Arthur Irwin Riley

'Coastal Breakers', Mid-century California, American Watercolor Society, CWS

Circa 1960

Watercolor landscape showing a view of a tranquil Florida cove with sailboats at rest in the sand, and a man and young boy wearing vermilion shirts approaching the shoreline in the s...

A vibrant expressionist watercolor showing a view of San Francisco and the bay contrasted against a semi-abstracted colorist background. Signed lower right, 'Provenzano' for Sam Pr...

Watercolor landscape showing a view of a lake with grasses and trees growing at its edge and reflected in the water, with cloudy skies overhead. Signed lower left, "Marge Stevens" a...

Signed lower right, 'Gunter Schulz-Ilhefeldt' (German, 1912-1966) and dated 1950. An elegant, modernist coastal scene showing a substantial stone-built breakwater at low tide juxtap...

Signed center right, 'Phyllis McDowell' (British, 20th/21st century) with artist business sticker and title, 'Storm-Folkestone Harbour' on backing. An art teacher and artist, Phylll...

A vibrant coastal landscape showing a view of a jetty extending into the cove of a beachside town with a view to mountains beyond. Signed lower right, 'Nadine Pizzo' and painted circa 1960. Born in San Francisco, Nadine Pizzo was educated at UC Berkeley and the California School of Fine Arts in San Francisco. After marrying artist Sal Pizzo in the late 1930s, Overpack Pizzo moved to Sonoma County in 1976, where she continued painting until her death in 1985. Nadine Pizzo exhibited successfully on the West Coast, including a solo exhibition at the California Palace Legion of Honor...

Landscape with a Village is an original artwork realized in 1939 by Charlotte Jamois in the first half of the 20th century. Watercolor on paper. Hand-signed by the artist on the low...

Landscape is a modern artwork realized by Robert Fontené in the mid-20th century. Watercolor and ink on paper. Hand-signed Good conditions with folding.

Very well executed watercolor on archival paper of a New England homestead nestled in a picturesque valley. Early fall with the tress just starting to change colors. The watercolor was done by the American artist Hilton Leech...

John Marin New York from the Ferry, 1914 Signed and dated lower right Watercolor and graphite on paper 11 x 12 3/4 inches Provenance: An American Place, New York Kennedy Galleries, Inc., New York Christie's, New York, March 16, 1990, Lot 278 Private Collection (acquired from the above) Sotheby's New York, American Paintings, Drawings, & Sculpture, October 2, 2014, Lot 10 A major figure in early twentieth-century modernism, John Marin captured the colliding energies of the American urban scene and the vibrant contrasts of natural elements in the coastal landscape of Maine and other countryside locales. As one of the premier watercolorists of his era, Marin developed a light, spontaneous style ideally suited to conveying the freshness and flux of city and country experience -- his watercolors are often considered to match in strength those created by Winslow Homer in previous century. At the same time, Marin's sensitivity to mass, form, color, and line and their dynamic interchanges provided a precedent for the Abstract Expressionist movement of the late 1950s. Marin was born in Rutherford, New Jersey, to a family of European descent. After studying mechanical drawing and mathematics for half a year at the Stevens Institute of Technology in New York, Marin worked as a draftsman for several architects. It was not until he was almost thirty years old that he began to study art. He enrolled at the Pennsylvania Academy of the Fine Arts in Philadelphia from 1899 to 1901, and at the Art Students League in New York from 1901 to 1903, where his teachers were William Merritt Chase and Frank Vincent Dumond. While Marin was attending the League, the radical ideas of Arthur Wesley Dow were being disseminated and had an impact on the direction Marin would soon take in his art. Marin left for Europe in 1905. The next five years, which he spent abroad, were of tremendous importance to his career. He became a significant figure in the expatriate community in Paris, frequenting the Dôme, a café that served as a meeting place for artists and writers. While in Europe, Marin visited the Louvre and the Rijksmuseum in Amsterdam and, despite his claims that he had been indifferent to the Paris art world, he undoubtedly became aware of the art of Paul Cézanne and Henri Matisse. The works Marin created in Europe most strongly reflect the influence of James McNeill Whistler, especially the pastels he rendered in Venice. In the summer of 1909, Marin met Alfred Stieglitz in Paris. In February of the next year, Marin's work was shown along with that of Alfred Maurer at Stieglitz's gallery, 291. After returning to America in the following year, Marin became one of the most consistent members of Stieglitz's inner circle, showing at all three of his galleries -- 291, The Intimate Gallery, and An American Place. After 1910, Marin developed the routine that he would follow for the rest of his life, creating paintings, drawings, and prints in New York City and surrounding areas during the winter, and in the summer, traveling to the country, where he focused on the particular characteristics of the regions that he visited. He worked mainly in watercolor until 1928, when he began also to use oil. Marin never became purely abstract. He formulated a unique style melding influences of the art of the French Fauves, Cézanne, Matisse, and the French Cubists with a personal style of luminescent colors, agile brushwork, and a simultaneously delicate and strong handling. In city views, he used broken lines, a light touch, fluid color, and rhythmic compositions to convey what he described as the "great forces at work." He expressed the warring of the great and the small through relationships between masses. As he said, he sought to express the "pull forces" of the modern urban scene. Often portraying the new tall buildings of New York seen...

"Landscape" is an original drawing in watercolor on paper, realized by Jean-Raymond Delpech (1916-1988). The state of preservation of the artwork is good and aged with some ripping ...

Golfers, 1928 Fred Conway (American, 1900-1973) Signed and Dated Lower Right 18.5 x 24.5 inches 30.5 x 37 inches with frame A member of the faculty of the Washington University Art ...