Large Animal Drawings and Watercolors

Little Deer, work on paper by Rick Bartow, red, white, pink, blue, black, green,

A small octopus is inked in the Japanese style of Gyo-Taku print making. Using sumi ink to "print" the octopus, the artist then embellishes it with colored pencil to convey an extraordinary dimensionality. By printing it on a nautical chart, the artist achieves a beautiful aesthetic. The artwork is unframed. Please contact the gallery for framing options. Jeff Conroy Purple Perkins over St. Croix sumi ink and colored pencil on nautical chart 30h x 33.50w in 76.20h x 85.09w cm JEC110 Gyotaku - A Japanese word translated from "gyo" meaning fish and "taku" meaning stone impression and is believed to get its inspiration from Chinese stone rubbings of calligraphy, which then gave rise to printing . This tradition dates back to the mid-1800s and was used by fishermen to record their catches, but has also become an art form of its own. Prints were made using Sumi ink and Washi paper. It is rumored that Samurai would settle fishing competitions using Gyotaku prints...

In Japan, they are known as Nishikigoi, or living jewels. These brilliantly colored varieties of the Amur carp have been selectively bred by family owned fisheries for generations. When I began this series of Gyotaku (Japanese fish printing) I studied the many varieties of Koi, each with their own unique colors and patterns. To create these pieces I print common carp I catch myself with sumi ink using traditional techniques used by Japanese fisherman...

John Rattenbury Skeaping. English ( b.1901 - d.1990 ). On The Gallops, 1976. Gouache & Watercolor. Signed & Dated Lower Right. Image size 18.5 inches x 26.8 inches ( 47cm x 68cm )....

A framed watercolour by Walshe. Known more for his works in other mediums this is a bit of a departure for Walshe, but still displays his unique style and concern for the environment. Lilac Fish is an intricate work showing happy little reef fish...

In Japan they are known as Nishikigoi, or living jewels. These brilliantly colored varieties of the Amur carp have been selectively bred by family owned fisheries for generations. Wh...

Grey tonal painting of a Falcon perched on a branch. The work is framed in a silver frame with a white matte. The artist signed the work in the bottom right corner. Artist Biograph...

Immerse yourself in the beauty of the American Southwest with this stunning vintage painting by renowned artist Lloyd Moylan (1893–1963). This masterful watercolor and gouache on pap...

A Gyo-Tako print of large octopus is seen here in Jeff Conroy's work entitled "Orange Crush". To achieve this remarkable painting, the artist inks the octopus using traditional sum...

