Recognized Dealers Abstract Paintings

Almo wonders about his identity, the countries he has lived in, his daily routine and how he creates himself. An outsider who has made the world his home, skin, and citizenship, and ...

"A Dream Within A Dream, (What Am I, A Mind Reader?)," is an acrylic on canvas painting by Ryan McGinness, made in 2007. The artwork size is 96 1/4 x 143 x 2 3/4 inches. The painting...

This contemporary abstract painting by Alice Teichert is rendered in shades of pink. As one of Canada’s leading contemporary artists, Alice Teichert has spent decades exploring the ...

Sam Francis (1923-1994) Untitled (Iron Forest) 1989 Acrylic on prepared paper 91.4 x 182.9 cms (36 x 72 ins) SF012

"X Composition" Acrylic on linen over panel. 18 x 14" 2017 Sara Walton orchestrates a symphony of color that transcends mere visual aesthetics, delving deep into the realm of emoti...

"Expressionist Abstract #4" is a 46 x 62 inches oil on board work by Philadelphia artist Morris Lewis Blackman. The painting is signed in the artist's monogram "MLB" and dated 1964-6...

JULIE HEDRICK RA (Egypt) Sun God, 2021 oil on canvas (diptych) 60 x 120 in. 152.4 x 304.8 cm.

DNA is genetic information, hidden and encrypted in body fluids. Veiled data that we load, that we do not know and that someone knows how to decipher. Such specifications characteriz...

Neo Expressionist Abstracted Figurative painting in black and white

The series Geometric Alphabet is part of my series Geometric Abstract, in which the abstract game is used in the form of asemic writing with geometric shapes. Here Peters recreates h...

This contemporary abstract painting by Milly Ristvedt is expressed in geometric form. The power of pure colour and minimal form is masterfully displayed in this abstract painting by...

Almo wonders about his identity, the countries he has lived in, his daily routine and how he creates himself. An outsider who has made the world his home, skin, and citizenship, and ...

Jules Olitski Asian Massif - 1 1975 Water base acrylic on canvas 213.4 x 88.9 cms (84 x 35 ins) JO001

This contemporary abstract acrylic painting is by Carol Sutton. A flurry of colour and gestural brushstrokes dance across the canvas in this engaging acrylic painting by artist Caro...

An abstract acrylic on canvas executed in bright, primary red, blue and yellow by Post War artist Jack Roth. Signed, dated and titled verso, "ROTH81 "NEW SYNTHESIS - 15".

Phenomena Spectrum Guardian by Paul Jenkins (1923 - 2012) Acrylic on canvas 76 x 101.5 cm (29 ⁷/₈ x 40 inches) Signed lower middle Paul Jenkins Executed in 1970 Provenance: Gallerie Iris Wazzau, Davos, Switzerland Private collection, Cologne, Germany Artist biography: Born at Kansas City in Missouri (USA), the multi-media artist, poet and playwright Paul Jenkins studied at the Kansas City Art Institute and the Art Students League in New York City. After his discharge from military service at the end of February 1946, he briefly studied playwriting with dramatist George McCalmon at the Carnegie Institute of Technology in Pittsburgh. Thereafter, Jenkins spent four years studying with Japanese American artist Yasuo Kuniyoshi in New York City. His first solo exhibitions were held at Studio Paul Facchetti in Paris in 1954 and the Martha Graham Gallery in New York City in 1956. Over the past thirty years, numerous retrospectives have been curated across the globe and Jenkins’ work can found in national collections from Europe and the United States to Israel, Australia and Japan. The diversity of his work springs from Jenkins’ wealth of eclectic influences. Some of his earliest works included what he called "interior landscapes" influenced by ancient natural forms like the caves he visited in the Ozark Mountains in his native-Missouri. Frequent student visits to the Frick Collection in New York fostered a love of the great masters: Bellini, Holbein, Vermeer, Rembrandt, de la Tour, Turner and Goya. In compliment, lingering student visits to the renowned Eastern collection of the Nelson-Atkins Museum of Art in Kansas City evoked powerful sympathy for a monumental Chinese fresco...

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...

