Skip to main content

American Impressionist Art

to
12
23
5
14
8
8
7
5
1
1
Overall Height
to
Overall Width
to
1,683
1,249
637
307
178
174
89
89
51
39
36
24
23
9
13
8
5
4
4
3
3
2
2
2
2
2
2
1
1
1
1
1
1
1
2
19
2
2
3
2
2
2
2
2
1
1
1
1
1
1
14
12
9
5
3
Style: American Impressionist
Color:  White
"Adventures in Literature" Figurative 1930's Illustration art
Located in Soquel, CA
A wonderful original figure painting for a 1930's illustration by Charles Kinghan (American, 1895-1984). A woman in a plaid green skirt and mustard yel...
Category

1930s American Impressionist Art

Materials

Acrylic, Cardboard

Original "BEWARE Spreading Vital Informaton .. SILENCE" vintage WWII poster
Located in Spokane, WA
Original "Beware Spreading Vital Information Will Undermine Our War Effort. Do your Part In Silence" vintage World War 2 poster. Ori...
Category

1940s American Impressionist Art

Materials

Lithograph

Artist's Self-Portrait in Pastel on Paper
Located in Soquel, CA
Artist's Self-Portrait in Pastel on Paper Bright yellow and ochre make up this self-portrait in chalk pastels by Michael William Eggleston (American, 20th Century). Unsigned, but acquired with a collection of the artist's work. Mat size: 30"H x 24"W Paper size: 24"H x 18"W Presented in a new soft peachy cream mat with foam core backing. Michael William Eggleston (American, 20th Century) is a San Francisco...
Category

21st Century and Contemporary American Impressionist Art

Materials

Pastel, Paper

Captiva Island, Florida - Beach Landscape in Watercolor on Paper
Located in Soquel, CA
Captiva Island, Florida - Beach Landscape in Watercolor on Paper Detailed watercolor of a Florida island beach by unknown artist "Dowst" (American, 20th Century). Scrub brush and ot...
Category

1960s American Impressionist Art

Materials

Paper, Watercolor

Rowboat Outing - Fall Landscape with Rowboats in Watercolor on Paper
Located in Soquel, CA
Rowboat Outing - Fall Landscape with Rowboats in Watercolor on Paper Serene lakeside landscape by an unknown artist (20th Century). Two birch trees with bright yellow leaves are gro...
Category

Mid-20th Century American Impressionist Art

Materials

Paper, Watercolor

Orange Poppies in a Vase, Modernist Still Life in Watercolor on Paper
Located in Soquel, CA
Orange Poppies in a Vase, Modernist Still Life in Watercolor on Paper A vibrant watercolor still life with a vase filled with orange poppies on a carnation pink background with abstract leaves of teal blue and purple, by California artist, Lucile Marie Johnston (1907-1994, American). Signature, "L. Johnston '74" at the bottom left and "Lucile Johnston" on the back. Presented in a new cream mat with foam core backing. Mat size: 24"H x 20"W Paper size: 16"H x 12"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...
Category

20th Century American Impressionist Art

Materials

Paper, Watercolor

Sailboat Race Modernist Watercolor on Paper, Double-Sided Artwork
Located in Soquel, CA
Sailboat Race Modernist Watercolor on Paper, Double-Sided Artwork Primary colors make up four sailboats racing towards a buoy, by California artist, Lucile Marie Johnston (1907-1994, American). Double-sided watercolor with a pastel watercolor landscape with a distant snow-capped mountain on back. Signature, "JOHNSTON" 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...
Category

20th Century American Impressionist Art

Materials

Paper, Watercolor

Palm Springs Courtyard with Fountain - Drypoint Etching on Paper
Located in Soquel, CA
Palm Springs Courtyard with Fountain - Drypoint Etching on Paper Stately drypoint etching of the courtyard of a Palm Springs house by Leland "Lee" Fuller (American, 1899-1962). The focus of this piece is the courtyard of a house with a fountain. Behind the garden and fountain, there is a section of the house with an arched doorway and tile roof. This was likely a house that Fuller designed. From the Robert Azensky Fine Art Mary Pickford...
Category

1920s American Impressionist Art

Materials

Paper, Ink, Drypoint

Smokestack at the Refinery - Realistic Industrial Illustration in Gouache
Located in Soquel, CA
Industrial illustration of a smokestack by Charles Ross Kinghan (American, 1895-1984). A large tower and holding tanks are rendered in exquisite detail, especially considering the size of the illustration. The smokestack towers above the landscape, with stairs running up the outside. Two large green holding tanks sit next to the tower. At ground level, there are a few small figures, indicating the enormous scale of the refinery. possibly a sketch for Colliers or The Saturday Evening Post Magazine. Unsigned, but was acquired with other signed estate works by the artist. Presented...
Category

