20th Century Paintings

Gray Area Benjamin Benno, American (1901–1980) Date: circa 1960 Oil on Burlap, signed Size: 18 x 15 in. (45.72 x 38.1 cm) Frame Size: 23.5 x 20 inches

Artist: Gonzalo Endara Crow, Ecuador (1936 - 1996) Title: The Sailing Ship Date: 1982 Medium: Oil on Canvas, signed verso Size: 27 x 35 in. (68.58 x 88.9 cm)

The burning of desire and the subsequent extinction of the flames leads to purification of the soul. Artwork Details: Tawatchai Somkong "Season of the Brilliant Purple Sky" 1998 ...

Léopold Survage (1879-1968) Porteuse 1962 oil on canvas 100 x 81.3 cm signed and dated ‘Survage. 48.’ (lower right) Price: $63,000 USD (inc. 5% UK imp...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

Certificate of authenticity from the Agustin Fernandez Foundation is included.

Untitled is an original oil on canvas realized by Roberto Sébastian Matta in 1996. It comes with a certificate of authenticity by Matta's son ...

A monumental oil painting by Benjamin Benno, American (1901 - 1980) measuring 80 x 67 inches, framed to 84 x 71 inches. Signed and dated 1938. By the early 1930s Benno had establis...

Born in 1946 Alfredo Sasso trained at the Carrara Academy of Fine Arts. From 1971 to 1973 he worked as an assistant to Jacques Lipchitz for the construction of three major monuments...

Siegfried Reinhardt "Surreal Landscape and the Artist with his American Underslung and Rolls Roys" 1948/50 Oil on Panel Signed and Dated Twice Lower Right Panel Size: approx. 11 x 24 inches Framed Size: approx. 13.5 x 26.5 inches Siegfried Gerhard Reinhardt born July 31, 1925 in Eydkuhnen, Germany, died October 24, 1984 in St. Louis, Missouri was a prolific artist and teacher based for most of his career, 1955-1970 at Washington University in St. Louis, where he had taken his Bachelor of Arts degree in English Literature in 1950. He was also a prominent member of the St. Louis Artists Guild. He was the son of Otto Frederick and Minni (Kukat) Reinhardt, and emigrated with them in 1928 (naturalized in 1936). His best-known work is perhaps the series of murals he executed at Lambert International Airport illustrating the history of aviation. He was a pioneer in combining elements of realism and surrealism in a style known sometimes as superrealism. From 1949 to 1984 he worked with Emil Frei in the design and execution of stained glass windows, including the (1960) Easter Window in the Lutheran Church of the Resurrection, in Sunset Hills, Missouri, of which Reinhardt said: "The 'flame' symbolizes the Holy Spirit as it descended in tongues of fire over the heads of the disciples in the miracle of the upper room in the presence of the Lord Jesus...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

Artist: Martin Barooshian, American (1929 - ) Title: Creatures of Prometheus Year: 1957 Medium: Oil on Canvas, signed, titled and dated Size: 31 x 41 in. (78.74 x 104.14 cm) Frame Si...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintings, prints and drawings, whose style defies convenient labels. Abstract, surreal, cartoonish, sci-fi fantastic, metaphysical, apocalyptic-Baroque - all of these fit but also fall short of fully describing his art." (Edward M. Gomez, "Futuristic Forms Frolic Under Eerie Texan Skies...

Artist: Mark Kostabi, American (1960 - ) Title: Baltic Angst Year: 1989 Medium: Oil on Canvas, signed and dated l.r. and signed, titled and dated verso Size: 70 in. x 48 in. (177.8 ...

Artist: Mark Kostabi, American (1960 - ) Title: Time Bond Year: 1988 Medium: Acrylic on Canvas, signed verso Size: 84 x 48 in. (213.36 x 121.92 cm)

Artist: Mark Kostabi, American (1960 - ) Title: Balancing the Budget Year: 1988 Medium: Oil on Canvas, signed l.l. and verso Size: 60 x 84 in. (152.4 x 213.36 cm)

Artist: Mark Kostabi, American (1960 - ) Title: Ruins Year: 1989 Medium: Oil on canvas, signed verso Size: 62 x 68 inches (157.5 x 172.7 cm)

Artist: Alejandro Colunga, Mexican (1948 - ) Title: Many-Headed Man Year: circa 1980 Medium: Acrylic and Mixed Media on Paper Mounted to Masonite, signed l.r. Size: 56 x 42 inches Fr...

Artist: Alejandro Colunga, Mexican (1948 - ) Title: Malabarista Haciendo su Acto Sobre un Helado de Fresa Year: 1975 Medium: Acrylic on Canvas, signed l.r. Size: 48 in. x 63 in....

Presenting an exceptional mid century oil painting by American artist Robert McIntosh, "The Picnic, is an original oil on panel, signed and dated 1950. ...

In The New York Times Arts in America column, Edward M. Gomez wrote of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined pa...

Presenting a monumental early oil painting by Cuban artist Yuri Martinez Ramos. "La Carpa", The Tent, is an original oil on canvas, signed, dated 1997, ...

Technique: Terre colorée sur toile de jute. Delivered with the certificate of authenticity from the archives of Roberto Matta. Artwork size: 100 x 100 cm. Frame size: 114 x 112 cm. Free shipment worldwide. Acquired directly from the artist. “The heart is an eye,” writes Nobel laureate Octavio Paz in an essay on Matta’s paintings. Matta creates a world coloured both by a sunny faith in the future and by visions of impending doom. Roberto Sebastian Echaurren Antonio Matta, who died aged 91 on 23 November 2002, was born in Santiago, Chile, on 11 November 1911 into a family with Spanish, French and Basque roots, and raised in an atmosphere of religiosity. By the age of 21 he had graduated and begun work as an architect, but his leisure time he devoted to sketching and painting. In 1933 he travelled to Europe for the first time, visiting Greece, Yugoslavia, Italy and other countries, and subsequently taking the initiative to collaborate with the architect, Le Corbusier. As time passed, however, Matta’s enthusiasm for a career in architecture waned, and he began to devote himself full-time to art, making early acquaintances with surrealists such as Max Ernst, Salvador Dalí, André Breton and others. Between 1939 and 1948 Matta, like many of his artistic contemporaries, lived in self-imposed exile in the USA, but, after almost 10 years’ absence from Europe, he returned to make first Rome and then, a few years later, Paris his home. Throughout most of the rest of his life Matta commuted between his studio in Paris and his creative refuge in the monastery outside Rome. And it is here, in Italy, that he produced his greatest paintings. Matta’s first retrospective in Sweden was organised in 1956 when his works were exhibited in what was then Galerie Colibri – run by, among others, the artist C O Hultén at number 36 Södra Förstadsgatan in Malmö, Sweden. This was also the time when Matta began to collaborate with poets and other artists in Sweden. He produced the illustrations for Lasse Söderberg’s first anthology of poems, Akrobaterna (“The Acrobats”), published in 1955, and was also responsible for the cover of the Swedish art and literary magazine Salamander. In 1959 the first museum exhibition of Matta’s work in Europe was arranged at the Museum of Modern Art (Moderna Museet) in Stockholm. Held under the aegis of Pontus Hultén, it was entitled “Fifteen Forms of Doubt” and included 15 or so gigantic paintings...

Presenting an exceptional and rare mixed media watercolor by Belgian artist Edmond Vandercammen. Vandercammen was classically trained and well ...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...