American Impressionist Art

Lilian Westcott Hale Portrait of a Lady (Study for Harriet Blake), circa 1910 Oil on canvas 40 1/4 x 30 1/4 inches Provenance Mystic Fine Arts, July 2, 1998, Lot 69 Private Collecti...

A large, colorful Impressionist still life painting of fine porcelain china, glass and stemware by notable Alfred Jansson (Am. 1863 - 1931). The painting is exquisitely painted with...

This artwork titled "San Jacinto Peak" c.1970, is an oil painting on canvas by noted Palm Spring artist Darwin Taylor, 1921-1975. It is signed at the lower right corner by the artist...

Oil on Canvas Painting size without frame: 16"x20" Painting size with frame: 19"x23" Signed Lower Right A lively, sunlit harbor scene by Anthony Thieme, one of the foremost painter...

Donald S. Vogel has been a set designer and technical director in the theater, a fine art dealer, and a writer, but first and foremost he is a painter. From a young age he was intrig...

A charming depiction of St. Patrick's Cathedral on 5th Avenue in the snow with figures and cars. This evocative urban winter scene captures the majestic spires of St. Patrick's Cathe...

This artwork "Sitting Nude" c.1990, is an oil painting on hardboard panel by noted American artist Howard Rogers, b.1932. It is signed at the lower right corner by the artist. The artwork (panel) size is 8.85 x 11.85 inches, framed size is 17.75 x 21 inches. Framed in original wooden gold and grey frame, with fabric liner and gold bevel. It is in excellent condition, the frame have very small minor restorations, practically invisible. About the artist: Howard Rogers wanted to be an artist for as long as he could remember. "I had no idea what an artist was when I was a kid," he laughs. "But I had a distant cousin who had gone to art school and I saw some of his drawings. They really impressed me." Born and raised in San Diego, California, Rogers now focuses on the future: "I kind of enjoy today and tomorrow and to heck with yesterday." While in high school, Rogers took some art classes and served as an apprentice sign painter, eventually becoming a journeyman. He was also a member of his high school track team, competing in the high jump, the hurdles and cross-country, as well as doing some bike racing. Following a stint in the Army, he began training for the Olympics in bike racing, trying out in 1948, 1952 and 1956. Today, "I ride a stationary bike in front of my easel three times a week." After trying out for the 1956 Olympics...

A fine impressionist oil painting of dappled light on the ocean by American artist Van Dearing Perrine (1869–1955). Perrine was born in Kansas and moved to New York in the early 1890...

Stately pair of watercolors by David Mode Payne (American, 1907-1985). The scene depicted is an interior of an opulent room, with finely crafted furniture and paintings hanging on a ...

Harry Aiken Vincent Street in Menton Signed lower left Oil on board 9 3/8 x 7 1/4 inches Harry Aiken Vincent was an American landscape and marine painter whose work is closely asso...

FRANCES H. GEARHART (1869-1958) (Mt.) SAN JACINTO c. 1926 Color block print. Signed in pencil. Unknown edition but uncommon. Image 6 5/8 x 4 1/8 inches. On Gearhart's typical fibrous japan paper. Sheet 10 ½ x 5 7/8 inches. Generally fresh with her usual pinholes along right margin for printing, slight bit of discoloration in the margins Provenance: Whitmore - Print Corner, Hingham MA. Their Gearhart inventory no. They were Gearhart's principal East coast dealer in the 30's. Obtained from the Whitmore Collection’s grandson in 1995. Old Print Shop...

Joy of a Rose, by Lu Haskew Oil 21x14" image size Still Life Painting in Pinks and Reds This painting is unframed, canvas on gator board, the price reflects that it is unframed. Sh...

Provenance Acquired by American Legacy Fine Arts directly from the artist Signed "R Humphrey" on lower left Artist Statement "A red bougainvillea marks a small memorial near the top of the trail. A warm spring breeze moves through the newly flowered grass." — Richard Humphrey...

Beautiful American School impressionist piece, unsigned, oil on board. Likely 1920-1940. Painted by a talented artist with wonderful composition and brushwork. 10" x 14" sight, 16.2...

This piece is a pertinent example of Martha Walter's most precious oil portraitures. Her use of the pallet is effortless with bold brushwork, strong executions, and soft details. Wal...

A stunning oil painting depicting figures at the Beach. Demarest was known for her charming intimate figurative scenes portraying life in the North East. She was profoundly active, p...