1930s American Impressionist Art

Materials

Gouache, Cardboard, Watercolor

Young Lady in Profile
Located in Fairlawn, OH
Young Lady in Profile (Dorothy Gibson) Graphite on paper, c. 1915 Signed lower right (see photo). The sitter for this drawing, along with a huge number of Harrison Fisher’s works, is the model, turned actress, Miss Dorothy Winifred Gibson (1889-1946). She was one of the lucky ones who survived the sinking of the Titanic in 1912. There is an in depth biographical sketch available on Wiki. "Dorothy Winifred Gibson (1889-1946) is arguably one of the most fascinating women of the twentieth century. Her story is more than deserving of its own film or TV show and yet, if it was to ever appear on the screen, it would be in serious danger of being criticised as ‘too unbelievable’ or ‘farfetched’. But believe me, readers, everything I am about to tell you about Dorothy Gibson is true... Early Life Dorothy Winifred Gibson (originally Dorothy Winifred Brown, before her father died when she was three years old and her mother remarried), was born in New Jersey on 17 May 1889. Between 1906 and 1911 (aged 17-22), she appeared on stage as a singer and dancer in a number of theatre and vaudeville productions, and in 1909 she began modelling for Harrison Fisher, a famous commercial artist. Dorothy soon became Fisher’s favourite muse, and her image was seen regularly on postcards, merchandising products and even on the covers of magazines like Cosmopolitan. During this time, Dorothy met and married a pharmacist named George Henry Battier Jr, but the couple soon separated and were divorced by 1913. As early as 1911, Dorothy began appearing in movies, starting out as an extra but soon taking the leading roles in a series of films by Éclair Studios. Praised for her natural acting style and comedic flair, she was a huge hit – and arguably the first actress to be promoted as a star in her own right. Surviving the sinking of the RMS Titanic On 17 March 1912, after starring in a string of movies, Dorothy and her mother, Pauline, took a trip to Europe – but after a few weeks Dorothy was called back to America by the studio to start working on a new series of films. Dorothy and her mother were in Paris when they booked their tickets on the maiden voyage of the RMS Titanic, and boarded at Cherbourg on 10th April. On the night the ship sank, Dorothy had ‘spent a pleasant Sunday evening playing bridge with a couple of friendly New York bankers’ (her words, in an interview with the New York Dramatic Mirror). Despite the request of a steward for them to finish, they carried on with their game and it was not until about 11:40pm that Dorothy returned to the stateroom she shared with her mother. It was at that point that she felt ‘a long drawn, sickening crunch’ and, while not exactly alarmed, she decided nonetheless to investigate. Quickly noticing that the deck was ‘lopsided’, she rushed back to her room to fetch her mother, and the pair returned to the boat deck. Dorothy and her mother escaped from the ship on the first lifeboat launched (number 7), and given how quiet it was on the boat deck at the time, she asked her bridge partners to join them. However, events took a turn for the worst when a hole was found in the bottom of the lifeboat, causing icy cold water to rush in and almost flood the boat. Luckily, though, Dorothy explained, ‘this was remedied by volunteer contributions from the lingerie of the women and the garments of men.’ It is hard for us now to imagine the terrors of that night – and the emotional damage it caused to those who survived. After the event, Dorothy told the Moving Picture World, ‘I will never forget the terrible cry that rang out from people who were thrown into the sea and others who were afraid for their loved ones.’ Unbelievably, though, Dorothy was to re-enact the experience a mere five days after it happened, when she starred in the first film about the disaster. It was a silent movie, called Saved From The Titanic, and was actually hugely successful and the first of many hit films about the sinking. In the movie, Dorothy even wore the same clothes she had been wearing when the ship sank – a white silk dress underneath a cardigan and polo coat. Shortly after the release of Saved from the Titanic Dorothy gave up acting. An affair to remember...
Category

1910s American Impressionist Art

Materials

Graphite

"What Will Your Answer Be" What did YOU do to help. original vintage poster
Located in Spokane, WA
Original, WHAT WILL YOUR ANSWER BE when your boy asks you -- "Father, - what did you do to help when Britain fought for freedom in 1916?" horizontal, linen-backed, excellent condition ENLIST NOW. Poster showing, in silhouette, a boy in scout uniform addressing his father. This poster was also printed with the same text but using "Ireland" in the text. Iconic British World War 1...
Category

1910s American Impressionist Art

Materials

Lithograph

"The Back Fence" - Figurative Composition
Located in Soquel, CA
Lovely figurative composition of two neighbors talking over a fence by Marilyn Spencer (American, 1939-2017). A figure dressed in blue is leaning over a fence, towards a neighbor dressed in yellow. Presumably the two people are engaged in conversation, based on their body language. This piece has a loose, sketchy style that adds an innocent quality to the composition. Signed in the lower right corner. Tag on verso from Mullaly-Matisse Galleries Presented in a gold-colored aluminum frame with an off-white mat. Paper size: 7.5"H x 7.5"W (approx - paper is not square) Marilyn Spencer (American, 1939-2017) was a lifelong resident of New Orleans and a popular regional artist. She worked mainly in acrylic (on canvas and paper) and lithograph, with most of her work depicting landscapes and scenes of women engaged in daily life. Spencer produced a lithograph for the New Orleans Saints...
Category

