American Impressionist Art

Vivid mid-century floral still-life with anemones and statue by Marguerite Stuber Pearson (American, 1898-1978), circa 1940s. Signed lower right corner. Presented in rustic gilt-t...

"Killers from Space", Original vintage theater linen backed with original fold marks restored vintage movie poster. Very good to excellent condition and ready to frame. RKO Pictures. NSS 54/76 Killers From Space, the 1954 W. Lee Wilder giant-insect-alien science fiction (sci-fi) thriller ("Earth Attacked!"; "Astounding drama as bulb-eyed men invade Earth from flying saucers! ... The Last Word In Science-Fiction Sensation!"; "The last word in science-fiction thrills!"; "See the space killers plan to wipe out the human race! See strange monsters, flying saucers, giant creatures... SENSATIONAL!"; "Attack by monsters from another planet!"; "INVASION from another planet!"; "Staggering scenes, astounding sensations... As bulb-eyed monsters in flying saucers attack earth! An astounding science-fiction thrill!"; "From a story by Myles Wilder") starring Peter Graves...

Beautiful diminutive landscape painting of the rocky outcroppings and deep blue water typical of the Monterey County coast by Kathleen Murray (Am...

ARTIST: Valetta Swann (1904-1973) British / American TITLE: "Mexican Expansive Landscape" SIGNED: lower left MEDIUM: oil on canvas SIZE: 96cm x 70cm inclusive of frame CONDITION: ...

Vivid late 1970's floral still-life featuring a colorful bouquet by Doro (American, 20th Century), 1979. Signed and dated "Doro 1979" lower left. Unframed. Image size, 24"H x 18"L.

Published 1998. Limited Edition Serigraph. (Image Area) Dimensions 30.75″ x 38.5.” Numbered 105/458 Signed and numbered by LeRoy Neiman. Also signed by Joe DiMaggio - as was the enti...

A fine impressionist painting of a French pastoral landscape with trees and cows in the distance by American artist John Leslie Breck (1860-1899). Breck was born in the South Pacific...

A truly stunning jewel and pertinent example of Berthelsen's charming New York City winter scenes depicting Washington Square Park in the snow. An iconic scene that so many have come...

Vibrant watercolor by an unknown artist, in the style of Elmer Wachtel (American, 1864 - 1929). This mid-century landscape watercolor features a golden yellow meadow beside a country...

Harry Leith-Ross (1886-1973). Boat Yards, ca.1960's. Watercolor on paper measures 9 x 17 inches; 18 x 26 inches in original matting. Signed lower left. Ori...

Kathleen Keifer's original artworks represent one of the most significant expressions of New California Realism. Keifer brings a fresh perspective to her colorful scenes of everyday ...

Dennis Sheehan New England Sunset, circa 2025 Signed lower left Oil on canvas 36 x 48 inches Dennis Sheehan was born in Boston in 1950. His work is based upon the Barbizon School w...

River Lagoon with a “Carmel Meadows” free bluff in the background by Alfred Schroff (American, 1863-1939). An exceptional painting with distinct brushwork of the Carmel River mouth, ...

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...

Provenance The artist; Florence Norton, the artist's daughter; By descent in the family Born in 1843 to a family of Bostonian shipbuilders, William Edward Norton's early childhood i...

A fine mountainous winter landscape by American artist Arthur Clifton Goodwin (1864-1929). Born in Portsmouth, New Hampshire, Goodwin lived and worked most of his life in Massachuset...

On offer is an original regionalist landscape by the listed Kansas impressionist artist Maude Josephine Mitchell (1875–1957). The artwork depicts a serene, pastoral view of the Kansa...

“Venice, 1889” by Louis Ritter (American, 1854-1892). A fantastic example of Ritter’s renowned European watercolors. This beautifully poised composition captures the sun-washed faça...

