New York City - Drawings and Watercolor Paintings

A still-life painting of wine and fruit by Charles Cobelle. This piece features more muted and neutral colors than his other works and bears his signature in the lower right front co...

Clinton Hill (1922-2003), created quintessential mid-century images, but figures are unusual in his work. This is from a very early period. From 1949 to 1951 he attended the Brooklyn...

Lisa Breslow Central Park Blues 1, 2018 monotype 18 x 44 in. paper size: 24 x 50 in. This original monotype by Lisa Breslow depicts a dreamy cityscape / waterscape in subtle, painte...

Ron Gorchov Untitled early 1960s Abstract Expressionist work, 1962 Ink and watercolor painting on paper Signed and dated in black ink lower left recto Frame included: elegantly floa...

Richard Prince Untitled (de Kooning), 2008 Collage with color offset lithograph, hand-cutting, hand-painting and assemblage with extensive additions in graphite mounted on on inset b...

Kenneth Noland Untitled, 1987 Monotype with hand painting on wove paper Signed and dated in pencil on the reverse, with the artist's initials blind stamped lower right Unique Frame i...

James Childs (1945-2020) Untitled (Standing Male Nude with Ropes and Arm Band) 2010 Signed and dated, l.l. Graphite and pastel crayon on paper 30.5 x 22 inches $3,125

Railroad Worker Industrial WPA American Scene Mid Century Modern Social Realism Jo Cain (1904 - 2003) Railroad worker 36 ¼ x 27 inches Oil on paper c. 1930s S...

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

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

Sol LeWitt Lines in Four Different Directions, 1997 Original drawing in black felt tip pen on postmarked (franked) postcard Signed, dated and inscribed "For Andrew Thanks for the Dra...

"After years of nature-based artwork, in Spring 2020 I became an Anthomaniac. Covid was raging in NYC so I retreated with my family Northwest Connecticut. Nature, for so many of us, ...

Andrea Belag Untitled, from the Lehman Brothers Art Collection, 2003 Watercolor monotype on paper Pencil signed and dated on the front Framed Gorgeous ...

Richard Anuszkiewicz Near and Far Acuity, 1957 Gouache and watercolor painting on board Hand signed and dated 1957 by Richard Anuszkiewicz on the right front Frame included Anuszkie...

JEFF KOONS Original Flower drawing on Michael Jackson and Bubbles poster (Hand Signed), 1992 Drawing done in marker on offset lithograph 25 × 39 inches Hand signed and dated '92 in b...

Joanne Freeman Squares and Strokes (Viridian_22a), 2025 gouache on handmade paper 28 x 20 in. Image: 22 x 14 in. (freem244) My paintings and drawings incorporate elements found in a...

John Frederick Kensett (1816 - 1872) Portrait of an Italian Fencer, circa 1845-47 Watercolor on wove paper 13 1/8 x 8 1/8 inches Signed with initials and inscribed lower right "J.F.K. Rome" From October 1845 through the spring of 1847, Kensett lived in Rome. He attended classes where he sketched from live models, and he sketched in the countryside outside Rome and around Florence, Perugia, and Venice, places he visited with his artist friends. He fulfilled commissions for paintings from Americans in Italy, and by 1847 his career was well established. Son of an English immigrant engraver, John Kensett lacked enthusiasm for that medium and became one of the most accomplished painters of the second generation of Hudson River School painters. His reputation is for Luminism, careful depiction of light, weather, and atmosphere as they affect color and texture of natural forms. He was particularly influenced by the painting of Asher Durand in that he focused on realism and detail rather than the highly dramatic views associated with Thomas Cole. Going to the western United States in the mid 1850s and the 1860s, he was the first of the Hudson River School painters to explore and paint the West. Kensett was born and raised in Cheshire, Connecticut, and learned his engraving from his father, Thomas Kensett with whom he worked in New Haven, Connecticut until 1829. He continued working until 1840 as an engraver of labels, banknotes and maps and was employed part of that time by the American Bank Note Company in New York City. There he met Thomas Rossiter, John Casilear, and other artists who urged him to pursue painting. In 1840, he and Rossiter, Asher Durand, and Casilear went to Europe where Kensett stayed for seven years and supported himself by doing engraving but became accomplished in landscape painting. Having sent canvases of Italian landscapes back to New York, he had a reputation for skillful painting that preceded him. When he returned to New York City in 1847, he was an "instant success" and very sought after by collectors. Two of his Italian landscapes had already been purchased by the American Art Union. By 1849, he was a full member of the National Academy of Design and was generally popular among his peers. His studio was a gathering place with travelers stopping by to see his canvases and to identify "precise locations in the Catskills or Newport or New England in the oil sketches and drawings that covered his walls." (Zellman 170). For the women, he was a popular bachelor, "romantic looking with high forehead and sensitive expression." (Samuels 262) He was also sought after by many organizations. Among his activities were serving on the committee to oversee the decoration of the United States Capitol in Washington DC, and becoming one of the founders of the Metropolitan Museum in New York. An inveterate traveler, Kensett spent summers on painting excursions away from New York City. One of these trips was a special painting excursion with fifteen other artists sponsored by the B & O Railroad from Baltimore, Maryland to Wheeling, West Virginia. Unlike many of the Hudson River painters...

