Guernsey Moore Drawings and Watercolor Paintings

A very finely detailed silhouette in very good condition by one of the truly great silhouette artists of the Georgian period. John Field (1758-1821) Portrait of a young gentleman Watercolour with bronze touches on plaster 3 x 2½ inches, oval, without the frame 6 x 5 inches with the frame John Field was one of the most famous of silhouette artists. He began his career as an assistant to John Miers...

"Sensory Experience", pencil and ultramarine tempera on paper, inspired by Matisse. Part of Nude in Interior series. Large drawing. Shipped rolled in a tube, from Florida, US. See 1stDibs free shipping offer FREESHIP Artist Statement "I started by painting interiors, being interested in space and perspective through my studies. These scenes evolved, when I added the human figure. I focused more on the human figure and its relation to the background. The human figure is more present than ever in my paintings now. As a woman artist I’ve been preoccupied with the female form and its imagery. One of my goals was to capture the solitary moments and the nude’s relation to the surrounding space. My interest turned from depicting the space to rendering the atmosphere and the scene as a whole, the feeling a woman adds to the environment: warmth, desire, joy, a feeling of power and control, or the opposite – sadness, despair. Here is a collection of figurative paintings, exploring the nudes in interior spaces, seeing the nudes from my perspective, as a woman artist, considering the physical and spiritual realities of a woman’s body, in a new level of intimacy. My paintings are the opposite of objectifying a woman’s or a man’s anatomy. Painted works, featuring female nudes and a also men nudes...

A fantastic example of Marsh’s renowned depictions of ladies walking in downtown Manhattan. This richly worked ink and wash composition captures a sidewalk populated by stylish women...

Image dimensions: 11x15.2 cm. Saint-Tropez is a wonderful and important original watercolor drawing realized by Paul Signac in 1900 ca.. A marine view with sailing ships is incred...

An outstanding painting by author and painter Ella Bruce. This watercolor is of the finest quality and shows the skill of the painter to the full. A vibrant and unique piece. The white highlights are painted in gouache or body color, which gives the piece great depth and and added level of quality. This and the others from the collection were Im sure painted for Christmas or Holiday cards...

"Siesta", 100x70cm / 39x27.5in Nude in Interior, pencil and ultramarine tempera on paper, inspired by Matisse. Large drawing. Shipped rolled in a tube, from Florida, US. Check 1st Dibs offer FREESHIP coupon for items over $500. "Siesta" is a serene and visually arresting addition to the "Nude in Interior" series. It conveys a quiet intimacy and relaxation, perfectly encapsulated in its title. The reclining female figure, with legs elegantly extended upward, creates a sense of balance between stillness and subtle energy. The interplay of ultramarine tempera and the warm-toned paper once again demonstrates the artist’s ability to use limited color palettes to great emotional and visual effect. The ochre-like background provides a sunlit, tranquil atmosphere that pairs beautifully with the cool, calm energy of the ultramarine tempera. The artist’s choice of medium emphasizes contrast while imbuing the piece with a harmonious duality—warmth in the environment and coolness in the figure. The fluidity of the brushstrokes aligns with the theme of relaxation, while the vertical drips lend a dreamlike quality, as if the figure is melting into her surroundings. The looser strokes in the background contrast with the more defined lines of the figure, highlighting her as the focal point. The unconventional reclining pose, with legs extended upward, adds visual interest and a sense of lightheartedness to the piece. It suggests a playful yet completely relaxed moment, as though the figure is unwinding and stretching in the midst of a private, comfortable setting. The verticality of the legs and the drips juxtaposes with the horizontal lines in the background, creating a sense of structure and stability. This geometric balance anchors the composition and enhances the overall sense of calm. The artist has included abstract horizontal strokes in the background, reminiscent of blinds or a window. These subtle details suggest an interior space filled with sunlight and add depth without detracting from the figure’s prominence. The title, "Siesta," reinforces the narrative of rest and tranquility. The figure’s pose is unapologetically casual and unguarded, evoking the vulnerability and freedom found in moments of private repose. While other works in the series explore themes of introspection, passion, or desire, this piece focuses purely on physical and emotional relaxation. It offers a more subdued, meditative perspective, providing variety to the series while maintaining its stylistic coherence. The reclining nude is a recurring motif in art history, seen in works by Titian, Ingres, and Modigliani. However, this piece’s contemporary execution—fluid, minimalist, and abstracted—ties it more closely to modernist traditions, particularly the gestural energy of Egon Schiele or Matisse’s reclining nudes. The artist’s decision to leave much of the environment abstract enhances the piece’s timeless quality. The figure feels anchored in both a specific space (suggested by the window-like strokes) and an almost dreamlike, universal realm. "Siesta" is a masterful exploration of rest and serenity, demonstrating the artist’s ability to convey mood through form, color, and composition. The elegant simplicity of the figure, combined with the abstracted interior elements, invites the viewer to share in this peaceful moment. Its balance of gestural abstraction and classical themes makes it both timeless and distinctly modern. This piece is a beautiful representation of intimacy, calm, and the universal human experience of seeking rest. Artist Statement "I started by painting interiors, being interested in space and perspective through my studies. These scenes evolved, when I added the human figure. I focused more on the human figure and its relation to the background. The human figure is more present than ever in my paintings now. As a woman artist I’ve been preoccupied with the female form and its imagery. One of my goals was to capture the solitary moments and the nude’s relation to the surrounding space. My interest turned from depicting the space to rendering the atmosphere and the scene as a whole, the feeling a woman adds to the environment: warmth, desire, joy, a feeling of power and control, or the opposite – sadness, despair. Here is a collection of figurative paintings, exploring the nudes in interior spaces, seeing the nudes from my perspective, as a woman artist, considering the physical and spiritual realities of a woman’s body, in a new level of intimacy. My paintings are the opposite of objectifying a woman’s or a man’s anatomy. Painted works, featuring female nudes and a also men nudes...

