Manhattan - Drawings and Watercolor Paintings

Untitled 2019 Signed and dated Two-sided drawing in charcoal with red and white conté crayon on Rives BFK paper 30 x 20.5 inches $1,600 This work is offered by CLAMP in New York...

Spring, Bleecker Street, Ruellan's conté crayon drawing from 1938, shows young people out in the world. And their world is Bleecker Street, New York City. The heart of Greenwich Vil...

George Tzannes's Olive Trees in Field is a 7.5 x 14.5 inches black and white monotype representing a Greek landscape. Olive trees populate the landscape....

Ink on paper Signed and dated, l.c. This artwork is offered by ClampArt, located in New York City. Mark Beard, born in 1956 in Salt Lake City, now...

NYC Subway Riders Mid 20th Century American Scene Social Realism WPA Modern 1930s Daniel Celentano (1902 - 1980) Subway Scene, 1930s 8 x 9 inches Ink and wash on paper Singed lower ...

George Tzannes's Landscape with Olive Tree is a 21.5 x 28.5 inches black and white monotype representing a Greek landscape. Olive trees populate the landscape. Tzannes is an American painter of Greek origins. In his twenties he visited Kythira, the Greek island of his father's birth. Since that time, the island has become the major reference of his creativity. The choice of using black and white to represent this landscape gives the mighty hundred-years old olive trees a monumental presence. The viewer is drawn into the timeless, spiritual quality of the Greek landscape. Despite the absence of color, Tzannes' mastery of drawing creates a tangible effect of the Greek light...

Paul Allen Reed Untitled #31, 1982 Oil pastel on paper Pencil signed dated and annotated "7 10 79 1" by Paul Reed on the lower front Frame included: This work is elegantly floated an...

Mixed Media Boxed Set includes original signed and inscribed drawing plus limited edition plate held in bespoke Bernardaud presentation plate Jeff Koons ...

Untitled 1993 Signed and dated, l.r. Charcoal with red and white conté crayon on Rives BFK paper 30 x 18 inches $1,600 This work is offered by CLAMP in New York City.

