Pastel Landscape Drawings and Watercolors

Romantic, tonalist style charcoal drawing of a tree in isolation by Sue Bryan "Offshoot" charcoal, acrylic, and pastel on paper dry mounted to canvas 30 x 22 inches 31.25 x 23.25 inc...

A large, colorful ca. 1955 watercolor and pastel harbor scene of Martha's Vineyard by notable artist Francis Chapin. Artwork size: 19 x 25 inches. Archivally matted to 24 x 30 in...

Beautiful soft pastel drawing. Autumn flowers and yellow - orange grass. Very romantic drawing by professional artist Anna Valshchikova. Framing is not included, but contact us...

William Samuel Horton (American, 1865–1936) Eccleston Abbey Pastel on paper Signed lower left ‘W. S. Horton’, further signed ‘Horton’ on an old label to the reverse 18 × 23¾ in. (45....

Mid 19th century pastel drawing view of Bellagio on Lake Como by Hercules Brabazon Brabazon. The work is under its original mount and initial signed (HBB) b...

Wheat Field and House Oliviero Masi Italian (1948) Date: 1987 Pastel on paper, signed and dated lower right Size: 12 x 19 in. (30.48 x 48.26 cm)

Abstracted Bay Area skyline against a pink sunset creates beautiful and soft geometries in this small pastel urban landscape by San Francisco artist Chris...

Landscape is an original modern artwork realized by Ardengo Soffici in 1930s. Pencil on paper. Hand signed lower right. Includes frame.

Pastel or Tempera on paper. Judaica Shtetl scene of village. Anatoli Lwowitch Kaplan was a Russian painter, sculptor and printmaker, whose works often reflect his Jewish origins. his...

Executed in black, grey and brown, this monumental charcoal and pastel painting conveys the mythic drama and beauty of an active volcano. Rising in the shape of a wide, low cone, the...

Sandy Litchfield’s “Lingerlin” (mixed media on paper, 30 x 22 in.) reflects her signature practice of transforming landscapes into lyrical, layered compositions. Drawing inspiration ...

Watercolor of a village by Artemis Wilhelm (American, 20th Century). Bold pastel outlines create solid shapes, filled with watercolor to create tone an...

Pastel or Tempera on paper. Judaica Shtetl scene of village. Anatoli Lwowitch Kaplan was a Russian painter, sculptor and printmaker, whose works often reflect his Jewish origins. his...

LARRY HOROWITZ (American b. 1956) "Purple Mountains," 1988, pastel on paper Hand signed and dated L/R, "Horowitz '88," Dimensions sight 19 1/2" x 23", framed, 26 1/2" x 30 1/2". L...

Feeling of spring. Paper, pastel 21x23 cm Victor Karnauh (1950, Dnepropetrovsk Oblast, Ukrainian SSR – 2012, Dnepropetrovsk Oblast, Ukraine) – a painte...

19th century Impressionist view, in pastel, chalk and crayon, in the style of Turner, of Villefranche, South of France by British artist Hercules Brabazon Brabazon...

A narrow composition to mirror the narrow alleyway depicted. Rendered in expressive pastel, Oelenheinz employs a palette which is colourful yet muted, giving the scene an otherworldl...

Abstract Landscape Mid 20th Century Work on Paper Hamptons, NY Drawing Pastel. Signed and dated '62 lower right. 9 x 12 inches (sight) and 15. 1/2 x 18 1/2 inches framed. BIO Robert Dash is known for his Hamptons paintings...

Sandy Litchfield’s "Latent" reflects her signature approach of transforming landscapes into lyrical, abstracted visions. Drawing from memory, walking, and direct observation, Litchfi...

William Samuel Horton (American, 1865–1936) The Rooftops of Paris, 1922 Pastel on paper Signed and dated lower left ‘William S. Horton. 1922’ 17 × 21½ in. (43.2 × 55 cm) Provenance: ...

"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...

ink and pastel on paper

Antique California Impressionist landscape pastel painting on paper, by Edwin C. Siegfried (1889-1955), most likely a scene in Alameda circa 1930. A beautiful Impressionistic paintin...

Siebe Johannes ten Cate (1858-1908) A Dune Landscape Signed lower right Pastel on paper 25.5 x 39.5 cm in good condition, very fresh, traces of pinholes in the upper corners barely...

Vibrant large-scale pastel landscape of colorful reflections rippling on a calm lake with three small ducks and a boat by an unknown artist (American, 20th Century). Signed with the ...

