Skip to main content

American Modern Landscape Drawings and Watercolors

to
1
25
6
1
19
6
11
10
1
3
Overall Height
to
Overall Width
to
57
48
46
43
7
7
6
4
3
3
1
7
6
5
5
4
4
3
2
2
2
2
1
1
1
1
1
1
1
1
1
25
1
2
6
2
4
1
1
4
2
2
2
2
18
18
7
5
4
Style: American Modern
Recognized Seller Listings
Gaspe: St. Lawrence Village
Located in Fairlawn, OH
Signed by the artist in pencil, lower right Provenance: Estate of the Artist With the artist's original presentation (Frame and matting) Two similar titles were exhibited in The ...
Category

1950s American Modern Landscape Drawings and Watercolors

Materials

Watercolor

untitled (Street Scene Mexico)
Located in Fairlawn, OH
Untitled Mexican Landscape (Man Walking on Street) Ink and watercolor on paper. Signed with the estate stamp lower right (see photo) From the Estate of the Artist with the artist's estate stamp lower right. C. 1960's Condition: excellent Image/Sheet size: 9 7/8 x 7 5/8 inches 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...
Category

1960s American Modern Landscape Drawings and Watercolors

Materials

Watercolor

untitled (Pueblo)
Located in Fairlawn, OH
Untitled (Taos Pueblo) Ink on paper, 1985-1990 Signed by the artist in ink lower right (see photo) An early New Mexico period work, created shortly af...
Category

Early 20th Century American Modern Landscape Drawings and Watercolors

Materials

Ink

Trees Over the Vineyard
Located in Fairlawn, OH
Trees Over the Vineyard Watercolor on heavy paper, c. 1930 Signed with the estate stamp verso (see photo) Sheet size: 16 1/2 x 19 1/8 inches Condition: Excellent Illustrated: Marbell...
Category

1930s American Modern Landscape Drawings and Watercolors

Materials

Watercolor

Staten Island
Located in Fairlawn, OH
Staten Island Watercolor on paper, c. 1928 Signed with the Estate stamp lower left Sheet size: 19 1/8 x 23 7/8 inches Titled on verso Part of small series of watercolors done of the ...
Category

1920s American Modern Landscape Drawings and Watercolors

Materials

Watercolor

Untitled (Hot Air Baloon Ascent and Spectators)
Located in Fairlawn, OH
Untitled (Hot Air Balloon Ascent and Spectators) Sepia wash on wove paper, 1985 Signed and dated in ink lower right corner From the artist's 1985 sketchbook Probably a view of Cape C...
Category

1980s American Modern Landscape Drawings and Watercolors

Materials

Ink

Brookdale, New Jersey
Located in Fairlawn, OH
Brookdale, New Jersey Graphite on paper, 1922 Signed with the artist's initials l.l., and dated 1922 (see photo) Annotated "Brookdale" front and back of she...
Category

1920s American Modern Landscape Drawings and Watercolors

Materials

Graphite

Untitled (West Virginia fam valley and blue hills)
Located in Fairlawn, OH
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...
Category

1930s American Modern Landscape Drawings and Watercolors

Materials

Watercolor

The Duomo, Florence
Located in Fairlawn, OH
The Duomo, Florence Watercolor, 1914 Signed and dated lower center edge (see photo) Florence Cathedral, formally the Cattedrale di Santa Maria del Fiore, is the cathedral of Florence, Italy. It was begun in 1296 in the Gothic style to a design of Arnolfo di Cambio and was structurally completed by 1436, with the dome engineered by Filippo Brunelleschi. Condition: Excellent Image size: 16 3/4 x 14 1/2 inches Frame size: 24 1/4 x 22 inches Donald Shaw MacLaughlan was born in Charlottetown, Prince Edward Island, Canada on November 9, 1876. His family moved to Boston, Massachusetts in 1890 where he began to experiment with different art media; watercolor, oil painting and finally, etching – with a few attempts at lithography. He spent much of his early years at the Boston Public Library studying the work of printmakers, from Durer and Rembrandt to the 18th century English, French and Italian masters. Like many American artists of the time MacLaughlan traveled to Europe to study in Paris, enrolling in the Ecole des Beaux Arts and studied further with Jean Leon Gerome and Jean Paul Laurens. In 1899 he began producing etchings, which became his major interest until his death in 1938. He became acquainted with James NcNeill Whistler (1834-1903) and other artists who created etchings and spent time studying the etchings of Rembrandt van Rijn (1606-1669) and other old masters in the collection of the Bibliothèque Nationale. Both Rembrandt and Whistler would have major influences on his art. In 1900 he created a set of 25 etched views of Paris and in 1901 exhibited two etchings in the Salon de la Société Nationale des Beaux-Arts. He returned to the U.S. in 1903, then went back to Paris the following year. He traveled extensively in Europe, visiting England, Switzerland, Italy and Spain as well as various locales in France. His etched views of Venice were well-known. MacLaughlan exhibited views of Paris, Rouen, Normandy and Italy in 1906 in a solo show at the American Art Association Galleries in Paris. He also displayed his work in the 1906 exhibitions of the Société Nationale des Beaux-Arts and the Société des Peintres-Graveurs Français. MacLaughlan even instructed other expatriate Canadian artists then living in Paris, most notably Clarence...
Category

1910s American Modern Landscape Drawings and Watercolors

Materials

Watercolor

untitled (Rocks along the Coast)
Located in Fairlawn, OH
untitled (Rocks along the Coast) Gouache and watercolor on paper, c. 1950 Signed with the estate stamp signature lower left (see photo) This is a preliminary study for a large exhibition painting...
Category

1950s American Modern Landscape Drawings and Watercolors

Materials

Gouache

Cows in a Field (Recto) Two Figures in an Interior (Verso)
Located in Fairlawn, OH
Cows in a Field (Recto) Two Figures in an Interior (Verso) Watercolor on heavy textured paper, 1938 Signed in ink verso image of Two Figures, unsigned ...
Category

1930s American Modern Landscape Drawings and Watercolors

Materials

Watercolor

Fires of Spring in Big Woods
Located in New York, NY
Estate stamp lower right
Category

20th Century American Modern Landscape Drawings and Watercolors

Materials

Watercolor, Pencil

[untitled] Street Scene with Fruit Vendor.
Located in New York, NY
Emilio Sanchez (1921-1999) created [untitled] “STREET SCENE WITH FRUIT VENDOR” in circa 1950. This unsigned watercolor and came to us directly from the Sanchez estate. It is stamped on the verso "Estate of Emilio Sanchez." This piece is in good to very good condition and painted to the paper's edge. The paper size is 14.88 x 15.25 inches (37.6 x 38.6 cm). “Best known for his architectural paintings and lithographs, Emilio Sanchez (1921-1999) explored the effects of light and shadow to emphasize the abstract geometry of his subjects. His artwork encompasses his Cuban heritage...
Category

