American Impressionist Drawings and Watercolor Paintings

Vibrant kitchen still life by Aptos, California artist Virginia J. Hughins (American, 1923-2004), circa 1970. Signed "Hughins" lower right. Unframed...

"Viareggio, Italy" is an impressionist watercolor painting of a beautiful seaside city just outside the hills of tuscany in Italy. Nelson H. White was born in New London, Connecticut in 1932. White has been surrounded by art and artists from the time he was born. He received his earliest art instruction from his grandfather, Henry Cooke White (1861-1952) and his father Nelson Cooke White (1900-1989), both important American artists. The family lived in Waterford, Connecticut and the elder White had been an early member of the art colony in Old Lyme, Connecticut. Known for his paintings of the Connecticut landscape and shoreline, Henry Cooke White became a teacher to his son, Nelson Cooke White. Living with his parents at the Florence Griswold house in Old Lyme, he met some of the most important and influential artists of the day, Childe Hassam, Will Howe Foote and Harry Hoffman. Later, Nelson White's father began to take his family to summer on Shelter Island and became friendly with many of the artists of the Peconic colony such as Irving Wiles, an important American impressionist. After graduating from the Tabor Academy in Marion, Massachusetts in 1951, Nelson H. White began to study at Mitchell College in Connecticut but left to pursue studies in the violin, musical theory and composition. At this time, he began to spend more time studying art with his father and grandfather. By 1955, Nelson H. White had decided to devote himself to a career as a painter and traveled to Florence, Italy to become an apprentice to Pietro Annigoni, the world-renowned Florentine master. Within two years, the young White had won two awards for his work. While in Florence he also studied with the great Italian teacher, Nerina Simi. Today, White divides his time between the United States and Florence. Although he has received instruction from some very important artists, White's work is highly individual. He paints with great spirit. Upon seeing his work one quickly senses White’s great love for nature and the outdoors. Through his eyes we are able to view and interpret nature in an intimate manner. Whether Nelson H. White is painting the Connecticut shore...

Serene watercolor of a stream by an unknown artist named Stow (20th century). Signed "Stow" in the lower right corner. We sourced a group of watercolors by Stow from the Southwest Fl...

Coastal Landscape in Watercolor on Paper Serene watercolor of a coastal scene by an unknown artist named Stow. Signed "Stow" in the lower right corner. Presented in a rose mat. No f...

Frozen Pond Landscape in Watercolor on Paper Serene watercolor of a pond in winter by an unknown artist named Stow. Signed "Stow" in the lower right co...

A painting by Donna Schuster. "Fishing Boats from Monterey" is a waterscape painting, watercolor on paper in a palette of blues, whites and browns by American female artist Donna Sch...

Signed lower left: J. Joseph –

Charcoal and pastel on paper Sight: 16 1/2 x 11 1/2 in. Framed: 24 1/2 x 20 1/4 x 1 2/3 in. Signed lower right Inscribed verso

In this drawing, Sylvia Spicuzza presents the viewer with a view of children jumping on a trampoline near the entrance to the grounds of the Wisconsin State Fair...

In this drawing, Sylvia Spicuzza presents the viewer with a dark, subtle view of two apples, still clinging to their leaves. Examples like this show the ability of Spicuzza to draw i...

Simkhovitch was one of America's great success stories at the time of World War II as Life Magazine did a big story on this artist. This marvelous sketch is an example of the joy ...

Provenance The artist; Estate of the artist, until 2018 Exhibitions Woodmere Art Museum, Philadelphia, The Art of John Pierce Barnes (1893–1954), June 28–August 30, 2009. A native ...

Original Graphite on Paper Dimensions 12.5″ x 8″ Viewable 27″ x 22.5″ Framed. Signed by Artist. Circa 1962.

Eve Nethercott Title: Cape Elizabeth, Portland (P6.5) Date: 1951 Medium: Watercolor on paper Paper Size: 18 x 24 inches

Painting measures 28" x 22" and framed 32" x 25 ½" x 2" Hand-signed "J.E. Costigan N.A." lower left. About this artist: John Costigan was a self-taught painter distinguished by hi...

Alice Kent Stoddard 1885-1976 Sledders (circa 1950-1960) Black chalk on card Image Dimensions: 19.75 x 16 inches (50.2 x 40.6 cm) Framed Dimensions: 26.5 x 22.3 inches Signed lower right: Alice Kent Stoddard Alice Kent Stoddard was born in Connecticut, but spent much of her career as an artist in Philadelphia and on Monhegan Island in Maine. She studied with Thomas Eakins, William Merritt Chase and Thomas Anshutz at the Pennsylvania Academy of Fine Arts, as well as at the Philadelphia School of Design for Women. While serving with the YMCA in France during World War I, Stoddard executed many drawings and paintings of the battlefield. However, she is most widely recognized for her bold landscapes and marine paintings of Maine...

