Tree Drawings and Watercolor Paintings

Josine Vignon (French 1922-2022) signed lower left, Inscribed Verso. watercolour painting on artist paper, unframed 10 x 14 inches Very good condition. Provenance: from the artists...

George Tzannes's Landscape with Olive Tree is a 22 x 24 inches black and white chalk painting on canvas representing a Greek landscape. Olive trees populate the landscape. Tzannes is an American painter of Greek origins. In his twenties he visited Kythera, the Greek island of his father's birth. Since that time, the island has become the major reference of his creativity. The choice of using black and white to represent this landscape gives the mighty hundred-years old olive trees a monumental presence. The viewer is drawn into the timeless, spiritual quality of the Greek landscape. Despite the absence of color, Tzannes' mastery of drawing creates a tangible effect of the Greek light...

Louis Comfort Tiffany 1848-1933 American White Mountains of New Hampshire Signed "Louis C. Tiffany" (lower right) Watercolor Louis Comfort Tiffany, best known for his revolutiona...

Josine Vignon (French 1922-2022) signed lower left, Inscribed Verso. watercolour painting on artist paper, unframed 12 x 16 inches Very good condition. Provenance: from the artists...

Title: French Watercolor of Mont Ventoux Landscape in Winter by Robert Lepine (French, 1929 - 2017) Signed: Yes Medium: Watercolor painting on artists paper, mounted Size: 10.5 x 13....

Watercolor painting on canvas panel :: Painting :: Classical :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: No :: Signed: Yes...

Green Fields English School, early 1900's Original watercolor painting on artists paper, unframed Overall paper size: 8 x 11.25 inches From a large private collection of English wa...

Watercolor on heavy gauge watercolor paper, 9 x 12 inches (228 x 306 mm), the full sheet. Titled illegibly and dated in pencil in the lower right margin, recto. In good condition wit...

Paul-Emile Lecomte (1877-1950) La Route de Naudy (The Road to Naudy) Signed lower left (titled on the verso of the sheet, but now hidden by the back of the frame) watercolor on paper...

Josine Vignon (French 1922-2022) signed lower left, Inscribed Verso. watercolour painting on artist paper, unframed 10 x 14 inches Very good condition. Provenance: from the artists...

Serene French watercolor along the banks of the Côte d'Azur by artist M. Kesseler, 1938. Signed and dated lower left. Original vintage one-of-a-kind artwork on paper displayed on a ...

Original watercolor on archival paper by the well known Tennessee artist, Jim Gray. Circa 1995. Signed middle bottom. The painting depicts a typical Tennesse...

Dancing trees English school, early 1900's Original watercolor painting on artists paper, unframed Overall paper size: 7.25 x 11 inches Double sided. From a large private collectio...

Title: French Castle Towers Winter Trees and Blue Sky Landscape Watercolor Artist: Pierre Neveu (French b.1929) Medium: Watercolour on artist paper, unframed Size (H x W): 7.25 x 10....

Title: Mid Century French Original Pastel Drawing of Mountainous Landscape Scene Artist: Josine Vignon (French 1922-2022) Medium: Oil Pastel on artist paper Size: 19.75 (height) x...

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...

Title: French Watercolor of Beaulieu-sur-Mer with Olive Trees and Harbor View by Robert Lepine (French, 1929 - 2017) Signed: Yes Medium: Watercolor painting on artists paper Size: 11...

Title: Seaton Devon Landscape View Through Trees with River and Garden Flowers 1981 By Tony Herbert (1927-2024) Medium: Watercolor on artists paper Size: 8.25 x 11.75 inches Annotate...

A very fine original antique English botanical watercolour painting depicting this beautiful depiction of a flower/ plant. The work came to us from a private collection in Surrey, En...

Watercolor on paper depicting a Dutch landscape (East of The Netherlands) with grazing cows at the edge of a forest, by A. M. Gorter (1866 - 1933). Dimensions incl. frame: 60 x 72 cm...

