Paper Landscape Drawings and Watercolors

A fantastic industrial drawing dated 1935, which depicts the former Plymouth Motor Company's Powerhouse in Buffalo, NY. Housed in a contemporary frame presentation this unique work ...

Signed lower right, 'G. Kosmiadi' for Georg Kosmiadi (Ukranian-German, 1886-1967) and dated, '66'; additionally signed verso, 'Georg Kosmiadi', inscribed with serial number and dated, '20/9/66'. Georg Kosmiadi was a resident of Rivne before moving to Hamburg in 1940 where he worked as an art teacher. Kosmiadi exhibited at the Rivne Regional Museum and a regional art...

Sanjay Bhattacharya - Untitled - 15 x 22 inches (unframed size) Watercolour on Paper ( FRAMED ALL IN DOOR DELIVERED ) Style : Sanjay's first ...

Represented by George Billis Gallery, NYC & LA --RUSS HAVARD Artist Statement I'm drawn towards nature imagery that depicts isolated elements in their continual struggle to flourish ...

Vibrant watercolor painting of a house at the end of a hill by Doris Ann Warner (American, 1925-2010). Doris Ann Warner began as an Abstract Expressionist painter, but was primarily ...

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...

My work is about something I wish I could have seen, imaginary worlds, a commentary on awe that is inspired by nature, science, and history. Objects in my work are a stand in for the...

This framed work is one-of-a-kind colored pencil & collage on archival pigment print. The work itself is 20" x 16", and it is framed to 26" x 20" in a contemporary, simple white wood...

Vibrant watercolor still life of primroses and fruit by Les (Leslie Luverne) Anderson (American, 1928-2009). Signed "Les Anderson" bottom left. Unframed. Image size: 15"H x 23"W Le...

Fragments is a striking triptych by Italian artist Marilina Marchica. Each original, non-reproducible drawing is made on delicate vegetal (vellum) paper and individually framed in cu...

This framed work is one-of-a-kind colored pencil & collage on archival pigment print. The work itself is 20" x 16", and it is framed to 26" x 20" in a contemporary, simple white wood...

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...

Beautiful original watercolor and gouache on archival paper by the famous American marine artist, Gordon Grant. The artwork depicts two rugged lobstermen bringing their catch ashore...

We would like to thank Madame Beck-Saiello for confirming the autograph nature of this drawing after an in-person examination. It was probably during an excursion in the countryside near Avignon that Claude-Joseph Vernet executed this drawing, enhanced with pen and brown ink, depicting a mansion on a hilltop overlooking a small village with geometric shapes. 1. Joseph Vernet, a painter influenced by Italy Claude-Joseph Vernet was born in Avignon in 1714, the son of Antoine Vernet (1689-1753), an artisan painter of architectural decorations, coach panels, and the like. He moved to the studio of Philippe Sauvan (1697-1792), a leading history painter in Avignon, and then worked with Jacques Viali (active 1681-1745), a decorative, landscape, and marine painter in Aix-en-Provence. Vernet's first recorded paintings were decorative overdoors executed in 1731 in the Aix townhouse of the marquise de Simiane. In 1734, Joseph de Seytres, marquis de Caumont, a leading amateur in Avignon, sponsored Vernet to make a study trip to Italy to complete his artistic education and to draw antiquities for his patron. As Avignon was a papal territory in Vernet's day, he also had a number of useful introductions among influential churchmen when he arrived in Rome. Vernet was soon at home in the French community there, and he was encouraged by Nicolas Vleughels (1668-1737), director of the Académie de France in Rome, even though the young painter had no official affiliation with the royal institution. He likely entered the studio of the French marine painter Adrien Manglard...

