Landscape Drawings and Watercolors on Sale

Abstract watercolor with loosely defined landscape elements by Les (Leslie Luverne) Anderson (American, 1928-2009). From the estate of Les Anderson in Monterey, California. Signed on...

Early 20th century Italian figurative landscape of a traditional wheat field harvest scene, by S. Frosini (Italian, 20th Century). This figurative landscape in gouache depicts in gre...

The port of Terragon. Watercolor on paper. Circa 1940-1950. Painted on rough watercolor paper, Canson & Montgolfier, old French paper manufacturer. The chromatic range is played in ...

Beautiful 1903 impressionist fragment of a California landscape by Karl Yens (1868-1945, German). Watercolor on paper, created in 1903. Presented in...

Original watercolor on archival paper of the mountains of Saint Maurice in Switzerland by the well known American artist, Dodge MacKnight. Signed lower left and titled and dated 189...

A charming miniature scene in the manner of Dutch artist Philips Wouwerman. The watercolour depicts a single figure fetching a heavy pail of water for two hard working horses. Also n...

Veteran Cypress at Carmel California by Hugh Moran 1936 Pastel painting of the Veteran Cypress at Carmel, California 1936 by Portrait and landscape artist Hugh Moran (American 19th-20th C.) A Califronia artist whom in 1949 was commissioned to paint Herbert Hoovers...

Winter landscape. 1980. Oil on cardboard, 24x32.5 cm

Alexander Frenz (1861 Rheydt - 1941 Düsseldorf). Plant impression in Locarno. Gouache and watercolour. 35 x 23,5 cm (visible size), 49,5 x 38,5 cm (fra...

A beautiful and rare double-sided watercolor by the prolific contemporary Italian painter Marco Sassone (Italian, b.1942). In this early work, created in 1969, Sassone depicts two different sunset harbor scenes on each side of the paper. On the front, the artist uses a warm color palette of orange and yellow hues to depict a glowing sunset illuminating boats in a harbor. A second view of the harbor with small boats in the foreground on verso. Sassone's signature painterly impressionistic brushstrokes can be seen in the way the artist depicts the water in both watercolors. Signed and dated on verso, "M. Sassone 69". Displayed in a dark wood frame with mat. Image size: 10.5"H x 17"W. “One of the foremost colorists working in America today, Sassone is an artist who developed his own personal, expressive vision early in his career, and who has steadfastly remained faithful to it while refining and developing it to the full power and maturity that is seen in his works today.”Janet Dominik, Bernheim-Jeune, Paris, 1988. Marco Sassone was born in Campi Bisenzio, a Tuscan village, in 1942. The family moved to Florence in 1954, and there he met painters Ottone Rosai and Ugo Maturo, who encouraged him to follow his interest in art. In 1959 he enrolled at the Istituto Galileo Galilei, where he studied architectural drafting for several years. In 1963 he studied with painter Silvio Loffredo, a professor of art at the Accademia in Florence, himself a pupil of the Austrian master Oskar Kokoschka. Loffredo encouraged him to develop his own style and vision. For inspiration, Sassone studied the works of the 19th century Italian impressionists, the Macchiaioli – Giovanni Fattori, Vito D’Ancona and Silvestro Lega. He began exhibiting his first works at Lo Sprone Cultural Center in Florence. In November 1967, soon after the flood had devastated his city, Sassone moved to California. He exhibited for the first time in the United States at the Dalzell-Hatfield Galleries in Los Angeles and became a regular exhibitor at the annual Festival of the Arts in Laguna Beach. Throughout the seventies, he exhibited extensively in the U.S. and abroad. In 1976 he collaborated with director John Wilson to produce an autobiographical documentary. The following year his work was exhibited at the National Academy of Design in New York. Marco Sassone received a gold medal in 1978 from the Italian Academy of Arts, Literature and Science. In 1979 the monograph Sassone by art historian Donelson Hoopes was published in concurrence with the artist’s exhibition at the Laguna Art Museum. With prescience, Hoopes had observed: “Sassone’s art has evolved from within, and such an organic, psychological and spiritual process may take his work along new and unforeseen paths.” In 1981 Sassone moved his studio to San Francisco. During the 80’s his exhibition schedule continued along with his numerous lectures. In 1982 Marco Sassone was knighted by the president of Italy, Sandro Pertini, into the “Order of the Merit of the Italian Republic”. In 1987 Sassone received a commendation from Los Angeles Mayor Tom Bradley for his “contribution to the community through his art.” In March 1988, the Los Angeles Municipal Art Gallery mounted his solo exhibition titled Sassone with the publication of a catalogue authored by Janet Dominik. The show travelled to Paris and was installed at the historic Bernheim-Jeune Gallery for the month of April. By the late eighties, the artist had become increasingly concerned with social themes. He began extensive and personal research on the homeless and painted a series of large canvasses and charcoal drawings portraying the life he observed on the streets of San Francisco. A number of these works were exhibited at the Chicago International Art Exposition, the Basel Art Fair in Switzerland, Body Politic at the San Francisco Arts Commission Gallery and Issue of Choice at the Los Angeles Contemporary Exhibition (LACE). In March of 1994, his exhibition “Home on the Streets” opened at the Museo ItaloAmericano in San Francisco. Kenneth Baker, art critic for the San Francisco Chronicle wrote about his work: “There is true technical brilliance here…In the drawings, his technique seems to discover fresh descriptive possibilities each time out.” The exhibition traveled to Los Angeles in 1996 and Florence, Italy in 1997, where it was installed in the Cloisters of the Santa Croce Church. Paola Bortolotti, art critic for La Nazione, wrote: “The persistent theme however does not carry a denunciation of a social problem, but it is rather the pretext to pour forth onto canvas the urgency of the brush strokes loaded with pigment and light.” In 1997 Marco Sassone received a commission to create a 200 square foot mural in downtown San Francisco. The finished work comprised five canvasses dedicated to the theme of Il Palio...

