Continental US - Landscape Drawings and Watercolors

872 BRU Series: Steep/Stepped Parade. [Bruges, Belgium]. Contemporary artist Thomas Roese, inspired by the industrial landscape of steel mills, rail yards, architectural details, a...

Colorful mountain river watercolor painting by Henry "Hank" Volle (American, 20th Century). Signed "Henry Volle" lower right. Artists bio on verso. Pre...

Beautiful mid-century small-scale watercolor landscape of fishermen with their boats on the shore by unknown artist. Signed lower left corner illegibly. Circa 1940's. Unframed. Image...

In BOOM BUST REPEAT17, Peña creates a silhouette of house and fills it with sharpe-edged shapes that contain gradients and saturated hues of red, green, and violet. He balances these colors with muted tones of orange and yellow . The viewer can create a house that is yet to be built in between the gaps here. In "Boom, Bust, Repeat", Peña remarks on a house and landscape that has yet to take place. The painting is created with watercolor and acrylic paint on paper. In the foreground we see Sintra board or flattened PVC that has been CNC routed. In the "soil" beneath the house are small circular lines that have been hand drawn with India ink. The Sintra board has been cut to reveal arrows in the negative space pointing upwards as to hint at a boom in the market. Peña’s works range from painting to multimedia installations that question the ever-changing psychological landscape of America; asking the viewer to re-examine their perceptions of the “American Dream” and the affects that pursuit has on our environment and national psyche. The realization that both the idealistic pursuit of happiness and the relevance of painting in a technologically driven world informs his practice. With each composition the labor begins with digital composites of a fragmented American landscape in peril —where tension lies in the contrasts between past and present, analog and digital, representation and abstraction, and stability and instability. In his most recent series the American home (stability) and fragmented and shifting landscape (instability) are veiled by a digitally produced mat. Traditionally a mat is, by definition, a flat, thin piece of paper based material included within the picture frame and serves as additional decoration when framing artwork. He activates this commonly overlooked material by using a non-traditional material, Sintra (flattened sheet of PVC), that has a negative digitally drawn image cut-out. This cut-out might, at first glance, look hand cut however, a more astute viewer would realize the precision is mechanical. The mat has been transformed from inactive decoration to digitally produced veil that represents the technologically anxious precision we surround ourselves with. Nick Peña...

Robert Strati is an American artist who creates multimedia artworks using broken plates. His recent series “Fragmented” started when he accidentally dropped and broke a porcelain pla...

HOPE is a new watercolor on Arches paper by Fleur Thesmar. The artwork measures 22x30". The artist has written that in the spring of 2020, at the height ...

Highly detailed drawing of a windmill on a farm in Denmark by M. Mayer (20th Century). A large rustic windmill is the central focus of the piece, towering above the nearby trees and ...

Atsuko Honda (b.1984, Osaka) utilizes traditional techniques and methods that are increasingly rare among 21st-century practitioners. Honda has been focusing on printmaking since 200...

The idyllic atmosphere of this Mexican scene is located in Mexico, west of Mexico City and south of Guadalajara. “Red Hills Near Patzcuaro” is set in a golden light. and was one of three paintings by the artist while the artist visited Patzcuaro, Mexico. The humans depicted lend an atmosphere to the painting and an indication of location - dressed in native Mexican peasant dress - without being obtrusive and causing the viewer to concentrate on them. The intense red hills of Patzcuaro are the feature in this painting along with the pinon and juniper trees and the Chamisa shrub. This piece has been professionally reframed with acid-free matting and museum glass. In a 1952 Detroit Free Press article, entitled “Artist Explains His Work,” Culver was asked why he painted the way he did. He stated: “I try to ‘see’ though not too exactly; I try to think though not too ponderously; I feel emotion yet I try not to become overwrought. I interpret rather than describe, and design rather than depict. I work with values, not light and shade; hence, when I am successful, I achieve substance rather than three-dimensional form, and this satisfies me as being wholly sufficient. In my work I wish to be serious without becoming a bore, exuberant without being frivolous, humorous without being silly. I believe that good paintings are conceived, not contrived; and I am interested in art much more than in pictures.” Charles Culver...

Artist: Joseph Solman, American (1909 - ) Title: Provincetown Dock Year: 1962 Medium: Gouache on black paper, signed and dated l.c. Size: 9 x 11.5 inches Frame Size: 19 x 22 inches

Cheerful floral landscape of a garden in bloom by Doris Ann Warner (American, 1925-2010). Signed "Warner" lower right. Unframed. Image size, 22.5"H x 15"L. Doris Ann Warner began ...