Dame Elisabeth Frink. English ( b.1930 - d.1993 ). Hawk, 1969. Watercolor. Signed & Dated Lower Right. Image size 25.4 inches x 19.5 inches ( 64.5cm x 49.5cm ). Frame size 34.4 inches x 28.1 inches ( 87.5cm x 71.5cm ). Available for sale; this original painting is by Dame Elisabeth Frink and is dated 1969. The painting is presented and supplied in a glazed frame and mount dating from June 1997. This vintage watercolor is in very good condition, commensurate with its age. The watercolor is signed and dated lower right. Previously with Beaux Arts, London and Bath in 1999. Dame Elisabeth Frink was one of Britain’s most important post-war sculptors, an accomplished draughtsman, illustrator and teacher. She was part of the post-war school of expressionist British sculptors dubbed the Geometry of Fear, and enjoyed a highly acclaimed career that was commercially successful, broke boundaries and contributed greatly to bringing wonderful sculpture to public places. She was born on 14 November 1930 in Thurlow, the daughter of a cavalry officer, and brought up in rural Suffolk near to an active airbase. She was brought up a Catholic and educated at the Convent of the Holy Family, Exmouth. She then studied at the Guildford School of Art from 1947-1949 under Willi Soukop and Henry Moore’s assistant, Bernard Meadows, and then at the Chelsea School in London 1949-1953. She taught at Chelsea School of Art 1951-61, St. Martin’s School of Art 1954-62 and was a visiting instructor at the Royal College of Art 1965-1967, after which she lived in France until 1973. Frink first came to the attention of the public in 1951 at an exhibition at the Beaux Arts Gallery, London. In 1952 she represented Britain at the Venice Biennale, being described by Herbert Read as “the most vital, the most brilliant and the most promising of the whole Biennale”. The same year the Tate bought its first work by her, and she began to enjoy commercial success. Thereafter she exhibited regularly and was for 27 years associated with Waddington’s, London. The subjects which Frink was most concerned with were man, dog and horses, with and without riders. Interestingly she seldom sculpted the female form, drawing on archetypes of masculine strength, struggle and aggression. Her work has the recurring themes of the vulnerable and the predatory, in the spirit of an authentic post-war artist. It has been said that she was more concerned with representing mankind that portraits of individuals. The appeal of her work lies in its directness, provoking a frank statement of feeling. The anatomy is often exaggerated or incorrect; the impact growing more out of her interest in the spirit of the subject. Her animals and birds may be drawn from nature but verge on the abstract, conveying raw emotion and character rather than a realistic depiction. Her unique style is characterised by a rough treatment of the surface which embeds each piece with vitality and her personal impression. In her later work even the distinction between human and bird figures becomes blurred. Commentators have noted that the often rugged, brutal and contorted surfaces of her work reflect the destruction and terror of the six-year world-wide conflict that she witnessed as a child. Frink was an active supporter of Amnesty International. In the 1960s and early 1970s Frink produced a notable series of falling figures and winged men. Later, living in France during the Algerian war, she began making heads, blinded by goggles which had a threatening facelessness. Frink produced many notable public commissions, including Wild Boar for Harlow New Town, Blind Beggar and Dog for Bethnal Green, Noble Horse and Rider for Piccadilly, London, a lectern for Coventry Cathedral, Shepherd for Paternoster Square beside St. Paul’s Cathedral and a Walking Madonna for Salisbury Cathedral. In the early 1980s she produced a set of three larger than life figures The Dorset Martyrs which stand on the edge of the old walled town of Dorchester on the site of the old gallows, as a memorial to those who had been executed there ‘for conscience sake’. Frink’s Canterbury Tales was a collection of 19 etchings drawn directly on to copper plates and etched by her. The ‘book’ was issued in three limited editions. Her illustrations have been praised as “amongst the most successful illustrations of the century, encompassing the mood of the text in concise delineations and disarmingly ribald humour”. She illustrated other books with colored lithographs or drawings. Frink was on the Board of Trustees, British Museum from 1976, and was a member of the Royal Fine Art Commission 1976-81. CBR (1969), DBE ((1982), Associate of the Royal Academy (1971), Royal Academy (1977). She was made a Companion of Honour in 1992. She died on 18 April 1993, but not before completing her last commission, a monumental but unusual figure of Christ for the front of the Anglican Cathedral in Liverpool, unveiled a week before her death. For several decades Frink exhibited widely in the UK and abroad. In her later years she lived and worked in Dorset where her home and garden became an arena for her work. In 1985 she had a retrospective at the Royal Academy. She died on 18 April 1993, but not before completing her last commission, a monumental but unusual figure of Christ for the front of the Anglican Cathedral in Liverpool, unveiled a week before her death. There was a memorial show at Yorkshire Sculpture Park, Bretton Hall in 1994. Today Frink is venerated as one of the great twentieth century British sculptors. Her unique work is represented in the Tate Gallery and major public and private collections world-wide. © Big Sky Fine Art This original watercolor on paper painting of a hawk by Dame Elizabeth Frink...

This beautiful large vibrant animal painting is by Aubrey Williams, Guyanese artist. It is a watercolour/gouache painting of a magnificent Pelican and painted in 1974. Williams has r...

In Japan, they are known as Nishikigoi, or living jewels. These brilliantly colored varieties of the Amur carp have been selectively bred by family owned fisheries for generations. W...

Raven Reads the Lines (Chalk Drawing of Black Bird on Vintage Book Pages) by Louise Laplante chalk on vintage collaged book pages. Artwork measures ...

John Rattenbury Skeaping. English ( b.1901 - d.1990 ). A Tight Finish, 1970. Gouache & Watercolor. Signed & Dated Lower Right. Image size 21.5 inches x 29.1 inches ( 54.5cm x 74...

A very pretty and highly decorative scene in gouache on silk. The gouache retains its natural matte brightness. Japanese birds flit around the flowers in pairs, appearing to be court...

