Recognized Dealers Drawings and Watercolor Paintings

Signed lower right

Medium: Pen and Ink on Cardstock Signature: Signed Lower Right Caricature by George Wachsteter (1911-2004) of the supporting players in 1947 Broadway production of Terence Rattigan`s `The Winslow Boy` at the Empire Theatre. The engaging drama, based on a true incident in Edwardian-era England, was directed by Glen Byam Shaw, starred Frank Allenby & Madge Compton (not shown) and ran 10/29/47 - 05/01/48, for 214 performances. The four depicted are Michael Kingsley, George Benson...

Signed Lower Right

Medium: Charcoal on Board Signature: Signed "W.B. King" Lower Right The Negotiation. Likely a story illustration for The Saturday Evening Post, circa 1915.

George Emerick Essig (American, 1838-1923) Jersey Shore Watercolor on paper, 12 3/4 x 26 x 1/2 inches FRAMED: 22 x 35 1/2 inches (approx.) Signed at lower right: "Geo. E. Essig" Ge...

An Alluring, Finely Drawn 1950s Mid-Century Modern Female Nude Figure Study by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). Ink on paper, dating from 1951. Artwork size: ...

The series Geometric Alphabet is part of my series Geometric Abstract, in which the abstract game is used in the form of asemic writing with geometric shapes. Here Peters recreates h...

Untitled (Seated Young Woman) Graphite on Veritable Papier d'Arches wove paper, 1970 Signed and dated lower right (see photo) Condition: Excellent Image/sheet size: 15 x 11 1/4 inch...

A Fine, Mid-Century Modern 1950s Drawing of a Young Male Nude Carrying a Palette of Bricks by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). A well executed figure study dra...

Medium: Charcoal and Ink Wash on Board Dimensions: 23.50" x 30.00" Signature: Signed Lower Right

Female Nude (Double-sided drawing) Recto: Reclining Nude Verso: Seated Nude Signed in pencil lower right, recto (see photo) Pen and ink with colored chalk, c. 1925 Condition: Repaire...

“She sat staring at him, horribly fascinated” Illustration for the book "Babs the Impossible" by Sarah Grand (Harper & Brothers), 1900, opp. page 286. Medium: Gouache and watercolo...

Medium: Watercolor and Gouache on Board Sight Size 6.00" x 8.00"; Framed 13.00" x 15.00" Signature: Signed Lower Right Likely done either for a magazine cover or for a postcard. Rev...

A captivating 1950s textile design in black and brown ochre tones with wedge star pattern by noted set and costume designer Andre Delfau. Born in Par...

Matt Magee Double Pyramid Thought Form, 2019 Oil on aluminum 25 1/2 x 19 1/4 in (64.8 x 48.9 cm) JPHB 5837

Untitled (Surrealist rendering of Pyramids at Giza with alligator) watecolor and gouache on paper, 1960 Unsigned Beni Kosh estate stamp No. 717 verso, unsigned. (see photo) Condition: Minor condition issues minor folds Not objectionable Image/Sheet size: 18 1/4 x 24 inches Provenance: Estate of the Artist Bingham Vance, Shaker Heights...

Unsigned Graphite on paper

Leopold Survage (1879-1968) Untitled (Woman Standing) Graphite on paper, 1933 Signed in pencil by the artist: Survage Signed with the estate stamp lower right Signed in pencil "LS" f...

Portrait of Dr. Auguste Soins Black chalk on paper, c. 1883 Signed with the artist’s estate stamp, Lugt 1305a lower right (see photo) Note: This possibly is the preliminary drawing f...

GUIA FEDEX and DHL. Tracking, Diptych by Rodrigo Spinel From the series Terms and Conditions Chinese ink on Fabriano paper 250 g. Overall Frame size: 52 cm H x 86 cm W x 4 cm D Over...

Study of an Indian Model Unsigned Pastel and chalk on blue paper, mounted to support Provenance: Estate of the artist (per Graham and Sons, agent for the estate) James Graham & Sons,...

