scene of an immortal, a crane, and a cherry blossom tree; approximate overall measurements with frame: 76in(H) x 23in(L)

Offered here is an original oil painting by famous second quarter of the 20th century costume designer and illustrator Marcel Vertès. This painting is titled Tondo of a Woman. Marcel Vertès’ career peaked in 1952 with his work on the film Moulin Rouge. He is also known for his murals in the Café Carlyle in the Carlyle Hotel and in Peacock Alley in the Waldorf Astoria.

Another original oil on canvas painting from this French artist exhibited in 1967 featuring the French island of Corsica. On the large size and contemporary in style with beautiful colors and intentional brush strokes. Found unframed which is how we like them.

Vintage American impressionist oil painting of a lake and a wooded landscape by Harry Barton oil on 11″ x 14″ panel signed with the artists estate stamp on verso presented framed in a quality contemporary gallery frame overall size 20″ x 17″.
Harry Lang Barton, artist and illustrator May 12, 1908 – August 12, 2001

Born in Cleveland and raised in Seattle, Harry Barton spent his life doing the thing he truly loved–painting. Whether in the Pacific Northwest around Seattle, Hood Canal, and Puget Sound, or in the Art Students League, Central Park, and the parks and beaches of Long Island, or in Pennsylvania and New England (he often summered in Rockport, Massachusetts, and Kennebunkport, Maine), Harry’s life was art.

Harry’s career as an artist embraced almost every medium and a great many genres: from charcoal and pen and ink to watercolor, tempura, and oil; from his early work in Seattle as a silk-screen artist and an illustrator for the Sterling Theatres and the telephone company, to his New York work as an illustrator of Western pulp fiction, detective and mystery novels, and movie and fashion advertisements, and finally to his extensive activity as a portrait and landscape painter.

In the spring of 1945, he decided to study for the summer at the Art Students League in New York with Frank Reilly, and in the fall of that year he was offered work in New York as an illustrator for Gale Phillips Associates. Moving his family from Seattle, he–along with his wife Pauline and his daughters Joan and Linda–took up residence in Bayside, Queens, and soon moved to the Auburndale area of Flushing, where he had his own freelance studio and where he lived the rest of his life.

Over the years his illustrations were featured in The Saturday Evening Post, Argosy, Boy’s Life, Down East, and American Artist, as well as on movie billboards for Metro-Goldwyn-Mayer and in fashion advertising for Lord & Taylor and Gertz department stores. But his main body of work as an illustrator can be found in hard-cover and paperback novels published by such major firms as Dell, Ace Books, Dial Press, and Farrar Straus & Giroux.

Harry’s paintings and sketches were exhibited in the Philadelphia Museum of Art; in the Salmagundi Club, Lord & Taylor, the Smith Gallery, and Illustration House in New York in the Blue Heron Gallery in Wellfleet, Cape Cod; in the Schaff Gallery in Cincinnati; and in Mast Cove Gallery in Kennebunkport. He received a number of prizes for his work, and his paintings are held in private collections in the United States, Canada, and Europe.

Harry was a member of the American Artists Professional League, the Salmagundi Club, and the Art Students League of New York, where he kept on working throughout his life, studying with–in addition to Frank Reilly–Samuel Edmund Oppenheini, William Draper, and Everett Raymond Kintsler. Harry loved the Art Students League and was very proud of being a Life Member. His Saturday jaunts to the League continued right up to the time when the League closed for the summer three months before he died. He was fortunate in being able to do what he enjoyed most to the very end of his life.

MCM painting depicting a collection of vases on a color block ground. The artist painted with heavy textured strokes to mimic glass reflection of subjects. This oil is framed in a substantial natural oak frame. Signed Hixon 1954. Acquired at an estate sale in East Hampton NY. Canvas 15.75″ H x 12″ W, frame is 3″ wide.

A chic vintage Abstract mixed media on canvas. A graphic composition with lots of great texture. Acquired from a Palm Beach estate.

Giuseppe Falchetti (Italian, 1843-1918). Nineteenth Century Oil on Canvas Still Life with Grapes and Ears of Corn, Signed Lower Left, ‘G Falchetti.’

PAINTING SIZE: 16 x 24 inches / 40 x 60 cm
FRAME SIZE: 22 x 30 inches / 55 x 76 cm

“I’m Not Attempting To Listen To That Auditory Frequency Distortion I” is a striking acrylic on linen over wood panel piece measuring 24×14.75×1 inches, created in 2019 by Rochester-based artist Daniel DeLuna. The artwork marks the inception of a new series where geometric patterns are generated using a blend of mathematical Sin function and random noise in a 3D animation program, resulting in mesmerizing distortions. DeLuna employs Golden acrylics and pigment dispersions from Guerra paint on portrait-grade linen primed with multiple layers of gesso, meticulously sanded to achieve a smooth surface. Known for merging technology with traditional painting, DeLuna’s art reflects a visual symphony influenced by music and time. His compositions feature layered, fractured structures that mirror the flow of time, juxtaposing smooth and geometric forms. As an associate professor at the Rochester Institute of Technology, DeLuna’s work embodies the intersection of art and technology, where computers play as vital a role as traditional brushes. Each piece in this series is meticulously crafted, with compositions developed using computer algorithms that integrate controlled randomness. From hundreds of digital designs, DeLuna selects only a handful to transform into physical paintings, each capturing a unique essence of rhythmic texture and temporal complexity.”

“The work takes a nod at the history of traditional abstraction as filtered through and informed by the pervasive influence of technology on contemporary culture. Digital tools are used extensively in the creation of the work as I employ both common software as well as highly specialized high-end 3d animation applications. The gestural impulses, including erasures, as contrasted against the geometric, reflect my deeply ambivalent relationship with technology. I am searching for how to create meaningful aesthetic experiences in a culture where the visual is increasing debased by the image glut caused by our interaction with the digital realm.”

Large and vibrant abstract painting by contemporary artist Lionel Lamy. Acrylic, spray paint and oil stick on canvas. Circa 1990s. Signed bottom right. Measures 66ʺW × 2ʺD × 58ʺH.

Professionally framed and matted scenic watercolor of boat house and ferry. Silver toned frame. More information about the Painting shown on the back. Vintage Condition Consistent with Age as Pictured.

Dimensions. 18 W ; 1/4 D ; 16 H