USA - Drawings

Capture the timeless elegance of haute couture with this original fashion sketch attributed to Jacques Fath, circa 1950. Rendered in delicate watercolor, this striking illustration f...

Robert j Moreau "Harms Way" #28 Pen and ink circle drawing 22.5 x 30 unframed

G. B. Piranesi, in his fifties, was interested in archaeology and studied in Southern Italy where he produced drawings of Greek architecture. Medium: Etching on laid paper. Year: c...

Pair of 1930s drawings if sleeping babies by P. Cazot.

Detailed 18th century style framed pastel bouquet drawing. Intricate burl wood and ebonized wood period frame. Very decorative.

A contemporary abstract pen and ink wash on paper titled "Rufescent" by Paul VerBurg. Hand signed lower right. Deep reds and smoky violets anchor the work with geometric blocks, whil...

Calming blue abstract Zebras in watercolor and or gouache on paper, signed Virginia P 25 H x 27.5 x .75Thick (frame), Art 14 x 21 Original preowned unrestored vintage condition. Mat ...

From 1957 comes this fabulous pair of abstracted still lifes by listed artist Emil Weddige. Striking Mid-Century art at its best. One is a drawing (top -- black and white with ochre...

Frank Poole Bevan (1903-1976) Studied at Yale and a Professor of Theatrical Design, Yale School of Drama from the 1930's through 1971. Offering an annotated and signed original costume design watercolor...

Original pen and ink drawing, "overall abstraction" of expressive markings, signed/dated lower right. Paper size: 27 x 40", image size 22...

A fine French 19th century etching and drypoint Titled "Soirée d'été" (Summer Evening) by Jacques Joseph Tissot (French, 1836-1902) depicting Mrs. Kathleen Newton resting on a lounge chair. Signed and dated (l/l): J.J. Tissot, 1881 in the plate. Under the mat, the front of the sheet inscribed in pencil with a '1' in a circle, the verso of the sheet with old price inscription "450-" in pencil. Circa: 1881-1882. Measures: Plate Height: 9 inches (22.9 cm) Plate Width: 15 1/2 inches (39.4 cm) Sheet Height: 14 1/2 inches (36.8 cm) Sheet Width: 20 5/8 inches (52.4 cm) Frame Height: 19 inches (48.3 cm) Frame Width: 24 1/2 inches (62.2 cm) Frame Depth: 1 1/8 inches (2.9 cm) Literature: Wentworth 56. Note: Tissot's from 1881 is said to depict his lover, the Irish divorcee Mrs. Kathleen Newton, resting on a lounge chair. Provenance: Private collection, Los Angeles, California Jacques Joseph Tissot (French, 15 October 1836 – 8 August 1902), Anglicized as James Tissot, was a French painter and illustrator. He was a successful painter of Paris society before moving to London in 1871. He became famous as a genre painter of fashionably dressed women shown in various scenes of everyday life. He also painted scenes and characters from the Bible. Jacques Tissot was born in the city of Nantes in France and spent his early childhood there. His father, Marcel Théodore Tissot, was a successful drapery merchant. His mother, Marie Durand, assisted her husband in the family business and designed hats. A devout Catholic, Tissot's mother instilled pious devotion in the future artist from a very young age. Tissot's youth spent in Nantes likely contributed to his frequent depiction of shipping vessels and boats in his later works. The involvement of his parents in the fashion industry is believed to have been an influence on his painting style, as he depicted women's clothing in fine detail. By the time Tissot was 17, he knew he wanted to pursue painting as a career. His father opposed this, preferring his son to follow a business profession, but the young Tissot gained his mother's support for his chosen vocation. Around this time, he began using the given name of James. By 1854 he was commonly known as James Tissot; he may have adopted it because of his increasing interest in everything English. In 1856 or 1857, Tissot travelled to Paris to pursue an education in art. While staying with a friend of his mother, painter Elie Delaunay, Tissot enrolled at the Ecole des Beaux-Arts to study in the studios of Hippolyte Flandrin and Louis Lamothe. Both were successful Lyonnaise painters who moved to Paris to study under Jean-Auguste-Dominique Ingres. Lamothe provided the majority of Tissot's studio education, and the young artist studied on his own by copying works at the Louvre, as did most other artists of the time in their early years. Around this time, Tissot also made the acquaintance of the American James McNeill Whistler, and French painters Edgar Degas (who had also been a student of Lamothe and a friend of Delaunay), and Édouard Manet. In 1859, Tissot exhibited in the Paris Salon for the first time. He showed five paintings of scenes from the Middle Ages, many depicting scenes from Goethe's Faust. These works show the influence in his work of the Belgian painter Henri Leys (Jan August Hendrik Leys), whom Tissot had met in Antwerp earlier that same year. Other influences include the works of the German painters Peter Von Cornelius and Moritz Retzsch. After Tissot had first exhibited at the Salon and before he had been awarded a medal, the French government paid 5,000 francs for his depiction of The Meeting of Faust and Marguerite in 1860, with the painting being exhibited at the Salon the following year, together with a portrait and other paintings. Émile Péreire supplied Tissot's painting Walk in the Snow for the 1862 international exhibition in London; the next year three paintings by Tissot were displayed at the London gallery of Ernest Gambart. In about 1863, Tissot suddenly shifted his focus from the medieval style to the depiction of modern life through portraits. During this period, Tissot gained high critical acclaim, and quickly became a success as an artist. Like contemporaries such as Alfred Stevens and Claude Monet, Tissot also explored Japonisme, including Japanese objects and costumes in his pictures and expressing style influence. Degas painted a portrait of Tissot from these years (Metropolitan Museum of Art, New York), in which he is sitting below a Japanese screen hanging on the wall. Still on Top, 1873 Tissot fought in the Franco-Prussian War as part of the improvised defense of Paris, joining two companies of the Garde Nationale and later as part of the Paris Commune. His 1870 painting La Partie Carrée (The Foursome) evoked the period of the French revolution. Either because of the radical political associations related to the Paris Commune (which he was believed to have joined mostly to protect his own belongings rather than for shared ideology), or because of better opportunities, he left Paris for London in 1871. During this period, Seymour Haden helped him to learn etching techniques. Having already worked as a caricaturist for Thomas Gibson Bowles, the owner of the magazine Vanity Fair, as well as exhibited at the Royal Academy, Tissot arrived with established social and artistic connections in London. Tissot used...

