Giorgio De Chirico

Sketch for "The Horses" - Original Pencil Drawing

1920s

Feline Back is an original drawing realized by Ernest Rouart between the end of the XIX Century and the beginning of the XX Century. On the back, there is a sketch realized in pencil...

Study of lion is a beautiful original drawing on ivory-colored paper realized in 1932 by the German artist Wilhelm Lorenz, also known as Willi Lorenz. Hand-signed on the lower righ...

Study of lion is a beautiful original drawing on ivory-colored paper realized in 1932 by the German artist Wilhelm Lorenz, also known as Willi Lorenz. Hand-signed on the lower left...

"Soldier on Horseback" is a pencil drawing on ivory-colored paper by Anonymous Artist of 19th Century. In very good conditions. Sheet dimension: 9.4 x 12 cm. This is an original ...

The Sketch is an original drawing realized by the italian Artist Luigi Galli in the Late 19th Century. Stamped," Coll. Amadeo" Good conditions but aged. ...

The fairy tale of the little mouse is an original modern artwork realized in the early 20th century by an Anonymous artist. Mixed colored pencil, ink and watercolor realized for a fairy tale book...

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...

Sven Berlin (British, 1911 - 1999) Hare Pencil on paper Signed, inscribed and dated `HARE’ (lower left), and ‘SVEN ‘79’ (lower right) 14.7/8 x 22.3/4 in. (37.8 x 57.8 cm.) Sven Berl...

Sven Berlin, (British, 1911 - 1999) Jacobs Sheep Pencil on paper Inscribed with title, signed and dated 'SVEN 99' (lower right) 5.1/4 x 8.5/8 in. (13 x 22 cm.) Sven Berlin, born in ...

Original gouache and watercolor on brown archival paper of a standing crow in profile. Signed and dated lower right. Condition is good to very good. Colors of the bird are strong a...

Figurative drawing of a costumed man with two moons on handmade teal colored paper "Der Fled Maus", made by Kahn & Selesnick in 2011 mixed media, graphite, and pastel handmade paper 17 x 17 inches in walnut vintage wood frame with 8ply mat 7.5 x 7.5 inches unframed This whimsical mixed media drawing on handmade teal colored paper was made by the creative duo Nicholas Kahn & Richard Selesnick as part of their series "Truppe Fledermaus", wherein the artists celebrate the carnivalesque with a cast of peculiar costumed characters. In this illustration, a cloaked figure stands in front of a door with the moon, in two different phases, appearng in the background. The artists' highly stylized approach adds an almost vintage touch. The drawing is complemented by a simple vintage walnut frame, and a sturdy wire across the back provides for easy hanging. About Truppe Fledermaus: Kahn & Selesnick’s latest project follows a fictitious cabaret troupe – Truppe Fledermaus (Bat Troupe) – who travel the countryside staging absurd and inscrutable performances in abandoned landscapes for an audience of no one. The playful but dire message presented by the troupe is of impending ecological disaster, caused by rising waters and a warming planet, the immediate consequences of which include the extinction of the Bat, a shamanistic figure representing both nature and humanity. In one sense, the entire cabaret troupe can be seen as a direct reflection of the artists themselves, both entities employing farce and black humor to engage utterly serious concerns. About Kahn & Selesnick: Nicholas Kahn and Richard Selesnick...

"Two Horses" by Thomas Hart Benton (1889-1975) Signed Lower Right Without Frame: 7" x 10" With Frame: 16.25" x 19.25" Thomas Hart Benton was born in Neosho, Missouri on April 15, 1889. Even as a boy, he was no stranger to the "art of the deal" or to the smoke-filled rooms in which such deals were often consummated. His grandfather had been Missouri's first United States Senator and served in Washington for thirty years. His father, Maecenas Benton, was United States Attorney for the Western District of Missouri under Cleveland and served in the United States House of Representatives during the McKinley and Theodore Roosevelt administrations. Benton's brother, Nat, was prosecutor for Greene County, Missouri, during the 1930s. As soon as he could walk, Benton traveled with his father on political tours. There he learned the arts of chewing and smoking, and while the men were involved in their heated discussions, Benton delighted in finding new cream colored wallpaper on the staircase wall, at the age of six or seven, and drew in charcoal his first mural, a long multi-car freight train. As soon as he was eighteen, even though his father wanted him to study law, Benton left for Chicago where he studied at the Art Institute during the years 1907 and 1908. He continued his studies in Paris, where he learned delicious wickedness, aesthetic and otherwise. Once back home, he became the leader of the Regionalist School, the most theatrical and gifted of the 1930s muralists and as Harry Truman described him,"the best damned painter in America." Detractors said that Benton was "a fascist, a communist, a racist and a bigot"; the ingenious structure, powerful use of modeling and scale and the high-colored humanity of the murals and easel paintings are retort enough. He was a dark, active dynamo, only 5 ft., 3 1/2 in. tall. He was outspoken, open, charmingly profane; he had a great mane of hair and a face the texture of oak bark. He wore rumpled corduroy and flannel, and walked with the unsteady swagger of a sailor just ashore. He poured a salwart drink, chewed on small black cigars and spat in the fire. Benton was once described as the "churlish dean of regionalist art...