Horizontal Figurative Drawings and Watercolors

Frank Nelson Wilcox (American, 1887–1964) Red Cliffs and Hogan, Arizona, 1937 Watercolor on paper Signed and dated lower right 14.5 x 19 inches 18.5 x 24 inches framed Frank Nelso...

Contemporary tempera on canvas painting by Polish artist Anna Wardega. Artwork depicts three women squatting to wet their hands in a reservoir. Women's clothing is very vibrant and i...

French school of the nineteenth century, LW (?) Harbor scene, animation around a skiff Pencil on paper Signed LW (?) Bottom right 15 x 21 cm Framed : 27 x 34.5 cm This very fine ...

A superb British Victorian watercolour by Owen Dalziel which is titled A Morning Concert and is dated 1883. A fine large painting, it is a super historical record of a Victorian beach...

Born in 1918 in Budapest, Hungary, Engel began his professional career in animation as a color designer at the Walt Disney studio. Although his credits include work on such classics as Disney’s Bambi and Fantasia and UPA’s Gerald McBoing-Boing, he is best known as a mentor to literally hundreds of students. Engel was also one of the original members of United Productions of America (UPA), where, during the ’50s, he worked on classics such as Mr. Magoo, Gerald McBoing-Boing and Madeline. According to his biographer, Dr. Janeann Dill, Engel has created more than 33 personal films and received five Golden Eagle awards, an Annie Award, a Winsor McCay Award, the Fritz Award, a Jean Vigo Award, and the Norman McLaren...

Ferdinand HEILBUTH (Hambourg, 1826 - Paris, 1889) "Femme allongée sur un rivage" Aquarelle gouachée sur papier 32,5x46,5 cm (à vue) / 48,5 x 63,5 cm (encadrée) Signée en bas à droite « F Heilbuth » Né en Allemagne, Ferdinand Heilbuth (1826-1889) a mené l'essentiel de sa carrière artistique en France et s'est spécialisé dans les scènes de genre...

This vibrant watercolour painting depicts a bustling harbour scene looking out to the River Tagus from Cacilhas in Portugal, with numerous boats of various sizes dotting a colourful ...

This artwork titled "Japanese Garden, Golden Gate Park, San Francisco" c.1975 is a watercolor on paper by noted Chinese/American artist Sun Ying, 1919-2016. It is hand signed at the lower left corner by the artist. The artwork size is 15.5 x 22.5 inches, framed is 27.5 x 34 inches. It is beautifully custom framed in a wooden gold frame, with gold color spacer and fabric matting. It is in excellent condition. About the artist. 1919 Sun Ying 孙瑛 ( 1919-2016 ) known as (Sun Dashi 大石) was born on November 8, in a poor family, in Gaotang Xian, Shandong Province, in China. 1949 Based in Taipei, he devoted himself entirely to painting and influenced the world of art by creating several painting societies as the Chinese Association of Ink Painting . Taiwan awarded him the Golden Cup Award. 1960 / 1970 He exhibited his works in Australia, Brazil, Germany, Malaysia and United States. 1974 He went to live in the United States. 1982 After a visit to his family, he returned to China. 1984 With Qi Baishi...

The Adoration is an original modern artwork realized by Giuseppe Assereto (died in Genoa in 1650) in the first half of the 17th Century. Original Oil Painting on Canvas. A 19th Century style gilded wood frame is included. The Autograph of the work was confirmed by Camillo Manzitti. Very good conditions. The frame is in excellent conditions too. Reference: C. Marcenaro, Pittori genovesi a Genova nel '600 e nel '700, Genova 1969, pp. 134 ; 135, n. 55. Z. Wazbinski, Un Quadro Caravaggesco Di Gioacchino Assereto, in Prospettiva, n. 26, 1981, pp. 60 ; 63. F. R. Pesenti, La Pittura in Liguria. Artisti del primo Seicento, Genova 1986, p. 397, nota 23. A. Gesino, Tracce di Matthias Stom nel collezionismo tra la Sicilia e Genova, in Caravaggio e i genovesi, catalogo della Mostra a cura di A. Orlando, Genova 2019, pp. 182 ; 195. The Adoration is an excellent example of the XVII Century Italian Painting. The style of the work denotes the suggestive influence of Assereto father's mature production, when influenced by Mathias Stom (Amersfoort, about 1600 - Sicily, after 1650) expresses dark sensibilities in a southern Italian style. In his works, however, there is an accentuated naturalism and interesting similarities with the production of Giovanni Benedetto Castiglione. Gioacchino Assereto died in 1650, while, according to Soprani, he was intent on painting a Last Supper for the oratory...