Set of four etchings by American artist William Goodrich Beal, circa 1880s. Scenic Massachusetts coastal towns and beaches. All signed in ...

Charcoal Drawing of Ulysses S. Grant, 18th President of the United States, unframed, artist unknown. There are a total of 5 of these portraits available, collect one or all five for ...

Vintage Matted and Framed Artwork , possibly Pencil on Paper. Signed in the Lower Corner as Pictured. Vintage Condition Consistent with Age as Pictured. Dimensions. 15 W ; 1/2 D ; 18 H

A fascinating and richly detailed antique map of Cumberland County in northwest England, drawn and published by the celebrated English cartographer John Spe...

Original charcoal on paper Landscape signed and dated by artist Irene Radcliffe in black wood frame. This beautiful charcoal landscape by artist Irene Radcliffe depicts a peaceful sc...

Very well drawn piece of art signed Leonce Pelletier, dated 1932. This subtle work depicts the very well known fish market in Nice, France most likel...

Fritz Rauh drawing on paper, dated 1981. Painting has been professionally reframed. Framed it measures 19.25" wide, 1.5" deep and 20.75" high. Unframed it measures 7.75" wide and 9" high. About the Artist: Fritz Rauh (born 1920) studied for four years at the Braunscgweig Art School and Academy (1952), Germany. Came to the United States in 1954 and became associated with Richard Bowman, Lee Mullican...

River Scene, "Les Bords du Cher à Poitiers"
Signed bottom right and situated bottom left.
Edouard Henri Theophile Pingret (Saint Quentin 178...

Depicting a duck hunter in a boat dressed as a decoy, the caption reading "Quack". Drawn with pencil on illustration board and tracing paper (overlay) in p...

Clearly created by a master, this pencil drawing of a nude male figure is signed and dated 1947. The diffused lines and areas of rubbed pencil and erasure give this drawing a comple...

Executed in expressive, confident strokes, this English charcoal drawing captures the head and neck of a galloping horse, its mouth open and bridle taut in motion. Dating to circa 19...

Pair of whimsical surrealist oil on panel paintings in shadow boxes. Signed.

Detailed 18th century style framed pastel bouquet drawing. Intricate burl wood and ebonized wood period frame. Very decorative.

Architectural landscape drawing. Top piece of paper has been cut into unique shape. Part of top paper has inch deep tear. Appears to depict a campus. Piece is professionally framed w...

Alfred Owles (1894-1978) "The Long Wait" original watercolor, circa 1970s Fine watercolor of two cowboys waiting for the stagecoach in an American West...

Signed and numbered Yaacov Agam, colors of love, Serigraph.