Charles Demuth was one of the most complex, talented, and deeply sensitive artists of the American modern period. Whether he was painting floral still lifes, industrial landscapes, or Turkish bathhouses, art was, for Demuth, fraught with personal meaning. A fixture of the vanguard art scene in New York, Demuth navigated the currents of Modernism, producing some of the most exquisite watercolors and original oil paintings in twentieth-century American art. Demuth was born in Lancaster, Pennsylvania, the only child of a well-to-do family. He had an awkward and introverted childhood shaped by a childhood illness, Perthes, a disease of the hip that not only left him permanently lame, but, as part of the “cure,” bedridden for two years in the care of his mother. This long period of incapacitation had a deep impact on Demuth, who came to see himself as an invalid, an outsider who was different from everyone else. It was perhaps during this period of indoor confinement that his keen interest in art developed. Several relatives on his father’s side had been amateur artists, and, following his convalescence, his mother encouraged his artistic pursuits by sending him to a local painter for instruction. The majority of his early pictures are of flowers, a subject for which Demuth maintained a lifelong passion. Following high school, Demuth enrolled at the Drexel Institute of Art in Philadelphia, a school renowned for its commercial arts program. He advanced through the program rapidly, and, in 1905, at the encouragement of his instructors, he began taking courses at the Pennsylvania Academy of the Fine Arts. The two leading teachers then at the Academy were William Merritt Chase and Thomas Anshutz. Anshutz, himself a former student of Thomas Eakins, was well liked by his students, and is best known as the teacher of Robert Henri, John Sloan, and several of the other artists of the Ashcan School. Demuth, too, adopted a similar idiom, working in a controlled, realistic manner while at the Academy, where he remained until 1910. In 1907, Demuth made his first trip to Europe, staying in Paris. He spent time on the periphery of the art scene composed of the numerous American artists there, including John Marin and Edward Steichen. He returned to Philadelphia five months later, and immediately resumed courses at the Academy. Despite his introduction to advanced modern styles in Europe, Demuth’s work of this period retains the academic style he practiced before the trip. It wasn’t until he had summered at New Hope, Pennsylvania, in 1908 and 1911, that his style began to evolve. New Hope was a prominent American Impressionist art colony whose members were largely affiliated with the Pennsylvania Academy. Demuth dropped the conservative tone of his style and adopted a freer and more colorful palette. Although he remained based in Philadelphia, Demuth frequently went to New York during this period. Many of the same American artists of the Parisian art scene Demuth had encountered on his earlier European trip now formed the nucleus of New York’s avant-garde, which centered around Alfred Stieglitz’s 291 gallery. It wasn’t long before Demuth began to apply modernist-inspired strategies to his work. He was particularly influenced by the watercolor work of John Marin, also a former student of Anshutz, whose bold use of color in the medium Demuth freely adapted into looser washes of color. In 1912, Demuth again left for Paris, this time studying in the Académie Moderne, Académie Colorossi, and Académie Julian. In Paris Demuth met the American modernist Marsden Hartley. Hartley, a principal figure in the expatriate art circle, acted as a mentor to Demuth, and introduced him to the wide array of modern styles currently practiced in Europe. Hartley also introduced Demuth to many of the members of the Parisian avant-garde, including Gertrude Stein. Demuth was an aspiring writer, and he spent many hours in conversation with Stein. He wrote extensively during this period, and published two works shortly after his return to America. He also developed an interest in illustrating scenes from literary texts. From 1914 to 1919, Demuth produced a series of watercolors of scenes from books such as Emile Zola’s Nana and Henry James’s The Turn of the Screw. Upon his return to America, Demuth settled in New York. In 1914, Demuth had his first one-man show at Charles Daniel’s gallery, which promoted emerging modern American artists, including Man Ray, Rockwell Kent, Yasuo Kuniyoshi, Stuart Davis, and Max Weber. Demuth drew closer to the artistic vanguard in New York, becoming friends with many in the Stieglitz and Daniel circles, including Georgia O’Keeffe, Marcel Duchamp, Carl Van Vechten, and Edward Fiske. New York’s cosmopolitan atmosphere and active nightlife appealed greatly to Demuth. In a sketchy style well suited to watercolor, he painted many vaudeville and circus themes, as well as nightclub, café, and bathhouse scenes. Often with Duchamp, Demuth took part in an urban subculture replete with nightclubs, bars, drugs, and sexual permissiveness, which, for a homosexual artist like himself, allowed room for previously unattainable personal expression. Demuth’s pictures of sailors, bathhouses, and circus performers embody a sensual and sexual undercurrent, expressing the artist’s sense of comfort and belonging in the bohemian subculture of New York. Simultaneously, Demuth deepened his interest in floral pictures, painting these almost exclusively in watercolor. His style evolved from the broad color washes of his earlier pictures to more spare, flattened, and sinuous compositions, inspired by the drawings of Aubrey Beardsley and other artists of the Aesthetic Movement. Demuth’s flower watercolors are moody and atmospheric, sensuous and elegant, introspective and yet full of expressive power. Moreover they are beautiful, and are unequivocally among the finest still lifes in American art. Despite numerous subsequent artistic undertakings that led him in a variety of directions, Demuth never stopped painting flower pictures, ultimately adding fruits and other still-life objects to his repertoire. In 1916, Demuth began to develop a style later known as Precisionism, a form of landscape painting infused with Cubism, in which space is divided into precisely drawn geometric regions of color. Demuth first began to paint the landscape in an appropriated Cubist mode while on a trip with Hartley to Bermuda. In these early landscapes, in which the curvilinear forms of trees intersect the geometrically articulated architectural forms, Demuth explored ideas that shaped the future development of modernism in America. The full realization of Demuth’s explorations came after his return to America in 1917, when he turned his attention to industrial subjects. These works derive from a “machine aesthetic,” espoused by New York artists such as Francis Picabia, Joseph Stella, Albert Gleizes, and Duchamp, by which artists viewed machines as embodying mystical, almost religious significance as symbols of the modern world. Rather than painting the skyscrapers and bridges of New York as did most of his like-minded contemporaries, Demuth returned to his home town of Lancaster, where he painted factories and warehouses in a Precisionist idiom. The titles for these pictures are often contain literary references, which serve as clues for the viewer to aid in the decoding of the artist’s meaning. In 1923, Demuth planned a series of abstract “poster portraits” of his friends and contemporaries in the New York art and literary scene. In these “portraits,” Demuth combined text and symbolic elements to evoke the essential nature of his sitters’ distinguishing characteristics. In this fashion, he painted portraits of such artists as Georgia O’Keeffe, John Marin, and Arthur Dove. His most famous poster portrait, I Saw the Figure 5 in Gold...