Keith Haring (untitled) 1989 drawing: This original 1980s Keith Haring drawing was executed by the artist on the occasion of Art Cologne Germany 1989. The w...

Ada Peacock, American - Gauchos En Un Asado, Medium: Watercolor and Graphite on Paper, signed and titled in pencil, Image Size: 9.5 x 17 inches, Size: 14.25 x 20 in. (36.2 x 50.8 c...

Leon Dolice Central Park Signed lower left Watercolor on paper 12 x 19 inches The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the young ma...

"#186 – WOUNDED WERE COMING" is from Amy Williams' series A Farewell to Arms – wherein the artist works directly onto pages of a found copy of Ernest Hemingway's WWII romance novel. The artist selects certain words and phrases from page 186 to isolate as a poem, and then draws, inks, redacts and paints the rest of the page according to the text. The resulting poem reads "The wounded were coming / men that were scared / I felt the rain in my face / It was getting dark." – Hemingway's novel is a doomed romance between a wounded American soldier and an Italian nurse – note the feminine form on the page, with a "dress" or apron that looks skeletal, bloody and rained upon, all at once. From Amy Williams – "My recent work is focused on making treated book pages using a found vintage...

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

Wolf Kahn Ocean Cove, 1996 Pastel on paper painting Hand signed and dated by Wolf Kahn on the lower right Frame included: elegantly matted and framed in a wood frame with UV plexigla...

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

Superb provenance: gifted by Hunt Slonem to Andy Warhol muse Monique Van Vooren. A unique work with a unique, personal inscription and historic provenance - hand signed three times. ...

This is a hand painted oil and mixed media artwork on canvas by internet sensation mad charcoal He is represented by Krause Gallery NYC Ships rolled in ...

