Gouache Figurative Drawings and Watercolors

Signed lower left, 'Denis Paul Noyer' (French, b. 1940) and created circa 1975. An exceptionally finely-detailed, silver point and colored pencil drawing showing a view of a Parisia...

Signed Lower Left This illustration was published as the cover of The Street of Shame by Paul Reville, Archer Books, 1953. Matted and framed under acrylic ot 21.6" x 18.6"

Medium: Gouache on Paper Signature: Unsigned

Medium: Gouache on Board Signature: Signed Lower Left Painting Her Toenails, American Weekly Magazine Cover, January 11, 1953

Signed Lower Right Cropped advertising drawing

Signature: Unsigned Medium: Gouache on Board

Medium: Watercolor and Gouache on Board Sight Size 6.00" x 8.00"; Framed 13.00" x 15.00" Signature: Signed Lower Right Likely done either for a magazine cover or for a postcard. Rev...

Maurice Freed (American, 1911 1981) Home Movies (I), c. 1940 Gouache on board, 13 1/2 x 12 inches FRAMED: 20 x 19 inches (approx.) Signed at lower right: “MAURICE FREED” Maurice F...

QUIRIJN VAN TIEL Rotterdam 1900-1967 Rhoon PEINZENDE MAN 1945 watercolor on paper 36 x 46 cm. Signed and dated: lower left ‘Quirijn van Tiel 45’ Pr...

Linda Stein, Profile Solid 383.066 - Signed Feminist LGBTQ+ Acrylic and Goauche on Paper Drawing Profile Solid 383.066 is from Linda Stein's Profiles series--drawings, collages an...

JOHNS, Rowland [60] pp. E.P. Dutton And Company, Inc. 1936 First Edition 8 3/4" x 6 1/2" x 1/2" Artwork 10 1/2"H x 7 3/4"W Frontispiece "I Shall Be Waiting" An endearing true...

Charming gouache depicting a boy flying a sailboat kite on pea green paper in a gilt bamboo frame Art Sz: 11 1/4"H x 10 3/4"W Frame Sz: 16"H x 15"W

Art Sz: 10 1/2"H x 11 1/4"W Frame Sz: 17"H x 18"W In gilt bamboo frame By Alexander Warren Montel (1921-2002)

J Fairfax Whiteside ARRC FMAA 1904 - 2001 X MARKS THE SPOT Gouache, signed lower right Image size: 30 x 17 inches (76 x 43 cm) Hand made frame

Charles Paine 1895 - 1967 Ladders Gouache Signed lower left with monogram Image size: 4.5 × 4.5 inches Acid free mount and black frame Perhaps best known for his iconic London Under...

Charles Paine 1895 - 1967 Sunset Gouache, signed lower right with monogram Image size: 2 ¾ × 2 ¾ inches Acid free mount and black frame £350

Medium: Pastel and Gouache on Board Signature: "Alice Beach Winter" Lower Right "Boy with Clarinet" is a cover illustration for Children Magazine, ...

Signature: Signed with the Artist's Initials J.W.S. (Lower Right) Medium: Ink and Gouache on Paperboard

Stamped, verso, with estate stamp for Victor Di Gesu (American, 1914-1988) and created circa 1950. A bold figural study of a nude in contrapposto, shown posing with drapery and cont...

Stamped, verso, with estate stamp for Victor Di Gesu (American, 1914-1988) and created circa 1950. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art...

Richard Hambleton, Canadian (1952 -2017) - Shadow Head in White, Year: 2003, Medium: Acrylic and Gouache on Paper, signed and dated in pencil lower right and signed in pen on verso...

Richard Hambleton, Canadian (1952 -2017) - Shadow Head, Year: 1999, Medium: Gouache on Paper, signed and dated in pencil lower right, Size: 22.75 x 18 in. (57.79 x 45.72 cm), Fram...

A variation is a common term in various performing styles meant to refer to a planned or choreographed routine. In this original gouache, pastel, and graphite work on paper by French...

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 ...

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...

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...

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 "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...

This artwork, titled "La violette" 1958, is an original gouache on Canson Montgolfier paper by Russian/French artist Erte, Romain De Tirtoff, 1892-1990. It is hand signed in black in...

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