David Burliuk (Ukrainian, 1882-1967) Three figure on the beach (Hamptons, Long Island New York) Conte crayon drawing on paper. Hand signed lower left. Unframed Provenance: Bloomsbury Auctions David Davidovich Burliuk (Дави́д Дави́дович Бурлю́к; 1882-1967) was a Russian poet, artist and publicist of Ukrainian origin associated with the Futurist and Neo-Primitivist movements. Burliuk has been described as "the father of Russian Futurism." David Burliuk was born on 21 July 1882 in the village of Riabushky (near Lebedyn, Ukraine) in the Kharkov Governorate of the Russian Empire. Burliuk's family was artistically inclined; two of his brothers were talented artists as well, Nikolai and Volodimir Burliuk. The Burliuk family partly descended from Ukrainian Cossacks on their father's side, who held premier positions in the Hetmanate. His mother, Ludmyla Mikhnevich, was of ethnic Belarusian descent. From 1898 to 1904, he studied at Kazan and Odesa art schools, as well as at the Royal Academy in Munich. His exuberant, extroverted character was recognized by Anton Azhbe, his professor at the Munich Academy, who called Burliuk a "wonderful wild steppe horse". During a time of significant industrialization and political change, movements such as the famed Der Blaue Reiter, a group Burliuk associated with in 1912, while he was in Munich, emphasized a shift away from the classical styles of the past, prioritizing the innovations of the future. In 1907, he made contact with the Russian art world; he met and befriended Mikhail Larionov, and they are both credited as being major forces in bringing together the contemporary art world. In 1908, an exhibition with the group Zveno ("The Link") in Kiev was organized by David Burliuk together with Wladimir Baranoff-Rossine, Alexander Bogomazov, his brother Volodymyr (Wladimir) Burliuk and Aleksandra Exter. The exhibition was a flop, especially because they were all unknown painters. The Burliuks and Larionov left for the aforementioned brothers' home in Chernianka, also known as Hylea; it was during this stay that their work became more Avant-Garde. That autumn, while visiting Ekster, they organized an exhibition which took place in the street; it was a success, and enough money was raised to go to Moscow. In 1909, Burliuk painted a portrait of his future wife, Marussia, on a background of flowers and rocks...

The present illustration by husband-and-wife team Alice and Martin Provensen is a study for Leonardo da Vinci's illustrated Book, executed c...

America Martin "Boxer I" Ink on Paper 21.75” x 27.75” Framed In a distinct style that is both figurative and abstract, gestural and deliberate, America Martin revisits her famous bo...

Gouache on paper Ilia Balavadze is a Georgian artist born in 1968 who lives and works in Tbilisi, Georgia. From 1987 to 1993, he studied the painting at the Tbilisi State Academy of...

Gestural watercolor of a colorful seated nude figure by California artist Doris Ann Warner (American, 1925-2010). Signed and dated "Doris Warner, 5/71" on ...