Andrea Belag A Second Hand II, 1990 Monotype on cotton rag paper 42 1/2 × 30 inches Hand-signed by artist, Signed, titled and dated in pencil on the front; bears publishers name and copyright on the back, along with the unique inventory number Unframed Poignant 1990 monotype, in elegant pastel colors. The cotton rag paper has lightly deckled edges so it will look gorgeous when floated and framed. American painter Andrea Belag creates lush and luminous abstractions inspired by the visual and spiritual principles of Zen, as well as artists such as Mary Heilmann, Bernard Frize...

Charcoal with red and white conté crayon on Rives BFK paper Signed and dated, recto This artwork is offered by ClampArt, located in New York City. Mark Beard, born in 1956 in Salt ...

Ellsworth Kelly Handwritten, signed note on card to CBS cameraman and collector Dan Pope Ink on offset lithograph card Handwritten note signed and inscribed to Dan Pope. It reads, "D...

Carolee Schneeman Infinity Kisses, 1988 Archival pigment print Signed and dated on the front This is a unique work of art Frame included Infinity Kisses for the artist's beloved cat...

This striking colored pencil drawing by David Morrison showcases his unrivaled mastery of the medium. Rendered with extraordinary precision, this larger-than-life section of pomegran...

Robert Strati is an American artist who creates multimedia artworks using broken plates. His recent series “Fragmented” started when he accidentally drop...

Lyman Kipp Untitled drawing, 1993 Unique Colored Ink Drawing on paper with two deckled edges Hand signed, inscribed and dated by the artist on lower front 26 1/4 × 20 inches Unframed...

Paul Feeley Rafina II Greece, 1961 Watercolour on paper Hand Signed, titled and dated lower front In 1961, color field painter Paul Feeley created a series of watercolors - Rafina an...

Reginald Marsh "Manhattan Bridge" NYC American Scene Modernism Watercolor WPA Urban Realism, 20 x 14 inches. Watercolor and pencil on paper, 1938. Signed...

Tess Michalik Butterfly Altar, 2025 Oil on yupo 38 x 25 in. (mic033)

Signed, Dated, Numbered, Titled and Uniquely Inscribed front and back in pencil, with two original artist's drawings "WALL TO WALL" FROM WALL: TWO STONE SUITE IV, WITH TWO ORIGINAL I...

Joanne Freeman Squares and Strokes (Viridian_16), 2025 gouache on handmade paper 28 x 20 in. image: 16 x 16 in. (freem243) My paintings and drawings incorporate elements found in ar...

Untitled (Standing Male Nude) 2017 Signed and dated, recto Charcoal with red and white conté crayon on Rives BFK paper 30 x 20 inches (76.2 x 50....

