Recognized Dealers Landscape Paintings

A large, cheerful 1950s American Scene, Mid-Century Modern oil painting, "The Picnic" by notable Chicago artist, Walter Burt Adams (Am. 1903-1990). A vibrant, painterly depiction of...

A striking Machine Age Modern oil painting of the historic Bronx Span, Triborough Bridge, New York City by notable American artist, Lessing Whitford Williams (1894-1989). Artwork ...

Rudolf Stone (1820-1870) The Hunt in Full Cry Oil on canvas Signed Painting Size 10 x 15 1/2 in Framed Size 12 x 17 in Rudolf Stone was a British artist active in the late 19th cent...

English Primitive School, c.1790 Grazing horses Oil on canvas Painting size 17 1/8 x 22 1/4 in Framed size 23 1/2 x 28 1/2 in Painted around 1790, this charming provincial portrait ...

An Introspective, Post-War Modern Southwestern Landscape Painting of an Adobe House in New Mexico by Notable Chicago Artist, Walter Burt Adams (Am. 1903-1990). A subtle tonal, archi...

This contemporary abstract acrylic painting was inspired by nature. Sandra Goldie’s artwork has been praised by one of Quebec’s leading abstract artists. Leopold Plotek described th...

John Charles Maggs (1819-1896) A Cracking Pace signed and dated J. C. Maggs / 1873 lower left Oil on canvas Painting size 11 1/2 x 23 1/2 in Framed size 17 x 29 in John Charles Magg...

John Nost Sartorius (London 1759-1828) A gentleman on horseback, 16 miles to London Signed and dated 1796 Oil on canvas Canvas Size - 25 x 30 in Framed Size - 32 x 37 in John Nost ...

Adam Silo (1674-1764) A Dutch Whaling Fleet off the Greenland Coast Oil on canvas No visible signature Canvas Size 16 7/8 x 24 3/8 in Framed Size 24 x 31 1/2 in Provenance With Fran...

Karl Albert Buehr (1866-1952) Giverny Landscape Oil on board, c. 1910 Unsigned Condition: Excellent Image size: 5 7/8 x 7 1/8 inches Frame: 11-1/2 x 12-3/4 x 1-1/2" Provenance: Estat...

A Large, Colorful 1950s American Modern, Social Realism oil painting of New York City, "East Harlem", by Notable Artist, Max Ginsburg (Am. Born 1931). Artwork size: 28 x 30 inches ...

A Colorful, Modern Maine Coastal Scene Painting, "White Boat in Harbor" by Famed Chicago Artist and Printmaker, Charles Turzak (Am. 1899 - 1986). The painting depicts a vibrant, sunlit autumn landscape painting most likely painted near the quiet rural harbor town of Penobscot, Maine. The painting is acrylic on canvas, dates from the 1950s and has a great visual appeal- a perfect complement to any New England coastal home or summer cottage in Maine. Artwork size: 20 x 36 inches, accompanied with the artist's original, hand-painted frame (Framed size: 21 3/4 x 36 1/2 inches). Signed "Turzak", lower left; titled on artist's label on reverse. Provenance: Estate of the artist. Charles Turzak was one of Chicago’s greatest printmakers of the Art Deco-era. Son of a coal miner, Turzak was born in Streeter, IL in 1899. In 1920, Turzak won the first prize a cartoon contest sponsored by the Purina company and he used his prize money to enroll in the Art Institute of Chicago. Best known as a print maker, in the 1920s & 30s, he created woodcuts of many of Chicago’s most notable buildings, including the Merchandise Mart, Palmolive Building and the Old Water Tower, among others. In 1933, he was commissioned to create woodcuts of many of Chicago’s most iconic buildings to illustrate a guidebook called “All About Chicago” by John and Ruth Ashenhurst” that featured the upcoming Century of Progress Exhibition in Chicago. During the 1933 World’s Fair...

This minimalist abstract landscape painting of a lake is by Pat Service. In the Canadian art world, the name Pat Service has long resonated as one of the country’s finest landscape...

