Gouache Figurative Drawings and Watercolors

An Art Deco gouache painting by American artist Anthony Nelle featuring exquisite details and materials to create a fantastic and enchanting scene.

Meticulously rendered in beautiful pastels colors account of biblical story. Doyle New York

Alexander O. Levy was a painter, illustrator, printmaker and designer who was born in 1881 in Bonn, Germany. He died in 1946 in Buffalo, New York. At age three, he was brought to ...

Wedding Procession is a colored raised line woodcut, done in 1924 by Bertha Boynton Lum (American, 1869 – 1954) . The image measures 13-7/8 x 10-1/8". Raised line impression and painted by the artist, while living in China. Image 13.25"H x 8.75"W Sheet 14.75"H x 10.75" (approx) Signed Lower center in pencil "Bertha Lum" New acid free mat included. Bertha Lum was fascinated by the legends and mythology of the Orient and wrote extensively about them. These legends provided the subject matter for many of her works in woodcut. Bertha Boynton Lum was an American artist known for helping popularize the Japanese and Chinese woodblock print outside of Asia. In May 1869, Lum was born as Bertha Boynton Bull in Tipton, Iowa. Lum's father was Joseph W. Bull (1841–1923), a lawyer and her mother was Harriet Ann Boynton (1842–1925), a school teacher. Both of Lum's parents were amateur artists. Lum had a sister and two brothers, Clara, Carlton, and Emerson. Education and career: In 1890 she lived in Duluth and listed her occupation as artist. She enrolled in the design department of the Art Institute of Chicago in 1895. A few years later she studied stained glass with Anne Weston and attended the Frank Holme School of Illustration. From November 1901 to March 1902, she studied figure drawing at the Art Institute of Chicago and was influenced by the Japanese techniques of Arthur Wesley Dow in his book Composition, which was published in 1899. Lum married Burt F. Lum, a corporate lawyer from Minneapolis, Minnesota, in 1903. They spent their seven-week honeymoon in Japan, where she searched for a print maker who could teach her the traditional ukiyo-e method. Toward the end of her stay in Japan, she found a shop that reproduced old prints. The shop sold her some woodcutting tools...

Beautiful original by Jane Rosen with numerous birds floating in layers against a subtle background. Painted with Gouache and Sumi-e Japanese Ink on handmade paper. These studies w...

Possibly created as a design for one of Harper's Bazar's monthly editions in the 1930s, prior to Erte leaving HB. Ornements d'Oreilles (#3.542) is also similar to a design Erté consi...

A French watercolour on paper of 'la vendage' or grape harvest by Spanish painter Jacques Claramunt. The painting is signed bottom left and is presen...

Kristalova is best known for her figurative ceramic sculptures that incorporate aspects of the human body and elements of nature. Across her oeuvre, she explores transition as a stag...

Kristalova is best known for her figurative ceramic sculptures that incorporate aspects of the human body and elements of nature. Across her oeuvre, she explores transition as a stag...

Beautiful original by Jane Rosen with numerous birds floating in layers against a subtle background with writing.

Alexander Ross Untitled, 2007 Watercolor, colored pencil, gouache and graphite on paper Framed Dimensions: 28 x 25.5 inches (71.1 x 64.8 cm) Image Dimensions: 23 x 22 inches (58.4 ...

A relaxing coastal scene in gouache by British landscape artist Reginald Daniel Sherrin (1981-1971). Well-present in a charming box style frame. Signed. On board.

MARC CHAGALL 1887-1985 [Shagal, Mark, Zakharovich, Moses] Vitebsk, Belarus 1887-1985 Saint-Paul-de-Vence, Alpes-Maritimes Title: Study for The Circus Equisse pour ‘Le Cirque’, 1957...

A delightful study depicting two lovers embracing beneath a tree. A large city is visible in the distance. The muted colour palette is wonderfully offset by the naive style and simpl...

Stained Window by Bernard Labbe (French mid 20th century) original gouache on artist paper size: 19.5 x 11.5 inches condition: very good and ready to be ...

Marta Lebek is a Polish artist born in 1978. She currently lives and works in Spain. She studied at the School of Fine Arts and specialized in the departm...

Beautiful original by Jane Rosen with numerous birds floating in layers against a subtle nude figures in the background. **Framed images NOT color correcte...

