Ink Drawings and Watercolor Paintings

Drawing on paper is his basic work tool, some are sketches of his surviving works, and others are sketches of moments he documents. Throughout his artistic career, Castro has exalted the figure and genitality of the Latin American man, putting into tension the limits imposed by the sex/gender system that are part of an unquestionable patriarchal and phallocentric order. The majority of those portrayed are inhabitants of the Colombian coast, also constructing alternative ways of conceiving Latin American identity. By breaking taboos about corporality and male sexuality, his work has been censored on numerous occasions due to public accusations of immorality and pornography. Celso Castro’s work is a bare-bulb erotic photo foray into the underbelly of Colombia’s drug world. From the Duchándome Series Ink, pastel and watercolor on cotton paper 1. Duchándome 2. Pensando & recordando a Luis Caballero...

Fériojé aux Fauves is an original and little drawing realized by a French artist of the end of 19th century. The collection of drawings is titled "Fériojé aux Fauves". On a brown p...

Embracing the Death is original black China ink drawing on ivory-colored paper, made by the Swedish illustrator and reporter Adolf Reinhold Hallman arou...

JOHN DRONSFIELD (1900-1951) Clown and Bird Signed Black ink Unframed, in mount only 18 by 16 cm., 7 by 6 ¼ in. (mount size 32 by 29 cm., 12 ½ by 11 ½ in.) John Marsden Dronsfiel...

Woman with Basket is an original Modern artwork created by Gabriele Galantara (1865-1937) in 1905. The artwork has been realized in China ink, tempe...

"Calm Before," is a text based contemporary abstraction by artist Vivian Liddell. This piece is built with washes of ink layered up leaving detailed forms through the piece inviting viewers to take it in up close. Liddell often walks the line between contemporary art and craft. Working to bring materials that are traditionally labeled as "craft" and lesser into the contemporary conversation. Mixing craft with one of the most respected and oldest forms of fine art, painting, really encourages the viewer to view the two on the same playing field. The idea of craft is settled into these gestural, layered works, constantly critiquing contemporary culture. This piece is currently unframed, but framing options are available. For more works follow our storefront at Gallery 1202. "As a painter, I often work on large, raw canvas. My abstract paintings merge formal painting and “bad” craft to challenge the high-low separation of materials (and related gender hierarchies) that have traditionally been present in the art world. The monotypes are like a calligraphic practice. I use them as a warm up to allow me to feel confident with a gesture before committing it to a larger scale. I work in layers, often sewing or incorporating fabric into the finished piece, and incorporate chance into each stage of my process. The text/titles often come from song lyrics, local radio commercials, and news headlines. I edit these snippets and piece them together to reflect my interpretation of current politics and social norms, especially as they relate to gender. Liddell often walks the line between contemporary art and craft. Working to bring materials that are traditionally labeled as "craft" and lesser into the contemporary conversation. Mixing craft with one of the most respected and oldest forms of fine art, painting, really encourages the viewer to view the two on the same playing field. The idea of craft is settled into these gestural, layered works, constantly critiquing contemporary culture. Vivian Liddell is an interdisciplinary artist in Athens, Georgia who works with painting, fiber and craft techniques, sculpture, printmaking, photography, animation and sound. Born in Memphis, Tennessee, she received her BFA from the University of Georgia and her MFA from the Pratt Institute in Brooklyn. Liddell’s work has been featured in solo and curated exhibitions throughout the United States, including at the Wiregrass Museum of Art, the Macon Museum of Arts and Sciences, and Trestle Gallery in Brooklyn. In 2019 she had two solo exhibitions of her “Men” series at the Versa Gallery in Chattanooga and 621 Gallery in Tallahassee, with a review of the Versa exhibition in BURNAWAY and was recently picked by Berlin curator Tina Sauerlaender as a featured artist on Foundwork. Liddell hosts a podcast (Peachy Keen) as an extension of her art practice, interviewing women on art and the South. She is an Assistant Professor of Painting and Drawing at the University of North Georgia...