This artwork titled "Riverwash" 1985 is an original watercolor on Arches watermarked paper by noted American artist Anne Popperwell, born 1948. It is signed at the lower right corner by the artist. The artwork size is 22 x 30 inches, framed is 28.25 x 36.25 inches. It is custom framed in a metal bronze color frame. It is in very good condition. About the artist. Anne Popperwell was born in Oakland, California, in 1948 and studied art at the San Francisco Art Institute from 1968-1970 with a major in painting and a minor in photography. She has been painting and exhibiting her work in both private and public galleries, primarily in Canada, since 1981. She paints in watercolour on paper and acrylic on canvas, though not exclusively, using nature-based imagery. Shortly after her arrival in Canada in 1976, Anne moved to an island off the West Coast to paint a particular landscape, the eroded sandstone shoreline. In the course of this eight-year series of paintings, she experimented with point of view, scale and colour, developing a method of working that creates the effect of light coming from within the subject itself. Her paintings are included in private, corporate and public collections in Canada and in private collections in the United States, Mexico and Europe. Solo Exhibitions: 2016 "Shades of Saturna", Artlink Canada, Jaydon Gallery, Vancouver, British Columbia 2009 “Beauty” Casa Dahlia Galeria, San Jose del Cabo, Mexico 2008 “Tropical Flowers” Casa Dahlia Galeria, San Jose del Cabo, Mexico 996- "Why Don't You Just Leave?" paintings and video installation 1998 tour to 11 British Columbia regional galleries, originating at the Art Gallery of Greater Victoria Victoria, British Columbia 1993 Fran Willis Gallery, Victoria, British Columbia 1991 Fran Willis North Park Gallery, Victoria, British Columbia 1990 Fran Willis North Park Gallery, Victoria, British Columbia 1986 Robert Vanderleelie Gallery, Victoria, British Columbia Thomas Gallery, Winnipeg, Manitoba 1984 Grace Gallery, Vancouver, British Columbia Winchester Galleries, Victoria, British Columbia 1982 Kyle's Gallery, Victoria, British Columbia 1981 Kyle's Gallery, Victoria, British Columbia Art Gallery of Greater Victoria, Victoria, British Columbia Burnaby Art Gallery, Burnaby, British Columbi1980 Kamloops Public Art Gallery, Kamloops, British Columbia Selected Group Exhibitions: 2014 Insight Art Gallery, Galiano, B.C 2012 The Field Gallery, San Jose del Cabo, Mexico 2002 “European Media Arts Festival”, Osnabruck, Germany 1997 “Open House”, Canadian Cultural Centre, Paris, France 1994 "Spring Run", Baux-Xi Gallery, Vancouver, British Columbia 1994-1996 Government House, Victoria, B.C. 1992 "Hanging Gardens", Fran Willis Gallery, Victoria, British Columbia 1990 "Bumbershoot Festival 1990", Seattle, Washington 1986 "Images B.C." The British Columbia Pavilion, Expo 86 Vancouver, British Columbia 1985 "Hot Water Colour", Harbourfront, Toronto, Ontario "B.C. Women Artists" Art Gallery of Greater Victoria, Victoria, British Columbia 1983 "National Watercolour Exhibition" Contemporary Art Gallery, Vancouver, British Columbia 1981 “Painter’s Day”, Kyle’s Gallery, Victoria, B.C. Public Collections British Columbia Art Collection, Victoria, British Columbia Art Gallery of Greater Victoria, Victoria, British Columbia Maltwood Art Museum, Victoria, British Columbia City of Vancouver, Vancouver, British Columbia Esso Resources Canada, Ltd., Calgary, Alberta Canada Council Art Bank, Ottawa, Ontario Grants and Awards 1995 British Columbia Cultural Services Branch grant 1973 City of Vancouver Purchase Grant Exhibition Reviews, Catalogues and Articles "A Sense of Place", Aqua magazine, Salt Spring Island, B.C. (Summer 2014) illus. “Why Don’t You Just Leave?”, Exhibition Catalogue, Art Gallery of Greater Victoria, Victoria, B.C. (April, 1996) illus. Cover, Preview Magazine, Vancouver, B.C., (May/June 1990) Waterman, Jennifer A. “Planetary Visions, Sacred Images of the Earth” Herizons, Winnipeg, Manitoba (Volume 4 #8, December, 1986) p. 44, illus. “B.C. Women Artists”,Exhibition Catalogue, Art Gallery of Greater Victoria, Victoria, B.C. (October, 1985) illus. Orford, Emily Jane, “Anne Popperwell’s Intimate Earth”, Victoria Times-Colonist, Victoria, B.C. (October 7, 1984) p. 8 Hartog, Diana, “Body Landscapes...