Wilhelm Heine (Dresden 30 January 1827-Löbnitz 5 October 1885) ‘Funeral of Robert Williams in the cemetery of the Temple Gyokusen-ji at Shimoda in April 1854’ With a sticker on the reverse of the frame by Coupil & Co. 1855 Watercolour on paper, H. 57 x W. 92 cm Depicted is the Bay of Shimoda with seven American ships including the two paddle-wheel warships USS Mississippi and Susquehanna. On the Gyokus- en-ji temple grounds on the right is the coffin in the middle with the remains of US marine Robert Williams, ready to be lowered into the grave. Looking on from the left are the Buddhist monks and Japanese officials who joined the first Christian funeral on Japanese soil. Around the grave are US marines, Commodore Perry...

French Mid Century work on card by Sylvain Vigny. Depicting an artist (self portrait?) in his studio with his subject and muses, like Les Demoiselles d'Avignon. Reminiscent of the drawings of Picasso and Matisse who were his contemporaries and neighbours on the Cote D'Azur at this period. The painting is signed and dated bottom left. In period chrome edged frame, currently under glass. If Sylvain Vigny had stayed in Paris in 1934 instead of moving to Nice on the Côte d’Azur, his highly imaginative and original work might be better known. Comparisons with better-known modernist artists including Maurice de Vlaminck, Georges Rouault and Raoul Dufy set him in an appropriate and favourable context. A self-taught artist, he grew up in Vienna and emigrated to France in the 1920s, living in Paris from 1929 to 1934. After he had moved to Nice early in 1934, he exhibited in galleries along the Mediterranean coast and in Switzerland, with major exhibitions in New York in 1938 and at the Galerie Bernheim Jeune in Paris in 1948. Sylvain Vigny was part of an important artistic community in Nice, which included Jean Moulin who owned the Galerie d’Art Roman, the artist Jean Cassarini, writers Pierre and Jacques Prévert, filmmaker Nikos Papatakis, and jazz musician Django Reinhardt...

To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you ...

This drawing could also be titled "Foundry." Two men, in work clothes, are on other side of a trough of molten metal. In the distance, a third man, in heavy-duty protective gear, lea...

Hugo’s artworks tend to have an “onirical/metaphorical” feel to them. These pieces are the original drawings of the artist's book titled “Recordar el Camino” (remember the way), a wo...

JÓZEF WILKOŃ (born in 1930) Polish illustrator, painter and art historian. He studied at the Faculty of Painting at the Academy of Fine Arts in Cracow (diploma in 1955) and at the F...

Gen Paul (Eugene Paul, called) Corrida : Picador, Toreador and Bull, c. 1950 Original watercolor and gouache Signed bottom right On paper 50 x 65 cm (c. 20 x 26 in) Excellent cond...

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

Signature: Signed Medium: Gouache on Board

An Original Illustration Handpainted with India Ink and Watercolor, Gouache on Paper, by Edouard Halouze. A Baltic woman dancing to a man playing an acco...

Artist : Lindsey Meyers Carroll Title : Goliathus Rorschachi 3 Materials : Charcoal, ink, chalk and gouache on paper. Date : 2017 Dimensions : 16 x 18 in. Lindsey Meyers Carroll is a contemporary artist working in magic realism through large-scale charcoal drawings. She received her BA in Fine Arts and Spanish Literature from the University of Montana in Missoula in 2008. Exhibitions include the Art Spirit in Coeur d’Alene, Idaho, Brink Gallery in Missoula, Montana and Turman Larison Contemporary in Helena, Montana. Carroll is a recipient of the Grants to Artist Award from the Myrna Loy Center. Figurative, Animal Drawings, Animal Paintings, Insect Drawings...

Delicate sepia, watercolor and gouache drawing of a lush landscape with two figures and a donkey crossing a bridge in the background. Circa 1830. Condition is very good; no issues....

Original ink and gouache drawing on paper, in gray mat. Original fashion illustration for a french magazine. Publishes notes in pencil in margins. Mat size: 22 7/8 x 17 5/8 in.

Olaf Wieghorst (American, 1899-1988) "Season's Greetings" (Brave on Horseback) 1960 Watercolor/Gouache on Paper Initialed and Monogramed and Dated Dedicated: "To Rosalie & Jack, Season's Greetings, Mae & Olaf Xmas 1960" Site Size: 12 x 9 inches Framed Size: approx. 22.5 x 18.5 inches Born in Viborg, Denmark, Olaf Wieghorst was a child acrobatic performer from the age of nine when he began appearances at Tivoli Theater in Copenhagen and later toured Europe. He also learned horseback riding working on a stock farm, and horses became a major focus of his admiration and later his painting. In 1918, he arrived in the United States, having worked as a cabin boy on a steamer. He served in the 5th U.S. Cavalry on the Mexican border in the days of Pancho Villa...