Tess Michalik Count on me, 2025 oil on Yupo paper 38 x 25 in. (mic028)

"Tobacco Road" Mid 20th Century Realism 1940 Drawing from the Novel WPA Literary 19 1/4 x 11 1/2 (sight), Signed David Fredenthal lower right. Framed by ...

Charcoal with red and white conté crayon on Rives BFK paper Signed and dated, recto This artwork is offered by ClampArt, located in New York City. Mark Beard, born in 1956 in Salt ...

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...

A captivating miniature painting by renowned artist Dina Brodsky, known for her masterful technique in gouache and watercolor. This exquisite work, painted on authentic animal parchm...

Red Breast 2021 Signed, dated, and numbered, recto Watercolor using rubber stamps on handmade Twinrocker paper (Edition of 200) 5.75 x 8.5 inches (14.6 x 21.6 cm) This work is off...

Zhang Hui (b. 1969) Untitled Calligraphy Drawing (from the Memorial Sloan Kettering Art Collection), 2007 India ink on hand made fine art paper Signed and dated in graphite pencil on...

Mystery Artist Untitled, c. 1990s Sight: 32 1/4 x 21 in. Framed: 37 x 25 1/4 x 1 1/2 in. Signed bottom

30"x22" watercolor on paper, signed on reverse. New York artist, Thomas Broadbent, well know for his contemporary naturalist depictions of the intersection of nature and man, presents a humorous depiction of an ibis bird...

Ink and pencil on paper Signed and dated in pencil, c.r. This artwork is offered by ClampArt, located in New York City.

Clinton Hill (1922-2003), created quintessential mid-century images. He lived in SoHo, New York, and was a frequent Gallery visitor. Born in Idaho and raised on a working ranch, ...

Rocio Rodriguez December 4, 2020 Pastel and charcoal on paper 11 x 14 in. (rodr054) Rocio's work represents an exploration of the transient and temporal and a process of creating a ...

Unexpected materials, found and manufactured, perch precariously on torn edges and bifurcated sheets of large paper. Here, fluid calligraphic lines are posed against the veracity of ...

Charles Burchfield, 1893-1967 Wallpaper Design No.2, 1922-28 Watercolor and gouache on paper

Graphite on paper Signed, c.l. This artwork is offered by ClampArt, located in New York City. Mark Beard, born in 1956 in Salt Lake City, now live...

This is a drawing of a naked man sitting by Mark Beard. This work is offered by CLAMP in New York City.

"I make quiet paintings in a noisy world. My work is an intimate meditation on humble objects and the detritus of studio life. I aim to promote a reengagement with the mundane while ...

Two Watercolors of a Bird and Panda Watercolor on paper 4 7/8 x 7 in. 11 x 14 in. Signed, dated, and stamped with artist insignia

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...

Charmion von Wiegand Intersecting Magic Square, ca. 1963 Gouache on paperboard Signed and titled on the back of the artwork. The signature shown on the frame back is a photo of the actual signature on the artwork itself. Frame Included: elegantly floated and framed in hand made white wood museum frame with UV plexiglass This work is signed and titled on the back of the artwork itself. The signature shown on the back of the frame is a photo of the actual signature, since the actual pencil signature and title is on the artwork itself, which can't be seen within the frame Measurements: Frame: 21 x 17 x 1.5 inches Artwork: 18 x 14.25 inches The Estate of the celebrated artist Charmion Von Wiegand has been represented exclusively by Michael Rosenfeld...

Mark di Suvero Project for Sculpture in Chalon-sur-Saône, 1992 Marker, Watercolor and Ink Wash on Paper. Hand signed and dated by artist on lower right front Uique Frame included: el...

Untitled (Two Men, Sitting and Standing) 2017 Signed and dated, l.r. Charcoal with red and white conté crayon on Rives BFK paper 30 x 21 inches (76.2 x 53.3 cm) $1,600 This work ...

