New York - Paintings

Desensitized Fritz Proctor is an American Painter from Niagara Falls, New York. Fritz acquired his BA in Studio Art from the University of Buffalo. H...

Photo art and Plexiglas

Linocut by Ursula Foulkes (Great Britan) with dramatic color, form and mood. Dimensions: 8" x 10". References: Modern and Contemporary Art, Fauvism, Expressionism, Blue Rider ...

Two geometric abstraction paintings by Jeff Hudson. Signed Jeff Hudson, 2014. Available Individually. Jeff Hudson's paintings come from his life experiences, and trust in the power and beauty of color harmonies and fragile structure to make a visual statement of pleasure for the mind and soul. Hudson went to The School of the Museum of Fine Arts in Boston 1968-1973 where he studied all mediums and focused on large color field painting. He also had access to video equipment and made video Art. In 1974 he was hired along with Jane Hudson to start the Video Performance department at the Museum School and taught for 30 years and was always involved in fine art everyday. Hudson's works embraced the modern and Postmodern. Jeff played in a Punk band The Rentals and a New Wave band Jeff and Jane Hudson. They played all the venues in NYC and Boston and released a number of records. (they have been re- released and are on ITunes.) He directed music videos for Pat Metheny...

In Japan, it is a Shinto belief that the deer is a treasured and sacred animal. This admirable scene captures this gentle creature in its natural habitat with beautiful detail in bot...

Modernimpressionistic portrait of man and woman by Costain. Oil on canvas.

Large abstract expressionist painting on raw canvas by Belgian Painter, A.C. Hermkens. Signed. "Dynamicism and Space Co-exist in a Work of Subtle Tensions and Mythic Wishes.".  

Early work of Sylvia Hommert 2002 LA #501 untitled painting. Oil, beeswax, paua shell, and resin on canvas. Signed lower right.

Suiboku is a style of ink painting that is reminicent of the way calligraphers paint. Masterfully painted Muromachi Period (1336-1573) painting, unique in style and strength for the period with very bold lines. Sesshu Toyo...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

Stunning early master illustration by Bill Nelson in his preferred medium of colored pencil for the Cincinnati Magazine cover story (May 1980). Framed. Ta...

1930s Dutch school of art abstract painting. Newly framed art floating on linen backing. From a large collection of work.

One of the original members of the Abstract Expressionist "New York School", Salvatore Grippi (1921-2017) exhibited in two of the famous New York Painting and Sculpture Annuals (1953...