Serene landscape of a path to the ocean through sand dunes by Joseph Yeager (American, 20th century). Signed "Joe Yeager" in the lower right corner. On verso is written "Gift painted...

Original pastel on archival paper by the well known Hudson River artist, George Douglas Brewerton. A Northern California scene near Mount Shasta. Signed lower left and dated 1876. Recently professionally matted and framed in new antique silver style gallery frame. Overall framed measurements are 27 by 36 inches. Under glass. Condition is excellent. Provenance: A Pennsylvania collector. George Douglas Brewerton received lessons in art from Prof. Robert W. Weir at West Point where his father was Superintendent. In 1874, he was detailed to San Francisco as an officer in the Stevenson Regiment. In 1848, he underwent many adventures in Western deserts and mountains with Kit Carson, who crossed the country with news of the California Gold Rush. After serving as an aide to Gen. Rufus Saxton during the Civil War, Brewerton called himself “Colonel,” although he never received an army commission...

Well presented in a cream card mount and gilt effect frame. Signed. On watercolour paper.

"Chilmark Pond", Martha's Vineyard Plein Air Coastal Island Pastel Landscape by Anne F. Cook A lovely plein air pastel landscape capturing the natural beauty of New England's coastal island sunset views, by Martha's Vineyard artist Anne F. Cook (American, b.1962). This 1995 pastel, titled "Chilmark Pond", transports the viewer to the beautiful island of Martha's Vineyard, to bask in the soft light of dusk as the sun sets over the view of the island's coastal ponds. Signed and dated "Cook 1995" lower right. Titled "Chilmark Pond" lower left. Photo of title has been slightly enhanced to appear more legible. Displayed in a decorative black and gilt-toned frame, with tan mat. Image size: 18.5"H x 24.5"W. Framed size: 26.25"H x 32.25"W x 1"D. Anne Cook...

