Doris Warner Drawings and Watercolor Paintings

Gold Man by Bernard Labbe (French mid 20th century), stamped verso original watercolour/gouache painting on paper overall size: 111.75 x 8.5 inches condition: very good and ready to...

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...

A new series inspired by architecture, décor and stylish personalities of the world of interior design. The worlds of fashion, society and pop culture are captured in the illustrati...

"Portrait of a Lady" by Leon Launay (French 1890-1956) charcoal portrait drawing on paper, unframed stamped verso painting: 18.5 x 12 inches Condition report: The painting is in go...

Max Kuehne (1880 - 1968) Train Station, circa 1910 Watercolor on paper 8 1/4 x 10 1/4 inches Signed lower right Provenance: Private Collection, Illinois Max Kuehne was born in Halle, Germany on November 7, 1880. During his adolescence the family immigrated to America and settled in Flushing, New York. As a young man, Max was active in rowing events, bicycle racing, swimming and sailing. After experimenting with various occupations, Kuehne decided to study art, which led him to William Merritt Chase's famous school in New York; he was trained by Chase himself, then by Kenneth Hayes Miller. Chase was at the peak of his career, and his portraits were especially in demand. Kuehne would have profited from Chase's invaluable lessons in technique, as well as his inspirational personality. Miller, only four years older than Kuehne, was another of the many artists to benefit from Chase's teachings. Even though Miller still would have been under the spell of Chase upon Kuehne's arrival, he was already experimenting with an aestheticism that went beyond Chase's realism and virtuosity of the brush. Later Miller developed a style dependent upon volumetric figures that recall Italian Renaissance prototypes. Kuehne moved from Miller to Robert Henri in 1909. Rockwell Kent, who also studied under Chase, Miller, and Henri, expressed what he felt were their respective contributions: "As Chase had taught us to use our eyes, and Henri to enlist our hearts, Miller called on us to use our heads." (Rockwell Kent, It's Me O Lord: The Autobiography of Rockwell Kent. New York: Dodd, Mead and Co., 1955, p. 83). Henri prompted Kuehne to search out the unvarnished realities of urban living; a notable portion of Henri's stylistic formula was incorporated into his work. Having received such a thorough foundation in art, Kuehne spent a year in Europe's major art museums to study techniques of the old masters. His son Richard named Ernest Lawson as one of Max Kuehne's European traveling companions. In 1911 Kuehne moved to New York where he maintained a studio and painted everyday scenes around him, using the rather Manet-like, dark palette of Henri. A trip to Gloucester during the following summer engendered a brighter palette. In the words of Gallatin (1924, p. 60), during that summer Kuehne "executed some of his most successful pictures, paintings full of sunlight . . . revealing the fact that he was becoming a colorist of considerable distinction." Kuehne was away in England the year of the Armory Show (1913), where he worked on powerful, painterly seascapes on the rocky shores of Cornwall. Possibly inspired by Henri - who had discovered Madrid in 1900 then took classes there in 1906, 1908 and 1912 - Kuehne visited Spain in 1914; in all, he would spend three years there, maintaining a studio in Granada. He developed his own impressionism and a greater simplicity while in Spain, under the influence of the brilliant Mediterranean light. George Bellows convinced Kuehne to spend the summer of 1919 in Rockport, Maine (near Camden). The influence of Bellows was more than casual; he would have intensified Kuehne's commitment to paint life "in the raw" around him. After another brief trip to Spain in 1920, Kuehne went to the other Rockport (Cape Ann, Massachusetts) where he was accepted as a member of the vigorous art colony, spearheaded by Aldro T. Hibbard. Rockport's picturesque ambiance fulfilled the needs of an artist-sailor: as a writer in the Gloucester Daily Times explained, "Max Kuehne came to Rockport to paint, but he stayed to sail." The 1920s was a boom decade for Cape Ann, as it was for the rest of the nation. Kuehne's studio in Rockport was formerly occupied by Jonas Lie. Kuehne spent the summer of 1923 in Paris, where in July, André Breton started a brawl as the curtain went up on a play by his rival Tristan Tzara; the event signified the demise of the Dada movement. Kuehne could not relate to this avant-garde art but was apparently influenced by more traditional painters — the Fauves, Nabis, and painters such as Bonnard. Gallatin perceived a looser handling and more brilliant color in the pictures Kuehne brought back to the States in the fall. In 1926, Kuehne won the First Honorable Mention at the Carnegie Institute, and he re-exhibited there, for example, in 1937 (Before the Wind). Besides painting, Kuehne did sculpture, decorative screens, and furniture work with carved and gilded molding. In addition, he designed and carved his own frames, and John Taylor Adams encouraged Kuehne to execute etchings. Through his talents in all these media he was able to survive the Depression, and during the 1940s and 1950s these activities almost eclipsed his easel painting. In later years, Kuehne's landscapes and still-lifes show the influence of Cézanne and Bonnard, and his style changed radically. Max Kuehne died in 1968. He exhibited his work at the National Academy of Design, the Art Institute of Chicago, the Carnegie Institute in Pittsburgh, the Memorial Art Gallery of the University of Rochester, and in various New York City galleries. Kuehne's works are in the following public collections: the Detroit Institute of Arts (Marine Headland), the Whitney Museum (Diamond Hill...

"Glitch in the Machine" is an original piece by Kevin Snipes made from ink, gouache, and acrylic on paper. This piece measures 9.25”h x 6”w and is signed en verso. Kevin Snipes (he/...

"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...

Signed lower right, 'Olga' for Her Imperial Highness, Olga Alexandrovna, Grand Duchess of Russia (Russian, 1882-1960) and painted circa 1925. Provenance: Formerly in the collection o...

Adolf Arthur Dehn Haitian Scene A, ca. 1951 Watercolor gouache on board Signed on the front Frame included: held in vintage modern frame Measurements: Framed: 11 inches vertical by 13 inches horizontal by .75 Painting 4.5 inches by 6 inches Watercolor gouache, hand signed; framed with AAA Gallery label verso Signed on the front bearing the original label on the verso of Dehn's longtime gallery, the prestigious Associated American Artists Gallery, New York City. Provenance Associated American Artists Frame included: held in vintage frame with original label as provenance Dehn, an influential artist and teacher (and author of the definitive textbook of his era on watercolor painting) joined Associated American Artists gallery in 1941. Although this painting is undated, it is likely circa early 1950s, as in 1951 Dehn won a Guggenheim Fellowship, which enabled him to travel to Haiti -- the subject of this work. It was part of a series inspired by Dehn's visit to Haiti. Dehn, an influential artist and teacher (and author of the definitive textbook of his era on watercolor painting) joined Associated American Artists gallery in 1941. Although this painting is undated, it is likely circa early 1950s, as in 1951 Dehn won a Guggenheim Fellowship, which enabled him to travel to Haiti. ADLOF DEHN Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere - not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic "little magazines" such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895 - 1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs...

"Abstract Composition II" Watercolor painting 10" x 14" in by Shaker El Maadawy signed & dated Shaker El Maadawy graduated from the Faculty of ...

A fine monochromatic watercolor landscape painting of Mount Monadnock in New Hampshire by American artist Gifford Beal (1879-1956). Beal was b...

A new series inspired by architecture, décor and stylish personalities of the world of interior design. The worlds of fashion, society and pop culture are captured in the illustrati...