Johann c. van der Hagen (1676-c.1745) A British Man O’War in distress on a rocky coast in a storm Signed 'J. vanderhagen' lower right Oil on canvas Canvas size - 38 1/2 x 51 in Framed size - 46 x 59 in Provenance The Collection the Most Hon. Marquis of Headfort at Headfort, Kells, Co. Meath; His sale, Christie's, Important Old Master Paintings, 29 November 1968, Lot 28; Private Collection, Oxfordshire Johann C. van der Hagen was a Dutch-born marine and landscape painter whose atmospheric depictions of ships, storms, and coastal scenes earned him recognition in Britain and Ireland during the first half of the eighteenth century. Although relatively obscure today, he was among the group of continental artists who helped shape the development of maritime painting outside the Netherlands during the late Baroque period. Born in The Hague in May 1676, van der Hagen trained within the strong Dutch tradition of marine painting that had flourished during the seventeenth century. Dutch artists of this era were internationally admired for their technical understanding of ships, changing weather conditions, and the dramatic effects of light upon water. Van der Hagen absorbed these influences early in his career, producing works characterised by animated seas, carefully observed rigging, and a keen sense of atmosphere. At some point in the late seventeenth or early eighteenth century, he moved to London, then one of Europe’s most important centres for maritime commerce and naval power. There he entered an artistic environment already shaped by celebrated Dutch émigré painters such as Willem van de Velde the Younger and his circle. Van der Hagen’s paintings reveal the influence of this Anglo-Dutch marine tradition, especially in his treatment of naval vessels and storm-driven seas. Contemporary records also suggest that his family became connected with artistic circles in London; one source notes that his daughter Bernada married the marine painter Cornelis van de Velde in 1699. Van der Hagen later settled in Ireland, where he appears to have been active from the 1720s onward. Dublin became his principal base, though he travelled widely and worked in several parts of the country, particularly in the south. During this period he established a reputation as a painter of landscapes and especially sea-pieces, which were admired by patrons for their lively handling and dramatic composition. Irish sources describe him as talented but somewhat eccentric and indolent, producing work irregularly and often only when financial necessity compelled him to paint. Among his documented activities was his employment in 1728 by the tapestry manufacturer Robert Baillie...

A scenic, colorful Modern 1930s summer harbor scene of Saugatuck, Michigan by notable Chicago Modern artist, Francis Chapin. Depicting a lively summer harbor view of the historic S...

A Charming 1940s Mid-Century Modern Watercolor of Pirate's Alley, New Orleans by Arlene S. Ezickson (Am. 1927-2003). Titled "Vieux Carre, New Orleans" the artwork is watercolor and ...

This acrylic landscape by Pat Service captures a roadside view of summer in the countryside. Signed to lower right. Highly regarded as one of Canada’s finest landscape artists, Pat ...

Nina Tichava is a pattern-based, abstract painter primarily focused on spatial relationships that emphasize the inherent surface quality, color, and visual variations in her work. Sh...

A Unique, Visually Striking, Surrealist Mid-Century Modern Abstract Beach Scene by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). Depicting an abstracted female bathers stan...

A Bustling 1950s Mid-Century Modern Harbor Scene of Martha's Vineyard by Famed Chicago Artist, Francis Chapin (Am. 1899-1965). A busy harbor scene of sandy shoreline, docks and boat...

‘The Clam Diggers’ is an oil on canvas seascape painting by American Impressionist painter, Granville Redmond. Redmond made his name on moody, nearly figureless Tonalist seascapes, ...

Impressionistic oil painting of a bouquet of pink and white flowers. Hass, a late Impressionist painter of the Munch school, was known for his sensitivity of color perception and lig...

A Charming, 1950s Painting of Lisbon, Portugal by Famed Chicago Modern Artist Francis Chapin (Am. 1899-1965). Depicting a bustling, colorful view of Lisbon's historic Black Horse Sq...