'Monywa II', watercolour on paper, (2003) by Burmese artist, Than Aung. Monywa is a region in Burma-Myanmar on the east bank of the River Chindwin. This...

Work on paper without frame

Treesong (Contemporary, Realist Charcoal Landscape Drawing by Sue Bryan) 18 x 24 x 2 inches Charcoal and acrylic on Primed Arches Paper Mounted on Wood Panel Excellent condition, Ready to hang as is This contemporary charcoal landscape drawing on arches paper was completed in 2021 by Sue Bryan. Born in Ireland, the artist uses landscapes from her childhood as inspiration for her current work primarily consisting of beautifully detailed charcoal drawings of trees and wooded landscapes. The artist captures exquisite detail and luminous light with the mere use of black and white charcoal and carbon pencil. The artist creates this tree through a blend of light and shadow that demonstrates the artist's masterful technique. Dark leaves and winding branches in black charcoal contrast elegantly against a light filled sky. There is sturdy wire installed on the back for easy hanging. Artist Statement: "My work is drawing based. As a native of Ireland, the landscape there has certainly shaped and influenced my own history. Many of my drawings are of places that have a deep personal association for me; an endeavor perhaps to stay connected to my roots. My aim is not only to convey a sense of place and belonging, but also an attempt to capture the ineffable, to evoke a feeling or a memory, to invite the viewer to look beyond and beneath what they see. My process is one of building up tones and textures using a combination of charcoal, carbon and graphite, all of which yield a wonderful range of blacks and grays that vary in density and transparency as much as in tonality. Much of drawing’s appeal to me lies in its very constraint, in its simplification, in the reduction of nature’s macrocosm to the coal-black char of organic matter. For me, the act of drawing is an end in itself." About the work: A native of Ireland, Sue Bryan explores the memories of youth rooted in her homeland's landscape. Employing charcoal on both paper and panel, these moody and misty studies reminds us that the water-locked terrain is not always sunny and green. Exquisite detail found in each tree branch or mass of tall grasses lining the horizon dominates the foreground. Light emulates from the background attempting to penetrate the density of opaque cloud cover. Bryan's small scale drawings convey an intimate and highly personal sense of place and belonging. SELECTED EXHIBITIONS 2019 'A Quiet Respite", Carrie Haddad Gallery, Hudson, NY 2018 'DRAWN',5th Annual International Exhibition of Contemporary Drawing, Manifest Gallery, OH 2018 'On Paper - An Exhibition of Drawings', Florence Academy of Art, NJ 2018 'MONOCHROME', Bo.Lee Gallery, London 2017 'Arboreal', Manifest Gallery, OH 2017 'Hudson Valley Landscapes', Carrie Haddad Gallery, Hudson, NY 2017 'Affordable Art Fair, Battersea, London, October 2017 'A Long Way from Home', Bo.Lee Gallery, London 2017 187th Annual Exhibition, Royal Hibernian Academy, Dublin, Ireland 2017 'Palette', Abend Gallery, Denver, CO 2017 'Summer Exhibit', Carrie Haddad Gallery, Hudson, New York 2017 'Exquisite Abandon : Contemporary Miniature Works', Laguna College of Art & Design 2017 8th Annual Drawing Discourse, University of North Carolina Ashville 2017 'Small is Beautiful', Le Salon Vert, Geneva Switzerland 2016 'Smart Dust', Group Show, Sla307, 307 West 30th Street, New York, NY 2016 'Inside Outside', Carrie Haddad Gallery, Hudson, NY 2016 7th Annual Drawing Discourse, S Tucker Cooke Gallery, University of North Carolina Asheville 2016 186th Annual Exhibition, Royal Hibernian Academy, Dublin, Ireland 2016 DRAWN, 3rd Annual International Exhibition of Contemporary Drawing, Manifest Gallery, OH 2016 'Summer Group Invitational', George Billis Gallery, NYC 2015 'Radical Inventions', Carrie Haddad Gallery, Hudson, NY 2015 'Strange Paradise', First Street Gallery's National Juried Exhibition, Juror Steven Harvey 2015 185th Annual Exhibition, Royal Hibernian Academy, Dublin, Ireland 2015 'DRAWN' 2nd Annual International Exhibition of Contemporary Drawing, Manifest Gallery 2015 7th Annual Juried Exhibition, Prince Street Gallery, NYC, Juror Robert Berlind 2015 Bradley International Print & Drawing Exhibition, Heuser Art Center, IL, Juror Beth Grabowski 2015 'Interactive Lines' Small Group Invitational, Cabarrus Arts Council, Condor, NC 2014 ‘Regarding the Sublime’, Small Group Invitational, North Park University, IL 2014 27th Northern National Art Competition, Nicolet College Art Gallery 2014 184th Annual Exhibition, Royal Hibernian Academy, Dublin, Ireland 2014 'DRAWN’ 1st Annual International Exhibition of Contemporary Drawing, Manifest Gallery 2014 POP-UP : On and Off the Wall, Series 2, Invited Artist, First Street Gallery, NYC 2014 5th Drawing Discourse, University of North Carolina, Asheville, Juror Tim Lowly 2013 VISTA [landscape in contemporary art], National Juried Show, Manifest Gallery 2013 Marks, A National Juried Drawing Exhibition, Madelon Powers Art Gallery, East Stroudsburg University, PA 2013 American Art Today : Figures, The Bascom, A Center for Visual Art, Juror Jonathan Stuhlman 2013 First Street Gallery's National Juried Exhibition, Juror Donald Kuspit 2013 4th Annual Drawing Discourse, S Tucker Cooke Gallery, University of North Carolina, Asheville, Juror Susan Hauptman 2012 Fort Wayne Museum of Art Contemporary Realism Biennial, Fort Wayne Museum of Art, Juror Frank Bernarducci 2012 25th Northern National Art Competition, Nicolet College Art Gallery, Juror Sarah McKenzie 2011 Salmagundi Annual Non-Member Open Exhibition, Salmagundi Club, NYC 2011 33rd Bradley International Print & Drawing Exhibition, Juror Robert E Marx