In the heyday of summer. 1988, oil on canvas and cardboard, 50x63,5 cm Summer landscape with blooming meadow Alfejs Bromults (1913.3.IV - 1991.11.I) His first professional educatio...

A delightful watercolour study depicting a continental lake surrounded by mountains. A small island in the centre of the lake holds a church and small dwe...

Well presented in a simple gilt effect frame. Signed and dated in graphite to the lower left corner. Artist's label fixed to the reverse. On paper.

Titled "The remote", this artwork created by Frank Girard, utilizes pigments, Chinese ink, watercolors, acrylics, and colored pencils on 400g/m2 neutral white paper. It remains unfra...

Subtly-toned autumn scene by Sydney Cooper (American, 19th-20th C.). This is piece is composed of subdued fall tones - tan, pale green, and coppery reds. A blue stream cuts through t...

Gaston COPPENS (1909 - 2002) Savage Sea Coast near Saint Tropez Original charcoal drawing Bearing the stamp of the artist on the back On drawing paper 65 x ...

This charming watercolour scene depicts a figure riding a horse with a lady by his side down to a large lake. In the distance a small town can be scene before mountains. Signed and d...

Spruce in snow. 2010, cardboard, oil, 24x34 cm Valery Bayda (1958) Valery Bayda was born in 1958 in Russia. From 1983 to 1989 he studied at the All-Unio...

Sketches of a Car is an Original Pencil Drawing realized by an Unknown artist in mid-20th century. Good condition on a yellowed paper. No signature.

The Nailsmith Houses, Late 19th Century Rattenberg Austria Historical Landscape Exquisitely detailed 1888 watercolor of The Nailsmith Houses, a historical building in Rattenberg, A...

A detailed depiction of a large country house by listed British artist Edward Walker (1879-1955). The scene shows a mother and daughter on the front step of their grand country home ...

Beautiful large-scale figurative landscape watercolor of a vibrant village scene with several people and a cow amongst interesting architecture by William Howard Knowles (American, 1...

An intricate watercolour scene by highly collectable artist Henry Schafer (1833-1916). Signed and titled to the lower right. Presented in a gilt frame with a ribbon and stick running...

Boat at the Dock, Alviso Bay Area Tonalist Landscape Watercolor by Iku Nagai Lovely Tonalist watercolor landscape of Alviso, California by Iku K. Nagai (Japanese/American, b. 1932)....

A charming gouache scene of an idyllic Italian street, with a mother and child out enjoying the blue skies and afternoon sunshine. The artist has indistinctly signed to the lower rig...

Abstract cityscape watercolor with loosely defined landscape elements and geometric shapes by Les (Leslie Luverne) Anderson (American, 19...

Stunning late 19th century landscape of misty purple hills dotted with small sheep in the Scottish highlands near Dunkeld by Boston artist Miss H. L. Radford (19th Century). Signed a...

