Framed Drawings and Watercolor Paintings

Jane Bazinet, American - Untitled, Year: 1980, Medium: Watercolor, signed, Size: 30 x 40 in. (76.2 x 101.6 cm), Frame Size: 32 x 42 inches

This study presents multiple views of goats and sheep drawn across a single sheet. Lundgren depicts the animals in different poses – a light-colored goat standing in profile, a dark ...

‘Parley at Bristol, 1643’ by Charles Cattermole RI, RBA, ROI (1834-1900). The painting – which depicts the surrender of Parliamentary forces under Nathaniel Fiennes to Prince Rupert ...

Rowing Figure in an Eerie Landscape is a 1929 watercolor-and-ink illustration by Swedish artist Einar Norelius. Created for the 22nd issue of Bland tomtar och troll, the cherished an...

Charming mid century watercolor painting of a horse in winter with a barn in the background by Ernest Smythe (American/England 1881-1950). Signed "ERNEST SMYTHE" in lower left corner. Presented in a tan mat with a wood frame and glass. Image size: 25"H x 19.75"W As William Ernest Smyth, he was born at 13 Commercial Road, Ipswich on 9 April 1874 but was not baptised at St Michael's, Ipswich until 23 October 1885, when his birth date is given as 17 February 1874, youngest son of artist Thomas Smythe...

Pastel on paper Signed and titled (lower right) 84cm × 60cm (87cm × 62cm framed) Cayford, now retired, was a graphic designer and illustrator working in London in the postwar period...

Theatre Du Chatelet A stunning gouache by one of France's premier artists specialising in Parisian scenes. Eugene Galien LALOUE (1854 - 1941) Eugène Galien Laloue was particularly...

'Tulips in a Bowl'. Watercolor on paper. Original artwork measuring 31 1/2 x 24 3/4 inches. Professionally framed., 38 x 41 inches. Gary Bukovnik fuses sensual vitality with fluid y...

Title: Venice Canal Bridge Scene With Flower Boxes And Reflections Original Watercolour By Tony Herbert (1927-2024) Medium: Watercolor on paper, unframed Size: 11.25 inches (height) ...

Large abstract geometric painting with intricate line work in pencil and gouache on a bright yellow background "Specifically, Nowhere (Yellow)" made by Hudson Valley artist, Donise English, in 2022 gouache, acrylic, pencil, and colored pencil on paper, mounted on panel 48 x 48 inches unframed, 50 x 50 inches with a dark brown stained wood floater frame Surface is protected with four coats of an archival UV protective varnish Signed, verso Excellent condition and ready to hang This large abstract geometric painting was made by Hudson Valley based artist, Donise English, in 2022. The composition begins with a bright yellow background overlaid with intricate line work in graphite and colored pencil. Thousands of hand drawn lines serve as a backdrop for a bold geometric form in a dusty violet and dark gray gridded pattern that references "an imagined city grid", says the artist. The painting on paper is mounted to wood panel and complemented with a dark stained wood floater frame. It's in excellent condition and ready to hang as is. The surface is protected with four coats of an archival UV protective varnish. More about the work: 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. Each design is intensely intricate, incorporating gouache, acrylic, pen, graphite, ink and colored pencil. 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...

This beautiful British Art Deco 1930's water colour and ink painting on paper is by well respected artist Averil Mary Burleigh. Painted circa 1935 the composition is of three female figures with flowing robes and head dresses with slender tree trunks beyond them and vivid blue of the sky meeting the sea. (Caerula pertains to the colour of the sky and sea). They are playing between them with two balls or globes. A beautiful painting full of fun and movement and that amazing blue. Signed lower left, and inscribed on a label verso. Provenance: Surrey estate. Condition. Water colour and ink on paper. Image size is 24 inches by 16 inches and in excellent condition. Frame. Housed in a gilt frame. Framed size is 30 inches by 22 inches and in good condition. Averil Mary Burleigh born Averil Mary Dell (1883 – 1949) was a British artist and painter. Based in Sussex, Burleigh was known for painting in egg tempera with the subject usually involving a central figure. Her husband and daughter also painted but she is the best regarded of the three. Burleigh was born in 1883 in Hassocks in West Sussex and went on to study at the Brighton School of Art. She married the painter Charles Burleigh and they lived and worked together as artists in Hove and Sussex. They designed a house with a large sun-lit top floor studio. Their daughter Veronica, who would also become a notable artist, was born there in 1909. The family never became rich from their works, and often relied on Burleigh's flair for buying and selling shares. In 1911 Burleigh illustrated a book of John Keats' poetry and went on to illustrate plays by Shakespeare. In 1913 she was featured in Studio magazine. In 1927 Burleigh illustrated Thistledown by Leolyn Louise Everett. From 1939 she was a member of the Royal Society of Painters in Watercolours. Burleigh became very ill in the 1940s, dying in 1949. Shortly before she died, Burleigh was elected an associate of the Royal Watercolour Society. Burleigh specialised in tempera painting, although she also worked in chalk and watercolour. Her works tend to have a bright colour palette with contrasting colours to lead the eye around the picture. A sharp luminosity and strong sense of design govern Burleigh's tempera and watercolour paintings. Frequently, her works portray decorative renaissance subjects, usually dominated by a female figure who is regularly modelled on her daughter, Veronica Burleigh...