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...

This watercolor painting is distinguished by the special atmosphere of the pre-spring forest, the glare of the sun and the dense shadows of the pine needles. The watercolor landscap...

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

Four birch trees in a clearing by a California artist "R. Chandler" (230th Century). The white and grey birch trees pop out from the bold background, creating a sense of depth within...

Mont Boron, Nice Tony Minartz (French, 1873 - 1994) signed watercolour on artist paper Titled verso painting : 12.75 x 17 inches Provenance: private collection in the South of Fran...

A group of moss draped fir trees dance together as if they were a coven of witches weaving incantations... "When your eyes have little information, your imagination takes over and fills in the gaps." - Jasper Goodall...

Katie DeGroot Caught, 2025 watercolor on paper 40 x 26 in. (groo122)

Title: French Watercolor Painting of Domme Panorama Overlooking Dordogne Valley by Robert Lepine (French, 1929 - 2017) Signed: Yes Medium: Watercolor painting on artists paper, unfra...

Pleasant watercolor landscape painting of pasture with cows in background by French artist Tae, circa 1950. Original artwork on paper displayed on a white mat with a gold border. M...

French Landscape by Bernard Labbe (French mid 20th century) original gouache on artist paper, unframed size: 20 x 12.75 inches condition: very good and ready to be enjoyed. provena...

Katie DeGroot This Way More Than That, 2025 watercolor on paper 50 x 60 in. (groo121)

Title: Les Baux-de-Provence Watercolor of Medieval Ruins & Stone Arch by Robert Lepine (French, 1929 - 2017) Signed: Yes Medium: Watercolor painting on artists paper Size: 15 x 11 (...

Landscape with Trees is an original artwork realized by Georges Henri Tribout in 1935 in Marac. Pencil Drawing, hand signed on the lower margin left and dated "Marac 1935" on the lef...