1950s American Modern Landscape Drawings and Watercolors

Materials

Watercolor, Graphite

untitled (Pueblo)
Located in Fairlawn, OH
Untitled (Taos Pueblo) Ink on paper, 1985-1990 Signed by the artist in ink lower right (see photo) An early New Mexico period work, created shortly after the artist moved from New York. Provenance: estate of the artist Dehn Heirs Condition: Excellent Image/sheet size: 13 1/8 x 18 1/2 inches Virginia Dehn From Wikipedia, the free encyclopedia Virginia Dehn Virginia Dehn in her studio in Santa Fe Virginia Dehn (née Engleman) (October 26, 1922 – July 28, 2005) was an American painter and printmaker. Her work was known for its interpretation of natural themes in almost abstract forms. She exhibited in shows and galleries throughout the U.S. Her paintings are included in many public collections. Life Dehn was born in Nevada, Missouri on October 26, 1922.] Raised in Hamden, Connecticut, she studied at Stephens College in Columbia, Missouri before moving to New York City. She met the artist Adolf Dehn while working at the Art Students League. They married in November 1947. The two artists worked side by side for many years, part of a group of artists who influenced the history of 20th century American art. Their Chelsea brownstone was a place where artists, writers, and intellectuals often gathered. Early career Virginia Dehn studied art at Stephens College in Missouri before continuing her art education at the Traphagen School of Design, and, later, the Art Students League, both located in New York City. In the mid-1940s while working at the Associated American Artists gallery, she met lithographer and watercolorist Adolf Dehn. Adolf was older than Virginia, and he already enjoyed a successful career as an artist. The two were married in 1947 in a private ceremony at Virginia's parents house in Wallingford, Connecticut. Virginia and Adolf Dehn The Dehns lived in a Chelsea brownstone on West 21st Street where they worked side by side. They often hosted gatherings of other influential artists and intellectuals of the 20th century. Among their closest friends were sculptor Federico Castellón and his wife Hilda; writer Sidney Alexander and his wife Frances; artists Sally and Milton Avery; Ferol and Bill Smith, also an artist; and Lily and Georges Schreiber, an artist and writer. Bob Steed and his wife Gittel, an anthropologist, were also good friends of the Dehns. According to friend Gretchen Marple Pracht, "Virginia was a glamorous and sophisticated hostess who welcomed visitors to their home and always invited a diverse crowd of guests..." Despite their active social life, the two were disciplined artists, working at their easels nearly daily and taking Saturdays to visit galleries and view new work. The Dehns made annual trips to France to work on lithographs at the Atelier Desjobert in Paris. Virginia used a bamboo pen to draw directly on the stone for her lithographs, which often depicted trees or still lifes. The Dehns' other travels included visits to Key West, Colorado, Mexico, and countries such as Greece, Haiti, Afghanistan, and India. Dehn's style of art differend greatly from that of her husband, though the two sometimes exhibited together. A friend of the couple remarked, "Adolf paints landscapes; Virginia paints inscapes." Virginia Dehn generally painted an interior vision based on her feelings for a subject, rather than a literal rendition of it.] Many of her paintings consist of several layers, with earlier layers showing through. She found inspiration in the Abstract Expressionism movement that dominated the New York and Paris art scenes in the 1950s. Some of her favorite artists included Adolf Gottileb, Rothko, William Baziotes, Pomodoro, and Antonio Tapies. Dehn most often worked with bold, vibrant colors in large formats. Her subjects were not literal, but intuitive. She learned new techniques of lithography from her husband Adolf, and did her own prints. Texture was very important to her in her work. Her art was influenced by a variety of sources. In the late 1960s she came across a book that included photographs of organic patterns of life as revealed under a microscope. These images inspired her to change the direction of some of her paintings. Other influences on Dehn's art came from ancient and traditional arts of various cultures throughout the world, including Persian miniatures, illuminated manuscripts, Dutch still life painting, Asian art, ancient Egyptian artifacts...
Category

Early 20th Century American Modern Landscape Drawings and Watercolors

Materials

Ink

Landscape with buildings and trees
Located in Fairlawn, OH
Landscape with buildings and trees Watercolor on paper, c. 1930's Signed in pencil lower right (see photo) Provenance: Estate of the artist Condition: Excellent Sheet size: 9 3/8 x 1...
Category

1930s American Modern Landscape Drawings and Watercolors

Materials

Watercolor

Untitled
Located in Dallas, TX
Fred Nagler was born in 1891 in Springfield, Massachusetts, where he first studied wood carving. From 1914 to 1917, he studied at The Art Students League of New York, where his prof...
Category

20th Century American Modern Landscape Drawings and Watercolors

Materials

Graphite, Paper, Watercolor

Upper Tuscany — Mid-century expressionism
Located in Myrtle Beach, SC
William Thon, 'Upper Tuscany', a two-sided watercolor, c. 1955. Signed, lower right; titled verso. A fine, expressionist work, with fresh colors, on cream watercolor paper; the image...
Category

1950s American Modern Landscape Drawings and Watercolors

Materials

Watercolor

Untitled
Located in Dallas, TX
Francis Chapin was one of the most celebrated painters in Chicago during his lifetime. When he was a young art student, Valley House founder, Donald Vogel, painted with "Chape" on th...
Category

Mid-20th Century American Modern Landscape Drawings and Watercolors

Materials

Paper, Watercolor

Untitled (Tree)
Located in Dallas, TX
Fred Nagler was born in 1891 in Springfield, Massachusetts, where he first studied wood carving. From 1914 to 1917, he studied at The Art Students League of New York, where his prof...
Category