Leonor Fini was born in Argentina in 1907 but travelled and lived in Europe with her mother from a young age. By 1931, she was in Paris, in the full swing of the Surrealist movement....

A charming rural landscape by the British artist Edward Matthews, depicting a flock of sheep grazing Bignor Hill. Well presented in a wash-line mount and gilt effect frame. Signed an...

Title: Venice Market Scene With Figures and Canopies Original Watercolour Painting By Tony Herbert (1927-2024) Signed: Bottom right corner Medium: Watercolor on paper, unframed Size:...

Hans Hofmann Untitled, circa 1943 Signed lower right Oil and watercolor on paper 22 1/4 x 30 3/4 inches The only artist of the New York school to participate directly in European m...

Charles Dixon was born in England in December 1872 died 1934. Extremely well known for his nautical watercolours. Exhibited several time at the Royal Academy in London as well as the...

Reading Tea Leaves, 1907 Pencil on paper, 14 1/2 x 22 1/2 inches (36.8 x 57.1 cm) Framed dimensions: 26 x 33 3/4 inches Signed and dated lower right: Lilian Westcott Hale...

Beautiful mid century landscape of a historic California mission, highlighting its iconic architectural details such as a columned arches, white was...

Title: Low Tide Estuary Scene with Boats and Sandbanks St Dogmaels Wales 1971 By Tony Herbert (1927-2024) Medium: Watercolor on board, unframed Size: 11.5 inches (height) x 14 inches...

Perle Fine Untitled, circa 1945 Estate stamped and numbered "#632" on the reverse Gouache and pencil on Kraft paper 12 x 20 inches Provenance The artist Estate of the artist Thomas McCormick Gallery...

Interior design paintings. The work was done with india ink in black and grey color on Yupo paper. The work is 11 by 14 inches in size, framed 16 by 20 inches. Mila Akopova is New ...

Drawing of Fontainebleau Forest Barbizon, France Pierre Auguste Brunet Houard (1829 - 1922) 19th century Pencil, colored pencil, gouache, paper 8 x 4 1/2 (16 3/8 x 12 1/4 frame) inc...

Side View Seated Female Nude Graphite on paper, c. 1890's Unsigned Provenance: Rookwood Pottery Factory Collection, Cincinnati Spanierman Gallery, New York (label) Drawings from the...

Bernard Myers (British, 1925 – 2007) Still life on blue pastel on paper signed ‘B. Myers’ (lower left) 24 x 31.3/4 in. (61 x 80.7 cm.) (including frame) From the estate of Bernard My...

"I Saw You in My Dreams" (2023) by Bunyod Suvonov is original handmade drawing made with charcoal and graphite on toned paper. This piece depicts a portrait of a woman with long blac...