1980s American Impressionist Art

Materials

Paper, Acrylic

Vision in Lavender Landscape by Noel Howard
Located in Soquel, CA
Abstracted landscape by California artist Noel Howard (American, 20th Century). Layers of watercolor create a dreamlike landscape, as if the scene is just slightly out of focus. Ther...
Category

1970s American Impressionist Art

Materials

Paper, Watercolor

Lily Pads and Lotus Flowers
Located in Soquel, CA
Delicate watercolor of lilies in a pond by an unknown artist (20th Century). Two flowers are blooming above lily pads in a pond. The flowers are rendered in a soft pink, whereas the ...
Category

21st Century and Contemporary American Impressionist Art

Materials

Paper, Watercolor

Original 1959 "The Great St. Louis Bank Robbery" U S 1 sheet movie poster
Located in Spokane, WA
Original "The Great St. Louis Bank Robbery"; U. S. 1 sheet original theater release movie poster; size 27" x 41"; 1959. Featuring Steve McQueen. Archi...
Category

1950s American Impressionist Art

Materials

Offset

Vilhelmina Fjallen, Vilhelminafjällen Sverige original vintage travel poster
Located in Spokane, WA
Vilhelmina Fjallen. Vilhelminafjällen Sverige. Original Scandinavian vintage poster lithograph. Mounted on acid-free archival linen. A city located on the edge of Lapland in t...
Category

1950s American Impressionist Art

Materials

Lithograph

"Study 2", Seated Figure Lithograph
Located in Soquel, CA
Beautiful nude figurative lithograph by Jim Smyth (American, b. 1938). Numbered, titled, signed and dated "8/12", "Study 2", "Smyth 75” along the bottom edge. Unframed. Jim Smyth has studied at the Academia de Belle Arti in Fiorenza, Italy, Ecole des BeauxArts in Geneva, New York Academy, and the Art Students League. He is also a graduate of UC Berkeley with a degree in Fine Art. Although academically trained, Smyth practices and teaches a more impressionistic style of painting, focusing on the Alla Prima technique. He is particularly knowledgeable about drawing, perspective, color theory and the human figure, his passion. Smyth, with extensive academic knowledge, has a profound love of all human representations as illustrated by his humorous quick sketches from life. He also practices and teaches oil painting and pastels. When not in Provence, or Southeastern France, Smyth teaches intensely in art schools, art centers and several colleges in the Bay Area. He is a beloved instructor and his classes fill in quickly as he is very knowledgeable. On his return to the United States, he began studying with Mr. Alanson Appleton at the College of San Mateo, San Mateo, California. Smyth was a founding member of the Appletree Etchers, Inc., an etching print shop organized by Mr. Appleton and his students to develop and promote color intaglio. Smyth served as Master Printer at the studio for many years perfecting the techniques of intaglio and developing the color theories of Mr. Appleton as applied to the deeply etched plate. Smyth received his degree from the University of California, Berkeley, in 1972 and holds the California Community College Certificate and an Adult Education Certificate. Smyth was invited to teach "Anatomy for Artists" at Foothill College, Los Altos Hills, California, as a result of his many years of dissection of the cadaver and developed the course of study of Perspective for the college. During this period, he began teaching Life Drawing at the Pacific Art League of Palo Alto, Palo Alto, California. During the following thirty years Smyth has taught an average of twelve classes per week at the Pacific Art League of Palo Alto, the Palo Alto Art Center and the Burlingame Recreation Department among others in all phases of drawing and painting. He has conducted many workshops for the California Academy of Painters in many aspects of drawing and painting. Currently, he is an Adjunct Professor of Drawing at the College of San Mateo, San Mateo, California. He is an authority on the materials of painting and drawing, techniques of traditional drawing and painting, color theory, perspective and anatomy for artists. In his career in Life Drawing, Smyth has made over two hundred thousand drawings from the model. In addition to studies at Berkeley, Smyth has studied at the College of San Mateo, Foothill College, De Anza College, Mission College, and West Valley College, all in California. One of the pivotal points in his career was studying with Mr. Maynard Dixon Stewart at the University of San Jose, California. He spent a year at the New York Academy of Art where he was offered a full scholarship and at the Art Students League of New York. He concurrently attended classes at the National Academy of Design in New York. Among others, Smyth studied with M. Andrejivec, Ted Schmidt, Elliot Goldfinger, Gary Fagin, Ted Jacobs, Leo Neufeld, David Leffel, Jack Ferragasso, Jim Childs and Everett Raymond Kinstler and Kim English. Smyth has also studied with the noted painter and colorist, Ovanes Berberian. In 2002 Jim was invited to study at the Academy of Art in St. Petersburg, Russia, where he worked in Life Drawing and Life Painting. Smyth is a popular lecturer, a sought after demonstrator and juror. He is the recipient of many awards for both his painting and his teaching. In 1988 and again in 2003, he received the Kenneth Washburn...
Category

