Charles Ragland Bunnell

Kansas City Skyline, 1930s WPA Era Modernist Line Drawing, Black White, Framed

circa 1935

This is a page from the artist's sketchbooks. Six pencil drawings show figures that might have been in preparation for future lithographs, Certainly the woman with the umbrella could have been an early iteration for September Storm. There is also a self portrait of Nesbitt. Clearly the works are authentic if unsigned. Provenance: from the Nesbitt studio. From workers wrestling with heavy machinery to a lone horseman traveling down a rut-filled country road; from the animated crowd at a livestock auction to the dignified worshippers at a serene Sunday service; Jackson Lee Nesbitt chose to represent the essence of humanity and the nobility of ordinary folk striving to get along as best they can. He studied with Thomas Hart Benton and John Demartelly...

Reclining Female Nude Charcoal on paper, c. 1933 Signed lower right (see photo) Provenance: Weyhe Gallery, New York (Ganso's dealer 1925-1941) Joseph Mark Erdelac, Cleveland, noted c...

Untitled (Wizard Fantasy) Pen and ink on paperboard, 1948 Signed and dated by the artist lower right Extremely rare "Middle Period" drawing. One of two drawings that were given by the artist to Jeanette Kear, Chevy Chase, MD which were signed and dated by the artist. All others in the exhibition are from sketchbooks and have the estate stamp and numbering. Exhibited at National Collection of Fine Arts, Smithsonian Institution, Dec. 6 1979-Feb. 3, 1980 and Fogg Museum of Art, Harvard University, Feb. 22-April6, 1980 Illustrated twice in the resulting catalog, The Drawings of Morris Louis, by Diane Upright Headly, Harvard Univeristy and author of the catalog essay and entries. (See photos) Condition: Mounted to paper board by owner, Jeanette Kear for framing Glazed with glass Image size: 13 7/8 x 16 5/8 inches Frame size: 20 x 23 x 3/4 inches Provenance: Jeanette F. Kear, Chevy Chase, MD Illustrated: National Collection of Fine Art, 1979: "The Drawings of Morris Louis," Catalog No. 1, illustrated D1, reproduced p. 73 Morris Louis Bernstein (November 28, 1912 – September 7, 1962), known professionally as Morris Louis, was an American painter. During the 1950s he became one of the earliest exponents of Color Field painting. While living in Washington, D.C., Louis, along with Kenneth Noland and other Washington painters, formed an art movement that is known today as the Washington Color Schoo Early life and education From 1929 to 1933, he studied at the Maryland Institute of Fine and Applied Arts (now Maryland Institute College of Art) on a scholarship, but left shortly before completing the program. Louis worked at various odd jobs to support himself while painting, and in 1935 was president of the Baltimore Artists' Association. From 1936 to 1940, he lived in New York City and worked in the easel division of the Works Progress Administration Federal Art Project. During this period, he knew Arshile Gorky, David Alfaro Siqueiros, and Jack Tworkov. He also dropped his last name. Work Color field painting He returned to his native Baltimore in 1940 and taught privately. In 1948, he pioneered the use of Magna paint—a newly developed oil-based acrylic paint made for him by his friends, New York paintmakers Leonard Bocour and Sam Golden. In 1952, Louis moved to Washington, D.C. Living in Washington, D.C., he was somewhat apart from the New York scene and he was working almost in isolation. During the 1950s he and a group of artists that included Kenneth Noland, Gene Davis, Thomas Downing, Howard Mehring, Anne Truitt and Hilda Thorpe...

Untitled (Study for The Aerialists) Graphite on paper, 1932 Signed lower right in pencil: "John Steuart Curry" Dated: 1932 in pencil Exhibited: Schroeder Romero & Shredder, NYC (label), Master Drawings, Oct. 13, 2011-Nov. 12, 2011 (see photo of label) Arkansas Arts Center (label), 44th Collector Show & Sale, Nov. 30-December 30, 2012, Offered at $22,000. (see photo of label) This drawing is closely related to a painting by Curry entitled The Aerialists, 1932, once in the Erskine Collection, Cedar Rapids, Iowa. It is part of a group of preliminary drawings and three finished paintings executed by Curry around 1932 which were based on The Flying Cadonas. The painting The Flying Cadonas is an icon of American art purchased by the Whitney Museum of Art and now on permanent exhibition. There are other know studies for these works, nos. 199 through 222 and in John Steuart Curry: Rural America, page 32 (Mongerson Wunderlich, Chicago, 1990. Provenance: Mrs. Kathleen Curry (artist’s widow), included in the estate schedule of works Treadway Toomey Auction, Oak Park, Illinois, 2009 Don Joint, New York An important American Regionalist drawing. Like Grant Wood and Thomas Hart Benton, John Steuart Curry was a major American scene painter of the 1930s. His subjects were taken from American history and his most famous mural, The Tragic Prelude...

