Lawrence H Randolph AIA

"Johanson Residence" Architectural Pastel

Original pastel drawing c1962 of Hollywood empresario, Swifty Lazar (1907-1993) after whom the beloved, waspy enclave 'Swifty's Restaurant (1999-2015) on Lexington Ave in NYC was nam...

Art Sz: 8 3/8"H x 13"W Frame Sz: 16 1/4"H x 20 1/4"W

Mixed Media w/ Conte Crayon highlights Art Sz: 6 3/8"H x 13 1/2"W Frame Sz: 11 1/4"H x 18 1/8"W The West Hills Plate, the seventh annual meet was held on Long Island on November ...

Cock o' the Run 5th Art Sz: 9"H x 11"W Frame Sz: 13 1/2"H x 15 3/4"W

Classic pastel illustration by Clair Forster c1955 depicting 'Ambrose Park', a 'big shot' from the capital Art Sz: 14"H x 18 3/4"W Frame Sz: 19 1/2"H x...

Classic o/c 'pastel colours' horse-racing c1930s scene depicting four jockeys turning for home! Art Sz: 11 1/4"H x 8 1/2"W Frame Sz: 16"H x 12"W

Marc Chagall 1887-1985 Russian Musiciens sur fond multicolore (Musicians on a multicolored background) Signed 'Chag' (on the sleeve of the right figure); stamped with the signature 'Marc Chagall' (lower right) Tempera, gouache, colored ink and India ink and pastel on paper “The fact that I made use of cows, milkmaids, roosters and provincial Russian architecture as my source forms is because they are part of the environment from which I spring and which undoubtedly left the deepest impression on my visual memory of the experiences I have." - Marc Chagall Marc Chagall’s 1981...

Rat King Augury (Round Pastel Drawing on Indian Handmade Cotton Paper by Kahn & Selesnick) 41 inch diameter, unframed pastel, conte crayon on paper Kahn & Sel...

Due to the current situation related to the Novel Coronavirus pandemic, our gallery will donate 10% of our commission from this sale to the Kansas City Artists Coalition, which has been supporting local Kansas City Artists for the past 40 years. The Kansas City Artists Coalition (KCAC), is a non-profit, artist-centered, artist-run alternative space, supporting artists at every level in their career through exhibitions, continuing education and artist studios. Artist: Joseph Broghammer Title: “Stalemate” Materials : Chalk pastel and pencil on Arches Paper Date : 2018 Dimensions : 7 x 11 ft. Omaha based artist Joseph Broghammer is as much of a storyteller as he is an artist. His one-of-a-kind pastel drawings in “Animals” are chronicles of his life. The creatures Broghammer creates are vehicles to uncover the varying characteristics of the artist’s personal identity. Hence, Broghammer’s “Animals” translates as a flowing stream of consciousness. The different birds and livestock staring back at the viewer are ornamented with iconographic symbols – small surprises along the way. These trinkets are keys to understanding the stories Broghammer is sharing. Broghammer began mastering his “dry painting” technique during his B.F.A. in Visual Art at the University of South Dakota. He graduated in 1986 and a year later went on to study his M.F.A. at the University of Wisconsin. In 2009, he studied at Creative Capital in Omaha, Nebraska. As storytellers often do, Broghammer later went on to become an educator himself, teaching at WhyArts? and becoming an Artist Assistant at Vera Mercer in Omaha – both of which he still practices at today. It’s apparent that Broghammer’s work has resonated with so many people around the world. Only a few years after his formal education, he began exhibiting his work through various International group shows in Italy, Germany, Holland, Mexico, and even Kansas City. Although Broghammer’s portraits depict downy creatures, his work is very much about the human experience. They are honest and full of life, evoking a sincere exchange between artist and viewer. “Animals” is for the animal lovers, students, teachers, collectors, writers, the young or old, and art historians alike. Dry Painting, Pastel, Drawing, Chalk Pastel, Oil Pastel, Painting, Contemporary Drawing, Contemporary Painting, Animal Drawings, Animal Paintings, colored pencil, pencil, large-scale drawings, portrait, portrait drawing, contemporary art, contemporary artists, Joan Miro, Max Ernst, Leonora Carrington, Vladimir Kush...

Price and size includes frames (maple wood with white mats). Artwork 58" x 38" Her pastel-on-sandpaper series, "Domestic Threats" and "Black Paintings", both use cultural objects as surrogates for human beings acting in mysterious, highly charged narratives.[9][10] Rachko also has created a series of photographs entitled "Gods and Monsters".[11] In these chromogenic prints, she is "painting with a camera," creating variations that free the camera from being a mechanical recording device of what lies before it. She prints all of these images by hand. The earlier "Domestic Threats" pastel-on-sandpaper paintings used her West Village apartment or her 1932 Sears house in Virginia as a backdrop. The "Black Paintings" series grew directly from "Domestic Threats". In the "Black Paintings," the figures (actors) take center stage. All background details, furniture, rugs, etc. have been eliminated and replaced by intense dark black pastel. Each painting takes months to complete as she slowly builds up as many as 30 layers of soft pastel. Her long-standing fascination with traditional masks progressed in the spring of 2017 when she visited the National Museum of Ethnography and Folklore in La Paz, Bolivia where one exhibition included more than fifty festival masks. The resulting series is entitled “Bolivianos”.[12] She has also written an e-book, From Pilot to Painter[13] and writes a regular blog, Barbara Rachko...