Reunifications (Ricongiungimenti) is a beautiful artwork realized by Maurizio Gracceva in the 2017. Colored mixed ink on paper. Hand signed by the artist. Title, date, techinique...

The monkey is an original painting in watercolor on paper by Leo Guida in 1971. The state of preservation is good.. On the lower left margin hand-signed and dated. On the lower ri...

'Evening Landscape' by Robert George Gilberg. Bay Area Abstraction, San Francisco Museum of Fine Arts, California Watercolor Society ----- Signed ...

Vintage Sailor Tattoo Flash Ink on mounted paper c. 1940 4 x 3

“Six Figures, c. 1965-70” by Sakti Burman (b. 1935). A wonderful example of Burman’s distinctive fusion of Indian folkloric imagery with European surrealist and fantastical sensibil...

John Selburg was born and raised in Peoria, Illinois. He holds a BFA in Drawing, Sculpture, and Graphic Design from Bradley University (2006), and an MFA from the University of Misso...

This pen and ink from 1920 depicts a Greek mythological scene with a Satyr companioning Pan, who plays the flute to an interested woodland deer. It is rendered in minute detail with...

A 65 million year old sea creature is captured here through the art of Gyotaku by Jeff Conroy. After inking and taking impressions of a reproduction fossil Ammonite shell and combini...

Gabrielle Pool has created a minimalist and surreal depiction of an antelope. The animal is rendered with an elongated form and exaggerated slender legs, creating an ethereal, almost...

The Outing Magazine commissioned Parrish to provide a cover illustration for their 1899 Last Rose of Summer edition (published December 1899). In the poster, Maxfield used his own face and figure to portray a youth in Grecian costume examining a rose he holds in his hand. The figure is shown sitting below one of the massive oaks on the artist’s property, flanked by two plaster lions the artist had moulded in his studio. The depiction harks back to the 1805 poem by the Irish poet, Thomas Moore: ‘Tis the last rose of summer, Left blooming alone; All her lovely companions Are faded and gone; No flower of her kindred, No rose-bud is nigh, To reflect back her blushes Or give sigh for sigh! I’ll not leave thee, thou lone one...

Pen, ink and wash Framed dimensions: 13 x 11 ¼ inches Drawn c.1765 Verso: a study of a hanged man Mortimer has filled this small sheet with action, depicting in the top right, Apollo and Artemis...

We would like to thank Mrs. Ursula Verena Fischer Pace for suggesting the attribution to Donato Arsenio Mascagni. We were immediately seduced by the rich tonalities of this allegory...

An illuminated page from a book likely in reference to palace life during Emperor Jahangir's reign over the Mughal Empire. c 1690. Gouache and ink with heightening in gold on light ...

Medium: Pen & Ink, Colored Pencil and Cut Paper on Onionsk Signature: Signed Lower Right Caricature by George Wachsteter (1911-2004) for CBS-TV comedy `The Ann Sothern Show` (1958-1961) starring Sothern as Katy O`Connor, assistant manager of the swank NYC hotel...

Sunil Das - Horse - 9.5 x 7 inches (unframed size) Ink on Paper Inclusive of shipment in ready to hang form. Sunil Das was one of India's most important postmodernist painters and r...

Night Life at the Moulin Rouge Pen and ink drawing, c. 1890 Signed lower left (see photo) A scene of the night life near the Moulin Rouge, Paris. The Moulin Rouge is the famous caba...

Early modern black and white sketch by iconic Houston based artist David Adickes. Pulled from a collection of previously undiscovered sketchbooks, this work serves as a peak behind t...

Boat Dog, 2021 Ink and Japanese Watercolor on paper by artist Brad Fisher. Unframed. 9 × 12 in Shipping is not included. See our shipping policies. Please contact us for shipping ...

Zodiac Series Ink On Paper Set of 12 each 30x22 inches unframed Watercolor, ink on paper Keith Carrington’s experiences have led him to express his talents through the fluid & exact...

