Pastel Portrait Drawings and Watercolors

Date: 1936 Medium: Pastel Dimensions: 14.00" x 18.00" Signature: Unsigned Original cover artwork for Smith & Street's Picture Play Magazine, April 1936 by Tatiana Fall.

Medium: Pastel on Board Dimensions: 30.00" x 24.00" Signature: Signed Lower Left Women with brightly colored shirt

Fusain et Pastel – 2013 - one of a kind drawing , large size.

Untitled (Woman by the Windows) Unsigned. Pastel on board, c. 1915 Created while the artist was in Giverny, France Provenance: Gift of the artist to his wife, Mary Hess Buehr by Descent to the artist's niece, daughter of Will Hess. David Salzman Robert Henry Adams Fine Art, Chicago Ronald C. Sloter, Columbus One of the early Chicago artists to adopt Impressionism, Karl Buehr became a figure and landscape painter. As a figure painter, his specialty became "gorgeously colored images of young women on porches overlooking brilliant summertime gardens." (Kennedy 98) His later work often showed a female figure with serious expression engaging the viewer with a direct stare. In his landscapes, he was noted for his strong coloration. In a December 1896 student exhibition at the Art Institute, a reviewer for the "Chicago Times Herald" described Buehr's landscapes as "blithe and joyous" with "country roads brilliant in sunlight . . . fields rich in summer verdure, under soft skies painted in a high, musical key." (Gerdts 68) Buehr was born as one of seven sons to a prosperous German family who immigrated to America and settled in Chicago in 1869. He was first exposed to his signature style of Impressionism in 1888 when he enrolled in night classes at the Art Institute while working in the shipping department of a lithographic firm near the Institute. He remained a student there until 1897 and was recognized in a "Chicago Times Herald" editorial of June 13, 1897 as one of the Institute's most outstanding pupils. The next year, his art career was temporarily put on hold when he briefly enlisted with the U.S. Army in the Spanish American War. In 1899, he resumed his art studies, this time with Frank Duveneck. He exhibited a painting at the Paris Salon of 1900. In 1905, thanks to a wealthy Chicago patron, Buehr and his family moved to France. They spent the following year in Taormina, Sicily, and spent time in Venice as well. In Paris, Buehr studied at the Academy Julian with Raphael Collin for two years. Then he went to England, enrolling in the London Art School but had returned to Paris by 1908. During this time, he began painting at Giverny, the home of Impressionist leader Claude Monet (1840-1926, and by 1912, Buehr was listing that village as his home address. One of his good friends and associates at Giverny was Frederick Frieseke. One of Buehr's paintings from that time, "News from Home", was exhibited in 1913 at the French Salon in Paris and at the annual exhibit of the Chicago Art Institute. It shows a woman in floral dress sitting on a porch with a background with potted flowers and lush greenery background. Of his painting done at Giverny, Buehr wrote in 1912 to William Macbeth of Macbeth Galleries in New York: "My figures painted in and around Giverny are costumed and in appropriate out door settings." (Gerdts 68) In 1914, he returned to the United States and took a teaching position in Chicago at the Art Institute, which he held for the remainder of his life. He was married to Mary Hess, a painter of miniatures and decorative works. In 1928-29, he was a guest artist at Stanford University. Courtesy: AskArt “Karl Albert Buehr (1866–1952) was a painter born in Germany. Buehr was born in Feuerbach - near Stuttgart. He was the son of Frederick Buehr and Henrietta Doh (Dohna?). He moved to Chicago with his parents and siblings in the 1880s. In Chicago, young Karl worked at various jobs until he was employed by a lithograph company near the Art Institute of Chicago. Introduced to art at work, Karl paid regular visits to the Art Institute, where he found part-time employment, enabling him to enroll in night classes. Later, working at the Institute as a night watchman, he had a unique opportunity to study the masters and actually posted sketchings that blended in favorably with student's work. Having studied under John H. Vanderpoel, Buehr graduated with honors, while his work aroused such admiration that he was offered a teaching post there, which he maintained for many years thereafter. He graduated from the Art Inst. of Chicago and served in the IL Cav in the Spanish–American War. Mary Hess became Karl's wife—she was a student of his and an accomplished artist in her own right. In 1922, he was elected into the National Academy of Design as an Associate member. Art Studies in Europe In 1904, Buehr received a bronze medal at the St. Louis Universal Exposition, then, in 1905, Buehr and his family moved to France, thanks to a wealthy Chicago patron, and they spent the following year in Taormina, Sicily, where the artist painted local subjects, executing both genre subjects and landscapes as well as time in Venice. Buehr spent at least some time in Paris, where he worked with Raphaël Collin at the Académie Julian. Giverny and American Impressionism Prior to this time, Buehr had developed a quasi-impressionistic style, but after 1909, when he began spending summers near Monet in Giverny, his work became decidedly characteristic of that plein-air style but he began focusing on female subjects posed out-of-doors. He remained for some time in Giverny, and here he became well-acquainted with other well known expatriate America impressionists such as Richard Miller, Theodore Earl Butler, Frederick Frieseke, and Lawton Parker. It seems likely that Buehr met Monet, since his own daughter Kathleen and Monet’s granddaughter, Lili Butler, were playmates, according to George Buehr, the painter’s son. His other daughter Lydia died before adulthood due to diabetes. He returned to Chicago at the onset of World War I and taught at The Art Inst for many years. One of his noted pupils at the Art Institute was Archibald Motley...

