Continental US - Figurative Drawings and Watercolors

Original Painting Cathedral Interior New Yorker Cover Proposal 1939 Jesus Church Antonio Petruccelli (1907 – 1994) Cathedral New Yorker cover proposa...

Original watercolour by Hays (19)51 depicting an elegant lady in a stunning ballgown Art Sz: 25"H x 21 1/2"W Frame Sz: 32"H x 28"W

This work is as much of a collectors item as it is a fine work of art. it is the original 1971 concept drawing with detailed notations for Jesus Christ Superstar...

Story illustration for "The Return" by Georgia Wood Pangborn for Harper's Monthly Magazine, published December 1916, page 44. In "The Return," Peter finds himself alone in the nurse...

Impressive 19th century Italian hand fan, remarkably preserved with silvered metal sticks and guards depicting ancient gods, palm trees and classical emblemes. The paper leaves are h...

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...

Watercolor on watercolor paper, 5 1/8 x 8 1/4 inches (130 x 210 mm), the full sheet. Initialed "H.D.W.L." in watercolor in the left image area (in the area of the sky), and titled an...

Joan Carl Strauss, artist and activist in the Los Angeles art world, left behind a refined and committed body of work. Trained in Cleveland and at the Art Institute of Chicago, she d...

Watercolor and ink on heavy gauge watercolor paper, 12 x 9 1/4 inches (305 x 235 mm), the full sheet. In very good condition with some minor age tone and scattered light areas of dis...

Watercolor and graphite on heavy gauge watercolor paper, 5 3/8 x 8 7/8 inches (132 x 221 mm), the full sheet. Extensive, fresh brushwork with nice primo pensiero and the unfinished f...

Intriguing pair of modern Chinese paintings executed with gouache on paper in a distinctive colorful naive Asian style depicting women with cat...

A Striking, 1950s Mid-Century Modern Ink Drawing of a Dancing Couple by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). Depicting an embracing couple engaged in the classic, romantic "Apache...

Original crayon drawing on paper. Hand signed on front by Purvis Young. Artwork size 11 x 8 inches. Frame size approx 17 x 14 inches. Artwork is in excellent condition. Certifica...

French School, Arabic Horseman, Chalk Pastel on Paper Laid to Canvas, 19th century, paper labels to reverse, wood frame. Image: 19.5" H x 15.25" W; frame: 23" H x 18.5" W. Provenance...

Marcel Dzama Some of the Many Friends of Jason including Marcel, from the Estate of Jason Polan, 2019 Mixed media collage with ink, watercolor and graphite on colored paper Signed an...

This drawing of Billie Holiday with her beloved dog Mister is an original concept drawing created 53 years ago in 1972 by the legendary Rock and Roll and Broadway art...

TOBACCO ROAD Mid 20th Century Realism 1940 Drawing from the Novel WPA Literary 2 10 1/2 x 6 (sight), Signed David Fredenthal lower right. Framed by Lowy....

KAWS Cloud Drawing done in white marker on colored paper, 2010 Signed, dated and inscribed to David in white marker with a dateline of Paris Floated and framed in a white wood frame ...

'Demi mondaine à la Mode is a very early drawing by Erté, pencil on card, approximately 6.25 x 4.75 inches and framed in a classic, gold-tone frame. Signed i...