Jennifer Bartlett Summer, Iceland #5, 2000 Pastel on paper 30 x 44 1/4 inches (sheet) Unsigned

Little Island is an original pastel drawing on paper by artist Cornelia Fitzroy. Cornelia FitzRoy ​is a Norfolk landscape plein air artist who uses co...

'Painter in the Jardin de Luxembourg, Paris', pastel on fine art paper, French School (1919). An intriguing depiction of a hatted-woman dressed in white at her easel in the park. A b...

An atmospheric landscape in the last glow of the evening sun by a rare 19th Century master , Auguste Delâtre. Delâtre (1822-1902) was a pioneering pri...

B.J.O. NORDFELDT (Swedish/American 1878 – 1955) (WINDMILL AND WORKERS). c.1900. Color pastel on colored paper, unsigned. 22 ¼ x 15”. Sheet: 24 ½ x 18 ¼”. In 1900 Nordfeldt studied ...

"Paysage avec batteuse a Montfoucault (Landscape with Thresher at Montfoucault)" is a pastel by French Impressionist Camille Pissarro. The artwork is signed lower right, "C. Pissarro". The framed piece measures 20 1/2 x 25 x 2 3/4 in. Camille Pissarro was born on July 10th 1830 on the Caribbean Island of St. Thomas. He live...

Leon Dolice Central Park Signed lower left Watercolor on paper 12 x 19 inches The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the young ma...

PEDRO J. LEMOS (American, 1882-1954) FOOTBALL STATUE THROUGH THE TREES - UC BERKELEY 1921 - THE ORIGINAL YEARBOOK PASTEL Pastel drawing on colored paper 12 5/8 x 9 5/8 inches. Full signature in pastel, Pedro J Lemos. In good condition. A few bits of old tape at the corners, verso. THE 1921 UC BERKELEY YEARBOOK CONTAINED SEVERAL LEMOS PASTEL REPRODUCTIONS. Pedro de Lemos was an important proponent of the Arts and Crafts Movement. He produced some of the finest color woodcuts of the period as well as fine pastels, paintings and architecture. He was also an instructor and director of the Stanford University Art Department, From Wikipedia: Pedro Joseph de Lemos (25 May 1882 – 5 December 1954) was an American painter, printmaker, architect, illustrator, writer, lecturer, museum director and art educator in the San Francisco Bay Area. Prior to about 1930 he used the simpler name Pedro Lemos or Pedro J. Lemos; between 1931 and 1933 he changed the family name to de Lemos, believing that he was related to the Count de Lemos (1576–1622), patron of Miguel de Cervantes. Much of his work was influenced by traditional Japanese woodblock printing and the Arts and Crafts Movement. He became prominent in the field of art education, and he designed several unusual buildings in Palo Alto and Carmel-by-the-Sea, California..... In 1911 he began teaching decorative design at the San Francisco Institute of Art.[8] In late 1912 he was one of the founders the California Society of Etchers, and the following year he started offering the Institute's first classes in printmaking. Some of his students, such as William S. Rice and John W. Winkler (1894-1979), went on to achieve significant fame as printmakers. He helped organize the California print...

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

Siebe Johannes Ten Cate (1858-1908) The River Seine, 1906 Signed and dated lower right Pastel on paper 25 x 39 cm in good condition, very fresh, Framed under glass : 33 x 47 cm ...

A French Impressionist Fauvist Color-Field pastel on fine quality 'Canson' paper landscape by G Ricard. The painting is signed bottom right. A charming and characteristic south of ...

Skyscapes Series - Large Scale Landscape in Pastel on Paper Brightly colored Dry Pastel abstract landscape by Aleah Koury (American, b. 1959). ...

Signed lower right, in gouache, 'Herb Saylor' for Herbert Saylor (American, 1916-1991) and painted circa 1945. Art educator Herbert Saylor first studied a...

Lois Dodd Untitled Landscape, 1990 Colored chalk on grey wove paper Signed, dated and inscribed "For Beverly & Howard", lower right. Original artist's frame included This unique work...

Cloudburst pastel on paper 6 x 6inches 12 x 12 inches framed 2023

JOSEPH PENNELL (1857 - 1926) ACAPULCO 1901-08. Colored pastel and gouache drawing on blue paper. Signed and titled in pencil in his early signature. Image 10 x 14 inches to just ab...

William Samuel Horton (American, 1865–1936) St. Mary’s Abbey, York Pastel on paper Signed lower left ‘William S. Horton’ 17½ × 23 in. (44.5 × 58.5 cm) Provenance: From the estate of ...

