Recognized Dealers Drawings and Watercolor Paintings

Self Portrait with Arms Over Head, vignette on Paul Cadmus on left Graphite drawing on thin wove paper, c. 1940's Unsigned Provenance: Paull Cadmus Jon F. Anderson (1937-2018) Condition: Sheet size: 15 x 10 1/4 inches Born in Hoboken, New Jersey, Margaret Hoening (1906–1998) was a painter and an etcher perhaps best known for her photographs as part of the PaJaMa photography collective. After attending Smith College, she settled in New York, where she pursued formal artistic training at the Art Students League. There, she met the artist couple Paul Cadmus and Jared French. In 1937, she married French, fifteen years her junior, who had spent the previous decade with Cadmus. The trio formed a tight bond, with Cadmus and French continuing their relationship. Born in Hoboken, New Jersey, Margaret Hoening (1906–1998) was a painter and an etcher perhaps best known for her photographs as part of the PaJaMa photography collective. After attending Smith College, she settled in New York, where she pursued formal artistic training at the Art Students League. There, she met the artist couple Paul Cadmus and Jared French. In 1937, she married French, fifteen years her junior, who had spent the previous decade with Cadmus. The trio formed a tight bond, with Cadmus and French continuing their relationship. Together, the three formed PaJaMa (a mashup of their first names, Paul, Jared, and Margaret). Using Hoening’s Leica, they captured themselves, their artist friends, and members of the gay community posing in artful tableaux on the beaches of Fire Island, Provincetown, and Nantucket over the following eight years. Those captured by their camera include the photographer George Platt Lynes; Cadmus’s sister and artist Fidelma; artist Bernard Perlin; and Monroe Wheeler, director of exhibitions at the Museum of Modern Art, among others. Though she produced few canvases, Hoening’s paintings demonstrate the influences of French and Cadmus, particularly with her adoption of the time-intensive, traditional medium of egg tempera that they championed. In the 1940s, the Frenches’ social circle continued to expand. They befriended the British author E.M. Forster, who stayed with them on his first trip to New York in 1947, spending a few days with them in Provincetown, and visiting them again in 1949. When Cadmus began a relationship with the young artist George Tooker in 1944, the trio became a foursome, with Tooker regularly vacationing with the group and appearing in PaJaMa’s photographs...

Girl with the Golden Curls Watercolor, c. 1895 Unsigned Provenance: Davis Galleries, New York (see photo of label on reverse) Condition: Mounted to support by the artist ...

Preliminary Study for the painting Rose and Gold, 1913 Graphite on paper, 1913 Signed in pencil lower left (see photo) Titlted "Lizzy Young" in pencil upper left (see photo) Lizzy was a modle that Paxton depicts numerous times. The painting that this drawing is related to, is illustrated in Lee & Krause, William McGregor Paxton, 1869-1941, Plate 32, text on page 132. The painting was formerly in the collection of Victor Spark and the Honorable Paul Buchanan. It is currently in a Texas Collection. Provenance: Private Collection, Florida William McGregor Paxton (June 22, 1869 – 1941) was an American painter and instructor who embraced the Boston School paradigm and was a co-founder of The Guild of Boston Artists. He taught briefly while a student at Cowles Art School, where he met his wife Elizabeth Okie Paxton, and at the Museum of Fine Arts School in Boston. Paxton is known for his portraits, including those of two presidents—Grover Cleveland and Calvin Coolidge—and interior scenes with women, including his wife. His works are in many museums in the United States. Early life He was born on June 22, 1869, in Baltimore to James and Rose Doherty Paxton. William's father moved the Paxton family and established a catering business in Newton Corner, Massachusetts, in the mid-1870s. Education Paxton attended Cowles Art School on a scholarship he attained at the age of 18. He studied with Dennis Miller Bunker...

Preliminary Drawing for the color aquatint "New Orlaens, Street Gossip" Signed by the artist in pencil lower left Graphite on tracing paper, 1916-1917 An impr...