Adolf Arthur Dehn Haitian Scene A, ca. 1951 Watercolor gouache on board Signed on the front Frame included: held in vintage modern frame Measurements: Framed: 11 inches vertical by 13 inches horizontal by .75 Painting 4.5 inches by 6 inches Watercolor gouache, hand signed; framed with AAA Gallery label verso Signed on the front bearing the original label on the verso of Dehn's longtime gallery, the prestigious Associated American Artists Gallery, New York City. Provenance Associated American Artists Frame included: held in vintage frame with original label as provenance Dehn, an influential artist and teacher (and author of the definitive textbook of his era on watercolor painting) joined Associated American Artists gallery in 1941. Although this painting is undated, it is likely circa early 1950s, as in 1951 Dehn won a Guggenheim Fellowship, which enabled him to travel to Haiti -- the subject of this work. It was part of a series inspired by Dehn's visit to Haiti. Dehn, an influential artist and teacher (and author of the definitive textbook of his era on watercolor painting) joined Associated American Artists gallery in 1941. Although this painting is undated, it is likely circa early 1950s, as in 1951 Dehn won a Guggenheim Fellowship, which enabled him to travel to Haiti. ADLOF DEHN Adolf Dehn, American Watercolorist and Printmaker, 1895-1968 Adolf Dehn was an artist who achieved extraordinary artistic heights, but in a very particular artistic sphere - not so much in oil painting as in watercolor and lithography. Long recognized as a master by serious print collectors, he is gradually gaining recognition as a notable and influential figure in the overall history of American art. In the 19th century, with the invention of the rotary press, which made possible enormous print runs, and the development of the popular, mass-market magazines, newspaper and magazine illustration developed into an artistic realm of its own, often surprisingly divorced from the world of museums and art exhibitions, and today remains surprisingly overlooked by most art historians. Dehn in many regards was an outgrowth of this world, although in an unusual way, since as a young man he produced most of his illustrative work not for popular magazines, such as The Saturday Evening Post, but rather for radical journals, such as The Masses or The Liberator, or artistic "little magazines" such as The Dial. This background established the foundation of his outlook, and led later to his unique and distinctive contribution to American graphic art. If there’s a distinctive quality to his work, it was his skill in introducing unusual tonal and textural effects into his work, particularly in printmaking but also in watercolor. Jackson Pollock seems to have been one of many notable artists who were influenced by his techniques. Early Years, 1895 - 1922 For an artist largely remembered for scenes of Vienna and Paris, Adolf Dehn’s background was a surprising one. Born in Waterville, Minnesota, on November 22, 1895, Dehn was the descendent of farmers who had emigrated from Germany and homesteaded in the region, initially in a one-room log cabin with a dirt floor. Adolf’s father, Arthur Clark Dehn, was a hunter and trapper who took pride that he had no boss but himself, and who had little use for art. Indeed, during Adolf’s boyhood the walls of his bedroom and the space under his bed were filled with the pelts of mink, muskrats and skunks that his father had killed, skinned and stretched on drying boards. It was Adolf’s mother, Emilie Haas Dehn, a faithful member of the German Lutheran Evangelical Church, who encouraged his interest in art, which became apparent early in childhood. Both parents were ardent socialists, and supporters of Eugene Debs...

5186 NYC skyline lithograph

Tess Michalik Heavy Bounty, 2025 oil on yupo 38 x 25 in. (mic035)

Marilla Palmer Kissing the Stamen, 2025 watercolor, sequins, pressed petals, Durabrite prints, stitching on Arches cold press paper 30 x 22 in. (pal255) Marilla Palmer lives and wo...

Agatha Wojciechowsky Untitled Concert Hall Abstraction Watercolor, 1964 Watercolor on thick wove paper (with original label from Cordier & Ekstrom Gallery) Signed and dated by the artist on the lower-right front 19 3/4 × 15 inches Unframed Dazzling 1960s, modern abstraction watercolor piece. This work was acquired from the legendary Cordier & Ekstrom Gallery Agatha Wojciechowsky (1896 -1986) was recognized during her lifetime as a Surrealist. Although not following an art movement, her work reflected the sentiment of Art Informel of the 1950's. She had solo exhibitions from the 1960's to the present in New York, Cologne, Berlin, and Hamburg. Group exhibitions included shows with Man Ray, Marcel Duchamp, Jean Dubuffet, Isamu Noguchi, Francis Picabia, Romare Bearden. Her artwork can be found in numerous public collections including Museum of Modern Art, the Prado, the Menil Collection, the Art Institute of Chicago, and the Whitney Museum. Agatha lived her earlier years in Steinach de Saale, and then sailed to the United States in 1923 to be a German-speaking governess in a German baron...

Andy Warhol Hermann Hesse, circa 1984 Estate stamp "The Estate of Andy Warhol & The Andy Warhol Foundation for the Visual Arts #VF115.188" on the verso Graphite on paper 31 1/2 x 23 ...

A large minimal abstract painting on paper by Yasmin Brandolini. Artist: Yasmin Brandolini d'Adda, South African/Italian (1929 - ) Title: 17 Year: 1986 Medium: 40 x 60 in. (101.6 ...

This radiant purple pink poster was designed by Jim Dine for a production of Gilbert and Sullivan at New York City Center in 1968. The stripe down...

This drawing by James Childs is offered by CLAMP in New York City.

Clinton Hill (1922-2003), created quintessential mid-century images, but figures are unusual in his work. This is from a very early period. In 1951 Hill studied at the Academie de la...

Anatole Krasnyansky, Ukrainian/American (1930 - ) - Regal Arrival, Year: 2008, Medium: Watercolor and Acrylic on handmade Japansese paper, signed lower left, Size: 27.25 x 20.25 in....

