Tree Landscape Drawings and Watercolors

Josine Vignon (French 1922-2022) signed lower left, Inscribed Verso. watercolour painting on artist paper, unframed 8.25 x 14.25 inches Very good condition. Provenance: from the ar...

The paper size is 30 1/8 x 44 inches

"Where the River Runs" (2024) by Mo Myra is a watercolor painting on paper that depicts a dead tree next to a creek on a stormy day. Mo Myra, born in 1990, is a Connecticut-based ar...

Title: Mid Century French Original Pastel Painting of Vibrant Sun-Drenched Orchard Artist: Josine Vignon (French 1922-2022) Medium: Oil Pastel on artist paper Size: 18.25 (height)...

Title: Mid Century French Pastel Drawing of Mountain View with Sunlit Foliage Artist: Josine Vignon (French 1922-2022) Medium: Oil Pastel on artist paper Size: 19 (height) x 25 (w...

Title: Mid Century French Original Pastel Drawing of Sunlit Woodland and Village Artist: Josine Vignon (French 1922-2022) Medium: Oil Pastel on artist paper Size: 19.75 (height) x...

Title: Mid Century French Original Pastel Painting of Sunlit Orchard Artist: Josine Vignon (French 1922-2022) Medium: Oil Pastel on artist paper Size: 19.25 (height) x 13.75 (widt...

Title: Mid Century French Original Pastel Drawing Sunlit Landscape with Iron Gate Artist: Josine Vignon (French 1922-2022) Medium: Oil Pastel on artist paper Size: 19.25 (height) ...

This is an exclusive handprinted limited edition cyanotype. This cyanotype shows a desert palm tree located in the majestic mediterranean city of Cairo, Egypt. Details: + Title: C...

'Pink Laurels in the Park, Côtes d'Azur', watercolour on art paper, by Tony Minartz (circa 1930s). The French Riviera is known for its beautiful parks, particularly in Nice, Menton,...

Delightful French watercolor of a lightly wooded scene with depth and mystery from an unknown artist, 1980s. Original artwork on paper displayed on a white mat with a gold border. ...

Paper paint charcoal collage Paper charcoal collage These collages were created first in the presence of a live model, working quickly, in charcoal and again, later, alone in the stu...

A painting of nature. Painting with spring landscape. A painting for the living room, dining room, study, painted in watercolor based on memories of a walk along the Tarusa River. Th...

Eve Nethercott, American (1925 - 2015) - Windy Day (P6.14), Year: 1950, Medium: Watercolor on Paper, Size: 17.5 x 21.5 in. (44.45 x 54.61 cm), Description: Eve Nethercott's w...

Eve Nethercott, American (1925 - 2015) - Tree (P5.61), Year: circa 1960, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), Description: Eve Nethercott's adept...

Eve Nethercott, American (1925 - 2015) - Winter Trees (P2.41), Year: 1958, Medium: Watercolor on Paper, Size: 14 x 20 in. (35.56 x 50.8 cm), Description: Illuminated by the s...

Eve Nethercott, American (1925 - 2015) - Rockport (P6.38), Year: 1948, Medium: Watercolor on Paper, Size: 12 x 18 in. (30.48 x 45.72 cm), Description: Eve Nethercott's portra...

Eve Nethercott, American (1925 - 2015) - Forest (P2.59), Year: 1959, Medium: Watercolor on Paper, Size: 15 x 11 in. (38.1 x 27.94 cm), Description: Leaning to the left, the a...

Detailed depiction of a building undergoing renovations by Joseph Yeager (American, 20th Century). Unsigned, but was acquired with a collection of Yeager work directly from the estate. This piece is on heavy bond paper with ragged edges, and is partially unfinished. No frame. Joseph "Joe" Yeager (American, 20th Century) was raised in Cleveland Ohio, where he went to art school at night and started his art career at 19. He was a commercial artist for the Cleveland Press...

Leigh Woods Watercolour 38 x 27 cm Wintry watercolour of Leigh Woods, Bristol. Oranges and brown stand out in the undergrowth and the transition from cool blues to yellow and pink...

Captivating watercolor painting of a small foot path edged by a dense forest and leading to a sunlit clearing by artist Wilheim Kloden, circa 1990. Original artwork on paper displa...

Provencal Landscape by Louis Bellon (French 1908-1998) signed and dated 45' From a batch of similar work where most were dated 1942-1947 watercolour painting on paper, unframed meas...