This artwork "Flowers Still Life with Vase" c.1950 is an oil painting on canvas by American floral artist Jennie Thatcher Crawford, 1890-1958. It is signed at the lower right corner by the artist. The canvas size is 24 x 20 inches, framed size is 30.5 x 26 inches. It is framed in original grey/beige and gold frame, with fabric liner. It is in excellent condition. About the artist: Born in St Louis, MO on Jan. 25, 1890. Crawford studied at the St Louis School of Fine Arts from 1907-20 and then moved to Los Angeles. She was active there as a lecurer and demonstator until her demise on March 25, 1958. Her specialty was floral still lifes. Exh: Palos Verdes Art...

This dynamic oil painting by Hayley Lever captures the quintessential spirit of summer along the New England coast. Children and adults gather on a bathing dock, their figures render...

Beautiful Impressionist drawing of a young ballerina, ca. 1990. Pastel on paper, image measures 10 x 14 inches. Double matting, measuring 14 x 18 inches. Unsigned. Unframed.

A pleasant New England townscape scene by Dutch American artist Anthony Thieme (1888-1954). Thieme was born in Rotterdam, Holland and, after traveling in Europe, England, & South Ame...

George Oberteuffer Untitled (Coastal Cliffs, Brittany), circa 1912 Oil on canvasboard 15 x 21 1/2 inches Born in Philadelphia, George Oberteuffer is best remembered for his Impress...

Beautiful 1940s pastel still life of apple blossoms in pink monkey vase by Eugenie May Pack Stiffler (American, 1870-1959). Signed lower left corner; title lower right edge. Present...

Wayne Morrell Forest Landscape Signed lower right Pastel on paper 7 x 6 inches Wayne Beam Morrell (American, 1923–2013) was an American Impressionist painter and illustrator best k...

A unique view of a cable car poised against billowing clouds in San Francisco. Photographer Mitchell Funk captured the precise angle at which the car reached the pinnacle of the hill...

Afternoon swim, a lovely mid century figurative landscape by California artist, Henry Milton Snyder (American, 1915-1966). Presented in a giltwood frame. Signed "H. Milton Snyder"...

A charming Impressionist painting celebrating North American wildlife, depicting a serene scene with several elk in a meadow with a forested and mountainous background. This piece is...

Late 20th Century Oil Painting of Chesapeake Bay with Sailing Boats by Q. B. Powell Striking vintage palette-knife painting of a quiet Chesapeake Bay harbor by regional artist Q. B....

Artist: Ben Benn, Russian/American (1884 - 1983) Title: People in the Woods Year: 1917 Medium: Oil on Canvas, signed l.r. Size: 31 x 22 in. (78.74 x 55.88 cm) Frame Size: 39 x 30 i...

LOOK FOR FREE SHIPPING AT CHECKOUT. Evening Solace Landscape, 12" x 24" Oil Texas Landscape Champagne Gold Frame Framed size of Evening Solace is 20" x 32 " Evening Solace is ...

Carl Rudolph Krafft Winter Landscape with Stream Signed lower right and with thumbprint Oil on canvas 25 x 30 inches Carl Rudolph Krafft was born in 1884 in Reading, Ohio, and his ...

Kevin Weckbach's (US based) "Quilted Land" is an original, hand made oil painting that depicts an aerial view of farmland with patterns from the roads and sectioned green and pink l...

This artwork "Flower in a Vase" c.1950 is a watercolor on paper by noted California artist Sara Ethel Kolb Danner, 1894-1969. It is signed at the lower right corner by the artist. The artwork size is 19 x 15.25 inches, framed size is 27.25 x 23.25 inches. It is custom framed in a wooden gold frame, with off white matting and gold color spacer. It is in excellent condition. About the artist: Born in NYC on Oct. 2, 1894. As a child Sara Kolb was taught to paint by her father who was an artist and student of Thomas Eakins. She grew up in Philadelphia where in 1917 she wed William Danner. The Danners moved from South Bend, IN to Santa Barbara in 1926 and remained. She studied under Henry Snell at the PAFA (the Sara Kolb Danner...

Abel Warshawsky (American, 1883-1962) Mural Study Oil on board Signed and inscribed verso 9.5 x 18 inches 15.75 x 24.25 inches, framed Impressionist painter A.G. Warshawsky was acti...