A charming, vibrant, early Mexican city street scene by famed Chicago Modern artist Francis Chapin (Am. 1899-1965). Depicting a quiet, picturesque view of the rooftops and cathedral...

Karl Albert Buehr (1866-1952) Strolling in the Park Oil on canvas, relined, c. 1910 Unsigned Provenance: Gift of the Artist to his wife, Mary Hess Beuhr The artist's niece, daughter of Will Hess David Saltzman Robert Henry Adams Fine Art, Chicago, exhibited 1994 Karl Albert Buehr at Robert Henry Adams Fine Art, Chicago Exhibition dates The exhibition was held in 1994 at Robert Henry Adams Fine Art, 715 North Franklin Street, Chicago. Surviving provenance records describe it as the gallery’s first exhibition at its North Franklin Street location. Works documented as included include Woman on a Patio, Rocky Inlet (France), and apparently other paintings and studies acquired through David Saltzman from the family of Buehr’s wife, Mary Hess Buehr. The 1994 Karl Albert Buehr exhibition at Robert Henry Adams Fine Art represented an important act of historical recovery. Although Buehr enjoyed considerable recognition during his lifetime—as an exhibiting painter, prizewinner, and influential teacher at the School of the Art Institute of Chicago—his reputation had become less visible in the decades following his death. By bringing together paintings and works on paper that had descended through the artist’s family, the Adams exhibition helped restore Buehr to his proper position among the leading exponents of American Impressionism and the most important Chicago-trained painters working in France before the First World War. Giverny was crucial to Buehr’s mature development. American painters had been drawn to the Norman village since the late 1880s, attracted both by Monet’s presence and by the region’s gardens, river valleys, cultivated fields, and distinctive northern light. Buehr did not simply imitate Monet. His figure compositions remained grounded in the academic training he received in Chicago and Paris, but he enlivened that structure with broken brushwork, heightened complementary color, and an increasingly luminous palette. His characteristic compositions place elegantly dressed young women on terraces, beside windows, or within flowering gardens. These figures are neither conventional society portraits nor anonymous decorative accessories. They occupy a carefully balanced space between individual presence and pictorial harmony. Faces and gestures are often quietly observed, while dresses, parasols, flowers, foliage, and shifting sunlight become vehicles for color. Lavender shadows, rose and coral fabrics, emerald foliage, and brilliant passages of yellow or blue transform the garden into a chromatic environment surrounding the sitter. Works associated with the Adams exhibition illuminate the breadth of Buehr’s French production. The pastel Woman on a Patio, circa 1915, demonstrates his ability to translate Impressionist color into the immediacy of a dry medium. Pastel allowed him to place one hue directly beside another without losing intensity. The resulting surface possesses a soft atmospheric unity while retaining the energy of individual strokes. The work’s history—gifted by Buehr to Mary Hess Buehr and subsequently descending through her family—also gives it a particularly intimate character. Rocky Inlet (France) presents another aspect of Buehr’s practice. In place of the cultivated garden and poised female figure, the artist confronts a rugged coastal landscape. Yet his essential concern remains light acting upon color. Rock, water, and vegetation are constructed through abbreviated touches rather than continuous modeling. The small scale suggests direct observation, possibly an outdoor study made during Buehr’s travels in Normandy. Its provenance likewise begins with Mary Hess Buehr and passes through the family before reaching David Saltzman and Robert Henry Adams Fine Art. This family provenance was central to the significance of the 1994 exhibition. The works had not merely circulated anonymously through the market; many retained a direct association with the artist’s household. Such a group could include informal studies, experimental compositions, and personal gifts that Buehr elected to keep rather than send to public exhibitions. Together they offered a more private and exploratory view of his career. Condition: relined canvas and cleaned Image/Canvas size: 10 x 9 inches Frame: 16-3/4 x 15-3/4 x 1-3/4 inches Karl Albert Buehr (1866–1952): France and the Giverny Years Karl Albert Buehr—whose surname is sometimes misspelled “Beuhr”—was a German-born American painter and influential teacher associated with the second generation of American Impressionists working at Giverny. Although his artistic identity was rooted in Chicago, the years he spent in France transformed his palette, subject matter, and approach to painting. Born on February 14, 1866, in Feuerbach, near Stuttgart, Buehr immigrated with his family to Chicago, probably in 1881. After working briefly for a commercial lithographer, he enrolled at the School of the Art Institute of Chicago in 1888. He studied with John