Dessie Wilcox Art

Abstract Geometric Composition Date: Second half of the 20th century Medium: Gouache on paper Dimensions: H 50 cm x W 65 cm approx. Description: Modular geometric structure with ove...

We are delighted to offer a captivating watercolor by the American artist Hugo Anton Fisher (1854–1916). This serene composition depicts cows drinking at the edge of a calm body of w...

American Impressionist California coastal watercolor painting by Charles Partridge Adams (1858-1942), circa 1925. This stunning piece captures the beauty of the coastline with vibran...

Idyllic Watercolor Landscape original watercolour painting on artist paper signed by Marjorie Schiele (1913-2008) *see notes below piece of paper is 9.5 x 12 inches In good condition...

Abstract geometric painting with a cool toned palette of green, blue, and grey with accents of black and white against a sea foam green colored acrylic wash background "Blue and Grey Green Plan" made by Hudson Valley artists, Donise English, in 2022 Graphite, colored pencil, and acrylic painting on vellum 24 x 18 inches unframed, 31 x 25 x 1.5 with an 8-ply white mat, non-glare plexi, and simple black moulding Signed, verso Excellent condition and ready to hang This abstract geometric painting on vellum was made by Hudson Valley based artist, Donise English, in 2022. The composition begins with a blue green toned background of acrylic wash. A grid of box-like patterns in sky blue, green, grey, and black with white line work are stacked to create an irregular shape or an "imagined city grid", says the artist. The painting on vellum is complemented by a simple black frame with an 8-ply white mat, non-glare plexi, and wire backing. It's in excellent condition and ready to hang. About the artist: Donise English emphasizes lines, grids, and fields of subtle color to evoke imagined places and invented structures. While precise lines and straight angles are often associated with themes in architecture and urban planning designs, English conveys a geometric motif guided by intuition rather than a ruler. Variations on grids retain flaws and unmistakable traces of the artists’ hand; her style of draftsmanship shies away from intellectualism and instead makes her compositions feel very personal. A central checkerboard formation floats over a ground of pastel color or washes of grey or cream. Each design is intensely intricate, incorporating gouache, acrylic, pen, graphite, ink and colored pencil. The artist recently retired from her decades career teaching at Marist College and is now devoted full time to her art making. Artist Statement: My work is about the way visual diagrams present information that describes how something is made or the way it is. I am interested in drawing and collaging multiple layers of information that refer abstractly to maps, architectural drawings and blueprints or patterns and structures found in such things as roller coasters, power lines and fences. I use gouache and collaged paper in a series of layers that are a visual and ideological response to the previous layer to define my pictorial space. For each piece I create a set of rules to follow about the use of a limited palette, a grid format, opacity of paper and whether a piece may include curving lines or maintain a rectilinear structure. Artist CV: EDUCATION Master of Fine Arts in Painting Bard College 1986 Bachelor of Science in Art History State University College at New Paltz 1977 Additional Study: New York Studio School (Drawing Marathons) Columbia University, School of Architecture Women’s Studio Workshop TEACHING Professor of Studio Art, Department of Art and Art History, Marist College, Poughkeepsie, NY Coordinator, Interior Design Program, Florence, Italy campus 1992-present AWARDS NYFA Fellowship in Painting 2018 Invitational Award for Outstanding Contemporary Talent, University of Bridgeport, CT 2000 Purchase Prize, “11th National Juried Exhibition” College of Notre Dame of Maryland, Baltimore 1999 First Prize, “Women in the Visual Arts ‘95” Erector Square Gallery, New Haven, CT 1995 Joseph A. Cain Memorial Purchase Award for Sculpture Del Mar College, Corpus Christi, TX 1994 Honorable Mention, “National Juried Exhibition” University of Bridgeport, CT 1993 Individual Artists Fellowship in Sculpture Dutchess Arts Fund 1992/93 Tallix, Morris, Singer Internship in Sculpture Tallix Foundry, Beacon, NY 1990/91 MEMBERSHIP Royal British Society of Sculptors SELECTED JURIED/INVITATIONAL EXHIBITIONS 2020 “edu: Art Faculty of the Hudson Valley”, Hudson Valley MOCA, Peekskill, NY 2019 “Contemporary Abstraction”, Carrie Haddad Gallery, Hudson, NY “Mixed Media”, SITE Gallery, Brooklyn, NY 2018 “JuxtaPositions”, The Painting Center, New York, NY “Peculiar Rarities”, Carrie Haddad Gallery, Hudson, NY 2017 “Interlock: Color and Contrast in Abstraction”, Carrie Haddad Gallery, Hudson, NY “Donise English: Encaustics”, Catskill Art Society, Livingston Manor, NY 2016 “Let’s Stay in Touch”, Howard County Center for the Arts, Ellicott City, MD “Under, Over, After Over”, Vassar College, Poughkeepsie, NY 2015 “Off the Grid”, Arts & Culture Program, Albany International Airport, Albany, NY “Gridspace”, KMOCA, Kingston, NY “Abstraction”, Carrie Haddad Gallery, Hudson, NY “Assuming Identity”, NY Institute of Technology, New York, NY 2013 “Modern Artists”, Carrie Haddad Gallery, Hudson, NY “Artists of the Mohawk-Hudson Region”, The Hyde Collection, Glens Falls, NY Stone Canoe/Community Folk Art Center, Syracuse, NY 2012 New York Institute of Technology, New York, NY “Contemporary Painters (Who Just Happen To Be Women)”, Carrie Haddad Gallery, Hudson, NY “Strange Glue: Collage at 100”, Cambridge School, Weston, MA “Dear Mother Nature”, Dorsky Museum, SUNY New Paltz, NY “Fresher Paint”, Rockland Center for the Arts, Nyack, NY Courthouse Gallery, Lake George Arts Project, Lake George, NY 2011 “Process+Content: Donise English”, Vassar College, Poughkeepsie, NY “Donise English-Paintings”,Orange County Community College, Newburgh, NY “Gender Matters/Matters of Gender”, Freedman Gallery, Albright College, Reading, PA 2010 Carrie Haddad Gallery, Hudson, NY “Encaustics: Wax and Image”, Westchester Community College, White Plains, NY “Dots, Lines and Figures”, Carrie Haddad Gallery, Hudson, NY “Spring Awakening”, NY Institute of Technology, New York, NY “Clay City Dreams”, NY Institute of Technology, New York, NY “Texture,Pattern, Fragment”, Krause Gallery, Moses Brown School, Providence, RI 2009 “Collage”, NY Institute of Technology, New York, NY “Working in Wax”, Bedford Gallery, Walnut Creek, CA “Encaustic 2009”, College of New Rochelle, NY “Three Artists”, Carrie Haddad Gallery, Hudson, NY “Convergence: The Human Experience”,Howard County Center for the Arts, MD 2008 “Suckers and Biters: Love, Lollipops, and Exquisite Corpse” Chashama Gallery, New York, NY Carrie Haddad Gallery, Hudson NY 2007 “Patterns and Light”, Blue Hill Gallery, Blue Hill, ME “Suckers and Biters”, AG Gallery, Brooklyn, NY 2006 “100 Artists, 100 Watercolors”, Jeannie Freilich Fine Art, New York, NY “On/Of Paper”,Kirkland Art Center, Clinton, NY “The Love Show”, Manchester Community College, Manchester, CT 2005 The Soap Factory, Minneapolis, MN “Small Tales”, Valdosta State University, Georgia National Juried Exhibition,Art Institute and Gallery Salisbury, MD, Juror: Stephen Haller “Greed, Envy, Jealousy, Fear”, TSL Warehouse, Hudson, NY 2004 “Women in the Middle: Borders, Barriers, Intersections” University of Wisconsin-Milwaukee “Girl Art Now”,Hera Gallery, Wakefield, RI 3 Person Exhibition, Monterey Peninsula College, Monterey, CA “The Feminine Eye”, Bradley University, Peoria, IL “Women Painting Women”, McNeese State University, Lake Charles, LA “Thought Patterns”, Kent Place Gallery, Summit, NJ “Surface, Matter and Artifice”, Dutchess Community College Art Gallery Poughkeepsie, NY 2003 “Beefcake/Cheesecake”,Orange County Center for Contemporary Art, Santa Ana, CA,Juror: Jamie Wilson, Curator Halpert Bienniel, Appalachian State University, Boone, NC Juror: Jeff Fleming, Senior Curator, Des Moines Art Center “The Great White Oak”, Garrison Art Center, Garrison, NY Carrie Haddad Gallery, Hudson, NY 2002 “Cat Calls”, Red Clay Arts, Brooklyn “Hudson Valley Regional”, SUNY New Paltz Juror: Sydney Jenkins, Director, Ramapo College Art Galleries 2001 One-Person Exhibition, Davis and Hall Gallery, Hudson, NY “Beyond the Surface”, Womanmade Gallery, Chicago One-Person Exhibition, Garrison Art Center, Garrison, NY 2000 “Vision 2000...

