Small Drawings and Watercolor Paintings

A Fine 1930s, Modern Academic Anatomical Pastel Figure Study Drawing of a Female Nude Model (Study of Shoulder, Arm & Legs) by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). ...

Work on paper

Arthur Wardle. English ( b.1864 - d.1949 ) Welsh Hounds From The Packs Of Lieutenant Buckley & The Hon. H.C. Wynn. Watercolor. Signed Lower Left. Image size 7.68 inches x 10.83 in...

Grażyna Rigall is a painter, illustrator, author of stage designs and music videos. - The artist is interested in the merging of the world of fauna and ...

The Crippled Dog, 2019 collage on paper 11 13/16 H x 15 3/4 W in 30 H x 40 W cm The artist’s collages describe a series of faces composed of different materials – cardboards, textil...

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-...

Pencil and watercolour on paper Paper size: 10 x 14 inches Framed size: 20 x 23.75 inches Initialled lower right

Andre Masson (French, 1896 – 1987) Le Cavalier Amoureux Pastel on paper Signed and dated ‘Andre Masson, 1933’ 17.1/2 x 23.3/8 in. (44.5 x 59.2 cm.) Frame measurements: 80 x 95cm. Pr...

Colin Coots (b. 1944) In the Paddock, Saratoga Springs, Jerry Bailey up Signed and dated '87 watercolour and pencil 17 x 23 in Colin Coots (b. 1944) is a celebrated equestrian artis...

Huang Wei Born in 1985 in Baotou, Inner Mongolia; 2011,Graduated from The Department of Chinese Painting of Tianjin Academy of Fine Arts with a bachelor's degree; 2014,I graduated from Art College of Xizang University with a master's degree; Now he lives and works in Beijing T3 International Art District. After graduating from Tianjin Academy of Fine Arts, Huang Wei chose to study in Xizang because he was unsatisfied with the procedural education mode. As an ideal and sacred place for many people, Tibet has also provided artistic inspiration for many artists. Huang Wei is not concerned with Tibetan folk customs or landscapes, but with Tibetan unique, faith-based artistic expression. The experience in Tibet was a rare retreat. He was willing to spend time in dialogue with nature as well as with his heart. Through painting, he established an inner field and objected to mountains, water and clouds with his mind. Huang Wei's brushwork does not move restlessly. The rich texture on the picture comes from the countless dots dyeing of the brush tip and rice paper. This technique, which originated from the Traditional Tibetan painting "Thangka", requires a state of extreme silence and numerous repetitions, approaching a state of meditation. This is the classical spirit from Tibet, and in keeping with the spiritual pursuits of the great achievers of the Himalayan region. As his mentor Li Jin...

- Pastel drawing on felt. - Recto-verso drawing. - Circa 1920. Dimensions H: 50.5 cm W: 31.4 cm.H: 19.88 in W: 12.36 in (unframed) H: 51 cm W: 41 cm/H: 20.08 in W: 16.14 in (framed)

Colorful watercolor landscape by Darrel (Wayne "Bunky") Millsap (American, 1931-2012). Signed "Millsap" lower right. Unframed. Image size, 14.75"H x 22"L. Darrel attended the Art C...

Art Sz: 11 3/4" x 15 3/4"W Frame Sz: 17 7/8"H x 22"W' w/ yellow mat & gilt bamboo frame

“Yes, I find there’s nothing like a motor for giving me ideas for new dance steps.” Humorous illustration for Life magazine, published December 31, 1914 Signed lower left Lowell ...

An Captivating, 1945 Mid-Century Modern Figure Drawing of a Standing Female Nude By Noted Chicago Artist, Harold Haydon (Am. 1909-1994). A finely rendered standing female nude studi...

Very stylish, unique and original 1940's fashion design by French illustrator Geneviève Thomas. The painting, executed in gouache and pencil. The sketch is original, vintage and me...

"Church Interior" is an original drawing in ink and watercolor on paper, realized by Jules Rene Leblanc. Hand-signed on the lower right in pencil. The state of preservation of the ar...

A contemporary Impressionist pastel on paper by British artist Miranda McCarthy. Signed to the bottom right and presented in a black case frame. The softness of pastel as a medium ...