Morning Sun Series oil/panel 6 x 8 image, 11.673 x 9.63 framed as pictured Morning Sun is an oil painting on canvas panel by award winning contemporary artist Michael Budden that sho...

A charming depiction of Snow in Downtown New York City with figures walking dogs and cars in the distance. A cozy impressionistic street scene with colors of cobalts, light pink, whi...

This original oil painting, dated 1930, offers a rare and charming interior view of "Minglestreams," the summer home and studio of renowned artist Claire Shuttleworth in Chippawa, On...

Original Beat Back the Hun with Liberty Bonds vintage military poster.. Artist F. Strothmann. Original World War 1 antique vintage poster; archival linen backed and ready to fram...

A charming Impressionist scene of a serene rural marshland at sunset during Autumn. The composition consists of a reflective body of water in the foreground leading us toward farmhou...

A wonderful impressionist winter pastoral scene of quaint homes covered in snow and star light.. Willet has portrayed this piece in a most intimate, yet energetic way, and has packed...

Vintage American impressionist sill life. Framed. Measuring: 28 by 24 inches overall and 24 by 20 painting alone. Excellent condition, ready to hang and enjoy.

Impressionist winter pastoral scene of a quaint snow covered town with Figure on Sleigh and Horse by Bucks County, PA. Willett has portrayed this charming piece in a most intimate, y...

Well painted American School impressionist still life. Oil on Canvas, signed and dated upper left. Can you solve the mystery. Housed in a nice frame, 16" x 14", 30.5" x 18.5" frame...

Impressionist New York City winter city-scene depicting Times Square in New York City. This piece is done in a most intimate, yet energetic way. Christopher is known for capturing th...

Serene, small-scale early 20th century landscape of a stream in winter by Ohio artist Martin George Dumler (American, 1868-1958), c. early 1900's. The deep blue stream flows peacefully through white banks of snow, towards the distant trees depicted in loose, abstracted brushstrokes. Signed "M. G. Dumler" in the lower right corner. Presented in a gilded frame. Painting size: 10"H x 8"W. Still-life and Landscape painter and composer of liturgical music, born in Cincinnati (Hamilton). December 22, 1868. He was a pupil of Martin Rettig...

Still Life Painting of a Vase of Pink, Red & White Roses by 20th Century American Artist, Robert Cox (1934-2001) Art measures 7.5 x 9.5 inches (unframe...

Painting size without frame: 17 1/4" x21 1/4" Painting size with frame: 23" x 27" Painting is signed lower left corner. An elegant interior figure painting by Charles P. Gruppe dep...

Beautiful gem of a painting capturing stormy skies over a classic Santa Fe landscape. Painted in 1932 by Catherine H. Harkins. Oil on board, 4.25" x...

This large landscape oil painting by John Traynor captures a scene in New England. Cows are visible in front of a long picket fence, with a red barn and house behind the fence and lush green trees on either side and along the hills in the horizon. Fluffy, almost abstracted clouds sit above the hills, with a patch of blue skies shining through toward the top of the image. The painting is 48" x 72", and 58" x 82" framed. It is professionally framed in a classic, antiqued, gold leaf frame. It is signed by the artist in the bottom right-hand corner of the canvas, and is wired and ready to hang. John C. Traynor's painting style is reminiscent of some 19th century painters and the Dutch Masters. He uses his knowledge of light and color to create a certain mood in each of his works. The creation of atmosphere is an important element in Traynor's paintings. Painting outdoors, on location, is a prime source of inspiration and ideas for his landscapes. John travels extensively, painting the landscapes around him. John was born in 1961 and spent his early years in Chester and Mendham, New Jersey. His art studies began at Delbarton School in Morristown, New Jersey, and from there he furthered his education at Paier College of Art in New Haven, Connecticut. He studied figure painting at the Art Students League of New York, as a merit scholar, with Frank Mason. Traynor continued his studies in Vermont with Mr. Mason on landscape painting, drawing with Carroll N. Jones Jr. of Stowe, Vermont and sculpture with Brother Jerome Cox...

Impressionist winter pastoral scene of a quaint snow covered home by Solebury, Bucks County PA. Willett has portrayed this charming scene in a most intimate, yet energetic way, and h...

A wonderful impressionist pastoral landscape with beautiful color tones throughout. Waltsak has portrayed this piece in a most intimate yet energetic way and has packed much feeling ...