Family Group Drawing in Chinese white, sepia and bistre ink, c. 1790 Signed lower left: G. Morland (see photo) The present work appears to be a preliminary study for two Morland paintings where the artist uses portions of this preliminary study in finished exhibition paintings. The strongest association is with the painting entitled The Cottage Door (1790), now in the collection of Royal Holloway College, University of London. Morland uses the same small girl (on left side of this sheet) holding a doll on a chair in the exact same pose. The second painting entitled The Tea Garden (Tate Gallery, London, c. 1790) incorporates similar poses and gestures of the three other figure studies on this sheet. Provenance: Colnaghi, London (Stock # D25924, see photo) Maynard Walker Gallery, New York ( see photo of label) Davis Galleries, New York, their Eagle stamp and stock number (see photo) Ms. Gloria Kaplan (1930-2011) New York City Regarding Maynard Walker: Maynard Walker New York Times obit: "Maynard Walker, an art dealer in New York City for nearly 40 years who was among the first to show the works of leading American regionalist painters, died of pneumonia Tuesday at St. Joseph's Hospital in Carbondale, Pa. He was 89 years old and lived in Lake Ariel, Pa. In 1933, while working at the Ferargil Gallery in New York, Mr. Walker organized an exhibition for the Kansas City Art Institute that for the first time brought together the work of the regionalist painters Grant Wood, Thomas Hart Benton and John Steuart Curry. After Mr. Walker opened his own gallery, at 108 East 57th Street, in 1935, these artists joined him and showed regularly there. The gallery was also among the first to show the work of George Grosz, the German painter and caricaturist, who moved to the United States in 1932. The gallery moved to 117 East 57th Street after the war." Condition: Aging to paper Slight fading to ink Tiny spotting in image All consistent with the age of the drawing Image size: 6 3/8 x 9 1/2 inches Frame size: 14 1/4 x 17 1/4 inches George Morland was born in London on 26 June 1763. He was the son of Henry Robert Morland, and grandson of George Henry Morland, said by Cunningham to have been lineally descended from Sir Samuel Morland, while other biographers go so far as to say that he had only to claim the baronetcy in order to get it. Morland began to draw at the age of three years, and at the age of ten (1773) his name appears as an honorary exhibitor of sketches at the Royal Academy. He continued to exhibit at the Free Society in 1775 and 1776, and at the Society of Artists in 1777, and then again at the Royal Academy in 1778, 1779 and 1780. His talents were carefully cultivated by his father, who was accused of stimulating them unduly with a view to his own profit, shutting the child up in a garret to make drawings from pictures and casts for which he found a ready sale. The boy, on the other hand, is said to have soon found a way to make money for himself by hiding some of his drawings, and lowering them at nightfall out of his window to young accomplices, with whom he used to spend the proceeds in frolic and self-indulgence. It has been also asserted that his father, discovering this trick, tried to conciliate him by indulgence, humouring his whims and encouraging his low tastes. He was set by his father to copy pictures of all kinds, but especially of the Dutch and Flemish masters. Among others he copied Fuseli's Nightmare and Reynolds's Garrick between Tragedy and Comedy. He was also introduced to Sir Joshua Reynolds, and obtained permission to copy his pictures, and all accounts agree that before he was seventeen he had obtained considerable reputation not only with his friends and the dealers, but among artists of repute. A convincing proof of the skill in original composition which he had then attained is the fine engraving. It is said that before his apprenticeship to his father came to an end, in 1784, Romney offered to take him into his own house, with a salary of £300, on condition of his signing articles for three years. But Morland, we are told, had had enough of restraint, and after a rupture with his father he set up on his own account in 1784 or 1785 at the house of a picture dealer, and commenced that life which, in its combination of hard work and hard drinking, is almost without a parallel. Morland soon became the mere slave of the dealer with whom he lived. His boon companions were "ostlers, potboys, horse jockeys, moneylenders, pawnbrokers, punks, and pugilists." In this company the handsome young artist swaggered, dressed in a green coat, with large yellow buttons, leather breeches, and top boots. "He was in the very extreme of foppish puppeyism", says Hassell; "his head, when ornamented according to his own taste, resembled a snowball, after the model of Tippey Bob, of dramatic memory, to which was attached a short, thick tail, not unlike a painter's brush." His youth and strong constitution enabled him to recover rapidly from his excesses, and he not only employed the intervals in painting, but at this time, or shortly afterwards, taught himself to play the violin. He made also an effort, and a successful one, to free himself from his task-master, and escaped to Margate, where he painted miniatures for a while. In 1785 he paid a short visit to France, whither his fame had preceded him, and where he had no lack of commissions. Returning to London, he lodged in a house at Kensal Green, on the road to Harrow, near William Ward, intercourse with whose family seems for a time to have had a steadying influence. It resulted in his marriage with Miss Anne Ward...

