Manhattan - Landscape Drawings and Watercolors

Clinton Hill (1922-2003), created quintessential mid-century images. He lived in SoHo, New York, and was a frequent Gallery visitor. Born in Idaho and raised on a working ranch, ...

Graham Nickson Orvieto "Black Sun", 2000 Watercolor painting on Lanaquarelle paper Hand signed, titled and dated by Graham Nickson on the back This exquisite watercolor painting dep...

"Bridge" Contemporary African American Urban Landscape 20th Century Alvin Ailey NYC ROMARE BEARDEN (American, 1914-1988) The Bridge, 1982 signed 'Romare Bearden' (upper left); with...

Clinton Hill, who lived in SoHo, New York, was a frequent Gallery visitor. Born in Idaho and raised on a working ranch, he joined the US Navy during World War II and became a command...

Paul Gattuso attended the Art Students League and worked primarily in New York City. There is an old address with a Bronx, Grand Concourse address. Gattus...

Clinton Hill (1922-2003), created quintessential mid-century images, but figures are unusual in his work. This is from a very early period. From 1949 to 1951 he attended the Brooklyn...

"NY Street Signs" Mid-20th Century WPA 1938 Modernist Abstract Realism Pop Art Stuart Davis (American, 1892-1964) "Street Signs" Modernist gouache and traces of pencil on paper in the proto-pop art style Davis is celebrated for, 1938, signed to lower right, framed. Image: 11 1/4 x 15 1/4 inches. Frame by Bark: 18 1/2 x 22 inches. LITERATURE: A, Boyajian, M. Rutkowski, Stuart Davis, A Catalogue Raisonne, Vol. 2, New Haven, Connecticut, 2007, vol. II, p. 632, no. 1232, illustrated. EXHIBITIONS: ACA Galleries, New York American Artists' Congress: Group Exhibition of Paintings and Sculpture, Dec. 3-16, 1939 (SDAB I, 12/3/39, p. 129). Outlines Gallery, Pittsburgh, Stuart Davis, Mar. 3-16, 1946. Coleman Art Gallery, Philadelphia, 5 Prodigal Sons: Former Philadelphia Artists: Ralston Crawford, Stuart Davis, Charles Demuth, Julian Levi, Charles Sheeler, Oct 4 - 30, 1947 (pamphlet), no. 12. PROVENANCE: The artist; Mr. and Mrs. Frank Bowles, New York, Apr. 3, 1956; thence by descent, Private Collection, New York. NOTES: According to the Catalogue Raissonne, "the title 'Street Signs' is recorded in the artist's account books...

Clinton Hill (1922-2003), created quintessential mid-century images. He lived in SoHo, New York, and was a frequent Gallery visitor. Born in Idaho and raised on a working ranch, ...

Ranulph Bye (American, 1916-2003) Rocks and Trees (Doylestown, PA), 1958 Watercolor on paper 14 x 21 in. Framed: 23 1/8 x 30 1/4 in. Signed bottom: Ranulph...

Clinton Hill (1922-2003), created quintessential mid-century images. This abstraction references Florence, Italy, where he studied in the early 1950s. He lived in SoHo, New York, a...

In this work, the artist returns to a favorite spot in Alley Pond Park, Queens, to memorialize the ever-evolving carved names and glyphs in this majestic trunk. She is documenting no...

Clinton Hill (1922-2003), created quintessential mid-century images. He lived in SoHo, New York, and was a frequent Gallery visitor. Born in Idaho and raised on a working ranch, ...

Jennifer Losch Bartlett Ocean piece: Untitled painting studies, 1975 Ink and pastel, mixed media on graph paper Boldly signed and dated "Summer 75" by Jennifer Bartlett on the lower right front Frame included: held in a museum quality wood frame with UV plexiglass Ink and pastel on graph paper drawing. Boldly signed and dated "Summer 75" by Jennifer Bartlett on the lower right front. Some of the artist's annotations on the drawings say: Ocean piece Sky Water Beach Sometimes looking from water maybe see mountain two people on beach lying down sometimes they face each other ... bwhitefree hand drawing from water beach w/ towel sky sand water on a diagonal on a curve sky water sand...

Apparently Bendiner never went a day without drawing. He was amazing! In this scene of a young 'cowgirl' is working a lasso while an 'old cowhand' looks on -- clutching a cigaret of...

West Virginia native Grace Martin Taylor, artist for the brightly colored pastel (TownView), attended the Pennsylvania Academy of Fine Arts and the Art S...

Charcoal on paper drawing by Toronto-based artist Katherine Curci. Framed. Katherine Curci began this series of charcoal drawings, premiered in This L...

This drawing reveals the artist's mastery of the medium and her connection to her subjects. In this one, we peek beach-strewn seashells from her travels to Sanibel Island boast bubbl...

