Watercolor Landscape Drawings and Watercolors

'Pittenweem Harbor' is by contemporary Scottish artist Robert Stirling, signed in lower left. Pittenweem is a fishing village on the east coast of Scotland in Fife, between St Andrew...

Lighthearted Illustration of Outdoor Pursuits This one being cross country Snow Shoes signed "W. Steig" Provenance: from Mrs. Joseph B. Ryan, Commissioned by ...

By Tom Shefelman 9" x 12" Watercolor on Paper

Big Sur Coast Landscape in Watercolor on Paper Serene coastal landscape by notable artist Paul Dougherty (American, 1877-1947). The viewer looks out ov...

Painting: Watercolor on Paper, Framed Dimensions: 12 in x 14 in, Framed 17 in x 21 in Unique Signed on Verso, includes a certificate of authenticity. Elena Chestnykh was born in Nov...

By Tom Shefelman 9" x 12" Watercolor on Paper

Flower Moon 2:30pm is a watercolor work on paper by Cynthia MacCollum. This original artwork is 12x9 on archival paper. It is currently framed to 14 x 11. It was part of a 2020 series based on images captured during the 13 Moons of the year. It is a one of a kind botanical artwork...

After creating murals for the Greenbrier Hotel in White Sulfur Springs, West Virginia in 1932, together Grauer and his wife founded and co-directed the successful Old White Art Colony, School and Gallery, which they continued to frequent during the summer months in the 1930s and 1940s. Grauer’s involvement in West Virginia also included his West Virginia murals for the West Virginia exhibitions at the 1933 Century of Progress Exhibition in Chicago and the 1939 World’s Fair in New York City. William C. Grauer (1895-1985) William C. Grauer (1895-1985) was born in Philadelphia to German immigrant parents. After attending the Philadelphia Museum School of Industrial Art, Grauer received a four year scholarship from the City of Philadelphia to pursue post graduate work. It was during this time that Grauer began working as a designer at the Decorative Stained Glass Co. in Philadelphia. Following his World War I service in France, Grauer moved to Akron, Ohio where he opened a studio in 1919 with his future brother-in-law, the architect George Evans Mitchell. Soon, the Rorimer-Brooks design company, the developer Van Swerngen brothers, as well as the Sterling Welch and Halle Bros. department stores realized the extent of Grauer's talent and eagerly employed him. Grauer’s work during this time included architectural renderings for Shaker Square, Moreland Courts, and other many other projects commissioned by Cleveland architects. Grauer also remained true to his roots as a master designer of stained glass windows. With his work in such high demand, Grauer received a commission in 1921 to paint murals for the French Grill Room of the Kansas City Club...

Standing Lincoln: The Man, Lincoln Park, Illinois Watercolor and graphite on paper , c. 1895 Signed in script lower right (see photo) The scene depicts the Augustus Saint-Gaudens bro...

Small landscape with cows by Carmel artist Cetin (20th Century). Two cows are grazing in the foreground. Beyond the cows, a field stretches out towards a...

Represented by George Billis Gallery, NYC & LA -- Represented by George Billis Gallery, NY, Having worked from a studio in the Gowanus area of Brooklyn for two decades, Elizabeth O'...

Tom Shefelman 9" x 12" Watercolor on Paper

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...

Frank Nelson Wilcox (American, 1887-1964) Stevedores, Ohio River, c. 1920 Watercolor on paper Signed lower right 21.5 x 29. 5 inches "The trip Otto Ege and I made from Pittsburgh to Marietta by riverboat and then by train to Mammoth Cave, was the next high spot in my artistic explorations. We saw something of the Old Southern river life on the way - the roustabouts, the showboat and river town life at Point Pleasant, and then to the sombre tonal mysteries of the Cave. These sights added much to my pictorial vocabulary..." - Frank Wilcox Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School...

By Tom Shefelman 13" x 19" Watercolor on Paper

Represented by George Billis Gallery, NYC & LA -- Represented by George Billis Gallery, NY, Having worked from a studio in the Gowanus area of Brooklyn for two decades, Elizabeth O'...

By Tom Shefelman 18" x 14" Watercolor on Paper

Captiva Island, Florida - Beach Landscape in Watercolor on Paper Detailed watercolor of a Florida island beach by unknown artist "Dowst" (American, 20th Century). Scrub brush and ot...

"The Word Came Down On Us" is an original watercolor painting on paper by Reginald K. Gee. It depicts a fall landscape. The artist signed the piece in the lower left. 11" x 15" art...

