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New York - Landscape Drawings and Watercolors

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Item Ships From: New York
Watercolor Painting American Modern Cubist Landscape Boats Mountains Blue White
Located in Buffalo, NY
Dorothy Rivo Untitled (Boats and Peaks) Acrylic on panel Framed dimensions: 22 in. H × 28 in. W Contemporary black frame In Untitled (Boats and Peaks), Dorothy Rivo renders a mariti...
Category

1940s American Modern New York - Landscape Drawings and Watercolors

Materials

Acrylic, Board

Railroad Worker Industrial WPA American Scene Mid Century Modern Social Realism
By Jo Cain
Located in New York, NY
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...
Category

1930s American Realist New York - Landscape Drawings and Watercolors

Materials

Paper, Oil

"Canal at Indian Mound Road" RARE Ben Fenske Gouache work on paper black & white
By Ben Fenske
Located in Sag Harbor, NY
Painted during the 2015 Winter Equestrian Festival in Wellington, Florida. A black and white depiction of a canal, is barely recognizable, due to Fenske's wild brushstrokes and lack...
Category

21st Century and Contemporary American Impressionist New York - Landscape Drawings and Watercolors

Materials

Paper, Gouache

Watercolor 7, Work on Paper, Colorful, Organic Shapes, Natural, Moving, Cosmos
By Melinda Hackett
Located in Riverdale, NY
Watercolor 7 is a 13.5" x 10.5" , watercolor on paper. It is filled with earthy colors and organic shapes. Melinda Hackett is a mid-career New York Artist. She received her BA at ...
Category

Early 2000s Contemporary New York - Landscape Drawings and Watercolors

Materials

Watercolor

Magazine Cover Illustration Mid 20th Century Modern Theatre Broadway Realism WPA
By Ernest Hamlin Baker
Located in New York, NY
Magazine Cover Illustration Mid 20th Century Modern Theatre Broadway Realism WPA Ernest Hamlin Baker (1889 – 1975) “Today Magazine” Cover ...
Category

1930s American Modern New York - Landscape Drawings and Watercolors

Materials

Gouache, Paper, Watercolor, Ink

"Alpi Apuane, Italy" american impressionist watercolor painting of Swiss Alps
By Nelson H. White
Located in Sag Harbor, NY
Painted from life, the Swiss Alps as viewed from Italy. Framed in a thick grey wooden frame. Dimensions framed: 12.5 x 19.25 inches Nelson H. White was born in New London, Connectic...
Category

21st Century and Contemporary American Impressionist New York - Landscape Drawings and Watercolors

Materials

Watercolor

Venice
By Jane Peterson
Located in New York, NY
Singed (at lower left): Jane Peterson
Category

Early 20th Century American Impressionist New York - Landscape Drawings and Watercolors

Materials

Gouache

“Trinity Church, Wall Street”
By Leon Dolice
Located in Southampton, NY
Original oil pastel on archival paper by the well known American artist, Leon Dolice. The painting depicts Trinity Church with several of the more contemporary buildings of Wall Stre...
Category

1930s Modern New York - Landscape Drawings and Watercolors

Materials

Oil Pastel, Archival Paper

Watercolor of the Oak Tree by Allen Tucker
By Allen Tucker
Located in Hudson, NY
Landscape watercolor by Allen Tucker of an oak tree. This piece, along with several others, was gifted to Una Brage, a friend of the artist in the 1930s. More about this artist: Allen Tucker, was an architect and painter so influenced by Vincent Van Gogh that he was called "Vincent in America". (Gerdts 291) Robert Henri and Maurice Prendergast were also credited as having an influence on Tucker's brushwork and compositions, the latter decisively. However, as his painting evolved, he did not fit into any tidy slot for description and was known as an individualist not easily categorized in American art history. Tucker was born in Brooklyn in 1866 and graduated from the School of Mines of Columbia University with a degree in architecture and took a job as an architectural draftsman in the architectural firm of McIvaine and Tucker, his fathers business. During that time, he studied painting at the Art Students League with Impressionist John H. Twachtman, but it was not until around 1904, when he was 38, that Tucker became a full-time painter, leaving architecture behind. Many of his early canvases were classically Impressionistic with poplar trees resembling those of Van Gogh and haystacks and corn shocks...
Category

Early 20th Century American Impressionist New York - Landscape Drawings and Watercolors