William Samuel Horton (American, 1865–1936) Early Morning Moon Set, Gstaad Pastel on paper Signed lower right ‘W. S. Horton’, further signed and inscribed ‘Paysage / early morning mo...

Captured in soft chalk pastel, this intriguing scene depicts Carnbee Church in the Scottish village of Anstruther. The artist has signed and dated the...

Romantic, tonalist style charcoal drawing of a tree in isolation by Sue Bryan "Arborescent", 2025 charcoal, acrylic, and pastel on paper dry mounted to canvas 30 x 22 inches 31.25 x ...

Abstracted Floral Still Life in Acrylic on Canvas Vibrant still life of a bouquet by Ilana Ingber (American, b. 1984). Several pink and red flowers are shown against a pale pink and...

This evocative pastel painting by Victor Jernbergh, dated 1917, captures the serene and enchanting scene of a river at dusk. The central composition is dominated by a lone pine tree ...

JOSEPH PENNELL (1857 - 1926) STREET ACAPULCO 1901-08. Color pastel and gouache drawing on blue paper. Signed and titled in pencil in his early signature. Image, 10 x 14 inches to j...

'On the Path', pastel and ink on art paper, by Suzanne Tourte (circa 1950s). Executed with a lively palette of colour, this is a surprisingly sophisticated modern work of art which belies its rather naive style. Flowered fields, green grassy patches, a curved path and blue skies all figure in this engaging landscape with two figures. Newly framed and glazed in anti-reflective glass, this work is in good overall condition. Signed: 'S X Tourte' in the lower right hand. Please enjoy the many photos accompanying the listing. Upon request, a video may be provided. About the Artist: Suzanne Tourte (1904-1979) was a French painter, engraver, medalist, fresco artist, lithographer and illustrator. She was also an excellent vocalist. She studied at the school of Beaux-Arts in Reims while continuing her musical studies at the Conservatoire de la Ville. She chose painting as a profession and returned to Paris to continue her studies. She was friends with artists Yves Brayer and Robert Humblot...

A colourful and eye-catching pastel drawing of a quiet Cul-de-Sac by British artist Gerald Pitchforth. Presented in a long and narrow 20th century frame. Signed. On paper.

"Natalie's" - Plein Aire Pastoral Landscape in Pastel on Sandpaper Serene plein aire landscape with cows by Clive R. Tyler (American, b. 1958). This composition depicts a farm in Fort Collins, Colorado, with a large white barn at the top of the hill. There are several cows grazing in a bright green pasture. A partially broken fence is directly in front of the viewer - a symbol of the artist's desire to portray the realism of the scene, including imperfections. This piece is executed on sandpaper, a trademark of Tyler's work. Signed "CL Tyler" in the lower left corner Signed, notated, titled, and dated on verso (see photo). Presented in a silver colored frame. Frame size: 11.25"H x 14"W Paper size: 9.5"H x 12"W Clive R. Tyler (American, b. 1958) studied Fine Art and Design at Kent State University (Ohio) with a double major and was awarded a Bachelor of Fine Art degree. Twenty years later after a successful design career, he is now known as one of the best Pastelists on a national level. Master Member of the Plein Air Painters of New Mexico Signature Member of the American Impressionist Society 2016 Honorable Mention, Santa Fe Plein Air Festival, NM 2015 Best Quick Draw Award, Buffalo Bill Museum Art Auction, Cody Wy 2015 Best of Pastel Award, American Impressionist Society 2015 Brinton Museum, Invitational Miniature show. Sheridan. Wy 2015 Invitational Heart of the West, Masters art show. Coeur d’Alene Resort, Id 2014 Booth Museum Cartersville Ga. Acquisition and Teaching 2014 Coors Foundation purchase Aspen 3 series. Corporate Collection Denver, Co 2013 American Impressionist National Show, Award of Excellence. 2013 Artist Choice Award Easton Maryland...