Old Stone Bridge - Bucks County Pennsylvania Original Oil by John Green Scott Classic scene of a country stone bridge somewhere in Bucks County Pennsylvania, John Green Scott (Ameri...

"Planting (Spring Plowing)", a vibrant watercolor and graphite on paper by Thomas Hart Benton, circa 1939-40, embodies the artist's signature Regionalist style. The work depicts a ru...

Impressionist winter pastoral scene of a quaint snow covered home by the Mill Along Neshaminy Creek in Bucks County, PA. Willett has portrayed this charming mill scene in a most inti...

Indians in a Canoe on Lake Tahoe with Snow Covered Mountains - 19th Century Oil Impressionistic rendering of Lake Tahoe by American landscape painter William Weaver Armstrong (b. 1862 d. 1906.) In the foreground, a lone Indian holding a rifle stands looking out over Lake Tahoe on a path surrounded by evergreens and other alpine brush; in the distance are Indians with Eagle feather head dresses (painted in red for effect) in a canoe traversing the Lake. The foliage and figure are rendered with visible and expressive brushstrokes, with vibrant orange and yellow highlights on the figure. Behind this piece of land is Lake Tahoe and the snow covered Sierra mountains in the distance. On the lake there is a canoe with four people sitting in it, their reflections visible on the water. The lake and mountains in the distance are rendered in a smoother style than the foreground, with more blended brushstrokes and colors. The sky is clear and painted a pale blue color with strong cyan tones. The Washoe Tribe of Nevada and California are the original, aboriginal people of the Lake Tahoe Basin, known as dáɁaw (the lake) to them, a land they've inhabited for millennia, expertly managing resources and using controlled burns for healthy forests before European settlement. They are organized into bands, including the Welmélti, páwalu, and huŋalélti, and their deep spiritual and cultural connection to the lake. Signed "W. W. Armstrong" in bottom right corner. Titled "Lake Taho Cal" by the artist on stretcher bars. Canvas size: 30" H x 50" W William Weaver Armstrong was born in Ontario, New York in 1862, during the first year of the American Civil War. His father was also a painter and taught him as a child. When Armstrong was 12 years old, his family moved west and eventually settled in Oakland, California. He was raised in Oakland and eventually became a painter based out of the city, being listed so by the Oakland City Directory in 1887. He made frequent trips around California, painting the landscape from Santa Cruz to the Northern border with Oregon. He also owned a carriage painting...

Anthony Thieme (1888 - 1954) Other Side of Town (Leading to Pigeon Cove) Oil on canvas 30 x 36 inches Signed lower left Provenance: David H. Hall Fine Art, Dover, Massachusetts Vose Galleries, Boston, Massachusetts Private Collection, New Jersey Anthony Thieme was born in the Dutch port city of Rotterdam in 1888. He studied at the Academy of Fine Arts in Rotterdam, at the Royal Academy at the Hague, as an apprentice to George Hoecker, a well known stage designer in Düsseldorf, Germany, and to Antonio Mancini, an Italian Impressionist. After completing his studies, Thieme journeyed throughout Europe and South America, working in stage design to support his travels. Thieme first came to the United States in 1917 and initially worked as a set designer and book illustrator first in New York and later in Boston. By the late 1920s, Thieme had married and moved from Boston to Cape Ann in Rockport, Massachusetts, an emerging art colony. Like the other Rockport artists...

This colorful artwork "Red Houses" 1936 is an oil painting on canvas by American impressionist artist Judson Reynolds Briggs, b.1906. It is signed and dated ...

Impressionist seashore landscape with figure of fisherman, lobster pots, and crashing waves in Gloucester Massachusetts. Willet has portrayed this piece in a most dramatic and energetic way and has packed much feeling into this miniature work. It is almost as if we are there in the waves in the early morning, with the man and his lobster pots. Christopher is known for capturing the beauty and simplicity of an earlier time of the 20th Century; old New York, families working together, villages and farms and friends taking walks together. Many are depicted in recognizable historical settings and this piece is an excellent example of this. Christopher engages his audience with the quick use of brushwork and great attention to picking up the energy passionately of his subjects. The piece comes housed in a decorated dark tone wood frame and it is ready to be displayed with hanging wire on verso. Art measures 5 x 7 inches Frame measures 7.25 x 9.25 inches Christopher Willett...

