Peter Sculthorpe Drawings and Watercolor Paintings

Represented by George Billis Gallery, NYC & LA --RUSS HAVARD Artist Statement I'm drawn towards nature imagery that depicts isolated elements in their continual struggle to flourish ...

A serene Hudson River scene by a student of Louis Comfort Tiffany. Anna May Walling was born in 1881, a native of Goshen, New York. She was a graduate of the Blair Academy, and Prat...

Represented by George Billis Gallery, NYC & LA --RUSS HAVARD Artist Statement I'm drawn towards nature imagery that depicts isolated elements in their continual struggle to flourish ...

Thelma Corbin Moody AbEx Mountain Side c. 1960's Watercolor on Arches Paper 29.5" x 22", Unframed Thelma Corbin Moody (1908-1986) of Modesto, CA....

Represented by George Billis Gallery, NYC & LA --RUSS HAVARD Artist Statement I'm drawn towards nature imagery that depicts isolated elements in their continual struggle to flourish ...

Stover Mill is an American regional landscape of a historic mill and farm in Bucks County, Pennsylvania by local resident and artist Loraine Thompson. The 10.5 x 13.5 inches watercol...

Represented by George Billis Gallery, NYC & LA --RUSS HAVARD Artist Statement I'm drawn towards nature imagery that depicts isolated elements in their continual struggle to flourish ...

Represented by George Billis Gallery, NYC & LA --RUSS HAVARD Artist Statement I'm drawn towards nature imagery that depicts isolated elements in their continual struggle to flourish ...

Industrial Landscape Contemporary American Watercolor Magic Realism 20th Century Henry Koerner (1915-1991) J&L Oxygen Plant 18 x 24 1/2 inches Watercolo...

"Country Farmhouse" is a 9 x 10.5 inches, watercolor on paper painting by American illustrator, Henry James Soulen. The landscape is signed "H J Soulen" in the lower left, it is newl...

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...

Original watercolor on archival paper of a sailboat with a trailing dory heading out to sea. Attributed to the hand of Alexander Yaron. Signed lower right and dated 1980. Condition is excellent. Under glass. The artwork is matted and housed in a rounded front edge solid oak wood frame. Overall framed measurements are 27 by 34 inches. Provenance: A Sarasota, Florida gentleman. Alexander A. Yaron was born in Estonia in 1910, lived in China and the Philippines before moving to the United States in the 1950’s. He lived in New York as well as in Anaheim, California where he has a working studio. An autodidact and a versatile commercial artist, Alexander Yaron applied his talent in portraiture, photography, interior design, advertising, layout and illustration. His best known projects were illustrated art...