Noel Howard Art

A beautiful antique impressionist painting by American artist Joseph Varga

Watercolour on paper circa 1920 by French Impressionist painter Henri Duhem depicting white, red, pink and yellow flowers. Signed lower right. This painting is not currently framed b...

Mercedes Carles Matter (1913 - 2001) Untitled, circa 1937 Pastel on paper 16 x 13 1/2 inches Estate stamped on the reverse Provenance: Estate of the artist Spanierman Gallery, New York Private Collection, Pennsylvania circa 2013 Private Collection, New York, 2021 Mercedes Matter was born in New York in 1913. Her father, the American modernist Arthur B. Carles, had studied with Matisse. Her mother, Mercedes de Cordoba, was a model for Edward Steichen. Ms. Matter grew up in Philadelphia, New York and Europe. She began painting under her father's supervision at age 6, and studied art at Bennett College in Millbrook, N.Y., and then in New York City with Maurice Sterne, Alexander Archipenko and Hans Hofmann. In the late 1930's, she was an original member of the American Abstract Artists organization and worked for the federal Works Progress Administration, assisting Fernand Léger on his mural for the French Line passenger ship company. Léger introduced her to Herbert Matter, the Swiss graphic designer and photographer, whom she married in 1939. The Matters were active in the emerging New York art scene and also traveled frequently to Europe. Their closest friends included Jackson Pollock, Lee Krasner, Franz Kline, Philip Guston, Alexander Calder and Willem de Kooning. They were also close to Alberto Giacometti, who was an important artistic role model for Mrs. Matter and a frequent photographic subject for her husband. Beginning in 1953, Mrs. Matter taught at the Philadelphia College of Art (now University of the Arts), Pratt Institute and New York University. Based on her teaching experiences she wrote an article for Art News in 1963 titled ''What's Wrong with U.S. Art Schools?'' In it, she lamented the phasing out of the extended studio classes required to initiate ''that painfully slow education of the senses,'' which she considered an artist's life work. The article prompted a group of Pratt students to ask her to form a school based on her ideas, which led, in 1964, to the founding of the New York Studio School. Originally in a loft on Broadway, the school gained almost immediate support from the Kaplan Fund, the Rockefeller Brothers Fund and the Ford Foundation. It granted no degrees, had only studio classes and emphasized drawing from life. Its teachers, chosen by the students, included the artists Guston, Bradley Walker Tomlin, Charles Cajori, Louis Finkelstein...

French Impressionist watercolour on paper view of a colourful tablescape still life by Henri Clamen. The painting is not signed but was acquired form the atelier of the artist with o...

A fine impressionist painting on the shore of Cape Cod with cottages, boats, and figures by American artist Alexis Jean Fournier (1865-1948). Fournier was born on the fourth of July ...