This artwork "Sonoma County Landscape" 1901, is a watercolor on paper by noted California artist Elizabeth Hoen, 1868-1955. It is signed and dated at the lower right corner by the artist. The artwork (image) size is 6 x 7.5 inches, framed size is 12.5 x 13.65 inches. Custom framed in a gold frame, with beige matting. It is in excellent condition. About the artist: Born in Santa Rosa, California to a pioneering California family, Elizabeth Hoen was known for her watercolor paintings, many of them landscapes, in impressionist style. Her father, Berthold Hoen started a trading post in the Carillo adobe, the first building erected in the Sonoma Valley. He also helped survey and lay out the city of Santa Rosa. Elizabeth Hoen is not only the first painter to have their work cataloged into the Sonoma County Museum’s collection, but she was also a prolific artist in California in the late 19th and early 20th centuries and maintained a studio during a period when California art was largely dominated by men. She was from an important family in early Sonoma County history. Her father, Berthold Hoen, purchased land from the Carrillo family that would one day be...

Art Sz: 15 1/2"H x 18 3/4"W Frame Sz: 21 1/2"H x 24 3/4"W Charming (framed) watercolour by Alfred Birdsey (1912-1996) signed (LR) depicting a quaint Bermuda harbour scene Alfred B...

Perfect for your hockey enthusiast! A 1950s pastel on paper drawing of a hockey game by Francis Chapin. Image size: 9" x 12". Matted size: 14" x 18". Provenance: Estate of the artist. Francis Chapin, affectionately called the “Dean of Chicago Painters” by his colleagues, was one of the city’s most popular and celebrated painters in his day. Born at the dawn of the 20th Century in Bristolville, Ohio, Chapin graduated from Washington & Jefferson College near Pittsburgh, Pennsylvania before enrolling at the Art Institute of Chicago in 1922. He would set down deep roots at the Art Institute of Chicago, exhibiting there over 31 times between 1926 and 1951. In 1927 Chapin won the prestigious Bryan Lathrop Fellowship from the Art Institute – a prize that funded the artist’s yearlong study trip to Europe. Upon his return to the United States, Chapin decided to remain in Chicago, noting the freedom Chicago artists have in developing independently of the pressure to conform to pre-existing molds (as was experienced by artists in New York, for example). Chapin became a popular instructor at the Art Institute, teaching there from 1929 to 1947 and at the Art Institute’s summer art school in Saugatuck, Michigan (now called Oxbow) between 1934 – 1938 (he was the director of the school from 1941-1945). Chapin’s contemporaries among Chicago’s artists included such luminaries as Ivan Le Lorraine Albright...

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

Drawing on paper is his basic work tool, some are sketches of his surviving works, and others are sketches of moments he documents. Throughout his artistic career, Castro has exalt...

Mid 19th century pastel drawing view of the Chapel Saint Pierre at Villefranche, with the harbour beyond, by British artist Hercules Brabazon Brabazon...

Frank Nelson Wilcox (American, 1887–1964) California Valley, Near Capistrano, c. 1937 Watercolor on paper Signed lower right, titled verso 15 x 20 inches 18.5 x 24 inches framed Fr...

Portrait of an Old Man is a black marker Drawing realized by Hermann Paul. Good condition except for some ripples along the edges. René Georges Hermann-Paul (27 December 1864 – 23 ...

Conversation is an original china ink drawing realized by painter Pierre Georges Jeanniot (1848-1934). Hand-signed on the lower. Good conditions. The artwork is represented throug...

Paul Emile Lecomte (1877-1950) A Landscape Signed lower left Watercolor on paper 22.5 x 30.5cm In good condition Framed: 37.5 x 46 cm Paul Emile Lecomte (1877– 1950). Painter of wat...