H. Vanderpoel and graduated with honors in 1894, after which the school invited him to teach. He also served in the Illinois cavalry during the Spanish-American War and married Mary Guion Hess, one of his students and an accomplished artist in her own right. Early study in Europe Buehr’s European education unfolded in several stages. Around 1900 he settled in Paris and studied at the Académie Julian, principally under the French painter Raphaël Collin. Collin was known for idealized female figures placed in luminous outdoor settings, a combination of academic draftsmanship and Impressionist light that anticipated Buehr’s mature work. Buehr reportedly received a gold medal at the Académie in 1901. His early European paintings included portraits, landscapes, and scenes of rural labor. Visits to Holland exposed him to the restrained tonalism of the Hague School, while his travels in Italy—particularly Taormina, Sicily, during 1906 and 1907—encouraged a brighter response to Mediterranean sunlight. He also studied in London, where his contacts with Frank Brangwyn and the decorative currents of British painting strengthened his interest in broad design, rhythmic composition, and large arrangements of figures. A decisive factor in this extended European residence was the patronage of Chicago philanthropist Lydia Coonley Ward. From approximately 1906 until 1913, Ward provided Buehr with a monthly stipend, enabling the artist, his wife, and their children to remain abroad and pursue their work without the immediate pressures of the American market. Buehr at Giverny Buehr entered the Anglo-American artistic community at Giverny around 1909, probably through his friendship with Henry Salem Hubbell, another American figure painter supported by Lydia Coonley Ward. From approximately 1909 through 1912, Buehr generally spent winters in Paris and the warmer months at Giverny. In 1912 and the summer of 1913, the family reportedly lived at Sainte-Geneviève-lès-Gasny, close to Giverny. By this date Giverny was no longer merely the village in which Claude Monet lived. It had become an international artists’ colony, particularly attractive to American painters who admired Impressionist color but wished to retain firm drawing and carefully organized figure compositions. Buehr’s associates included Frederick Carl Frieseke, Richard Edward Miller, Guy Rose, Lawton Parker, Louis Ritman, Edmund Greacen, Karl Anderson, and Theodore Earl Butler. Buehr was especially close to the circle of Frieseke and Miller. These artists specialized in decorative paintings of fashionably dressed women reading, sewing, taking tea, or resting in sunlit gardens. Their figures were surrounded by flowers, patterned fabrics, parasols, and flickering passages of colored light. Buehr adopted this repertoire, but his paintings usually retained a stronger structural organization and a more assertive contrast between complementary colors. During his first months at Giverny, Buehr worked on a large decorative panel of dancing figures. The composition received an honorable mention at the Paris Salon of 1910, an important professional recognition. That summer, however, he increasingly turned toward intimate garden scenes and outdoor figure studies. The influence of Richard Miller can be detected in the decorative arrangement of the figures, while Frieseke’s example encouraged Buehr s use of brilliant sunlight, patterned surfaces, and saturated hues. Relationship with Claude Monet Claude Monet was Buehr’s artistic hero, but the extent of their personal relationship should not be overstated. Buehr’s children played with the children of Theodore Butler, Monet’s son-in-law, and they visited the Monet household. Buehr’s daughter Kathleen later recalled that Monet was gracious to the children. Nevertheless, the best available scholarship suggests that no close personal association between Buehr and Monet has been documented. Monet’s importance to Buehr was therefore primarily artistic. At Giverny, Buehr learned to regard colored light as a central subject rather than merely a means of describing objects. Shadows became violet, blue, or green; white dresses reflected the surrounding garden; and faces and arms were modeled through small strokes of warm and cool color. The enclosed garden also became a kind of outdoor studio in which human figures, flowers, fabrics, and sunlight could be orchestrated into a unified decorative design. The Giverny style Buehr became best known for paintings of young women seated or standing in gardens, often accompanied by colorful parasols. Works such as Springtime in Giverny, Under the Parasol, and related pictures of women reading or conversing exemplify his mature style. Although inspired by French Impressionism, these paintings are not spontaneous transcriptions of fleeting visual experience in the strict Monet tradition. They are carefully staged figure compositions. Buehr himself explained that the outdoor figure painter should concentrate upon the ensemble—grouping, arrangement, and color—rather than laboriously describing every feature. This principle helps distinguish his Giverny paintings...

