Framed Landscape Drawings and Watercolors

Brooklyn Bridge NYC American Scene Ashcan 20th Century Social Realism Modern John Marin (1870-1953) Brooklyn Bridge 7 1/2 x 9 7/8 inches Graphite on paper Signed lower right, c. 1...

Charles Gregory. English ( b.1849 - d.1920 ). Summers Day At Steyning Bowl, West Sussex, South Downs Way. Watercolor. Signed Lower Left. Image size 17 inches x 25.2 inches ( 43cm ...

Elizabeth Rosemary Ziar. English ( b.1919 - d.2003 ). The North Coast Of Cornwall, West Penwith. Watercolor. Signed Monogram Lower Right. Image size 15 i...

Original late 19th century watercolour. Well presented in a gilt effect frame. Signed lower right. On paper.

An expressionistic view of St Vincent under the snow. Captured in a fun palette of pastel colours. The contemporary frame compliments the painting very well with a fine grey and whit...

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...

Beautiful turn of the century figurative landscape by F.S. Mediary (American, Late 19th Century/Early 20th Century). Presented in a giltwood frame. Signed "F.S. Mediary" lower right....

The view from my studio, looking across Brooklyn’s lower lying factory and warehouse buildings toward the tall grandness of Manhattan, is incredibly complex and at times overwhelming...

Idyllic early 20th century seascape of small boats on the shore by Melvena M. Wade, pioneer California watercolor artist (Canadian/America...

Signed to the lower right. Presented in a gilt frame and wash line mount. On paper.

A fine watercolour depicting a fruit seller with pigeons on a bridge over a canal in Venice, Italy. Unsigned. Well presented in a cream card mount and gilt effect frame. On paper.

Depicting a serene rural scene featuring old stone ruins surrounded by lush greenery and a meadow. To the right of the composition, a woman lays out laundry in the extensive grounds,...

A wonderful pastoral landscape by Edward Brook, depicting a small herd of cattle coming to water. Presented in a stunning gilt-effect frame with scale and acanthus ornamentation. Sig...

This charming watercolour captures a carriage horse trotting along the estate paths of Escrick Park. Cattle can be seen out to pasture in this vast parkland landscape, contently graz...

Original watercolour. Signed to the lower left. Presented in a gilt frame. On paper.

View of the Guideca looking at the Ducal Palace and Saint Marks in morning haze light.. A Capriccio mooded piece to capture the essence of experience of Venice. Gradwell's raison d'e...

Como. The mountain on the lake is an original artwork realized in the half of 20th century by Anonymous artist. Mixed color watercolor depicting a beautiful landscape. Included an ...

This delightful watercolour captures a farming family greeting each other at the farmhouse gate. A young girl can be seen eagerly awaiting the return of her father after a long day i...

A charming pastoral scene, showing a young shepherd resting on a grassy bank as his sheep rest alongside with an expansive view into the hazy distance behind. The painting is unsigne...

An early 20th century watercolour depicting alpine landscape with snow capped mountains in the distance. Well-presented in an elegant gilt-effect frame. On watercolour paper.

Vibrant abstract landscape watercolor titled "Sierra Country" by Erle Loran (American, 1905-1999), 1984. Titled, signed, and dated on verso. Presented in a painted metal frame, without glass. Image, 23"H x 31"L. Measures: 30"H x 37"W. Erle Loran was a modernist of urban and coastal views and geometric painting. Erle Loran was born in Minneapolis, Minnesota. He studied at the Minneapolis School of Art under the direction of Cameron Booth...

A dramatic 19th Century watercolor painted by a competent hand in the style of David Cox the Elder. A spirited scene with weather-beaten figures on the waterfront looking out to sail...

Tempera and watercolor on paper realized by Michelangelo Cupisti in 1990s. Hand signed. Very good condition, it includes a contemporary wooden frame.

Original watercolour by Anthony Colbert. The old mill at Staunton on Arrow. Signed in pencil to the lower right and dated '89. Presented in a fine wood frame with double card mount. ...

An original ink and watercolour sketch by Elizabeth Hinde. Presented in a modern off-white frame with card mount. On paper.

Vivid pastel depicting a figure on horseback with horse and buggy traversing a vast landscape by an unknown artist. A steep cliffside illuminated with ...

A particularly fine watercolour by the listed British artist Frederick E Valter. Presented in a simple gilt frame with card mount. Signed to the lower right. On paper.

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" ...

Edgar Woollatt. English ( b.1871 - d.1931 ). Romany Gypsy Caravan At The Round House, Clifton Lane, Wilford, Nottingham. Watercolor. Signed Lower Left. Image size 10.8 inches x 20....