Materials

Paper, Watercolor

Pizza Shark 2 v 2
By Renelio Marin
Located in New York, NY
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 ...
Category

2010s Conceptual New York - Landscape Drawings and Watercolors

Materials

Color Pencil, Tempera, Permanent Marker

Village Market Watercolor
Located in Lake Worth Beach, FL
Street scene village market, well executed watercolor and pencil drawing, artist titled and signed illegibly, attributed to Moisey Kogan Russian 1924-2001. Image size about 27"x18"F...
Category

1970s Modern New York - Landscape Drawings and Watercolors

Materials

Watercolor, Archival Paper, Pencil

Village Market Watercolor
Village Market Watercolor
$1,000 Sale Price
20% Off
Chapel and houses along a lake, New England Landscape - American School, 19th C
Located in Middletown, NY
Watercolor and pencil on buff wove watercolor paper, 10 x 8 inches (255 x 203 mm). In good condition with overall minor toning. Some watercolor paint splatters on the verso, contem...
Category

Early 1900s American Modern New York - Landscape Drawings and Watercolors

Materials

Watercolor, Pencil

Mother and Children watercolor painting by John E. Costigan
By John Costigan
Located in Hudson, NY
Painting measures 22" x 28" and framed 26" x 32" x 2" Hand-signed "J.E. Costigan NA 1952" lower left. About this artist: John Costigan was a self-taught painter distinguished by h...
Category

Mid-20th Century American Impressionist New York - Landscape Drawings and Watercolors

Materials

Paper, Watercolor

The Seven Seas: Embarkation Print
By Robert Strati
Located in New York, NY
Robert Strati is an American artist who creates multimedia artworks using broken plates. His recent series “Fragmented” started when he accidentally drop...
Category

2010s New York - Landscape Drawings and Watercolors

Materials

Porcelain, Ink, Digital

Ocean Cove unique signed pastel painting by America's foremost landscape painter
By Wolf Kahn
Located in New York, NY
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...
Category

1990s Contemporary New York - Landscape Drawings and Watercolors

Materials

Pastel, Oil Pastel

Miss Maude Hunters Cabin, Pop Art Watercolor by Gay Kabbash
By Gay Kabbash
Located in Long Island City, NY
Artist: Gay Kabbash, American Title: Miss Maude Year: 1988 Medium: Watercolor on Paper, signed and dated Size: 18 in. x 23.5 in. (45.72 cm x 59.69 cm) Frame Size: 23 x 29 inches
Category

1980s Pop Art New York - Landscape Drawings and Watercolors

Materials

Watercolor

"Rail Yard" Urban Industrial WPA American Scene Drawing NYC Mid-Century
By Joseph Solman
Located in New York, NY
"Rail Yard" Urban Industrial WPA American Scene Drawing NYC Mid-Century. Initialed "JS" upper right Solman was a pivotal figure in the development of 20th century American art. He ...
Category

1930s American Modern New York - Landscape Drawings and Watercolors

Materials

Paper, Gouache

Winter View 1, Hudson: Black & White Charcoal and Green Pastel Drawing of Forest
By Sue Bryan
Located in Hudson, NY
charcoal and carbon on Arches cotton paper 8 x 10 inches This contemporary charcoal drawing on Arches cotton paper was completed in 2016 by Sue Bryan. Born in Ireland, the artist uses landscapes from her childhood as inspiration for her current work primarily consisting of beautifully detailed charcoal drawings of trees...
Category

2010s Modern New York - Landscape Drawings and Watercolors

Materials

Paper, Charcoal, Carbon Pencil

Scottish Village by Alexander P. Thomson, R.S.W.
Located in New York, NY
Alexander P. Thomson, R.S.W. (Scottish, 1887-1962) Plockton (Ross-shire, Scotland), 20th century Watercolor on paper 15 x 22 in. Framed: 25 1/16 x 32 in. Signed lower left: A.P. Thom...
Category

20th Century English School New York - Landscape Drawings and Watercolors

Materials

Paper, Watercolor

Cottages in Devon
By Samuel Prout
Located in Middletown, NY
An early Devonshire landscape, ex-collection West Collection of British Watercolors & the Fine Art Society, London. Circa 1800 Ink and brown wash on paper, 7 1/8 x 10 1/4 inches (...
Category