A striking Machine Age Modern industrial scene oil painting of a New York shipyard crane by notable American artist, Lessing Whitford Williams (1894-1989). A colorful, dynamic examp...

Fascinated by early American culture, Eric Sloane extensively wrote about and painted the built and natural features that characterize America. Among these, barns were a favored subj...

The ghostly figures of a man and horse are set against the epic backdrop of a forested landscape and atmospheric blue sky. Peter Hoffer's paintings evoke nostalgia for classical, rom...

A striking, finely painted vintage 1930s Modern Northwoods landscape scene, Island Lake, painted in Algonquin Park, Ontario, Canada by notable Chicago artist, Harold Haydon. Many of...

A charming, vibrant, early Mexican city street scene by famed Chicago Modern artist Francis Chapin (Am. 1899-1965). Depicting a quiet, picturesque view of the rooftops and cathedral...

Circle of Charles-François Lacroix de Marseilles (c. 1700-1782) A mediterranean port Oil on canvas Canvas size - 26 3/4 x 34 1/4 in Framed size - 34 x 40 in Provenance With Norman A...

A Charming 1930s City Rooftop Scene by Notable Chicago Modern Artist, Harold Haydon (Am. 1909-1994). Depicting a colorful, early springtime view likely painted from the artist's stu...

For Canada’s beloved pop artist, Charles Pachter, the barn reimagined in graphic form is a reminder of Canada’s early rural history and the pioneers that helped shape this country. T...

Tom Coates (1941-2023) Cattle grazing in an extensive landscape Oil on canvas Signed with initials lower left Canvas Size - 20 x 24 in Framed Size - 29 x 33 in Tom Coates (1941–2023...

A large, finely detailed 1950s Mid-Century Modern watercolor of a castle, moat and village by French artist and architect, André Nejavits-Mery. Watercolor and ink on paper, signed a...

William Anderson (1757-1837) Marine shipping scenes A pair, Oil on panel Painting size 7 x 1/2 x 11 3/4 in Framed size 10 x 15 in Provenance The Parker Gallery, London. William An...

Harbor Scene, Rockport, Massachusetts Oil on canvas, 36 x 30 inches (91.4 x 76.2 cm) Signed lower left: H.A. Vincent. Signed and inscribed on verso: H. A. Vincent A. NA / Rockport, M...

Deer in a Wooded Landscape Oil on canvas 33 x 40 inches (83.8 x 101.6 cm) Framed dimensions: 44 1/2 x 51 in Provenance Sotheby's, New York, May 27, 1993, lot 170; Godel Fine Art, N...

This golden light-filled contemporary painting is by Sasha Rogers. The Canadian artist is captivated by the effect of creating what appears to be a ‘horizon’ line in her work that di...

George Denholm Armour (1864-1949) Out Duck Shooting Oil on panel Painting size 10 x 14 in Framed size 15 x 19 in George Denholm Armour (1864–1949) was one of Scotland's most accompl...

Francis Swaine (1725-1782) Shipping of Jersey Oil on canvas Painting size 8 1/4 x 20 1/2 in Framed size Provenance with The Parker Gallery. Francis Swaine (1725–1782) was one of t...

A colorful, blustery painting of sailing off the coast of Martha's Vineyard by famed Chicago Modern artist, Francis Chapin. Painted in the early 1950s, the painting depicts a vibran...