The antique Italian drawing in pen-and-ink and wash pictures a landscape of a stone bridge, archway, trees and people in the Renaissance style. The drawing is set within a two-tone d...

Pair of rare signed Art Deco lithographs by Boris Lovet-Lorski. Lacquered wood frames. Boris Lovet-Lorski (1894-1973), sculptor, lithographer, a...

Framed Charcoal Drawing, Signed and Dated 1938

Late Georgian period Mezzotint Etching print By English Artist Henry Pidding titled Massa Out “Sambo Werry Dry”. The print features a young man seated by a table on which are keys ma...

Ash wood frame, glass, charcoal on paper. Charcoal study of sculpture.

Important work by this founding member of the Bokujin group. Signed lower right with the artists seal. Measures: 21" x 14".

White Bunny Drawing by Oleg Cassini for Playboy October 1979, Signed. Illustration of a woman wearing a white body suit, choker, and hat. Signed by Oleg Cassini. Notice the body suit is in the shape of the head of a bunny with clever use of the 'whiskers'. Approximate Measurements: Length: 11" Width: 14" Property from the Collection of Steven Rosengard, Chicago, Illinois This original drawing was commissioned by Playboy and included in the October 1979 issue of Playboy Magazine (pages 225-227) in a feature that included works from designers such as Bill Blass, Oleg Cassini, Edith Head, Fernando Sanchez, and Monika Tilley, among others, who create their versions of the Playboy bunny costume. Candace Collins can be seen modeling some of the designs in the feature. Oleg Cassini is an icon of twentieth-century fashion. Though born to Russian aristocracy and raised in Italy, he built a fashion empire that was unmistakably American. Cassini is perhaps best known for the hundreds of designs he created for First Lady Jacqueline Kennedy (see images 4-8), but his achievements as a collector, connoisseur, and quintessential twentieth-century man go far beyond Camelot. In 1913, Oleg Cassini was born in Paris to the Russian diplomat Count Alexander Loiewski and Countess Marguerite Cassini, a Russian aristocrat of Italian ancestry who also had an interesting link to America. The daughter of Count Arthur Cassini, Russian Ambassador to the United States during the McKinley and Roosevelt administrations, Marguerite dazzled turn-of-the-century Washington as her father’s official hostess and left her mark on the capital city. Stationed in Denmark when the Russian Revolution toppled the czar, Ambassador Cassini and family were exiled to Switzerland before settling in Florence, Italy, where young Oleg was raised. A true Renaissance man, he spoke Russian, French, and Danish before adding Italian and English; he studied medieval and modern European military history and costume and learned to draw; he learned horseback riding, fencing, and the art of chivalry; and, most importantly, he came to understand the struggles of the Russian titled class and other European aristocrats in the wake of the Russian Revolution and World War I. Countess Cassini started a successful fashion business in Florence, and soon the talented young Oleg was sent to Paris to sketch the latest collections for recreation in Italy. In Rome in his early 20s, Cassini created fashions for high society women and designed for a few films, which planted the seed for his move to Hollywood. The drive to reinvent himself brought Cassini to America in the 1930s; in his autobiography he describes arriving nearly penniless in mid-Depression New York City where his title as an exiled Russian Count meant even less than in war-devastated Europe. Down and out, Cassini struggled for employment, having sketching skills but no knowledge of the wholesale trade required for survival in Manhattan’s Seventh Avenue fashion district. However, he excelled at making connections, and Cassini slowly entered New York society. He was soon joined by younger brother Igor (who had studied in America and travelled with the young Emilio Pucci) and his parents, the once-dazzling Countess and his father, the displaced diplomat still loyal to Russia. The family settled in Washington, D.C., and Igor worked his way up the Hearst newspaper chain to become the famous society columnist Cholly Knickerbocker. In New York, Oleg Cassini married the troubled socialite Merry Fahrney (who would go on to marry eight times), but the marriage ended in scandal for Oleg, and he decided to follow his original intention and head for Hollywood. Despite initial difficulties, Cassini gained access to Hollywood’s elite (partially through his skills on the tennis court), and was soon hired as a designer at Paramount Pictures alongside the redoubtable Edith Head. In her 1941 film debut I Wanted Wings, Veronica Lake wore a memorable Cassini design. That same year, Cassini met and married the newest young Hollywood star on the scene, the beautiful 20th Century Fox–talent Gene Tierney. With the outbreak of World War II, Cassini enlisted in the Coast Guard but was transferred to the U.S. Army Cavalry which allowed officers of foreign birth. He attended basic training at Fort Riley, Kansas, and the horsemanship