Egron Sellif Lundgren (1815–1875) Sweden Resting Dromedar, 1861 watercolour heightened with white unframed 21 x 29.2 cm (8 ¼ x 11 ½ in.) framed 40 x 48 cm (15 ¾ x 18 ⅞ in.) Provenance: Sale, Stockholm, Bukowskis, 12 December 1894, lot 42; Signe and Ernst Trygger (1857–1943), Villa Trygger, Stockholm. Ernst Trygger was Swedish Prime Minister (1923–24), Minister of Foreign Affairs (1928–30) and University Chancellor (1926–37); A Swedish private collection. Literature: Förteckning på oljemålningar, aquareller och handteckningar m.m. av Egron Lundgren utställda i Akademien för de fria konsterna, 1876, no. 259. Karl Asplund, Egron Lundgren, Vol. II, 1940, p. 40, note 1, p. 166. Exhibited: The Royal Academy, Egron Lundgren, 10 April 1876, no. 259. Sveriges Allmänna Konstförening, Memorial Exhibition, February 1915, no. 70, Hvilande kameler (owner Ernst Trygger). The Royal Academy, Svenska Akvareller (Swedish Watercolor Exhibition), 1925, no. 224, Vilande kameler (owner Signe Trygger). Essay: This delicate watercolour, executed during Lundgren’s first journey to Egypt in the winter of 1861–62, depicts a resting dromedary in the shade at Giza. Painted in transparent washes with touches of white gouache, the work captures the intense desert light and atmosphere with a remarkable immediacy. The reclining animal dominates the composition, rendered in warm ochres and browns against a cool, shadowy background, while highlights on its saddle and coat give the scene a subtle radiance. The quiet stillness of the subject reflects Lundgren’s sensitivity to the everyday motifs of the Orient, which he observed and painted directly on site. Lundgren travelled to Egypt in the company of two British artists, Frank Dillon (1823-1909) and George Price Boyce...

Gabrielle Pool's intriguing artwork showcases an abstract depiction of an antelope rendered in fluid washes of sepia and ochre. The deliberate use of ink creates a sense of motion an...

A finely detailed silhouette of a Victorian gentleman. Attributed Frederick Frith (1819-1871) The Reverend James Metze, bust length, turned to the left, wearing coat and cravat wate...

Amate Bark Painting - Harvest Dance with Giant Rabbits In this scene, people are carrying baskets to the village, through dense foliage. There are...

Gestural abstract expressionist painting on archival paper mounted to panel with gold and silver metallic powders and accents of blue, mauve, and teal enamel paint "Involved and Obsc...

Beautifully executed original watercolor by French artist Fernand Guignier of a street scene in Montmartre, Paris. Signed lower right and dated 1949. Titled lower left, “Montmartre”. Fernand Guignier was a student of the sculptors Emil Derré and Jean-Antoine Injalbert at the École des Beaux Arts in Paris . Between 1926 and 1960 he took part in the Salon des Artistes Français in the Palais de Tokyo. The watercolor is housed in its original off white wood frame. Under glass. Condition is very good. Overall framed measurements are 18.25 by 16.5 inches. Provenance: A Sarasota, Florida collector. Fernand Guignier Born: 1902 Died: 1972 Known for: Paris street scene watercolor...

Mixed media incorporating heliogravure and drypoint etching hand-colored on Arches paper , edited in 1963 Limited edition of 150 copies , numbered 23/150 in lower left Hand signed by...

Jean Cocteau ( 1889-1963 ) " la voix Humaine " . 1939 . dessin original de jean Cocteau . signé . avec l'étoile . 19 x 12 cm . encadrement : 39 x 32 cm. certificat de Madame Annie...

Robert Strati is an American artist who creates multimedia artworks using broken plates. His recent series “Fragmented” started when he accidentally dropped and broke a porcelain pla...

GUILLAUME CORNET (b. 1987, Paris, France) Guillaume Cornet is an artist working with illustration and painting, exploring notions of abstract geometry, influenced by surreal perspec...

This piece, titled "The Walk" is an original artwork by Tom Haugomat, made in part of his traveling artist residency with The Jaunt. Through the program, Haugomat was able to travel ...

A handsome ca. 1950 black & white Abstraction by important Modernist artist Jan Matulka. Image size: 6" x 6 1/2". Framed size: 12 3/4" x 12 3/4". Born in Prague, Czechoslovakia...