20th Century American Modern Landscape Drawings and Watercolors

Materials

Graphite, Paper, Watercolor

Study for Old Canal, Red and Blue (Rockaway, Morris Canal)
Located in New York, NY
Oscar Bluemner was a German and an American, a trained architect who read voraciously in art theory, color theory, and philosophy, a writer of art criticism both in German and English, and, above all, a practicing artist. Bluemner was an intense man, who sought to express and share, through drawing and painting, universal emotional experience. Undergirded by theory, Bluemner chose color and line for his vehicles; but color especially became the focus of his passion. He was neither abstract artist nor realist, but employed the “expressional use of real phenomena” to pursue his ends. (Oscar Bluemner, from unpublished typescript on “Modern Art” for Camera Work, in Bluemner papers, Archives of American Art, Smithsonian Institution, as cited and quoted in Jeffrey R. Hayes, Oscar Bluemner [1991], p. 60. The Bluemner papers in the Archives [hereafter abbreviated as AAA] are the primary source for Bluemner scholars. Jeffrey Hayes read them thoroughly and translated key passages for his doctoral dissertation, Oscar Bluemner: Life, Art, and Theory [University of Maryland, 1982; UMI reprint, 1982], which remains the most comprehensive source on Bluemner. In 1991, Hayes published a monographic study of Bluemner digested from his dissertation and, in 2005, contributed a brief essay to the gallery show at Barbara Mathes, op. cit.. The most recent, accessible, and comprehensive view of Bluemner is the richly illustrated, Barbara Haskell, Oscar Bluemner: A Passion for Color, exhib. cat. [New York: Whitney Museum of American Art, 2005.]) Bluemner was born in the industrial city of Prenzlau, Prussia, the son and grandson of builders and artisans. He followed the family predilection and studied architecture, receiving a traditional and thorough German training. He was a prize-winning student and appeared to be on his way to a successful career when he decided, in 1892, to emigrate to America, drawn perhaps by the prospect of immediate architectural opportunities at the Chicago World’s Fair, but, more importantly, seeking a freedom of expression and an expansiveness that he believed he would find in the New World. The course of Bluemner’s American career proved uneven. He did indeed work as an architect in Chicago, but left there distressed at the formulaic quality of what he was paid to do. Plagued by periods of unemployment, he lived variously in Chicago, New York, and Boston. At one especially low point, he pawned his coat and drafting tools and lived in a Bowery flophouse, selling calendars on the streets of New York and begging for stale bread. In Boston, he almost decided to return home to Germany, but was deterred partly because he could not afford the fare for passage. He changed plans and direction again, heading for Chicago, where he married Lina Schumm, a second-generation German-American from Wisconsin. Their first child, Paul Robert, was born in 1897. In 1899, Bluemner became an American citizen. They moved to New York City where, until 1912, Bluemner worked as an architect and draftsman to support his family, which also included a daughter, Ella Vera, born in 1903. All the while, Oscar Bluemner was attracted to the freer possibilities of art. He spent weekends roaming Manhattan’s rural margins, visiting the Bronx, Brooklyn, Queens, and New Jersey, sketching landscapes in hundreds of small conté crayon drawings. Unlike so many city-based artists, Bluemner did not venture out in search of pristine countryside or unspoiled nature. As he wrote in 1932, in an unsuccessful application for a Guggenheim Fellowship, “I prefer the intimate landscape of our common surroundings, where town and country mingle. For we are in the habit to carry into them our feelings of pain and pleasure, our moods” (as quoted by Joyce E. Brodsky in “Oscar Bluemner in Black and White,” p. 4, in Bulletin 1977, I, no. 5, The William Benton Museum of Art, Storrs, Connecticut). By 1911, Bluemner had found a powerful muse in a series of old industrial towns, mostly in New Jersey, strung along the route of the Morris Canal. While he educated himself at museums and art galleries, Bluemner entered numerous architectural competitions. In 1903, in partnership with Michael Garven, he designed a new courthouse for Bronx County. Garven, who had ties to Tammany Hall, attempted to exclude Bluemner from financial or artistic credit, but Bluemner promptly sued, and, finally, in 1911, after numerous appeals, won a $7,000 judgment. Barbara Haskell’s recent catalogue reveals more details of Bluemner’s architectural career than have previously been known. Bluemner the architect was also married with a wife and two children. He took what work he could get and had little pride in what he produced, a galling situation for a passionate idealist, and the undoubted explanation for why he later destroyed the bulk of his records for these years. Beginning in 1907, Bluemner maintained a diary, his “Own Principles of Painting,” where he refined his ideas and incorporated insights from his extensive reading in philosophy and criticism both in English and German to create a theoretical basis for his art. Sometime between 1908 and 1910, Bluemner’s life as an artist was transformed by his encounter with the German-educated Alfred Stieglitz, proprietor of the Little Galleries of the Photo-Secession at 291 Fifth Avenue. The two men were kindred Teutonic souls. Bluemner met Stieglitz at about the time that Stieglitz was shifting his serious attention away from photography and toward contemporary art in a modernist idiom. Stieglitz encouraged and presided over Bluemner’s transition from architect to painter. During the same period elements of Bluemner’s study of art began to coalesce into a personal vision. A Van Gogh show in 1908 convinced Bluemner that color could be liberated from the constraints of naturalism. In 1911, Bluemner visited a Cézanne watercolor show at Stieglitz’s gallery and saw, in Cézanne’s formal experiments, a path for uniting Van Gogh’s expressionist use of color with a reality-based but non-objective language of form. A definitive change of course in Bluemner’s professional life came in 1912. Ironically, it was the proceeds from his successful suit to gain credit for his architectural work that enabled Bluemner to commit to painting as a profession. Dividing the judgment money to provide for the adequate support of his wife and two children, he took what remained and financed a trip to Europe. Bluemner traveled across the Continent and England, seeing as much art as possible along the way, and always working at a feverish pace. He took some of his already-completed work with him on his European trip, and arranged his first-ever solo exhibitions in Berlin, Leipzig, and Elberfeld, Germany. After Bluemner returned from his study trip, he was a painter, and would henceforth return to drafting only as a last-ditch expedient to support his family when his art failed to generate sufficient income. Bluemner became part of the circle of Stieglitz artists at “291,” a group which included Marsden Hartley, John Marin, and Arthur Dove. He returned to New York in time to show five paintings at the 1913 Armory Show and began, as well, to publish critical and theoretical essays in Stieglitz’s journal, Camera Work. In its pages he cogently defended the Armory Show against the onslaught of conservative attacks. In 1915, under Stieglitz’s auspices, Bluemner had his first American one-man show at “291.” Bluemner’s work offers an interesting contrast with that of another Stieglitz architect-turned-artist, John Marin, who also had New Jersey connections. The years after 1914 were increasingly uncomfortable. Bluemner remained, all of his life, proud of his German cultural legacy, contributing regularly to German language journals and newspapers in this country. The anti-German sentiment, indeed mania, before and during World War I, made life difficult for the artist and his family. It is impossible to escape the political agenda in Charles Caffin’s critique of Bluemner’s 1915 show. Caffin found in Bluemner’s precise and earnest explorations of form, “drilled, regimented, coerced . . . formations . . . utterly alien to the American idea of democracy” (New York American, reprinted in Camera Work, no. 48 [Oct. 1916], as quoted in Hayes, 1991, p. 71). In 1916, seeking a change of scene, more freedom to paint, and lower expenses, Bluemner moved his family to New Jersey, familiar terrain from his earlier sketching and painting. During the ten years they lived in New Jersey, the Bluemner family moved around the state, usually, but not always, one step ahead of the rent collector. In 1917, Stieglitz closed “291” and did not reestablish a Manhattan gallery until 1925. In the interim, Bluemner developed relationships with other dealers and with patrons. Throughout his career he drew support and encouragement from art cognoscenti who recognized his talent and the high quality of his work. Unfortunately, that did not pay the bills. Chronic shortfalls were aggravated by Bluemner’s inability to sustain supportive relationships. He was a difficult man, eternally bitter at the gap between the ideal and the real. Hard on himself and hard on those around him, he ultimately always found a reason to bite the hand that fed him. Bluemner never achieved financial stability. He left New Jersey in 1926, after the death of his beloved wife, and settled in South Braintree, Massachusetts, outside of Boston, where he continued to paint until his own death in 1938. As late as 1934 and again in 1936, he worked for New Deal art programs designed to support struggling artists. Bluemner held popular taste and mass culture in contempt, and there was certainly no room in his quasi-religious approach to art for accommodation to any perceived commercial advantage. His German background was also problematic, not only for its political disadvantages, but because, in a world where art is understood in terms of national styles, Bluemner was sui generis, and, to this day, lacks a comfortable context. In 1933, Bluemner adopted Florianus (definitively revising his birth names, Friedrich Julius Oskar) as his middle name and incorporated it into his signature, to present “a Latin version of his own surname that he believed reinforced his career-long effort to translate ordinary perceptions into the more timeless and universal languages of art” (Hayes 1982, p. 189 n. 1). In 1939, critic Paul Rosenfeld, a friend and member of the Stieglitz circle, responding to the difficulty in categorizing Bluemner, perceptively located him among “the ranks of the pre-Nazi German moderns” (Hayes 1991, p. 41). Bluemner was powerfully influenced in his career by the intellectual heritage of two towering figures of nineteenth-century German culture, Johann Wolfgang von Goethe and Georg Wilhelm Friedrich Hegel. A keen student of color theory, Bluemner gave pride of place to the formulations of Goethe, who equated specific colors with emotional properties. In a November 19, 1915, interview in the German-language newspaper, New Yorker Staats-Zeitung (Abendblatt), he stated: I comprehend the visible world . . . abstract the primary-artistic . . . and after these elements of realty are extracted and analyzed, I reconstruct a new free creation that still resembles the original, but also . . . becomes an objectification of the abstract idea of beauty. The first—and most conspicuous mark of this creation is . . . colors which accord with the character of things, the locality . . . [and which] like the colors of Cranach, van der Weyden, or Durer, are of absolute purity, breadth, and luminosity. . . . I proceed from the psychological use of color by the Old Masters . . . [in which] we immediately recognize colors as carriers of “sorrow and joy” in Goethe’s sense, or as signs of human relationship. . . . Upon this color symbolism rests the beauty as well as the expressiveness, of earlier sacred paintings. Above all, I recognize myself as a contributor to the new German theory of light and color, which expands Goethe’s law of color through modern scientific means (as quoted in Hayes 1991, p. 71). Hayes has traced the global extent of Bluemner’s intellectual indebtedness to Hegel (1991, pp. 36–37). More specifically, Bluemner made visual, in his art, the Hegelian world view, in the thesis and antithesis of the straight line and the curve, the red and the green, the vertical and the horizontal, the agitation and the calm. Bluemner respected all of these elements equally, painting and drawing the tension and dynamic of the dialectic and seeking ultimate reconciliation in a final visual synthesis. Bluemner was a keen student of art, past and present, looking, dissecting, and digesting all that he saw. He found precedents for his non-naturalist use of brilliant-hued color not only in the work Van Gogh and Cezanne, but also in Gauguin, the Nabis, and the Symbolists, as well as among his contemporaries, the young Germans of Der Blaue Reiter. Bluemner was accustomed to working to the absolute standard of precision required of the architectural draftsman, who adjusts a design many times until its reality incorporates both practical imperatives and aesthetic intentions. Hayes describes Bluemner’s working method, explaining how the artist produced multiple images playing on the same theme—in sketch form, in charcoal, and in watercolor, leading to the oil works that express the ultimate completion of his process (Hayes, 1982, pp. 156–61, including relevant footnotes). Because of Bluemner’s working method, driven not only by visual considerations but also by theoretical constructs, his watercolor and charcoal studies have a unique integrity. They are not, as is sometimes the case with other artists, rough preparatory sketches. They stand on their own, unfinished only in the sense of not finally achieving Bluemner’s carefully considered purpose. The present charcoal drawing is one of a series of images that take as their starting point the Morris Canal as it passed through Rockaway, New Jersey. The Morris Canal industrial towns that Bluemner chose as the points of departure for his early artistic explorations in oil included Paterson with its silk mills (which recalled the mills in the artist’s childhood home in Elberfeld), the port city of Hoboken, Newark, and, more curiously, a series of iron ore mining and refining towns, in the north central part of the state that pre-dated the Canal, harkening back to the era of the Revolutionary War. The Rockaway theme was among the original group of oil paintings that Bluemner painted in six productive months from July through December 1911 and took with him to Europe in 1912. In his painting journal, Bluemner called this work Morris Canal at Rockaway N.J. (AAA, reel 339, frames 150 and 667, Hayes, 1982, pp. 116–17), and exhibited it at the Galerie Fritz Gurlitt in Berlin in 1912 as Rockaway N. J. Alter Kanal. After his return, Bluemner scraped down and reworked these canvases. The Rockaway picture survives today, revised between 1914 and 1922, as Old Canal, Red and Blue (Rockaway River) in the collection of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D. C. (color illus. in Haskell, fig. 48, p. 65). For Bluemner, the charcoal expression of his artistic vision was a critical step in composition. It represented his own adaptation of Arthur Wesley’s Dow’s (1857–1922) description of a Japanese...
Category