Andy Warhol (1928-1987) is the most influential and valuable American artist of the 20th century. During the 1950s, Warhol established his reputation in New York City as an illustra...

John Selburg was born and raised in Peoria, Illinois. He holds a BFA in Drawing, Sculpture, and Graphic Design from Bradley University (2006), and an MFA from the University of Misso...

"Der Hafen von Plit" is a drawing by Paul Klee. The drawing is signed lower left, "Klee". The framed piece measures 25 1/4 x 30 1/2 x 1 3/8 in. Paul Klee was one of the most import...

Modern realistic sepia toned drawing of nude figures by Texas artist Robert Levers. The work features a male figure with horns in an aggressive sta...

Working with a palette of graphite, charcoal, ink, and gold leaf, Alessandra Maria masterfully weaves together elements of the earthly and ethereal. She is part sorceress, part alche...

JEAN-BAPTISTE GREUZE (Tournus 1725 - 1805 Paris) The Death of Coresus, circa 1750 Pen and brown ink, black ink tips, gray wash on black chalk, 455 x 385 cm Bears on the reverse in ...

This drawing by Frank Girard is created with pigments and ink, on 300g/m2 neutral white paper. It is not framed. Through drawings, the masterful French a...

This new series of painting is an exciting transition for Kinney as he is best known for assemblage and sculpture. “Anim”, the Latin root word of animal, means life, soul or breath. ...

#2209B is an original drawing by David Jones. David Jones frequently draws the human form in a signature meditative drawing style which produces minimal lines and an interesting cont...

Garth Bayley Heart of the Race Original Figurative Pen and ink on watercolour paper Image size: H:24 cm x W:32 cm Complete Size of Unframed Work: H:24 cm x W:32 cm x D:0.1cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Garth Bayley Heart of the Race Original pen and ink painting on watercolour paper Pen and ink on paper Image size: H24 cm x W32 cm x D 0.1cm Sold Unframed Please note that in situ images are purely an indication of how a piece may look. Heart of the Race is an original painting by Garth Bayley. Pen and ink horse racing painting. When you stuck in the middle you have to jostle for space. Horse racing art...

Jogen Chowdhury - Flower Vase 7 x 5 Inches Mixed media on Paper 2023 Style : He has immense contribution in inspiring young artists of India. Jogen Chowdhury had developed his indiv...

Original TV Guide Illustration Caricature Esther Williams John Raitt Dinah Shore. Published December 25, 1957 in TV Guide as an editorial to promote the Di...

William C Ostrander: 1858-1933. Listed NYC and California artist. In the 19th century he taught at Metropolitan Museum of Art in NYC. His works are very scarce as I could only find o...

This drawing by Frank Girard is created with ink and pigments Colors, on 300g/m2 neutral white paper. It is not framed. Through drawings, the masterful French artist Frank Girard is...

Ink on archival paper, limited edition of 20 - artwork can be shipped in a tube or framed in a crate

The artwork is signed (see last photo) and will be shipped rolled in a tube. Urszula Wilk – artist statment: I have always been interested in the idea of infiniteness of a painting...

Pencil and watercolor on board. Hand-signed by artist w/stage instructions. Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, a...

This is a stylized figurative abstract expressionist nude. This one is hand signed and dated. From the style we are estimating it to the 1970's They have abstract stylized erotic mal...

Sven Berlin (British, 1911 - 1999) Running Hare Black and brown ink on paper 15.3/4 x 22 in. (40 x 55.8 cm.)

“Beyond Words” is an original drawing on paper Fabriano by Colombian artist Luis Xiua, whose work fuses figurative and abstract elements inspired by nature, symbolism, and constructi...

Sven Berlin (British, 1911 - 1999) Bowing donkey Ink on paper Signed and dated `SVEN ‘86’ (lower right) 15x 21.1/4 in. (38 x 54 cm.) (44) Sven Berlin, born in Sydenham, London on 14th September 1911, was an English painter, draughtman and writer. He was a key player in the development of the St. Ives art movement. Having studied at the Beckenham School of Art and after a successful career as an adagio dancer in the music-halls he moved to Cornwall with his first wife Helga in 1938 to study at the Camborne-Redruth School of Art, pre-dating the arrival of Barbara Hepworth and Ben Nicholsen to Cornwall. As WW2 broke out, Berlin initially remained a conscientious objector. He worked in the market garden...