Early 1800s Realist New York - Landscape Drawings and Watercolors

Materials

Watercolor, Ink, Graphite

Chaîne de Aravais (Mountains in the Alps) - French School, drawing, circa 1850
Located in Middletown, NY
A beautiful drawing of the Aravis mountain chain in the Alps, including Mont Blanc, with all of the peaks identified by hand. Circa 1850 Graphite with white heightening on light card...
Category

Mid-19th Century French School New York - Landscape Drawings and Watercolors

Materials

Cardboard, Color Pencil, Graphite

"Andromeda" Large Scale Watercolor Galaxy painting by Thomas Broadbent
By Thomas Broadbent
Located in New York, NY
At over 11 feet in length, Broadbent’s “Andromeda” galaxy watercolor painting captures the spectacle and wonder one feels when looking at the stars in the night sky. In this large sc...
Category

2010s Contemporary New York - Landscape Drawings and Watercolors

Materials

Watercolor, Archival Paper

4 American Watercolors, c. 1950s, by Mary M. Johnsen
Located in New York, NY
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....
Category

1950s American Modern New York - Landscape Drawings and Watercolors

Materials

Paper, Watercolor

Watercolor Painting American Modern Painting Gloucester Harbor Female Artist
Located in Buffalo, NY
Dorothy Rivo Gloucester Harbor, c. 1950s Watercolor and ink on paper Framed dimensions: 34 in. H × 30 in. W Contemporary black frame with white archival mat In Gloucester Harbor, Dorothy Rivo captures the gritty beauty of a working port with expressive brushwork and tonal depth. The scene unfolds in loose washes of ochre, rust, and charcoal, where weathered boats float before a jagged row of fishing sheds and coastal structures rendered in gestural lines. Rather than striving for topographic precision, Rivo offers a painterly impression of the harbor—moody, atmospheric, and undeniably alive. The smudged foreground, dripping masts, and clouded sky convey both movement and memory, as if the harbor were emerging from a dream or dissolving into one. Executed in watercolor and ink, this piece shows Rivo's command of mixed media and her deft ability to balance structure with spontaneity. It is a standout example of mid-century American waterfront painting...
Category

1940s American Modern New York - Landscape Drawings and Watercolors

Materials

Archival Ink, Watercolor, Archival Paper

Partridge Hunting
By Aiden Lassell Ripley
Located in New York, NY
On verso: Original - A. Lassell Ripley / By – (D.R.) –
Category

20th Century New York - Landscape Drawings and Watercolors

Materials

Watercolor

Paysage d’Alger, Frecnh early 20th Century watercolor and ink on paper
By Jules Pascin
Located in New York, NY
Provenance Estate of the artist David Bunim Perls Gallery, NY Private Collection, USA Literature This work will be inclued in the forthcoming supplement to the catalogue raisonne in...
Category

Early 20th Century Land New York - Landscape Drawings and Watercolors

Materials

Paper, Watercolor, Ink

French Cubist Landscape Gouache Painting Framed Original Gallery Label
Located in Buffalo, NY
Gouache of a French cityscape titled "Street in Gordes France" by Sylvia Davis. This piece was originally part of the lending and sales gallery of the Memorial Art Gallery of the Uni...
Category

1960s Modern New York - Landscape Drawings and Watercolors

Materials

Paper, Watercolor, Gouache

Norman Barr, Coney Island (New York City)
By Norman Barr
Located in New York, NY
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 ...
Category

Mid-20th Century Ashcan School New York - Landscape Drawings and Watercolors

Materials

Mixed Media

The Fall Print
By Robert Strati
Located in New York, NY
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...
Category

2010s New York - Landscape Drawings and Watercolors

Materials

Archival Pigment

“Block Island”
By Terry Elkins
Located in Southampton, NY
Original collage composed of realistic graphite drawing on old nautical chart of a large sailboat. Signed lower right and dated 1993. Condition is very good. The sailboat is centere...
Category

1990s American Realist New York - Landscape Drawings and Watercolors

Materials

Archival Paper, Graphite

Barbara Regina Dietzsch Watercolor Painting of White Primrose, ca. 1730
Located in New York, NY
Barbara Regina Dietzsch, 1706-1783 White Primrose, Japanese Quince, a Beetle, and a Butterfly, ca. 1730 Opaque watercolor painting inscribed on...
Category

