An Impresionist Watercolor Painting By Gordon Bueramerican 20thc

If you’ve encountered a work described as “An Impresionist Watercolor Painting by Gordon Buer—American 20thc,” you likely have a sheet watercolor with an Impressionist sensibility and a partial or uncertain attribution. This guide explains how to parse that description, evaluate the object in hand, and arrive at a grounded appraisal range. It focuses on the practical steps professionals use for 20th-century American watercolors, from authentication and condition analysis to market positioning and care.

Note on wording: the phrase “Gordon Bueramerican 20thc” is almost certainly an abbreviated back-of-frame note reading “Gordon Buer, American, 20th c.” The misspelling “Impresionist” appears often in inventory records and should not be over-weighted. Treat the label as a lead, not a conclusion.

Decoding the attribution and what it implies

• Attribution vs. authorship: An attribution like “Gordon Buer (American, 20th c.)” signals that a dealer or prior owner believed the artist to be Gordon Buer, working sometime in the 1900s. Unless accompanied by solid provenance or an artist’s signature consistent with known examples, consider it provisional.

• Is “Gordon Buer” documented? Some artists are well recorded; others appear only in regional exhibitions or newspaper notices. If the name is not widely documented in standard artist dictionaries, focus your valuation on the quality of the work, subject, condition, and any primary evidence (signatures, inscriptions, watermarks). Lack of documentation does not erase value, but it often shifts the market from “named artist” to “school of/attributed to.”

• “Impressionist” as a visual cue: In watercolor, Impressionist typically describes:

  • Broken color and visible brushwork
  • Wet-into-wet atmosphere, soft edges, and luminous passages
  • Everyday subjects—harbors, gardens, city streets, bridges—captured en plein air
  • Attention to light effects at specific times of day Evaluating how convincingly these appear in your work helps calibrate its quality within the style.

Materials and techniques of 20th-century American watercolor

Understanding period materials helps corroborate date and authenticity:

• Paper:

  • Common rag papers: Arches (France), Whatman (UK), Fabriano (Italy), Strathmore (USA), Rives. Look for watermarks: “Arches France” with an infinity symbol; “J Whatman/ Turkey Mill” with date; Strathmore thistle device.
  • Surface: hot press (smooth), cold press (moderate tooth), rough (pronounced texture). Impressionist effects often favor cold press for balancing washes and detail.
  • Deckle edges: A natural feathered edge suggests a full or torn sheet; trimmed edges indicate later cutting or mounting.
  • Tone: Original paper is slightly warm; uniform ochre or brown toning, especially under former window mats, may indicate age and acidic matting.

• Pigments:

  • Stable: ultramarine, cobalt blue, viridian, cadmium family (where used in watercolor), burnt sienna, raw umber.
  • Potentially fugitive or sensitive: alizarin crimson (traditional, less lightfast), opera pink, rose madder genuine, aureolin (cobalt yellow), certain anilines. Faded reds, violets, and yellows can alter the original palette.

• Technique:

  • Wet-into-wet passages for sky, water, foliage masses.
  • Drybrush highlights on architectural edges, masts, or tree branches.
  • Lifting and scraping (with a knife or the back of a brush) for sparkle on water or to reclaim whites.
  • Reserve whites: Untouched paper for highlights is preferred in classical watercolor; heavy use of white gouache in an “Impressionist watercolor” is not disqualifying but worth noting.

• Mounting and framing history:

  • Mid-century hinges: Japanese paper with wheat starch paste (archival) versus pressure-sensitive tapes (Scotch tape, masking tape) that stain and embrittle paper.
  • Backing: Wood-pulp mat boards and cardboard introduce acids; more modern conservation boards are alpha-cellulose or cotton rag, buffered.
  • Glazing: Original glass; later replacements may be acrylic with UV filtering.

Matching materials and handling with a 20th-century American origin supports the stated time frame.