Medium: Watercolor and Ink on Paper Signature: Initialed Lower Right Literature: A.H. Gleason, "The Saloon in New York," Collier's Magazine, May 2, 1908, vol. 41, p. 12, frontispie...

Cassatt, Mary. WOMAN WITH OPERA GLASSES (STUDY FOR "IN THE LOGE"). Drawing, Pencil, circa 1878. 5 x 8 1/2 inches (sheet). With the estate stamp "Mary Cassatt - Collection Mathilde....

Quickens The Pace At The 25th Fence And Goes On To Win 1931 Inscribed LL: Merry Christmas and a lot of winning rides in 1932 To Roberta and "Freddie" from the Paul Browns Mixed Me...

Title: Expressive Charcoal Drawing of a Reclining Female Nude By Minty Ramsey Signed: Verso Size: 23.5 x 16.5 inches (height x width) Medium: Charcoal drawing on paper Condition: The...

China marker on smooth bristol paper. Jay Golding’s realistic portrait and figure drawings/paintings are inspired primarily by Indigenous culture and heritage but are not limited to...

Interior design paintings. The work was done with india ink in black and grey color on Yupo paper. The work is 11 by 14 inches in size, framed with a styrene face on a mat board in w...

Watercolor on heavy paper work is unframed Signed by artist in pencil, lower right verso. Property from the estate of Anne E. C. Porter, with the estate stamp, verso. ...

Watercolour on paper interpretation of the Raft of the Medusa by English artist Derek Carruthers. The work is signed and titled to the back of the paper. A vivid and engaging interp...

The artist has covered New York collections for over 16 years and has interviewed, as a journalist, several fashion designers and personalities for different publications. He loves t...

Watercolor painting of winter with bright rays of the setting sun. Deep snow shadows, a winter forest in the rays of the sun, a snow-covered earth - this watercolor painting with the...

Signed lower right, 'Layton', for Gray Layton (American, 20th century) and created circa 1965. An exuberant and brilliantly colored, Post Impressionist collaged still-life painting comprising a bouquet of lilac blossoms, shown informally arranged in a patterned vase and set beside a jade glass bottle of absinthe and a ripe, yellow Boscobel pear, all contrasted against a background of scumbled and stippled rectangular elements in muted tones of ochre, violet and amethyst. Gray Layton first studied with Elizabeth Hazeltine at the University of Chicago and George Dutch at Peabody College. She furthered her training with Eliot O'Hara before studying watercolor with William Hollingsworth...

This artwork "Farmers Market, Glasgow" c.1930, is a watercolor on paper by British artist Ken Cherrington, 1886-1969. It is signed at the lower right corner by the artist. The artwor...

Carriage is an Original Drawing in Charcoal realized by Edouard Dufeu (1840-1900). Good conditions except for diffused foxings. The Artwork is depicted...

George Alfred Boden (British, 1888 – 1956) Eagle sunrise Gouache on paper Signed ‘G. A. Boden.’ (lower right) 19.3/4 x 12.1/2 in. (50 x 32.1cm.) Now in a new white mount

An original watercolour landscape by Francis George Coleridge (1838-1923), depicting sheep grazing near a rocky gorge. Signed to the lower left. Presented in a crisp white mount and ...

Nude is an original drawing in watercolor, realized in the Mid-20th Century by Jean Delpech (1916-1988). Good conditions. Jean-Raymond Delpech (1988-1916) is a French painter,...

The Strange Fairy is an original contemporary artwork realized by a European Artist in the second half tf 20th Century. Mixed colored oil on board. Hand signed by the artist with ...