"Steps", a highly realistic late 20th century watercolor landscape of a staircase in front of a wooden barn by Verne R. Horton (American, 1941-2020), 1986. Horton's background as a technical artist and draftsman is apparent in the fine details of this piece, such as the crisply rendered planks of wood that comprise the barn, the individual pieces of metal that form the railing, and each block of cement that make up the staircase. Horton's meticulous rendering of shadows enhances the sense of realism. Signed and dated "Verne R. Horton '86" lower right. Signed and titled "Steps" on verso. Displayed in a new off-white mat and rustic wood frame with plexiglass. Image size: 13.75"H x 9.75"W. Born February 1, 1941 in Los Angeles, CA, Verne R. Horton went to Los Angeles State College where he earned a degree in pre-architecture. As a young man Verne joined the US Navy, in 1960 and served as a draftsman until 1965. After leaving the Navy, he ended up as a technical artist for North American Aviation. His charge: illustrating publicity pictures for the Apollo space program. After working on the Apollo program for three and a half years, he was lured into the corporate world as a regional manager for New York Life Insurance. Horton said he did virtually no artwork in the 17 years he worked for the insurance company. He ended up earning another degree in insurance and finance from American College in Bryn Mawr, Penn., in 1978. He moved within the company 14 times in 17 years, living in Los Angeles, Hawaii, Arizona and San Francisco. "Then I had an awareness that I had always wanted to be an artist," he said. "It seemed that if I were going to do it, I needed to just do it." He quit his job and became a fine artist. Horton's paintings and sculptures are truly those of a professional. He specializes in 1800s to 1930s Western Americana, but his love is steam era railroad art. "You must have historical accuracy. The worst thing is to have somebody come by and say, 'That's not right," Horton said. "You can't get involved in the history of the railroad without getting to know a community." It was his insistence on historical accuracy and love of railroads that brought him to Carson City...

A day at the beach, French watercolour on paper of a beach scene with sailing boats by Madelaine Geoffroy. The painting is signed and dedicated bottom right and presented in a fine p...

Nicolas Chaperon (1612–1653/4) Fauness and Putti Black chalk, red chalk, wash in red chalk and grey on paper, 195 x 313 mm Unsigned Provenance: Private collection Expert opinion ...

"Abstraction #13", beautiful modernist abstract color field watercolor in pastel hues on paper by Alexander Kwiat (American, b. 1955). Signed lower right hand corner. Gallery label...

Frank Nelson Wilcox (American, 1887-1964) Gilbert's Camp, c. 1941 Watercolor on Whatman board Signed lower right 22 x 30 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...

Emile Antoine Verpilleux, 1888-1964 York, 1920 Original woodcut, printed in colors 14 x 18 inches Signed in pencil

"Foxglove" (2024) Is an original watercolor fantasy painting, which depicts a young witch and her black cat in the center of a clearing in a forest, rife with magical flora and fauna...

A finely detailed silhouette of a Victorian clergyman. Frederick Frith (1819-1871) The Reverend James Metze, bust length, turned to the right, wearing coat and cravat Inscribed to t...

Louise HERVIEU (1878-1954) Fly, circa 1925 Charcoal on paper Signed "L.H." 5 × 5 cm frame 14 × 14 cm Tiny fold mark at the top Born in Alençon in 1878, Louise Hervieu showed a tale...

Henry Arthur Roberts. French ( b.1819 - d.1900 ). Academic Life Study Of A Standing Male Nude. Pencil & Charcoal On Paper. Paper size 23.8 inches x 13.6 inches ( 60.5cm x 34.5cm ). Frame size 28.3 inches x 18.7 inches ( 72cm x 47.5cm ). Available for sale; this academic life drawing of a male nude is by the French artist Henry Arthur Roberts and dates from the early 1840s. The drawing is presented and supplied in a modest hand painted glazed wooden frame dating from the mid-20th century (which is shown in these photographs). This antique drawing is in good condition, commensurate with its age. It is in an untouched condition having never been restored. The paper has handling marks, some light surface dirt, the odd foxing mark and general age toning. The overall patina adds to the aesthetic and is supplied ready to hang and display. The drawing is not signed but came from a portfolio of drawings by Henry Arthur Roberts. Henry Arthur Roberts was a recognised French artist, notable for his portraits and paintings of religious subjects. Born in Paris in 1819, he was the son of British watercolour artist James Roberts, himself active in Paris from 1819 -1846. Henry became a student of his father. Henry Roberts’s talent as a young man was such that he was accepted as a student of Michel Martin Drölling and worked extensively with him. Drölling, the highly acclaimed neoclassic artist (1786-1851) was noted for his theatrical paintings of history and grand portraits. He produced many notable works, including a ceiling work for the Louvre, and works in the Palace of Versailles. Roberts would have studied with Drölling at an early stage in his career, as Drölling died when Roberts was 32. Learning with such a master would have had a huge impact on Roberts in terms of his academic skills and his own emerging style. Roberts exhibited at the Salon de Paris from 1839, when he was only 20 years old, right through to 1867. His work in the Universal Exhibition of 1855 won him a Third Class Medal. He became Vice-President of the Association of Artists in Paris and in July 1898 he was elevated to the rank of Knight of the Legion of Honour with a foreign title. This was the highest state honour available to him, in recognition of his status as an artist. Henry Roberts died in 1900, but his legacy lives on, with works in many famous public collections, including the Musée Carnavalet, the Musée du Louvre, the Musée d’Orsay, Musée des Beaux-Arts, Orsay, and in Boston, USA. © Big Sky Fine Art This exceptional academic nude...