20th Century American Modern Landscape Drawings and Watercolors

Materials

Paper, Charcoal

Untitled
Located in Dallas, TX
Francis Chapin was one of the most celebrated painters in Chicago during his lifetime. When he was a young art student, Valley House founder, Donald Vogel, painted with "Chape" on th...
Category

1930s American Modern Landscape Drawings and Watercolors

Materials

Ink, Paper, Watercolor

Untitled (Boat Repair)
Located in Dallas, TX
Francis Chapin was one of the most celebrated painters in Chicago during his lifetime. When he was a young art student, Valley House founder, Donald Vogel, painted with "Chape" on th...
Category

1940s American Modern Landscape Drawings and Watercolors

Materials

Paper, Watercolor

Cityscape Reflections - Study No. 1
Located in Storrs, CT
Cityscape Reflections - Misty Morning. 1980. Lithograph with pastel coloring. Czestochowski 42. Edition 40. 14 x 10 3/16 (sheet 18 x 14). Tape stains in the margins, not affecting th...
Category

Late 20th Century American Modern Landscape Drawings and Watercolors

Materials

Pastel

Untitled
Located in Dallas, TX
Francis Chapin was one of the most celebrated painters in Chicago during his lifetime. When he was a young art student, Valley House founder, Donald Vogel, painted with "Chape" on th...
Category

1930s American Modern Landscape Drawings and Watercolors

Materials

Paper, Watercolor

Skyscrapers.
Located in Storrs, CT
Skyscrapers. c. 1950. Pastel. 29 3/4 x 19 7/8 (framed 37 x 27). Provenance: The New Britain Museum of American Art, New Britain, Connecticut. Signed, lower right. Housed in a stunn...
Category

1940s American Modern Landscape Drawings and Watercolors

Materials

Pastel

Related Items
Untitled (Landscape #19)
Located in Albuquerque, NM
Alex Peña, Untitled (Landscape #19), 2021, ink on paper Framed size: 12" x 14" Image size: 8" x 5.75"
Category