An outstanding painting by author and painter Ella Bruce. This watercolor is of the finest quality and shows the skill of the painter to the full. A vibrant and unique piece. The white highlights are painted in gouache or body color, which gives the piece great depth and and added level of quality. This and the others from the collection were Im sure painted for Christmas or Holiday cards...

1970s Threesome Swingers Cocktail Party by Dink Siegel. If anyone has ever put pen to paper and tried to draw a face or a figure with any level of success, then you know how hard it...

Artist: Lucio Ranucci, Italian (1925 - ) Title: Three Boys Year: 1969 Medium: Gouache, signed and dated Image Size: 19 x 11.5 inches Frame Size: 29.5 x 22 inches

We are very happy to present the wonderful work of Gérard Blain, a passionate and talented artist. Gérard Blain, born in 1938, is an atypical artist. Co...

A modern illustration by American artist Ray Quigley depicting two men inside of a church.

Framed Cuban Artist/Caricaturist Conrado Walter Massaguer presents Hollywood star Adolphe Menjou in a satirical dual portrait. In the foreground, the subject is seen in a dapper top hat, tux, fashionable cigarette and boutonnière, and is shown as being the epitome of being stylishly debonair. To make a larger point about this subject, Massaguer paints a cast shadow of Menjou as a burning red devil who studies his alter ego from above. Keeping with the artist's sarcasm, we see the good and bad in one image. Works by Massaguer are rare and this work is in keeping with his signature style. This work was most likely done on assignment for Life Magazine, Cosmopolitan, The New Yorker or Vanity Fair. Signed upper right. Inscribe lower right. Titled on verso. Unframed, Slight bend to board; toning to board; scattered faint foxing; pin point abrasions to margins, not affecting image. 19-1/2 x 15-1/8 inches board size. Conrado Walter Massaguer y Diaz was a Cuban artist, political satirist, and magazine publisher. He is considered a student of the Art Nouveau. He was the first caricaturist in the world to broadcast his art on television.He was first caricaturist to exhibit on Fifth Avenue. He was the first caricaturist in the world to exhibit his caricatures on wood. He, and his brother Oscar, were the first magazine publishers in the world to use photolithographic printing. Self portrait of Conrado Walter Massaguer, depicted on a carrousel ride, with the devil over his left shoulder and an angel over his right. (1945) He created the magazine Social with his brother Oscar to showcase Cuban artistic talent. The duo later created the magazine Carteles, which became for a period the most popular magazine in Cuba, which was purchased by Miguel Ángel Quevedo in 1953. In his life, he met and drew caricatures of Franklin D. Roosevelt, Walt Disney, Albert Einstein, the King of Spain, and many others.[ In sum total, he was the author of more than 28 thousand caricatures and drawings.Ernest Hemingway once had to refrain himself from punching Massaguer in the face after the artist drew an unflattering caricature of him. The dictator Gerardo Machado, however, did not punch Massaguer for his own unflattering caricature - he had the artist deported. He was one of the most internationally renowned Cuban artists of his day, and his art is still regularly featured in galleries across the Western Hemisphere and Europe. Early life Massaguer was born on October 18, 1889, in Cárdenas, Cuba.[In 1892, his family moved to Havana. When the Cuban War of Independence broke out, Massaguer's family escaped the country. From 1896 to 1908, he lived in Mérida, Mexico. However, during this time, his parents enrolled him in the New York Military Academy, where he stayed during school years. In 1905, after graduating the military academy, he briefly attended the San Fernando school in Havana, where he was tutored by Ricardo de la Torriente and Leopoldo Romañach. In 1906, less than a year later, he returned to the family home in Mexico. Career as artist Early career While living in Yucatán, Mexico, Massaguer published his first caricatures in local newspapers and magazines. These included La Campana, La Arcadia, and the Diario Yucateco. In 1908, he moved back to Havana. After returning to the island in 1908, Massaguer began mingling with Havana's aristocratic circles, forming close friendships with some of the city's most powerful and influential men, as well as winning the favor of many women who were quickly charmed by him. Massaguer, largely self-taught, honed his style using the avant-garde techniques he studied from the European and American magazines that were widely available in Cuba at the time. Cover of the immensely popular Cuban magazine El Figaro, drawn by Massaguer in 1909. This cover depicts two bumbling, incompetent American tourists to the island. He started drawing for El Fígaro, and was featured prominently on the cover in 1909. After two years of refining his craft, Havana announced a poster contest aimed at attracting North American tourists to stay in the city during the winter months. Notable figures like Leopoldo Romañach, Armando Menocal, Rodríguez Morey, Jaime Valls, and others also entered the competition. The jury was particularly impressed by the modern execution and creative solution of one piece, signed by Massaguer, who was relatively unknown at the time. The jury deliberations caused a great controversy.