New York City - Drawings and Watercolor Paintings

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. ...

Dina Brodsky's realist miniature gouache painting, Yellow Bird Akimbo, is kinetic and visceral. Clinging to diverging branches, the little yellow shock of a bird is caught betwixt an...

Still Life depicting pink peonies. Signed by the artist on the front. Jean Hannon grew up in Boston and attended the School at the Museum of Fine Arts, Boston and L’Ecole des Beaux ...

Watercolor and gouache on paper Signed, titled, and dated in pencil, verso This artwork is offered by ClampArt, located in New York City. Willy Bo Richardson received an MFA in pai...

Reynolds Beal painted this watercolor entitled “CROSS ROADS, KINGSTON.” in the spring of 1922. The paper size is 4 7/8 x 7 1/8" (12.4 x 18 cm). It is signed in pencil lower right a...

Several bold streaks of ink rush across the page as if dripping off the wings of a bird in flight. This unique watercolor by Geri Taper is signed and titled by the artist. Soaring S...

Finesse and delicacy are what characterize best Antonin Anzil’s artistic practice. Paper as a medium seems incompatible with the idea of engraving or sculpturing; and yet. Using a sh...

Gouache on paper Signed and dated in pencil, l.c. This artwork is offered by ClampArt, located in New York City Born in California, John Button (1929-1982) was educated at Universi...

Graphite on paper Signed, verso This drawing is offered by ClampArt, located in New York City. Price includes framing. About the artist: Chris Ironside is a Toronto-based artist wor...

Gouache on paper Signed and dated, l.l. This artwork is offered by ClampArt, located in New York City Born in California, John Button (1929-1982) was educated at University of Cali...

This unique abstract watercolor on paper is titled "Performers" by artist Geri Taper on the verso. The piece is also signed on the recto. Performers Geri Taper, American (1929–2004)...

Graphite on paper Signed and dated in pencil, l.r. Numbered 103 in pencil, u.r., verso Numbered 1 in pencil, u.l., verso This artwork is offered by ClampArt, located in New York Cit...

Kevin Varner, American (1954 - 2019) - Petrified Sludge Supercollider. Year: 1989, Medium: Color Pencil and Ink on Paper, signed and dated, titled on verso, Image Size: 12 x 18 inch...

Description Hans Hofmann Untitled On the reverse a pencil sketch Pencil on paper 14 x 16 7/8 in. Provenance Herbert Matter, New York / Lillian Heidenberg Gallery, New York / Bunny...

Moses Soyer, American (1899 - 1974) - Double-Sided Anatomy Drawings. Medium: Double-sided Graphite drawing on paper, signed in pencil lower right, Si...

Kevin Varner, American (1954 - 2019) - The Inverse-Parallel Cornucopia-Arachibutyrophobia Syndrome. Year: 1990, Medium: Color Pencil and Ink on Paper, signed and dated, titled on ve...

Kevin Varner, American (1954 - 2019) - Influence of Pyramid Energy on Giant Bacteria. Year: 1991, Medium: Color Pencil and Ink on Paper, signed and dated lower left, Size: 24 x 18 i...

Kevin Varner, American (1954 - 2019) - The Interplanetary Stadium. Year: 1991, Medium: Color Pencil and Ink on Paper, signed and dated, titled on verso, Image Size: 10.5 x 21 inches...

Kevin Varner, American (1954 - 2019) - Recycled Foot is Brought to You by The Committee to Save Animal Fat. Year: 1987, Medium: Color Pencil and Ink on Paper, signed and dated, titl...

Kevin Varner, American (1954 - 2019) - The Center of the Gravity. Year: 1993, Medium: Color Pencil and Ink on Paper, signed and dated lower left, Size: 29 x 29 in. (73.66 x 73.66 cm)

Kevin Varner, American (1954 - 2019) - The Discovery of Superconductive Trapdoor Economics. Year: 1988, Medium: Color Pencil and Ink on Paper, signed and dated, titled on verso, Ima...

Judith Bledsoe, American (1938 - 2013) - Atlanta Olympics Stadium. Year: circa 1996, Medium: Pastel and Collage on Paper, signed l.r., Size: 25 x 19.5 in. (63.5 x 49.53 cm), Descrip...

Kevin Varner, American (1954 - 2019) - Mr. Space Head Lands in The Woods. Year: 1987, Medium: Color Pencil and Ink on Paper, signed and dated, titled on verso, Size: 22.25 x 18 in. ...

Judith Bledsoe, American (1938 - 2013) - Atlanta Olympics - Cat and Torch. Year: circa 1996, Medium: Pastel and Collage on Paper, signed l.r., Size: 25 x 19.5 in. (63.5 x 49.53 cm),...