Dance at the Dream Bar

Brown, black, and green-toned realistic oil pastel portrait of New York stage actor Ralph Stuart. The Courier Co.'s signature is attached at the back. Matt...

Woman with red hair. Pastel. Good condition, small stains on the passe-partout. Pastel (at sight): 24 x 12 cm Passe-partout: 39 x 25 cm

A French drawing and watercolour portrait of a Breton Girl by Renée Béja noted pupil of Fernand leger. The work is signed on the right margin and presented in a gilt frame with a fine cut card mount. A wonderful character portrait of a girl in traditional Breton costume and head dress. Beja has completed a pencil drawing and then used washes, watercolour and gouache to give the composition life. Lifelike flesh tones and the blue of the subjects eyes give the whole a charming intimacy. Renée Anne Béja was a French painter and theatre decorator of Greek origin born in Thessaloniki (Ottoman Empire, today in Greece) on July 4, 1905 Renée Béja was still a young child when the family moved to Solliès-Pont in France, where her father worked as a flour miller at the Crédit Agricole. In the 1930s, Renée Béja was a pupil of Fernand Léger. Between 1935 and 1938, she exhibited at the Salon des Tuileries, presenting mainly Views of the Périgord, she also participated in 1938 in the Salon d'Automne and the Salon des Indépendants. During the Second World War, Renée Béja, her husband and some of her family were saved by being hidden by Eugène Viès, executive of the SNCF in Solliès-Pont, the industrialist Étienne Arnaud and the secretary of the town hall registering them under a false name on the register of inhabitants, so as to entitle them to food tickets. A Gestapo raid, however, meant that the Béja family had to leave Solliès-Pont for Saint-Paul-Trois-Châteaux, always with the help of Eugène Viès and his wife Walda, to whom the Yad Vashem Institute has since awarded the title of Righteous Among the Nations. Based at 41, rue Blomet in Paris, Renée Béja then also worked as a decorator for the theatre. She created the sets, costumes and masks for the play Les Choéphores by Aeschylus, performed in the great amphitheatre of the Sorbonne in June 1949, then at the Palais des Papes as part of the Avignon Festival in July 1950. The works of René Béjà, including portraits, nudes, still lifes, landscapes of Provence, Brittany and Paris, were presented at the Salon du Gemmail in Tours, stylistically, as with her colleague Andrée Bordeaux-Le Pecq, post-cubist and abstract experiments, but also classifying it, with Germaine Lacaze, Marguerite Bermond, Geneviève Gavrel and Guillemette Morand...

Signed (at lower right): WINOLD/REISS

Signed (at lower right): WINOLD/REISS

After Maurice-Quentin de La Tour A Portrait of the Philosopher Jean-Jacques Rousseau (1712-1778) Pastel on paper This fine19th century pastel portrait of the philosopher Rousseau is directly drawn from the original by La Tour now in the Musee Antoine Lecuyer...