This stunning study of George Washington's hands is a unique and remarkable drawing pair. Mora was noted as an exceptional draftsman and actually traveled america giving lectures ab...

Stover Mill is an American regional landscape of a historic mill and farm in Bucks County, Pennsylvania by local resident and artist Loraine Thompson. The 10.5 x 13.5 inches watercol...

Pink and White Petunias is a graceful and sprightly composition featuring soft pink and green tones. Hills was a master of capturing the essence of whatever flowers or vase she chos...

Joe "I try to get something accomplished everyday. I ask the Good Lord for Patience and Stregnth" Verso: "I was in for a technical violation. I spent 65 days, but I thank the Lor...

Kate Shepherd Here and There #4, 2020 Enamel and transfer on paper 12 1/2 x 19 inches

Femme assise nue avec un bras levé au-dessus de sa tête Seated female nude with an arm raised over her head Ink and watercolor on paper, n.d. Signed in pencil lower right (see photo)...

David Hutchinson HIDE, 2021 Unique archival inkjet print 24 x 18 inches (16 x 45.7 cm)

The project is a series of ink drawings on different surfaces, depicting the solstices and equinoxes of the year through the overlapping of shadows at various times of the day. These...

Will Henry The Ecstasy of St. Bess, 2021 Gouache on paper 9 x 12 inches

Provincetown (Sunbathing) Sepia ink on tan paper, 1966 Signed in ink lower center (see photo) Exhibited: Art from Lexington Homes, Lincoln Massachusetts, May 14-22, 1966 (see label) ...

At the center of this large-scale black and white charcoal and pastel painting, a diver launches himself from untold heights, frozen at the peak of action against an ecstatic plume of clouds. Zalopany excels at painting with light, often abstracting areas of a composition with explosions of brush strokes and impossibly smooth blending. The cloud mass at the center of Diver is at once a liquid pool and O’Keefe’s Jimson Weed...

Unknown Artist, France, late 19th century Anonymous c. 1900 Rondelle on antique laid paper Ink, Watercolor and or Gouache Unsigned An Art Nouveau preliminary design for a decorative ...

The project is a series of ink drawings on different surfaces, depicting the solstices and equinoxes of the year through the overlapping of shadows at various times of the day. ...

The artist has covered New York collections for over 16 years and has interviewed, as a journalist, several fashion designers and personalities for different publications. He loves t...

untitled (Maine Autumn Landscape across the narrows from Mt. Desert) Watercolor, 1945-1955 Signed by the artist lower left in pencil (see photo) Provenance: Estate of the artist Cond...

Unsigned Provenance: FAR Gallery, New York, NY Private Collection, New Jersey Reference and Notes: Daumier was a prolific draftsman. This drawing of a lawyer was once part of a...

As a teen, Paul Jenkins worked with ceramicist James Weldon which led to a fascination with glazes; Jenkins cultivated and eventually achieved a similar effect in his paintings by mixing oil and enamel on canvas in the 50s. In 1937, Jenkins attended classes at the Kansas City Art Institute where he painted his first series of watercolors he called interior landscapes inspired by caves in the Ozarks. After serving in the US Naval Air Corps for 2 years, Jenkins moved to New York to study with Yasuo Kuniyoshi and Morris Kantor at the Art Students League from 1948 to 1952. During those years, Jenkins met Mark Rothko, Jackson Pollock and Barnett Newman. In 1953 left for Paris where he discovered and was struck by the color density and luminosity in abstract oil works termed ébauches by Gustave Moreau and pastels by Odilon Redon. He began to experiment with poured paints in various thicknesses on canvas and paper and found this technique achieved luminosity of color which in its own way was comparable to that of Moreau and Redon. The next year, Jenkins added Winsor Newton pigments and chrysochrome, a viscous enamel paint, into his poured paintings, further enriching their color density and incandescence. The next major development in technique came in 1959 when he began using an ivory knife to guide the flow of paint. That same year, he also began to title his paintings Phenomena followed by a key word or phrase. A film on Jenkins' technique titled The Ivory Knife: Paul Jenkins at Work was shown at the Museum of Modern Art and received the Golden Eagle Award at the Venice Film Festival in 1966. In 1954 Jenkins had his first solo exhibition in Paris where he met Martha Jackson, whose New York gallery included Jenkins in a group show the following year. In 1956, Martha Jackson Gallery held a solo exhibition of Jenkins’ work at which Divining Rod...

