Henry Moore

Study of Madonna & Child - 20th Century, Wash & pencil on paper by Henry Moore

1943

Pencil, charcoal and conté crayon and gouache on paper Provenance: Christopher Hull Gallery Private collection, UK 1992

Coloured crayon, ink and pencil Signed lower right The Henry Moore Foundation has suggested a date of 1948 for the drawing and that it originally was part of the 1947-49 sketchbook ...

Pencil, wax crayon, watercolour wash, pen and ink, crayon on cream medium weight wove Signed with pen and ink lower left 'Moore/39'

Signed lower right and inscribed verso

Pencil, wax crayon, watercolour, pen & ink on paper Signed & dated 'Moore/44' lower right, titled 'Family Group' upper centre & inscribed '21' upper right

Signed, titled and dated verso

Artist: Armando L. Balboni Title: Domini Year: 1970 Medium: Watercolor with Wax, signed and dated l.r. Size: 40 x 27.5 inches

"Sisters #2", 2019 by Valerie Hammond 73 x 34.5 inches unframed Pigment, Color Pencil, Wax, Glass Beads, and thread on Japanese Rice Paper Coated with Beeswax Vertical, indigo panels that are unframed, can be installed with magnets, but framing is recommended. In Valerie Hammond’s series of wax drawings, protection is two-fold: the artist (previously) encases dried flowers and ferns in a thin layer of wax, preserving their fragile tissues long after they’ve been plucked from the ground. In outlining a pair of hands, she also secures a memory, or rather, “the essence of a gesture and the fleeting moment in which it was made.” Centered on limbs lying flat on Japanese paper, the ongoing series dates back to the 1990s, when Hammond made the first tracing “partly in response to the death of a dear friend, whose beautiful hands I often found myself remembering.” She continued by working with family and friends, mainly women and children, to delineate their wrists, palms, and fingers. Today, the series features dozens of works that are comprised of either hands tethered to the dried botanics, which sprout outward in wispy tendrils, or others over layed with thread and glass beads. Although the delicate pieces began as a simple trace, Hammond shares that she soon began to overlay the original drawing with pressed florals, creating encaustic assemblages that “echoed the body’s bones, veins, and circulatory systems.” She continued to experiment with the series by introducing various techniques, including printmaking, Xerox transfers, and finally Photoshop inversions, that distorted the original rendering...

"Sisters #4", 2019 by Valerie Hammond 72 x 35 inches unframed Pigment, Color Pencil, Wax, Glass Beads, and thread on Japanese Rice Paper Coated with Beeswax Vertical, indigo panels ...

Untitled I and II by Daniela Padilla Mainero Individual Frame Size: 11.88 in. H x 15.13 in. W x 1.1 in. D Overall size: 23.76 in. H x 15.15 in. W x 1.1 in. D Vintage book pages where...

BYE BYE BIRDIE Original 1960 Broadway Musical Costume Drawing Tony Award Elvis. Miles White (1915 – 2000) BYE BYE BIRDIE 11 x 8 inches Mixed Media on...

Frank Nelson Wilcox (American, 1887-1964) Women's Corner, Along the Cuyahoga River, c. 1916 Watercolor and graphite on paper 21 x 29 inches Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters," though some sources give this appellation to Henry Keller or Frederick Gottwald. Wilcox was born on October 3, 1887 to Frank Nelson Wilcox, Sr. and Jessie Fremont Snow Wilcox at 61 Linwood Street in Cleveland, Ohio. His father, a prominent lawyer, died at home in 1904 shortly before Wilcox' 17th birthday. His brother, lawyer and publisher Owen N. Wilcox, was president of the Gates Legal Publishing Company or The Gates Press. His sister Ruth Wilcox was a respected librarian. In 1906 Wilcox enrolled from the Cleveland School of Art under the tutelage of Henry Keller, Louis Rorimer, and Frederick Gottwald. He also attended Keller's Berlin Heights summer school from 1909. After graduating in 1910, Wilcox traveled and studied in Europe, sometimes dropping by Académie Colarossi in the evening to sketch the model or the other students at their easels, where he was influenced by French impressionism. Wilcox was influenced by Keller's innovative watercolor techniques, and from 1910 to 1916 they experimented together with impressionism and post-impressionism. Wilcox soon developed his own signature style in the American Scene or Regionalist tradition of the early 20th century. He joined the Cleveland School of Art faculty in 1913. Among his students were Lawrence Edwin Blazey, Carl Gaertner, Paul Travis, and Charles E. Burchfield. Around this time Wilcox became associated with Cowan Pottery. In 1916 Wilcox married fellow artist Florence Bard, and they spent most of their honeymoon painting in Berlin Heights with Keller. They had one daughter, Mary. In 1918 he joined the Cleveland Society of Artists, a conservative counter to the Bohemian Kokoon Arts Club, and would later serve as its president. He also began teaching night school at the John Huntington Polytechnic Institute at this time, and taught briefly at Baldwin-Wallace College. Wilcox wrote and illustrated Ohio Indian Trails in 1933, which was favorably reviewed by the New York Times in 1934. This book was edited and reprinted in 1970 by William A. McGill. McGill also edited and reprinted Wilcox' Canals of the Old Northwest in 1969. Wilcox also wrote, illustrated, and published Weather Wisdom in 1949, a limited edition (50 copies) of twenty-four serigraphs (silk screen prints) accompanied by commentary "based upon familiar weather observations commonly made by people living in the country." Wilcox displayed over 250 works at Cleveland's annual May Show. He received numerous awards, including the Penton Medal for as The Omnibus, Paris (1920), Fish Tug on Lake Erie (1921), Blacksmith Shop (1922), and The Gravel Pit (1922). Other paintings include The Trailing Fog (1929), Under the Big Top (1930), and Ohio Landscape...