1730s New York - Landscape Drawings and Watercolors

Materials

Watercolor

Carousel, Impressionist Watercolor by Charles Cobelle
By Charles Cobelle
Located in Long Island City, NY
A vibrant painting of a carousel in a crowded Paris plaza by French artist Charles Cobelle. His style regularly uses bright neon colors to depict everyday street life scenes of 1960s...
Category

1960s Impressionist New York - Landscape Drawings and Watercolors

Materials

Watercolor

A Grand Tour study of ruins in the Roman Forum - English School, early 19th C.
Located in Middletown, NY
Ink and wash in black ink with pen in black ink on watermarked C & I Honig cream laid paper, 14 7/8 x 12 1/4 inches (378 x 311 mm), the full sheet. In very good condition with some m...
Category

Early 19th Century French School New York - Landscape Drawings and Watercolors

Materials

Handmade Paper, Ink

Abstract Landscape, Surrealist Gouache Painting by Yohanan Simon 1962
By Yohanan Simon
Located in Long Island City, NY
Artist: Yohanan Simon (1905-1976) Title: Landscape Medium: Gouache on paper laid to card Date: 1962 Signature: Signed and dated in Hebrew Paper Size: 16.75 x 21 inches Frame Size: 24...
Category

1960s Modern New York - Landscape Drawings and Watercolors

Materials

Laid Paper, Gouache

North African Orientalist Scene, Original Watercolor on Paper by Giulio Rosati
Located in Long Island City, NY
North African Orientalist Scene (Horseman and Nomadic Traders) Giulio Rosati, Italian (1857–1917) Date: circa 1880 Watercolor on Paper, signed lower righ...
Category

1880s Academic New York - Landscape Drawings and Watercolors

Materials

Watercolor

Riverbank 2, photorealist graphite nature drawing, 2018
By Mary Reilly
Located in New York, NY
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...
Category

2010s Photorealist New York - Landscape Drawings and Watercolors

Materials

Paper, Graphite

Tree and Sky, photorealist graphite landscape drawing, 2022
By Mary Reilly
Located in New York, NY
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...
Category

2010s Photorealist New York - Landscape Drawings and Watercolors

Materials

Paper, Graphite

Evening Stroll, Modern Gouache Painting by Eugene La Foret
Located in Long Island City, NY
Eugene La Foret, American (1884 - 19??) - Evening Stroll, Medium: Gouache On Paper, signed lower right, Size: 9.5 x 12.25 in. (24.13 x 31.12 cm), Frame Size: 16 x 19.25 inches
Category

Early 20th Century Modern New York - Landscape Drawings and Watercolors

Materials

Gouache

Louis Sylvia Seascape Watercolor
By Louis Sylvia
Located in New York, NY
Louis Sylvia (American, 1911-1987) Untitled, 20th century Watercolor on paper Sight: 12 1/2 x 16 1/2 in. Signed lower right Louis Sylvia (1911-1987) was an American painter special...
Category

20th Century Impressionist New York - Landscape Drawings and Watercolors

Materials

Paper, Watercolor

NYC Cityscape American Scene Social Realism Mid-Century
By Max Arthur Cohn
Located in New York, NY
NYC Cityscape American Scene Social Realism Mid-Century Max Arthur Cohn (1903-1998) New York City Skyline 14 x 21 1/2 inches Watercolor on paper, c. 1...
Category

1930s American Modern New York - Landscape Drawings and Watercolors

Materials

Paper, Watercolor

"So Natural II" 2025 watercolor on paper
By Katie DeGroot
Located in New York, NY
Katie DeGroot So Natural, 2025 watercolor on paper 40 x 25 in. (groo126)
Category

2010s Contemporary New York - Landscape Drawings and Watercolors

Materials

Paper, Watercolor

Strawberry Island Sunset, black and white charcoal drawing of the ocean
Located in New York, NY
Charcoal on paper drawing by Toronto-based artist Katherine Curci. Unframed. Katherine Curci began this series of charcoal drawings, premiered in This Land., at the start of the pan...
Category

2010s Contemporary New York - Landscape Drawings and Watercolors

Materials

Paper, Charcoal

Beautiful large impressionist pastel by Francesco Spicuzza
By Francesco Spicuzza
Located in New York, NY
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...
Category

20th Century American Modern New York - Landscape Drawings and Watercolors

Materials

Paper, Pastel

Edge of the Galaxy
By Thomas Broadbent
Located in New York, NY
"Edge of the Galaxy" watercolor on paper 16"x20" signed on reverse This is a beautifully painted, highly detailed depiction of a view from the edge of the Galaxy. Warm whites in th...
Category