Painted during the 2015 Winter Equestrian Festival in Wellington, Florida. A black and white depiction of a canal, is barely recognizable, due to Fenske's wild brushstrokes and lack...

Vibrant Watercolor Landscape original watercolour painting on artist paper signed by Marjorie Schiele (1913-2008) *see notes below piece of paper is 9.5 x 12.5 inches In good conditi...

Karen Schiff is an artist and wordsmith based in New York; she has always been a reader as well as a visual artist. Her drawings, paintings, installations, and performances combine t...

Clyde Steadman's "Untitled 1" is an original, handmade watercolor painting that depicts an urban landscape with human silhouettes.

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...

Edward Dufner (1872 - 1957) Monhegan Island, Maine Watercolor on paper Sight 16 x 20 inches Signed lower right With a long-time career as an art teacher and painter of both 'light' and 'dark', Edward Dufner was one of the first students of the Buffalo Fine Arts Academy to earn an Albright Scholarship to study painting in New York. In Buffalo, he had exchanged odd job work for drawing lessons from architect Charles Sumner. He also earned money as an illustrator of a German-language newspaper, and in 1890 took lessons from George Bridgman at the Buffalo Fine Arts Academy. In 1893, using his scholarship, Dufner moved to Manhattan and enrolled at the Art Students League where he studied with Henry Siddons Mowbray, figure painter and muralist. He also did illustration work for Life, Harper's and Scribner's magazines. Five years later, in 1898, Dufner went to Paris where he studied at the Academy Julian with Jean-Paul Laurens and privately with James McNeill Whistler. Verification of this relationship, which has been debated by art scholars, comes from researcher Nancy Turk who located at the Smithsonian Institution two 1927 interviews given by Dufner. Turk wrote that Dufner "talks in detail about Whistler, about how he prepared his canvasas and about numerous pieces he painted. . . A great read, the interview puts to bed" the ongoing confusion about whether or not he studied with Whistler. During his time in France, Dufner summered in the south at Le Pouleu with artists Richard Emil Miller...

Searching the Waters ​by Lu Haskew Pastel 18x22" image size, 26x30" framed Figurative Portrait of young children on a dock looking into the water. ABOUT THE ARTIST: Lu Haskew 1921...