American Impressionist Drawings and Watercolor Paintings

Vibrant scene of visitors arriving by camels at the Peking Bell Tower by William Clothier Watts (American 1967-1961). This piece is unsigned, bu...

Two Mid Century Rural Landscapes in Watercolor on Paper Two lovely watercolors by Beverly Lyons (American, 20th Century). In the top watercolor, an expansive sky sits above a strip ...

untitled (polo player on horseback) Chalk on tan paper, c. 1920 Unsigned Provenance: Gift of the artist William McGill (Keller's student) Image size: 4 3/8 x 5 ...

Untitled Watercolor on paper, c,. 1890 Unsigned Provenance: Estate of the artist Image/Sheet size: 3 1/4 x 4 1/8 inches From Wikipedia "Francis Augustus Lathrop (June 22, 1849 – Oct...

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...

San Jose Hills Watercolor on paper An Americana view of the Hills around San Jose by Robert Sugita (American, b- 1938). A Cupertino artist, Robert went ...

The colors suggest Efrem’s exposure to fauvism, while the structure evokes post-impressionism. The simplified shapes of the fish - otherwise rendered with some care for detail - can ...

Beautiful mid-century 1940's watercolor of a bucolic farmhouse scene - sunset, undulating clouds, and grazing cows - by Thelma Fike Rodenhorst (Americ...

Standing Lincoln: The Man, Lincoln Park, Illinois Watercolor and graphite on paper , c. 1895 Signed in script lower right (see photo) The scene depicts the Augustus Saint-Gaudens bro...

Desert Sunflowers & Petroglyphs - Line Drawing Landscape in Ink on Paper Bold landscape line drawing by listed Maine artist Laurence Sisson (American, 1928-2015). Desert sunflowers ...

Expressive watercolor landscape of an abstracted crashing surf swirling into a dreamy sky, punctuated by silhouetted birds in flight by Les (Leslie Luverne) Anderson (American, 1928-...

Edward Dufner (1872 - 1957) Monhegan Island, Maine Watercolor on paper Sight 16 x 20 inches Signed lower right With a long-time career as an art teacher and painter of both 'light' and 'dark', Edward Dufner was one of the first students of the Buffalo Fine Arts Academy to earn an Albright Scholarship to study painting in New York. In Buffalo, he had exchanged odd job work for drawing lessons from architect Charles Sumner. He also earned money as an illustrator of a German-language newspaper, and in 1890 took lessons from George Bridgman at the Buffalo Fine Arts Academy. In 1893, using his scholarship, Dufner moved to Manhattan and enrolled at the Art Students League where he studied with Henry Siddons Mowbray, figure painter and muralist. He also did illustration work for Life, Harper's and Scribner's magazines. Five years later, in 1898, Dufner went to Paris where he studied at the Academy Julian with Jean-Paul Laurens and privately with James McNeill Whistler. Verification of this relationship, which has been debated by art scholars, comes from researcher Nancy Turk who located at the Smithsonian Institution two 1927 interviews given by Dufner. Turk wrote that Dufner "talks in detail about Whistler, about how he prepared his canvasas and about numerous pieces he painted. . . A great read, the interview puts to bed" the ongoing confusion about whether or not he studied with Whistler. During his time in France, Dufner summered in the south at Le Pouleu with artists Richard Emil Miller...

Six Panel Thumbnail Sketches of Desert and Canyon Landscapes in Ink on Paper Collection of landscape line drawings by listed Maine artist Laurence Sisson (American, 1928-2015). Six ...

Six-Panel Thumbnail Sketches of Desert and Canyon Landscapes in Ink on Paper Collection of landscape line drawings by listed Maine artist Laurence Sisson (American, 1928-2015). Six ...

Fifteen-Panel Thumbnail Sketches of Desert and Canyon Landscapes in Ink on Paper Collection of landscape line drawings by listed Maine artist Laurence Sisson (American, 1928-2015). ...

Five-Panel Thumbnail Sketches of Desert and Canyon Landscapes in Ink on Paper Collection of landscape line drawings by listed Maine artist Laurence Sisson (American, 1928-2015). Fiv...

Bold landscape line drawing with big clouds over a desert landscape by listed Maine artist Laurence Sisson (American, 1928-2015). This piece is unsigned, but was acquired from David Sisson, the artist's son (intialed D.S.) Presented in a new black mat with foam-core backing. Image size: 6.5"H x 12.5"W. Laurence Sisson, was a student of Herbert Barnett (1910-1972), he was one of America's preeminent realist painters today. His work may be found in the permanent collections of museums nationwide including the Museum of Fine Arts, Boston, and the Portland Museum of Art, Maine. Laurence Sisson painted landscapes for sixty years. He was known for his paintings of the Maine coast...

