M. Kessler

Vintage French Watercolor Landscape - Town of Cornélia

1933

Tranquil watercolor of a rice field surrounded by a small farming village by French artist Stephane Magnard, circa 1950. Original artwork on paper displaye...

Dreamy watercolor landscape of a figure heading to the shore to fetch water under a dazzling sky, circa 1910. Original artwork on paper displa...

Delightful watercolor of a Madagascar African fishing village by Stéphane Magnard, resident artist to the former French colony from 1950 to 1953. Original artwork on paper displ...

Soothing French watercolor of a winding trail on the edge of a mossy forest, circa 1930. Signed lower right. Original artwork on paper displayed on a white mat with a gold border. A...

Dazzling French watercolor of fall colored foliage lining a large path, circa 1920. Signed lower right. Original artwork on paper displayed on a white mat with a gold border. Archiv...

Warmly hued watercolor landscape of a old church perched atop a rural hillside by French artist R.D. Flament, 1940. Signed lower left and titled and dated lower right. Original art...

In this piece the artist choice of colors is vibrant, and there is minimal blending of them. The artist takes a naive, Folk Art approach at rendering the subject simplifying the figu...

The idyllic atmosphere of this local dock scene falls within a couple of styles one being regionalism, an American realist modern art movement that included paintings, murals, lithographs, and illustrations depicting scenes of rural and small-town America primarily in the Midwest and frequently associated with Grant Wood and Thomas Hart Benton. The other style is romanticism wherein the scene depicted is a more desired or dramatic version of what actually is. “Untitled (Dock Scene)” is typical of a small town dock scene from Michigan where Culver lived or from places as far away as Maine, but what makes it important is its easy familiarity: water, gulls or terns, slanting wood shanties, scruffy dirt patches and course grasses. It is not idealized, but does set the tone of fresh air, the scream of birds and the sun on water. This piece has been professionally reframed with acid-free matting and museum glass. In a 1952 Detroit Free Press article, entitled “Artist Explains His Work,” Culver was asked why he painted the way he did. He stated: “I try to ‘see’ though not too exactly; I try to think though not too ponderously; I feel emotion yet I try not to become overwrought. I interpret rather than describe, and design rather than depict. I work with values, not light and shade; hence, when I am successful, I achieve substance rather than three-dimensional form, and this satisfies me as being wholly sufficient. In my work I wish to be serious without becoming a bore, exuberant without being frivolous, humorous without being silly. I believe that good paintings are conceived, not contrived; and I am interested in art much more than in pictures.” Charles Culver...

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...

Painted circa 1955 by Victor Di Gesu (American, 1914-1988) and stamped, verso, with certification of authenticity. Winner of the Prix Othon Friesz, Victor di Gesu first attended th...

Signed lower right, 'Richard Soderman N.W.S', (American, 20th century), titled 'China Cove' and dated 1972. Richard Soderman began drawing at the age...

‘The Pont Marie and Bateau Mouche’ in Paris, watercolour on art paper, by Roland Hamon (1971). The artist combines two icons of Paris in this depiction on a beautiful blue summer day...