1970s American Impressionist Art

Materials

Etching, Paper

1890s Mission San Carlos Borromeo de Carmelo, Carmel Landscape
By George Hamilton Brodhead
Located in Soquel, CA
Late 19th century watercolor of the Mission San Carlos Borromeo de Carmelo, in Carmel CA, by George H. Brodhead (American, b. 1860). Signed "G.H. Brodhead" ...
Category

1890s American Impressionist Art

Materials

Paper, Watercolor

Sitting on a Park Bench - Figurative Landscape Lithograph
Located in Soquel, CA
Lithograph of a person sitting on a park bench by Mercado (20th Century). Signed by the artist in pencil in the lower right corner ("Mercado 69"). Numbere...
Category

1960s American Impressionist Art

Materials

Paper, Lithograph

Low Tide - Mid Century Seascape
Located in Soquel, CA
Beautiful mid century seascape of the waves spilling over the rocks into the tide pool by Margaret Esther Rogers (British/American, 1872-1961). Si...
Category

1940s American Impressionist Art

Materials

Canvas, Oil, Cardboard

Afternoon
Located in New York, NY
Arthur B. Davies (1862-1928), Afternoon, transfer lithograph, 1920, signed in pencil lower left. Reference: Czestochowski 188, only state, from the edition of 25 (another 300 unsigne...
Category

1920s American Impressionist Art

Materials

Lithograph

Tan Shi Sou, White Snake Temple Raised Line Woodcut Hand Painted 1924 Bertha Lum
Located in Soquel, CA
Tan Shi Sou, White Snake Temple Raised Line Woodcut Hand-Painted By Bertha Lum, 1924 Bertha Lum (American, 1869 - 1954) was fascinated by the legends and mythology of the Orient and wrote extensively about them. These legends provided the subject matter for many of her works in woodcut. Also known as 'Temple, Peking' the color woodcut by Bertha Lum was done in an edition of at least 45 impressions. She was in China on her sixth trip (1922-1924) to the Orient and her first trip to Peking where she studied Chinese woodblock printing and where she developed her "raised line" technique, such as this print. Lum would use the black "key block", printed on a sheet of thin Japanese paper and then attached to a new block. The black lines are then cut 'into' the block so they are intaglio rather than relief, like the first woodcut. Thin sheets of Oriental papers are then forced into the incised lines and a pulp is poured to strengthen the sheet. As the paper dries it shrinks and releases from the block (essentially a cast of the surface). The resultant Key Block lines are standing in relief. They are then inked with a black ink, which defines the composition. Lum then colors the surrounding areas with gouache. Each impression is uniquely colored. Because of this the image is reversed from the color woodcut. The Legend of the White Snake, also known as 'Madame White Snake', is a Chinese legend which existed in oral tradition long before any written compilation. It has since been presented in a number of major Chinese operas, films and television series. This is one of the temples in Peking that is associated with the legend. Signed at the bottom, "Bertha Lum". Presented in a black frame with a white mat. Frame size: 20.75"H x 15.75"W Image size: 14"H x 10"W Bertha Lum (1869-1954), née Bertha Boynton Bull, printmaker and illustrator, was born in Tipton, Iowa and spent her youth in Iowa and Duluth, Minnesota. In 1895, Lum attended the Art Institute of Chicago for one year, focusing on design. A few years later studied stained glass with Anne Weston and illustration at the School of Illustration with Frank Holme. In the fall of 1901 to March 1902, Lum studied figured drawing at the Art Institute of Chicago. In 1903, Bertha married Burt F. Lum, a corporate lawyer, and their honeymoon voyage to Japan in 1903 was the precursor to Bertha’s exploration of and fascination with the Orient. Returning to Japan in 1907 for fourteen weeks, she gained an introduction to Bonkotsu Igami, a master block cutter in Tokyo, who disclosed to her the techniques of carving and arranged for her education in block printing. Though married, Lum was fiercely independent and traveled for extended periods of time. Accompanied by her two young children, her 1911 sojourn in Japan lasted six months. By this time she had a thorough understanding of color woodcut and opted for the traditional division of labor. Lum moved easily within Japanese society and hers were the only foreign woodcuts in the Tenth Annual Art Exhibition in Tokyo in 1912. She was awarded the silver medal at the 1915 Panama-Pacific International Exposition and and her work was included in the 1919 Exhibition of Etchings and Block Prints at the Art Institute of Chicago. In 1921, Lum’s Summer was included in American Wood-Block Prints of Today at the New York Public Library and, in 1926, an exhibition of her work was mounted in the fall at the United States National Museum, Division of Graphic Arts. She was a member of the Asiatic Society of Japan, the California Society of Etchers, and the Print Makers Society of California. Lum authored and illustrated Gods, Goblins and Ghosts in 1922 and Gangplanks to the East in 1936. Lum was in California at the end of 1916 and moved to San Francisco in the fall of 1917, but the following years were interrupted with travel. Her most extensive stay in California was between 1924 and 1927. The 1923 earthquake in Tokyo destroyed most of her blocks and many woodcuts. Lum spent the late 1920s and the 1930s living in Peking, returning to California in 1939. She spent a great deal of time in China between the years 1948 and 1953. Bertha Lum left China to be with her daughter Catherine who lived in Genoa, Italy and she died at the age of eighty-four years old in February 1954. Bertha Boynton Lum is represented in the collections of the Brooklyn Museum, New York; the Art Institute of Chicago and the Terra Foundation for American Art, Chicago; the Jordon Schnitzer Museum of Art, University of Oregon, Eugene; the Amon Carter Museum of American Art, Fort Worth, Texas; the British Museum, London; the Los Angeles County Museum of Art, California; the Zimmerli Art Museum, Rutgers, New Brunswick, New Jersey; the Metropolitan Museum of Art, New York; the Portland Art Museum, Oregon; the Fine Arts Museums of San Francisco, California; the Library of Congress and the National Museum of Women in the Arts, Washington, D.C.; and the Delaware Art Museum, Wilmington. Bertha Boynton Lum was an American artist known for helping popularize the Japanese and Chinese woodblock print outside of Asia. In May 1869, Lum was born as Bertha Boynton Bull in Tipton, Iowa. Lum's father was Joseph W. Bull (1841–1923), a lawyer and her mother was Harriet Ann Boynton (1842–1925), a school teacher. Both of Lum's parents were amateur artists. Lum had a sister and two brothers, Clara, Carlton, and Emerson. Education and career: In 1890 she lived in Duluth and listed her occupation as artist. She enrolled in the design department of the Art Institute of Chicago in 1895. A few years later she studied stained glass with Anne Weston and attended the Frank Holme School of Illustration. From November 1901 to March 1902, she studied figure drawing at the Art Institute of Chicago and was influenced by the Japanese techniques of Arthur Wesley Dow in his book Composition, which was published in 1899. Lum married Burt F. Lum, a corporate lawyer from Minneapolis, Minnesota, in 1903. They spent their seven-week honeymoon in Japan, where she searched for a print maker who could teach her the traditional ukiyo-e method. Toward the end of her stay in Japan, she found a shop that reproduced old prints. The shop sold her some woodcutting tools...
Category