Unknown title (castle with wall, stream and footbridge) Watercolor on laid paper, mounted to support of old Albumin photograph mount Signed and dated lower left (see photo) The watercolor is mounted on support that is the backing for a vintage albumin photograph of Moulin Huet, Guernsey, Channel Islands, c. 1850's Condition: Mounted to verso of albumin photograph mount (see photo) Glue residue outside of image/sheet on recto Colors fresh No other issues to note David Cox (29 April 1783 – 7 June 1859) was an English landscape painter, one of the most important members of the Birmingham School of landscape artists and an early precursor of Impressionism. He is considered one of the greatest English landscape painters, and a major figure of the Golden age of English watercolour. Although most popularly known for his works in watercolour, he also painted over 300 works in oil towards the end of his career, now considered "one of the greatest, but least recognised, achievements of any British painter. His son, known as David Cox the Younger (1809-1885), was also a successful artist. Early life in Birmingham, 1783–1804 Cox's birthplace in Deritend, Birmingham, illustrated by Samuel Lines Cox was born on 29 April 1783 on Heath Mill Lane in Deritend, then an industrial suburb of Birmingham. His father was a blacksmith and whitesmith about whom little is known, except that he supplied components such as bayonets and barrels to the Birmingham gun trade. Cox's mother was the daughter of a farmer and miller from Small Heath to the east of Birmingham. Early biographers record that "she had had a better education than his father, and was a woman of superior intelligence and force of character." Cox was initially expected to follow his father into the metal trade and take over his forge, but his lack of physical strength led his family to seek opportunities for him to develop his interest in art, which is said to have first become apparent when the young Cox started painting paper kites...

Will Henry Unknown Abstraction, 2021 Gouache on paper 9 x 12 inches

A sophisticated and marvelous work for any forward interior. It both gives a sense of space, calm, playfulness and it actually pulls you in as a focal point work of art. Framing is ...

Untitled (Female Nude) Graphite and sgrafitto on yellow paper, 1987 Signed lower right Note: Steven Assael is represented by Forum Gallery in New York. In 1977 he won the Charles Ro...

A drawing by Alexander Calder. "Tornado in Space" is a Post-War abstract drawing, ink on paper in black and white by artist Alexander Calder. The artwork is s...

SOLD UNFRAMED Paysage by Paulémile Pissarro (1884-1972) Pencil on paper 12.7 x 19.7 cm (5 x 7 ³/₄ inches) Signed lower left, Paulémile Pissarro Provenance Estate of the artist Yvo...

Medium: Oil on Canvas Signature: Signed and dated 'Frederick/Blakeslee/43' bottom left; also signed, inscrib

Standing Male Nude (recto) Study of the Head of the Standing Male Nude (verso) Unsigned Provenance: Estate of the artist Helen Chase Storm (the artist's daughter) Jackson Chase Storm (the artist's grandson) Baker-Pisano Collection (the author of the William Merritt Chase Catalog Raisonne Project) References And Exhibitions: Pisano D8, reproduced p. 183 Rare. Chase did relatively few drawings, probably no more than 150 in total, according to the catalogue raisonne. William Merritt Chase (1840-2016) Born in Nineveh, Indiana Died New York, New York In 1883 Chase was involved in the organization of an exhibition to help raise funds for a pedestal for the Statute of Liberty...

Fitzgerald, James (1899-1971) OLD TREE. Cat Raisonne 1223. Watercolor on paper, c. 1930. Signed, lower left. 19 x 25 1/2 inches, framed to 27 5/8 x 33 1/4 inches. Provenance: Estate ...

Provenance Kennedy Galleries, New York; DC Moore Gallery, New York; Private collection, Ireland, until 2012 Exhibitions New York, DC Moore Gallery, Charles Burchfield Paintings, 19...

Nude Woman in Chair Watercolor, gouache, ink, and pencil on heavy paper, c. 1930-35 Signed with the artist's Estate stamp lower right (see photo) Note: "Matchstick" ink drawing of fe...

Nude with Headdress and Drape Charcoal and colored pencil on paper, c. 1940 Signed by the artist in pencil lower left (see photo) Painter, lithographer and woodblock printer, born at...

Post Office, New York Watercolor on paper, c. 1930 Signed with the Estate stamp lower left (see photo) Illustrated: Marbella Gallery, Robert Hallowell (1886-1939), No. 64 Provenance:...

Pencil on paper Paper size: 8 x 10.5 inches Stamped with the artist’s atelier stamp ‘ATELIER/RAOUL DUFY’ lower right Provenance: Galerie Fanny Guillon-Laffaille, Paris. Neffe-Dega...

HELLEU, PAUL CÉSAR (1859 -1927) "JEUNE FEMME ASSISE" (Young Woman Seated) Original Drawing in sanguine, white and black chalks, c. 1910 Signed in pencil by artist, lower right Full Margins on cream wove paperImage size: 17.5” x 11.02” Paul César Helleu...