2010s American Modern Landscape Drawings and Watercolors

Materials

Ink

Nude Picnic Virgin Islands
Located in Buffalo, NY
Robert Noel Blair (American, 1912-2003) was an American artist, painter, sculptor, printmaker and teacher. He is best known for his rural life & desert landscapes and World War II sc...
Category

1960s American Modern Landscape Drawings and Watercolors

Materials

Archival Paper, Watercolor

The Fly Fisherman, Figurative Landscape Watercolor
Located in Soquel, CA
Delicate depiction of a fly fisherman in the rain by Harvey Eckert (American, 1946-2018). This highly detailed landscape watercolor depicts a man fishing in the rain, wading into the water as he smokes a pipe under a tree. Signed and dated in the lower right corner. Presented in a wood frame with a double mat and anti-glare glass. A check from the original purchase is attached to verso (blurred for privacy). Image size: 14"H x 18"W Harvey Eckert (American, 1946-2018) was an American artist from Kansas. He attended Colby Community College, Hays Emporia State and graduated from Wichita University with two degrees. While living in Montana, he was employed by Bob Wards, Fran Johnson’s Sporting Goods and Cashell Engineers as a surveyor and draftsman. Eckert illustrated three books, Caddisflies by the late Gary LaFontaine, Montana Trout Flies and The Master Fly Weaver by the late George Grant. He did illustrations for the following publications: Montana Outdoors, Colorado Streamside, The River Rat published by Trout Unlimited, Fly Fisherman, Rod and Reel...
Category

1980s American Modern Landscape Drawings and Watercolors

Materials

Paper, Watercolor

Colorado Mountain Winter Landscape Watercolor Painting, Blue, Orange, Purple
Located in Denver, CO
Colorado mountain landscape watercolor painting signed by artist Rita Derjue (1934-2020) depicts Cabins in the Snow in bright tones of blue, yellow, green and red/brown. Signed by the artist in the lower right corner. Presented in a custom frame with archival materials, outer dimensions measure 24 ⅛ x 31 ½ x 1 ¼ inches. Image sight size is 14 ½ x 21 ½ inches. About the Artist: Born Rhode Island, 1934 Artist, educator, mentor and community activist, Derjue is the daughter of European parents whose family members had previous connections with New York and New England. Her drawing talent as a youngster in Rhode Island caught the attention of family friend Johann Groen, a Dutch-born painter and photographer, who encouraged her to spend time touring and studying in Europe to further her art education. In 1956 she earned her Bachelor of Fine Arts degree at the Rhode Island School of Design that emphasized the fundamentals of drawing and design. Her most memorable teacher was Richard Hamilton, whose work was influenced by German Expressionist Max Beckmann and the jazz greats. Her studies from nature and Cubist compositions done at that time reflect her interest in early twentieth-century European modernist painting. She had the opportunity to experience it firsthand during a year of post-graduate work at the renowned Akademie den Bildenden Kunste in Munich, Germany, in 1956-57. She studied with Ernest Geitlinger (1895-1972) whom the Nazi government classified as a “degenerate” artist in the 1930s, preventing him from exhibiting in Germany. After World War II he was one of the co-founders of the Munich artists’ association, Neue Gruppe, in 1946 and played an important role in abstract painting. While studying with him in Munich she produced a number of canvases in a referential abstract style. She also became acquainted with the Blaue Reiter group that flourished in the early twentieth century and whose expressionism strongly influenced her color palette and painting style. She particularly admired the work of Blaue Reiter co-founder and Wassily Kandinsky’s long-time partner, Gabriele Münter, whose work she studied at the Lenbachhaus in Munich and at the Gabriele Münter Haus and the Schlossmuseum in Murnau south of Munich. Derjue’s immersion in German Expressionism imparted a bold, simplified style to her work. In 1958 with a friend from Munich she went to Mexico for a year, studying with artist Frank Gonzalez in his studio in San Angel, Mexico City, and with Canadian artist, Toni Onley, in San Miguel de Allende. Onley had recently won a scholarship to the Instituto Allende to study mural and fresco painting with David Siqueiros, one of the three greats of Mexican muralism. At the Instituto Onley began painting large black-and-white canvases in an abstract impressionistic style which he imparted to Derjue, who thereafter began exploring color and space in the dimensions of her own large compositions. With writer Gregory Strong, he subsequently published Onley’s Arctic and his autobiography, The Tony Onley Story. After returning to the United States, she worked as a graphic designer for Little, Brown and Company, publishers in Boston. She began dating her future husband, Carle Zimmerman, whom she met earlier in Europe and whom she married in 1960. Joining him at Cornell University where he was completing his Ph.D degree, she earned her Master of Arts degree at the same institution and participated in group shows at the Herbert F. Johnson Museum and the Munson-Williams-Proctor Arts Institute in upstate New York. In 1963 Derjue and her husband relocated to Littleton, Colorado, where he spent his entire career, first as a research engineer and later as a departmental manager for the Marathon Oil...
Category

20th Century American Modern Landscape Drawings and Watercolors

Materials

Watercolor, Archival Paper

Untitled
Located in Dallas, TX
Fred Nagler was born in 1891 in Springfield, Massachusetts, where he first studied wood carving. From 1914 to 1917, he studied at The Art Students League of New York, where his prof...
Category

20th Century American Modern Landscape Drawings and Watercolors

Materials

Graphite, Paper, Watercolor

Untitled
H 10 in W 13.88 in
Georgetown (Church in the Mountains, Colorado), Modernist Landscape Ink Drawing
Located in Denver, CO
Georgetown, Colorado, vintage 1938 WPA era ink drawing/painting on paper of a church set in a rocky mountain landscape by Charles Bunnell (1897-1968). Black on a creamy white paper, signed and dated lower right, titled lower left. Presented in a custom frame with all archival materials, outer dimensions measure 16 ¼ x 14 ½ x 1¼ inches. Image size is 7 ¾ x 5 ¾ inches. Drawing is clean and in good vintage condition - please contact us for a detailed condition report. Provenance: Estate of Charles Ragland Bunnell Expedited and international shipping is available - please contact us for a quote. About the Artist: Charles Bunnell developed a love for art as a child in Kansas City, Missouri. Around 1915, Bunnell moved with his family to Colorado Springs, Colorado. He served in World War I and later used his GI Training to study at the Broadmoor Art Academy (later renamed the Colorado Springs Fine Arts Center) during 1922 and 1923. In 1922, he married fellow student, Laura Palmer...
Category