Silverpoint and colored pencil on paper, 29 x 23 in. Signed (at lower right): Joseph Stella Executed about 1919 EXHIBITED: Hirschl & Adler Galleries, New York, November 23, 1985–January 4, 1986, American Masterworks on Paper: Drawings, Watercolors, and Prints, pp. 6, 46 no. 47 illus. // (probably) Richard York Gallery, New York, October 5–November 17, 1990, Joseph Stella: 100 Works on Paper, no. 36 EX COLL.: [Dudensing Galleries, New York]; sale, Christie’s, New York, December 7, 1984, lot 324; [Hirschl & Adler Galleries, New York, 1984]; to private collection, 2006 until the present An independent-minded artist who adhered to the credo “Rules don’t exist,” Joseph Stella explored a range of styles, media, and themes, willfully ignoring the “barricades erected by ... [the] self-appointed dictators” of the art establishment (Joseph Stella, “On Painting,” Broom 11 [December 1921], pp. 122–23; Joseph Stella, “Discovery of America: Autobiographical Notes,” Art News 59 [November 1960], p. 41). By doing so, he produced a diverse and highly eclectic body of work, ranging from realist figure subjects, pulsating Futurist cityscapes, and modernist religious...

In Japan they are known as Nishikigoi, or living jewels. These brilliantly colored varieties of the Amur carp have been selectively bred by family owned fisheries for generations. Wh...

Charming mid century watercolor painting of a horse in winter with a barn in the background by Ernest Smythe (American/England 1881-1950). Signed "ERNEST SMYTHE" in lower left corner. Presented in a tan mat with a wood frame and glass. Image size: 25"H x 19.75"W As William Ernest Smyth, he was born at 13 Commercial Road, Ipswich on 9 April 1874 but was not baptised at St Michael's, Ipswich until 23 October 1885, when his birth date is given as 17 February 1874, youngest son of artist Thomas Smythe...

This new series of painting is an exciting transition for Kinney as he is best known for assemblage and sculpture. “Anim”, the Latin root word of animal, means life, soul or breath. This exhibition features select large-format monochromatic oil paintings on stretched canvas and wood panels. On view as well are works on paper with Japanese Sumi Ink, which inspired the oil paintings. Kinney has been looking at pre-historic cave paintings as well as animals depicted therein, such as the Chauvet caves in Nice, Southern France. Emerging from the inextricable interplay of light and dark, Kinney’s black and white ink paintings capture the ever-shifting subjectivity shaped by shadow. Cast in Japanese Sumi ink, each unique painting explores the trajectories of human and animal, natural and architectural form- what is revealed or hidden? A variety of hand-torn, heavy weight papers add textural dimension to each mark and brush stroke, as well as through the immediacy of brushstrokes to depict the action within the artwork In his latest collection of works, Kinney explores animal form and meaning as seen in both contemporary and ancient times. In “Savanna (Zebras) ”, a stampede of zebras is depicted through oil paint on wood panel. Animal populations in regions like the horn of Africa today face the loss of their natural habitats due to extreme draught. He explores the deep imprint they leave behind and the interconnectedness of humans and animals in the world. With the balance of nature at stake, Kinney’s paintings underscore the importance of the relationship between the natural environment and civilization. Matt Kinney...

Puissance is a beautiful and unique charcoal drawing on paper of a dynamic horse. The Fabriano paper is a high quality watercolor grade set in a custom white wood frame, all archival...

Ettoja is one of the most prominent illustrators and street art creators in Lithuania. His work explores themes such as social issues, ecology, environmental protection, and the rela...

This series was inspired by a 1950’s era instruction manual found while clearing out my father’s basement workshop. The How To Light A Model manual employed voluptuous female models to teach lighting techniques to amateur photographers such as my father. Diagrams plot the prescribed direction of the lights. The nude women hold the pose, their lips bright red and their feet dirty from the studio floor. As naked props for the authoritarian photographer, their vulnerability seems palpable. This work visualizes the human condition as a balance between feral and fabricated worlds. Vivid, oversized creatures embody instinctual energy. Wax seals, gold spheres and text-like marks signify rational structures. One speaks in a whisper, the other in a hiss. Winifred McNeill...

North African Orientalist Scene (Horseman and Nomadic Traders) Giulio Rosati, Italian (1857–1917) Date: circa 1880 Watercolor on Paper, signed lower righ...