Illustration of a shaggy black and white dog taking a bath Original cover for The Saturday Evening Post, May 11, 1946 The Post editors described: "Artist Albe...

Drexler, Lynne (American, 1928-1999) LAMP IN WINDOW. Colored pencils on paper, 1983. Signed, titled, and dated in pencil, verso, 9 5.8 x 8 inches, framed to 12 7/8 x 11 3/8 inches. I...

Johnson, Lester (American, 1919-2010). MEN IN BOWLER HATS. Drawing, watercolor, wash, and pastel on paper, 1973. Signed, lower right. 26 1/2 x 40 1/2 inches...

La Materialidad del Tiempo, Juan Carlos Amador grounds his recent work in two essential elements: cellulose and time. Using reclaimed wooden moldings from the 1980s and ’90s-original...

La Materialidad del Tiempo, Juan Carlos Amador grounds his recent work in two essential elements: cellulose and time. Using reclaimed wooden moldings from the 1980s and ’90s-original...

Italy Goes to War, 1941 Watercolor 3 1/8 x 7 3/8 inches (7.9 x 18.7 cm) Signed lower center: Dove Provenance An American Place, New York; World House Galleries, New York, 1953; Private collection, New York; Betty Krulik Fine Art, 2007; Avery Galleries until present Exhibitions An American Place, New York, Exhibition of New Arthur G. Dove Paintings...

Untitled Fabric Design Gouache on paper, 1920-1935 Signed with the Atelier Stamp verso (see photo) Numbered with the Atelier Litt Archive number verso (see photo) Condition: E...

Preliminary drawing for Remy de Gourmont, Couleurs, published in Le Mercure de France (Colors, new tales follow old things), 1908 Graphite and colored pencil, 1926 Signed in pencil l...

Amorous Couple Watercolor on laid paper, c. 1810 Unsigned Provenance: Emile Wolf (1899-1996) The art collection of Emile Wolf was dispersed by Sotheby and Stair Galleries. Condition: Excellent 22K gold leaf finishes corner frame (see photo) “Mr. Wolf’s collection reflects a lifelong commitment to the arts. Although a mainstay of the Old Masters art scene in New York, Mr. Wolf’s collection spanned centuries and genres. He was an impassioned collector, and his Fifth Avenue apartment was filled with paintings and drawings that hung from floor to ceiling in every room. Space void of art was lined with an extensive library of art books that fueled his ardent collecting. Mr. Wolf took great joy in sharing this collection and his ideas with art historians, collectors, dealers and university students. The Wolf collection included masterworks from every influential and groundbreaking Impressionist and modern artist of the late 19th and early 20th centuries, ranging from an outstanding grouping of works on paper by Picasso, Pissarro, and Cezanne to a Renoir oil...

The Red Dress Watercolor on paper, mounted on board by the artist, 1926 Signed and dated, 1926 lower left (see photo) Condition: Mounted on support board by the artist ...

Preliminary Study for a Sculpture Project Graphite, charcoal and wash on tracing paper, c. 1930-1940 Signed upper left and lower left (see both photos) Created while the artist was l...

Horses Leaving the Barn Watercolor on paper, 1940 Signed and dated lower left corner (see photo) Condition: Excellent Image: 14 1/2 x 21” Frame: 25” x 31” Provenance; Associated American Artists, New York (see photo of label) Mamdouha and Elmer Holmes Bobst Displayed in an original wormy chestnut frame with OP3 Acrylic. Most probably from the AAA Dehn watercolor exhibition of 1940. Vintage original framing chosen by the artist. Note: Elmer Holmes Bobst (1884–1978) was an American businessman and philanthropist who worked in the pharmaceutical industry. His wife, Mamdouha, was also well known philanthropist. Bobst was born in Lititz, Pennsylvania. He aspired to become a doctor, but instead, he taught himself pharmacology. After his wife Ethel composed his interview letter, he became manager and treasurer of the Hoffman-LaRoche Chemical Works by 1920. When Bobst retired from the company in 1944, he was one of the nation's highest paid corporate executives. In 1945 he took charge of the ailing William Warner Company (later Warner–Lambert) and he remained board chairman until his retirement. Bobst had close connections to President Dwight Eisenhower, but was also a close friend of President Richard Nixon. Note: In 1940, the year of this watercolor, Dehn and Elizabeth Timmerman visited Waterville, MN on their way to Colorado Sprint, Colorado where Dehn was to teach lithography and watercolor. This watercolor is obviously a view of the area around Waterville. 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...