Louis-Alphonse DAVID (1798-1849) Le Moulin de la Butte aux Cailles, Paris, (The Mill at la Butte aux Cailles) signed lower left Pencil and white chalk on paper 22,5 x 36 cm Framed : 40,5 x 55 cm Louis-Alphonse David is known for a relatively small body of work, including portraits and large compositions. In any case, in this work he shows a remarkable mastery of drawing, with particularly suggestive and subtle plays of light and shadow. The Butte aux Cailles, now part of the 13th arrondissement of Paris, was a hill covered in meadows, vineyards and woods, built with several windmills and overlooking the river Bièvre. It was named after Pierre Caille...

French artist Georges Lucien Guyot (1885 - 1972) signed this charming woman nude study. This painting features a lovely design of a woman getting out of the bath and wiping with a towel. Only a few lines in charcoal and red chalk or sanguine mark the silhouette and posture and capture the model's expression. The red color emphasizes the color of the skin and imbues the lascivious movement. The sketches of the bath towel are only suggested, but they give the whole thing a lot of softness and an incredible illusion of movement. Signed on the bottom left corner: Georges Lucien Guyot. The artist employed a method known as "sanguine" (red chalk paint) which is red crayon or chalk. The drawing has a blood-red, reddish, or flesh coloration. For centuries, painters from the 15th and 16th centuries, including famous masters like Michelangelo, Raphael, and Leonardo da Vinci, have used it for drawing. The drawing has an elaborate off-white matte with acrylic glass protection and a modern wood frame with a deep-textured pattern in red and yellow. Measurements: With Frame: 20.87 in wide (53 cm) x 28.35 in high (72 cm) x 1 in deep (2.5 cm). View alone: 11.44 in wide (29 cm) x 18.94 in high (48 cm). Biography: Georges Lucien Guyot (born December 10, 1885, in Paris, where he died December 31, 1972) is a French artist, sculptor, and painter. From an early age, Georges Guyot showed artistic abilities, but the modest conditions of his parents did not allow him to study art. So he did his apprenticeship with a wood sculptor. Guyot excelled in copying works from the 15th, 16th, and 17th Centuries but rapidly showed an attraction for nature. This attraction led him to the Jardin des Plantes in Paris, where he could study wild animals and translate his observations into sculptures and paintings. A familiar figure of Montmartre, Georges Guyot was the guest of the Bateau-Lavoir from the time of Cubism. In 1931, he joined the group of Twelve, created by François Pompon and Jane Poupelet...

This striking early drawing by Zalce captures a young man at a moment of heightened emotion, his mouth open and brow furrowed in what reads as shock and defiance. Executed in 1936, a...