1920s American Impressionist Art

Materials

Gouache, Rice Paper

Theodore Robinson Sketchbook, American Impressionism, French Drawings
Located in New York, NY
Theodore Robinson (1852 – 1896) Sketchbook, 1888 Pencil and ink on paper (approximately 25 drawings) 5 x 6 inches Provenance: Antes Estate, Evansville, Wisconsin Bunte Auction Serv...
Category

1880s American Impressionist Art

Materials

Pencil, Ink, Paper

Related Items
View of Angel Island from Tiburon, California
Located in San Francisco, CA
This Artwork "View of Angel Island from Tiburon, California" c. 1975 is a watercolor on paper by San Francisco Bay Area artist Hilda Kider, 1921-2017. It i...
Category

Late 20th Century American Impressionist Art

Materials

Watercolor

The Scarecrow
Located in San Francisco, CA
This artwork titled "The Scarecrow" 1933 is a watercolor on paper by noted Kansas artist Robert Ivan Lockard. It is signed an dated at the lower right co...
Category

Mid-20th Century American Impressionist Art

Materials

Watercolor

The Scarecrow
The Scarecrow
H 22.5 in W 28 in D 1.5 in
The owner II - Parmis Sayous 21st Century drawing, Iranian contemporary painter
Located in Paris, FR
Pastel on paper Created in 2018 in Paris, France Unique work Signed by the artist
Category

2010s American Impressionist Art

Materials

Paper, Pastel

Landscape with Boat and House, California
Located in San Francisco, CA
This artwork "Landscape with Boat and House, California" is a watercolor by California artist Catherine Rubino Eaton Baca, 1907-1978. It is hand signed and dated at the lower right corner by the artist. The image size is 17 x 23 inches, framed size is 25 x 31 inches. Framed in original dark wood and gold frame. It is in very good condition. About the artist: Born in Oakland, CA on Jan. 18, 1907. Catherine Rubino studied at the CCAC and with Phil Paradise...
Category

Mid-20th Century American Impressionist Art

Materials

Watercolor

The Old Trestle, San Rafael, California
Located in San Francisco, CA
This artwork titled "The Old Trestle, San Rafael, California" 1986 is a watercolor on paper by noted California artist Arnold A. Grossman, 1923-2016. It is ...
Category

Late 20th Century American Impressionist Art

Materials

Watercolor

East Irvine Post Office
Located in San Francisco, CA
Artist: Arnold Grossman (American, 1923-2016) Title: East Irvine Post Office Year: 1977 Medium: Watercolor Paper: Watercolor paper Size image: 15.5...
Category

Late 20th Century American Impressionist Art

Materials

Watercolor

The Old Factory
Located in San Francisco, CA
Artist: Arnold Grossman (American, 1923-2016) Title: The Old Factory Year: c.1980 Medium: Watercolor Paper: Watercolor paper Size image: 16 x 21 in...
Category