Bungalow (fauvist painting of New York scene) 1940's. image is 10X 11.5 inches. Hand signed lower right Country Scene Samuel Grunvald was a Hungarian born American WPA artist known for abstract, landscape and seascape paintings. Arrived in the USA from Hungary in 1921 and settled in New York City where he studied at the Art Students League. Grunvald worked for the Federal Art Project, taught at Colony House in NYC. Member: Art Guild, Watercolor Society, New York Watercolor Club. exhibited at Montross Gallery, NYC, World House Galleries, NYC, Leonard Hutton Gallery, NYC, Associated American Artists Gallery and the A.C.A. Gallery. Gunvald's work spanned many modern American movements from the WPA to Abstract Expressionist painting. He was a member of the American Watercolor Society and the Brooklyn Society of Artists. He exhibited with both of these organizations and at the Brooklyn Museum of Art. He was involved the the WPA being a Federal Arts Project artist. A number of prominent Jewish artists participated in this New Deal program among them Ben Shahn, Joseph Solman, William Gropper, Philip Guston Adolph Gottlieb, Mark Rothko, Milton Avery, Ben Shahn, the Soyers (Isaac, Moses, and Raphael), and many others Grunwald exhibited alongside other popular artists such as Paul Klee, Jean Arp, Max Ernst and Charles Burchfield. He also taught and lectured on art and easel painting, Federal Art Project, NYC. His work is included in the collections of the Museum of Modern Art and The Jewish Museum, New York. Americana. The Catskills became a major resort destination for Jewish New Yorkers in the mid-20th century. Borscht Belt is an informal term for the summer resorts of the Catskill Mountains in Sullivan and Ulster counties in upstate New York which were frequented by Ashkenazi Jews. At its peak of popularity, about 500 resorts operated in the region. Later changes in vacationing patterns have led most of those travelers elsewhere, although there are still bungalow communities and summer camps in the towns of Liberty, Bethel, Monticello and Fallsburg catering to Orthodox Jewish populations. Borscht Belt, The term, which derives from the name of a beet soup popular with people of Eastern European origin, can also refer to the Catskill region itself. In August, 1969, the Catskills were the site of a music and art festival in the town of Bethel, which had originally been planned for Woodstock, New York. Thirty-three of the best-known musicians of the era appeared during a sometimes rainy weekend in front of nearly half a million concertgoers. The event, featuring liberal drug use and nudity, exemplified the counterculture of the 1960s and 1970s. Select Exhibitions A.C.A. Gallery Associated American Artists Gallery, 1936-1955 American Watercolor Society, 1932-1942 New York Watercolor Club, 1935-1937 Humanist Art...

Vibrant large-scale pastel landscape of colorful reflections rippling on a calm lake with three small ducks and a boat by an unknown artist (American, 20th Century). Signed with the ...

Signed with initials to the upper left corner. Presented in a simple black frame with card mount. Inscribed 'University Bristol' verso. On paper.

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 specialized in Sacred art. In the ’80s, Francine was a student of Jean Bertholle from the Saint Roch Academy. The artist had personal exhibitions at Maison Mansart from 1989 to 1993 and at Étienne de Causans Gallery in 1997. In 1998 & 2009 she exhibited at La Petite Galerie. Francien Ledieu had three exhibitions at La Capitale Gallery in 2001, 2004, and 2007. She also showed her paintings at L’Oeil du Huit in 2011, 2013, 2016 & 2019. She participated in many group exhibitions as at Strasbourg Contemporary Art Fair in 2005. She exhibited also at Réalités Nouvelles in 2006, 2007, 2010 & 2011. She also worked in stained glass and mosaics in France. She achieved artworks in 1963 at Saint-Henri Pontoise chapel, Saint-Pierre des Louvrais church in Pontoise in 1969 & Mosaic in the same year at Jean Moulin...

