Art by Medium: Watercolor

Portrait miniature, French, 19th century of a fine lady, oil on vellum on card. The miniature is not signed but is of very good quality. Presented in a period wood frame with a chase...

Landscape is a drawing realized in the Early-20th Century. Pencil and Watercolor. Good condition.

Watercolor and pencil on heavy gauge watercolor paper, 11 3/4 x 9 3/4 inches, (298 x 248 mm) the full sheet. In good condition with fresh, detailed brushwork and saturated pigments. ...

Title: French Ploughed Fields Landscape with Distant Village Watercolor Pierre Neveu Artist: Pierre Neveu (French b.1929) Medium: Watercolour on card, unframed Size (H x W): 17.75 x ...

Watercolor painting of boats docked along a scenic Mediterranean coast lit by golden sunlight, circa 1960. Displayed on a white mat with a gold border and fits a standard-size fram...

The artist has covered New York collections for over 16 years and has interviewed, as a journalist, several fashion designers and personalities for different publications. He loves t...

Ink and watercolor on paper realized by Cecilia Ferro Caporilli in 1963. Hand signed and dated . Very good condition.

"Drift Off" is an original piece by Branche Coverdale from his "Night, Night" series. This piece is made of acrylic gouache on canvas and measures 36"h x 48"w x 1.5"d. It is signed e...

This striking 1949 gouache and wax painting by Howard Schleeter is a powerful example of mid-century American modernism rooted in the visual language of the Southwest. Titled Fetishe...

Title: Towards the Sea at Southwold with Church and High Street Figures Watercolour By Tony Herbert (1927-2024) Signed: Bottom right Medium: Watercolor on paper, mounted Size: 13.5 i...

Tempera and watercolor on cardboard realized by Sirio Pellegrini in 1970. Sirio Pellegrini, born in Rome on March 1, 1922, of Abruzzo origins (Capestrano), spent his childhood years...

The Pekingese Dog English Folk Art painting, circa 1930's watercolour painting on artist paper, framed Glass covering framed: 9 x 11.5 inches...

Sweet Violet Flower English School, 19th century Medium: watercolour drawing on paper, glass covering Size: 18 x 13 inches Provenance: private collection, England. Condition: The ...

Title: FFrench Lakeside Park Scene with Figures and Tree Watercolor Signed Artist: Pierre Neveu (French b.1929) Medium: Watercolour on paper, unframed Size (H x W): 6.25 x 12.75 inch...

This original circa 1910s plein air field study by celebrated Colorado landscape painter Charles Partridge Adams (1858–1942) beautifully captures the tranquil majesty of the Rocky Mo...

David Ambrose’s fascination with paper began as a child as when convalescing from major surgery on his right leg at the age of seven. Paper became the playground for his imagination ...

Flow is the ability of liquids to continually move from one place to another. Also, It means accepting each situation as it is. The movement of the liquid comes from life, it is natu...

Artist Comments
A gently flowing river reflects the soft glow of a warm summer morning, creating a sense of calm and stillness. A towering tree casts deep shadows over the wa...

This artwork vividly captures two swimmers emerging from the sea, encapsulating the essence of a serene seaside moment. The painting's use of color is striking, with the bright blue ...

Title: Geometric Study in Motion 1960s by Serge Guerin French b1916 by Serge Guerin (b. 1916), French Black ink on paper, unframed Size: 25.75 (height) x 19.75 (width) inches Provena...

Title: French Hilltop Village and Church by Pierre Neveu Signed Watercolour Landscape Artist: Pierre Neveu (French b.1929) Medium: Watercolour on card, unframed Size (H x W): 9.75 x ...

This expressive diptych explores the emotional tension between land and sea through layered gestures, saturated color fields, and raw mark-making. The surface bears traces of movemen...

Ron Gorchov Untitled, inscribed to Robert Vogele, 1978 Watercolor and etching on paper with 2 deckled edges. Hand signed in pencil and inscribed on lower front. Inscription reads as ...