Oscar Bluemner was a German and an American, a trained architect who read voraciously in art theory, color theory, and philosophy, a writer of art criticism both in German and English, and, above all, a practicing artist. Bluemner was an intense man, who sought to express and share, through drawing and painting, universal emotional experience. Undergirded by theory, Bluemner chose color and line for his vehicles; but color especially became the focus of his passion. He was neither abstract artist nor realist, but employed the “expressional use of real phenomena” to pursue his ends. (Oscar Bluemner, from unpublished typescript on “Modern Art” for Camera Work, in Bluemner papers, Archives of American Art, Smithsonian Institution, as cited and quoted in Jeffrey R. Hayes, Oscar Bluemner [1991], p. 60. The Bluemner papers in the Archives [hereafter abbreviated as AAA] are the primary source for Bluemner scholars. Jeffrey Hayes read them thoroughly and translated key passages for his doctoral dissertation, Oscar Bluemner: Life, Art, and Theory [University of Maryland, 1982; UMI reprint, 1982], which remains the most comprehensive source on Bluemner. In 1991, Hayes published a monographic study of Bluemner digested from his dissertation and, in 2005, contributed a brief essay to the gallery show at Barbara Mathes, op. cit.. The most recent, accessible, and comprehensive view of Bluemner is the richly illustrated, Barbara Haskell, Oscar Bluemner: A Passion for Color, exhib. cat. [New York: Whitney Museum of American Art, 2005.]) Bluemner was born in the industrial city of Prenzlau, Prussia, the son and grandson of builders and artisans. He followed the family predilection and studied architecture, receiving a traditional and thorough German training. He was a prize-winning student and appeared to be on his way to a successful career when he decided, in 1892, to emigrate to America, drawn perhaps by the prospect of immediate architectural opportunities at the Chicago World’s Fair, but, more importantly, seeking a freedom of expression and an expansiveness that he believed he would find in the New World. The course of Bluemner’s American career proved uneven. He did indeed work as an architect in Chicago, but left there distressed at the formulaic quality of what he was paid to do. Plagued by periods of unemployment, he lived variously in Chicago, New York, and Boston. At one especially low point, he pawned his coat and drafting tools and lived in a Bowery flophouse, selling calendars on the streets of New York and begging for stale bread. In Boston, he almost decided to return home to Germany, but was deterred partly because he could not afford the fare for passage. He changed plans and direction again, heading for Chicago, where he married Lina Schumm, a second-generation German-American from Wisconsin. Their first child, Paul Robert, was born in 1897. In 1899, Bluemner became an American citizen. They moved to New York City where, until 1912, Bluemner worked as an architect and draftsman to support his family, which also included a daughter, Ella Vera, born in 1903. All the while, Oscar Bluemner was attracted to the freer possibilities of art. He spent weekends roaming Manhattan’s rural margins, visiting the Bronx, Brooklyn, Queens, and New Jersey, sketching landscapes in hundreds of small conté crayon drawings. Unlike so many city-based artists, Bluemner did not venture out in search of pristine countryside or unspoiled nature. As he wrote in 1932, in an unsuccessful application for a Guggenheim Fellowship, “I prefer the intimate landscape of our common surroundings, where town and country mingle. For we are in the habit to carry into them our feelings of pain and pleasure, our moods” (as quoted by Joyce E. Brodsky in “Oscar Bluemner in Black and White,” p. 4, in Bulletin 1977, I, no. 5, The William Benton Museum of Art, Storrs, Connecticut). By 1911, Bluemner had found a powerful muse in a series of old industrial towns, mostly in New Jersey, strung along the route of the Morris Canal. While he educated himself at museums and art galleries, Bluemner entered numerous architectural competitions. In 1903, in partnership with Michael Garven, he designed a new courthouse for Bronx County. Garven, who had ties to Tammany Hall, attempted to exclude Bluemner from financial or artistic credit, but Bluemner promptly sued, and, finally, in 1911, after numerous appeals, won a $7,000 judgment. Barbara Haskell’s recent catalogue reveals more details of Bluemner’s architectural career than have previously been known. Bluemner the architect was also married with a wife and two children. He took what work he could get and had little pride in what he produced, a galling situation for a passionate idealist, and the undoubted explanation for why he later destroyed the bulk of his records for these years. Beginning in 1907, Bluemner maintained a diary, his “Own Principles of Painting,” where he refined his ideas and incorporated insights from his extensive reading in philosophy and criticism both in English and German to create a theoretical basis for his art. Sometime between 1908 and 