2010s Contemporary New York - Landscape Drawings and Watercolors

Materials

Watercolor, Archival Paper

Three Trees, Modern Watercolor on Paper by Emile Rampelberg
Located in Long Island City, NY
Emile Rampelberg, French (1911 - 2001) - Three Trees, Year: circa 1970, Medium: Watercolor on Paper, signed lower left, Size: 27 x 20 in. (68.58 x ...
Category

1970s Modern New York - Landscape Drawings and Watercolors

Materials

Watercolor

Burning Bush Forrest landscape solo female figure biblical narrative
By Stephen Basso
Located in Brooklyn, NY
ABOUT Stephen Basso Stephen Basso's highly original pastels and oil paintings are romantic, yet thought provoking fantasies. His whimsical works are alive with boundless imaginat...
Category

2010s American Modern New York - Landscape Drawings and Watercolors

Materials

Pastel, Archival Paper

Ogunquit Beach, Impressionist Watercolor by Eve Nethercott
By Eve Nethercott
Located in Long Island City, NY
Eve Nethercott, American (1925 - 2015) - Ogunquit Beach, Year: 1958, Medium: Watercolor, Size: 7 in. x 21 in. (17.78 cm x 53.34 cm), Description: Overlooking the dunes of Ogunq...
Category

1950s Impressionist New York - Landscape Drawings and Watercolors

Materials

Watercolor

"Caught" 2025 watercolor on paper
By Katie DeGroot
Located in New York, NY
Katie DeGroot Caught, 2025 watercolor on paper 40 x 26 in. (groo122)
Category

2010s Contemporary New York - Landscape Drawings and Watercolors

Materials

Paper, Watercolor

"Nope" 2025 watercolor on paper
By Katie DeGroot
Located in New York, NY
Katie DeGroot Nope, 2025 watercolor on paper 40 x 26 in. (groo125)
Category

2010s Contemporary New York - Landscape Drawings and Watercolors

Materials

Paper, Watercolor

Edward Laning, Sketch for Sheraton East Hotel Mid-Century Mural of Ancient Myths
By Edward Laning
Located in New York, NY
This mural depicting ancient myths was designed for the Hotel Ambassador, a skyscraper at 345 Park Avenue, NYC; the building was converted to the Sheraton East in 1958. It was demolished in 1966. It could only be mid-century American! Signed, titled, and annotated, 'Scale 2" = 1' in ink. Edward Laning is largely known as a mural artist. His series The History of the Printed Word is installed at the New York Public Library at 42nd Street, New York City, and Building of the Transcontinental Railroad Mural, is in the Railroad Museum, Ogden, Utah. Laning was briefly a student of Kenneth Hayes Miller at the Art Students League, New York. They were lifelong colleagues and had studios on Union Square near friends Isabel Bishop, Yasuo Kuniyoshi, Reginald Marsh, and Raphael Soyer. As a group they were the Fourteenth Street School...
Category

1950s American Modern New York - Landscape Drawings and Watercolors

Materials

Watercolor

View of Constantinople
Located in Middletown, NY
A bright and beautiful Orientalist landscape by a master of the genre. Watercolor and graphite on cream laid paper, laid down to archival board, 14 3/4 x 6 3/4 inches (374 x 170 m...
Category

Late 19th Century Realist New York - Landscape Drawings and Watercolors

Materials

Watercolor, Graphite

French School, Arabic Horseman, 19th C.
Located in Astoria, NY
French School, Arabic Horseman, Chalk Pastel on Paper Laid to Canvas, 19th century, paper labels to reverse, wood frame. Image: 19.5" H x 15.25" W; frame: 23" H x 18.5" W. Provenance...
Category