A charming 1950s Modern painting of a little red house, titled "Corner of the Brick House with Last Snow Bank, Calais, VT" by notable Chicago artist, Harold Haydon. Painted near the...

This minimalist abstract painting of a landscape offers a pop of the colour red. Canada’s Pat Service has enjoyed a decades-long career that granted her the title of one of Canada’s...

Karl Albert Beuhr (1866-1952) Giverny Landscape Oil on relined canvas, c. 1912 Signed lower right: K A Buehr Condition: Canvas relined for support Image size: 13 1/4 x 15 3/8 inches Frame size: 19 5/8 x 21 7/8 inches Provenance: Gift of the artist to his wife, Mary Hess Beuhr The artist's niece, daughter of Will Hess Buehr David Saltzman Robert Henry Adams Thomas French Fine Art Mr. and Mrs. Thomas Horner, Canton, Ohio Exhibited: Canton Museum of Art, Impressionism: An American View, 1983, label on verso Karl Albert Buehr at Robert Henry Adams Fine Art, Chicago Exhibition dates The exhibition was held in 1994 at Robert Henry Adams Fine Art, 715 North Franklin Street, Chicago. Surviving provenance records describe it as the gallery’s first exhibition at its North Franklin Street location. Works documented as included include Woman on a Patio, Rocky Inlet (France), and apparently other paintings and studies acquired through David Saltzman from the family of Buehr’s wife, Mary Hess Buehr. The 1994 Karl Albert Buehr exhibition at Robert Henry Adams Fine Art represented an important act of historical recovery. Although Buehr enjoyed considerable recognition during his lifetime—as an exhibiting painter, prizewinner, and influential teacher at the School of the Art Institute of Chicago—his reputation had become less visible in the decades following his death. By bringing together paintings and works on paper that had descended through the artist’s family, the Adams exhibition helped restore Buehr to his proper position among the leading exponents of American Impressionism and the most important Chicago-trained painters working in France before the First World War. Giverny was crucial to Buehr’s mature development. American painters had been drawn to the Norman village since the late 1880s, attracted both by Monet’s presence and by the region’s gardens, river valleys, cultivated fields, and distinctive northern light. Buehr did not simply imitate Monet. His figure compositions remained grounded in the academic training he received in Chicago and Paris, but he enlivened that structure with broken brushwork, heightened complementary color, and an increasingly luminous palette. His characteristic compositions place elegantly dressed young women on terraces, beside windows, or within flowering gardens. These figures are neither conventional society portraits nor anonymous decorative accessories. They occupy a carefully balanced space between individual presence and pictorial harmony. Faces and gestures are often quietly observed, while dresses, parasols, flowers, foliage, and shifting sunlight become vehicles for color. Lavender shadows, rose and coral fabrics, emerald foliage, and brilliant passages of yellow or blue transform the garden into a chromatic environment surrounding the sitter. Works associated with the Adams exhibition illuminate the breadth of Buehr’s French production. The pastel Woman on a Patio, circa 1915, demonstrates his ability to translate Impressionist color into the immediacy of a dry medium. Pastel allowed him to place one hue directly beside another without losing intensity. The resulting surface possesses a soft atmospheric unity while retaining the energy of individual strokes. The work’s history—gifted by Buehr to Mary Hess Buehr and subsequently descending through her family—also gives it a particularly intimate character. Rocky Inlet (France) presents another aspect of Buehr’s practice. In place of the cultivated garden and poised female figure, the artist confronts a rugged coastal landscape. Yet his essential concern remains light acting upon color. Rock, water, and vegetation are constructed through abbreviated touches rather than continuous modeling. The small scale suggests direct observation, possibly an outdoor study made during Buehr’s travels in Normandy. Its provenance likewise begins with Mary Hess Buehr and passes through the family before reaching David Saltzman and Robert Henry Adams Fine Art. This family provenance was central to the significance of the 1994 exhibition. The works had not merely circulated anonymously through the market; many retained a direct association with the artist’s household. Such a group could include informal studies, experimental compositions, and personal gifts that Buehr elected to keep rather than send to public exhibitions. Together they offered a more private and exploratory view of his career. Karl Albert Buehr (1866–1952): France and the Giverny Years Karl Albert Buehr—whose surname is sometimes misspelled “Beuhr”—was a German-born American painter and influential teacher associated with the second generation of American Impressionists working at Giverny. Although his artistic identity was rooted in Chicago, the years he spent in France transformed his palette, subject matter, and approach to painting. Born on February 14, 1866, in Feuerbach, near Stuttgart, Buehr immigrated with his family to