This is an exclusive handprinted limited edition cyanotype. This beautiful cyanotype is titled "Long Wave in Venice Beach" and it shows an outstanding wave in one of the most iconic ...

Title: French Village House Steps Garden Path and Hillside Landscape Watercolor Artist: Pierre Neveu (French b.1929) Medium: Watercolour on artists paper, unframed Size (H x W): 8.75 x 6.5 inches Condition: Good overall, with light handling marks and minor natural toning consistent with age. Provenance: From the artist’s studio sale in France; all works by this artist in our collection originate from the artist’s estate. Description: This lyrical watercolor by Pierre Neveu captures a peaceful French village scene framed by a sunlit garden path, steps, and a cluster of traditional houses set against rolling hills. Neveu’s fluid brushwork and instinctive sense of colour bring instant warmth to the composition. Golden ochres, deep greens, and soft sky blues harmonise to create a vibrant yet intimate view of rural life in France. At the centre of the composition, a set of gently descending steps leads toward a small white house with a sharply peaked roof—one of the characteristic architectural forms found in many historic French villages. Surrounding it, Neveu uses expressive, loosely applied washes to depict dense foliage, casting natural shadows across the walkway. The vegetation, built from layered greens, ochres, and deep blue-greys, frames the scene beautifully and adds depth to the composition. Beyond the houses, the distant hillside glows with warm, earthy tones—suggesting late summer or early autumn light spreading across the fields. Neveu’s characteristic blend of linework and transparency gives the painting a sense of immediacy, as though capturing a moment during a quiet stroll through a village lane. His architectural training subtly informs the structure of the houses, even as the overall work maintains an impressionistic softness. Perfect for collectors of European village landscapes...

This beautiful 19th century Italian watercolour portrait painting is by noted artist Frederico Bartolini. It was painted circa 1890 in Rome and is signed and in good condition behind...

Roses Still Life Watercolor by M Boyer Cooper 1915 Water of bouquet of Roses by California artist M Boyer Cooper circa 1915. (aunt of Opal Nelson Dean). Signed lower right "M. Cooper...

This series by Enric Servera explores the relationship of humans to salt and seawater. The intention of these works is to submerge us into the sea, a salty treasure that surrounds us...

Title: Mediterranean Village Houses Terracotta Roofs Mountain View Watercolor Artist: Pierre Neveu (French b.1929) Medium: Watercolour on artists paper, unframed Size (H x W): 8.25 x...

This is an exclusive handprinted limited edition cyanotype. "Serene Cove Ripples" is a gorgeous original cyanotype diptych showing calming sea ripples in a Mediterranean cove. Details: + Title: Serene Cove Ripples + Year: 2022 + Edition Size: 100 + Medium: Handmade Cyanotype Print on Watercolor Paper + Stamped and Certificate of Authenticity provided + Measurements : 100x140 cm (40 x 55.2 in.) Each paper measures 70x100 cm (28x 40 in.) each, a standard frame size + All cyanotype prints are made on high-quality Italian watercolor paper WHAT IS A CYANOTYPE? The cyanotype (a.k.a. sun-print) process is one of the oldest in the history of photography, dating back to the 1840's. Cyanotypes were then made famous by Anna Atkins...

William Fredericksen Untitled mid century modern geometric abstraction, 1958-1959 Watercolor and Gouache on Board Hand signed and dated on the front 12 4/5 × 11 7/10 inches Unframed ...

This is a contemporary abstract watercolor painting by artist David Ruth. This series of paintings often feature bright colors and vibrant layouts that draw the viewer in. They are c...

Title: Coastal Harbour with Moored Boats and Distant Shoreline Watercolour Artist: Pierre Neveu (French b.1929) Medium: Watercolour on card unframed Size (H x W): 7.75 x 15.25 inches...

