Jo Cain Landscape Drawings and Watercolors

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...

This charming late 19th-century watercolour by British artist E Wood depicts a beautiful 15th/16th century farmhouse near Godalming in Surrey, England. As chickens rummage for food ...

This mid-19th-century Swiss school drawing depicts the beautiful Esplanade de Montbenon in Lausanne, Switzerland. The picturesque gardens of the Esplanade de Montbenon provide a spl...

French School 19th Century, Peasants and donkeys at the fountain, in Italy watercolor with heightenings of gouache on paper 27.5 x 34.5 cm No frame, no mat A charming, well-execut...

William Glackens Street Fair, circa 1905 Pencil, ink and gouache on paper 10 x 14 inches Provenance: The artist Kraushaar Galleries, New York Estate ...

French 1960's gouache and watercolour view of a Provencale bastide, its surrounding farm, countryside and fields of poppies, by J P George. Signed and Dated bottom right. A super ch...

Watercolor and gouache on cream wove paper. Signed and titled in watercolor in the lower right image area. Small circular pea-sized damp stain in the top center image area (visible in the are of the sky), and some additional small spots of unobtrusive foxing in the upper left sheet area. Otherwise in very good condition with fresh colors and intricate brushwork. Henri Schäfer...

Emilio Sanchez (1921-1999) created the watercolor entitled “Schooner St. Croix” in 1952. This piece is signed in pen at the lower right and titled on the verso. The paper size is 16.88 x 22.25 inches. Stamped on verso "Estate of Emilio Sanchez." Good to very good condition. “Best known for his architectural paintings and lithographs, Emilio Sanchez (1921-1999) explored the effects of light and shadow to emphasize the abstract geometry of his subjects. His artwork encompasses his Cuban heritage...

Edouard Dufeu (1836-1900) A Fantastic scene by a lake Charcoal on paper Signed lower right 23 x 30,5 cm Framed under glass : 42.5 x 51 cm This fantastic scene, the subject of which remains a mystery, reveals an aspect of Edouard Dufeu's personality in which he is more influenced by Romanticism. We can recognise his nervous, painterly style, which lends itself particularly well to this fantastic scene. Edouard Jacques Dufeu was born in Marseilles on 27 march 1836, and he died in Grasse on December 1 , 1900. He was a French painter and engraver . Coming from a family originally from Egypt, Dufeu moved to Paris in 1860 and frequented the studio of Charles Gleyre...

This artwork is a watercolor on paper by noted artist Carolyn Bullis Blish, born 1928. It is signed at the lower right corner by the artist. The artwork size is 17 x 26 inches, framed is 28 x 37 inches. Framed in his original wooden gold and mahogany color frame. The artwork is in excellent condition, the frame is in very good condition, with very minor small dents and scratches, hardly visible. About the artist. A former model, actress, and newscaster, artist Carolyn Blish is known primarily for her watercolor landscapes. She received a very short training in painting under the tutelage of artist Edgar...

This drawing is part of the current exhibition entitled "The fantastic story of the liquid mountain" at Claire Corcia Gallery in Paris. The liquid mountain is populated by living be...

Pen and black ink on watermarked Ingres laid paper, 9 1/4 x 12 1/4 inches (234 x 310 mm), signed, dated and titled in brown ink, and initialed and titled in black ink in the lower right corner. Light to moderate age tone and mat tone, and with the signature and notations in brown ink having become quite attenuated, although legible. Presented in a basic black wood frame with a label from the Country Art...