Virginia J. Hughins Drawings and Watercolor Paintings

Fauve landscape with palm trees and Arab houses. 1 half of the 20th century. Gouache paintings on cardboard. Paintings is signed with monogram. Dimensions with Passepartout 45.5cm x ...

Title: Mid Century French Stylized Deer in a Birch Forest Mixed Media Drawing Artist: Josine Vignon (French 1922-2022) Medium: Pencil, Acrylic and Tracing Paper Size: 10.75 (heigh...

This rare 1924 colored pencil drawing by renowned American artist George Elbert Burr (1859–1939) beautifully captures the raw, untamed drama of the Arizona de...

Women with Idol II, 2016 Collage on cardboard 27 9/16 H x 39 3/8 W in. 70 H x 100 W cm The artist's reference on fundamental myths of humanity and their analysis from the perspectiv...

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...

Siren, 2015 Collage on cardboard 27 9/16 H x 39 3/8 W in. 70 H x 100 W cm The artist's reference on fundamental myths of humanity and their analysis from the perspective of contempo...

Iris Watercolor on paper, c. 1920 Unsigned Provenance: Estate of the Artist Condition: Excellent, slight surface dirt Image/Sheet size: 15 x 10 1/4 inches Allen was trained in Boston...

Signed nude watercolour on paper circa 1900 by Kees van Dongen. The piece depicts a standing nude woman with her hair tied up facing away from the artist. This superb work can be dir...

A very attractive American Impressionist watercolor & gouache painting, "The Spanish Peaks" Colorado mountain landscape scene, by Charles Partridge Adams (1858-1942), circa 1900. Thi...

"Planting (Spring Plowing)", a vibrant watercolor and graphite on paper by Thomas Hart Benton, circa 1939-40, embodies the artist's signature Regionalist style. The work depicts a ru...

This artwork "Winter Landscape" c.1960 is a watercolor on paper by artist John E. Detore, 1902-1975. It is signed at the lower right corner by the artist. The image size is 13.5 x 19.5 inches, the framed size is 22.75 x 28.75 inches. Custom framed in original oak white wash frame, with off white matting. It is in excellent condition. About the artist: A native of Syracuse, John E. De Tore was born in 1902. DeTore enjoyed painting continuously since the age of 8. Although he became an engineer with the Niagara Mohawk Power corporation he carried on elective training in the required branches of art. He took seriously to the watercolor medium from 1940 and by 1955 he was well known for his decisively composed watercolor landscapes and their rich, deep chromatics - earning him acknowledgment in the American Artist Magazine November 1961 issue. Besides teaching art at Syracuse Museum John DeTore...

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