Max Kuehne (1880 - 1968) Train Station, circa 1910 Watercolor on paper 8 1/4 x 10 1/4 inches Signed lower right Provenance: Private Collection, Illinois Max Kuehne was born in Halle, Germany on November 7, 1880. During his adolescence the family immigrated to America and settled in Flushing, New York. As a young man, Max was active in rowing events, bicycle racing, swimming and sailing. After experimenting with various occupations, Kuehne decided to study art, which led him to William Merritt Chase's famous school in New York; he was trained by Chase himself, then by Kenneth Hayes Miller. Chase was at the peak of his career, and his portraits were especially in demand. Kuehne would have profited from Chase's invaluable lessons in technique, as well as his inspirational personality. Miller, only four years older than Kuehne, was another of the many artists to benefit from Chase's teachings. Even though Miller still would have been under the spell of Chase upon Kuehne's arrival, he was already experimenting with an aestheticism that went beyond Chase's realism and virtuosity of the brush. Later Miller developed a style dependent upon volumetric figures that recall Italian Renaissance prototypes. Kuehne moved from Miller to Robert Henri in 1909. Rockwell Kent, who also studied under Chase, Miller, and Henri, expressed what he felt were their respective contributions: "As Chase had taught us to use our eyes, and Henri to enlist our hearts, Miller called on us to use our heads." (Rockwell Kent, It's Me O Lord: The Autobiography of Rockwell Kent. New York: Dodd, Mead and Co., 1955, p. 83). Henri prompted Kuehne to search out the unvarnished realities of urban living; a notable portion of Henri's stylistic formula was incorporated into his work. Having received such a thorough foundation in art, Kuehne spent a year in Europe's major art museums to study techniques of the old masters. His son Richard named Ernest Lawson as one of Max Kuehne's European traveling companions. In 1911 Kuehne moved to New York where he maintained a studio and painted everyday scenes around him, using the rather Manet-like, dark palette of Henri. A trip to Gloucester during the following summer engendered a brighter palette. In the words of Gallatin (1924, p. 60), during that summer Kuehne "executed some of his most successful pictures, paintings full of sunlight . . . revealing the fact that he was becoming a colorist of considerable distinction." Kuehne was away in England the year of the Armory Show (1913), where he worked on powerful, painterly seascapes on the rocky shores of Cornwall. Possibly inspired by Henri - who had discovered Madrid in 1900 then took classes there in 1906, 1908 and 1912 - Kuehne visited Spain in 1914; in all, he would spend three years there, maintaining a studio in Granada. He developed his own impressionism and a greater simplicity while in Spain, under the influence of the brilliant Mediterranean light. George Bellows convinced Kuehne to spend the summer of 1919 in Rockport, Maine (near Camden). The influence of Bellows was more than casual; he would have intensified Kuehne's commitment to paint life "in the raw" around him. After another brief trip to Spain in 1920, Kuehne went to the other Rockport (Cape Ann, Massachusetts) where he was accepted as a member of the vigorous art colony, spearheaded by Aldro T. Hibbard. Rockport's picturesque ambiance fulfilled the needs of an artist-sailor: as a writer in the Gloucester Daily Times explained, "Max Kuehne came to Rockport to paint, but he stayed to sail." The 1920s was a boom decade for Cape Ann, as it was for the rest of the nation. Kuehne's studio in Rockport was formerly occupied by Jonas Lie. Kuehne spent the summer of 1923 in Paris, where in July, André Breton started a brawl as the curtain went up on a play by his rival Tristan Tzara; the event signified the demise of the Dada movement. Kuehne could not relate to this avant-garde art but was apparently influenced by more traditional painters — the Fauves, Nabis, and painters such as Bonnard. Gallatin perceived a looser handling and more brilliant color in the pictures Kuehne brought back to the States in the fall. In 1926, Kuehne won the First Honorable Mention at the Carnegie Institute, and he re-exhibited there, for example, in 1937 (Before the Wind). Besides painting, Kuehne did sculpture, decorative screens, and furniture work with carved and gilded molding. In addition, he designed and carved his own frames, and John Taylor Adams encouraged Kuehne to execute etchings. Through his talents in all these media he was able to survive the Depression, and during the 1940s and 1950s these activities almost eclipsed his easel painting. In later years, Kuehne's landscapes and still-lifes show the influence of Cézanne and Bonnard, and his style changed radically. Max Kuehne died in 1968. He exhibited his work at the National Academy of Design, the Art Institute of Chicago, the Carnegie Institute in Pittsburgh, the Memorial Art Gallery of the University of Rochester, and in various New York City galleries. Kuehne's works are in the following public collections: the Detroit Institute of Arts (Marine Headland), the Whitney Museum (Diamond Hill...

Detailed and vibrant depiction of a spider web by Doris Howard (American, b. 1935). Signed "Doris Warner" in the lower left corner. Tag on verso from the "Harvest of Colors" exhibition at Roberts Field...