Birds design. Sealed on the back with the design studio name and number 98 We offer a small number of these original illustration designs by this design studio based in Alcoy (Spain)...

Cecil Charles Windsor Aldin. English ( b.1870 - d.1935 ). Trotting Horses Harnessed To A Lightweight Four Wheel Cart Trap. Chalk On Paper. Signed Lower Right. Image size 19.3 inche...

Early naturalistic wildlife rendering by the English artist Peter Paillou. The work features a delicately rendered depiction of a possible capuchin monke...

Original Pastel Drawing on Paper of Horse Race at Royal Ascot 2002 with Golan & Nayef Art measures 25 x 18 inches Frame measures 33 x 26 inches Nayef was pipped by Golan in the 2...

Henry Charles Fox. English ( b.1855 - d.1929 ). Driving Sheep. Plaisters Lane, Sutton Poyntz, Weymouth, Dorset 1918. Watercolor On Paper. Signed & Dated 1918. Image size 18.9 inche...

Julian Ruddock. British ( b.1965 ). The Thief. Pastel On Paper. Signed Lower Left. Image size 29.1 inches x 21.3 inches ( 74cm x 54cm ). Frame size 38.4 inches x 29.9 inches ( 97.5c...

Robin Hill, Australian (1932 - ) - Redish Egret, Year: 1972, Medium: Watercolor, signed, Size: 27 x 20 in. (68.58 x 50.8 cm), Frame Size: 38.5 x 31 in. (97.79 x 78.74 cm)

Giorgia Oldano is a young Italian artist specialized in wildlife. She masters drawing and monotype. In order to construct her paintings, the artist travels a lot around Italy and the...

Hercules after Carracci IV, 2014 Tempera on paper (Signed) 27 3/5 H × 39 2/5 W in. 70 H × 100 W cm On the subject of his new works the artist stated: “There is not enough orange, ...

This artwork titled "Daydreaming in Tiger Land" is a watercolor and gouache on paper by artist Jacquie Marie Vaux. It is signed at the lower right c...

Locals know them as "bugs". A small bug is a one pound lobster. Artist Jeff Conroy was able to print this "bug" - a behemoth weighing in at almost 8 pounds aptly named "Big Bug". ...