Original vintage poster Carthusia Capri (Italy) perfume vintage poster. Artist: Mario Laboccetta. "CARTHUSIA I PROFUMI DI CAPRI" Size 26.5" x ...

Tony Bennett Title: Lovers in Monet's Garden Lithograph Signed and Marked PP  1/10 ( Printers Proof ) Paper Size: 30" x 24" inches Image Size : 25" x 20" inches Anthony...

A Canal in Venice by American artist Frank LeBrun Kirkpatrick (1853-1917) Watercolor on paper, image measuring 15 x 21 inches; framed measurement: 25 x 31 inches. Signed by the art...

This oil painting by American-born Charles Brady (1926–1997) depicts a faded, teal-colored double door set into an old, textured wall, likely representing a scene from a sunlit Europ...

Original linen-backed Bruxelles (Brussels) Foire Internationale oversize vintage travel poster. The poster features the most famous Grand Pal...

This evocative oil painting by Richard Sigafoos presents a solitary coastal rock formation rising against a softly illuminated seascape. Rendered with confident, expressive brushwork...

Oil on canvas painting of red, white, and yellow flowers in a vase next to a bottle of wine and a glass by California artist Molly E. Brubaker (American, 1922-2000). From a collecti...

Bit of a mystery here. Fabulous American impressionist landscape appears to be unsigned. It is titled on the back old friends which I assume refers to the trees. I heavy impasto and ...

Charming mid century country landscape with cottage with thatched roof and chickens foraging. Signed "H. H." and dated "1955." Condition: good; some edge and corner wear consistent w...

"Southern Beach" Coastal Landscape in Oil on Canvas Oil painting of the a beach landscape by Max Flandorfer (American, b. 1962). A sandy path winds towards the beach through some gr...

Last Light Beach II oil/canvas 26 x 26 image unframed, 31.25 x 31.25 framed signed LL Last Light Bech II is an oil painting on canvas by award winning contemporary artist Michael Bud...

Female nude figure at the beach by listed artist Jon Blanchette (American, 1908-1987). Presented in a wooden frame. Signed "Jon Blanchette" verso. Image size, 24"H x 18"W. Jon Blan...

A wonderful original figure painting for a 1930's illustration by Charles Kinghan (American, 1895-1984). A woman in a plaid green skirt and mustard yel...

A lively, impressionistic depiction of a young couple in a wedding dress and tuxedo discovering Claude Monet's oil paintings at the Paris Museum. We are whisked away in this cherishe...

A very attractive California Impressionist oil on canvas painting by Charles L. A. Smith, "California Highlands", dated 1930. This very attractive large painting by one of the foremo...

This artwork titled "Autumn River Bank" c.1955 is an oil painting on canvas by American artist Richard Ellis Wagner 1923-2009 It is signed at the ...

Vintage American oil painting. Signed "Fred Baker." Framed. Measuring: 25 by 31 inches overall and 22 by 28 inches image alone. Excellent condition, ready to hang and enjoy.

Still Life of a Vase of Red & White Flowers by 20th Century American Artist, Robert Cox (1934-2001) Art measures 24 x 20 inches Frame measures 29 x 25...

This artwork titled "Family Reunion" 1992 is an original color serigraph on heavy Coventry paper by noted American artist Donald (Don) Hatfield, b.1947....

A truly stunning jewel and pertinent example of Berthelsen's charming New York City winter scenes depicting Madison Square Park on 5th Avenue and 23rd Street. An iconic scene that so...

Whimsical 1970's hand painted botanical silkscreen of baby's tears plant by Babette Joslyn Bauman Eddleston (American, 1922-1990). This limited edition screen print has splashes of color painted in by hand. The edition number 96/270 is written lower left. It is titled "Baby's Tears" and signed "Babette Eddleston...

About this work: “Birches and Huckleberry, October Morning Matunuck" c. 1925 by Frank Convers Mathewson (American, 1862-1941). A stunningly beautiful autumn view of Matunuck, Rhode ...

Dennis Sheehan Sunset on the Marsh, Summer, circa 2025 Signed lower left Oil on canvas 20 x 30 inches Dennis Sheehan was born in Boston in 1950. His work is based upon the Barbizon...

‘The Clam Diggers’ is an oil on canvas seascape painting by American Impressionist painter, Granville Redmond. Redmond made his name on moody, nearly figureless Tonalist seascapes, ...