Max Kuehne (1880 - 1968) Train Station, circa 1910 Watercolor on paper 8 1/4 x 10 1/4 inches Signed lower right Provenance: Private Collection, Illinois Max Kuehne was born in Halle, Germany on November 7, 1880. During his adolescence the family immigrated to America and settled in Flushing, New York. As a young man, Max was active in rowing events, bicycle racing, swimming and sailing. After experimenting with various occupations, Kuehne decided to study art, which led him to William Merritt Chase's famous school in New York; he was trained by Chase himself, then by Kenneth Hayes Miller. Chase was at the peak of his career, and his portraits were especially in demand. Kuehne would have profited from Chase's invaluable lessons in technique, as well as his inspirational personality. Miller, only four years older than Kuehne, was another of the many artists to benefit from Chase's teachings. Even though Miller still would have been under the spell of Chase upon Kuehne's arrival, he was already experimenting with an aestheticism that went beyond Chase's realism and virtuosity of the brush. Later Miller developed a style dependent upon volumetric figures that recall Italian Renaissance prototypes. Kuehne moved from Miller to Robert Henri in 1909. Rockwell Kent, who also studied under Chase, Miller, and Henri, expressed what he felt were their respective contributions: "As Chase had taught us to use our eyes, and Henri to enlist our hearts, Miller called on us to use our heads." (Rockwell Kent, It's Me O Lord: The Autobiography of Rockwell Kent. New York: Dodd, Mead and Co., 1955, p. 83). Henri prompted Kuehne to search out the unvarnished realities of urban living; a notable portion of Henri's stylistic formula was incorporated into his work. Having received such a thorough foundation in art, Kuehne spent a year in Europe's major art museums to study techniques of the old masters. His son Richard named Ernest Lawson as one of Max Kuehne's European traveling companions. In 1911 Kuehne moved to New York where he maintained a studio and painted everyday scenes around him, using the rather Manet-like, dark palette of Henri. A trip to Gloucester during the following summer engendered a brighter palette. In the words of Gallatin (1924, p. 60), during that summer Kuehne "executed some of his most successful pictures, paintings full of sunlight . . . revealing the fact that he was becoming a colorist of considerable distinction." Kuehne was away in England the year of the Armory Show (1913), where he worked on powerful, painterly seascapes on the rocky shores of Cornwall. Possibly inspired by Henri - who had discovered Madrid in 1900 then took classes there in 1906, 1908 and 1912 - Kuehne visited Spain in 1914; in all, he would spend three years there, maintaining a studio in Granada. He developed his own impressionism and a greater simplicity while in Spain, under the influence of the brilliant Mediterranean light. George Bellows convinced Kuehne to spend the summer of 1919 in Rockport, Maine (near Camden). The influence of Bellows was more than casual; he would have intensified Kuehne's commitment to paint life "in the raw" around him. After another brief trip to Spain in 1920, Kuehne went to the other Rockport (Cape Ann, Massachusetts) where he was accepted as a member of the vigorous art colony, spearheaded by Aldro T. Hibbard. Rockport's picturesque ambiance fulfilled the needs of an artist-sailor: as a writer in the Gloucester Daily Times explained, "Max Kuehne came to Rockport to paint, but he stayed to sail." The 1920s was a boom decade for Cape Ann, as it was for the rest of the nation. Kuehne's studio in Rockport was formerly occupied by Jonas Lie. Kuehne spent the summer of 1923 in Paris, where in July, André Breton started a brawl as the curtain went up on a play by his rival Tristan Tzara; the event signified the demise of the Dada movement. Kuehne could not relate to this avant-garde art but was apparently influenced by more traditional painters — the Fauves, Nabis, and painters such as Bonnard. Gallatin perceived a looser handling and more brilliant color in the pictures Kuehne brought back to the States in the fall. In 1926, Kuehne won the First Honorable Mention at the Carnegie Institute, and he re-exhibited there, for example, in 1937 (Before the Wind). Besides painting, Kuehne did sculpture, decorative screens, and furniture work with carved and gilded molding. In addition, he designed and carved his own frames, and John Taylor Adams encouraged Kuehne to execute etchings. Through his talents in all these media he was able to survive the Depression, and during the 1940s and 1950s these activities almost eclipsed his easel painting. In later years, Kuehne's landscapes and still-lifes show the influence of Cézanne and Bonnard, and his style changed radically. Max Kuehne died in 1968. He exhibited his work at the National Academy of Design, the Art Institute of Chicago, the Carnegie Institute in Pittsburgh, the Memorial Art Gallery of the University of Rochester, and in various New York City galleries. Kuehne's works are in the following public collections: the Detroit Institute of Arts (Marine Headland), the Whitney Museum (Diamond Hill...

Pastel and Coloured pencils on Hahnemühle archival paper 300g - Original Drawing, Interior, Flowers Work Title : Bouquet Artist : Gabriel Riesnert (Fr...

Original signed watercolor painting of a ranch in the Colorado mountains in springtime or summer coloring of green, blue, yellow, white and brown by Denver artist, Irene Fowler. Presented in a custom frame with all archival materials, outer dimensions measure 17 ½ x 23 ½ x 1 ½ inches. Image size is 12 x 18 inches. About the Artist: An important figure in the development of Denver as an artistic city, Irene Fowler was a public school teacher and founding member of the Denver Artist’s Guild (now the Colorado Artist’s Guild) in addition to being a prolific artist. She exhibited in Denver at the Schlier Gallery (where she had a solo exhibition), at the Chappell House, the University Club, and the Broadmoor Art Gallery in Colorado Springs. In 1950-1952 she served as president of the Denver Artist’s Guild. Fowler painted in oil or watercolor and her paintings were almost exclusively done en plein air. Her landscapes of Colorado...

Sun Flowers original watercolour painting on artist paper signed by Marjorie Schiele (1913-2008) *see notes below piece of paper is 12.5 x 9.5 inches ...

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...

This piece is a playful depiction of a beach house scene of the ocean, sand, and view of a house with its garden with joyful colors and precious deta...

Small Bouquets by Lu Haskew Oil 16x16" image size Still Life of spring flowers, pansies, daffodil, in blue vases. This painting is unframed, canvas on gator board, the price reflects that it is unframed. ​Online Order Only, not in gallery display. ABOUT THE ARTIST: Lu Haskew 1921-2009 "Life is...