Josine Vignon (French 1922-2022) signed lower left, Inscribed Verso. watercolour painting on artist paper, unframed 10 x 14 inches Very good condition. Provenance: from the artists...

Forest edge at winter. 1983. Oil on cardboard, 40x50 cm Winter landscape Alfejs Bromults (1913.3.IV - 1991.11.I) His first professional education was at National University at stud...

Joyful watercolor landscape of a strip of trees dotted with fall colored foliage by artist Alfred Siegris (1892-1960), circa 1950. Signed lower right. Original one-of-a-kind artwork...

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

A energetic landscape in pastel. Signed lower right. Presented in a large contemporary frame. On paper.

Charcoal on paper drawing by Toronto-based artist Katherine Curci. Framed. Katherine Curci began this series of charcoal drawings, premiered in This L...

Presented in a simple dark frame. Signed with initials. On watercolour paper.

In the heyday of summer. 1988, oil on canvas and cardboard, 50x63,5 cm Summer landscape with blooming meadow Alfejs Bromults (1913.3.IV - 1991.11.I) His first professional educatio...

A charming 19th century view of a figure on the shore of a mountain lake, framed by the foliage of a birch tree. Circle of John Varley (1778-1842) Figure on the shore of a mountain ...

Original watercolor on archival paper of the mountains of Saint Maurice in Switzerland by the well known American artist, Dodge MacKnight. Signed lower left and titled and dated 189...

Francesco Spicuzza (American, 1883-1962) Untitled Landscape, 20th century Pastel on paper Sight size: 24 x 30 in. Framed: 26 1/4 x 32 3/8 in. Signed lower right: Spicuzza Italian-born Francesco Spicuzza was primarily a Wisconsin painter who did portraits, still-lives and local landscapes. He spent the first part of his life in near-poverty to become a painter. An eternal optimist, in 1917, the artist reported: "I am happy and my only ambition now is to paint better and better until I shall have reached the measure of the best of which I am capable." (Spicuzza, 1917, p. 22). His predilection for beach scenes germinated early: reportedly, the five-year-old boy first drew the outlines of his father's fishing boat in the sand on the seashore near their home in Sicily. After setting himself up as a fruit peddler in Milwaukee, Spicuzza's father sent for his family when Francesco was eight years old. For the following six years the boy was unable to attend school because of his job in his father's fruit and vegetable business. The poor lad suffered a caved-in shoulder from carrying a heavy wooden crate. The young Spicuzza was aided by moral and financial support from a sympathetic Milwaukee businessman named John Cramer, publisher and editor of the Evening Wisconsin, who raised Spicuzza's salary as a newspaper assembler so that he could attend school. In 1899 or 1900, Spicuzza began studying drawing and anatomy under Robert Schade (1861-1912), a painter of panoramas who had been trained in Munich under Carl Theodor von Piloty. Spicuzza was also taught by Alexander Mueller (1872-1935), a product of the Weimar and Munich academies. Mueller realized Spicuzza was a colorist and encouraged that orientation (Madle, 1961). Spicuzza found it beneficial to accept an apprenticeship in a lithographic studio for $8 a week, which demanded most of his time. During the St. Louis Universal Exposition in 1904, still a struggling student, Spicuzza attended the fair, thanks to Cramer. It was not long before Spicuzza received a twenty-five dollar portrait commission, and this inaugural success led to new commissions and allowed him to continue as a painter. The earliest influences in his work appear to be from Edward H. Potthast and Maurice Prendergast, though Spicuzza never mentioned either artist. Already in August 1910, Spicuzza was described in a newspaper as "one of the most talented of Milwaukee's rising workers." He undoubtedly received lasting inspiration from his one summer study period in 1911 with John F. Carlson at the Art Students League's Summer School in Woodstock, New York. Certainly Spicuzza would have picked up spontaneity in handling the brush from Carlson. Although he executed numerous still-lives and an occasional religious work, Spicuzza is best known for his Milwaukee beach scenes populated with frolicking bathers in multi-colored attire, not unlike the images of Potthast, who used a similar technique. Many of these are small, preparatory works on canvas board executed between 1910 and 1915. Frequently with even greater animation than Potthast, Spicuzza produced moving images of youthful energy and uninhibited child's play. These beach genre scenes reflect the attitude of American impressionists who depicted the more pleasant side of life. Spicuzza manipulated a successful balance of rich pigment applied in varying degrees of impasto texture with subtle nuances of hue. Working all'aperto, he sought "the soft enticing shades of yellow, blue, green, pink and lavender . . . to get the effects of bright glistening summer air." (L.E.S., n.d.). As a painter whose color not only derived from direct observation but also from a personal theory of color symbolism, Spicuzza traded the linear approach of lithography for dynamic patches of brilliant color. Like Prendergast, he would often tilt the angle of the picture plane to bring the viewer's position above the scene. Spicuzza was unable to enter the 1913 Armory Show or the Panama-Pacific International Exposition two years later but he did submit work to the annual exhibitions of the Pennsylvania Academy of the Fine Arts and those of the Art Institute of Chicago. His first important award was the bronze medal presented by the St. Paul Institute in 1913, which was followed by the silver medal two years later. Before long, Spicuzza had acquired a greater sense of security in his profession and was described by a writer in International Studio (April 1917) as "an independent artist with an assured future. His pastels and water-colours are poetic and joyous bits of nature with a genuine out-of-door feeling." In 1918, his Spirit of Youth, exhibited at the National Academy of Design, sold for $112.50. Four years later, the artist achieved his greatest local recognition by winning the gold medal from the Milwaukee Art Institute. Spicuzza spent a great deal of time painting en plein air and by 1925 he began summering at Big Cedar Lake, near West Bend, Wisconsin to gather his subject matter. Easter Morning (1926) owes something to the Symbolist movement, with its figure of Christ appearing over a seascape. During the difficult era of the Depression, patrons came to Spicuzza's aid and during the 40s, he taught housewives, businessmen and students at the Milwaukee Art Institute, the Milwaukee Art Center, and in his private studio. In the following decade, although his kind of art was no longer popular in the "make-it-or-break-it" New York gallery world, Spicuzza enjoyed regular patronage and sales. His beach scenes became more static and he would experiment with modernist techniques. Spicuzza died at the age of seventy-eight. Sources: L.E.S., "Do Colors Change a Person's disposition? Experiments of a Milwaukee Artist...