Norman Barr recorded his beloved New York City from the Bronx, to Coney Island, to the Fulton Fish Market. In this period he was on the New Deal's Mural ...

Reginald Marsh "Manhattan Bridge" NYC American Scene Modernism Watercolor WPA Urban Realism, 20 x 14 inches. Watercolor and pencil on paper, 1938. Signed...

Francesco Spicuzza (American, 1883-1962) Untitled Landscape, 20th century Pastel on paper Sight size: 24 x 30 in. Framed: 26 1/4 x 32 3/8 in. Signed lower right: Spicuzza Italian-born Francesco Spicuzza was primarily a Wisconsin painter who did portraits, still-lives and local landscapes. He spent the first part of his life in near-poverty to become a painter. An eternal optimist, in 1917, the artist reported: "I am happy and my only ambition now is to paint better and better until I shall have reached the measure of the best of which I am capable." (Spicuzza, 1917, p. 22). His predilection for beach scenes germinated early: reportedly, the five-year-old boy first drew the outlines of his father's fishing boat in the sand on the seashore near their home in Sicily. After setting himself up as a fruit peddler in Milwaukee, Spicuzza's father sent for his family when Francesco was eight years old. For the following six years the boy was unable to attend school because of his job in his father's fruit and vegetable business. The poor lad suffered a caved-in shoulder from carrying a heavy wooden crate. The young Spicuzza was aided by moral and financial support from a sympathetic Milwaukee businessman named John Cramer, publisher and editor of the Evening Wisconsin, who raised Spicuzza's salary as a newspaper assembler so that he could attend school. In 1899 or 1900, Spicuzza began studying drawing and anatomy under Robert Schade (1861-1912), a painter of panoramas who had been trained in Munich under Carl Theodor von Piloty. Spicuzza was also taught by Alexander Mueller (1872-1935), a product of the Weimar and Munich academies. Mueller realized Spicuzza was a colorist and encouraged that orientation (Madle, 1961). Spicuzza found it beneficial to accept an apprenticeship in a lithographic studio for $8 a week, which demanded most of his time. During the St. Louis Universal Exposition in 1904, still a struggling student, Spicuzza attended the fair, thanks to Cramer. It was not long before Spicuzza received a twenty-five dollar portrait commission, and this inaugural success led to new commissions and allowed him to continue as a painter. The earliest influences in his work appear to be from Edward H. Potthast and Maurice Prendergast, though Spicuzza never mentioned either artist. Already in August 1910, Spicuzza was described in a newspaper as "one of the most talented of Milwaukee's rising workers." He undoubtedly received lasting inspiration from his one summer study period in 1911 with John F. Carlson at the Art Students League's Summer School in Woodstock, New York. Certainly Spicuzza would have picked up spontaneity in handling the brush from Carlson. Although he executed numerous still-lives and an occasional religious work, Spicuzza is best known for his Milwaukee beach scenes populated with frolicking bathers in multi-colored attire, not unlike the images of Potthast, who used a similar technique. Many of these are small, preparatory works on canvas board executed between 1910 and 1915. Frequently with even greater animation than Potthast, Spicuzza produced moving images of youthful energy and uninhibited child's play. These beach genre scenes reflect the attitude of American impressionists who depicted the more pleasant side of life. Spicuzza manipulated a successful balance of rich pigment applied in varying degrees of impasto texture with subtle nuances of hue. Working all'aperto, he sought "the soft enticing shades of yellow, blue, green, pink and lavender . . . to get the effects of bright glistening summer air." (L.E.S., n.d.). As a painter whose color not only derived from direct observation but also from a personal theory of color symbolism, Spicuzza traded the linear approach of lithography for dynamic patches of brilliant color. Like Prendergast, he would often tilt the angle of the picture plane to bring the viewer's position above the scene. Spicuzza was unable to enter the 1913 Armory Show or the Panama-Pacific International Exposition two years later but he did submit work to the annual exhibitions of the Pennsylvania Academy of the Fine Arts and those of the Art Institute of Chicago. His first important award was the bronze medal presented by the St. Paul Institute in 1913, which was followed by the silver medal two years later. Before long, Spicuzza had acquired a greater sense of security in his profession and was described by a writer in International Studio (April 1917) as "an independent artist with an assured future. His pastels and water-colours are poetic and joyous bits of nature with a genuine out-of-door feeling." In 1918, his Spirit of Youth, exhibited at the National Academy of Design, sold for $112.50. Four years later, the artist achieved his greatest local recognition by winning the gold medal from the Milwaukee Art Institute. Spicuzza spent a great deal of time painting en plein air and by 1925 he began summering at Big Cedar Lake, near West Bend, Wisconsin to gather his subject matter. Easter Morning (1926) owes something to the Symbolist movement, with its figure of Christ appearing over a seascape. During the difficult era of the Depression, patrons came to Spicuzza's aid and during the 40s, he taught housewives, businessmen and students at the Milwaukee Art Institute, the Milwaukee Art Center, and in his private studio. In the following decade, although his kind of art was no longer popular in the "make-it-or-break-it" New York gallery world, Spicuzza enjoyed regular patronage and sales. His beach scenes became more static and he would experiment with modernist techniques. Spicuzza died at the age of seventy-eight. Sources: L.E.S., "Do Colors Change a Person's disposition? Experiments of a Milwaukee Artist...