'Pink Laurels in the Park, Côtes d'Azur', watercolour on art paper, by Tony Minartz (circa 1930s). The French Riviera is known for its beautiful parks, particularly in Nice, Menton,...

Hailey Lever, 'St. Astruell, England', watercolor, 1910. Signed in pencil, lower right. Titled and dated on the original inside mat. A fine spontaneous work, with fresh colors, on cr...

Title: Mid Century French Pastel Drawing of Mountain View with Sunlit Foliage Artist: Josine Vignon (French 1922-2022) Medium: Oil Pastel on artist paper Size: 19 (height) x 25 (w...

Lloyd was born in Alsager, Cheshire, the son of a policeman who had taken up farming. He had worked on his father's farm until the age of 19, when he too joined the police force. Llo...

Jean La Forgue (French 1901-1975) watercolour on paper, unframed painting: 8.25 x 9 inches provenance: the artists estate, France condition: very good and sound condition; there are...

"Path Forward" (2024) by Mo Myra is a watercolor painting on paper that depicts a snowy pathway going through a calm forest. Mo Myra, born in 1990, is a Connecticut-based artist cel...

Pine and spruce stand in the field like a brother and sister steadily enduring bad weather. Not thunderstorms and not storms and not scorching heat, lute frosts do not separate them ...

The artist has covered New York collections for over 16 years and has interviewed, as a journalist, several fashion designers and personalities for different publications. He loves t...

Themistokles von Eckenbrecher (1842 Athens - 1921 Goslar), Norwegian pine grove, 1901. Watercolor on blue-green paper, 30 x 22 cm. Signed, dated and inscribed in his own hand "TvE. Fagermes [i.e. Fagermes]. 26.6.[19]01." - Slight crease throughout at left margin, otherwise in good condition. About the artwork Themistokles von Eckenbrecher often traveled to Norway to study the nature that fascinated him there. On June 26, 1901, near the southern Norwegian town of Fagernes, in the summer evening sun, he saw a small pine grove, which he immediately captured in a watercolor. He exposed the trees growing on a small hill in front of the background, so that the pines completely define the picture and combine to form a tense motif. The tension comes from the contrast of form and color. The trunks, growing upward, form a vertical structure that is horizontally penetrated by the spreading branches and the pine needles, which are rendered as a plane. This structural tension is further intensified by the color contrast between the brown-reddish iridescent trunks and branches and the green-toned needlework. Themistokles von Eckenbrecher, however, does not use the observed natural scene as an inspiring model for a dance of color and form that detaches itself from the motif and thus treads the path of abstracting modernism. Its inner vitality is to be brought to light and made aesthetically accessible through the work of art. It is precisely in order to depict the inner vitality of nature that von Eckenbrecher chooses the technique of watercolor, in which the individual details, such as the needles, are not meticulously worked out, but rather a flowing movement is created that unites the contrasts. The trees seem to have formed the twisted trunks out of their own inner strength as they grew, creatingthose tense lineations that the artist has put into the picture. The inner strength continues in the branches and twigs, culminating in the upward growth of the needles. At the same time, the trunks, illuminated by the setting sun, seem to glow from within, adding an almost dramatic dimension to the growing movement. Through the artwork, nature itself is revealed as art. In order to make nature visible as art in the work, von Eckenbrecher exposes the group of trees so that they are bounded from the outside by an all-encompassing contour line and merge into an areal unity that enters into a figure-ground relationship with the blue-greenish watercolor paper. The figure-ground relationship emphasizes the ornamental quality of the natural work of art, which further enforces the artwork character of the group of trees. With the presentation of Themistokles von Eckenbrecher's artistic idea and its realization, it has become clear that the present watercolor is not a study of nature in the sense of a visual note by the artist, which might then be integrated into a larger work context, but a completely independent work of art. This is why von Eckenbrecher signed the watercolor. In addition, it is marked with a place and a date, which confirms that this work of nature presented itself to him in exactly this way at this place at this time. At the same time, the date and place make it clear that the natural work of art has been transferred into the sphere of art and thus removed from the time of the place of nature. About the artist Themistocles' parents instilled a life of travel in their son, who is said to have spoken eleven languages. His father, who was interested in ancient and oriental culture, was a doctor and had married Francesca Magdalena Danelon, an Italian, daughter of the British consul in Trieste. During a stay in Athens - Gustav von Eckenbrecher was a friend of Heinrich von Schliemann and is said to have given him crucial clues as to the location of Troy - Themistokles saw the light of day in 1842. After an interlude in Berlin, where Themistokles was educated at the English-American School, the journey began again. From 1850 to 1857 the family lived in Constantinople, after which the father opened a practice in Potsdam, where Themistokles, who wanted to become a painter, was taught by the court painter Carl Gustav Wegener. In 1861 the von Eckenbrechers left Potsdam and settled in Düsseldorf. There Themistokles received two years of private tuition from Oswald Aschenbach, who greatly admired the talented young artist. After his artistic training, he undertook extensive travels, often accompanied by Prince Peter zu Sayn-Wittgenstein, which took him to northern and eastern Europe, but above all to the Middle East and even to South America. The paintings that resulted from these journeys established his artistic reputation and led to his participation in large panoramas such as the 118 x 15 metre Entry of the Mecca Caravan into Cairo, painted for the City of Hamburg in 1882. 1882 was also the start of a total of 21 study trips to Scandinavia, most of them to Norway, and the unique Norwegian landscape with its rugged fjords became a central motif in his work. Along with Anders Askevold and Adelsteen Normann...