Watercolor of castle ruins along a road possibly by John Varley (jr.?). In the foreground, there is a figure with a hat, cane, and red coat beside the roa...

This artwork titled "California Landscape" c.1990 is a watercolor on paper by noted California artist Arnold A. Grossman, 1923-2016. It is signed ...

Verdant plein air landscape of Chena Hot Springs during summer in Alaska by unknown artist (American, 20th Century). Signed "Kiana" and titled "Chena Hot Springs" lower right. Unfram...

Serene mountain landscape of Mount St. Helens, Oregon, featuring autumn trees in a meadow and distant epic mountain range by Richard "Dick" Turnland (American, 1933-2015). Signed "R. Turnland" lower right. Image size: 16" H X 21.5 " L. Born in Minneapolis, Minnesota, “Dick” Turnland lived in Ocean Beach San Francisco...

Donald Owen Colley Jettisoned, 2016 hand colored lithograph 15h x 22.50w in 38.10h x 57.15w cm DOC002 Photography is the frozen look… whereas art is the sustained look. One of the m...

Detailed industrial landscape of an open-pit mine by Joseph Yeager (early-mid 20th Century) on heavy bond watercolor paper with ragged edges. Signed "Joe Yeager" in the lower right corner. No frame. Joseph "Joe" Yeager (American, 20th Century) was raised in Cleveland Ohio, where he went to art school at night and started his art career at 19. He was a commercial artist for the Cleveland Press...

Soft watercolor accents add to the beauty of this cyanotype and watercolor titled "Elkhorn Slough" by Cheryl Trotter (American, 20th century), c.1980's....

Edith Maskey Died Circa 2022 Comfort Artist Image Size: 14.5 x 23.5 Frame Size: 23.75 x 33 Medium: Conte Crayon "Chateau in Eagle Pass" "It is a blessing ...

Maritime watercolor landscape of boats on the marina in Redondo Beach by Gene Wynne (American, 20th Century). Signed "Gene Wynne" in the lower left corner. Title on verso reads "At the Princess Louise...

Vibrant depiction of a sunset by Adele Marks. The sun appears to burn white-hot in the center of this piece, radiating warm colors into the sky above and water below. Surrounding the...

Double-sided watercolor of pink chrysanthemums along a tree branch and a colorful abstract on verso by Les (Leslie Luverne) Anderson (American, 1928-2009). From the estate of Les And...

You are viewing a modernist American watercolor painting by Robert Noel Blair. Robert Noel Blair (American, 1912-2003) was an American artist, painter, sculptor, printmaker and te...

Ghost Ranch Encantado 22 x 22" image size watercolor, unframed. Shrink-wrapped on poster board. I document the essence of the landscape everyday. I am interested in those untouched...

Dynamic abstracted geometric landscape drawing of the industrial East Bay California landscape by Erle Loran (American, 1905-1999), circa 1940. From collectio...

C. 20th Century - Beautiful Painting of Venice done by Ruth Light Braun

Thon, William (American, 1906-2000).; UNTITLED (DRAWING OF A BOAT #2; LIKELY IN ITALY). Ink and watercolor on paper. Not dated. Unsigned. 14 x 17 inches. In excellent condition. From...

Graphite and watercolor on paper stock drawing by the Russian Federation artist, Carl Ivanovitch Kollmann. Circa 1830. Condition: Good. Actual drawing diameter is 6.5 inches. Impr...

Early 20th-century watercolor landscape of a water hole beside a monolith under a stormy sky, oasis-like in the arid setting of Monument Rock, Kansas by an unknown artist (American, ...

Colorful abstracted landscape of a garden porch in autumn with pumpkins by Les (Leslie Luverne) Anderson (American, 1928-2009). Signed "Les Anderson" lower right. Unframed. Image siz...

Abstracted watercolor landscape of a peaceful waterfall by an unknown artist (20th Century). Chinese watercolor school. This piece is on rice paper, laid down on heavier paper. Incl...