A masterful oil painting depicting a figure in the village by British American artist John Clymer. As an Impressionist painter, he was known for his pastoral landscapes depicting sce...

This artwork titled "Near Tubac, Arizona" c.1960 is an oil painting on canvas by noted southwestern artist Sid Cedargreen, 1904-2011. It is signed at the lower left corner by the artist. The canvas size is 22 x 30 inches, framed size is 28.5 x 36.5 inches. Framed in original wooden beige and gold frame. It is in excellent condition. About the artist: Sid Cedargreen was a mid-century painter whose art beautifully depicted the desert Southwest. In 1958, Mr. Cedargreen was part of an art collective that transformed Tubac into an art colony. While in Tubac, he founded the Tubac Center for the Arts and the Santa Cruz Art Association. During this time, he was the winner of the distinguished Master Mead award for depicting the Southwest. His paintings are beautiful landscapes featuring areas in Arizona and all around the American Southwest. He continued to live in Arizona and paint its beauty for several years. In 2011, Sid Cedargreen passed away at the age of 89. After he passed away, Mr. Cedargreen's family found a plethora of paintings that Cedargeen had been storing in his house. In his career as an artist, Mr. Cedargreen had many one-man shows, in Scottsdale, Phoenix, Tucson, Nogales, and Tubac, and in Santa Barbara, and Palm Desert, California; in Colorado Springs, Colorado; Ogunquit, Maine and in Taos, Deming, and Santa Fe, New Mexico. He has exhibited in the Camelback Galleries and Adrian Shaw Galleries in Scottsdale; the Hilltop Art Gallery in Nogales; the Fountains Gallery in Tucson; the Plaza Gallery and the Taos Inn in Taos; the Shop of the Rainbow Man in Santa Fe; the Old Town Book Shop in Wickenburg; the Santa Barbara Biltmore...

A fine impressionist marine painting of a harbor on Cape Ann, Massachusetts by American artist Harry Aiken Vincent (1867-1933). Vincent was Born in...

Against The Tide - Oil On Linen Oil painting of the California coastline at sunset in the style of Edgar Alwin Payne (American, 1883-1947). Deep grey clouds pose in the top corners with hues of pink light shining through. Choppy waves crash against deep red and brown rocks, as the whites of the wave hurl upward. The ocean shows tones of green, blue and yellow as the sunlight shines from above. Condition: professionally restored, previous reline onto Masonite with edge and corner wear. New UV resisting, non yellowing varnish applied. Unsigned. Unframed. Oil on linen on masonite. Image: 16"H x 30"W Edgar Alwin Payne was an American painter known for his landscapes, seascapes and western paintings. He was born in Washburn, Missouri on March 1, 1882, and began painting at the age of 14. He began his career by designing and painting scenery for the stage, and murals for homes and theaters. Primarily a self taught artist, he did though study briefly at the Art Institute in Chicago. Recognized as one of California's leading landscape artists, Payne earned the respect of his peers and art critics for his Impressionistic landscapes painted in the plein-air style. Possessing a reverence for nature, he especially loved the mountains. Frequently he took pack horses in the Sierra Nevada Mountain Range to the upper lakes to sketch and paint, there he glorified the areas majestic peaks and cobalt blue lakes. Payne Lake was named in his memory. Drawn to Europe, Payne trekked to and painted the elevated heights of the Swiss Alps, the colorful fishing boats of Concarneau Harbor and Brittany, France and the picturesque sailing vessels of Chioggia, Venice, Italy. He spent time capturing on canvas Arizona's Canyon De Chelly and Navajo horsemen traversing the region's arid tablelands. He painted California...

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

A modern depiction of Sun Flowers by Theresa F. Bernstein. The bold colors and strong contrasts make Berstein's work so striking and captivating. The flowers are executed with bold p...

