Drawings and Watercolor Paintings

Indian ink, carbon black, walnut husk, gouaches & blue oil on AMT paper

Indian ink, carbon black, walnut husk, gouaches & blue oil on AMT paper

Indian ink, carbon black, walnut husk, gouaches & blue oil on AMT paper

Indian ink, carbon black, walnut husk, gouaches & blue oil on AMT paper

Indian ink, carbon black, walnut husk, gouaches & blue oil on AMT paper

Indian ink, carbon black, walnut husk, gouaches & blue oil on AMT paper

Indian ink, carbon black, walnut husk, gouaches & blue oil on canson paper

Indian ink, carbon black, walnut husk, gouaches & blue oil on canson paper

Indian ink, carbon black, walnut husk, gouaches & blue oil on AMT paper

Indian ink, carbon black, walnut husk, gouaches & blue oil on canson paper

Work on paper Golden wooden frame with glass pane 36 x 37.5 x 2 cm

Padern, born in Colera in 1924, settled in Blanes after the Civil War, a municipality that in 1998 granted the title of adoptive son. After a trip to South America, he returned to E...

Jon Reading Color pastels on paper 25 x 18 inches (63.5 x 45.7 cm) This work is offered by CLAMP in New York City.

Posing Nude is an original drawing in pencil realized by Georges Henri Tribout in the 1930s. Pencil Drawing. Applied on a Creamy colored Passepartout. Stamp of artist's atelier on t...

Portrait of Man is an original drawing, pencil, charcoal, watercolor on paper, realized by Albert Decaris in the mid-20th Century. Good conditions.

Flower Moon 2:30pm is a watercolor work on paper by Cynthia MacCollum. This original artwork is 12x9 on archival paper. It is currently framed to 14 x 11. It was part of a 2020 series based on images captured during the 13 Moons of the year. It is a one of a kind botanical artwork...

Impressive 19th century Italian hand fan, remarkably preserved with silvered metal sticks and guards depicting ancient gods, palm trees and classical emblemes. The paper leaves are h...

Gustav Melcher (German, 1898-?) Segelschiffe vor Venedig - Sailing ships off Venice • India ink, water colour wash • Visible image ca. 11.5 x 18 cm • Glased Frame ca. 20 x 25 cm • Verso various inscriptions • Signed lower right Gustav Melcher was a German painter and a pioneer in film, film criticism and film theory and created this clever little picture of the skyline of Venice with various vessels. Going by the various inscriptions an the backing paper, this drawing was made in 1918 when Gustav was twenty years old and passed on three years later to Gertrud Melcher on the 1. 2. 1921. I have no reasons to doubt this information. The small drawing is still in its unopened frame, so maybe there is more information to be discovered , however this will be the privilege of the next owner. The picture also has retained its original antique frame – note that it has lost over the years various sections of the gesso decoration. The very precisely executed drawing is most enjoyable to look at and doing so, remember you are looking through the eyes of a young man, who saw this foreign sea cape over a century ago. Thank you for your interest and please note, that I offer free worldwide shipping on all my items. Gustav Melcher began his studies at the Düsseldorfer Kunstakademie under Peter Janssen and Eduard von Gebhardt. Originaly he was interested in figurative and portrait painting, but after time he decided to pursue the depiction of land- and marinescapes. Durin his studies the young artist undertook trips to visit England, Scotland, Belgium and France and he joined the artist society Malkasten. It was in those days he would hold speeches to his colleges about this new invention called ‘Kintopp’ – Melcher was a great advocate of the moving pictures...

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

Unique work made from handprinting and printed collage on paper.

This colorful painted scroll is a Taoist ceremonial painting attributed to the Yao or Mien minority culture of southern China, northern Vietnam and other neighboring regions. The small scroll depicts two lesser Taoist deities riding animal mounts, possibly representing the pantheon of gods known as the Administration or Heng Fei. Such scrolls were commissioned by Taoist priests and would have been displayed during ritual ceremony to communicate with the gods residing in each painting. From the collection of Frances...

The Holy Family is an Original Drawing in Pastel realized by Giselle Halff (1899-1971). Hand-signed by the artist on the lower right margin. Good conditions. Giselle Halff (1899-...

This small drawing (watercolors on paper 11.5 x 13 cm, with the painted wood frame 42 x 50 cm) is the draft of a painting depicting the martyrdom of Giordano Bruno...