Isadora Duncan Graphite with grey wash on paper mounted to cardstock Signed and dated in pencil lower right (see photo) Provenance: Charlotte Bergman, f...

Pablo Casals Graphite on paper, 1963 Signed in pencil lower right (see photo) Sheet size: 11 5/8 x 8 inches Condition: glue residue in all four corners of the sheet Drawn from life during an appearance at Carnegie Hall with the Cleveland Orchestra...

Frank Nelson Wilcox (American, 1887-1964) Crashing Waves on the Atlantic Coast, 1957 Watercolor and graphite on paper Signed and dated lower right 22 x 29 inches Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters," though some sources give this appellation to Henry Keller or Frederick Gottwald. Wilcox was born on October 3, 1887 to Frank Nelson Wilcox, Sr. and Jessie Fremont Snow Wilcox at 61 Linwood Street in Cleveland, Ohio. His father, a prominent lawyer, died at home in 1904 shortly before Wilcox' 17th birthday. His brother, lawyer and publisher Owen N. Wilcox, was president of the Gates Legal Publishing Company or The Gates Press. His sister Ruth Wilcox was a respected librarian. In 1906 Wilcox enrolled from the Cleveland School of Art under the tutelage of Henry Keller, Louis Rorimer, and Frederick Gottwald. He also attended Keller's Berlin Heights summer school from 1909. After graduating in 1910, Wilcox traveled and studied in Europe, sometimes dropping by Académie Colarossi in the evening to sketch the model or the other students at their easels, where he was influenced by French impressionism. Wilcox was influenced by Keller's innovative watercolor techniques, and from 1910 to 1916 they experimented together with impressionism and post-impressionism. Wilcox soon developed his own signature style in the American Scene or Regionalist tradition of the early 20th century. He joined the Cleveland School of Art faculty in 1913. Among his students were Lawrence Edwin Blazey, Carl Gaertner, Paul Travis, and Charles E. Burchfield. Around this time Wilcox became associated with Cowan Pottery. In 1916 Wilcox married fellow artist Florence Bard, and they spent most of their honeymoon painting in Berlin Heights with Keller. They had one daughter, Mary. In 1918 he joined the Cleveland Society of Artists, a conservative counter to the Bohemian Kokoon Arts Club, and would later serve as its president. He also began teaching night school at the John Huntington Polytechnic Institute at this time, and taught briefly at Baldwin-Wallace College. Wilcox wrote and illustrated Ohio Indian Trails in 1933, which was favorably reviewed by the New York Times in 1934. This book was edited and reprinted in 1970 by William A. McGill. McGill also edited and reprinted Wilcox' Canals of the Old Northwest in 1969. Wilcox also wrote, illustrated, and published Weather Wisdom in 1949, a limited edition (50 copies) of twenty-four serigraphs (silk screen prints) accompanied by commentary "based upon familiar weather observations commonly made by people living in the country." Wilcox displayed over 250 works at Cleveland's annual May Show. He received numerous awards, including the Penton Medal for as The Omnibus, Paris (1920), Fish Tug on Lake Erie (1921), Blacksmith Shop (1922), and The Gravel Pit (1922). Other paintings include The Trailing Fog (1929), Under the Big Top (1930), and Ohio Landscape...

Clarence Holbrook Carter (American, 1904-2000) Study for Worlds Beyond, 1980 Graphite, collage and white heightening on illustration board Signed and dated lower right 10.75 x 4.5 in...

Signed by artist "M. O'KEEFE 2013" at lower left. Media is graphite on clay-coated panel. Overall dimensions including the frame are 18 x 15 inches.

Geometric Woman's Portrait - Rare Signed Graphite Drawing on Paper 1962 Beautiful, soft original drawing by Eugene Hawkins (American, b. 1933). A realistic depiction of a short-haired woman, her large lips parted into a soft smile. She's surrounded in geometric shapes offering a wonderful juxtaposition to the natural curves of her face and hair. Signed in pencil, "Eugene Hawkins '62" Presented in a new black mat. Mat size: 20"H x 16"W Paper size: 18.5"H x 14.5"W Eugene Hawkins (American, b. 1933) is a BIPOC artist known for his detailed portraiture and printmaking. He is listed in Who Was Who in American Art, 1564-1975, and his work was exhibited in the Whitney Museum of American Art. He spent the majority of his life working and exhibiting in Southern California. His work frequently touches upon socio-political subjects, making strong statements about the world. The California African American Museum features Eugene Hawkins's work in the Permanent Collection. Exhibition: 2017 Paperworks: Selections from the Permanent Collection focuses on works on paper produced from 1950-2000 and includes figurative, impressionistic, and abstract styles. The exhibition showcases the radically diverse range of works on paper created by African American and other artists over the last two centuries, and includes drawings, prints, paintings, and collages by Edward Mitchell Bannister...