Figurative chalk drawing of grey, black, and teal clouds and birds silhouetted on collaged vintage music pages 'Black Bird Tours Around the World ' by Louise Laplante in 2022 silhouettes made with chalk on vintage collaged music pages 24 x 30 inches unframed, 27.5 x 33.5 inches in natural light wood frame with non-glare plexi Louise Laplante bridges the past and present with mixed media drawings made with figurative charcoal silhouettes juxtaposed on collaged sheets of vintage paper. Finding beauty in forgotten or discarded sheets of ephemera, Laplante uses it as a guide for playful compositions of stenciled birds in mid-flight, drifting feathers, or taxidermized deer heads in rich pastel. A final burst of wistful linework glides over the pastel forms, accentuating her subject’s movement while adding another layer of texture. In this particular work, the artist using a palette of black, grey and shades of blue and teal to compose a balanced graphic of fluffy clouds extending above a single black bird. In certain segments the stenciled images are delicately brushed over with a thin wisp of chalk which adds a delicate textured effect to the drawing. The drawing is framed with a light wood frame and has non-glare plexi glass galzing. About the artist: Interested in blending the old world with the new, mixed media artist Louise Laplante combines her original images with ephemera of the past, enticing a conversation about it’s “relevancy to the present.” Her compositions begin with vintage book pages, personal handwritten letters, sheet music, or instruction from old guides on etiquette or science. While the text itself is weighted with reference to a particular subject, the visual of the typed or handwritten words and printed illustrations establish a unique pattern. These layered backgrounds are superimposed with opaque charcoal drawings that are inspired by the themes read between the lines. Most recently, the artist has opted for larger scale work, combining multiple sheets of vintage paper to expand her unique motifs. Laplante exhibits across the Northeast and has shown with Carrie Haddad for more than ten years. Artist Statement: My work connects the texts, and ideas, in the vintage book, music or correspondence pages, with images those words evoke to comment on how the past still resonates, whether we are aware of it or not. It is informed by my love for old paper, letters, books and images, both as reminders of the past and as bits of pattern, tone, line and shape. The text on them acts as both content and visual device. With each work, I select, arrange and collage these pieces creating both a support and pattern building on it with motifs that are suggested by words on the papers. Although I often start with an agenda I always allow each work to build its own image. Artist Resume: Education MA in Fine Art, State University of New York at Albany, New York BFA, College of New Rochelle, New Rochelle, New York Studied, Art Institute of Boston, Boston, Massachusetts Exhibitions 2019 Mediums of Exchange, Lehman College Art Gallery, Lehman College, CUNY, Bronx, New York 2018 Figures We Fancy, Carrie Haddad Gallery, Hudson, New York Shelter, A.P.E. Gallery, Northampton, Massachusetts Material Flow: Rhythm in Collage and Sculpture, Pratt Gallery, Goddard College, Plainfield, Vermont 2017 Abstractions in Black and White, Gallery 175 Pawtucket, Rhode Island Blanche Ames National, Borderlands, North Easton, Massachusetts Five Points Biennial, Five Points Gallery, Torrington, Connecticut A Declaration of Sentiments: Reflections on the Centennial of Women’s Right to Vote in NYS, Athens Cultural Center, Athens, New York 2016 Winter Exhibit, Carrie Haddad Gallery, Hudson, New York 2015 Boston Biennial 4, Atlantic Gallery, Boston, Massachusetts Drawing, Carrie Haddad Gallery, Hudson, New York Taking Root: Caniskek and the Meeting of Two Worlds, Athens Cultural Center, Athens, New York North Northeast, Brattleboro Museum and Art Center, Brattleboro, Vermont NBMMA 45th Exhibition, New Britain Museum of American Art, New Britain, Connecticut 2014 New Directions ’14, Barrett Art Center, Poughkeepsie, New York Connecticut Women Artists – 85th National, Slater Memorial Museum, Norwich, Connecticut New England Collective V, Galatea Fine Art, Boston, Massachusetts Boston Biennial 3, Atlantic Works Gallery, Boston, Massachusetts 2013 Storytellers and Conjurers, Carrie Haddad Gallery, Hudson, New York 2012 Works on Paper, Carrie Haddad Gallery, Hudson, New York Drawing, b.j. spoke gallery, Huntington, New York Strange Glue, Thompson Gallery, Weston, Massachusetts Silhouette, A.P.E., Northampton, Massachusetts The Cadence of Familiarity, Krauss Gallery, Providence, Rhode Island 2011 20th Anniversary Exhibition, Carrie Haddad Gallery, Hudson, New York Paperworks, Paper City Studios, Holyoke, Massachusetts Small Works, Towne Gallery, Wheelock College, Boston, Massachusetts 2010 Text/Context, McCoy Gallery, Merrimack College, North Andover, Massachusetts A Community of Artists, Danforth Museum of Art, Framingham, Massachusetts Here and Gone: Presence, Absence, Memory and Time, Amy H. Carberry Fine Art Gallery, Springfield Technical Community College, Springfield, Massachusetts 2009 Dreamscape, Carrie Haddad Gallery, Hudson, New York 2008 Small ’08, Wunderarts Gallery, Amherst, Massachusetts Interaction: Louise Laplante and Liz Chalfin, Wunderarts Gallery, Amherst Massachusetts Artists and Books, Art Complex Museum, Duxbury, Massachusetts One Night, Pivot Gallery, Florence, Massachusetts 2007 20 Artists X 2 Feet, Wunderarts Gallery, Amherst, Massachusetts Biennial 2007, New Hampshire Art Institute, Manchester, New Hampshire Salon, Clark Gallery, Lincoln, Massachusetts 2006 Small: 20 Artists X 2 Feet, Wunderarts Gallery, Amherst, Massachusetts Salon, Clark Gallery, Lincoln, Massachusetts 2004 On Paper, Carrie Haddad Gallery, Hudson, New York Encaustics, Carrie Haddad Gallery, Hudson, New York New Acquisitions, University Gallery, University of Massachusetts, Amherst, Massachusetts 2003 Hart Gallery...

Playful portraits of six goats, a series arranged in panels, by Karen Druker (American, 1945). Signed "Druker" in the lower right corner. Presented in an off-white mat. No frame. Ima...

This new series of painting is an exciting transition for Kinney as he is best known for assemblage and sculpture. “Anim”, the Latin root word of animal, means life, soul or breath. ...