Vue de Saint Tropez by Henri Lebasque French 1865-1937 Watercolour & ink on paper,  Signed lower left, inscribed verso  Paper size: 11.5 x 14.5 inches  Framed size: 20 x 23 inches 

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...

Double sided crayon drawing: Front: Study for "The Shoe" Reverse: Studies of Figures Blue crayon, red and black crayons Image size: 19.25 x 15.375 inches Frame size: 30 x 25 1/2 inch...

Italian alpine Brenva e Mont Blanc landscape, 2019 Watercolour on paper, stretched on canvas, inch 44.8 x 63 About the artist, Silvia De Bastiani: she best embodies the values of h...

An old master drawing that can live in a very contemporary environment! Remarkable use of line and expression - should be enjoyed in an important spot - can grace a kitchen or livin...

[recto];untitled (Sketches for Still Unsigned 9 1/2 x 12 inches (24.2 x 30.6 cm.)

Untitled (Kneeling Male Nude) Graphite on paper, c. 1930 Unsigned Annotated in pencil verso: "This drawing was made by David Smith in the Matulka class at A. S. L. 1931 Signed Doroth...

Frank Mujica was born on December the 20th, 1985 in Pinar del Rio, Cuba. He studied at the San Alejandro Academy of fine Arts from 2000 to 2004 and at the Superior Institute of Art I...

Pygmalion - Sculptor Studio I, 2015 Collage on cardboard 27 9/16 H x 39 3/8 W in. 70 H x 100 W cm The artist's reference to fundamental myths of humanity and their analysis from the...

Collections: Muir Hetherington; Sir John and Lady Witt, acquired 1974; By descent to 2015. Literature: Tom Jones (ed.), William Henry Hunt 1790-1864, exh. cat., 1981, no. 145 (Girl in a bedroom); John Witt, William Henry Hunt (1790-1864) Life and Work, London, 1982, no. 553, p. 194, colour pl. 16. Exhibited: Wolverhampton, Central Art Gallery, Preston, Harris Museum and Art Gallery and Hastings, Hastings Museum and Art Gallery, William Henry Hunt 1790-1864, 1981, no. 145 as Girl in a bedroom (Lent by Sir John & Lady Witt) Framed dimensions: 20 x 20.75 inches This unusually charming and well-preserved watercolour was painted by William Henry Hunt in around 1833. Almost certainly depicting his young wife, Sarah, possibly in the interior of her family home at Bramley in Hampshire. This work shows Hunt’s remarkable virtuosity as a watercolourist, Hunt, for example, articulates the profile of his young wife, by leaving a reserve of white paper to suggest the light modelling her features. Throughout the 1830s Hunt made a sequence of richly painted interior views of both domestic and agricultural spaces which pay scrupulous attention to detail. Hunt was born in London, the son of a tin-plate worker and japanner. J. L. Roget recorded the observation of Hunt’s uncle: ‘nervy, little Billy Hunt… was always a poor cripple, and as he was fit for nothing, they made an artist of him.’ At the age of sixteen he was apprenticed to the landscape painter John Varley for seven years, moving to live with Varley at 18 Broad Street, Golden Square, London. There he made close friends with both John Linnell and William Mulready. Hunt worked at the ‘Monro Academy’, at 8 Adelphi Terrace, London, the house of Dr Thomas Monro, an enthusiastic patron of landscape watercolourists. Through Monro, Hunt was introduced to the 5th Earl of Essex...

Young Lady in Profile (Dorothy Gibson) Graphite on paper, c. 1915 Signed lower right (see photo). The sitter for this drawing, along with a huge number of Harrison Fisher’s works, i...