Family Group Drawing in Chinese white, sepia and bistre ink, c. 1790 Signed lower left: G. Morland (see photo) The present work appears to be a preliminary study for two Morland paintings where the artist uses portions of this preliminary study in finished exhibition paintings. The strongest association is with the painting entitled The Cottage Door (1790), now in the collection of Royal Holloway College, University of London. Morland uses the same small girl (on left side of this sheet) holding a doll on a chair in the exact same pose. The second painting entitled The Tea Garden (Tate Gallery, London, c. 1790) incorporates similar poses and gestures of the three other figure studies on this sheet. Provenance: Colnaghi, London (Stock # D25924, see photo) Maynard Walker Gallery, New York ( see photo of label) Davis Galleries, New York, their Eagle stamp and stock number (see photo) Ms. Gloria Kaplan (1930-2011) New York City Regarding Maynard Walker: Maynard Walker New York Times obit: "Maynard Walker, an art dealer in New York City for nearly 40 years who was among the first to show the works of leading American regionalist painters, died of pneumonia Tuesday at St. Joseph's Hospital in Carbondale, Pa. He was 89 years old and lived in Lake Ariel, Pa. In 1933, while working at the Ferargil Gallery in New York, Mr. Walker organized an exhibition for the Kansas City Art Institute that for the first time brought together the work of the regionalist painters Grant Wood, Thomas Hart Benton and John Steuart Curry. After Mr. Walker opened his own gallery, at 108 East 57th Street, in 1935, these artists joined him and showed regularly there. The gallery was also among the first to show the work of George Grosz, the German painter and caricaturist, who moved to the United States in 1932. The gallery moved to 117 East 57th Street after the war." Condition: Aging to paper Slight fading to ink Tiny spotting in image All consistent with the age of the drawing Image size: 6 3/8 x 9 1/2 inches Frame size: 14 1/4 x 17 1/4 inches George Morland was born in London on 26 June 1763. He was the son of Henry Robert Morland, and grandson of George Henry Morland, said by Cunningham to have been lineally descended from Sir Samuel Morland, while other biographers go so far as to say that he had only to claim the baronetcy in order to get it. Morland began to draw at the age of three years, and at the age of ten (1773) his name appears as an honorary exhibitor of sketches at the Royal Academy. He continued to exhibit at the Free Society in 1775 and 1776, and at the Society of Artists in 1777, and then again at the Royal Academy in 1778, 1779 and 1780. His talents were carefully cultivated by his father, who was accused of stimulating them unduly with a view to his own profit, shutting the child up in a garret to make drawings from pictures and casts for which he found a ready sale. The boy, on the other hand, is said to have soon found a way to make money for himself by hiding some of his drawings, and lowering them at nightfall out of his window to young accomplices, with whom he used to spend the proceeds in frolic and self-indulgence. It has been also asserted that his father, discovering this trick, tried to conciliate him by indulgence, humouring his whims and encouraging his low tastes. He was set by his father to copy pictures of all kinds, but especially of the Dutch and Flemish masters. Among others he copied Fuseli's Nightmare and Reynolds's Garrick between Tragedy and Comedy. He was also introduced to Sir Joshua Reynolds, and obtained permission to copy his pictures, and all accounts agree that before he was seventeen he had obtained considerable reputation not only with his friends and the dealers, but among artists of repute. A convincing proof of the skill in original composition which he had then attained is the fine engraving. It is said that before his apprenticeship to his father came to an end, in 1784, Romney offered to take him into his own house, with a salary of £300, on condition of his signing articles for three years. But Morland, we are told, had had enough of restraint, and after a rupture with his father he set up on his own account in 1784 or 1785 at the house of a picture dealer, and commenced that life which, in its combination of hard work and hard drinking, is almost without a parallel. Morland soon became the mere slave of the dealer with whom he lived. His boon companions were "ostlers, potboys, horse jockeys, moneylenders, pawnbrokers, punks, and pugilists." In this company the handsome young artist swaggered, dressed in a green coat, with large yellow buttons, leather breeches, and top boots. "He was in the very extreme of foppish puppeyism", says Hassell; "his head, when ornamented according to his own taste, resembled a snowball, after the model of Tippey Bob, of dramatic memory, to which was attached a short, thick tail, not unlike a painter's brush." His youth and strong constitution enabled him to recover rapidly from his excesses, and he not only employed the intervals in painting, but at this time, or shortly afterwards, taught himself to play the violin. He made also an effort, and a successful one, to free himself from his task-master, and escaped to Margate, where he painted miniatures for a while. In 1785 he paid a short visit to France, whither his fame had preceded him, and where he had no lack of commissions. Returning to London, he lodged in a house at Kensal Green, on the road to Harrow, near William Ward, intercourse with whose family seems for a time to have had a steadying influence. It resulted in his marriage with Miss Anne Ward...