Locals know them as "bugs". A small bug is a one pound lobster. Artist Jeff Conroy was able to print this "bug" - a behemoth weighing in at almost 8 pounds aptly named "Big Bug". The artist uses a style of gyotaku printing which uses various inks directly on a fish (or in this case, a lobster) and then "prints" it to paper. Here he has used acrylic to print this monster on mulberry paper. This work is unframed. Please contact the gallery for framing options. Jeff Conroy Big Red Bug...

Bengal Tiger watercolor inspired by the novel The Life of Pi's, whose main character, Richard Parker — the tiger who is the epitome of beauty, power, an...

A fine watercolour depiction of a cattle drover on horseback moving a herd of cows along a woodland path. Signed to the lower right. On wove.

Bright watercolor of lilies in a pond with a bird by David Wang (Chinese-American, 20th Century). Signed "David Wang" in the lower left corner. Presented in a cream mat with a wood frame and plexiglass. Image size: 22.5"H x 30"W David Wang is a native of Beijing, China. He gained his education from the Beijing Education College of China in 1984, where he learned various techniques in drawing, watercolor, oil painting, sculpture, graphic design, and Chinese watercolor. After receiving his Bachelor of Arts Degree, he became a fine arts teacher. During his eight years of teaching, he has taught hundreds of quality students, some becoming professional artists and cinematographers. Wang has also accomplished several major art and design projects, such as designing and creating an exhibit of the Terra-Cotta army warriors in the Forbidden City and interior designs for shopping plazas in Beijing. In 1988, David came to the U.S as a visitor scholar and studied at the University of Southern California in Los Angeles. After his studies in 1992, he continued his profession as a full-time artist. For twelve years, he had a successful career creating visual art for the Walt Disney Feature Animation Florida Studio. He worked as a senior background artist doing work from concept development to production final work. His work has achieved him credits on: "Pocahontas," "Mulan," "Tarzan," "Lilo & Stitch," "Brother Bear," and "The Princess and the Frog...

Three's a Crowd, whimsical colorful pastel on toned paper A Brooklyn native, much of Basso's wildly imaginative artwork was inspired by travel to Jamaica, Puerto Rico, and especiall...

Sunil Das - Early Horses VI - 19.5 x 29 inches (unframed size) Charcoal on paper (Framed & Delivered) Sunil Das was one of India's most important postmodernist painters and rose to ...

A newly discovered sea creature?? No, just an imaginative artist creating a Gyo-Tako print of large octopus by Jeff Conroy entitled "Cheetahpus". To achieve this remarkable painting, the artist inks the octopus using traditional sumi ink then "prints" it onto Mulberry paper - a soft, handmade paper. He then embellishes the details with watercolor to give extraordinary dimension and interest to its overall aesthetic. Framed as shown. Jeff Conroy Cheetahpus sumi ink and watercolor on mulberry paper 25h x 36.50w in 63.50h x 92.71w cm JEC080 Gyotaku - A Japanese word translated from "gyo" meaning fish and "taku" meaning stone impression and is believed to get its inspiration from Chinese stone rubbings of calligraphy, which then gave rise to printing . This tradition dates back to the mid-1800s and was used by fishermen to record their catches, but has also become an art form of its own. Prints were made using Sumi ink and Washi paper. It is rumored that Samurai would settle fishing competitions using Gyotaku prints. This original form of Gyotaku is still utilized today, and can be seen hanging in fish and tackle shops all...

Nora Othic is considered one of the top regionalist painters in the Midwest. She builds on a legacy from her artistic predecessors such as Grant Wood, Thomas Hart Benton and the WPA ...

David Morrison has extended his brand of hyperrealism to the artificial, capturing the intricate lithography that decorates his collection of vintage Kohler wind-up birds. His drawings are often mistaken for a photograph from afar - on approach, they dissolve into a mesmerizing display of mark-making.This new body of work plays with the boundaries between organic and manufactured: the metal imposters are resplendent as they perch, pert and expectant, on wilting greenery. Yet another layer of irony, the toy birds...

Stanislaw Sobolewski (born in 1952) Studied philology at the Jagiellonian University (1971-1976) and painting under prof. Zbigniew Grzybowski at the Academy of Fine Arts (1974-1979)....

