Simpson Fine Art Landscape Drawings and Watercolors

Paul Emile Lecomte (1877-1950) La Grille (The Gate) Signed lower left Watercolor on paper 27 x 37 cm In quite condition: yellowed by time, some stains Framed: 43 x 53 cm Paul Emile ...

Village in Normandy by Paulémile Pissarro (1884 - 1972) Watercolour, ink and charcoal on paper 40 x 31.2 cm (15 ³/₄ x 12 ¹/₄ inches) Signed lower left, Paulémile Pissarro Executed ...

Gorgeous mid century fauvist watercolor landscape with lush, vivid trees and distant houses by Emily Shotwell Goeller-Wood (American, 1887-1965). Presented in a rustic giltwood frame...

This original circa 1910s plein air field study by renowned Colorado landscape artist Charles Partridge Adams captures the serene beauty of the Rocky Mountains in a masterful display...

Here for your consideration is a beautifully executed watercolor of a bucolic New England series of village houses by the American artist, Gary Shepard. ...

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...

This is an exclusive handprinted limited edition cyanotype. "Serene Cove Ripples" is a gorgeous original cyanotype diptych showing calming sea ripples in a Mediterranean cove. Details: + Title: Serene Cove Ripples + Year: 2022 + Edition Size: 100 + Medium: Handmade Cyanotype Print on Watercolor Paper + Stamped and Certificate of Authenticity provided + Measurements : 100x140 cm (40 x 55.2 in.) Each paper measures 70x100 cm (28x 40 in.) each, a standard frame size + All cyanotype prints are made on high-quality Italian watercolor paper WHAT IS A CYANOTYPE? The cyanotype (a.k.a. sun-print) process is one of the oldest in the history of photography, dating back to the 1840's. Cyanotypes were then made famous by Anna Atkins...

This vibrant and evocative artwork "My sweet summer Provence " presents a picturesque seaside landscape, painted with bold strokes and a vivid color palette that instantly captivate...

John Hare Gloucester Harbor at Sunset, Massachusetts Signed lower right Watercolor on paper 16 x 12 inches John Cuthbert Hare, 1908-1978, was a watercolorist who painted boats, seascapes and harbor scenes. He was primarily associated New England, especially Cape Cod, Massachusetts where he spent his summers from 1938 to 1965. However, he was in Florida where he was a member of the St. Augustine Art Association, and other locations on the East Coast. It is likely Hare was born in New York City. He first studied commercial art in Brooklyn at the Pratt Institute and also studied at the Art Students League in Manhattan. He worked for Hearst newspapers corporation, and in 1933 married. In the next few years, he and his wife traveled extensively, camping and painting and exhibiting his work in galleries. In 1935, they visited St. Augustine and an exhibition of his watercolors was held there in the old bank...

Here for your consideration is a well executed watercolor of a bucolic landscape scene with figures by the British artist, Henry John Kinnaird. Signed lower left. Title inscribed lower right. Circa 1908 when the artist moved to Sussex to live and paint. Condition is excellent. Framed in a beautiful contemporary white gold antiqued gallery frame. Under glass. Overall framed measurements are 28 by 40 inches. Provenance: A Sarasota, Florida collector. Henry John Kinnaird British, (1861-1929) “A View near Harting...

Original watercolor and gouache on archival paper of birch trees in winter along a fenced roadway with a quaint home in the background. Signed lower right. Condition is excellent. Circa 1960. The watercolor is in a solid mahogany frame under UV glass in fine condition. Overall framed measurements are 14 by 11 inches. Provenance: A East Hampton, Long Island, New York collector. Born in Queens, Long Island, NY, Impressionist landscape and seascape painter Francis Dixon studied at the Art Students League in New York City under Impressionists Frank Vincent DuMond, Cape Cod, Massachusetts artist, Charles W. Hawthorne, and modernist Robert Henri. Having a good singing voice Dixon was an Army and Navy Song Leader for the War Department during World War I. From 1915 to 1917 was living and painting in Los Angeles, Carmel and Point Lobos, California. Dixon exhibited his California paintings at Folson Galleries New York City in 1917. Dixon continued to travel and paint, visiting Bermuda in 1923 and 1925, and Europe in the mid-1920s. In the 1930s he was living on West 55th Street in Manhattan with a number of other artists. He was a member of the Allied Artists of America (NY); Connecticut Academy of Fine Arts; and the Salmagundi Club, NY. He exhibited at The Corcoran Gallery of Art, Washington, D.C. (1916); Folson Gallery (NY, 1917, solo); Society of Independent Artists (NYC, 1917-18, 1920-22, 1924); Salmagundi Club (NYC, 1917-1940, 1943, 1945); National Academy of Design (NYC, 1925); Studio Guild Galleries (NYC, 1937); Barbizon-Plaza Galleries NYC, 1939); Allied Artists of America (NYC, 1940); and Salons of America (NYC). Dixon’s solo exhibitions included Babcock Galleries (NYC, 1926 and 1927); Women's University Club...

Signed and dated impressionist landscape oil on canvas by French painter Jean Baptiste Armand Guillaumin. This simply stunning piece de...