American Realist Drawings and Watercolor Paintings

Standing Female Nude Colored chalks on tan Strathmore paper, c. 1975 Signed in chalk upper right (see photo) Condition: Excellent Housed in an 8 play acid free rag matting S...

An award winning artist for her watercolors, Davis was a beloved Connecticut artist. A rare subject done in a contemporary and fresh way. She was a member of this club and enjoyed t...

Standing Female Nude Colored chalks on tan Strathmore paper, c. 1975 Signed in chalk upper right (see photo) Condition: Excellent Housed in an 8 play acid free rag matting S...

Robert Kipniss (American, b. 1931) At Dawn, 1975 Pencil on paper 10 1/2 x 7 1/4 in. Framed: 14 2/3 x 11 1/3 in. Signed upper right: Kipniss '75 Verso bears Hirschl & Adler Galleries Label Robert Kipniss, painter and printmaker, was born in New York City in 1931. He creates essentially monochromatic*, stylized vistas with natural and architectural elements intended to evoke an elegiac, nearly surrealistic mood in haunting, silent landscapes; the melancholy of nostalgia. Trees, in mid and far-distance, form clusters or act as misty individuals containing a haunted, indefinable presence, witnesses to the foreground drama of more specific shape, form and detail, often a close-up tree. Kipniss studied at the Art Students League* in 1947; Wittenberg University in Springfield, Ohio, 1948-50; and the University of Iowa, receiving a BA degree in English literature in 1952, and an MFA in painting and art history in 1954. The artist employs a meticulous technique combining a multiplicity of specific strokes, whether with brush, pencil or print-maker's needle and burin*, to create the essence of his generalized, non-specific forms. Light and darkness are clearly Kipniss' compositionally constructive elements. They also exist as contestants in the emotional drama at the heart of each work of art. The contrast, and sometimes combat, between these two opposites, symbolically represent with blackness -- ideas of threat, fear, trouble, evil; with whiteness safety, redemption, fulfillment and good. In Kipniss' 1995 mezzotint*, Clear Vase and Landscape, with a foreground image of precisely leafy stalks, the vase holding them, nearly invisible in its transparency, suggests an almost Salvador Dali-like surrealist device. This central image dominates but seems to invite association with, and commentary from, the surrounding clumps and individual round-topped, yet cedar-like trees. His mezzzotint, For Stella," 1997, depicts a gently twisting, curving, pale and smoothly-barked foreground, leafless tree limb or trunk, like a female human body, suggesting weakness, fatigue, an inability to deal with the staccato background screen of textured bush that seems to uncomfortably impinge upon it. This print is arguably a metaphor for a delicate soul struggling to overcome the prickly difficulties of domineering life. The classic mezzotint process, invented in the middle of the 17th Century, is the reverse of most of the other print-making media, since the artist works from a black ground to increasingly lighter areas. The copper plate is first roughened by a "rocker," creating a burr over the entire surface (the more burr left intact, the more ink it holds, the darker the final finished print). The artist, Robert Kipniss, in this instance, gradually burnishes, smoothes down the burr in varying degrees to produce the gradations of lights and darks of the final design. The deepest darks in the final picture are those areas on the plate that have been little touched after the initial roughening. Mezzotint relies on shade and tone rather than outline for its effect, which fits the Kipniss style of atmospheric* masses of value. A recent oil painting by Robert Kipniss, Hillside Silhouettes, 2001, 40 x 29, is somewhat more complex in composition than many, with four cubically-constructed houses each set in their own zones, seemingly unrelated to one another, with receding hills and similarly isolated, increasingly misty trees beyond. In his career, Robert Kipniss has had over 40 one-man shows since the first in New York in 1951, including an important retrospective exhibition at the Associated American Artist Gallery, New York in 1977. Many of these one-man exhibitions have been mounted by over 50 museums in the United States, South America and Europe, including the Chicago Art Institute, Metropolitan Museum of Art, Museum of Modem Art, Whitney Museum of American Art, Library of Congress and British Museum in London. Robert Kipniss is represented in the permanent collections of the institutions above, among many others, as well as the Philadelphia Museum of Art; New York Public Library; Museum of Fine Arts, Boston; Detroit Art Institute; Yale University Museum; National Collection of Fine Arts, Smithsonian Institution; Museum of Fine Arts, Houston; Los Angeles County Museum of Art; Portland Art Museum; and the New Orleans Museum of Art. He was elected to the National Academy of Design* in 1980, and to the Royal Society of Painter-Printmakers, London in 1998 Robert Kipniss can be referenced in numerous publications, including Who's Who in American Art from the 1950s to the present, and multiple reviews in periodicals like Art News, Art in America and Art Forum. There are also three important catalogues raisonne published on his work. Robert Kipniss has received many awards: 1965 - Ohio University National Drawing Show, Purchase Prize 1976 - National Academy of Design, New York City, The Ralph Fabri Prize 1978 - The Print Club of Philadelphia, Charles M Lea Prize 1979 - Charlotte Printmakers Society, Purchase Award 1979 - Society of American Graphic Artists, Printmaking Award 1979 - Wittenberg University, Springfield, OH, Honorary Doctorate 1980 - Elected to the National Academy of Design, New York City 1980 - Audubon Artists, New York City, Silver Medal 1980 - National Academy of Design, New York City, The Leo Meissner...