untitled (polo player on horseback) Chalk on tan paper, c. 1920 Unsigned Provenance: Gift of the artist William McGill (Keller's student) Image size: 4 3/8 x 5 ...

Annotated with title under the landscape Provenance: James Bakker, Boston James Bergquist, Boston Two images on one sheet: horizontal "Hair Pin" Road; vertical: studies

This black and white charcoal and pastel painting features a Burmese temple landscape. Rising from clouds of gnarled trees, the temple’s triangular shape thins to a pointed dome, wit...

*PLEASE NOTE UK BUYERS WILL ONLY PAY 5% VAT ON THIS PURCHASE. Once an order is placed we will arrange the VAT of 20% to be reduced to 5% Composition by Georges Mathieu (1921-2012) W...

Untitled Collage and crayon drawing, 1967 Signed and dated lower center (see photo) Condition: Small imperfections from the creative process Small tear on the left sheet edge (repai...

Sammy Lee Sleeping II Graphite on sketchbook paper, 2007 Signed by the artist in pencil lower right: "Sedrick Huckaby" (see photo) Condition: Excellent Sheet size: 9 x 12 inches Fram...

Barley, broad beans and a lark (Omugi, soramame, hibari). Original preparatory watercolor next to the finished original Japanese woodblock print. This is a highly finished preparator...

The project is a series of ink drawings on different surfaces, depicting the solstices and equinoxes of the year through the overlapping of shadows at various times of the day. ...

A shaggy black and white dog sits in front of a fire hydrant Promotional illustration used on items like playing cards and calendars. In the published images, the sign on the fir...

This Vicente has a color glow akin to a Mark Rothko. Vicente explored parallel ideas to Rothko and others of the abstract expressionist and color field era. The pastel gives this w...

Dharma Prayer Book Manuscript Folio Ink and gouache on handmade paper, 1875-1925) Miniature depicting Tibetan deity Script is Tibetan. Miniature Size: 2 3/8 x 1 ½ inches Part of a se...

833 CLE Series: Red Bridge w/Car. Contemporary artist Thomas Roese, inspired by the industrial landscape of steel mills, rail yards, architectural details, and the urban neighborhoo...

Untitled Pastel on paper, 1922 Initialed lower right (see photo) Exhibited: Francis Nauman, Leon Kelly: Draftsman Extraordinaire, New York, April 4 - May 23, 2014. Condition: Excell...

*PLEASE NOTE UK BUYERS WILL ONLY PAY 5% VAT ON THIS PURCHASE. Once an order is placed we will arrange the VAT of 20% to be reduced to 5% Composition by Georges Mathieu (1921-2012) G...

Untitled (Figures in a park) Watercolor on paper, 1991 Signed lower right of image (see photo) Condition: Excellent Sheet size: 10 3/16 x 14 1/16 inches Provenance: David Anderson Ga...

Seated Female Nude (Devora) Watercolor on paper, c. 1970 Signed in pencil lower right (see photo) A folio from the artist's sketchbook. Done while the artist was in Florida. Conditio...

AMERICA'S CUP - 1967. WING MARK. INTREPID - DAME PATTIE [AUS]. This Joseph Webster Golinkin watercolor of the 1967 America's Cup depicts the...

Gordon Hope Grant (1875-1962) created the watercolor entitled “The Lumber Wharf” in circa 1947. It is signed in the lower left 1 inch above the paper edge. The watercolor paper size ...

untitled (The White Barn with Farmers and Horse) Watercolor, c. 1950 Signed by the artist in ink lower right: Wm. C. Grauer Numbered in pencil verso: 152 Provenance: Estate of the Ar...

Signed and monogrammed by the artist lower left