Peter Potworowski 1898-1962 Cornish Beach, 1953/1954, circa watercolour 17 x 22.5 cm 6 3/4 x 8 7/8 in unsigned Tadeusz Piotr (Peter) Potworowski was a Polish abstract and figurative...

Radicofani is an original artwork realized by Anonymous artist in the 19th Century. Original mixed colored ink and watercolor on paper, Titled on the lower left margin. Mint cond...

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...

Vibrant depiction of a sunset by Adele Marks. The sun appears to burn white-hot in the center of this piece, radiating warm colors into the sky above and water below. Surrounding the...

Marie Craig’s “New York Skyline” is a pen and ink drawing of the skyline of New York City on a unique cyanotype photograph of leaves and blossoms which has been toned to fade away ar...

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...

The artwork is in simple black frames behind plexi. The full signature is on the back of the drawing. Hanna Banaszczyk is a graduate of the Faculty of Painting and Drawing at the U...

Jessica Dismorr (British, 1885 – 1939) Italian landscape Watercolour and pencil on paper 27 x 37cm. Provenance: Helen Saunders (1885-1963) and thence by descent; Quentin Stevenson, ...

Bold image of Moorish architecture executed with a unique technique, a reverse drawing on a sheet of Mylar or plastic. The effect is quite alluring and very much in the manor of the ...

Yokoi immigrated first from Japan to San Francisco (1952), followed by New York (1954), to Paris with Sam Francis (1960) and finally Bern (1962) where she would exhibit frequently un...

A charming landscape scene depicting a mill on the river's edge. The artist captures the scene in fine detail, with the delicate painting of the trees and foliage being very indicati...

Ancient Ruins is an original old master artwork realized by Abraham Rademaker (1677-1735) in 18th Century Wonderful watercolor by the famous 18th-centur...

Josiah Clinton Jones (1848-1936). Original watercolour. Grey clouds over the mountain pass. Signed to the lower right. Well-presented in a fine black and gilt frame. On paper.

Roman countryside is an original modern artwork realized by Robert Werner in the early 20th Century. Mixed colored ink and watercolor on paper. Hand signed on the lower margin. In...

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...

A realistic study of a mountain stream by the British artist John Syer RI (1815-1885). Painted in fine detail, the artist has captured the tranquil atmosphere of the land in ever cha...

Nora Othic is considered one of the top regionalist painters in the Midwest. She builds on a legacy from her artistic predecessors such as Grant Wood, Thomas Hart Benton and the WPA ...

Norman Adams "Study at Resipole" Original Watercolor c.1968 Original watercolor on paper Dimensions 9.75" wide x 8.25" high The lightly distressed chro...

A fascinating 19th century view of Chinese Sumo wrestlers in a mountainous landscape Circle of George Chinnery (1774-1852) Chinese wrestlers in a land...

A charming continental school watercolour depicting fishermen mending nets harbourside. Well-presented in a wash-line mount and gilt-effect frame. Illegibly signed to the lower right...

A very fine watercolour by the British artist Harry E. James (c.1870-c.1920). The scene depict a beautiful Cornish farm house set back from a field of spring daffodil. Well-presented...

"Off to the Suburbs" is an original oil pastel drawing by Reginald K. Gee. The artist signed the piece lower right. It features a man on a motorcycle riding...

Wonderful watercolor landscape of Finland countryside in Winter during WWII by O. Makela (Finnish/American, 19/20th Century), 1942. Signed and dated lower right corner. Condition: ve...

A delightful Grand Tour style study of Florence from a distance. Signed to the lower right. Well presented in a gilt frame with oak leaf strapwork. On paper.

Signed and titled to the lower right. Presented in in an ornate swept gilt frame. On paper.

Jean-Achille Benouville (1815-1891) Rome, View of the Forum, pencil on paper 28.5 x 37.5 cm framed 38.5 x 47.5 cm This drawing is characteristic of Romantic artists who, like Coro...

Guy Lipscomb:1917-2009. Listed American artist from South Carolina. He is best known for doing these watercolors of the beach dunes. This wonderful watercolor measures 20 inches wide...

Julian Ruddock. British ( b.1965 ). Lost Hedgerows. Pastel On Paper. Signed Lower Right. Image size 21.9 inches x 25 inches ( 55.5cm x 63.5cm ). Frame size 29 inches x 32.1 inches ...

Jane Lampard - original contemporary pastel with gouache. Signed to the lower left. Presented in a beautiful light wood frame with custom mount. Titled to...

Well presented in a gilt effect frame. With body colour. Unsigned. On paper.

Mary Reilly's "Cherry Blossoms 4" (2025) is a 24 x 18-inch graphite pencil drawing that captures the delicate beauty of cherry blossoms. Reilly's meticulous technique involves layeri...