New York - Paintings

Abstract expresionist acrylic airbrush on canvas painting "Dawn's reflection" signed Edward Evan in a white painted wood frame.

50" grey abstract acrylic painting by Arnie Arlow.

Pair of tempera stillife paintings in antique giltwood frames one Signed Lelong.

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

A lovely painting in the impressionist style capturing a scene of Parisian rooftops and buildings, accented by blooming trees lining the street. The colors are in muted tones, creat...

An oil painting on canvas of a 19th century French interior. The artist's attention to detail, use of jewel-tone colors and the capturing of natural light streaming in through the wi...

An original water color painting of flowers in stunning colors on a white, open background. Finished in a simple mat and gold and silver frame, the painting has great flow and movement.

Joan Hyde Shapiro (American, XX - XXI), "At Dawn", Gouache on Canvas Board, signed lower right, titled to verso, white frame. Image: 4.75" H x 6.75" W; frame: 11.50" H x 13.50" W.

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...

Still life painted on wooden panel. On a table in the center a wicker basket with oranges and orange blossoms, to the left of the composition a silver dish with four large lemons on ...

Elfi Schuselka (Austrian, b. 1940) "Do Jump Perches!" contemporary abstract oil painting on canvas, in the manner of Cy Twombly (American, 1928-2011), signed to verso, unframed. 21.75" H x 23.75" D. Provenance: Property from the estate of the artist. Note: Elfi Schuselka (Austrian, b. 1940) artist, studied photography, art history, and theater at Vienna University. She moved to New York in 1964. Her work has been exhibited internationally including Brooklyn Museum, New York, United States, Italy, France, Cracovia Biennial, Yugoslavia, Ibiza Biennial,Spain, Japan, Sao Paulo Biennial. Her work is part of the permanent collection of MoMA, New York, NY, Amon Carter Museum of American Art, Forth Worth, TX and International Centre of Graphic Arts, Slovenia. Long a regular exhibitor at the famed 55 Mercer Gallery...

Drawing with watercolor and oil on paper - All original in custom gallery double frame and non-reflective UV glass. Signed in pen to lower right. This is a wonderful monochromatic Pi...

Framed oil painting on board by Sara Skaaning. Based in the Island Mon, Denmark, the visual artist Sara Skaaning starts from her surroundings that twists and transforms until complet...

We love paintings and renderings of interiors as they can capture the soul of a room. This is a hand painted water color of a traditional dining room...

A print featuring a charming dining room decorated in the Louis XV style, matted and finished in a gilt wood frame.

Portrait of the 20th century signed Henri Descamps (1898-1990) Young dark-haired girl seated wearing a white dress with shades of pink and blue with red stripes, hands crossed, and a...

Oil painting on board by Sara Skaaning. Based in the Island Mon, Denmark, the visual artist Sara Skaaning starts from her surroundings that twists and transforms until completely di...

Oil painting on board by Sara Skaaning. Based in the Island Mon, Denmark, the visual artist Sara Skaaning starts from her surroundings that twists and transforms until completely di...

Contemporary Belgian artist Diane Petry creates her own three layer canvas using pima cotton, gauze and fine paper. Raw edges and applied threads add texture and dimension. All artwo...

Contemporary French artist Hortense Reynaud. Abstract painting using oil pastels which give a very rich and creamy finish. Thick quality paper. Newly framed in a natural color wood ...

Contemporary French artist Hortense Reynaud. Abstract painting using oil pastels which give a very rich and creamy finish. Thick quality paper. Newly framed in a natural color wood ...

Contemporary French artist Hortense Reynaud. Abstract painting using oil pastels which give a very rich and creamy finish. Thick quality paper. Newly framed in a natural color wood ...

Oil on fine canvas 19th Portrait of a young peasant woman wearing a hat, the particularity of his painting is that he was not completely executed especially at the level of his shirt...

Painter and sculptor Michael Lekakis was born in New York City and had his first solo exhibition at the Artists Gallery in 1941. His work can be found in the collections of the Museu...

Westley G. Olmsted (1934-2011) was a painter and sculptor. He was born in Buffalo, New York, and was a distant relative Frederick law Olmsted, th...

Gorgeous red monochrome Pop Art still-life drawing on paper, in the midst of the artist’s untitled table series of which I have a few large canvases listed. Don't miss this treasure!

Painting in oil Signed R. Hullaert. Painted from an architectural perspective with a stairway leading into, the painting references a surrealist / metaphysical theme of accessing ...