Alson Clark’s Autumn, St. Lawrence River (1916) is a celebration of seasonal color and painterly assurance, created during a highly productive summer spent along the St. Lawrence Riv...

"Sierra Nevada Mountains” is an oil on canvas painting by American Impressionist painter, Edgar Alwin Payne. Best known for his Western mountain views, especially the Sierra Nevada, ...

A masterful oil painting depicting a countryside village scene with boats on a canal by British American artist John Clymer. As an Impressionist painter, he was known for his pastora...

A wonderful Impressionist summer pastoral scene of a colorful quaint home and barn in a green pastoral landscape. Willet has portrayed this piece in a most intimate, yet energetic wa...

Walter Launt Palmer is best known as “the painter of the American Winter.” In Bars of Light, the cool areas of shade haphazardly crisscross and then blanket the warm sunlight on the ...

This still life was painted from life in a garden on a sunny day in Hawaii. A mandarin tree growing nearby, heavy with fruit, inspired the composition. The fruit was picked directly ...

Anna Klumpke A Path Through the Woods, circa 1890 Signed lower right Oil on canvas 36 1/4 x 24 1/2 inches Anna Klumpke was born in San Francisco but travelled to Europe in 1865 for...

Bright watercolor composition of three dancers preparing and stretching by Clareen Barrett (American, 1930 - 2014). Signed "Clareen Barrett" in the lower left corner. Presented in a distressed white...

Mid Century Palm Springs Desert Landscape Wonderful mid century bright and vibrant landscape of a classic Palm Springs desert scene by K. Neidlinger (American 20th Century), circa 1...

Hayley Lever (1876 - 1958) Concarneau, Brittany, France, 1905 Oil on panel 6 3/4 x 9 1/2 inches Signed by the artist lower left Inscribed by another hand on the reverse Provenance: Clayton-Liberatore Galleries, Bridgehampton, New York Hayley Lever’s (1875-1958) versatility has worked against his posthumous reputation. He was never associated with a single artistic movement, instead producing impressionist, post-impressionist, and expressionist works. While best known as a painter of post-impressionist marine scenes, his subject matter included landscapes, urban scenes, and still lifes across his 60-year career. This lack of a singular style or subject has given him an amorphous place in U.S. art history despite his obvious accomplishments. [Richard] Hayley Lever was born in Bowden, South Australia in 1875. He excelled in painting classes at Prince Alfred College (1883-91) and Norwood Art School (1891-93) in Adelaide. In the 1890s, Lever moved to England, studying art in London and painting at St. Ives, a fishing port and popular artistic colony on the Cornish coast. In St. Ives, Lever shared a studio with Frederick Waugh, and studied painting with Albert Julius Olsson and Algernon Talmage. Lever was a plein air painter particularly interested in the effect of sunlight on the sea. He painted in a distinctive style, strongly influenced by the works of Vincent van Gogh, that might now be called post-impressionism. He used a limited palette to paint the St. Ives harbor, particularly at dusk or in the moonlight. His strong contrasting colors and thick use of paint created a crisp and physical surface that earned him acclaim in Europe. Lever’s many St. Ives seascapes are among his most popular works. In 2017, his painting entitled “The Old Lighthouse and Fleets of St. Ives” sold at auction for $162,500. In 1912, Lever moved to New York to test the art market in the United States. In Manhattan, Lever met prominent U.S. painters such as Ernest Lawson, Robert Henri, William Glackens, John Sloan, and George Bellows. Lever exhibited with this group regularly in New York City, painting parks, streets, bridges and the Manhattan waterfront. However, he soon discovered the scenic potential of Gloucester, Rockport, and Marblehead in the Cape Ann area of Massachusetts...

“Turquoise Creek” is an oil on board painting by German-born artist, Jean Mannheim. While Mannheim was born in Germany, he trained in Paris but was very influenced by experiences in ...

Beautiful landscape by listed Los Angeles and Carmel artist Helen Enoch Gleiforst (American, 1903-1997). Presented in gold-toned wood frame. Signed "Gleiforst" lower right. Size: 20"...