he learned as a boy served him greatly. He attended Officer Candidate School and reached the rank of First Lieutenant (he also became an American citizen at this time, losing his title of Count). Cassini spent several years posted at Fort Riley, where Tierney joined him before he landed a convenient military post in Hollywood. As Tierney’s career thrived (she played the title role in Otto Preminger’s Laura in 1944), she was able to assert her influence over 20th Century Fox’s head Daryl Zanuck, who hired Cassini as designer for Tierney on her 1946 film The Razor’s Edge, which proved to be a brilliant showcase for his talents. The pair separated the same year and, again seeking reinvention, Cassini re-established himself in New York City as a fashion designer. By 1950, the Oleg Cassini label was born. Combining his knowledge of Old World and modern Europe, Hollywood, the tennis courts of Palm Beach and Newport, and of course, New York City, Oleg Cassini invented a new brand of fashion that was distinctly American and of its moment. For his first collection, Cassini took to the stage, narrating the looks and imbuing the scene with his personality, unusual in an industry where the designers typically remained backstage and the models were called by number over a PA. The first collection was a smash — the president of Lord & Taylor devoted all of their storefront windows to his designs — and by 1955 sales had reached $5,000,000. Oleg Cassini’s career had turned a very positive corner. Cassini spent the early 1950s traversing the country, personally selling his collections to department stores in the interior, something his predecessors had never done, and moving between the Hollywood and New York scenes. Cassini’s brother Igor coined the term “the Jet Set” for this generation that constantly flew from New York to Los Angeles (then a ten-hour flight), Las Vegas, Paris, Rome, and the Riviera. In 1954, Cassini set out to woo Grace Kelly and sent her roses every day. The two were briefly engaged before her marriage to Prince Rainier of Monaco. In December 1960, Cassini’s career-defining opportunity came when he was chosen by Jacqueline Kennedy to design her fashions for the White House. Cassini had long known Joe Kennedy and his war-hero son John, and had first met Jacqueline Bouvier before her marriage in the early 1950s. Invited by President-Elect Kennedy to meet Jacqueline at Georgetown Hospital (she had just given birth to son John Jr.) to present to her drawings of potential dresses and First Lady looks, Cassini worked furiously to prepare a new line for the First Lady. Mrs. Kennedy had always had her clothes made by the top French couturiers of the day, but for the White House she wanted an American designer. Cassini wrote in his autobiography that he told the First Lady: “‘You have an opportunity here,’ I said, ‘for an American Versailles.’ She understood completely what I was trying to communicate; she began to talk excitedly about the need to create an entirely new atmosphere at the White House. She wanted it to become the social and intellectual capital of the nation” (Oleg Cassini, In My Own Fashion, 1987, p. 327). Mrs. Kennedy loved Cassini’s design for a gown to wear to the Inaugural Gala (she had already ordered a dress from Bergdorf’s for the Inaugural Ball), and Cassini was selected as the First Lady’s designer and was soon dubbed the “Secretary of Style.” From 1960 to 1963, Oleg Cassini would design over 300 items for Mrs. Kennedy, creating the “Jackie Look” that contributed not only to a fashion revolution but also the dawn of a new age. Cassini wrote that “Jackie played a very active role in the selection of her clothes. She loved brilliant colors — pistachio, hot pink, yellow, and white among others. Her sense of style was very precise; she would make editorial comments on the sketches I sent her. She always knew exactly what she wanted; her taste was excellent” (Oleg Cassini, In My Own Fashion, 1987, p. 334). After the Camelot years, Cassini’s business flourished and grew into a major industry; his name appeared on everything from couture to tennis-, sport-, and swimwear, car interiors, housewares, and perfume. He collected beautiful and rare artwork, arms and armor, and antique furniture, and lived the lifestyle projected by his image. From this period onward, Cassini also came to live in important homes. Of his Gothic Gramercy Park townhouse on Manhattan’s 19th Street he would write imaginatively, “I walked into the foyer and immediately fell in love. It was a place unlike any other in New York, a sixteenth-century Dutch house transported brick by brick from Europe by the Wells Fargo family in the early twentieth century. There was a vaulted, twenty-foot ceiling in the living room, leaded windows, elegantly carved wood paneling...

Post-WWII nude tropical color pencil drawing artwork Signed "Schultz" featuring a nude Hawaiian dancer in a skirt.

18th century French study of a painting of an allegory. Gold giltwood frame with salmon color moiré fabric around matting. Drawing measures 6" H x 8.5" W. Much of the white you see ...

