Impressionist Art

1930's California Mountain Trail Landscape, Original Oil Painting, Signed A beautiful 1930's landscape titled "Trail into California Mountains" by Oklahoman artist Sidney Lorenzo Br...

A French Impressionist oil on canvas view of a river in parkland by the noted French artist Albert Uriet. The painting is signed and dated bottom right and is presented in a fine car...

This painting will come to you stretched on a wooden stretcher and completely ready to be placed in the interior. ABOUT THE ARTWORK There Is No Perfect Choice, Only Yours belongs to ...

Paris café interior scene, watercolour (20th century) Watercolour on paper, unframed. Size: 14.75 x 12.25 inches (height x width) Unsigned. Condition: good vintage condition with vis...

"Yellow Lace", by Ken Elliott is an atmospheric abstract landscape painting that captures the delicate rhythm of a wooded scene bathed in light. Slender tree forms rise through layer...

ARTIST STATEMENT Sparky LeBold has made a name for himself both in America and abroad over the course of his stellar career.  Since graduating from Art Center College of Design in P...

An exceptional impressionistic depiction of an afternoon along the Seine, in Paris by Jules René Hervé on a fall day with Books sellers and artists lining the wall, as the busy activ...

Artist: Alexander Shandor Title: Lush Bouquet of Roses Medium: Oil on Canvas Year: 2018 Style: Impressionism Dimensions: 20" x 23.5" x 1" inch ( 50 x 60 x 2cm) Presentation: Unframe...

Medium: Acrylic on canvas. Size: 78 × 97* 2 cm. Presentation: Stretched on a wooden stretcher, ready to hang. This work explores the idea of home as a place where trust, emotional s...

Artist: Voskan Galstian Work: Original Painting, Handmade Artwork, One of a Kind Medium: Acrylic on Canvas Year: 2024 Style: Abstract Art, Title: Return To Natural Size: 30" x 39"...

Golden Voyage — Original Vintage Oil Painting by Preston Willis A captivating original vintage oil painting on canvas by Preston Willis, depicting a majestic tall sailing ship naviga...

Provenance Acquired by the gallery directly from the artist. UNFRAMED: 16" x 20" FRAMED: 20.625" x 24.625" x 1" Signed: Lower Right Artist Statement "This is the place near my ho...

This signed and dated 1907 oil on canvas by Gustav Waldemar Leufstedt (1867–1909) represents a refined example of early 20th century Swedish-American landscape painting. Born in Swe...

This original vintage oil on canvas by Danish artist B. Johansen captures the dramatic beauty of a majestic full-rigged sailing ship navigating powerful open seas beneath an expansiv...

FRANCES H. GEARHART (1869-1958) SNOWBOUND c.1928 Color block print, Signed and titled in pencil. 11 x 6 ½” sheet c. 14 x 9” Laid down on backing board. The usual slight browning a...

Whispering of Spring captures the quiet elegance of a fresh spring bouquet, painted from life with soft, expressive brushstrokes. Delicate white and soft blue blossoms gracefully eme...

A lush bouquet of blush-pink and creamy white peonies rests in a clear glass vase, rendered in thick, expressive strokes of acrylic paint. Built up with a palette knife and finished ...

Kamysh-Burun Bay. Kerch Oleksandr Khrapachov (b. 1981) • 2013 • Oil on canvas • 80×100 cm Kerch is one of the oldest cities in Europe. Once, the ancient Panticapaeum, the capital of ...

Two figures sit quietly by the water, suspended in a moment that feels both ordinary and timeless. Facing the glowing landscape, they share a silence that needs no words. Across the ...

Title: French Village Rooftops Chateau Church Red Ink Architectural Drawing Artist: Bernard Labbe, French mid 20th century Medium: Red ink on paper, unframed Size: 11.75 x 8.25 inche...

Artist Comments
This painting captures one of those fleeting moments that somehow stay with us long after it has passed. A child is fully absorbed in imagination, creating an e...

JOHN JOSEPH ENNEKING American (1841-1916) Raining Pasture oil on canvas, signed "Enneking" lower right Framed dimensions - 15 x 18 1/2 x 2 1/4 inches 11 x 14 1/2 inches Provenance:...

About the Artist: Judd Mercer (b. 1982) creates landscape paintings that capture fleeting, dramatic moments of light to evoke a sense of awe and wonder. "Light is everything—my main ...

Winter Scene oil/canvas 20 x 24 image size, 23.75 x 27.50 framed signed LR Here is a very nice winter snow scene oil painting on canvas by Midwest American Artist Karl Rudolph Krafft...

Portrait of a Young Woman French artist, mid 20th century signed oil on board, frames Framed: 29 x 23 inches Board : 22 x 15 inches Provenance: private collection, France Condition:...