19th Century French School New York - Landscape Drawings and Watercolors

Materials

Canvas, Paper, Pastel

Study for Old Canal, Red and Blue (Rockaway, Morris Canal)
By Oscar Florianus Bluemner
Located in New York, NY
Oscar Bluemner was a German and an American, a trained architect who read voraciously in art theory, color theory, and philosophy, a writer of art criticism both in German and English, and, above all, a practicing artist. Bluemner was an intense man, who sought to express and share, through drawing and painting, universal emotional experience. Undergirded by theory, Bluemner chose color and line for his vehicles; but color especially became the focus of his passion. He was neither abstract artist nor realist, but employed the “expressional use of real phenomena” to pursue his ends. (Oscar Bluemner, from unpublished typescript on “Modern Art” for Camera Work, in Bluemner papers, Archives of American Art, Smithsonian Institution, as cited and quoted in Jeffrey R. Hayes, Oscar Bluemner [1991], p. 60. The Bluemner papers in the Archives [hereafter abbreviated as AAA] are the primary source for Bluemner scholars. Jeffrey Hayes read them thoroughly and translated key passages for his doctoral dissertation, Oscar Bluemner: Life, Art, and Theory [University of Maryland, 1982; UMI reprint, 1982], which remains the most comprehensive source on Bluemner. In 1991, Hayes published a monographic study of Bluemner digested from his dissertation and, in 2005, contributed a brief essay to the gallery show at Barbara Mathes, op. cit.. The most recent, accessible, and comprehensive view of Bluemner is the richly illustrated, Barbara Haskell, Oscar Bluemner: A Passion for Color, exhib. cat. [New York: Whitney Museum of American Art, 2005.]) Bluemner was born in the industrial city of Prenzlau, Prussia, the son and grandson of builders and artisans. He followed the family predilection and studied architecture, receiving a traditional and thorough German training. He was a prize-winning student and appeared to be on his way to a successful career when he decided, in 1892, to emigrate to America, drawn perhaps by the prospect of immediate architectural opportunities at the Chicago World’s Fair, but, more importantly, seeking a freedom of expression and an expansiveness that he believed he would find in the New World. The course of Bluemner’s American career proved uneven. He did indeed work as an architect in Chicago, but left there distressed at the formulaic quality of what he was paid to do. Plagued by periods of unemployment, he lived variously in Chicago, New York, and Boston. At one especially low point, he pawned his coat and drafting tools and lived in a Bowery flophouse, selling calendars on the streets of New York and begging for stale bread. In Boston, he almost decided to return home to Germany, but was deterred partly because he could not afford the fare for passage. He changed plans and direction again, heading for Chicago, where he married Lina Schumm, a second-generation German-American from Wisconsin. Their first child, Paul Robert, was born in 1897. In 1899, Bluemner became an American citizen. They moved to New York City where, until 1912, Bluemner worked as an architect and draftsman to support his family, which also included a daughter, Ella Vera, born in 1903. All the while, Oscar Bluemner was attracted to the freer possibilities of art. He spent weekends roaming Manhattan’s rural margins, visiting the Bronx, Brooklyn, Queens, and New Jersey, sketching landscapes in hundreds of small conté crayon drawings. Unlike so many city-based artists, Bluemner did not venture out in search of pristine countryside or unspoiled nature. As he wrote in 1932, in an unsuccessful application for a Guggenheim Fellowship, “I prefer the intimate landscape of our common surroundings, where town and country mingle. For we are in the habit to carry into them our feelings of pain and pleasure, our moods” (as quoted by Joyce E. Brodsky in “Oscar Bluemner in Black and White,” p. 4, in Bulletin 1977, I, no. 5, The William Benton Museum of Art, Storrs, Connecticut). By 1911, Bluemner had found a powerful muse in a series of old industrial towns, mostly in New Jersey, strung along the route of the Morris Canal. While he educated himself at museums and art galleries, Bluemner entered numerous architectural competitions. In 1903, in partnership with Michael Garven, he designed a new courthouse for Bronx County. Garven, who had ties to Tammany Hall, attempted to exclude Bluemner from financial or artistic credit, but Bluemner promptly sued, and, finally, in 1911, after numerous appeals, won a $7,000 judgment. Barbara Haskell’s recent catalogue reveals more details of Bluemner’s architectural career than have previously been known. Bluemner the architect was also married with a wife and two children. He took what work he could get and had little pride in what he produced, a galling situation for a passionate idealist, and the undoubted explanation for why he later destroyed the bulk of his records for these years. Beginning in 1907, Bluemner maintained a diary, his “Own Principles of Painting,” where he refined his ideas and incorporated insights from his extensive reading