Chicago, probably in 1881. After working briefly for a commercial lithographer, he enrolled at the School of the Art Institute of Chicago in 1888. He studied with John H. Vanderpoel and graduated with honors in 1894, after which the school invited him to teach. He also served in the Illinois cavalry during the Spanish-American War and married Mary Guion Hess, one of his students and an accomplished artist in her own right. Early study in Europe Buehr’s European education unfolded in several stages. Around 1900 he settled in Paris and studied at the Académie Julian, principally under the French painter Raphaël Collin. Collin was known for idealized female figures placed in luminous outdoor settings, a combination of academic draftsmanship and Impressionist light that anticipated Buehr’s mature work. Buehr reportedly received a gold medal at the Académie in 1901. His early European paintings included portraits, landscapes, and scenes of rural labor. Visits to Holland exposed him to the restrained tonalism of the Hague School, while his travels in Italy—particularly Taormina, Sicily, during 1906 and 1907—encouraged a brighter response to Mediterranean sunlight. He also studied in London, where his contacts with Frank Brangwyn and the decorative currents of British painting strengthened his interest in broad design, rhythmic composition, and large arrangements of figures. A decisive factor in this extended European residence was the patronage of Chicago philanthropist Lydia Coonley Ward. From approximately 1906 until 1913, Ward provided Buehr with a monthly stipend, enabling the artist, his wife, and their children to remain abroad and pursue their work without the immediate pressures of the American market. Buehr at Giverny Buehr entered the Anglo-American artistic community at Giverny around 1909, probably through his friendship with Henry Salem Hubbell, another American figure painter supported by Lydia Coonley Ward. From approximately 1909 through 1912, Buehr generally spent winters in Paris and the warmer months at Giverny. In 1912 and the summer of 1913, the family reportedly lived at Sainte-Geneviève-lès-Gasny, close to Giverny. By this date Giverny was no longer merely the village in which Claude Monet lived. It had become an international artists’ colony, particularly attractive to American painters who admired Impressionist color but wished to retain firm drawing and carefully organized figure compositions. Buehr’s associates included Frederick Carl Frieseke, Richard Edward Miller, Guy Rose, Lawton Parker, Louis Ritman, Edmund Greacen, Karl Anderson, and Theodore Earl Butler. Buehr was especially close to the circle of Frieseke and Miller. These artists specialized in decorative paintings of fashionably dressed women reading, sewing, taking tea, or resting in sunlit gardens. Their figures were surrounded by flowers, patterned fabrics, parasols, and flickering passages of colored light. Buehr adopted this repertoire, but his paintings usually retained a stronger structural organization and a more assertive contrast between complementary colors. During his first months at Giverny, Buehr worked on a large decorative panel of dancing figures. The composition received an honorable mention at the Paris Salon of 1910, an important professional recognition. That summer, however, he increasingly turned toward intimate garden scenes and outdoor figure studies. The influence of Richard Miller can be detected in the decorative arrangement of the figures, while Frieseke’s example encouraged Buehr s use of brilliant sunlight, patterned surfaces, and saturated hues. Relationship with Claude Monet Claude Monet was Buehr’s artistic hero, but the extent of their personal relationship should not be overstated. Buehr’s children played with the children of Theodore Butler, Monet’s son-in-law, and they visited the Monet household. Buehr’s daughter Kathleen later recalled that Monet was gracious to the children. Nevertheless, the best available scholarship suggests that no close personal association between Buehr and Monet has been documented. Monet’s importance to Buehr was therefore primarily artistic. At Giverny, Buehr learned to regard colored light as a central subject rather than merely a means of describing objects. Shadows became violet, blue, or green; white dresses reflected the surrounding garden; and faces and arms were modeled through small strokes of warm and cool color. The enclosed garden also became a kind of outdoor studio in which human figures, flowers, fabrics, and sunlight could be orchestrated into a unified decorative design. The Giverny style Buehr became best known for paintings of young women seated or standing in gardens, often accompanied by colorful parasols. Works such as Springtime in Giverny, Under the Parasol, and related pictures of women reading or conversing exemplify his mature style. Although inspired by French Impressionism, these paintings are not spontaneous transcriptions of fleeting visual experience in the strict Monet tradition. They are carefully staged figure compositions. Buehr himself explained that the outdoor figure painter should concentrate upon the ensemble—grouping, arrangement, and color—rather than laboriously describing every feature. This principle helps distinguish his Giverny paintings...