Authentication: signatures, inscriptions, and paper evidence

Because documentation for lesser-known artists can be scarce, authentication relies on converging evidence:

• Signature analysis:

  • Where: Lower margin corners are typical; some artists sign on the backboard or reverse of the sheet.
  • How: Pencil signatures over watercolor are common. Pen-and-ink and watercolor signatures also occur.
  • Consistency: If you can find other works attributed to the same name, compare letterforms, slant, pressure, abbreviation style, and placement.
  • Magnification: A 10x loupe reveals whether the signature sits atop the pigment layers (expected) and whether it’s contemporaneous with the rest of the work.

• Inscriptions and labels:

  • Look for titles, dates, or locations in pencil on the reverse.
  • Examine old framer’s and gallery labels; these can anchor the work to a time and place. Photodocument all labels before any reframing.
  • “American 20th c.” on a paper label is a dealer shorthand, not evidence.

• Paper watermarks and sheet size:

  • Backlight the sheet to locate a watermark; record the exact text or emblem and any date.
  • Measure the sheet and image areas precisely. Standard full sheets (e.g., Arches ~22 x 30 in) and half/quarter sheets are clues to working practice.

• Technical examination:

  • UV light: Retouching in watercolor sometimes fluoresces differently than original passages; adhesives and tape stains fluoresce readily.
  • Raking light: Reveals cockling, abrasions, scraping, and surface scuffs.
  • Infrared is less informative for watercolor than for oil, but can occasionally reveal graphite underdrawing.

• Provenance building:

  • Past sales invoices, exhibition catalogs, programs from watercolor societies, regional art clubs, or local newspapers can be invaluable. Search regional exhibition histories and local archives where the subject matter suggests (e.g., New England harbor, California street scene).

If the signature and supporting evidence are inconclusive, consider an attribution such as “Follower of the American Impressionist watercolor tradition, 20th century” for cataloging and valuation.

Condition and conservation: what matters most to value

Watercolors are especially sensitive to light and acidity. The following issues most affect value:

• Fading and color shift:

  • Reds, violets, and yellows may have faded, flattening light effects. Compare protected margins (once under a mat) to exposed areas to judge fading.
  • Notable fading can reduce value significantly, especially if central to the composition.

• Paper tone and staining:

  • Mat burn: Brown lines where an acidic mat window sat; often rings the image area.
  • Foxing: Brown or rust-colored spots from mold or metal impurities.
  • Tape stains: Amber bands or spots along edges from pressure-sensitive tapes.

• Physical distortions:

  • Cockling: Waviness from moisture; minor cockling is typical, significant buckling is a condition issue.
  • Tears and losses: Edge tears are sometimes concealed by mats; check all margins.

• Additions and restorations:

  • Overpaint with gouache to mask stains or repairs may fluoresce under UV; uneven gloss or texture changes can betray interventions.

• Framing risks:

  • Non-UV glazing, direct sunlight exposure, and acidic backing all accelerate deterioration.

Conservation options, from aqueous washing and deacidification to foxing reduction and proper hinging, can stabilize the work and improve appearance. Engage a paper conservator; avoid home remedies that can permanently damage fibers and pigments. Document the “as-found” state before any intervention—conservator reports help future appraisals.

Market context and appraisal approach

Valuing a 20th-century American Impressionist watercolor depends on a hierarchy of factors:

• Artist recognition:

  • Documented artists with auction records and exhibition histories typically command stronger prices.
  • If “Gordon Buer” remains undocumented, position the work in the broader category of “American School, 20th century.” Quality can still bring strong results at regional auctions or specialized watercolor sales.

• Subject and appeal:

  • Market favorites: Harbor scenes with boats, lively street scenes, gardens in bloom, snow scenes with strong light. Landscapes with clear focal points tend to outperform generic vistas.
  • Compositional strength: Confident brushwork, well-managed whites, and atmospheric depth lift values.

• Size:

  • Larger sheets (near full-sheet) generally carry premiums over small sketches or quarter-sheets, all else equal.