Signed lower left, 'L. Macouillard' for Louis Macouillard (American, 1913-1987) and painted circa 1975. Louis Macouillard was born in San Francisco, CA on Sept. 8, 1913 of French descent and first graduated from Polytechnic High School and the CCAC (1934) before further study at the Art Students League in NYC. Returning to San Francisco, he became art director for the Velvetone Poster Company and maintained a studio on Hotaling Place. He began painting scenes of San Francisco in watercolor during the 1930's and also worked in mosaics and as a muralist. He exhibited with success including at the Oakland Art Gallery (later the Oakland Museum) 1934, and at the San Francisco Art Association (1935). During WWII, he served in the Navy in the South Pacific and produced many artworks of that area which were featured in a six-page spread and cover of the October 1943 issue of Life magazine. As well as fine art, his work included book illustrations and the designs for two U.S. postage stamps (Daniel Boone...

Acrylic on canvas

Work on paper Golden wooden frame with glass pane 49.5 x 61 x 3 cm

Houston artist Al Bates (1931-...). Charcoal on a thin tracing paper. Signed lower right. Depicting the chicken ranch, with Bonnie and Clyde. Measures: 17 1/2" x 23 1/2". The custom-...

Signed lower left, 'A. Manganaro' for 'Antonio Manganaro (Italian, 20th Century), and titled lower center, 'Ability of the Working Classes to Enjoy Meals Under Humble Surroundings'. ...

Serene 1920's watercolor landscape of calm water snaking through a lush marshy wetland, dotted with small birds, wildflowers and swaying grass, by an unknown artist (American, 20th C...

This drawing, color pencil on paper 26 x 23 cm without frame, portrays a lady on profile, styled as the typical fashion of the time. By the way she's portrayed, she seems an audaciou...

James Rassiat ( 1909 - 1998 ). PARIS Mon Amour . "les adieux de Maurice Chevalier " . Théâtre des Champs Elysées . 20 Octobre 1968 . Gouache on pape...

Simon Samsonian (1912 - 2003) Colorful Geometric Abstraction, 1981 Oil on paper 16 x 22 inches Signed and dated lower right Provenance: Estate of the artist This survivor of the Armenian genocide wound up in a Cairo orphanage in 1927. He rose to fame as one of Egypt’s great modernists, but after moving to Long Island late in life he withdrew into anonymity. Now his compelling story is being told. Art historians are finally beginning to realize that the power of abstraction in its early years was a zeitgeist not limited to the major European centers of the avant-garde — Paris, Munich, and Moscow — but one that quickly rippled to major cities throughout the world. Within a few decades that original shock of a new vision had inspired thousands of artists from different cultures — particularly those the Middle East — whose translations were not slavish imitations of works by seminal figures like Picasso, Braque, Malevich, and Kandinsky but creative variants colored by their respective cultures. This essay focuses on an extraordinary Armenian artist, his harrowing survival of the genocide, his rise to fame in Cairo, and his creation of a unique style of abstraction. Art historians have typically formed a chorus that teaches the history of abstraction like this: Just before and during the World War I era, several avant-garde artists emerged to create shockingly different new forms by which artists could express themselves. In Paris, Picasso and Braque broke out with cubism, quickly followed by Mondrian. In Moscow, Malevich created Suprematism, the ultimate hard-edge geometric abstraction. And in Munich, Kandinsky emerged as the father of Abstract Expressionism. Within these few short years a zeitgeist was sensed throughout the art world. American pioneers, too — particularly Stanton Macdonald-Wright and Morgan Russell — felt this explosive freedom of expression. When Europe was recovering after World War I it became clear that Paris would retain its title as capitol of the art world, lasting through the Roaring Twenties and even through the Great Depression. But the end of World War II changed everything. A parallel war had been won by a group of irascible young Abstract Expressionists in New York — led by Pollock, Rothko, DeKooning, and Kline. No sooner had Paris been liberated from the Germans than Picasso, Matisse, Breton, and Duchamp surrendered to the Americans. From that point on New York would be the epicenter of the art world. But a lens that focuses myopically on the war between the avant-garde of Paris and New York misses the wider narrative of multiple aesthetic modernities that developed in the several decades following World War I. For Armenian artists the matter is even more complex owing to the genocide of 1915 where more than 1.5 million people — seventy-five percent of Armenians in the Ottoman Empire — were massacred. Those not shot on the spot were sent on death marches through the Mesopotamian desert without food or water. Frequently, the marchers were stripped and forced to walk naked under the scorching sun until they dropped dead. As a child Samsonian witnessed the murder of his parents and most of the members of his family. Soon thereafter, his older sister, Anahid, quickly shepherded him into a line of children being rescued by Greek nuns. But they became separated and he lost her, too. He was sent to a Greek orphanage in Smyrna (now Izmir), on Turkey’s west coast. Because he only knew his first name, the orphanage gave him a last name based on the place where they found him — Samsun — a major port on Turkey’s north coast on the Black Sea. His birth date was unknown, too. According to Samsonian’s vague recollections he assumed he was about three or four years old at the onset of the genocide, which would place his birth year in 1911 or 1912. In 1922, when Samsonian was about 10, the Turks ended their war with the Greeks by putting Smyrna to the torch in what has been called the “Catastrophe of Smyrna.” Once again, the child was on the run, escaping the fire and slaughter. He found temporary refuge in Constantinople, but within a year that major port would fall to the Turks, too, and become renamed as Istanbul. This time, Samsonian was whisked away to an orphanage in Greece founded by the American charity, Near East Relief — which is credited with saving so many Armenian orphans that the American historian Howard M. Sachar said it “quite literally kept an entire nation alive. Any understanding of Samsonian’s approach to modernism requires careful consideration of the impact of his early years because his art is inseparable from the anguish he experienced. In 1927, when he was a teenager, he was transferred to Cairo, Egypt, then a cosmopolitan city hosting a sizable portion of the Armenian diaspora. There he lived with thirty-two other children on the top floor of the Kalousdian Armenian School. Upon graduating in 1932 he won a scholarship to attend the Leonardo da Vinci Art Institute — an Italian art school in Cairo — where he won first prize in final examinations among one hundred students. He found work with an Armenian lithographic printer and he returned to the Kalousdian Armenian School to teach drawing. In 1939 he married one of his students, Lucy Guendimian. The Cairo in which Samsonian matured as an artist was home to many prominent art collectors after World War I. In this receptive environment Samsonian exhibited widely and won many awards. Beginning in 1937 and for the next thirty years he exhibited annually at the prestigious Le Salon du Caire hosted by the Société les Amis de l’Art (founded in 1921). After World War II he hit his stride as a modernist in Cairo, counting among his peers other artists of the Armenian diaspora such as Onnig Avedissian, Achod Zorian, Gregoire Meguerdichian, Hagop Hagopian...