1910, Bluemner’s life as an artist was transformed by his encounter with the German-educated Alfred Stieglitz, proprietor of the Little Galleries of the Photo-Secession at 291 Fifth Avenue. The two men were kindred Teutonic souls. Bluemner met Stieglitz at about the time that Stieglitz was shifting his serious attention away from photography and toward contemporary art in a modernist idiom. Stieglitz encouraged and presided over Bluemner’s transition from architect to painter. During the same period elements of Bluemner’s study of art began to coalesce into a personal vision. A Van Gogh show in 1908 convinced Bluemner that color could be liberated from the constraints of naturalism. In 1911, Bluemner visited a Cézanne watercolor show at Stieglitz’s gallery and saw, in Cézanne’s formal experiments, a path for uniting Van Gogh’s expressionist use of color with a reality-based but non-objective language of form. A definitive change of course in Bluemner’s professional life came in 1912. Ironically, it was the proceeds from his successful suit to gain credit for his architectural work that enabled Bluemner to commit to painting as a profession. Dividing the judgment money to provide for the adequate support of his wife and two children, he took what remained and financed a trip to Europe. Bluemner traveled across the Continent and England, seeing as much art as possible along the way, and always working at a feverish pace. He took some of his already-completed work with him on his European trip, and arranged his first-ever solo exhibitions in Berlin, Leipzig, and Elberfeld, Germany. After Bluemner returned from his study trip, he was a painter, and would henceforth return to drafting only as a last-ditch expedient to support his family when his art failed to generate sufficient income. Bluemner became part of the circle of Stieglitz artists at “291,” a group which included Marsden Hartley, John Marin, and Arthur Dove. He returned to New York in time to show five paintings at the 1913 Armory Show and began, as well, to publish critical and theoretical essays in Stieglitz’s journal, Camera Work. In its pages he cogently defended the Armory Show against the onslaught of conservative attacks. In 1915, under Stieglitz’s auspices, Bluemner had his first American one-man show at “291.” Bluemner’s work offers an interesting contrast with that of another Stieglitz architect-turned-artist, John Marin, who also had New Jersey connections. The years after 1914 were increasingly uncomfortable. Bluemner remained, all of his life, proud of his German cultural legacy, contributing regularly to German language journals and newspapers in this country. The anti-German sentiment, indeed mania, before and during World War I, made life difficult for the artist and his family. It is impossible to escape the political agenda in Charles Caffin’s critique of Bluemner’s 1915 show. Caffin found in Bluemner’s precise and earnest explorations of form, “drilled, regimented, coerced . . . formations . . . utterly alien to the American idea of democracy” (New York American, reprinted in Camera Work, no. 48 [Oct. 1916], as quoted in Hayes, 1991, p. 71). In 1916, seeking a change of scene, more freedom to paint, and lower expenses, Bluemner moved his family to New Jersey, familiar terrain from his earlier sketching and painting. During the ten years they lived in New Jersey, the Bluemner family moved around the state, usually, but not always, one step ahead of the rent collector. In 1917, Stieglitz closed “291” and did not reestablish a Manhattan gallery until 1925. In the interim, Bluemner developed relationships with other dealers and with patrons. Throughout his career he drew support and encouragement from art cognoscenti who recognized his talent and the high quality of his work. Unfortunately, that did not pay the bills. Chronic shortfalls were aggravated by Bluemner’s inability to sustain supportive relationships. He was a difficult man, eternally bitter at the gap between the ideal and the real. Hard on himself and hard on those around him, he ultimately always found a reason to bite the hand that fed him. Bluemner never achieved financial stability. He left New Jersey in 1926, after the death of his beloved wife, and settled in South Braintree, Massachusetts, outside of Boston, where he continued to paint until his own death in 1938. As late as 1934 and again in 1936, he worked for New Deal art programs designed to support struggling artists. Bluemner held popular taste and mass culture in contempt, and there was certainly no room in his quasi-religious approach to art for accommodation to any perceived commercial advantage. His German background was also problematic, not only for its political disadvantages, but because, in a world where art is understood in terms of national styles, Bluemner was sui generis, and, to this day, lacks a comfortable context. In 1933, Bluemner adopted Florianus (definitively revising his birth names, Friedrich Julius Oskar) as his middle name and incorporated it into his signature, to present “a Latin version of his own surname that he believed reinforced his