The River Barge Pen and ink on paper on laid paper, mounted in English drum mount , c. 1810 Unsigned Condition: Slight sun staining to sheet and mount in the window (see photo) Image/sheet size: 5 1/4 x 6 11/16 inches Sight: : 5-3/4 x 7-1/4" Frame: 13-3/8 x 14-3/8" Provenance: Colnaghi, London (see photo of label) David Cox (29 April 1783 – 7 June 1859) was an English landscape painter, one of the most important members of the Birmingham School of landscape artists and an early precursor of Impressionism. He is considered one of the greatest English landscape painters, and a major figure of the Golden age of English watercolour. Although most popularly known for his works in watercolour, he also painted over 300 works in oil towards the end of his career, now considered "one of the greatest, but least recognised, achievements of any British painter. His son, known as David Cox the Younger (1809-1885), was also a successful artist. Early life in Birmingham, 1783–1804 Cox's birthplace in Deritend, Birmingham, illustrated by Samuel Lines Cox was born on 29 April 1783 on Heath Mill Lane in Deritend, then an industrial suburb of Birmingham. His father was a blacksmith and whitesmith about whom little is known, except that he supplied components such as bayonets and barrels to the Birmingham gun trade. Cox's mother was the daughter of a farmer and miller from Small Heath to the east of Birmingham. Early biographers record that "she had had a better education than his father, and was a woman of superior intelligence and force of character." Cox was initially expected to follow his father into the metal trade and take over his forge, but his lack of physical strength led his family to seek opportunities for him to develop his interest in art, which is said to have first become apparent when the young Cox started painting paper kites while recovering from a broken leg. By the late 18th century Birmingham had developed a network of private academies teaching drawing and painting, established to support the needs of the town's manufacturers of luxury metal goods, but also encouraging education in fine art, and nurturing the distinctive tradition of landscape art of the Birmingham School. Cox initially enrolled in the academy of Joseph Barber in Great Charles Street, where fellow students included the artist Charles Barber and the engraver William Radclyffe, both of whom would become important lifelong friends. At the age of about 15 Cox was apprenticed to the Birmingham painter Albert Fielder, who produced portrait miniatures and paintings for the tops of snuffboxes from his workshop at 10 Parade in the northwest of the town. Early biographers of Cox record that he left his apprenticeship after Fielder's suicide, with one reporting that Cox himself discovered his master's hanging body, but this is probably a myth as Fielder is recorded at his address in Parade as late as 1825. At some time during mid-1800 Cox was given work by William Macready the elder at the Birmingham Theatre, initially as an assistant grinding colours and preparing canvases for the scene painters, but from 1801 painting scenery himself and by 1802 leading his own team of assistants and being credited in plays' publicity. London, 1804–1814 In 1804 Cox was promised work by the theatre impresario Philip Astley and moved to London, taking lodgings in 16 Bridge Row, Lambeth. Although he was unable to get employment at Astley's Amphitheatre it is likely that he had already decided to try to establish himself as a professional artist, and apart from a few private commissions for painting scenery his focus over the next few years was to be on painting and exhibiting watercolours. While living in London, Cox married his landlord's daughter, Mary Agg and the couple moved to Dulwich in 1808. David Cox Travellers on a Path, pencil and brown wash. In 1805 he made his first of many trips to Wales, with Charles Barber, his earliest dated watercolours are from this year. Throughout his lifetime he made numerous sketching tours to the Home Counties, North Wales, Yorkshire, Derbyshire and Devon. Cox exhibited regularly at the Royal Academy from 1805. His paintings never reached high prices, so he earned his living mainly as a drawing master. His first pupil, Colonel the Hon.H. Windsor (the future Earl of Plymouth) engaged him in 1808, Cox went on to acquire several other aristocratic and titled pupils. He also went on to write several books, including: Ackermanns' New Drawing Book (1809); A Series of Progressive Lessons (1811); Treatise on Landscape Painting (1813); and Progressive Lessons on Landscape (1816). The ninth and last edition of his series Progressive Lessons, was published in 1845. By 1810 he was elected President of the Associated Artists in Water Colour. In 1812, following