Overhearing Myself, 1997 Oil stick and oil on wood panel 24 x 24 inches (61 x 61 cm) Signed, dated and inscribed lower right: Brooker '97 TTGG Titled in pencil, upper left on verso Provenance The artist; June Kelly Gallery, New York; Private collection, Washington, DC Renowned abstract painter Moe...

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...

Nature's Printing Press Gouache, tempera, pigments and ink on masonite board, 1967 Signed lower left corner (see photo) Thompson was part of the late 1960’s Black Emergency Cultural Coalition along with Benny Andrews The Black Emergency Cultural Coalition Inc. (BECC) was organized in January 1969 by a group of African American artists in response to the Metropolitan Museum of Art's "Harlem on My Mind" exhibit, which omitted the contributions of African American painters and sculptors to the Harlem community. Part of a series of works the artist created in 1967. The tree motifs vary as does the color of the background. Please see photo of another work from the series. Condition: Excellent/very good Three tiny while flecks in the green border of the painting Image size: 10 1/4 x 9 1/2 inches Painting board size: 20 x 16 inches Frame size: 25 1/2 x 21 1/2 inches Russ Thompson (Born 1922- Jamaica Part of the late 1960’s Black Emergency Cultural Coalition along with Benny Andrews The Black Emergency Cultural Coalition Inc. (BECC) was organized in January 1969 by a group of African American artists in response to the Metropolitan Museum of Art's "Harlem on My Mind" exhibit, which omitted the contributions of African American painters and sculptors to the Harlem community. Members of this initial group that protested against the exhibit included several prominent African American artists, including Benny Andrews and Clifford R. Joseph, cofounders of the BECC. The primary goal of the group was to agitate for change in the major art museums in New York City for greater representation of African American artists and their work in these museums. Studied: Pratt Inst.; Carlyle College; NY Sch. Mod. Photography Exhibited: MoMA; BM, 1968; Nordness Gals., NYC; Phila. Civic Center; Ruder & Finn FA, 1969; Smithsonian Inst.; Mount Holyoke College, 1969; BMFA, 1970; RISD, 1969; Mem. Art Gal., Rochester, NY, 1969; SFMA, 1969; Contemp. Arts Mus., Houston, TX, 1970; NJ State Mus., 1970; Roberson Center for the Arts & Sciences, Binghampton, NY, 1970; UC Santa Barbara, 1970; Plaza Hotel, NYC; Westchester Art Soc. Gal. (prize); Nassau Community College; Brooklyn Pub. Lib.; Allentown (PA) Art Festival; Quinnipiac College, CT; Parrish Art Mus.; NY State Pavillion; Huntington Township Art Lg. Awards: Mitchell College, CT; BM; Armonk Lib. Show Award; Bedford Hills Lib. Show Award. Sources: Cederholm, Afro-American Artists. Public Collections: Zimmerli Art Museum, Rutgers Museum of Fine Arts, Boston Brooklyn Museum Museum of Modern Art, New York Smithsonian American Art Museum Exhibitions: MOMA Brooklyn Museum, 1968 Nordness Galleries, NYC Smithsonian Institution Museum of Fine Arts, Boston, 1970 Rhode Island School of Design, 1969 San Francisco Museum of Art, 1969 Contemporary Arts Museum, Houston, 1970 Parrish Art Museum Courtesy of Afro-American Artist; a biographical directory THOMPSON, RUSS (Born Jamaica, 1922) Painter. Born in Kingston, Jamaica, 1922. Studied at the Pratt Institute; Carlyle College; New York School of Modern Photography. Works: Cloud Flowers ; My Breath Is One with the Clouds ; The Acrobats; Relatives; Thoreau; Clothes to the Body; America- Amer- ica; Hanging Garden; Poor Room, Rich Room; Epigram a Bromide; Passage, 1969 (wood, epoxy, iron). Exhibited: Museum of Modern Art; Brooklyn Museum Fence Show, 1968; Nordness Gal- leries, NY; Phila. Civic Center; Ruder & Finn Fine Arts, 1969; Smithsonian Institution; Mount Holyoke College, 1969; Boston Museum of Fine Arts, 1970; Rhode Island School of Design, 1969; Memorial Art Gallery, Rochester, NY, 1969; San Francisco Museum of Art, 1969; Contemporary Arts Museum, Houston, 1970; NJ State Museum, 1970; Roberson Center for the Arts & Sciences, Binghamton, NY, 1970; Art Galleries, Univ. of Cal. at Santa Barbara, 1970; Plaza Hotel, NYC; Westchester Art So- ciety Gallery; Nassau Community College; Brooklyn Public Library; Allentown (Pa.) Art Festival; Quinnipiac College; Parrish Art Mu- seum; NY State Pavillion; Huntington Town- ship Art League. Collections: Frederick Douglass Institute, Wash- ington, DC; Spiro & Levinson Corp.; Mr. William Haber; Mr. & Mrs. B. Friedman; Mr. & Mrs. Samuel J. Rosen; Mr. David Scribner; Unigraphic Corp.; Mr. Benny An- drews; Jeanne Paris; Mr. & Mrs. Joseph Strauss. Awards: Westchester Art Society; Mitchell College, Conn.; Brooklyn Museum; Armonk Library Show Award; Bedford Hills Library Show Award. Sources: Boston Museum of Fine Arts. Afro- American Artists: New York/ Boston, 1970; Nordness Galleries. 12 Afro-American Artists, 1969; Mount Holyoke College. Ten Afro- American Artists, 1969; Ghent, Henri. “The Community Art Gallery,” Art Gallery, April 1970; Paris, Jean. “Black Art Experience in Art,” Long Island Press, Jamaica, NY, June 14, 1970; Ruder & Finn Fine Arts. Contemporary Black Artists’, Brooklyn College. Afro-Amer- ican Artists: Since 1950, 1969; Walker, Roslyn. A Resource Guide to the Visual Arts of Afro- Americans, South Bend, Ind., 1971. NEW YORK (NY). Acts of Art, Inc. Rebuttal to Whitney Museum Exhibition: Black Artists in Rebuttal at Acts of Art Gallery. 1971. Unpag. (20 pp.) exhib. cat., 54 b&w illus., brief biogs. of 48 artists. The text consists of an unsigned foreword (probably by Nigel L. Jackson, director of Acts of Art); a reprint of Z. D. Allen's review of the exhibition, "Rebuttal to the Whitney," from Chelsea Clinton News (Apr. 15, 1971). The catalogue was published after the show opened. Artists included: Benny Andrews, James Belfon, Betty Blayton, Lynn (Chuck) Bowers, Vivian Browne, Calvin Burnett, Jo Butler, Robert Carter, Art Coppedge, Adger Cowans...