PLAN OF A PART OF NEWPORT, R.I. SHOWING CHANGES IN HIGHWAYS ASKED FOR BY O.H.P. BELMONT, ESQ. The original ink and watercolor plan on paper from 1907. The plan is extremely large; if fully assembled it would measure no less than 11.5 feet in height and 6.5 feet in breadth. Segmented and backed on modern linen in four sections – each section is 70 x 39 inches. This grand oversized folding map can be folded down to four sections each 17.5 x 11 inches and stored in a modern made leather and marble paper case 18 x 11.75 x 3 inches. Text continues, "Prepared for Charles Warren Lippitt at the office of J. P. Cotton, C.E. Newport, R.I. Oct. 28, 1907." A fine manuscript plan of the Bellevue neighborhood of Newport, depicting the street layout and the detailed footprints of the area’s many mansions. The plan was produced at the behest of Charles Warren Lippett (1846-1924), who served as governor of Rhode Island from 1895-1897. The Lippett “Breakwater” mansion is also shown on this plan, situated at the southernmost tip of the peninsula. Though the circumstances are unclear, Lippitt seems to have requested the plan be drawn out of some concern for road construction proposed by Oliver Hazard Perry...

20th Century "Coastal Church on Sunday" Original Watercolor by Burchfield Beautiful watercolor of a Presbyterian church on Sunday Watercolor dimensions 25" wide x 17" high The fra...

Verdant watercolor landscape with architectural elements of archways leading to a lush garden by California artist Virginia Hughins (Virginia Brubaker DeWolf), (American, 1923-2004)....

Wonderful watercolor landscape of a tree by the pond by Aptos, California artist Virginia Hughins (American, 1923-2004). Unsigned and unframed. Image size, 14.25"H x 19.75"L. Hughin...

Lovely early 20th century colored pencil landscape sketch of Shoreham Downs by an unknown artist (United Kingdom, 20th Century). Signature i...

Artist: Ian Hornak (1944-2002) Title: Untitled (Apocalyptic Tropical Landscape) Year: 1973 Medium: Ink on heavy archival paper Size: 22 x 30 inches ...

Vintage watercolor seascape of boats docked in the marina by Doris Ann Warner (American, 1925-2010). Signed "Warner" lower right. Unframed. Image size, 22.5"...

This is a one of a kind original impressionist cityscape watercolor painting by southern California artist, Duke Windsor. It is framed as pictured. Its framed dimensions are 27.5" x ...