6.5" x 8" pencil on paper. Crows in a landscape. In custom mat from Kennedy Galleries, approx 14" x 20"Born in New York City, Albert Lorey Groll became a much admired, successful western desert...

Vibrant and dynamic monoprint by David Stephens (American, 20th Century). Several white and purple flowers sit in a vase with a few other plant cuttings. The background is filled with vibrant blue...

Small-scale yet bold multi-colored abstracted figurative landscape of a horse rider in a canyon (a study after Edgar Payne’s works) by Tiffanie Mang (Ameri...

Clyde Steadman's "Untitled 17" is an original, handmade watercolor painting that depicts an impasto painting of a nude female model.

Idyllic farmhouse landscape by California artist Edwin Haas (American, 1927-2010). A barn with a boarded window is the primary focus of this piece. It is seated in a lush landscape, full of grass, with a small stream running through the center. To the right of the barn is a bare oak tree, and steps can be seen leading to another building. A Sacramento artist...

Searching the Waters ​by Lu Haskew Pastel 18x22" image size, 26x30" framed Figurative Portrait of young children on a dock looking into the water. ABOUT THE ARTIST: Lu Haskew 1921...

Blue Mountain Landscape in Watercolor on Paper, Double-Sided Art A pastel watercolor landscape with a distant snow-capped mountain, by California artist, Lucile Marie Johnston (1907-1994, American). Double-sided watercolor with modernist sailboat image on back in primary colors. Signature, "Lucile Johnston '70" at the bottom left. Presented in a new cream mat with foam core backing. Mat size: 20"H x 24"W Paper size: 13.75"H x 18.5"W Born in Santa Rosa, California on May 26, 1907, Lucile Johnston settled in Glendale 1930-1939, later moving to Carmel and then Pacific Grove in Monterey County, California where she remained. she managed Marsh's Oriental Antiques Shop...

Clyde Steadman's "Untitled 11" is an original, handmade watercolor painting that depicts an impasto portrait of a feminine face.

Canyon Country by Lu Haskew Pastel 16x20" image size Landscape view of the Grand Canyon ABOUT THE ARTIST: Lu Haskew 1921-2009 "Life is good to me. Being able to go to my studio five days weekly and paint for several hours, living in a supportive community, having family and friends who encourage me--all have contributed to helping me become an artist. Being fortunate to study with some of the artists I admire has kept me painting from the garden, people and my favorite things. With the support of galleries, teaching and doing demos, how could I do anything else? My goal is to try to be the best I can be by always being a student, looking for new ideas and stretching my horizons." Upon retirement from a 33-year teaching career, Lu rented a studio in Loveland and began concentrating on her oil and watercolor painting. Learning from artists she had followed and admired throughout the years her painting became a full time career. Since 1992, she has studied with renowned painters Richard Schmid, Clyde Aspevig, Joyce Pike, and others at the Scottsdale Art...

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...

John Whorf (1903 - 1959) Park Street Church, Boston, circa 1930-45 Watercolor on paper 21 x 15 inches Signed lower right Housed in its original frame Provenance: Milch Gallery, New ...

Artist Nestor Fruge (b. 1916) grew up in the small Louisiana town of Bayou Lafourche. His French Quarter scenes are well-known and ubiquitous in New Orlea...

Clyde Steadman's "Untitled 10" is an original, handmade watercolor painting that depicts an impasto portrait of a feminine face.

Clyde Steadman's "Untitled 18" is an original, handmade watercolor painting that depicts an impasto painting of a nude female model.

Clyde Steadman's "Untitled 1" is an original, handmade watercolor painting that depicts an urban landscape with human silhouettes.

Clyde Steadman's "Untitled 2" is an original, handmade watercolor painting that depicts a cowboy riding a horse in a rodeo.

Clara Louise Bell (1886 - 1978) House on a Hill, circa 1935 Gouache on artist board 7 1/4 x 9 7/8 inches Clara Louise Bell (Mrs.Bela Janowsky) was b...

Clyde Steadman's "Untitled 19" is an original, handmade watercolor painting that depicts an impasto painting of a nude female model in an interior setting.

Nude figure study of a female model by an unknown artist (American, 20th Century). Circa 1940. Unsigned. Unframed. Image size: 25"H x 19"W.

