Robin Gay McCline

Mid Century Modern Farmhouse Landscape in Watercolor and Ink on Paper

mid 20th Century

India ink and watercolor landscape in black done with expressive, linear brushstrokes featuring tall redwood trees with cabin windows peaking through the ...

Figurative ink and wash drawing of beagles and a terrier leading the hunter to the quarry by an unknown artist (American, 20th Century). Unsigned. Displayed in a rustic black and bro...

San Jose Hills Watercolor on paper An Americana view of the Hills around San Jose by Robert Sugita (American, b- 1938). A Cupertino artist, Robert went ...

Soft watercolor and Cyanotype of oak trees at Rancho San Carlos by Cheryl Trotter (American, 20th century). Signed lower right "Cheryl Trotter." Displayed i...

Boldly colored watercolor landscape by Emil Armin (American/Rumanian, 1882-1972). A house with a bright red roof is nestled between some trees at the bottom of a hillside. The trees are depicted as large, voluminous shapes, giving them a solid presence in the composition. Signed "E. Armin '11" in the lower left corner. Presented in a wood frame with a mat. Frame size: 29"H x 33"W Image size: 18.75"H x 22.5"W Born in Rumania on April 1, 1883, Emil Armin studied at the School of the Art Institute of Chicago's evening classes under Dudley Crafts Watson, Randall Davey and George Bellows, then he graduated in 1920. Between 1922 and 1949 he exhibited his works at the Art Institute annuals and was involved in the No-Jury Society, organized in 1922. At that time he was immersed in Chicago's bohemian 57th Street Art Colony and he experimented with sculpture and decorative arts as a member of the Chicago Society of Artists. He taught at Chicago's Hull House (1925-26) and did cartoons full of angular forms and a particular method of shading and "zigzag outlining" taken from German Expressionist masters, for the Chicago Literary Times, a journal created by Maxwell Bodenheim and Ben Hecht. Samuel Putnam, a critic for the Chicago Evening Post (21 September 1926) regarded Armin as "perhaps the most finely sensitized artist in Chicago . . . with the soul of a peasant and the mind of a philosopher." In 1928 Armin traveled to New Mexico where he executed a naïve, child-like woodcut, Mountain Farm, Santa Fe (Art Institute). Chicago critic Bulliet's characterization of Armin as a "primitive" in impulses, "though sophisticated and intelligent" applies here: "His work resembles somewhat the peasant art...

Gloucester Harbor Docking the Boat 1900 Gloucester Harbor circa 1900 by C. Bailey Cora was a San Francisco artist in the 19th century. (American), 19th-20th C). Image, 9.75"H x 14.5"...

Serene river scene watercolor from important Bay Area figurative contemporary artists Mary Robertson, who is associated with the Bay Area Figurative School, founded by Elmer Bischoff...

Louis Ritman (1889-1963) "Rolling Country" c. 1945 Original Watercolor on Paper Signed Lower Left Provenance: Milch Galleries, NY (original label verso) ...

A fine monochromatic watercolor landscape painting of Mount Monadnock in New Hampshire by American artist Gifford Beal (1879-1956). Beal was born in New York City and studied for man...

Original watercolor on archival paper of the mountains of Saint Maurice in Switzerland by the well known American artist, Dodge MacKnight. Signed lower left and titled and dated 189...

Painting measures 22" x 28" and framed 26" x 32" x 2" Hand-signed "J.E. Costigan NA 1952" lower left. About this artist: John Costigan was a self-taught painter distinguished by h...

Alice Schille Old Adobe Village, New Mexico Signed lower right Watercolor on paper 5 x 6 inches Provenance: Estate of the artist Keny and Johnson Gallery, Columbus, Ohio Santa Fe East Galleries, Santa Fe, New Mexico Private Collection, California A painter in watercolor and oil, Alice Schille was a prolific artist using modernist styles of Post-Impressionism, Pointillism and Fauvism. Her subjects included portraits of women and children, landscapes with and without figures, a series of scenes of New York City. New Mexico, and Gloucester, Massachusetts. Her paintings also reflected her widespread international travels in Europe, North Africa, Russia, the Middle East, Mexico, and Guatemala. Although personally very shy, Schille possessed unusual courage and strength of will, which was reflected in both her independent lifestyle and in her work, as she continually worked to master new modes of painting throughout her career. A German critic once referred to Schille as "this daredevil disciple of art who is interested in anything and afraid of nothing." Alice Schille was born in Columbus, Ohio to a family supported by her father's success in manufacturing. She was raised in Columbus, and by the time she was age six, she determined to be an artist. She graduated at the top of her class from Central High School in 1887, studied from 1891 to 1893 at the Columbus Art School, and returned there as a teacher from 1902 to 1948. Going to New York City as a young woman, she enrolled in the Art Students League from 1897 to 1899 and then the New York School of Art with William Merritt Chase and Kenyon Cox. (Some years later, she attended Chase's Shinnecock Summer School on Long Island). From 1903 to 1904, Alice Schille was in Paris at the Academie Colarosi, and also studied privately with Raphael Collin, Rene Prinet, Gustave Courtois and Chase, who was then in Europe. In 1904, five of her paintings were accepted for exhibition at Societe Nationale des Beaux Arts, and from that time on her work was included regularly in important American annual exhibitions including the Pennsylvania Academy, the Corcoran Gallery, American Watercolor Society, Boston Art Club, and the 1987 inaugural exhibition of the National Museum of Women in the Arts in Washington DC. Between 1905 and 1914, Alice Schille painted in Europe, and during the summers of 1916 to 1918, worked in New York and Gloucester. In 1919, she was in New Mexico. On this trip, her first to the Southwest, she spent a summer in Taos and Santa Fe and painted scenes including the Taos Pueblo, Canyon Road and local Hispanic and Indian figures. Reportedly the Ranchos de Taos Church was one of her favorite subjects. Many of these New Mexico paintings were hung at annual exhibitions of the Philadelphia Water Color Club. Between 1920 and 1940, she traveled frequently in the summers, returning to New Mexico and going to Central America and Africa. In 1922, she began her first series of North-African watercolors...