Keith Haring Crawling Baby drawing circa 1983: This rare original, early 1980s Keith Haring drawing was executed by the artist on printed material from ...

Eve Nethercott, American (1925 - 2015) - Maine Seagull (38), Year: 1961, Medium: Watercolor, Size: 11 in. x 15 in. (27.94 cm x 38.1 cm), Description: Perched on a wooden post, ...

This exquisite miniature painting by Dina Brodsky, a celebrated contemporary miniaturist, depicts a brilliantly colored pheasant perched on a branch, rendered with remarkable precisi...

Artist: Roberto Estopiñan, Cuban (1921 - 2015) Title: Homenaje de Camilla Claudel 5 Year: 1992 Medium: Conte Crayon and Pencil Drawing on Alcantara h...

James Childs (1945-2020) 2012 Signed and dated, l.l. Graphite and charcoal on paper 24 x 19 inches Contact gallery for price.

Lois Dodd Untitled Landscape, 1990 Colored chalk on grey wove paper Signed, dated and inscribed "For Beverly & Howard", lower right. Original artist's frame included This unique work...

Artist: Thomas Strickland, American (1923 - 1999) Title: Woman in Blue Year: circa 1970 Medium: Pastel on Paper, signed Size: 21.5 in. x 17 in. (54.61 cm x 43.18 cm) Frame: 27 x 22.5...

British-born, New Jersey-based, George Drittler was primarily know for landscapes. In this still life that expansive approach serves him well. Richly drawn, with pottery, books and a...

David Hockney Hockney Paints the Stage (Signed and inscribed to Walker Museum trustees), 1983 Original acrylic, watercolor and ink painting done on title page of monograph (Signed an...

An original painting by contemporary American painter, Murray Reich. Nicely framed. House and Sky by Murray Reich, American (1932–2012) Date: 1980 Acrylic and Collage on Paper, sign...

Sandy Litchfield’s "Latent" reflects her signature approach of transforming landscapes into lyrical, abstracted visions. Drawing from memory, walking, and direct observation, Litchfi...

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

Margot Glass explores the fragility of communication, and people’s natural drive to find narrative in even the most ordinary of objects. In her Envelopes series, Glass works in water...

Mark di Suvero To England with Love, ca. 1992 Graphite and marker on collaged art paper Signed and inscribed in marker Unique Measurements: Matting: 12.25 inches vertical by 13 Artw...

Linda Stein, Courante 418.030 - Signed Feminist LGBTQ+ Colorful Ink, Color Pencil, and Graphite on Paper Drawing Courante 418.030 is from Linda Stein's Profiles Notation series--d...

Linda Stein, Profile Notation 418.024 - Signed Feminist LGBTQ+ Colorful Ink, Color Pencil, and Graphite on Paper Drawing Profile Notation 418.024 is from Linda Stein's Profiles ser...

Eve Nethercott, American (1925 - 2015) - Flowers (P6.49), Year: 1948, Medium: Watercolor on Paper, Size: 22 x 15 in. (55.88 x 38.1 cm), Description: Set against a washed back...

Linda Stein, Profile Notation 418.022 - Signed Feminist LGBTQ+ Colorful Ink, Color Pencil, and Graphite on Paper Drawing Profile Notation 418.022 is from Linda Stein's Profiles ser...

Alexander Calder Preliminary drawing for the Spinner, 1966 Signed lower right Felt tip pen on paper Overall 27 x 15 1/2 inches Individual sheets 8 x 10 1/2 inches Alexander Calder ...

Blanche Grambs, whose career started with the WPA, was an extremely skilled draftsperson. Her birds are masterful. Although we use the word 'pencil' fo...

Artist: Gerald Fairclough, American (1946 - ) Title: Nude Year: 1977 Medium: Pastel Drawing, signed and dated Size: 25 x 35 in. (63.5 x 88.9 cm) Frame Size: 33 x 43 inches

Linda Stein, Profile Notation 418.023 - Signed Feminist LGBTQ+ Colorful Ink, Color Pencil, and Graphite on Paper Drawing Profile Notation 418.023 is from Linda Stein's Profiles ser...

Jennifer Bartlett Summer, Iceland #5, 2000 Pastel on paper 30 x 44 1/4 inches (sheet) Unsigned