David Becker b. 1937 David H. Becker, painter, printmaker and educator, was born on August 16, 1937 in Milwaukee, Wisconsin. He studied at the Milwaukee State Teachers College, the Layton School of Art between 1956 and 1958, the University of Wisconsin-Milwaukee, and the University of Wisconsin-Madison where he enrolled in the science curriculum. After a chance meeting with Warrington Colescott, department chair of the art department, Becker decided on a career in art and received his BFA degree in 1961. After graduation he served for two years in the US Army and then entered a graduate studies program at the University of Illinois at Urbana-Champaign and earned his MFA in 1965. ------- Becker moved to Detroit after receiving his degree and joined the faculty at Wayne State University where he taught life drawing. In 1985 he left Detroit to join the faculty of the University of Wisconsin-Madison and he retired from teaching in 2006. His first solo exhibition was mounted in 1968. About 1970 Becker turned most of his attention towards printmaking as he could not paint and create prints during the same period of time and was pulled toward printmaking. He stated that he enjoys “putting images together in an unpredictable fashion.” Becker worked slowly and an etching plate could take up to two years to complete and he ultimately only produced thirteen prints. His etchings were included in the Twenty-fourth National Exhibition of Prints at the Library of Congress in 1975; the Third American Biennial of Graphic Arts at the Museo de Arte Moderno in Cali, Columbia in 1976, winning the gold medal; and Brooklyn Museum National Print Exhibition. His work was included in the Ninth British International Print Biennale in Bradford, England in 1986; the 162nd and 165th Annual at the National Academy of Design in 1987 and 1990. Becker was elected an Associate of the National Academy of Design in 1983 and elevated to full Academician in 1991. He received a Visual Artists Fellowship from the National Endowment for the Arts which helped him transition back into painting. He also received the University of Wisconsin Chancellor’s Faculty Development Award in the Creative Arts in 1996 and 1999. He is a member of and exhibited with the Boston Printmakers, Society of American Graphic Artists, and the Philadelphia Print Club. In the late 1990's and early aughts, Becker returned to painting and drawing full time. David H. Becker is represented in the collections of the Brooklyn Museum, the Art Institute of Chicago, the Detroit Institute of Arts Museum, and the Smithsonian Museum of American Art. Exhibitions 2017 Figure8, Gallery Victor Armendariz, Chicago, IL Coming Attractions, Gallery Victor Armendariz, Cicago, IL 2012 Eye Teeth Group Show, Paint Creek Center for the Arts, Rochester, MI 2011 Art Chicago 2011, Merchandise Mart, Chicago, IL 2010 Art Chicago 2010, Merchandise Mart, Chicago, IL 2009 David Becker Retrospective, Ann Nathan Gallery, Chicago, IL Art Chicago 2009, Merchandise Mart, Chicago, IL The 184th Annual Exhibition of Contemporary American Art, National Academy Museum, NYC Selections, Ann Nathan Gallery, Chicago, IL 2008 Art Chicago 2008, Represented by Ann Nathan Gallery, Merchandise Mart, Chicago, IL 2007 Unruly Muse, Ann Nathan Gallery, Chicago, IL SOFA NY (Sculptural Objects Functional Art), Ann Nathan Gallery, 7th Regiment Armory, NY, NY Art Chicago, Merchandise Mart, Ann Nathan Gallery, Chicago, IL 2006 Palm Beach³, Ann Nathan Gallery, Palm Beach, FL 2005 SOFA NY (Sculptural Objects Functional Art), Ann Nathan Gallery, 7th Regiment Armory, NY, NY Art Chicago in the Park, Butler Field, Ann Nathan Gallery, Chicago, IL Ann Nathan Gallery, Chicago, IL Palm Beach³, Ann Nathan Gallery, Palm Beach, FL 2004 Contemporary Prints: National Academy Museum Collection, National Academy of Design, NYC Art Chicago 2004, Ann Nathan Gallery, Chicago, IL Fantastic & Visionary Art, touring exhibit: Orange, Manning, Riddoch, & Ballart Gallery, Australia Return of the Men, Peltz Gallery, Milwaukee, WI 2003 Art Chicago 2003, Ann Nathan Gallery, Chicago, IL Fantastic & Visionary Art, touring exhibit: Orange Regional Gallery, New South Wales, Australia National Academy of Design 178th Annual Exhibition, NY, NY 2002 Art Chicago 2002, Ann Nathan Gallery, Chicago, IL Art of the 20th Century, Ann Nathan Gallery, Park Ave. Armory, NY, NY Outsider Art Fair, The Puck Building @ Houston & Lafayette Sts., NYC Self and Other Portraits, Wisconsin Artists, Charles Allis Art Museum, Milwaukee, WI Return of the Men, Peltz Gallery, Milwaukee, WI 2001 Beyond the 50's, May 4 - July 1, Exhibit A, A Gallery of Art & Design, Birmingham, Michigan Outsider Art Fair, January 26-28, The Puck Building @ Houston & Lafayette Sts., NYC "FANTASTIC ART", April/May, Orange Regional Gallery, Orange NSW, Australia. David Becker: Etchings and Engravings, Ann Nathan Gallery, Chicago, solo exhibition of prints, February. 