Ernest Procter Portrait Drawings and Watercolors

Graphite with white heightening on greenish beige wove paper, 17 1/4 x 12 1/2 (437 x 317 mm). Scattered edge wear, tears and losses around the perimeter of the drawing. Margins are wide and the image area is clean and intact. Scattered light soiling and toning, all consistent with age. A dramatic image by a highly skilled draftsman, this works is likely a life study of the Hellenistic sculptural masterpiece of the same title, which is housed in the Uffizi's collection of ancient statues...

An early example from pioneering Female Cartoonist/ Illustrator Edwina Dumm, who draws a comic strip from her long-running cartoon series Tippie which lasted for almost five decades. Signed and dated Edwina, 9-25, matted but unframed. Frances Edwina Dumm (1893 – April 28, 1990) was a writer-artist who drew the comic strip Cap Stubbs and Tippie for nearly five decades; she is also notable as America's first full-time female editorial cartoonist. She used her middle name for the signature on her comic strip, signed simply Edwina. Biography One of the earliest female syndicated cartoonists, Dumm was born in Upper Sandusky, Ohio, and lived in Marion and Washington Courthouse, Ohio throughout her youth before the family settled down in Columbus.[1] Her mother was Anna Gilmore Dennis, and her father, Frank Edwin Dumm, was an actor-playwright turned newspaperman. Dumm's paternal grandfather, Robert D. Dumm, owned a newspaper in Upper Sandusky which Frank Dumm later inherited. Her brother, Robert Dennis Dumm, was a reporter for the Columbus Dispatch, and art editor for Cole Publishing Company's Farm & Fireside magazine. In 1911, she graduated from Central High School in Columbus, Ohio, and then took the Cleveland-based Landon School of Illustration and Cartooning correspondence course. Her name was later featured in Landon's advertisements. While enrolled in the correspondence course, she also took a business course and worked as a stenographer at the Columbus Board of Education. In 1915, Dumm was hired by the short-lived Republican newspaper, the Columbus Monitor, to be a full-time cartoonist.[2] Her first cartoon was published on August 7, 1915, in the debut issue of the paper. During her years at the Monitor she provided a variety of features including a comic strip called The Meanderings of Minnie about a young tomboy girl and her dog, Lillie Jane, and a full-page editorial cartoon feature, Spot-Light Sketches[3]. She drew editorial cartoons for the Monitor from its first edition (August 7, 1915) until the paper folded (July 1917). In the Monitor, her Spot-Light Sketches was a full-page feature of editorial cartoons, and some of these promoted women's issues. Elisabeth Israels Perry, in the introduction to Alice Sheppard's Cartooning for Suffrage (1994), wrote that artists such as Blanche Ames Ames, Lou Rogers and Edwina Dumm produced: ...a visual rhetoric that helped create a climate more favorable to change in America's gender relations... By the close of the suffrage campaign, women's art reflected the new values of feminism, broadened its targets, and attempted to restate the significance of the movement.[4] After the Monitor folded, Dumm moved to New York City, where she continued her art studies at the Art Students League. She was hired by the George Matthew Adams Service[5] to create Cap Stubbs and Tippie, a family strip following the lives of a boy Cap, his dog Tippie, their family, and neighbors. Cap's grandmother, Sara Bailey, is prominently featured, and may have been based on Dumm's own grandmother, Sarah Jane Henderson, who lived with their family. The strip was strongly influenced by Mark Twain’s Adventures of Huckleberry Finn, as well as Dumm’s favorite comic, Buster Brown by Richard F. Outcault. Dumm worked very fast; according to comics historian Martin Sheridan, she could pencil a daily strip in an hour.[6] Her love of dogs is evident in her strips as well as her illustrations for books and magazines, such as Sinbad, her weekly dog page which ran in both Life and the London Tatler. She illustrated Alexander Woollcott's Two Gentlemen and a Lady. For Sonnets from the Pekinese and Other Doggerel (Macmillan, 1936) by Burges Johnson (1877–1963), she illustrated "Losted" and other poems. From the 1931 through the 1960s, she drew another dog for the newspaper feature Alec the Great, in which she illustrated verses written by her brother, Robert Dennis Dumm. Their collaboration was published as a book in 1946. In the late 1940s, she drew the covers for sheet music by her friend and neighbor, Helen Thomas, who did both music and lyrics. During the 1940s, she also contributed Tippie features to various comic books including All-American Comics and Dell Comics. In 1950, Dumm, Hilda Terry, and Barbara Shermund...

Graphite and ink on handmade, watermarked C & I Honig laid paper, 8 15/16 x 6 3/4 inches (226 x 170 mm). Signed illegibly in ink, lower margin. Scattered light creasing and surface...

Many of you clicking on this drawing are probably doing so because you know of Ellsworth Woodward, who with his brother William Woodward around the turn of the 20th century sparked an arts renaissance in the South, the arts and culture in general having been mostly moribund since the dispiriting defeat experienced in the Civil War. I won't bog you down with lots of detail here since all you have to do is Google his name to bring up a wealth of information about him. He is most famous for his leadership of the arts program at Newcomb College in New Orleans, and its famous Newcomb Pottery...