Karl Albert Beuhr (1866-1952) Giverny Landscape Oil on relined canvas, c. 1912 Signed lower right: K A Buehr Condition: Canvas relined for support Image size: 13 1/4 x 15 3/8 inches Frame size: 19 5/8 x 21 7/8 inches Provenance: Gift of the artist to his wife, Mary Hess Beuhr The artist's niece, daughter of Will Hess Buehr David Saltzman Robert Henry Adams Thomas French Fine Art Mr. and Mrs. Thomas Horner, Canton, Ohio Exhibited: Canton Museum of Art, Impressionism: An American View, 1983, label on verso Karl Albert Buehr at Robert Henry Adams Fine Art, Chicago Exhibition dates The exhibition was held in 1994 at Robert Henry Adams Fine Art, 715 North Franklin Street, Chicago. Surviving provenance records describe it as the gallery’s first exhibition at its North Franklin Street location. Works documented as included include Woman on a Patio, Rocky Inlet (France), and apparently other paintings and studies acquired through David Saltzman from the family of Buehr’s wife, Mary Hess Buehr. The 1994 Karl Albert Buehr exhibition at Robert Henry Adams Fine Art represented an important act of historical recovery. Although Buehr enjoyed considerable recognition during his lifetime—as an exhibiting painter, prizewinner, and influential teacher at the School of the Art Institute of Chicago—his reputation had become less visible in the decades following his death. By bringing together paintings and works on paper that had descended through the artist’s family, the Adams exhibition helped restore Buehr to his proper position among the leading exponents of American Impressionism and the most important Chicago-trained painters working in France before the First World War. Giverny was crucial to Buehr’s mature development. American painters had been drawn to the Norman village since the late 1880s, attracted both by Monet’s presence and by the region’s gardens, river valleys, cultivated fields, and distinctive northern light. Buehr did not simply imitate Monet. His figure compositions remained grounded in the academic training he received in Chicago and Paris, but he enlivened that structure with broken brushwork, heightened complementary color, and an increasingly luminous palette. His characteristic compositions place elegantly dressed young women on terraces, beside windows, or within flowering gardens. These figures are neither conventional society portraits nor anonymous decorative accessories. They occupy a carefully balanced space between individual presence and pictorial harmony. Faces and gestures are often quietly observed, while dresses, parasols, flowers, foliage, and shifting sunlight become vehicles for color. Lavender shadows, rose and coral fabrics, emerald foliage, and brilliant passages of yellow or blue transform the garden into a chromatic environment surrounding the sitter. Works associated with the Adams exhibition illuminate the breadth of Buehr’s French production. The pastel Woman on a Patio, circa 1915, demonstrates his ability to translate Impressionist color into the immediacy of a dry medium. Pastel allowed him to place one hue directly beside another without losing intensity. The resulting surface possesses a soft atmospheric unity while retaining the energy of individual strokes. The work’s history—gifted by Buehr to Mary Hess Buehr and subsequently descending through her family—also gives it a particularly intimate character. Rocky Inlet (France) presents another aspect of Buehr’s practice. In place of the cultivated garden and poised female figure, the artist confronts a rugged coastal landscape. Yet his essential concern remains light acting upon color. Rock, water, and vegetation are constructed through abbreviated touches rather than continuous modeling. The small scale suggests direct observation, possibly an outdoor study made during Buehr’s travels in Normandy. Its provenance likewise begins with Mary Hess Buehr and passes through the family before reaching David Saltzman and Robert Henry Adams Fine Art. This family provenance was central to the significance of the 1994 exhibition. The works had not merely circulated anonymously through the market; many retained a direct association with the artist’s household. Such a group could include informal studies, experimental compositions, and personal gifts that Buehr elected to keep rather than send to public exhibitions. Together they offered a more private and exploratory view of his career. Karl Albert Buehr (1866–1952): France and the Giverny Years Karl Albert Buehr—whose surname is sometimes misspelled “Beuhr”—was a German-born American painter and influential teacher associated with the second generation of American Impressionists working at Giverny. Although his artistic identity was rooted in Chicago, the years he spent in France transformed his palette, subject matter, and approach to painting. Born on February 14, 1866, in Feuerbach, near Stuttgart, Buehr immigrated with his family to Chicago, probably in 1881. After working briefly for a commercial lithographer, he enrolled at the School of the Art Institute of Chicago in 1888. He studied with John H. Vanderpoel and graduated with honors in 1894, after which the school invited him to teach. He also served in the Illinois cavalry during the Spanish-American War and married Mary Guion Hess, one