2000 Four person exhibition, Columbus State University, Columbus, Georgia, Oct. 31 - Nov. 27, 2000. 1999 National Academy 174th Annual Exhibition, NY University of Wisconsin-Madison Faculty, Elvehjem Museum of Art, Madison, WI Treasures Revealed: 19th and 20th Century American Works on Paper, National Academy, NY 1995 Bharat Bhavan International Biennial of Prints, Bhopal, India Contemporary Prints, Selections from John Szoke Gallery, NYC, Drew University, Madison, NJ Collection Update, 1994, National Academy of Design Museum, NY 1994 David Becker and Robert Sholties, Peconic Gallery, Suffolk Community College, Riverhead, NY In Black and White: Works by Four Printmakers, Atrium Gallery, University of Connecticut, Storrs Aesthetics of Athletics: Sports, Games, and Exercise, Charles A. Wustum Musem, Racine, WI GMI IX Award Winners, Art Center Gallery, Central Missouri State University, Warrensburg 1993 Take Home a Nude benefit auction, NY Academy of Art Graduate School Of Figurative Art, NY 1993 American Prints: Last Half 20th Century, Jane Haslem Gallery, Washingtion, DC Outstanding American Prints, Anderson Arts Center, Kenosha,WI National Academy of Design 168th Annual Exhibition, NY David Becker: Etchings, Davidson Galleries, Seattle, WA Portraits, Davidson Galleries, Seattle, WA 1992 The Print Fair, 7th Regiment Armory, NY 1991 166th Annual Exhibition, National Academy of Design, NY Alma College Collection, Detroit Institute of Arts, Detroit, Michigan Modes of Expression, Potsdam College, SUNY, Potsdam, NY 1990 With Nothing On, Prints and Drawings of the Nude, New Orleans Museum of Art, LA Prints by Printmakers, Staller Art Center, SUNY-Stonybrook, NY Publications/Reviews 2007 November 60 Years of North American Prints: 1947-2007, Boston U. Art Gallery, Boston, MA 2003 July 11 Isthmus, Madison, “Welcome to My Nightmare,” by Robert Cozzolino. 2001 March 14 The Wall Street Journal, "Time Off: A Week of Diversions." Review of Progressive Printmakers (LVM) exhibition. 2001 February Isthmus, Madison, "America's Printland," by Jennifer Smith. 2001 February Capital Times, "The Crowned Prints," by Kevin Lynch. 1999 July Progressive Printmakers: Wisconsin Artists & the Print Renaissance. 1995 – 1999 Who’s Who in America. 1993 Summer The Journal of the Print World, review. March 14 The New York Times, review. March 12 The Daily Oklahoman, review. 1990 Dec. 13 The Capital Times, review. April 28 The Washingtion Post, review. March 25 The New York Times, review. Summer The Journal of the Print World, review. Selected Collections - additional collections available on requestArkansas Arts Center Foundation, Little Rock, AR Art Institute of Chicago, Chicago, IL Brooklyn Museum, NYC Butler Institute of American Art, Youngstown, OH Detroit Institute of Art, Detroit, MI Elvehjem Museum of Art, U of Wisconson-Madison Honolulu Academy of Arts, Honolulu, HI Library of Congress, Washington, DC Metropolitan Museum, Miami, FL Museo de Arte Moderno, Cali, Columbia National Academy, NY, NY National Museum of American Art, Washington, DC New York Public Library, NY Portland Art Museum, Portland, Oregon Rose Art Museum, Brandeis University, MA United States Information Agency, Prague, Czech. Alberta College of Art, Alberta, Canada Albion College, Albion, MI Alma College, Alma, MI Art Center, South Bend, IN AT&T Corporate HQ, Plainfield, NJ Boston Printmakers, Boston, MA Bradley University, Peoria, IL Columbia Green Community College, Hudson, NY Columbus State University, Columbus, GA Davidson College, Davidson, NC Dickinson College, Carlisle, PA Georgia State University – Atlanta Hope College, Holland, MI Hunterdon Art Center, Clinton, NJ Kansas State University, Manhattan, KS Madison Art Center, Madison, WI Marui Imai Inc., Sapporo, Japan Milwaukee Art Center, Milwaukee, WI Minot Art Association, Minot, ND North Carolina Print/Drawing Society, Charlotte, NC North Texas State University – Denton Ohio University – Athens Oklahoma Art Center, Oklahoma City, OK Oklahoma State University, OK Quad Graphics, Milwaukee, WI Silvermine Guild of Arts, New Canaan, CT Springfield College, Springfield, MA St. Lawrence University, Canton, NY State University of New York – Fredonia State University of New York – Potsdam Trenton State College, Trenton, NJ University of Arizona Museum of Art, Tucson, AZ University of Colorado-Boulder University of Dallas, TX University of Louisville, Louisville, KN University of Manitoba, Winnipeg, Canada University of North Dakota – Grand Forks University of South Dakota – Vermillion University of Tennesse – Knoxville West Chester State College, West Chester, PA Western Kentucky University – Bowling Green Private Collections Carla Leighton, New York, NY Marc Hauser...