Christopher Ganz Laocoon 2013 Colored pens 11.75h x 8.50w in 29.84h x 21.59w cm CG0022 -ARTIST STATEMENT- I depict my person in multiplicity with different selves representing dramatis personae. My likeness is both implicit and symbolic in the portrayal of my narrative; the drama involved in creating art and the artist’s role in society. I use realism to invite the viewer into mysterious inner worlds that are layered reflections of the outer. Dehumanizing environments are imbued with art historical references as a critique of power structures. The artist is an Everyman who is at odds with society and his self. Visually my work is a celebration of society’s dark undercurrents and its overlooked absurdities. I use charcoal and printmaking media as their tenebrous values add a fitting metaphor. The nuances of light and shadow seduce viewers into a world their better judgment would have them avoid. This provokes a sense of disquietude that causes viewers to assess our world through the austerity of a colorless, yet not humorless, light. -BIO- Christopher Ganz grew up in Northeast Ohio and from early on had a fertile imagination and an interest in art. Christopher's artistic education truly began at the University of Missouri, where his love of the human form led to many figure drawing classes and his exposure to the wonders of printmaking. Christopher's then went onto graduate school at Indiana University and a summer abroad program in Italy was a dream realized. Christopher then grasped charcoal with a renewed vigor and large, sfumato-laden drawings ensued. Christopher's artistic influences are many; from a seminal exposure to Dore's engravings of the Divine Comedy, to Rembrandt, Caravaggio, Goya, and up to Lucian Freud, Mark Tansey, and Michael Mazur. Christopher is now an associate professor of printmaking and drawing at Indiana-Purdue University Fort Wayne. Christopher drawings are represented by Ann Nathan Gallery in Chicago, and he shows his prints across the nation. -CV- EDUCATION MFA 2001 Printmaking Indiana University-Bloomington BFA 1995 Drawing and Printmaking University of Missouri-Columbia TEACHING/PROFESSIONAL EXPERIENCE 2002-13 Associate Professor, Printmaking and Drawing Indiana University–Purdue University Fort Wayne (IPFW), Fort Wayne, IN 2002 Adjunct Professor: Lithography (instructor of record) Indiana University-Bloomington 1998-00 Associate Instructor: Beginning Drawing (instructor of record) Indiana University-Bloomington 1998 Artist’s Assistant, Assisted Distinguished Professor Emeritus Rudy Pozzatti in the production of an intaglio edition, Bloomington, IN SOLO OR SMALL GROUP EXHIBITIONS 2013 Multiplicities: Drawings and Prints by Christopher Ganz, Franklin College, Franklin, IN Feb. 5 – Feb. 21 2012 Dramatis Personae: Drawings and Prints by Christopher Ganz, University of South Carolina-Columbia, Jan 16. – Feb. 16, 2012 2011 Christopher Ganz; Prints and Drawing Hendrix College, Hendrix, Arkansas, March 5 - 18 2009 Fall Season Exhibition, six drawings displayed Ann Nathan Gallery, Chicago. Oct 16 – Nov. 24 South Bend Museum of Art Biennial 25 - regional juried exhibition for artists in all media, six large drawings displayed; 14 artists selected from over 200 submissions; May 30-Aug. 23 Juror: William Lieberman, Director of Zolla/Lieberman Gallery, Chicago 2007 Christopher Ganz: Drawings, The Carnegie Visual and Performing Arts Center Covington, KY, March 9 - April 6 Alter Egos: Drawings and Prints by Christopher Ganz Trisolini Gallery, Ohio University, Athens, OH, Jan. 9 - Feb.17 2005 The Two-Way Mirror: Self - Portraits by Christopher Ganz Fort Wayne Museum of Art, Fort Wayne, IN, Aug.20 - Oct. 23 2004 Works on Paper: Christopher Ganz and Paul Schumann Robert E. Wilson Gallery, Huntington College, Huntington, IN, Sept. 2 - 25 2002 Images by Christopher Ganz - Visual Arts Gallery Indiana University-Purdue University Fort Wayne, Fort Wayne, IN, Sept. 3 – Oct. 11 2001 M.F.A. Thesis Exhibition - School of Fine Arts Gallery Indiana University, Bloomington, IN, March 27 - April 7 SELECTED ADJUDICATED OR INVITATIONAL GROUP EXHIBITIONS 2012 International Expositions of Sculpture Objects and Functional Art (SOFA) Chicago, Drawing, “The Initiation” on display in Ann Nathan Gallery space, Nov. 2-4 Reverse Watching, Invitational Print Portfolio Monoprint, “The Mind’s Eye" displayed at Mid America Print Council’s National Conference, Southeast Missouri State, Cape Girardeau, MO, Nov. 1 – 3 Contemporary American Realism: Fort Wayne Museum of Art 2012 National Biennial, Fort Wayne, IN, Aug.11-Oct. 28 32nd Annual National Print Exhibition at Artlink - National Juried Exhibition Artlink Gallery, Fort Wayne, IN, April 13 – May 23 Juror: Ladislav Hanka, internationally exhibiting printmaker International Expositions of Sculpture Objects and Functional Art (SOFA) New York, Park Avenue Armory, Drawing, “The Enigma” on display in Ann Nathan Gallery space, April 20-23 Spring Group Show, drawings, “Checking Out” and “The Enigma” displayed, April – May 2 Ann Nathan Gallery, Chicago 2011 Prints U.S.A. 2011 – National Juried Exhibition Springfield Art Museum, Missouri, Nov. 18 – Jan. 8 Juror: Elizabeth Wyckoff, Curator of Prints, Drawings & Photographs, St. Louis Art Museum International expositions of Sculpture Objects and Functional Art (SOFA) New York, Park Avenue Armory, Drawing, Checking Out on display in Ann Nathan Gallery space, April 14-17 2010 Contemporary American Realism: Fort Wayne Museum of Art 2010 National Biennial, Fort Wayne, IN, Sept. 3 – Nov. 7; two pieces accepted Cultural Baggage, Invitational Print Portfolio Intaglio print, Super-Heroes go to Hell, after Dore’ displayed at Mid America Print Council’s National Conference, University of Minnesota Minneapolis, MN, Chicago, Oct. 13-16 Art Chicago: International Fair of Contemporary and Modern Art Drawing, The Cyclops on display in Ann