Medium: Pastel Signature: Unsigned Zoe Mozert created several pastel paintings for use in the 1946 movie, "Never Say Goodbye", starring Errol Flynn, Eleanor Parker and Peggy Knudsen about a calendar artist trying to paint the perfect pin up. A Zoe Mozert pastel strikingly similar to this one prominently appears at the beginning of the movie. The model in this pastel is the actress from the movie, Peggy Knudsen. Zoe Mozert, born in Colorado Springs in 1907, was the most successful and well known female calendar artist of her time. She was born Alice Adelaide Moser, but when she was old enough, she changed her name to Zoe Mozert because she felt that she could never become famous with such a name. In 1941, Brown and Bigelow Calendar Company signed her to an exclusive calendar contract. During the war, her pin-up series for Brown and Bigelow called Victory Girls was published both in calendar and mutoscope card form. By 1950, she was considered among the "big four" at Brown and Bigelow, taking a place alongside Gil Elvgren, Rolf Armsgtrong, and Earl Moran. Often her own model, Mozert is noted for depicting realistic looking young women with individual features and personalities, while rejecting the sexy girl...

James Tissot was among the most successful and critically acclaimed artists of the Victorian era. Although the artist is celebrated for his elegant scenes of fashionable life in Paris and London, this work is a fascinating rarity within his oeuvre. In this monumental pastel, Tissot depicts a prehistoric woman draped in a tiger skin, presented with a striking pose and heroic air. His delicate portraiture, combined with his fascination with conveying texture, demonstrates why he was one of the most revered artists of his generation, and La femme préhistorique illustrates the remarkable technique for which he was renowned. This work was completed in preparation for a series of works exploring the Old Testament undertaken by Tissot from 1899-1902 that remained unfinished at the time of his death. A portion of this series focused on illustrations of Adam and Eve, and among these sketches were images of a nude Eve partially draped in animal furs. Towards the end of his life, following his conversion to Catholicism, biblical subjects became important to the artist. A few years before this work was completed, Tissot embarked upon a highly ambitious group of nearly 300 watercolors illustrating the New Testament, presenting the illustrated epic in its entirety at the Paris Salon of 1894. Both of these series were a critical artistic departure for the artist, stemming from a desire to create works separated from his typical images of modern society. This pastel imagines Eve as the prototype of womanhood in the guise of a prehistoric woman. Tissot rarely painted the nude, and his skill as a draftsman highlights the figure's natural beauty, contrasting it with the stark landscape surrounding her. Although a study, this monumental work is incredibly well-finished and highly engaging, with the statuesque model commanding the majority of the canvas. Her pose is strong and theatrical, and she addresses the viewer with a direct, confident gaze. The imagined historical subject of this drawing is grounded by Tissot’s exceptional attention to detail. A master of conjuring an array of textures, Tissot showcased this ability in this work by juxtaposing many types of fabrics and natural elements within one composition. The tiger skin with which the woman partially covers herself was a favorite studio prop of Tissot’s, appearing in many of his most influential works from the period, including several paintings of his partner and favorite model Kathleen Newton. It, in particular, showcases the artist’s understanding of texture, yet it also serves as an exotic element that elevates the sensuality of the scene when placed against the woman’s bare skin. Born in 1836 in the port town of Nantes, Tissot traveled to Paris at the age of 20 in order to join the studios of Hippolyte Flandrin and Louis Lamothe. During this period, he became close with James Abbott McNeill Whistler, Edgar Degas and Edouard Manet, and the impact of these friendships is reflected in his portraits of modern life. Having enjoyed considerable success in Paris during the 1860s, Tissot fought in the Siege of Paris, and after the fall of the Commune in 1871, he went to London, where he stayed for the next ten years. He was met with incredible success there, and he also met the love of his life, Kathleen Newton, a divorcée, with whom he lived from about 1876 until her death in 1882. Today he is regarded among the great masters of Belle Époque painting, and his works can be found in important collections worldwide, including the Metropolitan Museum of Art, the Brooklyn Museum, the National Gallery of Art, the Musée d’Orsay, the Tate Gallery and many others. This pastel remained in Tissot's private collection until his death in 1902 and is referenced in the posthumous 1902-3 valuation of Tissot's home at 64 avenue du Bois...