A picturesque painting executed in a soft Impressionist style, conveying an atmosphere of tranquility, summer leisure, and serenity. At the center of the composition, a young woman i...

Impressionist Landscape by Claude Marin (French 1914-2001) signed oil on canvas, framed Framed: 19 x 22 inches Canvas : 13.5 x 16.5 inches Inscribed Verso Provenance: private collect...

The artist painted this life sketch while studying at the Russian Academy of Painting, Sculpture and Architecture in 2000, in a single session in the Alla Prima style. In the evening...

Cliff Cavin Texas Artist Image Size: 15 x 30 Frame Size: 24 x 39 Medium: Oil on Canvas Signed "Cool Spring Day" Biography Cliff Cavin Cliff Cavin, a native of San Antonio, Texas, is ...

Artist: Vahe Yeremyan Title: Lake View Medium: Oil on Canvas Year: 2026 Style: Impressionism Dimensions: 44.5" x 30.5" x 1" inch (113 x 77 x 3cm) Presentation: Unframed, Gallery Wrap...

This rare exhibition poster features Pierre Bonnard’s La Terrasse, created around 1918–1920, and published as part of the Collection of European Masters for the Kunstsammlung Nordrhe...

The Venetian Backwater French artist, signed and dated 29/4/2000 oil painting on canvas, framed framed: 48.5 x 35 inches canvas: 46 x 32 inches condition: very good provenance: priv...

About the artist: I am an oil painter based out of Southern Maine. My subject matter focuses mainly on animals and capturing a sense of movement and narrative through the captivat...

Boathouse Landscape by Fanch Lel (French b. 1930) Size: 9 x 10.5 inches Oil painting on board, unframed Condition: The painting is in good condition, with minor signs of aging. Prov...

"Popeye and Bluto in Havana" Vintage Cuban Classic Car Cityscape Oil Painting. Oil on canvas. Signed. Measuring: 36.5 by 48.5 inches overall, and 36 by 48 artwork alone.

Artist: Alexander Shandor Title: Warm Day Medium: Oil on Hardboard Year: 2017 Style: Impressionism Dimensions: 13.5" x 21" x 0.3" inch (34 x 53 x 1cm) Presentation: Unframed, Type:...

Karl Albert Buehr (1866-1952) Strolling in the Park Oil on canvas, relined, c. 1910 Unsigned Provenance: Gift of the Artist to his wife, Mary Hess Beuhr The artist's niece, daughter of Will Hess David Saltzman Robert Henry Adams Fine Art, Chicago, exhibited 1994 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. Condition: relined canvas and cleaned Image/Canvas size: 10 x 9 inches Frame: 16-3/4 x 15-3/4 x 1-3/4 inches 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...

This painting conveys the living breath of nature—cool, pure, filled with light and movement. A mountain forest stream unfolds before the viewer, rushing through rocks, roots, and ba...

Artist: Alexander Shandor Title: Fragrant Bouquet Medium: Oil on Canvas Year: 2022 Style: Impressionism Dimensions: 23.5" x 31.5" x 1" inch (60 x 80 x 2cm) Presentation: Unframed, G...

This painting beautifully evokes the tranquil beauty of London under a gentle evening snowfall. The artwork blends the timeless silhouette of Big Ben with the delicate dance of snowf...

Artist: Alexander Shandor Title: Near the River Medium: Oil on Cardboard Year: 2016 Style: Impressionism Dimensions: 13" x 14" x 0.2" inch ( 33 x 36 x 1cm) Presentation: Unframed, ...

'Cuddle Time' is an impressionistic oil painting capturing a quiet, intimate moment between a girl and her cat at bedtime. The painting is rendered with expressive brushstrokes and ...

Evert Moll (Dutch, 1878–1955) Rotterdam harbor painting, a signed original oil on canvas: a steamship, tugboats and barges in Dutch Impressionist brushwork. Signed bottom left. A large steamship dominates the right of the composition, smoke drifting from its funnel through the rigging. Tugboats and a sailing barge work the choppy water around it, and a laden barge crosses the foreground. Beyond, the quays and buildings of the port of Rotterdam run along the horizon beneath a broad sky of white and grey cloud. This is the working harbor Moll made his own. It is painted with the quick, broken brushwork and touches of pure color that characterize his marine scenes, with orange, blue and green flickering across the water. The painting is undated. Moll became best known for his views of the port of Rotterdam and the shipping on the Nieuwe Maas painted in the 1920s and 1930s, and this harbor view probably dates from that period. The reverse confirms a pre-war date. The stretcher carries a label of Kunsthandel Gebroeders Koch giving the firm’s Rotterdam address on the Noordblaak, in the city centre which was destroyed in May 1940, alongside its Hague address on the Hoogstraat. The dealership also appears in the provenance of a Moll painting...