In Japan they are known as Nishikigoi, or living jewels. These brilliantly colored varieties of the Amur carp have been selectively bred by family owned fisheries for generations. When I began this series of Gyotaku (Japanese fish printing) I studied the many varieties of Koi, each with their own unique colors and patterns. My particular favorites are the Tanchos which can be identified by the distinct red spot on their heads. To create these pieces I print common carp I catch myself with sumi ink using traditional techniques used by Japanese fisherman dating back the mid 1800's. I then tint the images using watercolor. In each piece I hope to translate a sense of movement to give the viewer a sense of calm one might experience watching the living versions lazily meandering around a serene pond. —Jeff Conroy Several koi swim in a circle while autumn leaves fall on the surface of the water in this Gyo-tako method of painting by artist Jeff Conroy. After inking and taking impressions of the koi, the artist then uses watercolors to enhance their beauty. By using marbled mulberry paper to print on, he has created the illusion of water with the swirls of the mulberry paper. The paper itself has a soft hue and slightly wavy texture adding the overall feel of the artwork. This artwork is unframed. Contact gallery for framing options. Jeff Conroy Autumn Cotillion sumi ink and colored pencil on mulberry paper 25h x 37w in 63.50h x 93.98w cm JEC103 Gyotaku - A Japanese word translated from "gyo" meaning fish and "taku" meaning stone impression. It is the traditional Japanese method of printing fish, a practice which dates back to the mid-1800s. This form of nature printing was used by fishermen to record their catches, but has also become an art form of its own. Gyotaku is a Japanese method of printmaking that traditionally utilizes fish, sea creatures or similar subjects as printing "plates" in its process. The literal translation of the word is "fish stone rubbing...

Gouache on paper This artwork is offered by ClampArt, located in New York City Born in California, John Button (1929-1982) was educated at University of California, Berkeley. After...

Wonderful mid-century watercolor landscape of a charming house with porch rendered in crisp detail, and a sprawling verdant green yard with large tree and sheds by Joseph Yeager (ear...

Titled "The remote", this artwork created by Frank Girard, utilizes pigments, Chinese ink, watercolors, acrylics, and colored pencils on 400g/m2 neutral white paper. It remains unfra...

Well presented in a simple gilt effect frame. Signed and dated in graphite to the lower left corner. Artist's label fixed to the reverse. On paper.

Gaston COPPENS (1909 - 2002) Impressionist Lake Original charcoal drawing Handsigned on the bottom right of the sheet On canson paper, 50 x 65 cm (c. 19,6 x 25,5 inch) Very good co...