Ricardo Mazal Tee 2 (Beige 2), 2023 Acrylic on natural silk mounted on aluminum panel 18 x 19 inches RM541 Ricardo Mazal is perhaps best known for his near decade-long investigation...

"The Scream", A compelling, enigmatic 1950s Mid-Century Modern Surrealist Abstract Painting by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). Executed in Haydon's unique, a...

Stanley Boxer devoted nearly five decades to the development of an expressive, abstract practice, encompassing drawing, sculpture, and printmaking. “In the manufacture of my art, I u...

"Untitled" is a painting by American artist David Smith. David Smith’s paintings from the 1930s rarely come to market, and when Untitled (Billiard Players) surfaced at a Christie’s auction in 2018, it created quite a stir, realizing an impressive price of $1.15 million. Painted around the same time, Untitled shares many similarities with Untitled (Billiard Players). Both paintings affirm Smith’s place among the American artists when ideas and style began to intermingle and coalesce around Picasso’s innovations. Uniquely positioned in temperament and ability, Smith was a man of considerable ambition whose direct-metal configurations would have much to do with achieving new ideas about abstraction. Yet all along, he insisted he was a painter, not a sculptor who painted. Paintings by Smith...

Oil on canvas 36 x 30 inches Provenance: Private Collection, London The Art Centre, London The Harriman Judd Collection, Los Angeles

Charles Houghton Howard was born in Montclair, New Jersey, the third of five children in a cultured and educated family with roots going back to the Massachusetts Bay colony. His father, John Galen Howard, was an architect who had trained at M.I.T. and the École des Beaux Arts in Paris, and apprenticed in Boston with H. H. Richardson. In New York, the elder Howard worked for McKim, Mead and White before establishing a successful private practice. Mary Robertson Bradbury, Charles’s mother, had studied art before her marriage. John Galen Howard moved his household to California in 1902 to assume the position of supervising architect of the new University of California campus at Berkeley and to serve as Professor of Architecture and the first Dean of the School of Architecture (established in 1903). The four Howard boys grew up to be artists and all married artists, leaving a combined family legacy of art making in the San Francisco Bay area that endures to this day, most notably in design, murals and reliefs at the Coit Tower and in buildings on the Berkeley campus. Charles Howard graduated from the University of California at Berkeley in 1921 as a journalism major, and pursued graduate studies in English at Harvard and Columbia Universities before embarking on a two-year trip to Europe. Howard went to Europe as a would-be writer. But a near-religious experience, seeing a picture by Giorgione in a remote town outside of Venice, proved a life-altering epiphany. In his own words, “I cut the tour at once and hurried immediately back to Paris, to begin painting. I have been painting whenever I could ever since” (Charles Howard, “What Concerns Me,” Magazine of Art 39, no. 2 [February 1946], p. 63). Giorgione’s achievement, in utilizing a structured and rational visual language of art to convey high emotion on canvas, instantly convinced Howard that painting, and not literature, offered the best vehicle to express what he wanted to say. Howard returned to the United States in 1925, confirmed in his intent to become an artist. Howard settled in New York and supported himself as a painter in the decorating workshop of Louis Bouché and Rudolph Guertler, where he specialized in mural painting. Devoting spare time to his own work, he lived in Greenwich Village and immersed himself in the downtown avant-garde cultural milieu. The late 1920s and early 1930s were the years of Howard’s art apprenticeship. He never