1930s American Modern Landscape Drawings and Watercolors

Materials

Ink, Archival Paper

Whimsical Fishing Illustration Cartoon 1938 Mt Tremblant Ski Lodge William Steig
Located in Surfside, FL
Lighthearted Illustration of Outdoor Pursuits This one of a fisherman signed "W. Steig" Provenance: from Mrs. Joseph B. Ryan, Commissioned by Joe Ryan for the bar at his ski resort, Mount Tremblant Lodge, in 1938. Mont Tremblant, P.Q., Canada Watercolor and ink on illustration board, sights sizes 8 1/2 x 16 1/2 in., framed. In 1938 Joe Ryan, described as a millionaire from Philadelphia, bushwhacked his way to the summit of Mont Tremblant and was inspired to create a world class ski resort at the site. In 1939 he opened the Mont Tremblant Lodge, which remains part of the Pedestrian Village today. This original illustration is on Whatman Illustration board. the board measures 14 X 22 inches. label from McClees Galleries, Philadelphia, on the frame backing paper. William Steig, 1907 – 2003 was an American cartoonist, sculptor, and, in his later life, an illustrator and writer of children's books. Best known for the picture books Sylvester and the Magic Pebble, Abel's Island, and Doctor De Soto, he was also the creator of Shrek!, which inspired the film series of the same name. He was the U.S. nominee for both of the biennial, international Hans Christian Andersen Awards, as a children's book illustrator in 1982 and a writer in 1988. Steig was born in Brooklyn, New York in 1907, and grew up in the Bronx. His parents were Polish-Jewish immigrants from Austria, both socialists. His father, Joseph Steig, was a house painter, and his mother, Laura Ebel Steig, was a seamstress who encouraged his artistic leanings. As a child, he dabbled in painting and was an avid reader of literature. Among other works, he was said to have been especially fascinated by Pinocchio.He graduated from Townsend Harris High School at 15 but never completed college, though he attended three, spending two years at City College of New York, three years at the National Academy of Design and a mere five days at the Yale School of Fine Arts before dropping out of each. Hailed as the "King of Cartoons" Steig began drawing illustrations and cartoons for The New Yorker in 1930, producing more than 2,600 drawings and 117 covers for the magazine. Steig, later, when he was 61, began writing children's books. In 1968, he wrote his first children's book. He excelled here as well, and his third book, Sylvester and the Magic Pebble (1969), won the Caldecott Medal. He went on to write more than 30 children's books, including the Doctor DeSoto series, and he continued to write into his nineties. Among his other well-known works, the picture book Shrek! (1990) formed the basis for the DreamWorks Animation film Shrek (2001). After the release of Shrek 2 in 2004, Steig became the first sole-creator of an animated movie franchise that went on to generate over $1 billion from theatrical and ancillary markets after only one sequel. Along with Maurice Sendak, Saul Steinberg, Ludwig Bemelmans and Laurent de Brunhofff his is one of those rare cartoonist whose works form part of our collective cultural heritage. In 1984, Steig's film adaptation of Doctor DeSoto directed by Michael Sporn was nominated for the Academy Award for Best Animated Short Film. As one of the most admired cartoonists of all time, Steig spent seven decades drawing for the New Yorker magazine. He touched generations of readers with his tongue–in–cheek pen–and–ink drawings, which often expressed states of mind like shame, embarrassment or anger. Later in life, Steig turned to children's books, working as both a writer and illustrator. Steig's children's books were also wildly popular because of the crazy, complicated language he used—words like lunatic, palsied, sequestration, and cleave. Kids love the sound of those words even if they do not quite understand the meaning. Steig's descriptions were also clever. He once described a beached whale as "breaded with sand." Throughout the course of his career, Steig compiled his cartoons and drawings into books. Some of them were published first in the New Yorker. Others were deemed too dark to be printed there. Most of these collections centered on the cold, dark psychoanalytical truth about relationships. They featured husbands and wives fighting and parents snapping at their kids. His first adult book, Man About Town, was published in 1932, followed by About People, published in 1939, which focused on social outsiders. Sick of Each Other, published in 2000, included a drawing depicting a wife holding her husband at gunpoint, saying, "Say you adore me." According to the Los Angeles Times, fellow New Yorker artist...
Category

1930s American Modern Landscape Drawings and Watercolors

Materials

India Ink, Watercolor, Illustration Board

Ink on Paper Drawing of a Cedar Tree and a Northern Lake by Artist Harold Haydon
Located in Chicago, IL
A 1926 ink on paper drawing of a Cedar tree and northern lake by artist Harold Haydon. Harold Emerson Haydon was born in Fort William, Ontario, Canada in 1909. Haydon came to Ch...
Category

1920s American Modern Landscape Drawings and Watercolors

Materials

Paper, Ink

Modernist Trees, 1940s Framed Modernist Landscape Watercolor Painting, Red Green
Located in Denver, CO
Modernist painting of trees, interior forest scene by Colorado artist, Richard Sorby (1911-2001). Painted in dark colors of green, blue and black with brown, orange and white. Water...
Category

1940s American Modern Landscape Drawings and Watercolors

Materials

Watercolor, Archival Paper

Mill Near Plainfield, New Hampshire, Landscape Painting, Charles Partridge Adams
Located in Denver, CO
"Mill Near Plainfield, New Hampshire" is an original, signed watercolor painting by artist Charles Partridge Adams (1858-1942), circa 1900. Singed by the artist in the lower left corner. Portrays a mill along a river with trees and clouds, painted in shades of brown, green, gray, and blue. Presented in a custom frame, outer dimensions measure 13 ¾ x 12 ¼ x 1 ¼ inches. Image size is 7 x 5 inches. Expedited and international shipping is available - please contact us for a quote. About the Artist: Born Massachusetts, 1858 Died 1942 Born in Franklin, Massachusetts, Charles Partridge Adams moved with his mother and two sisters to Denver, Colorado, in 1876 in an effort to cure the two girls who suffered from tuberculosis. In Denver, Adams found work at the Chain and Hardy Bookstore. He received his first, and only, art training from the owner's wife, Helen Chain. Mrs. Chain, a former pupil of George Inness, provided instruction and encouragement to the young artist and introduced him to other artists in the area including Alexander Phimister Proctor...
Category

20th Century American Modern Landscape Drawings and Watercolors

Materials

Watercolor, Archival Paper

Forest Scene, Study in Yellow by artist Harold Haydon
Located in Chicago, IL
A ca. 1931 charming watercolor forest scene; a study in yellow by artist Harold Haydon. Harold Emerson Haydon was born in Fort William, Ontario, Canad...
Category

1930s American Modern Landscape Drawings and Watercolors

Materials

Ink, Pen, Watercolor, Paper

Untitled (Tree)
Located in Dallas, TX
Fred Nagler was born in 1891 in Springfield, Massachusetts, where he first studied wood carving. From 1914 to 1917, he studied at The Art Students League of New York, where his prof...
Category

20th Century American Modern Landscape Drawings and Watercolors

Materials

Graphite, Paper, Watercolor

Untitled (Tree)
H 8.94 in W 11.88 in
Previously Available Items
"Hackensack"
Located in Fairlawn, OH
"Hackensack" Graphite on paper, dated Nov. 1, 1914 Unsigned; Extensive pencil annotations for color and shading Annotated verso: #64, referring to the folio number in the sketchboo...
Category