1905 Pastel on paper mounted on canvas Signed lower left “L. Lhermitte”

Francesco Spicuzza (American, 1883-1962) Untitled Landscape, 20th century Pastel on paper Sight size: 24 x 30 in. Framed: 26 1/4 x 32 3/8 in. Signed lower right: Spicuzza Italian-born Francesco Spicuzza was primarily a Wisconsin painter who did portraits, still-lives and local landscapes. He spent the first part of his life in near-poverty to become a painter. An eternal optimist, in 1917, the artist reported: "I am happy and my only ambition now is to paint better and better until I shall have reached the measure of the best of which I am capable." (Spicuzza, 1917, p. 22). His predilection for beach scenes germinated early: reportedly, the five-year-old boy first drew the outlines of his father's fishing boat in the sand on the seashore near their home in Sicily. After setting himself up as a fruit peddler in Milwaukee, Spicuzza's father sent for his family when Francesco was eight years old. For the following six years the boy was unable to attend school because of his job in his father's fruit and vegetable business. The poor lad suffered a caved-in shoulder from carrying a heavy wooden crate. The young Spicuzza was aided by moral and financial support from a sympathetic Milwaukee businessman named John Cramer, publisher and editor of the Evening Wisconsin, who raised Spicuzza's salary as a newspaper assembler so that he could attend school. In 1899 or 1900, Spicuzza began studying drawing and anatomy under Robert Schade (1861-1912), a painter of panoramas who had been trained in Munich under Carl Theodor von Piloty. Spicuzza was also taught by Alexander Mueller (1872-1935), a product of the Weimar and Munich academies. Mueller realized Spicuzza was a colorist and encouraged that orientation (Madle, 1961). Spicuzza found it beneficial to accept an apprenticeship in a lithographic studio for $8 a week, which demanded most of his time. During the St. Louis Universal Exposition in 1904, still a struggling student, Spicuzza attended the fair, thanks to Cramer. It was not long before Spicuzza received a twenty-five dollar portrait commission, and this inaugural success led to new commissions and allowed him to continue as a painter. The earliest influences in his work appear to be from Edward H. Potthast and Maurice Prendergast, though Spicuzza never mentioned either artist. Already in August 1910, Spicuzza was described in a newspaper as "one of the most talented of Milwaukee's rising workers." He undoubtedly received lasting inspiration from his one summer study period in 1911 with John F. Carlson at the Art Students League's Summer School in Woodstock, New York. Certainly Spicuzza would have picked up spontaneity in handling the brush from Carlson. Although he executed numerous still-lives and an occasional religious work, Spicuzza is best known for his Milwaukee beach scenes populated with frolicking bathers in multi-colored attire, not unlike the images of Potthast, who used a similar technique. Many of these are small, preparatory works on canvas board executed between 1910 and 1915. Frequently with even greater animation than Potthast, Spicuzza produced moving images of youthful energy and uninhibited child's play. These beach genre scenes reflect the attitude of American impressionists who depicted the more pleasant side of life. Spicuzza manipulated a successful balance of rich pigment applied in varying degrees of impasto texture with subtle nuances of hue. Working all'aperto, he sought "the soft enticing shades of yellow, blue, green, pink and lavender . . . to get the effects of bright glistening summer air." (L.E.S., n.d.). As a painter whose color not only derived from direct observation but also from a personal theory of color symbolism, Spicuzza traded the linear approach of lithography for dynamic patches of brilliant color. Like Prendergast, he would often tilt the angle of the picture plane to bring the viewer's position above the scene. Spicuzza was unable to enter the 1913 Armory Show or the Panama-Pacific International Exposition two years later but he did submit work to the annual exhibitions of the Pennsylvania Academy of the Fine Arts and those of the Art Institute of Chicago. His first important award was the bronze medal presented by the St. Paul Institute in 1913, which was followed by the silver medal two years later. Before long, Spicuzza had acquired a greater sense of security in his profession and was described by a writer in International Studio (April 1917) as "an independent artist with an assured future. His pastels and water-colours are poetic and joyous bits of nature with a genuine out-of-door feeling." In 1918, his Spirit of Youth, exhibited at the National Academy of Design, sold for $112.50. Four years later, the artist achieved his greatest local recognition by winning the gold medal from the Milwaukee Art Institute. Spicuzza spent a great deal of time painting en plein air and by 1925 he began summering at Big Cedar Lake, near West Bend, Wisconsin to gather his subject matter. Easter Morning (1926) owes something to the Symbolist movement, with its figure of Christ appearing over a seascape. During the difficult era of the Depression, patrons came to Spicuzza's aid and during the 40s, he taught housewives, businessmen and students at the Milwaukee Art Institute, the Milwaukee Art Center, and in his private studio. In the following decade, although his kind of art was no longer popular in the "make-it-or-break-it" New York gallery world, Spicuzza enjoyed regular patronage and sales. His beach scenes became more static and he would experiment with modernist techniques. Spicuzza died at the age of seventy-eight. Sources: L.E.S., "Do Colors Change a Person's disposition? Experiments of a Milwaukee Artist...

