born Juan Bayon Salado, who went by the pseudonym ...

Kenzo's ode to the four seasons was part of his third art exhibition, composed of paintings, sculptures and collages that have already been exhibited in Buenos Aires, Germany and Mor...

All puzzles are cleated 360 degrees on the back and can be hung in any direction - Acrylic, maple and uv resin David E. Peterson. The materials that I use are extremely important...

With layers of bright oils, whisking brush strokes, and thrown paint, Shaoul captures a love story through her paint pallet and abstract expression. The artist explores something new...

Large American impressionist landscape painting of Monument Valley. Oil on canvas. Apparently unsigned. Nicely framed. Image size, 36L x 30H.

Industrial Mid-20th Century WPA Modern Men Working American Scene Social Realism George Pearse Ennis (American, 1884-1936) "Forging a Gun Tube #1...

A whimsical oil painting depicting a park scene in Paris during spring by Luigi Cagliani. As an Italian Impressionist artist, most of Cagliani's works were produced in the first half...

An original modernist oil painting by American female artist Esther Rollick.

David Hare Cronus Asleep in the Cave, 1971 Acrylic on linen 55 x 67 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most afraid of.” No one could accuse David Hare of possessing such fear. Blithely unconcerned with the critics’ judgments, Hare flitted through most of the major art developments of the mid-twentieth century in the United States. He changed mediums several times; just when his fame as a sculptor had reached its apogee about 1960, he switched over to painting. Yet he remained attached to surrealism long after it had fallen out of official favor. “I can’t change what I do in order to fit what would make me popular,” he said. “Not because of moral reasons, but just because I can’t do it; I’m not interested in it.” Hare was born in New York City in 1917; his family was both wealthy and familiar with the world of modern art. Meredith (1870-1932), his father, was a prominent corporate attorney. His mother, Elizabeth Sage Goodwin (1878-1948) was an art collector, a financial backer of the 1913 Armory Show, and a friend of artists such as Constantin Brancusi, Walt Kuhn, and Marcel Duchamp. In the 1920s, the entire family moved to Santa Fe, New Mexico and later to Colorado Springs, in the hope that the change in altitude and climate would help to heal Meredith’s tuberculosis. In Colorado Springs, Elizabeth founded the Fountain Valley School where David attended high school after his father died in 1932. In the western United States, Hare developed a fascination for kachina dolls and other aspects of Native American culture that would become a recurring source of inspiration in his career. After high school, Hare briefly attended Bard College (1936-37) in Annandale-on-Hudson. At a loss as to what to do next, he parlayed his mother’s contacts into opening a commercial photography studio and began dabbling in color photography, still a rarity at the time [Kodachrome was introduced in 1935]. At age 22, Hare had his first solo exhibition at Walker Gallery in New York City; his 30 color photographs included one of President Franklin Roosevelt. As a photographer, Hare experimented with an automatist technique called “heatage” (or “melted negatives”) in which he heated the negative in order to distort the image. Hare described them as “antagonisms of matter.” The final products were usually abstractions tending towards surrealism and similar to processes used by Man Ray, Raoul Ubac, and Wolfgang Paalen. In 1940, Hare moved to Roxbury, CT, where he fraternized with neighboring artists such as Alexander Calder and Arshile Gorky, as well as Yves Tanguy who was married to Hare’s cousin Kay Sage, and the art dealer Julian Levy. The same year, Hare received a commission from the American Museum of Natural History to document the Pueblo Indians. He traveled to Santa Fe and, for several months, he took portrait photographs of members of the Hopi, Navajo, and Zuni tribes that were published in book form in 1941. World War II turned Hare’s life upside down. He became a conduit in the exchange of artistic and intellectual ideas between U.S. artists and the surrealist émigrés fleeing Europe. In 1942, Hare befriended Andre Breton, the principal theorist of surrealism. When Breton wanted to publish a magazine to promote the movement in the United States, he could not serve as an editor because he was a foreign national. Instead, Breton selected Hare to edit the journal, entitled VVV [shorth for “Victory, Victory, Victory”], which ran for four issues (the second and third issues were printed as a single volume) from June 1942 to February 1944. Each edition of VVV focused on “poetry, plastic arts, anthropology, sociology, (and) psychology,” and was extensively illustrated by surrealist artists including Giorgio de Chirico, Roberto Matta, and Yves Tanguy; Max Ernst and Marcel Duchamp served as editorial advisors. At the suggestion of Jacqueline Lamba...

A wonderful composition of one of Slonem's most iconic subjects, Bunnies, Butterflies and Birds. This piece depicts 4 gestural figures of Bunnies, 11 Butterflies and 9 Whydah Birds a...

acrylic & oil stick on canvas

5150 French oversized Surreal oil on canvas A Man's Fantasy Framed