Leon Dolice (1892 - 1960) New York Harbor Skyline at Twilight (Searching), circa 1930-40 Pastel on paper 12 x 19 inches Signed lower left Provenance: Spanierman Gallery, New York The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the young man who was someday to be spoken of as showing promise of becoming "one of the greatest etchers of all time". Leon Dolice, born in Vienna on August 14, 1892, even as a young boy, preferred the lure of painting to the scholastic studies which his early years had expected of him. His father was a machinist, which exposed the boy to welding and metal crafts. However, his interest in art led him to abandon a secure future in the family business, and he spent most of his late teens and early twenties traveling through the capital cities of Europe studying the works of the Masters. As with many itinerant artists, he made his way in a variety of fashions metalworker, chef, designer somehow always managing to give vent to his creative instincts. Lured by the adventure of crossing the great Atlantic and by the freedoms of the New World, he came to America in 1920. There he was greeted by the turbulence of New York in the Roaring Twenties. Finding a retreat in the European Bohemianism of Greenwich Village, he picked the streets of this landmark neighborhood as his first subjects. With the encouragement of new found friends and artists such as George Luks and Herb Roth, he soon ventured out and devoted all his time to chronicling the architecture, back streets, dock scenes and other nostalgia that was fast disappearing from the face of Manhattan, mainly in copperplate etchings. A favorite subject for him was the Third Avenue El near one of his New York City studios on Third Avenue. He won accolades for his work, and although he traveled the East Coast recording landmarks in other cities including Washington DC, Baltimore, Chicago and Philadelphia, he always returned to his new home Manhattan. A decline in popular favor for etchings led him to put aside his plates in the late 1930's and devote some ten years to pastels, linocuts and painting. His subject matter was almost exclusively New York City street scenes, but figurative works, country scenes and even experiments with Abstract Expressionism at the height of its new found favor in the 1940's punctuated his career. In 1953, after learning of the forthcoming demise of the Third Avenue El, in the shadow of which he had maintained his studio for over a decade, he once again took to his plates and press and created a final series of Third Avenue and or other New York City landmarks that were then threatened with extinction. His work brings to light aspects of nostalgic New York that survives today only in small part, whether in architecture or in spirit. Dolice's works are in a number of notable museums and private collections, including the Museum of the City of New York; The New York Public Library Print Collection; The New York Historical Society; Georgetown University Lauinger Library; The Print Club of Philadelphia and others. In the past few years, his work has been exhibited at Hofstra Museum, Long Island, NY; with the Montauk...

Mid-century pen and ink drawing of horses and hay wagon by artist Irmgarg von Reppert, circa 1960. Signed lower right. Original artwork on paper displayed o...

Bright watercolor landscape of a sailboat drifting in a small cove ringed by red rock mountains by artist M. Balestié, circa 1930. Titled lower left and signed lower right. Original...

Signed lower right, 'V. Isbrand' for Victor Isbrand (Danish, 1897-1989) and titled, 'Venedig' (Venice). Precocious as a child, Victor Isbrand painted professionally from a young age...

ink on paper signed OSC. LYCKE unframed 24 x 34 cm (9.4 x 13.4 in) framed 33.5 x 43.5 cm (13.2 x 17.1 in) Provenance: Acquired directly from Katarina Gunnarsson, who inherited the ...

Contemporary organic abstract watercolor painting by Texas-based artist Tina Ruyi. The work features red, blue, and yellow cylindrical shapes in a wavy pattern reminiscent of a rolli...

Signed lower right, 'Burnham SWA' for Jane Burnham Crawford (American 1926-2016) and painted circa 1985. A substantial and loosely painted view of five d...

Edward Dufner (1872 - 1957) Monhegan Island, Maine Watercolor on paper Sight 16 x 20 inches Signed lower right With a long-time career as an art teacher and painter of both 'light' and 'dark', Edward Dufner was one of the first students of the Buffalo Fine Arts Academy to earn an Albright Scholarship to study painting in New York. In Buffalo, he had exchanged odd job work for drawing lessons from architect Charles Sumner. He also earned money as an illustrator of a German-language newspaper, and in 1890 took lessons from George Bridgman at the Buffalo Fine Arts Academy. In 1893, using his scholarship, Dufner moved to Manhattan and enrolled at the Art Students League where he studied with Henry Siddons Mowbray, figure painter and muralist. He also did illustration work for Life, Harper's and Scribner's magazines. Five years later, in 1898, Dufner went to Paris where he studied at the Academy Julian with Jean-Paul Laurens and privately with James McNeill Whistler. Verification of this relationship, which has been debated by art scholars, comes from researcher Nancy Turk who located at the Smithsonian Institution two 1927 interviews given by Dufner. Turk wrote that Dufner "talks in detail about Whistler, about how he prepared his canvasas and about numerous pieces he painted. . . A great read, the interview puts to bed" the ongoing confusion about whether or not he studied with Whistler. During his time in France, Dufner summered in the south at Le Pouleu with artists Richard Emil Miller...