Jacob (Yaacov) Eisenscher "The Village Market" 1947 Gouache/Watercolor on Paper Signed and Dated Lower Left Image Size: approx 18 x 12.5 Framed Size: approx 27 1/8 x 22 1/4 inches ...

Gisella Loeffler "Three Girlsl" c. 1919 Gouache on Paper Initialed Lower Left Framed Size: approx 19 x 13 inches In a village filled with colorful characters, few Taos artists were as colorful as Gisella Loeffler [1900-1977]. From her handmade Austrian clothing and hand-painted furniture to whimsical paintings and letters written in multicolored crayon, joyful color defined the artist, who early on chose to use simply Gisella as her professional name and was known as such to everyone in Taos. 

In spite of her fame there—the Taos News once labeled her a Taos legend—Gisella is rarely included in scholarly discussions of the Taos Art Colony. This oversight is likely due to the naive quality of her work, in which children or childlike adults inhabit a simple, brightly colored world filled with happiness. The macabre, the sad, the tortured, the offensive—all have no place in Gisella’s paintings. Her naive style of work looks very different from that of the better-known early Taos artists. Yet both Gisella’s artwork and her interesting life command attention. Born in Austria, Gisella came to the United States with her family in 1908, settling in St. Louis, MO. After studying art at Washington University in St. Louis, she became a prominent member of the local art community, joining the St. Louis Art Guild as well as the Boston Society of Arts and Crafts. In addition to creating posters for the St. Louis Post Dispatch, Gisella won prizes from the Artists Guild of the Author’s League of America in 1919 and 1920 and from the Kansas City Art Institute in 1923. She also began working in textiles, including batik, to which she would return later in her career.  In the early 1920s Gisella married writer and music critic Edgar Lacher. A difficult character, Lacher may have chafed under Gisella’s success, for the couple divorced in the 1930s. Having seen a local exhibition of paintings by Taos artists Oscar Berninghaus (who was from St. Louis) and Ernest Blumenschein, Gisella felt drawn to Taos, which reminded her of the villages of her native Austria. In 1933 the single mother with two daughters, Undine and Aithra, moved to Taos, where she lived off and on for the rest of her life. She traveled frequently, spending extended periods in Mexico, South America, and California, but always returned to New Mexico. Gisella initially applied an Austro-Hungarian folk-art style to the Indian and Hispanic subjects that she found in New Mexico. In her early work she covered her surfaces with decorative floral and faunal motifs, and her images were flat with no attempt at rendering traditional one-point perspective. Eventually, though, Gisella developed her own style, often using children or childlike figures as subjects. Still, the influence of her native country’s folk art remained evident in her New Mexican, Mexican, and South American images. In 1938 Gisella moved briefly to Los Griegos, north of Albuquerque, to be closer to medical facilities for her eldest daughter, who was suffering from rheumatic fever. Two years later, she moved to California to participate in the war effort, painting camouflage and decals on airplanes for Lockheed. In California, Gisella broadened her range of artistic pursuits. She taught art privately, created illustrations for Scripts Magazine, and did interior design for private homes. She also designed greeting cards, a practice she continued after her return to New Mexico, where she created a series of Christmas cards.  Gisella began illustrating children’s books in 1941 when she collaborated on Franzi and Gizi with author Margery Bianco. Eventually she wrote and illustrated her own book, El Ekeko, in 1964. She also designed ceramics—her Happy Time Dinnerware, marketed by Poppy Trail...

Gisella Loeffler "Mother and Child in the Gardenl" 1919 Gouache on Paper Initialed Lower Right Framed Size: approx 19 x 10 3/4 inches In a village filled with colorful characters, few Taos artists were as colorful as Gisella Loeffler [1900-1977]. From her handmade Austrian clothing and hand-painted furniture to whimsical paintings and letters written in multicolored crayon, joyful color defined the artist, who early on chose to use simply Gisella as her professional name and was known as such to everyone in Taos. 