Kevin Varner, American (1954 - 2019) - The Inner Child at the Edge of Extinction. Year: 1992, Medium: Color Pencil and Ink on Paper, signed and dated lower left, Size: 18 x 40.25 in...

Biagio Civale, Italian/American (1936 - ) - Three Sailboats, Medium: Acrylic on Paper, signed l.r., Size: 13.5 x 24 in. (34.29 x 60.96 cm)

Biagio Civale, Italian/American (1936 - ) - San Francisco, Medium: Acrylic on Paper, signed l.r., Size: 29 x 21.5 in. (73.66 x 54.61 cm)

Robert Beauchamp, American (1923 - 1995) - Untitled, Year: c. 1979, Medium: Mixed Media on Paper mounted on board, signed l.r., Size: 35.5 in. x 80 in. (90.17 cm x 203.2 cm), Fram...

Shlomo Koren, German/Israeli (1932 - ) - Untitled - Lie Detector Test, Year: 1970, Medium: Ink and Collage on Paper, Size: 23 x 29 in. (58.42 x 73.66 cm)

Biagio Civale, Italian/American (1936 - ) - Ship and Sailboat, Medium: Tempera on paper, signed lower left, Size: 18 x 24 in. (45.72 x 60.96 cm)

Biagio Civale, Italian/American (1936 - ) - Sailboat, Medium: Acrylic on Paper, signed l.r., Size: 18 x 24 in. (45.72 x 60.96 cm)

Biagio Civale, Italian/American (1936 - ) - Sailboat 2, Medium: Acrylic on Paper, signed l.r., Size: 30 in. x 22 in. (76.2 cm x 55.88 cm)

Biagio Civale, Italian/American (1936 - ) - Clipper Ships, Medium: Acrylic on Paper, signed l.r., Size: 14.5 x 24 in. (36.83 x 60.96 cm)

Biagio Civale, Italian/American (1936 - ) - Row Boats, Medium: Acrylic on Paper, signed l.r., Size: 22 in. x 30 in. (55.88 cm x 76.2 cm)

Drawing in ink and watercolor of a private yacht. Signed by the artist on the front. Jean Hannon grew up in Boston and attended the School at the Museum of Fine Arts, Boston and L’E...

These collages were created first in the presence of a model, working quickly, in charcoal and pastel, and again, later, alone, furiously tearing and pasting images from magazines, v...

Artist: Franco Fusari, Italian Title: Anna I Year: 2009 Medium: Conte Pastel on Paper, signed Size: 8.3 in. x 19.7 in. (21.08 cm x 50.04 cm) Frame Size: 18.5 x 29 inches

Two Women at Cafe Batia Magal, Israeli (1951) Acrylic and Pastel on Paper, signed lower right Size: 26 in. x 40.5 in. (66.04 cm x 102.87 cm)

In her realist gouache on paper animal miniature, "Green Bird," 2018, Dina Brodsky captures and highlights the full chromatic range of the bird's plumage. The fine detail of the bird...

Eugene Higgins In Foreign Parts, circa 1913 Signed lower right Watercolor on paper Sight 17 x 13 inches Born William Victor Higgins in 1884 to a Shelbyville, Indiana farm family where the only art Victor was aware of as a child was his father's love of flowers. "He loved their forms and their colors, and he tended his garden as a painter might work a canvas." At the age of nine, Victor met a young artist who traveled the Indiana countryside painting advertisements on the sides of barns. He purchased paints and brushes so the young Higgins could practice his own artwork on the inside of his father's barn. He also taught Victor about art museums and especially about the new Chicago Art Institute. This information never left the young artist, and he saved his allowance until his father allowed him at the age of fifteen to attend Chicago Art Institute. He worked a variety of jobs to finance his studies both there and at the Academy of Fine Arts. Victor Higgins traveled to New York in 1908, where he met Robert Henri, who became a significant influence by depicting every-day scenes and stressing the importance of the spirit and sense of place as important factors in painting. Higgins was also greatly affected by the New York Armory Modernism Show of Marsden Hartley in 1913. While Victor Higgins was in Chicago he met former mayor and avid collector Carter H. Harrison who was to prove instrumental in the growth of Higgins career for several years. Harrison agreed to support Higgins for four years to go to Paris and Munich and paint and study in the great museums in Europe. While at the Academie de la Grande Chaumier in Paris (1910-1914) he met Walter Ufer, who was another Chicago artist being sponsored by Carter Harrison. This meeting was not only a life-long friendship, but the beginning of a great change in the way Higgins looked at "American" art. He decided that America needed it's own authentic style rather than the 19th Century classic style he was taught in Europe. Very soon after returning to Chicago in 1914, Harrison sent him and Walter Ufer on a painting trip to Taos, New Mexico for a year in exchange for paintings. Higgins made other similar agreements and was able to support himself with his painting. This trip was a life-changing experience and introduced Higgins to the authentic America he had been looking for. In 1914 Taos was an isolated village about twelve hours from Santa Fe on an impossible dirt road. But the colorful life of the pueblo people and the natural beauty drew a collection of artists who became the Taos art colony, from which the Taos Society of Artists was founded in 1915. Victor Higgins became a permanent resident within a year of his arrival and a member of the society in 1917, exhibiting with Jane Peterson in 1925 and with Wayman Adams and Janet Scudder in 1927. The members would travel around the country introducing the Southwest scenes with great success. He remained a member until the Society's dissolution in 1927. Higgins was the youngest member of the group of seven. Other members were Joseph Henry Sharp, Bert Phillips...