Charmion von Wiegand Pillar of Zen #124, 1959 Gouache on paper painting Hand signed, titled and dated on the front Unique Provenance: Andre Zarre Gallery, with label verso (Estate of renowned gallerist Andre Zarre, ne Andre Sowulewski) Measurements: Framed 26.5 inches vertical by 25.5 horizontal by 2 inches Artwork: 21 inches vertical by 22 inches horizontal Mid century modern, geometric, spiritual abstraction, mystical The Estate of the celebrated artist Charmion Von Wiegand has been represented exclusively by Michael Rosenfeld Gallery since 1998. From March 3 to August 13, 2023, Charmion Von Wiegand was the subject of an acclaimed retrospective at the Kunstmuseum Basel, and she has received major attention in the price, including a June, 2023 ArtNews feature entitled, "Who Was Charmion von Wiegand and Why Is She Important?". Her work was also featured in a solo presentation by Rosenfeld Gallery at the New York Art Show held at the Park Avenue Armory, which also received critical acclaim. Artists Biography - courtesy of Michael Rosenfeld Gallery: Known for her vibrant, geometric paintings that originate a deeply personal language of spiritual enlightenment expressed through a constructivist mode of abstraction, Charmion von Wiegand (1896–1983) was born in Chicago but spent much of her childhood traveling. The daughter of a journalist for Hearst, von Wiegand eventually settled in New York in 1915 to attend Barnard College and Columbia University, where she took classes at the School of Journalism while nurturing a growing interest in art history. In 1925, von Wiegand realized that she wanted to be an artist and set up a studio in Greenwich Village, teaching herself how to paint while pursuing a career as a journalist. In 1929, she secured a position in Moscow as a foreign correspondent for Hearst, the only woman at the desk at the time. In 1932, von Wiegand returned to New York and married Russian émigré Joseph Freeman, who co-founded and edited the leftist journal New Masses. Von Wiegand began writing art criticism for New Masses as well as for other publications, including New Theatre, ARTnews, and Arts Magazine. When the Abstract American Artists (AAA) held their inaugural exhibition, von Wiegand reviewed it. An early champion of abstract art, von Wiegand became close friends with AAA founder Carl Holty. In 1941, Holty introduced von Wiegand to Piet Mondrian, who would have a profound impact on her art. Fascinated by Mondrian’s artistic philosophy, von Wiegand played a key role in the introduction of his work to American audiences, translating many of the Dutch artist’s writings into English and assisting in the composition of his influential article “Toward the True Vision of Reality” (1941). Through her friendship with Mondrian, von Wiegand re-kindled her interest in Theosophy (a religion established in the late 19th century that combines aspects of Hinduism, Buddhism, occultism, and esotericism) and embarked on an extended study of neoplasticism. In her artwork, she incorporated Mondrian’s iconic grid but rejected the constraints of pure neoplasticism and embraced a wide range of influences including surrealism and German expressionism. In 1942, von Wiegand became a member of the AAA, exhibiting regularly with the group and eventually serving as its president from 1951 to 1953. In the late 1940s, sculptor and fellow AAA member Ibram Lassaw gave her a translation of The Secret of the Golden Flower: A Chinese Book of Life, which inspired von Wiegand to immerse herself in a study of Buddhist art. She began incorporating Buddhist motifs such as stupas and mandalas into her paintings, and her spiritual practice steadily intensified throughout the 1950s. In 1953, her husband gifted her a copy of the Taoist I Ching Book of Changes, a guide for divining meaning from randomly derived numbers arranged in a hexagram—a form the artist readily incorporated into her painting. Von Wiegand’s study of Theosophy also intensified over these years, bolstered by her increased access to the religion’s primary sources composed by the religion’s founders and their successors at the New York Theosophical Society’s library. Von Wiegand’s search for the sacred and transcendent ultimately led her to Tibetan Buddhism and, in 1967, von Wiegand met Khyongla Rato Rinpoche, a Gelugpa monk who had recently arrived in New York, who would mentor her spiritual study in the tradition of Mahayana Buddhism until her death. Her travels in the 1960s and 1970s took her to Tibet and India, where she had an audience with the Dalai Lama, who was living in exile in Dharamsala. Many works from these decades incorporate symbols and schematics drawn from Theosophical prismatic color charts, Chinese astrology and tantric yoga. In 1978, she was the subject of a PBS documentary titled The Circle of Charmion von Wiegand, which was scored by Philip Glass. In 1980, von Wiegand was elected to the American Academy of Arts and Letters and in 1982, the Bass Museum of Art in Miami Beach (FL) organized her first retrospective exhibition. She died the following year in New York, bequeathing her estate to Khyongla Rato and the Tibet Center of New York. In 1998, Michael Rosenfeld Gallery became the sole representative of her estate and has presented her work in four solo and multiple group exhibitions. Recent