Nathan Gallery space, April 29 - May 2 30th Annual National Print Exhibition at Artlink - National Juried Exhibition Artlink Gallery, Fort Wayne, IN, April 16 – May 26 Juror: Claudia Berlinski, Senior Lecturer of Printmaking at Akron University, Akron, OH 2009 Are you looking at me? Invitational Print Portfolio Color lithograph, Open and Shut, displayed at IMPACT 6: International Print Conference Centre for Fine Print Research, University of the West of England, Bristol, Sept. 16 – 19 Art Chicago: International Fair of Contemporary and Modern Art Drawing, Self-Checkout on display in Ann Nathan Gallery space, May 1 – 4 Identification Please, Invitational Print Portfolio Intaglio print, Good Cop/Bad Cop displayed at Southern Graphics Council National Conference, Columbia College, Chicago, March 25 – 29 Boston Printmakers 2009 North American Print Biennial – National juried printmaking exhibition Juror: Rebecca Waddell, Curator of Prints at the New York Public Library Boston University’s 808 Gallery, Boston, MA, Feb. 15 – March 30 22nd Parkside National Small Print Exhibition - National Juried Exhibition University of Wisconsin-Parkside, Kenosha, WI, Jan.18 - Feb. 19 Juror: Professor of printmaking at the University of Wisconsin - Parkside Portraits and Beyond, Ann Nathan Galley, Chicago, IL, Jan. 9 - Feb 19 2008 Contemporary American Realism: Fort Wayne Museum of Art 2008 National Biennial, Fort Wayne, IN, Sept13 – Nov. 2; two pieces accepted 28th Annual National Print Exhibition at Artlink - National Juried Exhibition 2008 Artlink Gallery, Fort Wayne, IN, April 11 – May 21 Juror: Mark Pascale, Printmaking Faculty, School of the Art Institute of Chicago and Curator of Prints and Drawing, Art Institute of Chicago “No Danger” - Invitational Portfolio Folded paper airplane lithograph, “The Dream of Flight” displayed at Richmond International Airport as part of the Southern Graphics Council National Conference Virginia Commonwealth University, Richmond, VA, March 26 – April 26 21st Parkside National Small Print Exhibition - National Juried Exhibition University of Wisconsin-Parkside, Kenosha, WI, Jan.20 - Feb. 21 Juror: Karla Hackenmiller, Printmaking Chair and Associate Professor, School of Fine Arts, Ohio University 2007 Singularities – Invitational group exhibit Joan Resnikoff Gallery, Roxbury Community College, Boston, MA Nov. 2 – Dec. 17 Hong Kong Graphics Art Festival 2007: Crossing Boundaries - Invitational international printmaking exchange exhibition School of Design Gallery, Hong Kong Polytechnic University, Kowloon, Hong Kong, China, Nov. 1 – Nov. 16 27th Annual National Print Exhibition at Artlink - National Juried Exhibition Artlink Gallery, Fort Wayne, IN, May 26 - July 5; two pieces accepted Award Selector: Brett Colley, Assistant Professor of Art and Design, Grand Valley State University Boston Printmakers 2007 North American Print Biennial – National juried printmaking exhibition Boston University’s 808 Gallery, Boston, MA, Feb. 18 - April 1 Juror: Judith B. Hecker, Assistant Curator, Department of Prints and Illustrated Books, The Museum of Modern Art, New York 2006 The Printed Image: The First Biennial Midwestern Graphics Juried Exhibition National Juried Printmaking Exhibition Alice C. Sabatini Gallery, Topeka & Shawnee County Public Library, Topeka, KS Aug. 11 - Sept 15 Juror: Karen Kunc, Professor of Printmaking/Book Arts, University of Nebraska- Lincoln 2006 National Contemporary American Realism: Fort Wayne Museum of Art's 2006 Biennial, Fort Wayne, IN, June 10 - Aug. 20; two pieces accepted 26th Annual National Print Exhibition at Artlink - National Juried Exhibition Artlink Gallery, Fort Wayne, IN, May 26 - July 5; two pieces accepted Award Selector: Carolyn Autry, artist and Associate Professor of Art and Art History at the University of Toledo 19th University of Dallas Print Invitational - Traveling national invitational exhibition Haggerty Gallery, University of Dallas, Irving TX, Jan. 28 – March 6 three pieces accepted Texas A&M University – Corpus Christi, TX, Feb. 1 – March 9, 2007 Juror: Juergen Strunck, Professor of Art, University of Dallas A Mammalian Future? - Invitational Portfolio Intaglio print Jonas Ark displayed at Southern Graphics Council National Conference University of Wisconsin-Madison, University of Wisconsin-Madison, April 5 – 9 Paper in Particular - National Juried works on paper exhibition Larson Gallery, Columbia College, Columbia, MO, Feb. 5 - March 5; two pieces accepted. Juror: David Morrison, Professor of Printmaking, Herron School of Art and Design, Indianapolis, IN 19th Parkside National SmallPrint Exhibition - National Juried Exhibition University of Wisconsin-Parkside, Kenosha, WI, Jan.15 - Feb. 16 Juror: Rudy Pozzatti, Professor Emeritus, Indiana University - Bloomington 2005 18th Parkside National Small Print Exhibition - National Juried Exhibition University of Wisconsin-Parkside, Kenosha, WI, Jan.14 - Feb. 22 Juror: Karen Kunc, Professor of Printmaking/Book Arts, University of Nebraska-Lincoln 2004 Exchange! A Survey of International and National Exchange Print Portfolios Visual and Performing Arts Center, Main Gallery, Purdue University, Feb. 1 - 15 Juror: Kathryn Reeves, P rofessor of Art, Purdue University 2003 23rd Annual National Print Exhibition at Artlink - National Juried Exhibition Artlink Gallery, Fort Wayne, IN, May 16 - July 2, 2003 Border to Border – National Juried Drawing Exhibition Trahern Gallery, Austin Peay State University, Clarksville, TN, March 3 - 30 Juror: Jim Cantrell, independent studio artist, Bardstown, KY On/Of Paper – National Juried Exhibition Clyde Snook Gallery, Adams State College, Alamosa, CO, March 3 - April 11 Juror: Dale Leys, Professor of Drawing, Murray State University, Murray, KY Emerging Artists 2003 – National Juried Exhibition Limner Gallery, New York, NY, Feb.12 – March 1 Jurors: Tim Slowinski...