The Skull-and-Crossbones flag flies atop this illustration of a Pirate Ship. Two palm trees flank it, and it floats in a cropped stylized sea. A single hatted figure is seen looking ...

Nude on a Stool Ink on paper, c. 1970-80 Signed in red ink lower right Illustrated: Elliott & Wooden, page 232 A copy of this hardbound books accompanies purchase Condition: Excell...

Stunning use of cross-hatching. Close up this is an abstract drawing. Ink on Strathmore Bristol Board - Perfect Condition and looks better in person. Elegantly matted but not framed

Untitled (Seated Young Woman) Graphite on Veritable Papier d'Arches wove paper, 1970 Signed and dated lower right (see photo) Condition: Excellent Image/sheet size: 15 x 11 1/4 inch...

Artist: Jon Carsman, American (1944 - 1987) Title: Blue Waves Year: 1976 Medium: Watercolor on Paper, signed and dated Size: 39.5 x 28 in. (100.33 x 71.12 cm)

Vintage mid-1970's landscape watercolor of small figures on the famous Santa Cruz Boardwalk Railroad Bridge by Laura Manss Matarazzo (American, b...

Nude Seated in Chair Graphite on paper, 1976 Signed and dated lower right (see photo) Exhibited: Dart Gallery, Chicago, 1976 (see photo of label) Condition: Excellent Sheet size: 14 7/8 x 11 1/8 inches Provenance: Dart Gallery, Chicago, 1976 William H. Bailey (American, b. 1930) Born in Council Bluffs, Iowa, William Bailey became a painter in styles ranging from abstraction to super-real. He earned his B.F.A. and M.F.A. at Yale University and studied with Josef Albers and also had an Alice Kimball English traveling scholarship. From 1962 to 1969, he taught at Indiana University, and from 1969, was a professor of art at Yale University. He lives and works in Branford, CT and is a member of the National Academy of Design, elected an Associate in 1983, an Academician in 1994. Recent one-person exhibitions include Robert Schoelkopf Gallery; Andre Emmerich Gallery; Robert Miller Gallery; Galleria il Gabbiana, Rome; and Galerie Claude Bernard, Paris. Selected group exhibitions include Realism Now, Vassar College Art Museum; 22 Realists, and 7 Realists, both at the Yale University Art Gallery; Decade in Review, Whitney Museum of American Art; and Contemporary American Realism Since 1960,at the Pennsylvania Academy. His work is included in the collections of the Museum of Modern Art; Museum of Fine Arts, Boston; Des Moines Art Center; Art Institute of Chicago; Arkansas Art Center; Hirshhorn Museum; Pennsylvania Academy; St. Louis Museum of Art; Whitney Museum of American Art; and Yale University Art Gallery. Publications on Mr. Bailey include "William Bailey", by Mark Strand...