the demise of the Associated Artists, he was elected as associate of the Society of Painters in Water Colour (the old Water Colour Society). He was elected a Member of the Society in 1813, and exhibited there every year (except 1815 and 1817) until his death. Hereford, 1814–1827 In the summer of 1813 Cox was appointed as the drawing master of the Royal Military College in Farnham, Surrey, but he resigned shortly afterwards, finding little sympathy with the atmosphere of a military institution. Soon after that he applied to a newspaper advertisement for a position as drawing master for Miss Crouchers' School for Young Ladies in Hereford and in Autumn 1814 moved to the town with his family. Cox taught at the school in Widemarsh Street until 1819, his substantial salary of £100 per year requiring only two-day's work per week, allowing time for painting and the taking of private pupils. Cox's reputation as both a painter and a teacher had been building over previous years, as indicated by his election as a member of the Society of Painters in Water Colours and his inclusion in John Hassell's 1813 book Aqua Pictura, which claimed to present works by "all of the most approved water coloured draftsmen". The depression that accompanied the end of the Napoleonic Wars had caused a contraction in the art market, however, and by 1814 Cox had been very short of money, requiring a loan from one of his pupils to pay even for the move to Hereford. Despite its financial advantages and its proximity to the scenery of North Wales and the Wye Valley, the move to Hereford marked a retreat in terms of his career as a painter: he sent few works to the annual exhibition of the Society of Painters in Water Colours during his first years away from London and not until 1823 would he again contribute more than 20 pictures. Between 1823 and 1826 he had Joseph Murray Ince as a pupil. London, 1827–1841 He made his first trip to the Continent, to Belgium and the Netherlands in 1826 and subsequently moved to London the following year. He exhibited for the first time with the Birmingham Society of Artists in 1829, and with the Liverpool Academy in 1831. In 1839, two of Cox's watercolours were bought from the Old Water Colour Society exhibition by the Marquis of Conynha for Queen Victoria. Birmingham, 1841–1859 Greenfield House in Harborne, Birmingham – where Cox lived from 1841 until his death in 1859 . In May 1840 Cox wrote to one of his Birmingham friends: "I am making preparations to sketch in oil, and also to paint, and it is my intention to spend most of my time in Birmingham for the purpose of practice". Cox had been considering a return to painting in oils since 1836 and in 1839 had taken lessons in oil painting from William James Müller, to whom he had been introduced by mutual friend George Arthur Fripp. Hostility between the Society of Painters in Water Colours and the Royal Academy made it difficult for an artist to be recognised for work in both watercolour and oil in London, however, and it is likely that Cox would have preferred to explore this new medium in the more supportive environment of his home town. By the early 1840s his income from sales of his watercolours was sufficient to allow him to abandon his work as a drawing master, and in June 1841 he moved with his wife to Greenfield House in Harborne, then a village on Birmingham's south western outskirts. It was this move that would enable the higher levels of freedom and experimentation that were to characterise his later work. The elderly Cox pictured by Samuel Bellin in 1855. In Harborne, Cox established a steady routine – working in watercolour in the morning and oils in the afternoon. He would visit London every spring to attend the major exhibitions, followed by one or more sketching excursions, continuing the pattern that he had established in the 1830s. From 1844 these tours evolved into a yearly trip to Betws-y-Coed in North Wales to work outdoors in both oil and watercolour, gradually becoming the focus for an annual summer artists colony that continued until 1856 with Cox as its "presiding genius". Cox's experience of trying to exhibit his oils in London was short and unsuccessful: in 1842 he made his only submission to the Society of British Artists; one oil painting was exhibited at each of the British Institution and the Royal Academy in 1843; and two oil paintings were exhibited at the Royal Academy in 1844 – the last that would be exhibited in London during his lifetime. Cox showed regularly at the Birmingham Society of Arts and its successor, the Birmingham Society of Artists, becoming a member in 1842. Cox suffered a stroke on 12 June 1853 that temporarily paralysed him, and permanently affected his eyesight, memory and coordination. By 1857 however, his eyesight had