Original Pen and Ink on paper Dimensions 10.5″ x 13″ unframed 24 x 27″ approximate framed Circa 1959

Bob Peak is one of the true giants of post-war American Illustration. He is a virtuoso artist, with a heightened level of skill and talent that very few living artists today possess...

Jim’s of Lambertville is proud to offer this artwork. Signed and dated lower right. Hayley Lever (1876-1958) Hayley Lever's exceptional career path took him from the shores of ...

Self with Brushes by Lu Haskew Pencil Portrait 9x11" image size 15x18" framed (behind glass) Shipping price includes the custom packing necessary for safe transport of fine art. ABOUT THE ARTIST: Lu Haskew 1921-2009 "Life is good to me. Being able to go to my studio five days weekly and paint for several hours, living in a supportive community, having family and friends who encourage me--all have contributed to helping me become an artist. Being fortunate to study with some of the artists I admire has kept me painting from the garden, people and my favorite things. With the support of galleries, teaching and doing demos, how could I do anything else? My goal is to try to be the best I can be by always being a student, looking for new ideas and stretching my horizons." Upon retirement from a 33-year teaching career, Lu rented a studio in Loveland and began concentrating on her oil and watercolor painting. Learning from artists she had followed and admired throughout the years her painting became a full time career that lasted 17-years. Beginning in 1992, she studied with renowned painters Richard Schmid, Clyde Aspevig, Joyce Pike...

Jim’s of Lambertville is proud to offer this artwork. Signed. Complemented by a hand carved and gilt frame. William L. Lathrop (1859-1938) Deemed “Father of the New Hope Art Colony”, William Langson Lathrop was born in Warren, Illinois. He was largely self-taught, having only studied briefly with William Merritt Chase in 1887, at the Art Students League. Lathrop first moved east in the early 1880s, and took a job at the Photoengraving Company in New York City. While there, he befriended a fellow employee, Henry B. Snell. The two men became lifelong friends and ultimately, both would be considered central figures among the New Hope Art Colony. Lathrop's early years as an artist were ones of continuing struggle. His efforts to break through in the New York art scene seemed futile, so he scraped enough money together to travel to Europe with Henry Snell in1888. There he met and married an English girl, Annie Burt. Upon returning to New York, he tried his hand at etching, making tools from old saw blades. Even though his prints were extremely beautiful, he still was impoverished. Lathrop would return to his family in Ohio, before once again attempting the New York art scene. In 1899, with great trepidation, he submitted five small watercolors to an exhibit at the New York Watercolor Club. He won the Evans Prize, the only award given, and four of the five paintings were sold the opening night. At age forty Lathrop’s career would finally take off and he became an “overnight success Lathrop came to Phillips Mill for the first time in1898, to visit his boyhood friend, Dr. George Marshall. Shortly after, he and his family purchased the old miller’s house from Dr. Marshall. The Lathrop’s home became a social and artistic center for the growing New Hope colony. Tea and fascinating conversation was the “order of the day” every Sunday. This was a scene fondly recalled by many younger art students that Lathrop taught privately at Phillips Mill. It was common to see groups of his students painting and sketching along the banks of the canal or aboard his canal boat. He had previously taught in the Poconos and at the Lyme, Connecticut Summer School in1907, but Phillips Mill always remained Lathrop’s permanent address. In 1928, a committee headed by Lathrop was formed to purchase the old Phillips Mill building as a place to hold community gatherings and art exhibitions. The committee had success and in 1929 the Phillips Mill Community Association was formed. This became the center of the New Hope Art Colony holding annual exhibitions and still operating today. In 1930, Lathrop had built a sailboat he named the “Widge”. For eight consecutive seasons he sailed it along the coast of Long Island...

In this drawing, Sylvia Spicuzza presents the viewer with a dark, subtle view of two milkweed pods, bursting forth with cotton. Examples like this show the ability of Spicuzza to draw in a naturalistic style, where most of her work is usually in a highly stylized, graphic mode. The richness and depth of the black charcoal makes for a moody image. 8 x 5 inches, artwork 18 x 14.5 inches, frame Born in 1908, Sylvia Spicuzza was the daughter of noted painter Francesco Spicuzza. Sylvia devoted herself to teaching art to the students of Lake Bluff...

Jim’s of Lambertville Fine Art Gallery is proud to present this piece by Daniel Garber (1880 - 1958). One of the two most important and, so far, the most valuable of the New Hope Sc...