Christina Haglid Monolith No. 5 watercolor and gouache on paper 8h x 9w in 20.32h x 22.86w cm CMH071 Artist's Statement Tiny Sanctuaries There has always been an intersection betwee...

European Street Scene - Original Ink Line Drawing by Roxie Munro (American b. 1945.) Detailed architectural drawing of a European street scene, potentially Paris, by prominent illus...

Sandy Litchfield brings her magical abstracted landscapes to a new medium in her recent colored pencil drawings. Loose, delicate lines scramble over one another, bringing a diffuse, ...

A watercolor painting of Moscow streets is a landscape about one autumn day in beautiful Moscow. Delicate watercolor shimmers, contrasting colors and a dynamic plot. The painting of ...

Original watercolor on archival paper of a busy French beach scene with a host of sailboats just off the shore. Signed by the artist lower left with inscription. Condition is excellent. Circa 1965. The watercolor is housed in a narrow gold gallery frame with a wide and very deep mat. Under glass. Overall framed measurements are 17 by 22.5 inches. Provenance: A Sarasota. Florida collector. About the artist: Jean Monneret, born November 27, 1922 in Chalon-sur-Saône, is one of the best known painters of the School of Paris after the war. He is founding president of the Federation of Fairs historic Grand Palais. From 1944 to 1949, Jean Monneret is a student at the Ecole Nationale Superieure des Beaux-Arts in Paris, in the studio of Jean Dupas after preparation to the Ecole des Beaux-Arts in Lille. At the same time, it passes the support of education in fine arts high schools. As a teacher, as well as course director Montmartre (1960-1975), that when he became professor of fine arts and art history at the National School of Applied Arts in Paris (1974 - 1988), it maintains the study of drawing as many teachers are no longer able to teach it or waive it. His painting, figurative, with a graphic black outlines to very expressive part of a modern context. Present in most rooms with paint, and very representative of the spirit of freedom of the painters, it is duly elected president of the Salon des Independants from 1977 to 2001. Among his friends painters include Jean Carzou particular, Jean-Pierre Alaux, Pierre-Henry...

Scottish artist Patsy McArthur explores the grace and power of human movement in her naturalistic drawings and paintings. Her latest works, including small ink studies, charcoal and ...

Church in Prague by Kamil Kubik, Czech/American (1930–2011) Pastel on Paper, signed l.r. Size: 19.5 x 25.5 in. (49.53 x 64.77 cm)

Cliffs, backwash (Pointe du Grouin #23.04) is an India ink and salt on paper drawing by the French contemporary artist Yann Bagot, dimensions are 75.8 × 56 cm (29.8 × 22 in). The ar...

Leon Dolice (1892 - 1960) New York Harbor (Brooklyn Bridge), circa 1930-40 Pastel on paper 12 x 19 inches Signed lower right Provenance: Spanierman Gallery, New York The romantic b...

A view over the loch by Natalie Bird [2022] original Pastel Image size: H:36 cm x W:28 cm Complete Size of Unframed Work: H:25 cm x W:20 cm x D:0.5cm Sold Unframed Please note that ...

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Gaston Cornil. French ( b.1883 - d.1940 ). Récupérant Du Carburant Pour L’Hiver (Gathering Winter Fuel). Watercolor & Gouache On Buff Paper. Signed Lower Left. Image size 12.4 inches...

Landscape 1970. paper/watercolor., 28.5x40.5 cm Herberts Mangolds (1901-1978) Graphic, army officer. In 1920 he graduated from the Artillery Cadet ...

This piece is framed in a natural wood frame measuring 30 by 45.5 inches. Based in Carrollton, Georgia, Erin Dixon is a mixed media artist whose work bridg...

Sunset 1970, paper/watercolor., 20x24 cm Herberts Mangolds (1901-1978) Graphic, army officer. In 1920 he graduated from the Artillery Cadet School ...

This is a beautiful expressionist style drawing by Juanjo Saez. Juanjo's pictorial work is an exploration of color, texture, and movement, creating vibrant compositions that capture ...

Stefan Bleekrode b.1986 Dutch Winter Shadows, New York Black ink and watercolor on paper Signed and dated "S. Bleekrode '18-'20" (upper right) Thi...

Leon Dolice New York Harbor Nocturne Signed lower right Pastel on paper 12 x 19 inches The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the...

Represented by George Billis Gallery, NYC & LA --RUSS HAVARD Artist Statement I'm drawn towards nature imagery that depicts isolated elements in their continual struggle to flourish ...