Simon Samsonian (1912 - 2003) Colorful Geometric Abstraction, 1981 Oil on paper 16 x 22 inches Signed and dated lower right Provenance: Estate of the artist This survivor of the Armenian genocide wound up in a Cairo orphanage in 1927. He rose to fame as one of Egypt’s great modernists, but after moving to Long Island late in life he withdrew into anonymity. Now his compelling story is being told. Art historians are finally beginning to realize that the power of abstraction in its early years was a zeitgeist not limited to the major European centers of the avant-garde — Paris, Munich, and Moscow — but one that quickly rippled to major cities throughout the world. Within a few decades that original shock of a new vision had inspired thousands of artists from different cultures — particularly those the Middle East — whose translations were not slavish imitations of works by seminal figures like Picasso, Braque, Malevich, and Kandinsky but creative variants colored by their respective cultures. This essay focuses on an extraordinary Armenian artist, his harrowing survival of the genocide, his rise to fame in Cairo, and his creation of a unique style of abstraction. Art historians have typically formed a chorus that teaches the history of abstraction like this: Just before and during the World War I era, several avant-garde artists emerged to create shockingly different new forms by which artists could express themselves. In Paris, Picasso and Braque broke out with cubism, quickly followed by Mondrian. In Moscow, Malevich created Suprematism, the ultimate hard-edge geometric abstraction. And in Munich, Kandinsky emerged as the father of Abstract Expressionism. Within these few short years a zeitgeist was sensed throughout the art world. American pioneers, too — particularly Stanton Macdonald-Wright and Morgan Russell — felt this explosive freedom of expression. When Europe was recovering after World War I it became clear that Paris would retain its title as capitol of the art world, lasting through the Roaring Twenties and even through the Great Depression. But the end of World War II changed everything. A parallel war had been won by a group of irascible young Abstract Expressionists in New York — led by Pollock, Rothko, DeKooning, and Kline. No sooner had Paris been liberated from the Germans than Picasso, Matisse, Breton, and Duchamp surrendered to the Americans. From that point on New York would be the epicenter of the art world. But a lens that focuses myopically on the war between the avant-garde of Paris and New York misses the wider narrative of multiple aesthetic modernities that developed in the several decades following World War I. For Armenian artists the matter is even more complex owing to the genocide of 1915 where more than 1.5 million people — seventy-five percent of Armenians in the Ottoman Empire — were massacred. Those not shot on the spot were sent on death marches through the Mesopotamian desert without food or water. Frequently, the marchers were stripped and forced to walk naked under the scorching sun until they dropped dead. As a child Samsonian witnessed the murder of his parents and most of the members of his family. Soon thereafter, his older sister, Anahid, quickly shepherded him into a line of children being rescued by Greek nuns. But they became separated and he lost her, too. He was sent to a Greek orphanage in Smyrna (now Izmir), on Turkey’s west coast. Because he only knew his first name, the orphanage gave him a last name based on the place where they found him — Samsun — a major port on Turkey’s north coast on the Black Sea. His birth date was unknown, too. According to Samsonian’s vague recollections he assumed he was about three or four years old at the onset of the genocide, which would place his birth year in 1911 or 1912. In 1922, when Samsonian was about 10, the Turks ended their war with the Greeks by putting Smyrna to the torch in what has been called the “Catastrophe of Smyrna.” Once again, the child was on the run, escaping the fire and slaughter. He found temporary refuge in Constantinople, but within a year that major port would fall to the Turks, too, and become renamed as Istanbul. This time, Samsonian was whisked away to an orphanage in Greece founded by the American charity, Near East Relief — which is credited with saving so many Armenian orphans that the American historian Howard M. Sachar said it “quite literally kept an entire nation alive. Any understanding of Samsonian’s approach to modernism requires careful consideration of the impact of his early years because his art is inseparable from the anguish he experienced. In 1927, when he was a teenager, he was transferred to Cairo, Egypt, then a cosmopolitan city hosting a sizable portion of the Armenian diaspora. There he lived with thirty-two other children on the top floor of the Kalousdian Armenian School. Upon graduating in 1932 he won a scholarship to attend the Leonardo da Vinci Art Institute — an Italian art school in Cairo — where he won first prize in final examinations among one hundred students. He found work with an Armenian lithographic printer and he returned to the Kalousdian Armenian School to teach drawing. In 1939 he married one of his students, Lucy Guendimian. The Cairo in which Samsonian matured as an artist was home to many prominent art collectors after World War I. In this receptive environment Samsonian exhibited widely and won many awards. Beginning in 1937 and for the next thirty years he exhibited annually at the prestigious Le Salon du Caire hosted by the Société les Amis de l’Art (founded in 1921). After World War II he hit his stride as a modernist in Cairo, counting among his peers other artists of the Armenian diaspora such as Onnig Avedissian, Achod Zorian, Gregoire Meguerdichian, Hagop Hagopian...