A Contemplative, Mid-Century Modern Neighborhood Scene of New York City. A quiet, autumn street view of city front steps and Brownstones, likely depicting a scene in Brooklyn, Green...

An Intriguing 1991 Surrealist painting of downtown Chicago by artist James Mesplé. Oil and tempera on panel. Signed and dated "James Mesplé 1991", lower right; titled on label on ...

A dynamic 1930s, WPA era industrial scene watercolor of a steel mill and factory workers by notable Chicago Modern artist, Harold Haydon. A wonderful example of early Twentieth Cent...

A Vibrant 1930s American Scene Industrial themed painting, "Brick Kilns" by Notable Modern Artist, Harry Shokler (1896-1978). A colorful, well painted example of American Regionalis...

A Vibrant, 1950s Mid-Century Watercolor of Provincetown, Massachusetts by Famed Chicago Modern Artist, Francis Chapin (Am. 1899-1965). A superb example of Chapin's Post-War landscap...

William Anderson (1757-1837) Marine scene - shipping off the harbour walls Oil on panel Painting size 8 x 12 in Framed size 12 x 15 in Provenance The Parker Gallery, London. Willi...

Spring Landscape, 1921 Oil on canvas 36 x 42 1/4 inches 91.4 x 107.3 cm Signed and dated lower left: John Wells James / 1921 Provenance Private collection John Wells James painted ...

At 5 by 10 feet, this brilliantly executed landscape on panel has a luminosity and a depth rarely seen. The painting has many layers, and is finished in resin. The central figure of ...

Johann Berthelsen began his career as a professional singer. Graduating from the Chicago Musical College in 1905, Berthelsen toured the United States and Canada, performing in operas...

Racing Yacht "Comet" Off New York, 1879 Oil on canvas 14 x 24 inches (35.6 x 61 cm) Framed dimensions: 24 1/2 x 34 1/2 inches Signed lower left: A. Cary Smith 79 Provenance Private...

A Brooding, Compelling 1940s American Scene, Social Realist Oil Painting, "Tenement Ruins" by Notable Canadian / American artist Emil Weddige (1907-2001). Oil on canvas, dating from...

A Cheerful, 1930s American Scene Landscape Painting with Church and Country Road by Notable Chicago Modern Artist, Francis Chapin (Am. 1899-1965). A gem of a painting, exemplifying ...

A charming, vibrant, early Mexican city street scene by famed Chicago Modern artist Francis Chapin (Am. 1899-1965). Depicting a quiet street in the historic, picturesque city of Gua...

Mixed Media on Paper, Paper size: 11 x 15 inches Framed size: 19.5 x 23.5 inches Signed Lower Left

Signed and dated lower right: Burlin 1914 Oil on board 8 x 10 inches (20.3 x 25.4 cm) Framed dimensions 14 1/2 x 16 1/2 inches Provenance Private collection Born in New York City, Paul Berlin...