1910s American Modern Landscape Drawings and Watercolors

Materials

Graphite

Spring Landscape
By J. Frank Currier
Located in Fairlawn, OH
Spring Landscape Watercolor on paper, c. 1880 Unsigned Condition: Excellent Image size: 6 3/4 x 10 inches Provenance: J. Frank Currier Estate ...
Category

1880s American Modern Landscape Drawings and Watercolors

Materials

Watercolor

Winter Night
Located in New York, NY
Signed lower left: H. GASSER,
Category

20th Century American Modern Landscape Drawings and Watercolors

Materials

Charcoal, Gouache

Frothy Inlet
Located in New York, NY
Signed and dated lower right: Milton Avery 1948; on verso: “FROTHY INLET” by MILTON AVERY W.C. 22 x 30 1948
Category

20th Century American Modern Landscape Drawings and Watercolors

Materials

Watercolor

Frothy Inlet
H 22.88 in W 30.88 in
In The Woods
Located in Myrtle Beach, SC
William Thon, 'In The Woods', watercolor, c. 1990. Signed, lower right; titled verso. A fine, painterly work, on off-white, wove watercolor paper, the ima...
Category

1950s American Modern Landscape Drawings and Watercolors

Materials

Watercolor

MOUNTAINS & LAKE + ANOTHER PAINTING ON VERSO
Located in Santa Monica, CA
ADOLF DEHN (American 1895 - 1968) MOUNTAINS & LAKE, 1947 Watercolor, signed and dated in brush, 1947. Titled on verso in brush and with an inscription in brush of Dehn's full addres...
Category

1940s American Modern Landscape Drawings and Watercolors

Materials

Watercolor

Ober Steinberg, Suisse.
Located in Storrs, CT
Obersteinberg, Suisse. (Obersteinberg, Switzerland). 1900-1905. Watercolor on paper. 9 1/4 x 13 1/2. Signed, lower left; titled, lower right. Housed in an archival French mat and a ...
Category

Early 20th Century American Modern Landscape Drawings and Watercolors

Materials

Watercolor

Mount Baker, Washington
By Zama Vanessa Helder
Located in New York, NY
West Coast artist Z. Vanessa Helder seems to have been prepared from the start to pursue an independent course in art. Her full name, Zama Vanessa Helder, curiously was chosen by her parents to represent a town in North Africa and the name of a former music teacher, respectively, but she preferred the more mysterious Z. Vanessa Helder, or more simply “Zelma.” She was born in Lynden, Washington, a small town near Spokane. Her mother, Anna Wright Helder, was an artist, so it is not surprising that she started painting at a young age, and that she decided early on to pursue a career as a professional artist. Helder enrolled at the University of Washington, Seattle, where she received her first formal studies. Following her graduation, Helder began her professional career in Seattle, where she established herself as a specialist in watercolor. She was recognized for her outstanding talents in 1934, when she was awarded a two-year scholarship by the Art Students League, New York, one of only ten outstanding artists from the United States so awarded. At the League, she studied with Frank Vincent DuMond, George Picken, and Robert Brackman. Helder’s course of study at the Art Students League proved to be enormously influential. She not only refined her watercolor technique, but also added oil painting and lithography to her repertoire. Furthermore, her exposure to contemporary American modernism, which was then the dominant mode in the New York art world, provided a lasting influence on her own work. Soon after her arrival in New York City and subsequent matriculation at the Art Students League, Helder’s career began to accelerate rapidly, in a way only possible in the great arena of the New York art world. In 1935, she began to participate in a number of group shows in New York galleries and clubs, including the New York Watercolor Club, and she was elected that year to the National Association of Women Painters and Sculptors. In 1937, she was given her first “one-man” show at the Grant Studios, New York, an institution with which she maintained a relationship for several years. During this period in New York, Helder frequently sent works to Seattle for exhibition. She remained the darling of Seattle’s art society, with frequent reports of her activities in New York appearing in the local newspapers. After she completed her studies at the Art Students League, Helder returned to Seattle, where for many years she was a popular local figure, noted as much for her art as for her idiosyncratic behavior, which included walking “Sniffy,” her pet skunk, prominently throughout the streets of Seattle. She also worked locally as a WPA artist, painting murals in various civic buildings. She exhibited annually at the Seattle Art Museum from 1936 to 1941, capped by winning a prize in 1936, and holding a solo exhibition there in 1939. Helder also participated in exhibitions throughout the West, including at the San Francisco Museum of Art, California, in 1936-37; the Portland Art Museum, Oregon, in 1936; and the Denver Art Museum, Colorado, in 1938 and 1940. About 1939, Helder moved to Spokane, where she helped found the Spokane Art Center, an art school at which she was an instructor in both watercolor and lithography. She spent three productive years there until 1941, when the federal government, which had funded the center from its inception, canceled its financial support. Later that year, Helder returned to New York, and soon after married Robert S. J. Paterson, an industrial architect. Helder, ever the individualist, retained her distinctive name. In 1943, the couple moved to Los Angeles, California, where she remained until her death in 1968. She was as active as ever, exhibiting annually at the Los Angeles County Museum of Art, from 1945 to 1948, as well as at a number of Southern California institutions until the late 1950s. Throughout her career, she remained a committed watercolorist, exhibiting regularly at the American Water Color Society, from 1936 to 1958, and the California Water Color Society, from 1939 to 1958. Today her work is held in a number of museum collections, including the Newark Museum, New Jersey; the High Museum of Art, Atlanta, Georgia; the American Academy of Arts and Letters, New York; and the Cheney Cowles Museum, Spokane. Helder’s style is notable for the sharp, almost austere precision of her drawing and her coolly modulated palette. Her work certainly suggests a Precisionist linearity and objectivity that one normally associates with artists such as Charles Sheeler and Ralston Crawford. However, unlike these artists, who typically isolate elements of machinery and architecture from nature, Helder usually juxtaposes man-made objects with natural ones, treating all elements with the same cold, objective treatment. Her best works are winter scenes, which, because of the naturally stark character of the season, are complemented by her uncompromising eye. The high point of Helder’s career came in 1943, when she was represented by twelve watercolors in “American Realists and Magic Realists,” a huge exhibition at the Museum of Modern Art, New York. The exhibition, which included work from past American masters, such as Rembrandt Peale, Thomas Cole, Thomas Eakins, and Winslow Homer, and contemporary artists, including Edward Hopper, Charles Sheeler, Louis Lozowick, Ben Shahn, and Andrew Wyeth. The fact that Helder was represented alongside these artists is a testament to the popularity of her art and the singularity of her vision. In her artist’s statement, Helder explained: My views on art are colored by conditions in the Northwest. The teaching experience I had for three years at the Spokane Art Center showed me the value of art in daily living. It gives people in small communities fresh outlets which they have not had before, and it creates a new art public, because in doing a thing people learn to appreciate it and to love it. All this I learned in teaching, although I don’t like to teach. . . . While painting is not a simple thing, the doing of it, to me, is as simple as breathing. I have always painted—good, bad or indifferent—and I always will (Helder, as quoted in Dorothy C. Miller and Alfred H. Barr, eds., American Realists and Magic Realists, exhib. cat. [New York: Museum of Modern Art, 1943], p. 42). Executed about 1920, when Helder sixteen, Mount Baker...
Category