KAWS Unique Cloud Drawing, inscribed to Caroline Original drawing done in silver marker. Hand signed, inscribed and dated. Held in hardback monograph 11 × 8 3/4 inches Boldly hand s...

Art: 5 1/2 x 4 3/8" Frame: 10 1/8 x 8 1/8" Original color woodcut on paper, signed in block. Born in 1908, Sylvia Spicuzza was the daughter of noted painter Francesco Spicuzza. Sylvia devoted herself to teaching art to the students of Lake Bluff...

This beautiful intricate, Rotring pen and markers on paper, on 350gsm Colorset white paper. This piece is framed on a white wood frame, uv glass and all archival materials. GUILLAUM...

As a reflection on the value we give to objects, this series exposes examples of objects that we use daily and for different reasons ended up gaining very high prices. By redrawing t...

Dimitri Petrov, American (1919 - 1986) - End of the Rope, Year: 1977, Medium: Pencil on Paper, signed and dated, Size: 22 x 30 in. (55.88 x 76.2 cm)

Dimitri Petrov, American (1919 - 1986) - Conversation, Year: 1977, Medium: Pencil on Paper, signed and dated, Size: 22 x 30 in. (55.88 x 76.2 cm)

Dimitri Petrov, American (1919 - 1986) - Untitled - Mythical Creatures II, Year: 1976, Medium: Pencil and Watercolor on Paper, signed, Size: 22 x 30 in. (55.88 x 76.2 cm)

Dimitri Petrov, American (1919 - 1986) - Unkinking the Line, Year: 1977, Medium: Pencil on Paper, signed and dated, Size: 22 x 30 in. (55.88 x 76.2 cm)

Dimitri Petrov, American (1919 - 1986) - Untitled - Three Sphinxes, Year: 1976, Medium: Pencil and Watercolor on Paper, signed, Size: 22 x 30 in. (55.88 x 76.2 cm)

Dimitri Petrov, American (1919 - 1986) - Untitled - Mythical Creatures III, Year: 1976, Medium: Pencil and Watercolor on Paper, signed, Size: 22 x 30 in. (55.88 x 76.2 cm)

Dimitri Petrov, American (1919 - 1986) - Re-Coiling, Year: 1977, Medium: Pencil on Paper, signed and dated, Size: 22 x 30 in. (55.88 x 76.2 cm)