James MacMaster Gray Morning Signed and titled lower left Watercolor on paper 10 1/4 x 14 inches Provenance: Private Collection, New Jersey

Here for your consideration is a well executed watercolor of a bucolic landscape scene with figures by the British artist, Henry John Kinnaird. Signed lower left. Title inscribed lower right. Circa 1908 when the artist moved to Sussex to live and paint. Condition is excellent. Framed in a beautiful contemporary white gold antiqued gallery frame. Under glass. Overall framed measurements are 28 by 40 inches. Provenance: A Sarasota, Florida collector. Henry John Kinnaird British, (1861-1929) “A View near Harting...

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 ...

Drypoint etching rawing of a coastal scene with figures drawing a net or boat form the sea by Sir Francis (Frank) Job Short (British, 1857 - 1945) Sir Frank Short, Royal Academy*, was a printmaker and teacher of printmaking. He revived the practices of mezzotint* and aquatint* engraving, and also wrote about printmaking to educate a wider public. Signed "Frank Short" lower right with monogram in the print "S within a shield" Titled lower left "Rough Weather at Blatchington" Lower left "Trial Proof" Image, 8.5"H x 10.88"W Mat, 16"H x 20"W x 0.13 Professionally cleaned and ph nuetral washed by our paper conservator. (new images posting) Francis Job Short was born on 19 June 1857 in Britain, at Stourbridge, Worcestershire. He was educated to be a civil engineer. He was engaged on various works in the Midlands until 1881, when he came to London as assistant to Mr Baldwin Latham in connection with the Parliamentary Inquiry into the pollution of the river Thames. In 1883 he was elected an associate member of the Institution of Civil Engineers. Having worked at the Stourbridge School of Art in his early years he joined the South Kensington School of Art*, in 1883. He also worked at the life class under Professor Fred...

Brightly colored Fauvist coastal landscape of a vivid purple cypress tree at the edge of the water, under a bright yellow sky and orange sun by Karen Druker (American, 1945). Signed ...

Ink and wash in sepia and brown on heavy wove paper, 5 13/16 x 8 1/2 inches (146 x 215 mm). Scattered uniform age tone and discoloration throughout. Brown ink spot with associated sp...

Scottish Highland mountains, river rapids and heather on the hill with cows, this 19th century impressionist watercolor is bright and fresh. Sign...

Bricklayers House Beautiful Cover Proposal American Scene Modern WPA 1930s Industrial Workers Antonio Petruccelli (1907 - 1994) Brick Layers House Beautiful cover proposal, c. 1939 ...

Scene of Austin, Texas by Tom Shefelman 11" x 15" Watercolor on Paper

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...

Rocky California Seascape in Watercolor on Paper Dramatic coastal landscape by notable artist Paul Dougherty (American, 1877-1947). Waves are churning ...

Frank Nelson Wilcox (American, 1887-1964) Circus Lot at Toledo, c. 1920 Watercolor on Whatman board Signed lower right 22 x 30 inches Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters," though some sources give this appellation to Henry Keller or Frederick Gottwald. Wilcox was born on October 3, 1887 to Frank Nelson Wilcox, Sr. and Jessie Fremont Snow Wilcox at 61 Linwood Street in Cleveland, Ohio. His father, a prominent lawyer, died at home in 1904 shortly before Wilcox' 17th birthday. His brother, lawyer and publisher Owen N. Wilcox, was president of the Gates Legal Publishing Company or The Gates Press. His sister Ruth Wilcox was a respected librarian. In 1906 Wilcox enrolled from the Cleveland School of Art under the tutelage of Henry Keller, Louis Rorimer, and Frederick Gottwald. He also attended Keller's Berlin Heights summer school from 1909. After graduating in 1910, Wilcox traveled and studied in Europe, sometimes dropping by Académie Colarossi in the evening to sketch the model or the other students at their easels, where he was influenced by French impressionism. Wilcox was influenced by Keller's innovative watercolor techniques, and from 1910 to 1916 they experimented together with impressionism and post-impressionism. Wilcox soon developed his own signature style in the American Scene or Regionalist tradition of the early 20th century. He joined the Cleveland School of Art faculty in 1913. Among his students were Lawrence Edwin Blazey, Carl Gaertner, Paul Travis, and Charles E. Burchfield. Around this time Wilcox became associated with Cowan Pottery. In 1916 Wilcox married fellow artist Florence Bard, and they spent most of their honeymoon painting in Berlin Heights with Keller. They had one daughter, Mary. In 1918 he joined the Cleveland Society of Artists, a conservative counter to the Bohemian Kokoon Arts Club, and would later serve as its president. He also began teaching night school at the John Huntington Polytechnic Institute at this time, and taught briefly at Baldwin-Wallace College. Wilcox wrote and illustrated Ohio Indian Trails in 1933, which was favorably reviewed by the New York Times in 1934. This book was edited and reprinted in 1970 by William A. McGill. McGill also edited and reprinted Wilcox' Canals of the Old Northwest in 1969. Wilcox also wrote, illustrated, and published Weather Wisdom in 1949, a limited edition (50 copies) of twenty-four serigraphs (silk screen prints) accompanied by commentary "based upon familiar weather observations commonly made by people living in the country." Wilcox displayed over 250 works at Cleveland's annual May Show. He received numerous awards, including the Penton Medal for as The Omnibus, Paris (1920), Fish Tug on Lake Erie (1921), Blacksmith Shop (1922), and The Gravel Pit (1922). Other paintings include The Trailing Fog (1929), Under the Big Top (1930), and Ohio Landscape...