of his students and an accomplished artist in her own right. Early study in Europe Buehr’s European education unfolded in several stages. Around 1900 he settled in Paris and studied at the Académie Julian, principally under the French painter Raphaël Collin. Collin was known for idealized female figures placed in luminous outdoor settings, a combination of academic draftsmanship and Impressionist light that anticipated Buehr’s mature work. Buehr reportedly received a gold medal at the Académie in 1901. His early European paintings included portraits, landscapes, and scenes of rural labor. Visits to Holland exposed him to the restrained tonalism of the Hague School, while his travels in Italy—particularly Taormina, Sicily, during 1906 and 1907—encouraged a brighter response to Mediterranean sunlight. He also studied in London, where his contacts with Frank Brangwyn and the decorative currents of British painting strengthened his interest in broad design, rhythmic composition, and large arrangements of figures. A decisive factor in this extended European residence was the patronage of Chicago philanthropist Lydia Coonley Ward. From approximately 1906 until 1913, Ward provided Buehr with a monthly stipend, enabling the artist, his wife, and their children to remain abroad and pursue their work without the immediate pressures of the American market. Buehr at Giverny Buehr entered the Anglo-American artistic community at Giverny around 1909, probably through his friendship with Henry Salem Hubbell, another American figure painter supported by Lydia Coonley Ward. From approximately 1909 through 1912, Buehr generally spent winters in Paris and the warmer months at Giverny. In 1912 and the summer of 1913, the family reportedly lived at Sainte-Geneviève-lès-Gasny, close to Giverny. By this date Giverny was no longer merely the village in which Claude Monet lived. It had become an international artists’ colony, particularly attractive to American painters who admired Impressionist color but wished to retain firm drawing and carefully organized figure compositions. Buehr’s associates included Frederick Carl Frieseke, Richard Edward Miller, Guy Rose, Lawton Parker, Louis Ritman, Edmund Greacen, Karl Anderson, and Theodore Earl Butler. Buehr was especially close to the circle of Frieseke and Miller. These artists specialized in decorative paintings of fashionably dressed women reading, sewing, taking tea, or resting in sunlit gardens. Their figures were surrounded by flowers, patterned fabrics, parasols, and flickering passages of colored light. Buehr adopted this repertoire, but his paintings usually retained a stronger structural organization and a more assertive contrast between complementary colors. During his first months at Giverny, Buehr worked on a large decorative panel of dancing figures. The composition received an honorable mention at the Paris Salon of 1910, an important professional recognition. That summer, however, he increasingly turned toward intimate garden scenes and outdoor figure studies. The influence of Richard Miller can be detected in the decorative arrangement of the figures, while Frieseke’s example encouraged Buehr s use of brilliant sunlight, patterned surfaces, and saturated hues. Relationship with Claude Monet Claude Monet was Buehr’s artistic hero, but the extent of their personal relationship should not be overstated. Buehr’s children played with the children of Theodore Butler, Monet’s son-in-law, and they visited the Monet household. Buehr’s daughter Kathleen later recalled that Monet was gracious to the children. Nevertheless, the best available scholarship suggests that no close personal association between Buehr and Monet has been documented. Monet’s importance to Buehr was therefore primarily artistic. At Giverny, Buehr learned to regard colored light as a central subject rather than merely a means of describing objects. Shadows became violet, blue, or green; white dresses reflected the surrounding garden; and faces and arms were modeled through small strokes of warm and cool color. The enclosed garden also became a kind of outdoor studio in which human figures, flowers, fabrics, and sunlight could be orchestrated into a unified decorative design. The Giverny style Buehr became best known for paintings of young women seated or standing in gardens, often accompanied by colorful parasols. Works such as Springtime in Giverny, Under the Parasol, and related pictures of women reading or conversing exemplify his mature style. Although inspired by French Impressionism, these paintings are not spontaneous transcriptions of fleeting visual experience in the strict Monet tradition. They are carefully staged figure compositions. Buehr himself explained that the outdoor figure painter should concentrate upon the ensemble—grouping, arrangement, and color—rather than laboriously describing every feature. This principle helps distinguish his Giverny paintings...

Luminous painting of Pigeon Point Lighthouse, California by listed artist William M. Lemos (American, 1861-1942). Signed "W.M. Lemos" lower right, titled on verso. Presented in ha...

untitled (polo player on horseback) Chalk on tan paper, c. 1920 Unsigned Provenance: Gift of the artist William McGill (Keller's student) Image size: 4 3/8 x 5 ...