Oscar Florianus Bluemner

Union, Aug 28-22

1922

Double-sided mid century watercolor of Pleasure Point Cove, Monterey Bay by listed artist Doris Ann Warner (American, 1925-2010). On verso is a beautiful botanical watercolor study....

Evelyn De Morgan (British, 1855 – 1919) Study of a tree pencil on paper 19 x 11.3/4 in. (48.2 x 30 cm.) Provenance: The Clayton-Stamm Collection. Dom...

PAMELA MARY SPENCER (1924-2012) The Hen Coop Signed and dated 1946 Watercolour and pencil, unframed in conservation mount only 30 by 28 cm., 11 ¾ by 11 in. Provenance: The artist’s estate. Pamela Spencer was the niece of Sir Stanley Spencer RA and Gilbert Spencer...

Two bud vases seemingly defy gravity as they teeter upon a watery surface in Christina Haglid's "Janus". This meticulously detailed watercolor invites the viewer to take a closer look at nature, to question what is seen and to enter into a newly created world. Intricate in her execution, Haglid uses watercolor as one might use a colored pencil. Layer upon layer of color is added to achieve this impressively detailed painting. Christina Haglid Janus watercolor and gouache on paper 11h x 8w in 27.94h x 20.32w cm CMH031 Artist's Statement Tiny Sanctuaries There has always been an intersection between the process of writing and the act of painting in my work. It has somehow been my guide. In the last four years, during the making of this work, that connection intensified as I started writing short stories and flash fiction while taking online classes. I find the process of writing and painting so different in almost every way, but there is something freeing and generative in writing which helps my painting process. Or perhaps it's a reminder of what painting is for me - something intuitive that needs to be trusted. And what they do have in common is a desire to encapsulate and distill a single moment, a story, about the complexity of our emotions and experiences. At the heart of my work is the recurring depiction of perseverance, strength of will, and a subtle optimism. Symbolically through the objects, precarious situations depict a moment of possible difficulty, often involving the influence of nature. A paper crane left in the snow. A boat nearly filled to the brim, but not submerged and able to drain its own contents carefully. A slide alone at night...

A Pair of Drawings, Framed Signed and dated 1855 Chalk in black, brown wash, heightened with white, on paper each sheet, 46 x 31 cm . Framed. Two Landscape and Sea View Old Master Drawings, Paris, 18th Century, by Mozin Charles Louis Mozin (* 12 March 1806 in Paris; † 7 November 1862 in Trouville-sur-Mer) was a French painter. He is the grandfather of the Post-Impressionist Fernand Piet. The brother of the composer Théodore Mozin was a pupil of Xavier Leprince. He is considered the "discoverer" of Trouville-sur-Mer, which developed into a popular seaside resort at the end of the 19th century. At the age of nineteen, he first came to the fishing village on the coast...

This surreal landscape comes from the inner sanctum of artist Christina Haglid. Two paper orbs combine and reveal a portal to another dimension. The artist invites the viewer to take a closer look at nature, to question what is seen and to enter into a newly created world. Meticulous in her execution, Haglid uses watercolor as one might use a colored pencil. Layer upon layer of color is added to achieve this impressively detailed painting. The piece is matted and framed in a simple white frame measuring 20.25 x 16.75. Christina Haglid Nest, 2020 watercolor and gouache on paper 11h x 8w in 27.94h x 20.32w cm CMH051 Artist's Statement Tiny Sanctuaries There has always been an intersection between the process of writing and the act of painting in my work. It has somehow been my guide. In the last four years, during the making of this work, that connection intensified as I started writing short stories and flash fiction while taking online classes. I find the process of writing and painting so different in almost every way, but there is something freeing and generative in writing which helps my painting process. Or perhaps it's a reminder of what painting is for me - something intuitive that needs to be trusted. And what they do have in common is a desire to encapsulate and distill a single moment, a story, about the complexity of our emotions and experiences. At the heart of my work is the recurring depiction of perseverance, strength of will, and a subtle optimism. Symbolically through the objects, precarious situations depict a moment of possible difficulty, often involving the influence of nature. A paper crane left in the snow. A boat nearly filled to the brim, but not submerged and able to drain its own contents carefully. A slide alone at night...