A vibrant 1970's vintage autumn watercolor landscape scene of an aspen tree with fall foliage by Lewis Suzuki (American, 1920-2016). Artist's signatu...

Hand signed in pencil and hand numbered lithograph on fine French Arches paper. Jerusalem Landscape. Avigdor Arikha (April 28, 1929 – April 29, 2010) was a Romanian-born French–Isra...

Circa 1940 Signed lower left Sight size 19 x 26 in Overall 27.5 x 34.5 in original period frame

"59th Street Bridge" is a 22" x 30" watercolor on paper cityscape of the Brooklyn Bridge and city skyline, painted by Pennsylvania Impressionist and...

Flower 8:54 am is a watercolor work on paper by Cynthia MacCollum. This original artwork is 12x9 on archival paper. It is currently unframed. It was part of a series based on imag...

Frederic Charles Vipond Ede was born in 1865 in Nottawa in Ontario, Canada. He began his studies in America before traveling to Paris, where he studied at the Académie Julian under T...

Pastel on paperboard H 14.25 x W 19.75 in. (sight size) Signed lower right Copy of Certificate of Authenticity from the artist attached to verso Provenance The artist Kahan Gallery...

Abstract composition by Les Anderson (American, 1928-2009). Unsigned, but was acquired from the estate of Les Anderson in Monterey, California. No frame. Les (Leslie Luverne) Anders...

Mary Reilly’s laborious method of toning her paper serves as the starting point for her intricate compositions. She begins by covering the entire sheet with up to eight smooth, unmod...