Late 20th Century American Impressionist Art

Materials

Watercolor

Official Portraits: Immigrant
Located in Lyons, CO
Color lithograph with collage, Edition 30 Hung Liu grew up in China and came of age during the Chinese Cultural Revolution. She spent four years in the countryside as a laborer, s...
Category

21st Century and Contemporary American Impressionist Art

Materials

Lithograph

Duet
Located in Sempach, LU
The artwork is made using large voluminous strokes, in the impressions technique. Painted with brushes on the canvas. This work is unique, this is not a copy. Signed on the front side and accompanied by a Certificate of Authenticity. Ready to hang. Canvas painted from all sides. This painting is a perfect gift for Mother's Day or Easter! Please contact us if you have any questions about this piece. Anna Reznikova's artworks are presented on 1stDibst by Art Voyage Gallery.
Category

2010s American Impressionist Art

Materials

Oil

Duet
Duet
H 39.38 in W 31.5 in D 0.79 in
Ap-Pa-Noo-Se, A Saukie Chief: Original Hand-colored McKenney & Hall Lithograph
Located in Alamo, CA
This is an original 19th century hand-colored McKenney and Hall lithograph of a Native American entitled "Ap-Pa-Noo-Se, A Saukie Chief", lithographed by J. T. Bowen after a painting by Charles Bird King and published by Rice and Hart & Co. in Philadelphia in 1848. For his portrait Ap-Pa-Noo-Se (A Chief When a Child) is wearing a feathered headdress, long ornamental earrings, multiple chain necklaces...
Category

Mid-19th Century American Impressionist Art

Materials

Lithograph

"Train Station, " Max Kuehne, Industrial City Scene, American Impressionism
Located in New York, NY
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...
Category

1910s American Impressionist Art

Materials

Paper, Watercolor

Shar-I-Tar-Ish, A Pawnee Chief: Original Hand-colored McKenney & Hall Lithograph
Located in Alamo, CA
This is an original 19th century 1st edition octavo hand-colored McKenney and Hall lithograph of a Native American entitled " Shar-I-Tar-Ish, A Pawnee Chief", lithographed by J. T. Bowen after a painting by Charles Bird King and published by Rice and Hart in Philadelphia in 1848. Shar-I-Tar-Ish's portrait has a reddish hue from the feathers in his headdress and amulet chain, with a brownish taupe color of the upper trim of his costume. He is wearing his presidential peace medal. He has a very serious and thoughtful expression. This original McKenney and Hall hand-colored lithograph is printed on a sheet measuring 10.38" high and 7" wide. There are faint smudges in the margins. The print is otherwise in very good condition. The original descriptive text pages, 33-34, from McKenney and Hall's 19th century publication are included. A famous Pawnee chief, Shar-I-Tar-Ish led his people during the early part of the 19th century. He was descended from a line of chiefs. Shar-i-tar-ish was a young man when he went to Washington in 1822 at the invitation of President James Monroe...
Category