Represented by George Billis Gallery, NYC & LA -- Represented by George Billis Gallery, NY, Having worked from a studio in the Gowanus area of Brooklyn for two decades, Elizabeth O'...

This artwork "Landscape with Trail" c.1980 is a watercolor on paper by noted American artist Gerald F. Brommer, 1927-2020. It is signed at the lower right corner by the artist. The a...

Original Painting Fortune Cover Published 1937 American Modern - Met Museum NEWS: A printed copy of this magazine is included in The Metropolitan Museum of Art’s recent exhibition, “Art for the Millions: American Culture and Politics in the 1930s” Antonio Petruccelli...

Frank Nelson Wilcox (American, 1887-1964) Binder, Brecksville, Ohio, c. 1922 Watercolor on paper 18 x 24 inches 24.25 x 30 inches, framed "Being a city boy I had no experience with farm machinery, but knew well the dangers of mowing machines, corn huskers and the like. Having a little experience with horses, I could appreciate the risks in driving them." - Out in Brecksville, Frank Wilcox Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School...

American Scene Industrial Modern Lamp Magazine Illustration Mid-Century Antonio Petruccelli (1907 - 1994) Oil Terminal Lamp Magazine, published, c. 1930s. 15 3/4 X 12 inches (image) 18 X 14 inches board Gouache on board Signed lower right unframed BIOGRAPHY: Antonio Petruccelli (1907-1994) began his career as a textile designer. He became a freelance illustrator in 1932 after winning several House Beautiful cover illustration contests. In addition to 24 Fortune magazine covers, four New Yorker covers, several for House Beautiful, Collier’s, and other magazines he did numerous illustrations for Life magazine from the 1930s – 60s. ‘Tony was Mr. Versatility for Fortune. He could do anything, from charts and diagrams to maps, illustrations, covers, and caricatures,’ said Francis Brennan, the former art director for Fortune. Over the course of his career, Antonio won several important design awards, designing a U.S. Postage Stamp Commemorating the Steel Industry and designing the Bicentennial Medal...

"Our Model T Garage" - Watercolor Landscape on Paper A rust-red barn sits below an autumn canopy of trees with contrasting blue background. Cool hues cast deep, brooding shadows opp...

Cadets Football New Yorker Mag Cover Proposal American Scene Modern Illustration Antonio Petruccelli (1907 – 1994) Cadets Football Game New Yorker cover proposal, c. 1939 14 1/4 X 1...

This lovely blue watercolor painting is by M. Godier, France (20th Century). The artwork is signed in the bottom right corner. The composition features an unusual representation of t...

Original Painting Life Mag Published 1953 Birds Animals Illustration Mid Century Antonio Petruccelli (1907 - 1994) The World We Live In Birds of Paradise Life Magazine Illustration ...

Artist: August Töpfer Work: Original Watercolor painting, handmade artwork, one of a kind Medium: Watercolor on Satin Paper Year: 1834-1911 Style: Classic Art Title: Tower, Size: 12...

A fantasy scene with Elves and a beautiful girl lost in thought at the base of a tree. Elizabeth Mary Watt, G.S.W.A. In 1919, she was elected as ...

Fireman Textile Fabric Design 1920s American Scene Modern Working Men Art Deco Antonio Petruccelli (1907 - 1994) Firemen Textile design, c. 1929 19 1/4 ...