notable exhibitions that have included her work are The Third Mind: American Artists Contemplate Asia (Solomon R. Guggenheim Museum, New York, NY, 2009) and Constructive Spirit: Abstract Art in South and North America (Newark Museum, NJ, 2010). In March 2023, the Kunstmuseum Basel (Switzerland) opened the first comprehensive museum retrospective of von Wiegand’s work in Europe. Von Wiegand’s work is represented in numerous museum collections including the Addison Gallery of American Art, Phillips Academy (Andover, MA); Albright-Knox Art Gallery (Buffalo, NY); Arithmeum, University of Bonn (Germany); Birmingham Museum of Art (Alabama); Blanton Museum of Art, The University of Texas at Austin; Brooklyn Museum (NY); Carnegie Museum of Art (Pittsburgh, PA); The Cleveland Museum of Art (OH); Indianapolis Museum of Art (IN); Fondazione Marguerite Arp (Locarno, Switzerland); Museum of Fine Arts, Boston (Massachusetts); The Metropolitan Museum of Art (New York, NY); The Museum of Modern Art (New York, NY); Newark Museum of Art (New Jersey); Seattle Art Museum (WA); Smithsonian American Art Museum (Washington, DC); Walker Art Center (Minneapolis, MN); Weatherspoon Art Museum, The University of North Carolina at Greensboro; Wellin Museum of Art at Hamilton College (Clinton, NY); Whitney Museum of American Art (New York, NY); and Yale University Art Gallery (New Haven, CT). More about gallerist Andre Zarre A tribute in the New Criterion: Dispatch August 11, 2020 Andre Zarre, 1942–2020 by Dana Gordon On the late New York gallery pioneer. Art should never be aggressively explained; art should be felt. —Andre Zarre, 1977 Often, in the starlit New York cultural mecca, a longtime important figure fades away through the penumbra and dies without notice. Such was the fate of Andre Zarre, the contemporary art dealer, who passed away a few weeks ago. Andy, as he wanted friends to call him, opened his eponymous gallery in 1974 just off Madison Avenue on Sixty-ninth Street. He soon moved it to the omphalos of the art world in that era, 41 East Fifty-seventh Street, the Fuller Building. Over the years he moved to SoHo and then to Chelsea, as fashion and real estate prices pushed the art souk hither and thither. To understand his importance, all you need do is take a look at a list of artists who had solo shows at the Andre Zarre Gallery. This includes such names, from an early generation, as Sonia Delaunay, Nassos Daphnis, Sari Dienes, and Perle Fine. Among a subsequent generation are Pat Lipsky, Jay Milder, Thornton Willis, and Kes Zapkus.1 And this list does not include the many knowns and unknowns who were in his lively group shows. Zarre had a real “eye” and was a champion of abstract art from the moment he founded his gallery—even among the gathering storms of conceptual and political art, which he eschewed. He showed a good deal of figurative art as well. His galleries were always spacious and unpretentious, oriented simply to show the art. In the words of Dee Shapiro, who showed with the Zarre gallery many times, “He had a photographic memory and knew a lot about art and was always interested in the artist’s life.” Reliable biographical information on Zarre is scarce, but he said of his background that he was born in Poland in 1942 and that his parents were a diplomat and a socialite. He left home for the United States at the age of fifteen. During his decades as an art dealer in New York, Zarre did not appear to accumulate wealth, though he acquired a collection and lived on Park Avenue. “He was not personally aggressive in that way. People had to come to him,” Dee Shapiro said. He was honest in his financial dealings with artists, which not all art dealers are. For a long time while running the gallery he had a second job as a supervisor in an airline office and he kept little to no additional staff in the gallery. He supported a brother who remained in Poland. Among artists, Zarre was known to be quite ornery. After my show at his gallery in 1997, I refused to enter it for seventeen years. Then I ran into him in Chelsea and he offered me another show, an opportunity I gladly accepted, but he remained just as disagreeable. He showed the work of many women, probably more than any other gallery, save those devoted to showing only women. Collectors, curators, and writers found him mostly friendly. As Peter Reginato put it, Zarre was a “strange guy but I liked him. I think he was a dealer who was more interested in the art than in making money, but somehow he lasted forty-plus years.” Zarre is not known to have kept extensive or extant records of his gallery’s long history, though these may emerge in time. Scouring the Internet, one may compile a partial list of more than eighty artists who had solo shows at the Andre Zarre Gallery:Nancy Azara, Ellen Banks, Mary Barnes, Tony Bechara, Juan Bernal, Stephanie Bernheim, Randy Bloom, Elena Borstein, Michael Boyd, Fritz Bultman, Ed Buonagurio, Yoan Capote, Sonia Delaunay, Nassos Daphnis, Cathy Diamond, Sari Dienes, Joseph Dolinsky, Beata Drozd, Ronnie Elliot, William Fares, Perle Fine, Lynne Frehm, Ben Georgia, Mikel Glass, Dana Gordon, Juanita Guccione, Fred Gutzeit, Don Hazlitt, Amy Hill, Clinton Hill, Monroe Hodder, Budd Hopkins, Arlan Huang, Richard Hunt, Rhia Hurt, Buffie Johnson, Alexander Kaletski, Robert Kaupelis...