Plum Branches and Flowers watercolor on wove paper, 1985 Signed and dated in pencil lower right corner From the artist's 1985 sketchbook Inspired by O'Sickey's love of Japanese and Chinese art and calligraphy. Provenance: Estate of the artist Condition: Excellent Image/Sheet size: 13 5/8 x 17 inches Joseph B. O’Sickey, Painter 1974 CLEVELAND ARTS PRIZE FOR VISUAL ARTS The title conferred on him by Plain Dealer art critic Steve Litt in a 1994 article, “the dean of painting in northeast Ohio,” must have pleased Joseph O'Sickey. It was more than 30 years since he had burst onto the local (and national) art scene. O’Sickey was already in his 40s in that spring of 1962 when he had his first one-man show at the Akron Art Museum and was signed by New York’s prestigious Seligmann Galleries, founded in 1888. In the decade and a half that followed, he would have seven one-man shows at Seligmann, which had showed the work of such trailblazing figures as Seurat, Vuilliard, Bonnard, Leger and Picasso, and appear in all of the group shows. O’Sickey took the Best Painting award in the 1962 May Show at the Cleveland Museum of Art (CMA). He and would capture the same honor in back-to-back May Shows in 1964 and ’65, and again in 1967. The remarkable thing, noted the Plain Dealer’s Helen Borsick, was that he accomplished this sweep in a variety of painterly styles, even using that most hackneyed of subjects, flowers. “The subject doesn’t matter,” he told her, “what the artist brings to it is the important thing.” O’Sickey’s garden and landscape paintings were big and bold, eschewing delicate detail in favor of vitality and impact. The great art collector and CMA benefactor Katherine C. White, standing before one of O’Sickey’s vivid garden paintings, compared the sensation to “being pelted with flowers.” Though he might represent an entire blossom with one or two smudged brush strokes or a stem with a simple sweep of green, O’Sickey rejected the moniker of Impressionist—or Pointillist or Abstract painter or Expressionist. “My work,” he said, “is a direct response to the subject. I believe in fervor and poetic metaphor. I try to make each color and shape visible and identifiable within the context of surrounding colors and shapes. A yellow must hold its unique quality from any another yellow or surrounding color, and yet read as a lemon or an object, by inference. It does not require shading or modeling—the poetic evocation is part of the whole.” “The subject,” O’Sickey used to tell his students at Kent State University, where he taught painting from 1964 to 1989, “has to be seen as a whole and the painting has to be structured to be seen as a whole.” He liked to think of it as “a process of controlled rapture.” When, in the 1960s, fond childhood memories drew him to the zoo, he found himself responding to the caged animals in their lonely dignity (or indignity) with sharp-edged, almost silhouette-like forms that evoked Matisse’s paintings and cut-paper assemblages. One observer was left with the impression that the artist had “looked at these animals, past daylight and into dusk when they lose their details in shadow and become pure shapes, with eyes that are seeing the viewer rather than the other way around. This is a world of shape and essence,” wrote Helen Borsick. “All is simplification.” O’Sickey attributed his ability to capture his subjects with just a few strokes—in an almost iconographic way—to a rigorous exercise he had imposed upon himself over a period of several months. Limiting his tools to a large No. 6 bristle brush and black ink, he set himself the task of drawing his pet parakeet and the other small objects in its cage (cuttlebone, feeding dish, tinkling bell) hundreds of times. The exercise gave him “invaluable insights into painting. . . . Because of the crudity of the medium, every part of these drawings had to be an invention and every mark had to have its room and clarity.” Then he began adding one color at a time—“still with the same brush and striving for the same clarity”—and headed off to the zoo where “the world opened up to me. I learned how little it took to express the subject.” Born in Detroit at the close of the First World War, O’Sickey grew up in St. Stanislaus parish near East 65th and Fleet on Cleveland’s southeast side. (The apostrophe was inserted into the family’s proud Polish name by a clerk at Ellis Island.) An early interest in drawing and painting may have been kindled by the presence on the walls of Charles Dickens Elementary School, one of only three grade schools in the district with a special focus on the arts, of masterful watercolors by such Cleveland masters as Paul Travis, Frank N. Wilcox and Bill Coombes. As a youngster O’Sickey took drawing classes at the Cleveland Museum of Art, and he and his brother spent hours copying famous paintings; while a student at East Tech High School in the mid-’30s, he attended free evening classes in life drawing with Travis and Ralph Stoll at the John Huntington Art and Polytechnic Institute, and Saturday classes at the Cleveland School (later the Cleveland Institute) of Art, where he earned his degree in 1940 under the tutelage of Travis, Stoll and such other legendary figures as Henry Keller, Carl Gaertner, William Eastman, Kenneth Bates...

Best known as an impassioned supporter and avid collector of modern art, Earl Horter was also an artist himself. Largely self-taught, Horter was a highly skilled draftsman and engrav...

Standing Lincoln: The Man, Lincoln Park, Illinois Watercolor and graphite on paper , c. 1895 Signed in script lower right (see photo) The scene depicts the Augustus Saint-Gaudens bro...

Reclining Female Nude Charcoal and colored chalks with white highlights on tan laid paper, c. 1948 Signed and monogrammed by the artist lower right (see photo) A masterpiece dr...