Japanese Brush Painting Watercolor on handmade paper 28 1/2 x 22 in. Framed: 32 1/2 x 26 1/4 in.

Original Painting. Fortune Mag Cover Published 1938. American Scene Modern WPA Antonio Petruccelli (1907 - 1994) Fortune cover published, January ...

Reflection of Mt. Fuji on Lake, after Niimi Sei - Watercolor on Paper A serene watercolor in subdued hues of blue and green depicting Japan's iconic Mt. Fuji. The mountain towers be...

This appears to be dated 1927. It came in with a piece dated 1929. A very early, rare work. Framed 22.5 x 18. Image 14.5 x 9 A great New York city street scene with an El train (elevated subway line) and architectural renderings of buildings. This is a wonderful piece by one of America's most treasured artists, Chaim Gross. Throughout his lifetime Gross has gone through tragedy and a real test of faith however, he has the unique ability to focus and direct his expression to the most joyful and beautiful works of art, such as the present lot. For more than sixty years Chaim Gross's art has expressed optimistic, affirming themes. His acrobats, cyclists, and mothers and children convey joyfulness, exuberance, love, and intimacy. This aspect of his work remained consistent with his Hasidic heritage, which teaches that "only in his childlike happiness is man nearest to God." He often used his creative abilities to explore and experiment with media. In his artwork he retains an optimistic philosophy, even when facing somber issues such as war, depression, and the Holocaust. Chaim Gross (March 17, 1904 – May 5, 1991) was an American sculptor and educator. Gross was born to a Jewish family in Austrian Galicia, in the village of Wolowa (now known as Mezhgorye, Ukraine), in the Carpathian Mountains. In 1911, his family moved to Kolomyia (which was annexed into the Ukrainian USSR in 1939 and became part of newly independent Ukraine in 1991). When World War I ended, Gross and brother Avrom-Leib went to Budapest to join their older siblings Sarah and Pinkas. Gross applied to and was accepted by the art academy in Budapest and studied under the painter Béla Uitz, though within a year a new regime under Miklos Horthy took over and attempted to expel all Jews and foreigners from the country. After being deported from Hungary, Gross began art studies at the Kunstgewerbeschule in Vienna, Austria shortly before immigrating to the United States in 1921. Gross's studies continued in the United States at the Beaux-Arts Institute of Design, where he studied with Elie Nadelman and others, and at the Art Students League of New York, with Robert Laurent. He also attended the Educational Alliance Art School, studying under Abbo Ostrowsky, at the same time as Moses Soyer and Peter Blume. In 1926 Gross began teaching at The Educational Alliance, and continued teaching there for the next 50 years. Louise Nevelson was among his students at the Alliance (in 1934), during the time she was transitioning from painting to sculpture. In the late 1920s and early 1930s he exhibited at the Salons of America exhibitions at the Anderson Galleries and, beginning in 1928, at the Whitney Studio Club. In 1929, Gross experimented with printmaking, and created an important group of 15 linocuts and lithographs of landscapes, New York City streets and parks, women in interiors, the circus, and vaudeville. The entire suite is now in the collection of the Philadelphia Museum of Art. Gross returned to the medium of printmaking in the 1960s, and produced approximately 200 works in the medium over the next two decades. In March 1932 Gross had his first solo exhibition at Gallery 144 in New York City. For a short time they represented Gross, as well as his friends Milton Avery, Moses Soyer, Ahron Ben-Shmuel and others. Gross was primarily a practitioner of the direct carving method, with the majority of his work being carved from wood. Other direct carvers in early 20th-century American art include William Zorach, Jose de Creeft, and Robert Laurent. Works by Chaim Gross can be found in major museums and private collections throughout the United States, with substantial holdings (27 sculptures) at the Hirshhorn Museum and Sculpture Garden. A key work from this era, now at the Smithsonian American Art Museum, is the 1932 birds-eye maple Acrobatic Performers, which is also only one and one quarter inch thick. In 1933 Gross joined the government's PWAP (Public Works of Art Project), which transitioned into the WPA (Works Progress Administration), which Gross worked for later in the 1930s. Under these programs Gross taught and demonstrated art, made sculptures that were placed in schools and public colleges, made work for Federal buildings including the Federal Trade Commission Building, and for the France Overseas and Finnish Buildings at the 1939 New York World's Fair. Gross was also recognized during these years with a silver medal at the Exposition universelle de 1937 in Paris, and in 1942, with a purchase prize at the Metropolitan Museum of Art's "Artists for Victory" exhibition for his wood sculpture of famed circus performer Lillian Leitzel. In 1949 Gross sketched Chaim Weizmann, President of Israel, at several functions in New York City where Weizmann was speaking, Gross completed the bust in bronze later that year. Gross returned to Israel for three months in 1951 (the second of many trips there in the postwar years) to paint a series of 40 watercolors of life in various cities. This series was exhibited at the Jewish Museum (Manhattan) in 1953. In the 1950s Gross began to make more bronze sculptures alongside his wood and stone pieces, and in 1957 and 1959 he traveled to Rome to work with famed bronze foundries including the Nicci foundry. At the end of the decade Gross was working primarily in bronze which allowed him to create open forms, large-scale works and of course, multiple casts. Gross's large-scale bronze The Family, donated to New York City in 1991 in honor of Mayor Ed Koch, and installed at the Bleecker Street Park at 11th street, is now a fixture of Greenwich Village. In 1959, a survey of Gross's sculpture in wood, stone, and bronze was featured in the exhibit Four American Expressionists curated by Lloyd Goodrich at the Whitney Museum of American Art, with work by Abraham Rattner, Doris Caesar, and Karl Knaths. In 1976, a selection from Gross's important collection of historic African sculpture, formed since the late 1930s, was exhibited at the Worcester Art Museum in the show The Sculptor's Eye: The African Art Collection of Mr. and Mrs. Chaim Gross. Gross was elected into the National Academy of Design as an Associate member, and became a full Academician in 1981. In 1984, he was inducted into the American Academy of Arts and Letters, with Jacob Lawrence and Lukas Foss. In the fall of 1991, Allen Ginsberg gave an important tribute to Gross at the American Academy of Arts and Letters, which is published in their Proceedings. In 1994, Forum Gallery, which now represents the Chaim Gross estate, held a memorial exhibition featuring a sixty-year survey of Gross's work. Gross was a professor of printmaking and sculpture at both the Educational Alliance and the New School for Social Research in New York City, as well as at the Brooklyn Museum Art School, the MoMA art school, the Art Student's League and the New Art School (which Gross ran briefly with Alexander Dobkin...