Dimitri Petrov, American (1919 - 1986) - Untitled - Mythical Creatures V, Year: 1976, Medium: Pencil and Watercolor on Paper, Size: 22 x 30 in. (55.88 x 76.2 cm)

Dimitri Petrov, American (1919 - 1986) - Untitled - Mythical Creatures IV, Year: 1976, Medium: Pencil and Watercolor on Paper, signed, Size: 22 x 30 in. (55.88 x 76.2 cm)

Dimitri Petrov, American (1919 - 1986) - Resting, Year: 1977, Medium: Pencil on Paper, signed, Size: 22 x 29.5 in. (55.88 x 74.93 cm)

Dimitri Petrov, American (1919 - 1986) - Ambush, Year: 1977, Medium: Pencil and Watercolor on Paper, signed, Size: 22 x 30 in. (55.88 x 76.2 cm)

"Reticent" by Rick Sindt is a small graphite drawing of two figures. This deceptively simple drawing is very powerful in its beauty and intimacy. The graph ...

PORTRAIT of a young woman, 1967 Giuseppe Cavaliere (b.1932) Conte crayon on paper, sheet measuring 11 x 14 inches. Signed and dated lower left. Unframed.

This artwork titled "Noyo Sundown, California" c. 2000, is a watercolor on paper by noted California artist Erin Dertner, b.1957. It is signed at the lower left corner by the artist....

A rare erotic watercolor and ink painting from noted WPA artist Joseph Wolins (1915-1999). Beautifully framed in an antique gilt wood frame. Measuring: 17 by 24 inches overall and 8 ...

Ink and gouache with gold heightening on brown laid paper with a Jaipur Court Fee tax stamp in black ink, 13 3/8 x 8 3/4 inches (340 x 222 mm). Toning, handling creases and minor sca...

By Gustav Likan 8" x 5" Watercolor on Paper Framed Size: 15.75" x 12.5" A mother holding a and comforting her baby. 1965 This piece is part of Likan's series depicting his wife Bar...

America Martin "Boxer III" Ink on Paper 21.75 x 27.75 in. Framed In a distinct style that is both figurative and abstract, gestural and deliberate, America Martin revisits her famou...

The loose style of this drawing comes together quickly to convey the relaxed state of this nude female. The pastel accents bring a beautiful warmth to this drawing. Christopher Ganz Woman at Rest, 2013 pastel and charcoal on green paper 23h x 18w in 58.42h x 45.72w cm CG0062 -ARTIST STATEMENT- I depict my person in multiplicity with different selves representing dramatis personae. My likeness is both implicit and symbolic in the portrayal of my narrative; the drama involved in creating art and the artist’s role in society. I use realism to invite the viewer into mysterious inner worlds that are layered reflections of the outer. Dehumanizing environments are imbued with art historical references as a critique of power structures. The artist is an Everyman who is at odds with society and his self. Visually my work is a celebration of society’s dark undercurrents and its overlooked absurdities. I use charcoal and printmaking media as their tenebrous values add a fitting metaphor. The nuances of light and shadow seduce viewers into a world their better judgment would have them avoid. This provokes a sense of disquietude that causes viewers to assess our world through the austerity of a colorless, yet not humorless, light. -BIO- Christopher Ganz grew up in Northeast Ohio and from early on had a fertile imagination and an interest in art. Christopher's artistic education truly began at the University of Missouri, where his love of the human form led to many figure drawing classes and his exposure to the wonders of printmaking. Christopher's then went onto graduate school at Indiana University and a summer abroad program in Italy was a dream realized. Christopher then grasped charcoal with a renewed vigor and large, sfumato-laden drawings ensued. Christopher's artistic influences are many; from a seminal exposure to Dore's engravings of the Divine Comedy, to Rembrandt, Caravaggio, Goya, and up to Lucian Freud, Mark Tansey...