In spite of her fame there—the Taos News once labeled her a Taos legend—Gisella is rarely included in scholarly discussions of the Taos Art Colony. This oversight is likely due to the naive quality of her work, in which children or childlike adults inhabit a simple, brightly colored world filled with happiness. The macabre, the sad, the tortured, the offensive—all have no place in Gisella’s paintings. Her naive style of work looks very different from that of the better-known early Taos artists. Yet both Gisella’s artwork and her interesting life command attention. Born in Austria, Gisella came to the United States with her family in 1908, settling in St. Louis, MO. After studying art at Washington University in St. Louis, she became a prominent member of the local art community, joining the St. Louis Art Guild as well as the Boston Society of Arts and Crafts. In addition to creating posters for the St. Louis Post Dispatch, Gisella won prizes from the Artists Guild of the Author’s League of America in 1919 and 1920 and from the Kansas City Art Institute in 1923. She also began working in textiles, including batik, to which she would return later in her career.  In the early 1920s Gisella married writer and music critic Edgar Lacher. A difficult character, Lacher may have chafed under Gisella’s success, for the couple divorced in the 1930s. Having seen a local exhibition of paintings by Taos artists Oscar Berninghaus (who was from St. Louis) and Ernest Blumenschein, Gisella felt drawn to Taos, which reminded her of the villages of her native Austria. In 1933 the single mother with two daughters, Undine and Aithra, moved to Taos, where she lived off and on for the rest of her life. She traveled frequently, spending extended periods in Mexico, South America, and California, but always returned to New Mexico. Gisella initially applied an Austro-Hungarian folk-art style to the Indian and Hispanic subjects that she found in New Mexico. In her early work she covered her surfaces with decorative floral and faunal motifs, and her images were flat with no attempt at rendering traditional one-point perspective. Eventually, though, Gisella developed her own style, often using children or childlike figures as subjects. Still, the influence of her native country’s folk art remained evident in her New Mexican, Mexican, and South American images. In 1938 Gisella moved briefly to Los Griegos, north of Albuquerque, to be closer to medical facilities for her eldest daughter, who was suffering from rheumatic fever. Two years later, she moved to California to participate in the war effort, painting camouflage and decals on airplanes for Lockheed. In California, Gisella broadened her range of artistic pursuits. She taught art privately, created illustrations for Scripts Magazine, and did interior design for private homes. She also designed greeting cards, a practice she continued after her return to New Mexico, where she created a series of Christmas cards.  Gisella began illustrating children’s books in 1941 when she collaborated on Franzi and Gizi with author Margery Bianco. Eventually she wrote and illustrated her own book, El Ekeko, in 1964. She also designed ceramics—her Happy Time Dinnerware, marketed by Poppy Trail...

Gisella Loeffler "The Necklace and the Pot" c. 1919 Gouache on Paper Initialed Lower Left Framed Size: approx 15 x 15 inches In a village filled with colorful characters, few Taos artists were as colorful as Gisella Loeffler [1900-1977]. From her handmade Austrian clothing and hand-painted furniture to whimsical paintings and letters written in multicolored crayon, joyful color defined the artist, who early on chose to use simply Gisella as her professional name and was known as such to everyone in Taos. 

In spite of her fame there—the Taos News once labeled her a Taos legend—Gisella is rarely included in scholarly discussions of the Taos Art Colony. This oversight is likely due to the naive quality of her work, in which children or childlike adults inhabit a simple, brightly colored world filled with happiness. The macabre, the sad, the tortured, the offensive—all have no place in Gisella’s paintings. Her naive style of work looks very different from that of the better-known early Taos artists. Yet both Gisella’s artwork and her interesting life command attention. Born in Austria, Gisella came to the United States with her family in 1908, settling in St. Louis, MO. After studying art at Washington University in St. Louis, she became a prominent member of the local art community, joining the St. Louis Art Guild as well as the Boston Society of Arts and Crafts. In addition to creating posters for the St. Louis Post Dispatch, Gisella won prizes from the Artists Guild of the Author’s League of America in 1919 and 1920 and from the Kansas City Art Institute in 1923. She also began working in textiles, including batik, to which she would return later in her career.  In the early 1920s Gisella married writer and music critic Edgar Lacher. A difficult character, Lacher may have chafed under Gisella’s success, for the couple divorced in the 1930s. Having seen a local exhibition of paintings by Taos artists Oscar Berninghaus (who was from St. Louis) and Ernest Blumenschein, Gisella felt drawn to Taos, which reminded her of the villages of her native Austria. In 1933 the single mother with two daughters, Undine and Aithra, moved to Taos, where she lived off and on for the rest of her life. She traveled frequently, spending extended periods in Mexico, South America, and California, but always returned to New Mexico. Gisella initially applied an Austro-Hungarian folk-art style to the Indian and Hispanic subjects that she found in New Mexico. In her early work she covered her surfaces with decorative floral and faunal motifs, and her images were flat with no attempt at rendering traditional one-point perspective. Eventually, though, Gisella developed her own style, often using children or childlike figures as subjects. Still, the influence of her native country’s folk art remained evident in her New Mexican, Mexican, and South American images. In 1938 Gisella moved briefly to Los Griegos, north of Albuquerque, to be closer to medical facilities for her eldest daughter, who was suffering from rheumatic fever. Two years later, she moved to California to participate in the war effort, painting camouflage and decals on airplanes for Lockheed. In California, Gisella broadened her range of artistic pursuits. She taught art privately, created illustrations for Scripts Magazine, and did interior design for private homes. She also designed greeting cards, a practice she continued after her return to New Mexico, where she created a series of Christmas cards.  Gisella began illustrating children’s books in 1941 when she collaborated on Franzi and Gizi with author Margery Bianco. Eventually she wrote and illustrated her own book, El Ekeko, in 1964. She also designed ceramics—her Happy Time Dinnerware, marketed by Poppy Trail...