Francesco Spicuzza (American, 1883-1962) Untitled Landscape, 20th century Pastel on paper Sight size: 24 x 30 in. Framed: 26 1/4 x 32 3/8 in. Signed lower right: Spicuzza Italian-born Francesco Spicuzza was primarily a Wisconsin painter who did portraits, still-lives and local landscapes. He spent the first part of his life in near-poverty to become a painter. An eternal optimist, in 1917, the artist reported: "I am happy and my only ambition now is to paint better and better until I shall have reached the measure of the best of which I am capable." (Spicuzza, 1917, p. 22). His predilection for beach scenes germinated early: reportedly, the five-year-old boy first drew the outlines of his father's fishing boat in the sand on the seashore near their home in Sicily. After setting himself up as a fruit peddler in Milwaukee, Spicuzza's father sent for his family when Francesco was eight years old. For the following six years the boy was unable to attend school because of his job in his father's fruit and vegetable business. The poor lad suffered a caved-in shoulder from carrying a heavy wooden crate. The young Spicuzza was aided by moral and financial support from a sympathetic Milwaukee businessman named John Cramer, publisher and editor of the Evening Wisconsin, who raised Spicuzza's salary as a newspaper assembler so that he could attend school. In 1899 or 1900, Spicuzza began studying drawing and anatomy under Robert Schade (1861-1912), a painter of panoramas who had been trained in Munich under Carl Theodor von Piloty. Spicuzza was also taught by Alexander Mueller (1872-1935), a product of the Weimar and Munich academies. Mueller realized Spicuzza was a colorist and encouraged that orientation (Madle, 1961). Spicuzza found it beneficial to accept an apprenticeship in a lithographic studio for $8 a week, which demanded most of his time. During the St. Louis Universal Exposition in 1904, still a struggling student, Spicuzza attended the fair, thanks to Cramer. It was not long before Spicuzza received a twenty-five dollar portrait commission, and this inaugural success led to new commissions and allowed him to continue as a painter. The earliest influences in his work appear to be from Edward H. Potthast and Maurice Prendergast, though Spicuzza never mentioned either artist. Already in August 1910, Spicuzza was described in a newspaper as "one of the most talented of Milwaukee's rising workers." He undoubtedly received lasting inspiration from his one summer study period in 1911 with John F. Carlson at the Art Students League's Summer School in Woodstock, New York. Certainly Spicuzza would have picked up spontaneity in handling the brush from Carlson. Although he executed numerous still-lives and an occasional religious work, Spicuzza is best known for his Milwaukee beach scenes populated with frolicking bathers in multi-colored attire, not unlike the images of Potthast, who used a similar technique. Many of these are small, preparatory works on canvas board executed between 1910 and 1915. Frequently with even greater animation than Potthast, Spicuzza produced moving images of youthful energy and uninhibited child's play. These beach genre scenes reflect the attitude of American impressionists who depicted the more pleasant side of life. Spicuzza manipulated a successful balance of rich pigment applied in varying degrees of impasto texture with subtle nuances of hue. Working all'aperto, he sought "the soft enticing shades of yellow, blue, green, pink and lavender . . . to get the effects of bright glistening summer air." (L.E.S., n.d.). As a painter whose color not only derived from direct observation but also from a personal theory of color symbolism, Spicuzza traded the linear approach of lithography for dynamic patches of brilliant color. Like Prendergast, he would often tilt the angle of the picture plane to bring the viewer's position above the scene. Spicuzza was unable to enter the 1913 Armory Show or the Panama-Pacific International Exposition two years later but he did submit work to the annual exhibitions of the Pennsylvania Academy of the Fine Arts and those of the Art Institute of Chicago. His first important award was the bronze medal presented by the St. Paul Institute in 1913, which was followed by the silver medal two years later. Before long, Spicuzza had acquired a greater sense of security in his profession and was described by a writer in International Studio (April 1917) as "an independent artist with an assured future. His pastels and water-colours are poetic and joyous bits of nature with a genuine out-of-door feeling." In 1918, his Spirit of Youth, exhibited at the National Academy of Design, sold for $112.50. Four years later, the artist achieved his greatest local recognition by winning the gold medal from the Milwaukee Art Institute. Spicuzza spent a great deal of time painting en plein air and by 1925 he began summering at Big Cedar Lake, near West Bend, Wisconsin to gather his subject matter. Easter Morning (1926) owes something to the Symbolist movement, with its figure of Christ appearing over a seascape. During the difficult era of the Depression, patrons came to Spicuzza's aid and during the 40s, he taught housewives, businessmen and students at the Milwaukee Art Institute, the Milwaukee Art Center, and in his private studio. In the following decade, although his kind of art was no longer popular in the "make-it-or-break-it" New York gallery world, Spicuzza enjoyed regular patronage and sales. His beach scenes became more static and he would experiment with modernist techniques. Spicuzza died at the age of seventy-eight. Sources: L.E.S., "Do Colors Change a Person's disposition? Experiments of a Milwaukee Artist...