Pen, ink and gouache on paper, painting "The Temple of Dendur' by Eugene Berman. Signed and dated, 1964. Framed size is 28.25 x 22.25.

Eugenio Buono (1863-1954, Italian). Soldier preparing his horse. Oil on board.  

Continental School, Painting of a Parrot Perched above an assortment fruit. Dimensions: 30"H x 24"W x 1.75"D Period: 20th Century Condition: Good Condition. Wear consistent with age...

A dramatic anatomical drawing of the lower face by Beeldens, Belgium, 1935. Signed on upper right. Pencil on paper. The Neue Sachlichkeit (new matt...

Drawing, pencil on paper. Still Life by Beeldens, signed and dated, 1935. References: Modern and Contemporary Art, New Objectivity, Neue Sachlichkeit...

Artist: Unknown. Painting: Rural Hilly Landscape with Lake and Railroad. Period: XIX century. Style: American School, Primitivism. Medium: Oil on canvas, framed. Dimensions: H: ...

Numbered: 5/40 Signed and dated: Nicholas Howey 92 Nicholas Howey was born in DuBois, PA. in 1948. He studied Undergraduate Art at the University of Pittsburgh and then went on to N...

Sunshine was a known local artist in Woodstock and upstate New York area during 1960s. This abstract painting is of Ashocan Reservoir, located in Ulster County, New York. The reservo...

School of George Cochran Lambdin late 19th century floral still life oil on board.

Bold, gestural paint strokes and scribed "graffiti" sketch lines are illustrative of the technique that Christopher Draghi has adopted throughout his years in fine art. This work in...

Gio Colucci, painter, sculptor, ceramist was born in Florence, Italy in 1892. In 1911, he moved to Paris to study architecture at the Fine Art School. Colucci settled in Cairo in 191...

Gio Colucci, painter, sculptor, ceramist was born in Florence, Italy in 1892. In 1911, he moved to Paris to study architecture at the Fine Art School. Colucci settled in Cairo in 191...

Gio Colucci, painter, sculptor, ceramist was born in Florence, Italy in 1892. In 1911, he moved to Paris to study architecture at the Fine Art School. Colucci settled in Cairo in 191...

Located in NY

Oil painting on canvas mountain landscape and lake anime characters signed Andre France late 19th This delightful painting represents a lake and the French Alps. On the bank a group...

Oil painting on canvas academic nude woman late 19th France sign Migner Elegant representation of a naked woman on a base. The color of his light skin contrasts with the dark backgr...

Located at Center44 222 east 44th street NY

An original, large-scale, abstract oil on canvas painting by American artist Dede Coover, a registered and award winning artist since the 1950s. The artist, native to California, has...

19th century naive oil on canvas.

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...

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...

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...

Portrait of a character dressed in red sitting on a chair with crossed arms. On the table to the right is a mask representing an animal’s head, a red headdress can be seen on the sub...

Oil on canvas represents a thinking man. The man in the dark background wearing a dark jacket; a chiaroscuro work is fascinating. The brilliance of the red coat is central. The subje...

Jules Worms (French, 1832–1914). Lady Admiring a painting. Watercolor. Measures: 15 x 10 in.

Wind, Ocean, Sun by Balcomb Greene painted in 1963. Signed on the front titled and dated on the reverse. Paintings of the Montauk coast by Balcomb Greene are few and far between. Thi...

Using 1500 clothes pins to combine painting and sculpture to a dramatic affect is what artist Annie Morris is most famed for. Each peg is individually pai...

Large original painting of a woman carrying two martini glasses by Lee Ames (1921-2011). This painting is on a board. Great item for a collector.

This exquisite glazed ceramic charger features a picture of a reclining nude, a clever recreation of a western subject in new terms appropriate to a work situated in its time and pla...

Through a layering of hand-dyed sand, the mirror consists of gradient tones and textures suggesting Patagonian glaciers breaking over water. The granules are stratified with nuance a...

Through a layering of hand-dyed sand, the mirror consists of gradient tones and textures suggesting Patagonian glaciers breaking over water. The granules are stratified with nuance a...

Karel Appel, Dutch, 1921-2006, biomorphic figures, watercolor and graphite, circa 1971. Provenance: painted for and personally given to the superintendent of Appel's apartment buildi...

Rare Gouache on Paper painting executed by world renowned artist and draftsman Richard Rummell, depicting the interior of the famed J.H. Williams & Co drop forging factory, crazy det...