London Thames View is a modern artwork realized by Herbert John Finn (1860-1942). Mixed colored ink, pastel and watercolor on paper. Includes gileded frame Hand signed and dated o...

'Study for Connecticut at Putney' is an original pastel drawing by American artist Wolf Kahn. The landscape is an exploration of color and light: it is rendered in cool blues and purples with fields of subtle yellow, the pastels treated with the same gesture as Kahn's paintbrush on a canvas. Indeed, this pastel was a study executed en plein air for a painting – the painting now sometimes called 'Bend in the River' – that he later created in the studio. This process of creating studies, selecting the best of the studies, and then recreating them as paintings was typical of Kahn's studio process and makes this pastel a significant example of the artist's creative output. 9 x 11 inches, artwork 15.5 x 18.13 inches, frame Signed 'W. Kahn' lower right Framed to conservation standards using archival materials including 100 percent rag matting. Housed in a gold finish wood moulding. Acquired directly from the artist. Wolf Kahn, the youngest of four siblings, was born into a well-to-do artistic family. His father was the conductor of the Stuttgart Philharmonic Symphony, and his mother came from a family of art collectors.(1) During 1938, Kahn took his first art lessons, but most of his initial drawings were of military or historical events. The next year Kahn was sent to England for safety following the ascendancy of Hitler to power, and in 1940, he immigrated to the United States. In 1942, he entered New York's High School of Music and Art, and while there, he was employed by a commercial art firm doing illustrations. After a stint in the Navy, Kahn entered Hans Hofmann's school, and among his fellow students were Neil Blaine, Jane Freilicher, Allan Kaprow and Larry Rivers. His initial results were done with a dark palette and abstracted forms, and although Hofmann's style of teaching was difficult, Kahn has consistently praised him for teaching him the value of control and understanding.(2) Kahn's first exhibition was a 1951 group show in a loft with several other artists in lower Manhattan. From this impromptu show, a group effort evolved called the Hansa Gallery Cooperative.(3) In 1953, Wolf Kahn had a one-man show at this gallery, which was reviewed by Fairfield Porter, and at this same time bolder, more vivid colors began to appear in his work. By the mid-1950's, on a summer trip to Provincetown, Kahn's paintings indicated a new direction of softening warm colors in the manner of Bonnard. He was included in Meyer Shapiro's seminal exhibition, The New York School: The Second Generation at the Jewish Museum, and by the end of the 1950s, he had developed his abstracted landscape style for which he is best known. In 1966, he made his first "barn" painting on Martha's Vineyard that reduced the complexities of detail of the architecture to a more basic shape, a stylistic convention that is evident in the Museum's painting. Kahn has since commented frequently on his use of color as a unique and specific component of each work as the situation demands, where the gradual buildup of the colors resembles the beauty and translucent nature of pastels.(4) Since then Kahn has had one-person exhibitions at the Kansas City Art Institute, Chrysler Museum, San Diego Museum of Art, Fort Lauderdale Museum of Art and the Columbus Museum, among others. His work is in the permanent collections of numerous museums throughout the United States. Footnotes: 1. Much of the biographical information is drawn from Justin Spring, Wolf Kahn (New York: Harry N. Abrams, 1996). 2. Spring, 21. Wolf Kahn draws this from a 1973 address to the College Art Association. 3. This group included Jane Wilson...

Mid 19th century pastel drawing view of the Chapel Bridge and river Reuss in Lucerne, Switzerland by Hercules Brabazon Brabazon. The work...

Signed lower right, 'DeMartis' for James Joseph DeMartis (American, 1926-1996) and dated 1964. Born in Queens, New York, James Joseph DeMartis served with distinction in World War I...

Original pastel on heavy card stock (made in Paris) by the well known Hudson River artist, George Douglas Brewerton. A view of Mount Shasta in Northern California. Signed lower left. Circa 1880. Condition is excellent. The artwork is housed in its original scroll decorated frame. Overall framed measurements are 33.25 by 19 inches. Provenance: A East Coast Florida estate. George Douglas Brewerton received lessons in art from Prof. Robert W. Weir at West Point where his father was Superintendent. In 1874, he was detailed to San Francisco as an officer in the Stevenson Regiment. In 1848, he underwent many adventures in Western deserts and mountains with Kit Carson, who crossed the country with news of the California Gold Rush. After serving as an aide to Gen. Rufus Saxton during the Civil War, Brewerton called himself “Colonel,” although he never received an army commission...