Ten Framed 19th Century Chinese Pith Paintings of Courtly Entertainment Chinese, 19th Century Height 29cm, width 41cm, depth 2cm This striking suite of ten Chinese watercolours is p...

Graphite on Natural Toned Paper Art Size: 9 x 6 inches Framed: 15.5 x 18 inches An expressive drawing of three friends sitting around a table rendered in lively gestural lines of gr...

Beautiful charcoal drawing depicting a flock of vultures taking flight. Designed by Brozzi, a renewed italian sculptor and engraver, in the first decades of 20th century. Good condit...

Richard Westall, R.A. (1765-1836) Venus signed and dated ‘R. Westall 1794’ (lower right) pencil and watercolour, with white heightening image 11 ⅞ x 15 ¼ in. (30.2 x 38.7 cm.) frame 22 ⅛ x 26 in. (56.3 x 66.1 cm.) Provenance: Private Collection, UK. Venus (1794) was produced during a highly creative and defining period of Richard Westall’s career and artistic development, when from 1790-95 the ambitious young artist was sharing a house at 57 Greek Street, Soho, with his friend Sir Thomas Lawrence, the future President of the Royal Academy. Whilst lodging together, Lawrence became an Associate of the Royal Academy in 1791, Westall the following year, and both were elected full-members in 1794 – the year Lawrence was appointed Painter-in-Ordinary to His Majesty King George III. Westall was to become Queen Victoria’s first Drawing Master, before her ascension to the throne. It was in this very year, 1794 - as the two young artists became Royal Academicians - that the present watercolour was executed, and it is exciting to speculate that Lawrence would have examined and given his thoughts on the work. Highly comparable to The Wallace Collection’s Nymph and cupids (c.1793, cat. P757), acquired by Francis Seymour-Conway (1777-1842), 3rd Marquess of Hertford, (who hung it in his bedroom), the mid-1790s saw Westall exhibiting and returning to similar subject-matter on a number of occasions. Two works with titles that could be applied to the present picture were exhibited at the Royal Academy, in 1794 (no. 341 Nymph and Cupids) and 1795 (no. 620, A Wood–nymph and Cupids). However, a print after the watercolour, engraved by F. Screen, entitles the piece Venus. Westall is regarded as a great virtuoso watercolourist, and Venus is evidence of the young artist’s mastery of the medium. Indeed, it is unusual to find a watercolour of comparable age so well preserved, and retaining such vibrancy - the superb condition providing an insight into his exceptional brushwork and use of colour. Venus languishes luxuriously on her woodland bed, the trunk of a tree resembling a curtain, while three winged putti play beside her, seeming to gesture to someone in the woods. Cupid draws back his bow and aims an arrow of love, perhaps about to pierce the heart of a hunting nobleman, or unsuspecting woodcutter. The striking contrast between the almost luminescent nymph, with the deep, rich, luxuriant forest, gives the glade an alluring sense of mystery – perhaps an allusion to the mysteries of the heart, a pre-occupation with Romanticism, central to the emerging thought of the time. Westall can be classified as one of the great Romantic artists, and even painted Lord Byron’s portrait...

Norman Barr recorded his beloved New York City from the Bronx, to Coney Island, to the Fulton Fish Market. In this period he was on the New Deal's Mural ...

Liz Wall. Welsh. Siren. Watercolor & Ink. Signed & Dated 2011 Lower Right. Image size 11.4 inches x 18.9 inches ( 29cm x 48cm ). Frame size 25.6 inches x 26.8 inches ( 65cm x 68cm ...