career-long effort to translate ordinary perceptions into the more timeless and universal languages of art” (Hayes 1982, p. 189 n. 1). In 1939, critic Paul Rosenfeld, a friend and member of the Stieglitz circle, responding to the difficulty in categorizing Bluemner, perceptively located him among “the ranks of the pre-Nazi German moderns” (Hayes 1991, p. 41). Bluemner was powerfully influenced in his career by the intellectual heritage of two towering figures of nineteenth-century German culture, Johann Wolfgang von Goethe and Georg Wilhelm Friedrich Hegel. A keen student of color theory, Bluemner gave pride of place to the formulations of Goethe, who equated specific colors with emotional properties. In a November 19, 1915, interview in the German-language newspaper, New Yorker Staats-Zeitung (Abendblatt), he stated: I comprehend the visible world . . . abstract the primary-artistic . . . and after these elements of realty are extracted and analyzed, I reconstruct a new free creation that still resembles the original, but also . . . becomes an objectification of the abstract idea of beauty. The first—and most conspicuous mark of this creation is . . . colors which accord with the character of things, the locality . . . [and which] like the colors of Cranach, van der Weyden, or Durer, are of absolute purity, breadth, and luminosity. . . . I proceed from the psychological use of color by the Old Masters . . . [in which] we immediately recognize colors as carriers of “sorrow and joy” in Goethe’s sense, or as signs of human relationship. . . . Upon this color symbolism rests the beauty as well as the expressiveness, of earlier sacred paintings. Above all, I recognize myself as a contributor to the new German theory of light and color, which expands Goethe’s law of color through modern scientific means (as quoted in Hayes 1991, p. 71). Hayes has traced the global extent of Bluemner’s intellectual indebtedness to Hegel (1991, pp. 36–37). More specifically, Bluemner made visual, in his art, the Hegelian world view, in the thesis and antithesis of the straight line and the curve, the red and the green, the vertical and the horizontal, the agitation and the calm. Bluemner respected all of these elements equally, painting and drawing the tension and dynamic of the dialectic and seeking ultimate reconciliation in a final visual synthesis. Bluemner was a keen student of art, past and present, looking, dissecting, and digesting all that he saw. He found precedents for his non-naturalist use of brilliant-hued color not only in the work Van Gogh and Cezanne, but also in Gauguin, the Nabis, and the Symbolists, as well as among his contemporaries, the young Germans of Der Blaue Reiter. Bluemner was accustomed to working to the absolute standard of precision required of the architectural draftsman, who adjusts a design many times until its reality incorporates both practical imperatives and aesthetic intentions. Hayes describes Bluemner’s working method, explaining how the artist produced multiple images playing on the same theme—in sketch form, in charcoal, and in watercolor, leading to the oil works that express the ultimate completion of his process (Hayes, 1982, pp. 156–61, including relevant footnotes). Because of Bluemner’s working method, driven not only by visual considerations but also by theoretical constructs, his watercolor and charcoal studies have a unique integrity. They are not, as is sometimes the case with other artists, rough preparatory sketches. They stand on their own, unfinished only in the sense of not finally achieving Bluemner’s carefully considered purpose. The present charcoal drawing is one of a series of images that take as their starting point the Morris Canal as it passed through Rockaway, New Jersey. The Morris Canal industrial towns that Bluemner chose as the points of departure for his early artistic explorations in oil included Paterson with its silk mills (which recalled the mills in the artist’s childhood home in Elberfeld), the port city of Hoboken, Newark, and, more curiously, a series of iron ore mining and refining towns, in the north central part of the state that pre-dated the Canal, harkening back to the era of the Revolutionary War. The Rockaway theme was among the original group of oil paintings that Bluemner painted in six productive months from July through December 1911 and took with him to Europe in 1912. In his painting journal, Bluemner called this work Morris Canal at Rockaway N.J. (AAA, reel 339, frames 150 and 667, Hayes, 1982, pp. 116–17), and exhibited it at the Galerie Fritz Gurlitt in Berlin in 1912 as Rockaway N. J. Alter Kanal. After his return, Bluemner scraped down and reworked these canvases. The Rockaway picture survives today, revised between 1914 and 1922, as Old Canal, Red and Blue (Rockaway River) in the collection of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D. C. (color illus. in Haskell, fig. 48, p. 65). For Bluemner, the charcoal expression of his artistic vision was a critical step in composition. It represented his own adaptation of Arthur Wesley’s Dow’s (1857–1922) description of a Japanese...