in philosophy and criticism both in English and German to create a theoretical basis for his art. Sometime between 1908 and 1910, Bluemner’s life as an artist was transformed by his encounter with the German-educated Alfred Stieglitz, proprietor of the Little Galleries of the Photo-Secession at 291 Fifth Avenue. The two men were kindred Teutonic souls. Bluemner met Stieglitz at about the time that Stieglitz was shifting his serious attention away from photography and toward contemporary art in a modernist idiom. Stieglitz encouraged and presided over Bluemner’s transition from architect to painter. During the same period elements of Bluemner’s study of art began to coalesce into a personal vision. A Van Gogh show in 1908 convinced Bluemner that color could be liberated from the constraints of naturalism. In 1911, Bluemner visited a Cézanne watercolor show at Stieglitz’s gallery and saw, in Cézanne’s formal experiments, a path for uniting Van Gogh’s expressionist use of color with a reality-based but non-objective language of form. A definitive change of course in Bluemner’s professional life came in 1912. Ironically, it was the proceeds from his successful suit to gain credit for his architectural work that enabled Bluemner to commit to painting as a profession. Dividing the judgment money to provide for the adequate support of his wife and two children, he took what remained and financed a trip to Europe. Bluemner traveled across the Continent and England, seeing as much art as possible along the way, and always working at a feverish pace. He took some of his already-completed work with him on his European trip, and arranged his first-ever solo exhibitions in Berlin, Leipzig, and Elberfeld, Germany. After Bluemner returned from his study trip, he was a painter, and would henceforth return to drafting only as a last-ditch expedient to support his family when his art failed to generate sufficient income. Bluemner became part of the circle of Stieglitz artists at “291,” a group which included Marsden Hartley, John Marin, and Arthur Dove. He returned to New York in time to show five paintings at the 1913 Armory Show and began, as well, to publish critical and theoretical essays in Stieglitz’s journal, Camera Work. In its pages he cogently defended the Armory Show against the onslaught of conservative attacks. In 1915, under Stieglitz’s auspices, Bluemner had his first American one-man show at “291.” Bluemner’s work offers an interesting contrast with that of another Stieglitz architect-turned-artist, John Marin, who also had New Jersey connections. The years after 1914 were increasingly uncomfortable. Bluemner remained, all of his life, proud of his German cultural legacy, contributing regularly to German language journals and newspapers in this country. The anti-German sentiment, indeed mania, before and during World War I, made life difficult for the artist and his family. It is impossible to escape the political agenda in Charles Caffin’s critique of Bluemner’s 1915 show. Caffin found in Bluemner’s precise and earnest explorations of form, “drilled, regimented, coerced . . . formations . . . utterly alien to the American idea of democracy” (New York American, reprinted in Camera Work, no. 48 [Oct. 1916], as quoted in Hayes, 1991, p. 71). In 1916, seeking a change of scene, more freedom to paint, and lower expenses, Bluemner moved his family to New Jersey, familiar terrain from his earlier sketching and painting. During the ten years they lived in New Jersey, the Bluemner family moved around the state, usually, but not always, one step ahead of the rent collector. In 1917, Stieglitz closed “291” and did not reestablish a Manhattan gallery until 1925. In the interim, Bluemner developed relationships with other dealers and with patrons. Throughout his career he drew support and encouragement from art cognoscenti who recognized his talent and the high quality of his work. Unfortunately, that did not pay the bills. Chronic shortfalls were aggravated by Bluemner’s inability to sustain supportive relationships. He was a difficult man, eternally bitter at the gap between the ideal and the real. Hard on himself and hard on those around him, he ultimately always found a reason to bite the hand that fed him. Bluemner never achieved financial stability. He left New Jersey in 1926, after the death of his beloved wife, and settled in South Braintree, Massachusetts, outside of Boston, where he continued to paint until his own death in 1938. As late as 1934 and again in 1936, he worked for New Deal art programs designed to support struggling artists. Bluemner held popular taste and mass culture in contempt, and there was certainly no room in his quasi-religious approach to art for accommodation to any perceived commercial advantage. His German background was also problematic, not only for its political disadvantages, but because, in a world where art is understood in terms of national styles, Bluemner was sui generis, and, to this day, lacks a comfortable context. In 1933, Bluemner adopted Florianus (definitively revising his birth names, Friedrich Julius Oskar) as his middle name and incorporated it into his signature, to present “a Latin version of his own