Master Drawings the Oppé Collection. 5 December 2006, Christie's London. 1st Ed softcover auction catalog. NPT Books, a division of Trent Antiques, has a large collection of used a...

Figurative pastel painting of mother and child drawing on paper by Leon Pierre Collard (1916-2011). This drawing is rendered nicely and the im...

The pair of gouaches with views of a volcanic eruption during the day and the night

A group of four pochoir illustrations by artist and designer E.A. Séguy from the early 1920's. Working in both Art Deco and Art Nouveau styles, his brightly colored patterns were in...

Stunning abstract composition by John Monti. John Monti (1957-) is one of the upcoming "undiscovered" artists of his generation. This piece, dated 1987, belongs to his early period. John Monti has exhibited regularly in New York since the mid-1980s. Against a fluctuating backdrop of stylistic convulsion he has single-mindedly pursued his own ideas. Monti's work is ingeniously devised and fabricated. His earliest wood sculptures, suggesting unlikely mergers of Constructivism and West African...

A charming 1956 Robert Freiman watercolor and ink on paper. Robert J Freiman (b. 1917 - d. 1991), deaf from birth, was born in New York City and attended the Lexington School for the Deaf. He studied art at the National Academy of Design, Pratt Institute, the Art Students League, the Parsons School of Design, and, in Paris, at the Ecole des Beaux Arts. Freiman’s spectrum of styles evolved considerably over the course of his long career, ranging from early portraiture and realistic landscape to mixed-media works using watercolor, acrylic, and pen. He was a regular exhibitor at the Sidewalk Art...

A group of four pochoir illustrations by artist and designer E.A. Séguy from the early 1920's. Working in both Art Deco and Art Nouveau styles, his brightly colored patterns were in...

Loren Maciver (American 1909-1998) drawing of fruit conte crayon on pastel paper. Measures: Matted and framed 13 1/2" x 14 5/8", sight size 8 1/8" x 7 3/8".

An elegant, expressive, black ink drawing by Robert Freiman, signed and dated 1956. Robert J Freiman (b. 1917 - d. 1991), deaf from birth, was born in New York City and attended the Lexington School for the Deaf. He studied art at the National Academy of Design, Pratt Institute, the Art Students League, the Parsons School of Design, and, in Paris, at the Ecole des Beaux Arts. Freiman’s spectrum of styles evolved considerably over the course of his long career, ranging from early portraiture and realistic landscape to mixed-media works using watercolor, acrylic, and pen. He was a regular exhibitor at the Sidewalk Art...

Famous for his attenuated, highly stylized horses, hounds and other animals, often executed in iron or ceramic, William Hunt Diederich was one o...

Vintage black wood framed sketch of two cows, from the Book Peinture et Dessins de Paul Jouve. Dated circa 1930. Not an original Paul Jouve drawing. Sk...

French 1940s gouache on paper. Custom framed with sandblasted oak frame with acid free paper and UV glass.

Pair of whimsical surrealist oil on panel paintings in shadow boxes. Signed.

A monumental portrait illustration in pastel chalk on paper. Created by the late Oklahoma artist Clair Seglem, this striking piece of artwork is de...

Tall portrait painting on paper of a French man. The young man is wearing a long sleeve red and a white stripe shirt. His sleeves are pulled up to his elbows, and a red belt cinches ...

Vintage Ivan Jordell Abstract Pastel On Paper Artwork New Mat with original frame. Image Size: 10" x 13 1/2"

Detailed 18th century style framed pastel bouquet drawing. Intricate burl wood and ebonized wood period frame. Very decorative.

Three gorgeous early 19th century architectural prints by Louis-Pierre Baltard de la Fresque (1764-1846).

Reclining female nude in an upholstered club chair .on paper ,done with colored crayon.. signed in black upper left and in yellow upper right .. The drawing was observed out of fram...

Charles Lamson Swasey (American New Bedford Massachusetts, 1815-1888). This wonderful grand tour graphite on paper drawing was done in December 1839 and depicts the remains of the ...

Fabulous small Impressionist painting attributed to French painter, Louis George Eleonor Roy (1862-1907) either gouache or water color on ...

French 1940s gouache on paper. Custom framed with sandblasted oak frame with acid free paper and UV glass.

Stark and sensuous at the same time, this drawing was made by Robert Lamb in 1953, shortly after he graduated from the prestigious Rhode Island School of Design. Although primarily k...

These two drawings by the same hand are unsigned. Done in Sanguine on paper the nudes appear to both be different aspects of the same individual since both works have the same facial...