Arch Drawings and Watercolor Paintings

Art Sz: 12 3/8"H x 9"W Alexander Warren Montel (1921-2002)

Edition of 30 + 10AP Print unusual vertical diptych by master printer Agnes Murray

Art Sz: 11 1/8"H x 8 3/8"W

Art Sz: 11 3/4"H x 17"W Alexander Warren Montel (1921-2002)

Architect and artist Grover Mouton brings utilizes hand drawings to illustrate urban design proposals. Acting as a catalyst to explore design concepts,...

Mission San Juan Capistrano The iron bells sleep, and the trickling fountain softly murmurs prayers. The gilded church sits in the desert, an oasis of spiritual liqueur. I...

Represented by George Billis Gallery, NY & LA -- From the artist statement, "My artwork centers on mid-century American architecture and design, once revered for its groundbreaking i...

Derek Buckner is represented by George Billis Gallery NYC and LA. Born in 1970, Derek Buckner lives in Brooklyn, NY, with his wife, novelist Joanna Hershon, their twin sons and daug...

Gordon Haslam Early 20th Century English School The Moat at Scarborough Castle Gouache on board, signed and dated 1923 Image size: 13 1/2 x 17 1/2 inche...

Nicolino Calyo's career reflects a restless spirit of enterprise and adventure. Descended in the line of the Viscontes di Calyo of Calabria, the artist was the son of a Neapolitan army officer. (For a brief biographical sketch of the artist see Philadelphia Museum of Art, Pennsylvania, Philadelphia: Three Centuries of American Art, exhib. cat. [1976], pp. 299-301 no. 257.) Calyo received formal training in art at the Naples Academy. His career took shape amidst the backdrop of the political turbulence of early nineteenth-century Italy, Spain, and France. He fled Naples after choosing the losing side in struggles of 1820-21, and, by 1829, was part of a community of Italian exiles in Malta. This was the keynote of a peripatetic life that saw the artist travel through Europe, to America, to Europe again, and back to America. Paradoxically, Calyo’s stock-in-trade was close observation of people and places, meticulously rendered in the precise topographical tradition of his fellow countrymen, the eighteenth-century vedute painters Antonio Canale (called Canaletto) and Francesco Guardi. In search of artistic opportunity and in pursuit of a living, Calyo left Malta, and, by 1834, was in Baltimore, Maryland. He advertised his skills in the April 16, 1835 edition of the Baltimore American, offering "remarkable views executed from drawings taken on the spot by himself, . . . in which no pains or any resource of his art has been neglected, to render them accurate in every particular" (as quoted in The Art Gallery and The Gallery of the School of Architecture, University of Maryland, College Park, 350 Years of Art & Architecture in Maryland, exhib. cat. [1984], p. 35). Favoring gouache on paper as his medium, Calyo rendered faithful visual images of familiar locales executed with a degree of skill and polish that was second nature for European academically-trained artists. Indeed, it was the search for this graceful fluency that made American artists eager to travel to Europe and that led American patrons to seek out the works of ambitious newcomers. On June 16, 1835, the Baltimore Republican reported that Calyo was on his way north to Philadelphia and New York to paint views of those cities. Calyo arrived in New York, by way of Philadelphia, just in time for the great fire of December 1835, which destroyed much of the downtown business district. He sketched the fire as it burned, producing a series of gouaches that combined his sophisticated European painting style with the truth and urgency of on-the-spot observation. Two of his images were given broad currency when William James Bennett reproduced them in aquatint. The New-York Historical Society owns two large Calyo gouaches of the fire, and two others, formerly in the Middendorf Collection, are now in the collection of Hirschl & Adler Galleries. From 1838 until 1855, Calyo listed himself variously in the New York City directories as a painter, a portrait painter, and as an art instructor, singly, and in partnership with his sons, John (1818-1893) and later, the younger Hannibal (1835-1883). Calyo also attracted notice for a series of scenes and characters from the streets of New York, called Cries of New York. These works, which were later published as prints, participate in a time-honored European genre tradition. Calyo’s New York home became a gathering place for European exiles, including Napoleon III. Between 1847 and 1852 Calyo exhibited scenes from the Mexican War and traveled from Boston to New Orleans with his forty-foot panorama of the Connecticut River. Later, he spent time in Spain as court painter to Queen Maria Christina, the result of his continuing European connections, but he was back in America by 1874, where he remained until his death. The Passaic River rises in the hills just south of Morristown, New Jersey, marking a serpentine eighty-mile course before it empties into Newark Bay. It flows north-northeast to Paterson, where it falls seventy feet in a spectacular cataract before continuing south through Passaic and Newark. William Gerdts, in Painting and Sculpture in New Jersey (1964, pp. 51-2), describes the falls as: the most important [landscape] subject in New Jersey during the eighteenth and nineteenth centuries. . . . The Passaic Falls remained a popular spot, particularly during the romantic period. Indeed, newspapers, periodicals, and gift books contain many accounts of visits to the Falls, sentimental poems written about them or about a loved one visiting the Falls, or even, occasionally, in memory of one who perished in the waters of the Falls — usually intentionally. . . . Waterfalls . . . were popular among travelers in the period and the Passaic Falls were only surpassed by Niagara Falls and Trenton Falls...

With a career spanning more than three decades, Robbie Cornelissen has established himself among the leading contemporary draughtsmen in Europe. His vast and irresolute creative univ...

Peter Hurd 1904 - 1984 American From a Flying Fortress over England Signed, inscribed and dated: "Peter Hurd England 1942" (bottom left) Watercolor on paper Acclaimed American painter Peter Hurd demonstrates his mastery of capturing a specificity of place in his watercolor painting From a Flying Fortress over England. Hailing from his acclaimed “War Sketches,” Hurd’s trademark expressive brushwork and soft palette create an immersive, evocative scene. The acclaimed “War Sketches” series began in 1942, when Hurd was invited by Life magazine to travel with the US Air Force as a War Correspondent. This assignment represented a convergence in Hurd’s interests, as the artist had graduated from the New Mexico...

Sz: 9 3/4"H x 16 7/8"W Alexander Warren Montel (1921-2002) Fashion illustrator for House of Lanvin Paris in the 1950s featured in Harper's Bazaar Theatrical Stage Set

Ink and watercolour on paper Image size: 10 1/2 x 10 1/2 inches (26.75 x 26.75 cm) Framed Created in 1958 by the artist as evidence for study in their 'Examination in Art' at Wigan...

Gordon Noel Scott A.R.C.A 1914 - 2016 Salisbury Cathedral Watercolour Image size: 14 x 10 inches Framed GORDON SCOTT EXHIBITION AT DARNLEY FINE A...

Edward Bawden The Cathedral, Frascati, 1952 Signed and dated 'Edward Bawden/1952' (lower right); further signed, titled and dated 'The Cathedral/Frascati/Edward Bawden/1952' (on she...

HANS HOFMANN The Wind Mill (XXV), c. 1930-31 Ink on paper 10 1/2 x 13 1/2 inches 26.7 x 34.3 cm Signed, lower right: H Hofmann -- Hans Hofmann (b. 1800, ...

Maurice Utrillo (1883-1955) "L'Eglise" (Petrides No 25.562) Created 1937 Signed and Dated Lower Right Without Frame: 11" x 8.75" With Frame: 21" x 17.5" Provenance: Galerie Gilbert ...