Figurative abstract collage with goats and other media layered to form an interesting visual texture by Karen Druker (American, 1945). Signed "Druker" in the lower right corner. Pres...

Artist: John Rombola Title: Soldier on Horse Year: circa 1970 Medium: Ink and Gouache on Paper, signed Paper Size: 24 in. x 18 in. (60.96 cm x 45.72 ...

"Butterfly" original drawing on French papers, framed in a handmade color coordinated frame. The mat is hand done in the green orbs and the surrounding green marbleized paper is h...

Jeff Conroy Black Mirror, 2018 sumi ink on mulberry paper 25h x 37w in 63.50h x 93.98w cm [artwork is unframed. Contact gallery for framing options] Gyotaku - A Japanese word translated from "gyo" meaning fish and "taku" meaning stone impression. It is the traditional Japanese method of printing fish, a practice which dates back to the mid-1800s. This form of nature printing was used by fishermen to record their catches, but has also become an art form of its own. Gyotaku is a Japanese method of printmaking that traditionally utilizes fish, sea creatures or similar subjects as printing "plates" in its process. The literal translation of the word is "fish stone rubbing...

Artist Jeff Conroy is an avid fisherman. He is also an accomplished artist. He brought these two disciplines together by learning the art of Gyotaku Painting. After having caught ...

Kartick Chandra Pyne Untitled Watercolour on Paper 30 x 22.5 inches Untitled Watercolour on Paper 30 x 20 inches (Set of Two) Inclusive of shipment in roll form. Style : After graduating from the Government College of Art and Crafts, Calcutta in 1955 Pyne began to move away from the tenets of both classical Indian and Western art to respond to the beckoning of his own artistic impulses. Landscapes fascinated him initially. But along with the world of nature and flora emerged his own reconstructed images of fauna that often signified as metaphors of human passion and energy, and his paean to the elemental magic of women. This transition may have risen from his penchant for human psychology and observing the intricacies of human behavior. In the case of Pyne too, his artistic vision does not adhere to logic because he does not see with his eyes but rather through his subconscious mind -- in an act of surrender to the liberty of his dreamy vision -- with little control over the wanton caprice of his depictions. So, in this distinctive vein, he is perhaps the most seminal surrealist of the contemporary Indian art. About the Artist and his work : Born : 1937 in Calcutta, West Bengal. Education : 1955 Diploma in Fine Arts, Govt. College of Art and Craft, Calcutta. Exhibitions : 1961 : AIFACS, New Delhi. 1967, 80, 82 : Academy of Fine Arts, Calcutta. 1968-87 : Lalit Kala Akademi, New Delhi. 1968 : Jehangir Art exhibition, Bombay. 1979 : 100 Years of Modern Indian Art, Fukuoka Art Museum, Japan. 1988 : Chandigarh and Chitrakoot Art exhibition, Calcutta. 1991 : Calcutta 300 - Birla Academy of Art and Culture, Calcutta. 1991, 92, 93, 95, 97, 2001 : Chitrakoot Art , Calcutta. 1992 : Gandhara Art...

Bold modernist portrait of a goat done in black and blue watercolor by Karen Druker (American, 1945). Signed "Druker" in the lower right corner. Presented in an off-white mat. No fra...

Art Sz: 21"H x 28 1/4"W Frame Sz: 29 1/2"H x 36 1/4"W Signed 'Andrea Clarkson' l.l., watercolour

Sunil Das - Early Horses VIII - 18.5 x 29 inches (unframed size) Charcoal on Paper Inclusive of shipment in ready to hang form. Sunil Das was one of India's most important postmoder...

Charming pastel of a brightly colored goat, composed in the pointilist style with thousands of tiny multicolor dots, by Karen Druker (American, 1945). Signed "K. Druker" on verso. Pr...

In Japan, they are known as Nishikigoi, or living jewels. These brilliantly colored varieties of the Amur carp have been selectively bred by family owned fisheries for generations. W...

Sunil Das - Early Horses I - 18.5 x 29 inches (unframed size) Conte on Paper Inclusive of shipment in ready to hang form. Sunil Das was one of India's most important postmodernist p...

This new series of painting is an exciting transition for Kinney as he is best known for assemblage and sculpture. “Anim”, the Latin root word of animal, means life, soul or breath. ...