Dorothy Varian (1895-1985) was based in New York City and Woodstock, NY. This is a courtroom scene that captures the intensity of the situation. It is s...

Conté crayon on paper Signed and dated, l.r. This artwork is offered by ClampArt, located in New York City. Mark Beard, born in 1956 in Salt Lake City, now lives in New York City. ...

Mabel E. Johnston Untitled, c. 1920s Watercolor and pencil on paper Sight: 18 x 12 1/2 in. Framed: 39 x 21 1/4 x 1/2 in. Signed lower right: Mabel E. Johnston The first tidbit I fou...

Arman Boom Boom (unique variation from New York International Portfolio), 1965 Screenprint with pencil additions. Pencil signed and numbered 12/225 on the front Published by Chiron ...

Henry Rayburn Finale, 1995 Acrylic and mixed media collage on paper Signed in graphite pencil on the front Unique Frame included Provenance: Irving, Texas Corporate Collection de-acc...

Hand signed and dated on the front This gem of a work is a piece of Ab Ex history! This rare and poignant early work, was painted on the back of an invitation card to Natkin's histo...

RED GROOMS (Untitled), for Alice + Bo, Provincetown 1966 Original ink drawing on paper Signed, inscribed and dated with a dateline of Provincetown on recto. Vintage frame included Th...

The White Cloud, Salem, A Classic Watercolor from his Magic Year, 1917 Modern Charles Burchfield (1893-1967) The White Cloud, Salem, 1917 21 1/2 x 17 12 inches Watercolor on paper S...

"Behold" by Halsey Chait India Ink on 250 Lenox 100 Cotton Rag Paper Halsey Chait's drawings develop according to the rules and mathematics that govern the growth processes of life ...

Wheeler Williams (American, 1897-1972) Untitled Study, 1944 (Polo Players) Pencil on paper 15 1/2 x 19 1/4 in. Signed lower right: Wheeler Williams, 1944 A native of Chicago, Wheeler Williams is known for his allegorical, narrative work including "Tablets to Pioneers" on the Michigan Avenue bridge in Chicago, and "Settlers of the Seaboard" in Fairmount Park in Philadelphia. He graduated with...

This gestural Claes Oldenburg drawing features subdued watercolor hues of green, orange, brown and grey. Pictured is “Ball”, an unbuilt monument conceived of in 1967 with Oldenburg’s wife Coosje van Bruggen. They imagined two ballcocks – the round mechanism in a toilet tank...

Trees and Sun 1927 Color pastels on ivory wove paper 10.375 x 7.25 inches This work is offered by ClampArt in New York City.

Burton Wasserman Untitled Mid-Century Modern Geometric Abstraction, 1967 Color pencil on thin vellum paper Hand signed and dated by the artist on the front Frame Included: elegantly ...

Untitled (Mill), 19th Century Watercolor on paper 5 x 7 in. Mat: 8 x 10 in. Partial inscription verso