This painting was created by American artist Lumen Martin Winter. Winter's figurative equestrian paintings sometimes play with the edge of abstraction, resulting in an expressionisti...

Artist: Thomas Strickland Title: Couple at Table (Self-Portrait) Year: circa 1970 Medium: Pastel on Paper, signed u.l. Size: 19.75 in. x 25.5 in. (50.17 cm x 64.77 cm)

Artist: Thomas Strickland, American (1923 - 1999) Title: Portrait of a Woman - Lourdes Year: circa 1970 Medium: Pastel on Paper, signed Size: 24 in. x 19.75 in. (60.96 cm x 50.17 cm)

Artist: Thomas Strickland, American (1923 - 1999) Title: Woman in Blue Year: circa 1970 Medium: Pastel on Paper, signed Size: 21.5 in. x 17 in. (54.61 cm x 43.18 cm) Frame: 27 x 22.5...

Artist: Ralph Hulett, American (1915 - 1974) Title: Funeral Range Year: circa 1970 Medium: Watercolor on Cardboard, signed Size: 12.75 x 39.25 in. (32.39 x 99.7 cm) Frame Size:...

A watercolor by Gregory Sumida. "Tree Trunk and Barn" is a watercolor on pressed board executed in earthy browns, yellows, whites and blues and depicting a bare branched, tree trunk ...

A watercolor by Gregory Sumida. "Vacated" is a watercolor on watercolor board executed in blues, yellows, greens, browns and whites and depicting a dilapidated and abandoned home set...

A watercolor by Gregory Sumida. "Approaching Storm, New Branches" is a watercolor on watercolor board, executed in dark browns, greens and blues and depicting a tree trunk with bare ...

Artist: Helene Alison, American (XXth) Title: Battlesea, The T-More Mare Year: 1977 Medium: Oil on Canvas, signed l.l. Size: 20 x 20 inches

A watercolor by Gregory Sumida. "Fence Support" is a watercolor executed in greens, blues yellows and browns and depicts a pair of barren trees against a barbed wire fence...

A watercolor by Gregory Sumida. "Distant Shade, Knights Ferry, CA" is a watercolor, executed in earthy yellows, browns, blues and greens and depicting a California landscape of rolli...

A watercolor by Gregory Sumida. "Branches" is a watercolor on paper executed in browns, greens, yellows and blue and depicting a tree trunk with bare branches set against a landscape...

Artist: Thomas Strickland, American (1923 - 1999) Title: Young Woman in Floral Dress Year: circa 1970 Medium: Pastel on Paper, signed Size: 25 in. x 19 in. (63.5 cm x 48.26 cm)

Artist: Gary van der Steur, American Title: Typewriter (Original Illustration for Playgirl Magazine) Year: 1975 Medium: Pastel on Paper, signed l.r. Image Size: 24 in. x 19 in. (60.9...

Artist: Marshall Goodman, American (1916 - 2003) Title: Red-Haired Woman in Cafe Year: circa 1975 Medium: Watercolor Size: 23 in. x 18.5 in. (58.42 cm x 46.99 cm) Frame Size: 31 x 2...

Artist: Helene Alison Title: Rama Rama Year: 1978 Medium: Oil on Canvas, signed l.c. Size: 20 x 20 inches

Known primarily for his work depicting horses, Joseph Piccillo also finds intrigue in the human form. Utilizing a grid format his charcoal and graphite portraits are organized as "ti...

Hirsch, Joseph (American, 1910-1980). STUDENT. Charcoal drawing on paper, not dated, but before 1980. Signed lower left, "J Hirsch." 17 1/2 x 11 1/4 inches (framed to 25 x 19 inches)...