An allegory of loyalty, with the subject's dog pictured seated, holding his master's chisel in his mouth; fidelity personified. Italian School, 18th century Ink wash in gray and bl...

A wonderful selection of hand-coloured mezzotint engravings from: ""Phytanthoza Iconographia"", c1739, presented in hand- made parcel-gilt, ebonised and decalcomania frames. Joha...

Taro Yamamoto Untitled Abstract Expressionist watercolor, ca. 1957 Watercolor wash, drips & splatter on rice paper Pencil signed on the front 12 × 16 inches Unframed Mid century mod...

The present print is one of several examples produced for Nathaniel Currier by his longtime collaborator Frances F. "Fanny" Palmer. Harry T. Peters wrote of her: "There is no more interesting and appealing character among the group of artists who worked for Currier & Ives than Fanny Palmer. In an age when women, well-bred women in particular, did not generally work for a living Fanny Palmer for years did exacting, full-time work in order to support a large and dependent family ... Her work ... had great charm, homeliness, and a conscientious attention to detail." One of a series of four prints showing American country life in different seasons, the image presents the viewer with a picturesque view of a successful American farm. In the foreground, a gentleman rides a horse with a young boy before a respectable Italianate country house. Two women and a young girl pick flowers in the garden and several farm workers attend to their duties. Beyond are other homes and a city on the coast. 16.63 x 23.75 inches, artwork 28.13 x 33.38 inches, frame Entitled bottom center "American Country Life - May Morning" Signed in the stone, lower left "F.F. Palmer, Del." Signed in the stone, lower right "Lith. by N. Currier" Copyrighted lower center "Entered according to Act of Congress in the year 1855 by N. Currier in the Clerk's office of the Southern District of N.Y." Inscribed bottom center "New York, Published by N. Currier 152 Nassau Street" Framed to conservation standards using silk-lined 100 percent rag matting and Museum Glass with a gold gilded liner, all housed in a stained wood moulding. Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

