Recognized Dealers Figurative Drawings and Watercolors

Framing included in listing, free shipping in the US, 14-day return policy. Ed Templeton Untitled (Sunset Tower Hotel), 2019 11 x 8.5 inches Acryli...

In his sculptures, drawings and paintings, Michael O’Keefe employs unpredictable processes as a means to discover content. He couples accident and chance with unconventional methods,...

JUNE WAYNE (1918 - 2011) A WINTER - SEEMING SUMMER'S NIGHT, 1957 From the John Donne Series. (Conway 122, Basket 106: Gilmour 50) Lithograph signed, title...

GERHARD MARCKS (1889 1981) (SEATED WOMAN WITH TOGA) 1933. Graphite on wove paper, signed, dated, 14 ¼” x 7”. Sheet 15” x 10”. S...

This is a page from the artist's sketchbooks. Six pencil drawings show figures that might have been in preparation for future lithographs, Certainly the woman with the umbrella could have been an early iteration for September Storm. There is also a self portrait of Nesbitt. Clearly the works are authentic if unsigned. Provenance: from the Nesbitt studio. From workers wrestling with heavy machinery to a lone horseman traveling down a rut-filled country road; from the animated crowd at a livestock auction to the dignified worshippers at a serene Sunday service; Jackson Lee Nesbitt chose to represent the essence of humanity and the nobility of ordinary folk striving to get along as best they can. He studied with Thomas Hart Benton and John Demartelly...

"This series of collages refers to the transition of awareness that we experience in mid-life. They are about the challenge of taking hold of that illusive balance between past and present, between body and mind." - Hadar Sobol, 2017 Media: watercolor, vintage stocking...

Listing includes framing with UV plexi, free shipping in the continental US, and a 14-day return policy. Ed Templeton Untitled (The Beverly Hills Hotel...

A fine 19th Century, Continental watercolor, decoupage and textile fabric collage, depicting an erotic themed figural group at leisure in a pas...

In his sculptures, drawings and paintings, Michael O’Keefe employs unpredictable processes as a means to discover content. He couples accident and chance with unconventional methods,...

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, 1950s Mid-Century Modern Academic Anatomical Figure Study of a Model's Hand & Feet by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). A well executed composite figure...

"This work was inspired by a true family story of a good friend of mine. It follows a complex relationship between a mom, a daughter, and a grandmother. It deals with the deep emotio...

In his sculptures, drawings and paintings, Michael O’Keefe employs unpredictable processes as a means to discover content. He couples accident and chance with unconventional methods,...

Miles Cleveland Goodwin says, "I don’t like to do things I don’t know." Not unlike the spirit of Southern literature and Delta blues music, there is an autobiographical nature to his...

Edmund D. Kinzinger was born in 1888, to an upper-middle class family in Pforzhein, Germany. In Munich he studied at the Kirr Schule and the Staatliche Akademie, and pursued graduate studies at the Academie Modern, Paris. Before serving in the German Army, Kinzinger was a master student of Adolph Holzel at the Staatcliche Akademie, Stuttgart; he returned to study under Henrich Waldschmidt after nearly five years of artillery service. Several of Kinzinger’s fellow students in Germany, such as Johannes Itten, would go on to be associated with the Bauhaus school. Coming into contact with all manner of artistic influences in Europe after World War One, Kinzinger’s work may be viewed as a “synthesis” of modernist styles. The influences of Abstract Expressionist, Cubist, and Futurist styles in Kinzinger’s work at this time are symptomatic of his contact with the likes of Hans Hofmann, Pablo Picasso, and Alexander Archipenko. Philip Van Keuren...

This late 19th century French pen and ink drawing depicts the decoration of Monte Carlo by Lucas and George Clairin (French, 1843-1919). The price inc...

Signed lower right

An Alluring, Finely Drawn 1950s Mid-Century Modern Female Nude Figure Study by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). The drawing is ink on paper and dates from 1951...

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...

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

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...

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...

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...

Francis Luis Mora was considered one of America's finest "sketchers". A collection of his Sketchbooks are at the Smithsonian and this work came out of one in the early 1990's from t...

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) ...

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...

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...

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 ...

"59th Street Bridge" is a 22" x 30" watercolor on paper cityscape of the Brooklyn Bridge and city skyline, painted by Pennsylvania Impressionist and...

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...

Philip Guston was born in 1913 in Montreal, Canada. He began painting at the age of 12, and in 1927 he enrolled in the Los Angeles Manual Arts High School , where both he and Jackson...

Red Ballboy or Studies for "Tennis Tournament" Crayon on paper, c. 1920 Unsigned Condition: three vertical folds created by the artist to transport the drawing from the tennis match ...

Girl in Profile Lithographic crayon and watercolor on thin wove paper, c. 1930 Signed twice in pencil (see photos) Provenance: Estate of the Artist Edward Somme...

Woman with Bicycle: Two Views Graphite on paper, c. 1890 Unsigned Graphite study of standing female nude verso Provenance: Rookwood Pottery Factory Collection, Cincinnati Spanierman Gallery, New York (label) Drawings from the sketchbook are in the collections of the Munson Williams Proctor Institute in Utica, New York and the Picker Art Gallery, Colgate University, Hamilton, New York. A sister drawing from the same sketchbook was sold at Cowman’s Auction, Cincinnati, October 6, 2018. Accompanied by a letter from the Spanierman Gallery, dated 1997, stating that the drawing is from a sketchbook that was held in the Rookwood Factory Collection. Sister drawing provenance: Provenance: Terry DeLapp...