This piece, titled "The Meeting 30" is an original artwork by Seth Clark as part of his newest solo exhibition, "Passing Through". made of ink transfer, charcoal, pastel, acrylic, a...

Standing Male Nude, Arms upraised (Kouros) Graphite on wove paper, c. 1930 Signed lower right (see photo) Possibly exhibited in May 8-June 1,1973 at Alan Stone Gallery entitled Erotica, which lists Lachaise as one of the artists exhibited. Part of small group of drawings of the male nude, done late in the artist's life, many of which are in museums (MMA, FAMSF, Whitney, Yale, Princeton). Almost identical to the Lachaise drawing in the Fine Arts Museums of San Francisco, which is the same size and depicts the same model. (see photo) Very similar to the smaller Lachaise drawing in the Whitney Museum of American Art (Accession number 32.2). The Metropolitan Museum has a Lachaise male nude drawing with one arm upraised (Accession Number: 68.91.1) Provenance: Alan Stone Gallery, New York Alan Stone Projects, New York (see photo of label) Condition: excellent Archival framing with OP3 Acrylic for UV protection 22K gold leaf frame Image size: 17 3/4 x 12 inches Frame size: 26 1/2 x 20 1/2 inches Regarding Alan Stone Gallery: "Founded in 1960 by visionary connoisseur and dealer Allan Stone (1932 – 2006), the gallery known today as Allan Stone Projects has been admired for over half a century. Celebrated for his eclectic approach and early advocacy of pivotal artists of the 20th Century, Allan Stone was a leading authority on Abstract Expressionism, the New York dealer for Wayne Thiebaud for over forty years, and a passionate collector of Willem de Kooning, Franz Kline, Arshile Gorky, Joseph Cornell, John Graham and John Chamberlain. He also promoted and collected the work of a younger generation of artists, including Robert Arneson, Jack Whitten, Robert Mallary, Lorraine Shemesh...

Charcoal on paper, signed by the artist (upper right), and RA visitor L. Alma Tadema, RA., and dated (lower left), 76cm x 57cm, (64cm x 88cm framed). Olivier studied at the Royal Academy Schools from 1881, where this extraordinary display of drafting took place. Olivier exhibited extensively, including the Royal Academy starting in 1883, and the Paris Salon. He exhibited at the Fine Art Society in the 1880s and at the Grafton Galleries in 1908. An official war artist in the Great War, his work is included in the collection of the Imperial War Museum. It is also contained in many regional art galleries. Drawings of the nude, called academic studies...

Title: Robin Hoods Bay Clifftop View with Sea and Rocks Yorkshire Coast 1983 By Tony Herbert (1927-2024) Medium: Watercolor on paper, unframed Size: 9.75 inches (height) x 11.25 inch...

Kenneth Marcus Hugh (American, 1916-2011) Big Town Watercolor on paper Signed lower left 48 in. h. x 60 in. w., image 48.5 in. h. x 60.5 in. w., fr...

Rosanna Gaddoni 'Within' 66 x 48 cm Charcoal and graphite on Rives Arches Paper 175 gm2 crème white Framed the size is 80 x 60 cm ( Frame is included...

This is a rare, pencil signed print based upon the original drawing which is illustrated in the catalogue raisonne of Richard Lindner's Paintings, Watercolors and Drawings, Edited by...

Watercolor on brightly colored paper, signed Gibor, with wooden frame mis.cm.h.65x56

Title: River Jetty with Red Fishing Boat and Wildflowers British Coastal Landscape By Tony Herbert (1927-2024) Signed: Bottom right Medium: Watercolor on paper, mounted Size: 14 inch...