Mid-19th Century American Impressionist Art

Materials

Lithograph

Previously Available Items
Tan Shi Sou, White Snake Temple Raised Line Woodcut Hand Painted 1924 Bertha Lum
Located in Soquel, CA
Tan Shi Sou, White Snake Temple Raised Line Woodcut Hand-Painted By Bertha Lum, 1924 Bertha Lum (American, 1869 - 1954) was fascinated by the legends and mythology of the Orient and wrote extensively about them. These legends provided the subject matter for many of her works in woodcut. Also known as 'Temple, Peking' the color woodcut by Bertha Lum was done in an edition of at least 45 impressions. She was in China on her sixth trip (1922-1924) to the Orient and her first trip to Peking where she studied Chinese woodblock printing and where she developed her "raised line" technique, such as this print. Lum would use the black "key block", printed on a sheet of thin Japanese paper and then attached to a new block. The black lines are then cut 'into' the block so they are intaglio rather than relief, like the first woodcut. Thin sheets of Oriental papers are then forced into the incised lines and a pulp is poured to strengthen the sheet. As the paper dries it shrinks and releases from the block (essentially a cast of the surface). The resultant Key Block lines are standing in relief. They are then inked with a black ink, which defines the composition. Lum then colors the surrounding areas with gouache. Each impression is uniquely colored. Because of this the image is reversed from the color woodcut. The Legend of the White Snake, also known as 'Madame White Snake', is a Chinese legend which existed in oral tradition long before any written compilation. It has since been presented in a number of major Chinese operas, films and television series. This is one of the temples in Peking that is associated with the legend. Signed at the bottom, "Bertha Lum". Presented in a black frame with a white mat. Frame size: 20.75"H x 15.75"W Image size: 14"H x 10"W Bertha Lum (1869-1954), née Bertha Boynton Bull, printmaker and illustrator, was born in Tipton, Iowa and spent her youth in Iowa and Duluth, Minnesota. In 1895, Lum attended the Art Institute of Chicago for one year, focusing on design. A few years later studied stained glass with Anne Weston and illustration at the School of Illustration with Frank Holme. In the fall of 1901 to March 1902, Lum studied figured drawing at the Art Institute of Chicago. In 1903, Bertha married Burt F. Lum, a corporate lawyer, and their honeymoon voyage to Japan in 1903 was the precursor to Bertha’s exploration of and fascination with the Orient. Returning to Japan in 1907 for fourteen weeks, she gained an introduction to Bonkotsu Igami, a master block cutter in Tokyo, who disclosed to her the techniques of carving and arranged for her education in block printing. Though married, Lum was fiercely independent and traveled for extended periods of time. Accompanied by her two young children, her 1911 sojourn in Japan lasted six months. By this time she had a thorough understanding of color woodcut and opted for the traditional division of labor. Lum moved easily within Japanese society and hers were the only foreign woodcuts in the Tenth Annual Art Exhibition in Tokyo in 1912. She was awarded the silver medal at the 1915 Panama-Pacific International Exposition and and her work was included in the 1919 Exhibition of Etchings and Block Prints at the Art Institute of Chicago. In 1921, Lum’s Summer was included in American Wood-Block Prints of Today at the New York Public Library and, in 1926, an exhibition of her work was mounted in the fall at the United States National Museum, Division of Graphic Arts. She was a member of the Asiatic Society of Japan, the California Society of Etchers, and the Print Makers Society of California. Lum authored and illustrated Gods, Goblins and Ghosts in 1922 and Gangplanks to the East in 1936. Lum was in California at the end of 1916 and moved to San Francisco in the fall of 1917, but the following years were interrupted with travel. Her most extensive stay in California was between 1924 and 1927. The 1923 earthquake in Tokyo destroyed most of her blocks and many woodcuts. Lum spent the late 1920s and the 1930s living in Peking, returning to California in 1939. She spent a great deal of time in China between the years 1948 and 1953. Bertha Lum left China to be with her daughter Catherine who lived in Genoa, Italy and she died at the age of eighty-four years old in February 1954. Bertha Boynton Lum is represented in the collections of the Brooklyn Museum, New York; the Art Institute of Chicago and the Terra Foundation for American Art, Chicago; the Jordon Schnitzer Museum of Art, University of Oregon, Eugene; the Amon Carter Museum of American Art, Fort Worth, Texas; the British Museum, London; the Los Angeles County Museum of Art, California; the Zimmerli Art Museum, Rutgers, New Brunswick, New Jersey; the Metropolitan Museum of Art, New York; the Portland Art Museum, Oregon; the Fine Arts Museums of San Francisco, California; the Library of Congress and the National Museum of Women in the Arts, Washington, D.C.; and the Delaware Art Museum, Wilmington. Bertha Boynton Lum was an American artist known for helping popularize the Japanese and Chinese woodblock print outside of Asia. In May 1869, Lum was born as Bertha Boynton Bull in Tipton, Iowa. Lum's father was Joseph W. Bull (1841–1923), a lawyer and her mother was Harriet Ann Boynton (1842–1925), a school teacher. Both of Lum's parents were amateur artists. Lum had a sister and two brothers, Clara, Carlton, and Emerson. Education and career: In 1890 she lived in Duluth and listed her occupation as artist. She enrolled in the design department of the Art Institute of Chicago in 1895. A few years later she studied stained glass with Anne Weston and attended the Frank Holme School of Illustration. From November 1901 to March 1902, she studied figure drawing at the Art Institute of Chicago and was influenced by the Japanese techniques of Arthur Wesley Dow in his book Composition, which was published in 1899. Lum married Burt F. Lum, a corporate lawyer from Minneapolis, Minnesota, in 1903. They spent their seven-week honeymoon in Japan, where she searched for a print maker who could teach her the traditional ukiyo-e method. Toward the end of her stay in Japan, she found a shop that reproduced old prints. The shop sold her some woodcutting tools...
Category

1920s American Impressionist Art

Materials

Gouache, Rice Paper

"Sausalito" Harbor Seascape Drypoint Etching on Paper
Located in Soquel, CA
"Sausalito" Harbor Seascape Drypoint Etching on Paper Lovely drypoint etching of Sausalito harbor by Harriet Gene Roudebush (American, 1908-1998). From a vantage point above the har...
Category

1940s American Impressionist Art

Materials

Paper, Ink, Drypoint

Theodore Robinson Sketchbook, American Impressionism, French Drawings
Located in New York, NY
Theodore Robinson (1852 – 1896) Sketchbook, 1888 Pencil and ink on paper (approximately 25 drawings) 5 x 6 inches Provenance: Antes Estate, Evansville, Wisconsin Bunte Auction Serv...
Category