Illustrated for the 1949 Four Seasons Calendar, published by Brown and Bigelow. A young girl holds a freshly-picked bouquet of flowers as she strolls alongside a boy who carries he...

Drawing on paper is his basic work tool, some are sketches of his surviving works, and others are sketches of moments he documents. Throughout his artistic career, Castro has exalted the figure and genitality of the Latin American man, putting into tension the limits imposed by the sex/gender system that are part of an unquestionable patriarchal and phallocentric order. The majority of those portrayed are inhabitants of the Colombian coast, also constructing alternative ways of conceiving Latin American identity. By breaking taboos about corporality and male sexuality, his work has been censored on numerous occasions due to public accusations of immorality and pornography. Celso Castro’s work is a bare-bulb erotic photo foray into the underbelly of Colombia’s drug world. From the Duchándome Series Ink, pastel and watercolor on cotton paper 1. Duchándome 2. Pensando & recordando a Luis Caballero...

"Two Crosses" is a gouache on paper by Alexander Calder. The work is signed in the lower right, "Calder 65”. Although renowned for his innovative and groundbreaking sculptures, Alexander Calder started his artistic career as an abstract painter, preferring to use gouache. What is gouache? Gouache is a water-soluble paint – a type of opaque watercolor. As Calder returned to gouache painting towards the end of his life, he was now armed with a lifetime of experience as a sculptor. He explored the three-dimensional vocabulary of sculptural forms he had developed onto the two-dimensional surface of the paper. Certain shapes and colors recur throughout his gouaches and sculptures. Circles, ovals, and other geometric forms dominate the space. There is the same sense of energy and fluidity. The shapes do not sit on the surface but vibrate giving a feeling of movement in contrast to the static nature of painting. Like his sculpture, Calder’s gouache...

Abstract red, green and grey interior scene with lines, shapes and hand painted brushstroke texture. Colorful large scale work ideal for display in minimalist, modern and contemporar...

A Striking, 1940s Mid-Century Modern Studio Figure Study of a Reclining Female Nude by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). A well executed Modernist figure study ...

Simkhovitch was a celebrated artist in New York City from the 1920's through the 1940's. Life Magazine did a story on him and he was having great success in the New York Galleries. ...

Untitled (Woman by the Windows) Unsigned. Pastel on board, c. 1915 Created while the artist was in Giverny, France Provenance: Gift of the artist to his wife, Mary Hess Buehr by Desc...

Medium: Pen & Ink, Colored Pencil and Cut Paper on Onionsk Signature: Signed Lower Right Caricature by George Wachsteter (1911-2004) for CBS-TV comedy `The Ann Sothern Show` (1958-1961) starring Sothern as Katy O`Connor, assistant manager of the swank NYC hotel...

Night Life at the Moulin Rouge Pen and ink drawing, c. 1890 Signed lower left (see photo) A scene of the night life near the Moulin Rouge, Paris. The Moulin Rouge is the famous caba...

Woman with child Watercolor on paper, c. 1930 Signed with the estate stamp lower right (see photo) Exhibited: Marbella Gallery, New York Illustrated: Robert Hallowell: An Artist Redi...

The Outing Magazine commissioned Parrish to provide a cover illustration for their 1899 Last Rose of Summer edition (published December 1899). In the poster, Maxfield used his own face and figure to portray a youth in Grecian costume examining a rose he holds in his hand. The figure is shown sitting below one of the massive oaks on the artist’s property, flanked by two plaster lions the artist had moulded in his studio. The depiction harks back to the 1805 poem by the Irish poet, Thomas Moore: ‘Tis the last rose of summer, Left blooming alone; All her lovely companions Are faded and gone; No flower of her kindred, No rose-bud is nigh, To reflect back her blushes Or give sigh for sigh! I’ll not leave thee, thou lone one...

Bull engaging the muleta (Bull Fight) Signed with the Estate stamp lower left (See photo) Provenance: Estate of the Artist Marbella Gallery Inc., NYC Refer...

The Mouth of Honey Lithographic crayon and mixed media on paper mounted to support paper Initialed by the artist "GB" bottom center on image. (see photo) Titled in pencil in bottom m...

Pen, ink and wash Framed dimensions: 13 x 11 ¼ inches Drawn c.1765 Verso: a study of a hanged man Mortimer has filled this small sheet with action, depicting in the top right, Apollo and Artemis...