deteriorated. An exhibition of his work was arranged in 1858 by the Conversazione Society Hampstead, and in 1859 a retrospective exhibition was held at the German Gallery Bond Street, London. Cox died several months later. He was buried in the churchyard of St Peters, Harborne, Birmingham, under a chestnut tree, alongside his wife Mary. Work Early work In the spring of 1811 Cox made a small number of notable works in oils during a visit to Hastings with his family. It is not known why he didn't continue working in this medium at the time, but the five known surviving examples were described in 1969 as "surely some of the most brilliant examples of the genre in England". Mature work Cox reached artistic maturity after his move to Hereford in 1814. Although only two major watercolours can confidently be traced to the period between Cox's arrival in the town and the end of the decade, both of these – Butcher's Row, Hereford of 1815 and Lugg Meadows, near Hereford of 1817 – mark advances on his earlier work. Later work Cox's later work produced after his move to Birmingham in 1841 was marked by simplification, abstraction and a stripping down of detail. His art of the period combined the breadth and weight characteristic of the earlier English watercolour school, together with a boldness and freedom of expression comparable to later impressionism. His concern with capturing the fleeting nature of weather, atmosphere and light was similar to that of John Constable, but Cox stood apart from the older painter's focus on capturing material detail, instead employing a high degree of generalisation and a focus on overall effect. The quest for character over precision in representing nature was an established characteristic of the Birmingham School of landscape artists with which Cox had been associated early in his life, and as early as 1810 Cox's work had been criticised for its "sketchiness of finish" and "cloudy confusion of objects", which were held to betray "the coarseness of scene-painting". During the 1840s and 1850s Cox took this "peculiar manner" to new extremes, incorporating the techniques of the sketch into his finished works to a far greater degree. Cox's watercolour technique of the 1840s was sufficiently different from his earlier methods to need explanation to his son in 1842, despite the fact that his son had been helping him teach and paint since 1827. The materials used for his later works in watercolour also differed from his earlier periods: he used black chalk instead of graphite pencil as his primary drawing medium, and the rough and absorbent "Scotch" wrapping paper for which he became well-known – both of these were related to his development of a rougher and freer style. Influence and legacy By the 1840s Cox, alongside Peter De Wint and Copley Fielding, had become recognised as one of the leading figures of the English landscape watercolour style of the first half of the 19th century. This judgement was complicated by reaction to the rougher and bolder style of Cox's later Birmingham work, which was widely ignored or condemned. While by this time De Wint and Fielding were essentially continuing in a long-established tradition, Cox was creating a new one. A group of young artists working in Cox's watercolour style emerged well before his death, including William Bennett, David Hall McKewan and Cox's son David Cox Jr. By 1850 Bennett in particular had become recognised as "perhaps the most distinguished among the landscape painters" for his Cox-like vigorous and decisive style. Such early followers concentrated on the example of Cox's more moderate earlier work and steered clear of what were then seen as the excesses of Cox's later years. During a period dominated by sleek and detailed picturesque landscape, however, they were still condemned by publications such as The Spectator as "the 'blottesque' school", and failed to establish themselves as a cohesive movement. John Ruskin in 1857 condemned the work of the Society of Painters in Water-colours as "a kind of potted art, of an agreeable flavour, suppliable and taxable as a patented commodity", excluding only the late work of Cox, about which he wrote "there is not any other landscape which comes near these works of David Cox in simplicity or seriousness". An 1881 book, A Biography of David Cox: With Remarks on His Works and Genius, was based on a manuscript by Cox's friend William Hall, edited and expanded by John Thackray Bunce, editor of the Birmingham Daily Post. There are two Blue Plaque memorials commemorating him at 116 Greenfield Road, Harborne, Birmingham, and at 34 Foxley Road, Kennington, London, SW9, where he lived from 1827. It can also be seen at the David Cox exhibition in Birmingham. His pupils included Birmingham architectural artist, Allen Edward...