• Condition:

  • Clean, unfaded sheets with minimal mat burn or foxing do best. Visible staining or major fading can halve value relative to a clean counterpart.

• Provenance:

  • Exhibited works, pieces with gallery labels from known dealers, or those with a chain of ownership perform measurably better.

• Market channel:

  • Retail gallery asks can be multiples of auction hammer prices. Regional auction estimates for attractive unsigned or uncertain-attribution American 20th-century watercolors commonly fall in the low hundreds to low thousands, with notable outliers for exceptional quality or subject matter.

Appraisal methodology:

• Begin with direct comparables by the same artist if any exist.
• If none, assemble comparables by style, period, subject, and size, weighting for condition and quality.
• Adjust for market channel (auction vs. retail), geographic relevance, and currency of sales (recent results are most predictive).

Display, care, and insurance guidelines

• Light: Display at ≤50 lux with UV filtering; avoid direct sunlight and strong ambient daylight. Consider rotating off-display to limit cumulative exposure.
• Glazing: Use UV-filtering acrylic or glass. Avoid contact between artwork and glazing; use a mat or spacer.
• Matting and backing: 100% cotton rag or conserved alpha-cellulose boards; avoid wood-pulp boards. Hinge with Japanese paper and wheat starch paste.
• Environment: Stable temperature and humidity (roughly 68–72°F, 45–55% RH). Avoid fireplaces, kitchens, bathrooms.
• Handling and storage: Store flat in acid-free folders or boxes; interleave with unbuffered archival tissue if pigments may be sensitive to alkalinity.
• Insurance: If the attribution is uncertain, insure at the higher of the quality-based open-market value or the cost to replace with a comparable work of similar quality and size.

Field checklist: quickly triage a “Gordon Buer, American 20th c.” watercolor

• Photograph front, back, edges, and all labels before unframing.
• Measure sheet size and image size to the millimeter; note orientation.
• Identify paper type and look for watermarks with transmitted light.
• Inspect signature/inscriptions under 10x magnification; note medium and placement.
• Check for mat burn, foxing, tape stains, tears, cockling under raking light.
• Compare protected margins to exposed areas to gauge fading.
• Scan under UV for retouching and adhesives.
• Record subject, palette, and Impressionist hallmarks (broken color, light effects).
• Assemble any provenance: invoices, labels, exhibition or framing records.
• Build comparables: same artist if available; else similar period/style/subject/size.
• Consult a paper conservator before any cleaning or reframing.
• Estimate value adjusted for condition, subject desirability, and market channel.

FAQ

Q: The label says “Impresionist” and “Gordon Bueramerican 20thc.” Is that reliable? A: Treat it as a starting clue. Misspellings and compressed notes are common on old frame labels. Verify with signatures, watermarks, provenance, and stylistic analysis.

Q: How much does mat burn or foxing reduce value? A: It depends on severity and location. Light mat burn confined to margins may have a modest impact, while heavy staining, widespread foxing, or central discoloration can reduce value substantially. If conservators judge the issues reversible, the penalty is less.

Q: What if the reds and purples look weak—has it faded? A: Possibly. Many red and violet pigments in watercolor are more light-sensitive. Compare exposed areas with margins once covered by a mat. Notable fading affects both aesthetics and value.

Q: Should I reframe before selling? A: If the current framing is acidic or unsafe, yes—after a conservator’s assessment. Proper conservation framing can stabilize the work and improve presentation. Keep all removed labels and include a conservator’s report to support value.

Q: How do I price an undocumented 20th-century American watercolor? A: Focus on quality, subject appeal, size, and condition. Use comparables from similar American Impressionist watercolors at regional auctions and galleries. Expect a broad range—from a few hundred dollars for modest works to several thousand for standout examples—even without a recognized name.

By combining objective technical assessment with an informed read on style and market, you can fairly appraise an Impressionist watercolor carrying a provisional attribution like “Gordon Buer, American, 20th c.” Conservative assumptions, clear documentation, and care in handling will protect both the painting and its value.