Untitled (Taos Pueblo) Ink on paper, 1985-1990 Signed by the artist in ink lower right (see photo) An early New Mexico period work, created shortly after the artist moved from New York. Provenance: estate of the artist Dehn Heirs Condition: Excellent Image/sheet size: 13 1/8 x 18 1/2 inches Virginia Dehn From Wikipedia, the free encyclopedia Virginia Dehn Virginia Dehn in her studio in Santa Fe Virginia Dehn (née Engleman) (October 26, 1922 – July 28, 2005) was an American painter and printmaker. Her work was known for its interpretation of natural themes in almost abstract forms. She exhibited in shows and galleries throughout the U.S. Her paintings are included in many public collections. Life Dehn was born in Nevada, Missouri on October 26, 1922.] Raised in Hamden, Connecticut, she studied at Stephens College in Columbia, Missouri before moving to New York City. She met the artist Adolf Dehn while working at the Art Students League. They married in November 1947. The two artists worked side by side for many years, part of a group of artists who influenced the history of 20th century American art. Their Chelsea brownstone was a place where artists, writers, and intellectuals often gathered. Early career Virginia Dehn studied art at Stephens College in Missouri before continuing her art education at the Traphagen School of Design, and, later, the Art Students League, both located in New York City. In the mid-1940s while working at the Associated American Artists gallery, she met lithographer and watercolorist Adolf Dehn. Adolf was older than Virginia, and he already enjoyed a successful career as an artist. The two were married in 1947 in a private ceremony at Virginia's parents house in Wallingford, Connecticut. Virginia and Adolf Dehn The Dehns lived in a Chelsea brownstone on West 21st Street where they worked side by side. They often hosted gatherings of other influential artists and intellectuals of the 20th century. Among their closest friends were sculptor Federico Castellón and his wife Hilda; writer Sidney Alexander and his wife Frances; artists Sally and Milton Avery; Ferol and Bill Smith, also an artist; and Lily and Georges Schreiber, an artist and writer. Bob Steed and his wife Gittel, an anthropologist, were also good friends of the Dehns. According to friend Gretchen Marple Pracht, "Virginia was a glamorous and sophisticated hostess who welcomed visitors to their home and always invited a diverse crowd of guests..." Despite their active social life, the two were disciplined artists, working at their easels nearly daily and taking Saturdays to visit galleries and view new work. The Dehns made annual trips to France to work on lithographs at the Atelier Desjobert in Paris. Virginia used a bamboo pen to draw directly on the stone for her lithographs, which often depicted trees or still lifes. The Dehns' other travels included visits to Key West, Colorado, Mexico, and countries such as Greece, Haiti, Afghanistan, and India. Dehn's style of art differend greatly from that of her husband, though the two sometimes exhibited together. A friend of the couple remarked, "Adolf paints landscapes; Virginia paints inscapes." Virginia Dehn generally painted an interior vision based on her feelings for a subject, rather than a literal rendition of it.] Many of her paintings consist of several layers, with earlier layers showing through. She found inspiration in the Abstract Expressionism movement that dominated the New York and Paris art scenes in the 1950s. Some of her favorite artists included Adolf Gottileb, Rothko, William Baziotes, Pomodoro, and Antonio Tapies. Dehn most often worked with bold, vibrant colors in large formats. Her subjects were not literal, but intuitive. She learned new techniques of lithography from her husband Adolf, and did her own prints. Texture was very important to her in her work. Her art was influenced by a variety of sources. In the late 1960s she came across a book that included photographs of organic patterns of life as revealed under a microscope. These images inspired her to change the direction of some of her paintings. Other influences on Dehn's art came from ancient and traditional arts of various cultures throughout the world, including Persian miniatures, illuminated manuscripts, Dutch still life painting, Asian art, ancient Egyptian artifacts...

Joanne Seltzer was born in Philadelphia, Pennsylvania and raised in Charleston, West Virginia. After having majored in journalism at Northwestern University (she graduated in 1963), ...

Signed by the artist in pencil lower right Provenance: Estate of the Artist References And Exhibitions: With the artist's own original presentation (frame and matting) Two simil...

Soft watercolor accents add to the beauty of this unique cyanotype and watercolor landscape of the Point Sur Lighthouse in Big Sur, California by Cheryl Trotter (American, 20th centu...

Ink sketch of a view of Rockaway Township that is located in New Jersey. Paper has some discoloration. Dimensions without Frame: H 18.5 in. x W 12.5 in.

Untitled (Mountainside Trail), c. 1900 Watercolor on paper 6 1/8 x 7 3/4 in. Mat: 8 x 10 in.

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...

Baruch Nachshon, was born in Mandatory Palestine in 1939, in the city of Haifa. Nachshon began to paint in early childhood, and developed his relationship to art and to artists throu...

13x22" image size monotype, unframed. Shrink-wrapped on poster board, paper size total 22x30". I document the essence of the landscape everyday. I am interested in those untouched v...

Gordon Hope Grant (1875-1962) created the watercolor entitled “The Lumber Wharf” in circa 1947. It is signed in the lower left 1 inch above the paper edge. The watercolor paper size ...