ORIGINAL INK ON PAPER SIGNED WITH THE ESTATE INITIALS STAMP Unique piece

This artwork "Landscape in Red" c.1980 is a watercolor on heavy watercolor paper by California artist Charlotte Huntley. It is signed at the lower ri...

Luis Miguel Valdes (Cuba, 1949) 'Pared-1', 1996 Watercolor, ink on paper 9.1 x 12.1 in. (23 x 30.5 cm.) ID: 1D199602 Hand-signed by author ___________________________________________...

Watercolor drawing on paper realized by Maccari in 1940s. Hand signed lower left. Very good condition.

Luis Miguel Valdes (Cuba, 1949) 'Collage II', 1992 collage, ink on paper 11.9 x 13.8 in. (30 x 35 cm.) ID: 1D199202 Hand-signed by author ____________________________________________...

Luis Miguel Valdes (Cuba, 1949) 'Pared-2', 1996 Watercolor Acrylic Ink on paper 9.1 x 12.1 in. (23 x 30.5 cm.) ID: 1D199603 Hand-signed by author ____________________________________...

"Backyards" Early 20th Century Watercolor Fauvism Social Realism American Scene Note: We have three similar in style works from 1911 available now on 1stDibs. All are framed identic...

The image is an original drawing of Wile E. Coyote and the Road Runner by Virgil Ross. Graphite, colored pencil on animation paper. Untrimmed. Circa 1990. Condition is excellent. P...

Frank Nelson Wilcox (American, 1887–1964) Sunset Outside of Zion, Utah, c. 1940 Watercolor on paper Signed lower right 14 x 20 inches 18 x 24 inches framed Frank Nelson Wilcox (Oct...

Nude is an original charcoal drawing on paper realized by Simon Goldberg (1913-1985). Hand-signed on the lower right. The state of preservation is very good. Sheet dimension:25 x 3...

Manfred Schwartz (American, b. Poland, 1909-1970), Portrait of a Man, Charcoal on Paper, with the artist's signature stamped lower left, unframed. 20" H x 25.5" W. Provenance: From a...

William Glackens, 1870-1938 Criticizing Ernest Lawson’s Art Class, ca. 1907 Watercolor and pencil on paper Signed (at lower left): Glackens Inscribed ...

A very atmospheric watercolour capturing the light and shimmer of a Venetian canal. One of two views of Venice by the artist that I am offering - please see my other listing. Dennis Page (born 1926) Venice Balcony Signed Watercolour 8½ x 12 inches including the frame 16¾ x 21 inches with the frame Painter, mainly in watercolour who was born in Hampstead, London. He studied art at Harrow and the Central School of Arts & Crafts, where his tutors included Mervyn Peake...

Portrait 2019 is an original and beautiful watercolor realized by Anastasia Kurakina in 2019. The picture is in good conditions, on a brown paper. Hand-signed by the artist on the ...