Coastal Trees Landscape in Watercolor on Paper A vibrant watercolor landscape of towering coniferous trees against a bright blue and cloudy sky, by California artist, Lucile Marie Johnston (1907-1994, American). Signature in bottom right corner. Presented in a new soft grey mat with foam core backing. Paper size: 16.5"H x 21.5"W Mat size: 20"H x 26"W Born in Santa Rosa, California on May 26, 1907, Lucile Johnston settled in Glendale 1930-1939, later moving to Carmel and then Pacific Grove in Monterey County, California where she remained. she managed Marsh's Oriental Antiques Shop...

Signed lower left, 'D. Badcock' for Douglas Badcock (New Zealander, 1922-2009) and painted circa 1948. Preferring to paint en plein-air, Douglas earned a reputation as one of New Ze...

This artwork "Winter Landscape " c.1930 is a watercolor by noted American artist Raphael Senseman, 1870-1966 It is signed at the lower left corner by the artist. The artwork size is ...

Signed lower center, 'B. Metcalf'; additionally signed verso and painted circa 1975. An idyllic tropical landscape showing palm trees and scarlet bougainvillea in the foreground wit...

Mid Century River Birches Landscape Watercolor Gorgeous vibrant mid century watercolor on paper painting of river birch trees by artist Eva Collins Marks (American, 20th century),19...

Eve Nethercott, American (1925 - 2015) - Nissequogue, Long Island (64), Year: 1959, Medium: Watercolor, Size: 10.5 in. x 22 in. (26.67 cm x 55.88 cm), Description: Eve Netherco...

Eve Nethercott, American (1925 - 2015) - Woodstock (77), Year: 1958, Medium: Watercolor, Size: 14 in. x 20 in. (35.56 cm x 50.8 cm), Description: Eve Nethercott's serene depict...

Eve Nethercott, American (1925 - 2015) - Tree (P1.31), Year: circa 1960, Medium: Watercolor on Paper, Size: 15 x 22 in. (38.1 x 55.88 cm), Description: Rendered in watercolor...

Eve Nethercott, American (1925 - 2015) - House (46), Year: circa 1959, Medium: Watercolor, Size: 9 in. x 12 in. (22.86 cm x 30.48 cm), Description: Looking toward the white hou...

Eve Nethercott, American (1925 - 2015) - Canal (P2.51), Year: 1947, Medium: Watercolor on Paper, Size: 13 x 12 in. (33.02 x 30.48 cm), Description: Viewed through the shimmer...

Eve Nethercott, American (1925 - 2015) - Bare Tree by Beach (P2.37), Year: 1960, Medium: Watercolor on Paper, Image Size: 14.5 x 21.5 inches, Size: 15 x 22 in. (38.1 x 55.88 ...

Eve Nethercott, American (1925 - 2015) - Forest (P2.65), Year: 1958, Medium: Watercolor on Paper, Image Size: 10 x 12 inches, Size: 11 x 13.5 in. (27.94 x 34.29 cm), Descript...

Eve Nethercott, American (1925 - 2015) - Wooded Landscape (P3.1), Year: 1958, Medium: Watercolor on Paper, Size: 18 x 23.5 in. (45.72 x 59.69 cm), Description: Peering out in...

Eve Nethercott, American (1925 - 2015) - Two Trees (P2.38), Year: 1958, Medium: Watercolor on Paper, Image Size: 14 x 21 inches, Size: 15 x 22 in. (38.1 x 55.88 cm), Descript...

Eve Nethercott, American (1925 - 2015) - Alley Pond park (P6.9), Year: 1952, Medium: Watercolor on Paper, Size: 18 x 24 in. (45.72 x 60.96 cm), Description: Reflecting onto t...

Eve Nethercott, American (1925 - 2015) - Pines (P5.33), Year: 1958, Medium: Watercolor on Paper, Size: 15 x 21.5 in. (38.1 x 54.61 cm), Description: Scattered over the rollin...

Eve Nethercott, American (1925 - 2015) - Rockport (P5.54), Year: 1948, Medium: Watercolor on Paper, Size: 18 x 20 in. (45.72 x 50.8 cm), Description: This view of Rockport, M...

Eve Nethercott, American (1925 - 2015) - Aimhi Lodge (P5.4), Year: 1951, Medium: Watercolor on Paper, Size: 15.5 x 22 in. (39.37 x 55.88 cm), Description: Peering through the...

Eve Nethercott, American (1925 - 2015) - Allen Pond Park (P6.12), Year: 1953, Medium: Watercolor on Paper, Size: 18 x 24 in. (45.72 x 60.96 cm), Description: Eve Nethercott's...