Signed lower right, 'Michael Schlichting' (American, born 1954) and painted circa 1980. A substantial watercolor and gouache collage showing the turbulent breaking of a wave as it approaches a rocky shoreline. A dramatic and animated work by this signature member of the American Watercolor Society and Vice-President of the National Watercolor Society...

George Edwards: ""A History of Uncommon Birds"", 1749-1761. A prominent English naturalist and ornithologist, George Edwards (1694 -1773) is best known for his work, ""A Natural His...

Watercolor on cardboard without frame

The Terror Of Big Heads is an original artwork realized by Gabriele Galantara in the Early 20th Century. Drawing in ink, tempera and pen. For the Cover of magazin "Asino" publishe...

Beautiful orientalist original gouache by the well known French artist, Paul B. Pascal. Circa 1885. Signed lower right. Condition is excellent. The scene is of a Bedouin encampment at sunset. Newly professionally matted and framed in antique style frame. Under glass. Overall measurements are 11 by 13 inches. Provenance: A Sarasota, Florida estate. Paul B. Pascal (1839–1905) was a French landscape painter. He did landscape paintings of the Middle East and the Mediterranean coast with gouache. After he emigrated to the United States in 1893, he did paintings of the American wilderness...

Framed dimensions: 15.5 H x 13 W x 1.75 D inches An elegant, 19th-century Chinese School gouache scroll painting fragment showing a richly-plumed peaco...

Rapidography & oil onto canvas Pascal Plazanet is a French artist born in 1963 who lives and works in Paris, France. For more 30 years, he constantly uses rapidograph pens in his artworks on paper or onto canvas. The rapidograph is a special pen with a capillary tubular tip in which flows a black pigment, an ancient drawing tool...

Alain Pino’s new works continue his exploration on the intersection between identity and industrial design. In a hyper-capitalistic age, in which social media frenzy and the commodit...

Landscape is an original watercolor drawing in on paper realized in the early 20th Century by Edmond Cuisinier (1857-1917). Monogrammed on the lower and stamped on the rear. Good c...

Beautiful watercolor painting of a quaint blue farmhouse surrounded by lush green trees by Lillie Esther (Hillman) Heebner (American, 1923-2016), a Watsonville, Monterey Bay area artist. Signed "L.E. Heebner" bottom right. Unframed. Image: 15"H x 23"W. Lillie (Lil) E. Heebner was guided through life by her creativity. Even at 92, she never felt old, and often said so. She met every situation in life—including death—with ingenuity. Although born in Richmond, Lillie lived in Watsonville all her life. Her father, Frederick H. Hillman, grew up on a strawberry ranch in Pajaro, graduated from Watsonville High School in 1916, and served in France during World War I. He later worked for Martinelli's Apple Cider plant and became foreman. Lillie's mother, Esther C. Hobson, moved as an infant from Bakersfield to Santa Cruz with her family in 1901, when they founded Hobson's Bath House at the Santa Cruz Boardwalk...