Latvia-born William Sanderson became a contributor to the New Yorker and New Masses magazines during the 1930s. He was drafted into the Army during World Wa...

Apparently Bendiner never went a day without drawing. He was amazing! From Bendiner's Philadelphia the New Jersey beaches were an easy drive. Avalon is st...

"Since my early childhood, nature has had a profound affect on me in ways that I cherish. The state of mind that is instilled within me when walking through the woods, or on a seclud...

Marsden Hartley ALPSPITZE #3 (with Zabriskie Gallery Label), 1933 Pencil on cream wove paper. In original vintage frame with Zabriskie Gallery label Sticker label, framed with Zabris...

Norman Barr recorded his beloved New York City from the Bronx, to Coney Island, to the Fulton Fish Market. In this period he was on the New Deal's Mural ...

Gouache on paper This artwork is offered by ClampArt, located in New York City Born in California, John Button (1929-1982) was educated at University of California, Berkeley. After...

Gouache on paper Signed and dated in pencil, l.r. This artwork is offered by ClampArt, located in New York City Born in California, John Button (1929-1982) was educated at Universi...

"Bathers" American Scene Social Realism 20th Century Modernism Ashcan Fauvism Charles Demuth (1883-1935) "Bathers" 10 1/2 x 8 1/4 inches watercolor on paper, c. 1930 Signed lower le...

Waves 1913 Inscribed in ink and pencil, recto; Extensive notes in pencil, verso Watercolor and graphite on cream wove paper 3.5 x 5.5 inches This work is offered by ClampArt in N...

An idyllic scene at New York City's favorite beach, Coney Island. Before the year was over Barr was in the Army. It is ink and litho-crayon. Barr liked that medium because it didn't ...

The location of this early oil pastel drawing was identified by other pieces from the same drawing book. The oil pastel was a new invention - just on the market in 1921 and it appea...

Gouache on paper Signed and dated, l.r. 9 x 12 inches This artwork is offered by ClampArt, located in New York City Born in California, John Button (1929-1982) was educated at Univ...

William Zorach, 1887-1966 Redwoods, Yosemite Valley, 1920 Watercolor and pencil 15 ¾ x 13 ⅜ inches Signed (at lower right): William Zorach WZorach-7 Provenance: Estate of William Zorach Exhibited: William Zorach, 1887-1996, Sculpture, Drawings and Watercolors, Zabriskie Gallery, New York; Feb. 10 – March 14, 1998. William Zorach was born in Lithuania in 1889, and immigrated to the United States with his family in 1893. Settling in Cleveland with his parents, he worked as a lithographer from 1902- 1908, making enough money to study painting with Henry G. Keller at the School of Art. In 1910, Zorach traveled to Paris to study in La Palette, where he was encouraged to develop his own unique style rather than adhere to traditional teachings. Zorach once said, “I began to be conscious of the various modern influences that were invading the art world…I was disturbed and confused, and yet I felt that I was a very young man entering a new age. The forces creating modern art seemed more alive to me than anything I had known or anything being done in America.” 1 Together with his wife Marguerite, William Zorach produced a number of Cubist- style paintings for the American Armory Show of 1913, and the Forum Exhibition in New York in 1916. Around 1917, Zorach followed the lead of cubist artist Pablo Picasso and began experimenting with wood and stone carvings. By 1922, he devoted himself entirely to sculpture, and like Picasso, became fascinated in “primitive art”—the ritual objects and sculpture pieces of Oceanic, Native American and African tribes. Zorach’s work developed in its use of block-like forms with progressive suppression of detail—drawing elements from sources as disparate as the contemporary cubist and modernist movements, and combining them with forms seen in early African sculpture. Though the forms of his sculpture were often abstract, Zorach primarily focused upon a traditional subject matter, producing such well-known sculptures as Young Girl, now in the Whitney Museum of American Art, and Mother and Child, in the collection of the Metropolitan Museum of Art. Today, William Zorach is known as one of the earliest and most influential American artists dedicated to direct carving. Zorach also made an impression as a teacher and writer, facilitating a major change in the aesthetic philosophy and technique of sculpture in the United States. During the summers from 1913 to 1922, Zorach and his wife Marguerite painted...