America Martin "Plant in Pot with Blossoms" Ink Oil on Paper 22” x 21.25” AMERICA MARTIN is an internationally represented Colombian-American fine artist based in Los Angeles...

This artwork titled "Neon Lights" 1978 is an ink and watercolor on Fabriano paper by renown French artist Sacha Kolin, 1911-1981. It is hand signed and dated at the lower right corne...

Pioneering Woman Illustrator Margery Stocking Hart draws a pen-and-ink story depicting a round table of predators encircling a vulnerable bunny rabbit. ...

Jeff Koons Original tulips in landscape drawing, 2011 Original drawing done in ink across the title pages of Gagosian Gallery monograph Signed, dated and warmly inscribed to Jennifer...

In Japan they are known as Nishikigoi, or living jewels. These brilliantly colored varieties of the Amur carp have been selectively bred by family owned fisheries for generations. Wh...

Beautiful original drawing by American artist, Albert Sway (b.1913). Cincinnati Cityscape, ca. 1935. Ink on paper measures 11 x 17 inches. Signed lower right. Good condition with a 1...

Artist: Mkrtich Sarkisyan (Mcho) Work: Original Drawing, Handmade Artwork, One of a Kind Medium: Ink on Paper Year: 2023 Style: Abstract Figurative Subject: Dancing Size: 14" x 11...

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 with a styrene face on a mat board in white with sizes 16 by 20 in. Mila Akopova is New York artist . She graduated from Moscow State University with a degree in History and Theory of Art. Her Artwork got 3rd place at the 2020 and 2021 American Art Awards, juried by 25 best galleries and museums in America, with artist from 63 countries, in category: minimalism. Also, several works took part in exhibitions of the All-Russian Decorative Art Museum and in the Cube Moscow exhibition space . It was published as the catalog: “The game of tic tac toe, or creating a collection in one year”. Several works by Mila Akopva were created specifically for the collaboration with Vintage Dream...

Despite its explicit content, this intimate scene conveys a sense of tenderness and romantic love characteristic of Chinese erotic art. Known as “sp...

“What Fascism Means/Ass of Steel,” is a mixed media work on paper, with ink and textiles. This piece is mixes gestural abstraction and text to create the composition. Liddell often w...

"Three Pyramids + Blue Ball" is a gouache on paper by Alexander Calder. The work is signed in the lower right, "Calder 73”. Although renowned for his innovative and groundbreaking sculptures, Alexander Calder started his artistic career as an abstract painter, preferring to use gouache. What is gouache? Gouache is a water-soluble paint – a type of opaque watercolor. As Calder returned to gouache painting towards the end of his life, he was now armed with a lifetime of experience as a sculptor. He explored the three-dimensional vocabulary of sculptural forms he had developed onto the two-dimensional surface of the paper. Certain shapes and colors recur throughout his gouaches and sculptures. Circles, ovals, and other geometric forms dominate the space. There is the same sense of energy and fluidity. The shapes do not sit on the surface but vibrate giving a feeling of movement in contrast to the static nature of painting. Like his sculpture, Calder’s gouache...

Pen, ink and wash Framed dimensions: 9 ½ x 11 ¼ inches Drawn c. 1763 This small, powerful study shows St Jerome contemplating the bible with a cross and sk...

French school 18th Century, A mytholological scene with a couple, Pen and brown ink, brown ink wash on paper 11.5 x 11.5 cm, diameter of the main scene : 10,5 cm in a modern frame under glass : 33.5 x 33.5 cm This drawing by a particularly talented 18th-century artist - as yet unidentified - is notable for its mastery of pen and wash...