Marker, Paint, Mixed Media on collectable trading card Michael Alan is an American artist born in 1977 who lives & works in New York, USA. As a multidis...

Bavaria, 2021 (Framed) by Rodrigo Spinel From The Series Terms and Conditions 2.0 Chinese ink on Fabriano paper 250 g. Frame size: 44 cm H x 37 cm W x ...

The Angels is an original drawing in watercolored china ink on ivory-colored paper realized by the French artist Madeleine Scellier (1928). Hand-signed in pencil on the lower margin...

Virgilio Marchi (Livorno 1895 – Rome 1960), Project for a new mobility in Venice Pencil and charcoal drawing 35 x 27 cm signed lower left. Provenance...

An enchanting scene of maidens conversing under the shade of an oak tree with lovely detailing and good strong colour. John Edmund Buckley ( 1824-1876) Maidens under an oak tree Sig...

Angels is a beautiful pencil drawing on ivory-colored paper, realized in the 1890s by an unknown artist. Good conditions with some foxing. The artwork realized through deft pen st...

Soft pastel on toned sanded archival paper suitable for framing under glass. Signed and dated bottom right.. Part of an ongoing series of mermaid themes by the artist

Christian Arnold was an extremely productive artist during his lifetime and produced countless watercolours and oil paintings. In the style of New Objectivity, his landscapes or citi...

The Sleeping Nude is a drawing in pencil on ivory-colored paper realized by an anonymous artist in the early 20th century. Good conditions. With the drawing of a hand on the rear. ...

Lawrence Kupferman was born in the Boston area (b.1909 - d.1982) , and he became one of the most important abstract artists to emerge from there in the early 1940s. Kupferman worked as an artist for the WPA in the 1930s, developing a strictly realist style that depicted Victorian houses and other detailed architectural images. Around 1943 Kupferman began to integrate more expressionistic forms into his works. He soon moved completely away from recognizable subject matter and definitively became an abstract painter. In 1946 he studied with the influential German-born artist Karl Zerbe at the School of the Museum of Fine Arts in Boston. Kupferman later attended the Massachusetts College of Art, where he would become a professor and retire as its Head of Painting in 1969. His focus, as it would remain until the late 1960s, was on abstract, marinelike amoeboid forms—intimated, rather than strictly described. Kupferman was an active participant in a huge thrust in Boston art in the 1940s to create a vibrant art scene that rivaled New York. He has been appropriately credited with bringing Abstract Expressionism to Boston, serving as a critical artistic conduit to New York painters such as Mark Rothko and Hans Hofmann, contacts he made in Provincetown, Massachusetts, where he spent his summers beginning in 1946. Kupferman’s unique brand of abstraction integrated with the already burgeoning figurative expressionism in Boston, and he showed at the Boris Mirksi Gallery, arguably the most important Boston gallery...

Oil on paper Francine Ledieu is a French artist born in 1931 who lives and works in Paris, France. In the 50s, she was a student of Maurice Rocher who...

Clausen, 2022 (Framed) by Rodrigo Spinel From The Series Terms and Conditions 2.0 Chinese ink on Fabriano paper 250 g. Frame size: 44 cm H x 37 cm W x 4 cm D Image size: 32 cm H x ...

The drawing, composed by a single sheet without watermark of 20.4 x 12,5 inch, comes from the collection of Placido Fabris’s heirs The drawing shows, on a tempera dark background, a ...

Untitled_Body on the Field #3, 2022 coloured pencils on paper 39 3/8 H x 27 9/16 W inches 100 H x 70 W cm Signed on reverse Zsolt Berszán embodies in his works the dissolution of t...

Chet Reneson (American, Born 1934) Signed: Reneson (Lower, Right) " Boys Fishing From a Log " Watercolor on Paper 22 5/8" x 30 1/8" Loose sheet, in excellent original condition. Reneson’s work has been featured on the covers of Sporting Classics, Gray’s Sporting Journal, Sports Afield and several others. He is a past member of the Old Lyme Art Association and the Connecticut Watercolor Association. He was the Atlantic Salmon...

The Landscape is a drawing in pencil and white lead on paper realized by Joseph Dumas Descules (1813-1885). Applied on a Passepartout 30 x 41 cm, with a cutting at the top of the Pa...