Clyde Steadman's "Untitled 9" is an original, handmade watercolor painting that depicts an impasto portrait of a feminine face.

Clyde Steadman's "Untitled 20" is an original, handmade watercolor painting that depicts an impasto painting of a nude female model in an interior setti...

Snowy Peaks (Mont Blanc) Watercolor on paper, c. 1930 Signed "R. Hallowell" lower right (see photo) The image depicts is of Mont Blanc in France. Mont Blanc is the highest mountain in the Alps and Western Europe, rising 4,807.81 m above sea level. It is the second-most prominent mountain in Europe, after Mount Elbrus, and it is the eleventh most prominent mountain summit in the world. Wikipedia Provenance: From the Estate of the Artist Marbella Gallery, NYC (label) Exhibited and Illustrated: Robert Hallowell (1886-1939), Marbella Gallery, New York, Introduction by Ronald G. Pisano, No. 99. “There is in Mr. Hallowell’s work a grace that amounts to graciousness.” Leo Stein (1872-1949) Robert Hallowell (1886-1939) was highly regarded as an artist exhibiting at the finest galleries and museums in American and France in the 1920’s and 1930’s. His other professional life included graduating from Phillips Academy, Andover and Harvard University. While at Harvard he was president of the Harvard Lampoon...

Clyde Steadman's "Untitled 14" is an original, handmade watercolor painting that depicts an impasto scene of individuals grouped together.

A bold and colorful cityscape watercolor of an urban Basilica, the great Saint Ignatius Church of San Francisco, with its impressive architecture captur...

Clyde Steadman's "Untitled 13" is an original, handmade watercolor painting that depicts an impasto scene of individuals grouped together.

Delicate and precise drawing by Lester G. Hornby (American, 1882-1956). Several boats are depicted at Convento de Santa María de la Rábida. The drawing is highly detailed, with the confident marks of an accomplished artist. Two buildings can be see to the left hand side of the drawing - a wharf house and the La Rabida Monastery. A man tends his fishing boat and few other boats are anchored in the water, including two caravels (a small, fast Spanish or Portuguese sailing ship of the 15th–17th centuries.) The Friary of La Rábida (in full, Spanish: Convento de Santa María de la Rábida) is a Franciscan friary in the southern Spanish town of Palos de la Frontera, in the province of Huelva and the autonomous region of Andalucia. Signed "L. G. Hornby" in the lower left corner. Presented in a new grey mat with foamcore backing. Original tag from Albert Roullier Art Galleries in Chicago has been preserved on verso. Mat size: 11"H x 14"W Paper size: 10"H x 9"W Lester George Hornby (American, 1882-1956) received his early training at the Rhode Island School of Design and the Art Students League in New York. He then journeyed to Paris where he developed his technique further at the major art academies there. Hornby’s progress was rapid; he received his first international recognition in Paris in the prestigious Salon d’Automne of 1907. Completely captivated by Paris and the French countryside, Hornby spent most of his productive years in France, returning intermittently to America. In his later years, he played an active role as teacher and artist in the Rockport art colony. He lived there with Bertha Grover Goodrich, his last wife. They lived in Rockport, Massachusetts until his death in 1956. Together they built the "old on purpose" house using old materials to build a "new" "old" house. Lester is the one who gave the name "Motif #1" to the old fish house that has become so famous. During WWI Hornby was a war correspondent. As did most artists at the time who did illustrations in relation to the war, Hornby had to have war- related pictures approved by the government before being published. In one case the war department refused to give permission because they felt his illustration was so accurate and well done that the enemy would have access to too much information. Hornby worked in the trenches with the men and his work reflects this. At a Philadelphia exhibit of color etchings in 1909 the critic called Hornby "the foremost exponent of this branch of graphic art that America has produced.” The critic Rowland Thomas wrote in 1910 "Hornby is beyond doubt a master etcher with such power of eye and hand as our generation has hardly known before. Not since Whistler posed with the Universe on his needle point has anyone scratched on solid metal lines of such electrifying, such insolently simple conciseness as these- a new old Paris leaps transfigured and revealed for those who will glory in her." Boston critic W.H. Downes found "Hornby's etchings among the best and most artistic being done by any American, and some of the Marne set are masterpieces." A 1928 exhibit of watercolors at the Vose Gallery in Boston won a rave from critic A.J. Philpott "He has been compared to Joseph Pennell but that is not a fair comparison. Hornby is a much more versatile genius than Pennell ever was!" Hornby's work is in the permanent collections of 21 museums worldwide, including the Addison Gallery of American Art, Boston Public Library, Boston Athenauem, Art Institute of Chicago, Detroit Institute of Arts, Rhode Island School of Design, Yale University, Rockport Art Association, and Philadelphia Museum of Art. Member: American Art Association of Paris, Boston Art Club, Guild of Boston Artists, Boston Watercolor Club, Brooklyn Society of Etchers, Chicago Society of Etchers, Caof. Society of Etchers, New York Society of Etchers, Gloucester SA, Painter-Gravers of America, Providence Art Club, Providence Watercolor Club, Rockport Art Association, NSAA, SC., Soc. Amis de l'Eau-Forte, Paris. Exhibits: Paris Salons, Dresden International Exhibition, doll & Richards Gallery, Boston Public Library, Irving & Casson, Roullier Gallery, Kennedy Gallerys, Grace Horne Gallery, Goodspeed's Boston, Venice International Exhibition, Lotos Club, Anderson Gallery, Swedish International Exhibition, Fine Art Society, London, Boston City...