Mary M. Johnsen Four Paintings, c. 1950s Watercolor Dimensions: 1. Mat: 18 x 21 1/4 in., page: 8 x 12 1/4 in. 2. Page: 14 7/8 x 22 in. 3. Mat: 15 x 19 in., page: 10 1/2 x 14 1/2 in....

AMERICA'S CUP - 1967. BEAT TO THE FINISH - INTREPID (USA) VS. DAME PATTIE (AUS). “Beat to the Finish” is a 1967 watercolor by Joseph Webster ...

Trees and Sun 1927 Color pastels on ivory wove paper 10.375 x 7.25 inches This work is offered by ClampArt in New York City.

Untitled, c. 2000 Watercolor on paper Sight: 8 1/4 x 11 in. Framed: 12 1/8 x 15 x 1/2 in. Signed lower right: Bintinaye-Farey

"Backyards" Early 20th Century Watercolor Fauvism Social Realism American Scene Note: We have three similar in style works from 1911 available now on 1stDibs. All are framed identic...

"Good Health Week" WPA American Scene Mid 20th Century Modern Social Realism Jo Cain (1904 – 2003) Good Health Week 10 ½ x 15 1/2 inches Oil on pape...

42nd Street NYC 1923 Deco WPA Ashcan American Modern Cityscape Realism Broadway. 10 x 7 1/2 inches. Graphite on paper. Signed, titled "42nd Street" and dated July 26, 1923, lower l...

Charles Burchfield, 1893-1967 Wallpaper Design No.2, 1922-28 Watercolor and gouache on paper

Albert Marquet Boat in Tunisia, ca. 1920 Ink on paper 7 1/5 × 5 in 18.2 × 12.8 cm Hand-signed by the monogram lower right

Sandy Litchfield found peace and inspiration in regular solitary walks through nature throughout the pandemic. Her most recent body of work diaristically documents her constitutional...

Railroad Worker Industrial WPA American Scene Mid Century Modern Social Realism Jo Cain (1904 - 2003) Railroad worker 36 ¼ x 27 inches Oil on paper c. 1930s S...

Mary Reilly explores the full tonal depth of graphite in her nature drawings and landscapes. She finds all of the soft subtleties of gray as she shifts seamlessly from leaf to bud, s...

AMERICA'S CUP - 1967. WING MARK. INTREPID - DAME PATTIE [AUS]. This Joseph Webster Golinkin watercolor of the 1967 America's Cup depicts the...

Wolf Kahn Ocean Cove, 1996 Pastel on paper painting Hand signed and dated by Wolf Kahn on the lower right Frame included: matted and framed in a wood frame with UV plexiglass This u...

Two Men on a Street Early 20th Century w/c Fauvism Social Realism American Scene Note: We have three similar in style works from 1911 available now on 1stDibs. All are framed identi...

Sandy Litchfield brings her magical abstracted landscapes to a new medium in her recent colored pencil drawings. Loose, delicate lines scramble over one another, bringing a diffuse, ...

Renelio Marin is a visual artist with a diverse range of influences and styles. Born in Cuba, he received his graduate degree from the San Alejandro School of Fine Arts in Havana in ...

Magazine Cover Illustration Mid 20th Century Modern Theatre Broadway Realism WPA Ernest Hamlin Baker (1889 – 1975) “Today Magazine” Cover ...

Sandy Litchfield finds the consummate marriage of medium and subject in her latest enchanted landscapes. She narrows her focus to lake scenes, creating an almost palindrome-like comp...

Reilly uses a toning technique to endow her graphite works with a smooth, seamless quality. Rather than distinct outlines, her flower petals glide gracefully into the surrounding spa...

Sandy Litchfield finds the consummate marriage of medium and subject in her latest enchanted landscapes. She narrows her focus to lake scenes, creating an almost palindrome-like comp...

"Tobacco Road" Mid 20th Century Realism 1940 Drawing from the Novel WPA Literary 19 1/4 x 11 1/2 (sight), Signed David Fredenthal lower right. Framed by ...

Diane Burko Lily Pond at Giverny, 1990 Hand colored monoprint (lithograph with hand coloring) Hand signed and numbered 8/95 by the artist and bears publisher's stamp on the front 21 ...

The drawings and paintings of Dozier Bell are at once deep evocations of natural environments culled from memory and experience past, and reflections of a life of philosophical inquiry and keen observation that merge in her work as marvels of virtuosity and poignant imagery. Her work is a visual autobiography of a sort, one that recalls generations of a Maine family that worked the land, kept the wilderness at bay, planted tree farms...

David Roberts, Tombs of the Mamelukes. David Roberts (1796-1864) antique lithograph of the "Tombs of the Mamelukes, Cairo" from the 1st edition in gilt frame, England, 1849. Dimensi...