Albert Bern was a French artist born in 1898. He has auction results over $600. This charming watercolor of a French side street measures 9 inches wide by 7 high. The frame measures ...

Original 1930s Painting Fortune Cover Proposal. Industrial Modern American Scene Antonio Petruccelli (1907 - 1994) Steel Mill Fortune cover proposal, c. 1945 13 1/2 x 10 3/4 inches...

Rowboat Outing - Fall Landscape with Rowboats in Watercolor on Paper Serene lakeside landscape by an unknown artist (20th Century). Two birch trees with bright yellow leaves are gro...

Very well executed original watercolor and gouache marine painting on archival paper by the well known American artist, Edmund Darch Lewis. Signed lower left and dated 1899. Conditio...

“Denmark” is a watercolor painting by Herbert Lewins capturing the serene beauty of a Danish harbor, featuring four charming boats that resemble traditional fisherman's vessels. The ...

Brightly colored landscape of a cabin in the woods by Karen Druker (American, 1945). Signed "Druker" in the lower right corner. Presented in a cream mat. No frame. Image size: 30"H x...

Fortune Magazine Cover Published 1941 Illustration Precisionist American Scene Antonio Petruccelli (1907 - 1994) Military Tent City Fortune Cover published, May 1941 17 1/2 X 15 in...

Artist: Gillie Cawthorne (English, 1963-) Title: "River Tyne Between Hexham and Corbridge" *Signed and dated by Cawthorne lower center Year: 1998 Medium: Original Watercolor on paper...

This framed and matted 17" x 20.75" watercolor painting by Hubert John Williams depicts a stone bridge over a river. On the left side of the bridge is green foliage along the river's...

Watercolor and gouache on cream wove paper. Signed and titled in watercolor in the lower right image area. Small circular pea-sized damp stain in the top center image area (visible in the are of the sky), and some additional small spots of unobtrusive foxing in the upper left sheet area. Otherwise in very good condition with fresh colors and intricate brushwork. Henri Schäfer...

Gouache of a French cityscape titled "Street in Gordes France" by Sylvia Davis. This piece was originally part of the lending and sales gallery of the Memorial Art Gallery of the Uni...