Stevan Dohanos

Stevan Dohanos, Backyard

1932

New York City native Oscar Weissbuch (1904-1948), attended the Yale University School of Fine Arts and the Art Students League, NY. He participated in the NYC-WPA printmaking project...

This (Street Scene) is undoubtedly O'Callahan's hometown of Buffalo, NY, where he lived and spent most of his career. The artist's name appears in pencil at the bottom edge on the re...

A moody evening in New York City. The buildings capture the quiet that New York sometimes achieves. Signed and dated in pencil.

John Muench was a master at drawing on a lithographic stone. He was a New Englander and this is a classic subject both for him and for the area. The...

Backyard VII Robert Kipniss, American (1931) Date: circa 1980 Lithograph, signed and numbered in pencil Edition of 39/175 Size: 7 x 5 in. (17.78 x 12.7 cm) Frame Size: 13.75 x 11.25 ...

Robert Kipness was an American painter and printmaker who’s work focused on forms and a pronounced moodiness. This print is signed, numbered, dated, and...

A vintage home and garden in bloom is beautifully captured in this watercolor by Monterey Bay Artist artist Diane Baldwin (American, 20th century). Signe...

This artwork titled "House in the Sun" c.1930 is an offset lithograph on wove paper by noted Taos, New Mexico artist Kenneth Miller Adams, 1897-1966. It is signed and titled in the plate. The artwork (image) size is 6.75 x 12 inches, framed size is 13.5 x 18.25 inches. Custom framed in silver metal frame, with light grey matting. It is in excellent condition, the frame have some very small minor scratches, barely visible. About the artist: Painter Kenneth Adams (1897-1963) arrived on the Taos art scene in 1924, at the urging of his former instructor Andrew Dasburg. Although Adams had been born and raised less than 700 miles away in Topeka, Kansas, his journey to the Southwest had been years - and countries - in the making. Earlier in his 20s, Adams had embarked on the Midwesterner’s equivalent of a Grand Tour: Chicago, then New York City, and finally, Italy and France. From these sojourns, the artist had absorbed all the lessons in light, color, and form that renowned teachers and rolling countrysides could offer. Now, thanks to Dasburg’s invitation, Adams found he could stop traveling; he had finished honing his craft and found his muse. New Mexico - its people and its land - would be an infinite source of inspiration. Adam’s painterly devotion soon impressed the prestigious Taos Society of Artists...