surname that he believed reinforced his career-long effort to translate ordinary perceptions into the more timeless and universal languages of art” (Hayes 1982, p. 189 n. 1). In 1939, critic Paul Rosenfeld, a friend and member of the Stieglitz circle, responding to the difficulty in categorizing Bluemner, perceptively located him among “the ranks of the pre-Nazi German moderns” (Hayes 1991, p. 41). Bluemner was powerfully influenced in his career by the intellectual heritage of two towering figures of nineteenth-century German culture, Johann Wolfgang von Goethe and Georg Wilhelm Friedrich Hegel. A keen student of color theory, Bluemner gave pride of place to the formulations of Goethe, who equated specific colors with emotional properties. In a November 19, 1915, interview in the German-language newspaper, New Yorker Staats-Zeitung (Abendblatt), he stated: I comprehend the visible world . . . abstract the primary-artistic . . . and after these elements of realty are extracted and analyzed, I reconstruct a new free creation that still resembles the original, but also . . . becomes an objectification of the abstract idea of beauty. The first—and most conspicuous mark of this creation is . . . colors which accord with the character of things, the locality . . . [and which] like the colors of Cranach, van der Weyden, or Durer, are of absolute purity, breadth, and luminosity. . . . I proceed from the psychological use of color by the Old Masters . . . [in which] we immediately recognize colors as carriers of “sorrow and joy” in Goethe’s sense, or as signs of human relationship. . . . Upon this color symbolism rests the beauty as well as the expressiveness, of earlier sacred paintings. Above all, I recognize myself as a contributor to the new German theory of light and color, which expands Goethe’s law of color through modern scientific means (as quoted in Hayes 1991, p. 71). Hayes has traced the global extent of Bluemner’s intellectual indebtedness to Hegel (1991, pp. 36–37). More specifically, Bluemner made visual, in his art, the Hegelian world view, in the thesis and antithesis of the straight line and the curve, the red and the green, the vertical and the horizontal, the agitation and the calm. Bluemner respected all of these elements equally, painting and drawing the tension and dynamic of the dialectic and seeking ultimate reconciliation in a final visual synthesis. Bluemner was a keen student of art, past and present, looking, dissecting, and digesting all that he saw. He found precedents for his non-naturalist use of brilliant-hued color not only in the work Van Gogh and Cezanne, but also in Gauguin, the Nabis, and the Symbolists, as well as among his contemporaries, the young Germans of Der Blaue Reiter. Bluemner was accustomed to working to the absolute standard of precision required of the architectural draftsman, who adjusts a design many times until its reality incorporates both practical imperatives and aesthetic intentions. Hayes describes Bluemner’s working method, explaining how the artist produced multiple images playing on the same theme—in sketch form, in charcoal, and in watercolor, leading to the oil works that express the ultimate completion of his process (Hayes, 1982, pp. 156–61, including relevant footnotes). Because of Bluemner’s working method, driven not only by visual considerations but also by theoretical constructs, his watercolor and charcoal studies have a unique integrity. They are not, as is sometimes the case with other artists, rough preparatory sketches. They stand on their own, unfinished only in the sense of not finally achieving Bluemner’s carefully considered purpose. The present charcoal drawing is one of a series of images that take as their starting point the Morris Canal as it passed through Rockaway, New Jersey. The Morris Canal industrial towns that Bluemner chose as the points of departure for his early artistic explorations in oil included Paterson with its silk mills (which recalled the mills in the artist’s childhood home in Elberfeld), the port city of Hoboken, Newark, and, more curiously, a series of iron ore mining and refining towns, in the north central part of the state that pre-dated the Canal, harkening back to the era of the Revolutionary War. The Rockaway theme was among the original group of oil paintings that Bluemner painted in six productive months from July through December 1911 and took with him to Europe in 1912. In his painting journal, Bluemner called this work Morris Canal at Rockaway N.J. (AAA, reel 339, frames 150 and 667, Hayes, 1982, pp. 116–17), and exhibited it at the Galerie Fritz Gurlitt in Berlin in 1912 as Rockaway N. J. Alter Kanal. After his return, Bluemner scraped down and reworked these canvases. The Rockaway picture survives today, revised between 1914 and 1922, as Old Canal, Red and Blue (Rockaway River) in the collection of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D. C. (color illus. in Haskell, fig. 48, p. 65). For Bluemner, the charcoal expression of his artistic vision was a critical step in composition. It represented his own adaptation of Arthur Wesley’s Dow’s (1857–1922) description of a Japanese...
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