Kurt Scooby AKA @Channel2Scooby is a charcoal drawing on paper. Kurt Scooby is a professional boxer who started training out of Churchill Boxing Club in Los Angeles. This drawing was taken by prominent boxing photographer Mayumi Cabrera...

A beautiful watercolor painting of high tide and overcast skies; the perfect time for a beach walk with furry friend, by California artist Les (Leslie Luverne) Anderson (American, 19...

Dramatic seascape by an unknown artist (20th Century). Dark clouds are parting over the sea, allowing beams of light to pass through, falling on rocky outcroppings. Two small sailboa...

Edith Isaac-Rose "Pastel Landscape Pond" 1963 Pastel on paper 13.5"x10" unframed Signed and dated lower left in pencil. Came from a portfolio of her work Born in Chicago in 1929, and neé Ganansky-Teitelbaum, she graduated from The Art Institute of Chicago in 1951 and moved to New York in 1959 where she lived ever since. Taking as her professional name her parents’ first names, Edith was a prolific artist working first as an abstract expressionist then turning in the 1980s to figurative, political work consisting of drawings, paintings, and embroideries which she called “Daily Rage”. She had been represented by the Phyllis Kind Gallery and her work is in the Hirshhorn Museum as well as numerous private collections. Edith, along with her partner of 35 years, Bea Kreloff, (1925-2016), founded Art Workshop International in 1981 where they held art and writing workshops in Assisi, Italy, Monhegan Island, Maine, and Puerto Escondido, Mexico. They were both actively involved with the anti-war movement, gay liberation...

"Ridge Oak" Northern Mt Tamalpais California Watercolor 1991 Perfectly executed plein air watercolor looking out towards Mt. Tamalpais in spring by J. Gal...

"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...

Charles Marion Russell (1864 - 1926) Old Russell House Pencil on paper 3 1/2 x 6 1/2 inches Provenance: Kennedy Galleries, New York Raydon Galleries, ...

Colorful landscape of Moss Landing marshland (just north of Carmel, California by Les (Leslie Luverne) Anderson (American, 1928-2009). Signed lower left c...

Unique set of expressive portrait studies in watercolor and ink by Santa Cruz artist Bob Newick (American, 20th Century). Signed "To Wendy / In Friendsh...

Charming watercolor of a seated white cat with a rich green background color by California artist Elizabeth Bourdet (American, 1926-1977). Signed "Elizabeth ...

Idyllic scene of a church in the countryside by an unknown artist (20th Century). A modest church is surrounded by trees, casting delicate shadows on the building. Some of the trees ...

Beautiful watercolor landscape in a palette of deep greens and blues, of a boat pulled up on a lake shore with layered tree lines in the background Signed "E. P. Blackburn" lower ri...

A colorful vintage industrial outdoor scene in watercolor by artist Diane Baldwin (American, 20th century). Signed "Baldwin" lower right. Unframed. Image...

Hachiya Persimmons & Fan, Modern Still Life with Red-Orange and Blue Lovely modern still-life of a fan and persimmons by Santa Cruz, California artist Anita Heckman (American, b.20th Century). This 1987 mixed media work on paper depicts three vivid Hachiya persimmons on a windowsill beside an elegant paper fan with a tassel. A decorative window drape...

Dramatic and vibrant coastal watercolor painting by California artist Les (Leslie Luverne) Anderson (American, 1928-2009). From the estate of Les Anderson in Monterey, California. Un...