pursued formal art instruction, but his keen eye, depth of feeling, and intense commitment to the process of art making, allowed him to assimilate elements of painting intuitively from the wide variety of art that interested him. He found inspiration in the modernist movements of the day, both for their adherence to abstract formal qualities and for the cosmopolitan, international nature of the movements themselves. Influenced deeply by Surrealism, Howard was part of a group of American and European Surrealists clustered around Julien Levy. Levy opened his eponymously-named gallery in 1931, and rose to fame in January 1932, when he organized and hosted Surrealisme, the first ever exhibition of Surrealism in America, which included one work by Howard. Levy remained the preeminent force in advocating for Surrealism in America until he closed his gallery in 1949. Howard’s association with Levy in the early 1930s confirms the artist’s place among the avant-garde community in New York at that time. In 1933, Howard left New York for London. It is likely that among the factors that led to the move were Howard’s desire to be a part of an international art community, as well as his marriage to English artist, Madge Knight...

I'll try anything with you by Lélia Pissarro (b. 1963) Acrylic, pigment and gold powder on canvas 81 x 65 cm (31 ⁷/₈ x 25 ⁵/₈ inches) Signed and titled on the reverse This work is a...

Born in 1933, Otis Huband declared his intention to be an artist at age 6. He earned his BFA and MFA at Richmond Professional Institute of the College of William & Mary, now Virginia...

A painting by Karl Benjamin. “No. 36” is a hard edge, geometric abstract oil on canvas in a palette of dark blues and greens. The artwork is signed verso, "#36 1964 Karl Benjamin." ...

"Untitled" is a painting by artist David Smith. The work is signed and dated in the upper left "David Smith (symbol) 1936". When David Smith set up a workshop on the Brooklyn Navy Pier in 1933 to learn direct-metal techniques, he shared the space not with artists, but with professional welders. Yet as he stated in 1964, ‘…all my early friends were painters…I never conceived of myself as anything other than a painter because my work came straight through the raised surface.’ Picasso and Cubism would be dominant influences in Smith’s work. He understood that Picasso imagined the world as a sculptor might, and not necessarily limited to the unavoidable impact of Cubism. In addition to pursuing a kind of rethinking of the world in three-dimensionality on his own terms, by the late 1920s, Picasso had shown interest in surrealism. That meant drawing not as a depiction of reality, but rather as a reconfiguration of the body in an assemblage of often precariously balanced, interconnected forms — some expressed in a three-dimensional form, others as drawings or paintings. Those processes are reflected in this work by David Smith; three fanciful totemic assemblages set within a landscape perspective of ground, mountains, and sky and whose presence is surreal enough to cast shadows under a presumed solar presence. Untitled, 1936 embraces surrealism, yet also serves to demonstrate the extent to which his thought processes are inextricably linked to sculpture and related to scale, spatial orientation, and three-dimensionality. With that in mind, it is not surprising to know that Smith saw no demarcation between sculpture and painting, or that a painting such as Untitled (1936) can exist outside of planning or design for future three-dimensional work. Provenance: Estate of David Smith, New York Hauser & Wirth Private Collection Exhibition: Kunstsammlung Nordrhein-Westfalen, ‘David Smith: Skulptureen, Zeichnungen [David Smith: Sculpture and Drawings]’ Dusseldorf/DE, March 14 – April 27, 1986 (travelled to: Städtische Galerie im Stäelschen Kunstinstitut, Frankfurt/DE, June 19 – September 28, 1986: Whitechapel Art Gallery...