0118.14 (Abstract painting) Pigmented wax and ink on Shikoku paper - Unframed Working on paper has always been an important part of Tracey Adams daily practice. For almost thirty y...

Caleb Althin (1866-1919) Sweden The Wounded Man Caleb Althin studied at the Academy of Fine Arts in Stockholm 1885–1894 with a few years break for studies abroad in decorative pai...

Pair of Nudes is an Pencil Drawing realized by an artist in early 20th century. The artwork is in good condition on a white paper. No signature. Other...

Nude is a drawing in china ink and watercolor realized by Leo Guida in the 1970s. Good condition. Leo Guida (1992 - 2017). Sensitive to current issues, artistic movements and hist...

Pen and ink abstract by French artist Jaquel, 1978. Signed lower right. Original artwork on paper displayed on a white mat with a gold border. Mat fits a standard-size frame. Arc...

Another very pretty collage work influenced by Rousseau from the studio of this talented Welsh artist. Image 16" x 16" Framed 22" x 22"

Nude is an original drawing in watercolor, realized in the Mid-20th Century by Jean Delpech (1916-1988). Good conditions. Jean-Raymond Delpech (1988-1916) is a French painter,...

Interior design paintings. The work was done with ink and watercolor on watercolor paper 300g. The work is 11 by 15 inches in size framed (gold with a styrene face on a double mat bo...

KARL SCHRAG (German - American 1912 - 1995) SELF PORTRAIT IN THE GERMAN MANNER, 1991 Monotype, Signed titled, dated and annotated "Monotype with touches of Oil color, I /I" Plate an...

Xiao Wen Xu is a Chinese-born Canadian artist based in Toronto, Canada, Her artistic practice is deeply influenced by her profound appreciation for the natural world. In her series, ...

Signed lower left, 'Bonnaure' for Alain Bonnaure (French, born 1941) and painted circa 1995. When he was a young artist, Alain Bonnaure's work was purchased by the renowned French p...

Tinta china, acuarela, tinta acrílica sobre papel artístico Canson

Artist: Margaret.S Johnson (American, 1893-1964) Title: Wolf and Dog fighting Year: Circa 1930 Medium: Ink drawing Signature: signed in pencil on the reverse Paper: Bainbri...

'Roses in a Blue Vase' by master watercolorist Gary Bukovnik, who fuses sensual vitality with fluid yet powerful colorations to create floral imag...

charcoal and pearl paint on paper 25 x 24 x 1.5 inches framed In the fields of sculpture and drawing, George Thiewes creates sharp, angular work with a focus on the interaction of ...

In this cotemporary drawing, carefully drawn dots and lines in soft shades of indigo blue with pink, green, yellow and dark red details in an intricate composition are inspired by pa...

Portrait of a Nude Lady French School, circa 1960's signed and stamped chalk and pastel on artists paper, unframed size: 18.75 x 11 inches condition: very good and ready to be enjoy...

A fine study of a pair of magpies by the artist Steve Shotter. The artist has paid great attention to the details of the feathers, capturing the birds in stunning realism. Titled and...

The Last Turn, 2024 Additional information: Medium: Acrylic on panel Dimensions: 24 × 24 in (61 × 61 cm) Clay Johnson (American, b. 1963) was born in Durham, North Carolina, where ...

This piece titled "Mariposa I (Hand-Embellished "Cristina" Print)" is a hand-embellished* print by Sean Lugo printed on archival paper. The print depicts a portrait of South Philly...

Georges Pomerat Le Pouzin (Ardèche), 1870 - Arles, 1948 Pastel Signed lower right "G. Pomerat" 53 x 49 cm (65 x 60 cm with frame) Excellent condition This is an interresting interior of a cabaret in Marseille in the 1920s. Several "Montmartois" artistic cabarets settled in Marseille in the 1920s such as le Pupu's, le Chat rieur, La Lune rousse...

This charming watercolour depicts a quaint village scene, with rustic houses nestled among trees along a tranquil waterfront. The composition balances the warm hues of the buildings ...

Signed lower right, 'V. Vigil' for Veloy Vigil (American, 1931-1997). Previously with: Los Robles Gallery, Palo Alto, California Born in Denver, Colorado,...