DIMENSIONS: Height: 16.25 inches Width: 13.5 inches Depth: 2.25 inches Frame width: 2.5 inches ABOUT MODEL Encarnación López Júlvez, known as La Argentinita (Buenos Aires, March 3, 1898 – New York, September 24, 1945) was a Spanish-Argentine flamenco dancer (bailaora), choreographer and singer. La Argentinita was considered the highest expression of this art form during that time. López Júlvez was the daughter of Spanish immigrants in Argentina, where her father had a fabric business. While living there, two of her siblings died in a scarlet fever epidemic. Consequently, she was brought to the north coast of Spain in 1901, where she began to learn Spanish regional dances. When she was only four years old, she started learning flamenco from Julia Castelao. Her first public performance was at the age of eight at the Teatro-Circo de San Sebastián, in the Basque Country. She chose the name "La Argentinita" in deference to the famous flamenco dancer Antonia Mercé (La Argentina). After travelling throughout Spain as a child prodigy, she settled in Madrid to perform at Teatro La Latina, Teatro de la Comedia, Teatro de La Princesa, Teatro Apolo and Teatro Príncipe Alfonso. Her success led her to tour in Barcelona, Portugal and Paris, and then Latin America. In the early 1920s, she returned to Spain, where she worked in Madrid. Among her early performances was the 1920 premiere of Federico García Lorca's musical play El maleficio de la mariposa as "the Butterfly". She announced her retirement in 1926, but would quickly return to the show business as part of the artistic renewal that led her to the Generation of ‘27, in which she combined flamenco, tango, bulerías and boleros. She danced to the compositions of Manuel de Falla, Joaquín Turina, Isaac Albéniz, Enrique Granados and Maurice Ravel. She helped in the development of Ballet Español. Adapting pieces to popular tradition, she toured Europe, triumphing in Paris and Berlin and participating in the artistic movements of that time along with Spanish poets such as Rafael Alberti, Federico García Lorca, Edgar Neville and Ignacio Sanchez Mejias. Sánchez Mejías, an intellectual and bullfighter, was a married man and her lover. La Argentinita retired a second time to maintain her clandestine relationship with him. However, she would return to the stage with the aid of Sánchez Mejías, who participated in the search and employment of interpreters for her subsequent performances. In 1931, López Júlvez and García Lorca recorded five gramophone slate records, which were accompanied by García Lorca's piano. The selection of songs was prepared, adapted and titled Colección de Canciones Populares Españolas by García Lorca. Among the ten songs were "Los cuatro muleros", "Zorongo gitano", "Anda Jaleo" and "En el Café de Chinitas". With the beginning of the Second Spanish Republic, López Júlvez formed her own ballet company called Bailes Españoles de la Argentinita together with her sister, Pilar López Júlvez, and García Lorca. López Júlvez staged several flamenco theatrical shows, including an adaption of Falla's El amor brujo (Love, the Magician) in 1933, and Las Calles de Cádiz (The Streets of Cadiz) in 1933 and 1940.[7] She travelled through Spain and Paris, where she was recognized as one of the most important flamenco artists of her time. Her company included the flamenco figures Juana la Macarrona, La Malena, Fernanda Antúnez, Rafael Ortega and Antonio de Triana, who was her first dancing partner until the 1940s. At the end of her tour around Spain, her lover Sánchez Mejías was gored to death in 1934 in the Manzanares bullring. She sought refuge in her work and moved to Buenos Aires to dance at the Teatro Colón; from there she embarked on a long American tour. In 1936 she achieved success in New York. Afterwards, she returned to Spain but was forced to flee the country shortly before the outbreak of the Spanish Civil War. She travelled through Morocco, France, the UK, the Netherlands, Belgium and the USA, where she remained in exile in New York. From then until her death in 1945, she developed her career and became one of the biggest stars of international dance, and even participated in movies. In 1943, she presented the flamenco troupe El Café de Chinitas at the Metropolitan Opera House in New York, with her own choreography, texts by García Lorca, scenery by Salvador Dalí and the orchestra directed by José Iturbi. In addition, she performed at the Washington DC Watergate complex with her sister. On May 28, 1945, she gave her last performance at the Metropolitan of the orchestral work El Capricho Español, composed in 1887 by Nikolai Rimsky-Korsakov and based on Spanish melodies. At the end of the event, she had to be admitted to a hospital, where she died on September 24 from a tumor in her abdomen. She did not want to have it operated on because she did not wish to abandon dancing. Her body was repatriated to Spain in December and buried in the Spanish capital. That same year, the company of Bailes Españoles de la Argentinita was dissolved. Among the honors she received after her death was a plaque consecrated at the Metropolitan Opera House, positioned among the medals of Alfonso X El Sabio and La Orden de Isabel la Católica to honor her merits in the field of culture. ABOUT ARTIST Emmanuel Fougerat (French, 1869 – 1958) was a renowned French painter, museum curator and art historian. A former student of the Regional School of Fine Arts in Rennes, Fougerat studied in the studio of Albert Maignan and that of Jean-Paul Laurens in Paris. He was appointed director of the Nantes School of Fine Arts and was also the founder and curator of the Museum of Fine Arts in the same city. Emmanuel Fougerat was named Chevalier of the Legion of Honor in 1912. In 1923, he was placed on temporary leave from the French State in order to carry out a mandate as director of fine arts education in the Province of Quebec, Canada; where he served as an art teacher and director of the École des beaux-arts de Montréal from 1923 to 1925. Emmanuel Fougerat’s paintings are in the following public collections: • Nantes Museum of Fine Arts, France. • Museum of Modern Art in Paris, France. • Rennes Town Hall: permanent decorations. • Museum of Fine Arts of Saint-Nazaire (destroyed in 1944), France • National Museum of Fine Arts of Quebec, Canada. Emmanuel Fougerat is also the author of works on several French painters, including Albert Besnard, Paul Baudry...

Abstract painting by Ferro. One of a kind.

Abstract painting on board by Brenda Hope Zappitell titled Peaceful Times, dated 2009.

Old English hand painted Cote of Arms series with Provenance of each respective family, beautifully matted and elegantly framed. The crests are for the families listed below. Each's respective history and estate information affixed to back of each framed crest...

Large painting on board of a couple and a baby by Tim Haven.

Contemporary Italian Claudio Granaroli abstract water colors. Signed by artist born 1939. Newly framed. From a collection of four. See images #3, P1410, #4, P1410B #5, P1410C.

1963 English artist Derek Middleton ( 1928 - 2002 ) extra large black and white painting with accents of rectangular shaped color. Can b...

Architectural landscape watercolor with sepia color tones

Painting by Madeleine Arbus A mysterious nature Morte of the "Neue Sachlickeit" movement featuring a glass and candlestick by Madeleine Arbus, the daughter of Andre Arbus. ...

Crayon drawing of a 1920s German theatrical scene by Bauhaus Artist, Hans Kessler. Hans Kessler was a student at the Bauhaus Dessau and studied under B...