Sailboats. Watercolor on paper, 24x18 cm Zigmunds Šņore was born in 1942 in Latvia. His works has been exhibited since 1969 and are held in private collections in Latvia, USA, Swed...

San Gabriel Mountain Landscape in Black and White - Graphite Pencil on Paper Detailed mountain landscape by Ralph Holmes (American, 1876-1963). Signed lower right corner "Ralph Hol...

Vibrant figurative seascape of a beach in Mazatlan, Mexico with several figures and a catamaran reflecting beautifully in the shallow water by William A. Corbett (American. 1914-1960). Titled "Beach- Mazatlan" on verso. Signed "William Corbett" in lower left corner. Presented in a simple wood frame, with a double mat of off-white silk and royal blue with plexiglass. Image size: 22”H x 14.75”L William A. Corbett began drawing at an early age. He constructed signs and displays for theaters and nightclubs around Pittsburg. He studied art with Vincent Nesbert at the Pittsburg Art Institute and with Robert Gwathmoy, Roy Hilton, and Robert Laper at the Carnegie Institute of Technology. He also studied painting and sculpture at the Louisville Art Center. Corbett was in the Army Engineers at Fort Knox, Kentucky where he studied, practiced, and had exhibits with army artists there from 1941-1943. He was very much interested in materials and technique, content and style in painting. His favorite Artists were El Greco, Leonardo, Rembrandt, Renoir, Burchfield, and Andrew Wyeth, Jr. He studied two years at Boston museum School with Karl Zerbe, Daivid Aronson and others. He later designed and did art work for General Outdoor Advertising Co. In 1943, he married Ruth Osborne of Louisville and they had one son, Michael. In 1951 he moved to Fort Lauderdale, Florida with his family. Exhibitions: Army Art Show--- 1st Prize in Landscape, 1942 Kentucky & southern Indiana Exhibition-- Honorable mentions for Fisherman's Curse 1949, Don Q...

Inscribed with artist name and title. Presented in a gilt frame and double card mount. On paper.

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...

Signed faintly to the lower right. Artist Name inscribed to the mount. Presented in a gilt frame and washline mount. On paper.

France 18th Century, Pastorale (Arcadian Landscape) Black chalk and heightenings of white gouache on blue-grey paper 19 x 31 cm Framed : 34.5 x 46.5 cm The atmosphere and the subje...

A charming watercolour study of a quiet roadway through a village, with stone walls and trees on either side. Signed and dated to the lower right. Well-presented in a contemporary fr...

Nude is an original drawing in watercolor, realized in the Mid-20th Century by Jean Delpech (1916-1988). Good conditions. Jean-Raymond Delpech (1988-1916) is a French painter,...