Jim’s of Lambertville Fine Art Gallery is proud to present this piece by Daniel Garber (1880 - 1958). One of the two most important and, so far, the most valuable of the New Hope School Painters, Daniel Garber was born on April 11, 1880, in North Manchester, Indiana. At the age of seventeen, he studied at the Art Academy of Cincinnati with Vincent Nowottny. Moving to Philadelphia in 1899, he first attended classes at the "Darby School," near Fort Washington; a summer school run by Academy instructors Anshutz and Breckenridge. Later that year, he enrolled at the Pennsylvania Academy of the Fine Arts. His instructors at the Academy included Thomas Anshutz, William Merritt Chase and Cecilia Beaux. There Garber met fellow artist Mary Franklin while she was posing as a model for the portrait class of Hugh Breckenridge. After a two year courtship, Garber married Mary Franklin on June 21, 1901. In May 1905, Garber was awarded the William Emlen Cresson Scholarship from the Pennsylvania Academy, which enabled him to spend two years for independent studies in England, Italy and France. He painted frequently while in Europe, creating a powerful body of colorful impressionist landscapes depicting various rural villages and farms scenes; exhibiting several of these works in the Paris Salon. Upon his return, Garber began to teach Life and Antique Drawing classes at the Philadelphia School of Design for Women in 1907. In the summer of that same year, Garber and family settled in Lumbertville, Pennsylvania, a small town just north of New Hope. Their new home would come to be known as the "Cuttalossa," named after the creek which occupied part of the land. The family would divide the year, living six months in Philadelphia at the Green Street townhouse while he taught, and the rest of the time in Lambertville. Soon Garber’s career would take off as he began to receive a multitude of prestigious awards for his masterful Pennsylvania landscapes. During the fall of 1909, he was offered a position to teach at the Pennsylvania Academy as an assistant to Thomas Anshutz. Garber became an important instructor at the Academy, where he taught for forty-one years. Daniel Garber painted masterful landscapes depicting the Pennsylvania and New Jersey countryside surrounding New Hope. Unlike his contemporary, Edward Redfield, Garber painted with a delicate technique using a thin application of paint. His paintings are filled with color and light projecting a feeling of endless depth. Although Like Redfield, Garber painted large exhibition size canvases with the intent of winning medals, and was extremely successful doing so, he was also very adept at painting small gem like paintings. He was also a fine draftsman creating a relatively large body of works on paper, mostly in charcoal, and a rare few works in pastel. Another of Garber’s many talents was etching. He created a series of approximately fifty different scenes, most of which are run in editions of fifty or less etchings per plate. Throughout his distinguished career, Daniel Garber was awarded some of the highest honors bestowed upon an American artist. Some of his accolades include the First Hallgarten Prize from the National Academy in 1909, the Bronze Medal at the International Exposition in Buenos Aires in 1910, the Walter Lippincott Prize from the Pennsylvania Academy and the Potter Gold Medal at the Art Institute of Chicago in 1911, the Second Clark Prize and the Silver Medal from the Corcoran Gallery of Art for “Wilderness” in 1912, the Gold Medal from the Panama-Pacific Exposition in San Francisco of 1915, the Second Altman Prize in1915, the Shaw prize in 1916, the First Altman Prize in 1917, the Edward Stotesbury Prize in1918, the Temple Gold Medal, in 1919, the First William A...

Inscribed at lower left/lower right: B . 10 . 100 / 10 . 10 . A Framed Dimensions: 14 x 16 1/4 inches Provenance: private collection, Boston To produce his murals, Sargent painte...

This charcoal drawing is a preliminary study for the figure of Science, the subject that comprises the far right panel above the entrance to the library at the Museum of Fine Arts, B...

This is a study for the body of Medusa in Perseus on Pegasus Slaying Medusa, 1922-25, the mural panel installed on the ceiling side aisle of the Huntington Avenue stairway at the Mus...

To produce his murals, Sargent painted monumental canvases in his studios in London and Boston, adhering them to the building walls (rather than creating them as frescoes). Along wit...

This is a figure and head study for the extreme right figure depicted in Apollo and the Muses, one of the magnificent ovals decorating the dome of the rotunda of the Museum of Fine A...

This drawing is also referred to as Young Boy Adjusting His Sandal, and is illustrated in the catalogue for Sargent's 1928 exhibition of drawings at Grand Central Art Galleries in Ne...

This artwork titled "Preparing the picnic" c.1950, is a watercolor on paper by noted American artist John Cuthbert Hare, 1908-1978. It is signed at the lower right corner by the arti...

This artwork titled "Market Street, San Francisco" c.1960 is a watercolor on paper by noted California artist William Jack Laycox, 1921-1984. It is signed at he lower right corner by...

Louis Ritman (1889-1963) "Rolling Country" c. 1945 Original Watercolor on Paper Signed Lower Left Provenance: Milch Galleries, NY (original label verso) ...