Sullo sfondo di un paesaggio dai tratti centro-settentrionali europei-in cui si riconoscono una cappella e il profilo di una città dagli alti pinnacoli-si svolge una scena di svago, ...

Birds. 2020. Watercolor, paper, 66 x 96 cm Seagulls over the sea Zigmunds Šņore was born in 1942 in Latvia. His works has been exhibited since 1969 an...

This drawing is part of the current exhibition entitled "The fantastic story of the liquid mountain" at Claire Corcia Gallery in Paris. The liquid mountain is populated by living be...

Rural landscape. Paper, watercolor, 30x41.5 cm Dzidra Ezergaile (1926-2013) Born in Riga. School years alternate with summer work in the countryside. In 1947, she began her studies ...

Studio stamp of Gromaire, lower center Provenance: Atelier of the artist Notes: A typical Normandy beach scene, perhaps near Deauville or Trouville.

Charcoal on paper drawing by Toronto-based artist Katherine Curci. From her "Irrepressible" series. Comes framed. Lake Pleasant, Phoenix, AZ Katherine Curci began this series of ch...

Christopher Ganz Basilica di San Marco, Venezia, 2020 white ink, chalk & colored pencil on paper 12h x 18w in 30.48h x 45.72w cm CG0079 -ARTIST STATEMENT- ...

Waves. Watercolor, paper, 55 x 93 cm Zigmunds Šņore was born in 1942 in Latvia. His works has been exhibited since 1969 and are held in private collections in Latvia, USA, Sweden, ...

Ink on paper Liu Ziyu is a Chinese artist born in 1978 who lives and works in Beijing, China. He was graduated in 2020 from from the Stroganov Moscow State A...

Sandy Litchfield found peace and inspiration in regular solitary walks through nature throughout the pandemic. Her most recent body of work diaristically documents her constitutional...

Evening. 1975, paper, watercolor, 14x19,4 cm Herberts Mangolds (1901-1978) Graphic, army officer. In 1920 he graduated from the Artillery Cadet School of Latvian and many military c...

Landscape watercolor by Allen Tucker of an oak tree. This piece, along with several others, was gifted to Una Brage, a friend of the artist in the 1930s. More about this artist: Allen Tucker, was an architect and painter so influenced by Vincent Van Gogh that he was called "Vincent in America". (Gerdts 291) Robert Henri and Maurice Prendergast were also credited as having an influence on Tucker's brushwork and compositions, the latter decisively. However, as his painting evolved, he did not fit into any tidy slot for description and was known as an individualist not easily categorized in American art history. Tucker was born in Brooklyn in 1866 and graduated from the School of Mines of Columbia University with a degree in architecture and took a job as an architectural draftsman in the architectural firm of McIvaine and Tucker, his fathers business. During that time, he studied painting at the Art Students League with Impressionist John H. Twachtman, but it was not until around 1904, when he was 38, that Tucker became a full-time painter, leaving architecture behind. Many of his early canvases were classically Impressionistic with poplar trees resembling those of Van Gogh and haystacks and corn shocks...

Landscape 1970, paper/watercolor., 30x42 cm Herberts Mangolds (1901-1978) Graphic, army officer. In 1920 he graduated from the Artillery Cadet Scho...

Bedford Park by LUDOVIC-RODO PISSARRO (1878-1952) Watercolour on paper 24.5 x 38 cm (9 ⅝ x 15 inches) Signed, inscribed and dated lower left, Bedford Park 1928 Ludovic Rodo Painted ...

Italy. Paper, mixed media, 33х24 сm

Watercolor on paper Atmosphere -masses of evaporating water in the air- describes Ekaterina Smirnova's paintings best. Working in watercolour, Smirnova has a unique approach to this ...

"Underwater Series: Coral Reef" is an original mixed media piece by David Barnett that incorporates watercolor and acrylic on rag museum foam board, signed in the lower right. This ...

'A Buginese boat, Semarang 1898’ Signed, dated, and annotated, upper right Pen, brush and ink on cardboard, H. 11.4 x W. 26.3 cm Literature: Venselaar, 2019, p. 69 (ill.)

Oil on paper. Signed and dated 'Walinska 57' (lower left). image size 20 x 13 1/2 in. framed size 28 1/3 x 22 1/2 inches Provenance Martha Jackson Gallery Anderson Gallery, Buffalo...