HELEN ALLINGHAM, RWS (1848-1926) The Woodland Path Signed Watercolour on paper 27 by 20 cm., 10 ¾ by 8 in. (frame size 47 by 42 cm., 18 ½ by 16 ½ in...

A very fine original antique English botanical watercolour painting depicting this beautiful depiction of a flower/ plant. The work came to us from a private collection in Surrey, En...

This artwork (California Landscape with House" c.1950 is a watercolor on paper by California artist James March Phillips, 1896-1977. It is signed at the lower right corner by the artist. The artwork size is 14.85 x 11.85 inches, framed size is 24.25 x 20.15 inches. Custom framed in a wood frame, with beige matting. The artwork is in excellent condition, the frame is in very good condition, it have very minor scratches. About the artist: James March Phillips (1913-1981) Born: Fresno, California; Studied: Turner Art Center (San Francisco). James March Phillips studied art in San Francisco. His intructors were Alfred Owles...

Mid-century landscape watercolor of figures on a beautiful beach in Indonesia, and early work by Sufi artist Amang Rahman Jubair (Indonesian, 1931-2001). Four tall palm trees tower o...

Eve Nethercott, American (1925 - 2015) - Rockport (P6.38), Year: 1948, Medium: Watercolor on Paper, Size: 12 x 18 in. (30.48 x 45.72 cm), Description: Eve Nethercott's portra...

Eve Nethercott, American (1925 - 2015) - Forest (P2.59), Year: 1959, Medium: Watercolor on Paper, Size: 15 x 11 in. (38.1 x 27.94 cm), Description: Leaning to the left, the a...

Autumn is an original is an original drawing in watercolor on cardboard realized by Jean-Raymond Delpech (1916-1988) in 1958. Hand-signed and dated on the lower right. The state of...

James Wilson Rayen's 'Untitled Pastel #11' is a 15 x 15 inch pastel drawing on paper from a series of studies of spring and summer rural landscapes. This piece depicts three flowerin...

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...

Autumn Landscape. 1976. Oil on cardboard, 22x31 cm Edgars Vinters (1919-2014) Edgars Vinters is working in oil, watercolor and monotype techniques. He paints landscapes in different...

A delightful watercolour scene depicting the changing colours of autumn. Rustling amber leaves grace the ground, leading the viewer's gaze towards a single figure on a winding woodla...