Like the stripes on a beach umbrella, fun, fresh rainbow colours are layered in contrasting ‘waves’ in this delightful pop art painting by Serbian-born artist, Viktor Mitic. This is ...

*UK BUYERS WILL PAY AN ADDITIONAL 5% IMPORT DUTY ON TOP OF THE ABOVE PRICE Phenomena High Born by Paul Jenkins (1923-2012) Acrylic on canvas 91.44 x 50.8 cm (36 x 20 inches) Signed lower left Jenkins Signed, dated and titled on the reverse Executed in 1964 which makes this a very early work and so more valuable Biography Born at Kansas City in Missouri (USA), the multi-media artist, poet and playwright Paul Jenkins studied at the Kansas City Art Institute and the Art Students League in New York City. After his discharge from military service at the end of February 1946, he briefly studied playwriting with dramatist George McCalmon at the Carnegie Institute of Technology in Pittsburgh. Thereafter, Jenkins spent four years studying with Japanese American artist Yasuo Kuniyoshi in New York City. His first solo exhibitions were held at Studio Paul Facchetti in Paris in 1954 and the Martha Graham Gallery in New York City in 1956. Over the past thirty years, numerous retrospectives have been curated across the globe and Jenkins’ work can found in national collections from Europe and the United States to Israel, Australia and Japan. The diversity of his work springs from Jenkins’ wealth of eclectic influences. Some of his earliest works included what he called "interior landscapes" influenced by ancient natural forms like the caves he visited in the Ozark Mountains in his native-Missouri. Frequent student visits to the Frick Collection in New York fostered a love of the great masters: Bellini, Holbein, Vermeer, Rembrandt, de la Tour, Turner and Goya. In compliment, lingering student visits to the renowned Eastern collection of the Nelson-Atkins Museum of Art in Kansas City evoked powerful sympathy for a monumental Chinese fresco...

This colorful abstract acrylic painting is by Canadian artist Milly Ristvedt. Inspired by modernist mentors, in the 1970s Milly Ristvedt used simple formats on raw canvas to displa...

"In the world of still life and landscape, conceptual events meet one another – the structural meets the narrative, the small stands in the space of the large, and color has a chance...

Brighten up your life with this vibrant & large Abstract Expressionist painting by Danish artist Helge Jacobsen in pinks, reds and yellows. Artwork size: 27 1/2" x 39 1/2". Framed ...

Hyde Park Corner by LÉLIA PISSARRO (b. 1963) Acrylic and silver powder on canvas 100 x 70 cm (39 ⅜ x 27 ½ inches) Signed lower right Lélia Pissarro Titled Hyde Park Corner, signed ...

This artwork depicts a perfectly synchronized dance across an ocean of empty space, inspired by the "Astronomical" section of the Jet Chocolate Bar Natural History Album (1986 editio...

Ryōan-ji is the Japanese Zen temple in Kyoto, a monastery that gave rise to the idea of ​​the purely abstract Zen garden that inspired this series Francisco Larios’ works are done by...

Acquired from Galeria Krinzinger, Vienna

Rita Alaoui has always felt a deep connection with the living. Beginning as a painter—her primary medium—She later expanded into installation and performance, exploring the relatio...

This mixed media contemporary abstract composition in a crimson colour is by a Canadian artist. The uniquely evocative work of Ivo Stoyanov illustrates his interpretation of nature’...