'Fish & Flowers', Chinese Hopei Folk Art, 1956. Paper-cut with watercolor, mounted on cream, wove backing paper, with fresh, vivid colors, in excellent condition. Matted to museum standards, unframed. Image size 3 3/4 x 2 1/2 inches; sheet size 8 7/8 x 6 1/4 inches; mat size 13 x 10 inches. ABOUT THIS WORK Hopei or Hebei is a province of North East China, on the Gulf of Chihli near Beijing that is home to Chengde Mountain Resort, the imperial summer residence of the Qing-dynasty emperors. Chengde contains 18th-century palaces, gardens, and pagodas ringed...

'Birds & Flowers', Chinese Hopei Folk Art, 1956. Paper-cut with watercolor, mounted on cream, wove backing paper, with fresh, vivid colors, in excellent condition. Matted to museum standards, unframed. Image size 4 7/8 x 3 1/8 inches; sheet size 8 7/8 x 6 1/4 inches; mat size 14 x 11 inches. ABOUT THIS WORK Hopei or Hebei is a province of North East China, on the Gulf of Chihli near Beijing that is home to Chengde Mountain Resort, the imperial summer residence of the Qing-dynasty emperors. Chengde contains 18th-century palaces, gardens, and pagodas ringed...

'Flowers', Chinese Hopei Folk Art, 1956. Paper-cut with watercolor, mounted on cream, wove backing paper, with fresh, vivid colors, in excellent condition. Matted to museum standards...

A Fine, Modern 1930s Academic Anatomical Figure Study of a Standing Female Model (Legs and Feet) by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). A well executed, early 193...

A Very Finely Drawn, 1930s Modern Figure Study of a Standing Female Nude Model (Back) by Notable Chicago Modern Artist, Harold Haydon (Am. 1909-1994). An early composite charcoal d...

Turn of the century drawing signed E. Rantz on laid paper. Watermark: Lalanne Frame: 29 3/4 x 24 Image: 24 3/4 x 18 3/4"

Cassatt, Mary. WOMAN WITH OPERA GLASSES (STUDY FOR "IN THE LOGE"). Drawing, Pencil, circa 1878. 5 x 8 1/2 inches (sheet). With the estate stamp "Mary Cassatt - Collection Mathilde....

Seated Woman, Left Hand to Chin Graphite on laid paper, 1984 Signed and dated in pencil (see photo) Provenance: Donald Morris Gallery, Inc. Birmingham, MI Chern...

Head of a Woman (Margaret) conte on wove paper, 1925 Signed and dated lower right Annotated "Margaret" in ink verso A portrait of Margaret Cassidy Manship ( d. 2012), daughter in law...

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

Preliminary study for Cretan Dancer bronze sculpture Unsigned Graphite on tracing paper, 1930-1934 Sheet size: 6 7/8 x 7 1/8 inches Created while the artist was woring in Paris, c. 1...

The red series are vermilion drawings with cotton/diya baati wicks used in prayer, the fruit of the artist's longstanding preoccupation with gender, religion and rituals. The interfe...

Watercolor on paper Most probably related to the artist's creation of images surrounding Haggadah (Passover) which he started in 1930 and finished with the publication of his book in...

The Liberty Tree

Baggage Claim (Bag 1) Watercolor on Arches paper, 2020 Signed with the artist's initials Signed with the artist's "Yummy" blindstamp Exhibited: LA Art, 2020 Condition: Excellent Arc...

Laboratory_Journal_Day 00200, 2022 black ink on white paper 27 9/16 H x 39 3/8 W cm 70 H x 100 W cm The drawings signed by Alina Aldea show the meticulousness and perfection of micr...

Body in the Field #2, 2022 coloured pencils on canvas 25 H x 16 W cm Signed on reverse Zsolt Berszán embodies in his works the dissolution of the human body through the prism of t...

Body in the Field #1, 2022 coloured pencils on canvas 25 H x 16 W cm Signed on reverse Zsolt Berszán embodies in his works the dissolution of the human body through the prism of t...

An everyday situation, from our memory, from the memory of childhood in a non-place, that is to say, an enigmatic ephemeral place, a space that is delimited and that grows, that mult...

Body in the Field #9, 2022 coloured pencils on canvas 25 H x 16 W cm Signed on reverse Zsolt Berszán embodies in his works the dissolution of the human body through the prism of t...

Body in the Field #11, 2022 coloured pencils on canvas 25 H x 16 W cm Signed on reverse Zsolt Berszán embodies in his works the dissolution of the human body through the prism of ...

Double-sided work Dated: 1951 recto; 1968 verso Signed on both sides Framed dimensions: 19 x 22 in Provenance: Robert Miller Gallery, NY New York Cheim & Read, NY New York Art Advi...

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...

Capricorn, 2022 collage, colour wax on paper 46 H x 37.5 W cm Signed on right side down Raluca Arnăutu dreams the world through collages. A collage, dreamlike and surreal, populate...