Large abstract geometric painting with intricate line work in pencil and gouache on a bright yellow background "Specifically, Nowhere (Yellow)" made by Hudson Valley artist, Donise English, in 2022 gouache, acrylic, pencil, and colored pencil on paper, mounted on panel 48 x 48 inches unframed, 50 x 50 inches with a dark brown stained wood floater frame Surface is protected with four coats of an archival UV protective varnish Signed, verso Excellent condition and ready to hang This large abstract geometric painting was made by Hudson Valley based artist, Donise English, in 2022. The composition begins with a bright yellow background overlaid with intricate line work in graphite and colored pencil. Thousands of hand drawn lines serve as a backdrop for a bold geometric form in a dusty violet and dark gray gridded pattern that references "an imagined city grid", says the artist. The painting on paper is mounted to wood panel and complemented with a dark stained wood floater frame. It's in excellent condition and ready to hang as is. The surface is protected with four coats of an archival UV protective varnish. More about the work: Donise English emphasizes lines, grids, and fields of subtle color to evoke imagined places and invented structures. While precise lines and straight angles are often associated with themes in architecture and urban planning designs, English conveys a geometric motif guided by intuition rather than a ruler. Variations on grids retain flaws and unmistakable traces of the artists’ hand; her style of draftsmanship shies away from intellectualism and instead makes her compositions feel very personal. Each design is intensely intricate, incorporating gouache, acrylic, pen, graphite, ink and colored pencil. Artist Statement: My work is about the way visual diagrams present information that describes how something is made or the way it is. I am interested in drawing and collaging multiple layers of information that refer abstractly to maps, architectural drawings and blueprints or patterns and structures found in such things as roller coasters, power lines and fences. I use gouache and collaged paper in a series of layers that are a visual and ideological response to the previous layer to define my pictorial space. For each piece I create a set of rules to follow about the use of a limited palette, a grid format, opacity of paper and whether a piece may include curving lines or maintain a rectilinear structure. Artist CV: EDUCATION Master of Fine Arts in Painting Bard College 1986 Bachelor of Science in Art History State University College at New Paltz 1977 Additional Study: New York Studio School (Drawing Marathons) Columbia University, School of Architecture Women’s Studio Workshop TEACHING Professor of Studio Art, Department of Art and Art History, Marist College, Poughkeepsie, NY Coordinator, Interior Design Program, Florence, Italy campus 1992-present AWARDS NYFA Fellowship in Painting 2018 Invitational Award for Outstanding Contemporary Talent, University of Bridgeport, CT 2000 Purchase Prize, “11th National Juried Exhibition” College of Notre Dame of Maryland, Baltimore 1999 First Prize, “Women in the Visual Arts ‘95” Erector Square Gallery, New Haven, CT 1995 Joseph A. Cain Memorial Purchase Award for Sculpture Del Mar College, Corpus Christi, TX 1994 Honorable Mention, “National Juried Exhibition” University of Bridgeport, CT 1993 Individual Artists Fellowship in Sculpture Dutchess Arts Fund 1992/93 Tallix, Morris, Singer Internship in Sculpture Tallix Foundry, Beacon, NY 1990/91 MEMBERSHIP Royal British Society of Sculptors SELECTED JURIED/INVITATIONAL EXHIBITIONS 2020 “edu: Art Faculty of the Hudson Valley”, Hudson Valley MOCA, Peekskill, NY 2019 “Contemporary Abstraction”, Carrie Haddad Gallery, Hudson, NY “Mixed Media”, SITE Gallery, Brooklyn, NY 2018 “JuxtaPositions”, The Painting Center, New York, NY “Peculiar Rarities”, Carrie Haddad Gallery, Hudson, NY 2017 “Interlock: Color and Contrast in Abstraction”, Carrie Haddad Gallery, Hudson, NY “Donise English: Encaustics”, Catskill Art Society, Livingston Manor, NY 2016 “Let’s Stay in Touch”, Howard County Center for the Arts, Ellicott City, MD “Under, Over, After Over”, Vassar College, Poughkeepsie, NY 2015 “Off the Grid”, Arts & Culture Program, Albany International Airport, Albany, NY “Gridspace”, KMOCA, Kingston, NY “Abstraction”, Carrie Haddad Gallery, Hudson, NY “Assuming Identity”, NY Institute of Technology, New York, NY 2013 “Modern Artists”, Carrie Haddad Gallery, Hudson, NY “Artists of the Mohawk-Hudson Region”, The Hyde Collection, Glens Falls, NY Stone Canoe/Community Folk Art Center, Syracuse, NY 2012 New York Institute of Technology, New York, NY “Contemporary Painters (Who Just Happen To Be Women)”, Carrie Haddad Gallery, Hudson, NY “Strange Glue: Collage at 100”, Cambridge School, Weston, MA “Dear Mother Nature”, Dorsky Museum, SUNY New Paltz, NY “Fresher Paint”, Rockland Center for the Arts, Nyack, NY Courthouse Gallery, Lake George Arts Project, Lake George, NY 2011 “Process+Content: Donise English”, Vassar College, Poughkeepsie, NY “Donise English-Paintings”,Orange County Community College, Newburgh, NY “Gender Matters/Matters of Gender”, Freedman Gallery, Albright College, Reading, PA 2010 Carrie Haddad Gallery, Hudson, NY “Encaustics: Wax and Image”, Westchester Community College, White Plains, NY “Dots, Lines and Figures”, Carrie Haddad Gallery, Hudson, NY “Spring Awakening”, NY Institute of Technology, New York, NY “Clay City Dreams”, NY Institute of Technology, New York, NY “Texture,Pattern, Fragment”, Krause Gallery, Moses Brown School, Providence, RI 2009 “Collage”, NY Institute of Technology, New York, NY “Working in Wax”, Bedford Gallery, Walnut Creek, CA “Encaustic 2009”, College of New Rochelle, NY “Three Artists”, Carrie Haddad Gallery, Hudson, NY “Convergence: The Human Experience”,Howard County Center for the Arts, MD 2008 “Suckers and Biters: Love, Lollipops, and Exquisite Corpse” Chashama Gallery, New York, NY Carrie Haddad Gallery, Hudson NY 2007 “Patterns and Light”, Blue Hill Gallery, Blue Hill, ME “Suckers and Biters”, AG Gallery, Brooklyn, NY 2006 “100 Artists, 100 Watercolors”, Jeannie Freilich Fine Art, New York, NY “On/Of Paper”,Kirkland Art Center, Clinton, NY “The Love Show”, Manchester Community College, Manchester, CT 2005 The Soap Factory, Minneapolis, MN “Small Tales”, Valdosta State University, Georgia National Juried Exhibition,Art Institute and Gallery Salisbury, MD, Juror: Stephen Haller “Greed, Envy, Jealousy, Fear”, TSL Warehouse, Hudson, NY 2004 “Women in the Middle: Borders, Barriers, Intersections” University of Wisconsin-Milwaukee “Girl Art Now”,Hera Gallery, Wakefield, RI 3 Person Exhibition, Monterey Peninsula College, Monterey, CA “The Feminine Eye”, Bradley University, Peoria, IL “Women Painting Women”, McNeese State University, Lake Charles, LA “Thought Patterns”, Kent Place Gallery, Summit, NJ “Surface, Matter and Artifice”, Dutchess Community College Art Gallery Poughkeepsie, NY 2003 “Beefcake/Cheesecake”,Orange County Center for Contemporary Art, Santa Ana, CA,Juror: Jamie Wilson, Curator Halpert Bienniel, Appalachian State University, Boone, NC Juror: Jeff Fleming, Senior Curator, Des Moines Art Center “The Great White Oak”, Garrison Art Center, Garrison, NY Carrie Haddad Gallery, Hudson, NY 2002 “Cat Calls”, Red Clay Arts, Brooklyn “Hudson Valley Regional”, SUNY New Paltz Juror: Sydney Jenkins, Director, Ramapo College Art Galleries 2001 One-Person Exhibition, Davis and Hall Gallery, Hudson, NY “Beyond the Surface”, Womanmade Gallery, Chicago One-Person Exhibition, Garrison Art Center, Garrison, NY 2000 “Vision 2000...