Gisella Loeffler "Going for a Stroll" c. 1919 Gouache on Paper Initialed Framed Size: approx 17 x 13 inches In a village filled with colorful characters, few Taos artists were as colorful as Gisella Loeffler [1900-1977]. From her handmade Austrian clothing and hand-painted furniture to whimsical paintings and letters written in multicolored crayon, joyful color defined the artist, who early on chose to use simply Gisella as her professional name and was known as such to everyone in Taos. 

In spite of her fame there—the Taos News once labeled her a Taos legend—Gisella is rarely included in scholarly discussions of the Taos Art Colony. This oversight is likely due to the naive quality of her work, in which children or childlike adults inhabit a simple, brightly colored world filled with happiness. The macabre, the sad, the tortured, the offensive—all have no place in Gisella’s paintings. Her naive style of work looks very different from that of the better-known early Taos artists. Yet both Gisella’s artwork and her interesting life command attention. Born in Austria, Gisella came to the United States with her family in 1908, settling in St. Louis, MO. After studying art at Washington University in St. Louis, she became a prominent member of the local art community, joining the St. Louis Art Guild as well as the Boston Society of Arts and Crafts. In addition to creating posters for the St. Louis Post Dispatch, Gisella won prizes from the Artists Guild of the Author’s League of America in 1919 and 1920 and from the Kansas City Art Institute in 1923. She also began working in textiles, including batik, to which she would return later in her career.  In the early 1920s Gisella married writer and music critic Edgar Lacher. A difficult character, Lacher may have chafed under Gisella’s success, for the couple divorced in the 1930s. Having seen a local exhibition of paintings by Taos artists Oscar Berninghaus (who was from St. Louis) and Ernest Blumenschein, Gisella felt drawn to Taos, which reminded her of the villages of her native Austria. In 1933 the single mother with two daughters, Undine and Aithra, moved to Taos, where she lived off and on for the rest of her life. She traveled frequently, spending extended periods in Mexico, South America, and California, but always returned to New Mexico. Gisella initially applied an Austro-Hungarian folk-art style to the Indian and Hispanic subjects that she found in New Mexico. In her early work she covered her surfaces with decorative floral and faunal motifs, and her images were flat with no attempt at rendering traditional one-point perspective. Eventually, though, Gisella developed her own style, often using children or childlike figures as subjects. Still, the influence of her native country’s folk art remained evident in her New Mexican, Mexican, and South American images. In 1938 Gisella moved briefly to Los Griegos, north of Albuquerque, to be closer to medical facilities for her eldest daughter, who was suffering from rheumatic fever. Two years later, she moved to California to participate in the war effort, painting camouflage and decals on airplanes for Lockheed. In California, Gisella broadened her range of artistic pursuits. She taught art privately, created illustrations for Scripts Magazine, and did interior design for private homes. She also designed greeting cards, a practice she continued after her return to New Mexico, where she created a series of Christmas cards.  Gisella began illustrating children’s books in 1941 when she collaborated on Franzi and Gizi with author Margery Bianco. Eventually she wrote and illustrated her own book, El Ekeko, in 1964. She also designed ceramics—her Happy Time Dinnerware, marketed by Poppy Trail...

Georges Hugnet (1906-1974) Two-Faced Man Gouache on paper Signed in the lower right corner Dimensions 37,5 x 15,5 cm (15 x 6") Excellent condition

Sax Berlin is unique in using this natural material in this way - beautiful Italian slate. Created in the tranquil Japanese gardens and tea house which serve as his summer studio. This image could almost be a form of meditation in itself; gaze at the face and be drawn into the tranquility and depth of the Lotus Buddha...

Presenting an original mixed media watercolor by Hungarian artist Bela Kadar. Bela Kadar was a historically important artist, is work was included as part of the degenerate art movement of Nazi Germany. His works appeared illustrated in the famous German arts magazine Der Sturm...

Ron Blumberg was classically trained at La Grande Academie Chaumiere in Paris, 1932, before moving to New York where he became a National Academy artist and a member of the Art Stude...

Watercolor, gouache, ink wash, crayon, and pencil on paper