Carol Heft

LANDSCAPES FROM THE BUS

Crossley, Greg (Canadian/American, born1952). ISLAND, SEA, AND SKY I, PANAREA. Colored pencils on black paper, 2011. Signed and dated in pencil. 5 1/8 x 3 3/4 inches (image) on a lar...

Crossley, Greg (Canadian/American, born1952). BEACH UMBRELLA, PANAREA. Colored pencils on black paper, 2009. Signed and dated in pencil. 6 3/8 x4 1/2 in...

Therrien Jr., Robert (American 1847-2019). UNTITLED (TRADIN STATION) Ink on paper, not dated. 12 x 9 inches (sheet). Signed in Ink, lower right. Toning, and some adhesive residue, ve...

Barr, Wyatt. NEWRY. Drawing, Charcoal and ink wash on Arches 300lb. Hot Press Watercolor paper, 2014. The subject is a hillside next to Step Falls in Newry, Maine. Signed and dated. ...

Fenn, Harry. A VENEZUELAN STATION and THE FALLS OF "EL NEGRO" CUYUNI RIVER. Ink and wash, 1896. Two drawings, the original artwork for illustrations accompanying "Glimpses of Venzuela," an article by W. Nephew King published in Century Magazine, July, 1896, pp. 358-368. Each about 9 x 11 inches, in very good condition, and framed. King is best known for his writings about the Spanish-American War of 1898. Harry Fenn, 1845-1911, was born in England, but worked in the United States. He was a painter, and printmaker, but is known primarily as a book and magazine illustrator. He illustrated books of poetry for John Greenleaf Whittier, and in 1870 was hired to do illustrations for Picturesque America, which was edited by William Cullen Bryant...

Kallem, Henry. PORCH - MONHEGAN. Ink on paper, not dated. Signed in ink within the matrix, lower right. 16 x 20 inches, the full sheet. In excellent condition.

David Johnson was a stalwart of the New York art world in the second half of the nineteenth century. In the fifty years between 1849 and 1899, Johnson exhibited over fifty paintings at the National Academy of Design, where he was an academician. In 1867, Johnson visited a spot above West Point on the Hudson River to paint a view that had long been a favorite of the landscape artists comprising the so-called “Hudson River School.” John Kensett had painted from the same vantage point ten years earlier, describing the area in a letter of 1854 as being “in the midst of the beautiful highlands of the Hudson, which I think for their peculiar kind of beauty there is nothing to surpass” (Kensett to his uncle, John R. Kensett, March 30, 1854, as quoted in Natalie Spassky and Kathleen Luhrs, American Paintings in the Metropolitan Museum of Art, Vol 2: A Catalogue of Works by Artists Born between 1816 and 1845 [New York: Metropolitan Museum of Art, 1985], p. 33). The Kensett painting, now called Hudson River Scene...

Study of an Italian Town with Women in a Doorway Graphite on cream wove paper, c. 1960 Signed by the artist in pencil lower right (see photo) A master of ...

This drawing reveals the artist's mastery of the medium and her connection to her subjects. In this one, we peek at a soft horizon line as we gaze though a patch of wildflowers near ...

This drawing reveals the artist's mastery of the medium and her connection to her subjects. In this one, we peek beach-strewn seashells from her travels to Sanibel Island boast bubbl...

42nd Street NYC 1923 Deco WPA Ashcan American Modern Cityscape Realism Broadway. 10 x 7 1/2 inches. Graphite on paper. Signed, titled "42nd Street" and dated July 26, 1923, lower l...

Mary Reilly explores the full tonal depth of graphite in her nature drawings and landscapes. She finds all of the soft subtleties of gray as she shifts seamlessly from branch to pebb...