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 ...

Signed lower right and inscribed verso

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

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

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...

"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 ...

"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...

Reginald Marsh "Manhattan Bridge" NYC American Scene Modernism Watercolor WPA Urban Realism, 20 x 14 inches. Watercolor and pencil on paper, 1938. Signed...

We acquired a series of paintings and posters from Clifford and Rosemary Ellis's studio. To find more scroll down to "More from this Seller" and below it click on "See all from this Seller." Clifford Ellis (1907-1985) Hens by a chicken shed at Corsham Court Watercolour 37x56cm Provenance: the family of the artist, by descent. Here Ellis paints the hens at Corsham Court together with their chicken shed. Born in Bognor in Sussex and trained at St Martin’s School of Art and Regent Street Polytechnic, Ellis was a graphic artist and illustrator who is best known for the posters he produced for London Transport during the 1930s. He generally collaborated with his wife Rosemary – whom he married in 1931 – on their posters. The General Post Office, Shell, and The Empire Marketing Board were also clients for their posters. They signed their posters C&RE, their initials being in alphabetical order and they are readily recognisable by their ebullient use of colour and form. Employed during the war as a camoufleur, along with so many other artists, Clifford was also an official war artist, serving with the Grenadier Guards. Rosemary, meanwhile, was an artist for the Recording Britain project. Following the war they trained art teachers at Bath Academy of Art. They also designed a series of nearly one hundred book jackets for Collins New Naturalist series, published between 1945 and 1982. Clifford Ellis studied illustration at the Regent Street Polytechnic, an institution that specialised in ’practical trade classes’, from 1924-27. He went on to design book covers (notably for Collins’ ‘New Naturalist’ series) and posters for London Transport, the General Post Office, Shell-Mex, the Empire Marketing Board and J. Lyons & Co., along with his wife, Rosemary Ellis, whom he married in 1931 while he was teaching at the Polytechnic. The couple’s poster designs combine striking colour with bold typography and depict stylised scenes of the countryside, birds and animals. In the 1930s London Transport commissioned over forty posters a year from well-known artists such as Laura Knight, CRW Nevinson...