Jacques Bouillac Art

Dynamic and energetic watercolor of waves crashing into coastal rocks by Joe Yeager (American, 20th Century). Signed in the lower right corner by the ar...

Serene landscape of a path to the ocean through sand dunes by Joseph Yeager (American, 20th century). Signed "Joe Yeager" in the lower right corner. On verso is written "Gift painted...

Abstract watercolor fragment of a sunset over a field by Irene Pattinson (American, 20th Century). Tag on verso reads "Miller Fine Art / The Estate of Irene Pattinson". Unsigned. Acq...

Serene watercolor seascape of clouds over the rocky Carmel Coast by William Ross Cameron (American, 1893-1971). Signed by the artist in the lower right corner. Artist's name, address...

An early 20th century watercolor by Ralph Fanning (American, 1889-1971), painted circa 1929. Stamped verso with certification of authenticity and with provenance and biography on old backing labels. A lyrical and expressive Venetian Vedute showing a view of the Grand Canal through a forest of gondola prows and mooring posts by this well-listed American Impressionist. Ralph Fanning first studied at Cornell and, subsequently, at the University of Illinois. He was the recipient of numerous medals prizes and juried awards including the 1924 Wolfe Watercolor Prize. He exhibited nationally with success, including at the Art Institute of Chicago, the National Watercolor Society, the Pennsylvania Academy of the Fine Arts and the Washington Watercolor Society. Fanning's memberships included the Columbus Art League, the Ohio Watercolor Society and the Washington Watercolor Society. In 1954, he was granted a Fulbright Scholarship to Egypt. Academic: 1914-1917 University of Illinois 1920-1921 University of Illinois 1921-1956 Ohio State University 1924-1925 Lecturer, University of California 1926-1938 Bureau of University Travel, Lecturer 1936 Ryerson Lecturer, Kenyon College 1939 Ryerson Lecturer, Oberlin College 1943-1944, 1947-1948 visiting Professor, New York University 1944-1948 Research Scholar, Columbia University (summers) 1947 New York University Art Department 1951-1953 University of Georgia (spring terms) 1953-1954 University of Cairo, Egypt, Fulbright Professorship Founder, art history graduate program, Ohio State University Selected Solo Exhibitions Ohio State University, 1927, 1928, 1945 Denison University, Granville, Ohio, 1947 Taft Museum, Cincinnati, 1947 Columbus Gallery of Fine Arts, 1948 Schumacher Gallery, Capital University Columbus, 1988 Columbia University, New York Cleveland College Selected Group Exhibitions: Columbus Art League 1920-1921, 1923-1926,1928-1929, 1931-1935, 1938, 1940-1942 Art Institute of Chicago, 1924, 1926 Ohio State Fair, 1926, 1935 Ohio Watercolor society 1927, 1932-1934 Ohio Sesquicentennial Exhibition, 1953 Keny and Johnson Galleries, Columbus, Ohio, 1988; Keny Galleries, 1990 Corcoran gallery of Art National Watercolor Society Pennsylvania Academy of the Fine Arts Washington Watercolor Society Selected Awards 1918 Medal of Bravery in Battle, Champaign Sector, World War I 1924 Wolfe Watercolor Prize, Columbus Art League 1925 First Prize, Columbus Art League Black and White Show 1959 Honorary Doctor of Letters, Ohio State University Friends and Associates James Hopkins, Ray Kinsman-Waters, Alice Schille...

Beautiful detailed floral watercolor by Stanley A. Burchett (English, 20th Century). Signed lower right, dated 1963. Giltwood frame. Image, 16.5"H x 11.5"L. Shipped with UV plexi-glas. Known for his watercolor landscapes, seascapes with ships, and most of all, miniature paintings. Burchett painted and sold his work in hotel lobbies. Becoming a success, he had his work shown on Bond Street in London and the Queen purchased some. General Burchett of the Grenadier...

Eleanor Park Custis painted scenes as varied as the artist's travels: from her hometown of Washington, D.C., to the coastal towns of New England; from the prosperous fishing villages of Brittany, to Venice and the mountain villages and lakes of northern Italy. While Custis's subjects are diverse, her style is consistent and distinctive throughout this body of work. Her use of flat areas of color delineated by dark contours is reminiscent of the aesthetics of woodblock printing. Like many artists of the day, she was profoundly influenced by Japanese woodblock prints, and her adaptation of the aesthetic by 1924 led to her most productive artistic period. Eleanor Custis hailed from a socially prominent Washington, D.C., family. She was distantly related to Martha Custis Washington, America's first First Lady. Custis began three years of formal art training in the autumn of 1915 at the Corcoran School of Art in Washington, and was guided and inspired by Impressionist artist Edmund C. Tarbell, one of the Ten American Painters, who became the Corcoran School's principal in 1918. Custis exhibited widely in many of the Washington art societies and clubs for much of her career. She was also a frequent exhibitor at the Grand Central Art Galleries in New York City; her last one-woman show there was in April 1945. Custis's mature style emerged in scenes of the streets, wharves, and drydocks of seacoast villages from Maine to Massachusetts, which she visited during the summers of 1924 and 1925. She was working in Gloucester, Massachusetts in August 1924, and painted several gouaches of the town's wharves and winding streets, including In Gloucester Harbor and At the Drydock, Gloucester. During her stay, Custis may have met Jane Peterson or at least must have seen her work, the best of which was executed in Gloucester during the preceding ten years. The similarity between their styles is unmistakable, but, while it may be tempting to suggest that Custis was influenced by Peterson during her summer in Gloucester, the connection between their work is probably more a case of shared aesthetics and common European influences. Custis expanded her subject repertoire with three trips to Europe between 1926 and 1929, and was inspired by the Old World charm of Holland, northern France, Switzerland, and Italy, leading to such works as New Kirk, Delft, Holland, Market Day in Quimper, At the Foot of the Matterhorn, and The Town Square, Varenna. A Mediterranean cruise in 1934 introduced her to the Near East, and the bustling, colorful streets and bazaars of Cairo, captured in works like A Street in Cairo, Egypt and A Moroccan Jug...