Classic mid-century California seascape watercolor of the crashing surf on the rocky coast by Santa Cruz, California artist Margaret E. Rogers (American, 1872-1961), c.1950. Rogers was one of the original "Jolly Daubers" who studied with Frank Heath and took wagon trips to the redwoods and Yosemite to paint. Signed "M.E. Rogers" lower right. Presented in a rustic giltwood frame under glass. Image, 16.5"H x 18.5"L. Margaret Esther Rogers' (1872 - 1961) early childhood was spent in England. The Rogers were a cultured family who came to California for the father’s health and settled on a ranch in the King City area. Margaret grew up in the curiously paradoxical world of early California, breaking her own riding horses and roping cattle during the day, doing a man’s work, riding a man’s saddle, then sitting down to the piano to play classics in the evening after high tea. Margaret’s mother had the only piano for 80 miles around. Her father, Robert J. Rogers, had been an importer of fine tea, coffee, and spices in England. In Monterey County, he raised sheep and cattle and the family lived under comparatively rustic and modest conditions. When Margaret wasn’t riding, tending a herd, plowing a field, or playing the piano, she was painting. Art was an early love. Fame caught up with her early. She was written up in a San Francisco newspaper as “Monterey County’s pretty girl who rides a man’s saddle, marks and brands stock, breaks wild colts, plows and sows, plays classical music and paints in oils.” Margaret’s mother was her first music and art teacher; later she took art lessons from Kate Baldwin in Salinas. She had suitors and several proposals, but never married. In the year 1898, Margaret’s “intended” put in 700 acres of grain, spending all he had plus money he borrowed. Not a spear of grain grew, she wrote, and their plans to marry when the crop was sold dried up with the weather. When her mother died, Margaret and her father moved to Soquel, taking along her favorite saddle horse. Now living in Santa Cruz County, Margaret at once became involved in art circles which were unofficially headed by Frank Heath and his wife, Lillian Dake Heath. Frank Heath and Margaret together founded Santa Cruz Art League in 1919, and a few months later were joined in their efforts by a Dutch woman named Cor de Gavere who arrived in Santa Cruz. The two women artists, Margaret and Cor, became fast friends and remained so until Cor’s death in July 1955, while she was visiting relatives in Holland. They painted together almost every day and shared many meals at each other’s cottages which were just a few blocks apart in the Seabright area. However, those Victorian ladies, raised in the era of rigid social conventions, always addressed each other as ‘Miss Rogers’ and ‘Miss de Gavere’ as long as they lived. Money was never in great supply for either lady, but Cor managed to buy a small automobile, and after six driving lessons the two of them took off for southern California. Cor and Margaret took many camping and painting trips in Cor’s automobile. Sometime later, Margaret herself got brave enough to buy an auto. From 1925 to 1947, Margaret made her home in the basement of the Arts and Crafts Building. She managed the Art League’s first gallery, which was started there. Holding informal court for friends who called, Margaret would open a can of sardines, put out a plate of crackers, and conversation about art or music would follow. During World War II, Margaret raised rabbits in cages. In later years, Margaret purchased a small studio-home on Alhambra Street – still in the Seabright area, which both women clung to as home territory. In 1929, Margaret helped found the Art League’s first Statewide Show, which became an annual event. She served as show chairwoman for more than 20 years. A fine painter of landscapes, Margaret became better known for her strong marine scenes. Once she explained that the ocean was “the real challenge, because it won’t stand still.” She served as president of the Art League from 1925 to 1947. Short, stocky, outspoken and very talented, Margaret gained many honors in her later years. With her short haircut and her dark dresses...

Detailed watercolor of Monument Valley by Albert DeRome (American, 1885-1959). The viewer is looking out over the valley from a high vantage point, with towering mesas in the distance. In the foreground, there are some shrubs and a small tree to the right side of the composition. DeRome has created a sense of vast distance by rendering the far background with a hazy quality while keeping the foreground in clear focus. Signed "Albert DeRome" in the lower right corner. Inscription on verso as a gift to the artist's mother. Purchased from the estate of the artist Patterson's Antiques, Los Gatos. Presented in a wood frame with a new white mat. Image size: 5.75"H x 8"W Frame size: 11"H x 14"W Born in Cayucos, California, Albert De Rome (American, 1885-1959) became a California landscape painter, especially of natural landscapes formations, seascapes and marine scenes near Carmel and Monterey. Usually his palette was bright in both oil and watercolor, but he did the occasional nocturne. Scholars have compared his painting style and subjects to those of Thomas Hill and Albert Bierstadt. However, Albert De Rome never affiliated with any formal group of painters, although he had many close friends including Percy Gray, Gunnar Widforss and Will Sparks. As a young man, Thomas De Rome worked at the Congress Spring Hotel in Saratoga, and in San Francisco at the Globe Foundry, owned by an uncle. He studied art under Arthur Mathews, John Stanton and Lorenzo Latimer...

Autumn road. Paper, pastel, 25x33 cm "Autumn Road" is a pastel drawing that portrays the beauty of an autumn landscape. Through the use of pastels, the artist captures the vibrancy ...