Johannes Friedrich Heinrich Hänsch (1875-1945), Red blooming war landscape with dead soldier, 1918. Watercolor and gouache on paper, 15 x 24.5 cm (image), 27 x 37 cm (sheet size / frame), monogrammed and dated "19JH18" at lower left. - Paper slightly darkened About the artwork Despite the relatively small format, the watercolor with an internal frame depicts a panoramic view of a flat landscape stretching to the horizon. As far as the eye can see, the poppies bloom in flaming red. The flowers are not rendered individually, however, creating an almost cohesive red surface. The bright red is interspersed with vegetal green. A complementary contrast that creates an intense color effect. In this color contrast, a white area breaks through from the middle ground, widening towards the foreground and surrounding a brown hole. Next to it, in blue, is the actual protagonist of the painting, the first thing that catches the eye: a dead soldier. Next to him is his helmet, revealing the empty interior. The brown, hollow shape corresponds to the hole in the ground. A shell funnel is surrounded by bright ash, which, like the inverted helmet, becomes a sign of death. The soldier's arms point to the funnel, while the empty helmet paraphrases the calotte of the skull and, like the funnel, thematizes the empty darkness of death. The soldier's body, however, is intact and not - as in Otto Dix's triptych "The War" - a dismembered corpse. Instead, Johannes Hänsch activates the landscape, especially the color, to illustrate a blooming landscape of death that extends from the shell funnel in the foreground to the rising column of smoke on the horizon. If the soldier's body is intact, the tangle of barbed wire emblematically placed over the empty helmet also appears tattered. On the right side of the picture, the barbed wire even seems to stretch its arms to the sky in horror. Against the background of this allegory, the content of the bright red also becomes clear: the landscape is drenched in blood, literally a sea of blood, and the single unknown soldier stands pars pro toto for all those who died on the battlefield. Dying in war is not dying in community, but in solitude. In order to emphasize the isolation in death, Johannes Hänsch has set the blue of the soldier in the axis given by his body in the middle ground of the picture into the red sea. A master of landscape painting, Hänsch succeeds in creating a natural-looking landscape allegory that illustrates the horror and death of war, without depicting the brutality of war itself. This singular 'war memorial' of the unknown soldier is the opposite of heroization and yet the dignity of the deceased soldier is preserved through the integrity of his body. About the artist As the son of the sculptor Adolf Haensch, the young Johannes received his first artistic training in his father's Berlin studio. However, he eventually decided to become a painter, and in 1897 he entered the Berlin Academy of Arts. He initially studied under Paul Vorgang and Eugen Bracht, and was particularly influenced by Bracht's increasingly colourful landscape painting. In 1901 he moved to the class of Friedrich Kallmorgen, with whom he spent several weeks on excursions into nature. In 1905 he became a master pupil of Albert Hertel, who taught him watercolour painting. From 1903 to 1933 he exhibited annually at the Great Berlin Art Exhibition, the exhibitions of the Berlin Artists' Association and the Munich Glaspalast. In 1905 he was awarded the Carl Blechen...

Serene depiction of a country house with ducks milling around in the grass by Josh Fisher (British, 1859-1930). Signed "JOSH FISHER" in the lower-left corne...

The Tree and Cat is an Original Drawing applied on a white Passepartout, realized by Louis Touchagues in the mid 20th century. Drawing in ink and pen. Hand-signed on the lower by t...

Paul-Emile Lecomte (1877-1950) Landscape by he river Signed lower right watercolor on paper 11.5 x 13.5 cm Framed : 23 x 29 cm Paul Emile Lecomte particularly excelled in small-...

Cocaine is a satiric drawing realized by an Anonymous artist in the mid-20th century. Watercolor and China ink on paper. Good conditions with slight foxing. The artwork is created...

This artwork "Texas Cpast Line" 1964 is a watercolor on paper by noted Texas artist Jim Jones, 1922-1999. It is signed and dated at the lower right corner by the artist. The artwork ...

La obra va firmada con el sello de testamentería en la parte inferior La obra se presenta enmarcada Medidas de la obra: 30 cm. de altura x 41 cm. de ancho Medidas del marco: 52 cm...

A lush, historic watercolor figurative landscape by C. Harry Allis (American, 1870-1938). Signed and dated "C. Harry Allis 1919" lower right. Displ...

French School of the 19th Century Scenes of the parisian life, three drawings each one signed with the initials LV Pencil on paper Sizes of the drawings : 4.8 x 8 cm 4 x 6.5 cm 4....

Beautiful vintage watercolor of a coastal landscape with two figures walking along the beach by Les (Leslie Luverne) Anderson (American, 1928-2009). From the estate of Les Anderson i...

"Mountain Climbers" - Mountain Landscape in Watercolor on Paper Serene mountain landscape by Margie Westcott (American, 1931-2018). The viewer stands...