**Title:** Modernist Coastal Seascape Marsh Landscape Watercolour on Handmade Paper **Artist:** British School / European School, 20th century **Medium:** Watercolour on handmade paper, unframed **Size:** 7.75 x 11.25 inches **Signature:** Unsigned **Stamped verso:** Not shown / no stamp visible from the image provided **Provenance:** Private collection **Condition:** Fair to good vintage condition. The handmade paper shows age toning, surface marks, pinholes, handling wear, creasing and irregular deckled edges. There are small nicks, tears and areas of roughness to the outer edges and corners, consistent with age and the nature of the handmade sheet. The painted image remains atmospheric and decorative. **Description:** A subtle 20th century British School or European School watercolour landscape, painted on textured handmade paper and depicting a broad coastal seascape or marshland view. The composition is arranged in quiet horizontal bands of grey, blue, green and earthy brown, suggesting open water, tidal flats, low vegetation, distant land and a wide clouded sky. The painting is particularly appealing for its restrained modernist approach to landscape. The artist reduces the coastal scene into simplified strips of colour and tone, creating an impression of space, weather and atmosphere rather than a highly detailed topographical view. The pale grey sky dominates the upper half of the composition, while darker horizontal accents suggest a distant shoreline, reed beds, marsh edges or low coastal vegetation. The palette is muted and atmospheric, with soft blue-grey washes balanced by touches of green, brown and cream. These gentle tonal shifts give the work a calm, contemplative quality, evoking the quiet light of a coastal plain, estuary or wetland landscape. The simplified structure gives the piece a decorative modernist feel while still retaining the sense of an observed natural view. The handmade paper adds considerable character to the work. Its visible fibres, pinholes, warm natural tone and irregular edges give the piece a tactile, artisanal quality. The painted image sits within the sheet, leaving the surrounding paper visible and giving the work an attractive object-like presence. This original watercolour would appeal to collectors of coastal landscapes, seascapes, marshland paintings...

Title: British Impressionist Watercolor of Riverside Cottages with Boats By Anthony Avery (British 1946-2023) Original watercolor on artists paper, unframed Dimensions: 11.25 x 15 in...

River Landscape by Charles Martin-Sauvaigo (French 1881-1970) * see notes below French Impressionist painter oil painting on wooden panel unframed size: 13 x 16 inches condition: ve...

Medium: Acrylic on canvas Size: 92 × 92 cm Presentation: Stretched on a wooden stretcher, ready to hang. In this work, the artist explores a state of inner freedom that emerges when ...

* No US duty or taxes to pay on this item * A very beautiful signed and dated 1900 impressionist oil on board depicting a sunset on the coast, by Danish artist Holger Lübbers...

Minimalist Floral Study fine pen drawing on artist paper painting: 11.5 x 8.5 inches provenance: private collection, England condition: very good and sound condition Description: Th...

Artist: Vahe Yeremyan Title: Village Medium: Oil on Linen Year: 2026 Style: Impressionism Dimensions: 14" x 17" x 0.8" inch (35 x 45 x 2cm) Presentation: Unframed, Gallery Wrapped on...

Artist: Vahe Yeremyan Title: Valley View Medium: Oil on Linen Year: 2026 Style: Impressionism Dimensions: 30" x 44" x 1" inch (76 x 112 x 3cm) Presentation: Unframed, Gallery Wrapped...

Charles P Gruppe 1860-1940 Harvest Time, Farm Scene with Cow oil panel signed LR 8x10 unframed, 11.5 x 13.5 framed Colors are fresh and vibrant as the painting was recently clean...

Riverside Reflections Signed by Fanch Lel ( French School) Framed: 9.75 x 12.5 inches board: 6.5 x 9.25 inches Oil painting on cardboard, framed Condition: The painting is in good co...

Frederick Kitson Cowley (British, 1878–1943) Nantucket Beach Dated 1929 Oil on card Signed and dated on the reverse A charming and atmospheric beach scene by the British painter Fre...

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

Artist: Alexander Shandor Title: Agriculture Medium: Oil on Hardboard Year: 2015 Style: Impressionism Dimensions: 11 x 18" x 0.2" inch (28 x 46 x 1 cm) Presentation: Unframed, Type...

"Micky" by John Young-Hunter (British 1874-1955) signed and dated 1920 oil on canvas, unframed canvas: 50 x 31 inches provenance: private collection, UK condition: very good and soun...

How many have appeared on canvases before—and how many more will there be. Flowers allow us to express something new each time, while remaining a recognizable symbol of beauty and l...

Summer House by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back oil painting on board, framed frame measures: 10.5 high by 14 inches wide board measure...

A wonderful summer sky in this picturesque Norfolk view. Geoffrey Chatten ( born 1942) Sea Palling/ Waxham/ Norfolk Signed and inscribed to the reverse Oil on board 8 x 10 inches e...