August Biehle (American, 1885-1979) Farm Scene with Hollyhocks, 1920 Gouache on paper Signed lower left, dated lower right 15 x 19 inches 19.5 x 24 inches, framed A versatile painte...

Emperor Jahangir and Empress Nur Jahan exchanging lotus blossoms; a symbol of beauty, purity, honesty, rebirth, self-regeneration, and enlightenment....

Early 20th Century French gouache and watercolour on paper of a fisherman by Louis Henri Magnat, The painting is signed bottom right and presented in a carved and gilt wood frame und...

Pair of Mid Century colourful views of Venetian piazzas, watercolour and gouache on craft paper mounted on paper by Pierre Pruvost. The paintings are signed bottom right/left and tit...

Amanda Immurs, an artist hailing from Hamilton, Canada, creates enchanting watercolor artworks that bring whimsical scenes of children, animals, and flora to life. Immurs' art is gro...

A rich and eye-catching design by German painter, architect, illustrator, and interior designer Adolf Schill (1848-1911) depicting an ornately wrought golden urn surrounded by roses....

Fauve landscape with palm trees and Arab houses. 1 half of the 20th century. Gouache paintings on cardboard. Paintings is signed with monogram. Dimensions with Passepartout 45.5cm x ...

Consigned to the gallery, Pasadena, California; By descent to a private collector, Encino, California; Acquired in 1998 by a private collector, San Carlos, Palo Alto, and Oceanside, California; From William A. Karges Fine Art, Carmel, California Signed "Jesse Arms Botke" on lower right Description This charming watercolor captures a sweeping view of Bodega Bay, California, rendered with the refined draftsmanship and decorative sensibility for which Jessie Arms Botke is renowned. While best known for her gilded avian compositions, Botke’s landscapes are comparatively rare and reveal a more personal side of her artistic vision. Here, the viewer peers over the distinctive red turret of a Victorian home toward the curving estuary, where land meets sea beneath a soft blue sky. Delicate washes and crisp detailing convey the texture of the shoreline, the undulating water, and the surrounding structures, evoking the calm yet lively spirit of a coastal fishing village in the early 20th century. The warm terracotta tones of the foreground architecture contrast beautifully with the cool blues of the water and the distant hills, creating a balanced, harmonious scene. Although no journal entry or record confirms a specific trip to Bodega Bay, Botke may have painted this work, circa 1906, during the period when she was offered a round-trip passage from the Atchison, Topeka & Santa Fe Railway to travel from Chicago to Arizona and California in exchange for paintings depicting scenes of the West. The style and vantage point suggest direct observation, making it likely that she visited the town and painted the scene en plein air. With its architectural detail, vibrant palette, and compositional harmony, this work stands as a significant example of Botke’s lesser seen yet highly collectible works on paper. Jessie Arms Botke is recognized as one of the most important women artists in the early California art...

Act 96. 2021. Paper, mixed media, 61x43 cm on the backside of the artwork lithography

Bar Coupole, Haiti, 1982 – figures outside café, watercolour on paper (20th century) Watercolour on paper, unframed. Size: 12 x 14.75 inches (height x width) Unsigned. Condition: goo...

"The Sunrise" is an intimate and expressive watercolor by Olga Ibadullayeva, capturing the personal view of a tranquil morning from the artist's own balcony in Singapore. This paint...

Ama Liyanage, a contemporary artist and printmaker, creates whimsical paintings from her home studio in Ontario, Canada. Each piece holds minuscule painted details waiting to be disc...

"Drunken Oak" is an original abstract watercolor painting layered over an original archival pigment print of an oak tree using alternative process photography on 100% rag paper. Imag...

Artist Comments
In this quietly cinematic winter scene, artist Vic Roschkov captures the faded grace of an old farmhouse beneath drifting snow. Stark trees reach almost lifelik...

Original watercolor and gouache city snowscape attributed to the hand of Hans Peter Nelson. Signed lower left ”H. Nelson”. Condition is excellent. Circa 1940. Under glass. The art...

Title: Standing Female Nude with Floral Pattern French Modernist Watercolour Figure Artist: Pierre Neveu (French b.1929) Medium: Watercolour on artist paper, unframed Size (H x W): 9...

A charming watercolour painting with gouache details by Ray J. Weston, depicting a pond with water lilies. Unsigned. Presented in a wash line card mount and in an ornate gilt effect ...

Drawing on paper is his basic work tool, some are sketches of his surviving works, and others are sketches of moments he documents. Throughout his artistic career, Castro has exalt...

Gustaf Tenggren (1896-1970) The Horn (1919) signed Tenggren. Ink, watercolor and gouache on cardboard unframed 29.5 x 30 cm (11 ⅝ x 11 ¾ in) framed 41.5 x 42 cm (16 ⅜ x 16 ½ in) h...

Provence Landscape, Panoramic View of a Riverside Vineyard Village by Louis Bellon (French 1908-1998) Signed lower right, dated 62 (1962) watercolour painting on paper, unframed meas...

This is an exclusive handprinted limited edition cyanotype of a Sandy Shore with Foam. Details: + Title: Sandy Shore with Foam + Edition Size: 100 + Stamped and Certificate of Aut...

Title: Pont Neuf Paris River Seine Bridge French Watercolour Cityscape by Pierre Neveu Artist: Pierre Neveu (French b.1929) Medium: Watercolour on artists paper, unframed Size (H x W...