Itzchak Tarkay (1935 -2012) "The Coffee Shop" 2002 Mixed media watercolor on Paper - signed lower right. COA provided. Sheet Size 9"H x 7"W . Frame Size 24.5"H x 22.5"W x1.5"...

Hans Burkhardt regularly created pastels from life models, and this is a lovely example of that. He regularly maintained an interest in figural work throughout his long and diverse c...

Soft pastel on toned paper, signed and dated on bottom. Requires framing under glass. Part ot a series of Nudes with Attitude by the artist Stephen Basso's highly original pastels an...

Medium: Oil on Canvas Signature: Signed Lower Right Saturday Evening Post Cover, April 19, 1930

A Fabulous, Finely Rendered 1945 Modern Seated Female Nude by Noted Chicago Artist, Harold Haydon (Am. 1909-1994). The drawing is charcoal on paper and dates from 1945. Artwork siz...

Original Painting. Colliers Magazine Cover Published 1933 Wedding Illustration Antonio Petruccelli (1907 - 1994) The Wedding Colliers published, June 17, 1933 17 1/4 X 11 1/2 inches (sight) Framed 23 1/4 X 17 1/2 inches Gouache on board Signed lower right BIOGRAPHY: Antonio Petruccelli (1907-1994) began his career as a textile designer. He became a freelance illustrator in 1932 after winning several House Beautiful cover illustration contests. In addition to 24 Fortune magazine covers, four New Yorker covers, several for House Beautiful, Collier’s, and other magazines he did numerous illustrations for Life magazine from the 1930s – 60s. ‘Tony was Mr. Versatility for Fortune. He could do anything, from charts and diagrams to maps, illustrations, covers, and caricatures,’ said Francis Brennan, the former art director for Fortune. Over the course of his career, Antonio won several important design awards, designing a U.S. Postage Stamp Commemorating the Steel Industry and designing the Bicentennial Medal...

Marius de Zayas was born in Veracruz, Mexico and emigrated to New York with his family in 1907. He joined the art staff of the New York Evening World newspaper and quickly became kno...

Graphite and watercolor on grayish-tan wove paper, 10 3/4 x 8 3/8 inches (272 x 212 mm) the full sheet. An unfinished study in good condition. On the mat-back is a notation that the...

Old Tree and September Wind Clouds, 1961, by Charles Burchfield (1893-1967) Conte crayon on paper 13 ½ x 19 ½ inches unframed (34.29 x 49.53 cm) 19 ¾ x 25 ½ inches framed (50.165 x 6...

Frank Nelson Wilcox (American, 1887–1964) The Adobe, c. 1940-41 Watercolor on paper Signed lower right 14 x 20 inches 18.5 x 24 inches framed Frank Nelson Wilcox (October 3, 1887 –...

Pierre Carrier-Belleuse 1851-1932 French Danseuse Signed “Pierre Carrier-Belleuse” (lower right) Pastel on canvas Strikingly elegant, this extraordinary pastel by French impressi...

A Fine, Mid-Century Modern 1950s Drawing of a Reclining African American Male Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). A well executed studio figure stud...

Figurative nude drawing on Arches paper graphite, conte crayon and charcoal on Arches paper 22 x 15 inches unframed Contemporary figurative life study drawing of a reclining male nu...

This artwork "The Old Church" c.1970 is a watercolor on Strathmore panel by American artist James Hamil, 1937-2002. It is signed at the lower right corner b...

This artwork titled "Interior Still Life with Milk Bottles" c. 2000, is a watercolor on paper by noted California artist Erin Dertner, b.1957. It is signed at the lower left corner b...

Jean Crotti Jeune fille aux cheveux roulés (Girl with rolled-up hair), ca. 1920 Pencil on paper 17 9/10 × 12 3/5 in 45.5 × 32 cm Unsigned Condition: Excellent condition.

Marina Abramović Untitled hourglass drawing, 1992 Original drawing done in black marker, hand signed and annotated and held inside the softback catalogue for the artist's 1992 Beaux ...