[5] The prize was ultimately awarded to the Galician painter Mariano Miguel, who had recently married the daughter of Nicolás Rivero, the wealthy owner of the conservative newspaper Diario de la Marina. Although Massaguer received only an honorable mention, the fraud scandal caused such an uproar that his name quickly entered the public spotlight, and he became an overnight sensation. In 1910, he became co-owner of the advertising agency Mercurio, with Laureano Rodríguez Castells. At Mercurio, he led the Susini cigar campaign, and earned substantial wealth. Massaguer has been described as a restless man, in both mind and body.After earning enough money from his art to begin traveling, he was almost always doing so. He constantly traveled between New York City and Havana, Mexico and France, Europe and the Americas. In 1911, his reputation among the Havana socialites solidified when he organized his own first public caricature exhibit, and also the first Caricature Salon ever held in the Americas, hosted at Athenaeum of Havana (the Ateneo), and the Círculo de La Habana. Other exhibitors here included Maribona, Riverón, Portell Vilá, Valer, Botet, Barsó, García Cabrera, Carlos Fernández, Rafael Blanco, and Hamilton de Grau. "Messaguer Visits Broadway." Caricatures of theatrical and literary figures. Elsie Janis, Raymond Hitchcock, S. Jay Kaufman (columnist), Ibanez, author of The Four Horsemen, and Frances White In 1912, in the New York American Journal, he published his first Broadway drawings. From 1913 to 1918, he was an editor for Gráfico. Social Main article: Social (magazine) Cover of the magazine Social, July 7, 1923 In 1916, he created the magazine Social with his brother, Oscar H. Massaguer. Social's contributors included Guillén Carpentier, Chacón y Calvo, Enrique José Varona and others.Social has been described as Massaguer's great love in the magazine industry, and was the property that historians say he cared the most about. Social was an innovative magazine, being the first magazine in the world to use a modern printing process called photolithographic printing. Social set cultural trends, not only in the fashion of Cuba, but in art, politics, and Cuban identity.[11] Social catered to a certain aesthetic in Cuba - that of the sophisticated elite socialite - but Massaguer would also use this magazine to ridicule and jibe against that same class of society when he found their personalities worthy of his contempt. In Social, readers could find a variety of content, including short stories, avant-garde poetry, art reviews, philosophical essays, and serialized novels, as well as articles on interior design, haute couture, and fashion. Occasionally, the magazine also featured reports on sports such as motor racing, rowing, tennis, and horse riding.The cultural promotion efforts of both Massaguer and Emilio Roig de Leuchsenring are evident in the magazine. Notably, this period overlaps with their involvement in the Minorista Group, which was then at the forefront of the country's intellectual life.[5] Many contributors were devoted members of the group, leading some experts to consider Social as the cultural voice of the Minoristas. One of the features of Social magazine was its section called "Massa Girls," which was a play on his own name, and pronounced with a glottal 'g' in a similar fashion to the letter in Massaguer.[12] Massaguer drew women as independent and free-thinking, and never drew the woman celebrity as a caricature of herself, but as a free agent surrounded by caricatures.[11] However, Massaguer himself has been described as a womanizer in his personal life, and hesitant to fully embrace every facet of women's liberation. In 1916, he also established la Unión de Artes Gráficas and the advertising agency Kesevén Anuncios.[9] The art critic Bernardo González Barroa wrote: “Massaguer has solved the problem of working hard, living comfortably off what his art produces and not missing any artistic, sporting or social event. His broad, childish laugh, of a carefree individual who carries his luck hidden in a pocket, appears everywhere for the moment, disguising the pranks of pupils that lurk, mock and, finally, flash with satisfaction at finding the characteristic point after having analyzed a soul... Massaguer's personality is beginning to solidify now. He has been the best-known and most popular caricaturist for a long time, but his technique had not reached the security, the mastery of values that he presents in his latest works, which is very natural and explainable”[5] Carteles Main article: Carteles Cover of the magazine Carteles, November 29, 1931 In 1919, Massaguer and his brother created the magazine Carteles.[9] Carteles gained the widest circulation of any magazine in Latin America, and the most popular magazine in Cuba for a time, until that title was claimed by Revista Bohemia. Carteles remained in print until July 1960.This magazine showcased Cuban commerce, art, sports, and social life before the revolution. In 1924, Carteles took a more political turn, with articles criticizing Gerardo Machado's government. it became a prime example of the humor and graphic design employed by artists like Horacio Rodríguez Suria and Andrés García...