1880s American Impressionist Art

Materials

Pencil, Ink, Paper

Clouds in the Desert, California Vintage Mountain Landscape Painting, 1930s
By Helen Forbes
Located in Denver, CO
Clouds In The Desert, 1930s WPA era modernist landscape by 20th century woman/female artist, Helen Forbes (1891-1945) dated February 15, 1931. Watercolor on paper, signed lower left, titled verso. California desert mountain landscape watercolor painting in shades of purple, green, and brown. Presented in a custom frame with all archival materials, outer dimensions measure 13 ⅞ x 17 ¾ x ⅝ inches. Image measures 10 x 13 ⅞ inches. Expedited and international shipping is available - please contact us for a quote. About the Artist: An etcher, muralist and painter, Katharine Forbes was born on February 3, 1891 in San Francisco into a pioneer California family. She studied at the California School of Fine Art under Frank Van Sloun where she was awarded a lifetime scholarship in 1914. While traveling in Europe for many years, she furthered her art training in Munich under Hermann Groeber and in Paris under André Lhote. After returning to California in 1924, she studied with Armin Hansen in Carmel. During the 1930s she taught at UC Berkeley, was a resident of Palo Alto, and at one time lived in Death Valley in a deserted inn...
Category

1930s American Impressionist Art

Materials

Watercolor

Castle of Romena, Casentino — 19th Century Italy
Located in Myrtle Beach, SC
Sarah Freeman Clarke, 'Castle of Romena - Casentino', pen and ink, c. 1885. Initialed 'SFC', lower right. A finely-nuanced impressionist rendering, on smooth, off-white drawing Bristol, in good condition. Image size 3 5/8 x 6 5/8 inches; sheet size 6 3/8 x 9 1/16 inches. Archivally sleeved, unframed. Published in 'Notes on the Exile of Dante'; Authors J. F. Hurst, T. R. Sullivan, Henry James, John La Farge...
Category

1880s American Impressionist Art

Materials

Ink, Pen

"Old White Barn" Oil Painting
Located in Denver, CO
Samantha Buller's (US based) "Warm Farm Day" is an oil painting that depicts an old white barn on a grassy hill with trees and wide open sky in the background. Bio/artist statemen...
Category

2010s American Impressionist Art

Materials

Paper, Oil, Board

THE TEACHER
Located in Aventura, FL
Hand signed and inscribed 'To The American Atelier' by the artist. Lithograph on paper. Outside the standard edition of 200. Artwork size 23 x 17 inches. Framed size approx 30 x...
Category

1970s American Impressionist Art

Materials

Paper, Lithograph

THE TEACHER
THE TEACHER
H 30 in W 25 in D 1 in
TEACHER'S PET
Located in Aventura, FL
From the 'American Family' portfolio. Hand signed and numbered by the artist. Lithograph on arches paper. Printed by Atelier Mourlot, Paris. Published by Raymond & Raymond, Inc. in ...
Category

1970s American Impressionist Art

Materials

Paper, Lithograph

WHITE WASHING (SEPIA)
Located in Aventura, FL
Hand signed and numbered by the artist. From Tom Sawyer Portfolio. Sheet size 25.5 x 19.5 inches. Image size approx 17 x 13 inches. Frame size approx 28 x 24 inches. AP edition. ...
Category

1970s American Impressionist Art

Materials

Paper, Lithograph

Guacomayo
Located in San Francisco, CA
This artwork titled "Guacomayo" 1990 is an original color aquatint by noted California artist Arnold A. Grossman, 1923-2016. It is signed, dated, titled and numbered 16/30 in pencil ...
Category

Late 20th Century American Impressionist Art

Materials

Aquatint

Guacomayo
Guacomayo
H 15 in W 19.75 in D 0.01 in
"Torso" Nude
By Pilar Susan Marien
Located in Soquel, CA
Torso of a nude model by Santa Cruz, California artist Pilar Susan Marien (American, 20th Century). Signed "MARIEN" in the lower left corner. Titled "TORSO" and signed "P. S. Marien"...
Category

Late 20th Century American Impressionist Art

Materials

Oil, Fiberboard

San Francisco Bay rare India ink drawing of the Bay by Paul Grimm
Located in Soquel, CA
Wonderful mid century pen & ink drawing of a house on the San Francisco inner bay by famous California plein air artist Paul Grimm (American, 1891-1...
Category

1950s American Impressionist Art

Materials

Paper, Ink

American Impressionist art for sale on 1stDibs.

Find a wide variety of authentic American Impressionist art available for sale on 1stDibs. Works in this style were very popular during the 21st Century and Contemporary, but contemporary artists have continued to produce works inspired by this movement. If you’re looking to add art created in this style to introduce contrast in an otherwise neutral space in your home, the works available on 1stDibs include elements of blue, purple, orange, yellow and other colors. Many Pop art paintings were created by popular artists on 1stDibs, including Mitchell Funk, Marc Dalessio, Cindy Shaoul, and Michael Budden. Frequently made by artists working with Paint, and Oil Paint and other materials, all of these pieces for sale are unique and have attracted attention over the years. Not every interior allows for large American Impressionist art, so small editions measuring 0.33 inches across are also available. Prices for art made by famous or emerging artists can differ depending on medium, time period and other attributes. On 1stDibs, the price for these items starts at $95 and tops out at $1,250,000, while the average work sells for $1,652.

Recently Viewed

View All