Artist: Joseph Solman, American (1909 - ) Title: Monhegan Cove Year: 1937 Medium: Gouache on black paper, signed and dated l.c. Size: 8.5 x 12 inches Frame Size: 18 x 22 inches

Andrei Petrov is an American Artist of Russian origins. His paintings are the expression of his lifelong struggle to retain memories of his childhood and life. He writes: "As a chi...

Ink, Pencil and watercolor, signed and dated l.l. Size: 16 x 12 in. Frame Size: 30 x 25 in.

Dana Piazza's creates abstract black and white drawings, full of the illusion of depth, movement, and three-dimensionality. His highl...

Andrei Petrov's Fashionably Late is 9 x 13.5 inches watercolor on paper. The main colors are green, and purple. As it is often the case in Petrov's work, his abstractions acquire, at...

DAVID BRODY Untitled (F221, G3), 2000 16.8 x 21.75 inches; framed in off white wood frame 20.1 x 25.1 inches graphite and colored pencil on isometric graph paper pencil signed and da...

Andrei Petrov is an American Artist of Russian origins. His paintings are the expression of his lifelong struggle to retain memories of his childhood and life. He writes: "As a chil...

George Tzannes's Trees in the Mist is a 4 x 10 inches black and white monotype representing a Greek landscape. Olive and cypress trees populate the landscape. Tzannes is an American ...

Olive trees and olive groves are often the main subject of Tzannes paintings. An American painter of Greek origins, Tzannes visited the Greek island of K...

THOMAS BROOMÉ Untitled (Interior Space), 2007 28.3 x 38.8 inches; framed in white wood 35.6 x 46.6 inches ink on paper pencil signed and dated recto In this intricate rendering of a...

Artist: Richard Davies Title: A Catastrophic Perspective Year: 1991 Medium: Watercolor, graphite, colored pencil, collage, signed in pencil Size: 60 x 40 in. (152.4 x 101.6 cm) Frame...

Sandy Litchfield found peace and inspiration in regular solitary walks through nature throughout the pandemic. Her most recent body of work diaristically documents her constitutional...

Domenick Capobianco (American, b. 1928), Group of 18 Preliminary Drawings, Mixed Media on Paper, one titled "The Great Gambini", signed lower right, each with artist's studio stamp t...

The latest watercolors from Ray Kass strike a balance between audacity and contemplation. Drawing from the Tibetan Buddhist tradition of the Tsakli - sets of miniature...

“WRESTLING” is a watercolor by Joseph Golinkin created circa 1940. This piece is painted to the paper's edge and signed in red paint in the upper left. The watercolor paper size is 20 7/8 x 15 ¾ inches. Joseph Webster Golinkin...

This drawing depicts a moment from one of the longest trials in US history, when Jean Harris, a headmistress of a school for girls in Virginia, was tried f...

Betty Parsons Untitled, 1977 Signed and dated lower right Gouache on paper 5 1/2 x 3 3/4 inches Renowned as an esteemed and legendary art dealer who for more than three decades was...

Church in Prague by Kamil Kubik, Czech/American (1930–2011) Pastel on Paper, signed l.r. Size: 19.5 x 25.5 in. (49.53 x 64.77 cm)

abstract geometric black and white ink drawing on mylar framed in white frame For over twenty years now Patrick Carrara has lived in Brooklyn, where he has maintained a studio and s...