Graphite on hand made, fibrous wove paper, finished with gray wash. Unevenly trimmed sheet edges, non-archival tape remnants at all four corners, recto, well outside of image area. Horseshoe-shaped area of light discoloration that extends significantly into the figure's face, beneath the lips, and up over the rear of the head, dog-eared right lower corner with associated light discoloration at crease. DeMin and Belluno inscribed in graphite, verso. A detailed study showing 'primo pensiero' for Giovanni DeMin's large scale fresco, Assumption of the Virgin...

Maurycy Trębacz (1861 – 1941) was one of the most popular Jewish painters in Poland in the late 19th and early 20th century. Many of his paintings were lost in the Holocaust, but a representative selection of his artwork survived.Trębacz died of starvation in the Litzmannstadt Ghetto during the Nazi German occupation of Poland. Maurycy Trębacz, along with Samuel Hirszenberg, Jakub Weinles, and Leopold Pilichowski, belonged to the first generation of Jewish artists in Poland who broke away from the religious prohibition on portraying a human figure (see below). The studies show his mastery of painting, his own unique style and great imagination. Trębacz was noted within the European art-world as a master portrait and landscape painter,[1] but above all he was also a rare chronicler of the contemporary Jewish life, depicting a world that is now lost. His popular subjects included praying Rabbis, old men, street and Jewish domestic scenes, and genre painting depicting the everyday side of life. His psychological portraits of Jews earned him the greatest popularity and critical acclaim, and influenced the work of other Jewish painters in Poland. Notably, Trębacz's oil painting "The Good Samaritan", reportedly stolen in 1904 at the World's Fair, was recently sold at auction at Sotheby's. Born in 1861 in Warsaw, the son of David Trębacz, a house painter, Maurycy (Mojżesz) at the age of 16 years was admitted to the school of drawing by professor Wojciech Gerson and Aleksander Kamiński. Three years later, with the support of Leopold Horowitz, he received a scholarship sponsored by lawyer Stanisław Rotwand, and moved to Kraków where he enrolled in the Academy of Fine Arts in the studios of Jan Matejko, Leopold Loeffler and Władysław Łuszczkiewicz. From 1882, he studied at the Academy of Fine Arts in Munich with Sandor Wagner (until 1884) and received the grand silver medal there at the completion of his studies for the work "Martyrdom". Between 1889 and 1890, he studied in Paris at the Académie Colarossi. He lived and worked in Munich for 4 years before returning to Warsaw. Over time, Trębacz worked in Lviv and Drohobych, and eventually moved permanently to Łódź, where he founded and ran a private art school until September 1939. He is often criticized for giving in to popular demand later on in his career. Pressured by financial sponsors, he began to produce sentimental theme portraits pertaining to the bucolic life of country folk. Trębacz made his successful artistic début twice, first at the Munich Kunstverein, and then at the Krywult Salon in Warsaw as a 23-year-old painter. His another big success was the participation of painting "Good Samaritan" (1886, pictured) in a Kunstverein exhibition in Munich as well as at the I National Art Exhibition in Kraków and in Warsaw at the Zachęta Society for the Promotion of Fine Arts. The painting was also awarded a gold medal at the Universal World Exposition in Chicago. Subsequently, Trębacz also received a bronze medal at the Paris Universal World Exposition of 1889. "Good Samaritan" (1886), book engraving from painting by Maurycy Trębacz, Warsaw Maurycy Trębacz died of hunger in the Łódź Ghetto...

This framed 15.5" x 13.25" mixed media female portrait by artist Jeffrey Kronsnoble features the black and white profile of a women with a circular ...

Early in the artist's career most likely for Vogue Magazine. Signed lower left. Helen Dryden (1882–1972) was an American artist and successful industrial designer in the 1920s and 1...

Photorealistic black and white drawing of rock concert goers - Graphite on paper by Andy Mister. Offered framed. The work of Andy Mister explores the boundary between mechanical and manual reproduction. Working with images appropriated from vintage photographs and deftly mimicking the Xerox aesthetic of punk zines and album covers, removing their specific historical context. Mister’s drawings question how meaning is created or lost through the act of “copying.” Mister says of the arrangement of his images, “It's something like my bedroom as a teenager, filled with images clipped from magazines: bands or writers that I admired interspersed with random images I found aesthetically interesting. I am interested in the relationship between images and connections that the viewer creates when encountering them, connections that I cannot control.” Andy Mister received a BA in English Literature and Philosophy from Loyola University of New Orleans, and an MFA in Creative Writing from the University of Montana. His artwork has been exhibited at Hirschl & Adler Modern, Turn Gallery, Joshua Liner Gallery, Morgan Lehman Gallery...

Original graphite, watercolor on paper. Hand signed top left front by Richard Lindner. Artwork size 14 x 12.25 inches. Frame size approx 22.75 x 20.75 inches. Artwork is in ov...

Ritratto di Noemi, 7x10 inches. Graphite and White Chalk on Toned Paper. Drawing by artist Justas Varpucanskis. This piece utilizes the "rules of c...

Miss Twisty is a story of a young girl who leaves the big city to spend time in the country. The book is filled with insight and humor. This work is a deftly rendered black-and-wh...