The series explores the expansion of color as both a physical and emotional phenomenon. Water, as an indeterminate agent, displaces and transforms pigment on the surface, generating ...

"How Come" is a Modern surrealist oil on canvas painting by Irving Norman in 1968. The artwork is 90 x 60 inches and 91 1/4 x 61 1/2 x 1 5/8 inches with the fram, weighing less than ...

Sohan Qadri Vana, 2007 Ink and dye on paper 39 x 27 inches 99.1 x 68.6 cm The late artist, poet and Tantric guru Sohan Qadri was one of the few modern painters of note deeply engage...

From the DIVINA NATURA series Acrylic on canvas 30 x 34 inches This painting is from the "Divina Natura" series focusing on the mathematics and physics of sound and music. ...

F. AC (Ficelle AC Bristol) by JEAN-PAUL RIOPELLE (1923-2002) Acrylic on paper laid down on canvas 89.7 x 49.5 cm (35 1⁄4 x 19 1⁄2 inches) Signed with initial lower right, R and titl...

Minimal in form and bold in colour this is the Black Velvet Series of paintings by Pat Service. A renowned Canadian landscape artist, these ...

Untitled Cubist Abstraction Signed and dated lower right Watercolor, charcoal and gouache on paper, 1922 Provenance: Estate of the Artist Schroeder, Romero & Sh...

"Untitled" is a watercolor painting by Raymond Parker. This work was painted in 1979, and is inscribed in pencil in the lower middle, "For Pat <3 RP 1979". The framed size is 25 1/4 ...

Rita Alaoui has always felt a deep connection with the living. Beginning as a painter—her primary medium—She later expanded into installation and performance, exploring the relatio...

Terrell James "Rinsing the Eye" 2019 Oil on linen 64 x 78 inches

Allison Gildersleeve addresses the theme of memory, exploring the phenomenon of past and present becoming collapsed or entwined by the emotional experience. Gildersleeve states: “In ...

Rita Alaoui has always felt a deep connection with the living. Beginning as a painter—her primary medium—She later expanded into installation and performance, exploring the relatio...

Signed and dated Oil and watercolour on paper, mounted on board 18 x 22 inches

​Impressions of past lives, perceptions of future lives. The Records series carries that mystery. Simple and profound since its deed does not happen on the surface. Although it manif...

abstract NINETEEN Acrylic and collage on canvas 2018 36x48 Abstract NINETEEN NINETEEN is one of the largest paintings of this ever growing body of work by Aaron A. Young. Referencing the work of Sam Francis, Frankenthaller and deKooning, the abstract color fields and interrupted lines are meant to draw the viewer into the piece to find an ever evolving composition. Using a continuously changing palate of colors and a multitude of layers of paint and collage, the work conveys texture and weight derived from obliterating some details of the past while accentuating others. With this, the process of the piece is preserved, creating almost an archeological experience for the viewer; discovering details the deeper you look. Hard edges meet soft, spontaneous and organic drips of paint overlap with meticulously created linework. The typography of old newspaper is hidden, yet also framed, by brushstrokes making windows into the inner layers of the work. There is always something to discover. Aaron A. Young is a Queens, NY based abstract artist. Starting his ambition for painting with a Bob Ross Painting...

Untitled is an oil stick and graphite painting on paper by Italian-born multidisciplinary artist Lucio Pozzi. It is currently housed at Hal Bromm Gallery.

Mauricio Sandoval is an abstract painter, one of the best ever in Mexico; he creates his own pictorial language that expresses a never-ending search and continuous, organic movement. His production is characteristically expansive, sometimes saturating spaces with texture or color, energetic, long, and fluid traces. Sandoval’s work has retained some determining constants throughout his trajectory, during which he has developed a complex relationship between poetic language and image. From an early age, the artist has had an ever-present intense relationship with poetry and literature, as can be observed in “Barroco”, a work based on “Wuthering Heights...

​Whether they are symbols, dreams or marks of the life of each of us. The artist's work often features heads, floating bodies, trees, dollar signs, cars, laurel branches, and symboli...

This series draws inspiration from Hatillo’s Fiesta de los Santos Inocentes, translating the festival’s vibrant movement and collective energy into a refined abstract vocabulary. Thr...