20th Century American Modern Landscape Drawings and Watercolors

Materials

Paper, Watercolor

Shadows -- Garage at Night
Located in Storrs, CT
Shadows -- Garage at Night. c. 1928. Conte crayon drawing. Study for the drypoint, McCarron 69. 10 1/8 x 12 3/4 (the drypoint measures 9 7/8 x 11 7/8). The drypoint is illustrated in...
Category

1920s American Modern Landscape Drawings and Watercolors

Materials

Crayon

Chatham Square
Located in Myrtle Beach, SC
'Chatham Square'; watercolor, color pencil, India ink, and scratchwork; 1955. Signed and annotated '© 1955' in ink, lower left. Titled 'Chatham Square' in pencil, verso. An atmospheric, mixed-media, aerial cityscape of mid-century Manhattan, with fresh colors, on heavy watercolor paper; the full sheet with the image extending to the sheet edges, in good condition. Chatham Square is a historic intersection in Manhattan's Chinatown, New York City. The square lies at the confluence of eight streets: the Bowery, Doyers Street, East Broadway, St. James Place, Mott Street, Oliver Street, Worth Street, and Park Row. The small park in the center of the square is known as both Kimlau Square and Lin Ze Xu Square. Painter, muralist, and teacher, Stuyvesant (Stuart) Van Veen was born in New York City in 1910. He studied at the Pennsylvania Academy of Fine Arts under Daniel Garber, the National Academy of Design under David Karfunkel, the Art Students League under Thomas Hart Benton, and at the New York School of Industrial Art and Columbia University. Prolific and notably active in the art world throughout his career, Van Veen was a member of the American Watercolor Society, the National Society for Painters Casein, the National Society of Mural Painters, the Artists’ Equity Association, the National Institute of Arts and Letters, the American Artists Congress, the Artists League of America and the Mural Artists Guild. His numerous exhibitions include: the Carnegie Institute, 1929, 1943; the Art Institute of Chicago, 1930-1946; the Society of Independent Artists, 1930; the Pennsylvania Academy of Fine Arts Annual, 1930, 1933-34, 1938; the Pennsylvania Academy of Fine Arts Annual, 1940, 1941, 1943; Boston Museum of Fine Arts, 1929, 1936; Brooklyn Museum, 1929, 1936; St. Louis Art Museum, 1929, 1936, 1939, 1943; Minnesota Institute of Art, 1929, 1936, 1939; Whitney Museum of American Art, 1935-40; Museum of Modern Art, 1934, 1937, 1939; Corcoran Gallery of Art, 1935-36, 1939, 1941; Cincinnati Art Museum, 1936-49; Syracuse Museum of Fine Art, 1939; National Gallery of Art, 1942, 1944; National Academy of Design 1965-69; American Academy of Arts and Letters, 1961 (Childe Hassam purchase award); American Society of Contemporary Artists, 1966 (Nelson Whitehead Prize); and the “New York City WPA” at Parsons School of Design, 1977. Van Veen created more than 30 murals in public buildings, many commissioned by the WPA, including paintings for Riverside Memorial Chapel, New York; Fordham Hospital, New York; the Labor Building, Washington, DC; the United States Post Office, Pittsburgh, 1937; the New York World’s Fair, 1938; and the Wright-Paterson Air Force Base, 1945. One of his best-known works is a series of seven murals in celebration of the Brooklyn Dodgers, a series that still exists in the lobbies of the Ebbets Field...
Category

1950s American Modern Landscape Drawings and Watercolors

Materials

India Ink, Watercolor, Color Pencil

New York World's Fair.
By Charles Ernest Pont
Located in Storrs, CT
New York World's Fair. 1939-40. Watercolor. 19 1/8 x 24. Signed, lower left; dated, titled and annotated 'No 215 N.F.S. [Not For Sale] title -- option only --' verso. Pont’s artistic talent was already evident during secondary school, and he pursued a professional formation at Pratt Institute in Brooklyn and The Cooper Union in Manhattan. In 1933 he received a scholarship to continue his training with the American Artists League. His professional career began in 1925 as a carpenter and cabinet-maker in New York. Although he gave up this business in 1932, he never forgot these skills, and twenty years later designed and built his own home in Wilton, Connecticut. In the midst of the Great Depression, Charles Pont turned to the fine arts as a full-time career, working chiefly as a book and magazine illustrator. Pursuing a nautical interest inherited from his adoptive father who had served in the German Imperial Navy...
Category

1930s American Modern Landscape Drawings and Watercolors

Materials

Watercolor

Moravian Home for Old Ladies
Located in Storrs, CT
Moravian Home for Old Ladies. c. 1919. Pencil drawing. 6 1/2 x 8 1/8. Unsigned; titled 'Moravian Home for Old Ladies' lower right Housed in a 16 c 20-inch archival mat, suitable for framing. Currently the building is in use at the Priscilla Payne Hurd Campus of the Moravian College in Bethlehem, Pennsylvania. The Moravian Bell House, erected in 1745, was used first as the Family House. It was used as the Girls' School in 1746-1791. The Bethlehem Female Seminary, which was founded in 1742 in Germantown, Pennsylvania, as the first school for young women in the U.S. The seminary was created by the sixteen-year-old Benigna, Countess von Zinzendorf, the daughter of Count Nikolaus Ludwig Zinzendorf, who was the benefactor of the fledgling Moravian communities in Nazareth and Bethlehem, Pennsylvania. The Female Seminary was incorporated by the Pennsylvania State Legislature in 1863 and became the woman's college, the Moravian Seminary and College for Women in 1913. A full history can be found online at Moravian College. The bell, still in use, was cast in Bethlehem. The turret had first town clock...
Category

Early 20th Century American Modern Landscape Drawings and Watercolors

Materials

Carbon Pencil

American Modern landscape drawings and watercolors for sale on 1stDibs.

Find a wide variety of authentic American Modern landscape drawings and watercolors available for sale on 1stDibs. Works in this style were very popular during the 21st Century and Contemporary, but contemporary artists have continued to produce works inspired by this movement. If you’re looking to add landscape drawings and watercolors created in this style to introduce contrast in an otherwise neutral space in your home, the works available on 1stDibs include elements of blue, green, orange, purple and other colors. Many Pop art paintings were created by popular artists on 1stDibs, including Frank Wilcox, Dong Kingman, Alfred Bendiner, and Francis Chapin. Frequently made by artists working with Paint, and Watercolor and other materials, all of these pieces for sale are unique and have attracted attention over the years. Not every interior allows for large American Modern landscape drawings and watercolors, so small editions measuring 6.75 inches across are also available. Prices for landscape drawings and watercolors made by famous or emerging artists can differ depending on medium, time period and other attributes. On 1stDibs, the price for these items starts at $132 and tops out at $950,000, while the average work sells for $2,800.

Recently Viewed

View All