Joseph Yeager Drawings and Watercolor Paintings

Image dimensions: 7 ¼ x 10 ½ inches Framed dimensions: 16 ½ x 20 inches To produce his murals, Sargent painted monumental canvases in his studios in London and Boston, adhering them...

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...

An early-20th-century, landscape showing a view of the coastline at Moss Beach in Monterey County with slate-blue skies overhead and a view towards a stand ...

Charles Marion Russell (1864 - 1926) Old Russell House Pencil on paper 3 1/2 x 6 1/2 inches Provenance: Kennedy Galleries, New York Raydon Galleries, ...

Bridge Painter WPA American Modernism Mid 20th-Century Realism Industrial Worker. Sight size: 18 x 23 1/4 inches. Estate stamped verso. This drawing is the study for a large oil we ...

Morning Near Arizona, (Desert Landscape) is an original color pencil drawing from 1888 by George Elbert Burr (1859-1939). Portrays a spring/summer landscape with a tree and fauna, cl...

Painting with flowers for living room. Painting in red colours for bedroom. Painting for classic interior. Impressionistic painting. A watercolor painting with red grape leaves. Ric...

Edward Dufner (1872 - 1957) Monhegan Island, Maine Watercolor on paper Sight 16 x 20 inches Signed lower right With a long-time career as an art teacher and painter of both 'light' and 'dark', Edward Dufner was one of the first students of the Buffalo Fine Arts Academy to earn an Albright Scholarship to study painting in New York. In Buffalo, he had exchanged odd job work for drawing lessons from architect Charles Sumner. He also earned money as an illustrator of a German-language newspaper, and in 1890 took lessons from George Bridgman at the Buffalo Fine Arts Academy. In 1893, using his scholarship, Dufner moved to Manhattan and enrolled at the Art Students League where he studied with Henry Siddons Mowbray, figure painter and muralist. He also did illustration work for Life, Harper's and Scribner's magazines. Five years later, in 1898, Dufner went to Paris where he studied at the Academy Julian with Jean-Paul Laurens and privately with James McNeill Whistler. Verification of this relationship, which has been debated by art scholars, comes from researcher Nancy Turk who located at the Smithsonian Institution two 1927 interviews given by Dufner. Turk wrote that Dufner "talks in detail about Whistler, about how he prepared his canvasas and about numerous pieces he painted. . . A great read, the interview puts to bed" the ongoing confusion about whether or not he studied with Whistler. During his time in France, Dufner summered in the south at Le Pouleu with artists Richard Emil Miller...

Winold Reiss The Red Silo Signed lower left Watercolor on paper 20 x 29 inches Winold Reiss (1886-1953) was an artist and designer who emigrated to the United States from Germany in 1913. Probably best known as a portraitist, Reiss was a pioneer of modernism and well known for his brilliant work in graphic and interior design. A compassionate man who greatly respected all people as human beings, he believed that his art could help break down racial prejudices. Like his father Fritz Reiss (1857-1915), who was also an artist and who was his son's first teacher, Winold Reiss was artistically moved by diverse cultures. The elder Reiss focused on folk life in Germany while Winold drew substantial inspiration from a range of cultures, particularly Native American, Mexican, and African-American. As did many young aspiring artists, Winold Reiss studied with the esteemed painter and teacher Franz von Stuck at the Royal Academy of Fine Arts in Munich, which was at that time a center of the decorative and fine-arts movement. It is not known whether Reiss met E. Martin Hennings...

John Cuthbert Hare was an accomplished New England painter born in Brooklyn, New York. He began his artistic journey by studying commercial art at the Pratt Institute in New York Cit...

A watercolour and gouache on paper of pink chrysanthemums or oillets in a vase. The painting is monogram signed bottom right but as yet undeciphered. The painting is framed in a mode...

Large, colourful, Mid Century French watercolour of a tablescape by Roger Decaux. Signed bottom left. Roger DECAUX was born in 1919 in Dombasle sur Meurthe in the Lorraine. He studied art in Paris with Gino Severini and Jan Brusselmans...