Landscape painting by Hungarian Painter, Ofkja. Goache on cardboard. References: Modern and Contemporary Art, Fauvism, Color Theory.

Sparrows ravish freshly harvested rice, drying on stakes, beyond wild chrysanthemum. Mineral pigments on silk. Signed in the lower left corner, signature reads: Soetsu. With a simple...

Hand-picked by buyers at Ann-Morris Inc.

Hand-picked by buyers at Ann-Morris Inc.

Hand-picked by buyers at Ann-Morris Inc.

Spray paint Art dated 1974 and signed by the Italian designer, inventor, and painter Luciano Mattioli (1924-1994). This postmodern painting, from a...

Moon and bamboo in ink on gold paper with red and black lacquered negoro frame. (Meiji period) Calligraphy reads: Beauty in ink painting with standing woods and branches, like in par...

1930s Dutch school of art abstract painting. Newly framed art floating on linen background. From a large collection of work.

Collection of black and white artwork by contemporary American artist Sandra Constantine. Linocut on artist's handmade paper. Newly framed in black wood frame. Collection styles P...

A mid century framed mixed media watercolor scene depicting sail boats against a city, possibly Venice, Italy. Appears to be mixed media including not limited to pastels, watercolor ...

Signed 'Landgraf'. Landgraf was known as a figure painter, active at Derby from 1880-1885, following a period of employment at Brown-Westhead, Moore. John Twitchett and Betty Bailey ...

American Artist George Henry Hall was born on September 21, 1825 in Boston, Massachusetts. Hall opened a studio in New York City in 1852. The Smithsonian deems him to be "one of the ...

A wonderfully whimsical painting of three nude ladies sitting on a park bench. This is signed but unable to identify the artist. Old canvas from the 1950s.

Signed pastel of seascape.

Pastel scene by Samuel Reindorf "Americana" Titled "Red Boat" is accompanied but his signed book. Signed Lower right. The Original Frame is made of Wood, leather and glass.

French Neoclassical interior watercolor, c. 1800, rendered in elegant grisaille wash with crisp one-point perspective. Shows paneled boiserie, pilasters, and a chequerboard marble fl...

Nicolas Issaiev (a/k/a Nikolai Alexandrovich Isaev, Russian-French, 1891-1977) was a painter, graphic artist, set designer, illustrator. In the early 1900s he studied in art scho...

1990s oil on canvas of floral arrangement by B. Haas.

Paintings on Mirror Glass Chinese 18th Century China. A pair of paintings made on mirrored glass. Made during the 18th century in China. Original fr...

"La Salute" is a striking oil painting by renowned Italian artist Lazzaro Donati, depicting the iconic Santa Maria della Salute church in Venice. Known for his vivid, expressionistic...

Contemporary painting of industrial scene by Hungarian artist Bizse Janos. Matted and in a wood frame.

A ram lowers its horns in a face off with a barking dog that rises on its haunches. An ox turns its head to watch the row. An annoyed ewe glances over its shoulder, but the two behin...

Our beautiful and large still life on canvas depicts harvested grapes and peaches spilling from a woven rattan basket, surrounded by peach tree blossoms in full bloom. Signed Duprat ...

Mixed media on metal. Image size: 110 x 75 cm. Unsigned. Leonhard Wachter and Julius Brandt, as the artist duo QUASI, use urban surfaces to engage in conversation layer by layer...

Mixed media on canvas. Canvas Dimensions: 120 x 110 cm. Monogrammed “LW '24” at bottom right. Signed, titled and dated on the reverse.

Mixed media on paper. Framed. Image: 100 x 140 cm. Signed and dated “Chr. Wachter ‘24” at bottom left.

Mixed media on canvas. Image size: 120 x 100 cm. Monogrammed lower right “LW ‘24”. Signed, dated and titled on verso.

Artist: Ivan Grigorewitch Olinsky (Russian-American, 1878 1962) Subject: Still life w/ Chinese porcelain figurine & fruits Period: 1920’s...

Copy of Hudson River School landscape painting titled "Sailing on the Bay" of sail boats

Copy of a Dutch Flemish landscape painting titled "Wooded Landscape" showing impenetrable woods

Copy of an impressionist landscape titled "At Giverny" Condition: Good; Wear consistent with age and use

French Victorian gilt framed oil painting of a still life with compote vase and fruit

Carved gilt framed oval still life watercolor painting of flowers.

Copy of an impressionist painting titled "Still Life With Profile of Laval" Showing fruits on a table with portrait

Copy of a still life painting in a cubist style showing poppies in a vase with bananas

American Victorian 19th Cent watercolor of girl wearing red dress on shore with boats in background in gilt frame (signed George Essing)

English Victorian maple and ebonized framed watercolor of a bird on a branch. (David Kerr)(Companion pieces: 053214C-I)