Eleanor Park Custis painted scenes as varied as the artist's travels: from her hometown of Washington, D.C., to the coastal towns of New England; from the prosperous fishing villages of Brittany, to Venice and the mountain villages and lakes of northern Italy. While Custis's subjects are diverse, her style is consistent and distinctive throughout this body of work. Her use of flat areas of color delineated by dark contours is reminiscent of the aesthetics of woodblock printing. Like many artists of the day, she was profoundly influenced by Japanese woodblock prints, and her adaptation of the aesthetic by 1924 led to her most productive artistic period. Eleanor Custis hailed from a socially prominent Washington, D.C., family. She was distantly related to Martha Custis Washington, America's first First Lady. Custis began three years of formal art training in the autumn of 1915 at the Corcoran School of Art in Washington, and was guided and inspired by Impressionist artist Edmund C. Tarbell, one of the Ten American Painters, who became the Corcoran School's principal in 1918. Custis exhibited widely in many of the Washington art societies and clubs for much of her career. She was also a frequent exhibitor at the Grand Central Art Galleries in New York City; her last one-woman show there was in April 1945. Custis's mature style emerged in scenes of the streets, wharves, and drydocks of seacoast villages from Maine to Massachusetts, which she visited during the summers of 1924 and 1925. She was working in Gloucester, Massachusetts in August 1924, and painted several gouaches of the town's wharves and winding streets, including In Gloucester Harbor and At the Drydock, Gloucester. During her stay, Custis may have met Jane Peterson or at least must have seen her work, the best of which was executed in Gloucester during the preceding ten years. The similarity between their styles is unmistakable, but, while it may be tempting to suggest that Custis was influenced by Peterson during her summer in Gloucester, the connection between their work is probably more a case of shared aesthetics and common European influences. Custis expanded her subject repertoire with three trips to Europe between 1926 and 1929, and was inspired by the Old World charm of Holland, northern France, Switzerland, and Italy, leading to such works as New Kirk, Delft, Holland, Market Day in Quimper, At the Foot of the Matterhorn, and The Town Square, Varenna. A Mediterranean cruise in 1934 introduced her to the Near East, and the bustling, colorful streets and bazaars of Cairo, captured in works like A Street in Cairo, Egypt and A Moroccan Jug...

Signed on old frame backing, 'La Vere Hutchings' (American, 1918-1998) and titled 'Early Snow'. LaVere Hutchings had a degree in art and during WWII ...

Nicolino Calyo's career reflects a restless spirit of enterprise and adventure. Descended in the line of the Viscontes di Calyo of Calabria, the artist was the son of a Neapolitan a...

Thomas Fransioli’s cityscapes are crisp and tidy. Buildings stand in bold outline, their forms squarely defined by stark light and long shadows. Saturated color permeates every corner of his canvases, from vibrant oranges and greens to smoky terra cottas and granites. Even the trees that line Fransioli’s streets, parks, and squares are sharp and angular, exactly like those in an architect’s elevation rendering. But Fransioli’s cities often lack one critical feature: people. His streets are largely deserted, save for parked cars and an occasional black cat scurrying across the pavement. People make rare appearances in Fransioli’s compositions, and never does the entropy of a crowd overwhelm their prevailing sense of order and precision. People are implied in a Fransioli painting, but their physical presence would detract from the scene’s bleak and surreal beauty. Magic Realism neatly characterizes Fransioli’s artistic viewpoint. The term was first broadly applied to contemporary American art in the 1943 Museum of Modern Art exhibition, American Realists and Magic Realists. As exhibition curator Dorothy Miller noted in her foreword to the catalogue, Magic Realism was a “widespread but not yet generally recognized trend in contemporary American art…. It is limited, in the main, to pictures of sharp focus and precise representation, whether the subject has been observed in the outer world—realism, or contrived by the imagination—magic realism.” In his introductory essay, Lincoln Kirstein took the concept a step further: “Magic realists try to convince us that extraordinary things are possible simply by painting them as if they existed.” This is Fransioli, in a nutshell. His cityscapes exist in time and space, but certainly not in the manner in which he portrays them. Fransioli—and other Magic Realists of his time—was also the heir to Precisionism, spawned from Cubism and Futurism after the Great War and popularized in the 1920s and early 1930s. While Fransioli may not have aspired to celebrate the Machine Age, heavy industry, and skyscrapers in the same manner as Charles Sheeler, his compositions tap into the same rigid gridwork of the urban landscape that was first codified by the Precisionists. During the 1950s, Fransioli was represented by the progressive Margaret Brown...

Badri Narayan - The Celestial Garment - 6.5 x 11 inches ( unframed size) Watercolor on paper This work features in the Book on Badrinarayan Written by Ms. Prema Vishwanathan & Publis...