View of Bougival is an original drawing in pencil and ink realize by Gaston Bruelle in 1874. Good conditions. Hand titled and dated. The artwork is represented through soft pencil ...

Summer evening. 1982, oil on cardboard, 24,5x33 cm Summer landscape by the river Edgars Vinters (1919-2014) Edgars Vinters is working in oil, watercolor and monotype techniques. He ...

An idyllic rural landscape depicting a mother having just carried her child across the stepping stones on the nearby river. Presented on a cream mount with watercolour detailing and ...

Scenic watercolor seascape of the Point Lobos, Carmel coast at sunset by California artist Les (Leslie Luverne) Anderson (American, 1928-2009). From...

Old city. 1965. Paper, watercolor, 64x50 cm Colorful watercolor painting. Old town view Malda Muižule was born in 1937 in the family of a blacksmith. Graduated from Liepāja Applied...

Serene mid century watercolor seascape signed by unknown artist M. C. Schmidt. Signed in the lower left corner. Presented in a new buff mat with...

Colorful watercolor of countryside hills with cows (Leslie Luverne) Anderson (American, 1928-2009). Signed "Les Anderson" bottom left. Unframed. Image size: 16"H x 23"W Les Anderso...

This illustrative watercolour has been painted in the delicate style of renowned genre artist, Myles Birket Foster (1825-1899). The scene carefully depicts a mother teasing a mischie...

Sketches of Bullfight is an Original Pencil Drawing realized by an Unknown artist in mid-20th century. Good condition on a yellowed paper. No signature.

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

Interesting and well-drawn French late 19th-century landscape sketch in pen and ink . Emile Cagniart was born in Paris where he would remain for his sixty years. Like many young asp...

Landscape 1970, paper/watercolor., 30x42 cm Herberts Mangolds (1901-1978) Graphic, army officer. In 1920 he graduated from the Artillery Cadet Scho...

Lively depiction of Cannes, France by California artist Shelley Lazarus (American, b. 1936). Artist's info on verso (redacted for privacy). Presented in a red wood frame with a double mat. Paper size: 10.5"H x 7"W Shelley Lazarus (American, b. 1936) is a Los Angeles based artist who studied at Syracuse University, Pratt College, and Parsons School of Design, and has been teaching art for over 20 years. Lazarus’ main goal as an artist is to bring a sense of movement and a sense of emotion to her paintings through the use of color. Her landscapes are done mostly on location, where she can feel the power of the atmosphere around her and through the use of color, composition and the movement of space, capture the subtle nuances that reflect in the light. Lazarus was born and educated in New York, where as a teenager she began her art studies at Pratt College while still attending Lincoln High School. She later was a student at Syracuse University and Parsons School of Design. In 1973 she relocated to the Los Angeles area with her husband and their three sons. Although her art career was interrupted for a time, in 1981 she became involved with the Brentwood Art Center. Since then, she has been actively pursuing her art career. Her works have been shown annually in both local and national shows. These works have received numerous awards including a Diptych and a Triptych that were in the International Art Competition for the Olympics in 1984, first place from the San Fernando Valley Art Club for a watercolor in the Santa Monica Mountain Celebration, and the recent Oklahoma National Watercolor investment award. She is a member of the Watercolor Honor Society and a signature member of the Oklahoma National Watercolor Society. Her paintings are in the collections of private, corporate, and public sectors in the US and abroad, including the library at Los Angeles County Museum of Art. She is an active participant in Women Painters West, Valley Watercolor Society, Gallery 825 and Valley Institute of Visual Arts (VIVA). Lazarus has taught art to both children and adults. At the present time she is teaching advance watercolor painting studies to adults at the Brentwood Art Center. She also teaches plein-air painting during the summer months and has given private lessons to those in the entertainment industry as well as to royalty. In 1993 she became involved in the formation of TAG Gallery, a co-op gallery located in the Miracle Mile...